Stage Struck Review

Reviews for theater within the greater Los Angeles area.

Tag Archives: Michael Scott Harris

“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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Oh the Horror! : Candlelight Pavilion makes the most of “Jekyll and Hyde”

Michael Scott Harris, as he transitions from the peaceful Dr. Jekyll to the notoriously evil Mr. Hyde, at Candlelight Pavilion [photo: John LeLonde]

Michael Scott Harris, as he transitions from the peaceful Dr. Jekyll to the notoriously evil Mr. Hyde, at Candlelight Pavilion [photo: John LeLonde]

Ever since Robert Louis Stevenson first penned “The Strange Case of Dr. Jekyll and Mr. Hyde” its particular examination of the nature of good and evil, and the balance of these qualities in the ordinary person, have proved fascinating. Though many today are not as familiar with Stevenson’s complex novella as they are with the more than 123 films based on it, the term “Jekyll and Hyde” has entered the English language, as a way to refer to someone with vastly different behaviors under different circumstances.

The stage has not been immune to this fascination either, and in one of the more recent dramatizations, the musical “Jekyll and Hyde” made it to Broadway in the late 90s and stayed there for nearly 4 years. Like many of its counterparts on Broadway at the time, this version by Leslie Bricusse and Frank Wildhorn is operatic in style. Its focus stays mainly on the well-meaning Dr. Henry Jekyll, his experiments to remove evil from mankind, and the creation of the totally evil Edward Hyde – whose strength of personality gradually consumes the gentler but thus weaker Jekyll.

Now at the Candlelight Pavilion Dinner Theater, this musical version is not without its issues. Though the production is tight and well performed, the music and lyrics sometimes leave a bit to be desired. Still, the essence of the story survives, there are some strong characters. The show’s hit song, “This is the Moment,” which proves so pivotal, remains as powerful as ever. Much of the production’s success comes thanks to a strong, vocally impressive cast and a particularly elaborate setting for this small theater.

Michael Scott Harris virtually carries this piece, as Jekyll/Hyde. The transformations he makes from carefully appropriate doctor to vengeful wanton are brilliant – changes of voice, of carriage and articulation which take the audience along seamlessly as he shifts back and forth. In this he is well supported by Amy Gillette as Jekyll’s understanding, upper crust fiancĂ©, and Laura Dickinson’s warm-hearted, easily abused prostitute, each of whom holds their versions of this one man in their hearts and passions. The singing in all these cases, honed to fit the characters, proves rich and sophisticated, leading the story along.

Also worthy of note are Richard Bermudez as Jekyll’s lawyer and longtime friend – the man who pushes hard to figure out what is going on, and Bob Bell as Jekyll’s future father-in-law, loving but deeply concerned. Beyond this a large and versatile cast play everything from street urchins to bishops with fervor and intelligence. Director Jason James uses the complex stage well, and just about the only thing one could wish for is that some of the set pieces would not make quite so much noise, rolling in behind active scenes.

Janet Renslow recreates the choreography from the original with style – often as much movement as it is dancing, and by and large the thing looks and feels as edgy and mysterious as it should. In short, for someone looking for a different way to feel spooky around the Halloween period, this is a fun one to see.

Note: this story is essentially an adult one. A number of characters are prostitutes plying their wares, and the changes in Jekyll, which are often quite vivid, might be disturbing to younger children. Although there may be a dish on the dinner menu for children, I would think twice about bringing them below a more sophisticated age.

What: “Jekyll and Hyde: The Musical” When: Through November 23, doors opening for dinner 6 p.m. Thursdays, Fridays and Saturdays, 5 p.m. Sundays, and 11 a.m. for Saturday and Sunday matinees Where: Candlelight Pavilion Dinner Theater, 455 W. Foothill Blvd. in Claremont How Much: (meal inclusive) $53 – $68 general, $25 children under 12 Info: (909) 626-1254 ext. 1 or http://www.candlelightpavilion.com

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