‘The Taffetas’ rustle up some memories

Written by Joanne Greco Rochman
Tuesday, 19 June 2012 14:16

Pretty in pastel taffeta dresses, the four-woman cast of the Warner Theatre’s The Taffetas sang songs of the fifties and transports the audience to an era when life was not as complicated as it is today. (The show's run ended June 17.)

Set in a 1950s television studio, complete with a bold red “On the Air” sign and a three-piece band, just the lyrics are a far cry from what we hear in songs today. Opening with “Sh-Boom” and songs like “Mr. Sandman,” “Tweedlee Dee”  and “Lollipop,” it’s hard to imagine what today’s young set will make of these songs and this show.

It’s almost impossible to think about this show without thinking of Forever Plaid. It’s as if The Taffetas is the female answer to the all-male Plaids. While the four talented women in this show have a wide range of vocal prowess, the show itself is less than fulfilling.

 The Plaids had a strong story line filled with all kinds of antics, which The Taffetas is lacking one. It doesn’t take long to realize that these women have powerhouse pipes, but we know little about their characters throughout the entire first act. All we know is that they are supposedly making their television debut. If they’re really good, then Ed Sullivan, the host of a popular variety show will invite them to appear on his show.

In the second act, we get a little insight, but not enough depth of each character to really care whether this sister act makes it to the big-time. This is a problem with the conceptualization of the musical, not the production.

The Warner production, under the direction and choreography of Sheila Waters Fucci, lets loose with solos, duets and quartets; all are wonderfully rendered by Mary J. Johnson, Marcia Masio, Emily Diedrich and Alyssa Fontana. They pay tribute to sister groups of the 1950s, such as the McGuire Sisters. 

Dan Ringuette is the musical director, and he and musicians Paul Bilodeau and Nate Dobos keep a good pace, which moves the show along quickly.

Renee C. Purdy’s costumes are period appropriate and cleverly change from the first act to the second by eliminating the cropped jacket in the first and replacing it with a puff of chiffon.

Joanne Greco Rochman is an active member in The American Theatre Critics Association, and covers art and culture in a blog for CBS-CT.  She welcomes comments. Contact: This e-mail address is being protected from spambots. You need JavaScript enabled to view it

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