Tommy

Few would contend that Lerner and Loewe’s “Brigadoon” and Rodgers and Hammerstein’s “Flower Drum Song” represent the best work of these legendary duos.

Unlike Lerner and Loewe’s eternally popular “My Fair Lady,” “Brigadoon” hasn’t had a Broadway revival since 1980. “Flower Drum Song,” relegated to the shadows of Rodgers and Hammerstein’s “Oklahoma!” and “South Pacific,” didn’t last long when it received its first and only Broadway revival in 2002.

I assumed nostalgia was fueling the desire to give these Golden Age musicals a makeover. But when I sat in the audience for these shows and fell immediately under the spell of their scores, I had a different answer.

The music makes a case for why “Brigadoon,” now in a soaring revival at Pasadena Playhouse, and “Flower Drum Song,” making a less assured reemergence at the Aratani Theatre in Little Tokyo, should live again. I was particularly skeptical of “Brigadoon,” with its airy-fairy book and heavy dose of romantic hokum, but the Broadway-level production at Pasadena Playhouse may be the best local staging of a musical I’ve seen in my 20 years covering the scene for The Times.

Kylie Victoria Edwards and Daniel Yearwood in “Brigadoon” at Pasadena Playhouse.

(Jeff Lorch)

I knew both musicals principally from their film adaptations. I missed David Henry Hwang‘s original rewrite of “Flower Drum Song,” which was a storied success at the Mark Taper Forum in 2001 but fared less favorably when it moved to New York the following year. I suppose I first saw “Brigadoon” as a kid at my grandmother’s house, amused at the way she goofily sang along. When I recently watched both movies again, it was like falling into a musical comedy time warp.

The enduring love for these Broadway shows isn’t just about the standards they have bequeathed to the American songbook. It’s also about the yearning for a more optimistic era of musical storytelling, when goodness could be counted on to prevail and a happy ending might be delayed but only rarely denied.

“Brigadoon,” a romantic fantasy about two Americans who stumble upon a mystical Scottish village that magically comes to life for a single day once every 100 years, might seem to be irredeemably old-fashioned. The show, which premiered on Broadway in 1947, was Lerner and Loewe’s first hit after a string of flops and fizzles. Without the success of “Brigadoon,” “My Fair Lady,” “Camelot” and the movie musical “Gigi” might never have happened.

Betsy Morgan and Max von Essen in “Brigadoon” at Pasadena Playhouse.

(Jeff Lorch)

But how do you solve a problem like Alan Jay Lerner’s book, written for a sensibility markedly more wholesome than our own? Enter playwright Alexandra Silber, whose fresh adaptation works for the most part remarkably well. There are a few lumpy patches, moments when the revision over-explains itself or belabors a point. But the way Tommy Albright (Max Von Essen) and Jeff Douglas (Happy Anderson), the accidental American intruders, have been modernized is a fizzy delight.

Imagine if Vincente Minnelli’s screen version of “Brigadoon,” starring Gene Kelly and Van Johnson, was remade with Paul Rudd and John Goodman, and you’ll have some idea of the comic chemistry here. But I should preface this thought exercise by first extolling the musical theater prowess of Von Essen, who received a Tony nomination for his work in “An American in Paris” and has a voice that could make the angels swoon. Less is required of Anderson’s jaded, booze-sodden Jeff, but this smart-alecky sidekick is re-imagined with crackling comic vitality.

The production, directed and choreographed by Katie Spelman, saves its most assertive interventions for its female characters. Fiona MacLaren (Betsy Morgan), the unmarried heroine who catches Tommy’s amorous eye, still falls heedlessly in love but not before correcting some of her American suitor’s chauvinistic assumptions. Morgan might overdo Fiona’s fiery streak when she sings “Waitin’ For My Dearie,” but the driving impulse is to bring the musical’s out-of-time female characters into the 21st century.

“Brigadoon” ensemble at Pasadena Playhouse.

