| Better Than Beethoven |
An MD who decides to write and produce her first musical would likely provoke
a skeptical reaction from even the most optimistic, but surprisingly Dr.
Jacqueline Bassan’s Better Than Beethoven has turned out to be quite a
successful production as well as a crowd pleaser, selling out pretty much its
entire one month run at the Secret Rose Theatre in North Hollywood.
Better than Beethoven calls itself “a musical about anti-Semitism in the
classical musical world.” Sounds deadly dull, doesn’t it? But it’s not. Bassan’s
music is mostly very tuneful 1950s rock/pop and her book is full of Mel Brooks
humor (both a plus and a minus). At one point, Richard Wagner, yes that
Richard Wagner, appears in drag (bustier and tutu) and in response to a
remark about “crème de la crème,” responds that he’s “lactose intolerant. A
non-dairy Queen.” You get the picture.
And yet Better than Beethoven has a true and fascinating story to tell.
Composer Felix Mendelssohn, a German Jew whose family converted to
Protestantism, became the arch rival of anti-Semitic Wagner, complicated by
Felix’s romance with Wagner’s daughter Elsie. On Elsie’s wedding day, it is
Wagner’s Wedding March which accompanies Elsie and her groom down the
aisle, but it is Mendelssohn’s which is played as bride and groom exit. As is true
even to this day. Ironic, isn’t it?
Better than Beethoven scores points for reminding audiences of the dangers of
anti-Semitism, and its finest and most successful song, I Kept My Name, is a
heartfelt declaration of being proud of who one is. Like Jerry Herman’s I Am
What I Am is for gay pride, this could become an anthem of Jewish pride for
years to come.
Bassan’s strongest suit is her music. The tunes are eminently hummable,
memorable even, and the 50s beat is infectious. The best songs (Something to
Call My Own, Hold On to Me) are very good indeed. Bassan’s book is a bit all
over the place, but mostly it works, because of (or despite?) the onslaught of
gags. However, if this piece of theater is to have a future, Bassan might
consider collaborating with a co-writer, to strengthen the book and more
importantly to add sophistication to the song lyrics.
Actually I wouldn’t be surprised if she decided to do so, for she clearly realizes
the importance of surrounding herself with talent. Veteran director Jules
Aaron works his usual magic, as does the marvelously talented musical director
and keyboardist Brian Murphy. Danny Druxaw’s set design is very simple, but
elegant. J. Kent Inasy’s lovely lighting design shows why he is one of our busiest
designers, and Shon Leblanc’s costumes are his usual dazzlers—19th century
with a modern twist (Mendelssohn wears Converse sneakers.)
In another astute move, Bassan hired casting director extraordinaire Michael
Donovan to find her actors, and they are a gifted bunch. Jeff Griggs (whose
Oscar Jaffe in Twentieth Century remains one of the season’s best) is deliciously
(though ever so slightly) above the top as Wagner, and so the revelation of his
evil at the end of the play is all the more shocking. Aynsley Bubbico is a lovely
and strong-voiced Elsie. Dominick Morra’s years of stage experience show in his
touching performance as Felix’s grandfather. Lon Haber steals scenes right
and left with his crazy French accent as Ludwig (not that one) and also as very
British Prince Albert. Brian Johnson is also very good as Rabbi Jim.
In an unusual move for a waver production, Bassan and Donovan hired half a
dozen understudies, who were all performing the night I saw the show, and it’s
hard to imagine the “real cast” being any better. Leading man James Below is
a most handsome and charming Felix Mendelssohn, with an absolutely
gorgeous voice. Young Steven Lanzarotta plays Felix as a child, and for once a
child actor can actually sing! Jon Powell has good moments as Abraham, Felix’
s father. Kay Bernard delights as Queen Victoria (though her show-stopping
song Victoria’s Secret is pretty much “off topic” in a musical about
Mendelssohn). And Ben Hensley, of Splendora, brings warmth and charm to
the role of Reverend Hahn.
Better than Beethoven is not a great show, but it is certainly different, and
thanks to its tuneful score, irreverently funny though imperfect book, excellent
cast, and fine design team it works, for the most part, and I for one would like
to see what a revised and improved book and lyrics could engender. There’s
the seed of something potentially great here.
The Secret Rose Theatre, 11246 Magnolia Blvd, NoHo, CA 91601; Runs through
August 12th, 2007; Friday & Saturday 8 PM, Sunday 2 PM.
$25 general admission, groups of 15 or more $20; Reservations (323) 960-7863 or
www.Plays411.com/btbmusical
--Steven Stanley
August 3, 2007
a skeptical reaction from even the most optimistic, but surprisingly Dr.
