Damn Yankees
There’s something very uplifting about Garland Summer Musical’s production of Damn Yankees. Whether it’s the panache and exuberance of the dance numbers by choreographer Joseph Jones or the energetic delivery of the songs written by Jerry Ross and Richard Adler, whether it’s the saucy costumes designed by Michael Robinson (check out the glamorous gowns on "Lola" and the outré verve as Applegate’s suits evolve) or the spontaneous melancholy that erupts in numbers like "A Man Doesn’t Know," I couldn’t exactly say. I can only tell you the show comes together in a tide of lively, sweet, brimming emotion that will transport you to the innocent days when the worst trouble ball players could find was getting drunk or into bed too late and "provocative" came no where close to "salacious."
Of course, there’s room in the theatre for any point of view as long as it’s cohesive and well wrought. It might be "Cabaret," "Carousel" or "Cats." It might be David Mamet or Lanford Wilson or Terrence McNally. All we need is a reasonable level of plausibility and a world that invites participation, be it for an hour a day or a lifetime -- a world that strikes a chord with our perception of life and living. Based on the novel by Douglass Wallop, "The Year the Yankees Lost the Pennant," "Damn Yankees," is the story of how Joe Boyd claims he’d sell his soul (figuratively of course) for the chance to help the Washington Senators prevail. Much to his surprise, Mr. Applegate (aka The Prince of Darkness) makes an appearance, for the sole purpose of taking him up on his proposition. Tempted by the guarantee of redemption for the Senators and a chance to regain his youth, Boyd and Applegate shake hands and seal the contract.
What follows is a fairly savvy fable about yearning, heroism, dedication,temptation, true romance and tension between the genders. From the first number, "Six Months Out of Every Year," to "The Game," a thematic undercurrent runs of the adversarial, coy, clueless (albeit tender) relationship between men and women. The "chorus line" of wives standing behind husbands in their easy chairs is rich and spot on, and the guys bragging of their restraint when faced with the opportunity for some love-making (I guess deprivation makes them meaner) are but two examples of how men and women juggle their various priorities and passions. In "Damn Yankees" the men need time to bond with the tribe and the women are either nurturers or vixens.
By far the two most interesting characters are Mr. Applegate, the eternal opportunist, and Lola, the eternal siren. Applegate does a wicked riff on Lucifer, relishing the downfall of mankind and the depraved acts of humanity in "Those Were the Good Old Days." The character of Applegate is erudite. Offhand yet direct. John Garcia is marvelous in the role (chewing the scenery like Pacino or George Sanders) peppering satire with loads of contemporary references. Garcia has just the right touch, with plenty of the éclat needed to carry off multiple costume changes and glittery pomade. When he makes reference to "wives" and "children" with withering dismissal, you can’t help giving in to laughter.
Morgana Shaw as Lola, a lady who fell prey to Applegate’s promise of beauty and allure, has indeed become the quintessential seductress. Her jadedness has equipped her for the job of leading men astray until she meets Joe, who finds the altruism Applegate has failed to erase. Shaw is a consummate pleasure as the ravishing, red-headed shill who could thaw an igloo with a brief caress. Yes, I’m old enough to remember Gwen Verdon in the showstopper, "Whatever Lola Wants" and I can tell you Morgana Shaw made this number and the part entirely her own. Personally I wish the choreography had been a little more sinister (say, ala Fosse) and a little less acrobatic. But that’s just me. Shaw takes the wicked, juicy, ironic Lola and makes her genuine and sublime. Sighhhhhhhhh.
Joshua Doss as Joe Hardy (the younger Joe Boyd) has the daunting task of seeming earnest and stalwart without coming off like Jim Nabors or (*shudder*) Michael Landon. He manages this feat with grace. He makes Joe likable and guileless without blowing smoke or cotton candy. Jenay Puckett as Joe’s patient, deferential, somber wife, Meg Boyd was an absolute joy in this show. Warm, strong, authentic, her performance was resonant and memorable and (honor bright) I’m getting a little teary just thinking about it now. During the actual performance it was double-hanky time. Director Buff Shur clearly knows his way around this material. My one plea for the sake of pragmatism is please (for the love of God) let the first act end a little sooner.
I would never consider resorting to such terms as "eye candy" or "rough trade" but suffice to say the boys in the ensemble (including: Carlos Gomez, Tom Grugle, Toph McCrae, Maurice Johnson, and Ryan Page) gave me more than a few tingles with their virile, robust (ahem) performance. In all candor, the dancers (men and women) were upbeat, poised and assured. The set design by Kelly Cox was smart, practical and versatile, harking back to another era. It had just the right mix of detail, nostalgia and familiarity. Especially nice was the Beatnik café, straight out of the 60s.
Damn Yankees presented by The Garland Summer Musicals is playing through June 29th at The Granville Arts Center, 300 North Fifth Street, Garland, Texas 75040. 972-205-2790. For further details, please visit their website.
