It has been almost three years since the musical revue From My Hometown left Milwaukee for its hometown, New York. Time has seasoned this show in several important ways, and Hometown now makes a welcome reappearance. Although some minor tinkering with the script is evident, the story remains the same: a talented trio of R & B singers arrive in New York. They meet by accident in the Port Authority, identifying themselves as one of the geographic centers of R&B music: "Philly" (home of Philadelphia International Records); "Detroit" (Motown Records) and"Memphis" (Stax Records). As the storyline unfolds, the would-be musical stars share snippets of at least 30 tunes. Highlights include a humorous "Have You Seen Her?" complete with exaggerated afro wigs, a soulful rendition of the Otis Redding tune, "Sittin' On the Dock of the Bay"; and a free-spirited "Tobacco Road." One of the revue's new numbers, "Ooh, Child,"proves to be an excellent choice for showcasing the tight vocal harmonies evident throughout. However, in a scene that still strains credibility, thethree men eventually discover that they're related by blood. It's funny, but it could be done through sharper dialogue that doesn't seem borrowed from a sitcom.
The current production has a completely different cast than was seen in 1998. Although the former version included the show's creator, Lee Summers, the new cast is stronger overall. Trent Kendall (Memphis), Carl Thornton (Detroit) and Teren Carter (Philly) all have their shining moments. Kendall's impressive vocal range is shown to good effect, while Thorton, the best dancer of the group, dazzles with each slinky move. As in the 1998 version, Philly is the least developed character. Carter, no slouch in either the song or dance department, will have to work harder to keep his end of the bargain.
The title song, "From My Hometown,"remains a strong opening number. It gets the show off to a fast, toe-tapping start. The actors pour a lot of energy into this show, and things move along at a quick clip (thankfully, even the audience participation numbers don't drag on). The realistic urban set is simple but powerful: stained subway tiles glisten with colorful graffiti. In the foreground, one finds only a tattered bench, a pay phone and a piano (played expertly by accompanist Miguel de la Cerna). The show's pacing and choreography have been overhauled to excellent effect, making From My Hometown a strong contender for a more permanent home Off-Broadway.
