At Littleton Town Hall, a perfect marriage of comedy and music

‘I Love You, You’re Perfect, Now Change’ benefits from strong acting and direction

Ever a crowd favorite, I Love You, You’re Perfect, Now Change has returned to Littleton’s Town Hall Arts Center for another go around. The response from the audience at the performance I attended sealed the deal about how crazy people are about this show. It has something for everyone:  plenty of comedy, music and hilarious insights into the world of modern-day relationships — both good and not-so-good. The premise is straightforward: The first act is about dating, while the second act is about marriage.

Three of the four performers have graced Town Hall Arts Center stage previously, and the fourth is a most welcome addition. The ensemble consists of Rebehak Ortiz, Katie Reid (new to THAC), Tim Howard and Zach Stailey. All four are at the top of their game both comedically and vocally.

The opening skit is a high-speed chase through the world of dating. As Woman #2, Katie Reid is far too busy, busy, busy to suffer through the traditional benchmarks of dating and/or relationship building. Man #1 (Tim Howard) at first responds with skepticism but later jumps on the bandwagon. In the space of several minutes, we go from their first meeting to what happens a year later when the two run into each other after having ended the relationship. Both Reid and Howard are highly skilled comedic actors, and their timing is impeccable. Throughout the production, they continually top themselves, until the final skit when we find them as somewhat lonely seniors as they crash a funeral for someone neither of them really knows. Howard also shows a very tender side in the musical selection, “Shouldn’t I Be Less in Love with You?” as he has yet another breakfast with his partner of many years. And Reid is delightful as she laments the downside (or maybe not) of always being a bridesmaid in the song, “Always a Bridesmaid.”  It is a delight to watch these two actors from start to finish.

Another high point is the musical number, “A Stud and a Babe,” which features Man #2 (Zach Stailey) and Woman #1 (Rebekah Ortiz). Both Stailey and Ortiz are wonderfully comedic nerds longing to be a stud and a babe. The transformation between the two personas is enough to make you giddy.  Both performers have multiple opportunities to showcase their talent throughout the performance. Late in the second act, Reid, whose character is divorced under somewhat confusing circumstances, enrolls in a video dating service under the pseudonym Rose Ritz. This skit is a high point in the production. She is both funny and filled with a certain amount of sadness and maybe even a little regret. In yet another true-to-life skit, Stailey plays the odd man out when he delivers a mammoth stuffed teddy bear to his friends who have recently had their first baby. Stailey’s reaction to the situation is priceless. Both Ortiz and Stailey are highly adept performers both comedically and musically.

For a musical such as this to succeed, the director must approach each scene as a play within itself. Bob Wells has accomplished this masterfully. Every skit is beautifully developed and brought to life. It never feels like any joke or schtick is repeated. Along with the exceptional performers, Wells has put together over two hours of unique stories told through dialogue, song and dance.

A wonderful moment comes in the second act when four white office chairs are brought on stage and used to represent the seats of a car.  The musical number “On the Highway of Love,” turns into a carnival-like dodge ’em car ballet with all four performers twirling about the stage. Wells also knows when to slow the action and give the audience a moment to regroup after over-the-top comedic moments.

Kudos must go to Jessie Page for the costumes. It appears that no expense is spared in dressing each actor perfectly for each character and scene. Again, this is another way to make every scene stand by itself. The set design by Michael Duran allows the audience to use their imagination about the locale of each scene without being overly suggestive. And Brett Maughan’s lighting design showcases the entire production with rich colors and vibrancy.

Musically the production hits all the right notes, with Donna Debreceni and Eli Acosta comprising the orchestra with a sound that’s both full and satisfying.

If there is a downside to any of this, it is that, at times,  the material itself comes across as somewhat dated. Sketch comedy should be current and topical. Originally produced Off-Broadway in 1996, the book by Joe DiPietro at times feels slightly stale. References in the script include Elizabeth Taylor and Richard Simmons. I’m not saying it needs a complete rewrite, merely some freshening up.  The lyrics, also by DiPietro, and the music by Jimmy Roberts are appropriately tuneful, and wickedly funny.

I Love You, You’re Perfect, Now Change is a perfect “marriage” of comedy, music, skilled direction, and stellar performances currently playing at Town Hall Arts Center in Littleton.