Jumpin‘ Saint Jude! Look What’s Happened In Long Beach CA: This Time It’s The Big Time As Musical Theatre West Stages “Mack & Mabel” Benefit Concert

“Movies Were Movies” With Musical Theater West’s Benefit Production On May 20th 2013

In 1974, Jerry Herman, Michael Stewart and  Gower Champion (the team behind the iconic “Hello Dolly”)  reunited for another musical–this one centering on the bitter-sweet romance of Silent Screen pioneers, Mack Sennett and Mabel Normand; the result was the musical “Mack & Mabel”. On Monday evening, May 20^th, “Musical Theatre West” in Long Beach California continued its ground-breaking 60^th Season by transporting those visiting “The Carpenter Center For The Performing Arts” on the campus of CSULB, back to a magical time when “Movies Were Movies” by staging this rarely seen musical gem for an extraordinary one-night only concert event.

“This Sublime & Serene, Unconventional Team, Mabel & Mack (Also called “Mack & Mabel”) Bernadette Peters & Robert Preston In The 1974 Original Production

Featuring some of the finest examples of musical virtuosity and variety ever undertaken by Jerry Herman–the composer and lyricist of such other classics as “Mame“, “Dear World” and “La Cage Aux Folles“, he himself once declared that “Mack & Mabel” ranks as his own personal favorite of all his scores.  Furthermore, “The New York Times” once proclaimed “the songs remain among the most felicitous in Mr. Herman’s canon.” For those with even a passing familiarity with any of its anthems, comments like these should come as no surprise; the selections here make for a magnificent musical mixed-drink that invites listeners thirsty for the kind of good, old-fashioned (and infinitely hummable) show-tunes Broadway once overflowed with, to ’belly up to the bar” and get their fill!

Set against the vibrant backdrop of the early days of cinema and told in flash-back, after the opening scenes in Brooklyn, New York, the action unfolds in Hollywood during the Roaring Twenties. Famed silent–film Director Mack Sennett   serves as narrator as well as being an active participant in all the goings-on as he recalls his creation of the “Keystone Kops“, the “Bathing Beauties“, and his often turbulent relationship with Mabel A. Normand (“The A. is Agnes–after ‘St. Agnes,” she tells us) a “waitress from Flatbush” whom he discovered and helped to become one of the silent era’s very first bona-fide “Movie Stars“.

“And Should I Love You, You Would Be The Last To Know…” Howard McGillin & Caroline O’Connor In The Hit 1995 London Premiere

On top of their tempestuous romance, the psychology of this self-admitted overbearing, intensely driven “autocrat” is profiled in a series of  episodes–some funny, some frustrating, many deeply poignant. This is a man whose primary goal is “to make the world laugh”, but who wistfully confesses to Mabel, “with words romantic, I‘m at a loss…I won‘t send roses–and roses suit you so.” Word is that MTW had wanted to do the show for sometime, and there had even been some consideration given toward mounting a full-blown production as part of one of its regular offerings; yet now  seemed to be an ideal opportunity to present it as a single benefit performance with a stellar cast headed by Davis Gaines as Mack Sennett. Already a familiar face to local audiences, Gaines last took the stage at The Carpenter Center as “King Arthur” in Monty Python’s madcap farce “Spamalot”, after triumphantly playing the title role in last year’s “Man Of La Mancha” for which he garnered an “Ovation Award“. The Role of Sennett is a terrific fit for Gaines, whose rich, resonant Baritone served his songs exceedingly well. Whether kicking things off  with the boisterous “Movies Were Movies” or shifting the action into high gear with the ‘ginger and snap’ of “Hundreds Of Girls” (in which Mack conjures up the idea for his famous “Bathing Beauties”) ; furnishing a harmonic springboard for the antic slapstick of the “Keystone Kop” sequence with “Hit ’Em On The Head”, or strumming the audience’s heartstrings, as in “I Won’t Send Roses” and the closing “I Promise You A Happy Ending”, he commanded the stage every minute he was on (–and always sounded amazing while doing it!)

“This Curse I’ve Been Blessed With, Completely Possessed With Is I Wanna Make The World Laugh”: Davis Gaines Was Mack Sennett

Joining him was the vivacious Vicki Lewis as Mabel Normand. Wowing audiences with a gold-medal Jerry Herman melody is definitely not a new experience for this Award-Winning powerhouse of a performer–she tackled the role of ‘Dolly Levi’  in  the Maltz-Jupiter Theatre’s production of “Hello Dolly” just last year. Lewis possesses a quality similar to a young Barbara Streisand, and despite her waif-like appearance, she is likewise blessed with an astronomical-sized voice which she put to good use Monday evening. While giving the more jovial numbers such as “Look What’s Happened To Mabel” an added dose of fun and likeability, it was in the more emotional ones–”Where Ever He Ain’t” and ”Time Heals Everything”  that this uber-talented lady really outshone the spotlights!

“She Was Plain Little Nellie, The Kid From The Deli, But Mother-Of-God! Look What’s Happened To Mabel!” Vicki Lewis Was Mabel Normand

Other standouts included Darcie Roberts as Lottie–an old “Vaudeville Hoofer” who, we learn, goes on to star in the ’new’ “Vitaphone Varieties”. In addition to leading the cast in the exuberant “This Time It’s The Big Time”,  later, she practically stopped the show with the dynamic “Tap Your Troubles Away”–complete with its built-in encore–accompanied by an entire line of dancers bucking, winging, and time-stepping in energetic unison! David Burnham (most recently seen in the Broadway cast of “Wicked”) also provided impressive support as “Frankie“ the wide-eyed, fresh-faced writer based on three-time Academy Award winning Director, Frank Capra. Burnham’s expressive vocals were especially in evidence  introducing the initial verses of the second act rouser, “When Mabel Comes In The Room” before bringing the entire company in for a stirring rendition of this, what many consider to be among Composer Herman’s very best signature “Staircase” numbers. In addition, Chuck Saculla appropriately ’oozed’ superficial charm and ‘seethed’ insincerity as “William Desmond Taylor”, and Robert Hoyt made for a spirited and engaging  “Fatty” Arbuckle. So too, Jeni Baker was suitably sultry in her brief turn as “Mae Bush”–a pint-sized siren Mabel takes under her wing (to her eventual regret.)   Those ‘running this show” were an award-winning creative team headed by the Executive Vice President of the Stage Directors and Choreographers Society and Emmy Award-winning director, Larry Carpenter, with Musical Direction by Emmy and Grammy Award-winner John McDaniel. The set-ups were kept simple; after all, the cast had only 25 hours of rehearsal–in fact, understanding this makes what was accomplished that night all the more remarkable.    The full orchestra (which incorporated a Xylophone for those more ’whimsical’ passages) was on stage behind the performers, while suspended over them was a large screen on to which was projected black and white ‘title cards” like  those used in silent movies.

“The Kids From Keystone Are The Kids No Longer”: David Burnham Was “Frank”

Through this device, the time and place of the various scenes were easily conveyed.   Produced by MTW’s Executive Director/Producer Paul Garman, the evening served as a benefit for the organization’s Education and Outreach programs, which include special student matinees, in-school assemblies to teach the importance of theatre arts, and their ongoing “From Page To Stage” library touring show which demonstrates to thousands of the area’s children every year, how literature ranging from works by Mark Twain and Charles Dickens to weekly comic strips can be adapted for the musical theatre. Those interested  in learning more about these programs or donating towards them, are encouraged to check out: 
http://musical.org/MusicalTheatreWest/donate.html
 . Donations can also be made via phone through “Musical Theatre West’s” box office by calling 562-856-1999 x4.

“The Cherry On Top Of The Sundae–The Shiny Star On Top Of The Tree”: “Mack & Mabel” Composer Jerry Herman

Special Thanks To ”Musical Theater West” Producer Paul Garman And  To Rick Bernstein, Gloria Nelson, Along With The Cast & Crew Of “MTW’s” Benefit Concert Production Of  “Mack And Mabel” For Making This Story Possible

‘Tour Story’ : Pre-Broadway “Jekyll & Hyde” Begins ‘A New Life’ In La Mirada CA.

 ood and Evil–and their merits–men have argued throughout history” we’re told in a number from “Jekyll & Hyde”–the  hit musical starring Constantine Maroulis and Deborah Cox, whose first steps back toward “The Great White Way“ began on Friday, September 7^th in La Mirada California. How often can a local theater boast that it’s setting a bona-fide blockbuster revival firmly on its journey to Broadway? Yet that’s precisely what “The La Mirada Theater For The Performing Arts”, in conjunction with McCoy-Rigby Entertainment and The Nederlander Organization, is doing as it debuts the show prior to a 25-week national tour that will culminate with its opening at New York‘s “Richard Rodgers Theater” in April 2013. According to Tom McCoy, Executive Producer at Rigby-McCoy Entertainment, “McCoy-Rigby has a long partnership with Nederlander Presentations–including “Peter Pan” starring Cathy Rigby, “Jesus Christ Superstar“, “Camelot” and “Annie Get Your Gun” he explains; “The Nederlander’s called me to step in again and produce “Jekyll & Hyde”.

