BWW Reviews: MAS Nashville Shakes Off the Malaise with CHRISTMAS HOLIDAY HANGOVER

Each one a force of nature in her own right, the five women of MAS Nashville unleashed their superpowers and talents upon a Nashville audience for the third time this week with their Christmas Holiday Hangover, a fast-paced (if over-long) tribute to the holiday season that allowed each of the women her moment in the spotlight and which proved, once again, that the quintet know exactly what their audience wants.

But, truth be told, that audience may have grown a little weary of holiday music—which made up the bulk of the performance—and made them a little less vocal, though no less enthusiastic, about the latest effort from the creative collective otherwise known individually as Melodie Madden Adams, Megan Murphy Chambers, Cori Laemmel, Laura Matula and Erin Parker.

The latest installment from MAS Nashville followed the formula put forth in the previous two efforts (Adams’ September solo effort as the fictional “Linda Lane” notwithstanding), in which we are to assume that Parker is a power-driven and controlling dictator of sorts, Matula is a bitch of soap operatic proportions, Adams is a perfectionist in the mold of Martha Stewart and most Miss Americas since 1921 (I’d peg her as a Yolande Betbeze-rebel kind of titleholder, actually), Chambers is a foul-mouthed dame with a heart of gold, and Laemmel is a slightly daft, childlike waif. Created for all their comic possibilities and sensibilities, those characters are mined—thoughtfully and thoroughly—for all their fun and funny opportunities which, by now, might seem rather predictable and formulaic, but which are nonetheless enormously entertaining.

What remains most noteworthy about these five women is their ability to work together to bring about such winning results and to maintain a genuine, convivial air of shared experience and friendship. It’s their equanimity, their obvious love of one another and admiration for each woman’s superior talents (MAS, in fact, stands for “mutual admiration society”) that lends their efforts credibility and provides the heart for their efforts. Parker, obviously, is not dictatorial (although she’s a good enough actress to fool anyone, I suppose); Matula is direct and, therefore, not that big a bitch; Adams’ style is undeniable, but her sweet smile and personality belie any misconceptions; and Laemmel is far more sophisticated than the character she plays onstage. Okay, I’ll give you this much: Chambers is foul-mouthed and has a heart of gold, so you’ve got me there.

Musically, the five could stand onstage and sing the BellSouth telephone directory and I’d be perfectly happy, but their choice of material (which, granted, isn’t that predictable, thank goodness) is what sets them apart. Each woman brings her strong viewpoint to the table and they deliver a musical program that’s impressive and ultimately satisfying. Backed this time by a seven-member band of handsome and gifted players (led by Michael Rinne on upright and electric bass, Joe Davidian on piano, Anthony Matula on drums, Austin Pilingo on guitars and mandolin, Justin Carpenter on trombone, Chris Gregg on saxophone and Leif Shires on trumpet), the women of MAS Nashville have produced a sound that’s bigger and better, somehow more sophisticated and polished. Credit for the show’s polish most likely is due to the efforts of director Chris Bosen, who joins the quintet of women to lend his objective eye to the proceedings, which ensures a smoother flow and which jostles the formula a bit in the process. Katie Gant’s imaginative lighting design lends an even more professional flourish to the proceedings.So no matter if some of the material seems formulaic or predictable (next time, ladies, I challenge you to up your game and show us your other dimensions), you love everything they give you and revel in the knowledge that here before you are five women who had an idea and ran with it, creating four—count ‘em, four—buzz-worthy events that have elicited such support from an easily fragmented Nashville theater crowd.

Each woman is given her moment in the spotlight and they each deliver the goods, infusing their song interpretations with heart, soul, warmth and good humor, investing each of their numbers with a sense of individuality. Yet it is their group numbers that really soar, that will rouse you from your post-holiday malaise to sit up and take notice. The Act One finale—a raucous send-up, take-off, homage (call it what you will)—of Mariah Carey’s “All I Need For Christmas is You” is slightly naughty (was Santa watching, already preparing for 2012?), but definitely heartfelt and is performed with vigor and enough vocal histrionics to placate your inner drag queen. And those women rocked their stretch velveteen pants and beaded tops!

Act Two features various medleys (aka mash-ups for those of you cutting your musical theater teeth on Glee repeats) and so the second stanza takes on a different energy than the prior one. Each woman excels on her solos, certainly, but you’re likely to find yourself blown away when they activate their power of five to offer a unique spin on an often-heard tune.

While Chambers remains the most self-assured comedian of the troupe, even with her creative muscles constrained by the show’s PG rating, it’s Adams who proves herself the most effective comic; her timing is perfect, her delivery tantalizingly wicked and appealing. Matula again startles you with her vocal technique and artistic wizardry, and Parker may be the best actress among the five (okay, I admit, each woman is equally amazing, but comparatively speaking, Parker wins the best actress award for Christmas Holiday Hangover) and Laemmel is, without doubt, the single most charming woman to grace a Nashville stage in 2011. In short, the five women of MAS Nashville shine as individuals, yet each one lends luster to the other four, lifting all of them to new and significant creative heights.

And I can’t help but ask: What’s next?

- Christmas Holiday Hangover. Written by Megan Murphy Chambers, Erin Parker and Chris Bosen. Directed by Chris Bosen. Music direction by Laura Matula. Presented by MAS Nashville at The Belcourt Theatre, Nashville. December 28. For details, go to www.masnashville.com.

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