“CRAZY FOR YOU” ANOTHER CLASS ACT TRIUMPH
( Conroe COURIER 7-21-99 )
BY DAVID DOW BENTLEY III
“The People’s Critic”
There are special days in each calendar year. Many would mention Christmas,
New Years, Thanksgiving, and Independence Day. To those, I would add the
days
when Class Act Productions mounts a new show. This season’s treat, Crazy
For You, was billed as “The New Gershwin Musical,” and featured the
delicious music of George and Ira Gershwin.
Under the skillful direction of conductor Martin Van Maanen, the talented 16-piece
orchestra opened the proceedings with a tantalizing overture. It included such
classic tunes as “Shall We Dance?”, “I’ve Got Rhythm,”
“Embraceable You,” and a “Stairway to Paradise” so brassy
that one expected Gypsy Rose Lee to step out from behind the curtain for some
bumps and grinds. Orchestral quality would be a staple of the evening.
After a first peek at the pink satin and lace of the chorus girls who would
be a highlight of the night, we meet Bela Zangler played by Mike Dzbenski,
who
turns in a great spoof of famed impresario, Flo Ziegfeld. Lead roles went to
Jon-Marc Yaden (Bobby) and Lindsay Ashworth (Polly). Both would have many fine
vocal moments in the show. And speaking of vocal talent, nothing could top
the
high quality of the cast’s ensemble choral work, especially the outstanding
chorus girls who danced as well as they sang. They should begin work immediately
on their Radio City Rockettes applications.
The lightweight plot has Bobby’s wealthy mother (played with delightful
meanness by Anne-Marie Barber) disenchanted with her man-about-town son’s
interest in show business and his inconclusive 9-year engagement to the ever-whining
Irene (nicely done by Marlies Fitch). To get Bobby out of town, Mother sends
him on a fool’s errand to foreclose on a property she owns in the desert
town of Deadrock. It turns out to be a theater that has fallen on hard times
in the fading mining town. There, Bobby meets Polly and determines to help
make
the theater successful.
The opening scene in Deadrock offers the hilariously nonchalant “Bidin’
My Time” led by the talented and amusing threesome of Mingo (Michael Pirics),
Moose (Ryan Dammeier), and Sam (Robert Gray) and sung by the lazy townsfolk
with perfect blank expressions on every face. We meet the delightfully annoying
saloon owner, Lank Hawkins, played with Vaudeville-style comic flair and timing
by F.B.Kern. Lank has dreams of resurrecting the tired town, announcing enthusiastically
with his winning grin, “We could have another Cleveland on our hands!”
Bobby, enchanted by Polly, sings a smooth “Things Are Looking Up.”
After their first kiss he is overwhelmed declaring, “You’re like Venus
DiMilo, except for the arms!” Polly, meanwhile, resists the advances of
Lank and does a sweet duet of “Could You Use Me” with Bobby. The two
dance away in a desert sunset singing the classic “Shall We Dance.”
Another highlight was the “Girls Enter Nevada” number, which showcased
a beautiful wide variety of costumes and a finely tuned chorus line. The choral
work and dancing were so exceptional they appeared ready for any stage. In a
word, it was thrilling, and it was capped by Bobby’s hilarious re-arrival
in town. Posing as Zangler he lands atop a pile of suitcases with such fanfare
that it reminded one of Liz Taylor’s gaudy entrance procession in “Cleopatra.”
Next we enjoy Polly’s “Someone to Watch Over Me.” Bobby’s
struggling attempt to produce a show as “Zangler,” finally begins
to take shape in “Slap That Bass,” a number full of jazzy tap and
full of fun. I found myself thinking about what a life changing experience it
must be for each member of this cast to be part of something so joyful and so
excellent! Fully displayed here, the sheer size of the cast was electrifying,
and this scene’s final tableau was simply perfect.
We move on to a smooth and delightful “Embraceable You,” from Polly,
and then “Tonight’s the Night,” a cleverly staged dressing room
scene with two simple, lighted vanities framing the large cast, now dressed
in still more attractive and imaginative costumes. The “I’ve Got Rhythm”
that closed Act I was dazzling as the energetic cast found rhythm in brooms,
shovels, and washboards while even the youngest dancers proved they were worthy
of the name “Class Act.” It was difficult to tell whether cast or
audience was having the most fun.
In Act II the real Zangler shows up to add to the comic confusion. There is
a Hollywood style barroom brawl, and our two Zanglers show their comic skill
as they mirror each other in an uproarious scene with “What Causes That?”
Irene gets her turn in the spotlight with a glamorous and seductive “Naughty
Baby,” as she falls in love with Lank in this humorous pairing.
“Stiff Upper Lip” was a tap dancing cast party that was half barn
dance and half pep rally. It ended with the performers rallying around a red
banner in what must have been a gentle spoof of the classic scene in “Les
Miserables.” Bobby does a smooth turn with “They Can’t Take That
Away >From Me,” and Polly responds with the plaintive and longing “But
Not For Me.” Our chorus girls offer more perfection in a “Nice Work
if You Can Get It” that looks as though it popped out of some sparkling
Betty Grable film.
As Director / Vocal Director of such a high quality company, I would suggest
Keith Brumfield’s contributions to this community should earn him a place
on the Cynthia Woods Mitchell Pavilion’s mural of Hometown Heroes. Assistant
Director / Choreographer Kathryn Goodfellow and her fellow choreographers,
Martin
Gregory, and Kristie Rodgers share in the victory. The entire cast was beautifully
costumed under the supervision of Scotty Brown. The excellent lighting of Dan
Porras, creative set designs of Roger Goodfellow, and attractive scenery of
Barbara Stoker all added to the luster of this production gem.
My only regret is that the enormous cast of supporting players, singers and
dancers cannot be acknowledged individually. Each and every one brought joy
and talent to the show. As the show ended, ten-year old Matthew Hinton of The
Woodlands was a satisfied customer. But as he eyed the lovely chorus girls
leaving
the auditorium he speculated, to his visiting Louisiana cousin Alyssa, that
this show “…might not be appropriate for 5 or 6 year olds!” He
needn’t have worried. This was an evening of perfect entertainment for
the whole family; and in the words of Gershwin’s own finale: “Who
Could Ask For Anything More?”
E-mail comments for Mr. Bentley may be directed to ThePeoplesCritic@earthlink.net
Visit the website at www.ThePeoplesCritic.com