PALM CANYON THEATRE STAGES A REVIVAL OF THE ’50’S MUSICAL “THE PAJAMA GAME”

The cast of "The Pajama Game" at Palm Canyon Theater.
All photos by Paul Hayashi.

A September 2018 survey from Matress Advisor, an industry advocate who follows trends in the bed and sleep habits of Americans, found that 67% of American millennials (age 30 and under) sleep in the nude.  The rest of us male Americans, sleep in boxer shorts or briefs, or in the nude, and a few geezers (over 70) still cling to the pajama fashions of the 1940s and ’50s.

So what do these percentages have to do with the state of the American pajama industry?  Frankly, I’m not quite sure other than to discover that, like everything else in our ever-evolving American society, we have a perverse penchant for sharing our personal information with the world.  Facebook, thanks you profusely. You’ve made them the world’s first trillion dollar company on our planet without paying a dime to anyone for that priceless information.

Speaking about pajamas brings us to the Palm Canyon Theatre (PCT) musical production “The Pajama Game” that opened last weekend in Palm Springs. The musical debuted in 1954 on Broadway, as the Korean War was declared over, and pajamas back then was still considered the choice of men’s sleep-ware.

No matter the season on Broadway or theatres across America, ‘ love’ is eternally in the air, pajamas or not, and PCT’s production is no exception. Based on the novel “7 & Half Cents”, by Richard Bissell, the musical is written by Broadway legend George Abbott and novelist Richard Bissell, with music and lyrics by Richard Adler and Jerry Ross, is directed by Richard Marlow.

Jamie Walker Sloane and Nicholas Sloan are
Babe and Sid in "The Pajama Game"

The story celebrates romance, which is blossoming at the “Sleep-Tite Pajama Factory in Cedar Rapids, Iowa.  When new superintendent Sid Sorokin (handsome tenor Nicholas Sloan) arrives to take over the running of the factory, he’s introduced to feisty union rep Babe Williams (a striking blonde Jamie Walker-Sloan), and before you can say “Bob’s your Uncle,” sparks are flying between these two appealing and talented performers.

Babe is a no-nonsense, strong, union leader but is also a female with romantic designs on Sid. Their attraction is mutual, but they land on opposite sides when the union demands that the company management should authorize the raises.  It’s one of the oldest running divides in industrialized societies: Management rights vs. Workers rights, where it takes the wisdom of a Solomon in such negotiations to make everyone happy and show willingness to return to work.

Musical plotlines of 60 years ago generally kept the story relatively simple and easy to follow.  The appeal that audiences were expecting came in the form the music and the lyrics, and the songs that the composers and the librettists provided.  Three outstanding numbers, “Hey There,” “Steam Heat,” and “Hernando’s Hideaway,” came from "The Pajama Game" which also won three Tony’s in the process.

“Hey There” features Sid and Babe in solo performances:  Nicholas Sloan in Act One and Jamie Walker-Sloan in Act Two.  These two talented performers have great on and off-stage chemistry as it turns out they’re married to each in real life, and it shows in their singing and acting numbers. A nice casting touch.

If ever a theatrical company needs a Bob Fosse-inspired dancer/choreographer for a musical/dance production, Anthony Nannini, as Charley, has to be on your wish list.  His execution and precision of Fosse-like dance moves is exciting to watch.  The “Steam Heat” number that begins Act Two is terrifically performed by Nannini and Rob Rota.  Kudos to choreographer Stephanie Eley.  Well Done.

The third number to emerge as an award-winning original number of years ago is performed by the spirited ensemble in “Hernando’s Hideaway”  The ensemble members are energetic even though there are traffic management issues on the small, somewhat cramped, and cluttered acting space designed by Toby Griffin. It’s a minor point, but back-stage actors can be seen moving around off stage by the audience. It’s an easy fix that black cloth curtains can do so as not to break the onstage mood and action.  The main thrust of the production, however, is that the basic human drive for love, romance, and hope is very much worth fighting for and is very much alive in this production.

