By Nancy Stetson
When Galyana Castillo opens her mouth and sings “And the World Goes ‘Round,” the opening number and title song of The World Goes ‘Round: The Songs of Kander & Ebb, you know you’re in for a superb night at the theater at Gulfshore Playhouse.
The show’s a sparkling and entertaining revue of the music of John Kander and the lyrics of Fred Ebb, a duo who wrote some of Broadway’s most memorable hits. Covering more than two dozen of their songs, it includes tunes from Chicago and Cabaret as well as some lesser-known musicals such as Flora, the Red Menace and 70, Girls, 70.
The show’s a series of musical short stories, with the singers soloing or pairing up, or performing with the entire company,
The show, originally conceived by Scott Ellis, Susan Stroman and David Thompson, had its off-Broadway debut in 1991.
This production opens the 23rd season at Naples’s Gulfshore Playhouse and runs through Nov. 22.
The title song could be the musical cousin of the opening lines of Dickens’s “A Tale of Two Cities,” in which he writes of it being the best of times and the worst of times.
Ebb’s lyrics begin: “Sometimes you’re happy/And sometimes you’re sad/But the world goes ‘round./And sometimes you lose/Every nickel you had/But the world goes ‘round.”
Castillo creates such pure, bell-like tones, especially with the words “world,” ‘round” and “sound,” yet also demonstrates that she can belt.
She’s one of a quintet of singers who perform the Kander and Ebb oeuvre. Each gets a turn to shine in the spotlight.
Matthew Michael Janisse brings a vulnerability to “Mister Cellophane,” accompanied by conductor/keyboardist Matthew A. Stephens on accordion.
Alanna J. Smith shows off her strong voice while singing about “Arthur in the Afternoon” while Jacquez D.L. Linder-Long, the object of her affections, struts and poses. He even manages to make dancing with a mop look sexy. (You may never look at a mop the same way again.)
Linder-Long has his own stop-the-show moment in Act II when he sings “Kiss of the Spider Woman” in his rich, velvety voice.
And Chessa Metz demonstrates her prowess with a narrative song, “Ring Them Bells,” while the others shake and shimmy with bells on their ankles and wrists.
Castillo and Metz harmonize in one of the show’s highlights: “Class,” from Chicago, their voices a heavenly counterpoint to the crass and humorous lyrics. “Nobody’s got no class,” they mourn, giving example after example of how far we’ve fallen from civility.
“Money,” from Cabaret, is another standout of the evening. Director/choreographer Dann Dunn has given the singers moves that are simple yet compelling. Dressed in dark trench coats with shimmery greenback-green lining (costume designer Leon Dobkowski), the five at one point flip open alternating sides of their coats, flashing the green.
Interspersed among the tunes of love and longing are comedic songs such as the jittery, jangly “Coffee in a Paper Cup,” about our addiction to java, and “Sara Lee,” a tribute to – yes, the cake brand.
Some numbers, while sung well, make you wonder: why did they present it this way? “Me and My Baby” is turned into a song about parenthood, with crying babies, and “Cabaret” is presented as an upbeat song with Manhattan Transfer-like stylings.
And the show’s “New York, New York” finale has the performers singing the lyrics in French, Japanese, German and Swedish before Castillo takes the wheel and belts it out triumphantly in English. I imagine the intent is to demonstrate how New York City is a melting pot of different cultures, but it seems more gimmicky than profound.
Dunn and Scenic Designer Kristen Marino have transformed the Struthers Studio into a cabaret with tiny tables. (Some stadium seating is in the rear of the theater.) And the stage is a train station, complete with a two-story multi-pane arch window and blackboards with train schedules written on them. This is clever, as, like Ebb’s lyrics, train stations are full of transitions, of beginnings and endings, welcomes and good-byes. Jose Santiago’s lighting helps change the mood from song to song.
You may not be familiar with all the songs, but you may discover a new favorite. They’re delivered well by this experienced cast.
It’s also interesting to hear a wide selection of songs from the duo’s entire history, to hear musical and lyrical themes repeated yet presented in varying ways.
The five-piece orchestra performs on two platforms on a second level; they are connected by a catwalk that bridges them. Joining Stephens is Scott Crawford (percussion), JR Erb (bass), John Yoakum (woodwinds) and Erik Berg (violin). Dave Hardman (percussion) and Glenn Basham (violin) will perform for some shows.
It’s the first time a band this size has played in the Struthers Studio; typically they’re in another room with the music piped in. The sound balance (Bradlee Ward) is excellent; you can hear every word, every note.
The World Goes ‘Round is an enticing and fun production; you walk out feeling optimistic and upbeat. The show’s received such a positive audience reaction already that the venue added two shows to its schedule.
Like the Kander and Ebb song “Yes,” The World Goes ‘Round makes you want to take risks, take chances. It inspires you to say “yes” to the world.
“The World Goes ‘Round: The Music of Kander & Ebb” plays at the Struthers Studio at Gulfshore Playhouse, 100 Goodlette-Frank Road, Naples, through Nov. 22. The show is 2 hours and 15 minutes with a 15-minute intermission. Tickets are $144 for cabaret seating and $134 for stadium seating. For tickets or more information call (239) 261-7529 or go to www.gulfshoreplayhouse.org.
