' Friday, May 1, 1998 (RiftfolumhusDlspalrii Gtterbein’s ‘’ is a real treat By Michael (kossbetg pher Sloan dances and sings well, notes: desert cactuses that light up Dispatch Theater Critic but he milks the role mainly for suddenly like Las Vegas; the perfect h ter eview With great Gershwin tunes, T ^ R laughs — not persuasive romance. blend of humor and heart in Bobby Josh Gilliam’s Bella Zangler is and Polly’s duet; fancy-free footwork, solid singing, Crazy for You, Otterbein College fabulous costumes, lots of laughs and flamboyantly vain and European. Eric Lubkeman’s spectaculai’ west­ Theatre and the Department of Mu­ When Gilliam’s Bella and Sloan’s ern and eastern costumes; Dana a giddy boy-meets-girl, boy-loses- sic’s student production of Ken Lud­ girl, boy-gets-theater-and girl plot, Bella-disguised Bobby get drunk White’s black-light and pink-fantasy wig and Mike Ockrent’s Gershwin and meet each other in the saloon, lighting; the peppy 26-person or­ who coi^d ask for anything more musical. Directed by Pam Hill. from Otterbein College’s ambitious their mirror-image slapstick in What chestra, led by music director Beth Crazy for You’! Polly...... Katie Pees Causes That? is hilaiious. Bradstreet with syncopated exper­ ; Inspired by George and Ira Bobby...... Christopher Sloan Emily Cotton’s amusingly tise; the lively first-act finale, in Gerehwin’s (1930), author Bella Zangler...... Josh Gilliam aggressive Irene struts her stuff in which cowboys tap dance with Ken Ludwig and director Mike Ock- Embraceable Naughty Baby at the expense of brooms and on the general store’s Randy Goetz’s fuming Lank. As corrugated tin roof; and the dazzling rent expertly blend romantic come­ Being performed at 8 tonight and Bobby’s mother, Lauren Mitchell is freshness of the second-act finale. dy and a mistaken-identity farce into Saturday and 2 p.m. Sunday — and 8 too young and shiill, but her short Given the inherent difficulties of one of the decade’s most lavish and p.m. May 7-9 — in Cowan Hall, 30 S. entertaining “new” musicals. scenes work as comic relief. the first local production of an espe­ Grove St., Westerville. cially challenging musical, Otterbein / • ; Perhaps only those who recall Above all, this Crazy for You Tickets cost $12, $14. Call 823-1109. the 1993 Broadway Series tour of the embodies a loopy, swooning romanti­ has done a good job. Despite occa­ slap-happy, dance-crazy 1992 Tony cism. Hill underlines the subtext of sional signs of strain or clunky slow­ many Gershwin songs, which in lyr­ ness, Crazy for You ranks among winner for best musical will sense Otterbein’s b^t spring musicals and what’s missing from Otterbein’s and use the telephone. ics and staging offer flirtatious meta­ as this spring’s best lo^ musical. large and lar^ly smooth production: Although Michael Thomas’ en­ phors for lovemaking. Otterbein’s a fluid merging of song, story and joyable dance numbers are far less production celebrates the rambunc­ staging into a seamless whole. complex and inventive than Susan tious sexual enei'gy of a New York Still, director Pam Hill does a Stroman’s Tony-winning original chorus line colliding lustily and joy­ ^iCiRCLE CiNEMAl terrific job adapting and scaling choreography, Thomas puts his own ously with a lineup of lanky cowtoys down the extremdy large musical to brand of zoom into Slap That Bass who haven’t seen so many women fit the student talents, the budget and lifts sky-high. since the last Gold Rush. Southland Mall and Cowan Hall, where Crazy At Wednesday’s student pre­ Among the many fizzy grace 3700 S. High St. 497-4230 opened last ni^L view, the large dancing and singing SENSElfSS (R) 5:00-8:00 chorus was first-rate — espet^y Inevitably, Hill is forced to ASG00DASITGET$(PG-13) 5:10-8:15 make a few less-than-ideal adjust­ the Follies girls, in I Can’t Be Both­ ments that occasionally slow down ered Now, Tonight’s the Night and 5 MAN IN THE IRON MASK (PG-13) 4:50-8:10 I★ Super Tuesday All Seats $1.00 * the show for massive scene changes. Nice Work If You Can Get It Rob Johnson’s top-notch scenic de­ Katie Pees couldn’t be sweeter * 40 EAST Twin Drive In 861-2665 ★ signs range from backstage on- as