A Class Act

Westlake High School’s show choir, A Class Act, is generally seen in the school’s semiannual choral concerts, where it is featured during one-half of the choir department’s performance.

But in a special concert held at the Newbury Park High School Performing Arts Center last week, A Class Act, backed by the school’s Studio Jazz Ensemble, got a showcase of its own last week.

The result: a “glee-ful” program of energetic dance numbers, rip-roaring jazz and stylish vocal numbers.

The enthusiasm exhibited by the 12 members of the chior is generated by their own camaraderie as well as the infectious leadership of their director, the galvanizing Alan Rose.

The program, titled “Celebration,” began with a quartet of disco chestnuts from the 1970s, with the singers costumed in traditional ’70s garb, including bell bottoms, garish leisure suits and wide belts. The kitschy disco movement was not known for its imaginative choreography, and it was hard to tell whether the era was being celebrated or satirized.

The jazz ensemble broke loose from the disco chokehold with Les Hooper’s rocking big band chart “Engine No. 9.” A Class Act closed the first half with ballads from the Broadway musicals “Hairspray,” “Les Misèrables and “They’re Playing Our Song.”

The second half showed off more of the group’s versatility, beginning with cheery arrangements of The Beatles’ “Good Day Sunshine,” Ziggy Marley’s idealistic reggae hit “Give a Little Love” and Steve Winwood’s “Higher Love.” The jazz ensemble again shone with a driving version of Tower of Power’s “What Is Hip?” Much credit should be given to co-directors Brian Peter and Mike Gangemi for their leadership of this crisp, swinging group, which plays far beyond the more stodgy work of similar outfits.

The band took a rest in the next segment, during which the singers were given a chance to showcase their voices in three a cappella numbers: The Young Rascals’ “Good Lovin,” The Five Satins’ doo-wop version of Cole Porter’s “In the Still of the Night” and, best of all, an exquisite rendition of Paul McCartney’s “Eleanor Rigby.”

When the jazz ensemble returned, tenor saxophonist Joey Rudin was featured in the supercharged “Vida de Sueño.”

Disney films were the focus of the final segment, in which the members of the choir bounced on stage, each dressed as a different character (Aladdin, Pocahontas, Buzz Lightyear, etc.). “Under the Sea” (“The Little Mermaid”) was highlighted by a sea of soap bubbles that descended from the rafters onto the audience. The other songs were “Cruella de Vil,” “Kiss the Girl” and variations on “Zipa-Dee-Doo-Dah.”

The talented members of A Class Act are sopranos Chelsea Sykora, Elise Loprieno and Brittany Perry; altos Rebecca Esquivel, Mindi Carpenter and Jessica White; tenors Eric Feinstein, Zach Skovold and Michael Mancuso; and basses Dylan Rios, Matt Ferrin and Jake Rosenblum.

In contrast to his more formal choral concerts, director Alan Rose chose not to be out front leading the singers, but he did emerge once to goad the audience into joining them in Van McCoy’s “The Hustle,” yelling out dance move cues (“Travolta! Egg beater! Chicken!”) and having as much fun as anyone.

With the hit television show “Glee” stocked with professional actors in their mid-to-late 20s playing high school students, it’s gratifying to know that the 12 members of A Class Act are the real deal.