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“Yesterday” (actually quite a few days ago) we continued our mission to see as many shows as possible during our stay in Las Vegas. Susie Reese and I decided that the MIRAGE casino deserved another visit for BEATLES LOVE.

The Beatles song catalogue comprises the sound of the Sixties and the memories quickly cascade into our psyche with each and every vibration. Maybe that’s why it feels so right that we are able to celebrate again the beauty, the sadness, the energy, the idealism and – yes – the love of that decade.

Three cheers for CIRQUE DU SOLEIL‘s commitment to creative excellence and the surviving Beatles‘ willingness to explore their own frantic journey to musical stardom while welcoming a unique perspective from the performing artists as well.

There may not be a more complex Las Vegas production more thrillingly in tune with its music than this one. The technical challenges remain enormous, yet this show delivers with perfection. Acrobats, dancers, roller skaters, daredevil aerialists, etc. – all of them zip, dart, bounce, sail and slither throughout the arena in a dizzying array of costumes that capture the era to a tee.

Count me a fan of the piano/bubbles scene and the “Lady Madonna” sequence in particular (no spoilers here!).

Susie used to sing a soothing rendition of “All You Need Is Love” to our “Stella” who passed a few years back. Even she was a Beatles fan! Just another connection for us.

I can’t “Imagine” a better way to reconnect with the turbulence of those times while luxuriating in those amazing songs. Truly…BEATLES LOVE is destined to become one of your favorite shows, too (i.e. if you throw the dice and plan your own Las Vegas vacation).

“Here Comes the Sun” (I’m not kidding. 107 degrees at 11PM on the day of arrival!). Whew!

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“Over there!”, the kids scream excitedly. “You can, you can!”, a bespeckled boy urges on the sheriff.  “I’m going to be an astronaut”, the timid, young lady observes in response to a question about dreams. Leaning over, totally engaged in the action. Bouncing up and down to the rhythm of the music. Cradled in dad’s arms, yet nodding affirmatively to Sally Sue’s question, just before he plants a kissee on dad’s cheek. These are a few of the sights and sounds this critic experiences during the family production of THE ROOT BEER BANDITS at the Garry Marshall Theatre in Burbank. Occasionally – it seems –  all of us need to sit in a theatre with a passel of eager children and luxuriate in the joys of live theatre for these young‘uns.

Subtitled “A Rootin’ Tootin’ Wild West Musicale”, this show is all that and so much more. Refreshingly (even minus the root beer), parents are likely to find this polished production a heap of fun in the same way that their children do. No gunfights at the OK Corral, no merciless natives attacking the wagon train and no swigging down a whiskey at the saloon. Don’t worry, though, there are plenty of Western cliches peeking out of every corner of this handsome setting compliments of Tanya Orellana and ably lit by JM Montecalvo. There’s even an entrepreneur’s version of an 1860 Century dress shop, bursting at the seams with enough hoop dresses to catch the fancy of any young lasses caught up in the princess thing. In fact, all of the outfits worn by the characters result in  a fanciful interpretation (Jessica Champagne-Hansen fashions the duds) of a romantic take on the Ol’ West.

The story embraces worthy themes of realizing one’s dreams, the importance of friendship and community and the challenging of common assumptions about society’s expectations. “Polly Peppercorn” (Grace Yoo), the first female Pony Express rider (at least until the pony hit the trails without her), enters the town of Sarsaparilla City (famous for its distinctive root beer supply) aiming to deliver a letter to “Sheriff Bailey” (Clayton Snyder). Meanwhile, a couple of “no-goods* (aspiring root beer bandits), domineering “Copper Penny” (Kelly Brandeburg) and hapless “Zeke” (Josey Montana McCoy), begin hatching their dastardly plan. The town’s upstanding citizen, “Sally Sue Tucker” (Cloie Wyatt Taylor) flits in and out representing goodness whenever it is in short supply.

