Theatre

Hoots and hollers for a Ventriloquist

Ventriloquist has a Mouthful of Comedy
Laughter rolls loud and clear at Cape Playhouse

By Libby Hughes, reviewer for Cape Cod Today

Ninety minutes of a ventriloquist? With no intermission? You've got to be kidding! It's all true and every minute rakes in bullets of laughter from the opening-night-audience at the Cape Playhouse in Dennis. Jay Johnson and his wooden buddies win the hearts and laughing lungs of Cape theatre-goers as the Playhouse winds down its 83^rd season.

Artistry

Bob and Jay, and...

Jay and his familiar.

Artistic Director, Evans Haile, makes his final pitch to potential and renewing subscribers. He champions the talents of ventriloquist, Jay Johnson, in this show, The Two and Only, as a dynamite piece of artistry. "Artistry on stage makes theatre special by sharing it with friends," Haile said. "That's what we try to do here."

Awards

I was skeptical and somewhat reluctant to attend The Two and Only, but I wouldn't have missed it once it was underway. Now I understand why Jay Johnson made it to Broadway in 2006 and why he was the only ventriloquist to ever win a Tony Award from the American Theatre Wing for the "Best Special Theatrical Event" in 2007.  Johnson also captured the New England Critics Award in Cambridge, Massachusetts. When you see his performance, you, too, will understand why.

Original format

Directors Murphy Cross and Paul Kreppel, together with Jay Johnson, have crafted a compelling piece of staging around Jay and the puppets, enhanced by Clifton Taylor's lighting design and simple set arrangement by Beowulf Borritt. The show tells a story that Jay weaves around each of his six or so puppet personalities unlike Edgar Bergen, who remained pretty much stationary, with his pal, Charlie McCarthy.

The story is about the history of ventriloquism, Johnson's autobiography, his mentor, and his television success in a series called "Soap." There is somber, almost ghoulish, music that opens the curtain to a dimly lit stage of trunks, boxes, suitcases, and wicker baskets. We know what's inside each of them--the puppets we come to regard as real.

History of ventriloquism

Johnson takes us back to 850 A.D. to the wiles of necromancy and hypnotism, demons and ghostly spirits. He claims that Satan was the first ventriloquist. He introduces the audience to Jacob, the nutcracker, and Dead Head, who spin tales of creepy witchcraft. The pace shifts to his boyhood in Texas and seeing his first show of Big John and Sparky. So smitten was he that when his father told him that Big John was the voice of Sparky, it changed his life. Jay wanted to be like Big John. For a kid with dyslexia and a college degree in marketing, Johnson had chosen the perfect career for his gifts and how to sell them.

Puppet personalities

His other puppets have unique personalities. Squeaky was his first and favorite because Jay's mentor, Arch, made him. Vulture is a bird that sings, "My way." Bob, the snobby puppet from the TV series "Soap," is always putting down and making himself superior to Jay. There is a wild, laughing Monkey, called Darwin, and a snappy little snake. Jay draws a face on one of those square, erasable boards and it comes to life with moving eyes and mouth.

Poignant ending

As Jay Johnson closes his show of hilarious banter, he has a poignant moment that turns our laughter to tears. See it to find out.

The Two and Only will surprise, delight, and entertain you. Well worth what Haile calls "artistry."

Until next year...!

Performances are August 31 to Sept.12. Evenings Monday through Saturday 8:00pm; Matinees: Wednesdays at 2:00pm; 1^st Saturday at 4:00pm; second Thursday at 2:00pm. Cape Cod Center for the Arts, Route 6A in Dennis Village. Call box office at 508-385-3911.

At Boston University, Libby Hughes studied dramatic criticism with Elliot Norton, the doyen of Boston Drama Critics for over 50 years. Hughes has a novel, "White House Secrets," coming out in late fall. She edited Ginger Rogers' autobiography.

