Musical Theatre West’s Memphis | Theatre Review

Hello!

I have been a season subscriber to Musical Theatre West for a few years, and have almost always been pleased with their offerings. But, I was a little nonplussed when I saw that Memphis was on the schedule for the 2016-2017 season. Maybe it was because the other three shows in the season are all solid classic musicals, and this one seemed like the odd man out. Anyway, I saw it this past weekend and it turned out to be awesome!

Musical Theatre West has been around since 1952, when they started out as the Whittier Civic Light Opera. Their productions evolved over time, and they went from being an all-volunteer operation to producing full seasons, currently under the capable leadership and vision of Executive Director/produce Paul Garman. Their big shows are hosted by the Carpenter Performing Arts Center at Cal State Long Beach, which is a lovely venue with plenty of conveniently located parking (by the way, the price for parking went up to $7 this year). The theater still has only has two restrooms for 1000 people, in case you were wondering...

Memphis has been around for more than a decade, and it played on Broadway from 2009 to 2012, where it earned four Tony Awards, including Best Musical for 2010. The plotline is kind of based on the story of Dewey Philips, a white DJ from Memphis who was a pioneer in bringing “black” music to “white” audiences back in the 1950s. You might think that there would be lots of recycled 50s rock in this show, but surprisingly all of the major numbers are originals and they fit in well with the period that is being portrayed. Credit for this goes to David Bryan (music and lyrics) and Joe Di Pietro (book and lyrics), who put together a passel of really catchy tunes.

The plot follows the careers of Huey (a DJ and promoter) and Felicia (a singer who is on her way to the top). They enter into a mixed race relationship, with all of the accompanying tension and drama that would be expected of this type of union in the 1950s. These themes from Memphis still feel relevant, as all of these tensions are still here today, which is a shame because you think we would have learned a few things in the past 60 years.

This story is told by a cast that is mostly new to MTW, but that does not mean they are not experienced. In fact, I would have to say that Memphis features the best singing and dancing that I have seen in a show from this company. Michael Monroe Goodman (Huey) and Krystle Simmons (Felicia) both have powerful voices, and their acting was above par too. The writers also included secondary characters that were generally likeable, including Delray, Felicia’s brother (Michael A. Sheppard), Huey’s racist mom, Gladys (Julia Cardia), the station’s janitor, Bobby (Jay Donnell), and the station’s boss, Mr. Simmons (James Campbell).

The ensemble also turned in a solid performance, and they were amazing dancers who made good use of Edgar Godineaux’s choreography. Though this is the first time I had seen this show, it was immediately obvious what an important role the ensemble plays, as they do quite a lot of the singing and dancing. Their men’s costumes were not exactly inspired, but Karen St. Pierre did a wonderful job of outfitting the women, as their dresses were awesome.

Visuals for Memphis were very nice. Stephen Gifford’s sets included a pair of building pillars on the side, a bandstand that could be hidden away in the back, and a series of roll-on platforms that included a DJ booth and a bar (among other things). This was a minimalist way to present the stage, but it worked very well and everything was properly visible thanks to Eric Larson’s lighting design. Also, there were cool video elements that were included, but I am not going to spoil the effects if you happen to decide to see the show in person.

The sound was also very good. There was a small onstage band under the supervision of musical director Darryl Archibald. Unfortunately the musicians were not credited in the program, and I have no idea if they were union or not. The sound engineering was also pretty good, and with so many strong singers on stage it must have really kept the sound guys on their toes.

All of this came together well for solid performance. Musical Theatre West did well and Memphis is a worthy show with fine production values and a well-chosen cast. If you have the chance you should get out and see it before it is gone, but leave the little kids at home with a sitter. This is a long show and they will be squirming in their seats a long time before the final curtain falls (it clocks in at 2 ½ hours), not to mention a few decidedly mature scenes that you may have to awkwardly explain to them on the drive home.

If you want to see Memphis at The Carpenter Center you had better hurry as it closes this weekend. There are not many tickets left, so grab them while you can. And, be sure to check out tickets for the remaining three shows of this season: Evita, Carousel, and Mary Poppins. These are all classics, and you can’t beat the value!

Mahalo!

