Word: sellon
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...Andrew Sellon fares better as Cocky since his character is--at least by musical comedy standards--more flesh-and-blood. Though his singing sometimes weak, Sellon's performance has a weet subtlety and his flexible, loose-limbed body enlivens Sara Roy's bouncy but bland choreography. Sellon, through charm and verve, survives one of the show's most dismal moments--an inane dream sequence in which Cocky slays a rag-doll dragon for his white-clad maiden (Belle Linda' Halpern) whom Robert Swerdlow's fair-to-middling lighting design strikes at most unflattering angles...
...depart from typical song-and-dance numbers like "A Wonderful Day Like Today" or "Where Would You be Without Me?" and attempt flashy theatricality. "The Joker" and "Who Can I Turn To?" seem to have been written more for Newley's nightclub act than for a musical comedy and Sellon's delivery of the songs bear ugly shades of Caesar's Palace. The writers reach the lowest depths of their lyrical abyss with "Feelin' Good," a number that sounds like it was lifted from some bastardized Porgy and Bess. In a semicomatose performance, Adam Finkel as The Hobo sings "Dragonfly...
Andrew W. Sellon '81, the show's script writer, said yesterday that he "had not expected," any problems with the character, adding that the part "was making fun of the stereotype at the expense of the people who make stereotypes...
...club, like all the sets, is very simple, offsetting the elaborate costumes and the seven beautiful girls cast in the chorus line. In these scenes, Andrew Sellon gives an outstanding performance as the ghoulish Master of Ceremonies. Appearing in heavily rouged whiteface, the host welcomes the other characters, as well as the audience, into the club's milieu, and the brutal world of Hitler's Brownshirts...
...ghostly interpretation Sellon brings to his part, mostly mime except for his songs, helps tie the carefree world of the cabaret to the despairing lives of the characters. the frenetic chase of pleasure, which first draws people to the cabaret, slowly creeps into their lives outside it. The middle-aged widow, Fraulein Schneider (Holly Sargent), calls off her engagement to the Jewish Schultz (Joshua Milton) because of her terror of the Nazis. Sargent's singing starts off a little shakily, but she recovers quickly. The only changes that creep into the life of Fraulein Kost, deftly portrayed by Holley Stewart...