BWW Reviews: Bayou City Theatrics' THE WILD PARTY is Racy, Raucous, and Visceral

It is generally agreed upon that the best theatre challenges audiences, and after they experience the piece they are altered. Bayou City Theatrics' production of Andrew Lippa's THE WILD PARTY vastly excels in this domain. If you're unfamiliar with the show, rest assured that Andrew Lippa's THE WILD PARTY exists in the periphery of the theatre consciousness. Most of those who are aware of it are fans of Andrew Lippa or know a handful of numbers because they follow the Broadway stars Idina Menzel, Taye Diggs, Brian D'Arcy James, and/or Julia Murney. Bayou City Theatrics took a big risk with producing the musical, but the lascivious, violent, alcohol-drenched production had a profound and strangely enchanting affect on those lucky enough to attend last night's opening night performance. From what we experienced, I am sure that its allure and effect will only get stronger as the run progresses.

Andrew Lippa based this musical, which is almost entirely sung through, on Joseph Moncure March's poem by the same title. Set in the roaring 20s, the plot centers on Queenie and Burrs, two vaudevillians, who are romantically involved and share a small apartment in New York. Weary of Burrs' sadism and brutal treatment of her, Queenie throws a party so a group of their friends and acquaintances can be present to see his atrocious treatment of her in hopes that he will be embarrassed. As the party roars, Queenie has a change of heart that completely complicates the engrossing plot.

Direction by Colton Berry is phenomenal and easily the best he has presented all season. For the entirety of the show, no matter where your eye lingers there is something to observe. Once the party starts, the invited guests and leading characters consistently interact with one another creating gloriously staged images and an overwhelming barrage of visual information that is more than anyone can take in and process in one viewing. Likewise, the violence-whether it be Burrs' domestic attacks on Queenie, rape, attempted rape, or Burrs and Eddie's brawl-is visceral and gripping. Colton Berry stages these parts firmly in the audiences' faces, not letting his cast or audience shy away from the savagery that pristinely assaults our hearts, minds, and souls.

Choreography by Luke Hamilton incorporates every quintessential stereotypical 20s jazz dance step into the piece, giving the audience plenty of fast feet, gyrating hips, bent knees, and wobbly hands. His choreography perfectly matches the mood of the music and the era while maintaining an abundance of fresh energy. Furthermore, he understands the human body well, and ekes astonishing sexuality out of every member of the cast. Luke Hamilton expertly creates scintillatingly rhythmic movements that are vividly titillating, sensual, sexy, and provocatively scandalous, especially during the "Come With Me" orgy sequence.

Musical Direction by Jane Volke could not be more amazing. Andrew Lippa's score for THE WILD PARTY easily rivals the intricacy and complexity of Stephen Sondheim and Michael John LaChiusa. It is fabulously layered with complicated motifs and decadent dissonance. Furthermore, the score offers little support for the vocal performers. Oftentimes, the instrumental music seems to be written in a different key signature and time signature than the vocal line, which creates a beautifully jarring aural landscape for the ears. Jane Volke has masterfully coached the cast through these rough and multifarious passages of the score, creating music that is simply exhilarating. As the score weaves its way through pop ballads and pastiches of jazz, vaudeville, and vintage gospel, the cast and orchestra superbly fill the air with their pristine execution of the elaborately convoluted soundscapes. Standout moments of perfection include Skip Martin on the saxophone, the "Poor Child" quartet, the "Listen to Me" quartet, and the big company numbers like "A Wild, Wild Party."

