Reviews for theater within the greater Los Angeles area.
Category Archives: Review
September 15, 2018Posted by on
When those expectations are realized in a positive way, however, it can be a particularly winning moment. Such a win is the production of D.L. Coburn’s 1970s classic, “The Gin Game” at Sierra Madre Playhouse. An articulate, well-known play is produced with great polish and passion. The visuals are evocative. The performers are impressive. The net result is well worth the price of admission.
The story is deceptively simple. Two comparatively active elderly people living in an “old folks home” meet and decide to play gin. The woman – Fonsia – though seemingly retiring, is a wizard at cards. The comparatively overt and opinionated man – Weller – is taken aback, as he considers himself to be excellent at cards as well and has increasing issues with being beaten. Still, they share a common bond of comparatively intact intellect and general dislike of the facility into which they have been relegated. Which will win out, the friction, or the bond?
At SMP the two are played by husband-and-wife team Katherine James and Alan Blumenfeld. They have a strong handle on the characters’ foibles, and bring the audience along with both laughter and revelation as they gradually uncover the more lovable and more unlovable elements of each these people. Director Christian Lebano has utilized the SMP space about as well is possible, aided by Tesshi Nakagawa’s extraordinary set.
“The Gin Game” is not new. It was even filmed for television with its original cast, also a married couple, Hume Cronyn and Jessica Tandy. Still, the performers here do not lean overmuch on previous portrayals, but rather on the words themselves, which become increasingly potent as our nation ages. The play is not, at its core, a comedy though the comedic elements are very funny indeed. It is, rather, a play of awareness. As such, though set quite determinedly in the 1970s (when it was originally produced), it has a wisdom which is totally contemporary.
What: “The Gin Game” When: through October 6, 8 p.m. Fridays and Saturdays, with matinees at 2:30 p.m. Saturdays and Sundays. Where: Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. in Sierra Madre. How Much: $40 general, $36 seniors, $25 youth 22 and younger Info: (626) 355-4318 or www.sierramadreplayhouse.org
September 14, 2018Posted by on
It is quite remarkable how many times the Victor Hugo novel, “The Hunchback of Notre Dame,” has been dramatized, in film, on television, and on the stage. Originally written in part to encourage Parisians to appreciate the medieval architecture in their midst, the story has captured the imaginations of generations. This thanks to the drama of that architecture, the general fascination with the colorful life of gypsies, the equal fascination with obsessive and exclusionary religious fervor, and that very peculiar character whose gentle, innocent ugliness has become a metaphor all its own.
Finally, a Disney-produced theatrical has taken the songs and a few fantasy characters from the Disney film, and elements of both the novel and the most popular live action movies, and created a dark and relatively interesting hodgepodge of a musical. Now at the Whittier Community Theatre, it has some true star turns, some interesting quirks, and a couple of stumbles, but has moments worth celebrating.
Director Mark Torreso is also the set designer, and that integration works well, for the most part. Unable, due to the layout of the theater, to have a “pit chorus,” – that is, hidden singers who augment chorus numbers – he has created space for an onstage choir of monks, who look down on the dramatic proceedings when necessary and flesh out the richly dramatic, if startlingly unmemorable, music. This sets the tone for the rest of the work, as the cathedral is ever-present physically even when action takes place outside its doors.
In this atmosphere lives this version of the story, which focuses on the conflict between the self-righteously religious Claude Frollo, who has raised Quasimodo to follow him, and the gypsy Esmeralda, whom Frollo both detests for her beliefs and lusts after in spite of himself. Balanced against this is the returning soldier Phoebus de Martin, whose promotion to captain of the cathedral guards puts him squarely in the center of the conflict, along with Quasimodo, who so appreciates Esmeralda’s warmth toward him that her attraction to Phoebus is painful. And so it goes.
Best of this production is Anthony Michael Frias as Quasimodo. His onstage transformation proves impressive, and his ability to portray a disabled character without ever devolving into caricature makes the show possible. Michelle Chaho makes a charming and tuneful Esmeralda, and Jeff Campbell as Phoebus manages both the devil-may-care playboy and the underlying honorable man well. As the leader of the gypsies, Jason Miramontes exhibits a lightness and panache in what is one of his best performances at WCT.
