Play It Cool

Few things are more frustrating than a musical that contains some great elements, but has enough serious imperfections so that it doesn’t quite work. Sally Mayes, who stars in Play It Cool, gives a first-rate performance in a second-rate show. She is absolutely perfect portraying a woman, who is a lesbian, trying to run a gay club in Hollywood in 1953. I like the strength, honesty and conviction she brought to her performance. And she swings! She can make even so-so songs take flight. Michael Buchanan is also quite good as an aspiring singer/actor, newly arrived in Hollywood. I very much liked, too, Michael McGurk, as a closeted vice cop; his characterization is warmly sympathetic and human.

The concept of the show (by Larry Dean Harris, who co-wrote the book with Martin Casella) is terrific; the idea is to use a jazz club to show us aspects of pre-Stonewall gay life. The story is well-plotted, with insightful, historically accurate nuances (like an ambitious younger lesbian wanting to marry a man for camouflage, and have her female lover live in the guest cottage as her supposed vocal coach). But the melodies, largely by Phillip Swann, are too often bland; and the lyrics, by Mark Winkler, are at times so awkward and clumsy, I cringed. The most melodically infectious song, “Play It Cool,” featured music by Michael Cruz (who died in 1993). The show begins with an overly-long overture that didn’t work as theater music; nor would it hold much interest in a jazz club. It just felt self-indulgent.

(Pictured: Sally Mayes, Robyn Hurder)

Chip Deffaa
Cabaret Scenes
September 16, 2011
www.cabaretscenes.org