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REVIEW: The Color Purple – Musical Revival

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Opening night for THE COLOR PURPLE in Dallas ended with a cheering crowd and a standing ovation at the Winspear Opera House in the downtown Dallas Arts District. 

(Company of the National Tour, THE COLOR PURPLE © JEREMY DANIEL)
(Company of the National Tour, THE COLOR PURPLE © JEREMY DANIEL)

THE COLOR PURPLE is a Tony Award-winning musical revival based on the Pulitzer Prize winning novel by Alice Walker. The story spans the years 1910 through 1940, and the Grammy-winning score expertly infuses the musical flavors of that era, everything from gospel, jazz, ragtime, and blues.

For those unfamiliar with the source material, the opening scene of THE COLOR PURPLE may come as a jolt. The casual manner in which 14-year-old Celie (Mariah Lyttle) mentions that her two children were fathered by her dad (Jeremy Whatley) may shock you. To Celie, it’s a matter of fact event. After her mother died, her father expected her to fulfill her role in every way, from keeping house to having sex. He’s in charge, and it’s the only world Celie has ever known.

Each time she gives birth, Celie’s dad, Alphonso, takes the baby away. While she prays that he gives them up for adoption, the local rumor mill claims that he kills these babies in the woods. The one joy in Celie’s life is the unconditional love she shares with her little sister, Nettie (Nashka Desrosiers.)

Celie is willing to bear her dad’s abuse because it shields Nettie from him and gives the younger girl the opportunity to attend school. It’s hardly ideal, but Celie clings to Nettie and the possibilities for Nettie’s future as her one sustaining hope.

(Sandie Lee, Company of the National Tour, THE COLOR PURPLE © JEREMY DANIEL)
(Sandie Lee, Company of the National Tour, THE COLOR PURPLE © JEREMY DANIEL)

Even this tiny bit of solace is soon stolen from Celie. After much negotiation, a man Celie knows only as “Mister” (Andrew Malone), takes her as his wife. Being Mister’s wife means more abuse and thankless servitude, only this time with step-children and a bigger house to maintain. Mister keeps Celie locked up in the house and forbids her from writing letters to Nettie. As the years pass, Mister even lets her conclude that Nettie must be dead since she never hears from her.

Eventually, two unusual women enter Celie’s life. Unlike the other women she has known, these ladies take charge of their lives in a way that Celie would have never believed possible. The first is the wife of Mister’s son, Harpo (Brandon A. Wright.) Her name is Sofia (Chédra Arielle), and Celie is both shocked and delighted to watch Sofia stand up for herself in her relationship with Harpo. Sofia says what she thinks and clearly feels equal to anyone else, man or woman.

It’s also shocking for Celie to see how physically affectionate they are, something Celie has had very little of in her life. My favorite song and dance number from the show is when Sofia and Harpo kiss and make up in the hilariously suggestive “Any Little Thing.”

(Chédra Arielle, Brandon A. Wright, THE COLOR PURPLE © JEREMY DANIEL)
(Chédra Arielle, Brandon A. Wright, THE COLOR PURPLE © JEREMY DANIEL)

The other woman to rock Celie’s world is Shug Avery (Sandie Lee.) Long before she steps onto the stage, Shug’s presence is felt in this story. Everyone in town is fascinated by her whether they speak good or ill of her. Shug managed to escape her small town fate by making a career for herself as a jazz singer, and leads an exotic life full of fancy clothes and travel.

Although the music is great throughout, it wasn’t until Shug sang “Push da Button” in the first act that I felt the musical side of this show really came to life. Like Sofia, she does not let men dominate her, and she actually enjoys sex.

Mister makes it no secret that he is head-over-heels for Shug, and when she falls ill, he brings her home and tells Celie to take care of her. Although quite rude to Celie at first, the two women eventually become close friends, and later, lovers, although the musical does not delve too deeply into this.

The dire circumstances and the grim realities of Celie’s life remind me of the trials a Charles Dickens character would endure.  Much like Oliver Twist, Celie is born into a world where she is not seen for who she is, but exploited by others.

