Theater Review: DAMN YANKEES (Desert Theatricals)

DAMN, IT’S GREAT

Desert Theatricals hits another home run this weekend with their contagiously joyful production of Damn Yankees at Rancho Mirage Amphitheater running through Sunday, April 7th.

I must confess, I never fully embraced the Damn Yankees phenomenon. Up until last night, I had not seen a full stage production. I had only seen the movie, which I dismissed with, “This is just another musical with a thin plot, some good music, and a bunch of baseball players; not my thing!” However, as I sit here reflecting, I can emphatically say that this production has turned me into a Damn Yankees enthusiast. I am not particularly a fan of competitive sports, so I initially lacked the cultural and historical context  until I saw it last night.

During the ’50s, the Yankees had won six World Series in ten years’”four were won before the musical was written in 1955. The Washington Senators had not won a pennant in decades. Even if you are not a lover of America’s greatest pastime this information offers an understanding of the Senators ire and animosity that fueled their fire and passion to beat those damn Yankees. With a better understating of this historical setting and a stellar cast, this production proved to be a captivating and delightful show that warmed hearts on a chilly evening.

The musical is based on the novel The Year the Yankees Lost the Pennant, which reimagines the Faust legend with a twist. Middle-aged real estate agent Joe Boyd (Michael Hamlin) is a long-suffering fan of the pathetic Washington Senators baseball team. His wife Meg (Joanne Mulrooney Moser) laments this (“Six Months out of Every Year”). After she has gone to bed, he sits up late, grumbling that if the Senators just had a “long ball hitter” they could beat “those damn Yankees.” Instead of selling his soul to the devil, as in Faust, Boyd trades it to an enthusiastic baseball fan Applegate (Tod Macofsky)  in exchange for a chance to play for his beloved Senators. Frustrated by his team’s prospects, Joe is enticed by slick and cunning Applegate, who offers him the opportunity to fulfill his dreams of becoming young, hunky star player, Joe Hardy (Patrick Wallace) and helping the Senators win the pennant. The catch? Joe must leave behind his current life, including his wife, Meg (“Goodbye Old Girl”), to become the young baseball prodigy Joe Hardy. However, the cost of this fame is his soul.

Reluctantly, Joe agrees but his business sense inspires him to insist on an escape clause. Applegate reluctantly agrees but sets a deadline: Joe must decide by September 25 whether to return to his old life or remain under Applegate’s control forever.

In trying to facilitate Joe’s eternity, Applegate  enlists his sexy assistant Lola (Ava Sarnowski)  who is also his “best homewrecker on staff,” to seduce Hardy. She promises that; with her brains and talent (with an emphasis on the latter) seducing Joe will be a piece of cake. Joe’s devotion to Meg  wins out, but not before Lola, the ballplayers and others get to strut their stuff through a still pleasing Richard Adler and Jerry Ross score.

Macofsky as Applegate leads the laughter in this production. He is devilishly charming in the role. He masterfully plays Applegate’s over-the-top eccentricity. His one solo number “Those Were the Good Old Days” brings down the house. Wallace, who you may have seen in Desert Theatricals’ season opener Fiddler on the Roof  has been wowing CV audiences since returning to the stage this past following a multi-year hiatus. He effortlessly takes command of the entire amphitheater as soon as he makes his magical entrance as the young Joe Hardy. His sincerity, warmth, and authenticity contribute significantly to the arc of the show. With his warm vocals, hearty  dance skills, convincing baseball player stature, and depth of character, Wallace confirms his status as a triple-threat.

Hamlin is picture-perfect as the middle-aged, mid-westerner Joe Boyd. But it is his vocal chops  and fully fleshed character delivery that sets the production up for success along with Moser, who brings warmth and sensitivity with her portrayal of Meg Boyd adding depth and sincerity to the whole production.

Sarnowski embodies Lola with confidence and conviction. While Lola fails at seducing Joe, Sarnowski effortlessly seduces the audience. She takes Ray Limon’s inspired choreography and hits home runs across the board in “A Little Brains, A Little Talent,” and “Whatever Lola Wants.” For the frivolously joyful “Who’s Got the Pain” she is joined by featured ensemble member Mathew Tucker, who is delightful.

Mia Mercado shines as brassy reporter Gloria Thorpe and kicks up her heels with the solid ensemble of baseball players in the “Shoeless Joe from Hannibal, Mo” dance; the delightful inspired choreography shines as Limon leverages the full spectrum of his agile cast. Glenn Ligett is solid as team coach Benny Van Buren, leading “You Gotta Have Heart.” I would be remiss if I did not single out the gut-bustingly funny supporting turns of Sonia Boyd Reaves and Julie Schwaben as Meg’s bridge partners Sister and Doris. Other featured stand-outs come from Don Savage as Commissioner and Gene Strange as Senator’s club manager, Welch.

Desert Theatricals’ productions consistently feature the best ensembles in the Coachella Valley, among them the ball team: Christian Fonte (Henry), Nick Wass (Sohovik), Koby Queenen (Smokey), Paul Zappia (Linville), Xavier Brown (Cubby), Mathew Tucker (Rocky), Miguel Olivas (Vernon), Timothy McIntosh (Bouley), Peter Zappia (Lowe), and Billy Franco (Mickey). The wonderful, tireless ensemble also includes Joe Smith, Joan Vento-Hall, Rita Wagner, Lois Bondurich, Jana Giboney, Aiden Lizada, Sam Rekuc and Desmond Seiders.  

A critical factor in the success of Desert Theatricals is that they do not skimp (by today’s standards) on a full, live orchestra. In Damn Yankees a 12-piece orchestra is led with aplomb by conductor Scott Smith. This splendid orchestra often sounds double in size especially during the delightfully recognizable overture.

Resourceful sets by  Carr, Anthony Pulin, and Zoe Sanchez are  enhanced by Nick Wass’s fantastic projection designs that also offer humor to the production.

Damn Yankees  is a clever, tuneful nostalgic trip back to the Golden Age of Broadway musicals. At Desert Theatricals it is a trip worth taking.