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US Productions of
Backwards In High Heels

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Scott Schwartz & Christopher McGovern

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Patti Columbo & Cameron Henderson

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Asolo Repertory Theatre (May 7 - 30, 2010)

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Anna Aimee White

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Anna Aimee White & Elizabeth Ward Land

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Anna Aimee White & Elizabeth Ward Land

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Anna Aimee White & Matthew LaBanca

Interview with Director Scott Schwartz & Anna Aimee White (radio)

Theatremania

"Ginger Was Much More Than A Dancer"

" 'Ginger' Dances With Snap!'

On the screen, Ginger Rogers exuded grace, humor and confidence, especially with her most-famous dance partner Fred Astaire. You get to see that buoyant personality, along with a less attractive and harsher side in the high-spirited and light-hearted musical 'Backwards in High Heels: The Ginger Musical.' It’s told in a mostly sprightly and somewhat campy style that becomes darker as Rogers achieves fame and tries to move beyond her films with Astaire. As conceived by Lynette Barkley and Christopher McGovern, the show comes off as a smart movie biography that might have been made in the 1930s by RKO, but with modern twists to allow the blemishes to show.

McGovern’s book cleverly runs through the biography with energetic dances (by Patti Colombo) and musical montages set to carefully chosen songs that speak to the story. Four of Rogers’ five marriages are dispatched during the song 'Change Partners,' and you see her more demanding nature about career choices during 'Let’s Face the Music and Dance,' which begins with the line, 'There may be trouble ahead.'

The show often glows on the charms of Anna Aimee White, who shares Rogers’ graceful aura. White taps, waltzes and sings with ease, and she is well paired with Elizabeth Ward Land, who makes Lela an emotional rock and the most compelling character. There are only four other cast members, but the versatile ensemble makes it seem like dozens. Christianne Tisdale does some marvelous impersonations, including Ethel Merman. Benjie Randall is charming in a number of roles and Craig Waletzko does well as Rogers’ first drunken husband.

The show is staged on Walt Spangler’s Hollywood soundstage set that transforms into a variety of locations, including a lavish and glittery background for a rowdy 'We’re in the Money.' Alejo Vietti’s eye-catching costumes run from humble prints to the gorgeous flowing outfits we remember from all those dance films, and Jeff Croiter’s lighting creates some magic of its own.

Audiences are sure to have fun watching 'Backwards in High Heels!' "

-Sarasota Herald-Tribune

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Scott Schwartz, Anna Aimee White & Christopher McGovern

" A Gem of a Show!

Asolo Repertory Theatre’s production of “Backwards in High Heels: The Ginger Musical” — about how Ginger Rogers became a star — will indeed sweep you off your feet. Whether it’s the dancing, singing, acting, a great script or the combined triple-threat talents of an entertaining cast, this original musical is a joy to watch.

“Backwards in High Heels” focuses on Rogers’ journey through the relationship with her mother Lela (Elizabeth Ward Land). Lela, a script writer, is cautious of her daughter’s show biz ambitions, along with her daughter’s choice of men. But that doesn’t slow down Rogers (Anna Aimee White), who crashes and burns on a few occasions, while proving her mother wrong in others. White is very engaging as Rogers and permeates a love for dancing with every step she takes on stage. She plays a range of ages — from the 16-year-old Rogers convincing her mother to let her compete for a Charleston dance competition, to feeling secure dancing with Fred Astaire. The relationship between Lela and Rogers, which has its ups and downs like all mothers and daughters, is what gives this show its heart, thanks to the efforts of White and Land. Land is stellar as the somewhat stern, but loving Lela. She especially shines through the animated 'Baby Face' number.

As the musical, directed by Scott Schwartz and choreographed by Patti Colombo, unfolds, it also becomes apparent that the four-person group of character actors carry much weight with the show. They handle their tasks quite well, from portraying background dancers (Matthew LaBanca, Craig Waletzko, Benjie Randall) and Rogers’ many love interests, to Lew Ayres (Randall) to a spunky Ethel Merman (Christianne Tisdale, who dazzled the opening night crowd with several character roles) and Jack Culpepper (Waletzko). There’s also Fred Astaire (Labanca) and a few other great cameo characters from the era.

