naplesnews.com
Review: Almost like 'Sex and the City' set to music
By Tiffany Yates
Friday, April 28, 2006
It’s the classic story: Boy and girl meet, they fall in love — and then they spend the rest of their relationship trying to mold each other into the perfect person each thought the other was when they met.
And the reason that probably made you laugh is that, at some point in life, most everyone has been in the odd, unnatural, anxiety-ridden dating world that’s sent up so well in the Naples Dinner Theatre’s “I Love You, You’re Perfect, Now Change.”
The 1996 show is a combination of musical numbers and short, Jules Feiffer-esque sketches, but the common denominator is relationships. From first dates to old age, the show progresses chronologically through every relationship cliché ever created: chick flicks and football; the sexless, chore-ridden marriage; new-parent overzealousness.
But there’s a reason clichés become clichés — because they are true. And the straightforward charm of the production’s presentation lets you laugh in an “Oh, yeah, I’ve been there” kind of way.
Director Michael Wainstein’s production of the slightly cheeseball show works so very well largely because of his wonderfully talented actors, two men and two women who play everything from children to lovers to seniors.
James Ballard, Ryan Leeds, Sonia Perez and Chrissy Wright all have pleasing singing voices, with the women being true vocal standouts. And all four have wonderful comic timing and versatility, making each sketch, hackneyed or not, a delight.
Like the “Lasagna Incident,” with Sonia Perez and Ryan Leeds as a newly dating couple at the awkward will-we-or-won’t-we stage. Ryan hasn’t made a single pass at Sonia, though they seem to be getting along so well, and her inner “moron switch” that flips only when she’s on a date, she nervously explains, makes her flat-out ask him why.
His disarmingly genuine reply — he was worried about making a wrong move — leads to her asking him over for dinner, which he delightedly accepts. “And I’ll bring the ...” he begins.
“Condoms?” Sonia blurts, and then furiously backpedals as they both get flustered.
But the underlying nervousness and hope of a new couple is so clear in their expressive faces, it’s endearing, and familiar, and it makes us laugh at our own bizarre mating habits, when we inexplicably morph into beings we hardly recognize.
That’s what’s ingenious about Joe DiPietro’s book and lyrics — the show gently, even lovingly points up the strange things we do in pursuit of happiness: baldly lying about our interests, spending hours trailing behind a manically shopping spouse, or twitchily sitting through a football game waiting for a mate to transfer his attention to us after the final 32 seconds of the game. (“Thirty-two real-life seconds or thirty-two football seconds?” asks Wright in the sketch “Waiting.”)
Jimmy Roberts’s music is a perfect match for the clever lyrics, his musical styles varying from opera to doo-wop to Fifties pop. Gospel to country and even to a tango. The songs are simple but so catchy you feel you could hum right along after only a verse or two.
Their collaboration results in a the perky little Carmen Miranda-like “Cantata for a First Date,” with Roberts’ happy tune accompanying jauntily sung lyrics like “‘Cause I’ve got baggage, emotional baggage!” But it also yields touching ballads, like the heart-palpitating yearning of “I Will Be Loved Tonight,” or the tender “Shouldn’t I Be Less in Love With You?”
James Ballard is a scene stealer, notably as a convict in jail for mass-murdering all his married friends. “You think it’s funny that I’m pushin’ 40 with no soul mate?” he snarls hilariously at Leeds. He’s delightfully committed to each of his characters, yet completely different in every one.
Chrissy Wright accompanies her pretty face and figure with a drop-dead voice that’s as effective in an operatic trill as it is in a cry-in-your-beer country song (bemoaning her always-a-bridesmaid status). And both she and Perez are deft comediennes, rubber-faced and brazen, clearly willing to do pretty much anything for the sake of comedy.
Openfaced Ryan Leeds ably pulls his weight as well, as a ticked-off father browbeating his commitment-phobic son and his girlfriend, a hopeless nerd who dreams of being a stud, and as one-half of a set-in-their-ways couple marveling at the flames that still leap between them.
Wainstein, the script, and the talented cast keep the laughs coming hard, and yet they’re perfectly interspersed with occasional real, touching moments. Jason Bolen’s simple but inventive set helps the pace stay strong, with a rotating lazy-susan design that has prop pieces rotating smoothly in and out of each scene.
