THE LIFE (2004)|The Parklander Review

CURTAIN UP

No Business Like Show Business In 
South Florida


By FRED DIEKMANN




Take a walk on the wild side of New York City with the blockbuster sensation of the season at the Atlantis Theatre in Boynton Beach. Cy Coleman's musical masterpiece The Life bursts the bubble of a sinful society swarming with Queen Bee hustlers, sex and drugs. Actually, better than Broadway with a colossal cast and sensational staging by Gary Waldman. Of course, leave the children with a baby-sitter. The show sizzles, sparkles and soars with show-stopping numbers giving gory glory to the oldest profession and devilish desires of gangland. 

Nadeen Holloway stars as Sonja in THE LIFE at the Atlantis Playhouse

MEET ME AT THE PITKIN (1997)|Miami Herald Review

Wednesday, July 16, 1997

Stellar cast, parodies propel clever ‘Pitkin”

By CHRISTINE DOLEN

Herald Theater Critic

Combine beloved Yiddish standards with wonderfully silly parody songs, mix in the American show biz rags-to-riches myth, and let our strong south Florida singer-actors serve it up.

Voila—or should we say, oy! You have Meet Me at the Pitkin, an uneven but most enjoyable new musical doubtless destined for booming business at the Hollywood Playhouse.

New York-based Gary Waldman, star and creative force behind Paved With Gold, tested a more modest version of Meet Me at the Pitkin last winter in the series he produces at West Palm Beach’s Kaplan Jewish Community Center. Under the direction of Andy Rogow and with added material from Waldman, the show has become a fresh, yet nostalgic look at the fictional quartet called the Pitkin Four.

If you’re of a certain age and from Brooklyn, you probably remember the Loew’s Pitkin Theater during the ‘40s and ‘50s, where performers did their thing between double features. Waldman’s conceit is that four low-level Pitkin employees—Phil (Oscar Cheda), his Irish-Catholic beloved Molly (Heather Jane Rolf), Marty (Louis Silvers) and his fiancée Elly (Margot Moreland)—secretly cook up an act, hoping they’ll get their big break.

They do, of course, when the headliner gets offed by the mob (Blame it on the Bossa Nova becomes Blame it on La Cosa Nostra). Then we follow their rise from Brooklyn to the Catskills to worldwide success and eventual retirement in Boca Raton.

MEET ME AT THE PITKIN, musical by Gary Waldman

 at the Hollywood Playhouse features (l-r) Heather Jane Rolff, 

Oscar Cheda,LouisSilvers & Margot Moreland

Along the way, you’ll hear such pleasant parodies as Yeshiva (set to the tune of Fever), and Three Cohens in the Mountains (formerly Three Coins in the Fountain). The piece is liberally sprinkled with Yiddish favorites.

This cast is energetic as all get-out; Moreland, so wonderful last month as a Spanish-speaking new mother in the Summer Shorts festival, is thoroughly convincing as a Jewish diva. Rolff is a strong young actress whose voice blends beautifully with Moreland’s. Cheda is funny as the slightly nebbish Phil, Silvers the powerhouse crooner as Marty.

The staging and choreography aren’t always the best, some of the numbers are little more than snippets of ideas rather than fully developed songs and the show’s budget constraints are sometime’s quite obvious. Still, even if you are neither Jewish nor an ex-Brooklynite—but especially if you are—put Pitkin on your summer itinerary.

ME & JEZEBEL (2000)|Palm Beach Post Review

Gary Waldman & Jamison Troutman presented ME & JEZEBEL, a play by Elizabeth Fuller at the Wilton Playhouse, Fort Lauderdale, FL (2000) ... the following is a review published in The Palm Beach Post:

Wednesday, May 24, 2000

Man, does unsafe Bette pay off

By Hap Erstein

Palm Beach Post Staff Writer

FORT LAUDERDALE—Who hasn’t wanted to meet a favorite movie idol or—indulging our fantasies further—have him or her stay over as a house guest?

Well, be careful what you wish for. It happened to Elizabeth Fuller, whose life, family and Westport, Conn. Home were disrupted by the arrival and open-ended stay of Bette Davis in the Spring of 1985. The experience—two parts joy and one part ordeal—spawned a book and then a play called Me & Jezebel, now at the Wilton Playhouse. The script is slight, but it becomes a campy romp because of the inspired casting of female impersonator Jim Bailey as the indomitable Davis.

