"SOMETHING ROTTEN!" at The 5th Avenue Offers Both Shock and Awe, For Better or Worse

Cast of the Something Rotten! National Tour - Photo Credit Jeremy Daniel

The 5th Avenue Theatre in Seattle just opened its 2017-2018 season with the touring Broadway musical comedy Something Rotten!, which runs now through October 1, 2017. It should completely delight the most ardent fans of musicals. I mean people who really love musical theater, those who can hear a snippet of a song and name the title and show, who eat up every cliché the genre can possibly offer. For them, this quick-paced, colorful, and clever production is a feast. However, to others, Something Rotten! might feel like an orgy of excesses. 

It comes from a team with very impressive credentials. Casey Nicholas, a Tony Award winner who did The Book of Mormon and Aladdin, directs this production and also did the choreography. Wayne Kirkpatrick (a Grammy Award winner and Tony Award nominee) and Karen Kirkpatrick (Golden Globe Award winner and Tony Award nominee) wrote the music and lyrics, with Karen Kirkpatrick also writing the book with best-selling author John O-Farrell.

The show opens with the Minstrel (Nick Rashad Burroughs) starting off the fun and funny "Welcome to the Renaissance." He is soon joined by the chorus as we move into a lively London street scene, including the Globe Theatre. This is the 1590s world of William Shakespeare (who is also a primary character, played by Adam Pascal).  I instantly loved the colors of the set and costumes, by Broadway veterans Scott Park and Gregg Barnes, respectively. Rich shades of rust, gold, brown, and teal pleased me, as did Jeff Croiter's perfect lighting. 

Something Rotten! revolves around the dilemma faced by two playwright brothers, Nick and Nigel Bottom (Rob McClure and Josh Grisetti, respectively) Struggling to survive in the shadow of Shakespeare, whose success has turned him into the rock star of his times, they must come up with a new play on short notice, to compete and keep their troupe going. Unfortunately, the two brothers disagree on almost everything. Nick, unbeknownst to his wife Bea (Maggie Lakis) uses their meager savings to hire a soothsayer named Nostradamus (Blake Hammond), to give him a winning idea and reveal the next big thing in theater. This Nostradamus is the nephew of the Nostradamus, and his clairvoyance is not quite spot on. 

Cast of the Something Rotten! National Tour - Photo Credit Jeremy Daniel

As Nostradamus describes his vague vision of a potential smash hit we recognize as Shakespeare's future play Hamlet, he interprets the title as Omelet. Running with the idea, Nick comes up with a completely ridiculous, over-the-top-silly script involving chefs with frying pans and dancing omelets. Most importantly, Nostradamus makes the seemingly outlandish suggestion that the playwrights have actors sing their lines, rather than speak them, setting the whole play to music and including dance. Ta da! They are about to invent something completely new—musical theater! Is this insanity or genius? Can it succeed?

Something Rotten! also involves romance of course. The sensitive and poetic brother, Nigel, falls in love with Portia (Autumn Hurlbert), daughter of a Puritan preacher, Brother Jeremiah (Patrick John Moran), a man whose repressed sexual fantasies causes enough Freudian slips to rate as psychological banana peels. 

Speaking of music, Peter Hylenski's sound design, along with Phil Reno's music direction of Glen Kelly's arrangements and Larry Hochman's orchestrations, bring out the full potential of the amazing musicians we never see but so appreciate. A combination of the Something Rotten! orchestra (conducted by Brian P. Kennedy) and our beloved 5th Avenue Theatre Orchestra, delivers a wide variety of music so skillfully you would think they had all played these exact tunes for years.  

Cast of the Something Rotten! National Tour - Photo Credit Jeremy Daniel

So, with great music, singing, dancing, sets, and costumes, what's not to like?
After all, the annoying woman sitting behind me burst out with ear-splitting cackles over everything. The show begins with so much dazzling sensory sensations, it later struggles to maintain that high. There was plenty of genuinely good humor, which I, too, enjoyed, to a point, because there was also plenty of in-your-face crassness that started to get old. There is good reason it is recommended for those 10 years of age or older. Ironically, much of the bawdy humor would go over the heads of younger children whereas kids over 10, in today's society, would probably catch the implications. Content Advisories.  

