"...brings the audience to uncontrollable laughter"

July 3, 2003 performance reviewed by Pat Nichols

If an evening of laughter seems like the right antidote for the blahs in your life, hustle to the Mac-Haydyn Theatre in nearby Chatham, NY where Sugar Babies makes Burlesque nearly bounce off the stage.

Music by Jimmy NcHugh, lyrics by Dorothy Fields and Al Dubin, and lighting design by Andrew Gmoser enhance the high energy of the actors.

As the play opens, Marcia Kunkel reminisces about her grandfather's old box full of all the props for a play, his "show in a box" of costumes, scripts, and music all long-packed-away.

She starts to pull parts out of the box then passes them off to other actors and assures them they have everything they need to put on a real old-fashioned burlesque show.

And they do, an ever-moving collection of acts, musical numbers, skits, and dances rife with laughs, some very broad (risqué, in fact!), in addition to sight gags and one-liners.

Marcia Kunkel lights the burlesque fire then returns in other parts, such as a teacher of some smart aleck boys in one skit and some torch singing during a musical interlude.

Rusty Curcio, as the prima ballerina in full ballet tutu and Pointe shoes is a marvel to watch, as he pirouettes, goes on his toes with his fine and funny portrayal of a dancer, aided and abetted by Nate Suggs, Lisa Karlin, and Katie Cheek.

Tiffany Thornton (in photo with Jim Kidd) shines as the diva who can't get a whole phrase out before someone cuts her off, balances frustration with repeated attempts to prove her worth as a singer. Indeed, her voice rings clear and firm for a number of cut-off phrases. She also does a funny turn as the crazy gypsy lady who throws knives at an unwitting smoker.

"The Court of Last Resort" gives Jamie Grayson the opportunity to go overboard as the Judge who has too much fun to be on the bench. With his infectious laughing, justice grows harder to mete out and his twisting of names, for instance, he says "Now, Mrs. Cupcake," at one point, brings the audience to uncontrollable laughter also.

Another act starts out with "I Want a Girl, Just like the Girl that Married Dear Old Dad" but starts losing its singers, one by one, as shimmying and shaking women appear and sing "Meet Me Round the Corner" as they bump and grind their way off stage. Director John Sanders keeps all the mayhem and merriment under control even as it speeds through scene after funny scene. He maintains a good mix of funny stuff with some serious singing and dancing.

Choreographer Kelly Shook knows her tap steps as well as many other good time dances and she conveys her knowledge to the well-trained dancers. At one time they form a chorus line and execute some Rockettes-style high kicks and a spirited Can Can with skirts flying high. The dancers make the most of their versatility as they follow Shook in an artful fan dance that creates an innocent illusion of nudity as they manipulate oversized feather fans.

Cops and firemen, a clown, a crazy gypsy lady, a suave master of ceremonies, luscious "Sugar Babies" dancers in pink and a myriad of other burlesque figures appear and reappear.

Go and have a good time.