Theatre

The Medicine of Music and Laughter

 MUSICAL SUNSHINE at CAPE PLAYHOUSE

A Cocktail of satire, vaudeville, and downright slapstick

Pictured L to R, Joanne Bogart, Matt Castle, Kristen Maloney, Brent Schindele. Photo by Kathy Fahle.

By Libby Hughes, reviewer for Cape Cod Today

Kick away the rainy gloom of June by spending just under two hours at the Cape Playhouse in Dennis. It's pure musical sunshine. The Musical of Musicals...The Musical! is the cure for raindrops and gray days. As the opener of the 83^rd season, the show promises to entertain residents and visitors who want to forget the economy, wars, and violence. On opening night, the audience went wild at the end, shouting, whistling, and giving the ensemble of four a standing ovation. The lady two seats down from this reviewer announced to her neighbors and herself-"Fabulous!" And so it was for this New England premiere.

A five part satiric musical

Artistic Director, Evans Haile--a beloved figure on the Cape Cod Center for the Arts campus--gives a meaningful introduction to orient the audience in what they are going to see and hear. The Musical of Musicals is divided into five satiric parts. Each one is an imitation of a famous team of one or two composers and lyricists: Rodgers and Hammerstein; Stephen Sondheim; Jerry Herman; Andrew Lloyd Webber; and John Kander and Fred Ebb. Over the loud system, two familiar songs from each of the five composers are played. The theme throughout the segments deals with a girl who can't pay her rent, but in the style of the composer. When the curtain opens, the audience is prepared.

Praise for the creators

The creators of The Musical are Joanne Bogart (lyricist and book) and Eric Rockwell (composer and book). They landed off Broadway with their show in 2005 to smashing reviews and had a three year run. Bogart and Rockwell starred in their own musical for a time. Here in the Cape Cod production, Joanne Bogart resumes playing her middle-aged character of Abby. She denies writing a part for herself, but...

The five segments

The first is called CORN (remember Oklahoma?), reminiscent of Richard Rodgers and Oscar Hammerstein. If you listen closely, you might detect similarities from The King and I, The Sound of Music, Carousel, Oklahoma, and South Pacific.

A take off on Stephen Sondheim is the second segment, called A LITTLE COMPLEX. There are songs in the style of his musicals: Into the Woods, Company, Sweeney Todd, and Sunday in the Park with George.

The third is a spoof on sunny Jerry Herman, titled DEAR ABBY, which incorporates Hello Dolly and Mame, where the socialite solves the rent problems.

The two final segments are in the second act. The fourth is called ASPECTS OF JUNITA from Andrew Lloyd Webber's Evita, Jesus Christ Superstar,  and Phantom of the Opera.

The fifth and final one is SPEAKEASY, a stylization from Kander and Ebb's Chicago and Cabaret.

Quartet of actors

Each actor assumes between 8 and 15 roles and this includes the musical director/pianist, Matt Castle, a familiar figure on the Cape stage. His musical and facial witticisms are understated, but make a powerful impact. Brent Schindele can switch from a macho cowboy to a campy doll in a split second. He can leap around the stage like Mikhail Baryshnikov or Hugh Jackman. And he has a voice that reaches the back row and roof of the Playhouse. An equally powerful voice belongs to the ingénue, Kristin Maloney, who is vulnerable one moment and a martinet the next. Joanne Bogart is ever comfortable in her own words and broad humor from confidante to diva. She obviously relishes performing. The fifth lone, but silent, figure on stage is Will Slater on bass and guitar.

Director and staff

Director Pamela Hunt has crafted direction and choreography for 20 shows at the Playhouse. Most of them are memorable. Who can ever forget Sylvia, the dog? Incredible. The Musical goes from subtle to satiric to slapstick with such ease. She is masterful. Scenic designer James Morgan keeps the set sparse and simple with a piano, three chairs, and a blue screen at the back to announce each composer/lyricist. John Carver Sullivan, costume designer, keeps the costumes in Travel Smith simplicity, using basic black with added sparkles to the costumes in the second act. Lighting designer, Christopher S. Chambers, has everything under control, except a couple of slow spotlights during opening night--easily fixable.

Decline of summer theatres

The North Shore Music Theatre in Beverly has recently closed. Perhaps only three theatres are left from the once famous "Straw Hat Circuit:" The Ogunquit Playhouse in Maine, the Westport Playhouse in Connecticut, and the Cape Playhouse. We should cherish this wonderful Playhouse and the professional shows it brings for our enjoyment. Let's keep it alive and running--even in difficult times.

Don't miss this fabulous winner, The Musical of Musicals...The Musical! June 22 through July 4, Monday through Saturday at 8:00 pm. Matinees are Wed at 2:00 pm, Sat. 6/27 at 4:00 pm, and Thurs. 7/2 at 2:00 pm. Cape Playhouse is on Route 6A in Dennis Village. For reservations, call 508-385-3911.

Leave a comment »

September Blues are Red Hot!

Bessie Smith's "Devil Blues" Sensational Finale
Cape Playhouse Finishes on a High Note

   Miche Braden as Bessie Smith. Photos by Kathleen A. Fahle.

By Libby Hughes, drama critic for Cape Cod Today

Where did the summer go? Didn't we just abandon wool clothes for T-shirts, shorts, and flip flops? Suddenly it's over--gone. Even the Cape Playhouse in Dennis is "singing the blues" for the last two weeks of its 82^nd season and what a great season it's been. For 90 minutes without an intermission, everyone was spellbound by Bessie Smith's mournful and wailing blues songs.

