I wanna dance with somebody

Let’s discuss choreography. There is a nostalgia for producing musicals from the Golden Age, which offered many great musicals though they are difficult to pull off. The content of the musical itself may be quite dated, and the piece usually includes elaborate dance sequences which was typical at the time. In order to successfully stage these musicals, one needs to find actors who can sing and dance and a lot of time and effort needs to be focused on creating those dance numbers. The dance numbers are a way to excite the audience, pull them into the drama onstage, and have them tap their feet in the aisles.

Unfortunately, it seems, a company will seek out the appropriate singers and actors and gloss over the dance numbers. Too often it feels like in the audience that the actors were instructed to “avoid bumping into someone else as you half-heartedly prance about the stage.” Without those moments, the magic is lost.

That’s unfortunately what occurred in Seven Brides for Seven Brothers, which opened the Springfield Theatre Centre season. While there was adequate singing and acting, when it came to the dance scenes everything literally halted so everyone could find their appropriate marker and wait for the appropriate down beat to promenade about the stage. And, despite forced smiles on the actors faces, no one seemed to be enjoying themselves. Once the momentum has been zapped, it is difficult to bring the audience back into your story.

This is not to say that these shows must employ professional dancers or even the talents of the ballet company, but too often it seems like the dance numbers are ignored until the right before the show hits the stage and then only given brief attention.

The dancing should transport the audience. After all, in this instance, we’re talking about a musical based on The Rape of the Sabine Women when the Roman men abducted the Sabine women for their wives. Who wouldn’t love that story?

Adam and Eve live in Jersey

There is experimental theater and there is holding an audience hostage so an author can stoke his ego. Unfortunately, the University of Illinois theater department presented Thornton Wilder’s The Skin of Our Teeth, a jumbled concoction of ideas masquerading as a play. “I’ve had an acid trip with more structure,” was overheard at intermission.

The play begins in New Jersey suburbia during the ice age — what?! Between a maid who continually chastises the audience not to pay attention to the play — don’t worry, we’re ahead of you — and the dinosaurs roaming about with this suburban family, the audience, one assumes, is supposed to consider mankind and its place in history. But the constant distractions on stage (lights, sounds, random people being pulled onstage) only lead to a lesson that we are easily distracted.

There is a post-election rally with the suburban family, now elected as the humanoid first family, and a fortune teller who sees the unknown future because is it easier than seeing the concrete past.

The most shocking part of the play was learning that it received the Pulitzer Prize for Drama in the 1940s. Of course 70 years have altered the landscape so that what may have been a thoughtful or shocking piece back in those days just seems lame in today’s standards.

The play did offer one piece of advice: it is better to leave at intermission and experience life than to sit in a dark room with a play that knows nothing of it.

Seventy-six trombones would have been excessive

While 76 trombones (and 110 cornets) would have been excessive for The Music Man at the Theatre in the Park in Lincon’s New Salem State Park, Bill Bauser did a fantastic job of creating a large spectacle with a minimalistic production. He was able to do this by utilizing the natural resources at his disposal at the outdoor venue.

In the beginning of the musical, the kids are playing around the trees in the park. During “Trouble,” when Harold Hill is warning about the emergence of hooligans in the community, the kids are wildly running around the stage and up the stairs. For the footbridge scene, Hill and Marian Paroo are isolated to the side with a river of flowers beneath them. (Great visual, by the way!) And The WARE will not ruin the wonderful ending of the first act. This show illustrates what could be accomplished when a director thinks beyond the stage without going silly by attempting the break the fourth wall with the audience. Anyone wanting to direct an outdoor show must see this one.

Of course the musical and its setting allowed for these extra flourishes. Sara Balusevich, playing Marian the librarian, as usual sounded great in the role and continues to grow as an actress. She still at times tends to act as an actress and not necessarily as a real life character, but it seems like she is working on it. In the moments that she allowed the character to act organically, she showed the humanity and vulnerability of the librarian.

Jim Dahlquist, as Hill, did well with the role, though could have shown more confidence as the confidence (sales)man. He threw away his one liners by laughing at his own joke; Say the one liners straight and allow the audience to catch it. Still, he sang well and looked the part.

The barber shop quartet of Dave Burkum, Brian Bomke, Kevin Hart, and Andy VanDeVoort were excellent, and it is always nice to hear a capella singing in a show. Judy McEvoy as Eulalie Shinn was wonderfully silly in her role, though she could have turned it up a notch still. She should say “Balzac!” even more forcibly and drag it out a tiny bit more. She is exasperated, and it sounds like “ball sack.” Her dancing and singing were entertaining, but she could have butchered her singing even more in “Columbia, Gem of the Ocean.”

