Some shows exist that seem like everyone has seen them. For me, one of those is Always…Patsy Cline. I’ve often seen the show listed in a number of theaters’ seasons and I’d convinced myself that everyone but me has seen the production created by Ted Swindley. Garland Civic Theater opened the show on Aug. 29 which was directed by David Tinney. With its goodhearted nature and enjoyable performances, GCT’s audience for last Sunday’s matinee was an enthusiastic one who had either seen the show before (overheard a couple of times) or some like me who were taking it in for the first time (like my seat neighbors).
A…PC itself is a charming tribute to the country queen that felt more comforting like a campfire or bedtime story but it was also a celebration of friendship. This cast of two captured the homespun vibes of Cline along with her timeless music. The times were different when fans could connect with the stars – like intimately. This was evident through the endearing and relatable character of Louise Seger, a real-life fan whose genuine admiration for Cline fueled Swindley’s narrative. Their unexpected bond from meeting at the Esquire Ballroom in Houston to an overnight stay and then through letters and late-night phone calls were all depicted with a genuine warmth and ironically placed Louise at the center of this Patsy Cline story.
The performances by Whitney Golin and Jennifer DeJohn Frawley and were equally lovely and they infused their roles with an affable nature that was easy to connect with. Golin was a dynamic singer who had the right range to deliver those Cline classics like “Crazy” and “I Fall to Pieces.” The play doesn’t mix those into musical numbers – save for a couple of tunes – but are mostly Cline performing for an audience. Golin delivered them as such with a charismatic stage presence. In her offstage moments, Golin was a mix of vulnerability and moxie.
Golin had a number of costume changes which all harkened to a different era of fringe and fifties fits. Designer Kerra Sims hit the mark even when a couple of looks came off a bit heavy as did Frawley’s dark wig which sat a bit too prominent on her head.
As Louise, Frawley was quite magnetic. The role relied on a bigger personality and Frawley delivered with her Southern twang and comic physicality. Louise drives the story and Frawley embodied both her humanity and her superfan with gusto. Frawley also delivered punchlines with maximum effect whether through her movements or dropping a simple zinger.
The show isn’t designed to be some grand spectacle lifting the singer’s legacy to great heights. This intimate approach was far more focused on a tender story that blossomed between two women both finding their way. Well, and the other focus would be on the music helped by the onstage five-piece live band led by music director and keyboardist Ben Barker. They recreated the sound of Cline’s era that brought an authentic musical backdrop to the show.
The show runs through Sunday.
–Rich Lopez