Tag Archives: Janeta Jackson

Waiting for Tina, Janis, and Aretha

Review:  Beehive The 60’s Musical

By Perry Tannenbaum

Beehive Dress Rehearsal; July 4th, 2019

Lovers of The Chiffons, The Ronettes, Donna Loren, and Lesley Gore, rejoice! Or if you’ve never heard of The Chiffons and The Ronettes – or you’ve simply despised Lesley Gore for the past 50 years – have a little patience. Beehive The 60’s Musical, Larry Gallagher’s jukebox revue, has wended its way at long last to Halton Theater. The show has kicked around for over three decades since its New York debut at the Village Gate nightclub in 1986 (the show never ran on Broadway) and my Google searches of past productions – and the original cat album on Spotify – testify to a songlist that has been frequently in flux.

Like a jukebox.

I’ve found accounts of the show that report a full two hours of music, compared to the current CPCC Summer Theatre production that clocked in at a shade over 79 minutes plus a 16-minute intermission. Other reports indicate reprises of hits by the Shangri-Las, Shirley Bassey, Petula Clark, Janis Ian, Sonny & Cher, and Brenda Lee. Most of them opt for a different selection of hits by Janis Joplin.

Beehive Dress Rehearsal; July 4th, 2019

But the good news is that while we endure the Beach Blanket Bingo dross of Loren, Gore & Co. throughout Act 1, there are gems we remember from The Shirelles and The Supremes – and the kooky fun of Shirley Ellis’s “The Name Game” – mixed in with the insufferable pap that prevails. And the 40 minutes after intermission are much improved over the 39 before. We reach a Promised Land of singles originated by Dusty Springfield, Mama Cass, and Jefferson Airplane. We sojourn with the likes of Tina Turner, Janis, and Aretha.

Under the lively direction of Tod Kubo, who also choreographs, Beehive sustains the same high level of artistry and polish that lifted Jekyll & Hyde earlier in the CP Summer season. With wig designs from Barbi Van Schaick, hair reached heights you have to expect from Beehive. Costume designers Bob Croghan and Jennifer O’Kelly, held oddly in check at the outset, break free flamboyantly after intermission, especially when Tina and Janis strut the stage.

Beehive Dress Rehearsal; July 4th, 2019

Defying the Halton’s spacious stage, O’Neill’s scenic design strives to simulate a nightclub feel. Conspiring in the scheme, music director Amy Boger Morris and her band camp upstage, often in plain view and often under a funky “Beehive” logo that helps to fill in the vast expanse of drapery above them.

My apologies if you have not realized that Beehive is an all-woman show, sort of the partner to the all-male Forever Plaid, another jukebox revue that never made it to Broadway. The basic difference between the two, besides gender, is that Beehive has lost all pretenses of sporting a plot. Iris DeWitt as Wanda serves intermittently as our emcee, and the only discernable reason why the other women have character names is so they don’t have to look beyond the script when they introduce themselves in “The Name Game” as Pattie, Alison, Laura, Jasmine, and Gina.

They also go out into the audience and pick out more people to play. Got me on Saturday night! Sorry, no photos or recordings were allowed.

DeWitt, who was quite the authority figure in a 2016 production of Pride and Prejudice at CP, turns out to be a powerful vocalist as well, particularly in “Natural Woman,” her segment in the Aretha trilogy. Caryn Crye is no less revelatory as Laura, since I’ve only seen her in dramas before, most memorably at Theatre Charlotte as Mina Harker in Dracula and as Goody Proctor in The Crucible at CP. She’s stretched a little too far in her Janis Joplin trilogy in “Try (Just a Little Bit Harder),” but her “Me and Bobby McGee” – when she sheds her Pearl fur coat and lounges in her Woodstock gladrags – is a definite highlight.

Beehive Dress Rehearsal; July 4th, 2019

Making her Charlotte debut as Alison, Grace Bell doesn’t get much of a taste of Act 2, but she’s definitely a highlight in the early action, singing The Angels’ “My Boyfriend’s Back” and bringing more to Kubo’s choreography than anyone. Bell’s one spotlight after intermission is a dazzler as she shares the stage with Ava Smith on Jeff Airplane’s “Somebody to Love.” If you’ve seen Smith’s high-energy performances at CP as Frenchy in Grease or at Theatre Charlotte as Annette in Saturday Night Fever, expect more of the same now in Beehive, complementing Bell’s Rockstar moves, aggressively engaging with a guy in the front row, and doing a Pattie solo on Dusty Springfield’s “Son of a Preacher Man.” Sadly, she also draws two Lesley Gore clunkers, but that’s showbiz.