Creators Rachel Lawrence (music) along with Joseph Leo Bwarie and Lori Marshall (book & lyrics) plot out an engaging, suspenseful tale, complete with farcical elements and good-natured fun as well as  jaunty, spirited tunes and even a “sing-off at high noon” certain to stir up the attentions of any youngsters in audience land. Community theatres should consider scheduling this show for their family audience.

“The Whyman Boys”, perched in a nook among the crannies create the Western flavor with a high level of dedication. Conductor Ryan Whyman (saloon piano) harnesses the talents of his musicians including the following: Blake Estrada (bass), Ben Matthews (guitar, keyboard) and Jordan Bush (banjo, guitar). These fellas all deserve a sagebrush tribute…and maybe a hoedown of their own.

The all-Equity cast, winningly assembled with the help of Casting Director Elizabeth Ayoob, saves the day, aided by the energetic participation of the children (so necessary in family theatre productions). The classy dress shop owner at the center of the hoopla, Ms.Taylor, and the scheming, brassy Ms. Brandeburg register as my personal favorites. All of the actors portraying these characters, even so, fill the bill with distinction.

A quick shout out goes to the amiable Garry Marshall Theatre‘s box office staff. Maybe a raise should be in their future.

Director Leo Bwarie holds the reigns of this rip-roarin’ delight which only plays until April 28. Rustle up your children, the neighbor’s kiddies or your grandchildren and head on down to Burbank for a taste of sarsaparilla this weekend. No kidding…root beer is served after the show.

NOTE TO CREATIVE TEAM: Don’t you think that the actor playing “Zeke” in the show should be able to use his own stage name instead (i.e. “Josey Montana McCoy”)? Just sayin’.

N.B. The Garry Marshall Theatre brought back this production upon reopening after the pandemic as a tonic for its audiences.  Whoopee!

pc: Aaron Batzdorff

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Ostensibly, that’s right; it is set primarily in a funeral home.  At its core the Chance Theater production could be said to center on a dysfunctional family. I suppose in this way it shares some parallels with the curiously engaging TV series “Six Feet Under”. This musical play, though, does not focus on the macabre, nor does it delve into a host of weird characters. FUN HOME homes in on the challenges of surviving the chaos in the family environment while managing to be uplifting in the process.

There is so much going on in this autobiographical script and not all of the developments end in resolution. Issues of sexual orientation, complex familial relationships, suicide, emotional abuse, literature as a means to “know thyself” and the impact of family chaos ingeniously dart in and out in the libretto intricately fashioned by Lisa Kron. Even as the stage journey begins, the audience is faced with the task of discovering the identity of several characters as they are delineated in light onstage. It emerges that the playwright has crafted the device of her storyteller, the LGBTQ activist and cartoonist Alison Bechdel,  being manifested in three different versions of the central character’s self: youngster, older student and mature adult, all endeavoring to make sense of her tumultuous life. 

This critic, along with many theatregoers, appreciates the adventure of sorting through observations and context clues provided by Ms. Kron as well as hints supplied by the superb director Marya Mazor, extracting every nuance from this TONY-winning musical book. Then, too, a deserved shoutout to the extraordinary contributions of a highly competent acting ensemble led by Ron Hastings (“Bruce Bechdel”) and Ashlee Espinosa (“Alison Bechdel”).  Bravo! In fact, the entire team successfully breathes life into these characters: Madelyn Velazquez (“Medium Alison”), Holly Reichert “Small Alison”), Jennifer Richardson (“Helen Bechdel”), Reese Hewitt (“Christian Bechdel”), Christopher Patow (“John Bechdel”), Matt Bolden (“Roy” & others) and Ketino Christopher (“Joan”). Yes, Mr. Hastings and Ms. Espinosa are standouts in my book, yet all of the others do fine character work as well. In particular, the young actors (i.e. Holly, Reese & Christopher) seem destined for fulfilling professional careers if they so desire.