How many times can you ask an audience to find the same thing funny (like winking references to the brothers' surname of "Bottom" or the outrageous behavior of the repressed Puritan?) How much attention must be focus on the exaggerated codpiece portion of the men's costumes? (You are going to want to click on that link to read a fascinating article.) How many musical "quotes" from other Broadway shows can you stomach? How many sexual innuendos of the same type do we need to get the obvious point? How much belief must we suspend to believe what some of these characters do, like the Puritan daughter getting drunk? 

Picture this scenario. You invite a group of notable chefs into the kitchen and provide them with unlimited quantities of the highest quality ingredients, some of which are best used judiciously. Then, they each add every one of those high quality ingredients with abandon, plus extra, for good measure, stir it all together, and crank up the heat. The end result might make you say "WOW," but does that make it good? 

I will let you decide. Audience reaction on opening night indicated how many people loved this show. If you are in the mood for a meal of many flavors, colors, textures, and tunes, go, and enjoy yourself. However, after this experience, you might decide the best chaser would be a glass of plain water and a quiet drive home.

"The Secret Garden" at The 5th Avenue Theatre Brings Grown-up Depth to a Childhood Favorite

Among the many books I read as a girl, Frances Hodgson Burnett's classic children's book The Secret Garden remains a favorite. I fell in love with it all over again on opening night of the revival of the award-winning 1991 Broadway musical The Secret Garden at The 5th Avenue Theatre, in Seattle. It runs there until May 6, 2017. The story, originally serialized in 1910, appeared shortly after in book form and remained popular throughout my 1960s childhood, at least. As an adult, I now appreciate this story even more, as moving and meaningful in a most grown-up way. Presented with stunning beauty in all aspects of the sets, lighting, sound, music, costumes, and special effects, it becomes a magical experience.

The 5th Avenue Theater's Executive Producer and Artistic Director David Armstrong not only directs this masterpiece but also did the choreography. His exceptional taste and talents maximize the potential of Marsha Norman's book and lyrics, Lucy Simon's music, and the fine cast. The production is the product of a collaboration between The 5th Avenue and the Shakespeare Theatre Company in Washington D.C. It includes impressive and award-wining actors from our nation's opposite shore as well as the Pacific Northwest. (You can learn more about cast members and read their bios by clicking here.) 

Josh Young as Dr. Neville Craven in The Secret Garden- Photo Credit: Tracy Martin

Like all children of rich, indulgent, but indifferent parents, who provide material things in place of genuine love and closeness, the young protagonist, Mary Lennox (Bea Corley) was already a miserable, bossy, unappealing, and lonely child when orphaned in late 19th century India. Her parents, there as part of the British Raj, die in a cholera epidemic. So does the woman who comes closest to being her surrogate mother, the servant Aya (Maya Maniar) Other servants abandon the household out of fear, leaving the child completely alone. After being discovered by British military officers, she is sent back to England to live at the Yorkshire country estate of her appointed guardian, a reclusive and hunchbacked uncle named Archibald Craven, played by Broadway and West End star Tam Mutu. 

Daisy Eagan as Martha and Bea Corley as Mary Lennox in The Secret Garden - Photo Credit: Tracy Martin

Meanwhile, the estate's staff tries to be loving and patient with this difficult girl who needs to learn how to get along with others. She has not known parental love and normal family life, or even friendships with peers. Seattle favorite Marianne Owen gives a fine performance as the housekeeper, Mrs. Medlock. So does Daisy Eagan as the warm and charming maid, Martha. Coincidentally, Eagan herself played the role of Mary Lennox in the original Broadway production of The Secret Garden. She became the youngest female actor to win a Tony Award® for Best Musical as a result. 

Tam Mutu as Archibald Craven and Lizzie Klemperer as Lily Craven in The Secret Garden - Photo Credit: Mark Kitaoka

The actual garden in "The Secret Garden" was the special haven of Archibald Craven's young wife, Lily (Lizzie Klemperer). After her death, he sank into a pathetic existence as a mournful recluse who cannot accept or move beyond his loss. Long before Mary's arrival, the gate to this walled garden was locked and the key hidden. Special effects abound in this spectacular production. My favorite was the large artist's portrait of Lily, complete with the rich and glowing colors of a Maxfield Parish painting. From within the frame on the wall, she comes to life and sings, her unforgettable soprano voice filling the theater. 

