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I Do! I Do!
Book and Lyrics by Tom Jones, Music by Harvey Schmidt
Directed and Choreographed by Michael Hamilton
STAGES St. Louis
June 6 and 7, 2018

Corrine Melançon, Steve Isom
Photo by Peter Wochniak, ProPhotoSTL
STAGES St. Louis

STAGES St. Louis is kicking off their new season with one production that’s also, in a way, two. A classic two-person musical tracing the history of a marriage, I DO! I DO! is doing something slightly different this year, in that it has not one cast, but two. On alternating days, audiences can see the “Purple Cast” or the “Red Cast”. The show itself is entertaining with a slight, somehwhat problematic book and a strong, memorable score, ultimately serving as an excellent showcase for the performers in both casts, each bringing their unique talents and chemistry to this production.

The story is essentially “marriage in a nutshell”–a look at a 50 year marriage that tries to do a little too much and is somewhat dated in its portrayal (even as a period piece), although it has its strong moments, particularly in the songs. Following the story of Agnes and Michael from their wedding day until the day they move out their house, the story touches on a lot of familiar marriage tropes–the honeymoon stage, new parenthood, disillusionment, temptations to infidelity, midlife crises, growing old together, and more. It’s a fun show, for the most part, with catchy songs and some insightful moments and a genuinely touching finale, but the show also tries to cover too many issues sometimes, to the point where they are only given cursory and/or stereotypical treatment, and conflicts get brought up and resolved much too easily, especially at the end of Act 1. Still, the second act works a lot better, although it’s also filled with its share of cliches. For the most part, though, this is just a fun show, here as a showase for its performers and to highlight some memorable songs from Tom Jones and Harvey Schmidt.

Essentially, the biggest strength of a show like this is in casting, and this production boasts not one, but two excellent pairs in the leads. Both casts feature one local performer and one New York-based performer, and both casts bring different strengths and insights into the material. The “Purple Cast”–Corrine Melançon as Agnes and Steve Isom as Michael–and the “Red Cast”–Kari Ely and David Schmittou–are excellent in their own ways, with some moments standing out more with one cast, and some with the other. Both Michaels, Isom and Schmittou, have excellent stage presence and carry off the “song-and-dance” aspects of the role well, with Schmittou displaying especially strong chemistry with Ely in the “older” scenes in Act 2, and Isom standing out more in the “gleefully self-important” and smarmy moments for the character, such as Act 1’s “A Well-Known Fact”.  The biggest contrast is in the portrayers of Agnes, with Melançon the more polished singer and dancer, shining in moments like Act 1’s “Flaming Agnes”, and Ely bringing a more reflective portrayal, making Agnes’s journey through midlife self-doubt in Act 2–embodied in the song “What Is a Woman” and the scenes that follow–especially convincing. Both couples portray convincing chemistry, portraying the aging of the characters through the years well, and both do the best they can to make the somewhat clunky resolution to Act 1 work, with the “Purple Cast” doing a slightly more convincing job, but really, that scene is the script’s problem and no matter how great the performers are, it’s still kind of hard to believe. The strength here in general is in the connection between Agnes and Michael as a couple, and both pairs portray that well in their own unique ways.

The technical aspects here are simple but well-done, although with at least one confusing costume choice. Michael Hamilton’s direction and choreography are energetic and well-paced, and James Wolk’s set–which is essentially just a few furniture pieces and a bed that slides on and offstage as needed–is simple and effective, and Sean M. Savoie’s lighting is also excellent. Brad Musgrove’s costumes are, for the most part, meticulously detailed and period-accurate covering the first 50 years of the 20th century, although Agnes’s costume and wig in the first part of Act 2 look more like something out of the 1970s than the 1920s. Still, for the most part the production values are strong, as is usual for STAGES. I also like the idea–apparently used in all productions of this show–of the performers’ applying their own age makeup on stage to prepare for the show’s conclusion.

I DO! I DO! is a fun musical comedy look at a marriage. It’s not particularly deep or profound, although it has some poignant moments, but mostly, it’s just fun, and an excellent showcase for its stars. At STAGES, there are four stars being showcased, and I’m glad to have seen both casts. It’s an entertaining show no matter which cast you see.

Kari Ely, David Schmittou
Photo by Peter Wochniak, ProPhotoSTL
STAGES St. Louis

STAGES St. Louis is presenting I DO! I DO! at the Robert G. Reim Theatre in Kirkwood until July 1, 2018

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