This review is a few days later than I like – partly because of overbooking myself (just like I said I wasn’t going to!) and partly because, truthfully, it’s been a struggle to write. Entr’acte’s productions are truly one of a kind in the Austin area: they aren’t fully formed musicals, but musicals in concert. Perhaps that’s great for folks who love music more than musicals. But I know who I am, and who I am is a simple woman who loves regular dance breaks, free parking, and $5 wine.

There was certainly no lack of talent on stage at the Parker Jazz Club on Sunday. Between the six-person band and a nine-person cast, there were no weak spots. I could see immediately why Entr’acte chose Grey Gardens for their most recent undertaking: Sarah Fleming Walker, the show’s star, as well as one of Entr’acte’s Producing Artistic Directors, and Grey Gardens‘ director, does a pretty spot-on impression of both Edith Beales. (The musical is written so that the actress who plays “Big Edie” Beale in the first act also plays “Little Edie” in the second act – a very literal echo of the way Little Edie tries, unsuccessfully, to avoid becoming just like her mother. We’ve all been there, girl!)

Sarah Zeringue glowed as Little Edie in Act 1 – young, sweet, and with so much to hope for. In Act 2, Linda Nenno took over as Big Edie, now a deeply eccentric old woman who boils corn for their young handyman (Cory Duplantis, double cast as Joe Kennedy Jr. and Jerry) rather than hosting giant society parties. Elle Wiatrek and Delilah Grad were charming and energetic as the cousins Jackie and Lee Bouvier – only in the first act, before their own stories take the turns we know they will.

So I have nothing to critique about the quality of the music sung or the acting; Entr’acte really have gathered some wonderful local talent. However, it’s the more “theater” elements that came off odd to me. I found many of the blocking choices to be distracting. Some of it was nice, like the short dance break during the song “Peas in a Pod”, while some looked like it was just moving around for the sake of moving around. Due to height differences among the cast, many times when someone moved to a new spot, they had to adjust the mic and music stand to their own level mid-song. Not the worst thing in the world, but just enough to make you wonder why it had to happen right then.

And even with all that movement, no one ever really looked at each other even while singing to each other. When they weren’t reading off their music, most actors sang right out into the audience, instead giving even a sideways glance to their co-stars a few feet away. Why move closer to each other just to sing away from each other?

Because it’s a concert, I remind myself. But it’s only Parker Jazz Club, I say back; not the Royal Albert Hall or something. In an intimate venue, I want to see the intimacy. The show ran 90 minutes, no intermission; it’s a quick taste! Grey Gardens isn’t a musical one walks away humming (“Sondheim Lite”, an acquaintance called it), so despite the enormous talent and familiar characters, at least, I think there was a bit of a hill to climb to get Regular Theater Kids like me hooked on it. I’ll be keeping an eye on Entr’acte’s future seasons: will they always stick to small casts? Will they always avoid dance-heavy shows? Or could rethinking and restaging musicals as concerts become an art form of their own for Sarah Fleming Walker and her co Producing Artistic Director, Adam Roberts? Perhaps, along the way, they can negotiate for some cheaper downtown parking.

Entr’acte produced Grey Gardens at the Parker Jazz Club on November 10, 2024. For more information and to see upcoming shows, visit Entr’acte online.