The show was delightful and well worth the trek to Petersburg.

Solving Maria

How does one solve a problem like Maria? No, not the silly infractions from the song; scraping a knee on a tree does not sound like a problem for anyone who is not attached to that knee. The problem is how does one de-Julie Andrews-ize the role of Maria von Trapp, and the Sound of Music in general, while still making the musical enjoyable? It likely cannot be done, though it would be interesting to see. Most people enjoy the musical and we dutifully watch the von Trapp family march about the stage singing their songs in their lederhosen. Since the story cannot be altered without causing riots in the audience, that leaves the set design and staging.

The Muni’s production took some steps in the right direction. First it used the natural resources at its disposal and had Maria (Mary Harmon) arrive from the woods to the stage. It made the mountain backdrop unnecessary for the center stage. (Yes, Julie Andrews twirling on the mountain top is iconic, but everyone would have been fine without that one-second moment here.) This is mentioned because the production actually had a gorgeous stained glass backdrop later in the show. Why wasn’t that used for the abbey in the first act instead of cramping the nuns on the side stage? It would have been perfect for those scenes and would have provided a wonderful backdrop to the chorus who sounded great in their choral hymns.

Everyone did an adequate job with their roles: John O’Connor as Captain von Trapp, Johna Keen as the Mother Abbess, Anna Benoit as Liesl von Trapp, and Riley McManus as Rolf Gruber. An annoying part of the show was that anytime a song would begin, the spotlights would turn on. You know, because everyone was confused without that cue that music had started and people were singing. It actually highlighted the interruption to the flow of the story. “We now pause to allow this person to sing a song. We’ll return in a moment.”

It was a perfectly adequate show. At least is wasn’t as depressing as the last show about singing nuns.

So sixteen nuns walk to a guillotine

Each June brings a new season of the summer opera festival at the Opera Theatre of Saint Louis at Webster University. The festival showcases a variety of works, but has at least one new work and one that is not commonly shown. This season included Francis Poulenc’s Dialogues of the Carmelites.

It is a work that has beautiful French harmonies and coloring in the orchestration and gorgeous choral pieces that help distract from the utterly depressing and intense story. Without the music–and possibly Prozac–the work could send everyone on a death spiral. The story tells about the state’s actions against the church through the existential viewpoint of dialogues between the nuns prior to their execution for suspicions that they have sympathies still to the deposed crown during the French Revolution.

The set was a wooden scaffold in the center of the stage which was used as various rooms for each scene (the castle, the convent, a prison cell, and finally the execution at La Place de la Révolution) surrounded by sparse white walls which kept all of the focus on the characters during all of the scenes. Everyone in the cast had beautiful voices: Kelly Kaduce as Blanche de la Force in an emotionally melancholic performance, Meredith Arwady as Madame de Croissy portraying physical torment in a gripping way, Ashley Emerson as Sister Constance of St. Denis providing the much needed levity to the story, Daveda Karanas as Mother Marie of the Incarnation, and Christine Brewer as the stoic Madame Lidoine.

The entire story focuses on death and suffering and how people respond to it. Blanche de la Force, a fictional character added to the true story of the Compiègne sisters who were executed toward the end of the Reign of Terror after the French Revolution, is a woman from the nobility who is troubled by the unrest in the country. She asks to join the Carmelite convent, though is warned that it will not offer the protection she may seek. Indeed, her new best friend, Sister Constance, cheerfully tells her that she has had a vision that they will both die together at a young age.

Sister Blanche then goes to comfort Madame de Croissy, the prioress who is on her death bed and is struggling with her pain. She lashes out at everyone–her fellow sisters, the physician, and God–in deep despair about her lonely journey to death and wonders why God has forsaken her in her time of need. Needless to say, this haunts Blanche.

The French Revolution has caused unrest and religious groups are ordered to disband due to their supposed Royalist sympathies. The sisters band together and decide that together they will take a vow of martyrdom should that path be set before them. But before they all formally make the vow, Blanche escapes the convent to return to her father’s household only to discover that he has already died at the guillotine.

The question arises of if it is right to make a vow of martyrdom or if that in itself is playing the part of God. Prioress Lidoine, who was away in Paris when the sisters made the vow, joined them and announces that she too will take the vow and absolve the others of the decision. She will answer to God for the action.

The sisters are arrested and taken to their execution where, at the last minute, Blanche joins Sister Constance in death. Sixteen executions to beautiful choral music. Good times! The show was a hauntingly intense evening of beautiful music that left The WARE emotionally drained by the end of the performance. The staff should have handed out free Prozac to the audience.

