Ethel Merman's Broadway

Rita McKenzie is absolutely sensational channeling Ethel Merman.  She has a strong belt of her own which helps her recreate Merman’s powerful sound — something she’s been doing for more than 20 years.  And no theater fan could quibble with the song selection, which includes all or part of 22 numbers that Merman introduced — a fantastic array of musical theater history from “You’re the Top” (Cole Porter) from Anything Goes to “World, Take Me Back” (Jerry Herman), which was restored to the score of Hello, Dolly! when Merman took over the part originally written for her.

McKenzie’s most triumphant moment was her version of “Some People” (Jule Styne/Stephen Sondheim) and, in an evening of fabulous recreations,  “I Get a Kick Out of You” (Cole Porter) was also extremely effective.

However, a bit with an uncooperative poodle flopped when the dog did not “sing” as instructed on this particular evening, and a sing-along on “There’s No Business Like Show Business” (Irving Berlin) that closed the first act did not get the audience very excited.

And what worked so well in song too often fell flat in the conversation with the audience between musical numbers.  With McKenzie as Merman spending more time talking than actually singing, the show kept bogging down and, occasionally, coming to a halt, with stories about Jimmy Durante or “Frankie” Sinatra or Fernando Lamas that lacked the effervescence and pizzazz of “Merman’s” singing. A concert version with some brief connecting patter might be preferable to this two-hour version with intermission.

The script — by McKenzie and Christopher Powich — does get points for not glossing over some of Merman’s most personal moments, particularly when McKenzie as Merman talks about her daughter’s death, declaring, defensively,  “It may not have been suicide.  The doctors said it could have been an accidental overdose,” or later when she describes the lack of a relationship with her grown son. But most of the connecting tissue between songs was lacking in the energy the songs conveyed.  In fact, McKenzie’s funniest bit involved her interaction with an audience member who came forward when she asked for a volunteer, whom she instructed to pass around a tray of Ritz crackers and dip to the audience while she stood on stage waiting for him to finish.  (After passing the tray from person to person in the front row, he lit on the idea of letting audience members pass the tray on their own from seat to seat.)

The seven-piece orchestra, conducted by pianist and Musical Director David Snyder, was excellent, with Snyder getting directly into the act by singing the counterpoint to “You’re Just in Love” (Irving Berlin) from Call Me Madam.

Four members of the horn section — John Yoakum, Mike Benedict, Darryl Gardner and Dave Ryan — also moved to center stage when they marched out and played “Alexander’s Ragtime Band” to open the second act. McKenzie also executed some great costume changes – keeping the same shimmery black skirt while moving off-stage several times, talking all the while, to change tops to help re-create moments or costumes from Merman’s life.

The show, produced by Scott Stander & Associates, Sherman Oaks, California, is planning a limited Broadway engagement, though no details were available.

Elliot Zwiebach
Cabaret Scenes
Febraury 25, 2011
www.cabaretscenes.org