THE LA MIRADA THEATRE FOR THE PERFORMING ARTS & McCOY-RIGBY ENTERTAINMENT Present “Next To Normal” May 30th-June 23rd 2013

In 2008, Writer-Lyricist Brian Yorkey and Composer Tom Kitt gave theater-goers everywhere the prescription for a bold new musical centering around a suburban housewife and mother struggling with the often devastating effects of bi-polar disorder and the subsequent consequences it plays out on her loved ones. Not exactly material likely to inspire such light-hearted ditties as “On The Street Where You Live” or “Tomorrow”, but the team have succeeded  magnificently regardless! The winner of  three 2009 Tony Awards (including for “Best Original Score“), it next won the 2010 Pulitzer Prize for drama–one of the few Musicals ever to achieve this honor. Then again, few musicals are as impactful as this. Now this momentous production makes its regional debut at Southern California’s “La Mirada Theatre For The Performing Arts” in La Mirada California as the final offering of their 2012-2013 season.

“Make up your mind to explore yourself. Make up your mind you have stories to tell.” Dr Madden (Keith Bearden) consults with Diana & Dan, while Natalie, Henry & “Gabe” look on.

Produced by McCoy-Rigby Entertainment in conjunction with “The La Mirada Theatre For The Performing Arts“, the basic tenet of “Next To Normal” asks: is it preferable to live and suffer with (to the degree of mental impairment) some of life’s most excruciating memories, or to purge oneself of these even if it meant eradicating all the joyful or most treasured ones as well. This is not so much a “Feel Good” musical as it is one that dares audiences to “feel”. Pretty intense stuff to be sure–but still it manages to be illuminating, entertaining and even funny at turns, and these are the   amenities that La Mirada’s production has in spades. The story itself is nearly completely sung through, only interrupted by very brief sections of dialogue, which seems strangely suitable given the heightened mix of mundane reality and manic sur-reality presented; However, don’t think of  Kitt and Yorkey’s contemporary score as a “Popera”(–a better term would be a “Pill-Popera:”!)  Yorkey’s lyrics are deeply astute and expressive, conveying the profoundest emotions and intimate truths concerning what repercussions even the most benign medications can have on a troubled mind. These aren’t so much musical-numbers as they are bona-fide arias–moving the plot along but also affording each of the six characters plenty of opportunities to impart their innermost thoughts and sentiments. By the time the final notes are sounded and sung, viewers are left with, maybe not your traditional “Happy” ending, but (depending on your outlook) a “Hopeful” one instead.

“I’ll wake alone tomorrow, the dream of our dance is through, but now until forever Love, I’ll live to dance with you.” Bets Malone is “Diana”

Bets Malone is Diana, a woman “living on a prayer and  a latte”, from whose somewhat dubious frame of reference the story unfolds (–in one of the more ingenious twists this or any show has employed, we eventually discover that, in view of  her condition, things aren’t always what we’re led to believe!) Equal parts sarcasm, vulnerability, defiance and frailty, Diana is a ’tour-de-force’ role and Malone delivers a tour-de-force’ performance in a cast filled with them! Gifted with a remarkable talent for empathy, She effectively had every member of opening night’s audience right with her every step of the incredible journey she was taking them on. Vocally, she captivated listeners with the poignant “I Miss The Mountains“ and “The Song Of Forgetting“. Tessa Grady also does an amazing job carrying the show’s ‘subplot” as her tightly-wound, obsessively over-achieving daughter, Natalie. Anyone familiar with Ms. Grady’s work already knows what a cracker-jack performer she is–with this, she handily proves she’s a dynamic actress as well (actually, all the roles here seem to entail serious acting with notes on top!) She practically brings down the house with “Superboy and the Invisible Girl” in which Natalie details what its been like constantly living in the  shadow of a memory.

In what might be more of a feminist fantasy than fact, all the guys depicted are infinitely patient (or, as Diana puts it, “strong, stoic and stalwart”) always there, always true to their vows and staying the course come what may. As Diana’s husband Dan, Robert J. Townsend also boasts a great deal of empathetic charm and relatability, lamenting at one point, still another crazy-but-wonderful certainty: “Love is insane”; meanwhile, spectators will definitely find much to connect with in Alex Mendoza’s portrayal of Henry– Natalie’s part stoner, part nebbish, all genuinely likeable beau. Henry is the kind of dream boyfriend every girl wishes she had–and one which Natalie desperately needs.  Thrillingly, as a pair Mendoza and  Grady have terrific on-stage chemistry. Eddie Egan too impressively embodies the solid “All American” son and brother, “Gabriel”  who may or may not be there. Real or otherwise though, his Gabe is very much an active presence that influences all of their lives. Egan’s act one assertion “I’m Alive” verifies how potent and passionate a singer he is; his handling of “There’s A World” shortly after, demonstrates how seductive–even sinister–he can likewise be.  Rounding out the cast, Keith Bearden also does a laudable job making an impact with what could be an otherwise overlooked part as Diana’s “Rock Star’ of a therapist, Dr. Madden.

“My Pharmacologist and I–it’s like an odd romance; intense and very intimate, we do our dance.” Bets Malone as ‘Diana’ surrounded by the cast of “Next To Normal”

Nick DeGruccio’s direction keeps things smooth and always in motion. Being a small cast musical there are no big choruses or impressive scene changes to fill in any gaps in the action; everything takes place on the single split-level set which doubles for several locations. John Ezell’s neo-suburban set design, which relies largely on silhouettes and outlines, physically personifies the idea of the “American Dream”  half-lived, as if the inhabitants are only ‘going through the motions” semi-conscious of  their surroundings–both externally and internally. Steven Young’s evocative lighting design doesn’t just compliment Ebell’s set–it fundamentally supplements it! Painting the rear cyclorama in a spectrum of ever-changing hues, color subliminally mirrors the lead character’s moods from cheery yellows and oranges to gloomy purple, with a few quick jolts of jarring white even thrown in. In fact, lights and set are so interconnected it would be hard to imagine one without the other!

“Maybe we can’t be OK, but maybe we’re tough and we’ll try anyway!” Robert J.Townsend Is “Dan”

More than merely ‘outstanding‘, “Next To Normal” is downright ‘astounding’! Having opened on Friday, May 30^th, it plays thorough Sunday June 23. ShowTime’s are 7:30pm on Wednesdays & Thursdays; 8pm on Fridays; 2pm and 8pm on Saturdays; and 2pm on Sundays. Special “Talkbacks” with the actors after the final curtain will be held on Wednesday, June 5 and Wednesday, June 19. Tickets are available on-line at:  www.lamiradatheatre.com , or by calling the La Mirada Theatre Box Office at (562) 944-9801 or (714) 994-6310.　(Student, Senior and group discounts are available.) “The La Mirada Theatre For The Performing Arts” is located at  14900 La Mirada Boulevard in La Mirada (near the intersection of Rosecrans Avenue, where the 91 and 5 freeways come together.) Diagnosis: All talk of “break-downs“ aside, this one’s a real break-through! Chalk up another tremendous theatrical accomplishment for McCoy-Rigby Entertainment. Suggested Treatment: See it as soon as possible!

Production Stills By Michael Lamont, Courtesy of David Elzer And Demand P.R. (www.DemandPR.com) Special Thanks To David Elzer, Tom McCoy & McCoy-Rigby Entertainment (www.McCoyRigby.com) The Staff Of “The “La Mirada Theatre For The Performing Arts” (www.LaMiradaTheatre.com) And To The Cast & Crew Of  ”The  La Mirada Theatre For The Performing Arts”/McCoy-Rigby Entertainment’s Production Of  ”Next To Normal” For making this story possible. 

“Take this chance and we’ll make a new start, somewhere far from what keeps us apart” The Cast Of The La Mirada Theatre For The Performing Arts/McCoy-Rigby Entertainment’s “Next To Normal”

“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

The La Mirada Theatre For The Performing Arts Presents “Seven Brides For Seven Brothers” April 12-May 5, 2013

There’s a lot more reasons than simply seven to go see “Seven Brothers For Seven Brothers”  at “The La Mirada  Theater Of The Performing Arts” where their latest offering, a high-spirited revival of  the classic MGM musical‘s stage adaptation, opened on Friday, April 12. Indeed, a special kind of magic is being conjured there. This dazzler may start out small enough, but the utter vibrancy and unabashed joy this production is overflowing with sort of sneaks up on you;  once it does though, you’re in for one thoroughly pleasing thrill ride!  Produced by McCoy-Rigby Entertainment and with a book by Lawrence Kasha and David Landay, the original film was based on an earlier one titled “The Sobbin’ Women” adapted from Stephen Vincent Benet’s short story, “The Sobbin‘ Women“ (which itself was loosely inspired by the Roman Playwright Plutarch’s “The Sabine Women”.) Music, Lyrics and New Songs are by Johnny Mercer, Gene De Paul, Al Kasha and Joel Hirschhorn.