The musical accompaniment is provided by musical director Phillip Hubler on piano, David Bronson on drums, and Larry Holloway on Bass.

The creative team for “The Pajama Game” led by director Richard Marlow includes the always striking costumes of Uber designer Derik Shopinski, who rarely disappoints with color schemes and colorful costume designs. Another kudo also goes to Wig Designer Mado Nunez for the many styles worn by the female ensemble.  Lighting Design is by J.W. Layne, with sound design by Sean Seymour.

“The Pajama Game” performs at the Palm Canyon Theatre, Palm Springs, and runs until March 15, 2020.  For reservations and ticket information, call the box office at 760-323-5123.

-- Jack Lyons

DESERT ENSEMBLE THEATRE COMPANY LAUNCHES WORLD PREMIERE OF “ADOPTION ROULETTE”

Fergus Loughnane, Yo Younger
and Adina Lawson in"Adoption Roulette"

Motherhood is a powerful motivator that drives the need for mankind to fulfill its destiny – the propagation of our species.  But the rub of the matter is that some women are barren, unable to have children.  Their only recourse, in many cases, is either to have an in-vitro fertilization procedure or adoption.  Unfortunately, the latter option opens the door for “the charlatans” of the world to take advantage of vulnerable and anxious, naive young couples wanting to become parents.

“Adoption Roulette,” a world premiere play written by Elizabeth Fuller and Joel Vig, seamlessly and artfully directed by Shawn Abramowitz, is produced by Desert Ensemble Theatre Company (DETC) artistic director Jerome Elliott and Shawn Abramowitz.

The powerful drama about foreign adaptions is a true story based on an actual event that takes place in the Winter of 2004, in Weston, Connecticut, Moscow, Russia, and at Vovoysa, an orphanage near the Siberian border.

“Adoption Roulette” is an actors' play. The action takes place on a bare-bones stage with no props or set furniture.  The physical movements in the play are mimed, and the actors play multiple roles.

Yo Younger stars as Elizabeth Fuller, delivering an astonishing portrayal of a woman slowly melting down under the pressure of the fraught situation she finds herself in.  Liz is caught up amid the red tape of a foreign adoption in Russia, without speaking the language.  Remember, in 2004, America is immersed in the Iraq War.  Strained diplomatic relations between Russia and America also doesn’t help Liz without her loving husband Reuel Fuller, being by her side for support.

Fergus Loughnane and Yo Younger
in "Adoption Roulette"

Fergus Loughnane plays Reuel as well as a Delta Airlines pilot, Moscow taxi driver Igor, a Flight Attendant, and a Russian Agency Official. Reuel is frustrated and suspicious with the way the adoption process is going and wants Liz to rethink the adoption with another agency, perhaps at home in the States.  His Russian character accents are spot-on.

Adina Lawson and Yo Younger
in "Adoption Roulette"

Adina Lawson plays Olenka, the sly in-country guide and translator for the Fullers while in Russia. She is also Marion, the Fullers' friend and family lawyer, family friends Lois and Dianne, Orphanage Nurse Blatovsky, and a stern and unhelpful Russian Judge.  Ms. Lawson’s Russian accents are also especially convincing lending authenticity to her Russian characters.


The beauty of this production lies in the strong performances of the actors who play multiple roles.  One can only imagine the mayhem taking place back-stage as they jump from character to character, each requiring different costumes and each looking cool, calm, and unflappable when they do reappear in their scenes.   Kudos to the back-stage dressers that make it all happen.  Bless them all.  These are the magical moments that actors live for.

As the play unfolds, it becomes a bit difficult to accept the incidents being presented on-stage as believable.  The roadblocks erected by non-government private Russian adoption agencies for Americans seeking to adopt Russian children is filled with bureaucratic red tape, frustration, and disappointments, along with deceptive policies that Liz and Reuel face in trying to become parents. One forgets, however, that this is a true story and nightmare experience.

