Reviews for theater within the greater Los Angeles area.
Tag Archives: Shannon Warne
February 21, 2019Posted by on
[This show has now been extended through March 9.]
One of the first things that resonates from the new production of the musical “Ragtime” at the Pasadena Playhouse is its timeliness. Nevermind that it is set in roughly 1900, that it is based on a 1975 book by E. L. Doctorow, or that the musical had its American premiere here in Los Angeles in 1997. The topics of the book, and of the musical – the complacency of the rich, the struggles of the immigrant, and an income and justice system rigged against African Americans – are as clearly resonant today as perhaps at any time in-between.
Newly reimagined by director David Lee, the Playhouse production has been paired down to its essentials in ways which may not allow for the roar of a crowd, but create an intimate connection with the central characters that carries the story. Set in New York and peppered with that period’s famous individuals, it boils down to the story of a well-off white family from New Rochelle whose comfortable life is contrasted with, and eventually collides with other elements of the times. These include a desperate immigrant artist and his young daughter whose dreams of American prosperity come up against the harsh realities of the East Side slums, and a Harlem romance that goes sideways in the face of overt racial hatred.
The cast forms a fluid ensemble as characters rise who, one after another, form more than usually powerful connections with the audience. Standouts include Clifton Duncan in the wrenching part of Coalhouse Walker, Jr., a man whose dreams dissolve in the brutality of racial divide. Marc Ginsburg manages the hope and the desperation of Tateh, the Eastern European immigrant unprepared for the reality of America.
Bryce Charles as the innocent young woman Walker woos, and Valerie Perri as the revolutionary Emma Goldman also shine, while Shannon Warne, as the white, well cared-for Mother in New Rochelle offers up a subtlety of emotional shift which, though not as dynamic as some of the others, creates a unifying arc.
Lee’s direction is tight, though setting the piece in the modern “warehouse of a national historical museum” (something you only discover if you read the program) is overly subtle. Still, Tom Buderwitz’s design – mostly masses of stacked, rather facile crates – does allow for a flow of empathetic projections by Hana Sooyeon Kim, and a constant tempo unimpeded by needed set changes. The hidden onstage orchestra, directed by Darryl Archibald, balances with the intimacy of the rest of the production while allowing some remarkable voices like Duncan’s to shine.
What sets this “Ragtime” apart from its predecessors is its ability to be large and small at the same time. There are huge themes underscoring the more personal individual tales, and these themes are, sadly, not foreign to anyone in the audience. Still, the connection created by individual characters, and the lack of white noise from a large supporting cast, brings this large world into a more audience-involved arena, where emotional connection can leave a lasting impact. Yes, sometimes small is better. Come see for yourself.
What: “Ragtime” When: through March 3, 8 p.m. Tuesdays through Fridays, 2 p.m. and 8 p.m. Saturdays, and 2 p.m. and 7 p.m. Sundays (no 7 p.m. performance Sunday, 2/24). Where: The Pasadena Playhouse, 39 S. El Molino Ave. in Pasadena. How Much: tickets start at $25. Info: (626) 356-7529 or PasadenaPlayhouse.org
June 6, 2015Posted by on
When the national tour of Disney’s “Mary Poppins: The Musical” came to the Ahmanson Theatre, it did so with the original choreography which, though award-winning, was also disturbing enough to have the producer urge parents not to bring children under a certain age. This seemed sad to me, as the film this musical was based on had been a highlight of my own childhood. Much though I have appreciated Matthew Bourne’s unique talent as a choreographer (“Edward Scissorhands,” “Swan Lake”, “Cinderella”), I felt that the resulting creepiness was a disservice to the spirit, if not really of the original P.L. Travers books, then at least to the spirit which pervaded the movie.
What a delight, then to see the musical reimagined through the McCoy Rigby series at La Mirada Theatre for the Performing Arts. Using new choreography by the late, much-mourned Dan Mojica, the musical takes on a cheery edge reminiscent of other Disney musicals, and more in keeping with what one expects from the version of “Mary Poppins” most Americans know. With a very talented cast, this newer and more lighthearted dancing, and all the charm of that wistfully nostalgic story, this show is a bonafide hit.
The story is a classic. The household of Mr. George Banks cannot keep a nanny, as his two smart and rascally children drive them away. The father is brusque, the mother feels inadequate, the cook fumes with frustration and the serving man alternates between dim and terrified. Then, based on an advertisement the children write, a tough but fantastical woman takes over the nursery and introduces the children to ethics and empathy and the delight of imagination. It changes everyone.
Brandi Burkhardt makes a cheerfully direct Mary, and sings and dances with style. Leigh Wakeford’s Bert radiates energy, charm and a particular form of star quality, and dances with an almost ferocious energy and precision. Shannon Warne gives Mrs. Banks a sweetness and an underlying sadness which balances well against the brusk aspects of Martin Kildare’s Mr. Banks. Noa Solorio and Logan J. Watts give the Banks children the right balance of mischief and wonder, and in a brief appearance Helen Geller underscores the wistfulness of the song she sings as the ancient Bird Woman.
Yet, this is truly an ensemble work, and the multi-talented ensemble ends up the star. From the park sequences to the ubiquitous dancing chimney sweeps, they provide individual and group work which takes this show from cute and clever to a performing tour-de-force. And this is no surprise, as the dancing is a tribute to their choreographer, who passed away far too young just weeks before the show was to open.
And, indeed, his vision and the vision of director Glenn Casale have done what was needed to bring the charm and warmth of “Mary Poppins” to a new generation. Kudos must also go to J. Branson’s scenic designs, which have a magic all their own.
So, go see “Mary Poppins” for any number of reasons. It’s fun. It’s extremely well done. It has an interesting mix of the songs you may remember and newer, but elemental ones. It isn’t wildly intellectual, though it has something to say both about making ethical choices and about understanding why people are as they are. Still, it’s a great way to spend a cheerful time. And bring the kids. Unlike last time this show hit town, bring the kids. After all, everyone needs a little touch of magic now and then.
What: “Mary Poppins” When: Through June 21, 7:30 p.m. Wednesdays and Thursdays, 8 p.m. Fridays, 2 p.m. and 8 p.m. Saturdays, 2 p.m. Sundays, with additional performances 7:30 p.m. Tuesday, June 16 and 7 p.m. Sunday evenings June 14 and 21 Where: La Mirada Theatre for the Performing Arts, 14900 La Mirada Blvd. in La Mirada How Much: $20-$70 Info: (562) 944-9801 or (714) 994-6310 or http://www.lamiradatheatre.com