Reviewed 3/13/04
It's one of the big-time classics; an Irving Berlin show in which every other song is recognizable. It's Annie Get Your Gun , the show that teaches you "There's No Business Like Show Business," that "You Can't Get a Man with a Gun," celebrates "I Got the Sun in the Morning and the Moon in the Night," and stresses "Anything You Can Do I Can Do Better." This is a star vehicle, built around Merman, refitted for Bernadette and Reba. It's big, it's broad, and it's glitzy. In other words, it's tailor made for Broadway Palm West Dinner Theatre. What guarantees it to be a hit here, though, is how the actress portraying Annie carries it off. Lee Ann Payne answers all questions with a jaunty nod of her perky red head.
The buffet offerings are a nice mix of different flavors, none of which seem tailored to the show. Everyone at my table loved the beef burgundy with egg noodles and the carved ham. The ravioli with pesto sauce proved to be popular and better than Executive Chef Clifton Weir's recent attempts at pasta, while the chicken and the crab stuffed salmon proved exceedingly dry, but bolstered by their individual sauces. Of the side dishes, the mashed potatoes with cheddar and the mixed vegetables were deemed the most successful by my table.
The centerpiece of the evening, though, is definitely the perky and spirited
Payne. She has a wonderful voice, a strong presence, and though diminutive,
fills the role of Annie Oakley admirably. Paul Gregory Nelson's show
is generally a deferral, allowing Payne to carry the festivities. The blocking
is run of the mill, and April Monte's choreography, save
during the big Indian Ceremonial dance, is rather pedestrian and repetitious.
As Payne's love interest and competitor Frank Butler, Philip Peterson seemed
off at the start of the evening, but soon was able to match Payne in energy
and talent. As the show progresses, Payne and Peterson become a hilarious couple. Cash
McRay's Buffalo Bill is full of humor and charm, while Seth
Wyatt Kinney's Chief Sitting Bull is a wink and a nod of a performance
that skirts potential taste issues by its exuberance. Patrick Dulaney's offering
as manager Charlie is a bit forced and often off-key, and poor Elizabeth
Loos is wasted in her one note annoyance of a role.
The ensemble is as presentational as this show requires, singing well and full of energy. JR McAlexander's orchestra sounded full. John C. Rager's set is effective in all of its transitions, while Russell A. Thompson's lighting is well-designed. Mary Atkinson's costumes are effectively indicative of period. Unfortunately, Dave Temby's sound design, especially the myriad of gunshots needed for this production, are a bit cheesy.
As is often the case for a production of Annie Get Your Gun , the fortunes of the show rise and fall on its star power. In this case, Payne and Peterson are definite reasons to visit this classic show once more.