Ignored by her uncle in his vast estate on the Yorkshire moors, Mary's only companions are her nursemaid Martha, Martha's brother Dickon (Charlie Franklin) and the old gardener, Ben Weatherstaff (Seán G. Griffin). From them, this lost and lonely child begins to discover the joys of both nature and friendship, instead of being entirely focused on herself. She also obsesses about the overgrown and neglected garden and wants desperately to get inside. 

Bea Corley as Mary Lennox and Lizzie Klemperer as Lily Craven in The Secret Garden - Photo Credit: Mark Kitaoka

After hearing cries in the night, young Mary discovers another secret. Confined to his room is her equally miserable cousin, Colin Craven (Guthrie Greenwood Bettinger), a boy about her age. He is the son of her Uncle Archibald and late Aunt Lily. After his mother died in childbirth, for all the following years, he was hidden, kept in bed, and sometimes drugged by a physician uncle, Doctor Neville Craven (Josh Young), Archibald's younger brother. The decision was supposedly an attempt to preserve the seemingly fragile life of the tiny infant, and out of fear that he would inherit his father's deformity. This part of the story is the most difficult to fathom, but true to the book. Archibald, because of his unbearable grief, sees his son only when the boy is asleep. The doctor, whose motivations complicate the plot, has convinced the child that he cannot walk and will die. After Mary's intervention, his life will change. The garden will come to symbolize the very idea of spring and rejuvenation, both botanically speaking and within the human heart. 

Lizzie Kelmperer as Lily Craven and Coleman Hunter as Colin Craven in The Secret Garden - Photo Credit: Mark Kitaoka

Mary and Colin, each dealing with challenges and circumstances imposed on them by adults, will finally discover within the walls of the Secret Garden the freedom and joy every childhood should include. Both of these young actors amazed me with singing abilities beyond their years. They sang with confidence, clarity, and volume, worthy to perform with the adult actors around them, whose vocals were consistently excellent, moving, and beautiful. At times, this musical seems more like opera, accompanied by the theater's outstanding orchestra, at its best. In fact, this entire production is The 5th Avenue at its best, in every way.

The Cast of The Secret Garden - Photo Credit: Mark Kitaoka

If you need to be uplifted by a story about hope and the renewal of the spirit, this is it. And speaking of spirits, this musical is populated with them, eight spirits in all. Illuminated and ever present, they poignantly suggest that past and present may exist simultaneously, with our absent loved ones still near, though unseen. The loved ones surrounding me when I was the little girl who read this book decades ago, seemed close as I sat in the audience. Revisited your own memories of childhood wonder and innocence, in the context of your adult perspective. Make plans now to see The Secret Garden.  

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Review of "THE PAJAMA GAME" at The 5th Avenue Theatre — No slumber at this lively party.

The Pajama Game, at The 5th Avenue Theatre in Seattle, now through March 5, 2017, invites your news-weary brain to slip into something more comfortable. But don't expect to get any sleep. This rollicking musical packs great music, dance, and song into a tale of workplace romance, office politics, and labor union woes, all with a happy resolution. Based on a 1953 novel called 7 1/2 Cents, by Richard Bissell, it portrays both romantic and economic conflicts in a story about the struggles employees of the Sleep-Tite pajama factory face when they ask for a raise in that amount. The company's owner, Mr. Hasler (David Pichette), will have none of it and expects his handsome new hire, Supervisor Sid Sorokin (Josh Davis) to support and enforce his views. When Sorokin falls for the union's Grievance Committee head, Katherine "Babe" Williams (Billie Wildrick), the sexual tension heats up, especially with the two of them on opposite sides of the issue. The story is dated, true, but put it in the context of society in the 1950s, get past the issues, and just enjoy it for what it is.

