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.