Actor's Theatre of Phoenix' Gunmetal Blues at The Herberger Theatre Stage West
(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 1/23/99
(out of )There are failures, and there are Failures. Some shows slowly sink, some collapse, and some crash and burn with the brilliance of a shooting star. Actor's Theatre of Phoenix' latest offering, a new musical homage and spoof of film noire, Gunmetal Blues, is one of the most spectacular Failures I've seen in years. Everything that's right with it is also everything that's wrong, and while entertaining and generally enjoyable, this is a play that self-destructs in a blast rivaling the finale of the Death Star. Everyone involved, from the very talented local director, Michael Barnard, to the cast, to the author, composer and lyricist, are responsible for this impressive example of how interesting and enjoyable a Failure can be.
The greatest part of this spectacular Failure comes when it is
described. This is a show where your typical film noire
anti-hero detective, here named Sam Gallahad and performed by
Paul Welterlen, bursts into song. While this idea may have
worked for the highly experimental British television programme,
The Singing Detective, the very idea of a drunken realist
and depressive crooning of his betrayed hatred for the romantic
and his belief in the "Facts!" goes against everything
film noire and the Sam Spade-prototype stands for. Kudos
go to Scott Wentworth, Craig Bohmler and Marion
Adler, the book author, composer and lyricist accordingly,
for their worthy attempt, but this is simply a musical that cannot
exist. It does, though, and is at turns awkward, hammy, and just
plain wrong. It has its moments of humor, interest and drama,
but these are the exceptions more than the rule. Just when things
start to click, an odd dramatic choice, or a silly rhyme, or a
simple remembrance of what is being done here serves to remind
the audience of just how wonderful and spectacular this Failure
really is.
This three person musical detective story, which includes pianist/narrator
Buddy Toupee, impeccably played by the very talented Jerry
Wayne Harkey, a myriad of blondes, all played by the generally
impressive Heidi Ewart, and the abovementioned, ill-cast
Mr. Welterlen, tips its hat and sticks it's tongue out at every
film noire convention, and resonates with the plots and
twists of many famed movies from that era. By musical theatre
standards, the plot is just plotty enough, though by film noire
standards, a good half of the plot is telegraphed long before
the tortured finale lets everything drop into place. Though advertised
as a musical spoof, it seems as though Mr. Barnard has a difficult
time deciding what to spoof, and what to commemorate. There are
definite spoof moments, but there's also a feeling of homage at
some points that throws off the balance of the piece, and makes
it wobble between satire and earnestness.
Ill-advised is Mr. Barnard's casting of Sam Gallahad. Rather than
going with a gruffer, more stereotypical actor in the role, he
has erred on the side of musical theatre. The result is a main
character who just isn't believable as a bourbon-swilling, metaphor-spewing
tough guy. Mr. Welterlen sports the requisite trench coat and
three day stubble, but doesn't exude the hopelessly-soured-romantic-turned-cynic
attitude integral to carrying off this part. Ms. Ewart fares better
in her multiple roles, though here, too, there is not quite enough
differentiation of each specific character to not tip all-important
hands to the audience. Different wigs, no matter how impressively
designed by David M. Anaya, Jr., do not different characters
make. The best presentation comes from the multi-talented Mr.
Harkey, who plays the piano beautifully, performs several important
characters and sub-characters, and leads the onstage ensemble
all throughout. Any one of these jobs would have been a handful,
but Mr. Harkey has done each perfectly, and made it look easy.
The production certainly looked perfect, recreating The Red Eye
Lounge, and making it open enough to become any number of locations.
Jeff Thomson's set and Paul A. Black's lighting
were dead-on target, and Susan Johnson-Hood's costumes
as well as Cat Dragon's properties gave the show the look
it needed, even as it was needing a lot more than looks. Not quite
as perfect was James W. Wildman's sound design, which had
microphone problems throughout.
It's not often I advise people to see a show that doesn't work,
but there is a contingent of theatre people, of which I'm one,
who like to see what works and what doesn't in a Grand Failure
such as this. No, it's not as horrific as the infamous Carrie,
or as tragic as Merrily We Roll Along, but it's a thrill
to see what happens when a good show goes bad. I'm not sure if
rewrites can fix this, or recasting can make a difference, or
even if a consistent directorial tone will improve the situation,
but I do know that this is a very impressive Failure, and one
that warrants attention, even as it simultaneously begs for our
pity, misses the mark and grates on our nerves.
Production Details:
Gunmetal Blues Book by Scott Wentworth, Music
& Lyrics by Craig Bohmler and Marion Adler
Actor's Theatre of Phoenix
The Herberger Theatre
Stage West, Phoenix
(602) 253-2701
January 22nd - February 7th, 1999