Observations Along the Road

Theatre Writeups, Musings on the News, Rants and Roadkill Along the Information Superhighway

Hit The Road, Nat | “To Ray, With Love” @ Saroya/VPAC

Written By: cahwyguy - Fri Oct 20, 2017 @ 7:23 pm PDT

To Ray With Love (VPAC/Saroya)Last night saw us back at  The Soraya [the venue formerly known as the Valley Performing Arts Center (VPAC) (FB)] for a night of Jazz: Maceo Parker (FB)’s tribute to Ray Charles (FB) [who died in 2004], featuring the Ray Charles Orchestra and the Raelettes (Katrina Harper (FB), Karen Evans (FB), and Elaine Woodard (FB)). Alas, I had no paper and thus didn’t note down a set list. Musically, the orchestra was spectacular with a swinging sound that went well with both Parker’s voice and sax. The Raelettes joined for the latter third of the show and added some wonderful dimension and fun to the voices onstage.

The Ray Charles Orchestra, led by Steve Sigmund (FB) [Music Director], consisted of Harvey Wainapel (FB) – Alto Saxophone; Alford Jackson – Alto Saxophone; Rickey Woodard (FB) – Tenor Saxophone; Louis Van Taylor (FB) – Tenor Saxophone; Adam Schroeder (FB) – Baritone Saxophone; Chuck Parrish (FB) – Lead Trumpet; Ted Murdock (FB) – Trumpet; David Hoffman (FB) – Trumpet; Ken Scharf (FB) – Trumpet; Dan Marcus (FB) – Trombone; Ken Tussing (FB) – Trombone; Steve Baxter (FB) – Trombone; Rich Bullock (FB) – Bass Trombone; Ernest VanTrease – Keyboards; Jeff Pevar (FB) – Guitar; Nils Johnson (FB) – Bass; and Paul Kreibich (FB) – Drums.

That’s not to say the show didn’t have its problems. Here’s what I noted, from most to least annoying:

  • Parker’s manager, Natasha Maddison (FB), was an extreme distraction during the show, especially from where we were sitting in the side chairs in the Partierre Terrace. She was constantly peaking out from the wings (not visible from straight-on, but visible from the side), constantly going out in to the audience up to the sound board and back, coming out at times to talk with the music director, and most annoyingly: taking flash photographs from the wings. That’s the ultimate no-no: You do not distract from your artist’s performance.
  • Next up was all the audience members who thought they could take pictures, take video, or check the score of the Dodgers game (who are going to the World Series – yea!). There are a number of reasons not to use your cell phone during a concert — recording takes the intellectual property of the artists without compensation, for example. But a primary reason is this: Every time your screen lights up in a dark theatre, you distract everyone else in the audience and distract the artists on stage, for in a dark room, light is very visible. So YOU could be that person that ruins someone else’s evening, all to do something selfish.
  • Then there are those audience members wearing too much perfume. There are many people with allergies and sensitivities to odor. When you overuse your perfume, such that your transmit a cloud as you walk down the aisle, you could be triggering allergies and migraines in others. Again: This is not something you need to do to enjoy a concert; it is putting your pleasure over the enjoyment of others. If you must perfume, perfume very lightly.
  • This is not a Dodger game. Wait until the show is completely finished — signaled by the house lights coming on — before rushing to leave. It is discourteous to the artists to walk out early, and disturbs your fellow audience members.
  • Lastly, the program indicated there would be an intermission. There was no intermission.

An artist’s manager should know proper show etiquette.  People attending a concert should know how to behave. I shouldn’t need to be saying any of the bullets above.

***

Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at 5 Star Theatricals (FB) [the company formerly known as Cabrillo Music Theatre (FB)], the Hollywood Pantages (FB), Actors Co-op (FB), the Chromolume Theatre(FB) in the West Adams district, and a mini-subscription at the Saroya [the venue formerly known as the Valley Performing Arts Center (VPAC)] (FB). Through my theatre attendance I have made friends with cast, crew, and producers, but I do strive to not let those relationships color my writing (with one exception: when writing up children’s production, I focus on the positive — one gains nothing except bad karma by raking a child over the coals). I believe in telling you about the shows I see to help you form your opinion; it is up to you to determine the weight you give my writeups.