“Backwards” features many songs from that era, too, and they are inserted nicely into the storytelling aspect of the musical. They include 'Fascinating Rhythm,' 'Embraceable You,' the sparkly 'We’re in the Money' number, 'Let’s Call the Whole Thing Off' and many more — all performed by a live band in Asolo Rep’s music pit.

With a feel that transports audiences back to 1930s and ’40s, the musical has a simple set design by Walt Spangler that begins with the backstage of a set and transforms into various other scenes, including a dressing room, a kitchen, the set of “Girl Crazy” and more. Alejo Vietti’s costume designs help perfectly capture the era.

This song-and-dance extravaganza is a gem of a show."

-Bradenton Herald

" Mother-and-daughter relationships are complicated enough, heaven knows. Throw into the mix the dangerous allure of show business, and get ready for fireworks. Audiences reveling in the song-and-dance bonanza! From the moment we first see Ginger (Anna Aimee White), it’s clear she was born to dance. Her tale might be that of any stagestruck kid growing up in Texas; even in her early teens, she just wants to get up, get out and get famous. It’s a passion her mother (Elizabeth Ward Land) both understands and fears; she knows the pitfalls of the business, but there’s no holding Ginger (born Virginia) back, especially once she wins a local dance contest and gets a taste of vaudeville and life on the road.

Hard-working as Ginger is, she quickly makes it to the Broadway stage with the Gershwins’ Girl Crazy and just as quickly from there to a Hollywood soundstage and a busy film career. But there’s always a price to pay for such success; Ginger’s is a frequently tempestuous relationship with Lela and a revolving door series of husbands (cleverly handled in the 'Change Partners' number of Act II).

There’s in fact much to compliment about the lively staging (by director Scott Schwartz), the choreography (by Patti Colombo, gifted at telling a story in movement), and, of course, the performances. White is as high-spirited and graceful as we always expected Ginger to be from her film persona. There’s a versatile and talented ensemble cast playing a multitude of roles; it’s easy to single out Christianne Tisdale as Ethel Merman and Matthew LaBanca as Astaire, but Benjie Randall and Craig Waletzko deserve praise, too.

So what do we learn from these show biz tales of mothers and daughters? It could be 'don’t put your daughter on the stage'—but what fun would that be?"

-Sarasota Magazine


" 'Ginger' wonderful early summer fare at Asolo Rep!

The story is of singer/dancer/actress Ginger Rogers (Anna Aimee White) and her tumultuous relationship with her mother Lela (Elizabeth Ward Land) and, oh yeah, Fred Astaire (Matthew LaBanca). It’s a rags-to-riches presentation. Lela is a single mom after throwing the alcoholic husband out when Ginger – then Virginia – was an infant. Lela and Ginger both reminisce about Ginger’s dancing before she was even born, early dance lessons and life in rural Texas.

Opening night was about as close to a sellout as seen at the Asolo. The Sarasota region loves musicals and dance, especially songs that we all know and love and are performed beautifully.

There is a six-piece orchestra with music director Tim Robertson. The band is in perfect sync with the six-member cast.
Speaking of cast, the six appear to be zillions. Costume changes are what the theatre world calls "quick changes," and this is pretty much nothing but a quick-change show with everybody changing costumes and characters. Kudos to actors Benjie Randall and Craig Waletzko for performing myriad parts. Director Scott Schwartz directed a tight, one-intermission show. Choreographer Patti Columbo nailed the dance routines, from classic ballroom to tap for all. The set is extra special, compliments of Walt Spangler. Be sure to pay attention to the flying props when you go. And lighting is literally spot-on by Jeff Coiter. Spotlights for this dancing/acting production are perfect and work just great.
The production was conceived and developed by Lynnette Barkley and Christopher McGovern. From Sarasota the show will travel to Arizona, New Mexico and Cleveland. Asolo Rep and several other theaters in the region are pushing the envelope by running mainstream productions late in "the season." Tradition always said that after the end of April there were no people in the area to go to a play. Wrong. A full house in early May seems to indicate that people do live here year-round and do want to see some wonderful entertainment: light, insightful, entertaining and explaining just how Ginger Rogers was actually able to dance 'Backwards in High Heels.' "


-Pelican Press





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Arizona Theatre Company (Tucson: 9/10 - 10/2, 2010; PHOENIX: 10/7 - 10/24, 2010)

Season Announcement


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San Jose Repertory Theatre (November 24 - December 19, 2010)