Polly. She’s warm, earthy and Broadway to a Wild West near-ghost refreshingly straightforward as the #1 TITANIC (PG-13) 8:55 & 12:10 town. Some of Hill’s choices are love-starved belle of Dead Rock, improvements over the original U . o SCREAM II (R) 8:55 & 12:35 Nev. Her singing {Someone To niFri phantoms(R) 10:55 Broadway show. It does make more Watch Over Me, B%tt Not for Me) is South Twin Drive In 491-6771 sense for the chorus girls to pop out the best of a strong cast ti of a phone booth than a car to sing As stage-struck Bobby, Christo­ #1 TITANIC (PG-13) 8:55 & 12:10 A urmiMkin eiki/»rD id/* o.ce o lo.iiA Cover Story With a little creativity, director A busy director ' At Otterbein College, Pam HDl has directed Once Upon a Mattress, The World fits ‘Ck^ for You’ to Otterbein Goes Round and Wind in the Willows. At Contemporary By Michael Grosdwit “Wth a phone booth, the song starts making sense.” American Theatre Company, IXspcach Theater Critic Instead of ising a pickup truck onstage to run over a she staged Evelyn and the rattlesnake, HiD figured out a more economical way to PoUca King and Blithe Spirit. Otterbein College Theatre would have to be crazy to do the same thinj in the Bidin’ My Time scene. , HDl’s career has taken her try to do Crazy for You as the lavish musical com^y was “Instead, a gun goes oS; rickets off a lot of pots - to stage shows in New York, originally staged on Broadway and on tour. The sets and pans, and then ^ on the snake (a puppet),” she Connecticut, Illinois, New alone would pack the Cowan Hall stage, leaving little said. Mexico, Tennessee, West Vir­ room for the singing or tap-dancing. Author Ken Ludwig (Lend Me a Tenor) and direc­ ginia, Michigan and other Guest director Pam Hfll, a veteran at staging tor Mike Ockrert (City of Angels) updated Girl Crazy, a states. musicals across the country, could be considered as crazy 1930 Gershwin musical, by rewriting the book and “I’m one of the few free­ as a fox. Her s^proach to Otterbein’s spring musical, adding Gershwin songs from other musicals. The dan(»- lance directors based in Co­ which opens toni^t, is to rethink the sets and props to fit crazy result won the 1992 Tony award for best musical, i lumbus, rather than New York the stage and script , . Besides I Got Rhythm, Em- or Chicago,” HDl said. f “We’re not trj^ to duplicate Inmeable You, But Not for Me, , Just before beginning re­ ■ Otterbein College Theatre will hearsals for Crazy for You, the Broadway version, but develop a Could You Use Me and Bidin’ My present Crazy for You at 7 JO tc- HDl staged Cabaret for Wt- new concept that makes it work for Time — aD in Girl Crazy — the night, 8 p.ni. Friday and Saturday tenberg University in Spring- musical includes George and Ira Otterbein,” Hill said. and 2 p.m. Sunday — and 8 p.nu field, Ohio. After a short ' “When I saw the Broadway Se­ May 7-9 — in Cowan Hall, 30 S. Gershwin’s Someone To Watch Over break, she wDl go to Peoria, ries tour. Crazy far You was my Grove St, Westerville. Tickets cost Me, Nice Work If You Can Clet It ID., to stage a summer produc­ fevorite show that year because of $12 and $14. CaU 823-1109. and They Can’t Take That Away tion of Tapestry at Bradley the music and dancing, and the way From Me, University. . the creators put the 1930s story into a modem context “Older audiences can remember those movies when “Mo^ people who do what and made it bdievable for today’s audience. boy meets girl, boy loses giri, boy gets giri. Crazy far I do are usually associated .“Any director has moments imprinted on their-mind, Yom is like tot,only in a modem style,” Hill said. • with a theater'group of their firora whm they first see a show. Those are the monientSTf HiD, a bu^ free-lance director, h^ staged two other own, but I do it on my own.” tliey try to duplicate for the audience, but I like to adapt musicals as la^ ‘as Crazy for You. One was City of HDl fa married to actor a show for the spaca” : . , . Angels, for the Toledo Rep; the other was Peter Pan, for Michael Lorr, who plays a sup­ For example, instead of copying the Rolls-Royce the Albuquerqun Civic Li^t Opera Association. porting role in CATCO’s cur­ that releases