Category Archives: Reviews

Forbidden Broadway; Fighting Chance (Review)

Posted on January 10, 2010 | 2 comments

Forbidden Broadway has spent more than 25 years in New York satirising the best and the worst of the Great White Way.  Fighting Chance Productions’ decision to bring a version of the popular revue to Vancouver is a curious one.

The Off-Broadway musical revue made its debut way back in 1982 and has been rewritten over the years to make room for the inclusion of newer shows.  Some of the parodies have held up better than others and I was eager to see which would be included in this incarnation and whether they would find a receptive audience here.

Aaron Lau, Cathy Wilmot and David Nicks in Forbidden Broadway.

Satire like this, demands some familiarity with the source material, and the more familiarity, the better. I needn’t have worried; the night I attended, the intimate PAL Theatre was heavily laden with local musical-theatre buffs in high spirits.  As a whole, they caught pretty much every musical reference thrown their way.

And there were a lot for them to catch.  Everything from Rent, to Les Misérables, to Hairspray.  The strongest audience reactions came for the send-ups of shows that have been seen locally recently.

The cast of five (plus a guest appearance, by the company’s artistic director) do a respectable job with some of the more difficult material.  Kudos to Andrea Bailey, Natalee Fera, Aaron Lau, David Nicks and Cathy Wilmot.  Serviceable impressions of Broadway icons can be a tall order, but they mostly deliver.

“Defying Subtlety” poked cleverly at both Wicked and Idina Menzel.  Cathy Wilmot’s lipstick-smeared Carol Channing was a humourous tribute to the legend’s longtime role as Dolly Levi.  Wilmot also does a larger-than-life Ethel Merman mocking the current trend of over-micing performers.

Also on the mark were good-natured jabs at Liza Minnelli, Bob Fosse and Stephen Sondheim, respectively.  “Into the Words” skillfully incorporated elements of Sunday in the Park with George, Sweeney Todd, and Into the Woods.

Considerably less-successful were parodies of Fiddler on the Roof, Cats and Barbra Streisand.  The weaker material dragged down the show’s pacing.   As well, at least one of the singers had difficulty projecting to the back of the venue.

Forbidden Broadway won’t be to everyone’s liking, but musical-theatre followers will welcome the chance to make light of some of their idols, if only for a night.

Fighting Chance Productions presents Forbidden Broadway from January 6 – 16, 2010 at the PAL Theatre, 581 Cardero St.  Tickets are available online or by calling 604-684-2787.

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Thoroughly Modern Millie; Gateway (Review)

Posted on December 14, 2009 | 3 comments

Running different productions of the same musical within a relatively short period of time inevitably invites comparisons, for better or for worse.  Having seen the TUTS production of Millie half a dozen times this past summer, I’m familiar with both the strengths and the weaknesses of the book and score.  I had such high hopes for Gateway Theatre’s production of Thoroughly Modern Millie. On paper it shows so much promise, but ultimately falls short.

The cast of Gateway's Thoroughly Modern Millie.

There is a lot to like about this production.  Choreographer Kennith Overbey has charged the dance numbers with an intense energy that truly carries the show.  The freneticism of the love-wearied office pool as they tap out their frustrations in “Forget About the Boy,” was almost enough to make me forget some of the other flaws in this show.

Overbey makes excellent use of the incredibly strong male and female choruses.  Among the standouts are Georgia Swinton, Damon Jang, Dimitrios Stephanoy, Meagan Ekelund and Doran Satanove.  There is more than a hint of sex appeal in the alcohol-infused “The Nutty Cracker Suite,” which in less capable hands could have easily been boring and hackneyed.  That same rawness is also welcomely present in the male chorus in “Long as I’m Here with You.”

The ten-piece orchestra is at the top of its game and brings the jazzy score to life, with what seems like minimal effort.  Musical theatre companies around town should take note: cutting back on the size of pit orchestras and live accompaniment can exact a heavy toll on your show.  That richness of sound can’t be replicated by other means.

Lauren Bowler (The Producers, Arts Club) is a strong actress and singer, but doesn’t come off as terribly likeable in the title role of Millie Dillmount.  Her characterisation played like it was from a more serious show, not the one she was in.

