Reviews for theater within the greater Los Angeles area.
Tag Archives: Eric Nelson
September 9, 2014Posted by on
The musicals of the post-WWII years can be a fascinating window on American society at the time. Suspiciously anti-social rock stars were followed by swooning teens and made household words by Ed Sullivan. Corporations were endemic, and the fodder for satire. Unions were virtuous, not to mention victorious when fighting unreasonable management.
That last, of course, was best exemplified in the charmingly silly musical “The Pajama Game,” now enjoying a brief but spirited revival at the Whittier Community Theatre. I have a personal fondness for the show, though I know it is now seen as somewhat obscure. Still, even if it isn’t familiar to you, the score probably is, featuring hits like “Hey There,” “Hernando’s Hideaway,” and “Steam Heat.”
The story is simple enough: Sid, a young and handsome factory supervisor who’s new in town, falls for Babe, the head of the union’s grievance committee. As a strike nears, their romance runs into conflict with the management-union struggles of the pajama factory where they both work. Other office workers dabble in romance, rage with jealousy, or just look on with wry amusement.
At Whittier, this “Pajama Game” has much to recommend it, even if there are a few weak spots. Amy Miramontes is charming as Babe, with an aura of worldly-wise sophistication and a charming voice. As Sid, Jason Miramontes (Amy’s husband) proves handsome and energetic, creating a charming version of this often rather wooden character, though he needs to work just a bit on pitch when he sings. Beyond the leads, the standout, if brief, performance has to be Eric Nelson as Babe’s tolerant,. charmingly uncomplicated Pop.
Other performers worthy of particular note are Tina Quick-Snedaker as Sid’s wise and motherly secretary, Justin Patrick Murphy as the lascivious union Prez, Greg Stokes as the wildly emotional time-study man Heinzie, and Jeri Harms as the intense, sensual corporate secretary Gladys – over whom Heinzie hovers. Isabella Ramirez, Becca Schroeder and Jennifer Bales do a reasonably Bob Fosse-style “Steam Heat” – the particular triumph of Schroeder’s choreography.
Indeed, the entire cast proves likable, even if there are moments of varying skill.
Director Roxie Lee has taken this episodic tale and kept the pacing moving, thanks in part to her self-designed, minimalist set. She keeps the characters earnest and well connected to each other, which adds to the flow. Musical director Brian Murphy succeeds in celebrating the sheer tunefulness of this show, including putting together a solid orchestra. Karen Jacobson gets a major nod for managing convincingly period costuming on a community theatre budget.
In short, “The Pajama Game” is a window on another time and another ethos. It is tuneful and endearing, and lets a younger generation know that those old folks weren’t quite as pure as it may seem. And it’s fun. You will easily find yourself humming the tunes as you leave, and wondering what happened to the whole universe in which this little tale takes place.
What: “The Pajama Game” When: Through September 20, 8 p.m. Fridays and Saturdays, and 2:30 p.m. Sunday, Sept. 14 Where: Whittier Community Theatre at The Center Theatre, 7630 Washington Ave. in Whittier How Much: $20 general, $15 seniors/students/military with ID Info: (562) 696-0600 or http://www.whittiercommunitytheatre.org
November 25, 2013Posted by on
When signature performances appear on screen, even if they are recreating roles from the stage, those performances can become a huge barrier to creativity among stage productions which follow. Even reviewers can fall victim, including the former editor of mine who condemned a brilliant new production of “A Streetcar Named Desire” because the show’s lead didn’t deliver the lines as Elizabeth Taylor had.
It’s especially tough on community or semi-professional companies, where the easy fallback position for a director is sometimes to “do it like the movie.” This is why the recent production of “On Golden Pond” at Whittier Community Theater, which closed this past weekend, proved so refreshing. Each character was well-defined and well played, in a show with pacing which kept it interesting, often funny, and as touching as it should be. And nobody was “being” Henry or Jane Fonda, or Katharine Hepburn.
The tale of an aging, intellectually interesting couple at their summer cabin on the lake creates a particular opportunity for older actors to sink their teeth into characters outside the typical. Indeed, at Whittier, Eric Nelson created the essential Norman Thayer, crusty and morose with a soft underside he keeps well hidden. You can’t help but like him, just a bit – a necessity for the plot to move forward, but trickier to accomplish that one imagines.
Roxanne Barker, as Norman’s wife Ethel, created one of the finer performances of her recent career – precise, with an underlying warmth, but underplayed to match the mood of the play. Elizabeth Lauritsen’s version of their angsty, damaged adult daughter gave a well-examined view of a woman gradually righting her own ship, and Ronan Walsh pegged the preteen boy Norman warms to, making that relationship’s growth seem absolutely natural.
Andy Kresowski managed to avoid stereotype as the local guy once enamored of the Thayer daughter, making him far more genuine and less dim than sometimes portrayed. In a brief but important moment, Dave Edwards created a convincingly nervous yet resolute version of the man helping sort out the daughter’s life.
Kudos also to the set design of Mark Fredrickson, whose cabin proved so convincing you expected birds to fly by the windows. Yet, the feel of the entire production, from the ensemble spirit, through the unique renditions of characters made iconic on film, to the whole tone of subtle upbeat land at the feet of director Roxie Lee. Again, this is one of her finer moments, as it is for many in the small cast.
“On Golden Pond” can be sentimental bordering on goopy if done poorly. The Whittier production tread that fine line well. As one of the few remaining viable community theaters, now in its 92nd season no less, it bodes well for the future that this quality of performance can be expected there.
Next on the Whittier Community Theater list is the noir classic – also a famous film – “Laura,” due to open on Valentine’s Day. One hopes that they can keep going with this “new view of old classic” style, making that piece as much their own as they did “On Golden Pond.”