Capital Region Performance Gallery

by Dick Frantzreb

Want to have your spirits lifted? How about an inspiring story with great music and eye-popping choreography, plus top-quality performances from a talented cast? That’s what I got on this Saturday afternoon at the Roseville Theatre. It was the Roseville Theatre Arts Academy’s (RTAA’s) latest Mainstage Production, the first I’d seen in several years, and a show that blew me away with its quality.

The New York City Newsboys Strike of 1899 was triggered when newspaper magnates Joseph Pulitzer and William Randolph Hearst raised the prices they charged to the newsboys who had to buy papers to sell on the streets of New York. These newsboys were poor, often homeless children who relied on their earnings to survive. The strike set off a series of events that led to better terms for the newsboys, and their story has remained an inspiring example of the poor and dispossessed successfully standing up to the rich and powerful.

(Click here to open the playbill in a new window.)

One of the great things about RTAA’s major productions is that they feature live music, in this case a 9-member band, anchored at the piano by Jennifer Vaughn. They made a big sound that complemented seamlessly the action on the stage. And as Musical Director for the show, I’m sure that Vaughn (an immensely talented, versatile professional) was responsible for the excellent singing I heard throughout the afternoon.

That excellent singing started with the two leads, Aaron Cain as newsboy organizer Jack Kelly and Katie Zimmerman as reporter Katherine Plumber. To me, Cain played his part to perfection, and that included his accurate and strong singing voice that was so expressive to be consistent with his cocky character. As I watched him, I couldn't stop thinking how much he reminded me of a young John Travolta.  And Katie Zimmerman just sparkled, with such effective singing throughout the show. Perhaps her biggest number was “Watch What Happens.” It was a difficult song, challenging music that even involved typing on a real typewriter at one point. To me, her performance was full of subtle touches that only true talent can deliver.

Besides Cain and Zimmerman, I was especially impressed with the voices of Olivia Moffat as burlesque impresaria Medda Larkin, Brandon Gonsalves as Joseph Pulitzer, Matthew Todd as Davey, and Jaden Santini as Crutchie. But I don’t want to short the others who had solos or sang in small groups. I felt that I heard good, listenable voices from each solo singer. And the ensemble singing was nothing short of thrilling. Of course, they had some great, memorable music to sing. And the energy in their big numbers ― and there seemed to be so many of them ― was astounding. The first, “Carrying the Banner,” felt like a real “show stopper” ― and it came at the 10-minute mark of the production. And “King of New York” after intermission was absolutely eye-popping. The energy of the performers, singing and dancing, was so intense that one couldn’t turn away. And that energy felt like it never wavered throughout the show. Newsies captured my attention and never let go.

A lot of that energy can be traced to choreographer Brittany Cody-Bays. The choreography was simply dazzling, full of variety, grace and intensity ― and key to the success of this production. To enhance the many eye-pleasing routines, there were special effects like frequent tumbling runs, and even numerous occasions when members of the cast spread out into the theater’s aisles to sing and dance among the audience. With a big cast like this, there were no doubt many previously non-dancers, who learned the dance moves they needed to be in the show (and they certainly convinced me that they could dance). But there were also many people who must have had years of dance instruction, and they brought their special artistry when they performed. I have to add that one of the many, many delightful surprises in this show was the impressive tap dancing of 25 or so dancers in the “King of New York” number.

I’m surprised that I have gotten to this point without commenting on the acting. Of course, the little guy vs. big shot plot is engaging ― with lots of ups and downs, and plenty of villains ― plus a romantic subplot to add a different kind of interest. In fact, there were many moments of intense drama, as when the police broke up the strike or in Jack Kelly’s poignant solo of “Santa Fe” after the breaking of the strike. All of that gave ample opportunity for these players to demonstrate their acting skills. But the writing in this show is especially clever, full of wit that kept us laughing, thanks to the good delivery of the actors and the guidance of the director.

What I saw in the whole cast, starting with the characters of Jack Kelly and Katherine Plumber, was acting that seemed truly inspired. I got the feeling that each performer had fallen in love with this show and wanted to give it their all. Indeed, commitment and talent ― singing, acting, dancing ― abounded on this stage from beginning to end. And it all came together for an entertainment experience that I’ll think about fondly for a long time.

I have to add that, to me, it’s the special touches that make the difference between a good show and an outstanding one. For a start, Newsies must have had an excellent dialog coach because I don’t remember anyone dropping their New York street-kid accent. And in the “That’s Rich” number, 14 showgirls (with great costumes!) sang with that accent that I think we all associate with showgirls in movies from (or about) from the 1920s and 1930s.

There were many other, more subtle, evidences of good acting. I noticed the excellent timing of little bits of dialog when a group of newsies were commenting about something. I also noticed the animated acting by characters on the opposite side of the stage from the main action. To me, this bespeaks a cast with a high morale and commitment to the show. They may have been out of the spotlight, but they were a big part of what made all this seem so compelling.

As we settled down before the start of Newsies, the stranger sitting next to me mentioned that she had thought we would be seeing adult actors. I knew better, and I’m guessing that nearly all these performers were of high-school age ― a few younger, and perhaps a few older, but not by much. Honestly, age didn’t matter, unless you want to consider the enormous benefit that came from the youthful energy of these players. As I left the theatre, I had the distinct feeling that Director Ashley White, along with her dedicated production team and 60 or so talented kids, had put together a masterpiece.

You can click here to see a 30-second video ad for RTAA’s Newsies that gives you a little of the feel of the show. And for more about the Roseville Theatre Arts Academy, visit their website at www.rosevilletheatreartsacademy.com.