GREY GARDENS

There’s so much to discuss about Grey Gardens, the musical that’s running at the Ahmanson Theatre in downtown L.A. But I’m not about to say anything profound about the production, nor the show itself. I’m just here to give you the yin and yang of it, and to set the record straight about what’s real, and what’s not, in the script, because it is a bit confusing. And, even though I totally recommend that everyone see this production, with a few days’ reflection I realize that the show itself is not that great; it’s the titillating topic and marvelous performances that you go for. (This one has haunted me for the past five days, since its opening night.)

You can either accept the show as just an entertainment, or, since it’s about real people, go deeper into it, as I always do, (whether or not I really want to; I just can’t help myself.) [Note: I totally suggest the research route on this one because, as depressing as the story is, it is also fascinating. I actually even just re-watched highlights of the documentary on which the musical is based.]

Either way, you need to know that the first act is almost entirely fictitious, so you don’t get married to that scenario. Yes, all those characters were (or are, as in the case of Lee Radziwill,) real people, but the dates and events are half made-up, and half skewed, for the purpose of getting us to the second act, where the action and dialogue are mostly taken directly from the iconic 1975 documentary, (of the same name,) about these women. But not only was “Little Edie” (the daughter of this depressing duo) never engaged to Joe Kennedy, it’s been said that she met him just once, for a minute or two! So, why would the book writers of the musical use that falsehood as the basis of the show?! A mother ruining her daughter’s impending marriage would explain so much that came after, but it never happened! Show producers should not have one act fantasy and the other reality. That’s just not fair, to anyone.

Here are the basic scoops on the subjects: The Beales (both named Edie) were a mother and daughter who lived in tony East Hampton in the mid-to-late last century. Their estate was named Grey Gardens. On top of that, Jackie Kennedy was their niece/cousin, so that made them more famous. But what they’re really known for is a 1975 documentary about their reclusive lives there in the later years, when they let their previously-glorious home become a giant hovel. I have no idea why they allowed filmmakers to record them at that time, but they did. It’s such a sad tale, but I think that others experience schadenfreude over their misery. I don’t understand feelings like that.

So, a decade ago, their story was turned into a Broadway musical. And now, we Angelenos finally get to see it. It’s definitely worthwhile, but as I’m sure you know, I’m always honest, so I have to give you all my thoughts on it, some maybe not so complimentary.

For instance, if you’re as sensitive as I am, just be prepared for how depressing the topic is to begin with. While everyone was laughing on opening night, I was busy eating my guts out for these women, remembering the real ones in the documentary. How anyone thought of turning that tragedy into a Broadway musical comedy, I will never, ever figure-out. That creative team must be closet modern-day internet trolls if they think that showing people’s utter sadness and humiliation is fodder for laughs. So, it was hard for me to take. To me, this show is practically Springtime For Hitler. (Only that one is a tad more entertaining.)

But, that being said, to see the glorious Betty Buckley, even for the way-too-little time that she’s on stage, is a treat indeed. Mr. X was bowled over by her. In the first two minutes of the show, which was the Prologue, (and the only time we had the pleasure of seeing her until the second act,) Mr. X thought it was going to be the greatest show ever! That’s what Betty Buckley did for this bit of theatre. He said she was in another zone. (At the end, I’ll share my lovely personal story about her.)

But despite the inherent sadness of the topic, seeing the performances in the second act is worth the price of admission. Rachel York comes to life in it. Yes, the humor is in the real-life dialogue of the Beale women, and in the direction of the show, (by Michael Wilson,) but Rachel definitely delivers, especially in the famous Act II opening number, The Revolutionary Costume For Today, which explains so much. Whereas she contributes mightily to the snoozefest that is the first act, (see below,) she absolutely takes over the second.

Even though Grey Gardens shows such promise at the very beginning, the entire first act quickly becomes a mess. Besides the annoyance of it being fictitious, (when the second act is practically word-for-word from the documentary,) it’s just way too long and drawn-out, and boring to the point of me wishing it was over, almost from the start! And the songs in it are brutal. So many of them should be cut. Mr. X said after it, “If you hate having show tunes stuck in your head, this is the show for you.” (Meaning: there was not even one memorable one.) I should have realized that that would be the case because, in all the years since its Broadway debut, I’ve heard only that one song from the entire show, ever!

The first act should really be brief, just to quickly show what the women were like in their glory days, to make their downfall that much more dramatic. Period. Dot, dash, end of story.

Well, not really “end of story,” because the second act is why people show up to the theatre anyway. From the beginning of it, you could hear that the opening night audiences’ laughter was tinged with relief that the show had actually just begun for most of us. (The first act did have some good laughs, but not enough for how long it was.)

Mainly because of Act II, I suggest that you go see Grey Gardens. But here’s my advice to those of you who use the theatre to nap in. (You know who you are. I see it all the time, and could actually name names, if forced to.) Do it during the first act. You’ll miss nothing. But stay alert for the second.

But, outside of Betty and Rachel, the supporting cast is nothing to write home about. The tiny girl, Peyton Ella, has a really good voice, but she sings just a line or two on her own. The rest of the performances are all pat musical ones, which are okay, but far from exciting.

