Monday, June 27, 2016
Review: BEAUTIFUL - The Carole King Musical is Everything You Hope it Will Be
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| Abby Mueller in Beautiful. All photos by Joan Marcus |
It was a Tony Award-winning vehicle for Jessie Mueller who played Carole King on Broadway and now you’ll see her older sister, Abby, in the title role in Beautiful – The Carole King Musical during its three and a half week national tour stop at the Hollywood Pantages Theatre. “She’s the kind of woman you know you’d be friends with if you met her,” I said to my guest as we exited the theater after the performance. And in that moment, I realized I wasn’t sure if I meant Mueller or King. The sentiment pretty much applies to both.
Baby boomers who grew up alongside King, and those who hear the ache of their own lives in the songs she wrote, can’t afford to miss this production which is satisfying on so many levels. As a soundtrack to a generation that saw women come into their own, it is endlessly inspiring, and for the many women who took comfort in her songs, it is an emotionally fulfilling experience.
The music reflects both the joy and pain of King and her husband/lyricist Gerry Goffin’s (Liam Tobin) relationship, from awkward high school meeting and the beginning of their songwriting partnership through marriage, infidelity, divorce, and her eventual coming out as one of the top female solo artists of her time. It is genuinely full of heart and grounded in a reality that resonates with anyone who has felt the sting of love gone wrong.
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| Abby Mueller and Liam Tobin |
King never meant to be a singer. Songwriting was always her aspiration and she was content collaborating with her husband and writing hits for groups like The Drifters and The Shirelles. But as she says in the opening scene during her 1971 concert at Carnegie Hall, life doesn’t always turn out the way you plan. And happily for us, that means a rich body of work whose impact continues to resonate today.
Douglas McGrath’s book illuminates the back story to songs like the couple’s breakout hit “Will You Love Me Tomorrow,” “The Locomotion,” eventually made famous by their real-life babysitter Little Eva, “Up on the Roof” describing the one place Gerry could find relief from his difficulties growing up, and “One Fine Day,” which captures the bittersweet poignancy of their crumbling marriage.
From Brooklyn to the big city to the suburbs to L.A., the story unfolds with a graceful authority that highlights not only King’s vulnerability but her inner fortitude as well. Mueller channels the essence of her muse, both vocally and in her acting, with self-deprecating charm. She’s just so honest and likeable.
Even Tobin (who sings beautifully) is irresistible and that’s no mean feat when one is playing the philandering husband. They have great chemistry and at any given moment you can see both the surface and the depth of their feelings.
The musical also chronicles the work of fellow songwriters Barry Mann (Ben Fankhauser) and Cynthia Weil (Becky Gulsvig) who were King and Goffin’s close friends and occupied an adjoining studio at Don Kirshner’s (Curt Bouril) 1650 Broadway offices. They bloomed a little later as a duo but when they did they produced such hits as “On Broadway,” “You’ve Lost That Lovin’ Feeling” and “We’ve Gotta Get Out of this Place.” Mann’s hypochondria and Weil’s witty comebacks add a great deal of humor to the story and Gulsvig and Fankhouser excel at providing comic relief.
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| L-R: Dashaun Young, Paris Nix, Josh A. Dawson and Noah J. Ricketts |
Of course, that also comes from the care with which director Marc Bruni has crafted the musical and choreographer Josh Prince has staged the movement. Scenes move seamlessly from one to the next on Derek McLane’s stylish set which is more detailed than you’d normally see for a touring production. The design incorporates the geometric textures of the seventies and its gold and earth-toned color palette with the contrasting “on stage” world of bubble gum colored performances by the performers in bright pinks, blue and purples. Several delightful costume transitions add a bit of surprise and a gentle Vermont snowfall brings a smile. Bruni balances it all and never loses sight of the tenderness within the story.
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| L-R: Curt Bouril, Liam Tobin, Abby Mueller, Ben Fankhauser, Becky Gulsvig and the Company |
“When I hear a good song, I feel like someone understands me,” says a young Carole to explain why she wanted to become a songwriter. Listening to her music again and hearing her story in Beautiful, you’ll walk away feeling the same way about her. It’s no wonder she made the earth move with her music.
