Of Dames and Men

The Jean Cocteau Repertory Company’s disappointing production of Dames at Sea is being kept afloat largely by the show’s charming book and witty score. This is a breezy parody that sails on the talent of its writers, George Haimsohn and Robin Miller (book & lyrics) and the sharply observed musical pastiche of its melodies by Jim Wise. Despite mediocre voices, shockingly lame tap-dancing, and some ham-fisted performances, the JC Rep’s Dames at Sea still manages to get its share of laughs.

During the first scene you’ll be inclined to bolt for the door. The musical begins with Mona Kent (Judith Jarosz) performing a number that is a disaster in every way. Unlike Fred Astaire, about whom it was said when he was initially screen-tested, “Can’t sing. Can’t act. Can dance a little,” all we can say about Jarosz is that she’s 0 for three. But stay to check out the adorable Kathleen White, who plays Ruby, the musical’s comic heroine. The kid arrives soon thereafter, from Utah, to become a Broadway star — and, since this is a satire of such movie musicals as 42nd Street and The Golddiggers of 1933, she goes from being a total unknown to becoming New York’s biggest new star in one day.

Of course, Bernadette Peters became Broadway’s greatest new star while playing this role, but it’s hardly fair to compare White (or anyone else) to a latter-day icon. Suffice it to say that White gives a winsome and winning performance when she’s not singing or dancing. She just gets by when she has to vocalize, and her dancing is — well, less than exciting. But it’s not as if her dancing calls attention to itself in this cast; only Joey Stocks, who plays a sailor named Lucky, looks like he’s an accomplished hoofer. Chrysten Peddie plays Joan, Lucky’s girlfriend (the Joan Blondell role); though she clearly has some talent, Peddie overacts in the part, pushing the tough dame attitude. Andy Meyers as Ruby’s boyfriend, Dick, is all around mediocre. And Campbell Bridges, in the dual role of a theater producer and a ship’s captain, is over the top without being over the moon. Director David Fuller keeps the show moving at a nice clip.

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In our last column, we wrote about the Hair of the Dog company from Australia, which is presenting three plays in repertory at the Ohio Theater. We were intrigued enough after seeing one of the troupe’s productions, Secret Bridesmaids’ Business, to check out another, this one simply titled Men.

Briefly, it’s about three very different men who are part of a mysterious experiment. Perhaps the best thing about this relatively short, one-act play by Brendan Cowell is the revelation of the mystery; it’s a swell payoff. Unfortunately, you have to sit through the rest of the show to get to it. Intended as a dark comedy about men and the way they treat women, Men is too often pretentious, too obviously written, and too extreme without being incisive or very funny. Jen Apostolou directs the play with considerable energy, but she can’t overcome its flaws.

One of the reasons we returned to the Ohio so soon was to see Tamara Lovatt-Smith. We very much admired her in the Bridesmaid play, and she’s the only woman in Men, but you can’t see how good she is in this role because it lacks any real dimension. All of the characters are elaborate clichés, yet only Ben Barrack as Crazy Bob really gives his character some pizzazz. Ben Matthews as the sensitive Guy is burdened with bad dialogue, and so is Nick Flint as Jules, although they each have scenes during which they rise above the material.

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[To contact the Siegels directly, e-mail them at siegels@theatermania.com.]