Stage Struck Review

Reviews for theater within the greater Los Angeles area.

Tag Archives: Marc Montminy

No Kidding: Candlelight’s “Titanic” Better than B’way Version

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Passengers and crew of “Titanic” assemble to board for the ill-fated journey in the Tony-winning musical now at Candlelight Pavilion Dinner Theater

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 ┬áInfo: 909-626-1254, ext. 1 or http://www.candlelightpavilion.com

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“South Pacific” Proves Powerful, Relevent in Claremont

Katie Moya is Nellie Forbush, singing the comic “Honeybun” in Candlelight Pavilion’s “South Pacific” [photo: Demetrius Katsantonis]


In 1949, Richard Rodgers and Oscar Hammerstein II opened the Pulitzer Prize-winning “South Pacific” on Broadway. Based on James Michener’s equally Pulitzer Prize-winning book about the silliness, boredom, and racial conflicts of “behind the action” stations in the Pacific during World War II, it featured some of the duo’s most memorable songs. At the time its relevance was both obvious and challenging, only 4 years after the end of the war. Fascinatingly, sadly, the new production at Candlelight Pavilion Dinner Theater cannot help but remind us that it still has something rather pointed to say to a modern audience.

The tale centers on a US naval supply station and hospital located on a tiny Polynesian island in what most of its temporary occupants would consider the middle of nowhere. The more permanent inhabitants, both the French planters who came as colonists and the Polynesian native population, live in an comparatively relaxed coexistence the Americans have significantly disrupted one way and another. For many of the Americans, this is their first contact with foreign cultures, and the fallout can prove jolting.

This is especially true for Nellie Forbush, a nurse at the hospital in the process of falling in love with Emile de Becque, one of the successful planters. Her Little Rock roots soon clash with de Becque’s background in a number of ways. For Lt. Joseph Cable, a young Marine about to start a fearsomely dangerous assignment as an “Island spotter,” the struggle comes as he falls heavily for a Polynesian girl his upbringing tells him he cannot marry. For Luther Billis, an opportunistic Seabee, the goal is far more mercenary, and much more lighthearted, as he tries every trick in the book to get passage to the neighboring island upon which planters and natives alike have put their young women.

At Candlelight Pavilion the balance of lighthearted silliness and wrenching comings of age are balanced just as they should be, graced by strong performances by the leads and clever choreography which keeps the show rolling along. Katie Moya is Nellie, singing with confidence the iconic songs, and giving a strong sense of the cultural and ethical dilemmas which complicate her romantic life. Michael Scott Harris has the pipes to handle de Becque – a part originally written for an opera star – and the solid presence to make his status as a commanding planter convincing.

Marc Montminy makes Luther Billis just enough of a big galoot to make him lovable even as he connives with impressive lack of cultural understanding to gather souvenirs. Shane Litchfield manages to create a sense of youth, seriousness and self-awareness as Lt. Cable, and Candida Celaya gives just enough gravitas to Bloody Mary to make her distress later in the show make sense even as she provides delightful silliness near the start. She also handles the great “Bali Ha’i” fairly well – a song in a register too low for many singers.

The ensemble who provide the rest of the island’s inhabitants, from nurses and seabees, to natives and naval commanders back up these leading figures with energy and style. The choreography by Janet Renslow makes good use of the comparatively small chorus to provide various atmospheric moments, and Chuck Ketter’s direction keeps things moving on the excellent set he also designed.

Still, what becomes most potent at this time in our nation’s history is the show’s unsweetened look at the prejudices of the past. Indeed, as Lt. Cable sang with sorrow “You’ve got to be taught before it’s too late, before you are 6, or 7, or 8, to hate all the people your relatives hate,” the night I saw the show, people were marching with torches in Charlottesville. It may be 58 years old, but “South Pacific” remains a mirror we really need to gaze into.

What: “South Pacific” When: through September 9, doors open for dinner at 6 p.m. Fridays and Saturdays, and Thursday March 23, 5 p.m. Sundays, for lunch at 11 a.m. Saturdays and Sundays Where: Candlelight Pavilion Dinner Theater, 455 W. Foothill Blvd. in Claremont How Much: $61 – $76 general, $30 – $35 children 12 and under, meal inclusive. Info: (909) 626-1254 ext. 1 or http://www.candlelightpavilion.com

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