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

Food Confessions

The pithy fun and silly nature of Food Confessions currently on stage at the Rubicon offers an ample serving of easy-to-view entertainment and is worth biting into.

Lighthearted and abbreviated nights out are getting harder and harder to find. In this era of the three hour, three part, cinematic adventure and the epic, sprawling theatrical spectacles designed to compete with such film trilogies, we have become trapped in a cycle of entertainment that demands a massive commitment of our hearts, minds, and even more precious, our time. However, the Rubicon’s current offering, Food Confessions, is a pleasant departure from other such all-consuming productions.

Food Confessions is a one act play made up of short, skit-like vignettes, and served up a la a five course meal of entertainment. The performers, all clothed in black, play multiple characters and differentiate each persona with the addition of accoutrement befitting each new character. Author/performer Nancy Nufer provides a script that demands high energy performances in order to succeed and she gets that and then some from Dan Gunther and Kara Revel. Gunther’s able handling and delineation of numerous characters was a delight and Kara Revel provided craft charisma and continuity with her recurring role as the Mac and Cheese Girl. The able ensemble works well together and, during the show, remain onstage regardless of scene involvement. When not engaged in the story, the actors become a sort of living background in the style of east coast readers’ theatre. Jenny Sullivan’s direction quickens the pace and keeps the entertainment quirky and fun. The technical elements are what we have come to expect from the Rubicon over recent years, with lights and sound that befit the space. Like the strong lighting design, the whimsical, cartoonish set accentuated the comic tone of the show as well as the desired feel for the evening.

The interludes of the show were a highlight, as the actors repeatedly came together to sing a well-known song with altered lyrics that focused the subject on a different food item for each tune. The friendly audience eagerly devoured these cutesy transitions, and the levity of the show benefited from the rhythmic through line. Family fun was had by all and the simple and enjoyable nature of the show made for a nice appetizer to what is sure to be an exciting season for the Rubicon this year.

Food Confessions runs at the Rubicon in Ventura until Feb 24th. http://www.rubicontheatre.org/

BY THE SKIN OF OUR TEETH

One -time Ojai resident Thornton Wilder’s epic commentary on the cyclical nature of life, love, sex and war is now on stage at the Ojai Art Center Theater. By the Skin of Our Teeth stands along with Our Town and The Match Maker in achieving for Wilder a theatrical triumph trifecta of audience acceptance, historical acclaim, and time-tested relevance. This production ultimately does justice to the goal of its homegrown author and is an ambitious and well-chosen piece for this quaint, but respected, out of the way theatre.

By the Skin of our Teeth is generally considered Wilder’s third or fourth best known work, although it is widely recognized as his most intellectual and avant garde. The show was one of Wilder’s three Pulitzer Prize-winning works and derived directly from his foyer into absurdist and existential theatrical experimentation. Likewise, the text exemplifies Wilder’s own inner conflict with the trends of his time and shows a deep-seeded desire to comment, not only on universal themes, but also on the author’s state of being. Lacking all of the sweetness of his much beloved Our Town, By the Skin of Our Teeth muses on the pointlessness of the human endeavor with biblical proportion and epic storytelling grandeur. The story relates the many adventures of a family aptly bearing the name Antrobus (From the Greek term meaning human). Led by their patriarch George Antrobus (Ron Feltner), the family exists within the play over five thousand years from the Stone Age to the modern day. Over the centuries, the audience sees them as they deal with climate change, war, and the occasional extramarital affair. Yet, somehow, they always escape by the skin of their teeth. Each time we see them, they are about to face and overcome a great danger, only to be left in the end without resolution and again finding themselves in the same circumstance in which they started.

Director Richard Kuhlman muddles the first act considerably with an inconsistent mix of steam punk and satirically representational costumes. It is a mistake that is further compounded by mumbled lines and a seeming lack of character commitment and clarity at the onset. Kuhlman, however, redeems himself well in the second and third acts and the cast settles in, giving the show a stronger rhythm and through line that carries the show to a satisfying conclusion. Though the pace is at times sacrificed for spectacle, the three hour show proves to be an entertaining rendition of this difficult work and aptly delivers Wilder’s desired message for the piece.

The cast works well as a group with strong performances coming from Feltner as well as the youthful David Stewart in the role of the younger Antrobus, Henry. Adding to the ensemble are fine characterizations by Julia Wilson, Laura Ring, Zuzka Sabata, and Ezra Eells and Brittany Danyel in energetic bit roles. The set design by Neva Williams is effective and compliments well the strong lighting design by Steve Grumette that is particularly well-conceived in the apocalyptic third act.

All in all, this production of By the Skin of Our Teeth should be embraced by Ojai residents not only for its theatrical significance and performance value, but also for highlighting the work of an iconic author with local ties. One would think that a work of Wilder or another locally connected author could easily be included in every season at Ojai ACT to further accentuate the area’s strong artistic heritage.

By the Skin of Our Teeth runs through February 24th in Ojai. www.ojaiact.org (805) 640-8797.

Yes, Virginia, There is a Santa Claus

The Holiday season is upon us and the likes of It’s a Wonderful Life and A Christmas Carol, the many seasonal family favorites that mark the time, are at hand. The Ojai Art Center Theatre’s production of Yes, Virginia, There is a Santa Claus is a pleasant addition to the mix.

