‘Damn Yankees’: A hit, a miss and a home run

Long before they took the plot from the opera “La Boheme” and created a contemporary version that became the Broadway hit “Rent,” Douglass Wallop and George Abbott took “Faust” and turned it into a rollicking, joyous, wacky tribute to baseball and enduring faithfulness. “Damn Yankees” is a feel good romp that has all the elements of a great musical. “Damn Yankees” opened on Broadway May 5, 1955 and starred Gwen Verdon with choreography by Bob Fosse. It walked away with eight 1956 Tony Awards and has continued to captivate audiences around the world through the years.
The storyline is simple and clear: A middle-aged baseball fan sells his soul (with a bailout clause) to the devil (aka Mr. Applegate) for a chance to play for the Washington Senators and beat those damn Yankees. He is transformed into a young man and all is dreams are fulfilled until he realizes what he has given up. The devil tries to keep him focused on the bargain and not use the bailout clause.
The music and technical staff are really the stars of this production. “You’ve Gotta Have Heart,” “Shoeless Joe From Hannibal Mo,” “Whatever Lola Wants (Lola Gets),” “Who’s Got the Pain” and “Two Lost Souls” are just a few of the winners that charm and delight under the baton of conductor Catherine Snider. Ken Kilen’s intricate special effects scattered throughout the show are right on the money along with Edward Hunter’s lighting and Margret Toomey’s scenic design.
Daniel Mitchell as young Joe Hardy carries the show with a terrific delivery and solid voice. The chorus of dancers and singers were given choreography they could handle and deliver with energy. Mary Melnick’s Meg Boyd (Joe’s wife) had the best female voice in the show and carried a heartfelt performance. Her rendition of “A Woman Doesn’t Know” is one of the evening’s musical treasures.
Jen Wheatonfax as Lola and Jeff Clark’s Mr. Applegate, (the devil) seemed to wander through the performance like flat cans of soda, when they should have been the glue and verve of the production. They had some of the best songs in the show and just never seemed to fulfill the promise that was intended. Their “Two Lost Souls” number near the end of the second act showed a moment of what they were capable of delivering.
Tom Gough’s crisp direction and Katie O’Bryon’s clever, reworked and innovative choreography kept the production entertaining and lively.
“Damn Yankees” is worth an evening on the town. It may not hit a home run every minute but as a whole ball game it does score and comes up with the bases loaded.
Camille Bounds is the theatre, arts and special events editor for Sunrise Publications.