Listen & Be Heard Weekly Archives

With unforgettable hits like “It Don’t Mean a Thing,” “Satin Doll,” and “Take the A Train,” Duke Ellington made an indelible mark on American music as both a composer and big bandleader. The musical revue Sophisticated Ladies, which celebrates the great jazzman’s swinging repertoire, inspired Vallejo Music Theatre (VMT) to stage one of its strongest productions in recent memory.

An enthusiastic cast of four men and four women tackled tunes ranging from toe-tapping to tender in their closing weekend performance, led by wonderful VMT newcomer Chauncey Roberts. An experienced dancer with contagious enthusiasm, Roberts lit up the stage and ably filled the shoes of greats Gregory Hines and Hinton Battle. The show’s opener “I’ve Got to Be a Rug Cutter” was a delight with Roberts joined by his gentlemen cast mates. Equally engaging was “I’m Beginning to See the Light” with Roberts mugging it up to great comedic effect in tandem with Sophisticated Lady Whitney Savannah Mitchell.

Mitchell, a polished performer, is at her best when featuring her dance skills. Much the same can be said of all of the women in the cast. Laura Allen has a lovely ingénue-like quality and moves very well, but her vocals were not up to the range of “Mood Indigo” nor the powerful belt of “Hit Me a Hot Note and Watch Me Bounce.” For one of the most well-known ditties of the evening, Yvonne Dawes’ spunky but overly gravelly rendition of “Take the A Train” was enjoyable but not sung to its fullest potential. The strongest female pipes were provided by Patricia Pitpitan, whose sweet soprano was fine for “In a Sentimental Mood” but lacked punch for the other jazzy numbers. Both Dawes and Pitpitan held their own with their rug-cutting co-stars, skillfully executing choreography that was lively and fun.

Director/choreographer Alyson Blume did an excellent job staging the revue, but the vocal issues may be attributable in part to her artistic approach as illustrated in her director’s notes. Blume refers to Sophisticated Ladies as a “choreo-musical,” and it’s clear the emphasis on dance informed her choices. Perhaps stronger musical direction by William Tenant could have added balance. His three-piece combo of piano, drums, and bass were a perfect fit, though, for both the music and the venue. The Fetterly is an oft-troubled theatre space, but the cabaret/jazz club vibe suits it to a tee.

Completing that club feeling were lighting by Kari Weeden and a set and costumes by Lynn L. Combs. Rope lights stylishly trimmed the simple set, while various colored washes upstage added to the mood. Combs’ costumes dazzled with sophisticated period style, including vibrant colored gowns for the women and swank tailcoats for the gents.

The energy and joy of the cast, not to mention the infectious songs themselves, made for an enjoyable evening despite small flaws. If you missed Sophisticated Ladies, check out VMT’s website at www.vallejomusictheatre.org to find out about upcoming shows and to support the company’s efforts to move to their new home on Marin Street
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