Wild response from audience

In all my years of reviewing, I have never seen an opening night audience respond to a singer as they did for "The Devil's Music: The Life and Blues of Bessie Smith." After her third song, "Bad Mood Blues," Miche Braden as Bessie Smith chided the audience for their tepid applause and coaxed them into putting her in a good mood. From that moment, the audience showered her with applause throughout. Her contralto voice shook the floorboards and rafters. The woman  to my right turned into a holy roller, shouting, clapping, and laughing. Heads were swaying to the beat of the blues. Foot-tapping traveled down the rows. It was like a revival meeting, full of interaction between Bessie Smith and the audience.

Origin of the blues

The word "blues" means "blue devils" or the down spirits. It reaches back to the 1890s when African Americans were plantation workers. To break the boredom, they created these work songs, which were a "call and response" of 12 bars, repeating a line three or four times about their personal woes. Even today, you can hear chain gangs singing them or go to West Point and you'll hear something similar when the cadets run every morning. First, men sang folk blues and then, classic blues were made popular by women singers. In the 1930s, George Gershwin patterned his "Rhapsody in Blue" after the 1920 blues.

The story of Bessie Smith

Much of the credit goes to playwright Angelo Parra for his skillful writing of the story of Bessie Smith in a funny, sad, and tragic way. Bessie talks directly to the audience and tells her own story as the narrator. Bessie Smith was born in Chattanooga, Tennessee, in 1892 or 1894. Her father died shortly after her birth and her mother died when she was nine. She and her siblings used to sing and dance outside an African American Theatre in their hometown, begging for money to help feed the family. Finally, she auditioned for a troupe and she was hired as a dancer. Soon, her singing talents surfaced. Although Ma Raines was called the "Mother of the Blues," Bessie Smith became known as the "Empress of the Blues." She became a recording artist, selling 780,000 copies of her records. She made $2,000 a week, which in those days was high. Her married life wasn't the greatest. They didn't have children, so they adopted a boy, whom she adored. But when Bessie interfered in her husband's affair, he took her to court and said she was an unfit mother because she drank too much and played both sides of the sexual street. She had everything, but nothing. In the end, she had no one. Her melancholy songs tell it all. Smith died tragically in a car accident in her early 40s.

Miche Braden as Bessie

Magnificent. There is no other word for Miche Braden's portrayal of the inimitable Bessie Smith. Throughout the show, she controlled the heavy drinking of Smith, so that it was not overdone. When she rocked back on her heels to deliver a high note or raucous laughter, she was like an airplane flying upside down. Her movements were suggestive without being lewd. Yes, there was some raw language, but not overly offensive. Her contralto voice seemed to come from the soles of her feet and from the soul in her heart; especially her final mournful song, "Nobody Knows You When You're Down and Out."

Three piece band

The splendid band interacts with Smith as well as playing the 15 songs she sings. Scott Trent plays the piano; Jim Hankins, bass; and Anthony Nelson, tenor sax and clarinet. Nelson and Braden do a well-choreographed duet together that brings the house down with "St. Louis Blues."

Costumes and set

Gail Cooper-Hecht clothed Bessie Smith in a long, sparkly dripping mink cape with gold and black kimono sleeves and mink cuffs. When she took off the glamorous mink cape, there was a form-fitting charcoal dress with butterfly sleeves underneath. Set Designer Yoshi Tanokura gives us an elegant set in burgundy and rose for a hotel lounge. A large gold frame at the back introduces Bessie behind a scrim at the beginning and at the ending. A three-cornered ceiling molding set the tone and Christopher Chambers lit the set with pinks and blues. He was only late once on a lighting cue for a spot on Bessie Smith's final vocal lines after all the band solos.

Director

Director Joe Brancato moves Smith cleverly around the set for 90 minutes without letting the audience become disinterested for one second. Every part of the set is used for variety.

Don't miss it

Even though this is September, get down to Dennis to see this show. The audience went crazy and so will you from Sept. 1-13. Monday through Sat. at 8:00pm. Matinees: Wed at 2:00pm, Sat. 9/6 at 4:00pm, Thurs. 9/11 at 2:00pm at the Cape Playhouse on Route 6A. Cape Cod Center for the Arts. 508-385-3911.

1 comment »

Cape Playhouse Ignites Laughter with Oldie

"Born Yesterday" Comes out of Mothballs to Pack a Big Punch
Pygmalion story is alive and well and still laughing

   A scene from Born Yesterday at the Cape Playhouse. Stage photos by Kathleen A. Fahle.

By Libby Hughes, drama critic for Cape Cod Today

Before the first teardrop falls in September, the Cape Playhouse has unwrapped "Born Yesterday" from 52 years in mothballs to unleash laughter on opening night of their 5th show. Although a tad dated, the Pygmalion theme had the audience cheering at the final curtain.

The stage production of the play opened on February 4, 1946 at the Lyceum Theater, where it began the first of 1,642  performances. Directed by its writer, Garson Kanin, and starring Judy Holliday (Dawn), Paul Douglas (Brock), and Gary Merrill (Verrall), the play opened to rave reviews and finished its run on Christmas Eve of 1950. The movie (poster above) was released in 1950.

The test of time

Playwright/director Garson Kanin put the bimbo blonde story together in 1946 and took it to Broadway as a long-lasting smash hit. Actress Judy Holliday hit the boards with her dumb blonde routine, supported by Paul Douglas and Gary Merrill. Holliday also did the starring role in the 1950 movie with Broderick Crawford and William Holden. She won an Oscar for Best Actress. Strangely enough, my theatre companion, Betsey Welton of  cable television's "Books and the World" fame, was at the Willard Hotel in Washington, D.C. when Melanie Griffith, Don Johnson, and John Goodman were doing a remake of the film, released in 1993. She and a friend were sipping Mint Juleps in the lobby while the stars were rehearsing.