(Jeff Lorch)

Meg Brockie (Donna Vivino), no longer the town floozie single-mindedly out to bed Jeff, is now the proprietor of Brockie’s Pub and the keeper of Brigadoon’s traditional language and culture. She’s still a sensual wrecking ball, but she’s too formidable to be treated as comic relief.

Silber has transformed Mr. Lundie, Brigadoon’s schoolmaster and moral guide, into Widow Lundie. The casting of the great Tyne Daly in the role is reason enough to make the gender switch, but it’s all part of a recalibration of the values of this theatrical world.

The dynamism of the singing and dancing smooths out some of the adaptation’s rough edges. Spelman puts her own stamp on Agnes DeMille’s original choreography, which was as integral to the storytelling as the book, lyrics and music.

When Charlie (a phenomenal Daniel Yearwood), a genial groom readying himself for the big wedding day, performs with his buddies “I’ll Go Home With Bonnie Jean,” Pasadena Playhouse erupts in a stomping frenzy of Celtic ecstasy. And Yearwood’s gorgeous rendition of “Come to Me, Bend to Me” is so seductive, it’s no wonder that Jean (Kylie Victoria Edwards), Fiona’s sister, has chosen to marry him.

“Brigadoon” ensemble at Pasadena Playhouse.

(Jeff Lorch)

All, however, is not idyllic in time-forgotten Brigadoon. Casting a pall over the nuptials, Harry Beaton (Spencer Davis Milford), hopelessly in love with Jean, threatens to destroy Brigadoon’s miracle by leaving the town for good.

Silber deepens Harry’s character and gives his story more emotional weight. (Milford manages to be both convincingly menacing and pitiably heartbroken.) The movie tweaked Harry’s fatal ending, but the adaptation does something even more striking with his desperation. The change is absorbed naturally by the musical, even if the funeral dance that Maggie (Jessica Lee Keller) elaborately performs might be more moving on a reduced scale.

The adaptation doesn’t always get the dramatic proportions right. When Jeff bares his soul to Tommy after the two are back on barstools in New York, the revelation that he is a heartsick widower complicates our understanding of a character originally conceived as a cynical bachelor. But Silber tries to extract too much sympathy from the exchange and stops the action when it should be moving rapidly toward its big finish.

Marc Oka, foreground, and Esther Lee, from left, Gemma Pedersen, Ai Toyoshima, Sally Hong, Hillary Tang and Emma Park in Rodgers and Hammerstein’s “Flower Drum Song,” produced by East West Players and the Japanese American Cultural and Community Center.

(Mike Palma)

But nothing can derail the success of this extraordinary production, the high watermark so far of Pasadena Playhouse producing artistic director Danny Feldman’s ongoing reexamination of the American musical canon. Jason Sherwood’s ravishing scenic design, full of eye-catching texture and lush density, makes it impossible not to dream along with the characters. Even the stage curtain, graced with Brigadoon’s floral insignia, is a work of art.

A 22-piece orchestra, under the music supervision of Darryl Archibald, draws out the all the sublime color of Frederick Loewe’s music. Most spectacularly, the blend of Von Essen’s lyric baritone and Morgan’s assertive soprano gives eternal life to Tommy and Fiona’s numbers. Hearing “The Heather on the Hill,” “Almost Like Being in Love” and “From This Day On” in the majestic intimacy of Pasadena Playhouse is a memory that will last at least a lifetime.

It’s a bit harder to judge this update of “Flower Drum Song,” which is Hwang’s second crack at revising the book, originally written by Oscar Hammerstein II and Joseph Fields. A co-production between East West Players and the Japanese American Cultural and Community Center, the revival doesn’t have the resources of Pasadena Playhouse’s “Brigadoon” and likely doesn’t have the same goals.

Ai Toyoshima, from left, Brian Shimasaki Liebson, Grace Yoo and Scott Keiji Takeda in Rodgers and Hammerstein’s “Flower Drum Song,” produced by East West Players and the Japanese American Cultural and Community Center.

(Mike Palma)

The musical, which premiered on Broadway in 1958, was groundbreaking for the way it provided a showcase for Asian American performers. Henry Koster’s 1961 studio film adaptation followed suit with an even greater reach. The intention was to create musical theater entertainment built around generational conflict — a longstanding device of romantic comedy. But here the clash involves immigrants in San Francisco trying to reconcile traditional Chinese culture and modern American life.

