Berkshire on Stage

We are all familiar with the iconic musicals of Rodgers & Hammerstein. We have seen them on the stage and screen, and many of us saw them performed at our high schools. Likely, we have never heard of Pipe Dream, originally performed on Broadway in 1955 and revived at Encores! in 2012. Based on John Steinbeck’s novels, Cannery Row and Sweet Thursday, this musical deals with downtrodden longshoremen in Monterey, California after World War II, and the unlikely pairing of an aspiring marine biologist and a homeless young woman who resorts to working in a brothel. No fault of the cast, we can see how even the talents of Richard and Oscar may not always produce a hit.

While the Berkshire Theatre Festival production of Pipe Dream was supposed to open at the Unicorn Theatre on July 26^th, the opening was cancelled due to Noa Luz Barenblat’s (Suzy) illness. Already this musical was struggling. Yet, in stepped a wonderful understudy, Hanna Koczela.

The thrust stage, simply, yet effectively designed by Jimmy Stubbs, presents unadorned wood and steel structures in front of a brick wall. To the upper left, we see the Western Biological Laboratory where Doc (Joe Joseph) works in the ‘Science of Invertebratology,’ studying starfish, octopuses and tide pools. He is viewed as the brain of the group and called Doc because he seems to know everything, although he has no medical degree. We are treated to Joseph’s glorious voice in the opening number, All Kinds of People.

Suzy, looking for a place to work and live on Cannery Row, poignantly sings her struggles in Everybody’s Got A Home But Me. Koczela’s vocal quality matches Joseph’s. We can see her immediate attraction to Doc after he bandages her hand which she injured trying to steal donuts from a window display.

Fauna (Sharone Sayegh), the local Madame (whose original name was Flora until Doc decided Fauna better fit her personality) takes pity on homeless Suzy and invites her to move into the Bear Flag Cafe, despite doubting prostitution is the life for her. Desperate, Suzy agrees.

The plot, far from compelling, involves the squatters at a flophouse and friends of Doc, hoping to keep their unpaid home, and in gratitude to Doc, buy him a microscope for his research. All will be accomplished by selling raffle tickets for a rigged raffle which Doc will win. Fauna will assist by creating an elaborate costume party themed to Snow White and the Seven Dwarfs, with Suzy appearing as a bride asking Doc, Will You Marry Me? Of course, nothing goes smoothly for these star-crossed lovers.

Doc, the scientist, seems to have little experience in relationships. Suzy, doubting her self-worth and wanting to make it on her own, does not believe in Doc’s interest in her and moves out of the brothel into a boiler, or a pipe.

Along the way, we meet Doc’s friend Mac (Hennesy Winkler), who reminds me of Broadway veteran Christian Borle and plays a smart-alec role similar to Luther Billis in South Pacific. Hazel (Elijah Dawson), a male friend who is unemployed, a little slow, but has a huge heart, sings beautifully. He wants to make everyone happy and easily makes everyone laugh. Dawson’s voice stands out in the best way. Ray (Benj Mirman) plays the only full-time employed character and sings with the ensemble of men, On A Lopsided Bus, a wonderful number jumping on and off the cots in the flophouse.

Joseph charms as Doc, singing, The Man I Used to Be, while dancing up and down the metal stairs to his laboratory.

Koczela and Sayegh as Suzy and Fauna harmonize perfectly in Suzy Is a Good Thing, Fauna’s attempt to bolster Suzy’s self-esteem. Sayegh, with a strong resume on Broadway, is a convincing good-hearted bordello owner. When she sings Sweet Thursday, she draws us in. But her voice is not always consistently strong.

Emma (Lael Van Keuren) and Agnes (Sumi Yu), slim and striking, seem to play happy brothel workers, devoted to their Madam, Fauna, and eager to see Suzy with Doc. In reference to Doc, Fauna states, ‘If you chase after girls, you get em.’

Obviously, given the time this musical was written, we are asked to suspend our belief and buy, The Happiest House on the Block, sung while displaying their annual Christmas card.

The scene between Doc and Suzy, in the pipe where she is staying, is sweet as they sing, The Next Time It Happens. While those sitting stage right cannot see the characters, Lighting Designer, Evan C. Anderson projects the scene inside the pipe on the wall behind them, enabling the audience to feel we are peeping in the pipe.

Costume designer, Kathleen Doyle, dresses cast members in period specific clothing. Notable is the purple ensemble worn by Fauna, the incredible lingerie worn by Emma and Agnes, and the magnificent wings created for Ray as he plays Cupid at the costume party.

The six-piece orchestra perfectly conducted by Jacob Kerzner on the upper level behind the set plays a recognizable Rodgers and Hammerstein score. We hear hints of Oklahoma, South Pacific, The Sound of Music, Cinderella, and The King and I in almost every number. What is missing in this musical?

While the house was full, the relationship between the audience and the cast was not obvious. The applause was polite. The cast can act, sing and dance. The choreography by Isadora Wolfe is appropriate. Yet, the excitement is lacking. The audience was smaller in the second act. I cannot say why, but it cannot be for a good reason. We expect and have seen more from Rodgers and Hammerstein. The audience is not familiar with these songs as we are with so many other of their musicals.

Director Kat Yen writes of her excitement directing this little-known musical, as her own history mirrors Suzy’s. She sees the story as reflecting resilience, especially after World War II.

While we are satisfied with the expected happily ever after that concludes this play, we are not sufficiently drawn in to the drama as it unfolds. For those who want to see the full Rodgers and Hammerstein canon, Pipe Dream is a pleasant musical. However, it is not a representation of the lush and meaningful dramas to which we are accustomed.

“Pipe Dream” music by Richard Rodgers, book & lyrics by Oscar Hammerstein II, based on the novels Cannery Row & Sweet Thursday by John Steinbeck. Directed by Kat Yen. Musical Director Jacob Kerzner. Orchestrations by Ross Patterson & Jacob Kerzner. CAST: Noa Luz Barenblat as Suzy, Hanna Koczela as Suzy understudy, Joe Joseph as Doc, Sharone Sayegh as Fauna, Hennesy Winkler as Mac, Elijah Dawson as Hazel, Benj Mirman as Ray, Lael Van Keuren as Emma, Sumi Yu as Agnes, CREATIVE TEAM: Choreographer Isadora Wolfe, Set design Jimmy Stubbs, lighting Design by Evan C. Anderson, Sound design by Uptownworks, Costume design by Kathleen Doyle, casting by Tara Rubin, production stage manager Jason Weixelman, assistant stage manager Mickey Acton.

The Berkshire Theatre Festival production of “Pipe Dream” runs from July 26-August 31 on The Larry Vaber Stage at The Unicorn Theatre, 6 East Street in Stockbridge, MA. To purchase tickets, visit www.BerkshireTheatreGroup.org or contact the Colonial Box Office by calling 413-997-4444. The Box Office is open Tuesday through Sunday 12pm-5pm or on any performance day from 12pm until curtain. Recommended for ages 14 and up.