current issue | main page | infotainment | past editions | special events | classifieds...a-l | classifieds...m-z | feedback!

by George Patterson
NEW ORLEANS, LOUISIANA

Sonny Borey Creates Theatre Magic
With 42nd Street

After last season's dismal ending with a drab, tattered production of Gypsy, Le Petit Theatre had no where to go but "up" with the season opener, Gower Champion's choreographic take on the 30's Depression cinamusical, 42nd Street, and that's just where the theatre now finds itself. Sonny Borey, the new Executive/Artistic Director, began his tenure with a production of this tap-heavy show boasting a score by Harry Warren with lyrics by Al Dubin, that sets the bar at a new and difficult-to-maintain height-say roughly the stratosphere.

This production approaches that rarified condition we call "perfection," in almost every department. But surely it is Mr. Borey's incomparable talents and assets that are on proud display at the grand dame of community theatres, Le Petit Theatre du Vieux Carre, that has been suffering from management stasis now for several years. No more.

That definitive odor of fresh paint accosts one's senses upon entering the staid French Quarter building-everywhere one looks one sees a rejuvenation, a happy feeling of energetic effort at restoring the old lady to her former glory. Even the patio had been canopied in anticipation of Hermine's rains.

But inside the spiffed up theatre, a hurricane of another order was unleashed upon the unsuspecting full house and didn't relent for two top tapping, giddy hours, as we were tickled and awed and otherwise entertained by full-bodied sound emanating from an enormous orchestra, under the direction of Jay Haydel, over which trained voices and their clever lyrics were crystal clear, filtered through an excellent, unobtrusive sound system. A new house curtain replaced the tattered rag that (dis)graced the theatre for years. Technical director/designer Bill Walker almost totally redeemed himself from prior fiascos-except for last minute light focusing, the show was ready to go and what a show it is!

In Depression New York, a theatre company is in the throes of trying to mount a musical called "Pretty Lady" which is starring a no-talent leading lady named Dorothy Brock (Susan Domangue) because her boyfriend, a Texas millionaire (Stephen Shapiro) is backing the show. A young girl from the Midwest, Peggy Sawyer (Mandy Zirkenbach) has just arrived and gets a place in the chorus. Even though she's a dynamite dancer, she can't seem to blend into the scenery and so trips up the leading lady, who breaks her ankle. Peggy Sawyer is suggested as Brock's replacement. The hard nosed director, Julian Marsh (Ken Risch), in a whirlwind rehearsal period, falls in love with her, even as he admonishes her that she's going out there a kid from the Midwest, but she must come back a star, which, of course, she does. Happy ending. Along the way, there are several theatrical characters who lighten her load and add to the collective excitement.

As the show's reluctant star, Mandy Zirkenbach is what you might call "heaven on a biscuit." She's more Ruby Keeler than the original, right down to the 30's Rubensesque look; her tap-dancing, like the entire cast's, is jaw-droppingly sharp and seemingly effortless, which is a compliment, nay, rave, to choreographer Karen Hebert, who has drilled her huge cast to Championesque perfection with, no doubt, help from choreographer Linda Fried, who is listed in the program as "production assistant." (Indeed, the show begins with a stage full of tap dancers led by the inimitable Ron Marchal, as Andy Lee, the show-within-a-show's dance captain.)

Marc Belloni and newcomer Susan Grozier, as Pretty Lady's wisecracking song writers, add immeasurably to the professional polish of this remarkable production. Especially Ms. Grozier, whose singing is simply sublime. The daffy duo really shine in the show's big 11 O'clock number, "Shuffle Off To Buffalo," on a full stage set of one-half a pullman sleeper.

Patrick Mendelson also scores as Billy Lawlor, the juvenile to Peggy's ingenue, especially in the big tenor solo "Dames," which serves as a costume parade displaying Follies-like attire cleverly designed by costumer Debbie Simeon, who has suppled this show with an endlessly inventive wardrobe that works brilliantly with Bill Walker's mylared Art Deco set designs, which incorporate a number of cleverly tripped drops, thus proving that there are ways to effect a first class production utilizing ingenuity when Le Petit's resources fail.

Ken Risch, as the pompous director, is also right on target. His big baritone voice delivers "Lullaby Of Broadway" with Broadway panache.

Jessca Gordon, Sarah McMahon, and Michelle Marcotte also shine with Susan Grozier and Mandy Zirkenbach with the soda shop number "Go Into Your Dance."

With this production the slate has been wiped clean. Le Petit is once again the viable and valuable community asset it was always meant to be. 42nd Street raises the gauge by which future productions, either amateur or professional, will be judged. Attention must be paid. Mr. Borey has arrived.

