The Darien Dip

Speranza

Everyone should have an Auntie Mame in their lives.

She's a beguiling, bedazzling life coach of wit, warmth and sophistication.

Such was the character Patrick Dennis created in his book which was made into a hit stage play in 1956 and subsequent film starring Rosalind Russell — at her best.

Angela Lansbury was memorable in the 1966 Broadway musical.

Such class. Such a wonder.

But it's not easy to step into this grand lady's shoes.

Louise Pitre, who stars in the production at Goodspeed's Opera House certainly captures Mame's free spirit and open heart.

But elegance and sometimes taste are missing in this overdone, over-miked and over-indicated production.

Over-indicated?

Nearly every song lyric is demonstrated with a corresponding gesture, reflective of the bigger-is-better production that super-sizes everything, from songs to dances to line readings — while many sure-fire laughs are missed.

In the intimate setting of this theatre, it's overkill.

In a sophisticated musical like "Mame," it's coarse.
Occasionally you see glimmers of a lighter, more personal show in several touching moments between Pitre her nephew Patrick, played by the sweet and promising young actor Eli Baker from Glastonbury.

But they get overwhelmed in a production that confuses high spirits with volume, broadness and fake cheer.

It is often written how Goodspeed's Opera stunningly transforms its itsy-bitsy stage into whatever world a show requires.

With this episodic tale that spans several decades and multiple settings, it may have met its logistical match.

What's the show about?

Oh. I keep forgetting younger audiences might not be familiar to the material.

After all, there hasn't been a Broadway revival of the show since Lansbury returned to the role in 1983.

I find it impossible not to watch the 1958 film for its entire 143-minute length whenever it is airs on TCM.

When 10-year-old Patrick Dennis' wealthy father dies, he is sent to stay with his sole living relative: a glamorous, sophisticated and life-affirming aunt in Manhattan during the last fling of the Roaring '20s.

Mame's free-wheeling philosophy is pitted against banker Babcock — who controls the child's trust funds — and who tries with equal fervour shape the child into a conservative bigot — much like himself.

When Patrick becomes a young adult in the second act he veers toward Babcock's ways, until he is reminded of the person who loves him most.

It's a story that many have immense affection for and no doubt, there are those who would love to revisit Mame's fabulous Beekman Place apartment again and take in Jerry Herman's bright and loving score under any conditions.

The cast: Did I mention the kid?

Charles Hagerty has a lovely voice and straight-forward style as the older Patrick.

Denise Lute is a hoot as Mother Burnside.

Kirsten Wyatt as Gooch does an amazing job by having it both ways: playing it pretty damn broad while still managing to find those little quirky touches that are hysterically funny.

I find myself simultaneously rolling my eyes and yet smiling.

Judy Blazer's Vera is game but lacks the power of a withering diva.

And while I admire Pitre's energy and vocal chops (when she isn't over-dramatizing and just letting the songs do their magic), not everyone may be completely under her spell.

We were confused about Pitre's look.

In real life, the actress' hair is a distinctive and gorgeous silver.

But when we first see Mame in a scene set in the '20s she has a casual and contemporary hairstyle and she's wearing a pantsuit.

Yes, I know they're stylish period pajamas but the hair style and outfit reminds me of an upscale"Mamma Mia!"

And I know Pitre has an ageless enthusiasm, but there's no attempt to have Mame age at all during the course of the show.

Mame might be ever-young, but I can't imagine her staying with the same 'do.