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Showing posts with label Center Repertory Company. Show all posts
Showing posts with label Center Repertory Company. Show all posts

August 31, 2011

They were rock 'n' roll

One of the fun things about working with an arts organization is that I get to go on amazing journeys of discovery. I can watch rehearsals for shows that are coming up at the Lesher Center for the Arts, talk to the directors and actors, and do research on the show’s history, cultural relevance, artistic impact.

Last week, I went to see a very high-stepping, heart-and-soul run-through for Smokey Joe’s CafĂ©, which Center Repertory Company, the resident theater group for Walnut Creek's Lesher Center, is opening this coming Friday.

But I confess: before I went to the rehearsal, I knew very little the show, other than that it was a Tony Award-winning musical revue of 39 rock songs, such as “Hound Dog,” “Jailhouse Rock,” and “Stand By Me” written by the songwriting duo Jerry Leiber and Mike Stoller.

With songs like these on their resume, Leiber and Stoller didn’t sound like slouches. Because I’m no expert on rock music history, I didn’t know anything beyond that. I didn’t realize how big of a deal they were until I clicked on the New York Times and BBC homepages early last week.

As it happens, I wasn’t looking up anything Smokey Joe’s-related. I was checking on events in Libya and the rest of the world. And there, below the latest news on the downfall of Quadafi and sniping amongst Washington politicians were stories about Leiber, Stoller, "Hound Dog," and Elvis Presley.

The stories were reporting sad news. Leiber had died on Aug. 22 at age 78.

I had one of those “where have I been” moments when I starting reading the obituaries and then found many more stirring eulogies populating news and culture sites.

Leiber was “rock ‘n’ roll’s first major worksmith,” said the Wall Street Journal’s Mike Myers, who credited him with being “one of the most visionary and authentic lyricists” in U.S. music history. He and Stoller were leading figures of postwar popular culture, opined the Financial Times. They were rock ‘n’ roll, declared Time magazine’s Richard Corliss.

A blogger also linked to a YouTube world music version of the classic "Stand by Me," which Leiber and Stoller wrote with Ben E. King and which gets a gospel treatment in Center Rep's Smokey Joe's.

These writers described how Leiber and Stoller, coming along in the early 1950s, used their ear for R&B and urban youth culture to pen hit after hit. The two were from East Coast Jewish families who met as teenagers in Los Angeles and became enamored of the R&B music being performed by artists who left the South as part of the black migration.

The two became top players in the movement that brought the sounds of blues and gospel to mainstream audiences. Their songs were edgy, passionate, witty and tender and could be covered by a wide range of artists: Elvis Presley, the Drifters, the Coasters, Fats Domino, Peggy Lee, John Lennon, the Rolling Stones.

The crossover appeal of their music can be seen in “Hound Dog’s” path to No. 1 on the Billboard’s pop singles chart. The two originally wrote it in 1952 for blues singer Big Mama Thornton, a woman of “girth and bossy demeanor.” Four years later, Elvis Presley covered it, making Leiber and Stoller the hottest songwriting team in rock ‘n’ roll, according to the New York Times. Apparently, Leiber and Stoller were not too fond of Presley’s more mainstream version, though they wrote many other songs for him and his movies, including “Jailhouse Rock."

You can hear both “Hound Dog” and “Jailhouse Rock” in Center Rep’s Smokey Joe’s production—“Smokey Joe’s” is the title of another Leiber and Stoller hit. But Smokey Joe’s “Hound Dog,” definitely takes its queue from Big Mama Thornton.

In an interview with Walnut Creek Patch, director Robert Barrett Fleming says his vibrant and talented cast, who can belt out songs and bust some serious grooves, try to capture that feeling of excitement and cultural revolution that occurred when African-American culture and musical styles took center stage in the 1950s and 1960s.

“That cultural experiment is what defines us as American,” Fleming said. “It brings wonderful tensions and the birth of rock and roll.”

December 11, 2009

Get your holiday entertainment on

First, forget the Jim Carey animated movie version of A Christmas Carol. Or don’t. I’ve heard it’s supposed to be pretty good, but Jim Carey usually gives me a headache, even when he’s in his “serious actor” mode, so this movie version is a no-go for me.

Besides, I’d prefer to see a live theater version of the Charles Dickens’ classic story of Ebenezer Scrooge and his Christmas Eve redemption. There is something more traditional about seeing it live, especially if it’s a version presented by a local professional company.

The production to see is the one at the Lesher Center by the resident theater company, Center Repertory. The company has been doing the show for 11 years, and, according to Contra Costa Times’ theater critic, it is one of the best staged versions of A Christmas Carol in the Bay Area, as good as the one presented at American Conservatory Theater.

The cast includes a number of Bay Area theater veterans and local kids and teens (from Walnut Creek elementary, middle, and high schools), sometimes getting their first chance to perform in a professional show. I’ve seen A Christmas Carol twice, and it’s well worth it. A Christmas Carol plays at the Lesher Center through December 20. For tickets and information visit www.centerrep.org.

White Christmas at the Orinda Theatre on Saturday. This is the second film in which Bing Crosby sang his now classic holiday tune. I admit I prefer the first film, a 1942 black-and-white musical called Holiday Inn, starring Bing Crosby and Fred Astaire, as partners in show but rivals in love. Holiday Inn was about an entertainer who wants to get out of the rat race and open a Vermont inn that is only open on holidays. This musical features music by Irving Berlin and some killer dance numbers by Fred Astaire (and one unfortunate and anachronistic blackface production number). You should be able to rent it or catch it on TV in the next couple weeks.

Still, White Christmas, despite its somewhat fluffy and contrived plot, works. It was apparently conceived and enhanced with color and splashier sets to cash in on Bing’s White Christmas popularity. Here Bing’s partner in entertainment is comic singer, dancer, actor Danny Kaye, and his love interest is the radiant singer Rosemary Clooney (George Clooney's aunt!). The production numbers are fun, and features some amazing dancing by the lithe Vera Ellen.

The two screenings of White Christmas at 4 and 7 p.m. are part of the California Independent Film Festival. Ticket sales will benefit the Lamorinda Teen Center, and both screenings will feature carols performed by the Miramonte High School Chamber choir.

For tickets, click here.