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I Love You, You're Perfect, Now Change
a Musical Comedy
CATEGORY :
by Joe Dipetro & Jimmy Roberts

COMPANY : Horizon Theatre Company [WEBSITE]
VENUE : Horizon Theatre Company [WEBSITE]
ID# 62

SHOWING : September 08, 2000 - December 31, 2000

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PRODUCTION DESCRIPTION

This musical comedy is everything you've secretly thought about dating, romance, marriage, lovers, husbands, wives and in-laws but were afraid to admit! This long running off-Broadway smash hit celebrates the mating game as it takes on the truths and myths of contemporary relationships.
"It's Funny! It's Witty! It's as good as it gets!" -- New York Times


CAST & CREW LIST
Director Heidi Cline
Musical Director Peter Hauenstein
Sound Design Mita Beach
Costume Design Alice Bristow
Props Design Elisabeth Cooper
Stage Manager Colleen Janich
Asst. Stage Manager Ayesha Johnson
Lighting Design M. Patrick Moore
Set Design Mercedes Schaum-Alley
Asst. Stage Manager Susan Tracy
Violinist Deborah Bennett
Pianist Karen Huckabee
Violinist Latonya Peeples
Ensemble Jill Hames
Ensemble Alan Kilpatrick
Ensemble Eric D. Moore
Ensemble Gayle Samuels
Female Understudy Shontelle Thrash
Male Understudy Geoff Uterhardt
Click to Submit Cast & Crew Info for this production
REVIEWS
The Experts Say...

Creative Loafing
by Curt Holman
September 23, 2000
Curt felt that the script was basically rehash of the same old male/female issues and the jokes contained therein, but the direction and performances of the Horizon production makes the show "consistently droll despite the familiarity of its themes."

Atlanta Journal Constitution
by Julia Bookman
September 22, 2000
Julia Bookman loved "I Love You, You're Perfect, Now Change" and gushed that it is "loaded with such tried-and-true, tongue-in-cheek sentiments." She praises the cast, direction, songs...you name it, she was enjoying it.

Southern Voice
by Jim Farmer
October 05, 2000
The play gets a tremendous boost from its four leads and by its director Heidi Cline, but there's no escaping the fact that this is tired, almost sitcom-ish material.

"I Love You, You're Perfect, Now Change" has a few moments of pleasure and recognition, but not enough to fill its tank.

He liked the cast...


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Pitch Perfect
by Mama Alma
Sunday, January 12, 2003
5.0
I Love You, You’re Perfect, Now Change, back for its third year [playing through January 26, 2003 at the 14th Street Playhouse], doesn’t disappoint. It’s an hysterical romp through the eternal biplay between the sexes, and whether you’re het, bi, gay or celibate-by-choice you’ll find something to laugh at. Old marrieds, new marrieds, and those just shopping around are all well represented.

First off, this is Jill Hames’ show. I don’t understand why someone doesn’t snap up this woman and give her a recording contract. She’s got three of the best songs of the show, and she’s pitch perfect every nuance. She’s got a great set of pipes, but she doesn’t just sing the songs, she delivers in the tradition of all great chantueses from Helen Morgan to Peggy Lee. Plus, did I mention she’s funny? Right after making you cry with “I Will Be Loved” she’ll turn around and tickle you with her rendition of a driven to distraction Minnesota mom, and her take on “Always a Bridesmaid” has every woman in the audience chuckling along. I’ve seen this show seven or eight times (no, I am not related to Jill) and she can still make me laugh.

Having said that, Gayle Samuels has really “found the funny” in her bits. I thought her Rosie Ritz scene was especially funny and endearing this year, I thought due to some interesting lighting choices by the designer, Cat Tate. [I never used to notice lighting unless it was bad, but I’ve been bedazzled by the designs of this, I think, brilliant woman. Cat Tate: remember that name.] The Rosie Ritz bit is so poignant it’s usually greeted with a collective sigh at the end, but this year I found the audience applauding Rosie’s guts and gusto approach to the shambles of her life. And Gayle looks great, especially when telling an “ex” that she’s been going to “jazzercise.” She’s especially funny when teamed with Eric Moore in “Sex and the Married Couple,” a tango through the tangle us old marrieds have to navigate to get some.

Eric Moore has the most beautiful song in the show, the haunting “Shouldn’t I Be Less in Love With You?” I’ve heard it done several ways, but I find his choice of endings especially appropriate. He also gets one of the biggest laughs in the show playing a husband stuck in Macy’s while his wife shops. It’s the counterpoint to Jill’s bridesmaid song. Men everywhere bond in spirit.

Which brings me to Geoff Uterhardt, the other Y chromosome in this ensemble. I have a special place in my heart for Geoff a/k/a Googie. He’s never looked more handsome or sounded better. Note to wardrobe: purple really is his color. He seems to be everywhere at once, what a critic called last year “the rubber band man who holds it all together.” He is especially funny when teaming up with Eric Moore in “Why? ‘Cause I’m a Guy.’” The song is a hoot and the guys have a blast with it. And that seems to be Googie’s modus operandi: have a great time and let us in on the joke, whether he’s playing a sex starved con, a dad in love with his car, or an older gentleman trying to make a connection (you have to see this last, a lot of it is visual). There have also been several fresh jokes added at the actor’s expense, and while funny (and surprising for someone who has seen the show more than once), they also serve to put his indelible stamp on this part.

So go, see this show. If you’ve seen it before, see it again. It’s the perfect antidote for the post holiday seasonal blahs. You’ll start the new year off right – laughing your ass off.

I have to put a postscript to this: although I knew this play was being reprised and the approximate opening dates, and the production company (Horizon), and the venue (14th Street Playhouse), I could not find tickets for the life of me. And, as you see, I have had to put my review on the original production page, although Alan Kilpatrick and Shontelle Thrash were not in the production last year or this year. Most credits are still corrrect. Exceptions are Stage Management by Sean Griffin, Lighting by Cat Tate as I mentioned before, Pianist S. Renee Clark, Violist Martha Yasuda in addition to Latonya Peoples. Understudies this year are Ann Street and Wendy Bennett; Craig Waldrip and Jamez Rogers. At least Horizon now has a reference to the production on its website, horizontheatre.com, but one hopes to see something about a show BEFORE it opens. I only finally found out the number to call because I was on the Horizon mailing list, so for awhile they effectively limited their audience. While I would give the play an A, the publicity department gets a D.

To get tickets, call the WOODRUFF Arts Center, 404/733-5000, and to see the play, travel to 14th Steet Playhouse. [POST A COMMENT REGARDING THIS REVIEW]
nothing new here
by Christopher
Friday, October 6, 2000
1.0
This is about as tired as material gets. How many times can you hear a comedian say that men like action films and women like weepy romances and still think it's funny? The first scene was promising but the promise was not fulfilled. Kudos to the cast - they did the best they could with what they were given. But combine the script with Cline's flat, generic direction and there's really not much to work with. [POST A COMMENT REGARDING THIS REVIEW]


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