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Reviews A Grand Night for Singing Directed by John R. Leffert Reviewed by Sherry Deatrick Entire contents are copyright © 2009 Sherry Deatrick. All rights reserved.
CenterStage has temporarily replaced its traditional risers and filled the theater with candle-lit tables with white tablecloths and purple satin centerpieces for this intimate production. The bar adds to the feeling of being at a fancy nightclub or cabaret. The elevated stage ensures visibility from all parts of the room. The stage itself is framed by a midnight black arch, with two more arches behind it, speckled with glitter. There's a white bench and a pedestal with a huge violet floral arrangement, and shiny curtains in shades of purple at the back of the stage. Varying lighting effects bring out colors to match the singers' costumes — purple, turquoise, or blue in the first act, and more somber shades of gray and black in the second. This heavenlike effect is otherworldly. Or it might make you feel as though you're in the reception area of a Venusian funeral parlor. Eerily beautiful. This is not a play, but rather a retrospective of the show tunes of Rodgers and Hammerstein. Many are familiar, but some are not as well known. The revue includes songs from the duo's beloved Carousel, Oklahoma!, The King and I, South Pacific, and The Sound of Music, as well as the seldom seen Allegro, Flower Drum Song, State Fair, and Pipe Dream. It was first seen as a cabaret-style show at Rainbow & Stars at the top of Rockefeller Center, and Leffert and company recreate that ambience at the Jewish Community Center. The songs are not segregated by the show they're from. They're interwoven by Walter Bobbie instead, forming a new story with love as the main character. Young love appears in songs like "I'm in Love With a Wonderful Guy" (from South Pacific) and the lesser known "All At Once You Love Her" (from Pipe Dream). Bittersweet love is characterized by such songs as "Hello Young Lovers" (The King and I), "This Nearly Was Mine" (South Pacific), and "Love Look Away" (Flower Drum Song). There's also the love of parents for their children in "Parent Medley." Frivolity is not absent, as in "The Gentleman is a Dope" (Allegro). Did you know that Stephen Sondheim was a production assistant during the original run of Allegro? He says it had probably the worst opening night in history. Someone probably said "good luck" instead of "break a leg," because two actors caught their shoes in a track on stage. One tore every ligament in his leg and was carried offstage screaming in pain, and the other fell headlong into the orchestra. Ouch! No such missteps happened on A Grand Night's opening night at CenterStage. Under Benjamin Szepesi's direction, the sound system was clear as a bell. Theresa Bagan's lighting design perfectly accentuated the jewel tones of the set and costumes (even though the empire waistlines weren't uniformly flattering on the women). Most important, the singing was outstanding (with a few minor exceptions). John Spencer's sparse orchestration (keyboard, bass, drum) served the singers well, with little zinging embellishments that added zest without overpowering the singers. CenterStage regular Jeremy Moon's voice was even stronger than usual, and when he sang of heartbreak and lament, you know he's been through it. He's also quite nimble, diving between the legs of one of the women during one song, jazzing it up in "Honey Bun" (South Pacific), and wondering how to catch a wave upon the sand in The Sound of Music's "Maria." I could almost see a wave being captured under the moonlight. Colette Delaney gave an outstanding performance as well. Beautiful and sophisticated, she slinks around the stage without fanfare. And what a voice! What a range! Powerful and always perfect, especially during "Something Wonderful" from The King and I. Delaney is simply and elegantly divine. Jon Adams is a fine counterpoint to Moon during their duets. They know how to harmonize. He's also exceptional as a solo, as in the haunting "We Kiss in a Shadow" from The King and I. His "Oh What a Beautiful Morning" caused the gentleman in front of me to say, "I like that song!" Kelley Brady was enthusiastic and athletic, often kicking up her leg and twirling around. (I think the gentleman in front of me liked that as well!) Jill Higginbotham was also a strong singer and performer. A Grand Night for Singing may not be for everyone. But if you love show tunes about love, and if you love Rodgers and Hammerstein, you will enjoy this relaxing evening of fine entertainment.
Featuring Jon Adams, Colette Delaney, Kelley Brady, Jill Higginbotham, and Jeremy Moon.
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