“The Musical of Musicals, The Musical!”
Where: MetroStage, 1201 N. Royal St., Alexandria
When: 8 p.m. Thursday and Friday, 5 and 8:30 p.m. Saturday, 3 and 7 p.m. Sunday; through Oct. 18
Info: $45 to $50; 800-494-8497
Unless you’re a purist, who must have his or her “Oklahoma!” produced just as it first was in 1943, MetroStage’s “The Musical of Musicals, The Musical!” can’t help but surprise and entertain.
Creators Eric Rockwell and Joanne Bogart repeat a simple plot (young woman can’t pay her rent, evil landlord threatens, boyfriend helps) five times to present five stylistic amalgamations of some of the world’s greatest composers and librettists. The musical and verbal references are fast and furious, the puns outrageous.
“Corn — In the Style of Rogers & Hammerstein,” is set in Kansas, but there are lightning flashes of “Oklahoma!,” Siam, “Carousel” and the South Pacific. The next scene focuses on a maniacal artist who wants to kill all who don’t appreciate his art, as music reminiscent of Stephen Sondheim’s “Sweeney Todd” blends with bits of “Into the Woods,” scraps of “Company,” even a reference to “A Funny Thing Happened on the Way to the Forum.”
The tribute to Jerry Herman conjures up “Mame,” “Hello, Dolly!” and “La Cage aux Folles,” among others. For Andrew Lloyd Webber, Rockwell and Bogart create an over-the-top scenario, complete with crashing chandelier, Evita Peron and, naturally, a cat. Finally, Kander and Ebb are saluted in a speakeasy in Chicago. Although Nancy Scales Harry’s choreography is effective throughout the production, this segment most clearly highlights her creativity.
The musical is clever but its wit would be lost without MetroStage’s extraordinary cast. Donna Migliaccio brilliantly portrays everything from a corn-shucking farmer to a tipsy, extravagant Mame. Bobby Smith is hilarious as Sondheim’s murderous artist and the phantom of the opera. Janine Gulisano-Sunday particularly shines in the scene where she plays a combination of Evita and Christine. Matthew Anderson capably portrays everything from a corn-hungry farmer to a flirtatious Kander/Ebb chorus girl.
The fifth member of the cast is Doug Lawler, pianist and music director, who offers occasional stage direction. Director Larry Kaye has carefully kept the production a parody, without letting it slip into satire, a reminder that in “Musical of Musicals, The Musical!” imitation can be a charming — and very funny — form of flattery.
