Branson Contest Winners

For pure music, motion and magic, “Broadway: The Star Spangled Celebration” is hard to beat. For two hours, the cast at the Bobby Vinton theater sings, dances, and smiles its way through 50 songs from 25 Broadway musicals.

Don’t look for cutesy emcee patter, pyrotechnics, or confetti falling from the ceiling here. Wisely, the producers have minimalized both the stage and the bells and whistles to let the music be spotlighted stage center. What you get is two hours of the best songs America has ever produced, excerpted from such standards as “Follies” “Oklahoma, “My Fair Lady, “Les Miserables,” “42nd Street,” and “Chicago.”

The dancers are all dressed up with as many rhinestones and boa feathers as the eye can absorb. For New Yorkers who are used to the sophistication of the real Broadway, the choreography could be more polished. And for those purists who still want to hear “live” voices without technological enhancement, the production would be lacking.

But the rest of us are not so critical. After all, how can a quartet of men stand on their hands, fall into somersaults, and sing in four-part harmony all at the same time? Or how can the troupe jump, swing, skip, tap, do-si-do through five minutes of dancing and singing without some kind of help? For the rest of us, it’s all just part of a feel-good evening.

The cast, fourteen women and six men, distinguished by hair cuts and the clipped accents from Europe, might be more comfortable in the “Spirit of the Dance” production which alternates, along with “The Rat Pack” show, with “Broadway.” Except for the really tall male dancers, the music quickly overshadows those distinctions.

Several songs stand out. The first is the beautiful “Memories,” from the musical, “Cats.” The soloist sings at one side of the stage, and a pair of dancers interprets the haunting melody through ballet on the other. The strength exhibited by the male partner and the elegant positions of the female made the song a lyrical change of pace from the kinetic energy of the rest of the show.

Though the show finishes with “New York, New York,” back-dropped from the obligatory full-stage flag and red, white and blue costumes, it should end with “Grease.” The second-to-the-last medley is a showstopper. The dancers, dressed in 60’s poodle skirts and turned up collar jackets, enjoy this song more than any other. The music, and their joy in performing to it, are so infectious that the audience nearly joins in the fun.

Although the music is timeless, children between 2 and 8 might get the wiggles watching the same people doing much of the same thing across the same stage all night long. But for the very, very young and adults, the sound-and-sight show is more than enough to keep their attention and overcome any unexpected protests from the babies.
Once the Bobby Vinton Theater, the building, with its elaborate hand-painted murals and dusty lavender color scheme, is almost an experience in itself. Personnel are courteous; the restrooms are clean. It still amazes me that theater architects think that an audience that fills 1600 seats can squeeze into restrooms the size of a large living room, use the facilities, and get back into the auditorium all in 15 minutes. If these same architects were required to attend a two-hour theatrical production with a full bladder, the restrooms might be more prominent in their blueprints.

The gift shop’s souvenirs vary from earrings to sparkly tee-shirts and blouses. Red Hatters can circle up around their own display of red and purple.

Getting the buses and cars situated along the side of the hill is a work of art in itself—and done admirably by the parking lot crew. Members of the cast board the tour buses to answer questions and say one last thank-you to the group.

In all, “Broadway” packages up-tempo music, a variety of dancing, and high-octane energy in one evening’s fun.