On giving this musical score a first listen, never could this guy have imagined that it had been composed by Jeanine Tesori, who performed the same chore for both THOROUGHLY MODERN MILLIE and SHREK.  The most apt descriptor of her musical accomplishment might be to say it is “Sondheimesque”, although it serves the complex script to a tee. Lex Leigh provides the Music Direction, aided by musicians Isabella Pepke, Jimmy Beale and Jorge Zuniga, seamlessly augmenting the ideas and words of the playwright Ms. Kron. Love, love love that cello of Ms. Pepke (N.B. I’ve always been a fan of this glorious instrument because its emotional quotient registers off the charts IMHO!).

Never am I disappointed when visiting the Chance Theater in Anaheim.  This acclaimed resident theater boasts a parade of the best Los Angeles creatives and acting talent. In this instance, let me heartily recommend this thrilling, heartbreaking production.  “Come to the Fun Home” without delay!

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Well…that’s the pitch emblazoned on the program cover of the production currently on the boards at the Cerritos Center for the Performing Arts with the 3-D Theatricals version of KINKY BOOTS. Maybe this pitch floats your boat, but for this critic the attraction of this show has more to do with “mom’s apple pie” and kitchen table values in general, inviting all to celebrate their differences.

The creators of KINKY BOOTS, Harvey Fierstein (book) and Cyndi Lauper (music & lyrics) have shaped a stage musical based on the movie of the same title. The 2006 film on which the story is based centers on a young man, “Charley Price” (Lukas Poost), who reluctantly assumes ownership of his father’s struggling British shoe factory upon the founder’s unexpected passing. After a chance encounter with a drag queen named “Lola” (Cornelius Jones, Jr.), the young man embarks on a quest to transition from a conservative men’s shoe workplace to that of an establishment fashioning quality boots for a flamboyant clientele.  In other words, Charley and his new friend, along with his sometimes befuddled employees, race full throttle into this unusual niche business and in the process learn to appreciate their commonalities as well as their uniqueness (but not without a series of complications along the journey). Supposedly, this resulting narrative is based on a true story.

Vying for Charley’s loving attentions are his current fiancee “Nicola” (Dayna Sauble), who has zero interest in his legacy from his father and maintains a proclivity for the finer things in life, and a more down-to-earth, yet savvy factory worker who seems more attuned to Charley’s welfare (i.e. “Lauren” (Emily Goglia)). The latter young lady previously has been unlucky in love and shares her litany of failed romances in a showstopper: “The History of Wrong Guys”; her performance shines as the production standout in my eyes.

That is not to say that the two principals, Mr. Poost and Mr. Jones are themselves undeserving of accolades as well. In fact, both are offering Broadway calibre performances. The former’s “Charley” evolves from an overwhelmed young executive doing his duty by his family to a caring leader concerned for his employees and willing to go to bat for them when the chips are down. His powerhouse vocals serve Ms. Lauper’s  score admirably. On the other hand, the latter’s “Lola” provides the grit, the determination and the sensitivity and understanding as “she” dazzles and shimmies her way through the “Price & Son” turnaround. Miss Lola is a force of nature as she displays her feminine wiles bedazzled in sequins at every turn.

A special shoutout is in order to her coterie of drag queen attendants (the “Angels” with a capital ”A”) who energize the proceedings by sashaying and dancing to perfection.  The athletic choreography is compliments of Linda Love Simmons (assisted by Hannah Jean Simmons). Wowza! These glamour queens include the following: Eric Stanton Betts, Jake DuPree (also “Dance Captain”), Callum Gugger, Gerry Kenneth, Christopher Mosley and Rodrigo Varandas. Also “Dan” (Javier Garcia), the hardcore employee sourpuss, and “George” (Jeff Skowron), the veteran factory quality assurance expert, both enjoy some fine moments as well.

Benet Braun provides the musical leadership and conducts the accomplished 11-pc orchestra, too. Broadway’s John Tartaglia, the Director, elicits the fine cast performances and keeps those kinky boots a- struttin’ to and fro. Lastly, the array of talent in the ensemble ensures that the Price & Son workforce grounds the production in realistic trappings.

