When it comes to tough infighting, the tough really get going. Hey, I'm not talking the NFL here, I'm talking the female of the species, you know, women, the gentle sex. Well not in The Old Globe's production of Clare Boothe Luce's "bitchy" snarlfest comedy "The Women", directed by new sheriff in town Artistic Director, Darko Tresnjak.
The play written in 1936 by one of America's former Ambassador's was a breakthrough show for its time. Early reviews from the New York papers opined that almost every woman in the audience could identify with at least one character on stage that night at the Ethel Barrymore Theatre. It became a popular guessing game trying to match Luce's Manhattan socialite friends with the onstage characters. And the subject matter of the satire has always held a certain fascination for men, as well. I guess it's our way of peeking into that mysterious and uncharted country known as "the community of women" - without being accused of misogyny.
Although, the currently released movie version now on screens across the country has been less than a blockbuster hit, the stage production at the Old Globe hits its mark with authority. This revival sparkles and shines under the clever and stylish hand of Darko Tresnjak who guides his talented cast of fifteen women, who portray more than 40 characters, through their paces with flair and split-second comedy timing.
"The Women" focuses on Mary Haines, a nice, but blissfully unaware Manhattan socialite and her circle of female friends who gossip and judge everyone by the number of affairs and dalliances taking place. They're shallow, they're petty, they're catty, they're vindictive, and they're very funny - thanks to some very clever and witty dialogue by playwright Luce. There are no men in the cast. We are merely the objects of those witty barbs.
Kate Baldwin as Mary, is wholesome and smart, but vulnerable to betrayal by her unseen husband Stephen. Baldwin nicely underplays Mary (not an easy task as "plot parts" are usually the toughest and most thankless of roles from the actor's perspective). Heather Ayers plays the deliciously wicked Sylvia, with such zest one keeps hoping someone will give her a smack upside the head. They do.
Kathleen McElfresh as Crystal, the predatory shop girl who steals Mary's husband; Nancy Anderson, as Miriam one of Mary's inner circle of friends; Amanda Naughton as Nancy; Linda Gehringer as Mary's Mother; Amy Hohn as Edith, and Blair Ross who plays no less than six roles and gets to shine as the Nurse explaining the goings on in the Haines' household to Maggie the Cook, offer solid ensemble support.
And then there is Broadway veteran Ruth Williamson as the Countess de Lage. She is worth the price of admission alone. Here's a lady who knows her way around a farcical role. She delivers her Countess portrayal with such gusto and relish, we get the sense she'll be the marrying kind 'til she gets it right and that could take quite some time. "Ah, L'amour, L'amour!"
The icing on this fast paced comedy cake, from a visual point of view, is the gorgeous and glamourous 1930's costumes created by Anna R. Oliver and the super Art Decco set designed by David P. Gondon. Those are two key technical elements that allow Tresnjak and his cast the freedom they need to create their magic, and when they're in sync voila!, you have the recipe for one terrific show. "The Women" runs through October 26, 2008. Contact the theatre by going online at http://www.theoldglobe.org/ .
Friday, September 26, 2008
Sunday, September 14, 2008
Review of "Vanities" at The Pasadena Playhouse
Artistic Director Shelden Epps is begining to fall into a comfortable rut. His shows have a penchant for going to Broadway. Lucky fella.
"Vanities", the snappy and sparkling new musical at the Pasadena Playhouse, directed with bounce by Judith Ivey, is allegedly on its way to Broadway. At least, that was the buzz in the lobby during the previews. If what is onstage now is any yardstick for reserving seats on "the great white way", then this show is definitely headin' East.
Jack Heifner, the playwright of the original play "Vanities", a highly successful Off-Broadway show which ran for 1785 performances, has had to fend off producers and directors over the years who wanted to update and/or rework the piece into something Heifner said made no sense. Thank you, but no thank you.
Fast-forward to thirty-five years later. A mutual friend introduces young composer/lyricist David Kirshenbaum to Heifner. It's been said that when creative artists get together, "artistic chemical reactions" often take place. It's a little like seeds; when they're watered, they begin to germinate and things begin to sprout. In the case of Heifner and Kirshenbaum, both agreed that the "Vanities" ground was ripe for change and new growth. Voila!, a musical version was in the works.
It may not be quite the same as when the older Oscar Hammerstein II began his collaboration with the younger Richard Rodgers, but the analogy has a nice ring to it. Once they agreed to collaborate and actually write a musical version of Heifner's play it became a year and a half odyssey working with director Judith Ivey, whom they had earlier signed to direct the play, to finally get the book, lyrics, music, and cast to the version now on the stage at the Playhouse. The wait was more than well worth it!
Epps, in his program notes, talks about his season of plays at the Playhouse celebrating women and the roles they've played in theatre over the years. Well in this production the three actors, who age over three decades, validate the Artistic Director's prose and his prediction about this new musical production, "Vanities".
Lauren Kennedy, Sarah Stiles, and Anneliese van der Pol star as the characters Mary(the Bohemian), JoAnne(the Traditionalist), and Kathy(the Organizer). It's the story of three close girlfriends whom we follow from their high school graduation into adulthood, and eventually into middle age - a period covering over three decades. Under the solid direction of Ivey, and the musical staging of Dan Knechtges, Kennedy, Stiles, and van der Pol invest great energy, verve, and flair into their performances. Right from the get-go, with their screams and squeals of teenage excitement, I wondered how they would handle the onstage maturing process required to follow them over the thirty years of the story.
The concern was soon put to rest and became a non-issue as the three actors revel in the challenge their characters find themselves in. Their problems and concerns become ours as well. Although male problems and situations are not quite the same with Mary, Joanne, and Kathy, there is enough relevancy to connect the musical's emotional dots.
The book by Heifner provides a solid foundation for Kirshenbaum to build his music and lyrics on. The changes in each character are strongly supported by Kirshenbaum's lyrics which contain both the excitement and the disappointment experienced by the three friends. And as in life, the people in the musical move in different directions and venture through varying stages and life passages; eventually coming full circle with themselves and each other. (I have a niece who sounds achingly like Stiles' Joanne. Talk about resonating, and on-the-nosey performances)
But hey, let's remember, this is a musical after all. It's upbeat. But it does have doses of sobering reality which I believe gives the production its power to entertain as well as the ability to touch the emotional core of the audience. Visually, it's a delight. It's bright, snappy, and played with such energy by Kennedy, Stiles, and van der Pol, I have no doubt these actors and characters will charm even those hardened cynics east of the Hudson River.
"Vanities" performs at the Playhouse until September 28th. Call the Box Office at 626-356-7529 for tickets and information.
"Vanities", the snappy and sparkling new musical at the Pasadena Playhouse, directed with bounce by Judith Ivey, is allegedly on its way to Broadway. At least, that was the buzz in the lobby during the previews. If what is onstage now is any yardstick for reserving seats on "the great white way", then this show is definitely headin' East.
Jack Heifner, the playwright of the original play "Vanities", a highly successful Off-Broadway show which ran for 1785 performances, has had to fend off producers and directors over the years who wanted to update and/or rework the piece into something Heifner said made no sense. Thank you, but no thank you.
Fast-forward to thirty-five years later. A mutual friend introduces young composer/lyricist David Kirshenbaum to Heifner. It's been said that when creative artists get together, "artistic chemical reactions" often take place. It's a little like seeds; when they're watered, they begin to germinate and things begin to sprout. In the case of Heifner and Kirshenbaum, both agreed that the "Vanities" ground was ripe for change and new growth. Voila!, a musical version was in the works.