After playing second fiddle to Tyler Smith in Ragtime and Show Boat, Brittany Harrington Currie reminds us here that she also appeared in an Andrew Lloyd Webber revue at CP and is quite comfortable in that format. Currie reveals some truly awesome wheels in “Proud Mary” with her Tina Turner vocal and her frenetic moves. Her vocal on The Shirelles’ “Will You Still Love Me Tomorrow” is a bright spot before we descend into Connie Francis, and her “Never Loved a Man (The Way I Loved You)” keeps the Aretha heat smoldering.

Beehive Dress Rehearsal; July 4th, 2019

Coming over to CP after a series of scintillating outings at Children’s Theatre, including Mary Poppins and Three Little Birds, Janeta Jackson flies under the radar for most of the evening, drawing nothing better than The Chiffons’ “One Fine Day” before intermission. We get a better sampling afterwards, when Jackson leads off the Aretha set with “Chain of Fools,” but it wasn’t enough for me.

I could have said the same about the show if it were possible to restore some of the hits that are no longer available with the rights to perform Beehive. Aretha’s “Respect” and “Do Right Woman” from the cast album would top my list of restorations, making it worthwhile to linger longer at Halton Theater, along with Joplin’s “Piece of My Heart” and her “Ball and Chain.” Unerring with their tempos, Morris and her band squeeze more than 30 tunes into the evening. Sometimes that mitigates the irritants, and sometimes that abbreviates the pleasures.

A Jamaican Fantasy With a Reggae Beat

Review: Bob Marley’s Three Little Birds

By Perry Tannenbaum

 

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Reggae lovers and mavens are flocking – I repeat, flocking! – to Bob Marley’s Three Little Birds, an eye-popping, shoulder-dipping new musical at ImaginOn. Studded with golden favorites from the Marley songbook and adapted by Michael J. Bobbitt from a story by the reggae king’s daughter, Cedella Marley, this Children’s Theatre of Charlotte production is all about spreading joy and living life zestfully.

Or it is when Bobbitt can squeeze story elements into the crevices of the 15-number reggaethon – some of which are medleys. Cedella turns up as a character in this story, but action revolves around her son Ziggy, an 11-year-old who spends his days huddled at the TV because he’s scared of hurricanes and an encounter with Duppy, a mischievous, malevolent spirit who preys on children’s hair.

Mixing sternness with genuine concern, Cedella shoos her pouting Ziggy out of the house and attempts to pair him with their next-door neighbor, Nansi, who obviously adores him. She urges him to enjoy life! On an errand to bring back water from the town, Ziggy discovers that there really isn’t a hurricane threat when the sun is shining brightly (or sticking its tongue out), that a kiss from Nansi ain’t so bad, and that he has the necessary courage and cunning to face up to his fears, Duppy in particular.

Along the way, three not-so-little birds offer friendship, guidance, and song to Ziggy – and additional solace to Cedella, since one of these creatures has been haunting Ziggy’s window sill and giving extra meaning to the phrase “dropping by.” Between the hiking, the singing, and the chattering, there are mangoes falling occasionally from a tree that overarches Tim Parati’s fantastical set, reminding us that Duppy and his conjuring powers are on the scene, eyeing Ziggy’s beautiful dreadlocks.

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I’d be able to go in somewhat greater detail were it not for the dad sitting next to me, singing along to nearly all the Marley golden oldies and answering all his adorable anklebiter’s questions, whether she asked them or not. Formality is not the vibe at McColl Family Theater at this show. Opening up interaction between the actors and the audience, director Shondrika Moss-Bouldin has closed off both entrances to the theater at the lobby level, obliging us to enter through the mezzanine.

Avenues between the stage are now so direct and level that a toddler can easily cross over to this Jamaican fantasyland without a challenging climb. One of the ensemble members, in fact, came out and plucked a toddler from the crowd and invited her to join in on the dancing onstage. Other kids in the audience were swept into the dancing spirit, and the thrust configuration of the stage turned a few who were grooving in the front rows into instant dancing-with-the-stars celebs.

Everybody was friendly to the crowd, even Jeremy DeCarlos, our scheming and stealthy Duppy. Considering his haggard bedraggled look – think the old crone in Disney’s Snow White – and his multitudinous dreads, ingratiating himself with the tots was no small feat. The Duppy rig conjured up for DeCarlos was barely the beginning of costume designer Jason Kyle Estrada’s exploits. Lead fowl Doctor Bird’s get-up features an upturned fluorescent green jacket and a complementary hipster cap.

