Upstream Theater

Through April 20, 2008
Reviewed by Chris Gibson

When Cuba allowed the dedication of a statue of John Lennon to grace a public park in Havana, it went against years of political policies designed to keep the group's music and presence banned. What it brought were legions of repressed fans who would sing and pay tribute to the fallen idol into the wee hours of the night. What it proved was the universal appeal of the four lads from Liverpool's music. It showed that the underlying hope and energy contained in those songs still burns brightly. Febles uses this event to tell the story of a man's desire to revisit his past, despite the painful memories it dredges up for those around him.

Johnny is obsessed by the Beatles to the point that he's built a shrine to them in a garage, along with a faithful recreation of the famed Cavern Club. Despite the fact that many years have passed, he wants to reunite "The Crusaders" a Fab Four cover band whose initial success was destroyed by a momentary lapse of reason by Johnny, and by political unrest concerning their choice of music. He steals the statue of Lennon and brings it home thinking the pact the band had made-to sing again if any Beatle ever visits Cuba-can now come to fruition.

Jerry Vogel walks the fine line of sanity as Johnny. His fanaticism is a result of his enthusiasm, but when he begins to converse with the statue, you know he's gone over the edge. While trying to convince his family and the original band members to gather for a final show, he peppers his speech with fragments of Lennon-McCartney lyrics. This leads to an amusing discussion with his Mother, warmly realized by Thomasina Clarke, where he pleads for her to "try and see it my way".Vogel also shows off his talent on guitar, strumming bits and pieces of various songs throughout the show.

J. Samuel Davis is good as the band's former bass player, Zombie, who's now toiling as a butcher. He suffered the horrors of reform camp when the band was forcibly dissolved, and he's unwilling at first to even listen to Johnny's pleas. Davis is convincing as he reluctantly allows himself to reflect back on those painful times. Isabel Pastrana is strong as his eavesdropping wife. She's unaware of his past until Johnny visits, and she makes her negative viewpoint clear.

Peter Mayer is properly aloof as Scorpion, the band's former percussionist who has put his past behind him. And, with his suspicions of who stole it firmly in place, he's more interested in seeing the statue returned to it's rightful spot in the park. Briston Ashe is solid in a number of roles, and draws laughs with her portrayal of Scorpion's dog. Terrel W. J. Randall, Sr. contributes nicely as his drum playing son.

Farshid Soltanshahi plays the inanimate Lennon, and contributes live underscoring utilizing a number of familiar Lennon-McCartney tunes to set the various moods. Norman McGowan nags and wheedles Johnny as his concerned Father, and also portrays the former leader of the band. Jane Paradise is fine as the leader's long suffering mother.

Philip Boehm's offbeat and unconventional casting requires a suspension of disbelief at times that would be enhanced greatly by more consistent accents and more convincing makeups. The pace also drags here and there, making me think the piece might work better if there was an intermission inserted. Igor Karash's set is minimalistic with clothes lines and brightly colored linens providing the boundaries. Inez Guzman adds an impressively cool shrine to the Beatles. Sean Savoie provides impeccable lighting.

Upstream Theater's production of The Concert/El Concierto continues through April 20th (2008). Call 314-863-4999 for ticket information.