“The sooner you understand it ain’t what you say, or what Mr. Irvin say… It’s what Ma say that counts,” says Cutler, who plays guitar and trombone and is the unofficial leader of the band. The Ma he is referring to is Ma Rainey, and the argument is over which version of a song she will sing in August Wilson’s seminal Ma Rainey’s Black Bottom, currently being presented by Short North Stage as part of a year-long festival of Mr. Wilson’s works.
Of course, the play isn’t really about music – it’s about power, and in a time and place like Chicago in 1927, being black and female would normally place one near the bottom rung in the pecking order of the day. Ma Rainey is no ordinary woman though, and she knows that she has something that Irvin, her white manager, and Sturdyvant, her white record producer, want desperately, but she’s going to make them work for it. Ma Rainey’s Black Bottom is about the rehearsal and recording session for the song of that same name; her trumpet player, Levee, has written a new arrangement for the song, but Ma Rainey is not a woman who is about to do anything she doesn’t want to do, and that includes doing a favor for the pushy Levee. The rest of her band is ready to follow her lead, but Levee feels that siding with Irvin and Sturdyvant against Ma will put him in their good graces, enabling him to embark on a career of his own.
“They don’t care nothing about me,” Ma confides to Cutler. “All they want is my voice. As soon as they get my voice down on them recording machines, then it’s just like if I’d be some whore and they roll over and put their pants on.” Ma knows that she holds all the cards but that her power is transient; when all is said and done, she’ll be dismissed until she is needed again. This is why Ma Rainey has demands she makes sure are met; it’s not just for her, but for all of the people who don’t have a voice to command the same kind of respect for themselves. In the same position, wouldn’t we all play up the opportunity to throw our weight around before the clock strikes twelve and the coach turns back into a pumpkin again?
“As long as the colored man look to white folks to put the crown on what he say… As long as he looks to white folks for approval… Then he ain’t never gonna find out who he is and what he’s about. He’s just gonna be about what the white folks want him to be about,” Toledo, Ma’s piano player, wisely tries to explain to the hot-headed and ambitious Levee, though it’s a lesson Levee must learn the hard way. This is a time when segregation is still strictly enforced, and even up north, where the social situation is far more open, black people are still regarded with skepticism and a side eye. It’s enough to make anyone restless and frustrated, something with which
people who have been subjugated be it for their color or sexuality or some other reason can surely relate; remove “colored” and “white” from Toledo’s advice and it still rings true. This might be a “black play,” but its story about the disenfranchised and repressed is universal. The characters live in a time when racism is pervasive in a way that could make many complacent – but not Ma Rainey or Levee, one fighting quality which they both share.
So much of the play is spent with Ma’s band as they discuss and argue about life, all the while waiting for Ma to make her appearance and then be ready to record. The band members discuss women, money, philosophy, and even their ancestors in Africa; their conversation flows so naturally (a credit to Mr. Wilson’s genius) that it isn’t immediately apparent the relevance it will all have in the play. It’s during all of this that the audience gets to know and care for the characters as real people; we all become invested in how the session is going to play out because we get to know these people and how they think. This makes the startling finale all the more heartbreaking, a perfect demonstration of the misguided aggression that can result from broken promises and shattered dreams.
As directed by Mark Clayton Southers, Ma Rainey’s Black Bottom is a tight drama with enough genuine laughs and tense moments to feel thrillingly real. Mr. Southers doesn’t allow any of August Wilson’s spry dialogue to be tossed about or sped past; everyone in the cast gives the appearance of being united to tell this story without sounding too precious or studied. It’s a landmark work, but this fine cast thankfully doesn’t tiptoe around the material; many of the characters aren’t exactly endearing or likeable, but that’s completely beside the point.
Standouts in the cast are Wilma Hatton as the persnickety but in demand Ma Rainey; Chuck Timbers as Cutler, the voice of reason in the band; Will Williams as Toledo, the pianist who knows a little bit about most everything; Taylor Martin Moss as Sylvester, Ma’s stuttering nephew; and Ryan Kopycinski as the policeman who just can’t quite believe Ma Rainey could own a car or is as important as she claims.
