Jukebox Hangouts is another Players triumph/By Martha Knight

A Review

It lasted less than two hours, but for a while several hundred audience members went on a guided tour of their teen years (or some other phase), Friday night, courtesy of the Potter-McKean Players.

They recalled the diners and other Jukebox Hangouts, as this year’s Players production is called, while seated (or not) in the auditorium of a high school that hadn’t yet been built in some of the years they revisited—the Port Allegany High School. They heard the music of the 1950s, ’60s and ’70s, and reveled in the spirit and fun of the numbers.

Peggy Majot opened the show with a rendition of “I Got Rhythm” that could convince a listener she’s got daisies in green pastures, if there were two feet of snow.

Starting slow and soulful, Majot’s take on the standard soon showed the rhythm claimed in the title, supported by the other cast members lined up in the aisles of the dark seating area.

Denny Bloss closed the program with an Elvis impersonation that was every bit as swinging as the King’s “Jailhouse Rock.”

In between there were hits galore, every one of them nailing the performances by popular artists of the jukebox era.

Bloss was the Big Bopper for “Chantilly Lace,” as conniving and bold as the original. 

Sara Martin tugged heartstrings with her haunting “At Last,” followed by Majot in “Still of the Night” and Tammy Bennett in “Sincerely.” The three took turns handling leads, with the others singing harmony in the style of the “girl groups” of back then.

The popular local group Simple Faith provided a guest number, “Mister Sandman,” with Julie Baker, Jamie Trask and Kerrie Pessia” managing the intricate timing of the pum-pum-pum-pums just right.

David Fair, Gerald Bailey and Walt Miles got sentimental with “Sixteen Candles,” evoking The Crests’ 1958-59 hit.

Director Paul Herzig sang “Moondance” with his usual polish, then turned the orchestra loose on it.

Watching the Players at play can be hilarious. George Baxter as “Wild Thing” had some fellow cast members concerned for his well-being, but evoked passion in Dawn Baxter, who could scarcely control herself.

Majot, Mandy Miles and Michele Thompson were all sympathy for the iconoclast celebrated in “He’s a Rebel.”

Gerald Bailey was absent from the cast last year, but made his presence felt with powerful lead vocals several times in the program. He took center stage with “Come, Go with Me,” and shared the spotlight with Denny Bloss in a rousing “At the Hop.” Later his powerful voice nailed “Soul Man.”

Mandy Miles was sweetly lyrical in the Carpenter tune, “We’ve Only Just Begun,” full of youthful earnestness and anticipation. Headley, Walt Miles and Del Thompson provided backing.

They were abetted by Jack Krone’s orchestra, with Gloria Richardson’s keyboard coming through nicely. Krone’s arrangements allowed for his smooth trombone to be heard to good advantage, but also gave plenty of opportunities for sax-man Tom Walck and trumpet player Jim Schultz to swing.

Joel Anderson’s guitar was superb in solos and rhythm, and bassist Don Vought provided solid foundation and several nice leads. Drummer Sallade was recruited only a week or so before the performance, but he settled in and provided solid backing, and even some sizzle and licks.

All the instrumentalists had their chances to take rides in “La Bamba,” after intermission, as well as in the overture and the traveling music.

Barb Headley declares "I Will Survive" in her big number in "Jukebox Hangouts," the Potter-McKean Players revue which opened Friday night in the Port Allegany High School auditorium. There will be another performance at 7 p.m. Friday, October 18 at the Coudersport Consistory.  Martha Knight Photo

Barb Headley has become a favorite with Player audiences, and was earned approval with “Come Sail Away.” The ensemble joined in, imploring audiences to embark. Later, tall and alluring in a shimmering blue sheath gown, Headley belted out “I Will Survive” as powerfully as Gloria Gaynor did, and set the audience clapping in rhythm and approval.

Comedic byplay crept in again in Paula Moses’ “My Boyfriend’s Back,” when interloper Bailey was sent packing by local banker Marty Moses, darkly menacing in black leather. Hey, la!

Mandy Niles implored “Be My Baby,” with “girl and boy” singers doing back-up—but one of those boys was her dad, Walt Miles, scrap metal dealer.

Miles, Bennett, Paula Moses, Majot and Headley implored “Please, Mr. Postman” for some mail from an absent male, to no avail.

Barbershop singer Dave Fair harmonized with Headley, Walt Miles and Del Thompson in a soulful “It’s Only Make Believe.” Fair and Women’s Ensemble singer Anna Fair played soda jerk and customer at the soda bar set-up on stage. The couple serve the Players as producers, and handle set and costume design. This production’s concept allowed for most cast members to be on stage throughout, in the Sugar Bowl setting, a teen hangout, some seated at tables or serving as waitstaff except when needed for vocal duties.

Herzig’s “director’s favorite” was the ABBA hit “Dancing Queen,” done with verve and waving scarves by the Women’s Ensemble.

Del Thompson was the real deal in “It’s Only Make Believe,” a powerful, dramatic bass.

Perhaps Marty Moses’ most unbankerly turn of the evening was his couple-dance with a fellow inmate in “Jailhouse Rock.”

The audience got to join in with the full cast, led by Herzig, at the end, singing Louis “Satchmo” Armstrong’s last song, “What a Wonderful World.”

For those who want another evening in a Jukebox Hangout, there will be one at the Coudersport Consistory, beginning at 7 p.m., October 18. Coudersport is rumored to have its own “Wild Thing,” Bob “Smitty” Smith, expected to be captured, if not subdued, by then.