more info, via a couple of reviews:
"Is this the best, most exhilarating, most close-to-perpetual dancing ever to grace the Goodspeed Opera House stage?
It certainly could be.
The new stage adaptation of “Summer Stock” at the East Haddam theater has plenty to recommend it in terms of the canny script and the hummable songs. But it’s the dancing that leaves the biggest impression.
The show is jam-packed with choreography from Donna Feore, who also directs, that is thrillingly executed by the cast.
We’re talking: Gravity-defying kicks. Head-spinning turns. Male dancers lifting and tossing and catching the female ones. It runs the gamut from Cossack-dance athleticism to soft shoe grace, tap precision to Lindy hop energy.
How the cast manages to sing after executing these (literally) breathtaking numbers, I have no idea.
And how do they make it through two performances on some days? Amazing.
Also amazing: the fact that they do all this on Goodspeed’s small stage without making the space feel cramped.
So, yes, the dancing is phenomenal. But there’s more to the show than that.
This stage version of “Summer Stock” — which is enjoying its world premiere at Goodspeed — is inspired by the 1950 MGM movie starring Judy Garland and Gene Kelly. Writer Cheri Steinkellner, though, has reimagined the piece in many ways, making it better, stronger and propelled by a more modern sensibility. (Steinkellner’s writing credits range from “Cheers” to the Broadway adaptation of “Sister Act.”)
The foundational story, though, remains the same: A no-nonsense young woman named Jane is trying to save her family farm. Her actress sister (named Gloria in the version at Goodspeed) brings her compatriots to the farm to rehearse a show. Jane first spars with and then starts falling for Gloria’s beau Joe, the production’s director.
Steinkellner has also changed up the score, to great effect. While some tunes from the movie remain, she has pulled others that are in the public domain (such as “Accentuate the Positive,” “Paper Moon” and “It Had to Be You”), and she has woven them perfectly into various plot points and important emotional moments.
As director, Feore makes sure the whole enterprise has a dynamic spirit. It’s a story and a production that brims with optimism and cheerfulness.
Leading the cast is Corbin Bleu, who became famous with his work in “High School Musical” and has gone on to star in several Broadway shows, as Joe. Bleu is a true, and truly talented, triple-threat. He has a warm, welcoming presence as an actor; he also brings an authority to Joe so you believe he’s someone the actors respect and will follow. Bleu’s singing is strong and lustrous, and his dancing — particularly his tremendous tap ability — is … wow.
Arguably the biggest scene-stealer here is Veanne Cox, as the wealthy, snooty owner of huge property surrounding Jane’s. The way she trills dialogue can turn anything into a punchline. She can wave her arms about as her character repeats “l’amour” and generate audience laughs. When her character falls for the egoistic actor Montgomery Leach (played by J. Anthony Crane with Barrymore flair), Cox burbles with girlish romantic giddiness.
Danielle Wade does her own take on the Judy Garland role. She gives Jane a swagger and a tough façade that reveals a more human self during the course of the story. Wade’s most important feature is her voice, which is potent whether she’s finessing a ballad or powering through a big number. While she can’t compete with Garland’s renowned version of “Get Happy” (who could?), Wade does a good job in the number — choreographed and costumed in an homage to the original — that serves as the culmination of the production.
Arianna Rosario gets to play an interesting arc at Gloria. At first, Gloria seems to be a blithe, self-centered actress, but she later shows that she is quite the problem-solving producer. Rosario makes the transformation believable, as if Gloria is finally letting her real self come through.
The scenic design by Wilson Chin suggests the various elements of a Connecticut River Valley farm in the 1950s while still allowing room for the cast to burst into all of those big dance numbers. And the costume design by Tina McCartney provides a fun and functional take on country clothing of the era.
