Paula Pierson's opening monologue for each act of Gershwin's Gold, Rodger$' Riche$ [sic] gives a bit of history and insight into the lives of George Gershwin and Richard Rodgers. Both started their careers in their mid-teens, and sadly, both their lives ended early -- Gershwin in his thirties, Rogers in his forties. G. Scott Lacy's piano styling and arrangements showcase both the familiar and the not-so-well-know songs. It's delightful to hear the intro verses to the 35 songs that make up an evening of lush romantic melodies.
The stage is replete with talent. Wendy Hoover, Season Marshal, Debra Wanger, Rick Hernandez, and Tim O'Sullivan are a perfect cast. They blend and contrast nicely in the ensemble numbers. Each voice is distinctive, ranging from operatic to popular styling. Hoover, Marshal, and Wanger's trios: "Nice work If You Can Get It" and "Sing For Your Supper" display each singer's talents and style in the verses, while blending in the choruses. Hernandez and O'Sullivan offer up interesting solo interpretations as well as being the romantic counterpart in duets with the young ladies.
Pierson gives her talented cast simple, interesting stagings. The choreography is just "showy" enough, not distracting from the lyrics.
Act I's opening, "Love Is Here to Stay" sets the mood. "S'Wonderful," "Embraceable You," and "Somebody Loves Me" bring back memories of melodies and lyrics seldom heard today. "Fascinatin' Rhythm" is charmingly updated with cell phones used as props. KPBS's "A Way With Words" listeners will enjoy "Let's Call the Whole Thing Off," which is the broadcast's theme song. "Strike Up the Band" brings a resounding close to the act.
Act II's opener is the ensemble doing "Manhattan." The romantic feel continues with Rodgers' "Bewitched," "Falling in Love with Love," "My Funny Valentine," and "This Can't Be Love." O'Sullivan's "I Could Write a Book" is cute. The act closes with "It's a Grand Night for Singing."
The cast is talented, the music memorable and arrangements excellent. Lacy, Betty, and Hammon back up the singers, never overpower them. Set designer Kris Clark and scenic artist Valri Nesbit provide an uncluttered stage with some light and color. Jan Mah's costume design is, also, simplicity, using solids throughout. Tim Heitman provides simple, unobtrusive lighting, with intense colors and subtle area illumination.
(I would like to have seen the printed program expanded. The small program does not list the singers with each song. Also, bios of the musicians and key production staff wouldn't hurt.)
La Jolla Stage Company has expanded to include the space next to them. The theater seats 50, but with the continuing success of their productions, they may soon need more.