“Like the moon, an enigma lost and alone in the night; Damned by some Heavenly stigma–but BLAZING with light!” Constantine Maroulis is a man of two minds as Dr. Jekyll andMr. Hyde.

Based on Robert Louis Stevenson’s gothic tome, “The Strange Case Of Doctor Jekyll & Mister Hyde”,  book and lyrics are by the distinguished song-writer, Leslie Bricusse with music by Frank Wildhorn. Bricusse obviously knows the territory well, having  previously ‘musical-ized’ such other notable “Victorian” works as “A Christmas Carol” (with “Scrooge”) and “The Old Curiosity Shop”–both based on stories by Charles Dickens. In turning his attentions to Robert Louis Steven’s equally immortal novella, he effectively opens up the slightly narrow plot by providing a solid coherency to the story starting off by presenting Jekyll with a driving motivation for his work: his need to save his father who has fallen into a catatonic state. “Things are not wrong just because they’re new” the doctor begs the Governors of “St. Jude’s Hospital” in London. Seeking their resources to begin trials for a new serum he hopes will cure his father’s tragic condition, his appeals however, are met more with revulsion than support. Realizing if a cure is to be found he alone will have to test it–on himself –to harrowing  results.

“If I could reach you, I’d guide and teach you to walk from darkness back into the light…” Maroulis and Cox

Furthermore, this humanizing of one of literature’s more misunderstood and aggrieved heroes is underscored right as the curtain rises, by John Utterson (played by Laird Mackintosh) Solicitor and friend to the “Doctor‘, through whom the tale unravels. Calling his comrade ’a seeker of truth”, he continues: “Henry Jekyll believed he had found a way to control those separate elements–not merely for the furtherance of science, but for the relief of human sorrow and suffering.” Moreover,  Bricusse adds still more humanity and even poignancy (not to mention irony) with the inclusion of several “Love” interests (if you can call them that) for Jekyll and Hyde in the persons of Emma Carew–the good doctor’s fiancé, and Lucy Harris–a girl of the streets and singer at “The Red Rat”, a seedy pub on the even seedier side of town  who is thrust into Jekyll‘s life, the result of his unexpected ‘alter-ego’, Edward Hyde’s ruthless brutality. Additional dramatic significance is also added by choosing to have the newly ’unleashed” Hyde then seek out and eliminate members of the committee who rejected Jekyll’s request.

“Pleasures of the night-time that fade at dawn, selling treasures of the night-time ’til night is gone” Deborah Cox is Lucy Harris

Along the way, Bricusse and Wildhorn’s first-rate  score takes audiences on a wild Victorian thrill-ride that’s all at once classic and modern, building upon the best of the frequently spectacular ‘Popera’ style of musical so prevalent in the 1980’s and early ‘90‘s. Likewise, the songs are a good fit for “American Idol” alum, Constantine Maroulis  providing him plenty of opportunities to express all the passion, style and vocal dexterity that made his turn on “Idol” so unforgettable. Last seen ‘rockin’ ’em dead’ in the touring company of “Rock Of Ages”, he now appears in the dual roll of the up-standing (if scientifically misguided) Doctor, Henry Jekyll, and his unanticipated (–and decidedly darker-spirited) ’creation”– “Mr. Hyde. Perhaps his most invigorating occasion to shine involves the rousing, “This Is The Moment”–delivered as a prelude to the doctor’s daring decision to inject himself with that fateful concoction. Here too though, is illustrated still another of the many amazing attributes the script boasts: chiefly how such bold and uplifting instances are frequently followed by swift and jolting (although textually, inevitable) consequences. Another terrific interlude has him sharing a tender duet with Teal Wicks as Henry’s intended, Emma Carew, titled “Take Me As I Am”  (–given such wry little touches like this, is it any wonder “Jekyll & Hyde” has become  such a highly regarded international sensation?)

“Emma Carew? Can this be you? What kind of man have you taken?” Teal Wicks is the Good Doctor’s prim and ever patient ‘intended’, Emma Carew.

Joining Maroulis is multi-platinum selling R&B artist Deborah Cox as Lucy, and she too is afforded many memorable  moments on stage, thanks to the numerous songs and production numbers designed to illustrate the other, far less “posh” elements of life in Victorian London (–“Life is hard in the Devil’s backyard” the local denizens proclaim at one point.)  In fact, Lucy’s occupation (well, one of them, at least) gives rise to some wonderfully evocative musical numbers that even offer bittersweet commentary on the proceedings–including the lush, romantic “Someone Like You”, the hopeful “A New Life” and her saucy introductory burlesque, “Bring On The Men”. Also featured is Richard White as “Sir Danvers Carew“, Jekyll’s Patrician “Father-in-Law-to-be” who similarly serves as Uterson’s ‘co-narrator”, while the entire production is directed and choreographed by Jeff Calhoun, the Tony Award Nominated wunderkind renowned for helming a veritable who‘s-who of outstanding productions, tours, and revivals like this one, among them: “Newsies”,  “Bonnie & Clyde“, “Grease” and “9 To 5” just to name a few.

“The key thing about ‘Good & Evil’: Each man has to choose. Heaven or Hell is a ‘Helluva’ gamble to lose!” (Cox & Maroulis)

“Our hope for the show is to ‘blow away’ the audience and impress the critics,” McCoy enthuses, “–no guarantees yet, but I believe ’Jekyll & Hyde’ will do exactly that!” The show is slated to run for four weeks through Sunday, September 30 at “The La Mirada Theater For The Performiong Arts “ located at 14900 La Mirada Blvd. In La Mirada California. Curtain times are 7:30 pm on Wednesdays & Thursdays; 8pm on Fridays, with two performances on Saturdays at  2pm and 8pm, and  matinees at 2pm on Sundays. Tickets range from $20-$70 and can be purchased by calling the La Mirada Theatre Box Office at (562) 944-9801 or (714) 994-6310, or on-line at:

www.lamiradatheatre.com  (Student, Senior, Children, and group discounts are also available.) Afterward, the show moves to San Diego, October 2-7, then onto “The Theater Under The Stars” in Houston Texas’, October  9-21, and Tampa Florida’s “STRAZ Center” October  23-28, before heading on to 21 other cities throughout the U.S. including “The Kennedy Center” in Washington D.C. (November 20-25),  “The Kimmel Center For The Performing Arts” in Philadelphia PA ( December 26-30) and “Durham Performing Arts Center” In Durham NC (January 8-13, 2013) before “officially” bowing on Broadway. For more information as well as a complete listing of all scheduled tour stops, checkout:
http://jekyllandhydemusical.com
. There‘s no ‘two-ways‘ about it: Melodrama“ doesn’t come any more dramatic and “The Grand Guiginol” was never Grander–so don’t miss “Jekyll & Hyde“!

Special thanks to David Elzer at “Demand PR”, Tom McCoy at McCoy-Rigby Entertainment and the cast and crew of “Jekyll & Hyde” for making this story possible.

Show ‘Two-nes’ : Wedding-Themed “Love Songs…A Musical” Courts Broadway With “Feinstein’s” Engagement

“Every fantasy is you–every dream that might come true; You are the song I sing–YOU are my everything…I am in love with you!”  (–Excerpt from “Love Songs…A Musical”)

…Sumptuous words, rapturous phrases–all from the mind and talent of  Composer-Lyricist Steven Cagan.“ All that I’ve ever wanted to do with my music is move people,” he confesses; “and looking back, the moments that always moved me the most were the tenderest and most loving. I’ve always felt that one of the few things in life that’s really worth singing about is love.” It’s this search for connection through music–particularly music as the fuel for love and devotion that is slated to be explored later this month with the debut of ”Love Songs…A Musical” when it opens for a limited five night run at New York’s renowned “Feinstein’s” at “Loew’s Regency-Hotel”. Marking both a first for the venue as well as the Big Apple‘s theater community as a whole, presented will be scenes from this new Musical, sung by its cast of Broadway stars prior to its theatrical premiere!

Composer-Lyricist Steven Cagan, The Man Who Makes The Lovers Sing!

A proud Alumnus of the inaugural class of the celebrated Lehman Engel-BMI  Musical Theatre Workshop, Cagan  observes that, “Basically, it’s an evening of love songs, looking at love from every possible aspect–the funny, the bitter, the happy, the sad, the sexy, the tempting, the frightened–it’s a collection of songs looking at love from all these various angles, and hence the title: “Love Songs”!” Ironically, in reflecting back on how the project got its start, its creator lets on that perhaps it might be more fitting to say that it all began with a single love-SONG, detailing how in 1995, he wrote a ballad titled “Carpe Diem.” Now highlighted in the second act, he recalls liking it so much that he contacted singer Michael Feinstein about recording it.

