Review: 'Disaster!' by Warner Stage Company

TORRINGTON, CT - DISASTER! is a musical straight from Broadway set in 1979 that features earthquakes, tidal waves, and infernos in an homage to/parody of just about every disaster movie ever made. The mayhem is laced with a slew of unforgettable hits from the 70s (parts at least of 34, to be exact) like "Knock On Wood," "Hooked On A Feeling," "Sky High," "I Am Woman" and "Hot Stuff." The musical was created by the 'amaahzing' Seth Rudetsky, the SiriusXM Broadway host and three-time Emmy nominee, and he himself starred in it (“Still got it!”) when it ran on Broadway, where it was called "The funniest show in town."

The humble beginnings of DISASTER! go back to 1992 when Seth Rudetsky and Drew Geraci developed the concept of creating a musical based upon the 70s disaster films, a genre they both appreciated. The original storyline involved the blackout in NYC in 1977 with the decade's top songs. The concept was revisited in 2011 when Mr. Rudetsky was asked to put on a show benefiting the nonprofit organization Only Make Believe.

He and Jack Plotnick quickly revised the concept and wrote the first script of DISASTER! The major change was the decision to introduce a wide variety of catastrophes common in the popular disaster films of their youth. The benefit show impressed the critics and the journey began to Off-off Broadway, Off Broadway, and finally Broadway with an all-star cast that included Mr. Rudetsky and what he has described on satellite radio as many of his Broadway friends.

In a nutshell, a group of New Yorkers attends the opening of a floating casino and disco that has been guilt on a faultline and quickly succumbs to multiple disasters. There is a plot in which several characters' interact on the opening night, as various plot elements reminiscent of 70s disaster cult films like The Poseidon Adventure and Airport 1975 are thrown at them. It is all very silly and the laughs never stop, even at the grimmest moments, and I always have fun anticipating how the next hit from the 70s is set up. Some of the jokes are set up well in advance and it was all very cleverly written.

I could not help but have high expectations for the Warner Stage Company production because I was at the opening of the Connecticut Repertory Theatre of their production of DISASTER! when Seth Rudetsky reprised his role as Ted Schneider, a professor and "disaster expert" who tries to warn the others of the impending doom. At that performance, Mr. Rudetsky’s entrance drew applause from the opening night audience who appreciated the fact that he had traveled to Connecticut to appear in this production of his show. In fact, I was given a press seat in a row close to the stage with many of the author’s Broadway friends who were there to support him.

I was seated in the front row of the flipped house of the Nancy Marine Studio Theatre for the opening night performance of the Warner’s production, and I can assure you that there is nothing about this show that disappoints. There was nothing at all DISASTER - ous about this quick-paced, campy and hysterical musical that will bring a smile to the most jaded of patrons.

This ensemble cast assembled by Ms. Ray could not have been better; the talent is “Sky High.” I will begin with the fabulous Matt Austin who is perfectly cast in the role made famous by Seth Rudetsky. Mr. Austin writes that he is thrilled to return to the Warner to play only one person with one costume after appearing as 14 people in BASKERVILLE earlier this year. As Professor Ted Schneider, Mr. Austin made the most of the broad comedy and wins the opening night prize as the most adept adlib artist in the cast. His quick-thinking retorts to cover some minor issues were the funniest parts of the entire performance. When he quietly told a cast member trying to climb the stairs to safety to “watch out for the piano,” those around me just about lost it.

Lauren Jacob, who was on the air with Eric Lindblom on Backstage on WZBG earlier in the day along with Ms. Ray, played the lounge singer/mother Jackie Noelle. In a breathy voice, a great wig and a sparkly gown, Ms. Jacob (THE WHO’S TOMMY, ROCK OF AGES, SPRING AWAKENING) made the most of the comedy in her role.

In the role of Sister Mary Downey, a nun with a gambling addiction, Amanda Friedman (AVENUE Q) just about stole the show. Her deadpan expression worked so well behind her oversized seventies eyeglasses, as did her hysterical physical comedy. I couldn’t take my eyes off Ms. Friedman when she was onstage, for fear that I would miss some of her quiet comic timing. Cue the Hawaii Five-O theme in honor of her winning performance.

It was such a joy to see Sharon W. Houk back on the stage. Yes, I am referring to THE Sharon Wilcox Houk, the Warner’s Executive in Charge of Production and the director of my first community theatre production at Phoenix Stage Company. Sharon’s credits from professional and community theatre during the last 28 years are long and impressive. Mrs. Houk (#MrsHouk2018) made the Shelley Winters role of Shirley Winters her own in her first onstage full-length production in nine years. All I can say is that I am very glad that I was able to witness her comedically (and in the end dramatically) brilliant return to the stage.

“I’ll love you from today until the day after forever.”

Keith Paul (SECRET SHAKESPEARE, GENTLEMAN’S GUIDE) adored Shirley in his role as her husband Maury, and the two had such wonderful chemistry as the oldish couple who are still very much in love. Jason Maur (THE FULL MONTY, Aspen Dream Productions) was a riot as Tony’s friend Scott.

