‘Chicks and ducks and geese better scurry...’ (and do) in fun Rodgers & Hammerstein revue

WAYNESVILLE — “A Grand Night for Singing” is a certifiable smash hit for the Haywood Arts Regional Theatre.

The cabaret-style musical features imaginative takes on — and smooth flow with light-hearted transitions between — many of the most beloved Broadway standards by lyricist Richard Rodgers and composer Oscar Hammerstein II. Arguably the best such songwriting duo in history, the pair was known for being exceptionally witty, intelligent and clever.

The June 21 music-and-dance-packed show — spanning one hour 45 minutes, with an intermission — received a well-deserved standing ovation at the end, in the nearly full 255-seat James Auditorium. The proverbial stars — the cast, the seven-piece orchestra and the set with three different looks — were in alignment, enabling this musical gem to sparkle.

Unlike the forced-fictional storyline of HART’s recently presented jukebox musical “Breaking Up Is Hard To Do” (see review below), the revue of Rodgers and Hammerstein’s songs was — thankfully — conveyed in a fluid manner, with no effort to cobble together some lame-but-unified story.

The late Rodgers and Hammerstein have ascended to the status of the “gods” of Broadway music. In many circles, anyone tinkering with the duo’s flawless creations is committing something akin to blasphemy.

However, while this revue adds a few twists and changes to the original arrangements, it succeeds in a manner that does these Broadway standards justice.

Singer-actor Brad Mercier, a 23year-old gradute of UNC Asheville graduate, was clearly the standout of the talented five-person cast, full of charisma whenever he was on stage — and appearing to revel in his roles, a feeling that seemed to deeply resonate with the audience.

He told the Daily Planet afterward that the song he most enjoyed singing during the show was “All at Once You Love Her” (from “Pipe Dream”).

Mercier’s four cast-mates also showed much promise, including the only other male, Ricky Sanford, who particularly excelled in romantic roles and ballads; Alison Young, who topped her female compatriates in dancing, acting, sex appeal and scoring a hit with her vocals; Carson Rose Funk, who unleashed a strong operatic voice and stage presence; and Calintha Briggs, who also showed dynamic vocal potential.

The cast seemed to especially shine during the faster-paced songs, as opposed to the ballads, and the two males seemed to get the more fun and lively parts, compared to the slower, more serious and weepy songs for the females.

Among the top song-and-dance numbers were “The Surrey with the Fringe on Top” (from “Oklahoma!”), “I’m Gonna Wash That Man Right Out-a My Hair” (from “South Pacific”), “Oh, What a Beautiful Mornin’” (from “Oklahoma!”), “How Do you Solve a Problem Like Maria?” (from “The Sound of Music’), “Some Enchanted Evening” (from “South Pacific”) and “Kansas City” (from “Oklahoma!”).

The Rodgers and Hammerstein revue opened June 20 and closes July 6. (HART will make it three in a row on a summer musical note with a production of “Hello, Dolly!” from July 11 to Aug. 3.)

“A Grand Night for Singing,” which opened on Broadway in 1993, was nominated for two Tony Awards — Best Musical and Best Book of a Musical — and the Drama Desk Award for Outstanding Revue.

The gorgeous set sported three looks, including a large black backdrop with lights symbolizing stars; to stage left, a park bench, behind which was an old-style street lamp; and to stage right, a small round café table, draped with a white tablecloth and set with an open wine bottle, two wine glasses and a candle, set against a flower-covered trellis.

The terrific seven-piece orchestra, perfectly sized for this production, included Brad Martin, piano; Andrew Adams, keyboard; Alaina Seidle, flute; Michael Tanguay, clarinet and saxophone; Pat Johnston, cello; Kyle Leitch, bass; and Michael Abernathy, percussion.