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25 Nov 2017

This Show Is Certainly Not a Drag: Desert Rose's Hilarious 'Times Square Angel' Will Get You Into the Christmas Spirit

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Loren Freeman as Irish O’Flanagan in the Desert Rose Playhouse production of Times Square Angel. Loren Freeman as Irish O’Flanagan in the Desert Rose Playhouse production of Times Square Angel.

With Thanksgiving and Black Friday out of the way, our thoughts turn to the Christmas season—and one of the special seasonal events in our valley is always Desert Rose Playhouse’s ever-innovative holiday production. This year, the choice is Charles Busch’s Times Square Angel.

Set in New York (and heaven, do you mind), it visits Manhattan in 1948—a wild postwar world of swinging nightclubs, famous restaurants, jazz and a night life that goes on until dawn. The underbelly of the town contains a second world of mobsters and molls, gambling and gunplay, cheesy shows and characters … and that’s where we find ourselves, with everyone speaking thick Manhattan-ese.

Understand that everything in this light-hearted comedy is over the top—you will find no subtle gritty-realism method acting here. It’s all for fun and for the effect, and producer Paul Taylor has assembled a cast that fully comprehends this.

The show stars the extraordinary Loren Freeman as Irish O’Flanagan, a carrot-topped nightclub singer whose miserly, selfish and mean-spirited ways earn her some flashback visits to the past, plus a glimpse of her destined future, courtesy of a guardian angel. (I know, I know—you’re already seeing the parallels with Scrooge.) The angel, Albert, is played by Robbie Wayne, who has been named a “DRP artistic associate” for his ever-growing and varied list of jobs with the group, including creating the choreography for this “musical pastiche.” As Albert, he’s a slick, pinstripe-suited and smart-mouthed former performer in trouble with God for a batch of heavenly infractions who is facing expulsion to Hades. He bargains to get back into God’s Good Books by agreeing to go down to Earth and trying to convert Irish into a being who is also worthy of admission to heaven. Which, as you’ve guessed, she currently is not.

It is impossible to overstate the importance of the lead actor in this show. Everything turns on Irish O’Flanagan’s magnetism and believability, as she is in almost every scene. Loren Freeman, with his astonishing aquamarine eyes, resonant foghorn bass voice and shapely legs, brings an arsenal of skills and talents more than equal to this task. (In fact, this entire show features many great gams, both male and female—if the Desert Theatre League ever creates a category for Best Legs, this show is the, umm, hands-down winner.) A consummate professional, Freeman actually takes a pass on opportunities to react when another actor is speaking, knowing that if he does, it would draw the audience’s eye away to him … yet when he does react, it’s flawless. His New York accent is perfect, and in that whisky-baritone voice, he relishes rolling his mouth around the script’s 1940s street-slang—like “a clop on the chops,” “doll,” “jawboning” and “stooge.” Even as Irish blusters and struts, we see the vulnerability beneath the surface, and when she sings, it can break your heart. It’s a case of absolutely perfect casting.

DRP seems close to forming its own repertory company with the return to the boards of such favorite actors as Terry Huber, Cat Lyn Day, Michael Pacas, Melanie Blue and Kam Sisco. Also included are some welcome new faces: Ruth Braun, James Owens and Karen Schmitt. A growing company is a healthy company, and they all get to fill the stage and show off their versatility by playing a delicious variety of multiple roles. Parker Tenney plays The Voice of God, which might surprise you.

There were a couple of understandable first-night fumbles and misfortunes, and in some places, the timing was a little bit off, but knowing Jim Strait, this will be fixed by the time you see the show. And some of the accents need work—they’re a little muddy. There were a couple of bewildering moments, possibly because of some anachronisms in the costumes and the music, but for “heaven’s” sake, who cares?

Among my favorite moments were Huber’s touching solo; some of the terrific quick changes; Sisco’s hilarious portrait of a drunken former Vaudeville star from back when drunks were still funny; extra touches like the antlers; some lovely harmonies; several moments of exquisite timing; and the expression “a case of the dismals,” which will promptly be absorbed into everyone’s current vocab. The first-night audience must have agreed, because they broke into spontaneous applause during and between the scenes. The 95-minute play is performed without an intermission, just in case your kidneys might want to know in advance.

The production is designed and directed by DRP’s founding artistic director, Jim Strait. He and Paul Taylor unabashedly adore Christmas, wearing outrageous Yuletide garb to welcome the playgoers. How refreshing is this? It makes you want to rush home and get out your Christmas decorations.

Playwright Charles Busch—whose name you will remember from other DRP productions including Vampire Lesbians of Sodom/Coma—frankly admits A Christmas Carol and It’s a Wonderful Life as inspirations for Times Square Angel, along with the gangster movies of the ’40s, with those tough-talking chorus girls and thugs found in places like this show’s gaudy Club Intime.

Musical director Joel Baker has pre-recorded the accompaniment music, which mixes styles such as doo-wop, blues, gospel and, of course, some good old Christmas songs everyone knows. (You DO know “Mele Kalikimaka” in Hawaiian, right? Because they sing it here.)

Regarding the aforementioned repertory, returning costume director Mark Demry (who delights us with two-tone spectator shoes, perky hats and nostalgic fur stoles) and hair stylist Toni Molano (the wigs are hugely important in this show … though some are a bit weird) are again joined by the incomparable Phil Murphy as lighting director, whose contribution makes this his 49th show for DRP. Steve Fisher is the stage manager once again. How pleasant for this company to be able to rely on the same tried-and-true talents for every production!

This play is fun. It will make you feel good. It will infuse you with Christmas spirit. You will want to immediately rush home and dust off the Christmas tree lights—and maybe it will even inspire you to give Christmas gifts of theater tickets or even season subscriptions, thereby giving ideal presents to everyone!

Times Square Angel is performed at 8 p.m., Friday and Saturday; and 2 p.m., Sunday, through Sunday, Dec. 17, at Desert Rose Playhouse, 69620 Highway 111, in Rancho Mirage. Tickets are $34 to $37. For tickets or more information, call 760-202-3000, or visit www.desertroseplayhouse.org.

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