Diana Kaarina (Thoroughly Modern Millie, TUTS) was reliably consistent in the role of Miss Dorothy, a role she honed in the US national tour of Thoroughly Modern Millie.  I found myself wishing that Kaarina had been cast as Millie here, a role she completely owned at TUTS this summer.

Denis Simpson plays wealthy socialite and songstress Muzzy Van Hossmere in what appears to be incredibly bad whiteface.  I was hoping for something special in Simpson’s two musical performances “Only in New York” and “Long as I’m Here with You,” and I was still waiting when the final curtain fell.  The fault doesn’t lie with Simpson, but with the uninspired staging consisting of simply facing the audience head-on with limited movement and singing, à la high school.

I’ve seen Simpson dance and sing enough times to know that this wasn’t a case of a director staging around a performer’s weak spots.  Whatever the reasoning behind this creative decision, the poor direction in these numbers pulled down the show’s energy.

The same barebones approach to staging also hurt the comedic number “They Don’t Know.” As the villainous Mrs. Meers, Irene Karas’ accent careered perilously close to the edge and her dragon lady was missing some needed bluster.

Mat Baker’s vocals and dancing were well-suited to the role of Jimmy Smith, but was otherwise bland and not particularly charismatic.  On the other hand, Gaelan Beatty was perfectly charming as the somewhat pompous Trevor Graydon.

Jen Darbellay’s costumes are colourful and eye-catching, though a bit more variety would have been welcome.  The scale of Drew Facey’s set properly conveys the height of the New York cityscape without dwarfing the actors.

All of the technical elements are there, but the show lacks heart.  It should be full of humour and fun, but the quick pace of this staging seems to gloss over many of the best lines and scenes.  That being said, the energetic choreography, top-notch orchestra, and strong chorus alone make Thoroughly Modern Millie worth the price of admission.

Gateway Theatre presents Thoroughly Modern Millie until January 3, 2010 at the Gateway Theatre, 6500 Gilbert Road, Richmond.  Tickets are available online or by phone at 604-270-1812.

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Posted in Gateway Theatre, Musical Theatre, Reviews, Richmond, Thoroughly Modern Mille, Vancouver

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Dirty Rotten Scoundrels; Playhouse (Review)

Posted on November 29, 2009 | 5 comments

By whatever name you may call them, grifters, scam artists, confidence men; they’re a familiar staple of the theatre.  Think of Pirelli in Sweeney Todd, Rooster in Annie, or Harold Hill in The Music Man.  Dirty Rotten Scoundrels follows this great tradition with an artful and comedic tribute to the art of the con.  Lawrence Jameson, a successful high-end conman, competes with two-bit scammer Freddy Benson to see who can be the first to bilk a target out of $50,000, with the loser leaving town.   The result is a ridiculous suite of harebrained and madcap schemes that translate perfectly onto the musical stage.

Josh Epstein, Elena Juatco and ensemble in Dirty Rotten Scoundrels at the Vancouver Playhouse.

David Yazbek’s music and lyrics (The Full Monty) are fun and catchy and flow seamlessly with Jeffrey Lane’s book. The often crude and vulgar humour contrasts well with the upbeat score.  “Great Big Stuff” has Freddy longing for all the modern trappings of success including mink tracksuits and hummers in his Hummer.

Andrew Wheeler’s Lawrence Jameson is narcissistically confident and plays well off of his co-star Josh Epstein (The Producers, Arts Club).  Epstein, as Freddy Benson, is full of energy and has talent to spare but hasn’t completely made the role his own.  Too often, the character seems underdeveloped.

Elena Juatco plays the accident-prone American Soap Queen, Christine Colgate, the unwitting mark in Freddy and Lawrence’s unscrupulous bet.  Juatco is best known for making it into the top six of the second season of Canadian Idol and has since transitioned her talents to the theatre.  Her singing voice is sweet and tender but at times its thinness threatened to give way.  Ultimately it didn’t matter, as Juatco is consummately charming and radiates likeability from her first appearance to her final bow.

Gabrielle Jones, last year’s titular Drowsy Chaperone, commands attention as world-traveler Muriel Eubanks, one of Jameson’s earlier victims.  Jones is a treat as always and shines in a side story involving David Marr (The Drowsy Chaperone, Playhouse) as Andre, one of Jameson’s accomplices.  Marr’s deadpan delivery hits the mark every time.

