Somewhere Over the Rose: The Songs and Stories of Judy Garland and Bette Midler

As somewhat of a fan for years of Kathy Halenda, I’m disappointed in her exploration of the music of her heroines Judy Garland and Bette Midler. Her script, noting bio facts comparing the two at various ages and stages of personal life and professional musical performance, is banal. She’s best musically displaying “brassy chops,” but they’re not always apropos or varied in arrangement or tone. She could use a director or at least a dramaturg.

No one could argue, though, against the dazzle of Halenda’s costumes. She starts in a mostly golden and sequined pants suit, inset with just the right amount of black to tame the bodice. Her second-act gown of bright orangish red is splashed with lots of sparkle, the skirt being slit to reveal her legs.

Halenda’s costumes and what appears to be a bright red wig are things Midler might wear, but never Garland. And that’s pretty much how the songs and their delivery by Halenda go. It’s okay to introduce Judy at 13 singing “Zing Went the Strings of My Heart,” but following it up with “Ole Devil Moon”?

Midler’s “Stuff Like That There” is more typical of her. Halenda gets the style right too. But Garland’s “The Trolley Song” seems out of place and not even Halenda’s gestures recall Judy. “The Man Who Got Away” has correct notes but nary a trace of Garland’s wistfulness. Midler’s “Wind Beneath My Wings” following comes off as one of the best songs in the program.

Garland and Midler’s styles register slightly better in Act II. Judy’s “You Blow Me Away” is properly subdued. Her high point is reached in Halenda’s medley of “I’m Always Chasing Rainbows” and “Over the Rainbow” even if the latter has different emphases in both music and lyrics from the way Garland approached them.

Unfortunately, a kind of Bette imitation is done with an extended audience-participation number. A male chosen to represent Brunnhilda with Viking helmet and braids in The Ring opera eventually, with Halenda’s help, wears a few large bras outside his armor. That’s the comic apex of the routine. For any sophisticated opera or theatergoer, it’s a downer.

In sum, Halenda might have been better off presenting only Midler musically and with an improved bio script, similar to Halenda’s about Sophie Tucker. Even that hit needed -- and got -- polished over time. If Halenda hones in on Midler, she may create an equal to her fine treatment now of “The Rose.”

Jim Prosser’s talent helps Halenda immensely. She takes so many sips of water from a glass on his piano that it appears he has a schedule of songs there so she can check on it. Maybe at the show I attended, she was a bit ill. If she was still editing her program, though, doing the same in the weeks ahead may produce an improved show. Then she won’t have to keep repeating “Get Happy” at its end. And “Happy Days Are Here Again” will be accurately inserted within that song.