[NEohioPAL]Berko review: MOVIN' OUT (Palace)

[Roy Berko]

FANTASTIC ‘MOVIN’ OUT’ ROCKS THE PALACE THEATRE!

Roy Berko

(Member, American Theatre Critics Association & Dance
Critics Association)

--THE TIMES NEWSPAPERS--

Lorain County Times--Westlaker Times--Lakewood News
Times--Olmsted-Fairview Times	


There is a love affair going on in Playhouse Square. 
>From the opening note sung by Clevelander Michael
Cavanaugh, until the final curtain call which found
the nearly sold out house standing on its feet
screaming “Cleveland Rocks,” the audience at ‘MOVIN’
OUT,’ the Twyla Tharp/ Billy Joel musical now on stage
at the Palace Theatre, was wired.  During the curtain
call the cast was wildly applauding the audience for
its enthusiastic reception of the show.  Audience
comments on the way out included, “That was
fantastic,” “Best show I’ve ever seen,” “That’s what
good theatre is all about,” and “I’m coming back for
more!”

I saw the first night preview of ‘MOVIN’ OUT’ in
Chicago where it received its out of New York tryout. 
My immediate reaction was “this is no ordinary
musical.”  There are no spoken lines, the singing
doesn’t integrate into the plot, per se.  In fact it
is more a rock concert and a contemporary ballet done
simultaneously.  The band, and in this case, a great
band, is suspended over the stage with the lead singer
center stage.  In Chicago, and now in New York, it’s
local boy Cavanaugh who received a 2003 Tony Award
nomination for his Broadway debut.  Cavanaugh took a
recess from the New York production to sing the role
in his home town.  And we are very glad he did.

Another reaction to the Chicago production was that
the first act was weak, the second act dynamite.  I
heard shortly after the Windy City opening that Twyla
Tharp totally had restaged the first act and Billy
Joel had added a song.  The second act remained
basically in tact.  The first act is still weaker than
the second, but in a production this dynamic, that’s
not saying there is much wrong.

The story, in contrast to many dance concerts, is easy
to follow, concerns an examination of a group of 60s
teenagers who progress through high school, followed
by the males going off to the Vietnam War which
results in one of them losing his life in combat. 
After the conflict the others return home, broken from
grief and hooked on dope.  The boys, now men, finally
reconnect and discover they have found their way back.
 

Don’t try to match Billy Joel’s words to the dancing. 
  While not all the lyrics are relevant to the action,
phrase snatches and the musical themes set the tone
for Tharp’s choreography.

Cavanaugh, who was found in Las Vegas doing a show in
which he sang Billy Joel songs, started to perform
professionally at age 12.  He is not only known as a
singer but does character voices for the Disney
Channel and has recorded a solo CD entitled “Sounds a
Lot Like Me.”  His performance in ‘MOVIN’ OUT’ is
outstanding.  His voice is strong, his articulation
clear, and his piano playing wonderful.  He sings with
feeling and creates meaning from the words, rather
than just singing words.

Usually in dance performances the women outperform the
 men.  Not so in this production of ‘MOVIN’ OUT.’  
The men, including the male corps, were all strong.  

Corbin Popp, who played Tony, showed mastery of not
only modern dance, but displayed fine balletic moves. 
He also displayed strong acting skills. His Broadway
idol good looks and buffed body added to his strong
stage presence.  In “This Night” he showed excellent
partnering skills, as was the case in “Big Shot.” 
“Big Man on Mulberry Street” was a show stopper.  

As Eddie, the distraught post-Vietnam burnout, Brendan
King almost stole the show with his amazing gymnastics
and dancing power.  A segment entitled, Eddie Attains
Grace, danced to “River of Dream,” “Keeping the Faith”
and “Only the Good Die Young” was amazing.  It was one
of the strongest dance performances I’ve seen in any
musical. 

Sean Maurice Kelly, who filled in for Matthew Dibble,
didn’t match the dancing polish or dynamics of Popp
and King.  

On the female side, Julieta Gros was wonderful as
Judy.  She captured the stage with her petite good
looks and controlled dancing movements.  Laurie Kanyok
was inconsistent as Brenda.  She was at her best when
partnering with Corbin Popp.

“Goodnight Saigon,” which displayed the horrors of war
was superb, as was “Captain Jack.”  

The Movin’ Out Band was note perfect.  They not only
played well, but were excellent in vocal backups.

Technically, the show was of Broadway quality.  The
lighting, costuming and scenic design all added to the
overall positive effect.

CAPSULE JUDGMENT:  THIS IS A MUST SEE PERFORMANCE!
‘MOVIN’ OUT’ runs Tuesdays through Sundays at the
Palace Theatre in Playhouse Square until February 20 .
 Be aware that Cavanaugh will only perform Tuesday,
Thursday, Friday evenings and Sunday matinees with
Matt Wilson singing the other performances.  Tickets
can be obtained by calling 216-241-6000, 800-766-6048
or going on line to www.playhousesquare.com.


=====
Roy Berko's web page can be found at www.royberko.info.  His theatre and dance reviews appear on NeOHIOpal, an on-line source.   To subscribe to this free service via the World Wide Web, visit http://lists.fredsternfeld.com/mailman/listinfo/neohiopal.


		
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