July 12, 1978

The Courier-Times

Irving Berlin Star of “On With the Show.”

By Cathy Craig

 

                The 11-member cast of Summer Theater in the Park’s “On With the Show” presented a rousing tribute to Irving Berlin Tuesday night as the third of five productions joined the company’s alternating repertory.

                With musical director Della Mae Tronchuk at the piano in center stage, surrounded by a set of white, black and silver, the five couples of the show emerged from each approach to the three-quarter stage singing “There’s No Business Like Show Business.”

                Narrator-performer Dick Willis introduced the man of their salute, Irving Berlin and the cast was on with a show that incorporated well over 50 of Berlin ’s some 3,000 songs.  The fast-paced, four-part revue, compiled and arranged by Willis and Tronchuk, spanned the composer-lyricist’s career from 1914 into the 1960s.  Ending with a potpourri of Berlin ’s greatest hits, the production brought the audience from ragtime, through the two World Wars and left it in love. 

                To maintain its rapid pace, the production demanded perfect timing by the cast.  In addition, extensive memory work was required with 18 numbers being performed by the entire company.  Dancing and vocal ability were crucial with individual cast members featured as soloists and in small ensembles of duets, trios and quartets.

                Willis’ narrative, which is concentrated in the first half of the revue, fascinates as it depicts the story of a man, his brilliance and the eras he captured in song.  It leaves listeners wishing for more in Parts III and IV.

                Tronchuk is a sensitive accompanies throughout, with arrangements and dynamic levels that enhance vocal lines, never competing for attention.

                Women’s voices are outstanding.

                Darlene Druley’s voice is exceptional.  Expressive in her phrasing and delivery, Druley sings easily across her entire range without making listeners aware of her great control.  She moves well on stage though at times falling victim to the idea that there must be gestures accompanying all songs.  Her voice and presence, as in “Always,” are captivating enough.

                Patricia Allen is at her best singing.  She is gracious and her voice reveals substantial training as in her beautiful rendition of “All Alone.”  Her movement on stage betrayed some insecurity, however.

                Janis Morton is a relaxing and consistently fine performer.  With a smile-lighted face, she exudes a graceful and sensitive enthusiasm and sings with a well-trained voice.  Especially enjoyable was her “What’ll I Do.”

                Rebecca Imel is bright and spunky and has a good voice.  Bedecked in clodhoppers and flannel shirt, she gun-totes her way on stage in Part III to delight the audience with “You Can’t Get a Man With a Gun.”

                Radiating a sense of ease and enjoyment, Julie LeHunt moves well in ensemble.  Her body conveys the rhythm of songs without exaggeration.  Her voice was more than adequate and she delivers her solo “Say it Isn’t So” well.

                Though voices of the men in the cast are not as highly trained as those of the women, the men more than hold up their end of the revue.

                Michael Fleming shows that he is a veteran performer with all the energy and finesse of a showman.  Best in ensemble work, Fleming is a fine dancer and good singer.

                Andrew Brewer and Timothy Webb are the young members of the cast.  Both have pleasant voices and though they lack some of the precision and confidence of experience, they both exhibit poise and competency in solo, ensemble and company work.

                Alan Denney manifests a very enjoyable ability of singing a song straight.  Without excess movement, Denney sings to his audience with a nice tenor voice.

                Dick Willis the performer is fine.  Moving facilely from roles of narrator to singer and dancer on stage, Willis’ talent is apparent in choreography and direction.

                Men’s numbers to be singled out are Fleming, Willis and Brewer’s “We Saw the Sea,” Fleming, Webb and Willis’ “Mandy,” and Denney’s “Along Came Ruth.”

                Songs “The Ocarina,” “Policeman’s Ball,” “Good Times With Hoover ,” and “I Like Ike” drew the spontaneous approval of the audience.  “Say It With Music,” “God Bless America ,” and the grand finale “There’s No Business Like Show Business” were show-stoppers.

                The overall production suffers from lack of low voices in the cast.  None of the men is a bass and LeHunt and Imel of the women are altos but do not have noticeably low registers.  Because of the vocal distribution, many of the songs are sung in unison.

                But it is totally refreshing to hear beautiful old songs sung well and without the affectation of scooping and diphthong. 

                Signs of amateurishness did not exist.  All of the energy and talent of a dedicated cast working together made “On With the Show” a professional tribute.  Irving Berlin was its star.