Musical
In the present dramatic world taking pleasure in mammoth spectacles and epic music dramas the play I LOVE YOU, YOU’RE PERFECT, NOW CHANGE is a welcome return to almost extinct dramatic genre: music revue. Its authors Joe DiPietro and Jimmy Roberts gave a new dimension to revue and invite spectators to an impish music drive through a magic palette of modern male-female relationships.
I LOVE YOU, YOU’RE PERFECT, NOW CHANGE was put on for the first time in the year 1995. During one of initial performances a lady in the auditorium cried out: ”That’s about me!” Since that time the authors knew they had a hit in their hands. Since then, I LOVE YOU, YOU’RE PERFECT, NOW CHANGE has become the comedy played for the longest time in the “Off-Broadway” history. It was warmly received by review with the following words: “An absolute winner. Show about people for people” (Ganett Newspaper). I LOVE YOU, YOU’RE PERFECT, NOW CHANGE is the only “Off-Broadway” title included in the “Official Broadway Theater Guide”, official programme of Broadway theatres.
I LOVE YOU, YOU’RE PERFECT, NOW CHANGE has no storyline. It is a fast sequence of scenes and music numbers on a single theme: the relation between man and woman. Since first intense dates and preparations to them, through building up the relation, wedding, marriage, problems with mother and father-in-law, problems with children, tiredness from stereotype, up to relations in a late age. The huge success of this music comedy lies especially in the fact that every spectator all over the world has experienced in person some of the situations taking place on the stage or witnessed them with his/her friends at least.
While Act One of this “intelligent satirical music revue about love” (Variety) plays satirically with problems of free men and women in the present world, Act Two deals with the life in marriage. Scenes full of sharp humour, excellent music and kind nostalgia gloss the never ending struggle between both sexes. “It is a crowd-puller!” (Fox 5TV).
The authors with admirable sense of precise dosing of humour and satire created the comedy which is very witty and, simultaneously, very human. They say themselves in their note or instruction how to stage-manage the play: “The play is a music comedy first of all. The wittier you make it, the better. But it must be kind too.”
