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Posts Tagged ‘judy garland’

Songs for Nobodies
by Joanna Murray-Smith
Directed by Pamela Hunt
Max & Louie Productions
January 24, 2020

Debby Lennon
Photo by John Lamb
Max & Louie Productions

Max & Louie Productions has had a lot of success with Debby Lennon front and center, and their latest production is no different. Songs For Nobodies is a one-woman show featuring the stories of five “ordinary” women and their encounters with five legendary performers of the 20th Century, featuring a variety of musical styles from classic pop standards, to country, to jazz, to classical. It seems an ideal vehicle for the talented, vocally versatile Lennon, and she and the show do not disappoint.

This isn’t one story, but five, highlighting the larger-than-life talents of legendary singers Judy Garland, Patsy Cline, Edith Piaf, Billie Holiday, and Maria Callas, as told from the points of view of five different women who had memorable meetings with one of the five. There’s restroom attendant Beatrice Ethel Appleton, who encounters Garland while on the job at a swanky New York hotel and receives some comfort and advice in a difficult time. There’s also Pearl Avalon, whose meeting with Cline (at what would turn out to be the singer’s last performance) inspired her future career as a backup singer for some of country music’s greatest stars. We also meet Edie Delamotte, an English librarian who remembers her father’s fateful meeting with Piaf during World War II, as well as Too Junior Jones, an ambitious New York reporter who gets an interview with Holiday. Finally, Irish nanny Orla McDonagh recounts her run-in with Callas–and Aristotle Onassis–on a luxury yacht. The overall point seems to be highlighting the music of the famous singers, while also showing their impact on “everyday” women in more “mundane” non-celebrity positions, while also in its own way showing the humanity of iconic figures who are often remembered more by their public image. So, while some of these women may be “nobodies” and some are world-renowned, the underlying point is that everyone is somebody.

The one-woman show nature of this piece makes casting a crucial matter, and Max & Louie’s creative team have chosen their “go-to” MVP, Lennon, for this challenging task. The choice is unsurprising considering Lennon’s already proven talent, both in terms of acting and her remarkable voice. She gets a chance to show off all of her considerable skills here, from giving us unique characterizations of all of the “ordinary women” that require her to employ several different accents and play different ages, to getting to perform a “greatest hits” array of songs associated with the five legendary singers–such as “Come Rain or Come Shine” for Garland, “Crazy” for Cline, “Non, Je Regrette Rien” for Piaf, “Strange Fruit” for Holiday, and Puccini’s “Vissi d’arte” for Callas. This is an impressively wide range of styles, and Lennon delivers each song with remarkable versatility.  Overall, each segment has its own humor, drama, and poignancy, although for me the standout was the Piaf segment, both for Lennon’s uncannily accurate singing and for the power of the story itself.

Technically, the show is remarkable in its stylish simplicity. There are no costume or makeup changes, and Lennon–outfitted by costume designer Dorothy Jones in a simple black dress–relies on the strength of her own acting to show the changes in characters, with occasional use of accessories such as scarf and sunglasses for Callas, a glass of whiskey for Holiday, a black shawl for Piaf. Dunsi Dai’s elegant set, Kevin Bowman’s projections, and Stellie Siteman’s props contribute much to the mood, as well. There’s also excellent atmospheric work from lighting designer Tony Anselmo, proficient sound from Phillip Evans, and an excellent musical ensemble led by music director and pianist Nicolas Valdez and featuring Jake Stergos on bass and Keith Bowman on percussion.

Songs for Nobodies is a “showcase” kind of show, for its iconic celebrity subjects, for their “ordinary counterparts” and, especially because of its structure, for the show’s featured star. Here, Debby Lennon gets to remind audiences of her memorable talents, and Max & Louie Productions gets to produce another remarkable performance. If you love these artists and their music, and especially if you love to experience the power of live performance, this is a show to see, and hear.

