Loving Repeating: A Musical of Gertrude Stein

Intimate knowledge and understanding of the life and works of Gertrude Stein are crucial to understanding and enjoying this chamber musical by Stephen Flaherty and Frank Galati. That's because everything about the work, from its structure to its content, is in the abstract, as if the musical had been written by Stein. That makes "Loving Repeating" a two-edged sword. Approach it as light entertainment, to be enjoyed for its sights and sounds, and you'll be satisfied. Expect to learn more about Stein or to be enlightened about her exalted place in the literary firmament, her fascinating life, and the company she kept—from Picasso to Hemingway—and you'll be sorely disappointed.

Given the show's nonlinear, esoteric nature, director Caryn Desai, musical director Darryl Archibald, and choreographer Heather Castillo have crafted a lighter-than-air soufflé elegantly complemented by Kurt Boetcher's set design, Kim DeShazo's costumes and Donna Ruzika's lighting. From just backstage, Archibald plays piano and conducts a four-person ensemble that lends a delicate touch to Flaherty's often spare score, whether the numbers are paying tribute to (or spoofing) music hall, vaudeville, or opera. That gives much of the performance an a capella feel bolstered by Desai's talented eight-person cast. Galati's libretto consists of words either written by Stein as literature or poetry or spoken by her in the form of lectures. As such, the "frame" is the presence of the eccentric, talkative Gertrude in her prime (Cheryl David) at a lectern, addressing us directly. The backstory she tells involves herself as a young lady (Shannon Warne); her lifelong partner and lover, Alice B. Toklas (Melissa Lyons Caldretti); and a nameless chorus of three men and two women who fill out the scenes and songs.

Everyone involved applies a deft hand, whether the numbers are paying tribute to (or spoofing) music hall, vaudeville, or opera. It's well-known that in her avant-garde way, Stein used words not for their meanings but for their sounds, often relying upon repetition. In this context, the technique of repeating trivializes the material while casting an absurd coloration upon it reminiscent of the works of Dr. Seuss. In the show's closing moments, Alice addresses us directly, recounting the events of the last day of Gertrude's life. It's enough to frustrate us into wishing the show had given us an informative, linear approach to Stein's life—something of ambition and accomplishment, like Stein.

Presented by and at International City Theatre, Long Beach Performing Arts Center, 300 E. Ocean Blvd., Long Beach. Jan. 21–Feb. 13. Thurs.–Sat., 8 p.m.; Sun., 2 p.m. (562) 436-4610. www.internationalcitytheatre.org.