“Through your eyes I see clearer, you bring God so much nearer” (Kevin Earley is Adam, Beth Malone is his new Bride Milly)

Set in the year 1850, somewhere nestled along the verdant Oregon Trial fresh-faced young Milly marries rugged mountain man Adam Pontipee after meeting him the very same day; what she doesn’t bargain for though, is also inheriting his six unruly bachelor brothers (–all named, more or less, alphabetically after some Old-Testament hero.) Luckily however, there’s one remedy–to see them all married off.  Meeting six like-minded young ladies at a dance, the brothers later kidnap their would-be intendeds, even going so far as to cause an avalanche to avoid being followed by anyone. Trouble is, before doing this, they forget to obtain the services of the town’s local preacher who can make the entire arrangement ’respectable’, which doesn’t set at all well with Milly. Living in “A God Fearing Territory“, she kicks the boys out to stay in the barn while she and the girls settle into the house until spring when such proper weddings can take place! It’s a frustrating, hilarious, and tune-filled winter–and thanks to Glenn Casale’s expert direction  a very lively and entertaining one too!

Casale directs at a swift and steady pace but never so fast that any of the comic potential the script is loaded with ever gets overlooked. Together with his company they deliver a big boisterous shot-gun wedding-times-seven blasting fun with both barrels! Kevin Earley as Adam makes his boyishly charming, “scruffy on the surface” impact felt right from the opening with the initial solo verses of “Bless Your Beautiful Hide” wherein he belts-out his hopes to meet ‘a gal whose pretty and sweet but saucy as can be”’ while on a rare visit to town for supplies. Opposite him, Beth Malone makes a thoroughly delightful presence too, as his ‘proud and spunky‘ wife, Milly. Both have voices capable of raining the roof when needed and shine especially in their sung-soliloquies–hers in the first act with  “I Married Seven Brothers“ once  Milly is unceremoniously introduced to her new ’home’ (and gets the rude awakening that it’s a complete pig’s sty!) His occurs with the powerful Act Two interlude, “Where Were You?” as he provides some insight into his family’s background as well as the responsibilities and burdens being the oldest has entailed. Earley and Malone  also demonstrate a nice progression in the maturity of their characters–hers from a wholesome girl-next-door who’s just dewy-eyed enough to run off with her “Backwoods Prince Charming” after only a single day’s flirtation, into a calm, serene-yet-strong matronly figure to all the younger girls; his, from a brash lad–unkempt bearded and headstrong, who eventually becomes “a man with a lions’ heart” tough enough to admit when he’s wrong.

It’s much trickier to assert who stands out among the brothers–ALL of them do! They are: Karl Warden as Benjamin, Carson Twtchell as Caleb, Brian Steven Shaw as Daniel, Eric Stretch as Ephraim, Keith A. Bearden as Frank (short for “Frankincense”)  and Neil Starkenberg as youngest brother, Gideon. All appropriately rowdy, immediately likeable and supremely talented. Matching them step-for-step, note-for-note and laugh-for-laugh are their “Brides” : Kim Taylor as Dorcas, Kim Arnett as Ruth, Heidi Bradley as Martha, Hannah Simmons as Liza, Tro Shaw as Sarah, and Ashley Anderson McCarthy as Alice. Special mention also has to be given to the particularly stylish scenic design. Utilizing no curtain or show-drop, the lush, woody set design that greets spectators immediately and effectively recalls both the look and feel of America’s Pacific North West set against a backdrop of sprawling mountains. Later, the “Avalanche” so key to the plot is niftily achieved by a rising white upstage curtain of “snow” which obscures this ’view’ at the proper moment.

“They acted angry and annoyed, but secretly they was overjoyed!” Adam tells his Brothers about “The Sobbin’ Women”

Likewise, given that the movie was so renowned for its near-monumental dance sequences, the choreography here by Patti Colombo is a colossal  achievement in its own right ! From the jaunty Square-dance featuring the townspeople in “Gallant And Correct”  to the grand wedding dance in the finale, Colombo’s staging and movement are top of the line! The over-all style here is Ballet meets country hoe-down or a church social were it held as an Olympic Gymnastic s event. In fact,  so impressive and important is the choreography to all the goings-on that it wouldn’t be too out of line to say it’s actually like an unaccredited co-star–one who, in this respect, triumphs every time it takes the stage. Act One features an awesome one-two knockout punch starting as Milly tries to put a little civilizing’ in to her new kin with the rousing number “Goin’ Courtin’, by the end of which we discover this burly brood cleans up pretty well. The next scene takes the sheer exuberance demonstrated there to even greater heights occurring at a Harvest Celebration wherein the boys take what they’ve learned and charm their potential lady-loves with an athletic and kinetic ‘challenge’ dance against their town rivals. (At opening weekend’s performance this was met with thunderous audience approval that went on and on!) Word is, Ms. Colombo initially tailored these moves from an earlier presentation of the piece she worked on at Connecticut‘s famous “Goodspeed Opera House; now, she’s incorporated all her best steps but has kept open enough to alter them in order to best spotlight this particular cast’s own unique–and numerous–strengths. Moreover, she cleverly throws in a couple of  nods to Michael Kidd’s’ ground-breaking choreography from the cinematic version while still creating huge terpsichorean extravaganzas ’stamped’ with her own particular ’brand’.

“Brothers” Ephriam (Eric Stretch) and Daniel (Brian Steven Shaw) show off some fancy foot-work to win their ladies fair.

“Seven Brides For Seven Brothers” will run for four weeks through Sunday, May 5. Curtain-times are 7:30 pm on Wednesdays & Thursdays; 8 pm on Fridays; 2 pm and 8 pm on Saturdays; and 2 pm on Sundays. (There will be no matinee on Saturday, April 13.) In addition, special “Talkbacks” with the actors after the show will be held on Wednesday, April 17 and Wednesday, May 1. Tickets can be purchased at La Mirada Theatre’s website at www.lamiradatheatre.com , or by calling the Box Office at (562) 944-9801 or (714) 994-6310.　Student, Senior, Children and group discounts are available. “The La Mirada Theatre For The Performing Arts” is located at 14900 La Mirada Boulevard in La Mirada, California (near the intersection of Rosecrans Avenue where the 91 and 5 freeways meet.) Forget the rice–bring yourselves to “The La Mirada Theater For The Performing Arts” to see what is sure to rank as on of So Cal’s great theatrical experiences of 2013!

“Goin’ Courtin’–It sees your senses in a whirl” (The cast of McCoy-Rigby Entertainment’s “Seven Brides For Seven Brothers”)

Photos By Michael Lamont courtesy of Demand PR and McCoy-Rigby Entertainment; Special Thanks to David Elzer at Demand PR (www.demandpr.com) Tom McCoy at McCoy-Rigby Entertainment (www.mccoyrigby.com) Tanya Tarantino, and the cast and crew of “Seven Brides For Seven Brothers” at “The La Mirada Theatre For The Performing Arts” (www.lamiradatheatre.com) for making this story possible.

Celeste Holm, Bill Hayes & Barbara Cook Star In Gilbert & Sullivan’s “The Yeoman Of The Guard”

Few names in the history of theater are more respected or considered so revolutionary as Sir William S. Gilbert & Sir Arthur Sullivan. Frustratingly however, over time, their works have gotten the reputation of being strictly for more ‘highbrow’ or elitist tastes; at their heart though, the duo’s shows were meant to be popular entertainments catering to as wide an audience as possible. It’s also interesting to remember that they created their own plots as opposed to simply adapting them from outside material as is most often the case today. Now, two first-rate renditions of their operettas, ”The Yeoman Of The Guard” and  “The Mikado”–each  last seen during television’s “Golden Age“, are finally available on DVD from Video Artists International (V.A.I. Music)

“The Merry Man & The Maid”: Alfred Drake Is Jack Point & Barbara Cook Is Elsie Maynard

“I have a song to sing,” carols Alfred Drake in the TV Production of “Yeoman Of The Guard“; “Sing me your song” counters a young Barbara Cook, at the dawn of her esteemed career. In addition, this 1957 “Hallmark Hall Of Fame” offering features a starry ensemble that includes Celeste Holm (to whom the DVD is dedicated,)  Bill Hayes, Robert Wright and Henry Calvin. The time is 400 hundred years ago and the place is the infamous Tower of London. “Beauchamp Tower, Bloody Tower, Traitors Gate–they have the ring of history and tragedy!” we’re told in the opening narration; “Within these walls queens, philosophers  and common conspirators have spent their last days.” Told in two acts, Hayes plays the dashing Colonel Fairfax around whom the story revolves. Celeste Holm is Phoebe Meryll–the Tower-keeper’s daughter, who is deeply smitten with the Colonel, despite his being scheduled for beheading on a trumped-up charge. ”This wicked tower must be fed with the best and bravest blood in England!” she seethes: thus, concocting a scheme to save him from his appointment with the chopping block, her plan calls for disguising Fairfax as her brother–a recently appointed “Yeoman” of the Tower Guard. Meanwhile, the Colonel, who wishes to marry (no matter to who) in order to keep his corrupt kinsmen from inheriting his estate (as would happen were he  to die a bachelor,) asks his friend  Lt. Cholmondeley to find him a ready bride. Enter Jack Point and his gal, Elsie (–the “Merry Man and the Maid” of the alternate title.) Drake is Jack–a professional “fool”, Jester and our narrator while Elsie is dynamically played by Cook. “Fickle destiny sets the stage” when, being promised immediate widowhood, Elsie agrees to marry Fairfax for 100 Crowns–the catch? She must be blindfolded. (This, incidentally, also means Fairfax can’t see her face either!)    Greatly aiding the overall translation to the small-screen was the “masterful” direction by George Schaefer and “rich musical direction“ by Franz Allers.

