Cabaret Cast Greet Judy Norton

(top photo: left to right, clockwise:

moi, Judy Norton, Annalisa Erickson, Eduardo Enrikez and in front: director extraordinaire Calvin Remsberg)

(middle photo: left to right:
Annalisa Erickson, DG, Josie Yount)

(bottom photo: I congratulate Judy Norton)

see review of the evening below!

Gale Harold Really Gets Into His Role

Gale Harold plays Valentine Xavier (aka Snakeskin) in Tennessee Williams' Orpheus Descending at Theatre Theater. He's a helluvan intense actor. Watch for an upcoming interview on my Interview page and @ http://www.broadwayworld.com/.

review - Orpheus Descending

CRITIC'S PICK

Orpheus Descending

by Tennessee Williams

directed by Lou Pepe

Theatre/Theater

through February 21

Considered one of Tennessee Williams darkest and most complex plays, 1957's Orpheus Descending is rarely produced. In typical Williams style, there is a sexually repressed and desperately lonely 'heroine', a solitary drifter, a loose woman who calls herself a 'benign exhibitionist', a multitude of gossipy, menacing females and a manipulative male townsfolk that exercise an inextricable control over them all. The harsh reality is made more palatable, for some of them, because of an overpowering spirituality that hovers imaginatively, like a bird with a broken wing, that yearns to fly once more. What sets Orpheus Descending apart from other Williams is that the issues represented are on a much bigger scale and their solutions out of reach. Like the Greek myth upon which it is based, with Orpheus and Eurydice, Orpheus Descending paints inescapable doom.

This is a lovely production of the play, directed by Lou Pepe, who permits his actors to explore without limits. Gale Harold as Val Xavier is a beautifully sensitive actor who brings an intense sensuality and quiet restlessness. A caring soul to women's needs, he is still a fugitive whose 'life's companion' remains his guitar. Branded 'a peculiar talker', his ruminations about not finding answers are prophetic, making him somewhat of a visionary as well. On the eve of Easter in Act III, shedding the snakeskin jacket he has worn throughout, he, if I dare to say it, could perhaps symbolize the Christ. Resurrection, new life. There is so much to think about; Williams challenges actors and audience to take it all in. Denise Crosby as Lady Torrance is the malcontented wife, miserable in her surroundings, vengeful and craving sexual attention. Crosby's Italian accent may be weak, but her passion is overflowing. Clear portraits are painted by Claudia Mason as Carol Cutrere, the town's lewd vagrant and by Francesca Casale as Vee Talbot, the visionary painter with bizarre religious/sacrilegious obsessions. Kelly Ebsary and Sheila Shaw make the prattling shrewish neighbors fun to watch, and Geoffrey Wade as Jabe Torrance and Andy Forrest as Sheriff Talbot both give fine portrayals of the domineering husbands.

Most assuredly, many different interpretations will emerge, but one line stays with me "I don't feel safe in this place, but I want to stay." Williams' lyrical contradictions provide some light, even if uncomfortable, at the end of the tunnel of darkness.

You can almost see the cobwebs and mildew in David Mauer's set of the decaying old store, and Jane Anderson's costumes lend period authenticity.

Orpheus Descending will keep you thinking long after you have left the theatre; this is a must-see production!

5 out of 5 stars

review - Carousel

CRITIC’S PICK

Carousel

music by Richard Rodgers/book & lyrics by Oscar Hammerstein II

directed by Michael Michetti/choreographed by Lee Martino

Reprise Theatre Company @ Freud Playhouse, UCLA

through February 7

As I was leaving the Freud Wednesday I heard a patron remark “Good show, but pretty traditional!” I have only one comment for that. So what? Any Rodgers & Hammerstein musical is among the very best there is in the annals of musical theatre history. Tradition is AOK. And that applies most definitely to Reprise’s current fine revival of Carousel.