Stereotypes, however, prevailed, leaving a community at once grateful for representation and uncomfortable with the reinforcement of old tropes. Hwang (author of the Tony Award-winning “M. Butterfly”) set out to re-imagine the characters from the perspective of a contemporary Asian American dramatist nearly 25 years ago. But times continue to change along with cultural sensitivities, and he wanted to revisit his work for East West Players’ 60th anniversary season.

Directed by EWP artistic director Lily Tung Crystal, who is of Chinese heritage, the production is on a quest for a deeper authenticity. This mission is to provide a more genuine reflection of Asian American experience — community members speaking directly to fellow community members.

Grace Yoo, left, and Scott Keiji Takeda in Rodgers and Hammerstein’s “Flower Drum Song,” produced by East West Players and the Japanese American Cultural and Community Center.

(Mike Palma)

The production is most effective when the actors are singing, especially Grace Yoo, who plays Mei-Li and had me entranced the moment she started singing “A Hundred Million Miracles.” Don’t let the traditional flower drum she totes around fool you. She’s no longer the quietly obedient daughter of authority. Having fled communism, she has arrived in the U.S. without papers and (unlike the original) her father, and isn’t too keen on anyone dictating to her what she can and cannot do.

Scott Keiji Takeda, who plays Ta, Mei-Li’s reluctant inamorato, has a sumptuous voice that captures the hues of Richard Rodgers’ music. But unfortunately his wooden characterization raises questions about what exactly Mei-Li sees in him.

There’s a tension between the update’s good intentions and the tendency of musical comedy to traffic in amusing caricatures. (Exaggeration and simplification are par for the course.) In trying to root out offensive Asian American stereotypes, Hwang imports swishing stereotypes for laughs in his creation of a new character, Harvard (Kenton Chen), who works at the theater owned by Ta’s father and seems a throwback to the campy, wisecracking gay characters that were a staple of 1980s big-budget movie comedies. Harvard may get a more empowering storyline than his florist-hairdresser-retail-clerk predecessors, but the humor is redolent of the same punishing cliches.

Krista Marie Yu in Rodgers and Hammerstein’s “Flower Drum Song,” produced by East West Players and the Japanese American Cultural and Community Center.

(Mike Palma)

Emily Kuroda as take-charge producer Madame Liang and Marc Oka as Wang, Ta’s old-school father, throw themselves into the revival with full farcical force. Crystal’s fluid staging, full of agile and vibrant design choices, smoothly maneuvers the action. But earnestness is the enemy of hilarity. Hwang can be very witty, but how can the production let itself go when it’s so often being called upon to make an important point?

Linda Low (Krista Marie Yu), no longer Mei-Li’s rival for Ta’s hand in marriage, is now her ally. When she sings a middling version of “I Enjoy Being a Girl,” the joke isn’t on her but a society that leaves women so few options. The problem is that for Hwang to rebuild Mei-Li and Linda into characters of credible modern-day complexity, he would have to start from scratch, not just retooling the book but commissioning a new score to flesh out his more complicated vision. In other words, leaving Rodgers and Hammerstein’s musical behind.

“Brigadoon” manages to transcend time, but this take on “Flower Drum Song” falters between eras.

MOLLY Mae and Tommy Fury have been spotted out together a day after his niece Venezuela’s wedding to groom Noah Price.

The lavish nuptials took place in the Isle of Man with both Molly and their daughter Bambi, 3, in attendance – but Tommy was forced to skip the family affair due to ‘boxing camp’.

The two were seen walking with their daughter Bambi, who had a special role on the big day as one of Venezuela’s bridesmaids.

Pregnant Molly, 26, who is due to give birth soon, stepped out in a casual look, donning black tracksuit bottoms and a black coat, with a grey t-shirt that struggled to contain her bump.

The expectant mum finished her look with sunglasses and some UGG boots for maximum comfort.

