Review of Working, ACT, Ridgefield
There’s a new kid on the block. ACT, or A Contemporary Theatre of Connecticut, a new musical theater in Ridgefield, CT, has launched its first full season with a reworking of Stephen Schwartz’s Working. The original debuted in 1977, turning the stories collected by Chicago-radio personality Studs Terkel for his best-selling book on working lives into occasions for song and dance. A later version received an Off-Broadway production in 2012 and featured new songs by Lin-Manuel Miranda. The 2019 version at ACT, revamped by Artistic Director Daniel C. Levine, in consultation with Schwartz, updates elements of the show and, significantly, incorporates material from interviews Levine conducted with Ridgefield workers. The new version offers the best of both worlds: the Broadway polish of the original show together with home-grown local elements.
Schwartz in fact combines both aspects as well: a Ridgefield resident, he is a very successful Broadway composer, with shows like Godspell, Pippin, and Wicked to his credit. He is one of the inspirations behind ACT, and the first three seasons will each feature one of his works as part of the Presenting Stephen Schwartz series. But ACT isn’t only about classic musicals. The second slot of the debut season is taken by Austen’s Pride, a new musical about ever-beloved author Jane Austen that is on its way to Broadway, and the third show at ACT will be the popular musical comedy, The 25th Annual Putnam County Spelling Bee, winner of the 2005 Tony for Best Book of a Musical.
The theater at ACT features seating higher than the stage, creating a very open playing space for this very energetic play, accessorized with scaffolds and screens as both backdrops and moveable scenery. The ladders and stairs and various props used to suggest different working areas are augmented by a wide variety of multimedia effects, including clips of local workers at work while their voices can be heard ruminating about their lives and their jobs (Scenic Design, Jack Mehler; Media Design, Caite Hevner). It all blends together seamlessly with the songs and speeches presented by the six-member cast. The intimacy of the staging is such that every member of the audience feels directly addressed by the performers, and that makes for a vibrant community feel.
In swift vignettes, we learn something about a range of occupations—tree-cutter, waitress, teacher, firefighter, trucker, mason, care-provider, office worker, fast food deliverer, housewife, housecleaner, millworker, drugstore clerk, tech support, receptionist, deli owner—and can let ourselves by cheered by the fact that there are people who perform these tasks, some of whom are deeply gratified by the nature of the work they do. The point of the show, not without its tensions, is that work is essential to one’s identity and to feeling part of a community, to say nothing of the capitalist system in general. Leisure may be a wonderful thing, but here it’s all about getting down to what needs to be done, for the sake of work itself.
The cast of three men—Brad Greer, André Jordan, Cooper Grodin—and three women—Monica Ramirez, Zuri Washington, Laura Woyasz—maintains familiar gender binaries of the working world: the cleaners are women, the truckers are men. There is a female millworker (Ramirez) and a male caregiver (Jordan), but a bit more mixing might add some new wrinkles. Craig Carnelia’s “Just a Housewife,” given a soulful rendering by Washington, serves up the plaint of the stay-at-home mom, which may be pertinent again as it was back in the ‘70s. Stay-at-home dads—was that just an ‘80s thing? Another song with a nice sense of occupational anxiety is Woyasz’s believably ethnic teacher in “Nobody Tells Me How,” a sharp aside on how education is always inflected by its setting (lyrics by Susan Birkenhead, music by Mary Rodgers).
From the guys, there’s an inspiring speech by Greer as a firefighter; he also, guitar in hand, serves up Carnelia’s “The Mason” as a celebration of folk endurance; in the staging of James Taylor’s “Brother Trucker,” the guys are serviced by the female cast members in sexy attire, to let us know that the road has its rewards as well as its regrets. Then there’s “Joe,” Carnelia’s ode to the retiree (Grodin) whose life without work is a struggle to maintain interest. The man’s failing health segues nicely into Lin-Manuel Miranda’s “A Very Good Day,” a song for caregivers and nannies which strikes a plaintive note about doing the work that family members shirk.
With such a range of musical collaborators, the songs are varied in their styles, but all land with a snap, and the unseen musicians pack a punch in Dan Pardo’s arrangements for what is essentially a rock band. Particularly memorable, as a blend of movement and song, are Schwartz’s “It’s an Art,” a tribute to the finesse of waitressing led by Woyasz, and, incorporating significant media effects, “Brother Trucker” and Miranda’s “Delivery.” Other songs, such as Schwartz’s potentially mawkish “Fathers and Sons,” work well in context: here, we’ve just heard three Ridgefield students talking about their families, their studies, and their hopes for their own professional futures.
Formerly a two-act show, the current version plays under 90 minutes with no intermission. And so the two closers of the respective acts follow one another to form the finale. This means that the rueful sense of lost opportunities in Micki Grant’s “If I Could’ve Been” is immediately parried by Carnelia’s “Something to Point to.” The juxtaposition is telling. Whatever we become, in this world, there may be a sense, perhaps known to none but ourselves, of what we might have been or wanted to be; however that plays out, it’s the reality principle that ultimately triumphs in Working, where you are what you do.
It’s rare enough to find the workers of non-glamorous careers celebrated. In our era of celebrity for the sake of celebrity, learning how regular people live can be a worthwhile antidote. There ought to be school trips to see Working, if only to touch base with modern society’s bedrock. And the show isn’t only an occasion for admiring lives given over to workaday jobs, director Daniel C. Levine’s Working is a snappy example of musical theater that really works.
Working: A Musical
From the book by Studs Terkel
Adapted by Stephen Schwartz and Nina Faso
With additional contributions by Gordon Greenberg and Daniel C. Levine
Songs by Craig Carnelia, Micki Grant, Lin-Manuel Miranda, Mary Rodgers and Susan Birkenhead, Stephen Schwartz, James Taylor
Directed by Daniel C. Levine
Choreography: Chip Abbott; Music Director: Dan Pardo; Music Supervisor: Bryan Perri; Costume Design: Brenda Phelps; Scenic and Lighting Design: Jack Mehler; Media Design: Caite Hevner; Sound Design: John Salutz; Wig Design and Hair Supervision: Liz Printz; Production Manager: Annie Jacobs; Production Stage Manager: Michael Seelbach; Orchestrations by Alex Lacamoire
Cast: Brad Greer, Cooper Grodin, André Jordan, Monica Ramirez, Zuri Washington, Laura Woyasz
Musicians: Dan Pardo, conductor/keyboard; Matt Hinckley, electric and acoustic guitars; Arnold Gottlieb, electric and acoustic bass; Dennis Arcano, drums and percussion
ACT of Connecticut
February 14-March 10, 2019