AISLE SAY Florida
Against the bare brick walls are a huge screen for
projections, flats, costumes on a rack, groups of lights—all movable. Insets
can move on from the sides. A stagehand mops. These "set" and start a
backstage show, the professional interspersed with the personal story of
theatre and film star Ginger Rogers. From the later 1920s, when she won a
Charleston contest and an Orpheum circuit touring stint, "Virginia"
always aimed for higher use of her talents and rewards for her work. Backward
in High Heels traces her struggles to achieve, not least against the
cautiousness and attempted dictates of her mother, who was also her greatest booster.
The show highlights Ginger's musical movie-making, especially involving her
dancing (and sometimes off-screen differences) with Fred Astaire. It proceeds
to briefly covered appearances in non-musicals and significantly to her 1940
Oscar winning "Kitty Foyle" and acknowledgement of her mother's
importance to her.
As usual with most shows Asolo Rep presents, "The
Ginger Musical" is crammed with production values. "Fascinating
Rhythm" demands a workout not only from the dancing Ensemble and Ginger
(Anna Aimee White, impressing way beyond her Charleston stint) but lighting and
sound designers Jeff Croiter and Matthew Parker. Scene designer Walt Spangler
gives her the longest kitchen counter imaginable as she sings "I'm Putting
All My Eggs in One Basket." When "We're In the Money" comes up,
the entire stage goes 24 carat and gold rains down. Such a sensation could only
be followed by Ginger next teaming with Fred Astaire (suave Matthew LaBanca) in
"Shall We Dance?" and "Pick Yourself Up"—proving greater
simplicity can yet produce great eloquence. LaBanca acts more than looks like
Astaire, but pulls off a director and others quite believably.
A salient feature of Backward in High Heels is that only
White as Ginger and formidable actress and singer Elisabeth Ward Land as her
mother Lela play only one roll each. Along with LaBanca, three others alternate
in 27, including as stagehands. Craig Waletzko stands out as Ginger's dancing,
drinking, older first husband Jack Culpepper, though only a voice imitation
makes his Jimmy Stewart recognizable. Christianne Tisdale is a stitch as Ethel
Merman and can also smoke and pose like Bette Davis and Marlene Dietrich. Most
memorable of Benjie Randall's roles are Lew Ayres and a director. If Lela was
starchy but professionally competent (writer, teacher, financial handler) and a
geninely caring mother, then Land has her down pat. As for White, she sustains
exemplary energy and ability in all types of dancing required as well as the
heroine's emotional drive. Her performance borders on tour de force. However,
never did I feel I was watching Ginger Rogers, since White sounds, moves, and
looks very little like her. (Her contrast with Ginger's looks in a projected
movie poster is striking.) Alejo Vietti's costumes aim for simulation, true.
Hair styles don't. What's most missing? Sophistication.
The great Gershwins' music would be enough to recommend
Backward in High Heels to nostalgia fans. It's joined also by other classic and
modern show tunes to enjoy. Patti Colombo's choreography is all one would wish.
Luckily, music director Tim Robertson has a band of four to deliver the score
live. Having been developed by the National Alliance for Musical Theatre and
originally produced by Florida Stage, the musical play is being co-produced by
Asolo Rep with Arizona Theatre Company, San Jose Repertory Theatre, and the
Cleveland Play House. It would seem Ginger Rogers is as much a draw as ever.
Stage Manager: Sarah Gleissner. Time: 2 hrs., 25 mins.
w/15 min. intermission.