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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