You will be redirected back to your article in seconds

Limelight: The Story of Charlie Chaplin

Play has its moments but falls into the usual trap of trying to cover too much ground.

Charlie Chaplin - Rob McClure Hannah Chaplin /Oona O'Neill - Ashley Brown Sydney Chaplin - Matthew Scott Hedda Hopper - Jen Colella

The enormous career of film legend Charles Chaplin has resisted numerous chronicling efforts, among them an abortive 1983 tuner starring Anthony Newley, the 1992 Robert Downey film bio and numerous biographies, not excepting the master’s own highly selective memoir. The latest casualty is “Limelight,” a La Jolla Playhouse collaboration between freshman tunesmith Christopher Curtis and vet librettist Thomas Meehan (“Annie”) that has its moments but falls into the usual trap of trying to cover too much ground. In the process, the tuner turns glib and superficial.

For a pleasing if derivative kickoff, young Charlie (Jake Schwenke) makes his London music-hall debut with mum (Ashley Brown), who teaches him to “Look at All the People” to fuel his artistic sensibilities. Her crisp “Mary Poppins” air (and no wonder, since Brown originated that role) doesn’t prepare us for her breakdown five minutes later when she’s accused of unfitness; nevertheless, we’re to take her commitment to Bedlam as coloring Charlie’s entire hard-knock life.

Flash forward to Fred Karno’s vaudeville, where Curtis’ cakewalky cavalcade of similar sounding tunes gets its brightest showcase. Likable Matthew Scott is wasted as Syd, his brother’s exposition deliverer and conscience, but Rob McClure’s Charlie is the real deal: He has all the mannerisms and acrobatics down, can sing when required, exudes elegance and is actually funny when re-creating bits with Mabel Normand and Fatty Arbuckle. (But it’s a shame Meehan and Curtis don’t dramatize the moment when the vaudevillian sees his first flicker and thinks, “that could be me.”)

A chorus line of lookalike Little Tramps all perform well in choreographer Warren Carlyle’s clever re-creation of a famous contest (in which Charlie actually came in third), but you never lose sight of McClure, who scores the evening’s single biggest laugh by channeling how Chaplin must have conceived “The Great Dictator” while running some Hitler footage.

Such starpower merits better material, but once first wife Mildred (Brooke Sunny Moriber) deceives Chaplin with a fake pregnancy, his previous self-possession derails and so does “Limelight.”

Power ballad “Someday” (“Somebody’s going to want me”) closes act one as an instant contender for the number-one song you never want to be trapped in an elevator with. After intermission, Charlie has bewilderingly morphed into a heartless womanizer, but there’s no time to linger because here comes World War II, and suddenly he’s a “premature antifascist” with a social conscience.

No thesp could navigate these crazy shoals, and McClure is reduced to moping about the stage reliving his lost youth (perhaps easier to do with Brown being creepily double-cast as his mom and his final wife). Time zooms past, children are ignored and wife Paulette Goddard is dropped, while Hedda Hopper, in the crass, unfair incarnation of Jenn Colella, is made the sole villain in Chaplin’s HUAC difficulties.

But could things go any other way? Without some creative leap of conceptual imagination, any stock biotuner is going to degenerate into distortions, cliches and “and then I wrote” snippets. Period.

No reason is given for the departure of original helmer Michael Unger, now sharing credit with Carlyle. But if it was on the grounds of how the biography was to be structured, then more power to whichever helmer tried in vain to hold the line against the pedestrian.

Limelight: The Story of Charlie Chaplin

Mandell Weiss Theater, San Diego; 504 seats; $80 top

Production: A La Jolla Playhouse presentation of a musical in two acts with book by Christopher Curtis and Thomas Meehan, music and lyrics by Curtis. Directed by Warren Carlyle and Michael Unger. Choreography, Carlyle.

Creative: Sets, Alexander Dodge; costumes, Linda Cho; lighting, Paul Gallo; sound, Jon Weston; music director, Bryan Perri; orchestrations, Douglas Besterman; projections, Zachary Borovay; production stage manager, Frank Hartenstein. Opened, reviewed Sept. 19, 2010; runs through Oct. 17. Running time: 2 HOURS, 35 MIN.