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Hilarity Reigns Supreme Under "Buffalo" Moon

BUSY, DIZZY DOORS ADD SLAPSTICK TO CAPE PLAYHOUSE
Hysteria Runs Rampant on Dennis Stage

By Libby Hughes, drama critic for Cape Cod Today

Time is running out for the 83^rd season at the Cape Playhouse. "Moon Over Buffalo" (set in 1953) is the next to last show on deck, and already August is singing the "September Song."  But this comedy/farce strikes it rich for subscribers and visitors. The waves of laughter roll and roll, crashing on stage with each line and grimace. Hysteria runs rampant on opening night when doors open or close at a dizzying pace.

Playwright, a former lawyer

Playwright Ken Ludwig is best known for his play "Lend Me a Tenor," which has a whirling devish plot of mistaken identity and produces the same, aching belly-laughs. The show went to the Martin Beck Theatre on Broadway in 1995, starring the ever-funny Carol Burnett and ran for a little over 300 performances. Believe it or not, Ludwig is a graduate of Harvard University and Cambridge University, studying law. In fact, he practiced for several years before turning his pen to comedy. Perhaps the boredom and tedium of the law forced the cobwebs of legalese to be swept out of his mind. Surely, theatre was much more fun.  Ludwig and his family live in Washington D.C., which abounds with tragedy and comedy!

Buffalo plot

Forget the economy and splurge on this riotous show starring from left: John Scherer, Jennifer Cody, Ruth Williamson and Gary Beach.

Above, from left; AliceCannon, Hunter Foster, Ruth Williamson, GaryBeach, Jennifer Cody and JohnScherer.

To most of us, the city of Buffalo conjures up images of great snow-banks or the Buffalo Bills football team. In "Moon Over Buffalo," a mediocre repertory company is performing "Cyrano De Bergerac" and "Private Lives" on alternate nights and matinees. A husband/ wife team has been playing the lead roles for decades. Their daughter, who has grown up around crazy parents and theatre people, is looking for normalcy in her life. She has come to introduce her fiancé to her parents, although her ex-boyfriend is there, too. Even the grandmother is part of the farce and helps backstage. Filmmaker, Frank Capra, is coming to see a performance and possibly to hire the husband to replace film star, Ronald Coleman, who has just broken both of his legs. It is uproariously funny thereafter and similar to a British comedy of many doors, "Noises Off."

One criticism

Sometimes a comedy/farce can get out of hand and reach too-high-a-pitch in the beginning and it has no place to go for variety. A couple of actors reached that vocal pitch too soon. Others had to pull them back down to normal tones, so that the comedy could rebuild.
They finally did.
A few more performances will put them in the right comfort zone. Despite all that, the audience caught the flavor of the farce and licked it with laughter.

The actresses

Ruth Williamson portrayed a splendid Charlotte, an over-dramatic Shakespearian actress. Every gesture and every line were bigger than life whether professionally or personally. However, we would love to have seen more shading in her character. Incidentally, she looked like a cross between Ethel Merman and Meryl Streep. Jennifer Cody, on the other hand, as Rosalind, was understated in her dialogue and was devastatingly funny by the second act, when she is doing a balcony scene from "Private Lives" in the South of France. It was she that brought the high pitch back to a normal level. Jessica Datino's created a naïve actress, searching for fame, in her small role as Eileen. Her brief liaison with the seasoned lead actor fractured his marriage. But who did the audience like best at curtain call? The deaf grandmother. She, too, was understated and reaped plenty of laughter throughout.

The actors

Gary Beach's acting was brilliantly overstated as the egocentric George Hay, portraying Cyrano in the repertory company. He had some hysterical moments and locked in a hilarious drunk scene. Yet, he peaked too soon and didn't tone down until near the end of the second act. Surely that will smooth out. Danny Benardy's Howard had a touch of Tim Conway comedy in his character of Rosalind's fiancé. He was a riot as General Patton and the mistaken Frank Capra. John Scherer has been a favorite on the Playhouse stage over the years in singing/dancing roles. Scherer handled the part of Paul, Rosalind's ex-beau, with a deft sense of comedic timing. Hunter Foster gave a suave and roguish rendition as Richard, Charlotte's prospective lover. His white suit reminded us of author Tom Wolfe.