The puppeteers, who speak and sing for Quasimodo’s friendly gargoyles – Scott Charles Felver, Vanessa Evans, Jasmine Vigil and Scott Silson – make those characters come humorously and connectedly alive. Only WCT veteran Richard De Vicariis seems to struggle with the villainous character of Frollo, particularly when called upon to sing. That, the small and distracting projections, and a way, way too amplified orchestra are really the only awkward elements of the piece.
Be aware that the tale of the “Hunchback” is a dark one. This is not a kiddie show, Disney’s involvement in its creation notwithstanding. There is lust and torment and death, and a rather ferocious condemnation of some religious elements, which, though adapted, are more from Hugo than the adapters. The music advances the storyline well, but you will not go away humming it. Come see what this tale can be like when adapted for stage, but do not expect to leave feeling all is right with the world.
What: “The Hunchback of Notre Dame”. When: through September 22, 8 p.m. Fridays and Saturdays, 2:30 p.m. Sunday, September 16. Where: Whittier Community Theatre at The Center Theater, 7630 S. Washington Ave. in Whittier How Much: $25 general, $20 seniors, students and military with ID Info: (562)696-0600 or www.whittiercommunitytheatre.org
September 10, 2018Posted by on
The Pulitzer Prize for drama is given, when it is given, for a piece of theater which reflects something elemental to understanding an aspect of American culture. Rarely has that seemed a more apt designation than the 2017 prize handed to playwright Lynn Nottage for “Sweat.” A portrait of the disintegration of the traditional manufacturing towns of the midwest, it answers for the uninitiate multiple questions about the elements of malaise which have infected that part of the country, from amplified racism to opioid abuse. That it does so without preaching or reaching for easy answers, and with considerable humor, makes “Sweat” a gift to watch.
The play is set in Reading, Pennsylvania, where the struggles between union and management have led to at least one long-extended walkout, and – at another factory – tensions are simmering regarding the future of an industry which has generationally been a definition of life in the town. At the neighborhood bar, where both the longtime connections and current tensions are liberally amplified by alcohol, a picture of a town wrestling with coming to terms with crisis, looking for escape, and searching for someone to blame are narrowed down to a few shop-floor friends.
The powerfully ensemble cast ably peels gradual layers off their characters to illustrate the dissolving of veneer caused by the ripped expectations and sense of powerlessness the sea change in their community brings. Mary Mara, Portia, and Amy Pietz center the play as the three factory-floor friends whose unified sense of identity is tested and torn by issues of addiction, race, and ambition as the union-corporation conflict grows. As the sons inheriting the disaster, Grantham Coleman and Will Hochman create young men whose actions frame the storyline and thread the rest of the play together.
Michael O’Keefe, as the injured factory worker now tending bar, provides a link to the working man’s heritage. John Earl Jelks offers up the increasing degradation of a people too proud of that heritage to accept its lessening impact. Peter Mendoza creates the outsider character whose choices underscore what the others have lost, bringing out the casually ugly side of this insular community. Kevin T. Carroll, as a probation officer, becomes the occasional guide through the tragedies to come.
Director Lisa Peterson has created a pacing and a visual presence for the play which underscores the disconnect between the world of the characters and the world outside. Using Yee Eun Nam’s excellent projections and Paul James Prendergast’s evocative sound design and original music, drama happens on Christopher Barreca’s remarkably evocative set even when the characters aren’t onstage. The pacing is clean, seamless and keeps the tension building as it should, even as it makes room for the necessary and very human moments of humor which make these people real. Emilio Sosa’s costumes absolutely define character differences, sending messages in visual shorthand.
Still the best of this is that all the above operate in service of a truly important play. What one can hope is that many who see “Sweat” will finally have that “aha moment” when they begin to understand – not embrace necessarily, but understand – in a more visceral way the terrible boiling pot of racial tensions, abandonment sentiments, and destroyed expectations which have led to some of the ugliest current scenes in our country. There are no solutions offered up here, as that would be too easy, but the final scene does offer some hope if people can come back to their better selves. One can only hope that some do.
