Legends hit San Diego in September, some in the flesh, and others, no longer with us, embodied and impersonated by another.
There were three divas. One may still be seen and heard.
Song stylist and onetime Broadway diva Linda Eder played one night only at the Civic Theatre Sept. 9. During the first half of her (unprinted) program, she won the audience by spinning magical, long-lined ballads, true in pitch and easy in style. The second half launched her into a steely, hard-edged, well-nigh unpleasant style. The mic had so much reverb that at the close of several numbers one couldn’t tell what octave she was singing in, a discomfiting experience to be sure. Oddly, she ended the evening with “The Impossible Dream.”
Former teenage film star Molly Ringwald opened a new national tour in the same venue three nights later, playing the slightly damaged but ever hopeful dancehall hostess, Charity Hope Valentine, in the 1966 Cy Coleman/Dorothy Fields/Neil Simon musical, “Sweet Charity.” The musical is based on Federico Fellini’s unforgettable film, “Nights in Cabiria,” and contains hit tunes “If My Friends Could See Me Now” and “Hey, Big Spender.” Sadly, Ringwald has neither the singing nor dancing chops to sustain an eveninglong show. Fortunately, the rest of the company was able to provide an enjoyable evening. The production played a week, then moved on.
The best of the three divas is still onstage at San Diego Repertory Theatre (www.sandiegorep.com) through Oct. 15. She is Broadway star Tina Fabrique, who plays and sings the heck out of legendary jazz singer Ella Fitzgerald in “Ella,” playwright Jeffrey Hatcher’s worshipful homage. The relaxed performer relates Fitzgerald’s life. Members of her fine jazz quartet give voice to Ella’s men, and trumpeter Brian “Lord” Sledge even steps down onstage to sing with Ella as Louis Armstrong. Fabrique is fabulous and indefatigable. She works the microphone and the audience, totally winning over all who listen. She is gracious, natural and utterly easeful, singing nearly two-dozen songs over the course of a blissful evening.
The fourth legend is composer George Gershwin (1898-1937), who receives his own homage, “George Gershwin Alone,” written and performed by Hershey Felder and continuing at the Old Globe Theatre (www.theoldglobe.org) through Oct. 22. This not to be missed experience is one to be savored by music lovers and theatre fans.
The audience is captivated from the moment the lights go up on the ebony grand piano and Felder begins sotto voce to sing, “I Loves You Porgy” from Gershwin’s magnificent opera “Porgy and Bess.” Michael T. Gilliam’s lighting design and Yael Pardess’ scenic design are elegant and Jon Gottlieb’s sound design is excellent, as he blends Felder’s live piano performance and vocals with recordings.
Felder has played the show worldwide more than 2,500 times since 1999, and yet there is nothing tired or routine about his performance. He’s neither the greatest singer in the world (neither was Gershwin) nor the greatest pianist, and yet he employs his gifts tirelessly and affectingly.
Director Joel Zwick deserves credit for the pacing of the work, which leaves Gershwin worshippers in tears at the composer’s youthful death of an inoperable brain tumor. Gershwin’s music endures and so does Felder, who conducts an enjoyable chat and sing-along after the official curtain. It’s divine to go out into the balmy fall evening with “Embraceable You” in one’s throat and heart.