Saturday, May 26, 2012

STEPPING OUT @ THE WELK THEATRE


“Stepping Out” at the Welk Theatre: Great Tapping, Plot Lacking

Words by Kristen Fogle

Richard Harris’ “Stepping Out” is the Welk’s latest (written in 1984 but set in 2011), with Jon Engstrom serving double duty as director and choreographer. The play has some admirable characteristics—strong actors that have well crafted characters, as well as some fun dance sequences—but the plot comes to a jarring halt just as soon as it thickens.

According to Harris, the inspiration for the show came from his late wife, the actress Hilary Crane: "My wife started her career as a dancer and she liked to keep her foot in, as it were, so she went down to the local dance class and when she came back she suggested that I should go and have a look as she felt there might be a play in it for me." From that experience Harris created the story about eight individuals from different backgrounds who meet for a weekly tap class. Over time, they come together and learn to tap—as well as a bit about each other.

Mavis is the dance instructor; the best part of the show involves a solo number Mavis does privately before class—actress Brenna Fleeman-Delay showcases her long dancer body and immense talent in this segment. Susan Boland is Mrs. Frazer, the grumpy accompanist who only shows her pleasant qualities in the last two scenes when she gets involved in the performances. In the class we have cute, kind, adorably blonde Lynn, played by Lauren King; Dorothy, whose high pitched whine doesn’t take away from her likability, played by Jenny Powell; and Rose, whose Jamaican accent and spicy personality are compliments of Crystal Burden. We also have cockney speaking, unflattering costume wearing, Sylvia (Megan Carmitchel); the outspoken, best-in-class shop keep Maxine (April Henry); painfully shy, socially awkward Andy (Deidra Mohr); high class, rubs-you-the-wrong-way Vera (Tracy Ray Reynolds); and the unsure of himself, almost as awkward as Andy, Geoffrey, played by Steve Owsley. All have taken the necessary measures to transform themselves into their character…this is not where the problem lies.

There are some wonderful characters, and for the entire first act we see the class getting used to the dance steps, each other, the idea of being showcased onstage…but we never really get any drama. Then, in the third to last scene (the last two scenes are tap sequences), we learn some intriguing things… Andy is interested in Geoffrey but gets rebuffed. (Why?) Sylvia’s beau, who is in the country illegally, has been detained. (Someone, in the class presumably, ratted him out. Why?) Vera feels she is the third wheel in her family. (Will this be resolved?) Maxine is pregnant…or got it taken care of…we’re not too sure. (More info, please?) Then, in the second to last scene, we are treated to the dress rehearsal for the big show, and in the last, we are shot forward to a year later where the troupe performs again. What happened in the interim?? Why were these plot lines built up? Why am I confused when the lights in the theater go back on announcing the show is over?

I love the Welk, though, and I really think, due to poor writing and no fault of their own, that they just didn’t do it this time. But the Welk Theatre is certainly worth a trip (note: pay the extra $15 to have their fabulous buffet!). I’m looking forward to what comes next, which is Barbara Epstein’s “A5678,” a musical review that gave a lot of young actors their start in Los Angeles. She also has some terrific songwriters on board, and I can’t wait to see all the local talent (all under 25, I believe) that get their start from this production.

“Stepping Out”
4/13-5/20
Welk Theatre
8860 Lawrence Welk Dr.
Escondido, CA 92026
760-749-3448
www.welktheatresandiego.com

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