CenterStage’s “Boys” at the Burlie-Q

          A funny thing happened on the way to Syracuse. Well, ok, in this case a somewhat funny thing… and it ran right into Gypsy. That’s right, Rodgers and Hart’s The Boys from Syracuse, which opened last night at Baltimore’s CenterStage, plays like a combination of A Funny Thing Happened on the Way to the Forum and Gypsy, but unlike either of those chestnuts, this doesn’t completely work for this show. The farce isn’t as broad (or funny) as Forum, and the book, by the late great George Abbott hasn’t aged well, nor is it very tightly constructed like Gypsy. In fact, it is really the book that is the problem here, I think. The story is typical Shakespeare and farce – mistaken identities, long lost relatives on a search for each other, comic sidekicks, etc. Twin sons and their twin slaves are lost at sea, and have spent their lives on opposite sides of the Mediterranean in search of each other. Guess how it ends!?

           Director David Schweizer has really heightened the vaudeville aspect of the script – there are puppets, comedy routines (complete with rim shots from the orchestra), knife jugglers, tumblers, and even a Greek version of a Keystone Kop. Perhaps it is because this ancestor of musicals is so far removed from the modern consciousness that these elements often come off rather flat. Some of the jokes are so bad, that the audience greets them with silence, not even a good-natured groan. The visual gags come off somewhat better – mainly because the hard working cast pulls them off so beautifully. But one has to wonder, does the cast need to work THAT hard to get a response? It may seem that this show would be a “miss it” event, but to the contrary. If you can get past the creaky book (the story itself, based on Shakespeare, is fine and still clever), just about everything else this lavish production has to offer makes it a “must see”.

          Schweizer has also added, much more successfully, the related genre of burlesque to the show, thus giving a more overt sexual edge to the evening. And every time the show picks up and the audience leans forward as one in anticipation, it is when the “burlie-q” takes the stage. Scantily clad girls strut around the stage with scene-setting placards, more than enough bare-chested beefcake makes an appearance, and a tantalizing feather boa number raises the roof. In fact, it is when this concept is applied to the songs, they fit nearly seamlessly, the cast perks up (even more) and the show takes off, giving us a glance of everything this could have been. Nearly every number, excellently choreographed by Dan Knechtges />/>(The 25th Annual Putnam County Spelling Bee) is pure musical comedy bliss, be it a tongue-in-cheek romantic ballad ("The Shortest Day of the Year"), a patter song ("The Greeks Have No Word for It" or "I Had Twins"), or sumptuous (and hysterical) production numbers like “Let Antipholus In!” or “Big Brother Ballet”. These numbers employ every crowd-pleasing trick with amazing steps and grand style. />/>

          The designers of this dazzling production have worked quite hard to create this cross between vaudeville/burlesque and the Ancient Greco-Roman era. David Zinn, costume designer, has created a colorful palette of clothes, all of which have the silhouette and style of figures on a Grecian urn (an image frequently and riotously created throughout the evening), plus the vivid colors and sparkles of show biz (Blaze Starr and Gypsy Rose Lee would have LOVED these costumes!). Often, it is the little touches that make Zinn’s efforts so worthwhile – the gold-plated olive branches around the top hat of emcee character, the “We Are Happy to Serve You” on the slave’s apron, making her resemble those old Greek diner coffee cups you used to get in New York, and even the modern day wrestling shoes – a clever way to remind us that these men would be grapplers! To point up the show-within-a-show aspect of the concept, even the stage hands, dressed in black (with wireless headsets, of course) get into the act, even joining a group number. This, like the concept, was not evenly applied to the production. If a costume can suggest ancient Rome AND burlesque halls, why can’t the stage hands wear something that suggests being a stage hand AND ancient Rome? Allen Moyer’s scenic design is also a cross between styles – everything is lettered in old Greek style, and the proscenium looks both coliseum and theatre-like. All of the props and moving set pieces also play both sides at once. Most nicely, the set enhances but never detracts from the real reason to see The Boys from Syracuse: the cast.

           The seventeen member ensemble is perfectly cast, with nearly every actor having extensive New York and national credits. And they are truly an ensemble, with the lead actors often taking their place on the chorus line or moving scenery while the story focuses on different characters. Of the non-leads it must be said that it is rare to find a busier, fully committed group. On the distaff side, Laura Lee Anderson, Rosa Curry and Jessica Wu are true triple threats as they sing, act and dance their way through dual roles (also emphasizing the themes of duality and mistaken identity of the play) of maids to Adriana and courtesans to Madame Courtesan. Each time this trio takes the stage they create interest and excitement. The three men, the lank and (I won’t tell you why, let it be a surprise) leggy  Terry Lavell/>, the sprightly Christopher Sergeeff, and the jaw-droppingly athletic Kyle DesChamps are a charming trio of Energizer Bunnies… they keep going and going, and with amazing physicality. One imagines the rehearsal that went into their routines must have been lengthy and carefully planned so as to avoid injury. />          />