The real treasure though is to be found in Bryant Bentley’s performance as Levee, the bullish trumpet player who is as uneducated as he is blindly ambitious. Mr. Bentley takes a character who often rubs people the wrong way and makes him unexpectedly sympathetic; we understand why he is the way he is, and we want him to find some measure of success because we can see that he wants it so badly he can taste it. Levee’s disillusionment is felt by the audience all because of Mr. Bentley’s commitment and instinctual quickness; his performance rises to be the equal of this material, a daunting feat indeed.
One could quibble about the prerecorded music and the fake playing of the instruments being handled in a way that is less than optimal, but Short North Stage’s production of Ma Rainey’s Black Bottom is so alive and otherwise involving that it is futile to deny its charms and power. This is the second work of August Wilson I’ve been fortunate enough to experience this year. Mr. Wilson is hailed as one of America’s foremost black playwrights, though I think the qualifier is unnecessary; August Wilson is one of America’s foremost playwrights, period, and his Ma Rainey’s Black Bottom is not to be missed.
**** out of ****
Ma Rainey’s Black Bottom continues through to June 19th in The Green Room at The Garden Theatre located at 1187 North High Street in downtown Columbus, and more information can be found at http://www.shortnorthstage.org/calendar/v/536
What exactly is “dessert theatre?” It’s like dinner theatre but just with dessert, which is the perfect supplement to spending a couple of hours with Fleeta Mae Bryte, a sixtyish Texas spinster with a vivid imagination and a cartload of stories to tell about herself, her family, and her hometown, Precious Heart, Texas. Precious Heart is a “dessert theatre” event, the second production by the Eclipse Theatre Company occupying a cozy performance space off the beaten path in Worthington, Ohio.
Precious Heart by Ted Karber, Jr., began life in the early 1990s as a submission to a theatre festival in Dayton, going on to enjoy many full productions throughout Ohio and Texas, at long last premiering just outside Columbus. The show is all about Fleeta Mae and her memories of her high school rivalries (you’ll hear a lot about a coy bitch named Emmaline), the lives of those around her in the little town, and her encounters with nymphomaniac armadillos, clandestine waltzing with her dress form, and a strange little creature that may or may not have been an alien. Anything is possible in Fleeta Mae’s world as she has retained a child-like wonder many people loose as they pass into adulthood. There is a certain kind of Grey Gardens-type charm to Fleeta Mae’s hoarding; a reference to the popular paperback Scruples by Judith Krantz being found in her basket of goodies particularly tickled me, as it would any other fan of trashy, soap opera fiction from the “Dynasty” era.
Greg Smith recreates his performance as Fleeta Mae having performed the role in many productions over the years. Mr. Smith has the part down like a bad habit, but he doesn’t play it as a man in drag; this is not a campy performance that pokes fun at anyone, but rather a man completely embodying a woman’s role as a woman. The show has a few moments with a bit of audience interaction, but this is not an audience participation show at all. Mr. Smith as Fleeta Mae might point you out, make eye contact, or even take a Polaroid with you, but your main job is to sit back, enjoy some sweets, and let the laughter flow.
Mr. Smith makes sure Fleeta Mae’s feelings are known through a pile of expressions that show what she’s really thinking even if she’s trying her darnedest to be polite. Mr. Smith has a way of flicking his Gene Simmons-like tongue out to express Fleeta Mae’s dislike for her nemesis Emmaline that never gets old, and he is great at bringing out props like Fleeta Mae’s scrapbook to share with the audience. Fleeta Mae uses terms like “TV television” and “icebox” taking no mind of how redundant or outdated they may be, and Mr. Smith’s affection for the character is very clear in how he makes her in charge of all of the jokes rather than letting the jokes be on her.
The show only feels a bit heavy handed at the very end when the background music rises in volume and Fleeta Mae begins a new adventure with a gentleman caller (who may – or may not – actually be there). Something about the blissfully optimistic scene feels saccharine to me, but I can imagine many would find it an uplifting end to a show full of laughter and old fashioned kitchen table talk.
Precious Heart is unlike anything I’ve seen in or around Columbus, and that’s a shame. Where else can one get a wide selection of delicious desserts and enjoy a hilarious one-woman show in an intimate setting with plush, comfortable table seating? Fleeta Mae is one of those eccentric characters who is difficult to forget, and Precious Heart is just that: precious with heart.
