I mention this because today, just about 27 years after I saw the original production, we went to Cabrillo Music Theatre to see their winter production, “Ain’t Misbehavin’”. I was hoping that it would be a great production — past Cabrillo productions have. After all, it did have a connection with the original cast… Ken Page was serving as the director. But, as Fat’s would say, “One never knows, do one?”
Cabrillo made a valient attempt, and I must say a number of things worked. I was pleased with their casting of “Nell” (yes, in the program they name the characters after the original performers): Melissa Youngblood* is a very powerful singer and performer who brings a lot of talent and enthusiasm to the role. She’s no Nell Carter, but she does have the voice to go with the role. On many of her songs she shone as she should; however, on “At The Waldorf”, she didn’t quite stand out as much as she could have. Her female compatriots were also strong: Pam Trotter* as “Armelia”, and Natalie Wachen as “Charlaine”. Watchen did particularly well with her signature number, “Keepin’ Out Of Mischief Now.” The show doesn’t allow these two to shine as much, but their talent did come through.
The male actors left me less impressed. Anthony Manough* took the Andre De Shields role. I was unsure about him in the beginning, although he did redeem himself on “The Viper Song”. The personality of the character didn’t quite come through, and I don’t think his voice was as strong as it could be. My bigger problem was with the “big” role: Arthur L. Ross as “Ken”. This role is the embodiement of Fats Waller: the personality needs to shine through strong. The singing has to be strong, and in the right key. The songs were originally designed for a deep voice in the role (Ken Page); however, Ross has a higher voice, and a personality that reminds me more of Curly from the Three Stooges. This just didn’t fit the role. He wasn’t bad — per se — the role just could have been cast so much better.
There were other problems. This show needs a strong sound system, especially in the Kavli (which is very, very large). The actors just weren’t mic-ed right, and thus the sound didn’t come across as strong as it could be (which hurt the show). Perhaps the Kavli is just too big a theatre for this show, although both Forever Plaid and Smokey Joes Cafe worked well there. I was also unhappy with the direction, in that I saw too much repetition in the movements (so much it was distracting). The hope was that Ken Page would remember the original direction — perhaps he did and I remembered it better, or perhaps he didn’t.
The show was enjoyable, and the primary reason (other than the female actresses) was the band, which featured Darryl Archibald on Piano, Karryl Tanikawa on Alto Sax and Clarinet, Gary Rautenberg on Tenor Sax and Clarinet, Stan Hernacki on Trumpet, June Satton on Trombone (and having a great time), John R. Smith on Double Bass, and Dave Lotfi on Set Drums.
Technically, the relatively static set by Musical Theatre West was innocuous. The costumes by Christine Gibson were nice (although I didn’t like the hats in the opening of the Waldorf number) and hair and makeup by Paul Hadobas were good. Production Management was by T. Theresa Scarano, with Production Stage Management by the ever present Lindsay Martens. Whoever did their program this time should be shot (with a stage gun, of course): the pages were completely out of order, making it difficult to use.
So, what’s next?
Our next production will probably be “Steel Magnolias” at Rep East (I’m sending in for season tickets this weekend). After that will be “Orson’s Shadow” at the Pasadena Playhouse on February 9. The weekend of March 6-8 we’ll likely see “Grease” at Van Nuys High. March 15 brings “Jekyll & Hyde” at Cabrillo Music Theatre, followed the next day by “Sweeney Todd” at the Ahmanson. That’s our current 1Q08 in theatre, as we know it now.