Around my kitchen table as I was growing up, there were a lot of discussions about caring for others, respecting those who may be different from us, along with lectures about personal responsibility. It seems to me that all of the above are at the core of KINKY BOOTS. Come see what all the fuss is about at the Cerritos Center for the Performing Arts.

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Few of us experience the trauma in our own life faced by Billie Holiday in her journey. Rape, abandonment, jail, racism, drug addiction, poverty – all of these impacted the life of one of the greatest singers of the 20th Century. Throughout her struggles in life, she remained triumphant on the cabaret stage whenever afforded an opportunity even to the end of her illustrious, yet heartbreakingly sad demise at a much too young age in the late Fifties. Since then, her life has been chronicled in a trove of recordings, movies, books, etc.  Always the pain emerges in tandem with the jubilation, both ever present in her daily life.

Now playwright Lanie Robertson has fashioned a musical play focused on one of Billie’s last performances onstage before her passing: LADY DAY AT EMERSON’S BAR & GRILL. International City Theatre now presents its version of the Billie Holiday story at the Beverly O’Neill Theater of the Long Beach Performing Arts Center. It is an event which highly recommends not only theatre at its finest, but also showcases a bravura performance by Karole Foreman (“Billie Holiday”) augmented by the enormous contribution of Stephan Terry (“Jimmy Powers”).

This critic first encountered Ms.Foreman’s enormous talent in a forgettable, patriotic revue over a decade ago in northern San Diego in which she created an unforgettable presence among a cast of five.  At the time her performance dazzled me; in short, I confess that I was starstruck. Having lost track of her career since then, I recently had the good fortune to be impressed once again when Cygnet Theatre in Old Town, San Diego showcased her in Sondheim’s A LITTLE NIGHT MUSIC.  Wow…just wow!

Director Wren T. Brown orchestrates an intimate atmosphere, modulating the extraordinary talents of his actors in an apropos setting compliments of Yuri Okahana-Benson, admirable pacing and a warm sound design (Corwin Evans) allowing Billie’s compelling story to emerge from the ashes of a troubled life. The other technical credits are likewise fine including costumes (Kim DeShazo) and lighting (Donna Ruzika) among others.

Think of the challenges faced by Ms. Foreman with this drama. Commanding a stage as the key character for a couple of hours while reminding us of the larger-than-life Billie Holiday, complete with the particular accents associated with her life’s travails along the way, demands a devotion to craft that most actors could only handle intermittently.  Not this “Lady Day”; she’s all in. Consider also the task of singing in the mold of this distinctive voice. Moving renditions of such Billie Holiday “hits” such as “I Wonder Where Our Love Has Gone”, “Gimme a Pig Foot”, “God Bless The Child” and “Strange Fruit” have to be intimidating. 

Luckily, her “Jimmy Powers”, who also doubles as the Music Director for this production, supports her on this path. As a character, he steadies her as she loses her way in the throes of her addiction while also accompanying her on the piano (brilliantly I would add). Mr. Perry represents her real life companion in the latter stage of her life who sensitively guides her musically – and personally – in the midst of her unraveling during this outing in Philadelphia.

Even though this gig at the Emerson Bar & Grill, as envisioned by the playwright, supposedly involved only about a dozen patrons, the Beverly O’Neill Theater should be bursting at the seams for these revelatory performances.

pc: Tracey Roman

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Children comprise the core of Roald Dahl’s widely read MATILDA now entertaining families at La Mirada Theatre for the Performing Arts.  And the youthful ensemble “smashingly” schools the audience in this exuberant, good vs. evil story. The opening number “Miracle” seals the deal from the gitgo as it introduces the company of actors, sets up the story, lays the groundwork for the winning musical score and highlights the children in movement and attitude, too.  Director Michael Matthews, Musical Director Jennifer Lin and Choreographer Kate Dunn stunningly execute the first taste of this TONY-rich musical, wildly popular in London and on Broadway as well.