Let’s give the boy a hand

Theatre in the Park at Lincoln’s New Salem offers an intimate setting for an outdoor theater. While The WARE has attended a performance at the park before, seeing Footloose was the first show at the outdoor venue. His previous shows took place in the small, indoor space due to weather issues. There had been a chance that the rain would have put everyone in the small theater again, but, luckily, the theater dried out after an afternoon downpour and the storms bypassed the theater in the evening.

The cast meant well, but this was a case where a lack of direction harmed the production. This is a musical that needs a strong hand to bring the choreography, singing, and staging together as a whole unified vision. Instead the ensemble cast often seemed lost on stage as they waited for the appropriate signal to begin their dance numbers or to sing, and random volunteers rushed about the stage in street clothes moving sets around.

The cast was not adequately warmed up before the opening number. The singing was weak and everyone seemed unsure about their choreography to “Footloose.” The WARE was concerned that it was going to be a long night. Fortunately, by the middle of the first act everyone warmed up and loosened up and started having fun with the show. It was a noticeable shift; the second act was entertaining and it seemed like a completely different show from the opening number.

The accident on the bridge seemed a strange and unnecessary addition to the story. (Or at least The WARE does not recall that from the movie, but it has been years since he has watched it.) The plot already has Ren McCormack moving from Chicago to rural Bomont, a town full of religious people whose cultural traditions lead them away from rock music and dancing. It seems false that one isolated incident would have turned the town around on a dime. It makes more sense at this is a small community where these traditions have always been in place and the newcomer is challenging their traditions.

The parents helped keep the show grounded and provided the emotional depth to it. Keith Wilson and Karen Gerdes as the Rev. Shaw and Vi Moore added the heart to the show. Mr. Wilson did not make the reverend into a villainous character, and Ms. Gerdes’s quiet and subtle challenges and rebukes to her husband’s thoughts allowed their resolution at the end to be believable. Both sang their parts well. When Mr. Wilson raised his voice in anger or frustration, it was not done loudly so it did not create high-pitched screeching in the microphones. (Unfortunately, everyone one who had an angry line did screech into the microphones. Actors really should stop doing that.) Their quietness brought dignity and a sense of worldly experience to the roles.

Then there were the two goofballs of the show: Elizabeth Farris and Ian Davis as Rusty and Willard. Their performances were one of the few where driving it over a ridiculous line and then proceeding to hit the gas to go even farther actually worked. It was delightfully silly and won over the audience. (Because of their antics, the need for the Moore’s quiet dignity was needed even more.)

Rachelle Smith as Ariel sounded great when he sang her ballads, but in her rock songs tended to scream her pitches instead of singing them. It was jarring and noticeable. Matthew Woodson managed Ren McCormack well, but needed a lot more direction with the character. There is a line between an actor playing a role and receiving a reaction from the audience and playing to the audience in order to achieve that reaction. And the emotional whiplash that he portrayed with his character made it seem like he was bipolar. Ren can be cocky, but he should be charismatic and sympathetic too. After all, why is everyone all of a sudden listening to him and trying to change the town’s traditions when they went out of their way to berate him earlier?

The performers clearly meant well and by the end of the evening managed to pull the production along to make it entertaining, but this was clearly a case of excitement being able to trump all. With lightening flashing in the distance in the second act, it would have been ironic if the management had stopped the show right before the prom. There can be dancing, but not here.

We Are Who We Are

The various entities that produce shows at the Hoogland Center for the Arts have a very spotty track record. One never knows walking into the center about the quality of the show for the day. When it is good, it tends to be very good, but when it is bad … Wowzers.

La Cage aux Folles was an excellent show, one of the best the center has produced in a while. Greg Floyd was a marvelous Albin, creating a sympathetic character while not allowing the antics of the character to get out of control. He showcased the many emotions in “I Am What I Am” though he could have delayed the resolution just a tad longer. Still, he brought down the house with it.

The show had the potential to be dated with the recent advances in society, yet the production seemed fresh and relevant. The Cagelles were entertaining and made the show vibrant. Johnny Molson played the senator well without making him some sort of demented character.

Joshua Ratz as Georges clearly has been working on projecting his voice, which came in handy since his microphone did not always work. The only issue was that it seemed like he was more mindful on projecting his voice than delivering his lines in a meaningful or conversational manner. Some of his lines just seemed bizarre with his delivery. It was a minor distraction to the show.

Those people lucky enough to catch the show received more than their money’s worth.

Thoroughly delightful

The community has been blessed with decent local theater productions in the last two months, but Thoroughly Modern Millie at the Legacy Theatre may have set a new standard. The entire show was delightful.

