Back in the 1990s of another century I had the first of what would become dozens of pleasant opportunities to review the full scale musicals of Class Act Productions. Even that first offering, nearly three decades ago, was a memorable one.
It was a performance of the Broadway musical, “Annie,” and it was an amazing display of the young talent that would become the hallmark of the Class Act organization. Now, all these years later, I was about to gain an even fuller appreciation of the fruits of this theater company’s longstanding efforts to bring love of musical theater to the young. It would be a wonderful revelation, but sadly, a short run of only three performances.
Directed by Class Act founder, Keith Brumfield, the program was titled, “An Enchanted Evening,” and on this mild and lovely Texas winter day it would be all of that and more. Subtitled “A Class Act Cabaret,” the unique in-the-round staging would have much of the audience surrounding the actors on the small stage thrust out into the room.
The gifted cast of eleven included Michael Barnhart, Brandon Brumfield, Kylee Haueter, Kelli McCarthy, Natalie Monreal, Emily Moses, Jadin Rivas, Olivia Simpson, Beau Snortland, Jack Wheeler and Kameryn Zetterstrom. They were about to give this lucky audience a virtual master class theater workshop in performance, without the usual elements of sets, props, costumes, make-up, etc. The amazing event would be structured around the vast catalog of music by legendary composers, Richard Rodgers & Oscar Hammerstein, with the addition of a generous sampling of the music of Alan Jay Lerner & Frederick Loewe. What followed would be a series of brilliantly staged musical numbers accompanied by Musical Director, Rae Moses and his Enchanted Evening Orchestra, featuring Bari Brumfield (keyboard), Alex Collins (Bass Guitar), and Robert Amyx (percussion). Their shimmering Overture would open with the beautiful Bali Ha’i, and close with the thrilling, Oklahoma!
Then it was on to a series of wonderful vocal performances beginning with Natalie’s bright and gay, It’s a Grand Night for Singing, and Michael’s warm and mellow rendition of the title tune, Some Enchanted Evening. Jack and Olivia were a perfect pairing for the sweet, People Will Say We’re in Love. Kameryn’s captivating, The Sound of Music, seemed to gently wrap its arms around the audience. Then she suddenly shifts gears and fearlessly leads the ladies in a robust, I’m in Love With a Wonderful Guy.  Kaylee delivered a sweet and gentle, Shall We Dance, and Olivia supplied a perky, I Enjoy Being a Girl. Emily brings devilish fun and intensity to, I Cain’t Say No, while Kelli supplies confident charm and plenty of excitement to June is Bustin’ Out All Over. The excitement continues as Jack returns with the fun of a brisk and solid, Surrey with the Fringe on Top, before Kylee sings a dreamy It Might As Well Be Spring full of joyful anticipation.
A rowdy change of pace arrives as the guys join forces for the lusty, There is Nothing Like a Dame, and Jack then maintains the pace with lashing power during, They Call the Wind Maria. The Almost Like Being in Love duet from Jadin and Kelli is fairly bursting with joyful optimism, and the purity of Olivia’s voice sweetly reminds us that On a Clear Day (You Can See Forever).
In a playful scene from The Sound of Music, the gals portray the convent nuns trying to figure out how to “solve a problem like Maria.” Olivia’s pretty tattered lace dress seemed apropos to her sweet performance of the charming My Own Little Corner from “Cinderella.” Then came two of the show’s most challenging numbers. First, Jadin tackled the complex, Lonely Room from the original stage production of, “Oklahoma!” The song is unfamiliar to many because it was omitted in the 1955 film version. Next, in the capable hands of Brandon, there came a beautiful performance of the highly theatrical and very demanding Soliloquy from “Carousel.”
Brandon would return moments later for a powerful performance of If I Loved You.
Beau and Kylee were a perfect pair as they beautifully lightened the mood with the sweet innocence of  Sixteen Going on Seventeen. That would be just the right timing for Natalie’s graceful ease of voice and movement during Hello, Young Lovers, and Jadin’s closing number, Do I Love You Because You’re Beautiful? And would you believe that all of that was just Act One?
Act Two would be full  of delights as well, like the gals joining forces for a delightful, I’m Gonna Wash That Man (Right Outta My Hair), the guys fierce and lusty, Bloody Mary, and a real full-cast hoedown of Oklahoma! Through it all, perhaps the most interesting thing to observe was the way these talented young actors communicated with one another in creating believable scenes in addition to great music. To that I say, “Bravo!”
Class Act’s performances of Disney’s The Little Mermaid (February 13th-23rd) will be at Class Act Theater – 25275Â Budde Rd., Suite 27, The Woodlands, Tx. 77380 Performances are Thursdays, Fridays and Saturdays at 7:30 pm, with Saturday & Sunday matinees at 2:30 pm. For tickets & information ($20/$25/$30) visit the website at www.ClassActProductions.org
A member of both The Lambs Club Inc. and The American Theatre Critics Association (ATCA), the columns of DAVID DOW BENTLEY III have appeared on Broadway websites, in newspapers from the East Coast to the Gulf Coast, and may be viewed online at the website: www.ThePeoplesCritic.com . E-mail may be directed to ThePeoplesCritic3@gmail.com.
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