She Loves Me (And I'm Not Complaining): UVM Spring Musical Review
This musical which premiered on Broadway in 1963, is rooted in a 1937 Hungarian play “Parfumerie”, which led to a 1940 movie, “The Shop Around the Corner”, before being turned into a musical. True to its roots, the story revolves around clerks at a perfume shop in Budapest, Hungary, zeroing in on two specific feuding clerks, Georg Nowack and Amalia Balish, who are unknowingly connected through a Lonely Hearts Club, through which they write each other letters, and have individually fallen in love with the other. The musical, filled with wit, charm, love, and humor, was a perfectly well-rounded musical for all types of entertainment critics. There is no claim to be made that this show and its specific actors in the University of Vermont’s cast could be unenjoyable; the physical comedy of each character created depth and hilarity in every moment of the show; the strong voices made each tune beautiful and enchanting to hear; the actors expertly controlled their emotions, portraying such strong feelings as love and tragic fear within seconds of each other; rhythm and timing were on point, and so much more. Each actor was professional to an admirable degree, dancing and singing with the 50’s charm and grace of Gene Kelly or Dick Van Dyke. The setting, scenery, props, blocking, choreography, lighting, and sound were impeccable and so well-crafted for the show. Overall, highly commendable. However, if you still don’t feel compelled to see this show, allow me to further detail the experience.
This was the first spring musical production I’ve attended at UVM, and I was left speechless. I try very hard to be an unbiased critic; therefore, I went into the musical blind, knowing nothing of the content, the sounds, or the plot. I left changed; proclaiming all the way home that this was possibly the best show I’ve ever seen. So, while this review is honest, it is also a plea to attend next year's spring production if you get the chance. It is very worth the 10 dollar student ticket.
Right off the bat, the actors burst onto the stage with such talent and emotion that I was instantly entranced. Opening with a song, an immediate presence of joy fell on the crowd. The first song naturally lays out an idea for the rest of the musical, so it is a dangerous risk to sit through; however, this song contained jovial notes and a lovely overture that reminded me of charming old Disney classics like The Sound of Music or Mary Poppins. I continued to recognize these themes through several other songs as well, which added to the cheerful and bright mood of the majority of the play. Each actor seemed perfectly fit for their role; every one of them acted with such genuine emotion and humor it was hard separating them from actual students at UVM. While only a few used accents, and if they did, very light, they had no problem convincing me I was watching the happenings of perfumery in Europe, not the stage at the Royall Tyler. Often, when humor is mentioned in a review or in terms of a play, it is an exaggeration; however, this couldn't be farther from the truth for She Loves Me. More than the verbal humor worked into the script, which each actor perfectly delivered, the amount of impeccable physical comedy added onto this show was genuinely hilarious. Key moments such as Arpad falling into the splits, Mr. Nowak’s gleeful jumps in his solo number “She Loves Me”, and subtle moments through the entire show as characters reacted with one another and created a funny atmosphere. The line delivery, outside of humor, was also outstanding. The actors were able to master the transatlantic accent and lilt often seen in movies from this time, dating their characters without harshness, and their timing was so well thought-out and executed. All of the actors, dancers, and ensemble included, were in perfect sync with each other, moving with a natural ease and grace that never indicated they weren’t who they said to be.
Aside from the physical expertise of the cast, they also were masters of emotions, both their own and the audience's. They gave a moving performance of grief, disappointment, and anger in the same breath as humor, glee, and love. I attended with a friend, who’d seen the show the night prior, and several times through the performance, she’d look over at me with big doe eyes, seeming to say, “Are you SEEING this?” And thankfully, I was. I was able to watch Mr. Nowak and Ms. Balish’s love story unfold with the same excitement and merriment as reading a romance novel, actually laughing out loud at some of the silly character quirks and movements. I was entranced with their story, and I didn't even notice that half the show had gone by until the lights came up. If they had messed up their lines or stumbled on stage, they did so with such grace and character that I never even noticed; to me, their performance was flawless.
Being a musical, there is more to the show than acting; for one, their singing. Well, not to bore my audience, but their singing was incredible as well. Every character perfectly fit their role, as if written for them, and they sang with such talent, emotion, and passion, that it was hard not to listen. While each actor had an amazing voice, Morgan Weatherbee stood out from the rest. Her voice is Broadway-ready; with a unique almost nasal quality to her voice, it is strong, with a beautiful belt and alto that moved the audience with her searing rendition of “I Resolve”. Her powerful voice mixed with her excellent acting made me hate her former lover, Mr. Kodaly, who had led her on once again. I listened to the soundtrack after this performance, for I really could not get enough, and the Broadway cast did not scratch the itch as UVM’s phenomenal cast had. Especially with the character of Ilona Ritter, Weatherbee brought a strong voice and sass to the role unmet by any other. Audrey Buzza also performed with surprising ease some of the most difficult songs I’ve ever heard sung, at notes high above my scale. With something of an operatic tone in her role, Buzza met this requirement perfectly, performing with a floaty, love-sick tone that wowed the audience in every one of her solos, including her infamous solo, “Vanilla Ice Cream”. The ensemble in this show also played an important role, creating the effect of a filled perfumery and restaurant, and providing beautiful choreo and dancing as well as voices to back up gorgeous soloists. The strength and emotion behind every single song rivaled Les Mis in my opinion, making every note and movement count. The male voices in this musical were so gorgeous, and every actor so extremely talented and right in their role. They instantly stepped up to the bat with gusto, portraying charming men of the 30s with ease, perhaps fueled by their suits and scenery, and well met with the powerful female voices of their counterparts.