The opening night audience was introduced to playwright Elizabeth Fuller following the performance, who said she enjoyed the show and seeing herself portrayed on the stage by Ms. Younger, adding that it’s all true.  Everyone has a story to tell.  It’s just that some stories are more compelling and frightening to share than others.

Fergus Loughnane, Yo Younger and
Adina Lawson in "Adoption Roulette"

In the technical department led by director Abramowitz, the production is designed by scenic and costume designer Frank Cazares.  The lighting is designed by Ashton Bolanos.  Assistant director Cameron Keys, complete the creative team.  The production is stage managed by Sierra Barrick.

“Adoption Roulette,” is a riveting production that performs at the Palm Springs Woman’s Club on the Pearl McManus stage on Friday, February 7, at 7 pm on Saturday, February 8, (two performances – 2 pm and 7 pm) and Sunday, February 9 a matinee at 2 pm.  For reservations and ticket information, contact DETC by going online to: www.detctheatre.org.

--Jack Lyons

CVREP THEATRE LAUNCHES A NEW RE-IMAGINING OF THE MUSICAL PRODUCTION “BALLROOM”

Teri Ralston, Mary Ewing, Leslie Tinnaro,
Juliet Lapointe, Melodie Wolford and Joe Mitchell
in "Ballroom".  All photos by Jim Cox

As theatre and society, in general, evolve, especially here in the United States, “Ballroom,” the new re-imagined musical is a very appropriate production choice for CVREP to present to its 2019/2020 audiences. It’s another crowd-pleasing show that fits the 2019/2020 season theme of “New Beginnings.”

It’s also the boldest and most audacious production in CVREP history. The Cathedral City-based theatrical company headed by Founding Artistic Director Ron Celona, now in its 11th season of producing quality Equity productions here in the Coachella Valley, has become a beacon for more professional actors and creative artists who want work in the Valley’s newest, state-of-the-art theatre complex.

What began as a dream of Ron Celona’s long-held desire to create an Equity Regional Theatre in the Coachella Valley eight years ago is now a reality.  The stakes were high, but the passion and skills, plus hard work and the generosity of some of the Valley’s loyal Patron’s of the Arts, along with Celona’s dedicated and committed Board of Directors has won the day.

The birth and chronology of “Ballroom” is as follows: Born in 1975, it became an Emmy-winning feature film made for TV as a musical starring Maureen Stapleton and Charles Durning.  In the late 1970s, the show was refashioned into a musical play which had a short-lived run on Broadway and was filed away wherever failed Broadway shows go to die.

In 2019, however, artistic director Celona became interested in reviving the project as an updated musical that would make an excellent choice for his CVREP theatre to kick off the 2020 decade.  “BALLROOM,” like the Phoenix rising from the ashes, became a viable project again.

The production features the music of Billy Goldenberg, with a libretto by Jerome Kass, and the lyrics by multiple Oscar, Emmy, and Grammy award-winning songwriters Alan and Marilyn Bergman, under the direction of Ron Celona.

The production boasts a talented cast of twenty-four professional performers ranging in age from 50 to 70, making this entertaining and relevant musical a natural fit that should appeal to Valley audiences of a certain age – that includes both men and women.

The story centers around Bea Asher (a wonderfully sensitive and nuanced performance by Melodie Wolford), who is recently widowed.  Her Morrie (never seen) was her Prince Charming, who did everything for her in his loving and adoring husband way.  But now, Bea must learn to do everything for herself.  It’s a new beginning to Bea’s life that will test her as a respectful widow who now has to carry on with her life.  A life filled with many surprises that lie ahead.

The opening bittersweet number “Who Gave You Permission?” brings lumps and misty eyes to many in the audience.  Its ambivalent lyrics sets a haunting tone, not only to the song sensitively performed by Ms. Wolford, it’s also a definite “grabber number” that should bring every Ladies Club member in the Valley clamoring for tickets to see it.

Bea’s support group to ease her passage as a new widow (actually, Morrie has been gone for over a year) consists of her older, overly protective, tradition-bound sister Helen, played to the hilt by Marcia Rodd.  Almost every family has a relative whose advice is at odds with the feelings of the aggrieved.  After all, they think they’re only trying to help the survivor. Helen’s understanding husband Jack is cleverly and understatedly played by Bill Lewis.

