What others had to say*

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New shows
Hillary, Tuesday, January 13th, 2009
I just saw some of the comments here and was really surprised by the couple of negative comments about the premise. I, for one, appreciate a premise that challenges me to think a little and isn't just "Oh-ho the Wells Fargo Wagon is a-comin' down the street...." If all people were such limited … more thinkers we'd never know a play about a man in love with a goat named Sylvia. Or a musical about a town's sewage system. Or a classic about a woman with a cash register and a kid named Swiss Cheese (look it up, M and E). So, I'm glad they're writing their own shows because it means I might actually see something I haven't seen before. If I want to see Freulein Maria for the 1,000 time, I'll find a high school that's doing Sound of Music (again).

Eric King, Friday, December 5th, 2008
I agree with you Megan. I've been thinking the same thing for about two years now. It appears that MusicalFare can do whatever they want and no matter what we say it falls on deaf ears. Keep fighting the good fight Megan. I'm with you.

JAMESTOWN GALS
Jenn Verraros, Thursday, December 4th, 2008
This is in response to a post a few down from mine. I'm not quite sure why she's so upset. There are a lot of different kinds of theatre - dramas, musicals, comedies, and sheer entertainments. Not every show at every theatre has to have some deep inner meaning...or any meaning at all. Some shows … more are simply presented for entertainment. I don't know what she was expecting from a show called Jamestown Gals: The Music of Lucille Ball and Peggy Lee. To me, "The Music of Lucille Ball and Peggy Lee" pretty much told me it was a musical revue of some sort. I understood that it wasn't a biography, but a show about the music of these two women. As far as thinking that Musicalfare should "close its doors and re-group" and "stop writing your own shows," I'd have to question that. Is there another company which regularly (and "regularly" is the important part, here) makes an attempt at writing original musicals? No. Whether or not you happen to like each original show they attempt is subjective. You or I may not like something while others will, and vice versa. The important thing for me is that I LIKE giving them a chance to see what they come up with. If I don't like it, then I don't like it...but others do. It doesn't make me right or wrong. Plus, they also do shows of the "substance" some might prefer. Sunday in the Park with George is coming up. I'll attend that knowing the difference between it and something like Jamestown Gals. Maybe if someone's not fond of Musicalfare's new musicals they should only attend the shows that they know and will therefore know they will like. But for me, I like seeing and experiencing something new.

Artvoice review
Anthony Chase, Thursday, December 4th, 2008
Theaterweek JAMESTOWN GALS by Anthony Chase JAMESTOWN GALS: THE MUSIC OF LUCILLE BALL & PEGGY LEE is a musical revue that grew from a positively daft idea. It seems that both women came from places called Jamestown. Ball, from Jamestown, New York; and Lee, from Jamestown, North Dakota. … more That’s it. It’s a crazy idea for a musical revue and one that director Michael Walline might have done well to keep hidden, for the connections between the women are so tentative that they actually confuse the evening more than illuminate anything. And yet… This show is sheer delight, and brilliantly highlights the talents of everyone involved. Taking this unlikely starting point, Walline has been able to toss together an irresistible hodge-podge of music and attach it to some of the most gifted musical theater talent in the region. Walline’s own choreography is inspired, and the show is pleasing from the first phrases of its opening number: “Here’s to the Girls.” By the time he puts his gifted company through their paces with “It’s a Good Day,” you’re hooked. The focus is divided alternately between the boys and the girls, with Terrie George often standing in for the Peggy Lee numbers, John Fredo making a likeable Desi Arnaz, and Kelly Jakiel and Kathy Weese doing fine work with much of the Lucille Ball material. Fredo also does a Bea Arthur turn opposite Marc Sacco’s wacky Lucy, with both men in drag, in “Bosom Buddies” from Mame. Walline also makes divine use of Arin Lee Dandes, a sexy little porcelain doll of a girl with a soaring and wonderful voice. JAMESTOWN GALS is the sort of captivating evening that reminds us why there is MusicalFare. The talent lavished upon the project has taken generations to cultivate and is marvelous. Every member of the cast bursts across the proscenium like a star. Dandes with her exquisite voice; Fredo with his masterful showmanship; George with her confident moves; Jakiel with her irrepressible personality and sense of comedy; Sacco with his appealing playfulness and sense of fun; and Weese, who moves, dances, and wisecracks like nobody’s business. The band—with Allan Paglia at the keyboards, Dave Siegfried on the bass, Jim Runfola on the reeds, Jeff Cooke on percussion, and Larry Easter on the trumpet—is sublime. One could quibble with the occasional over-amplification of voices. The forced rivalry between the women in “Friendship” and “Sisters” misfires—it is impossible to believe that these ladies do not like each other, and their feigned fury to be on stage wearing the same dresses might better have been directed at the unseen costume designers. (The frocks, by the way, look terrific on everybody, including the men, and are lit wonderfully by Chris Cavanagh.) Great clothes by Loraine O’Donnell and Olivia Ebsary, who remind us just how very stylish the 1950s could be. Chris Schenk’s set is handsome enough for Hollywood. Forget that the show was inspired by Lucille Ball and Peggy Lee. Just go and delight in the marvelous local talent. It is unsurpassed on any stage, anywhere.

J GALS
Megan Townly, Wednesday, December 3rd, 2008
Talented cast, ridiculously stupid premise. Doesn't the MusicalFare theater company do theater anymore? Or is it this "pick a song any song" and we'll try to make it fit into some sort of show...and call it theater. You people should really stop writing your own shows and let the professionals do … more that. It doesn't seem to matter as long as you make money, right? This company should close it's doors and re-group. I can't be alone in thinking this? Someone, somewhere out there tell me you feel the same.

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