“Come The Pretty Young Bride”, Colonel Fairfax (Bill Hayes) And His “Bride” Unmasked (Barbara Cook)

“Yeoman” may not be the most known of Gilbert and Sullivan’s works, but the score is tuneful and many songs will definitely be playing pleasantly in your head long after the DVD has ended. One particular latter half highlight involves an amazing four-part harmony titled “Strange Adventure This”. Performed a capela between Fairfax, Phoebe’s father, his housekeeper and her niece,  through it the disguised Colonel at last realizes it is Elsie whom he earlier married. Nonetheless, the story’s ending sees Jack heart-broken and two other couples regrettably promised. In fact, the only satisfied ones seem to be Fairfax, his ‘wife’ Elsie and Wilfred– the oafish jailer, who at least has the promise of marriage from his desired Phoebe. The obvious moral is that falsehoods told (regardless of how lofty the reasons for them) are always wrong, and may just bring about their own punishments! Yet, as farces go, “happy” ending or otherwise, this is among the best plots ever conceived by Sirs Gilbert and Sullivan or anybody else!

Similarly, there’s the celebrated staging  of “The Mikado” (a.k.a. “The Town Of Titipu”) initially broadcast in April 1960 as the finale to “The Bell Telephone Hour‘s” 20^th season (the show having begun as a hit radio program.) Billed as a “Topsy-Turvy” tale of love and intrigue, it stars legendary comic, Groucho Marx. That’s right–Groucho, one of the Comic Giants of the 20^th Century is Ko-Ko, a hapless tailor who, we learn, has recently been ‘elevated” to the position of “Lord High Executioner”.

“Behold, The Lord High Executioner!” Groucho Marx Is Ko-Ko In “The Mikado”

His  pretty young ward is called “Yum-Yum”. As the story opens, Nanki-Poo, the son of  Japan’s royal “Mikado“, arrives in their small village disguised as a “wandering minstrel“(–he ,“a thing of shreds and patches”) looking for the girl, whom he first fell in love with while playing second trombone in a strolling orchestra. Complicating Nanki-Poo’s already fine “How-De-Do” is that he has fled his father’s court after a disagreeable older lady named Katisha (–of whom it is later observed, “has a caricature for a face!”)  mistook his “customary affability” for a proposal of marriage  (“I am an acquired taste” she huffs.)  The  “Mikado” of the title doesn’t actually appear until the third act and, along with  that “Daughter-In-Law-Elect“, confesses that the real purpose of his visit is to find his missing son whom he mistakenly believes Ko-Ko has executed. Immediately he commands that killing the royal heir calls for a horrible death. ( “I’m very sorry,” he declares, “but virtue only triumphs in Theatrical Productions!”) Just when things look the darkest, Nanki-Poo (having just eloped with Yum-Yum,) secretly comes out of hiding to urge Ko-Ko to marry Katisha, after which he can reveal himself as alive and spoken for, thus no one will be killed. Although initially less than enthusiastic, the Tailor/Executioner agrees, where upon  Katisha coquettishly asks her new ‘intended’,  “You won’t hate me if I’m a teeny-weeny-WEEEENY bit  bloodthirsty?“; “In you dear Katisha, is there not beauty even in bloodthirstiness?“ he replies.

Groucho Marx Stars In Gilbert & Sullivan’s “The Mikado”

While Groucho’s voice is far from operatic, (he essentially talk-sings most of his numbers) he’s surprisingly engaging here, and one wonders if the likes of today’s comic giants such as Robin Williams or Woody Allen would fare as well. Furthermore, the strong supporting cast features distinguished veterans and younger artists alike. As Yum-Yum. Barbara Meister is a dream of an ingénue with a dulcet soprano voice; her true love, Nanki-Poo is played by Robert Rounseville and together, they charm as tunefully as “Flowers That Bloom In The Spring (–Tra-La!)” Sharon Randall and Groucho’s  daughter, Melinda Marx are also memorable as Yum-Yum’s “attendants”, Pitti-Sing  and “Peep-Bo” respectively. (Melinda was only 13 years old when she took on the role, and in it, proves to be a fairly accomplished performer in her own right.)

“Pretty Little Maid From School” Melinda Marx is “Peep-Bo”

Likewise, Stanley Holloway is Pooh-Bah, the “Lord High Everything Else” (because all other great officers of state, being too proud to serve under an ex-tailor like Ko-Ko, resigned, at which time he accepted all of their posts!) “I am in point-of -fact, a particularly haughty and exclusive person,” he declares, “I was born sneering!” Holloway’s understated, but consistently uproarious performance is yet another reason this  production  was so incredible. Yet, if there was one performer who could steal the spotlight from a ‘Clown-Prince’ like Groucho, it’s Opera’s Grande-Dame, Helen Traubel as “Katisha”. “My face is unattractive” she rebukes Pooh-Bah upon an attempt to falsely compliment her; “but my left elbow has a fascination few can resist!” That Traubel possessed a superior singing voice was obvious; that she was also gifted with extraordinary comic abilities as well is a wonderful surprise. When Ko-Ko suddenly finds himself engaged to her, the pair provide still another not-to-be-missed moment with ‘“There Is Beauty In The Bellow Of The Blast”. Throughout, it’s obvious they’re having so much fun playing opposite one another that viewers cannot help but enjoy it even more!  “The Mikado” is a brilliant and raucously funny comic-masterpiece meant to be enjoyed as such; it’s also delightfully apparent that the producers here put the humor first, making it more accessible and remarkable! Consider also how the laughs this piece is loaded with really aren’t so different from the kind of off-the-wall buffoonery the Marx Brothers were famous for (Groucho even plays the role with his famous glasses!) Perhaps most noteworthy though, is  the more you watch it, the more you’re likely to realize just what a technical and artistic triumph it was for everyone involved.

“T’was Blighted Affection That Made Him Exclaim” (Groucho Marx As Ko-Ko “Woos” Helen Traubel As Katisha)

Adapted for television by the noted ‘Savoyard’, Martyn Green with ‘timed-to-the-second’ direction in order to fit three full acts into the sixty-minute format, the songs at times are presented with a bit faster pace to understandably accommodate the span of time allotted, but they suffer nothing in the beauty of their words and performance. Green himself had made a career out of portraying Ko-Ko, and was revered by Groucho an authority on interpreting the role. It’s even been written that for Marx, playing this role “fulfilled a lifelong ambition”.   Although both “The Mikado” and “The Yeoman Of The Guard” were originally aired in color, no such copies are known to still exist, so the expert technicians at V.A.I. Music, working from original black and white kinescopes and utilizing state-of-the-art restoration and digitalization procedures, have re-instated each to their finest quality possible. Not only do these rare video treasures rank among the very best and most comprehensible of this illustrious composing team’s productions, both are also a terrific way to introduce (or re-acquaint) viewers with their work and music as well. For more information, or to order on-line checkout:  www.vaimusic.com  Special Thanks To Foster Grimm And The Staff Of  V.A.I.Music For Their Kind Assistance & Patience In Making This Story Possible.

“Ladies and Gentlemen,” audiences are greeted upon entering the Chance Theater’s  intimate auditorium; “Welcome to ‘Triassic ParQ’!” Having opened Wednesday, January 30^th, “Triassic ParQ”–the “Musical 65 million years in the making“ marks its West-Coast premiere at the “Chance Theater” in Anaheim Hills California, where it’s slated to run for five weeks, through Sunday, February 24^th. The first musical of the Award-winning theatre company’s 2013 season, the show comes directly from its successful Off-Broadway run after garnering “Best Musical” honors at New York’s International Fringe Performing Arts Festival (“Fringe NYC”) in 2010.

Keaton Williams as the “Vilociraptor Of Innocence”, with Alex Bueno as “Mime-o-saurus” dare to ask forbidden questions!

Performed without intermission, the basic premise is taken from Steven Spielberg’s 1993 Blockbuster about Dinosaurs brought into the present age. Set on that infamous island, this time around the story is told through their eyes, only intersecting the movie at key points (and never with any specific “human” characters!) As explained in the rocking opening number, these modern-day dinos are genetically engineered (or ’cloned‘) from blood taken from the preserved remains of prehistoric mosquitoes found in fossilized resin known as “Amber”. However, given that many of the DNA strands discovered are incomplete, genes from frogs have been used to ‘fill-in“ any missing elements (“we’re 9/10ths Dinosaur. 1/10 Frog” they sing.”) So too, in order to maintain control over the population, the powers-that-be made certain any dinosaur ’created’ is strictly female. Trick is, out in the wild when males are in short supply, female frogs have been known to spontaneously ’change sexes’ to ensure their survival (“Crazy things can happen with certain species!” they add.) Is everyone clear? If not, there’s also a brief appearance by  “Morgan Freeman” (–not so much the stately actor known for similar explanatory work on the “Science Channel“, but more the witty stage-device, who quickly goes over all this before the dinosaurs decide to eat him.)