Review of West Side Story from Musical Theatre West

Hello!

I have been a season subscriber to Musical Theatre West for a few years, and have almost always been pleased with their offerings. So, I was thrilled when I saw that the classic West Side Story was on the schedule for the 2015-2016 season. I saw it this past weekend and it was pretty good!

Musical Theatre West has been around since 1952, when it started out as the Whittier Civic Light Opera. Their productions evolved over time, and they went from being an all-volunteer operation to producing full seasons, currently under the capable leadership and vision of Executive Director/produce Paul Garman. Their big shows are hosted by the Carpenter Performing Arts Center at Cal State Long Beach, which is a lovely venue with plenty of conveniently located parking. And only two bathrooms...

West Side Story is one of the heavy hitters in the musical world, and the original 1957 Broadway show was inspired by William Shakespeare’s Romeo and Juliet. The original show was nominated for six Tony Awards and spawned the incredible successful 1961 movie of the same name (which won ten Academy Awards) starring Natalie Wood, Rita Moreno, Richard Beymer, and Russ Tamblyn (the latter two of Twin Peaks fame). This musical was so popular due to the music of Leonard Bernstein and lyrics from Stephen Sondheim, not to mention the groundbreaking choreography by Jerome Robbins.

In case you have been hidden under a rock for the past 60 years, the plot is nearly a direct lift from Romeo and Juliet, with a cast of anxious punk kids, hot women, harried cops, and an old fat guy. There are themes of love, racial tension, and death, and they all come together in a wonderful fashion. The musical was a head of its time, and the racial themes must have been controversial at the time, though they are no less pertinent today.

West Side Story has such a long history that nearly everybody is familiar with it, so effectively producing it is no small chore. Musical Theatre West rose to the challenge, and put all of the pieces together in a convincing manner thanks to the decision to use the Robbins’ original choreography. I have a few problems with the lyrics and the story in general (Maria sure jumps in the sack with Tony pretty quick after he kills her brother), but that is the way it was written…

Visually, the sets were good, with cool central piece that served as the drug store, front stoop, and Maria’s house, and Jean Yves Tessier’s lighting was fantastic. The costumes were mostly period correct and the women’s hair looked great, but the guys’ hair did not even come close. Need to break out the Brylcreem, fellas.

The sound was very good. There was a 30-piece orchestra (very big for a MTW production) under the supervision of musical director David Lamoureaux. Unfortunately the musicians were uncredited in the program, and I have no idea if they were union or not. The sound engineering was pretty good, thought the vocals were sometimes drowned out by the orchestra.

So, the basic foundation was solid, and its success depends on the cast, and the performers (mostly non-equity) mostly delivered solid performances. Ashley Marie earned the role of Maria, her voice was beautiful, and she had good timing and could dance very well. Her love interest, Tony, was played by Michael Spaziani who is a wonderful dancer and looks good with his shirt off, but had a little too much trouble staying in tune when singing.

The other main characters, Riff and Bernardo, were portrayed by Tyler Matthew Burk and Cooper Howell. They both did well, and honestly I think either one of them would have done a better job than Spaziani did with the role of Tony. Lauren Boyd stole the show as Anita, as her acting, singing, and dancing skills gave her marvelous stage presence.

The ensemble turned in a solid performance, and they were very good dancers, and they made good use of Robbin’s choreography. Though I have seen this show a few times, I had not noticed before what an important role they play, as they do quite a bit of singing and dancing.

All of this came together well for solid (though not brilliant), performance. Musical Theatre West did well and West Side Story is a classic show with fine production values and a good cast. If you have the chance you should get out and see it before it is gone, but leave the little kids at home with a sitter. This is a long show and they will be squirming in their seats a long time before the final curtain falls (it clocks in at 2 ½ hours), not to mention a few decidedly mature scenes that you will have to awkwardly explain to them on the drive home.

If you want to see it at The Carpenter Center you had better hurry as West Side Story is closing on February. There are not many tickets left (this has been MTW’s all-time best seller), so grab them while you can. And, be sure to check out tickets for the last two shows of this season: Sister Act and Dirty Rotten Scoundrels. Also, now is the time to start thinking about next year’s season, which will include Memphis, Evita, Carousel, and Mary Poppins. You can’t beat the value!

