THE BASICS: Peter Quilter’s END OF THE RAINBOW, directed by Lisa Ludwig, not a musical, but rather a play with 10 musical excerpts, runs Thursdays and Fridays at 7:30 p.m., Saturdays at 3:30 p.m. and 7:30 p.m., and Sundays at 2:00 p.m. through Sunday, January 31, 2016 at the Kavinoky Theatre on the D’Youville College Campus 320 Porter Avenue Buffalo, NY 14201 (716) 829-7668. The theater is in the campus building on the corner of Porter and Prospect Avenues and there is plenty of free, security-monitored parking available in the D’Youville College Lot A behind The Kavinoky Theatre, off of Fargo Avenue. An elevator is available for easier access. Run time approximately 2 hours with one 15 minute intermission. Beer, wine, cookies and fruit and cheese plates available.
THUMBNAIL SKETCH: After being fired by MGM in 1950, then 28 year old Judy Garland reinvented herself as a live performer and was a superstar. She was a great singer, but, in truth, part of her appeal was the question of “will she show up and if she does, what shape will she be in?” Six months before her death at age 47, in January, 1969, Garland was booked to sing for five weeks at a London dinner theater called “Talk of the Town.” It was a trainwreck. That’s where the play starts. END OF THE RAINBOW depicts Garland with her fiancé/manager Mickey Deans encouraging her to “go on with the show” as Garland is fueled by drugs and alcohol which eventually catch up with her. Her longtime pianist, Anthony Chapman, who is gay, is more sympathetic to her situation, and encourages her to quit showbiz. There are three principals – Garland, Deans, and Chapman – one utility player, and a four-piece jazz combo. Most of the action takes place in the living room of a Suite at the Ritz but the stage is cleverly lit to become a dinner theater for the musical numbers (“Can’t Give You Anything but Love,” “Come Rain or Come Shine,” etc.).
THE PLAYERS, THE PLAY, AND THE PRODUCTION
Natasha Drena reprises her role as Judy Garland (she’s done END twice before) and has certainly “gone to school” learning the mannerisms, right down to the shape of her mouth as she sings. Some commented on the fact that Judy Garland was only 4-11 while Drena is over five and a half feet tall. Perhaps a smaller actor could have more easily portrayed the vulnerable side of Garland, but in the second act, when Drena appears in a pant suit, she was completely convincing as Garland (costumes by Benjamin Streeter Clothing Design).
Greg Gjurich plays the role of “exasperated, still catty, but now world-weary, middle aged, gay man” better than anyone, period. He was perfect as Michael Minetti in SIX DANCE LESSONS IN SIX WEEKS, he nailed the role of Malvolio (not necessarily gay, but everthing else fits) in TWELFTH NIGHT, and he is perfect as Anthony Chapman, the pianist. Every gesture, phrase, is consistent, and he is completely believable as the pianist. Well done.
Chris Hatch, most recently seen as Duke Orsino in Shakespeare in Delaware Park’s TWELFTH NIGHT, gave a rather monolithic performance, abeit in a very difficult situation, being simultaneously Garland’s fiancé and manager and the “nurse/handler” of an entertainment star who is in the final throes of a multiple addictions. In real life, any one of those roles would be fraught with peril. Perhaps the problem is in the writing. Still, I think with better direction, he could have changed as he inhabited each role. Instead, he always seemed just pissed off.
David Lundy, most recently seen as the elder psychiatrist in HARVEY, is the utility player, providing minor roles (Ritz bellhop, for example) as needed. It’s a thankless job, and he does it well.
The music is tight and we get great performances from Griffin Kramer, piano, Jim Runfola, winds, Dave Sigfried, bass, and Peggy Scalzo, drums.
Special kudos go to Brian Cavanagh for Lighting Design working in concert with David King’s Set Design. Most of the play action takes place in the living room of a suite in the Ritz, but then the stage goes black, the proscenium arch lights up, and what appeared to be a solid wall of a hotel suite, is back lit to reveal the four-person combo. Suddenly we’re in the audience at the Talk of the Town in London! Theater magic, and very effective in showing us the “two Judys” – the on stage star belting out the Great American Songbook and the pathetic addict behind the star curled up on the couch.
My only cavil is with the direction by Lisa Ludwig. Things start at a very high volume and rudeness level and have nowhere to go. When we first encounter Judy Garland she is selfish and self-centered to the extreme. If Mickey Deans is her fiancé, well there is not a glimmer of attraction between these two. The Bickersons works because they are an old married couple. Garland and Deans haven’t even married and they’re sick of each other. Sure, there are the ups and downs of active addiction, and those are shown in the plot where Judy can be less awful just before she really goes around the bend, but in general, it’s an all-out, in-your-face evening from start to finish.
*HERD OF BUFFALO (Notes on the Rating System)
ONE BUFFALO: This means trouble. A dreadful play, a highly flawed production, or both. Unless there is some really compelling reason for you to attend (i.e. you are the parent of someone who is in it), give this show a wide berth.
TWO BUFFALOS: Passable, but no great shakes. Either the production is pretty far off base, or the play itself is problematic. Unless you are the sort of person who’s happy just going to the theater, you might look around for something else.
THREE BUFFALOS: I still have my issues, but this is a pretty darn good night at the theater. If you don’t go in with huge expectations, you will probably be pleased.
FOUR BUFFALOS: Both the production and the play are of high caliber. If the genre/content are up your alley, I would make a real effort to attend.
FIVE BUFFALOS: Truly superb–a rare rating. Comedies that leave you weak with laughter, dramas that really touch the heart. Provided that this is the kind of show you like, you’d be a fool to miss it!