Forestburgh’s ‘Damn Yankees’ knocks it out of the park

Posted 8/21/12

"Damn Yankees" is a lot of things: a musical, a comedy, a love story and a cautionary tale of good vs. evil with personal redemption thrown into the mix of lively song and dance. While this may sound …

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Forestburgh’s ‘Damn Yankees’ knocks it out of the park

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"Damn Yankees" is a lot of things: a musical, a comedy, a love story and a cautionary tale of good vs. evil with personal redemption thrown into the mix of lively song and dance. While this may sound like too much, under the guidance of Forestburgh Playhouse (FP) producer Frankin Trapp and the show’s director/choreographer Nathaniel Shaw, "Yankees" is a home run. (Initially, I was bound and determined to leave baseball-laden clichés out of the mix, but I’m afraid that they’re just too on the nose to avoid).

In its original 1955 Broadway run, producer Hal Prince made all the right choices and the show was a smash hit. Stars Gwen Verdon, Ray Walston and Jean Stapleton helped to propel the musical to greatness along with choreographer Bob Fosse, but it’s the moving story, based on the novel "The Year the Yankees Lost the Pennant" that distinguishes this show from many other musicals. In addition, the fabulous score, with words and music by Richard Adler and Jerry Ross (respectively) elevates this show from what could have been a no hitter to a knuckle biter right up to the end.

This show proved to be a star vehicle for Verdon, and little wonder. With a show-stopping song like “Whatever Lola Wants,” the composers gave her a gift on a silver platter, but it takes more than great writing to deliver the goods and FP star Jessica Lee Goldyn (as the devil’s assistant Lola) made me forget all about Verdon, who also reprised her role in the big-screen version of the show. Goldyn is the proverbial “triple threat,” since she has mastered acting, singing and dancing—making the part her own with great emotional depth and a fantastic voice while delivering a sexy, sexy turn as Lola throughout the entire show. Goldyn has the “it” factor: that indefinable star quality that comes along once in a great while, and while the “sexy” might be written into the part, the touching, heartfelt moments are far less easy to achieve, but she does it all, really, really well.

Goldyn’s skills are matched note-for-note in this jewel of a production by the rest of the cast. Mitch Poulos (Joe Boyd) has the task of bringing what could be considered a “thankless role” to life in his brief time on stage, but his beautiful voice and fine acting makes his short stop (oops, I did it again) on stage shine. Melodie Wolford as his beleaguered wife (Meg) is another fine example of subtlety combined with a sweet voice, and her performance tugged at my heart. Stealing home plate every time they appear on stage with Wolford are the hilarious Hattie Marks (Sister) and Liane Zielinski (Doris) proving once again, that there are no “small parts.” Other fine characterizations are provided by Harold Tighe (Lynch) and Steve Davis (Welch).

In fact, all of the smaller roles are well done and none of the actors play it safe (sorry!). The company’s resident members, who fill out the smaller roles and flesh out the chorus sounded tremendous, thanks in no small part to musical director Henry Lewers who, along with sound designer Buck Linton, must be thrilled to be using a brand-new sound system at the playhouse, one of the many enhancements that audiences will enjoy for years to come.

The plot line centers on Joe Boyd, his love for his home team (The Senators) and his desire to have a second chance, wondering if he could have had a career as a ballplayer had he not chosen to play it safe at work and at home. Character actor Dirk Lumbard (Mr. Applegate) plays Beelzebub with such devilish glee that the audience doesn’t know whether to root for him or not. Director Shaw has brought out the finest acting choices possible with his talented cast and Lumbard’s performance is also layered, building throughout the show to his big number “Good Old Days,” which is so incredibly, uproariously executed that a well deserved encore is written in. Lumbard’s evil comedic turn is swell, and makes us all wonder whether we would be tempted to make a deal with this devil—as Boyd is. And once an agreement is reached, Mr. Applegate transforms the middle-aged blue collar worker into the young, handsome baseball star (Joe Hardy) who then takes the sports world by storm, ready to defeat the Yankees, aided and abetted by Applegate’s magic spell.

There are several starring roles in "Damn Yankees," as described, but without Joe Hardy, the show has no real heart. Played with such verve, vitality and pathos, young Joe is vividly brought to life by returning FB alum Hunter Brown, who was given a chance to shine and has hit the ball so far out of the park that he has set the bar high for the remainder of the season. The role is complex, incorporating comedy and drama while singing. Brown’s voice is simply gorgeous and he is able to whisper plaintive notes while belting out others, with beautiful tone and a sly grin, swiftly changing it up (uh huh) with acting skills that belie his tender age. His chemistry with Goldyn is undeniable; their moments on stage together are theatre magic, pure gold, and Brown is bound for the major league.

The batboys, the devilettes, and the entire ensemble of “Damn Yankees” are all on point in this production, running through June 28th. The batting is above average, the hits are solid and nobody strikes out in Forestburgh this time at the plate. In other words, "Damn Yankees" is damn good entertainment. As for the nauseating references to all things baseball? Let’s just say the devil made me do it. For reservations and information, go to www.fbplayhouse.org or call 845/794-1194.

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