ART's 'Cole' Runs Tepid

Cole: A Cole Porter Cabaret

Music and lyrics by Cole Porter

Conceived by Scott Zigler and Peter Bayne  

Musical arrangements by Peter Bayne

Director, Scott Zigler; Musical Director/Pianist, Miranda Loud; Movement, Kelli Edwards; Costume Design, Hilary Hacker; Lighting Design, Margo Caddell; Sound Design, David Remedios; Stage Manager, Katherine Shea

CAST

Remo Airaldi, Thomas Derrah, Will LeBow, Karen MacDonald, Angela Nahigian

Performances through July 27 @ Zero Arrow Club

Box Office 617-547-8300 or www.amrep.org

On a muggy summer's eve, the effervescent music and lyrics of Cole Porter fizzled out in a surprisingly flat performance by the folks who brought you last year's marvelous night of Nöel Coward. Was it the sultry, stormy weather? And which came first – the listless cabaret audience or the languid acts of the mostly veteran ART players? That may be a "chicken or egg" kind of question, but the end result was a snooze of a first act, which one could only hope would be improved upon after intermission.

Everything appeared promising from the start with a roster of accomplished performers offering 30 Porter tunes in the relaxed nightclub setting of the Zero Arrow Theatre. Accompanied onstage by Musical Director/pianist Miranda Loud, Remo Airaldi, Thomas Derrah, Will LeBow, Karen MacDonald, and Angela Nahigian entered from various points around the room, all decked out in black formal wear and looking every bit as sophisticated as the music and lyrics of the great songwriter. Derrah delivered an emotional, rhythmic "Begin the Beguine" that implied a couple dancing romantically nearby, and Nahigian's manner was lively and joyous as the object of LeBow's affection in "You Do Something to Me" and in a duet of "Ridin' High" with MacDonald. However, these moments of emotional abandon were few and far between in the opening act and many of the selections failed to excite. When LeBow beat background bongos on one number, it occurred to me that filling out the sound with bass and/or drums would have livened things up considerably.

There may be some truth in Mark Twain's assertion that "clothes make the man" as the more casual, summer attire worn for the second half of the program let the cast loosen up and get down, as it were. LeBow was debonair in navy blazer, ascot, and two-tone shoes as he gave a vigorous reading (part talking, part singing) of "I've a Shooting Box in Scotland," followed by Airaldi's totally adorable "Tale of the Oyster." From the ridiculous to the sublime, MacDonald sang her best number, a poignant "Miss Otis Regrets." Following his earlier stint on the bongos, LeBow shared more of his talent as he took over at the piano to accompany himself on "All of You," then was joined for solid three-part harmony in "Too Darn Hot" by Derrah and Airaldi in their cool linen suits with colorful pocket squares.

When the whole company took to the stage for the final pair of songs, they had energy and joie de vivre. With megaphone in hand, Derrah led the others in a jug band version of "Let's Misbehave" with Airaldi on the jug, LeBow on washboard, Nahigian on kazoo, and Macdonald on slide whistle. They finally put some fun in the show, but it was almost time to call it a night. "You're the Top" and an encore of "It's De-Lovely" gave a hint of what could have been a totally charming evening.  Cole isn't "a worthless check, a total wreck...," but it's no hot tamale.

 

 

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