Be forewarned, though. There’s a little bit of salty dialogue, though it always stays on the funny side of impropriety.
“I Love You” is a fabulously entertaining two hours of theater, a “Sex and the City” episode set to music that lets you laugh at our endless striving for love — and reminds you of all the reasons we keep seeking it out.
Dinner Theatre show lampoons all things relationship
Marco Eagle
Thursday, May 18, 2006
The ups and downs of dating, mating and marriage can make for a crazy ride. Naples Dinner Theatre's current production of I Love You, You're Perfect, Now Change, with book and lyrics by Joe DiPietro and music by Jimmy Roberts, lampoons all the twists, turns, spills and chills that go along with all stages of relationships.
As the show begins, four mysterious cloaked figures melodically chant their way to the stage. They relay the age-old battle of the sexes and set in motion this musical study of all the facets of everything from first dates to married life and beyond. Once the tone is established, the show clips along, as it has a lot of ground to cover.
In the first part of the production the vignettes highlight the woes of dating, from insecurities and nerves to the awkward exchanges. The scenes then progress to a more committed stage, where uncharacteristic vulnerabilities and even parents rear their ugly heads. As the first act winds down the show reaches a pivotal point in the way of marriage, which we learn has its own unique complications.
In the second act, married life and children become part of the cross section of life that the show holds a comedic mirror up to. We see how weddings affect our relationships with not only our mate but also those around us. As the family unit expands new life challenges arise and create more fodder for this musical to devour. Nearing the end we see the good and bad that are attached with long-term commitments and the options available at that stage of the game.
I Love You, You're Perfect, Now Change uses a revue style with a mix of dialogues and songs to cross section the world of relationships. The writing of this piece is a real theatrical treasure. It is hip and relevant, while at the same time it resonates with many generations. All the dialogs and songs are hilarious and yet quite meaningful. Those in the audience can't help but laugh at DiPietro's writing and lyrics, which are obviously what has made it a regional theatre favorite and a long-time part of the Off Broadway theatre scene.
The cast of two men, James Ballard and Ryan Leeds, and two women, Sonia Perez and Chrissy Wright morph into many characters and situations. With mixed pairings and solos, each of the performers gets a chance to stand out, both in acting performance and song. In many numbers Chrissy Wright's soulful riffs and powerful voice really shine.
Michael Wainstein's direction added some fun elements and a great pacing that kept the show moving without sacrificing any of the comedy. The production also has some more subdued moments that are tender without being too sappy.
The design of Naples Dinner Theatre's production of I Love You, You're Perfect, Now Change added an interesting element to the production. The set design by Jason Bolen used a turntable reinforcing the constant changing nature of the show. Structural elements combined with the turn-table gave the impression of the old tunnel of love rides, which was a subtle and inspired choice.
A special mention must also be given to the accompanists. They do a wonderful job. The combination of a lone keyboard and violin was quite different and effective. The violin solo between acts by Carlann Evans was especially superb.
Naples Dinner Theatre's production of I Love You, You're Perfect, Now Change is a great way to spend a date with a loved one or with friends to laugh at life and love. Performances are offered through May 20. Tickets can be purchased by calling their box office at (239) 514-7827.
© 2006 Naples Daily News and NDN Productions. Published in Naples, Florida, USA by the E.W. Scripps
REVIEWS OF 2002 PRODUCTION
Review: 'I Love You' brings waves of laughter and recognition
Saturday, August 31, 2002
By NANCY STETSON, nrstetson@naplesnews.com
When people hear the title "I Love You, You're Perfect, Now Change," inevitably there's a laugh of recognition: this is what many of us illogically do in relationships — think someone's perfect, fall in love, and then try to change him or her.
The musical, playing at the Naples Dinner Theatre through Oct. 6, also brings waves of laughter as people recognize themselves and their friends in the various romantic entanglements and conundrums.
Joe DiPietro's highly successful musical examines love and relationships in all its variations from the nerve-wracking first date, to marriage, kids, divorce, and even a romance in one's senior years.
And the quartet of actors — Jim Ballard, Sarah Corey, Joel Herbst and Chrissy Wright — do a great job of portraying a wide variety of characters, from loud braggarts on dates to harried parents trying to find time for sex to an older couple who meet at a funeral and fall in love.
