Reviewing Theatre For Over 40 Years
Tag Archives: Rachel McLaughlan
November 9, 2017Posted by on
The stage musical version of “9 to 5,” the iconic feminist movie from 1980, had its birth at the Ahmanson Theatre in Los Angeles, then a Broadway run in 2008. With music by Dolly Parton, who had originally written the title song for the film, it brought back the feisty trio of Violet, Judy and Doralee, whose kidnapping of their vindictive, sexist boss and subsequent running of the office in his name not only turns their company’s productivity around but empowers each of the women in ways they need most.
Now at Candlelight Pavilion Dinner Theater in Claremont, the show stands up well for the most part. There is, of course, Parton’s songs – many of them significantly memorable – to provide the most important underpinning to the enterprise. The cast proves energetic and consistently engaged, and by and large the end result proves satisfying. The only challenge, really, in this as in any production is finding the edgy vitality so necessary to the three central women who power the piece.
Most certainly, the trappings are there and work very well. Director John Vaughn’s pacing and choreography let an able ensemble set a vibrant tone for the increasingly happy workplace. Chuck Ketter’s set design allows the admittedly episodic tale to flow easily from one scene to the next. The supporting players, especially Orlando Montes’ touching portrayal of Violet’s potential love interest, and Rachel McLaughlan, as Roz, the secretary comically obsessed with the boss the others abhor, round out the storyline and the feel of the piece in important ways. Ernie Marchain manages to make Mr. Hart – the boss – just as slimy and condescending as one would hope, another necessity.
As the three who provide the show’s focus, Juliet Schulein makes a terrific Violet – commanding and fragile by turns, with an innate toughness that underscores everything in the show. Colette Peters gives the timid Judy a sort of wide-eyed openness which makes her character work. As Doralee, the country-bred secretary victimized by the boss’ false rumors, Krista Curry manages the accent and style well, though her singing edges on the shrill side enough to keep the character from seeming as in control as she needs to be.
Even when it premiered, “9 to 5” was a somewhat antiquated style of musical. Still, it’s fun and lighthearted, with a sense of moral victory which seems particularly apt at a time when so many bosses are being appropriately thrown under the bus for slimy behavior. Once again, and to their own surprise, Candlelight Pavilion has a show speaking to modern sensibilities in a far more timely way than they anticipated when creating their season.
So go take a look. As always at Candlelight, the show comes with a lovely meal, and an ambiance which can prove an antidote to the many tensions of our current state of affairs.
What: “9 to 5” When: through November 25, doors open for dinner at 6 p.m. Fridays, Saturdays, and one Thursday performance November 16; 5 p.m. on Sundays; and for lunch at 11 a.m. Saturdays and Sundays. Where: Candlelight Pavilion Dinner Theater, 455 W. Foothill Blvd in Claremont How Much: $61 – $76 adults, $30 – $35 children 12 and under, meal included Info: (909) 626-1254, ext. 1 or http://www.candlelightpavilion.com
November 25, 2016Posted by on
With the advent of the holiday season, the demand for something appropriate rises, and theaters – particularly small theaters – begin to struggle with what to provide for their patrons. There is always “A Christmas Carol,” and a wide variety of versions of it, and of plays about people performing it, exist. Still, that has been done so much that a theater out to make its own mark may turn to something else.
Sierra Madre Playhouse has pushed aside Dickens for Laura Ingalls Wilder, and brought back “A Little House Christmas” first produced there two years ago. Then it was all rather precious and stagey. This year’s production is thus a revelation. With a new, strong and naturalistic cast, a director who understands how to make the piece flow, and a feel of continuity – even with the injected period songs which once stood out like interruptions to the tale – this year’s “Little House” proves charming and sweet, but organically so.
The story is derived from one in Wilder’s “Little House on the Prairie”. Christmas approaches, the Wilders invite those who aided them as they built their barn to come out to the country for a celebration. Unfortunately, a gully-washing rainstorm begins, the creek starts to rise, the guests must leave quickly, and it soon becomes possible that even Santa may not be able to get to the Wilder home in time for the 25th. What will the Wilders do?
Director Alison Eliel Kalmus not only has a feel for the pacing and tone of this work, she also operates the AKT children’s theater company at SMP, from which were supplied most of the talented children who take significant parts (many of which are double-cast) in the play. The quality of the child actors proves particularly important in a story told from a little girl’s perspective, but the adults are not slouches either.
Among the adults, Rachel McLaughlan’s Ma radiates practical hopefulness, even as she seems weighted by the worries prairie women faced, and sings beautifully when called upon. Rich Cassone gives Pa the open-hearted life force one expects, balanced realistically with the limitations of time and place.
Thomas Colby humanizes the lonely bachelor Mr. Edwards with a genuine heartiness and warmth far from the potentially saccharine rendition one almost expects. Barry Schwam makes family’s uncle – a man unglued by his Civil War experiences – a touching piece to this puzzle, while Valerie Gould’s extremely human Mrs. Oleson charms far more than the expected stereotype.
The children who performed on opening night were likewise un-stagey, and brought a humanizing force to the proceedings. Most especially, Sofia Naccarato’s innocently charming Laura and Katie-Grace Hansen’s Mary showed character, timing, total engagement with story and character, and – especially in Hansen’s case – strong and secure singing voices without that harsh Andrea McArdle overtone so common in youthful stage performers.
Adam Simon Krist and especially Patrick Geringer made the visiting young cousins likable and familiarly boyish. Samantha Salamoff, called upon mostly to be disgusted and moderately disengaged, did this well as the snobbish Nellie Oleson.
One of the real stars of this production has to be Stephen Gifford’s set, which takes all these remarkably realistic people and places them in time and space. Tanya Apuya’s costumes are likewise accurate and character-appropriate. There are little glitches now and then: people who are supposed to be soaking wet aren’t, and little girls sit around in their nightdresses on a winter evening when there is no dry wood for the fire without even wearing shawls, but somehow these seem minor when compared with the general genuineness of feeling this production has to offer.
In brief, this rendition of “A Little House Christmas” proves itself to be far less cloying, far better paced, and far more cohesive than SMP’s previous rendition. As a result, it makes for a fine, and comparatively unique, holiday treat for young and old. Certainly, it makes a break from the predictable Christmas fare.
What: “A Little House Christmas” When: through December 23, 8 p.m. Fridays and Saturdays, 2:30 p.m. Sundays, with extra performances at 2:30 p.m. Saturday, December 10 and 17, and 8 p.m. Tuesday through Thursday, December 20-22 Where: Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. in Sierra Madre How Much: $34.50 general, $32 seniors, $25 children and youth Info: (626) 355-4318 or http://www.sierramadreplayhouse.org