Judy's Scary Little Christmas: Daily News Review

Friday, December 19, 2003

Review by Evan Henerson

Have Yourself a 'Scary Little Christmas'

There must be a library somewhere in this city containing a Judy Garland impersonation manual. This "How-to Judy" tome ("Dorothy for Dummies"?), if it exists, undoubtedly contains guidelines for performers of both genders.

And if it doesn't exist, Connie Champagne of "Judy's Scary Little Christmas'' should get to her word processor and bang it out. Now.

Champagne's portrayal of a Garland trying desperately to recapture her glory is by no means the over-the-top frightfest that the subject matter and the play's title would seem to indicate. Rather, Champagne's is a single-minded, fully focused tribute/embodiment that earns its comedy the old-fashioned way: individually and through playing off her co-stars. Champagne played the role last year at the Victory Theatre in Burbank, garnered a richly deserved Ovation award for it, and is back Gumm-ing up the stage again, this time at the Court.

Now, lest we leave you with the impression, gentle reader, that "Judy's Scary Little Christmas'' is in any way a somber, angst-ridden Garland biography, here are a few things you should know:

Appearing as special guests on Judy's fictional CBS special in 1959 are Liberace, Joan Crawford, Bing Crosby, Ethel Merman, Richard Nixon and Lillian Hellman not a shrinking violet in the entire bouquet. The performers who bring these characters to life Don Lucas, Joanne O'Brien, Lauri Johnson, Eric Anderson and Jan Sheldrick know when to play it safe and when to go for it. And restraint is not what this musical co written by James Webber and David Church and directed by Kay Cole invites. Champagne frequently isn't even on stage when Judy's guests go for the gusto.

There is another guest at Judy's party who doesn't sing. He's the Grim Reaper and he's got some souls to collect and some accounts to reconcile. At one point, it is revealed that he is wearing ruby slippers.

The camp factor in Webber and Church's script is in evidence, but so is an overall comic sophistication. Each entry in Joe Patrick Ward's score has the spark and wit of a number plucked from the late '50s. That goes equally for Judy and Bing sharing a folksy duet while making grog to Ethel Merman's shamelessly over-the-top Hawaiian number. And hats off to any composer who imagines a red-baiting Nixon and a staunchly leftist Hellman singing the duet "Are You Now or Have You Ever Been in Love?" '

Lucas' sparkly Liberace flamboyance personified is a scream. O'Brien makes a late entrance as Crawford, but absolutely nails the stage time she's given. Director Cole, who gets most of her work as a choreographer, has a light touch with intimate and more crowded scenes. She keeps "Judy" s Scary Little Christmas'' humming along.

As crack as this ensemble is, however, I suspect the production would be sunk if another actress were at its center. The resemblance between Garland and Champagne is appropriate enough, but it's Champagne's vocal timber speaking and singing and her mannerisms that really bring the performance home.

The actress has done her homework, and the vehicle suits her like a $1,000 satin dress. And what a scary/merry combination that turns out to be.