Upcoming Shows:

The drought has ended, and the last three months of 2017 are busy busy busy. The third weekend in October brings Bright Star at the Ahmanson Theatre (FB) on Saturday; on Sunday, I’m going to see a thriller penned by the fellow through whom we get our Saroya (VPAC) subscriptions, Schaeffer Nelson (FB) — Mice at the Ensemble Studio Theatre LA (FB) in Atwater Village. The weekend before Thanksgiving brings This Land at Company of Angels (FB) in Boyle Heights

Looking into November, we start with the Nottingham Festival (FB) in Simi Valley, followed by The Man Who Came to Dinner at Actors Co-op (FB). The following weekend brings a Day Out with Thomas at Orange Empire Railway Museum (FB), as well as The Kingston Trio (FB) at the Kavli Theatre in Thousand Oaks (FB). The third weekend will bring Edges at the CSUN Theatre Department (FB) on Friday, the Tumbleweed Festival (FB) on Saturday, and Spamilton at the Kirk Douglas Theatre (FB) on Sunday. Thanksgiving Weekend will bring Something Rotten at the Ahmanson Theatre (FB) and hopefully Levi (a new Sherman Brothers musical – join the Indiegogo here) at LA Community College Camino Theatre (FB). November concludes with the Anat Cohen Tentet at the Saroya (the venue formerly known as the Valley Performing Arts Center (VPAC)) (FB).

December starts with ACSAC 2017 in Orlando FL. As soon as we return, we’ve got Pacific Overtures at Chromolume Theatre (FB) and the Colburn Orchestra at the Saroya (the venue formerly known as the Valley Performing Arts Center (VPAC)) (FB). The weekend encompassing Chanukah sees us back at the Saroya  (FB) for the Klezmatics. We also hope to squeeze in a performance of A Christmas Story at the Canyon Theatre Guild (FB). Of course there will also be the obligatory Christmas Day movie.

Right now, early 2018 is pretty open, with only a few weekends taken by shows at the Pantages and Actors Co-Op. But that will likely fill up as Chromolume announces their dates, and announcements are received on interesting shows. Currently, we’re booking all the way out in mid to late 2018!

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-LemonsMusicals in LA@ This StageFootlights, as well as productions I see on GoldstarLA Stage TixPlays411 or that are sent to me by publicists or the venues themselves. Note: Lastly, want to know how to attend lots of live stuff affordably? Take a look at my post on How to attend Live Theatre on a Budget.

 

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What Makes a Congregation?

Written By: cahwyguy - Fri Oct 20, 2017 @ 8:06 am PDT

What makes a congregation? Is it the people in the community, and their relationships to one another? Is it the leader of the community, and his or her relationship to the people in the community?

Here’s why I’m asking. As background: Our congregation has had a bad fiscal year. Budget spreadsheet errors and other factors led to a greater than expected deficit (hint, Mr. President, budgets with large deficits are not a good idea, but I digress). At the same time the process was continuing of finally getting  the people side of the house in order: ensuring contracts were reviewed regularly, and getting processes in place for regular employee performance reviews and assessments. Two years ago as this process was gearing up the Cantor’s contract came up for review, and the decision was made by the board not to renew it. That upset some in the congregation (although the Cantor herself bounced back and found a job at another congregation in the area — together with our Cantor Emerita, I might add).

Yesterday, we received a letter from the President of our congregation. In it, it said: “… the Board of Trustees of [the congregation] has decided we need a new voice from the Bima and will begin the process to select a new Senior Rabbi effective immediately. Rabbi [name]’s contributions to [the congregation] over these many years have helped to make our congregation what it is today and his work will be honored and appreciated long into our future. We will be honoring Rabbi [name]’s service to the congregation at a later date and more information will be available as soon as possible.” (I’m intentionally keeping the congregation and rabbi’s name out of it, to focus the discussion on the broader question).

