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Musical theater production worthy of 'Respect'

Tampa Bay Performing Arts Center

Alison Burns, Nadeen Holloway and Heather Krueger star in "Respect: A Musical Journey of Women," opening Thursday at the Tampa Bay Performing Arts Center.

By KATHY L. GREENBERG | Tribune correspondent

Published: June 19, 2009

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TAMPA - An off-Broadway contender is waiting in the wings at the Tampa Bay Performing Arts Center. Dorothy Marcic's "Respect: A Musical Journey of Women" has already traveled the globe, making its mark at local professional theaters. But from the looks of Thursday's preview performance at TBPAC, it won't be long before "Respect" meets the bigger and brighter lights of New York City.

A former Vanderbilt University professor, Marcic spent nine years researching and developing the show. It tells the story of 20th century women through Top 40 hits of the day. Sixty songs representative of each decade, interspersed with thoughtful and funny narration, punctuate the playwright's take on the fight for women's equality.

Alison Burns, Ashley Blake Fisher, Nadeen Holloway and Heather Krueger took turns portraying women from all walks of life. Each character illustrated women's role and mindset during a particular era.

Burns anchored the show as the girl searching for her theme song. She couldn't relate to Fisher as a corseted Lillie Langtry, trying desperately to outrun her restrictive laces. She didn't care for Krueger's hilarious rendition of "It Must Be Him." As well, "I Will Follow Him," "As Long As He Needs Me," "Johnny Angel," "Stand By Your Man," and "Tammy" all failed to fit the bill.

Come the '60s and '70s, the songs started reflecting a stronger female image. Burns liked "You Don't Own Me" and "These Boots Are Made for Walkin," but those were still off the mark. Finally, "Respect" and "Hero" from 1993 made the most impact, as they emphasized independence, self-respect and empowerment.

While many of the numbers made light of the codependent female, a few underscored the devastating effect of discrimination on women's self-esteem. As Rosa Parks, the black woman from Alabama who refused to give up her bus seat to a white passenger in 1955, Holloway expressed an upsurge of pride and defiance. Her powerful interpretation of "God Bless the Child," which taken literally salutes financial independence, cried out for overall self-reliance.

It's this balance between fun and import, plus clever and original writing, that makes Marcic's creation so significant.

Co-directors Rick Criswell and Karla Hartley led a cast blessed with incredible vocal skills. The costume design, set and musical arrangements enhanced an already terrific show. "Respect" is a must-see for theatergoers who like a musical with something to say.