'The World Goes Round'
The World Goes ‘Round, Music by John Kander, Lyrics by Fred Ebb, conceived by Scott Ellis, Susan Strohman, and David Thompson. Directed by Julianne Boyd, choreographed by Joshua Bergasse.
Revues that just review a song-writing team’s output can be duller than dishwater in spite of the quality of the material on display on stage. Julianne Boyd brings the absolute opposite onto the boards of Barrington Stage with her own version of this now classic revue of the songs of Kander and Ebb, the longest collaborating team in Broadway history.
With 40 years of material behind them at the time of Ebb’s death in 2004, their now classic shows "Cabaret," "Chicago" and "Kiss of the Spider Woman" have been joined by their semi-posthumous new Broadway hit, "Curtains." The four shows, all beginning with the "c" sounds, are balanced by their near-misses and flops such as "Steel Pier," "Flora, the Red Menace," "The Rink" and "70, Girls, 70."
For the most part, the faults lie not in the songs but in the concepts of the shows themselves. The songs are absolutely terrific and this musical overview, "The World Goes ‘Round," proves it in solid spades.
This overview of their work first appeared in New York at just beyond the midpoint in their joint careers. That, unfortunately, leaves out many of the finest works, but as the show has made its rounds of regional theaters some songs have come and gone. "Class," for instance, a staple in the early days has been removed, just as it was from the film version of "Chicago." It’s a pity because the song is one of the best of its kind, a female duet comparing ideals and morals and dreams. Kander and Ebb wrote several of these over the years and one survives in this show, "The Grass is Always Greener" from "Woman of the Year." The song won a Tony Award for Marilyn Cooper in her only scene in this long, often difficult show which starred Lauren Bacall. In Pittsfield the song is rendered by two very excellent actresses, Angela Karol Grovey and Andrea Rivette. They play it the way it’s written and the laughs sometimes mask the start of the next laugh line, but the laughs are all there and so is the underlying heart of the piece.
It is that sort of work that makes this show a joy. Director Julianne Boyd has provided lots of moments when heart and humor vie for center stage. She has given some of the classic pieces a solid staging and others a more free-form, air-filled life. This is the medium in which Boyd first made her name in New York on the main-stem and here she shines forth in the excellent work that is her forte. With a cast of five she never settles for the easy, or balanced image until the final moments of the show. Instead she keeps us aware as her unbalanced pictures focus our attention on the twin images of talented performer and talented writer. She never intrudes on the pieces, but rather illuminates them through the song and dance possibilities that each song suggests.
Her talented crew includes dancer/singer Bianca Marroquin, whose slight accent obscures a few of Fred Ebb’s brighter lyrics, but whose talent is delectable enough for such flaws to be forgiven. She dances her way through Liza Minelli’s "Arthur in the Afternoon" from "The Act" and sizzles in "Chicago"’s "All That Jazz." She also has the depth to make "A Quiet Thing" from "Flora, the Red Menace" into a memorably sweet moment.
Kevin Duda is an excellent ensemble player who can step into the reluctant spotlight of "Mr. Cellophane" from "Chicago" and break hearts with the ironic comedy of the song. His dancing is fine as well as he proves in the second act duet with Marroquin.
Somewhat more stellar in his performance style is Kurt Robbins who makes "I Don’t Remember You" from "The Happy Time" into the instant hit it never was in its own time. In the second act he brings the title song of "...Spider Woman" to vibrant life and pours his heart into "The Rink"’s "We Can Make It."
Rivette has a lyric soprano voice and she uses it wonderfully in all of her songs from "Colored Lights" (The Rink) to "Cabaret." Grovey who sets the tone for the show with the title song (from the film "New York, New York") is exceptionally moving with "My Coloring Book" and "Maybe This Time", two ballads which span the "Cabaret" years from concept (MCB - cut) to film version (MTT).
The choreography by Joshua Bergasse is flawless, bringing to mind Bob Fosse when necessary but never copying or imitating anyone else. His work moves effortlessly into and out of Boyd’s staging of other moments and the two visual monitors seem to have collaborated here without ego, without difficulty. True or not, that is how it appears on stage.
Bright moments for ensemble abound in this show: "Coffee in a Cardboard Cup" has never been funnier, not even in the original presentation in "70, Girls, 70" and "Pain" has emerged from Chita Rivera’s night club act "The Dancer’s Life" as a comic wonder.
On a simple stage set designed by Ken Goldstein that you’ll think you’ve seen before - think "Mame" in concert last year - the cast and the musical ensemble, ably led by Brian Usifer, perform well. They are costumed by Elizabeth Flauto who made some interesting choices for her cast and lit by Stephen Arnold who sometimes created beauty and sometimes some minor chaos.
"The World Goes ‘Round" is a big old show with big old numbers and a bright and beautiful company. The songs of Kander and Ebb rival anything by Stephen Sondheim for their intricacies and intelligence but at the same time they can break your heart with their out-and-out emotional bases. This is a combination, in large amounts, that makes this show so worthwhile. This production provides the rest of what’s needed.
"The World Goes ‘Round" is at Barrington Stage on Union Street in Pittsfield through October 21. For full schedules, prices and ticket availability call 413-236-8888 or go to their website at www.barringtonstageco.org.