What: “Sweat”. When: through October 7, 8 p.m. Tuesdays through Fridays, 2:30 p.m. and 8 p.m. Saturdays, 1 p.m. and 6:30 p.m. Sundays (no 1 p.m. performance Sept 30) Where: The Mark Taper Forum, 135 N. Grand Ave. in downtown Los Angeles. How Much: $30 – $99 Info: (213) 628-2772 or www.CenterTheatreGroup.org
September 3, 2018Posted by on
With all of that, one wants it to be good. Its material has impact and a genuine foundation. The passions carried by people weighing short term gain against long term preservation, arguing the debate over restrictions and who has rights to water or land, and wrestling with a deep resistance to the realities of climate change are elemental for us here in California. One trip up the I-5 will tell you that. So, what goes awry?
First, the choice of setting is picturesque, but has some basic issues. Most especially, in this open setting it is essential for the performers to wear mics in order to be heard, however because there is a building between the “booth” controlling the mics and some of the performers occasionally, it is difficult to set a levels for the mics (often far too hot) or even to have a consistent signal at all. This becomes a major distraction at often pivotal moments in the play.
Second, the play slips into repetitive patterns. Because it is taken from interviews – a static moment in people’s lives – there is not a whole lot of growth among the characters, and when it does come suddenly toward the end it seems tacked on. Still, there are important things for us city folk to hear about life in a rural valley imperiled by drought.
Connor has come home from San Francisco to the ranch where she grew up, after a nasty divorce and feeling a general sense of failure. She hopes everything will be the same as when she left, but fire and drought have underscored community tensions. The locals, from the state employee evaluating realities, to ranchers desperate to preserve their way of life, to Native Americans dependent on leaving scarce resources untouched, are ranged against each other. A cascade of events as the play ends test characters’ belief and – in Connor’s case, at least – sanity.
The cast proves talented, if some of the portraits remain two-dimensional. Lola Kelly is Connor, outwardly reasoned, but inwardly wrenched. Kelly gives her so much of that sense of reason it is difficult to square that with the haunted person the script seems to infer, making the latter moments of the play seem to come from nowhere. William Sayers, as her father, carries the confidence of a self-made man. Christine Avila, in one of the show’s best performances, gives the ranch’s manager both heart and practicality.
Also worthy of note is the spot-on portrait of an aging ranch hand given by Leon Russom. Nicole Erb’s depressed wife, Joseph D. Valdez’s government agent whose truth-telling angers the valley, Cliff Weissman’s bitter neighbor, and Michael G. Martinez voicing the anger of local Native Americans round out the cast. They handle their parts well and with passion. It is the play which doesn’t quite work. Arguments are circular. Realism suddenly morphs into spiritual haze. It’s almost as if nobody could figure out how to end the thing.
Director Kate Jopson, who grew up in the county where this takes place, has used her unique performance space with great creativity. She knows these people and the feel of the characters and their interactions flows as well as the script will allow. Of special note is the sound design by Cricket Myers, which becomes a character all its own: what the valley used to sound like, and what it sounds like in ultimate distress.
“Hole in the Sky” has the potential to have something important to say as to why there aren’t any easy answers when climate change threatens an entire way of life. The arguments of ranchers, officials and the native population, though repetitive, are all treated with a sense of truth. What is lacking, and what may be lacking in society as well, is any sense of what – other than erasure – can be done. This may be truth, but makes for a fuzzy dramatic arc.