Playbill Online


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Cleveland Playhouse (January 7-30, 2011)


International City Theatre (LA Premiere)
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Anna Aimee White & Matt Bauer
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Anna Aimee White & Matt Bauer

“Backwards in High Heels,” now at the International City Theatre, is an ambitious bio-musical about Ginger Rogers that treats Rogers’ life from her early days on the Orpheum circuit to her Oscar-winning turn in “Kitty Foyle. The life of Rogers, a bit of a diva who achieved early success and never looked back, hardly seems super-charged dramatic fare. However, book writer Christopher McGovern, who conceived and developed the musical with Lynnette Barkley and did the original songs and arrangements, largely redresses the limitations of his subject by making “Heels” a love story – not among Rogers and her many husbands, but between Rogers and her indomitable mother, Lela, a sometime Hollywood screenwriter who found her greatest success as a stage mother par excellence. The show features period standards interspersed with McGovern’s terrific new numbers, most notably “But…When?” – an emotion packed song reminiscent of “Rose’s Turn,” delivered from the daughter’s point of view. Music Director Darryl Archibald helms the lively offstage band.  As Ginger, perky Anna Aimee White is a facile dancer whose voice alternates between wispiness and a strong belt. Nimble Matt Bauer renders a workmanlike Astaire – no mean feat."

-LA Times

"It must have surprised local theater audiences to hear that Orange County's own FCLO Music Theatre and Long Beach's International City Theatre were both opening "Backwards in High Heels: The Ginger Musical" in February of 2010. Timewise, FCLO beat ICT to the punch by just two weeks in giving the 2007 musical biography of Ginger Rogers its West Coast premiere, leaving ICT to tout its production as the Los Angeles premiere. While FCLO took the epic, cast-of-thousands approach, ICT's staging is nearly minimalist, with Anna Aimee White as Ginger, Heather Lee as her mom, Lela, and just four additional actors eassaying dozens of roles.
Think director caryn desai's decision to scale down Lynnette Barkley and Christopher McGovern's stage version of that Hollywood staple, the biopic, was a fatal one that could never work? Think again. White is fetching as Ginger, who was born Virginia Rogers in July 1911; Lee's Lela is both pragmatic and a worry-wart; and desai's four-person ensemble proves their mettle not only by matching many of White's dance moves but by credibly impersonating numerous Hollywood celebs.
McGovern's libretto doesn't pull any punches in showing how pushy Ginger was willing to be whenever it came to getting what she wanted out of show biz – like going head to head with the head of RKO Pictures in insisting upon her fair share of her movies' profits. Just the same, "Backwards" is a valentine to the screen star who also conquered vaudeville and the world of the legitimate stage, made nine hit films with
Fred Astaire in 10 years, then won the Academy Award for best actress for her lead role in "Kitty Foyle," all before the age of 30.

The show's 14 period songs are nicely complemented by four numbers McGovern wrote for the show. His "Tame These Feet" is Ginger's confessional that she's gotta dance no matter what – the spark that drove her to great heights. "The Domesticity" shows just what a mismatch was Ginger and the world of housewivery, while "But ... When?" provides White a powerful, showstopping solo.

In every respect, White is simply sensational, bringing verve and joie de vivre to the role of Ginger. She has not only the same coloring and hairstyle as the star but also bears a general resemblance to her, capturing Rogers' bubbly yet earthy charm, ability to smile while sighing and the soft, faraway look in her eyes. Lee's Lela is thin and haggard, always carping to Ginger about something or other. There are times when the mother-daughter clashes almost seem artificial, as if friction between them were vital to making this story go. Unlike FCLO's version, here Lela is more of a supporting character (albeit an important one) in the Ginger saga. Ensemble members Matt Bauer, Christopher Carothers, Robin De Lano and Jeff Payton have the extraordinary ability to morph in and out of various characters quickly and seamlessly, with De Lano particularly impressive as a forceful Ethel Merman; brassy, bug-eyed Bette Davis; upper-crust New Englander Katharine Hepburn; and cool, aloof Marlene Dietrich. Payton's Jack Culpepper, who winds up as Ginger's husband number one (there were five), is a young leading man type who's likable even when acting like a heel, and Payton is also a folksy Jimmy Stewart and precise Hermes Pan, Astaire's famed movie choreographer.

