Washington and Greg Nicholas, in particular, seem mighty impressive to this reviewer among a chorus of notables.Ĭrucial to the storytelling of playwright Terrence McNally (based on the novel of E.L.Doctorow ) are the irrepressible children in this show. Hinrichsen is quite the taskmaster and traffic cop without a doubt! He has selected, then guides a first rate dream ensemble! Jabriel Shelton, E.Y. Even bypassing the realization of confident, rounded characterizations, the backstage costume, wig and make-up changes have to be mind-boggling. What an accomplishment: both onstage and behind the scenes. The Broadway production showcased 49 performers, while on the Candlelight stage there appear to be a total of 25. Here this group of triple threats demand it. Decidedly, a review generally does not begin with the ensemble. Obviously, this ravishing Stephen Flaherty / Lynn Ahrens score finds a sensitive interpreter and able coach in this pro. Leading the cast on their vocal journey to the pinnacle of success is Music Director Julie Lamoureux. In fact, most of the features of this commendable production represent excellence on a grand scale.Īmplifying this success, the Set Designer Chuck Ketter and the Lighting Designer Steve Giltner both manage an “A” on their report card, too. Choreographer John Vaughan offers up some stellar designs and plenty of gusto as the dancers demonstrate solid technique in accomplishing the grand plan. The creative staff deserve acclaim as well.
Candlelight pavilion plus#
After subsequent short renaming stints as the “Cadillac” and the “Foxwoods”, the mammoth – by Broadway standards anyway – theatre now has returned to its original namesake (the “ Lyric “).Īdmittedly, it is difficult to shake these vibes as I watch this show produced by Mindy Teuber, yet the superior achievement of director Greg Hinrichsen, plus an extraordinary professional cast, along with the friendly confines of a considerably smaller space, all go a long way to obfuscate those vivid memories. These legitimate standouts inhabited the ghostly confines of the turn.of.the.century Lyric and Apollo theatres where this show originally bowed, at that time just reconfigured as the “Ford Center of the Performing Arts”, a 1900 seat edifice on 42nd Street.
Candlelight pavilion tv#
What are the stuff of these images drifting through the ether in my mind’s eye? The apparition of the darling of Broadway, Audra McDonald, as “Sarah” the ghost of San Diego native, Brian Stokes Mitchell, as “Coalhouse Walker” that specter of the indefatigable dynamo, Judy Kaye, as “Emma Goldman” the ghost of the dazzling actress, Marin Mazzie, as “Mother” and even the vague presence of soon-to-be TV star, Lea Michele, as Tateh’s “Little Girl”. This masterpiece currently dwells on the stage of the CANDLELIGHT PAVILION in Claremont. Usually one thinks of “ghosts” when reflecting on Stephen Sondheim ‘s FOLLIES, yet here I am thinking about the same as I call up remembrances of the original Broadway cast of RAGTIME.
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