Nathalie Marrable co-choreographs with director Max Reimer and together they’ve done a good job making full use of the talented cast; though at several junctures the staging seemed confused and unfocused.

Director Reimer can breathe a sigh of relief knowing that his follow-up to last year’s smash success The Drowsy Chaperone is a hit.  Reimer deserves considerable credit for injecting some much-needed life into the Vancouver Playhouse’s annual musical theatre productions, after a run of somewhat lacklustre shows in the years previous to his tenure.

Dirty Rotten Scoundrels is an uproariously-funny down-and-dirty outing packed with laughs and enough charm and talent to win over even the toughest of critics.

The Vancouver Playhouse Theatre Company presents Dirty Rotten Scoundrels until December 27, 2009 at the Vancouver Playhouse Theatre, Hamilton and Dunsmuir.  Tickets are available online or by phone at 604-873-3311.

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White Christmas: The Musical; Arts Club (Review)

Posted on November 21, 2009 | 4 comments

While I’m a sucker for Disney musicals, after four straight years of Beauty and the Beast as the annual Christmas musical at the Arts Club, it was time for a change.  This year’s holiday production at the Stanley is White Christmas, the 2004 nostalgia-laden stage adaptation of the 1954 Bing Crosby and Danny Kaye film.

The show’s book, by David Ives and Paul Blake, although only five years old, doesn’t stray too far from the original, nor does it attempt to insert any sort of modern sensibilities.  If you’re searching for any overarching larger themes or social messages here, don’t bother.  White Christmas is a throwback to a simpler time when pretty much any problem could be solved by simply mounting a Broadway-style revue.  Is war getting you down? Facing foreclosure and financial ruin?  Put on a show!

Monique Lund and Sara-Jeanne Hosie in the Arts Club Theatre Company’s production of Irving Berlin’s White Christmas: The Musical. Photo by David Cooper.

In this instance, retired army buddies turned musical stars Phil Davis and Bob Wallace, played by Todd Talbot (Annie, TUTS) and Jeffrey Victor (Les Misérables, Arts Club), decide to help out their former commanding officer General Waverly.  Waverly, as played by Réjean Cournoyer (Les Misérables, Arts Club), has sunk all of his money into a Vermont inn and is about to lose his shirt due to unseasonably warm weather and a lack of snow to placate the tourists.

Arts Club veterans Monique Lund (Beauty and the Beast, Arts Club) and Sara-Jeanne Hosie (Les Misérables, Arts Club) are sister act Judy and Betty Haynes who join forces, professionally and romantically, with song-and-dance duo Davis and Wallace.

Talbot and Victor have better onstage chemistry together than they do with Lund and Hosie respectively, which is perhaps a more unintentionally faithful following of the buddy-musical film genre than intended.

After playing Mrs. Potts for the past four Christmases in Beauty and the Beast, Susan Anderson easily breaks into her new role as busybody Martha Watson.  Anderson takes the opportunity to show off her vocal and dance skills in “Let Me Sing and I’m Happy” and exceeds all expectations, in what should be a supporting role.

In an already markedly strong chorus, Jak Barradell, Jeremy Lowe and Laura McNaught stand out from the pack with their energy and charisma.

This show’s strength comes shining through in the big group dance numbers including “Let Yourself Go” and “I Love a Piano.”  Valerie Easton’s choreography is a loving tribute to the old movie musicals that have long since fallen out of fashion, where dancers once hoofed and tapped energetically for the cameras, broad smiles not wavering for a single beat.

White Christmas is as warm and familiar as an old friend and seems destined to become another Arts Club holiday tradition.

Arts Club Theatre Company presents Irving Berlin’s White Christmas: The Musical until December 27, 2009 at the Stanley Industrial Alliance Stage, 2750 Granville St.  Tickets are available online or by phone at 604-687-1644.

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Joseph and the Amazing Technicolor Dreamcoat; Footlight Theatre (Review)

Posted on November 9, 2009 | 4 comments

I’ve seen many productions of Joseph and the Amazing Technicolor Dreamcoat over the years; the good, the bad, and the ugly.  Footlight Theatre’s production falls somewhere comfortably in the middle.

