What I liked
The performances of the singers deserve high praise, especially Carl Drecker and Lisa, particularly for her ballad. Lovely! I also enjoyed the pacing of the show, as the can-can “girls” arrived to stir things up right on time. The filmic “moving” backdrop of the cafe’ window looking out onto the Paris streets is a nice touch, giving another sense of time and place to the set. The costuming was stylish and timely, a blend of now and then that works. Finally, the writing revealed some very clever twists in the plot…oh how they plotted in La Belle Epoque!
What I didn't like
I wouldn’t deign to suggest improvements to a show that has clearly been this well developed over the years. However, I enjoyed the score so much, that an idea came to mind to add a dialogue-free scene in which the orchestra is really able to shine, leading with its mysterious score, and the actors would silently act or dance, interacting and expressing their suspicions and guilt over who stole Mona Lisa.
There’s so much to play with here, thanks for a great show!
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My overall impression
High energy entertainment, driving music, comedy, intrigue and romance…this musical could only be set in gay Paris! What fun to experience the awakening city in 1911, with it’s saucy can-can dancers and moody Americans like lead Carl Decker, a sensationalist journalist who arrives to soul searching after the Spanish-American war. All that goes on in this well-costumed and sparsely staged work is enhanced by a live orchestra driving the mood and momentum, with whimsical drums, keyboard, cello, accordian, clarinet, and the renowned writer/composer David Arkenstone nestled in with the players. It takes a lot to keep my attention after 9 pm these days, and this was thoroughly enjoyable and neatly produced.
