ENTERTAINMENT

JULY 9, 1993 GAY PEOPLE'S CHRONICLE

the fey

Chorus musical is a stellar roll in the

Puttin' on the Ritz North Coast Men's Chorus June 18 and 19

Reviewed by Kevin Beaney

Come on, admit it; every one of us has had a secret dream to be in a 1930's-style nightclub, to be in the movies, to be famous, to be... a star! And I suspect a few of us have poked through any available wardrobe in search of the perfect pumps, sequins, gowns, or period costumes.

The North Coast Men's Chorus pulled out all stops for their Puttin' on the Ritz concert on June 18 and 19, making use of every White Way and Tinseltown cliché in a breathtakingly fey splash of stagecraft, singing and schmaltz.

Now, it was not that long ago in these pages that the Chorus was chastised about its reluctance to be identified as a gay organization. And a couple of concerts ago it was noted that the closet door was finally removed. Well now, honey, all the clothes are missing and the "girls" look like they're never going to be happy back on the farm again... they've tasted Hollywood!

This Pride month concert was not at all traditional. Taking the sound advice of Judy Garland, the group decided to "put on a show." Under the professional choreography and direction of Michael LiBassi, complete with a six-piece orchestra, Puttin' on the Ritz became a showcase of individual and group talent-singing, dancing, mugging, physical comedy, and rampant gay innuendo that had the audience cheering throughout the evening.

The structure of the musical play was clichéd in its own right: Act I was set in the "fabulous" Club Cliché in New York, with gum-chewing chorus girls (named Hillary, Tipper and Chelsea), pretty-boy waiters, and the club's owner all hoping for the big break when a Hollywood director drops in.

Each of the club's acts, invited and otherwise, do their turn. Caricature and lampoons run riot. The "Sharptones," played by Jim Baxter, Jim Greenfield, Dan Isenschmid and David Stang, proudly croon "Embraceable You"-with exaggerated lisps. Chelsea (Dean Holtz) sings "Daddy," complete with emphasis on the words "big, white house" and an entourage of men in raincoats and dark glasses. Her cheap-girl accent rivals Betty Boop.

Mayhem and intrigue prevail throughout the entertainment. Somehow by the end of the act, the big shot director is so enthralled that he signs the entire club to be screen tested in Hollywood-tomorrow. How could anyone refuse?

Act II is somewhat more toned down, but it gives everyone another chance to strut their stuff on the set. The loose storyline allowed more clichés of movie styles, from singing cowboys and Hollywood chorus lines to crooning cactuses (Bill Bartolini

looking like a pained William Powell) and the formality of white top hats.

During the production, it dawned on me that the Chorus voices somehow got second billing to the dazzle of the production. Not that there was a shortage of stanzas. The show included almost 40 tunes culled from the rich American pool of musical standards. The first act featured songs from Broadway shows or those having to do with show business; all were familiar melodies and featured classics such as "Cheek to Cheek," and "You and the Night and the Music."

The theme of the musical selections was less clear in the second act, although most were from motion pictures. Regardless, they served as just the right vehicles for the performers.

Hillary and Chelsea and Tipper, oh my! Rich Cole, Dean Holtz, and Bob Taylor (l to r).

And the performers! How to describe them in a few paragraphs without slighting someone!

Perhaps the biggest risks were taken by the drag-wearing and singing floozies played by Bob Taylor, Rich Cole, and Holtz. They, along with singing waiters Don Ferencz, Neil Giewont, Michael Wetmore, and Len Burkhart, had the most energetic choreography throughout the show. All of them sang and performed masterfully.

Each time Jerry Zak, as the aging superstarlet Theda Barebutt, took center stage, the crowd went wild. For those who don't know, Mr. Zak has established a respectable drag reputation in the community, so "performing" is expected of him. But he was able to take his mugs, eye-rolls and sensuous gyrations to new heights, all the while singing his heart out, in two showstopping numbers: "Falling in Love Again" where he alternately fanned under his dress and wrestled with a chair, and in a thoroughly burlesque rendition of "When You're Good to Mama."

Another honorable drag mention goes to Edward Enrique who, as Daisy Chainhoff, offered a sultry performance of "All That Jazz," a la Bob Fosse, choreographed with red lights, fast moves and topless, bowler hatted "waiters." His second act number was a rafter-rattling "Blow, Gabriel, Blow," backed up with the Chorus in gospel choir style.

Some hilarious shtick that stopped the show came when the large-boned Ted Geiss was rolled out on a dolly as Darla Dimplea cross between Fatty Arbuckle and Shirley

Temple-singing a send-up version of "On the Good Ship Lollipop."

The most poignant moment occurred toward the end of the second act. With the stage clear and quiet, "stage hand" Jackson Hederstrom opens a letter, sighs and talks about a friend who's been "sick for awhile," and launches into a heart-wrenching solo of "My Buddy." I'm certainly familiar with this old standard, usually sung with bleary eyes as the bar is closing, but never did I equate the lyrics so sharply with the AIDS epidemic. The staging drove the emotions home harder: the chorus entered and, in between phrases, a chorus member would announce four names and then turn his back on the audience. After this happened nine times and the song came to its tender conclusion, there wasn't a dry eye in the house. LiBassi faced a major challenge to leave that mood and get the show rolling again.

But roll it did, and by the finale and curtain call the full house on Saturday night was giving a standing ovation, despite the oppressive heat and humidity of the Lakewood High School theater. Friday night's audience was almost sold out and equally appreciative.

The Chorus really outdid themselves this time; hopefully the members won't all head for Hollywood, leaving Cleveland decimated.

In case you missed it-or for those who would love to see it again—the Chorus will present two encore performances of Puttin' on the Ritz to benefit the Health Issues Taskforce on Saturday, July 17, at 7 pm and

10 pm, at Studio E in Playhouse Square. Tickets are $15 and can be ordered in advance. See the ad in this Chronicle for details.

Marie Bielefeld, Ph.D. Counseling Psychologist

Individual/Couple Lesbian/Gay Issues *Personal/Spiritual Growth Coping with Medical Problems *Self Expression Through Vocation

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