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| DIE MOMMIE DIE! |
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Uptown turns deliciously campy with 'Mommie' by Lawson Taitte, Dallas Morning News 4/16/2007 ©2007 In the golden age of Italian opera, every diva had a claque – that fervent group of fans who would rave and shriek every time she stepped onstage. You know that Coy Covington is the real thing, a genuine diva, because the moment the doors part to reveal him in his fabulous costume as Angela Arden in Uptown Players' Die, Mommie, Die! a roar goes up in the audience. The actor is playing the role Charles Busch wrote for himself – that of the Hollywood movie star – in his mordant satirical homage to another golden age. Posing just so to make sure his profile hits the light, growling his sibilant consonants, Mr. Covington single-handedly revives the glory of Joan Crawford and Susan Hayward – maybe mixed with a bit of Doris Day and even James Cagney thrown in for good measure. As Friday's opening proved, Ms. Allen has come up with an excellent cast in this campy retelling of the ancient Greek story of Clytemnestra and her brood. Jim Johnson plays Angela's coarse husband, producer Sol Sussman, and Nancy Sherrard is Bootsie, the maid with a few secrets of her own. The younger generation is particularly strong. Daughter Edith is hung up on Daddy Sol, and Leslie Patrick proves less is more through cunning underplaying. As her brother Lance, the not-quite-all-there mama's boy who just gotten thrown out of college, Chad Peterson succeeds by means of the opposite strategy – he goes for broke with every shriek and gay double entendre. Perhaps best of all, Cameron McElyea plays Angela's younger paramour, Tony, as a cross between Bobby Darrin and Robert De Niro, a brooding, dangerous cool guy who's not above seducing his mistress' offspring when it promises an advantage. Uptown's designers have wrapped them all in trashy glamour. Wade Giampa's set reeks of old-time Hollywood, and Michael Campbell's lighting soaks the actors in perpetual silver-screen sunset. Suzi Shankle's costumes and David Zimmerman's wigs make you want to tack up posters of Nancy Sinatra and Lana Turner. Is Die, Mommie, Die! high camp or low? Both, simultaneously – and just the thing to earn Mr. Covington and his colleagues a whole new crop of fans. Laughing Mater / Mommie Dearest by Elaine Liner, Dallas Observer 4/19/2007 ©2007 To die for, that's what this Charles Busch comedy is. Coy Covington is the man in the dress as glam chanteuse Angela Arden, circa 1967. Or is it really Angela's twin sister Barbara in that hot pink hostess gown? Director Andi Allen gets her great cast into gear in a show in which no gesture is too exaggerated. Spoofing the styles of grand old movie stars past their prime—think Barbara Stanwyck, Bette Davis, Joan Crawford or Susan Hayward trying to seem hip in the hippie era—this is queer comedy á la mode. Keeping up with Covington are Cameron McElyea as a Peter Lawford-y tennis pro, Jim Johnson (looking like Phil Silvers) as Angela's husband, Chad Peterson as a cross-dressing, LSD-dropping son, Leslie Patrick as murderous daughter Edie and Nancy Sherrard as the crazed housekeeper. Big snaps to costumer Suzy Shankle for creating a wardrobe for Angela that gets its own round of applause on every big reveal. No subtlety required for Uptown's Die, Mommy, Die! There is no such thing as "too big" in a Charles Busch play, and this production isn't just over the top, it's exploding at the seams. Uptown goes to town with plays like this—a send-up of 1960s Douglas Sirk-style movie melodramas starring a man as the ultra-glamorous heroine. Only Dallas' own en traviste expert Coy Covington could so delectably convey the Stanwyck-ian allure of Angela Arden, an aging chanteuse cuckolding her fat movie producer husband (Jim Johnson) with a slick-haired but untrustworthy tennis pro (Cameron McElyea). Conspiring to murder her are slut-alicious daughter Edie (Leslie Patrick) and psycho-babbling son Lance (Chad Peterson). Uptown couldn't do Busch plays if they didn't have Covington, an actor who can convey in one twist of his perfectly lacquered lips both menace and mockery. In Die, Mommy, Die! Covington earns rafter-shaking laughter with his exquisitely timed gestures, precision-crafted head-snaps and, wait, just where is that key light? Oh, there it is. The plot of the show is too silly for words, but the silliness is what it's all about. Directed by Andi Allen, this one also boasts the most lavish costumes (designed by Suzi Shankle) of any Uptown show this season. When's the last time you heard a crowd ooh, aah and applaud for a Schiaparelli-pink