By Ruth RossOver the past 20 years, the American musical stage has seen the rise and popularity of musicals built around some icon of modern pop music (think: Billy Joel's Movin' Out, the Four Seasons' Jersey Boys and, currently, Carole King's Beautiful). For the most part, these jukebox musicals celebrate the composers/performers of this genre, but in Always...Patsy Cline, Ted Swindler has switched the focus to explore the effect of the great 1960s country star's music on her fans—in this case, a superfan named Louise Seger.
Covering the years 1957 through 1963, Always...Patsy Cline takes the audience on a journey to fame, from an initial appearance on the Arthur Godfrey television show to Patsy Cline's untimely death at the age of 30 in a plane crash. Told through the starry eyes of housewife Louise Seger, who becomes so enamored of Cline's voice that she telephones her local radio station multiple times a day to request a particular song. She has the chance to meet her idol at the local roadhouse, the Esquire Ballroom, where—with some fast talking—she secures Cline a better salary for the gig and becomes her "manager." Not bad for a single mom from Houston who didn't seem to work outside her house! Over the course of the years, Louise and Patsy strike up a friendship based on their commonality as women, wives and mothers. Patsy stays at Louise's house after their initial meeting and then communicate about all sorts of things, mostly through letters signed, "Always, Patsy Cline." It is through Swindler's play that we experience both that burgeoning friendship, Cline's ascendance and Louise's memories long after she has lost her friend.
To make this production work takes a talented actress to play Patsy Cline, and director Grace Coviello has found on in Patricia Durante (left and above). Known mostly as an actress (and a very good one), Durante nails the sound of country music, complete with yodel, catch in the voice and soaring melodies. The music covers country ("Back in Baby's Arms"), rock and roll ("Stupid Cupid") and traditional ("Just a Closer Walk with Thee"). Durante switches from bouncy to yearning to reverential, easily and convincingly. And she does great justice to Cline's signature song, "Crazy." As for dialogue, she's pretty convincing there, too, although she's really speaking the words as Louise recalls them.
The production is enhanced by the Bodacious Bobcats Band of Regan Ryzuk, Tim Metz and Marco Vitali; they've got the right amount of "country" to lend the play authenticity. Ditto Frances Harrison's costumes, complete with fringe, crinolines and neckerchiefs so popular at the time! Just watching this show is like entering a time warp!
Lauren Moran Mills' musical staging is fluid and appropriate, and Jonathan Wentz has designed a set that is functional and atmospheric.
I confess that I am not a fan of country music, but Always...Patsy Cline opened my eyes to its possibilities and to the art of Patsy Cline and the effect she had on her loyal fans. Kudos to the Women's Theater Company for bringing this show to metropolitan New Jersey. They have accomplished one of the joys of drama: to broad our world and enrich our lives.
Always...Patsy Cline will be produced at the Parsippany Playhouse (in the Parsippany Community Center), 1130 Knoll Road, Lake Hiawatha, through June 7. Performances are Fridays and Saturdays at 8 PM and Saturdays and Sundays at 3 PM. For information and tickets, visit www.womenstheater.org or call the box office at 973.316.3033.