Starring as the vaudeville showgirl Queenie, Danica Dawn Johnston takes audiences on an unforgettably thrilling ride. She imbues the character with electrifying sensuality. Every poised and graceful movement exudes sex-laden confidence. As Danica Dawn Johnston's Queenie battles against the indignities that Burrs subjects her to, she wins the hearts of the audience, leaving us rooting for her. Vocally, Danica Dawn Johnston's sparkling and ebullient soprano voice is a force to be reckoned with. Her powerhouse renditions of "Out of the Blue," "Raise the Roof," "Maybe I Like It That Way," "Who Is This Man?," "Poor Child (Reprise)," and "How Did We Come to This?" vastly entertain. Throughout the entire production, Danica Dawn Johnston gorgeously and evocatively emotes on each song, guaranteeing that the audience is put through the same exhaustive emotional ringer that her Queenie goes through. As the vaudeville clown Burrs, Colton Berry is sublimely animalistic and volatile. His passions drive and motivate every action, allowing him to easily flip between being aggressively intimidating and charismatically charming. His characterization is immaculately unnerving and will disturb viewers to their core as he fluctuates through emotions with a frenzied manic zeal. When the character reaches his breaking point, Colton Berry deftly devastates our hearts and shockingly gains empathy from the audience with a mesmerizing rendition of "Let Me Drown." Other impressive and laudable moments include his takes on "What Is It About Her?" and "Make Me Happy." On each number, he fascinates audiences with a rich, earthy baritone instrument that materializes in your soul and magically manipulates your emotions concerning his dangerous and sinister character. Brash and bold Kate is played to perfection by Erin Wasmund. As a fan of Idina Menzel, I went into this show being fairly familiar with "Look At Me Now" and "The Life of the Party," and I left saying to myself "Idina who?" Erin Wasmund magnificently creates a character that is bold and unabashedly improper. Whether looking for that next sexual conquest or her next hit, she is loud, libidinous, and boisterous in all the right ways. Erin Wasmund performs her iconic numbers with controlled alto abandon and takes total and unflinching ownership of the role, giving audiences in Houston a Kate that effortlessly surpasses what Idina Menzel did with the character on the Off-Broadway Cast Recording. Jake Frank's Mr. Black is smooth and endearing as he attempts to be Queenie's hero and savior. His tenor instrument shines with beguiling magnetism and kindhearted masculinity on "Poor Child," "The Gal For Me," and "I'll Be Here."

The remaining nine members of the cast, Scott Lupton and Terran Swonke as the flamboyant and incestuous D'Armano brothers, Miatta Lebile as the somewhat predatory lesbian madam Madelaine True, Kelly Wauespack as a hooker employed by Madelaine True, Miguel Garcia as the alpha male pugilist Eddie, Derrien Kellum as Eddie's sexually liberated wife Mae, Shanae'a Moore as the impetuous Nadine, Brian Chambers as Sam a theatre producer, and Luke Hamilton as Jackie the mute dancer, are splashily accentuated accessories to the story, each with their own moments of grandeur in the score or script. This whole group does marvelous work, but the most memorable moments include Miatta Lebile's intoxicating "An Old-Fashioned Love Story," Scott Lupton and Terran Swonke's stimulating "A Wild, Wild Party," and their collective support during "Let Me Drown."

Set Design by Colton Berry is astounding. The monochromatic color scheme and skewed angles create a disorienting and decidedly noir feel for the production.

Lighting Design by Tyler Frazier introduces swathes of brilliant blues and resplendent reds to fantastically highlight and even elevate the mood and tone of the production. He also does a great job casting shadows on the set, making pockets of the stage murky and foreboding, which plays nicely into the noir elements in the Set Design.

Sound Design by Cameron Dorsey, with Sound Effects by Colton Berry, fabulously corrects issues that existed for the group when they produced AIDA. Bayou City Theatrics' new wireless microphone system ensures that every syllable is clearly heard above the live band.

Costume, Hair, and Makeup Design by Colton Berry all playfully use color for radiant affect. The opening is very monochromatic, but when the guests arrive for the party color in all the designs is used to group characters, explain elements of each character, and to allow them to stand out when needed.

Properties Design by Colton Berry covers the stage in the accoutrements of a raging party. Bottles, glasses, stemware, and more are always present and always being used with spirited carefree thoughtlessness.

Bayou City Theatrics' production of Andrew Lippa's racy and raucous THE WILD PARTY is one hell of a rowdy party. It is an invigorating, intense, and supremely gut wrenching thrill ride from the opening of the show until its dramatic ending. Leave the kids at home and go see theatre that is sure to blow your mind. This show will leave you ruined, rejuvenated, and awestruck in the best of ways. If you aren't entirely moved and splendidly torn apart by the production, check you pulse and consult a psychiatrist.

Bayou City Theatrics production of the THE WILD PARTY runs through July 27, 2013 at the Barnevelder Movement/Arts Complex at 2201 Preston Street, Houston. For tickets and more information, please visit http://www.bayoucitytheatrics.com or http://thewildparty-eorg.eventbrite.com.

All photos courtesy of Bayou City Theatrics.

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