Theatre South Playhouse markets this show as “Orlando’s Longest Running Musical” and that longevity is well-earned. I happened to attend a performance with two debuts, and considering how intricate some of these tracks are, the introduction of players in these new tracks is quite impressive.
The performances of these cast members, along with all others, was pitch-perfect. Considering the ensemble nature of the show, weak links become apparent. I am happy to report that all cast members brought their all. The emotional beats landed, the singing was great, and the extensive choreography was delivered to great effect.
In fact, the choice to include fully choreographed sequences for each character’s big musical number caught me by surprise, as this really ramps up what could be passable as a much simpler show. To take the swing and deliver is impressive. Even the non-singing role of The Amazing Karnak, that could be limited to redundant exposition hidden away in their frame, even gets moments to partake in the fun. Some costume adjustments and visuals add to the set dressing.
This set is perfectly in line with what you would hope: an intimate venue with great details taken into account. A wall of prizes, a series of carnival signs, and lettering for The Cyclone marquee populate this setting between life and death. This theater makes the most of its location in a plaza, and its lack of center seats. The lighting design has lights pointed in so many ways, it adds so much color and texture, accentuated by some atmospheric lights built into the set itself.
Unfortunately, the venue limits pointed lighting aimed at faces, so a single spotlight (that is used well when it appears) sometimes meant there was no light for the actors to find. I also think the strobing effect near the finale was a little too intense in the dark, but it was quite brief. This nitpick is mentioned because I think strobing could be avoided in full with a simple change, and thus the strobe warning could be removed.
Being licensed material, this production has to do what it can to make it its own. Enjoying the soundtrack before walking in, I think the weakest part of the material is the insistence of too many choruses. I was eager to see how this was dealt with and I was impressed to see that new choreography and lighting sequences towards the big finish of each song provided a fresh take to keep the songs from feeling long in the tooth. This metric really shows a fluency with staging licensed materials and the direction should be applauded.
If you couldn’t tell, I really liked the production. The performers give the show a lot of heart, and it shows. I was also pleased to see a pretty young audience showing, so kudos to TSP for reasonable ticket prices and marketing. I will be happy to come back as a fan and see a few different actor’s takes later this year. I hope to see a full house: the show deserves it.
Remaining Showtimes and Ticket Info:
Theatre South Playhouse
7601 Delta Dr #15,
Orlando, FL 32819
Friday, June 12 and Saturday, June 13 at 7:30 PM
Sunday, June 14 at 2:00 PM.
More dates in July and August
Tickets $20-$50, discounts for seniors and students
Credits:
Cast (for my particular showing)
The Amazing Karnak – Pat Clark
Ocean O’Connell Rosenberg – Lily Schmoker (Ocean Debut)
Mischa Bachinski – Ricky Rico
Noel Gruber – Jordan Casteel
Ricky Potts – Rhyse Silvestro
Constance Blackwood – Jana Denning
Jane Doe – Natalie Bishop
Talia – Lilly Scarlett
Virgil – Alex Hamilton (Virgil Debut)
Production Crew
Director – Hillary Brook
Choreography – Christopher Payen
Musical Director – Natalie Hightower
Stage Manager – Autumn Mantel
Lighting Design – Valarie Patterson
House Manager – Sean Philibin
Production Manager – Becca Johnson
Playbill Design – Amy Lynn Boisvert
Sound Design – Eric Jordan
Set and Costume Design – Hillary Brook
Set Construction – Becca Johnson
Wig Design – Natalie Hightower