“Crazy things can happen with certain species!” Vilociraptor of Innocence  with “T-Rex 1”, T-Rex 2” and “The Tribe”

Yet, these are some very ‘human’ Dinosaurs here–with very human existential questions. Fresh-faced Keaton Williams is terrific as the “Velociraptor of Innocence” around whom the entire story unfolds, while Micaela Martinez and Kellie Spill are equally outstanding as a pair of giddy BFF’s (initially anyway,) called  T-Rex 1 and T-Rex 2 respectively. Jackson Tobiska too, provides the proper air of authority tinged with pomposity as their “tribal leader“, the “Velociraptor of Faith” (also known as “Pastor”) and Camryn Zelinger conveys a cool, sultry presence, pulling double-duty as both that fore-mentioned semi-narrator/appetizer and the “Velociraptor of Science”. For this naive (if formidable) bunch, this latter lizard  just may be the most dangerous of them all–it actually thinks for itself! There’s even a “Mime-o-saurus” played by Alex Bueno, who, as one would expect, ‘acts out’ just about everything, and  Taylor Stephenson (who also serves as the show’s musical director) rounds out the cast as the “Piano-saurus“. Although it’s kind of tricky watching supposedly female roles played by men and vice-versa, hang in there–you’ll soon get  used to it!  In the beginning, all is pretty wonderful as they exhort “It’s a beautiful day to be a woman, and I wouldn’t change a thing”; that is until T-Rex 2 starts to experience strange ‘stirrings” which might even be called ‘queer’.

“ ‘Indubitably’ is a science word–it means YES!” (Camryn Zelinger is The ‘Velociraptor of Science’.)

The grisly fact is, she is fast becoming a monster–by sprouting one! (“It looks real oppressive!” T-Rex 1 gasps.) This leads to a side-splitting sequence involving T-Rex 2 looking into a pool of water as Mime-o-saurus, situated on the up-stage platform, represents T-Rex 2’s fully engorged…uh… ‘reflection’! What’s a nice girl to do when suddenly, she starts turning into a dude? (Making matters worse, she doesn’t even know what one is!) Such ‘changes’ give rise to doubts among them all and, as the “Vilociraptor of Faith“ warns, “Doubt can be infectious!” Yet, doubt can also lead to questions, and as is also expressed, “questions NEED answers”. When the electricity around the high-voltage fence that contains them unexpectedly goes out, the “Vilociraptor of Innocence” strikes out to find the truth that can only be uncovered in the forbidden “Lab Almighty” from which they all came.

 Co-writers Marshall Pailet (–who also composed  the music,) Bryce Norbitz and Steve Wargo have ’evolved’ a delightful little parody taking the kind of provocative gag one might find on “Robot Chicken”, itself culled from a relatively insignificant aspect of a major motion picture’s plot, and developed it–utilizing loads of no-holds-barred  humor and lots of genuine heart. Perhaps more refreshingly, beneath all that sentimental zaniness is a real mind as well! The result is a rousing mix of Broadway and the big screen  with a few knowing nods to “The Flintstones” thrown in. Make no mistake though, this is very much a thinking person’s musical dealing with some serious philosophical, psychological and sexual themes, which at times entail some pretty strong language and imagery; as such it is neither for children or those with rigid sensibilities. All others are sure to find this a real “Darwin-ner” if ever there was one.

“Hello Little Goat”, the cast sing about their imminent ‘meal‘.

Named the Chance Theater’s current “Playwright in residence”,  Pailet directed this West Coast Premiere, for which, word has it, the script was tightened from its Off-Broadway run with a different opening, reworked ending and the addition of several new songs! The music spans a ‘Mammoth’ melodious spectrum from light, airy and even romantic to downright dark and gritty. Likewise, Kelly Todd’s top notch choreography isn’t just a walk in the park, it’s more like a dance–literally! She captures the spirit of the film in uncanny ways, particularly in a driving number titled “Mama”. Here, the “Vilociraptor of Science” angrily confronts the “Vilociraptor of Faith”, wherein the pair slowly, but intently, circle one another mimicking “Jurassic’s” gripping ’kitchen scene’. Other moments integrate hip-hop steps, struts, and stomps from a more ‘urban’ type of jungle–and there’s even a nifty tap-break where the “Vilociraptor of Innocence” cuts loose (in tennis shoes yet!) Always, the cast makes resourceful use of the limited layout–utilizing the split level set to create the illusion of  greater size, scale, and force as befits their ’gargantuan’ subject matter.

Best described as  new-wave meets the stone-age, Anthony Tran’s costumes make innovative use of mesh and patterns to effectively imply scaly reptilian skin, and he smartly slips dashes of pink into the mix to shrewdly suggest femininity, with red signifying masculinity. By the same token, Matt Schleicher‘s lighting employs plenty of greens and grays to heighten the sensation of being in an expansive outdoor jungle, while the scenic design by Joe Holbrook incorporates a number of gauzy drapings over the stage and seating areas, keeping the actual performance space sealed off via several ropes (–reminiscent of that seen in the movie.) Special mention also has to be given to Ryan Brodkin’s incredible sound design which recalls bona-fide ‘cinema-esque’ surround-sound inside the live venue!

The Chance Theater’s West Coast Premiere cast bids you “Welcome to “Triassic ParQ–The Musical” !

 This musical sets out to prove “Life finds a way”, so you should also–right to “The Chance Theater“, located at: 5552 E. La Palma Ave. in Anaheim Hills, California. Performances are Wednesdays, Thursdays & Fridays at 8pm; Saturdays at 3pm & 8pm, and Sunday at 2pm. Tickets can be purchased by calling (714) 777-3033 or by visiting www.chancetheater.com. Student, Senior, Military and Group discounts are also available (For group discounts call 714 900-3284.) Give “Triassic ParQ–The Musical” a go and enjoy the ride (–’cause what a  ride it is!)

Photos Courtesy of Doug Catiller, True Image Studio and David Elzer/Demand PR (www.demandpr.com) Special Thanks to David Elzer,  Oanh Nguyen, Casey Long and the cast and crew of “The Chance Theater’s” West Coast Debut Production of “Triassic ParQ–The Musical” for making this story possible.

“Think about your life, Pippin…” sings the enigmatic Lead Player to “Pippin“, Charlemagne’s  son in Stephen Schwartz and Roger O. Hirson’s musical masterpiece of the same name. Now, to celebrate the 40^th Anniversary of this dazzling gem of song-and-dance (that’s been long over due for a revival) a bold new re-envisioning  has at last been mounted at the American Repertory Theatre  (A.R.T ) near the world-famous Harvard University in Cambridge Massachusetts.  With Previews having begun on December 5th, it opens on January 3^rd, 2013 at the Loeb Drama Center’s theatre, and plays through January 20^th.

“We’ve got foibles and fables to portray as we go along…” Patina Miller and the Company of A.R.T.’s “Pippin”

Given the recent trend of ‘resurrecting’ musicals from the late 60’s/early 70’s (“Hair”, “Jesus Christ Super Star”, “Godspell”, etc.) it isn’t surprising that this one’s turn has finally arrived; what IS surprising is how “Pippin” continues to speak to today’s audiences every bit as much as it did back during it’s initial “extraordinary” 1,944 performances from 1972 through 1977! Similarly, while at this early date nothing is yet confirmed “officially”, there is affirmative indication that  ‘there has been some interest expressed” in bringing this production on to “The Great White Way” by March of this year. Why wait though when its more-intimate, out-front styling is so perfectly  suited to the Loeb Drama Center’s intimate 540 seat house?

“Thunderclouds have their lightning; Nightingales have their song…don’t you know I want my life to be something more than long?” Matthew James Thomas is “Pippin”

Pippin, first son and heir to Emperor “Charles The Great’s” vast kingdom is spurred on by a mysterious group of roving players to embark on a death-defying journey of self-discovery in his quest to move out from behind his illustrious father’s shadow and at last find his own “Corner Of The Sky”. Along the way he experiences military campaigns, political intrigue and various sexual escapades. There‘s even (so promises the opening number) “Sex presented ‘pastorally’”; but Pippin soon finds that if left unchecked, he can find himself “caged” (–in this case literally at one point during a sequence christened “The Flesh Ballet”, ) by his own passions! In due course though, our hero manages to stumble upon romantic love with a young widow named Katherine, which ultimately offers him, if not complete fulfillment, at least the chance for lasting happiness.

Director Diane Paulus directs Matthew James Thomas while Patina Miller looks on

Favoring the “Midway” over the “Medieval”, Director Dianne Paulus creates a raucous-but-festive circus-mood, introducing the cast as an acrobatic band of  “Big Top” roustabouts as opposed to the Byzantine traveling troupe of the original; nonetheless,  audience members may still rest assured Chet Walker‘s choreography definitely takes on the style of Bob Fosse‘s truly ground-breaking original–serving as terrific tribute to the old master showman. Additionally, this time around some remarkable– and frequently eye-popping–‘circus choreography’ has been incorporated into all the on-stage goings on, courtesy of ‘Gypsy’ Snider of the Montreal-based Cirque, “Le 7 Doigts De La Main“ (“The Seven Digits Of  The Hand”.) Word is during the rehearsal process, a group from the cast even paid a visit to the “Big Apple Circus”” to get a greater feel for what they were striving toward.

Philip Rosenberg and fellow cast members demonstrate some of the amazing sights A.R.T.’s new version has in store.

Scott Pask’s set-design recalls the interior of a billowy, expansive circus tent, and is utilized, and even enhanced, by Kenneth Posner’s pristine lighting design which runs the gamut from bright, airy, and colorful to dark, shadowy and at times, down right foreboding. In fact, so important to the production is this ‘atmospheric lighting’ that it wouldn’t be too off-base to even consider it as an un-credited character in it’s own right!