One slight drawback

Over half a century ago, playwrights wrote three-act plays (television was still in its infancy). People were willing to stay through two intermissions. Not today. Two hours with one intermission is the norm. The Playhouse combined acts two and three. The first act was slightly soggy because Garson Kanin had so much exposition to set up the story and plot. Once that was out of the way, the show began to hum and the audience loved the transformation of the bimbo to brainy. Kanin's lines still remain funny and pertinent to politics in D.C. today.

Remember other stories?

Of course, there was George Bernard Shaw's "Pygmalion" in 1912, followed by the musical film adaptation "My Fair Lady" with Audrey Hepburn and Rex Harrison in 1964 and on Broadway in 1956. A Cockney girl is transformed into an elegant lady-diction and all. Remember Martha Mitchell, the alleged airhead wife of President Nixon's Attorney General, John Mitchell in the 1970s? During the Watergate scandal, Martha, who was nicknamed "Mouth of the South," was feeding reporters the inside scoop. She was banished by her husband and others. This was real-nothing made up, but very close to the character of Billie Dawn in "Born Yesterday," but almost 30 years later.

Two leads were excellent

Earlier in the season we saw Michael McGrath in "A Day in Hollywood/A Night in the Ukraine." His character of Harry Brock in "Born Yesterday" is totally different. One can only marvel at his versatility and extraordinary talent. He is so convincing as the rich, rough-edged Brock, who made his fortune from junkyard scrap metal, that he comes across as an egocentric Mafioso. His control, domination, and physical abuse of his mistress are slowly whittled away, but very close to stories you might see on Oprah.

The crowning glory went to Leslie Kritzer as Billie Dawn. It's in the writing by Kanin. Harry Brock doesn't grow or change in the play, but Billie Dawn does. Transformation is more appealing and reaps its reward for Kritzer. Her high-pitched nasal twang set the "dumb" tone of her character. In her first entrance, she could have been stronger in hitting the audience with that jarring, guttural twang. Her stage business in playing gin rummy and warbling "Anything Goes" is a stunning piece of acting, reminiscent of Geraldine Page's brilliance of taking ten minutes of no dialogue and make it riveting..

Reporter is a hero, too

Like the two Washington Post reporters in Watergate, Bob Woodward and Carl Bernstein, the part of the reporter,  Paul Verrall, is a winner by actor David Furr--a sort of Clark Kent/Superman character, who coaches Billie Dawn about words and books. He is the good guy, trying to expose greed in D.C. by lobbyists, senators, and lawyers. What else is new?

Even bit parts excelled

Brad Bellamy has two roles as the Hotel Manager and the smarmy Senator Hedges, who is submissive to the wealth of diamond-in-the rough Harry Brock. Suzanna Hay has a cameo role as the very southern Mrs. Hedges-similar to Ladybird Johnson. She's the Irish maid, too--completely different. Michael Keyloun is perfect as Eddie Brock, the scared lackey to Harry Brock. And Ross Bickell gives credibility to Brock's tipsy lawyer Ed Devery, whose guilt over creating shady deals is drowned in booze.

Set Designer is back

Richard Chambers is back with his Midas touch. As the curtain opened, the audience oohed and awed at the turquoise set in gold and cream trim inside a hotel suite. The off-white satin sofa with zebra-print pillows is effective as is the curved staircase. Pamela Hunt's reputation as director is magnificent. Her comic stage business is impeccable, which we well remember several years ago in "Sylvia." Lisa Zinni has some great costumes for Billie Dawn and Mrs. Hedges. The men wore standard outfits.

This comedy is a laugh every few minutes when it gets rolling.

All ages will love it and word of mouth will spread. See it from August 18 through August 30 Monday through Saturday at 8:00pm. Matinees: Wed.at 2:00pm; Sat. 8/23 at 4:00pm; Thurs. 8/28 at 2:00pm. Cape Cod Center for the Arts in Dennis on Rte 6A. Call 508-385-3911.

1 comment »

Jukebox Musical: An August Pleaser in Dennis

The Uh-Ohs of the 1960s Bounce off the Walls of the Cape Playhouse

Twangy songs rattle the memories of audience

   A rousing rendition by the cast of Leader of the Pack. Photos by Kathleen A. Fahle.

By Libby Hughes, drama critic for Cape Cod Today

As we slide down the hill of August to the end of summer, the Cape Playhouse has chosen two absolute musical winners at the peak of their season. The third show, "Dirty Rotten Scoundrels" scored instant success. Opening night of its back-to-back fourth show struck it even richer. ":Leader of the Pack" wrenched the audience out of its seats for the first real standing ovation thus far. Perfect summer fare for all ages.

Plot

"The Pack" hit Broadway in 1985 and garnered a Tony Award nomination. However, Frank Rick, drama critic of The New York Times, described it as an "embarrassment." Rich was ironically called the "Butcher of Broadway," so his review did not kill it instantly. Some parodies have crafted the title for modern consumption such as: "Leader of Iraq" and "Leader of Barack!" The simple plot of the show is based on a true story. Ellie Greenwich, a girl from Brooklyn, could play the accordion and write songs. Her dream was to have her songs played on the radio. She stormed the doors of the Brill Building to break into the business. She made it big. Her collaboration with another songwriter, Jeff Barry, turned into marriage and...Well, the second act tells it all. No need to spoil it right here.

