Let’s Misbehave: The Music and Lyrics of Cole Porter

I would hope the theatre company takes this as a compliment rather than a criticism, but this charming champagne-bubble of a production at the Oregon Cabaret was over far too soon. More than two dozen Cole Porter show tunes delivered by a classy and consummately capable cast merely whet my appetite. Thank God for www.Spotify.com where I can queue up hundreds more.

This is more than a mere musical revue. There’s a romantic plotline and a surprisingly satisfying story. And with a thousand of Porter’s show tunes to choose from—he was one of Broadway’s most prolific composers and lyricists for the first half of the 20th Century—it’s no wonder that the authors were able to pluck something perfect to express every dramatic point and comic turn.

With stylish sophistication and sincerity, familiar Cabaret stars Kymberlie Colbourne (as Dorothy), Robin Downward (as Walter) and Katie Worley (as Alice) inhabit the three sides of what evolves into a well-balanced romantic triangle. In the parlor of Dorothy’s Manhattan apartment, in the wee hours following “a swell party,” the trio of old chums enjoy their own private pity party, bemoaning their shared status as singles. How is it, they wonder, that three such “magnificent catches” find themselves going home alone?

It seems a good question, in fact, since Colbourne, Downward and Worley manage to invest real warmth, affection and authenticity in characters drawn so thinly in the text. Their likeability is a credit to their acting skills and, I suspect, to director Jim Giancarlo’s light and tender hand.

Whether trading solos, gentle barbs, or harmonizing, they not only have the respective pipes to deliver on familiar Porter ensemble numbers like “I Get a Kick Out of You,” and “Anything Goes,” they exercise an admirable restraint in service of the story.

The svelte and stylish Worley matches Colbourne’s naturally broad comic touch when she sings about her physician paramour who left her far short of the altar. “He said my epidermis was darling…and I was as sweet as diabetes.” During the number, Downward, who reminded both of us of Alec Baldwin, chimed in with pitch-perfect mime. By the way, Colbourne reminded my playgoing partner of Mae West.

Their likeability is a credit to their acting skills and, I suspect, to director Jim Giancarlo’s light and tender hand.

Their declaration to maintain their friendship is tested in a more intense second act when this game of love (akin to a predictable game of musical chairs) resolves with two of the three pairing off, providing an teriffic excuse for taking solo turns in a Goodbye Medley with “Goodbye Little Dream, Goodbye,” by Worley; “Every Time We Say Goodbye,” by Walter and a poignant and powerful reading of “I’ve Got You Under My Skin,” by Colbourne.

The warmly-lit elegantly-dressed stage with art deco touches designed by Craig Hudson, provides a comfortable well-accoutered period backdrop that does well to set the scene.

Obviously, I liked this production quite a bit, not only for the songs and the script’s structure, but for as for how well it fit in this venue of a former church. Once again, artistic director Giancarlo has found material that complements the warm, intimate, yet elegant space he’s transformed into a dinner theatre.

You can see “Let’s Misbehave” through March 18. Call (541) 488-2902 for tickets and dinner reservations. www.oregoncabaret.com