What happens when you get a group of our most talented local divas together in a musical that’s notorious for skewering the very genre that made their name? You get a mind-blowing explosion of show-stopper applause moments, that’s what, in a show that couldn’t get any better if it tried.
Most of the highly experienced, award-winning actors that Island City Stage’s artistic director Andy Rogow assembled for his 14th season opener, RUTHLESS! The Musical, have performed together before. So they’re old hats at tapping into extra creative energy from one another. And I could sense them having the time of their lives when they let it all rip – reaching for a personal vocal best when they burst into song. Winning still more “energy” and applause from their audience.
Ironically, our actors’ glowing performance, and audience enthusiasm, can also be seen as confirmation of their show’s dark premise – that being idolized onstage is worth killing for! The musical’s satirical view of theater life and traditions is also loaded with camp, sharp social comedy, and parody featuring in-the-know allusions to famous movies and shows. It’s a longtime favorite of Andy Rogow, who served as the ideal, experienced director (in general) and for having produced an award-winning production of “Ruthless!” when he was artistic director of Hollywood Playhouse back in 2002.
Rogow’s been a “Ruthless!” fan ever since seeing its off-Broadway debut in the 1990s. “I didn’t stop laughing the entire evening. I have loved the show ever since,” he says. (Rogow was in good company – the musical, with book & lyrics by Joel Paley and music by Marvin Laird – ran for 342 performances and won 1993’s Outer Critics Circle Award for Best Off-Broadway Musical.)
Rogow describes the show as “a mashup of ‘The Bad Seed,’ ‘All About Eve’ and ‘Gypsy.’” I found echoes of “Mame,” which is mentioned in the script, as well, among a parade of one-liners that will jolt you to laughter and/or recognition. (Don’t worry if you don’t get all the theatrical nuances, there’s enough parody about “lead” obsessed actors, stage moms, child star groomers, nasty theater critics, and 1950’s housewife domesticity (or what’s come back to bite us as “tradwives”) to keep you rolling in your seats with laughter.)
In the program’s note “From the Artistic Director,” Rogow decided to highlight resident scenic and lighting designer Ardean Landhuis for his engineering skill in creating “a massive set, our most complicated one yet.” The impressive result (constructed by MNM Theatre Co./JB Green & Jordan Armstrong) showcases a flowery pink fantasy of upscale 1950s suburban living for Act One, followed by a mid-century-modern penthouse suite with skyscraper window views, in Act Two. In my book, sturdy, real furnishings (with props by Michael Madigan) beat projection short cuts, any day. And, of course, this type of set was typical for its time.
As was the delightful variety of period costumes that were not only chosen by Island City’s costume designer W. Emil White, but also personally assembled by his hand. No wonder everyone’s outfit (topped by wigs by Bonnie DuBeck and Britt Steele) fit like a glove! Keeping music, vocals and dance in sync were popular, experienced Eric Alsford, for musical direction, and choreography by Alex Jorth. They were backed by David Hart’s sound design, Julie Jacobs on drums, and stage manager Richard Weinstock, who with director Rogow, kept all the fast-evolving action at a perfect musical and comedy beat for this perfectly outrageous and outrageously perfect musical comedy.
The show opens with star Lindsey Corey playing Judy Denmark, but more importantly “Tina’s Mother” as her opening song proclaims when she answers her pink phone which keeps ringing off the hook with invitations for her in-demand daughter. Dressed in a frilly apron over a fitted pink-plaid top and swirly floral skirt (I shudder to think I wore a similar little bow in my bouffant hairdo for eighth-grade graduation), she comes across as a totally daughter-obsessed, ditsy mom. Singing, “I could have been an office girl or a teacher …but I’m proud to be what I am, Tina’s mother.”
When asked about Tina’s dad, who obviously supports them well, she hasn’t a clue where he is (he’s gone for weeks on end, and wonders why Tina’s concerned, telling her, “You just saw dad six weeks ago!”). She also has no idea what her husband does for a living and doesn’t care. Island City Stage had the clever idea of handing the role of Tina’s dad, who makes a brief doorway appearance at the end of the show, to a different company supporter at each performance. (I enjoyed seeing Dennis Dean, the affable executive director of Arts United, in the guest cameo slot last Sunday.)
When precocious, pigtailed eight-year-old Tina makes her splashy song-and-dance entrance with “Born to Entertain,” we can see why people are drawn to this ebullient child, played with spunk and talent by nine-year-old local, Daisy Tanner. Tanner first appeared onstage as a three-month-old, and has accrued quite the resume since. I’m sure there’s a lot Daisy relates to in Tina’s passion to perform and “be the lead,” and I’m hopeful she has a sharper mom than Judy to keep her grounded and nice.
The musical’s first off-Broadway Tina was also played by a nine-year-old, Laura Bell Bundy, whose mother started her young. Laura went on to become an accomplished actress and country music star. I wouldn’t be surprised if our little diva Daisy Tanner follows in her footsteps.
Back to our story. Tina’s mom Judy, while aware of her talent, insists that Tina enjoy a “normal” childhood, and put off acting obsessions till after she graduates high school and acquires typical job skills for women of her time. But stubborn, starry-eyed Tina will have none of that, declaring, “I’ve had a normal childhood, it’s time to move on.”
Her stage ambitions are fully supported by an unexpected older visitor, a former actress who’d seen her perform, and decided she was uniquely qualified to be the child’s coach and agent … and make her a star! Judy is no match for the tenacious ambitions of sleazy talent agent Sylvia St. Croix, played with delectable perfection by Michael Ursua. Who I confess startled me with his singing prowess (though he, too, has quite the resume) as I’d spent the past three years lauding his award-winning achievements as musical director and artistic director at LPAC.
Other than at the opening show, Sylvia’s role has traditionally been played by a male – the only one in this all-female cast. So, naturally, Island City chose to do so. Though I must add: if I hadn’t read the program, I’d never know Sylvia was played by a “man in ladies’ clothing” as there’s no drag element involved – Ursua simply embodies his character. Sylvia admonishes Judy in her Act One solo, “Talent,” that “any tot can ride a bike … but some of us were born to entertain.” She goes on to inform Tina, “Life can be a ball if you’ve got talent.” Then shocks her mom (after confirming with Tina that she likes ice cream) by observing: “It’s all banana splits, when you’ve got talent. You don’t need to show your tits, if you got talent.” I think Sylvia shocked the moms in the audience more when upon being queried if she has kids, adamantly replies: “Won’t discuss, no talent.”
Sylvia encourages Tina to go for “the lead,” as that’s the only role that counts, in her third grade’s Pippi Longstocking play, titled “Pippi in Tahiti, The Musical.” The play’s director, frustrated, ex-actress, Miss Thorn, hates absolutely everything about her many years as a third-grade teacher. Award-winning singer/actor Maribeth Graham holds nothing back as she laments “Teaching Third Grade” in her striking solo number.
Due to societal and maybe monetary influence, Miss Thorn is forced to give the lead to large, un-Pippi-like and untalented Louise (played in garish red braids by a completely unrecognizable Leah Sessa), who’s only in theater to please her parents. It’s a shame golden-voiced Sessa is forced to sing comically poorly, as Louise, in “The Pippi Song.” But she more than makes up for it as Eve, Ginger’s jealous assistant, in Act Two’s opening “A Penthouse Apartment” number. Who’s Ginger? If you don’t remember this musical, I won’t give it away except to say that Act Two is one huge, wig-discarding, personality changing shocker of who’s-really-who revelations!
