Against the bare brick walls are a huge screen for projections, flats, costumes on a rack, groups of lights. All are movable, as are insets from the sides. A stagehand mops. Surely, this is a backstage show. The professional is interspersed with the personal story of theater and film star Ginger Rogers.
From the later 1920s when she won a Charleston contest and an Orpheum circuit touring stint, "Virginia" always aimed for higher use of her talents and rewards for her work. Backwards in High Heels traces her struggles to achieve. Her mother, though her greatest booster, often caused more struggles. Lela Rogers tried to dictate cautiousness and staying with proven success.
A highlight of the show is Ginger's musical movie-making, especially involving her dancing (and sometimes off-screen differences) with Fred Astaire. It briefly covers appearances in non-musicals and gives significance to her Oscar winning "Kitty Foyle" in 1940, when she acknowledged her mother's importance to her. Though it sandwiches in vignettes of her five marriages, outside their real dates, the show gives nary a glimpse of her considerable work in comic and serious films or of her eventual return to onstage musicals.
"The Ginger Musical" is full of Asolo Rep's high production values.
"Fascinating Rhythm" gets fascinating treatment from Ginger (Anna Aimee White, impressive), the ensemble, and lighting and sound designers. She sings "I'm Putting All My Eggs in One Basket" in the longest kitchen counter imaginable. For "We're in the Money," the entire stage goes 24 carat, and gold rains down.
Despite greater simplicity, Ginger is sensational teamed with Astaire (suave Matthew LaBanca) in "Shall We Dance?" and other numbers. In addition to Astaire, LaBanca acts a believable director and more roles. With LaBanca, three other actors take 27 parts. Only White as Ginger and Elisabeth Ward Land, formidable actress and singer as Lela, play one role each.
Craig Waletzko stands out as Ginger's dancing, drinking, older first husband yet, only his voice makes his Jimmy Stewart recognizable. Christiane Tisdale is a stitch as Ethel Merman but can also smoke and pose like Bette Davis and Marlene Dietrich. Benjie Randall's most memorable part is Lew Ayres.
Though Land takes the dramatic honors, White sustains exemplary energy and ability to dance and convey Ginger's emotional drive. Her performance borders on tour de force. However, she doesn't look, sound, or move much like Ginger Rogers. A projected movie poster of the real star shows the striking difference. Costumes are similar; hair styles aren't.
Nothing beats the great Gershwins' music but there are fine other classic and modern show tunes to enjoy. Patti Colombo's choreography is all one could wish. Music director Tom Robertson and band of four do a great job on the score. Four regional theaters cooperating in this co-production of Backwards in High Heels seem to indicate Ginger Rogers is considered as much a draw as in her heydays.