What: “Hole in the Sky”. When: through September 23, 8 p.m. Fridays and Saturdays, with added performances at 8 p.m. Monday, September 10 and 17, and Thursday September 20. Where: Courtship Ranch, 11270 Dominica Ave. in Lake View Terrace How Much: $35 – $50 general, $10 students with ID. Info: http://circlextheatre.org
September 2, 2018Posted by on
The trick in writing a play highlighting the idiosyncrasies of a single cultural group is finding a way to celebrate those specific aspects while finding avenues toward the universal. This is the art of plays by the likes of Neil Simon, Lorraine Hansberry, or Joe DiPietro: they manage nostalgia, a ferocious sense of identity, and culturally specific humor, but scoop up the rest of the audience for the ride too. Without that ability to cross barriers a play becomes as isolated as, say, the famed Yiddish theater of New York, which faded away as its patrons Americanized over generations.
Which brings me to Mark Lonow and Jo Anne Astrow’s new play, “Jews, Christians and Screwing Stalin.” Deeply nostalgic, and admittedly only slightly exaggerated from Lonow’s very real grandparents, it follows the antics in a Brighton Beach boarding house filled with Jewish former Russian revolutionaries, and the grandson from Hollywood who brings a surprise – his very Christian girlfriend – when requested to come home for Rosh Hashanah. There is a lot of potential, and there are some fascinating comic types among the characters, but it is only marginally humorous to anyone not intimate with the cultural details of these people in this setting, that is until the very funny last 10 minutes. In the end, it’s just too long a wait.
Minka Grazonsky has pulled both her son and her grandson back to celebrate the high holy days in order to honor the request of her late husband Murray that they reconcile. Murray watches over the results from his celestial bedroom, in-between moments sharing cocktails with Trotsky and others, over and over, with whom he is supposedly hanging out in the afterlife. The son, David, who long ago abandoned his wife and young son, and Joseph, the grandson, have not spoken in years and do not know the other is coming. And then there is that girlfriend.
Minka’s borders, struggling with age, include an amusingly theatrical gossip named Lillie who makes sure that everyone knows everyone else’s business. Much of their dialogue is in Yiddish, particularly in the first half, which either Murray, whose entire part consists of asides to the audience, or the girlfriend Caitlin (dictionary in hand, to try to fit in) has to translate for those who don’t get it. It’s a construct that doesn’t quite do that work of inclusion, and mutes the potential comic value of moments along the way.
Lonow, who also directs, has assembled just about as good a cast as one could possibly get to try to make this work. John Pleshette makes as much as he can of the repetitive bits, and inessential asides Murray is limited to. Cathy Ladman, as the quirky, grumpy Minka, injects her character with enough innate humanity to avoid becoming a cartoon. Laura Julian’s Lillie is a cartoon and is supposed to be one – including finessing some of the more humorous lines in the play.
Hunter Milano, as the comparatively hip young Joseph, resonates with the generational shifts which balance tradition – even offbeat tradition, in this case – with the larger, more inclusive world. As his father David, Travis York vibrates with character flaws in a way which makes him more stereotypically tragic than humorous. As Caitlin, the obviously token non-Jewish person in the cast, Sammi-Jack Martincak spends the entire play looking like she’s trying too hard, which may be in character, but becomes generally uncomfortable.
Still, the largest discomfort is left for those in the audience who are not instantly connected to the cultural references of the play. By the end, there are some very funny moments for which the entire play has been a set-up, but this bit of silliness and slap-stick does not make up for the insular nature of the rest. Despite the remarkable set by Joel Daavid, Lonow and Astrow need to go back and look at cultural nostalgia which has worked better, start to finish, and get out the editor’s pen.
What: “Jews, Christians, and Screwing Stalin”. When: through September 17, 8 p.m. Saturdays and Mondays, 3 p.m. Sundays. Where: A guest production at the Matrix Theatre, 7657 Melrose Ave. in Los Angeles. How Much: $35. Info: (323) 960-4412 or http://www.Plays411.com/Matzoballs
September 1, 2018Posted by on
The entire idea of identity is one which has come increasingly to the forefront of modern conversation. What makes someone who they are? What if what they see in the mirror isn’t who they feel they are inside? What if being genuine to themselves means not being the person others have always known them to be? What may be lost in the process?
This is the core fascination with Corinne Shor’s “I am Sophie,” a one-woman show performed by the author, now at The Pico. An expansion of Shor’s initial exploration during the 2017 Hollywood Fringe Festival, the play is a monologue by a young Minnesota woman named Kate.
