SAN DIEGO THEATRE SCENE

"CURTAIN CALLS" #256

By Pat Launer

www.sdtheatrescene.com

09/05/08

It’s an international age:

With China, France and Memphis onstage,

Stories of Misérables andThe Joy Luck Club

And the birth of R&R in a Beale Street pub.

Wonderful Tennessee

THE SHOW: Memphis, the world premiere musical composed by David Bryan, keyboardist of Bon Jovi, with book and lyrics by Joe DiPietro (I Love You, You’re Perfect, Now Change, which just completed a 12-year Off Broadway run; Over the River and Through the Woods; and the Elvis musical, All Shook Up); additional lyrics by Bryan. The new show, which has been developed and workshopped over the past seven years, is a co-production with the 5^th Avenue Theatre of Seattle, where it will be seen next January. There’s a buzz about Broadway, but no firm plans or commitments yet.

THE STORY: The plotline is loosely based on the real-life story of Dewey Phillips, the first white DJ to put the sounds of black America on the radio airwaves “in the middle of the dial.” "Daddy-O" Dewey was the King of the Memphis Radio Dial for nearly a decade, playing rhythm and blues, boogie woogie and jazz; he was the first DJ to broadcast the young Elvis Presley. Although Cleveland’s Alan Freed is often cited as the “inventor” of rock ‘n’ roll, Dewey preceded Freed on radio and Dick Clark on TV. On the air, he had a crazed, motor-mouth, freeform style, with a frenetic delivery and wacky humor he applied to local advertisements. As the first to cross the color line in music, he was an integral part of the genesis of a musical and a social revolution, but his contributions have been relegated to a historical footnote. His long-time use of amphetamines contributed to his manic on-air behavior and helped lead him down a path of pills and alcohol. Heart failure killed him at age 42; he died poor and alone.

Many of the elements of Phillips’ story make it into the musical, which focuses on Huey Calhoun (Is it an in-joke to change the name Dewey to Huey? And if so, where’s Louie?). There’s even the episode (turned on him here) where he asked Elvis to say what high school he’d attended, in order to reveal his race to listeners (locals would know from the school whether it was a white or black neighborhood). The creators of Memphis upped the dramatic ante by adding an interracial love story, between Huey and a black singer he found in a Beale Street club and helped catapult to stardom. He hears her sing and is smitten in every way. Her brother, who owns the club, never quite accepts Huey, and certainly doesn’t condone the amorous relationship. The racial issue is paramount in the show, as crucial as the music; the two elements were inextricably linked in the birth of rock ‘n’ roll.

THE PLAYERS/THE PRODUCTION: The production is magnificent. The set (Tony-winner David Gallo) is wonderful, morphing seamlessly from radio station to Beale St. club to TV studio, with projections providing rich environmental context (the Mississippi flowing under bridges; houses of the poor and rich). The lighting (Jersey Boys Tony-winner Howell Binkley,) is outstanding, moody shades of purple and pink in the first act, bright circles of primary colors later. The choreography (Sergio Trujill) is spectacular, its variety spanning the musical genres, from boogie woogie to lindy hop, with the frug, twist, jerk and mashed potatoes thrown in. The sexy, black Beale St. numbers are hot and steamy; the white dances are aptly squeaky-clean, but the kids learn fast. The dancing is terrific, with mid-air splits and ultra-high extensions and kicks. Thrilling work.

The band is smokin’ and the singing is superb. Chad Kimball is remarkable as Huey. He captures the zhlubby, anything-goes, out-of-control looniness, the fatal flaw of hubris that got him to the peak of his profession and also dragged him down. He’s not always a likable character, being such a loser and loose cannon. But he’s certainly a risk-take; we believe his attraction to the music and to Felicia. We grieve with him as he falls. But there’s no catharsis in this Greek tragedy.

As Felicia, Montego Glover is a knockout, beautiful, talented, with a dazzling, roof-rattling, glass-shattering voice. But I never quite believed her attraction, or her love, for Huey. It’s even possible that she was just an opportunist, but that’s not made clear. The most shocking scene in the script, the only time there’s an audible gasp from the audience, is when Huey’s mother breaks Felicia’s first and only record. The racially motivated beating of Felicia and Huey comes too early in the piece; we haven’t developed enough of a feeling for her to be affected by it, and we don’t get the sense, until much later, that she’s been so seriously injured.