Bailey uncannily captures the distinctive vocal and visual essences of the two-time Oscar winner, as well as the slyly larger-than-life version of her celebrity-has-its-privileges personality. The play, like Davis herself, overstays its welcome, but Bailey is so committed to the character and so compelling in his arm-flailing, chain-smoking caricature that he lessens the evening’s shortcomings.

Winsome Kim Cozort is the other half of the cast, playing perky housewife-author Fuller. She narrates and slips into a handful of supporting roles, telling how a dinner invitation to a neighbor turned into a meal with Davis. It is followed the next day by the star’s move into the Fullers’ guest room “for a night, possibly two,” ostensibly because of a hotel worker’s strike in New York.

Fuller is giddy with the prospect of such proximity to stardom, even if she gets a little more Baby Jane Hudson than she bargained for. Whether racking up long-distance calls to Europe or turning cups of coffee into ashtrays, Davis is an imperious handful on the home front. In public, she is always on her best behavior, taking Fuller to lunch in a chic café or holding court in the unfamiliar territory of McDonald’s.

Despite the good times, the daily catering to Davis’ whims soon become exhausting. Fuller’s husband threatens to move out if Davis won’t, and their 4-year-old son starts picking up new swear words and celebrity attitude from the house guest. Fuller’s scene-setting monologues begin with the day number of the Davis residency as if it were a hostage situation.

Ultimately, Me & Jezebel has a soft center, as the Fuller character remains star-struck throughout the month of Davis’ stay, concluding with misty-eyed wonderment that getting to know her idol has brought her closer to her dead grandmother.

Fortunately, Bailey often cuts through the play’s saccharine quality, booming out vintage Davis put-downs of Joan Crawford, intoning classic movie lines (“Fasten your seat belts—it’s going to be a bumpy night.”) our simply pulling audience focus with a withering facial expression.

Davis could be played by a woman, I suppose, but the results would not be nearly as much fun.

And probably not as convincing.

“Me & Jezebel,” a play by Elizabeth Fuller

Gary Waldman, Jamison Troutman, Kathi & Alan Glist and Jay H. Harris, producers,

Directed by Gary Waldman & Mark Graham

Set by Barry Axtel, Lighting by Jason Gould, Sound by John Wade

At the Wilton Playhouse through July 9th

Gary Waldman's MEET ME AT THE PITKIN (1997) | Miami New Times Review

Theater producer Gary Waldman presented MEET ME AT THE PITKIN, a musical by Gary Waldman at the Hollywood Playhouse, Hollywood, FL (1997) ... the following is a review published in The Miami New Times...

Backstage Passes

MEET ME AT THE PITKIN

By Savannah Whaley Thursday, Jul 31 1997

Although the Hollywood Playhouse's lobby boasts an exhibit of yearbooks, photos, and other Brooklyn memorabilia from the time of Meet Me at the Pitkin's Fifties setting, the creators of this musical believe that nostalgia ain't what it used to be. They deliver an infectiously silly send-up of backstage stories and popular music, presented through a revue of parodic lyrics matched to old Yiddish folksongs and Your Hit Parade standards. Loosely structured on the rise to stardom of the fictitious singing group the Pitkin Four, the musical begins at a condo in present-day Boca. There, Elly (Margot Moreland) and her husband Marty (Louis Silvers), along with their old partners in the act, Molly (Heather Jane Rolff) and her mate Phil (Oscar Cheda), learn that Brooklyn's Pitkin movie theater is slated for demolition. The news carries their memories back to the place where they launched their careers, sending Meet Me at the Pitkin in a flashback to post-World War II Brooklyn.

Working at the theater as ushers and projectionists, the four star-struck kids watch the Pitkin's live stage shows between reels, then spend late nights putting together their own act. Of course, there are obstacles: Elly wishes Marty would go back to work in her father's store, and the Yiddish of Irish Catholic Molly needs work. But the act takes off when the gang comes up with the idea of singing witty send-ups of the Yiddish songs they heard growing up, as well as of the hits offered up by the Pitkin's headliners. Making fun of Jewish conventions and New York icons, the group wins fame with brief, bouncy numbers such as "Yeshiva" (to the tune of "Fever"), "Blame It on the Cosa Nostra" ("Blame it on the Bossa Nova"), and "The Joint Is Kosher!" ("The Joint Is Jumpin'"). Finally, the musical tastes of the Sixties send the quartet into semi-retirement in Boca, until they gather for one last private reprise in the shuttered Pitkin.

