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.
No comments:
Post a Comment