Theater and Dance
They Put in the Work: 'A Class Act,' CV Rep's Most-Ambitious Production to Date, Is a Near-Complete SuccessWritten by Valerie-Jean (VJ) Hume
A Class Act was nominated for five Tony Awards, and it won an Obie for Best Music and Lyrics. It’s now being presented locally by the Coachella Valley Repertory Theatre—and founding artistic Ron Celona readily admits that it’s the most ambitious (and expensive) effort in CV Rep’s history.
Celona does keep raising the bar, doesn’t he? This time, he’s using an eight-member cast and a live four-piece band. Celona’s Little-Theater-That-Did is an inspiration for any start-up. This show, with music and lyrics by Edward Kleban (remember that name!) and book by Linda Kline and Lonny Price, takes us straight to Broadway musicals—an awesome topic for a regional theater. Here in Rancho Mirage, Ron Celona directs the show (of course), while Scott Storr is the musical director, and the choreography is by Mark Esposito.
Before I go on, a disclaimer: CVEP presents two nights of preview shows for audiences before the official opening. (Applause for that idea—there is nothing weirder than the first time in front of a real audience.) But for this review to make the deadline for our February print edition, the Coachella Valley Independent had to attend the very first preview of A Class Act. Obviously, a preview must be judged a little more gently than the “real” shows.
That said, the first preview’s packed house would agree: This show is ready.
The show opens with Kleban’s memorial service. (He died in 1987 at the age of 48 from smoking … a cautionary tale.) The rest of the show uses flashbacks to reveal his life, while his original music and lyrics weave through the story. You’ll enjoy such songs as his “Light on My Feet,” “Paris Through the Window,” “Follow Your Star,” “Broadway Boogie Woogie” and “The Next Best Thing to Love.” We watch him slave over his doomed show Gallery, and see his relationships ebb and flow. At the end of Act 2, we eventually return to the memorial service of this strange and talented man.
The plot, in a nutshell, focuses on Edward Kleban’s real-life creative struggle in the theater. That self-created struggle occurs simply because he is violently opposed to collaborating with anyone else, and wants desperately to be both lyricist and composer of his own Broadway musicals. The irony, of course, comes from the fact that he is best—really, ONLY—known, for his forced collaboration as lyricist, with the brilliant Marvin Hamlisch as composer, of A Chorus Line. In one flashback, we actually get to be present at the birth of such achingly magnificent songs as “At the Ballet,” “What I Did for Love” and “One.” These unforgettable pieces contrast with the rest of the music in this play, which was created solely by Kleban. It’s not bad music, but it’s just not up to the standard of the A Chorus Line work he did when he collaborated with someone else. Which he only did once. Go figure.
Kleban is played by Jeffrey Landman. He convincingly switches between Kleban’s varied neuroses, the vanity of the unsuccessful artist, and the stubborn belief in his own greatness. We see him go from attention-craving sniveling to genuine fear to lighthearted but sneaky charm. He’s complex character, well-played.
Craig Cady takes on two roles: Bobby, a fellow student, and Michael. The contrast between his two characters is fascinating, because he truly comes alive when he slaps on a moustache to play Michael Bennett of A Chorus Line, and he can use his lean dancer’s body to express every nuance of emotion.
Julie Garnye plays Sophie. As the curvaceous and luscious female lead and love interest (Yes! Kleban is straight!), Garnye has a quiet strength that serves her well, but it’s her powerful singing voice that you’ll remember.
Pretty Rachael M. Johnson is blonde Lucy, Kleban’s sweet friend and supporter. She’s a well-trained dancer and singer in the Broadway mode, and her trim, energetic moves are a pleasure to watch.
Craig McEldowney is Charley. He’s solid, gifted and reliable, and who wouldn’t like him?
Sal Mistretta plays Lehman Engel, the older-and-wiser teacher of the BMI songwriting class where his students meet. He brings a gravitas to the show with his thoughtful performance. Ironically, it is Kleban, not Engel, who gets to teach us “Lehman’s Rules” of showbiz.
Striking Christina Morrell is Felicia, ambitious and determined to live her dreams. She reminds us of when girls first began to succeed at working in all-male areas, and we like her for it.
Kristin Towers-Rowles plays Mona, a sexy redheaded singer/dancer out to conquer Kleban. She slithers and stalks seductively, but shows talent aplenty in her interpretation of this role.
I worried that stuffing this cast and all of the musicians into CV Rep’s space might prove to be what is called A Challenge. After all, CV Rep at the Atrium is basically a storefront. However, Jimmy Cuomo’s set—using dreamy rear-wall projections to transport us to locations such as Paris and Toronto, along with sliding panels that open to expand the area—give us a sense of greater space. This stage feels like the widest one CV Rep has created. Celona’s clean and clever direction uses every inch of the area; even in scenes using the entire cast, there is no feeling of crowding. The musicians—Jeff Barish on flute, sax and clarinet, Dave Hitchings on drums, Bill Saitta both bowing and plucking on bass, and Scott Storr on piano—find their home tucked in at stage left.
We must also mention Louise Ross as stage manager; Aalsa Lee, the costume designer; Eddie Cancel, who designed the lighting and technical effects; Randy Hansen as sound designer; Doug Morris as associate designer and prop master; and Karen Goodwin as sound tech. All did a terrific job in bringing this show to life. Because what this show tells us is this: In the theater, it’s ALL about the work.
Being preview-gentle: The only change I’d love to see in this show is for the first act to be as full of emotion as the second act. That will no doubt happen naturally during the play’s run. After all, it’s all about the work.
A Class Act is performed at 7:30 p.m., Wednesday through Saturday; and 2 p.m., Saturday and Sunday, through Sunday, Feb. 14, at the Coachella Valley Repertory Theatre, located in The Atrium, 69930 Highway 111, in Rancho Mirage. Tickets are $48; opening night (Friday, Jan. 22) is $58. The running time is 2 1/2 hours, with one intermission. For tickets or more information, call 760-296-2966, or visit cvrep.org.