Reviewing Theatre For Over 40 Years
Tag Archives: Kelley Dorney
November 12, 2018Posted by on
One does not have to have been a fan to realize that Ronald and Nancy Reagan were fascinating individuals. Their long and dynamic marriage, their shift from the world of Hollywood to the world of state and national politics, all of this had to begin somewhere. Enter a new one-act musical, “In A Booth At Chasens’s” now at the El Portal Theatre in North Hollywood.
It’s an interesting idea. If only it lived up to the promise. Though producer John C. Herklotz goes on record from the start about how inspirational the Reagans were, it takes more artistry to turn that enthusiasm into live theater. If only this show met that challenge.
Ostensibly this is about Ron and Nancy’s first, blind date. What it actually is is a series of brief vignettes of stages in their romance, each one with at least one song and none so long as to allow for actual character development.
The entire enterprise is less a musical in the classic sense – telling an actual story – than a framework for this series of Al Kasha and Phil Swann’s songs, which take precedence over the few lines of Sam Bennett’s abbreviated script. In between these moments of potential plot two uncredited gents schlep furniture, bicycles and standing mirrors on and off the stage while the two cast members change clothes.
Kelley Dorney is Nancy Davis. Though she sings about being shy, this is not particularly in evidence in Dorney’s performance. Still, she has a lovely voice and gives a natural quality to the character she doesn’t get much of a chance to flesh out.
Brent Schindele is Ronald Reagan, and seems to struggle between being a fairly human, frustrated actor on the professional skids (which is mentioned in just about every scene) and being an icon. Particularly when called upon to define the Reagan world view, the icon takes over and he becomes a statue – he stops moving in order to make sure the message is delivered in icon fashion. When this bleeds over into the times he is just a guy, the whole show stalls.
However, this isn’t entirely Schindele’s fault. Director Kay Cole has simply given these characters too little to do. The fellows bringing furniture on and off do not – except in the scenes inside Chasen’s itself – supply them with much in the way of props to work with, and Cole hasn’t worked with them on motivation to do more than sing most of the time.
Even in Chasen’s, Cole doesn’t connect their physical behavior to the songs they are singing. Take as example the moment Reagan, standing by the title booth, sings that he needs to run after Nancy and keep her from walking out on him (she having just left), all the while standing stock still, and then stays in that same spot to sing another verse.
Which is all to say that this enterprise has labored mightily to bring forth a mouse. Andy Walmsley’s minimalist set pieces are backed by projection screens on which Daniel Brodie has designed an ongoing salute to late 1940s Los Angeles, using archival footage of Hollywood Boulevard, Wilshire and more. The band lead by Jonathan Tessero is solid, and gives drama to the pieces. Still, it just doesn’t work.
What: “In A Booth At Chasen’s” When: through November 25, 2 p.m. and 8 p.m. Thursday November 15, 8 p.m. Friday November 16 and 23, 3 p.m. and 8 p.m. Saturday November 17 and 24, 3 p.m. and 7 p.m. November 18, 3 p.m. and 8 p.m. Wednesday November 21, 3 p.m. Sunday, November 25. Where: El Portal Theatre, 5269 Lankershim Blvd., North Hollywood. How Much: $25 – $65 plus premium. Info: (818) 508-4200 or http://www.InABoothAtChasens.com
November 1, 2016Posted by on
In the world of well-crafted farces, Ken Ludwig’s “Lend Me a Tenor” has proven itself dependably clever in a variety of different settings. That is, when the cast is up to the rather specific demands of a tale about a regional opera company. Filled with classic slamming doors and mistaken identities, its sheer ridiculousness combined with its endearing characters makes it a deceptively easy hit.
Now playing at the La Mirada Theatre for the Performing Arts, courtesy of the McCoy Rigby Series there, a new production of this silly piece has all the required elements to make it a sure-fire hit, and the results don’t disappoint. Those who must sing really can. Those who must be over-the-top do so with delightful abandon. The look, and the timing, all enhance the whole.
In short, this “Tenor” sings like an angel.
The tale, as much as there is one, centers upon a two-room hotel suite in Cleveland in 1934. The Cleveland Opera has invited the great Italian tenor, Tito Merelli, to sing “Otello” in a one-night gala performance. When he doesn’t arrive on the expected train, panic ensues among those hovering around that room waiting for him. When he finally does show up, a series of missteps, mistakes, and eventually mistaken identities create complete pandemonium.
Director Art Manke has collected a remarkably able ensemble cast to make all of this work, and his combination of choreographed movement and pacing makes the entire thing come together just as it should.
Central to the piece is John Shartzer’s Max, the harried assistant to the company’s general manager upon whom all the pressure regarding Tito’s appearance lands. Shartzer creates in Max a wiry, anxious, and – in the end – surprisingly talented man, even in the midst of panic. As his charge, Davis Gaines makes Tito stereotypically emotional, yet with an underlying kindness which humanizes the stereotype. Both sing well, which cements a major element of the storyline.
