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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
Once upon a time, Damon Runyan was a household word. His stories, with their very specific form of dialogue and wry humor, celebrated the gamblers and chiselers of early 20th Century Broadway in a way nobody else has ever matched. Today, most who know of him at all do so thanks to the Broadway musical “Guys and Dolls,” based on two of Runyan’s stories by Jo Swerling and Abe Burrows, and set to music by Frank Loesser.
Now at Whittier Community Theatre, as the first production of their 96th season, “Guys and Dolls” is guaranteed to charm, as always. The songs are always fun, and the storyline is essential urban Americana. At WCT the cast is mostly up to the task of making the show shine, the band, though a bit uneven in timbre, handles the music well, and the flavor of the piece – best called earnest silliness – shows through.
The story follows two paths. In the first, longtime gambling promoter Nathan Detroit searches desperately for a venue for his floating crap game while holding off showgirl Adelaide, who dreams of marriage after 15 years of being Nathan’s fiancé. In the second, Nathan tries to raise funds by betting card sharp Sky Masterson he cannot take Sarah Brown, central figure of the local Save A Soul Mission, to Havana for dinner. What deal will Sky swing to make it happen?
Director Karen Jacobson has assembled a cast of WCT regulars and specific character performers to solid effect. Jason Miramontes makes a comparatively subtle Sky, and handles his songs well, with the exception of the particularly difficult “My Time of Day”. As his challenge, Sgt. Sarah, Ciara D’Anella warms to the part as the show goes on, and at her best sings with considerable charm, particularly on the silly “If I Were a Bell” and “Marry the Man Today.”
Still, the best of this production is the interplay between Nathan and his three minions, and between Nathan and Adelaide. Carlos Lopez gives Detroit the combination of business sense and innocent guile that makes him so endearing. His minions, the three “tinhorns” – Nicely-Nicely Johnson, Benny Southstreet and Rusty Charlie (Jay Harbison, Chris Mathews and Richard De Vicariis) – do a very solid job with the show’s signature introductory trio, “Fugue for Tinhorns” and Harbison continues to charm with “Sit Down You’re Rockin’ the Boat”. All three have engaged with their characters in very solid fashion.
Still, the real star of the piece is Mallory Kerwin, who all but steals the show as Adelaide. Her “Adelaide’s Lament” with its silly contention that being matrimonially frustrated can cause head congestion, is as delightfully silly as one could expect, and her consistent and very funny delivery throughout makes even otherwise dry moments in the show entertaining.
Also worthy of note are James Greene as Sarah’s missionary uncle, Greg Stokes and Justin Patrick Murphy as just edgy enough gangsters, and Andy Kresowski as the prowling Lt. Brannigan. The very versatile chorus manage a number street scenes and crowd moments with individuality and style.
Indeed, more than many other musicals, “Guys and Dolls” depends on dancing. Choreographer Emily Turner does what she can with a comparatively motley group of performers, finding ways to keep the musical moments engaging and atmospheric. Musical director Kevin Wiley manages the live musicians in ways which generally enhances the total production.
In short, this “Guys and Dolls” may have a few shaky moments, but the production is earnest and at times quite delightful. The music is among my favorite in the classic Broadway musical canon, and thanks to a few stirling performances it is one of the finer examples of true community theater in the area. And, frankly, you can’t beat the price. Go, sit back, and revel in the fact that any Southern California company has managed to survive for almost a century.
What: “Guys and Dolls” When: through September 23, 8 p.m. Fridays and Saturdays with one matinee 2:30 p.m. September 17 Where: The Center Theatre, 7630 Washington Ave. in Whittier How Much: $20 general, $15 seniors, students and military with ID Info: (562) 696-0600 or http://www.whittiercommunitytheatre.org
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