Tommy also dressed down amid the reunion, in joggers and a hoodie, with Bambi looking sweet in a candy striped co-ord as she held on to her parents’ hands.

TOMMY’S NO-SHOW

Paris Fury reveals truth about why Tommy was no show at Venezuela’s wedding

WEDDY TO GO

Molly Mae gets off private jet with bridesmaid Bambi before Venezuela wedding

Despite Tommy’s absence it’s clear that Molly enjoyed Venezuela’s special day as she shared a number of sweet photos from the event afterwards.

Taking to her Instagram Stories, the Maebe founder shared some adorable snaps of Bambi in her pale blue bridesmaid dress.

Bambi was one of 13 bridesmaids, who matched Mother of the Bride Paris Fury in the same blue hue.

In one sweet photo, Bambi is seen being held by Venezuela who Molly dubbed ‘beautiful bridey’ in the caption.

Another photo saw Bambi pucker up for a kiss with her mum, who wore ablack jumpsuit, with a floral mesh style top for the occasion.

The tot was also seen looking with awe at Venezuela and groom Noah’s incredible blue cake that was almost three times the height of her.

The cake boasted five tiers and was accompanied with an impressive blue and yellow floral display.

“WOW,” read Molly’s caption as Bambi gazed up at the towering creation.

Venezuela stunned in a lace fishtail wedding dress with elaborate sleeves and a train spanning 50ft.

In a sit down chat with Sun Club ahead of the nuptials she told us exclusively how she designed the gown herself at Ava Rose Hamilton bridal boutique in Colne.

“I described what I wanted and it was as if they could see what was in my mind.

“You slip on these big sleeves and then they flare out and they’re like wings.”

Of the dress, mum Paris added: “I told her she was being eccentric, but the seamstress made her these beautiful big draped sleeves, they are like wings, they’re beautiful.”

Dad Tyson donned a black Tuxedo for the day, while Venezuela’s husband stood out in an ivory tux.

Clearly ready to become a married woman, the bride changed her surname from Fury to Price a mere hour after tying the knot.

PARIS Fury has revealed why Tommy Fury wasn’t at Venezuela’s wedding after his pregnant fiancée Molly-Mae Hague flew to the venue by private jet.

The proud mother-of-the-bride showered Molly, 26, with praise for going above and beyond to make it to Venezuela’s big day, while Tommy was nowhere to be seen.

Molly, who is heavily pregnant with her second child, was seen stepping onto the runway with her daughter Bambi, 3, and sister Zoe Rae.

The extravagant soiree is taking place at The Comis Hotel and Resort on the outskirts of Douglas, Isle of Man.

In awe of Molly, Paris told The Sun: “She is incredible. She is being fully supportive, and she is bringing Bambi over, so that Bambi could be a bridesmaid with the kids.

“But I have got to throw her props. She is making that journey while heavily pregnant and I wouldn’t have been able to face that while I was at her term of pregnancy.

“It’s very good,” Paris added.

Molly’s fiancé, Tommy, 27, Tyson’s younger brother, wasn’t able to join in the festivities.

Tommy, who Molly met on the reality TV hit in 2019, had to stay in Manchester for his boxing training camp.

She says: “I’m very glad that they are coming. It means a lot. It’s a big journey for anyone to come from home to here.

“It’s lovely that they are making the effort. It’s lovely that Bambi and the other little girls all get to be bridesmaids. They are all cousins and it’s sweet that they‘ll make memories together.”

Bambi is one of 13 of the child bridesmaids, including Venezuela’s little sisters Valencia, eight, and Athena, including four of Noah’s cousins, and family members, as well as five grown up bridesmaids.

Venezuela revealed: “I chose powder blue cupcake dresses for the little ones, they’re really cute, and fitted gowns for my friends.”

Paris said: “Evangeline Designs in Liverpool made the bridesmaid dresses and every day there it was like, ‘There’s a new little dress, there’s a new dress there’s a new dress, because we ended up having a few extra little bridesmaids’.

“They’re wearing flowers in their hair.”