“Master Of The American Song Book”, Michael Feinstein who encouraged Cagan to “seize he day” when he recorded “Love Song’s ” “Carpe Diem”

 ‘So Michael ‘demo-ed’ ‘Carpe Diem‘,” he divulges, “and that was the beginning of the entire process of creating this show.” Acknowledging how Feinstein has since then been “A champion of this work from day one,” he continues, “I am flattered and honored that he thinks enough of my work to support it the way he has–he’s my hero!” For this very reason then, Steven especially enjoys the delightful fortuity involved with it’s debut occurring at the esteemed singer’s popular club. “The fact that now, it’s being ’done’ at Michael’s place by way of introducing it to an audience, it’s just a perfect circle–a perfect ’arc!” he smiles.

“Every Now And Then, I Don’t Pretend That It Makes ANY Sense, Few Are The Things That Do.”: Kevin Spirtas ‘Is Gonna Go For The Gold” As “Best Man” Roy

Yet, quick to recognize that successful musicals are based on more than just one or two hits, Cagan also knew that the real challenge to building “Love Songs” into a workable ’show” was to find a “frame or story-line” that would logically connect each separate song. Happily, by creating a set-up involving three couples–each at different stages in their own individual-relationships, the Master-Melodist has ingeniously done just that. “It’s very much a ‘book’ musical“ he advises, “even though it’s completely sung. There ARE stories taking place here involving the three couples, rather than ’speaking’ their thoughts and feelings though, they are ’sung-through’.” Director Lynne Taylor-Corbett who is helming this upcoming presentation at “Feinstein’s”, echoes his sentiments.  “I have known Steven for many years,”  she affirms, “and think that ‘Love Songs’ is a crowning achievement–full of wisdom and whimsy.” Obviously too, plenty of others are in agreement with them, for since its inception, the show has gone on to win at the University of Michigan’s prestigious “Festival of New Works” competition.

“I’ve seen all there is to see, clearly as can be…I’ve seen through a Jaundiced-eye every wretched lie we exchange at ‘Husband & Wife’ Time”: Debbie Gravitte is the saucy, cynical, “Rose”

To realize their vision at this, the next step in its evolution, the pair have brought together one of the most gifted casts ever to grace the spotlight. Set in “the here and now“, the musical tells (or rather ‘sings” ) the tale of Jeremy and  his bride-to-be, Gabby–played by Ken Clark and Ashley Kate Adams respectively. Joining them as part of their wedding weekend (at, appropriately enough, Loew’s Regency Hotel) are Broadway veterans Kevin Spirtas and Debbie Gravitte as Jeremy’s boss and Best-Man, Roy and his long-time (if somewhat cynical) ‘paramour‘, Rose; likewise helping prepare for the ceremony are Fleur Phillips as Sarah–Gabby’s older sister and Maid Of Honor, and her boyfriend Ben. Portrayed by Bryce Ryness, Ben’s a quixotic-minded Poetry Professor who clings to the all-or-nothing belief that love is only ‘real’ if it resembles something out of Keats or Byron. As the action commences, everyone has checked-in…almost. In fact, the only one who hasn’t is Jeremy himself (being stuck out of town on business.) To top it off, unbeknownst to her Groom, Gabby has just discovered she’s pregnant. Throw in how Sarah has been ‘engaged’ to Ben for six years and is weary of his failure to commit to her, while Roy and Rose, on the other hand, have been around the block (‘amorously speaking‘) several times and just want to enjoy themselves (–and anyone else should the opportunity arise!) During the course of events, couples are joined, rejoined, break up and make up (not necessarily in that order) as Jeremy makes it back just in the nick of time to say  those magic words “I Do’, thus  helping provide the kind of happy ending only a Broadway-smash-in-the-making can offer!

“If I could Find The Word, I’d Write Poem…Just Being Here–Always & Ever With You” Ken Clark &Ashley Kate Adams Are Newly-weds To Be, Jeremy & Gaby

Featuring titles like: “State Of The Union“, “Always & Ever”, the touching lullaby, “Sweet Tomorrow” (in which Gabby ‘introduces herself’ to her unborn child) and the poignant but powerful “I Am In Love With You”, the winning wall-to-wall score could be called a potent mix of ‘Stephen Sondheim meets Marvin Hamlisch’ (with a bit of Barry Manilow thrown in.) However, each  maintains an integrity and uniqueness that’s akin to a series of mini-rhapsodies exhorting the many facets (and in some cases, frustrations) of this strangest and most wonderful of emotions. Citing “Carpe Diem” as a perfect example, Steve explains, “Simple expressions of love are the essence of what it is that I try to accomplish with my work.” Then again, along with lush power ballads, “Love Songs“ is also loaded with plenty of snappy word play and sharp (not to mention–observant) comical ditties, such as ’Ben’s” frenetic ode to romance, “Pitter Patter”–itself  a sly, humorous, ‘homage’ to Sondheim (–one of this songwriter’s role models, whose “West Side Story” first inspired him to consider writing for the theatre.)

“Let It Happen–Take The Passion, Let Me Love You (In My Fashion) Carpe Diem–Seize The Moment!”: Bryce Ryness is Ben, Fleur Phillips is Sarah

While Ms. Corbett has an extensive background in dance–including work with the New York City Ballet, due to limitations in the size and space, as far as this particular engagement goes, in terms of including much ’dance’ to go along with those songs, very little will be incorporated, opting instead to present it in what the production team calls more of  a “Cabaret-style”. Still, for her part, Director Corbett is relishing the challenge of mounting the entire piece in “Feinstein’s” smaller space. “I’m looking forward to the experience at Feinstein’s to give us a chance to look even deeper into the heart of the work with a production that allows the piece to shine through.” she reveals, stressing that her goal is “to make it a universal experience for men and women everywhere“. Cagan does allow, on the other hand, that in the future as part of larger, fuller staging, he does foresee several integrated dance sequences. “Frankly, there’s an awful lot of the story that CAN be danced,” he divulges; “and I have left some places in the score for ballet sequences–even a few within some of the songs.”

 

How often does one have the opportunity to witness the birth of a genuine impending Broadway Triumph? “Love Songs…A Musical” will run starting Sunday, August 26^th, through Thursday August 30^th, each evening at 8:00PM  at the  magnificent “Feinstein’s” at the Loew’s Regency, located at 540 Park Avenue (at 61st Street) in New York, NY . For more information or to reserve seats call (212) 339-4095 or log onto: 
http://feinsteinsattheregency.com
 

Photos : Kevin Spirtas by Leslie Bohm, Debbie Gravitte by Doug Craib, Ken Clark by Taylor Hooper, Ashley Kate Adams by Billy Bustamante, Fleur Phillips by David Zaugh, Brice Ryness by Jesse Ashton Photography, all courtesy of Amanda Cagan and ABC PR. Special Thanks To Steven Cagan, Amanda Cagan, Corey Chambers, Michelle Rizzo and the Cast of “Love Songs…A Musical” for making this story possible.     

Mee-yowza! “CATS” Eye’s Ovations And ‘A-paws’ In The O.C.

Jellicle Cats Come Out Tonight, Jellicle Cats Come One--Come All; The Jellicle Moon Is Shining Bright--Jellicles Come To The Jellicle Ball!

“They’re quiet enough in the morning hours, they’re quiet enough in the afternoon, reserving their terpsichorean powers  to dance by the light of the Jellicle moon…” ‘They’re’ that phenomenal flock of felines from the hit musical “CATS”, and they’re  kicking the New Year into high gear at “The O.C.’s “ Segerstrom Center for eight purr-formances from January 17 through January 22! This is the show that’s credited with single-handedly initiating the British invasion of Broadway back in the 80‘s (not to mention redefining the concept of ’pop-opera’s’ everywhere,) so for anyone eager to experience the joys and wonders of  live theatre, there isn’t a better production to do it with! Moreover, considering the center’s twenty-five year commitment to offering audiences the broadest range of stage-entertainment, students in particular will love this intricate intertwining of music, movement, drama, and ‘dazzle–even touches of intrigue. Each is introduced by an entire menagerie of unforgettable characters (–and still another reason this provides a top-notch introduction to the arts for first-time theater-goers too.)

Based on Writer T.S. Eliot’s 1939 classic “Old Possum’s Book Of Practical Cats”, its conversion to the musical stage began, we‘re told, when Andrew Lloyd Webber came across a copy in an airport shop and dared to express that wonderful thought: ’what if?”  The end result first opened on May 11, 1981, at the New London Theatre in the West End; eight years later, it celebrated the start of many important milestones when  it became the longest running musical in the annals of British theater, holding the final performance in 2002, on the 21rst anniversary of its premiere. It also made the record books on this side of the Atlantic, opening at the landmark “Winter Garden Theater” on October 7, 1982, then going on to become the longest running musical in Broadway history until ending its equally record-breaking 18-year  run on September 10, 2000.  Not only that, in October of 1991, it became the longest continuously touring show in American history to date. In fact, this national tour is the only production in North America sanctioned by Andrew Lloyd Webber himself.   