Mahalo!

Review of Musical Theatre West’s Les Miserables

Hello!

I have been a season subscriber to Musical Theatre West for a few years, and have almost always been impressed with what they have been able to put together for their fans. So, I was beside myself when I saw that Les Miserables, one of the most popular musicals of all time, was on the schedule for the 2014-2015 season. I had the chance to see it this time around and came away a little underwhelmed, unfortunately.

Musical Theatre West has been around since 1952, when it started out as the Whittier Civic Light Opera. Their productions evolved over time, and they went from being an all-volunteer operation to producing full seasons, currently under the capable leadership and vision of Executive Director/produce Paul Garman. Their big shows are hosted by the Carpenter Performing Arts Center at Cal State Long Beach, which is a lovely venue with plenty of conveniently located parking. And only two bathrooms...

Les Miserables is based on the 1862 Victor Hugo historical novel from 1862, and it is set in the early 19th century France, up until the 1835 June Rebellion in Paris. It is a heavy read, but it is a fascinating book that spends most of its text discussing French History. It is worth the effort to thumb through it.

The musical version was introduced in France in 1980, with the original Broadway run from 1987 to 1993. Since then it has had two Broadway revivals and numerous national tours, but very few local theatre companies have staged this show. Musical Theatre West certainly gave it a good shot, after 20 years of trying to get rights to the show.

I will skip the storyline, as you are probably familiar enough with it by now, but it is a tragic story of love, politics, and death.

It is probably best to start with the cast, and they landed a really big name, Davis Gaines (Phantom of the Opera on Broadway), to play Inspector Javert. He was joined by Michael Hunsaker at Jean Valjean, Madison Parks as the grown-up Cosette, Devin Archer as Marius, and Emily Martin as Eponine. Stand-out performances came from Norman Large as Thenardier and Ruth Williamson as his wife. There was a huge cast, with over 30 actors in the production.

They also put together a very good orchestra, with almost 20 musicians in the pit. Andrew Bryan was the musical director, and he did a great job of bringing Schonberg’s music to life. As always, it is disappointing to see that the musicians got no credit in the program. Shameful.

Cliff Simon’s sets were very good were very good, but Paul Black’s lighting was spectacular and really helped to set the mood of the show. Karen St. Pierre’s costumes were authentic, and nothing seemed out of place.

All of these elements set everything up for a very good production, but it really fell flat in real life, and for a lot of reasons. Maybe they should have called it “Meh Miserables.”

For starters, the show itself is a bit iffy (sorry, fans), and if everything is not done perfectly it is really a slog. It comes in at a running time of over 3 hours, and it is all singing and no dialogue. The chorus was not up to the complicated lyrics, and their timing and emphasis was off, which made it seem even longer

The sound was, quite simply, terrible. With that many singers and actors on stage, there are a lot of microphones to keep track of, and there were numerous times when microphones were not turned on when they were supposed to be. This was a major distraction, not to mention a killer of the storyline if the audience was not familiar with the show. Also, the sound was way too loud at times, and after 3 hours it can really wear you down. Keep in mind that I mostly review rock shows, so I am intimately familiar with what too loud is.

Les Miserables was just a bit too grand of a show for Musical Theatre West to pull off, and it was one of their very few mis-steps in a long history of putting on excellent shows. The show has closed, so you missed out this time around. Or maybe not. Anyway, it is time to start thinking about tickets for the last show of this season, Singin’ in the Rain, which will be playing from July 10th through 26th. Also, now is the time to make plans for next year’s season, which will include My Fair Lady, West Side Story, Dirty Rotten Scoundrels and Sister Act. You can’t beat the value!

Mahalo!

Musical Theatre West 2015-2016 Season at the Carpenter Center in Long Beach, California

Aloha!

If you regularly read my blog you may have seen how much I loved the Musical Theatre West shows I have been to this year. I just renewed my season tickets for the 2015-2016 season, and from what they have on tap it looks like it will be another great season!

Musical Theatre West has been around since 1952, when it started out as the Whittier Civic Light Opera. Their productions evolved over time, and they went from being an all-volunteer operation to producing full seasons. They now perform at the Richard and Karen Carpenter Performing Arts Center at Cal State Long Beach, which is a lovely venue with plenty of conveniently located parking.

