Stagebrush Theatre's The Best Little Whorehouse in Texas
(out of 
)Mark S.P. Turvin
(home office) (602) 912-0117
I can be reached for comment via e-mail at: mspt@goldfishpublishers.com
(out of )Actor/Director/Tech Director/Set Designer T.J. Weltzien wore many hats during Stagebrush Theatre's premiere of the 1997/1998 season, The Best Little Whorehouse in Texas. Would that he had concentrated his talent on only one or two of his tasks, rather than taken on so much, as his schizophrenia seems to have resulted in a show and cast in need of a direction.
Whorehouse is a cute musical that centers on the shenanigans of The Chicken Ranch, a longstanding house of ill-repute that has been allowed to exist by local and state authorities as a matter of convenience. It is only when a local television reporter sets his sights on running the girls and their sexy mama figure, Mona, out of town that this tradition becomes a target, causing the hypocritical leaders to have to posture against their favorite hangout. The show has several enjoyable songs, and a country twang and good-ol' hominess to it that make it difficult to dislike.
Except, unfortunately, when Stagebrush Theatre attempts to pull together the giant cast, and allows one man to do the job of four. Mr. Weltzien is talented, but seems to have taken on too much in this production, resulting in energetic but unguided musical numbers, a set that is both functional and ugly all at once, and a performance of the narrator Bandleader, pseudonymously listed as J.T. Thomas, which would have been better in the hands of someone who could carry a tune.
Despite all of these problems, there are several bright spots that nearly salvage the evening. While the chorus may have had trouble with pacing, singing and presentation, most of the leads were solid. Kathi Osborne plays the Mona role in a passable homage to Dolly Parton, without bringing much of her own to the role. Ross Collins plays her sweetie, the local Sheriff Dobb with an enjoyable over-the-top zeal. The same can be said of Mel Reid as the "Watchdog" reporter, Melvin P. Thorpe. His broad-stroked performance worked well in this farcical production. Outstanding in their smaller roles were Evelyn Brown-Gray as the housekeeper/belter Jewel, who shines brightly in all of her musical numbers, and Darlene Richert as Doatsey Mae, the local plain-Jane with big aspirations. After these performances, though, the evening becomes a mish-mosh of loud, off-key, out-of-step musical numbers and a surprising amount of scantily-clad women who seemed to confuse exuberant with sexy.
The biggest disappointments of the production are the amateurishness of the chorus, the uninspired choreography of Lisa Martina, and the general lack of focus when more than three people are on stage. There's a sense that Mr. Weltzien is more secure with directing dramatic action and solo and duet performances, but is unable to corral the herd for the many large song and dance numbers.
The biggest surprise of the production is the set, which is usually Mr. Weltzien's forté. Besides the beautiful side portions of The Chicken Ranch, the stage itself incorporates ramps and steps that are used to portray several different locations. While functional for all, the result is a loss of the "hominess" of The Chicken Ranch itself, a devastating blow.
The onstage band, lead by Irene Lopez, is upbeat and in sync, and never overwhelms the performers. A very big disappointment comes from Mark Shermer's wigs. The show probably requires over 80 wigs, but most of them were so horrendous as to become a running joke through the evening. Timothy Slope's costumes were very hit-and-miss, getting it right with many of the women's lingerie, but then missing with some of their dresses, and putting Watchdog's "Doggettes" in costumes made more for the movie Cruising than this show. The result of these wigs and costumes is a timelessness to the piece, which is more confusing than cutsey.
It's a shame that the strength of Stagebrush's Whorehouse
is in its quieter, more dramatic times. A show of this sort would
do better with a stronger, more guided chorus. That doesn't take
away from the power of its leads, but causes an audience to wonder
what Mr. Weltzien and the cast would have been capable of if the
director had given his total concentration to the piece.
Production Details:
The Best Little Whorehouse in Texas Book by King &
Masterson, Music and Lyrics by Carol Hall
Stagebrush Theatre, Scottsdale
990-7405
September 19th-October 5th, 1997