Hello Again

If La Ronde was a play about class then Hello Again is a musical about loneliness. Both stories feature a daisy chain of hook ups but neither has much to say about sex. In a sense that's the point. The sex in Hello Again is rarely for love or pleasure. It's a tool to gain something from a partner; financial support, a career boost or a sense of feeling "safe."

The scenarios are flexible enough to allow for literal or fantastical staging. The 2017 film version includes a lovely mix of both. The roles are juicy enough to showcase stars or newcomers and the original Off-Broadway cast has gone on to great things. The show was not LaChuisa's first musical but it was definitely the one that put him on the map.

Amour

Amour triumphed in Paris, flopped on Broadway, then vanished. The New York Times dismissed it as “ a wispy… twinkling trinket” but the cast album developed a passionate fan base.  In 2016 the rights to the English translation were finally secured by Tams Witmark for licensing.

There is a core of melancholy beneath the whimsy. Dusoleil has effaced himself to the point where he’s literally disappearing. His Doctor calls his wall walking power a disease. Isabelle is kept prisoner in her home. Her husband treats her like Rapunzel. When they find freedom they seek vengeance on their tormentors. The story could have easily flipped from superhero to supervillain narrative.

The townsfolk have survived WW2 and the memories haunt them. Dusoleil’s acts inspire his allies to break free from routine and pursue their dreams. The antagonists fear change and seek to control those around them. The libretto favors the former but reminds us that dreams have a cost.