By D. A. Blackburn
Rita McKenzie stars in 'Ethel Merman's Broadway.' Photo: Courtesy The Gem Theatre
Patrons who spent a few nights at Detroit's Gem Theatre last season may have noticed a trend in the company's programming: nostalgia-driven shows returning stars, now extinguished, to the stage. I'm speaking, of course, of the productions "The Rat Pack is Back" and "Say Goodnight Gracie," which revisited famous performers who burned out, not before their time, but before popular interest in their careers diminished. The Gem's latest offering, "Ethel Merman's Broadway," offers guests more of the same, and like the aforementioned productions, it does so with true pizzazz.
And though it's easy to draw comparisons to these two previous Gem endeavors, the production is equally reminiscent, thematically, of another widely-performed production, "Side By Side By Sondheim." In the same fashion, Christopher Powich's script is a historical tour through some of Broadway's biggest 20th century hits as seen through the life of one of its greatest personalities. And, of course, it's packed with snippets about other Broadway luminaries like Cole Porter, the Gershwins and Irving Berlin.
But ultimately, "Ethel Merman's Broadway" is all about the music – largely familiar tunes such as "I Got Rhythm," "Life is Just a Bowl of Cherries" and "Anything Goes" among them.
Following a successful run off-Broadway, the production toured extensively, earning much acclaim. The show's warm reception is surely the product of a single factor: its co-author and star, Rita McKenzie. Not only does she have the look, but more importantly, she's got the voice – performing a wide variety of Broadway standards with all the brash flare, clarity of diction and aural potency of the work's namesake master. Moreover, performing with an excellent live accompaniment, McKenzie is note perfect.
She's also perfectly at ease in character, delivering a wealth of tasteful humor with a natural, personable grace.
If the work has a downside, it's that the script is biographically a little light. Powich and McKenzie have focused the production almost entirely on the bright spots of Merman's story, paying little mind to the darker chapters – like four failed marriages and the tragic death of her daughter. This makes for an upbeat evening of theater, but it diminishes the work's emotional potency.
Returning to the earlier comparison, this focus makes "Ethel Merman's Broadway" feel significantly less substantive than Rupert Holmes' "Say Goodnight Gracie," which tugged at more than a few heart strings. The ultimate result is that McKenzie's Merman is far less endearing than she might be.
From a design perspective, "Ethel Merman's Broadway" can be summed up as simple elegance. The show's set is established by a crisp lighting design by Rocky Noel and a few simple props. Eric Winterling's costuming is befitting the Grand Dame of Musical Theater, without ever becoming garish or going over the top.
This light touch with production design, coupled with smooth direction by Powich – which makes McKenzie's acting feel natural, almost conversational – allows the work to shine musically, which is what really matters most when dealing with Merman.
Like The Gem's previous trips down memory lane, "Ethel Merman's Broadway" has true star power – both in its subject, and on the stage.
REVIEW:
'Ethel Merman's Broadway'
The Gem Theatre, 333 Madison St., Detroit. Wednesday through Sunday (and some Tuesdays) through Nov. 21. $39.50. 313-963-9800. gemtheatre.com
