Reviewing Theatre For Over 40 Years
Tag Archives: Sean Paxton
There is an elemental silliness to the movie musicals of the 1930s, but that was intentional. The films offered an inexpensive escape from the strain of the Great Depression, and quite intentionally featured lavish costumes, elaborate settings, and the kinds of visual splendor only the Busby Berkeleys of this world can provide.
In 1968, George Maimsohn, Robin Miller and Jim Wise decided to create that silly, upbeat world in small, opening “Dames at Sea” in an off-off Broadway cafe. Though it has roamed far and wide in the meantime, “Dames at Sea” has returned to its tiny-stage roots at the Sierra Madre Playhouse. There, once again, a six-person cast must create all the splendor and schlock of the “go out a chorus girl but come off a star” tap-dancing magic that so enthralled our forebears.
Reducing the show once again to its minimalist beginnings works well at SMP. Director Joshua Finkel understands that the only way to play this gentle satire for laughs is to play it straight, and that’s what his cast does. Aided by Jeffrey Scott Parsons’ classic 30s choreography, heavy as always on the tap dancing, and Sean Paxton’s musical direction, they manage to make this small, silly show lighthearted fun.
Katie Franqueira leads the cast as the idealistic Ruby, arriving in NYC with nothing but tap shoes, hoping to star on Broadway. Franqueira’s Ruby has an interesting combination of earnestness and nervousness which makes some of her tap numbers a bit intense, but particularly in a delightfully Busby Berkeley-worthy version of “Raining in my Heart,” she sings with an innocence and charm which prove quite engaging.
As her love interest Dick, the sailor dreaming of songwriting, Aaron Shaw has a loose-limbed charm and the kind of wide-eyed presence which balances Franqueira’s Ruby nicely. Marissa Mayer shows the right brassy style as Ruby’s new friend in the chorus, while Ruben Bravo nearly steals several scenes as Dick’s somewhat goofy Navy buddy.
Chuck McLane, in the dual role of the theatrical producer fallen on hard times, and Dick’s commanding officer talked into allowing a Broadway show to be staged on board, has a lovely time with each, managing to carve them into individuals with their own silly moments. Jennifer Knox flounces with all the necessary ego as that show’s officious and controlling star.
Shon LeBlanc – a wizard with period costumes for small venues – has given the show the right feel. Jeff G. Rack has provided all the right set pieces, including the deck of a battleship, at a size which will somehow fit on the tiny SMP stage. In short, all the pieces are there.
In short, “Dames at Sea” is silly, tuneful, and – for some – nostalgic. It makes gentle fun of an entire film genre, but not in a mean way. Rather, that almost ferocious innocence proves an antidote to the tensions of our current world, just as was true back then. And in that, even it its occasional awkward moments, this production has something in common with what it celebrates.
Also check out the theater’s movie series, which celebrates the movies “Dames” was based on. It continues with “Footlight Parade” on July 10.
What: “Dames at Sea” When: through August 3, 8 p.m. Fridays and Saturdays, and 2:30 p.m. Sundays, with an extra 2:30 p.m. matinee on Saturday, August 3 Where: The Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. in Sierra Madre. How Much: $45 general, $40 seniors, $25 youth up to age 21. Info: 626-355-4318 or http://www.sierramadreplayhouse.org
Back in the late 1970s and early 1980s, the definition of what made something a Broadway-style musical was in flux. In this period a number of shows appeared which were essentially concerts sung by created characters, from those which were actually more of tribute concerts featuring the songs of a historic musical artist or group, to those which used original material and characters. Among these the most commonly done include “Always… Patsy Cline,” “Forever Plaid” and “The Marvelous Wondrettes”. One of the toughest to produce, as the performers double as the band, is “Pump Boys and Dinettes”.
Now at Sierra Madre Playhouse, “Pump Boys…” features original country songs (including one which reached the country music charts), and a minimalist plot about five buddies working in a roadside a garage and the two Cupp sisters running the Double Cupp Diner next door, on Highway 57 between Georgia and North Carolina. The guys play and are joined in singing by the ladies, who also produce pies, and serve a few guests on their side of the stage.
Frothy, tuneful and played by a cast truly enjoying themselves, “Pump Boys…” becomes a brief vacation from reality. Its cast sings with authority for the most part, and the guys prove to be excellent musicians. Indeed, their musicianship is the necessary element in making the show successful.
Sean Paxton, Michael Butler Murray, Kevin Tiernan and Jimmy Villaflor plus a quiet Jim Miller on drums, not only sing a lot of the songs but provide the entire band. Cori Cable Kidder, known to SMP audiences from her 2015 appearance as Patsy Cline, and Emily Kay Townsend provide occasional percussion, but are mostly there to sing and provide a lot of the sense of character and plot. The musicianship in all cases proves good to very good. Indeed, the only real shaky moment is a brief piece of tap choreography by Kidder.