It may not be quite the same as when the older Oscar Hammerstein II began his collaboration with the younger Richard Rodgers, but the analogy has a nice ring to it. Once they agreed to collaborate and actually write a musical version of Heifner's play it became a year and a half odyssey working with director Judith Ivey, whom they had earlier signed to direct the play, to finally get the book, lyrics, music, and cast to the version now on the stage at the Playhouse. The wait was more than well worth it!
Epps, in his program notes, talks about his season of plays at the Playhouse celebrating women and the roles they've played in theatre over the years. Well in this production the three actors, who age over three decades, validate the Artistic Director's prose and his prediction about this new musical production, "Vanities".
Lauren Kennedy, Sarah Stiles, and Anneliese van der Pol star as the characters Mary(the Bohemian), JoAnne(the Traditionalist), and Kathy(the Organizer). It's the story of three close girlfriends whom we follow from their high school graduation into adulthood, and eventually into middle age - a period covering over three decades. Under the solid direction of Ivey, and the musical staging of Dan Knechtges, Kennedy, Stiles, and van der Pol invest great energy, verve, and flair into their performances. Right from the get-go, with their screams and squeals of teenage excitement, I wondered how they would handle the onstage maturing process required to follow them over the thirty years of the story.
The concern was soon put to rest and became a non-issue as the three actors revel in the challenge their characters find themselves in. Their problems and concerns become ours as well. Although male problems and situations are not quite the same with Mary, Joanne, and Kathy, there is enough relevancy to connect the musical's emotional dots.
The book by Heifner provides a solid foundation for Kirshenbaum to build his music and lyrics on. The changes in each character are strongly supported by Kirshenbaum's lyrics which contain both the excitement and the disappointment experienced by the three friends. And as in life, the people in the musical move in different directions and venture through varying stages and life passages; eventually coming full circle with themselves and each other. (I have a niece who sounds achingly like Stiles' Joanne. Talk about resonating, and on-the-nosey performances)
But hey, let's remember, this is a musical after all. It's upbeat. But it does have doses of sobering reality which I believe gives the production its power to entertain as well as the ability to touch the emotional core of the audience. Visually, it's a delight. It's bright, snappy, and played with such energy by Kennedy, Stiles, and van der Pol, I have no doubt these actors and characters will charm even those hardened cynics east of the Hudson River.
"Vanities" performs at the Playhouse until September 28th. Call the Box Office at 626-356-7529 for tickets and information.
Wednesday, August 27, 2008
"The Merry Wives of Windsor" A great way to brush up your Shakespeare
If you have never seen a Shakespearean production live on-stage, not too worry. The perfect remedy is available to all until September 28, 2008, at San Diego's famous Old Globe Theatre complex located in Balboa Park.
The 2008 company of players is performing, in repertory, three of Shakespeare's works over the Summer in the outdoor Lowell Davies Festival Theatre. This season features: "Romeo & Juliet", arguably the greatest tragic love story in the English speaking world, "All's Well That Ends Well", the story of Helena and Bertram and the testing of a lover's resolve, a testament to tenacity during a time when women were to be seen and not heard, and "The Merry Wives of Windsor", the Bard's paeon to bawdiness, bluster, and the romantic misadventures of his favorite comic character, Sir John Falstaff.
The 2008 company of players is performing, in repertory, three of Shakespeare's works over the Summer in the outdoor Lowell Davies Festival Theatre. This season features: "Romeo & Juliet", arguably the greatest tragic love story in the English speaking world, "All's Well That Ends Well", the story of Helena and Bertram and the testing of a lover's resolve, a testament to tenacity during a time when women were to be seen and not heard, and "The Merry Wives of Windsor", the Bard's paeon to bawdiness, bluster, and the romantic misadventures of his favorite comic character, Sir John Falstaff.
Repertory productions are unique in that they feature actors playing a minor role in one play and then performing as the star character in another. The convention is rewarding for the actors and gratifying for the audience. Case in point, Heather Wood plays Juliet, and then a saloon girl in "Merry Wives". Eric Hoffman plays a merchant in "All's Well", and the lead Sir John Falstaff, in "Merry Wives".
Of the three productions currently on view at the outdoor Lowell Davies Festival Theatre, "The Merry Wives of Windsor", deftly directed with style and flair by Paul Mullins, is the lightest and the most fun for the audience. Elizabethan English theatre was the "people's choice awards" of it's day. It was often rowdy and sometimes randy. If the actors failed to please, they had to dodge objects hurled at the stage. Acting, as a profession during the Bard's time, easily qualified one for hazardous duty pay.
Mullins, in updating the production, moves his cast into an 1880's American Western setting complete with Saloon, dancing girls, and assorted town characters. Part of the fun and enjoyment is listening to that great Shakespearean dialogue coming out the mouths of rough and ready types and never doubting or misunderstanding for a minute what is being said. As a friend confided to me, "Don't miss it, the production's a hoot !"
Eric Hoffman as Sir John Falstaff, plays him as a puffed-up peacock with amorous intentions toward every female who comes within his view. His bluster and braggadacio is full of the sound and fury of comic sexual conquest but always falls just short of victory. Hoffman, however, does his likeable roue portrayal with energy and gusto.
Providing able support are three actors who also know how to talk the talk and walk the walk of farce. Bruce Turk, as the husband of one of the wives Falstaff takes a liking to, is especially adroit in the role of Frank Ford. His timing and moves are classic farce. Katie MacNichol as Mistress Ford, and Celeste Ciulla as Mistress Page, are more than a match for the on-stage shenannigans of Hoffman's Falstaff. And Wynn Harmon, as the French doctor, is another actor who knows his way around a farcical scene when he finds himself in one. As a matter of fact the entire company is a delight to watch. If you go, bring a jacket or a shawl as the night air can be a bit nippy in Balboa Park in September.
On one hand this production may not be your definitive Shakespearean vehicle but on the other hand - loosely paraphrasing Cole Porter - it sure is a fun way to "brush up your Shakespeare". "The Merry Wives of Windsor", "Romeo & Juliet", and "All's Well That Ends Well" perform in rep until September 28th. Contact the Box Office at http://www.theoldglobe.org/
(more)
Sunday, May 25, 2008
Review of The Old Globe - "Beethoven As I Knew Him"
The Old Globe Theatre of San Diego continues to offer subscribers and patrons a series of first rate, eclectic productions. Case in point, the world premiere of the current Hershey Felder production "Beethoven, As I Knew Him" now on the main stage.
It's a skillful and studied one-man performance by a master pianist and portraitist who enriches the Beethoven legend, both musically and anecdotally. (Felder also performs as Frederic Chopin and George Gershwin at The Old Globe this June in a series he's entitled The Composer Sonata.)
As Dr. Gerhard von Bruening, one of the characters Felder portrays says, "Mozart was the voice of God, and if that's true, then Beethoven must be the fingers of God." As the irascible genius Beethoven, Felder displays his considerable talent as a concert pianist with sensitive and assured technical renditions of the Pathetique Sonata and the Piano Sonata 14, better known as the Moonlight Sonata.
What makes the performance all the more satisfying is Felder's ability as actor to deliver lines while playing some of the world's best loved classical music. It's a special gift he displays with feeling and relish. It's a 90 minute dazzling tour de force of glorious music and inspired theatre.
