CdA Theatre musical revue ‘enchanting’

A revue of Rodgers and Hammerstein songs carries what the statisticians would call a high probability of success.

The tunes – from “Hello, Young Lovers” to “If I Loved You” to “Younger Than Springtime” – are not merely the cream of Broadway’s golden era. They are the cream of American songwriting, period.

My theatergoing companion said she once saw a small-town version of “Some Enchanted Evening” in which the five singers just stood there in a row and sang. Even that production worked.

So when the Coeur d’Alene Summer Theatre works its usual professional magic – adding a luscious set with a grand staircase, elegant costumes, twin pianos and clever staging and choreography – it’s not even a contest.

You’ll find yourself surrendering without a fight to the genius of Rodgers and Hammerstein, and trying to answer this unanswerable question: Which of these 30-plus songs has the most beautiful melody?

I can narrow it down to maybe 10, with a sentimental edge going to the title song.

It helps that director Troy Nickerson has a thoroughly professional and talented cast, led by Spokane’s remarkable Jadd Davis. This young singer has a voice uncommonly full and rich, yet also with a rare intangible quality. Call it personality, or distinctiveness; I can only call it pure talent.

Davis’ velvety baritone lent new dimensions to such familiar tunes as “Younger Than Springtime” and “(How Do You Solve a Problem Like) Maria.” He has also developed an easy and engaging stage presence.

If you’re wondering which next local product will become the next Cheyenne Jackson (now starring on Broadway), look no further than Davis.

However, in the usual CdA Summer Theatre fashion, the talent level is high all across the stage. All five singers were polished and professional; all had their excellent solo moments.

Abbey Crawford put her cabaret performing skills to excellent use in a version of “I Cain’t Say No.”

The terrific Robby French showed off a knack for building drama in a musical framework with powerful renditions of “Lonely Room” and “Soliloquy” (from “Carousel”).

Krista Kubicek demonstrated her flair for comedy (as well as her great voice) as a little girl with big ideas in “In My Own Little Corner.”

Callie McKinney Cabe nailed her half of the “Twin Soliloquies” (from “South Pacific”). She was also great fun to watch in the duets of “I Enjoy Being a Girl” and “Sixteen Going On Seventeen.”

Musical revues – collections of songs with no plot or story line – have their detractors. Yet “Some Enchanted Evening” is a perfect example of a revue that works.

For one thing, it gives you brilliant song after brilliant song. For another, these songs are so strong they become more pure musical experiences. When Kubicek sang “Cockeyed Optimist,” it seemed a universal statement of human nature, not simply a way for Nurse Forbush to describe her cheerful personality.

The opening sequence, in which the performers are supposedly backstage preparing for the show, seemed a bit cutesy to my taste. After that, however, director Nickerson did an admirable job of creating natural byplay between the singers.

Carolyn Jess’ musical direction seemed flawless. The twin grand-piano accompaniment, featuring Jess and LeeAnn Aerlyn at center stage, contributed to the evening’s elegant feel.

And finally, that new state-of-the-art sound system, donated by the Helen Burke Travolta Memorial Fund, truly does make a difference. The voices were amplified with a startling immediacy and richness.

As if those voices didn’t sound good enough already.