Theater: Meet John Doe

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Meet John Doe

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Meet John Do, a new lush and jazzy 1930s-era musical is basically based on the 1941 Frank Capra film that also bears the same name. Meet John Doe is far beyond being perfect. Though it is presented in a satiric and refreshing which is decidedly smart and serious. It is at last a sophisticated musical for adults. The show does comprise of talented Donna Lynne Champlin who plays as its leading lady. Her electric eyes with rangy belting voice undoubtedly grabs one's attention. Ann Mitchell is ddefinitely a likable personality who is a depression-era journalist. She desperately is in need to come up with a sure-fire story with the intention of dodging a pink slip. It is of immediate necessity to secure her job at the New American Times.

She crops up with an idea of creating a newspaper column that is specially based on the disgruntled musings of an imaginary common man. He is none the less than "John Doe". His story pulls at the heartstrings of the financially-drained and depressed American masses. These masses sing for their woes in the show's bitter opening number which is "Can't Read the Paper Any More." Doe turns out to be even more successful than expected to be by the paper . Based on this paper John Willoughby is hired in order to serve as live stand-in for the imaginary Doe. He indeed desperately falls for Ann whose sights are set on newspaper mogul D.B. Norton. He is the corrupt businessman who has more sinister plans for the "John Doe Movement" up his sleeve.

The excellent part of Meet John Doe is its snazzy score. In a collaboration with composer Andrew Gerle and lyricist Eddie Sugarman the songs written are tunefully melodic and richly complex. The former comprises of a special talent for choral numbers that reveal harmonies whereas the later's insightful lyrics do provide a large ensemble. A sense of character is often missing in big musicals. Ann's first big number "I'm Your Man" is sharply revealing of her tough and eager personality. Ann is on stage by having sung a handful of duets and group numbers. Her emotional side is forgotten and she finally fails to come as the leading lady required. Specially disastrous for the second act is during which Ann confesses her love for John Doe/John Willoughby. It is totally unknown when this change of heart takes place. She pours her heart t to John in the final eleven o'clock number that is little too late.

Capra's story finally is one of cynicism, lies, and deceit, themes which are somewhat communicated by Gerle and Sugarman. Director Matt August's creative staging forces one to forget the fact that this is actually a concert presentation of Meet John Doe. Inspite of some of the issues with show's tone, Gerle and Sugarman have definitely excellent groundwork laid.