Reviewing Theatre For Over 40 Years
Tag Archives: tribute musicals
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
by Frances Baum Nicholson
There are a lot of reasons to go to the theater. One is simply for entertainment. If that is your goal, and particularly if you love musical nostalgia, you’ll have fun with Alan Janes and Rob Bettinson’s “Buddy: The Buddy Holly Story,” now at Candlelight Pavilion Dinner Theater in Claremont. Though this musical does tell a rather simplified version of the small segment of Buddy Holly’s life between the first contract he signed with Decca in 1956 and his death in the airplane crash which also took the lives of The Big Bopper and Ritchie Valens in 1959, it is mostly a concert of the music he recorded within that time.
With that in mind, it becomes important that the leading man both look and sound like Holly, and – if possible – be able to play a decent electric guitar. Jared Mancuso manages all of this. Indeed, at least in the looks and the sound category the result is almost spooky. As his back-up band The Crickets, Julian Johnson, as Joe, is a virtual gymnast with a string bass, Lonn Hayes gives considerable character to drummer Jerry, and Cullen Law’s Cricket offers a mean second guitar.
Virtually all of the rest of the performers become the “ensemble,” stepping out to play important folk in his life, then becoming back-up singers, enthusiastic fans and whatever else is needed. Of these, Jade Rosenberg is sweet as Buddy’s young wife Maria Elena, John Nisbet has fun with Hi-Pockets, the DJ who first gets him on the air, David Laffey has some strong moments as the man who managed them to stardom, and Jennifer Strattan makes fun work of that managers insistent wife.
Also worth a nod within that ensemble are Robert Hoyt as a fairly convincing Big Bopper, and Orlando Montes, who – though he looks decades older than the 17-year-old Valens was when he died – sings a mean “La Bamba.” Indeed, more than half of the second act of “The Buddy Holly Story” is devoted to Holly’s final concert, with Valens and The Big Bopper, before they all stepped on that fateful plane. That is probably the best of this entire show, with so many great hits, the entire rest of the ensemble singing backup, and a solid sense of the era and the vitality of early rock-and-roll.
Bravo to director John LaLonde, for keeping the pacing constant, and for understanding what the focus of it all had to be. This is not a show for the intellect, but for the heart and the tapping foot.
Even knowing that the show ends with the singular finality of Holly’s story, everyone leaves the performance space bouncing and singing. And sometimes that’s what going to a show is all about. There is no real attempt to hide that this is a tribute rather than a biography, and that’s just fine. At Candlelight Pavilion, the entertainment comes wrapped in a tasty meal and some singularly impressive desserts at intermission. So, leave your burdens at the door, go in, eat, talk, drink, and if the spirit so moves, dance in the aisles.
Sometimes, it really is just about being entertained. Here, you will be.
What: Buddy: The Buddy Holly Story When: Through February 22, doors open for dinner 6 p.m. Fridays and Saturdays in January plus Thursdays, Fridays and Saturdays in February, 5 p.m. Sundays, and 11 a.m. Saturday and Sundays for matinees Where: Candlelight Pavilion Dinner Theater, 455 W. Foothill Blvd. in Claremont How Much: $58-$73 adults, $20 children under 12, inclusive of meal Info: (909) 626-1254 ext. 1 or http://www.candlelightpavilion.com