Martin Denton
· April 24, 2008
Only a few minutes in, one of the narrators of The Devil
and Tom Walker informs us most straightforwardly that this is a
cautionary tale about the dangers of avarice and greed. If only all
moral lessons were presented as delightfully and divertingly as this
one!
The Devil and Tom Walker is a new musical at
Metropolitan Playhouse; conceived by its director, Yvonne Opffer
Conybeare, it is based on a story by Washington Irving. The author is
Anthony P. Pennino and the many songs that run through the show are by
Rob Kendt (many are original while others are adapted from various
traditional folk songs of the 17th, 18th, and 19th centuries). It's
certainly not a traditional musical in any sense, but there's lots of
music, and it's vital to the telling of this sprightly, oft-resonant
tale. It is one of the finest new musical comedies of the season.
The story takes place around 1730 during the reign of King
George II. England's vast empire is suffering a severe economic
depression (at least in part due to over-extending of scarce
resources—sound familiar?). In Massachusetts, a pair of tightwads who
happen to be married to each other—Tom and Abigail Walker—are living
together in a state of perpetual dissatisfaction: she because he won't
work, and he because she nags at him to do just that. One day, Tom
wanders off into the forest on his way into town, and who should he
meet there but the Devil himself. Old Scratch has a proposition for
Tom: he will give him the lost buried treasure of Captain Kidd in
exchange for Tom's soul.
I don't want to give too many of the story's fun surprises
away here. But I do need to explain that when Tom and the Devil finally
make their bargain—and the Devil admits that Tom is the toughest
negotiator he's ever come upon—one of the conditions attached to Tom's
new-found riches is that he must employ them in a way that serves his
new master. So Tom becomes a usurer, charging 10% interest to already
impoverished Bostonians in dire need of cash. (To his credit, he
rejects the Devil's suggestion that he invest the money in a
slave-trading operation.)
Pennino tells the story in rich detail, supplemented always
with appropriate songs (by Kendt) that either sound authentic or really
are. The Devil himself is our principal narrator, but all of the cast
members take turns with the exposition as needed. They also provide
much of the music: Kendt himself is on stage (or rather, on a balcony
above the stage), on piano and guitar (and sometimes adding to the
vocals as well); the other performers variously perform on fiddle,
guitar, and percussion. The effect overall is like story theater as
this band of minstrel/actors recount and enact their timely tale in
their own witty and lively way.
The cast is splendid. Erik Gratton is a most ingratiating
protagonist as Tom Walker, never overplaying either the laziness or
sentimentality of this somewhat archetypal American character, and
proving himself a match for Michael Jerome Johnson's vivid and
matter-of-fact Devil. Rebecca Hart is terrific as Tom's shrewish wife
Abigail, especially capturing the mercenary qualities that emerge when
she learns of the Devil's offer to buy Tom's soul. Metropolitan
Playhouse regular Michael Durkin, Justin Flagg, and Sarah Hund complete
the small but robust ensemble, each of them playing seemingly dozens of
characters (and narrating, and playing and singing the score)
effortlessly and captivatingly.
The entire show is realized on Metropolitan's small stage with
elegance and simplicity by Conybeare. The design (set by Conybeare and
Alex Roe, lighting by Tony Galaska, costumes by Melissa Estro) is
spare, appropriate, and evocative. The pacing is brisk and the music is
beautifully played. I'm not sure I've seen better work by Conybeare and
Pennino. The show is a treat....a treat with a message that's clear,
pertinent, and unimpeachable.
The Devil and Tom Walker—whose source material has
fueled at least one other theatre work, the folk opera The Devil and Daniel Webster—deserves a long
life after this premiere presentation. Its so skillfully put together
that it seems a natural for venues of every size, shape, and
description. (Commercial producers in NYC, take note!)
New
York
Theatre Wire
If
you're
looking to spend a couple of enjoyable hours with delightful
songs, storytelling and capable acting about The Devil conning a
ne'er-do-well into lending money to greedy colonial New Englanders,
then watch him justify foreclosing on their properties and shrug at
their ruined lives, then this very timely show is just the ticket for a
lively Springtime entertainment.
The Devil is this wonderful little musical's metaphor for the
all important and eminently current carping about rapacious American
greed in the guise of helping people through usury. Under Yvonne Opffer
Conyeare's lyrical direction we are witnessing the Ur story of mortgage
banking, hope ending with declining fortunes, alongside the acquisition
of massive wealth for the lender. Doesn't sound like much fun, but it
is. Because it's our story, ultimately American and hits very close to
home.
Michael Jerome Johnson as The Devil gleefully tells his tale.
He wittily and honestly plays Old Scratch as a businessman seeking
other businessmen to carry on his nefarious work. Kind of a successful
brokerage or franchise deal for those willing to sell their souls. He
has no trouble getting clients until he meets Tom Walker, the laziest
man in colonial Massachusetts, played both indolently and energetically
by by Erik Gratton.
By contrast Rebecca Hart as Tom's shrewish wife Abigail is
ready willing and able to be bought. In fact she craves wealth so much
she bakes griddle cakes for her Satanic would be mentor. But alas
wealth is not her destiny. Perhaps she burned in Hell from a kiss on
the Hot One's lips.
However it's Michael Durkin's many characterizations that
bring the show it's biggest laughs and it's inherent morality. His
humanity comes through in every role as he criticizes, guides and
supports the demonically enmeshed Tom. Durkin is a fine character actor
who adds wisdom to the otherwise seedy state of financial and social
relations in 18th century Boston. Has much changed?
Perky Sarah Hund is a wonderful comedienne who shows us the
ridiculous and the pathos of colonial manners. She's a bad girl, a good
girl, a victim and a wonderful dancer. Her elastic expressions
transport her emotions directly to us in the intimate Metropolitan
Playhouse environment.
The most diverse character requirements were met by Justin Flagg in his
New York debut. His age range, accents and ability to convince were
superlative. He was at differing moments masking many inner secrets,
especially while playing the religious hypocrite.
Adapter Anthony P. Pennino knows this is a pertinent story
and gave it language that could be understood by anyone, even those
without an American history background. Along with composer-lyricist
Rob Kendt this team provided both an educational and moral message in
song and story. A story well worth examining in light of the times in
which we live.