Trade the grim realities of Victorian Era England for the grim realities of the American South in the 1910s through 1940s, and you have storylines in which the main character grows up in a harsh and nearly loveless world.

I don’t want to give away the entire story, but suffice it to say that in the end all the plot lines are exuberantly resolved: we learn the true fate of Nettie, we find out what happened to Celie’s children, and most importantly, we see a self-assured Celie carve out a place for herself as an independent woman and proudly announce to the world that “I’m here!”

Follow The Color Purple on social media:

Official website:  Color Purple Musical Official Site
Facebook page:  Color Purple Musical
Twitter profile:  @BwayColorPurple
Hashtag for social media: #OnceOnThisIsland
AT&T Performing Arts Center on Twitter & Instagram: @ATTPAC

See The Color Purple in Dallas:

Where: AT&T Performing Arts Center/Winspear Opera House, 2403 Flora Street, Dallas, TX 75201
Tickets: Check availability and book online at the AT&T Performing Art Center official website.
Runtime: Runs for 2 1/2 hours with a 20-minute intermission. Recommended for ages 12 and older.

NOTE: While tickets were provided for review purposes, the opinions expressed in this article are wholly my own.

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Filed Under: #TuiSnider #Texas #author #musician, Blog on Writing & Life, Blog Posts, My Reviews, Theater Reviews Tagged With: ATTPAC, Dallas, musical, Once On This Island, Texas, theater, theater review, theatre

REVIEW: Once On This Island – A Vibrant Tale in Storm-Ravaged Paradise

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Opening Night for Once On This Island

Opening night for ONCE ON THIS ISLAND, brought Caribbean heat to chilly North Dallas at the Winspear Opera House in the downtown Dallas Arts District. I was excited to attend since Lynn Ahrens and Stephen Flaherty’s catchy lyrics and island rhythms won the 2018 Tony Award for Best Revival of a Musical with this captivating production.

Kyle Ramar Freeman as ‘Asaka’ and Courtnee Carter as ‘Ti Moune’ in the North American Tour of ONCE ON THIS ISLAND. Photo by Joan Marcus. 2019

Storm-ravaged Tropical Paradise

ONCE ON THIS ISLAND is set on an island in the French Antilles, although we never find out precisely which one. Even before the show starts, we quickly realize that the world of this play is an impoverished tropical paradise. As audience members file into the theatre, the curtain is already up, revealing characters who live in a beachside shantytown, with buildings created from a patchwork of corrugated tin. The staging is innovative, with the musicians on platforms overhead and room for 50 audience members to sit directly onstage, for what must have been a uniquely immersive experience.

The plot of ONCE ON THIS ISLAND unfurls as adults retelling a well-worn legend to a little schoolgirl who is hearing the tale for the first time. This story revolves around an orphan named Ti Moune (Courtnee Carter.) After her family is swept away during a storm, Ti Moune is adopted by an elderly couple. Despite living on the poor side of the island, she is a joyous girl who grows into a beautiful young woman.

 

MiMi Crossland as ‘Little Girl,’ Courtnee Carter as ‘Ti Moune’ and the Company of the North American Tour of ONCE ON THIS ISLAND. Photo by Joan Marcus. 2019

 

Island Gods

As Ti Moune grows up, she ponders why she survived the storm. Surely the gods must have important plans for her, and as the play progresses we see and hear four island gods plotting her fate. There’s Asaka (Kyle Ramar Freeman), the mother goddess, who is colorful and comforting; Erzulie, the Goddess of Love, (Cassondra James) who is graceful and plays the flute; and Agwe, the God of the Sea, (Jahmaul Bakare) who is robust and temperamental. My favorite, however, is Papa Ge a.k.a. the God of Death. American Idol fans may recognize Tamyra Gray in this role. To me, she perfectly embodies the enticing-yet-threatening presence of death.

