The somewhat corny plot line of Babes in Arms did not leave me at the edge of my seat, but rather it was the breadcrumb trail of historical innuendos scattered throughout the play and the charismatic musical numbers that left me in awe. According to The Guardian review by critic Michael Billington, “the show ripples with classic numbers…acerbic wit perfectly counterpoints innate romanticism, and [the] lyrics are a triumph of ingenious wordplay,” which highlights the powerful effects that the musical numbers have brought to the performance. I believe the play’s success is due to the compelling execution of the characters personas, despite their sparse prop or scenery usage and the execution of the challenging historical background. Babes in Arms intricately creates a close-knit dynamic between the audience and performers through the brilliant execution of on-stage roles as well as the historical contexts and moving showtunes.
The rendition of the ‘page to stage’ production at SUNY Geneseo (November 2018), allows performers to apply the techniques they have learned to a final performance, and the version executed comes from John Guare’s 1990 text that adequately addresses both the discrimination faced by African Americans and the financial struggles of many individuals after a Great Depression Era. Historical context, while vital, was not the driving force of the plot which contributed to the beauty of the show. Lee Calhoun (Strasser), a wealthy southerner, attempts to bar Irving Quincy (Bernstein), a black boy from the kids’ performance, revealing the racist attitudes of many Southerners towards blacks at that time. Additionally, all the kids’ parents left to travel and make ends meet as vaudeville actors and actresses, a common theme during that time period as families struggled financially. It is often said that historical background if not the focus of a performance is difficult to portray, but the intricate weaving of specific events throughout the show leaves the audience’s desire for historical notes satiated.
The musical score of Babes in Arms put it on a level above many other musical theatre performances that I have previously seen. The sentiments behind the music, especially “The Lady is a Tramp” (Billie) and “Way Out West” (Baby Rose and Quartet), were increasingly important as they discussed pivotal issues such as feminism and the migration for a better life. Musically, the harmony and catchy lyrics of “Babes in Arms” (All kids) and “Johnny One Note” (Baby Rose) stuck in your head even after leaving the recital hall which is far and few between with performances today. The musical numbers, while many involved upbeat lyrics, would be nothing without the performances of the actors and actresses. Most notably, Val LaMar (Sousis) and Billie Smith (Levine) took the cake, with their endearing personalities and charisma that left you focused on them alone rather than their somewhat bland love story. The ensemble and dancers were also able to draw you in with their big smiles and poise, all while using just a few costumes and primarily their imagination. The enthralling performance left you attached to the cast, clinging to every word and note they performed.
Babes in Arms demonstrates that key elements such as actors and actresses, the musical score, and the skillful placement of specific events can propel the brilliance of a work. It truly is the people and their love to perform, as well as the basic theatre elements portrayed effectively that leave the audience connected to the performance and those on stage.