Much of DiPietro's material is brilliant and right on target, though some of his sketches stoop to TVsitcom-level. But overall, this is an accurate and humorous look at love and the changes we go through —and put each other through — in our pursuit of it. Even when we fail at love, we can't help but stand back up and try again. As one of DiPietro's characters describes it, men and woman are "endlessly crashing into each other like two vengeful bumper cars."
As the quartet sings at the beginning:
"Still I endure
Somewhere someone dreams of me
But I got baggage
Emotional baggage
A planeload of baggage
That causes much saggage
...Will my hopes be met? Will my fear dispel?
Will I captivate or will I repel?
Will I show her just how wonderful I am
Or will I be a date from hell?"
Corey is a real find — her solo "I Will Be Loved Tonight," marries triumph and anticipation and is a showstopper, worth the price of admission alone. And her monologue, "The Very First Dating Video of Rose Ritz," skillfully veers from humor to pathos and back again.
Ballard and Wright hit the right emotional notes as the elderly couple who meet at a funeral, and their duet in "Tear Jerk," in which both react to a sad movie they're watching, is both moving and humorous.
Herbst shines as a nerd who wants to be a stud in "A Stud and a Babe" and as a nervous but earnest guy who hasn't made a pass because he respects his date too much and doesn't want to make any mistakes.
There are little moments that stand out during this show too: Ballard testing a stuffed teddy bear by trying to bite its eyes off, in order to make sure it's childproof; Wright as the mother of a woman whose date actually calls back when he says he will.
One of the highlights of the show is "Shouldn't I Be Less in Love With You," in which Herbst sings of married bliss, even after 30 years: "The experts say it does not last/The experts say it's fleeting/The experts bray that love fades so fast/Then tell me, why is my heart still beating? ...Shouldn't I have quit 'cause marriage ends?/Shouldn't we have split like all our friends?/Shouldn't I profess it's time to go?/Shouldn't I be less in love with you?/No."
It's a perfect scene of lasting love and demonstrates how couples who are together so long can be in perfect sync with each other.
The musical is a series of short sketches and
Review: Almost like 'Sex and the City' set to music
By Tiffany Yates
Friday, April 28, 2006
It’s the classic story: Boy and girl meet, they fall in love — and then they spend the rest of their relationship trying to mold each other into the perfect person each thought the other was when they met.
And the reason that probably made you laugh is that, at some point in life, most everyone has been in the odd, unnatural, anxiety-ridden dating world that’s sent up so well in the Naples Dinner Theatre’s “I Love You, You’re Perfect, Now Change.”
The 1996 show is a combination of musical numbers and short, Jules Feiffer-esque sketches, but the common denominator is relationships. From first dates to old age, the show progresses chronologically through every relationship cliché ever created: chick flicks and football; the sexless, chore-ridden marriage; new-parent overzealousness.
But there’s a reason clichés become clichés — because they are true. And the straightforward charm of the production’s presentation lets you laugh in an “Oh, yeah, I’ve been there” kind of way.
Director Michael Wainstein’s production of the slightly cheeseball show works so very well largely because of his wonderfully talented actors, two men and two women who play everything from children to lovers to seniors.
James Ballard, Ryan Leeds, Sonia Perez and Chrissy Wright all have pleasing singing voices, with the women being true vocal standouts. And all four have wonderful comic timing and versatility, making each sketch, hackneyed or not, a delight.
Like the “Lasagna Incident,” with Sonia Perez and Ryan Leeds as a newly dating couple at the awkward will-we-or-won’t-we stage. Ryan hasn’t made a single pass at Sonia, though they seem to be getting along so well, and her inner “moron switch” that flips only when she’s on a date, she nervously explains, makes her flat-out ask him why.
His disarmingly genuine reply — he was worried about making a wrong move — leads to her asking him over for dinner, which he delightedly accepts. “And I’ll bring the ...” he begins.
“Condoms?” Sonia blurts, and then furiously backpedals as they both get flustered.
But the underlying nervousness and hope of a new couple is so clear in their expressive faces, it’s endearing, and familiar, and it makes us laugh at our own bizarre mating habits, when we inexplicably morph into beings we hardly recognize.
