Fame – The Musical is based on the award-winning 1980 movie by Alan Parker; conceived and developed by David De Silva.  The story is based on De Silva’s fascination with the New York High School for Performing Arts, and follows a group of vibrant, multi-ethnic, energetic, young people pursuing their dreams of “fame”, along with the teachers who remind them that it’s going to take “Hard Work” (the opening sequence). While I thoroughly enjoyed particular elements of the show, I couldn’t help but feel that overall,  Hurrah Players' version of this piece, under the direction of Dustin Elsea, needed just a little… “More Work”. 

I found the transitions to be confusing, characterization was minimal, costumes were not time period appropriate and that frenetic energy you would find at a performing arts school was missing.

While I wasn’t expecting to see the movie version onstage, I did expect this show to embody the look and feel of the eighties.  It’s specific to the program and it is referenced in the show. So, I was a little disappointed that there weren’t any designer jeans, stirrup pants, BIG hair, flourescent shirts, and matching sweaters and socks. All staples of the 80’s wardrobe. There were a couple of legwarmers, and a gigantic belt here and there, but for the most part, the costuming was not time period appropriate. Of particular note: We didn’t wear wedged-shoes, and there were no “wheelies”, and it was indeed rare to see anyone wearing a “belly shirt”. Camoflauge clothing would not become en vogue until quite some years later, when the “grunge” movement was making it’s way into the 90’s. However, I must acknowledge that  the “Dance Students” (Wanda Christian, Courtney Cook, Isis Harrington, Kathleen Lee, Shannon Lloyd, Natayla Piette, and Cassy Witlow) embraced the “spirit of the 80s” the most.

Speaking of dancing, I would have loved to have seen MORE of Lisa Wallace’s choreography in this piece. The pieces where she had extensive choreography were high energy and well executed. I think the additional choreography would have assisted with some of the transitions in this show, and would have helped achieve some of the frenetic energy that I referenced earlier. This is supposed to be a “performing” arts school, people should be constantly moving around and buzzing about.  I found it extremely difficult to watch scenes where actors were frozen or sat motionless on the floor during the delivery of songs.

The singing in this show is PHENOMENAL; the voices are strong, rich, and well trained. Of particular note are the voices of Sara Fahringer (Serena) and Emanuel Fairly (Nick) they delivered solid performances throughout.  Emmy Raver-Lampman as Carmen, is a power house of singer as well. The rest of the principles: Grant Gustin (Joe), Eric Jones, II (Tyrone), Stephanie Tillman (Mabel), Katie Vaughn (Iris), Max Chucker (Schlomo), Schuyler Midgett (Lambchops) and Sean Grady (Goodman) round out a stellar cast of young voices that leave an indomitable impression.

However, each solo is performed in a spot-lighted, dimmed down stage, and pulled out of the action. This breaks the continuity of the story, and forces you as an audience member to constantly shift your focus from story to song. Of the seventeen musical numbers, only a handful are actually interactive with the rest of the cast. This made it difficult to believe in the establishment of relationships, and motivations throughout the storytelling of the show.  And while I fully understand that singing and dancing are key elements in a musical, I find it equally important to have solid acting performances to accompany those musical elements for a more well rounded performance.

With all the emphasis on the singing, the characters themselves seem to be assigned one particular emotion to play.

Additionally, this show took place over a period of four years and yet all the characters remained exactly the same as when they first entered the show. Nothing about them changed. They didn’t change, the set didn’t change, there was no growth. There should have been a definite difference in them from their freshman year to their eventual graduation.

The highlight of the performance for me was the talent of Stephanie Tillman (Mabel).

The square off between Ms. Sherman (Sharon Cook) and Ms. Bell (Nikki Keegan) over Tyrone’s fate (education versus art) was a beautifully sung battle, that made you feel for both characters and both of their positions. And Emmy Raver-Lampman’s “In L.A.” was a real tear-jerker. The Music Students, who in addition to their regularly assigned duties, impressed me with the fact that they actually played the intruments they were assigned on stage. I also, want to commend Martha Elder (Ms. Myers), she was solid as the acting teacher, and I felt that she really connected to her students in each and every scene.

This is one spectacular cast, I truly respect their training and their talent. It is more than obvious that Hurrah has done an excellent job of raising some serious talent here in the Hampton Roads. The majority of them have been with Hurrah for years, and the level of performance is a true testament to what Hurrah is all about. You really get the feeling that they are part of a very unique group.  However, after reading their collective bios, I believe that with all the talent among them, they could have pushed this production to the next level. They are more than qualified, and most definitely, more than capable.

An encore presentation of Fame will be held August 4 at 7 PM and Sunday August 5 at 3PM at the Nauticus Outdoor Pavilion.