29 June 2022
Inside a summer theater season crowded, overrun with kid-friendly programming, “First Date” at Trustus Theater seems like a refreshing drink enjoyed by adults with happy hour: quickly and easily consumed, offering a nice break from the difficulties of the world, as well as a chance to reflect on deeper themes in the light-hearted way. Austin Winsberg’s script documents, in real time, the particular comic ups and downs of 2 attractive but ostensibly mismatched millennials on a seemingly condemned blind date. Thanks to attractive leads who are determined to skin out stock characters, plus strong support from a good ensemble of five crazy scene-stealers, the production surpasses the particular familiarity of the material. About what could have been a Hallmark film set to music becomes a good entertaining entry in a latest string of Trustus demonstrates have focused on connections. Because Aaron (Michael Hazin) plus Casey (Brittany Hammick) attempt to connect, lively musical figures, from composers Alan Zachary and Michael Weiner, deal with all the expected roadblocks plus obstacles, with titles which includes “First Impressions” and “The Awkward Pause” detailing every expected misstep. Part of the show’s charm derives from the method these songs seem to springtime from the minds of the few, with four random cafe patrons and a waiter working as a chorus, but also morphing into multiple characters through the central duo’s past: harmful exes, less than helpful family members and overly concerned their peers who act out the various insecurities and misgivings running via Aaron’s and Casey’s minds. It’s a cute gimmick, similar to everything from the musical vignettes in last fall’s “I Love You, You’re Ideal, Now Change” at Trustus, to the song “Been A lengthy Day” from the vintage 1950’s Broadway musical “How to achieve Business Without Really Attempting, ” in which a third party likewise details what a young few is really thinking. It’s a trick, but the gimmick works. Because Aaron, Michael Hazin — outstanding in previous in a lather, over-the-top roles like “The Rocky Horror Show’s” Riff Raff and “American Idiot’s” Saint Jimmy — effectively creates his most difficult character yet: a nice, regular sympathetic schlep. While the actor or actress incorporates plenty of physical humor worthy of Peter Sellers’ Clouseau, ultimately Aaron is an everyman, unlucky in love because of in part to his own humble nature. Brittany Hammock increases to the challenge of making Casey the opposite of Aaron but still likable to the audience. She has more jaded, more acerbic, less straight-laced. Yet inside a revealing solo, “Safer, inch she admits that she is had to develop a hard covering for survival. While the “opposites attract” trope is a dependable tool, Hazin and Hammock find a nuanced way to claim that despite their ostensible gentes — the uptight Walls Street finance guy as well as the Bohemian art gallery staffer — they’re actually not so different. A random line regarding their mutual enjoyment from the 90’s sci-i TV series “Quantum Leap” implied to me that will beneath Casey’s punkish coat and ripped jeans plus Aaron’s conservative suit are most likely two kids in the mentally stimulating games club whose professional plus romantic lives went within vastly different directions. Each one of the supporting cast gets to sparkle in at least one specific function. Trustus stalwarts Robin Gottlieb and Kevin Bush — who would have been playing the particular lead roles had this particular show been done 10 years ago (and perhaps nevertheless could) — are pleasurable as Casey’s concerned cousin and a sassy waiter along with lounge singer aspirations correspondingly.
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John Wilson chews the landscapes as Casey’s histrionic BFF, determined to rescue her using a phone call about some crisis. Jonathan Monk fleshes away the stock “buddy” part as Aaron’s friend Spende, providing plenty of advice, some great (as in “don’t discuss your ex Allison on a very first date, and don’t idealize reminiscences of that ex when the girl was bad for you”) and a few not so much (as in “don’t order a salad since it will make you look like a sissy”). Rachel Mitchum proficiently shows Allison in a number of flashbacks, usually ready to slink alluringly back to Aaron’s consciousness. Director Dewey Scott-Wiley employs precision time to ensure smooth transitions from your real time of the date towards the fantastical musical numbers that will spring from the thoughts associated with Aaron and Casey. Brailey Johnson and Shaun Morehead are credited for choreography, and while there’s not a lot of dancing in the show, movement is vital. As the story progressed, I actually increasingly enjoyed spotting refined tech collaborations, such as whenever Allison’s name is slipped, and Mitchum instantly changes into a predatory vamp, assisted by seductive music through musical director Randy’s Moore and perfectly timed lighting and sound cues through Kimberly Porth and Curtis Smoak respectively. Brandon McIver’s scenic design accurately records a generic restaurant inner surface, and cleverly allows Casey and Aaron to sit down facing the audience. Whilst “First Date” pushes simply no boundaries and explores simply no new thematic material, the sincerity and charm are usually apparent, making the music a nice way to spend the summer night.
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