Understanding  that there is no one way to describe the behavior of cats in general, Eliot’s stanzas magnificently captured their spirit in its numerous forms–from playful to predatory, arrogant to adventurous–and always recognizing their more revered, enigmatic nature. This also provides plenty of opportunity to showcase  widely varied styles of music and dance, and Webber’s score is similarly near virtuosic–brilliantly complimenting these original verses by melodically conveying the feel of a cat’s movement. Whether it be a soft, quiet tread or sudden, boisterous pounce, each number wonderfully captures ’the mystical divinity of unashamed felinity”.  These include a jazzy ode to Jenny Anydots–the consummate domestic cat, “on whom any well-ordered household depends“. Then there’s the bouncy ‘Beau Brummell of Cats“, “Bustopher Jones”; stout but stylish, this sporty St. James’ street strutter is like Monty Woolley with whiskers and a tail; also, the gentle, “Gus”–the aged “Theater Cat” who recalls in a touching ballad his glory days long, long ago ‘on the boards‘. At the other end of the spectrum, the raucous “Rum Tum Tugger” is a spandex-wearing Mick-Jagger-in-his-own-mind with a bushy white mane; likewise, that ‘Napoleon Of Crime’ “Macavity, The Mystery Cat“ is the nearest thing to an actual villain this piece possesses.

Prodigal Pussycats: Those Telepathic Twin ‘Tabbies‘, Tantomile and Caricopat!

Now, unique to this version, two more have been restored back into the ‘litter’. Last seen in the initial New York outing, “Psychic Twins” Coricopat and his identical sister Tantomile are always in sync, with matching costumes and make-up. Moving in perfect unison, where one goes, the other follows–their close cropped ears and wide eyes always feeling and foreseeing things before they occur, and together, they provide focus to the story indicating what is to come. Some hint as to their otherworldly nature is even given in the opening number during which Coricopat asks “Are you tense when you sense  there’s a storm in the air?” His sister’s query quickly follows: “Can you ride on a broomstick to places far distant?”

 Chief among the dramatis purr-sonae is “Old Deuteronomy“ the leader of the cats, who is, we quickly learn, ‘famous in proverb and famous in rhyme”, and “Grizabella“ a one-time “Glamour Cat“. Arguably the most important (and most remembered) character in the piece, her saga was added specifically for this stage adaptation, taken from the poet’s unpublished drafts of the manuscript. Her poem was cut from the final edition because the story of a once beautiful but now downtrodden pet was considered too sad and dark for a children’s book. Nonetheless, included here, it provides just the needed connection to make all these single, only marginally-related works into one cohesive plot.  

An old junk yard provides a terrifically trashy ‘tabby-leau’ against which all the action is played out with common, everyday items enlarged to give the impression that the actors are merely no more than the size of your average, neighborhood mouser. Comprising this multicolored, debris-laden backdrop are towering trash cans, gargantuan garbage, and humongous chunks of chain-link, all surrounding a large, broken-down car (complete with titanic-sized tire!) These variations in perspective effectively put the viewer in the ‘cat-bird seat’ when it comes to witnessing all the high-spirited happenings, and are one more reason that Segerstom Center, with its impressive 3000 seat auditorium and superbly balanced acoustics  is an especially choice cradle in which these cats can rock (–and ‘rock’ they most certainly do!)

While those first tentative notes are heard, felines of all kinds gather for their annual “Jellicle Ball” where they’ll  decide who, by the evening’s end, will ascend to a higher realm of existence known as the “Heaviside Layer” to be ’reborn’ into a new and better life. This reference to ‘kitty heaven’ is loosely inspired by Eliot’s play “The Family Reunion” in which he describes the afterlife. Yet that’s  another standout element of the show: it slyly incorporates terms and allusions to its author’s other works. For instance, the lyrics for Grizabella’s hit, “Memory” were actually adapted from the writers’ sonnets “Preludes” and “Rhapsody on a Windy Night”. However, while this is undoubtedly the production’s ’cat-chiest’ show-stopper, there’s far more to this breath-taking score than just that! In addition, each of the technical aspects were so groundbreaking, they continue to set the standard for stage extravaganzas today (Is it any surprise that the show proved to be the “Cat’s Meow” at the 1983 Tony Awards–walking away with seven, among them ’Best Lighting’, ’Best Costumes’, ’Best Book Of A Musical’ and of course, ’Best Musical’?)

…And who would ever suppose that THAT was “Grizabella, The Glamour Cat“?

As 2012 begins, THIS is what’s new, Pussycat! If you‘ve never seen “CATS” before, ’dream of a new day’ and resolve to ‘cat-ch’ this engagement special enough for ‘nine life times‘! If you have, ’let the memory live again’. Show-times are Tuesday through Saturday evenings at 7:30 PM,  with a Saturday matinee on January 21 at 2:00 pm. On Sunday, January  22 the curtain rises at 1:00 PM and 6:30 PM. Tickets start as low as $ 20.00 and may be obtained at The Segerstrom Center For The Arts’ Box Office located at 600 Town Center Drive in Costa Mesa, online at  www.SCFTA.org , or by calling (714) 556-2787. (The TTY number is (714) 556-2746.) For inquiries about group ticket discounts, call the Group Services office at (714) 755-0236.

Production Photos by Joan Marcus, courtesy “CATS-Eye Productions” LLC & The Segerstom Center For The Arts, Costa Mesa CA.; Special Thanks to the staff of The Segerstom Center For The Arts for making this story possible.

Knott’s “Scary” Farm 2011: Here’s A Cheer For 38 Years Of Fears!

Knott's World Famous "Halloween Haunt"--'Ghouls Rush In Where Angels Fear To Tread'!

‘Tis the season for screamin’ and for nearly four decades, World famous Knott’s Berry Farm in Southern California has welcomed these days of lengthening nights with a grand, ghoulish tradition. That’s when the entire place is transformed into one humongous Halloween party on select evenings from September 23 through October 31. Knott’s was the very first to transform their theme-park this time of year and in the process, they almost single-handedly cultivated a new and thriving market in the Amusement Industry. Starting back in 1973, this landmark located in Buena Park, California has become the preeminent force of Halloween-oriented entertainment anywhere. In fact, it’s the largest, best attended affair of its kind in the world–repeatedly rattling the deepest imaginations of thousands of patrons.

"The Most Sinister Man To Crawl The Face Of The Earth (And The One Who Inspired It All,) "Seymour"!

Presiding over that inaugural year was ‘Master Of The Macabre‘, “Sinister Seymour”–a TV horror-show host at the time who screened (or should that be ‘screeched’) classic monster movie clips in the park’s then-recently opened “John Wayne Theater” (now “The Charles Schulz Theatre”.) What started out as a simple way to promote a local celebrity’s personal appearance in hopes of boosting the usually tepid post-summer period, has gone on to become one of the greatest annual phenomena around–“The Halloween Haunt“. Every year since then, countless visitors have experienced diabolical delight from all the thrills, chills, screams and bad dreams inspired by their spooky labyrinths and transformed attractions that conjure up specters of  insanity, oblivion, mayhem–and loads of fun!

2011’s edition features four ‘scare-zones’–including the aptly named  “Ghost Town” that, for these nights, is kept shadowy and drenched in “fog“ out of which–and at any given moment–horrific beings can emerge ready to pounce! For that matter, there’s literally hundreds of masked fiends, goblins, monsters and mutants roaming everywhere–loose, lurking and coming to ’get’ you! Other returning favorites include Necropolis–a post apocalyptic world where flesh, blood and machine combine in an eerie fusion that’s something akin to “Metropolis” meets “Mad Max”–with a little “Night Of The Living Dead” thrown in. Just a simple stroll through the murky byways evidences a new-wave industrial wasteland where the key to survival is understanding: “Blood is power“ (just be sure it’s NOT yours!) Meanwhile, Carn-Evil is a macabre mix of mirth and madness where a menacing menagerie of psychotic circus performers lie in wait, eager to help you laugh yourself–to death. Joining them is the new Gypsy Camp. Situated in the looming shadow of the Ghost Rider rollercoaster, it pays a homespun homage to the former amusement area that existed until the present “Roaring 20s” section replaced it in 1976. Here you can enjoy Gypsy dancers, some sleight-of-hand, or have your fortune told by folks ready to unveil what fate has in store by ‘divining the cards”!   

As part of the overall metamorphosis, established rides and attractions are transmogrified to resemble desperate, deranged nightmares. This year, the exciting “Timber Mountain Log Ride” has been changed into a furious excursion through  Washington Irving‘s legendary “Sleepy Hollow”, setting riders on a search for (or maybe a perilous run from) the demonic headless horseman. As clever as it is creepy, in addition to the ’spirited’ goings-on that possess this now-haunted hill-top, keen eyes will notice the appearance of  several unsettling elvish characters. In what turns out is a sly nod to the Author’s other classic, ”Rip Van Winkle”. They are the little men of the mountain who he cautions, like that ol’ decapitated equestrian himself, we never want to meet. It’s exactly such attention to the subtlest touches that demonstrate the genius of Knott’s ride planners–and ‘requiescat’ assured, such details abound.

 While the rides are always cool, it’s those innovative life-size dioramas depicting our darkest demented dreads that have  enabled “The Haunt’ to reach the truly iconic status it has. We’re talking of course, about the weird and wild walk-through mazes! This year, they number 13 in all, featuring shiver-inducing themes ranging from a midnight jaunt through Victorian England following the notorious Jack The Ripper in “The Terror Of London”, to a returning favourite that’s been hailed as the perfect depiction of a child’s nightmare–“The Doll Factory“.

