The 10th Avenue Arts Center makes it possible for one to be one’s own angel, that is, if one has the talent, the will to learn and faith in one’s ability. La Jolla resident Mark Sickman has all that, and I am witness. In 1997, he and the Coronado Playhouse presented the world premiere of his early musical, “Kiss Them and Wish Them Goodbye,” produced there and in a revised version at Fritz Theatre. Maiden musicals, especially ones set during World War II and stuffed with many characters and situations (some of which seemed socially incongruous) are not easy. Sickman was undeterred by reviews and continued pursuing his bliss. He found much success with his latest effort, “Rope, the Musical,” in New York City’s East Village last year, competing against 39 other shows and receiving numerous award nominations. This historical piece, set in 1895 and based on research of a true story, concerns William Maledon (likeable New York-based actor Dennis Holland), a professional known as The Prince of Hangmen, who has an unusual practice of death with dignity for all his “clients.” He also has an attractive wife named Mildred (Natalie Nucci), who thrives on the recognition she achieves from attending the “civic events” that William conducts around the territories. “Rope” is set in fictional Summit City, Ariz. With music direction by Josh Weinstein and an additional company of seven actors and eight locally based musicians/actors, and staged and choreographed (as in New York) by Debra Whitfield, “Rope” relates the sad events brought about by Mildred Maledon surrounding the pending execution of Henry Carpenter (M. Keala Milles). Carpenter may be wrongly accused; an appeal is pending. The other major character in the musical is Noah (Edgar Diaz-Gutierrez), the town’s young newspaper editor. Others in the company are Paul Morgavo, Jeff Carver, Tyler Jiles, Trevor Peringer and Taylor Henderson. The music is fairly straightforward, uncomplicated, Western-style, with a few admirable efforts at sophistication, such as a duet for Maledon and his wife and the trio for Mildred, Maledon and Carpenter at the eleventh hour. All are excellent singers. The problems with “Rope” are mainly dramaturgical. Maledon’s motivations are believable, but his marriage is not. Apparently, Mildred and William Maledon have been married for quite some time. He wants nothing more than to retire to a nice ranch or farm somewhere and achieve serenity. She wants nothing more than to continue to thrive on the underbelly of his profession, to see him recognized so she can move to Washington, D.C. and become part of the elite. (What does a hangman do in Washington?) Why does Mildred not know his true desires, and why is he so surprised that she does not? Must be some great sex. Or some sort of great blindness. Costumers Janet Pitcher and Beth Connelly do quite well with Mildred’s period styles and Maledon’s black hanging suit. Lighting design by Curtis Mueller, set design by Larry Taylor (wondrous use of a rolling wooden frame and ropes) and sound by Jason Chody are minimal, and considering the number of brief scenes, they work quite well with the actors drilled to do the moves. “Rope” is a lesson in the fulfillment of one’s dreams, if not the culmination of the road to learning and success. The show is evidence how much progress can be made in 20 years of striving and also how much distance is still to be traveled. This review is based on the opening-night performance of March 18. “Rope” runs through April 3 at the Tenth Ave Arts Center Mainstage, 930 Tenth Ave. downtown. $35. (619) 972-5663, ropethemusical.com.