sheath worn by a man? Die Mommie Die! by John Garcia, The Column and Talkinbroadway.com April 16, 2007 ©2007 Director Andi Allen certainly did her homework with this production. She must have watched allot of those old movies from the period to get the vibe, mood, and tone just right for this piece. You can see where she added careful detail to make us feel as though we are watching one of those classic films, but with camp thrown in. She wisely has her cast emoting and posing just like those movies. From a long walk to a chair and then simply just pose there, to the quick double takes out into the audience as though the camera was set there. The staging and blocking created by Ms. Allen for this comedy is perfection. One of the funniest staging pieces is that concerning Tony Parker, played by Cameron McElyea. He is shorter than Coy Covington (Angela) and Jim Johnson (Sol). So when it came to scenes involving lovemaking or confrontation, Allen constantly had McElyea blocked on the upper level to do these scenes, allowing him to be face to face with them. This resulted in some loud laughter in the audience. Ms. Allen has directed all of Mr. Busch's plays at Uptown, each one a major success. She can add this one as well to that glowing list. She clearly understands Busch's voice, themes, and subtext. She knows when to reel in the camp to keep it real. Ms. Allen's direction here is again highly impressive. The production elements for this production are just outstanding. Wade Giampa's scenic design screams 60s/70s chic. He has designed for the Sussman house the look of those long ago kitschy Beverly Hills mansions. It has rock walls, a protruding maple wood centerpiece, and the sunken living room space. There is even a curved staircase that is covered in white shag carpeting for that added touch. Suzi Shankle must have raided the closets of VALLEY OF THE DOLLS for her fantastic costumes. She has found materials and fabrics that fit the period like a glove. There are loud prints, short mini skirts, lace, chiffon, and polyester galore! The costumes created for Angela are in particular ravishing to look at. There are some gorgeous frocks here! There is a black gown of crepe and velvet sprinkled with rhinestones, a beautiful opening scene costume that would make Auntie Mame jealous, and a hilarious surprise for the funeral costume. Shankle also has created a light blue gown of chiffon that I swore I saw on one of the survivors from the 1972 version of THE POSIDEON ADVENTURE. Ms. Shankle knows costuming, and with this production she indeed shows her amazing gift, skill, and knowledge. Michael Campbell's lighting design once again proves that this guy knows how to light a play brilliantly. I first saw his talents with AN AMERICAN DAUGHTER at ICT, and here again he shows his vast scope of talent. He avoids dull, beige lighting, and instead floods the set with vibrant, rich color. Watch the magic he creates for the hallucination scene. But what I really do admire about his lighting is how he can focus and use light to single out a moment, a facial expression, or emotion. He also designed some marvelous lightening and the flashbulbs of paparazzi. His attention to detail here is faultless. Coy Covington heads the cast as "Angela Arden", the once famous movie star singer who is slowly regaining her voice back. She seems to struggle with a key change that makes her sound like a frog getting an enema. Covington commands the stage with dazzling stage presence that is wrapped in sublime comedic timing, pace, and delivery. He can say the simplest line and have the audience rolling in laughter. You cannot teach subtext comedy like that folks; it's a gift, which Covington has in abundance. This is not a "drag" role by any means. Any man can put on a dress and be funny, it takes a damn good actor to make the audience forget he's a man and truly believe in him as a woman. That is Covington from beginning to end in this performance. He's more woman than some other actual women I've seen on stage! You honestly forget he's a male with his carefully detailed work. His walk, gestures, facial expressions, voice, & mannerisms all carry a delicate feminine overtone. Covington brings into his characterization components of such Hollywood divas as Barbara Stanwyck, Joan Crawford, Susan Hayward, Faye Dunaway, and Bette Davis. Hell, he even throws in a little Mama Rose to boot! Mr. Covington provides a comedic tour de force performance here. Jim Johnson easily delivers the funniest performance I have seen him give in a long time. He has fashioned on him a nose that looks like he ripped it off a Toucan and a horrifying comb over that would make Donald