Reviewed by Marie J. Kilker
The Outlaws are the performers-composers who struck out against "factory
Nashville" (as they called
"corporate greed"), starting their own country and western music
movement and enterprises. Willie Nelson teamed up with Waylon Jennings and brought in Merle Haggard and Johnny Cash to
go their rugged ways at the center of the Outlaw Movement. Celebrating it at
FST, Michael Hicks introduces
silvery-haired, seasoned guitarist and husky-voiced Dominick Cicco; young, darker guitar-playing but smoother-singing
Alex Brume; and himself.
Lanky, light-haired Hicks explains things, tells jokes, and sings mainly with a
twang. He also manages a variety of instruments, including keyboard, harmonica,
fiddle, accordion.
Admitting the men to be not just plain outlaws,
Hicks joshes: "If there weren't no sinners, we wouldn't need angels."
That need is half filled by keyboardist Erica Aubrey, blond, flirty, and sexy
in a strapless bustier and gold-decorated denims. She often interjects women's
comments into the men's lyrical narratives, and manages a mean country yodel in
a few solos, notably "I Wanna Be a Cowboy's Sweetheart." Principal Angel vocalist is brunette Joanna
Parson. Her tailored black
jacket, subtly embroidered jeans, with red satin blouse and earrings bespeak
the simplicity she says she likes in her solo numbers, like "A Coat of
Many Colors." Dolly Parton
is honored among the Outlaws as well as with Angels Patsy Montana, Jessi Colten, June Carter Cash, and Kitty Wells.
If there's a predominant motif among the songs
presented, it may well be movement. Cicco's "Midnight Rider" is the first solo. Brumel walks Cash's famous "Line." Joanna Parson goes "Travellin'
Through." Part II of the
program has all five "On the Road Again" at the start and ends with them "On a
Fast Train."
As a whole, Hicks gets the most laughs by bragging
"It's Hard to Be Humble."
It's easy for him, as well, to get the audience to sing along. Since so many of
the songs tell stories, Musical Director Tony Marcus assures that the music never overwhelms the
lyrics, which Richard Hopkins
directs to have full dramatic impact. Simple velvet-topped, sheer cloth
backdrop and costumes are of Marcella Beckworth's design, while that of the light-filled finale
is Colleen Jennings'. Dean
Curosmith stage manages the
rousing, premier 90 minute show.