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Post Standard, The (Syracuse,
NY)
September 1995
APPLESEED'S PRODUCTION
OF CHAPIN'S MUSIC
MAKES FOR PLEASANT EVENING
But a better sound system is in order.
Suzanne Connelly, Contributing
Writer
Harry Chapin fans already
know that this master of story-in-song can create a character or emotion
in a few short
measures. As both singer
and songwriter, Chapin was a true troubadour.
Appleseed Productions made
a fine choice in "Lies and Legends: The Musical Stories of Harry Chapin,"
presented
Friday night on the Atonement
Lutheran Stage.
This collection of some twenty
or so of Chapin's best provides a pleasant evening of song for fans of
his folksy, balladic
style of music. Five singers
combine their talents to interpret Chapin's sometimes funny, often poignant
stories of
everyday people's lives.
Chapin has a compelling way
with a lyric. Much of his music has repetitive melody lines and rhythms,
which underscore
the tales he tells. It is
the words of the stories that are important, so it is necessary for the
audience to be able to hear
the lyrics.
One of the problems opening
night was a more-than-insistent rhythm section ad an overly amplified piano,
which
frequently made it difficult
to understand the singers. A better balance sound system or microphones
to amplify the
voices is in order.
These problems aside, the
singers provided some fine interpretations of Chapin's songs. Two highlights
of the evening
were Chapin's most popular
songs.
Eric Feldstein crafted a
uniquely personal and successful version of the popular "Taxi," about two
lovers whose paths
cross after many years.
Mark Wright brought his warm phrasing and gentle touch to "Cat's in a Cradle."
Wright also had fun with
the tragic tale of a truck run amok on "Bananas" and as the aging disc
jockey of "W.O.L.D."
Feldstein, whose voice and
phrasing are most reminiscent of Chapin, did a fine job on one of the "history
songs," a
story of a North Dakota
dirt farmer who welcomes his bride in "Mail Order Annie."
Mary Kate Bragger joined
him in that number and provided a lovely solo on "Winter Song," in the
style of a '50s
crooner (complete with a
set of "backup boys" with synchronized moves). Bragger's clear voice also
served as
backbone for much of the
ensemble work.
Kara Greene has a fine voice
and demonstrated a wide range on her songs.
"Shooting Star," the story
of a dreamer's wife, was especially touching, as was her work with the
company on
"Dogstown," the story of
a Gloucester fisherman's widow. Her final number, "A Better Place To Be"
with Wright and
Bragger, really touched
the human chords of Chapin's music.
Wolf Warrens struggled with
his assigned songs, straining for the melodies. The more narrative numbers
suited him
best, such as the upbeat
"Odd Job Man."
Director Linda Lance used
the stage space well, effectively placing her singers for the best visual
effects and using a
variety of entrances and
seating areas to her advantage. Tracy Randall's choreography was often
fun, but could overstep
its bounds at times, causing
distraction rather than support of the musical numbers.
All in all, Harry Chapin
and his music provide a pleasant diversion on an autumn evening, as these
five singers weave
his stories into song.
The evening would be enhanced
by some adjustments to the sound system, but Chapin's music needs no bolstering.
It stands up well on its
own.
Copyright © 1995, The
Herald Company |
