"CURTAIN
CALLS" #212
By Pat Launer
09/28/07
Dear Miss Breed is anything but silly
(Though that can’t be said of Modern Millie);
Lou’s Camelot King may leave you cravin’
But no musical gaffes in Ain’t Misbehavin’.
Modern
Times
THE
SHOW: Thoroughly Modern Millie, the
fluffy-light musical that began at the La Jolla Playhouse in 2000 and went on
to win 6 Tony Awards on Broadway, including Best Musical and Best Actress for
Sutton Foster, who famously stepped up from understudy to star. Based on the goofy 1967 movie starring Julie Andrews, Carol Channing and Mary Tyler Moore.
THE
STORY: More retro than ‘modern,’ the show is a
coming-of-age story about a wide-eyed Kansas girl who makes her way to the Big
Apple to become a ‘modern,’ a flapper, a strong-willed woman who marries for
money, not for love. Of course, she gets both in the end, after chasing after
the wrong guy and getting mixed up in the white slavery trade. Dick Scanlan and Jeannine Tesori’s
updated score hypes the silly plot and underlines the comedy, which renders the
show less racist (fake Asian accents, real Asian servants), more harmless, and
basically, mindlessly irresistible.
THE
PLAYERS/THE PRODUCTION: The Welk
has gone all out for this one, with a rollicking, multi-talented cast of 26.
Though there are only four musicians in the pit (conducted by pianist Justin
Gray), thanks to good keyboards and good sound, you’d swear there was a bona
fide brass section down there (well, there are a couple of trumpeters, and they
really shine in the big, brassy Broadway overture). L.A.-based director Todd
Nielsen and choreographer Troy Magino keep the energy
high. The male dancers are especially expert. But this production underplays
the comic side of the piece. The love duet between the pompous boss (Quinn VanAntwerp) and refined Miss Dorothy Brown (Sarah Bermudez)
is vocally delightful but not half as hilarious as it could or should be (and was when Bermudez played the role last
year at Moonlight, opposite Randall Dodge, and they nearly stole the show). Two
other funny bits were sadly omitted – the elevator that can only be started by
tap-dancing, and the Chinese supertitles for the
English version of “Mammy,” sung by those wacky, non-English-speaking brothers,
Ching Ho (Kevin Panmeechao)
and Bun Foo (Emir Yonzon).
The vocal work is excellent throughout. Diana Kaarina
is a little dynamo as strong-willed Millie, and she connects wonderfully with
lithe, agile Matt Lutz as Jimmy. Funnywoman Melinda Gilb has a field-day with the dastardly Mrs. Meers, and Karole Foreman looks
gorgeous in her outfits as chanteuse Muzzy Van Hossmere
(though the songs she’s given are less than stellar). Overall, this is a super
production, thoroughly fizzy and fun.
THE
LOCATION: Welk
Resort Theatre, through November 4
BOTTOM
LINE: Best Bet
One
Never Know, Do One?
THE
SHOW: Ain’t Misbehavin’, the
1978 revue that pays homage
to the music of Fats Waller, Harlem Renaissance stride pianist and songwriter
extraordinaire.
THE
BACKSTORY: The
original show launched the career of the late Nell Carter, who won an Obie, a Tony and an Emmy for her performance. Also in the
first cast were a few faces familiar to San Diego theatergoers: Andre De
Shields (The Full Monty at the
Globe), Ken Page (seen at the La
Jolla Playhouse in Randy Newman’s Faust
and opening next week, the work-in-progress musical, Most Wanted), and Charlaine Woodard (LJP’s Good Person of Setzuan).
THE
PLAYERS/THE PRODUCTION: The
Rep’s high-octane ensemble includes three locals – Lisa Payton, Valerie Payton and
Robert Barry Fleming -- and two out-of-towners: Austen Van and John Steven
Crowley. Fleming came into the cast after TC Carson (Kyle Barker on “Livin’ Single”), sustained an injury during rehearsals.
