Haddonfield Plays and Players took me back in time this weekend. Not only did the company feature a show set during the 1990s, but Ed Doyle cast a number of familiar faces from his 2017 homage to the 1980s, Rock of Ages. In spite of my enthusiasm for watching Ed “Rico” Santiago, Dana Masterman and Vinnie DiFilippo share the stage again, I had some doubts about the overall program.
If I were to partake in the main character’s favorite past time, the 1990s wouldn’t make my “top five” decades. My “top three” reasons are: our country suffered through a philanderer in the White House, a senior figure in the Federal Government perjuring himself and a sexual misconduct scandal involving a Supreme Court nominee. Bad behavior must’ve been endemic to the 90s as High Fidelity’s protagonist, Rob, engaged in some of his own. The story explored his relationship woes through great music (directed by Jared Moskowitz) and dance routines (choreographed by Katharina Muniz). I attended the October 6th performance.
High Fidelity depicted one man’s quest to cope with heartbreak. Rob (played by Ed “Rico” Santiago) struggled through a difficult breakup with Laura (Dana Masterman). His past relationships with Alison (Jenn Kopesky), Penny (Sara Viniar), Charlie (Krista Reinhardt), Sarah (Trishia Dennis) and Jackie (Amanda Frederick) haunted him. Rob found solace among music and the regulars who frequented his Brooklyn record store.
Someone coping with the loss of his girlfriend while living a dull life may seem like a hackneyed story line. Pulitzer Prize winning playwright David Lindsey-Abaire gave this premise a fresh take. High Fidelity contained unexpected plot twists and several quirky characters. Add the music by Tom Kitt and lyrics by Amanda Green and this musical comedy became an enjoyable evening of theatre.
Ed “Rico” Santiago (as Rob) possesses a rare gift for connecting with spectators. Unlike many performers he regularly makes eye contact with theatregoers. Combine that with his pleasant delivery, witty presence and adeptness for singing upbeat numbers Mr. Santiago’s ability to engage an audience is without peer.
Mr. Santiago displayed great range in High Fidelity. In spite of the character’s despicable behavior, he still induced the audience to support Rob. His stirring rendition of “Laura, Laura” served as a major reason why.
Dana Masterman (as Laura) displayed great talent through her use of non-verbal communication. Even when her character wasn’t singing, speaking or dancing, Ms. Masterman made Laura a key figure on the stage. She ensured the audience always understood precisely what Laura thought and felt about the action. The best example in this show occurred during her first scene with Ian (played by Tommy Balne). The performer captured the situation’s awkwardness perfectly.
Ms. Masterman’s singing capability equals her aptitude for facial expressions. She delivered outstanding vocals on “Number Five with a Bullet”: a track that fused aspects of country, rock and soul music. As if that didn’t provide a challenge, Ms. Masterman performed part of this number while climbing over a couch.
The “She Goes” routine grabbed the number one spot on my “top five” High Fidelity highlights list. While Lauren Hope Gates (as Allison) and Mr. Santiago delivered strong vocals, the back-up dancers made the number a classic. Vinnie DiFillipo, Matthew Weil and Jonathan Greenstein performed a comically choreographed routine that made the evening’s highpoint.
For those romantic minded theatregoers out there, the show included some additional love stories. The one between Dick (Joseph Grosso) and Anna (Faith McLeery) allowed these two performers to sing the delightful reprise to “It’s No Problem” together. I’d add that moment to the “top five” list, also.
The ensemble contained eccentric characters. They made the show even more amusing. Barry (played by Anthony Vitalo) strived to put together a band although he didn’t play anything. When he did assemble the members of Sonic Death Monkey, he showed himself to be quite the balladeer. He performed a terrific rendition of “Saturday Night Girl” accompanied by Matthew Weil and Johnathan Greenstein. The latter used the same hair stylist as Mr. T. for this show, apparently.
Singer Marie (Allison Korn) was “complex.” She engaged in brief affair with Lyle Lovett, but couldn’t say it was with Lyle Lovett although it was with Lyle Lovett. Ms. Korn delivered the sober lament of those coping with difficult breakups, “Ready to Settle”, with somber conviction.
In keeping with the “list” theme, Tommy Balne catapulted his character into the pantheon of “top three” Yogi’s. Joining the distinguished company of the Bear and the Berra, add Ian.
Among a cast of funny and talented performers, Mr. Balne made his role the most humorous. Famed for organizing Kurt Cobain’s intervention, Ian attempted to win over Laura with his mystic appeal. Mr. Balne’s wig, costume and clever insertions of the yoga tree pose would make him any comedy fan’s Ghandi.
I did find one aspect of the show a bit disappointing. Alluding to his earlier work, Mr. Doyle placed one of Stacey Jaxx’s records in the store. Last year Vinnie DiFilippo portrayed that fictional singer in Rock of Ages. The prop kindled my hope that he’d reprise the role in this show. While that character didn’t appear, Mr. DiFilippo compensated by performing a spectacular Bruce Springsteen impression.
I would also like to complement performers Jenn Kopesky, Sara Viniar, Krista Reinhardt, Trisha Dennis, Amanda Frederick and Jeremy Noto for their work in this production.
High Fidelity would make my “top five” list of musical comedies set in the 1990s. We all know the scandals that shamed our nation in the 90s will never recur. However, let’s hope playwrights and musicians craft more period pieces like High Fidelity. Let’s also hope that this cast and crew members from Haddonfield Plays and Players are available to bring it to the stage. No one will ever accuse me of perjury after writing that.
High Fidelity goes the way of grunge music, the Macarena and the US budget surplus after October 20th.