BWW Reviews: Delightful Musical Revue Rings in Christmas at the Good

Aaron Ramey

Portland's Good Theater celebrated Christmas with a delightfully conceived and stylishly performed musical revue, Broadway at the Good Theater, created and directed by Brian P. Allen. Devoted to the music of the 60s and showcasing both Broadway show tunes and other iconic popular melodies, this almost forty-song evening flows seamlessly through the diverse music of the decade.

Allen's selection of numbers reads like an index to the masterpieces of that tumultuous decade, and yet, he is astute in selecting some of the lesser-known production numbers together with the undeniable blockbusters. Moreover, he knows how to weave them together subtly to chronicle an era, and he provides musical staging that is characterful, but just right for the context.

The trio of musicians (John Lawson, bass/guitar, and Bill Manning, percussion) led by music director-arranger Victoria Stubbs at the keyboards is nothing short of superb! They play flawlessly, respect the acoustical balance in the small (and sometimes dull-sounding) hall, and are sensitive to the singers.

The fifteen-person ensemble headed by Broadway actors, Aaron Ramey and Christopher A. Pecoraro, is drawn from local talent and actors with long associations with the company over the years, and these associations contribute effectively to the collaboration, as Allen casts each of the singing-actors in songs which accentuate his strengths. It is Ramey, recently from Broadway's Bridges of Madison County, whose exceptional vocal gifts and charismatic presence make him a special standout in several solos including a richly sung "Impossible Dream," and a witty take on "The Lees of Old Virginia," as well as an encore from Bridges. Christopher A. Pecoraro demonstrates his ability to shape a song with individuality and grace, putting his own stamp on such favorites as "Who Can I Turn To?," and a medley from the Fantastiks.

The supporting ensemble is comprised of excellent singing-actors, who wisely marshal their vocal endowments to the measure of the music and bring character and backstory to their interpretations. With so many highlights and such uniformly fine performances, it seems a little unfair to single out a few special moments, but among my favorites are: Matt LaBerge's deliciously narcissistic Lancelot in "Camelot"; Amy Roche's performance of "A Trip to the Library" from She Loves Me as a witty and touching mini-drama; Michael Wood's ardent "Miracle of Miracles" from Fiddler; Kelly Caufield's boldly belted "Christmas Baby Please Come Home"; and Jennifer Manzi MacLeod's graceful "Do I Hear a Waltz?" Marie Dittmer, Jim Gaddis, Lynne McGhee, Jen Means, Halim Moldaver, Benjamin Row, Marissa Sheltra, Jessica Thompson, and Steve Underwood round out the ensemble - each with memorable portrayals, and the entire ensemble comes together to cap the evening with a joyous "Aquarius" from Hair.

The festive stage décor by Justin Cote and Steve Underwood - a kind of Christmas ornamented living room, dominated by a large picture frame with a holiday tree - glistens and sparkles in the colorful lighting by Iain Odlin. Technical Director Steve Underwood with assistance from Craig Robinson manages the acoustical challenges of unmiked vocals in the small, not very live hall with great skill.

The company has mounted musicals in past years, and Allen has said he anticipates doing so again in the near future. Judging by the enthusiasm of the sold-out house and the vitality of this band of performers, one can only hope the Good will soon program full-length musical in a coming season.

Courtesy Photos/ Good Theater

Broadway at the Good Theater ran from December 3-7, 2014, at the Good Theater, 76 Congress St., Portland, ME. For information on the rest of the season: 207- 885-5883 www.goodtheater.com

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