She Likes to Watch

Throughout last night’s performance of “Movin’ Out,” the ushers at San Luis Obispo’s Performing Arts Center had one request: Read the program.

Granted, some of the action in the Tony Award-winning Broadway extravaganza can be puzzling. But the basic premise — love, loss and social change against the backdrop of the Vietnam War — couldn’t be clearer.

I caught the first, sold-out performance of “Movin’ Out” last night. A second show starts tonight at 8 p.m. at the PAC.

My conclusion? “Movin’ Out” is more than a musical.

It’s best described as a dance-ical, a high-energy burst of modern dance movements choreographed by Twyla Tharp and narrated by pop icon Billy Joel’s piano rock hits.

Perched above the stage with a capable six-pece band, the Piano Man (Matthew Friedman last night, Kyle Martin tonight) comes aross as a omnsicient uncle — winking at his charges’ foibles and expressing sadness and anger when it all goes wrong.

Below, dancers with tight abs and impressive stamina add their own flavor to every song. Styles range from elegant classical ballet to saucy salsa and airborne kicks and jumps.

The audience grows so used to the interplay between song and dance that the few lines of spoken dialogue are almost jarring.

As for the music, a few selections in “Movin’ Out” seem like a strange fit. (I fail to see the link between “Movin’ Out (Anthony’s Song)” and enlisting for the U.S. Army.)

Most, however, mold nicely to the story.

“Movin’ Out” uses “We Didn’t Start the Fire” and “Goodnight Saigon” to chilling effect to reflect the horror and confusion of Vietnam. And handful of love songs — “She’s Got A Way,” “Shameless” — make the onstage romance seem even sweeter.

It’s a tribute to Joel’s skill as a storyteller that the unusual pairing of wordless dance and motionless songs works so well.

For more information about “Movin’ Out,” call 756-2787 or visit www.pacslo.org.

– Sarah L.

You know you’re in for a good time when the cast seems to be having as much fun as the audience.
Halfway through last night’s performance of “Hairspray,” a dirty joke sent the actors playing Edna and Wilbur Turnblad into uncontrollable giggles. When one of the audience members busted out a hearty “Haw haw haw,” I nearly doubled over with laughter myself.
The touring production of “Hairspray,” the hit Broadway musical about a girl with big hair and big dreams, came to the Performing Arts Center on Tuesday.
As a fan of the 1987 cult movie, I wondered if the stage version would live up to John Waters’ sweet, slightly twisted comedy.
Fortunately, the musical packs enough kitsch, color and humor — with a few knowing winks at history — to satisfy even the most cynical theatergoer.
Set in 1962 Baltimore, “Hairspray” focuses on dance-crazy teen Tracy Turnblad, who longs to become a television celebrity and win over the local heartthrob. But that’s not enough for Tracy — she also wants to bring black students onto TV’s all-white “Corny Collins Show.”
The score, flavored with Motown, rock and jazz, gives the “Hairspray” cast a chance to belt.
Nearly every major cast member has a show stopper, from mean show mom Von Tussle (Happy McPartlin) to trendsetter Seaweed (Christian White).
Of course, the true stars of “Hairspray” are the larger-than-life ladies.
As Tracy, Brooklyn Pulver pairs a sweet stage demeanor with a big, boisterous voice. Motormouth Maybelle (Yvette Monique Clark) steals the scene with “Big, Blonde and Beautiful.” (Her habit of speaking in rhyme gets annoying, however.)
And Jerry O’Boyle, in drag as Tracy’s housewife mom, brings plenty of oomph to his queen-sized character — making a truly Divine appearance at the end of the musical.
Catch “Hairspray” tonight and Thursday at the Performing Arts Center in San Luis Obispo.