"Singin' in the Rain," now playing at 5th Avenue Theatre, makes a lovely splash. It's corny and clichéd, but the stage version of the classic 1952 Gene Kelly-Debbie Reynolds-Donald O'Connor film delivers plenty of charm and cheer. Basically, it's the same affectionate spoof of Hollywood's transition from silent pictures to "talkies," only performed live. And yes, it rains onstage during the title tune.
Betty Comden and Adolph Green adapted their screenplay for the stage, using the same unforgettable songs by Nacio Herb Brown (music) and Arthur Freed (lyrics). Freed grew up in Seattle, and on opening night at 5th Avenue his granddaughter was there to take a preshow bow.
Directed and choreographed by Jamie Rocco, this is the show for people who hate musicals. It's Hollywood, circa 1927. Kathy Selden (Christina Saffran Ashford), a plucky, stagestruck showgirl, accidentally runs into debonair silent-screen idol Don Lockwood (Michael Gruber). Sparks fly. As their love blossoms, Lockwood's vapid, self-centered, on-screen lover Lina Lamont pitches a hissy fit. And she's got the voice to do it: when she speaks, cats run for cover. Hoping to cash in on the groundbreaking success of "The Jazz Singer," the studio head decides to convert Don and Lina's current film project, "The Dueling Cavalier," into a talking picture. But no amount of coaching can disguise Lina's strident tones. As Don's pal Cosmo (Michael Arnold) says of her, "She can't sing, can't act, can't dance." So unbeknownst to the shallow diva, Kathy's brought in to dub Lina's voice. Of course, Lina finds out, and of course, she throws another fit. But she's no match for true love.
Although the entire cast is talented, the 5th Avenue production owes much of its success to the three talented leads. Does Michael Gruber fill Gene Kelly's shoes? He doesn't have to. Gruber has his own charisma, and he's got all the rights moves, down to the smallest detail - a wonderful singer and dancer who gives 100 percent onstage. Christina Saffran Ashford brings a lovely singing voice, a talent for tap-dancing and heartfelt sincerity to her performance as a girl with big dreams. In a thoroughly winning turn as Cosmo, Michael Arnold fills the promise of his solo "Make 'Em Laugh," exuding comic pizzazz as he runs into walls, runs up walls, runs through walls, does backflips and somersaults and taps up a storm. And his wit is as quick as his feet.
Seattle favorite Lisa Estridge has the chutzpah and comedic instincts for the part of Lina. And unlike the film, in the stage version, Lina gets a song - an old Kathryn Grayson-Frank Sinatra number, "What's Wrong With Me?" from the 1948 film "The Kissing Bandit." But inconsistencies in her vocal characterization keep Estridge's performance from being a runaway star turn. There's a fine line between shrieking and screaming, and she doesn't always find it.
As the nerdy, nasal diction coach, Stewart Gregory marvelously brings to mind Professor Oddly, the character played by Richard Haydn in the 1941 film "Ball of Fire." To show his versatility, Gregory switches into production-singer mode during the number "Beautiful Girl." And his melodious romantic tenor is absolute perfection.
Give ensemble player Kari Lee Cartwright a powder puff and she steals the scene without saying one word. Her character's in charge of powdering the actors' shiny faces during filming. Just before the director calls action and cameras roll, she steps up to Lina with delightful menace and whacks her in the face with the puff. And the bit gets funnier and funnier with each consecutive whack.
But it's the title number and signature rain scene at the end of Act One that make this musical truly magical. Gruber delivers it beautifully with Gene Kelly panache during a downstage downpour and with the trademark puddles, umbrella and streetlight. Though you've seen this scene countless times, you never fail to get a sentimental rush from its unabashed optimism.
There are other showstoppers, including "Make 'Em Laugh," the tap-sensation numbers "Moses Supposes" and "Good Mornin'," plus lovely old standards such as "You are My Lucky Star" and "You Were Meant for Me." And Don croons another song that wasn't in the film, a ballad titled "You Stepped Out of a Dream."
The reinterpretation of the Broadway Rhythm and Ballet sequence is the showstopper for Act II. Designed to show off Kelly's virtuoso footwork, this production number doesn't really have anything to do with the plot of the film or musical, but Kelly and Cyd Charise sizzled on film, and Gruber and Krissy Richmond create plenty of dance dazzle in the stage version.
Greg Barnes and Lynda Salsbury's costumes add stylish Hollywood glamour to the musical, while Michael Anania's set designs take you from movie-mogul chic to Broadway sparkle. Add a terrific orchestra conducted by Jeff Rizzo, and local filmmaker Michael Harris's tongue-in-cheek, silent movie segments. The dialogue is out of sync, the sound slows to a growl and the microphone turns every little noise on the set into a thunderous distraction, including the human heartbeat.
There are few surprises in this screen-to-stage crossover, but no disappointments either. As the show's feel-good finale reprises the title tune, the whole company dances onstage in yellow slickers, hats and galoshes and synchronizes their bright red umbrellas to the music. And of course, it's raining again - de rigueur for Seattle. Maybe we should take a page from "Singin' in the Rain" during those gloomy gray days of winter. All we need is an umbrella, a few puddles and a heart full of hope.[[In-content Ad]]
