Musicians play John Kander’s catchy music upstage against a dark-blue background. The set has wings and floors that are dark black and printed with many primary-colored words like family, friends, love, comedy, joy. They come from or describe the subjects and emotions of Fred Ebb’s lyrics.
Three gals wear skirts that can billow a bit just below the knees and make gowns of red, blue, purple with the addition of simple bodices and wide straps or cap sleeves. Two guys come on in simple gray suits and ties. They then solo, pair off, make threesomes, or get all together either to simply sing or even elaborately stage one song after another.
The adaptable costumes and a huge array of props prevent the show from being a mere procession of scenes from Kander and Ebb’s hit musicals. Surprisingly, there’s no attempt to narratively or stylistically link one number after another. At one point, though, a patch of solos lead to counterpointed duets.
At opening, the best-received “light” numbers have Zak Edwards professing love for “Sarah Lee” and bemoaning being “Mr. Cellophane.” Taprena Michell Augustine departs from sultry songs like, “Say Yes” for the hit duets, “What Ever Happened to Class” and “The Grass Is Always Greener” with Carey Anderson. The latter serves as a sort of ring master for several stagings but is strongest leading the group to “Ring Them Bells” on skates, the spectacular from The Rink.
Lauren Blackman seems to sense the audience doesn’t go for her S&M interpretation of afternoons “With Arthur.” Redemption comes later in a sweet “Marry Me” sequence with Edwards.
Peter Gosik scores with the solo Spider Woman that gives him a chance to display his clear, powerful voice. He and the others make group numbers from “Coffee in a Cardboard Cup” (featuring a giant Starbucks vessel) to the title tune enjoyable.
One song done in front of a curtain in the dark house with performers using flashlights on their faces feels high-schoolish. In fact, all the special effects lighting consists of changes of amounts and colors of standard-size bulbs hanging over the proscenium -- not always effective.
Director Gabriel Barre, to his credit, never lets the action flag, even though he’s dealing with a compilation that’s about 10-15 minutes too long. No surprise if the audience is guided to the finale and then finds its final applause isn’t final at all. There’s at least one more number and an obviously planned encore.
