LP0309. HARK! (Dan Goggin & Marvin Solley), Original 1972 Off-Broadway Mercer-O'Casey Theatre Cast, w.Elaine Petricoff, Jack Blackton, Danny Guerrero, Sharron Miller, Marvin Solley. 2-disk Private Label (Volumes 1 and 2). 2-privately-issued Ellison stereo STK 1015/1016/1017/1018
“A new musical, HARK!, opened last night at the Mercer Arts Center, that sweet concatenation of theaters close by Washington Square. It has life and liveliness; it swings with the pulse of today.
To an extent HARK! appears to have been influenced by the ‘Jacques Brel’ show. There are six performers on a comparatively bare stage singing of their loves and lives. They seem to be particularly interested in the fugitive nature of youth. Where are the snows of yesteryear? Melted, perhaps. The musical has lyrics by Robert Lorick that are witty, blase and aware, not at all necessarily in that order. The music is by Dan Goggin and Marvin Solley, who also take part in the show.
It is an evening of surprising and succinct happiness. The music by Mr. Goggin and Mr. Soley has an easy air to it. It is the kind of music that massages your musical impulses, the kind of music that confirms your expectations. The lyrics exult in such vague things as funerals and vasectomy, in social dances and sexual patterns. This is the type of light‐hearted musical that a sensitive man could identify with, accept and even admire. With all its pulses and frenzies, this is a very ‘today’ show. The setting, by Chenault Spence, is bare and beautiful, and the direction and choreography by Darwin Knight are forceful and effervescent. This continuing narrative of youthful alienation has a special cheerfulness that Mr. Knight has picked up. The show moves very easily on its way to amusement.
Obviously the music is one of its strongest assets, and this indeed has a battered effectiveness that makes the very most of its familiarity. The lyrics are both arch and triumphant, words lost in the mystery of sensibility . I was most impressed by the liberated madness of Mr. Lorick's poetry.”
- Clive Barnes, THE NEW YORK TIMES, 23 May, 1972