Anything Goes

The first victim of Le Petit's new status is Rivertown Repertory Theatre and its first production of the new season, Cole Porter's Anything Goes which, like 42nd Street, not only takes place during the Depression, but possesses a cornucopia of Porter chestnuts, many just as toe-tapping as Harry Warren's, all more lyrically sophisticated.

Director Alton Geno and producer Charles Ward simply do not possess the kinds of assets Mr. Borey has at his fingertips. For one, the cast for Anything Goes is far more amateurish, from Ann Casey's lisping Reno Sweeney to Stephen LaDow's callow take on a Bronx gangster, Moonface Martin, Public Enemy #2.

Several exceptions help to lift this production from the mundane (along with the invaluable contributions of set designer Robert Self and his art deco ship that opens and folds and glides in and out quietly and Daniel Zimmer's colorful, and well-focused, lighting) and they are Kris Shaw and his character turn as Lord Evelyn Oakleigh, a British twit fuddy-duddy who gets to shine in one of the show's few comedy songs, "The Gypsy In Me," young Kasey Marino's juvenile lead, Billy Crocker, and his impressive baritone that puts the wind in the sails of "Easy To Love," "You're The Top," and "All Through The Night" which is a duet with the show's ingenue, Hope Harcourt (Ashley Smetherman who is too old for the role, looking more like Billy's older sister). Ms. Smetherman's silky soprano does the Porter score and savvy lyrics supreme justice, however. Amanda Norman-Rucker adds to the zest of the proceedings as the second banana, wiseacre Erma, and the bevy of angelic beauties called Purity, Chastity, Charity and Virtue--Kelly Hirling, Jennifer Cameron, Lisa Vaughn and Carrie Black, respectively--collectively displaying about a mile of legs. These ladies are not only gorgeous in Trish McLain's witty costumes, they also show off Mr. Geno's simplistic choreography to great effect. After having been blown away by 42nd Street's dynamic tap dancing, the choreographic ministrations in "Anything Goes", the big number of the show, was a decided let down-looking ragged and under rehearsed with people who were not adept at this unique form of pure American dance.

The biggest problem with this production lies in its direction, or lack thereof. Whereas 42nd Street is a much more contemporaneous piece, really coming from the 70s, Anything Goes is rooted to its 30s sensibilities; that is, it is more book than song and dance. It has a very complicated plot involving a gaggle of characters all on board a liner bound from New York to London. Its leading lady is described as a "sexy evangelist-turned-nightclub singer," and her act includes her dancing "angels"-this to justify the Mermanesque "Blow, Gabriel, Blow," another of the many trunk songs interpolated into the book. Elisha Whitney, a stockbroker (Walter Bost) has sailed leaving his young assistant, Billy Crocker, to sell off some of his stock, but Billy spies his sweetheart, the debutante Hope Harcourt and her mother, Evangeline Harcourt (Linda Hubschen) embarking and so stows away, along with Moonface Martin, "Snake Eyes" Johnson, Public Enemy #1 (who doesn't make it) and his girlfriend, Erma, who gives his ticket and passport to Billy. During the course of the play, Elisha falls for Hope's mom (he's supposed to marry Hope, which is the complication between her and Billy), the eccentric Lord Evelyn falls for Reno Sweeney, and, of course, Billy and Hope finally match up too-an ending with three weddings. Along the way there is much slamming of doors, mistaken identities, a whole mess of stuff with two Chinamen and a ship's brig and I don't know what all, because it was much too muddled in Alton Geno's schemata.

Where the sounds coming from the 42nd Street band were sharp and snappy, those emanating from Rivertown's pit were anemic and lackadaisical under the direction of conductor Jan Schluter; of course, the six piece combo was more in keeping with a community theatre's usual budget; sixteen pieces is rather excessive; but, both of these shows, in order to fly, require excess and in this horse race, Le Petit, the larger of the two theatres, was the more excessive and therefore the more successful.

Still, both shows offer entertainment and now both theatres can compete on a more level playing ground. Let the competition begin.

Auditions: Ty Tracy of NORD Theatre is casting a revival of Silver Scream, the hilarious musical comedy revue that spoofs the movies written by David Cuthbert and Bob Bruce with music by the late great Fred Palmisano (his last endeavor). Any actor/singer/dancers, male or female, from 25-45 years of age, who are interested in auditioning should call 504.565.7860.

current issue | main page | infotainment | past editions | special events | classifieds...a-l | classifieds...m-z | feedback!