BWW Reviews: END OF THE RAINBOW Falls Short at ICT
By: Don Grigware Feb. 23, 2015
End of the Rainbow/by Peter Quilter/directed by John Henry Davis/ICT (International City Theatre), Long Beach/through March 15
When I first heard that Peter Quilter's End of the Rainbow, the story of the demise of Judy Garland during her gig in December, 1968 at Talk of the Town, London, was going to be produced at ICT, Long Beach, I remember thinking "They'd better get a super dynamic actress. Not everyone can play Judy Garland!" Whether you believe that the events that happen onstage really did occur seems irrelevant in ICT's production; what is all wrong is the casting. Unfortunately, Gigi Bermingham, a fine actress/singer, just does not make the cut. Within five minutes of her first entrance, I saw a woman playing an actress/singer with emotional problems, but that woman might as well be herself; it is not Judy Garland.
Many will argue that an actor should not attempt an impersonation of another actor, BUT, when the character in the play bears the name Judy Garland -who just about the whole wide world remembers, or at least knows from film and TV clips - if you don't give it something above and beyond yourself, you are not making the play click. Where's the passion? That is a major flaw here and ruined the play for me.
Garland's fiance/manager at the time Mickey Deans (Michael Rubenstone), a lout who took control of her and tried to make her clean, is portrayed as much too wimpy, too nice. Anthony (Brent Schindele), Garland's musical director/accompanist, argues that Deans is all wrong for her, but we don't see a selfish, control freak who only used Garland for his own meal ticket. What we do see is a guy who may very well have cared for her, but just did not know how to 'rescue' her, as he claims he can do. He is clearly losing his control over her. Anthony, on the other hand, adores her and will do anything he can to try and save her, including marriage. This whole case of the pianist may be fiction, but it certainly works theatrical magic. Anthony becomes the hero, the unlikely savior who wants to take her away and, Deans the villain, who insists that she go on with the run regardless of her physical and emotional condition. After all, the fans have bought tickets and she must give them a show at all costs. Poor Judy is caught in the middle. If only Anthony were not gay and she could sleep with him, things might be different for her.
In the script we never stop seeing Garland's humor through the pain. At one point, for example, she swipes Anthony's valise, sneaks into the bedroom of the hotel and takes dog medication for mange that she finds inside the valise. Instead of denying that she has taken the pills, she gets down on all fours, rolls on her back and acts like a dog. Yes, I believe Garland, with her tremendous sense of humor, might just have done this. She would not accept defeat and would go for a laugh. And an addict is an addict: they do not read labels first; pills are pills, and she did not stop to notice they were not for human consumption. Enough said. In these moments Bermingham wins us over. And her final singing numbers "Over the Rainbow" and "By Myself" are by far her best, most fully committed songs. "The Man That Got Away " at the end of Act I, which should tear us apart ...and her... just lays flat due to a faulty, forced buildup of emotions in the scene prior to the number.
Maybe a three-week rehearsal period was just not enough to conquer this very challenging role. I think Bermingham could do it better with time and a better director. John Henry Davis stages the piece well but has obviously left the leading lady to her own devices, which do not come full circle. Schindele is wonderful as Anthony. Particularly affecting is the scene where he helps a desolate Judy with her makeup before a show, telling her that she is still beautiful! Also, his proposal is so touching - a beautifully written and executed scene! Rubenstone is a decent actor but does not seem to have a handle on who Mickey Deans is supposed to be. Wallace Angus Bruce does fine work in a few smaller roles, especially effective as the BBC interviewer, who must ride through Judy's unintended rude remarks about his name and manner. Aaron Jackson's set of the Ritz, London suite is simple, but effective, as are Kim DeShazo's costumes. Schindele's music direction with a 4-piece orchestra center stage behind the hotel suite's back wall is top drawer.
End of the Rainbow as written is a riveting and entertaining piece for Garland fans and also for those getting to know the superstar. It offers a harsh glimpse of her final onstage life and an even more brutal look at the personal side of the coin. No one knows what really happened in those private last months, but from what is shown, Garland gave her public all the love she had to give, in spite of not receiving the deep, personal love she so desired. And... her public loved her and still do...warts and all. Sadly, this production falls short due to either miscasting of the central role or plain and simple, lack of time for putting it together effectively.
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