Theater Review—

STW Ends Season With A Nice Salute To Harold Arlen

By June April

STAMFORD — Is it possible to imagine The Wizard of Oz without the song “Over the Rainbow”? Believe it or not Judy Garland’s performance of that delicious music was almost deleted from the movie.

With Stamford TheatreWorks’ current spotlight on the great composer Harold Arlen, who wrote “Rainbow” and many other beloved songs, one also wonders how it might be had Lena Horne not sung Arlen’s “Stormy Weather,” had Garland never crooned “The Man that Got Away,” now even Sinatra or Tony Bennett not having “I’ve Got The World on A String” in their repertoire.

The list of Harold Arlen’s music goes on and on. The challenge was which pieces to include in Over The Rainbow: The Music of Harold Arlen. STW’s salute continues until June 29, and it’s a pleasurable experience that offers an inkling to more than Arlen’s most popular works.

Produced and created by David Bishop and Shawn Churchman, who also directed and arranged Arlen’s music for this production, the two have done an admirable job of designing a story line on which to hang the 30 songs.

An unseen four-piece live band adds to the excitement that only talented musicians can bring to any show. It is only regrettable that they did not appear for the applause that would have deservedly gone just to them: David Bishop on the piano, Rodger Bryan on the bass, Jay Mac on drums, and Boris Shpitalnik doubling on the clarinet and saxophone.

The other important sound heard throughout the play was that of Steve Carp, the artistic director of STW. Via an old-fashioned radio seated on the open window sill on the set, Mr Carp’s voice as the radio announcer keeps the story line of place and events moving. It’s a nice touch and good idea.

The set, designed by Patrick McCluskey, is a microcosim of a New York tenement neighborhood in the era before World War ll. With the effective lighting skills of Aaron Meadow, the little grocery store, the fire escapes and porches all work to create a credible and familiar note of life from that period.

Three female and two male actors bring the music and the lyrics into that special realm of actors who also sing well. David Coolidge’s funny, sweet and rather malleable face brings humor to the various songs including the infamous Groucho Marx’s rendition of “Lydia (The Tattooed Lady).”

At times recalling the grocer from Sesame Street (but with more hair on his head), Andy Gale does a memorable Wicked Witch in a ten-minute mini-version of The Wizard of Oz.

The role of the sexy blonde, who apparently does have a heart of gold (in the end), is played by Dominique Plaisant who carries herself in the tradition of tortured Tennessee Williams women. Her voice is sultry and rich, with her performance of “Stormy Weather” bringing goosebumps to one’s skin.

Zakiya Young’s voice is almost childlike and shaky at the opening of some of her songs, but look out: Out of that slender frame can emerge a voice that any opera singer would be proud of. Ms Young also dances beautifully, and is designated as the dance captain in the program.

The choreographed movements of Gerry McIntyre melded so well with the set and effective entrances and exits for the various songs.

This reviewer was also particularly impressed with the presence and vocal talents of Inga Ballard. This lady has a monumental presence that is motherly, embracing and sexy all at once. Her rendition of “Blues in the Night” is hot. One can easily imagine her in the lead of several Broadway Shows like Ain’t Misbehavin’ or Ma Rainey’s Black Bottom. She has it, with a capital “I.”

As an ensemble, these five actors don’t quite resonate as one might wish, but the pleasure of some of the songs suffice to make this production an enjoyable and revealing experience.

(Contact Stamford TheatreWorks at 203-359-4414. Performances are Wednesday through Saturday evenings, and also weekend afternoons. Tickets range from $15 to $28.)