Search - Matthew Ward :: After The Fair (1999 Off-Broadway Cast)

A FINE CHAMBER OPERA . . . . . AVAILABLE ON-LINE FROM FYNSWO

J. T Waldmann | Carmel, IN, home to the fabulous new Regional Perf | 10/11/2005

(4 out of 5 stars)

"Frankly, the reason I purchased this CD is because I didn't want it to disappear before I got a chance to hear it -- and to add it to my collection of show recordings. It took me some time to get around to playing it, and it was only after listening to it for a second time that I read the synopsis. I was able to follow the story easily, without knowing the plot or being familiar with Thomas Hardy's short story. For me, that's a sign of pretty good musical writing.



Since I haven't seen the show, I can only judge its merits by what's on the disc - the music and the performances. As good as the music and lyrics are, I think that Stephen Cole and Matthew Ward have a long way to go before they can be crowned "the new voices of the musical theatre." And although Beethoven's "big and brassy" Ninth Symphony may sell out Orchestra Hall, there's also an audience (perhaps smaller) for his string quartets - in a much smaller concert hall. And, yes, some people find chamber music to be boring, but others can't be dragged to another Beethoven Ninth.



"After the Fair" might not have a lot of hummable tunes, sometimes the the notes seem to bounce all over the place, and sometimes the lyrics are a little trite. But right now I can't recall a melody from "Pacific Overtures" or "Sunday in the Park with George" or "Passion," but after listening to this show only twice, several days ago, I can sing "Every morning I run just to greet you" at the drop of a hat. The ensemble pieces are especially well written, even if Lerner & Loewe ("My Fair Lady") and Harvey Schmidt & Tom Jones ("110 in the Shade") wrote better songs for their leading ladies to express their anger. The five-piece ensemble does a fine job of supporting the singers. I, too, prefer a full orchestration, realizing that a show this size couldn't afford a pit full of musicians. Nor is a full orchestration always right for a show. Compare the expanded Broadway recording of "Charlie Brown" to the original, more intimate Off-Broadway recording.



Nor do I find the English accents offensive. To my ears, Michele Pawk sounds every bit as "British" as Julie Andrews ever did, and English actors have been playing Americans ever since "Gone With The Wind." Miss Pawk is a truly gifted singer/actress, and I hope there are song writers out there somewhere who will write the show that makes her a star, perhaps even Messers Cole & Ward. All the performers are excellent and in excellent voice, even if David Staller pushes his voice a little too much at times.



So, what's behind the negative comments? Perhaps it's the fact that "After the Fair" is not a conventional musical, but rather an intimate chamber opera. And like most operas, it isn't about cheerful stuff. No one dies in this show, but no one lives happily ever after either. And I think the music fits the piece quite well. No, it's not perfect, nor do I predict it will become a dinner-theatre staple like "The Fantasticks" or "I Do! I Do!" That said, I wish a lot of companies would mount this show and prove me wrong. I'd rather see "After the Fair" than the 100th production of "Hello, Dolly!"



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