Kate – after spending a period in France – comes home to be near her father in his last hours having turned herself into someone else. She is Sophie. She speaks with a French accent, uses French as much or more than English, and feels freed by the entire process of reinvention. Now, when asked to be Kate, she finds it stilted and a grim denial of who she really is. Some of her family embrace the change. Some do not. It proves good for business, as she and her brother take over the shop, however, some look askance at what they see as playacting.
Director Susan Angelo gets the story beneath the story, and creates a sense of movement which keeps the whole thing from being static: enough furniture, enough costume adjustments, and generally enough business to make Sophie’s journey from discovery to comfort, to true self-acceptance animated, emotional, and consistently engaging. Shor gives to her creation a sense of light and dark and light, as Sophie must occasionally try to be Kate again, and then returns to the person she believes is her personal truth. It all works.
Of course, Sophie’s journey is a metaphor for many other journeys of discovery. As she meets with resistance, finds acceptance (her mother, embracing the change, still warns her she will “lose people” over it) and comes to terms with what her future holds, it can resonate with an audience facing any number of struggles for the self. It is that very universality which makes the play and performance work.
Take a look at “I Am Sophie,” if only to capture a lovely tale, but mostly because it is likely to make you hold up your own mirror to check who you are.
What: “I Am Sophie” When: through September 2, 8 p.m. Fridays, 4 p.m. and 8 p.m. Saturdays, plus 8 p.m. Thursday, August 23, and 5 p.m. Sunday, September 2 Where: The Pico, 10508 W. Pico Blvd in Los Angeles. How Much: $25. Info: https://iamsophie.brownpapertickets.com
July 18, 2018Posted by on
There is nothing quite so visceral, quite so individualistic in response, or quite so romanticized as becoming a new mother. These days the pressures of income and expectation, and the internal (or sometimes external) battle for a woman between motherhood and career can play out in a vast variety of ways, and can often be difficult to express convincingly to anyone who has not gone through them. Which is what makes Molly Smith Metzler’s “Cry It Out,” from The Echo Theater Company at Atwater Village Theatre important to see.
In the play, which makes its west coast premiere with this production, one woman’s home space becomes the crossroad for three women and one man dealing with the daily struggles and priority changes inherent in both the process of having and bringing home a first child.
Jessie Gelb, a young lawyer on leave, invites her neighbor Lina for coffee in her back yard, desperate to talk to another new mother in a commuter suburb of New York. Lina, from south shore Long Island, is everything Jessie is not – rough around the edges, plain talking, and dependent upon the largess of the alcoholic mother-in-law with whom she lives.
As they bond over the joys and struggles of the first few months of motherhood – baby monitors in hand – their peaceful retreat is invaded by a seemingly desperate, wealthy stranger. He has been watching their meetings from his pricey cliffside home, and envies the bond they have formed. This, in turn, leads to a brief encounter with his wife, a woman whose experience of new motherhood is on a different spectrum from Jessie’s and Lina’s.
Jackie Chung is Jessie, making her a neat balance of anxious vulnerability and growing confidence. Chung’s nuanced emotional palate sets a tone of realism which makes the play connect so internally with those who watch. Megan Ketch’s Lina brings a passion and brassy humor set again in the real, underscoring the two characters’ bond – one they would probably not have in circumstances other than new motherhood – by never giving in to easy attitudes.
Brian Henderson’s briefer appearance as the somewhat panicked Mitchell, offers a compelling look at what happens when idealized hopes and less than ideal realities collide. There is a wistfulness in his portrayal of his character’s lack of observational acuity, which underscores his role as outsider. Emily Swallow’s powerful, disquieting Adrienne – Mitchell’s wife – will spur discussions of class, character, and priority, even in in one’s own head, and brings a needed sharpness to what could otherwise become a more predictable play.
Director Lindsay Allbaugh truly understands these people, and makes this dialogue-heavy piece fill with movement and moments of visual intensity which give it power. Francois-Pierre Couture’s seemingly simple set design, combined with Rose Malone’s subtle lighting changes, give a sense of season and openness which flesh in, and humanize, the tale.
