Perennial favorite ‘Bye Bye Birdie’ sits uneasily in modern times
Kim MacAfee has it right: “I’m sorry but times are changing,” the precocious teen lectures her ever-patient mother in
“Bye Bye Birdie.”
CFCArts Theatre’s production of the 1960 Broadway musical demonstrates how changing times can be tough on old shows. Director Eric Yow has created a bright and breezy production, and his choreography has an appealing old-school touch. Under the leadership of music director Jami-Leigh Bartschi, the catchy score — featuring “Put on a Happy Face” and (What’s the Matter With) “Kids” — creates smiles. In cottoncandy colors, Jake Teixeira’s smartly minimalist set nicely evokes a simpler time.
But like many other “Bye Bye Birdie” productions through the years, this one falters when faced with the racism and sexism inherent to the story. When a white character urges that a Puerto Rican be “sent back,” in light of today’s headlines it’s hard to see the statement as the punchline the show wants it to be.
The Puerto Rican in question is Rose, a bright and sassy secretary to music company executive Albert, who’s under the thumb of his pushy and racist mother. Rose, played with charm by Madison Gomez, hatches a plan to make millions by having the record company’s resident heartthrob, Conrad Birdie, go on TV to kiss young Midwestern fan Kim before he ships out with the Army.
The idea comes from the drafting of Elvis Presley into the armed forces — an occurrence lost on many today, along with a chunk of the dated jokes in the show. An Ingrid Bergman-Mussolini quip and a gag based on Time and Life magazine magnate Henry Luce land to the sound of crickets.
But Yow gets laughs by letting his performers act broadly, though he doesn’t always get the balance quite right. Chase Walker’s Conrad has a toothy grin and swiveling pelvis, but is a bit too passive for the cocky singer he’s portraying; Mark Bartschi, as Kim’s tightly wound dad, heads straight to aneurism-inducing anger.
The script doesn’t make it easy for John Teixeira as mama’s boy Albert. Teixeira has plenty of charisma, but after Albert’s speech about a woman’s place you might be hoping Rose leaves him in lieu of the traditional musical “happy” ending. In the most difficult role, Christine Hicks gives the standout performance. She expertly finds a delicate balance with racist mama Mae. Hicks makes her so funny with her woe-is-me nagging, misguided seduction attempt and obnoxious put-downs that the racist insults sting all the harder.
But maybe that’s OK. Maybe there’s a chance that someone in the audience will see a bit of himself or herself in Mae’s attitude — and then take a long, hard look in the mirror. That could make “Bye Bye Birdie” worthy of the world we live in today.