From creaky Victorian melodramas to well-worn musicals, something’s afoot
ARNOLD WAYNE JONES | Life+Style Editor email@example.com
ON THE BOARD
FORBIDDEN BROADWAY’S GREATEST HITS
at the Kalita Humphreys Theater, 3636 Turtle Creek Blvd. Through Aug. 29.
SHERLOCK HOLMES IN THE CRUCIFER OF BLOOD
at Theatre Three, 2900 Routh St. in the Quadrangle. Through Sep. 5.
THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE,
2819 Forest Ridge Road, Bedford. Through Aug. 22.
Every January, Uptown Players’ fundraiser Broadway Our Way takes songs from musicals, adds a large cast and performs a revue, as the men sing the women’s parts and the women sing the men’s. So when Tyce Green steps onstage in Forbidden Broadway’s Greatest Hits in a red wrap dress, doing Patti LuPone doing Mama Rose better than Patti herself (he’s just as crazy), you might think but for the sweltering heat you’re watching an encore — outtakes from last season’s fundraiser.
That is the curse and the joy of this show, mined from the long-running satire of Broadway seasons that has played off-Broadway for decades. Is Uptown Players cannibalizing itself or just giving the audience more of what it wants? Let’s go with the latter.
Aside from Green, there’s no gender-bending in the musical numbers, which tweak songs from The Phantom of the Opera, Les Miserables, Sondheim, Jerry Herman, Bob Fosse and other legends of theater who deserve to be taken down a peg for the impudence of being successful.
A small risk of the show, in fact, is that it demands a working knowledge of musical theater in order to get most of the jokes. (Uptown Players’ theater-queen heavy subscriber base is safely in that camp.) Skewering Idina Menzel presupposed most people know who the hell Idina Menzel is. But if you do, the Defying Gravity number is priceless.
Certainly the cast members, who cycle through costumes like Cher on speed, are at home with the humor and the music. All are talented, though Wendy Welch steals the show, first with a grotesque parody of Carol Channing then as a fright-wigged Fantine from Les Mis — making a twofer attack on poor LuPone. Don’t worry though — they kid because they love. And there’s a lot of love here.
When you name your play Sherlock Holmes in the Crucifer of Blood, here’s a suggestion: Get to Sherlock as quickly as possible. The prologue of this play really should be called a prolong — it slowly lays the foundation for the plot with needlessly talky exposition before we have any idea of Victorian London’s premiere consulting detective will figure in. And it’s not even set in England, but in India! Talk about your Black Hole of Calcutta.
Too bad director Jeffrey Schmidt didn’t turn that half-hour sequence and make it a sharply-edited 15-minute video, because once we get to the heart of the play — Holmes’ inescapable logic flawlessly unraveling a twisted (though not especially interesting) mystery that’s bits of The Mummy and Treasure of the Sierra Madre, though hardly the best bits — the play gets fun.
The first time that Holmes, played by Chuck Huber, off-handedly deduces the ownership of a watch presented to him by Dr. Watson (Austin Tindle, wearing an awkward false moustache that looks like it fell off a pair of plastic novelty glasses), the audience titters with delight. That’s what we’ve come for, not lepers and pith helmets and a box of jewels that looks like an accessory snatched up from Pottery Barn.
Despite a few line flubs, Huber makes an engaging Holmes, though Jakie Cabe, as the incompetent flatfoot Inspector Lestrade, may be the only one who fully explores the small amount of comedy there is; Paul Giovanni’s 1978 play has too much creaky dialogue to feel very modern otherwise.
As a Gollum-like hoarder of his precious lucre, Gregory Lush has the best accent in the bunch, plus tremendous brio as a queeny old military officer.
Schmidt’s failure to punch up the beginning as a director is almost made up for by his inventive set design and Aaron Patrick Turner’s endlessly intriguing costumes. Using style to mask weaknesses in substance? Elementary, my dear.
The 25th Annual Putnam County Spelling Bee is a charming musical with a funny but sentimental script by Rachel Sheinkin and inventive songs by William Finn that are disarmingly poignant about the stresses of childhood. The show practically sells itself.
That’s especially true in the production from OnStage in Bedford, which, sadly, oversells. Way, way oversells. The director, Kyle Macy, doesn’t seem to trust in the material, having his cast take what should be Clare Danes in My So-Called Life and turning them into Screech from Saved by the Bell. Use your inside voices, kids.
Kristin Spiers as a former spelling champ, Amanda Gupton as a tender speller and Phillip Cole-White as a punk “comfort counselor” get their characters best (and the women are both lovely singers), though they don’t quite make up for blahness of the others. Still, if there’s ever been a show that could withstand a bad production, this one might be it.
This article appeared in the Dallas Voice print edition August 13, 2010.