Review: NINE at Spinning Tree Theatre

Spinning Tree Theatre and Director Michael Grayman present an array of fine voices for "Nine the Musical" at the Living Room Theatre through November 20. This production of "Nine" marks the Kansas City premier of the 1982 musical play based on Frederico Fellini's semi-autographical film "8 ½."

The musical play has enjoyed two high profile Broadway productions and a Hollywood film. For this Kansas City iteration, "Nine" is performed on a barren stage with only a few chairs and a box for setting.

The character standing in for Fellini called Guido Contini is played by Icelandic classical tenor Vigthor Zophoniasson. Signor Contini takes the audience on a mostly internalized journey that addresses his personal and professional difficulties plus the filmmaker's challenges with and his obsession for women.

Signora Contini (Lauren Braton) is fed up with Guido's philandering ways. She serves him with an ultimatum that he must re-engage in their marriage or she will divorce him. Guido begs for forgiveness and suggests a trip alone to a spa. The failing marriage only scratches Guido's other problems. He has commited himself to creating a new film, but he is at a loss for both a subject and a shooting script.

Other than Guido, the entire remaining cast (except for a vision of his childhood self) is stocked exclusively with the women in his life. He revisits the formative events of his youth. We meet his younger self. His delightful Mother is played to the hilt by Judy Simmons. He muses about Sarraghina (Ryan Tucker), the woman who ushered him into manhood. Noted Jazz singer and contralto Angela Hagenbach plays (Liliane) Contino's Paris financier. She relentlessly pushes him for the script of a movie that they are going to start shooting in just a few days.

No good Italian husband could possibly heal his marriage at the spa without bringing along his mistress on the trip. Leah Swank-Miller as Carla is fine in the role. As the star for this cloudy epic, Guido reaches out to his perennial leading lady, Claudia (Taylor Harvey). She agrees at the secret urging of Guidi's wife Luisa. Luisa has allowed herself to be relegated to the status of watcher as she hopes he husband can find his way back to her.

"Nine" as a total production is more than good in some areas and wanting in some others. Here are glorious voices throughout singing a difficult score very well. One wonders if the production might have prospered more if the actors were afforded more tools to work with.

The Living Room stage is a small space, with intrinsic to it some limitations. A more representational set that delineates stage geography might have helped audience understanding. There are several scenes that would have made more sense if they were area segregated on the stage. One example is in the second act where the Mother returns from the beyond to counsel her son.

A fuller orchestra for "Nine" might have benefited the fullness of the singer's voices. Adding just a bass and drum would have improved the audience experience.

Who is Guido? Is he an habitual player or is he a scamp? Can we identify with Guido? Do we see his struggle and does he redeem himself in the end?

Parts of the dialog are very funny. Scamp Antonio Banderis made the audience love him and allowed his ten female stars room to play off him. We must like Guido the person if the "Nine" script is going to succeed at its highest level. Banderas was rewarded for his likable personae with a 2003 Tony.

"Nine" continues at The Living Room" through November 20. Tickets are available through the Spinning Tree website or by telephone at (816) 235-6222.

Photo courtesy of Spinning Tree Theatre

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