All the characters are under-developed. We perhaps best understand Felicia’s brother Delray (marvelous J. Bernard Calloway), who owns the club she sings at and resents Huey’s intrusion and relationship with her. “I Don’t Make the Rules,” he sings in his big R&B solo, “I just play the game. I don’t break the rules, Huey, For god’s sake, do the same.”

In Mrs. Calhoun (delightful Cass Morgan), we get a caricature of a mother who makes a totally unbelievable turnaround in the second act, slipping blithely into a big number with a three-man black backup, when she’s been a “God-fearing” racist up until then. Bobby (James Monroe Iglehart) and Gator (Michael Benjamin Washington), two other African Americans who play important supporting roles in the story, are one-trick ponies: one’s a singing janitor, the other a mute (he saw his father lynched) who’s brought back to life by his belief in Huey and the music. We don’t learn much more than that about them, though they’re both excellent performers (and Inglehart is some badass dancer!).

Most of the white guys are ciphers or stereotypes, though it sure is fun to see local favorite Steve Gunderson in several roles. Other locals include adorable, diminutive Cashae Monya, age 18, recent graduate of Coronado School of the Arts; and UCSD MFA acting students Jihae Park, Pearl Rhein and Irungu Mutu.

The score is appealing but not memorable. There are some killer numbers, but no real show-stoppers, and nothing you’d go out singing. Even the high-octane finale, “Steal Your Rock and Roll,” didn’t have people dancing in the aisles (like Hairspray’s “Can’t Stop the Beat,” to which it bears more than a passing resemblance; the stories of the two musicals also overlap, though Memphis tries to go deeper into the racial issues). Perhaps there are too many musical numbers; they all have an impressive verisimilitude and familiarity to the originals they’re emulating, but they start to sound too similar and derivative after awhile.

Overall, I really liked this show; I wanted to love it. It engaged my head, but not my heart. Under the assured and inventive direction of Playhouse artistic director Christopher Ashley, there are so many excellent elements: an interesting and important story; an abundance of energy, enthusiasm, talent and good intentions. I enjoyed it; I appreciated it; I admired the singing and dancing. But I was never swept away. It was an intellectual experience for me, not an emotional one. The musical has great potential, but more work is needed before it’s ready for the Great White Way.

THE LOCATION: La Jolla Playhouse, through September 28

Raise the Red Lantern

THE SHOW: The Joy Luck Club, an adaptation of Amy Tan’s blockbuster, semi-autobiographicalfirst novel (1989). A film version came along in 1993. Susan Kim’s adaptation opened in New York in 1999.

THE STORY/THE PRODUCTION: Four mothers emigrated from China, leaving behind a homeland, wealth and security. They come from different backgrounds, but each has a harrowing story to tell. When they chance upon each other in San Francisco, they decide to form a group, meeting regularly for mah jongg, dim sum and stories. Each has a daughter, born in America and very Americanized. This is a setup for conflict: of the generational and cultural kind.

The book was brilliant, but the multiple, intwined tales were sometimes difficult to follow. When I read it years ago, I remember repeatedly turning back to the family trees, to recall which daughter went with which mother and which story.

The Asian American Repertory Theatre production tries to assist the viewer by color-coordinating the duos: each mother-daughter pair wears a dominant, primary color (red, blue, green or yellow) in various shades and styles (costumes by Beth Merriman). It’s an excellent choice. But still, the 18 stories march along, one after the other, like the terra cotta warriors of Xian, featuring 33 characters (played by 18 actors, all assuming multiple roles except the central eight).

The setting (Mark Anderson) is simple and attractive, the stage flanked by bright red torii gates. But between scenes, there is a great deal of movement of benches, chairs and tables that, while efficiently accomplished, seems unnecessary. The often-beautiful and evocative still and moving projections compete with the action. The moving pictures worked best in a touching train scene.

Many of the stage pictures are lovely, especially when red is dominant, as in the extended Festival scene, with its dragon dance and ribbon twirling. Director Peter James Cirino, a professor at SDSU, is committed to elaborate productions and new talent. Here, he combines seasoned pros with first-time actors. It’s a fine idea, but it isn’t always best for the play. In the small Lab Theatre (home of ion theatre), not much vocal projection is required, although there were large fans whirrng on the warm summer night I was there. It was often impossible to hear the actors, sometimes during seminal speeches. The less experienced performers also tended to rush their words. If Cirino is cultivating a stable of actors for AART, that’s a magnificent notion; he should be sure they get some training in theater performance.