That’s what’s ingenious about Joe DiPietro’s book and lyrics — the show gently, even lovingly points up the strange things we do in pursuit of happiness: baldly lying about our interests, spending hours trailing behind a manically shopping spouse, or twitchily sitting through a football game waiting for a mate to transfer his attention to us after the final 32 seconds of the game. (“Thirty-two real-life seconds or thirty-two football seconds?” asks Wright in the sketch “Waiting.”)
Jimmy Roberts’s music is a perfect match for the clever lyrics, his musical styles varying from opera to doo-wop to Fifties pop. Gospel to country and even to a tango. The songs are simple but so catchy you feel you could hum right along after only a verse or two.
Their collaboration results in a the perky little Carmen Miranda-like “Cantata for a First Date,” with Roberts’ happy tune accompanying jauntily sung lyrics like “‘Cause I’ve got baggage, emotional baggage!” But it also yields touching ballads, like the heart-palpitating yearning of “I Will Be Loved Tonight,” or the tender “Shouldn’t I Be Less in Love With You?”
James Ballard is a scene stealer, notably as a convict in jail for mass-murdering all his married friends. “You think it’s funny that I’m pushin’ 40 with no soul mate?” he snarls hilariously at Leeds. He’s delightfully committed to each of his characters, yet completely different in every one.
Chrissy Wright accompanies her pretty face and figure with a drop-dead voice that’s as effective in an operatic trill as it is in a cry-in-your-beer country song (bemoaning her always-a-bridesmaid status). And both she and Perez are deft comediennes, rubber-faced and brazen, clearly willing to do pretty much anything for the sake of comedy.
Openfaced Ryan Leeds ably pulls his weight as well, as a ticked-off father browbeating his commitment-phobic son and his girlfriend, a hopeless nerd who dreams of being a stud, and as one-half of a set-in-their-ways couple marveling at the flames that still leap between them.
Wainstein, the script, and the talented cast keep the laughs coming hard, and yet they’re perfectly interspersed with occasional real, touching moments. Jason Bolen’s simple but inventive set helps the pace stay strong, with a rotating lazy-susan design that has prop pieces rotating smoothly in and out of each scene.
Be forewarned, though. There’s a little bit of salty dialogue, though it always stays on the funny side of impropriety.
“I Love You” is a fabulously entertaining two hours of theater, a “Sex and the City” episode set to music that lets you laugh at our endless striving for love — and reminds you of all the reasons we keep seeking it out.
Dinner Theatre show lampoons all things relationship
Marco Eagle
Thursday, May 18, 2006
The ups and downs of dating, mating and marriage can make for a crazy ride. Naples Dinner Theatre's current production of I Love You, You're Perfect, Now Change, with book and lyrics by Joe DiPietro and music by Jimmy Roberts, lampoons all the twists, turns, spills and chills that go along with all stages of relationships.
As the show begins, four mysterious cloaked figures melodically chant their way to the stage. They relay the age-old battle of the sexes and set in motion this musical study of all the facets of everything from first dates to married life and beyond. Once the tone is established, the show clips along, as it has a lot of ground to cover.
In the first part of the production the vignettes highlight the woes of dating, from insecurities and nerves to the awkward exchanges. The scenes then progress to a more committed stage, where uncharacteristic vulnerabilities and even parents rear their ugly heads. As the first act winds down the show reaches a pivotal point in the way of marriage, which we learn has its own unique complications.
In the second act, married life and children become part of the cross section of life that the show holds a comedic mirror up to. We see how weddings affect our relationships with not only our mate but also those around us. As the family unit expands new life challenges arise and create more fodder for this musical to devour. Nearing the end we see the good and bad that are attached with long-term commitments and the options available at that stage of the game.
I Love You, You're Perfect, Now Change uses a revue style with a mix of dialogues and songs to cross section the world of relationships. The writing of this piece is a real theatrical treasure. It is hip and relevant, while at the same time it resonates with many generations. All the dialogs and songs are hilarious and yet quite meaningful. Those in the audience can't help but laugh at DiPietro's writing and lyrics, which are obviously what has made it a regional theatre favorite and a long-time part of the Off Broadway theatre scene.
