THE BASICS: WORKING, The Musical, based on Studs Terkel’s best-selling book of interviews with American workers, adapted by Stephen Schwartz and Nina Faso, with additional contributions by Gordon Greenberg and songs by Craig Carnelia, Micki Grant, Lin-Manuel Miranda, Mary Rodgers, Susan Birkenhead, and Stephen Schwartz, directed by Neil Radice, starring Anne DeFazio, Jared Eichel, Michael Galante, Timiyah Love, Kate Mulberry, John Profeta, and Emily Yancey presented by O’Connell & Company (OCC), runs through April 10th, Fridays-Saturdays at 8:00, Sundays at 2:00 on their main stage 3200 Elmwood Avenue, Kenmore, NY 14217 (716-848-0800) oconnellandcompany.com Vaccine proof required; masks recommended. There are no printed playbills. Patrons may scan the QR code in the lobby or, you can download the program here.
Runtime: Two Hours including one intermission (refreshments available)
THUMBNAIL SKETCH: WORKING, the musical, brings to life several of the original 1960s – 70s interviews conducted by Pulitzer Prize-winning author and media personality Studs Terkel. Terkel’s book, published in 1974, was titled “Working: People Talk About What They Do All Day and How They Feel About What They Do” and that’s pretty much what this musical is about. He spoke with workers from a variety of industries, so there’s something for everyone to relate to. The current 2022 production is the premiere of the localized version of this show that brings the characters and their stories into Western New York and the present day. There are many monologues about what it’s like to be, say, a hairdresser or seamstress (Terkel’s mother was a seamstress), or a teacher or delivery guy, or a construction worker or a sex worker. Sometimes the monologues stand alone and sometimes they lead into a song (solos, duets, or group numbers).
THE PLAYERS, THE PLAY, AND THE PRODUCTION: Good acting and superior ensemble singing among the four women in WORKING made this a most enjoyable show. The female harmonizing was incredibly tight, really a step up for OCC this year. Individually, in duets, or “all cast” they were great. A special nod goes to Emily Yancey who stepped in with about 48 hours’ notice and didn’t miss a beat.
This is one of those shows where all the theatrical elements click.
I know that I have been critical of some OCC productions this season, but not this time. Yes, not all the men were the strongest singers, but their acting chops, aided by years of experience on stages near and far, were so superior they more than compensated. This is one of those shows where all the theatrical elements click. Really, you should go.
The set is the cleverest yet at the “new theater” for O’Connell and Company located inside the “old Philip Sheridan Elementary School,” 3200 Elmwood (parking in the back). The auditorium will bring back memories to anyone who attended any public school anywhere in the northeast, but the folks at OCC have worked diligently to improve the acoustics and have even added a small thrust downstage to allow the actors to come more forward and not be so swallowed up. That’s been a problem in the past, but not this time with WORKING.
Designed by the director, Neil Radice, the set features, on stage left and right, two steel scaffolds and in the back a giant machine gear while the sole accompanist, Donald Jenczka, dressed in black, sits upon an all-black platform which adds to the “industrial chic” look of things. And, as mentioned, the actors all stay downstage closer to the audience.
A special shout-out goes to Todd Warfield for costumes, including a selection of authentic garments.
A special shout-out goes to Todd Warfield for costumes, including a selection of authentic garments (steel worker’s tool belt, safety vests, fireman’s jacket) and to Joey Bucheker for props (lots of props in this show). And a shout-out to Ann Perno – Stage Manager who kept things moving right along. You can see a bit of the staging and costumes in this 26-second video clip.
I have to admit, I was looking forward to the “new” songs by Lin-Manuel Miranda, but while they were serviceable, they didn’t bowl me over. For me, the strongest song was “If I Could’ve Been” (music and lyrics by Micki Grant) as sung by Timiyah Love and the whole ensemble as they compare what they could have done with examples of how things actually worked out. In contrast to the wistful lyrics: “If I could’ve been / What I could’ve been / I could’ve been somethin’… If what I could be / Had been left to me / I would’ve been somethin’…If I could’ve done what I could’ve done / I could’ve done big things…” the song has a catchy melody making it a bit of an anthem which led to a super Act I conclusion. And Act II picked right up with that energy.
Both this current production and this updated (and localized) musical are of high caliber. If you like musicals, I would make a real effort to attend this one.
*HERD OF BUFFALO (Notes on the Rating System)
ONE BUFFALO: This means trouble. A dreadful play, a highly flawed production, or both. Unless there is some really compelling reason for you to attend (i.e. you are the parent of someone who is in it), give this show a wide berth.
TWO BUFFALOS: Passable, but no great shakes. Either the production is pretty far off base, or the play itself is problematic. Unless you are the sort of person who’s happy just going to the theater, you might look around for something else.
THREE BUFFALOS: I still have my issues, but this is a pretty darn good night at the theater. If you don’t go in with huge expectations, you will probably be pleased.
FOUR BUFFALOS: Both the production and the play are of high caliber. If the genre/content are up your alley, I would make a real effort to attend.
FIVE BUFFALOS: Truly superb–a rare rating. Comedies that leave you weak with laughter, dramas that really touch the heart. Provided that this is the kind of show you like, you’d be a fool to miss it!