a succession of chorus gHs, “We decided to “Our Crazy for You is wonderful and huge, but my rent production of The Little have them pop out of a 1930s telephone booth,” Hill said. No. 1 goal is to get the story Dne across,” she said. Ferns. ' “AD 10 girls just keep coming out of the door.” , Michael Tlomas choreogr^hed the show, including “When we’re busy, we’re • . Hfll’s approach attempts to bolster the number / a seven-minute / Got Rhythm first-act finale tot HDl very, very busy. The nice part Can't Be Bettered Now, in which the chorus girls answer says “has to.be the longest tap-dancing number in of free-lancing fa tot we do rii^g telephones. ■ hi^ry.” have off time,” she said. . “The idea was to incorporate some chaises tot fit “For the performers, it’s nonstop. If they’re not — Michael Grossberg •the telephones. ';Vv ■ dancing or singng, they’re offstJ^ changing costumes.” OHIO news bureau INC. CLEVELAND, OHIO 44115 216/241-0675 fiEYHOLDiBURG tiEW'3 rOL'JtieU5- OH, V CIRC, 11-975

MRY-6-98 Don’t think about this musical, just enjoy it By DENNIS THOMPSON^ liy ing like they’ve danced all be the leads^but all of the cast their lives. Suburban Sews Theater Critic members are stars. Eric Lubkeman’s costumes And although the plot never Otterbein College Theatre’s are dazzling. Dana White’s use reaches a conclusion but just production'oTCrar}' for You is of mood lighting is magical. seems to stop, it’s probably not a smashingly entertaining Except for an initial brief giving anything away to say it musical. thought that I was at Cedar has a happy ending. The reconfiguration of . Point’s Frontierland, I found I used to hate that, too. George and ’s Rob Johnson’s huge, varied Otterbein College The­ music, tied in with Ken Lud­ and revolving scene designs atre's Crazy for You contin­ wig’s new book, is lavishly wondrous. ues at 8 p.m. Thursday entertaining from start to fin­ There’s a scene in darkness through Saturday at Cowan ish. with dancers highlighted in Hall, 30 S. Grove St., Wes­ I am continually amazed at black-light effect. There’s a- terville. Tickets are $12 how Otterbein can keep cast­ scene between two actors Thursday, $14 Friday and \ ing these large musicals with But somewhere along the miming a mirror image that, Saturday. For more infor- consistently strong performers line I learned to stop thinking could be direct from the Mr mation call 823-1109. y throughout. about these things and just Brothers. Thirty talented students, enjoy them. And there is so From full-bodied chor sparkling direction by Pamela much here to enjoy. numbers to consistently strong Hill and dazzling chore­ Hill keeps things moving at solos, the music is marvelous. ography by Michael Thomas an almost breakneck pace yet Katie Pees’ Polly has a par­ results in moments that rival effectively slows the action to ticularly strong voice, and anything seen in the Broad­ highlight a comic moment. Christopher Sloan’s Bobby is way Series. Thomas has the/actors mov- a fluid dancer. These two may What I find most surprising I. / ...... -J.------is that I’m saying all these things. lliat’s because I used to be a real snob about musicals. I , found them trite, with thin characterizations and what passed for plots being con­ stantly put on hold so people could suddenly break into song. Crazy for You has every­ thing I’hated in a musical. It's a “gee whiz, kids, let’s put on a show ” show. It has a plot that can be seen com- intz from miles away. It has all the ridiculous contrivances. (How cotne an admitted unknown in show business is close personal friends with all the girls in a major musical's chorus line?) I THt OTl-H£Tc MM n, 1^^^ THEATER Otterbein raises the bar Continued from previous page

