LORNA LUFT IN CONCERT REVIEW

“From Broadway to Hollywood In Concert,” the title of the New West Pops’ debut performance Sunday at the Thousand Oaks Civic Arts Plaza, said it all. The concert combined New West Symphony musicians with stage band instrumentalists and guest stars focusing on famous songs from memorable musicals.

For anyone expecting, say, the Boston Pops or even something in the way of Hollywood Bowl’s summertime musical ventures, this was not it. Those programs usually include a few works from the light classics along with their featured soloists. But with a few very brief exceptions, this show was a night of singing noteworthy songs from musicals and/or films, with the star power of singer Lorna Luft the essential ingredient.

Luft gave it her all, with an up-tempo rendition of a repertoire from stage and film, including songs her mother, Judy Garland, made unforgettable. The most effective was her stirring rendition of “The Man That Got Away,” which Garland sang in the 1954 film “A Star Is Born,” delivered with convincing emotion and evocative expression. Throughout her set Luft was most successful in the more intimate songs in which the quality of her unstressed voice shone through.

In the opening portion of her dynamic appearance on stage Luft was bursting with energy but seemed to be forcing her voice, with some awkward results. Midway through she confessed that she was battling a minor condition that was affecting her voice and apologized for being less than full strength for the show. Still, there was lots for the audience of 1,200 to enjoy, including a “Babes in Arms” medley (including such gems as “Where or When”) and an amusing group of songs that, though widely beloved, were “Not Even Nominated” for an Academy Award (“San Francisco,” “Singing in the Rain,” etc.).

As her voice warmed and with the encouragement of a devoted audience Luft was ultimately able to have a good go at one of her mother’s signature songs, “Rock-A-Bye Your Baby with a Dixie Melody.”

Luft, chatting informally between numbers, said that her favorite Garland film was not “The Wizard of Oz” as many might expect, though she loves the film, but rather “Meet Me in St. Louis,” in which she said with amusement that her mother was seriously upstaged by the winsome child actor Margaret O’Brien. The grown-up O’Brien was among many friends and supporters in Sunday’s audience.

Providing a most compatible musical backdrop for Luft’s performance, the ensemble was led from the piano by music director and conductor Colin Freeman, Luft’s husband.

Earlier in the evening New West Pops artistic director/conductor Steven Goldstein was at the helm as the musicians accompanied the evening’s other performers: soprano Tobi Foster, tenor Blake Ginther, Oak Park harmonica player Bernie Fields and the New West Pops Singers, led by director Rick Logan.

At the start of the program Carmen Carter was charged with rousing the audience to join in clapping and singing on “We Are Family.” Her high-energy efforts stirred at least some to participate. Carter, who also is heard on “Dancing with the Stars,” is part of the New West Pops Singers along with Randy Crenshaw, Debbie Hall Gleason, Sandie Hall, Rick Logan and Antonio Sol. Together they provided background vocals for many of the evening’s songs.

Foster and Ginther brought their Broadway experiences to bear in fresh-voiced renditions of “Somewhere” and “Maria” from “West Side Story” and “As Long as He Needs Me” from “Oliver!” Demonstrating his magic with the harmonica, Fields made the instrument resonate on such works as “Moon River” and the “Peter Gunn” theme.

As with many firsts, there were a few loose ends at the Pops debut. While an intermission was originally scheduled and was listed on the program, some in the crowd learned at the concession window before the show that there would be no break in the performance; others got the news during opening ceremonies.

Those accustomed to New West Symphony concerts might have felt blasted out of their seats by the highly amped sound system that emphasized the “pop” aspect of the orchestra, particularly the driving thump of bass and drums. It seemed that, as happens with guest musical groups, a sound system that was familiar to the performers was brought in rather than employing the Kavli’s system, which usually works well for the space.

At the end of Luft’s set, she was called back for another bow, quickly followed by Goldstein with flowers for the star. The house lights went up as they left the stage and many in the audience started moving out of the theater while others wondered whether the concert was actually over. It was a “soft” ending that didn’t clearly say “fini,” something certain to be addressed before the next New West Pops appearance at the Kavli.

Review originally published in the Ventura County Star/