BWW Reviews: VANITIES, the Musical at Theatre Lab, Gimmie a T for Tumultuous!

Pompoms, popularity, sorority life and a mid-life crisis are just the tip of the iceberg in VANITIES, the musical. VANITIES, a play by Jack Heifner, opened Off-Broadway at Playwrights Horizons in New York in 1976. The cast included Kathy Bates as Joanne, Jane Galloway as Kathy and Susan Merson as Mary. In 1981, the play was taped and televised on HBO starring Annette O'Toole, Meredith Baxter Birney and Shelley Hack. Needless to say, this script is powerful. The musical was adapted by Jack Heifner with music and lyrics by David Kirshenbaum. When a popular play is transformed into a musical, I am doubtful, but this musical had its moments.

The play starts off in 1963 in a small Texas town. We are introduced to three cheerleaders, Mary, Kathy and Joanne as they prepare for a pep-rally and the big high school dance. In this first scene, I am reminded of the over-the-top campy writing style of Charles Busch and Charles Ludlam. During the pep-rally, the principal interrupts with a disheartening announcement: the assassination of John F. Kennedy. The play moves on with the three girls going to the same college and pledging the same sorority. Kathy is still trying to find her purpose, Joanne is prepping for her wedding and Mary becomes a child of the movement "Fly Into The Future." Life and experience become the catalyst for change in the lives of these ladies. Their personal outlook on life changes and their friendship is tested "Same Old Music."

Every great musical is built on a strong story or idea, and this is evident with VANITIES, but the score wasn't as strong as the story. There needs to be equality between the two. A strong libretto and a strong score equate to a strong, cohesive musical. There were a few good songs, but overall the score was the weakest element in this musical. This is why it becomes an arduous task as a creative to turn a great play into a musical.

The opening number has to catch the audience, and this was achieved. I loved how the ladies entered in their skivvies and then put on their costumes as the opening number progressed. However, I was very confused by Pat Padilla's costume design. When doing a period piece, one must be very conscious of making sure the costumes are consistent with the period. From the hokey wigs to the out of period cheerleading uniforms, she missed the mark. The cheer uniform got shorter in the late 70's-early 80's. In the 1960's, the cheer skirt was right above the knee. These skirts looked as if they were borrowed from the local high school. The polo shirts with the chenille lettering was more 1980's. The wigs were more of a hindrance to the overall look. It would have been a wiser choice to let the actors use their natural hair for the opening scene and as the times changed, they could have introduced different wigs. This is another testament to inconsistent costume history. During the college scene, the costumes didn't bother me as much, but as the play progressed I was completely confused. There was a moment in Act II where Joanne looked like an Andrews Sister and Mary had on a turban with over-accessorized daisies. I think the straw that broke the camel's back for me was in the funeral scene where Mary had on a décolletage-revealing, short black cocktail dress. The costume design completely missed the mark.

I have to say, aesthetically there were a few hits and misses, but whoever designed the set did a great job. I loved the exposed mirror vanities and the minimalistic approach used to build the boxes and stools. I love when a designer uses minimalism. It forces the audience to watch the performers. However, this can be a double-edged sword because there is no pomp and circumstance to divert your attention from stale performances. Technically, this show had a few moments, but I was distracted by a light cue issue during a powerful trio "The Argument".

I was very pleased with the balance and blend of the band and the actors. I've had the dubious pleasure of producing musicals in spaces that weren't designed for musical theatre, and I personally understand the feat to produce a show that sounds good. This was achieved with excellence in this production. I noticed during the show how much the musicians were in their music. I believe that producing a living organism such as musical connectivity is a must not just from the actors, but from the band and conductor. We breathe life into the work and sometimes it becomes mechanical when we are in the page all the time. As classical musicians we are taught that the instruments are more than accoutrements, they are another non-scripted character. Musical moments were missed due to the lack of connection between the musicians and the actors.

I believe director/ choreographer Jimmy Phillips approached this material very well, from the staging to the choreography. The storytelling in this musical was exceptional and having a director that has a keen understanding and solid artistic vision brings such to the stage. Vocally the casting was bland. I wanted more vocal variety. Just like in casting the Ronettes in LITTLE SHOP OF HORRORS you want an exceptional blend, but when the characters sing individually you want to hear variety. All three of the ladies had nice voices, but there needed to be a little more grit in the overall vocal delivery in this musical. Vocally it was too safe for my taste. Robin Van Zandt had the standout performance of the evening; "Fly Into The Future" was one of my favorite songs of the evening. I wish the playbill designer would have included a song list for the audience to better reference the material. There was no doubt that Shelby Bray tickled our funny bones in her number "Same Old Music" but her strident and pingy tone distracted me throughout the show. Danica Johnston played it safe vocally and gave a lukewarm performance. I don't know if this was an off night for her, but I wasn't enthralled by her performance. Cohesively as a trio these ladies delivered some of the most heartfelt and true moments I've seen on the Houston Theatre scene. Their connection was believable and the acting was right on point. I've mention playing vs. being in previous reviews, and this was the true definition of being. This is my two cents so spend them how you may.

VANITIES is definitely a great story of life, and the ups and downs of becoming an adult. A story can only live if the writing is truthful and connects with the people. As I exited the theatre I heard an older couple talking: "This is the story of everyone's life." I believe that a piece does not become art until the people speak, and this work of art is the yearbook of our lives. Even though I didn't leave humming the hook, I left with a better understanding of our journey as people and the power of true friendships. VANITIES runs until May 3rd at Obsidian Arts Space. For ticket information please visit www.theladhou.org.

Creativelly yours,

Bryan-Keyth Wilson

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