A Modern Romantic Musical Comedy: “Everything you have ever secretly thought about dating, romance, marriage, lovers, husbands, wives and in-laws, but were afraid to admit.”
At: The Swift Creek Mill Theatre, 17401 Jefferson Davis Highway, Chesterfield, VA 23834
Performances: September 11 – October 23, 2021
Ticket Prices: $44-$49
Info: (804) 748-5203 or https://www.swiftcreekmill.com
I LOVE YOU, YOU’RE PERFECT, NOW CHANGE is musical comedy balm for the over-whelmed pandemic soul. After a year and a half of pandemic restrictions, and one year after bailing out of the worst flood in the building’s history (https://www.chesterfieldobserver.com/articles/historic-flooding-leaves-swift-creek-mill-theatre-under-water/), The Swift Creek Mill Theatre has reopened its doors to a live audience. This delightful romantic musical comedy was originally scheduled to open in 2020, but the work was put on hold due to the pandemic.
Opening at full capacity, with no social distancing between seats, a fully masked staff welcomed a fully masked audience that had access to digital programs. Love them or hate them, digital programs are here to stay. Opening night featured a pre-show reception with a light buffet instead of a full dinner, but going forward, dinner will be served prior to the show (with plated table-side service instead of a buffet line), and the bar is open.
But enough about housekeeping. Let’s talk about the show; after all, that’s why you came here. It appeared that dynamic quartet of actors – Rachel Marrs, Nicole Morris-Anastasi, Ian Page, and Luke Shares – found just as much enjoyment in their multiple roles as we did. Tom Width first directed this show in 2006, and it has since been updated. Sprinkled throughout the vignettes are references to Google and Netflix, Tinder dating profiles, and the Jennie Craig weight management system. There are local references to Joe’s Inn and the VMFA as well.
I LOVE YOU, YOU’RE PERFECT, NOW CHANGE was written as a series of vignettes, each of which could stand alone, but which, taken all together, follow a more or less chronological timeline of relationships from dating to marriage, concluding with a charming encounter by an elderly couple. The scenes are familiar, relatable, and consistently amusing. Oh, and the actors’ voices are perfect for their roles, whether singing or speaking.
Among my favorites: Morris-Anastasi and Page were hilarious as two awkward people who turned out to be made for each other in “A Stud and a Babe.” Then there was Schares and Marrs at the movies, where he tried to maintain a tough, macho attitude only to be drawn into all the feelings in “Tear Jerk.”
My initial question about whether a scenic element represented a fireplace or a headboard was answered in “And Now It’s Sexy Time,” a scene that explored the wisdom of employing a lawyer to negotiate a couple’s intimacy requirements. “When a Man Texts a Woman: A Picture of His” tackled one of the more contemporary sticky issues with a balance of humor and insight, while “Scared Straight” was assuredly the most outrageous scene. Here, a singles group facilitator took a small gathering to prison to receive relationship advice from a serial killer played by Schares. Schares’ prosthetic teeth slipped out at one point, and he deftly replaced them, earning a laugh without missing a beat.
There was a scene with a family of doting parents composed of two dads and a vignette about driving with the family that included ingenious choreography for four rolling office chairs. Marrs and Schares brought warmth and tenderness to the final scene, “Funerals are for Dating.” It was delightful to watch Marrs’ character shed her stodgy church-lady demeanor and spontaneously dance with her flirtatious partner. And I must mention Marrs’ expressive face throughout. She has an excellent command of physical comedy – at times reminding me of Lucille Ball.
With a total of twenty scenes spread over two acts, there truly is something for everyone. I LOVE YOU, YOU’RE PERFECT, NOW CHANGEis a wonderful welcome back to SCM. If you need a relaxed, enjoyable evening of theater, with good, solid performances and lots of laughs, you can’t go wrong here. In his Director’s Notes, Tom Width refers to “the shock of recognition” principle that allows us to take comfort in knowing that you’re not the only one who has thought or gone through this – whatever “this” is for you.
I LOVE YOU, YOU’RE PERFECT, NOW CHANGE is timeless and inclusive. The authors apparently made provision for including local and updated references.
While not the familiar, sing-along type, the lyrics are straightforward, and you can understand every word. It helps that the music, played by an unseen four-piece orchestra, is upbeat and supports the song lyrics, spoken dialogue, and action. Joe Doran’s lighting is subtle yet effective, and Maura Lynch Cravey has fun with the costumes. Her ugly bridesmaid’s dress may have reached a new pinnacle of hideousness. I wouldn’t change a thing about I LOVE YOU, YOU’RE PERFECT, NOW CHANGE!
Book and Lyrics by Joe DiPietro
Music by Jimmy Roberts
Directed by Tom Width
Costume Design by Maura Lynch Cravey
Lighting Design by Joe Doran
Scenic Design by Tom Width
Technical Direction by Liz Allmon
Conductor/Keyboard: Shellie Johnson
Reeds: Sheri Oyan
Drums: James Oyan
Guitar/Bass: Greg DeBruyn
Thu, Fri, Sat @8:00PM Sept 11, 17, 18, 24, 25, 30
Sun, Wed @2:30PM Sept 19, 29
Thu, Fri, Sat @8:00PM Oct 1, 2, 7, 8, 14, 15, 16, 21, 22, 23
Sun, Wed @2:30PM Oct 6, 17
$44 for seniors, students, military, and first responders.
Rush – $25 Theatre Only tickets and $15 Student Theatre Only tickets, based on availability one hour prior to any show.
Photos: Robyn O’Neill
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