By Carole di Tosti

The delightful musical by Stephen Schwartz (music and lyrics) and Joseph Stein (book), The Baker’s Wife, has never been produced on Broadway. Based on the titular 1938 French film La Femme de Boulanger by Marcel Pagnol and Jean Giono, the musical premiered in London in 1989 but ran for under 60 performances. Despite Broadway producers passing on the lyrical melodies, classical structure, clever story and songs, The Baker’s Wife has a dedicated cult following. 

Indeed, aficionados of the musical are thrilled with The Baker’s Wife, currently presented by J2 Spotlight Musical Theater Company. The production directed by Robert W. Schneider runs until March 20 at Theatre Row, unless it is extended—which it should be—as it is currently sold out. 

The musical’s setting is a tiny provincial town in 1935 Provence, France. There, in the café, Denise (the heartfelt, on point, Kelly Lester) suggests in the wonderfully tuneful “Chanson,” that nothing unique or unusual happens, until it does. The townspeople often quarrel with each other, and some are not speaking (“If It Wasn’t For You”). Over the years, they maintain the same behaviors, not feeling a need to change or grow. Certainly, they don’t follow the guidance prescribed by the teacher (Brian Michael Henry), or the priest (Grant Evan). Humorously, these characters advocate wisdom using their own philosophies: one uplifting logic, the other uplifting faith in God. However, they, too, often disagree.

Denise, the cafe owner’s wife, knows everyone in the town and is relatively cheerful, patient and always well-meaning. However, her café owner husband Claude (Eric Michael Gillett is her appropriate foil), often teases her about their long marriage and her aging. At times he uses her as the butt of his “wife jokes,” which she sustains in silence.

Indeed, the males in the town are patriarchal and do as they please, which is probably the reason Thérèse (the fine Susan J. Jacks), never married. The male privilege is especially evident with the mayor, the Marquis (Cooper Grodin), who keeps three women as his mistresses, though he refers to them as his “nieces.” Meanwhile, the wives put up with their husbands, even if their husbands tell them to “be quiet,” as happens between Barnaby (Keith Lee Grant) and long-suffering Hortense (Melodie Wolford).

Throughout, in “Chanson” (Reprise), Denise underscores the main theme of the musical which reveals that aspects of human nature and life are subject to gradual or forceful change. Indeed, according to Denise though little happens, and people don’t seem to change, there is transformation. Sometimes, it comes when least expected. Clearly, as the song is reprised throughout, she is the wise narrator who sets up the interactions and enlightens us about the truth of life; changes always occur whether we like them or not.

True to Denise’s wise comments, events created by the arrival of Genevieve (the golden-voiced Madison Claire Parks), and Aimable (the winning Howard Pinhasik), drive the action of the musical. The young, pretty wife and her husband, the older baker, have been hired to replace the baker who died. They are to live in the house and attached bakery and will provide the townspeople with the food they cannot ever do without (“Bread”).

As in French towns in Provence during that time, the boulangerie was paramount. Every town had a bakery where delicious baguettes, croissants, and pastries were freshly made each day. Thus, the townspeople look forward to Aimable with all their hearts. However, after he arrives, the men tease each other and gossip about the beauty and youth of Genevieve and why she has married the older man. 

For his part, the saintly Aimable (“Merci, Madame”) adores Genevieve, thinks the best of her and considers himself blessed by God that the young woman married him. For her part (“Gifts of Love”), Genevieve perhaps married Aimable on the rebound, as she had other relationships. She loved a married man who apparently used her and didn’t divorce his wife for her. Interestingly, the lyrics in these songs are opaque and open to interpretation. Thus, we must fill in the mysteries and gaps. For example, we are surprised in “Merci, Madam” when Genevieve doesn’t readily accept Aimable’s reference to using her married name. This is a clue something is unusual.

The problem arises when Dominique (the gorgeous-voiced Bruce Landry), comes for the Marquis’ bakery order and sees the picturesque quality of the town has been transformed by the beauty of the baker’s wife. Dominique vows he will have her (“Proud Lady”) despite her protestations. His determination grows and he throws down his gauntlet in “Serenade,” in which Dominique, his friend Phillippe, Aimable and Genevieve sing and express their intentions. Clearly, Genevieve understands Dominique pledges his love to her. Naively, the pure-hearted Aimable believes Dominique praises and uplifts Aimable’s talents as a baker.

The symbolic handwriting is on the wall. When Genevieve’s and Aimable’s beloved cat Pom Pom runs away, we fear that Dominique will lure away Genevieve because the two of them look like they should be together. When Genevieve does run away, the change that Denise sang about throws the entire town into chaos. The townspeople fear that Genevieve will never return, though Aimable is fronting that she went to visit her mother (“Any Day Now Day”). 

There is no spoiler alert. You will just have to see The Baker’s Wife at Theatre Row, if it extends, or look out for another production to find out what happens. The fanciful, almost fairytale-like quality of this musical and its wide themes of goodness, forgiveness, community and equanimity between men and women contribute to its timelessness and popularity. The production is well-directed by Schneider, with actors delivering fine singing and humorous, engaging performances.

Final kudos goes to the following creatives: Joshua Warner (scenic design,) Matthew Solomon (costume design), Ethan Steimel and Burkett Horrigan (lighting design), Caitlin Belcik (choreographer), and Miles Plant (music director and orchestrations). The performances are currently sold out. 

The Baker’s Wife. Through March 20 at Theatre Row (410 West 42nd Street, between Ninth and Tenth Avenues). www.bfany.org 

Photos: Russ Rowland