Plaid Review

Meet the Plaids (from left, Smudge/Seth Mrowka, Sparky/Joe Cooper, Jinx/Craig J. Faulkner and Francis/Miles Burns).

By Tamara Le

January 22, 2009 6:00 AM

It's hard to understand why a quartet of innocent, young crooners would be stuck in Purgatory, but there they are. Wistfully hovering about the stage at the Rep, all dressed up, with no gig or show.

They've been there since Feb. 9, 1964, after being broadsided by busload of Catholic School girls enroute to Ed Sullivan Theater to see the Beatles.

There is something metaphoric about the arrival of rock 'n' roll and demise of balladeering in that notion, but "Forever Plaid" doesn't ask you to try and figure it out. Indeed, the plot is simple and sweet.

The musical review does however, gently remind you that giving up on your dreams may result in a purgatorial sense on earth of sorts. That, and you never know when that bus careening down the highway is meant for you.

Cue Smudge, Jinx, Frances and Sparky. Boy-Men so unassuming, that none of them ever got the girl. So innocent, their high school Spanish teacher serves as inspiration for ballads of the heart.

Smudge (Seth Mrowka) works in building supplies and suffers from ulcers. Jinx (Craig Faulkner) works in hardware and has chronic bloody noses, Francis (Miles Burns) toils in the plumbing accessories despite asthma and Sparky (Joe Cooper) does just fine in fine dresses with a, "speech impediment." Yet, at night in the stock room of a supply store, Doo-Wop harmonies reign, LPs are made and insecurities give ways to fulfillment. If the frontal lobes of your brain aren't tickling after the first few numbers then you've probably forgotten to take off your ear muffs.

There are 20 numbers in the show and I'd be hard pressed to find one I didn't like. Act One however, didn't quite have the same intensity and vigor as the second, but the difference between an A- and A is often irrelevant.

"Three Coins in the Fountain," and, "Moments to Remember," in the first act accentuate the musical as well as dramatic talents of each performer, individually and as a guy group.

Faulkner is especially captivating, in his range as a singer and ability to put to rest any woman's memory of a prom date gone bad. A word of warning to women sitting in the front row though - brace yourselves as he discovers his hips.

"Crazy 'Bout Ya Baby," could teach the cast of Stomp a move or two, "No Not Much," is harmony at its purest and "Perfidia," champions Joe Cooper's multitude of talents.

Act Two brings a chance meeting between the Plaid and Perry Como, their idea of all things cool. It also poses the question, what would you do if you met your inspiration? The boys do the only thing they can. Steal his carburetor. And, sing for him of course until it reappears.

The last six songs are the best in show. From Caribbean Plaid to Lady of Spain, Scotland the Brave and Shangri-La, to a 3 1/2 minute version of the Ed Sullivan Show (remember the ukulele playing Nun? Helga? Site gags?) they are all there to help bring the house down and send the Plaid off to the tartan afterlife.

Along the way, the audience gets to be a part of the action. Smudge, the nerdy silent guy finds his inner-Elvis. And you, feel the joy of dreams realized.