Conceived by Tina Marie
Cassamento Libby, the play tells the story of Judy Garland’s early life, up
to her casting as Dorothy. As befits its setting in the age of Busby Berkeley’s
Depression-chasing Hollywood spectaculars, the show boasts a cast of 40+ (some
playing more than one role), lavish Hollywood set pieces (including an antique
car that rolls like a golf cart), fabulous costumes, full-stage dance numbers,
and dozens of songs by the the likes of Hoagy Carmichael, Jimmy McHugh, and, of
course, Harold Arlen.
To my mind, the greatest virtue of Chasing Rainbows is the way its creative team foregrounds the music
of the era. Like my show, Ariel’ s Way, Chasing Rainbows does not anachronistically impose twenty-first century
musical styles on a story set in another era. The musical arrangements (by David Libby), the choreography (by Jeff Whiting), and many of the show’s vocal
performances convincingly convey the spirit of swing. Chasing Rainbows compellingly presents the 1930s as the cultural
period that not only nurtured the life of Judy Garland (and sowed the seeds of
her early demise), but also laid the foundation of American musical theater as
we know it today.
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| Ruby Rakos as "Baby" Gumm (Judy Garland) |
The leading actors in Chasing
Rainbows are excellent, as are their voices. Young Ruby
Rakos portrays “Baby” Gumm with appropriate vocal power; she also embodies
the awkwardness, complexity, and naturalness that made “Judy” immortal. Equally
appealing is Ben
Crawford as Judy’s dad (Frank Gumm). Crawford’s portrayal of a loving dad, who
struggles with his domineering wife and his own homoerotic inclinations, is
touching and tragic. Mike
Wartella also stands out as a young, energetic, and multi-talented Mickey
Rooney.
Chasing Rainbows rests
on a theatrical concept that offers no shortage of spectacle and wisely strives
for intergenerational appeal. Marc
Acito’s script has lots of ground to cover, but its flashes of wit and
humor add pace, as does Whiting’s competent, frequently clever direction. The
show runs long for my taste, and some of the songs (from the Sony-ATV catalog) are
not the shiniest gems of the Swing Era. However, Arlen and Harburg’s “Over the
Rainbow” indubitably is a gem—and it’s
beautifully arranged by Libby (and staged by Whiting) as the long-anticipated exclamation
point towards which the show naturally builds.
The Flat Rock Playhouse is a splendid setting for Chasing Rainbows. The facility and professional staff appear
to offer everything this production needs to grow into its final form. Flat
Rock’s Artistic Director (Lisa K. Bryant), Technical Director (Tony Lawrence),
and Head of Audio (Kurt Conway), are especially to be commended. I hope that
the Rainbows creative team,
production staff, and cast—in addition to its investors—all find a pot of gold
at the end of their run!