I wasn’t on the Board for this decision (although I was two years ago when then Cantor’s contract and performance were reviewed). I do know that the Rabbi’s contract was up for renewal this year and that the performance review process was now in place, and that if one is not renewing a contract, it must be announced by November to allow the timing of the search processes to work.  I am well aware that the Board cannot legally state the reasons behind their decision: this is covered by labor law and is there to protect the privacy of the employee.†  For those who understand Judaism, it is also covered by Jewish law on gossip. Much as the Congregation would want to hear those reasons, disclosing them would start the rumor and innuendo, and that would be completely inappropriate.

Of course, I have my thoughts as to some of the factors. They are my opinion, of course, and don’t relate to the question. I may put my thoughts as comments on the blog post, so you’ll have to go read them there.

After the announcement yesterday, the Rabbi posted (on FB) his personal email address for those that wished to contact him. That prompted a series of “how could this happen”, combined with the inevitables: (•) I’ll go with you where ever you end up; (•) I’m resigning my membership immediately; (•) after all these years of service, the board was destroying the congregation; (•) you’re the only reason, and I mean the only reason I go to [congregation];  (•) if this board thinks they can come in and wreck the institution overnight, well that’s what they’ll get; … and so forth.

Now I’ve been with many congregations — some of which seemed to change Rabbis every few years. I’ve seen people want to leave when a Rabbi left, and I’ve even explored creating a new congregation around a Rabbi when they left (it didn’t happen). I’ve come to realize that a congregation is not its leader — it is the people that make up the congregation and the relationships between those people. It is the friendships that form between families, the caring about one another. I care about Joe and Bob and Frank and Dave and Bill and Mike and Ron and … and their families, and hopefully, they return that care (those are representative names). If the only relationship that holds a congregation together is the one between a family and the clergy, then the congregation is weak indeed.

Yet in the responses I’ve seen on the Rabbi, that appears to be what is on the mind of a number of members. Saying “If the Rabbi goes, then I go” says to me that you have formed no close relationships with others in the congregation — that your view of the congregation is only what services you get and who gives them to you, not the other members. In many ways, that fits with the names I see: most are folks who haven’t been regularly and heavily involved; folks who may have a relationship with the Rabbi through the school or specific activities, but haven’t formed that larger bond with the congregation.

Hence, my opening question: What makes a congregation? Is it the relationships that form within and between the members — the community and family that is created? Is it the leader, such that when a leader leaves, everything falls apart because they were the only glue? I opine that it should be the former: that if a congregation is strong and has done its job right, then the community cares for each other and will move on. It will grieve for the transition of the leader, but the survival of the community is more important than one individual. The congregation exists to serve the community and keep the community alive, not to employ one person, no matter how good that person may be. It is the community that makes Judaism, not a specific charismatic leader.

[†: This is something I wrote in response to another post on FB: Under labor law, job performance and job review is confidential between the employer and the employee. So the specific reasons need to remain within the employment subcommittee — not only to protect the employer, but to protect the employee from gossip. I’m not on the board now (I was when I was MoTAS president 2 years ago), but that’s why we couldn’t say anything regarding the former cantor. Think about it this way: If you were let go from your employer for job performance reasons, would you want those reasons spread around to your fellow employees or to other employers? [That would also go against the Jewish prohibition of spreading gossip]. We simply have to trust that Board — with its variety of opinions — and all the past Presidents consulted — came to the right conclusion regarding what is best for the congregation.]

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Transformative Technologies

Written By: cahwyguy - Thu Oct 19, 2017 @ 7:45 am PDT

Riding into work on the vanpool this morning, my mind started musing on transformative technologies — specifically, the beam. Just think about it for a bit. What transformed a simple small room residence into a castle was the ability to have large roofed congregating areas — great rooms. What made the Great Room possible was the beam: a single long span strong enough to support a roof without the need for pillars in the way. But what did it take to get us the simple beam?