However, not until the audience encounters the feisty Audrey Cymone (“Matilda Wormwood”) do all of us recognize and absorb the defining “heart” of the show.  As the tale (shaped by Dennis Kelly) proceeds, both the young lady’s quest for learning and adventure and her resiliency when faced with challenges increasingly prove to be inspirational.  The singing and acting requirements of the role alone recommend this youngster’s significant talent throughout the journey.

In this production, though, she is not the only one at the top of her game. The supporting cast deserve special mention, too. In particular, Constance Jewell Lopez (“Mrs. Phelps“) charms the pants off the smitten onlookers sitting out front in the theatre as the librarian who goes all in on the allure of storytelling.  And those same audience members are not likely to forget the swivel-hipped bravado of Danil Chernyy (“Rudolpho”), the slimy dance teacher of Matilda’s loopy mother. Fine work noticed as well from the likes of Rees James (“Doctor”), Erik Hall (“Michael Wormwood”), Brandon Keith Rogers (“Escapologist”), Veronica Gutierrez (“Acrobat”, also the Dance Captain), Juan Guillen (“Party Entertainer/Sergei”) and even young Aaron Tapia (“Bruce”) who makes quite the impression within the children’s ensemble.  In fact, all of the kids are “brilliant” as the Brits typically are wont to say and it’s only fair to add the adult ensemble performers to this list as well.

Cheers for the lead players for their achievement in this cautionary story. Cartoonish (and dastardly) Erica Hanrahan (“Mrs. Wormwood”) and Josh Adamson (“Mr. Wormwood”) provide the sickening overdose of bad parenting skills to supreme effect. Also, Nicole Santiago (“Miss Honey”) buzzes in and out of the story as a kind of “Miss Goody Two-Shoes”, determined to nurture Matilda with her own sweet nectar so that the thwarted girl can be all that she can bee. Truthfully, this is a honey of a performance (sorry, not sorry for the wordplay; after all, schooling informs the storytelling!).

Lastly, the menacing, bearded (btw hilarious) Michael A. Shepperd (“Miss Trunchbull”) corners the essence of evil in “his” portrayal of the feared, insidious schoolmistress gone berserk. (N.B. Friends, you’ll have to be patient for the end of the story to see whether or not “she” receives comeuppance).

Returning to the illustrious creative team of this production, a few thoughts are in order. Jennifer Lin ably conducts the 11 pc orchestra in showcasing Tim Minchin’s heralded score (with some contributions from Orchestrator Chris Nightingale). She also elicits a superior singing effort from the professional players on stage. In addition, Kate Dunn’s choreography registers fresh and surprising at each turn. Finally, as the arbiter of the above triumvirate, Michael Matthews again rules the day (you’re not likely to find any “stinkers” on his resume since he is consistently insightful with his projects and his companies are always well rehearsed).

On the technical side, kudos for the inventive setting of Stephen Gifford, the right-on-the-mark lighting of Steven Young, the smart costumes of Travis M. Grant and the luxurious sound design work of Josh Bessom.  Applause for all and – likewise – those creatives not mentioned specifically. No doubt…all of the pieces of this puzzle fit snugly.

This McCoy Rigby Entertainment (i.e. MATILDA), receiving the full benefit of Producing Artistic Director BT McNicholl, hits paydirt at La Mirada Theatre for the Performing Arts. Its relevance to current happenings in our world cannot be denied.  What a great outing for families and those interested in terrific theatrical experiences!

Pc: Jason Niedle

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Certain shows lend themselves to intimacy; ONCE is one of them.  3D Theatricals’ current production in Cerritos is the second time I have celebrated its joys after first encountering another thrilling performance at Lamb’s Players in Coronado. Both theatres led Southern California audience members to Ireland on the wings of a complicated, yet vital love story and they accomplished the feat up close and personal. The magnificent confines of this particular version transforms the Cerritos Center for the Performing Arts into a new configuration, allowing for an in-the-round presentation (regulars are sure to thank their lucky stars for this gift).