"Meet Me at the Pitkin" at the Hollywood Playhouse.
Pictured (l-r) Heather Jane Rolff, Oscar Cheda,
Louis Silvers & Margot Moreland

The Yiddish Mickey Rooney/Judy Garland story line soars in the hands of a fresh-faced cast powered by pure chutzpah. Straight from her standout performance as the Spanish-speaking new mother in Summer Shorts '97, Moreland once again proves that talent is the universal language by reaching out across the footlights and belting the Yiddish lyrics with confidence. As her husband, Silvers gives a relaxed and affable performance that fits him as comfortably as Perry Como's sweater. Rolff and Cheda also charm as they move easily between the episodic revue-style musical numbers and the structured backstage plot. And the cast receives plenty of up-tempo support from the four-piece ensemble led by pianist Phil Hinton that, in a rare treat, adds woodwinds (Julianne Purefoy) to the upright bass (Dave Tomasello) and drums (Ken Hebden).

Director Andy Rogow instills a welcome light touch to this feathery revue, keeping the production moving along to the next musical joke without building in unnecessary pauses for the underdeveloped dramatic moments. Similarly, Jamie Cooper's lively choreography is entertaining, and its simplicity mimics the limited moves the Pitkin Four would probably have created.

Gary Waldman, who wrote the book and original lyrics, composed the original music (with Todd Rice and Jon Delfin), designed the production (with Rogow), and co-produced the musical, has come up with a pleasant entertainment but perhaps has limited his creation's potential by spreading himself too thin. After a whirlwind first act, his story drags during an overlong Catskill tribute and a Pitkin Four world tour. With minimal sets and simple costumes, he treats the work's physical demands like the songs he parodies, expecting the audience to make do with only a sketchy frame of reference. On the other hand, two of his original songs, the hummable "Meet Me at the Pitkin" and the touching "I Remember Everything," suggest that this is where his real talent lies.

Like all spoofs, Meet Me at the Pitkin works best if you know the Yiddish songs or the New York landmarks that are being lampooned. The opening-night audience sang along to the folksongs, clapped in time to remembered hits, and even loudly opined "That's true" to bits of dialogue. Most of the material was new to me, however, which only seemed to make the comedy that much fresher and more novel.

Meet Me at the Pitkin. Original lyrics and book by Gary Waldman; original music by Todd Rice, Jon Deflin, and Gary Waldman; directed by Andy Rogow; with Oscar Cheda, Heather Jane Rolff, Margot Moreland, and Louis Silvers. Through August 15. For more information call 954-922-0404 or see "Calendar Listings."

ME & JEZEBEL (2000)|Miami Herald Review

Gary Waldman & Jamison Troutman presented ME & JEZEBEL, a play by Elizabeth Fuller at the Wilton Playhouse, Fort Lauderdale, FL (2000) ... the following is a review published in The Miami Herald:

Monday, May 22, 2000

Funny ‘Jezebel’ Captures Bette Davis

BY CHRISTINE DOLEN

cdolen@herald.com

Our great stars have long been a character actor’s dream. Judy Garland, Barbra Streisand, Liza Minnelli, Carol Channing: Their gestures, appearance and vocal tics make them instantly recognizable to adoring fans, irresistible to the transformative performers, who idolize and pay tribute to these dazzling ladies by “becoming” them.

Tops among these icons—and how this late, great star would love it—is Bette Davis. That swathed-in-cigarette-smoke “what a dump,” big-eyed, impossibly feisty Bette Davis, who is doubtless devoting herself in the Hereafter to tormenting the longtime object of her derision, Joan Crawford.

It seem only natural, therefore, to find …Jim Bailey playing Bette Davis in Elizabeth Fuller’s Me & Jezebel at the Wilton Playhouse in Wilton Manors. What is pleasantly surprising, though, is how thoroughly Bailey serves the play with his honest, nuanced performance.

