Where Queen Joanna “JoJo” Levesque Reclaims her Throne
It was a night of emotion at the La Jolla Playhouse last Sunday, as a “so long” was wished to Artistic Director Christopher Ashley. After practically two decades working in La Jolla and championing 20 pieces to Broadway, he will go on to pursue the same role at New York’s Roundabout Theatre Company.
Added to all the feelings was the excitement of this world premiere, thirty-seven years after its inspiration —the Twentieth Century Fox motion picture of the same name, written by Kevin Wade. This review will certainly not be a comparison between the two. Still, I do have to mention that this musical had the vibe of two other movie-inspired pieces: Clueless and The Devil Wears Prada (starring Vanessa Williams), where the script/book by Theresa Rebeck kept original, famous dialogues and mannerisms almost to the T. Contrary to others like Legally Blonde, Priscilla Queen of the Desert, or La Cage aux Folles. I mean, we can also talk about Dirty Dancing and Ghost being in this first (London) category, but it would be a longer, digressive review. I just wanted to point it out.
Working Girl is set in New York City, with a Long Island, professionally driven secretary, Tess (Joanna “JoJo” Levesque), who works amongst Wall Street sharks (not wolves) and is determined to be heard and climb up the corporate ladder. Thinking her moment has come when tasked to work for Katharine Parker (Leslie Rodriguez Kritzer), she learns early on that it is not the case and decides to seize the opportunity when Parker has a skiing accident and is out of commission. She pitches her own merger idea to Jack Trainer (Anoop Desai), who works in investments and acquisitions. The few rules Tess bends get out of hand, and others take the fall like her best friend, Cyn (Ashley Blanchet).
“JoJo” Levesque is fantastic in the role of Tess, showcasing an amazing voice, great chemistry with the cast, and a strong flow, with a clear use of space and focus. As an original fan (Too Little Too Late has been on repeat since burned CDs), and even going to the movies to see her cinematic debut in Aquamarine, I can share with you, dear reader, that I am ecstatic for her in this role, as it claims a tad of justice for her career. Yes, she was in Moulin Rouge on Broadway. I don’t consider it the same. Leslie Rodriguez Kritzer is also fantastic, with fabulous comedic ability and timing. She has a hilarious yet kind of perfect transition during the song “The Little People,” with a floating cartwheel in Sarah O’Gleby’s vibrant, lively choreography that highlights several 80s signature moves like Michael Jackson’s Moonwalk, amongst other cool steps. American Idol alum Anoop Desai brought the moves, along with a great voice, good range, and control. Ashley Blanchet, as the charming Cyn, delivered an outstanding performance full of sass and heart. Joey Taranto, as Tess’s rocker boyfriend Mick, brought the laughs and the electric guitar, accompanied by good humor and laughs. The ensemble with the other secretaries in the story is also hilarious, and again, performing that vibrant choreography. Christopher Ashley’s direction and experience are palpable in each frame and in the pacing, as the creative elements come together in this staging.
The scenic design by AMP, featuring Erica Jiaying Zhang, featured rotating elements and was punctuated by Hana S. Kim’s projections of the Statue of Liberty, New York City sites, and even a wedding venue, all highlighted by Amanda Zieve’s bright, vivacious lighting. Linda Cho’s costumes were totally 80s — from the neons to the sequences, the ruffles, and, yes, the shoulder pads—great variety and range. Charles G. LaPointe’s wigs, aside from truly embracing hairspray, were detailed and realistic, with noticeable highlights and layers—one of the best wig designs I have seen.
Cyndi Lauper’s music and lyrics have the sound and feel of many songs and artists from the 80s, like Aerosmith, Guns N’ Roses, Salt-N-Pepa, and even Bill Medley and Jennifer Warnes, to name a few. Additional music and lyrics are by Rob Hyman and Sammy James, Jr., with orchestrations by Stephen Oremus, Brian Usifer, and Scott Wasserman. The songs that stood out for me were “When the Penny Drops”, the already mentioned “The Little People”, “No Place But Up”, “I’m Back”, and the title song “Working Girl”. I would have liked the songs to have a more authentic sound, but for a debut piece, I feel they held their own.
Another good element was having the band onstage in their own “cubicles” like the secretaries. I appreciated that creative choice. With Stephen Oremus as the music supervisor, Brian Usifer as the associate music supervisor, and Julie McBride as the musical director. Gareth Owen’s sound had it all synchronized and sounding as it should, with room for appreciation of the voices (sung and spoken), the music, and even the sighs.
Working Girl is a zestful time out at the theatre, with a cool look back at the eighties, showing the good, the bad, and the ugly through a young professional trying to make her professional and life dreams come true. Currently playing and now extended until December 14. The Playhouse website says there is better availability from December 2 onward.
The ensemble for this musical is made up of: Jacqueline Arnold, Jesse Bhamrah, Michael Genet, Bailey Lee, Amy Hillner Larsen, Ashley Levin, Nathan Madden, Alisa Melendez, Sydni Moon, Jennifer Perry, Julio Rey, Elliot Sagay, and Ian Ward.
Swings: Patricia Jewel, Jaxon Smith, Gabi Stapula, and Sean Watkinson.
Victoria Navarro is the Stage Manager with Alexa Burn and Derric Nolte as the Assistant Stage Managers.
