Return to AARO
"Tintypes" is not your ordinary musical. This revue is a musical pastiche of songs written between the Civil War and the First World War, a tumultuous forty year span in American history. The show is organized in several sequences reflecting social, economic and cultural situations of the period. The songs then reflect the subject matter, from first arriving in America to the divisions of rich and poor to burlesque entertainment.
There are five main characters, each a historical or representative cultural figure of the period. Included in the mix are such opposites as popular Republican politician Theodore Roosevelt and socialist/feminist speaker Emma Goldman. While the show is essentially plotless, offering peeks at the social and political turmoil of the period through speeches and song, it is the perfect showcase for the voices of a Lyric Opera company: good acting is nice, but great singing really makes the piece work. This production of Tintypes offers some good acting, and lots of great singing, making for an enjoyable evening.
JoAnn Yeoman's direction of this musical scrapbook is fast-paced and fluid, making the more than thirty songs flow quickly through the evening. Many of the songs are instantly recognizable, such as "Yankee Doodle Dandy," and "Won't You Come Home, Bill Bailey." Others are less well-known, but enjoyable and fitting for the situation they represent. By creating conflict within song choices and situations, the musical remains theatrical as well as entertaining. It may not have the depth of Sondheim, but it's still informative, enjoyable and interesting throughout.
There are two standouts in this generally talented cast. As Emma Goldman, Amy Rogers manages to believably portray the feminist revolutionary and still remind the audience of a talented, young Ethel Merman during song and dance sequences. This is no small feat. As the warbling French (by way of Indiana) soprano and fancy of Flo Zigfield's heart, Anna Head, Brook Voigt's wonderful voice is the envy of any professional entertainer. She performs a lyrical tune near the end of the first act that leaves the audience overwhelmed with her vocal gifts.
From there, the cast is generally solid. Andrew Byrne's Russian refugee, Charlie, transitions smoothly between émigré and American well, and offers several funny Burlesque moments in the interim. Alissa James portrays the working class representative, Susanna, well, though she seems a bit out of her depth when singing songs that involve unbridled soul. She does give a valiant effort nonetheless. Leon Fred's Teddy Roosevelt was shaky at the beginning, as he seemed more to attempt an imitation than to be the stocky statesman/warrior. His hesitations smoothed out in the second act, though, and his voice seemed less restricted as the evening progressed.
As is expected at an ASU production, the set and lighting were the envy of any professional company. Gary Campbell's set design, and Paul Estes'[an AARO contributor] lighting evoked the sense of the period and supported the pastiche motif by remaining fluid to allow different locations throughout. Ms. Yeoman's choreography captured the essence of the period. Ren Anderton's musical direction was solid, and the six piece, onstage orchestra was always a support to the performers.
Tintypes is an enjoyable look at a time surprisingly similar in many ways to our own. Its history lesson is made all the more enjoyable by the offering of many upbeat and theatrical songs of the era. Lyric Opera Theatre's production is solid and enjoyable, with a few soaring moments and spectacular song renditions included.
Production Details:
"Tintypes"
Lyric Opera Theatre
ASU's Music Theatre, Tempe
965-3398
October 3rd-October 12th, 1997
Return to AARO