The Scottsdale Community Player's Grand Hotel at Stagebrush Theatre
(out of 
)Mark S.P. Turvin
(home office) (602) 912-0117
I can be reached for comment via e-mail at: mspt@goldfishpublishers.com
Reviewed 8/4/98
(out of )Grand Hotel is a peculiar musical that offers many great challenges to those who wish to produce it. It's large cast, grandiose set requirements, and odd mixture of comedy and melodrama have kept it as one of the lesser produced musicals of the last ten years. The biggest obstacle of all of these is its book, which seems like a messy collision between the bus and truck company of My One and Only and the bus and truck company of Cabaret. Don't get me wrong; I personally like this show, but there are many people looking to this as an evening of escapist entertainment who maybe a little surprised by the smack in the face this enormous musical offers.
It's best to consider this; a musical set in the ritziest location of Berlin in 1928 is bound to have a social conscience. Director Robyn Ferracane and Choreographer Robert L. Harper have done as good a job as they can to balance the jarring effect of beautiful ballads sung by debt-ridden Barons and staccato, accusatory chorus numbers of the grumbling service staff. As long as you're prepared for the dark, the light will entertain just as readily.
Based on Vicki Baum's 1932 Oscar-winning film, the audience is treated to a slice of life at the luxurious Grand Hotel of Berlin. Here, penniless Barons rub elbows with over-the-hill Prima Ballerinas and corrupt Businessmen stalk social-climbing Secretaries. All the while, the Haves are waited on by the Have-nots, who are just as willing to cut their patron's throats as they are to cut their cigars. In the midst of this, a bookkeeper with a terminal illness cashes in his possessions to enjoy one last fling. The musical has several enjoyable, if not necessarily memorable, songs that buoy and remark on the evening throughout.
Ms. Ferracane has done a good job in her premiere as the director of a musical. The stage pictures are always lively and engaging, and her handling of some difficult material is seamless. Also commendable is Mr. Harper's choreography, which runs the gambit from the Charleston to the Internationale.
Similarly impressive were the performances, which were generally solid, and in some cases, outstanding. Top performances were offered by the young Natalie Ellis as the social climbing secretary, Frieda, and comic relief Eric C. Reda as the terminal bookkeeper, Otto. Ms. Ellis is a definite find, with the triple threat of acting, singing and dancing talent that should keep her in the public eye until long after she's graduated high school, and Mr. Reda brings a joie de vivre to his role and an energy that attempts to balance the darkness of his situation.
Above-average performances come from Kathi Osborne as the aging Prima Ballerina Grushinskaya, Alex Gonzalez as the highly-leveraged Baron, and Phylis Fort as the forlorn companion to Grushinskaya, Raffaela. While some of the moments between Ms. Osborne and Mr. Gonzalez are a bit hokey, they attempt to overcome the material with utter belief in their roles. Ms. Fort has the unenviable task of mourning an unrequited love with every breath onstage, but still manages to come out a winner.
The ensemble is in rare form this go around, as their singing and dancing abilities are complimented by the crispness of their actions. Save for some of their overpowering of the leads during their intricate songs, they work very well together.
Irene Lopez' Musical Direction was generally solid, although the orchestra did tend to overpower the singers in several situations.
Visually, the production is a knockout, with outstanding Set Design by Producer T.J. Weltzien and Lighting by Michael Eddy. Kudos go to these two for their ability to transform the Stagebrush stage into a gorgeous and functional lobby area. Just as impressive were Timothy C. Slope's costumes, which recounted the era and fit the actors and characters wonderfully.
This production maybe difficult for some people
expecting all happiness and gaiety from a Stagebrush musical.
It does have its harsh, gloomier moments and hints of Nazism,
which unfortunately do not mesh particularly well with the happier,
carefree sections of the show, though through no fault of the
cast and crew. As long as a potential audience member is aware
of the dark side of Grand Hotel, the evening should be
an enjoyable experience.
Production Details:
Grand Hotel
Book by Luther Davis, Songs by Robert Wright and
George Forrest, Additional Music and Lyrics by Maury
Yeston
Stagebrush Theatre, Scottsdale
990-7405
September 4th-September 26th, 1998