Trump lend him one of his back up pieces to cover it up. Now add some Buddy Holly glasses, a booming bass voice, a Jewish dialect, and some hilarious facial expressions and you have a scene stealing performance coming from this immensely talented actor. Johnson portrays "Sol", a Jewish man who owns a decaying movie studio and who has such awful constipation you're surprised he doesn't come on stage with a porcelain toilet attached to his rear end. Johnson uses his comedic tools to build a solid, satisfying, and hysterical performance. Also providing major laughs within the evening is Cameron McElyea as the seducing stud with the huge qua-qua, "Tony Parker". Is it just me or does McElyea sort of look like a young Robert De Niro in CAPE FEAR in this production? McElyea has a smoldering aura that is topped off with seductive facial expressions that resemble a porn star's come hitherto. There is much discussion and reference to his character's …um… "hoo-hoo" that McElyea uses to hysterical effect. His comic timing, pace, delivery, and facial expressions are in complete sync with his acting craft that create a rip roaring performance. Rounding out the cast of whackos who also provide terrific performances are Chad Peterson as "Lance Sussman"; Leslie Patrick as "Edith Sussman"; and Nancy Sherrard as "Bootsie". Peterson's character is the stoned hippie son who adores his mother but loathes his father. Oh and he's gay, which doesn't sit well with his hook for a nose father. Peterson bounces with zany, frenzied energy and keeps his character floating on a pot swirling cloud resulting in a mirth provoking performance. Ms. Patrick is the sex kitten daughter of the Sussmans. She loves her daddy (but maybe in the wrong way!) and purrs whenever he's the room. For added fun, the actress teeters on some rhinestone-incrusted heels that you know came from Cha-Cha Di Gregorio, who is the best dancer at St. Bernadette's. As "Bootsie", Nancy Sherrard creates an amalgamation of Margaret White (Carrie's mom), Mrs. Garrett from FACTS OF LIFE, and Rosemary Ackerman from SERIAL MOM. In fact, She actually does sort of resemble Mary Jo Catlett, the actress who played Rosemary in the film. Sherrard throws out religious quotes from out of thin air, as though she was flinging out confetti from a Billy Graham grocery bag. As for problems in the production, they were minuscule at best. A few flubbed lines and some pace issues in the second act, but that comes with opening night jitters, which will be long gone by their next round of performances.Uptown Players has yet to produce a flat out failure in their short six-year history. I've yet to walk away from a show produced there being completely disappointed or bored with. They bring the best talent in actors, directors, and designers, and so on to mount superb, thoroughly entertaining theater. This production is no exception. DIE, MOMMIE, DIE! will have you grabbing your sides from laughing so much that I strongly suggest you stretch before entering the theater. But hurry and get your tickets, because this show will easily become another smash sold out hit for Uptown! Who knows, maybe Angela Arden might even autograph her Christmas album for you personally! GRADE: A+ 'Mommie' Queerest by Arnold Wayne Jones, Dallas Voice 4/20/2007 ©2007 Filmmakers, playwrights and TV shows from Todd Haynes to Carol Burnett have exploited the parody potential of [Ross Hunter-Douglas Sirk potboilers], but none with such vigor as Charles Busch, and Uptown Players' production of his "Die Mommie, Die!" captures the outrageousness of the humor and melodrama with superb style. Stealing bits of plot from "Dead Ringer" and "Leave Her to Heaven," it tells the plot of former singing star Angela Arden (Coy Covington, channeling Davis, Crawford and Susan Hayward in equal parts) to murder her movie mogul husband (Jim Johnson) so she can marry her gigolo boyfriend (Cameron McElyea, who slides across the stage like a human oil slick). Her weapon of choice: Poison in an oversized suppository that looks like a burrito from Chipotle. The design is pitch-perfect — the set a mid-century modern Hollywood Hills glamour pad full of leopard-print upholstery, slate fireplace and shag carpeting on the stairs, the costumes (lots of them) all go-go boots and and faboo eveningwear. Director Andi Allen gleefully encourages her cast to chew the scenery with delightful hamminess, but Covington dominates the show. He's patented the tragic-diva act: The tortured woman who nevertheless always manages to find her key-light. He can turn any line into an announcement plump with meaning. Its yet another triumph for him — and for lovers of high comedy done right. |