Director Patdro Harris (who directed the Rep’s Crowns in 2004) even stepped in for a
performance or two until Fleming was ready. And it turns out,
this last-minute replacement is one of the major delights of the show. His
elastic, rubber-limbed body provides the best dance moves of the evening. And
his deliciously supple, stoner rendition of “The Viper’s Drag” (“I dreamed
about a reefer five feet long”) is a show-stopper.
There is no story, and
virtually no dialogue. In fact, there’ almost no mention at all of Waller until
midway through the second act, when suddenly there’s a piece of narrative about
Fats peddling his mainstream songs for Tin Pan Alley, then going uptown (to
Harlem) for fun. This demonstrates the class/race split of the time; those
dreamy, romantic songs intended for a middle-class white audience (the title
tune and “Jitterbug Waltz”) and the sexy, raunchy, comic songs he wrote for his
own folks, like “Your Feet’s Too Big” and “Lounging at the Waldorf,” which
paints an amusing but unmistakable picture of the American racial divide.
Because of serious sound and miking problems the night I was there, the often clever,
double entendre lyrics were extremely difficult to understand, and any spoken
comments were completely drowned out. The balance between singers and musicians
was completely off. But oh, that band! Four guys who just make magic up there
onstage – JMichael on piano, Kevin Cooper on his new,
blond upright bass; Danny King, happily getting lots of solo time, whackin’ away on percussion; and versatile M’tafiti Imara on flute, sax and
clarinet. The Joint is Really Jumpin’ when those guys
strut their stuff, especially at the top and bottom of
the second act.
Robin Sanford Roberts’ set is
gold, glitzy and deco, and Jennifer Setlow (making a brief but welcome return to
If you’re looking for a
storyline, or a bio of Waller, you’ll have to look elsewhere, though his lyrics
(when you can comprehend them) provide a lot of detail about the rhythm and
music he created and loved. If you like jazz or blues, if you’re a student of
history and the creative genius of the Harlem Renaissance, this show will rock
you.
THE
LOCATION: San Diego Repertory Theatre, through October 7
BOTTOM
LINE: Best Bet
UN-BOUND
BOOKLOVERS
THE
SHOW: Dear Miss Breed, a
stage adaptation of the book by Joanne Oppenheim,
about a San Diego Public Librarian who maintained a correspondence with more
than two dozen young San Diegans of Japanese descent, ages 5-19, interned by
the government during WW II.
THE
PLAYERS/THE PRODUCTION: It isn’t easy to dramatize
letters. But these poignant outpourings of hope and hopelessness, frustration,
patriotism and perseverance can’t help but touch the heart and engender pangs
of guilt over this dark page out of the American history book.
Director/producer Andy Lowe, making a most welcome
return to theater work (since his departure from the Asian American Repertory
Theatre he founded), has dreamed up numerous inventive ways to bring these letters
and their writers to life. The characters of the young girls aren’t always
readily distinguishable, but the young cast capably conveys the kids’ youthful
enthusiasms and disappointments. Despite the skepticism and even hostility of
those around her, and at considerable personal risk, Miss Breed stood up for
these struggling youth, and for her beliefs. She went public with her outrage;
she wrote letters and articles. Juxtaposed with unconscionable public acts, she
proves that one person can make a difference. Just when we’re sickened by the
cruel injustices of our own country, she restores our faith in humankind. This
roller coaster of emotions can’t help but register in even the most uninformed
observer. Dear Miss Breed should be
toured around to all the schools in
The production is respectful of the material,
supporting the narrative with projections – of the internment camps and the
letters themselves. Pictures of the kids might have been nice, too, and perhaps
a little less repeated use of certain slides. But Lowe and his cast do an
excellent job of keeping us engaged. Noteworthy performances are by Ciceron Altarejos as the
hard-working young man, Tets, and Susan Hammons as
the upright, unswerving Clara Breed. Did
I say the piece should be seen by all local schoolkids?
