Presented by the Chekhov Theatre Ensemble at the Theatre at St. Clements, 423 W. 46 St., NYC, May 11-June 23.
Eric Winick's "The Vocal Lords" is based on the true story of a short-lived doo-wop group of the late 1950s from Bensonhurst. We first meet two of the group 40 years later—Marty (Joe Ragno), now a printer in Manhattan, and Steve (Philip Levy), whose background remains much of a mystery. Then we are introduced to the two protagonists as their younger selves—Marty is then called Butchie (Ethan James Duff) and Steve is known as Tudie (Fred Berman). The none-too-original device of alternating scenes of youth and age is used to unfold the story under Floyd Rumohr's direction.
The younger selves win by a Bensonhurst mile. Their scenes have an energy and crispness that bring the material alive, greatly helped by the convincing performances of Duff and Berman. Indeed, Berman is a ball of fire who drives this sputtering vehicle whenever he gets the opportunity. It also doesn't hurt that these two young actors can sing well—their songs are the most pleasing aspect of the production.
In contrast, one feels almost sorry for the two older players who must wade through rambling and repetitive naturalistic scenes where background exposition is stingily rationed. The inconsequential dialogue includes clichéd cries of "I wonder what would have happened…?" and "What we could have done together!" That they coulda been contenders is established early and repeated repeatedly. Someone should take a big blue pencil to these scenes. At over 100 intermissionless minutes, the play—and the audience—would benefit.
Authenticity about the details of the pop singing world benefit the play greatly, as do the pleasing 1950s costumes of Andrea Huelse. Set designer Russell Michael Schramm is responsible for an evocative rendering of the Brooklyn Bridge looming behind the stage. Because of what goes on in front of it, one has much too much time to admire this imposing background.