Feels like an Ancient Folktale

When a handsome young man from the rich side of the island wrecks his car near Ti Moune’s family, she decides that healing him must be what the Gods have planned for her. She devotedly nurses the young man, falling in love in the process. Of course, since she lives on the poor side of the island and he comes from the rich side, their romance does not end well. No spoilers here, but the tremendously talented cast, imaginative staging, infectious choreography, and catchy music buoy this fast-paced story along to a surprising conclusion.

As I watched the play, it felt like an ancient folktale. In fact, I expected to learn that ONCE ON THIS ISLAND was based on a centuries-old story directly connected to the French Antilles. After all, many such tales involve the heartbreak created by arranged marriages, with lovers divided by their station in life.

The Company of the North American Tour of ONCE ON THIS ISLAND. Photo by Joan Marcus. 2019

Surprising origins

So I was quite surprised to learn that ONCE ON THIS ISLAND is based on a modern story, specifically the 1985 novel My Love, My Love by Rosa Guy. Guy’s novel is, in turn, a Caribbean retelling of the original “Little Mermaid,” by Hans Christian Anderson.

When I thought this was a retelling of a local folktale, I was willing to overlook the thinness of Ti Moune’s love for a good-looking man who was happy to use her and made no effort to fight for her. Had I existed as a fifth god in that island universe, I would have told her, “Honey, he doesn’t deserve you!” Even so, I left ONCE ON THIS ISLAND with a satisfied smile on my face, and a Caribbean-influenced spring in my step.

Follow #OnceOnThisIsland on social media:

Official website:  Once on this Island
Facebook page:  Once on this Island
Twitter profile:  @OnceIslandBway
Hashtag for social media: #OnceOnThisIsland
AT&T Performing Arts Center on Twitter & Instagram: @ATTPAC

See Once On This Island in Dallas:

Where: AT&T Performing Arts Center/Winspear Opera House, 2403 Flora Street, Dallas, TX 75201
Tickets: Check availability and book online at the AT&T Performing Art Center official website.
Runtime: Runs for 90 minutes with no intermission.

NOTE: While tickets were provided for review purposes, the opinions expressed in this article are wholly my own.

Hey, you! Want to keep up with me?

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Filed Under: #TuiSnider #Texas #author #musician, Blog on Writing & Life, Blog Posts, My Reviews, Theater Reviews Tagged With: ATTPAC, Dallas, musical, Once On This Island, Texas, theater, theater review, theatre

REVIEW: ONCE – A Folk Music Fairy Tale

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Opening Night Ovation for ONCE

Opening night for ONCE,  a multiple Tony award-winning folk musical, ended with a cheering crowd and a standing ovation at the Winspear Opera House in the downtown Dallas Arts District.

ONCE musical (photo via ATTPAC)
ONCE musical (photo via ATTPAC)

Onstage Pub and Jam Session

If you’re someone who frequently runs late, make sure you come early for ONCE. If you arrive after the show starts, you will not be allowed to enter for a full 30 minutes. The show is very quiet at the beginning and latecomers could disrupt the plot for the rest of us.

The other reason to come early is to grab a pint at the onstage bar and enjoy some live music up close. It’s a cozy touch that makes the show feel more like you are in a small neighborhood venue rather than the Big D’s Winspear Opera House.

What sets ONCE apart from other musicals is its low-key production. This is a musical that is meant to be listened to more than watched. In addition to the intimate staging, there’s no pit orchestra. Instead, the actors are actually playing their instruments!

The end result is quite charming. I came away feeling like I’d been to a concert in a small venue rather than a Broadway show.

ONCE musical (photo via ATTPAC)
ONCE musical (photo via ATTPAC)

Songs that stand on their own

Based on a 2007 movie of the same name, the musical version of ONCE tells the story of an Irishman who fixes vacuum cleaners by day and is a street musician by night. When we first meet Guy (Jack Gerhard), he is in a creative crisis, ready to give up his dreams of making it with his music. Lucky for him, along comes Girl (Mariah Lotz), a fellow musician who instantly connects with the messages in Guy’s songs and recognizes his tremendous talent.