I will say that the second act could be tightened up (we don’t need to see so many beats of the rehearsal process), but, in total, this “Summer Stock” is sensational." [source]
(hooray for most directly explaining gloria's overall arc)
and the next review:
"A throwback to the golden age of Broadway and movie musicals, "Summer Stock" is a timeless, inspiring song-and-dance tale of good deeds, fairy tale showbiz, classic romance and backstage intrigue played out to such dazzling effect, you want to freeze frame it, take it home with you and watch it over and over again for pure fun and a let's-put-a-smile-on-your-face endorsement.
This is Goodspeed Musicals at its best - old-fashioned musical entertainment designed to deliver by the bucket's load, stir the senses, rhythmically intoxicate you and dance up a continual storm of good cheer that's guaranteed to leave you breathless.
Animated.
Airborne.
Magical.
Sweet-natured.
Fresh-faced.
Dance happy.
It's all here, wrapped up in shiny gold ribbons and signature colors that complement and complete the picture with a technicolor flourish, a big bang and an internal logic that flows with appropriate style, stamina, full command and intent.
Adapted to the stage by Cheri Steinkellner, "Summer Stock" replays that popular let's- put-on-a-show conceit where everything rests of the big opening night, the box-office intake, the big kiss between the leading man and the leading lady and how a complete unknown saves the day right before the final fadeout.
Here, struggling Connecticut farmer Jane Falbury decides to let her actress sister Abigail and her actor friends from New York use the family barn as a rehearsal space for their brand-new Broadway bound musical in exchange for doing the daily farm chores to raise enough money to keep the business from going completely under.
One slight problem.
During rehearsals, Jane finds herself falling for the show's handsome director, Joe Ross, who, happens to be engaged to the show's leading lady - her sister Abigail.
Staging "Summer Stock," director Donna Feore ("Chicago," "Billy Elliot," "A Chorus Line"), who doubles as choreographer, creates a loveable, intoxicating show that reels you in, grabs hold of you until the final curtain and lets you fall in love with every little detail, surprise, plot twist, joke, visual gag, one-liner and tilt of her jolly agenda while she articulates every element of this musical story with thrust, warmth, spin and splendid articulation.
Directorially, she pulls it off spectacularly.
No wrong moves here as "Summer Stock" catches fire with a spark, a gusto, a shine and a 1950s mentality infused with plenty of imagination, originality, style and flair. More importantly, the production never loses sight of its origins, its functional plotting and its love of musicals of yesteryear despite well-intentioned doses of kitsch, takeaway humor, giddy backchat and story arcs right out of the MGM library of backlot moviemaking.
Feore, free spirit that she is, fuels the musical with a sharpened wit and sentiment that works especially well as does her decision to let "Summer Stock" remain rooted in the period from whence it came in terms of staging, development, expression and interaction.
Moving from screen to stage," "Summer Stock" retains only four songs from the 1950 MGM musical. The addition of several new songs to the original version of the score turns the two-act musical into more of a showstopping event and adds clarity, luster and vintage spin to its already proven material, its let's launch into another song and dance routine blueprint and its firm grasp on characterization, story evolution and its happily ever after conclusion.
At Goodspeed, there are 28 important, recognizable, smartly placed musical numbers. They are: "Get Happy," "Happy Days Are Here Again/I Want to Be Happy," "Accentuate the Positive," "I'm Always Chasing Rainbows," "Always," "Always (reprise)," "It's Only a Paper Moon," "The Best Things in Life Are Free," "Dig for Your Dinner," "Me and My Shadow," "Howdy Neighbor, Happy Harvest," "Red Hot Mama," " 'Til We Meet Again," "You Wonderful You," "June Night," "Some of These Days," "Joe's Dance," "I'm Always Chasing Rainbows (reprise)," "It All Depends on You," "Always (reprise)," "Everybody Step," "Lucky Day," "How Ya Gonna Keep 'Em Down on the Farm," "Hinky-Dinky Parlez Vouz," "It Had to Be You," "Get Happy (reprise)" and "You Wonderful You (Finale)."
