Married Alive!brings to the Desert Theatreworks stage one of the wittiest revue scripts you’ll ever encounter. The contemporary work examines the institution of marriage from the perspective of both long-timers and newlyweds. Rich though this topic may be, it is not to be mined by the faint of heart.
Author Sean Grennan has combined his dialogue and lyrics (the music, by Leah Okimoto, is nothing you’ll remember afterward, but it’s serviceable) to create a play that gives the audience laughs ranging from chortles to guffaws. Don’t be surprised if those laughs are sprinkled with one or two tears.
The style is vaudeville-like, with lighting blackouts between sketches and songs. Those blackouts, of course, are one of the most defining characteristics of a revue (along with running gags). Co-directed by the seasoned Lance Phillips-Martinez and newbie Ron Phillips-Martinez (he’s making his directorial debut), the pace is varied, as a revue must be for maximum impact. The set is stark (some revues use no sets at all) and recalls the Laugh-Inset, with windows that pop open to reveal disembodied heads spouting one-liners. Of course, there is no actual story to this kind of show, but themes abound. As for those themes: Think of your own life, and how your opinions about relationships have changed through the years.
The opening number plunges us into a delicious satire about weddings and their clichés. We meet the whole cast at once in a number called “Suddenly/Stupidly in Love.” The young bride is Erin, played by Briana Taylor, a silky blonde with a lot of confidence, as revealed by some of her costume choices. Her groom is Paul, played by William Fernandez Jr., whose amazing comedic talents and timing will serve him well in the promising career before him. Karen Schmitt, a tiny, feisty dynamo playing the older Diane, attends the wedding with her longtime spouse, Ron, played by Lance Phillips-Martinez himself, a tall sophisticate who somehow manages to be world-weary and lively at the same time. The wedding officiant is Corbett Brattin (listed as “The Observer”), who slides in and out of scenes, providing links and transitions. He’s his usual solid self as he offers additions of subtle comedy.
As for the singing voices: The show features superb harmonies, and not a bum note in the lot. However, both ladies would do well to stick with chest tones rather than wandering off into operatic head tones—they’re not good for revue theater, anyway, and they’re fraught with dangerous weakness and possible lack of control. Speaking of sound: There were a couple of moments when the musical accompaniment was a little too loud, but mostly it was just fine. It’s always tricky working with soundtracks.
A couple of microphones stood at the front of the stage, and it was impossible to tell whether they were even turned on, because the sound carried with no added resonance or reverb (a singer’s best friend). The downside: The audience didn’t catch some dropped last words—or even whole phrases—delivered when the actors’ faces were turned away from the audience, or spoken too quietly, or maybe (horrors!) mumbled. Every word counts! (Let every actor write this phrase on his mirror so he sees it 18 times a day! I’m going to keep spanking the culprits until every word of every show in town is intelligible!) That said, there were some excellent examples of lovely diction in other scenes.
What really stands out in this show are the actors’ faces. Kudos in particular go to Schmitt (those eyes!) and Fernandez (those eyebrows!), whose flexible and expressive comedic mugs create some of the best and funniest moments in the play. I confess to howling in a most unladylike fashion as I watched these two in the eggnog bit called “Ding Dong Family”—appropriately, for now, about Christmas. Brattin adds sparkle with his facial reactions—always understated, often wry and always admirable.
The characters claw their way through situations that plague every relationship—money, time, families, sex, work, communication, aging—in songs and vignettes, in solos and group harmonies. With gay marriage now common, I wonder if we’ll ever see a gay version of this show. Gay divorces are happening, too; these are all trulyuniversal relationship problems. Anyone can have conflict over watching sports on TV, or wondering which member of the couple will die first and how it will be handled, or Viagra, or credit cards. This revue deals with all of it.
We have to keep an analysis of this production of Married Alive in proportion: The problems here are so tiny that it’s tempting to ignore them altogether, because of the brilliance of the writing. (For example, Act 2 is better than Act 1, which contained a couple of timing glitches and seemed under-rehearsed in comparison. Big deal.) It takes a lot of nerve for actors to perform musical-comedy revue, and carrying off these outrageous scenarios is only possible with a terrific script. And, I can promise you, Married Alive! has it.
By the way: Painted in cursive on the back wall of the set is a mysterious invitation to “the wedding,” dated Dec. 15, 2013, at 2 p.m. Because this is never addressed in the show, I asked co-directors Lance and Ron Phillips-Martinez (recently married themselves) about it. They explained that they were hoping to find a couple willing to be married on the stage at their last performance! This is not a publicity stunt, obviously, or it would have taken place at the first performance.
So … any takers?
Married Alive!, a production of Desert Theatreworks, takes place at 7 p.m., Friday; 2 and 7 p.m., Saturday; and 2 p.m., Sunday, through Sunday, Dec. 15, at the Joslyn Center’s Arthur Newman Theatre, 73750 Catalina Way, in Palm Desert. Tickets are $25, or $23 for students and seniors. The show runs two hours with one intermission. For tickets or more information, call 760-980-1455, or visit www.dtworks.org.