Bill Lewis, Melodie Wolford, Marcia Rodd,
Aviva Pressman and Sean Timothy Brown in "Ballroom"

Bea’s daughter Diane (nicely played by Aviva Pressman), and Bea’s son David, performed by Sean Timothy Brown, are puzzled at Bea’s interest in her newfound group of ladies who gather at the local Bronx dance ballroom; eager to dance, gossip, and get out of the loneliness of their homes every week. They thought their mom wasn’t interested in ballroom dancing anymore.  Ah, adult children… who only see their parents as “parents.”

Bill Nolte and Melodie Wolford in "Ballroom"

What they didn’t see coming, however, was Alfred Rossi, a mild-mannered, shy, caring, mailman tenderly played and sung by Bill Nolte.  It’s easy to see why Bea has a renewed interest in ballroom dancing.  As a couple, Ms. Wolford and Mr. Nolte have nice on-stage chemistry that slowly draws them together, becoming a couple.

Solid supporting performances come from an energetic Angie, Bea’s hairdresser, that is winningly played by Teri Ralston, who first urges Bea to come to the Stardust Ballroom; Pauline, the current reigning Queen of the Stardust Ballroom, is nicely performed by Leslie Tinnaro, who sings and gets to name her choice for next year’s reigning Queen. Her ballroom co-host Artie at the microphone is sung and performed by Randy Brenner.

Angie’s friends and now Bea’s friends include Mary Ewing as Emily; Juliet Lapointe as Martha and Corinne Levy as Shirley. The ballroom performers and dancers feature Douglas Graham as “rubber legs Harry the Noodle”; Nathan Holland as Johnny Lightfeet; Lovely Alessandra Di Pietro as Sandy and handsome Robin Somes as Charley (a look-a-like Yul Brenner) who trip the light fantastic as a dance couple who possess exquisite and athletic dancing moves.

Jitterbug dances, sambas, tango dances. Rumbas and waltzes along with solid dance moves from Anthony Marciona as Petey, and Glenn Rosenblum as Moe, (sporting a Moe Shemp haircut of three stooges fame); from Terry “T-Mac” McLemore; and Lois Bondurich; Olga Morales; Lindsay Ouellette; Wayne Hundley, and Joe Mitchell as Joe the Bartender.  It appears that every bar, tavern, and gin-joint in the world has a Joe the bartender with broad shoulders to lean on and/or a sympathetic ear for listening to the lonely.  Frank Sinatra made millions by singing about those after-hours conversations.

In the technical credits department led by director Celona, two-time Emmy-winning resident design wizard Jimmy Cuomo delivers a breath-taking ballroom set that sports a seven-piece, live on stage orchestra, under the musical direction of Scott Storr.  Designer Cuomo’s New York street backdrop, a small boutique shop, and an interior living room area easily rivals any New York show you can see, but with Celona’s productions, you won’t have to leave the Coachella Valley to enjoy fabulous shows.

Orchestrations for “Ballroom” are provided by Richard Bronskill. The Eleven O’clock spot belongs to a clever, terrific musical number called “Fifty Percent” and the closing number “This Is More Than A Ballroom/I Wish You A Waltz,” both of which are sung by Ms. Wolford and both are winners.

Lighting Designer Moira Wilkie Whitaker provides just the right amount of light to see and appreciate the colorful costumes designed by Frank Cazares (although I’m not too sure about that kaleidoscopic-like cowboy jacket worn briefly by Mr. Brown).  However, the sharp choreography by Jose De La Cuestra neatly fills the stage with flowing movement and graceful dance moves.

“Ballroom” is an impressive and delightful production that will have its audiences smiling as they leave the theatre.  The musical performs at CVREP, Cathedral City, through February 16, 2020. For reservations and ticket information, call the box office at 760-296-2966.

-- Jack Lyons