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| Xanadu the Musical |
| Xanadu at Level Ground: So bad it's nearly genius
By Joy Tipping/ Excerpted from Dallas Morning News Arts Blog 8/11/2011©2011 A fabulous touring production of Xanadu , the Broadway musical that spoofs the dreadful 1980 movie through Dallas a couple of summers ago. Level Ground Arts, doing the first regional production of the show, goes Broadway one better: Because Level Ground's budget is slim, the tackiness level skyrockets, and so do the laughs. Here, the more rat's-nesty the 1980s wigs, the better. The more ill-fitting and unflattering the costumes, the funnier. The more low-budget the props, the more you'll be spewing your soft drinks. That "pasted together with glue and feathers, by a 5-year-old at art camp" look has never been pulled off with more aplomb, reaching its apex with a pudgy, lopsided-winged papier-mache Pegasus. Extra kudos to director Bill Fountain, co-director and co-choreographer Andi Allen, and Ande Bewley, who came up with the props. The entire cast makes a fine art of inelegant goofiness, with Misty Venters drawling in a just-slightly-off Australian accent as Clio, the muse who tries to inspire human Sonny Malone into living his dream of building a roller disco. Angel Velasco, as Sonny, might as well walk around with a big blinking "DUH!" sign over his head, his aura of clueless vapidity is so perfect. Allen (yes, she's also IN the show) and Sara Shelby-Martin chew the scenery (literally, in Allen's case) as evil sister muses who plot against the budding romance of Clio and Sonny. All the muses are excellent, in fact, with a special nod to the male "sisters," Michael B. Moore and Marcus Jauregui. As Allen's character proclaims at one point, the whole thing is a little "like children's theater for 40-year-old gay people." Or anyone else, for that matter, who enjoys laughing so hard your eyes will hurt by the end of the show. Audiences will thank Zeus that it was Level Ground that set its cadre of warped minds on this one. The Pleasure Dome: It may not be stately, but LGA's goofy Xanadu is a great summer camp By Arnold Wayne Jones/ Excerpted from Dallas Voicce 8/12/2011 ©2011 Sonny Malone (Angel Velasco) isn't the smartest guy in the room — and that's probably true even when he's visiting the monkey house at the zoo. He's the prototypical himbo, the man who's at his best when he's just looking pretty and keeping his mouth closed. But Sonny does like to create art, and he sees it in chalk drawings on the sidewalk in Venice Beach as well as the opportunity to open a roller disco in 1980. That's when Kira aka Clio (Misty Venters), head Muse (of the Olympus Muses), intervenes. Her job is to inspire humans to create, though she's forbidden to let them know that's what she's there for or create anything herself. That's what counts as a plot in Xanadu, the very loose stage adaptation of the disastrous Olivia Newton-John film of 1980 better remembered for its soundtrack than for any recognizable dramatic energy. “This is children's theater for 40-year-old gay people,” one character cracks self-referentially, letting the audience know the actors are just as aware of how ridiculous, even inane, the whole undertaking is, but sallying forth nevertheless through a phalanx of puns and creaky one-liners. All of which makes Xanadu fun and completely frivolous. From the sassy black drag queens who are several of the Muse “sisters” to co-director and supporting player Andi Allen in cat-glasses and a Lucille Ball color-and-wave haircut circa Season 2 of Here's Lucy, it's a calculated send-up of Gen-X iconography told with enthusiastic silliness. This is Velasco's best stage work, as he projects adorable stupidity and naïvete. The rest of the cast is equally adept (it ain't easy dancing on roller skates), and this is Level Grounds Arts' most polished production since moving into the KD Studio Theatre. Oh. My. Zeus. Level Ground Arts has a hit on its hands with Xanadu By Mike Maiella Theaterjones.com 8/6/2011 ©2011 The musical follows the story of the muse Clio (Misty Venters), who decides to inspire a frustrated artist, Sonny Malone (Angel Velasco). Because Zeus (Danny Maguire) orders that muses must appear in disguise to mortals, Clio changes her name to Kira and takes on an Australian accent. Inspired by Clio/Kira, Sonny decides to turn an old theater into a disco rollerskating rink. But there is trouble when Clio's sisters, Melpomene (Sara Shelby-Martin) and Calliope (Andi Allen)—the muses of tragedy and epic—hatch a plan to have Clio banished. The two try to get her to fall in love with a mortal—an act that is forbidden by Zeus. As with previous Level Ground productions, artistic director Bill Fountain as co-director (with Allen) has left his fingerprints all over this production. The show is littered with corny jokes and easy gags that at times make for some desperate attempts at a laugh (a lot of it is built into the show). But don't take that as disparaging. Fountain and company have created what will likely be one of their most popular shows. What