Review: CAFE PUTTANESCA at Roxy's Downtown

Roxy’s producer/director Rick Bumgardner and his crew have created a phenomenal regional premiere of the bawdy cabaret, Café Puttanesca.  If adult humor and situations are not your cup of tea, this show may not be for you.  But last night’s audience was eating it up. Did I mention “bawdy?” The show, written by Michael Ogborn, is filled with wicked innuendos, adult humor, and naughty limericks.  Ogborn’s songs are melodic and genuine, and remind me of the olden cabaret specialties, which require strong talent.  Roxy’s production undoubtedly meets that task of strong talent and presents an evening of laughter and enjoyment.

The musical is set in late 1940s Amsterdam (where prostitution is legal) in a spicy little tavern named Café Rosa (named for the owner’s beautiful wife).  The café is the frequent meeting spot for local prostitutes to gather, sing, and share stories.  The café owner (Andrew Walker) keeps the drinks flowing and the naughty limericks going.  Three prostitutes are regulars at the café and join the owner in sharing their loves and losses, of times in Paris and even of Rasputin.

The three prostitutes include a French madam named Marquesa (Sabrina Hamble), a German lady of the evening called The Baroness (Briley Meek), and a British working girl named Duchess (Julia Faust).  Bits of talk provide insights into the characters’ lives and each has their own detailed story complete with song and dance, accompanied by the tavern’s piano player (music director and accompanist Ben Balleau).  Unseen for most of the evening is the owner’s Italian wife and café cook, Rosa (Georgeanne Yehling).

This evening is the last after-work get-together for The Baroness, who is leaving to get married.  As the women reminisce, long-denied feelings are revealed, and a bitter relationship is restored.

The songs are spotlight pieces for each of the actors.  Hamble absolutely shines in the role of Marquesa and plays every nuance to the top without overplaying it.  There were moments when I couldn’t stop watching her.  Local actress Meek is remarkable as the Baroness and has the audience in the palm of her hand from the moment she walks onstage.  She is captivating and shows off her incredible voice in the songs of “Gypsy in My Purse” and “How I Miss the  Kaiser.”  Her duet with Hamble, “Rasputin and the Russian Nun,” is extremely funny and is perfect for these top-notch performers.   Faust’s spot-on comedic timing and beautiful voice seem to be perfectly written for the song “Dreamer’s Lament,” but she shines in the showy “Don’t Bother the Bee” number, as well as the patter portion of “Theme from Café Puttanesca.”

Walker is well cast as the owner and makes a very handsome host for the evening.  His magnificent voice is showcased throughout the performance, but he certainly has the most fun with “My Mother’s Frying Pan.”  Yehling’s Rosa emerges near the show’s end to show off her drop-dead gorgeous soprano voice for “Per Sempre.”  I certainly hope we see more of her in the future at Roxy’s.  Belleau not only accompanies the nearly 90-minute performance but is also an actual character in the show, and his antics are charming.

Bumgardner’s efficient directing keeps the show’s pace lively, even during its tender moments.  Choreography by Jenny Mitchell is amusing to watch.  Chadwick Armstrong’s costumes fit the era well and look fabulous.  Michael Maynard’s sound design is flawless, and Arthur Reese’s lighting design is spot-on.  But J Branson’s set design has to be, by far, the finest set I’ve ever seen on Roxy’s stage. It makes Roxy’s tiny stage look enormous and makes audience members feel they are in the café, as well.  Kudos to paint charge Denver Fankhouser for an outstanding job.

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