Michael Starr as the hero in Riverside Theatre’s Singin’ in the Rain (Photos by Angel Udelhoven)
By Stewart York
The ‘glorious feeling’ is hard to escape, even after final bows, for Riverside Theatre’s production of Singin’ in the Rain.
I sat front row, in front of the pit. A woman, seated next to me, struck up a conversation after intermission. She told me the last time she saw Singin’ in the Rain was back when it was first released as a movie in 1952, and didn’t recall much of the story, but remembered how much fun it was.
She paused and then asked if I was, ‘having fun?’ I thought about that question in the second act and when writing this review.
‘Having fun’ is what’s at the crux of the film. Riverside director Richard Stafford and the superb cast, captures this seamlessly more than 70 years later.
Based on that MGM classic starring Gene Kelley, Debbie Reynolds and Donald O Connor, the story takes audiences to 1920’s Hollywood, where a transition is occurring from silent films to talking pictures.
Like the film, the show follows Don Lockwood (Michael Starr) and Lina Lamont (Erica Lee Bigelow); two silent film stars out of the fictional studio, Monumental Pictures. But when the studio decides their next film will be a talking picture, Lamont’s vocal deficiencies become an issue. With the help of Lockwood’s childhood friend and partner, Cosmo Brown (Joe Capstick) and aspiring actress and love interest, Kathy Selden (played at this performance by understudy Katie Scarlett Brunson), the trio try to save the film from ruin.
And this trio shines.
Capstick puts the ‘apstick’ in slapstick. Just like O’Connor, Capstick captures the heart through dance and physical comedy. Before the show, I was wondering how Capstick could possibly perform “Make Em Laugh” on stage without running out of breath. Capstick danced with ease, jumped over couches, hopped on wooden beams and had the whole audience in hysterics. But Capstick also had a knack for comedic timing through dialogue, especially when coming up for a new title for “The Dueling Cavalier.”
Brunson showed the youthful optimism of an aspiring actress effortlessly. Whether it was making fun of Don during their first meeting in the diner or her questioning the motives of Don in the final moments of the show during ‘Would You.’ Brunson shines when she sings and begins to fall for Don in the deserted sound stage during, “You Were Meant For Me.”
But it’s Starr who steals the show right from the beginning. Not only can Starr dance beautifully during numbers like “Good Morning or “Broadway Melody,” he also brings out Lockwood’s romantic side, channeling Kelly. When Starr sings the title song, “Singin’ in the Rain,” his appreciation and love for the source material is obvious. When Starr stomps and splashes the water off the stage and finally climbs the streetlight to bring down Act 1, it’s hard not to think Kelly would be smiling right along with the audience.
Besides the trio, Bigelow’s Lina also steals the show. What’s interesting is the stage adaption gives an extra dimension to the character. The show includes a ballad in Lina’s dressing room called, “What’s Wrong With Me”, which isn’t in the original film. Here, Lina comes to terms with Don’s love for Kathy. Bigelow adds another layer to Lina which wasn’t seen in the film and shows the characters transformation to ditsy and whiny, to methodical and cunning.
But what will take you to 1920’s Hollywood is the visuals. Scenic designer Cliff Simon brings the lights and color that exploded on screen for the stage. Especially, during “Broadway Melody” number, with multiple moving set pieces taking the audience to the Great White Way. Simon even implemented a giant screen that comes down to show the audience the films the fictional Monumental Pictures produced.
But Simon’s most impressive feature, was the rain sequence during
“Singin’ in the Rain.” The rain falls in a perfect way during Starr’s dancing, the actor doesn’t appear drenched, but it still swallows him to appear he’s in the middle of a downpour.
Julio Duro’s lighting also captures the mood for every scene. During “Broadway Melody,” the lights don’t overpower the neon of the set, but instead perfectly highlight the excitement of the scene. Duro also excels during the romantic numbers, using warm lights on Don and Kathy, mimicking a sunset, during “You Were Meant For Me.”
Each actor appeared as a snapshot of the Golden Age of Hollywood thanks to Kurt Alger’s costume and wig design. During “Broadway Melody,” the actors and dancers on stage wore bright colors, a mirror of the bright neon colors of Broadway. The colorful wardrobe during the number is a highlight of the film, and it’s a testament to Alger to capture it on the stage.
But it’s through Richard Stafford’s direction and choreography that makes the transition from the film to the stage effortless. Folks will not need to watch the film to understand the magic their seeing. It’s safe to say, no one can dance like Gene Kelly. But because of Stafford’s choreography, the dance numbers are still wildly impressive. Trusting his actors to dance on desks, over couches and through rain, Stafford captures what makes “Singin’ in the Rain” so enjoyable.
So when the show ended, I looked over to the woman beside me. With a smile on my face, I told her, I indeed, was ‘having fun.’
Singin’ in the Rain through March 21 at Riverside Theatre, 3250 Riverside Park Dr., Vero Beach. Shows 8 p.m. Fridays and Saturdays; 7:30 p.m. Tuesday-Thursday; 2 p.m. Wednesday, Saturday and Sunday; , For tickets call 772-231-6990 Or visit www.riversidetheatre.com.
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