Waiting for Johnny Depp

Reviewed by Pauline Adamek
The Whitefire Theatre
Through April 29

RECOMMENDED

Janet Valdez Cole’s semi-autobiographical musical, co-written with solo performer Deedee O’Malley, is a fun romp that traces the trials and tribulations of an aspiring actress.

When we first meet perky New Yorker Rita Donatella (O’Malley), she’s just learned from her agent that she is inches away from being cast in a starring role in a major studio movie opposite Johnny Depp. But conflicting instructions and various requirements, such as “lose 20 pounds,” “ditch the thick ‘Noo Yawk’ accent” and “send photos of yourself dressed as a man” conspire to frustrate and perplex our starry-eyed heroine, who nonetheless remains convinced she’s poised on the cusp of her big Hollywood break.

As the studio contract keeps failing to materialize, we watch Rita grow increasingly desperate and destitute. Eventually she comes to terms with some of life’s most important questions: how to survive financially, how to recognize true love, how to balance the demands of career and family, and ultimately, what really matters beyond those elusive dreams of stardom.

The show’s strengths lie in its rollercoaster storyline and likable central character, whose enthusiasm and determination is infectious and appealing. O’Malley is effervescent and warm, and endears herself to us throughout. While her voice lacks power, it’s sweet and pure.

As a musical, however, the songs feel slightly underwritten and repetitive, thanks to one too many reprises. A couple of the slower, more poignant songs do resonate with pathos and raw emotion — “This Time” in particular. Live musical accompaniment is provided by a sassy Bettie Ross, who makes a grand entrance while snapping gum and blowing bubbles, and thereafter remains hidden behind her upright piano, tinkling away with either gusto or sensitivity where required. (Book and lyrics are credited to both Cole and O’Malley, while music is attributed to the two of them in collaboration with Ross.)

Holly Friedman directs with panache, eliciting a nicely modulated though mostly vivacious performance from O’Malley. Cute directorial touches include the gradual transition from a living space crammed with kitschy feminine touches (scenic design is by Michael O’Malley) to a bare stage, as our heroine keeps selling her possessions via Craigslist in order to stay alive.

The show suffers a bit from a breakneck pace and numerous scenes, many of which feel all too brief, with stagehands continually bustling on and off stage. In fact, no fewer than four stagehands are seen throughout, resetting props and shifting furniture during the dimly-lit scene breaks. This backstage crew never seems to stop sprinting, and they even share the curtain call with the show’s solo performer.

Waiting for Johnny Depp is a fun show with many genuine laugh-out-loud moments. Given the preponderance of aspiring actors and industry types in this town, it is bound to have broad appeal.

K.I.S.S. Theatricals at the Whitefire Theatre, 13500 Ventura Blvd., Sherman Oaks. Fridays, 8 p.m.; through Apr. 29. (323) 960-5521 or www.plays411.com/johnnydepp; Running time: 2 hours with one intermission.