Aurora Theatre’s “Sweet Charity” is oh so sweet.
The 1960s Tony Award-winning show, best known for its hit songs “Big Spender” and “If My Friends Could See Me Now,” revolves around Charity (Rebecca Simon), who works as a dancer in barely-there lingerie at a seedy dance hall. Looking to break out of her dead-end job and find true love, she molds herself to suit men who ultimately disregard and discard her.
Aurora hits this production right with a fine 12-piece orchestra and a good cast of actors. Simon is excellent as Charity and has a wonderful singing voice, garnering her roles in Broadway National touring companies. Baritone Trent Blanton, who plays two of Charity’s love interests, also has a wonderful voice, and actor Jimi Kocini can’t be beat. He plays a bevy of wacky characters and reincarnates a character mixture of Jimmy Durante and George Burns as the dance hall owner.
Director Sean Daniels, co-founder of Atlanta’s comedy improv theater Dad’s Garage, adds a bit of silly quirkiness to the show, especially when an ensemble of onlookers quick-step in unison looking like a small army of toy soldiers. The silliness works well there but seems off-kilter in a scene where he mixes a “Rowan & Martin’s Laugh-In” structure that features brief spurts of music in between darkness and a brief repartee between a couple. Making the show more affordable to the theater, Daniels whittles what is normally a 32-person cast down to nine players. Not only does it work, it seems almost unnecessary to have a large cast at any small theater off Broadway.
This show is a definite “go see it,” but there is one thing that leaves me wanting: great dancing. While Jen MacQueen brings original choreographer Bob Fosse’s style and flair to the dance numbers, it looks like the dancers needs hours more of practice. And passion.
Book by Neil Simon, music by Cy Coleman, and lyrics by Dorothy Fields, “Sweet Charity” runs through Sept. 2 at Aurora Theatre just outside of Atlanta in Lawrenceville.
Cast & Crew
Rebecca Simon Charity Hope Valentine
Trent Blanton Oscar Lindquist, Charlie, Marvin, Vittorio Vidal
Caroline Freedlund Nickie, Ensemble
Taryn Bryant Helene, Ensemble
Jevares C. Myrick Daddy, Ensemble
Jimi Kocina Herman, Ensemble
Loren Lott Ensemble
Jenna Edmonds Ensemble
John Markowski Ensemble
Anthony Rodriguez Producer
Sean Daniels Director
Ann-Carol Pence Music Director
Jen MacQueen Choreographer
Kathryn Pelkey Stage Manager
Sarah Rowan Assistant Director
Daniel Terry Sound Designer
Thom Beaulieu Lighting Design
John Thigpen Set Designer
Joanna Schmink Costume Design
EB Hooyer Props Design & Assistant Stage Manager
Britt Hultgren Ramroop Production Manager
James M. Helms Technical Director
Sarah Thomson Scenic Artist
Only “Jersey Boys” would I go to see twice in three years. It’s not just the compelling story that brings me back, but a belief that the cast will be just as tremendous as it was last time it came to the Fox Theatre.
“Jersey Boys,” the 2006 Tony Award-winning Best Musical about Rock and Roll Hall of Famers The Four Seasons: Frankie Valli, Bob Gaudio, Tommy DeVito and Nick Massi, runs from May 22-June 9 at the Fox Theatre in Atlanta.
Joseph Leo Bwarie, a superstar actor and singer, is once again slated to play Frankie Valli, according to the Jersey Boys touring company cast website. His talent alone is reason enough to see this show.
To see my previous review on “Jersy Boys,” click here and here.
One of the most sensational choreographers this side of anywhere will host “A Night of Choreography with Juel D. Lane and Friends” on Thursday, May 10 at the Southwest Performing Arts Center in Atlanta.
Not since seeing Twyla Tharp’s “Come Fly With Me” have I been so blown away by dance. Like Tharp, Lane mixes modern, ballet, African and hip-hop styles, and each dance seems to tell its own story.