“Cry It Out” – a title superficially referencing the debate about whether to leave babies to cry themselves to sleep – is a play of priorities and impressions, of empathy and disconnect. These characters face the choices many new parents face in the modern world, few of which are easy. Funny, wrenching, and achingly recognizable as truth, the play will definitely leave an impression, and one worth mulling over.
What: “Cry It Out” When: through August 19, 8 p.m. Wednesdays, Thursdays, Fridays and Mondays, 4 p.m. Sundays. Where: The Echo Theater Company at Atwater Village Theatre, 3269 Casitas Ave. in Los Angeles. How Much: $34 except Mondays, which are Pay-What-You-Want. Info: (310) 307-3753 or www.EchoTheaterCompany.com
July 14, 2018Posted by on
Enter the Independent Shakespeare Company, and their Griffith Park Free Shakespeare Festival. There a young, diverse and enthusiastic company brings this silly, wonderful play to life in a particularly accessible way. The vision is large, the al fresco setting clever, and though the performances are a bit variable, the net result ranges from pleasant to endearing.
The convoluted tale begins as Thesius, Duke of Athens prepares to marry Hippolyta, the Queen of the Amazons.
As preparation for these festivities continue, Hermia’s father applies to the Duke to force her to marry the man he has chosen – Demetrius – instead of Lysander, the man she loves. Hermia’s dear friend Helena was Demetrius’ fiancé until this new arrangement was proposed, and still loves him. Meanwhile, Titania, Queen of the Fairies and Oberan, their king, are having a row over a changeling child she has and he wants. Add to this a group of rough working men who gather to try to put on a play to entertain Thesius and Hippolyta at their nuptials.
All these folk at one point or another end up in the same forest outside Athens, and their often ridiculous stories soon intertwine. This is the meat of the play. Indeed, perhaps the hardest to make interesting is the connection between Theseus (Evan Lewis Smith and Hippolyta (Aisha Kabia), who do not galavant in the forest, but here the tensions between the two become interesting from the outset, setting a tone for the entire production.When the two performers transition into playing the royalty of Fairyland, it just gets better and better.
Kelvin Morales gives Oberon’s mischievous helper Puck a edgy, wicked streak which works well. Katie Powers Faulk makes Hermia more empowered than sometimes, while Jose Acain’s Demetrius has the stolid feel of the overly entitled. Xavi Moreno emotes like mad as Lysander, though one wishes he didn’t sound whiney all the time, and Julia Aks handles the discarded Helena’s various moments of angst with understanding, but – as several of the players do – sometimes gets caught up in the rhythm of the Shakespearean poetry so much that it interferes some with its conversational intent.
Indeed, this is the biggest issue with this production: delivery of lines is uneven. The trick of playing Shakespeare in the modern age is to speak the Bard’s poetry as if it was normal speech and not iambic pentameter. Some of the cast do this very well, while others get caught in a sing-song way of speaking which distracts one from the story or the comedy at hand.
Still, as a whole it works. The “rustics” are particularly effective, and comparatively original. William Elsman gives Peter Quince, the play-within-a-play’s supposed director, an earnest ineffectiveness which works well. In an interesting twist Bukola Ogunmola creates a female Flute, the bellows mender – allowing a woman to play a woman (Thisbe) in the final play. Her portrait may remove one comic element of the original, but is a wonder of detachment which plays well to the comedy.
Daniel Jimenez and Patrick Batiste make the two lesser players among the rustics, Starveling and Snout, original and engaging, and Richard Azurdia’s shy Snug becomes a unique and truly silly lion, all but stealing some of the play performance scenes. David Melville’s turn as Nick Bottom, transformed by Puck as a joke, forever unflappable and self absorbed, proves funny. Though some of the best ridiculous lines get a bit stepped on, his “death scene” meets all expectations.
