Review: THE BEST LITTLE WHOREHOUSE IN TEXAS a High-Energy, Fun Escape at Carrollwood Players Theatre

Like Lady Gaga and Bradley Cooper radiating adoration and raw sexual chemistry, singing "Shallow" at the Oscars, as Sheriff Ed Earl Dodd's hand roved up Miss Mona Stangley's lace stockings while they nuzzled on the couch, Angel Tuider Frale and Michael c De Baca scorched the stage at Carrollwood Players. The yearning for something more, unrequited love was palatable. That's called great acting.

In the age of #metoo and female empowerment, the 1978 serio-comedy musical offering a sentimental picture of prostitution, a den mother helping rescue lost girls by whorin', seemed an unusual choice. Thanks to the stellar cast helmed by Angel, Michael and Thomas Pahl, complimented by a diverse, outstanding ensemble, it was a titillating foray into Texas history. Inspired by the true story of La Grange's Chicken Ranch brothel, it had the audience clapping in time to the music.

Most are familiar with the Dolly-Parton-made-famous movie "The Best Little Whorehouse in Texas." If you're not, Miss Mona ran the Chicken Ranch, a brothel with a long history in a small Texas town. The locals and the sheriff tended to look the other way and Miss Mona was a respected part of the community. She took pride in running "A Lil Ole Bitty Pissant Country Place" where her girls obediently followed her rules, took pride in their appearance and sold samples, not sex. When Melvin, a Bible-thumping investigative reporter exposed the brothel on live tv, pious outsiders wanted it shut down. While Melvin made it his crusade to permanently close The Chicken Ranch, Miss Mona took on two new girls, Shy escaping a toxic home life, played with nerdy, pure innocence by Emily Cockerill and the ironically-named Angel, seeking refuge from pimps, exceptionally played by Crystal Marie.

With historical costume changes, the opening company number, "20 Fans" introduced the founder Wulla Jean played superbly by Kimberly Schwartz. It presented the girls and their guests, showed the passage of time, the rise of hemlines and reduction of clothing, and how The Chicken Ranch came to earn its name. Later, in "A Lil Ole Bitty Pissant Country Place," Miss Mona and her girls assured the audience that 'there's nothing dirty going on.' Wink-wink-nudge-nudge.

Director Ashley Ryan Lord's choreography was fun and the cast executed the high-energy dance moves with finesse. The show is a dance-heavy show and some of the most entertaining numbers included "A Lil Ole Bitty Pissant Country Place" and showstopper "The Aggie Song." A special mention must go to Zach Angel Zayas as Aggie, whose dance moves and red lipstick were fabulous.

New to the Carrollwood Players stage, Angel brought an air of regality as the maternal Miss Mona. Always flawlessly coifed and dressed to the nines, she was a combination of sassiness, strength and pushed-away vulnerability. When she asked Ed Earl if he remembered a particular date, when he spouted off - completely missing the meaning behind her question - your heart broke for her. "The Bus from Amarillo" showcased her gorgeous voice.

Rebecca Collins as Miss Mona's assistant Jewel was brilliant during "Twenty-Four Hours of Lovin" with Miss Mona and the girls. "No Lies" was another great moment between Miss Mona, Jewel and the girls.

Charismatic Michael c De Baca owned the stage. The sheriff was no-nonsense, larger-than-life and a lot scarier than I remember from the movie. When he shoved Melvin against the wall, the anger was explosive. The sheriff also had a tender side revealed any time he shared the stage with Miss Mona. "Good Old Girl" highlighted his powerhouse vocals.

In a curly grey wig and cowboy hat, Thomas was hysterical as the nosy, overeager evangelical watchdog news reporter on a mission to close down the Chicken Ranch. The use of flashlights for "Texas Has a Whorehouse in It" was an innovative choice. Despite a couple of off-key notes by the Thorpe Singers, it was an amusing group number. Brian McCreight and Frank Weiss were equally strong roles as the cheating senator and sidestepping governor.

Another standout moment came from the sassy waitress Doatsey Mae Rimes. She removed her apron and let down her hair for poignant and reflective "Doatsey Mae." Taylor Hendershot's tender vocals reminded us of all the things the small-town waitress never had the courage to do.

I was thrilled that my favorite song from the movie "Hard Candy Christmas" exceeded my expectations. The choice to put the Angel on acoustic guitar only made the exit of the girls more wistful.

Musical director Camille Sanabria and Ashley should be proud. The politically-incorrect musical was a fun, high-spirited romp with marvelous costumes, terrific set, talented cast and a heart as big as Texas.

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