By Thalise Moorer
Navigating the New York subway system can be a test of endurance, particularly during rush hour. However, one joy ride that appears to be on time is Julie Mandel's “Subway Suite,” a new musical toying with a day and night on the “F” train. The production, directed by Susan Einhorn, head of the Queens College Drama Department, features the Meridian String Quartet and a huge cast.
Barring a few awkward scenes, “Subway Suite” is a series of vignettes sewn together into one very lengthy production. The lyrics are the script and the dancers bring it to life. Most impressive is the original score by Forest Hills composer Julie Mandel which smoothes over rough spots in the evening where scene placements are questionable.
At first glance, the set design appeared to have been lifted from “Bring In Da' Noise, Bring In Da' Funk,” with its onstage subway car pulled by metal poles. The prologue pricks the intellect with a cinematic melody while dancers mimic phrasings in the background. Breaking from this dreamy opening, a string competition follows in which cast members Ricky Santiago, Antonio Saldana, Maylin Hago, and Limor Silberstein dance and duel on makeshift instruments. This is followed by performer, Susan G. Wallack, who emerges with a delightful song about her morning commuter woes. Another endearing moment has Annette Stamatelatos, Susan Stewart (guest alumna) and Elaine Rodriquez as three working moms.
Other witty scenes include the calisthenics of reading the morning newspaper in a cramped subway car: someone is working a crossword, another reads the latest gossip, while an entertainment buff skims “People.” From yuppies reading The Times to the powerbroker's Wall Street Journal, this well-choreographed number has spunk.
Other stand out numbers include Anthony Francesco as a man in love with a girl he spots on the train every morning at eight. And no subway ride is complete with a vendor's stroll through the cars, shouting, “One dollar!” Daniel Kennedy is absolutely hilarious as he gallops and sings to make his quick buck. Also adding to the humor, are unsuspecting tourists determined to have a great day in “the big city,” even though they're fearful of riding the train neck and neck with strangers. Another highlight: the ever-unintelligible PA system announcing to riders that they “need to take the blip to bleep and transfer to the blip.”
Raising the roof is “Subway's” critical “Bum Rap” scene, featuring the entire company as subway workers. Other winning moments include a salsa dance number, patrons passing the time with various choices of music , and the heartfelt performances of Al Turner II, Andrea Kotsay and Michael W. Allen.
On the downside, while most of the performers met the challenges of the production, not everyone did. One dancer, present in nearly every scene, fell short on some numbers that would have been better served by a more agile performer. In other instances, a singer's talent was wasted in scenes that needed to be revamped. If tweaked to rely more on its strengths, “Subway Suite” will definitely go places.
“Subway Suite” will run Friday and Saturday at 8 p.m. and Sunday at 3 p.m. at Queen's College's Goldstein Theatre, Kissena Boulevard, Flushing. Call 793-8080.
