Signature Theater's ambitious recreation of Kander and Ebb's final work, The Visit, was proof of the 18 year-old D.C. metropolitan-area theater's deserved national reputation as creator of new versions of musicals and new plays. Stretching their intimate black-box space to its limits, it utilized a topnotch small orchestra, a cast of 23 including world-class stars, and a constantly changing, elaborate production, brilliantly acted, sung and danced.
Only slightly hampered by Valency's prettied-up, standard adaptation of Durrenmatt's dark play, Terrence McNally has changed it to emphasize the underlying love affair between the wronged young Claire and Anton, thus allowing for songs of passion and regret. But that emphasis does not essentially soften Anton's betrayal, Claire's vicious distortion of revenge, or the nasty greediness of the townspeople. The Visit still plays potently; its new music is often memorable; and its choreographed staging is quite striking and fascinating. But I'm not convinced that the play needs musicalizing. The original play is still the superior work.
Chita Rivera demonstrates her legendary status as a performer with a restrained, deeply-felt, Claire Zachanassian, superbly sung and danced and undeniably in charge. Pretty much equaling her is George Hearn's compelling Anton. Both matchless performers, they continue to belie their actual seventy-plus years. The hand-picked cast offers impeccable support. And though the piece is overlong, it should hold and please a large audience. I'm glad to have seen it, but now that I have, I would prefer to see an equally first-rate production of a better translation of Durrenmatt's play. Still, if you haven't yet done this Visit...