"The Doll Factory" Maze (A Deranged Little Girl's Delight: Barbie's Dream House--OF HORRORS!!!)

 If the latter showcases phobia from a kid’s eye-view, new for 2011 is  “Delirium”, which dishes out full-on manic terror in adult-size portions! Indeed (–fright fans take note–) this is worth the price of admission alone! It has to be one of –if not THE–most brilliant in the events’ entire history. Right from your disturbing entry through a facade comprised of giant unblinking eyeballs, an entirely new standard for scary exhibits is set (Think “House Of 1000 Corpses“ were it directed by Alfred Hitchcock.) Filled with confusion and heart-stopping half-mutated insect people and giant maggot men, this is the type of waking delirium only glimpsed in a fever-spawned hallucination; if anything, it should be in 3D!  Then again, such ‘visions’ (foreboding as they may be)  make this  Haunt the most memorable yet.

It's Here, It's 'Fear'--Get Used To It!

Another new outing, ominously titled “Virus Z”,  welcomes hapless travelers to the small town of Pleasanton–Population: Zero (living and sane that is!) It seems some highly infectious pathogen (–make that ‘psycho-pathogen’) has turned the entire town into cannibalistic zombies and you’re on the menu! Here too is where the creators really show their absolute virtuosity in producing imagery guaranteed to disturb our sleep for months to come–often with extremely  understated touches. The journey takes us through various points in town that otherwise would seem quite ordinary–a diner, a high school gymnasium and an elementary school classroom. It is in this latter spot that we see a blackboard where a misbehaving student has had to write “Orion will not bite the teacher” over and over again; yet, both the sentence itself and the way it progressively devolves into incoherent and frenzied scribbling gives an awesome suggestion as to how bone chilling the back-story truly is.

 As in the past, guests wishing to dine with the costumed creatures while taking advantage of some of Knott‘s renowned cuisine can take advantage of the “Pre-scare Dinner Special” which allows them to ’get in to the spirit” early by enjoying an incredible all you can eat “Boo-fet” feast followed by early entrance into the festivities before they open to the general public. Advance Dinner reservation price is $24.00 (which is over and above admission ticket price.) ‘Walk-up’ seating is also available for $28.00.

 Admission for this special ticketed event may be purchased either in person at any of Knott‘s ticket windows, or on-line by logging onto: www.knotts.com;  They can also be obtained by calling Knott’s “Haunt” line at: (714) 220-5200 ; Prices  range from $34-$51.00 presale, $57.00 if bought at the gate the day of the event, and one ticket is good for all rides, mazes and attractions. The entire “trepidation celebration’ commences at 7:00 PM until 1:00 AM (2:00 AM Fridays and Saturdays,)  and runs Wednesdays to Sundays throughout October (Thursday through Sunday only for the weeks 9/29-10/2 and 10/5-10/9) until Halloween Night (October 31) 2011. For more information check out: 
http://haunt.knotts.com
. 

Talk About Your 'Killer" Parties--No One Does It Like Knott's "Scary" Farm (In Beautiful 'BOO-ena Park', CA.)

Special Thanks To The Staff, Crew & Performers At This Year’s Edition Of  Knott’s Annual “Halloween Haunt” For Assistance With The Photos And For Making This Story Possible.

 

Talk About Your Childhood Wishes: “Willy Wonka” Director Has The Golden Ticket For A Winning Evening!

"Greetings To You From Mr. Willy Wonka Himself!"

“Don’t forget what happened to the man who suddenly got everything he always wanted,” grins Willy Wonka–the famous Chocolatier at the close of 1971’s classic musical, “Willy Wonka And The Chocolate Factory“; “He lived Happily Ever After”.  One of  Moviedom’s  most memorable closing lines may seem an odd way to begin a story, but in this case, its strangely appropriate. Perhaps a bit of background is in order…

 For the past few months, I’ve had the pleasure of sitting on the committee for “Chocolate-The Event” a sumptuous celebration of all things chocolate in Anaheim Ca. hosted by the local “Muzeo“ to benefit its ’ENIRO” program which brings arts education to children. Early on it was decided that we wanted to have a “Grand Closing Night Gala“. Likewise, with chocolate as our central theme, it was only natural that we should like to incorporate that fore-mentioned character into the festivities in some way (this was a charity event after all, and part of the legacy of this enchanting little bit of celluloid is the way it gently reminds us that in the end, ’kindness counts’.)

"ManOfThe Hour"-Director Mel Stuart & 'Yours Humbly'

Board members were  required to meet regularly–often via phone. One night, directly after one such conference, I happened to be watching the SYFY Channel’s “Hollywood Treasure”–a program where experts find old show-biz props and memorabilia for auction. This particular episode featured genuine “Everlasting Gobstoppers”, those multi-hued, geometrically-shaped ’candies” which play an important part in testing young Charlie Bucket’s integrity at a pivotal moment in the plot. Chosen to verify the authenticity of these was none other than the movies’ award-winning Director, Mel Stuart. During the segment I learned two things: Mr. Stuart lived locally, and quite understandably, his knowledge of everything involving the production is absolute! In our next meeting  the question was obvious: wouldn’t it be great if we could invite the man himself to participate in some way? Enter then, the good folks at Ultrastar Cinemas’ Ultraluxe Theaters (http://www.ultrastarmovies.com)

Ultraluxe Theaters In "The Garden Walk" In Anaheim Ca.

Situated across from Disneyland in the city‘s ‘Garden Walk’, Event Chairman and “Lance Magazine” Publisher, Lance Perkins had already approached the theater regarding our closing celebration, now only the details needed to be ironed out. Luckily this time, sitting in was Reuben Skipper, who assists with Public Relations there and has experience working with both “The Teen Choice“ and  “Do Something“ Awards. Upon hearing my suggestion, Skipper took initiative, explaining, “I contacted Mel and explained to him what we were doing and how it benefits children’s charities and he was on board.” One sticking point remained though–neither “Chocolate-The Event” nor “Ultraluxe Cinemas” had been able to get Warner Brothers (the studio holding the rights) to agree to let us exhibit that original release. Of course, no one counted on its actual director coming to our aid, but at Perkin’s behest, that’s exactly what happened! As Skipper further relates, “within two hours we had received word that Warner Brothers had agreed, clearing the way for us to finally show “Willy Wonka”.”

'The Candy Man' Can (-Walk The Red Carpet That Is!) Willy & Crew

Thus, on Sunday, July 31–the evening following “Chocolate-The Event”, a glorious and glamorous “After Party” was indeed held with many of the festivals’ volunteers and celebrity VIPs in attendance. Making their way down the red carpet, special guests included  Alison Arngrim–“Little House On The Prairie’s” own “Veruca Salt-of-the-Earth“, “Nellie Olson”, and Master Chef Emmanuel Delcour from BRAVO TV’s Chef Academy. Once inside, attendees mingled with none other than ol’ Willy himself while being dazzled by Dancers from “Battle Of The Dance” (www.battleofthedance.com) whose M.C. Jack Rein adroitly performed the same role here this evening. Lance too, was on hand to present trophies to the winning participants in his Chef Challenge the day before–culminating with “Top Chocolate Honors” for  Stuart, who in turn presented him with a ’Golden Ticket’ of his own.

"I've got a Golden Ticket!": Mel Stuart Gives "Chocolate-The Event" Organizer, Lance Perkins The Treasured Token

At 82  Mel is a dapper gentleman and true to the perception, no one is a bigger fan of his delightful motion picture than he. Right off, the film-maker recalled how it was his then-eleven year old daughter Madeline who first approached him with the idea of translating  Roald Dahl’s 1964 children’s book onto the big screen. At first resistant, the girl persisted until dad ultimately relented. Little surprise then that if you pay close attention, you can catch Miss Stuart as Charlie’s classmate ‘Madeline Durkin’ when she is called on during the teacher’s lesson on percentages using “Wonka  Bars”.  (Yep, THIS is the lass who started it all!) Son Peter (now a successful Director in his own right) was similarly cast as ‘Winklemann”–the dark-haired kid who bursts in proclaiming excitedly, “Willy Wonka’s opening his factory! He’s gonna let people in!”

Your Humble Writer Again With The Man Who "Makes The World Taste Good"- Willy Wonka (--He's The Famous Chocolatier!)

 In order to better create an atmosphere devoid of absolute time and place, Munich was chosen as the location where the project was shot. Furthermore, to help achieve this effect, great efforts were taken to keep cars and other identifying elements to a minimum. Still another surprise the Director reveals is how, “I didn’t make it for children; I made it for the fathers and mothers to love, and if their children do too, that’s even better.” This way they were able to incorporate all those terrific Shakespearean quotes and  snippets of poetry into the dialogue–even the words to Wonka’s ditty, “In Spring Time” (sung while the group is exploring the “Inventing Room“) are taken from “As You Like It.” Interestingly too, he divulges that each quote is used for a specific reason, citing the eccentric confectioner’s response to Violet Beauregard’s infamous “Blueberry” transformation when he questions, “where is fancy bred–in the heart or in the head?” (from the Bards’ “Merchant Of Venice”) “The quote is a commentary on parenting,” confesses Stuart; “Meaning, do you parent from the heart–which may risk your indulging your kids more, or more logically?”

