'The Dancing Years'  Was Smash Hit    When Ivor Novello's musical masterpiece, "The Dancing Years," opened in Drury Lane, London, in 1939, the audiences went wild with acclaim.  Cheers and ecstatic applause were the order of the day and evidence of a solid success.   When the work was performed in Tryon, Feb. 24-27, (the first time it had been presented in this country) history repeated itself.  The audiences were rhapsodic in their praise, the applause deafening and sustained.  Standing ovations were further proof of a triumph.  Theatergoers simply ate it up.    What made it such a success?  It had everything -- music, costumes, acting, scenery, comedy, suspense, drama.  You name it!  Here was a well-made, absorbing tale, wedded to music, music which undoubtedly will endure and always be loved.

The cast was superb.  Jason Pimblett, well-known British tenor making his first visit to the United States, lived up to the advance billing.  His voice was electrifying in both "My Life Belongs to You" and "Shine Through My Dreams"     Charlie Hunnicutt continued to add to his own renown. A veteran of many musicals, his voice gets even better with each succeeding role.  In the difficult role of Rudi Kleber, a struggling musician, and going from a carefree lover to an elderly man fighting Nazi oppressors, he achieved new heights in displaying uncommon depths of emotion.    His true love, played by Cathy Siarris, matched him in voice and emotion.  Making her second TLT appearance, the beautiful Siarris captured the audience with her magnificent voice.  Her renditions of "I Can Give You the Starlight,' "My Dearest Dear' and "Waltz of My Heart" will belong remembered.

Janice Janiec, in the role of a singing teacher (in real life also her vocation), proved that teachers don't only teach;  they can do.  Her solo, "When It's Spring in Vienna," and her duet with Siarris, "The Wings of Sleep," were mesmerizing.

Amy Walker was delightful as Grete, a young girl with a crush on Kleber.  Her childish prank of making him promise not to marry anyone until she had the first refusal caused the main trouble in the play.  Her interpretation of "Primrose" was outstanding.

   Space will not permit commenting on the other members of the cast, but even so, they have every reason to be proud of their performance.

   Special mention must be made, however, of Pam McNeil, musical director.  She and the other members of the orchestra contributed immensely to the triumph of the production.  Musically, Pam does everything right.

   Sherry Carter also deserves high praise for the costumes, which were spectacular, ravishing and awe-inspiring. Mason Trent's choreography added greatly to the show's success.  Betty Brewer, stage manager, saw to it that the scene changes were made with precision.  All those who worked behind the scenes and backstage deserve much credit too.

   And, finally, extra, extra credit must be given to Christine Fitch, who directed the show.  Her love for Novello's work was evident throughout.  She brought out the best in the music itself as well as in the performers themselves.  She never ceases to amaze one.  Her wide-ranging talents can be accounted for only by genius.

   Also worthy of mention are various remarks overheard while the theatergoers were leaving the auditorium.  "This was TLT's most magnificently staged and most lavishly presented play;" "Seldom has such beauty come from the theater,"  "This was a tender, passionate and utterly lovely show;"  "I loved every minute of it;" and "The production was flawless."

   That about says it all.

-- by John Clark

from the Tryon Daily Bulletin, Friday March 10, 2000
 

   Last Friday evening, I sat -- spellbound -- through Christine Fitch and Company's extraordinary production of the "The Dancing Years;."  After the performance I found myself humming a tune from the 40's "Oh! What a Wonderful Way to Spend an Evening" (can't think of anything I'd rather do. . .").  And it was, indeed, an evening well-spent, thoroughly enjoyable.  I only winced once:  it was during one of the dances.  The difficult and well done rubber-legged number was painful for me to watch, a recovering double knee replacement patient.

   For the next two days I struggled with what I could write to justice to such a magnificent show.  Then, Sunday morning I watched the CBS program Sunday Morning.  John Leonard, the noted critic, concluded his commentary on an author who impressed him beyond words (and he has more and better words than most of us).

   He said something to the effect that his comments -- like mine -- could best be summed up with a single word, "Wow!"
 

-- Bill Wuehrmann.  Tryon

from the Tryon Daily Bulletin, Friday March 10, 2000