'Kate' crackles
with brisk song and witty patter
BY MISHA BERSON
Tuesdays-Sundays through Jan. 27, at 5th Avenue Theatre, Seattle. $17-$58. 206-292-ARTS.
It was "another op'nin' " in a busy theatrical week in Seattle. But the touring
Broadway revival of "Kiss Me, Kate" at the 5th Avenue Theatre is more than just
"another show."
"Kiss Me, Kate" pivots on one of the cleverest musical-comedy concepts ever
and has a score stocked with such Cole Porter diamonds as "Another Op'nin',
Another Show," "Too Darn Hot," and "Brush Up Your Shakespeare."
Yet it took 50 years for
"Kiss Me, Kate" to get a big Broadway remount. Fortunately the 1999 revival
was a vivacious, Tony Award-honored delight -- a crowd-pleaser respectful to
the original 1948 model, but juiced-up a bit for modern consumption.
The touring version at the 5th Avenue doesn't disappoint. The cast is headed
by sensational Rachel York as Lili Vanessi, a fading '40s diva starring in a
Broadway musical based on Shakespeare's "The Taming of the Shrew," and ingratiating
Rex Smith as Fred Graham -- Lili's director, co-star and ex-husband. "Kiss Me,
Kate"
Sam and Bella Spewack's book for "Kiss Me, Kate" works the musical-within-a-musical
premise deftly, overlapping Fred and Lili's backstage battling, with Petruchio
and Kate's comic combat in "Shrew."
And Porter's score shifts with élan among ballads, jazzy romps and brilliant
patter numbers sprung off lines from Shakespeare, including "I've Come to Wive
it Wealthily in Padua," and "Where is the Life That Late I Led?"
Adding more zest is another theatre couple, the shameless flirt Lois Lane (played
to saucy perfection by Jenny Hill), and her hard-gambling beau Bill Calhoun
(appealing, fleet-footed Jim Newman). Michael Arkin and Richard Poe endear as
star-struck thugs who sing "Dust Off Your Shakespeare" -- a vaudeville turn
that weaves in a mind-boggling array of Shakespeare play titles, from "Twelfth
Night" to "Coriolanus."
Michael Blakemore's snazzy direction keeps the backstage/onstage crisp and boisterous.
And Kathleen Marshall's dances have plenty of oomph. Best is the "Too Darn Hot"
wingding, set in a steamy Baltimore theater alley where the "Shrew" cast is
on an intermission break.
Pint-sized Randy Donaldson gleefully rallies the wilting crew of hoofers to
defy the heat and shake a leg. And as in all Marshall's dances here, there's
an aura of sexy, sensuous fun that's irresistible.
There's a sexy crackle, too, in the rapport between Smith's arrogant but lovable Fred and York's high-toned and lowdown Lili. York's supple soprano soars through "So in Love" and "Wunderbar," but she's also a terrific cutup when needed. Smith's voice is lighter but pleasing, and his comic timing is spot-on.
Martin Pakledinaz's excellent costumes feature patchwork and velvet Shakespeare duds, fetching lingerie and spiffy '40s outfits. Set designer Robin Wagner dreamed up the colorful Italianate painted backdrops and typically grungy backstage digs.
Those who know the original "Kiss Me, Kate" will note some changes. Playwright John Guare tweaked the dialogue, excising moldy gags and inserting fresher ones. The role of Lili's military beau Harrison Howell (played with brio by Chuck Wagner) is beefed up, and given the song "From This Moment On" (from another Porter musical and the 1953 movie of "Kiss Me, Kate").
Don Sebesky's revamped orchestrations alter the opening and inject more swing and some brisker tempos. ("Why Can't You Behave?" is now sung too darn fast.)
Unfortunately, on opening night the sound balance was off (as in some other recent 5th Avenue shows). The orchestra at times overpowered individual singers, and in some tunes the drummer's brush strokes were louder than the string section.
All this should be quickly corrected. One shouldn't have to strain to hear Porter's nonpareil lyrics. You won't want to miss a single, devilishly witty verse.
Misha Berson can be reached at mberson@seattletimes.com Copyright © 2002 The Seattle Times Company