A fresh perspective? Not really! If you want that, go see Camelot at the Pasadena Playhouse. What director Michael Michetti has achieved is a production, faithful to R & H with a tad more realism than in previous interpretations. The music and story speak volumes. As I sat and watched the lengthy love at first sight “If I Loved You” scene in Act I between Julie Jordan and Billy Bigelow, I marveled at how divinely written it is. The dialogue: “If you loved me, but you don’t!””If I loved you, but I don’t!” The pauses in between are so full. Underneath, there is a passionate love seething, one that transcends time and place. Contradictions make for interesting relationships, but I also noted this time that Julie Jordan is not really that innocent and unsure of herself. Alexandra Silber, reprising her West End portrayal brings out Julie’s differences, putting her on a par with Bigelow. When Mr. Bascomb approaches and offers a chance to save her, she refuses. She knows what she wants. She is a misfit quite like Billy; so, the two are really right and wrong for each other simultaneously. And there’s the rub. Destiny strikes at the very beginning.

This is a glorious musical, much like an opera…and a ballet, and also sandwiched within is a story about living and dying, that is universal and deeply nurtured. Silber is a very real Julie and Robert Patteri equally so as Billy. His "Soliloquy" is not delivered so much as a dynamic musical number but more as an extension of the written monologue in which he is trying desperately to come to terms with his future prospects. A truly great performance! Jane Noseworthy as Carrie Pipperidge is perhaps one of the prettier Carries that I’ve seen, with a lovely voice and quaint sense of humor. And speaking of humor, Andy Taylor is superb as Enoch Snow, Carrie’s stiff yet likeable husband-to-be. Also wonderful are Victoria Strong as Nettie, Tracy Lore as Mrs. Mullin, James Leo Ryan as Jigger and M. Emmet Walsh as the Narrator/Starkeeper. Kimberly Mikesell as Louise and John Todd as the Carnival Boy, who dances with her in Act II’s gorgeous “Ballet”, with sensational choreography from Lee Martino, are richly deserving of note as well.

This is Reprise Theatre Company’s first production of this new season and a terribly worthy one at that. Like the carousel with its shimmering lights, it fills the darkness with a glimmer of hope.

5 out of 5 stars

review - Camelot

CRITIC’S PICK

Camelot

book and lyrics by Alan Jay Lerner

music by Frederick Loewe/choreographed by Mark Esposito

directed by David Lee

Pasadena Playhouse

through February 7

David Lee’s re-envisioning of the classic musical hit Camelot works miraculously on the Pasadena Playhouse mainstage. Cutting the excess makes all the difference.
Trimming the original script, keeping the action flowing in front of one basic scaffold set on a raked stage, also keeping the costuming simple, and reducing the large cast to 8 put the storyline front and center.. and keep emphatic the interactions of the 3 main characters. Camelot is blessed with a beautiful score by Lerner & Loewe, but its main problem has always been its length and too much attention to a bevy of characters that prevent the plot from moving forward at a smooth clean pace. The only female in this production is Guenevere: makes perfect sense, as she’s the principal object of all the knights’ lust. Some songs have been cut and others shifted around, but it’s all grande in the end.

The acting is superb. Shannon Stoeke has the role of his career as Arthur. He is boyish, but stands tall; as a ruler, befuddled but unbelievably wise. His is a performance of truth and strength. Shannon Warne as Guenevere is a treasure. She has a simply beautiful singing voice and as an actress makes Genny’s disloyal actions and pain honest and clear. Doug Carpenter makes a fine Lancelot. A great singer, Carpenter has grown tremendously as an actor since I first saw him in CLOSBC’s Cinderella a couple of years back. Will Bradley is a deliciously wicked Mordred; Andrew Ross Wynn as Sagramore, Zachary Ford as Lionel and Richard R. Segall as Dinadan make the manly knights as fun and pleasant to watch as the Marx Brothers. Seth Daley rounds out the great cast as Tom. When not center stage the actors lurk in the background and change props and set pieces, creating the perfect ensemble.

Tom Buderwitz is to be congratulated once more for a striking set,
Maggie Morgan as well for her ageless costumes, Mark Esposito for his colorful choreography, especially in “The Lusty Month of May” and David Lee, master director for his unique vision and staging.

What a rare experience for this new production to be, in its own special way, as memorable as the original. Whereas the original, in spite of its length, had elegance, sophistication and charm, this thoroughly fresh Camelot allows the themes of harmony and peace to echo resplendently.

