Bubbly and nostalgic, The Marvelous Wonderettes demonstrates particular summertime appeal to Sarasota’s and nearby senior residents and tourists. But director Jason Cannon injects enough gentle ribbing into the characterizations performed to raise smiles from relative youngsters as well. A 1958 typical Springfield, USA Senior Prom tinfoil-curtain-backed stage shows off four fresh young beauties behind microphones decked out in hearts, as the women are in pastel gowns with billowing chiffon below-the-knees skirts and matching pumps. They open with “Mr. Sandman” and next clap, clap to “Lollipop, Lollipop.” The big colorful samples they display reverse to say “Love.” They use much the same technique asking for a male Honey before they come downstage to start solos all backed by the others showing appropriate props. Sarah Ledtke’s brash blond Cindy Lou leads solos with “Allegheny Moon” as the girls back her with poles full of stars and one with a moon. Meredith Jones comes on strong as Betty Jean, arguing with Cindy Lou, but finishing “All I Have to Do is Dream” more modestly. Ledtke then dominates with Cindy Lou’s “Stupid Cupid.” The two girls eventually fight. Suspense: will they make up? Ann Flanigan steps winningly into the spotlight as Missy singing of her “Secret Love” (who will turn out to be teacher Mr. Lee who turns out to be in the audience while all sing “Teacher’s Pet”). But the winner of the Prom Queen title—(Skip if you avoid spoilers)—turns out to be Chelsea Turbin’s sweet Suzy. When she’s crowned, she croons “Hold Me” to a supposed boyfriend in the audience. End of Act I. Act II opens on the more subdued h.s. gym ten years later for a reunion of the Class of ’58. Three of the Wonderettes open with “Heat Wave” because the now-married Suzy’s been in the ladies room. She emerges with a surprise and all reprise “Mr. Sandman.” The rest of the show settles romantic fates, especially of Missy (including an on-the-spot ceremony of “Wedding Bell Blues”), and the others in states of happiness or transition. These are mirrored by such songs as “You Don’t Own Me,” “I’ll Always Want to Be With You,” “Son of a Preacher Man,” “Leader of the Pack,” and “Welcome Back.” (Another spoiler follows.) All the gals unite with “Respect” and three back the one who asks, “Rescue Me.” Susan Angermann’s costumes depict the girls and their eras perfectly. In Act II all are in knit dresses with tops of pastel (as in I) over matching blue, green, coral, or pink pull-on stockings but shoes if the same color with lower, sturdier heels. The set lacks the flash of Act I. Ellie Mooney’s choreography remains appropriate, with more gestures than footwork. The sound is almost always blaring. Thorn Beaulieu’s lights using a mirrored globe and sculptured shadows as dance atmosphere is right on, and the latter even seems to work even today.