As unique a talent as Hershey Felder is - he wrote the text for the show - he doesn't do it all by himself. Without the keen and creative eye of director Joel Zwick ( a seasoned stage, movie and TV director), scenic designer Francois-Pierre Couture, and production designers Andrew Wilder and Christopher Ash, I doubt the culmulative effect of this production would have the impact it does.
We are visually treated to a stage production that makes the most of the performing disciplines: a piano concert, singing, stage acting techniques, along with a multi-media presentation - brilliantly blended with nuanced graphic overlays - and a lighting plot that makes the entire evening a visual and auditory delight.
The night I attended a special treat was in store for the audience. Following the conclusion of the performance, Felder announced from the stage that he would be most happy to entertain questions from the audience. "Please ask whatever you want and I'll try to answer all of your questions. Anything. About Beethoven, the script, anything. It's my pleasure."
With that invitation the questions from the audience flowed to the stage. For the next 30 minutes with grace, charm, and humor - the tools of the consumate professional - he shared his passion for music, the arts, and the need for communication between performer and audience. For those who feel the chasm between performer and audience is often too wide, on this night, they experienced a rare evening of closeness and candor. It's hard to converse with a movie screen or have interesting and insightful discourse with a performer in the midst of 50,000 rock concert fans. But in the world of live theatre everything is possible. That's the beauty and uniqueness of live theatre.
When Hershey Felder performs his "Monsieur Chopin" homage to the great Polish composer from June 11 thru June 22; seats at The Old Globe will be hard to get. Following on the heels of Chopin, Felder's tribute to American music comes in the form "George Gershwin Alone" which he presents June 25 thru June 29; for a limited one week engagement. Over the last ten years, Felder has performed his Gershwin show more than 2300 times all over the world.
Tickets to see his Gershwin tribute also will be very hard to come by. But if you attend you will learn things about Chopin and Gershwin from Hershey Felder you never knew before; I guarantee it! Don't miss either of these shows. You won't be disapointed. Contact The Old Globe box office at http://www.theoldglobe.com/.
It's a skillful and studied one-man performance by a master pianist and portraitist who enriches the Beethoven legend, both musically and anecdotally. (Felder also performs as Frederic Chopin and George Gershwin at The Old Globe this June in a series he's entitled The Composer Sonata.)
As Dr. Gerhard von Bruening, one of the characters Felder portrays says, "Mozart was the voice of God, and if that's true, then Beethoven must be the fingers of God." As the irascible genius Beethoven, Felder displays his considerable talent as a concert pianist with sensitive and assured technical renditions of the Pathetique Sonata and the Piano Sonata 14, better known as the Moonlight Sonata.
What makes the performance all the more satisfying is Felder's ability as actor to deliver lines while playing some of the world's best loved classical music. It's a special gift he displays with feeling and relish. It's a 90 minute dazzling tour de force of glorious music and inspired theatre.
As unique a talent as Hershey Felder is - he wrote the text for the show - he doesn't do it all by himself. Without the keen and creative eye of director Joel Zwick ( a seasoned stage, movie and TV director), scenic designer Francois-Pierre Couture, and production designers Andrew Wilder and Christopher Ash, I doubt the culmulative effect of this production would have the impact it does.
We are visually treated to a stage production that makes the most of the performing disciplines: a piano concert, singing, stage acting techniques, along with a multi-media presentation - brilliantly blended with nuanced graphic overlays - and a lighting plot that makes the entire evening a visual and auditory delight.
The night I attended a special treat was in store for the audience. Following the conclusion of the performance, Felder announced from the stage that he would be most happy to entertain questions from the audience. "Please ask whatever you want and I'll try to answer all of your questions. Anything. About Beethoven, the script, anything. It's my pleasure."
With that invitation the questions from the audience flowed to the stage. For the next 30 minutes with grace, charm, and humor - the tools of the consumate professional - he shared his passion for music, the arts, and the need for communication between performer and audience. For those who feel the chasm between performer and audience is often too wide, on this night, they experienced a rare evening of closeness and candor. It's hard to converse with a movie screen or have interesting and insightful discourse with a performer in the midst of 50,000 rock concert fans. But in the world of live theatre everything is possible. That's the beauty and uniqueness of live theatre.
When Hershey Felder performs his "Monsieur Chopin" homage to the great Polish composer from June 11 thru June 22; seats at The Old Globe will be hard to get. Following on the heels of Chopin, Felder's tribute to American music comes in the form "George Gershwin Alone" which he presents June 25 thru June 29; for a limited one week engagement. Over the last ten years, Felder has performed his Gershwin show more than 2300 times all over the world.
Tickets to see his Gershwin tribute also will be very hard to come by. But if you attend you will learn things about Chopin and Gershwin from Hershey Felder you never knew before; I guarantee it! Don't miss either of these shows. You won't be disapointed. Contact The Old Globe box office at http://www.theoldglobe.com/.
Saturday, May 17, 2008
Review - "Of Mice and Men", at the Pasadena Playhouse, May 14, 2008
John Steinbeck's 1935 seminal novel and play about shattered dreams still resonates with audiences more than 70 years later. Set against the backdrop of California's migrant worker programs in the 1930's, some of the characters in "Of Mice and Men" may have Anglo names but most of the actors on the stage at The Pasadena Playhouse have Hispanic accents and heritages, save a few, who retain their ethnicity as originally written by one of America's only two Nobel Laureate's in Literature and Theatre (Eugene O'Neill being the other)
Thanks to the inspired vision of Artistic Director Sheldon Epps, and the creative chops of director Paul Lazarus, a fresh new approach to the powerful subject matter of the drama becomes a reality. They say timing in show business is everything; the time for relevancy and understanding the complex issues that surrounded the migrant harvest worker program then is still an issue in the here and now.
The usual complaint from the younger generation ( ages 18 to 35) concerning the world of live theatre is that's it's not relevant for them. Bah, Humbug! The arts have always led the way in drawing attention to compelling social issues and causes in need of redress. Just check the works of Voltaire, Zola, Moliere or Charles Dickens, all of whom had relevancy in their time, and all of whom had their work made into plays; contributing to changes in the social fabric of their times.
Steinbeck's now classic tale of California's itinerant farm workers is set in the San Joaquin Valley during the 1930's. It's the story of George and Lennie who, if judged by today's standards, would probably be labeled as marginal losers. The best way to describe their relationship is that of a caretaker, or parent (George) and his dependent, child (Lennie) a gentle, mentally-challenged giant of a man who has a fatal attraction to soft hair.
George is always looking out for Lennie; protecting him against the world and from himself. He is also aware of Lennie's shortcomings and when the farm dog has a litter of puppies, George warns Lennie to stay away from them. But Lennie's desires get the better of him and he sneaks in to see the pups, and ends up killing one of them.
Joshua Bitton's Curley, the paranoid husband who imagines everyone making passes at his wife, is an accident waiting to happen, and happen it does. Thomas Kopache, as Candy the old worker who sacrificed his hand for the farm, evokes sympathy when it comes to the fate of his long time pet. Alex Mendoza as Slim, Gino Montesinos as Carlson, Sol Castillo as Whit, Josh Clark as The Boss, and Curtis C. as Crooks, the black stablehand who is ostracized from the rest and sleeps in the barn, are solid performances. The role of Curley's wife is played by Madison Dunaway, who plays her as more of a lost soul trying to escape her suffocating life with Curley than as a femme fatale as portrayed in the 1937 movie.