Take note that the evening performances begin at 7:30pm instead of the usual 8pm, but I recommend arriving closer to 7pm to secure one of the limited seats (there are only five tables with eight chairs each) and getting first dibs at the dessert buffet (I recommend the cream puffs, lemonade, and the streusel-covered apple pie).
*** 1/4 out of ****
Precious Heart continues through to June 19th at 670 Lakeview Plaza Blvd, Suite F, Worthington (less than 30 minutes from downtown Columbus), and more information can be found at http://eclipsetheatrecompany.org/
“The only thing constant is change,” Dr. Henry Jekyll says to the board of governors early on in Jekyll & Hyde: The Musical; although he was referring to medical science in the show, he could just as easily be referring to the play itself. This is a work that has been workshopped, recorded, revised, augmented, and re-recorded so much since its world premiere in 1990 and subsequent original Broadway production in 1997 that one can never be quite sure what revisions will be a part of any licensed production. Such is the fate typical of composer Frank Wildhorn’s musicals, as The Scarlet Pimpernel and The Civil War are two other problematic shows with which he continues to tinker. Jekyll & Hyde: The Musical (the most current licensed version anyway) opens the Weathervane Playhouse season in a production that offers quite a fresh take on the material and features the best two lead musical performances I’ve seen locally this year.
Based on the Robert Louis Stevenson classic novella Strange Case of Dr. Jekyll and Mr. Hyde, Jekyll & Hyde: The Musical features music by the aforementioned Mr. Wildhorn with book and lyrics by Leslie Bricusse; the original 1997 Broadway production ran for just under four years, itself a product of two previous developmental recordings, and yielded several subsequent tours as well as a flop 2013 Broadway revival. No matter the incarnation, the show is about how Dr. Henry Jekyll’s search for a way to separate the good in all mankind from the bad in an effort to obliterate the latter. His experiments bring about Mr. Hyde, an alternate personality comprised of only the worst qualities of himself. As the two forces struggle for control over the same body, Emma, Jekyll’s fiancée, and Lucy, Hyde’s whore, are caught in the crosshairs of the struggle for dominance. The show seems like Mr. Wildhorn’s answer to Andrew Lloyd Webber’s The Phantom of the Opera; indeed, many musical motifs are recycled for different songs throughout, and it doesn’t take a musicologist to hear the influence of Lloyd Webber’s show on this one.
Director Adam Karsten has radically reimagined this Jekyll & Hyde: The Musical to present it on a mostly bare stage with a platform that opens to reveal a pool of water used quite effectively in several scenes. Translucent plastic tarps surround and cover the stage, revealing the vestiges of hanging portraits and chairs. The expert lighting design by Jennifer Sansfacon utilizes bold strokes of red and purple to establish settings, casting specific shadow designs onto the stage. Ms. Sansfacon also makes sure the pool of water glows an eerie indigo, and she seems the perfect partner for Mr. Karsten to create this new vision for the show.
The problems begin almost immediately in the opening scene when Dr. Jekyll visits his father in a mental institution. In that scene it makes some sense that patients of reduced ability would perhaps be crawling and sliding around on the stage; it comes off as terribly overwrought, uncomfortable, and even laughable when the writhing around continues throughout the play and extends into the audience with planted actors. Still, Mr. Karsten should be congratulated for trying something different with the material; the use of water and light is really quite terrific, and why not add some blood and stripping cast members into the mix? I suppose the disrobing is to amp up the sex appeal, even though the sight of the youthful cast slowly disrobing, dipping their hands into buckets of stage blood, and slathering themselves with the goo – while a striking image – made me think, “What a mess… Good thing everything is covered in plastic.”
There are some really quite good songs scattered about, such as “Someone Like You,” “A New Life,” and the popular anthem, “This is the Moment.” Music director Kevin Wines presents the music effectively reducing the bombastic nature of the score to sounding understated and supportive of the talented cast’s singing. Every time I see this musical I find more and more of the book has been trimmed away, leaving a mostly sung-through show behind; it’s great to hear the near constant music be as well-managed as it is here.
