When everything comes together in the theatre with perfection,
the spectator has the privilege to experience the magic. The story,
direction, music, lyrics, costumes, lights, sets, sound, cast
– and, oh what a cast! – bring together this enchanting Truman
Capote gem and make the magic happen.
When everything comes together in the theatre with perfection, the spectator has the privilege to experience the magic. The story, direction, music, lyrics, costumes, lights, sets, sound, cast – and, oh what a cast! – bring together this enchanting Truman Capote gem and make the magic happen. Once in a while you sit in a dark hall and watch a waterfall of fine staging flow over the audience, reaching deep into their hearts and making them smile.
The play is based on the autobiographical story by Truman Capote and takes place in a small Alabama town in the 1930s. It is told by Buddy (beautifully handled by Joshua Park), a young, newly published writer who returns to settle his family’s estate. He recollects his childhood Christmases with his adult cousins and his bond with his lovable, free-spirited, aging cousin Sook (a glorious Penny Fuller), who flies kites and sends her special Christmas fruitcakes to everyone – including Jean Harlow and President Roosevelt.
The play moves back and forth from the past to present (1955) with a smooth, delightful drift, and the audience becomes enthralled with the characters. Young Buddy (an amazingly talented 16-year-old Gabriel Hoffman) gives a performance that is truly remarkable for someone so young. He is in just about every scene and carries his role with a maturity that many adult actors have never attained. A strong, supporting cast with Cathleen Riddley, Richard Farrell, Eileen Barnett, Jennifer Chapman and Rocky (Buddy’s dog) makes “A Christmas Memory” brilliant. There is impressive music and lyrics throughout, and each cast member delivers solid, extraordinary performances.
Robert Kelly directs with his usual precision. He always manages to bring the best out of his cast. William Liberatore creates the sounds of a symphony orchestra with his keyboard and six fine musicians in his usual flawless manner.
“A Christmas Memory” is truly special. Adults and children will enjoy this masterpiece of theatre. Like a bright comet, something like this happens only once in a great while.
***
‘A Christmas Memory’
Where: Lucie Stern Theatre, 1305 Middlefield Road, Palo Alto
Through: Dec. 26
Tickets: $19 – $67
Details: (650) 463-1960 or www.theatreworks.org
‘Backwards In High Heels’
The phrase “Backwards in High Heels” comes from the fact in the movie business that Ginger Rogers did everything the remarkable Fred Astaire did, backwards in high heels. If you think about it, it is an extraordinary feat considering the intricate routines the perfectionist Mr. Astaire choreographed.
Ginger Rogers was no doubt a great dancer and kept up with her partner in spades for 10 vapid, almost plotless films – but the fabulous dancing and production numbers were imprinted in the mind, so nothing else mattered. When they danced in films together, they were magnificent. Considering there was no love lost between the two, they presented a flowing magical front and movie audiences loved them. Dancing and singing to music by George and Ira Gershwin, Jerome Kern and Irving Berlin sure didn’t hurt.
Ginger Rogers was born July 16, 1911 and grew up with drive, talent and ambition. She had a sharp business savvy and, for a woman of her time, pushed her way to the highest paid female in her field in that era (the ’30s and ’40s). She achieved stardom at 19 on Broadway in George Gershwin’s “Girl Crazy”.
Considering her intelligence and talent in business, her personal life was rocky with four failed marriages and a short dalliance with Howard Hughes (who didn’t have a short dalliance with H.H.?). She knew how to get her way with the studios and in 1941, pushed her way into a dramatic role as “Kitty Foyle,” a non-singing/dancing movie that won her an Academy Award. Her mother was a strong motivator in her climb to the top, but Ms. Rogers was always in control.
In the Rep’s presentation of “Backwards In High Heels” a talented, resilient cast tries to make the best of an inaccurate, thin, confusing story with just barely a smidgen of the Astaire/Rogers contribution. It centers more on the relationship and desire for approval of Rogers from her mother. Direction is staccato and feels like it’s pushing against the tide. Sets and costumes are at times clever, but for the most part are dark and stark. Choreography is interesting and well done, but it just isn’t enough to save this effort.
***
‘Backwards in High Heels’
Where: San Jose Repertory Theatre, 101 Paseo De San Antonio, San Jose
When: 7:30 p.m. Tuesdays, 8 p.m. Wednesdays – Fridays; 3 and 8 p.m. Saturdays; 2 and 7 p.m. Sundays
Through: Dec. 19
Tickets: $35-$73
Details: (408) 367-7255