Songs

All 22 songs were composed by Ellie Greenwich, who also wrote some of the lyrics with Jeff Barry, Jeff Kent, Ellen, Foley, Phil Spector, and George Morton. Anne Beatts helped with the book. The groups of the sixties like the Jivettes, Ronettes, and Shangri-Las were in constant motion with their legs and hands, chopping the air with their arms, bending knees, moving shoulders and hips. The women were in short, short mini-skirts defying the below-the-knee skirts of the 1950s. Many of the lyrics were repeated over in triplet form, but every word was distinct and made sense! "Baby, Baby, Baby," "Uh oh, uh oh, uh oh," and "Da Doo Ron Ron, Da Doo Ron, Ron, Da Doo Ron Ron" are samples of this stuttering foreign language that has a nasal twang to it.

The title song, "Leader of the Pack," was written for the Shangra-Las. It has a Romeo-Juliet theme. Betty, a high school girl, falls in love with Jimmy, head of a motorcycle gang. Her parents object because he's the wrong kind of boy. When she tells him they have to break-up, he screeches away on his motorcycle, goes into a dangerous spin, and dies.

Choreographer, the star

Much of the success of this particular production of "Leader of the Pack" is due to Mark Martino, Choreographer/Director, who choreographed "Scoundrels" as well. The pace was professional and the movement of props went like clockwork. He captured the flavor of the sixties.

Ensemble

The other half of the stardom belongs to the ensemble of seven, who operated on high energy vocally and physically. We remember Laione Michelle from "Beehive." Who could forget that stunning voice that seems even richer this time around? She socks the audience with her mezzo twang of the 1960s. Bridget Beirne convinces us of Ellie Greenwich's ambition in the music business that overrides even love. But when separation happens she is devastated. Her rendition of "Rock of Ages" could have been more effective if it had not been so broad. Aside from that, her performance was impeccable. Chasten Harmon and Jaimie Kelton were equally outstanding as part of a trio, quartet, or sextet. They never stepped out of character.

Gregg Goodbrod played Jeff Barry, the songwriter and husband of Ellie in a fairly credible way. We didn't see the nuances that his character needed through his own songwriting ambition, separate from Ellie's, and his yearning to start a family. The dynamic of coming back from LA to work again with Ellie didn't show the strain and change in their relationship distinctly enough. Musical Director, Matt Castle is part of the show as Gus and he does a splendid job. Jeremy Leiner and Ivory McKay make essential additions to the male part of the ensemble.

Set, Costumes, Lighting

Scenic Designer, David Esler created a series of platforms that Christopher Chambers skillfully lighted in limes, blues, pinks, and reds. Gail Baldoni, Costume Designer, made short, sleeveless dress sheaths in lime, red, and blue for the sixties decade. Her sky-blue gowns were stunning. The beehive wigs and bouffant hairstyles made the costumes. The five piece orchestra onstage became part of the whole musical.

Uh oh, this jukebox musical is a summer pleaser and will pack ‘em in.

Call quickly for tickets to "Leader of the Pack." Aug. 4-16: Monday through Saturday at 8:00pm. Matinees Wed, at 2:00pm; Sat. 8/9 at 4:00pm; Thurs. 8/14 at 2:00pm. 508-385-3911 in Dennis on Rte 6A. Visit the Cape Playhouse site here.

1 comment »

Hot Musical Rocks Dennis Rafters

Gruff, Gourmet Guffaws Roll and Roll at Cape Playhouse

"Dirty Rotten Scoundrels" hits the spot!

By Libby Hughes, drama critic for CapeCodToday

Women are so stupid. They fall for flattery and romance with the kiss of a hand or a single red rose. Then, they are goners. They give their hearts, their jewels, and their bank accounts to a handsome con-man. It could be Palm Beach or Malibu or Cape Cod. In the case of the musical "Dirty Rotten Scoundrels" in Dennis, it is the French Riviera where a couple of cons are stalking wealthy widows or rich singles.

Opening night

Opening night for the third show, which is half way through the season, struck it rich with this musical. The guffaws rolled and rolled. For the first time, every seat in the house was full. A hot, steamy July night made no difference. No one looked at their watches. More than two hours of singing and dancing had the audience enthralled as they watched the men trying to outwit the women. Sometimes those attempts backfired. Who was outwitting whom? The battle of the sexes was fun and wildly funny.

Film and stage history

This musical has quite a history. It began in 1964 as a film called "Bedtime Story" with Marlon Brando and David Niven. Then, it had a remake in 1988 as a film, called "Dirty Rotten Scoundrels," starring Steve Martin and Michael Caine. Finally, in 2005, a third incarnation was a stage musical on Broadway. Usually the reverse happens. A stage musical makes its way into a film such as "Mamma Mia," which has just been released. Jeffrey Lane wrote the book, and David Yazbek composed the music and lyrics for "Scoundrels.". It will be a touring success through the rest of 2008 and to Europe in 2009. "Scoundrels" is closer to a traditional American musical than we have seen in a couple of decades.

The cast is huge

Eighteen in the cast is huge for a small theatre like the Cape Playhouse and expensive. The leads and the ensemble are skilled professionals. With the ever-talented director Mark Martino and choreographer Denis Jones, the ensemble negotiated their way around arches and scenery without a hitch. We saw what Martino did with "Guys and Dolls" some time back. Phenomenal. He has done the same with "Scoundrels." Take a bow.

Male actors

Brent Barrett took confident command of the stage as one of the suave con-men, Lawrence Jamieson. He was irresistible to women, convincing them that he was royalty--his highness or a prince. They swooned and dropped diamonds and cash in his lap. Barrett was adept at giving a flavor of French and German accents. His sense of comedy and timing were fine-tuned. John Scherer played a low-keyed, French Andre--sidekick to Jamieson and Mr. Fix-it. Perry Ojeda was a totally engaging Freddy, a student of con-artistry. Ojeda was a cross between Bob Denver of "Gilligan's Island" and the bumbling Peter Sellers. What a voice--even from a wheelchair. He used broad Vaudevillian style comedy. There are some devilishly hysterical scenes with Freddy in a wheelchair. Last but not least, the male members of the ensemble also were incredible.