Oh yeah, Doctor Bird also drops some knowledge. B’s erudition includes a narration of Jamaica’s colonial history, obliging all other birds on deck, DeCarlos, and Ericka Ross as Cedella to slip into varied frilly and conquistador outfits. Ross’s role nearly matches Duppy’s for pluminess. We find out as much about Cedella as we do about Ziggy, for she’s supporting the family by selling her tasty Jamaican jerk chicken to tourists – and she’s wise to the charm that can disarm Duppy of his power. Delivering all that flavor and lore, Ross also speaks with the heaviest accent.

Rahsheem Shabazz absolutely slays as Doctor Bird, and his accent is also competitive. While there are many studio and concert recordings of the Marley tunes on the Three Birds playlist, none that I’ve heard so far really match what I heard from Shabazz. Or DeCarlos. Or Ross. Led by music director Charlene Miranda Thomas at the keyboard, the Children’s Theatre versions are livelier and more colorful to my ears. By comparison, Bob’s tempos plod.

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Take that sacrilegious assessment as my assurance that you will not be disappointed with any of the Thomas-led covers. Musically, Garrick Vaughan as Ziggy is a late arrival to the party – demonstrating that, if you’re a central character who quails at the prospect of living, Bob Marley wasn’t the man to write your songs. Vaughan’s mopey role also means that he draws the short straw among Estrada’s splendiferous costumes.

These constraints on Vaughan aren’t because he is really 11 years old. When Bobbitt finally decrees that Ziggy sings, watch out. Vaughan may have the strongest voice in the cast. A lighter, folksier touch would land him more squarely in the reggae groove. As the would-be girlfriend Nansi, Kayla Simone Ferguson is kept busy enough, teasing Ziggy and moonlighting in other guises, but so far, I’m most impressed by her rapport with the kiddies.

Janeta Jackson is an established commodity at Children’s Theatre, having starred – and flown – in last season’s stunning Mary Poppins. She doesn’t get to go full throttle or reach such heights as Tacoomah, our second bird and British colonial, but she reinforces how deep and professional this dazzling production is. Apparently, word has spread swiftly among the Marley faithful. Boogie on!

“Matilda” Is Less Sweet and More Abrasive at ImaginOn

Review:  Matilda The Musical

By Perry Tannenbaum

The time lag between what opens on Broadway and what tours at Belk Theater has narrowed in recent years. Likewise, the gap between when the tour comes through town and when local companies get their hands on Broadway properties has also shrunk. With the arrival of Matilda The Musical at ImaginOn last weekend just two years after it played Belk Theater, it became apparent that CPCC Summer Theatre, Theatre Charlotte, or Children’s Theatre can expect to mount Broadway hits that are just as fresh from their New York runs as the off-Broadway sensations that Actor’s Theatre brings us.

Even with this slimmer interval, I fear that Roald Dahl‘s Matilda isn’t aging gracefully as a children’s story at McColl Family Theatre. It returns a bit awkwardly in a year when children are cruelly and inhumanely seized as pawns to discourage asylum seekers from Latin America. You might feel more comfortable with this story than I did just two days after I’d watched a Supreme Court nominee opt for yelling and indignation as his go-to defenses against credible accusations of sexual assault in sworn testimony on Capitol Hill.

I’m not sure which aspect of the Saturday afternoon performance disturbed me more. Was it director Adam Burke and his star, Tommy Foster, conniving to make the evil Miss Trunchbull more realistic than she had been in 2016; or was it the parents in the audience, bringing their anklebiters to the show and ignoring recommendations that it was suitable for 6-and-up? I was surprised – and slightly reassured – when so many stayed after intermission but not at all shocked when the adults sitting next to us fled.

Foster had some comical tricks up his beefy sleeves as the hammer-throwing harridan, turning a couple of unexpected cartwheels and almost executing a split. But Trunchbull’s implacable cruelty sometimes verged on rabid, when she unveiled all the “chokey” dungeons reserved for misbehaving and disobedient students at her school or when she pulled the ears of one cowering student about a foot away from his head. Neat technical effects, but perhaps too realistic for comfort.

Dahl wrote his Matilda in 1988, a decade before Lemony Snicket’s Series of Unfortunate Events took off – and before some of the edgier “anti” musicals like Urinetown began to invade Broadway. So his macabre sensibility here became more and more in tune with the times. With all its demonic cogs and gears, HannaH Crowell’s set design (fiendishly augmented by Kelly Colburn’s projections) brought home to me how Dahl’s sensibility had morphed during the quarter of a century following Willy Wonka and his iconic chocolate factory. Nothing particularly sweet here.

