Is it really necessary to make a musical out of a cheesy flop movie from the 1980s? Only if said play winks at its own silly and crap-tacular source material with such a sense of unfettered fun as it does in Level Ground Arts’ transcendent production of the Broadway musical Xanadu.
Level Ground Arts has the regional premiere of this musical comedy with book by Douglas Carter Beane and music and lyrics by Jeff Lynne and John Farrar based on the movie version of Xanadu with bits of theater insider jokes, and even a few nods to that other fromage-fest, Clash of the Titans. You remember the one, right? The career-killing vehicle on roller skates starred a post-Grease Olivia Newton-John, Gene Kelly, and Michael Beck, and with music (the only good part of the film) by ELO, The Tubes, and Cliff Richard.
Andi Allen and Bill Fountain co-direct this ridiculous, pun-filled, pop culture extravaganza with obvious love and commitment to every satiny detail. The only quibble is the inclusion of an unscripted intermission in this 90 minute show (please stop doing this, area theaters), which hampered their hard-earned momentum.
The story centers on Greek muse, Clio (Misty Venters) who comes down from Olympus to 1980 Venice, California to inspire down on his luck painter, Sonny(Angel Velasco). Clio takes on the disguise of Kira, an Australian princess on eight wheels, to assist in Sonny’s dream to open a roller disco. Clio’s jealous muse sisters Calliope (Allen) and Melpomene (Sara Shelby-Martin) seek to topple her by causing her to commit the forbidden crime of falling in love with a mortal.
Much hilarity ensues, buoyed by those oh-so-catchy tunes provided by music director M. Shane Hurst and the live 5-piece band consisting of Hurst and Thiago Nascimento on keyboards, Michael Ragsdale on guitar, Shane Strawbridge on bass, and Patrick Herring on drums.
There are no small roles in this good-time display. This earnest ensemble of actors are meticulous and complete, and beyond infectious in their performances.
Ventersas Clio/Kira is a fresh and whirling vision in legwarmers. She plays her character with an endearing goofiness, prodigious vocalization of her lines (with an awesome Aussie accent to boot), more than capable warbling, and spot-on facial expressions. She channels the best bits of Newton-John’s charm, but makes the part deliciously her own. Try not to laugh when she utters her name “Kira (Keeeerah)” with eyes wide open and head tilted akimbo.
Velasco’s Sonny is a cardboard cliché of a valley guy (in a good way), and a tiny Sylvester Stallone mixed with throwback Keanu Reeves as he drops deadpan asides in his best “whoa!”-like manner.
Allen and Shelby-Martin as the conniving sisters play it up big, providing some of the best laughs and singing in the play. Michael B. Moore, Whitney Wilson, Cassidy Crown, and Marcus Jauregui as the other muses do not disappoint in the least.
Rounding out the show are the great, I-love-the-eighties gear by costume designer Lindi-Joy, groovy, ethereal lighting (Lee Hartsock), and outrageous, inspired props by Andi Allen, Bill Fountain, Emily Shaw, and Ande Bewley. Love that Pegasus, man!
