Backstage West By Les Spindle
There's plenty of blues-coaxing, corn-husking charm in Jerry Herman's evergreen 1966 musical adaptation of Patrick Dennis' novel Auntie Mame, but surprisingly this beloved madcap heroine hasn't tooted her horn across L.A.-area stages in recent years. Two major civic light opera companies rectified that situation over the weekend, ironically unveiling their revivals one evening apart. With gracious composer/lyricist Herman in tow at both gala openings, the planets seemed fortuitously aligned, promising two enchanted evenings. So much for astrology. Musical Theatre West provides a sparkling distillation of the bubbly Broadway brew, but Cabrillo Music Theatre's rendition is notably lacking in fizz.

At MTW the vivacious Carol Lawrence heads a stellar cast as Dennis' zany but endearing bon-vivant aunt. The triple-threat talents of this veteran leading lady surge forth in full throttle. As in the recent Amy's View, her innate glamour and wit fit the role like a glove, and here there's the added bonus of her star-power singing and dancing. Meanwhile, some 70 miles away, Cabrillo's diva is the oft-acclaimed actor/ songwriter/singer Amanda McBroom, who unfortunately performed below par on opening night, reportedly hampered by a bout with a virus. Her performance, like the Cabrillo production as a whole, lacked energy and nuance. McBroom, director/choreographer Jon Engstrom, and this CLO company have far superior accomplishments under their belts.

With one exception, the individual performances at MTW are also more effective. Cabrillo's David Selby plays Mame's Southern-gentleman husband Beauregard Burnside with an irresistible Rhett Butler flair, while MTW's Amick Byram (a late replacement for Perry Stephens) proves capable but not charismatic. At MTW the gifted Sally Struthers tackles the plum role of nerdy bachelor/mother Agnes Gooch with expert physical comedy and fresh insight, never mimicking her illustrious stage/film predecessor Jane Connell. Meanwhile, in a generally disappointing characterization, Cabrillo's Casey Jones ekes out a few good moments in the comic "Gooch's Song." Also finding a new take on a familiar role (strongly associated with Beatrice Arthur), MTW's Ruth Williamson drolly plays booze-soaked Vera Charles like a barracuda drag queen, to sidesplitting effect. Joy Claussen's too-restrained Cabrillo portrayal suggests little more than a mildly self-centered sidekick. Bitchy chemistry between McBroom's Mame and Claussen's Vera surfaces briefly in "Bosom Buddies," but not in the glacially paced dialogue exchanges.

At MTW the always charming Mark W. Smith croons and emotes divinely as the grownup Patrick, while Cabrillo's sweet-voiced Corey Greenan succeeds to a lesser degree. Likewise, as 10-year-old Patrick, MTW's radiant Jakie Bartinga surpasses Cabrillo's competent Colt Beyer-Johnson. As for the lengthy roster of supporting roles, the MTW players bat 1,000 almost every time, while the Cabrillo bunch generally seems mired in the energy crisis that hovers over the production like a plague.

Unfortunately the Cabrillo glitches don't end with the performances. Opening night was marred by an almost symbolic parade of dropped objects--from dancers' hats to cocktail glasses--as well as miscued lights and awkward set changes. Gag lines were often glossed over or blown altogether. If this wasn't an ill-rehearsed production, it certainly felt like one. We fervently hope it was Murphy's Law that plagued the opening and that it has since passed. Design and technical efforts in Cabrillo also range from uninspired to passable. Most of Preston Sparks' sets look drab, though Mary Linn Daehlin's costumes are somewhat more appealing. Ilana Eden's music direction and conducting yield satisfactory results.

Meanwhile, Michael Borth's musical direction at MTW soars, and choreographer Lee Martino's adaptations of Onna White's original concepts are dazzling, particularly in the title number and the spirited "That's How Young I Feel." The show also boasts ravishing visuals. Gary Wissman's elaborate Art Deco-flavored sets are stylish and colorful, enhanced by Raun Yankovich's gorgeous lighting effects. Carin Jacobs' costumes, particularly Lawrence's chic gowns, are lush and lovely. David Galligan's polished direction, brimming with warmth and exuberance, sets new standards for MTW. In an era of global uncertainty and angst, Herman's joyful classics seem like tonics for the soul, and Musical Theatre West capitalizes on these gifts to splendiferous effect.