Of course, the real “guy” and “girl” behind the show are the composers and lyricists, Glen Hansard and Marketa Irglova. Each of their beautiful songs can easily stand alone, outside the world of the musical. This is a musical soundtrack you could purchase and enjoy even if you never see the story. That said, the story by Enda Walsh, is funny, sweet, and moving.

ONCE musical (photo via ATTPAC)
ONCE musical (photo via ATTPAC)

Folk Music Fairy Tale

At first glance, ONCE may seem like a romance, but it is more than that. This folk musical is a modern fairy tale clearly meant to inspire creatives to follow their dreams. After all, every creative person yearns for outside recognition, for some “fairy godmother” or “muse” to come along and give them permission to drop their mundane reality and dive headfirst into their creative passion. And as you step out of the theater humming tunes from the show, you may find yourself doing just this!

Follow #OnceMusical on social media:

Official website:  ONCE Musical (official website)
Facebook page:  ONCE (the musical)
Twitter profile:  @OnceMusical
Hashtag for social media: #oncemusical
AT&T Performing Arts Center on Twitter & Instagram: @ATTPAC

 

See ONCE in Dallas:

Where: AT&T Performing Arts Center/Winspear Opera House, 2403 Flora Street, Dallas, TX 75201
Tickets: Check availability and book online at the AT&T Performing Art Center official website.
Runtime: Runs for roughly 2 hours & 20 minutes with a 20-minute intermission.

NOTE: While tickets were provided for review purposes, the opinions expressed in this article are wholly my own.

Hey, you! Want to keep up with me?

No matter where you live in the galaxy, Tui's books can take you on a FUN adventure!
No matter where you live in the galaxy, Tui Snider’s books & presentations take you on a FUN adventure!

PRIVATE NEWSLETTER: If you’d like to keep up with me, you might like my newsletter, which comes out twice a month. Use the form below to sign up if you’d like to:

  • Know where I speak next
  • Find out when my next book comes out
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As a thank you for signing up to my newsletter, you’ll receive a historic cemetery symbols guide I created called “A Quick Guide to The Many Meanings of Hands.” 






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Filed Under: #TuiSnider #Texas #author #musician, Blog on Writing & Life, Blog Posts, My Reviews, Theater Reviews Tagged With: ATTPAC, Dallas, musical, Once, Texas, theater, theater review, theatre

REVIEW: “Uncanny Valley” Asks Hard Questions about AI @BlackFlagTX #scifi #Visitplano

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Thought provoking play by Thomas Gibbons

What does it really mean to be sentient? If we create a convincing facsimile of a person and use Artificial Intelligence (AI) to reproduce a personality, does the end result truly replace the original person? Or is it a modern-day chimera?

In any case, exactly what sort of legal rights would, or should, such an entity have? How should existing biological family members treat this new being?

Questions such as these (and many more) have kept my husband, Larry, and I chatting for days after seeing Black Flag Theatre Company’s production of “Uncanny Valley,” a thought-provoking play by Thomas Gibbons.

Graphic provided courtesy of Black Flag Theatre Co
Graphic provided courtesy of Black Flag Theatre Co

What is the Uncanny Valley?

In case you’re unfamiliar with the term,“Uncanny Valley” refers to the discomfort people feel upon seeing an effigy that looks nearly human. Although the phrase was coined by roboticist Masahiro Mori in 1970, it’s not a new phenomena. For instance, the Uncanny Valley is why some people think realistic looking dolls are creepy. (For more the on the Uncanny Valley, click here.)

Despite our discomfort with the Uncanny Valley, humans have long been intrigued by humanlike creations; consider Pinocchio or Commander Data from Star Trek.

At exactly what point, however, does a machine cease to be merely a machine and attain true sentience? With the acceleration in robotics and AI, this is an increasingly important question for us to answer.

