Review - Being Audrey: Oh, To Be A Movie Star

While the new musical by James Hindman (book) and Ellen Weiss (score) appears to be a promising work in progress, Transport Group's premiere production of Being Audrey, helmed by the company's Artistic Director Jack Cummings III, is loaded with bright, shiny charms that display their material in a dazzling little jewel box.

Shining brightest is the leading performance of Cheryl Stern, who is also credited with additional book and lyrics. As explained in a voice-over introduction, narrated by Vanity Fair's own Dominick Dunne, Stern plays a princess (of the Jewish-American variety) named Claire, who one day meets a Prince Charming who whisks her away to his Upper East Side penthouse where she spends many an evening losing herself in the romantic fantasy world of Audrey Hepburn movies. But when her husband is suddenly struck with an aneurism and Claire frantically finds herself in a hospital waiting room unable to see him, but knowing he's near death, her mind cuts off reality and takes her to the comforting safety of the worlds of Roman Holiday, Sabrina, Breakfast at Tiffany's, Love In The Afternoon and Funny Face. While face to face with a handsome and distinguished gentleman (Brian Sutherland) who is a conglomeration of all of Ms. Hepburn's leading men, hospital personnel become familiar supporting players who quote and paraphrase classic screen dialogue as, like Dorothy in Oz, Claire seeks to go home to Tiffany's

(Regretfully, there's only one quick reference to My Fair Lady. Thankfully, there's no sign of Mickey Rooney trying to pass for Japanese.)

A big bubbly bundle of wonderment with a hearty singing voice, Stern is totally endearing as a woman who lacks the movie star's gentle grace and poise, but yearns to be a part of her elegant world. Whether wrapped in a blue satin bed sheet and singing a soft rumba as she considers the man lying beside her, or clad in black and dancing to beatnik rhythms, she is wonderfully engaging, empathetic and humorous.

The remaining six players who appear in various small roles (Stephen Berger, Andrea Bianchi, Valerie Fagan, Mark Ledbetter, Michael Maricondi and Blair Ross) sport some terrific voices. Ross also displays a snazzy sense of showbiz sparkle leading a number suggested by Kay Thompson's Funny Face opener, "Think Pink."

The fluid movement of the production by Cummings and choreographer/musical stager Scott Rink takes its style from the clockwork efficiency of hospital workers rolling screens, beds and equipment off and on to create locales, reveal characters and suggest classic film visuals. A simple, but beautifully executed idea is used for a song where Claire and her leading man take a stroll along Roman Holiday's Wall of Wishes. As they walk, actors holding black plaques represent the wall and continually change positions to keep the structure consistently in their path.

While Hindman's book is well crafted and cleverly incorporates movie moments, Weiss' lyrics - though character specific, plot advancing and properly rhymed - lack the elegance and literate quality needed to lift the show into the fantasy world it tries to depict. Her music, played by a five piece ensemble led by Lanny Meyers, is perfectly pleasant (though the title tune is distractingly similar to Bye, Bye, Birdie's "Rosie") but has few inspiring moments.

There's a good deal of potential in Being Audrey, if only the material can eventually match the spirit and imagination of this premiere production.

Photos of Cheryl Stern by Sarah Ackerman