Los Angeles Music Review: MICHAEL FEINSTEIN’S MGM MOVIE CLASSICS (Pasadena POPS)

THE NIGHT THEY INVENTED TINY BUBBLES

After Marvin Hamlisch’s untimely passing, Michael Feinstein, who has singlehandedly reinvigorated the American Songbook for the 21^st century, took over as principal conductor for the Pasadena POPS. His first concert, Michael Feinstein’s Songbook, saw the beguiling raconteur as a perfect fit for the POPS crowd which, let’s face it, is mostly comprised of folks who were around when the songs that Feinstein revives could still be heard on the radio.

The good news is that Feinstein has access to a vast array of musical compositions, many of which haven’t been heard live but once, such as “Confetti,” part of the ballet music by Bronislau Kaper used in the 1953 Leslie Caron MGM movie Lili. A second act selection from Michael Feinstein’s MGM Movie Classics last Saturday at the LA Arboretum, “Confetti” was conducted live just once at the Hollywood Bowl in 1954 by Johnny Green, the then music director of MGM. Beautifully arranged by Robert Franklyn, this is quintessential MGM film scoring: It is rollicking, lush and pretty with a trite melody. Feinstein discovered the score among Green’s papers at Harvard, and the huge crowd gave it an enthusiastic reception.

The other good news is that pianist-singer Feinstein is a terrific entertainer in his own right. Taking the microphone while Larry Blank conducted, the congenial showman sang the slowed-down rendition of Dietz & Schwartz’ “That’s Entertainment” as heard on his The MGM Album, while perfectly edited film clips appeared on giant screens on opposite sides of the stage. The number was executed with such entrancing charm and wistful melancholy, that it served as the best homage to MGM of the night – and whetted our desire for more Feinstein as singer.

Now that Feinstein has been signed on as principal conductor through 2016, it is hoped that he will up the ante on his conducting. This is his second time conducting ever – well, he doesn’t really conduct so much as he gently saws his baton in tempo – and he has yet to add personality to the Pasadena Orchestra, which frankly could probably conduct itself under Concertmaster Aimee Kreston. He needs to work on bringing out one section over another: Melodies were often lost and the Jet Propulsion Laboratory Chorus in the rear of the band shell was often drowned out or couldn’t get their cue.

Still, he has that cuddly, Jewish Mama’s Boy personality which is infectious. Appearing in a shiny white tux (“I’m a Born-Again Christian Dior”), he was the epitome of class while remaining entirely accessible to the audience. Without mentioning the title, he elegantly introduced “Singin’ in the Rain” (sung by guest artist Ron Raines), mentioning that the original arrangement by one of Hollywood’s greatest orchestrators, Conrad Salinger, had been tossed and ended up as landfill under the 405 freeway. He offered other hints about the song, mentioning umbrellas and the film’s stars (Debbie Reynolds was actually in the audience), and then added “If you don’t know what’s coming next, you’re a shmuck.”

Other orchestral selections from Feinstein’s vaults included extraordinary arrangements of Gene DePaul’s “Barn Dance” from Seven Brides for Seven Brothers, which was a privilege to hear live; the recreation of Salinger’s arrangement of Schwartz’ “Dancing in the Dark”; and David Rose’s arrangement of “The Night They Invented Champagne” from Gigi, which gave percussionists Theresa Dimond and Mike Englander a run for their money.

Powerhouse Broadway vocalist Christine Ebersole (Tony-winner for Grey Gardens) was alternately wacky and entrancing, depending on the number. She offered an achingly poignant rendition of “Happiness is Just a Thing Called Joe,” but then went for Ethel Merman in “On the Atchison, Topeka and Santa Fe.” Tap dancers Cathie Nicholas and B’Jon Carter joined in at one point, but their clickety-clacking was muted by the orchestra.

Front and center during Raines’ “You Are My Lucky Star,” which, as with his other numbers, landed squarely in old-fashioned operettaland, was a display of recreated erstwhile Hollywood fashions, modeled by the gals of Greg Schreiner’s “Hollywood Revisited.” Audience members all around me had no problem talking over Raines’ singing, reading the projected titles: “That’s Bette Davis’s outfit from All About Eve” and “That’s something from Minnie Diver…No, Driver…Who is she?” Still, Ginger Rogers’ flashy and glittering red costume from “Follow the Fleet” received well-deserved gasps from the crowd.

All in all, a pleasant evening that was equivalent to a beefed-up Lawrence Welk show. It certainly could have been more electrifying, and I prefer selections that don’t lend themselves to elevator music, but this trip down memory lane is just what the retired doctor ordered.

production photos by Ivan Schustak

Pasadena POPS: Michael Feinstein’s MGM Movie Classics
Michael Feinstein, Conductor
played July 13, 2013
Los Angeles County Arboretum & Botanic Garden
301 N. Baldwin Avenue, Arcadia
for info and tickets to future events, call (626) 793-7172
or visit http://www.pasadenasymphony-pops.org/

REMAINING POPS CONCERTS:

Pasadena POPS: Classical Mystery Tour: Music of the Beatles
August 10, 2013
Gates open at 5:30pm for picnicking | Concert begins at 7:30pm
Jim Owen | Tony Kishman | David John | Joe Bologna, Classical Mystery Tour
Martin Herman, conductor

Pasadena POPS: Michael Feinstein – The Gershwins and Me
September 7, 2013
Gates open at 5:30pm for picnicking | Concert begins at 7:30pm
Michael Feinstein, Conductor
Catherine Russell, Guest Artist
Chuck Cooper, Guest Artist