When the movie was released in 1937, a young Betty Field portrayed Curley's wife with such conviction, she incurred the wrath of America's movie-going female population who refused to accept that she was just an actor playing a role. As a result, she was never quite able to shed the memory of that character as far as movie fans were concerned and her career sort of sputtered into lesser character roles. It was a case of doing one's role too convincingly.
Thanks to the inspired vision of Artistic Director Sheldon Epps, and the creative chops of director Paul Lazarus, a fresh new approach to the powerful subject matter of the drama becomes a reality. They say timing in show business is everything; the time for relevancy and understanding the complex issues that surrounded the migrant harvest worker program then is still an issue in the here and now.
The usual complaint from the younger generation ( ages 18 to 35) concerning the world of live theatre is that's it's not relevant for them. Bah, Humbug! The arts have always led the way in drawing attention to compelling social issues and causes in need of redress. Just check the works of Voltaire, Zola, Moliere or Charles Dickens, all of whom had relevancy in their time, and all of whom had their work made into plays; contributing to changes in the social fabric of their times.
Steinbeck's now classic tale of California's itinerant farm workers is set in the San Joaquin Valley during the 1930's. It's the story of George and Lennie who, if judged by today's standards, would probably be labeled as marginal losers. The best way to describe their relationship is that of a caretaker, or parent (George) and his dependent, child (Lennie) a gentle, mentally-challenged giant of a man who has a fatal attraction to soft hair.
George is always looking out for Lennie; protecting him against the world and from himself. He is also aware of Lennie's shortcomings and when the farm dog has a litter of puppies, George warns Lennie to stay away from them. But Lennie's desires get the better of him and he sneaks in to see the pups, and ends up killing one of them.
Tensions mount when ranch hand Curley, newly married to a local girl, imagines every man is making passes at his bored wife. George and especially Lennie become Curley's targets when Curley's wife is seen hanging around the ranch house. Curley's wife is hungry for emotional satisfaction from anyone who will pay attention to her. It's a character flaw that ultimately ends in tragedy
There is so much to recommend in this production. There are so many creative and clever touches by this talented cast. For starters, the portraying of the migrant farm workers, not as displaced "Okies" from the dust bowl of the 1930s, but as hard working human beings is a fresh and welcome take. Lazarus deftly frames his production along the lines of California's Bracero Program then in vogue during the 40's and 50's. It's an inspired idea, and of course, is very historically accurate.
David Norona as George, the world-weary realist and protector of Lennie, delivers a finely crafted performance brimming with ambivalence; doubt, optimism, and compassion. Al Espinosa, brilliantly portrays the gentle, child-like giant Lennie. His every move, gesture and hand positioning is right on the money. From the leonine head and wonderfully expressive eyes and face, Espinosa captures the heart and soul of Lennie, to say nothing of the audience.Joshua Bitton's Curley, the paranoid husband who imagines everyone making passes at his wife, is an accident waiting to happen, and happen it does. Thomas Kopache, as Candy the old worker who sacrificed his hand for the farm, evokes sympathy when it comes to the fate of his long time pet. Alex Mendoza as Slim, Gino Montesinos as Carlson, Sol Castillo as Whit, Josh Clark as The Boss, and Curtis C. as Crooks, the black stablehand who is ostracized from the rest and sleeps in the barn, are solid performances. The role of Curley's wife is played by Madison Dunaway, who plays her as more of a lost soul trying to escape her suffocating life with Curley than as a femme fatale as portrayed in the 1937 movie.
When the movie was released in 1937, a young Betty Field portrayed Curley's wife with such conviction, she incurred the wrath of America's movie-going female population who refused to accept that she was just an actor playing a role. As a result, she was never quite able to shed the memory of that character as far as movie fans were concerned and her career sort of sputtered into lesser character roles. It was a case of doing one's role too convincingly.
I have seen this play performed many times, and the characters were always played as Anglos, not local people of color, except for the character of Crooks. By having the characters played by Hispanic actors, who from time to time, sprinkle their dialogue with Spanish words and expressions, enriches the performance and doesn't alter the dramatic intention of Steinbeck's master work a wit. It plays ! And on more than one level, too. And it comes at a time when this story needs to be seen by new generations.
If young people are looking for relevance in today's society, they need look no further that this thought-provoking play now on the stage of The Pasadena Playhouse. It's a wonderful production. It runs until June 8th. Don't miss it. Contact the box office at 626-356-7529.Sunday, April 27, 2008
Review - "Thanks For The Memories" at La Quinta Playhouse, CA
The question of whether a playwright can successfully blend two creative art forms, in this case radio and live theatre, into a winning evening of entertainment becomes a bit of a no-brainer in the case of "Thanks For The Memories" by local Coachella Valley playwright and director/ critic/journalist Gary Walker. Walker's paean to old-time radio which was recently produced at the La Quinta Playhouse, in La Quinta, CA is a loving testament to an art form that, I'm sorry to say, is long gone from the American entertainment scene.
Radio dramas, comedies, and soaps were the standards of home entertainment long before TV or the internet was invented. In the 1930s and 40s the writers, actors, and producers relied on the imagination of the listeners to "see and feel" the story that was taking place in their kitchens or living rooms every day and night. Radio was an important member of every family. It provided news, entertainment, and necessary information - like the next day's weather report or which cereal or laundry soap to purchase on the way home from work that night.
Radio dramas, comedies, and soaps were the standards of home entertainment long before TV or the internet was invented. In the 1930s and 40s the writers, actors, and producers relied on the imagination of the listeners to "see and feel" the story that was taking place in their kitchens or living rooms every day and night. Radio was an important member of every family. It provided news, entertainment, and necessary information - like the next day's weather report or which cereal or laundry soap to purchase on the way home from work that night.
Walker's story is set in 1959 and revolves around the people and characters of radio station KRUM, Portland, Oregon, as they go through their last day on the air. The station which refused to change its format, is closing due to a changing listenership, low ratings, and the vagaries that plague any small market owner-operated radio station or business. As the audience, we see the actors at their mikes reading their character dialogue in the radio show within the play. We also get to know the station personnel and how each reacts to KRUM radio's final show. Walker is no stranger to the genre of old time radio. His Saturday Radio Matinee productions begins its fourth season in the Coachella Valley in October of this year.
Comparisons are odious at best, but one can't help being reminded of Garrison Keillor's homage to rural midwest life in Lake Wobegone, Minnesota, via his long time radio show "Prairie Home Companion". It was a staple on Public radio stations across America for over 25 years. However, in Walker's Oregon, the characters are just as irrascible, just as rural, just as whimsical, and just as interesting as any characters Keillor dreamed up. Walker, who also directs the production, has created a true ensemble of talented actors. One of the unique aspects of "Thanks For The Memories" is that every performer is, or was, a member of one or more of the country's professional unions, including two performers who actually performed on various radio shows of that era.
The cast features local piano and jazz-singing legend Yve Evans as Millie Farmer, the music director of the station. Former movie and TV actress Patsy Garrett plays Mavis Krum, the owner-operator who must close down her radio station and pink slip her friends and employees of many years. Real life announcer Don Martin plays Wendell Chiles, the local boy who got his announcing start at KRUM and then moved on to the big time. John Rayner, a retired New York actor, and now a playwright in his own right, portrays the cumudgeonly Claiborne Calhoun, while Shep Sanders, a Chicago native, who performed in radio serials and also in movies and TV with Steve McQueen and John Wayne, plays Chick Little the station engineer. Broadway star, actor/singer Donna Theodore, who still can be heard and seen performing concerts and one-woman shows in the desert and Los Angeles, plays Georgia May the former wife of Wendell Chiles who still has feelings for him but won't admit it, and Wayne Tibbetts, an actor/director/dancer who plays Milo Manning, "the man of a hundred voices" - which kinda says it all about his character and role in the show. Every small radio station in America in those days had a "Milo Manning" stashed somehere in a back room who was on call 24/7.
