Review: NTP's Production of SINGIN' IN THE RAIN at the New Tampa Performing Arts Center

“What a glorious feeling!” --Don Lockwood in the song “Singin’ in the Rain”

I was a nervous wreck.  It was August 21, 1981, and I was an 18-year-old leaving for college the next day.  While I was wide-eyed with worry over the unknown that I was facing--a child heading toward the world of adulthood (or at least something close to adulthood)--I ventured to the Fox Theater in Atlanta and watched for the very first time Gene Kelly and Debbie Reynolds in the 1952 film, SINGIN’ IN THE RAIN.  From the first moment to the last, I was whisked away in what Pauline Kael would call “the most enjoyable of all American movie musicals” (don’t let anyone tell you otherwise).  It was a revelation to me, where all the worries in my world melted and I was in sheer heaven.  No film has ever brought me as much joy.  When it was over, I found myself skipping down the aisles, ready to exuberantly tackle whatever the future would hold. 

SINGIN’ IN THE RAIN is more than just beloved; it is cherished and protected, held by knowing filmgoers as the apex of not just the American musical…but of cinema itself. 

The story is a simple one--Hollywood studios are making the awkward transition from silent films to talkies based on the overwhelming popularity of Al Jolson in The Jazz Singer.  Don Lockwood, a silent film star, has fallen for the talented Kathy Seldon, but don’t tell Don’s fellow star, the imbecilic Lina Lamont, who sounds like nails on a chalkboard if such an action had a voice.  Her screechiness won’t go over well with the oncoming talkie revolution, so what will they do? 

Containing some of the most treasured American songs by Nacio Herb Brown and Arthur Freed--“Make Em Laugh,” “Beautiful Girls,” “Broadway Melody,” the infectious “Good Morning,” and the even more infectious title tune--SINGIN’ IN THE RAIN is a blueprint of how movie musicals should work.  Singing, acting, storyline, cinematography and especially dancing are all aces in this feel-good comedy-romance. 

How could a stage version of such a monumental work--a show I will argue until my death bed is the greatest movie musical of all time--succeed? Is it like trying to mount a stage adaptation of Citizen Kane?  In the mid-1980s, the original Broadway production, which included actual rain in the stellar title number, only lasted less than a year.  (To be fair, very few screen-to-stage musical adaptations succeed; maybe only 42nd Street comes close.)

That said, the New Tampa Players have bravely transported this cinematic masterwork, along with Betty Comden’s and Adolph Green’s screenplay, to the stage. 

If you are beholden to the movie and can’t let go of your sentiments toward it (if you can’t dislodge thoughts of Gene Kelly swinging from a lamppost from your brain), then you might have an issue or two with it.  But if you have never seen the movie or can put the film out of your head completely, then glories await you.   Yes, the stage version is way too long for such a frothy musical, and yes, the pacing was at times glacial, but the storyline along with the singing and dancing by the energetic NTP cast helped alleviate any of those problems.  It’s the type of show that will definitely put a smile on your face!

You don’t envy any performer who has to fill the shoes in the part that the great Gene Kelly made famous.  But here, as Don Lockwood, Kyle Billington soars. He’s wonderfully committed in the scenes with Kathy Seldon (well-played by Olivia Carr) and has marvelous stage presence.  His singing and tapping are tops and we know we’re in good hands whenever he’s onstage.

Is there a more iconic scene in cinema history as Gene Kelly singing and dancing in the rain in SINGIN’ IN THE RAIN?  There are only a few other contenders: Judy Garland singing “Somewhere Over the Rainbow” in The Wizard of Oz; the shower scene in Psycho; Ben-Hur’s chariot race; or the star child at the end of 2001: A Space Odyssey.  But the Gene Kelly song is euphoria personified.  And Mr. Billington does quite well with it here, clicking up his heels in sheer delight--both for his love of Kathy and for performing in and of itself.  Purists may pout that, unlike the original Broadway version, they don’t use real water for the rain, but the special effect rainstorm works fine enough.

MELANIE Marie BIERWEILER is another standout.  Her portrayal of the hilarious villain, the squeaky-voiced Lina Lamont, is a hoot as well as an audience favorite.  And unlike the movie, she gets her own song (“What’s Wrong with Me?”) which may be an unnecessary addition to the plot, but I’m glad it’s included so that we can hear Ms. Bierweiler show off her talent. 

