Damn Yankees
Book by George Abbot and Douglas Wallop
Directed by Stephen Morris
Audience Rating: PG
Running Time: Approximately 2.5 hours with intermission
Accessible Seating: Available
Hearing Devices: Available
Sensory Friendly Showing: Not Available
ASL Showing: Not Available
Sound Level: Comfortable volume
Audio/Visuals to Prepare For: very mild strobing effect
Reviewed by Tim Bass
I had the opportunity several years ago to hear David Coffee speak to a group of actors, and I was immediately struck by his command of the room, his genuine laughter, his deep love of theatre, and his unmistakable kindness. So, it was a personal joy to see his name in the program for Theatre Arlington’s production of Damn Yankees. At this point, it feels safe to say that you will enjoy almost any production that includes this local icon, and Damn Yankees is no exception.
In a bit of irony considering that intro, Coffee plays the role of Mr. Applegate, the show’s devilish antagonist. With smooth charm and calculating glee, Coffee’s Applegate sets his sights on long-suffering baseball fan Joe Boyd, played with warmth by Randy Jordan. Joe’s beloved Washington Senators are once again enduring a losing season, particularly when they must play those “damn Yankees.” Applegate offers Joe the ultimate Faustian bargain: the chance to see his team win the pennant, with Joe himself as the superstar who leads them there. The cost, of course, is simply Joe’s soul.
Joe accepts, with a crucial catch that drives the tension of the show, and we are soon introduced to young Joe, portrayed as likeable and green by the multi-talented Joseph Tully, now reborn as the inexplicably gifted baseball phenom Joe Hardy. Joe joins the Senators, Maximilian Swenson, Landry Beckley, Daniel Vanegas, Sean Sicard, Justin Konopka, Steven Rios, and Rayon Lim, under the leadership of gruff manager Van Buren, memorably played by Luke Longacre. As the wins stack up, so does the audience’s anticipation, and the production smartly leans into that mounting excitement. Enter Gloria Thorpe, a determined newspaper reporter played with confidence and fire by Rachel Nicole Poole. As Gloria begins digging into Joe Hardy’s questionable backstory, her relentless curiosity keeps the tension high and the stakes clear. Poole commits fully to the role, giving us a reporter who is not about to let the truth slip through her fingers.
Meanwhile, Applegate continues his manipulating wherever he can, most notably by introducing Joe to the irresistible Lola, played by Candice Proctor. Lola, who has already traded her soul for eternal beauty, serves as both temptation and tragic figure. Proctor commands attention every time she steps onstage, combining strong vocals with a seductive playfulness, along with some of the most memorable choreography in the show.
Beyond Coffee’s delightfully devilish Applegate, this production boasts several standout performances. Maximilian Swenson is perfectly cast as the big, lovable, and slightly dopey Rocky, while several of the Senators players display extraordinary athleticism that has nothing to do with baseball. The always-welcome Landry Beckley commits wholeheartedly to the bit as Smokey. Luke Longacre delivers grumpy manager perfection as Van Buren, cigar firmly in hand, and Brett Warner and Araceli Radillo bring added comedic joy as Sister and Doris, respectively. The cast is strong throughout, and each deserves credit.
Musically and stylistically, Damn Yankees is very much a product of its time. Written in the early 1950’s by Richard Adler and Jerry Ross, it predates by decades the musical complexity of a Sondheim or the lyrical density of a Lin-Manuel Miranda. The songs are relatively straightforward, with minimal harmonic complexity, driven largely by piano in the live accompaniment. Even some of the sentiments in various songs (most notably Joe’s “Goodbye Old Girl") feel odd in modern times even as we enjoy them! Music Director Mark Mullino embraces this simplicity, allowing the score’s charm to shine without overcomplication.
Director Stephen Morris mirrors this sensibility in his staging, keeping the set design clean and uncluttered. Strategic color changes on the cyclorama help establish mood and location, and the overall effect gives the production a quaint, almost nostalgic feel, one that evokes a longing for simpler times. The entire production team appears aligned on this vision. Choreographer Leslie Jones delivers energetic, period-appropriate movement; Sound Designer Ryan Simon keeps vocals clear and balanced; Costume Designer Hope Cox nails the 1950s aesthetic; and Scenic Designer Bryan Stevenson provides a simple yet functional and visually cohesive environment for the story.
No review of a musical would be complete without mentioning the songs, and Damn Yankees offers several highlights. Applegate’s gleefully sinister “The Good Old Days” is a standout, as is the Senators’ rousing “(All You Need Is) Heart.” “Two Lost Souls,” sung by Lola and Joe, provides a tender emotional counterpoint, while “Who’s Got the Pain,” performed by Proctor’s Lola alongside the excellent dancer Justin Konopka, is a pure showstopper, arguably as enjoyable for its choreography as for the song itself.
Theatre Arlington’s Damn Yankees is a cohesive, entertaining production that understands exactly what it is and leans into it with confidence. With strong performances, clear direction, and a unified creative vision, it delivers a fun, nostalgic evening at the theatre while reminding us why making a deal with the devil is a bad idea even when it makes for good stage business! Tickets are available at theatrearlington.org. Damn Yankees continues through March 1.
To the Explorers of the Soul,
Tim Bass
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