J. Paul Boehmer gives the company’s general manager the appropriately officious combination of command and fatalism. Kelley Dorney, as Max’s starstruck fiancé, radiates an innocent sense of daring. Colette Kilroy gives the older chairman of the Opera Guild an endearing enthusiasm, while Leslie Stevens creates the aura of a budding diva as the soprano anxious to use her connection with Tito to further her career.
In somewhat smaller but no less polished performances, Catherine LeFrere has a field day with Tito’s wildly dramatic, fed-up wife, while Jeff Skowron proves consistently funny as an opera-obsessed bellhop who co-opts the role of room service waiter to snag Tito’s autograph.
The set, by Tom Buderwitz, is filled with a sense of period luxury. David Kay Mickelsen has created period costumes which evoke the era, and meet the rather circumspect needs of the McCoy Rigby audience for decorum in the play’s more sensual moments. Katie McCoy’s wigs are perfect for both time and character. In short, the visuals set the scene and allow certain outmoded elements necessary for the plot to appear historically appropriate.
This “Lend Me a Tenor” will allow for genuine and lighthearted laughter, and who couldn’t use a bit of silliness in this fractious time? Go and enjoy, and leave happily unencumbered by anything deeper than the requisite happy ending.
What: “Lend Me a Tenor” When: through November 13, 7:30 p.m. Wednesdays and Thursdays, 8 p.m. Fridays, 2 p.m. and 8 p.m. Saturdays, and 2 p.m. Sundays Where: La Mirada Theatre for the Performing Arts, 14900 La Mirada Blvd. in La Mirada How Much: $20 – $70 Info: (562) 944-9801, (714) 994-6310 or http://www.lamiradatheatre.com
September 26, 2015Posted by on
There are many different reasons a theatrical musical can work. It can be a window on a piece of history, a great work of literature, or an important social issue. It can swell the heart with timeless romance, or charm with silliness and tap dancing. Then again, maybe it’s evocative of those awkward, or funny, or engaging moments most of us can resonate with, and so it’s a lovely, light-hearted way to spend an evening.
This would be what Alan Zachary, Michael Weiner, and Austin Winsberg’s “First Date” has to offer. As it takes a “millennial” couple through their blind date, it evokes all the nerves, uncertainties, self-deprecations, and random thoughts such a stressful event can create. Now a part of the McCoy Rigby Entertainment series at La Mirada Theatre for the Performing Arts, the fresh little musical gets a boisterously attractive treatment. This is not a musical you will leave with your mind resting on its epic intensity, but the very humanity of two people working their way through a familiar situation will let you leave with a smile.
Essentially, this is the story of the first date between Aaron and Casey. As they meet at a trendy restaurant, their external exchanges are matched by the internal dialogue played out, thanks to an amazingly versatile cast, by all the other voices they carry in their heads. The internal and external comedy leads to considerable laughter, occasional pathos, and a nonstop velocity. Due to this last, it makes perfect sense the show would be performed without intermission. This is a flow one would hate to break.
Marc Ginsburg is Aaron, a man coming back to the dating world after being left at the altar by his ex-fiance. As he unwinds this, the lure of his original attachment to the lover who jilted him plays like a background hum, as does the lasciviousness of his “player” best friend. Ginsurg manages the fine balance between vulnerability and simple fear of the unknown and the determination to move on with a fine hand. As the comparatively unconventional Casey, Erica Lustig walks between the character’s judgmental, sometimes angry self-protection and her genuine curiosity, as her sister’s resented voice of convention and her gay friend’s earnest voice of rescue echo in her head.
Justin Michael Wilcox, Leigh Wakeford, Scott Dreier, Stacey Oristano and Kelley Dorney morph from bar patrons into these many voices with a seamlessness which speaks to the near-choreographic use of the stage by director Nick Degruccio. Aided by the momentum of Lee Martino’s fast-paced actual choreography, the show is filled with movement which keeps what is essentially an extensive conversation from becoming static and lifeless. It is a clever use of all of what live theater has to offer in the way of storytelling immediacy.
And the individual characters created by the “voices” are worth special recognition, as they play everything from old sweethearts to pushy family to even the various advantages of differing social media in discovering the most embarrassing
moments in a new date’s previous life. The songs are fun, and push the story into interestingly introspective places, then out again into the sheer silliness of trying to assess a possible partner over dinner.
One caveat: understand this is about dating in the current day. References (at the very least in their heads) to the sexual nature of relationship are definitely there, and the language can get rather scatological. However, this proves organic to the characters and situation, and adds rather than detracts from the humor of the piece.
“First Date” is not – as written – great art, but it is most certainly a lot of fun. And as presented in La Mirada, has a charm and energy which makes it seem much shorter than it is, and leaves you wanting to follow the characters into the next phase of whatever comes after.
What: “First Date” When: through October 11, 7:30 p.m. Wednesdays and Thursdays, 8 p.m. Fridays, 2 p.m. and 8 p.m. Saturdays and 2 p.m. Sundays Where: La Mirada Theatre for the Performing Arts, 14900 La Mirada Blvd. in La Mirada How Much: $20 – $70 Info: (562) 944-9801, (714) 994-6310 or http://www.lamiradatheatre.com