Stage Struck Review

The story of “Kiss Me Kate” has always been worthy of note. The first winner of a Tony for Best Musical, it was the surprise come-back victory for Cole Porter, and his most successful creation in a lifetime of writing songs for the theater. Now at the Pasadena Playhouse, and inspired by famed 1930s productions adapting familiar shows to an African American cast, director Sheldon Epps has taken this backstage musical in a similar direction.

For the most part, this offers up a freshness, making a wittily familiar favorite something one can see through a new lens. Still, there is some unevenness to tighten up before it has all of the impact one could wish.

The essential story looks at a theater company about to start their out-of-town try-out of a new musical version of Shakespeare’s “The Taming of the Shrew.” The director, producer and star is a famed and rather pompous actor named Fred who has recruited the equally famous wife he divorced a year before to play Katherine, the female lead. Thus the edgy relationship between their characters onstage is reflected in an equal edginess offstage, with comic results. Meanwhile the secondary female, playing Bianca, hangs all over Fred while stringing along her longtime partner, whose gambling habit is about to get everyone in trouble.

Beginning with the blues/gospel styling of the iconic “Another Op’nin’, Another Show,” the audience knows this production is going to be challenging its expectations. Jenelle Lynn Randall, as the leading lady’s dresser, grabs attention from the very first note. Merle Dandridge, as the obstinate Katherine, lives up to the romantic yet commanding part of the spurned lover ready for change, and sings the great “So In Love” from deep in her soul.

Joanna A. Jones makes a deliciously wicked Bianca, delighted in her own sexuality, while, as her partner, Terrance Spencer’s gee-whiz charm and muscular dancing make that couple’s moments on stage among the most entertaining. Also impressive as a dancer is Rogelio Douglas, Jr., whose “Too Darned Hot” with Randall provides the steamiest moment. Indeed, the entire company – ensemble most definitely included – puts their whole heart and soul into this undertaking with attractive results.

A special nod goes to John Iacovelli for a set which evokes period without becoming boxy, and to David K. Mickelsen for the colorful costumes which evoke the quasi-period feel and the color of old style Broadway musicals. These two help to keep the show in its own era: as a self-styled “American Negro Theater” production in the 1940s.

There are a couple of issues, however. The much-touted star, Wayne Brady, makes that central figure of the producer/actor/director extremely human, but almost too human, too sensitive. The character needs to be, at least when “on,” more of a figure of ego, capturing the stage with an almost larger-than-life quality. That would make his more human, more fragile private moments stand out. Here it all blends, which dilutes the energy of the piece – a situation not aided by a singing voice occasionally on the edge of flatness.

Also, though Jeffrey Polk’s choreography is lively and sometimes impressively athletic, its overt sexuality sometimes seems out of keeping with the time period portrayed. As example, why would an actress’ dresser strip down, mid-show, on opening night, in an alley?

Still, it is fun to see “Kiss Me Kate” again, and fascinating to see how small shifts here and there create a new underlying theme to the piece. And, of course, one more chance to hear that silly song, “Brush Up Your Shakespeare” is never amiss. Also, the opening of this production signals the unveiling of the new carpet and especially the new seats in the theater. That in itself is worthy of celebration.

What: “Kiss Me Kate” When: Through October 12, 8 p.m. Tuesdays through Fridays, 4 p.m. and 8 p.m. Saturdays, 2 p.m. and 7 p.m. Sundays Where: The Pasadena Playhouse, 39 S. El Molino Ave. in Pasadena How Much: $57 – $145 Info: (626) 356-7529 or http://www.PasadenaPlayhouse.org