Me & Jezebel, which co-stars Carbonell Award-winning actress Kim Cozort (so engaging here she seems to be glowing from within), is playwright Fuller’s recounting of the time in mid-1985 when Davis really did bunk and the Fuller household for “a few days”--and stayed and stayed and stayed. Fuller, a lifelong fan, is initially thrilled to have the star of Jezebel and All About Eve under her roof. But the celebrity tenant, who gives no indication of a firm departure date, quickly plunges the household into chaos.

Fuller’s cozy Connecticut house starts smelling like an ashtray. Her husband notes that Davis is conspicuously failing to pay for anything, and that she needs to move on pronto. Fuller’s 4-year-old son Christopher begins using language that no preschooler should even hear.

And yet this “Woman Who Came to Dinner” tale, played out on Barry Axtel’s skeletal yet evocative set, is often hilarious, tender and moving.

Under the direction of Gary Waldman and Mark Graham, Bailey shines, whether zinging one more dig about Crawford’s moral vacuity or feeling the sting of the Mommie Dearest-style expose written by Davis’ daughter. Cozort, who plays Fuller as well as evoking Christopher and others, keeps us a happily captive audience as her funny tale of wonder and woe unfolds.

The Wilton Playhouse itself is undergoing “renovation”—it looks, especially from the outside, like an uninviting mess—but it would be a mistake to let that keep you from Me & Jezebel, the little gem that Fuller, Bailey and Cozort are polishing within.

Christine Dolen is the Herald’s theater critic.

Gary Waldman's BUNGALOW BUNNIES (2000) | Entertainment News & Views Review

Gary Waldman & Jamison Troutman presented BUNGALOW BUNNIES, a musical by Gary Waldman at the Wilton Playhouse, Fort Lauderdale, FL (2000) ... the following is a review published in South Florida Entertainment News & Views ...

October 27, 2000

Bungalow Bunnies a New Musical at the Wilton Playhouse

By Buddy Clarke

Critic at Large

Gary Waldman is a man of many talents. He has directed, produced and created many theatrical productions. Waldman has added to his accomplishments by writing and producing a brand new musical, Bungalow Bunnies. Now playing at the Wilton Playhouse, for which Waldman is the artistic director. The musical brings Gary back to his childhood in the famed Catskill mountains.

It is the summer of 1977 and Gary reminisces about his summer in a bungalow colony, which dotted the Catskills along with the plush hotels such as the Concord and Grossingers. Many of the hotels had bungalow colonies right on their grounds. People would rent them for the season, the wives and kids spending all their time their [sic], and the fathers would work in the city all week and drive up on Friday for the weekend, as well as spending their one or two-week vacation take in their bungalows. It was a way of life that most Jewish kids lived with, and it was a wonderful fun-filled escape from the hot city.

Waldman has recaptured that memory with his musical. He uses three couples, Milton Goebel and his wife Rose (Oscar Cheda and Gail Byer). Moe and Ida Sipowitz (George Contini and Debbie Campbell) and Heshy and Freida Kishenefsky (Elias Eliadis and Stacy Schwartz) to tell his stories in words and music. There is lots of comedy in the production. The music is, for the most part, derivative, but that doesn’t take away from the nostalgic feeling engendered as the show unfolds.

The set by Ian Almeida is perfect, as is the musical backing by Phil Hinton and the orchestra, cleverly hidden behind a bungalow wall. John Wade’s sound design is excellent, as are the costumes by Marianne Pittard. Good too is the lighting by the ever reliable Ginny Adams. All the performers are great, with Oscar Cheda a standout, as usual. While Bungalow Bunnies has an ethnic flavor, it’s a fun show for everyone.

Bungalow Bunnies will run through Nov 26 at the Wilton Playhouse, 1444 NE 26 St, Wilton Manors. For more information, call 954-567-3666.

Gary Waldman's BUNGALOW BUNNIES (2000) | Hollywood [] "It's Showtime" Review

Gary Waldman & Jamison Troutman presented BUNGALOW BUNNIES, a musical by Gary Waldman at the Wilton Playhouse, Fort Lauderdale, FL (2000) ... the following is a review published in Hollywood []"It's Showtime"...