In the days when all we had was wood, we might be lucky to find a single tree that was large enough to give us the beam, but we then had to mill it to make it be what we wanted. That milling required small metal devices: axes, saws, sawmills. This is why the ages of metals were so important: they gave us the ability to mill wood (and cook, and so many things).

Suppose we couldn’t find a single tree long enough. We might combine multiple smaller pieces to make a beam. That required two more transformative technologies: glue and the nail. We don’t often think about glue and adhesives, but they are what make it possible to create long beams by gluing together multiple small beams. These are then strengthened by nailing them together (and later, screws and bands). Nails and screws are a key technology: they allow us to fastened in a strong manner. Just think about the difference in strength between a peg and a bolt or nail.

There are other technologies that the beam leads us to. Consider beams made out of metal. That requires, at minimum, foundries and forges to make long long pieces of metal: longer than can be worked by a single individual alone. There’s also cement, which can combine with natural objects to give us concrete. Concrete allows us to move from whatever natural rock we can find into shaping rock into the image we want. In some ways, brick is less transformative, because brick requires mortar for longer pieces, and mortar can fail.

Now, when we look at today’s world, what is the key overlooked technology? Looking at the last 300 years, what invention completely transformed society? My answer is the same as was given in the classic movie The Graduateplastics.

When we think of hydrocarbons, we generally think of oil and gas and how they changed transportation and make large scale electricity possible. But now think about the role of plastics in your everyday life, and just try to imagine a world without them. Insulation on wires. Cases for computers. Uses in circuit boards. Medical uses, from syringes to pill bottles to gloves to sterile enclosures. Think of how much plastic goes into a car. Think of how much you use everyday — and how much you throw away, from sandwich bags to trash bags. Think about the use for leftovers, for piping, even in the clothes and buttons we wear.

When we worry about the impact of the cost of oil and the fact that it is a limited, non-renewable resource, think about where much of our plastic comes from. A small percentage is recycled, and a small percentage comes from renewable oil — corn, soy, etc. But the bulk? Petrochemicals.

When you look around your world, what little technologies do you realize are critical to life and society?

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Offensive Balance

Written By: cahwyguy - Wed Oct 18, 2017 @ 6:57 pm PDT

The recent flurry of “#MeToo” postings, and the responses thereto, have been quite interesting. But there’s another interesting aspect that hasn’t been explored: How they came about. Specifically, the flurry was started in reaction to an opinion piece by Mayim Bialik where something she hadn’t intended to mean was taken as offense. That aspect — taking offense — is what I’d like to discuss.

As we become more and more aware of marginalized groups, cultural approbation, sexual assault and harrassment, micro-aggression, and similar things, the more and more we see them. What was once considered innocent is now seen as offensive. A classic example from a few years ago is the winter song “Baby, It’s Cold Outside”. It is a date-rate anthem? Does it need to be written with consent in mind? Or is it just a product of its times, with a nice melody? This is true for many many songs and movies. For example, just today I saw an article in the University of Wisconsin paper reconsidering the harrassment and abuse present in Disney’s Beauty and the Beast.

I think it is all well and good that we are sensitive to these cultural artifacts. They serve as reminders of the culture we are moving from, and like any folk music, will adapt in meaning over time. There are loads of folk songs that would be so culturally insensitive today.

My question is, however, how do we respond when presented with one of these? I found a really interesting article yesterday about how someone who is culturally sensitive is still finding that they hesitate when speaking up in various forums …. because they are afraid of being misinterpreted and becoming the start of a pileup. They self-censor potentially valuable content because of fear of harassment. Here are the first few paragraphs:

Callout culture. The quest for purity. Privilege theory taken to extremes. I’ve observed some of these questionable patterns in my activist communities over the past several years.