Direction, set design, and costumes

Director Richard Sabellico crafted perfect pace and timing for this piece. Some of the antics were broad and off-color, but he pulled it off. It is always a pleasure to see the set designs of Richard W. Chambers. We've missed them. This one has a yummy coral lounge, peach chair and screen, and luscious teal walls with Irish green trim. The South of France backdrop is a soothing Mediterranean blue. Gail Baldoni made some great period costumes for the women and Cyrano  plus some unique dresses for the ladies in the 1950s style.

Forget the economy and splurge on this riotous show, "Moon Over Buffalo." You won't regret it.

Performances are August 17-29 Monday through Saturday at 8:00pm; matinees on Wednesdays at 2:00pm; 1^st Saturday at 4:00pm; 2^nd Thursday at 2:00pm. Call 508-385-3911 at the Cape Cod Center for the Arts in Dennis Village off Route 6 A.

Libby Hughes studied Dramatic Criticism with Elliot Norton, the doyen of Boston Drama Critics. She also was an equity actress and is a playwright/author.
Her new novel, WHITE HOUSE SECRETS, will be published in the fall under the pen name of Parker Lloyd.

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August audience revels in musical revue

Rock n' Roll Fans hoot, holler, and whistle

Todd DuBail, Andrea Dora, Terry Burrell, Phillip Boykin, Jamie LaVerdiere, Stephanie Youell Binetti, Josh Breckenridge. See another scence at the bottom. Photo credits - Kathleen A. Fahle

By Libby Hughes, drama critic for Cape Cod Today

Artistic Director Evans Haile has piggybacked two musicals to catch the audiences in late July and the first two weeks of August. "Forever Plaid" was a crowd favorite for July and "Smokey Joe's Café" may prove as popular, though not quite as sensational as the Plaid quartet. Although Shakespeare warns us that "comparisons are odious," one has to say that "Forever Plaid" told a story and "Smokey Joe's Cafe" is a parade of 39 songs-a real musical revue in 80 minutes with one intermission. If you're on vacation, music is music to wash away the cares of the world. Boomers, pre-boomers, and post boomers can relate to pop hits, Rock and Roll, and Rhythm and Blues.

Slight sluggish opening

On opening night, the revue had a sluggish start, mainly due to the missing spotlights on solo singers, stationed in their window frames. Trying to see them in the shadows was confusing. Once the lighting was adjusted, the pace moved into high gear and never stopped. The energy of the performers was never in question.

History of revue

"Smokey Joe's Café" made its debut in LA in 1994 and shifted to Broadway in 1995 at the Virginia Theatre. There, it broke long-running records before closing in 2000. It also played in London in 1996. As of 2009, the show is either performed on the road or gives licensing rights to amateur theatres. The creators, Jerry Lieber and Mike Stoller, landed seven Tonys and a Grammy in 1995 for "Smokey Joe's Cafe." Lieber and Stoller are composers and lyricists, who wrote 40 songs for Elvis Presley among other notable singers. At one time, they had their own companies for recording songs. Even Phil Spector apprenticed with them and eventually became a producer/songwriter in his own right.

Cramped on stage

Because the set and five musicians covered almost two/thirds of the stage, the area for singing and dancing was limited and cramped, which inhibited the performers. Fortunately, Mark Martino (director and choreographer) gave the cast of seven enough stage business to maneuver around the obstacles. Also, only one number used tables and chairs to suggest that this set was a café. Otherwise, just the title gives a clue to its location.

Animated actors/singers/dancers

Martino is a master of punctuating lyrics with his creative stage business such as snapping fingers, rotating heads, and body gymnastics. Either as an ensemble or as soloists, they harmonized perfectly or excelled as individual performers. The three women seemed to have the strongest voices in the first act. Towards the end of act two, the men displayed their personal acting and singing attributes. They more than measured up to the women.