Matilda Wormwood certainly had more natural talents and gifts than Charlie Bucket, who snagged the lucky ticket to meet Wonka and taste his chocolate wonders. She is a precocious reader, which disgusts her dimwit parents and astounds Miss Honey, her timorous first grade teacher. As a storyteller, she holds the local librarian spellbound. Pitted against the fearsome, sadistic Trunchbull, Matilda turns out to have a combination of psychic and telekinetic powers that bring her victory – wielded with a sly naughtiness.

You need more than Orphan Annie pluck to play this role, and Allie Joseph has it. She nails Matilda’s signature solos, “Naughty” and “When I Grow Up,” and she sparkles in the spotlight – Colburn’s projections going wild behind – telling her four part “Acrobat Story” to Mrs. Phelps, the librarian. There’s a touch a grim determination in Joseph’s naughtiness that nicely counterbalances the added malignity that Foster brings to Trunchbull. Without too much suspension of disbelief, Joseph also passes for a first grader.

Also supplying counterweight to Trunchbull’s regimentation and brutality are Matilda’s other tormentors, her nutball parents. Caleb Sigmon gets to do the heavier comedy lifting as Mr. Wormwood, loudly dressed by costume designer Magda Guichard, victimized by Matilda’s vicious pranks, and cuckolded by his wife. A crooked used car salesman way beyond his depth in attempting to hoodwink Russian mobsters, Matilda’s dad deserves every indignity that comes his way, especially when he tears up his daughter’s library book. Yet Sigmon retains a wonderful energy amid all Dad’s atrocities, vicissitudes and cluelessness.

Wrapped up in her competitive ballroom dancing – and her sleazy partner Rudolpho (the lithe Paul Montagnese) – Matilda’s mom doesn’t realize she’s nine months pregnant with an unwanted second child when Matilda is born. That’s a high level of stupidity to sustain, but Lucianne Hamilton is more than equal to the task as Mrs. Wormwood, particularly when she schools Miss Honey on her philosophy of education.

Absorbing this lecture as well as Miss Trunchbull’s tirade, Miss Honey earns the right to sing “Pathetic” as her signature song, yet Bailey Rose builds Honey’s strength on stoical acceptance and self-awareness, her warmth toward Matilda counting for far more than her passivity. More comical appreciation comes from Janeta Jackson as Mrs. Phelps, the librarian who listens so raptly to Matilda’s acrobat saga.

Dennis Kelly‘s adaptation of Dahl’s novel is admirably intricate and well-crafted, but I find myself less impressed with Tim Minchin‘s music and lyrics, which might be more palatable with the vitality of Annie or the wit of Avenue Q. You still need to listen – carefully – to the cast album to decipher what the kids’ choruses are singing. Whether the older kids are rattling their cages in welcoming the first-graders on their first day or Matilda’s class is celebrating victory over Trunchbull, the music sounds a bit savage, as if Annie and her fellow orphans were on a bad acid trip. The transition from Belk Theater to the smaller McColl seemed to augment the abrasiveness.

Yet some of Matilda’s classmates do distinguish themselves. Calvin Jia-Hao Mar is consistently adorable as Nigel, who spends much of his time cowering or fainting whether or not Trunchbull is persecuting him. Ryan Campos is a more formidable martyr as the heroic Bruce, a young glutton who steals a piece of Trunchbull’s chocolate cake and is forced to eat the whole thing as his punishment. And though I can’t tell you why we’re bothered with Matilda’s best friend Lavender, Jeannie Ware made her charmingly self-important when we returned from intermission.

Children’s Theatre’s “Mary Poppins” Raises the Bar While Flying Its Star

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Review:  Mary Poppins

By Perry Tannenbaum

It’s a strange proposition when you decide to bring Mary Poppins to Children’s Theatre at ImaginOn, Charlotte’s pre-eminent fantasy palace. Yes, it’s Disney, but it shatters the Children’s Theatre norm of 90 minutes or less, running over 145 minutes. And the story of how Mary Poppins turns the Banks family from bitterness to joy is only half about children.

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Mary P is definitely needed to halt the vicious cycle of bad behavior from Jane and Michael, the Banks siblings, who seem to live for the thrill of defying and driving away their nannies. But there are marital issues plaguing George and Winifred Banks at the same time, some of them rooted in Victorian sexism; and their ideas about nannies, parenting, and the primacy of money could use a reset. George’s basic failures of self-examination and communication are ultimately the prime reasons why his family is so dysfunctional.

Although the problems are nicely laid out, neither of the two rehab stories is told cogently. Yet the re-education of Jane and Michael certainly has sensational episodes. Statues come to life at a park, a beggar lady sings a heartfelt ballad, the sibs frolic with a preternaturally long word, they cavort with all of London’s chimney sweeps on top of their roof under a midnight moon, and most importantly, they get to discard their castor oil regimen in favor of a sugary tonic. Surely, these are experiences that all good moms and nannies can give their children, right?

