Review of Red Roses, Green Gold at Minetta Lane Theatre

  • Our critic's rating:
    October 31, 2017
    Review by:

    Red Roses Green Gold has all the beauty marks and all the scars of a jukebox musical. There are wonderful songs, in this case culled from the epic catalog of The Grateful Dead. The music is admirably performed, not by a tribute band, but by a diverse ensemble of eight actor/musicians (five men and three women) who bring their own interpretations to the material. There is a nifty set, a couple of rough and tumble dance pieces…and a storyline so poorly conceived and executed that it almost ruins the fun. Even if you don’t know the Dead from the Zombies, you will still find enough catchy rhythms to carry you through. On the other hand, if you’re a purest who would have trouble listening to “Touch of Grey” sung as a rousing chorus number, you might want to stay at home with your vinyl.

    Generally ignoring the cultural and psychedelic legacy of the Dead in favor of their country rock influence, writer Michael Norman Mann sets his story in 1928 in a saloon/boarding house near a coal mine in a town called Cumberland, referencing the Dead’s “Cumberland Blues.” The joint is run by Jack Jones (Scott Wakefield) when he is not busy filling us in on the back story of the business and its family ties.  Jack’s son Mick (Michael Viruet) is the black sheep who leaves town mostly so that he can sing “Truckin” and then comes back mostly so that he can lead a rousing version of “US Blues.” Other trouble-makers who are hanging around for the sake of it and speaking with hillbilly accents include Mick’s sister Melinda (Natalie Storrs), Mick’s would-be fiancée, Bertha (Debbie Christine Tjong), Jack’s would-be fiancée Glendine (Maggie Hollinbeck), Melinda’s would-be fiancé, Liam (David Park) and the no-good McElroy brothers (Brian Russell Carey and Michael McCoy Reilly). Suffice it to say that hijinks ensue, the McElroys spout unfortunate dialog in hopes of laughs and the climactic scene centers around a poker game staged with all the physicality of, well, a poker game.

    Fortunately, these folks can sing and strum a mean streak. A violin, a banjo, a mandolin, a double bass, guitars, keyboards and percussion that includes a hi-hat disguised as a floor lamp, all get a workout. Viruet, sporting the wild hair of a young Jerry Garcia, is an explosive presence. Tjong has some serious pipes. Hollinbeck brings a sweet, soft elegance. Carey fiddles up a storm. Storrs and Park work well together, both in a rollicking pas de deux and later in a soft ballad duet of “Box of Rain.” This is a good thing for Mr. Park who, when not singing or dancing, looks utterly lost in the free flow staging of director/choreographer Rachel Klein.

    After sitting dark for much of the year, it is nice to see the Minetta Lane Theatre hopping once again, despite its high-ceiling, echo chamber acoustics. Costumer Ásta Bennie Hostetter's nods to the Dead include a skeleton costume and familiar top hats. And scenic designer Robert Andrew Kovach has turned the stage into a convincingly warm saloon. Ms. Klein has her cast bouncing all over it, as well as into the house. Just your typical theater involved in a typical daydream.

    (Photo by Chad Batka)

    What the popular press says...

    "The good news is that the songs, which lean heavily on a classic Americana sound, are effective in a sit-down, smoke-free theatrical context. The show, which is billed as “featuring the music of Jerry Garcia and Robert Hunter” (Mr. Hunter was the Dead’s nonperforming lyricist), sometimes feels like a wacky relative of the Steve Martin and Edie Brickell Broadway bluegrass musical Bright Star."
    Elisabeth Vincentelli for New York Times

    "Director Rachel Klein has encouraged the performers to mug shamelessly. They also sometimes leap off the stage into the aisles as if to startle audience members awake. As for their performances, suffice it to say that as actors they make fine musicians. The audience is encouraged to sing along and even get up and dance, and that goes about as well as you would expect. The bar is kept open throughout the show, assuring a steady stream of people walking in and out of the theater. Robert Andrew Kovach's elaborate, wood-laden set design, at least, proves impressive."
    Frank Scheck for Hollywood Reporter

    External links to full reviews from popular press...

    New York Times - Hollywood Reporter