The women

Terry Burrell projected plenty of allure and vocal power and so did Andrea Dora as she dragged a brilliant red feather boa seductively across stage in "Don Juan" and flirted with a couple of men along the aisle in the audience, wrapping the boa around them. When a feather accidentally loosened and floated into the air, Andrea spontaneously brought it into her act, never loosing character. Stephanie Youell Binetti shook her body parts and pumped her arms while dancing and singing atop a small café table.

The men

The four guys came to life in the second act. Philip Boykin was irrepressible in making advances to the women. His humor and devilish gleam in his eyes reached right across the lip of the stage into the audience. Todd Dubail leapt center stage in white shirt, black trousers, and suspenders to imitate Elvis in "Jailhouse Rock." Talented Jamie Laverdiere shined as the tipsy, acrobatic drunk in "D.W. Washburn," "Hound Dog," and "I (Who Have Nothing)." We saw the tender side and strong vocal control of Josh Breckenridge in the moving song "Spanish Harlem" by Jerry Lieber and Larry Spector. Musical Director, Tom Frey, sings two solos as well as playing the piano and keyboard, positioned upstage center.

Other musicians

Performances are
Aug. 3-15. Evenings Monday through Saturday at 8:00 pm. Matinees are Wednesday at 2:00pm; Saturday 8/8 at 4:00pm; Thursday 8/13 at 2:00pm.
Call the Cape Playhouse at the Cape Cod Center for the Arts on Route 6A in Dennis Village. For reservations, 508-385-3911.

To accompany Tom Frey were Steve Marchena on guitar, another guitarist, Janice Smith on saxophone, and Gary Spellissey on percussion.

Choreographer, set design, costumes, and lighting

Mark Martino has already been mentioned earlier for his directing gifts. Dan Kuchar's set brought applause, but its intrusion onto the stage was costly to the mobility of the actors/dancers/singers. Once Christopher Chambers followed his lighting plan, which is a key factor to mood changes, and spotlighted the soloists, he recovered from those flawed opening minutes. Jose M. Rivera created better and more varied costumes for the men than for the women. The men had informal polo shirts and casual trousers before Rivera transitioned them to formal blazers and finally to charcoal gray suits.

Plans for 2010 season

In his introductory remarks to drum up subscriptions, Mr. Haile tantalized the audience with a return of The Plaids next summer and an appearance of that vocal icon, Perry Como plus the Hitchcock mystery, "The 39 Steps."

Entertaining revue

For the sheer pleasure of music and no dialogue, "Smokey Joe's Café" will tickle your nostalgic bone for rock and roll and R & B. Stomp your feet and clap your hands with utter abandon.

Below: Andrea Dora, Jamie LaVerdiere, Todd DuBail, Phillip Boykin, Josh Breckenridge.

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Four Adorable Guys Harmonize at Cape Playhouse

DON'T MISS THIS SHOW

"Forever Plaid" is a Wickedly Cool Winner in Dennis

By Libby Hughes, Cape Cod Today's drama critic, Kathleen A. Fahle photos.

The Cape Playhouse has scored 200% with its musical "Forever Plaid." It is an outright, slam-dunk winner halfway through the season. If you've never heard belly laughter from women in an audience, you will for this show. They shook the benches and their bellies louder than the men on opening night. Without an intermission, the 90 minutes flew by in starlit moments. Give it up for Artistic Director Evans Haile, who can pick a summer show when it really counts. Take a bow, Mr. H.

History of musical and playwright

"Forever Plaid" has celebrated its 20^th year in LA this July. The show opened off Broadway in 1990. The four singing guys take harmony from a barbershop quartet concept to a new high. It will blow your mind and amaze your ears. Playwright Stuart Ross has created a weirdly funny classic, which explains its longevity. Ross is a director and choreographer as well as a playwright. His crisp and crazy sense of humor translates into hilarity, played by the four singers. Incidentally, the renowned John Raitt did the vocal arrangements. Perhaps The Plaids are a forerunner to the now popular "Jersey Boys."

