Stage Brush Theatre's The Boy Friend
(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 12/11/98
(out of )For its third production of the season, Stagebrush Theatre has tapped Greasepaint Scottsdale Youth Theatre's Managing Director and co-founder Wendy Leonard to direct a production of the sugary confection The Boy Friend by Sandy Wilson. Ms. Leonard has brought with her many of the talented and exuberant youths that she has worked with over the years, and infused this production of the '20s British Musical spoof with a needed energy and excitement. Save for some problems with casting, and others with interpretations of roles, the result of this unannounced alliance is a fun evening of fluff that can't help but make an audience member smile.
The "plot" of this silly escapade revolves around sweet
and innocent Polly Browne, who studies at a girl's boarding school
on the Riviera. She wants to find a love who loves her not for
her dowry, but for herself. Set during a carnival time, she must
find that elusive Boy Friend that all the girls want, and is willing
to resort to a little chicanery to do so, making believe that
she is poor. In addition to poor Polly's problems, her recently
widowed stuffshirt of a father is visiting, and has discovered
that the headmistress of the school is a former fling of his,
bent on getting him back. There are no famous songs from this
show, but many lively tunes, and just enough action to keep the
performers singing and dancing up a storm.
Kudos go to Ms. Leonard and her able choreographers, Beth Reynolds
and Cathy Carlisle. The pacing is wonderful, but the best
thing of the evening is the dancing, which twice stops the show
with its impressive fervor. Equally to be congratulated are Katie
Rex and Michael Jason Harrington, whose amazing dancing
during "Won't You Charleston With Me?" was the highlight
of any recent Stagebrush production.
Kudos also go to the comic relief of the evening, a woman who
is similar in style to a young Carol Burnett, Sarah Wolter.
While her actions may have been considered by some to be over-the-top
and scene stealing, her hilarious schtick and facial contortions,
along with her fluttery voice and singing were perfectly in synch
with the types of actresses that would have played this part in
the '20s British Music Halls, and so fit in the overall theme
of the play.
From there, though, problems emerge. As the sweet and innocent
Polly, Natalie Ellis, who recently exploded onto the scene
with a featured role in Stagebrush's last musical production of
Grand Hotel, is
still a great singer and dancer, although her interpretation of
Polly was too sultry, too sexy to pull off the important balance
of innocence and a winking acknowledgement of her actions to the
audience. She rolled her eyes too much, and seemed more a '20s
coquette than her character desperately requires. And, as her
secret love interest, Tony, Lucas Coatney could dance and
sing, but brought no gusto to his crucial role, seeming more sap
than love interest.
Also, though I maybe crucified for stating this, having stayed
mum for the last few times I have reviewed him, I think it's time
I said my peace about Executive Producer and Scenic Designer T.J.
Weltzien's inclusion in the cast. Mr. Weltzien plays the role
of Polly's father, Percival Browne. While this is not a major
lead, and merely a supporting player, this character does have
a duet and much stage time. While it is true that Mr. Weltzien
is a wonderful Scenic Designer, and has once again proven that
with his set for this production, and that he has a good sense
of comic timing and somewhat adequate dance abilities, I cannot
be convinced that someone with much better pitch was not available
during auditions. If directors insist on casting Mr. Weltzien
in these second tier roles, perhaps he should be put in non-singing
ones, to avoid offending the ears of the audience. So much for
my reviewing at Stagebrush for awhile...
Solid performances come from the chorus and other leads, whose
energy and vivaciousness are necessary to keep the audience from
noticing the thinness of the plot.
In addition to the impressive scenic design, Lighting Designer
Michael Eddy has done a wonderful job of infusing a rosy
glow on the proceedings. Also impressive were Timothy C. Slope's
period costumes, which reached a fevered pitch of glitziness during
the carnival sequence. Also solid, though sometimes a bit overpowering,
were the onstage orchestra led by Music Director Eric C. Reda.
This production may have some faults, but that doesn't stop the
fact that its spirit and fun is infectious, and it's the perfect
alternative to a night of mind-numbing television-watching. If
for no other reason, go for the dancing; this is one show that
knows how to move.
Production Details:
The Boy Friend by Sandy Wilson
Stagebrush Theatre, Scottsdale
990-7405
December 4th - December 20th, 1998