So far, this season’s shows have been fantastic and their casts, choreography, costumes, sets and music were all top shelf. It is great to have the opportunity to see quality entertainment this close to home (and avoid the hassles of heading to Hollywood).

Musical Theatre West surveyed their fans to see what kind of shows they wanted to see, and as a result the 2015-2016 season consists of four neat shows, two classics and two modern. These include:

∙ My Fair Lady

∙ West Side Story

∙ Dirty Rotten Scoundrels

∙ Sister Act

In the past, single tickets have been available from as low as $20, and season tickets from under $100. Parking is only $5 in the university parking lot, but be careful when you leave because the university police take events like this as an opportunity to issue traffic citations like there is no tomorrow.

You can check out ticket and venue details at www.musical.org

Mahalo!

Review: Musical Theatre West’s South Pacific at the Carpenter Center in Long Beach, California

Hola!

I have been a season subscriber to Musical Theatre West for a few years, and have almost always been pleased with their offerings. So, I was thrilled when I saw that South Pacific (one of my favorite musicals) was on the schedule for the 2014-2015 season. I saw it this past weekend as was not disappointed!

Musical Theatre West has been around since 1952, when it started out as the Whittier Civic Light Opera. Their productions evolved over time, and they went from being an all-volunteer operation to producing full seasons, currently under the capable leadership and vision of Executive Director/produce Paul Garman. Their big shows are hosted by the Carpenter Performing Arts Center at Cal State Long Beach, which is a lovely venue with plenty of conveniently located parking. And only two bathrooms...

South Pacific is one of the heavy hitters in the musical world, and the original 1949 stage show was based on James A. Michener’s Pulitzer Prize winning novel, “Tales of the South Pacific.” The original show won 10 Tony awards and spawned the incredible successful 1958 movie of the same name starring Mitzi Gaynor and Rossano Brazzi. Undeniably this musical is so awesome thanks to the music of Richard Rodger and lyrics from Oscar Hammerstein II.

In case you have been hidden under a rock for the past 65 years, the plot is straight out of World War II with a cast of rowdy Seabees, hot nurses, harried officers, stereotypical natives, and rich expatriates. There are themes of love, racial tension, and death, and they all come together in a wonder fashion. The musical was a head of its time, and the racial themes must have been controversial at the time, though no less pertinent today.

South Pacific has such a long history and loyal following that effectively producing it is no small chore. Musical Theatre West rose to the challenge, and put all of the pieces together in a convincing manner thanks to the able direction and choreography of Joe Langworth.

Visually, the sets were good enough, with a just few too many elements taken care of by canvas, but Paul Black’s lighting was fantastic. The costumes were mostly period correct (I’m not too sure if they wore bikinis in WWII), and it is not too hard to come up with old military uniforms.

The sound was very good. There was a 28-piece orchestra (very big for a MTW production) under the supervision of musical director Dennis Castellano. Unfortunately the musicians were uncredited in the program, and I have no idea if they were union or not. The sound engineering was better than usual with no glaring errors other than the ear-splitting volume of Bloody Mary and too much reverb on the quieter numbers.

So, the basic foundation was solid, and though this is a well-written show its success depends on the cast, and the performers (mostly equity) all delivered solid performances. Alessa Neeck earned the role of Nellie Forbush and her voice was beautiful but her timing was off right from the start. Her love interest, Emile De Beque, was played by Christopher Carl who has voice galore, and who has been performing this role for years in various venues. .

The the other set of lovers, Lietenant Cable and Liat, were portrayed by Patrick Cummings and Cailan Rose. Cummings has a strong stage presence and looks fabulous with his shirt off, and Rose had the grace that was needed to play a character with almost no lines. Jodi Kimuar did a respectable job with Bloody Mary, though the racial stereotype of the character makes me cringe every time I see the show. My favorite character was Spencer Rowe’s Luther Billis, as there is nothing funnier than a macho guy in drag!

The ensemble turned in a solid performance, and they were very good dancers, and they made good use of Langworth’s choreography. Though I have seen this show many times, I had not noticed that aside from a few major numbers, the chorus has relatively little vocal work.

