It Happened In Key West – A Praise-filled Peek at a Stunning New Musical

“How it feels to watch your love, as they slowly drift away. 

And to know that you can’t follow where they go.”

As a man of virtually no talents, (and truth be told, I might be grading on a curve with the self-serving inclusion of the word “virtually”) and a wannabe creative, who has initiated, attempted, then abandoned more unsuccessful, artistic endeavors than Trump has maturing mates, I’m fortunately favored with friends who have talent to spare and share, and do so graciously and generously; allowing those of us among the less-gifted general-population (sociological genus: “cubicle-dwellers") to experience and partake in events and opportunities that would normally only be things of daydream,  reverie and Turner Classic Movies: MGM marathons.  This recent, final weekend of August, pleasantly presented, again, one such entertaining, rewarding and even Poppins-esque “practically perfect in every way” pursuit and proceeding with the first fully-staged version of a musical in the making, “It Happened in Key West.”  Everything about those few days spent around  Lancaster, Pennsylvania’s historic Fulton Theatre, and the hours enjoyed with those who toiled, entertained  and enchanted there, was special, affecting and fulfilling; so take heed and warning, from this point thus, I will be gushing like a tween at her first Bobby Sherman concert (am I aging myself? Leif Garrett? David Cassidy? Russ Colombo? Who do the young people listen to on their Victrola’s now-a-days?)

I Generally Don’t Want to Cry This Much in Public

How to describe the plot of a show that stretches the old saw “truth is stranger than fiction” like a Stretch Armstrong doll with severe glandular problems (Mr. Fantastic with a second dose of cosmic radiation?) I suppose an option is to remain intentionally imprecise on story specifics and rather speak to the resulting effect on audiences, where sniffles and tears flowed like the mighty Niagara, and laughs bellowed that would render the Marx Brothers enviously green and the Pythons injudiciously jealous. This theatrical richness is delivered by a sumptuous score, at times, movingly exquisite, at other times, cleverly comical; always with engagingly imaginative and intelligent lyrical wordplay. George and Ira, and all Messrs. R and H – Richard, Lorenz and Oscar, are, no doubt, gazing down approvingly. Then there’s the book, which with extreme adeptness, inventiveness and ingenuity takes a potentially difficult true-life tale to tell, the story of Count Carl Von Cosel, Elena Hoyos and a love so deep that it extended beyond the boundaries of life itself and accepted societal norms and perhaps even decency; with factual elements of delusion, darkness, illness and mortality, but always over-riding and overwhelming genuine, ardent, aching and undying love - and spins it into a fertile, fulfilling theatrical tapestry of raucous comedy, profound sadness and above all – deep and authentic romance.

The real Carl

A Deserved Bow

“It Happened In Key West” was conceived and created by the talented trio of Jill Santoriello, Jason Huza and Jeremiah James, who, trust me, have not bribed, cajoled or forwarded a farthing to curry the writing of these favorable, flattering words and encouraging expressions (however, should they feel so moved, the email can be found, below.)  Ms. Santoriello, author of Broadway’s “A Tale of Two Cities,” only the second woman in history to ever write book, music and lyrics for a Broadway musical, continues along her triple-threat ways as composer, lyricist and co-book writer here (her considerate offer to also peddle ice cream cups during intermission was gratefully declined.) Jason Huza, a novelist, playwright, web-series writer/producer, a scribe so prolific Stephen King can only weep in admiration, wrote the book and additional lyrics. And finally, Jeremiah James, producer, writer, director, choreographer, author, actor, singer, recording artist, steamboat pilot, Renaissance painter and first man on the moon (although, I suspect I was misinformed about those last 3) the founder of the feast, the mind who first conceived this inimitable and unique concept, also serves as producer and book contributor. The engaging, gifted and multi-talented cast is led by Wade McCollum as Carl, the love-struck, brilliant, German scientist and doctor, with a heart of gold, and a mind under psychiatric evaluation; and Elena Ramos Pascullo, as Elena, the beautiful, sweet, much younger woman, the object of Carl’s ardor and affection and, unfortunately, also, his critically ill patient (get out your handkerchiefs.)  Completing the cast is an exceptionable group of actors, singers and dancers who expertly and appealingly cover a multitude of roles and characterizations and each deserves mention (by the way, you’ll never meet a friendlier, more welcoming bunch) - Roxanne Daneman, Anna DeBlasio, Dave Droxler, Michael Fisher, Casey Furlong, Ryan Neal Green, Conor McGiffin, Spenser Micetich, Courtney Warford and Anson J.H. Woodin. Accompaniment and musical direction was provided by the harmonious Kevin David Thomas, a man as nice and likeable, as he is talented (and reportedly, half of the cutest couple on Facebook.)

The real Elena

Quite appropriately, we will close with one of the wonderful songs from the show, “What More Can I Wish For,” by Jill Santoriello and Jason Huza. This was a musical in development, a production intended to gauge progress, status, to note needed changes and, very importantly, to get the feel and feedback of how it plays to an audience. I was in 4 audiences. I saw tears. I heard laughs. I witnessed hundreds rise as one to their feet. I experienced artistic accomplishment and success. Remember the title, “It Happened in Key West.”

Any comments, questions, criticisms, candid confessions, cash contributions?  Contact me at butchersaprons@mail.com.