Reviewed by Judy Richter
"John & Jen" (also written as
"john & jen"), an intimate musical presented by Hillbarn
Theatre, may be
seen as an intriguing psychological study in family dynamics.
With
just two characters, it covers 38 years in the life of a woman, Jen (Alicia
Teeter),
starting in 1952, when she's 6 years old and welcoming her newborn brother,
John (William Giammona), into the world. On Christmas Eve five years later, it's apparent
that their parents don't get along and that their father is abusive.
Other
transitions follow until Jen is 18 and goes off to college in 1964, leaving her
despairing brother behind. In subsequent years, she becomes a hippie and
peacenik, moving to Canada with her draft-dodging boyfriend, while John becomes
closer to their father. In 1970, when John is 18, he enlists in the Navy and is
killed in Vietnam at the age of 19, much to Jen's sorrow.
Two
years later, Jen has given birth to a son, whom she names John. Sometime after
that, the boy's father leaves. In the meantime, Jen seems determined to turn
her son into her brother's reincarnation. As he grows older, he resents those
efforts, which impede his ability to follow his own path. Ultimately, she sees
the light as he heads off to college.
With
a book by Tom Greenwald and Andrew Lippa, much of the story is told through songs with music by
Lippa and lyrics by Greenwald. It takes place on an uncluttered set created by Robert
Broadfoot with
lighting by Aya Matsutomo and sound by Alan Chang. The actors are onstage almost
the entire two acts. Transitions are achieved through slight changes of
clothing (costumes by Mae Matos). Helpful projections name the year and characters'
ages.
Director
Jay Manley guides
the two with intelligence and sensitivity. Although Teeter may seem to have the
easier role because she's the same person in both acts, she has some of the
more demanding -- well sung -- and goes on a longer emotional journey. On the
other hand, Giammona has the challenge of being an adult man portraying a child
or teenager. Both actors succeed.
The
songs are all pleasant though not particularly memorable. Sitting on the right
with a cellist and percussionist, Graham Sobelman serves as musical director and
keyboardist.