The stage version of Meet Me in St. Louis offers delights and whims that not even Judy Garland could dish up in the 1945 original film.
The stage itself contributes a new perspective to the show.’
The film’s narrow camera close-ups of women wearing uncomfortably close-trimmed dresses inspire only claustrophobia. Its stolid acting, rigid movements and unremarkable settings offer a visual accompaniment that does not keep pace with the strong score.’
However, in the stage production, the cast, sets and choreography can be viewed in their vivid and glorious harmony.
In one scene, the mechanical synchronization of the trolley passengers’ heads tilting is hypnotic. In others, various colors collide, and the resultant dance feels like watching a patch of tsunami-tussled sea anemones.
The actors have also taken uplifting tones from the original 1945 script. With excellent tonal interpretation and decision-making, the director managed to conjure a comedy from an otherwise unremarkable string of sentences.’
The original film was too solemn and its characters too stern for humor to work. Even the primary source of comic relief in the stage production had a serious side in the film.’
In contrast, the ceaseless discourse of the present production is a welcome improvement on the original concept. The actors move with lighthearted tones in a bombastic robustness inflected in every minute of the show.’
Occasionally, the acting can go too far, specifically when the main character, Esther, says a few more wispy words than the average star-crossed lover. For the most part, however, the acting is seamless and unnoticeable.
The show’s primary shortcoming is its timeliness. Most of its sentiments seem too silly and antiquated for modern applicability.
At one point, a character expresses unwillingness to pay more than ‘$12 per month’ for maid service. This anachronism was absurd, even in 1945, and today, it is simply ridiculous.’
Besides this blunder, the characters are sitcom clich’eacute;s, their relationships are quaint, and the conflicts are either trivial or frivolous. Luckily, the director seemingly foresaw these thematic problems and aptly dealt with them by emphasizing comedic self-criticism.
Musical lovers should go see an honest improvement on an old classic.
The show will play through Oct. 11 at the Hobby Center for the Performing Arts.’