Thomas Pahl is spot-on as the studio head, R. F. Simpson, and Rhett Ricardo makes for a lovably robust Cosmo Brown, Don’s sidekick.  Kyle Fisher gets a moment to shine with his version of “Beautiful Girls.”  Emilio Grimaldo bursts on the stage with so much verve and dynamism as Young Don and as a variety of ensemble characters.  And Blake Boles is terrific as the director, Roscoe Dexter, and as Young Cosmo. Both Mr. Grimaldo and Mr. Boles are right up there with the very best of this cast. 

If you want to take a course on how to stand out in an ensemble, then please watch Elizabeth LaRosa and Gabriela Fotopoulos in action.  Both of them are always in the moment, lighting up the stage in their various turns.  Ms. LaRosa electrifies in her dancing, with a radiant smile.  And Ms. Fotopolous showcases the best facial reactions you’ll find.

And whoever played the police officer saved the day by picking up a dancer’s hat left center stage during the iconic title tune.

The ensemble is the heart of the show and do marvelous work, especially in the large dance scenes (“Moses Supposes” and the final version of “Singin’ in the Rain”).  They include: Kristin Nelson, Makayla Raines, Topher Larkin, Suzanne Bainbridge, Joseph Conrad, Sara Gutierrez, Michael Neary, Sebastian Paine, Samuel Sainsbury, Amanda Schapiro, Andy Terrazas, Katie Welch, Elek Kovacs, Elizabeth Ferriera, Dakota Henry, Sydney Hilton, Brenna Kimball, Becki Mallett, Susan Thompson and Victoria Zisi. 

Much of the dancing, choreographed by Sarah Walston Phillips, was wondrous, especially the group tap numbers where seemingly everyone is involved.  However, a couple of songs were not as precise as needed and came off messy (although never lacking energy).  But overall this is one tap-tastic show, filled with an abundance of vigor, and all of the dancers deserve a grand amount of praise.

The cast has wonderful vocals, thanks to musical director G. Frank Meekins.  And I am so happy that there is a live orchestra here and not some canned pre-recorded music.  As conducted by G. Frank Meekins, they are tops: Emelia Ulrich on violin, Amber Fleary on viola, Matthew Rothfarb on cello, Julian Thacker and Cecilia Duquette on reeds, Donovan Thomas and Matthew Hill on trumpet, Brian Mason  and Matthew Scott on trombone, Alex Markoulis on keyboard, Joseph Callaway, and Rick Barclay on drums.  They sound sensational.  

Some of the best parts of the show are the movies they created for this production, actual re-created silent films and bizarre early talkies.  It’s so much fun and nicely done, thanks to the Tampa Bay Community Network.

The tech elements worked well.  The set is at best serviceable, and I’m happy to report that the sound is head and shoulders over the last NTP show I experienced (Dreamgirls). Sebastian Paine’s lighting has a nice glitzy feel, and the costumes by Deb Lastinger were certainly period appropriate (except for a young girl who walked on in Twenties garb but donning white tennis shoes).  All of these elements are brought together by the wonderful director, Nora Paine.

There are issues.  The pacing was way off, especially early on, with sometimes an empty stage waiting for an actor to enter or an unnecessary Pinter pause in the dialogue.  Also, there are questions with the staging.  Oftentimes, the cast stand in straight lines, which is not an exciting choice.  My theatre students know that, when staging a show, they are usually to avoid having the actors stand in straight lines unless you are making some key point.  Here, they stand in line so often that it resembles A Chorus Line set in the Roaring Twenties. 

Also, in a minor quibble, Lina Lamont should get her own bow during the curtain call and not share it with a minor character.  And Cosmo should come on by himself instead of running on with Kathy and Don, both of whom should have the final bow together, their world finally happy and complete. 

It rained on the night I attended SINGIN’ IN THE RAIN, which is perfect.  And yes, I whistled the song and twirled my umbrella during the torrential downpour.  After the show, the woman sitting next to me informed me that she had never seen the movie and found the musical a sheer delight.  “I didn’t even know that ‘Good Morning’ came from the show,” she told me.  “I used to sing it to my children when they were young.”  There was a smile on her face as well as her husband’s.  And there was a smile on mine.  With SINGIN’ IN THE RAIN, whether watching the classic film or experiencing this fun live production, you just can’t help but smile.

New Tampa Players’ production of SINGIN’ IN THE RAIN plays at the New Tampa Performing Arts Center until July 28th.

Photo courtesy of Picture This of Palma Ceia.

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