This stage version of Fellini's "81/2" with Mario Fratti's amendments has a history hereabouts well after the 1982 multi-ony winning version closed. The Publick Theatre did an interesting but musically challenged version in 1999. In 2001, just before "Nine" returned to Broadway as a vehicle for Antonio Banderas et al. with Jane Krakowski in the provocative role originated by the late Anita Morris, our tiny Vokes Theatre presented a stunning version. Their miniature extravaganza could have run much longer than its sold-out four weeks. Incidentally, that venerable antique celebrates its 100th anniversary next month. Doing such a large-scale musical in North Shore Music Theatre's arena seems much more logical. However, various creative decisions have worked against its success and seem reflected in weak attendance..
The producers recruited daytime drama star Robert Newman from "The Guiding Light" to play Guido Contini, the Mastroianni role standing in for Fellini. He's a capable enough performer but surprisingly not charming enough onstage to be believable as a universal heartthrob and by the end of the evening somewhat vocally challenged. The preponderance of publicity surrounding his appearance has overshadowed the real Broadway credits of his female co-stars and a strong supporting cast, which might have brought out the theatre regulars. Some would have been disappointed, however. Experienced NSMT director Barry Ivan and his designers, Russell Parkman (set) and Alan Michael Smith, new to the theatre, have approached the show in a sombre minimalist fashion taking after the recent Broadway revival. The costumes, as in the 1983 Broadway version, attempt to suggest a black and white movie by being mostly black and white, with very few changes. In addition, the set doesn't make full use of NSMT technical facilities. A large staircase makes the vomitory largely useless. The reduced cast of 19, emulating the recent NYC effort, has no chorus extras or dancers, but uses the entire ensemble for this purpose, with few costume changes. This results in a slight feel of a concert performance, which Yeston's songs can't support. The orchestra, this time conducted by Dale Rieling, fortunately is first-rate as usual. Hair, however, especially an unexplicable black wig on Carla, more usually a redhead, is barely acceptable. This department may be NSMT major shortcoming.
But the women of the show almost save the evening. Diminutive Josie de Guzman sings and acts with style, though her plain black dress and stature keep her too much in the background. A light colored wrap would be the least they could have done. Her last number, "Be On Your Own" was one of the strongest in the show. Milena Govich plays Carla, the vamp, to the hilt, but remains too earth-bound, and there's that wig. She does make a good final exit carrying very small suitcases. Blonde Amanda Serkasevich as Claudia, Guido's muse, comes off best, and more or less carries Newman during the duet which opens the short second act. NSMT veteran Beth Mcvey, who's done various roles in other productions of "Nine", is welcome comic relief as former Folies Bergere headliner Lilliane La Fleur. Inga Ballard makes the most of Saraghina, the earthmother from the beach, but has to do so without her tambourine, which diminishes the musical climax to "Be Italian." Charlotte Cohn as Stephanie Necrophorus, the hostile French film critic and Jacqueline Hendy as Our Lady of the Spa do the best they can with under-concieved roles in stereotypical costumes. Melissa Hart is believable as Guido's mother, especially in the surreal climax.
The role of young Guido can add a lot to the show. Young John-Michael Breen captures most of the role and is musically adept, but his efforts aren't well supported by the staging much of the time. The rest of the ensemble seem like Fellini's extras, a point hardly worth making. A spare production like this would benefit greatly from a soundscape, particularly at the opening of each act. Plus a few extras. A less-expensive "star" might have made them affordable. In fact, versatile character man Ron Wisniski, seen earlier in the summer in "Tom Jones" and "Beauty and the Beast" probably could have done this lead quite handily. Using color creatively would lift the whole effort, which in this production never reaches a real climax. The promo for the next show at NSMT, "Swing"/ kind of a audio trailer, didn't help set the mood at the beginning either.
NSMT's next production, opening at the end of Oct. is another regional first, Elton John & Tim Rice's "Aida", which will need to find a younger audience that usually attends their theatre. Let's hope the publicity campaign is more on target this time. And this current production may yet find support among the lead's loyal fans. There's a danger in emulating Broadway's marketing strategies; NSMT doesn't usually rely on outside names to attract audiences to its shows, just its concerts.