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September 11, 2002
Section: CNY
Edition: Final
Page: E5

Appleseed Productions opened the door to its 2002-2003 season Friday with an entertaining musical revue. "Closer 
Than Ever" is an all-music production of the collaborations between Richard Maltby Jr., the lyricist, and David Shire's 
compositions. Shire's often-tricky arrangements and minor keys present a challenge to vocalists; these numbers aren't 
the typical rousing Broadway sing-alongs. And Maltby's lyrics tend to the bittersweet, often tinged with gray rather than 
exuding sunshine.

The Appleseed cast of four, assisted by the talents of Michael Stephan on keyboard and Gary Klemenz on bass, did 
an admirable job. Two of the performers, Dani Gottuso and Jon Wilson, shared directing honors, and two others, Kristie 
Grant and Tom Parker, did double duty as choreographers.

As an ensemble, they kept the evening flowing, with unobtrusive but clever staging and choreography and slight 
changes of costume to offer visual variety. All of this served as a delightful background for the focus of the show - 
some 20-plus Maltby/Shire musical numbers.

The Maltby/Shire songs often encompass a story, following a narrative line put to music. The themes focus on the 
stages of life, the range of human emotions, the choices that people are faced with at different junctures in their lives, 
and accomplishments and losses.

The opening number, "Doors," epitomizes this genre. Gottuso, Parker, Wilson and Grant open and close the four 
brightly painted doors of the simple set, embroidering the idea that when one door closes, another opens.

Gottuso has the best handle on the often-difficult music. She has a bright and engaging stage presence and great, 
jazz-inspired voicings that fill the bill. Donning a scientist's lab coat, she breezes through the tongue-in-cheek feminist 
anthem "The Bear, the Tiger, the Hamster and the Mole." On a more somber note, she tells the "Life Story" of a single,
liberated mom with empathy. Gottuso offers the highlight of the evening with her jazz vocalizations as she teams with 
Klemenz on "Back on Base."

Parker also has an affinity for the Maltby/Shire music. His phrasing and expression are quite impressive. The paean to 
hope, "Next Time," was keenly felt and nicely sung. Parker also handled the strong emotion of "If I Sing," a tribute to 
the legacy of music passed from father to son.

The upbeat "Three Friends," with Gottuso and Grant, allowed him some latitude and a chance for a comic turn, while 
their trio work on "Like a Baby " allowed Parker a chance to showcase his vocal phrasing.

As the quiet and retiring yet passionate "Miss Byrd," Grant had some of the most fun of the evening. Her vocals were at 
their best when she cut loose. The torrent of words in "You Wanna Be My Friend?" allowed her to express the rage of a 
woman scorned. Grant and keyboardist Stephan teamed on the vocals on a satisfying "There."

Wilson supported the cast with strong stage presence and complemented the work of the ensemble. His finest solo 
work was "One of the Good Guys," a touching song about the kind of guy we'd all like our daughters to marry. Wilson 
helped take the evening out on a high note, leading the group in "Closer Than Ever."

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