Sipping on one’s Guinness (even if only in spirit) , first all are treated to a pre-show display of the company’s considerable musical talents as they embody triple threat talent (even quadruple status for that matter) on a succession of Irish tunes leading the way to Dublin, sharing the estimable Irish folk legacy.  You see…these actors, singers, dancers and musicians might be found contributing to the Glen Hansard & Marketa Irglova score on guitar, mandolin, violin, cello, melodica, accordion, ukulele or bass. Certainly there are drums as well, along with percussion elements. Finally, of course, the piano seals the deal. Mighty impressive!

Imagine the casting challenges facing T.J. Dawson’s assembled professionals. In short, how do the Director Kari Hayter, the Music Director David Lamoureux with a boost from Andy Taylor and the Choreographer Linda Love Simmons, all assisted by Casting Director Amber Snead, manage to find a cast that can credibly interpret characters, sing the songs effectively, contribute to the movement and dance elements on occasion while at the same time play the required musical instruments?  All of these stage veterans need to reflect a professional sheen as well. Obviously, the members of the creative team land in touchdown territory (it is football season, after all).

Broadway standout Scott Waara (“Da”) sets the stage for the journey charted in the book penned by Edna Walsh with his plaintive rendition of an Irish folk song commenting on the vagaries of love. Then the audience encounters a disenchanted 30-something Tom Frank (“Guy”), suffering the wounds from a romance gone awry, armed with his guitar and passionately expressing that hurt in the moment. Soon all get a peek at his desperate circumstances as a vacuum cleaner repairman, ready to abandon his songwriting prowess while sinking into an abyss of despair.

Enter Aurora Florence (“Girl”) a Czech dynamo who exudes quirkiness while immediately intruding on the apparent darkness.  She’s got a vacuum that “does not suck” and insists on a rather unorthodox deal: she’ll play piano for him and he will fix her “Hoover”. She snatches one of his original compositions from his hand, sensitively plays it on piano as both of them join in the singing of “Falling Slowly”, a roadmap for the journey both of them will follow throughout the show.

Kari Hayter, a force on the West Coast directing scene, once again demonstrates her ability to elicit towering performances from her lead players (N.B. both Tom Frank and Aurora Florence give often astonishing performances) while at the same time creating an inventive landscape for this extraordinary ensemble of thirteen to shine. All the while the highly accomplished music directors dazzle with their own musicianship, concurrently performing themselves among the players (i.e. the aforementioned David Coe Lamoureux (“Svec”) and Andy Taylor (“Bank Manager”)).  The effect of all of these distinctive musicians bringing the score to life cannot be underestimated for its impact on the Irish experience in store for all of us.  

Other players integral to the achievement include the following: Quinn Copeland (“Ivanka”), Andrew Huber (“Andrej”), Cynthia Marty (“Baruska”), Chuck McClane (“Billy”) and Leota Rhodes (“Ex-Girlfriend”).  Also, Erich Schroeder (“Emcee”), Cameron Tagge (“Eamon”) and Katherine Washington (“Reza”). Even though all of the actors mentioned previously sometimes capture the spotlight with a specific character, it is their accomplishment in toto which results in the indelible experience for the audience in support of the central guy/girl story at the core of ONCE.

On leaving Cerritos, this critic feels richer for this experience. All of us at times are conflicted  with uncertainty about our path forward. Many struggle with the twists and turns as we live and learn.  Looking out over the bluffs in Dublin, these two explore the possibilities of their love under the watchful gaze of the moon.  Regardless of the exigencies of their connection, they inspire us to seize the moment and let the bounty of love prosper and endure.

ONCE beckons and promises to be grand.  Partake.

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In her 100 minute comedy-drama, playwright Jiehae Park challenges the audience to explore the limbo between who we were juxtaposed with who we are as applied by the characters from HANNAH AND THE DREAD GAZEBO. Certainly, though, one doesn’t have to be grounded in Korean culture to apply the questions resounding from the play. Our ethnicities may differ, yet new generations may encounter the same questions facing Hannah in their own bubble.