Sid Sorokin (Joshua Davis) and Katherine "Babe" Williams (Billie Wildrick)  in The Pajama Game at The 5th Avenue Theatre.
Photo credit Tracy Martin

George Abbott and Richard Bissell wrote the book for this musical, which first opened on Broadway on May 13, 1954, winning Tony Awards® in 1955 in three categories— Best Musical, Best Performance by a Featured Actress in a Musical, for Carol Haney, and Best Choreography, for Bob Fosse. Richard Adler and Jerry Ross wrote the music and lyrics for this and their other hit, Damn Yankees, before Ross died suddenly and unexpectedly in 1955. Unlike other teams, Adler and Ross were each both composer and lyricist and contributed their skills equally. Post war musicals, like the era's pop music (not counting rock 'n' roll) had a tamer, more civilized sound than during the Swing Years. The energy of The Pajama Game harkened back to the spectacularly jazzy and lively musicals of the 1930s. Tunes like Steam Heat, Hey There, There Once Was a Man, and Hernado's Hideaway thrilled audiences and became hits in their own right. 

Gladys (Sarah Rose Davis) dances at Hernando's Hideaway in The Pajama Game at The 5th Avenue Theatre.
Photo credit Tracy Martin

No group of musicians could have performed these tunes better than the fabulous orchestra at The 5th Avenue Theatre did when I attended on opening night. With musical direction by Joel Fram, this orchestra deserves much of the credit for The 5th Avenue having become the nation's supreme home for musical theater. The 17 members were flawless in their abilities. Even the volume seemed perfect. And speaking of sounds, Sound Designer Ken Travis made magic. Touches like the hiss of steam irons helped bring it all to life.

The company of The Pajama Game at The 5th Avenue Theatre.
Photo credit Mark Kitaoka

Director Bill Berry brought out the absolute best in this talented cast, where even minor parts make major contributions to a production packed full of fun. Here is an Ensemble so full of characters with distinct and memorable personalities. The chemistry of the lead couple felt realistic in their portrayal of the hot and cold, angst and ecstasy of being madly in love.  The first chance to hear Davis sing was his solo number A New Town is a Blue Town. The power of his voice made me eager to hear more. Then, when he and Wildrick sang as a duo, I loved the way their two fine voices seem as made for each other as their characters were. They blended beautifully, which is not always the case. 

Hines (Greg McCormick Allen) and Mabel (Shaunyce Omar) in The Pajama Game at The 5th Avenue Theatre. 
​Photo credit Mark Kitaoka

Other relationships, whether romantic or casual, offered just as much sparkle. Factory foreman, Hines (Greg McCormick) has a serious jealousy problem concerning his flirtatious girlfriend, the boss's secretary Gladys (Sarah Rose Davis). He deals with it (unconvincingly) with hilarious help from the receptionist, Mabel (Shaunyce Omar) in the song I'll Never be Jealous Again. Omar, McCormick, Omar, and Davis all infused their characters with so much personality they will stick in your mind. So will the boss, Mr. Hasler. Pichette gave a fun and fiery performance. So did Taryn Darr as Mae, the hot blooded, redhead union member. Other fine performances were given by Kyle Robert Carter, as the union "Prez," Allen Galli, as Babe's "Pop," and the charismatic Lauren Du Pree in the role of the employee Brenda and as a member of the Ensemble.

Prez (Kyle Carter) and Mae (Taryn Darr) in The Pajama Game at The 5th Avenue Theatre.
Photo credit Tracy Martin

Bob Richard's perfect choreography (including the tap numbers I always crave) contributed so much to the revelation of character and emotion, as much as any singing or acting. Director Bill Berry, in addition to allover excellence in direction, would be the one to thank for the impactful touches of physical comedy so important to the enjoyment factor in this production. This cast is obviously having a great time, and the audience feels that vibe. 

Outside of the non-stop movement and actual dancing, the greatest visual impact came from the wow-worthy set designs, costumes, and lighting, by Carol Wolfe Clay, Rose Peterson, and Robert J. Aguilar, respectively. Wooden posts supporting the roof inside the factory magically turned into the trucks of leafy trees in a park or surrounding a house. Period perfect clothing was a delight, and the lighting used during the scene of the company picnic on a summer day seemed so natural I could almost feel the heat. Other times, as in the nightclub scene at Hernando's Hideaway, creative use of lighting made the mood.

