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Swift Creek's clever little production gives a sense of intimacy - "JOSEPH...DREAMCOAT" REVIEW
June 4, 2008
Fact vs. Fiction
The Mill’s “Dash of Rosemary” tracks a real-life star, while Richmond Triangle’s “Svengalis” makes one up.
by David Timberline
Swift Creek Mill Theatre’s musical revue “A Dash of Rosemary” has all the dramatic tension of a middle-school book report. But what the script lacks in riveting plot, the production makes up for in spectacular performances, particularly that of vocal heavyweight Cathy Motley-Fitch.
The peppy little show recounts the life story of singer Rosemary Clooney (George’s aunt), who enjoyed a meteoric rise to fame in the early 1950s thanks to popular tunes such as “Come On-a My House” and “Half as Much.” She reached the pinnacle of success after her transition into television and movies — appearing in “White Christmas” with Bing Crosby — before her life spiraled out of control in the 1960s. After years struggling with mental illness and drug problems, she re-emerged in 1977, spending the rest of her life enjoying a reputation as one of “America’s sweethearts.”
Clooney’s hits are delivered by two performers in addition to Motley-Fitch: the angelic chanteuse Katrinah Lewis and the versatile Brandon Becker. None of the actors portrays Clooney per se, though many scenes from her life are pantomimed, including her early years singing with her sister, Betty, and her redeeming late-in-life reconnection with boyfriend Dante DiPaolo. The expositional structure allows for little exploration of Clooney’s character and any depth that seeps in is quickly trampled by another declaration of Clooney’s devotion to her fans.
The focus here is on the songs. You’d have to have a heart of stone not to submit to tear-jerkers such as “Count Your Blessings (Instead of Sheep)” and “Turn Around,” particularly as caressed into melody by Motley-Fitch. Lewis is no slouch either, with a sweet, mellifluous tone and a crystal-clear higher register that only occasionally becomes a bit shrill. Becker is primarily relegated to playing the token male or providing comic relief, but manages to shine on some of the novelty songs like “Fancy Meeting You Here.”
The players are decked out nicely by costume coordinator Barbara Brock, particularly the striking black-and-red outfits of the first act, and musical director Paul Deiss’ orchestra provides excellent support with an especially energetic rhythm section. For some, this show will represent a trip down memory lane; for others, a voyage of discovery.