All of this came together well for very solid performance. Musical Theatre West has outdone itself and South Pacific is a classic show with fine production values and a good cast, and a little something for everyone. If you have the chance you should get out and see it before it is gone, but leave the little kids at home with a sitter. This is a long show and they will be squirming in their seats a long time before the final curtain falls (it clocks in at almost 3 hours), not to mention a few adult themes that you will have to awkwardly explain to on the drive home.

If you want to see it you had better hurry as South Pacific is closing on March 1. There are still a few tickets left, so grab them while you can. And, be sure to check out tickets for the last two shows of this season: Les Miserables and Singin’ in the Rain. Also, now is the time to start thinking about next years season, which will include My Fair Lady, West Side Story, Dirty Rotten Scoundrels and a surprise, which has not been announced but I think you will like this very recent musical. You can’t beat the value!

Mahalo!

Review of Musical Theatre West’s Big Fish at the Carpenter Center

Aloha!

As part of their 62nd season, Musical Theatre West included Big Fish -- a show I had never heard of. This stage musical is based on a 2003 movie that is based on a 1998 novel by Daniel Wallace. I was also unaware of the movie, which is surprising as Tim Burton directed it, Danny Elfman wrote the music, and it starred Ewan McGregor (one of my favorite actors). The musical (with new music) ran on Broadway for three months in 2013, and then went dark. Though it is not my favorite musical that I have seen in recent years, none of it was MTW’s fault.

Musical Theatre West has been around since 1952, when it started out as the Whittier Civic Light Opera. Their productions evolved over time, and they went from being an all-volunteer operation to producing full seasons, currently under the capable leadership and vision of Executive Director/Producer Paul Garman. Their big shows are staged at the Richard and Karen Carpenter Performing Arts Center at Cal State Long Beach, which is a lovely venue with plenty of conveniently located parking.

Big Fish is a classic story of son that does not understand his father, but eventually comes to appreciate what their relationship is all about as his father passes on and he begins to raise his own son. It is set in the south and follows the life and adventures of the father, Edward Bloom (Jeff Skowron), as seen through his own fanciful thoughts. The book for this show was written by John August, the same fellow that did the screenplay for the film adaptation. The original music and lyrics came from Andrew Lippa, who did a marvelous job with The Addams Family Broadway show.

Paul Garman was the champion for getting this show to Musical Theatre West, as he fell in love with it when he saw it during the musical’s tune-up in Chicago prior to its Broadway debut. MTW is the first company to perform Big Fish off Broadway, and they took the gamble of buying the original sets and costumes. This means that there is nothing to complain about there, as Julian Crouch’s scenic design and William Ivey Long’s costumes are fabulous.

The cast were up to the standards of these elements too, as Skowron did a bang-up job of portraying the elder Bloom though all stages of the character’s life – it must have been an exhausting role to play. Rebecca Johnson played his wife, Sandra, Andrew Huber was his son, Will, and Kristina Miller took the role of Will’s wife, Josephine. The leads were all strong, and well placed for their roles. The backing cast was also very good with standout performances by Molly Garner as the witch, Timothy Hughes as Karl the giant, and Gabriel Kalomas as Amos. The ensemble did a fine job as they filled in during the multiple changes in scenery.

The pit orchestra, under the direction of Matthew Smedal, was completely hidden by the stage elements, so I had no idea who was down there, but they certainly brought the show to life. Lippa’s score was pleasant to listen to, but there were not any tunes that got stuck in my head, let alone that I can remember a few weeks later. This is not a terribly good thing.

Technically, everything went well during the show, with clear sound from Brian Hsieh, and exciting lighting effects from Phil Monat. Larry Carpenter’s direction was logical with no awkwardness to the action on stage, which was helped along by the fun choreography from Peggy Hickey.

With all of this good stuff going on, it became pretty obvious that the show itself is pretty weak. As I said, the music is not memorable, but the story is fairly tired too. The age-old story of family love and conflict was not reworked in any earth-shattering manner, and the progression was predictable with no surprises. I can see why the show did not last very long on Broadway.