The choreography in this beautiful show ranged from subtle to outright dance sequences with a natural ease, keeping the entire show flowing and exciting. Most of the choreography mixed smoothly with the easy blocking, from the ensemble ‘customers’ moving around the parfumerie with ease to Ilona and Kodaly’s playful cat-and-mouse moves in “Ilona”. Each move was carefully graphed to work well with the musicality of the song and the theme of the era but also played with each individual actor's charm and humor. The physical comedy was expertly expressed even in dances, and was beautifully accidental - or at least, supposed to seem that way. The most expressive dance sequence of the show occurred in “A Romantic Atmosphere”, in which the headwaiter, the excellent and hilariously expressive actor Henry Motes, describes the romantic atmosphere they attempt to uphold at their restaurant, intersected by a wondrous dance sequence following other waiters, dinner guests, and one specifically clumsy waiter who seems to ruin the atmosphere at every chance. So beautifully choreographed, the show was saved by this hilarious and sensual performance, an immediate change from the suicide attempt just witnessed by Arpad - a quick turnaround that fit the show so well and upheld the natural charm in other songs. Dance captain Allie Stearns, a freshman at the university, did an excellent job leading each character and actor into natural ease and movement, reading and matching the energy and setting of the show, making it fit perfectly. Each actor flowed like a professional, with so much to look at and take in to make it impossible to look away. The use of the stage pieces such as tables, desks, and chairs was excellent, making it all seem so naive, each dance ingrained into the bones of the actors. The use of the side staircases flanking the stage and the backways and tunnels that lead from behind the stage added depth and reality to the show, making it seem as if actors were teleporting to different areas, and squashing the normal entrance solely from behind the stage. The use of these entrances also added movement and helped move time along, such as in Act One when the seasons were shifting, and in Act Two when the shopper chorus moved around the stage to show the countdown to Christmas.
The mechanics of this show were superb, working so well with each actor and becoming so familiar ingrained in every aspect of the show easily. More than the practicality of the setting and props, it was beautiful to behold. As soon as I laid eyes on the backdrop of the perfumery and buildings, alongside the doors and windows, I was taken aback. The beautiful painting made it seem lifelike, and I was instantly transported to a European street, and I longed to enter. The artistry was so perfect for the timeline, so important for each station and every scene during the show. The props drew this 2D scenery forward, immediately beginning with Arpad on his bicycle, then the ease with which the actors created the scene of the shop, and then later the restaurant, and the bedrooms. These pieces made stations where the actors could dance around and on, adding depth and reality to the show. They also dated the show, in subtle ways convincing the audience that they were watching a movie truly in the 30s, with the cash registers and payment methods, the seats and telephones, and the costuming. The lighting was also amazing, reflecting natural light, and the low lighting of the restaurant scenes reflected emotions as well and added depth to the story. The timing with lighting and sound was on point, even with things such as music boxes that played songs when opened, so perfectly timed that I was amazed every time.
Costuming played such an important role in this show, doing the most to set the time and age of the characters. They also added so much natural charm and a jovial air to the entire show from closing to end. The suits were the perfect easy touch to lead the actors through their dated mannerisms and accents, the dresses clearly authentic or very convincing. All the way from top to bottom, the actors were clad in such convincing clothing it was truly like watching a vintage movie. The costuming placed the musical alongside others such as Mary Poppins, and alongside the music was so convincing. These aspects: costuming, wigs, hairstyles, and makeup; were so important in really selling the story. Minimal wigs were used, or at least noticeable to my eye. The hairstyles of leading ladies and men alike were expertly placed, and gorgeous. The hairstyle curled and featured on characters like Amalia Balish were so beautifully fitting not only to the character but flattering to the actresses. The hats featured on the men expertly fit with their hairstyles and suits, adding to the glamour of the era.
I couldn't recommend this show higher. I truly sat through the entire show, and left with a smile on my face, pleased with every bit of it; the costuming, setting, mechanics, music, and acting left nothing to be desired. I felt excited, nervous, gleeful, and jovial. The actors portrayed each scene with such emotion it was palpable to the audience and impossible not to reflect. I attended the show with a friend who had seen the show the night before, and she raised the idea that every night is different when watching a musical, especially with as many difficult songs and moving parts as this one, and that she has noticed new differences, new excitements, and the same happiness she felt during the first viewing. We also amended that as the crowd shifts each night, it will always affect the actors and their performance as well, just as we play off their voices, they play off our laughter, our applause. I was lucky to attend a night with a packed house, who reacted loudly to every aspect of the show and seemed to enjoy it as much as I did. The cleverness of both the actors and songs was striking and truly made me want to go back and watch the show every night. Although, it is to be noted that this show is a bit of a time commitment, starting at 7:00 pm and ending around 10:30 pm, including a 15-minute intermission. Every part of this show was expertly organized and orchestrated. Truly a delightful experience.
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