"Opening night wobbles still make ‘The Musical of Musicals: The Musical’ a fluffy, fantastical farce of a show."

Who doesn’t like a good musical?"

Who doesn’t like a show that parodies good musicals?

Port Perry’s Theatre on the Ridge continues its summer festival with Eric Rockwell and Joanne Bogarts’s crafty parody ‘The Musical of Musicals: The Musical’ that walks a fine line between poking fun at and paying homage to some of the most popular composers of the twentieth century. You don’t have to be a musical theatre fan to enjoy this production’s luscious lampooning of Broadway’s best – but it’d certainly help if you are.

The small-scale musical is a good fit for the company’s outdoor venue, requiring only a single set, one piano, a few props and four actors. It’s structured into five acts: ‘Corn!’ (parodying Rodgers and Hammerstein), ‘A Little Complex’ (Stephen Sondheim), ‘Dear Abby’ (Jerry Herman musicals in the manner of HELLO, DOLLY and LA CAGE AUX FOLLES), ‘Aspects of Juanita’ (Andrew Lloyd Webber) and ‘Speakeasy’ (the bawdy, gritty world of Kander and Ebb).

Each revue-style sketch is essentially the same, centering around youthful ingenue June (Laura Murphy), who can’t pay the rent to her villainous landlord, Jitter (Steven Suepaul/David Cardinal). Will her boyfriend/admirer Willy (David Cardinal/Steven Suepaul) come to her rescue? And what good advice will her older friend/neighbour Abby (Kayla Rankine) be able to offer?

This opening-night production is a lot of fun. It features tuneful songs, jokes, and groans aplenty performed by a dedicated cast that really sells the shenanigans.

The format steals from the ‘Forbidden Broadway’ series mocking mega-musicals since the early 1980s.

Make no mistake – you need to know your musicals to get the gist of what’s going on.

Fortunately, I do – mostly.

Unlike ‘Forbidden Broadway’ which replaces recognized classic tunes with hilarious new lyrics, ‘Musical’s’ tunes are skewed, played as ‘sound-alike’ versions – similar to the original without being the original.

This is where the non-musical theatre folks may be left scratching their heads and wondering what show is being riffed.

Additionally, the five vignettes segue into each other without the benefit of a narrator or storyteller. I was missing some pre-show context, pouring over the program in vain, looking for something to identify each segment, composer and song being roasted. If you don’t know your musicals well, this omission might confuse. Though initially clever, this follow-through threadbare theme of not being able to pay the rent starts to feel strained, obvious and contrived by the end of the first act.

What the book and music lack in structure, the cast and artistic team more than make up for in enthusiasm and a dedicated desire for everyone to have a good time, themselves included.

Carey Nicholson’s set design is simple and functional – an upstage framed curtain lit like a theatre marquee provided practical entrances and exits. While occasionally wobbly, the frame effectively masked the backstage area. Small props such as chairs, easels, and shoes (to name only a few) are easily brought off and on. Nicholson does triple duty as costume designer, placing the performers in a simple base of black T-shirts, dresses and pants. From here, the cast adroitly slip in and out of additional hats, vests, capes (again to name a few), identifying their musical personas and variations from one vignette to the next.

Lyle Corrigan’s direction is fast-paced and fun. He places his dynamic cast effectively on the stage and has coached them well on when to ham it up, go more tongue-in-cheek or just bask in the silliness. I appreciated the upstage riser, providing levels in various scenes. Hats off to Corrigan’s unabashed inclusion of the backstage crew as on-stage helpers, dangling strings of plastic birds and swinging a plastic chandelier before crashing down to the stage. I am not a fan of backstage crew visible during a show, but I almost wanted to see more in this campy sendup. Corrigan’s lighting design is a kaleidoscope of colours and hues, aptly enhancing the mood in each scene.

Musical Director Carol Salamone is a star on the keyboard. Not only is her accompaniment spot on, but she also deftly creates excellent ensemble harmonies and ensures focused, clear articulation on vowels during solos and duets.

Karin Mahoney’s choreography nicely enhances each segment simply and effectively. However, the finale ‘Done’, a parody of ‘One’ from ‘A Chorus Line’ disappointingly lacked precision compared to some other numbers. Undoubtedly, this cast of uber-talented community theatre veterans will prop up the pace and find their stride as performances continue.

As ingenue June, Laura Murphy is sweet and innocent with a pretty voice and spot on comedic timing. Her ‘Liza with a Z’ spoof in Act 2 garners lots of laughs. David Cardinal as boyfriend Willy and evil landlord Jitter is a formidable and funny baritone. His country-bumpkin romantic lead as he riffs ‘Oklahoma’ in the opening Act 1 number ‘Corn’ is delightfully goofy.

Steven Suepaul, also playing Jitter and boyfriend Willy, is hilarious without taking himself one bit seriously. He seizes his villainous personas with glee – a great voice and lively to watch. Kayla Rankine as Abby has a joyful command of all her over-the-top characters (LOVED her ‘Follow Your Dream’ in the style of ‘The Sound of Music’ and her delicious ‘Did I Put Out Enough’ in the style of ‘Mame’). Rankine shows her full range as a dramatic soprano and powerhouse belter.

The cast work well together, and all have tremendous power in their vocals; however, when the entire ensemble of mic-ed-up big voices starts belting out their tunes, the amplification is a tad overpowering, sadly sacrificing some of the intimacy. The Theatre on the Ridge tent has great acoustics. I’m sure these voices would sound fine without enhancement in such a small space.

‘Musical of Musicals: the Musical’ requires some serious staying power and extended energy levels from this cast. Keeping this train rolling at full steam for almost two hours is no easy feat. The cast lost much of its steam on this opening night throughout the second act. Like a tire with a slow leak, scenes seemed to be moving slower, and cues were not as tight. Again, I’m sure the pace will become propped up once the run catches its breath and shows continue.

Despite its structural flaws, Theatre on the Ridge’s production of ‘The Musical of Musicals: the Musical’ is hugely enjoyable. It’s a fluffy, fantastical farce with a cast that shines individually and as a group.

If you’re a musical theatre buff, you’ll find this show a gem of clever lyrics, puns and stabs at some of the most prolific composers.

Summer theatre the way it should be.

Running time: approximately one hour and 45 minutes with one interval/intermission.

‘The Musical of Musicals: The Musical’ runs until July 27 at the Scugog Shores Museum Village, 16210 Island Road, Port Perry.

For tickets: theatreontheridge.ca or call (905) 431-0977.

THEATRE ON THE RIDGE presents
‘The Musical of Musicals: The Musical!’ by Eric Rockwell and Joanne Bogart
Directed by Lyle Corrigan
Musical Director/Pianist: Carol Salamone
Choreographer: Karin Mahoney
Lighting Design: Lyle Corrigan
Lighting Operator: Ari Leroux
Sound Design: Lyle Corrigan
Sound Operators: Lyle Corrigan and August Hofbauer
Props/Costume Design: Carey Nicholson
Stage Manager: Amanda Cook

Performers: David Cardinal, Laura Murphy, Kayla Rankine, Steven Suepaul