A Grand Night for Singing
Music by Richard Rodgers
Lyrics by Oscar Hammerstein II
Book by Walter Bobbie
Directed by Kris Allen
Music Director M. Shane Hurst
The Orchestra
Keyboard M. Shane Hurst
Winds Tyler Tashdjian
Cello Will Hughes
Percussion Randy Linberg
The Players
Kelly Holmes
Phoebe Adams
Levi Skoog
Elyse Allen
Grant Palmore
Stage Manager/Light Board Mia Mizell
Technical Director and Lighting Designer Josh Hensley
Set Designer Rodney Dobbs
Costume Designer Sakura Brunette
Prop Design Elise Knox
Sound Operator Keyes Larsen
My thoughts on A Grand Night for Singing or …lovely, lovely night.
I always think of musical revues as being difficult to stage. Even one using the Rodgers and Hammerstein canon. Having one song right after another from a laundry list of greatest hits doesn’t hold much appeal. I could put on my Apple Music playlist and listen to those songs while I do my taxes. Why go to the theater?
Director Kris Allen and Music Director M. Shane Hurst gave me the answer to my question. Because when a revue is in the hands of pros, and you have five first rate singers and a sensational orchestra, it can be magical.
Here the magic occurs on a two-level set that resembles an attic and contributes to the cozy atmosphere of the evening. The scrim behind the set changes color reflecting the various moods of the songs. There are no costumes. All the singers are dressed in black. There’s no need for glitz here as their voices and personalities provide the dazzlement. It was also very cool to have Music Director Hurst on stage throughout the show sometimes bantering with the singers.
The aspect of the revue that I admired most, other than the music and singing, was the endlessly clever way Director Allen kept his players moving and interacting throughout the evening. I know from experience how difficult it is to stage a musical number, but to stage thirty plus songs with no real storyline is remarkable and Allen makes it all look seamless.
The five players include Kelly Holmes, Phoebe Adams, Levi Skoog, Elyse Allen, and Grant Palmore. They sing in almost every possible combination, and everyone gets his or her chance to shine. It’s difficult to choose highlights from a show that is nothing but highlights. That being said, there are a few truly outstanding moments that should be recognized.
Of the group numbers nothing was more powerful and beautiful than the Act 1 finale of “Some Enchanted Evening.” You go through Act 1 thinking “Oh, that’s nice, that’s good” and then “Bam!” The force and thrilling harmonies of that iconic song give you gooseflesh that lasts through intermission.
I loved the sass and showmanship Kelly brought to “I Cain’t Say No” and “Kansas City” from Oklahoma! Elyse was terrific performing “It’s Me” from the lesser-known Rodgers and Hammerstein Me and Juliet. I was charmed by Phoebe’s sweetly plaintive “It Might As Well Be Spring” from State Fair. Grant got the chance to show his skills for both fun and gravitas singing “Honey Bun” and “This Nearly Was Mine” from South Pacific. Levi scored big with “Maria” from The Sound of Music and “Love, Look Away” from Flower Drum Song. These songs are traditionally sung by female characters, but Levi made them his own.
The talent and skill of the creative team and the very appealing cast make Theater Frisco’s A Grand Night for Singing a celebration of Rodgers and Hammerstein and a “lovely, lovely night” indeed.
