Review: Actresses make sweet dreams of Encore's 'Always ... Patsy Cline'
For many famous entertainers, the scariest thing in the world is to see someone rushing at them and screaming, "Oh my god, it's you. I am your biggest fan!"
But apparently for a young Patsy Cline, just on the verge of becoming a country and pop music phenomenon, a down-to-earth woman and fanatic devotee was just what she needed to stay grounded in the lives of the people for whom her music was a joy, a comfort, and a reassurance that they were not alone in their trials and tribulations.
Two extraordinary performers bring comedy and pathos to the unusual friendship between Cline and a divorced Houston mother of two in Always ... Patsy Cline at the Encore Theatre in Dexter.
The play was conceived by Ted Swindley as basically a musical revue of Cline's beloved catalog of songs through the eyes of her friend Louise Seger. Though we know how the story ends, with Cline's tragic death in a plane crash in 1963 at a shockingly young 30 years old, this is primarily a rollicking, laugh out loud comedy balanced by the plaintive sadness of so many of Cline's songs.
Sonja Marquis is a blunt, in-your-face Louise Seger. She's the kind of woman who harasses radio DJs, bellows when she wants attention, drinks like a sailor, and loves sad old country songs. Marquis is hilarious as she struts across the stage telling her story, swaggering and joshing with the audience, doing broad imitations of the sorry men in her life, and charging ahead without a second thought to form a lasting friendship with a soon-to-be very famous star. But Marquis also brings a poignancy to Seger, a lonely women in a bad marriage when she first hear's Cline's remarkable voice. She drops everything to badger a DJ to play "I Fall to Pieces" over and over, knowing what solace it brings her. That roughness and bluntness combined with a deep warmth plays out in her mostly long distance relationship with Cline.
Emmi Veinbergs becomes Patsy Cline. Standing on a honky tonk stage with a four-piece country band, Veinbergs shows that she has mastered every inflection of Cline's plaintive but clear and ringing voice. Cline was one of the first crossover country stars. Her distinct phrasing and soft Southern accent made her records appealing beyond the then narrow Southern country-western fan base. Veinbergs has the voice down perfectly and she also captures the way Cline swayed as she sang while avoiding the broad arm gestures of other singers. Veinbergs also bears a strong resemblance to the singer.
The catalog of great Patsy Cline songs provides an entertaining cabaret of music by some of country's greatest songwriters, who stood in line hoping that Cline would deign to sing their songs. Veinbergs does drop-dead renderings of "Crazy," "Sweet Dreams," "She's Got You," and "If You've Got Leavin' On Your Mind." She also covers Hank Williams' "Your Cheatin' Heart" and the Kitty Wells hit "It Wasn't God Who Made Honky Tonk Angels."
Cline sings that song in the honky tonk where she meets her No. 1 fan Seger. She is singing along to music on a jukebox, growing distant and wistful because Cline is also a fan and her life plays out the drama in Wells' record as her songs will in the lives of millions of listeners just like Louise Seger.
In a later scene in Seger's kitchen, where Cline has been shanghaied, the two women lay out their grievances through songs, particularly "Three Cigarettes in an Ashtray" and "Crazy." Veinbergs' singing and Marquis' humorous commiseration are brilliant demonstrations of the emotional power of country music to express the most basic human needs and provide solace.
These two fine actresses under the direction of Thalia V. Schramm get to the heart of the matter in these two scenes where a common understanding is played out with special delicacy. Dan Mikat is the music director and Veinbergs and the band would be welcome at the Opry any time.
The Encore set designed by Kristen Gribben is amazing in its detail and flexibility. In one part of the stage is a typical 1950s style kitchen, small but tidy. The rest of the stage is a wood paneled honky tonk that also doubles for the Grand Ole Opry stage. It is nicely detailed with photos, Schlitz promotional lights, and other bar room details.
Hugh Gallagher has written theater and film reviews over a 40-year newspaper career and was most recently managing editor of the Observer & Eccentric Newspapers in suburban Detroit.
"Always ... Patsy Cline" continues Thursdays at 7 pm, Fridays and Saturdays at 8 pm, and Saturday and Sundays at 3 pm through May 8, at the Dexter Musical Theatre Company in downtown Dexter. For tickets, call (734)268-6200.