A treat as much for the eyes as for the ears, The ’70s: More than a Decade does do more than previous revues at Florida Studio Theater’s Court Cabaret. Musical performances, movement, projections, scenic background, technical work hit a new high. All underscore how ‘70s music incorporated previous decades’
innovations and developed exciting new ones to reflect intertwining of artistic with social and political history. It’s no wonder the singers (one black, one white opposite-sex couple) hit the stage in casual, individually “chosen” multi-colored comfy duds to urge audiences to “Listen to the Music.” Michael James Byrne leads Brianna Barnes into “Love Will Keep Us Together” (co-written by Neil Sedaka), to be joined by Jannie Jones and Eddie Weaver.
They all get on to Elton John and Bernie Taupin’s “Don’t Go Breaking My Heart” and Marvin Gaye and Ed Townsend’s “Let’s Get It On.” These hits allow for singles and couples’ bits within a framework of all four performers. Graphic projections on each upper side of the stage add to the romantic-to-sexy ambiance.
When Jannie Jones, FST favorite from over 20 great past gigs, sings “I Feel the Earth Move,” the Court seems to do so too. Brianna Barnes appears calmer but comes over just as powerfully as Helen Reddy did with “I Am Woman”. Two songs by Pete Townshend get different group treatment. Michael James Byrne scores with “Let It Be” by John Lennon and Paul McCartney. Act I ends with a rousing “Joy to the World” that did, indeed, rouse opening night audience to be up and clapping.
Act II opens with such a spirited “YMCA” by the silvery-white-formally-clad group that, at opening, superb pianist Jim Prosser could be clearly seen, side-stage, briskly singing along. It leads into a clever Medley of snippets of TV themes. For example, Brianna and Michael satirize Edith and Archie Bunker of “All in the Family,” and Jannie and Eddie recall “The Jeffersons.” Other audience favorites seem to be from “The Mary Tyler Moore Show,” “Sesame Street,” and even an unexpected “Mister Rogers’ Neighborhood.”
Eddie Weaver comes on strong as “Bad Bad Leroy Brown” as does Michael James Byrne with “Mama Told Me not to Come.” Bee Gees hit “Stayin’ Alive” and Donna Summer’s “Last Dance” typify the shift into disco, especially illustrated by projections featuring John Travolta from Saturday Night Fever. Brianna Barnes appropriately highlights ABBA’s “Dancing Queen.” I personally feel Jones sings a more compelling “The Way We Were” than Barbra Streisand did on film.
Viet Nam gets lengthy pictorial treatment. The group create a kind of post-war medley by weaving “I Will Survive” and “We Are the Champions” in and out with “Don’t Stop Me Now.” When the show finally does stop, director Catherine Randazzo has a right to feel it’s been her best put together and staged show in either of FST’s Cabarets to date. Her coordination with Darren Server’s direction of music accrues to a mutual success.
A somewhat spectacular appropriate sign-off is a projection filling the stage’s back curtain with “‘70s” in large lights.
