WILLIAMSBURG PLAYERS CLOSE THEIR SEASON WITH ENJOYABLE CURTAINS

Theater Babe Says:  Go for a Whimsical Musical Whodunit

Make no mistake:  to truly appreciate Curtains we need to actively engage in what Samuel Taylor Coleridge called the "willing suspension of disbelief."  This Kander and Ebb musical, not as well known as their Chicago or Cabaret, is silly fluff – but it's fun.

In the Williamsburg Players' production, director Peter Natale has assembled a cast and production team who make the most of the comparatively weak book and score.  The plot revolves around a show-within-a-show during its previews in Boston.  After the star drops dead during curtain calls and the show receives almost unanimously horrible reviews -- though not because of the demise of the leading lady which is uniformly considered to be an addition-by-subtraction -- Lt. Frank Coffi, played by Ron Campana, Jr., arrives on the scene.  Frank, a professional detective but amateur thespian, confines the cast and crew to the theater and proceeds to alternately solve the crime, suggest revisions to the ailing musical and romance the understudy, Niki, played by Rachel Marrs.  For reasons that are never entirely clear, Niki does not replace Jessica.  Instead, the show's lyricist, Georgia Hendricks, is cast in the leading role much to the consternation of her composer/partner and ex-husband, Aaron Fox, and to the delight of the leading man, her rekindled old flame, Bobby.

Mr. Campana is likeable as Coffi and maintains a credible Boston accent throughout the show.  His diction is excellent and his singing tone pleasant, better displayed in the up-tempo "Show People" than in the lyrical ballad, "Coffee Shop Nights."  Ms. Marrs is winsome in her role as the ingénue and "A Tough Act to Follow," her duet with Mr. Campana, is charming. 

As Georgia, Janesse Chapman demonstrates a lovely, strong belt particularly in "Thinking of Him."  The love triangle in which Georgia pivots between her ex-husband, Aaron, played by Mark Reid, and her former lover, Bobby, portrayed by Darrell Woods, never quite works, primarily because Mr. Woods appears so baby-faced and young that we simply do not believe that Georgia is renewing an old relationship.  Mr. Woods is a creditable dancer with a pleasing onstage demeanor and a nice singing voice, and individually Ms. Chapman and Mr. Woods each give accomplished performances.  Together, they generate no chemistry.  On the other hand, Mr. Woods' pas de deux with Chelsea Moss ("Bambi") is a memorable moment.  Ms. Moss is arguably the best dancer in the show, and the choreography by Dana Margulies Cauthen showcases their combined talents.  The chorus numbers are lively and the dances are admirably crafted to present the ensemble at its best, although there are a couple of places where the transitions are awkward while everyone just waits for the downbeat before they begin to move.  Those times are fleeting, however, and do not diminish the enjoyment of the numbers as a whole.

Mr. Reid gives a fine performance as Aaron.  He is not an overly strong singer, but the genuine emotion with which he delivers "I Miss the Music" offsets his not always perfect pitch.  Ms. Moss is appropriately annoying in her role as the pushy Bambi, though she would benefit by speaking slightly slower so that her lines would be more clear.  As the diva Jessica Crenshaw, Kathy Dean is undeniably (and intentionally) bad, but her performance is too self-conscious; by trying so hard to show how terrible she is, Ms. Dean loses the opportunity to capitalize on the comedy that is inherent when a performer who is seemingly oblivious to her apparent lack of talent insists on giving a performance her all.

The standout performances in this production are by Marsha Allen, as the producer Carmen Bernstein, and Robert Kyle as the show's director, Christopher Bellings.  It is obvious that Mr. Kyle relishes portraying the flamboyant Bellings, and his precise diction and exquisite timing generate some of the biggest laughs of the show.  Ms. Allen is brilliant as the bombastic Bernstein, and the noticeable increase in applause she received during the curtain call was well-deserved. 

This production suffers from a few endemic problems that distract from what is an otherwise delightful whole.  When singing in unison, the ensemble has a strong, pleasing sound with clear diction.  When they split into parts, however, the quality suffers; some of the notes, particularly those of the top sopranos, are just not in tune.  Additionally, Musical Director Andrew Blackmon would have benefitted from spending additional time on cleaning up the ensemble's diction in the numbers that have canons.  "He Did It" and "In The Same Boat (yet again and again and again)" could be outstanding, but because the diction is mushy and the pitch uncertain, the numbers are energetic, but not entirely successful. 

