Atlantic City Weekly

Share this Story:

The anticipation began with the Atlantic City Moonshine Follies billboard that showed off a leggy dancer’s lovely derriere. Now that the musical revue is playing at Resorts Superstar Theater, we can report that the athleticism of the dancers was not exaggerated, with costumes that accentuate the fine figures on display.

Even better news is that the show, produced by Mario Bazinet, continues the excellent quality he has presented in previous locally run shows such as Best of Broadway and Piano Men. A combination of terrific song selections, a live band, outstanding singers, the aforementioned dancers and the outstanding costumes reflecting the Roaring ‘20s/Jazz Age era are a potent combination.

We can certainly thank the success of HBO’s Boardwalk Empire for making the 1920s era of Atlantic City a hot commodity. Resorts itself has been using its naturally art-deco ambiance to re-brand itself as the Roaring ‘20s casino, and Moonshine Follies is the perfect show to emphasize that ambience.

Dennis Gomes, the new owner at Resorts, knew it was crucial to make a good impression with the first show at the casino since the ownership change. “We wanted to come out strong and present a unique show that would really make its mark in Atlantic City,” says Gomes. “Moonshine Follies is a one-of-a-kind revue that draws on the music, energy and style of the 1920s with an exceptionally talented cast, producer, choreographer and crew, and since Resorts has not had a revue show in quite some time we wanted to really create that ‘wow’ factor. Moonshine is one of the best shows I have ever had in a theater. It’s the ’20s brought to life on stage with a modern twist. Plus, it never hurts to have incredibly talented dancers with equally incredible, nearly naked bodies entertaining the audience from the stage.”

The show opens with a lovely dance to “The Charleston” and what follows in the next 75 minutes is great song after great song, some put together in medleys like the Gangster Medley featuring a snappy “Mack the Knife” delivered by singer Yoland Sirard. Sirard is an Atlantic City veteran having starred here in Best of Broadway.

With a Sophie Tucker medley, the audience is introduced to the powerhouse vocals of Katee Julien. Her take on Tucker’s “The Man I Love” was just the beginning of a night in which she dazzled the audience. Highlights beyond “The Man I Love” include: “It Don’t Mean A Thing If It Ain’t Got That Swing” and the songs “Second Hand Rose” and “My Man” from the show’s Fanny Brice medley. Hearing the Brice hits surely made some of us recall Barbra Streisand’s renditions from Funny Girl. The best compliment I can give Julien is that she did herself proud in the comparison.

The other principle female singer, Karine Arsenault, brought a ton of perkiness to her medley of “I’m Just Wild About Harry” and “Baby Face,” and joined Sirard for the delightful “Crooners” medley of “Ain’t Misbehavin’,” “Louise” and “Makin Whoopee.” Sirard earned his shining moment with the splashy Jolson medley featuring “You Made Me Love You,” “For Me And My Gal” (with Arsenault) “My Mammy,” “Rock-A-Bye Your Baby” and “Swanee.”

Beyond the fine singing and the swinging four-piece band, the choreography and costumes were a large part of the success of the show. The gentlemen in the audience gave an extra measure of applause when the dancers slinked onstage in the beaded attire that matched the image on the aforementioned billboard.

Another dance highlight was a lovely rendition of “Singing In The Rain” featuring dancer-singer François Degenais.

Moonshine Follies promised to deliver the classic music of the Jazz Age and does just that with plenty of energy and sass.

How ‘Moonshine’ Came Together

Richard Massicotte, the production designer and artistic director of Moonshine Follies, explains that when he was told that Gomes wanted a Roaring ’20s show, he began to do a lot of research about the era. Says Massicotte, “I listened to hundreds of songs. I viewed numerous 1920s visual documents on Fanny Brice, Al Jolson, Sophie Tucker, Eddie Cantor, Maurice Chevalier and Gene Austin.” He also did research on the fashions and art of the era, “lots of art deco,” and finally chose the 34 songs in the show. While the songs are from the 1920s and even earlier, he also notes that he didn’t want them to sound, “too much like oldies.” Explains Massicotte, “I listened to numerous more recent versions of those songs. I picked Bette Midler and Rod Stewart’s version of ‘Manhattan.’ For the Jolson medley, I chose Judy Garland’ s versions of four songs from her 1961 Carnegie Hall show and Liza Minnelli’s version of ‘My Mammy’ from her Liza with a Z. And for the Fanny Brice material, I chose Streisand’s versions.

“My main goal was to show the audience that these songs survived the passage of time because they are some of the best songs ever written.”

Moonshine Follies
Where: Resorts Superstar Theater
When: Now to April 17: Sun. 7pm; Mon.-Tues. 8pm; Wed.-Thurs. 3:30 & 8pm
How Much: $20

Versatile Vocalist Yoland Sirard

There is something very charming about hearing classic American tunes sung by French Canadian singers with their lilting accent. Yoland Sirard brings the house down nightly with his tribute to the music of Al Jolson. Sirard, who has performed several times in Atlantic City (and will be staying around town after his Moonshine gig to star in the return of Best of Broadway over at the Tropicana), says that doing the music of Al Jolson and other standards from the 1920s isn’t easy. “They are really hard songs to sing. Al Jolson was considered the greatest entertainer in the world. He was to jazz, blues and ragtime what Elvis Presley was to rock ’n’ roll. I put my heart into it. I watched many videos [of Jolson and Judy Garland]. It is one of my biggest challenges ever as a singer.” Sirard just learned that a friend of his passed away from breast cancer and he will be dedicating the rest of his performances in the show to her.

He also wanted to pay tribute to his co-stars. “Katee [Julien] and Karine [Arsenault] are so gifted and talented. And the musicians are unbelievable and the dancers are great and the sound quality created by the technicians makes it easier to sing well. When I see the audience reacting and singing with me I’m so happy. I know that I have touched their hearts.”

Sirard has been in Atlantic City enough to have his favorite places. “I love to go to the Pier [at Caesars] on the third floor and have a coffee and look at the view. I was raised in Canada near a large lake so to see the sea is incredible. Sometimes I do my [vocal] warm-ups walking on the sand.”— LH