[NEohioPAL] Review of "Bye Bye Birdie" at Porthouse Theatre

[ALICE GULICK]

Thanks for the nice, apt review. I take issue, however, with the  
statement that the show is "void of social commentary, political  
undertones or religious symbolism. " I play a truly-bigoted character,  
whose many anti-this or -that pronouncements are received as being  
preposterous because Mae is. Having heard several audiences almost-boo  
my anti-Latino remarks, I have come to the conclusion that the show's  
writers were pretty clever when they put a load of Zeneophobic bad- 
mouthing  in the mouth of "Mae."

Similarly, but with more gentleness, I think the character of Mr.  
MacAfee nails the conservative late-1950's American middle-class  
paterfamilias -- pompously trying to command his family's respect one  
minute, then abandoning all principal (and losing all credibility)  
when he tries to steal the limelight not only from his own daughter,  
but from the rock star whom he has previously criticized.

Just sayin'. And maybe these social comments are so gentle that I only  
noticed them after several performances.
Best, Lissy



On Jul 30, 2010, at 7:01 AM, Bob Abelman wrote:

> ‘Bye Bye Birdie’ flies again, entertains at Porthouse Theatre
>
> Bob Abelman
> News-Herald, Chagrin Valley Times, Solon Times, Geauga Times Courier
> Member, International Association of Theatre Critics
>
> This review appeared in the News-Herald 7/30/10
>
>
> Like a chicken pox epidemic, some musicals seem to pop up one place  
> and then another. Not long ago, aFiddler on the Roof plague swept  
> through east side theaters, metastasized to the west side, and  
> finally peaked in PlayhouseSquare.  A recent and fast-moving  
> outbreak of Seussical: The Musical left many stunned victims in its  
> wake, some scarred for life.
>
> A rash of Bye Bye Birdie is upon us, having first surfaced in June  
> at the Fine Arts Association in Willoughby, opened in early July at  
> the Straw Hat Theatre in Ashtabula, and is now playing at the  
> Porthouse Theatre until August 8.
>
> The symptoms from experiencing this Tony Award-winning 1960 musical  
> are quite mild.  There are no bone-rattling chills, no high fever,  
> no dramatic mood shifts.  In fact, Bye Bye Birdie induces gentle  
> euphoria and a pleasant sense of nostalgia for those old enough to  
> recall the young-Elvis craze in the late-1950s or the 1963 film  
> rendition of this musical.
>
> The story, by Michael Stewart, is pure and simple.  Aspiring song  
> writer Albert is convinced he can make his fortune and marry his  
> girlfriend Rosie if he gets rock and roll idol Conrad Birdie, soon  
> to be inducted into the army, to sing one of his songs on TV’s The  
> Ed Sullivan Show.
>
> The gimmick is that Conrad Birdie will kiss a randomly selected high  
> school girl goodbye on live TV.  She happens to be Kim, who lives in  
> conservative, small town Sweet Apple, Ohio with her steady, Hugo,  
> her loving and quirky family, and fellow teenage ornithologists  
> (Birdie watchers).
>
> The songs, by Charles Strouse and Lee Adams, are delightful ditties  
> that fly in the face of the early rock and roll era in which they  
> were written, where even Conrad’s anthems such as “Honestly Sincere”  
> and “A Lot of Living to Do” are all luster and no soul.
>
> Bye Bye Birdie is void of social commentary, political undertones or  
> religious symbolism.  It is just good, wholesome and, yes, dated  
> entertainment. No more, no less.
>
> The Porthouse Theatre production, under the direction of Terri Kent,  
> embraces all that is light, buoyant and comedic in this play,  
> resulting in a thoroughly delightful evening’s entertainment.
>
> These qualities are particularly evident in John Crawford’s  
> choreography, which celebrates the energy and innocence of  
> early-1960s youth by having the small town teens spontaneously burst  
> into exuberant and clever dance routines with no provocation  
> whatsoever.
>
> The dancing is performed by a superb ensemble of mostly Kent State  
> University musical theater majors, whose honest sincerity about  
> their adoration of Conrad Birdie permeates their every breath and  
> action. Leading the way is Amy Harpenau and Melissa Cotton as Kim’s  
> best friends, as well as Bailey Carter Moulse, Maren Ritter, Jason  
> Samuel and Rumi Oyama.
>
> Nick Koesters is delightful as Albert and passes with flying colors  
> the musical theater acid test:  selling the “Put on a Happy Face”  
> musical number early in Act 1.  Here, Albert attempts to cheer up  
> two young girls who feel left out of all the Birdie-mania by  
> engaging them in song and dance and enticing them to return in  
> kind.  This is the standard-bearer for corny musical numbers.
>
> The film version employed some animation to make this work, and had  
> Albert singing to Rosie.
>
> Here, Koesters’ boyish charm carries the day, aided by wonderfully  
> playful choreography, an upbeat tempo by Jonathan Swoboda and his  
> great orchestra, and the adorable and very talented Courtney Nelson  
> and Lani Skelley as the sad girls.
>
> Sandra Emerick brings what Chita Rivera brought to the role of Rosie  
> in the original stage production.  She is passionate, peppery, and  
> possesses the wherewithal of an accomplished singer/dancer.  Emerick  
> is a pleasure to watch and listen to.
>
> Cassie Rea has the singing chops and requisite “it” factor necessary  
> to make Kim both innocent and desirable.  So does Dan Grgic in his  
> portrayal of Conrad Birdie.  In fact, all the players play well and  
> add to the fun and frivolity of this production.
>
> The show’s only misstep is milking the moments when Kim’s father,  
> played broadly but effectively by Marc Moritz, attempts to steal the  
> spotlight from Conrad and Kim during the big kiss scene.  Sometimes  
> less is more.
>
> All this activity takes place on Nolan O’Dell’s era-appropriate set,  
> where a series of rotating doors give way to energetic entrances,  
> quick exits and scene changes that help move this show along at the  
> perfect pace. Unfortunately, each door is manned by a clearly seen,  
> stoic and plain-clothed stagehand, which momentarily disrupts the  
> Sweet Apple ambiance so purposefully fashioned by the cast.
>
> Catching this strand of Bye Bye Birdie at the Porthouse Theatre is  
> the cure for these dog days of summer. Comedy and corny done well  
> are very pleasant contagions.
>
> Bye Bye Birdie continues through August 8 at Porthouse Theatre,  
> Cuyahoga Valley National Park, Cuyahoga Falls.  For tickets, $22 to  
> $33, call 330-929-4416 or visithttp://dept.kent.edu/theatre/porthouse/TicketInfo.htm 
> .
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