Since its premiere at the Geffen Playhouse in 2001 with Uta Hagen and David Hyde Pierce, Richard Alfieri’s two-character play, Six Dance Lessons in Six Weeks, has had many productions around the world. Germany, Israel, Turkey, Greece, Austria, Hungary, Finland and several more countries have had their very own Lily and Michael. Polly Bergen and Mark Hamill were in the short-lived Broadway production in 2003; Claire Bloom and Billy Zane appeared in London while Constance Towers and Jason Graae did a Los Angeles revival a few years back. But I don’t think there has ever been a more impeccable pair than the twosome currently dancing across the stage of the Laguna Playhouse until June 8.
Lily is a lonely older widow living in a retirement condo in St. Petersburg. She is trying to throw off years of living in the shadow and under the thumb of her Baptist minister husband. Even though she really doesn’t need them, she signs up for dance lessons in the privacy of her living room. She is assigned newbie Michael, an aging former Broadway chorus boy in need of a job after caring for his Alzheimer’s stricken mother. Fire and water make a better mix than these two at first meeting. However their need for a job and desire for companionship give the relationship a second try, to better effect.
Lily is played by screen legend Leslie Caron. The star of such classic films as An American in Paris, Daddy Long Legs, Lili and Gigi, has matured gracefully. Her poise, her style, her elegance, her sparkle are infectious; she has the audience in the palm of her hand from her first entrance and she never disappoints them. The fiery, angry, quick-tempered and quick-witted dance instructor, Michael, is played by song and dance man and local theatre icon David Engel. His comic timing is honed to perfection and he brings subtle nuances to his character as he peels back the layers to reveal his true self. The byplay and interplay of this dynamic duo is a joy to watch. They seem to be soul mates who have worked together for years rather than strangers who grew to know each other during a few weeks of rehearsal. You can tell that Ms. Caron feels safe in the arms of Mr. Engel and that he is delighted to have her there. Donna McKechnie did the musical staging of the various dances, from tango to waltz, foxtrot to disco. The dance segment that closed most scenes received cheers from the capacity audience on opening night.
Director Michael Arabian has a deft touch; he permits Alfieri’s words and the talents of his cast to tell the story simply but effectively. The tech is top notch—John Iacovelli’s scenic design, D Martyn Bookwalter’s lighting and most especially Kate Bergh’s costumes. I joined in for the standing ovation, something I rarely ever do since it has seemed to become de rigueur for every single stage show. This pair of performers deserved it. We might all still be standing and applauding if the curtain had not finally closed and champagne awaited us in the lobby.
The Laguna Playhouse, 606 Laguna Canyon Rd. in Laguna Beach. Ends June 8. 949-497-2787 or www.lagunaplayhouse.com