As an activist, I stand with others against white supremacy, anti-blackness, cisheteropatriarchy, capitalism, and imperialism. I am queer, trans, Chinese American, middle class, and able-bodied.

Holding these identities scattered across the spectrum of privilege, I have done my best to find my place in the movement, while educating myself on social justice issues to the best of my ability. But after witnessing countless people be ruthlessly torn apart in community for their mistakes and missteps, I started to fear my own comrades.

Sound familiar?

Is all harassment equal? Is being ruthlessly torn apart justified in the face of a misstatement or an honest mistake (I’m not talking about trolls here)? I know that I have some friends that are strong advocates of social justice, and there are many times I would like to speak up on their posts. Yet I hesitate, because I’m afraid I’ll get it wrong and end up creating pain — especially for me. It is almost the same feeling I have regarding commenting on far right conservative friends — it’s just not worth the effort.

So, I guess the debate is: When can one be too pure? When is it better just to let the small offenses slide, working on the adage “Never ascribe to malice what you can to stupidity?”

P.S.: It’s not only men that lie to get what they want. Studies show that dogs lie too.

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Essay Prompt: How Old are You?

Written By: cahwyguy - Tue Oct 17, 2017 @ 5:22 pm PDT

A meme is going around Facebook highlighting a draft HHS Standard that supposedly defines life as beginning at conception. As Snopes notes: “Conservatives and pro-life organizations have welcomed the change as a much-needed corrective to Obama-era policies, but women’s health and pro-choice advocates see it as a harbinger of future federal efforts to restrict access to medical services such as contraceptives and abortion.” As an example, Snopes quotes the document’s second paragraph: “HHS accomplishes its mission through programs and initiatives that cover a wide spectrum of 61 activities, serving and protecting Americans at every stage of life, beginning at conception.

I was thinking about this proposed definition this morning. In many ways, it struck me as lip-service to the notion of life beginning at conception, just as the whole abortion debate is lip-service concern about life (for, after all, if there was real concern about life, then that concern would continue after the child is born — ensuring health care and minimal living standards).

Just like we know that a concert isn’t over until the instruments stay off the stage and the house lights come up, “life begins at conception” won’t be the real until there is elimination of the birthday. After all, why celebrate the day you were born if that isn’t when your life began. Being born becomes just another milestone, like starting kindergarten or going to college. Get rid of the birthday entirely. Put the date of conception on the drivers license. All those age based limits — those are based on birthday, not conception day. You should be able to vote at 18¾. Drink at 21¾. Collect social security at 65¾.

But as long as our society remains centered around the birthday, the whole notion of “life begins at conception” is bullshit. In society, life begins when you are born or able to live independently from your parent’s body. Earlier than that, and you are theirs to do with. You are, pure and simple, a body part. You are like a fingernail, or a finger, or excess belly fat. It sounds crass, but that’s what it is. If you are unable to get a government ID card or a social security number, are you alive?

 

I’m not saying this all to be silly. There is a reason that the Supreme Court decided as they did in Rowe v. Wade. If the foetus cannot live independently, the mother must have the right to treat it as any other part of their body. Once it can live outside their body, it can apply for a social security number and get a birthdate. Conception date is not a birthday.

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Essay Prompt: #MeToo, #NowWhat, and Culture Wars

Written By: cahwyguy - Tue Oct 17, 2017 @ 11:11 am PDT

As I have been reading Facebook the last few days, I’ve been seeing the flurry of “MeToo” posts from far far too many of my friends. As a hetero cis man, I’ve been trying to figure out what is the proper response. At one point, I wanted to write a post about how I never understood how men could behave that way. I don’t get why men are punitive in divorces towards their partners. I don’t get why men would force themselves on someone who is unwilling. I certainly would never behave that way (or at least I thought). Then I saw a friend who had a different take on the situation, acknowledging our role in the process. Then I saw a third friend with an interesting take on how to fix the problem. Then last night, I began to wonder how this fit into my earlier discussions on Culture Wars, and how the universe of entitled “traditional” males would receive all of this. The result: This essay prompt, asking the question #NowWhat?