Musical director Adam Souza ("42nd Street," "Cabaret," "Next to Normal," "A Grand Night for Singing," "Because of Winn Dixie," "Rags") grabs hold of the "Summer Stock" score and allows it to breathe, gesticulate, excite, envelop and rhapsodize with the golden age sentimentality of MGM movie musicals and the timeless, larger-than-life spirit of old Broadway. Here, every song matters. Every song is important. Every song travels down memory lane. Every song is tuned to the max with sweet, centered, warm-heartedness. Every song fulfills its intended purpose.
All of this is complemented by the strong, flavorful sound of Souza's orchestral team, all of whom share his tremendous sense of theatricality, musical interlude, impassioned communication and delight of the actual musical itself. They are: David Uhl (bass), Sal Ranniello (percussion), Liz Baker Smith (reed 1), Andrew Studenski (reed II), Travis Higgins III (trumpet) and Matthew Russo (trombone). As with other Goodspeed musicals, Souza doubles as conductor and keyboardist.
As "Summer Stock" zings and pops, pretty music every song unfolds with a contagious orchestral musical glow, matched by the splendid musicality of the entire cast who address the catchy, homespun music and lyrics with perfect harmony, rhythm, phrasing and nostalgic commitment. These elements heighten the on-stage mode of the production, its progression from Act I to Act II, its send offs, its pastiche and its electrifying, barn-raising influence and thwack.
As with any big stage musical, choreography is key to a production's success, its fluidity of form, its artistic expression and its accompanying dance routines. Here, Feore, as choreographer, gives "Summer Stock" a highly personal touch of invigoration and speedy excitement that is tipped and generated with wonderfully elongated inspiration, stamina and determination. This is star quality choreography that peaks, shines and tilts with clever build ups, catchy dance steps and bold, concentrated rhythms, moves and beats that joyfully celebrate 1950's musicals in all their technicolor glory.
As storyteller and dance interpreter, she brings great dimension and scope to the piece using techniques, styles, descriptions and an enriched canvas of thoughts and ideas that make their mark most engagingly. Everything that happens on the Goodspeed Musicals stage has been beautifully blocked, rehearsed and staged with such thrust and individuality, no two dance numbers are alike. In fact, once "Summer Stock" catches fire, there's no stopping it.
Creating a freshly minted fusion of moods, tableaus, lifts, twirls and swirls, Feore pays homage to the actual vintage look and mindset of the musical, its dance-friendly art form and its free-flowing feel of excitement and exhilaration.
Hands pop. Arms move heavenward. Dancers smile and glisten as they passionately ignite into joyful visions of sweetness, passion, frenzy and syncopation. Everyone is lost in the moment illustrating the traditions, the conscience and the power of musical theatre, giving and getting the most out of Feore's phenomenal, ovation-worthy choreography.
Trained, drilled and confident, they each get a chance to shine - and shine they do - all making strong impressions that will live long in memory.
Making his Goodspeed Musicals debut, Corbin Bleu, as Joe Ross, a character originated by Gene Kelly in the 1950 film version, creates a "Wow!" song-and-dance-man factor chock full of charm, personality, self-confidence and full-beam, champagne delightness that astounds, cajoles and sparkles with leading man gait and luxury like no other.
No matter what he does, he's a proverbial triple-threat (i.e., a player who excels at acting, singing and dancing) who makes everything that happens on stage feel fresh, spontaneous, real, raw and very much in the moment. It's in his eyes. It's in his moves. It's in his expressions.
Exhibiting a sweet, contagious rapport that extends far beyond the footlights, it's the performance of the year and one that Bleu exudes with a Gene Kelly/Fred Astaire aura of showbiz savvy, knockabout whimsy, graceful athleticism and sterling encapsulation. "Joe's Dance," a solo dance number in Act II performed by Bleu only furthers that notion.
