Reviewing Theatre For Over 40 Years
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Going to see “Titanic” at Candlelight Pavilion Dinner Theater in Claremont was something I approached with trepidation. Thought the music was written by Maury Yeston, whose work I have always liked, and the book by Peter Stone, and its storyline was based completely on actual people, which I approve of, I was haunted a bit by the first version I saw. I need not to have worried.
The first time I saw the Tony-winning musical it was somewhat anticlimactic. For one thing, the epic movie of the same name had been recently released, but for another the national tour of the original Broadway production itself, which was born at the Ahmanson production I saw, seemed a weird combination of occasionally brilliant theatricality and staging moments which were either overblown or simply ridiculous. Indeed, it was hard to connect with the musical itself because the visuals were so uneven.
Turns out (and the irony is not lost on me) that in the case of a musical about what was then the largest vehicle in the world, smaller is better. Crammed onto the comparatively little Candlelight stage, all the overblown theatricality gives way to story, and the characters shine over the comparatively subtle optics. Add the impressive quality of the performers in this new production, who sing so well that no huge chorus is needed to back them up, and the intimacy, musicality, and pathos shine far more brightly than anything I could have anticipated.
This is, in large part thanks to director/set designer Chuck Ketter’s vision.
The story is not new to much of anyone, but author Stone has concentrated on just a few people, often the less well-known among those who boarded the maiden voyage of this supposedly unsinkable ship. Yes, designer Thomas Andrews is there, along with the pompous and demanding ship-owner Bruce Ismay and the about-to-retire Captain E.J. Smith, but the rest are a combination of first, second, and third-class passengers and crew, most of them comparatively new to the general public. The songs tie in closely with the storyline rather than being stand-alone, and the small live orchestra gives a chance for emotional nuance which the theater’s usual pre-recorded instrumentals would not.
Ketter’s set design allows for quick changes of place which keep the pace electric as relationships define, personalities emerge, and the ship steams on toward its disastrous destiny. The entire production is tight, intense, and riveting in a way that old original simply wasn’t.
The talented company of 20, who cover a musical originally written for more than 40, are a true ensemble, rising out of the crowd to create well-fleshed-out characters and then moving back again with a seamless flow. Standouts in a company full of them include Gavin Juckette as the ship’s overwhelmed radio man, Catie Marron as a 3rd class passenger dreaming of new beginnings and new love, and Sarah Meals as the ambitious 2nd class passenger constantly stealing into 1st class.
As well as these, kudos go to Gregg Hammer as one of the ship’s stokers. Jamie Snyder and Samantha Wynn Greenstone as Isidor and Ida Straus, owners of Macy’s whose characters come into their own in the show’s second half, as Ida famously refuses a lifeboat if it means leaving her husband. Marc Montminy makes a wistful Captain Smith, and Greg Nicholas a despicably self-centered Ismay.
Musical director Andrew Orbison helps with the ensemble spirit as he guides performers and orchestra alike through the lush score. Dylan Pass handles the incidental choreography, and (and this is often a sticking point for me) Michon Gruber-Gonzales has done wonders with the wigs which firmly set this piece in time and place.
In short, this “Titanic” is definitely worth a look. At Candlelight it comes with a meal which tends away from standard “rubber chicken” in the dinner theaters of old, and the desserts are definitely worth the wait until intermission. Still, it isn’t the food which made this a fine production to see. They kept the best and redid the rest. It’s what a revival should do.
What: Titanic, the Musical. When: through February 23, doors open for dinner at 6 p.m. Fridays and Saturdays, 5 p.m. Sundays, and for lunch at 11 a.m. Saturdays and Sundays. There will be one special Thursday evening performance with doors open at 6 p.m. on February 21. Where: Candlelight Pavilion Dinner Theater, 455 W. Foothill Blvd. in Claremont. How Much: $63 – $78 general, $30 – $35 children under 12, inclusive of meal Info: 909-626-1254, ext. 1 or http://www.candlelightpavilion.com
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