It was a sweet slice of nostalgia that was lovingly performed and produced by a professional cast and looked it. No matter the actors were mostly retired. If you closed your eyes from time to time, they sounded pretty young, or at whatever age your imagination wanted them to be. That was the beauty of radio. It was the ultimate anonymity trip - and if you were an older actor it got even better - you didn't have to memorize your lines anymore. Ahh, the good old days of radio.
Sunday, April 20, 2008
Baghdad Comes To California
If one motors up twenty miles north from Palm Springs to Joshua Tree, California, it looks and feels like just annother sunny spring day in Paradise - until that is, you enter the High Desert Cultural Center Blak Box Theatre.
Once inside, you find yourself in an alien environment. You are visually and audially transported to the middle east. Once the haunting call to prayers by an unseen muzzein diminishs and the echos of the street sounds fade throughout the theatre, the audience hears the powerful roar of Huey helicopters approaching. The roar is deafening and disorienting as it surrounds the audience capturing our senses and our imaginations - we and the players in the production - are now about to experience "Another Day In Baghdad".
The current play at the Joshua Tree theatre is a diary of sorts, written by retired Iraq War veteran Major David A. Tucker II. The story is told from the point of view of the troops in the field. It is their stories and their experiences we witness - without the benefit of Washington "spin doctors" or media bias. Program notes inform us that all the weapons, uniforms, and gear employed buy the actors in the production is authentic.
The plot, such as it is, follows a squad of Army reservists from the time they board their aircraft and deploy to Baghdad, to the time the when they return home from that tour of duty a year later.
Along the way the audience is exposed to the realities of war and to the decisions and choices that must be made when an Army is engaged in all aspects of war. Forget John Wayne and Hollywood war movies. This is not your grandfather's war story. This is now. This is the story of a conflict and the dilemma confronting the young men and women of America today. The dilemma is the need to serve, to obey, and do "the right thing" and still be true to oneself in a 21st Century Army. That's a tough job for the under 30 group. But, it's an even tougher assignemnt for the older professional soldiers who must lead them.
"Another Day In Baghdad" is co-directed by New York professional actor and playwright Ron House, and actor/director Rebecca Havely. This directing duo puts their creative heads together in a clever and imaginative way; resulting in a taut, compelling drama that is devoid of "anti-war" or "pro-war" positions and polemics which is so popular with today's newspapers, TV, radio, and Washington insiders and pundits.
There is a human interest aspect to the production that's worth mentioning. When director House cast Greg Crabill, a real-life naval Commander and military doctor in the role of the Commander in the play, he didn't forsee the possibilty of his leading actor being called up and deployed to Afganistan, which of course, is exactly what occured just three weeks before the opening. House then had to make a few artistic decisions. First, in the interests of time, he stepped into the role himself. Second, he asked Havely to co-direct to keep everything on an even keel.
The cast of fifteen, three of whom have never acted before, aquit themselves most convincingly, right down to the three small children's roles. Standouts are: Corbett Brattin, as the Top Sargeant. Sherry Powell as the arab translator, Manuel Rincon, as Mustafa, Abe Daniels, as the Lt. Colonel, Jeff Wood, as Sgt. Calloway, Amanda Villalobos in dual roles of Fong and an arab protester, Steven Hernandez, as Peters, ( his conflicted and embittered speech at the end sums up, I imagine, what a great many veterans in his situation must feel. It is delivered with passion and poignancy and heard by the audience with compassion and understanding. ), and leading the production with a most convincing and solid acting job is Ron House, as the Major and Commander.
The High Desert Cultural Center in Joshua Tree, only a stone's throw away from the Marine Corps Base at TwentyNine Palms, is to be commended for presenting what could have been construed as too controversial a subject matter to present to its patrons. Any play dealing with a hot button issue, such as the on-going Iraq war situation could become a hard sell to the community. The hi-desert area is proud of its label as "military country". To their credit both the residents and military base personnel have responded to the play and it's thought provoking message in the proper light. It's a production that deserves to be seen no matter your personal political position.
"Another Day In Baghdad" plays Fridays, at 8 pm, Saturdays at 7 pm with Sunday Matinees at 2 pm until Sunday, April 27th. Call the box office at 366-3777 for tickets and reservations.
Once inside, you find yourself in an alien environment. You are visually and audially transported to the middle east. Once the haunting call to prayers by an unseen muzzein diminishs and the echos of the street sounds fade throughout the theatre, the audience hears the powerful roar of Huey helicopters approaching. The roar is deafening and disorienting as it surrounds the audience capturing our senses and our imaginations - we and the players in the production - are now about to experience "Another Day In Baghdad".
The current play at the Joshua Tree theatre is a diary of sorts, written by retired Iraq War veteran Major David A. Tucker II. The story is told from the point of view of the troops in the field. It is their stories and their experiences we witness - without the benefit of Washington "spin doctors" or media bias. Program notes inform us that all the weapons, uniforms, and gear employed buy the actors in the production is authentic.
The plot, such as it is, follows a squad of Army reservists from the time they board their aircraft and deploy to Baghdad, to the time the when they return home from that tour of duty a year later.
Along the way the audience is exposed to the realities of war and to the decisions and choices that must be made when an Army is engaged in all aspects of war. Forget John Wayne and Hollywood war movies. This is not your grandfather's war story. This is now. This is the story of a conflict and the dilemma confronting the young men and women of America today. The dilemma is the need to serve, to obey, and do "the right thing" and still be true to oneself in a 21st Century Army. That's a tough job for the under 30 group. But, it's an even tougher assignemnt for the older professional soldiers who must lead them.
"Another Day In Baghdad" is co-directed by New York professional actor and playwright Ron House, and actor/director Rebecca Havely. This directing duo puts their creative heads together in a clever and imaginative way; resulting in a taut, compelling drama that is devoid of "anti-war" or "pro-war" positions and polemics which is so popular with today's newspapers, TV, radio, and Washington insiders and pundits.
There is a human interest aspect to the production that's worth mentioning. When director House cast Greg Crabill, a real-life naval Commander and military doctor in the role of the Commander in the play, he didn't forsee the possibilty of his leading actor being called up and deployed to Afganistan, which of course, is exactly what occured just three weeks before the opening. House then had to make a few artistic decisions. First, in the interests of time, he stepped into the role himself. Second, he asked Havely to co-direct to keep everything on an even keel.
The cast of fifteen, three of whom have never acted before, aquit themselves most convincingly, right down to the three small children's roles. Standouts are: Corbett Brattin, as the Top Sargeant. Sherry Powell as the arab translator, Manuel Rincon, as Mustafa, Abe Daniels, as the Lt. Colonel, Jeff Wood, as Sgt. Calloway, Amanda Villalobos in dual roles of Fong and an arab protester, Steven Hernandez, as Peters, ( his conflicted and embittered speech at the end sums up, I imagine, what a great many veterans in his situation must feel. It is delivered with passion and poignancy and heard by the audience with compassion and understanding. ), and leading the production with a most convincing and solid acting job is Ron House, as the Major and Commander.
