Dames at Sea
Reviewed by Lara J. Altunian
Sierra Madre Playhouse
Extended through August 3
Derived during a time of Hollywood escapism triggered by the Great Depression, 1930s musicals tend to feel frivolous. Nonetheless, the genre experienced a semi-revival in the turbulent ’60s, which lead to the production of George Haimsohn and Robin Miller’s Off-Off-Broadway parody: Dames at Sea. Sierra Madre Playhouse’s decision to produce the show expresses a clear desire for nostalgic naïveté, with its back-to-back songs brought to life by an amiable and hard-working six-person cast. However, for those less inclined to appreciate the simplistic innocence of the Golden Era, the dated plot is boring. Predictability distracts from the outrageously talented troupe, which otherwise sets the intimate theater ablaze with rapid-fire tapping and excellent singing skills.
Freshly arrived from Center City, Utah, Ruby (Katie Franqueria) dreams of dancing on Broadway. Minutes after stepping off of the bus, she finds herself on the set of “Dames at Sea” — a new musical about to experience its world premiere that very evening. There she becomes acquainted with prima donna Mona Kent (Jennifer Knox), new best friend Joan (Marissa Mayer), her honey, Navy sailor Lucky (Ruben Bravo), and grumpy stage manager Hennessey (Chuck McLane). Ruby is immediately offered a job as a chorus girl and is on her way to making her dreams come true — all within the first twenty minutes of the production.
Chasing behind Ruby is Lucky’s fellow sailor Dick (Aaron Shaw), holding her forgotten suitcase from the station. The two instantly fall in love and begin discussing marriage. Dick also happens to be a talented songwriter and intends to make it big, right there alongside his new sweetheart. His ability is soon noticed by Mona, who attempts to seduce him out of jealousy. Add to that the sudden conundrum of losing the theater hours before the musical is set to open, and you’ve got a cute, but obvious show that ends exactly the way you think it will, with very few (if any) surprises thrown in between.
Knox is the biggest stand-out among a cast of over-actors. Exaggerated facial features were typical of the ’30s, but hers are less cartoonish. In toning it down, she is able to remain as expressive and often naturally funnier than the rest, while maintaining her character’s sophisticated edge. Her singing voice is superb and fills the small theater house, making the space feel larger than it is. As a whole, all six performers do a fantastic job dancing, with the tapping in particular remaining on beat throughout the entire musical, even when sped up dramatically for comedic effect.
Music is, of course, another chief component to Dames at Sea. At least half of the fourteen featured numbers do nothing to advance the plot. Originally written as a short sketch, the material seems as though it may have been better off remaining brief and to the point. However, this two-hour version is frankly tiring. Although the full-length Off-Broadway version made Bernadette Peters a star in 1968, times have changed. The production flopped when it made its Broadway premiere in 2015, and it’s not very hard to see why. By today’s standards, there just isn’t enough substance for a long show. Although director Joshua Finkel’s choice to use a smaller, more intimate cast helps the problem, it doesn’t quite solve it.
On a positive note, musical director Sean Paxton’s live piano playing adds vitality to Jeffrey Scott Parson’s vivid choreography. Danny Fiandaca’s surround sound design is bold and brings a few key scenes to life, working especially well with Jeff G. Rack’s grandiose set.
I’d be remiss not to mention that the viewers, most of which were already familiar with the subject, had a great time. But unless you’re absolutely gaga about happy-go-lucky musicals of any sort, Dames at Sea’s sweetness may be enough to give you a toothache.
Sierra Madre Playhouse, 87 W. Sierra Madre Blvd., Sierra Madre; Fri.-Sat., 8 p.m.; Sun., 2:30 p.m.; extended through Aug. 3. (626) 355-4318 or https://ci.ovationtix.com/35040/production/1005084. Running time: two hours with one 15-minute intermission.