Jacqueline Bassan’s Better Than Beethoven has turned out to be quite a
successful production as well as a crowd pleaser, selling out pretty much its
entire one month run at the Secret Rose Theatre in North Hollywood.
Better than Beethoven calls itself “a musical about anti-Semitism in the
classical musical world.” Sounds deadly dull, doesn’t it? But it’s not. Bassan’s
music is mostly very tuneful 1950s rock/pop and her book is full of Mel Brooks
humor (both a plus and a minus). At one point, Richard Wagner, yes that
Richard Wagner, appears in drag (bustier and tutu) and in response to a
remark about “crème de la crème,” responds that he’s “lactose intolerant. A
non-dairy Queen.” You get the picture.
And yet Better than Beethoven has a true and fascinating story to tell.
Composer Felix Mendelssohn, a German Jew whose family converted to
Protestantism, became the arch rival of anti-Semitic Wagner, complicated by
Felix’s romance with Wagner’s daughter Elsie. On Elsie’s wedding day, it is
Wagner’s Wedding March which accompanies Elsie and her groom down the
aisle, but it is Mendelssohn’s which is played as bride and groom exit. As is true
even to this day. Ironic, isn’t it?
Better than Beethoven scores points for reminding audiences of the dangers of
anti-Semitism, and its finest and most successful song, I Kept My Name, is a
heartfelt declaration of being proud of who one is. Like Jerry Herman’s I Am
What I Am is for gay pride, this could become an anthem of Jewish pride for
years to come.
Bassan’s strongest suit is her music. The tunes are eminently hummable,
memorable even, and the 50s beat is infectious. The best songs (Something to
Call My Own, Hold On to Me) are very good indeed. Bassan’s book is a bit all
over the place, but mostly it works, because of (or despite?) the onslaught of
gags. However, if this piece of theater is to have a future, Bassan might
consider collaborating with a co-writer, to strengthen the book and more
importantly to add sophistication to the song lyrics.
Actually I wouldn’t be surprised if she decided to do so, for she clearly realizes
the importance of surrounding herself with talent. Veteran director Jules
Aaron works his usual magic, as does the marvelously talented musical director
and keyboardist Brian Murphy. Danny Druxaw’s set design is very simple, but
elegant. J. Kent Inasy’s lovely lighting design shows why he is one of our busiest
designers, and Shon Leblanc’s costumes are his usual dazzlers—19th century
with a modern twist (Mendelssohn wears Converse sneakers.)
In another astute move, Bassan hired casting director extraordinaire Michael
Donovan to find her actors, and they are a gifted bunch. Jeff Griggs (whose
Oscar Jaffe in Twentieth Century remains one of the season’s best) is deliciously
(though ever so slightly) above the top as Wagner, and so the revelation of his
evil at the end of the play is all the more shocking. Aynsley Bubbico is a lovely
and strong-voiced Elsie. Dominick Morra’s years of stage experience show in his
touching performance as Felix’s grandfather. Lon Haber steals scenes right
and left with his crazy French accent as Ludwig (not that one) and also as very
British Prince Albert. Brian Johnson is also very good as Rabbi Jim.
In an unusual move for a waver production, Bassan and Donovan hired half a
dozen understudies, who were all performing the night I saw the show, and it’s
hard to imagine the “real cast” being any better. Leading man James Below is
a most handsome and charming Felix Mendelssohn, with an absolutely
gorgeous voice. Young Steven Lanzarotta plays Felix as a child, and for once a
child actor can actually sing! Jon Powell has good moments as Abraham, Felix’
s father. Kay Bernard delights as Queen Victoria (though her show-stopping
song Victoria’s Secret is pretty much “off topic” in a musical about
Mendelssohn). And Ben Hensley, of Splendora, brings warmth and charm to
the role of Reverend Hahn.
Better than Beethoven is not a great show, but it is certainly different, and
thanks to its tuneful score, irreverently funny though imperfect book, excellent
cast, and fine design team it works, for the most part, and I for one would like
to see what a revised and improved book and lyrics could engender. There’s
the seed of something potentially great here.
The Secret Rose Theatre, 11246 Magnolia Blvd, NoHo, CA 91601; Runs through
August 12th, 2007; Friday & Saturday 8 PM, Sunday 2 PM.
$25 general admission, groups of 15 or more $20; Reservations (323) 960-7863 or
www.Plays411.com/btbmusical
--Steven Stanley
August 3, 2007
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