Stage Struck Review

Reviews for theater within the greater Los Angeles area.

Tag Archives: Mitch Gill

The “Annie Get Your Gun” at Candlelight – A Mixed Experience

Buffalo Bill introduces the players in “Annie Get Your Gun” at Candlelight Pavilion


Note: This production has already closed, but somehow the review was never posted here. Thus, I post it now for the record.

If you are acquainted with Irving Berlin’s “Annie Get Your Gun” it is likely either through the 1950 film version with Betty Hutton (after Judy Garland was fired from the project) or various clips of songs from the show sung by their originator, Ethel Merman. If this is what you are looking for at the Candlelight Pavilion Dinner Theater, it will take readjustment. Their production uses the script rewrites created for the Tony-winning revival in 1999. To some extent this is good news. To some extent, at least as presented, the jury is still out.

The revision restages “Annie…” as if it was in itself a show presented by Buffalo Bill, which is innovative, although it threatens to disrupt the flow of the tale itself. The ending has also been rewritten – a necessity for a modern audience, and some objectionable material ridiculing Native Americans has been removed. The costuming ignores most of the conventions of Annie Oakley’s actual period, but that becomes a part of the “it’s just a show” framework, and allows for a lot of lively dancing. The leads are solid (though one was obviously under the weather on opening weekend), and some of the supporting players are particularly fine. In all, it makes for a night of light entertainment, which may be a useful thing in a time like this.

The story grows from the tale of actual people. Famed sure-shot Annie Oakley was a star in Buffalo Bill Cody’s Wild West Show, among others. Sitting Bull, the famed Sioux chief, was also a part of the show for some of that time. She was originally discovered by another sure-shot, Frank Butler, whom she married. Although the Irving Berlin musical twists all these facts around to create a battle of the sexes, it sits on this foundation. In the Berlin version, Butler and Oakley become competitors, with Frank’s ego so bruised he leaves at one point for a rival show, and Annie struggling between proving her prowess and winning Frank’s love.

In the Candlelight production, Brent Schindele (who will be replaced by Johnny Fletcher as of March 23) plays Frank as the standard egotistical pretty boy unwilling to be show up by a girl. He sings with authority, but there is a certain lack of chemistry between him and Jamie Mills’ Annie. Mills gives a Annie an innate confidence and aura of backwoods practicality which works well. Her singing voice was gentled by illness opening weekend, but her understanding of how the songs need to affect the course of the storyline was on target.

Still, at least when shown for review, the best of the production were those backing up these leads. Randy Hilton makes his Buffalo Bill just bombastic enough, while Michael Lopez gives Sitting Bull a certain gravitas which keeps him from being awkwardly stereotypical. As the somewhat star-crossed lovers, Jacob Nancy also manages this balance as the half-Native young knife thrower whose love for his white assistant, played by Kylie Molnar, comes under scrutiny. These latter two have a great time as the exhuberant ingenues of the piece.

Another star is the choreography of Janet Renslow, who has reworked material by Graciela Daniele and Jeff Calhoun to fit the specifics of the Candlelight stage. Mitch Gill and Chuck Ketter have worked up a convertible set which allows for the many, many quick changes of scene, necessary for the direction of James W. Gruessing, Jr., who must deal with side bars usually staged in front of a scrim on a stage which really doesn’t have one.

In short, “Annie Get Your Gun” is a classic, reworked with intention and care. Its increasingly episodic nature – as characters slip in and out of storytelling to become the staff of the show telling the story – may sometimes interrupt the story’s flow or the humor of the piece. Still, there is charm there, and when all are healthy there are also those wonderfully belt-able songs which still ring in the ear: “You Can’t Get a Man With a Gun” or “Anything You Can Do (I Can Do Better)”. The change to the ending (the original of which even perplexed me as a child), and the respect for what Canadians accurately call First Nations People means adopting this reworking was a wise idea.