 

Debby Lennon
Photo by John Lamb
Max & Louie Productions

Max & Louie Productions is presenting Songs for Nobodies at the Kranzberg Theatre until February 2, 2020

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End of the Rainbow
by Peter Quilter
Directed by David New
Max & Louie Productions
June 22, 2018

Angela Ingersoll
Photo by John Lamb
Max & Louie Productions

Judy Garland. She’s a legend, no question. She’s famous for her extraordinary voice, her film roles, and her turbulent life. In End of the Rainbow, the latest show from Max & Louie Productions, the focus is on Garland at the end of her too-short life. This play is also an excellent opportunity for the showcasing of two remarkable talents–the legendary Garland, of course, and also the wonderful performer who portrays her, Angela Ingersoll.

The Judy Garland we see in End of the Rainbow isn’t the star in her prime. Peter Quilter’s play focuses on a dramtatized and semi-fictionalized account of a six-week period of Garland’s life when she did a series of concerts at the “Talk of the Town” nightclub in London, portraying the famous performer near the end of her life. This Judy Garland is tired, in debt, addicted to alcohol and various prescription drugs, and engaged to the man who will become her fifth husband, Mickey Deans (Kyle Hatley). In this story, as Garland and Deans arrive at a luxurious hotel suite that Garland proclaims “too small”, they are surprised by Anthony (Thomas Conroy), a British pianist who has worked with Garland before, but not recently. Still, he reveres her, even being familiar with her flaws as well as her still obvious talent. That great big voice is there, as is Garland’s sense of stage presence and audience rapport, but that rapport is challenged by Garland’s increasingly erratic behavior. Through the course of the play, we see Garland’s talent as well as her struggles, as well as a sort of battle between two men who try to show their love for her in different, and sometimes less than helpful, ways.

This is a tour-de-force kind of show. The role of Judy Garland is a demanding one, both in terms of talent and of energy. I’ve seen the Olivier and Tony Award nominated Tracie Bennett play the role impressively in London, and now this challenging, intense role is taken by Angela Ingersoll, who is every bit as impressive, if not more so. Ingersoll has the vocal stylings as close as I can imagine to Garland’s on hits like “Just In Time”, “Come Rain or Come Shine”, “The Man That Got Away”, “The Trolley Song”, and of course the iconic “Over the Rainbow”. She’s also got an explosive kind of energy, able to portray Garland in this era at her worst, as well as her best, allowing a youthful glow to shine through in a poignant scene in which Conroy’s caring and nigh-worshipful Anthony does her makeup before a show. Her chemistry is strong with the excellent, likable Conroy, and also with Hatley, memorable as the enigmatic, sometimes forceful, sometimes capitulating Deans. Paul Cereghino is also strong in a trio of roles–as a bewildered BBC radio presenter, a weary hotel porter, and an overworked assistant stage manager at the club.

The look and atmosphere of 1960s London is represented well in Dunsi Dai’s sumptuous, versatile set. It’s essentially just the well-apppointed hotel room, but part of the back wall opens up to reveal a backing band during the concert scenes, and additional furniture is added for a few scenes in various other locations. Patrick Huber’s lighting is stunning, accentuating the mood in the hotel scenes as well as the glitzy performance scenes. There are also appropriately suited period costumes by Bill Morey and Teresa Doggett. Garland’s glamourous concert outfits are especially memorable. The concert-within-a-play format is well-served by the excellent band and music direction by Conroy.

During the conclusion of End of the Rainbow, I realized that the day I saw the show, June 22, was the 49th anniversary of Judy Garland’s death. This play, while showing the performer at rock bottom but with glimmers of her earlier glory, may seem like an unusual memorial. It does have its moments of melodrama, but it’s the performances that make this show, and particularly Ingersoll’s seemingly boundless energy and evocation of the spirit of the legendary Garland. It’s a performance not to be missed.

Thomas Conroy, Angela Ingersoll, Kyle Hatley
Photo by John Lamb
Max & Louie Productions

Max & Louie Productions is presenting End of the Rainbow at the Grandel Theatre until July 1, 2018

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