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1
T
S
Pairs a classic
story with great
song and dance
By Heather Wysocki
hwysocki@barnstablepatriot.com
CAPE PLAYHOUSE PHOTO
SKY'S THE LIMIT - Sky Masterson (Jarrod Emick) sweeps Sister
Sarah (Garrett Long) off her feet in the Cape Playhouse production
of Guys and Dolls.
Glitzandglamour,beauty
andbrawn,songand dance:
NewYorkinthe 1950s.With
all this and more, director
MarkMartino'sproduction
of the classic Guys and
Dolls brings an absolute
masterpiece to the stages
of Cape Cod.
Down to the letter, Guys
and Dolls is absolutely
stunning. The costumes
are amazing, the chore-
ography is beautiful, and
every actor on stage can
sing. Anyone looking for a
taste of Broadway without
leavingthe Cape or braving
Bostontrafficshouldcheck
out this production.
Guys and Dolls chroni-
cles the days of gamblers
and the women they love.
Illicit craps games, Au-
tomats,newsstands,horse
races, and pinstripe suits
allhave aplace in this play.
This is a play about the
good old days/
Although Guys and Dolls .
takes place over the course
of a few days, the histories S3
and back stories of the B
characters are interwoven 9
beautifully. There is never 3£
a dull moment, and never «
a shortfall.
The play focuses on the
lives of Sky Masterson
CONTINUED ON PAGE C:2
Playhouse's Guys
and Dollsdoesn't
miss a beat
Larry Marsland's hit
musical recreates war-
time Cape
By Kathleen Szmit
kszmit@barnstablepatriot.com
In
1941, the United States was on
the cusp of war. In small towns
across the country, young men were
preparing to "join up" in proud
defense of their motherland, while
others struggled to hold on to in-
nocence and nostalgia.
Cape Cod was no different. Larry
Marsland's memories of that period
in our country's history were so rich
he was inspired to put them into
an amazing musical, Panama Club,
now in its second run at Cape Cod
Community College.
After a recent special perfor-
mance for those involved in the
local tourism industry and the
press, Marsland and the cast took
questions from the audience. The
author, who wrote Panama Club in
about 60 days last winter, is hum-
bled by its success and is thrilled
when people remark about being
personally touched by its content.
When told by an audience member
that the ending brought tears to
her eyes, he took her hand and said,
"Thank you. Thank you so much."
Panama Club is as much a story
of a once-popular Cape club as it
is about the profound effect that
WWII had on American youth as
seen through the eyes of one of
their children.
Marsland created the play from
the memories shared with him
by his mother, father, aunts and
grandmother, all of who appear as
characters in the show. "It was such
a different time," he said. "It was a
real turning point in our country."
*»
The show begins in December
of 1941, days before the bombing
of Pearl Harbor. In a vain effort to
stave off the impending reality of
war, as well as to let off steam, a
mix of Cape locals and Irish and
Portuguese wash-ashores gather at
the Panama Club in Hyannis. Here,
in a little bar on the corner of Sea
Street, the music swings, the dance
floor is well worn, and even as war
breaks, the constant theme is love.
Indeed, Marsland's parents,
Agnes and Larry, met on the dance
floor of the club. "They were meant
to be together," says the Writer, who
is a stand-in for Marsland.
The playwright recalls a some-
what idyllic childhood growing
up on the Cape, and remembers a
certain sorrow when the Panama
Club closed. A Dunkin' Donut shop
stands in its place today.
"Kids today don't understand
CONTINUED ON PAGE.C:2
. Panama Clubswings back into action
i i
I c
Ss
h fy AlaiW.f tPrlicelli
entrpt@aol.com
THE WRITE STUFF
The Book of iheDead
(Warner Books, $25.95)
Action thrillers are
usually pretty much
throwaway beach and
RQOI books. They may
aspire to literature, but
ultimately they're far-
fetched yarns written
withScotchandaclever
wordprocessor.Theyare
notgoodenoughformov-
ies,but good enough for
drug store racks. Then
there'sDouglasPreston
and Lincoln Child.Back
in 1997 there was a reasonably successful film made of
their first book, Relic. Their latest returns to the same
location:the spooky,ancientMuseumofNaturalHistory
on Manhattan's chic Upper West Side. The hero of the
novelhasbeenjailed inamaximum-securityprison.His
evil brother who framed him -natch -is now contem-
platingthe dastardliest crimetheworldhaseverknown.
