BWW Reviews: Quilter's END OF THE RAINBOW Blows Into the Ahmanson

End of the Rainbow/by Peter Quilter/directed by Terry Johnson/Ahmanson Theatre/through April 21

For diehard fans of Judy Garland, for those who adored every song she sang and every word she uttered, Peter Quilter's account of Judy's final comeback in the UK at Talk of the Town in December, 1968, called End of the Rainbow must be seen. Yes, it's darkly frank showing literally the decay of the alcoholic/drug addicted superstar whose great pain and loneliness drove her over the edge, but it retains a delicious sense of humor, Judy Garland's unique sense of humor whereby she could put herself down and everyone in the room around her, get big laughs and get away with the deprecation...and still be adulated and adored by all. Garland was iconic who delivered every performance from the bottom of her soul, and in End of the Rainbow Tracie Bennett's mesmerizing electricity dominates her portrayal, giving us the essence of the woman on and off the stage. It's uncannily brilliant!

It has been argued that Quilter's account is inaccurate and that the only reality that exists is the Talk of the Town engagement and fiance Mickey Deans (Erik Heger), a lout who took control of her and tried to make her clean. The big question was and is, did he do it because he truly loved her or was Garland his meal ticket and did he do what he felt he must to keep her performing and making money? From the portrayal of Deans here, he was a brazen zero who showed no real compassion for Garland. Her gay pianist Anthony (Michael Cumpsty), on the other hand, adores her and will do anything he can to try and save her, including marriage. This whole case of the pianist may be fiction, but it certainly works theatrical magic to delineate the intentions of the two men. Anthony is the hero, Deans the villain, without question. Garland refused to see through Deans though; in fact, she adored him, but this is not hard to comprehend. She was desperately needy, and he was a handsome man who paid her attention in her waning years. Plus past friendships with men had all proven failures for Judy, as they always walked out on her. But with her intense substance abuse and being the icon that she was, this is not hard to understand either. Let's face it, Judy Garland, in spite of our love of her, was no saint. She was a problematic woman, when all is said and done, and Quilter allows us to see her flaws in the raw, which will not be easy for many who look at her through rose-colored glasses.

But again, we never stop seeing Garland's humor through the pain. At one point, for example, she swipes Anthony's valise, sneaks into the bedroom of the hotel and takes dog medication she finds inside. Instead of denying that she has taken the pills, she gets down on all fours, rolls on her back and acts like a dog. Yes, I believe Garland, with her tremendous sense of humor, might just have done this. She would not accept defeat and would go for a laugh. And an addict is an addict: they do not read labels first; pills are pills, and she did not stop to notice they were not for human consumption. Enough said.

Tracie Bennett is thrilling. To sustain the emotional drive and physicality from beginning to end, moving through scenes like a locomotive, in and out of a dynamic musical delivery requires amazing stamina. This lady has it in spades, and even though she may not sound exactly like Garland, she does a pretty good job. As to the look: in profile, the resemblance is exact. However, it's the essence of the character that's important, and Bennett delivers. Cumpsty is wonderful as Anthony. Particularly affecting is the scene where he helps a desolate Judy with her makeup before a show, telling her that she is still beautiful. Also, his proposal is so touching - a beautifully written and executed scene! Heger makes Deans a brute, who is at once weak and unlikable. Miles Anderson does fine work in a few smaller roles, especially effective as the BBC interviewer, who must ride through Judy's unintended rude remarks about his name and manner. William Dudley's set of the Ritz, London suite is spot.on elegant, as are his costumes for Bennett. I question the long red dress in Act I, however. It seems so unlike something Garland would wear, but don't quote me as to accuracy! I'm sure the appropriate research was done. Terry Johnson directs the action fluidly, keeping the pace brisk, yet grounded in reality. Jeffrey Saver's music direction with a 6-piece orchestra center stage behind the hotel suite's back wall is top notch. Bennett delivers a stunning "Man That Got Away" when Deans walks out at the Act I finale, and an emotionally-charged "Over the Rainbow" at play's end, among several other Garland favorites.

End of the Rainbow is a must see for all Judy Garland fans and also for those getting to know the superstar. It offers an exciting look at her onstage life and a brash, rough look at the personal side of the coin. No one knows what really happened in those private last moments, but from what is shown, Garland gave her public all the love she had to give, in spite of not receiving the deep, personal love she so desired. And... her public loved her and still do...warts and all.

http://www.centertheatregroup.org/

(photo credit: Carol Rosegg)

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