Little Theatre puts on a spirited 'Roar' in tale of Sir, Cocky

By Lorraine Lucciola, Standard-Times correspondent
FALL RIVER -- The lyrics to the up-beat, promising tune, "beautiful land," which opens the popular musical "the roar of the greasepaint, the smell of the crowd" tell us, "the beautiful land is in your heart." Ok ... If our destination is happiness, the road map should be easy to follow. Right? Not quite.

Under the direction of Ray Berube, the Little Theatre of Fall River's exuberant production of the stage classic takes us down a path of rocky resistance -- in the most delightful way.

The simple story by the British writing team of Anthony Newley and Leslie Bricusse revolves around adversaries, Cocky and Sir. They are at odds in every way -- socially, culturally, in financial stature, power, human appeal and, as Sir puts it, "et-cet-era, et-cet-era, et-cet-era!"

In what has been described by Mr. Berube as a fable, the two leading characters are caricatures of their social conditions. Sir, in his opinion and demeanor, is wise and educated. Cocky is irreverent and street-wise. Sir is rich. Cocky doesn't have a cent to his name. Sir is poised and precise. Cocky is quick-tempered and cajoling. Sir has money to dine richly. The growling of Cocky's empty stomach becomes a motivating inner dialogue. Sir gets the girl. Cocky loses her. Et-cet-era, et-cet-era, et-cet-era.

Ken Ettress in the role of Cocky needn't say a word. Yes, even after months of memorizing a long and intricate script, Mr. Ettress just has to appear on stage and we immediately like him and accept his character's plight.

Mr. Ettress, who is also a dancer, literally floats, sashays his way across the stage and into our hearts, with gestures and expressions reminiscent of comedian Richard Pryor. His asides to the audience are totally acceptable and establish an affectionate rapport.

In this spirited and cohesive show, he unleashes an unabashed love affair with the audience, to which we willingly consent. Each move is a careful dose of timing and precision in his ultimate creation of Cocky. His physical and vocal agility is only surpassed by his own respect and compassion for the character he plays.

Paul Allard is at the top of his game in the equally demanding role of the pompous Sir. This veteran performer delights and teaches us just exactly how hard work and concentration do, indeed, look easy. He is the consummate professional in an articulate and passionate performance.

While Mr. Ettress works to gain sympathy from us, Mr. Allard's delivery of his role allows the actor to playfully ridicule the character he depicts, thus making it easy for us to "boo-hiss" at his antics and his attempts to keep Cocky down.

Playing the "villain" isn't simple. Mr. Allard never falters. His energy is constantly and consistently focused on misusing Cocky, the "insignificant little man in the green jacket."

Rebecca Turcotte plays the role of the Kid, Sir's petulant brat, messenger and personal cheering section of one. Ms. Turcotte grows from role to role and this is a prime example of how pleasantly and professionally she has blossomed.

Even though her mocking laugh is shrill and cruel, Ms. Turcotte's own sweetness is revealed in nice transitions when Sir "loses," assumes a dose of humility, and Cocky "wins."

The Girl, a fantasy creature symbolizing a love Cocky cannot achieve, is gently played by Cathy Taitz. She is lovely and demure; even humorous in a stylized way and softens us with her beautiful soprano voice.

The Immigrant, Mr. Berube's adaptation of the role of the Negro in the original script, brings newcomer Adam Foster to the Little Theatre of Fall River. The group is fortunate to welcome this marvelously talented addition to its ranks.

Mr. Foster is not only handsome and charismatic, but is also obviously comfortable with Mr. Berube's whimsical and aggressive direction. His renditions of a variety of foreign dialects and postures have the audience laughing out loud. His delivery of the poignant tune, "Feeling Good," produces one of those moments in theater when the proverbial pin drops with resounding silence.

The dynamic singing-and-dancing chorus of Street Urchins --also described in the program as "dirty, grungy and disgusting thugs" -- provide the human mural upon which the play's quick-paced action unfolds. They are everywhere like mongrel dogs, appropriately supporting or mocking the character or the moment. At one point, Mr. Ettress comically makes his way through them, frantically waving his arms at them as if clearing cobwebs from an old attic.

Little Theatre of Fall River again delivers quality community theater with the closing show of the troupe's summer season at the Firebarn. The production is skillful, and above all, fun with enough human philosophy, heart-tugging messages, and a memorable musical score to satisfy everyone.

"The Roar of the Greasepaint, The Smell of the Crowd" continues at 8 p.m. Thursday through Saturday and at 7 p.m. Sunday at Little Theatre's air-conditioned Firebarn, 340 Prospect St., Fall River. Tickets are $12, with discounts for senior citizens, students and groups. For information call (508) 675-1852.

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