“Hannah” (Monica Hong) receives a package from her grandmother (one of multiple roles played by “Shapeshifter” (Jully Lee)) containing a symbol of  good wishes for the young lady’s new career in Pediatric Neurology (for which Hannah has long prepared in NYC) while at the same time teasing her own possible suicide. That development, along with a fateful phone call from her “Father” (Hahn Cho), ultimately intrudes on her career path because of the questions it raises about her identity.  Is she Korean or American or neither? The plot develops helter skelter at an often furious pace, yet without any linear guideposts.

Earlier, her family had moved to Seoul, South Korea to be near the grandmother who was living in a senior community high-rise on the border of the DMZ. When Hannah receives word that her grandmother apparently has jumped from the high-rise, she heads home to engage with her “Mother” (Janet Song) who valiantly searches for a gazebo to grow living things in her drab residence. Father relentlessly tries to recover the missing body of the grandmother from the North Koreans. Oh, there are plenty more kinks (tangents?) – and humor in this wasteland of regret about belonging still to unfold.

The lackadaisical son “Dang” (Gavin Lee) seems totally devoid of a connection to his ancestry, and interacts with an activist “Girl” (Wonjung Kim) who sets him straight about his place in the universe. Then, there’s the bird and a lesson in Korean folklore (the bear and the tiger) to further muddle the experience (yes, I guess it’s magic). This critic is versed more than many in Korean history since WWII; however, because of the constant shifting of focus, he often finds himself adrift in a sea of dumbfoundery.  Yes, it is obvious that identity is at the core of this dramedy and the ground on which these characters trek remains always unsteady. Unfortunately, though, the search for connections exhausted this reviewer after awhile. Did I even mention the ghost of the deceased North Korean dictator traipsing through the DMZ or the mysterious one in the trench coat?

The direction (compliments of Jennifer Chang assisted by Reena Dutt) of this fast-paced, curious play seems apt given the complexities of the enterprise. Howard Ho provides an interesting Sound Design and Yee Eun Nam scores with her Scenic/Video Design as well.

The co-production of HANNAH AND THE DREAD GAZEBO by Fountain Theatre and East West Players seems commendable in intent. Realistically – it seems – the audience shouldn’t have to wait for the liberating finale to experience the magic! 

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In my case it was about 50 years ago that my college roommates and I were spinning records on our compact stereos in our dorm rooms. 33 ⅓  records – as a matter of fact – although we referred to them as “albums” without fail. One of these was Iron Butterfly’s “In A Gadda Da Vida” over and over again.  Spellbinding it was. Naturally, then, the thought of reliving my listening experiences of the Sixties intrigues me as I settle in for San Diego Rep’s 33 ⅓ HOUSE OF DREAMS playing in downtown San Diego’s Lyceum Theatre thru September 1.

The original musical book writers, Jonathan Rosenberg and Brad Ross, shoulder an enormous burden as they attempt to lead the audience on a journey through musical history, centering specifically on the output of the legendary Gold Star Recording Studio in Hollywood under the control of Stan Ross (actual father of the aforementioned Brad Ross) and Dave Gold.  How would they do justice to the personal travails of this enormously talented duo while integrating a hit parade of chart toppers fronted by a veritable who’s who of talented artists of the era? The thought of these challenges proves exhausting even before consideration of the casting and budget constraints still to enter the picture. In addition to the principals involved in the story of the studio, there are famous musicians such as Ritchie Valens, Darlene Love, Brian Wilson and Sonny & Cher et al. who would be called upon to interpret the songs. The fact that the creative team develop a workable framework for this venture, casting the production with impressive musical theatre performers while crafting a credible story all the while, represents a mammoth achievement. Consequently, the resulting show on display can rightly be regarded as a promising first step in the development of a new musical.

