Reviewing Theatre For Over 40 Years
Tag Archives: Andrew Lloyd Webber
April 12, 2017Posted by on
The first major splash made by the songwriting team of Tim Rice and Andrew Lloyd Webber was a 1971 concept rock opera album titled “Jesus Christ Superstar.” For many of my generation, that was how we first encountered this work, allowing our imaginations to fill in what the characters looked like and the setting they would wander through. As it moved quickly to stage, and then to film, it developed a new, wider audience, and the show has rarely been off the boards since.
Now at the Candlelight Pavilion Dinner Theater, “Jesus Christ Superstar” – for those who don’t already know – gives a comparatively modern spin to the tale of the last few weeks of Jesus’ life. Though ostensibly “humanizing” the story (i.e.: making it more about the man than a deity), it stays fairly faithful to the commonly held storyline, while embracing what is always a dramatist’s challenge: finding a motivation for Judas’ betrayal. And the music is literally classic Lloyd Webber: lush in spots, stridently rock-and-roll in others, somewhat thematically repetitive, with that unforgettable quality which has kept him a success for decades.
At Candlelight, co-directors Chuck Ketter and John LaLonde have assembled a fine cast. They look right, sing with skill and intention, and create the atmosphere necessary for the show to be a success. Also necessary for success are a few key players. Heading the list, Kyle Short makes an effective Jesus, balancing his dynamism against his exhaustion and fear. Emily Chelsea gives Mary Magdalene’s songs a slight country lilt, but it works.
Stanton Kane Morales as Pontius Pilate, develops a rather wistful tone, which works well. Camilo Castro, a true bass, gives Caiaphas the aura of villainy necessary for this show’s spin on events. A remarkable ensemble, including Orlando Montes as Peter, sings well, dances with enthusiasm and skill, and creates the atmospheres necessary – whether of fawning, devotion, delight, demand, or panic – to make the piece work.
A true standout in all of this is Richard Bermudez as the angsty Judas, angry and horrified, and in the end sure he’s been duped into his actions. Bermudez has the combination of vocal strength and articulation necessary for what becomes the binding storyline behind the obvious. One just wishes that the shadow of his final demise looked a bit more like a person, but that is nitpicking.
Pacing is everything in this show, and band director Alan Waddington never lets the thing slow down or pause. Putting a band on the small Candlelight stage means the large ensemble must be maneuvered with skill in front of and even above the musicians at times, which works remarkable well except when someone in a long robe has to climb a ladder in a hurry – a bit nerve wracking to watch. Still, the two directors have a gift for the visual, and some moments prove especially impressive, including the very last sequence, as Jesus is executed. Indeed, the final tableau as the lights go out is particularly powerful.
Kudos also to choreographer Dustin Ceithamer for creating dance and movement which look spontaneous even as they are not, and to costume coordinator Merrill Grady for giving the sense of that Renaissance view of the Middle East which so characterizes one’s mind’s-eye view of the time period.
In short, it is good to see “Jesus Christ Superstar” again, in part because – above and beyond the religious significance – the subject matter of political manipulation and the dangers of flying off the handle seems very current, and in part because it is good to revisit a work from the start of two songwriting careers which, both together and independently have helped define the stage and screen as it is known today. And, of course, at Candlelight Pavilion one also gets a tasty meal.
What: “Jesus Christ Superstar” When: through April 29, doors open for dinner at 6 p.m. Fridays and Saturdays, 5 p.m. Sundays, and 11 a.m. for lunch matinees Saturdays and Sundays Where: Candlelight Pavilion Dinner Theater, 455 W. Foothill Blvd in Claremont How Much: $61 – $76 adults, $30 -$35 children, meals inclusive Info: (909) 626-1254 ex.100, or http://www.candlelightpavilion.com
July 16, 2015Posted by on
Now at the Candlelight Pavilion Dinner Theater in Claremont, a fresh and energetic production offers up a prime example of both the silliness and the professionalism which makes all that fun translate to the audience. Blessed with a fine dancing chorus and unrelentingly energetic choreography, sharp pacing and a cast which sings with gusto and accuracy, this production provides charmingly innocent family entertainment.
The story is literally Biblical – the tale of Joseph, the favorite son of Jacob, whose jealous brothers sell him into slavery. In Egypt, after ending up in prison, his ability to read dreams leads him to the right hand of the pharaoh. There he saves Egypt from famine, and eventually saves his family as well. As set by Webber and Rice, the story is rich in silliness and catchy tunes, and can be a visual treat especially if the dancing is up to par.
At Candlelight, much if the show’s success lies at the feet of director and choreographer Alison Hooper, whose meshing of song and dance and story keep the show hopping. She has assembled one of the finest of Candlelight’s recent dancing choruses, and their work powers everything else.
As the narrator, Alyssa Grant offers up a consistent, if rather low-key charm, providing the calm between major production numbers. Caleb Shaw’s Joseph radiates the character’s open, innocent nature, and sings with both power and nuance. Standouts among Joseph’s many brothers are Robert Johnson’s country stylings in “One More Angel in Heaven,” and James Joseph, who brings down the house with the “Benjamin Calypso”. The entire cast prove themselves impressive quick-change artists as they move from Biblical, to country, to 50s rock, to stereotypical French, to Caribbean, to disco with an impressive seamlessness.
Colleen Bresnahan, who has both adapted and enhanced the standard set, and Jenny Wentworth’s evocative costuming are stars themselves. Indeed, setting has often been an issue with productions of “Joseph,” with some staying rather too subtle and others going so over the top that the needed innocence of the piece gets lost in the glitter and sensuality. Here the balance is just right.
Of course, one of the perks of going to Candlelight Pavilion is the dinner which comes with the performance. So, from the perspective of family entertainment, this has it all: good food, and an engaging and lively show whose music will stick with you. What’s not to like?
What: “Joseph and the Amazing Technicolor Dreamcoat” When: through August 9, doors open for dinner 6 p.m. Fridays and Saturdays, 5 p.m. Sundays, and at 11 a.m. for lunch matinees Saturday and Sunday Where: Candlelight Pavilion Dinner Theater, 455 W. Foothill Blvd. in Claremont How Much: $58-$73 adult, $30-$35 children 12 and under, meal inclusive Info: (909) 626-1254, ext 1 or http://www.candlelightpavilion.com
June 2, 2015Posted by on
For this reason, I am always on the lookout for a production of “Evita.” It can still have a lot to say. Yet, there are certain things which simply must be present, especially two truly dynamic performers, one to play Eva Peron herself, and one to play the narrator, revolutionary Che Guevara. It can be high tech or low, large cast or smaller, but if these two parts aren’t cast with people of strong voice and stronger personality, it doesn’t work.
Which brings me to the new production of “Evita” at the Candlelight Pavilion Dinner Theater in Claremont. Years ago, when the musical was new, I saw the first truly low-tech version of the show at Candlelight, and was impressed by how well the show held up without all the fancy machinery or the huge cast. I wish I could say that this new production was as successful.
Despite a solid production, and a good to very good ensemble to back up the central figures, there is still a problem. Richard Bermudez makes fine work of Che: angry, sarcastic and powerful by turns. John LaLonde takes what has to be one of the most underrated parts in modern musical canon, Juan Peron, and makes him a real personality. But sadly these strong personalities only emphasize the comparative lack of zing in Laura Dickinson’s Evita.
She does all the moves, and – though sometimes her rock-style high notes become too shrill – handles the difficult music with a reasonable style, but the energy which creates this actual, larger-than-life character is absent. This is not the woman thousands of descamisados would have muscled into (albeit surrogate) power, who would have charmed all the charmable of Argentina. The fire is missing.
Which is admittedly a pity, because Chuck Ketter’s direction of the show moves it from its big-stage roots to the small and intimate Candlelight space without losing its most essential bits. Roger Castellano’s choreography almost has to be derivative of the original, but is generally well done. Admittedly (and this was also true the first time) one misses the projections which enhanced one or two moments, but doing “Evita” low-tech is also a great way to prove the show’s actual power is not based on gimmicks. And by and large this is still true. Except when it isn’t.
Indeed, there are a few lost moments, not all of which can be laid at Dickinson’s feet. The staging of Alexandra Specter’s brief moment in the sun as Peron’s dismissed mistress leaves her without the anchor of a door. Lucas Coleman’s turn as Magaldi, the tango singer who takes Eva to Buenos Aires, lacks fluidity or the kind of oily sexiness which makes him interestingly small-time.
Also, and very disappointingly for a show in which one can be swept up by orchestral moments alone, the score (always a recording at Candlelight) makes significant use of electronics rather than actual strings, robbing the music of its richness.
So, should one see this “Evita”? It has things to recommend it, and it comes with a fine meal. Is it what it could have been, at this venue? Not really. Having seen what this theater is capable of in relation to this important work, it should be better than it is.
What: “Evita” When: Through June 28, doors open for dinner at 6 p.m. Fridays and Saturdays, 5 p.m. on Sundays, and at 11 a.m. for lunchtime Saturday and Sunday matinees Where: Candlelight Pavilion Dinner Theater, 455 W. Foothill Blvd. in Claremont How Much: $58-$73 adults/ $30-$35 children 12 and under, meal inclusive Info: (909) 626-1254, ext. 1 or http://www.candlelightpavilion.com
October 13, 2011Posted by on
I’m sure there will be arguments from all those folks who lined up time after time to see Andrew Lloyd Webber’s “Phantom of the Opera” so long firmly entrenched at the Ahmanson, but I believe the best post-Tim Rice work for Webber was his score for “Cats.” Yes, it’s equally repetitive, but there is far more consistent energy to the piece, and the music tends toward far greater complexity than the formulaic hit-song-producers which followed.
Of course, one cannot really appreciate the composer’s work on “Cats” unless the production proves entertaining as well: lively, well danced, and at least as intelligible as the first national tour. here in 1985. Fortunately, the newly opened rendition at the Candlelight Pavilion Dinner Theater in Claremont is pretty close, at least as close as this kind of company could get. On their comparatively tiny stage they have managed the essential elements: solid dancing, energy and pacing, with reasonable voices and attention to detail. At least, that’s what happens most of the time.
The show is essentially a compilation of feline-focused poetry by T.S. Eliot set to music. The plot, such as it is, deals with a gathering of cats all looking for a shot at starting over: at ascending to “the heavy side layer” and returning blessed with another of his or her nine lives. As Old Deuteronomy looks over the possible candidates, various cats introduce themselves and each other, and the mangy Grizabella hovers in the middle distance yearning for her years as the most glamorous of them all.
The Candlelight Pavilion production offers much of what one expects. The dancers are excellent, and though choreographer Janet Renslow’s work is sometimes a bit repetitive, the net result has the appropriate feline quality. Director Paul Hadobas, who appeared in professional productions back when it was comparatively new, has done the hard work of creating 23 individual characters in both movement and interrelationship. The sense of ensemble carries the piece, as it should, over the only vaguely interconnected individual songs.
Among the performers who stand out in the large cast are Neil Dale as both the pompous Bustopher Jones and the pathos-filled old theater cat Gus. Isaac James could use a little more of the Elvis touch in his Rum Tum Tugger, but handles the songs and action well. Robert Hoyt’s rich baritone gives Old Deuteronomy the command needed, and Steven Rada and Rachel McLaughlan work well together (and are among the most intelligible in the midst of their acrobatics) as the nefarious duo of Mungojerrie and Rumpleteaser.
Reece Taylor’s fuetes prove most impressive as the “magical” Mr. Mistoffelees. Chris Duir’s costume is a bit baggy, but he proves otherwise quite satisfying as the mildly officious railway cat Skimbleshanks. Indeed, all of the cast exhudes an essential “catness” right down to small movements when not the focus of attention. All, that is, except Debbie Prutsman’s flea bitten Grizabella. Though she manages the sense of isolation and lost glory expected of the part, she does so minus that essential feline overtone. She’s a woman, with ears, in a ratty fur coat. It means the pathos of her story doesn’t relate to that of the other characters, and slows the impact of what little plot exists.
Still, by and large, this is a fine production. The music bubbles like champagne and the performances show style and consistency. The Candlelight sound system is taxed to the maximum, and occasionally someone cannot be heard due to mic problems, but this is all very fixable. It’s nice to see this show out of mothballs. Better still, at the Candlelight Pavilion you get an attractive meal along with the performance.
What: “Cats” When: Through November 20, doors open for dinner at 6 p.m. Thursdays through Saturdays, 5 p.m. Sundays, and 11 a.m. Saturday and Sunday matinees Where: Candlelight Pavilion Dinner Theater, 455 W. Foothill Blvd in Claremont How Much: dinner and show $48-$68 adults/$25-$30 children 12 and under Info: (909) 626-1254, ext. 1 or http://www.candlelightpavilion.com