From a technical standpoint, the follow-spot operated from the stage-right side was often out of focus and wobbled, causing us to focus on the dancing light rather than the performance of the actor to whom the light was supposed to draw attention.  The Players' addition of the acoustic pads to the walls of the theatre, however, are a welcome addition and the sound in general is much better than it has been in earlier productions in their new space.  The sets, designed by Nina Costello, are an appealing and evocative homage to those of classic Westerns like Gunsmoke or Bonanza. 

Bottom line?  Curtains is both amusing and entertaining and it's worth the time and ticket price to attend.

Performances run thru June 30^th, Thursday – Saturday at 8 p.m. and Saturday at 2 p.m.

at the James-York Playhouse,
200 Hubbard Lane, Williamsburg, Virginia 23185.
Tickets are $18 for adults, $10 for students with id and can be obtained by
calling the box office at (757) 229-0431 or online at williamsburgplayers.org.

© 2012 Hampton Roads Theater Babe.  All Rights Reserved.

LITTLE THEATRE OF NORFOLK ROCKS THE FULL MONTY

Theater Babe Says:  Go (and Not Just 'Cuz They're Naked!)

Barely five minutes into the show, buff and beautiful Kelly O'Clair struts and glides across the stage as smoothly as if his joints are made of ball bearings, shedding shirt and pants with expert showmanship in a dance a la Chippendales that makes anyone with even a smidgen of estrogen sit up and pay attention.  Undivided attention.  Thus begins the Little Theatre of Norfolk's eminently entertaining production of The Full Monty.

Directed and choreographed by Shon M. Stacy, the enthusiasm and strong vocals of the cast carry the show through its uneven moments for a thoroughly enjoyable performance well-deserving of the riotous applause and cheers bestowed by the capacity crowd.

Set in present day Buffalo, New York, The Full Monty tells the tale of six men who, having suffered the indignities of long-term unemployment stemming from the closure of the local steel mill, decide to present a strip act after observing the success of a touring Chippendales troupe.  In a show that hangs upon a single visual hook, Mr. Stacy has wisely refrained from succumbing to the temptation to cast Adonis clones in the principal roles.  While Tony Brach ("Harold"), James Bryan ("Ethan"), Paul Costen ("Jerry"), AJ Friday ("Horse"), Tim Jarman ("Malcolm") and Garney Johnson ("Dave") are not at all unattractive, they simply look like ordinary guys – and that reinforces the credibility of the premise upon which the plot turns.

As Jerry, Mr. Costen displays a great tenor voice and though his dramatic scenes lack depth and intensity – we see, rather than feel, the frustration that causes him to hatch and pursue the
"Let's strip!" Plan – he gives a proficient performance in a demanding role.  That performance would be improved if he would stay in the "hot spot" of the lights; when he does not hit his mark, his face is partly shadowed to ill effect, specifically but not only in the the opening number, "Scrap." 

Mr. Costen and Mr. Johnson as Jerry's best friend, Dave, generate a credible camaraderie, and vocally they are extremely well-matched.  The Theater Babe can safely say that their rendition of "Big-Ass Rock" is one of the flat-out funniest scenes she has ever seen on stage – particularly when Mr. Johnson apparently just right that second realizes that a rope (and, later, a club) could be a purveyor of homicide -- but she cautions Mr. Costen and Mr. Johnson not to get carried away during the section of the song in which they provide backup vocals to Mr. Jarman; on Friday night, they overpowered him such that Malcom's lyrics were hard to hear.

Mr. Johnson possesses a wonderful voice, but he also tends to overshadow Mr. Brach during "You Rule My World," the duet pairing Dave with Harold.  While Mr. Johnson should probably be more cognizant of the extent to which his powerful voice may dominate those of other amateur singers, overall the music direction by Andreá Gomez is the weak link in this production.  All too frequently, the musical numbers are out of balance – sometimes because one singer is stronger than another, but more often because the electric bass challenges, rather than accompanies and supports, the vocals.  There are several moments when the instrumental introductions start too late, so the actor stands awkwardly on stage waiting to burst into song.  When the six principals sing as a chorus, such as in "Scrap," or "The Goods," they have a fabulously full sound, but there are harmonies which are discordant rather than intentionally dissonant due to pitch problems.  Because Mr. Johnson, Mr. Jarman, Mr. Friday, Mr. Costen, Mr. Bryan and Mr. Brach each individually have strong, quality voices, the flaw is not in the talent, but in the way the execution of the song has been directed and/or rehearsed.  And while the simple accompaniment to "You Walk with Me" is lovely, it is inadequately supportive; more melodic accompaniment would give Mr. Jarman and Mr. Bryan the opportunity to shine.

