The Jewel is Unlock'd

Can it be? Do my ears deceive me? Do I really, truly hear an...

OVERTURE?!

Is it sheer coincedence that out of the eleven 2007 NYMF shows I've seen to date, the only one of the eleven that has a true overture is easily the best of the eleven?

Based on Alexander Pope's poem, "The Rape of The Lock," Unlock'd centers around Belinda (Sarah Jane Everman), a maiden whom all of the men in the kingdom are desperately in love with. She loves the flattery, but has no intention of marrying anytime soon. This frustrates many of other maidens in the kingdom, as all of the potential suitors are focused on Belinda. Included in this group is Clarissa (Jackie Burns), Belinda's stepsister, whom Belinda has neglected ever since she became so attractive. Clarissa schemes to help get the Baron (Jim Weitzer) one of Belinda's locks, for that would all but promise marriage. The lock is eventually taken, but by who? When affections change, will everyone achieve their "happily ever after"?

Also affecting the situation are three sylphs -- virginal fairy-like creatures -- who want to keep Belinda a virgin like them at all costs. They spurn the advances of 3 gnomes, who, in turn, bet that they can get Belinda to marry. It seems as though humans aren't the only ones who will be impacted by the events in Unlock'd.

The musical does a wonderful job of integrating its fairy-tale setting, the music, the story, and even several monologues spoken entirely in couplet, as a tribute to the Pope poem. The story takes an unexpected turn, providing for a great deal of heart, wisdom, and cleverness, all of which can't help but make you smile. The show openly addresses aspects of fairy tales you may generally dislike, and the plot twist ensures that these aspects are eradicated from this story. The important characters are all likable, although they each certainly have their flaws.

The overture sets the stage for a beautiful score that has an appropriate magical/whimsical sound. The composer is not afraid to use operatic music, even though it seems like today's audiences prefer pop music that they can sing as they leave the theater. The music really grabbed me as I hung onto every note of Sarah Jane Everman's lovely soprano and Jim Weitzer's powerful baritone. I can only imagine how gorgeous this score will sound when played by a 25-piece orchestra. (yes, I said "will.")

There are even aspects of this small production that shine. The costumes, designed by Colleen Kesterson, are both appropriate and lovely. Furthermore, directorial decisions, such as having the sylphs ride on moving walls to give the impression that they are high above the ground, as fairies are, deserve praise. The design of these walls also provide for a clever visual in the show's final scene.

Strong performances are turned in by all, particularly by Sarah Jane Everman as Belinda. Her comic timing and gorgeous voice contribute to a great performance. Jim Weitzer is a well suited, love-struck Baron, and as previously mentioned, his baritone soars. Jackie Burns does a great job of establishing Clarissa as a complex character. She makes her monologues of couplets fit in perfectly to the rest of the story, and gives us insight into her character, and so, we are truly able to understand her motivations. She is a strong female, yet insecure. Chris Gunn makes a cute and geeky Edwin, the Baron's brother. Also making an impression is Christopher Totten as a love-struck gnome.

Between an enticing story, a beautiful score, a child-friendly environment, and a setting that certainly lends its way to at least a degree of spectacle, I would not be at all surprised if Unlock'd made it Broadway. Not only that...I think it could have a successful Broadway run.