Only once, and very briefly, did the evening seem even a little forced, or the acting a little too self-aware.This is shortly after the start of the show when a bizarre (and it seems purposely so) narrator figure (played by Karen Landry), made up like the Emcee, but dressed like a Sally Bowles in Cabaret, and talking like a stilted Norma Desmond, with over-dramatic gaps in speech, "sets the stage".It is the only moment in the entire thing that is out of place and unnecessarily showy.But soon enough, the actress gets a handle on it, and the character, like the rest fit into the flow.It should be said that I don't believe that this slight misstep is any fault of the actress, as she seems to be very much in control of her performance, but rather is the result of a combination of too earnest direction and text.
Technically, the show shares in the brilliance of the performance, as each element contributes seamlessly to the whole.The costumes (designed by Melanie Lester – the colorful sketches and her "process" explained in another lobby display) are perfect for the show simultaneously adding color to the bland (not a bad thing, here) palate of the set and creating character.Great care has also been taken to allow for rapid, often mid-scene costume changes, all done in view of the audience, which adds another fine layer of theatricality.When the actors are nameless members of a sort of Greek chorus, they all wear beige, in a style reminiscent of 1940's undergarments and seamstress' dress forms or perhaps early 20th century gymnasium togs.And while the ladies wear feminine styles and the men wear masculine styles, there is a certain sexless androgyny to the ensemble.The set, designed by Tama Szalczer, is an odd, grey and black array of ramps, spaces and poles, which, like the ensemble costumes, allows for a variety of interpretations.It is at once bland, like the lives of the characters, and startling, and suggests both a past of struggle and a future full of endless possibilities.And, in addition to the stunning fire effect, Terry Cobb has used the nearly blank canvas to full advantage, creating beautiful color washes and effectively white lighting to highlight the moods and colors of the story.Special kudos are also due to dramaturg Gedalya Chinn and her staff (Laurel Haac, Sarah Norton and Alan Kriezenbeck) who have really done their homework, and have provided wonderful background information in those lobby displays. (You really should be sure to arrive early to take all of this in!)
This stunning, vibrant production was greeted with you-could-hear-a-pin-drop silence for the entire performance the night I attended, so carefully attentive the audience was.And you should not miss this wonderful, theatrical piece.
PHOTO: (L to R) Karen Landry and Travis Hudson. Photo by Rich Riggins.
