#1
Posted: 8/3/05 at 2:34am
FRONT ROW CENTRE THEATRE REVIEW: ANNIE GET YOUR GUN
Theatre Review by Mark Andrew Lawrence
Toronto’s energy worries are with now that Louise Pitre is back in town radiating enough star power to light up a whole city.
Pitre is starring in a production of ANNIE GET YOUR GUN that opened last night at Massey Hall for a 3-week run.
The show contains Irving Berlin’s greatest score, and musical values at Massey Hall are first rate, starting with the on-stage orchestra conducted by Rick Fox. From the top of the Overture where a blare of brass announces the show, through to the grand finale, the orchestra then does what it should do: It provides support for the singers. The sensitive sound design (despite a few odd squawks) allows most of the lyrics to be heard.
When they aren’t, it is more often the fault of the performers. In particular, Billy Ray Cyrus seems to have trouble in this area. The songs seem to extend past his range and he strains to get some of the top notes. His acting is wooden and he delivers his dialogue employing a southern drawl. He just never seems comfortable in a musical comedy, nor does he strike the proper romantic sparks with his co-star. Part of the blame for this comes from the way the show is constructed.
ANNIE GET YOUR GUN was created in 1946 for Ethel Merman who made it into one of the biggest hits of the 1940s. In 1966 she was persuaded to headline a 20th anniversary revival that premiered at Toronto’s O’Keefe Center for a two-week try-out before heading to New York. For the revival, the score was re-orchestrated and there were some book revisions including the elimination of a secondary romantic couple and their two songs. To replace these, Irving Berlin added a new showstopper for Miss Merman and her co-star, “An Old Fashioned Wedding.”
It is essentially the 1966 version on stage at Massey Hall except Don Carrier’s new adaptation of the book attempts “to display cultural sensitivity more appropriate for today’s audiences.” Well, that’s what it says in the press release. What this means is references to Indians in the opening number have been altered. Sadly it also means the dropping of “I’m an Indian Too” the lively production number that was originally heard near the end of Act One. In this new version a reprise of “There’s No Business Like Show Business” replaces it.
Tailored to Merman’s unique and seemingly inexhaustible voice, the score gives the title character a dozen numbers in whole or in part. Few contemporary performers could handle such a load, but Louise Pitre sure can! She can change gears from a rowdy comedy number to a tender lullaby in the blink of an eye. She knows when to open up and let her voice fill the theatre and also when to bring it down to draw the audience in. She can handle comedy lines and most of all she makes Annie’s character totally believable.
The supporting performers, reduced to mostly cameos here, try hard to match the star. Avery Saltzman is amusing as Pawnee Bill, while Sandy Winsby plays Colonel Buffalo Bill with authoritative command. Jonathan Wilson makes Charlie Davenport into something of a nerd, gaining laughs in the process, while Sandra Caldwell seems physically miscast as the frumpy Dolly Tate. Many of the jokes directed at her looks fail to land because the actress is strikingly attractive. She also has a great voice but really she belongs in a musical of her own.
Director/choreographer Donna Feore lets the stage control the action instead of the reverse. This has a curious effect of killing momentum especially in the second act when the plot itself begins to unravel.
This is not a traditional concert staging with the performers in evening dress carrying music books. The cast is in full costume with the orchestra stage centre. When you think about it that is completely appropriate for a musical so famous for its songs.
ANNIE GET YOUR GUN plays at Massey Hall through Saturday August 20th. Evening performances at Monday through Saturday at 7:30 with 2:00 matinees on Thursday and Saturday. Tickets range from $32.50 to $75.00 and are available online at www.masseyhall.com or by calling (416) 872-4255.
Theatre Review by Mark Andrew Lawrence
Toronto’s energy worries are with now that Louise Pitre is back in town radiating enough star power to light up a whole city.
Pitre is starring in a production of ANNIE GET YOUR GUN that opened last night at Massey Hall for a 3-week run.
The show contains Irving Berlin’s greatest score, and musical values at Massey Hall are first rate, starting with the on-stage orchestra conducted by Rick Fox. From the top of the Overture where a blare of brass announces the show, through to the grand finale, the orchestra then does what it should do: It provides support for the singers. The sensitive sound design (despite a few odd squawks) allows most of the lyrics to be heard.
When they aren’t, it is more often the fault of the performers. In particular, Billy Ray Cyrus seems to have trouble in this area. The songs seem to extend past his range and he strains to get some of the top notes. His acting is wooden and he delivers his dialogue employing a southern drawl. He just never seems comfortable in a musical comedy, nor does he strike the proper romantic sparks with his co-star. Part of the blame for this comes from the way the show is constructed.
ANNIE GET YOUR GUN was created in 1946 for Ethel Merman who made it into one of the biggest hits of the 1940s. In 1966 she was persuaded to headline a 20th anniversary revival that premiered at Toronto’s O’Keefe Center for a two-week try-out before heading to New York. For the revival, the score was re-orchestrated and there were some book revisions including the elimination of a secondary romantic couple and their two songs. To replace these, Irving Berlin added a new showstopper for Miss Merman and her co-star, “An Old Fashioned Wedding.”
It is essentially the 1966 version on stage at Massey Hall except Don Carrier’s new adaptation of the book attempts “to display cultural sensitivity more appropriate for today’s audiences.” Well, that’s what it says in the press release. What this means is references to Indians in the opening number have been altered. Sadly it also means the dropping of “I’m an Indian Too” the lively production number that was originally heard near the end of Act One. In this new version a reprise of “There’s No Business Like Show Business” replaces it.
Tailored to Merman’s unique and seemingly inexhaustible voice, the score gives the title character a dozen numbers in whole or in part. Few contemporary performers could handle such a load, but Louise Pitre sure can! She can change gears from a rowdy comedy number to a tender lullaby in the blink of an eye. She knows when to open up and let her voice fill the theatre and also when to bring it down to draw the audience in. She can handle comedy lines and most of all she makes Annie’s character totally believable.
The supporting performers, reduced to mostly cameos here, try hard to match the star. Avery Saltzman is amusing as Pawnee Bill, while Sandy Winsby plays Colonel Buffalo Bill with authoritative command. Jonathan Wilson makes Charlie Davenport into something of a nerd, gaining laughs in the process, while Sandra Caldwell seems physically miscast as the frumpy Dolly Tate. Many of the jokes directed at her looks fail to land because the actress is strikingly attractive. She also has a great voice but really she belongs in a musical of her own.
Director/choreographer Donna Feore lets the stage control the action instead of the reverse. This has a curious effect of killing momentum especially in the second act when the plot itself begins to unravel.
This is not a traditional concert staging with the performers in evening dress carrying music books. The cast is in full costume with the orchestra stage centre. When you think about it that is completely appropriate for a musical so famous for its songs.
ANNIE GET YOUR GUN plays at Massey Hall through Saturday August 20th. Evening performances at Monday through Saturday at 7:30 with 2:00 matinees on Thursday and Saturday. Tickets range from $32.50 to $75.00 and are available online at www.masseyhall.com or by calling (416) 872-4255.
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Live theatre does not use a "soundtrack." If it did, it wouldn't be live theatre!
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