When it came to adding songs into the mix, here also the man of the hour was characteristically frank. “I wanted it to be seeped in reality” he states. ”I didn’t want it to be a musical at all.” However, once he heard Leslie Bricusse’s inspiring “Pure Imagination”, he admits to being thoroughly won over. “One battle I did win though, regards the ‘I‘ve Got A Golden Ticket‘ song,” Stuart smiles. The initial intent was to stage the number as a huge street scene complete with dancing chorus such as had been done with other recent releases of the day like “Oliver“ and  “Mary Poppins“; he on the other hand, rightly felt the song should be more intimate, describing,  “just between Grampa Joe and his grandson.”

Reuben Skipper With Sisters Johnna Brealt (On The Left) & Johnisa Brealt (on The Right)

Before the projector started rolling, everyone was treated to one last surprise. Nine year old Johnisa Breault, stepped up to the stage to serenade the guest of honor with a delightful a capella rendition of  “Cheer Up Charlie”–one of the numerous ’buried treasures” this score contains. Then it was lights down and ‘on with the show!’ “The highlight for me personally was being honored with that ticket from Mel,” notes Festival Chairman and the evening’s organizer, Perkins. “Now more than ever I’ll be looking forward to even more magic at our next events!” For more information on these, he advises logging onto: http://www.ChocolateTheEvent.com and http://www.LanceMag.com. All-in-all, given such a ‘scrump-dilly-umptious’ ‘blow-out“, the Candy-Man‘s closing sentiment expressed in that final reel could worthily describe what a fitting close this entire evening brought to “Chocolate-The Event” (pity there wasn’t a great glass elevator though.)  

"Chocolate-The Event's" Celebrity Chef Challenge Awards Were Also Handed Out As Part Of This "Scrump-Dilly-Umptuous" Evening

Credit & Thanks For The Photos Courtesy Of  Bob Delgado, Rubina Iqbal, Wally Schlotter, Lance Perkins & Jeffrey Huggins; Special Thanks To Sandy Moul, Reuben Skipper, Johnisa Brealt, Jack Rein, Emmanuel Delcour, Alison Arngrim, And Especially To Mr. Mel Stuart And The Staff Of Ultraluxe Theaters in Anaheim, CA. As Well As An Extra Special “Thank You” To All The Volunteers & Commitee Members Of “Chocolate-The Event” For Making This Story Possible.   

Taking The Stage: Susan Watson Celebrates A ‘Fantastick’ Journey To “Follies”

Ladies & Gentlemen, Miss Susan Watson

“Hat’s off, here they come!” Those ‘Beautiful Girls’ of the Weisman Follies will be getting together once more starting May 7 through June 19^th in the new, widely anticipated Kennedy Center revival of Stephen Sondheim and James Goldman’s enigmatic classic, “Follies”. Playing at the luxurious Eisenhower Theater in Washington D.C., the story explores a group of performers who reunite for one last reunion on the eve of their old theaters’ demolition, forcing them to face the changes brought about by the passage of time and the ’road you didn’t take”. Starring Bernadette Peters as Sally, Jan Maxwell as Phyllis, Linda Lavin as Hattie Walker and Elaine Paige as Carlotta Campion, also featured among the A-list cast is Musical Theater Veteran, Susan Watson as Emily Whitman. “Everyone’s getting very excited about this one!” she enthuses; “this is kind of fun to be going off to do a big musical again! I’ll be interested in [“Million Dollar Quartet’s”] Eric Shaeffer directing and Warren Carlysle as the Choreographer and to see what THEY do with it!”

"Follies" May 7 - June 19 On Stage At The Kennedy Center

 Of course, big stage events are nothing new to Ms. Watson, a seasoned professional with some of the most celebrated musicals of recent times to her credit. A native of Tulsa Oklahoma, Susan admits she almost seemed predestined for a career in music, recalling how when she was eight years old, the family took a trip that some might consider fateful for the young girl. “I saw a production of “Oklahoma” in New York when our family was visiting and it really struck me–’that’s what I wanna do!” Surprisingly though, this lady with the voice of gold recalls that her very first time on stage wasn’t as a singer, but as a dancer! “I was about ten years old when I was in a Christmas Play in which I played a Ballerina, and I sort of got the beginning lesson of being on stage.”

 Graduating from high school, she auditioned for and was accepted into “Julliard“ in NYC to study music and voice, where she spent a year. However, during this time she heard about a wonderful new show titled “Westside Story” and knew from the start she wanted to be a part of it. Sending letters directly to the theater, this tenacious up-and-comer would enquire when they were auditioning for cast replacements. Eventually her efforts paid off. “I got a reply that they were planning to take the production to London and they were going to be auditioning people in the Fall.” So, cast as a “Jet” named Velma, she headed off to London, foregoing her second year at the prestigious school.

Susan Today As "Kim" Then

Shortly after returning to the states, she appeared in a unique little tune-filled one-act staged at Barnard College in upstate New York; it was titled “The Fantasticks”. Written by a pair of newcomers named Tom Jones and Harvey Schmidt, if the lady has had a long association with the works of Stephen Sondheim, this is songwriting team who have probably had the most impact on her career. Susan’s involvement gave her the equally unique accolade of being the very first ever to play Luisa, the dreamy-eyed heroine in what would become the longest running musical in history! “It was just this one-act musical,” she reveals; “but we worked very hard doing backers auditions for the show to be produced.” As fate would have though, while preparing for “The Fantasticks” realize its first full-on production, the gifted young songstress was cast in another ground breaking musical–this one on Broadway. Originating the role of bobbysoxer Kim MacAfee in 1960’s hit “Bye Bye Birdie”, she instantly became one of musical theater’s favourite teenagers! “I got ’Bye-Bye Birdie’ and it was to open in May–the same time when they got their money, and we both opened the same month! I can remember saying to Harvey Schmidt, ‘What am I gonna do? I love this show so much but they’ve asked me to do ’Birdie’!” Happily, Schmidt’s wisdom and kindness took center stage. “He said, ‘It’s a BROADWAY show, Susie–you have to take it!, which was very dear,” she smiles. “Looking back, I’ve had a wonderful ‘trip’ on Broadway. I think one of the happiest thoughts is getting on the bus to go downtown to the Broadway area to do a show every night!”

"Earthly Paradise"--Heavenly Voice!

Since then, this veteran of the footlights has performed in numerous productions–by Jones and Schmidt especially. In fact, if Mary Martin was Rodgers and Hammerstein’s favourite to write for, and Liza Minnelli was the same for Kander and Ebb, so has Watson been inspirational for this team! In 1964, she recreated her role in a TV version of the “Fantasticks” starring Ricardo Montalban and John Davidson. She likewise reminisces about visiting the guys in Italy a few years later while they were working on another of their Broadway mega-hits, “I Do, I Do”, and being asked to help them work out a distinctly challenging section in what would become the show’s signature piece, “My Cup Runneth Over”. Little surprise then when it came time for her to record a CD, she dedicated it to the two gentlemen whose music she has helped immortalize. Taking its title from a number in their play, “Collette”, (based on the life of the French Authoress) “Earthly Paradise” is a celebration of the songs of Schmidt and Jones, available from ‘CD Baby’ (http://www.cdbaby.com/cd/susanwatson) “I’ve done so many of Tom and Harvey’s shows over the years, I wanted to do their songs“ ” she beams; “and it was great fun. I had a nice time making this!” And it shows–the collection is a veritable goldmine of hard-to-find numbers, alternate versions of songs, and genuine buried treasures–all which rank it as must-have listening for anyone who savors the art of a genuinely exquisite vocalist!

 Currently gearing up yet another momentous project, she laughs, “This is gonna be something at the Kennedy Center,” adding “It will be fun too, cause I‘ll be working with some really good pros. We have some VERY strong people doing the leads.” In addition, the woman once hailed as “The Quintessential Ingénue Grown Up” is insightful as to why this specific show engenders such amazing devotion from its fans world-wide. “The music is just gorgeous and the songs are so interesting. It’s a rather dynamic story of how people were and are, and how they see themselves–and ’realize’ themselves.” Called “A Beautiful, Broken Hearted Musical” by the New York Times, the score alone is counted among the composer’s most moving and profound, boasting such standards as “Broadway Baby,” “Losing My Mind,” “Who’s That Woman?”, and “Listen To The Rain On The Roof” (–the tap dancing duet presented by Watson and Terrence Currier who portrays Emily’s husband, Theodore.) “The more you hear the songs and the music, the more it grows on you!” the actress notes.

 Furthermore, Susan divulges that “Emily” is one half of the terpsichorean twosome, “The Dancing Whitmans”, explaining “I can tell you that since last they were seen on the stage as a young duo, they’re now dance teachers.” As it happens, this detail too, has given her a chance to draw from her own life-experience. “During my early years, there was a wonderful teacher in Tulsa,” she observes; “Emily’s situation takes me back to Miss Eva, my teacher, so I think I’m going in that direction with it as far as ’who am I’ in this.”