The company of The Pajama Game at The 5th Avenue Theatre.
Photo credit Tracy Martin

Whenever I watch a performance, I think about what it takes, including behind the scenes, to pull a great show together. Everyone involved gives it all they have. However, even as a reviewer who likes to emphasize the positive, I still often observe aspects of plays and musicals that, in my opinion, detract at least slightly. On our long drive home after each show we see, my husband and I discuss and compare our impressions. In this case we heartily agreed that this production of The Pajama Game is a masterpiece, possibly the best musical we have ever seen at The 5th Avenue. Dare I call it flawless? YES! For the first time ever, I will!

I recommend going to the theater's online box office right now to order tickets for The Pajama Game immediately. 

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"CAROUSEL" BRINGS BOTH BEAUTY AND DARKNESS TO THE 5TH AVENUE THEATRE STAGE

Although I have always been aware of the musical Carousel, I had never seen a single production of it until last week, at The 5th Avenue Theatre in Seattle, where it runs through March 1, 2015. Neither have I seen the 1956 film by the same name. I knew nothing of the plot and took my seat with an open mind. Carousel initially appeared on Broadway in 1945 as the second collaboration between composer Richard Rodgers and lyricist Oscar Hammerstein, their first having been Oklahoma. Although I try to avoid reading or hearing the opinions of others before I judge for myself, it is interesting that two people who spoke to me at different times on the evening I attended made equally true but opposite comments, and I ended up agreeing with both of them.

The first person told me, just as I arrived, “This is such a beautiful musical. You’re going to love it.” Yes, it is truly beautiful. All aspects under the control of the theater were offered in glorious style and abundance—great singing, dancing, acting, etc. The orchestra, 21 pieces this time, performed Richard Rodger’s unforgettable compositions so beautifully I hated for them to end. 

Carrie Pipperidge (Billie Wildrick) and Enoch Snow (Joshua Downs)
in Rodgers & Hammerstein's Carousel at The 5th Avenue Theatre.  ​Photo Credit: Mark Kitaoka

A couple of highlights for me were Billy Bigelow (Brandon O’Neill) singing his Soliloquy and Nettie Fowler (Anne Allgood) singing You’ll Never Walk Alone. Both are amazing. I especially enjoyed Billie Wildrick's character of Carrie Pipperidge—funny, vivacious, and delightful with a voice as fresh and pretty as a bird on a spring morning and full of warmth. Those in other supporting roles also gave outstanding performances. Best of all, this is an exclusively Seattle-grown production, drawing on the immense amount of local theatrical talent to create something other cities should envy.

So, yes, it was beautiful, but there was another side. The second person who spoke to me that evening, during the intermission, offered a warning. In essence, he said, “The second half gets much darker. This is actually a very dark story.” He also spoke the truth. This is no fairy tale, and it can make you sad or cynical, depending on your personality, without offering what I would consider an adequate reward of satisfaction to balance that. It deals with domestic violence and suicide. Its publicity speaks of “redemption,” but true redemption seemed incomplete or impossible. Of course this is the fault of the material, not the production. Set in the late 1880s, when women were still often seen as chattel, the musical looks at domestic violence in a noncommittal way, leaving me to wonder what Rodgers and Hammerstein actually thought about that issue. By the time the film adaptation came out in 1956, and even a decade after that, attitudes had not changed much. What are they now?

Billy Bigelow (Brandon O'Neill) and Julie Jordan (Laura Griffith)
 in Rodgers & Hammerstein's Carousel at The 5th Avenue Theatre.  
Photo Credit: Mark Kitaoka

In Carousel, the female protagonist, a young woman named Julie Jordan (Laura Griffith) is a rather serious loner, working in a textile mill in a small coastal New England town in the late 1880s. She meets a handsome but tormented “bad boy” carnival barker named Billy Bigelow (Brandon O’Neill), and it is lust at first sight. Julie risks everything to be with this obviously flawed roustabout she just met (which seems unlikely in that time and place) and they do fall in love, but neither will admit their feelings to the other. They scoff at marriage, but get married. Then they continue to make matters worse.

When I see musicals, I try to remind myself that they are mostly about the music, singing, and dancing. Sometimes I can enjoy all those things immensely and still not feel sympathetic toward certain characters, even characters I am expected to like, and this has nothing to do with how well the parts are acted. 

