It’s 1965, and stage and screen star Tallulah Bankhead has seen better days. Suffering the ill-effects of a lifetime of boozing and doping, she is called in to re-record (or “loop”) one line for what would be her final film, Die! Die! My Darling! Based on a true event, Ms. Bankhead makes sure to put the sound engineer and film editor through the ringer before they get what they want out of her, playing up to their expectations of what a quarrelsome and demanding woman she can be. Looped enjoyed a brief run on Broadway in the spring of 2010, garnering Valerie Harper a Tony Award nomination as the beleaguered Tallulah Bankhead.
Is it worth seeing?
Looped is the kind of play where the concept is much better than its execution. Who wouldn’t enjoy seeing a comedic piece about a loud-mouthed lush, a star of both stage and screen, showing off her bad behavior? There are plenty of zingers to be had in Matthew Lombardo’s script, but at nearly two hours with an intermission (placed at a particularly contrived moment within the play), there doesn’t seem to be enough there to justify that much of an investment. However, Looped is that rare play that improves greatly in its second half, even if it gets rather maudlin and embarrassingly overwrought dealing with a discussion of homosexuality in the era. Mixing comedy with drama is tricky, but luckily the moments where the balance is completely off are brief and don’t sink the show. This is far from a great work, but, with the right crowd and performers, it’s more good than bad.
Vicky Welsh Bragg makes a fine Tallulah Bankhead, sounding a great deal like the actress, speaking in a low register that must be a challenge. Ms. Bragg is engaging if less biting that one might expect playing a drug-addicted alcoholic, but she is consistently interesting to watch and embodies the proper spirit to make her part work. Jon Osbeck as Danny Miller, the put-upon film editor struggling to corral Ms. Bankhead, performs as beyond irritated from the get-go, not allowing much room to grow all that much more frustrated with Ms. Bankhead’s shenanigans without yelling expletives that I doubt any studio employee would use towards a star, even a drunken one. Part of the problem is in the writing, but Mr. Osbeck is to blame for his entirely false crying scene near the end of the second act. It often feels like Mr. Osbeck thinks that he is part of a duet when it is quite clear that Ms. Bragg and her character is the star here.
Technically, the show is quite impressive, with a detailed black, white, and gray set by Jeffrey Gress complete with a boom mike that looks right out of that era. Nitz Brown’s lighting is detailed down to the ever-so-slight reflection of the film being projected (which we don’t see) for Ms. Bankhead to use as a reference for her vocal performance. Rebecca Baygents Turk’s costumes, from Ms. Bankhead’s improbable red gown (looking much like Bette Davis’s frock in All About Eve) to Danny Miller’s high-waisted slacks and slick shoes impressively represent a 1965 as one might imagine it from seeing sitcoms of the era; too perfect to be real, but too defined and attractive to ignore.
Ultimately, Looped misses its target, but not by as much as it could’ve had Evolution’s production not had such a proficient design team and game cast. At its best moments, when Ms. Bragg’s lines elicit honest laughter and Mr. Osbeck‘s exasperated look relaxes a bit in intensity, the production is quite enjoyable, though it takes someone with an appreciation of the era, film making, and that special kind of smoky female brashness to hang on through the more awkwardly written moments (like the ending that feels right out of Casablanca). Note to other playwrights: exercise caution when including excerpts from vastly superior works (in this case, Tennessee Williams’ A Streetcar Named Desire) into your script.
My rating: ** 3/4 out of ****
Looped continues through to September 24th in the Van Fleet Theatre within the Columbus Performing Arts Center at 549 Franklin Avenue, and more information can be found at http://evolutiontheatre.org
Once on This Island JR. is an abridged version of the acclaimed Broadway musical Once on This Island, which premiered in 1990 and ran for over a year. Based on Rosa Guy’s novel My Love, My Love, and with music by Stephen Flaherty and music and lyrics by Lynn Ahrens, the musical tells the story of Ti Moune, an orphaned peasant girl on a small island in the French Antilles, who rescues Daniel, a rich planter’s son from the other side of the island, when he wrecks his car during a storm. Ti Moune falls in love with Daniel, even promising her soul to Papa Ge, a Demon of Death, if Daniel’s doesn’t die. Daniel’s life is spared, and Ti Moune works to nurse him back to health. Daniel’s family soon appears to take him back to their side of the island and to a life of privilege and wealth the complete opposite of Ti Moune’s home. Against the advice of her adoptive parents, Ti Moune sets out to return to Daniel, certain that her love for him will be returned in kind; little does she know that Papa Ge, to whom she has promised her soul, and Erzulie, the Goddess of Love, have a wager going with Ti Moune’s life to determine which is stronger: the power of love or the power of death.
Is it worth seeing?
Absolutely! Granted, this is a version of the show with a few songs cut and altered, but the basic story and the best, most lively songs are still intact. This production runs about an hour in length and is appropriate for ages six and up, but by no means is this a show that only children can appreciate.
