Review: BELLA: AN AMERICAN TALL TALE at Dallas Theater Center

There are few things in the world as thrilling as seeing a new work come to life on stage, especially when that stage is the Dallas Theater Center's Wyly Theatre, our local answer to Broadway-caliber theatre. The anticipation and possibility of being the first one to discover a new hit is so exciting - but it is balanced by the opportunity for a show to be unexceptional or "not ready for primetime." BELLA: AN AMERICAN TALL TALE, in this writer's opinion, falls into the latter category.

From what I grasped, BELLA: AN AMERICAN TALL TALE centers around a young African-American girl (Bella) who is as full of life as she is full of stories. As she travels by train through the Wild West to escape her past and reunite with her Buffalo solider-lover, she imagines larger-than-life stories that she believes to be true. She eventually departs the train by bouncing down a cliff on her over-sized rear end and lands herself a life of fame and fortune as the headliner of a traveling circus. But as we all know, fame isn't everything it's cracked up to be, and Bella takes drastic measures to reunite her family and find a new beginning.

Throughout the two acts, which seem largely disconnected from one another, several plot points drag this locomotive to a screeching, confusing halt. Much of the action relies on the audience understanding that Bella is famous for her big booty. In an early song, Bella sings about men wanting to know what's under her bustle but confidently brags that everything underneath is home-grown. Spoiler alert: for whatever reason, at some point in Act 2, she's able to remove the appendage (and toss it into the Hudson river). How? Why? It is never quite clear. And perhaps some of Bella's more mind-boggling facts (like the aforementioned booty-bounce off the train) are all a part of her colorful storytelling, but searching for any coherent through line is an exhausting challenge that lacks any sense of a true payoff. Her frequent stories, all of which are told through 5-minute, uninspired, unfulfilling production numbers (including a stripping Chinese man, a sexy Spanish-speaking caballero, and a group of mixed raced - White, Asian, Black - men singing about being mistreated Black men) add significant length to the show without furthering the plot. There might be a great story hiding under Bella's large bustle, but this musical seems to disguise the tale any chance that it can. Author Kristen Childs might benefit from deciding if BELLA is a book-musical, or just a series of wacky vignettes.

Despite some major flaws in Childs' book, music, and lyrics, there are still moments and aspects of the production to celebrate. The physical production is stunning, from Clint Ramos' lavish scenery and Japhy Weideman's vibrant lighting to Dede Ayite's period-perfect costumes, which highlight not only the Western era, but appropriately depict some of the most outlandish elements as well. In addition, Ashley D. Kelley's star turn as the title character is the most spectacular highlight of the show. With barely a moment off-stage throughout the evening, Kelley delivers an infectious energy that seemingly never ends. Her bright vocals bring the audience to the edge of their seats as she first enters the stage, and she has the same twinkle in her eye from curtain up to final bow. She is joined onstage by Kenita R. Miller (Broadway's XANADU, THE COLOR PURPLE, Dessa Rose) as Bella's Mama, as well as the subject of her first daydreaM. Miller offers a clean performance, even though she isn't given much opportunity to show off, conveying a distinct contrast between her roles. Even when she appears in the Greek-chorus-like ensemble, her work is eye-catching. Liz Mikel and Donald Webber Jr. (as Bella's Aunt Dinah and train conductor Nathaniel, respectively) are completely convincing and manage to rise above the material. And Dallas legend Dennis Lee, who has the distinct pleasure of playing both Bella's grandmother and "Booty" (donning a nude unitard, pink g-string, and flowing dreadlocks), shines like the star we've all come to expect. If there are troubles in the show, the cast is in no way at fault.

Because this is a new work, it's expected that major changes could be made along the way. But the current state of the show offers not one memorable tune and, despite featuring the most dynamic actors imaginable, the majority of the writing felt entirely superfluous. Although the piece felt Dead On Arrival according to the murmurs I heard while exiting the theatre on opening night, I can't help but hope Bella learns to lead with her heart instead of just her booty. (I actually heard ticket-buyers question why DTC presented this piece and why they were charging full price for a 'workshop' show.)

Ticket prices range from $20-$104 and, although I couldn't with a good conscience suggest this musical at the same cost as a ticket to a Broadway blockbuster, I'd support a DFW-theatre enthusiast in finding a cheap seat to show love for the hard working company, and to give the creative team an opportunity to find their footing.

Tickets and more information to BELLA: AN AMERICAN TALL TALE can be found at www.DallasTheaterCenter.org. The production runs through October 22nd.

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