TOOT-TOOT-TOOTSIE, HELLO!
I was worried about attending a local production of Tootsie. I had seen the national tour and enjoyed it immensely. I worried that I might be so spoiled that I couldn’t enjoy any other production. My worries were unfounded. Desert Theatreworks’ (DTW’s) production of Tootsie was one of the most consistently enjoyable musicals I have seen in the Coachella Valley all season. Much of that goes to director Michael Pacas who excels at farcical musicals such as this. The story never slows down.
Tootsie is based on the 1982 movie of the same name. Music and lyrics are by David Yazbek and the book by Robert Horn. The accompaniment is played by recordings which I appreciate because I love Yazbek’s progressive jazz instrumentation, and frankly they are still haunting me some 24 hours after seeing the performance.
The show opens with a New York City production number. All of the cast are in costumes that represent some element of Manhattan—the Statue of Liberty, costumed characters from Times Square, wide-eyes tourists, etc. The number is staged with six 4’ X 8’ rolling screens that cleverly move around the stage, usually with no visible operator, but as they move they reveal different individuals in the number. It must have been a nightmare to stage the movement of the screens, but they were delightful. They are only featured occasionally during the rest of the show as they would block out an upstage video wall which is very important.
Then suddenly one of the performers stops the number and we realize that we have been watching a rehearsal for a Broadway show. The actor, Michael Dorsey (Jason Ayestas) argues with the show’s director, Ron Carlisle (Steve Giboney), that the number runs afoul of the backstory he has created for his ensemble character. The director’s solution to the problem is to fire Dorsey—not only from this show but from every show he might ever consider directing, ever!
We follow Dorsey to his apartment which he shares with a buddy, Jeff (Ben Schwimmer). Jeff serves as Dorsey’s conscience and the book scenes between these two men are among the show’s highlights: fast and genuine. They are joined by Sandy (Taylor Burns), Dorsey’s ex-girlfriend. She reveals that she is auditioning the next day for a show called Juliet’s Curse. After she leaves, Michael Dorsey dons a dress, wig and glasses, and re-names himself Dorothy Michaels (the name Tootsie is never uttered in the musical nor the movie). He auditions for the same role as his ex does and he lands the role. Dorothy is cast as Juliet’s nurse in a revised version of Romeo & Juliet. Juliet is played by a character named Julie Nichols (Emma Grandas), a performer with whom Dorothy/Michael is immediately smitten. Along the way, the dimwitted actor playing Romeo (Willie Eide) falls for Dorothy. Mishaps and confusion worthy of a farce abound, but all are delivered by consistently skilled performers, and the book is surprisingly solid for a musical.
At the helm, of course, is Dorothy/Michael and DTW scored a bullseye with Mr. Ayestas. He is a completely self-centered jerk as Michael Dorsey but quite charming as Dorothy. His voice is somewhat higher as Dorothy, but natural sounding and effective. He sings strongly as both the male and female characters and since he is involved in most dialogue scenes, he must be credited with keeping them alive and usually funny.
As noted above, Schwimmer as the roommate is terrific. Scruffily bearded, with untrimmed hair and ample girth, he looks like anything but a musical theatre performer, which makes him a great contrast to Dorsey. It’s actually a surprise when he finally sings a little something and we realize that he is in fact an experienced actor skillfully playing a schlep.
Emma Grandas as Julie is good looking, bright-eyed, and a terrific singer. Steve Giboney playing the director of the show is delightfully funny with his delusions of grandeur. Veteran character actress Bonny Link has great moments as the octogenarian producer of Juliet’s Curse, and Taylor Burns as Sandy has the audience howling with her neurotic songs. Tip of the hat to Herb Schultz as Michael’s agent. He only has a couple of brief scenes but he makes them memorable, enjoyable, and funny!
No musical director is named per se, but Raul Valenzuela is credited as Choreographer, Assistant Director, and Vocal Coach. He also serves as the theatre’s resident Front of House manager, and he seems to do all those tasks amazingly well (Tess Phillips choreographed “I’m Alive” and “Gone Gone Gone”). Amanda Miliken stage managed, assisted by Violet Feath. Vanity Halsten designed the lights, Miguel Arbello the sound, and lights and sound were operated by Bryce Izurieta. Geo Medina took care of props, while costumes, hair and makeup were headed by Hayden James, although whenever there is a picture of Dorothy Michaels such as on a poster blown up on the video wall, her hair is auburn, as it is on every piece of promotional material. However, the wig she wears in the show is black.
Desert Theatreworks’ Tootsie is a riotous success, blending rapid-fire wit, top-tier performances, and inventive staging. Jason Ayestas is pitch-perfect as both the egotistical Michael and the endearing Dorothy, anchoring a cast that fires on all cylinders. With sharp direction by Michael Pacas, seamless comedic timing, and a visually dynamic production, DTW proves that this musical comedy is just as fresh and funny as ever.
photos by Tara Howard Photography
Tootsie
Desert TheatreWorks
Indio Performing Arts Center, 45175 Fargo St. in Indio
ends on March 30, 2025
for tickets, call 760.980.1455 or visit DTW
