Well, it’s back. Last night, we went to the revisal of “Can-Can” at the Pasadena Playhouse (pasadenaplayhse). This show has been extensively revised by Joel Fields and David Lee, with permission of the Burrows family and the Cole Porter estate. Unlike other revivals (or the poor movie adaption), this revisal does not add any songs not written expressly for Can-Can by Porter, and retains all the characters of the original story, and the underlying original premise. Other than that, about 80% of the book was rewritten to make the show work.
So, with all of this, we have to start with the book. The original version of Can-Can opened in the courtroom, where the girls were on trial for doing the scandelous special “Can-Can” (special means “no underwear”). It tells the tale of La Mome Pistache who is upset about the investigation of her Bal Du Paradis, where the major attraction is the Can-Can. She tries to seduce the highly moral investigating judge Aristide Forestier. The two eventually fall in love and when her case comes to trial, Aristide takes over the defence and wins the acquittal. There is a complicated subplot about one of the dancers Claudine and the artist she supports, Boris Adzinidzinadze, who need to impress the art critic Hilaire Jussac, which includes a swordfight between Jussac and Adzinidzinadze. But it really is a poor plot.
The revisal turns this all on its heels. In this product, we open in the Bal du Paradis where we meet Pastiche, the dancers, Claudine, and Boris and his artist friends. Unfortunately, the police are there that night and after the girls dance the Quadrille, they are all arrested. However, the case is dismissed because the cops and most of the judges were paid off. The new judge, Aristide, however wants the club closed down, so he goes there to witness the dancing himself. When he arrives, he is recognized by Pistache as her former beau from her past, and she tries to rekindle the love. The judge won’t have anything to do with it, and goes to the show. Also in the audience that night is Hilare, an influential art critic, who wants to see the special “Can-Can”. Hilare has already gained the attentions of Claudine, who is accomodating him to get Boris a good writeup. When the special “Can-Can” is done, the club is closed… but Hilare bails everyone out and decides to hold his special ball there. After a number of machinations (too complicated to summarize), the love of Paris wins out: Aristide ends up with Pistache, Boris ends up with Claudine, and Hilare ends up with nothing.
This revised book significantly improves the story, but it is still a typical 1950s musical. It is much more melodramatic and improbable; it doesn’t have the depth of today’s stories. But as a rework of a period piece, it is great. There are many musicals with great scores and problematic books (one of the best known is “Mack and Mabel”) that you rarely see — it is nice to see this one back. But it is what it is, and you don’t go for the book: you go for the wonderful Cole Porter music and delightful acting and dancing. And the Pasadena Playhouse cast? Ohh-la-la!
The cast stars Michelle Duffy as Pistache, our favorite Kevin Earley (official site) as Aristide, David Engel as Hilaire, Amir Talai as Boris, and Yvette Tucker as Claudine. At this point, a few observations on the leads. First and foremost: Kevin was great! His singing, dancing, humor, and fencing were delightful in this show — this young man has so many talents we hope to see him again and again (and it is recognized elsewhere–the actor Michael Lerner, who was sitting two seats down from us, commented on how Kevin should be a lead on Broadway). Michelle Duffy was delightful as Pistache: she had a great humor and played well with the audience, and well as having a wonderful singing voice. Yvette Tucker had less time onstage as Claudine, but was a breakout dancer and actress (this was the role that made Gwen Verdon). She played well off of Talai, who showed great comic chops in the traditional comic lead role (Hans Conreid in the original). David Engel was a strong singer and swordfighter as Hilare.
Returning to the rest of this large and talented cast. Other cast membersw included Jeffrey Landman (Hercule), Justin Robertson (Etienne), Robert Yacko (Le Petomane), Shell Bauman (Ensemble/Dance Captain), Andrea Beasom (Ensemble), Bonne Bentley (Ensemble), Robert Alan Clink (President/Ensemble), Seth Hampton (Ensemble), Alaine Kashian (Celestine/Ensemble), Jeanine Meyer (Ensemble), Alison Mixon (Ensemble), Justin Roller (Ensemble), Joe Schenck (Ensemble), Jonathan Sharp (Ensemble), Leslie Stevens (Ensemble), Rocklin Thompson (Ensemble), and Rebecca Whitehurst (Ensemble). The cast, overall, is one that had fun with this show and with each other, and drew energy from the audience, making the show even more delightful. The entire group were strong in their singing and their dancing skills, and this was such a high energy show you couldn’t avoid walking out of the theatre with that glow of enjoyment.
Turning to the production staff we haven’t mentioned… the show was directed by David Lee, with strong choreography by Patti Colombo assisted by John Charron. I was amazed at how athletic and precise the choreography was… a few missteps or catches and there would have been serious injuries. Musical direction was by Steve Orich assisted by Sam Kriger, who conducted a fine orchestra and had a few great comic bits of their own. Scenic design was by Roy Christopher, who had the set done up as a Tolouse Latrec painting which set the mood. Costumes were by Randy Gardell, Lighting by Michael Gilliam, Sound by Francois Bergeron, Video by Austin Switzer, and Fight Coordination by Tim Weske (Hollywood’s premier sword choreographer). Casting was by Michael Donovan, with stage management by Jill Gold assisted by Lea Chazin.
I only had one complaint with the show: they had LCD screens set up on the top of the balcony to show the conductor to the actors, as the conductor was onstage behind the actors. These screens were too bright, and often distracting to the other lighting.
“Can-Can” continues at the Pasadena Playhouse until August 8 (it was extended a few days). The show appears to be popular; tickets may be hard to get.
After the show, we did something unusual for us and waited to say “Hi” to Kevin as he came out. He really is one of our favorites on the stage; thanks to shutterbug93 for introducing us to him and his talent. Now Karen wants his CD, for his voice really shone in this show.
All together now…
I love Paris in the fall.
I love Paris in the winter when it drizzles,
I love Paris in the summer when it sizzles.
I love Paris every moment,
every moment of the year.
I love Paris, why, oh why do I love Paris?
Because my love is near.
Dining Notes: Dinner was had at one of our traditional haunts, Sachi Sushi in Pasadena, walking distance to the playhouse. For those of you who are vegan, note that they also have vegan sushi.
So, what’s coming up on our theatre calendar? Next up is “Beauty and the Beast” at Cabrillo Music Theatre on 8/4 @ 2:00pm; the DCI 2007 World Championship Finals in Pasadena on 8/11 @ 5:00pm; “Avenue Q” at the Ahmanson on 9/15 @ 2:00pm; and “Matter of Honor” at the Pasadena Playhouse on 9/22 @ 8:00pm. We’re also planning on going to the Hollywood Bowl for Big Bad Voodoo Daddy on either 8/24 or 25.