I must say that, as a big fan of the original show, I went into this altered “JR.” version more than a bit concerned. The color element, an intrinsic part of the original story (the poor side of the island has dark-skinned peasants while the affluent part has light-skinned rich folks), has been surgically removed from this edition, opening up the musical to be performed by all races and ethnicities; the classism is still there, but this time around skin color isn’t a factor. The result isn’t blasphemous like say an all-white production of A Raisin in the Sun or The Color Purple might be, but important songs that serve to explain more of the plot (“The Sad Tale of the Beauxhommes,” “Some Say,” and “Some Girls”) have been cut. The big love song “Forever Yours” has also been trimmed down to almost nothing; still, this adaptation (approved by the creative team) is successful in turning a show with some mature themes and concepts into one palatable for children and adults alike. This is one musical for which every track on the original cast recording is worthy; in fact, it might appeal to adults more than kids.
Director Ryan Scarlata guides his Summer Youth Performance Conservatory cast of teens and pre-teens deftly, always keeping the action moving. The cast is energetic with talent and spirit to spare, and their ensemble singing is notable for the clarity in their diction. So often ensemble numbers can sound unfocused with moments being unintelligible, but that is not the case here; in fact, the overall sound design is spot on, with the pre-recorded orchestra track at an appropriate level to allow the vocal performances to dominate. Jeffrey Gress’s multi-level set looks a bit reminiscent of Mamma Mia with its beachy coloring and bold blue sky, but it suits this story very well, as do the saturated colors and patterns of the costumes (save for those worn by the affluent side of the island, a wise choice to visually show the difference between the social classes).
Standouts in the cast include Sara Tuohy as Ti Moune, her voice possessing a purity that is thrilling; Amirah Joy Lomax as Asaka, Goddess of the Earth, whose performance of “Mama Will Provide” is engaging enough to inspire spontaneous dancing from the audience (they didn’t do it at the performance I attended, but I would not be surprised to learn if it happened); Kyle Channell as Tonton Julian and Megan Masciola as Mama Euralie are caring foster parents to Ms. Tuohy’s Ti Moune, their voices full of genuine affection and heart when they warn her of seeking out Daniel; Katie Wagner as Erzulie, Goddess of Love, whose rendition of “The Human Heart” is instilled with wisdom beyond her years; and Maria Dalanno as Andrea, Daniel’s betrothed (Sorry! Spoiler alert!), brings nuance to a character that can be played as just a snotty mean girl; Ms. Dalanno appears too clever to play just that one note, as here she ranges from skeptical to annoyed to concerned and finally empathetic to Ti Moune’s feelings.
The source novel derives inspiration from Hans Christian Anderson’s The Little Mermaid with its sad conclusion intact, and yet the ending of Once on This Island JR. is filled with hope for the future. The message of parents needing to allow their children to explore the world and make their own mistakes is quite clear, as is the point that sometimes it takes just one person to go against the grain to change the future, no matter how many naysayers are on the sidelines.
Once on This Island JR. is not as sterling a show as in its original version, but this children’s adaptation comes awfully close. Only those familiar with the original show will sense the changes, and judged on its own merits this is one production that I can highly recommend.
How lucky am I to be able to see full productions of the two biggest Broadway hits of the 1957-1958 season all in the same week? One night I get to see The Music Man at Weathervane Playhouse in Newark, and the next night I’m enjoying Columbus Children’s Theatre’s West Side Story! Both are now revered as classics, were made into very popular and faithfully adapted films, and for well over fifty years have been performed thousands of times a year all over the country from high schools to regional theatres. One can’t really be considered a fan of musicals without becoming acquainted with these evergreens; their songs pop up all the time in popular culture, and chances are you’ve heard some of them even if you didn’t know from where they originated.
Meredith Willson’s The Music Man was the big Tony Award winner in 1958 and the longer-running hit, but West Side Story, with a searing Leonard Bernstein score, lyrics by the up-and-coming Stephen Sondheim, book by Arthur Laurents, and choreography courtesy of the legendary Jerome Robbins, has emerged as the more serious classic. Inspired by Shakespeare’s Romeo and Juliet, the action has been transplanted to the Upper West Side of New York City in the 1950s as rival gangs, the Jets (who are white) and the Sharks (who are Puerto Rican), fight for dominance. Caught in the crosshairs are Tony, a sometime member of the Jets, and Maria, the sister of the leader of the Sharks, Bernardo. Tony and Maria meet at a school dance, fall in love, and try to stop the gangs from fighting to discover things will only get worse before they begin to get better. With nearly every now song an established classic (“Maria,” “Tonight,” “Somewhere,” “I Feel Pretty,” and “America” to name but a few), West Side Story continues to capture the heart of each new generation, thanks to the 1961 film and the play’s continued popularity. This current production, featuring Columbus Children’s Theatre’s Summer Pre-Professional Company of performers ages sixteen to twenty-two, is about as engaging and rousing a production as one is likely to find, “pre-professional” or not.
