In this genial musical about the relationship between Gertrude Stein and Alice B. Toklas, the cast consists solely of women. For such an iconic female couple, it's entirely appropriate. The fact that some of the characters are famous men, such as Pablo Picasso, F. Scott Fitzgerald, and Leo Stein, seems incidental; as Gertrude (Barbara Rosenblat) emphatically sings in the opening scene: "A lesbian is a lesbian is a lesbian." With book and lyrics by Ted Sod and music and lyrics by Lisa Koch, this musical's spotlight, however, is on Alice (Cheryl Stern). This is Alice's turn, Alice's attempt to put herself center stage and give her version of being "the woman behind the woman."
The show's opening has a genuine brightness as Alice introduces herself as a transformed glamorous creature, the Alice she wanted to see in the mirror. We enter the salon of 27 Rue de Fleurus, where Alice has come to live and Gertrude bluntly sings, "Be my wife, Alice/Give up your life, Alice." The two opening songs — "Salon (Let's Talk)" and "Genius" — glow with good humor and witty lyrics and set the salon as the place to be. As well as Picasso and Fitzgerald, it's also the scene for Mabel Dodge, Sylvia Beach, Marion Walker, and even Jean Harlow. And while Gertrude might dismiss another famous author with "Hemingway seems modern, but he reeks of museums," there's a rousing ensemble song about the importance of being Ernest.
Another of Gertrude's pronouncements is "Postmodern audiences expect conflict." The authors follow this advice, so the musical focuses on Alice's search for identity as she begins to drown in Gertrude's sea of self-importance. The authors' desire is to finally define Alice and add some gravitas to the proceedings, but with the advent of Alice's psychological problems, 27 Rue de Fleurus devolves into a conventional, bickering biography. In such a negative atmosphere, the built-up charm has a way of draining away rather quickly.
At its most playful, the show, under Frances Hill's able direction, has some shining moments. The better songs are led by the smart and tart lyrics, and it's great to hear good, unamplified voices singing them, aided by John Bell on piano. Both the protagonists are first-class: Stern's complex Alice is sympathetic and pleasingly well-sung, while Rosenblat's Gertrude exudes authority, with a hint of fun. Sarah Chalfy, Susan Haefner, and Emily Zacharias give reliable support in a raft of roles, both male and female. Roman Tatarowicz's elegant set, with the help of Alex Koch's creative video design, makes 27 Rue de Fleurus just where we'd like to have been with Gertrude and Alice. Oh, make that Alice and Gertrude.
Presented by and at Urban Stages,
259 W. 30th St., NYC.
March 6-April 13. Wed.-Sat., 8 p.m.; Sat. and Sun., 3 p.m. (No performance Sat., March 8, 3 p.m. Performance Thu., March 13, is at 7 p.m.)
(212) 868-4444 or www.smarttix.com.
Casting by Stephanie Klapper.