October 23, 2000 | It’s Showtime

Bungalow Bunnies is a hit at the Wilton Playhouse

By: Dona Kay

Perky, adorable, animated, hip-hop-itty fun that will spin your head to laughter and maybe a memory or two is this world premiere showcase. “Bungalow Bunnies” sets a frantic pace at the Wilton Manors Playhouse for the Fall/Winter season and what a show it is!

The stage is ablaze with many childhood antics (compliments of the adults once in us all), and the “swat” power is electric as a remembrance of the summer heat of the Catskills takes over.

Written and directed by Gary Waldman. Who gave us “Meet Me at the Pitkin” several seasons back, “Bungalow Bunnies” reflects Waldman’s youth and those glorious days of summer spent in the mountains.

Waldman’s tunes are catchy in this musical spoof. Take “Ruby the Knish Man” that takes on a resemblance of Fiddler’s “If I Were a Rich Man,: or “Milton’s Lament” of ambition richly taking over yet another “Fiddler” classic … this one, “Tradition.” Oh, my word! Oh the laughter! Oh the expressions of it all!

What a collective sextet of performers giving their all. Oscar Cheda is Milton, slop-happy to his white-lipped bathing suit beauty (don’t believe it) of a wife, Rose (Gail Byers). Elias Eliadis (Heshy Kishenefsky, try to say that twice fast) goes orange-haired with mugging attributes to wife, hair-in-rollers, Frieda (Stacy Schwartz, a scene stealer). Debbie Campbell is cutesy as Ida Sipowitz to hubby George Contini who, in the role of Moe, may resemble a moderate Jessie “the former body” Ventura. (Just ask me for the photo!).

As previously mentioned, the “Noo Yawkers” visiting the mountains in the 70’s are a clever, lyrical bunch who enlighten Waldman’s reflections. Take some of the other song titles, “There’s Something Fishy,” “The Man Selling Shoes,” “The Pickle King Song,” to “Rainy Day Blues.”

In the golden days of memories, you had to dip in your pocket and go to the bingo games, perhaps to win a dime or two or three. And, of course, you had to try to sneak into the once popular and populated floor show. In the “star” quality show, there’s many a take-off like the Married Sisters with vocals favoring the famed Barry Sisters. Campbell & Schwartz are a songful combination, complete with not only the vocals, but the complimenting movements. I can tell you this, you’ve never heard a version of “Send in the Clowns” quite like this – cheers for the parodies and we mustn’t fail to mention the added Freddie Roman humor, which Cheda elates.

You’ll get an earful in “Bungalow Bunnies,” a chipper funzie if ever there was. Have fun visiting the former summer retreat of Catskill overload.

THE LIFE (2004)|Boca Raton News Review

Gary Waldman & Jamison Troutman, theater producers, presented The Life, a musical by Cy Coleman, Ira Gasman & David Newman at the Atlantis Playhouse, W. Palm Beach, FL (2004-2005) … the following is a review published in the Boca Raton News, June 18, 2004:

Prostitution takes center stage in ‘The Life’

THE LIFE - (l-r) Miriam King, Jessie Alagna, Nadeen Holloway, Jeanne Lynn Gray, Teandra Morris

June 18, 2004

By Dale M. King

STAFF WRITER

“The Life” is a musical that takes a walk on the very, very wild side.

It has to. It’s a gritty, sometimes brutal depiction of street prostitution in New York City circa 1980. But this is not the world of Heidi Fleiss. And it’s not Ruby Keller’s 42^nd Street. It’s a hard play that marries hard drama, comedy and music. Fortunately, it’s a marriage that works.

“The Life” is playing through July 11 at the Atlantis Playhouse. The Cy Coleman-Ira Gasman collaborative is awesomely entertaining, though occasionally unsettling.

An exceptional cast – and a wonderful keyboard player - Phil Hinton – keeps the show right in the groove.

It’s actually more than a story about ‘the life’ of street hookers on the mean streets of New York before urban renewal, police crackdowns and AIDS put a damper on much of the sex-for-hire trade. There’s a plot—even a love story—tucked in among the unsavory characters who walk the alleys and dirty streets of the Big Apple.

The play opens with the company performing “Check it Out,” a finger-in-your-face entrance number that makes you think “The Life” is just another version of “Chicago.”

