Theater legend Arthur Laurents is at it again. Well, not quite.
Best known for his work on musicals Gypsy and West Side Story, the 92-year-old Tony Award winner brings his newest creation, Come Back, Come Back, Wherever You Are, to the George Street Playhouse. Though Laurents has shown mastery in some of his earlier works, his newest drama is, unfortunately, not a diamond in the rough.
Come Back, Come Back, Wherever You Are is the story of Sara, a young woman who, coping with the loss of her husband Paolo, is able to take back her life by singing. With the plot focusing on her relationship with her in-laws and the all-too-cosmic encounter with a new suitor, the action never seems to rise or fall and becomes a stagnant story grazing the themes of love and loss.
Despite the mishaps, many elements are masterfully employed. The staging of this show is simple yet effective. By making use of a revolving stage, the transitions between scenes are fluid and well-paced. A central theme in the show appears to be the use of the color blue, which is notably reflected textually and visually. Additionally, the music is sentimental, jazzy and performed with precision by Christopher Howatt (music director/pianist) and Danny Stone (bass).
The actors are, for the most part, excellent. Shirley Knight, whose long career as an esteemed actress is reflected through her multiple Tony, Emmy and Academy Award wins and nominations, shines as Sara’s mother-in-law Marion. Her style is emotional yet cold, and her lines are delivered meticulously and with meaning. John Carter (Richard) and Leslie Lyles (Michelle) genuinely exhibit the complexities of their struggle to cope with the death of their son and brother, respectively. Jim Bracchitta (Dougal) plays Sara’s new love interest with vibrancy.
A disappointing comparison to the rest of the cast, Alison Fraser (Sara) never seems to suit the lead role. She is consistently affected and quirky, making her character unrealistic. As the only singer in the show and with two Tony nominations under her belt (The Secret Garden and Romance/Romance), one would assume that her singing should be at least somewhat decent. However, her voice cracks and screeches as she sings “Life is Just a Bowl of Cherries” and “The Best Things in Life are Free.” One would hope this is just a character choice but, if so, a disappointing one at that. Also, Fraser sets up a carefree, air-headed persona for her character that eliminates any depth the lead character might possess.
Probably the most disheartening part about the show is the script. Between the detached characterization and the lack of a strong conflict, the show drags. While it does pick up at intervals, the show is short of a hook to keep the interest alive. Furthermore, Come Back, Come Back, Wherever You Are runs 90 minutes without an intermission, making it even more draining for the audience. Between the excessive expositions, unfitting use of profanity and superficial writing, the cast seems to carry this show on their backs, burdened by its incoherency.
While the show has potential to be meaningful and heartfelt, it must first address the audience’s need for a more eventful storyline. The characters are coping — but so what? Come Back, Come Back, Wherever You Are needs to rethink its approach and relay a story that can capture an audience more effectively.
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