Aaron Atkinson and Kristi Rose Mills trip the light fantastic as Sinatra never did in Wick Theatre’;s My Way (Photos by Amy Pasquantonio)
By Britin Haller
During My Way, now playing at the Wick Theatre through May 18, one of the cast members says it’s the “soundtrack of your life.” She’s right, because this tribute to Frank Sinatra, starring Jeremy Benton, Shelley Keelor, Elizabeth Bedley, and Mark Sanders, is full of music certainly all of us have enjoyed on romantic dates, at weddings, and maybe even at funerals.
An early joke that it’s going to take them eight days to do all of Sinatra’s songs in entirety is funny, but as the show goes on, this line becomes prophetic because it sometimes feels that way.
Over fifty songs that are considered canon in the Great American Songbook make up this revue that’s sure to have you singing along to one tune after another made famous by Ol’ Blue Eyes himself. The setting, designed by Kimberly Wick, is a cabaret known as “Frank’s Place, an elegant bar-like atmosphere that’s resplendent with mood lighting and chandeliers, mocktails, and a three-piece band. One can imagine Sinatra performing here himself. It’s a real classy joint. The only thing missing, but not really, is the cigarette smoke.
Any successful cabaret starts with the accompaniment, and so let’s talk for a bit about Musical Director Bobby Peaco, the man that composer Jerry Herman of Hello Dolly and Mame fame said is “the best show pianist I’ve ever heard.” Peaco is the Wick’s in-house guy, but because they tend to use pre-recorded tracks, up until now, this critic has never heard him perform live. So what a treat we were in for, and while we’re not sure Peaco is the best we’ve ever heard, he is certainly right up there. In fact, we’re googling as we speak to see where we can hear more of this genius of the ivories.
Peaco is joined on-stage by bassist Ranses Colon, who has an impressive list of artists he’s worked with including Plácido Domingo, Néstor Torres, and Celia Cruz. And let’s face it, is there anyone more cool than a bass player?
Michael Dorfman rounds out the band as the percussionist, not just the drummer, (there is a distinction) as he’s introduced as during the show. Dorfman has been a member of the Broward Symphonic Band for two decades.
A few songs let us see what the band is really capable of like in “It Was a Very Good Year,” “Young at Heart,” and “The Lady is a Tramp.” But what we really need to know is can we hire this trio? Do they do parties because we can think of a couple of events later in the year that could really benefit by their talent.
As is typical in many musical revues, the cast consists of two men and two women who alternate numbers. We get it’s a showstopper, but why is “The Best is Yet to Come” not the opening number to tease us, and rather almost at the end? Instead, it opens with a tribute to the Rat Pack with the four of them in the aisles wearing trench coats and fedoras for “Strangers in the Night.”
They are known as Man #1 and #2 and Woman #1 and #2, and we had some trouble separating them out as the casting doesn’t seem to adhere to the creator’s character descriptions, mainly from what we saw on stage, it seems like Man #1 and Man #2 should be switched out.
Mark Sanders, also known here as Man #1, has performed this role before, which isn’t always a good thing as one can become complacent. Sanders performs big numbers like “The Lady is a Tramp,” and “I’ve Got You Under My Skin,” with the other three as back-up singers, but neither is the big wow we would expect. We just don’t think Sanders shows the necessary charisma called for as the supposed leader of the pack.
Maybe Jeremy Benton, fresh off headlining two other recent productions at the Wick, and also acting as the director and choreographer for My Way, wanted to give someone else a chance, but we were surprised not to see him appearing as Man #1 because this character calls for a strong tap dancer, which Benton is. And we know he can command a stage.
Including more tap in My Way would require additional off and on-stage activity as when Benton exited to change into his tap shoes, returned to dance, and then quietly left again to change back into street shoes, but why wouldn’t you utilize what you’ve got, especially when there are sure to be audience members, present company included, who are expecting to see it. It is also suggested that Woman #2 is a strong tapper, as was done in the original production. Would it have been so difficult to find a female tap dancer who sings? Case in point, No, No, Nanette which closed at the Wick in April.
My Way was intended to feature what appears to be spontaneous choreography, not traditional musical theate moves which is, for the most part, what we get instead. The two main couples do a little trwirling and dipping in “You Make Me Feel So Young,” but mainly we see beginning dance steps like a vaudevillian’s shaking hands and side-kicks.
Wick favorites Aaron Atkinson and Kristi Rose Mills are the understudies for the Man and Woman roles, and even though My Way doesn’t call for cast members outside the four main characters, Benton has found a way to incorporate his understudies into the show. Nice touch, and a nice reward for the duo who are filling an often unappreciated and unrealized, but necessary function. And a nice reward for us as well, because every time Atkinson and Mills ballroom dance their way on-stage, we perk up. We could have done with seeing more of them, or at least more of this style dancing and less of the show choir moves.
The rest of the cast is filled out with Silver Palm and Carbonell-winner Shelley Keelor as Woman #1, who looks and sounds gorgeous on “My Funny Valentine,” and Elizabeth Bedley as Woman #2, who cuts an elegant figure throughout, except when she lays on the piano and channels Michelle Pfeiffer as Susie Diamond in The Fabulous Baker Boys during “The Best is Yet to Come.” Pianist Peaco has a fun moment here too.