Director/ISC Artistic Director Melissa Chalsma knows how to use the specific performance space – site of the old Griffith Park Zoo – to great effect, moving her performers in and around the blankets and beach chairs of the audience, and interacting with them in specific and effective ways. The occasional injection of modernisms into the standard script enhances rather than distracting from the play itself.
The minimalist set of Caitlin Lainoff provides all variations of entrance and exit spaces, and keeps the action close to those watching in ways which aid the interaction. Ruoxuan Li’s costumes combine fantasy, contemporary and period in interesting ways, though that donkey head needs a greater anchor – one becomes anxious for fear it will fall off.
Yet, taken as a whole, this “Midsummer” is charming, airy, and a great way to spend an evening. This is the start of ISC’s 15th season, and the first of two productions in Griffith Park. Bring your blanket, or your low folding chair, and come join the fun. You will leave with a smile. This production plays in repertory with Shakespeare’s “Titus Andronicus”.
What: “A Midsummer Night’s Dream” When: through September 2, 7 p.m. every Wednesday to Sunday through July 22, August 5, 8, 12, 16, 18, 22, 26 and 31, September 2 Where: The Old Zoo in Los Angeles’ Griffith Park. How Much: Free. Info: (818) 710-6306 or www.iscla.org
July 14, 2018Posted by on
Back in the late 1970s and early 1980s, the definition of what made something a Broadway-style musical was in flux. In this period a number of shows appeared which were essentially concerts sung by created characters, from those which were actually more of tribute concerts featuring the songs of a historic musical artist or group, to those which used original material and characters. Among these the most commonly done include “Always… Patsy Cline,” “Forever Plaid” and “The Marvelous Wondrettes”. One of the toughest to produce, as the performers double as the band, is “Pump Boys and Dinettes”.
Now at Sierra Madre Playhouse, “Pump Boys…” features original country songs (including one which reached the country music charts), and a minimalist plot about five buddies working in a roadside a garage and the two Cupp sisters running the Double Cupp Diner next door, on Highway 57 between Georgia and North Carolina. The guys play and are joined in singing by the ladies, who also produce pies, and serve a few guests on their side of the stage.
Frothy, tuneful and played by a cast truly enjoying themselves, “Pump Boys…” becomes a brief vacation from reality. Its cast sings with authority for the most part, and the guys prove to be excellent musicians. Indeed, their musicianship is the necessary element in making the show successful.
Sean Paxton, Michael Butler Murray, Kevin Tiernan and Jimmy Villaflor plus a quiet Jim Miller on drums, not only sing a lot of the songs but provide the entire band. Cori Cable Kidder, known to SMP audiences from her 2015 appearance as Patsy Cline, and Emily Kay Townsend provide occasional percussion, but are mostly there to sing and provide a lot of the sense of character and plot. The musicianship in all cases proves good to very good. Indeed, the only real shaky moment is a brief piece of tap choreography by Kidder.
Director/choreographer Allison Bibicoff has done what can be done to take a musical without a plot and give it a sense of authenticity on the small SMP stage. In this she is aided by set designer Jeff G. Rack’s remarkably complex set, given the size of the SMP stage space. The cast has a strong sense of ensemble, and there are moments of real charm, including Villaflor and the women saluting the charms of having a farmer tan, and Paxton’s wistful rendition of “The Night Dolly Parton Was Almost Mine” – the song which made it to the charts.
Which is not to say the production is perfect. Some are better singers than actors, and some better actor/performers than singers. Still, the energy and general charm carries this piece through, and one is surprised that the show has ended, when it does. SAlaAo, if you are looking for a place to rest your brain and have an evening of tuneful fun, “Pump Boys and Dinettes” offers just that – yet another sign of the reputation SMP is building for itself.
What: “Pump Boys and Dinettes” When: Through July 29, 8 p.m. Fridays and Saturdays, 2:30 p.m. Sundays, with added performances 2:30 p.m. Saturdays starting July 7. Where: Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. in Sierra Madre How Much: $40-$45 general, $35-$40 seniors aged 65 and over, $25-$30 youth aged 22 and under Info: (626) 355-4318 or www.sierramadreplayhouse.org