Trisha Ditsworth & Matravius Avent
The Merriest
Phoenix Theatre Company, Hormel Theatre
Phoenix, AZ, December 15, 2022
Reviewed by Lynn Timmons Edwards
Take two of the most talented and sought-after singer/actors in Phoenix; have them fall in love, get married, and have their first child and voila, you have the makings of a charming cabaret for the holidays. The title takes its inspiration from the opening duet, Les Brown’s “We Wish You the Merriest” and later “The Merriest” (Connie Pearce/Arnold Muller), sung solo by Ditsworth. She has a gift for choosing songs from her repertoire that sit perfectly in her voice, which is clear, focused, and pitch perfect.
Avent is not the singer that his wife is, but he looks cool and comfortable in a tuxedo and is the perfect partner, both on and off the stage. Their duet on “I’ve Got My Love to Keep Me Warm” (Irving Berlin) gave him the chance show us his charm. He shared that he grew up in snowy Denver; Ditsworth responded and made us laugh when she replied, “I grew up in Mesa, Arizona.” She soloed on “Warm December” (Bob Russell), playing to Avent who was seated on a stool. He then left the stage, and she sang a jazz arrangement of “Carol of the Bells” (Mykola Leontovych). The duo was backed by a talented trio of musicians: Robert Grahmann on percussion, Jake Leyba on bass, and Kevin White on piano, who became one with Ditsworth on this unique arrangement.
Avent soloed on John Legend’s “Bring Me Love,” but he was more vocally relaxed on the Rodgers and Hammerstein classic, “My Favorite Things.” That song gave White a chance to show off his keyboard panache on the somber arrangement. During that song, Ditsworth changed into a new dress and reappeared to join her husband for a tight-harmony jazz rendition of “Edelweiss.” I am not sure whether Richard Rodgers would have recognized it, but the audience loved it.
Ditsworth got the chance to show off her belt on “Never Fall in Love with an Elf” (Amy Spangler), and Avent took us to his happy new-father place with a sweet rendition of “Count Your Blessings” (E.O. Excell/Johnson Oatman, Jr.). Act One closed with Jerry Herman’s “We Need a Little Christmas,” “Christmas Waltz” (Sammy Cahn/Jule Styne), and a rocking “Run Rudolf Run.” (Chuck Berry/Johnny Marks/Marvin Brodee). As good as Avent is in musical theater, he may have missed his calling as a front man for a band. The couple are both superb dancers and the audience could not get enough of their dance breaks, especially during the Act One finale.
After a 20-minute intermission (PTC has a lovely lounge and bar), the couple returned to the stage—he in a sparkly new tuxedo jacket, she in a red gown. The band was introduced while the couple strutted to Steve Allen’s “Cool Yule.” (The song lends itself to local parody, but they performed it as written.)
“Jingle Bells” (James Pierpont) gave Avent another chance to show off his Savion Glover moves. He then went country with the Zac Brown Band tune “Colder Weather.” The cabaret included three pauses for audience giveaways. There were stories about Mother Ditsworth’s 209 Christmas trees, which came in all shapes and sizes and her daughter’s love of gingerbread houses which were a perfect introduction to “Merry Christmas Darling” (Richard Carpenter/Frank Pooler). The year they were newly engaged they were apart at the holidays because Avent got a contract at Disney Tokyo. Ditsworth turned the Karen Carpenter song into her own poignant tale of longing.
The duo saved their tour-de-force songs for the 11 o’ clock spot as one should. Ditsworth reprised “The Man with the Bag” (Irving Taylor/Dudley Brooks/Hal Stanley), which she had performed as a guest artist in a James Gish Holiday cabaret in 2018. Avent brought down the house with Clarence Carter’s 1968 irreverent “Back Door Santa.” The cabaret closed with “Show Me the Magic” (Jamie Cullum), a heavy fundraising pitch for PTC, followed by a sing-along of the classic “White Christmas.”
The Hormel Theatre has an intimate feel, and the stage was smartly set by scenic designer Sarah Harris and lighting designer Nathaniel White. Their designs included a spiral swirl of lights that changed color, a brightly lit Christmas tree, and just a touch of cheer near the band which sat stage right to the singers.
This reviewer longs for PTC to produce more cabaret in their two smaller theaters, and I have it on good authority that Love, The Good Feelz is in the works for February 16-19, and Love is Friendship Set to Music with Cass & Crossland takes the stage February 22-26. Stay tuned for details at www.phoenixtheatre.com.
