“Working” is a strange musical, to say the least … and that's not necessarily a bad thing.
The show is an amalgamation of vignettes, some set to music and some straight narrative, which focuses on a group of working class citizens.
These “workers” range from blue to white collar and, in a few instances, no collar. A veritable potpourri of professions is highlighted: teacher, fireman, factory worker, parking lot attendant, housewife, hooker.
Each of these representations is given life by the finely tuned cast of a dozen individuals who sing and dance their way through the various shades of emotions that “Working” attempts to convey.
The show, based upon the book by Studs Terkel and adapted by Stephen Schwartz and Nina Faso, is an interesting and engaging piece that rides a rollercoaster of amusing one moment to sombre the next – but these variants work well for a show of this type.
The musical has offerings from such talents as Craig Carnelia, Micki Grant, Mary Rodgers, Susan Birkenhead, Stephen Schwartz and James Taylor. This eclectic group brings a varied sound to the songs that one may not find in a musical written by one or two individuals.
The musical opens in what appears to be an abandoned company complete with graffiti on the walls, shattered windows and garbage strewn all over.
If you've watched any episode of “Ghost Hunters” you can imagine this type of “abandoned location” and will know what the set looks like. It's an unusual motif but the actors play off this very well and utilize the space well so that no one ever appears lost in the open expanse – even during solo performances.
As stated, “Working” is a series of vignettes, but there is an attempt by the book-writers to give a feeling of cohesion to the individual stories as one segues into another. The individual stories are each interesting and played with emotion and energy by the ensemble.
The first act is highlighted by the acrimonious “Traffic Jam” - a full cast number which any commuter can sympathize with. “Nobody Tell Me How” is a heartfelt tale from a schoolteacher about the changes in education and how she copes.
“Millwork” is one of the most amazing pieces I have seen in musical theater in the area in years. A simple song which was simply performed and complimented by painfully repetitive (and perfectly done) choreography left the opening night audience speechless at the monotony many deal with for eight or more hours a day simply to bring home their pay.
The equally brilliant “Just A Housewife” was enhanced by a wonderfully simple chorus representing housewives from each decade from the 1940's to the present.
It was superbly done.
Other highlights from the first act were the melancholy “Un Mejor Dia Vendora” (“A Better Day Will Come”) about labor farmers in the southwestern United States.
This act finished with the powerful “If I Could've Been” which I felt might have been played less angrily than it was but was still a wonderful finale for the first act.
The second act is charged by energy laden numbers such as “Brother Trucker” - complete with country line dancing that would make Kellie Pickler envious. “Cleaning Woman” is another number which is only enhanced by the high energy dance routines (complete with mop, spray bottles and rags) and quite entertaining. “It's An Art” is an amusing piece about a waitress and her love for what she does – claiming that “serving is an art and doesn't mean I'm servile!”
Of course, there are also the more subdued numbers in the second act such as the lyrical “The Mason” about a stonemason's craftsmanship and his belief that his work is more important than merely punching a time clock.
“Fathers and Sons” is a beautifully rendered number about fathers wanting better for their sons.
The finale of the show “Something To Point To” was the highlight of the evening as the ensemble brought most of the house to their feet with a rousing and triumphant song about everyone – even the most seemingly innocuous individual – getting the credit they deserve for the job they do.
And the cast and crew of “Working” at Dutch Country Players should definitely be given the credit they deserve for the job they have done.
“Working” is not an easy show to perform as there are a diverse array of characters to portray and different song styles to adapt to. Direction by Scott McMaster seems effortless as he weaves the stories from one to another even though, at times, the book cannot help but make the story feel disjointed.
Musical direction by Brian Shapella was pitch perfect as a “small” four-piece band at times sounded like a much larger orchestra.
Of course, it isn't just the music that makes “Working” … um … work.
There are several clever monologues which are performed beautifully by members of the ensemble. A trio of headset wearing “customer service” ladies truly capture what it is like to be on the receiving end of a “day on the phones” while a humorous segment about office cubicles truly does capture what it is like to work in one of these four-walled “cages” every day.
Another moment of brilliance is a scene with a disgruntled (possibly psychopathic) twenty-something who explains why the people in his world should really be more appreciative of him or what he might be compelled to do to them if not.
The clever lighting by Jennifer Brozenske was unappreciated by the audience, in this reviewer's opinion, as lighting effects danced around the audience in a Tim Burton-esque display that merely added to the interesting lighting choices happening on the stage.
The costumes were also well done. Costumer Jocelyn Moye has a fine eye for detail, setting the cast in truly authentic looking costumes. And a show like “working” is no small task for costumes as it requires everything from firemen to construction workers; CEO's to waitresses; hookers … speaking of “hookers”, there is an especially good moment when two actresses literally change from one character to another on stage (with the assistance of some gentlemen in the cast). This was quite effectively done.
Of course, the real challenge in a show like “Working” is to take a variety of songs written by different artists and make them all seem cohesive.
This is done by the direction and music, of course, but the final element which adds the whimsical brilliance to the entire show is the choreography by Sarah Thomas.
Ms. Thomas delivers everything from romantic pirouettes to jazzy soft shoe to country line dancing to show-stopping ensemble numbers, and her actors never slow down for a moment as they dance their way through every nuance and emotion this show wants to dish out.
What is of interest is that, per a note in the program, “the characters in 'Working' are non -fictional characters. Their names have been changed, but their words have not. Even in the case of song lyrics, the writers have tried to remain faithful as possible to the character's original words.” It makes this show even more engaging upon realizing that everything was taken from testimonials and was not merely extrapolation from an artist's mind.
So, if your work day is done and you are in the mood for something very entertaining with a few shots of reality you should definitely take the short drive down to Telford to pay a visit to the hard working men and women of “Working” - both on the stage and behind the scenes.
You will not be disappointed nor have “one eye on the clock wondering how soon before you can go home!”
“Working” contains mature language and themes.
July 17th through 26th Friday and Saturday at 8:00 PM. Sunday at 2:00 PM. July 30th to August 1st Thursday to Saturday at 8:00 PM.
For tickets and information www.dcptheatre.com or call (215) 234-0966.