photo by Tom Schopper
The Life
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"The Life" is composer Cy Coleman and lyricist Ira Gasman's love song to New York. It's a rough, dirty kiss that sees diamonds in the streets and not just broken glass. With the team joined by David Newman on the book, this is Coleman, Fields and Simon's "Sweet Charity" through a glass darkly and, in the hands of the gifted 4th Wall Theatre people, it is sobering and uplifting at the same time.

It is difficult to resist comparing the show to "Sweet Charity" and "Rent" both, since they all address life on the street. But here, Jojo, our ne'er do well narrator. somehow manages to survive. The story revolves around Queen and Fleetwood and, well, "The Life."

There are treats from the very beginning in Gregory Allen's spare, but populated vision of fin de siècle New York City. Allen's direction brings the production home with fluid sets, talented actors, lots of new faces, and familiar ones in new roles, one of 4th Wall's strengths.

It's a deliciously surreal experience, seeing street people and chain link fence in the gothic, desanctified Fossan Theatre, in Bloomfield, New Jersey, formerly a church and still with the bones and soaring ribs of a church. The pocket stage pushes action far forward and even penetraties that fourth wall, and the live band, à la City Center Encores!, is behind the scenes, yet as much of a presence as the actors themselves.

The luminous Rasha Jay exudes Queen's heart and the character of a small girl who makes it, sort of, in the Life, but was not to the manner born. Her best friend, Sonja, entered the family business, and Gwen Ricks-Spencer, who has been behind the scenes for a while, really shows her chops as a Renaissance woman. She can do it all and hearing her sing, transcending her usual composure with the mien of a real pro was simply delicious. Scenes with Jay and Ricks-Spencer show great chemistry. And when Mary comes to town, the innocent-seeming dyed in the wool Pro, Jaclyn Ingoglia sinks her teeth into the role of the woman who knows how 'to use what she's got to get what she wants,' with little coaching from the men she meets the first-or second or third?-day off the Greyhound at the Port Authority.

Matt Burns is the tragic Fleetwood-Viet Nam vet with a habit, supported by Queen and her-um-night job. They are independent, but when Queen is not with him, he finds the White Lady, Mary, irresistible. Seeing Burns variously play a priest considering leaving the order, a bisexual man with a taste for the unusual, and now a nervous and jerky would-be pimp and erstwhile anti-hero, shows he is so gifted in so many ways. JoJo, his buddy and nemesis, is James Ryan Sloan, an accomplished and sneaky snake oil salesman out for Numero Uno, adept at playing both sides against the middle and often winning. Brandon Wright is Memphis and this is one talented young man. He exudes menace as the Big Man on the street, and when one lives by the sword, one dies by the sword. And then we have the other characters that illuminate the Life.

Nicholas Adler plays Lou, the x-rated impresario, with great gusto. He is everything you would expect from someone who has Jojo finding him "talent" for his celluloid wet dreams. Richard Colonna, playing Lacy, displays great ability as a character actor, and also plays other roles as needed, as do all the others. The color added to every scene and the generosity in sharing focus is part of his sensitive portrayal. In the second act there is a touching moment between Lacy and Queen, and it's all part of street life.

Our working girls are a hot and steamy bevy of beauties, including Michele Dalia as April, Erin Edelle as Chi Chi, Roxy Arroyo as Carmen, Adrienne Reuss as Frenchie, and Candice Gibson as Tracy. They are singers, actors, and dancers, and every time they are on stage, the temperature in the theatre goes up 15 degrees. And an especial highlight is the female company singing "My Body". Ooooh, FAAHHHH!

Our bagmen are equally accomplished and versatile, including Joshua Gunn as Snickers, Roger Turner as Silky, Charles Frisk as Slick, and Miles Jackson as Bobby, and they are colorful, dashing, athletic and harmonic, making the energy among the cast members thoroughly inspiring. Each role is fully developed, with lots of great business. Keep your eyes moving, there are treats everywhere. Sasha Nosonowitz is the Pole Dancer as well as an Evangelist, and that kind of casting tells the story.

Musical director Deborah Martin wrings nuance and gives each note articulation. Kate Swan's choreography is active, sexy, engaging and hot. Bruce McCandless' sets and Nicholas Marmo's lights move the eye, setting the focus for Allen's direction. Janet Lazar's costumes bring back memories of the 70s and early 80s and Janine Lee Papio's hair and make-up designs capture the denizens of 42nd Street as we may remember them, remember being them or seeing them, and the organic whole is dark and lovely at the same time.

Special highlights for me, in addition to "My Body," include Ricks-Spencer's "The Oldest Profession" and Wright's "Don't Take Much" in the first act, and "People Magazine," "Someday is for Suckers," and "My Friend" in the second. There are moments on moments in this musical and, while there are things you will enjoy about it, you will have a lot to think about on the way home. It's hard to come from your place of judgment, speaking of "those people," when you meet Queen, and Fleetwood and Jojo and Mary and Sonja and Lou and, well, you get the idea.
Buy your tickets now-this show, playing on weekends through June 19, is hot fun in the summer time and like most of what 4th Wall does, it is far from run of the mill. For Tickets or more information, visit www.4thWalltheatre.org. Do it now.