The standout in this production was Tiffany Loui as the strong-willed Waverly. Interestingly, Loui auditioned for this role in the film, and got seven callbacks. But in the end, she wasn’t cast. So this is an especially joyful venture for her, playing her favorite character at last. Also potent was Elise Kim Prosser, who plays Waverly’s mother, excellently capturing the balance of love, hope and the subtle undermining that made her prodigy daughter stop playing chess and lose her confidence for life. With all the best of intentions, the strong maternal bond can be invoked with good or ill effect. Ultimately, all these mothers and daughters gain mutual understanding, though it’s a painful process.

There are some wonderfully emotional moments here, especially the Moon Goddess scene and the heartbreaking beach drowning of a little brother. It’s admirable that AART has brought these poignant stories to us. The company keeps taking dramatic chances, and that’s exciting in these difficult, risk-averse times.

THE LOCATION: Asian American Repertory Theatre (at ion’s Lab Theatre at the Academy for Performing Arts, through September 14

At the End of the Day..

THE SHOW: Les Misérables, the 1980 musical version of the sprawling 1862 Victor Hugo novel, adapted by French composer Claude-Michel Schönberg and librettist Alain Boublil. When the French version opened in Paris in 1981, it was a flop. In 1982, British producer Cameron Mackintosh began work on an English language version, with lyrics by Herbert Kretzmer. The first production in English, adapted and directed by Trevor Nunn and John Caird, opened in 1985. Reviews were mixed, but word of mouth soon took over and made the show a box office smash. In 2006, the show celebrated its 21st anniversary in London and became the longest-running West End musical in history.

The Broadway production, which opened in 1987, was nominated for twelve Tony Awards, winning eight, including Best Musical and Best Original Score, and ran until 2003, toting up 6680 performances. It remains the third longest-running show in Broadway history. A recent revival ran from 2006 to January of this year.

It’s estimated that more than 51 million people worldwide have seen the show (25 million in the U.S., including 7 Presidents). It’s been seen in 38 countries, 22 languages. The international box office gross is $1.8 billion.

THE STORY/THE PRODUCTION: Though many think this is a story of the French Revolution, it’s not. Set early in the 19th century during a minor skirmish (the French Revolution was late in the 18^th century), the musical follows the intertwining stories of a ragged but determined cast of characters as they struggle for redemption and revolution. The nasty Inspector Javert spends a lifetime pursuing hapless Jean Valjean, who went to prison for stealing a hunk of bread and later jumped parole, so he spends his life as a fugitive, though he’s ennobled by the experience.

This was Moonlight’s last production of an abbreviated season, as they prepare for the renovation of the amphitheatre space. It was a major undertaking, and a coup: the Southern California regional musical theater premiere of the beloved show. I have to confess, it’s never been beloved by me. I find the sung-through musical overblown, over-long and overly self-important. Also circuitous and labyrinthine in its storytelling. To me, the music is bombastic and repetitive. That said, I can report that Moonlight did a tremendous job.

The production values were outstanding (sets and props rented from the Broadway Rose Theatre Company of Oregon), and the leads were extremely strong. Most of the singing was powerful, but these numbers are often punishingly difficult (I’m always reminded of the Forbidden Broadway spoof of “Bring Him Home,” and its opening lyric, “God on High,” which became a stratospheric “God, it’s high; this song’s too high”). Even the voice of accomplished Broadway veteran Danny Gurwin cracked a time or two. But he was magnificent as Valjean, potent and compassionate, fervent and tender, with a soaring, inspiring tenor. With his rich, deep baritone, Sean Smith proved an outstanding adversary as Javert. I remember him well in the title role of that other, better Phantom (the one by Arthur Kopit and Maury Yeston) at Moonlight in 1996.

Within the ensemble, there was a good deal of bellowing and belting at the outset, as singers strained their voices on the rangy songs. But then the cast settled into the music, and it flowed. As the ill-fated Fantine, Anne Fraser Thomas did a wonderful job on “I Dreamed a Dream.” Cosette is well played and sung as child (Skylar Starrs Siben, who’s been a charming Cindy Lou Who at the Globe) and adult (beautiful-voiced Sarah Bermudez). Bermudez makes a striking pair with her real-life husband, hunky Richard Bermudez, who plays the steadfast student Marius. Laura D’Andre was first-rate as Eponine, Jeremy Bernard made a stalwart and fearless leader as Enjolras; Ari Krasner was a worldly-wise little Gavroche and Ralph Johnson, who played several roles, was especially strong, vocally and dramatically, as the Bishop. The Thénardiers (Debbie Prutsman and James W. Gruessing, Jr.) get all the comic relief; I thought they could have been more comical.

