Saturday, February 13, 2016

Review: Aspects of Love

Walnut Street Theatre's "Aspects of Love" is a beautifully produced version of Andrew Lloyd Webber's questionable musical. Inquirer theater critic Howard Shapiro reviews.

Review: Aspects of Love

Blog Image
Charles Hagerty and Jennifer Hope Wills in Aspects of Love at Walnut Street Theatre. Photo by Mark Garvin.

By Howard Shapiro

We have lots of theater about love triangles. Andrew Lloyd Webber enlarges the idea in Aspects of Love, which opened Wednesday night in a beautifully designed and sung show on the Walnut Street Theatre mainstage. He gives us what you could call a quintangle – five people spanning three generations.

It's all a bit much – and a bit too little. Lloyd Webber's painfully swollen music (played with gusto by the Walnut's orchestra, which knows its way around a crescendo, or two, or maybe 70) begins quickly to sound like one tune that stretches out to show its threads; the largely sung-through show has little respite from melodrama and when it does, the lighter stuff seems awkward; the lyrics by Don Black and Charles Hart are not flat but flatulent (seeing is believing, love changes everything, yadda-yadda-etcetera), and emotions sometimes change line by line.

The show was successful in London, and opened on Broadway in 1990 to the sound of a thud -- it ran 399 performances and lasted just under a year. Aspects of Love is neither very good nor awful, but then, it is at best confused. The show takes itself very seriously but also winks here and there at uncomfortable content that deserves far better treatment – infatuations between cousins, generations, the same and the opposite sex, and over the decades. The musical, through its lyrics, tries to say something about these entanglements. Its creators, so far as I can tell, never really decided what.

That said, I had a great time at the Walnut because the production, directed by Bruce Lumpkin, is striking. Even if the show can't give any smart insight into the aspects of love, the production gives us clear
understanding of the aspects of theater. The performers' accents that come and go in this piece set in Europe in the '40s are my only complaint – the rest of it is nailed down and sumptuous, even the set changes: John Farrell's elegant, mostly white country house scenery is covered and uncovered with flowing scrims to change settings, by a crew dressed handsomely in Colleen Grady's flowing pastels.

That's the technical stuff. The voices in this Aspects of Love soar. Okay, you could say, so the actors rise high above material that languishes beneath them, and what's the point in that? The answer here is clear: performance. Jennifer Hope Wills, who appeared for a healthy stint of Broadway in another Lloyd Webber's record-setter, The Phantom of the Opera, plays the young actress struck by her stage-door Johnnie, portrayed by Charles Hagerty. His crystal tenor meets her wide-ranging soprano, and the chemistry is obvious. (Plus the two of them are lovable on stage, singing or not; Wills is alluring and cheeky, both in her performance and her actual cheekbones and Hagerty has a sweet presence that makes you want to quickly introduce him to your daughter.)

The roguish uncle of the boy is the forceful and great-sounding Walnut (and Broadway) regular Paul Schoeffler, his squeeze is played by Danielle G. Herbert and an offspring – I won't say of whom – is Jenna Brooke Scannelli. (Her younger self is played on different nights by Arin Edelstein and Claire Norden.)

When you mix high-quality stage talent with great design, you can get a fine production. As for Aspects of Love as a show, when you mix high-strung, poignant and smarmy, you get icky. So focus on the storytelling, not the story.


Contact staff writer Howard Shapiro at 215-854-5727,, or #philastage on Twitter. Read his recent work at Hear his reviews at the Classical Network,

Aspects of Love: Presented by Walnut Street Theratre, 825 Walnut St., through Oct. 23. Tickets: $10-$95. Information: 215-574-3550 or


We encourage respectful comments but reserve the right to delete anything that doesn't contribute to an engaging dialogue.
Help us moderate this thread by flagging comments that violate our guidelines.

Comment policy: comments are intended to be civil, friendly conversations. Please treat other participants with respect and in a way that you would want to be treated. You are responsible for what you say. And please, stay on topic. If you see an objectionable post, please report it to us using the "Report Abuse" option.

Please note that comments are monitored by staff. We reserve the right at all times to remove any information or materials that are unlawful, threatening, abusive, libelous, defamatory, obscene, vulgar, pornographic, profane, indecent or otherwise objectionable. Personal attacks, especially on other participants, are not permitted. We reserve the right to permanently block any user who violates these terms and conditions.

Additionally comments that are long, have multiple paragraph breaks, include code, or include hyperlinks may not be posted.

Read 0 comments
comments powered by Disqus
About this blog

Toby Zinman's night job since 2006 is theater critic for the Inquirer where she reviews New York and London as well as Philadelphia. Her day job: Prize-winning prof at UArts, author of five books about modern and contemporary drama, and doer of scholarly deeds (winner of five NEH grants, Fulbright lecturer at Tel Aviv University, visiting professor in China). She was recently named by American Theatre magazine "one of the twelve most influential critics in America."

Wendy Rosenfield has written freelance features and theater reviews for The Inquirer since 2006. She was theater critic for the Philadelphia Weekly from 1995 to 2001, after which she enjoyed a five-year baby-raising sabbatical. She serves on the board of the American Theatre Critics Association, was a participant in the Bennington Writer's Workshop, a 2008 NEA/USC Fellow in Theater and Musical Theater, and twice was guest critic for the Kennedy Center American College Theater Festival's Region II National Critics Institute. She received her B.A. from Bennington College and her M.L.A. from the University of Pennsylvania. She also is a fiction writer, was proofreader to a swami, publications editor for the Women's International League for Peace and Freedom, and spends all her free time working out and driving people places. Follow her on Twitter @WendyRosenfield.

Jim Rutter has reviewed theater for The Inquirer since September, 2011. Since 2006, he covered dance, theater and opera for the Broad Street Review, and has also written for many suburban newspapers, including The Main Line Times. In 2009, the National Endowment for the Arts awarded him a Fellowship in Arts Journalism. Thames & Hudson released his updated and revised version of Ballet and Modern Dance in June, 2012. From 1998 to 2005, he taught philosophy and logic at Drexel, and then Widener University. He also coaches Olympic Weightlifting for Liberty Barbell, and has competed at the national level in that sport since 2001.

Merilyn Jackson regularly writes on dance for The Inquirer and other publications. She specializes in the arts, literature, food, travel, and Eastern European culture and politics. In 2001, she was dance critic in residence at the Festival of Contemporary Dance in Bytom, Poland; in 2005, she received an NEA Critics’ Fellowship to Duke University’s Institute for Dance Criticism. She likes to say that dance was her first love but that when she discovered writing she began to cheat on dance. Now that she writes about dance, she’s made an honest woman of herself, although she also writes poetry.

Philly Stage
Latest Videos:
Also on
letter icon Newsletter