Always Theatre Three
Patsy Cline tribute
back by popular demand
First published in the Times
Beacon Record Newspapers.
Not that familiar with the young country singer with the too-short career? Go see this show. Already a long-time fan? Go see it twice. Not quite sure who she is? Go see this show and be introduced to a brave, young girl who became a country-music legend. Not even sure if you like country music? Come on down, you’re gonna love it.
How can I be so sure about that last recommendation? According to Ted Swindley, creator of the show over a decade ago, “As I familiarized myself with Patsy Cline’s music, I was so taken with her. I sat down and started listening to the depth and emotion in her voice and the sort of wonderful variety of music that she did, and it was clear that she defies a lot of people’s initial notions of country music. It’s a bias people have, and in a way I had that bias, too. I’ve seen it happen many times. When people see this show, they say ‘Well, I had no idea this music could be so great.’ And it is great music.” And I went to see the show.
Swindley created this show back in 1991, and even Patsy’s fans, friends, song writers, and family gave two thumbs up when it was performed at the Grand Ole Opry. Theatre Three mounted this show several years ago, and the response was so stupendous that it made it into their 35th season, the “back by popular demand” season, which included only shows Theatre Three audiences have been asking them to repeat. Having missed the first production, I can honestly say that I understand why you all wanted it back; this two actor performance is a trip back in time on the voices of angels.
Well, one angel and one angel’s assistant, but that’s only
because the story requires that construction. If you have seen Deborah Formosa
in other Theatre Three productions (including the first rendition of this show
here, as well as Woodstockmania, Summer of ’69: A
Return to Woodstock, Little Shop of Horrors, Beehive, Grand Hotel, and The
Wiz), then you know what a treat you are in for. If you have somehow managed to
miss her – now’s your chance to rectify that situation.
The story that holds the concert together is a fictionalized account of the friendship that grows between a big-hearted fan and her still-young, still-nervous, entourage-less idol. Louise Seger was stricken with Patsy-fever when she heard her on the Arthur Godfrey show (anyone who remembers or has seen reruns of this show will love her imitation of the famous man’s unique presentation style). When she learns that her idol is coming to her home town to perform, she corrals some friends and arrives several hours early to get good seats. The young, slightly nervous singer arrives, feisty Louise works up the courage to say hello, and a friendship is born. The majority of the show is the tale of that one evening and the following morning, as the two women bond and Formosa sings, whispers, belts, and brings to life most of the Patsy Cline repertoire.
And who brings Louise to life? Marci Bing is a long-time Theatre Three regular, having appeared in this role back in 2002 (and again at the Broadway Palm Dinner Theatre in Fort Meyers, Florida since then), as well as mainstage, children’s, and cabaret performances at Theatre Three including, Shirley Valentine, Sweeney Todd, Steel Magnolias, Noises Off, Follies, The Diary of Ann Frank, and To Kill a Mockingbird. She brings the fun-loving, heart broken, divorced mother to life with energy, enthusiasm and va-va-va-room to spare.
The chemistry between these two veteran actors is perfect. And although early in the show, when she is telling us that Patsy Cline sings just like she always wished she could, Bing makes a valiant effort not to sing too well, by the time the two women are singing together she has abandoned all pretense of not being a singer and adds her own terrific voice to the mix just perfectly.
Behind the actors, right on stage where they belong for this show, is the Theatre Three band, led by musical director and pianist Ellen Michelmore. They are arrayed across the back of the stage in cowboy hats as a good country back-up band should be and include the inspired musicianship of Richard Rabatin on pedal steel and electric guitars, Mike Orioles on electric and acoustic guitars, Murry Houliff on the drums, Guy Thillet and Patricial Benstock on fiddle, John Longtin on the stand up bass, and back up vocals by Michelmore with Jason Furnari and Morgan Rumble.
What songs will you actually hear, you wonder. Well, in addition to the hits already mentioned, you will be treated to Honky Tonk Merry Go Round, I Fall to Pieces, Your Cheatin’ Heart, Stupid Cupid, Three Cigarettes in an Ashtray, Crazy, Blue Moon of Kentucky, Shake Rattle and Roll and True Love, as well as a number of other songs not listed here so as to keep something in reserve for when you get there.
Bing and