Play On’s musical is nicely nicely done

By Clare Aukofer
Published: May 16, 2008

Who knew, 58 years ago, when Frank Loesser’s “Guys and Dolls” opened on Broadway, that someday people would be able to carry tiny telephones that could ring to the music of the show? Imagine the difference in the “If I Were a Bell” number.

It’s true. A “Guys and Dolls” ring tone can now be downloaded from the Internet, possibly proving that even pushing 60, the show that’s been called “the perfect musical” is as vibrant as ever.

And with this show, Charlottesville’s newest community theater, Play On, shows us that it’s growing up. It’s so nice when the kids spread their wings.

This is Play On’s best musical yet, bringing together folks not only from its own core group but from theater all around Charlottesville, and giving some new faces and voices a chance to shine. This is what community theater is about.

The production’s not perfect. But with live music and musical direction by Greg Harris, who’s been in just about every other theater around here, and strong direction by Clinton Johnston, this production shows that Play On is ramping up the quality of its musicals.

The show, about gamblers and their girls, is based on Damon Runyan stories and features such well known songs as “Luck Be a Lady,” “My Time of Day” and the showstopper “Sit Down, You’re Rockin’ the Boat.”

There are still limitations to what can be done with such a big show in any little theater, but for the most part, this production allows both cast and audience to have fun.

In the relatively new but clearly talented category is Allen Van Houzen as Sky Masterson, who’ll bet on anything. He has strong stage presence, acts well and sings fairly well.

He’s paired off in the romance department with Heather Waters as Sister Sarah, the “Save a Soul” missionary, trying to reform him and his crowd.

Waters has been in several Play On shows, has a good voice and holds her own in the show, but it would be nice to see her work just a bit more on her acting. She’s good enough, but tends to rely on the wide-eyed ingenue in her roles. It’s likely there’s more talent in there, if she digs for it.

Jane Scatena, who’s been in many shows and theaters in the area, is funny as Miss Adelaide, and has perhaps one of the best numbers for a woman in American musical theater, “Adelaide’s Lament.”

Ray Smith also shines as Harry the Horse, the Brooklyn mobster who won’t be pushed around, and Mark Gruber does well enough as Nathan Detroit.

For some unfathomable reason, though, director Johnson has made the character of Big Julie, the Chicago mobster, into a dame’s — er, woman’s — role.

It really doesn’t work in the context of the show, and there appeared to be some good men he could’ve chosen. But it’s not a disaster.

Another quiet and relatively new talent in this one is Francis Deane as Nicely Nicely.

He acts the character well, and his “Sit Down” number in the second act is truly a showstopper, thanks not only to him but to really strong direction and a talented ensemble. That number alone can make the whole show.

What really makes this show work better than other Play On musicals is the emphasis on the ensemble.

Yes, there are some strong individual performances, but none of the more experienced actors tries to outshine the newer ones, and it’s the company as a whole that makes this show so much fun.

The physical theater in the Ix building doesn’t allow much by way of sets, but what there is works well enough.

The live music makes a huge difference here, and Greg Harris and his trio help guide the cast. Johnson’s strong direction makes a big show work, and it’s so nice to see theater folks from all over, with varied experience levels, pulling together, having fun and making it infectious.

It’s most definitely a step in the right direction for Play On.