Quartet comes to Walnut Street Studio on 3

Theater: Walnut Street Studio on 3
Show Title: Quartet
Opened: March 27, 2008
Seen: March 27, 2008
Reviewer: Gary Labowitz
Submitted: March 28, 2008

Walnut Street Theatre Studio on 3 presents “Quartet” by Ronald Harwood, directed by Malcolm Black. Mar. 25 – Apr. 13, 2008
825 Walnut St., Philadelphia, PA

The play involves three older opera singers in a retirement home for performing artists in Kent, England. They each present us with some failing or mystery. We have the dotty mezzo-soprano Cecily (Drucie McDaniel) who believes others are just returning from India. There is lecherous baritone Wilfred (John Peakes) who leers and tries never to miss a chance at sexual innuendo. Then there is overly formal tenor Reginald (Tom Markus), who freaks out over the topic of breakfast. All have been at the home less than a year. They get along, remembering their past triumphs (with residual income from reissued CD’s). All are excited over the upcoming celebration of Verdi’s birthday, at which they will perform for the other residents.

There is English humor here, laced with spicy comments from Wilfred, outbursts from Reginald, and non sequiturs from Cecily. Into this mix comes a new resident: the noted soprano Jean (Wendy Scharfman), who was married at one time to Reginald and who abruptly quit singing at the peak of her career. The humor remains with tensions added.

The script, by Ronald Harwood, is excellent, befitting an Oscar winning screen writer. Mr. Harwood has a good feel for how old opera stars might behave, and we can accept their antics as an honest portrayal: knowledgeable of their craft, in love with the music, and just as silly as the rest of us, maybe even more so.

Plans for the singing of the trio from “The Marriage of Figaro” are now changed to the quartet from “Rigoletto.” But Jean refuses to participate. However, a final agreement is made in which the four will present the quartet at the gala. During the preparations each becomes more open to explain his or her past experiences and reveals to each other (and to us, the audience) the sources and reasons for each of their whimsical faults. Fortunately, the strength of the comic aspects of the characters (and the direction of Malcolm Black) keeps the show from grinding to a depressing halt.

How can Reginald and Jean work together again? How can these aging performers sing the demanding quartet again? Is there ever a “going back” to the days of youth – other than in memory? The show provides some of the answers, or perhaps only clues that we need to discover the answers for ourselves.

Tom Markus provides a solid foundation for the dotty behavior of Crucie McDaniel and the spicy laviciousness of John Peakes. Wendy Scharfman brings the needed level emotion to the mix, but even she has her “mad” moments, as befits a soprano. The lecher, Wilfred, gets all the good lines, of course, but as good as the other actors are (and they are good), Drucie McDaniel as Cecily takes control whenever she is on stage.

The house (which is a single, small tiered seating of 80 or so) was full, and deserves to be throughout the run. Try to get tickets for a fun, and touching, evening of British theater.