Phoenix Theatre's Tintypes
(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 2/11/00
(out of )In the musical revue Tintypes, the period of 1890 to the United States' entry into the first world war in 1917 is represented by five figures of the period, two representational and three real-life characters: a Chaplinesque Russian immigrant; Susannah, a first generation free-born African American; Flo Ziegfield's luscious wife and main attraction, Anna Held; outspoken Socialist leader Emma Goldman; and the great Teddy Roosevelt. In an evening filled with 47 songs of the era, these five characters comment on everything noteworthy about the period, including immigration, inventions, social injustice, and vaudeville. Most every song is instantly recognizable; "Yankee Doodle Dandy," "Meet Me in St. Louis," "Nobody," and "Bill Bailey" to name just a few. In the style of the period, a heavy emphasis is placed on national pride, but the authors have wisely added biting satire about rich and poor, the plight of the working class and minorities, and Roosevelt's heavy-handed ways.
Musical Revue is an inherently undramatic art form, though there have been a few that have worked. Whether through clever dialogue or an imposed dramatic framework, or just by the power of the performers, some revues transcend the hit parade feel to become genuinely engrossing. Phoenix Theatre's production offers proof of this at some points. There are moments when the social commentary of the period is put in direct juxtaposition with the theme of the song being sung, and others when performances of songs overwhelm the audience. When those moments occur, the show flies. few though they are. But talented Director/Choreographer Michael Barnard is not able to define the five individual archetypes that populate this songspiel clearly enough, and the result is a pleasant walk down a memory lane with which only the centenarians in the audience have any true connection. Even worse, one performance is awful, throwing off the show's balance, and the cast as a whole rarely connect, acting more like five birds in separate gilded cages.
The thing that sets this apart from an evening at home with a Rhino Record chronicling the period is the visual element that Mr. Barnard has included. There's a lot of dancing, which is impressive, except when consistently muffed by a certain performer. There's a lot of bunting, which goes well with the rest of Jim Hunter's period set. And, there's a lot of silent movie bits to lead from one commentary to the next. Unfortunately, this device is overdone, and often takes the performers out of their main characters to become secondary and tertiary characters that are not always directly connected with the initial ones, which can be confusing.
Three of the five performers are wonderful. The show's star (an oxymoron in an ensemble piece), Amy Jo Arrington, lives up to the hype. Her beautiful soprano voice and graceful movement overcome her inability to offer a truly well-rounded presentation of the Anna Held character. Phoenix Theatre darling Michelle Gardner is not up to her usual blockbuster presentation, but she is the one who finally kickstarts the show and creates its first moment of flight during her hilarious duet with Teddy of "What It Takes To Make Me Love You/You've Got It." Talented Stephen Goodfriend is an earnest immigrant, doing a great job singing and dancing his cutesy role.
As Susannah, Katherine Todd grabs the audience's attention only during her big solo number near the end of the first act, when she confronts the racism of the era during her soulful presentation of "Nobody." Completely miscast, with limited vocal skills and two left feet is Bill Moore in the integral role of TR, who somewhat resembles "Teddy Da Roose," but consistently looks at his and the other cast members feet during group dances, and slurs his words while singing like a man who's charged up San Juan Hill once too often.
Though it's becoming almost boring to hear, kudos are once again in order for Musical Director/Conductor Jerry Wayne Harkey, whose work was again flawless. Mr. Hunter's Vaudeville-like stage, replete with footlights and scrims, and framed by an elevated train scaffold, is a great space for the actors to work. Paul Black's lighting design is also impressive, as are Gail Wolfden-Steib's wonderful period costumes, though David Temby's microphones were not well-handled by the running crew, leaving some singing unmiked for short periods of their songs.
Yes, it's cute, and filled with some great renditions of ever-popular tunes. Unfortunately, there is no true connection for those onstage between each other and the music they're presenting. Head to Phoenix Theatre only if you're in the mood to hear songs like "You're a Grand Old Flag" again, or to witness those rare moments when the cast finally does connect.
Production Details:
Tintypes Conceived by Mary
Kyte with Mel Marvin & Gary Pearle Musical
& Vocal Arrangements by Mel Marvin Orchestration &
Vocal Arrangements by John McKinney
Phoenix Theatre, Phoenix
(602) 254-2151
February 11th - 27th, 2000