Well, they can at ImaginOn, where Children’s Theatre has raised the bar for spectacular technical derring-do – a bar that, among local theatre companies, has mostly been theirs during my 30 years on the beat. While the “Feed the Birds” street scene might strike you as saccharine, and you might accuse the magical park scenes of silly pandering to the anklebiters in the audience, it’s difficult for children of all ages to resist the enchantment of the darkling rooftop scene, further elevated and charmingly smudged by Ron Chisholm’s choreography.

Even that wonder is eclipsed by the flying effects engineered by ZFX, Inc. The only thing I can compare with Mary’s final voyage at ImaginOn are the flying effects I witnessed in the Broadway production of Spider-Man: Turn Off the Dark. Credit Aimee Hanyzewski’s lighting design for enhancing the wonder.

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Swimming against the current of the kid-friendly storyline, Steven M. Levine and Lisa Schacher do their best to stretch fledgling attention spans when they dominate the actionas the elder Bankses. Poor Winifred gets the impression – like we all do – that George reveres his childhood nanny, since he keeps invoking her as a standard, yet Schacher manages to make Mrs. Banks seem credulous rather than stupid, loving rather than meek.

We like her as much as we despise the perversity of George’s parenting ideas, but the simple intervention of Mary – just showing up at his workplace with his children – seems to be enough of an influence for him to do the right thing. All of George’s contradictions and vacillations may seem to be dubious on paper, but Levine makes them work onstage, merging essential morality with a starchy aloofness.

As we get to know Mary better and better, we realize that Bert, her admirer and confidante, is by far the warmest character in the whole crew. Poppins may be able to furlough some statues from their pedestals, but who can muster all the chimney sweeps in London for a midnight frolic other than good ole Bert? Caleb Ryan Sigmon reminds me that Bert is a slightly mischievous and broadly chameleonic creature more than any actor I’ve seen onstage before. Sigmon is also a practicing magician who serves as the show’s magic consultant, so he definitely holds up that end of the bargain.

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Perhaps because of Jill Bloede’s offstage ministrations as dialect coach, I could believe that Janeta Jackson was channeling Julie Andrews in almost every word and note. We probably perceive Jackson as a starchier Poppins than Andrews because she doesn’t arrive with any Sound of Music baggage. Her elegant serenity is hardly sweet at all, even when she sings her signature “Spoonful of Sugar”: she almost makes a point of not emphasizing the sugar, thereby adding weight to the medicine.

The starchier approach helps us to believe in the nurturing distance she maintains with the Banks kids – whom she claims not to love – and in her fundamental capriciousness. Normally, I’m somewhat aghast when “The Perfect Nanny” punishes Jane and Michael by abandoning them. For abusing a ragdoll? Next thing you know, that beggar lady will be wailing “Feed the Toys.”

Jackson comes the closest I’ve ever seen to making this cruel medicine go down, and she has the highest voice I’ve ever heard singing Mary. That extra range pays extra dividends when Olivia Edge enters the fray as Miss Anderson, Mr. Banks’ fearsome nanny of yore. Not only do Jane and Michael flee in terror from Miss Anderson, so does Papa George!

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Edge’s preternaturally high range, fueling her “Brimstone and Treacle” showstopper, pitted against Jackson’s stratospheric soprano – and her “Spoonful of Sugar” philosophy – makes for a climactic showdown of double-barreled power. Since Edge is also fearsomely large in her frilly, funereal gray-and-black dress (designed by costumer Ryan J. Moller), her disposal is specially delightful, a sadistic mix of the witches we loved in Hansel and Gretel and Wizard of Oz.

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Somehow, director Michael J. Bobbitt gets a Charlotte cast that is stronger than the national tour that blew through here in 2010. Getting their equals from the local talent pool of children, 15-year-old Haley Vogel as Jane and 12-year-old Alex Kim as Michael, not only underscores Bobbit’s discernment and directing skills, it also reaffirms what we’ve come to expect at Children’s Theatre: the ability to attract, excite, and mentor the best young theatre talent in town.

Bratty and lovable is a tough balance to sustain, but Vogel and Kim have just the right energy and verve, with a grasp of their character arcs and an appreciation of how the Banks kids might be helping their dad to get his head straight. Like the original Broadway cast and the national tour, Vogel and Kim share their roles with alternates. If Lydia Farr and Ryan Campos are up to the same standard, you will not be disappointed.