Theater Review: 'Singin' in the Rain' at Playhouse on Park

Review by Connecticut Critics Circle member Nancy Sasso Janis

Playhouse on Park continues its season with a production of “Singin’ in the Rain.” This is a version of the 1952 Metro-Goldwyn-Mayer film, which featured a screenplay by Betty Comden and Adolph Green and songs by Nacio Herb Brown and Arthur Freed. Performances, which run two hours and 25 minutes, will rain down in West Hartford through Aug. 17.

Director Evan Hoffmann admits that it is impossible to separate this musical from the “ever present shadow” of the beloved film and the definitive performances of Gene Kelly, Donald O’Connor and Debbie Reynolds.

“Instead,” he writes, “we invite you to join us as we embrace and share with you our deep love and admiration for all the ‘glorious feelings’ that are stirred up” by the iconic film. He thankfully explains that “simply put, this production imagines what might happen if a group of super-fans took it upon themselves to recreate this classic movie-musical on the fly, using only the costumes, props, and bits of stage magic that they can conjure up in an old movie theater.”

I know that I am in the small minority of theater-lovers that have never seen the film version of “Singin’ in the Rain,” although I have seen Kelly’s dancing of the title song in the rain. As a result, I struggled during the first act, trying to decide if what I was seeing was the actual plot of the movie or a parody of it.

By intermission, I realized that the show offers a low-budget version of the movie script that is a lighthearted depiction of 1920s Hollywood with the three aforementioned stars playing actors desperately trying to make the transition from silent films to "talkies." Unfortunately, I missed the significance (and comedy) of many of the modifications that were made by the small cast in order to bring the story to the stage, including some audience participation and cue cards. I strongly urge those of us that are not fans of old movies in general to look up the plot of the film before seeing this show.

The talented cast clearly enjoyed bringing to life this love letter to the original film, all of them the true triple threats needed for their multiple roles. Every cast member is credited as ensemble along with their named role.

Equity member Daniel Plimpton, who led the cast in “You’re a Good Man, Charlie Brown” at Sharon Playhouse, dances magnificently in the role of the silent film star Don Lockwood. Equity’s Robert Mintz also dances up a storm as Cosmo Brown, who is Don’s childhood friend and longtime collaborator. Both actors make their Playhouse debut.

Lindsay Gloriana Bohen also makes her Playhouse debut as the lovely Kathy Seldon with the voice of an angel. Carolyn Burke, a member of the Playhouse’s stop/time dance troupe and UConn grad, gives a delightfully comedic performance as silent film star Lina Lamont. Not only must Burke deliver all her lines in an annoying voice, she must sing off key and lip synch as well, and she pulls it off.

Parker Joh is very funny as R.F. Simpson, the fictional head of Monumental Pictures and Julia Solecki plays Dora Bailey and others.

Juno Brosas makes her Playhouse on Park debut in the role of Zelda Zanders, the supporting role played by Rita Moreno in the film. Patrick MacLennan appears on this stage for the first time as the Production Tenor and many others. The swings include Mallory Cunningham and Liam Monaghan.

Music director Melanie Guerin seemingly worked backstage on piano. Choreographer Robert Mintz has designed wonderful tap dance numbers that no doubt honor the original movie choreography by Gene Kelly and Stanley Donen and are impressively performed by the entire cast. Costumes by Vilinda McGregor remind us of the early fifties and are designed to move with the dancers.

Scenic designer Forest Entsminger evokes the backstage area of a theater at the back of the stage and becomes what else it needs to be. And yes, it rains from the top, but this is enhanced with other cheeky ways of getting the Gene Kelly character very wet. Lighting Designer Michael Frohling lights the low-ceilinged space well and Sound Designer Brandon Bulls must have been very worried about any body mic that got wet. It must have been a madcap scene in the actual backstage area that Stage Manager Rebecca Donaghy had to oversee.

Those who love the film version will love this live production and will appreciate all of the details better than I did. For tickets, visit http://www.playhouseonpark.org or call (860) 523-5900 Ext.10