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1940s Radio Hour at New Village Arts
A more Hallmark card kind of an experience
Kelly Christine Derouin, Zack Wolfe, Marlene Montes
Authenticity abounds in New Village Arts’ production of Walton Jones’s 1940s piece, and the audience becomes immersed in the music and ambience of the period. Under the nurturing care of director Dana Case, aboard for the second time with this play, the actors are also part of this immersion. Soon the timeless play full of classic tunes sung in four- and five-part harmony emerges as an integral part of the local holiday scene.
The 1940s Radio Hour at New Village
- New Village Arts Theatre, 2787 B State Street, Carlsbad
- $44 - $47
Among the return performers from last year, Jake Bradford performs Wally Ferguson, the quintessence of an eager, aspiring singer, with unbounded energy.
Eric M. Casalini again gives us a highly energized but finely modulated portrayal of crooner Johnny Cantone, providing just the right touch of ‘40s emphasis on the lyrics of “I’ll Never Smile Again.”
Kelly Derouin provides us with a heartfelt portrait of Ann Collier, a band singer of the era. Her rendition of “Have Yourself a Merry Little Christmas” stops the show.
Danielle Levas as Connie Miller, a typical enthusiastic ingenue, once more entertains handsomely in “The Five O’Clock Whistle.”
Returning also is Marlene Montes as Ginger Brooks, the sex symbol torch singer who gives powerful versions of “Daddy” and “Blues in the Night.”
Zackary Scot Wolfe has come back with a performance more polished than last year as B.J. Gibson, the singer who has enlisted and will not be back until after the war. He shines in ” You Go to my Head."
Speaking of new touches, Case has made some changes in the script and we seem to be missing the moments when Johnny Cantone gets drunk and announces he is leaving and some of the other more heart-wrenching segments are either excised or glossed over in favor of a more Hallmark card kind of an experience.
But giving various members of the cast some sound-effect duties, rather than just having one person do them, makes the piece more in keeping with a struggling radio station. However, having Wally and Neal constantly teasing and “rough-housing” with one another proves very distracting.
Newcomers include Kevane La’Marr Coleman as Clifton A. Feddington, the producer of the radio show; A.J. Knox as Neal Tilden, an up-and-coming vocalist and radio comic; and Li-Anne Rowswell as Lou Cohn, the stage manager and engineer.
Coleman does well in trying to keep the broadcast rolling along. As does Knox in the comedy sketches, especially his rendition of “Blue Moon” (though some of the slapstick comedy is missing), while Roswell has the pert comic sidekick thing down perfectly.
Tony Houck has musically directed this stocking-stuffer of a musical with particular attention to the difficult harmonies involved. Houck and Trevor Mulvey are the onstage musicians who keep the tunes flowing.
Playing through December 31
Here's something you might be interested in.
1940s Radio Hour at New Village Arts
A more Hallmark card kind of an experience
1940s Radio Hour at New Village Arts
A more Hallmark card kind of an experience
Kelly Christine Derouin, Zack Wolfe, Marlene Montes
Authenticity abounds in New Village Arts’ production of Walton Jones’s 1940s piece, and the audience becomes immersed in the music and ambience of the period. Under the nurturing care of director Dana Case, aboard for the second time with this play, the actors are also part of this immersion. Soon the timeless play full of classic tunes sung in four- and five-part harmony emerges as an integral part of the local holiday scene.
The 1940s Radio Hour at New Village
- New Village Arts Theatre, 2787 B State Street, Carlsbad
- $44 - $47
Among the return performers from last year, Jake Bradford performs Wally Ferguson, the quintessence of an eager, aspiring singer, with unbounded energy.
Eric M. Casalini again gives us a highly energized but finely modulated portrayal of crooner Johnny Cantone, providing just the right touch of ‘40s emphasis on the lyrics of “I’ll Never Smile Again.”
Kelly Derouin provides us with a heartfelt portrait of Ann Collier, a band singer of the era. Her rendition of “Have Yourself a Merry Little Christmas” stops the show.
Danielle Levas as Connie Miller, a typical enthusiastic ingenue, once more entertains handsomely in “The Five O’Clock Whistle.”
Returning also is Marlene Montes as Ginger Brooks, the sex symbol torch singer who gives powerful versions of “Daddy” and “Blues in the Night.”
Zackary Scot Wolfe has come back with a performance more polished than last year as B.J. Gibson, the singer who has enlisted and will not be back until after the war. He shines in ” You Go to my Head."
Speaking of new touches, Case has made some changes in the script and we seem to be missing the moments when Johnny Cantone gets drunk and announces he is leaving and some of the other more heart-wrenching segments are either excised or glossed over in favor of a more Hallmark card kind of an experience.
But giving various members of the cast some sound-effect duties, rather than just having one person do them, makes the piece more in keeping with a struggling radio station. However, having Wally and Neal constantly teasing and “rough-housing” with one another proves very distracting.
Newcomers include Kevane La’Marr Coleman as Clifton A. Feddington, the producer of the radio show; A.J. Knox as Neal Tilden, an up-and-coming vocalist and radio comic; and Li-Anne Rowswell as Lou Cohn, the stage manager and engineer.
Coleman does well in trying to keep the broadcast rolling along. As does Knox in the comedy sketches, especially his rendition of “Blue Moon” (though some of the slapstick comedy is missing), while Roswell has the pert comic sidekick thing down perfectly.
Tony Houck has musically directed this stocking-stuffer of a musical with particular attention to the difficult harmonies involved. Houck and Trevor Mulvey are the onstage musicians who keep the tunes flowing.
Playing through December 31
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