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Post Standard, The (Syracuse,
NY)
May 8, 2004
Section:
Edition: Final
Page: A2
High
Style in 'High Society' Tony Curulla, Contributing Writer
As part of its 10th anniversary celebration,
Appleseed Productions offers an energetic version of the Cole Porter musical
"High Society." Armed with a Porter pedigree for music and lyrics and a book by
Arthur Kopit, this musical comedy of manners is filled with a whole lot of songs
that drive the narrative line just fine, but you won't remember them by the time
you get to the parking lot. And that's OK because they do their jobs, which,
bottom line, is to help move the story line, not to send you home whistling cute
tunes.
That said, however, the score more than makes up for that with such recognizable
ones as "Let's Misbehave," "Just One of Those Things," "It' s All Right With Me"
and the ever-popular lovers' anthem "True Love."
Set at Seth Lord's waterfront estate in Oyster Bay, L.I., in June 1938, the
construct of the show has an "Upstairs/Downstairs" feel to it in that the house
staff gets as much stage time as the upper crust does upstairs. And deservedly
so.
The four maids are used for a variety of interesting theatrical reasons, not the
least of which are their considerable singing and dancing. They are good. Also,
clever set changes are accomplished by them and the butler as they roll sets on
and off stage as part of the choreography. It just works. And, thematically, it
makes sense to have those with the aprons doing all the work.
Kopit has interestingly juxtaposed commoners' names of the servant staff (of
course, like pets, they have only first names!) such as Chester (William Edward
White), Stacy (Jodi Bova), Polly (Melissa K. Kuersteiner), Betty (Melissa
Pearsall), and Sue (Natalie Galvin) against the gentry surnames of Tracy
Samantha Lord (Sarah Davies), C.K. Dexter Haven (Thomas J. Parker), George
Kittredge (Roy vanNorstrand), Mother Lord (Pat Stone), Dinah Lord (Amanda Vogue)
and Seth Lord (John G. Seavers).
I can't think of a more proper surname for this idly rich family. Perhaps it's
overly obvious, but I like it anyway.
And, of course, like anything worth a grain of sand set in the 1930s, there is a
share of commentary regarding class warfare and the intimation that the upper
class could lose the upper hand given the "right" circumstances. This, however,
is a musical comedy, so the social reform theme must give way to that of
romance, and it does so through the rather dubious marriage plans of Samantha.
Essentially, she plays coyly with Dexter (her former), George (her present) and
Mike Connor (Josh Mele), a visiting writer who espouses a certain social disdain
for his hosts but needs to experience firsthand the subject of his criticism.
Davies and Parker demonstrate their considerable voices throughout, especially
in the "True Love" duet.
John LaCasse turns in a convincing and humorous performance as a dottering Uncle
Willie, who keeps his lecherousness under control while viewing the world
through an alcoholic haze, admitting that he "exudes confidence and savoir
faire."
Amanda Vogue's interpretation of Dinah as the precocious and meddling little
sister contains just enough irritation to be comically effective.
Even though it's as predictable as Samantha's nugget "With the right guy, you
can never go wrong," this show, directed by Jon Wilson, is very entertaining and
demonstrates the talents of some very fine performers.
Porter's score is handled quite well by Kermit Buckman's piano, along with some
fine rhythm work by Steven Wright on drums and Spencer Murphy on bass.
Musical direction is by Deborah A. Cunningham. Shannon Tompkins choreographs.
Copyright © 2004 The
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