This "Broadway Baby" Is "Still Here" (--And Better Than Ever)

Like the “dyed-in-the-wool” trouper she’s playing, this award-winning stage star has successfully navigated the changing phases of a life “treading the boards”. Understudy, Principal, Featured Player or Character Part, if anyone deserves to belt out “I’m Still Here” it’s this awesome talent. “I can’t complain–I’ve touched many different aspects of music with it all around me. How lucky I am to have had that. A lot of people don’t get to do what they love to do all the time!” For more information about “Follies“, log onto:

Washington D.C. Is THE Place To Be For Sondheim's Classic Musical

www.kennedy-center.org/tickets ; Tickets may be charged by phone through Instant-Charge from 10 a.m. to 9 p.m EST daily by calling (202) 467-4600 or toll-free at: (800) 444-1324.

 Special Thanks to Paul Lambert, Stephanie O’Neill and The Kennedy Center, and Ms. Susan Watson for their assistance in making this story possible.

Show-stopper: Carol Channing Comes “Back Where She Belongs” On Stage–In Anaheim!

Every story-teller knows the importance of finding the core–or ‘spine’ of the tale they’re attempting to relate. This is the same whether they be writers, actors, singers, comedians or any other kind of artist. To clarify, the “Spine” being referred to is the purpose or motivating force to a story, character, or work that defines it, gives it depth, and drives it forward. On Saturday evening, April 16, the town of Anaheim CA, got a lesson in how a true Icon of the stage finds that ‘spine“ or determination for the latter half of their life, and makes it work for the good of everyone. That night, “Theater Hall Of Fame” Inductee Carol Channing paid a special visit to the city’s Heritage Forum for “Back Where You Belong” a one night only benefit concert in celebration of this awesome lady’s 90^th Birthday.

Defying Gravity With Samantha Bell Of The Anaheim Ballet

Produced and Directed by David Green, the man once called “The Johnny Appleseed of Young Talent” for his ability to nurture aspiring artists and provide them with the training needed to succeed in a theatrical career, the program featured “The Kids Next Door”–a song and dance troupe of dynamic young performers from Southern California’s “Musical Theater University“ (www.musicaltheatreuniversity.com). In addition, several members of the Anaheim Ballet also danced, during which Ballerina Samantha Bell practically defied the laws of physics with an astonishing piece in which she managed a quick triple time step–En Pointe (–And Honest! Hand to God! She pulled it off!)

 The theme of the concert paid homage to “Matinee Idols” of stage and screen. Just a few of the numbers presented were “Movies Were Movies“ from Jerry Herman‘s “Mack And Mable“, which saw the cast acting out a Charlie Chaplin-esque silent film; “The Little Mermaid‘s “ Academy Award winning “Under The Sea“,   and “You Can‘t Stop The Beat“ from “Hairspray“. “Star-To Be” Soloists, Jim Mulligan belted out a vibrant version of “Out There”, from Disney’s animated “Hunchback Of Notre Dame” while Kendall Mauvezin similarly electrified the crowd with a sultry rendition of Kander and Ebb’s “Maybe This Time”.

You Cant Stop" Those Dynamic "Kids Next Door From "Musical Theatre University"

Among the Special Guests of the evening were several outstanding members of “The Great White Way‘s” professional community who highlighted and encouraged the work these amazing kids undertook. Among them were Rex Smith–star of both the revival and screen adaptation of “The Pirates Of Penzance”, and Tony Award-nominated Jonelle Allen, herself well-known from the original casts of “Hair“, “George M” and the rock musical, “Two Gentlemen Of Verona”. Also on hand were two alumni from “The Musical Theater University”–Kamilah Marshall, who has gone on to play in “Rent” and the original cast of “Hairspray”, as well as Krysta Rodriguez who recently created the part of ‘Wednesday’ in “The Addams Family”. (In fact, here Rodriguez delighted audience members by singing “Pulled”–her number from that show.)

"The Addams Familys" Krysta Rodriguez & Your Humble Writer

Linda & Howard Knohl Of The APAC Foundation Say "Hello, Carol"!

Proceeds from this event went to “The Anaheim Performing Arts Center Foundation”, “The Dr. Carol Channing & Harry Kullijian Foundation For The Arts” and “Musical Theater University“.   According to Linda Knohl, President of the APACF, “The three organizations that produced ‘Back Where You Belong’ embody all that should be right in America. We continue to work tirelessly to improve quality of life by making the arts available to all of society.” 

  Miss Channing’s appearance occurred in the second act where she and husband Harry Kullijian took to the stage explaining something about the work of their particular organization while stressing each one’s commitment to importance of restoring arts –of all kinds–back into local school curriculums.   Told as only the woman herself could, she then went seamlessly right into her final act one soliloquy from “Hello Dolly”–the show that has arguably brought her the most fame. This is where Dolly Levi, speaking directly to her late husband Ephraim, asks him to ’give her away’ and allow her to ’rejoin the human race’.” 

Miss Carol Channing And Mr. Harry Kullijian

Ironically reported to be the very last addition to this now-historic musical before the script was completed, the actress further explained how it was only after she understood and addressed this particular aspect–or ’spine’– of her character that she was at last able to fully realize who the woman, Dolly, would be. This was directly followed (as “Dolly” does in the show,) by the classic “Before The Parade Passes By”.  There are few genuine “some day we’ll get to tell our grandchildren about this’ moments in life, but this was certainly one of them! The legend, in person, reciting the most legendary moment of her most legendary role…the impact was spectacular. 

 How wonderfully fitting too that, given the message she and Mr. Kullijian are trying to convey was put directly into action by providing both a reason and support for the enthusiastic and dazzlingly talented young people who entertained in such a blue-ribbon showcase. What better way to drive the point home that education in the arts really does give every student that ’spine‘ they need to be informed and insightful individuals!

"Under The Sea"?! ON STAGE Is Where This talented Crew Belong!

More importantly, There are few gems more precious than a well-rounded education, and though for many years she may have told us “Diamonds’ are a girls best friend“, Channing and Kullijian are fast proving themselves to be a student’s best friend through the important work of their foundation. “Wow-oh-wow, fellas–look at the ol’ girl now” indeed! For more information, check out: www.channingarts.com

"Lance Magazine" Publisher, Lance Perkins & The Lady Herself

Special Thanks to Lance Perkins, Publisher of “Lance Magazine”  (www.lancemag.com) For his gracious assistance with photos and Linda Knohl of The Anaheim Performing Arts Center foundation, Joel Aragon, General Manager of The Heritage Forum Theatre, and to Mr. Harry Kullijian and Miss Carol Channing For making this story possible. 

Verse Two: ‘South Coast’ Concert Invites Shoppers to “Feel The Noize”



"Rock Of Ages" Rocked South Coast Plaza

Can a musical about Sunset Blvd.’s infamous Heavy Metal scene during the 1980’s appeal to the more “conservative” tastes of Orange County? It can if it’s “Rock Of Ages”-the awesome, watershed stage experience that has been playing to packed houses on the Great White Way and beyond since 2009! Nominated for five Tony awards including “Best Musical” and for lead actor Constantine Maroulis, (who continues his “direct from Broadway” winning streak as “Glam-Rock“ hopeful, Drew Bowie,) critics have hailed this as “the little show that could”. Now it makes its way to the main stage of the Segerstrom Center For The Arts (Formerly, the Orange County Center For The Performing Arts) in Costa Mesa, CA after wrapping up a successful run in Hollywood.

M.C. Sean Jenness kept things hot

A concert featuring several from  the cast was held on Thursday afternoon, February 24, at the city’s famous South Coast Plaza to promote the upcoming week of performances slated for March 1-6. Playing to an audience comprised of a unique  mix of upscale shoppers, seasoned metal-heads already very familiar with the material (–some having seen the show numerous times) trendy teens and mothers with small children–everyone enjoyed this often brash, but always entertaining musical post-lunch hour change of pace!

A Gem Of A Concert In The Jewel Court

At 1 PM sharp, members of the company ascended the stage in the Jewel Court in front of  Macy’s to give just a brief sampling of  what to look forward to, as they belted out a few of “Rock Of Ages’’ more notable numbers.

Standin' tall and Rockin em all: Mig Ayesa Takes The Stage

Sean Jenness, who understudies “Lonnie” (“Rock Of Age’s” wise-cracking narrator) served as M.C. for the afternoon, joined by cast members including Mig Ayesa–former contender for lead singer of INXS on the popular reality contest “Rock Star”.  Ayesa plays “Stacy Jaxx” lead singer of  the fictional “Hair Band“ “Arsenal”,  and kicked things off with a blended rendition of Bon Jovi‘s classic “Dead Or Alive” (a song that not coincidentally, introduces his character in the show,) then, backed by a powerhouse of voices supplied by the rest of the cast, expertly segued into ’Mr. Big’s” “To Be With You”. Immediately following, the ladies took charge and shook the house, as Rebecca Faulkner, the show’s Lollapalooza of a leading lady, who stars as the vivacious Sherrie (–a dreamy-eyed girl from the Midwest who goes ‘motorin’ to  Hollywood searching for stardom and finds true love,) joined Teresa Stanley–herself the unadulterated vocal equivalent to a super nova in the role of  Justice, the Proprietress of the local  “Gentlemen’s Club”; together, they   dazzled the audience with the rock-ballad “Every Rose Has Its Thorn”. Suffice it to say, “Have these gal got the pipes!“ Not to be easily outdone though, Ayesa and Jenness returned to harmonize an incredible ’acoustic” version  of ’Extreme’s” haunting “More Than Words”.

