The Wild Party is a musical by Andrew Lippa, based on Joseph Moncure March’s 1928 narrative poem of the same name.
The Wild Party is a musical by Michael John LaChiusa and George C. Wolfe based on the same poem. The poem was a sensation. It was considered so lascivious that it was banned in many places when it was published in 1928. In spite of the shunning, the poem was a success. Ironically, the only success of March’s writing career.
To add to the confusion, both versions of The Wild Party opened during the 1999-2000 season, one on Broadway (the LaChiusa/Wolfe creation), the other off-Broadway (the Lippa concept).
The versions differ in format, but still contain the same story line of decadence, bathtub gin, uninhibited sexual behavior, and people who engender little reason to be liked. The LaChiusa/Wolfe version is presented as a series of vaudeville acts. Each segment is introduced by signs with titles of what “act” will be performed. The Lippa version is a more conventional theatrical story with a beginning, middle and end.
The Lippa version is now being staged by Baldwin Wallace’s nationally recognized Musical Theatre program.
According to the writer, the story is “about the masks we wear culturally and the removal of those masks over the course of the party [life]. Unfortunately, the characters illicit no reason to be liked. They lead unproductive, rudderless lives, with seemingly no redemptive qualities. They are self-centered to the degree that we really don’t care what happens to them. There are no “good guys” to root for, no protagonists, only antagonists.
Victoria Bussert, the Queen of the BW program of the play, states in Director’s Welcome, “THE WILD PARTY is one of those true gems in the musical theatre catalog—a show filled with wildly eccentric characters set in the roaring 1920s with an extraordinary jazz score.” (The score is dynamically played by Matthew Webb’s well-tuned jazz band, suspended high above the heads of the audience.)
She goes on to state, “Jeff [Hermann] and I decided to recreate the space [that we had develop for our 2009 edition of THE WILD PARTY at BW] but added more opportunities for an immersive experience.” The stage design is a runway that is placed between segments of the audience seated on both sides of a long narrow stage, which creates no emotional space between the actors and the viewers. (The effect is electric.)
Another change from the 2009 production was to use a slice from the LaChiusa/Wolfe version of the script, and have the leads perform their vaudeville act. (A wonderful chance to give student actors expand on the usual acting experiences of the student actors.)
Bussert continues, “THE WILD PARTY is filled with dance, so choreographers Greg Daniels and Lauren Tidmore spent many hours creating totally original numbers filled with 1920/s physical abandon.” (These are some of most sensual and abandoned dancing you will ever see on stage.)
Featuring Costume Designer Charlotte Yetman’s see through, lots of skin-exposing glitz encrusted clothing that leave no question of cross-dressing, gym cut, sexual trasitioning/transitoned, impressively toned bodies.
The over-all effect is everyone being invited to a wild, wild party!
The story centers on Queenie, a well-known party giver and purveyor of bathtub gin and drugs, and her relationship with Burrs, a “clown” with a violent streak.
They live a decadent life style that March indicates was the way the “in” Hollywood crowd lived during the swinging 1920s, the era of prohibition, speakeasies, uninhibited sex, orgies, eccentricism, acceptance of various sexual life styles, and wild parties. (Obviously, the attendees, cannot be Evangelical prudes, as the goings-on, will cause that crowd to quickly run for the doors.)
During one of the parties, Mr. Black, a well-dressed, handsome, suave, seemingly wealthy man of impeccable manners appears. Queenie falls hard for him, and incites Burrs into a jealous rage, with a tragic outcome.
(Note: BW double-casts its shows so the students can have as many educational experiences as possible. The comments here are for the Queenie cast which includes the talented Queenie (Mia Soriano), her equally talented playmate Burrs (Ricky Moyer), Mr. Black (Praise Oranika) and sensational Kate (Alexa Lopez). Others in this assemblage are Bella Serrano, Jaedynn Latter, Eileen Brady, Noah Wohlsen, Mack Hubbard, Trey Milcowitz, Noah Rodriques, Zach Mackiewicz and Kate Day Magocsi.
Special notice to Trevor Gill-Snow for his sensational dance interpretation of “Jackie’s Last Dance.”
CAPSULE JUDGMENT: If watching decadence is your thing, you’ll be turned on by The Wild Party. If you prefer being in the presence of characters who have redeeming values so you can feel empathy, this is not going to be your show. The singers, actors, dancers, and the musicians are top-notch. They reach levels of excellence that far exceed those of college students. But, what else can you expect? They are part of the respected and oft-revered Baldwin Wallace Musical Theatre Program. Bravo!
(Added note: THE WILD PARTY brings down the curtain on the Costume Designing career at BW of the brilliant, multi-award-winning Charlotte Yetman. She, and her costumes, will long be remembered!!!)
THE WILD PARTY runs through November 19. For tickets https://www.bw.edu/events/theatre-dance/
