by MARIA CHOBAN
Riddle: Who’s in charge of Night Side? That shady town full of werewolves and vampires, creeps and ghouls accessible from our “normal” world only by wily private eyes like Dex Dixon, Manix Marloe and Carl Kolchak, The Night Stalker?
Answer: Why, Frank, the ventriloquist benevolent puppet dictator.
That revelation comes early in Stumptown Stages’ dizzily entertaining new musical about an aging paranormal private eye, premiering at Portland’s Brunish theater as part of Portland’s Fertile Ground Festival. “Filled with puns, guns, vixens, vamps, monsters, music, and mayhem,” the debut run ends today, Sunday, January 31.
Our guide to Night Side, Dex Dixon, is played by Steve Coker, who also wrote the book for The Adventures of Dex Dixon: Paranormal Dick, designed the scenes, shared the task of writing the music and lyrics with K.J. McElrath, acted the part. He is also the artistic director of Stage Works Ink. If that isn’t enough to get him elected mayor of Portland then I’m stumped!
But Coker is only part of an exceptional creative team whose combined efforts made Dex Dixon one of Fertile Ground’s most captivating shows.
Jaime Langton’s witty choreography flowed seamlessly between those with less dance experience like the Vamps (cute little foot twists in “Surrender”) and Dixon and his trusty sidekick werewolf, Lobo (some sweet soft shoe in “Old Dog, New Tricks”) to the veteran dancer playing Nelly, the dangerous dame who sizzles in “Frisk Me, Dex.” More than just well thought out dance steps was the caricature imparted to the dancers and dances. Sydney Weir’s Nelly captured the pretzeled bodied zombie I’ve never seen in a zombie flick but completely believed. Weir isn’t just a clean crisp dancer, she’s a physical actor imbuing Langton’s choreography with over-the-top personality. She crossed and uncrossed her dangerous-dame legs sleazier than Sharon Stone in Basic Instinct. And I mean this in a good way. Two more dance reasons to get you to this show: “The Brainsucker Tango” and the the monster mash between the Weres and the Zombies in “Dex in Danger.”
DD uses a live jazz club quartet prominently displayed visually and aurally. And aural is where the show breaks down. I sat on both sides of the stage and missed about half the lines and even more of the lyrics. Mixing is only partly the reason. A muffled dull speaker system the other. I don’t recall this being an issue in the last musical I saw in this space, or maybe I was so bored by the banal lyrics I tuned out. Dex Dixon, however, is predicated on delicious “Danger Dame At Work” (by Paul Muller) pulp-poetry and puns. Care needs to be given to the audience experience: Are we ALL catching every one of those lines, asides, lyrics?