The character Julie might seem strong and inspiring to some, the epitome of the loving and loyal wife, who would never leave the man who treats her badly. I saw her as good, kind, loving, and loyal, but also weak, lacking self-respect, and enabling. As for Billy, he was not devoid of caring, tenderness, or a sense of right and wrong, but he was still abusive and self-centered. After reacting to everything immaturely, he ultimately takes the easy way out.

As happens in many families, bad decisions result in consequences that impact the next generation, in this case, the daughter they would never raise together. In spite of great acting and singing on the part of Griffith and O’Neill, this leading couple we would hope to cheer, identify with, and embrace, offered little for me to admire. 

The company of Spectrum Dance Theatre
 in Rodgers & Hammerstein's Carousel at The 5th Avenue Theatre.  
Phot Credit: Mark Kitaoka

Some things just plain annoyed me, even while I would call this a dazzling production and a “must see.” If that seems contradictory, let me stress that it was a visual and aural delight. The warm, earthy colors of the costumes glowed against a backdrop of cleverly conceived, minimalistic scenery that, for the most part, didn’t take up room on the stage, allowing plenty of space for the cast and the members of Spectrum Dance Theatre who took part in this co-production. Martin Christoffel’s set designs included the silhouettes of highly stylized sailboats suggesting a harbor, and stacked wooden crates on the shoreline of the 19th century New England town where the story takes place. The carousel itself was also more suggested than shown, although a rotating circle in the stage floor helped create the illusion. The music seemed perfectly balanced and the volume at the right level. I could hear and understand all the lyrics and appreciated special effects, such as sounds typical of the waterfront, adding realism to the abstractions. I loved the lighting too.

Carousel is a story full of beauty, wonderful music, poignancy, laughter, yearnings, romances (although few I would call psychologically healthy), plus illusions, emotional dysfunction, and plenty of regrets. Sounds more like real life than escapism, doesn't it? The show’s reminder that we all experience regrets and rarely get second chances moved me more than anything else. This story included little evidence of character development and, probably unintentionally, posed harsh questions. When are people truly victims of circumstance, and when are they victims of themselves and their own bad choices? Is there virtue, (even an expression of “love”) in accepting bad behavior because you think the perpetrator can’t help themselves? Or does that just make you a fool? Should the notion of loyalty include tolerance of abuse? Not in my mind. I don’t care much for excuses. 

The company of Rodgers & Hammerstein's Carousel at The 5th Avenue Theatre.  
​Photo Credit: Mark Kitaoka

Although I found so much to enjoy and appreciate in this production of a classical musical, most especially the music itself, I kept wondering, “What were Rodgers and Hammerstein really thinking?” When Julie sang “What’s the Use of Wonderin’” (all about her unconditional love for a guy who acts like a jerk), I kept hearing strains of Tammy Wynette’s “Stand by Your Man,” an equally gag-worthy song that was released in 1968, a year that I could swear was only yesterday. Naturally, it became a huge hit. 

I wasn’t even born when the Broadway musical Carousel made its debut. Later, when the film adaptation made the rounds, I might have been an aspiring writer, but one using a crayon instead of a pen and surrounded by dolls and teddy bears who agreed with all of my opinions. Those were the good old days. I'm sure many people disagree with me now. If I had been an adult reviewer in that era when so many of us were unconscious of our unconsciousness, I wonder if my own views would have differed. As beautiful as it is, the main value in Carousel lies in the fact that it might make us look at relationships and see how far we have come, (if we have truly come far at all). I fear way too many people have a warped idea of romance that celebrates martyrdom. They still get weepy over Tammy’s 1968 lyrics:

“You’ll have bad times, and he’ll have good times, doing things that you don’t understand. But if you love him, you’ll forgive him...”  

Would you? I suggest you go see it and then ask yourself that question. We all take away something different, and remember, both people who gave me their opinions were correct; it is both beautiful and dark, and also well worth seeing if for no other reason than to test your own cringe response. 

