PHOTOS
Alicia Grega-Pikul
At some point between the 1985 made-for-television movie musical and the mid-'90s London West End run of
Copacabana, Barry Manilow and his collaborators Bruce Sussman and Jack Feldman (note that they are songwriters, not playwrights) decided the "faded feather" ending didn't work. Or, at any rate, that "it wouldn't sell."
What a shame! Especially considering the commendable job The Little Theatre of Wilkes-Barre has done staging the first regional production of the show -
Copacabana went on tour after its third version debuted in Pittsburgh in 2000 and the rights didn't become available to regional groups until 2006. Performances continue through Sunday, and while you're sure to enjoy the show's solid song and dance numbers and comedic support, you may find yourself missing the cake under that icing.
Just a wee lass in the late '70s when the song was all the rage, I was captivated by the dramatic image of the tragically mad, expired beauty doomed to forever mourn her one true love. But Manilow saw his song in glorious, sequined full-tilt technicolor glamour and with a happy ending as opposed to the ominous "don't fall in love" moral of the story
The musical is merely inspired by the song. It is not the story of Tony, Lola and Rico, but rather the story of a singer/songwriter named Stephen who, on the evening of his fifth wedding anniversary, neglects his wife Samantha to obsessively write a new song.
"I wish you'd look at me the way you look at your keyboard," she laments.
It's cliche until you consider Manilow's first marriage ended in an annulment, reportedly because of his intense devotion to his music. The frame quickly disappears as we become lost in Stephen's imagination - the glamorous post-World War II world of Copacabana. Stephen is Tony Forte (Tom DeMichele) and Samantha is the starry-eyed talent from Tulsa, Lola La Mar (Ashlee Danko). Both are charismatic performers and skilled singers with graceful moves. Sadly, their characters are cardboard cutouts.
Lola is lovely, but she's so naive it's nauseating. "I've never had champagne before," she giggles to the villainous Rico (Jarrod Dalley), who promptly gets her drunk, drugs her, kidnaps her and forces her to perform at his Havana nightclub. Tony, like Stephen, is unrelenting in his quest for success. But when his ambition prevents him from being there to protect his dream girl, he focuses his energy fully on rescuing her.
Walter Mitchell is a blessing as cantankerous Copa owner Sam Silver. His rug makes Donald Trump look like Dr. McDreamy and his accent is ridiculously right-on.
Barbara Wilson is a blast as retired showgirl turned cigarette girl Gladys, but song does not come as easily to her as the wisecracks.
Valerie Leigh Chilcott has the good fortune to play the musical's most complex character, the aging star Conchita, who Rico has decided to replace with Lola. The actress is stunning and while she can sing and dance, much of her dialogue is lost to the Latin accent that repeatedly trips her tongue.
Musical director Kevin Holbert is an amazing bonus. He not only plays trumpet, piano and guitar while conducting, but steps on stage to sing and dance with dazzling choreographer Laura Miller. His orchestra mumbles through scene changes, but is otherwise adequate.
The daydream's happy ending gives way to reality as Stephen realizes Samantha is the girl of his dreams. It's a
Wizard of Oz rip off when her parents walk in and they're Gladys and Sam Silver.
When the show finally delivers the "Copacabana" number we've been waiting two hours to hear, you'll be inclined to applaud even as you long for that axed third verse.