In Inspired Lunacy, a wealth of talented performers merits the descriptive first word of the title. The “Lunacy” is in the lyrics by comedy writers of the last century for whom composers provided amusing novelty songs. An in-house creation, culling subjects and substance from previous FST shows, the show is full of extraordinary verve.
Beginning and ending with the cast emulating clowns to “Make ‘Em Laugh”, the show is colorful as their costumes. They’re purple, bright green, orange, blue, with derby hats banded in polka dots and with shoes that match. The latter go from tennis to tap shoes, and, in Kathy Halenda’s case, high heels in dressy styles. Their set consists mainly of projections and a stage curtained in velvet sparkling with little lights. The fine band plays onstage behind the performers. No overproduction or over-microphoning here!
Kathy Halenda starts giving “Good Advice” followed by Don Farrell emphasizing the psychoanalytic “Jolly Old Sigmund Freud.” Dennis Kenney tells how he became a “Maladjusted Jester.” Each begins as a solo turn, which becomes a group effort with the addition of two to four backers. All five make “Ring Them Bells” the definer of Act I, with vigorous dancing as well as vocals. “Magic Kingdom” has them donning Mickey Mouse hats and huge inflated white gloves, removed only so they can operate tambourines.
Before the final medley of Act I, Dennis Kenney goes about “Poisoning Pigeons in the Park.” His orange suit is quite a contrast with the green grass projected in the rear. Also in contrast: the five getting through “Super Streptococcus Necrotizing Fasciitis” that former performer Stephan DeGhelder wrote and performed in the first version of the show.
Act II continues the fast pacing with the group’s “Tap Your Troubles Away” and “Rama Lama Ding Dong/Yakety Yak.” My favorite, Allan Sherman’s “Sara Jackman,” has Kathy and Don on ladders telephoning about all their relatives, etc. Gil Brady compares well to Danny Kaye spoofing the Russian “Tchaikovsky” provided by Ira Gershwin and Kurt Weill.
“Splish Splash” ushers in the finale, composed of novelties like “Purple People Eater” and “Monster Mash.” Reprises of favorites from both acts precede the daring (considering Sarasota’s population of millennials and more elderly) “Still Gonna Die.” (I thought it hilarious.) Director Richard Hopkins wisely keeps up the pace to the final “Make ‘Em Laugh,” while Choreographer Christine O’Grady manages to keep the cast’s motion perpetual.
