Nostalgia

Posted 8/21/12

It’s a noun, and has but one meaning: “a sentimental longing or wistful affection for the past, typically for a period, place or thing with happy personal associations” …

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Nostalgia

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It’s a noun, and has but one meaning: “a sentimental longing or wistful affection for the past, typically for a period, place or thing with happy personal associations” (www.merriamwebster.com). I often wax nostalgic; perhaps it comes with being of a certain age, but I think my day-to-day encourages it on occasion. Last week brought torrential rains, felled trees, power outages and cancellations cascading across my calendar, but the sun came out for Crosby Stills and Nash, and they drew an enormous crowd of nostalgic music lovers to Sullivan County (www.bethelwoodscenter.org). I enjoyed the show but felt a bit creaky at the same time, since their first appearance in Bethel was in 1969. However, the weather was less forgiving the night before. In the theatre there’s a saying, “the show must go on,” and it did, at the Forestburgh Playhouse (www.FBPlayhouse.org) in the form of the classic Jerry Herman musical “Mame,” which continues its run through this weekend, with star Loretta Swit in the title role. Based on the 1955 novel by Patrick Dennis, the story chronicles the madcap adventures of a boy (Dennis) growing up as the ward of his deceased father’s sister, Marion Tanner, whose real life (according to Wikipedia) perfectly reflected that of the semi-fictionalized Mame.

The book was a runaway bestseller and went on to spawn a stage play, a film and a musical, which itself was made into a film. Of all its incarnations, my vote stays with the 1958 Rosalind Russell film version, for which both the incomparable Russell and Peggy Cass reprised their stage roles, earning Tony and Academy awards along the way. I adore this film and watch it every year during the Christmas season, which plays an important part in the plot of the musical version as well, giving birth to the seasonal standby “We need a little Christmas.” In point of fact, the show is chock-a-block with memorable tunes like “Bosom Buddies,” “Open a New Window,” “If He Walked into My Life,” and of course, the title song “Mame.”

In the past few weeks, I’ve had the pleasure of seeing some “top drawer” entertainment at the FBP, and with Swit in residence, expected more of this particular production. Don’t get me wrong, Loretta is a huge star and I love her. I just wish that Dann Dunn, doing double duty as director and choreographer, had not spread himself so thin, as his multi-tasking did not (IMHO) serve the show well. In fact, my notes indicate that while I enjoyed the dance numbers, I felt the chorus could have used a bit more rehearsal, and my scribbles about the direction left a lot to be desired. Swit is a huge draw, and the theatre was packed. As the “orchestra” (it’s in quotes, for I use the term loosely) struck the first notes of the overture, I groaned. Musical director Trevor Pierce did not have a firm hand on this one, and even though Mame is touted as “coaxing the blues right out of the horn,” that did not occur.

The past two productions at the playhouse have boasted lovely sets with complementary costume design, but sadly both Bradley Wehrle and Ashleigh Poteat seriously failed to deliver this time around. I’m still scratching my head over Dunn’s decision to have his lead actress stand with her back to the audience for the duration of the title song, as the chorus regaled her with the most clever lyrics in the show. Loretta Swit is a star. The song is called “Mame.” In a show titled “Mame.” I didn’t get it. At all. Carolann Page (as actress Vera Charles) had an opportunity to run away with the show, and I know that Page has the chops. Unfortunately, once again, director Dunn made poor choices. “Mame” offers these roles up as an opportunity to be larger than life, and both Swit and Page are incredibly talented. Some of the lesser parts are just as juicy, but I feel that either those actors weren’t up to the task, or that their leader was just less than. I would be remiss in not giving credit to Ryan Fogler (as the young Patrick), who was outstanding. His on-stage relationship with Auntie Mame was moving and amusing, and he sounded great as he belted along with the more seasoned performers. Swit was clearly enjoying her moments with him. In what could be considered a thankless part, somehow Marissa Girgus (as Pegeen) shown, and truth be told, she stands out in the chorus as well. Chris Van Cleave’s Beauregard is also a diminished role in the musical, but he was thoroughly enjoyable. Surely these actors were thrilled to be appearing with the amazing and talented Swit, who deserved better from this production.

With a “sentimental longing and wistful affection” for Auntie Mame, I think I’ll rent the DVD again this week.

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