The impact of the Harvey Weinstein sexual abuse revelations, Mayim Bialik’s opinion piece in the NY Times, and the #MeToo response thereto has demonstrated that sexual abuse and harassment is far too prevalent in society today. As men, the question is: How do we respond? Saying “I hear you” is insufficient, as is believing that it is all those “other” men that have caused the problem. The way to move forward is to start by acknowledging our culpability as men in society, and establishing a new path forward. We also need to figure out how to address the inevitable push back that will come from the Culture Wars.

Our Culpability

In examining the part we play as men in creating the problem, we need to realize that what most of us have been taught is flawed, and it resulted in some level of flawed behavior. One friend on Facebook posted the following:

#Ihave
I have acted as if I was entitled to my partner(s)’s attention and body.
I have pushed boundaries to get what I wanted.
I have put my wants in front of my partner(s).
I have guilted partner(s) into feeling obligated to intimacy.
I am sorry.

Reading this, as Noel Paul Stookey said in one of his Peter, Paul, & Mary comedy routines, brought me up by the short hairs. It is highly likely that most older men have behaved in this way towards their partners or potential partners at some point in their lives. After all, we’re products of the time and society we grew up, much as we hate to admit it. Much as we might have consciously tried to avoid the behavior above, we have slipped into it a few times. As we teach our children, apologizing cannot make something right. Changing the behavior can.

But behavior towards partners is not the only place we’ve likely fucked up. Some of us may have done similar behaviors towards co-workers, friends, and colleagues. From a sexist comment, a gesture, an oogle — all can come across as a form of harassment.  There are those, I’m sure, that have done even worse. After all, all those #MeToos came from somewhere.

No one can promise that they won’t slip into that behavior at times. We’re human, and we all slip up. But the first step in not doing a behavior is realizing that you do it. Then you can be increasingly aware of when you are starting to do it again … and stop before you do.

Whether you are in your 50s like me, or a young teen or twentysomething, society has learned and changed from when you were little. What might once have been acceptable is no longer. What you see in older movies, TVs, and in popular song is not the way adults should behave today, no matter how you rationalize it. We are not entitled to anything with respect to sex or intimacy; it must be given by our partners freely, with cognizance, and without coercion.

Moving Forward

Another Facebook friend shared something from one of his friends that was a succinct summary of how to move forward. It begins by recognizing that almost all your female friends have been sexually harassed or assaulted. The harassment started when they were children. The catcalling, the groping in a crowded place, the sudden rage when a man realizes that a woman won’t sleep with them. All of them. So what do we do?

  1. Stop harassing women. That includes asking strangers to smile. That includes raging at your female friends who “friend zone” you. That includes not taking no for an answer. At this point you know what’s right and what’s wrong and what’s unwanted. Stop.
  2. Stop interrupting conversations about harassment and assault. Stop pointing out that not all men are harassers. No shit. But clearly enough do that this is a problem. You aren’t contributing
  3. Stop victim blaming. Entirely. We need to move the conversation away from what the victim could have done to prevent it. Don’t ask what they were wearing, why they were traveling alone, if they fought back, why they didn’t come forward sooner. This isn’t a problem that victims need to solve.
  4. Stop injecting yourself into the discussion. Can men be harassed and assaulted? Of course, and it’s terrible and we wish it didn’t happen. And we can have that conversation, but not while we’re talking about this. Two separate problems, two different solutions. Don’t derail this conversation so that we’re addressing that this is two problems that affects some people instead one problem that affects all women. Especially if you don’t want to talk about your experience, you’re just diluting the discussion.
  5. Shut it down when you see it. Call out harassment when you see your friends do it. Maybe they’ll change, maybe they’ll stop being your friends. Either way, call that shit out. Dudes, this is where you are most powerful. Stop letting this sort of thing be ok. Public stuff like catcalling. Private stuff like ranking women. Shut it down.
  6. Fathers, uncles, older brothers: if you have young men in your lives, teach them early about respect and consent. Don’t let them joke about a cartoon “raping their childhood” or laugh about grabbing a girl’s butt. Make sure they grow up knowing this isn’t normal and it isn’t ok. Make this behavior extinct.

