Rochelle Jewel Shapiro: End of the Rainbow, Where You'll Find Judy Garland

You will see her, hear her, and feel the same spellbinding electricity that Garland delivered in Tracie Bennett's awesome performance in End of the Rainbow at the Belasco.

You will be brought back to a London hotel in December, 1968, when Judy Garland is about to make one of her comebacks in a series of concerts. She's broke, can't pay the hotel bill, and is exasperating her young fiancé and new manager, Mickey Deans (Tom Pelphrey) by demanding pills and booze, and sneaking off to get them. Also with her is her loyal pianist, Anthony, played by Michael Cumpsty, (representing all her gay followers) who offers her true love, encourages her not to perform, to just go off and live with him, let him cook for her, let him take care of her in every way, have a life where she'd never have to perform again. The air sparks with the rancor between the three stars. Mickey accuses Anthony and all Judy's gay followers of causing her demise by adoring her no matter how much she spirals downward. And Judy, not believing at heart that anyone loves her for herself, is as hell-bent on getting love as she is on pushing it away.

Watching this play, you understand that the high price of a performance means more than the cost of your ticket. You feel in the clenching of your kishkes the terror a star feels that maybe this time she won't be able to deliver. Especially when a star has begun performing so early (her family was in Vaudeville) and driven so hard that there has never been a chance to develop a sense of oneself beyond stardom.

Tracie Bennett manages to capture Garland's cataclysmic nervousness that showed in her jangly movements as she whirled about the stage, the boozy gleam of her eyes, her fatigue. After swallowing a handful of Ritalin, Bennett delivers a desperate "Come Rain or Come Shine" that is terrifying.

I feel as if I want to make changes in the script. But who am I to do that? There is lot of Garland acting crazy, and sometimes hilariously, especially when she accidentally downs pills for dog mange and pretends she's morphed into a dog. But there are moments where something deep is beginning, such as when she speaks of her childhood and then it drops off. True, most of Garland's fans have read her biographies. Still, the play could use the balance of a bit more of the thoughts of that bullet through one's mind during angst. When Anthony says that Judy saved his life, I want to hear a few more lines about that.

Perhaps, like Garland's life, I just didn't want the play to end.