The High Desert Cultural Center in Joshua Tree, only a stone's throw away from the Marine Corps Base at TwentyNine Palms, is to be commended for presenting what could have been construed as too controversial a subject matter to present to its patrons. Any play dealing with a hot button issue, such as the on-going Iraq war situation could become a hard sell to the community. The hi-desert area is proud of its label as "military country". To their credit both the residents and military base personnel have responded to the play and it's thought provoking message in the proper light. It's a production that deserves to be seen no matter your personal political position.
"Another Day In Baghdad" plays Fridays, at 8 pm, Saturdays at 7 pm with Sunday Matinees at 2 pm until Sunday, April 27th. Call the box office at 366-3777 for tickets and reservations.
Tuesday, April 15, 2008
Role of the Critic / Role of the Audience ... As I See It
My dear anonymous letter writers, if you think it is so easy to be a critic, so difficult to be a poet or a painter or film experimenter, may I suggest you try both? You may discover why there are so few critics, so many poets.
- Pauline Kael, "I Lost It at the Movies"
Most people believe the role of a critic/reviewer is an easy one. However, that role is often misunderstood. I agree with Ms. Kael who hit the proverbial nail on the head. Being a critic/reviewer isn't easy or very popular. For starters, both audiences and reviewers alike are there to enjoy the production. The audience has the expectation they are going to see a play, show, or movie that meets a certain personal acceptance and enjoyment level. The reviewer goes hoping to see his or her expectation level exceeded. No one goes to the theatre thinking "I'm not going to like what I'm about to see."
A positive attitude on the part of the audience can actually enhance the enjoyment of the impending performance or it can soften the blow of disappointment when the play fails to live up to the hype or expectation. In the case of those audience members who went looking for more and came away disappointed, all they can do is shrug, grumble about the play saying it stunk, and then tell their friends to forget about going to see it. Those that enjoyed the experience, however, become the bearers of great news and music to the ears of the performers, to say nothing of anxious theatre producers looking for that mega hit and long lines at the box office.
Nothing speaks as loud as "word of mouth" praise; it's the most powerful validation and best form of advertising one can receive. Performers are in the business of performing in front of audiences and the more the merrier!
For critics, we don't have the luxury of dismissing the entire evening with a shrug and then go home to the comfort of a loving family or loyal pet. We are at performances to observe, evaluate, and report on the experience of the evening for the benefit of those not in attendance.
A popular held belief by the public is that critic/reviewers go to see plays or movies hoping they are bad so they can write witty and clever reviews denigrating the actors, the director, and the other technical elements; and by so doing, elevate their own importance. Nothing could be further from the truth, at least, not by the reviewers and critics I've known. To a person, we all wish that every production we review will be worthy of the audience's hard earned dollar outlay and applause.
In our effort to assist both audience and theatre producers and performers, we like to think we can make a contribution by offering a professional and experienced independent eye to the proceedings; someone who can be relied upon to offer a fair and honest evaluation of what went on at the theatre that night.
Sometimes the review disappoints those we know in the production. But friendships with performers have to take a back seat when it comes to maintaining standards and credibility with readers or listeners. One doesn't have to be cruel or mean-spirited. One doesn't "kick the chorus girl" just because the star sings off key. We just try to be as professional as one can when doing the job.
I have been attending plays for over 50 years and have been writing reviews and critiques for more than 40 years. I have been an actor, writer, producer, director, and a passionate supporter of live theatre and movies since I can remember. I'm a member of several professional unions and can honestly state I am eager to see all creative endeavors not only succeed, but flourish and thrive. I'm married to an actress who also directs, so all forms of creative art are a very important component in our lives. I would like that component to become important in the lives of others, as well.
My role as a critic/reviewer is to report what is presented on the stage at the performance I attend. Good, bad or indifferent, I always look to see if the performers achieved what they set out to do. What are they trying to accomplish and how successfully have they done it ? That's the main criteria and measuring stick I use. Imagination, innovation, and the marshalling of the available technical elements is also a major factor, as is the vision of the director. Sometimes these elements are MIA and the critic is faced with a review that is not going to please the producing organization.
I always try to be positive in my criticism, offering a suggestion or two where appropriate, which might help shore up an unsteady scene or moment. Remember: it's easy to criticize a problem area but one should also be prepared to offer solutions to fix it as well. I also take into consideration the disparity between the professional actor working along side the non-professional performer in the same production. It doesn't happen very often in most of the cities where I review, but it does take place every now and then.
Your role as the audience is to attend live theatre and be open to new experiences and allow the performers to write on the blank slate each of us brings to the theatre that evening. When the performers capture lightning in a bottle, and the theatre gods smile down on the stage, it can be a magical moment indeed, and an evening one remembers for years. So enjoy and savor your next theatrical experience.
A positive attitude on the part of the audience can actually enhance the enjoyment of the impending performance or it can soften the blow of disappointment when the play fails to live up to the hype or expectation. In the case of those audience members who went looking for more and came away disappointed, all they can do is shrug, grumble about the play saying it stunk, and then tell their friends to forget about going to see it. Those that enjoyed the experience, however, become the bearers of great news and music to the ears of the performers, to say nothing of anxious theatre producers looking for that mega hit and long lines at the box office.
Nothing speaks as loud as "word of mouth" praise; it's the most powerful validation and best form of advertising one can receive. Performers are in the business of performing in front of audiences and the more the merrier!
For critics, we don't have the luxury of dismissing the entire evening with a shrug and then go home to the comfort of a loving family or loyal pet. We are at performances to observe, evaluate, and report on the experience of the evening for the benefit of those not in attendance.
A popular held belief by the public is that critic/reviewers go to see plays or movies hoping they are bad so they can write witty and clever reviews denigrating the actors, the director, and the other technical elements; and by so doing, elevate their own importance. Nothing could be further from the truth, at least, not by the reviewers and critics I've known. To a person, we all wish that every production we review will be worthy of the audience's hard earned dollar outlay and applause.
In our effort to assist both audience and theatre producers and performers, we like to think we can make a contribution by offering a professional and experienced independent eye to the proceedings; someone who can be relied upon to offer a fair and honest evaluation of what went on at the theatre that night.
Sometimes the review disappoints those we know in the production. But friendships with performers have to take a back seat when it comes to maintaining standards and credibility with readers or listeners. One doesn't have to be cruel or mean-spirited. One doesn't "kick the chorus girl" just because the star sings off key. We just try to be as professional as one can when doing the job.
I have been attending plays for over 50 years and have been writing reviews and critiques for more than 40 years. I have been an actor, writer, producer, director, and a passionate supporter of live theatre and movies since I can remember. I'm a member of several professional unions and can honestly state I am eager to see all creative endeavors not only succeed, but flourish and thrive. I'm married to an actress who also directs, so all forms of creative art are a very important component in our lives. I would like that component to become important in the lives of others, as well.
My role as a critic/reviewer is to report what is presented on the stage at the performance I attend. Good, bad or indifferent, I always look to see if the performers achieved what they set out to do. What are they trying to accomplish and how successfully have they done it ? That's the main criteria and measuring stick I use. Imagination, innovation, and the marshalling of the available technical elements is also a major factor, as is the vision of the director. Sometimes these elements are MIA and the critic is faced with a review that is not going to please the producing organization.
I always try to be positive in my criticism, offering a suggestion or two where appropriate, which might help shore up an unsteady scene or moment. Remember: it's easy to criticize a problem area but one should also be prepared to offer solutions to fix it as well. I also take into consideration the disparity between the professional actor working along side the non-professional performer in the same production. It doesn't happen very often in most of the cities where I review, but it does take place every now and then.