With music by Andrew Lloyd Webber and lyrics by Tim Rice, the family-friendly tuner has become extremely popular with community and school theatre groups.  Vancouver is apparently not immune to these charms, as this is the first of three Josephs gracing local stages over the coming year.

joseph logo no frame

Based on the Old Testament story, the musical follows dreamer Joseph and his brothers using various styles of music including French ballads, country, calypso and disco.

Danny Balkwill (Thoroughly Modern Millie, TUTS) as Joseph has a pop voice well-suited to the title role.  He mostly used his instrument to good effect, although in parts his riffing seemed excessive.

Bree Greig as the Narrator was off to an auspicious beginning in her Vancouver musical-theatre debut.  Her voice has a clear bell-like quality and she carried herself well amongst the large ensemble.

David Kemper’s Potiphar was a scene-stealer in his brief appearance and Brad Strelau’s Pharaoh was a credit to cheesy Elvis impersonators everywhere.

The children’s chorus sang earnestly under the capable direction of Elaine Lindbjerg and was absolutely precious.  Several young stars-in-the making were readily apparent during the children’s solo performances.

Live music can make or break a production and the band of Michael Creber, Buff Allen, Miles Black, Dave Ivaz, Kate Stewart and Rene Worst was nearly flawless.

Joseph and the Amazing Technicolor Dreamcoat is almost completely sung-through, and it can be difficult for some less-seasoned actors to properly define and develop their characters with little to no spoken dialogue.  This ensemble repeatedly fell into that trap and would have benefited from some stronger direction as to acting while singing.

This is Footlight’s first time in the larger 600-seat Michael J. Fox Theatre, which is double the audience space of their past venues.  Director Lalainia Lindbjerg-Strelau’s Joseph has set them off to a respectable start for what will hopefully be more successful shows down the road.

Joseph and the Amazing Technicolor Dreamcoat, presented by Footlight Theatre Company, plays until November 14, 2009, at the Michael J. Fox Theatre, 7373 MacPherson Ave, Burnaby.  Tickets are available online or by phone at 604-684-2787.

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Posted in Footlight Theatre, Joseph and the Amazing Technicolor Dreamcoat, Musical Theatre, Reviews, Vancouver

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High School Musical 2; URP (Review)

Posted on November 7, 2009 | 1 comment

Disney’s High School Musical 2 knows its audience and plays directly to it. Opening night, the crowd was dominated by the under 12 set and they were there to be entertained.  As soon as the lights dimmed in the theatre, a wave of pint-sized shushing rippled through the room; this audience didn’t want to miss a single moment of the performance.

Judging by the enthusiastic applause, URP pulled it off.  URP mounted the original HSM two seasons ago with great success, so the sequel was a no-brainer.

 

HSM 2 photo 2

Scott Perrie and Shannon Adams share a moment in URP's High School Musical 2.

 

The first HSM revolved around the Disney-esque premise that everyone should follow their dreams and that people can be whatever they want to be.  HSM 2 also promises a kid and parent-friendly evening, complete with feel-good positive messages around loyalty and hard work.

The sequel follows Troy Bolton and Gabriella Marquez and their Wildcat compatriots as they spend their summer before senior year working at country club.  Scott Perrie (Les Misérables, Arts Club) and Shannon Adams as Troy and Gabriella respectively, had a very fitting G-rated kind of chemistry.

Though I spotted several twenty-somethings trying to pass as teenagers, there were also quite a few actual teens in the cast.  URP and their HSM and HSM 2 productions have provided a great opportunity for younger actors to gain stage experience.

Julie Trepanier was a somewhat subdued Sharpay Evans.  Trepanier certainly looked the part, but I found myself wishing that she’d have more fun with the role.

My only real quibble with casting was with Brandyn Eddy as Sharpay’s nicer twin, Ryan.  In Eddy’s hands, the nattily-dressed Ryan came off as more of a senior citizen than a high school senior.  Eddy is a more-than-capable actor, as evidenced by his turn as Seymour in last year’s URP production of Little Shop of Horrors.  But here, he just felt jarringly out of place.