“They say the whole is greater than the sum of the parts it’s made of…” Matthew James Thomas as Pippin and Rachel Bay-Jones as Katherine sing a “Love Song”

 The cast is comprised of A-Plus talent culled from some of the theater’s hottest recent offerings, all led by Matthew James Thomas  in the all-important title role. Already something of a teen idol in the UK for his role as “Jez Tyler” on the hit series “Britannia High“, Thomas was most recently seen stateside in “Spiderman: Turn Off The Dark”. Here, he’s offered a potentially “Star-making” vehicle with which to be introduced to a still wider American audience. Joining him, fresh off the pre-Broadway tour of “Christmas Story-The Musical” is Rachel Bay-Jones as Katherine, Pippin’s love interest who, in her folksy-yet-mellow introductory song “Ordinary Kind Of Woman”, describes herself as “Conservative with a budget, liberal with a meal, just your everyday, average ideal!” Also appearing is Andrew Cekala as her little boy, Theo.

“If all the ploys we pick to really work to bring to pass occur, we won’t just have a Victory, we’ll’ have ourselves a Massacre!”
Terrence Mann as “Charlemagne instructs his war council

Likewise, the more seasoned ‘character’ actors in the cast are every bit as impressive, starting with Tony-Award Winner and SCTV alum, Andrea Martin as Pippin’s plucky Grandmother Berthe, who is given one of the score’s most memorable show-stoppers in ”No Time At All”; while Terrence Mann, renowned for his turns in “Les Miserables”, “”Beauty & The Beast” and “The Addams Family”, herein majestically takes the stage as Pippin’s father, Charlemagne. Meanwhile, the leggy and awesome Charlotte D’Amboise portrays Pippin’s villainous step-mother “Fastrada”, seething with ambition-masked-as-charm and spreading “A Little Sunshine” (even as she plots her husband’s downfall.) Rounding out the company is former “Sister Act” star, Patina Miller who takes on the role of the seductively charismatic “Lead Player”–the one persona on stage who quite literally brings the entire show together. Originally made famous by Ben Vereen, the part has traditionally been cast as male; however, keeping Ms. Miller’s mode of dress basically androgynous, actually adds to the character’s overall mystery and theatricality; moreover, this everyman/woman concept actually comes off as surprisingly effective in those moments (–both musical and non) in which she acts as Pippin’s guide or conscience such as in “On The Right Track” or the more sinister “Finale“.

“After all, I’m just an ordinary housewife and mother–just like ALL you housewives and mothers out there” (Charlotte D’Amboise rocks the house as “Fastrada”)

The original production won a whopping nine “Tony Awards” including “Best Direction Of A Musical“ and “Best Choreography” for  Bob Fosse, “Best Scenic Design“ and “Best Featured Actor In A Musical“ for Ben Vereen. Stephen Schwartz’s lively, jivey score encompasses both contemporary rhythms along with  plenty of good old-fashioned tin-pan alley-inspired melodies. Out of them has come such modern standards as “Cornier Of The Sky” “Magic To Do”, “Morning Glow”,  and the rousing “Extraordinary”. Little wonder so many critics still rank it among Schwartz’s very best work ever. It’s interesting to consider too, how many other ‘regional productions’ can boast having their celebrated  composer on-hand to oversee and attend the first run through with a full orchestra? Nonetheless, that’s exactly what’s happened here! Then again, The American Repertory Theatre  is one of the leading “Not For Profit” theatre companies in the U.S. A.R.T. has launched such recent top “Tony Award” contending productions, as “Porgy & Bess” and last year’s “Best Musical” winner, “Once”.  What’s more, in 1982 A.R.T. received the Pulitzer Prize which was followed not long after by the “Tony Award”  for “Outstanding Regional Theater”  in 1986.

“When you are as old as I my dear–which I hope you never are…” Andrea Martin as Pippin’s Grandmother, “Berthe” reminisces with her “Grandson” Matthew James Thomas

So “Shout it out from the highest towers!“ As the songs says, “There‘s magic to do“–and the cast and crew of  The American Repertory Theatre’s “Pippin” are doing just that! Evening curtain-times are 7:30 PM; 2:00 for Saturday and Sunday Matinees. Special ASL-Interpreted performances will be held Tuesday, January 8 @ 7:30pm and Sunday, January 13 @ 2:00pm, while two presentations with supplementary ‘Audio Description’ for the viewing impaired will be held on Wednesday, January 9 @ 7:30pm and Saturday, January 12 @ 2:00pm. To all lovers of exceptional musical theatre who find themselves in the Massachusetts area as the New Year begins: “Leave your field to flower” and check out this magnificent revival of  this genuine American classic! The Loeb Drama Center is located at 64 Brattle Street, in Cambridge, Massachusetts. Tickets can be obtained by calling (617) 547-8300 or logging onto:  Http://www.amrep.org/events/show/pippin 

American Repertory Theater: http://www.americanrepertorytheater.org

Productions Photos By Michael J. Lutch; Rehearsal Photo By Kevin H.Lin, All Photos Courtesy of American Repertory Theater. additional Thanks to the staff of American Repertory Theater and the cast and crew of A.R.T.’s “Pippin” for making this story possible.  

“In olden days a glimpse of stocking was looked on as something shocking but now God knows…” Rachel York and the cast of The Roundabout Theatre Company’s “Anything Goes”

“In olden days” (1934 actually,) songwriter Cole Porter along with librettists Guy Bolton and P.G. Wodehouse created a tune-filled tale surrounding a luxury liner called “The American”, peopled with eccentric characters–rich, poor, famous and infamous (–and sometimes both!) Practically every song presented has come to embody just how exceptional Theatre Music can be. Now, the Roundabout Theater Company’s Tony-Award Winning Re-envisioning of this masterpiece of the American Musical Theater has dropped anchor at The Ahmanson Theater In Los Angeles CA.

Rachel York as Reno Sweeney and her “Angels” offer photographers a ‘wing’ and a thigh’

Arguably among the most famous madcap musical-farces ever, right from the get-go we’re introduced to young Wall Street whiz-kid Billy Crocker and New York‘s “Most Notorious Evangelist“ Reno Sweeney in a smoky Manhattan dive (the only scene to not take place shipboard) This Reno dame is one sultry cookie as she launches into the iconic “I Get A Kick Out Of You” for Billy who’s hopelessly love-sick for Park Avenue Debutante Hope Harcourt. There have been few better ways to start a show than with Porter’s powerful crowd-pleaser (–is it any wonder that it includes a built-in encore?) Trouble is, Hope’s about to set sail for England with her titled finance, so the two chart a course that will help Billy win the object of  his affection by the time the final curtain falls.

“I hate parading my serenading as I’ll probably miss a bar, but if this ditty is not so pretty, at least it’ll tell you how great you are.” Rachel York as Reno let’s Erich Bergen as Billy know he’s “The Top”

Directed and Choreographed by Kathleen Marshall, this new version serves up comedy in comparable portions to those classic tunes and eye-popping choreography lest any one element overshadow any other. This is what makes the Roundabout’s staging such a complete winner. Marshall‘s direction is paced constant but not so frenetic that it compromises any part of the whimsical voyage Porter and company are taking us on, meaning every witticism and bit of stage business gets its full due. The new book by John Weidman and Timothy Crouse (whose father, Russell likewise collaborated on the original with Howard Lindsay, once Bolton and Wodehouse became unavailable,) keeps all the best lines and situations while adding still more gags and physical comedy. There’s even a few subtle satirical references such as when one annoyed socialite complains “Next time, I’m booking with Cunard!”(referring to the shipping line that in the early 1930‘s, bought up the same one responsible for “The Titanic”.) All the nice or naughty nautical goings-on are played out against Derek McLane’s spiffy tri-level, ivory-white set, which gives rise to some truly innovative multi-level staging and choreography, apropos to the many stunning production numbers the show has become famous for. However, whenever a splash of color is called for (as it does frequently,) Howell Binkley’s mood-appropriate multi-hued lighting comes in to play.

“When other friendships have been ‘forgate’–ours will still be Great!” Rachel York as Reno Sweeney with Fred Applegate as her ‘old pal “Moonface Martin’

Whether they’re sending off  the “S.S. American” in the jaunty “There’s No Cure Like  Travel” or shifting things into harmonic high-gear with the raucous “Blow, Gabriel Blow“, everyone involved is full-fathom fabulous giving it their finest! Conversely, the simple sailors’ shanty, “There Will Always Be A Lady Fair” (sung by a quartet of sailors,) provides a pleasant interlude between such spirited extravaganzas. The long-celebrated title number takes place at the close of Act One when Billy is not only discovered as a stow-away, but is thought to be none-other than “Snake-Eyes Johnson”–the renowned “Public Enemy Number One“. After the familiar cadence of those introductory notes are heard, Marshall’s  distinctive  choreography introduces a unique kind of step best described as a sailor’s horn-pipe infused with a series of sharp, quick ‘nerve taps‘. This develops into a rousing ‘contest’ led by Reno and her enticing “Angels” (’Purity‘, ’Charity’, ’Chastity’ and ’Virtue’,) and before you know it, crew and passengers alike are all ‘hoofing away’ in unison as they build toward a bona-fide, unadulterated show-stopper!

“I want to join your Happy Band and play all day in the promised land, so Blow, Gabriel, Blow!” (The cast of The Roundabout Theatre Company’s “Anything Goes” )

As the “Sensuous Sermonizer” Reno Sweeney, Rachel York completely commands the stage, selling each song with genuine pizzazz! Although it would indeed be factual to state her performance here alone could be reason enough to buy a ticket, the same could be said of any of this energetic and gifted group! Suffice it to say instead, Ms. York is like a big blonde bow on top of this hugely entertaining holiday package. Her breezy but polished delivery delightfully captures the essence of all those great old “Screwball Comedy” heroines like Carol Lombard or Irene Dunne, easily making “Reno” Her role.

