© The Wichita Eagle
June 14, 2002
Music Theatre of Wichita's "Will Rogers Follies"
by Bud Norman
Successfully mixing high-wattage show business spectacle with a cowpoke's down-home sense of humor, Music Theatre of Wichita offers a soulful revival of "The Will Rogers Follies" this weekend.
The Broadway hit of 1991 tells, in author Peter Stone's cleverly roundabout but ultimately accurate way, the familiar story of Rogers' rise from an Oklahoma ranch to vaudeville stardom, then Hollywood fame and legendary status as America's most beloved satirist. With considerable help from Cy Coleman's jaunty music and Betty Comden and Adolph Green's efficient lyrics, the show also tells a good bit about the Roaring '20s and Depression-era America that Rogers inhabited.
Under the freewheeling yet precise direction of Roger Castellano, who also conceived the often spectacular choreography, Music Theatre's production nicely updates Rogers' timeless philosophy and Florenz Zeigfeld's gloriously dated style to the '00s.
A strong cast certainly helps, particularly Wayne Bryan as Rogers. Usually behind the scenes as the company's producing director, Bryan steps forward with a compelling performance that wisely doesn't attempt to imitate Rogers' inimitable aw-shucks drawls but instead evokes the man's honest yet charming character. He also handles the songs well, and even manages to keep up with his youthful co-stars through Castellano's demanding steps.
Plenty of help is provided by the supporting cast, which includes an impressive routine by former world champion trick roper Felix A. Lopez.
Tracy Lore is effectively sweet yet convincingly tough as Rogers' faithful wife, Betty Blake, and her gorgeous voice is a musical highlight of the show. Nicholas F. Saverine adds more good singing while making Rogers' disapproving father, Clem Rogers, seem likeable and loving. Local favorite Barb Schoenhofer adds another outstanding performance to her resume, with her saucy comedic style and seasoned sexiness perfectly suited to the chorus girl known only as "Zeigfeld's Favorite."
Space won't permit specific mentions of the four handsome dancing wrangler s, four cute kids and 14 improbably beautiful "Zeigfeld Girls" who fill the stage in such an attractive manner, but suffice to say that they all meet the challenges of Castellano's choreography and Paul Christman's rousing musical direction in fine form.
The production values are conspicuously strong, from Tony Walton's attracti ve sets to David Neville's evocative lighting, but Willa Kim's elaborate costumes deserve a special rave.
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