L.A. Now And Then

Reviewed by Martίn Hernández

Group Repertory Theatre

Through May 9

Recommended

For native Angelenos of a certain age, this nostalgic musical romp should draw knowing laughs and a tear or two, while those new to LA – and even some of us natives – may need to Google a few of the references. Either way, after two years of a global pandemic it is a relief to tap our toes and revel in a heartfelt celebration of the resilience of our fair city. Alternating between original songs and whimsical skits, this feel-good revue, conceived and well directed by Bruce Kimmel, skirts L.A.’s more sordid side and slyly pokes fun at the Boomer/Gen Z divide – and barely conceals which side it is on.

The talented cast opens with a rousing “This Is the City” (music and lyrics by Kimmel, choreography by Cheryl Baxter), setting a mostly upbeat tone for the proceedings. For anyone who savored a donut from the back of a Helms Bakery truck back in the day, Lisa Dyson, Liz Grannis and Lottie Arnold remind us in Kimmel’s snappy “The Helms Man,” vocalizing in an Andrew Sisters’ style.

The rap track “Straight Out of L.A.” (music and lyrics by Wayne Moore) incorporates the names of sundry cities in the Greater Los Angeles area, delivered with verve by Marcel Licera, Haruna Kajino and Alariza Nevárez, decked out in hip hop regalia as are their back-up dancers (costume design by Michael Mullen.) And while Tamir Yardenne and his cohorts rock the house in “L.A. Is,” (music by Grant Geissman, lyrics by Geissman and Kimmel), a paean to L.A.’s rich cultural and racial diversity, the ensemble is far from representative of the racial demographics of the metropolis the song is venerating.

David Wechter’s and Kimmel’s skit portrays how two screenwriters (Lottie Arnold and Harrison Fahn) pitch a remake of the 1944 film noir classic Double Indemnity to a committee of corporate hacks that suggests outlandish changes more in tune with profit than art. Bill Fitzhugh’s hilarious “The Crypto Space” depicts two tech savvy agents (Alec Reusch and Fahn) locked in on their smart phones as they briskly banter on their latest deals and out of date Luddite bosses – “Change is inevitable, understanding is optional,” one tells another.

Jeffrey Rockwell sings about the incongruity of “Christmas in Los Angeles,” (music and lyrics by Richard M. Sherman and Robert B. Sherman), with backup from Arnold, Margaret Staedler, Nevárez and Hisato Masuyama, who battle inflatable palm trees. Danika Masi shines as club girl with the smoky “Midnite at The Roxy,” (music by Michelle Brourman, lyrics by Karen Gottlieb), as does Arnold with “The Black Dahlia,” (music by Kimmel, lyrics by Adryan Russ), a lament by Elizabeth Short, whose brutal and unsolved 1947 murder has haunted L.A. for generations.

Set designers Tesshi Nakagawa and Pawena Sriha’s bifurcated platform set, with the formidable band, led by musical director Richard Allen, in the middle, sports walls on which Nakagawa projects such historic photos of Pacific Ocean Park, the Pan Pacific Auditorium, the Brown Derby and other long-departed establishments. Douglas Gabrielle’s lighting highlights 60s psychedelia to 70s disco lights to accompany the tunes from those and other eras. Holding it all together is a vast task, and director Kimmel pulls if off well. With the inclusion of stories from more marginalized L.A. communities, the show could shine an even brighter light on the greatest city in the world.

The Group Rep Theatre at The Lonny Chapman Theatre, 10900 Burbank Blvd., North Hollywood; Fri-Sat., 8 pm; Sun., 2 pm.; (talkbacks April 10 & 24) thru May 9. www.thegrouprep.com