Review: Christina Bianco Featured In THE MARVELOUS WONDERETTES

While Roger Bean's THE MARVELOUS WONDERETTES may not be the most bracing theatre to come out of these early decades of the 21st Century, after its hit 2008 Off-Broadway run, there's no denying it's got the formula for popularity down pat.

The one-set, four-character musical salute to the girl group sounds of the 1950s and 60s is so frequently performed that, like its male-minded predecessor, FOREVER PLAID, a sequel was whipped up - WINTER WONDERETTES - satisfying the box offices of regional theatre audiences wanting more.

The new Off-Broadway revival at the Kirk, co-directed by Tom and Michael D'Angora, scored a casting coup with one-quarter of its company; two-time Drama Desk nominee Christina Bianco, who earned acclaim last season playing dozens of characters in Greg Edwards and Andy Sandberg's solo comedy APPLICATION PENDING. Bianco is also a FORBIDDEN BROADWAY veteran whose videos of vocal performances in quick-changing celebrity impressions have earned her Internet celebrity.

Here she displays her skilled comic prowess as Missy, the nerdy, take-charge member of the quarter of 1958 high school seniors who entertain on prom night with tunes like "Mr. Sandman," "Lollipop" and "Sincerely," while awkwardly trying to execute Alex Ringle's snazzy synchronized choreography.

Bubbly Kathy Brier, who is no longer with the production, played love-struck Suzy, who frequently gushes over her boyfriend Richie, unseen and handling the lights.

Good work is also supplied by Jenna Leigh Green as the as the self-assured and flirtatious Cindy Lou, and Sally Schwab as jealous trouble-maker Betty Jean.

The slender plot connecting songs shows their little spats involving boyfriends, spotlight-hogging and, most importantly, who gets to be prom queen, but on the whole their lives are sweet, sincere and uncomplicated.

But ten years later, at their ultra-mod high school reunion, it seems the 60s have added layers of disillusion, irony and a gutsy independent streak, exemplified by selections like "You Don't Own Me," "Wedding Bell Blues" and, naturally, "Respect." This rapid growth in the maturity and complexity expressed by pop music's women in that explosive decade that heated up the feminist movement gives THE MARVELOUS WONDERETTES some legitimate spark.

Bean utilizes an effective formula in the second half by giving each Wonderette a trio of songs to perform in succession that, with the help of a minimal amount of connecting dialogue, gives a complete picture of what's happened to her in the ten years between acts. For example, Green lets loose with a lustful, "Son of a Preacher Man," when asked if there's been any special guy in her life. She explains how the relationship ended with "Leader of the Pack," and expresses her regret with "Maybe."

The colorful designs by William Davis (set) and Bobby Pearce (costumes) have an appropriate home-made quality.

Though the dialogue is not particularly inspired, the ladies sound great singing to music director William Wade's recorded instrumentals and The Marvelous Wonderettes can be nostalgic fun as long as the tunes keep playing.