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.
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