Your role as the audience is to attend live theatre and be open to new experiences and allow the performers to write on the blank slate each of us brings to the theatre that evening. When the performers capture lightning in a bottle, and the theatre gods smile down on the stage, it can be a magical moment indeed, and an evening one remembers for years. So enjoy and savor your next theatrical experience.
Sunday, March 23, 2008
Pasadena Playhouse, "Mask" Review
Southern California is fast becoming the hotbed of theatrical world premieres and with good reason. The home town producing companies have the raw goods - the actors, writers, directors, and musicical talents - necessary to craft and turn out first rate entertainment fare. After all, Hollywood isn't called the entertainment capitol of the world for nothing. We're loaded and we're eager to share and export the home grown product to New York or London. Last week it was the world premiere of "Dancing in the Dark" at San Diego's Old Globe Theatre. This week it's another world premiere at the venerable Pasadena Playhouse.
Case in point is "Mask," the new musical at the Pasadena Playhouse that opened March 12. Based on a true Southern California story, "Mask" was first introduced to the world as a 1985 movie starring Cher and Eric Stoltz. It's the story of Roy "Rocky" Dennis, a determined-to-be-normal teenager afflicted with craniodiaphyseal dysplasia ( a one in twenty-two million statistic) an extremely rare disorder known as "lionitis" due to the disfiguring cranial enlargements it causes. It's also the story of Rocky's loving but highly unorthodox mother Rusty Dennis, and her unending battle with society to treat her son as "normal". It was a very compelling movie.
The stage musical written by Anna Hamilton Phelan (original screenwriter of the movie) has come up with a fresh new take on her orginal story, adding new plot points and sharpening her focus to further illuminate the Rocky and Rusty stories. Abetting Phelan in the music and lyric departments is the great songwriting team of Barry Mann and Cynthia Weil. With two-time Tony Award winning director Richard Maltby, Jr. at the helm, the production's success rating, as the saying goes in LA, is a slam-dunk.
Forget about a "downer medical disease subject matter" as the source material for a musical. This show has more highs than lows by a long shot. For some, the sight of "bikers" on stage or in movies is a turn-off. Pity, because one only needs to wait to get past the built-in predjudice of anything or anyone different from ourselves. Once past that point, the story then goes deeper and deals with more resonant issues, those with which we can all relate - the search for identity, the need to love and the need to be loved, the need to belong It's the power of family, whether biological or extended, that helps us get through tough times. For Rusty and Rocky their family is a tight knit biker club that offers support and some poignant moments as the story of Rocky and Rusty unfolds.
Many musicals rely on the libretto to carry the day while the lyrics and music are just along for the ride. In "Mask", it's the lyrics which move the story forward, lending understanding to what the characters are saying on stage.
Michelle Duffy portrays Rusty Dennis, the rough-around-the-edges conflicted mother whose drug problems keep getting in the way of her relationship with 15 year old son Rocky, wonderfully played by Allen E. Read. The chemistry between Duffy and Read is what makes this story so watchable. They confront one another, they console one another, they support each other, but each must do it in their own way. And that's what makes "Mask" resonate with the audience. Read's Rocky is a testament to the guts and the optimism of youth. He makes Rocky an intelligent worthwhile human being, albeit one who will leave the world far too early, but one who leaves his mark on those he touched.
Duffy deftly manuevers the tricky waters of protective motherhood and a drug dependency for support when the world closes in on her. It's in those moments that Rocky suffers the most; but it's in those moments that the audience empathizes the most. The first act closing number "Look at You" is a dynamite number that is staged by Maltby with power and imagination.
Excellent support is provided by Greg Evigan as Gar, a former lover of Rusty, who turns up at a biker reunion and re-enters her life offering to mentor Rocky, ending up a reluctant but willing "father-figure" in the process. Michael Lanning, as the biker leader Dozer, is a bear of a man who exudes rough authority but shows his human side as well. Sarah Glendening and Shannon Mari Mills are the two women in Rocky's life at varying stages.
And what a joy to hear live musicians in the pit for a musical show even if it's just keyboards, bass, drums, and guitars. They're under the able diretion of Joseph Church, but I sure do miss that brass section - ah well.
The Pasadena Playhouse under Artistic Director Shelden Epps continues to present interesting, and important productions to audiences of Southern California. I'm happy to see full houses again at one of the country's top regional theatrical venues. Don't let the subject matter turn you off. It's a terrific production.
Saturday, March 15, 2008
"Dancing in the Dark" at The Old Globe Theatre review
Pop the champagne corks! Get the reservations at Sardi's for the cast party now. "Dancing in the Dark," the new musical at The Old Globe Theatre in San Diego's Balboa Park doesn't need any tryout time to work out any kinks before heading to Broadway. Why? Because there aren't any kinks in it. It's ready to move, right now, lock, stock, and barrel with the currrent company in particular to "the Great White Way."
The production I saw on Thursday, March 13, 2008 was a New York hit in the making. The story of the show within the show is the brainchild of playwright Douglas Carter Beane. It's really a bit of an inspired piece of show business alchemy in that Beane takes the story guts from the old Fred Astaire/Cyd Charisse, 1953 MGM movie called "The Band Wagon", then infuses it with new plot points and dialogue and then adds the elements and conventions normally considered the province of the stage with the result being a brand new show that combines the best of both worlds.
With music by Arthur Schwartz and lyrics by Howard Dietz, Beane had fifty percent of writing a book musical resolved. Next came the creative spark for which he is known, the taking of material from one medium and mixing it with another. This is precisely what he did for the 2007 stage musical "Xanadu," garnering a Tony nomination in the process.
As Beane saw it the problem with the movie "The Band Wagon" was that it lacked a satisfactory ending. In stage-speak language, that means it didn't have a second act. And plays and musicals without a second act close very quickly in a profit-driven city like New York.
Ahh, but Beane enjoyed a long standing friendship with Hollywood scriptwriters Betty Comden and Adolph Green, both of whom were veteran Broadway insiders. Show business friendships often have a way of trumping business decisions. And before she passed on, Comden gave her copy of the original shooting script of "The Band Wagon" to Beane for reference and free use to incorporate her script into any project he might come up with. What a boon!
One doesn't give such an opportunity to a clever and theatre savvy fellow like Douglas Carter Beane and expect the project to fail. Following the usual writer "blood, sweat, and tears" process, we finally arrive at the finished product - a book musical and a show that is ready to cast, go into rehearsals - "for more blood, sweat, and tears" - and then open to a world premiere at The Old Globe Theatre in San Diego.
The story of "Dancing in the Dark", simply put, revolves around Tony Hunter (Scott Bakula), a Hollywood star with a career on the wane, and Jeffery Cordova (Patrick Page), a Shakespearean actor-manager with a taste for high art. Together they team up with a diverse assortment of theatrical personalities to create a brand new musical, which then heads to the road and the "tryout circuit" before opening on Broadway.
Heading the solid cast of "Dancing in the Dark" is Scott Bakula, a Golden Globe winner and five-time Emmy nominee. He sings, he dances, he acts, and he sells the product. Bakula, may be best known as a TV star (Quantum Leap) but he certainly knows his way around a stage. He's smooth and confidant as Tony Hunter (the role played by Fred Astaire in the movie).
