(all photos by Jason Niedle)
For the first time in its 46 years of managing the La Mirada Theatre for the Performing Arts, the city of La Mirada, along with MB Artists, Inc., is producing an original musical. The cumbersomely titled Did You See What Walter Paisley Did Today? has book, music and lyrics by Randy Rogel and was developed and directed by Producing Artistic Director BT McNicholl. The musical is loosely based on the 1959 cult low-budgeted ($50,000- and 5-day shooting schedule) Roger Corman horror comedy Bucket of Blood. That script, by Charles B. Griffith, was a satire of the then current beatnik scene rather than an out and out horror film, although the plot was modeled on the earlier horror classic House of Wax. The musical’s story follows socially inept waiter and wannabe sculptor Walter Paisley (Steven Booth) who has a crush on aspiring dancer Carla (understudy Carlin Castellano at the performance reviewed) who is romantically involved with the egotistical beat poet Maxwell (Ross Hellwig). Walter’s pathetic attempts at art receive encouragement from Carla and derision from Maxwell. And then a twist of fate during a misguided effort to rescue his landlady’s cat from being trapped in the wall of his apartment lead to his first masterpiece–Dead Cat with knife.
Soon the neighborhood is cleared of homeless animals as more and more of Walter’s “sculptures” go on display and get sold at the café. He then moves on to bigger subjects and the police are stymied by a long list of missing persons, starting with Maxwell, who discovered Walter’s secret of clay over dead pets. When an art show dedicated to his works demands more sculptures, Walter reaches a breaking point. Carla’s rejection of his mis-placed affections helps send him over the top. Rogel’s strongest asset is his very funny book. There is not much of a beatnik feel to the script or characters besides some finger-snapping dance moves by choreographer Connor Gallagher and the cool, man, cool threads by costume designer Ann Closs-Farley. Rogel has taken the gist of the movie’s plot and expanded it, making for a more fulfilling outing. The plot moves, and the laughs are delivered under McNicholl’s guidance. Rogel’s lyrics are clever and fun but several of his melodies sound like very familiar tunes from other musicals. Musical Director/Conductor Andrew Orbison leads the six-piece pit band, and the music and voices are clearly distinguished by Cricket S. Myers’s sound design. John Iacovelli’s proscenium like scenic design changes scenes effortlessly. A special shout out to Puppet Designer Aran De La Pena for giving us Frankie the Cat, Walter Pigeon and all the other furry creatures singing along and to Ryan Marsh’s projection design.
Booth carries the show on his slender shoulders, going from meek to haughty as Walter’s acclaim and fame grow as does his ego. He is given strong support by Kingsley Leggs as café owner and artist manger Leonard. Kathy Fitzgerald delivers a master class in scene stealing as Walter’s older, curvaceous and extremely horny landlady.
Steven Booth and Kathy Fitzgerald
Singing the Praises of the Understudy
At the performance reviewed, Carlin Castellano, who understudies all four of the show’s females, went on without a full rehearsal and with script in hand. The curtain was delayed half an hour as she was prepped but if she didn’t have that script in her hand and McNicholl had not warmed up the audience with the tale of Shirley MacLaine going on for Carol Haney in Pajama Game and thereby jumpstarting her movie career, I’m not sure the audience would have been aware of the understudy taking center stage. Castellano owned the stage from her first appearance. Her comic timing was precise, her empathy with the other characters was deeply felt, and her vocal chops were impressive. She received rapturous applause from the audience after her numbers and at her curtain call. Well deserved! Brava, Diva! I’m pretty sure there was no Hal Wallis-like producer or an Alfred Hitchcock-like director in the audience, but I sure hope word gets out to producers and directors and Ms. Castellano gets the career she richly deserves.
LaMiradaTheatre.com