The lighting (Eric Lotze) and sound (Chris Luessmann) were outstanding, and the costumes (coordinated by Carlotta Malone and Roslyn Lehman) were spot-on. Under the musical direction and baton of Elan McMahan, the large, 21-piece Moonlight orchestra sounded better and stronger than ever, setting the stage for spectacle in the brassy opening notes. Once again, director Steve Glaudini (Children of Eden, Triumph of Love) has most assuredly delivered for Moonlight. Kudos to all; this was a massive undertaking, masterfully executed.

NEWS AND VIEWS

… I Do, I Do… There’s a wedding epidemic about town, as gay couples flock to the altar for a legal marriage in advance of Election Day (even if the anti-gay marriage Proposition 8 is passed, it won’t be retroactive). Recent or upcoming couplings: ion theatre’s Claudio Raygoza and Glenn Paris (I officiated at that one); Cygnet’s Sean Murray and Bill Schmidt; actor/director Tim Irving and Gus; actor Phil Johnson and Dr. Seth Krosner; theaterlovers Bill Purves & Don Schmidt. Congrats to all… You’re making history!

What’re they up to now?

…Former Fritz Theatre artistic director Bryan Bevell, a much-missed, cutting-edge theatermaker, is back to his old tricks. During the Republican National Convention, he performed Wallace Shawn’s provocative fever-dream, The Fever, at appropriately enough, the Bedlam Theatre in Minneapolis. It was devastating when he performed it here in 1999 and 2000. If you’re in the Twin Cities area, he’ll be reprising the play at the Bryant-Lake Bowl on October 9, 16 and 23…

... Former Old Globe associate director Brendon Fox just mounted a heavenly As You Like It,, according to Jason Connors, who caught the production at the Weston Playhouse in Vermont, while he was on vacation. He thought it was a “remarkable achievement,” provocatively set in early 20^th-century Ireland. Catch it if you can, through the end of September.

… Director Eric Bishop, Chair of Media and Performing Arts at Mira Costa College, wrote to tell me how his life has changed since he received a Patté Award for directing last year. At the awards event, he met playwright Anita Simon and will soon be premiering and directing her play, Heartland. He also snagged a gig at Scripps Ranch Theatre; he’s directed the production of The Dining Room (running through Oct. 4). Eric is proud that three of the four Outstanding Directors from last year’s Pattés now teach at Mira Costa: Lisa Burger, Kristianne Kurner, and Bishop himself. Bravo!

…Delectable young triple-threat Catie Marron, recent superstar of Junior Theatre’s Thoroughly Modern Millie, is off to college at UCLA. But her parents aren’t done yet. Catie’s younger sister, Kimberly Marron, will play the lead in the J* Company’s Pocahontas (9/18-28 at the Lawrence Family JCC in La Jolla; http://sdcjc.lfjcc.org/jc/.

… Ace dancer/choreographer, Michael Mizerany, winner of the Horton Dance Award, has been named associate artistic director of Malashock Dance. Frequently a stunning featured dancer, Mizerany has been with Malashock since 1998.

… Dancing with the Stars… Speaking of Malashock Dance, it’s time for their second annual Malashock Thinks You Can Dance, the superb benefit gala that pairs local luminaries with ballroom dance pros. I won’t be defending my Waltz title from last year, but I will be helping to emcee. This year’s stellar contestants include Sheryl White, community volunteer and philanthropist; Ruben Galven of San Diego 6; Dr. Joyce Gattas, Dean of the College of Professional Studies and Fine Arts at SDSU; Todd Gloria, San Diego City Council candidate; Charles Kaufman of Bread & Cie Bakery; and Pamela Cesak (President of the San Diego Museum of Art and wife of popular radio-host, Jerry Cesak, of “Jeff and Jer” fame). The celebrity judges include La Jolla Playhouse artistic director Christopher Ashley, philanthropist Darlene Shiley, and Dea Hurston, Commissioner on the City of San Diego Commission for Arts and Culture. Dea’s husband, Osborn Hurston, will also be dancing. But don’t worry about nepotism: judges don’t vote; they only comment. It’s the audience that votes and determines the winners. So come down and support your favorite! It’s a really fun event. September 13, 8pm at the Irwin Jacobs Qualcomm Hall. www.malashockdance.org.

