504 – Book and Lyrics by Abbie Goldberg; Music by Mason McDowell; Directed by Ben Raanan; Music Direction by Trent Hines and Jerimiah Otto; Choreography by Savannah Svoboda. Produced by Phamaly Theatre Company and the Denver Center for the Performing Arts (Presented at the Kilstrom Theatre, DCPA, 13th and Curtis, Denver) through August 23. Tickets available at Phamaly.org or 303-893-4100.
I want to wholeheartedly endorse this production of a new musical written about an unlikely topic. In the 70’s, disability rights were stalled in Congress, leading to sit-ins call over the country. Despite the determination of the peaceful protestors, most had to give up or were forcibly escorted out. However, the group in San Francisco endured, won the attention of Congress and the nation. Section 504 of the Rehabilitation Act provided the baseline for the Americans with Disabilities Act that has prevailed to this day. However, in this day and age, when the rights of everyone who isn’t white and rich are being threatened, we need more than ever to be reminded of how hard-fought these rights were won.
Phamaly took a chance on an untried script and brought it to life and the audience to their feet. While it may limit future productions, it was amazing to see this first performance about disabled warriors actually being performed by actors living with the conditions described, instead of watching sighted, hearing and abled performers who would have to be taught how to dance in a wheelchair. Phamaly’s unique perspective and set of abilities gives special significance to the opening and closing song, “We Are Here.”
How nice to see Leonard Barrett, Jr. Back on a Phamaly stage. There are literally no “starring” roles in this production; everyone on stage gets special moments to highlight the special talent they bring to the table. But it’s hard not to single out the mellow tones of Mr. Barrett. His experience and charisma show in every note. Another crazy talented Phamaly old-timer, Trenton Schindele, who is seen working all over town, brings a prickly charm to his Viet vet, Keith. His number, “Supercrip,” with his brother Paul (Grey Dumois) was a showstopper. Juliet Villa, who proudly proclaims a twenty-year history with Phamaly, brings her crystal-clear soprano to the stage once again as a reluctant and fearful participant in the protest. Her voice is like the North Star, sure, true, and sparkling. Here’s to another twenty years.
Only four people in the cast of seventeen are making their debut with Phamaly, which means that this cast brings experienced legs and wheels to the sandbox. What it also means is that people who have been quietly filling the ranks of the ensemble for years are not moving into the range of featured roles. People such as Jen Anderman as Mary, who only takes part in the sit-in to find a boyfriend, gets to reveal the sexy side of disability. Eli Schroeder, who plays the object of her affection, makes a sweet and willing male suitor and knocks his songs out of the park. Atlas Drake’s second Phamaly show gives them a chance to highlight their vulnerability and singing chops.
The leader of the pack of protestors is June, played by first-timer Jolee Harston. She takes on the arduous task of breaking into song repeatedly to keep the morale and determination of her tribe in place. No small task, but she’s up to it. Act II brings the delightful River Hetzel into the picture. They play a journalist assigned to cover the action. The funniest song of the whole show, “Please Forgive Me,” represents the difficulty many have in using appropriate language with people slightly different from them. She suggests “sitting down” to discuss the “sit-in” to a woman in a wheelchair. Then immediately castigates herself relentlessly for her faux pas by ending up face down on the stage in shame.
The setting is dominated by a giant set of double doors that keep them all inside the invaded offices. A great deal of American Sign Language (ASL) is used effectively with verbal interpretation by another actor and subtitles on screens. For the best visual observation of the subtitles and actors speaking from the balcony, try to purchase seats in Sections 2, 3, or 4.
This production is led through the birthing process by Director Raanan with a sure hand and an experienced eye for the best way to use the six-sided playing space. Choreographer Svoboda created visual joy with her versatile charges, using movement to create a range of emotions. The instrumental accompaniment was provided by the always brilliant Trent Hines and his four-piece band.
I’d like to say that Phamaly is Back! Not that they were ever gone. Who can forget their outstanding production of CHORUS LINE two years ago with their tap dancer in a wheelchair and the circular finale dance. And PIPPIN, with Emma Maxwell (now Moonfield) last year and Shelly McMillion singing “No Time at All.” So many happy memories. But to have the courage and audacity to take on a brand-new script that demanded so much heart and soul from its cast displays a fresh level of moxie.
A WOW factor of 8.75.