Director/choreographer Allison Bibicoff has done what can be done to take a musical without a plot and give it a sense of authenticity on the small SMP stage. In this she is aided by set designer Jeff G. Rack’s remarkably complex set, given the size of the SMP stage space. The cast has a strong sense of ensemble, and there are moments of real charm, including Villaflor and the women saluting the charms of having a farmer tan, and Paxton’s wistful rendition of “The Night Dolly Parton Was Almost Mine” – the song which made it to the charts.
Which is not to say the production is perfect. Some are better singers than actors, and some better actor/performers than singers. Still, the energy and general charm carries this piece through, and one is surprised that the show has ended, when it does. SAlaAo, if you are looking for a place to rest your brain and have an evening of tuneful fun, “Pump Boys and Dinettes” offers just that – yet another sign of the reputation SMP is building for itself.
What: “Pump Boys and Dinettes” When: Through July 29, 8 p.m. Fridays and Saturdays, 2:30 p.m. Sundays, with added performances 2:30 p.m. Saturdays starting July 7. Where: Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. in Sierra Madre How Much: $40-$45 general, $35-$40 seniors aged 65 and over, $25-$30 youth aged 22 and under Info: (626) 355-4318 or www.sierramadreplayhouse.org
Revision: This show has now been extended through September 27.
Another Revision: This show, which is apparently completely unstoppable, is now extended through October 30.
In the world of local theater, there are two different kinds of musical productions commonly available. One is what is thought of as the “standard American musical,” with a story line enhanced with songs and dances – usually ones which advance the storyline and may be integral to the plot. The other is the “tribute concert,” a chance to recreate a musical group, performer or even revisit a particular performer’s music in such a way that folks can come to the theater to hear either a reenactment of a period concert performance (see “Beatlemania” as foundational in that genre), or come to a celebration of a performer’s music by obviously more contemporary performers, such as when a group of tuxedoed gentlemen take turns singing songs connected to, say, Frank Sinatra .
However, there is a third category I tend to refer to as the bio-tribute: it ostensibly tells some tale related to a famed musician, but is actually mostly a chance to hear lots of that performer’s songs. Among these, the most amorphous is “Always, Patsy Cline,” a show based on a true story, written by Ted Swindley. Now at the Sierra Madre Playhouse, it offers two performers a chance to play both sides of the tribute coin: one, who narrates, offers up an entertaining portrait of one die-hard fan’s encounter with her idol. The other plays the songstress herself, and sings the songs Cline was famed for, both in recreated concert settings, and as Cline’s side of conversations with the fan who idolized her.
The best news in the SMP production has to be the performers themselves. Nikki D’Amico proves a hoot as Louise, the wildly enthusiastic, uninhibited Texan whose wholehearted enthusiasm leads an exhausted Cline to come home with her after a concert gig, igniting a friendship which lasted until Cline’s untimely death in early 1963. Cori Cable Kidder has Cline’s particular vocal styling down fairly well, and thanks to Krys Fehervari’s impressively accurate wigs, looks the part. It’s a carefully underplayed portrait but it works after a fashion, though sometimes it seems that this Patsy Cline is being overwhelmed by Louise’s sheer energy.
Director Robert Marra has given the potentially static piece as much action as he can, in large part by giving D’Amico’s Louise a brash physicality – even during many of Cline’s songs – which keeps the visual energy strong. Musical director Sean Paxton has assembled a live band to back up Kidder’s vocals, and with the possible exception of the opening night fiddler, their polish helps create the essential “country” sounds of the various stages of Cline’s career.
Also worthy of note is John Vertrees’ impressively expansive-looking country barn, plus separate late-50s kitchen, set on SMP’s tiny stage. A. Jeffery Schoenberg does right by Cline’s wardrobe too – a woman making waves in country music who, early on, eschewed the usual gingham and fringe for sheath dresses and gold lame pants.
As a script, “Always, Patsy Cline” seems neither fish nor fowl, but that’s not this production’s fault. For those who just want to sit back and listen to Cline sing her songs, the enthusiastic Louise seems a distraction. For those who want to know more about this particular, factually based relationship between Cline and her most ardent fan, the comparative lack of spoken lines by the legendary singer (who was reportedly quite a lively friend) leaves the tale significantly one-sided. Still, the end result becomes a walk down memory lane for some, and an amusing snapshot of an era and a charmingly pushy fan for others. And, of course, there are those songs, and, truth be told, even this child of the rock era can listen to “I Fall to Pieces” or “Crazy” or “Walkin’ After Midnight” any old time.
What: “Always, Patsy Cline” When: Through September 12, 8 p.m. Fridays and Saturdays, 2:30 p.m. all Sundays and Saturday, September 12. Where: Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. in Sierra Madre How Much: $34.50 general, $32 seniors, $25 youth to age 21 Info: (626) 355-4318 or http://www.sierramadreplayhouse.org