Review: Refreshed ‘Damn Yankees’ wows at Arena Stage

It was exciting to see “Damn Yankees” at Arena Stage on the heels of a dramatic seven-game World Series. But the show would have been just as exhilarating even without that. Dynamically directed and choreographed by Sergio Trujillo with a vibrant cast, this refreshed version of the musical hits it out of the theatrical ballpark.

Adapted by Will Power and Doug Wright, with additional lyrics by Lynn Ahrens, the essential Faustian-bargain story and characters remain the same as the 1955 original of “Damn Yankees” (its music and lyrics by Richard Adler and Jerry Ross, and book by George Abbott and Douglass Wallop—on whose novel the musical is based), but updated to the year 2000 in Baltimore.

From left: Bryonha Marie (Meg Boyd) and Quentin Earl Darrington (Joe Boyd) in "Damn Yankees" at Arena Stage (Photo by Matthew Murphy and Evan Zimmerman)

The Orioles are in the playoffs and Joe Boyd (Quentin Earl Darrington) can only exclaim “Damn Yankees!” at his television while long-time wife Meg (Bryonha Marie)—along with an ensemble of all kinds of other couples around the stage—can only lament that “Six Months Out of Every Year” her husband only has eyes for baseball.

In this version, though, it turns out Joe’s father had played baseball in the Negro leagues, never allowed to join the major leagues due to the color of his skin, adding some dimension to Joe’s obsession.

So intense is Joe’s wish to help the Orioles win the playoffs that the devil himself in the form of a debonaire yet smarmy Mr. Applegate (a well-cast Rob McClure) appears out of nowhere, offering to turn Joe into a miraculous player who can allow the team to win—but only if Joe trades his soul.

Alysha Umpires (Gloria Thorpe) and company of "Damn Yankees" at Arena Stage (Photo by Matthew Murphy and Evan Zimmerman)

Joe accepts after only momentary hesitation—which, though disconcerting, is a credit to the show’s lively pacing—with just enough time to write a sad note to his wife (“Goodbye, Old Girl”) before miraculously transforming into young slugger Joe Hardy (Jordan Donica), who wows the Orioles with actual ability to complement their main strategy of having “Heart.”

The Arena Stage’s theatre-in-the-round (or rather, -square) seating creates the atmosphere of a miniature sports arena, with a multidimensional set designed by Robert Brill, robust lighting by Philip S. Rosenberg and projections by Peter Nigrini that visually engage throughout the show. A live orchestra performs in a remote room, conducted by Adam Rothenberg, who is visible on mounted screens.

In these ways, the Arena Stage immerses the audience in the production, blending space and performance to create a fully integrated experience. Paul Kieve’s stunning illusions add further magic—we not only see Joe’s transformations but how Applegate has maintained the youthfulness of temptress Lola (Ana Villafañe, delightfully understudied by Danielle Marie Gonzalez) over centuries.

From left: Jordan Donica (Joe Hardy) and Bryonha Marie (Meg Boyd) in "Damn Yankees" at Arena Stage (Photo by Matthew Murphy and Evan Zimmerman)

And it’s not just staging—the acting and singing in this production are similarly stellar, especially leads Marie and Donica. Their second-act duet as Meg and Joe Hardy in “Near to You” has the sultry feel of “Phantom of the Opera” owing to the richness of their voices and palpable warmth of their acting.

In fact, any time tenor-baritone Donica opens his mouth to sing, it’s a revelation of nuanced sound. His eloquent “The Star-Spangled Banner”—added to this rendition and sung against a giant unfurled flag—feels hauntingly resonant.

Another song, “Those Were the Good Old Days,” newly written with stage-spanning choreography, highlights Applegate’s slippery showman personality, which McClure embodies to a T. It also adds dimension to his character, as do little monologues added for Lola and reporter Gloria Thorpe (Alysha Umphress), giving them sympathetic backstories.

Rob McClure (Applegate) in "Damn Yankees" at Arena Stage (Photo by Matthew Murphy and Evan Zimmerman)

The overall story is still relatively straightforward, especially in the second act that has more song than plot. But as the team knows, “Heart” can go a long way, especially by its third reprise. And just like in baseball, even when it seems like nothing is moving forward, everything is in motion, precisely and energetically choreographed to elicit tender emotion, cheering for the good guys, booing for the bad and a standing ovation at the end.

“Damn Yankees” continues through Nov. 9 at Arena Stage, 1101 Sixth St. SW, Washington, D.C., with shows Thursday and Friday at 8 p.m., Saturday at 2 p.m. and 7:30 p.m. and Sunday at 1 p.m. For tickets and information, call the box office at 202-488-3300 or visit ArenaStage.org. Run time is 2 hours and 30 minutes, including intermission.