Review: Signature Offers Up Curious World Premiere With GIRLSTAR

It's not very often that one sees two wholly original musicals from one theatre opening in the span of about a month. However, Washington, DC area theatregoers can experience such a treat if they make the trek to Arlington's Signature Theatre. They can even take in both in a single day on the weekend. Following the opening of CAKE OFF, Eric Schaeffer and company now bring us the world premiere of GIRLSTAR. With a book and lyrics by Anton Dudley and music by Brian Feinstein, this musical offers up some really great performances. Unfortunately, that's pretty much it.

While the cast more than rises above the mediocre material it has been dealt, the production can only be considered a mildly entertaining diversion at best, and only by those who don't like to watch theatre with even a remotely critical eye. At worst, it could be considered one of the least deserving musicals of a Signature premiere I have seen in quite some time. That being said, particularly with the number of world premieres that Signature puts out (and, to be clear, they should absolutely be praised for doing so), the ambitious theatre company is bound to happen upon a dud every once in a while.

Dudley's book, I will say, is creative even if it does borrow heavily from stories we've all heard and seen before and is somewhat predictable. There's Tina (Broadway's Desi Oakley in her Signature debut) - the standard earnest and endearing orphan from a small town who wants desperately to make music just like her mother did. An opportunity to sign with one of the leading pop music labels - Espere Records - would be amazing in her mind. And, wouldn't you know it? The head of that label, Daniella Espere (Signature regular Donna Migliaccio), is an aunt she never really knew about. Uncle Derek (Signature regular Bobby Smith) kept this and other things a secret during the time he raised Tina. Unfortunately for Tina, Derek kept this a secret for a good reason (at least in the context of this show).

Daniella has a dark past. She's known to be a popstar maker, certainly, but few know what she did to get to the position she is now in, and why and how she plans to make Tina her biggest superstar yet. (Spoiler alert: she uses a potion to give Tina her mother's talent and that of two of her other top performers, but just as she can give it, so too can she take it away for personal gain). While Daniella's quest to make Tina the ultimate popstar, no matter the consequences, goes on, Tina becomes more accustomed to her life in the big city and finds friendship (and a little bit of love) with a wannabee songwriter/bellhop named Jeff (Sam Edgerly, in a welcomed return to Washington, DC). Will Tina or Daniella come out ahead? Is the price of fame worth the cost?

So, in essence, we have a little bit of MALEFICENT, a little bit of THE LITTLE MERMAID, a little bit of CINDERELLA, and even a little bit of the 2004 Broadway 'wonder' that was BROOKLYN THE MUSICAL (and yes, I saw it). Toss in all the other musicals about the pursuit of fame and young musician love - and generic, though catchy and fun, pop-based compositions from Feinstein - and you have GIRLSTAR.

It's also unclear from how Eric Schaeffer directs the musical if the intent is to wholeheartedly acknowledge the material is pure, intentional camp, and simply have fun with it (kind of like XANADU). At times, especially when Ms. Migliaccio's Daniella is up to her villainous and conniving ways, it appears that the cast is letting the audience in on the camp 'secret.' However, at other times, particularly during the more precious scenes between Tina and her love interest and Tina and her uncle, this tone is not as apparent. These scenes are played straight. Either way, the hokey and juvenile book and lyrics that Dudley provides for the show - never mind the potion cauldron that pops down from the grid on many an occasion - may just result in some laughter from the audience, whether the kind that is desired or not.

Still, some glossy and stylish production values (Paul Tate Depoo III's scenic design, Frank Labovitz's costume designs, Matthew Haber's video design, and Jason Lyons' lighting design), make the show fun to look at. It's also fun listen to, too. Music Director Adam Wachter and six other players expertly play Doug Besterman's fitting orchestrations. A larger orchestra - or at least a fuller sounding one - might have been more desirable, but either way, the musicians sound great.

The production also, thankfully, has a strong cast who more than earns their pay. Desi Oakley has the inherent sweetness and earnest/honest nature to make us miraculously care about Tina's plight and expansive vocal range to pull off her many numbers ("Brand New," and "Who Would I Be," are vocal standouts). Although Donna Migliaccio's voice and range isn't quite the right fit for the music - her top, belted notes are mostly unsure, strident, and curiously unpleasant to listen to, especially on her opening number "One Eye Open" and several of the later numbers in Act Two - she more than delivers with her acting. It all screams over-the-top evil villain. Sam Edgerly, although in a mostly pointless role, also makes an impression as Jeff. His grounded 'aw-shucks' performance and stellar singing allow us to forget that the seemingly only reason his character exists is to stand in contrast to the cutthroat people at Espere Records.

In smaller roles as other popstars in the Espere stable, Diana Huey (returning to Signature once again following her debut as Kim in MISS SAIGON) and Jamie Eacker give memorable campy performances. Bobby Smith, though provided embarrassing material to deliver in the end of Act Two, also does his usual stellar job. A small ensemble comprised of Kellee Knighten Hough, Nora Palka, and Bayla Whitten rounds out the cast. Like Huey and Eacker, they fun they are having with singing the pop songs and executing Lorin Latarro's fitting choreography (Matthew Gardiner serves as associate) is quite infectious.

All in all, one might chalk this one up as a 'miss,' but it's not a complete miss thanks to the talent involved.

Running Time: About two hours, including an intermission.

GIRLSTAR plays through November 15 at Signature Theatre - 4200 Campbell Avenue in Arlington, VA. For tickets, call the box office at 703-820-9771 or purchase them online.

Photo: Donna Migliaccio (Daniella Espere) and Desi Oakley (Tina) in GIRLSTAR at Signature Theatre. By Christopher Mueller

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