The reason to see this show is for the performances by Connor Allston as Dr. Henry Jekyll, Myha’La Herrold as Lucy, Natalie Szczerba as Emma, and Layne Roate as Jekyll’s lawyer and friend, John. Mr. Allston is dedicated and determined as Dr. Jekyll, and his transformations between personalities are almost entirely represented by a slight shift in tone and a change in his intention; no laughably drastic facial changes, growling voice, or stooped limp here. Mr. Allston is able to convey the change internally in a way that resonates naturally, seemingly with little effort, and his voice is quite strong and moving; his goal to help mankind feels genuine, even if his experiments are destroying his and the lives of those around him in the process. Mr. Allston has the kind of masculine stage presence and vocal prowess that, even at his incredibly young age, should make anyone dream of seeing his interpretations of classic roles in Man of La Mancha, Guys and Dolls, South Pacific… You fill in the blank.
Ms. Herrold is every bit Mr. Allston’s match as the prostitute Lucy. At first she might seem miscast physically being that she is black and bald, but nothing could be further from the truth. Ms. Herrold challenges what might be considered traditional beauty by being by far the most interesting and striking woman on stage, and this is a show full of attractive actors. She has a mournful lament to her singing as Lucy in “Someone Like You” that is as heartbreaking as her moment of hope is thrilling in “A New Life.” Her voice is sometimes too powerful for the technical director to manage as some of her stronger notes cause light, brief distortion over the speakers; nevertheless, Ms. Herrold is touching and a memorable talent to watch. The way she handles her final confrontation with Mr. Hyde is intense and requires great technical skill to pull off as the pressure of the moment is mostly on her.
Ms. Szczerba has quite a bit less to work with in terms of characterization as Emma, but she does wonders with what is there. She’s appealing in a way that would make her a natural fit for Dr. Jekyll, and her singing voice is particularly striking during “In His Eyes,” her unlikely duet with Ms. Herrold’s Lucy; their voices are so different in style that they don’t compete with each other as I’ve heard other performers do with this same song, resulting in a beautiful mix of their voices that allows both to be heard. Mr. Roate has even less to work with as John, but he can be counted on to deliver his lines with weight and seriousness, effortlessly slipping into a warm singing voice. There is one brief moment where Mr. Roate invades Mr. Allston’s space in a way that comes off as so intimate that I thought the two might kiss; they don’t, but that silent moment has an incredible amount of subtext because of Mr. Roate’s actions.
Jekyll & Hyde: The Musical isn’t a great show, no matter which revised production or cast recording is being evaluated. This production takes risks with the material that fail as often as they succeed, and yet the sheer force and will of its four talented leads elevate this to being a show worth seeing; seriously, they are that good. This definitely isn’t the same Jekyll & Hyde: The Musical that I saw on its original Broadway tour, or the video of the closing Broadway cast (starring David Hasselhoff), or even the 2013 short-lived Broadway revival (thank goodness); this production is a different animal, but one that is consistently interesting to experience even when it misses the target.
*** out of ****
Jekyll & Hyde: The Musical continues through to June 11th in the Weathervane Playhouse at 100 Price Road in Newark, OH (around 45 minutes outside Columbus), and more information can be found at http://weathervaneplayhouse.org/jekyll-hyde/
“There’s always a price to being included,” Janice Sanders says in Cory Skurdal’s Sticks & Stones, the final play in this year’s Local Playwright’s Festival presented by Evolution Theatre Company in partnership with CATCO. The specifics behind Ms. Sanders’ statement become clear throughout the play, a thought-provoking and honest exploration of the prejudices that exist around being true to oneself, be it openly gay, trans, or anything considered other than the norm. No, on second thought, perhaps it’s about jealousy and self-hatred. Actually, there are many different themes covered in this story of two women fighting over words, the kind used to classify as well as subjugate people.
Mr. Skurdal’s play won the 2014 CATCO/Greater Columbus Arts Council Playwriting Fellowship; this is its first full production after a reading last year. On the surface, Sticks & Stones is about the aforementioned Janice Sanders, a popular art critic, who feels she has been libeled by Kyle, a transgender blogger, after certain innuendos are made about her private life online. Janice is quite conservative and traditional, and it’s easy to see that the uninhibited Kyle is the polar opposite – or is she? Both women know what it’s like to struggle with their identity, but they deal with it in completely different ways: Janice goes inward and keeps her cards close to her chest while Kyle lets “Kylie” (the name she calls herself) out for the world to see. The action unfolds as each woman relays her interpretation of the conflict to their respective lawyers, putting the audience in the position of being the jury.
