‘Class Act’ Fascinating Glimpse At Songwriter’s Life

by Amy Tagliaferri

            “Gotta dance! Gotta Dance! Broadway rhythm, it's got me…” 

            Gene Kelly’s character shouted these classic words in “Singin’ in the Rain.”  Ed Kleban’s words could have been “Gotta write! Gotta write! Broadway, it’s got me…”

            Ed who?  Kleban was a songwriter who literally had to write lyrics and music. “Writing songs makes me sane!” he shouts. He won a Tony and many other awards for his lyrics for “A Chorus Line,” but most of his songs were unheard until after his death. Kleban’s friends created “A Class Act” from the archives of his work, some of which, according to the script, he left to them in a last will and testament.  “A Class Act” accurately illustrates Kleban’s passion for his songs, and enlightens audiences on what a loss his premature death was.

            The show opens with his funeral (he died from mouth cancer at the age of 48), his friends and even Kleban himself in attendance. Richard Sullivan is very “Light on my Feet” and exasperatingly charismatic as Kleban.  Sullivan manages to take an unlikable character and make him endearing, and even compassionate. Kleban was a hypochondriac, extremely neurotic, shy, promiscuous and generally a pain in the you-know-what.  He drove everyone he knew or encountered nuts.  Sullivan sings his heart out and makes the audience laugh with his portrayal of this very phobic man. Sullivan is on the stage for nearly the entire show, all two hours-plus, and he seems to embrace every second.  The feeling was mutual.  The opening night audience adored him.  

            His supporting cast was adored also. The actors who portray Kleban’s friends and coworkers enhance Sullivan’s performance, and bring another level to the already multi-layered production.  The song and dance numbers are impressive, with vocals that knock your socks off and choreography that dazzles. On “Charm Song” (which is a song that is inserted into a show just to charm the audience but not necessarily move the story along, Cleo Zani as Lehman Engel explains), the roller coaster effect the cast achieved with the simple white chairs is stunning. In “Gauguin’s Shoes” Courtney Nolan Smith (Mona) and Ashlea Potts (Lucy) triumphantly master the quick fire lyrics.  The sensuous Smith was a standout in “Mona,” and Potts brought down the house with “Broadway Boogie Woogie.”  Wendy Watson as Sophie, Kleban’s touchstone throughout his life, sings “The Next Best Thing to Love” so beautifully, you could hear a pin drop. The lyrics of this song highlighted Kleban’s expressive way with words. Vicki Summers, Jared Hagen, Ethan Paulini and Cleo Zani filled out the rest of the ensemble. Summers was tough as nails as Felicia Lipshitz, and Paulini was spot-on as Michael Bennett from “A Chorus Line.”  The audience was privy to a behind the scenes look at the creation of the Broadway show that was spellbinding.  Hagen’s powerful voice was nearly overlooked because of his humorous portrayal of Bobby, and Zani stood tall as Kleban’s mentor.

            “A Chorus Line” is how Kleban is remembered and it was nice when the piano player, Scott Storr, literally tickled the ivories with the familiar refrain from “One” at the end of a scene. Storr, Michael Gross (percussion) and Trevor Pearson (bass) sounded like an orchestra.  Director Victoria E. Flores handled the theater veterans perfectly.  Ryan McGettigan’s set was extremely minimalistic. His use of scrim panels and a bare bones piano worked effectively.  When a detail needed to be filled in, the props were complex (the urn for Kleban’s ashes, Kleban’s hospital bed, etc.).   Sarah Case is credited with the snazzy choreography and Susan Nicholson with the lighting.  Stage manager Travis Drageset and crew made it all happen according to plan.

            Linda Kline and Lonny Price, friends of Kleban, wrote the book for this Broadway musical.  On Oct. 9, Kline will attend the show and answer questions after the performance. This Q&A session will be fascinating as Kline is sure to fill in the blanks on this talented man.   “A Class Act” is the kind of appealing show that leaves you thirsty for more about the inspiration of the show, Kleban.  Granted the man stood in his own way on the road to success with his phobias and neuroses, but how did this music go unnoticed while he was alive?

DETAILS: 

 “A Class Act”

At Cape Rep

Through Oct. 18

Information and reservations: 508-896-1888.

9/24/09