perfectly capture the changing locales and Gershwin’s ‘Cra2y for You’ is afeast levels of reality, including two fantasy numbers. • Michael Thomas’s choreography, Prepare to be wowed. And entertained. which includes soft shoe and tap and is Otterbein’s production of Craiy for performed on surfaces ranging from solid You sets the bar a little higher for col­ BieaterG^ ground to a tin roof. lege-staged musicals. Acting, singing, Director Hill has created a funny, sexy, dancing, costumes and scenery all come RICHARD APES inventive production that continually sur­ together to create a feast for lovers of passes our expectations—even before sappy plots and snappy rhythms. Based on George and Ira Gershwin’s Girl Crazy (1930), this 1992 Tony winner told with a sure sense of rhythm—speed­ also includes songs from other shows writ­ ing up for infectious tap numbers, slowing ten by the talented brothers. The Depres­ down just enough for the odd love ballad sion-era story is just substantial enough or comic business. to tie together such classic tunes as Slap While pretty much everything is right That Bass, I’ve Got Rhythm and Embrace- about Otterbein’s production, the thing able You. that’s most right is Christopher Sloan’s The derivative plot in a nutshell: Boy portrayal of Bobby, the would-be song- meets girl, boy falls in love with girl, boy and-dance man at the center of the plot. puts together show to save theater owned Singing like a young Frank Sinatra and by girl’s father. dancing like a young , he car­ It would be easy to camp up such a ries off therole with charisma to spare. clear rip-off of old Hollywood musicals. (As As the woman Bobby chases after, one character says, “Don’t you go to the Katie Pees isn’t enough of a hoofer to be a movies? Mickey Rooney does this all the Ginger to Sloan’s Fred, but she makes up for it vocally, especially with her com­ time.”) Instead, Crotzy for You is closer to Sappy, snappy and sweetly engaging: Otterbein’s an homage, taking itself only slightly less manding, heartfelt delivery of Someone to production of Crazy for You seriously than the escapist epics that Watch Over Me. inspired it. Beyond the two leads, all the roles are performed with flair. In fact, the strength As directed by Pamela Hill, the story is those stairs rise out of the stage to add of the castwas underscored last Saturday told with an engaging sweetness. It’s also more pizzazz to the finale. when the small but meaty role of Patsy was memorably played by understudy The show’s only serious flaw is that it Molly Gardina, who usually plays Sheila. will close Saturday. Gershwin lovers who INFO A short list of the production’s other delay calling for reservations could be left out in the cold. Otterbein College Theatre will present Crazy hr charms; • Rob Johnson’s scenery, which is beau­ YbootS p.m. todoy through Salvirday in Cowan v tiful and substantial, yet mobile, allowing Hall, 30 S, Grove St., Westerville. Running time; the action to flow fluidly from a New York 2-1/2 hours in two acts.; - theater to a lazy Nevada town. Tickets are'$12 today, $V4 Friday ond Saturday. • Eric Lubkeman’s costumes, which 823-1109 (between 1 and 4:30 p.m. weekdays). Continued on next page OHIO NEWS BUREAU INC. CLEVELAND, OHIO 44115 216/241-0675

i:0LyhBU5 DISPBTCH COL'JliBUS, OH. aiNCIRO. 402.193 Z' :■ ) • ' ,, ,JUL-2G-98 6n Theater critics choose favorites from a wealth of productions sie By Michael Grossberg birth of new theater companies in ovations for unr-emarkible perform­ ing spaces, especially for smaller DLspati h Theater Critic On^age Columbus reflects both h-ends. “The ances. “The standing o\ ation used to companies. His best trend: theaters best, insofar as it bespeaks the vitali­ be a tribute to the exceptional artist that are finding ways to solve space So much theater is being per­ ty of our theater scene. The worst, in a moment of excellence. Now, any pr'oblems — such as the Irish arid formed in central Ohio that even the best actre.ss, Anne Hannon, the blind insofar' as it reflects the triumph of perfoi'mance just alrove average as- American Repertory Theatre, most enthusiastic critics can’t see all woman in Irish and American Rep- ego over practicality, cooperation sui'es that somebody’s buttocks will ‘Vhich is showing some immigrant of it That encouraging but frustrat­ eriory Theatr-e's Molly Siveeney, and survival.” be in my face while I give my modest zeal in renovating their own space.” • ing development, typicd of big cities, and Lori Cannon, the cuddly title- apjrlause,” Hoehn said._ hasn’t stopped members of the Cen­ mutt in Reality Th^tre’s Sylma. Richar*d