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Regional Reviews: Phoenix Let the Good Times Roll: A New Orleans Gumbo Also see Gil's reviews of Tootsie and Significant Other
Even if you are not familiar with every song included in the score, the creators have crafted a jukebox-style narrative that feels seamless, with the lyrics telling the story of the city's residents who have endured hardships yet always manage to rise again with faith, laughter and celebration. The result is a show that is not only humorous, meaningful and moving, but, with an excellent cast, well thought out direction and choreography, impressive creative elements, and a fantastic band, it's also a whole lot of fun. Let the Good Times Roll stitches together an eclectic songbook, pulling from songs composed or made famous by a range of individuals, including Jelly Roll Morton, Bessie Smith, Fats Domino, Dr. John, Harry Connick Jr., and the Neville Brothers. While such a diverse group of song styles might seem at odds with each other, writer and creator Jack Viertel, who oversees the development of new projects for Broadway's Jujamcyn theatres and who also co-conceived the long running revue, Smokey Joe's Cafe, and director and choreographer Sara Edwards have done exceptional work. They've managed to assemble the material into a coherent form with succinct narration that strings the songs and plot points together with characters that, while mainly archetypes, you still feel for and root for their happiness and success. Almost all of the lyrics fit perfectly into each character's voice or story while also fitting into the larger fabric of the plot, painting a portrait of New Orleans that is vibrant and soulful. The six-member ensemble cast are all wonderful. Scott Davidson and Miciah Lathan are lovely as the on again, off again couple at the center of the plot, whose bar is a meeting place for the other characters. Davidson, who also serves as the narrator, oozes charm and is simply lovable, while Lathan is charismatic as the smart, no-nonsense woman who owns the bar. Tre Moore is energetic and warm as the young college man who falls for Liza Jane, played by Carmiña Monserrat, who is appropriately sarcastic when we first meet the lonely young woman who has come to town to escape a recent breakup, but who warms when she meets Moore's characters and the rest of the residents of the city. Gina Guarino and William Bailey round out the cast as two fun-loving friends and frequent patrons of Lathan's bar. Both deliver upbeat comical songs as well as several meaningful moments. All cast members deliver striking performances with voices that soar and personalities that shine and embody this wide range of characters who make up New Orleans. They have individual standout moments throughout, and together they create a genuine sense of community, under Sara Edwards impressive direction. Edwards' choreography is also top-notch, bringing a sense of fun, style, and New Orleans' sensibility to the show. She makes good use of the aisles, where the cast come appear a few times during the show, which makes you feel a part of the show. This concept is also used to kick the show off in style, with several members of the band entering from the lobby and down the aisle onto the stage, although I'm not certain why both aisles weren't used to fully immerse the entire audience at the top of the show. No show celebrating the music of the Big Easy would be complete without a stellar band, and this production more than delivers. Sonny Paladino arranged, orchestrated and supervised the music and it sounds fantastic under Miles Plant's music direction. The nine-person band provide the soul of the evening, delivering the range of musical styles with flair, energy, and musical precision. Beyond the music, the production impresses with its creative elements. The lighting design by Charlie Morrison is both bold and subtle, shifting from celebratory bursts of color to somber tones that reflect moments of loss. Adriana Diaz's costumes highlight the city's diversity, with bright, detailed designs that evoke everything from bars to Mardi Gras and a funeral dirge parade. Douglas Clarke's set, enhanced by imaginative projections by Anthony Churchill, conjures iconic images of New Orleans: wrought iron balconies, bustling French Quarter streets, and storm-ravaged landscapes. Dave Temby's immersive sound design deserves special mention as, in addition to crisp and clear vocals and notes from the band, the sound effects place the audience at one moment in the show in the heart of the Great Flood of 1927 and Hurricane Katrina with startling realism. All of these elements combine to bring New Orleans to life in a way that is visceral and deeply moving. Let the Good Times Roll: A New Orleans Gumbo is both a love letter to a city and a reminder of the resilience of the human spirit. There have been very few musical revues in the last two decades that have resonated, as most jukebox shows try to shoe horn in a ridiculous plot amongst a score of familiar songs, but this one succeeds by keeping the plot simple and centering instead on a few archetypal residents of the city. The at Phoenix Theatre Company production has already been extended its run to September 7 and I wouldn't be surprised if more dates are added and future productions are planned. Let the Good Times Roll: A New Orleans Gumbo runs through September 7, 2025, at The Phoenix Theatre Company, 1825 N Central Avenue, Phoenix AZ. For tickets and information, please visit phoenixtheatre.com or call 602-254-2151 Produced by Michael P. Kruke Cast: (In alphabetical order) |
