"The most glaring defect of the production, however, was the awkward relationship between the Agassiz, the orchestra and the singers. The five-person orchestra delivered very polished pieces, doing justice to Commins’ exceptionally inventive compositions. But because of the inconvenient shape of the stage, the orchestra had to be muffled backstage, making it very difficult for the actors to listen to it during the performance.
While Commins tried to improve the musical and acoustical aspect of the production by tailoring the songs to the vocal range of the actors and reducing the size of the orchestra, the lag between the singers and the ensemble was, at times, noticeable.
While professionalism and technical perfection were not expected from a production put together entirely by freshmen, the cast stimulated its audience by being consistently animated and engaging.
Overall experimentally delightful, the show was not only a stretch for the capacities of the production team, but also for the audience’s imagination. In the penultimate scene, the unsightly vulture (Simon J. Williams ’09) clambered onto the stage and it took a moment for me to decide whether it was real or just the protagonist’s hallucination.
There are few mistakes that a passionate kissing scene amid a full-cast dance number can’t redress. The closing number, “On the Air,” an anthem to short-lived fame and unrealized fortune, was so spectacular that I hardly cared whether the cast was singing in the correct key or knew the words to the glorious song. Whether the final scene was improvised or not, the audience’s thunderous applause was justifiably approving."
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