Spotlighters' 'Trailer': Tuneful Trashy Fun

◊◊◊◊ out of five.  2 hours, including intermission.  Contains adult language, content and themes, gun shots, plus tacky hair, a stripper, and magic marker sniffing. 

One might think that a musical spoof about something as specific as trailer park living might have a somewhat limited appeal.  After all, this uniquely American stereotype is one we all think we know, but really very few have seen up close and personal.  Just how funny can a mullet, jokes about Wal-mart and drinking beer be, after, say 15 minutes?  My response to that, after seeing Spotlighters' hilarious production of The Great American Trailer Park Musical, is:  it is freakin' hilarious!  Low brow, for sure, and trashy to spare, this funny musical romp hits it just right. Under Fuzz Roark's sharp-eyed direction, is both a spot-on send up and a loving tribute to the gals of the trailer park.  I suspect that with less of the obvious love for the subject matter, this would be kind of tedious and one note.  That is definitely not the case here.

Betsy Kelso, book writer of the show, has a sharp wit and a clever way of spicing up a plot that might best be described as what really happens after a Jerry Springer episode.  Every character would be guest, probably each getting an individual episode.  Cannily enough, Kelso includes a "dream sequence" where the inhabitants of North Florida's Armadillo Acres are on such as show, albeit with a Sally Jesse Raphael-style hostess.  Truth be told, the script barely leaves time for breath, so rapid fire and continuous the jokes.  Even when the tone turns somewhat somber, it is with tongue firmly in cheek.  And the songs…ahh, the songs (here played by a three piece band under the direction of Michael Tan) are each one a gem, and a pitch perfect send up various genres, including the Broadway show tune, a country ballad, and of course, Southern rock.  Credit must go to the composer of these ditties, David Nehls, who has seamless woven such show stoppers as "This Side of the Tracks,"  "Owner of My Heart," "Flushed Down the Pipes," and my personal favorite, "Road Kill" into an already tight book.  Each one is funny, character driven, and tuneful.  What more can you ask from a musical?  Sure, it isn't rocket science or even great theatre, but it works. 

Roark's direction is as fast-paced as the script, a tough fete for any director, but in this case, a minor miracle.  He has the cast walking that fine line (and generously stepping over it when the mood hits) between satire and farce.  His best staging comes during the number, "Road Kill", which has the villain of the piece driving all over the South in search of his girlfriend, and running over hapless animals with glee.  He's driving a truck (a steering wheel), while the chorus, dressed in black and sporting flashlights are his headlights, while a third throws stuffed wild life in his way, ending up, finally as a deer-hood ornament herself!  I can only imagine the gallons of water that must be being consumed backstage, as the cast for nearly two straight hours runs around the theatre, breathlessly entering here and there, and always, it seems, with a major costume change.  (The appropriately bargain basement costumes are designed by Nan Willis.)  Mr. Roark also uses his tiny theatre space with broad strokes, giving the impression of a much more spacious playing area.  Every inch of the place is utilized, including two "trailers" and a common area at Armadillo Acres, plus the band located at the local stripper bar, The Litter Box Show Palace.  Who says the low income folk can't appreciate art? (The setting has been creatively designed by Fuzz himself, and colorfully lit by designer Greg Guarnaccia.)  Perhaps the only glitch in the staging is the somewhat repetitive choreography by Stephanie Ranno, which works, it seems, for two, three or even six people at a time.  Of course, to be completely fair, just how good would these characters be beyond a box step anyway? 

The real star of this show, though, is the perfect cast, full of local regulars and newcomers alike.  They all sing great, dance great and are clearly having a fun time living it up at the Park.  And they all outshine the material they are working with.  Three of the "ladies of Armadillo Acres" double as neighbors, best friends, a Greek chorus of sorts, and various other minor characters.  These foul mouthed, don't-take-any-crap gals are Maribeth Eckenrode as Betty, who runs the Park, Kristen Zwobot as Pickles, the emotional girl, prone to hysterical pregnancies (yes, you read that right), and Kendra Keiser, as Lin (as in Linoleum, no lie!), the potty mouthed mattress back of Starke, Florida, who lives life to the fullest while pining for her Death Row husband.  These three funny actresses are really the glue that keeps this whole thing together.  They each bring such vibrancy and glee to their roles, I think the whole show would have sunk without them.  (And their side comments, directed right at the audience are nasty and a complete scream!) 

The central couple of Trailer Park is Norbert and Jeannie, both played to the hilt by two of local community theatre's real gems, Brett Rohrer and Karina Ferry.  Both of these accomplished performers embody everything that is right and great about Baltimore theater.  Clearly, they can handle anything thrown their way – deep drama, high camp, play or musical.  Here they play trashy like it is a badge of honor (in fact, that facet gives the whole piece some much needed heart.  Ms. Ferry, lusty belt and crazy attitude at full tilt here, commands the stage with such tunes as "Flushed Down the Pipes" and "Panic".  And considering that most of her performance is confined to an off stage corner, on a platform no bigger than a picnic table, that is high praise, indeed.  (Jeannie is afraid to leave her trailer.)  Norbert, her hapless, but mostly devoted husband is a toll taker on the Interstate.  Mr. Rohrer plays him with a downcast everyman quality, not unlike Charlie Brown crossed with Eeyore.  The man sings well and even manages to look just right in a mullet!   

But he really opens up and goes at the show with great gusto when Norbert starts shacking up with the new stripper in town, Pippi, played by the gutsy Deb Hicks.  Ms. Hicks is the perfect combination of world-weary and tireless scrapper.  Her been-there-done-that attitude is made all the better by the actress' instinct to give this simpleton some subtle shading and nuance.  Her strip number, "The Buck Stops Here" is an entertaining ode to placing bills in g-strings, and though she never loses a stitch of clothing, Ms. Hicks gives an all out performance that would make Gypsy Rose Lee proud!

Every satire/farce must have its villain of course.  In Trailer Park that would be Duke, Pippi's mean as a rabid dog ex-boyfriend, played by Doug Krantz.  Ears pierced in several places, and donning black leather and tight blue jeans, Krantz plays the bad guy with a delighted relish.  He is particularly funny when he portrays his character's main flaw, an addiction to sniffing magic markers (and later, cooking spray).  Hilarity and a couple of thrills ensue as Duke gets closer to Armadillo Acres, and right up until the final shoot 'em up showdown center stage. 

Not every play has to have a message or be emotionally moving.  Some shows can be a lot of fun.  The Great American Trailer Park Musical is just that anecdote for this crazy world in which we live.  It knows it is funny, and not much else.  And that is just right.  But it does have a message – one repeated frequently during the finale.  "Make like a nail… and press on!"  You gotta love it…

PHOTOS: Courtesy of Spotlighters, by Amy Jones.  TOP to BOTTOM: The Cast; "Road Kill": Doug Krantz (center) with , Kristen Zwobot, Maribeth Eckenrode, and Kendra Keiser; The Ladies of Armadillo Acres: Kendra Keiser, Maribeth Eckenrode and Kristen Zwobot; Trailer Park Sweethearts: Karina Ferry and Brett Rhorer; The Strippers of The Litter Box Show Palace: Deb Hicks, Kristen Zwobot, Maribeth Eckenrode, and Kendra Keiser.