One last gripe before I wrap this up and that is that all of the performers deserve recognition in the program, not just the folks on stage. The musicians received no credit, and that is just wrong. It does not take up that much space in the program, and what if their parents come to see the show?

Big Fish closed earlier this month, but do not worry, there are still plenty of great musicals to see at the Carpenter Center before next summer! Musical Theatre West’s 2014-2015 season has three shows left: South Pacific, Les Miserables and Singin’ in the Rain. These are all solid shows and MTW always delivers the goods, so they are must-sees. It is not to late to load up on tickets for them, so check out their website at musical.org for details about tickets and packages.

Mahalo!

Review of Musical Theatre West’s Beauty and the Beast at the Carpenter Center in Long Beach, California

Howdy!

There was a bit of mystery when Musical Theatre West announced its 2013-2014 season, as one of the shows had still not been announced when I bought my presale season tickets. It turns out that MTW was in negotiations to get the rights to produce Beauty and the Beast, and that Disney was reluctant to have the show playing a mere 13 miles from Disneyland. Apparently they worked out their differences, as Beauty and the Beast is the final show of the season, and I had the opportunity to see it this past Sunday.

Musical Theatre West has been around since 1952, when it started out as the Whittier Civic Light Opera. Their productions evolved over time, and they went from being an all-volunteer operation to producing full seasons, currently under the capable leadership and vision of Executive Director/produce Paul Garman. Their big shows are hosted by the Richard and Karen Carpenter Performing Arts Center at Cal State Long Beach, which is a lovely venue with plenty of conveniently located parking.

If you have kids under the age of 30 (or if you are under 30) you have probably seen Disney’s full-length animated movie from 1991, Beauty and the Beast. It is a neat movie full of catchy tunes, and it earned a passel of awards that year, including Oscars (it was up for Best Picture but did not win), Grammys and even a Golden Globe for Best Picture. Somebody go the bright idea to turn it into a stage musical, and it premiered on Broadway in 1994. Its run lasted 13 years with over 5400 performances, and it is pretty much a classic show at this point.

There is a good reason for this, as it is a neat story that is accompanied by very good music and lyrics. Of course the story loosely follows the old French fairy tale, but it was certainly churched up by music from Alan Menken (8 Oscars, 11 Grammys, 7 Golden Globes and a Tony), lyrics by Howard Ashman (2 Oscars and a Golden Globe) and Tim Rice (3 Oscars, 1 Grammys, and 3 Golden Globes), and a book by Long Beach’s own Linda Woolverton. These folks have had a hand in most every Disney musical that has come out over the past 20 years, as well as many of the most popular stage musicals, and they brought their A-game for Beauty and the Beast.

The basic plot is that a prince is turned into a beast due to his wicked ways, and everybody in his castle is turned into ordinary household objects. Along the way he kidnaps a spunky young woman named Belle and holds her in his castle. To regain his human form he has to somehow get Belle to fall in love with him. It could happen. By the way, if you are a fan of the movie you will notice that there are seven new songs that were written for the stage musical.

The Broadway version is a tough act to follow, as its sets and costumes were over-the-top and magnificent. Musical Theatre West rose to the challenge, and I have heard that this ended up being the most costly production they have ever done.

They got the look right. The rented sets were nice, though some of the backdrops were a bit wrinkly, and there were a few miscues where hanging elements were moved at the wrong time and then hurriedly put back into place. MTW regular Jean-Yves Tessier took care of the lighting, and he certainly seems to have his job figured out – everything was lit perfectly. The costumes (from Musical Theatre of Wichita, supposedly) are top shelf and were assembled under the supervision of Tiia Torchia and Shawn Adrian Decou. Of course Beast had to have incredible make-up, and Denice Paxton did good work there. He was actually more attractive as the Beast than as the Prince, if that makes any sense.

The sound was also very good. There was a 17-piece orchestra under the supervision of musical director Michael Borth, and I counted three keyboard players in the pit, which certainly helped with setting the mood. Unfortunately the musicians were uncredited in the program, and I have no idea if they were union or not. The sound engineering was generally good, with a few hitches along the way. Cogsworth had a wonky wireless transmitter that added a lot of noise to the mix (this was fixed after the intermission), and there were a few incidents where a ton of reverb was left in the signal chain for ordinary speaking parts which was distracting, at best.

