THE MANY CHARMS OF
“BABES IN ARMS”
(Conroe COURIER 7-29-01 Woodlands VILLAGER 8-01-01
)
By DAVID DOW BENTLEY III “The People’s Critic”
A
couple of years ago I had the pleasure of attending the very exclusive “Encores”
production of Rodgers and Hart’s “Babes in Arms” at New York’s
City Center. It was musically so sensational that I bought more tickets and
took my sisters and my twin nephews the following evening. Now, in far off
Texas, the Class Act production of that same show is so delightful, I think
I will again need to have a second helping.
Music Director / Pianist, Jennifer Franz, skillfully led the pit orchestra
as the sweet strains of the overture transported us back to a time when music
was music, instead of noise. The lights dimmed as they played “My Funny Valentine,” and
the audience had just enough time to reflect on its good fortune that Class
Act is keeping music like this alive for both young and old. Co-Directors,
Barry Deans and Karen Romano deserve gold stars for lovingly guiding this largely
youthful cast to very high levels of achievement.
The 1938 setting is Cape Cod’s Surf and Sand Playhouse, where sinister
owner, Seymour Fleming (humorously and cantankerously played by Rion Braddock),
is mounting an incredibly bad play called “The Deep North.” Talented
Gregory Bonsignore hilariously portrays the play’s author and star, Lee
Calhoun. His comic antics, absurd southern accent and wild body language keep
the audience in stitches and lift the play every time the corny plot (Kids
putting on a show to save the theater) starts to let it sag.
Fortunately, the wonderful Rodgers & Hart score, and the singing and dancing
of this great cast, do not allow for many sags in this production. The colorful
and charming set design of David Marco cheerfully provides both barn and playhouse
(Marco also handled lighting). I’m glad the program did not mention a Sound
Designer, as this opening night’s microphones and audio left much to be
desired. Costumes on the other hand (Designers- Margy Korfhage and Linda Estrada),
were beautifully done for every character in the show.
The opening ensemble of the title tune was full of youthful energy, well-executed
choreography, and truly wonderful choral singing. It featured the cast’s
fine Teen Apprentices and the younger Junior Apprentices. Even the finale, at
night’s end, would not be able to top it. I usually reserve my shouted
“Bravos!” for the final curtain, but this number made me lose control.
Combining both comedic and vocal talents was Charla Wilkes in the role of Bunny
Byron, who struggles to maintain her financial interest in the failing playhouse.
I first heard Charla’s fine voice a year ago when I was emcee of a local
50th Wedding Anniversary party at which she sang a memorable “Always”
for the celebrants, Bob and Mattie Tabor. In “Babes,” she knocks the
ball out of the park with terrific numbers like “The Lady is a Tramp,”
“Johnny One Note,” and an amusing spoof of life in the West: “Way
Out West on West End Avenue.” It was clear that both cast and audience
loved her humor and “red-hot mama” style.
Gus (Michael Stablein) and Terry (Megan Kane) have a sweet duet of “I Wish
I Were in Love Again.” Kane continues to polish the talents we have seen
in other C.A. productions. She sings better than ever, and is very much at ease
clowning about the stage while delivering a song. Ross Bautsch, in the role
of Val, has a very confident and natural stage presence. He is joined by attractive
Jessie Spiess (portraying Jennifer) in a “Where or When” duet that
is pleasant, but not vocal perfection. Lisa Farley amusingly plays Jennifer’s
mother, Phyllis. Rounding out the cast are Pete Farley as The Press Agent and
Chris McIntyre as Steve. Shannon Winter, as Susie, hits another home run for
the show with an elegant and touching “My Funny Valentine.” It would
pass in any New York cabaret! She repeats it in smooth counterpoint as the large
cast reprises “Babes” to close Act I.
Act II opens with “Imagine” and the song was a perfect showcase to
allow many of the cast members a solo moment in the sun. Val and Jennifer are
sweet together in the song “Nearer,” and one suspects that with continued
voice training these kids can go far.
The second act does have some technical glitches and barren stretches without
musical relief. But the “play within a play” scene that features a
performance of “The Deep North” is an uproarious comedy of errors.
Mr. Bonsignore steals the show, and Miss Wilkes is the funniest maid since Patsy
Kelly. Don’t miss the “waiting for the bell” routine, which may
be the funniest bit since Rosalind Russell’s Auntie Mame was panned on
opening night in New Haven.
A smoky mist rises on a flashy finale. With its snappy, marching band costumes,
it looks like a scene from “The Music Man.” A beautiful “top
hat” mural presides as the now formally attired cast offers short reprises
of songs heard earlier. Ms. Wilkes offers a “Poor Johnny One Note”
with as much gusto as I have heard since Judy Garland sang it in “Words
and Music.” While chatting with the directors after the performance, I
learned that Mr. Deans had worked in shows with Wilkes when they were kids “…and
she was only twelve.” I suggested that in a way, “Babes in Arms” sounded
like it might be their life story. Deans answered with a hearty laugh.
E-mail comments for Mr. Bentley may be directed to ThePeoplesCritic@earthlink.net
Visit the website at www.ThePeoplesCritic.com