Tuning into the Swing Era
Times were tough, but radio was golden
Singing their little hearts out in the 1940s: Hannah Simmons, Misty Cotton, Karole Foreman, and Kim Arnett. Photo by Alysa Brennan
It’s once again time for a man to retrieve that red bow tie from the bottom drawer of the dresser, sandwiched among business receipts and inappropriate phone numbers written on napkins. Relearn how to make it presentable; brush off the white spats and polish the patent leathers, and figure out which is the top and which is the bottom of the cummerbund that fit so nicely last year, but has since shrunken severely while languishing in the closet since Christmas 2009. Methinks too many passes by the eggnog bowl in Yuletides past may have influenced the elasticity. A Santa hat is appropriate, given that you unceremoniously smashed your last satin top hat shortly after dancing (stumbling) through the first chorus of “Auld Lang Syne” about a year ago. For the ladies, the season is a great excuse for a new frock. Enjoy the mistletoe.
‘Tis the holiday season, and the Civic Light Opera of South Bay Cities (CLOSBC) opens a fun musical show this week that features close vocal harmonies from a past era, which include holiday songs known to all, and cute comedy suitable for all ages.
The cast of “1940’s Radio Hour” is an eccentric group of 11 wannabe radio stars who each have “real” jobs outside the studio. For example, Ginger Brooks (Misty Cotton) is a waitress-turned-singer, who’s not the sharpest knife in the utensils drawer. Connie Miller (Hannah Simmons, in her CLOSBC premier performance) is a bobbysoxer who runs an elevator by day. Lou Cohn (Richard Israel) is the stage manager, always with clipboard and stopwatch in hand, who kinda runs the radio production, all the while enjoying the movements of the ladies on the set.
A classic ensemble show
The play takes place in the studios of WOV, a small, 5,000-watt station in NYC in December 1942. During the radio show, it is intimated that the broadcast originates in the ballroom of the Astor Hotel. When asked where the show is truly being played, Israel (stage manager Cohn) said, “That’s a good question. We kind of worked around that, but we haven’t yet latched on to a logical answer.” He said the set for the CLOSBC run of “1940’s” is a “fully decked-out studio, control booth, bandstand, all on different levels. It’s also implied that a live audience was present during the show. It looks to be a fully-realized radio studio.” (The sets were created by Christopher Beyries.)
Given each player’s past and their varied personalities, situations arise through the dialogue of the radio broadcast that quickly affect many of the 1940s’-era musical numbers performed solo or ensemble – sometimes both. The troupe calls itself the Mutual Manhattan Variety Cavalcade and the show being portrayed is the final holiday offering of December 1942.
Israel has past experience with CLOSBC. He did “Fiddler on the Roof” two years ago, and Titanic “about nine years ago.” Born and raised in New York City, Israel chose to attend college in Arizona. He said he has been living and working in the L.A. area for “a very long time.” Israel’s resume lists appearances in productions at most every theater venue in the Southland and, in a crazy business, he remains busy.
“My primary focus is directing,” said Israel. “I just finished a show at Colony Theatre in Burbank, ‘Bell, Book and Candle.’ After ‘1940’s,’ I have four directorial projects lined up back-to-back that take me through May.”
Given such a full calendar, “I consider myself to be very lucky,” he said.
Regarding this CLOSBC production, Israel said: “It’s not a conventional musical where there are principals and ensemble. It really a classic ensemble show.”
Does Lou (Israel’s character) get to sing during this show? “More than I anticipated. I’m in about six numbers.” (There are 21 total.)
“Mine are all group numbers. When I auditioned I thought, ‘Oh, that’s more of a non-singing role,’ but the director (Stephanie Coltrin) and staff have expanded some of the songs so that we (lesser-singing roles) can get to do more.”
Seat-of-your-pants comedy
Gary Busby is the show’s musical director. Richard gives him much adulation in keeping the numerous four-part harmony songs together. “He’s a genius. He’s crunching together a lot of difficult music to a lot of people in a short time.”
And, yes, there’s a “tremendous amount of choreography,” according to Israel. Heather Castillo is in charge.
“The show, ‘1940’s’ looks at the half-hour prior to the broadcast, and the chaos and joyful enthusiasm that occurs just before a live radio broadcast. It’s predominantly the radio show. A lot of hilarity ensues because these are people who are skilled at what they do, but things go wrong, just like in any live performance. A lot of the comedy comes from that seat-of-your-pants mess of the presentation of the show.
“Yes, it’s all about the music, but there’s a tremendous amount of heart as well. It takes place in a time that was so very much about heart and people pulling together. It never gets maudlin, but it does address that the people – in and out of the show – are of great spirit and joy and great humanity.
“Performing in the broadcast is more a labor of love to the actors than it is anything else.”
Does “1940’s” have holiday appeal? “Oh, my gosh, yes. There are four or five holiday-themed songs in the show, plus it actually takes place on Dec. 21. Tremendous holiday appeal, plus it’s so gentle and sweet and is good for the family. CLOSBC is really smart to pick this show for this time of year.”
The hits included in the show include “Kalamazoo,” “Daddy,” “Our Love is Here to Stay,” “Old Black Magic,” “Blue Moon,” “Boogie Woogie Bugle Boy,” “Have Yourself a Merry Little Christmas,” and more. The show was written by Welton Jones and opened on Broadway October 1979, running for 109 performances.
(Editor’s note: For grammatical sycophants everywhere, yes, the apostrophe in the title is misplaced. Such was the doing of author Welton Jones.)
1940’s Radio Hour previews tonight and tomorrow and opens on Saturday at the Redondo Beach Performing Arts Center, 1935 Manhattan Beach Blvd., Redondo Beach. Performances, Tuesday through Saturday at 8 p.m., with matinees at 2 p.m. on Sat., Dec. 11 and 18, plus Sun., Dec. 12 and 19; and also Sunday evening at 7 p.m. on Dec. 12 and 19. Tickets, $30 to $65. Closes Dec. 19. Call (310) 372-4477 or visit www.civiclightopera.com. ER