‘Movin’ Out’ a smash at
The Fabulous Fox

by Daniel Hines
Publisher
America’s Seniors at www.TodaysSeniorsNetwork.com 

Strap your seat belts, make sure all seats are in the  upright position because when you see ‘Movin’ Out’ at St. Louis’ Fabulous Fox Theater, you are about ready to take off…to be launched into the upper atmosphere transported by energy, poignancy, lights, music and some thought-provoking stories told without a line of dialogue but relying only upon the music of Billy Joel, the choreography of Twyla Tharp, and some of the best dancing we have ever seen anywhere. 

The pace and energy of what last year the Fox’ Mike Isaacson described as the first truly totally successful merger of rock music with musical theater is such that there are two sets of performers.  It would be impossible to maintain this pace for a single group each and every night.  

My wife, Brooks, and I saw ‘Movin’ Out’ for the first time last year at the Fox.  We were completely overwhelmed, so much so that Brooks bought me a fleece ‘Movin’Out’ shirt which I wore to this performance. 

Perhaps it was because we were seeing it for the second time, but this year’s production seemed to spotlight the dancers more.  The backdrop for the truly outstanding musicians, headed by Darren Holden, who plays and sings the Billy Joel songs magnificently, seemed somewhat changed, and it seemed the dancers were allowed to showcase their tremendous talents more than last year.  Both performances, however, share one thing:  outstanding theater and dance. 

For those not familiar with the backdrop against which the music is set, here’s the scenario, straight from the PLAYBILL: 

Act 1:  Long Island in the ‘60s.  The king and queen of the prom, Brenda and Eddie, are finished, while Forever Sweethearts. James and Judy are ready for Marriage.  Their friend, Tony, is looking for that kind of love, and he finds it with Brenda, who has become her own woman.  War takes the men away from home, leaving their loved ones to pick up the pieces.  James loses his life in combat, while Tony and Eddie return home broken as Judy grieves. 

Act 2:  The Vets try to cobble their lives back together.  Tony can’t seem to find a way to reconnect with Brenda, while Eddie can’t connect with anyone.  Spiraling into a lonely existence of drugs and self-loathing, Eddie takes a tour through a nightmare of his past, projecting Judy as his guide.  By chance , he encounters Judy jogging in the park, and her forgiveness allows him to finally set his life back on track.  Brenda and Tony rediscover the love need to heal their wounds, and the friends reunite to discover they have all found their way back home.

Now, if all this sounds dark and heavy, it is,  but at the same time is hopeful.  Add to this the physical demands of the choreography, plus the fun of some of the early Billy Joel songs, and all is in place for a truly memorable evening.  

Laurie Kanyok is amazing as Brenda, and it is intriguing to watch her transformation from the pony-tailed “Uptown Girl”, to the older, perhaps somewhat sadder, but always beautiful older woman.  She is a truly gifted dancer and performer.

Eddie, played by Ron Todorowski, Tony, played by Corbin Popp, and James, played by James Sopranko, are not only the best male dancers we have seen in years, but they are highly believable as the 3 Musketeers of the Long Island streets, and their emotions through various stages as depicted in their great dancing rings true and reflective of friendships over the years among men. 

Julieta Gros as Judy completes the leading characters with the same dancing strength, but with a somewhat softer character, and it is appropriate that it is her forgiveness of Eddie that sets the stage for the reunion of the now older friends, less one, James, the victim of an earlier questionable war. 

It is ironic that the futility of the Vietnam effort which sacrificed the bravery of thousands of American youth should be the focal point of a drama at the time when the 2000^th American death was occurring in Iraq.  

At intermission, while talking to a young reviewer from a local radio station, I asked what he thought of the play.  He couldn’t see how a story line could be built around what he considered the “random” selections of a rock artist.  

Suddenly, I felt old.  I explained that he needed to listen carefully to the words of the songs and how relevant they were to the times in which they were written.  And, I suggested that when I first saw the show, I recognized an element of the sociology of music, and that perhaps it is something that simply requires time that can come only with age.

But, not to worry about feeling melancholy.  This show is a total production. Its execution is flawless, and everyone including the really strong ensemble cast, approaches their numbers with perfection.

 It has only a one-week run and we urge that you get Movin’ Out to see “Movin’ Out.”