[NEohioPAL] Berko review: ALTAR BOYZ (Beck Center)

[Roy Berko]

‘ALTAR BOYZ’
entertaining at Beck, but…
 
Roy Berko
 
(Member,
American Theatre Critics Association)
 
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The recently
concluded run of ‘ALTAR BOYZ’ at Beck Center was met with sizeable crowds and
good word of mouth.  That’s the
positive part.  The other aspect is
that the show, both the script and the production, though entertaining, were
somewhat lacking.
 
Yes, the show
received numerous awards, and has brought younger audience’s into the theatre,
but what is it intended to be?  It’s not really a spoof, or a satire or a parody.  It’s a ‘NUNSENSE,’ ‘FOREVER PLAID,’ and
‘GODSPELL’—kinda’ thing.  It pokes
fun at boy bands and brushes Christian/Catholic positions on evolution,
homosexuality, and unwed mothers, among others, and, of course, turns the other
cheek when necessary.  But, for
what purpose?  As one out-of-town
reviewer said, “It’s amiable, but its also aimless.”   And, being a message guy, that’s my problem with the
script.
 
The show, for
those who didn’t see it, is a supposedly real-time concert,  in fact the last concert of the Altar
Boyz “Raise the Praise” tour.  The
five-member group sing, have some lines that bridge the songs together, dance,
and try and get the audience to repent.  Their level of success is measured on a “sinner’s meter” which keeps
track of those in the audience who are still on their way to hell.  Finally, we are down to four
hold-outs.  And, no surprise, they
are members of the Altar Boyz.  All
the members except the Jewish kid.  Yep, one of the Catholic Altar Boyz is Jewish.  Why, I’m not sure, but I’m certain that Kevin Del Agula, the
script’s writer, figured he could use the yarmulke wearing kid for some laughs
and use him as the only one who doesn’t “sell out.”  Hmmm..is there a religious message here?
 
The show had
its debut in September of 2004 at
the New York
MusicaTheatre Festival  and opened Off Broadway in March,2005 and has had a prosperous run.
 
The show's
music and lyrics were written by Gary Adler and Michael Patrick
Walker and the idea was hatched by Ken Davenport and Marc Kessler.
 
As for the
Beck production.  It was an
enjoyable experience, but could have been much more.  Now, to be fair, I saw the last show, a matinee mainly
populated by senior citizens.  There was mild response to the requests for participation and some
audience members seemed lost in the material.  One lady sitting near me was offended by the “sacrilegious”
nature of the material.   Since this is the kind of show that requires reaction from the audience,
this might have been the reason for some flatness.
 
The obvious
“star” of this production was John Riddle, who portrayed the fey Mark to
perfection.  He minced and
over-gestured with panache.  He has
an excellent singing voice and appeared to be the only real dancer on
stage.  His “Epiphany” was
delightful.
 
John Rhett
Noble, who has portrayed Gaston in the numerous recreations of Beck’s ‘BEAUTY
AND THE BEAST,’ gives an adequate performance as Matthew, the leader of the
group.  He lacked the necessary
vocal and personality dynamics to control the stage.  His “Something About You” was well done.
 
Connor
O’Brien who portrayed Abraham had some projection problems.  Part way through the show he ripped off
his microphone, losing his head covering in the process, and did the ending
with no electronic aid.  His
articulation needed work as many of his lines were lost.  His character development was not
always believable.
 
Dan Grgic,
portraying the less than bright southerner Luke, overdid the accent causing
comprehension problems and portrayed a characterization rather than a
character.  
 
Ryan Jagru
was appealing as the Hispanic Juan, but often overdid the accent and at times
lost the characterization.
 
Hernando
Cortez’s choreography was creative and purposeful.  Unfortunately, he didn’t have the dancers to execute the
polish and perfection which Cortez demands of his Verbs Ballet company.
 
Scott
Spence’s direction was basically on course, but there were times when there
needed to be more life, more enthusiasm, more naturalness from some of the cast
members.
 
Larry
Goodpaster’s musical direction was excellent, but one could have wished that he
had worked with the cast on better pronunciation.  Some song lyrics were  garbled.
 
 CAPSULE JUDGEMENT:  Beck’s ‘ALTAR BOYZ’ was an enjoyable
theatrical experience.  A listening
to the off-Broadway cast CD gives an idea of what the show could have been with
a little more abandonment and dynamics.
 
 
 
 Roy Berko's blog, which contains theatre and dance reviews from 2001 through 2008, as well as his consulting and publications information, can be found at http://royberko.info

His reviews can also be found on www.coolcleveland.com and NeOHIOpal (to subscribe visit http://mailman.listserve.com/listmanager/listinfo/neohiopal.)