Heartbreakers, Dream-makers: Rebecca Faulkenberry, Teresa Stanley & Yours Humbly...

All of the songs featured in the concert are similarly included in the show, whose score is comprised of popular heavy-metal classics from “back in the day”, and each this day were simply but effectively backed by two guitarists situated on either side of the stage; all the better though for this talented troupe of genuinely high-octane troubadours to fully take the spotlight. Never was this more apparent than in the afternoon’s crowd-pleasing closer (which likewise serves as “Rock Of Age’s” roof-raising finale too,) “Don’t Stop Believing’.

Ayesa & Jenness happily Harmonize

Has South Coast Plaza ever been jolted with such pure rock and roll energy? Even were the answer to be in the affirmative, one thing’s certain, it’s not likely to be again so magnificently any time soon. In fact, if Thursday’s concert is any indication, the entire Orange County area is in for some truly electrifying performances, when “Rock Of Ages” ‘rocks‘ Segerstom Center For The Arts!

So “O. C.“, are YOU ready to rock?! Tickets for “Rock Of Ages” are available at the Segerstrom Center Box-office located at 600 Town Center Drive in Costa Mesa, online by logging onto www.SCFTA.org , or by calling (714) 556-2787. Curtain-time for all evening performances is 8pm, with Saturday and Sunday matinees at 2 PM , with Saturday afternoon March 5, featuring additional sign-language interpretation for the hearing impaired

Hold On To That Feelin'

All Photos Courtesy Of  Lance Perkins and Lance Magazine. For more information, log onto: www.lancemag.com

Allegro Giusto: The Fruit Cake Follies Slice Up Heaps Of Holiday Happiness!

"The Fruitcake Follies"

“A little bit fruit, A little bit nuts and a whole bunch of holiday cheer”, every December for the last dozen years, “The Fruitcake Follies” have offered enthusiastic audiences their first-class “Season’s Teasins“. Written and hosted by James Gray and featuring the dynamic diva, “Momma”, here the holidays are anything but a drag! Little wonder that the show has developed a genuine cult status among LA-area theater enthusiasts. Oddly enough though, the whole thing was started during the summer of 1999 when Gray did a one man show at the Cinegrill and they asked him for a return engagement. So instead of a Christmas party, he called upon the assistance of a few of his most talented buddies to create a terrific holiday showcase–not to mention a unique–slightly eccentric, and thoroughly delightful experience for everybody.

 This years’ edition began with guests descending the stairs into the basement “Cavern Club” cabaret at the famous Casita Del Campo–a Mexican restaurant in the Silver Lake district of Los Angeles, CA. OK, so maybe the cellar-level theater of a Mexican restaurant isn’t the first place one would associate with a review that is fast becoming a southern California tradition, but it’s proof that A-Plus entertainment is where ever you find it. It also helps that the stairwell was decorated with several LP sleeves of some unique (some would even say “notorious”) Christmas albums from the likes of “The Waltons”, “The Brady Kids” and of course the original Star Wars gang’s “Christmas Among The Stars”!

Kicking things off, Mr. Gray proclaimed that unlike other recitals of this nature, there is no “fourth wall”–meaning audience members were certain to be involved in all the festivities. Each new act was introduced via a door at the back of the set which could best be described as “Currier & Ives“ meets “Rank And Bass”; When answered, it revealed (surprise!) who they are and what they’ll be performing.

Sandy Fox: The little lady with the giant voice and talent

Over the years, the review has practically become the gold standard regarding uproarious song parodies, introducing such awesome little ditties as “It’s Christmas And We’re Jewish” and “I Farted On Santa’s Lap (–Now Christmas Really Stinks For Me)”. This time around, one such parody had “Momma” warbling a take off on the old hummer “I Want A Hippopotamus For Christmas” reworked into “I Want Some Plastic Surgery For Christmas”. Likewise, James and infinitely perky costar, Sandy Fox had a smart and tuneful go at the classic Irving Berlin duet “You’re Just In Love” made over into “You‘re Not Sick–It’s Just Chris’mus”! Don’t let her lighthearted grin and diminutive stature be too misleading though–Sandy is a powerhouse of a performer whose credits include appearances on “The Muppet Show” and “Lizzie McGuire“, while her voice has been heard on “The Simpsons” and “King of the Hill” among many others.

“Momma” too, made several returns–each dressed more ‘memorably’ than the last. Decked out as a plus-sized Mrs. Claus, she led audience-members in a good old fashioned a sing-a-long of yuletide favorites which worked fantastically! Kind of like the program‘s answer to a seventh inning stretch, it instantly raised the energy in the room, adding a refreshing sense of involvement. (Not only that, it was just plain fun too!)

The REAL Christmas "Carol"

Making his official “Fruitcake Follies debut, newcomer Eric Sappalla demonstrated what happens when only one caroler in a quartet manages to make it to the show on-time. Singing “The Carol Of The Bells”, the situation was even graver–he only knew the base part–in B flat yet! Funny stuff, particularly when he simply stood silently on stage waiting for his part to come in (half way through the imagined verse!) Sappela also had a terrific moment involving a clever duet enacted with dolls–thus allowing him to realize a childhood dream of his own–to sing “Jingle Bells” with his idols, Barbra Streisand and Cher (or at least Barbie-sized versions of them.)

James Gray & "Lolly"

Guest-stars  have always played an important part of the program’s success and here too, this year was no exception. They include a yarn-haired puppet named “Lolly“–a five-year-old sugar addict who, along with her handler Leslie Carrera-Rudolph (the talent behind Sesame Street’s very own show-stopper, “Abby Cadabby”) In addition, one particular evening had Master-Tapper, Rusty Frank and “Choreographer to the Stars” Miriam Nelson doing what they do best–dazzling an enthusiastic crowd with some world-class hoofing in a routine saluting the joys of “Egg-Nog”.

Offering up a jovial, joyous “No-Ho-Ho-Ho-el” and very happy “Ha-Ha-Hanukah“, even Kwanza was represented with dead-on send up of “The Lion King’s “ opening number which featured cast members parading through the aisles dressed in holiday costumes in exotic animal prints!) Although the entire production has been likened to a cross between one of Perry Como’s old TV specials and a slightly risqué episode of Pee-wee’s Playhouse, perhaps the best way to think of “The Fruitcake Follies” would be something similar to a Kindergarten Christmas Pageant for adults, its loaded with plenty of feel good moments while still remaining sophisticated enough to keep from being sappy. Sure, there were a few campy moments, but even the most hardened cynic among us would have to admit it was awesome fun–perfect for anyone who could use a little prodding to get into the merry mood this time of year is supposed to evoke.

 

 

Gray has had a long history working with Disneyland, where for eleven years, he played the all-important role of Jolly Ol’ St. Nick (–a point he proudly mentions in his opening.) Not coincidentally then, the costumes here are appropriately colorful and styled like they could have been inspired by a winter stroll through the Magic Kingdom. The quality behind-the-scenes doesn’t just stop at the clothing rack either. The entire show was staged by veteran director-choreographer Ted Sprague whose much hailed work is well known to local theater-goers. Perhaps the finest example of their craftsmanship though –the mark of genius that has made this show so popular for over a decade, occurred toward the end of the evening. While standing in line, Ms. Fox greeted guests innocently asking if she might take their pictures. Later, these pics were put to magnificent use as James serenaded the audience with an 11 o’clock rendition of “What A Wonderful World”, while once again on screen a slide show of those whose photos had been taken were displayed. If it hadn’t happened already, immediate audience rapport was cemented–permanently, poignantly and potently–now. Such inspired use of multi-media–especially in so small a space, proves Messrs. Gray, Sprague, and Company’s complete mastery of their crafts.

 

 Who needs “Festivus”? This is the “Best-ivus“ for the rest of us! To learn more about “The Fruitcake Follies“–including M-Pegs of the most off-the-wall songs from past shows (as well as information regarding James Gray’s other upcoming productions,) visit: www.fruitcakefollies.com. 

 

With so much holiday cheer, who needs mistletoe?!

Special thanks and “Happy Holidays” to James Gray, Ted Sprague and the cast of the 2010 edition of “The Fruitcake Follies” for making this story possible, as well as to Rusty Frank, Miriam Nelson, Leslie Carrera and “Lolly”; and to Ted Ragsdale for all his gracious assitance regarding photos.    

Cast and Guest-stars alike hope audiences have "A Merry Little Christmas"