If you’re familiar with Jacques and his works, you’ll no doubt enjoy this nostalgic tribute. If, like myself, you aren’t well-versed in Jacques oft-edgy lyrics, here’s a quick summary provided by Director Hallie Baran: “…a Belgian Pop/Folk Singer/Songwriter/Actor of the 1950’s and 60’s... Brel’s songs were written to be performed in bars, coffeehouses and small variety shows in Europe.“ (Ray Charles, David Bowie, John Denver, Neil Diamond, Tom Jones, Cyndi Lauper, Sting, Frank Sinatra are among some who have covered Brel.)

The play itself is simply a collection of (25) Jacques Brel songs each prompted by light family discussion. Don’t expect any gripping storyline or character development from this family, they’re only there as sort of a group emcee to set the tone in the 10-30 second breaks between songs. Additionally, the family makes us all feel welcome in a universal conversation of Brel’s themes which are love, war, death, and survival. And thankfully, about half of these Brel songs are mini-dramas of their own complete with storylines and dramatic arcs. The best songs are the ones that return to the same chorus, but with a new perspective as the crooner grows wiser, or older, or simply colder. While, especially initially, the lyrics feel a bit too antiseptic and 50’s-clean, the more edgier, crass phrases that follow give the whole production a nice bite.

A third of the songs struggle to maintain energy throughout. It could be that their repetitive nature just doesn’t work in this environment or era, or that the interpretation couldn’t flush out a progressing story in the verses. The first song, ironically named “Marathon” exemplifies this point.

A few songs connected with vigor, and moved me. These were “We’re Alone” sang powerfully by Jon Paul, “The Statue” sung well and “acted” even better by Keith (a great example of drama in the song), and “Marieke” brought to life beautifully by Mary Mather. “Marieke” is in French & Flemish/Dutch. Mary sings it with no props, and motionless, save for the twinkling in her eyes and songbird vocals. On paper, it shouldn’t have worked, but Mather seeks and finds a purity in the melody that struck the crowd.

The songs vary in mood, but it seems overall (based on the musical), Brel has an honest distain for false adoration, that he views life as a great alternative to death and advocates healthy & unhealthy doses of intoxication and fornication over loyalty and honesty. He’s a live and let liver, so although, the capping number “If We Only Have Love” is sweet and positive in an “All You Need Is Love” sort of way, I think it’s an awkwardly, falsely-”up” capper for this tribute to an ultimately bitter-sweet songwriter.

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