No one ever said love is easy – quite the opposite, in fact. It’s a rollercoaster, a bumpy road, a windy storm. People change in ways we don’t anticipate. Couples grow, and grow apart. It’s through these ups and downs that relationships are tested.
But love is also magical, and Milwaukee Rep’s production of Prelude to a Kiss a musical employs a fairy tale premise and soaring songs to a sincere relationship to explore both of these sides. The result is an enchanting, funny, and wholly romantic show, even if a few finer details get lost in the fantasy.
The show begins as a blossoming romance. At a rooftop party, Peter (Chris McCarrell) gets set up with Rita (Caitlin Houlahan), and the two feel a spark. They meet again, and flirtation leads to deeper conversations about who they are – Rita’s a dreamer with insomnia caused by her anxieties about the world, and Peter’s an affable romantic who grew up with an apathetic family.
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Peter meets Rita’s parents (James Moye and Karen Ziemba), who welcome him with open arms, and the couple decides to get married. During the ceremony, they’re approached by an unknown older man (Jonathan Gillard Daly). He requests a kiss from the bride, and – for reasons unexplained – Rita agrees to it. This triggers something supernatural that changes Rita’s personality and, in turn, the couple’s relationship.
As the show carries on, it becomes a clear metaphor for the challenging, fluid nature of relationships. The musical cleverly examines how we navigate those challenges, and the many ways love may or may not persevere.
This production of Prelude is a new musical adaptation of the 1988 Tony-nominated play of the same name. Since I haven’t seen the original, it’s hard for me to say whether Prelude is improved by being a musical, but the format makes sense. The music lends a joyous, heartfelt air to a supernatural story.
What might come across in the beginning as tedious exposition in other shows is the beating heart of Prelude. Letting the audience spend time with the central characters means we get to know them intimately and take a rooting interest. And the facts of their lives make them feel like living, breathing people – a testament to the writing. Performance-wise, Peter and Rita’s chemistry is visible and magnetic. They’re the driving force of the show, and the unique strain on their relationship explored in the second act is a touching look at how the physical and mental dimensions of love are simultaneously distinct from each other and inseparable.
Each character gets a moment to shine. Rita beautifully renders her apprehensive worldview in “I Haven’t Slept in Years,” which is delightfully contrasted with her snotty gregarious song “Never Really There.” Peter’s voice occasionally ran out of breath, but he excelled in his several solo songs. And the older man, named Julius, is played with remarkable comedic delivery.
Best friend Taylor (Andrew Montgomery Coleman) has an impressive run at the end of “In the Movies,” redeeming what might otherwise come across as a cliche song. And an uproarious banjo number from Rita’s parents (“Whatever My Little Girl Wants”) – complete with a yodeling solo and an impressive cartwheel – raised lots of laughter.
Not everything clicked; most songs carried a narrative or emotional purpose, but a few songs like “A Map of Us” felt inconsequential, serving as transitions rather than serving the story or characters. Toward the end, Julius undergoes a change of heart seemingly from nowhere. And a “cautious” side to Peter is discussed but is never really shown, as he throws himself into romance without much hesitation.
But the musical is a shimmering love story that ends up extending beyond that. Time, regret, the body versus the mind, and embracing life are all themes touched upon. Ultimately, Prelude seems to say that we might all find happiness if we embrace each other – and ourselves – as we are.
See Prelude to a Kiss at the Sharon Lynne Wilson Center for the Arts now through Oct. 19.