Mr. Ross, inspired by his own father’s significant imprint on the West Coast music scene, joined forces with his colleague Mr. Rosenberg, and together they are able to chart the evolution of the studio in a highly competitive environment, the highs and lows along the way, the impact on family life and the technical wizardry at the core of Ross and Gold’s success.  Tension, long hours and occasional strife marked the collaboration of the entrepreneurs of Gold Star and these writers succeed in portraying the challenging journey with a measure of respect and even some humor at times.

The other collaborators on the creative team, though, prove crucial to the undertaking,too.  Besides their own contributions to the story, Music Director and Arranger Steve Gunderson, along with Director/Choreographer Javier Velasco, bring the enterprise to colorful life, nudging it into rarefied, potential hit status. After all, teams of theatre artists all over the country are at work on various so-called “Jukebox” musicals with similar aims: how to integrate a winning catalogue of commercial music into an intriguing storyline that promises to entice an audience to go along for the ride. Few will hit paydirt like JERSEY BOYS; many will end up in the dustbin of musical theatre history (remember LENNON?). My own recollection of an unfortunate casualty of the genre, LEADER OF THE PACK, involves much of this same era centered on the East Coast this time in NYC’s Brill Building, a few of the same characters (e.g. Phil Spector, Darlene Love, the Ronettes) and even some of the same tunes (e.g. “Be My Baby” and “River Deep Mountain High”). So, the journey ahead is one fraught with peril and it seems to me that this team of artists seem up to the task. 

Mr. Gunderson’s musical direction, with assistance from Bill Doyle, registers flawless while his arrangements prove to be among the most impressive elements of the production. Director and Choreographer  Velasco once again demonstrates why he remains one of San Diego’s treasures. Dance assistance is in the corner of Hannah Ross. The story unfolds at a dizzying pace, perhaps requiring an injection of oxygen here and there for the audience to keep apace.

Nicholas Mongiardo-Cooper (“Stan Ross”) creates a cyclone-like dynamic in the studio which energizes the entire ensemble of 26 actors, many of whom play multiple roles. He is a force to be reckoned with, even as he is reckless and unyielding himself. The gulf in the relationship between his “cheerleader” persona and the more studied pragmatism of Jacob Caltrider (“Dave Gold”) often enters strained territory, but remains respectful no matter the stress of the moment. Mr. Caltrider even “stops the show” at one point with his exquisite singing ( no spoiler here). Their ladies, Aviva Pressman (“Vera”) and Bethany Slomka (“Mitzi”) respectively, do fine work although the writers need to craft a more organic connection to the story for them.

A few of the musical performances strike gold including the following: Paul Chairez (“Ritchie Valens”), Sky Frank (“Eddie Cochran”), Kiara Geolina (“Ronnie Spector”), Kennedy Harris (“Darlene Love”) and Janae Parson “Tina Turner”). Enjoyed performances of Ron Christopher Jones (“Bert”/”Wayne”/”Brother Julius”) and Collin Leydon (“Phil Spector”) as well.

The success of this production relies heavily on the extraordinary ensemble of youngsters from the San Diego School of Creative and Performing Arts. The exuberance of these budding artists more than compensates for any deficits in professional polish here and there.  Shout out to their esteemed teachers!

Conductor Tamara Paige scores with her impressive 21-pc orchestra in support of the players onstage. Fortunately, San Diego Rep once again demonstrates its commitment to live music for this genre.

In the technical realm, there is little doubt that Matt Lescault-Wood accomplishes wonders as the Sound Designer and Audio Supervisor with this demanding assignment. Bravo! Also, Jennifer Brown Gittings stuns with her designs for the Finale of the show in particular. Finally, specific recognition is deserved for the Stage Management team (viz. Mark Stevens assisted by Andrea Gutierrez) as well.  A complex undertaking to be sure.

As the show unfolds, it is readily apparent that the audience are having a lively time engaging with these tunes that first hit radioland a half century ago. Plenty of smiles, too. The good times continue to roll on the Lyceum stage until September 1.

pc: Jim Carmody

Theatre Curtain Calling… Reviewing the Situation

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