“About Time” – A Maltby & Shire Revue

By Alix Cohen

This is, or will be, the third revue in a trilogy of Richard Maltby, Jr. and David Shire’s songs. Starting Here, Starting Now (1976) focused on young adulthood, romantic beginnings, and urban ambition. Closer Than Ever (1989) concerned itself with midlife challenges—parenthood, divorce, aging, career disillusionment.

About Time, produced at Goodspeed’s Norma Terris Theatre this past summer, is excerpted tonight as a work in progress. It looks at later life—aging, memory, legacy, and letting go. For the presentation, Maltby & Shire have assembled a group of multi-talented performers past mid-life, showing once again, age is just a number. They’re terrific!

“Show Tune” posits that when times are bad, we really need a show tune (or two or ten.) ‘Too true. Where are the lighthearted movie and stage musicals that offered relief from the Depression, from war? Eddie Korbich leads the company here. The performer is infectiously cheery, hopeful, appealing and undaunted by the fact he’s just turned 65.

Inserting the titles of earlier revues is awkward, but the upbeat song is one with which we collectively agree. There’s a wonderful moment when the enthusiastic cast pants in unison between verses. So, what’s the show about? About Time. “It’s about looking backward/Seeing all you achieved…” kids, changing, growing…

In “Keys”, Darius de Haas can’t find his keys or glasses both of which turn up in the freezer. “I never miss a meeting and I do know where things are…Oh Jeez, where did I park the car?” How many of us walk into a room and forget why, remember only a first or last name, walk confidently out of a subway in the wrong direction? Defense is universal, de Haas convincing.

The charming “Movie Music” with Jackson and de Haas, begins with her being reassured when he hums the theme from the film The Apartment. Every lyric relates to a generation brought up on scored emotional moments. Its arrangement is particularly fine.

“Little Susan Lawrence”, enacted by Issy van Randwyck yearbook in hand, recalls the very first love of her life. It’s sweetly written and performed, but not distinctive. “Just a House” in which Shinnerrie Jackson sells the now empty family home without a tear captures an intriguing moment, but is so brief, it sounds like a sketch. Both these songs arrive counter to the Maltby/Shire signature of specificity.

The story song “Kensington Kenny” which gives Korbich another opportunity to shine, seems stylistically inspired by Edward Norris’s 1900 song “Burlington Bertie” …from Bow. It recounts finding a grandfather’s music hall trunk in the attic. Adding stage directions to lyrics is nifty as is noting the thespian’s “smear of red lipstick.”

“I’m one of those folk who can switch back and forth…” he sings, now Glennie, now Kenny. We meet the character just coming out. “He (Kenny) was sending me a message.” In itself, the song emerges sympathetic and entertaining, but it’s somewhat outdated.

To my mind, this evening’s highlight is “Overripe Fruit”, splendidly presented by Jackson, van Randwyck and Lynne Wintersteller. The (inebriated) women articulate joys of sex with older woman of which male peers are obtusely unaware. They salaciously, cleverly grouse. Every artist of a certain age will revel in performing the number.

“What Do I Tell the Children?” -about the importance of character– is thoughtful and timely. Look at the newsworthy examples set today! De Haas’s rendition is alas, too big for its tremulous tone. Wintersteller offers “Done” like a theatrical in-one. The song recounts an apparent last straw in the increasingly frustrating life of an actress. We believe every word, a testament to performance and expressive, explicit lyrics. “Can you do a split?” / “Look at me! /I’m a singer you little shit!” It’s funny and moving.

A number of “Calls”, meant as bridges or palate cleansers, arrive like jokes or perhaps song ideas never fleshed out. They add little.

In “Saying Goodbye”, a man with terminal cancer (Ethan Paulini) telephones old girlfriends briefly relating how he is, then asking how they are. It’s a skit with music. We close with a reprise of “About Time” full of joy and gratitude for LIFE.

David Shire’s music is emotionally transparent, often utilizing jazz inflected harmonies and/or (classically trained) keyboard foundation. He underscores with as much sensitivity as is turned to character illumination.

Richard Maltby, Jr.’s lyrics are character driven, psychologically astute and organically conversational. He excels at capturing complex emotional states—as well as employing wit and irony.

I’ve been a diehard Maltby/Shire fan for countless years and continue to be so. There are, I’m told, many songs not aired this evening. One hopes some will be switched out. I fully intend to enthusiastically attend the final iteration of About Time Off Broadway next spring. This version is hit or miss.

NOTE: In addition, the collaborators wrote two book musicals: Baby (1983) – a recording of which remains the best baby gift ever– and an engaging Big (1996) based on the film. While best known for their joint works, Maltby also contributed lyrics to Miss Saigon and Song and Dance, while Shire composed for film and television, including Norma Rae and The Conversation.

Opening: Ethan Paulini, Shinnerrie Jackson, Eddie Korbich, Lynne Winterseller, Issy van Randwyck, Darius de Haas

Maltby & Shire’s About Time
Music- David Shire; Lyrics- Richard Maltby, Jr.
MD/Piano- Deniz Cordell
Keyboard- Annie Pasqua; Bass- Scott Chaurette
Musical Staging- Marcia Milgrom Dodge
Directed by Richard Maltby, Jr.

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