What: “Annie Get Your Gun” When: [see note at top of review] through April 14, doors open for the dinner at 6 p.m. Fridays and Saturdays, 5 p.m. Sundays, and for lunch 11 a.m. Saturdays and Sundays Where: Candlelight Pavilion Dinner Theater, 455 W. Foothill Blvd. in Claremont How Much: $63-$78 general, $30-$35 children 12 and under, meal-inclusive Info: (909) 626-1254, ext. 1 or http://www.candlelightpavilion.com

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“West Side Story” Shows Polish at Candlelight Pavilion

The cast of "West Side Story" leap with hope, honoring the original choreography in Claremont  [photos: Demetrios Katsantonis]

The cast of “West Side Story” leap with hope, honoring the original choreography in Claremont [photos: Demetrios Katsantonis]

Of all the composers who have approached the Broadway musical, a very, very few compete on the same level as Leonard Bernstein, even just musically. In many ways his best, “West Side Story,” with its modernized Romeo and Juliet, lyrics by a then-young Stephen Sondheim, direction and choreography by Jerome Robbins, ushered in a new form of the entire genre. Beautiful but raw, its tale of prejudice, abusive law enforcement, angry youth and cultural disconnects resonates across the years like few other pieces have.

A good “West Side Story” can capture all that raw energy in ways which entertain, touch and impassion. To be good, it must have solid dancers, singers able to handle the complex rhythms and soaring notes of the Bernstein score, and youth. This, with a few notable exceptions, is a young person’s story. Now at the Candlelight Pavilion Dinner Theater in Claremont, virtually all of the necessary elements are there. The result is a most satisfying evening of beautiful music, touching story and amazing energy.

The tale is literally classic. Two rival gangs vie for control of a beaten down New York City neighborhood. One group, composed of down-and-out whites, many the children of European immigrants, calls itself the Jets. The other, the Puerto Rican gang known as the Sharks, is seen as having moved in on Jet territory, while for the Sharks this is simply the neighborhood into which they have landed. Contact – often violent – is common, and except for neutral zones like the school gym where dances take place, the two groups carefully maintain a separation. That is until Jet founder Tony meets Maria, the sister of the leader of the Sharks. As battle lines form, their love becomes more hidden, more real, and more potentially tragic.

If looking for a reason why the Candlelight Pavilion production works so well, one need look no further than Ayme Olivo’s absolutely charming Maria. Gifted with a lovely, well-trained voice, she epitomizes the innocence and romance of her character, growing with her as the plot deepens. As her brother, Bernardo, Juan Caballer vibrates with pride and intensity, Michael Gonzalez makes a manlier-than-sometimes Chino, while Celeste Lanuza’s Anita carries herself with an air of very feminine command, dances with expertise, and makes “America” the highlight it can be. Maria Tony Dance

Although Jarred Barnard is so pacific as Tony that it seems unlikely he’d have ever been in a gang, Chaz Feuerstine makes Jet leader Riff a true believer. Joined by the rest of the Jets, most especially Josh Switzer’s barely contained Action and Lacey Beegun’s convincingly tough tomboy Anybodys, they prove a formidable counterbalance to the tense Sharks. Also a standout is Jamie Snyder as the drugstore owner, Doc, for whom Tony works – a man torn by the violence around him and the loss of young potential.

Director Hector Guerrero makes the piece work, keeping the pace quick with the help of Mitch Gill’s amazing puzzle-box set design. Guerrero has, in large part, recreated the original Jerome Robbins choreography as well, only in small – something elemental to the personality of the show. Douglas Austin’s work as musical director deserves special kudos, as his cast sings the excruciatingly difficult pre-rumble quintet, without a visible conductor, as if it was a piece of cake. Indeed, one is left without much to criticize music-wise except for the inexplicable cutting of the overture, which along with Bernstein’s overture to “Candide”, stands among the most outstanding pieces of orchestral Broadway music ever written. It also serves to lay the ground for the intensity to follow.

Still, this colorful and tuneful musical makes for a delightful if touching evening. If you’ve never seen a live performance of this work, you’re in for a treat. If it’s an old friend to you, as it is to me (as it was the first show I ever worked on, way back in high school), go and reacquaint yourself with an old friend. If it has nothing new to teach, it still has a ring of universality which travels across time.

What: “West Side Story” When: Through November 22, doors open for dinner 6 p.m. Thursdays, Fridays and Saturdays, and for lunch matinees at 11 a.m. Saturays and Sundays Where: Candlelight Pavilion Dinner Theater, 455 W. Foothill Blvd. in Claremont How Much: $58 – $73 adult, $30 – $35 child, meal inclusive Info: (909) 626-1254, ext. 1 or http://www.candlelightpavilion.com

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