Thursday, Lane will present two of his dances, one performed by The Atlanta Ballet and one by The University of North Carolina School of the Arts. Other choreographers include Camille A. Brown, the current choreographer for “A Streetcar Named Desire” on Broadway; Ja’Malik of Balletboy Productions based in NYC; Kristin Taylor of KT Collective from Durham, North Carolina; Rachel Sherertz, freelance choreographer from Winston-Salem, North Carolina; Ursula Kendall Johnson of “SHE, Created It” in Atlanta; Meredith A. Moore, professor at Spelman College; and Daryl Foster of “LIFT” based in Atlanta.
Lane says, “This show will feel like a huge party with different choreographic styles.”
Lane’s dancers present graceful and quirky theatrical snippets of life, and have performed in grocery stores, bedrooms, retail outlets and rooftops. Click on the link to the above video to see what I’m talking about. Even if you’re not a dance fan, it will be hard to avert your eyes.
Deb Clark and Caroline Boyd Monroe; Photo: MagicStar Photography
Only a six-year career, yet she’s still a star. Although Patsy Cline died in 1963 in a plane crash, you can hear country singer-songwriter Caroline Monroe Boyd cover more than 20 of her songs in “Always . . . Patsy Cline” at The Onstage Playhouse in Monroe, Ga.
Boyd headlines as Patsy Cline with Deb Clark, who plays her friend and manager, Louise Seger. Based on the true story of these two friends, Louise recants the tale of how they met and the two relive their times together.
Boyd rings out some killer sounds on “Love Sick Blues” and on “Shake, Rattle and Roll.” And Clark shines in a few comedic scenes, especially when she’s emulating a tobacco-chewing gruff club manager and a woman bawling over dog-men.
The backup band features Harriet Kilpatrick, piano; Dylan Wheeler, guitar; Charles Sewell, bass guitar; John Garner, fiddle; and Chuck Lambert, drums.
Written by Ted Swindley and directed by Steven Johnson, “Always . . . Patsy Cline” runs Fridays and Saturdays through May 5 at The Onstage Playhouse.
Emma Jackson and Andrew Crigler
Many a child’s favorite book, “A Wrinkle in time,” comes to life in John Glore’s adaptation now playing at Theatrical Outfit.
Reminiscent of Rod Serling’s “The Twilight Zone,” takes three youngsters–Meg (Emma Jackson), her little brother, Charles Wallace (Andrew Crigler) and her new friend Calvin (Lowrey Brown) on a trip to rescue the siblings father who is on another planet.
As usual, Kate Donadio, who plays the siblings’ mother and Aunt Beast, is stupendous, but what was really surprising, is that every actor in the cast was really good.
Kudos to Anna Michalle Tucker for outstanding creative costumes, especially her Aunt Beast, who looks like a mix between an exceedingly tall ET, with giraffe-like legs and an ostrich head.
Novel by Madeleine L’Engle, stage adaption by John Glore, directed by Justin Anderson, “A Wrinkle in Time” runs through May 6 at Theatrical Outfit.
Cast includes Mark Cabus as the father and Marianne Fraulo as Mrs. Whatsit.
- Malcolm Campbell-Taylor and Adam Fiddler
Tthis is the last weekend to see award-winning playwright Pamela Turner’s latest spectacle “Hidden Man” at 7 Stages.
Roll over Beethoven. Atlanta Ballet is kicking up its heels to tunes by Johnny Cash, Jean Sibelius and Quentin “E.Q.” Johnson.
The Man in Black , a compilation of three distinct works by three stand-out choreographers, runs this weekend at the Cobb Energy Centre.
The Man in Black – Choreography by James Kudelka, Music by Johnny Cash
James Kudelka, the former artistic director of the National Ballet of Canada, channels Johnny Cash in a tribute titled “The Man in Black.” It features heart-tugging, gallant, humorous choreography over an adventurous suite of Cash’s hits and hidden gems. Dancers even don cowboy boots as a nod to Cash’s country roots.
