Comedy Sets Sail on UWM’s ‘Dames at Sea’

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Photo by Sara Stathas via Instagram

Dames at Sea at UWM

This past Friday, I had the opportunity to see UWM Peck School of the Arts’ production of Dames at Sea, directed by Sheri Williams Pannell. This parody of Golden Age musicals kept the audience laughing—never sure of what could possibly happen next in this absurdist take on Broadway.

Scenic specialist Christopher Kurtz made good use of the thrust stage by providing a rather open floor plan—perfect for dancing! Just a piano and a vanity were visible while the curtain was down. But it rose at the top of the show to reveal an exposed-brick backdrop covered with a smattering of posters—a visual representation of the chaos about to ensue on Broadway’s backstage. And not only that—but the curtain revealed the live band, too! The three men sitting onstage along with the scenery breathed extra life into the entire musical performance and gave opportunity for the actors to interact with them in a few fun moments throughout.

The opening number provided just as much energy to start the show, with a lively tap ensemble featuring Mona Kent, played by Abby McBee, on that 42nd Street dime for “Wall Street.” Then that flip of a switch from the song’s ending button to the proceeding scene, full of the cattiness and competition of Broadway, set the musical off on a tonally unique note. The choreography throughout, crafted by McBee and Sophia Roth (Ruby), served as a cheeky love letter to that classic choreography of golden age musicals like Anything Goes and Singing in the Rain. They even brought some umbrellas out for a number during the one ballad of the show, “Raining in My Heart,” not to be bested by the tempo! The vocals of the entire principal cast were strong, each leading the show with unique performances. And the supporting cast held the show up alongside them with gusto—the ensemble has to be the best of the best on Broadway, too, you know.

Mastering the Moments

The choreo and music was well rivalled by the non-musical stretches, chock full of physical bits. The dynamic duo of Lucas Drube and Mitchell Blohm as Dick and Lucky truly mastered these moments, filling the stage and never letting a moment pass by them without invoking laughter. Act One ended on a riotously funny note, with the whole company making bigger and bigger choices as the theater falls apart around them. Then, intermission treated us to the sounds of the sea while the stage crew transformed the stage into a naval vessel for Act Two—that curtain reveal was quite fun as well.

Grube managed to bring a great deal of earnestness to the role of Dick; “There’s Something About You,” had an honest sweetness to it, despite his overall slapsticky demeanor. Alyna Williams shined as Joan and helped set the rhythm of the show from the very first beat.

McBee stepped seamlessly into the role of transatlantic prima donna, consistently commanding the stage while making us laugh with a humor that requires humility. Her performance in “That Mister Man of Mine” carried a grandeur while still living in the goofiness of the show, reminding us of how seriously Mona takes herself in this world of parody.

I was particularly affected by the fact that even in the moments that seemed to turn a corner into seriousness, each actor maintained that buoyancy needed to keep a broad comedy like this one afloat. 

And by the number of costume changes! The entire ensemble, save the sailors in their trademarked blue uniforms, was decked out in vibrant colors, each new piece in which they came out on stage showcasing yet another original design. The costume team kept each individual looking individual while establishing a cohesion befitting that of a Broadway ensemble.

And what a perfect way to complement the cast, who each demonstrated a unique style and range yet ultimately came together to put on a hilariously impressive show.