There is a sort of darling, cheerful innocence associated with youth in the 50's, which, by contrast, is ridiculously tame by today's standards. Mixing old-fashioned values, quirky fashions, and infectious pop music that is oh-so-cute and saccharine, it is no wonder that many wax nostalgic for an era that came before the rise of cynicism, mistrust, and a disenfranchised counter-culture took hold of a nation still fixing itself. So upon seeing the sparkly, prom-decorated gymnasium set for Musical Theatre West's regional production of Roger Bean's Off-Broadway hit THE MARVELOUS WONDERETTES (continuing through May 2), one can't help but feel warm and fuzzy for what's about to happen. You know going in that the worst thing that could possibly happen to a teenager here is not some unwanted pregnancy, a draft-dodging pact or even a tragic suicide attempt... but, rather, that the good girl probably won't get the dashing, popular guy or that the awkward but big-hearted gal won't get crowned prom queen. For a solid two hours-plus, it was certainly nice traveling back to pre-hardened times, and to be enveloped and shielded in the show's very cozy, comforting embrace.
The show's story is simple enough: it's 1958, and the Marvelous Wonderettes have stepped up to be the musical entertainment for Springfield High School's senior prom after the original headliners, the Crooning Crabcakes, are sidelined by their smoking violation. One-by-one we are introduced to the (understandably lily-white) foursome, each possessing personality quirks that have become synonymous with pretty much every girl-centric sitcom and dramedy out of the Hollywood playbook: there's the awkward but maternal know-it-all Missy (played by newly-cast Lowe Taylor), the quartet's choreographer and de-facto leader; there's the ultra-gorgeous boy-stealing flirt with a penchant for tiaras Cindy Lou (Darcie Roberts); there's the lovably dimwitted ditz Suzy (Bets Malone—who effortlessly steals the show); and, finally, there's the tomboy-ish, outspoken Betty Jean (Beth Malone) who is considerably the untapped beauty of the bunch. Somehow, visions of many
Golden Girls and
Designing Women episodes are hovering above the stage.
The quartet play out their interpersonal dramas (secret crushes, love betrayals, prom queen dreams) through hits from the era, one as familiar as the next (somehow, during this particular opening weekend, most of the audience resisted singing along). Though a few songs were magically sung despite the show's time frame preventing their true-life existence, the WONDERETTES song book is filled with recognizable hits: "Mr. Sandman," "Lollipop," "All I Have To Do Is Dream," "It's My Party," and more. And like its holiday-themed sequel THE WINTER WONDERETTES (the recent Laguna Playhouse production is reviewed
here), the audience here is part of the show—in the story, we are the other prom guests (a separate guest also plays quite a significant role that results in a very funny bit, depending on how participatory said selected audience member gets). As such, the Wonderettes urge the audience to help "vote" for the prom queen by filling out individual ballots that have been stuffed inside their show programs. The winner is announced at the end of the first act.
The second act begins ten years later during the Springfield class of 1958's ten-year reunion. Without giving too much away, the quartet are reunited once again to perform at the event—a little older now, but still harboring many of the same adolescent dreams and insecurities as their counterparts did from a decade earlier. The passing of ten years means the second act musical landscape covers most of the 60's, allowing for an even larger catalog to pluck tunes from for the show. Comparatively, the show's second half contains stronger, richer songs than the first act; though, as far as laugh-a-minute belly laughs, the first act wins by a mile. But by the time the story's uncharacteristic ending arrives—which seemed a bit thrown together and is a slight departure from the show overall—much of the tone and mood suddenly hovers in flux. Perhaps this explains why Bean wrote a sequel.
But that seems a bit of a minor gripe, considering THE MARVELOUS WONDERETTES—right up until before that somewhat awkward ending at least—consistently produced a lot of incredibly funny hilarious moments, some genuinely beautiful harmonies, and a lot of smile-beaming pleasures amidst a plethora of wonderfully catchy music. By far the show's biggest asset is its terrific cast, and, boy, are they amazingly gifted singers. Though each talented performer is given a chance to shine in individual solos, both Malones—Beth and Bets—are the extraordinary standouts. Though she sings mostly with higher-pitched vocals for comic effect, Bets Malone (reprising Suzy, the part she played so winningly in THE WINTER WONDERETTES at The Laguna Playhouse months earlier) is given opportunities every now and then to display pure, deeply divalicious sounds. Beth Malone, on the other hand, has insanely good pipes that, even done live, sound like perfect studio recordings. Where are these women's solo albums?!
Like Marty McFly time-traveling back to the 1950's in
Back To The Future (playing guitar at his parents' prom, no less), THE MARVELOUS WONDERETTES is a... well... marvelous look back to a bygone era, peppered with winsome nostalgia and delightfully memorable music. Essentially, this great big hug of a show is a marvelously wonderful night out in the theater.
Grade: B+Photos by Alysa Brennan. Top: Beth Malone, Darcie Roberts,
Bets Malone and Lowe Taylor. Middle: Beth Malone.
Bottom: Bets Malone.
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THE MARVELOUS WONDERETTES, presented by Musical Theatre West, is written and directed by Roger Bean. Musical Direction is by Michael Borth. Choreography is by Janet Miller. Ticket prices range from $10 to $80. 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 also available online at the MTW website, www.musical.org.
Remaining performances: Thursday, April 22, 8:00 PM; Friday, April 23, 8:00 PM; Saturday, April 24, 2:00 PM; Saturday, April 24, 8:00 PM; Sunday, April 25, 2:00 PM; Sunday, April 25, 7:00 PM; Thursday, April 29, 8:00 PM; Friday, April 30, 8:00 PM; Saturday, May 1, 2:00 PM; Saturday, May 1, 8:00 PM; Sunday May 2, 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.
Visit
www.musical.org for more information.
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