It isn’t very often (make that never) that Mrs. K and I are able to attend a World Premiere event in central Indiana.
What I do get to do is to set down my impressions of a brand spanking new production. One thing I know, its birth wasn’t easy. ATI had to forego the entire first week of shows due to a rash of illness in the cast encompassing seven cases of COVID. The setback was well-handled, but likely caused some patrons not to be able to visit the show as intended. Then two added “preview” dates were scrubbed, which is why I finally saw the show at a late date, midway in its final week this past weekend.
Samuel Garza Bernstein is the lyricist as well as the author of the book for this musical adventure. Bernstein also serves as director of the ATI production. David Snyder is the composer and Willem De Vries takes on the choreography duties.
Don Farrell as Bob Harrison. (Photo by Zach Rosing)
The story is set in New York and Hollywood and tells how Bob Harrison (played by Don Farrell) creates an American sensation when he invents Confidential Magazine in 1952. Leaving behind his girlie magazines business, which causes him a bit of trouble, Harrison hits on the idea of writing about peoples’ secret lives in lieu of the offending ‘cheesecake’ photos. Mixing in whispered truths and innuendo about politicians, Hollywood types, and other famous people doesn’t hurt the cause, so off he goes, outselling TV Guide at one point. Filling the pages with gossip and hearsay requires ‘sources,’ and this need sends Harrison’s niece Marjorie (Shelbi Berry Kamohara) to California with a bundle of money to obtain them. Publicity stunt stories about Harrison and about his commie chasing partner Howard Rushmore (Tim Fullerton) increase sales and further boost Rushmore’s attempts to rid the USA of Reds.
The rising success has its downsides, and not just for Harrison. His entire family (which staffs the magazine) falls into legal trouble over charges of fraud, libel, and obscenity among others. A California trial takes place, the results of which change Harrison’s life (and those is his circle) in a myriad of ways.
Inspired by real events, Bernstein has created a multi-faceted story with depth in not only the Harrison saga but also the related arcs of Rushmore and his wife Frances (Judy Fitzgerald), niece Marjorie and her family, and Harrison’s close family – future wife Jeannie (Diana O’Halloran), sister Edith (Cynthia Collins), nephew Michael (Jacob Butler) and Marjorie’s husband Fred (Kieran Danaan).
Together with composer Snyder, lyricist Bernstein has set down a diverse score, with ideal enhancement by the De Vries choreography. Snappy tunes, jazzy beats, ballads, tangoes and 1950s close-harmonied trios are all represented in the 18 musical numbers which deftly advance and color the story. Offered by a cast of extremely talented, very well-cast performers – the longish production (timed at around 2 and 3/4 hours with intermission) moves along well.
Don Farrell has always been notable in his abilities on stage and as Harrison he sets the bar very high with a powerful vocal performance. This is accompanied by his winning portrayal of this very creative businessman. Diana O’Halloran matches his levels as Harrison’s girlfriend/wife Jeannie. Shelbi Berry Kamohara is the type of performer who – when you hear the lead-in to her upcoming song – you say, “Oh good, she’s going to sing again!” and as Majorie, she once more charms us with her talents. Tim Fullerton’s dynamic turn as Howard Rushmore is strengthened by the power of his singing.
Bob Harrison (Don Farrell) marries Jeannie Douglas (Diana O’Halloran) in a scene from Mr. Confidential. (Photo by Zach Rosing)
John Vessels Jr. adds facets to songs and characters that only John Vessels Jr. can provide with his originality and verve. Judy Fitzgerald’s sympathetic portrayal of Frances Rushmore is a sad story all its own. Cynthia Collins is properly concerned in her role as Harrison’s down-to-earth sister, Edith.
Most of the other performers treat us with their fine ensemble work, filling the stage with song and dance. The background trio of Megan Arrington, Jaddy Ciucci, and Emily Bohannon does especially amazing things. Jacob Butler, Matthew David Conwell, and Jason Frierson complete the ensemble cast providing a myriad of diverse characters.
Costume design is a big factor in marking the era and Anthony James Sirk’s work for the show hits the mark. Likewise, wigs and hair design by Amanda French are just right for the times.
The stage setting is sensational with a range of vivid projections designed by Zach Rosing. Colorful scenic paintings by Ronald Shore set the locations, and a stack of magazine depictions, some offered by Debby Moses Ferrari, along with graphics of headlines and covers and flipping pages of the original Confidential publications are tremendous additions.
Finally, I cannot fail to recognize the awesome work of the musicians in this production. Musical director Nathan Perry leads a small but complete variety of players as they provide the accompaniments for the cast. The sounds are flawlessly created and deserve recognition as they are an important part of the show’s powerful effects.
Bottom line: Mr. Confidential impresses with its style, its story, and its performances. The fully developed musical score is well-suited to the action and I was actually humming the finale as I left. Talking to Director Bernstein briefly at intermission, I learned that there are some hopeful possibilities in the works for the piece – one in nearby Chicago. Whatever the future success of this production may be, it will always be noted that the World Premiere was right here in Carmel in central Indiana.
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