Everything about the show was visually captivating, especially the costume and lighting designs by Betty Ring, Mary McDonald and Luke Becker. Usually a local theater production would make due with a few suits and flapper dresses and call it a day, but this production had numerous coordinated costumes that were beautiful and designed specifically for the actors wearing them. The show was visually stunning.

The WARE has watched the movie starring Julie Andrews, Mary Tyler Moore, and Carol Channing, but must admit that he doesn’t particularly like it. It is too silly and large. Yet the musical and this production maintains the light-hearted quirkiness of the movie while still making it seem plausible and real.

Devin Dinora was captivating as Millie Dillmount. She was energetic and entertaining, her singing, dancing and acting was great throughout the show. Too often in other shows, Jesse Trieger will add goofball antics to his role unnecessarily, but in this show he played Jimmy Smith straight which really made him shine as the leading man. Mark McCue and Brenna Pfifer had beautiful voices, particularly in “Ah! Sweet Mystery!/Falling in Love with Someone.”

The trio of Chinese henchmen, Erin Biggerstaff, Dalton McGhiey, and Bradley Davis were entertaining, though Erin could have shown more contrast between her Mrs. Meers persona and her Daisy Crumpler persona. The difference was there, but it was very subtle. Still, she was great. Rachel Larison was appropriately boisterous as Peg Flannery.

Early in the show, the orchestra drowned out the singing, but it was well balanced by the second act.

The entire show was delightful. Everyone should find the time to see it while it is still playing.

Can you can-can?

Two years ago The WARE and The Date were introduced to Jacques Offenbach’s Orpheus in the Underworld at Millikin University. This year, the University of Illinois produced the operetta for its opera program (its final year before the university moves to an integrated theatrical program called Lyric Theatre at Illinois). The show was still fun to watch, though the pacing and tempi was slow at times.

The costumes were all over the place. The gods wore Roman tunics with Revolutionary French makeup and hair, Public Opinion was a spinster from the 1950s, and Orpheus and Eurydice wore modern clothing. Did this mean that the gods are archaic, public opinion is stuck in the past, and modern society is attempting to live up to those old expectations? If so, that’s a whole lot of stretched thinking for what should be a light-hearted operetta.

Lee Steiner (Orpheus) and Michael O’Halloran (Jupiter) sounded great and were entertaining in their roles. Mileeyae Kwon, who performed as Eurydice on Sunday afternoon, has a beautiful voice, but she lacked the power to be heard clearly. Still, despite some fumbles with her English, she was charming.

As is fitting with the operetta, the dancers were features prominently while making fun if the convention of French operas that a ballet scene be included. The six dancers, including the male dancers, wore tutus and helped the scenes transition.

The stage design was minimalistic with a tiered round table in the middle of the stage. Plants, pillows, and the lighting were the only aspects that differentiated the scenes.

The audience had a particular need to clap during the Galop infernal (the can-can), but at least they seemed to be amused.

Let’s get stronger directors

It has been a while trying to figure out what exactly to say about two of the Springfield Theatre Center shows this past winter. Both were entertaining and there were not problems with the actors and actresses, yet the shows seemed to be on autopilot. The drama and action stemmed from the script, but not the action on stage. Annie was a prime example of this, yet Hair also suffered from the same issues.

Both shows needed a stronger hand from the director to tell the actors, particularly the ones not featured at the moment, what exactly they should be doing on stage. It was more glaring in Annie where the stage is full of young girls who should not be expected to know what to do. The staging and choreography was choppy in Annie, which made the whole show look amateurish (much more than should be expected from a local theatrical production).

Once again, the cast was strong, particularly Ann Collins as Miss Hannigan who brought the house down with “Little Girls.” Sydney Geyston and Jim Leach were charming as Annie and Daddy Warbucks. The sets and lighting were nice. The major complaint was the awkward and clunky staging and interactions between characters.

Hair had the same issues. Without children in the cast, it was less awkward, but it still seemed like the actors and actresses were not given much direction. It was like they were just instructed to wander on stage and wave their arms about for a while. The LSD trip scene was not visually any different from the rest of the show. The supporting ensemble sounded great, but just seemed to meander on the stage.

Once again, this was unfortunate because there was some great singing from the main characters. Bradley Davis as Claude grew stronger as the night progressed culminating in his final internal confrontation at the end of the show. Ralph Shank did well, though he could shown more anger and defiance of society in the beginning of the show.

Both shows were good, they just seemed to be missing the final coherence that would have made them great. A stronger directorial hand would have solved that in both cases.