“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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