It was impossible to miss the advertising for the latest First Year Players' production, "Kiss Me, Kate." For those of you who just treaded on the chalk ads and passed by the posters, shame on you! "Kate" was a fantastic grouping of first-year talent organized into a successful and hilarious musical.
Staged as a musical within a musical, the situation was not as confusing as I had anticipated. Bright, reversible backdrops represented the two worlds: on and off stage. The offstage reality consisted of the dressing rooms of Fred Graham and Lilli Vanessi. The onstage backdrops were great splashes of color complimented by a brightly clad ensemble. In a way, the jester-like appearance of the stage reflected the situations both on and off stage.
"Kate" takes the idea of a reality-based musical one step further. Unintentionally, the characters control the climax and resolution of the play they are performing. The climax heightens during the play-within-the-play's intermissions. Fred and Lilli, once married, currently have a love-hate relationship. They can tolerate each other, but for short periods of time only. Lilli (Kate Roehr) plays the role of the self-absorbed actress, while Fred (Adam Segaller) is the true definition of a stage actor - he puts on a "Mighty Mouse" facade when he appears on stage.
The fictional company's musical appears to be running smoothly until a final argument drives Lilli over the edge. She decides right then and there (in the middle of the production, nonetheless!) to end her theatrical career. Just as this occurs, Fred's past catches up with him. Struggling with a gambling problem, Fred finds himself in debt. And who better to confront him than two gangsters, Jules Fanucci (Fang Du) and Samantha Mane Elizabeth Viti (Rachel Bradshaw). Providing plenty of comic relief, Jules and Samantha arrive at the scene to "rough up" Fred for the lost money. Fred makes a deal with the two troublemakers - keep Lilli in the performance, and they'll get the cash.
Now the stage is set for insanity. Lilli sings of hating men, Samantha and Jules make random appearances and all the while Fred tries desperately to cling to the remains of the script. I can only imagine what the production's "audience" must have been thinking.
The multi-talented First Year Players made "Kate" the great comedy it was meant to be. Each character was perfectly cast, particularly in regard to their singing abilities. Stephanie Gepford hit every deep and seductive note in her portrayal of Lois, while Kate Roehr matched the high, strong notes of Lilli. The strength behind David Peck's voice was greatly appreciated when he sang "Bianca" as Lucentio - he projected his voice so well that everyone could hear, even the poor souls in the rear of the building.
The actors that formed the ensemble were a perfect blend of voice ranges. The male and female voices complemented each other and were strong enough to be heard clearly. To those performers who did not have the pleasure of a microphone, I congratulate you. Your vocal strength and articulation were superb.
The orchestra was a knockout. Not only were they completely in step with the performers, but also their Overture and Entr'acte were flawless. But the abrupt end of the music after the sets were changed only hindered the musical. Throughout the play, I also noticed that the orchestra's accompaniment sometimes overpowered the performers. However, Petruchio's song, "Where is the Life That Late I Led?," was a great representation of the harmony between orchestra and vocalist. The song was performed perfectly on both levels.
Comic relief was in full swing in "Kate." Samantha and Jules were not the only ones who got laughs - Lois (Stephanie Gepford) and her suspender-clad men brought down the house in "Always True To You (In My Fashion)."
The show would not have been complete without Lilli's fianc
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