[NEohioPAL]Berko review: DAMES AT SEA (Porthouse)

[Roy Berko]

‘DAMES AT SEA’ floats happily into dock at Porthouse

Roy Berko

(Member, American Theatre Critics Association)

--THE TIMES NEWSPAPERS--

Lorain County Times--Westlaker Times--Lakewood News
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Unless your are a theatre buff, while viewing the
Porthouse Theatre production of ‘DAMES AT SEA,’ you’ll
probably assume that the George Haimsohn, Robin Miller
and Jim Wise show was written in the 1930s.  The show
is filled with depression day references, and
celebrity names of that era pepper both the song
lyrics and the dialogue.  

Don’t be fooled.  The show was written in 1969 and is
actually a spoof on the 30s style escapist Hollywood
and Broadway musicals which had one production number
follow another and a slight story line that loosely
hooks the songs and dances together.  

Another little know fact is that the original show
starred 17 year-old Bernadette Peters in the leading
role.  Peters went on to become a major Broadway star
(‘THE MOST HAPPY FELLA’, ‘SUNDAY IN THE PARK WITH
GEORGE,’ ‘INTO THE WOODS,’ GYPSY,’ ANNIE GET YOUR
GUN,’ and ‘THE GOODBYE GIRL.’

The campy, musical is a small cast tongue-in-cheek
tribute to the large cast Busby Berkeley film
musicals. Pithy lyrics, staging that mainly consists
of stylized over-acting, lots of shticks and gimmicks,
tap dancing, kick-lines, and contrived events complete
the picture.

The story (?) concerns Ruby, a just-off-the-bus
showbiz hopeful who rockets to stardom by stepping in
for a Broadway star.  Ruby, named for Warner Brothers'
film dancer Ruby Keeler, falls in love with hometown
boy Dick, named for Dick Powell.  This happens as Dick
goes from wide-eyed swabby to celebrated Broadway
composer in the same lickety-split time span. Also on
hand are the good-natured Joan, named for Joan
Blondell, and Lucky, who represents every sidekick who
ever sang and/or tapped alongside a leading man (think
Donald O’Connor, the sidekick to Gene Kelly).  (I told
you this wasn’t a great story line.)

The lines are often stilted, which is part of the
writing style, but that doesn’t matter as you may not
hear much of the spoken words as they are often
drowned out by the production’s overly loud musical
accompaniment.

The show is filled with hummable tunes, some of which
have become minor Broadway classics.  The score
includes:  “It’s You,” “Broadway Baby,” “”Good Times
are Here to Stay,” “Star Tar,” and the finale, “Let’s
Have a Simple Wedding.”  Most of the songs are
show-stopper dance numbers, with a few pretty ballads
snuck in.

To work, the show has to be in the right hands.  In
general, Porthouse’s production is on target. 
Director Eric van Baars (who ironically starred in
this show some years ago on the Porthouse stage with
Terri Kent, the theatre’s Artistic Director), has a
nice feel for the show, but is often too restrained in
giving his cast the green light to really ham it up.  
That is, with the exception of Mary Ann Black, who
dominates the goings-on with her appropriately
over-done Mona Kent, the drama queen of drama queens. 
 Black is nothing short of wonderful in “The Beguine”
in which she makes a scarf into a major performance
piece.  Her “That Mister Man of Mine” is another
delightful interlude.

Emily Leonard is picture perfect as Ruby.  She is
tiny, adorable and compelling.  She lights up the
stage.  Her “The Sailor of My Dreams” was charming, as
was her “Raining in My Heart, which featured umbrellas
with twinkling lights on the ribs.

Though he physically fills the role of Dick, Ruby’s
beau, Alex Jorth’s “aw shucks” Iowa sound becomes a
bit grating after a while.   He sounds like he is
holding back air as he speaks. He has a very pleasant,
but slight singing voice.

Jodi Beck is delightful as the outspoken Joan.  She
looks and sounds like Bette Midler, in the very best
of ways.  She is brash, brassy and sings and acts and
dances well.

Erik Floor should have been given freer reign to
really let loose as Lucky, Dicks’ happy go-luck
side-kick.  At times he sparkled, especially in some
of his antics, but he needed to be more the male
counterpart of Joan.  His dancing was easy and loose
and well done.

Sean Morrissey’s choreography was good.  There were
times, however, when some more razzle dazzle could
have been added.  Strongest numbers were “Star Tar”
and “Good Times are Here to Stay.”

CAPSULE JUDGEMENT:  If you like good dancing and
singing and don’t give a darn about a believable story
line, you’ll go away from ‘DAMES AT SEA’ a happy
theatre goer.000000

The show runs Tuesdays through Saturday evenings and
Sunday matinees through July 1 at the Porthouse
Theatre, located on the grounds of the Blossom Music
Center in Cuyahoga Falls.  The 500-seat, outdoor,
covered pavilion theatre is a wonderful setting. 
There isn’t a bad seat in the house.  For tickets call
1-800-304-2363 or 330-929-4416 or visit
www.porthousetheatre.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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