Overall, the show accomplished what it set out to do.  The cast had fun, the parents had fun, and most importantly, the toughest critics of all, the kids, had fun.  What more could you ask for?

High School Musical 2, presented by URP Productions, plays through November 22, 2009, at the Centennial Theatre, 2300 Lonsdale, North Vancouver.  Tickets are available online or by phone at 604-984-4484.

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A Chorus Line; Broadway Across Canada (Review)

Posted on November 5, 2009 | Leave a comment

There’s a certain school of thinking that says that higher ticket prices equate to a better show.  My experiences with touring professional musicals would suggest that isn’t always the case.  I’ve often found them to be uneven and not always worth the high price of admission.

Luckily, A Chorus Line is more hit than miss.    Following 17 dancers auditioning for roles in the chorus line of a Broadway musical, The Tony award-winning show sets high expectations, billing itself as the best musical ever.

The calibre of acting was largely topnotch and the dancing spectacular.  The sheer athleticism and grace of the cast was on full display in this beautifully choreographed production.

ACL- 10 - The company on the line

The company on the line in the National Tour of A Chorus Line. Photo- Paul Kolnik

A Chorus Line works best when the audience finds all of the competing dancers to be sympathetic and likeable.  Not all of the actors were able to pull this off.  On opening night, Julie Kotarides subbed in for Rebecca Riker in the role of Diana.  Kotarides was serviceable in the part, but was nothing to write home about.  Her singing voice was pretty, but her acting felt one-dimensional and left me indifferent.

Anthony Wayne’s Richie pulsed with a manic energy which translated well in his dancing.  His delivery, however, seemed to be a jivey throwback to 70’s style media portrayals of African-Americans that bordered perilously close to being offensive.

Maggie as played by Hollie Howard was tepid and forgettable.  Her vocals were a bit more memorable, but not in a good way.  Maggie’s high notes in “At the Ballet” were painful to hear and took away from what is otherwise a beautiful song.

The negatives were largely outshone by the myriad of positive performances. Bethany Moore was note-perfect and extremely likeable as the awkward Judy Turner.  Brandon Tyler’s Larry was a dervish in dance shoes as he moved with reckless abandon across the stage.  Emily Fletcher smouldered as the sexually aggressive Sheila, commanding attention with a raise of her eyebrows or a toss of her hair.

A Chorus Line was truly groundbreaking when it debuted in the mid-70s, but many parts of it have not aged well.  Mindy Dougherty as the artificially-enhanced Val made the most of the once risqué number “Dance: 10; Looks: Three.”  But modern audiences have long since become accustomed to ‘tits and ass,’ and the song barely registers today.

I had high hopes for Joey Dudding who played Paul.  One of the emotional highlights in the show for me is Paul’s monologue.  Properly delivered, it deftly rises to an emotional crescendo.  Dudding raced through it and arriving at the end seemed to cry almost as an afterthought, barely phoning it in.

A Chorus Line features several gay characters as revealed through songs or monologues.  The sexualities of many other male characters are left undefined.  As such, these are usually played straight, for lack of a better word.  It was nice to see, in this production, to see many other of the dancers not all played as hyper-masculine heterosexuals.

This line is a solid, strong production that is worth the ticket price for the dancing alone.  That plus some inspired acting and vocal performances make A Chorus Line a must-see.

A Chorus Line, presented by Broadway Across Canada, plays at the Centre in Vancouver for Performing Arts, 777 Homer Street from Nov 3-8, 2009.  Tickets are available online now or by phone at 604-280-4444.

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Evil Dead: The Musical; Down Stage Right (Review)

Posted on October 31, 2009 | 3 comments

In an ideal world, reviews of each show would be done completely independently of others, not by making side-by-side comparisons.  However, in the case of the two productions of Evil Dead: The Musical running so close together, that becomes almost impossible.

In last week’s review of Evil Dead: The Musical at the Vogue I panned the music and book of the show.  After seeing the second production of Evil Dead currently playing in Vancouver, I admit that I may have been unduly harsh.

What brought on this sudden change of heart?  Simply put, the Vancouver production was better acted and better sung, and that made all the difference.  Even in a campy musical, with limited character development and a bare-bones plot, acting still matters.

With essentially the same script, lyrics and music, I got an entirely different vibe from the local production.  This version just had way more fun.

