Washington, DC—Out with the old and in with the new. That’s the musical theme of Swingtime, the brand new musical revue that wraps up the In Series’ 2009-2010 season over the next two weekends in the Atlas Performing Arts Center’s Sprenger Theater on H St. NE. With a book penned by Tom Mallan (who also directed), Swingtime’s story encompasses the musical decade of the 1940s when America entered—and helped win—the Second World War, and when the swinging Big Band sound was rudely shunted aside by the be-bop sound, which itself was eventually left in the dust by rock’n’roll.

"Swingtime" cast in "radio daze." L/R: W.
Ellington Felton, Pam Ward, Laura Lewis,
Tammy Roberts, Vince Borrelli. (All photos 
courtesy JPL Imagery.) 

In Series revues are generally cabaret-style shows with impressionistic, suggestive plots that are dominated by the music of a given decade. But Swingtime departs somewhat from the norm. There’s still plenty of great 1940s music ranging from sentimental favorites like “Sentimental Journey” to rowdier numbers like “Pistol Packin’ Momma.” But Mallan fleshes the revue out with a more coherent plot and more dialogue to make the story more interesting. Unfortunately, it doesn’t always work out. The plot is good. But the dialogue needs an assist.

Swingtime’s frame tale takes us to New York City where bobby-sox idol, crooner Van Leonardo (Vince Borelli) is launching a brand new radio show, circa 1943, to cash in on his mass-market success. Or to try to get it back. Seems like his style is fading fast in the fickle world of adolescent teens. He and his backers hope that his new show and his big band-style sound will help him—and his sponsors—get back on top. And two of his fellow entertainers, cowgirl singer Lynette Buckston (Laura Lewis) and Broadway belter Judy LeVon (Tammy Roberts) become regulars on the show to help out.

But it’s not to be. As time marches on, edgy be-bop jazz and exciting new Cuban and Latin-style dance music are the musical one-two punch that combine to give Van and his show the old heave-ho, as he and his hosting duties are replaced by sultry Latin band leader Xavier Prado (Alvaro Rodriguez). Van’s attempt at a comeback—he’s invited to join Glenn Miller’s band on tour in war-ravaged Europe—is cut short when he learns of Miller’s tragic death in a presumed plane crash.

"Swingtime's" best-ever 1940s ties.

In a parallel story, we follow the career, or lack thereof, of black singer Joe Stuckey (W. Ellington Felton), one Van’s pal and partner but now trapped in a downward spiral caused as much by the institutional racism of the era as by Joe’s own negative attitude. His wife, singer Dorothy (Pam Ward), tries to cheer him up, since she’s already landed a spot on Van’s new show, but her efforts are to no avail.

Mallan’s book is imaginative, and Broadway, movie, and TV fans will immediately recognize the probable prototypes of his characters. “Van” is based on Frank Sinatra who built a movie, television, and Las Vegas career on the ruins of his early big-band career--a trajectory that lies at the heart of Swingtime.

“Xavier” (whose first number is “Babalu”) is an amalgam of Desi Arnaz and Xavier Cugat (who had actually hired the young Desi to perform with his own band). “Lynette” is at least partially modeled on “Singing Cowgirl” Dorothy Page; or perhaps Dale Evans. “Joe” might have been modeled, at least in part, on a young, disillusioned, pre-Rat Pack Sammy Davis, Jr. who ran into a wall of racism during his service in the Second World War and on subsequent musical gigs well into the 1960s. “Judy” reminds us a bit of Judy Garland. And so forth.

The old Chiquita Banana routine. Or something
like it.

It’s actually fun to watch the characters do their shtick and to guess who’s based on whom. Unfortunately, Mallan, as author, takes some of the fun back out of the show by occasionally saddling his characters with wooden dialogue filled with unnecessary moralizing and philosophizing. As is often the case with a new show, it’s that old problem of telling us vs. showing us. Verbal economy is often the best choice in most situations. But it’s admittedly hard to get the balance just right.

Making things more problematic, on opening night, most cast members seemed to fumble with at least a few of their lines, hinting either at a lack of rehearsal time or lots of last-minute tinkering with the lines. A simple suggestion for upcoming performances? Just trim the dialogue here and there and let the relatively straightforward plot and the lively music carry the show, the tried-and-true In Series formla for success. Such a move would certainly improve the pacing in this show, putting more of a focus on the music and the period.

Quibbles aside, the players were generally effective in re-creating the radio days of old, including the ubiquitous, controlling sponsors and the perils of performing the shows before a live audience—years before TV invented canned laughter. They also had a good time with the songs, many of which were unfamiliar to modern audiences.

Perhaps the best single vocal of the evening was Pam Ward’s (Dorothy’s) compelling rendition of the Lewis Allen classic, “Strange Fruit,” originally immortalized in Bessie Smith’s haunting version. Ward’s interpretation was different, almost matter-of-fact as she carefully enunciated every horrific word and phrase in this very explicit song about a lynching in the Deep South, leaving nothing to the imagination. Her performance was uncomfortable, riveting, and thought-provoking.

The music itself was, in fact, the high point of this show. The cast had a good time with the material and knew how to sell it. Even better was the performance of the small, crackerjack band that accompanied the cast, percussionist Celso Lopez, bassist Ephriam Wolfolk, and leader Burnett Thompson on the piano. Thompson, in particular, offered some of the best work we’ve heard anywhere this season, and the In Series will want to invite him back ASAP for another production.

Last but not least was saxophonist Marshall Keys who moved in and out of the show, sometimes as a pure musician, other times as “Marquis,” an early be-bopper and a sort of musical prophet as to where things would be going in the later 1940s and early 1950s. Matching the quality and skill of the band players and at times exceeding it, Keys seemed to embody the musical spirit of the entire show. It was a remarkable effort. The whole band, in fact, merits a future show of its own.

Rating: ** (Two stars)

The In Series’ Swingtime continues weekends through June 12 at the Atlas Performing Arts Center’s Sprenger Theater at 1333 H St. NE, Washington, DC 20002. For tickets and information visit the In Series’ website.

Note: Ephraim Wolfolk replaces Eric Wheeler on the double-bass for the June 4 performance. Rikki Howe sings the role of Dorothy Stuckey on June 11 and 12.

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