Correction. It should be seen by all Americans.
THE
LOCATION:
BOTTOM
LINE: Best Bet
One
Bright Shining Moment… er, Performance
THE
SHOW: Camelot, Lerner
and Loewe’s 1960 musical retelling of T.H. White’s
version of the Arthurian legend, “The Once and Future King.” Coming right on
the heels of the collaborators’ mega-successful My Fair Lady, Camelot had
the biggest advance sale in Broadway history up to that time. The original cast
featured Richard Burton as King Arthur, Julie Andrews as his errant Queen, Guenevere and Robert Goulet as
Sir Lancelot du Lac. Later, Goulet
made a cottage industry of touring in Camelot,
graduating to the King. The 1967 film version starred Richard Harris and
Vanessa Redgrave.
This new production, dubbed a “daring re-staging” by Glenn Casale, is adapted “with an edgy new concept” by Michael
Lerner.
THE
STORY: There is no historic evidence of King Arthur or
his famous Round Table of Knights. But real or fictional, he certainly embodies
the best of mankind, an unprepossessing man who didn’t know his own regal or
physical power until he drew the sword Excalibur from that stone. As the story
goes, he was a wise and fearless ruler who dreamt of creating a utopian state,
where “might would only be exercised in the name of right.” He gathered
together the greatest warriors in
We could surely use an Arthur now, someone dedicated
to peace and justice, civility and gentility, a ‘new order of chivalry.’ Now that’s the stuff of legend.
THE
PLAYERS/THE PRODUCTION: Okay, here’s the crucial question:
Who on earth is doing the casting for these touring productions?? Who is it
that thinks that B-list actors like George Hamilton and Lou Diamond Phillips
can carry major singing roles in huge musicals? Whoever it is, they oughta be shot. I thought
As for the rest of the cast, local favorite Eric
Anderson, now wowing them in
Only Bogart captures the passion of the play. When
he looks at Guenevere, you know how he feels and what he’d like to do about it. No other
emotions on that stage ring as true. There are some glorious songs, but the
evening do wear on (nearly three
hours), and with its extended stretches of dialogue and intrusive singing at
the most inopportune times, it feels distinctly old-fashioned, despite the
so-called “edgy new concept,” which eluded me. The scenic design (John Iacovelli, a wonderful and knowledgeable professional who
often comes to
THE
LOCATION: Civic Theatre, brought to us by Broadway San
Diego, through September 30
NEWS
AND VIEWS…
… Me and KUSI… … If you missed us on Wed. Sept. 26, you can watch the segment online; there’s a link on my website: www.patteproductions.com. I talked about Thoroughly Modern Millie, The Adding Machine, and upcoming productions of Humble Boy and The Turn of the Screw. My
next appearance on “Inside
…New media platform: My suggestions for
Hot Tix of
the Week are appearing on KNSD’s What’s Hot
webpage every week: http://www.nbcsandiego.com/whatshot/index.html.
Or, you can just go to their website, www.nbcsandiego.com,
and click on What’s Hot on the homepage.