The cast of two men, James Ballard and Ryan Leeds, and two women, Sonia Perez and Chrissy Wright morph into many characters and situations. With mixed pairings and solos, each of the performers gets a chance to stand out, both in acting performance and song. In many numbers Chrissy Wright's soulful riffs and powerful voice really shine.
Michael Wainstein's direction added some fun elements and a great pacing that kept the show moving without sacrificing any of the comedy. The production also has some more subdued moments that are tender without being too sappy.
The design of Naples Dinner Theatre's production of I Love You, You're Perfect, Now Change added an interesting element to the production. The set design by Jason Bolen used a turntable reinforcing the constant changing nature of the show. Structural elements combined with the turn-table gave the impression of the old tunnel of love rides, which was a subtle and inspired choice.
A special mention must also be given to the accompanists. They do a wonderful job. The combination of a lone keyboard and violin was quite different and effective. The violin solo between acts by Carlann Evans was especially superb.
Naples Dinner Theatre's production of I Love You, You're Perfect, Now Change is a great way to spend a date with a loved one or with friends to laugh at life and love. Performances are offered through May 20. Tickets can be purchased by calling their box office at (239) 514-7827.
© 2006 Naples Daily News and NDN Productions. Published in Naples, Florida, USA by the E.W. Scripps
REVIEWS OF 2002 PRODUCTION
Review: 'I Love You' brings waves of laughter and recognition
Saturday, August 31, 2002
By NANCY STETSON, nrstetson@naplesnews.com
When people hear the title "I Love You, You're Perfect, Now Change," inevitably there's a laugh of recognition: this is what many of us illogically do in relationships — think someone's perfect, fall in love, and then try to change him or her.
The musical, playing at the Naples Dinner Theatre through Oct. 6, also brings waves of laughter as people recognize themselves and their friends in the various romantic entanglements and conundrums.
Joe DiPietro's highly successful musical examines love and relationships in all its variations from the nerve-wracking first date, to marriage, kids, divorce, and even a romance in one's senior years.
And the quartet of actors — Jim Ballard, Sarah Corey, Joel Herbst and Chrissy Wright — do a great job of portraying a wide variety of characters, from loud braggarts on dates to harried parents trying to find time for sex to an older couple who meet at a funeral and fall in love.
Much of DiPietro's material is brilliant and right on target, though some of his sketches stoop to TVsitcom-level. But overall, this is an accurate and humorous look at love and the changes we go through —and put each other through — in our pursuit of it. Even when we fail at love, we can't help but stand back up and try again. As one of DiPietro's characters describes it, men and woman are "endlessly crashing into each other like two vengeful bumper cars."
As the quartet sings at the beginning:
"Still I endure
Somewhere someone dreams of me
But I got baggage
Emotional baggage
A planeload of baggage
That causes much saggage
...Will my hopes be met? Will my fear dispel?
Will I captivate or will I repel?
Will I show her just how wonderful I am
Or will I be a date from hell?"
Corey is a real find — her solo "I Will Be Loved Tonight," marries triumph and anticipation and is a showstopper, worth the price of admission alone. And her monologue, "The Very First Dating Video of Rose Ritz," skillfully veers from humor to pathos and back again.
Ballard and Wright hit the right emotional notes as the elderly couple who meet at a funeral, and their duet in "Tear Jerk," in which both react to a sad movie they're watching, is both moving and humorous.
Herbst shines as a nerd who wants to be a stud in "A Stud and a Babe" and as a nervous but earnest guy who hasn't made a pass because he respects his date too much and doesn't want to make any mistakes.
There are little moments that stand out during this show too: Ballard testing a stuffed teddy bear by trying to bite its eyes off, in order to make sure it's childproof; Wright as the mother of a woman whose date actually calls back when he says he will.
One of the highlights of the show is "Shouldn't I Be Less in Love With You," in which Herbst sings of married bliss, even after 30 years: "The experts say it does not last/The experts say it's fleeting/The experts bray that love fades so fast/Then tell me, why is my heart still beating? ...Shouldn't I have quit 'cause marriage ends?/Shouldn't we have split like all our friends?/Shouldn't I profess it's time to go?/Shouldn't I be less in love with you?/No."
It's a perfect scene of lasting love and demonstrates how couples who are together so long can be in perfect sync with each other.
The musical is a series of short sketches and