Coleman and Gasman have peppered the show with tough songs, uplifting tunes and explanatory songs. The lyrics are well-crafted and creative, but often fallback on clichés. Fleetwood, an up-and-coming pimp, sings about getting “A Piece of the Action,” while Memphis, the toughest pimp on the block, warns one of the girls that “It’s My Way-or the Highway.”

One of the best tunes is Sonja’s rendition of “I’m Getting Too Old for the Oldest Profession,” a song that needs no explanation.

This is a true ensemble work. Everyone in the cast pitches in to make the show work. They’re energetic, with great voices and obvious talents.

But “The Life” is definitely an adult show. The language is not for kiddie’s ears. And the subject on stage means there’s a lot of ‘sexual suggestion.’

The show really focuses on the life of Queen (Jeanne Lynn Gray), a hooker who has fallen in love with her pimp, Fleetwood (Ben Bagby).

When Fleetwood realizes that he can’t really love a woman that he’s…well, “using,” he drops her for a fresh-faced, milk-and-honey brunette who’s newly arrived from Duluth, Minn. An apparent innocent, Mary (Elizabeth King) is not all what she seems. That sets the whole street afire with anger, resentment and fear and the denizens factionalize.

Gray is superb as Queen—for many reasons. She’s tough, but vulnerable; thick-skinned, but with a warm heart.

Elizabeth King is perfectly cast as the apple pie kid from Minnesota whose innocent demeanor hides a sordid interior. It’s not surprising she has played Eliza Doolittle in “My Fair Lady.” But in “My Life [sic],” she doesn’t do a little, she does a lot!

Nadeen Holloway is a definite show-stealer as Sonja, the seasoned prostitute who accepts her own fate, but doesn’t want her ‘sisters’ to end up like her. She’s got a voice that could stand up to Aretha Franklin, and a talent that easily slides from comedy to tragedy.

Bagby, who literally comes to South Florida from Broadway, is terrific as Fleetwood, who has one of the most pivotal roles in the show. He is good at making his character hate able, but there’s a flicker of redemption when his come-uppance arrives.

Carl Barber-Steele is a fearsome presence as Memphis, the most powerful pimp in the hood. He’s one character who pulls no punches—literally—when he pushes his theatrical weight around.

Dean Swann is Jojo, the show’s narrator, who proves himself to be a no-account, backstabbing lout. And those are his good points. I swear I saw him in the Barry Manilow Revue at the Atlantis earlier this year—which is something of a departure from his role in “The Life.”

Alex Danyluk—who is much younger than he appears in the play—is the affable barkeep Lacy, whose character seems to come from the “don’t ask, don’t tell” school.

“The Life” runs through July 11 at the Atlantis Playhouse, in the plaza at the corner of Atlantis Playhouse, in the plaza at the corner of Lantana Road and Congress Avenue (near Rosalita’s) in Atlantis. Tickets are $26.50 and $29. Call (561) 304-3212.

SOPHIE, TOTIE & BELLE (1999) | Sun-Sentinel Review

Gary Waldman & Jamison Troutman, theater producers, presented SOPHIE, TOTIE & BELLE, a musical by Joanne Koch & Sarah Blacher Cohen in several regional productions and off-Broadway… the following is a review of the 1999 S. Florida production as published in The Sun-Sentinel …

It's An R-rated Act Made In Heaven

October 04, 1999|By JACK ZINK Theater Writer

What's the best R-rated act at the Friar's Club, heaven branch? The Drama Center thinks it has the answer with Sophie, Totie & Belle, a play that's been kicking around in limbo the past few years.

Deerfield Beach's petite theater has opened a revised version of the play-with-music, which posits that "groundbreaking" entertainers Sophie Tucker, Totie Fields and Belle Barth are in heaven's waiting room. There, God auditions each one of them for a special engagement at his club.

Sophie, Totie & Belle had some promising tryouts earlier this decade in the area. The current edition is billed as a total rewrite, with better pacing and focus, but all the old hardware is back.

That includes whole sections of each star's act, songs that have become cult classics and jokes that have been copied so often they're like wallpaper. When resung and retold as originally done, all of this material still has a lot of punch. And when the actresses are good enough to evoke some of the aura of the real-life characters, the punch lands right on target.