Eventually you’ll be able to see a film adaptation of the musical, which is in development by Tom Hanks’ production company and Sony Pictures, but it will be several years until it is completed. For now, do yourself a favor and see this heartwarming slice of pop culture heaven live at the Hollywood Pantages. It only runs through July 17.
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| Abby Mueller (right) w/ Britney Coleman, Sarah Bockel and Ashley Blanchet |
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| L-R: Abby Mueller, Becky Gulsvig, Ben Fankhauser and Liam Tobin |
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| Abby Mueller as Carole King |
June 22 – July 17, 2016
Hollywood Pantages
6233 Hollywood Blvd
Los Angeles, CA 90028
Tickets: www.hollywoodpantages.com
Running time: 2 hours and 20 minutes (including intermission)
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Labels: Pantages Theatre
Friday, October 16, 2015
Review: ANNIE, A Perfect Example of Optimism's Staying Power
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| Gilgamesh Taggett and Issie Swickle. Photos by Joan Marcus |
As I was waiting for my theatre guest to arrive at the Pantages Tuesday night for the opening of Annie, a school bus pulled up. Within seconds, a gaggle of little girls spilled out onto the sidewalk shrieking in anticipation while taking pictures of the sparkly marquee on their smart phones. They were only minutes away from seeing her – that spunky little red-haired orphan, Annie, and they could barely contain themselves.
Their excitement was infectious, their joy real, and in that moment I realized something fairly obvious. It doesn’t matter how much the world has changed, Annie is a musical that will always have an audience. There will always be little girls and little boys breathlessly waiting to hear that much loved (and often reviled) anthem of optimism, “Tomorrow” sung by a plucky adolescent who never loses her ability to look on the bright side.
I would bet that part of the appeal is most of those little girls see themselves as Annie, or see themselves as the Annie they would aspire to be: smart, honest, kind-hearted, and resilient regardless of the challenges life throws in her path. It was comforting to see their innocence.
Thomas Meehan (book), Charles Strouse (music) and Martin Charnin’s (lyrics) Tony Award-winning Broadway musical has been around since 1977. It has had multiple national and international tours, and its regional and school productions must number in the tens of thousands by now. Optimism sells and this is one musical that wears its label “family-friendly” with pride.
Charnin has directed the show 18 times previously, including two of its Broadway iterations – the original which starred Andrea McArdle and Dorothy Loudon, and its first revival in 1997 with Brittny Kissinger and Nell Carter. The most recent touring production playing through November 1st at the Hollywood Pantages marks his 19th time at the helm.
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| Issie Swickle and Lilly Mae Stewart |
For this tour, 10-year old Issie Swickle dons the red wig as Annie and Lynn Andrews steps into the comic shoes of Miss Hannigan. At her young age, Swickle has yet to develop her acting chops but there’s no way you’ll miss her singing voice. Like all of the urchins, her vocal placement is laser-focused right through the nasal cavities and the sound is bright and resonant. The volume is always forte, and the diction is crisper than crisp.
Of course, what is sacrificed in order to accomplish that precision is anything that comes close to nuance, so don’t expect any. This is a straightforward, stand-and-smile-your-way-through-the-song-no-matter-what style of direction from beginning to end. Prepare for that and you’ll be able to appreciate the show’s presentational wholesomeness in the spirit in which Charnin offers it. It’s hokey and cheesy and full of the stuff that makes the younger set scream to the rafters all night long. Musical sugar on steroids – that’s Annie.
Andrews’ Miss Hannigan (my guest and I decided) is a combination of Melissa McCarthy and Nell Carter giving a Mama Rose performance like her life depended on it. She’s a ballsy singer and funny with the shtick. Plus, she can dance like nobody’s business. But playing to the audience so broadly keeps her in superficial territory, even if she is the crowd favorite.
Garrett Deagon (Rooster) can get away with broad for funny’s sake because that’s all the character is. He’s a loosey goosey con man with a vacuous bleached blonde as a sidekick (Lucy Werner as Lily). You don’t expect more so he easily delivers. Gilgamesh Taggett is a likeable, if somewhat predictable, Oliver Warbucks.