Scott Walters as Ash in Down Stage Right Production's Evil Dead: The Musical.

Scott Walters as Ash in Down Stage Right Productions' Evil Dead: The Musical.

Scott Walters (We Will Rock You, Mirvish) as Ash hammed it up, giving his eyebrows the workout of their lives with his rapid-fire facial contortions.  Meghan Anderssen (Thoroughly Modern Millie, TUTS) as Ash’s girlfriend Linda and Ian Rozylo as perpetual horndog Scotty both brought personal flourishes to their respective roles.

Local musical-theatre dynamo Jennifer Neumann (Les Misérables, Arts Club) as Ash’s younger sister Cheryl once again brought home the goods.

Meghan Gardiner in the dual-roles of Annie and Shelley was an unfortunately weak link.  Her somewhat wooden take on the ditzy Shelley might have come off as a passable interpretation, except that much of that same stiffness was also present in her portrayal of Annie.

The actors from the second story line were also not as impressive. Matthew Graham’s Ed needed to be reined in and could have benefited from some stronger direction.  Mat Baker (Les Misérables, Arts Club) as good old reliable Jake was also disappointing.  Where most of the other actors seemed to have found a comfortable groove, Baker’s portrayal was harsh and rubbed me the wrong way.

Sylvia Zaradic’s off-stage musical direction was spot-on.  She and the band consisting of Boyd Grealy, Aaron McKinney and Kelly Brown added an extra level of drama missing from their competition over at the Vogue.

Special honours go to set designer John Bessette.  While the other Evil Dead has the use of the original Toronto and off-Broadway set, Bessette’s (presumably lower-budget) design is no cheap knockoff.  In several respects, it actually worked better from a theatrical standpoint.

I did find Ken Overbey’s choreography to be somewhat underdone.  The group dance number “Do the Necronomicon” was anticlimactic and in need of some punching up.

Overall, director Mark Carter has shaped a solid production and has coaxed some life from a show that last week I was ready to toss out.

In some ways, the differences between the two productions are like night and day.  For blood, gore and special effects the Vogue production is the clear-cut winner.  But Down Stage Right Productions has given proof to the old adage that money can’t buy everything.  For pure acting, singing, comedy and heart, Evil Dead at the Norman Rothstein Theatre can’t be beat.

Evil Dead: The Musical, presented by Down Stage Right Productions, plays until November 7, 2009; 8 PM (with additional midnight shows October 30, 31 and November 6) at the Norman Rothstein Theatre, 950 West 41st Ave (at Oak). Tickets are available online now.

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Posted in Down Stage Right, Evil Dead: The Musical, Musical Theatre, Reviews, Vancouver

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Evil Dead: The Musical; Ground Zero (Review)

Posted on October 24, 2009 | 3 comments

The Evil Dead fans came out in droves for the opening night of Evil Dead: The Musical on Thursday night.  The current of excitement was tangible outside the Vogue as they lined up in the damp Vancouver air.  Inside, the atmosphere was far more akin to a rock concert than to that of a typical night out at the theatre.

Musical-theatre patrons can be a devoted and passionate lot, but they generally don’t show up to see Les Misérables or A Chorus Line in stage makeup or costumes.  The Evil Dead crowd was a definite exception to that rule.

The Cast of Evil Dead: The Musical playing The Vogue Theatre. Photo- Sean Dennie, Photoganda.

The Cast of Evil Dead: The Musical playing The Vogue Theatre. Photo- Sean Dennie, Photoganda.

The musical version comes with a built-in fan base thanks to director Sam Raimi’s cult horror Evil Dead film trilogy.  Movie fans were amply represented in the opening night’s audience as evidenced by their enthusiastic appreciation of inside jokes referencing Raimi and his films.

For those unfamiliar with the movies, Evil Dead follows five college students spending their spring break at an old abandoned cabin in the woods.  An ancient evil is released and blood, gore and mayhem ensue.

Producers, publicists and the press in other cities have repeatedly compared Evil Dead: The Musical to that other camp classic, The Rocky Horror Show.  Sadly, Evil Dead doesn’t quite live up to the billing.