Authors Joanne Koch and Sarah Blacher Cohen do a good job of weaving personal reminiscence around the stars' onstage material to flesh out each character, without getting overly sentimental. And the writers build a relationship among the backstage personalities that, while predictable, serves the plot well.

Gwendolyn Jones is Sophie Tucker, who left her son with his grandma and went onstage, eventually becoming the diva's diva of vaudeville and variety entertainment. Jones is in good voice, with a regal bearing that projects both the confidence and the ego of a star who's beaten all her detractors.

Kathy Robinson portrays Totie Fields, the comedian and singer who spent a career making fun of her own body in joke and lyric. Robinson's handling of Fields' self-parody is at times nearly mirror-like; like Fields herself, nearly grotesque. Yet there's poignancy in the dramatization of Fields' relationship with her devoted husband, and the manner in which she dealt with her personal health problems.

Stacy Schwartz tackles the role of Belle Barth, variously billed "the Hildegarde of the underworld" and "Miami's answer to Lenny Bruce." Schwartz, her lips curled in a scowl that looks set in stone, fires some material that still can redden ears and cheeks in semi-polite society. Schwartz has just the right posture needed to deliver that material, plus the instincts and timing of a veteran comic.

But perhaps the best job onstage is being done by Stephen G. Anthony as "all the men in their lives." He embodies husbands, lovers, chiselers, agents and the voice of God. Anthony, who has excelled in similar assignments before, makes every cameo unique.

Think of Sophie, Totie & Belle as a celebrity one-woman show, in triplicate, with a supporting cast. And a music director (Phil Hinton).

Jack Zink can be reached at 954-356-4706 or jzink@sun-sentinel.com

THE SOUNDS OF SIMON (2008) Destin/Ft. Walton Beach Beachcomber Review

EDITOR’S JOURNAL

A tender moment from "The Sounds of Simon"

SOUNDS OF SIMON is more than up to the challenge ...


By Leah Stratmann

March 6, 2008 

As a fan of live theater in general, I was pleased when I got a press release about a new theater opening in Pensacola. I duly listed the opening show in our theater section, even though, in truth, Pensacola is a bit out of our distribution area. However, many from this area routinely travel to Pensacola for events, so it wasn’t totally out of the ordinary either.


Then I got a thank you email note from David Gerson, one of the partners in the Garden Street Playhouse venture. He thanked me for listing the event and invited me to a show and suggesting I might be moved to do a review. I explained our every two-week publishing schedule and that I had not planned on inserting a theatrical review and the best I could do for him was to come see the show and talk a bit about it in my column.


The Garden Street Playhouse is only performing musicals and the first one was an ambitious undertaking called The Sounds of Simon featuring the songs of Paul Simon and those of Simon and Garfunkel. Much of the music was re-arranged from the original by Phil Hinton and Gary Waldman. Waldman is one of the three owners of the theater and also will be a frequent performer.


The theater is a black box type, with red walls, which I liked for the brightness. The seats were probably bought from a movie house going out of business and were comfortable, which isn’t always the case with small theaters. There literally isn’t a bad seat in the house, and I would estimate the theater holds about 50 people.


The show is billed as Paul Simon’s Music in Vision & Light. Gerson and Jamison Troutman ably handled the lighting chores and punching up the pre-recorded musical accompaniment from a good sound system.


When the five performers were singing together, the result was a harmonious an energetic mix of voices, particularly on numbers such as Keep the Customer Satisfied and You Can Call Me Al. However some voices were better than others and each was given an opportunity to solo, to greater and lesser degrees of success. It is challenging to reach those high notes of Art Garfunkel and some of the performers just couldn’t put a bridge over that troubled water.


Yet a very few misses in a show that’s about an hour and a half and features more than 20 of the familiar hits, did not ruin the venture and should not keep you from going. The choreography by performer Kenny Green was perfectly suited to the small stage area and performed with great gusto by the entire cast. Standout performances by Pensacola natives Camille Perillo and Katrina Washington alone were worth the price of admission. These performers are tasked with practically miming some drama, sans dialog, into a non-stop musical production. All proved more than up to the challenge with just a few props and by using subtle body language.


There will be two more shows in this initial abbreviated season of The Garden Street Playhouse. The current production runs through this weekend. Visit www.gardenstreetplayhouse.com for upcoming shows, a map, and more.