“UNCHAINED MELODY”
Check your brain at the door. This isn’t Sondheim (just so you know). It’s like swimming downstream while being buoyed by the simple, uncomplicated songs from one’s youth. The audience sinks into a reverie about the way we were in the 50’s and 60’s. What all of us are
about to experience is the International City Theatre production of LIFE COULD BE A DREAM which continues to raise the rafters in Long Beach only thru March 10.
Of course, in evoking these memories from this era, an idealized vision of the times emerges. As long as some dingbat in Row B isn’t trying to sing along, theatregoers will have a joyful experience bobbing along in the waters of nostalgia. (btw Thanks to Artistic Director Caryn Desai for reminding potential offenders to zip it so that the gorgeous sound of these classics can breathe without distortion.)
As for those classic ditties that may have blared from the transistor radio propped up by the ear while resting on a teen’s shoulder, they’re a delicious treat in the hands of these rock-solid performers (without the rock, of course). These guys (and gal) bop and doo-wop their way through so many chart-toppers that smiles may break a few faces. No matter, it’s worth it!
“Sh-Boom”, “Get A Job”, “Fools Fall In Love “, “I Only Have Eyes For You”, “(Just Like) Romeo and Juliet”, “Duke of Earl*, “Runaround Sue” and even “Rama Lama Ding Dong” plus so many more tickle the eardrums during this evening’s entertainment.
Now, if truth were an ally, it must be admitted that the plot is rather embarrassing in its banality. Several friends badger one another until they have the gumption to form a group to enter the radio “Big Whopper” contest as “Denny and the Dreamers” (apparently Freddy wasn’t available). Throw in an annoying mother on the intercom, a home basement rehearsal hall and a mechanic from the wrong side of the tracks who evolves into a teen heartthrob with a golden voice. Then “Miss Knockout” (my label) with all the right 
attributes arrives to whip the guys into shape. Do they win the contest so that they can sing a medley of hits after the competition? Gee, this onlooker wonders (snickers here). The audience – frankly – doesn’t give a hoot. Bring on the hits!
Roger Bean created this celebration of doo-wop, carefully curating selections from the catalogue of available chart-toppers that used to headline American Bandstand. Previously, the creator hit pay dirt with THE MARVELOUS WONDERETTES. As a creative force in musical theatre, he has other shows in his kit bag, too (e.g. Rumor has it that HONKY TONK LAUNDRY might be rip-roarin’ fun!)
Jamie Torcellini directs and choreographs the onstage silliness and does so with precision and live wire pacing. In addition, he guides the technical team successfully in service to his vision. Likewise, his zesty choreography features tons of energy as well as footwork reliably in sync with the music. Bill Wolfe deserves a boatload of credit, though, for shepherding such evocative vocal performances from this ultra-talented cast.
First, Hunter Berecochea (“Eugene Johnson”) handles the goofiness angle with relish, complete with wisecracks at the ready. Next, the self-designated leader of this group of novices, bursting with enthusiasm and overly anxious to avoid a real job, is Josey Montana McCoy (“Denny Varney”). Then, friend J. Thomas Miller (“Wally Patton”), a bit doplic, unassuming and choir-trained, is drafted into the group because he has the 
means to secure the contest entrance fee. Finally, the audience meets the fourth member when Trevor Shor (“Skip Henderson”), a mechanic, is convinced to sign up for the quartet and he just happens to have the pipes and the moves (and the ladies may be tempted to do a little swooning as well). The long shot dreamers rehearse their songs and routines (such as they are), increasingly becoming frustrated at their limited progress. Suffice it to say, any of these gents could easily join a current, professional doo-wop group (like SoCal’s own “Alley Cats”) and blend right in. These singers are undoubtedly cool as cool can be by the final “curtain”.
What the hapless guys require is someone savvy enough to whip them into shape. Enter Marisa Matthews (“Lois Franklin”), representing her father’s investment in the enterprise, and in no time at all they surprise even themselves. It’s only a matter of time until a complication arises (no spoilers here). This critic celebrates Ms. Matthews appearance in this role. He remembers vividly her spell-binding performance as “Eva Peron” in EVITA in
San Diego (review on my blog). As one would expect, she also commands the stage in this happy-go-lucky vehicle as well.
Throughout the evening’s parade of tunes from the era, my only regret is a selfish one. I yearn for a cover of “I Will Follow Him”, originally sung by Little Peggy March. Of course, all have their favorites. What’s yours? Try refreshing your memory this weekend as LIFE COULD BE A DREAM finishes its run in Long Beach at the International City Theatre.