Female actors

Dee Hoty swirls in and out of scenes as Muriel, pursuing her handsome con-prince. Andre draws upon his own romantic skills to dissuade her into focusing her attentions on him. Heather Parcells as Jolene Oakes is the first wealthy, female prey. She turns out to be a Texas hoe-down dancer, who escapes the clutches of the con-men. Stephanie Youell as Christine cons the guys with her syrupy innocence and lack of money. The female ensemble came and conquered, too.

Set and lighting

Christopher Chambers has done the best lighting plan since joining the Cape Playhouse staff. If this is a "bus and truck" show, the scenery by Dan Kuchar is magic. The six white arches change colors and light up. A curved staircase flies in and out. A Riviera casino is lit in the background. Small sets slide back and forth from the wings. One snafu happened with the dining car. It got caught by one of the arches. Mr. Barrett pulled it to safety and received a round of applause. Two side-lamps went cockeyed. Mr. Barrett and Ms. Hoty tried to right them, but without success. The audience loved it when Mr. Barrett partially succeeded. The many costumes by Angela M. Kahler were effective.

Orchestra

Who has a live, nine-piece orchestra these days? This musical. The ensemble profited by Phil Reno's Musical Direction, assisted by William Johnson.

The tickets to this show are hot. Get on the phone to the Cape Playhouse in Dennis early before they are sold out. Call 508-385-3911. Monday through Saturday at 8:00 pm. Matinees Wed. at 2:00 pm; Sat. 7/26 at 4:00 pm; Thursday 7/31 at 2:00 pm.

This little honey is the best so far!

Leave a comment »

Musical menu and Russian Dessert

Rollicking Revue and Corny Comedy at Cape Playhouse
Throw woes to the winds and enjoy

   Jonathan Brody (seated at the piano) and Michael McGrath. Photo courtesy of Kathleen A. Fahle.

By Libby Hughes, Cape Cod Today's Drama Critic

It's a double whammy at the Cape Playhouse in Dennis for the next two weeks. There are two one acts as different as the sun and moon, but they scored high on entertainment value. The first is called "A Day in Hollywood" and the second one, after intermission, is "A Night in the Ukraine." Although cramped on stage for the ensemble of eight and somewhat ragged around the edges on opening night, the pace and energy never sagged. Give them a few more performances, maneuvering around scenery, two grand pianos, and a steep center staircase, and all will be fine. It is perfect summer fare--dazzle dancing and Marx-Brothers-style comedy. Be aware of some clever staging throughout.

Creators

"A Day in Hollywood/A Night in the Ukraine" originated in London at the Majestic Theatre in 1979 and moved to Broadway in 1980 for a substantial run. Dick Vosburgh, who wrote the book and lyrics, was an American who trained at the Royal Academy of Dramatic Art and stayed in Great Britain. He passed away in 2007. Frank Lazarus was the composer. Wikipedia and Google did not yield very much about him. He is either a mystery man in the UK or a US academic with credentials as an art connoisseur or both. Take your pick.

Different plots

The Hollywood plot is a musical revue from the 1930s, full of 19 songs from the past, as well as "shuffle ball change" with slapstick and Vaudeville tricks thrown in the mix. Some of the Oldies are "Cocktails for Two," "Two Sleepy People," and "Over the Rainbow." The Ukraine romp takes a while to sort out, but basically, a lawyer wants to con a rich Russian widow into giving him 1,800 rubles, so he doesn't have to go to jail. The daughter is looking for the ideal young man ,whom she finds. Gino the gardener is like Charlie Chaplin and never speaks. The spoken lines are terse and stinging in true Groucho Marx style.

Grand Piano Duo

The Playhouse's own Evans Haile played out his astounding personal talents on a grand piano opposite Matt Castle, musical director, on the second grand piano. At one point, a third, black, upright piano was moved center stage and three pianists played musical benches--moving from one piano to the next, never missing a note. Incidentally, the grand piano became a stage prop for hiding all sorts of things, including dancers-very clever.

Multiple Talents

This is an astonishing ensemble. A number of them have worked together before. In fact, Nancy Anderson played the part of a dog in "Sylvia" here at the Cape Playhouse. It was an incredible performance. She has a keen sense of comedy and tragedy, plus a special connection with audiences. Her plight as an actress trying to be the "best in the world" was touching. Her toddler costume and song "On the Good Ship Lollipop" as Shirley Temple couldn't have been cuter. Her rendition of the Chaplinesque Gino in "A Night in the Ukraine" couldn't have been funnier. She can even play the violin. She can do it all.

Michelle Dyer was a convincing young girl searching for love. Susan Cella made an excellent,  imperious Madame Pavlenko.

The male actors/singers/dancers were all strong. Jeffrey Denman played all the leading man roles with conviction and passion--even humor as the Russian Constantine who sings out "Again" again and again and again! Michael McGrath had the plum role of Serge Samavor, an amalgamation of the three Harpo Brothers. It took him time to settle down in the part and get his timing, but once he was in the swing of it, he milked the lines for all they were worth. My theatre companion and I remarked how much he looked and moved like the actor Nathan Lane. He even cracked some ad-libs of his own. Jonathan Brody really shined as Carlo in the "Ukraine" piece. Not only can he play the piano and sing, but he was a great foil to Samovar and Gino.

