Maddie

Jan and Nick, a young married couple, have just moved into an apartment in the East Village. It's 1977, they're in their mid-20s, and they've been together 7 years. Their marriage is happy but starting to show some cracks. They start fixing up the apartment, and while removing wallpaper, Jan uncovers a message, written in lipstick: "MADELINE MARSH - JUNE 14th 1926. READ IT AND WEEP!" They find out from their landlord that Madeline Marsh, Maddie, was an exceptionally talented performer; the landlord and she had been a team in vaudeville; he loved her. But Maddie was tragically killed in a train accident on the way to Hollywood for a screen test before movies even had sound.

We soon find out that, in revealing the message, Jan has freed Maddie's ghost to appear. Maddie immediately starts planning to finally be a star. (Maddie is played beautifully by Kelly Maur.)

Maddie is based on "Marion's Wall," by Jack Finney, who wrote the fabulous Time and Again. (If you haven't read it, and if you possess even the slightest interest in New York City and/or time travel, you're in for a treat.) I chose to see it because of the Finney connection and the intriguing premise. Oh, and because it had been on the West End.

Joe Lewis, Kelly Maur,
Alexander Todd Torrenga
Photo: Ian McQueen Photography

Unfortunately, Maddie is weak at best. The songs are generic, and the lyrics are awkward. The book is sloppy, with unconvincing and inconsistent characters. For example, when asked about the past, the landlord has to be convinced to tell his stories. Have the book writers never met an old person--or really a person of any age? The vast majority of people are thrilled to tell their stories. And, as it happens, I lived next to an old vaudevillian, a comedian, in the late '70s, and he never missed a chance to discuss the past. I even got to hear part of his signature routine--in the elevator (he was wonderful)! More importantly, rather than being thrilled, gobsmacked, awestruck, and ecstatic at Maddie's return, the landlord is ... pleased. And he doesn't fight to keep her around; in fact, he fights for her to go. There are many other examples of the characters not behaving like people, particularly young people in 1977.

One of the biggest weaknesses is the character of Maddie herself. In the first act, she is selfish and ambitious and single-minded in reaching her goals (albeit charming and funny). In the second act, she suddenly has compassion and concern for those around her. For no particular reason, she turns into a mensch. (It also isn't clear just when she can and can't appear.)

I was surprised at that a production from the West End would be so low-rent. But research after the show revealed that Maddie was on the West End for less than two months in 1997! Saying that the show comes from the West End isn't exactly false, but it isn't exactly true either.

Maddie's biggest strength is providing the opportunity for many of the performers to make their Off-Broadway debuts. In addition to Kelly Maur, Shannon Payette and Truman Griffin were particularly good, with many of the others showing great promise.

Wendy Caster