“All through the night from a height far above, you and your love bring me ecstasy…” While in the ship’s Brig, Erich Bergen as Billy Crocker dreams of Hope Harcourt (Alex Finke)

Erich Bergen as Billy Crocker himself, has some pretty potent vocal chops as he demonstrates starting with his half of the unforgettable duet, “You‘re The Top”. A triple threat mix of Ben Stiller, Dick Powell and a young Jimmy Stewart, he too does a superlative job. Meanwhile as Hope, Alex Finke delightfully navigates one of the trickiest roles ever written for a musical. Right up until the finale she must try to rebuff  Billy’s advances, (she is betrothed after all,) while still managing to remain likeable. Happily, Ms. Finke does exactly that–making us aware with every step and long last look that it’s clearly Crocker she’s dreaming of! She’s a first-class ingénue with a particularly expressive voice and shines in her solo, “Goodbye, Little Dream, Goodbye”; yet the on-stage magic really begins when she’s cutting-loose opposite Bergen. Then, Hope becomes the demure Ginger Rogers to Billy’s suave Fred Astaire, and several times they gracefully ’trip the light fantastic’ as during “You‘d Be So Easy To Love“. Moreover, despite its zany set up (in which Billy sneaks on deck disguised as a veiled old woman in a wheelchair,) “It’s De-Lovely” also turns out to be a ‘De-lovely’ example of the best of both song and dance this duo can– and most certainly do–achieve!

“…At that moment supreme will be shown the ‘Gypsy In Me’”: Sir Evelyn Oakleigh (Edward Staudenmayer) confesses his feelings toward Reno (Rachel York)

As Hope’s ‘intended’, the slightly bemused British Aristocrat Sir Evelyn Oakleigh, Edward Staudenmayer demonstrates a masterful touch in regards to all the slapstick and word-puns the role requires; but he especially stands out with the sizzling tango “The Gypsy In My Soul” in which he and the scintillating Miss Sweeney convey their growing attraction toward one another (or as he calls it, “getting ‘Hot Pants‘ ”.)  Fred Applegate, who steps into the role of  “Moonface Martin” (a.k.a “Public Enemy Number 13”,) along with Joyce Chittick as his brassy side-kick “Erma”, are each spot-on too. Applegate has a pristine comic technique and offers a more authentic (hence more likable) portrayal of the would-be gangster than has been seen in previous revivals. His second act ode, “Be Like The Blue-Bird” (’imparted’ after he and Billy have been tossed into the brig,) features some prime “Vaudeville” inspired shtick opposite a blue-spotlight that’s worthy of an ovation of its own.  Chittick is equally terrific belting-out  Erma’s saucy “Eleven O’clock Number”, “Buddy Beware”.  Backed by a group of  adoring shipmates,  she cautions them: “Your devotion I prize, but you must realize, my boys, other girls’ luxuries are my necessities!” Vincent Rodriguez III  and Marcus Shane, as the “Asian Converts” Luke and John respectively, also deserve special mention. Together, they capably turn what could have been a rather dated one-note gag into a collection of thoroughly funny little episodes.

“During Christmas Holidays, I develop taking ways; and I’m not at all ‘Anti’ pretty things ‘Santy’ brings from ‘Cartier’s’ “: Joyce Chittick as ‘Erma” and her ‘admirers’

So, what if “The world has gone Mad today, and Good’s Bad today, and Black’s White today and Day’s Night today?!” Pipe aboard  the Ahmanson Theater and weigh in for a magnificent time! Having opened on Wednesday November 28, “Anything Goes” will run though January 6^th, 2013; Tickets are available by calling (213) 972-4400, online at  www.CenterTheatreGroup.org, or in person at the Center Theatre Group box-office at the Ahmanson Theatre located at the Music Center, 135 N. Grand Avenue in Downtown L.A.

“They think he’s ‘Gangster Number One’ so they’ve made him their favorite son and that goes to show’–’”Anything Goes”!” Erich Bergen as Billy Crocker with Fred Applegate as “Moonface Martin” (with “Angels”– ‘Charity’, “Purity’, ‘Chastity’ and ‘Virtue’)

Photos by Joan Marcus; Courtesy of “The Center Theatre Group” (www.CenterTheatreGroup.org ) Special Thanks to Nancy Hereford, Jason Martin, Shannon Smith and everyone at the Center Theatre Group at the Los Angeles Music Center, and to the cast and crew of The Roundabout Theatre’s Tony-Award Winning Revival of “Anything Goes” for making this story possible.

“Holly Ho! Holly Ho-Ho-Ho–Holly Ho! Holly Ho! Sing A Christmas Carol that was written long ago…”

…So harmonize 50‘s-era Troubadours, “The Four Lads” at the start of “The Stingiest Man In Town”, an original musical based on Charles Dickens classic “A Christmas Carol”. Told in three acts, (each introduced by this caroling quartet,) with book and lyrics by Janice Torre, music by Fred Spielman, and direction by Daniel Petrie, it originally aired as part of the “Alcoa Hour” program on December 23, 1956 pre-dating the big-screen block-buster “Scrooge” (–long considered to be the definitive musical version of the tale) by nearly 15 years; yet this actually surpasses that better known film-adaptation in terms of score, performances and plain old-fashioned charm (–this was originally performed live too!) Torre’s teleplay manages to streamline the story while still maintaining all of Dickens’ classic lines and memorable plot-points. As expected, each specter “etherealizes” thanks to some ground-breaking (for the time) video effects, but the feeling overall is less somber or foreboding than in more recent re-tellings, making it especially fitting viewing for children and grandchildren. Remember also, this was before the advent of color TV or hand-held video cameras where each shot had to be methodically planned out and timed with absolutely no room for errors. For this alone, it could be truly said here’s one “Dickens” of an accomplishment for everyone involved!

“What’s so merry on Christmas Day?! The ‘merry’ money you throw away? The ‘merry’ bills you have to pay? When you say “Merry Christmas”–I say BAH!” (Basil Rathbone as Scrooge and Johnny Desmond as his nephew, Fred)

As the notorious Ebenezer Scrooge, Basil Rathbone leads a ‘once in a life time” cast  of  A-Plus talent that  includes Johnny Desmond, Vic Damone, Martyn Green, Patrice Munsel and Betty Madigan. From Broadway to Pop to Opera, each had made their name in music, theater or both, thus appealing to the largest audience possible! For instance, Madigan plays Bob’s eldest daughter, Martha Cratchit–traditionally a minor character in the piece; but as the songstress was then a popular newcomer on the music scene, it’s she who was given the lovely “Yes, There Is A Santa Claus” sung to young Dennis Kohler as “Tiny Tim“. Of Scrooge’s three ’spirited” visitors,  Ian Martin is the first to appear “when the clock strikes twelve” as the “Ghost Of Christmas Past”,  while Robert Wright is the amiable “Ghost Of Christmas Present“ and Keith Harrington is the black shrouded and eerily silent “Ghost Of Christmas-Yet-To -Come”. Likewise, before he took “The Great White Way” by storm in Frank Loesser’s “The Most Happy Fella”, Robert Weede was the apparition of Scrooge’s late partner Jacob Marley.

“There was a mean and stingy man named Ebenezer Scrooge; His heart was hard and cold because he was the Devil’s stooge…” Basil Rathbone is Scrooge with Martyn Green as his long suffering, ever patient clerk, Bob Cratchit.

At first glance, the casting of Basil Rathbone (an actor admittedly, not known for his vocal abilities) might seem a surprising choice; however, chalk it up to the very strength of his talents that once his performance has been seen, it’s genuinely hard to imagine anyone else. His turn as the Yule-tide season’s  most celebrated  “stingy old crank”, is near picture perfect (even if his pitch isn’t!) Patrice Munsel too, is breath-taking as Belle, Scrooge’s one-time intended while Vic Damone does an equally superlative job as Ebenezer’s younger incarnation. Together they share a magnificent duet, “Golden Dreams”. Optimistic and sincere at the outset  regarding their future together, he sings “I’ll build a wall around us…”; unhappily though, her refrain soon becomes “You’ve built a wall between us…”.  Throughout, the passage of time is shrewdly conveyed with the building of a gilded wall that, by the song’s conclusion, literally stands between them. The music next segues into the wistful “It Might’ve Been” as they part from one another with the elder Scrooge helplessly looking on.

