Producer and Casting Director ALERT: The talent on this stage per square foot rivals much on Broadway.
The 1968 Republican Convention. A rousing opening sings “Come raise your voice, Americans!” We then hear campaign pitches for James G. Blaine (who sought the Republican nomination twice and was offered it a third time in 1884), Henry Clay (and Theodore Frelinghuysen)1844 – who unsuccessfully ran three times, and “silent Cal” Calvin Coolidge, America’s 30th President. Introduced, Mr. Coolidge (Jason Graae) gladhands his way onto the stage, the perfect cartoon.
Back: Kelly Berman, Drew Tanabe, Courtney Arango; Front: Jason Graae (Calvin Coolidge)
Playing every non-principle role and chorus, Courtney Arango, Kelly Berman, and Drew Tanabe are triple threat performers. All sing, dance, and ironically express in perfect confluence with the moment.
Arango gets many of the more “serious” turns like the corrupt campaign manager delivered with metaphorically eyebrow-raised panache. Berman, a delight to watch, is like a blast of fresh air, throwing herself into every moment with a sense of infectious fun. These two could drop into the leads of Chicago without missing a beat. Tanable adds understated humor to parentheses – a cherry on top – that might otherwise skate by on lyrics. The three dance as if coming off at least a month’s rehearsal, in fact – five days.
Choreography by Victoria Castillo is simply marvelous. Castillo pivots from era to era and technique to technique with imagination, specificity, and joie de vie. Her actor/dancers are expressive and well integrated. Small props add brio. A veritable talent showcase.
Former president Calvin Coolidge (and/or his ghost), who helms the proceedings, is a weird choice for a weird role in a weird, somewhat obscure play. The actor cast needs vivacity, playfulness, quixotic sincerity – “Remember, politics is a dirty game, doodly doo…” – spot-on comic timing, and a fine singing voice. Jason Graae, seen too infrequently in New York, offers all this and facial expression not enjoyed since Jules Munshin, who starred with Frank Sinatra and Gene Kelly in 1949’s On the Town. How Graae manages to be outrageous and low key at the same time is a marvel of his career.
Courtney Arango and Kelly Berman
“Sometimes the young folks want to tear our country to shreds, but it’s just a matter of talking to them…” Coolidge tries to convince flower child April (Emma Degerstedt), and an African American activist Jerry (Alex Joseph Grayson) that their approach to effect change is all wrong. Remember, this was written during the turmoil of the late sixties when both peace loving hippies and civil rights activists were omnipresent. At first consistently contradictory while without alternatives (a bit black and white but then this is a musical), April and Jerry learn something in the course of the piece.
Degerstedt, last seen at the York excelling in Desperate Measures, gives us a stubborn, righteous, sympathetic April, managing to avoid appearing cliché flighty. Songs include “Comes the Right Man” performed with appealing romanticism, if just a tad too big for hopeful expectation. (The number is later cleverly reprieved referring to a candidate.)
Joseph Grayson, just out of Broadway’s Parade, is credibly earnest, eschewing the trap of directionless anger. His beautiful vocals often couched in gospel tone, spread like a blanket. “Nobody’s Listening,” he sings, heart in his throat. Jerry is the first to allow for the possibility of Coolidge’s advice. The actor actually convinces us it’s a thoughtful change, not just stage direction.
We watch as elections are bought (including insight into John F. Kennedy’s success) and deception rife (quotes from an unexpectedly two-faced Abraham Lincoln are unnerving). A talk-back indicates scholarship is accurate. “Down Among the Grass Roots” extols the necessity to reach Middle America. “Mr. Might’ve Been” declares that whatever promises are employed to secure the White House, those elected “do their own thing.” Names float by: Ronald Reagan, Adlai Stephenson, George Wallace, Eugene McCarthy…”More of the Same” declares if we keep repeating process, the results will go unchanged. No kidding.
I’d conjecture that 95 percent of the audience has no idea of constant, especially early, historical, political references – myself included. The musical’s program says the play/Coolidge “attempts to convince young people that patriotism will outrun chicanery of American political life.” I walked away with the message that unscrupulousness is endemic, that any chance of fighting it must employ the system, but we have little chance. Read the newspapers.
Jason Graae (background); Alex Joseph Grayson (foreground)
This obscure musical garnered good reviews Off Broadway in 1968. Songs range from astute and jaunty to overwritten. The piece was slated to move “up”, but withdrawn by its authors when they discovered financing would come from a New Jersey mobster. Nonetheless, RCA Records issued a cast album that Director Joseph Hayward chanced upon about two years ago. He thought it a perfect candidate for Mufti.
Hayward suggests that particulars matter less than the whole. “The more you ask questions, the more questions there are. You just have to go with it.”
The director has a light touch, skill with drollery and an excellent sense of visual composition. A piece that might easily be played over the top arrives with just enough verisimilitude. Each brief character turn is attributed with a dash of differentiation, difficult to do with speed and fluency. Entrances and exits are coherent. Pacing is just right.
In the talk-back, Music Director Miles Plant declared the show “polystylistic fun,” which is to say he has opportunity to arrange and play a wide variety of genres, doing so with great skill. Dance breaks were apparently a collaborative effort and arrive seamless.
Peter Bruckner’s apt projections (and signage) clarify and decorate. His sound design offers not just clarity, but several amusing surprises.
Worth the cast and entertainment? In my opinion, yes.
Photos by Rider Foster
The York Theatre Company presents
How to Steal An Election– A Dirty Politics Musical
Music and Lyrics by Oscar Brand
Book by William F. Brown
Music Direction- Miles Plant
Choreography- Victoria Castillo
Directed by Joseph Hayward
Through September 3, 2023
The Theatre at St. Jean’s
150 E 76th St
NEXT in MUFTI
Runs October 2 through 15