And, of course, there's an ancient Egyptian tomb with
an enigmatic curse that's about to be unveiled at a ce-
lebrity-studded museumgala.The settingofthe ancient
museum and the set-up of the two genius brothers, one
good and one evil, is the stuff of all action novels. But
whatelevatestheseauthorsistheirsenseofelan,bravado
and all-around fun. Thetext islittered withquotes from
Ovid,Shakespeare,BaudelaireandEliot.Therearerefer-
ences and outright lifts from all sorts of places -French
novels, detective novels,Italian poetry -allwith a great
sense of fun and enjoyment.There are twists and turns,
the crimeisparticularlyinsidiousandthe characters are
wildlyidiosyncratic and intelligent.And it'sareal tough
read to put down. Whilethis book isthe last in atrilogy,
it can easily be read as a stand-alone volume without
serious harm if the reader wants to go back and read
the earlier books. And, trust us, you will.
FOR THE RECORD
Captain Blood
(Naxos)
Badfilm musiccan
beliketoomuchwall-
paper -it covers up
silences. But at its
best, music for the
movies can be won-
derful , expressive
and extraordinarily
powerful. Naxos,the
budget classicalmu-
sic label, has raised
the curtain on a wonderful series called "Film Music
Classics."
None of these recordings are soundtracks per se, but
filmscores performed bynoted orchestras from Eastern
Europe,suchastheBrandenburgPhilharmonic,Moscow
SymphonyOrchestraandRussianPhilharmonicOrches-
tra.Somefeatureonlyexcerpts:Rozsa'sThe King's Thief,
Young's Scaramouche, Korngold's Captain Blood and
Steiner'sTheThree Musketeers,for example,areallonone
swashbucklingdisc.Another is an off-balanced homage
to noir,withthe musicofAdolph Deutsch,includingThe
Maltese Falcon,The Mask ofDimitrios and High Sierra.
And there's a great horror movie compilation of Frank
Skinner and Hans J.Salter scores, with Son of Franken-
stein, The Invisible Man Returns and The Wol
f Man.
The complete scores
are always the most en-
joyable. Max Steiner's
1933 score to King Kong
is as exciting as almost
any twentieth century
music. (Few people re-
member that Steiner
was, figuratively and lit-
erally, the godson of the
great German composer
Richard Strauss.) The
first complete recording of Dmitri Shostakovich's 1964
Hamlet is also a Naxos treat; the eerie, ghostly score
scares up the horror movie feeling that this little-seen
epic evokes. The equally spooky Franz Waxman score
to Alfred Hitchcock's first American film, Rebecca, is a
real find, at once lush and mysterious, themes whirling
around the first and second Mrs. De Winter.
To be sure, some movie music can be seen as empty
noise filling up empty space. But some of the best com-
posers worked in Hollywood after escaping war-torn
Europe, and there are enormous treasures to be mined
here.They maynot allbe equalto the great symphonies
of the past,but there is blood, sweat and passion inthe
best of them -and greatrewards in the listening.
DVD QUICK
PICKS
Mrs. Henderson
Presents (The Weinstein
Company)
We'll present this in 11
simplewords:Mrs. Hender-
son Presents is the wisest,
wittiest, warmest film in
CONTINUED ON PAGE C:2
Jkhkkimdhmtl
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i
T
r\
r*
r
The Servant of Two
Masters is rollicking
summer fun
By Heather Wysocki
hwysocki@barnstablepatriot.com
PAUL FRAZEE PHOTO
ILL SERVED - Proving that no man can have two masters, Truffaldino (Aaron
White) bears the ire of Florindo (Luke Eddy) and Beatrice (Laura Frye) in The
Servant of TwoMasters.
Like
many plays, the Monomoy
Theatre's production of Carlo
Goldoni's Renaissance farce
The Servant of Two Masters depends
largely on the actors and their wit and
enthusiasm.With simpleyet effective
costumes and scenery,the audience
must turn to the players for the real
entertainment.
Luckilyfor them, director Jack
Youngand the Ohio University
Playersthrow in more than enough
intelligence and passion to make this
play an extremely enjoyable and abso-
lutelyworthwhile summer theater
experience.
With a slapstick style reminiscent
of old Laurel and Hardy skits, new I
Love Lucy skits, or even newer Sat-
urday Night Live spoofs, Servant is a
great wayto spend a summer evening.
Servant takes place in Renais-
sance Venice, days before Senora
Clarice (played by a hilariously
melodramatic Kelsey Brennan) and
her young suitor Silvio Lombardi
(Christopher Kauffmann) are set to
marry.The marriage is interrupted,
however, when Clarice's former
suitor, thought dead, returns.
In an extremely long and confus-
ing series of mistaken identities, the
suitor is actually a woman searching
for her lost love, who is searching
for her, who then believe each other
dead, all because they are being
served by the same man.
Though it takes until intermission
to finally understand the series of
events in the play, it is well worth
it. Aaron White, playing the scoun-
drel servant Truffaldino, is brilliant.
Half jester and half loveable oaf, his
antics complete the show.
Truffaldino's mix-ups, switches,
and just plain confusion lead the
CONTINUED ON PAGE C:2
Monomoy
serves Two
Masters:
playwright
and audience