The Ginger story wouldn't be much without a solid Astaire, and Bauer delivers on the icon's general appearance, soft tenor singing voice and relaxed, good-guy demeanor. He finely captures Astaire's easy grace, effortless movement and ebullient good cheer, to which White responds with effervescence. "Fascinating Rhythm" is only the first of choreographer Melissa Giattino's many outstanding tap-dance sequences, but her work is pleasingly varied (note White and Payton's divine soft-shoe to "Embraceable You"). Musical director Darryl Archibald works wonders with the show's beautiful score while playing piano and conducting the offstage four-man combo. Kim DeShazo's shimmering costumes create a special elegance. Near the top of Act Two, White wears white and Bauer black as Ginger and Fred execute an exquisite, magical dance scene; later, it's White in black, Bauer in white. Stephen Gifford's expansive, Art Deco-design set glows in its silver-screen-like black, white, gray and silver color scheme.

From the moment we first see her, Ginger takes her fate into her own hands. Despite clashes with mom, she lives up to her mother's formula for success: "intelligence, adaptability and talent." To these, Ginger added a couple more: Glamor and common sense.

Show some common sense too, dear readers: Get down to ICT and catch this show before it taps its way out the door later this month."


- Orange County Register

"This enchanting new bio-musical about film star Ginger Rogers (1911–95), conceived by Lynnette Barkley and Christopher McGovern, is like a time-capsule trip to movie musicals of the 1930s and ’40s. The ICT production follows a recent lavish staging of this show by FCLO Music Theatre in Fullerton, and this far more intimate rendition—using a unit set and a cast of six—proves there’s more than one way to bring good material to life.

Emphasizing exuberant song-and-dance sequences, the show is more concerned with vibrant entertainment than incisive biography, covering a relatively brief period in Rogers’ life and career. Yet the warmth of the characterizations lends depth to the proceedings, particularly that of radiant Anna Aimee White in the title role and galvanic Heather Lee as her loving but overbearing stage mother. McGovern’s book generates an intoxicating showbiz atmosphere, and his scenes are smoothly integrated into the musical segments. The score includes unforgettable classics as well as a handful of original McGovern songs, highlighted by Ginger’s stunning 11 o’clock ballad, 'What…Then?'

The four versatile supporting performers smoothly slide in and out of multiple roles. Matt Bauer’s juiciest role is Fred Astaire, Ginger’s famous dance partner in 11 films. Bauer expertly captures the suave sophistication of the legendary movie star, while convincingly channeling Astaire’s legendary dance style, in collaboration with the graceful White. Jeff Payton is likewise superb in several key roles—including Ginger’s boozing first husband, Jack Culpepper; actor Jimmy Stewart; and fey choreographer Hermes Pan. Robin De Lano aces a huge range of characterizations: a belting Ethel Merman, a bitchy Katharine Hepburn, an aloof Bette Davis, and (in drag) Ginger’s fourth husband, Jacques Bergerac. Playing diverse characters—including husband No. 2, Lew Ayres—Christopher Carothers sings and dances with aplomb.

Music director Darryl Archibald leads a splendid five-member combo, and choreographer Melissa Giattino yields stellar results. The handsome visual elements evoke the spirit of old Hollywood. Director Caryn Desai’s production is joyous; you’ll have to resist the temptation to dance in the aisles."

-Backstage

"It’s been said that Ginger Rogers became a star doing everything her dance partner Fred Astaire could do … but backwards in high heels. The Oscar-winning actress-dancer now gets her very own tribute musical, Lynette Barkley and Charles McGovern’s Backwards In High Heels, and it’s hard to imagine a better production of “The Ginger Musical” than the one just opened at Long Beach’s International City Theatre.

The ICT production gives the four-member ensemble supporting Anna Aimee White’s Ginger and Heather Lee as Ginger’s mother Lela the chance to show off their triple threats in a variety of contexts and roles. For another, since Backwards In High Heels is a “memory musical,” told as the reminiscences of its star, a single, gorgeous art deco set by Stephen Gifford is all that’s needed here, lit to showy perfection by Jared A. Sayeg. 

It helps enormously to have Broadway talent in several of the major roles, most notably the captivating White and the dazzling Lee, and a supporting quartet (Matt Bauer, Christopher Carothers, Robin De Lano, Jeff Payton) who prove every bit their equals.