A 2010 Dance Magazine review called the piece “ingenious.” “One of the finest works I’ve seen this season,” said writer Steve Sucato. “In smartly crafted and marvelously danced vignettes, Kudelka tied his choreography to the emotions expressed in Cash’s music.”
1st Flash – Choreography by Jorma Elo, Music by Jean Sibelius
Power, energy and athleticism are paramount in Finnish choreographer Jorma Elo’s ultra-modern “1st Flash.”
A former hockey goalie, Elo’s dance career began on the ice when he turned to ballet to improve his flexibility and found he was quite good. Elo has now become one of the most sought-after choreographers in the business and was even singled out as a “talent to follow” by Anna Kisselgoff in her 2004 Year in Review for The New York Times.
A daring physicality infiltrates his works, which are characterized by movements that swivel precariously off-kilter, only to resume balance with total grace and control.
Moments of Dis – Choreography by Juel D. Lane, Music by Quentin “E.Q.” Johnson
A product of metro Atlanta’s Tri-Cities High School, Juel D. Lane has become a mainstay of the city’s burgeoning dance scene.
His work – as a dancer and choreographer – has appeared on major stages around the country. Lane’s world premiere “Moments of Dis” will be the first main-stage foray for Atlanta Ballet.
In this number, Lane examines the implications of the prefix “dis”: “Sometimes we become disillusioned, disrespectful, or dishonest with our personal choices in life,” said Lane. “When we start to discern what the truth is, we can truly explore and manage our psyche.”
Lane describes his style of movement as very physical with a flare of hip hop and modern dance. The choreography is set to music by fellow Atlantan Quentin “EQ” Johnson. “We wanted to go with a house style rhythm for the first section – really groovy – to capture the essence of discombobulated,” explained Lane. “The second section is really mellow, and has an acute feel for discipline. The third section is up-tempo, very funky and blends catchy rhythms together to produce discernment.”
The Man In Black runs for four performances Friday, March 23 – Sunday, March 25 at the Cobb Energy Performing Arts Centre. Tickets start as low as $20. Call the Ticketmaster Arts Line at (404) 817-8700, stop by a Ticketmaster outlet or the Cobb Energy Centre Box Office. To order on-line, visit www.atlantaballet.com. Groups of ten or more may call Atlanta Ballet Group Sales at (404) 873-5811 ext. 207.
Charles Bevel and Dieterich Gray; Photo: Jeff Roffman
Not for blues lovers only, “I Just Stopped By to See the Man” stands out for its interesting storyline and talented cast.
To increase his lagging popularity, a white British rock musician tries to exploit the talents of an old forgotten black blues player from Mississippi. Perhaps not too far from some truthful accounts, this fictional story is brought to life at the Hertz Theatre.
The play, which takes place in the Mississippi Delta in the 1970s, mixes drama, comedy and just a couple of blues numbers, but in no way is it a Musical. British rock musician Karl (Dieterich Gray) plays guitar well and whips up images of Russell Brand, donning tight cranberry, velvety bell bottoms with a matching jacket. He’ll make you laugh and cringe. Gray has performed at Yale Repertory, the Goodman Theatre and this same role at Steppenwolf.
Jesse (Charles Bevel), who sold his soul to the devil to play guitar, faked his death 14 years ago to exorcise that demon. Since then, he has refrained from playing the blues as over time it became the source of his pain. Jesse appears to be the real thing, an original blues musician born in the early 1900s who likely can’t even write. When his college educated daughter, Della (Bakesta King), asks him to write a note to Karl, he asks her to write it. (In 1981 at a concert in New York, I asked Big Joe Turner to sign the album I had just purchased from him. He drew an “X.”)
Part of the reason Bevel is so believable as Jesse is that he is a native of the Mississippi Delta, he’s a blues musician–he has opened concerts for Taj Mahal and B.B. King–and he’s a seasoned actor who has appeared on Broadway.
Written by Stephen Jeffreys and directed by Ron OJ Parson, “I Just Stopped By to See the Man” runs through April 8 at the Hertz Stage at the Alliance Theatre.
See the comedic Gray and hear musician “Mississippi Charles Bevel.”
