Backwards In High Heels
Scott Schwartz & Christopher McGovern
Patti Columbo & Cameron Henderson
Asolo Repertory Theatre (May 7 - 30, 2010)
Anna Aimee White
Anna Aimee White & Elizabeth Ward Land
Anna Aimee White & Elizabeth Ward Land
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
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
Arizona Theatre Company
(Tucson:
9/10 - 10/2, 2010; PHOENIX: 10/7 - 10/24,
2010)
Season
Announcement
San Jose Repertory Theatre
(November
24 - December 19, 2010)
Playbill
Online
Cleveland Playhouse
(January
7-30, 2011)
International
City Theatre
(LA Premiere)
Anna Aimee White & Matt
Bauer
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
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
Melissa
Wolfkain & Company in the FCLO production
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)
"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
click
here for
Playbill Online
Feature
click here for
Palm Beach Post
Feature
click here for
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
AMBER
STONE
as GINGER in the Florida Stage World Premiere Production
of BACKWARDS IN HIGH HEELS
Photo credit: Sig Bokalders © 2007