Ades (The Other Pa­ I agree with Passerrello that the Dennis Thompson (Suburban tral Ohio Theatre Critics Circle fiiim Other muhiple vote-getters: per) also picked a best and a worst loss of theater space is the worst trend. Let’s not forget, though, that honoring the be.st of what they have MadLab Theatre’s multimedia Bctk- trend — although his “best” is ironic: News Publications) faults theater many treupes are being pushed out seen each season. kee, which won one vote each for best “the decr-easing frequency of the companies that make sales pitches of existing space because of positive Critics fell short of a m^ority in new play and best production of a Cliche Family’s appearances at for season tickets atf [rerformrmces. developments: the growth of other any category of the fifth annual poll play; and Red Herming Theatre Shadowbox Cabaret” (To its cr'edit “I realize the economic realities com­ ti'oupes, such as CATCO and Colum­ for the yearlong season that ended Company’s Old Wicked Songs. Dis­ the Cabaret develops its own come­ panies must deal with, but these bus Childi'en’s Theatre. June 30. In 1994, the year of the first patch fi-ee-lancer Scott PhiKips, who dy skits, but the Cliche Family char­ pitches tamper with ^e ‘suspension poll, a-itics disagreed in every cate­ didn’t see enough to prutieipate fully acters have become tired cliches.) of disbelief atmosplteie they are My pick for best trend, though, gory. A majority agreed on a winner in the poU, joined Mar’k Pas.sen’ello Ades also deplores “silly pop refer­ tr-ying so hard to create.” is the increasing collaboration in one category in 1995 and two in (Outlook) in pr'ai.sing Red Herring’s ences drepped into a preduction for among centr-al Ohio theaters, actors the sake of ea.sy laughs.” His e.xam- Phillips’s woi'st trend — “dwin­ 1990. As in 1997, critics’ choices warm, funny pr-odaction. dling audiences for iserious plays and playvviights. ples: the 15th-centui7 jester doing a overlapped for 1998 but failed to Four shows tied with a scat­ that lack name I'ceogition” — was For irustance, CATCO and Ot­ produce a majority — although half tered three votes in different cate­ Kathar'ine Hepburn impres.sion in Otterbein’s Once Upon a Mattresst inspired by Red Heriiri^'s Songs. terbein, and Reality and Act Out did agree on the best musical. gories: Songs. Molly Siveeney and Matt Sullivan; Disjkiich Pi'oductions co-produced plays this the title chrmacters in Otterbein’s “Given such a wonderful play Mefro Masic Theatre’s concert- CATCO’s bracintr The Little Foxes Jay Wright and Carmen Keels in Met­ season, while Red Heriing plans to The Miser declaring “My mama told and good pr'oductionj why didn’t style “revisal” of Kwamina came and thoughtful Taking Sides. ro Music 1 heatre’s Kmmiiui co-produce Buried Child in the me there’d be days like this;” and more [leople go to see it? Such a closest to a consensus, with three At the Circle’s recent semian­ spririg with Columbus State Com­ lake-offs on the Spice Girls, River- production desei'ved j lar'ger audi­ votes. Otterbein College Theatre’s nual meeting — hosted by Joy Reilly Theater trends dance and the cheerleader's from ences.” ! munity College’s theater program. Cmzy Jfjrr You received two votes. (WOSU’s “Theater Talk” commenta­ The Cii'cle has cited seasonal .Saturday Night Live in Ohio State Mai'k PasseiTello^ (Outlook) is Meanwhile, more ti'oupes are joining Three performers received two tor) — critics generally ranked the “woi'st trends” in the ho[x? (rf encour­ forces tb'ough the Theatre Round­ votes each: for best actor, Jon Far­ other's’ choices highly, too. The con­ aging better trends, but began University’s The Com,pleat Works of concerned about the lois of [X'l'for'm- WUfii, Shk.spr (abridged). table to solve common pr'oblems. . ris, as the German conductor in sensus was tliai the [roll’s r-elative choosing woi'st and/or best tr'ends Contemporary American Theatre lack of consensus reflects an esix'- last yeiu' to make that hope explicit. For Doug Hoehn (Colti,inbu.s\ 'Company’s Taking Skkv; and for cially diverse, mei;',orable season. For Jay Weitz (InnerAits), the .{live), the woi'st ti'end Ls standing'