So the conductor walks out on the stage.
“All Aboard,” he shouts. He walks down the aisle, asking for, taking and punching tickets.
Ah, it’s a train ride we are in for at the “All Night Strut,” now running at The Rep’s Stackner Cabaret. Sounds like fun.
As it turns out, however, this is a train to nowhere.
Like a shrub of tumbleweed in a windstorm, this train wanders around, stopping at stations that have almost no logical relationship with the each other.
There is no beginning to this trip, no middle to this trip and no end.
It’s so uninteresting that I didn’t even care that they never explained why we had this train in the first place.
This ultra-thin musical is a paean to the music of the 30’s and 40’s and it’s got a couple of dozen very cool songs, ranging from “I’ll Be Seeing You” to “Ain’t Misbehavin’” and “In the Mood” and “A Nightingale Sang in Berkeley Square.”
It’s got five talented and versatile performers who can sing, play instruments and even dance a little bit.
But there’s no story here. Each song is almost totally unrelated to any other song as well as seeming to have only a nodding acquaintance with whoever is singing it. Instead we get unconnected and earnest efforts by the entertainers, performances that you might get if they were auditioning for a role in a Broadway musical.
They hold nothing back. It’s all in from the first to last note and no effort at any kind of f subtlety or even a smattering of dynamics in these musical gems.
This isn’t about telling a story. It’s like somebody tied the talented hands of director JC Clementz behind his back and told him to “make this really sparkle.” And he did, teaming with music director Dan Kazemi to give each song everything in the bag.
It’s tough to say that these five people (Brian Russell Carey, Kelley Faulkner, Nygel D. Rogbinson, Jonathan Spivey and Katherine Thomas) could be boring. But the evening is almost totally without surprise.
You expect the songs to be good songs. You expect the singers to be good singers. You expect them to be able to play all kinds of music. And they meet all the expectations.
But there is no bar set up high for these performers to reach for This whole thing is way too much in their comfort zones. Nobody looks like they are working. They might as well be sitting around in a living room, holding glasses of Pinot Noir and taking turns dazzling each other with their vocal gymnastics.
The Stackner has been home to a whole line of wonderful productions telling stories about Patsy Cline, Johnny Cash, Woody Guthrie, John Denver, Tony Bennett and a whole raft of famous divas
The music in “All NIght Strut” can hold up against all the others.
But there is no tale to be told. When it was over I jotted down my overwhelming impression.
Yeah, so what?