The title “Up on the Roof” refers to the Brill Building on NYC’s Broadway. There songwriters created new songs with sounds and sensibilities in the 1950s through ‘60s. Florida Studio Theatre’s Court Cabaret stages many of those hits whose popularity has endured. So has the fame of song creating teams, now being emulated by four pleasing FST performers with Broadway-like pianist and visual projections.
Much like Carole King and Gerry Goffin or Burt Bacharach and Hal David, on come glamorous gals Jannie Jones and Jacquelyne Paige to pair off with Joey Panek and Brandon Wardall. In Act I, the gals capture the early flash of the Brill singers in red sequined dresses; the guys do in strong colored jackets with matching ties and shirts. In Act II, Jannie’s in long purple gown, while Jacquelyne wears solid, shiny green evening sheath. The guys also appear in formal, evening, gold-splashed-jacketed attire. All very much reflects the later ‘60s seriousness.
“Who Put the Bomp” starts the FST Cabaret revue with early ‘60s flash, handled along with “Da Doo Ron Ron” by the four singer-dancers. It’s next tempered a bit by “One Fine Day” and a few songs about teenage love. But seriousness grows with the all-out “Leader of the Pack” led by Jacquelyne to Brandon’s “This Magic Moment” to Jannie’s plea “Be My Baby”, then Joey leading into “Stand By Me.” Act I’s end is appropriately “Some Kind of Wonderful.”
“On Broadway”, composed by four writers, is performed by the FST four to start Act II. “The Times They Are a Changin” gives its theme. “I’m a Believer” by Neil Diamond leads to really vigorous but not too showy choreographed movement, since the era’s songs now compete with the British Invasion and the songwriters are into performing their works. “Blowin’ in the Wind” characterizes all.
FST favorite Jannie brings down the house with “(You Make Me Feel Like) A Natural Woman”. Jacquelyne follows in the same way with “It’s Too Late”. With “Walk on By”, Joey does much more than the title would indicate. A major song reflecting feelings about the Viet Nam era indicates “What the World Needs Now” that it’s over. Important projections, along with the songs, have helped portray the mid and later ‘60s. Carole King’s music does this with the group’s use of her 1971 hits.
Catherine Randazzo’s direction places emphases on the right places to illustrate the theme of the Hopkins writers’ theme for the show. I think the number of times Opening Night audiences spontaneously began clapping with—not just for—the songs indicated their understanding and enjoyment.
Jim Prosser’s piano, other music, and even a bit of instrumentation by Brandon as he sings, are fine. Andrew Gray’s sound and lighting’ as well as the large square of lights and curtained designs that scenically back the platform stage, work well. Director Randazzo’s blocking is crucial as well as her choice of Sarah Durham’s side projections. They grow from abstract to usually more realistic but often animated slides. Interesting.
