Some very large voices filled the hall at the opening of the Musical Theatre Guild's summer production, "Do Black Patent Leather Shoes Really Reflect Up?" based on the book by John Powers, with music and lyrics by James Quinn and Alaric Jans.

The cleverly written coming-of-age tale was loaded with some heavy hitters in the vocal department and played to a full house. The incomparable Phil Ball played the lead of Eddie Ryan, who took us on a journey of his "fun years" through parochial school.

His best friend, Becky, was played by Julia Kramer, whose range got a moderate workout in this production. Ball's character was a compelling mixture of pessimism and optimism with a refreshing dose of humor. Their duet about Fat Girls was sweet, and their song about Best Friends and its reprisal were extremely well done and larger than life.

Eddie Ryan's journey through his education was fraught with fun moments and poignant ones from first confession to first kiss. The audience also goes on the journey, courtesy of the witty dialogue and sweet, simple songs; laughing one minute and then pondering — thoughtful and somewhat pensive — the next. Both Ball and Kramer easily manipulate the audience and are expert tour guides through the growing pains of youth and the questioning and testing of the faith.

Ryan's classmates were played quite capably and at times hysterically by Patrick Erkman, Michelle Campbell, Alison and Jeffrey Carey, Martha Kriley and Austin Stockard. Erkman was probably the most unique of the boys and got a chance to shine in his solo of sorts, "Doo-Waa, Doo-Wee" where he crooned to the swooning ladies and sisters on stage.

The young ladies all shared a wonderful time of harmonizing in Act One during "How Far is too Far" regarding the birds and the bees.

Spiritual guidance was given by a trio of nuns played by Joyce Hamilton, Connie Rodgers and Rikki Stupka, with Dean Weiland as the Holy Father. They gave their witty guidance on issues such as outward appearance, sexuality, love, faith and finding a calling. Stupka's dry brusqueness was evenly tempered with a softness that made her character appealing and memorable.

I think Bill Lehnerd would be proud of the first performance in the building that now bears his name as the William A. Lehnerd Performance Hall. A standing ovation rounded out the evening of fine entertainment.

The production is under the direction of Davlin Smith and Karen O'Donnell.