It is in Mr. Johnson's depiction of Dave that we most acutely feel the workers' fears of inadequacy, rejection and failure.  Reportedly, Mr. Johnson purposefully gained significant weight to play this particular role and his courageous performance is both successful and heartwarming.  We understand why Dave takes the job as a Walmart security guard, but we want him to dance.

Mr. Jarman is believably neurotic as the downtrodden Malcolm.  Mr. Bryan gives a fine, comedic performance as the Donald O'Connor-wannabe, Ethan; we applaud his persistence even as we consistently laugh at his folly.  Mr. Brach is credible as the denial-ridden Harold. Although his scenes with his wife, Vicki, portrayed here by Elizabeth Dickerson, are few and far between, in those little bits of dialogue Mr. Brach and Ms. Dickerson manage to establish a sense of unity so that we believe Harold would postpone telling his wife of his unemployed status because he doesn’t want to disappoint her and we believe that while Vicki is certainly willing to enjoy the perks of prosperity, she is not going to abandon her husband because he cannot provide them.  Ms. Dickerson's performance of "Life with Harold" is delightful. 

AJ Friday nearly stops the show with his rendition of "Big Black Man," and he is a splendid dancer even -- hilariously -- when his "arthritic" leg causes him problems in "Michael Jordan's Ball."  Nancy Bloom gives an acceptable performance as Jeanette, but she is not a brilliant singer and that flaw is noticeable because the other vocal talent in this show is first-rate.  As a result, "Jeanette's Showbiz Number" would be immeasurably improved if she were to take a Rex Harrison approach and "speak-sing" that number to emphasize the amusing lyrics and avoid her vocal shortcomings.  Alex Costen, as Jerry's son, Nathan, makes his debut in this production and does a fine job of remembering his considerable number of lines, but he would benefit from additional instruction regarding the importance of not presenting his back to the audience and the need to project at all times.

The women in The Full Monty have little stage time, but as Georgie, Dave's wife, Genevieve McBride makes the most of every second of it.  Her lead vocals in "It's a Woman's World" are outstanding, and her more intimate reprise of "You Rule My World" demonstrates a warmer, softer, yet still strong, side of her character.  In the Theater Babe's humble opinion -- and without any disrespect intended to Lauren Webre (whom the Theater Babe has not seen) who will be playing that role during the last weekend of the run -- it is a shame that all audiences will not have the opportunity to experience Ms. McBride's exceptional performance.

In the final analysis, however, The Full Monty is of course about the men displaying themselves in all their glory, and the final scene does not disappoint.  All six of the principals remain in character throughout the entirety of the show; unlike some more far-fetched portrayals of this piece, the men do not magically morph into fabulous exotic dancers.  Here, their choreography is purposefully -- and perfectly -- imperfectly executed ... they awkwardly disengage their belts ... they struggle with pulling their clothes off over their shoes -- and we cheer for them when they finally successfully disrobe.  The impressiveness of the confidence that Mr. Brach, Mr. Bryan, Mr. Costen, Mr. Friday, Mr. Jarman and especially Mr. Johnson as the so-called "fat bastard" display cannot be overstated.  In a society that prizes svelte figures, these men celebrate their less-than-perfect silhouettes and we cannot help but do the same.  When they do, at long last, present (ahem) the full monty, it is tastefully lit so the full frontal nudity is more implied than displayed – but, make no mistake, these self-assured men get their groove on for long, marvelous moments clad in little more than ... well, you should go and see for yourself. 

The set, by Jason C. Martens, is interesting but there were slight problems that were moderately distracting.  Several scenes are played on the upper level, stage left, of the two-story set, but from where the Theater Babe was sitting (three seats in from the right aisle) in those instances the most she could see was the reflection of the spotlight and an occasional gesture; for a long moment, Mr. Johnson is apparently seated on the second story, stage left, and all the Theater Babe could see was his right arm.  Harold's home is supposed to be affluent and stylish, but the frame upon which the sofa sits is noticeably scuffed and greatly in need of a coat of paint which erodes the attempt to establish a posh atmosphere.  Additionally, the crew needs to be careful to remember to adjust the curtain after the set change prior to "Big-Ass Rock" before the lights go up to ensure that the magic of the set remains a mystery to the audience.  Those little, easily remedied, things needlessly detract from the performance as a whole.

Costumer Staci Murawski did an excellent job of establishing the characters through their clothing, and the choice to use construction workers rather than the traditional policeman outfits in the final scene was a good one.