Mr. Skurdal’s writing is uncommonly rich with dialogue that flows naturally and makes a point without being preachy. “You’re sick with shame,” Kyle shouts at Janice, only to have her hurl back, “And you ought to be!” So much judgmental and prejudicial rhetoric comes from Janice that it brings to mind those impassioned but completely misguided and embarrassing Facebook rants we all see posted by former high school friends or distant cousins. The only thing constant in life is change, and that’s one point which Janice struggles to accept based largely on the feelings of her family.
Women are the stars of this piece, and it is their actions that drive the plot. Some men are on hand in the cast, but what a rare treat to see a play with so many important roles for women in a culture where being white and male is flaunted as the ultimate prize in the genetic lottery. Director Joe Bishara keeps things moving at a swift rate, incrementally increasing the pace until an inevitable emotional (and physical) confrontation occurs between Janice and Kyle; the moment is so heated and real that I had to suppress the urge to jump in to break it up.
Josie Merkle is the cantankerous Janice Sanders, ostensibly the villain of this work. She has no trouble delivering her caustic remarks with relish; and yet, Ms. Merkle allows us to see Janice as sympathetic as well, a product of her environment from a time when going against the grain was not much of an option. Playing her as an unrepentant harpy would’ve been too easy with this material, and Ms. Merkle has an instinctive biting delivery that would’ve made that a walk in the park for her; instead, she chooses another path, one laced with frustration born out of years and years of paying the price for inclusion.
As competent as the cast and script is, the show would not function half as well without the glorious performance of Staley Jophiel Munroe as the fearless Kyle, a trans woman who manages to push the buttons of most everyone in her vicinity, sometimes just for fun (as when she challenges the personal space of her lawyer Kendall, played by Priyanka Shetty, who squirms uncomfortably and believably at the intrusion) but more often for just being true to herself and refusing to allow the opinions of others to bring her down. I gather Ms. Munroe has a deep well of life experience that informs her portrayal; the flashback scene with her father is particularly heartbreaking, surely touching a nerve with any LGBT person who has faced hostility from their family. “He can’t be this way!” her father shouts, while Ms. Munroe’s plaintive, “I AM this way!” is so nakedly honest that I defy anyone to walk away unmoved. After the performance, I had the pleasure of meeting Ms. Munroe, who was quite modest about her abilities, stating that she had never acted on stage before; what’s wonderful is what she does here doesn’t feel like acting at all – it’s simply being – and I sincerely hope this is but the first of many performances she will gift to us.
Sticks & Stones is compact at just over an hour in length, but it has so much to say about our outside differences, deeply-held prejudices, and fear. People tend to fear the unknown, and the very nature of being trans means that there isn’t a “one size fits all” way of classifying them; they may or may not have had certain surgeries to change the anatomy with which they were born, but that’s for each trans person to know and share (or not) with whom they please. For some people it’s easier to manage fear if they have a way of categorizing things, setting apart what they do understand from what they don’t. What Sticks & Stones drives home is that all of the important characteristics of being a human are there within all of us; love, sadness, longing, betrayal – these emotions feel the same to each of us on the inside no matter what we look like on the outside.
***/ out of ****
Sticks & Stones continues through to June 12th in the Van Fleet Theatre within the Columbus Performing Arts Center at 549 Franklin Avenue, and more information can be found at http://evolutiontheatre.org
Inspiration can sometimes come from the most innocuous material. I’m sure schlock film director Roger Corman never dreamed his 1960 grade-Z, low-budget, black and white wonder The Little Shop of Horrors would be transformed into a successful off-Broadway musical, be turned back into a film, and still be performed over thirty years later all across the country. Tantrum Theater, a new theatre company with ties to Ohio University in Athens as well as the City of Dublin, is now presenting Little Shop of Horrors as their premiere production in the Abbey Theater within the Dublin Community Recreation Center (I had to use the GPS on my phone to find it). This was my first experience at the facility; it looks state-of-the-art and proves to be a perfect fit for this irreverent dark comedy of a musical about love, fame, and a singing carnivorous plant.
