As originally conceived, Pump Boys and Dinettes is a satirical mini-musical with a semblance of a plot. In its latest Florida Studio Theater production, though, it pretty much emulates the cabaret revues for which FST has become famous. And audiences eat it up as with the pie and coffee served at intermission.
The set is split between the garage-and-gas guys working on Hwy. 57 and the Double Cupp Dinette where Rhetta and Prudie Cupp cater what they cook. The shake-and-bake musical features solos, duets, and ensemble songs in country, western, blues, balladic and rock style along with lyrics heavily sweet and satiric. Most are delivered at a mic downstage center except for Randy Glass’ (the pianist) doing his featured song, “The Night Dolly Parton Was Almost Mine.”
Jim, played by guitarist Ben Mackel, acts the emcee. He spouts most of the dialogue related to the songs, including the titled one, introduces the cast, and justifies the guys takin’ off for “Fishin’” (sung a cappella). Jamie Mohamdein, bassist, stays mainly silent and by himself as Eddie, while flirty T. Scott Ross’ Jackson is most acrobatic of the Pump Boys. They all come forward for “Put on Your Drinkin’ Shoes”-- both sung and danced.
Dinettes’ musical instruments consist of kitchen equipment used creatively. Charlynn Carter makes Rhetta soulful with “Be Good or Be Gone” and “I Never Knew Him” about someone from her childhood. But she seems to want to impress L.M. (as do a lot of girls if his “Farmer Tan” boast is to be believed). Apparently she has two children, but there’s no back story for her and none at all for Sarah Hund’s Prudie.
The sisters‘ big number, “Tips,” brings them into the audience. On press night, people actually vied to give them money! Afterward, they unite with the Pumpboys to sing of them all goin‘ to Florida with Uncle Bob’s fixed-up Winnebago. That feat is part of a small but effective plot in the original script that distinguished the show from just a cabaret revue or a cruise-ship musical.
The set is well lit and appropriately decorated, mostly with signs one expects to find in roadway places that aren’t part of modern gas-and-restaurant chains. The music is energetically delivered, but the sound often drowns out the clever lyrics.
