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VALLEY OF THE DOLLS
A stage adaptation of the Jacqueline Susann novel Uptown Players
Dallas Texas
Within the endless catalogue of motion pictures, there are some films that are worshiped and adored by certain sections of society. For father & sons who love baseball there is FIELD OF DREAMS, for female best friends its BEACHES, for the military fanatic its TOP GUN, and for sci-fi fans its STAR WARS. As for VALLEY OF THE DOLLS (VOTD), its biggest fans tend to be gay men and theater folk who possess a twisted and wicked sense of humor.
VOTD is based
on Jacqueline Susann's gossipy pulp novel about three girls who enter the
worlds of music, film, Broadway, and fashion. Through a hazy road we see
them go through an endless parade of men, mountains of pills (called
"Dolls" in the book), and rivers of booze. In December 1967 the film version
of the book premiered starring Patty
Susann even had
a cameo as a reporter in the film; however, she, like the film critics,
hated the film. Nonetheless it became a box office hit.
In 1981 there was an updated TV film version of VOTD starring Lisa Hartman, Catherine Hicks, and Veronica Hamel.
It is however the '67 film that has still today its cult following. The schlock filled cheesy acting, the over the top hysterics, and that dreadful dialogue. It is overflowing with camp-and I'm sure the creators of the film never intended for that to happen, but it did. How many times have you heard "Sparkle Neely Sparkle!" and "So you crawl back to BROADway?"
When Uptown Players announced that they were going to mount a stage version of VOTD, I cackled with glee. I immediately thought to myself, "Okay, they are going to turn this into such a hysterical campy, kitschy filled production that will include a couple of the roles with men in drag." I was filled with anticipation on what they would create from the material.
As I observed
the production Friday night, the final product was not exactly what I had
anticipated.
A couple of the key, "signature" scenes that fans of the film love were staged either far upstage right or left-not center, thereby reducing the impact and enjoyment of those famous scenes on stage. Instead of being center, they are crammed into very tight quarters. Examples of this include the infamous "wig" scene and Helen Lawson demanding the cutting of Neely's song.
The length of
the piece is also a problem; the first act is practically 90 minutes long.
It could use some major editing, because it really needs like 30-40 minutes
shaved off.
At the Friday
night performance I attended, you could sense the audience not knowing when
to laugh, where to laugh, or was that (on stage) supposed to be funny. You
felt like you were on a car that started off smoothly, but then kept
sputtering and stopping dead in
I must confess I really wanted much, much more of the camp, kitschy factor flowing through the entire piece-not just sprinkled here and there. I'm not saying it needed over the top (or as I call "Wacka, wacka, wacka" acting) hysterics. But let's be honest here-it is the camp factor of the film that we love so much about it (at least for me). Some of the most famous scenes that we all know by heart felt now on stage felt anti-climactic.
The two biggest laughs of the evening (at least the night I was there) were actually the ones that had that campy, "wink towards the audience" overtones. One had to deal with Anne and the ocean in the second act, and the other was when Jennifer (Cara Serber) stated the line, "Well you know how b*tchy f**s can be". Ms. Serber did a take toward the audience and then added a hand gesture that had the audience rolling on the floor in laughter. It was those "nudge, nudge, wink, wink towards the audience" camp embellishments like these two examples that the piece needed a lot more of.
Please do NOT
assume I did not like the production, because I did. I was just so
disappointed that it lacked in what I assumed would be loaded with camp. But
that's what makes theater the best living art form we have. Theater is left
up to you to interpret it on your own. What one person may like, another may
not. I am positive there are those who were relieved that there was hardly
any camp or kitsch attached at all to the piece.
Wade Giampa's scene design is marvelous both in its structure and color. It is a mixture of Laugh In, Sonny & Cher, and a hint of an LSD trip. Four lavender arches anchor the piece of various platforms and stairs. The colors and patterns splattered on the set are bold, vibrant, and blinding. It truly is one dazzling, colorful set that feels like you have been sent back to the 60s.
The costumes designed by Coy Covington and Suzi Shankle that appear on stage are masterpieces of fashion. The attention to detail and period is jaw dropping. I felt like I was at a 60s fashion runway show and kept expecting Twiggy to appear on stage at any moment in one of her signature looks. From the day wear, to rehearsal garments, to office outfits, to the exquisite gowns, to the furs, and jewels-it was all magnificent. To costume such a large cast must be daunting, but yet each cast member was costumed impeccably. These are some of the most amazing costumes to ever grace a local stage. I also thoroughly enjoyed how some costumes were cut and created to look like some of the original film costumes (such as the costumes in the "wig" scene). Kudos as well to Covington's terrific wig designs. Each wig was cut, colored, sprayed, and sculpted to fit both the period and the performer in perfect harmony.
