Atlantic City Theatre Company’s “Forever Plaid” is One ‘Perfect Moment’ in Four-part Harmony
- Kristine Bonaventura
- 2 hours ago
- 4 min read
by Don Toal Jr.
Nostalgia is a powerful thing these days.
As the world becomes increasingly complex and chaotic, we tend to cling ever tighter to the media, stories, aesthetics–and ideals–from when life felt simpler and safer. But those experiences are incredibly subjective and individualized for each one of us, and it’s rare to experience that nostalgia through someone else’s point of view.
This, in addition to some truly dynamite vocal work, is the hallmark of Atlantic City Theatre Company’s Forever Plaid, written and originally directed and choreographed by Stuart Ross, with musical continuity supervision and arrangements by James Raitt and originally produced by Gene Wolsk. The result is a musical revue drenched in charm, cheese, and a slice of 50’s (with a dash of 60s) nostalgia that, while it may not be this reviewer’s demographic, is approached with silliness and sincerity in equal measures that can’t help but make you smile.
The vibes for the evening are established right away upon setting foot into the Claridge Hotel’s Celebrity Theatre, giving a casino lounge atmosphere (figuratively and literally) that’s a great fit for this type of performance. Lighting from Jonathan Gil Finch gives a range of atmospheric looks fitting the venue and the mood superbly. Small details like plaid lining on the stairs and platforms, a sprinkling of sparkly starfields on prop boxes, and four microphones reverently draped with blue dust covers, set the stage for what is to come.
That being, the titular Plaids themselves: a fictional close-harmony “guy-group” like those at peak popularity in the 1950s, a la The Four Aces and others. The members of this quartet, including Francis (Jack Sullivan), Smudge (Thomas Smith), Jinx (James Craver), and Sparky (Erik Wagner), are transported through the afterlife to the Celebrity from the exact moment they were killed in a tragic car crash with a bus full of Catholic schoolgirls on their way to see the Beatles perform on the Ed Sullivan show (yes, that’s actually the premise–as well as an unsubtle metaphor for how the music scene was upended by the Fab Four. The schoolgirls drove away just fine, if you’re wondering). This stranger-than-fiction hook–introduced by a suitably B-Movie-esque opening narration, thanks to sound engineer Nick Murphy–gives a clear indication of how far the audience should suspend their disbelief. The four Plaids match that energy, relaying their predicament with an equal mix of earnestness and neuroticism that wins the audience over effortlessly.
The real kicker, however, is when the boys take to the stage for mic check, and we realize that their four voices are an absolute powerhouse of close-harmony magic. Their voices blend, mix and swell with smooth sound and strong support, casting a spell that transports the audience into the era right from the top. It’s abundantly clear that the performers have put in the time and attention to detail to capture the genre’s style and technique.
This is paired with endearing performances from each of the four Plaids to give plenty of personality to their pipes. Each brings their own brand of comedy and charisma to the table. Sullivan’s Frankie (i.e. Francis) is the ringleader of the Plaids, doing his capable best to herd cats while delivering a buttery smooth baritone right from the start with “Three Coins in the Fountain.” Craver’s Jinx has a crisp and clear high tenor and a tendency to freeze up “deer-in-the-headlights,” to maximum comedic effect. When given the opportunity to really let loose, such as during “Cry,” his vocals are undeniably strong and soulful. Smith’s Smudge has a robust bass, put to work in numbers like “16 Tons” and “Chain Gang,” paired with a genuine gift for storytelling that lends weight to the boys’ backstories and rise to almost-stardom. And Wagner’s Sparky has plenty of manic energy to go around, with his chipper, bubbly demeanor and expressive voice proving truly electrifying and infectious, especially during the absurd ballad “Perfidia.” Wagner also proves a capable musician, taking up the keyboard (and even a melodica!) for a few numbers alongside the even more capable pit duo of “Alphonse” (Tony Deluca on piano) and “Uncle Chester” (Pierce Godshall on bass). The two musicians match the Plaids beat for beat, laying a rock-solid musical groundwork for their antics to build upon.
While we don’t want to spoil the show’s whole setlist here, rest assured that Forever Plaid has a who’s who of 50s hits in its songbook, ranging from “Catch a Falling Star” to “Day-O” to “Lady of Spain,” complete with a truly chaotic tribute to Ed Sullivan that should not be missed. All throughout, the Plaids mix in a dash of audience participation (so be mindful where you sit) and a penchant for clever clowning that never interferes for a moment with their beautifully crafted harmonies. It’s truly a delightful blend of goofball energy and musical showmanship from start to finish. You can purchase tickets by clicking below:
