Reviews for theater within the greater Los Angeles area.
Tag Archives: Candlelight Pavilion Dinner Theater
October 31, 2016Posted by on
As the election tensions mount, it’s time for a feel-good moment. Such is available at the Candlelight Pavilion Dinner Theater in Claremont, with their sparkling production of “Sister Act – The Musical”. Tuneful and fast-paced, it offers up a lot of heart, some terrific performances, and an elemental joy which provide just the antidote to the divisiveness of our time.
Born at the Pasadena Playhouse, this Broadway musical riffs off of the 1992 movie of the same name, and – like the movie – depends largely on the central character to make the entire concept work. In the Candlelight production, this is not a problem. Indeed, with only minor exceptions, the entire cast proves particularly strong, allowing all the charm of the piece to shine through.
The story centers on Deloris Van Cartier, an aspiring singer and girlfriend of a married gangster. When she happens upon her boyfriend and his henchmen murdering a suspected stool pigeon, she runs to the nearest police station. There Eddie, a high school acquaintance who is now a cop, arranges for her to hide in a nearby convent. After considerable resistance to convent life, Deloris begins working with the terrible convent choir, improving their “act” so much that the once nearly empty church becomes so popular it attracts attention from the Pope himself. And, of course, thereby hangs a problem: publicity for someone who is supposed to be hiding.
Daebreon Poiema proves a huge ball of energy as Deloris, singing and dancing up a storm and setting the pace and tone for the entire production. As her main foil, the traditionalist Mother Superior of the order where Deloris hides, Debbie Prutsman finds the balance between severity and care the character needs, sings her wistful, important songs with conviction and style, and makes the counterbalance between these two strong characters work.
Also worthy of note are Pete Cole, quite intimidating as Deloris’ murderous boyfriend, Michaelia Leigh as Sister Mary Robert, the shy postulant who comes bursting out of her shell, and Sister Brittany Tangermann as the enthusiastic and friendly Sister Mary Patrick. Indeed, all the supporting cast of nuns create a solidly entertaining ensemble as they jazz up mass.
As the henchmen looking for Deloris, Robert Hoyt, Christopher Mosley, and Marcos Alexander have several moments of comic silliness. As Eddie, the cop whose earnest concern for Deloris begins to rub off on her, Fabio Antonio dances well and gives his character the mild nerdiness which contrasts well with Deloris’ view of “cool”, though he needs to work on his vocals. Jamie Snyder gives the Monsignor threatening to close the nuns’ home church a gentleness which makes him more empathetic than sometimes.
Director/choreographer John Vaughan keeps the pacing clean, and provides just the right kind of dance moves to contrast the two parts of Deloris’ life – what works in full habit, and what works on the nightclub stage. As a result of his cohesive vision, the show has a strong feeling of polish from start to finish.
“Sister Act” may not be the deepest show one could see, but it has a message of hope and understanding which seems much needed in the current public atmosphere. At Candlelight – the last real dinner theater in the Los Angeles area, and a very going concern – one also gets a good meal, in a relaxing atmosphere. And with a production as good as this one, this all becomes a great retreat, and a fine entrance into the mellow nature of fall.
What: “Sister Act – the Musical” When: through November 19, doors open for dinner 6 p.m. Fridays and Saturdays and Thursday November 10 and 17; 5 p.m. Sundays; and for lunch 11 a.m. Saturdays and Sundays Where: Candlelight Pavilion Dinner Theater, 455 W. Foothill Blvd. in Claremont How Much: $58 – $73 general, $30 – $35 children under 12, meal inclusive Info: (909) 626-1254, ext. 1 or http://www.candlelightpavilion.com
September 10, 2016Posted by on
In 1983 a new Broadway musical splashed upon the scene. Based on a play which had inspired an equally delightful French comic film, “La Cage Aux Folles” offered up a combination of traditionally melodic show tunes thanks to Jerry Herman (of “Hello Dolly” fame), and a script by Harvey Fierstein which – like his “Torch Song Trilogy” the year before – pushed the envelope of what a production on Broadway could be about. It won Tonys for both Herman and Fierstein, as well as for direction, best actor and Best Musical. In the process it offered up, as Herman put it, a good “old fashioned entertainment” that made the story of love and expectation in the setting of a drag club more charming and accessible to a wide audience.
Now at Candlelight Pavilion Dinner Theater in Claremont, “La Cage…” speaks to a new age with the same combination of charm, humor and acceptance. How fascinating it is to see how little the show has aged in the 34 years since its premiere. Indeed, much of what was said then still needs saying today, even in the guise of sweet entertainment.
The tale is clever and funny. The practical Georges runs and emcees a famed nightclub in St Tropez called La Cage Aux Folles. His highly dramatic longtime partner, Albin, morphs into the celebrated ZsaZsa, star of the club’s show, backed by a cast of impressive drag queen singer-dancers. Together Georges and Albin have raised Georges’ son – the result of a startling one-night-stand – and now that son, Jean-Michel, has returned home to tell the couple that he is engaged to be married. The only problem: the girl he loves is the daughter of an extreme right-wing politician bent on a return to “traditional morality.” Worse, this potential father-in-law and his wife want to come meet Jean-Michel’s family, inspiring the young man to request the presence of his completely absentee biological mother, and to try to push Albin out of the scene. When his mother never shows, Albin steps in, and the comedy increases.
If this sounds familiar, perhaps it is because the musical, and the play and film that inspired it, in turn inspired the 1996 Robin Williams film “The Birdcage”.
At Candlelight, director-choreographer Roger Castellano has collected a solid cast, allowing the appeal of the show to shine as it should. John LaLonde takes command as the elegant Georges, even funnier in his attempts to appear stereotypically “manly” at times. Adam Trent makes Jean-Michel likable, allowing the potentially terrible hurt he inflicts upon Albin to feel more a matter of desperation than rejection. As Jacob, Albin’s “maid” and personal assistant, Bryan Martinez proves a howl, being as overt as his employers are trying to be subtle. The balance works tremendously well. Likewise, Orlando Montes’ solid stage manager offers yet another view of the club’s unique world.
Steven Biggs comes off just as intolerable as one would expect a character leading the “Tradition, Family and Morality Party” would be, balanced well by Lisa Dyson as his initially mousy wife finding a voice for herself in the rarified air of La Cage’s world. Daniel Reyes and Rachel McLaughlan make lovely work of the cafe owners who have known Georges and Albin as neighbors for years. Emma Nosal creates in Anne, Jean-Michel’s love interest, an attractive contradiction: loving her parents, but increasingly leaning toward the world Jean-Michel sees. Karla Franko gives restauranteur Jacqueline a flair which blends well with Albin’s ZsaZsa.
Still, much of the show rests firmly on the shoulders of Chuck Ketter’s Albin. It’s trickier than one might think, playing both a gay man, albeit a proudly effeminate one, and becoming a convincingly female character when called upon. In this, Ketter shines, though his singing voice sometimes lacks the power of LaLonde’s. Still, when it counts – the iconic, angry “I Am What I Am” which closes the first act – he shines, making the song the anthem it should be. And all of this is backed by eight chorus boys in convincing drag, who sing and dance with conviction.
The end result proves most satisfying. In “La Cage Aux Folles” the laughter is silliness and friendly recognition, the hurts are universal, and the denouement a victory for love in general. The songs, as Herman said upon receiving the Tony, are “simple, hummable show tunes” and just as fun as that sounds. The moment of righteousness which is “I Am What I Am” will move a stone to tears. In short, if you’ve never seen “La Cage…” this is a good opportunity to catch up, and to do so with the added benefit of a lovely dinner beforehand. Go take a look.
What: “La Cage Aux Folles” When: through October 8, doors open 6 p.m. for dinner Fridays and Saturdays, as well as Thursday September 29 and October 6; doors open 11 a.m. for lunch Saturdays and Sundays Where: Candlelight Pavilion Dinner Theater, 455 W. Foothill Blvd. in Claremont How Much: adults $58 – $73, children $30-$35 meal inclusive Info: (909) 626-1254, ext. 1 or http://www.candlelightpavilion.com
August 16, 2016Posted by on
In 1984, the film “Footloose” bounced into movie theaters, bringing with it a fistful of major pop hit songs and the ultimate bit of righteous teenage fluff as a big-city boy leads a youth rebellion against a small town law forbidding dancing. Corny and almost universally panned by critics, it ended up with a staying power nobody could have imagined. Then in 1998, the whole thing was turned into a Broadway musical, written by the same folk who wrote the film, with most of the classic songs intact and a few added tunes.
Now that stage “Footloose” has burst upon Candlelight Pavilion Dinner Theater in Claremont. Thanks to intelligent direction by John LaLonde, Andrew Russell’s attractive spin on the displaced dancing teen Ren, evocative choreography by Alison Hooper and comedic clarity by Spenser Micetich, it is a lighthearted hit.
Of course, the first selling point to any version of “Footloose” has to be all those memorable songs. From “Let’s Hear it for the Boy” through “Almost Paradise,” “Holding Out for a Hero” and, of course, “Footloose,” the works by such celebrated as Kenny Loggins, Sammy Hagar and more will take any listener of a certain age back in time. Seeing them in context again proves an added plus.
Russell’s Ren centers the production from start to finish, as he has just enough of Kevin Bacon about him to keep that rebel vibe heartwarming rather than obnoxious. As his love interest, the preacher’s daughter Ariel, Emily Martin manages both vulnerability and an essential toughness which keep the character interesting. Jason Webb, in the rather two-dimensional role of Ariel’s absolutist father, gives the part as much humanity as the script will allow, while Jennifer Webb’s turn as Ariel’s mother creates an underscore of deep sadness which helps with humanizing the entire family.
Keely Milliken makes solid work of Ren’s fatalistic but supportive mother. Chassey Bennett, Taylor Barbara and Emily Chelsea have a ball as Ariel’s understanding if concerned friends. Indeed, the entire rest of the ensemble who play smaller adult parts, the teens Ren leads in rebellion, or both, dance and sing with enthusiasm and skill, and create a wealth of individuals to surround the central story. Still, perhaps the most eminently likable performance has to be Micetich’s rube-like Willard, whose earnest interest in Ren’s project, and especially his silly homage to his admittedly crazy mother, “Mama Says” prove consistently endearing.
Hooper’s choreography proves reminiscent of the film, but finds its own space on the comparatively small Candlelight stage. One does admit missing Bacon’s gleeful “Let’s dance!”, but all the other essential elements are there. LaLonde has a real feel for musical pacing, keeping the movement and energy flowing so well in what is admittedly a very episodic tale that the chunkiness of the script isn’t an issue. The costuming – including the iconic red tux jacket – evoke the film, the hair is right, and the musical director Rod Bagheri is to be congratulated particularly for the evenness of the larger numbers.
In short, “Footloose” was never very deep, but it was always fun. This stage version captures that – the teenage fight against inexplicable rigidity, the gentle romance of small town life, and the yearning for freedom every adolescent must wrestle with. And it has all those 80s hits. It is certainly worth a look. All that, and you get a pretty classy meal to go along with it.
Next on the Candlelight docket is a musical which, though wildly different from the innocent “Footloose,” also deserves notice. “La Cage Aux Folles” – a musical based on the French film of the same name, which was remade as the American film “The Bird Cage,” will offer great humor, skilled chorus numbers, and a few delightful (or perhaps infamous) surprises. Check for that one too.
What: “Footloose” When: Through August 27, doors open for dinner at 6 p.m. Fridays and Saturdays, and for lunch matinees at 11 a.m. Saturdays and Sundays Where: Candlelight Pavilion Dinner Theater, 455 W. Foothill Blvd in Claremont How Much: adults $58-73, children 12 and under $30-$35, meal inclusive Info: (909) 626-1254, ext. 1 or http://www.candlelightpavilion.com
March 12, 2016Posted by on
Which is good to remember when a chance to see this great classic appears on the scene. This thing is not to be dismissed as silly, syrupy or just an antique. Now in a solid production at the Candlelight Pavilion Dinner Theater in Claremont, one is reminded of its complexity: it has some darker overtones, and a consistent flavor only accented – rather than interrupted – by songs and dance. There’s humor, a certain amount of pathos, and a chance to see something that changed an art form.
The story, taken from Lynn Riggs’ play “Green Grow the Lilacs,” uses the tale of the romance of Curly the cowboy and Laurie the farm owner to watch the period of Oklahoma’s transition from cow country to settled farmland, and from territory to much-anticipated statehood. In the midst of this there is tension, a certain amount of frontier justice, folksy cooperation, and a quiet undercurrent of danger. And, of course, there’s a romance to center the whole thing upon.
Gregg Hammer makes a likable Curly, and sings with confidence some of the show’s most iconic songs. Michaelia Leigh gives Laurie that combination of youthful nervousness, even petulance, and genuine feeling, and also sings well. Michael Skrzek creates a truly goofy Will Parker, the knuckle-headed cowboy with his heart set on the rather amoral Ado Annie. Monica Ricketts has just the right timbre and carefree attitude to make Ado Annie his comic counterpart.
Jonathan Arana has a lovely time with the slippery, but generally good-hearted traveling peddler Ali Hakim. Still, the finest performance of the night is Jeffrey Ricca’s Judd Fry. Ricca makes him far more real than sometimes, and more subtly menacing, letting loose the dark side of the west in a very convincing way. Also worthy of note are the solidly practical Dynell Leigh as Aunt Eller, and Sam Nisbett as Ado Annie’s frustrated father.
The choreography, listed as recreated from the original by Dustin Ceithamer is actually more of a combination of his spin on the original and the original itself. This was made a bit more tricky on opening night by an injury to one of the ensemble dancers in a final rehearsal – something the cast handled with extraordinary aplomb. Dylan Pass and Stephanie Urko make nice work of Dream Curley and Dream Laurie during that most pivotal sequence.
Director Chuck Ketter has a feel for this material that shows throughout. The pacing is tight and the interrelationships easy to follow. His set design is a big help in this, as a few major pieces and occasional drapes allow things to move from scene to scene with little interruption.
And then, of course, there is that classic music. Some of these songs have become part of America’s DNA, and it is important to get them right. Music Director Douglas Austin, with this show, celebrates his 100th musical direction gig at the Candlelight Pavilion, and there’s a reason he keeps being asked back. He has a feel for the room, and for how to fill it when the music demands solid emotion.
So, go take in “Oklahoma.” If you’ve never had the chance to see it live, to have Curley walk past you celebrating “Oh, What a Beautiful Mornin’,” you’ve really missed out. And here it comes with a good dinner.
What: “Oklahoma” When: Through April 9, doors open for dinner at 6 p.m. Thursdays through Saturdays, and for lunch at 11 a.m. Saturdays and Sundays Where: Candlelight Pavilion Dinner Theater, 455 W. Foothill Blvd. in Claremont How Much: $58 – $73 general, $30 – #35 children under 12 Info: (909) 626-1254, ext. 1 or http://www.candlelightpavilion.com
January 28, 2016Posted by on
Essentially, there are three elements which are necessary for the musical “Guys and Dolls” to work. First, it must be done completely straight. The peculiar formality of Damon Runyon characters’ slang must be respected as ordinary speech. The seriousness of every characters position must be taken at face value, no matter how silly it seems to the watcher. Second, the leads must be able to sing – really sing – including the minor characters. Third, everything from costumes to setting must be just a little bit larger than life.
Add to that appropriate, often fun choreography and singers who really can act, and you have a formula for happy result. All of this is present at the Candlelight Pavilion Dinner Theater in Claremont, where even when the casting is a bit more original than sometimes, the results are fit nicely together into the silly-serious package that makes the show.
The tale, concocted from several Runyon stories, follows a couple of connected paths: Nathan Detroit, operator of a famed floating crap game, must find a venue for his event – difficult because “the heat is on.” Speaking of heat, his fiancé of many years, Adelaide, is pushing for a wedding. To finance his search for a site, Nathan bets visiting high roller Sky Masterson that he cannot convince Sarah, the leader of the local Salvation Army-style mission, to go to pre-Castro Havana with him for an evening. As Sky worms his way into Sarah’s world, Nathan ducks the cops and his girl, and all of New York’s underpinnings sing and dance up a storm.
Victor Hernandez is a far scruffier Nathan than sometimes appears, but that plays well to his equally scruffy occupation and current circumstances. His fuddling indecisiveness around Adelaide, played with authority by Stacy Huntington, seems more organic as is his fear of marriage. Allen Everman gives Sky a slickness which evolves into genuine concern with small but interesting “tells”. Ashley Grether’s Sarah has a kind of frenetic strength which provides just the right counterpoint. Indeed, Her “If I Were a Bell” becomes a highlight of the piece.
Backing these leads are both a fine ensemble of dancers, and some secondary players worthy of special note. Robert Hoyt gives the ever-apologetic Nicely-Nicely Johnson real presence. Emerson Boatwright becomes a truly comic visual joke as Big Jule, and plays it to the hilt. Jim Marbury supplies just the right combination of authority and practical frustration as Lieutenant Brannigan, the cop who never quite catches a break.
Greg Hinrichsen’s mash-up of New York makes a facile setting for the story, and Laurie Muniz’s choreography captures the feel the show must have – a kind of gentlemanly machismo for the gamblers, and classic burlesque for Adelaide and her girls. Andrew Orbison has the singers on target with even the complex things they must coordinate without a conductor – not a small feat. Still, the unifying force for tone, tempo of performance and structure is the sure hand of director John LaLonde. He has brought together all the elements, and keeps the whole thing cohesive, intentionally silly, and invariably upbeat.
So, go have fun. Damon Runyon was once a household word – quoted even in Abbot and Costello films. Today, it’s tough to find his stories, except in “Guys and Dolls”, making the show, in its way, a form of literary treasure. At Candlelight you also get a lovely meal, making the total evening relaxing and generally satisfying. What a nice way to welcome in the new year.
What: “Guys and Dolls” When: Through February 27, open for dinner at 6 p.m. Thursdays, Fridays and Saturdays, at 5 p.m Sundays, and opened for matinee lunch at 11 a.m. Saturdays and Sundays Where: Candlelight Pavilion Dinner Theater, 455 W. Foothill Blvd. in Claremont How Much: $58-$73 adults, $30-$35 children, meal-inclusive Info: (909) 626-1254, ext. 1 or http://www.candlelightpavilion.com
November 12, 2015Posted by on
A good “West Side Story” can capture all that raw energy in ways which entertain, touch and impassion. To be good, it must have solid dancers, singers able to handle the complex rhythms and soaring notes of the Bernstein score, and youth. This, with a few notable exceptions, is a young person’s story. Now at the Candlelight Pavilion Dinner Theater in Claremont, virtually all of the necessary elements are there. The result is a most satisfying evening of beautiful music, touching story and amazing energy.
The tale is literally classic. Two rival gangs vie for control of a beaten down New York City neighborhood. One group, composed of down-and-out whites, many the children of European immigrants, calls itself the Jets. The other, the Puerto Rican gang known as the Sharks, is seen as having moved in on Jet territory, while for the Sharks this is simply the neighborhood into which they have landed. Contact – often violent – is common, and except for neutral zones like the school gym where dances take place, the two groups carefully maintain a separation. That is until Jet founder Tony meets Maria, the sister of the leader of the Sharks. As battle lines form, their love becomes more hidden, more real, and more potentially tragic.
If looking for a reason why the Candlelight Pavilion production works so well, one need look no further than Ayme Olivo’s absolutely charming Maria. Gifted with a lovely, well-trained voice, she epitomizes the innocence and romance of her character, growing with her as the plot deepens. As her brother, Bernardo, Juan Caballer vibrates with pride and intensity, Michael Gonzalez makes a manlier-than-sometimes Chino, while Celeste Lanuza’s Anita carries herself with an air of very feminine command, dances with expertise, and makes “America” the highlight it can be.
Although Jarred Barnard is so pacific as Tony that it seems unlikely he’d have ever been in a gang, Chaz Feuerstine makes Jet leader Riff a true believer. Joined by the rest of the Jets, most especially Josh Switzer’s barely contained Action and Lacey Beegun’s convincingly tough tomboy Anybodys, they prove a formidable counterbalance to the tense Sharks. Also a standout is Jamie Snyder as the drugstore owner, Doc, for whom Tony works – a man torn by the violence around him and the loss of young potential.
Director Hector Guerrero makes the piece work, keeping the pace quick with the help of Mitch Gill’s amazing puzzle-box set design. Guerrero has, in large part, recreated the original Jerome Robbins choreography as well, only in small – something elemental to the personality of the show. Douglas Austin’s work as musical director deserves special kudos, as his cast sings the excruciatingly difficult pre-rumble quintet, without a visible conductor, as if it was a piece of cake. Indeed, one is left without much to criticize music-wise except for the inexplicable cutting of the overture, which along with Bernstein’s overture to “Candide”, stands among the most outstanding pieces of orchestral Broadway music ever written. It also serves to lay the ground for the intensity to follow.
Still, this colorful and tuneful musical makes for a delightful if touching evening. If you’ve never seen a live performance of this work, you’re in for a treat. If it’s an old friend to you, as it is to me (as it was the first show I ever worked on, way back in high school), go and reacquaint yourself with an old friend. If it has nothing new to teach, it still has a ring of universality which travels across time.
What: “West Side Story” When: Through November 22, doors open for dinner 6 p.m. Thursdays, Fridays and Saturdays, and for lunch matinees at 11 a.m. Saturays and Sundays Where: Candlelight Pavilion Dinner Theater, 455 W. Foothill Blvd. in Claremont How Much: $58 – $73 adult, $30 – $35 child, meal inclusive Info: (909) 626-1254, ext. 1 or http://www.candlelightpavilion.com
August 20, 2015Posted by on
When the musical “In the Heights” by Lin-Manuel Miranda and Quiara Alegria Hudes, hit Broadway in 2008, the excitement it created came from two angles. First, it celebrated the sense of neighborhood and the stresses of change in the largely Latino barrios of New York itself. But on a larger scale, it used contemporary hip-hop and Latino musical forms to celebrate the elemental life force of similar barrio neighborhoods from the Bronx to Huntington Park, and the threats posed to their close-knit fabric by the forces of gentrification. As such it contained a universality which, when combined with the high energy music born from salsa and marenge, became identifiable across cultures and geographic location.
Now this lively, heart-filled musical has opened in a finely polished production at Claremont’s Candlelight Pavilion Dinner Theater. With sharp, live percussion, a talented, focused and ensemble cast, and a message everyone can connect to, the show is a sure-fire hit.
The story looks at one block in a low-rent section of New York City. There, Usnavi works the corner bodega left him by his father, and along with his young cousin Sonny provides basic services, and a community center for the rest of the neighborhood. That community includes the Rosarios, owners of a car service and proud parents of Nina, the daughter whose departure for Stanford has become a symbol of “getting out.” Nina’s return brings its own issues, particularly in relation to her interest in Benny, a Rosario employee her parents think of as beneath her.
Also part of the community are Daniella, owner of the hair salon she’s soon to close and move thanks to rent hikes, and her two employees, Carla and especially Vanessa – the girl Usnavi is trying to get up the nerve to ask out. These, a young artistic tagger known as Graffiti Pete, an ambitious seller of fruit-flavored ices known as the Piragua Guy, and a joyously various ensemble of singer-dancers round out the extended family of neighbors. At the heart of all of it is the aging Cuban woman who acts as everyone’s grandmother, Abuela Claudia.
A hot summer, a city-wide blackout, rising personal and communal tensions, and news someone from the Bodega has a winning lottery ticket all combine to create a very recognizable drama, filled with humor, pathos, and all that lively music.
Ruben J. Carbajal proves articulate and deeply committed as Usnavi, providing the glue which holds the show together. Ruben Bravo and Chris Marcos as Sonny and Graffiti Pete vibrate with the energy of youth – kids with hip-hop roots and big hearts. Anyssa Navarro brings to the torn and somewhat desperate Nina a sense of the weight which comes with carrying the dreams of an entire neighborhood on your shoulders, while Revel Day provides a subtle sense of the outsider looking in as Benny.
Dominique Paton shimmers as the troubled but ambitious Vanessa, Orlando Montes as Nina’s introvertedly angry father, and Jackie Lorenzo Cox as her disappointed, practical mother provide a balance of truly adult forces in the mostly youthful tale. Candida Celaya cements all these characters and more together with a subtle power as the fragile Abuela. Indeed, everyone in the cast is right on point, providing one of the most evenly fine ensembles Candlelight Pavilion has had in many years.
But the excellence doesn’t stop there. Director Benjamin Perez uses the small stage as if it was a full city street, and takes the audience there with him. Marissa Herrera’s energetic and organic choreography becomes a physical celebration all its own. Anna Louizos Designs’ adaptation of the original Broadway set continues this polish, as do Karen Fix Curry’s costumes and even Mary Warde’s extremely convincing wigs.
The best of this production comes from the melding of all the theatrical elements into a seamless whole. The story is captivating, the music, though not wildly hummable afterward, proves apt for the story and as organic as the dance. The tech is solid, enhancing the whole. The deep love for the genuine, rounded people being portrayed and their individual and communal struggles is evident throughout. This is a story centered on a strong sense of character – all the characters – and their sense of place.
The secondary joy of any Candlelight Pavilion performance is that it comes with dinner. Make this your night on the town. “In the Heights” will offer up surprises for those who like their musicals more standard, but the surprises will be pleasant ones.
What: “In the Heights” When: Through September 13, doors open for dinner at 6 p.m. Fridays and Saturdays, and Thursday September 10, 5 p.m. Sundays, and 11 a.m. for brunch Saturdays and Sundays Where: Candlelight Pavilion Dinner Theater, 455 W. Foothill Blvd. in Claremont How Much: $58-$73 general, $30-$35 children, meal inclusive Info: (909) 626-1254, ext. 1 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
January 22, 2015Posted by on
by Frances Baum Nicholson
There are a lot of reasons to go to the theater. One is simply for entertainment. If that is your goal, and particularly if you love musical nostalgia, you’ll have fun with Alan Janes and Rob Bettinson’s “Buddy: The Buddy Holly Story,” now at Candlelight Pavilion Dinner Theater in Claremont. Though this musical does tell a rather simplified version of the small segment of Buddy Holly’s life between the first contract he signed with Decca in 1956 and his death in the airplane crash which also took the lives of The Big Bopper and Ritchie Valens in 1959, it is mostly a concert of the music he recorded within that time.
With that in mind, it becomes important that the leading man both look and sound like Holly, and – if possible – be able to play a decent electric guitar. Jared Mancuso manages all of this. Indeed, at least in the looks and the sound category the result is almost spooky. As his back-up band The Crickets, Julian Johnson, as Joe, is a virtual gymnast with a string bass, Lonn Hayes gives considerable character to drummer Jerry, and Cullen Law’s Cricket offers a mean second guitar.
Virtually all of the rest of the performers become the “ensemble,” stepping out to play important folk in his life, then becoming back-up singers, enthusiastic fans and whatever else is needed. Of these, Jade Rosenberg is sweet as Buddy’s young wife Maria Elena, John Nisbet has fun with Hi-Pockets, the DJ who first gets him on the air, David Laffey has some strong moments as the man who managed them to stardom, and Jennifer Strattan makes fun work of that managers insistent wife.
Also worth a nod within that ensemble are Robert Hoyt as a fairly convincing Big Bopper, and Orlando Montes, who – though he looks decades older than the 17-year-old Valens was when he died – sings a mean “La Bamba.” Indeed, more than half of the second act of “The Buddy Holly Story” is devoted to Holly’s final concert, with Valens and The Big Bopper, before they all stepped on that fateful plane. That is probably the best of this entire show, with so many great hits, the entire rest of the ensemble singing backup, and a solid sense of the era and the vitality of early rock-and-roll.
Bravo to director John LaLonde, for keeping the pacing constant, and for understanding what the focus of it all had to be. This is not a show for the intellect, but for the heart and the tapping foot.
Even knowing that the show ends with the singular finality of Holly’s story, everyone leaves the performance space bouncing and singing. And sometimes that’s what going to a show is all about. There is no real attempt to hide that this is a tribute rather than a biography, and that’s just fine. At Candlelight Pavilion, the entertainment comes wrapped in a tasty meal and some singularly impressive desserts at intermission. So, leave your burdens at the door, go in, eat, talk, drink, and if the spirit so moves, dance in the aisles.
Sometimes, it really is just about being entertained. Here, you will be.
What: Buddy: The Buddy Holly Story When: Through February 22, doors open for dinner 6 p.m. Fridays and Saturdays in January plus Thursdays, Fridays and Saturdays in February, 5 p.m. Sundays, and 11 a.m. Saturday and Sundays for matinees Where: Candlelight Pavilion Dinner Theater, 455 W. Foothill Blvd. in Claremont How Much: $58-$73 adults, $20 children under 12, inclusive of meal Info: (909) 626-1254 ext. 1 or http://www.candlelightpavilion.com