Little Shop of Horrors premiered off-Broadway in 1982 and launched the careers of lyric and book writer Howard Ashman and composer Alan Menken, the team who went on to write the scores to Disney’s The Little Mermaid and Beauty and the Beast. The show ran for over five years, was adapted into a hit 1986 film, and finally premiered on Broadway in 2003. The action centers around Mushnik’s Skid Row Florists, a struggling shop in a slummy area where Seymour Krelborn, a rather nerdy guy, works alongside blonde bombshell Audrey. All of their fortunes change when Seymour discovers a “strange and unusual” plant that brings fame and fortune to him and the shop. The catch? The plant needs warm, fresh blood to thrive, and Seymour is faced with the ethical dilemma of finding the plant (whom he names Audrey II) dinner in the form of less than savory people that the plant reasons “deserve to die” anyway. The score is peppered with catchy songs like “Suddenly Seymour,” “Downtown,” and “Somewhere That’s Green,” and the story is written in a tongue-in-cheek style. Director Daniel C. Dennis guides this production while maintaining a light touch, possessing an obvious affection for the characters and the time period that shows in the joyful pep in many of the performances and the impressive use of color in the design concept.
Standouts in the cast are Jhardon Dishon Milton as Seymour, still playing the geek card but with a lot of heart; Sara Reinecke as Audrey, playing her as more than just a squeaky-voiced ditz; Brandon Whitehead as Mushnik, just right as the sneaky boss; Byron Glenn Willis sounds like he is having fun as the voice of Audrey II (though he sometimes has trouble finding his place in the music); Basil Harris is a riot as the evil dentist Orin, but he also plays a variety of other small roles (at times reminding me of Robin Williams with his timing and delivery); Kelsey Rodriguez sparkles in her solos as Ronnette, one of the three girls that comment on the action throughout the play; Jon Hoche brings personality to Audrey II as the lead puppeteer; and Colin Cardille has a memorable moment in a small part as a customer at the shop, his wide grin and impossibly genial manner fitting perfectly with the tone of the piece.
The most striking element of this production is the incredible set designed by C. David Russell, complete with a turntable to transition from being on the outside to the inside of Mushnik’s shop. There are signs and billboards overhead to denote the period, which is also aided by the limited black and white palette that extends to the costumes; bits of color begin to appear little by little as Audrey II grows, and the effect is most attractive and reminiscent of the use of color in the 1998 film Pleasantville. The band is conveniently housed on stage to the left within what appears to be a brownstone with open doors and windows.
With so much to recommend this piece, there are some notable deficiencies. There is a distinct lack of energy in some of the supporting players as they don’t always seem to be actively present and working to sell their parts. The tempo of the music is also much slower than I’m used to hearing with this score, though it seems to pick up the pace a bit after the intermission. Much of the choreography comes off as an afterthought and robotic as well. None of these problems keep the show from being diverting overall, but those familiar with the show will take note.
It’s funny how a familiar work of art (I’ve seen and listened to this show many times) can take on a different meaning depending on the context in which it is experienced. Just listen to the lyrics of “Don’t Feed the Plants” at the end of the show, with references to “unsuspecting jerks from Maine to California” being “sweet talked” into feeding the plants blood as they continue to grow. It isn’t hard for me to relate that to some of the rhetoric being spouted by politicians currently running for President, no matter which side of the aisle you may sit. The song now sounds to me like we shouldn’t give attention to anything that will ultimately be destructive, a lesson learned too late by the characters in the show (let’s hope we as a country are more fortunate come election time). Ah, but I digress…
Little Shop of Horrors is an auspicious debut production for Tantrum Theater. If the production values for this show are any indication, they are a serious new contender in the area. While I may take issue with a few of the performances and the pace of the music, this is a very enjoyable production overall. The set is top notch, the voices are all strong, and the humor all comes across. The group of people I attended with all left impressed and looking forward to Tantrum’s next production.
