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The Marvelous Wonderettes Delight at Cross Community Players

The Marvelous Wonderettes is a jukebox musical in which four young women sing pop hits of the fifties and sixties. In the first act, they are performing at their 1958 senior prom, and in the second, they are back to sing at their 10-year reunion. The first act is often silly, as their teen romances and rivalries sometimes conflict with their desire to put on a polished show. The second act, aided by the more soulful pop music sound of 1968, digs deeper into the characters and how their lives have been complicated since high school. This show reminded me of Nunsense because of its small cast and interactions with the band and the audience, but the shows also have sequels in common, although The Marvelous Wonderettes only has three to Nunsense's six.

Cross Community Players returned to live theater last summer with a big outdoor production of Mamma Mia, but chose a smaller show for its first COVID-era indoor show, a very reasonable choice after the canceled performances that some theaters saw this winter. Compared to the outdoor amphitheater used for Mamma Mia, the location for The Marvelous Wonderettes (Cross Winds United Methodist Church) was much smaller but suited this cozier show well.

Under Artistic Director Dann Peterson, all of the elements (acting, music, design) meshed well and really brought out the charm and the humor of this show. Karen Hillmann's music direction showed through in the comfort and ease with which the performers sang through the huge number of songs. Hillmann played keyboard and conducted the small band, which included bass, saxophone/flute, and drums. There's a special something that a standing bass brings to the mix (an extra sense of class, perhaps?), and the saxophone solos were also a treat throughout. Ann Marie Omeish choreographed the Wonderettes and could have gotten away with a lot less—the performers seemed to be dancing almost constantly. Omeish's choreography was cute, with a lot of the standard "girl group" moves; my favorite dance number here was "Stupid Cupid."

John Woskoff's set was sweet and simple, while his costumes were nicely tailored and provided an excellent visual contrast between the youthful, innocent teens and their more mature older selves. The wigs were well done, showing some styles that were very of their time. Tyler Fortney's lighting design included a lot of soft color-washes that gave a nice sense of character to the space. There was a moment of strobing lights in the second act that gave me pause—I don't know at what point flashing lights are a photosensitivity concern for people with epilepsy, but I'd prefer that theaters err on the side of caution and include a warning to the audience. Rick Polenek's work on props yielded some very cute items, including an extra-large "cootie catcher." Nathaniel Glewwe's sound design balanced the singers and the band well, something that can be very difficult when the audience is so close to the musicians. 

All four performers did excellent work with the music and with developing characters that felt realistic (but different) in both time periods. Betty Jean (Rachel Raeon) and Cindy Lou (Amanda Marquis) fought each other to be the star in the first act but were able to reconnect in the second after their characters had matured. Raeon and Marquis both brought depth to these roles and the relationship of the two characters. I especially enjoyed Raeon's dramatic turn in "That's When the Tears Start" and Marquis's soulful "Son of a Preacher Man." Anissa Lubbers played the ditzy but sweet Suzy, whose romance with the lighting operator leaves her pregnant and heartbroken in the second act. Lubbers had a lot of laughs throughout the show, including a moment in "RESPECT" where she had some spelling trouble, but my favorite song of hers was the bouncy and charming "Stupid Cupid." Tori Wheeler's Missy was the leader of the group, keeping the other characters in line and distracted only by her crush on one of their teachers. In the second act, Wheeler played this now-double-sided romance with an intensity that was very funny, especially in "You Don't Own Me"—made funnier by the fact that it was directed at an audience member. All four actors are strong entertainers and had great chemistry as a quartet.

Overall, The Marvelous Wonderettes was a funny and charming ride through the oldies and made for a delightful night at the theater. I'm not sure I'm ready for all three sequels, but this is a show I would be happy to go see again.

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