… Last Dance…. This is the final installment of Mojalet Dance Collective’s “Six Summer Sundays” of dance. Sept. 7, 12:00-6:00, see the dances of Heather Zornes-Almanza and visit the galleries, shops, gardens and boutiques at Bernardo Winery. www.mojalet.com

… Big Assist… Vantage Theatre celebrates ‘Assisted Living Week’ with a staged reading of The Heavenly Deposition, a comedy by Werner Hashagen, resident of the White Sands facility. Werner was last seen onstage as a delightful Albert Einstein, in Vantage’s production of Cadenza: Mozart’s Last Year, last year. Charlene Baldridge will open the event with a reading of her poem, “The Old Lady Doesn’t Sing the Blues.” September 13, 2pm, at 2340 4^th Ave. Reservations and information at 858-454-2659.

…Ari to the rescue… 12 year-old local actor Ari Lerner (now seen on national TV commercials) chose, as his pre-Bar Mitzvah community service project, to provide a play-area for kids at the San Diego Rescue Mission’s emergency shelter, Nueva Vida Haven. With his dedicated family, and the help of $430 in donations from friends, he created an exciting and colorful Kids’ Korner, featuring shelves, fun furniture and carloads of toys. Says Ari, who plans to clean and spiff up the place each December, “Those kids deserve a lot. If anyone else really wants to do this, don’t just wait for the opportunity. Make it happen!” To get involved with other Rescue Mission projects, contact the Volunteer Coordinator, Deborah Williams: dwilliam@sdrescue.org.

… Return to the Summer of Love… with Chronos Theatre Group, which is presenting another of its popular Speakeasys… this one set in 1967. They promise “far-out music, comedy, visual arts, agitprop theater and Life Art happenings,” as well as live performances of TV shows of the era, including “Laugh-In” and “Star Trek.” 1960s attire encouraged. Sept. 13, 7-midnite at The Hole on Lytton St. www.chronostheatre.com

…The Ultimate reality show… Tales from the Far Side of Fifty, the post-menopausal Vagina Monologues, is back, with heartfelt stories written and told by spunky senior women ages 56-84. Proceeds benefit the Joslyn and Poway Senior Centers, and the Jewish Family Service North Senior Center. Sunday, September 7 at 2pm at the Poway Center for the Performing Arts. For tix, call 858-487-9324 x.4, or 858-748-0505

… Get jazzed! … The San Diego City Council has declared this San Diego Jazz Week. All over town, music venues are celebrating our vibrant jazz and blues scene. As the final icing on this jazzy cake, KSDS Jazz 88.3 presents the Ocean Beach Jazz Festival, this Sunday, Sept. 7. Details at http://sandiegojazzweek.org.

'NOT TO BE MISSED!' (Pat’s Picks)

Memphis – world premiere, roof-rattling musical

La Jolla Playhouse, through 9/28

Pretty Fire – tour de force performance, uplifting story

Lamb’s Players Theatre, through 9/7

Sight Unseen - thought-provoking and excellent

Old Globe in the Copley Auditorium at the SD Museum of Art, through 9/7

Boomers - you gotta love it, even if you aren’t one. Fabulous band, super songs, high-energy performances

Lamb’s Players at the Horton Grand Theatre, through 9/28 (and perhaps beyond)

All’s Well That Ends Well – marvelous production, wonderfully directed and acted; lucid, funny and touching

In repertory on the Old Globe’s Festival Stage, through 9/ 28

The Merry Wives of Windsor – Shakespeare’s silly love comedy transfers amazingly well to the Old West. A funny, fun-filled production. Yee-haw!

In repertory on the Old Globe’s Festival Stage, through 9/28

Combat the back-to-school blues… at the theater!

Pat

© 2008 PATTÉ PRODUCTIONS, INC.

For nearly 25 years, Pat Launer has been the only regular broadcast theater critic in San Diego. An Emmy Award-winner with a Ph.D. in Communication Arts & Sciences, Pat sees and reviews more than 200 local theater productions every year. For the past decade, she has hosted and produced The Patté Awards for Theatre Excellence, a gala community event that honors local theatermakers and celebrates the broad diversity of San Diego theater.