Performers Light Up Stages’ Exuberant ‘The Boy from Oz’

Performers Light Up Stages’ Exuberant ‘The Boy from Oz’

By Lynn Venhaus
Managing Editor
Although Peter Allen did not get a Hollywood ending, his remarkable true-life
story of how he skyrocketed to fame through sheer talent, drive and his
ebullient personality deserves a splashy musical as good as Stages St. Louis production.

“The Boy from Oz” is the kind of glitzy material that the
company has excelled at for 33 seasons, their intimate stage a canvas for
crowd-pleasing flashy numbers and lavish costumes, with added poignancy that
tugs at our heartstrings. Allen died of AIDS-related throat cancer in 1992; he
was 48.

You may not recognize the name, but you have heard Allen’s
songs, and this show reminds us of his catchy pop hits and power ballads, which
he often wrote for other artists (Olivia Newton-John, Melissa Manchester, Rita
Coolidge).

The Stages production is the Midwest premiere of this rarely
produced musical, although Hugh Jackman won a Tony in 2004 for Leading Actor in
a Musical in the first Australian production ever mounted on Broadway.

Born in a small bush town, Aussie Allen became one of the greatest showmen of the 1970s and ‘80s, and in the title role, David Elder makes him unforgettable. With his charming smile and boundless energy, Elder glides into the role with ease – singing and dancing with oodles of pizzazz, from tender love songs to the era’s disco beats.

Elder’s bravura performance is a stunning display of sass, class and Energizer Bunny motion. Winning over the crowd from his first appearance as the adult Peter, he dynamically captures the life force that Allen was, daring to say: ‘I am who I am, and you can’t ignore or stop me.’ It’s one of the most muscular and joyous lead performances of the year.

As Allen’s fame grew, he was a regular on the talk show
circuit, brightening up those couches, often wearing his trademark Hawaiian
shirts. I recall how genuine he seemed as an entertainer, although extremely
flamboyant – he clearly loved the glamour of showbiz, opened at Carnegie Hall,
danced with the Rockettes at Radio City Music Hall and sang on the Academy
Awards.

This musical, with a snappy book by Martin Sherman and Nick
Enright, emphasizes his life as tailor-made rags-to-riches name-in-lights legend.
The cheeky wit is endearing as Elder narrates Allen’s first-person story.

To chronicle his life, original producers Ben Gannon and Robert
Fox used Allen’s own music and lyrics: “Best That You Can Do” (1981 Oscar
winning song known as “Arthur’s Theme” co-written with Burt Bacharach, Carole
Bayer Sager and Christopher Cross), “I’d Rather Leave While I’m in Love,”
“Everything Old is New Again,” “Love Don’t Need a Reason,” “I Honestly Love
You” and “Don’t Cry Out Loud” among them.

Corinne Melancon and David Elder. Photo by Peter Wochniak“Not the Boy Next Door” turns out to be a fun number between
mother and son. Reliable veteran Corinne Melancon, who seemingly can play any
kind of role, from the pious Mother Superior in “Sister Act” to strong-willed
single mother Donna Sheridan in “Mamma Mia!” during her frequent summers at
Stages, provides affection and pride as Peter’s mother Marion Woolnough, strong
in voice and characterization.

And it’s not just Elder who is sensational, but two debuts are noteworthy. While his Allen interpretation is a slow build – I mean, he doesn’t start at 11, Michele Ragusa is an astonishing Judy Garland, feisty right out of the gate, quickly becoming a patron favorite and stealing the show with her well-timed quips, mannerisms and powerful vocals. Garland’s husband, Mark Herron, discovered Allen in of all places, Hong Kong.

Ragusa soars in “All I Wanted Was the Dream” and “Don’t
Wish Too Hard,” and the moving “Quiet Please, There’s a Lady on Stage” with
Elder.

Garland’s daughter and his future wife, Liza Minnelli, is played with panache by Caitlyn Caughell. She assumed the role after Sarah Ellis (St. Louis Theater Circle nominee as Laurie in “Oklahoma!”) was injured and needed surgery.

She portrays the right mix of bravado and vulnerability as Liza embarks on her own celebrated career, shows her mettle in “Come Save Me” and “She Loves to Hear the Music” with the ensemble. The couple, who divorced after seven years of marriage, remained friends for life, and Elder and Caughell convey that bond.

Michele Ragusa as Judy GarlandZach Trimmer portrays Peter’s longtime love, Texas model
Greg Connell, who died of an AIDS-related illness in 1984. He’s not a warm and
fuzzy character, so their relationship appears to have some holes in the
retelling. The pair share two affecting duets, “If You Were Wondering” and “Love
Don’t Need a Reason.”