Superb Direction

James Brennan did a skilful job in directing and choreographing the two pieces. The half-mast curtain upstage showed the dancers from the waist down for a dance number called "Famous Feet."  A variety of tappers, including Mickey and Minnie Mouse, paraded across the narrow strip of stage.

Costumes

Paul Favini created costumes that reflected the Chinese theme at Grauman's Theatre in Hollywood. The men wore gray tails and red trousers with gold stripes down the sides. The women wore gray blouses and red skirts. The Russian costumes were reflective of the period. Daniel Meeker produced an elegant gold and white set for the "Ukraine" with a crystal chandelier. Somehow the set managed to embrace the stairway at the back.

Once everyone settles down in their stage surroundings, these back to back one-act plays should be a delightful ménage and a sell-out at the Cape Playhouse along 6A in Dennis Monday through Saturday at 8:00 pm with matinees: Wed. at 2:00pm; Sat. 7/12 at 4:00pm; Thursday 7/17 at 2:00pm. Call 508-385-3911.

Leave a comment »

Boot up your brain for stage winner

Cape Playhouse Opener Teases, Taunts, and Tickles Audience
Tangled web of mind games puzzles and pleases

By Libby Hughes, Cape Cod Today's Drama Critic

Launching the 82nd season at the beloved Cape Playhouse with a one-man show? Is that wild and risky? You bet. What were they thinking?

A brain teaser

 They were thinking that "Marc Salem's Mind Games" would keep your brain tuned to high energy for two hours without an intermission.  And they were right. On a rainy opening night, the Playhouse was almost full to an audience not knowing what to expect and slightly suspicious of someone who tinkers with the mind. And tinker he did.

Who is this guy?

Who is this Marc Salem anyway? He is a highly educated professor of psychology, who is wise in the ways of human behavior (Dr. Phil Lite) and has translated his expertise into living theatre on Broadway, off Broadway, in London, and in South Africa. His knowledge has taken him into courtrooms to coach lawyers on how to study body language and eye movements to distinguish between truth-tellers and liars. Thirty years of practice have qualified him for his psychological drama and dry wit. Oh yes, he's an author as well.

Annual debut of Evans Haile

Before Mr. Salem made his entrance, Artistic Director Evans Haile arrived center stage from the wings to resounding applause. He is a charming favorite to his Cape fans and gave them a relaxed and confident overview of the upcoming season, mostly filled with musicals and a comedy. Their plan is to engage audiences onstage in some of their shows such as "Leader of the Pack," but more importantly, to entertain in the face of war, election fatigue, and soaring prices of gas and food.

Interaction with audience

And that's what Marc Salem does--he engages members of the audience onstage and off. Never at any time does he humiliate the unsuspecting participants. His humor brings them out of their shells. The waves of laughter come in staccato and largo waves, but they come and keep coming. Salem catches each wave as it crests and he moves to the next piece of business. At 9:20, some people were looking at their watches, wondering if there would be an intermission and how long Salem could sustain our attention. Except for that short lapse, he did sustain it. One longtime first nighter exclaimed on the way out, "Absolutely wonderful."

Stage set

The curtains are open as everyone finds his or her seat. On stage, set designer Kevin Orzechowski has placed a Queen Anne sideboard center, flanked by two Duncan Fife chairs with a tri-pod drum table to the side of one chair. An Oriental rug completes the simple and elegant set. In darkness, a self-effacing Marc Salem finds his way to just off-center. He is all in black and his humor commences to roll. Sometimes, he made a couple of wrong guesses and his stooges spoofed him with a piece of his own medicine. Somehow he was able to turn the tables back on them--all in good fun.

Go see for yourself

If this reviewer were to describe all the events in detail, it would spoil the surprises. Suffice it to say that numbers, words, sketches, espionage, and incredible psychic exercises, when he is taped and blindfolded at one point, are mind-blowing.

Sleight of mind

You will spend an evening in sleight of mind, rather than sleight of hand. It is magic of the mind and highly entertaining. Salem concludes by saying "a ten-year-old could do what he does with thirty years of practice." That line brought a standing ovation. If he had jet lag from South Africa, he didn't show it.

Get your brain in shape and take it to the Cape Playhouse in Dennis, Cape Cod Center for the Arts June 23-July 5. Monday through Saturday at 8:00pm; Wednesday matinee at 2:00pm; Saturday 6/28 at 4:00pm; Thursday 7/3 at 2:00pm. Call 508-385-3911 for reservations or www.capeplayhouse.com.

4 comments »

Concert brings school year to a close

  Brewster’s Stony Brook Elementary Schoolers sing their hearts out

  The kids at Stoney Brook Elementary School in Brewster belt out "Puppy Kisses" during their graduation ceremony last Friday.  Photo by Stephany Hutchinson.

By Libby Hughes, Cape Cod Today’s drama critic

We think of graduation reserved only for high school and college students. Today, elaborate celebrations have dropped to Middle Schools and now Elementary Schools.

So it was on the morning of Friday June 13 at the Stony Brook Elementary School off of Underpass Road in Brewster. The gray-shingled school houses K-2nd graders. More than 200 children were participants in the hour-long concert. They had been rehearsing for more than a month with music teacher, Stacey Faris, to display their singing talents for parents, grandparents, and siblings in the gymnasium.

The gym seemed new and colorful. Shiny red circles with a background of beige covered the floor. Irish green was on one wall and slashes of orange, red, and yellow arches on the opposite wall.

The proud parents crowded into the bleachers, equipped with camcorders and digital cameras to record a small piece of their child's history for future memories.