keeps the show interesting is the constant movement, not only in the pace of scenes but in the physicality of the performers. One of the most impressive aspects is the use of roller skates. With the help of skate choreographer Kelly Holmes, Venters whizzes through her scenes with ease—all the while singing and speaking in a fake Australian accent. In the second act, she "rides" what appears to be a papier-mâché version of the winged horse Pegasus while skating. As the young artist, Sonny, Velasco gives a fine performance. Sonny is naïve and a ditz, and Velasco plays the part to the hilt. Xanadu By Clyde Berry, associate critic for John Garcia's The Column / Excerpted from The Column 8/6/2011 ©2011 A cult piece like this is well within the mission of Level Ground Arts who scored the regional premiere. In their scrappy, plucky, low-budget hands this production is likely to surpass Evil Dead as their patrons favorite show, and justly so. Xanadu is a comedic treat that would be a fun weekend outing. Directors Andi Allen and Bill Fountain milk every bit of camp and cheese from every line possible. The pacing is quick and the gags are tight. With minimal scenery and production elements, the narrative rests on the shoulders of the young cast. The energetic group does not disappoint. Allen's set design is a platform unit at center with some half flats that mask upstage exits. A few columns decorate the front of this main unit. It's bare but allows for multiple locations and space for dancing/skating. Lee Hartsock's lights are effective and unobtrusive. While there were significant and annoying microphone problems in the first half, most were corrected by the second. Costume Designer Lindi-Joy creates a palate of Greek attire in various colors for the chorus of men and women, all of whom play sister muses. Gods are in white robes, humans are in items that reflect the trends of the 1980's. Michael B. Moore's wigs are an excellent addition to these costumes. The clear standout of the show is Angel Velasco. Velasco nails both the IQ and physical character of Sonny without ever over-doing it. His timing is spot-on and his vocals are refreshingly his own. His singing is solid, especially in his middle and lower voice. With the entire story hinging on the audience loving this 80's dimwit, Velasco rises to the challenge and clearly enjoys the ride. Misty Venters as Kira (the Olivia Newton John role) has quite the challenge. Her character is written to be a satirical take on ONJ's performance in the movie. It's difficult to pay that homage and make the role one's own as well. Venters comes to life in the duet "Suddenly" with Velasco, and relaxes into a very comfortable, fun place that allows her to be goofy - physically and vocally - for the rest of the show. In perhaps the quasi-thankless role as the stick-in-the-mud, Lon Barrera makes the best of what he's given to do. Danny Maguire is the cold, corporate "villain" of the piece; Barrera is mean enough but isn't given the chance to really reflect on his past choices and have the time to evolve the character. Once Maguire loosens up, Barrera joins the glee and brings a new energy to the happy group. He navigates his vocals well and nicely executes a fantasy dance solo. Barerra also serves a fun turn as Zeus. As the comedic villains, Andi Allen and Sara Shelby-Martin are the baddies to root for. Shelby-Martin comes across as the leader of the duo with Allen as her Yes Man. Both of them plot, ad-lib, and dominate any scene they are in. Vocally the pair shine in "Evil Woman". Kitsch Bliss in LGA's Xanadu By Christopher Soden / Excerpted from Dallas Arts Examiner 8/2011 ©2011 Level Ground Arts can spin kitsch cinema into comedic gold. Rife with sunshiny glee, bouncy dance numbers, shameless puns and nudges to the ribs, Xanadu the Broadway Musical is bubbly, exuberant fun that's not afraid of self-parody or undiluted schmaltz. From the moment we meet Sonny Malone (discouraged sidewalk artist and denizen of Venice Beach, California) and we discover Clio and the other 8 muses are coming to his rescue, we know we're in for a dizzy, daffy ride that only LGA can deliver. Clio adopts a cunning disguise by acquiring powder pink leg warmers and an Australian accent (a nod to Olivia Newton-John). Her sisters, dressed in brightly colored togas, prance and leap, poised to help in any way they can. Except for two jealous sisters : Calliope (Andi Allen) and Melpomene (Sara Shelby-Martin) who conspire to cast a love spell on Clio and Sonny, and thus get her in hot water with Zeus. LGA doesn't always do comedy, but when they do, their mandate would seem to be : "the sillier the better." And that works just fine. The shtick between Allen and Shelby-Martin is comic bliss, and Ventners is GGG (game-giving-gaga) as Clio. The entire ensemble just overflows with cheerful, giddy spunk. The music is mostly Electric Light Orchestra and they sell those songs with confidence. Co-directors Billy Fountain and Andi Allen have a taken a marginal movie, blending a sharp and intuitive mix of camp, spoof and enchantment and launched the ship! |