Conch Republic (The Musical!) is hilarious history

 

REVIEW BY CS GILBERT

Last year, albeit in another publication, the late, lamented Solares Hill, we noted that Key West Fringe’s homegrown, sell-out show Conch Republic (The Musical!) was a hoot. This year it’s a bigger, more polished and professional hoot that will have you humming “The Key West Way” all the way home.

Opening Friday and running only Saturday and Sunday at the San Carlos, we caught a Monday rehearsal; that far out, it was really remarkable that the new, improved show, with music and lyrics by Gayla D. Morgan and book by Fringe founder Monnie King, had already jelled into about 75 minutes of pure fun, without intermission — a change from last year’s premiere production that really contributes to the show’s cohesion.

The majority of the cast reprises the roles they premiered last year — and with more polish and skill, which adds up to a very strong cast, particularly given the two newcomers: David Black, as the Upper Keys incendiary, Skeeter, and J.B. McLendon as Mayor Dennis Wardlow, both experienced, consummate professionals with immense talent and stage presence. The joy is that they buoy the rest of the cast to a high watermark far beyond last year.

Annie Miners and especially Billy Cartledge — a raw recruit last year — have grown immensely in their roles of Virginia Panico and financially strapped bar owner Bubba. Michael McCabe as Ed Swift, Laurie Breakwell as Maria, the Cuban baker’s daughter, and a couple of other folks, and Tony Konrath, in several roles, bring experience and talent to everything they do on stage. And one of my favorite comedic actors, Kyle Caskey, shines in a wide range of roles, from a drag queen to a judge. Actually, all of the actors also cover minor roles.

A huge helping of credit for this more polished jewel goes to its multi-talented, widely experienced director Rebecca Tomlinson. “Rebecca is magic,” someone commented Monday night; we agree. Cheers, too, to Musical Director Matt Castle, an able pianist and coach and a welcome new talent in town. Choreography is in the able hands of Leigh Pujado, with two numbers by the remarkable McLendon, and “the fabulous and tirelss Jules Conn is responsible for lights and scenic design,” Tomlinson reported, in absence of a printed program.

More cheers for Dahlia Woods, the scenic artist responsible for a stationery and versatile backdrop of Key West postcards — not changing drops, as was done last year, really contributes to the flow of the show — as well as some dramatic, life-size silhouettes used to fine dramatic effect by the cast in a major production number, “Check Point.”

It’s difficult to judge the technical aspects of a show that far before opening, but it seemed fine. There didn’t seem to be microphones — amazing and wonderful and rare! — and the actors mostly managed to project well enough to reach the back rows.

All in all . . . Conch Republic (The Musical!) is a fine entertainment, a history lesson and a must see for anyone even moderately fond of the Conch Republic. We plan to see it again.

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