END OF THE RAINBOW

END OF THE RAINBOW

With bold and compelling performances, the Ahmanson Theatre’s production of End of the Rainbow succeeds on some levels, but surprisingly lacks in others.

Penned with a primary focus on the dark and heartrending final years in the tragic life of Judy Garland (Tracie Bennett), End of the Rainbow is a show that should be steeped with drama and inherent intrigue. A mega star of stage, screen, and the social circuit in Hollywood’s golden age, Garland’s private life was marred by drug addiction, failed relationships, misplaced passions, mental illness, and perhaps worst of all, her once in a generation talent, which was that the root of all. She was the stuff dreams are made of and, sadly, became subject to all the trappings that surround someone of such a unique and marketable endowment.

Set amongst all the constant drama of Garland’s turbulent life, End of the Rainbow strives to convey what the leading lady’s life became as the bright lights began to dim. The show wisely attempts to capitalize on what is undeniably one of the most heartbreakingly beautiful and devastatingly resilient lives that Hollywood has ever known. With that in mind, the show opens near the end of Judy’s life, with her stardom firmly established, as the veteran performer enters her hotel room and immediately complains of how small it is. Over the course of the next two and a half hours, we follow her along the first stops of her final tour and watch as she struggles with the pressures of her addiction and eventually descends into a Marilyn Monroe-styled demise. Much like Monroe’s place in glamour, Garland’s life has left her immortalized as a one-named star, the very mention of which conjures up iconic visions of songs, smiles, and stardust in a way that no other musical theatre idol can.

With a subject like that, End of the Rainbow should be one of the most dramatic and high-energy projects going. Unfortunately, there is a disconnect between the woman Judy Garland was and this production’s ability to deliver that to its audiences.

Doing her best to bridge that divide is the delightful, energetic, and flat out spellbinding Tracie Bennett as Judy Garland. Bennett’s performance is so powerful that one must be in considerable awe that she is able to deliver such commitment, devotion, and focus each night. The fact that she is able to do so is a credit to the director (Terry Johnson), the support she receives from seasoned fellow cast members, and the creation of an authentic and convincing theatrical world that aptly shows how Garland ended up where she did. Equally noteworthy is Michael Cumpsty in the role of Anthony, whose earnest honesty adds greatly to the considerable spectacle that unfolded in true Ahmanson fashion.

The lighting by Christopher Akerlind glows with independent beauty and sets well the ambiance needed for the show. Likewise, the set by William Dudley is thoughtfully conceived and a versatile asset to the show. The costuming, also by Dudley, fit well the era and characters, adding to the style of the technically strong production. Directing the show with a sure hand typical of the venue, Johnson expertly crafts the overall fluidity of the piece and builds on the strong performances in the well-cast work. Occasionally lacking the fearlessness that one desires so much in any project even remotely associated with the Garland name, Johnson seems to opt for the tried and true choices, which are both a strength and a weakness for this production. Much of what seems to be missing is due to a script that is almost encyclopedic in nature, floating aimlessly above the subject in a way that Garland avoided in every performance she delivered. Author Peter Quilter misses the humanity and favors the broad view of his subject’s trials. Quilter delivers well a basic portrait, but seems only to sideswipe the head-on collision that Garland was in everything that she did. All out was the way she lived on screen, on stage, and in life, and we would like to see her that way in memory as well. The gripping performances and theatrical atmosphere at play in End of the Rainbow make the show a fascinating actors’ showcase. However, the lack of internal involvement in the tornado that was the fascinating Judy Garland leaves something to be desired. That said, while safe and simple in some respects, the production will appeal to many due to the technical and performance expertise and a core subject that is magnetic, no matter where you sit in the rainbow of theatre audiences.

End of the Rainbow runs at the Ahmanson from March 21st until April 21st. Please visit http://www.centertheatregroup.org for tickets or more info.

THE LAST FIVE YEARS

The Elite Theatre Company has left its former digs in downtown Oxnard and has moved to a luxurious new space at the Fisherman’s Wharf just across town. It is a big move for the little company that reaps sizable rewards on stage and off.

