just out ▼
he snappy, tap-happy musical hit Crazy
above its source. Will Rogers is at its best when it
fo r You continues at the Portland Civic pulls out the stops in production numbers or when
Auditorium with evening and matinee
it puts the title character stage center for a series of
performances through Oct. 23. The
rambling, topical, semi-political observations. This
infectious rewrite of George and Ira
Will Rogers is alive and well—he’s telling the tale
Gershwin’s 1930s Girl Crazy features top of
perfor
his life and death from today’s perspective.
mances, a dozen hits from the original show and
Expect topical one-liners and drawn-from-the-
other sources, a chorus line of scantily clad chorines
headlines discussions. Clinton, local politics. Lake
and a rousing men’s chorus straight out of the old
Oswego and state concerns will all show up.
west. It’s musical escapism at its best!
The original score serves the show well, but
gives the cast no real hits. “I Never Met a Man I
Didn’t Like” and “Give a Man Enough Rope"
provide the title character with two likeable num
bers. A classic blues ballad, “No Man Left for Me,"
gives Rogers’ wife a late-in-the-evening show
The touring edition of Crazy fo r You, a smash
stopper that gives the musical a welcome boost.
hit on Broadway and in London, opens the first
Tommy Tune’s award-winning direction and
Portland Center for the Performing Arts Broad
choreography is based on unexpected vaudeville
way Series. The award-winning Will Rogers Fol
lies arrives next, for a Nov. 15-20 stay. Other
shows in the series include The Sound of Music,
Fiddler on the Roof and Hello, Dolly! with Carol
Channing recreating her Tony Award-winning
title role in a 30th anniversary international tour.
Through the convoluted manner of Broadway
tours, your faithful Just Out scribe has seen four of
the actual touring companies before they reach
Portland, allowing a rare opportunity to preview
specific performances. There’s no doubt that Dan
Bean Presents, the producing organization for the
new PCPA, has collected five winners for this first
year in Portland. Each and every show is an
unqualified hit that gives full value for series or
single-ticket buyers. All five shows won the Tony
Award for Best Musical of their respective years.
T
heater
ff-stage-husband-and-wife team Kirby
Ward and Beverly Ward headline Crazy for
You. While their names may be unfamiliar,
both have tremendous stage power. Kirby Ward is
a rubber-faced, rubber-legged, vaudeville-style
hoofer in the Ray Bolger/Dick Van Dyke style. As
the only woman in a sleepy Nevada mining town
of 157 men, Beverly Ward gets to play tough, turn
gentle, and get her man on her own terms. Top
talent provides support in the show’s many sec
ondary roles, and both the men’s and women’s
chorus and dancers are knockout professionals.
The show opens with a Ziegfeld-style produc
tion number in rehearsal. Soon, an endless line of
chorus girls—dressed as pink bonbons—come
hi-jinks. Straw hats turn into tambourines, a series
cascading out of an onstage limousine, and the fun
of white stairs turn into glow-in-the-dark neon
is underway.
platforms. The chorus line does a quick turn to
The vaudeville traditions of Broadway give
reveal near nudity that at first shocks the audience.
Crazy fo r You a nonstop series of old, old jokes
Then, with reoccurring turns, it’s obvious that the
that clearly delight the audience. “I didn’t come
entire backside of the chorus line is a series of sheer
here to be insulted,” one character steams. “Oh,
body tights with picture-perfect foam padding that
where do you normally go?” comes the age-old
creates an unforgettable impression.
reply. Crazy fo r You isn’t great literature, but it is
“Razzle-dazzle in the Ziegfeld tradition,” reads
great musical comedy.
one ad for the Follies. And, in all truth, that’s what
he Nov. 15-20 run of Will Rogers Follies: A
it is.
Life in Revue gives Portland audiences their
arie Osmond headlines the touring edition
first look at the 1991 Tony A ward-winning
of Rogers and Hammerstein’s beloved
musical that’s part Ziegfeld Follies and part bi
The Sound o f Music, arriving for a Jan. 31-
ography of the beloved humorist—himself a star
Feb. 5 run. An unexpected delight, the revival is a
for Ziegfeld. Like Crazy for You, Will Rogers
perfect stage vehicle for the former television and
Follies salutes show business. Tommy Tune’s
recording star. The national tour—directed by
incredibly creative direction elevates the material
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James Hammerstein, son of the show’s lyricist— is
bright and bubbly without slipping over the line
into too much sentimentality. The glorious score
still tugs at the heartstrings: The title song, “My
Favorite Things,” "Do-Re-Mi," “Sixteen Going
on Seventeen,” "Edelweiss,” and, of course, “Climb
Every Mountain” make this touring edition like a
visit from an old friend.