“Golden Dreams” can turn into Nightmares of greed and regretful thoughts of how “It Might’ve Been” (Vic Damon is the young Ebenezer and Patrice Munsel is “Belle” with Basil Rathbone as Scrooge)

Similarly, utilizing movement from such widely varied sources as Ballet and Modern dance to Grand waltzes and authentic Victorian Gavottes and Quadrilles, John Heawood’s Choreography runs the lively gamut from bouncy and bright to even strangely (but appropriately) frenetic and menacing, as in the third act “Devil’s Ballet”. Occurring upon the ‘manifestation‘ of  the dreaded “Ghost Of Christmas Yet-To-Come“, the street opens to reveal a large and rather gothic cemetery ready to welcome old ’you know who’ as its newest resident! The sequence, which forms the bulk of this “future” episode is a unique mix of contemporary kinetics with classic Greek drama, as darkly-clad ‘ghouls’ rush at Scrooge ominously suggesting through movement the horrors he can expect if “these shadows remain unaltered by the present”. Afterward, having ultimately learned his lesson, he loudly intones “Mankind should be my business–his welfare should be may trade!” In presenting this, what is too often the most forlorn or even sinister part of the story in this way, the producers also instill a new kind of vitality to it, keeping this version fresh and identifiable–particularly for younger viewers. Still another (decidedly more whimsical) example of Heawood’s work is the sprightly “Toy Frolic”. Staged to herald the arrival of the second of Scrooge‘s other-worldly visitors, back in his room, the old money-grubber suddenly finds himself greeted by Clowns, Jumping Jacks and pirouetting Music Box Dancers–each proclaiming  “Listen to the sound of the Christmas Spirit–can you hear it? Can you hear it?” as “The Ghost Of Christmas Present” proudly makes his entrance!

“Jumping Jacks and Dancing Dolls, tumble in the jumble of bouncing balls–see the Christmas Toy Ballet, dance to the bells of a sleigh!” Robert Wright is the “Ghost Of Christmas Present” with Basil Rathbone

Torre and Spielman’s Broadway-quality score easily ranks among the very best ever created for an original TV musical– employing plenty of sharp and witty word-play: (“Oh, he’s so tight, so tight I say–he wouldn’t give a bride away! It hurts him so to pay one cent–he wouldn’t pay a compliment!” resounds a group of street people in the vivacious title number.) So too, “An Old Fashioned Christmas” sung by Crooner Johnny Desmond as Scrooge’s nephew Fred, is an effective anthem for all the later goings-on, and his stately “Birthday Party For A King” is indeed unforgettable. Meanwhile, the direness of Tiny Tim’s precarious situation is effectively underscored in the touching “One Little Boy”, in which Robert Wright sings: “One little boy who cannot walk is not a broken toy; one little boy can laugh and talk and fill a home with joy–and no one else can take the place of that one little boy!” In fact, although this particular production as a whole may not be the most remembered, it nonetheless set the standard for tunes that would be introduced in other, now classic Christmas specials like “A Charlie Brown Christmas”, “Mr. Magoo’s Christmas Carol” and all those terrific “Rankin Bass” productions that followed (Ironically, it’s this latter team who actually re-made it into a much pared-down 1978 animated special featuring the voices of Walter Matthau and Tom Bosley.)

In the end, Old Scrooge learns “Mankind Should Be My Business” (Basil Rathbone with Martyn Green)

Nothing compares to this initial masterpiece from the “Golden Age“ of television though and, having been digitally re-mastered, it’s at long last available on DVD from Video Artists International (V.A.I. Music). For more information, or to order a copy in time for your own Holiday celebration, log onto:  www.vaimusic.com.. Not only are you sure to have one more favorite on your seasonal viewing list, you’ll really know what it means the next time you hear “They don’t make ‘em like that anymore”! 

“An Old Fashoined Christmas, With Snow Falling Hard…On Scenery Looking Like A Pretty Christmas Card!”

Special Thanks and “God Bless Us, Everyone” to Foster Grimm and the entire crew at Video Artists International (V.A.I. Music) for making this story possible.

“In the heart of little ol’ New York there runs a thoroughfare; It’s the part of little ol’ New York that runs into Times Square–a ’crazy quilt’ that ’Wall Street Jack’ built; so if you’ve got a little time to spare I want to take you there…”   

 “Think of Musical Comedy–the two most glorious words in the English language” says Impresario ‘Julian Marsh’ to wide-eyed new-comer ‘Peggy Sawyer’ in “42^nd Street”–the Tony Award Winning song-and-dance fable of “The Great White Way“. Adapted from the classic Busby Berkeley film, this bona fide crowd-pleaser launched Southern-California based “Musical Theater West‘s” 60^th Season on October 26^th where it will run for three weeks at “The Carpenter Center For The Performing Arts” in Long Beach California. Featuring a genuine “Gold Medal” score by Al Dubin and Harry Warren, every song ranks as an authentic American standard. Then again, how many musicals these days feature show-stoppers in practically every number? Gladly, that’s precisely what Musical Theater West has with this.

“What do you go for–go see see a show for?” (The cast of Musical Theater West’s “42nd Street”)

Directed by Jon Engstrom, whose intimate familiarity with the show goes all the way back  to when he was featured in the original Broadway cast, such insights serve him well as both Director AND Choreographer now (–he’s even expertly re-constructed all of that version’s ground-breaking moves for the big title number!) Moreover, he puts the laughs first and foremost which  keeps the story lively and fresh without losing an iota of the sheer pageantry or musicality the show has become so celebrated for. With Musical Director and Conductor, Michael Borth at the baton, the Overture goes immediately into the electrifying opening–an audition for the latest stage epic, “Pretty Lady” that has the entire ensemble thunderously tapping away in unison. “What a way to start” one audience member was overheard to say at Saturday Night’s sold-out performance! In fact, so enthusiastic was the entire audience that night, sharp ears might even have picked up more than a few singing along to all the old standards this score is over-flowing with.

“If you’ve a melancholy case of the blues, I’ve got a remedy for you” (Barbara Carlton-Heart as Maggie Jones with Tessa Grady as Peggy Sawyer, Caitlyn Calfas as “Annie”, Evie Hutton as Phyllis and Lindsay Kristin Anderson as Lorraine)

The year is 1933 at the height of the depression, and “Julian Marsh is doin’ show!“ This means potential jobs for these dancers hoping for a spot in the chorus, where, as Marsh tells them, in only five weeks time they’ll be “dancing their way to glory and thirty-two bucks a week!” Immediately following, young Peggy Sawyer, fresh off the bus from Allentown PA rushes in (–she missed the initial dance call because she was outside working up enough nerve to come inside and join in.) At first rebuffed, some of  the “kids” in the chorus take pity and invite her to lunch during which she shows them some steps that also happen to be witnessed by Marsh, who immediately decides the chorus could use one more girl. As anyone even the least bit familiar with this classic story knows, when leading lady Dorothy Brock, breaks her ankle just before the show is set to open,  seasoned chorine “Anytime Annie‘ (engagingly played by Caitlyn Calfas) suggests Peggy. “She has a voice that will panic ‘em and she can dance rings around Brock!” she tells the Director. As in all the best traditions of theatrical lore, Peggy learns all the lines, lyrics and routines in just two days and opening night arrives–but not before Julian gives her a last minute pep-talk which includes that  now iconic phrase, “You’re going out there a youngster, but you’ve got to come back a star!”

“Come on along and listen to The Lullaby Of Broadway” Damon Kirsche as Julian Marsh and Tessa Grady as Peggy Sawyer

In the central role of Peggy Sawyer, Tessa Grady offers way more than just duplicating Ruby Keeler’s fresh-faced (if slightly drowsy) ingénue. She’s a vibrant entertainer and vocal powerhouse who handily puts the “Dance” in “Dancin’ Feet” here! Likewise, Damon Kirsche’s Julian Marsh has a few “Major-League” moments of his own, but you have to wait until the second act for them to arrive; happily, when they do, they’re more than worth the wait–such as during the magnificent “Lullaby Of Broadway”. Another voice to be reckoned with belongs to Zach Hess as Tenor Billy Lawlor, which is robust enough to raise the roof of the Carpenter Center’s spacious 1074 seat auditorium, making just about every number he’s in worthy of an ovation all its own. Choreographically, Hess and Grady’s best shared moment involves a ‘challenge dance’ occurring as part of the climactic titular extravaganza, wherein one executes a step that is then immediately copied back by the other, which continues building on into the finale.

Caitlyn Calfas as “Anytime Annie” and Jamie Torcellini as Bert Barry “Shuffle Off To Buffalo”

Barbara Carlton-Heart also does a fine job as Maggie Jones–“Pretty Lady’s” co-writer, and its company’s brassy resident ‘mother hen‘, while Jamie Torcellini is her puckish partner, Bert Barry. For this particular incarnation, Engstrom has actually merged Barry with another character –that of the show’s Choreographer as well, which affords Torcellini twice as many opportunities to demonstrate some amazingly fancy footwork. So too, in her turn as Dorothy Brock, the Diva hired in no small part due to her connection to a wealthy businessman willing to finance the show (–as long as she’s the star–) Tracy Lore is appropriately arrogant and humorously bitchy; she also really delivers the goods in her larger, over-the-top spectacles like “The Shadow Waltz” and “Getting To Be A Habit With Me”, while still conveying a nice emotional vulnerability in her more intimate ballads, “I Know Now” and “A Quarter To Nine”. Meanwhile, Paul Ainsley is one big bundle of larger than life likeability as the rough-around-the edges, southern gent, Abner Dillon–Brock’s wealthy “beau du jour” and the shows chief investor. Well deserved mention also has to be made of the ensemble–crucial to a show like this–which is comprised of 28 of the most gifted hoofers ever to master a waltz-clog or triumph with a time-step; faced with some pretty complex (not to mention dazzling) combinations, this entire bunch literally doesn’t put a foot wrong! Collectively, they especially excel with “We’re In The Money” and “Dames”, which truly capture the essence of those great old Busby Berkeley movies–as does “The Shadow Waltz” which also throws in some nifty lighting effects and huge chuckles as well.