In the pivotal role of Jeffery Cordova, the shallow and self-absorbed Shakespearean actor and wannabe director who inadvertently, almost torpedo's the endeavor, is Robert Page. Page sports an impeccable British accent and displays a flair for the dramatic that's reminiscent of the late great Noel Coward. We know where Jeffrey's coming from, but Page makes him such a likable rascal, we end up rooting for him as well.
Beth Leavel 2007 Tony winner ("The Drowzy Chaperone") and Broadway actor Adam Heller, team up as the roman a clef writing team of Lily and Lester Martin (think Betty Comden and Adolph Green). They have some of the best and cleverest lines in the show, which Leavel delivers with style and a comic delivery worthy of another Tony win. Their musical number "The Pitch" stopped the show for almost five minutes as the two stars had to wait for the applause to subside - and still remain in character - to deliver additional dialogue. It was a sublime moment.
In the glamorous role of Gaby, created by Cyd Charisse in the movie, beautiful and talented dancer, singer, actor, Mara Davi lights up the stage with a sensitive and compelling performance. In a "ballet number" Davi and Sebastian La Cause, playing Paul Byrd, head ballet director, along with the ballet chorus members, stage one of the sexiest ensemble dance sequences seen on this or any stage in a long, long time. It seemed like many in the audience stopped breathing during the scene. You could hear a pin drop at 100 feet. Dancers, take a bow.
The famous "Triplets" number from the movie is also in the show. Bakula, Leavel and Heller cleverly recreate the movie scene, but they do it sitting on small chairs with several swivel legs with blankets surrounding them. It's very inventive and funny and the audience laps it up.
The signature scene and final number, "Dancing in the Dark", affords costumer designer David Woolard to display his beautiful creations; highlighted by the mood-enhancing lighting designs of Ken Billington.
All of the above is made possible by Gary Griffin who directs this production with a silky, seamless, and unobtrusive touch. It's a joy to watch the skill of Griffin at work. He's a creative artist in complete control of the formidble technical arsenal available at The Old Globe. I saw his production of "The Color Purple" at the Ahmanson in Los Angeles a couple of months ago and liked what I saw there as well.
I believe it's a fair assumption to say, I liked this production very much. If there is anything, however, that might need some thought on the way to Broadway, I humbly submit a suggestion. Consider trimming the show a bit. It runs 2:40 mintues with a 15 minute intermission. But then I digress to nit pick.
"Dancing in the Dark" runs until April 13. Don't miss it! For reservations and ticket information call Globe Ticket Services at 619-231-1941 or go online at http://www.theoldglobe.org/.
The production I saw on Thursday, March 13, 2008 was a New York hit in the making. The story of the show within the show is the brainchild of playwright Douglas Carter Beane. It's really a bit of an inspired piece of show business alchemy in that Beane takes the story guts from the old Fred Astaire/Cyd Charisse, 1953 MGM movie called "The Band Wagon", then infuses it with new plot points and dialogue and then adds the elements and conventions normally considered the province of the stage with the result being a brand new show that combines the best of both worlds.
With music by Arthur Schwartz and lyrics by Howard Dietz, Beane had fifty percent of writing a book musical resolved. Next came the creative spark for which he is known, the taking of material from one medium and mixing it with another. This is precisely what he did for the 2007 stage musical "Xanadu," garnering a Tony nomination in the process.
As Beane saw it the problem with the movie "The Band Wagon" was that it lacked a satisfactory ending. In stage-speak language, that means it didn't have a second act. And plays and musicals without a second act close very quickly in a profit-driven city like New York.
Ahh, but Beane enjoyed a long standing friendship with Hollywood scriptwriters Betty Comden and Adolph Green, both of whom were veteran Broadway insiders. Show business friendships often have a way of trumping business decisions. And before she passed on, Comden gave her copy of the original shooting script of "The Band Wagon" to Beane for reference and free use to incorporate her script into any project he might come up with. What a boon!
One doesn't give such an opportunity to a clever and theatre savvy fellow like Douglas Carter Beane and expect the project to fail. Following the usual writer "blood, sweat, and tears" process, we finally arrive at the finished product - a book musical and a show that is ready to cast, go into rehearsals - "for more blood, sweat, and tears" - and then open to a world premiere at The Old Globe Theatre in San Diego.
The story of "Dancing in the Dark", simply put, revolves around Tony Hunter (Scott Bakula), a Hollywood star with a career on the wane, and Jeffery Cordova (Patrick Page), a Shakespearean actor-manager with a taste for high art. Together they team up with a diverse assortment of theatrical personalities to create a brand new musical, which then heads to the road and the "tryout circuit" before opening on Broadway.
Heading the solid cast of "Dancing in the Dark" is Scott Bakula, a Golden Globe winner and five-time Emmy nominee. He sings, he dances, he acts, and he sells the product. Bakula, may be best known as a TV star (Quantum Leap) but he certainly knows his way around a stage. He's smooth and confidant as Tony Hunter (the role played by Fred Astaire in the movie).
In the pivotal role of Jeffery Cordova, the shallow and self-absorbed Shakespearean actor and wannabe director who inadvertently, almost torpedo's the endeavor, is Robert Page. Page sports an impeccable British accent and displays a flair for the dramatic that's reminiscent of the late great Noel Coward. We know where Jeffrey's coming from, but Page makes him such a likable rascal, we end up rooting for him as well.
Beth Leavel 2007 Tony winner ("The Drowzy Chaperone") and Broadway actor Adam Heller, team up as the roman a clef writing team of Lily and Lester Martin (think Betty Comden and Adolph Green). They have some of the best and cleverest lines in the show, which Leavel delivers with style and a comic delivery worthy of another Tony win. Their musical number "The Pitch" stopped the show for almost five minutes as the two stars had to wait for the applause to subside - and still remain in character - to deliver additional dialogue. It was a sublime moment.
In the glamorous role of Gaby, created by Cyd Charisse in the movie, beautiful and talented dancer, singer, actor, Mara Davi lights up the stage with a sensitive and compelling performance. In a "ballet number" Davi and Sebastian La Cause, playing Paul Byrd, head ballet director, along with the ballet chorus members, stage one of the sexiest ensemble dance sequences seen on this or any stage in a long, long time. It seemed like many in the audience stopped breathing during the scene. You could hear a pin drop at 100 feet. Dancers, take a bow.
The famous "Triplets" number from the movie is also in the show. Bakula, Leavel and Heller cleverly recreate the movie scene, but they do it sitting on small chairs with several swivel legs with blankets surrounding them. It's very inventive and funny and the audience laps it up.
The signature scene and final number, "Dancing in the Dark", affords costumer designer David Woolard to display his beautiful creations; highlighted by the mood-enhancing lighting designs of Ken Billington.
All of the above is made possible by Gary Griffin who directs this production with a silky, seamless, and unobtrusive touch. It's a joy to watch the skill of Griffin at work. He's a creative artist in complete control of the formidble technical arsenal available at The Old Globe. I saw his production of "The Color Purple" at the Ahmanson in Los Angeles a couple of months ago and liked what I saw there as well.
I believe it's a fair assumption to say, I liked this production very much. If there is anything, however, that might need some thought on the way to Broadway, I humbly submit a suggestion. Consider trimming the show a bit. It runs 2:40 mintues with a 15 minute intermission. But then I digress to nit pick.
"Dancing in the Dark" runs until April 13. Don't miss it! For reservations and ticket information call Globe Ticket Services at 619-231-1941 or go online at http://www.theoldglobe.org/.
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