'Fame, the Musical' From Circle Players

Perhaps the most remarkable element of Circle Players' Fame, the Musical is its talented cast--an amazing amalgam of age-appropriate actors assaying the roles in this now-iconic tale of the last four years of New York's High School of Performing Arts. Credit director Tim Larson's casting abilities for this feat which, combined with strong production values, inventive staging and laudable choreography by Kate Adams-Johnson, makes the show an excellent choice to open Circle's 60^th anniversary season.

The stage show isn't simply a re-hash of the film Fame-while it draws upon the same source material for inspiration, it relates a different tale. Sure the characters are similar, as are some of the stories of their lives, but essentially it's a new story. Sure, you can have fun linking the stage characters to the film characters, but it's more fun to suspend disbelief and just allow yourself to be entertained by what's being presented onstage. Fame, the Musical is best described as a reimagining, if you will, of the story about aspiring young performers gaining entrance to the high school of their dreams and the subsequent challenges they face in pursuit of their art.

The stage musical is conceived and developed by David De Silva (credited in the program as the impetus for the film, as well), with a new book by Jose Fernandez, lyrics by Jacques Levy and music by Steve Margoshes. While the stage show lacks some of the drama and pathos of the original film, it can still pack an emotional, if somewhat surprising, wallop.

Onstage, Fame makes passing references to the film (one teacher warns students that if they are expecting to be dancing atop cars on 46^th Street they should think again, and another opines that since the film came out, more students are vying for slots at the school), but doesn't appear slavish in its devotion to the movie, although its structure closely resembles the original. It's not distracting at all, merely an affectionate wink to history.

Set in the years after the film's release, the stage show follows a group of students from their first day at the school to graduation. With that premise comes one of the hardest assignments for audience members: You're expected to take an immediate interest in the students. It's not quite that easy to warm up to them in the play's early moments; even the most vividly created characters are somewhat one-dimensional at first blush. It takes a while to take these kids to heart and to genuinely care about what happens to them. Thanks to Larson's direction and a very appealing cast, that is also the easiest assignment audience members may face.

The show opens with "Hard Work," a big, busy musical number featuring the students and teachers that introduces the various characters, not the least of which is the historic school itself . The principals of the cast include Nick Piazza (sweetly and evocatively played by Tyler Ashley), a child actor who found fame in a commercial for peanut butter, who is at the school to pursue his dream of becoming a serious actor. Joe Vegas (Trey Palmer in a broadly played performance that gains stature as his character ages), a would-be stand-up comic , and Serina Katz (Hannah McGinley), a budding actress who has a crush on Nick, are the other "actors" in the mix.

The dancers are led by the fiercely athletic Jack Zakowski (Caleb Reynolds, an impressive dancer and capable singer, who needs to strengthen his acting chops), a Brighton Beach boy trying to escape the constraints of his lower class roots. The elegant Iris Kelly (Chelsea Hough, a beautiful 15 year old high schooler) is the school's prima ballerina, and Mabel Washington (Julia Nettles, who is delightful, particularly in her number "Mabel's Prayer") battles her weight and her fondness for all things edible.

Schlomo Metzenbaum (Darin Richardson in a performance that grows in intensity as the play's action progresses) leads the musicians' contingent; he is the son of a violin virtuoso (his English teacher tells him she's a lifelong fan of his father's work) and must forge his own way out of his famous father's shadow. Grace Lamb (Mary-Molly Storey) is a fun-loving percussionist, and Goodman King (Joseph Turner) plays trumpet.

The real "star" among the students is Carmen Diaz (Faith Kelm), whose fiery Latin persona belies her insecurities while providing the foundation for her dreams of becoming famous. While Carmen seems likely to come to a tragic end, it's very clear in this production that Kelm someday could be a very big star. Quite simply, this young woman is amazing. She is an accomplished singer and dancer who, with further experience and seasoning, can be an accomplished actress. (I'd love to see her 20 years from now as Aurora in Kiss of the Spider Woman, or ten years hence as Velma Kelly in Chicago.) That Kelm is able to give the performance she does now at this age (she's a high school junior) is absolutely mind-boggling.

Special attention also must be given to McGinley, who has a gorgeous voice and can belt with the best of 'em! A veteran among the cast (she's a rising college sophomore at NYU), she gives a completely believable performance as the hopeful Serina and her musical numbers are standouts. Her "Think of Meryl Streep" is a highlight of Act Two, and Act One's "Let's Play a Love Scene" is one of the best numbers in the show.

The teachers seem almost an afterthought-which isn't all that unusual given that the students are the focus here-but Cat Eberwine as English teacher Miss Sherman is given more opportunities to shine and to sing, particularly in "These Are My Children," a sentimental tune about a teacher's love for her students. LaToya Gardner as Ms. Bell, the dance teacher, also has some nice moments.

The show's score is effectively tuneful (credit music director Rolan Mains and his small ensemble for giving the show its musical accompaniment) and does what needs to be done: Move the plot along in a convincingly logical fashion and set the audience's collective feet to tapping. If you go to Fame, the Musical in hopes of hearing the film's score, you may be dismayed. Only the title tune, by Dean Pitchford and Michael Gore (the brother of '60s pop songstress Lesley Gore), remains-it's interpolated into Carmen's "There She Goes" number in Act One and is given a full-throated and highly theatrical performance during the cast's curtain calls. In this sense, it's utilized like the "mega-mixes" found in recent Broadway musicals like Mamma Mia and the even-earlier Joseph and the Amazing Technicolor Dreamcoat. It's a lagniappe, of sorts, given to the audience at show's end.

The show's big musical numbers showcase the cast's talents and enthusiasm, and bolstered by the choreography of Kate Adams-Johnson bring the show to its zenith. "The Junior Festival," which opens Act Two, gives the entire cast a chance to gain the spotlight and exemplifies the show's artistic sensibilities. "Dancin' on the Sidewalk" is another whole-cast number that gives Reynolds his starmaking moment; it's an energetic homage to the performers' tenacity, drive, determination and ambition. Talented members of the Music City Salsa troupe seamlessly move in and out of these numbers.

Larson's direction is top-notch and he uses his cast well. Oftentimes in community theatre productions, the level of abilities among cast members can vary greatly-and that's true here, of course, but you'd scarcely notice it save for the program notes. This is a uniformly capable cast given strong underpinnings by a veteran director and an inventive choreographer, who make excellent use of the stage.

Costuming by Jennifer Kleine perfectly captures the early '80s vibe and Cathy Matthews' lighting is evocative and colorful, while Jim Manning's set design gives the cast a good backdrop.

All of this being said, be forewarned if you see either of the final two performances of Fame, the Musical: The AC is out at the Z. Alexander Looby Theatre and it's really, really, really hot! But remember this: If I like the show this much, with sweat trickling down my back, imagine how much I would've like it in a cooler setting... Yeah, that's what I thought, too.

--Fame, the Musical. Presented by Circle Players. Conceived and developed by David De Silva. Book by Jose Fernandez. Lyrics by Jacques Levy. Music by Steve Margoshes. Directed by Tim Larson. Choreography by Kate Adams-Johnson. Music direction by Rolin Mains. Produced by LaTonya Turner. At Z. Alexander Looby Theatre, 2301 Rosa L. Parks Boulevard, Nashville. Through August 9. Visit the website at www.circleplayers.net