by Paula Kaplan-Reiss
A perfect title for this musical revue, A Grand Night for Singing at the Mac-Haydn Theatre bathes the audience in the glorious tunes of Richard Rodgers and memorable lyrics of Oscar Hammerstein II. From Oklahoma in 1943, to The Sound of Music in 1959, Rodgers & Hammerstein scored endless winning musicals, gathered into this Tony nominated revue in 1993. Eoghan Hartley, in his Mac-Haydn directorial debut, leads a first-rate cast to help us fall in love with Rodgers & Hammerstein all over again.
On a thrust stage with layered flats of green mountains and fields against a clear sky, a wooden two-seater swing hangs above a platform and serves as the simple set for this five-character performance. Opening with “Sounds of the Earth” and eventually singing the title song from State Fair, we are introduced to the beautiful voices of Mac-Haydn veterans, Belle Babcock and Tristan Caldwell, and newcomers, Isabella Bertoni, Bridget Carrow and Logan Pavia. With incredible stage presence, tight harmonies, beautiful musical arrangements, and gifted dance skills, we are obviously in for a night of talent.
The breadth of Rodgers & Hammerstein’s work appears boundless; but, while most songs are familiar, melodies from some musicals like Allegro, Me and Juliet, and Pipe Dream (performed last summer at the Unicorn Theatre) are less recognizable. Nonetheless, the cast performs a little vignette with each song, providing emotion, comedy, and context.
Hearing Pavia sing The Sound of Music’s “Maria” we understand his lament about his girlfriend rather than the original frustrations of the nuns about their wayward sister. Witnessing the opposite gender sing these popular showtunes manifests the universality and timelessness of Hammerstein’s lyrics.
Caldwell shows off his rich Bass/Baritone voice in leading-man songs such as “We Kiss In a Shadow” from The King and I and “This Nearly Was Mine” from South Pacific. Pavia, smaller in stature, but equally as talented in voice plays off Caldwell in the hysterical “Don’t Marry Me’ from Flower Drum Song.
Carrow enhances the already funny “I Cain’t Say No” from Oklahoma with her quirky expressions and inflections. Babcock, a standout from last summer’s musicals, charms us with the Prince’s “Do I Love You Because You’re Beautiful” from Cinderella. Bertoni effectively sells “A Wonderful Guy” from South Pacific and the less familiar “The Gentleman Is a Dope” from Allegro.
Yet, the cast shines brightest in their group numbers, such as the finale of the first act, “Some Enchanted Evening,” from South Pacific and “Kansas City,” from Oklahoma. When the ensemble performs together, the chemistry is palpable, the harmonies are magical and the staging, thanks to Hartley, captures the entire audience.
Choreographer, Anthony Michael Velez, a memorable performer at Mac-Haydn last summer, keeps the cast dancing with perfect rhythm, grace and synchrony. No one misses a beat. Each dance improves every musical number and highlights each cast member’s talent.
While the first act leaves us musically more than satisfied, Act Two makes us wonder what is missing. The cast has not changed, but some of the tunes become harder to recognize. Or we hear too many ballads and love songs and nothing surprises us. One wonders whether a shorter show with no intermission might have prolonged the magic.
Costume Designer, Sam Landy does not always dress the cast in the most flattering looks, and the era of the costumes is unclear. Most distracting is the pleated tan trousers worn by Pavia under the bright lights noticeably show a foot-long hem. The top hat he wears in Act Two is way too big for his head. Perhaps through the run of the show, these faults can be rectified.
Scenic Designer, Alivia Cross and Lighting Designer Andrew Gmoser do a beautiful job with projections on the stage floor, and twinkling lights on the wall creating different atmospheres and moods which complement each song.
Music Director, Evelyn Tomara conducts a wonderful six-piece band and ensures every cast member comes in on the right note, not easy with endless songs in different keys.
Hartley keeps the multiple transitions swift and seamless. He keeps the energy at a constant flow.
If this gifted cast is any indication, we are in for many more grand nights of singing this season at the Mac-Haydn Theatre. Be sure to catch this delightful first musical of the summer.
Rodgers & Hammerstein’s “Grand Night for Singing” music by Richard Rodgers, lyrics by Oscar Hammerstein II, conceived by Walter Bobbie, directed by Eoghan Hartley, runs June x-y, 2025, at the Mac-Haydn Theatre, 1925 NY-203 in Chatham, NY. CAST: Belle Babcock, Isabella Bertoni, Tristan Caldwell, Bridget Carrow, and Logan Pavia. CREATIVE TEAM: Choreography by Anthony Michael Velez, set design by Alivia Cross, lighting design by Andrew Gmoser, costume design by Sam Landy, sound design by Sean McGinley. Music Director: Evelyn Tomaro, orchestration by Michael Gibson and Jonathan Tunick, music arrangements by Fred Wells.
Performance Details:
Rodgers & Hammerstein‘s A Grand Night for Singing: June 5, 2:00 & 8:00pm; June 6, 8:00pm; June 7, 4:00pm; June 8, 2:00 & 7:00pm; June 11, 2:00pm; June 12, 2:00 & 8:00pm; June 13, 8:00pm; June 14, 4:00 & 8:00pm; June 15, 2:00 & 8:00pm. Tickets available at www.machaydntheatre.org or by calling the box office at (518) 392-9292