Description

I Love You, You're Perfect, Now Change is presented in the form of a series of vignettes connected by the central theme of love and relationships. The play's tagline is "Everything you have ever secretly thought about dating, romance, marriage, lovers, husbands, wives and in-laws, but were afraid to admit." With few exceptions, the scenes stand independent of the others, but progress in a fashion designed to suggest an overall arc to relationships throughout the course of one's life. A first date, for example, comes before scenes dealing with marriage, and scenes dealing with marriage come before those dealing with child bearing. Despite the large number of characters, the show is done with a cast of four.

Credits

Director
Choreographer
Light & Set Design
Costume Design
Stage Manager
Producer
Ensemble
Accompanist
Scenic Artist
Light & Sound Board Operator
Stage Crew
Rehearsal Pianist
Set Construction

Reviews

Cupid’s Arrow Hits a Comic Bullseye with “I Love You, You’re Perfect, Now Change” at the Black Box
- William Harrold, Free Lance Reviewer

LAS CRUCES -- If you’re looking for the perfect date night activity, look no further than the current No Strings Theatre production at the Black Box theatre in Las Cruces. The romantic musical comedy “I Love You, You’re Perfect, Now Change,” arrives just in time for Valentine season with spring, the season of love, just around the corner.

Even if you’re not on a date you will thoroughly enjoy this energetic and light-hearted romp through the joys and trials of dating, relationships, marriage, parenting, divorce, and everything in between, told through a series of musical numbers and brief spoken vignettes.

“I Love You…” opened in New York in 1997 and closed in 2008 after 5003 performances and remains the second longest running off-Broadway musical, subsequently playing in over 250 cities worldwide. The current script has been slightly updated from the original to include references to internet dating, Netflix, Walmart greeters and married gay couples, among others.

Although the Black Box is known more for presenting comedies and straight plays rather than musicals, “I Love You…” is a good choice for the theatre’s smaller stage space and intimate seating. With just six actors portraying over 40 characters, quick costume changes, entrances, and exits are the norm, and Peter Herman’s understated set design leaves plenty of room for the actors to own the entire stage.

Director Kate Keyser-Dewitt has gotten the most out of this talented ensemble cast, who present a tight, well-rehearsed and energetic show, confident enough to use dialogue pauses skillfully to build dramatic tension and/or enhance comic effect. Veteran actor David Reyes brings superb comedic timing and great physical energy to his scenes, as when playing a prison inmate lifer giving dating advice in “Scared Straight (To The Alter).”

Reyes and Jessica Broaddus, currently pursuing a music degree at University of Texas at El Paso, are terrific in “The Marriage Tango,” where an older married couple, exhausted by household tasks and mundane parenting duties, try to engineer a moment of romantic intimacy.

Ensemble member Autumn Geib (who also serves as the show’s costume designer) is a standout in “Always a Bridesmaid,” channeling a Mae West persona as she laments all the ugly bridesmaid dresses foisted upon her by the many brides she has attended, and which now hang abandoned in her closet. Gieb also shines as a recently divorced woman making her first dating video, bringing a comic vulnerability to the poignant monologue.

In truth, all of the ensemble members are strong and the show doesn’t have a down moment. Alabama transplant Jonathan Lee (also a UTEP student, in musical theatre) is polished and in command of the material, while Delaney Silvis and newcomer Orlando Rodriguez (making his stage debut) carry their scenes with conviction and style. Rounding out the cast is Caryl Kotulak with several walk on parts, and musician Steve Jones who provides live piano accompaniment.

“I Love You, You’re Perfect, Now Change” runs through February 25 at the Black Box Theatre, 430 N. Main Street, Las Cruces, with performances on Fridays and Saturdays at 8:00 p.m., Sundays at 2:30 p.m., and a special Valentines Day performance on Wednesday, February 14 at 7:00 p.m. Regular admission is $15; students and seniors are $12, and all Thursday evening performances are $10. For tickets call the theatre at 575-523-1223.

REVIEW: ‘I Love You, You’re Perfect’ at Black Box perfectly lovable
- Megan McQueen, Las Cruces Bulletin

If the title “I Love You, You’re Perfect, Now Change” inspires a chuckle, don’t miss this musical.
Composer Jimmy Roberts and book writer and lyricist Joe DiPietro aptly named this light-hearted journey through the frustrations of dating, the mayhem of weddings, the ups and downs of marriage, the wild ride of childrearing and the inevitability of aging. Opening night, the audience sometimes responded like a sports crowd to the familiar scenarios.
Watching six performers transform between 60 characters is much of the appeal of this musical that’s been performed in all 50 states and 25 countries.
This has come to be actor David Reyes’ specialty: He morphs in fittingly broad comedic style from a young nerdy love-seeker to an intimidating 40-year-old convict to a doddering funeral attendee.
Four of the cast will be new to Las Cruces theatre goers. Jessica Broaddus and Jonathan Lee, performers training at The University of Texas at El Paso, are very comfortable with an audience. Broaddus’ spoken deliveries and physicality vary nicely between characters. Lee’s facial expressions are enough to amuse in any scene.
Active in children’s theatre, Delaney Sivils confidently inhabits roles much older than she is. While playing a workaholic she amusingly delivered “I just don’t have time to make up all the reasons I’ll need to convince myself to go out with you.” Her frequent scene partner, Orlando Rodriguez, is entirely new to the stage. His lack of polish serves this material well. Like the other men, his vocals are powerful on “Why? ‘Cause I’m a Guy!,” but his crassness was wonderfully believable.
This 2018 update of the script includes two portrayals of gay couples, which several audience members audibly appreciated. Added references to Tinder and Netflix keep the script current. It retains a couple of heartfelt, earnest moments. Those were my favorites when I attended the first New York run of the musical in the late 1990s, as well as when I performed in the show nearly 20 years ago.
Autumn Gieb skillfully navigates the most complex of these moments, as a divorcee recording a video intended to attract a romantic match. Gieb brings equal nuance to her comedic musical complaint, “Always a Bridesmaid.”
Gieb’s impressive, detailed work as the show’s costumer also crippled the performances. We don’t marvel at the universality of characters or the virtuosity of actors if the costumes are too elaborate in a revue.
Scenic and lighting designer Peter Herman’s pop art scenic painting and simple cubes set a fantastic tone that would have been useful throughout the show. Like the costumes, realistic set pieces hindered the momentum. Thanks to the professionally energetic stage crew and gorgeous piano playing of Steve Jones, the lengthy transitions weren’t unpleasant.
Director Kate Keyser-Dewitt recruited a talented, energetic team. She successfully helped many novices learn the theatrical ropes. I loved it! It may not be perfect, but I doubt you’ll want it to change.
Catch the musical through Sunday, Feb. 25h at the Black Box Theatre, 430 N. Main Street. For more information visit No-Strings.org or call 575-523-1223 to purchase tickets.

Seating

No seating plan has been posted.