*** out of ****
Little Shop of Horrors continues through to June 25th in the Abbey Theater located within the Dublin Community Recreation Center at 5600 Post Road in Dublin (it’s a huge building with a large flag in front), and more information can be found at http://tantrumtheater.org/play/little-shop-of-horrors/
There’s nothing better to me than being at a show with a friend and sharing a laugh over an in-joke reference, making eye contact knowing that you both are “in the know” about what is going on. That is the experience I had over and over with my friend and an audience of strangers at Cyclodrama’s production of The Musical of Musicals: The Musical! currently playing upstairs at Club Diversity. Columbus is full of musical performers who know their musicals and composing teams inside out, and this show is one that takes that knowledge and affection and mixes it up with good humor.
Written by Eric Rockwell and Joanne Bogart (they both performed in the 2003 and 2005 off-Broadway runs), The Musical of Musicals: The Musical! is a ninety-minute, two-act play that presents the scenario of a woman needing to pay rent to a landlord in five different scenes, each with inspiration from a different composer or composing team. Richard Rodgers and Oscar Hammerstein II are represented in “Corn,” which has many references to Oklahoma!, Carousel, and The Sound of Music; “The Complex” is aptly named for Stephen Sondheim’s section with references to Into the Woods, Company, and Sweeney Todd: The Demon Barber of Fleet Street; “Dear Abby” pokes fun at the silly eccentricities of Jerry Herman’s Hello, Dolly!, Mame, and La Cage Aux Folles; Andrew Lloyd Webber’s special brand of pretentious pop opera (with inspiration from Evita, Cats, Jesus Christ Superstar, Joseph and the Amazing Technicolor Dreamcoat, and Sunset Boulevard) is represented in “Aspects of Junita”; and the dingy, Prohibition-era “Speakeasy” takes its cues from John Kander and Fred Ebb’s Chicago and Cabaret. The clever finale “Done” is a parody of “One” from A Chorus Line.
The show is presented with just a few props, costumes, and excellent keyboard accompaniment by Tony Love. This isn’t a show where you need to look any deeper than what is on the surface, and many character names are reused and altered to fit each interpretation of the same basic story. Each song is a direct riff on a song from a musical, with “If I Loved You” becoming “I Don’t Love You” and “If He Walked into My Life” inspiring “Did I Put Out Enough?” My favorite number is “I’ve Heard That Song Before” from the Andrew Lloyd Webber section, a comment on how he reuses the same melodies ad nauseam (and even “borrows” some from Puccini); what’s scary is how catchy the tune is in that parody song! Each section opens with a montage of clips from film and stage performances that help clue people in on the references they will see and hear in each scene; think of them each as four-minute refresher courses on musical theatre. Even if you are a musical neophyte, these montages will help you recognize many of the reasons why the people around you are laughing.
Each member of the cast is worthy of recognition, representing the kind of go-for-broke kind of ensemble necessary for this material to work. Alan Saunders (who is also the director) steps in whenever eye candy is required, but he has a voice and talent to offer as well; Carolyn Cutri has a thrilling voice that she isn’t afraid to punch you with as Mother Abby; Greg McGoon plays both villain and lovesick youngster with ease; Zach Arnold makes a fine scruffy Phantom clone; Alicia Brown plays Junita (think Eva “Evita” Peron) with a kind of innocence that is hilarious, even while maneuvering the chandelier that will mean her death; Sophie Kirk pouts and preens to perfection as June and Dear Abby; David Taylor’s Big Willy (yes, I know) hits notes with a volume and pitch that is surely intentionally off-putting and right in step with the mood; Kayla Scites has a delicately sweet voice as Junie Fay (think Minnie Fay in Hello, Dolly!); and Drea Blau is on hand to introduce each scene as well as join in for ensemble numbers.
The Musical of Musicals: The Musical! isn’t your typical show, but it is performed with verve by a game cast willing to look and act just as silly as required. The references range from those even non-musical fans will get (who doesn’t know about the nuns in The Sound of Music or the chandelier in The Phantom of the Opera?) to some deep catalog references to Lloyd Webber’s Starlight Express (the cast on roller skates) and Sondheim’s Merrily We Roll Along. In the end, the show is a celebration of the music these fine composers have gifted us over the years, and all of the jabs are good-natured. Did I mention the cabaret-style seating at little round tables and the cheap drinks you can bring in from the bar downstairs? This is a show best enjoyed with some theatre buddies after a few drinks.
The Musical of Musicals: The Musical! continues through to May 29th in Club Diversity located at 863 South High Street, and more information can be found at http://www.cyclodrama.com/