Xanadu

My thoughts on Xanadu or… ”Strange Magic” turns the Kalita into a Pleasure Dome.

Director Michael Serrecchia, fresh off of a giant success with Jekyll & Hyde at Lyric Stage, must never sleep because here he goes again, making Xanadu an insanely entertaining joyous romp.

Working with Music Director Adam C. Wright and his band who make all those Electric Light Orchestra hits from decades ago fresh and vibrant, Serrecchia mines the show for all its tongue in cheek, wink wink hilarity that is abundant in Douglas Carter Beane’s book.

The slim plot, based on the 1980 film of the same name with a screenplay by Richard Danus and Marc Rubel, concerns the muse Clio, who calling herself Kira and pretending to be Australian, comes to the rescue of the not so bright chalk artist Sonny Malone who is despondent over his latest artistic failure. Clio’s sister muses aid her, well except for two of them. An abandoned movie theater Sonny believes to be the perfect venue for all the arts to come together around a roller disco, is owned by Danny McGuire, a middle-aged man who loved Clio once long ago when she was calling herself Kitty and pretending to be a Southerner. In the course of refurbishing the theater into “the apex of the arts,” Kira and Sonny fall in love, provoking the ire of Zeus. There are complications before the inevitable happy conclusion. While the narrative is frivolous, it’s also over the top fun.

To make all this campy craziness work requires a cast that has excellent comic delivery prowess as well as excellent vocal and dance skills and this cast brings it all. And that includes roller skating.

Luke Weber, wearing a head band and short shorts so brief they would make a Pro wrestler blush, is Sonny Malone and Weber brings irresistible goofy charm to the character. While Sonny is not the brightest, he is hard working and optimistic. Weber is so at ease as Sonny. He breaks the fourth wall and speaks to us directly in such an endearing manner that we don’t even mind that he unknowingly insults us a time or two. He is the epitome of the 1980 California righteous dude in this winning performance that also showcases his powerful pop tenor.

Equal to Weber’s Sonny is Ally Van Deuren as Clio/Kira who spends most of the evening on skates. Van Deuren’s comic chops kept me constantly laughing. Her exaggerated Australian accent, her knowing glances at the audience, and one liners are golden. Her voice is perfect for the pop score and blends very well with Weber. Additionally, she is quite the dancer as she shows in a super dance/tap number with the terrific dancer and actor Christopher Nguyen who plays Terpsicore and Young Danny. She’s perky, playful, pink perfection in legwarmers and a great blonde wig by Michael B. Moore.

There’s no denying from the moment he appears on stage that Bradley Campbell who plays Danny McGuire and Zeus is a pro. His commanding voice at first makes McGuire appear to be a money grubbing, ruthless sort of businessman but Campbell skillfully reveals the softer side of McGuire who wanted to be a clarinetist and who loved Kira years ago when he knew her as Kitty. Even his threatening Zeus is able to be appeased.

As the eldest of the muse sisters, the muse of tragedy Melpomene, Tiana Shuntae Alexander is sensational and completely embodies the resentful, evil sister. Alexander, with her powerhouse vocals, knows how to make wicked fun and her duet of “Evil Woman” with Leslie Marie Collins as Calliope is a hoot. Collins, one of DFW’s finest comic actors, is an ace at both physical and verbal comedy but I didn’t know until this show that she does an awesome Jennifer Coolidge impression.

Stephanie Felton as Erato and Gena Loe as Euterpe are invaluable lending their excellent voices and presence to not only the muses but also the Andrews Sisters. wives of Zeus, and Sirens and play them all marvelously. And they are always a”muse”ing.

Landon Blanton is making his professional debut in this production as Thalia. He is a young man loaded with stage charisma and possesses a fine voice. He is also a showstopper delivering a one-word insult and then sashaying across the stage.

Another star of this show is the phenomenal choreography of Kelly McCain that spans so many genres of dance, I may have lost count. I know there is the high energy disco style, a Bob Fosse Chicago nod, ballroom, tap, forties, and eighties hip-hop. Oh, and how could I forget that final number on skates? I think Kelly McCain might just be Terpsichore for real.

The physical aspects of the show are also splendid. Dennis Canright’s wonderful art deco(ish) set of the abandoned theater suggests faded glory and Julie Simmons dazzling lighting makes the set (and everyone) look glorious. There is an amazing rain effect from Scott Guenther and Bryan Christensen’s sound keeps those ELO tunes coming at you. Suzi Cranford has the muses in mostly pastel flowing robes and catches the 1980’s California vibe as well. Her Chicagoesque costumes and the Andrews Sisters WWII outfits are also outstanding.

Uptown Players has a big crowd pleasing hit with Xanadu. It’s a high spirited, jubilant celebration of musical theater that even Kubla Khan would admire. And you’ll never see another show where the plot is resolved by legwarmers.

*A special shout out to the additional off-stage vocalists Geoff Lutz, Dave Mar, Johanna Nchekwube, and Micaela Workman. These sensational singers also understudy many roles.

Photos by Mike Morgan