Bottom line?  The Full Monty as presented by the Little Theatre of Norfolk is big fun interspersed with some truly remarkable moments.  It is unquestionably an adult show, so if you are disinclined to listen to repeated foul-language or are offended by lewd references, gestures and/or public nudity, this is not the show for you.  The Theater Babe is not so high-minded, however, and encourages anyone similarly situated to come and enjoy the experience because it is surely worth the time and ticket price.

Performances run thru June 24th, Thursday - Saturday at 8 p.m. and Sunday at 2:30 p.m.

at the Little Theatre of Norfolk

801 Claremont Avenue, Norfolk, Virginia 23507

Tickets are $17 with discounts for students, seniors and military.

Reservations can be obtained by calling the box office at (757) 627-8551.

© 2012 Hampton Roads Theater Babe.  All Rights Reserved.

POQUOSON ISLAND PLAYERS' TALENTED CAST
PRESENTS FIRST-RATE FOLLIES

Theater Babe Says:  Go and Enjoy a Notable Production of Classic Sondheim

It is always with trepidation that the Theater Babe approaches any community theater production of a Stephen Sondheim show – any Sondheim show, really, but particularly his earlier works where he experimented with books that are driven by the characters rather than by the story, and the emotion emerges primarily from complicated, often dissonant, melodies requiring excellent pitch and lyrics that depend on the performer's crystal-clear diction.  Done well, Sondheim's music is transcendent.  Done poorly, one would be better off chained to a chair compelled to hear those proverbial nails streaking down a chalkboard.

In Poquoson Island Players' production of Follies, director Brandon Lyles and musical director Jeff Joyner have assembled a gifted cast who for the most part display all that is glorious about a Sondheim musical:  clever lyrics and diametric interlocking musical parts all tied together with sophistication, wit and a dark realism.

Follies takes place in 1971, on the stage of the Weissman Theater which for decades had been the home of the Weissman Follies. The theater is scheduled for demolition, so Dimitri Weissman (Bill Hogge) hosts a reunion for the former showgirls before the building is razed. Unfortunately, much of the set-up is presented during the long opening scene in which much of the dialogue is drowned out by the onstage instrumentalists. Although Mr. Joyner on the piano and Jason Kriner on the trumpet are both accomplished musicians and the background music is enjoyable, it too frequently takes precedence over the actors' spoken lines with the result that the exposition provided by the dialogue is lost.

Throughout the show, the party attendees are periodically shadowed by the ghosts of their younger selves. At various times, the current action triggers a memory, played on a different part of the stage by younger actors.  Mr. Lyles did an excellent job of pairing the actors playing the same character at different ages.  Where there are slight discrepancies such as a height differential, it plays wonderfully as if the "old" actor is remembering an idealized version of herself.

Nowhere is that juxtaposition more striking than in the showstopping number, "Who's That Woman?" brilliantly led by Kim Vernall as Stella. Ms. Vernall's pitch and delivery are spot on and the energy of the ensemble and the charming choreography by Rebekah Hipple that intertwines the characters with their younger selves made it one of the show's most memorable moments. 

The story focuses primarily upon two of the former showgirls, Phyllis and Sally, and their husbands, Ben and Buddy, as they reminisce and ruminate upon marriage, infidelities, and might-have-beens.  Scott Root, as Ben, possesses a marvelous, rich baritone that is displayed to advantage during his musical soliloquy, "The Road You Didn't Take." Although Mr. Root arguably has the best voice in the show, he demonstrates admirable restraint when singing with the other characters so he does not overpower them but rather creates a harmonic blend. When he sings "Waiting for the Girls Upstairs," with Buddy, played by Neil Hollands, his strong tone merges with Mr. Hollands' pleasing if weaker one to excellent effect.  "Too Many Mornings," Mr. Root's duet with Sally, played here by Tammy Gandolfo, is wistful and beautiful.

Carole-Sue Fiest is believably bitter as Ben's wife, Phyllis.  Her musical diatribe, "Could I Leave You?" is passionate, relentless and powerful.  Ms. Fiest and Mr. Root create a credibly convoluted relationship, portrayed by each as dissatisfying yet essential.  Because of that underlying connection, their ending scene is poignant and honest.