A round of
applause must also go to Chris Robinson's multi-media design of video
montages, magazine covers, newspaper headlines, and even commercials. They
enriched the production immensely.
Joe Nemmers is smashing as "Lyon Burke", a writer who tries his best to stop his playboy antics. Nemmers gets the joke within the piece and delivers the humor consistently. Nemmers possesses a rich, dark, bass voice that commands the stage each time he is on. Using both his voice and his facial expressions to help seal in the jokes result in a first rate performance.
John Venable is
deliciously funny in the two roles he is assigned to. He has the same, odd
vocal overtones as Martin Milner (who originated the role on film) to
portray "Mel Harris". He is Neely's husband who can no longer deal with her
booze and pills. For the second act he is the flashy Ted Casablanca. Venable
is dressed in black, topped off
From the women ensemble, the scene stealer was none other than Lulu Ward. Each character was completely different in both voice & body. My personal favorite was the butch nurse who was channeling Nurse Mildred Ratched. Watch her god awful attempt at dancing during the sanatorium scene-she is hilarious.
All three leading ladies are superb within the play. We've come to accept that both Patty Breckenridge and Cara Statham Serber can do no wrong. These two actresses continue to deliver outstanding work in whatever role they are cast in.
Breckenridge portrays "Neely O'Hara", the Patty Duke role. Her character arc is spotless. She goes from wide eye innocent to a ball busting, drunken, pill popping diva with hilarious results. She even does the infamous "necklace" joke! Breckenridge once again shows with her talents why she is one of the most sought after actresses within the DFW acting pool with her brava work in VOTD.
Cara Statham Serber delivers her best performance ever in this piece as the dumb blonde actress "Jennifer North". Serber has nailed down perfectly Sharon Tate's vocal inflections. She generates loud laughs each time she answers the phone with, "Hello Mother". But when she screams at her beau Tony (Rick Starkweather) when he collapses-it is met with thunderous guffaws. Serber looks hot and sexy as hell with her long, gorgeous stems, billowing blonde mane, and boobs overflowing. Serber finishes her characterization off with priceless facial expressions. She is sublime.
It should be noted that one of the funniest and campiest moments that included Serber was the god awful "art" film she did in France. Jennifer goes to France to begin a film career, and we as the audience see on screen one of these so called "art" films. It actually is soft core porn that you would find on Cinemax late at night. Serber's co-star in the film is none other than the always terrific Gary Floyd. Both actors writhe in bed with those "bad porn acting" facial expressions that had the audience in constant giggles. Floyd (wearing a bad Al Parker moustache) gets a huge laugh afterwards with a shot of him on the bed, with the sheet covering his qua-qua.
One of the greatest pleasures of reviewing theater is when you watch a new star being born right in front of your eyes. In VOTD, it is Lynn Blackburn who achieves this in her breath taking, tour de force performance as "Anne Welles".
The girl looks like she just stepped out a 1960s VOGUE magazine. Ms. Blackburn looks ravishing on stage. Her long, elegant legs, that soft, crème skin, and that beautiful face encased in wigs that are in soft hues of coffee and cinnamon. Her hypnotic doe like eyes are heavily made up in perfect period make up, so we see them like two luminous baubles. The costumes that Covington and Shankle have designed for her to wear are splendid. Her finale costume is a beaded soft pink gown, a fur wrap, and simple jewels-when she appeared there were actual soft gasps in the audience. Each costume and wig looks divine on her. The girl could wear a paper bag and Styrofoam and still look like a million bucks. She physically looks like a fashion goddess each time she graces on stage, and we are mere mortals to admire her from the darkness of the audience.
But then
there's that acting craft. This talented thespian has done her homework! She
has nailed down the facial expressions (especially the eyes) of Barbara
Parkins (who originated the role on film). Blackburn has to only do a take
to the audience and everyone is bending over in loud laughter. She never
once drops her character. Even in scenes in which she is not the focus, you
see her there in complete focus and commitment to her character's emotions.
It should also be noted that the raw, sexual chemistry between Joe Nemmers and Blackburn is sizzling erotic. They both play off each other perfectly and stay firmly committed to their characters involvement with each other.
Mark my words, Lynn Blackburn is phenomenal in this production and you will kick yourself in the head if you miss her in this role.
Sure, VOTD does have its problems, but remember-this is a work in progress, and even with its flaws, it is still a show that should be highly commended for attempting such a Herculean task such as this.
Take a sip of your vodka stinger, pop in a couple of dolls, and get your ticket at Uptown Players and visit VALLEY OF THE DOLLS.
GRADE: B
Reviewed by: John Garcia |