Fragments of the plot

To give away the plot in this review would spoil the unfolding of the show. Let's just say that four high school friends were dreaming of cutting an album as a group called The Plaids and hoping to perform before adoring audiences. Their daily life and jobs were deadly dull, compared to a life on the stage. Their dream of climbing up the Stairway to the Stars was interrupted by the Stairway to Heaven. That's the only hint this reviewer will give.

Bouquets to the choreographer/director

Before praising the four talented singers, applause and kudos go to Mark Martino, the director and choreographer. Cape audiences may remember his spectacular choreography of "Guys and Dolls," "Beehive," and "Leader of the Pack." He has a touch that is unique to Martino. Instead of standing four guys in a straight line while singing 30 songs, he puts their bodies--heads, arms, and legs-- through incredible contortions and directs them to use the mikes and microphones like partners in their songs. Their jackets also become props. The singers are always moving, so the audience doesn't have a moment to ho hum. At times, the pace is almost dizzying. Salute Mark Martino for much of the show's success.

Wow to four singers

Under steamy hot stage lights and during 90 minutes non-stop, these four young men poured their hearts and harmonies out to the Cape Playhouse audience without reservation. The 1950 songs resonated with nostalgia for those who can remember way back then. Obviously, they were young performers, but not teenagers and yet, we believed that they were tortured or happy youths. One couldn't say that one singer was better than the other because they were equally good as individuals. Scott Barnhardt was an endearing, almost waif-like character as Jinx, who suffered from nosebleeds (filled with funny bits of stage business). Barnhardt brought the house down while he wrenched out the lyrics of "Cry." Jared Gertner as Sparky was the shortest and delightfully rotund member of the troupe, but also the lightest on his feet. He used his body and eyes to punctuate his humor. Will Reynolds, who played Frankie, was the all American boy with a dazzling smile, but a teenager who suffered from asthmatic attacks. He was the leader and caretaker of the emotional problems of the group. Kevin Vortmann broke our hearts as Smudge when he clung sentimentally to the 45 rpm records from the jukebox era as well as old LP albums. His black-rimmed glasses added pathos to his character. Bravo to four wonderful, strong voices!

But when the music turned to Calypso, the four guys swung into the Jamaican beat with abandon. As they launched into the song, "Matilda," the audience joined in. Two of the Plaid guys took palm trees and strings of lights into the audience along with bongo drums and other wooden instruments. Near the end of the evening, there is a song and scene about singer Perry Como to tickle your memory, too. Also, Tina from the audience volunteered to play a one-finger accompaniment to "Heart and Soul" on the piano with Will Reynolds. She was a good sport to become part of their antics.

Scenery, Costumes, Lights

Davie Esler designed a functional, portable set in sapphire blue with strips of chrome. The background changed from matching blue to plaid and to a round-bellied moon. Costume designer Jose Rivera provided white jackets, plaid cummerbunds, plaid jackets, and plaid bowties. It all worked. Christopher Chambers created memorable mood lighting on the white jackets when the performers were in tableau.

Music

With subtle humor, Musical Director Andrew Gerle became part of the show, but more importantly, he kept his fingers moving up and down the piano keys for all 30 songs. In the back shadows of the stage, the bass player, Will Slater, played consistently alongside Gerle.

Get to the box office

It will be a frosty Friday if the box office doesn't sell EVERY single ticket in the house for the full run of "Forever Plaid." An unforgettable piece of musical theatre.

Performances are July 20 through August 1 Monday to Saturday at 8:00 pm; Wed. at 2:00 pm; Saturday 7/25 at 4:00 pm; Thursday 7/30 at 2:00 pm at the Cape Cod Center for the Arts, Route 6A, Dennis Village. Box office, 508-385-3911.

Below are, left to right, Jared Gertner (Sparky); Scott Barnhardt (Jinx); Will Reynolds (Frankie); Kevin Vortmann (Smudge). Photos by Kathleen A. Fahle.

