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The Wild Party

‘The Wild Party’ Review – Dare to Defy Productions – Revenge & Revelry

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Dare to Defy Productions terrifically explores the brutal depths of an extremely complicated relationship in its vibrant and sexy presentation of Andrew Lippa’s 2000 off-Broadway musical “The Wild Party,” adapted from Joseph Moncure March’s 1928 narrative poem of the same name and staged inside the Mathile Theatre of the Schuster Center.

 

wild party

(left to right) Zach King (Burrs), Laura Ellen Moore (Kate), Natalie Sanders (Queenie), and Desmond Thomas (Black) are a conflicted foursome in Dare to Defy Productions’ presentation of Andrew Lippa’s Jazz Age musical “The Wild Party.” (Contributed photo)

In this Prohibition-era New York tale, Queenie, a sultry dancer, and Burrs, a vaudeville comedian, are dangerous, abusive lovers who have reached an emotional breaking point but can’t bear to live without each other. It’s a messy game, a vicious cycle, which worsens when Queenie asks Burrs to co-host a decadent party in their Manhattan apartment, ultimately exposing him for the louse he is in front of their eccentric friends. But situations take an unexpected turn when Queenie’s self-absorbed, drug-addicted best friend Kate arrives with the mysterious Black who falls hard for Queenie. As Queenie discovers a new soulmate in Black, and Kate attempts to ignite a spark with Burrs, the rowdy festivities tragically spiral out of control.

 
Lippa received a Tony Award nomination for his 2010 score of “The Addams Family,” but his best work thus far rests here with his tuneful array of vivid character numbers and ensemble-driven delights skillfully secured by music director Lorri Topping’s fine orchestra. In particular, Queenie and Burrs’ songs are engagingly introspective (“Out of the Blue,” “Maybe I Like It This Way,” “What is It About Her?,” “How Did We Come to This”) which enjoyably contrasts spirited anthems such as “Raise the Roof,” “A Wild, Wild Party,” and “Let Me Drown.” As librettist, Lippa’s work isn’t as sharp (some of the minor characters are either underwritten or underwhelming), but his firm, fully fleshed portraits of the two key couples effectively fuels passion and suspense as the dramatic action swells.

 
Director Mackensie King, guiding a cast of 15, absolutely ensures this party is indeed wild. Taking a cue from Queenie and Kate’s pact to approach the evening with “no limits, no boundaries, no compromise,” King amps up the gaiety, mayhem and danger by seating the audience on three sides for complete, impactful effect. Refreshingly, the audience is treated as intimate participants instead of mere observers. Trust me, when the cast sheds their clothes in Act 2 you might as well forget about your ideas of a comfort zone. Furthermore, choreographer Lisa Glover’s outstandingly vivacious and athletic choreography, filled with a fun, Jazz Age flapper essence and shades of Bob Fosse, works in tandem with King’s vision to splendidly heighten the show’s cheeky energy. My eyes were constantly drawn to nearly every movement particularly within the fascinating opening number chronicling Queenie and Burrs’ history (“Queenie Was a Blonde”) as well as the ensemble standouts “What a Party,” “Raise the Roof,” “The Juggernaut,” and “A Wild, Wild Party.” She also strikingly acts and dances the role of Nadine, a young girl who somehow finds her way into these debauched proceedings. Based on Glover’s fantastic contributions, I feel the urge to predict she will lead and choreograph “Sweet Charity” locally or elsewhere one of these days.
King’s cast is led by the appealing, credibly cohesive duo of Natalie Sanders and Zach King. Sanders, a vocal powerhouse, weaves a beautifully complex arc reiterating Queenie’s mind-boggling battle of being simultaneously disgusted by Burrs yet compelled by his charms. King, impressively expanding the breadth of his abilities, intensely attacks with intimidation and unsettling volatility befitting Burrs’ alarmingly unstable behavior. As Black, strong tenor Desmond Thomas is more sweetly sensitive than suavely seductive, but his chemistry with Sanders poignantly evolves in his heartfelt rendition of “I’ll Be Here.” As the feisty Kate, Laura Ellen Moore lacks full-throttle ferocity (her flashy introductory solo “Look At Me Now” is especially weak) but her vulnerability throughout is a plus. A.J. Breslin (mostly shirtless as knucklehead boxer Eddie) and Hayley Penchoff (ditzy Mae) are adorably spotlighted in “Two of a Kind.” As lesbian Madeline True, Samantha Creech winningly shares her longing for “An Old-Fashioned Love Story.” The flamboyance of Jeffrey Mack (Oscar D’Armano) and Brennan Paulin (Phil D’Armano) propels the comedy within “A Wild, Wild Party.” André Tomlinson (the mute Jackie) partners with Glover for a haunting take on “Jackie’s Last Dance” reflecting Queenie and Burrs’ destructive core. The cast includes Thomas Cole Schreier (Sam), Danielle Kubasky (Dolores), Jamal Caan (Max), and Amanda Carter (Daisy). King’s artistic team includes scenic designer Ray Zupp and lighting designer Derek Dunavent.
If you’re in the mood to let loose, don’t miss this daring, edgy showcase.