Now let’s discuss the several holes in the show. I can’t put my finger on from whence they stem, though; whether in the writing, direction, or concept.

First of all, we see the documentary cameramen on stage occasionally, but their presence is never explained. The producers of the show assume a lot of knowledge on the part of the audience. (And now, dear readers, you do have that insight, courtesy of moi!)

Secondly, in the documentary, Little Edie did have sort-of the accent that Rachel York affects in the second act, but not nearly as Bostonian. But since she did have it real life, and the grown-up character in the show has it, why does the actress who plays her as a young girl in Act I not have it?

And, at the top of the second act, Little Edie comes out in a crazy headscarf, and then wears one for the rest of the show. I don’t think that was ever explained. My research shows that it was either from the hair loss disease, alopecia, or because Edie had set her own hair on fire years before. Either way, that that headpiece is such a source of amusement for everyone sort-of annoys me. If one of the Kardashians did it nowadays, those same headscarves would be hailed as the height of fashion, not be ridiculed.

But there was none more egregious hole than the literal holes on the stage, which were beyond distracting. There was a trio of giant openings on the stagee floor, for absolutely no apparent, at any time, reason! I’m not the only one who kept waiting for their relevance to be made, but it never was. I think they were made worse for me by the fact that I was—wait for it—sitting in the mezzanine! (The seats were actually okay, but I still hope to never sit there again.) We were looking down on the holes the entire time, so we just could not avoid them. They may be a bit less obvious from the orchestra, but, no matter where you sit, there’s the big why? They’re basically just accidents waiting to happen. (I believe it’s so that we can hear the orchestra, but, if they felt they really needed that extra space, where the pit would be, for the actors to occasionally walk around, why not just put the musicians in a back room of the building, like they often do for the Tonys? The sound comes out the same, and we don’t have to cringe every time an actor walks perilously close to one of the holes! Mr. X told me his heart was in his throat on every cross.)

There was one fabulous technical innovation, though, which was immensely helpful, especially for those of us in the aforementioned higher-up sections. Some of the time during Act II, they did gigantic projections of the actors, on the walls of the “house.” I’m not sure what the reasoning behind them was, but they were indeed appreciated. Perhaps they were done because the stage was so massive that the actors seemed smaller than usual. Or maybe it was to show the nuances of their reactions to what was being said. Or to remind us that all this dialogue is from the documentary. No matter what the reason, the projections were great.

And now to the basic topic, with which I do have a few small problems. Even though I was popular in elementary school, I was always the champion of the kids the others made fun of. I could never understand doing that. So, that I feel that the Beales are being ridiculed in this show, rather than celebrated, doesn’t sit well with me. But, since they’re deceased, I guess I have to try to get over it. [Note: They do have fans now, and, so I guess that means their eccentricities are finally appreciated by some. But, the whole thing just seems to me to have a mean air about it.]

And also, Little Edie’s niece-in-law has now shared Edie’s childhood diary…by publishing it! (That sounds like more of a mercenary endeavor than one of tribute.) But where were the brothers and nephews when these women needed help? I thought mine was the only family like that!

All that being said, you really have to see Grey Gardens for yourself. Just take all this knowledge in with you, so you know what to expect. But enjoy it all! I’m confidant that you will.

And now, as promised, here’s my personal Betty Buckley story. I was a young girl, who had just started seeing Mr. X. He was taking me to my first Golden Globes, and gave me money to shop for an outfit for it. (I’m happy to report that he’s still that same generous guy!) My first stop was a classy, hip boutique on the Sunset Strip. I knew I was out of my league when I saw Betty shopping there, too! I tried on a beautiful pastel dress, and when I came out of the dressing room, Betty turned and looked at me, and was the most lovely, supportive, complimentary co-shopper I’ve ever met. The things she said to me were positively angelic! She told me I must get it, but, this being my first stop, I thought I should shop awhile more. (OMG—I just realized that Grey Gardens and Golden Globes both have the same initials! How’s that for symmetry surrounding seeing Betty Buckley?!)

I wound-up choosing the most unique red “string” Norma Kamali dress from Neiman, that, to this day, is the best red carpet outfit I’ve ever seen on anyone. And it was really daring for the time.

After the show, Mr. X and I waited so long for our errant limo driver, that we got to chat with just about every other guest on his or her way out of the soiree! (The driver was eating somewhere, and forgot to come get us! Oysh. Just another show biz tale for my book.)

All of a sudden, someone had her hand on my shoulder, and was saying, “Let me see what you chose!” It was Betty! She actually remembered me from the day before, and was genuinely interested in my final outfit decision! As she effused over my red dress, she told Mr. X how “gorgeous” I had also looked in the first dress she had seen me in, but gushed that she liked this one even better. She made me feel so welcome in my first big show biz outing. I’ve always been grateful to her for that.

And that warmth really permeates her character in Grey Gardens. I found myself wanting to reach-out and give her a hug, but I didn’t know if that was for Betty or Big Edie. And that’s probably the way it should be with actors.

Grey Gardens running through August 14, 2016
Ahmanson Theatre  135 N. Grand Ave.  213-972-4400 www.centertheatregroup.org