I Love You, You’re Perfect, Now Change

I Love You, You’re Perfect, Now Change

Keizer Homegrown Theatre                 

March 20, 2014 (Opening Night)

Keizer Homegrown Theatre launches its third season with a romp through the absurdity of modern dating.

The play, I Love You, You’re Perfect, Now Change (Book & Lyrics by Joe DePietro, Music by Jimmy Roberts) is a modern crowd pleaser. It played an amazing 5000 performances in its initial off-Broadway run starting in 1996, and most recently appeared locally at the Broadway Rose Theatre in Tigard in Jan–Feb 2013. As such, every scene and musical number is tested and solid.

There is no plot, per se, just a series of vignettes on the theme of relationships and courtship, progressing from young couples through marriage, parenthood, and divorce. There is no deep philosophy here, or politics. It is a vive la difference! comedy in which men and women (all decidedly hetero) take and give their licks equally. The play provides a few moments of real tenderness, but their scarcity leaves one wanting more. It is a good night out, a fun play for a date (or a married couple’s date night). 

Keizer Homegrown makes use of its familiar home in the Keizer Civic Center, again converting a conference room into a found-space stage. The set is functional, with simple masking flats, parquet floor, light trees, and risers. What the space lacks in technical sophistication is more than made up for by its intimacy. There are no chin microphones here. The performance is real and immediate, with performers close enough to touch you or look you in the eye (and they do, from time to time).

The cast of four women and four men is a true ensemble, with some familiar faces, although most are new to Keizer. No one in the cast is an Adele, but each singer has his or her moment. Stand out vocal performances come from Carol Adams and Taylor Pawley, and kudos are also deserved for the rendition of “Always a Bridesmaid.” The most touching spoken exchange takes place between Carol Adams and Michael Swanson in a scene called “Funerals are for Dating.”

Director Laura Reid makes good use of the space and keeps the action moving smoothly. Reid adds a bit of local color to the dialog, which is a nice touch.

What this production wants is a full house. Opening night garnered a modest audience of 28 on a Thursday night, but a production like this needs the energy of ears and bodies to truly come alive. This show is fun and funny, and the performances are solid. See it if you can.