Jacques Brel is Alive and Well and Living in Paris
Music by Jacques Brel
Translated by Eric Blau & Mort Shuman
Directed by Gordon Greenberg
Zipper Theater
336 West 37th Street
212-239-6200

Review by Amy Krivohlavek

The sultry musical Jacques Brel is Alive and Well and Living in Paris seems to have been conceived in the wine-soaked, seedy grandeur of the intimate Zipper Theater, a place where mismatched sofas are crammed together near a stage that overflows with the emotionally stark performances of four superb actor-singers. Instead, as the title suggests, the material originated in France, but director Gordon Greenberg has carefully calibrated this production — a revival of the successful 1968 New York original — to reflect both a strong European sensibility and the universal themes underscored by Brel’s evocative, accordion-tinged melodies.

French Quartet: Jayne Patterson, Robert Cuccioli, Constantine Marvoulis and Gay Marshall revisit a legendary composer’s work in Jacques Brel is Alive And Well And Living in Paris.

The late and legendary composer’s work is often described dismissively as “dark.” While Brel certainly delved deep into the human condition to mine heartbreak, death and devastation, he also unearthed the shimmering hope at its edges. Rhythmically charged and plaintively poetic, Brel’s compositions call the wildest of oxymorons to mind: winsome melancholy and joyous despair.

Former “American Idol” finalist Constantine Maroulis, who recently joined the cast, proves to be an impressive addition. He has the vocal chops and emotional tenacity to handle the demanding material, but he clings a bit to his rock star affectations: head thrusts, clenched fists and squinted eyes. Still, he obviously loves the stage, and it’s exciting to imagine where he might appear next as he continues to refine his skills. Understudy Tamra Hayden gives a compelling performance, seamlessly transitioning from “Old Folks,” a lovely meditation on death and the irreversible passage of time, to “My Death,” a full-bodied power ballad that reconsiders the same subject.

Original cast members Gay Marshall and Robert Cuccioli continue to perform feats of vocal and emotional gymnastics. Cuccioli, who is saddled with several lengthy expository songs, turns each one into a graceful arc of discovery, while the pint-sized Marshall, a force of nature in a sleek velvet dress, is the show’s emotional connective tissue.

Brel frequently had war and its perilous effects on his mind, and these timely songs are juxtaposed pertinently throughout this revue, creating a complex tapestry in which disparate emotions mingle in thrilling, resonant combinations.