All of the basic foundation was solid, but this is such a well-written show that its success hinges on the cast, and the performers (mostly equity) all delivered solid performances. Gwen Hollander earned the role of Belle (the Beauty) and rightly so. Her voice was beautiful and her timing and acting were impeccable. She has grace on the stage, belying her Broadway and touring experience, and it certainly did not hurt that she had played Belle previously.

Garrett Marshall played the Beast, and he rose above the limitations of having his face shrouded for most of the show. He has a strong singing and acting voice, and was able to portray emotion through his body language well. Both he and Christian Marriner (Gaston) have strong stage presence, which made it all the more obvious that this show had the typical Disney trait that male roles are favored. They got all of the good lines, and often times the Belle’s character was secondary and relied on the males in her life to make her complete.

The supporting cast was wonderful, with Brandon Armstrong as Cogsworth, Melina Komas as Babette, Doug Carfrae as Maurice and Robert Ramirez as Lefou. The standout performances were Michael Paternostro’s take on Lumiere and Cathy Newman as Mrs. Potts. Their acting and singing were fantastic, and they almost stole the show.

The ensemble turned in a solid performance, and they were very good dancers (especially the young man that played the bottle opener), and they made good use of Bill Burns’ choreography. Their vocals were well-timed and sounded good, with the exception of some drastic volume differences between them which became distracting on some of the bigger numbers. I loved the Silly Girls and that they used monsters / dancers to help move set elements on and off the stage.

All of this came together well for an almost Broadway-like experience. Musical Theatre West has outdone itself and Beauty and the beast is a good show with fine production values and a good cast, with a little something for everyone -- excitement for the kids and romance for the adults. If you have the chance you should get out and see it before it is gone, but leave the little kids at home with a sitter. This is a long show and they will be squirming in their seats a long time before the final curtain falls (it clocks in at 2 ½ hours, including the 15 minute intermission).

Beauty and the Beast will be playing at the Carpenter Center through July 27, and it has been a good seller for Musical Theatre West. There are still a few tickets left, so grab them while you can. And, be sure to check out their season ticket packages for the 2014-2015 season as they have a great package that includes Big Fish, South Pacific, Les Miserables and Singin’ in the Rain. You can’t beat the value!

Mahalo!

Musical Theatre West Production of ‘s Wonderful at the Carpenter Center

Aloha!

As part of their 61st season, Musical Theatre West included ‘s Wonderful, which is a show I had never heard of (I had heard of the Gershwin song), so I was looking forward to seeing what they had in store for their loyal audience. Unfortunately I came away with mixed feelings after seeing their matinee show last Sunday.

Musical Theatre West has been around since 1952, when it started out as the Whittier Civic Light Opera. Their productions evolved over time, and they went from being an all-volunteer operation to producing full seasons, currently under the capable leadership and vision of Executive Director/produce Paul Garman. Their big shows are hosted by the Richard and Karen Carpenter Performing Arts Center at Cal State Long Beach, which is a lovely venue with plenty of conveniently located parking.

’s Wonderful is based on the music of show business legends George and Ira Gershwin, and their estate approved the production of the show which includes 40 of their fabulous songs crammed into five mini-musicals. Each of these vignettes explores a different era of the 20th century, but none of them terribly well, which we will get into a little later. The show is the brainchild of Ray Roderick, who wrote it and has directed it around the country, including these shows for Musical Theatre West.

As far as musicals go, this has to be one of the easier ones to put on, especially because it has such a small cast with only five actors and two dance extras. But, the actors are all top-shelf performers, with veterans Rebecca Johnson, Damon Kirsche, Ashley Fox Linton, Jeff Skowron, and Rebecca Spencer each getting the opportunity to take a lead. All of them have been in Musical Theatre West productions before and they are all good singers and actors that come off well in leading or supporting roles.

Fortunately they are all good dancers, as the choreography was outstanding, making good use of the stage and the sparse elements available to them. This is thanks to Charlie Williams who represents the best of the next generation of choreographers,and he is the one to watch.

