Ella
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Fabrique, Wilson
Photo by Ed Krieger
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By Ben Miles
Ella Fitzgerald is thought of by most modern music aficionados to be among the most influential of jazz singers in the 20th century. The long-lived "First Lady of Song"--a title she came to be known by during her lifetime--had an enduring recording career over the span of nearly six decades.
Lady Ella, a moniker she accepted with typical modesty, won 14 Grammy Awards. In addition, she received a National Medal of Art from Ronald Reagan, as well as the Presidential Medal of Freedom from the first President Bush.
Now in its Orange County premiere at the Laguna Playhouse, through March 22, is a musical tribute to this melodic phenomenon, titled simply, Ella.Conceived by Rob Ruggiero and Dyke Garrison (Ruggiero also directs), with a book by journeyman dramatist Jeffery Hatcher, Ella is a routine set-up for an extraordinary biography. In two-acts with almost two dozen song routines, we learn of Ella's hardscrabble upbringing. Lady Ella's mother died when the future star songstress was 14 years-old, and she was then raised by her abusive stepfather. Also, we are informed of Ella's loves: The relationship with her longtime bassist, Ray Brown, was a casualty of their mutually hectic schedules, and Ella had a significantly strained coupling with her adopted son (a maximally complex relation, to be sure). Moreover, we hear of the tragic loss of Ella's sister and best friend, Frances.
Mostly, however, we come to appreciate the song stylings of Ella Fitzgerald. Who knew that Ella's signature composition "A-Tisket, A-Tasket" was first featured in an Abbott and Costello film? Also, we are surprised and perplexed to find out that Frank Sinatra considered Judy Garland and Ella Fitzgerald to be the laziest singers he ever knew. Why would that be so? Unfortunately, that question goes unanswered in this staging.
Still, Broadway veteran Tina Fabrique performs sterlingly as Ella. In a recent interview with The Orange County Register, Fabrique admitted that she "wasn't concerned with sounding exactly like her (Ella)." But, Fabrique continued, "I learned her scat solos note for note. I took the time and energy to do that." Indeed. Watching Fabrique embody and give voice to Ella Fitzgerald is akin to observing a theatrical reincarnation. Whether or not Fabrique sounds precisely like Ella, we in the audience gleefully accept the persona in its totality.
Four musicians--Rodney Harper, drums; Clifton Kellen, bass; Thad Wilson, trumpet; and pianist/conductor George Caldwell--not only make for a lively jazz quartet, cleverly they also give voice to some of characters in Ella's life. Notably, Thad Wilson delivers a delightful rendering of horn-blowing Louie Armstrong that is distinctively bonhomous. Also, in the only non-musical role of the show, Harold Dixon adds dramatic conflict as Ella's manager, Norman Granz. He insists that the naturally introverted Ella add some patter to her performance, even suggesting that Lady E remove a song from the program in order to accommodate more verbiage in her public presentations. Of course, Ella is all about the music and would much rather sing to than talk with audiences.
Ella is an inspiring, if somewhat hagiographic, treatment of this saint of American music, no doubt. Ella Fitzgerald may be gone but thankfully her memory and music live on in this praiseworthy staging.
Ella continues at the Laguna Playhouse--606 Laguna Canyon Road, Laguna Beach--through March 22. Performances are Tuesday - Saturday at 8 p.m. Matinees are on Saturdays and Sundays at 2 p.m. An additional performance will be added at 7 p.m. on Sunday March 15. For reservations, dial (949) 497 - 2787. For more details, visit www.lagunaplayhouse.com.
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