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Sunday, Jul 06, 2008
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Bits & Bytes |
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| 5th Avenue sends Lone Star Love to Broadway, New York Times returns to review PNB, Symphony Pops hosts 'out' George Takei | |
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by Milton W. Hamlin -
SGN A&E Writer What a terrific week for Emerald City entertainment fans-including Bits&Bytes. Read on: 5TH AVENUE READIES LONE STAR LOVE FOR BROADWAY OPENING Lone Star Love, the Texas set retelling of Shakespeare's The Merry Wives Of Windsor, opened on Wednesday at the 5th Avenue Theatre after several weeks of previews for the Broadway-bound, good-natured, toe-tappin' musical. Now it can be told-Lone Star Love has all the makings of musical hit. The show needs a lot of work before its New York opening in November, but it has an appealing "ah shucks" quality, a clever storyline, some rootin'-tootin' tunes (from Jack Herrick of The Red Clay Ramblers) and-most importantly-some outstanding show biz performances of the highest caliber. Broadway critics are notoriously unpredictable-the New York press corps could embrace the show for its low comedy, sneak-up-on-you approach or dismiss it for its low comedy, folksy nature. Whatever its Big Apple reaction, the charming little musical will be a huge success on tour and in future community theater productions. The show is headlined by Randy Quaid, a talented film and stage performer with a long history of low key roles. Here, he is cast as the over-the-top Colonel John Falstaff. Frankly, he is not quite ready for role, one of the broadest in theater history. He can sing (a little), joke just fine, dance (a little)) but he must be reminded that Falstaff is bigger than life. On opening night, he seemed to be too restrained. He needs to crank up the energy level quite a bit-but that is what pre-Broadway tryouts are for. Quaid, like the production, rambles all over the place and desperately needs a "play doctor" to help focus his work before opening in New York. All of that is possible. One of Falstaff's best crowd-pleasing outings is with "Fat Man Jump," a spirited ditty early in Act One. In Act Two, Falstaff has a shirtless scene. Quaid, who has worked out for months "to get in shape" for his Broadway and musical debut, must remember that actors who can stop with show with a song called "Fat Man Jump" should not appear for an extended scene without a shirt. No exceptions allowed. The real stars of the production are the Broadway veterans in the key supporting roles. Dee Hoty, with three Tony nominations in her clipbook, is simply terrific as Margaret Anne Page, one of the two wives of Windsor, Texas. A consummate pro, Hoty delighted Seattle audiences in the fondly remembered touring edition of the Will Rogers Follies at the 5th many seasons back-she has been one of Bits&Bytes' favorites ever since. Hoty is always incredible in Lone Star Love, working her heart out in ensemble numbers, carrying dialog scenes, stopping the show with her Act Two "Jump On The Wagon." Even though the plot places the musical in the days after the American Civil War, its tongue-planted-firmly-in-cheek approach (which is the only way this show could work) finds Hoty rebuking her husband: "Having a ranch in Texas does not qualify you as politician, George!" she snaps. The audience, already "in" on the anachronistic style, roared with laugher. Robert Cuccioli, a Tony nominee for Jekyll & Hyde, is great as Frank Ford, the all-too-jealous husband of the stunning Lauren Kennedy's Agnes Ford. His "disguise" as "Vaquero" needs a lot of work (his unmasking at the busy end of Act Two found most of the audience unable to remember who the stereotypical Mexican lover had been)) but, again, that's what out-of-town engagements are meant to do. Dan Sharkey's George Page is another great turn by an unsung craftsman. He brings humanity and a quite gentleness to his role as the "happily married unhappy husband." The rest of the large cast is solid, often outstanding. Three members of the Red Clay Ramblers play Shakespeare's Bardolph, Pistol and Nym-and play them well. One, Emily Mikesell, is a woman playing a man-a genderbending element that Bits&Bytes and SGN always like to celebrate. One strange GLBT aspect is the late-in-Act-Two revelation that one of the minor male characters is Gay-mistakenly "married" to another man, he decides to stay wed and open an inn on the outskirts of town, an inn serving breakfast. "We'll call it Bed & Food!" the dimwitted one exclaims. The clever set is obviously a budget choice but it is a theatrical example of creativity over cash. Lone Star Love obviously has a modest budget-each character, including the leads, gets only one costume for the whole show-but that gives it an even better chance of doing well in the Broadway economy. Young Frankenstein, the "other" Seattle premiere that's headed to Broadway, reportedly had a $20 million production budget. Lone Star Love probably features a budget in the $2-$3 million range. The charming "little musical that could" (and probably will) continues at the 5th through Sept. 30-just one more week. Ticket information at 206-625-1900. It's a hoot-and-a-half, and this scribe, for one would gladly see it again before it moves east. It's a great, unassuming, sweet little show. And one with a great philosophy. As Miss Quickly, the sharp tongued housekeeper (and general mischief maker) dismisses one sexual braggart, "No woman likes playing with a rope." Enough said. Check it out. SYMPHONY SHINES WITH OPENING YO YO MA GALA, GEORGE TAKEI COMES OUT The Seattle Symphony Orchestra opened its 2007-08 season last Saturday with an all-star gala featuring Yo Yo Ma in two programmed pieces, Faure's Elegie for Cello and Orchestra and Saint-Saens Cello Concerto No. 1. The audience-pleasing, ever popular "living legend" then delighted a sold out crowd by offering two encores with SSO musicians-a generous and gracious