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• "My One and Only" Review

  • Civic offers delightful 'One and Only'
    Friday, 4, 2004 in the Ann Arbor News
    BY JENN MCKEE
    News Art Writer
    The Ann Arbor Civic Theatre's production of "My One and Only" -fittingly, given its Gershwin score - 's wonderful.
    
    Anchored by strong performances in the two lead, and two featured, roles, the show tells the whimsical tale of Billy (Michael J. Mahoney), a Texas aviator who dreams of being the first to fly a plane non-stop from New York to Paris. His plan gets derailed, though, when he sees Edythe (Allison Pearlman), a channel swimmer-turned-showgirl. The two fall in love, though Billy's plane mechanic Mickey (Yael Hoffman) and Edythe's boss Prince Nikki (Matt Stempky) work to keep them apart.
    
    The score, not surprisingly, is lovely. The pit orchestra, however, while generally competent, sometimes played too loudly opening night, drowning out the actors and the lyrics. Also, in the longer numbers - noticeably "He Loves and She Loves" - the orchestra's tempo began to drag.
    
    The actors made adjustments gracefully, though, and mostly handled the many, many tap dance numbers with skill. Ron Baumanis, who directed as well as choreographed the play, is at his best when creating large ensemble numbers (the opening, "I Can't Be Bothered Now," is utterly stirring). To make the show's powerful energy palpable, Baumanis often places dancers at the front of the stage, near the audience, and the strategy works. Only during the "'S Wonderful" number does the choreography feel strained, stretched out to fill a long instrumental line.
    
    This same scene, however, is distinctive for its inventive handling of scenery: Set on a deserted island, it features a small trough of water, in which Pearlman and Mahoney splash, flirt, and dance. Kevin Gilmartin, the play's set designer, knows well that one need only suggest to communicate. To evoke a hangar, we see a stylized depiction of the back end of a plane. To evoke Morocco, we see a door that looks as though it belongs on an eastern temple. To evoke Penn Station, we see a tall girder. In this way, the sets efficiently call up the play's various locales while allowing the audience to concentrate on the show's core: music and dancing.
    
    Nonetheless, attention to detail elsewhere helps to place the audience in the roaring Twenties. Julie Butler, the show's hair designer, for example, does a fantastic job giving each character a different style while honoring the glamor of that era; and Susan Pearlman's drop-waist dresses and high-hemmed showgirl outfits work to underline this effect.
    
    Martin Contreras' bright, Cuba-themed pageant costumes are riotously over the top and fabulous. From a box-dangling, high fashion send-up, to a human-sized cigar, to a Chita Rivera fruit ensemble, these costumes highlight the play's charm, romance and self-aware humor.
    
    Two performers who got many opening night laughs were Hoffman and Stempky, who were terrific second fiddles to the leads. Stempky, speaking in a "Boris and Natasha" style Russian accent, exudes an engaging confidence, while Hoffman, dressed in a mechanic's jumpsuit and high heels (likely inspired by Rosie the Riveter), has great presence and energy.
    
    Mahoney and Pearlman, meanwhile, possess strong, clear voices that clearly mark them as the show's stars, despite the fact that the cast boasts a number of talented singers. The New Rhythm Kids (Rayona Young, Elise Stempky, and Lauren Auge) and the Ritz Quartet (David Beaulieu, James Groat, Brent Lofgren, and Jeff Steinhauer) both harmonize beautifully, and Madame Magix (Wendy Leininger) works vocal magic singing the title song.
    
    So although there were minor lighting and microphone problems opening night - as well as a highly uncooperative fake moustache -this feel-good musical fully achieves its aim to entertain, making theater reviewing nice work if you can get it, indeed.