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Dangerous Beauty Book & Verse by Jeannine Dominy Music by Michele Brourman Lyrics by Amanda McBroom Directed by Sheryl Kaller Music Director Doug Peck Choreographer Robert LaFosse Produced by Northwestern University’s American Music Theatre Project (AMTP) At Ethel M. Barber Theatre 30 Arts Circle Drive Evanston,IL Call 847-491-7282, tickets $30, $27 seniors, $10 for students Thursdays thru Saturdays at 8 pm Sundays at 2 pm Running time is 2 hours, 30 minutes Through august 17, 2008 Stylish blend of passion, poetry and politics with smart lyrics and Renaissance music combines to make “Dangerous Beauty” a compellingly work of art. The fifth production, “Dangerous Beauty,” by the American Musical Theatre Project (AMPT), under the leadership of Dominic Missimi and Stuart Oken, is their most ambitious and finely crafted new musical to date. This refreshingly original and uniquely stylish world premiere musical owes much to the 1998 film penned by Jeannine Dominy. This talented woman also wrote the book and the verse for this musical. Michele Brourman’s splendid score is inspired by the best of 16th Century Northern Italian Renaissance music with modern pop rock and classical musical elements. Amanda McBroom’s smart, show-specific lyrics together with Virgil Johnson’s colorfully exquisite costumes on Collette Pollard’s expert, two-tier set featuring Baroque and Neoclassicism arches with vivid lighting by Michelle Habeck combine to catapult us back to the city-state of Venice circa 1565. “Dangerous Beauty” has many elements of an operetta.
Not only does “Dangerous Beauty” look sharp but the stellar cast, lead by the tour de force performance by Jenny Powers, as Veronica Franco, delivers a wonderful evening of romantic musical drama. “Dangerous Beauty” features a compelling book that tells a story rich in history, culture and politics featuring well rounded characters. The integration of book, music, lyrics, with dance, deftly tells the story of Veronica Franco (Jenny Powers), a ‘cortigiano onesta’—a notorious courtesan and 16th Century poet. The show was inspired by “The Honest Courtesan” by Margaret Rosenthal.
Director Sheryl Kaller’s tight direction and pace keeps the show flowing. “Dangerous Beauty’s” rich atmosphere is established with the opening number “Tapestry” where we meet the stunningly beautiful Venetian courtesans—educated, cultured women impeccably dressed and aristocratic prostitutes who were emancipated females who advised politicians, military officers and clergy on political and social matters besides offering sexual pleasures. They could converse on philosophy, humanities and the arts. While they suffered from some oppression like all women of their era, the courtesans of Venice held amazing power and influence on civic affairs.
We get a feel for 1560’s Venice and we meet the city’s leaders in the rousing “Venezia” song. Senator Pietro Venier (Jeffrey Baumgartner) has arranged for his son, Marco (Jason Heymann) but he has fallen in love with Veronica Franco, the daughter of a poor former courtesan, Paolo Franco (Hollis Resnik). Once Veronica realizes that she can never marry Marco, she becomes a courtesan in order to live the good life. Maffo Venier (Peter Oyloe), the bastard son of Senator Pietro, a talented poet who pines for the witty poetess Veronica.
Much of “Dangerous Beauty” deals with the effects of courtesans on the affairs of state since the bishop, senators and military officers all cultivate the living goddesses. The romantic ballad, “Kiss Me” is a fine duet that presents Marco and Veronica’s forbidden love. Heymann and Powers sing their hearts out here. Hollis Resnik, as the aging former courtesan, Paola, sings “The Art of Seduction” as she teaches Veronica and the courtesans an essential of their trade. Peter Oyloe, as Maffio, leads the ensemble in “Art,” an ode to the process of creating poetry (and all art). “Dangerous Beauty” depicts not only the power of the courtesans but the rise of the power of religion, particularly the Inquisition as the brooding Maffio, denied Veronica’s love, becomes a Catholic priest in his search for his life’s purpose. Peter Oyloe is commanding as the cynical artist turned religious zealot. Oyloe’s “Poetry Duel” with Jenny Powers’ Veronica was a delightful combination verbal and sword play expertly performed. Jason Heymann’s Marco and Jenny Powers’ Veronica continue their forbidden love as Marco hires Veronica as a courtesan. Venice is at war with the Ottoman Empire over Cyprus and the Venetian’s solicit the French King Henry for military aid. Henry selects the courtesan Veronica as payment for France’s help against the Turks. As Venice’s troubles continue, the Inquisition, with the help of Maffio, brings witchcraft charges against Veronica. Marco and the men of Venice attempt to help Veronica. The emergence of Veronica as a strong-will and fiercely independent woman allows her to defy the injustice of the Inquisition. The show has a powerful conclusion that is marvelously played out by Powers, Oyloe and Heymann. In conclusion, I believe “Dangerous Beauty” is a sophisticated, well-staged romantic musical that only needs a few tweaks before it moves to Broadway. Jenny Powers has made Veronica her own with her sensual, yet charismatic performance. Jason Heymann, Hollis Resnik, Jeffrey Baumgartner, Peter Kevoian and Peter Oyloe were terrific. The singing was first rate. John McDaniel’s orchestration and Doug Peck’s musical direction gave Brourman’s score a rich sound. “Dangerous Beauty” is a gorgeous musical drama with vibrant characters living at a tumultuous time. This historical musical is long on romance, adventure and charm. “Dangerous Beauty” has loads of heart and truth. The production is professional featuring six Equity actors. This exquisite show is a true work of art. “Dangerous Beauty” could emerge as a winner. It deserves wide distribution. I believe there is an audience for high art and beautiful musicals. “Dangerous Beauty” is such a show. Highly Recommended Tom99@chicagocritic.com for comments Talk Theatre in Chicago podcast Date Reviewed: August 1, 2008 |
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Site owned by Tom Williams 1-773-549-0227, tom99@chicagocritic.com Copyright, Chicago, IL 2006 |
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