Review of "Working"

In 1974 the noted Chicago radio broadcaster and oral historian Studs Terkel came out with a tome entitled Working: People Talk About What They Do All Day and How They Feel About What They Do.  The book became the basis for a 1978 Broadway musical with a libretto, some songs, and direction by noted composer Stephen Schwartz.  Other contributors to the score included James Taylor (yes, that James Taylor), and musical theater veterans Mary Rodgers, Mikki Grant, and Craig Carnelia.  Over the past 40 years, the show has undergone a number of revisions including the incorporation of songs written by Linn-Manuel Miranda.  The lastest incarnation is a streamlined, uneven, 80 minute version playing at A Contemporary Theatre (ACT) in Ridgefield.

 

The show is a series of musical vignettes and monologues celebrating the everyday worker, the people who may live in our towns and provide essential services to our communities.  They are dignified and proud individuals that are sometimes taken for granted.  Some of the songs in the show spotlight a lamenting teacher, a bubbly waitress, a hard-working factory laborer, and happy-go-lucky cleaning ladies.  The musical numbers can be buoyant, introspective, and melancholy.  Many of the scenes are augmented by short videos on multi-paned sliding screens that feature real-life area workers.

 

Several of the segments convey their message and observations better than others.  “Millwork,” focusing on a routine, mundane, and potentially dangerous factory job; and “Joe,” a poignant meditation on retirement are two standouts.  Other scenes can be more problematic and puzzling.  “Nobody Tells Me How,” concerning an older elementary school teacher bemoaning the changes she has seen, lacks an emotional, deep felt luster.  The thrust of “It’s an Art,” an homage to experienced waitresses everywhere, gets somewhat lost within the full cast production number.  Not to be a prude, but the profanity in the firefighter’s brief oration was unnecessary.

 

Each member of the ensemble cast has their moment to shine.  Standouts are Andre Jordan (“Delivery”), Cooper Grodin (“Joe” and “Fathers and Sons”), and Monica Ramirez (“Millwork” and “Cleanin’ Women”).

 

Director Daniel C. Levine states in the program that he interviewed Ridgefield workers to get a feel for their occupations, much the way Studs Terkel did in the early 1970’s.  Part of Levine’s research led to the creation of well-produced videos, overseen by Media Designer Caite Hevner, of some of the area workers talking about their jobs.  These prerecorded portions lead off a number of segments and parallel scenes within the musical.  While richly amplifying the local angle, each  video snippet could have been shortened to better maintain the dramatic continuity of the show.  The Director is most successful in the settings that feature individual portrayals.  He is able to draw out performances that are more layered and nuanced during these scenes.  Some of the larger production numbers, with collaboration from choreographer Chip Abbott, lack firm footing and polish. 

 

Scenic Designer Jack Mehler, in addition to winningly integrating the video panels into the musical, has incorporated a steel girder motif to form a cohesive motif throughout the production.

 

Working, playing at A Contemporary Theatre (ACT) in Ridgefield through March 10th.

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