|
A Class Act A Class Act is a musical about Ed Kleban, the man who wrote the lyrics to one of the world's most beloved musicals, A Chorus Line, and it has been given its Texas regional premiere at Theatre Three. If what you see on stage is a true reflection of Mr. Kleban, then he was a self-centered, paranoid, phobia prone, extremely egotistical jerk. While his fears - of not achieving his dreams, not being able to express his true talent and art, and of bleak failure knocking at his door - can be understood, the way Kleban lashes out like an angry python at his friends and associates when they don't worship at the idol of Kleban might make you wonder why anyone would want to buildt a musical around this guy. The musical's book knocks you over and over on the head about how great his music is, but in all truthfulness, it is not that great. There are 19 songs in the bulk of the score, and there are at most, four songs that have any true depth or melody, and are enjoyable to hear. The rest of the score feels like too much filler. It seems as though Kleban's friends took sheet music out his trunk, spread it on the floor, and picked songs to fit into a paper thin book. Some songs feel as though they just had to be put into this show, damn the plot or any character development. The book doesn't flow with honest purpose. Scenes jump all over the place; we start at the Shubert Theatre for Kleban's memorial and from there they go from decade to decade, without giving the audience time enough to ground themselves in where the book writers want them. Ironically, the only time the book and music blend perfectly is when we see the creation and backstage battles that helped in developing A Chorus Line. Here is where the musical finally achieves excitement and becomes a musical theater fan's dream come true. It is fascinating to see Michael Bennett, Marvin Hamlisch, and Kleban having battles of ego and talent. Alas, there is not enough of this subplot in the musical. Once we get past the making of A Chorus Line, the book and score unravel and fall apart like a deck of cards. But this production is a classic example of how excellent talent, both in direction and cast, can override lackluster material and still provide enjoyment. In anyone else's hands this production would have put the audience into a coma. Director Michael Serrecchia has a personal history with the people brought to life on this stage. He originated the role of Frank in A Chorus Line on Broadway, later taking on other roles in the show. Having worked with Bennett, Hamlisch, and Kleban, his knowledge and history with these men must have been a wealth of character development for the cast. According to a recent interview, Serrecchia tried to instill in his cast an idea of who these people truly were, and I feel what you see on stage are accurate portrayals. Serrecchia's magnificent staging works marvels in mounting this small production in the round. A musical in the round is so difficult to pull off, but here Serrecchia shows that it isn't a problem, but an enhancement. His staging and blocking are creative and solid as a rock, and he uses every inch of possible space. Choreography and staging for such numbers as "Paris Through the Window," "Gauguin's Shoes," and "One" is vibrant, unique, and marvelous. The pace is fast, but with purpose and intent. Serrecchia has cast members and small pieces of set zip in and out. His direction in taking this lackadaisical material and creating wonderful theater magic is a testament to this man's brilliant talent. Commendations must be bestowed on: the always reliable Terry Dobson for his pure, slick professional musical direction; the tasteful and solid lighting design by Mike Garner; the never ending array of festive wigs by Ryan Smith; and the very authentic and colorful costumes from Patty Korbelic Williams. Doug Jackson has one hell of a task set before him as an actor. He has to make this insubstantial and self-centered peacock of a man likeable. Jackson keeps the narcissism and vicious qualities of Kleban out there, but his characterization includes an aura of humanity. Jackson is on stage for practically the entire evening, and he is just superb. The actor has a clean tenor voice with a robust vibrato underneath. He sings in almost every song and succeeds in each and every one of them. Jackson comes equipped with effervescent energy and charming stage presence. He truly can make you forget (at times) Kleban's braggadocio. You can add Jackson's tour de force portrayal of Ed Kleban to the growing list of this season's phenomenal performances. Jon Paul Burkhart steals the show with his hysterical performance as Marvin Hamlisch. Burkhart portrays Hamlisch as a momma's boy who has to throw his three Oscars around as credentials to prove his talent. Burkhart's facial expressions and comic delivery are hilarious to watch. The actor also sings with a dark, rich, tenor voice that begs for a major solo. He is outstanding! Another exceptional performance is that of Shay Edwards as the deceitful, megalomaniacal Michael Bennett. Edwards embodies Bennett's legendary machiavellian direction and never ending ego perfectly. He also achieves solid comic work in his other role, that of the hippie songwriter and drummer Bobby, who actually writes a song for a Helen Keller musical. Jackson, Burkhart, and Edwards have one of the best songs of the night, the trio, "Paris Through the Window." Kyle McClaran has delicious fun as Lehman Engel, the creator of the BMI Musical Theater workshop. McClaran has a booming bass voice with crisp diction and has created Engel as a very sarcastic queen who worships musical theater, but it has to be damn good musical theater. Add McClaran as another comic highlight of the evening. This leaves the ladies of the cast: Julie Stirman, Ashley Puckett Gonzales, Jennifer Freeman, and Candace Evans. All four ladies deliver sterling performances and each has a gorgeous set of vocal pipes as well. Stirman sings one of my personal favorite songs of the night, "Broadway Boogie Woogie," a song that shows Kleban's true talent, his lyrics. Stirman belts with her gorgeous soprano voice and makes the song that much more enjoyable. Freeman becomes a sexy siren in her big solo, "Mona." The actress sings the song while slithering and sliding on a piano, all the while letting that incredible soprano voice work its magic on the song. Ashley Puckett Gonzales sells the hell out of the number "Don't Do it Again" (a duet with Jackson). This performer puts her own lyrical melody and inflections into the song, making it one of the few slam bang, firecracker hit songs of the evening. As Kleban's best friend, Sophie, Evans delivers a heartwarming and loving performance. Sophie is hit the most by Kleban's mean spirited tirades, but somehow still stays as his friend. Evans gives a poignant rendition of the song "The Next Best Thing to Love." Act two has Kleban and Sophie involved in a huge fight, but they reconcile in the end. It's that scene, involving Kleban and Sophie as they reconnect their broken friendship, that creates the one truly powerful, emotionally moving scene. Evans will break your heart with her honest approach to this scene. Its ironic that Kleban didn't want to be remembered for just writing the lyrics to A Chorus Line. After having a whole evening dedicated to his own music, you walk away feeling that maybe he should have stuck to lyrics. What does makes this musical work is the herculean effort of the sensational director and cast to overcome a trite book and diluted score. A Class Act runs through September 28 at Theatre Three. Call 214-871-3300 and select option 1 for tickets and info. A Class Act (Texas Regional Premiere) CAST Julie Stirman....................Lucy |