Uncanny Valley by Thomas Gibbons

Aside from the title of the play, a major clue for theater goers regarding the plot to “Uncanny Valley” came from a series of magazine covers displayed in the entryway to Plano’s Cox Theatre. Convincing mock-ups of Time, Scientific American, Psychology Today, and WIRED featuring headlines such as, “Self-Taught Robots,” “Replacing Genes with Code,” and “Breaking Through to Consciousness” lined the walls.

At first glance I thought these were actual magazine covers. It was only when I noticed the dates, ranging from 2021 to 2056, that I realized otherwise. I also had to laugh when I saw a US cover price listed as $74.90, while the Canadian price was $84.90. Even in the future, some things never change. As Black Flag Theatre Company’s director, Hugh Lehman, remarked, “Most people think the magazines are real until they notice the prices.”

Faux future magazine covers. (Images provided courtesy of Black Flag Theatre Co)
Faux future magazine covers. (Images provided courtesy of Black Flag Theatre Co)

Philadelphia playwright in attendance

On the night I saw “Uncanny Valley,” its playwright, Thomas Gibbons, was also in attendance. Gibbons is the playwright-in-residence at InterAct Theatre in Philadelphia, and has received seven playwriting fellowships, two Barrymore Awards, and a Pew Fellowship in the Arts. It was such a delight to meet him and chat briefly before the performance started.

No spoilers, of course, but Gibbons is passionately curious about the ethical dilemmas we face as scientific knowledge plunges forth. When I mentioned that most people I know seem afraid to discuss AI’s growing role in our lives, Gibbons nodded and said, “People aren’t talking about the ramifications of AI, but they really should be.”

Storyline for “Uncanny Valley”

“Uncanny Valley” is a two-person show centered around a neuroscientist named Claire (Sue Birch) and her nonbiological humanoid protege, Julian (Michael Salimitari.) The two actors made a strong and believable duo and I was quickly transported into their world.

When we first meet Julian, he consists merely of a head and torso. As the play progresses, he grows more human, both inwardly and outwardly. Claire’s job is to lead him through the “Uncanny Valley,” to help him act convincingly human without making people too uncomfortable. You might call her a lab-coated Henry Higgins to Julian’s android Eliza Doolittle.

In one scene, Claire explains the importance of blinking. “We are a skittish species,” she tells Julian. “It’s how we’ve lasted this long.”

Claire’s description of our skittishness and the many unwritten rules involved in human social interaction brought to mind a relative of mine who has Asperger’s Syndrome. Over the years, he has taken classes in which teachers, much like Claire, taught him the importance of eye contact, smiling, and so forth. Of course, despite his struggles with human social interaction, I would never doubt his sentience!

So what does it really mean to be sentient? Is it enough to convincingly mimic a neurotypical human? When can you know for sure that the entity across from you is just as self-aware as you? These are just a few of the many questions evoked by “Uncanny Valley.” Questions that linger long after the final act.

Claire (Sue Birch) and Julian (Michael Salimitari) Photo provided courtesy of Black Flag Theatre Co
Claire (Sue Birch) and Julian (Michael Salimitari) Photo provided courtesy of Black Flag Theatre Co

Human fascination with sentient machines

After all, humans have a natural tendency to anthropomorphize the machines in our lives. How many of us name our cars, for instance? I must confess that even though I know better, I sometimes feel like my Roomba is stalking me! (Seriously, why does it attack my ankles in the morning when there are plenty of other places on our floor worth cleaning?!?)

And don’t get me started with Siri and Alexa. Once you begin having conversations with machines, the tendency to anthropomorphize them increases. (As an aside, my Siri once replied to a simple request from me with, “Yes, bitch.” Even coming from a machine, it’s hard not to take such a glitch personally!)

At this point in time, we know the AI we encounter is not truly sentient. It only feels that way. However, as Thomas Gibbons’ play points out, this will not always be the case.

At some point, our feelings towards a machine will be more than mere anthropomorphism on our part. As Julian tells Claire, “You spent your career gazing across the valley. You must have known that someday, someone would gaze back.”

