Can Can
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Duffy, Earley
Photo by Craig Schwartz
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By Ben Miles
Can-Can is the extravagant musical that opened on Broadway in 1953. The book is credited to Abe Burrows, but the score is the singular creation of the inimitable Cole Porter. Under the raucous and randy direction of David Lee, a retooled staging of Can-Can is presently underway at the Pasadena Playhouse. According to Lee, who (along with Joel Fields) co-authored this new--if not altogether improved-- version of the Can-Can script, about eighty-percent of the book is a reinvention of Burrows' original conceit. Not to fret, however; Porter's masterful music and lyrics remain intact. Not only does every song written for the show by Porter stay in this proud production, one number--"Who Said Gay Paree?"--has been restored to this sexy, sizzling exhibition.
On a lush and protean set designed by Roy Christopher, with sterling costumes (Randy Gardell), gloriously inspired choreography (Patti Colombo), and full-bodied orchestration (conducted by Steve Orich), Can-Can purports to tell us the tale of how the French term of endearment, mon petit chou (my little cabbage), came into the Franco vernacular. In fact, what we learn about is the controversy that surrounded the can-can dance performances of late 19th century France. Considered by many to be a vulgar and suggestive display, can-can clubs were often threatened with closure from government censors.
Michelle Duffy portrays Pistache, the Madame Emcee of the club that hosts the can-can acrobatics. Duffy's strong persona and toned voice propels and energizes the show. Duffy's rendition of "Every Man is Stupid" is heartfelt and humorous.
As Aristide, Kevin Earley embodies the Parisian judge caught between his desire for Pistache and his devotion to the law. What's more, Earley's interpretation of "It's All Right With Me" is memorably flawless.
David Engle is a formidable presence as art critic Hilaire. Not only are Engle's impressive fencing skills well utilized here, his rich baritone voice is nicely employed in "Come Along With Me." Amir Talai is good for laugh after laugh as Boris the forlorn artist. Robert Yacko is marvelously convincing as the unlikely but true-life "flatulist" Le Petomane, and Justin Robertson adds comedic flourish as Etienne.
Can-Can does sag during its second act, and the plot-line fades to near meaninglessness throughout the proceedings. Nevertheless, Can-Can is about spectacle and music. With a dance ensemble so in-sync and well-timed as to astound us and production values that serve as candy for the eye and tonic for the ear, Can-Can is a must see.
For reservations to Can-Can dial (626) 356 - Play. For more details, visit www.PasadenaPlayhouse.org. "Can-Can" plays Tuesday through Saturday at 8 p.m. On Saturday, the show is also on at 4 p.m. Sunday it plays at 2 p.m. and 7 p.m.
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