(l to r) Justin King, Mathys Herbert, Sierra Stacy, Taryn Lemmons and Riley Able in Grand Hotel
Forget London, Paris or Rome. Berlin beckons for the remainder of March, but a passport isn’t required. Just head to Fairborn where Wright State University brilliantly showcases its musical theater department to the hilt with a chorally sublime, stunningly designed production of “Grand Hotel: The Musical,” inspired by Vicki Baum’s 1929 period novel and adapted from the 1932 Academy Award-winning Best Picture of the same name.
Garnering 12 1990 Tony Award nominations including Best Musical and winning five, “Grand Hotel,” set in 1928 and staged with elegant theatricality by Marya Spring Cordes in the Tony-winning vein of its original director/choreographer Tommy Tune, features a book by Luther Davis (“Kismet”), music and lyrics by Robert Wright and George Forrest (“Kismet”) and additional music and lyrics by Maury Yeston (“Nine,” “Titanic”).
As a revolving door of colorful characters primarily cope with financial concerns fueling their desperation, opulent escapism unites them with results varying from euphoric to tragic. But at the glamorous Grand Hotel, where hot jazz scintillates and endless dance intoxicates, there remains the possibility of a new start, a new romance, a new hope. Even though the guests are experiencing a temporary high, it is worthwhile all the same. In fact, in the beguilingly lush tune “At the Grand Hotel,” dying Jewish bookkeeper Otto Kringelein, the only character you instantly root for marvelously embodied by Mathys Herbert in one of the best performances of the season, offers a stirring testimony to the magnetism of his retreat:
From the hospital to the town of Berlin
I have taken the train here to begin
My new life though quite soon that must end
But until that occurs I do intend to remain
I want to know that I once was here
While all my faculties still are clear
And check into my room as I planned
At the Grand Hotel
The sleek young men, the slender girls, they please my eyes
Perfumes from France and tropic plants around me rise
I listen to the swish of the silk, the tune the fiddle plays,
And I feel gay and warm and free
In this lobby past these gold-covered walls
Past the tapestries hanging I’ll walk miles of halls
I want to know that I once was here
While all my faculties still are clear
And break out of my shell, living swell,
At the Grand Hotel
The cast of Grand Hotel
The unbridled glee and resolve permeating throughout Herbert’s superb rendition of this delectable number is certainly an early hallmark of his delightfully sincere and life-affirming portrayal, culminating with a thrilling rendition of “We’ll Take a Glass Together” complete with a breathtaking transition revealing an expansive view of the hotel. Still, Herbert’s incredible appeal (so much so you’ll wonder why the curtain call doesn’t contain individual bows) doesn’t masquerade the fact that Davis’ dark, melancholy libretto is overstuffed with principal and supporting characters with differing degrees of likability and purpose, which has a tendency to keep the brisk, intermissionless action unfocused or at a chilly distance emotionally. Every subplot isn’t equally engaging or engrossing, which problematically chips away at establishing great depth or concern. Thankfully, each journey is at least interesting while adhering to the core theme of diverse souls intertwining for better or worse in extravagance.
Justin King, droll and sour, sets the proper tone as Colonel-Doctor Otternschlag, the cynical, opinionated overseer. The handsome Riley Able exudes dapper charm and frustrated anxiety as the cash-strapped, indebted Baron Felix Von Gaigern, but has difficulty with the soaring ballad “Love Can’t Happen,” one of Yeston’s most gorgeous yet demanding tunes. Taryn Lemmons, who has received expert dialect coaching from Deborah Thomas and is a bright bundle of promising bliss in “Bonjour Amour,” captivates as aging ballerina Elizaveta Grushinskaya, who visits Berlin on her eighth farewell tour alongside her devoted confidante Raffaela (an excellently understated, vocally enticing Beth Ann Wipprecht), company manager Victor Witt (Ian Benjamin) and Hungarian impresario Sandor (Casey Jordan). Andrew Quiett is fittingly imposing as ethically challenged businessman Hermann Preysing. Sierra Stacy, a fine singer, is attractively poised as Flaemmchen, the genial typist longing to trade her hard knock life for glitzy Hollywood stardom no matter the cost. Jon Hacker is very personable as Erik, the assistant concierge anticipating his son’s birth. Crisp duo Kevin Ferguson and Jordan Adams shine as two African-Americans named Jimmy tunefully considering “Maybe My Baby Loves Me.” Delee Cooper (The Countess) and Drew Bowen (The Gigolo) perform their ballroom routines with mature gusto. Kaitlyn Sage, Lizzy Miller and Amy Wheeler are perfectly perky telephone operators. Jacob Hudilston, Mark Beyer, Tyler Edwards, Cooper Taggard, Hannah Aicholtz, and Bradley Farmer are equally notable among the terrific ensemble.
Additionally, the production’s sleek ambience is cemented in Pam Knauert Lavarnway’s stylish set, D. Bartlett Blair’s lovely period costumes, Matthew Benjamin’s evocative lighting, and guest artist Suzanne Winland’s splendid choreography, particularly rising with an eerie allure during “The Grand Charleston.” James Dunlap’s first-rate sound design and musical director Scot Woolley’s outstanding onstage orchestra are also praiseworthy.
“Grand Hotel” impressively concludes Wright State’s 2012-13 season with a sophisticated finesse recalling its remarkable 2010 production of “The Light in the Piazza.” I can’t wait to book a new reservation because this dazzling display deserves to be seen more than once.
“Grand Hotel: The Musical” continues through March 31 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy, Fairborn. The musical is presented in 120 minutes without intermission. Performances are March 21 and 28 at 7 p.m.; March 22, 23, 29 and 30 at 8 p.m.; and March 24, 30 and 31 at 2 p.m. Tickets are $20 for adults and $18 for students and seniors. For tickets or more information, call (937) 775-2500.
The Dayton Theatre Guild
The Importance of Being Earnest
Beavercreek Community Theatre
The Dixie Swim Club
Composer Duncan Sheik and lyricist/librettist Steven Sater’s dynamic “Spring Awakening,” 2007’s Tony-winning Best Musical, receives an outstanding local collegiate premiere at Wright State University.
August: Osage County
The Spitfire Grill
The Drowsy Chaperone
Once On This Island
Mauritius
Spring break is over and now it is time for the students of Wright State University to hit the books for another ten weeks. The week break never seems long enough compared to the six week break we get between the fall and winter quarters, but what is nice is that it is a “break”. We don’t have tests or homework to worry about or work on, just selling back books and buying new ones with that money. So watch out, Colonel Glenn Highway is going to be busier this week than it was last week due to students frantically driving to campus to get to class on time. We’ll try not to cause too many problems.
The author of Push, the novel that became the Academy Award winning feature film ‘Precious’, will visit Dayton this month.
Push, Sapphire’s 1996 debut novel, tells the story of Precious Jones, an obese, functionally-illiterate 16 year-old mother struggling to escape a harsh life of neglect, abuse and incest.
Fifty years ago this month, four African-American college students entered a Greensboro, North Carolina Woolworth’s retail store, walked up to the segregated lunch counter, and calmly sat down in stools reserved exclusively for white patrons.
Franklin McCain, Sr., one of those “Greensboro Four”, will present “He Sat Down So That We Could Stand Up,” an intimate retelling of his memories of those historic days that ignited a movement.