Strong debut for Black Flag Theatre Company

Since their slogan is, “That sound you hear? It ain’t The Sound of Music,”™ I expected Black Flag Theatre Company to dish up something modern and edgy for their debut. Thomas Gibbons’ “Uncanny Valley” certainly fit the bill. I had a great time and am looking forward to what Hugh Lehman and his crew bring to us next!

Follow Black Flag Theatre on social media:

Official website: Black Flag Theatre Company
Twitter profile: @BlackFlagTX
Instagram: @BlackFlagTheatre
Facebook: BlackFlagTheatreCo 

NOTE: While tickets were provided for review purposes, the opinions expressed in this article are wholly my own.

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Filed Under: #TuiSnider #Texas #author #musician, Blog on Writing & Life, Blog Posts, My Reviews, Theater Reviews Tagged With: Dallas, memoir, plano, play, review, scifi, Texas, theater, Uncanny Valley, VisitPlano

Review: The Gershwins’ Porgy & Bess in Dallas, Texas

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Alicia Hall Moran as Bess and Nathaniel Stampley as Porgy in the The Gershwins’ Porgy and Bess. Photo by Michael J. Lutch.
Alicia Hall Moran as Bess and Nathaniel Stampley as Porgy in the The Gershwins’ Porgy and Bess. Photo by Michael J. Lutch.

The Gershwins’ Porgy and Bess: A Tony Award Winning Musical

After winning several prestigious awards (including the 2012 Tony Award® for Best Revival of a Musical) The Gershwin’s Porgy and Bess is now playing at the Winspear Opera House in Dallas, Texas as part of the AT&T Performing Arts Broadway Lexus Series.

Even if you have never seen Porgy and Bess, chances are you know its songs, since so many of them have been covered over the past 78 years. George Gershwin’s famous American opera intentionally weaves classical music with spirituals, blues and jazz, so it’s easy for artists in different genres to be inspired. Tunes from Porgy and Bess have been recorded by everyone from Frank Sinatra, Christina Aguilera, Peggy Lee, and even The Zombies.

The Most Covered Song of All Time?

If you are still drawing a blank at the mention of Porgy and Bess, chances are you can at least hum its opening aria, “Summertime,” which according to The Summertime Connection has been recorded over 33,000 times. Whether this tally makes it the most covered song in the world is up for debate, but there’s no denying that it’s been covered a LOT.

Kingsley Leggs as Sporting Life and the cast of The Gershwins’ Porgy and Bess. Photo by Michael J. Lutch.
Kingsley Leggs as Sporting Life and the cast of The Gershwins’ Porgy and Bess. Photo by Michael J. Lutch.

The Plot of Porgy and Bess: Love, Lust & Addiction

The Gershwin’s Porgy and Bess takes place in Catfish Row, a seaside village of South Carolina in the 1920’s. It’s a poverty stricken community rocked by hurricanes, murder and police brutality. In the midst of all this drama we find Bess, a beautiful but tormented woman who is torn between love, lust and addiction.

As the story unfolds, Bess must choose between the unconditional love she experiences with the crippled beggar Porgy, the lust she enjoys with the virile but aimless Crown, and the self-destructive drug addiction that Sportin’ Life is all too happy to provide.

Which of these powerful men will Bess choose, and why?

Controversial Despite Gershwin Family Approval

Despite being approved by heirs to the Gershwin family estate, this current incarnation of Porgy and Bess was criticized by some for taking liberties with the original 1935 stage production. For one thing, purists are disturbed that instead of being opera, in which all the words are sung, there is *gasp* spoken dialogue in this version!

Personally, I like how Suzan-Lori Parks, the playwright who re-wrote the libretto, uses dialogue to flesh out the characters, especially the role of Bess. Another clever alteration is how Parks introduces the song “I’ve Got Plenty of Nothing” so that the “nothing” Porgy is singing about now alludes to his rich love life with Bess rather than simply his empty bank account.

