Molasses in January
Standing in the way of the show’s success is the workshop-like production. Some of Pellegrino’s melodies are pleasant but musical director Michael Wittenberg’s piano playing drowns out many of the weak voices. The lyrics tend to be very thin and extremely repetitious. The uncredited set is actually that of another show with unnecessary portions covered over in brown cloth, giving the look of the show no atmosphere whatever. The uncredited costumes are mainly coordinated in bland brown and white which does not help recall the period one bit. Stone’s choreography is extremely basic and not very decorative. If you sit on the left side of the theater, you are likely to be blinded periodically by designer Christina Verde’s two spotlights aimed right into the eyes of the viewers. [more]