 

“The Wild Party” concludes today at 2 and 8 p.m. inside the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. Act One: 70 minutes; Act Two: 45 minutes. Tickets are $21.50. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com. Patrons are advised the show contains adult content.

 

‘The Wild Party’ Review – Wright State University – Love and War

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WILD PARTY

(l to r) Law Dunford, Paige Dobkins, Kelsey Pohl and Mark Beyer in Wright State University’s production of “The Wild Party” (Contributed photo)

The excellent local premiere of Andrew Lippa’s 2000 off-Broadway musical “The Wild Party,” adapted from Joseph Moncure March’s 1928 narrative poem of the same name, intimately electrifies at Wright State University.
Presented inside the black box Herbst Theatre, “Wild Party” focuses on the destructive, unstable relationship between vaudeville performers Queenie and Burrs. In an attempt to escape the monotony of their damaged existence, they decide to host a party in their Manhattan apartment. A colorful array of eccentric characters immerse themselves in drugs, booze and sex, including Queenie’s narcissistic best friend Kate, but everyone is thrown for a loop when the sophisticated Mr. Black, Kate’s mysterious date, becomes smitten with Queenie. What was intended to be a frivolous evening of decadence evolves into a dangerously heated game of survival as deep-seated jealousy and smoldering romance collide with tragic results.

 
In order to ground the show in period and tone, Lippa freely incorporates lines from March’s evocative poem, a conceptual element evident in Michael John LaChuisa’s musically challenging but masterful Tony-nominated version of “Wild Party,” which also opened in 2000. However, it’s difficult to find three-dimensional characters here aside from the four principals. There are many engaging contributors to the revelry at hand, but not enough backstory to propel them beyond the surface.

 

Nevertheless, Lippa’s catchy score, paying homage to the Jazz Age while embracing the contemporary, is the main attraction, particularly the salsa-tinged “Raise the Roof” and the gospel-flavored “Wild, Wild Party,” choreographed with crisp exuberance by Dionysia Williams. At the same rate, his introspective ballads are equally strong, especially the haunting, soulful quartet “Poor Child.” On the whole, the music is vibrantly performed by conductor Ian Benjamin’s five-piece band and well taught by musical director Sherri Sutter.

 
Director Jamie Cordes, whose first-rate artistic team includes set designer Ryan Sess, lighting designer Kody Lupori and movement coach Marya Spring Cordes (who directed WSU’s outstanding “Grand Hotel” last season), offers his most striking staging to date. Effectively capturing a few scenes in shadow for moody allure, he keeps the action fluid and gripping with a pinch of suspense as testy situations swell throughout the evening. He also ensures the compelling characterizations of the four leads, generating major sparks whenever the action focuses on them, are balanced by the sharply comedic turns of the terrific supporting and ensemble players.

 
The beguiling, effervescent and heartbreaking Paige Dobkins truly shines as the emotionally conflicted Queenie, especially as Mr. Black’s sincere advances cause her to question the life she has made with Burrs. Dobkins’ lovely rendition of “Maybe I Like It This Way” particularly resonates late in Act 1. Fine tenor Mark Beyer, who impressively understudied the role of the Baron in “Grand Hotel,” wonderfully inhabits the cruel, moody Burrs without going over the top or seeming false. It’s easy to label Burrs as a maniacal bully, but Beyer digs deep to reveal a more complex image of a man struggling with serious emotional and psychological wounds. As the calm, cool Mr. Black, Law Dunford possesses an intoxicating chemistry with Dobkins while exemplifying how to be suave without appearing slick. The marvelous Kelsey Pohl, remarkably making her presence known with the aptly titled “Look at Me Now,” lights up the stage as Kate, who pines for Burrs. Accented by a showstopping rendition of “The Life of the Party,” Pohl’s breakthrough performance, full of attack and uninhibited glee, paints an exceptionally vivid portrait of a desperate woman recklessly pursuing a love she can never obtain.

 
Elsewhere, Mathys Herbert and Kevin Ferguson (two additional highlights of “Grand Hotel”) hilariously intertwine as the flamboyantly fierce D’Armano duo. The tough, no-nonsense Tommy DiMassimo and the endearing Emsie Hapner are winningly paired as boxer Eddie and his dim-witted sweetheart Mae. Emma Jordan commands attention as lesbian Madelaine True, humorously desiring “An Old-Fashioned Love Story.” Brandon Ramos (Sam Himmelsteen), Tyler Simms (Max), Alyson Snyder (Dolores), Liz Romey (Nadine), Victoria Gilman (Jackie) as well as ensemble members Lauren Schorr, Bradley Farmer and Abby Murray Vachon add spice and personality to this captivating experience.

 

“The Wild Party” continues through Nov. 24 in the Herbst Theatre of the Creative Arts Center at Wright State University, 3640 Col Glenn Hwy., Fairborn. Performances are Nov. 22 and 23 at 8 p.m. and Nov. 23 and 24 at 2 p.m. The production runs 2 hours and 23 minutes including one 15-minute intermission. Tickets are $12 for adults, $10 for seniors and $5 for students. For tickets or more information, call (937) 775-2500. Patrons are advised the musical contains adult language and themes.