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REVIEW: "A CHORUS LINE" AT THE 5TH AVENUE THEATRE KICKS AWAY YOUR ILLUSIONS ABOUT A LIFE IN THE ARTS

Seattle's 5th Avenue Theatre high kicked, tapped, and sang its way into the 2014-2015 season with the Broadway hit musical "A Chorus Line" (September 3-28), and during the drive home on opening night, my husband and I talked about its pluses (many) and minuses (very few.) I also wondered aloud why chorus lines themselves hold so much appeal, for the people in them and the people admiring them. Why does mankind need chorus lines? The answer is deep, my friend, very deep. But first, let's talk about this show.

The company of A Chorus Line at The 5th Avenue Theatre.    
Photo Credit Mark Kitaoka

The musical takes us from auditions through the long and harrowing process of elimination that leads to the final selection and the chorus line's glittering finale. It's sometimes a brutal ride. The pressures of this ordeal bring out the angst, secret backgrounds, and emotional baggage of those who want, more than anything, to end up in the chorus line. Taking us along on the journey is a most talented groups of performers with full credentials. Chryssie Whitehead stars in the lead role of Cassie in a cast featuring not only many who have already made a name for themselves in Seattle, but also natives of several other Northwest cities, such as Tacoma*, Bellevue, Everett, and Portland. 

Chryssie Whitehead stars as Cassie in The 5th Avenue Theatre's production of A Chorus Line.  
Photo Credit Mark Kitaoka

If singing and dancing are the strength of this entertainment genre, in this case, the dancing was stronger than the singing, in my opinion, only because the dancing was unbeatable. When small groups merged into one, the perfect choreography, the professionalism, the years of training, all showed. They were so together that it brought a thrill. 

The same applies to the 5th Avenue's outstanding orchestra. I've never heard those amazing musician sound better than on opening night of "A Chorus Line." In terms of aural delights, let me also complement the sound design as superb. Everything seemed well balanced and at just the right volume, at least from my seat. I always appreciate the lighting at this theater, and it, too, added so much, creating a jewel box of paints on a dark pallet one moment and an almost blinding golden nakedness of illumination the next. When it came to acting, my husband and I agreed that not a couple of cast members could not "sell" their characters as convincingly as others, but we still enjoyed the show. Kudos to all.

Richard Peacock plays Richie in A Chorus Line at The 5th Avenue Theatre.  
Photo Credit Mark Kitaoka

The long success of "A Chorus Line," must be based on the fact that we can all relate to it. Although few of us actually become professional dancers—or actors, musicians, or athletes, for that matter—almost everyone has, at some time in their lives, fantasized overcoming their fears and living their dreams of glory. This show might scare you or dare you. It shows you what life is really like for those who put their hearts, souls, and bodies literally "on the line" to express what they cannot suppress. If you've lived that dream, you will recognize yourself. If you've ever waited in a line of nervous junior high school Physical Education students, while the two best athletes take turns choosing their teams, you will recognize yourself. 

Think of all the bad situations that involve lines—suspects in a jail lineup, bread lines during the Great Depression, whimpering 1950s and '60s era school kids in line for vaccinations, the grocery store check stand at 5 p.m., gas rationing, Army draftees in Jockey shorts awaiting physicals, or the scene outside the ladies restroom during a short intermission. Even when they don't make us nervous or impatient, lines often make us compare ourselves to others, especially in situations of competition. Are we too tall or short, too fat or skinny, to early or late, old or young, good enough, smart enough, lucky enough? How do we measure up? 

The company of A Chorus Line at The 5th Avenue Theatre.    
Photo Credit Tracy Martin

As I looked at all those very fit dancers on the stage—real people with their huge variety of body shapes and sizes, actually living the so-called "glamour" of showbiz—I knew they've all been in the place of their characters, feeling at times like the last kid picked for the basketball team. And therein lies the raw truth and beauty of humanity. We are, at once, all the same and all different, and our existence is naturally chaotic, a puzzle made of a million pieces that may never fit together.

So why do some of us love chorus lines? They fulfill our fantasy of creating order from that chaos, of harmoniously synchronized effort and perfect unity. Go see "A Chorus Line" if for no reason than to realize that the cast is portraying something at least partially autobiographical and that those compelled to perform do so as much for themselves as for the audience, pushing past universal fears and insecurities toward achievement. Admire their courage and applaud their victories, for they represent victory for all.

