'Schwartz Project' Adds Its Own Verve To
Spirited Tunes
By Peter Marks
Tuesday, April 15, 2008; C01
Who would guess that
sedate and comely
This world-premiere
engagement -- conceived, staged and choreographed by Michael J. Bobbitt -- is
an anthology-formatted revue of 28 songs written or co-written by Schwartz,
composer of the stage musicals "Wicked," "Pippin" and
"Godspell" and lyricist for animated movie
musicals such as "Pocahontas." The show's bland title belies the
exuberance of Bobbitt and musical arranger John L. Cornelius II in mixing the
styles of the music for their go-getter of an ensemble.
The very best idea
they've had is in skewing green -- as in young -- for their cast. Although
Schwartz's early musicals zestfully embody the melodic vigor of the late '60s
and early '70s, some of his later music has tended toward the hitting of more
predictable notes. (Despite its juggernaut status, "Wicked" does not
come close to the auditory pleasures of "Godspell,"
or even of his underrated "The Baker's Wife.")
In any event, some of
Schwartz's best material has reflected the concerns of a generation that is
coming of age, and so bequeathing his music to performers at that stage of life
is a becoming choice. Two cast members, Amber Iman Moorer and Jobari Parker-Namdar, are in fact 
Several actors with
more stage experience, such as the vivacious Felicia Curry -- who for all I know
eats a can of spinach before every number -- fill out MetroStage's
song-and-dance card. And even so, the rawness of the talent does at times lead
us to the edge of chaos; a case of over-singing infects the occasional power
ballad, and an overly busy production number or two give way to a dizzying dose
of the frantic.
Nevertheless, Bobbitt
and music director Doug Bowles, who presides over the accomplished five-piece
band, find numerous ways to harness all that youthful brio and infuse "The
Stephen Schwartz Project" with an invigorating capacity to entertain.
About half the
numbers are culled from titles you might not be familiar with, such as
"The Magic Show," a 1974 vehicle for the late magician Doug Henning,
or cult-favorite "The Baker's Wife," a 1970s show based on a Marcel Pagnol film that never made it to Broadway, or even
"Rags," a musical about Jewish immigrants that opened on Broadway on
Aug. 21, 1986, and closed two days later. Although a few of Schwartz's most
recognizable compositions are also included -- "Defying Gravity"
(from "Wicked") and "Day by Day" (from "Godspell"), for example -- the revue seeks to showcase
whole sheaves of Schwartz's music that don't get anything like a regular
hearing.
A moody ballad,
"Cold Enough to Snow," with words by Schwartz and 
music by his frequent movie songwriting partner,
Alan Menken, comes from the 1993 Michael J. Fox comedy "Life With Mikey." Here, it's sung
in the resonant baritone of melisma-favoring Parker-Namdar, supplying one of the night's standout solo moments.
Among the others are one by Moorer,
in a velvety "Colors of the Wind" from "Pocahontas"; Kerry Deitrick's fine "Meadowlark," which does justice
to the signature song of "Baker's Wife"; and Florrie
Bagel's "Since I Gave My Heart Away" from the Disney TV musical
"Geppetto."
The unsinkable Curry
leads the cast in "Children of Eden's" spirited "Ain't It Good?" -- for which
the actress dons the robes of a gospel chorister and turns the little theater
into a sanctuary for swing. Many numbers are tightly choreographed, including a
funk-influenced take on "Magic to Do" from "Pippin" and a
tap routine for a blending of songs (from "Godspell"
and "Wicked"). Cornelius, meantime, takes inviting liberties with his
arrangements, creating intriguingly original harmonies and unorthodox settings.
A multilingual "Day by Day" helps to lift that folk-mass staple out
of the zone of the prettily banal.
Bobbitt tries to
inject a modicum of narrative order -- without resorting to superfluous
narration, thankfully. The group song framing the evening is "Spark of
Creation" from "Children of Eden," and this sets up an emotional
migration from songs of a plaintive variety to those of sunnier complexion.
Visually, the production is underwhelming; akin to the characters of "Godspell," the actors are outfitted in a crazy quilt
of styles, and the choices feel a little too self-conscious. The minimal set
looks dully economical.
Here and there,
Bobbitt thematically binds a few songs together -- a trio of pieces about city
life, for instance -- and he's smart about creating the illusion of song links,
simply by overlapping the presence of his performers.
Still, there's no
pressure at any point of "The Stephen Schwartz Project" to divert
your concentration to a search for hidden meaning. The obvious joy the cast
takes in showcasing Schwartz's words and music is diversion enough.
The
Stephen Schwartz Project, music and lyrics by Stephen Schwartz. Conceived, directed and
choreographed by Michael J. Bobbitt. Music direction, Doug
Bowles; set, Alex Cooper; lighting, Jason Arnold; costumes, Emily Dere; sound, Steve Baena.
With Priscilla Cuellar, Andrew Sonntag, Clif Walker, Benjamin Horen.
About 1 hour 20 minutes. Through May 25 at MetroStage,