GIVING IT A DRAMATIC TREATMENT—Jonathan Ely and Amanda Zavala perform in “Bernard’s Cafe” at Los Cerritos Middle School. The trend today in middle school and high school choir concerts is to steer away from stolid standing-on-risers shows in favor of productions that include acting, costumes and choreography.

Many of the shows used by schools come prepackaged, with the same show put on by groups across the country. Not so with Los Cerritos Middle School, which is fortunate to have on staff Janice Hague, writer and director of a musical called “Bernard’s Cafe.”

The show celebrates the music of four giants of early-to-mid-20th century Tin Pan Alley and Broadway: Irving Berlin, George and Ira Gershwin, and Cole Porter.

If “Bernard’s Cafe” did nothing else than introduce youngsters to these geniuses of song, it would be worth it, but Hague has gone all out in bringing alive the tuxedo/ flapper era of the 1920s and ’30s in a show that teaches as well as entertains.

There isn’t much of a plot; it’s kind of a show-within-a-show, but a complicated story line would only divert attention from timeless classics such as “Let’s Call the Whole Thing Off,” “You’re the Top” and “Cheek to Cheek.”

With conventional show business outlets focusing on current musical genres, schools are left to expose youngsters to the great songwriters of the past. It’s heartwarming to know that a teacher as dedicated as Hague (and her morethan able adjutant, Sierra High) is

IRENE PUGH Special to the Acorn

introducing the Los Cerritos student body to the lives and music of these talents. From the enthusiasm of the kids, it appears her dedication has taken hold.

Bernard is the dapper emcee of a fictitious “swanky joint” on 28th Street in Manhattan, not far from the legendary Tin Pan Alley, the music factory that produced popular music from 1900 to 1950. As Bernard, Jonathan Ely has poise and a mature singing voice, in addition to being a pretty fair hoofer on tap numbers such as Berlin’s “Puttin’ on the Ritz” and the Gershwins’ “I Got Rhythm.”

Bernard’s leading lady, stage manager Josephine (“Jo”), is played by Amanda Zavala, who has not only a terrific voice but exemplary acting chops as well. Zavala acts out every lyric with stage business and gestures that don’t look forced. Her solo on “They Say It’s Wonderful” from “Annie Get Your Gun” was one of the highlights of the evening. Rounding out the triumvirate of hosts is Lauren James, who does a scintillating tap dance to “I Love a Piano” with Ely.

The twist on this show is that actors portray Berlin, the Gershwins and Porter, and they do a good job of displaying their characters’ well-known personality traits: Berlin’s shyness, George and Ira’s gregariousness and Porter’s continental elegance.

As Berlin, Jake Talbot is confident and dour, with his nose in the air, well aware of his position as America’s top songwriting talent. Michael Shelley’s George Gershwin is a ladies’-man-abouttown, always eager to entertain, while Sean Flynn is Ira, no less talented, but always in his brother’s shadow.

Andres Winokur is excellent as the urbane Porter and does a great job on “It’s De-Lovely.” Of the many standout performances, Janelle L’Heureux’s quietly beautiful “Someone to Watch Over Me” was particularly charming (although I could have done without the constant finger-snapping by the large cast). The splendidly gowned Megan Goetsch (“Night and Day”) and Miranda Kealey (“Let’s Do It”) serve as Porter’s très chic entourage.

An army of volunteers put together the marvelous period costumes, and the choreographing of the large cast was effective as well. Pianist Julian Gleason led the three-piece combo that accompanied the singers.