Spunky Circle Theatre stages equally spunky 'Can-Can'
You have to admire spunky Circle Theatre. The company's tiny Forest Park storefront doesn't allow artistic director Kevin Bellie to stage musicals on the same scale as some of his suburban counterparts, but darn if he doesn't manage to deliver a spectacle just the same.
Case in point: Circle's enthusiastic, zestfully choreographed, gorgeously costumed production of Cole Porter's 1953 musical "Can-Can."
Director/choreographer Bellie's large, youthful cast twirls, spins, high-kicks and cartwheels their way across the stage in a bold, exuberant display occupying every inch of the limited space.
Once again, Bellie's choreography impresses for its mix of high-style and pop savvy, especially evident in the erotic "Garden of Eden Ballet" and the aggressively sexy "Apache Dance" from France's vaudeville era.
Kudos to Jesus Perez for his vivid, period costumes and designer Bob Knuth for the set, which evokes a 19th century Parisian cafe and atelier with simplicity and charm. The show looks great thanks to them.
It sounds good, too.
Music director Allison Kane has assembled a young but sold ensemble, with a chirping female chorus that's especially delightful.
Better still, Circle's "Can-Can" includes Jeremy Rill, a polished performer with a grand voice. Problem is, it's nearly an hour before he sings his first solo and then it takes only a couple of notes of the lovely "I Am in Love" before he has them eating out of his hand. He delivers a couple more tasty moments in the second act with the classic "It's All Right with Me" and a charming reprise of "Ce'Est Magnifique" with well-matched co-star Elizabeth Lanza, whose heartfelt rendition of the show's other familiar tune, "I Love Paris" could have used a little less drama and a little more swing.
Aside from the aforementioned gems, this old-fashioned love story about opposites attracting belongs to the second-tier musically. The lyrics and score lack the Porter panache of a "Kiss Me Kate." And writer Abe Burrows ("Guys and Dolls") has produced better books.
To its credit, its message condemning censorship and sexual repression and celebrating tolerance, is rather progressive. But that's not enough to make a not-bad show brilliant.
Set in 1893 Paris among the Bohemian habitues of the city's cafes, "Can-Can" is essentially a battle of the sexes between Aristide (the polished, affably imperious Rill), a hard-nosed judge determined to shut down clubs violating decency standards by allowing dancers to perform the raucous can-can, and the equally resolute cafe owner Pistache (a peppery Lanza), a sly businesswoman who makes money when her dancers lift their skirts.
There's also a secondary story involving naive Claudine (Rachel Quinn) who supports her shiftless, no-talent artist boyfriend Boris (a broadly comic Robert Deason) at the same time she's being pursued by the dapper art critic Hilaire (Mat Labotka in Snidely Whiplash mode).
While "Can-Can" doesn't rank among musical theater's finest, the can-do attitude of Bellie and his company kick it up a notch. And Rill makes it sing.
"Can-Can"
3 stars out of four
Location: Circle Theatre, 7300 W. Madison St., Forest Park
Times: 8 p.m. Thursdays to Saturdays; 3 p.m. Sundays through April 6
Running Time: About 2 hours 30 minutes, with intermission
Tickets: $26, $24
Parking: Street parking, metered parking. Be aware, some lots are permit only after 8 p.m.
Box office: (708) 771-0700 or circle-theatre.org
Rating: For most audiences