By Elaine Liner
By Jim Schutze
By Rachel Watts
By Lauren Drewes Daniels
By Anna Merlan
By Lee Escobedo
Also, I wanted more of the loose-limbed movement, especially during the buildup to the climactic showdown, that elevated the best songs in this show to sweet, sassy poetry. One of the most awesome moments, typical of the power of this musical at its most intimate, is also the quietest. It comes during the first act, when Marvell Thunder casts a spell on Good Sister Dupree as she tries to step between his salacious words of enchantment to Glory. As the lights fall to red and the trio behind her kicks into a wicked bump, Harriet D. Foy loses herself in a sultry, hip-swaying dance she performs all by herself. Foy looks like the shapeshifter's charisma has shown her religion, but their communion is lust.
Thunder Knocking on the Door is vibrantly entertaining in its Dallas Theater Center debut, but there's a lingering sense after the curtain closes that the show still hasn't stretched its wings and taken flight. This is the nature of the beast for debut works, especially musical ones, which is why the phrase "world premiere" slapped over a marquee isn't as nifty as it initially suggests. No matter what the play's final destination is--the production and press notes don't mention it, but if I were Glover and company I'd mortgage a few kidneys to get this baby on Broadway--Thunder Knocking on the Door, especially with this cast, issues a roof-raising invitation to explore a seminal American mythology. When the shapeshifter calls your name, don't resist the temptation.
Thunder Knocking on the Door runs through Mar 9. Call 522-