Will Rogers Follies

Critiqued by Holly Bartges

Either Will Rogers embodies A. K. Klimpke, or A, K. Klimpke embodies Will Rogers. It matters little which way it goes. Klimpke owns the role of Will Rogers in Boulder Dinner Theatre’s gangbusters production of The Will Rogers Follies. Klimpke even takes on an uncanny resemblance to the homespun humorist who won the hearts of American in the early 1900’s. Sharp witted, keenly observant, Rogers possessed the innate ability to unearth humor to even the country’s strongest political sacred cow, and people loved him for it. Known for the famous line, “I never met a man I didn’t like”, this uneducated Oklahoma farm boy became one of the highest paid stars of his time in stage, screen radio, newspapers, and public appearances. He was a genuine human being who cultivated the ability to see straight through to the heart of political leaders and political decisions. Never mean, never ugly, never raunchy, Rogers created humor that embraced humanity with respect and honesty.

Veteran actor A.K. Klimpke is performing the title role in Boulder's Dinner Theatre's The Will Rogers Follies for a third time. Courtesy Boulder's Dinner Theatre (Boulder's Dinner Theatre)

Directed and choreographed by Scott Beyette, this production stands as perfect as any stage production can from the magnificent casting, Wayne Kennedy’s sound design, and Amy Campion’s scenic design moving easily from simplistic to flashy Vaudeville glitz.

The 1991 Tony Award winning production features Rogers frequently talking directly to the audience and to Florence Ziegfeld himself. Ziegfeld’s voice booms from the rafters with the assistance of Brian Norber.

The show opens with an exciting blast of music, sound, silhouettes, dancers, Indians, and cowboys with the song Will-a-Mania. It’s in the middle of the Ziegfeld Follies hey day. From the rafters a huge arrow descends with the gum chewing Rogers waving to the audience. After a warm, casual Rogersesqe greeting to the audience, a few playful rope tricks, The Drugstore Cowboys: Brandon Dill, Brian Jackson, Wayne Kennedy, and Brian Norber join Rogers in the song Give A Man Enough Rope.

The beginning gives a flavor of what Ziegfeld was all about, and a taste of why Rogers became so endeared to the American public. The show wraps itself around highlights of Rogers’ life, Rogers’ own words, cultivating it with Ziegfeld-type huge production numbers. Time and space melt away into the Now.

Christianna Sullins appears as Ziegfeld’s Favorite proving her versatility to diametrically opposed roles. It was Sullins who gave depth to BDT’s production of The Sound of Music as Maria last year. This time she gives her depth to Ziegfeld in a completely different way, while charming the audience, as well as Rogers. Handing him a copy of the New York Times, May 15, 2008, Rogers reads some of the headlines. With a wry smile and a “cowboyed” stance, Rogers insists the same items could be found in the paper 75 years ago. Ziegfeld’s Favorite hands him a copy of the Times dated August 17, 1935 with the headline “Will Rogers and Wiley Post die in airplane crash in Alaska”. Rogers thinks he would rather go back 80 years to read the headlines.

In a corner of the theatre, a man sits alone with a black patch over his eye. It’s Wayne Kennedy as Wiley Post who cheerfully suggests to Rogers, “Let’s go flying.” In the midst of this musical celebration for a one of a kind man, the poignant reality of loss cuts through Cy Coleman’s music and Betty Comden and Adolph Green’s memorable music.

“Naratively”, Rogers takes the audience back to an Oklahoma ranch on September 4, 1879. DP Perkins appears as Clem Rogers proudly announcing to the world, “It’s A Boy” along with Roger’s sisters. The proudness of a Daddy with a son turns to disillusionment as the boy grows. “He’s a worthless, lazy, no good bum”, Clem insists. Dropping out of school at the ripe old age of 13, Rogers announces, “The principal and I couldn’t agree on how to run the school.” Clem’s only response, “Ya gotta quit tellin’ people the truth.” Fortunately for the world, advice Rogers never paid any attention to.

At 19 Rogers announces he is going to Argentina. The once upon a time proud Papa turns defiant insisting Rogers will stay and run the ranch. Perkins return to the BDT stage is a breath of fresh air, and he’s wonderful in expressing common expectations for a most uncommon man. With rich truth, Rogers ponders, “Why when a man becomes a Pa, does he forget what it’s like to be a son?”

Before leaving for Argentina, Rogers connects with the love of his life, Betty Blake, beautifully and sensitively played by Shelly Cox Robie. Endowed with imagination as well as wisdom, wrapped in a core of social awkwardness, Rogers takes her on an imaginary trip to the moon, Robie’s song as Betty singing My Unknown Someone warms the heart of the theatre. The night I was there, I glanced around the audience and watched enlightened smiles creep across everyone’s faces from young, to middle age to the elderly. It tickled me to see a man in his late 70’s put his arm around his wife’s shoulders and give her a hug. It seems they must sing that song often. Musicals teasing that kind of spontaneous response spell Huge Success.

Rogers connects with a Wild West Show at the St. Louis Exposition and Peter Davison wow’s the audience with his rope tricks. It takes skill to convince a rope to do what you want it to, and Davidson knows the command.

When Will Rogers grabs Ziegfeld’s attention, there’s no stopping this philosophical humorist. Even though he and Betty get married and have four children: Will, Jr. (Will Hawkins and Andrew King), Mary (Carli Hawkins and Alei Russo), James (Jordan Morgan and Kaetlyn Arant), and Freddie, (Bryce Baldwin and John Hanson), Ziegfeld feels strongly the wedding should not come until the finale of Act I.

During the days of the Wild West Show Betty’s disillusionment over powers her, and she begs him to quit. After seven years on the road, he admits, “If my big break was coming, it would have already come.” Ziegfeld’s telegram arrives. Will, Betty, and the children celebrate with the song The Big time, and Betty counters it in lament with My Big Mistake.

The flashy New Ziegfeld Girls, Joanie Brosseau Beyette, Annabel Day, Sarah Finnegan, Meggan Herod, Cindy Lawrence, Mary McGroary, and Meghan McMahon dance up a storm with incredible creative choreography that would make even Ziegfeld proud, and certainly excites and tantalizes the BDT audience. The synchronization with all of the dances takes the breath away with awed wonder.

The timing of the Will Rogers Follies, with the current political uproar and unrest is sheer inspiration. There’s the wanting for a hero, and Rogers’ legacy gives exactly that with Klimpke’s incredible performance along with every other artistic cast member.

Everything about this production is solid perfection including the orchestra under the direction of Neal Dunfee. The poignancy of Wiley sitting in the audience eagerly suggesting to Rogers “Let’s go flying” burns the soul. Although anticipated, it always comes as a reality shock. You want him to say “No”. It’s a musical. He doesn’t have to go, but he does, and he did, and the world lost a grand hero. In the losing, there’s the celebration, and in the celebration there’s life. His legacy cannot be destroyed, much less forgotten. As Will Rogers inspired, the musical inspires, especially when Klimpke and Boulder’s Dinner Theatre perform it.

The Will Rogers Follies at BDT is an absolute must see!!

The Will Rogers Follies Starring A.K. Klimpke; Music by Cy Coleman; Lyrics by Betty Comden, & Adolph Green; Book by Peter Stone; Directed by Michael J. Duran