The Scottsdale Community Players have once again completely redefined themselves, tossing aside their recent unofficial moniker as IMCo North to become Desert Foothills South. While the productions that they are mounting are one-tenth the size, ambition, and budget of those during the Weltzien and Withers regimes, they have fully embraced their return to Little Theatre status. SCP's announced shows for next season are similar to those established by Tempe Little and Mesa Encore Theatres. No more romps through gay bathhouses or expletive- and drug-laced plays about five women for this company. The blue-haired base has won, and it is now the Board's job to prove this change worthwhile by doing the best they can with old standards and limited budgets. Their first production I reviewed succeeded on the strength of an excellent director and two strongly committed performances. As the replacement for Wither's pet project, Pagaent, The All Night Strut succeeds with four wonderful voices.
Not being a fan of musical revues (to the point where I almost didn't attend), I found myself pleasantly surprised on the opening Friday night. This is a quick-paced, high-level tour of early 20th century jazz, blues, and be-bop standards that is well sung by two talented couples. It is the strength of the performers and orchestra, and not pyrotechnics or flashy direction and choreography that gives SCP its second success since Wither's departure.
This isn't a knock on Director Irene Lopez or Choreographer Lauri Case. There really isn't much to do beyond casting for voices. The singing is the focus here, and Ms. Lopez and Ms. Case create the requisite stage pictures and dance bits to support it. They utilize Jonathan Given's multi-leveled, though meager-looking set to combine and separate their cast for different views while singing such songs as "Fascinating Rhythm," "Ain't Misbehavin'" and "As Time Goes By." If there's one thing that doesn't work in Lopez' direction, it is that the evening is suddenly more playful in its second act, though this may be because of the nature of the songs. Save for one excellent soft shoe number in the first act, the performers are generally not in synch when performing Ms. Case's basic dances. That's all right, though. When they sing, they're perfectly in tune.
The four, Soprano Debra M. Qualtire, Alto Paula Baack, Tenor Travis Dixon, and Baritone Sly Young make this an enjoyable musical evening. Each has their strengths. Mr. Dixon at one point successfully recreates an Ink Spots sound, croons to melt hearts and knees, and impressively hoofs his way through the evening. Ms. Baack is slinkily sultry, belting and winking her way through some of the more suggestively racy numbers such as "Gimme A Pigfoot and a Bottle of Beer." My only criticism for her is that she seems to sing more from the back of her throat, undercutting her diction. Mr. Young is a great discovery; he adds just the right amount of emoting to his excellent deep voice to give effective renditions of such songs as "Brother, Can You Spare a Dime." Ms. Qualtire enjoys her occasional breakouts as the diva-like soprano, and takes advantage of it when she's able. One thing of note is that this is a cast with chemistry. It's obvious they are enjoying themselves and working together, and that helps propel the evening even more.
Ms. Lopez' strength comes in her directing of the three-piece orchestra and her work on the piano. Though she, her bass player, and drummer sit onstage and are expressionless and stonefaced through the show, they let their emotions flow through their music, which is jazzily performed.
Thomas Connick, Jr.'s costumes are effective, though the same cannot be said of Scott Kirkorsky's very buggy sound design. Michael Eddy's light show helps overcome the rather plain set.
Gone are the days of big budget extravaganzas and high-priced failures. This new SCP is depending on straightforward talent and audience goodwill. Though I'm sad to see the days of gambling are over, I'm glad they're at least succeeding in their desires.
Production Details:
The All Night Strut Conceived
and originally directed and choreographed by Fran Charnas
Scottsdale Community
Players
Stagebrush Theatre, Scottsdale (For a
map to location, click this
link)
(480) 990-7405
May 3rd - 26th, 2002