Country music had personal and professional “Outlaws” who worked to establish species of the genre that were often previously out of bounds. “Angels” both helped the art develop and loved the artists. Florida Studio Theater joyously celebrates the people who took personal hits to make country music the other kind of hit via their standout voices and styles. Joe Casey, as master of ceremonies for Outlaws and Angels, leads the cast in “Georgia on a Fast Train” and then seemingly pulls into a station to introduce each one individually. When a number calls for sweet talk, “Ramblin’ Man” Casey fits the bill. He also does a hilarious satire later declaring “It’s Hard to Be Humble.” J Vance acts out several lyrics in a kind of accompaniment throughout. Rosie Webber leaves her keyboard to don, like Dolly Parton, “A Coat of Many Colors.” Madalyn McHugh boldly declares “I Want to Be a Cowboy’s Sweetheart.” Cat Patterson instrumentally underscores all the songs and does a mean fiddle solo. The gals fully join the guys “On the Road Again” to start Act II. Nick Lerangis beautifully spans both parts of the show with “I Walk the Line” and “Folsom Prison Blues” by Johnny Cash. There’s an unusual holidays treat all participate in: “Merry Christmas from the Family.” Act II abounds with edgy turns like “It Wasn’t God Who Made Honky Tonk Angels” and “I Feel a Sin Comin’ On” in several appropriate duets. Between songs come pertinent info on Willie Nelson, Hank Williams, Johnny Cash, Dolly Parton, MacDavis, and Garth Brooks. Sharon Vaughn’s “My Heroes Have Always Been Cowboys” represents feminine appreciation of country-western music. The styles include blues, ballads, banjo music with abundant use of string instruments. Jim Prosser’s arrangements are electric, and director Catherine Randazzo uses them to spark the revue’s way. Singers-musicians are very much actors, too, with her guidance. Thomas Korp provides the right sound design. Susan Angerman’s costumes combine western garb with lots of splash for the gals and patterned material for the guys’ shirts. Boots are necessary but not obtrusive. In FST’s cabarets the set usually consists of a draped background, often with a sprinkling of stars or change of color in each act. Michael Cummings’s lighting here creates a fulsome set with multiple changes of color and projections in lights of boots alternating with angel wings. Outlaws and Angels may be found very much at home in FST’s Goldstein Cabaret.
