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Romantic leads failing to reflect much passion in Porthouse's revival
By Kerry Clawson
Beacon Journal staff writer
Published on Tuesday, Jul 28, 2009
Annie Get Your Gun isn't a whole lot of fun when the two romantic leads just aren't clicking.
At Porthouse Theatre, Fabio Polanco exudes neither the heartthrob charisma nor the vigor for us to believe that backwoods sharpshooter Annie Oakley would fall in love with his Frank Butler at first sight. The actor has a rich singing voice in his role as the gunslinging showman, but his demeanor is too laid-back for a guy who's supposed to be feeling torn about the woman who's turning his world upside down.
For much of the show, it feels like actress Kayce Cummings (as Annie) is doing most of the work in this relationship. She exudes a fierceness and ornery humor Porthouse audiences haven't seen in her primmer leading ladies of the past.
Her characterization becomes all the funnier because the normally ultrafeminine Cummings has truly transformed herself for this scrappy, buckskin-wearing role, from the manly way she stands with her pelvis thrust forward to her thick twang and rough talk as the uneducated Annie.
As Cummings' character takes on the show-biz life, her look changes to that of a dress-wearing lady. But she still walks wide-legged and her demeanor is still backwards, and for Cummings, that works.
The Porthouse production, directed by Terri Kent, is based on the 1999 Peter Stone revival of the celebrated Irving Berlin musical, which premiered in 1946 and was written for Ethel Merman. This version is presented as a play within a play, which works nicely as Marc Moritz's Charlie Davenport — the manager of Buffalo Bill's Wild West Show — announces each upcoming scene.
Stone revised the show to get rid of some of the more offensive Native American elements of the story line. But there are still enough crass Indian jokes to make you cringe.
The set by Nolan O'Dell has a rough-hewn vintage feel with its hand-painted, hand-lettered billboards illustrating Buffalo Bill's show. Victorian gowns by Judith Picard Cronk are stunning, especially the vibrant assortment worn by Frank's annoying assistant, Dolly Tate (Marianne Black).
Black is a delightfully dense villainess, and the commanding Dick Reiss is perfect as genial showman Buffalo Bill. Brian Duncan and Alyssa Bruno are adorable together as half-Indian Tommy and his sweetheart Winnie, who illustrate how obstacles to love can be overcome.
They're especially delightful in the jazzy duet I'll Share It All With You, which features nifty ensemble tapping choreographed by Black.
Everyone knows the famous tunes There's No Business Like Show Business, Doin' What Comes Natur'lly, You Can't Get a Man With a Gun and Anything You Can Do. (Polanco's finally riled up for the latter, and Cummings' Annie is wonderfully stubborn here.) But some of the lesser-known songs are just as fun, including the sweetly syncopated Moonshine Lullaby and the jaunty I've Got the Sun in the Morning.
Not to be forgotten are cute kid actors Lani Skelley and Courtney and Cameron Nelson, who play Annie's siblings. The little ragamuffins are a hoot on the jug, washboard and kazoo.
In this story, Frank's pride is constantly threatened because Annie has never lost a shooting match to anyone. Can our heroine keep her talent under a bushel to get or keep her man? Will she ever be softer and pinker?
When Cummings' voice cracks despairingly in Annie's reprise of You Can't Get a Man With a Gun, our hearts break along with hers. Thanks to Cummings, we care about how Annie finds her happy ending.
Arts writer Kerry Clawson may be reached at 330-996-3527 or kclawson@thebeaconjournal.com.
Annie Get Your Gun isn't a whole lot of fun when the two romantic leads just aren't clicking.
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