Disney's Live Action Forum
Reviewed
2/27/04
Music and Lyrics by Stephen Sondheim, Book by Burt Shevelove and Larry Gelbart
Directed and Choreographed by Michael Barnard
Phoenix Theatre, Phoenix
(602) 254-2151
February 27th - March 14th, 2004
$28.00 - $32.00
Stephen Sondheim’s A Funny Thing Happened on the Way to the Forum, a musicalization of the farces of Roman playwright Plautus, has had two lives. In 1962, it opened to thunderous acclaim with Zero Mostel in the lead role of slave Pseudolus, it ran for over two years, and established Sondheim as a legitimate combination of composer and lyricist. Twenty-four years later, Broadway star Nathan Lane lead a sequel that ran for just under two years. The revised version featured a few new songs and a book revised by the authors that added to the hilarity. It is this script that Phoenix Theatre is mounting under the sure hand of Director/Choreographer Michael Barnard. As a musical farce, the pacing is frenetic, the performances large, the dancing flashy, the music brassy, and it’s hard to avoid the animated feel that Barnard has brought to this. Richard Farlow’s set, Mike Eddy’s lighting, and Timothy C. Slope’s costumes resemble a live-action recreation of Disney’s Hercules. The actors are rubber-faced, spiraling whirligigs that would fit comfortably in Toontown. This isn’t a bad thing. The script allows for such broadness, and this allows much of the sexual bawdiness to flatten for family viewing. The evening is quite enjoyable, although a central element keeps it from being perfect.
In
the role of Pseudolus, valley comedic dynamo Jon Gentry (pictured
right, center) seems to be a natural fit, but on opening night, his performance,
while funny,
seemed a
bit forced. His timing was off, his connection to his cast members distant.
His dancing seemed to slightly miss marks, and more than anything else,
he seemed tired. Whatever the reason, buoyant gave way to tentative. However,
a tentative Gentry is still a funny Gentry. His supporting cast made up
for
any slight hesitations. Robert Kolby Harper’s (bottom)
Hysterium is exactly what you’d expect from this polished performer.
He is in complete control with all aspects of his performance. Stacey
M. Kunnari’s Philia, the young virgin central to the
plot, is a scream. Taking a cue from the lyrics
of the song “Lovely,” Kunnari’s Philia is an empty-headed,
squeaky-voiced Goddess of Physical Beauty. Beau Heckman’s Marcus
Lycus, the purveyor of flesh and Philia’s seller, is a fresh take
on a silly role. Heckman’s performance is strong, brash, and ebullient.
Matthew Sopha is an earnest Hero, while Andrew
Ragone is simply remarkable
as the
self-loving warrior Miles Gloriosus, featuring a deep voice and powerful
presence. D. Scott Withers (left) is a lusciously lecherous
Sennex, Kathi
Osborne is enjoyable as his wife Domina, and Chris
Vaglio is cute as the ancient
traveler Erronius.
The assisting Proteans (Chris Ericksen, Mike Flosi, and Travis Mondesitt) are ably handled, while the collection of courtesans (Angela Calabrasi, Tina Khalil, Katie O’Brien, Shawna Quain, Elizabeth Reynolds, and Laurie Trygg) is a luscious group, scintillating as they perform their various distinct characters.
The stage is a palate of primary colors. Farlow’s set is a topsy-turvy visual pun, eschewing all straight lights and sharp angles. Slope’s costumes define character to the degree of absurdity, and David Temby’s sound design is flawed in projection of performers, but able to perfectly support Ron Colvard’s excellent, full-sounding orchestra.
This production has all of the elements of great success. Should Gentry’s initial hesitations disappear, this can rise from being a winning evening to a memorable one.
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