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SLEUTH has many good and some bad moments

Sleuth: Roller Coaster of Highs and Lows in Dennis

British verbosity from the 1970s overcome by good acting

By Libby Hughes, drama critic for Cape Cod Today

The mystery "Sleuth" is the victim of British verbosity from a lengthy play structure of the 1970s and suffers because of it. For the second show at the Cape Playhouse, the amusing thriller hit some highs and lows on opening night. The original play may have had three acts as did many shows from forty years ago, but the Playhouse production is in two acts. The acting, on the other hand, overcame many of the drawbacks.

Intriguing history

A theatre poster for an early production of Sleuth starring Michael Caine.

British playwright Anthony Shaffer (who passed away in 2001) had an interesting background. His twin brother is Peter Shaffer, the extraordinary playwright of "Equus" and "Amadeus." One can only imagine how the sibling rivalry blossomed between the sibling playwrights, who both graduated from Cambridge University in England. You will see the rivalry in "Sleuth" as the two characters try to outwit each other. Perhaps this was a catharsis for Anthony Shaffer, whose play opened at the Music Box theatre in New York in 1970 and won a number of Tony Awards. In 1972, a film was made of "Sleuth," starring Sir Lawrence Olivier and Michael Caine. British film producer/actor Kenneth Branagh made a remake of it in 2007. Shaffer also wrote "Frenzy" and "The Wicker Man." Neither of these had the impact of "Sleuth."

The plot

Artistic Director Evans Haile dropped a gossipy morsel as he introduced the show by saying that Governor Sanford of South Carolina, who allegedly hiked the Appalachian Trail, was a tame philanderer compared to the character in "Sleuth." That drew an enormous laugh. Without giving too much away, Andrew Wyke, a writer of murder mysteries, has discovered that  his wife has taken a lover. Wyke invites her lover to his home and engages him in psychological games, tempting him with money and hoping to win his wife back. The rest is for the audience to discover.

The acting

Peter Frechette, left, does a phenomenal job of inventing stage business, along with vocal gymnastics, to break up the mass of mountainous monologue. Malcolm Gets, on right, is his foil. Kathleen A. Fahle photos.

The role of a first act forty years or more ago was to lay out the exposition for the audience to grasp the theme of the play. Peter Frechette, as Andrew Wyke, does a phenomenal job of inventing stage business, along with vocal gymnastics, to break up the mass of mountainous monologue. His English accent is that of a county squire in Wilshire, England, and is fairly proficient. American actors often have difficulty conquering the inflection pattern. Malcolm Gets, portraying the lover Milo Tindle, appears to be easy prey for the gamester and makes us believe in his innocence. We come to realize that he is a match for Wyke, as he cleverly reveals his skill in verbal dueling. Richard Frothsmore and Hugh Giraud have minimal roles.

 The set and director

From the minute the curtain opened, Yoshi Tanokura's scenery brought a round of applause. The English country home was full of Gothic windows, wooden balustrades, two high hanging chandeliers, an antique clock, large patterned wall paper, and an elk head above the marble fireplace. The staircase was a bit narrow, but the actors maneuvered it well. Cape audiences are familiar with director Russell Treyz. His stage business and direction for the leading character saved the show from complete tedium. Shad Ramsey choreographed the fight scenes with convincing deftness.

Costumes and lighting

Lisa Zinni, costume designer, gave us real British suits made with double vent jackets and waistcoats (vests). The color of brown and yellow for Wyke's suit contrasted charismatically against Tindle's dull, gray suit, symbolic of the two characters in the first act. Christopher Chambers was right on this week with strong back lighting and mood changes.

Clever, but long

    See all Libby's reviews here.

"Sleuth" is part of the variety for the Cape Playhouse season. Although not perfect, it is an unusual piece of entertainment.

The show runs from July 6 through July 18: Monday-Saturday at 8:00 pm; matinees: Wednesday at 2:00 pm; Saturday 7/11 at 4:00 pm; Thursday 7/16 at 2:00 pm at the Cape Cod Center for the Arts on Route 6A in Dennis Village. Call 508-385-3911 for reservations.

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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.

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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.

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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.

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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.

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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!

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