Conjoined twins became unlikely stars

Shows of this ilk, while not always popular successes, tend to develop large cult followings. Indeed, one married couple at last Friday night’s performance of “Side Show” have seen various incarnations of the show at venues around the country.

Sweet & Tart Productions, which is putting on the show, should be commended for bringing back an overlooked work like “Side Show.”

The musical tells the touching true story of Daisy and Violet Hilton, and strives to show that despite their physical anamoly, the sisters weren’t really all that different from anyone else.

In the show, one sister wants to marry and have a family, while the other seeks fame and fortune on the stage.

Exploited from an early age, the real Hiltons moved to the United States when they were 8. They went on to a career in vaudeville and even made a couple of feature films in which their status as human oddities was depicted.

They died at the age of 60, together in death as they had always been in life.

The show follows their abusive early years, as a barker, here referred to as The Boss, invites the audience in song to “Come Look at the Freaks.”

The sisters respond with a lovely, plaintive explanation of how they long to be “Like Everyone Else.”

Entering the picture are a couple of eligible gentlemen, Buddy and Terry, who entice them to abandon their fellow side show performers and enter the world of vaudeville.

Naturally, romance ensues, though it seems from the outset that a happy ending is not likely.

The show presents the many conflicts the sisters endure, both individually and between themselves. Erin Krom plays Daisy, the more upbeat of the two, who dreams of a life in the spotlight. She and Nikki Van Cassele, as Violet, are a well-matched duo. Both sing well, though Van Cassele has the stronger voice.

They share multiple numbers, ranging from the cute “When I’m By Your Side” to the emotional finale, “I Will Never Leave You,” and work well in tandem.

Joshua Dixon is Terry, the press agent who starts the twins on their road to stardom. As required by the role, he is nice looking and sings pleasantly. He stands out in “Private Conversation,” a number tinged with internal torment.

As his pal, aptly named Buddy, Alex Herrera completes the quartet, which brings depth to the revelatory number, “Tunnel of Love,” wherein his feelings are revealed.

Ken Bolander is properly menacing as The Boss, belittling the “freaks” in his collection; he has one of the more powerful voices in the company.

But it is the emotional vocals of Vincent McDowell Jr., who plays the sisters’ protector, Jake, that provide the evening’s true heft, as he offers words of caution in “The Devil You Know” and reveals a secret of his own in “You Should Be Loved.”

The hard-working members of the ensemble play multiple roles convincingly.

The book and lyrics by Bill Russell are literate and the music by Henry Krieger, which is nearly continuous in this mostly sung-through show, proves quite challenging, on occasion testing the singers’ vocal limits.

Director Brad Caswell, as he points out in a program note, has stripped the show down to a bare minimum, allowing the focus to be on the characters. Unfortunately, that has also created several awkwardly staged moments, when actors stand among the audience, their backs to the spectators, depriving onlookers of their reactions.

Musical Director Jeremy Rafal leads the adroit group of pit musicians, who actually perform on a raised platform behind the audience.

The choreography by Venita McLemore is rather sparse, as are the backdrops, which are efficiently rearranged throughout. Poorly lit areas occasionally left actors in the dark.

But under the spots, the audience can see the witty outfits costume designer Gary Lizardo whipped up for the company, providing the leading ladies with several eye-catching changes while at the same time accentuating the one key constant that shaped their lives.