Two boys, Ben Iken and Simon Desilets, alternate playing an
eager young Peter, who just wants to entertain, singing and dancing for small
change. Versatile mainstage mainstay Erik Keiser excels as Peter’s first
singing partner, Chris Bell, in their “brother act,” first appearing on
Australian Bandstand as The Allen Brothers. They would have a successful
touring cabaret act and appear on TV.

As is customary at Stages, Steve Isom plays several roles,
from Peter’s abusive alcoholic dad Dick Woolnough to his brusque manager Dee
Anthony.

The ensemble is as energetic and enthusiastic as Elder is,
and their showstopping grand finale, the 1976 salsa-flavored disco hit, “I Go
to Rio,” is a rousing number in which dancers make quite an entrance in Brad
Musgrove’s elaborate sequined costumes. Musgrove, who never met a sequin he
didn’t like, outdoes the Follies here in spectacular shiny silver-and-white outfits.
The costumes received their own applause, as did Dana Lewis’ robust choreography.

James Wolk’s scenic design is straightforward, allowing the
music numbers to be the focus, and there is a lovely nighttime New York skyline
through an apartment picture window. Sean M. Savoie’s brightly colored lighting
design complements Wolk’s set beautifully.

Director Michael Hamilton emphasizes the vivacious side of Peter while not forgetting the sorrow. He crisply stages the Judy-Peter-Mark-Chris number “Only an Older Woman” with as much oomph as he does with the exuberant ensemble numbers “Sure Thing Baby” at the Copacabana and “When I Get My Name in Lights.” Stuart Elmore’s orchestrations work well, while music director Lisa Campbell Albert varies the tempo to suit each singer.

“Caught between the moon and New York City” will always
define Allen for me. It’s just one of those phrases that you’ll always remember
with a smile, especially if you have fallen in love with the city like he did. And
he’s impossible to forget after seeing his story, “The Boy from Oz.”

David Elder and Ben Iken as old and young Peter AllenStages St. Louis presents “The Boy from Oz” May
31-June 30 at the Robert G. Reim Theatre in the Kirkwood Community Center, 111
S. Geyer Road, St. Louis, 63122. For more information or to purchase tickets,
visit www.StagesStLouis.org or
call 314-821-2407.

Stages St. Louis’ Frisky, Fun ‘Mamma Mia!’ Irresistible

Stages St. Louis’ Frisky, Fun ‘Mamma Mia!’ Irresistible

By Lynn Venhaus
Managing Editor
“Mamma Mia!” – take me away! Stages St. Louis’ high-spirited production is a ticket to pure escapism, a refreshing summer confection that’s a welcome respite from real-world troubles.
What makes this version of the jukebox musical irresistible is the intimate staging at the Robert G. Reim Theatre and an exuberant ensemble whose joy is infectious. Under Michael Hamilton’s animated direction, they are having such a blast that it’s easy to be drawn into their merrymaking. The joint was jumping!
Don’t think too hard about the story’s timeline or do any math about the ages – for this fantasy is critic-proof and one must suspend belief. For supreme enjoyment, be on board for mindless fun when you take your seat, and if you are not singing, dancing or clapping in time during the festive curtain call, check your pulse.
The 1999 smash hit, now the ninth longest-running Broadway musical of all-time, cleverly weaves 1970s hit songs by Swedish pop group ABBA into a lightweight romantic comedy about a former singer and her soon-to-be-married daughter. It may be far-fetched, but it works – hence, the global phenomenon.
Sophie, 20, is obsessed with the looming question of who’s her father, so she invites the maybe-dads Australian adventurer Bill, stuffed-shirt British banker Harry and divorced American architect Sam. They all show up. At the same time.

