TWYLA VS. SPENCER ON THE GREAT WHITE WAY
Move over Twyla Tharp; there’s a new guy in town and his name is Spencer Liff.
Of course, Twyla Tharp‘s name is synonymous with bold, uncompromising Modern Dance. In this rarefied arena in Manhattan, though, she has been associated with several Broadway productions as well (some hits and some misses): the classy riff on Frank Sinatra tunes in COME FROM AWAY, the Billy Joel mega-hit MOVIN’ OUT, the forgettable Bob Dylan show, THE TIMES THEY ARE A-CHANGIN’, which began its journey at The Old Globe in San Diego, and the equally disappointing SINGIN’ IN THE RAIN which limped its way thru a year of performances at the then newly rechristened Gershwin Theatre (formerly the Uris). Much to my chagrin, my most vivid memory from that critically maligned production is an actual, shiny Duesenberg automobile driven onto the massive stage of this huge theatre. Certainly, it goes without saying that the driving rain was the star of the show. The bravura tap dancing of Don Correia rings in as a close second.
As for Spencer Liff, my first contact with him was at La Jolla Playhouse over ten years ago in the underrated CRY-BABY (also where he officially first dabbled professionally in choreographic pursuits). There he was forging an impression as a dancer, suitably fortified with license plates strapped to his shoes in that show-stopping novelty prison dance (by the way, absolutely perfect for a John Waters musical). It seems that this dancer turned 
choreographer since that time has been wowing TV audiences on SYTYCD with his unique adventures in designing dance. Not only that, recent Broadway choreography assignments include this season’s HEAD OVER HEELS as well as noted revivals of FALSETTOS, SPRING AWAKENING and HEDWIG AND THE ANGRY INCH. In my book, though, this stage magician finally reaches the top tier with La Mirada’s definitive production of SINGIN’ IN THE RAIN.
Honestly, this production surpasses the original Broadway show (these words have never been uttered by me previously in any context); he has shaped a dazzling Broadway salute to a film classic which now belongs on a theatre stage on its own merits. It’s taken another thirty years, but it’s finally here!
There is no doubt that this critic could not advance the above pronouncement without a superior song and dance retinue of superb actors. “Don Lockwood” comes alive with the memorable hoofing of dapper Michael Starr supported by his clarion “pipes”, doing justice to the touching “You Were Meant for Me” as well as the anthem to the joie de vivre of Singin’ In The Rain” itself. “Kathy Selden” (Kimberly Immanuel) emerges as the performing novice with extraordinary talent, quite willing to play hard-to-get, yet obviously ready to fall in love with this charming man smitten by her allure. In particular,
she wraps some velvety sounds around the gorgeous melody while embracing the romantic lyrics of “You Are My Lucky Star”. And now say “Good Morning” to the third thrilling member of this dynamite triumvirate, one “Cosmo Brown” portrayed by the indefatigable Brandon Burks. No kiddin’, this guy embodies more sparks than any single actor deserves (and he merits this “plug” especially in the always entertaining “Make ‘Em Laugh”). In short, these three are a song & dance wonder, ruling the stage with their remarkable skill-sets as genuine triple threats.
Indeed, “Moses Supposes” that the audience should jump for joy at these other talented performers, too. Sara King puts a capital “D” in Ditzy with her characterization of “Lina Lamont”, the silent film star adapting to the new talkies with her screeching, grating voice as her calling card. Peter Van Norden portrays a harried studio boss, “R.F.Simpson”, as the film company moves to respond to the new era in the movie business. Supporting the studio on the production team is the hilarious “yes man” ”Roscoe Dexter” (Jamie Torcellini) who performs directorial duties while trying to tame the exasperating Lina. After all, bringing the silent film “The Duelling Cavalier” into “talkie” musical territory 
(now retitled “The Dancing Cavalier”) almost overnight can be a challenging endeavor rife with burgeoning comedic excess. Even the ever amazing Adam Lendermon serves up a brilliant cameo as a “Diction Coach”, allowing him opportunities to exercise his comedic chops and demonstrate his noteworthy tapping prowess as well. The well-regarded original book by the Betty Comden and Adolph Green duo, based on the cherished MGM movie, provides the source for this comedic libretto.
Further, this Director/Choreographer assembles an incredible singing and dancing ensemble second to none. Many of these accomplished actors are featured in a variety of roles along the way, enabling this soundstage to hum with extraordinary energy. Whether working with the principals alone or the full company, Mr. Liff opens new inventive vistas in dance throughout the show’s journey, whether it be vaudeville, tap or jazz in focus, and nurtures an invigorating pace as well. Count me a groupie when it comes to the Act II anomaly “Broadway Melody“, the totally out of sync extravaganza that the studio plans to insert into its fractured period film “The Dancing Cavalier”. The superb dancing in this segment belies any reasonable description. It’s fresh, it’s organic, it’s dynamic and it brings down the house with thunderous applause! A deserved shout out to the “Gotta Dance”
leader Chaz Feuerstine who is destined for his own “Kathy Selden” breakout opportunity when the right mentor ushers him to explore new possibilities, resulting in the inevitable star on his dressing room door. Folks, he’s knocking on that door now.
Keith Harrison not only coaches a beautiful sound from the onstage players, but also conducts an extraordinary professional performance via the musicians in the pit, coaxing fine accompaniment for those glorious Herb Nacio Brown/Arthur Freed classic tunes. Julie Ferrin’s sound design wonderfully balances the orchestra’s zesty sound with the demands of the stage, too.
As for the technical elements, they regularly impress at La Mirada Theatre for the Performing Arts, thanks to the fully engaged support of the McCoy Rigby producing team and their willingness to dedicate adequate resources to the production. John Iacovelli designs an inspiring playing space aided by the projections of David Murakami as well as the apropos properties compliments of Kevin Williams. Likewise, the original costumes by Shon Leblanc are nothing short of stunning (with suitable contributions on wigs and make-up by Eb Bohks), allowing that distinctive 20’s look to roar. Pleased to 
note (and admire) the input of the actress Cynthia Ferrer as Associate Director behind the scenes, working closely with Mr. Liff and serving this talented cast of 25 players. There are a host of other contributors not seen by the audience, enabling this production to make its mark so successfully. Yes, this is one devoted, resourceful production team for the books. Rave reviews necessarily will follow.
Who knows whether each member of the audience can fully erase the indelible impression left by Gene Kelly, Debbie Reynolds and Donald O’Connor, the original trio on celluloid. In my mind, though, the actors on this stage have carved out their own niche, undeniably earning their own moments in the spotlight.
After likewise viewing this production on opening weekend, a friend, Scott Anthony Brennan, urges his readers to drop everything and make arrangements to visit La Mirada for this show, observing that they may not have an opportunity to see a better production throughout all of 2019. I definitely concur. While his specific commentary or emphases may differ a wee bit, both of us are on the same page. A note to San Diego
friends: La Mirada is located on Route 5, just a bit north of Disneyland in Anaheim. The facility is terrific and the free parking is bountiful. Before the soundstage goes silent, you can thank your lucky stars for choosing to visit thru May 12. Remember… “If you snooze, you lose”, as the saying goes, so get your tickets pronto. There are plenty of umbrellas on stage in case it rains!
pc: Austin Bauman
