As a part of the “First Wednesday” performance schedule at Escondido Center for the Arts, The Barn Stage Company presented the very first (tenderfoot, I suppose) showing of MUSICAL FEET in the Concert Hall. The creators apparently set a very high bar for themselves and they delivered the goods if the enthusiastic audience response is any indication.

And these performing artists who shaped this show include a trio of extraordinary tap dance artists who call Southern California home. All of them boast notable credentials which speak to their commitment to the genre. First, Jeffrey Scott Parsons, SoCal award-winning star performer and choreographer brings his charm and expertise to the task at hand. Cassie Silva, Broadway veteran, whose resume includes both MATILDA and ROCK OF AGES, brings along her sass and savvy to the art form as well. Lastly, Tom Davis, LA-based performer and choreographer, adds his technical wizardry and boundless energy to the undertaking.

Their project aims to share an informative, entertaining survey of the origins of tap dance in the mid-19th Century straight through to the innovations currently in practice these days. Audiences are likely to hear about artists such as “Master Juba”, Bill “Bojangles” Robinson, the Nicholas Brothers and Donald O’Connor. Occasionally,  demonstrations of style, sometimes accompanied by song, weave their way through the proceedings. All the while, these performers engage in onstage hijinks which demonstrate their rapport and supply a humorous component as well.

Undoubtedly, these artists may continue to revise their “baby”, but a few references seem necessary. For example, the explanations about African circle dance and the Irish jig were fascinating. Competitive elements were especially welcome. Personally, I loved the Burns & Allen and vaudeville segments.  OK…no more spoilers! Oh, one final recommendation: Don’t jettison that audience participation because it landed as a crowd-pleaser.

Throughout this one hour show, it occurred to me that this performance proved to be incredibly smooth, bursting with out-sized professional talent, informative, yet always light-hearted.  Watch for this show to reappear on local stages, folks. MUSICAL FEET’s trajectory aims high and rightly so!

Theatre Curtain Calling… Reviewing the Situation

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Being comfortable. A lifetime struggle when one thinks about it.  All of us desire comfort in our dress, in our TV chair, in our bed and even in our seat while watching a sparkling* cabaret performance at MARTINI’S ABOVE FOURTH in San Diego. (After all, he is a star!) The man of the hour is the ridiculously talented JEFFREY SCOTT PARSONS in his solo engagement entitled COMFY. More than anything else, this show charts his complicated journey to feel comfortable in his own skin.

If one were to tap a prime practitioner of the art of tap dancing in Southern California, this young man likely would rest near the top of any list. “Shall We Dance?” questions Jeffrey as he kicks off his entertainment and the packed house at this cabaret venue answers affirmatively. Of course, the technique resounds with precision, but this singer/dancer exhibits a style that wows from the gitgo. So many dancers lack the wherewithal to project the charm requisite to sell the dance; here the issue could not be farther from the truth at hand (or foot). Jeffrey Scott Parsons oozes charisma from every pore of his being and the audience happily receive the treasures that he so generously gifts to us.

If this were the only feature of the show that tickles our fancy, then this entertainer would have created a crowd-pleasing presentation worthy of top drawer cabaret. However, it satisfies on other levels as well. Speaking of tickling, laughter wafts through the space here, there and everywhere. Take for example the video evidence of Jeffrey’s early adventures in performance leading a family rendition of “Rudolph, the Red-nosed Reindeer” in the Parsons living room. (Watch out, world of entertainment, I’m-a-comin’ ‘round the mountains of Utah!) And the rest of us need to prepare for the joyful onslaught of talent. “Happy Days” will be here again.

What really sets this entertainment apart, though, is his personal testimony in which he tousles with the competing forces of his Mormon faith and his own sexuality at odds with precepts of that faith. The revelations define the adjective “heartfelt” and can only be appreciated in the context of Jeffrey’s own words. Enough said.

Given the above nod to religion, and this musical theatre star’s history on the stage, is it also a given that this show references the Broadway hit BOOK OF MORMON? Hmmm.

The perfection that is Elan McMahan happily accompanies Mr. Parsons on piano. And the indefatigable Jennifer Edwards handles the technical chores.

Yes, he puts on his Sunday clothes (think Jerry Herman) and sequins sparkle intermittently. At the end of the evening, the performer and the audience collectively agree that there is “So Little To Be Sure Of”.  (Although this reviewer, in particular, is sure of the obvious recommendation): drop what you’re doing and buy a ticket to COMFY wherever and whenever it becomes available. Don’t forget to sport a few sequins in support of Jeffrey Scott Parson’s solo venture on the cabaret stage.

(Oh, and if the reader doubts the veracity of this review, “Moses Supposes” that you might wish to consult one of these friends or acquaintances: Lisa Dyson, Ralph Johnson, Carlotta Malone, Stanley Cohen, Jill Townsend, Robert Townsend and Andrea Williams. Also, Danny Hansen, Jacob Narcy, Joshua Carr, Ray Limon, Scott Arnold, Doris Teich, Janet Pitcher and Erica Weisz.)

Theatre Curtain Calling…Reviewing the Situation

The post JEFFREY SCOTT PARSONS COMFY CABARET THEATRE REVIEW appeared first on Table To Stage.