Donna Sheridan’s bandmates Tanya and Rosie, aka The Dynamos, also arrive at her Greek island taverna. This reunion combo leads to a splendid “Dancing Queen” and “Super Trooper,” and a sweet “Chiquitita,” with all three strong-voiced actresses Corinne Melancon (Donna), Dan’yelle Williamson (Rosie) and Dana Winkle (Tanya) in robust harmony.
Book writer Catherine Johnson has injected plenty of light-hearted humor into what ultimately is a heartwarming celebration of family, friends and women empowerment, all played out on a tiny slice of paradise.
In a fresh and dynamic way, the creative team has emphasized the everlasting charm that makes the show so popular, and the ensemble projects a carefree day-at-the-beach mentality. Stages’ has concentrated on the characters’ feelings, which aids the believability of their connections.
Tony Gonzalez’ buoyant choreography is a highlight, with “Lay All Your Love on Me” featuring a unique tap-dance in snorkeling fins that prompted hearty applause.
He maintained the effusive party atmosphere in “Voulez-Vous” and “Gimme Gimme Gimme,” where the chorus shines.
The technical elements came together in such a pleasurable way that it truly enhanced the experience.
Ah, the sun-drenched days and starry nights are beautifully captured by Sean M. Savoie’s lighting design, with James Wolk’s scenic design adding a moon that moves. The taverna’s balcony is a smart addition for a stressed-out Donna and wistful musical numbers.
Resident costume designer Brad Musgrove’s penchant for glitz gets a workout here, and the colorful eye-candy costumes pop. He outdoes fashion designer Bob Mackie for the razzle-dazzle finale, and noteworthy are the ensemble’s bright and flamboyant wedding attire. With the show set in 1999, I don’t think the outfits entirely reflected that period, but rather spotlighted a spirit of adventure.

The entire cast must be an integral component for this story to succeed, and this group is one of the finest I’ve seen. Music director Lisa Campbell Albert kept up a kicky pace for the singers, and oh, is it a tight chorus, not to mention the consummate professionalism of the principals. Stuart M. Elmore’s orchestral designs are on point.
I was surprised to find out that some patrons had never seen it before – and their joy of discovery was palpable. Fortunately, they experienced an outstanding show as their first time.
Corinne Melancon has become a versatile leading lady at Stages, capable of genuine conviction. She is an experienced Donna – she played the role as part of the 11 years she spent in the Broadway cast, and was also the other two Dynamos. She appeared to really love portraying this woman.
With all that experience, she could have coasted, but is fully engaged as a woman wrestling with a lot of pent-up feelings and frustrations. She brings a gravitas to the single mom who is a struggling businesswoman too.
She excels in a well-staged “Money, Money, Money” and the title song, but knocks “The Winner Takes It All” out of the auditorium.
In a superb “S.O.S.,” she beautifully blends with Gregg Goodbrod’s Sam, the love-of-her-life she scorned in 1979. Goodbrod is a strong Sam in acting and his solo “Knowing Me, Knowing You.” Nice to see him back in St. Louis after playing J.J. in “The Unsinkable Molly Brown” last summer at The Muny.
As the sultry Tanya, statuesque Dana Winkle, who was recently in the national tour of the elegant “An American in Paris,” shows off her slick dance moves in a cheeky “Does Your Mother Know.”
In a departure from the character’s typically frumpy appearance, sassy Rosie is portrayed by striking Dan’yelle Williamson, memorable as Dolores in “Sister Act” two summers ago. She’s convincing as a fierce determined woman and playful in “Take a Chance of Me.”
But Summerisa Bell Stevens as wide-eyed innocent Sophie just might be this show’s secret weapon. She’s one of the best Sophies I have ever seen – a total package who projects an innate sunniness and intelligence. So terrific as Doralee in last year’s “9 to 5,” she practically glows in “I Have a Dream,” “Honey, Honey,” and “Thank You for the Music.”
At first, David Sajewich seemed too old as Sky, but he and Stevens had so much chemistry, that it didn’t distract.
Reliable veterans Steve Isom and David Schmittou play Bill and Harry with their customary skill and crisp comic timing. They both nail their accents – Australian for Isom and British for Schmittou — and are admirably steady throughout, good sports in the dancing numbers.
The ensemble was noteworthy in the effective blacklight dream sequence “Under Attack,” which was thankfully not as silly as usual.
Of course, everyone does their part to raise the roof in the pull-out-all-the-stops finale, and when they come to “Waterloo,” no one wants this party to end.
I’m an unabashed fan of this musical – and it was my eighth time during the past 15 years. I compare it to the warm nostalgia of a “Gidget” movie from my youth. And yes, I cheerfully sang every word to “Dancing Queen” and “Mamma Mia!” at the curtain call – the audience is encouraged to do so (and I warned my neighbors to the right and left).
While it doesn’t matter if you have seen either the first or second movie, after viewing the just-released prequel-sequel, I did like that it shed more light on the backstory and motivations, so I thought of those things while watching this original show that sparked it all.
“Mamma Mia!” has sincere sentiment and its whole lotta fun vibe uplifted everyone. This production is one I’m not going to forget.
Stages St. Louis presents “Mamma Mia!” from July 20 through Aug. 19 at the Robert G. Reim Theatre in the Kirkwood Community Center, 111 S. Geyer Ave. For more information or to purchase tickets, call 314-821-2407 or visit: www.stagesstlouis.org. At least 18 shows are sold-out.Photos by Peter Wochniak