They’re “In The Money”: Paul Ainsley is Abner Dillon and Tracy Lore Is Dorothy Brock

Admit it, we’ve all dreamt of stepping out of the wings and into the spot light at one time or another–now’s the chance to  “go dream a little” with this high-struttin’ delight of a production; so “Shuffle off” to “The Carpenter Center  For The Performing Arts” situated on the campus of California State University Long Beach at 6200 E. Atherton Street, Long Beach, CA. Currently playing through November 11, curtain-times are Fridays at 8 p.m., Saturdays at 2 p.m. and 8 p.m. and  Sunday Matinees at 2 p.m., with added shows at 7 p.m. on Sunday, November 4^th  and Thursday November 8^th at 8 p.m. (There is no 2 p.m. show scheduled on Saturday, November 10^th .) Tickets may be purchased online at  www.musical.org ;  by phone at 562-856-1999 x4, or in person, Tuesday through Saturday from noon to 6 p.m. at the Musical Theatre West Box Office located at 4350 E. 7^th Street, Long Beach, CA. (While you’re at it, be sure to checkout the Apple I-Tunes Store for a FREE Musical Theatre West App!) 

Zach Hess as Billy Lawlor and Tessa Grady as Peggy Sawyer lead the cast on “Naughty, Gaudy, Bawdy, Sporty 42nd Street”!

Photos by Alysa Brennan, Courtesy of Musical Theater West; Special Thanks to Paul Garman, Gigi Fusco-Meese and the Cast & Crew Of Musical Theater West’s “42nd Street” for making this story possible.

“Let me give you the lowdown-I’m Crazy For You!” Mishi Schueller is Bobby & Andrea Dodson is Polly in Downey Civic Light Opera’s “Crazy For You”

“They got rhythm, they got music…“ in Downey California–in fact, they got some of the bounciest, most vibrant tunes George and Ira Gershwin ever wrote, since the Downey Civic Light Opera kicked off their 58th season on September 27^th with the hit  musical, “Crazy For You”! The winner of the 1992 “Tony Award” for “Best Musical”, the entire score reads (or more appropriately put, “sings”) like a veritable who’s who of the Brother’s most immortal classics–among them, such hits as: I Got Rhythm, Bidin’ My Time, They Can’t Take That Away from Me, Nice Work if You Can Get It and Embraceable You.; and  you can bet your shiny, Patent-leather tap shoes that it’s more than worth a trip to the large and well-appointed “Downey Theater” to catch this genuinely pleasing new production.

“I’m a little lamb who’s lost in a wood, I know I could always be good to one who’ll watch over me” Polly (Andrea Dodson) with her father Everett (Nick Menecola)

The time is the 1930’s and Bobby Child, the “Devil-May-Care” heir to the renowned “Child Banking Dynasty” would rather spend his time perfecting his ‘Buck and Wing” than spending his family’s considerable fortune (“Nobody in the theater takes me seriously,“ he laments early on, “I just wanna dance–I don’t care about money!”) However, despite the serious efforts of his mother and soon-to-be-ex-fiancé, Irene, Bobby eventually–and seemingly against the odds, manages to achieves his dream and save an entire town while doing it–not by making the rounds on Broadway but by heading out West to the little village of “Dead Rock” Nevada, initially (of all things,) to foreclose on their local theater! There he meets feisty Postmistress Polly Baker whose father Everett is the theatre’s owner. As in the best traditions of the “Great White Way“ and “The Silver Screen“, before the curtain calls, these two outwardly mismatched lovebirds will be billing and cooing their way into their own “happily ever after” which sees them literally waltzing off into the sunset backed by some of the best hoofers this side of a Busby Berkeley Film Festival!

“Shall we dance, or keep on moping? Shall we dance–and walk on air?” Bobby (Mishi Schueller) & Polly (Andrea Dodson) take take to the dance floor

 The book by Ken Ludwig, from a concept by Ludwig and Mike Ockrent, which itself was inspired by vintage material from Guy Bolton and John McGowan, is exceedingly witty–loaded with frequently laugh-out-loud-worthy one-liners (there’s even a reference to “Les Miserable” if your quick enough to pick up on it–) ‘just-missed’ connections, mistaken identities and of course  plenty of opportunities for breaking into song. In addition, Marsha Moode’s sharp and snappy, direction makes great use of both the theater’s ample center stage area and the two smaller ‘side’ stages on either side. Interestingly, the first (longer) act, is primarily devoted to introducing our hero and heroine and setting up their situation. The Second (shorter) act is where individual and supporting characters really get their turn at bat and this is where Moode’s directorial finesse really comes into play. Equally remarkable throughout, is Nathan Wise’s Choreography, which pays homage to all those great old movies as well as incorporating some of the show’s original Broadway Choreographer, Susan Stroman’s  signature moves. Of course it also helps that many of Gershwin’s songs reintroduced here are like a giant kick-line just waiting to happen, but perhaps most fascinating though is how he often takes smaller, simpler moves and through repetition, builds on them, creating in many instances the “whole” of a dance routine that’s actually more impressive than the sum of its “individual parts“. Not to be overlooked, Eddie Clemet also does a superlative job conducting the D.C.L.O. Orchestra.

“I can make a Saint a Sinner when I want to!” Irene Roth (Charlotte Carpenter) is a Tigress in ‘Haute Couture’

Let it be said as well, that they’d all be hard-pressed to find a more energetic, even exuberant  cast, starting with the two leads! As Bobby, Mishi Schueller possesses boyish good looks and a genial personality (not to mention a powerful tenor voice) He’s also pretty fleet of foot when he needs to be too–as is evidenced during the rousing “I Can’t Be Bothered Now” when he jumps on the roof  of his mother’s Duisenberg (from which a long line of Chorines eventually emerge to provide proper high-stepping back up as well!) Incidentally, the car itself is also worth a mention as, according to Moode, it weighs 800 lbs and was shipped in all the way from Kansas just to appear in this show! As the headstrong ‘Polly’ (–the only woman within 30 miles, we’re told!) Andrea Dodson too, proves she’s a high-octane vocal power to be reckoned with, and particularly excels when delivering Polly‘s soulful ballads, “Some One To Watch Over Me“ and “But Not For Me“. Few singers these days really know how to interpret Gershwin lyrics the way they’re meant to be; refreshingly, Dodson knows and does! Yet it’s during her and Schueller’s numbers together that this particular production really shines. Their shared Intermezzo, “Shall We Dance” really kicks the show into high-gear as the pair ‘trip the light fantastique’ like a latter-day Astaire and Rogers

“I’m growing balder from the hair I’m tearing–you ought to know by now ‘What Causes That!” William T. Lewis as Bella Zanger & Mishi Schueller as Bobby (in disguise) are “Dueling Bellas”

William T. Lewis also does a splendid job as Bella Zanger, the blustery showman, and proud Producer of the “Zanger Follies” (“Featuring the most beautiful women in New York” he boasts.) Although his character doesn’t really come into his own until after intermission, once he hits that ol’ desert settlement–watch out! (Because it also happens that Bobby has been impersonating him–and it’s this guise that Polly falls in love with.) This leads to Lewis’ funniest moment when, shocked at discovering his look-alike, the displaced Impresario proclaims, “I am beside myself!”  The ruse also inspires the jumpin’, jivey duet “What Causes That?” presenting the two ‘Bellas’ both belly-aching over the uncertainties of love. Likewise, Charlotte Carpenter sparkles with the effervescence of a “Pink Champagne” cocktail as Irene Roth, Bobby’s Leopard skin-clad  ‘steady’ (of  five years.) Her saucy solo turn “Naughty Baby”,  in which this Park Avenue Ice-Princess reveals how underneath all that excruciatingly fashionable finery beats the heart of real hot-blooded vixen, also rates as one of the second act’s highest high points (“I was top of my class at Bryn Mawr“ she quips; “All the boys were underneath!”) Meanwhile, Paul Preston puts his handsome appeal and considerable charisma to excellent service in the too-easily-over looked role of Lank Hawkins, “Dead Rock’s” self -proclaimed “Man Of Vision” who wants to marry Polly himself. Listen closely and you’ll notice it’s he who gets some of the very best lines: ”We could have another ’Cleveland’ on our hands,” he declares about the town at one point, ’’Stead of being the ’arm pit’ of the West.”  Later though, when its suggested he would do well by turning his saloon into a gambling joint, he scoff s  “Who would want to gamble in Nevada?!”

The Downey Civic Theater in Downey California is the REAL home of “The Zanger Follies” (as seen in the D.C.L.O.’s new production of “Crazy For You”)

 Playing through Sunday October 14, 2012, curtain times are Friday and Saturday evenings, October 12, & 13  at 8:00 p.m., with the Sunday, October 14th matinee at 2:30 p.m.  The Downey Theatre & Theater Box Office are located in the Downey Civic Center at  8435 E. Firestone Blvd. in the city of Downey, CA 90241; tickets may be purchased at the theatre or by calling (562) 923-1714; for more information checkout: Http://downeyciviclightopera.org . Would it be too ‘obvious’ to suggest that “Crazy For You” is a show you’ll be ‘crazy’ for”? Then consider instead: Given the classic songs, terrific dancing, and entertaining story–all performed by an enthusiastic cast, to borrow from still another of the score’s many timeless numbers, “Who could ask for anything more?”

(Photos courtesy of The Downey Civic Light Opera. Special Thanks to Marsha Moode and the Cast & Crew of the Downey Civic Light Opera’s production of “Crazy For You” for making this story possible!)