Musical Revue
Needs Better Music
By Charlie McMeekin

Attending Lost Nation’s current production of "Lies and Legends: The Musical Stories of Harry Chapin," was a pointed reminder of just how many elements need to work in synch to make for a special evening at the theater.

The strength of the script, the quality of the acting and singing, the design and utility of the set must all must join together if a production is to appear seamless. If any facet fails to measure up, seams appear, and that "seams" to be the situation with this production.

It begins with the narrative, or the plot. "Lies and Legends" is a revue of the music of Harry Chapin. As such, there really is no story to tell or moral to consider. That puts all of the pressure on the music itself to deliver. I am personally a fan of Harry Chapin, largely because of his work on a musical called "The Cotton Patch Gospel," which is sadly missing from the revue. Chapin is famous for his song "Cats in the Cradle," and there are many other clever and tuneful pieces in the show. But his balladic approach, with verses strung together by repetitive choruses, wore thin before the end of the evening.

Part of that also had to do with the singing. Listening to Kathleen Keenan sing was a special treat, and she never failed to deliver. The same could be said for Asher Nicholson, who’s making his first appearance at LNT. And Tim Tavcar’s cameo appearance in the song "Bananas" won accolades from Randolph Center eighth graders Lindsey Schell and Hannah Daubenschmidt, who were present at the show.

The other members of the ensemble were not distinguished, merely adequate. And a show with only five actors demands vocal strength and independence. The ensemble is at its best in whole choral numbers, such as "Dance Band on the Titanic" and "You Are the Only Song."

As the show progressed, I began to wonder what would happen if Tim Tavcar, who also directed the show, had reduced the size of the acting space, forcing the ensemble to stay closer together and find strength in each other. Often the staging was imaginative, and the set design was effective and creative, highlighting the piano work of Andrew Moroz, but there were moments when the actor seemed lost in the wilderness, unconnected to others in the cast or to the audience.

One really cool aspect of the production was the incorporation of new LED lighting technology, which will be the wave of the future in theater. Not only is it energy efficient, one LED unit can crate multiple colors, eliminating the need for elaborate gel setups. Kudos to Kim and Kathleen Bent for arranging such a treat.

Having pointed out the seams in the fabric of this show, I must hasten to add that the cast was treated to a standing ovation the night we were there. Also worth notice is that the royalties paid by Lost Nation for the rights to the show go to support the Harry Chapin Foundation, which is working to fight hunger and poverty. So, go see for yourself and find out what is a lie and what is a legend.

The show runs through July 27, with a 7 p.m. curtain on Thursday and Sunday, and an 8 p.m. showtime on Friday and Saturday. Tickets may be reserved by calling 229-0492.