Review: THE BEST LITTLE WHOREHOUSE IN TEXAS at Granite Theatre

There ain’t nothin’ dirty goin’ on at the Granite Theatre’s lively, enjoyable production of ‘The Best Little Whorehouse in Texas,’ the 1978 Broadway musical written by Larry L. King and Peter Masterson with music and lyrics by Carol Hall, nominated for seven Tony Awards including Best Musical, and the basis for the 1982 movie starring Dolly Parton and Burt Reynolds.

Featuring such memorable, catchy tunes as “A Lil’ Ole Bitty Pissant Country Place,” “Texas Has a Whorehouse in It,” and “Hard Candy Christmas,” ‘Best Little Whorehouse’ takes place at the renowned, longstanding “Chicken Ranch”—or brothel—run by Miss Mona (Liza Tananbaum), a pillar of the community, whose employees’ services have always been well-received until televangelist, Melvin P. Thorpe (Geoff Leatham), makes it his mission to expose the ranch’s illegal activities and shut it down.

Aside from the men about town who partake in the Chicken Ranch’s offerings, it clearly has also earned its reputation among women when two arrive there seeking work—the battered Angel (Olivia Humulock), a veteran of the industry, and Shy (Victoria Zacharski), an ingenue looking to break into the world’s oldest profession. Mona welcomes them with open arms, but only after laying down the law that she is the only one in charge and runs a tight ship.

Humulock’s performance is genuine and heartfelt, especially when the audience learns how she ended up in her current situation and what’s waiting for her at home, and Zacharski shines brightly, taking it all in stride as she learns to adjust to her new career. The loyalty of sisterhood is prevalent among Mona, her devoted manager, Jewel (a cagey, stylish Allison Thorp) and her girls, as showcased in the poignant, poetic, “Girl, You’re a Woman.”

Mona’s clientele, which includes select gentlemen of political influence—including the Mayor, the Governor, and a Senator—who worry Thorpe’s crusading antics may bring about her demise, combined with her lasting relationship with Sheriff Ed Earl (Shawn Procunicar, impressive and convincing), construed as more than friends and former lovers, may not be enough to keep the religious right at bay. Nonetheless, Mona soldiers on and it’s business as usual for the annual Thanksgiving Day football game between the Longhorns and the Aggies.

Tananbaum’s remarkable portrayal of Mona is hard, soft, subtle, brassy, and angelic. Her closing number, “A Friend to Me,” steals the show and ensures the audience of her unwavering strength. Another scene stealer is Leatham, an absolute hoot with his hilarious, over-the-top performance as Thorpe.

In only two short scenes, Laura Thompson’s terrific performance—and exemplary voice—stand out as Doatsy Mae, a waitress who dreams of a better life.

Director Marla Ladd does a spectacular job with her cast, all of whom bring life and color to their cartoonish characters. Claire Grace’s zesty choreography and the snazzy costumes from Addison Roush and Humulock deliver one show-stopping number after another.

Like many musicals of that era, the running time is arguably a little too long and the show would be just as satisfying with two or three fewer songs, but the underlying themes—empowerment and survival amidst politics gone awry and religious fanaticism—are intact and well demonstrated through song, dance, and deliberate silliness. Granite Theatre’s ‘The Best Little Whorehouse in Texas’ is fun, frivolous, and highly entertaining.