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How ‘Respect’ won mine
The Atlanta Journal-Constitution
When it comes to reviewing Atlanta theater, I’ll admit I’ve had something of a bias in favor of nonprofits.
Seems to me that a locally produced show, staged by artists with roots in this city, deserves a deeper investment than a commercial venture from out of town. I’m thinking in particular of some of the mediocre material that’s lately become a hallmark of the Woodruff Arts Center’s 14th Street Playhouse.
But after an overdue visit to Dorothy Marcic’s “Respect: A Musical Journey of Women” at the Midtown venue, I may have to rethink my decision-making process. When all is said and done, “Respect” is better entertainment than the New American Shakespeare Tavern’s “Cabaret” or Aurora Theatre’s “Camelot, ” which inaugurates that ensemble’s palatial new digs in Lawrenceville.
As a story, “Respect” —- which uses pop music to tell the story of American womanhood since the beginning of the 20th century —- is wafer-thin. Except for Marcic’s autobiographical persona, it’s really a pastiche: three women playing a variety of characters on a chronological trajectory across time. What delivers it from tedium are its first-rate performances and the joyful, infectious nature of the tunes, which range from “Hard-Hearted Hannah” to “These Boots Are Made for Walkin’.”
Here, then, is a brief look at these three very different musical offerings around town —- what works, what doesn’t, and how the resources of nonprofit theaters often don’t live up to expectations.
“Camelot”
By producing this Alan Jay Lerner/Frederick Loewe epic, Aurora means well. It’s a perfectly respectful, if somewhat unimaginative, beginning. But director Freddie Ashley is probably hamstrung in his casting. Producing artistic director Anthony Rodriguez, who often takes the lead in his own productions, plays King Arthur. When small ensembles attempt to mount sprawling productions, they often don’t have the money to hire uniformly excellent actors, so they make do the best they can. In this case, the Aurora doesn’t have a single Actors’ Equity player, and it kind of shows.
Through June 24. Aurora Theatre, 128 Pike St., Lawrenceville. 770-476-7926, www.auroratheatre.com.
“Cabaret”
When the secondary tale of Fraulein Schneider and Herr Schultz becomes more compelling than the story of Sally Bowles and Clifford Bradshaw, you know there’s a problem, old chum. This spotty offering left me wishing for a truly top-notch production of the John Kander and Fred Ebb classic. If the Alliance Theatre’s “Jacques Brel … ” proves alive and well on the Hertz Stage this fall, maybe artistic director Susan V. Booth will consider making the journey from Paris to Berlin. That said, the Tavern’s publike room is the perfect venue for this erotic romp.
Through July 1. New American Shakespeare Tavern, 499 Peachtree St. N.E., Atlanta. 404-874-5299, shakespearetavern.com.
“Respect”
The professionalism pays off here —- with fantastic performances by Atlanta actress Denitra Isler and out-of-towners Amy Miller Brennan, Cory A. Farinacci and Mary Kathryn Kaye. Playing historical figures like Rosa Parks and just regular gals trying to cope with life, these women have winning personalities and serious vocal chops. Which is always a good thing when taking on tunes sung by Doris Day, Aretha Franklin, Janis Joplin, Billie Holiday and Tammy Wynette. If you want my R-E-S-P-E-C-T, you’ve got to earn it. They do.
Open-ended run. 14th Street Playhouse, 173 14th St. in Midtown. 404-733-4750, www.14thstplayhouse.org. Author:
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By Ann
June 22, 2007 7:11 AM | Link to this
I’ve seen all three of these shows, and more than once for Respect and Cabaret. My enjoyment of Camelot and Respect was lessened by their use of sound systems. The 14th Street Playhouse has a good system, but the band and voices were amplified so loudly that there was no variation in the sound — no way of having quiet intensity building into anything else. On the other hand was the Aurora’s sound: I thought (wrongly) the music was on a tape that was wearing down, because the sound was so tinny and scratchy. Their new space looks as if the singers should be able to fill it unassisted, and even if they did need mikes, the instruments certainly didn’t need amplification.
One reason I enjoy live theatre is that it is live, and not processed. I just wish the various companies around town would build on that difference, and not try to have movie theatre sound and volume.