The spacious building on the harbor is indeed an inviting location for theatergoers. The seating is comfortable, although there is no doubt that the view from the first three rows is preferable (and future productions would benefit by a reduction of ancillary noise coming from the parking lot and the obviously unbroken-in wooden stage). Making up for such growing pains is the friendly staff and the small town charm of the company that remains intact. In truth, the new space feels tailor-made for their current offering by contemporary musical wunderkind author and composer Jason Robert Brown.

The Last Five Years, Brown’s semi-autobiographical musical, is so close to his own life story that the author was forced to rework his original version under threat of legal action from his former wife. The final draft that emerged has played to great acclaim in New York and is currently slated to be adapted into a feature film later this year. As the title suggests, the show covers a five-year time span and focuses on the red-hot love and eventually frigid arctic crevasse that forms between Cathy (Rena Petrello alternating with Stephanie Mieko Cohen) and Jamie (Kyle Caldwell).The Last Five Years is a prime example of Brown’s progressive and fearless musical appetite that is also exemplified by his other mega-hit works Parade and Songs for a New World.
The Last Five Years spins the tale of Cathy, a talented and frustrated aspiring actress, over the course of her tumultuous relationship with Jamie, a young author on a meteoric rise to the top of the bestseller list. Embracing Brown’s obvious desire to play against expectations, Elite Theatre Company audiences enter the theatre to find Cathy already on stage and bathed in a blue tinted light as she sleeps alone in her bed. Over the course of the 90-minute one act play, Jamie and Cathy’s story is told, moving backwards from her perspective and in traditional beginning to end fashion from Jamie’s point of view. It is a choice that exhibits not only Brown’s musical and structural genius, but also his ambition to innovate and reinvigorate the musical theatre genre. His efforts toward those ends create a potent and challenging work that is filled with heartbreak, humor, and above all, an undeniable humanity that confounds the traditional image of musical theatre and its place in American culture.

Once the audience is seated and the lights dim, we see Cathy awaken in great pain, having discovered that her husband Jamie has left her, leaving behind only a note and his wedding ring. As Cathy sings one of the show’s most enduring numbers, Still Hurting, her mind drifts back to a time five years ago when she first met the brilliant and volatile Jamie. Each song provides an intimate glimpse of a couple that you truly root for to find happiness, despite knowing that they never will. Reaching a romantic climax during The Next Ten Minutes (one of the show’s only two duets), the end of the story finds Cathy back at the beginning of their relationship and Jamie writing a Dear Jane letter before leaving Cathy alone as we first found her. It is a bold venture for any theatre company, but due to a powerful script and a plethora of talent, this production succeeds as one of the most compelling and dynamic pieces of theatre presented locally.

Petrello soars as the tough but vulnerable Cathy with a tangible emotional depth and vocals that glide from lips to ear with grace and ease. Caldwell’s resounding rock voice endows Jamie with youthful exuberance, countered with a dark maturity, as he finds himself unable to stop the distance from growing between himself and his bride. Each are at their best in the show’s final number that culminates in a haunting ending reminiscent of a music box slowly winding down, taking them from their hope-filled first kiss to the painful vacancy left as Jamie exits their apartment for the last time. Director Andrew James nimbly crafts a cyclical illustration, filled with beauty and metaphor, adding substance and fun to Jamie and Cathy’s love affair. James also collaborates with Steve Grumette on the strong lighting design and most effectively with Akira Dann on the mobile set that delivers representational tables, chairs, and the like throughout the show. The color palette of the set, along with its imaginative working mechanics, are indicative of the care and creativity lavished on this highly stylized production. Likewise, costumes and the minimal prop usage are appropriate and aid in delivering a clean, sleek view of this touching portrait of love and loss.

Pianist David Gorospe tackles well the difficult score and plays non-stop for the entirety of the show and pre-show. Although there is a lack of accompanying instruments, the strong vocals and fluid pace of this production along with Gorospe’s energetic playing proficiently fills the gap. Marilyn Anderson‘s musical direction captures the layered fabric of Brown’s complicated musical demands and appropriately marries the show’s sound to the close quarters of the previously untried space. Ultimately, Brown’s truly original script and score, supported by a strong artistic vision and ample amounts of talent, make The Last Five Years at the Elite Theatre Company a must see for local audiences.

The Last Five Years runs through March 30th at the Elite Theatre Company www.elitetheatre.org