It’s the mark of a classic that artists continually find new inspiration in older works, reinterpreting and shaping them to reflect the current zeitgeist. (Case in point, Joss Whedon’s 2012 adaption of Shakespeare’s “Much Ado About Nothing.”) While purists’ feathers get ruffled by what is added and/or trimmed, when a piece is meant to be performed live, it will never be a static entity.

The cast of The Gershwins’ Porgy and Bess. Photo by Michael J. Lutch.
The cast of The Gershwins’ Porgy and Bess. Photo by Michael J. Lutch.

Talented Cast Has Plenty of Something

All controversy aside, The Gershwin’s Porgy and Bess is a pleasure to the eyes and ears. As I read the cast biographies, I was surprised to see that not all of them list operatic experiences prior to this production because they all have such strong voices.

Alicia Hall Moran fully inhabits that tormented temptress, Bess. Nathaniel Stampley‘s Porgy will break your heart with his sincerity and tragic optimism, while Alvin Crawford, who plays Bess’ longtime lover, Crown, is forceful and charismatic. I also enjoyed how Kingsley Leggs as Sportin’ Life exhudes a laid-back Cab Calloway vibe, with a dash of smug cynicism for good measure.

All in all, the cast of The Gershwins’ Porgy & Bess has got plenty of something and that “something” is talent. I highly recommend this show.

For More information:

What:US National Tour of The Gershwins’ Porgy & Bess
When: December 11 through 23, 2013
Where: 2403 Flora Street, Dallas, TX 75201
Price: Tickets start at $30. Check availability and book online at the AT&T Performing Art Center official website.
Runtime:Approximately 2.5 hours with one intermission.

NOTE: While tickets were provided for review purposes, the opinions expressed in this article are wholly my own.

Photo credits: All photos provided courtesy of the AT&T Performing Arts Center, and copyright Michael J. Lutch.

Filed Under: My Reviews, Theater Reviews, Travel Photo Essays Tagged With: ATTPAC, Dallas, Gershwin, musical, opera, review, The Gershwins' Porgy and Bess, theater, theater review, Tui Snider

Review: Anything Goes at the Winspear Opera House in Dallas, Texas

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Roundabout Theatre Company’s ANYTHING GOES Pictured: Ryan Steer, Bobby Pestka, Rachel York, Jeremy Benton, Photo Credit: © Joan Marcus,

Anything Goes: A Tony Award Winning Musical Revival

Anything Goes is not just a classic musical, it’s what every musical strives to be. Whether you’ve seen it before or not, if you grew up in the USA, you’ve certainly heard all (or very nearly all) of the songs in this show before. The first act alone contains such classics as: “I Get a Kick Out of You,” “You’re the Top,” “De-Lovely,” and, “Anything Goes.”

See what I mean?

After seeing the show in Dallas at the Winspear Opera House, it’s easy to see why this revival by New York City’s Roundabout Theatre Company walked away with three Tony® Awards in 2011, including Best Revival of a Musical.

Roundabout Theatre Company’s ANYTHING GOES Pictured: Erich Bergen and Rachel York Photo Credit: © Joan Marcus, 2012
Roundabout Theatre Company’s ANYTHING GOES Pictured: Erich Bergen and Rachel York Photo Credit: © Joan Marcus, 2012

Anything Goes revolves around a character named Reno Sweeney (Rachel York) who is billed as an evangelist/nightclub singer. This seemed an unlikely combination to me until I learned that the character is loosely based upon the real-life Aimee Semple McPherson, a notorious evangelist known for her sex appeal, as well as an infamous speakeasy hostess called Texas Guinan, who was known for greeting her patrons with a hearty, “Hello suckers!” (Fans of Star Trek: The Next Generation may be interested to know that, Guinan, the intergalactic bar tender played by Whoopie Goldberg, was named in honor of the latter.)