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| Issie Swickle and the Company of Annie |
What was unpredictable -- and quite beautiful -- were Beowulf Boritt’s floor to ceiling backdrops of New York City. Like three-dimensional vintage photographs in an antique viewfinder, their intricate detail and vast perspective gave this touring production a much more elegant rendering than I would have thought possible.
So grab a kid or two and dress yourself up in your best smile. Annie is the kind of classic musical that doesn’t apologize for its saccharine sweetness. It embraces it with everything it’s got. And if you need one more reason to go, it has a built-in heart-melter. Sandy, the dog. And you can’t go wrong on stage with a dog. Ever.
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| L-R: Isabel Wallach, Lilly Mae Stewart, LillyBea Ireland, Issie Swickle, Angelina Carballo, Sydney Shuck and Adia Dant |
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| Lynn Andrews |
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| Lucy Werner, Garrett Deagon, and Lynn Andrews |
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| The Company of ANNIE |
ANNIE
October 13 – November 1, 2015
Hollywood Pantages
6233 Hollywood Blvd.
Los Angeles, CA 90028
Tickets: (323) 468-1768 or www.hollywoodpantages.com
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Labels: Pantages Theatre
Monday, June 22, 2015
Review: Phantom of the Opera, Still Impressive After All These Years
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| Katie Travis as Christine and and Chris Mann as the Phantom. All photos by Matthew Murphy |
Spectacle wins out in Cameron Mackintosh’s latest tour of Andrew Lloyd Webber’s The Phantom of the Opera at the Hollywood Pantages Theatre. Less reinvented than it is repackaged, the crowning glory of this production is its lavish costumes and sets (by Paul Brown and Maria Björnson respectively), and the lush sounds of its 17-member orchestra (under the direction of Richard Carsey). No matter what else you may think, David Cullen and Lloyd Webber’s soaring orchestrations never fail to send chills down the spine. The power of that gorgeous music is undeniable and, as such, provides a full and rich musical experience, even if it is impossible not to hear the voices of Michael Crawford and Sarah Brightman who will “always be there, singing songs in my head.” That’s the challenge for anyone who remembers their original work.
This new Phantom (Chris Mann) is a reality show find from The Voice so he may succeed for anyone who followed his career on the show, but you won’t find the charisma and utter pathos that Crawford brought to the role. There are moments he comes close, as when he offers Christine (Katie Travis) his ring, but he still needs time to grow into the role.
As for Travis, she does well with the vocally challenging part, and her diction is admirable given the high tessitura, but her consonants too often interrupt the sheer beauty of the vocal lines, causing them to lose some of their intoxicating impact.
The classic story of the deformed “opera ghost” who lives beneath the Paris Opera House hasn’t changed in the 29 years since Lloyd Webber and Richard Stilgoe adapted Gaston Leroux’s novel “Le Fantôme de l’Opéra” for the stage. The elusive Phantom still secretly nurtures a young singer from the chorus whom he intends to make a star, until her childhood sweetheart returns and becomes a rival for her love. Disasters occur when the Phantom’s demands are disregarded by the opera house’s new ownership, resulting in chaos and tragedy. It’s exactly the kind of stuff grand opera is made for and that this musical alternately sends up and takes quite seriously.
When humor is allowed to lift the drama, the production sparkles, thanks in part to the charms of Jacquelynne Fontaine as the spoiled prima donna, Carlotta. Anne Kanengeiser is formidable as ballet mistress Madame Giry.
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| Jacquelynne Fontaine as Carlotta |
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| Anne Kanengeiser |
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| The Corps de Ballet in Hannibal |
Two distinct color schemes emerge in the design. For scenes that are filled with theatricality and life, it is as if you are flipping through a series of Toulouse-Lautrec picture postcards with a Degas or a Caillebotte thrown in for good measure. These are wrought in vintage golds and warm umber with brilliant dashes of red and green.