Then, the Kindergarteners entered and sat cross-legged on the floor. Next came the First Graders, who sat on the floor opposite them. Finally, the Second Graders arrived in blue tee-shirts. They stood four lines deep against the wall between the two other groups. Parents were stealing waves at their children, and kids were sending kisses and waves back to them. All of the kids wore a mix of shorts, skirts, shirts, flip flops, sandals, and running shoes. One boy had on a pink shirt and blue striped tie. They were excited.

There is a joyous spirit about the school, starting with its animated principal, Denise Fronius in her lemon sherbert pantsuit.

Stacey Faris’ husband, musical director at Nauset High School, played the keyboard and guitar, along with Paul Kehoe.

There were ten songs, divided among the three grades, beginning with “The Star-Spangled Banner.”

The Kindergarteners kicked off the novelty songs with an original song, created for them by composer Betsy M. Zavell of Orleans and lyrics by Libby Hughes of Brewster. Here are the lyrics to the song, “Puppy Kisses.”

                                Puppy kisses

Puppy kisses

Warm and wet

Puppy breath,

Soft and sweet.

Puppy kisses

Puppy kisses

Before they grow,

Before they know

Who you are.

            Give me a kiss

            A puppy kiss

            Give me a paw,

            A hello paw.

            Give me some love,

            Some puppy love.

            That’s all I want

            That’s what I want.

Puppy kisses

Puppy kisses

Those puppy days

Those puppy ways,

Filled with joy.

            (Chorus repeated)

Love for all

All for love

Love on call

Call on love.

Puppy kisses,

Puppy kisses

Puppy kisses.

Mrs. Faris had every song filled with hand gestures, so the children were not standing like wooden pegs. It gave flavor and fun to each song, ending with “See You Later (Alligator).”

Four children delivered tributes, flowers, and gifts to their very likable principal, Mrs. Fronius. The children marched back to their classrooms and the festivities were over, except for parents, basking in pride!

1 comment »

Vaudeville Smacks Boston

 Vaudeville Musical Tickles the Funny Bone of Bostonians

Final performances of this very funny farce are today and Sunday

By Libby Hughes, Cape Cod Today's Theatre Critic

It seems fitting to have a 1928 Vaudeville musical open on the boards of a 1928 Boston Opera House on Washington Street. Of course, it wasn't called the Boston Opera House back then, but the marble walls and columns, gold leaf ceilings, red damask wallpaper, and oversized chandeliers-- dripping with drops of crystal--hark back to a time of elegance. Boston spent millions to renovate the baroque style theatre.

Canadian musical

The Drowsy Chaperone is an old style American musical with a Canadian flair. Canadians created and produced it, based on a true story. In the late 1990s, a young Canadian man, Robert Martin (played by Mark Ledbetter on right), was planning to get married to Janet Van De Graaff, and a group of his friends decided to surprise him with a 35-minute skit a la Vaudeville style. All the guests collapsed in belly-shaking laughter. When the wedding was over, Martin couldn't stop thinking about the hilarity that he saw and collaborated with friends to get this into a full-blown musical, which eventually made its way to Broadway in 2006, garnering many awards. Now it is on National Tour in the old "bus and truck" tradition. The two weekend runs in Boston end Sunday night, May 4 and move on to Providence.

Plot

Bob Martin and Don McKellar created the Book while Lisa Lambert and Greg Morrison collaborated on the music and lyrics. The plot evolved into something slightly different. The leading role is the part of the narrator, who is in love with this old musical. He plays and replays the 78 records on his Victrola, imagining the show re-enacted in his living room. Whenever he makes comments about the show or characters, all the actors and dancers freeze until he is finished. The main plot is that of the wedding to take place between Bob Martin and his bride-to-be, who is having jitters. Minor characters slip and slide in Vaudeville slapstick until they are matched or mismatched into marital bliss. The characters play it broad for comedy and deliver short, sharp comic lines with over-the-top gestures and facial muggings. The chaperone is a vodka-drinking lush, who is drowsy from the spirits. When asked, she offers the bride no advice because of her intoxicated state. Mistaken identity and mad-cap songs, reminiscent of the jazz era and pre-Gershwin days, set the tone.

Big, well-defined cast

The cast is large-15-with plenty of swings as understudies. The sets by David Gallo are also huge and require a big theatre to accommodate the scenery flying up and down and in and out from the wings.

As Bob Martin, Mark Ledbetter makes an appealing bridegroom with an innocent charm. His strawberry blonde hair and Sorrento-blue eyes give him added dash. He's a pretty good tap dancer, too, with a fine tenor voice.

Jonathan Crombie becomes an endearing narrator and breaks the fourth wall to talk with the audience. For an actor to begin his monologue in the dark (although he manages to drag some laughter from the audience) and to open by sitting in a chair for delivery of his lines is tough--really tough. Somehow, he was able to establish a relationship with the audience despite this crippling direction.

Georgia Engel has a minor part as Mrs. Tottendale. Her comic scene with her butler is a hoot. He pours her drink after drink of vodka and she blows it back in his face, calling him a "poop." That's Vaudeville at its best. Ms. Engel is fondly remembered as Georgette from "The Mary Tyler Moore Show."

James Moye provides a broad Latin flavor to his Adolpho. What a great voice. Cliff Bemis makes a credible producer who refuses to marry his girl friend, Kitty (Marla Mindelle). This is not unlike the relationship between Nathan and Adelaide in "Guys and Dolls." The Riopelle brothers do everything in delightful slapstick.

Andrea Chamberlain plays the bride-to-be (Janet Van De Graaff), who is having doubts about the wedding and questions whether Bob Martin really loves her. She claims that she wants to give up stardom and a career for her true love. Chamberlain makes six phenomenal costume changes all within one song. Nancy Opel (the drowsy chaperone) wows us with her Ethel Merman delivery of songs in various drunken scenes. Fran Jaye punches out her songs as the aviatrix in a good ole Sophie Tucker growl. Her voice is powerful and fills the Opera House.