Then there’s Melissa Giattino’s sensational choreography, which has more taps per minute than probably any musical since 42nd Street, and musical director Darryl Archibald on piano conducting an excellent five-piece backstage orchestra.

All this has been brought together with imagination and flair by director caryn desai to make for two hours of Hollywood glamour and magic.

White and Lee are stellar performers whose talents have been showcased on both coasts, and Broadway and Los Angeles audiences are the winners. The two stars are the very definition of triple threats, the roles of Ginger and Lela giving them a chance to show off all three “chops,” acting, singing, and dancing in equal measure. White effectively transitions from stars-in-her-eyes teen to self-confident film star.  Lee combines maternal love and pride with mother-hen protectiveness and some fancy foot moves of her own.

Broadway’s Bauer is principally Fred to White’s Ginger, and with his lithe physique and graceful moves, proves quite convincing as the film legend, as he does in several other roles including the euphemistically dubbed Bugs Berk and Ginger Hubby #3 Jack Briggs.  The always excellent Carothers is in equally fine form as Ginger’s dad Jack, who kidnapped her briefly as a baby, producer George Schaeffer and Ginger Hubby #2 Lew Ayers. The sensational De Lano not only gets to be Hubby #4 Jacques Bergerac in male drag, but a bevy of female superstars—Bette Davis, Katharine Hepburn, Marlene Dietrich, and most notably a show-stopping turn as Ethel Merman and her trademark hit “I Got Rhythm.” The splendid Payton is flamboyant choreographer Hermes Pan, Jimmy Stewart, and Ginger Hubby #5 William Marshall.

Backwards In High Heels is manna for movie, musical theater, and nostalgia buffs, but its story of a young girl aspiring to and conquering show business remains as current as TV’s American Idol. My guess is that Miss Rogers herself would be the first to stand up and cheer this tuneful and dance-ful tribute to her life and talents."

-Stage Scene LA


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ICT Production, February/March, 2010
Heather Lee & Anna Aimee White

Broadway World Interview with Heather Lee

ICT announces casting

Backwards In High Heels Opens in LA

Stage Happenings

Long Beach Gazette

Movie Dearest: Glamor Girls in LA

Dancing & Singing Into The Past

Buzzline


Fullerton Civic Light Opera

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Melissa Wolfkain & Company in the FCLO production

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Cynthia Ferrer & Melissa Wolfkain in the FCLO production

"(Rob) Barron's staging has the epic sweep of any great stage or screen bio, while Helm gleans top-grade vocals from the sizable cast and pleasing sounds from the 10-person pit orchestra.

Yet credit for the show's essentially Hollywood biopic flavor must go to McGovern, who wrote the libretto, created new musical arrangements of the vintage songs and wrote four original numbers: "Domesticity," "Tame These Feet," "But ...When?" and "The Sport of Art." Also at the heart of Barron's staging is Melissa WolfKlain's portrayal of Rogers. While she bears only a slight physical resemblance to the icon, WolfKlain embodies what gave Rogers her screen appeal – the image of the spunky blonde with the big, warm heart. WolfKlain also puts Ginger's driving ambition and unquenchable thirst for recognition on display, along with soft vocals and (naturally) top-notch dancing. Late in the play, her impassioned solo "But ... When?" serves as the character's emotional high point. In what's essentially a co-lead performance, Cynthia Ferrer shines as mom Lela, a stage mother so savvy she makes "Gypsy's" Mama Rose look like a pushover. Having already had a taste of Hollywood as a screenwriter, she is, in effect, like an older, more cynical version of Ginger, and Ferrer captures Lela's zeal, pragmatism and, yes, sentimentality. The production's period look is superbly realized by Mela Hoyt-Haydon's costumes, Dwight Richard Odle's set designs and Donna Ruzika's lighting. The supporting cast members and seven-man, seven-woman ensemble are all sterling singers and dancers, propelling "Backwards" forward to its triumphant conclusion."