In contrast, those that reveal the Phantom’s world are rendered in deep blues and blacks. The updates include a new revolving set piece with precarious steps that appear and disappear as the actors descend into the murky caverns below the opera house. Anyone who knows that other wildly popular Cameron Mackintosh behemoth, Les Misérables, knows how much he loves a good turntable. Here it is an impressive bit of stage magic that works beautifully.
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| Chris Mann and Katie Travis |
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| Chris Mann |
There are other familiar and striking images: the Phantom’s gondola still floats through a sea of fog, pillars of fire shoot up from the footlights, and a newly redesigned chandelier is ever-present.
Yes, the score still thrills, even after all these years, and the production will surely please the majority of viewers, especially those seeing it for the first time. Phantom enjoys a longer run at the Pantages Theatre, where it will play through August 2nd.
THE PHANTOM OF THE OPERA
June 17 - August 2, 2015
Hollywood Pantages Theatre
6233 hollywood Blvd,
Los Angeles, CA 90028
Tickets: www.hollywoodpantages.com or 800-982-2787
June 17 - August 2, 2015
Hollywood Pantages Theatre
6233 hollywood Blvd,
Los Angeles, CA 90028
Tickets: www.hollywoodpantages.com or 800-982-2787
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Labels: Pantages Theatre
Sunday, May 3, 2015
Review: The Legendary Groove Comes to Life in Motown the Musical
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| Allison Semmes as Diana Ross, Julius Thomas III as Berry Gordy. MOTOWN THE MUSICAL First National Tour (C) Joan Marcus, 2015 |
Turning a profit in the theatre business is challenging at best but it isn’t surprising that Motown the Musical easily recouped its initial investment during its run on Broadway, or its outlay for the First National Tour, now playing at the Hollywood Pantages. The popularity of the Motown sound is undeniable. Even if you wanted to, it’s impossible to keep from being carried away by the irresistible groove of the music. And why would you even want to try?
This is Berry Gordy’s story, the visionary who would introduce the world to the music of Motor City by starting his own record label with the modest profits from his early songwriting career and an $800 loan from his family. It even features a book written by Gordy but while it links the songs with a through line that explains how he got from point A to point B, the story treatment stays light. Video footage touches on the Vietnam War, the Civil Rights Movement, and Kennedy and King assassinations but, for the most part, the entertainment avoids controversy and instead highlights the legendary music.
Of course, that’s the big reason to see this musical, which features more than 40 hits from the Motown catalog. Baby boomers will be in seventh heaven listening to the songs of their youth by artists like The Temptations, The Four Tops, Smokey Robinson, Marvin Gaye, the Jackson Five, and Diana Ross and the Supremes. Everything from Michael Jackson and his brothers singing “ABC” to Smokey Robinson and the Miracles’ smooth “You’ve Really Got a Hold on Me” is here. Pick your favorite and it’s a good bet you’ll find it in the show beautifully sung by a dynamite cast of performers who stay true to the original musical styles. No American Idol influence here; just a soulful connection to the music, sensational voices, and some pretty terrific choreography. Like I said, heaven!
Much of the story concerns Gordy’s (Julius Thomas III) relationship with Diana Ross (Allison Semmes) and his determination to make her a star. Thomas and Semmes have a sweet chemistry that we see grow from their initial meeting (when she and her Supremes first started pestering him while they were still in high school) to their crossover into love, marriage, fame, and divorce. He is passionate and likable; she captures the mannerisms and vocal inflections of the diva beautifully. Plus, her recreation of “Reach Out and Touch” succeeded in connecting with the audience until everyone was holding hands -- arms raised -- and swaying back and forth singing along with her. From where I was sitting, it was something to see.
There are terrific performances by Jess Nager as Gordy’s best friend Smokey Robinson, Jarran Muse as Marvin Gaye, and an impressive newcomer, Leon Outlaw, Jr., one of three boys alternating in the role of young Michael Jackson. Reliving the Jackson 5’s performance on the Ed Sullivan Show, with psychedelic op art designs pulsating around them on movable panels, made my night. Color floods the stage and it’s 1969 all over again. Muse gives weight to the production with beautiful versions of “Mercy, Mercy, Me” and “What’s Going On,” as Gaye turns his attention to more socially conscious music that remains especially resonant today.