With two parts tradition and one part adaption, this classic tale of faith, hope, and Christmas magic is one that caters to local families looking for a Christmas production appropriate for all ages. The century-old tale is based on the actual events set in action by eight-year-old Virginia O’Hanlon. In this version, young Virginia (Sophie Massey) struggles with the realities of immigrant life in early America. Her father, James O’Hanlon (David Rogge), has lost his job under unfair circumstances, and with no prospects for employment, the family’s Christmas hopes appear bleak. However, with innocent wisdom, the young Virgina seeks help from the source most trusted by her father, the irrefutable New York Sun. In an effort to get a clear answer, she pens a letter to Sun’s the revered editor, Edward P. Mittchell (Bill Spellman) who assigns the piece to the alcoholic and now suicidal once great reporter Frank P. Church (Frank James Malle). Church struggles with his response to the letter, and in the process of writing his historic reply, faces and ultimately overcomes his own demons as well. In real life as well as in the play Church’s words take on a meaning and importance far greater than the sum of their parts. They become an iconic commentary on the human spirit and the true meaning of Christmas.

This production has a decidedly family feel; the story is simple and the characters typical of the holiday genre. Its strengths lie in the dependability of the much desired happy ending and the overall commitment to telling the tale in a way that equally reaches all members of the audience on some level. The family dynamic is most well played with Rogge delivering a compelling leading performance and pairing well with the charming Chelsea Vivian cast opposite him as his wife, Evie O’Hanlon . Rogge and Vivian along with the youthful energy of Massey form a genuine familial bond in which the audience can fully invest. Other strong performances are given by Spellman who succeeds in developing an engaging character as well as a tangible bond with the audience, along with Malle, Karson Kern, Sierra Taylor and Joyce McWilliams in the supporting but endearing role of Mrs. Goldstein.

Director Brossy Reina proficiently crafts a touching story making use of a minimal but effective set that insinuates well the time period. The pacing at times slows, but well-conceived sound and lighting designs combined with impressive well staged fight sequences keep you involved and vested. The costumes stand out for their authenticity and feel, as does the well placed use of a live kitten to warm the hearts. At times, out of control moustaches border on comical and iffy accents occasionally mar otherwise efficient scenes. The choppy script fails to capitalize on the overall potential of the story, occasionally stifling the dialogue and limiting the flow of theatrical performance, but is sufficient to deliver the appealing message. The overall product remains valuable and the positive aspects of the project hold true.

In all, the show rests on the backs of capable leading performers and resourceful supporting elements to make for a delightful and moving family-friendly production.

http://www.ojaiact.com/ through Dec.16th

OJAi

I am now on the way to Ojai for lunch and a show! See a show tonight!

DEATH TAKES A HOLIDAY

The large parcel of land that the Santa Paula Theater Center sits upon clearly shows that the venue has been serving the community since long before the modern identity of the city of Santa Paula was established. In recent years, the theatre has boasted a strong slate of seasons that exemplifies their steadfast and traditional approach to small town theatre. Their most recent production of Death Takes a Holiday fits well with both this vision and the historic venue in which it plays.

It is a story that has been adapted multiple times for film and stage (here, by Walter Ferris). Originally intended to give a world reeling from the after-effects of war and economic downturn some format in which to laugh at death, the show ultimately did far more than that. Written by Alberto Casella, this work also served to ease the generational tensions that were at a fever pitch in a time dominated by the onslaught of modernization. It was the work’s satirical outlook on the inevitability of death that played so well to audiences through the first part of the twentieth century and into the present day.

The plot lines are crowded with metaphor, but the multi layered meaning plays best at a surface level, leaving the deeper meaning to be divined by audience members as they are so inclined. Thus, the story is laid out in a fashion that is part tongue in cheek and part allegorical musing. Set in 1930s Italy, The Grim Reaper tires of his place in the metaphysical pantheon and longs to gain a better understanding of why humans fear him. So, as all men of proper European stature should do, he embarks on a 3-day holiday disguised as a Russian prince. He appears before a middle aged nobleman and convinces him to permit him to stay at his villa, where he will observe humans and interact with them. Thus, Death endeavors to learn about man’s emotions, feelings, and motivations. As he studies his subjects unawares, he stumbles onto a force even more powerful than death itself. He finds himself at the mercy of the all-powerful feeling of Love. Likewise, the other characters in the show are forced to confront their own notions of true love and their fears of the unknown with varying degrees of depth. Ultimately, it is Death’s desire to change himself to better understand man that leads the audience to question our own ability to empathize with others and see our effect on their lives, including our individual outlook on our own mortality.

The even cast thrives in the first act where the pacing and dialogue lend themselves to entertaining storytelling. While the accents at times falter to distraction, the cast as a whole shows fine chemistry and delivers well-rounded characters. Particularly strong performances are given by the strikingly alluring Jennifer Ridgway and the refined Vivien Latham as well as by the bold and able Eric Mello. The pace slows significantly in the second act as the cast struggled to energize the often-repetitive dialogue of the somewhat dated script. However, they were able to keep a consistent flow that keeps the overall product enjoyable and entertaining throughout.

Director Tom Eubanks draws the show together well, including a strong lighting design by Gary Richardson that aptly punctuates the undertones of the show. The other technical elements at play add ambiance and complete the total picture of Death Takes a Holiday, showing an abundance of care and aptitude by the production design team.

Death Takes A Holiday plays at the Santa Paula Theater Center until Dec 23rd. http://www.santapaulatheatercenter.org/