Martha Irving gave a big performance as Levora Verona, the washed up singer who retains her big voice. Patrick R. Spadaccino, who has been in theatre since childhood, was so good in the role of Chad. Thankfully, he wore a much better wig than the one in his headshot for the show.

Josh Newey (THE IRISH…, THE WHO’S TOMMY, EVIL DEAD, ASSASSINS, NUTMEG JUNCTION) was so adept at playing the villain, the crooked owner of the casino Tony; it was a little hard to dislike him, but it was very easy to laugh at his antics.

Kelly White (ONCE, PETER AND THE STARCATCHER, NEWSIES) played the lovely reporter Marianne, complete with her PRESS nametag, who is the ex-fiance of Chad. The range of this young actress is simply amazing and I could watch her do and sing just about anything on any stage. Her “I Am Woman” duet with young Sydney Norwell as Lisa Noelle was one highlight of the evening.

One young performer played the dual role of twins Ben and Lisa. At age 13, Sydney Norwell was equally charming as the twin daughter and son of Jackie in her Warner Stage debut; she switched roles with just the addition or removal of a cap.

Members of the small ensemble included Marc Costanzo (NEWSIES,) who appeared as a taxi driver, Abbey Elias (A CHARLIE BROWN CHRISTMAS,) the lovely daughter of the fabulous Lauren Elias, as a blind woman, Chelsea Kaneb (THE LITTLE MERMAID) as waitress Tracy, Steffon Sampson (SPRING AWAKENING, GODSPELL with Landmark) and Sara Wilson (RAGTIME,) who appeared as a wealthy couple, Zachary Taylor (A CHORUS LINE, SEUSSICAL, THE FULL MONTY,) as a chef and Jake, and Miss Stella as a canine named Baby who traveled in Levora’s handbag.

The onstage musicians were dressed in the colorful ruffled tuxedo shirts from the era, complete with big bow ties. They are part of the spoof, to great comic effect. Music director Dan Ringuette, one of the best music directors I have ever seen, conducted the band while playing keyboard one as only he can, Charles Smith manned keyboard two, and Mark Garthwait was on guitar. Dan Porri covered the bass line, Nate Dobas was on drums, and Willard C. Minton covered tenor sax, clarinet, and flute. Marc Levandowski played trumpet and flugelhorn and Jim Luurtsema played his trombone and bass trombone.

“Why don’t you just help us?” - a line directed at the members of the band during one of the calamities

The band’s fun costumes were eclipsed by the 70s-inspired costumes for the cast designed by Renee C. Purdy. There were the requisite white go-go boots, sparkly mini dresses, and spectacularly-high wigs styled in the hairstyles of the era. While the bouffant for Mrs. Houk was pretty amazing, my personal favorite was the teased brunette wig worn by ensemble member Chelsea Kaneb. Ensemble member Sara Wilson looked stunning in her deep blue dress when she played a wealthy woman.

Caitlin Beaudry deliciously choreographed the numerous and 70s-inspired dance numbers; she was very wise to put Zachary Taylor in front for many of them, where he was able to show off his stellar dance moves. The dance steps in “Saturday Night” were especially memorable. Scenic design by Stephen C. Houk totally fit the period, but was also carefully designed for quick functionality.

Kudos to director Katherine Ray for keeping up the frenetic pace and to production stage manager Craig Clavette’s help with suggesting all of the onstage disasters without any real disasters. Lighting design by Jameson H. Willey reflected the disco area and various disasters equally well, with tons of cues to follow. Karla Woodworth, the scenic artist, was also in charge of a never-ending parade of props.

During the curtain call, the cast acknowledged the very busy technical crew and the superb onstage pit musicians; kudos to both groups on a job done well.

I remember seeing at the opening night performance Ms. Beaudry’s husband and community theatre vet Frank Beaudry, Priscilla Squires, Joe Guttadauro, Pat Hanlon, Meric Martin, Bret Bisaillon, Michelle Leifert and Daniel Wagoner. Apologies to those I forgot.

DISASTER! runs from Saturday June 15 2019 to Sunday June 23 2019, at least “That’s The Way I’ve Always Heard it Should Be.” By popular demand, an additional show has been added on Thursday, 6/20 at 8pm, thereby increasing your chances to get a ticket. “I’d Really Love to See You Tonight,” because it is “Still the One,” but I don’t want to take a ticket away from someone else who wants to see this very funny show. It is “Hot Stuff;” go see it!

Nancy Sasso Janis, writing theatre reviews since 2012 as a way to support local venues, posts well over 100 reviews each year. In 2016, her membership in the Connecticut Critics Circle began and her contributions of theatrical reviews, previews, and audition notices are posted not only in the Naugatuck Patch but also on the Patch sites closest to the venue. Follow the reviewer on her Facebook pages Nancy Sasso Janis: Theatre Reviewer and Connecticut Theatre Previews and on Twitter @nancysjanis417 Check out the NEW CCC Facebook page.

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