There is a constant state of duality in the new, much buzzed about musical Yank!, which both charms and beguiles the audience. Heavy on sentiment and good will, the show also packs a surprising bite, especially in the closing twenty minutes or so of Act Two. Much like the propaganda films it parodies, this show wears its patriotism and heart on its sleeve, while its political agenda is less obvious, and for good reason. Brother writers David and Joseph Zellnik have subtitled their musical "A WWII Love Story," not "The Don't Ask, Don't Tell Musical." Instead they have chosen to make their point by presenting very human emotions in a setting of hope, honor, fear and bravery. War is hell, to be sure, but love can survive anything.
In keeping the show told as an homage to those iconic films, singers and dancers the Zellniks have justifiably created reasons for the characters to sing and dance. And they cover all of the bases with smart dialogue and snappy songs crammed with clever plays on words, sung to tunes that range from subversively sexual torch songs ("Rememb'ring You"), to buddy-boy rallying cry numbers ("Betty," "Your Squad is Your Squad") to all out tap extravaganzas ("Credit to the Uniform"). And what would a 40's style homage be without the "your life is changing right now" song ("Click") or the "there's hope in the future" number ("A Couple of Regular Guys"), and, naturally, a Rodgers and Hammerstein inspired "dream ballet", here danced by Dream Stu (Joseph Medeiros) and Dream Mitch (Denis Lambert). These dazzling numbers, amazingly choreographed by Jeffry Denman, and I do mean amazingly, as they look to be all out Broadway-sized extravaganzas even when there are only 2 to 8 people dancing at any one time. Of course all of this is done on a stage that is smaller than your average dining room.
The lone female in the cast, Nancy Anderson, is a genuine highlight in a show full of them. She literally plays a dozen or more women from the time. In the title number alone, she plays at least four, going from man to man saying goodbye as she sends each off to war - the sad girlfriend, the proud American gal, the horny debutante, the scared mother - and does so be quick changes in step and a variety of kisses! Ms. Anderson also possesses a truly beautiful singing instrument, easily changing her vocal stylings to suit the variety of songs she sings, ranging from the Dinah Shore-type, to the sultry torch singer to the peppy hop-to Army gal to the warbly operetta style. She has virtually no lines and yet manages to create vivid characters with a look, a knowing smile and very telling eyes. Of course, her costumes and wigs (designed by Tricia Barsamian and Ashley Ryan respectively) help, too - it even looks like she re-colors her eyebrows to match her many wigs. Ms. Anderson makes her biggest impression with the role that has the most lines, and happens to be a real-life character, the lesbian and firmly closeted secretary to General MacArthur, the original don't ask, don't tell guy. He knows she is what she is but she is far too valuable to him to turn her in. It is that character who ultimately provides some safety and guidance for the three other main characters.
Trouble comes to the Charlie Company in the surprising form of "Hollywood" Mitch, a dashing, manly man with a huge helping of compassion, played suavely and with confidence by Ivan Hernandez. It is all of those bold characteristics that draw Stu (and the audience) to Mitch. Mr. Hernandez has a wonderful singing voice and a way about him the makes you just want to beg for his friendship. He also plays conflicted gay man very well, adding nuance and variety to the various levels of anger, passion, shame and self-loathing the role requires. A conflicting trouble comes to Charlie Company in the guise of savior - one Yank! journalist named Artie, who takes a shine and lascivious interest in Stu. Played very well by Jeffry Denman, Artie is the subversive kind of sneak, who makes you feel grateful for every favor he does for you, and anger at all the ways you ultimately have to repay him. Denman deftly goes between "passing straight" to outright queer poster boy in seconds, just by a change in stature or a sly grin. He is immediately ingratiating, so much so, that even though you know it is coming, you are still taken aback when his darker side shows itself. He is, as an actor, also a fine song and dance man, particularly in "Click" and "Credit to the Uniform."
Ultimately, though, the show rests on the young and extremely capable shoulders of Bobby Steggert one of New York's current "it" actors. The difference here, though, is that he really has "it!" All of it, whatever it is. He has a gorgeous singing voice, be it in a solo, a harmonizing duet or as part of an ensemble blend. And even though he is one of those stage presences that commands your attention no matter what else is going on, he is always careful not to be a stage hog, shifting focus off of himself when necessary or blending in with everyone else, too. That you can't take your eyes off of him is your doing, not his. (Perhaps that is "it.") Mr. Steggert is my favorite kind of actor, too. He is of the type that you never feel like he is acting first and foremost - that every current second that you share with him is all there ever is, was or will be. And secondly, he does most of his acting from the neck up. At any given moment you know exactly what his Stu is thinking, feeling on the outside, covering on the inside. When Stu finally summons the courage to act on his desire to kiss Mitch, it is both magical and cathartic, as the audience and Mr. Steggert were there for every previous second of Stu's fear, desire, questioning and longing - all options weighed and the outcome uncertain. Aside from his romantic moments with Mr. Hernandez (they have pitch perfect chemistry), and his song and dance moments with Artie (he and Mr. Denman also have fantastic chemistry) Steggert really knows his way around a dramatic scene. One of the most gut-wrenching scenes in recent seasons occurs when he is turned in for being gay and tortured into confession and naming names. His agony is palpable. But perhaps his best moment is when Stu ultimately confronts the man who turns him in, and gives him a hug of forgiveness. It is a truly amazing moment in a show full of them.
So far, Yank! is scheduled only through March 21st at the York Theatre Company, but rumors were flying during intermission that the show will extend and possibly move to a bigger venue. We will all be fortunate if either becomes the case. But if neither happens, get yourself to the Theatre at St. Peter's Church, and fast. This is one entertaining and thought-provoking show you'll regret you missed.
(Photos by Carol Rossegg.)
More information on the show can be found at http://www.yorktheatre.org/ or http://www.yankthemusical.com/.
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