ALBANY — Capital Repertory Theatre introduces their latest summer musical, “Honky Tonk Angels,” which showcases a stunning display of talent, captivating direction, and expert craftsmanship from the designers. With a collection of nearly 30 country songs, the audience is swept away by the joyous effect of the music and the rapturous response of the crowd. The musical follows the story of three women who meet on a Greyhound to Nashville and form a bond as they pursue their dreams of musical stardom together. Opening on Tuesday, the show will continue its run until August 20.
These outstanding attributes are truly commendable, especially in the case of “Honky Tonk Angels.” Even within the realm of jukebox musicals, it is rare to witness such a significant gap between well-executed, beloved tunes and a mediocre script that awkwardly stitches them together.
Here are the key details about the musical:
– “Honky Tonk Angels” can be experienced at Capital Repertory Theatre, located at 251 N. Pearl St., Albany.
– Showtimes: 7:30 p.m. Tuesday through Thursday, 8 p.m. Friday, 3 and 8 p.m. Saturday, 2 p.m. Sunday, until August 20.
– Additional Wednesday matinees on July 26 and August 2, 9, and 16 at 2 p.m.
– There will be an ASL-interpreted performance on Saturday, July 29 at 3 p.m.
– Ticket prices range from $27 to $62.
– For more information, call 518-346-6204 or visit capitalrep.org.
The musical quickly moves past the banalities of its book, penned by Ted Swindley, the creative force behind “Always … Patsy Cline.” Capital Repertory Theatre had previously staged this production four times between 1997 and 2006. Suffice it to say, “Honky Tonk Angels” indulges in every country music cliché and trope imaginable, all in the pursuit of cheap laughs. However, dwelling on these clichés is not worth our time.
Instead, let us focus on the breathtaking stage pictures and the delightful musical performances that unfold throughout the show’s surprisingly lengthy two-and-a-half-hour runtime. Despite its duration, the performance feels much shorter due to the seamless flow of each mesmerizing moment. Particularly noteworthy is Erin Edelle’s rendition of “Almost Persuaded” as Angela, a Texas mother of six who departs for Music City after growing resentful of her boorish husband named Bubba, as one might expect. The other two characters in this three-person show, Darlene (portrayed by Elizabeth Nestlerode), a genuine coal miner’s daughter, and Sue Ellen (played by Kara-Tameika Watkins), an individual with a corporate job in Los Angeles but a history of failed marriages and a detestable boss with unruly nose hair, also embark on their respective journeys abandoning where they were to chase the country music spotlight.
The first half of the musical showcases their separate journeys, reaching a crescendo with a lively performance of “Delta Dawn” upon their arrival in Nashville. In the second half, we witness the seemingly improbable scenario of them quickly securing a six-week gig at a honky-tonk bar. We are privileged to witness their final performance, where they portray a diverse range of country women, providing ample opportunities for the talented designers, Sera Bourgeau (costumes) and Travis McHale (lighting), to shine. Additionally, special recognition must be given to scenic designer Christopher Rhoton for his innovative use of a large, unfinished outline of a guitar stretching across the middle of the stage, positioned above the action.
Director Gary John La Rosa, making his debut at Capital Repertory Theatre with his third production of “Honky Tonk Angels,” wholeheartedly embraces Swindley’s clichés. La Rosa seems to have made it his mission to have as much fun as possible with these tropes, resulting in playful portrayals of characters reminiscent of drag performer Divine in “Pink Flamingos” or Divine’s role as Edna Turnblad in “Hairspray.” The cast, under the music direction of Marc Galinovsky (also performing keyboards in a visible six-member band during the second act), delivers strong performances. However, their harmonies often feel dense rather than seamlessly blended. Although the musical numbers are frequently excellent, they rarely reach the level of transcendence.
Maggie Mancinelli-Cahill, the producing artistic director at Capital Repertory Theatre, expressed her delight during her curtain speech on Tuesday at seeing a nearly full house on opening night. This was an uncommon occurrence due to the impact of the pandemic and the company’s relocation to its new venue. If “Honky Tonk Angels” serves as the catalyst for bringing audiences back, hopefully they will return for the upcoming season. Mancinelli-Cahill announced that, except for a jukebox musical during the holidays, the entire lineup will consist of productions either by or about women.
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