… Get on the Trolley…
The 9th annual Trolley Dances, presented by Jean Isaacs San Diego Dance Theater
and the Metropolitan Transit System, opens this weekend, and with five choreographers dancin’ around the
… Another five dances at
multiple venues… Mojalet
Dance Collective, under the umbrella of the SDSU School of Music and Dance,
will present five works by artistic director Faith Jensen-Ismay, with
live original music by Noby Lehmann
and Rhythm Talk. Performances, Sept. 28-30, will be at the SDSU Studio Theatre
(ENS 200). On October 10, the dancers move to the El Camino High School Theater
in
… Political
reading: The Trial of the Catonsville Nine, a free-verse drama to be
presented by DJ Sullivan’s Sullivan Players. Father Daniel Berrigan based his play on the transcripts of the trial of
nine Catholic men and women, including two priests (Berrigan
and his brother) who, in 1968, entered the Selective Services Offices in
… New group on the
boards… Actor/director Douglas Lay is inaugurating a new theater
company, The Theatre, Inc., dedicated to the classical canon. His first
season opens with Aristophanes’ comedy, The
Frogs (Nov. 1-18), to be staged at The Ark,
... Tony’s in Town…. Tony
Kushner, the visionary Pulitzer/Tony/Emmy/Obie-winning
playwright who gave us Angels in America,
Slavs, A Bright Room Called Day, Hydriotaphia and
(more recently on Broadway), Caroline, or Change, will be speaking
at the San Diego Jewish Book Fair at the Lawrence Family JCC in La Jolla. Ever
the mega-focused political activist, Kushner is currently working on a new play
called The Intelligent Homosexual’s Guide
to Capitalism and Socialism with a Key to the Scriptures. 7:30pm Nov. 6. Tix at: 858-362-1348 or www.lfjcc.org/bookfair.
… Keeping the Dream
Alive… Common Ground Theatre has decided to move forward on the
productions planned by Dr. Floyd Gaffney, its beloved artistic director, who
passed away on July 19. Awaiting
Judgment was the last production Gaffney directed. The show premieres
on Sunday, September 30 at the Christian Fellowship Congregational United
Church of Christ (619-262-8095), and moves to
… The Bard on the Big
Screen… “The Film's the Thing: Shakespeare
on Screen,” the new series co-presented by the Old Globe Theatre and San
Diego Shakespeare Society, is well underway, guest curated
by film critic Beth Accomando. Next up on the weekly
Thursday showings is Akira Kurosawa’s
acclaimed classic, “Throne of Blood” (an otherworldly riff on Macbeth, set in medieval Japan), on Oct.
4, with Guest
Speaker, UCSD professor Stefan Tanaka. Wrapping up the series, on Oct. 11, is Tom Stoppard’s
deliciously whimsical “Rosenkrantz and Guildenstern
are Dead,” the fantastical Hamlet backstory. Free to MoPA members/$6
for the general public. All films show at 7pm in the
… Adieu, Bip. Having just revisited the
magnificent film, “Children of Paradise,” and watching the genius of Marcel Marceau, Jean-Louis Barrault
and Étienne Decroux, I’m
saddened to think how degraded and disgraced the art of mime has become. The
beauty of it is heartbreaking, and no one touched us more deeply and achingly
than Marceau and his sad-faced, incompetent Everyman,
Bip. We’ll not see his balletically
brilliant like again. One fluid, dancerly Marceau movement was worth a zillion words. They’ve been
written about him this week. The rest is silence.
'NOT TO BE MISSED!'
(Pat’s Picks)
Thoroughly Modern Millie -- thoroughly delightful production, with great
singing and dancing
Welk Resort Theatre, through November 4
Ain’t
Misbehavin’ – hot – and cool -- Fats Waller songs, well sung and excellently played
San Diego Repertory
Theatre, through October 14
Dear Miss Breed – a dark chapter of our collective history,
touchingly told
Come Back to the Five and Dime, Jimmy Dean, Jimmy
Dean – marvelous ensemble,
darkly comic production
6th @ Penn
Theatre, through September 30
Two Gentlemen of
The Old Globe’s Festival
Stage, in repertory with Hamlet and Two Gentlemen of
Verona, through September 30
Measure for Measure – beautiful, comprehensible, relevant, flawlessly directed and performed
The Old Globe’s Festival
Stage, in repertory with Hamlet and Two Gentlemen of
Verona, through September 30
(For full text of all of
Pat’s past reviews, going back to 1990, use the Search engine at
www.patteproductions.com)
Pat
© 2007 PATTÉ PRODUCTIONS, INC.
For more than 20 years, Pat Launer has been the only regular broadcast theater critic in