Through May 19
Always…Patsy Cline. Jukebox musical sporting a documentary style? Yes, for sure. Well done? Absolutely. Fun? Yes, again.
Always…Patsy Cline has just enough story to hold the songs (why we are here) together. The show, originally crafted by Ted Swindley and now directed at GLT by Victoria Bussert, is a little gem. It never gets tiresome as it looks at friendship and song in equally compelling measure.
People of a certain age may remember Cline’s recordings about broken hearts and cheating lovers. Her sweet, wistful songs (“Crazy”) as well as her sassy ones (“Stupid Cupid”) consoled many a teen in the late 1950s and ’60s. If you’ve ever heard “I Fall to Pieces,” “Sweet Dreams” and “Walking After Midnight,” you’ll know what I mean. If you’ve not heard any of the 27 tunes in this show, you’re in for a treat.
The plot doesn’t get overinvolved. Most of it takes place over 24 hours after Patsy Cline and fan Louise Segar met in 1961. The two became fast friends, exchanging letters until Cline’s death two years later.
Two super-engaging actors, Christina Rose Hall (as Patsy) and Harmony France (as Louise Segar), play the two friends. Hall’s rich soprano voice brings Patsy Cline to life. She sounds and looks much like the Patsy Cline the internet has preserved for us.
Harmony France as Louise Segar, Patsy’s housewife/fan, shows Segar’s loyal fandom. (“Loyal fandom” means she called the local radio station multiple times every day and asked them to play Cline’s songs.) France also adds a welcome comic note or two as she channels Segar’s persistent energy through her own action and (yes, harmonious) song.
Dustin Cross’s costumes caught the early 1960s vibe — with boots for all and cowboy hats for the band (except for one puzzling head covering worn by a band member). Cline also sported a glamorous glittering outfit for a Vegas gig that looked like ones she wore in real life.
The set, created by Jeff Herrmann (scenic designer) and Trad A Burns (lighting designer), looked like a bright dollhouse (tiny kitchen, tables, jukebox), but one with room for a five-piece band. Stage manager Imani Sade kept the country vibe moving.
Sound designer David Gotwald and music director Matthew Webb adeptly showcased the tunes Cline made famous. The musicians, jokingly referred to as “The Bobs” (Bob was everyone’s middle stage name), also served well as backup singers. The ensemble featured Webb on keys, Alfredo Guerrieri on bass, Evan Kleve on fiddle, Trevor Matthews on guitar, and Andrew Pongracz on drums.
Bottom Line: As ever, the Hanna Theatre proved a perfect setting for sharing songs and stories. The show’s close-enough-to-touch-the-stage vibe and relaxed atmosphere were almost as good as being in a club. It was so hard not to sing along that many of us might have. I think I heard a whispered chorus to “Crazy” — oh wait, that was me. (Note: Those who like country music even more with a beer in their hand, well, don’t you worry, honey, you can buy it there.)
The show runs through May 19 at Playhouse Square’s Hanna Theatre. Get tickets here.
[Written by Laura Kennelly]
One Response to “THEATER REVIEW: “Always … Patsy Cline” @ Great Lakes Theater by Laura Kennelly”
EDWARD MYCUE
Happy to read another review here. Wonder if it will come to San Francisco my location.