MISS SAIGON Premiere "ascends" by helicopter & ascendant voices

With great risks come even greater rewards. This has been the mantra for the last year at New Candlelight. “Miss Saigon” had never been staged by a local production company, mostly attributed to that pesky- but iconic – descending helicopter scene in Act 2. Design and engineering such a feat separates soldiers from civilians in the world of regional theatre. The show was penned by the duo of “Les Miserables” (you may have heard of it). The plot is nearly as epic; the characters equally flawed; the emotions stirred similarly heart wrenching; the music and lyrics bear resemblance in power and majesty. The duo of Sonny Leo (Director and Choreographer) and Chris Alberts (Producer and Lighting Design) have teamed once again to create transcendent musical theatre. Leads were two newcomers Kim (Dana Kreitz) and Chris (Anthony Connell). Cast aside any notions of musical comedy; this is a serious show. (Vietnam never contributed a lot of yucks). These two characters must not only have soaring voices but must sell the pain, pity and pathos and of their relationship. They are superb. Two locals that Aisle Say has seen in tens of productions give their finest performances. Engineer (Paul Goodman) who has been type cast historically as a 'nice guy', 'you can lean on my shoulder type”, sheds that golly gee image in this slimy, predatory, obsequious role. His “American Dream” was a come-to-Jesus show stopper. For Ellen (Sharon Brown Ruegsegger), the tragic but noble figure is this sorrowful triangle, Aisle Say always has admired her voice. She rose to another plateau above the clouds in this role. Thuy (Rick Fountas) was strong of voice but his cartoonish and over the top stridency of evil incarnate was way out of balance of the naturalistic portrayals of the characters around him. Staging is choreography, especially under Leo's direction. The fluidity of the fall of Saigon scene was ballet unto itself. Hours must have been spent in rehearsal to not only keep the masses flowing but to create the frenetic energy of the moment. This may have been the impetus for Leo's program book comment, “I've learned patience.” The awe-inspiring highlight of the production was the opener of Act 2, “Bui Doi”. In Vietnamese it means 'the dust of life', the brand burned into the mixed race children spawned by American soldiers and Vietnamese women; those left behind. It's a horrific appellation but an incredible song. John (Dave Snyder) along with a men's chorus, OWNS that song. If there had been live action replay, I would have been there 4 more times. In a drama this tense, there must be comic release. Peter Briccotto and Adam McLean ? (oh, I get it) were hysterical as American sex tourists. Their costumes, by Linda Reilly, were right on....as testimony, I still have a few memorabilia in my closet from the very plaid and brightly pallet-ed '70's. Jonny Carroll (Tam) the offspring of the two weeks between Chris and Kim, was deemed 'adorable' by not one but two Elizabeth's at my table. Now, back to the helicopter. Alberts pulls it off. It descends in the chaos of evacuation. His dramatic lighting (especially the spot lights searching the audience) give a strong sense of the abject fear in the hearts of the evacuees. During that time Chris screams out, “all I made a mess”, which to those who lived through this era, is a metaphor for the US involvement in Nam. Thru March 11. NCTstage.org 302.475.23 NCT is staging their annual fund raiser on February 11. Call the box office for details.

"9" = 8 1/2

If there is a trophy for getting the max out of the most minimal of resources (drum roll, please), the award goes to City Theatre Co.

The stage is shoehorned in a tiny black box theater in Opera Delaware's riverfront studios, seating cannot be more than 100 and whatever budget there is for tech, costumes, makeup and hair is as lean as Mick Jagger.

But creativity has no boundaries. Producer/Director Michael Gray has kept his committed troupe together for nearing two decades. Their stated mission is to “rid the planet of complacency, redundancy, indifference and fear.” The world is full of all that presently. I am unsure how the group reaches out to the nattering nabobs of negativism across the universe, but as for Wilmington, with each season they have remained true to their anthem.

“Nine” premiered on Broadway in 1982. It was the stage version of Federico Fellini's wildly erotic film fantasy “8 1/2,” focusing on film director Guido's trepidation at his 40th birthday.

Guido (Michael Gray) is a libertine, a philanderer and a womanizer – in other words, my role model. And...he's married.

Would such a man wear a white shirt (as does Gray) or shimmering black silk? Should such a man wear a daring Italianate string tie rather than the broad-striped one chosen by Gray? Lose the tie, you Lothario, you!

IF YOU GO

WHAT "Nine"

WHERE City Theater Co., Opera Delaware Studios,

4 S. Poplar St., Wilmington

WHEN Select nights through May 21

COST $25/general admission; $40/VIP

INFO www.city-theater.org

These criticisms seem petty in relation to the exhilarating performance of Gray and his committed cast.

The scene opens with the gaggle of women singing of their unrequited love for our main man. “Guido's Song” follows, an admixture of soul-searching serenades similar to “Soliloquy” in “Carousel” or “I Am What I Am” from “Les Cage Aux Folles.” Gray's facile delivery makes for great storytelling in song.

Carla (Ashley Harris), Guido's primary non-wife squeeze, achieves greatness in keeping her towel at just the right position while creating lascivious images in the minds of the men in the audience.

Liliane LeFleur (Karen Murdock) lived and breathed the role of Guido’s film producer. Murdock continues to be one of the finest singer/actors in the region. The finest detail does not escape her, even to the exquisite choice of her very European hairstyle. Visually reminiscent of both Judy Garland and Edith Piaf, her accent was the best of the cast. Le Fleur led the major production number “Follies Bergeres” with great energy and engagement.

Saraghina (Eleonore Thomas) delivered such a barefooted performance so Italian earthy I could visualize her stomping grapes on the hillside. The on stage experience she gave the young Guido (Nolan Moss) he will never forget!

The eight-member orchestra must have been sitting on each other's shoulders in the cramped space allotted. Conductor Chris Tolemeo created a beautiful sound with instruments not normally considered in community theatre; cello, woodwinds and violin. The cellist, Ezgi Yargici, was especially evocative in “Simple.”

The closer of Act I, “The Bells of St. Sebastian” is a searing exposé of the hypocrisy of Catholic school education.

Choreographer Dawn Morningstar was creative with the large numbers of people and their varying degrees of dance experience.
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