Review: XANADU at Springer Opera House

COLUMBUS, GEORGIA — The Springer Opera House is ending their season on a high note: their new production of Xanadu is the company's best production of the season. The tongue-in-cheek script, stellar singing, fine direction, and gorgeous designs all make Xanadu the perfect send-off to the Springer's 2024-2025 season.

Based on the unspeakably awful 1980 film of the same name, Xanadu tells the story of struggling artist Sonny Malone, who is visited by one of the ancient Greek muses. Disguised as an Australian woman named Kira, the muse Clio inspires Sonny to create a place where all of the arts can be combined into one: a roller disco.

Whereas the film was earnest, the playwright of the stage version (Douglas Carter Beane) recognizes that the plot is silly and turned it into the most ridiculous and campy musical to ever grace the Broadway stage. The decision works because musicals are inherently cheesy, and so the story is a natural fit into the medium.

Xanadu may be fluff, but director Keith McCoy is serious about creating a production that overflows with artistic excellence. I was already a fan of McCoy's choreography from previous productions I have reviewed, but his work on "Dancin'" was pure genius. In that number, he created two completely different movement styles (for a trio of Andrews Sisters imitators and three 1980s rockers) that could merge seamlessly at the end of the song. I could watch the scene all day. Another highlight was "All Over the World," which was a groovin' musical number, thanks to its energetic dance breaks and flawless execution from the cast.

Some flashy, upbeat dance numbers always strengthen a musical, but McCoy also gave Xanadu plenty of heart, too. "Magic" had a hypnotic feel that indeed cast a spell over me and made it clear why Sonny could fall in love with Kira. I also appreciated the use of an upstage dancer (Alex Williams) to represent a younger Danny during the flashback scene of "Whenever You're Away." The choice humanized Danny and prevented him from being a one-dimensional character.

McCoy has assembled the perfect team to make Xanadu a heavenly production. Music director Digger Howard coached the cast so effectively that their singing makes the score (with music and lyrics by Jeff Lynne and John Farrar) sound much better than it is. Katie Underwood's lighting design uses every color in the spectrum, and the 50 colored LEDs lights facing the audience give the whole production the look of a concert. David Goldstein has a superb set that features four tall columns that would be appropriate for the Parthenon — if they weren't ingeniously painted like a sunset, each with a palm tree silhouette. The mixing of ancient Greek and California visual cues perfectly captures Sonny and Kira's different backgrounds.

Xanadu's cast is supremely talented. As the muse Clio/Kira, Courtlyn Holt is captivating. Holt dances extremely well, even when wearing roller skates, and her commitment to the absurd plot is a key ingredient to making the show work. Holt gave "Suddenly" a touch of sensuality, and her character's reaction to breaking Zeus's rules raised the stakes for Clio. Opposite Holt is Russell J. Scott as Sonny. In Beane's script, Sonny is affable, but a bit dim-witted, and Scott's performance makes the down-and-out artist a character worth rooting for. Scott's sincerity in his performance is balanced by the actor's embrace of the show's tone. He struts around wearing short jean cutoffs and holds his own when roller skating with Holt. Additionally, Scott's singing alone is worth the price of admission. He looks and sounds like an '80s pop icon in "All Over the World," and his impassioned performances of "Don't Walk Away" and "The Fall" are a pleasant surprise because of their emotionality.

Supporting cast members were no less impressive. As the muse Melpomene, Chelcy Cutwright exudes style and smoothness in all her scenes. Cutwright channels her inner Diana Ross in "Strange Magic" and "Evil Woman," and her delight in Melpomene's cackling was a particularly charming moment. Bonner Church's Calliope is a superb sidekick to Melpomene, and Church's willingness to perform comedic bits without a trace of embarrassment often maintained the nutty mood of the play during smaller scenes.

I could sing similar praises to the other cast members of Xanadu. Suffice it to say that these actors are punching above their weight. Every actor gives an Equity-level performance, and it is a joy to see such a unified group of talented people share their passion and their craft.