This original, “raunchy outlaw-country musical,” is written
by and starring singer/actor, Amanda Richards and directed by Serah Pope, with
music direction by Steve Moore and choreography by Jaime Langton. It is playing at the Imago space, 17 SE 8th
Ave. (off (Burnside) through October 13th. Parking is a challenge in this area so plan
your time accordingly. For more
information, go to their site at www.whiskeydixiemusical.com
Dreams may come, and dreams may go…but a hard man is always
good to find. That might be the mantra
of this show. It is full of plays on words,
double meanings, mime, some Rap, even a nod to the MeToo Movement and a whole lotta
country music. But, to be clear, here is
their take on the play: “This is Rated R for graphic language, sexual content,
graphic subject matter, mention of sexual assault, guns, violence, tasteless
jokes, politically incorrect stuff and some other messed up shit.” If you are still reading this at this point,
“play on…and cursed be the coward that cries—enough!”
We all have dreams, many of which will probably go unrealized,
or be modified to such an extent that we hardly recognize them anymore. But dreaming is a part of our nature and so
we trudge onward, perhaps looking for Mr. Goodbar in all the wrong places. Whiskey’s (Richards) dream is to be a
big-time Country singer (“Country singers are for indoors, Western singers are
for outdoors”) in Nashville and be on the Conan O’Brien show. The latter part of that dream is realized as
she gets an invite from him.
But that means leaving her friends, who are like family, and
her favorite, small-town bar. They may
not be the cream of the crop of society but they are her buds. There is the braggart and womanizer, Jerry
(Tyler Shilstone), who is the King of Tit Hill and lets everyone know it. He even takes a greenhorn lover, Paul (Mac
Kimmerle), under his wing to teach him some of the finer points in satisfying a
lady. Roger (Dennis Fitzpatrick) is
essentially the town drunk, who says and does all the wrong things.
Other folks of this watering hole are Barbara (Anita Clark)
who is always up for a good time. Then
there is the newbie in town, Gladys (Diana Marie), who will soon be introduced
to the rules of the game. Also, there is
the indispensable, Trish (Brandie Sylfae), the bartender, who quietly sees it
all but, like a simmering volcano, does have her erupting point. And, finally, near the winding down of her
departure, the owner’s grandson, Dick (John Brunner), becomes the new owner
and, with his mother, Mary Ann (Michele Brouse-Peoples) may upset the familiar
surroundings of this haven for societal misfits. Will Whiskey follow her dreams, or stay and
face some of the hard facts of life?
Come see it for yourself, if you dare?!
Richards has done an outstanding job of wearing several hats
(lead actor, writer and producer) of this show, so it must be a labor of love
and it shows. The songs, although
R-rated, are musically quite engaging and very well performed by a talented
cast. (I can’t tell you the names of any
of them because there was no listing in the program.) Both Richards and Brunner take honors as the
most accomplished of the bunch of singers.
My personal favorite, though, in acting, was Sylfae, as the bartender,
and her explosive monologue at the end was terrifically delivered. Pope has done a good job of casting the show
and keeping the action moving on a very clever set. And Langton (a fine performer and actor in
her own right) has captured the dancing of the country bar to a tee. Also, Moore, with his
band (Chad McAllister, Christine McAllister and Joey Harmon) gave an
authenticity to the setting and never overpowered the actors.
It is curious, though, although Richards is targeting a
specific audience by making it raunchy (the enthusiastic crowd proved that with
their cheers and applause), underneath it all, there is a very good and human
story that, even without all the blatant, sexual overtones, was quite
compelling. This is obviously not a play
for everyone but I thought the whole production deserves a thumbs up.
On a personal note, though, I was somewhat handicapped by
being in the last row—H, and, although it is tiered seating for the audience, G
& H rows are on the same level. And
I was sitting behind a large man wearing a hat and the spotlight was directly
behind me, so anything that took place center stage, I had to crane my neck to
one side or the other to see the action.
When you have a reviewer, its usually customary to assign them a
favorable seat for the best view of the show.
As I said, a personal note and advice as to not let them seat you in Row
H.
I recommend this show.
If you do see it, please tell them Dennis sent you.
--DJS
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