Theater review: Always…Patsy Cline

by Clyde Berry of John Garcia's The Column

Always...Patsy Cline (now playing at Casa Mañana Theatre in Fort Worth) is one of the many Jukebox shows that are out there now. These productions feature a revue of the more popular and famous works of a particular artist. There are Jukebox musicals based on The Beach Boys, Billy Joel, Take That, Abba, Buddy Holly, Elvis, The Beatles, Lieber and Stoller, and many, many more. Some do quite well, like Mamma Mia, and others can't seem to find a balance between getting in all the songs, and either framing them with a credible story (fictitious or biographical) or just rolling through a revue style series of sets.

Ted Swindley's 1988 creation, Always...Patsy Cline, is one of the scripts that gets it right, balancing nicely the story and the songs. It started out as a one act that eventually grew to the version we have today. Even if you don't know Patsy's music, and aren't a fan of country, her songs come from that era of well crafted wordsmiths that knew how the capture the simple honesty of loves lost or won. These hits would enter the pop charts and succeed across all demographics.

The story is about Louise Seger, a real Patsy Cline fan in Houston who really did have a chance encounter with Cline after a 1961 concert. Seger ended up taking Cline home after her local performance, and saw her off the next day safely to her next gig. Their friendship continued in letters and is the basis of this flashback tribute of Cline's professional accomplishments and personal life from her biggest fan. Through the two acts, we learn about Patsy's struggles and Louise's discovery of her music, punctuated with period performances from Patsy herself.

Sally Struthers plays the character of Louise Seger with every bit of enthusiasm and quirkiness she has in her. Louise is a fully "knowledgeable" expert of all things Cline and is quite eager to share her love with the audience. In person. Up close. If you are seated near her, be ready to be included in the show. Struthers has some great bits of shtick, and has put together a wonderful physical and vocal character. Louise often sits on stage for several numbers "listening" to Patsy on the radio, and is always engaged and animated, without pulling focus. Her chemistry with Julie Johnson, who plays Patsy is great, and she is clearly having a lot of fun. Louise is a force to be reckoned with, but her wacky passion never crosses over into stalker obsession. She's the fun neighbor with the great stories that you just need to get started and watch them go.

Patsy Cline, as played by Julie Johnson, is as hearty and loveable as you'd want your icon to be. As the show progressed, I was more and more captivated by her vocals. Though the first few songs clipped by at a slightly too quick pace for her to languish in some of Patsy's stylistic trademarks, but once the show settled in, she delivers. It's hard to be in her position, with pressure to recreate the recording that everyone has burned into their memory. Johnson gives us all the trademark things we want to hear in the big numbers, and brings a freshness to the other songs (or second verses) that is in-the-moment for Patsy, and true to her style. Well done, indeed.

Guy Stroman's direction is well executed. He keeps the story moving along, and both acts fly by very enjoyably. Both actresses have nice moments when they are featured, as well as when they get to have fun together. Only at one point did Struthers' Louise pull a bit of focus, when she "helps" the band not speed up on Patsy. There were just too many ad-libs that interfered with the singing of one of Patsy's big hits. Outside of that moment, the ladies are well paired, and work well together. Lewis and Spenser's costumes are period and quite attractive. Patsy looks like a down-home regular gal when she needs to, and quickly transforms into her flashy, classy duds. Patricia Delsordo's wigs look wonderful as well. W. Brent Sawyers Music Direction is good, although a few of the songs seem to be a smidge faster than they should be. Shannon Slaton's sound design was very well put together, blending in body microphones, the band's amplification, mike stands, and sound effects, without any bleeds, squawks, or cut off lines. For a show like this where the quality of sound is so important, it was great to never notice that Ryan Mansfield was working hard on the sound board to keep it clear and enjoyable, especially when there is adlibbing and audience interaction.

It's also worth mentioning that the Bodacious Bob-Cats, who are Patsy's "group" for the evening play very well. They have a lot of fun, and bring a lively spirit to the performance. I especially liked the show's opening where each musician comes in one at a time to join the song, building up energy and starting things off solidly.

The show may Always be about Patsy Cline, but it won't always be at Casa. It's worth the trip, to see, and hear why she's worth remembering.