           One other member of the company, Stephen Valahovic, in the supporting role of the Sergeant, wasn’t so lucky, though, as he has reportedly torn a bicep tendon and will require surgery, forcing him to leave the show after last night’s opening. Aside from an arm sling, which he worked into his shtick easily, you’d never guess he had a serious injury, so physically demanding and so expertly performed his role is. His replacement has large shoes to fill – not only is he (Valahovic )an excellent dancer, he sings and acts to create a very commanding presence. CenterStage regular John Ramsey does decent work as Aegeon, the soon to be put to death father of the missing twins, and is funny as the godfather-like Goldsmith. Chris Wells plays the Sorcerer and Duke, and is best in his campier moments, like when, as the Sorcerer, he commands a character to learn of his fate by looking into a big Magic 8 Ball, and is ok when setting scenes and snapping his fingers to start the actors. One imagines that the intent was to create a slightly slimier character, part Cabaret emcee, part Barnum ringmaster, given his blue velour tuxedo, cape and top hat.

        Rona Figueroa of Broadway’s Les Miserables and Miss Saigon, plays the ingénue role of Luciana, sister to the wife of one of the twins. Sweet of voice and with terrific comic presence, Ms. Figueroa turns what could have easily been a one dimensional bore into a fully developed interesting and lovable character. Charlie Parker, as wife to a slave twin, is understandably a crowd favorite. Full of vigor and a lush, belty voice, Miss Parker steamrolls around the set, demolishing everyone and everything in her path. Hers is a totally winning performance, easily fitting into the demands of the vaudeville/burlesque genres and creating a terrifically modern musical comedy character. Similarly, Blair Ross/>/>/>/>/>/> controls her scenes as madam of the town whorehouse. She coos and purrs like a vixen and has impeccable comic timing. Her act two number, “Oh, Diogenes” rightfully stops the show. And Charlotte Cohn/>/>, as Adriana, is not only beautiful in the Greek goddess sense, she has a beautiful soprano voice, and, like her fellow actresses excellent comic abilities. Another highlight is when Ms. Cohn, Figueroa and Parker generate high voltage with “Sing for Your Supper” and later reprise it with the female ensemble as backup singers, gaining well-deserved, sustained applause./>

          It must be said that all four actors playing the titular “Boys” end the show looking completely spent, and justly so. I wondered throughout the evening how the four of them mustered the energy to get to the finish line – I can’t even think of how they do a 4-show weekend! As the twin brothers, both named Antipholus, Paolo Montalban/>/> (Pacific Overtures, Cinderella) and Manu Narayan/>/> (Bombay Dreams/>/>) each bring winning personalities and much charm to their roles. Montalban, playing the more self-absorbed twin, preens like a peacock and charms wives, maids and courtesans (and the audience) with a huge boyish smile and mock embarrassment at losing his tunic on occasion. This former Prince Charming also has a lovely voice. Playing the more grounded twin, Narayan is all wide-eyed wonder, and later frustration, and is extremely funny, particularly when the farcical sections of the show take place. He, too, has a strong voice and a commanding presence. As the twin slaves, />/>Michael Winther />/>/>(Mamma Mia!/>/>/>/>/>, 1776) and Kevin R. Free (NPR), take playing the second banana to leading man levels, as both nearly steal every scene they are in. They are both great comics in the Marx Brothers, and even Lucy tradition, milking as much out of a facial expression as they do with well-choreographed sight gags and physical comedy. Also of note is both actors’ ability to hold back and never mug, chew scenery or overplay to get a laugh. All four of these boys from Syracuse make the trip to CenterStage worth it, in spite of the limitations of the script. />/>

/>          One note, given the take on the material, the show can be pretty suggestive, but there is no swearing and only cleverly overt sexual content. A more mature youngster would likely feel the same way as the young lady sitting behind me. Said she, “Mom that was AWESOME! Can we come again? Please!” Do go – it is rare to have this much real talent on one stage all to ourselves in Baltimore!

A related article about the show was posted on 12/04/2006, and the first of a two-part interview with the stars of the show (/>/>/>Paolo Montalban/>/>/> and Kevin R. Free) posted on 12/11/2006. Part two of that interview, with />/>/>Michael Winther/>/>/> and />/>/>Manu Narayan/>/>/>, will be posted on 12/18/2006.

PHOTOS: Main Page: Blair Ross/>/>/>/>/> and Paolo Montalban/>/>; TOP: (L to R) Jessica Wu, Rosa Curry, Laura Lee Anderson, Manu Narayan(seated) and Charlotte Cohn />/>/>; MIDDLE: (L to R) Kevin R. Free, Charlie Parker, />/>Michael Winther/>; BOTTOM: The Boys from Syracuse Company, holding />/>/>Paolo Montalban. All photos by Richard Anderson.

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