by John Forster
At The Variety Arts Theatre
Reviewed by David Robertsfor Theatre Reviews Limited
Any new musical review which promises to deliver a "good swift kick" to the Pentagon, the PAC (Political Action Committee) men, China, designer Robert Moses, Paul Simon, McDonalds, France, codependence and DNA testing might be worth seeing. In the case of John Forster's new revue "A Good Swift Kick" the promises are kept and this clever, tightly directed musical revue at the Variety Arts Theatre delivers on every level.
Samuel Francis, nationally syndicated columnist, reminds us of the following: "There's a famous story about Dr. Samuel Johnson's brusque response to a philosophical fad of his day. Asked about the theory that reality doesn't exist outside the observer, Dr. Johnson gave a good, swift kick to a nearby rock and declared, ‘I refute it thus.' The hardness of the rock and the softness of the doctoral toe should have been sufficient to convince skeptics that something really is out there."
There is much reality "out there" that we share and Forster's revue is the "good swift kick" which brings some bytes of that reality into focus for a delightful ninety minutes of zany, often thought-provoking, fun. The show's cast is wonderful to watch and listen to as they dash their way through the revue's twenty songs, often making very quick costume changes and refocusing their energy in what seems like a split second. The revue gives each actor an opportunity to showcase their particular craft; however, the real strength of this show is how well these five versatile actors coalesce into a powerful ensemble.
The show's opening number "In the Closet" is a wonderful deconstruction of the Pentagon's "don't ask, don't tell" policy regarding gay and lesbian members of the armed services. "Freedom must be fought for in the closet" is not only a clever lyric, but a powerful indictment of the hypocrisy of the military, as well as society at large. This same astute fusillade against hypocrisy is also present in "The PAC Man" Forster's attack on the Political Action Committee members who, when affirming their support of the tobacco industry despite the evidence that smoking causes cancer, sing "Cause it, cure it, it's a wash."
Cast member D'Monroe makes his Off Broadway debut with "A Good Swift Kick" and it is a debut to be reckoned with. This Baltimore, Maryland newcomer has a wonderful voice and an engaging stage presence. He is the energy behind the success of many of Forster's songs including "Passing" the show stopping finale of "A Good Swift Kick" which "opens the gates of Monticello" and introduces DNA testing to the audience in a way few could anticipate.
Codependence is explored with humor and perspicacity in Forster's "Codependent With You," delivered with perfection by Wanda Houston. No one but this gifted song stylist could deliver lines like, "I'm hooked on the hell that you put me through" and "You are the albatross [around my neck] but still the boss!" and manage to unearth the lyrics' comic and tragic subtexts with grace and style.
"Entering Marion," a song that is a highlight of this revue, will convince audience members that David Naughton is a clairvoyant and a channeler. The same elastic face and "tuned in" spirit that served him in his "An American Werewolf in London" transformation from man to beast (and back again) brings to life many layers of feeling. Naughton's ability to express human emotions in the subtle movement of a facial muscle is uncanny. He can also "sound like" almost anyone he chooses to portray. Close your eyes as he sings "Fusion" and hear the voice of the master of "finders keepers" composition. Naughton also does a mean Robert Moses.
"Helium" and "Virtual Vivian" give Jim Newman the opportunity he deserves to display his considerable skills as a vocalist and a dancer. Newman literally fills the stage in Forster's exploration of the future of sex as virtual experience in cyberspace and he is also very funny when he works with Elisa Surmont in the endearing "Tone Deaf." Jim Newman has a strong, controlled and pleasant voice.
Elisa Surmont, who was part of "A Good Swift Kick" when it was known as "Both Barrels," is a dynamo of a stage presence. Her solo performance in "Bye Bye Future" is a tragic-comic tour-de-force which manages to showcase John Forster's ability to seduce the audience into an almost comatose state of hilarity and then deliver the "good swift kick" that brings the reality of the particular song's content swiftly to bear on the collective conscience of the audience.
The ensemble shines in "Spores," Forster's deconstruction of the institution of marriage, in "The Big Mac Tree," which brings to the forefront of consciousness all the nightmares one ever had about fast food and the American landscape, and in "One Billion Little Emperors," an exuberant look at China's "one child per family" policy.
Conductor John DiPinto heads up a great band and Kenneth Foy's set and Jason Kantrowitz's lighting complement the wonder of the music, lyrics and cast. "A Good Swift Kick" is the perfect place to spend an evening in a city which tests reality every chance it gets.
Reviewed on Sunday, August 1, 1999 (Opened on Thursday, July 29, 1999)
"A GOOD SWIFT KICK"
By John Forster. Directed by Paul Kreppel. Scenic design by Kenneth Foy; costume design by Mariah Hale; lighting design by Jason Kantrowitz; sound design by Peter Fitzgerald. Orchestrations are by Steve Orich and John Forster; musical director, Jason DiPinto. Presented by Sandy Faison, Chase Mishkin, Randall Wreghitt, Steven Levy and Leonard Soloway at The Variety Arts Theatre, 110 Third Avenue at 13th Street. Performance schedule: Tuesday through Friday at 8:00 p.m.; Saturday at 7:00 p.m. and 10:00 p.m.; Sunday at 3:00 p.m. and 7:00 p.m. Tickets are $50.00 and can be ordered by calling Telecharge at 212-239-6200 or by clicking on "Purchase Tickets" above.
WITH: David Naughton, Wanda Houston, Jim Newman and Elisa Surmont.