Don't Miss Bells Are Ringing
Bells Are Ringing is a Broadway musical from 1956, a smash hit in its era, that doesn't get staged much any more. If you're like me, the only version of it you've seen is the 1960 MGM film, which preserves Judy Holliday's legendary performance in the lead role but otherwise -- well, let's just say it's far from Vincente Minnelli's best work as director.
But the stage version turns out to play nicely even now. That's one reason musical comedy lovers should head to FCC/Kussmaul for the Fredericktowne Players' production, set to run for three more performances (Friday and Saturday at 8, Sunday at 2).
The plot, and the Holliday role, revolve around a technology of its era, the personal answering service, in which an operator in a remote office would take calls and note down messages for subscribers away from their phones. Ella Peterson, sitting all day at the switchboard, enlivens her work by putting on a different personality for each account -- motherly, refined, cheery, as best she thinks suit their needs. They know her only by her voice and its assumed personality, which opens up plenty of chances for mistakes and confusion, as well as love and inspiration, when plot developments send her out to begin meeting them in person. Her talent is one for making connections, both with wires and with lonely souls, so all ends happily,
Some other reasons you'll like it:
* The show depends entirely on its heroine, who carries nearly every scene: starting out zany and bubbly, by the end taking us through many other emotions as well. And the role is in good hands with Sara Charbonneau who totally owns it from first scene to last.
* Richard Weldon, in comic support as a scheming bookie romancing Joy Gerst as the answering service owner, is Frederick's answer to Nathan Lane. (For many of us he is better known as a former delegate and man about town on the business and civic scene.)
* As it needs to be in a comedy, the timing flows well -- a tribute to director Devin Taylor -- with overlong scene changes being the only exception. Dancing is simple but effective, especially the ones involving leading man Brad Carnes-Stine, a cha-cha-cha with Charbonneau and colleagues, and a trio of lively female hoofers inspired by Kirk Bowers as a singing dentist (are there any other shows with singing dentists, aside from "Little Shop of Horrors?") Other featured players are Britany Poindexter, Donald Harver, Don Plugge, Joe Chacon, and Christine Grable.
* The second act has two of the most gorgeous standards ever to make it into the Great American Songbook: "Just In Time" and "The Party's Over." If those two songs, well sung as here, don't move you, the musical form may not be for you.
* Unaccountably, the MGM movie cut a bunch of songs from the original show, including "Long Before I Knew You," "Is It A Crime?," and the comic novelty "Salzburg," sung here by lovebirds Weldon and Gerst. They're written by a trio of fabulous talents, Jule Styne and the book team of Betty Comden and Adolph Green, and they're good. Grab this rare chance to hear them, especially backed by FTP's nine-piece orchestra
One final note: The show played through heartbreak following the loss of Jake Jackson, who was set to play the supporting role of producer Larry Hastings but lost his life in the terrible I-70 crash that happened just before opening night. Matt Kopp stood in for his role
The show was dedicated to Jake Jackson, and when I walked in I was prepared for some tears. But this show is about joy, the human connections we make, and the fun to be had along the way. That's what you'll take away.
Walter Olson lives in New Market and writes about many subjects.
