OUT OF THIS WORLD

OUT OF THIS WORLD (1950): Music & Lyrics by Cole Porter; Book by Dwight Taylor & Reginald Lawrence; Revised Book by Greg MacKellan; Directed by Greg MacKellan; Musical Director: Dave Dobrusky; Choreographer: Jayne Zaban. 42nd Street Moon, Eureka Theatre, 215 Jackson (btw. Battery & Front), San Francisco, CA. 415-255-8207 or www.42ndstmoon.org. June 5–29, 2008

A MYTH IS GOOD FOR SMILES

Rather than confuse the audience about “who is who” in this hilarious send up of Greek mythology, Mercury (fantastic Steve Rhyne), son of Jupiter (muscular, dominating CJ Blankenship) and messenger of the gods introduces the main characters and continues throughout the play keeping us informed, adding sly comments, about what is happening. Since the gods are able to change their forms, this is a necessary ploy that works to perfection in Greg MacKellan’s extremely successful revised version of Cole Porter’s “Out Of This World.” Mercury’s last lines remind us that all this is myth and “A myth is a good as a mile.”

The original production in 1950 was reflective of a miss being as good as a mile when that production closed after 157 performances. There have been revisions since that time but it is MacKellan’s rewrite for 42nd Street’s production in 2000 that won the jackpot and was a smash hit then, and when it played at England’s Chichester Festival in 2004. MacKellan wisely reunited multitalented Darlene Popovic in the role of Juno, Steve Rhyne as Mercury and statuesque Stephanie Rhoads as movie star Helen Vance, the object of Jupiter’s lechery. Their marvelous deportment in the earlier production has been almost honed to perfection in this present incarnation. Rhyne’s charming smile, clear tenor voice and exuberance is infectious, permeating the show, requiring equal response from the entire cast.

This romantic farce starts with Mercury explaining that even though the action takes place in Greece, the gods have Roman names because Cole Porter wanted it that way and after all he did write the songs. Randy, raunchy Jupiter has a sexual yen for a Hollywood star, Helen who is engaged to Art O’Malley (very competent Bill Olson) and Mercury is sent to make the arrangements for his father’s visit. He cons Helen into a trip to Athens in their charming duet “Use Your Imagination.” The gods descend from Mt. Olympus with Jupiter taking the form of Art O’Malley, wife Juno in hot pursuit guarding Helen’s door. It is madcap from here on but this revision adds clarity and panache creating an evening not to be missed. Added to the pleasure of this staged reading are bright costumes (Louise Jarmilowicz), Dave Dobrusky’s fine piano interpretations supported by Nick DiScala playing reeds that include saxophone, clarinet and flute. The entire cast is “off book” allowing choreographer Jayne Zaban to stage her best dance moves to date.

Darlene Popovic’s Juno, who is about to be cuckolded, dominates the stage with her singing and multilayered comedic acting. She is a master at the double-take, the twist of her head and the delivery of one-line zingers. Her rendition of “Nobody’s Chasing” me is a sparkling gem. Megan Cavanagh as gossip columnist Isadora St. John is a perfect foil for Popovic and their duet “I Sleep Easier Now” is a showstopper. Stephanie Rhoads, dressed in stunning attire carries the love interest with her melodic voice and charm beginning with “From This Moment On” in a duet with versatile Bill Olson, and then solo with “No Lover.”

Other gods and goddesses (in order of appearance) include Diana, Virgin goddess of the hunt milked for all its laughs by Kristin Clippard. Apollo, god of the Sun has been recreated as a flaming gay man with stereotypic perfection by Michael Cassidy. Peter Budinger as Mars, god of War, has the physical stature for the part and his transformation, under Isadora’s guidance, to potential movie star is deserving of an accolade. Bacchus (Andrew Willis-Woodward), god of Wine, Minerva (Lillian Askew) goddesses of Reason, and goddess of Night (Brandy Collazo) are equally adept in ensemble type roles when the double as mere mortals and the Greek Lasses sharing “They Couldn’t Compare to You” with Rhyne. The best for last is sexy Dyan McBride as Venus, goddess of Love, always dressed in red, who can stimulate your lesser virtues, or is it basic instincts, with a simple, sultry “Hell-oo.”

Juliet Heller playing non-goddess Chloe has charm, beauty and an excellent voice that is a perfect match for Rhyne and their duet “Cherry Pies Ought to Be” is a refreshing jewel. Her rendition of “Maiden Fair” and “Where, Oh Where” are equally memorable. She joins Rhoads and Popovic (Helen and Juno) in the satirical “What do You Think About Men?? In the original Broadway show David Burns shared the stage for “Cherry Pie Ought to Be You” but his part was written out but never fear Rhyne and Hiller (Mercury and Chloe) put their expertise into that song.

MacKellan takes a page from “A Funny Thing Happened On the Way to the Forum” with a hectic chase/dance variation of “Nobody’s Chasing Me” after Popovic sings the song and stands off stage watching the frenetic action. There is much singing, dancing and cavorting to keep your spirits up with entire cast first belting “I, Jupiter, I Rex” with bawdy, Blankenship strutting his best. Then they have the fun of a bacchanal for the first act curtain, only to return with Isadora and Juno to “Climb Every Mountain” to open act two.

Courtesy of TheatreWorld Internet Magazine.