5 out of 5 stars

review - The City

RECOMMENDED
The City/ written by Clyde Fitch/ adapted and directed by Stan Mazin /Group rep @ Lonny Chapman Theatre/ through February 28

Night-time TV soaps like Dynasty, Dallas, Knots Landing and more recently Dirty Sexy Money explored the universal issues of greed and infidelity and their devastating effects on the family unit. In Clyde Fitch’s The City, written nearly 100 years ago, the well-to-do and highly respected political Rand family move from the suburbs of Middlebrook to New York City, experiencing a windfall of corruptions. The City is overly melodramatic by today’s standards.

The words “the city” get repeated prophetically over and over in Act I: for the son it signals all-out redemption, for the father doom akin to the plague. Of course, all the evils foreseen in the first act come to fruition in Act II, but there’ s a much more recognizable reality setting in, one reminiscent of politically powerful families like the Kennedys whose intense deviousness led to popular acclaim. Senseless tragedy, at first seeming unbearable, ironically brings about a newfound, deeply felt … and admirable integrity. Right versus wrong in just about any form serve up good drama. Sugary coated unrealistic ending? Maybe, but still savory!

I would prefer to see the play performed in original period clothing circa 1900, as written. It’s fun to bear witness to human flaws as they existed long before we ever dreamed that they did. Take Anton Chekhov: we see ourselves in practically every character. It’s the same with Fitch. Played in its proper time period, the message would echo louder. But… utilizing an updated structure, I must commend GRT for its boldness and Stan Mazin’s brave attempt to make the play’s message reverberate in the here and now. What work best are the emotional confrontations between the siblings…timeless feelings of endearment that create familiar and unchanging dramatic consequences.

Mazin’s direction is vibrant, giving the actors free range to fully let loose with their explosive moments. Heading the outstanding cast is Hector Hank as George Rand, Junior. Hank lends conviction, truth and utter believability to this complex man, trying to maintain a sense of balance between his father’s unreasonable wishes and his own mixed-up take on morality. Glenn B. Collins as Hannock is equally dynamic as the surprise element in the family business. Their major confrontation in Act II just sizzles. Bix Barnaba as family lawyer Bert Vorhees lights up the stage with his entrance. A wonderfully resourceful actor, Barnaba goes that extra mile to engage us. All the females are riveting especially Melissa Soso as Eleanor. Soso has that rare quality like Meryl Streep that makes her stand apart from the rest, in both look and depth of character. Fun and absorbing are Trisha Hershberger as the perky Megan, Jaclyn Marfuggi as the put-upon Teresa, who wants her cake and to eat it too, Kady Douglas as the overly attentive Mrs. Rand, although a bit too Edith Bunker at first glimpse. Diana Martin’s quirky deadpan as the undyingly dutiful secretary Susan is a delight.

Set design by Trefoni Michael Rizzi is in just the right key, distinguishing the elegant and comfortable surroundings of the Middlebrook library from the colder, more sterile New York one.

There is much to be said for adapting a minor classic to a contemporary setting. Things change so quickly now that what is new today will be dated tomorrow. But, in this particular case, with Stan Mazin’s meticulous skill with dialogue and cultural alterations, the play speaks quite well. Times have changed, but human behavior has not.

And thanks to new artistic director Ernest Figueroa, the Group rep is on the rise to its former glory.

4 out of 5 stars

review - Ray Bradbury's Wisdom 2116

CRITIC'S PICK

Ray Bradbury's Wisdom 2116

Fremont Centre Theatre

Pasadena

through February 27

A Commander of the Order of Arts and Letters (France’s highest literary honor) since 2007, Ray Bradbury is perhaps the best living short story writer. He has also written novels, plays and musicals. In fact, some 55 years ago, in honor of his dear friends actors Charles Laughton and wife Elsa Lanchester, he penned the sci-fi piece, now titled, Wisdom 2116 for them to perform on stage. But both passed away before having the opportunity to mount it. Now resurrected after all these years, it echoes a sweetness unlike any other and because of a richly talented creative team Wisdom 2116 becomes the most endearing, artful entry into Bradbury’s theatrical collection. Not all of his stories play well as theatre; this one assuredly does.