These Jets and Sharks dance, fight, and spit with equal intensity (stage combat aided by William Goldsmith), and each performer appears fully cocked and ready to attack anyone who gets in their way. I remember some snickering from my classmates when we watched the movie in high school during the opening dance sequence; no one would dare to scoff at these Jets and Sharks, especially once they see them believably kick and punch each other to the ground! It’s interesting to note that all but two of the Jets and Sharks are wearing identical black Converse Chuck Taylor All Star shoes, a nice visual reminder that they have so much more in common than they seem to realize.
As sweet and innocent as Tony (Andy Simmons) and Maria (Elizabeth Blanquera) are in this production, they can’t help but appear less exciting when stacked next to the excellent supporting cast: Austin Ryan Backus as Riff exudes confidence and swagger; Matthew J. Mayer II makes an intense Bernardo; Odette Gutierrez del Arroyo is a firecracker as Anita but also heartbreaking; Will Thompson plays Doc like a wise, concerned older brother, making an impact in a part usually ignored; and Charlotte Brown should be watched closely in the small role of Rosalia, especially for her hilarious facial expressions during the dance at the gym.
The only serious flaw in this production occurs during the ballet (which is not in the film). This ballet leads into “Somewhere” and begins strongly with Riff and Bernardo reappearing after the violent end of the first act; then, inexplicably, a little boy climbs out of Maria’s bedroom window, down over the fence, sings “Somewhere” at Tony and Maria (now dressed in just a slip), and then scampers back up to from where he came. Though staged a bit differently, this addition of the character “Kiddo” and reassignment of the song was made by original book writer Arthur Laurents for the 2009 Broadway revival he directed; it was widely criticized then, and it’s inclusion in this production is a glaring sore spot. It has nothing to do with the ability of the kid playing Kiddo; the moment comes off as schmaltzy and like a lecture to the characters, bringing to mind this verse in Isaiah: “And a little child shall lead them.” I began to wonder why a little kid was squatting in Maria’s bedroom and if someone should let her know.
Luckily everything gets back on track when some of the Jets sing “Gee, Officer Krumpke,” far funnier with lyrics and gestures that were greatly toned down for the film. This is one of several scenes in which Jordan Feliciano as Baby John is a riot, donning a mop on his head and squeaky voice. As humorous as this sequence is, Ms. Gutierrez del Arroyo’s “A Boy Like That” that follows it is conversely serious and impassioned. Songs were moved around for the film to provide a more consistent tone for that medium, but the flow of the original play works marvelously on the stage.
Director David Bahgat incorporates many design elements from the film (unavoidable with its popularity) and expands upon them, the Jets costumed in blue and yellow and the Sharks in purple and red; the lighting is also used in this color motif effectively without being too obvious. Mr. Bahgat keeps everything moving at a brisk pace (save for the aforementioned break in the ballet), and he guides his cast into making each line sound like it is theirs and theirs alone. I’ve seen several productions were the actors copy each line reading as it was done in the film; that isn’t the case here at all, and many times so much more humor and character comes across because of it. He keeps his actors moving all around the audience, maintaining an immediacy that a lesser director wouldn’t bother trying to create. The marvelous set designed by Jeffrey Gress represents all of the different locations needed for the story, elements of which extend out around the audience, making this what I would consider an environmental staging; a low chain link fence separates the audience from the cast on the left and right sides, Doc’s storefront is between the center and right seating areas, actors often enter the center rows of the audience and sit alongside them, and (depending on where one is sitting) Chino (Frank Ruiz) can be seen stealthily sneaking down the alley between the center and left section of seats leading up to the intense climax.
The four-piece band led by Zac DelMonte kicks into high gear during the “Tonight” quintet and rumble, though the limited orchestration takes a little time to get used to at the start of the show. Nicolette Montana does a fine job of recreating iconic moments from Jerome Robbins’ original choreography, adding and changing bits here and there to suit the space and production demands; aside from a moment during the prologue when the Jets shout “Ha!” and jut their hands out into the audience, Ms. Montana’s work is commendable and adds so much to this overall splendid production.
Except for a few missteps (mostly minor), Columbus Children’s Theatre’s West Side Story is nearly impossibly good. With action occurring from all sides of the theatre and an energetic cast that knows this show like seasoned pros, this West Side Story is one to see no matter how many times you’ve seen the play or movie before. Most of the performers appear to be exactly in the right age range of the characters they are playing, from late teens to early twenties, but this is the exception rather than the rule when compared to the film or Broadway productions of this show. The “us verses them” struggle between the Jets and the Sharks is still relevant today; one need only to watch the daily news to see how fear of the “other” continues to incite violence and be used politically to pit people against one another.