The sets are minimal, with small elements coming on and off the stage for each new act, and a large video screen in the background that adds visual elements that are mostly appropriate for the on-stage action. The center piece of the show is the on-stage seven-piece orchestra, which is led by the uber-capable Musical Director/pianist Bret Simmons. The stage and bandstand were put together under the direction of Kevin Clowes, with lighting by Jeff Warner. Even though there are only five actors, there are plenty of costume changes, and Deborah Roberts did a fine job of capturing the spirit of five different decades. The Barry Manilow Cuban outfit and the lederhosen are a tad tacky, though, enough so that I felt embarrassed for Skowron, who had to wear them.

It was refreshing to have the orchestra on stage so the audience can have the opportunity to see how hard they are working, and it is a small ensemble with a pianist, one violin, a double bass, a drummer, a trombone, a trumpet and a woodwind player. The overall effect was not reduced by having only seven musicians, and they were up to the task of keeping the action moving throughout. The sound (under the direction of Brian Hsieh) was well-done for the orchestra, but there were far too many missed cues on the vocals when the microphones were not turned up in time.

With no sets everything was focused on the individual actors, so this is a show that is much better to see up close. The Carpenter is a big theater and the folks in the back missed out on a lot. Suckers!

So if the songwriting, singing, dancing, choreography and music were great, that means that there is only one big thing to gripe about, and that is the show itself. It is hard to know where to start.

For starters, the premise is weak. It is the height of laziness to come up with a “new” musical where all of the songs are culled from other shows. Don’t get me wrong – they are all very good songs, but each one has a history and a place in the musical theatre world and this is not it. I am not fond of paying to watch one man’s idea of the perfect Gershwin iTunes mix.

Secondly, the vignettes are cartoonish and are expected to do too much in the short time allotted, not to mention that the stories are so thin that the audience will poke holes through them while they are unfolding. Don’t get me started on the modern day act with the premise of a woman giving her grandson an iPod full of Gershwin hits that the cast then performs. Good songs are not enough to carry this one, and it was like being served a plate of meat without the rest of the meal. It was not very satisfying, and I expect better from Musical Theatre West.

In mitigation, this show would be good for someone who has never heard of the Gershwins so that they could experience their magical collaboration.

There is one last minor complaint before I wrap this up and that is that all of the performers deserve recognition in the program, not just the leads. The musicians and the two extra dancers (Annie Hinskton and Tyler Logan) received no credit, and that is just wrong. It does not take up that much space in the program, and what if their parents come to see the show? For shame…

If you decide to head out to see ’s Wonderful, it is playing through this weekend (closing on April 20), and seats are still available. Remember what I said about the size of the theatre and get seats as close to the front as you can.

Musical Theatre West’s 2013-2014 season only has one show left, Disney’s Beauty and the Beast from July 11 to 17. And, next season is really looking up with Once, Big Fish, Les Miserables and South Pacific on tap. Check out their website at musical.org for details about tickets and packages.

Mahalo!

Musical Theatre West 2012-2013 Season

Hello!

I love going to the show, and though I already have tickets for the 2012-2013 Pantages season, after I saw what Musical Theatre had on tap, I had subscribe to their season too.

Musical Theatre West has been around since 1952, when it started out as the Whittier Civic Light Opera. Their productions evolved over time, and they went from being an all-volunteer operation to producing full seasons. They now perform the Richard and Karen Carpenter Performing Arts Center at Cal State Long Beach, which is a lovely venue with plenty of conveniently located parking.

I have attended their shows before and their cast, choreography, costumes, sets and music are always up to snuff. It is great to have the opportunity to see quality entertainment this close to home (and avoid the hassles of heading to Hollywood).

The Musical Theatre West 2012-2013 season consists of four oldies but goodies, and if your musical theatre experience is limited, this would be a great way to get some experience with genre. The season includes:

∙42nd Street

∙A Chorus Line

∙Oklahoma

∙Sunset Blvd.

Single tickets are available from as low as $20, and season tickets can be had for under $100. Parking is only $5 in the university parking lot, but be careful when you leave because the university police take events like this to be an opportunity to issue traffic citations like there is no tomorrow.

You can check out ticket and venue details at www.musical.org

Mahalo!