A political/economic profile of modern Canada from How to Save the World.

(Thanks to wood s lot.)

posted: 4:18:00 PM  

This review of songs from the earlier shows of Kander and Ebb puts some positive topspin on some of their darker material. It's certainly a new aesthetic experience to hear "Cabaret" arranged for five voices, vocalise-style, and missing the key lyric "I made my mind up back in Chelsea/When I die I'm going like Elsie."

The cast is strongest in its group numbers, like the hyper-caffeinated "Coffee in a Cardboard Cup," or the tight trio for the women, "There Goes the Ball Game." Whiddon and Harris get four of the five onto old-school roller skates for the brisk first-act closer, "The Rink."

Sherri L. Edelen is the standout in the cast, showing greatest range, a bruised lover in the opening number, a comic over-the-top Jerseyite in "Class," a huge belting voice in "Maybe This Time." Mary Jane Rayleigh and Gary E. Vincent have a good dance break in the second act.

Alexander Cooper's lighting design is perhaps the star of the show. There are lights everywhere: pin up lights on the set that turn scrims into solid walls, a frame of chase lights around the entire set (used very judiciously), a burst of black light for "Money Money," and a subtle ring of colored lights for "My Coloring Book," hung very high above the set. I'm still trying to figure out the various firing patterns for those lamps. Cooper falters only once, with a silly follow-spot-that-won't bit for "Mr. Cellophane," admittedly what is perhaps the most difficult song in musical comedy to stage effectively.

Musical director Christopher Youstra gets great sound out of his band of eight; it's nice to have the luxury of outnumbering the singers.

posted: 9:52:14 AM