Paris revealed: “We found £120 shoes for the little ones, and the only shoes we found in the right shade of blue for the women were stunning shoes that were £13 from Shein.”

Paris stored all the wedding party outfits in a specially allocated wedding room in the basement of their home.

Paris and Venezuela thoughtfully put together goodie bags, which included diamante Primark flip flops, matching pyjamas, a hairbrush, sweets, Doll beauty make up and a “little dolly” for each of the younger bridesmaids.

And it wasn’t just the women who dazzled on Venezuela’s big day. The men were looking just as dapper.

“The men are in black tuxedos, Tyson too and Noah is in an ivory tuxedo. Noah picked it,” Paris said.

“Collecting everything wasn’t easy. I felt like I was doing circles on ferries with carloads.”

The former Ross County and Sunderland striker earned the latest of his two Scotland caps in 2022, but free from injury problems he has now scored 11 goals in 33 appearances for the side who finished fourth in the Championship, five in his latest 10.

Fellow 29-year-old McBurnie did not add to his 18 goals in 41 appearances but also played his part for sixth-top Hull as he started both legs of their 2-0 aggregate win over third-placed Millwall.

The former Sheffield United and Las Palmas striker recently telephoned Clarke to make a direct plea for a first recall since earning his 16th cap in 2021.

All 48 national associations were asked to submit a provisional squad of up to 55 players to world governing body Fifa before finalising their 26-man squad for the finals.

They are not required to make those public, so it is not known whether either Stewart or McBurnie made Scotland’s extended list.

It is likely to include current members of the under-21 squad and uncapped players like Stephen Welsh, the 26-year-old centre-half who has impressed on loan to Motherwell from Celtic.

However, Clarke said last month that he was “more or less set in my mind” about the 26 players he intends to take to the finals, although he revealed that two spots might still be up for grabs.

Clarke is known for his loyalty to players he believes have served him well, but Conway’s injury could open up another space.

Scotland host Curacao, who have just reappointed former Rangers boss Dick Advocaat as head coach, in a 30 May friendly at Hampden before their final warm-up game against Bolivia on 6 June in Harrison, New Jersey.

Tommy Fleetwood shot a four-under round of 67 to put himself within a stroke of the lead after the second round of the Truist Championship.

The 35-year-old Englishman made five birdies and a bogey to finish just behind South Korea’s Sungjae Im, who carded a steady two-under round of 69 to end the day at nine under.

Fleetwood’s compatriot Alex Fitzpatrick and American Justin Thomas are a further shot back at six under.

Fitzpatrick is nine strokes ahead of older brother and world number three Matt Fitzpatrick, who is two over for the tournament.

Masters champion Rory McIlroy followed up a consistent first-round outing featuring 17 pars with a four-under round of 67.

In between bogeys at the second and 18th the Northern Irishman banked six birdies to keep himself in contention at Quail Hollow in North Carolina.

American Rickie Fowler’s nine birdies helped him surge up the leaderboard with a second round of 63 to finish level with McIlroy.

The no-cut tournament is the last event before the US PGA Championship takes place at the Aronimink Golf Club in Pennsylvania from 14-17 May.

Pitching coach Gus Rico was having dinner on Thursday when head coach Matt Mowry of Birmingham High complimented him on closer Aidan Martinez recording all seven of his outs on strikeouts.

“I had no idea,” Rico said. “Everything is a blur when I’m calling pitches.”

Martinez is throwing some blurs these days after returning this season following Tommy John surgery in June 2024. He touched 92 mph with his fastball and has been improving each week, getting better command and walking fewer batters. He has 28 strikeouts in 15 innings and three saves.

Birmingham is one game behind El Camino Real in the West Valley League standings going into showdown week, playing El Camino Real on Wednesday at home and Friday on the road. The Patriots need a sweep to have a chance at their first league title under Mowry, who prefers winning City titles.

With Martinez throwing so well, it would be a good strategy for opposing teams to make sure they are leading going into the last two innings.

“He’s got a bright future,” Rico said.

This is a daily look at the positive happenings in high school sports. To submit any news, please email eric.sondheimer@latimes.com.