Osmond is a joy in her stage debut as Maria, the
postulant sent by the Mother Superior to be a
summer governess to the gloomy children of Cap
tain Von Trapp. She finds that love can exist
outside the abbey, and that her joy in life—and
music—can return to the children the loving father
they once had. The show needs no introduction to
most theater fans, but Portland stage buffs will be
happy to know that this mounting is first class in
every department. Laurence Guittard opened the
21 . 1
▼ 25
five daughters give Fiddler its plot, but the show’s
plea for tolerance and diversity give it its heart.
While this mounting was unavailable for preview,
there’s no doubt that this Fiddler will delight local
audiences.
limaxing the PCPA series is the Carol
Channing 30th anniversary tour of Hello,
Dolly! The international tour opened in
Denver this summer, played Vancouver, B.C., a
stop later, and returns to the Pacific Northwest for
an Aug. 1-6 stay at the Civic Auditorium before
heading for New York. Channing, now 74 years
old, gives an incredible performance that makes
Broadway history. She’s currently recognized as
the oldest performer to revive her own perfor
mance for a Broadway engagement.
Dolly is clearly one of the best musical com
edies ever written. The title character dominates
the show, but supporting characters all have great
scenes—and great songs—giving the show a non
stop energy that is missing in many of today’s
musicals.
Hello, Dolly! won a record-setting 10 Tony
Awards 30 years ago— and it is likely to pick up a
few for Best Revival and for several supporting
roles when it reaches Broadway next fall. While
Channing gives a legend-making performance, the
whole show is a treat. Gower Champion’s original
direction and choreography is staged with a few
polished updatings, and the original sets and cos
A Portland premiere tumes are recreated. Every detail is a loving tribute
to the original staging.
and some seasoned
Channing stops the show with almost every
appearance. From the opening "Call on Dolly,”
crowd pleasers hit
Channing moves forward with polish and grip.
“Dancing,” “Before the Parade Passes By” and, of
the Portland boards
course, the classic title song come alive with
▼
Channing on stage. Ever the consummate theater
professional, Channing played Dolly Levi for 1.273
by
consecutive performances on Broadway and on
C h r is to p h e r K a m e r a
tour—and never missed a show. Counting earlier
productions, Channing has played Dolly more
than 3,000 times. With almost no adjustments for
age, Channing simply plays the matchmaker as an
elderly widow looking for a final match. In the title
number, she whips around the runway that sur
Marie Osmond, as
rounds the orchestra much like she did 30 years
the singing would-be nun,
ago. On her return to stage, a waiter in the restau
and Lxiurence Guittard,
rant scene escorts her back across the stage for
as the embittered captain
another runway strut. It’s a remarkable perfor
mance in a remarkable role.
national tour as Captain Von Trapp, and Neal
Like The Sound o f Music and Fiddler, this
Benari assumed the role this summer. No specific
Hello, Dolly! will entertain theater fans of all ages.
casting for the captain has been announced, but
Dan Bean Presents will offer a three-show series
since the show belongs to Maria and the children,
for the spring and summer titles. A four-show
local audiences will have few concerns.
ticket starts with Will Rogers, both miniseries offer
discounts. At press time, good seating for Crazy
heodore Bikel headlines the touring com
fo
r You was still available for all performances.
pany of Fiddler on the Roof, which plays
The miniseries include free parking—a great bo
April 11-16. Bikel, the original captain in
nus for series pass holders. Complete details at
the Broadway production of The Sound o f Music,
Ticketmaster 224-4400.
has played the role of Tevye in Fiddler more than
1,000 times. Like The Sound o f Music, Fiddler is a
Thanks to Maureen Verkaar at All Star
Broadway and film classic that needs little intro
Management,
Vancouver, B.C.; Gayle Roberts
duction. Songs like “Sunrise, Sunset,” “If I Were a
at the 5th Avenue Musical Theatre Company,
Rich Man,” ‘Tradition,” “Matchmaker, Match
Seattle; and Catherine S. Major at Dan Bean
maker,” and the title song bring back the glory of
Presents, Portland and Seattle, fo r their
the musical stage.
support in the development o f this article.
Tevye, the Russian dairyman, and his wife and
C
A
R ound
of
Music
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