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Thursday, November 20, 2008
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Theater review: They love you, Conrad Young singer shines in PLCT's 'Birdie' Entertainment Editor PEQUOT LAKES - The teenage girls screaming and singing "We love you Conrad!" gets annoying after about the 17th time in "Bye Bye Birdie," but at least they have good taste. It's not like they're shrieking for the Jonas Brothers.
In the Pequot Lakes Community Theatre musical, which continues Friday-Sunday, Conrad Birdie is played by Mitchell Dallman, 15, who unleashes a pop-star voice that's suave beyond his years while shaking his hips like a budding Elvis Presley.
Saturday's performance hit its high points when Mitchell performed his three numbers: "Honestly Sincere," "One Last Kiss" and "A Lot of Livin' to Do."
If you go
What: "Bye Bye Birdie"
Presented by: Pequot Lakes Community Theatre.
When: 7:30 p.m. Friday-Saturday and 2 p.m. Sunday.
Where: Pequot Lakes High School auditorium, 30805 Olson St.
Tickets: $12 (adults), $10 (60 and older), $8 (18 and younger).
Phone: (218) 568-9200.
Highs: Mitchell Dallman hits home runs with the three Conrad Birdie songs, and Tim Leagjeld and Wendy DeGeest are likable leads.
Lows: In a show lasting 2 1/2 hours, three Conrad Birdie songs isn't enough.
Grade: B
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He sets the bar high for the leads, Tim Leagjeld and Wendy DeGeest, who play Birdie's managers, Albert Peterson and Rose Alvarez. Leagjeld, who has been with PLCT for its full 25 years, gets the spotlight for the well-known "Put on a Happy Face." The audience loved DeGeest's dance where she seduces the entire Shriners Club of Sweet Apple, Ohio.
Judy Larsen, another 25-year veteran, is a crowd favorite as Albert's racist, scenery-chewing mother. And Charlie Cook gets some showy bits as Hugo, the sweater-vest-wearing boyfriend of Kim MacAfee (Marissa Thorson), the president of the Conrad Birdie Fan Club. He's upset about being pushed aside, to the point where "I've already had several headaches and a nosebleed."
The fan club members boast nice voices when they're not screaming, and costumers Pat Dullum and Annette Koch nicely bring out the Technicolor scheme of the early '60s in the dresses. The wardrobe matches nicely with Leagjeld's set pieces. They're suggestive without being full sets - the kitchen wall of the MacAfee household, a bit of a train station, a hint of a back alley - and this gives the singers and dancers room to maneuver.
I like the generational mix in "Bye Bye Birdie"; it's a big reason why director Michael Sander chose the show. Audiences can see old favorites like Larsen while also being impressed by young talent like Mitchell.
It's beyond the director's control, of course, but less fan-club screaming more Conrad Birdie singing would've made it a better show.
On the Web: www.glapa.info
JOHN HANSEN may be reached at john.hansen@brainerddispatch.com or 855-5863.
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