Costumes, choreography, orchestra

The costumes by Gregg Barnes are deliciously in period, except for the opulent Chinese opera garb, which has no relation to the show, but exotic to watch and admire. The choreography by Casey Nicholaw kept the big numbers rolling as did the 15-piece orchestra.

No intermission

To keep an audience for an hour and 45 minutes without an intermission is a major miracle.

So, if you're coming over the bridge from Cape Cod to see "The Drowsy Chaperone," fill up the car with folks and gas for two final shows on Saturday (today at 2:00pm and 8:00pm) and two on Sunday (tomorrow at 2:00pm and 7:30pm). Or drive down to Providence and catch it next weekend.

1 comment »

New Musical about Ginger Rogers has Huge Potential

Scenes from Libby Hughes new musical "Ginger & Me"{ which opened Friday evening to race reviews. The author is in the bottom, right photo between her stars. Photos by Paul Wertlake

Give the new musical “Ginger and Me” another two weeks of performances to tighten the technical aspects and build pace for a show that hums. It has all the ingredients for a winner.

The World Premiere hit the boards Friday night (February 1) on the Cal State San Bernadino campus in Palm Desert, California. The new Indian Wells Theater was a good place to iron out any problems before heading to North Hollywood in April.

The show is essentially about the relationship between Ginger and her mother, Lela Rogers. Playwright Libby Hughes (who edited Rogers’ autobiography) of Cambridge and Brewster, Massachusetts, has used the theatrical device of the paparazzi to extract information out of the mother to get the inside story about her daughter’s career and love life. Lyricist Hughes has given the most moving and substantive lyrics to the mother.

Some of her other lyrics might be called too simple, perhaps repetitive in trying to capture the 1930s in a technique similar to George Gershwin. Hughes seems to like the word “everything,” which she uses in three or four songs. The songs BEFORE THERE WAS GINGER and MY ONE REGRET brought tears to many in the audience. Ginger’s secretary of 18 years, Roberta Olden, claims she cries every time over those two songs.

Gary Heath's score has that Broadway sound 

Composer Gary W. Heath’s music has a Broadway sound to the opening number, MOVIE STARS, the closing number I’LL MAKE HER A STAR of Act I, and DANCING WITH GINGER, which opens Act II. These are big numbers. For a bigger theater, a huge chorus would enhance these three numbers.

JJ Rodgers plays Ginger Rogers with  the same sexual allure through 15 costume changes.The major roles in the show are solid performances. The young woman who plays Ginger, JJ Rodgers (no relation), has a remarkable resemblance and stage presence to the real Ginger. She has the same sexual allure Ginger radiated. Rodgers has a phenomenal voice and moves around the stage with total ease. Her 15 costume changes suggest the timeline from 1928 to 1977.

Marilee Warner of La Quinta, California, captures the toughness and vulnerability of Lela Rogers both in her costumes and in her songs. Warner garnered the most applause at curtain call for her amazing performance. The power shift from Lela to Ginger is defined by the color of the costumes. At the opening, she wears a brilliant Chinese red suit and gradually wears muted colors as the story progresses. In the final scene, Ginger wears red, suggesting the power shift from mother to daughter.

Many of the cast play multiple roles such as paparazzi, chorus members, World War II soldiers and girls, diners in a Paris nightclub, Howard Hughes, several of Ginger’s husbands.

Director Allen Worthy plays five parts

Allen Worthy, director and co-producer, plays five parts, including the buffoonish Vaudeville actor, Jack Pepper—Ginger’s first husband. Worthy found professional singers and dancers in LA and the desert for the show. When first meeting Hughes on Cape Cod in June, he began plans for producing the show.

Doug McDonald, the young man who plays Fred Astaire, has an uncanny resemblance to the legendary actor. Although not the magical dancer that Fred was, McDonald is more than adequate.  He probably has a better singing voice than the real Fred.

When the curtains opened, the audience applauded the glamorous set. The whole backstage was covered by shimmering silver panels with flashing marquees: one with Hollywood and one with Broadway in the old style. A huge double stairway covers the back. The seven-piece orchestra is to one side. A dressing room is the other side. William Moore Jr., the set designer, gives a 1930s feel to the period set.

Choreographer, Paul Cuneo, has created some original steps for the chorus to enhance the Broadway feel. Their first big number of Movie Stars opens with a bang. Cuneo gives period panache to the whole show.

Marcy Froehlich, costume designer, created a range of costumes from the 1930s to 1970s. Ginger’s costumes are all sophisticated and alluring. Details to hats and shoes reflect the time. The major ostrich feather dress from “Top Hat” was almost an identical copy to the real one. Froehlich ordered the feathers from South Africa and dyed them an ice blue. All the costumes were stunning. The wigs and make-up by Lynda Schaeps were also true to period.

At the reception afterwards, I sidled up to the director Allen Worthy and commented on the lighting. “There are limitations in this theater. Most theatres have 100 lights. This one only has 54, so we were hampered. They will be adding another 12. There is only one follow spot instead of two, which restricts the movement of our actors,” said Worthy.

One audience member said that the show reminded her of an operetta.

Too long for those "long in the tooth"? 

Although perhaps too long a show for a retired audience, “Ginger and Me” is an audience pleaser. Many did not know the inside story of Ginger Rogers’ life. Sales of her book in the lobby went flying off the table.

The show runs Wed. through Sunday matinee Feb. 1-24 at the Indian Wells Theater in Palm Desert. Call 760-341-2883 ext. 14481.

• See the musical's website here. 

2 comments »