LONG BEACH, CA—There was once a simpler time in America, specifically at the turn of the 20th century, when hope and tradition were the norm and the promise of progress was tangible in the age of new mechanized machinery. That antiquated era of traditional family dynamics is the setting for MEET ME IN ST. LOUIS, playing through November 15 at Long Beach's Musical Theatre West. Set within the proper backdrop of the Missouri Landscape as its citizens prepare for the arrival of the 1904 World's Fair, this family-friendly musical has charm, sweetness, and abundance of "old-fashioned-ness" that it wears proudly on its sleeve with no amount of irony or a winking acknowledgment of its current modern audience.
First produced on Broadway in 1989 that yielded just 252 performances, this stage musical adaptation of the iconic 1944 MGM film (itself based on a collection of short stories by Sally Benson) is filled with appeal and pleasant-enough vignettes, but lacks the kind of edge or "wow" factor that is so much more present in material that succeeded it. That's not necessarily a bad thing, but it's not exactly it's best asset either. The source material dictates its old-school feel: without any real plot, the audience watches the well-to-do Smith family, headed by male-dominant patriarch Alonzo (played with convincing gruffness by Broadway vet Norman Large), navigate through a series of unextraordinary events, well, in extraordinary ways. Alonzo has a devoted wife, Anna (the beautifully-voiced, Tony® nominee Mary Gordon Murray), four daughters of various age ranges (played by Cassie Silva, Sarah Bermudez, Alexa Freeman and scene-stealer Grace Kaufman), a college-bound son (Robert Pieranunzi), a live-in grandfather (film/TV veteran Kevin Cooney), and even a sassy, back-talking Irish housekeeper (the amazing Cathy Newman).
All the while, the entire city is abuzz about the coming of the World's Fair, which they all hope will propel their home city to cosmopolitan status. Possibly the story's only genuine point of conflict (besides the two older daughters' boy troubles) is Alonzo's sudden announcement that the family must move to New York City by that year's end because of Alonzo's promotion. All is suddenly not as cheery and delightful in the Smith household. But in light of the—for lack of a better word—lightness of such a "problem," logic dictates that this family will be alright in the end. It's not like they're suffering as much as the folks on Ragtime or anything.
The musical stays extremely faithful to Vincente Minnelli's original film (down to some of the exact dialogue, in fact), but inserts more songs not found in the movie. As a whole, the songs, the score and the arrangements (by Hugh Martin and Ralph Blane) are true to its time period, and the popular tunes in the film are ever present here: "The Boy Next Door," "Skip To My Lou," and, of course, "The Trolley Song" (as in, "Clang, Clang, Clang... went the Trolley...") Understandably, the show's most famous tune of the bunch is "Have Yourself A Merry Little Christmas" here lovingly restored with its original, less hopeful lyrics. The melancholy original words to the song punctuates a tender, heartbreaking scene between sisters Esther and Tootie towards the show's climax. But much like the film that shaped it, MEET ME IN ST. LOUIS seems like a series of situations that serve only to bookend its musical numbers. Most of the songs, particularly when sung by one of the Smiths, are adequately lovely and enjoyable, but it is when the ensemble comes in that the show really gets a jolt of energy and delightful watchability. Whenever they show up on stage, the ensemble players are buoyant, alive, and a real delight to watch. They inject the show with a lot of vigor in an otherwise respectable production.
There are also some true standouts in the cast. As Esther, Silva (a finalist on MTV's Legally Blonde: Search for the Next Elle Woods) does an admirable job of not aping Judy Garland's signature role in the film... but so much so, that during the first chunk of the first act, she and older sister Rose (Bermudez) were somewhat indistinguishable from one another. She displays great chemistry not only with boy-next-door John (played by Jason Evans) but her young siblings as well. Her solo work in "Have Yourself A Merry Little Christmas" is a nicely-sung showcase for her. Cooney (as Grandpa) is amusingly spry, especially during his number ("Be Anything But A Girl") with the two young Smith girls. As Katie, the Smith family's loyal housekeeper, Newman reveals a truly gifted singer (not to mention an amusing actor of witty one-liners). Murray has such nice voice inflections, that it seemed a shame she didn't have more songs in the show to demonstrate her vocal skills. As the lone Smith male sibling Lon, Pieranunzi shows great skills in singing and dancing. The show's most delightful surprise, though, is seven-year-old Kaufman, who, as Tootie, steals practically every scene she is in, and not merely because she is the youngest in the cast.
But perhaps the true star of MEET ME IN ST. LOUIS is this production's amazing sets. While nothing out-of-this-world that you might see in Broadway houses or national tours, the fact that sets of this caliber—that are so well done—exists in this smaller, regional theater, is a wonderful treat. The Smith house truly becomes another character in the story. Each time it goes from the front of the house to the inside, it's nothing short of gratifying. Additionally, while bringing the infamous Trolley to life seems to be a challenge, the show's facsimile works nicely on stage.
Overall, MEET ME IN ST. LOUIS is a pleasant little musical with heart, old-fashioned storytelling and a talented cast that's probably more brilliant than perhaps the material will allow them to really show. While a bit subdued, there are moments of genuine, rousing pleasure in the show. You can't help but smile, even if part of you feels like you're longing for something more.
Grade: B
Photos by Alyssa Brennan for Musical Theatre West.
Top: The Smith family at the World's Fair. Below: Cassie Silva and Grace Kaufman.
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MEET ME IN ST. LOUIS, presented by Musical Theatre West, is directed by Richard Israel. Musical Direction is by Daniel Thomas. Choreography is by Lee Martino. Ticket prices range from $30 and $60 with special premium seating available ranging in price from $60 to $80 (first twelve rows center, subject to availability). Group discounts for parties of 15 or more are available by calling the Group Sales Department. All tickets are available by calling the Box Office at 562-856-1999 x 224, or in person at the Box Office at 4350 E. 7th Street, Long Beach (corner of Ximeno Avenue). Tickets are now available online at the MTW website, www.musical.org.
Remaining performances (continues through Nov. 15): Thursday, November 5 – 8:00 PM; Friday, November 6 – 8:00 PM; Saturday, November 7 – 2:00 PM; Saturday, November 7 – 8:00 PM; Sunday, November 8 – 2:00 PM; Sunday, November 8 – 7:00PM; Thursday, November 12 – 8:00 PM; Friday, November 13 – 8:00 PM; Saturday, November 14 – 2:00 PM; Saturday, November 14 – 8:00 PM; Sunday, November 15 – 2:00 PM.
Performances are held at the Richard and Karen Carpenter Performing Arts Center located at 6200 Atherton Street in Long Beach, on the campus of California State University, Long Beach. The theater is just west of Palo Verde Avenue.
Under the direction of Executive Director/Producer Paul Garman, Musical Theatre West remains one of Southern California’s oldest and most respected theater production companies, and continues to be one of the fastest-growing arts organizations in the Long Beach area. The company is enjoying its 57th season and is currently celebrating eleven years since their inaugural production at the Richard and Karen Carpenter Performing Arts Center. MTW has recently reached out to surrounding communities, performing at the Heritage Forum in Anaheim and the Curtis Theatre in Brea. Recently, MTW has been nominated for five Ovation Awards by LA Stage Alliance for the 2008-2009 awards season.
Visit www.musical.org for more information, tickets and showtimes.
