“Life Could Be A Dream” Showcases Acting from Actors
Take
a moment before the show when you attend the Round Barn Theatre to see “Life
Could Be A Dream,” and take a look at the mug shots of the actors in the
program. You can help but notice the photos bear no resemblance to the
characters as played onstage during the fast-paced performance of this musical.
That’s
called acting.
Take
Conor McGarry’s earnest portrayal of Denny Varney, in whose basement most of
the show takes place. He’s the real dreamer of this show. Despite his mother’s
insistence that he “Get a Job,” (and yes, that’s one of the oldies in the
show), he sees himself as the leader of this duet, ah, trio, no, quartet
featuring five strong singers.
All
the characters, like the fledgling doo-wop group Danny and the Dreamers, are a
work in progress. Featuring Danny, Eugene, Wally, and Skip, they’re practicing
hard, preparing for a talent contest which they hope will be their stepping
stone to fame and fortune. Along comes Lois, who hopes a little polish will
push them over the top.
Cash
Maciel is spot on as Eugene Johnson, the Nervous Norman of the bunch, who also
effortlessly and consistently displays amazing vocal gymnastics throughout the
evening, as in “Tears On My Pillow.”
Steven
Drake plays Wally Patton, the preacher’s kid who is, if not holier-than-thou,
at least appreciative of a good peanut butter and banana sandwich. In seeming to occupy a bigger space than his
size, Drake’s affable portrayal conceals then reveals a sharper edge to this
character.
And
Cody Davis presents a start contrast as Skip Henderson, the grease monkey from
the wrong side of town, ostracized in both worlds he inhabits. Unlike the
others who grow their identities, Davis as Skip immediately expresses the angst
behind these seemingly upbeat numbers because the character has already done
some heavy duty living.
I
said this is called acting, but it’s also called directing. David Craven has
done yeoman’s work at the Round Barn before, most recently in last season’s
magnificent “Happy Days.” While “Life Could Be A Dream” is part of a
lightweight genre known as the Jukebox Musical, typically featuring a string of
readymade hits that sometimes are meant to compensate for a thin plot, in this
case Craven had crafted, with his actors, strong, memorable characters that we
care about. The show is, as the song says, “Just Like Romeo and Juliet,” with
star-crossed lovers from different worlds, only nobody gets killed and there’s
a happier ending. Thanks to Craven’s guidance the musical provides characters
worth caring about while never losing a sense of fun.
Craven
also provides seamless choreography. It’s perfect when it needs to be, but it
also accomplishes the difficult task of being graceless and clumsy when it
better suits the situation. Both are equally difficult. Kids, don’t try this at
home.
It’s
a part of economic and logistical reality that many musicals feature recorded
music, usually of a very high quality, but “Life Could Be A Dream” should not
be missed because it features a live ensemble consisting of Music Director
Steven Zumbrun on keyboards, Jonathan Brown on drums, and Ji Hoon Kang on the
Saxophone. As strong as the vocals are in this show, any time you want you can
listen beyond the singers and you’ll discover the accompaniment is every bit
the equal of the onstage activity.
I
hate to single out one performance in what is a uniformly strong ensemble, but
Sarah Williams is True North when she sings “Unchained Melody” at the end of
the first act. It’s the strongest composition in the show, with the most poetic
lyrics, and Williams provides the best performance of the evening. Whereas
David Craven’s choreography keeps the actors in constant motion consistent with
the plot throughout, he has chosen to keep Williams very nearly stock still,
strengthening our focus on her vocal and her acting. Her work is supported by
the exceptional acrobatics of Ji Hoon Kang’s saxophone accompaniment. There are
many good reasons to return to see this show a second time, but this song
merits a third visit.
Williams
plays two roles, that of gratingly lovable Mrs. Varney, Denny’s mother, as well
as the queen bee Lois Franklin, the daughter of the owner of the local auto
shop, which makes her royalty in this town. Her transformation from her
father’s daughter to her own person is one of five metamorphoses in the show,
which also happens to be the theme for this season at the Round Barn. All the
characters grow into the person they ought to be, something we see clearly in
the final, fun numbers, “Pretty Little Angel Eyes,” and “Rama Lama Ding Dong.”
Notice
that in the first line of this blog I said “when you attend the Round Barn,”
not “if.” That’s because a show that includes “Runaround Sue,” “The Wanderer,”
“Earth Angel,” “Only You,” “The Glory of Love,” and “Duke of Earl,” along with
many other songs including some I’ve mentioned earlier, pretty much compels you
to go. The songs alone are worth the visit to the Round Barn.
But
thanks to the work of David Craven, the cast, the ensemble, and everyone else
involved in the show, “Life Could Be A Dream” will touch your heart as well.
Go
see it.
The
Round Barn Theatre at Amish Acres presents “Life Could Be A Dream,” Written and
Created by Roger Bean, Musical Arrangements by Roger Bean & Jon Newton,
Additional Musical Arrangements by Steve Parsons, presented by Special
arrangement with Stage Rights, Wednesdays through Sundays through May 12. For subscriptions, reservations and information
call 800-800-4942 or go to amishacres.com