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Shirle Gottlieb Special to the Press-Telegram
'The World' is in good hands
Musical
Theatre West quintet charms and enchants in a spectacular song-and-dance
evening
Man, oh man! Musical Theatre West has outdone itself with its current production,
"The World Goes Round."
Written by the legendary team of John Kander (music) and Fred Ebb (lyrics), this award-winning revue features 30 routines from a dozen Broadway musicals and, on opening night, the audience flipped out over every one of them.
As most musical lovers know, revues can be sticky-wicket business. Unless the chemistry is perfect, the timing impeccable, the talent well-matched, they can fizzle and flop right before your eyes. Hats off to MTW for avoiding all the pitfalls.
What we have here, close-up and intimate, are five top-notch performers and six fabulous musicians directed on stage by piano wizard Darryl Archibald.
There are no swinging chandeliers or chorus-line cuties in G-strings and tassels, just outstanding treatment of exceptional material that probes human emotion through a gamut of musical styles.
Whether torch song, love song, cynical spoof, fervent prayer, or comic routine, "the world just keeps going around and around." ' And as we watch, the magic of musical theater takes over and casts its spell. All of it under the direction and choreography of John Vaughan; all of it on a simple, elegant set by Bradley Kaye.
Beginning with Jennifer
Shelton who belts out the bluesy title song that sets the tone for the show,
the revue moves on to spotlight each singer, featured in both solo and ensemble
performances.
Everyone gets all jazzed up with "Coffee in a Cardboard Cup," ' then Adrian Zmed croons a bittersweet ballad from "The Happy Time" '; and Lucy Daggett stings your heart with the dark, haunting lyrics of "Colored Lights." ' Paige Price captures everyone's attention because of her sassy rendezvous with "Arthur in the Afternoon," ' then Shelton returns with a gut-wrenching version of "My Coloring Book." ' This gal can really deliver!
When Price returns to do her syncopated, calculated, red-hot rendition of "All That Jazz" ' (with Branch Woodman hamming it up at the piano), she almost stops the show.
Other delicious "Chicago" ' numbers include "Class" ' (comically delivered by Daggett and Shelton all dolled up in feathers and boas); the tragicomic "Mr. Cellophane" ' (beautifully performed by Woodman and light director Steven Young); and "Me and My Baby" ' (a clever routine that finds everyone carrying bassinets with ukuleles). Then Act I comes to a close with a high-jinks routine that finds the ensemble dashing around on roller skates. What can they possibly do next?
Plenty. There's a hysterical
bit where all five goof around with "Ring Those Bells" ' (from "Liza with
a Z" ') that is followed in sharp contrast by Zmed's dramatic and powerful
ballad, "Kiss of the Spider Woman." '
Next comes a fantastic dance routine by Price and Woodman that will knock your socks off and bring the house down.
In short order, the audience is treated to several delightful numbers that include the ensemble moaning and groaning about the physical "Pain" ' of dancing; Daggett and Shelton mugging and hamming it up in "The Grass Is Always Greener" '; Zmed praying softly that "We Can Make It" '; and Shelton fervently hoping, "Maybe This Time." '
After another hilarious sketch about "Money, Money, Money" ' and an unusual a cappella treatment of "Cabaret," ' the show winds up with a rousing chorus of "New York, New York" ' that raises the rafters. Everyone goes home with a smiles on their faces, warm vibes in their hearts, and hope for the future.
In today's unstable world, who could ask
for anything more?
5/1/2003
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