Jacques Brel is alive and living in Paris

MARIN THEATRE COMPANY EXTENDS RUN OF “JACQUES BREL IS ALIVE AND WELL AND LIVING IN PARIS” THROUGH JUNE 22

JACQUES BREL IS ALIVE AND WELL AND LIVING IN PARIS: Music by Jacques Brel, production conception, English lyrics and additional materials byEric Blau and Mort Shuman, based on Jacques Brel's lyrics and commentary. Additional arrangements by Eric Svejcar. Directed by Kent Nicholson, Music Director Steve Sanders. Marin Theatre Company (MTC), 397 Miller Avenue, Mill Valley, California, 94941.
415-398-5208 or www.marintheatre.org. Through June 15, 2008.

JACQUES BREL BRILLIANTLY RESSURECTED BY MTC

Jacques Brel’s music was written to play in cabarets and cafes. Bearing that in mind, the Marin Theatre Company (MTC) has constructed a handsome, nostalgic French café set (Kate Boyd) in their 300-seat theater that creates a feeling of intimacy for the two-woman, two-man cast to reach out and touch the audience. Adding to that is a four member on-stage band, using piano, accordion, guitar, violin, mandolin, bass and drum/vibes under the controlled and muted direction of Steve Sanders that enhances the total production. They use re-orchestrations based on the recent Zipper Theatre (NYC) production.

Two generations have passed since the Jacque Brel phenomenon took root, being made famous by Edith Piaf. The 20 plus age generation may not be familiar with his antiwar thesis but they have much in common with the Vietnam protesters. The Iraq war has mobilized them into a similar group who would be extremely appreciative of feelings engendered by “Jacque Brel is alive and living in Paris.” The songs are cogent to today’s audiences and create a stimulating theatrical evening.

Because of the additions, subtractions and changes in the musical numbers in previous stagings in the intervening 40 years, it is difficult to compare this with other productions. Director Nicholson creates a feeling that is fresh and new varying the tempo with changes in the order of the musical numbers. He begins with the simple expediency of a woman’s head appearing through the pure white proscenium arch curtain to sing the lines first in French followed by an English translation. Even when the lyrics are in French (or is it Flemish?) the meaning is maintained with the expressive renditions awakening abdominal butterflies. Exemplary lighting, simple choreography and video projections fortify the pathos and humor.

There are many standout haunting numbers but only a few are memorable i.e. they fill your head when you leave the theater. The four-member cast (Noel Anthony, Robert Brewer, Alison Ewing and Kristin Stokes) work as an ensemble with their unique contrasting singing attributes full of nuances. Their quartets ( “Marathon”, “Madeline”, “Amsterdam”, “The Bulls”, “Brussels”, “Carousel” and others) add needed variation and pick up the pace allowing the audience to take a breather from the intense ballads.

Allison Ewing, who played the lead in “Cabaret” in Paris for nine months, is most like Edith Piaf and is brilliant singing “Marieke.” Kristin Stokes is first to inject humor with her child-like version of “I Loved” that is an audience pleaser. There is the bittersweet humor of a statue honoring a past soldier that is defiled by graffiti as he confesses his lack of heroics and Robert Brewer’s rendition, while standing on a café chair, is a gem (“Statue”). In “Funeral Tango” Noel Anthony creates similar satirical humor, propped up with arms crossed in a virtual dead man pose, spewing the truth about fair weather friends. Anthony, with full cast help, makes “Amsterdam” powerful and memorable for the first act curtain.

Late in the show there is a video clip, projected on the uneven folds of the second stage curtain, of Brel plaintively singing one of his songs that temporarily resurrects him from the dead. It is a directorial coup. You will be very pleased with this entire production. Running time one hour 40 minutes with intermission.

Courtesy of TheatreWorld Internet Magazine