Have A Nice Life (NYMF)
Simply put, Have A Nice Life works. Taking place during a single session of group therapy (and yikes! what a group!) its study of group dynamics is, well, dynamic. While the characters are being given a lesson in how therapy is supposed to work, and sometimes does, it’s clear that those involved have learned some lessons in how musical theater can work. Conor Mitchell wrote both music and lyrics and co-wrote the book with Matthew Hurt. Many songs feel like natural extensions of the dialogue and stay true to the specific characters. When these blocked people can’t be honest or articulate in speech addressing each other, the artistic license afforded via a musical number lets them open up and it’s clear when something is just in their heads. The lyrics aren’t highly polished or filled with clever word play; sometimes they are overly plain to the point that one has to wonder if the naturalistic language that just happens to be sung will hold interest purely as a song. At least in person with this cast, the energy, committed acting performances and strong voices more than compensate for any such doubts. And the varied music is often rewarding, well served by a driving five-piece band led by pianist Mat Eisenstein. The choreography by Rhonda Miller is on the same page.
Director Pip Pickering admirably keeps things cracking and crackling. The frequent shifting at any given moment between comedy and drama is often surprising but never awkward, is rewarding and a strong achievement. A possibility for things to go either way is well established upfront, as are the characters. Costume choices by Mattie Ullrich are especially helpful in making instant right impressions.
The tension is palpable among the seven people in the room who, all together, have more issues than Time Magazine has had in its history. The sarcasm and zingers score. The ensemble work is especially admirable, as most of the actors are onstage reacting (listening, pretending not to listen, seething, being made uncomfortable, acting stoic, opening up) for the majority of the intermissionless one-scene story. When the tension is broken by humor or fantasy in a musical number - or when it increases like a ticking time bomb-it never feels gratuitous or manipulative, just skillful and well thought-out. There’s not a lot of fat here, and parts of it play like a mystery with judiciously placed clues as the truth behind some characters’ charades and bravado are revealed. The values and goals of self-examination through group communication come through, but there’s no heavy-handedness.
Michelle Blakely as the timid newcomer to the group who is more complex than she appears to be at first displays a strong and detailed characterization. As her "new best friend", Jacquelyn Piro Donovan succeeds portraying the outwardly sunny disposition that masks an inner storm.
With anger that rages and simmers, and chips on their shoulder the size of Kansas, three other group members are emotionally armed and dangerous. That those involved can make the bitter, brittle and self-involved characters so sympathetic and compelling is a tribute to their talents. Emily Skinner as mean Jean, particularly, finds nuances and subtle ways to show the hurt and tender soul under the tiger’s rage and does a sensational job. As the sexy, snide, standoffish woman who is attending the group under court order, Nicole Ruth Snelson puts the "tease" in "hostilities" and shoots off devastating one-liners with precision marksmanship. Michael Berry seems to effortlessly nail the embodiment of their cold-stare, judgmental male counterpart, rolling in male chauvinist pig heaven. Kevin Carolan as the awkward "Mama’s boy" is somewhat overshadowed by the higher-energy personalities, but has a great moment in the musical sun leading the sweet fantasy number Old Fashioned Romance.
The role of the group’s facilitator who barely keeps his head above water is a key one. Charles Hagerty does excellent work when it would be easy to be a caricature of the well-meaning but hapless and not quite assertive enough leader when any of the three anger management case studies could eat him for breakfast. He’s highly watchable whether stepping up to the plate or holding on for dear life to his psycho-babble key words (while several of the patients parrot and mock them like bored, rebellious junior high school students) and timidly stated rules ("Violence is a definite no-no"). It keeps the balance of power in question. And his performance of the late-in-the-show title song is electric. But a great deal of what happens on the stage before that is also riveting and it’s highly recommended.
Remaining shows: 9/15 (8 pm); 9/16 (1 pm); 9/17 (4:30 & 8 pm) at New World Stages, 30 W. 50 St. Tickets: $20 (212-352-3101 or at www.nymf.org where there’s more info and song samples to hear.
