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with an insurmountable obstacle.
Doug Bywaters was most unlikeable (as this role demands) in the part of Horace Vandergelder. He made the most of the one song allotted him, “It Takes a Woman,” in which he emphatically expounded his outlook regarding females: “A man wants a fragile woman to bring the sweet things in life.”
Slowly stripping off his rigid manner and stern facade, Mr. Bywaters let the audience know that Vandergelder’s brain would soon be filled with thoughts of a woman neither fragile nor sweet—Dolly.
Screwball Comedy
Rusty Settle and Ginger Eidson portrayed a young couple who desire that holiest of unions—matrimony. The parts were small but their masterful handling made their presence largely felt. Ms. Eidson was a scream as a scatterbrained, hyperemotional ocean of tears. Her hacking wail reminded me of the days of Carole Lombard and the best of screwball comedy.
A major portion of this musical has to be carried by the demanding roles of Mr. Vandergelder’s clerks. Brian Fitzek as Cornelius Hackle and Chris Hitt as Barnaby Tucker admirably rose to the occasion. Their antics as the two men who discover changed ambitions and wider horizons let the audience know that something dull had ended and that something awkward but excitingly new was beginning.
The way these two young men played off each other was situation comedy of the highest order. It should also be noted that Mr. Fitzek has a pleasantly toned voice, the limitation of which he never exceeded.
Sharon Settle as Irene Malloy and Dawn Watson as Minnie Fay were stunners as -the two hat-shop women who became involved with the Laurel and Hardy-type clerks from Yonkers.
Miss Settle, with a green eye shadow aglow, brightly colored pink hat and turned up nose, delivered a plaintive interpretation of “Ribbons Down My Back.” Her phrasing of the song was right on target.
Favorite Performer
My favorite performance of the night was given by Tanya Brown. When Miss Brown stormed on stage, //shc brought with her a charged emotional presence. Her portrayal of Ernestina Money as every woman who has ever reached out to identify with an unconventional man was just perfect. She painted a striking image with her joking and barking sarcastic asides.
In minor speaking parts, Judith Bloomer, Joe McCullough, Doug Nichols, Eric Niskanen, Tony Armentrout, Harvey Gordon, Bob Baines and Craig Kenyon all added to the production.
This musical has three dancing peaks and all of them were admirably styled and executed by the cast. Especially riotous was “the Waiters’ Gallop,” a choreographed number that included tumbling, summersaulting and Rappahannock’s own version of the Russian sailor’s dance. Special recognition is due Lilo Foster for giving a lilt, a beat and a pace to these
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