-Orange County Register

FLORIDA STAGE (World Premiere)


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"We're In The Money" THE COMPANY in the Florida Stage World Premiere Production of
BACKWARDS IN HIGH HEELS
Photo credit: Susan Lerner © 2007

“A fine romance!”
Playbill Online

“Timeless toe-tapping, Backwards In High Heels debuts a hit!”
Edge, Ft. Lauderdale

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Palm Beach Post Feature

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Edge Fort Lauderdale Feature

OTHER PRESS from the World Premiere Production of
BACKWARDS IN HIGH HEELS

"Don't Miss! More ambitious than previous crowd pleasers, there is a lot to like about Backwards In High Heels – a World Premiere that is virtually sold-out. Amber Stone (as Ginger) is a pert, perky bundle of energy who arrives propelled from her mother’s womb with her tap shoes on, ready to stake her claim in the spotlight. The cleverest conceit of co-creators Lynnette Barkley and Christopher McGovern is raiding the movie musicals Rogers made with Fred Astaire, removing songs from their celluloid context and using them to tell Rogers' history. Even better is when the RKO scores come up short and McGovern feels compelled to write original songs for three spots in the show. Early on, teenage, tap-happy Rogers sings of her career aspirations with a kinetic McGovern number called Tame These Feet, so evocative that it is bound to have the audience wondering which Rogers-Astaire movie it comes from. Covering a 34-year swath of Rogers' life to her post-Astaire Hollywood career, Backwards in High Heels moves at a brisk pace, and its energy rarely flags. There is plenty of reason to think that this show will have a substantial life beyond South Florida.”
Palm Beach Post

“Ambitious and original! Ginger Rogers finally gets her due in Backwards In High Heels. The creative team has taken the basic biography of Ginger Rogers and intertwined it with the song and dance routines that made her famous. 'Intelligence, adaptability and talent’ are three essential ingredients to success in show business, she tells us in the first scene, and then she proceeds to demonstrate all three qualities in her character. It’s a wonderful tribute, long overdue on the12th anniversary of the star’s death. “
Boca News

“Broadway pizzazz! Immaculate…Backwards In High Heels is a perfectly calibrated musical. Heels flies by with the slick efficiency of Rogers’ memorable movies with dance partner Fred Astaire. Original songs by McGovern beautifully compliment standards and prove just as catchy. The acting, song and choreography carve out a result that transcends regional theatre. Don’t be surprised to see Backwards in High Heels coming soon to a movie theatre near you!”
Boynton Times

“Utterly delightful…Proving that there is still soul at the bottom of these old showbiz warhorses. Backwards In High Heels immediately begins smacking its audience with big, sloppy nostalgia kisses and it does not let up. The story begins with 15-year-old Ginger tapping madly around her room, (Ginger) cannot help herself – she’s got rhythm! She sings about this, introducing the show’s first Christopher McGovern original – a song called Tame These Feet, which is, to this reviewer’s ears, the equal of any of the score’s better known Gershwin/Berlin/Kern songs. Backwards In High Heels is easily the trickiest and biggest spectacle offered by Florida Stage this season…and it easily succeeds as intended: It’s a pleasant time warp to the Golden Age, when showbiz giants roamed the earth. Backwards In High Heels should delight anybody who misses those days, even if they never lived though them.”
Broward New Times

“An enchanted evening. The assets are piled so high that an audience leaves entertained... Backwards in High Heels, a musical biography of Ginger Rogers, is blessed with terrific choreography, adroit dancers, fluid staging, strong singing… and a score that cherry picks the finest songs from 1930s movie musicals. The greatest underlying asset of the show is choreographer, director and co-creator Lynnette Barkley, whose staging is crisp, dynamic and vibrant. Everybody and everything, including a bed, swirls and glides. Jeremy Doucette's elegant set features a turntable that Barkley seamlessly works into the choreography as dancers step on and off the moving stage. Christopher McGovern has deftly arranged the Gershwin and Berlin standards, provided considerable underscoring and added three songs of his own to allow Ginger to voice doubts and dreams…when the melody is flowing and the tap shoes are chattering away, all is nirvana.”
Florida Sun-Sentinel


“High Heels dances to the top! Amber Stone as Rogers is undeniably captivating…loaded with song and dance, often quite cleverly conceived. Embraceable You is deftly arranged as a courtship duet between Rogers and her first husband, the irresponsible Jack Culpepper. McGovern supplies the musical’s showstopper But When?, and (Amber) Stone’s delivery ensures the song accomplishes its goal.”
Palm Beach Daily News

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AMBER STONE as GINGER in the Florida Stage World Premiere Production of BACKWARDS IN HIGH HEELS
Photo credit: Sig Bokalders © 2007