Cast: Charlie Chaplin - Rob McClure Hannah Chaplin /Oona O'Neill - Ashley Brown Sydney Chaplin - Matthew Scott Hedda Hopper - Jen ColellaWith: Aaron Acosta, LJ Benet, Courtney Corey, Matthew Patrick Davis, Justin Michael Duval, Sara Edwards, Eddie Korbich, Ben Liebert, Alyssa Marie, Brooke Sunny Moriber, Jennifer Noble, Kurt Norby, Carly Nykanen, Ron Orbach, Jessica Reiner-Harris, Roland Rusinek, Jake Schwenke, Kirsten Scott.
Musical Numbers: "The Music Hall," "Look at All the People," "Vaudeville Dream," "If I Left London," "Tramp Shuffle," "Change Your Story," "Mildred's Change the Story," "Someday," "Just Another Day in Hollywood," "The Life That You Wished For," "When It All Falls Down," "A Man of All Countries," "The Exile," "Where Are All The People," "What Only Love Can See," "This Man."

More Legit

  • Alexander Dinelaris

    'Jekyll and Hyde' Movie in the Works Based on Broadway Musical

    The Broadway musical “Jekyll and Hyde” is getting the movie treatment from Academy Award winner Alexander Dinelaris. Dinelaris, who is writing and producing the adaptation, won an Oscar for the “Birdman” script and was a co-producer on “The Revenant.” He is producing “Jekyll and Hyde” as the first project under his New York-based development company, [...]

  • Sam Mendes

    Listen: The 'Balls-Out Theatricality' of Sam Mendes

    If you find yourself directing a Broadway play with a cast so big it includes a goose, two rabbits, more kids than you can count and an actual infant, what do you do? If you’re Sam Mendes, you embrace the “balls-out theatricality” of it all. Listen to this week’s podcast below: “There is a kind [...]

  • James Corden Tony Awards

    James Corden to Host 2019 Tony Awards (EXCLUSIVE)

    James Corden has been tapped to once again host the Tony Awards, Variety has learned exclusively. “The Late Late Show” host previously emceed the annual theater awards show in 2016, and won the Tony for best actor in a play for his performance in “One Man, Two Guvnors” in 2012. “I’m thrilled to be returning to [...]

  • Frozen review Broadway

    ‘Frozen’ the Musical Opening in London in 2020

    “Frozen” the musical is coming to London and will open in the West End in fall 2020. The Michael Grandage-directed Disney Theatrical Productions stage show has been on Broadway for a year. Grandage’s production is now set to re-open Andrew Lloyd Webber’s refurbished Theatre Royal Drury Lane. Kristen Anderson-Lopez and Robert Lopez are behind the [...]

  • Nantucket Sleigh Ride review

    Off Broadway Review: John Guare's 'Nantucket Sleigh Ride'

    Anyone who doesn’t have a cottage on the Cape or the Islands, as they say in Massachusetts, might be puzzled by the title of John Guare’s new play.  “Nantucket Sleigh Ride” is no Revere Beach amusement park ride, but an old whaling term for the death throes of a whale that is still attached to [...]

  • Kiss Me Kate review

    Broadway Review: 'Kiss Me, Kate'

    No, Kate doesn’t get spanked. And for those wondering how the dicey ending of “Kiss Me, Kate” — that musical mashup of “The Taming of the Shrew” and backstage battling exes — would come across in these more sensitive times, well, that’s also been reconsidered for the Roundabout Theatre Company’s Broadway revival of the Cole [...]

  • Betrayal review Tom Hiddleston

    West End Review: Tom Hiddleston in 'Betrayal'

    It takes three to tango, and Jamie Lloyd’s “Betrayal” completely grasps that. Having made it his mission to modernize the way we stage Harold Pinter’s plays, his chic, stripped-down staging starring Tom Hiddleston as a cuckolded husband might be his best attempt yet. Pared back and played out on an empty stage, this masterful play [...]

More From Our Brands

Access exclusive content