The World Goes ’Round—devoted to the music and lyrics of Kinder and Ebb—is matched in devotion to their performance by the stars and band at Florida Studio Theater to begin its summer season. New FST Associate Artist Ben Liebert pays tribute to the show’s famous directors and choreographers marked by impressive stamps of his own in both positions.
Broadway comes to Sarasota in selections from such shows as Cabaret, Chicago, and Woman of the Year. Hollywood is represented by “New York, New York” (with choreography by Bob Fosse) and “Funny Lady” numbers. TV and Liza Minnelli’s shows also provide selections, sometimes imitating and at other times putting an FST original spin on them.
Dayna Jarae Dantzler starts the show with a bright version of the title song. She’s often the lead-in singer to the singing group or joining in with all five on numbers like “My Baby and Me” and “Sarah Lee,” about love for the pastry.
Edwards usually plays a hapless fellow. His outstanding offering has him as “Mr. Cellophane.” He’s also a great persistent suitor to Lani Carson, who’s hesitant to accept his wedding proposal. Her best number is atop the band’s piano singing “All That Jazz.” She generally acts the slightly naughty women’s parts.
Crystal Kellogg plays the opulent blond well and dominates on a “That’s Wonderful” duet and “Arthur in the Afternoon.” Dion Simmons Grier handles a number of duets impeccably but is a standout on songs from “The Happy Time” and “The Rink.” The latter is a well-met challenge to all five who sing and dance on roller skates and move barriers and chairs.
Costumes are in bright red, yellow, orange, green and are mostly everyday wear for the men. Women’s go from simple but dressy to red gowns toward the end of the show when men wear regular jacketed tux. All are adequate.
Among the most applauded group ventures on opening night were “My Baby and Me,” with an appropriate change of costumes during the scene, and “Say Yes.” Applause even called for a final Encore.
Scenery consists of fine dark upstage curtains in back of the full-stage-wide band with three front steps leading to it. Pianist and Band Leader Josh Walker even participated in a bit of action for one song. Music at opening was great.
Nicholas Christensen’s sound, however, should be adjusted, as often the band competed with the singers’ lyrics. Andrew Gray’s lighting, both onstage and framing it, is perfect.
This musical revue whets the audience’s appetite for seeing some of Kander and Ebb’s less well known shows in full. FST certainly has the talent to do this.