In the role of Jane Falbury, a role made famous by Judy Garland in the original "Summer Stock" MGM musical, Danielle Wade lights up the Goodspeed Musicals stage with a breezy, intuitive musical comedy performance of real warmth and spirit that is a constant joy to watch. Veanne Cox, cast in the role of the wickedly devious Connecticut farming magnate Margaret Wingate, is jaw-dropping brilliant, using humor, music, dance and melodrama in divinely daft and glorious ways that prompt applause and laughter whenever she's in the limelight. It's a scene-stealing performance so seamlessly entrenched in glee and fiery abandon, Cox, would be the ideal choice to play narcissistic Broadway diva Dee Dee Allen in the 2024 summer presentation of "The Prom" at Playhouse in Park in West Hartford. I'll personally deliver the contract.
Other memorable performances are delivered by Arianna Rosario (Gloria Falbury), Stephen Lee Anderson (Henry "Pop" Falbury), Gilbert L. Bailey II (Phil Filmore), Will Roland (Orville Wingate) and J. Anthony Crane (Montgomery Leach).
A musical escape brimming with delightful songs, engaging performances and full-beam dance numbers, "Summer Stock" is not only a bubbly tonic for theatergoers of all ages, but one that kicks nostalgia into high gear with uncomplicated bliss, fizz and vintage sparkle.
It sings. It dances. It pops. It dazzles.
Like "42nd Street" which played Goodspeed Musicals last season, it overflows with Kelly/Astaire lightness, punch and precision, sunny vibes and well-played exactitude.
The energy displayed here is fast and furious with first-night exhilaration and thrill paired especially well with Corbin Bleu's charming star turn, Danielle Wade's joyous "Get Happy" abandon and Veanne Cox's well-prepped, icy cool villain.
This is musical theatre of the highest order - infectious, irresistible, glorious. Its leave-your-troubles-at-the-door/Let's-put-on-a-show mentality accelerates with sparkle and cherry pie goodness.
And boy, do we need it now!" [source]
(the reference to jane's sister abigail uses the film's names: abigail becomes gloria in this production, which is the name of abigail's actor in the film, which also mirrors how the role of herb is now phil, also the name of herb's actor in the film)
(also shoutout to providing A Full, Chronological List Of Songs. noting that according to another interview, intermission would be between "you wonderful you" and "june night")
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so, nerdy loser college boy choso *sighs* *opens legs*
a/n: just so you know, this man is gonna make you do all the hard work for a piece of that loser boy dick 😮💨 so... um so at some point around 2000 words in i realised this is way more than a hc post :3 eat it up if you will!
nerdy!choso who borderline has no friends except his gaming buddies who doesnt meet irl like ever. he doesnt like going to classes, especially this one. he doesnt need it but it's a requirement for all first years. and boy is glad it is when he sees you come in.
nerdy!choso who only listens to discussions when you're talking. suddenly he needs to put down his headphones and nod at every word you're saying. his eyes follow every gesture of your hand, every sway of your ass, every single time you fix your hair.
nerdy!choso who is starting to get a bit enamored with you, your style, your way of speaking. he loses track of time gawking at you in class from the last benches as you prettily do all the work in the class. he hates how beautifully your hair falls on your face, how nicely your clothes fit you despite being pretty modest for college. he hates how he can see the silhouette of your tits when you turn to the side. but he's too much of a gentleman to keep looking.
nerdy!choso who ends a game early when he remembers you, lying and saying that he had promised someone to meet them somewhere. the place is his bathroom and the person was you. god, you really shouldn't wear those tight jeans to class y'know? how will he continue to be a gentleman if you do?
nerdy!choso who despises groupwork but prays to dear god this class has some reason to pair you two together. he's getting so desperate to talk to you knowing damn well he too pussy to do it on his own. and the lord answers his prayers, the teacher assigns groups of three for a presentation. it's you, him and some slacking trust fund baby.
nerdy!choso who is about to combust and have a full blown panic attack when he sees you approach him after class with that smile on your face that would make the angels swoon. you're going on about distributing the work equally and what not while he is trying his fucking hardest to not accidently make eye contact with you and piss his pants : (
nerdy!choso who now has your name, your number and your email and he feels like the happiest man on earth. his hands are literally shaking as he responds to your request to call. he's overthinking every word he types.
choso: yeah i can do wednesday.
