Lysistrata Jones
Reviewed by Melinda Schupmann
When Aristophanes penned Lysistrata in 411 BC, he could hardly have imagined that his play would have spawned the many innovative modifications that have taken place over the centuries. The concept is irresistible: A group of women band together and withhold sex from their menfolk until the men have taken action to end a war. In this case, a group of college cheerleaders make a pact to forgo “giving it up” until their losing Athens University basketball team wins a game.
The catalyst for change comes in the form of a spunky blonde, Lysistrata Jones (Devon Hadsell). Pep talks don’t seem to work, so she hatches the scheme of denying the boys their pleasure to prompt increased commitment to winning. There are many rocks along this path, but, as expected, she triumphs.
A nod to Aristophanes comes in the form of Hetaira (Camryn Zelinger), a goddess who is injected into the mix in song and commentary, functioning as a one-person Greek chorus. The rest of the cheerleaders are played by Ashley Arlene Nelson, Klarissa Mesee, Danielle Rosario, and Chelsea Baldree. Their racially diverse counterparts are J. D. Driskill, Robert Wallace, Michael Dashefsky, Darian Archie, Ricky Wagner, and Jackson Tobiska, adding a greater dimension to the storyline and good humor to boot.
The ancient Greeks liked bawdy innuendo, and this play capitalizes on that with animated songs and bump-and-grind choreography by Kelly Todd. Performing on the larger stage of the new Chance Theater (the company moved a few doors down), the youthful cast takes advantage of the space with spirited enthusiasm and a few kick-ass moves. Ably backed by a four-man combo (music director Rod Bagheri, Garrett Hazen, James McHale, and Jorge Zuniga), standouts are “No More Givin’ It Up,” “Change the World,” and “Right Now: Operetta.” In particular, Hadsell and Zelinger are notable for their acting, as well as singing. Wallace also adds a nice comic touch in his characterization. The ensemble is uniformly accomplished.
Director Kari Hayter makes the most of Christopher Scott Murillo’s multilevel set design, making the action more dynamic. Douglas Carter Beane’s book and lyrics are comic, satiric, and just the right mix for Lewis Flinn’s contemporary music. Lighting by Matt Schleicher, sound by Ryan Brodkin, and costumes by Bradley Lock are also effective.
With the advent of shows like Rent, In the Heights, and Bring It On, theatrical musicals aren’t just revivals of old favorites these days. They speak to a new generation of playgoers and capture the essence of the present-day culture.
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