The men are only guys in their suits with pocket squares and skinny ties, and later tuxes, but there are not enough words to adequately describe how lovely the ladies look thanks to Costume Designer Timothy Bowman. With dress changes that grow increasingly more stunning, and bling that would make Elizabeth Taylor swoon with envy, matching sparkling heels, and enough skin showing to be tastefully provocative, Elizabeth Bedley and Shelley Keelor own the stage, while the men are just their accessories. Kristi Rose Mills is also dressed to the nines and especially alluring in a white feather gown. A two-toned one-strapped item worn by Keelor features a wrist loop bracelet to allow her to hold up her train, which was kind of awkward, but also kind of cool.
Follow spotlights are a major part of My Way, and Clifford Michael Spulock on lighting design comes through in a big way. The set is lit with brilliant colors for each medley’s mood, although we do have to question why the Summer Medley looks more like autumn, with even Kacey Koploff’s backdrop showing what looks like a tree about to lose its leaves. Maybe because of the “Indian Summer” song? We also noted the image of the moon used in two different medleys, instead of first introducing it during the moon one. But that’s only us being picky.
Other than that, nice work by Koploff on projections. Backdrops add to the ambiance with shots like the Eiffel Tower during “I Love Paris,” and Sinatra’s properly placed obituary. We especially liked when “Frank’s Place” was illuminated with stars in “I Only Have Eyes For You.” Sound by Justin Thompson sounded seamless, which is not an easy task in a production of this nature.
Songs are grouped into categories with each one introduced with a vignette by one or more of the cast, like the Summer Medley with the wonderful “Summer Wind” and a beautiful four-part harmony on the ending of “Indian Summer.” The Songs for Survivors Medley with Benton’s “I’m Gonna Live Till I Die,” teaser leaves us wanting more, because while some numbers are performed in their entirety, others are just snippets.
The Love and Marriage Medley gives us fun moments like “The Tender Trap” where the men try to get Frank’s iconic finger-snapping down pat, and an exasperating intro calling out Sinatra for being a sexist, but then trying to play it off by saying it was a “sign of the times.”
The Losers Medley is well-done with each singer stationed at a corner; Benton on a barstool, Keelor at the table, Sanders on a chair near the piano, and Bedley standing throughout, making us wonder why in an era known to be chivalrous, was she not offered a seat? Benton’s “Drinking Again” is very pretty with a nice understated vibrato here.
The Big Flirt Medley’s “Something Stupid” with Sanders and Keelor felt a little odd, not that anyone was off key, rather their voices weren’t blending well for it, because later when they performed “Young at Heart” together, they sounded terrific.
During the Moon Medley, the foursome exceled on “Moonlight Serenade,” “I’ll Be Seeing You,” and “Dream,” where they used stand-up mics that made us long for the days of Manhattan Transfer. “Fly Me to the Moon” with Sanders as lead, and the other three singing back-up, is nice. Peaco also has a great moment to shine here.
We are told that this tune was used to wake the astronauts during Apollo 10, but also as we learned when researching, it was chosen by Buzz Aldrin as the first song to be played when Apollo 11 actually landed on the moon, which is a much more interesting fact, we think.
Don’t worry whether they skipped “New York, New York” during the Cities Medley because it makes its appearance near the end. This is the big number they pull out all the stops for. We only wish they had exhibited some of this energy a lot earlier.
Of course, it wouldn’t be a Frank Sinatra tribute without what is widely considered his signature song, the enduring “My Way.” Benton wisely positions a still cast at the bar in order to let the lyrics speak for themselves. A lovely way to end a show that was not about them, after all, but about a man, a myth, and a legend lovingly referred to as the “Chairman of the Board.”
Throughout, we learn tidbits about Sinatra like he swam a lot for breath support and described himself as manic-depressive. A bit about all the women in his life is cute, as is the story of how Ava Gardner threw her six-carat diamond engagement ring out the car window when she read something about Frank she didn’t like.
My Way is a concept created by David Grapes and Todd Olsen that premiered in Tennessee, of all places, in the year 2000. Since then, it’s gone on to play in all fifty states, reportedly often selling out. Due to its success, Grapes and Olsen followed it up with Christmas My Way: A Rat Pack Holiday Bash! which follows the same format only with forty songs and eggnog instead of martinis.
They tell us that Sinatra’s favorite toast was “May you live to be 110, and may the last voice you hear be mine,” although according to the internet, the number of years he wished for people varies. But we can think of a lot worse ways to go out of this life than listening to Frank croon.
So if you like musical revues, and Frank Sinatra, make your way down the “Sunny Side of the Street” to the Wick for a little of “That Old Black Magic” before My Way flies to the moon. Otherwise, “That’s Life.”
Britin Haller is a mystery author and an editor for Turner Publishing. Her recent short story “So Many Shores in Crookland” can be read in the 150th issue of Black Cat Weekly. Britin’s latest edit, a cozy mystery novel called Dumpster Dying is by Michelle Bennington and available WHERE books are sold. Find Britin across social media.
My Way plays through May 18 at the Wick Theatre, 7901 N. Federal Highway, Boca Raton; Wed-Sat Evening Performances at 7:30 p.m.; Matinees are at 2 p.m. Wed, Thurs, Sat & Sun. Running time approx. 120 minutes includes a 15-minute intermission. Tickets starting at $89. Call 561-995-2333, or visit thewick.org.
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