choso: i'll be okay with whatever day you want.
nerdy!choso who hops on video call and short circuits with a view of you in an oversized band tee and a brief view of your room. why did you have to be this pretty? why did you have to video call him when you couldve done the work on text? why did you have to put your hair up like that? why oh why did you have you say "choso? hey, you there?" so seductively to bring him back to the present?
nerdy!choso who gets like no work done in a 30 minute call which felt like three hours. he knew he would hardly be paying attention so decided to record the call with your consent, saying he'd need the notes you were typing out on screen only to play it back and stroke his dick to you for what might've have been the twentieth time this week. his strokes only getting faster as you say his name in that voice he imagines sounds way better moaning and screaming it instead.
nerdy!choso who, after the presentation, is on greeting terms with you when he sees you studying in the library. he sits as far away from you as he can while still being able to see you. occupying the coziest corner of the library to stare at you study right when you come up to him.
"can i join you, choso? i'm all alone and your space seems comfy" you say with a smile, "of course, i dont mean to disturb you, is saw you were on your own too, so..."
uh oh, uh oh, uh oh. god no. please no. please dont say yes. please dont be staring at her like some dumb idiot (too late) please.
"uh... yeah sure why not?" he awkwardly says as he makes room for you to keep your things. he was such an idiot for thinking he could say no to your pretty face in the first place.
nerdy!choso who is absolutely drunk on your scent. it feels way better than any alcohol he's ever had. he feels like an animal in heat when he smells your sugary perfume mixed with the styrofoam-y air conditioned smell of the library. you're gonna kill him, yknow? how is he supposed to respond to this? what is one to do when their stupid college crush sits next to them? he gives you a half smile before furiously typing away on reddit, the only place with answers for losers like him.
nerdy!choso whose hands. oh his hands. (can be i a big whore for a second?) his long hands that feel like they're the size of your face. his kempt, beautiful and trimmed nails. his lengthy fingers that seem to yearn for something more to foddle with than just the keyboard or controller. he typed as such an insane pace it made your pussy ache. he was going so fast, jesus. those hands were meant to do more than just ask "how to talk to girls" on reddit.
nerdy!choso who (on the advice of reddit) asks if you would want him to order something for you. you tell you had a frappuccino not too long ago and that it was quite sweet and filling. and he hates himself for thinking that he could give you something much sweeter and filling than that like a horny fourteen year old.
nerdy!choso who is now determined to not come off as a creep so he does his work with the focus of four adderalls. he is typing as fast as his heartbeat, not realising he got two classes worth of work done in just an hour. he looks over at you, blissfully unaware of the absolute war in his mind.
nerdy!choso who feels as though if he doesn't muster up the courage to ask you out right then and there, he'll probably be the biggest loser on the planet. (as if he wasn't already)
nerdy! pathetic! choso who stutters a million times and barely gets the job done then too. his eyes are scanning your entire being (trying his best to not gawk at your tits) for any sign of discomfort.
"so- uhh so ummm... wo-would you, like, uh... like to do this again? sometime?... i got a.. a lot of work done today, so.."
oh heavens, the sheer nervousness in his tone makes you want to pull his pants down and show him how to really get work done.
you agree with a smile, even suggesting a better, more ambient (more romantic) cafe to study in. choso's heart is about to burst and flood the fucking library with his blood the way it is beating at an alarming rate.
"umm yeah uh 5 sounds... awesome... i hope it isn't a-a bother to you?"
"no way, choso. i loved today," you offer him a smile as you gather your things, "i really like your hair, by the way"
"i like your hair too, y-y-you smell very nice", he gulps.
fuck. why did he say that? what? you smell nice? who says that? is he like ten? you can't help but giggle at the sheer embarassment on his face.
he feels as though he's gonna melt into a puddle and turn to stone and throw up all at the same time.
nerdy!choso who is the most stupidly hot guy you've ever met, you think as you go giggling back to your dorm. mental note: pick a skimpy outfit for 5pm ;)
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