Review: HELLO AGAIN at The Union Theatre

HELLO AGAIN was premiered at the Mitzi E. Newhouse Theatre at the Lincoln Center, New York on December 30, 1993. It was first seen in London in 2001 at The Bridewell Theatre. Therefore it is very good to say Hello Again to HELLO AGAIN at The Union Theatre, especially with this excellent cast.

HELLO AGAIN is loosely based on Arthur Schnitzler’s play REIGEN. It is more commonly known as LA RONDE as a result of the success of the film adaptation by Max Ophüls.

In my opinion LaChiusa actually wrote a very interesting Song Cycle with its roots firmly planted on Broadway. To present his Song Cycle as a staged Musical, LaChiusa utilized the structure of Schnitzler’s play in which the characters are connected to each other by their relationships and sexual encounters. This structure of interconnecting scenes is ideal for LaChiusa to hang his 10 main songs on. LaChiusa departed from Schnitzler’s daisy chain of the same characters going from one scene into another in Vienna by setting his characters and scenes in different time periods and locations.

Perhaps LaChiusa felt that he needed the different periods to present his songs in different styles, ranging from Operetta to contemporary Broadway via Swing, Rock and Jazz. Or perhaps he wanted to say that human relationships and sexualities are universally timeless.

As with Schnitzler’s play, we first meet the Whore (Ellen O’Grady) serving the Soldier (Jack Rowell), the Soldier then enticed the services of the Nurse (Alice Ellen Wright), the Nurse then seduced the College Boy (Regan Burke), the College Boy then used the Young Wife (Grace Roberts) for his gratification, the Young Wife failed in her attempts to rouse her Husband (Keith Merrill), then the Husband’s interrupted sexual dalliance with the Young Thing (Phillip Murch), the Young Thing then offered himself to the Writer (George Whitty) for recognition, the Writer being used by the Actress (Amy Parker) to gain fame, the Actress sexual entrapment of the Senator (David Pendlebury) for his power and finally we come full circle with the Senator seeking from the Whore, not sex but companionship and comfort.

It is interesting to note that all characters seeking sexual gratifications are dominant whilst those giving such are submissive excepting for the last sequence in which no sexual activities occur between the Senator and the Whore.

The entire cast was exceptionally good in their delivery of very different type of songs and styles.

Ellen O’Grady set the stage beautifully with her opening and closing song, “Hello Again”. Regan Burke’s comedic timing was notable in both his acting and singing. Grace Roberts sang the “breakout” song “Tom” with equal measures of loveliness and angst. Keith Merrill, has one of those rare legit tenor voice for a West End performer and was most impressive with his range for the “operetta” number “Listen to the Music”. Phillip Murch and George Whitty sung the other “breakout” song “The One I Love” sweetly. Amy Parker got to sing “Do a Little Rewrite”, the song that replaced “Silent Movie” from the original Broadway version when it was premiered in London. David Pendlebury sang the ballad “The Bed Was Not My Own” with moving conviction. As with other productions at The Union Theatre the actors and band were not amplified. What a joy to listen to the human voice naturally spoken and sung for a change.

Any fears that the three-piece band of Keyboards, Cello and Drums would be diminished by Michael Starobin’s Broadway orchestrations were immediately dispelled as soon as the opening strains from the band were heard. Henry Brennan, the Musical Director and new Orchestrator gave us a beautiful classical chamber sound that caressed both our senses and ears.

Genevieve Leeney, choreographed some imaginative and entertaining sexual movements and positions. Paul Callen’s economic and taut direction was infused with great humour and clarity. This is especially so when time shifting scenes and characters can be tricky and confusing.

Personally I liked the bare stage settings with minimal props as it directed our concentration on to the words and music as well as the performances by the actors. It is also a very befitting way to present what is essentially a staged Song Cycle, as with Classical Song Cycle recitals where there are only a piano and the singer on the stage.

So, a big kudos to The Union Theatre for giving us another opportunity to appreciate and enjoy LaChiusa’s interesting and enjoyable Broadway Song Cycle, beautifully performed and tautly staged. Will The Union Theatre’s love affair with LaChiusa bring us MARIE CHRISTINE, SEE WHAT I WANNA SEE or RAIN next?

Hope so, but for now, I recommend this rare opportunity to see LaChiusa’s HELLO AGAIN without any reservations.