Roundabout Theatre Company’s ANYTHING GOES Pictured: Alex Finke, Erich Bergen and Company Photo Credit: © Joan Marcus, 2012
Roundabout Theatre Company’s ANYTHING GOES Pictured: Alex Finke, Erich Bergen and Company Photo Credit: © Joan Marcus, 2012

First called Hard to Get, then Bon Voyage, the show’s title was inspired by a comment made by the actor Willam Galton when Cole Porter overheard him tell an interviewer that, “In this kind of a spot, anything goes!” The phrase clicked with Porter, who showed up the next day with the completed song; the rest, as they say, is history.

The fact that Anything Goes originally opened in 1934, smack in the middle of the Great Depression, makes this revival all the more apropos, since the show is making its rounds as America once again recovers from an economic crisis.

Roundabout Theatre Company’s ANYTHING GOES Pictured: Rachel York and Company Photo Credit: © Joan Marcus, 2012
Roundabout Theatre Company’s ANYTHING GOES Pictured: Rachel York and Company Photo Credit: © Joan Marcus, 2012

In a role originally played by Ethel Merman, Rachel York shines as Reno Sweeney. In addition to her strong singing voice, showgirl good looks and gorgeous gams, there’s a touch of Mae West to York’s speaking voice that makes it seem as though she stepped straight out of an old movie.

As for the plot, think of a light-hearted version of the movie “Titanic” in which, instead of the boat sinking, there’s tap dancing and you won’t be shedding any tears, unless you’re the sort who needs to wipe their eyes when laughing.

The story follows a group of passengers crossing the Atlantic aboard the SS American. The aforementioned singer/evangelist Reno Sweeney (Rachel York) is smitten with the handsome stockbroker, Billy Crocker (Erich Bergen/Josh Franklin). Billy, however, is crazy over Hope Harcourt (Alex Finke), a debutante whose family lost their fortune in the stock market crash. For this reason, Hope’s desperate mother, Mrs. Evangeline Harcourt (Sandra Shipley) is determined that Hope should marry a wealthy Englishman named Lord Evelyn Oakleigh (Edward Staudenmayer).

When Billy impulsively decides to stow away aboard the SS American, he winds up befriending the criminal Moonface Martin (Fred Applegate) who is disguised as a minister. Together with Martin’s sex-crazed moll, Erma (Joyce Chittick), the characters bumble towards a happy ending – with much singing and dancing along the way, of course!

Roundabout Theatre Company’s ANYTHING GOES Pictured: Rachel York and Company Photo Credit: © Joan Marcus, 2012
Roundabout Theatre Company’s ANYTHING GOES Pictured: Rachel York and Company Photo Credit: © Joan Marcus, 2012

Although the musical is built around the title song, “Anything Goes” Porter himself considered “I Get A Kick Out of You” the best song of the show. For this reason, he purposely placed it early in the production so that those who chose to arrive fashionably late would be cheated out of hearing it!

No matter what Porter’s opinions, the real show stopper of the night – in this production at least – is, “Anything Goes,” a strenuous tap-dancing number that had the opening night crowd hooting and applauding before it even ended.

Another highlight of the show is “Gypsy in Me,” a song and dance number featuring the characters Reno Sweeney and Lord Evelyn Oakleigh. Edward Staudenmayer sang and danced with such dorky abandon (at times echoed comically by Rachel York) that it had me laughing out loud.

In short, this revival of Anything Goes is well worth seeing. Grab your tickets while you can!

For More Information:

What:ANYTHING GOES a Tony® Award winning musical revival by New York City’s Roundabout Theatre Company
When: February 13 through 24, 2013
Where: 2403 Flora Street, Dallas, TX 75201
Price: Tickets start at $30. Check availability and book online at the AT&T Performing Art Center official website.
Runtime:Approximately 3 hours, including one intermission.

NOTE: While tickets were provided for review purposes, the opinions expressed in this article are wholly my own.

Photo credits: All photos provided courtesy of the AT&T Performing Arts Center

Filed Under: Travel Photo Essays Tagged With: Dallas, musical theater, reviews, Texas, theater, Tui Snider

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