Sally's relationship with Buddy suffers by comparison.  There is little chemistry generated between Ms. Gandolfo and Mr. Hollands so Mr. Hollands is faced with the difficult chore of convincing us that he actually loves his wife enough to be jealous of her ongoing attraction to Ben.  Because we do not sense a bond between Sally and Buddy, "The God-Why-Don't-You-Love-Me Blues" does not ring true, and the frenetic choreography of that number does not help Mr. Hollands -- all too often it leaves him breathless and unable to articulately render the tongue-twisting patter. Although the script describes Buddy as "appealing, lively and outgoing," Mr. Hollands' interpretation presents the character more like a musicalized Willie Loman.  It mostly works – and the unusual interpretation makes Buddy a more introspective, if less charming, character – but it removes context from the vaudeville-like "Blues" and that disconnect prevents the number from attaining showstopper status.  Mr. Hollands has a pleasing quality to his singing voice that is best demonstrated during the lyrical parts of "The Right Girl," and the Theater Babe would welcome the opportunity to hear him perform a role that capitalizes on that strength.

As Sally, Ms. Gandolfo is both lovable and sweetly pathetic.  Ms. Gandolfo has a pretty singing voice, but it was occasionally overwhelmed by the accompaniment, particularly during her earlier numbers.  Her best moment is unquestionably her exquisitely understated rendition of "Losing My Mind" in the second act.

Jeremy Bustin as Young Ben, Stephen Maney as Young Buddy, Caitlin Burke as Young Phyllis and Sarah Friday-Wall as Young Sally are uniformly engaging and successfully capture the optimism and enthusiasm that have morphed into the cynicism and apathy of their older counterparts. Ms. Burke, Mr. Bustin, Ms. Friday-Wall and Mr. Maney each individually has a strong, melodious voice and as a quartet they have a good blend.  Mr. Bustin in particular gives a fine dramatic performance.  Initially appearing as nothing more than a happy young man content to be "Waiting for the Girls," Mr. Bustin subtly reveals the duplicity of his character, and it is in his performance as Young Ben that we most easily see the seeds of the embittered, somewhat regretful older Ben portrayed by Mr. Root.

The other young Follies girls, Amanda Colwell, Dorothy Douglas, Megan Gerth, Rebekah Hipple and Dara Sherman do an excellent job of consistently maintaining their Ziegfeld showgirl posture and mannerisms as they strut across the stage.  As Young Heidi, Ms. Sherman displays a gorgeous voice with a pure pitch that floats across the stratospheric notes of "One More Kiss."  Jane Martin is perfectly cast as Heidi.

Marcia Dadds gives a superb performance as Carlotta, and her humorous, tongue-in-cheek rendition of "I'm Still Here" is one of the show's highlights.  Other noteworthy cameo moments include Jeff Joyner leading "Beautiful Girls," and Terry Rosales Taylor's presentation of "Ah, Paris!"  Debbie Kendall and Ron Milovac as Emily and Theodore Whitman give a lively performance of the deceptively simple "Rain on the Roof."

The standout performance by an actor in a supporting role, however, belongs to Betsy Forrest's portrayal of Hattie, a perhaps-more-than-middle-aged chorus girl.  Ms. Forrest possesses a singing voice that women half her age could envy, and she takes the well-known (and some might say shopworn) "Broadway Baby" and knocks it out of the park.  Her extraordinary performance alone is worth the admission fee.  The Theater Babe is only sorry that we were not given the opportunity to reward Ms. Forrest – as well as Ms. Vernall, Ms. Sherman, Ms. Martin, Ms. Dadds, Mr. Joyner, Ms. Taylor, Ms. Kendall and Mr. Milovac – during the curtain call, since they simply bowed with the rest of the ensemble.  They deserve at least a collective step-out for their individual efforts.

Of all of the praiseworthy performances of this show, however, the single best moment was when the cast as a whole converged onstage, each singing their individual melodies in what could easily have been a cacophonous mess.  Instead, it was remarkable due to the actors' combined talents and the expert musical direction of Mr. Joyner.

The set was well-conceived by set designer Rick Hinson, and beautifully lit by Mr. Lyles who successfully used a variety of techniques to enhance mood and to distinguish the time differences.  The costumes by Julie Perkoski were period- and character-appropriate, and the showgirl outfits were dazzling.

Bottom line?  Follies is an exorbitantly difficult show to produce, and the cast, crew and production team should be justifiably proud of their successful effort that is definitely worth the time and price of the ticket.

Performances run thru June 10th, Friday - Saturday at 8 p.m. and Sunday at 2:30 p.m.

at the Mary T. Christian Auditorium at Thomas Nelson Community College

Templin Hall, 99 Thomas Nelson Drive, Hampton, Virginia.

Tickets are $15 with discounts for students, seniors and military.

Reservations can be obtained by calling the box office at (757) 881-9797.

© 2012 Hampton Roads Theater Babe.  All Rights Reserved.