The company of A Chorus Line at The 5th Avenue Theatre.    
Photo Credit Mark Kitaoka

*Since I live in Tacoma, I especially want to mention Tacoma's own Greg McCormick Allen, who did a great job as "Larry" in this, his 23rd production at The 5th Avenue Theatre.  

Musical "ANYTHING GOES" at The 5th Avenue Theatre is Pure Delight— a review

 

Rachel York and Company in Roundabout Theater Company's Anything Goes.
Credit Joan Marcus

Whenever I start feeling like the world is doomed, nothing yanks me out of a funk faster than the irresistible rhythms of tap shoes, the color, flash, and energy of a fine chorus of dancers on a hot tune, or their swirl and sway on a sentimental ballad. Package all that with fine voices singing Cole Porter’s classics of the Great American Songbook with the backing of an outstanding orchestra, plus some knock out stage sets, and you’ll forget all your cares. Such was my evening at the press opening of Anything Goes at The 5^th Avenue Theatre in Seattle last Thursday night.

Rachel York and Company in Roundabout Theater Company's Anything Goes.
Credit Joan Marcus

What a treat it is to have Roundabout Theatre Company’s tour of this Broadway revival come to town.  If you want to spend an afternoon or evening experiencing total escapism, fun, and happiness, get your tickets now while you can. Performances are Tuesdays through Sundays, closing on November 3, 2013. You will quickly see why this musical won the 2011 Tony Award for Best Musical Revival, directed and choreographed by Kathleen Marshall, who won the 2011 Toney Award for Best Choreography.

Enjoy the crazy shenanigans, mix-ups, and mistaken identities of an interesting mix of folks aboard an ocean liner in the 1930s. It might be the middle of the Great Depression, but no one can be depressed for long on this trip with all the romantic intrigue, humor, historically accurate costumes, and song and dance.  Smile, reminisce, and laugh your head off as the action takes place in gorgeous stage settings. Rediscover tunes so great they’ve withstood the decades. In addition to the theme song, “Anything Goes,” you’ll hear:

I Get a Kick Out of You
It’s De-Lovely

Friendship
Blow, Gabriel, Blow
Easy to Love
The Gypsy in Me

 

Erich Bergen and Rachel York in Roundabout Theater Company's Anything Goes.
Credit Joan Marcus

The vivacious Rachel York, as Reno Sweeny, is the sparkling diamond in this setting. Her voice, style, and dancing ability are unsurpassed. Other gems surround her. Josh Franklin in the lead male role of Billy Crocker (even though these press photos show Erich Bergen) was fabulous, contributing his powerful voice, great acting, and dancing skills to the this show's success. Fred Applegate charmed us as the lovable gangster Moonface Martin. Dennis Kelly was hilarious as the Wall Street tycoon Elisha Whitney. Alex Finke made a lovely debutante Hope Harcourt, with the talented Sandra Shipley as her mother,  and Joey Sorge as Hope’s fiancé, Lord Evelyn Oakleigh offered laughs and a surprises when his true self emerged.



Alex Finke and Erich Bergen  in Roundabout Theater Company's Anything Goes.
Credit Joan Marcus



While Billy and Hope provide moments of elegance and grace, dancing to “It’s De-Lovely,” Lord Evelyn and Reno heat things up with their rendition of “The Gypsy in Me.” One of my favorites, however, was the tune “Friendship,” where Reno and Moonface Martin, exchange looks, pokes, and hip bumps to the hilarious lyrics.

If I could lump all my praise into the form of a pie, I’d be serving a huge slice to The 5^th Avenue’s own amazing orchestra, conducted this time by Jay Alger. The popular music of the 1930s is a big part of my life and they totally nailed it, getting just the right sound, style and authentic period arrangements. Many of great Seattle's finest musicians occupy that orchestra pit and I say, "Congratulations to these hometown heroes!"

I always enjoy myself at The 5^th Avenue, but I give this show a rating of five especially bright stars. Go see it!

The 5th Avenue Theatre is located at 1308 5th Avenue, Seattle, WA 98101
Box office phone: (206) 625-1900  Online box office



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