Sure, there are some passing similarities to Rocky Horror, but there really should be no comparison.  The songs and lyrics plumb the depths of awfulness.  Not in the way of being so bad that they’re actually good.  These are just bad, in the truly worst sense of the word.  And it’s a shame.  The slasher and horror genre are ripe for musical parody, but the book and the music here just aren’t up to snuff.

The sound quality was noticeably spotty and I struggled to catch many lines as mics dropped in and out with little regard to who was actually supposed to be speaking or singing.  Conversely, lead actor Tyler Rive was over-amplified throughout the show.

With that said, based on the audience’s reaction, the quality (or lack thereof) of the music, lyrics, or plot was inconsequential.  They roared and cheered with delight each time that a familiar line from the film was recited, or a body was dismembered, or when a demonically-animated corpse made sexually suggestive pelvic thrusts.  I have to assume that only part of that enthusiasm was due to alcohol or other intoxicants.

Much of the excitement revolved around the gratuitous use of blood and gore.  Patrons pay a premium to sit in the first five rows of the theatre, which are termed the “Splatter Zone.”  At intermission ushers handed out plastic ponchos to protect against the second act onslaught of stage blood which rained from all directions onto the audience members in the “Splatter Zone.”

High art it definitely ain’t.  Evil Dead may not be everyone’s particular cup of blood, but for the sheer spectacle and concert-style atmosphere it’s worth checking out.  Excitement about the theatre is always a good thing in my book, even if the material doesn’t deserve it.

Evil Dead: The Musical, presented by Ground Zero Theatre, Hit & Myth Productions and Keystone plays an extended run until November 14, 2009 at the Vogue Theatre, 918 Granville St.  Tickets are available online or by phone at 604-280-4444.

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Posted in Evil Dead: The Musical, Ground Zero, Musical Theatre, Reviews, Touring Shows, Vancouver

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Back to You – the Life and Music of Lucille Starr (Review)

Posted on October 3, 2009 | Leave a comment

Back to You – the Life and Music of Lucille Starr opened the 27th season of the Firehall Arts Centre on Wednesday with a taste of Canadian rockabilly and country.  This bio-tuner, written by local playwright Tracey Power, unfortunately, has little to distinguish itself from the multitude of other similarly structured biographical musicals.

Everyone, even those who have never heard of Canadian country singer Lucille Starr, will recognise the underlying story.  Talented girl meets boy and they become big stars. Boy ends up being no good and drags girl down with him.  Girl overcomes the odds and makes it again on her own.

Beverley Elliott as Lucille Starr. photo- James Loewen

Beverley Elliott as Lucille Starr. Photo by James Loewen

That’s not to take away from the real-life Lucille Starr’s experiences and successes.  Starr made it big in a time when there was no Canadian music industry to speak of.  But this staged version doesn’t add anything new to an already overcrowded genre.

The first act is overly-formulaic and poorly paced.  Beverley Elliott plays Lucille as she returns to her hometown of Coquitlam for a comeback concert in 1981.  Lucille then recalls a series of loosely linked vignettes of her early days as she sings her way to fame.  Elliott does a fine job with the music but is given little opportunity to do much else beyond a few wisecracks and one-liners.

The acting and emotions are left in the hands of the versatile and always enjoyable Alison MacDonald (Songs for A New World, Not Another Musical Co-op) as the younger Lucille and Jeff Gladstone as her music partner and eventual husband Bob Regan.  MacDonald and Elliott are both accomplished singers and they easily breeze through the score.

The story is told completely through Starr’s eyes and, maybe as a result, her husband comes off as one-dimensional.  Gladstone turns on the charm but, as written, his character never quite connects with the audience.

If the show has one strength, it’s the music.  Musical director Steve Charles has successfully knit together a tight unit with musicians Jeremy Holmes and Jimmy Roy.

Luckily, the pace picks up in the second half when more attention is paid to the details and the personal emotional highs and lows of Starr’s life.  But it seems like too little too late.  Back to You, while far from a complete disaster, never ventures into anything worthwhile and is mostly ordinary and forgettable.

Back to You – the Life and Music of Lucille Starr, presented by Musical Theatreworks, plays from September 30- October 10, 2009 at the Firehall Arts Centre, 280 East Cordova St.  Tickets are available by calling the box office at 604-689-0926.

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