FLASHDANCE THE MUSICAL

Flashdance The Musical is currently touring the country in efforts to prep itself for a Broadway bow. Having seen a performance, please allow me to offer my comments that are intended to help rather than hurt.

(The following article contains spoilers.)

Based on the 1983 movie, Flashdance offers a lot for its audiences. There are many good things happening, but perhaps some elements still require a bit of work.

Fortunately, the dancing in the show is quite impressive, as well it should be. It is refreshing to finally have another show that portrays the harsh realties that dancers endure. Having danced across some stages in my time, even I could find myself relating to pretty much all of it.

The show opens with what appears more like an obligatory let's-meet-everyone spectacle, although both the song and staging are impressive to hear and see. Sometimes, however, the introductory expositions seem a bit forced. It's almost as if the book writers and composers were following a pattern of where to place someone telling us who they are and what they do. If these meetings could be re-worked to appear more natural, that would be nice.

Having said that, the show is chock-full of musical numbers, and while I applaud the songwriting team Robert Cary and Robbie Roth for coming up with about twenty original songs, please make sure that they don't cover up the fact that the Book needs work. The songs do fit nicely with the pre-existing ones we know and love from the original source material, "What A Feeling" and "Maniac," and they also complement the 1980s genre. Speaking of which, the pre-show montage of 1980s videos comes across as less endearing and not completely necessary. This is a situation when you can tell us during the production when it takes place rather than show us.

Alex, the lead, is played with sincerity and grit by Sydney Morton, and she isn't the only one following her dream. She is surrounded by friends and co-workers all in the pursuit of Happiness, and the show knows how to drive home the fact that never trying is worse than trying and failing. Perhaps the most inspiring line is spoken by Alex's former dance instructor. She tells her that there are moments in one's life when everything lines up, and we have to take the chance because there comes a time in someone's life when that doesn't happen anymore. It's a sobering concept because it's true, and this character provides the dramatic tension for Alex, who is as frightened as she is defensive.

The show comes alive in the musical numbers, which is fortunate as it is a dance show, specifically during the in-the-club performances of "I Love Rock and Roll" and "Manhunt" (a song also from the film). They work because they are both sharp and sexy. Director Sergio Trujillo moves things along at a brisk pace but almost as if to prevent a lack of applause that seemed to be luke-warm for the most part the night I went. The aforementioned numbers and group numbers generated more enthusiastic responses.

I am also wondering if it would make more sense for the competing club to be a bit more high-scale to offer the character of Gloria more of a drive to work there rather than exchanging one dive for another. At one point she does appear to be disillusioned because her move "up" wasn't that at all. This is because it wasn't what she thought it was going to be, but it might more dramatic for her to be disappointed if this were in fact a classy club. This is why the song "Gloria" doesn't quite work as well as it could have. Please make sure this isn't an attempt to incorporate a song from the decade simply to match the character's name.

Which brings me to Alex, the anchor of all of the dream seekers. As impressive as Morton's singing and dancing are, I actually found myself wanting to see more. She certainly has the credentials to do it, but if she is a club dancer, it's okay to see more of that instead of what felt like abbreviated numbers. If the director is attempting to show bits and pieces of her work and then highlight everything with a finale, then please make the it explosive. Although she dances the heck out the titular number -- and I like seeing her girlfriends profiled in the background singing the song -- I wish it were longer. We do not have to suspend into the unforeseen future to see what type of dancer she becomes because it's okay to make the audition enough. It's a gutsy move to make the climax of a dance show to be a solo performance, but in this case it will work because the show is ultimately about Alex and her dream, and maybe the audition for her is enough. However, just because the character is provided a limited amount of time to audition, this is musical theatre where conventional rules need not apply. The audience has waited over two hours for this moment, and it is okay to extend the number into something that will make us jump out of our seats.

In all, I did find myself enjoying Flashdance, but in order to make it to Broadway, there might be a need for less flash and more dance.

THE WHALE

WOW - go see The Whale at SpeakEasy Stage Company.

It's a beautifully acted, stunning piece of theatre.

A redemption play, if there ever was one. Devastatingly portraying the dangers of not allowing yourself to feel your feelings and how it can eat you alive (literally and figuratively).

The ever-brilliant John Kuntz heads a pitch perfect cast of damaged souls trying to deal with their lives. Maureen Keiller stuns in her reunion scene with her ex-husband.

Georgia Lyman will have you laughing and crying as she cares for her friend/patient and takes us on her journey. Ryan O'Connor brings depth and sincerity to his Elder Thomas, seeking redemption for himself, this shut-in, and his faith. Josephine Elwood truly devastates in the role of the damaged daughter coming to grips with her estranged father and her own "whale".

This is an emotionally intense evening that will ultimately leave you stunned, in awe, and believe it or not, with a sense of hope.

Please, go see this show!

- Jason Allen-Forrest, Guest Critic

www. speakeasystage.com

AVENUE Q

Broadway's Tony-winning hit has become famous for its boisterous bawdiness and let-loose laughter, and the current production at Arts After Hours in Lynn promises both and more!

Director Julia Fiske goes for broke in her unapologetic approach to the material but understands that underneath all of the laughs lies a whole bunch of truths.

The stage is literally set early on with Sean Crosley and Micah Greene with their smart and sexy portrayals of Rod and Kate, respectively. All of the puppeteers maneuver their characters like seasoned professionals. J.Michael Spencer is both hilarious and sincere as Brian, and Paige Clark creates his anchored wife with a beautiful voice.

Andy Porterfield is impressively animated and talented as Nicky and Trekkie. Leeta White is wonderfully funny and sincere as Gary, and Melinda Mogel manipulates her puppets better than the best of them with a winning smile.

Both the set and lighting are professionally detailed, and the music direction is upbeat and never drops its momentum.

As stated earlier, none of this would mean anything if the show weren't grounded in reality, which Avenue Q certainly is. Bills. Life. Being closeted. Getting by day-to-day. Fiske understands this and effortlessly transitions to the tender moments while never slowing the pace. We also completely believe that these neighbors know and love each other.

Kudos to Corey Jackson! The proceeds from the pass-the-hat section actually go to real organizations!

Watching this production is like meeting and visiting friends. Too bad the run is only "for now."

A is for Awesome.


http://www.artsafterhours.com