The joyful expression of singers loving the music they sing and expressing that love wholeheartedly - whether the song is upbeat, reflective, or painfully poetic -- is what this musical is all about.
The 15-piece orchestra is spectacular under the baton of music director Darryl Archibald (familiar to Los Angeles audiences for his many local musical productions). Plus, the sound balance between the orchestra and the singers is perfect (I’m not kidding) proving that the right technician on the sound board can make or break a show. In this case, it worked like a dream.
Berry Gordy built a legacy of love with Motown Records and Motown the Musical puts the power of the music front and center in a vibrant, energetic tribute that is sure to continue enchanting audiences for years to come. Ultimately the show communicates his desire to make music for all people. Like he says, “It’s What’s in the Grooves That Counts.”
All photos below: MoTOWN THE MUSICAL First National Tour (C) Joan Marcus, 2014
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| Reed L Shannon as Michael Jackson (center) with the Jackson 5 |
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| Jarran Muse as Marvin Gaye and Cast |
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| Krisha Marcano (Florence Ballard), Allison Semmes (Diana Ross) and Trisha Jeffrey (Mary Wilson) |
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| The Temptations |
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| Patrice Covington as Martha Reeves (center) & Cast |
April 28 - June 7, 2015
Pantages Theatre
6233 Hollywood Blvd.
Hollywood, CA 90028
Tickets: www.HollywoodPantages.com
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Labels: Pantages Theatre
Friday, August 22, 2014
Photo Tour Through Downtown LA's Incredible Historic Theatre District
This is a day you'll never forget. Take a walking tour of the Downtown Los Angeles Theatre District to see the the original entertainment center of LA. Click on the names of the theatres in blue below the photos for the story of each theatre from the days of Vaudeville. The historical and architectural details are amazing. www.laconservancy.org
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| LA's Historical Broadway Theater District Downtown. All Photos ©Ellen Dostal, Musicals in LA |
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| Los Angeles Theatre Lobby The most lavish of Broadway’s great movie palaces, the 1931 Los Angeles was designed by legendary theatre architect S. Charles Lee. |
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| Los Angeles Theatre stage view from the mezzanine |
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| The Los Angeles Theatre lobby's grand staircase leads to a stunning crystal fountain. |
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| Los Angeles Theatre marquee, in memory of Robin Williams |
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| Orpheum Theatre The fourth and final home of the famed Orpheum vaudeville circuit in LA opened in 1926 |
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| Palace Theatre The Palace is one of the oldest theatres in LA and hosted such stars as Harry Houdini, Will Rogers, Fred Astaire, and a young Rita Hayworth. |
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| Loews State Theatre Done in the Beaux Art style with a brick façade |
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| Ceiling inside the State Theatre |
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| United Artists Theatre Built by the founders of United Artists Pictures - Mary Pickford, Charlie Chaplin, D.W. Griffith and Douglas Fairbanks to show their films. |
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| Original Pantages Theatre, later renamed the Arcade Theatre opened in 1910. The opening bill included: Barnold’s Dog and Monkey Actors in “A Hot Time in Dogville” Sophie Tucker, singer and comedienne Maurice Burkhart, character-singing comedian MacLean and Bryant “17-20 on the Black” gambling sketch Lelliott Brothers, comedy musical sketch Yalto Duo, novelty whirlwind dancers* (*info courtesy of Historic Los Angeles Theatres - Downtown) |
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| Globe Theatre The only legit theatre downtown at the time, it opened in 1913 for producer Oliver Morosco |
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| Roxie Theatre The last theatre built on Broadway and the only one built in the Art Deco architectural style |
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| Tower Theatre Renaissance Revival style, its interior was modeled after the Paris Opera House. It was the first film house in LA to be wired for talkies. Al Joson’s The Jazz Singer premiered here. |
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Labels: Globe Theatre, LA Conservancy, Loews State Theatre, Los Angeles Theatre, Orpheum, Palace Theatre, Pantages Theatre, Roxie Theatre, United Artists Theatre