The message is clear and simple. A couple married for over 40 years cannot bear to think of the loneliness that will ensue after a partner’s death. One Christmas, they decide on most unusual but loving gifts. Each, without the other’s knowledge, commissions the village Marionette maker to fashion a youthful Robotic machine that will serve the function of a husband/wife. Alas, the overly energetic and over-zealous young do not make a perfect match for the old, and when they meet they quickly realize the disastrous consequences that will come of living together. The older couple accept their folly and out of complete love for one another resolve to make the most of the time that remains to them both.

In this musical version, Bradbury has fashioned the lyrics from his poetic words and John Hoke has created a hauntingly beautiful score to envelop them. The evening is more performance piece than play, like a European pantomime or ballet. Emerging from a trunk, six dancers, along with the main characters, entrance us with their harmonious moves. Director Josephson, David Stoneman, Rob Harryman, Lisa Morrice, Jesse McClean, Andrew Ruesch, Anthony Scarano, Sarah Mann, Christine Reese, Shanti Harter, Samantha Marcella, and Monica Thibodeaux blend magically together.

Lighting design by Stuart A. Fabel, set by J. W. Layne, costumes by Sarah Schuessler add lush touches and enhance the richness of Bradbury’s message. We feel it all the more.

The perfect Valentine’s Day evening. Bring someone you love!

5 out of 5 stars

CABARET review - Judy Norton @ Sterling's

This is my first cabaret review for 2010, not counting the finale for LA's Next Great Stage Star 2010 held at Sterling's Upstairs @ Vitello's earlier this month on January 3. I must admit, I have yet to be disappointed @ Sterling's with the service or with the cabaret artist being showcased. Proving no exception, An Evening with Judy Norton on Sunday, January 31 was a stellar show with a true night club star.

Norton, best known for her 9 years as daughter Mary Ellen and sister of John Boy on TV's The Waltons, is a versatile singer with a terrific range...and a warm and engaging performer. Gifted and experienced, she is not nervous or phrenetic, making excuses for herself or forgetting her words...no, none of that; Norton is a consummate artist whose selection of songs were guaranteed to entertain her appreciative theatrical audience, which they did in spades. No big ego here; Norton makes you feel right at home. She made her way to the stage with "I'm a Stranger Here Myself" and once there, followed through with a series of tunes that highlighted her career: "Born in a Trunk", "As If We Never Said Goodbye" from Sunset Boulevard, "Big Time" (with her first job, a Hostess Twinkie commercial). She bookmarked her Waltons success with "How Lucky Can You Get", as she sat center stage, pulling black gloves and 3 or 4 strings of pearls from her purse, and putting them on, enacting just how glamorous she felt working in the big time. That time of her life came to an end, of course, and with her next 2 numbers "Everybody Wants To Do a Musical" and "Sun In the Morning" she removed the gloves and jewelry, showing, by comparison, the insecurity of a life in the theatre.

There followed a seductive stroll into the audience for a sexy "My Heart Belongs to Daddy" and, the piece de resistance, a duet with Eduardo Enrikez, who played the MC in Cabaret which Norton directed for Music Theatre of Los Angeles. Telling a story about a teenage crush she had on an actor who played Lancelot in a production of Camelot, she bemoaned the loss of young love in her hectic life. Enrikez shouted out his intentions from the audience and bolted onstage to join her in "Song That Goes Like This", proving just how egomaniacal Lancelots can be. Remember "C'est Moi"? It was a delicious moment for both artists, as Norton pretended to be annoyed by Enrikez' stealing the spotlight.

Other highlights of the 70 minute set included a a snappy "Le Jazz Hot", a fabulous rendition of "Stompin' at the Savoy" and a deeply felt medley of love tunes: "What Is This Thing Called Love", "Where Do You Start" and "Love Is Only Love". Her encore of "There's No Business Like Show Business" kind of sums up Judy Norton's life as actress, singer, director, and writer. She's one happy gal who's done it all in this biz and has surely ended up the better for it, a balanced and contented woman. Norton's a dynamic performer with charm, a great instrument and a lot of love to give. Great theatrical direction from vocal coach Calvin Remsberg and musical director Ed Martel superb at the piano.

Norton's new musical Ataria co-composed with Raven Kane remains close to her heart. Judging by the song "Paintings", cut from the show and which she sang as another encore, the show will be a winner!

Visit her at http://www.judynorton.com/