\u00a0<\/span>Move over Twyla Tharp<\/strong>; there’s a new guy in town and his name is Spencer Liff<\/strong>. \u00a0<\/span>Of course, Twyla Tharp<\/strong>‘s name is synonymous with bold, uncompromising Modern<\/strong> Dance<\/strong>. In this rarefied arena in Manhattan<\/strong>, though, she has been associated with several Broadway<\/strong> productions as well (some hits and some misses): the classy riff on Frank<\/strong> Sinatra<\/strong> tunes in COME FROM AWAY<\/strong><\/em>, the Billy Joel <\/strong>mega-hit MOVIN\u2019 OUT<\/em>, <\/strong>the forgettable Bob Dylan <\/strong>show, THE TIMES THEY ARE A-CHANGIN\u2019<\/strong>, which began its journey at The Old Globe<\/strong> in San Diego<\/strong>, and the equally disappointing SINGIN’ IN<\/em> THE RAIN<\/em><\/strong> which limped its way thru a year of performances at the then newly rechristened Gershwin Theatre<\/strong> (formerly the Uris<\/strong>). Much to my chagrin, my most vivid memory from that critically maligned production is an actual, shiny Duesenberg<\/strong> automobile<\/strong> 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<\/strong> Correia<\/strong> rings in as a close second.<\/span><\/p>\n As for Spencer Liff<\/strong>, my first contact with him was at La Jolla Playhouse<\/strong> over ten years ago in the underrated CRY-BABY<\/strong><\/em> (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<\/strong> musical). It seems that this dancer turned Honestly, this production surpasses the original Broadway<\/strong> show (these words have never been uttered by me previously in any context); he has shaped a dazzling Broadway<\/strong> salute to a film classic which now belongs on a theatre stage on its own merits. It\u2019s taken another thirty years, but it\u2019s finally here!<\/span><\/p>\n There is no doubt that this critic could not advance the above pronouncement without a superior song and dance retinue of superb actors. \u201cDon Lockwood<\/em>\u201d comes alive with the memorable hoofing of dapper Michael Starr<\/strong> supported by his clarion \u201cpipes\u201d, \u00a0doing justice to the touching \u201cYou Were Meant for Me<\/strong><\/em>\u201d as well as the anthem to the joie de<\/em> vivre<\/em> of Singin\u2019 In The Rain<\/strong><\/em>\u201d itself. \u201cKathy Selden<\/em>\u201d (Kimberly Immanuel<\/strong>) 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, Indeed, \u201cMoses Supposes<\/strong><\/em>\u201d that the audience should jump for joy at these other talented performers, too. Sara King<\/strong> puts a capital \u201cD\u201d in Ditzy with her characterization of \u201cLina<\/em> Lamont<\/em>\u201d, the silent film star adapting to the new talkies with her screeching, grating voice as her calling card. Peter Van Norden<\/strong> portrays a harried studio boss, \u201cR.F.Simpson<\/em>\u201d, 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 \u201cyes man\u201d \u201dRoscoe Dexter<\/em>\u201d (Jamie Torcellini<\/strong>) who performs directorial duties while trying to tame the exasperating Lina. After all, bringing the silent film \u201cThe Duelling Cavalier<\/em>\u201d into \u00a0\u201ctalkie\u201d musical territory Further, this Director<\/strong>\/Choreographer<\/strong> 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\u2019s 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 \u201c<\/span>Broadway Melody<\/strong><\/em>“, the totally out of sync extravaganza that the studio plans to insert into its fractured period film \u201cThe Dancing Cavalier<\/em>\u201d. The superb dancing in this segment belies any reasonable description. It\u2019s fresh, it\u2019s organic, it\u2019s dynamic and it brings down the house with thunderous applause! \u00a0A deserved shout out to the \u201cGotta Dance<\/strong><\/em>\u201d Keith Harrison<\/strong> 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<\/strong>\/Arthur Freed<\/strong> classic tunes. Julie Ferrin<\/strong>\u2019s sound design wonderfully balances the orchestra\u2019s zesty sound with the demands of the stage, too. <\/span><\/p>\n As for the technical elements, they regularly impress at La Mirada Theatre for the<\/strong> Performing Arts<\/strong>, thanks to the fully engaged support of the McCoy Rigby<\/strong> producing team and their willingness to dedicate adequate resources to the production. John Iacovelli<\/strong> designs an inspiring playing space aided by the projections of David Murakami<\/strong> as well as the apropos properties compliments of Kevin Williams<\/strong>. Likewise, the original costumes by Shon Leblanc<\/strong> are nothing short of stunning (with suitable contributions on wigs and make-up by Eb Bohks<\/strong>), allowing that distinctive 20\u2019s look to roar. Pleased to ![\"\"](\"https:\/\/i0.wp.com\/tabletostage.com\/wp-content\/uploads\/2019\/04\/SINGIN-IN-THE-RAIN-FINAL-1.jpg?ssl=1\")
<\/a> \u00a0<\/span><\/p>\n<\/a>choreographer since that time has been wowing TV audiences on SYTYCD<\/strong> with his unique adventures in designing dance. Not only that, recent Broadway<\/strong> choreography assignments include this season\u2019s HEAD OVER HEELS<\/strong><\/em> as well as noted revivals of FALSETTOS<\/strong><\/em>, SPRING AWAKENING<\/strong><\/em> and HEDWIG AND THE ANGRY INCH<\/strong><\/em>. In my book, though, this stage magician finally reaches the top tier with La Mirada<\/strong>\u2019s definitive production of SINGIN\u2019 IN THE RAIN<\/strong><\/em>.<\/span><\/p>\n<\/a> she wraps some velvety sounds around the gorgeous melody while embracing the romantic lyrics of \u201cYou Are My Lucky Star<\/strong><\/em>\u201d. And now say \u201cGood Morning<\/strong><\/em>\u201d to the third thrilling member of this dynamite triumvirate, one \u201c<\/strong>Cosmo Brown<\/em>\u201d <\/strong>portrayed by the indefatigable Brandon Burks<\/strong>. No kiddin\u2019, this guy embodies more sparks than any single actor deserves (and he merits this \u201cplug\u201d especially in the always entertaining \u201cMake<\/strong> \u2018Em Laugh<\/strong><\/em>\u201d). In short, these three are a song & dance wonder, ruling the stage with their remarkable skill-sets as genuine triple threats.<\/span><\/p>\n<\/a>(now retitled \u201cThe<\/em> Dancing Cavalier<\/em>\u201d) almost overnight can be a challenging endeavor rife with burgeoning comedic excess. Even the ever amazing Adam Lendermon<\/strong> serves up a brilliant cameo as a \u201cDiction Coach<\/em>\u201d, 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<\/strong> and Adolph Green<\/strong> duo, based on the cherished MGM<\/strong> movie, provides the source for this comedic libretto.<\/span><\/p>\n<\/a> leader Chaz Feuerstine<\/strong> who is destined for his own \u201cKathy Selden<\/em>\u201d breakout opportunity when the right mentor ushers him to explore new possibilities, resulting in the inevitable star on his dressing room door. Folks, he\u2019s knocking on that door now.<\/p>\n<\/a>note (and admire) the input of the actress Cynthia Ferrer<\/strong> as Associate Director<\/strong> 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.<\/span><\/p>\n