decision. The Symphony itself was also a star of the evening with a program designed to please. With Gerard Schwarz, the SSO's talented music director, on the podium, the Symphony could literally do no wrong. Gershwin's An American In Paris opened the charmed evening, and the Orchestra captured every musical nuance of the tone poem. The two Yo Yo Ma selections were, of course, highlights of the celebratory evening. Three works by Ravel also delighted the audience-ending with a hypnotic performance of the classic Bolero. The word "perfection" is rare used by this scribe, but it is the only word to describe the evening. What a start to the season. The Seattle Pops Series, continuing this weekend with performances through the Sunday 2 p.m. matinee, salute Sci-Fi Favorites, featuring music by John Williams and other sci-fi film composers. George Takei, best know from his work as Mr. Sulu in the Star Trek series, narrates the program, which includes a Star Trek Through The Years sequence. The SSO press department wanted SGN to note that Takei recently "came out" and now speaks openly about his formerly closeted life. Ticket information on all SSO events at 206-215-4747. JAZZ ALLEY HOSTS KARRIN ALLYSON, REP JAZZ ORCHESTRA As usual, the joint is jumpin' over at Jazz Alley. "Sultry jazz vocalist" Karrin Allyson, one of Bits&Bytes' favorites in the contemporary jazz scene, makes a welcome return to The Alley with performances through tomorrow. She's still touring to promote her 10th Concord release, the well received Footprints. An overnight sensation in 1992, Allyson has remained a stylish singer whose fan base just grows and grows. Jazz Alley also hosts the Seattle Repertory Jazz Orchestra (SRJO) which plays two shows on Sunday, Sept. 23. The rare afternoon set at 4 p.m. offers discounts for students and seniors-a great deal for budget minded jazz fans. The second set is at 7:30 p.m. SRJO is the Northwest's premiere big band jazz ensemble. The 17-piece group, founded in 1995, features prominent jazz soloists and band leaders in the greater Seattle area. Veteran and young performers mix easily in this troupe that celebrates 100 years of American jazz. Wouldn't miss it. Details and reservations on all Jazz Alley events are available at 441-9729. Take a minute and ask to be added to The Alley's free mailing list of upcoming events-The Alley often hosts more than 100 headliners a year at the sophisticated jazz "joint." ALL BALANCHINE OPENS PNB SEASON, NEW YORK TIMES RETURNS While Seattle stages have been (and are) busy sending productions to New York, The Big Apple itself seems to be more and more aware of Emerald City arts activities. Pacific Northwest Ballet opened its 2007-08 season last night with an All Balanchine program features three works by the Russian-born ballet legend, Georges Balanchine. The New York Times, which sent its main dance critic to check out PNB last spring, is sending him again this Saturday to review the matinee and evening casts. There is no doubt that the opening repertory program will be at instant hit with PNB subscribers and Northwest dance fans. It's a perfect repertoire mix. The spirited, high kicking Square Dance, featuring music by Vivaldi and dance patterns inspired by American folk dances, is a crowd pleaser if there ever was one. The intense, ultra-dramatic Prodigal Son, with a score by Prokofiev, transforms the Biblical tale into modern dance. The lavish, Ballet Imperial, with music by Tchaikovsky, showcases Balanchine's Russian heritage with its glorious pageantry and incredible solos. All three works are staples in PNB's vast Balanchine library. The program opened just last night-too late for an SGN review this week. Watch this space for details. It continues through Sept. 30. Ticket information at 206-441-2424. ANDREA MARCOVICCI OPENS FRED ASTAIRE ACT CABARET TRIBUTE Cabaret legend Andrea Marcovicci makes a rare Seattle appearance in the intimate cabaret space at ACT Theatre in a Fred Astaire tribute that opens tonight and continues through Oct. 7. Andrea Sings Astaire, one of many theme shows the talented vocalist has presented in her long career, offers many of the American Songbook standards Astaire introduced in his long film career with anecdotes about the Broadway and Hollywood headliner. Marcovicci, one of Bits&Bytes' favorites of many favorites, also includes personal notes. Toward the end of the show, in her "dancin' man" sequence, Marcovicci dons male attire. "I call it my Metrosexual look," the vivacious singer laughed. "I had to learn to tie my own bow tie standing in front of an audience." The "male drag" section of the show-"always popular with my Gay and Lesbian fans," she gushed-finds her in "top hat, white tie and tails," as Irving Berlin wrote for Astaire. The tailcoat is a family heirloom. Her father, a physician, was also a champion ballroom dancer, and he and her mother won "hundreds of prizes." The coat-you guessed it-is from his wardrobe. Marcovicci gave Bits&Bytes and SGN an exclusive interview before her opening. Watch this space for "all the news" and a full review of her cabaret show. Tickets are available at 206-292-7676. The intimate Bullitt Cabaret, rarely used for performances these days, is truly intimate. Expect sell outs for most weekend performances-procrastinators take note. ENGERMAN GROOVES IN FINAL WEEKEND AT CREPE DE PARIS John Engerman, the self-proclaimed "Groovemeister of Seattle Cabaret," continues his appealing one-man show on the cabaret stage at Crepe de Paris, the popular French restaurant in downtown Seattle in Rainier Square. His final two performances, tonight and tomorrow, mix his own compositions from his many original musicals written for Seattle stages with theater and cabaret favorites from other performers. Some "never-before-heard tunes from shows in progress" will also be featured. Details at 206-623-4111. Crepe de Paris, approaching its 40th anniversary, offers a dinner/show package or "show only" admission. |
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