To recap:

  1. Shut up
  2. Stop other dudes from harassing
  3. Make sure the young men who learn from you never start harassing.

My wife also pointed me to another list of how to treat women better from The Guardian. Here are some  items from that list (adapted just a bit); I recommend you read the full list:

  • Talk to your friend who is “kind of a creep” at work. Don’t need to literally witness a man being horrible in order to believe that he’s horrible. Trust and believe women.
  • Don’t talk over women. When you see another guy talk over a woman, say: “Hey, she was saying something.”
  • If you are asked to be on a panel/team and see that it’s all men, say something. Maybe even refuse the spot! [Read this great post by Spaf on the subject]
  • Don’t call women “crazy” in a professional setting. Don’t imply that their success due to their looks. Don’t imply their success is due to anything other than their talent and hard work. [Read this great sermon on sexism and implied sexism]
  • Don’t use your “feminism” as a way to get women to trust you. Show us in your day-to-day life, not in your self-congratulatory social media.
  • Do you feel that any woman on earth owes you something? She doesn’t. Even if you’re like, “Hm, but what about basic respect?” ask yourself if you’ve shown her the same. If you do the right thing, don’t expect praise or payment or a pat on the back or even a “thank you from that woman”. Congratulations, you were baseline decent.
  • Don’t send pictures of … anything … unless she just asked for them.
  • Consent: Obtain it, and believe “no” when it is said. If a woman says no to a date, don’t ask her again. If a woman has not given an enthusiastic “yes” to sex, back the hell off.  If a woman is really drunk, she cannot consent to you and she also cannot consent to your buddy who seems to be trying something. Your buddy is your responsibility, so say something and intervene. Don’t touch women you don’t know, and honestly, ask yourself why you feel the need to touch women in general.
  • Involve women in your creative projects, then let them have equal part in them.
  • Don’t make misogynistic jokes.
  • Don’t expect women to be “nice” or “cute” and don’t get upset when they aren’t those things.
  • Don’t make assumptions about a woman’s intelligence, capabilities or desires based on how she dresses.
  • Pay women as much as you pay men.
  • If a woman tells you that you fucked up, and you feel like shit, don’t put it on that woman to make you feel better. Apologize without qualification and then go away.
  • Don’t punish women for witnessing your vulnerability.
  • Don’t get defensive when you get called out.
  • Don’t use your power to get women’s attention/company/sex/etc. Be aware of your inherent power in situations and use it to protect women, especially via talking to other men.
  • Stop thinking that because you’re also marginalized or a survivor that you cannot inflict pain or oppress women.
  • If women’s pain makes you feel pain, don’t prize your pain above hers, or make that pain her problem.
  • Don’t read a list like this and think that most of these don’t apply to you.

If you want yet another list, here’s something from Groknation on combatting toxic masculinity.

Culture Wars

In my essay prompt on culture wars, I discussed how the “war” has come about because society is changing in a way that many don’t want. Entitlements and privileges that some segments had in the past are disappearing; the segments are also being “forced” to accept as equal segments of the population they previously viewed as inferior. A primary segment feeling this way are the cis het males in society, particularly White cis het males. This is what led to the election of Donald Trump; this is why Donald Trump’s boorish and insulting behavior towards women was ignored by this segment. Bluntly: The way they were raised, they saw nothing wrong in the behavior. Men have power and authority over women; they should use it.

Those men among us who are enlightened see the fallacy in this attitude, but then again, we see the fallacy in many attitudes of this group.

So now ask yourself:  How will this group react to the #MeToo flood. I’m sure some will be in the “They asked for it crowd.” Others will be in the “Well, I treat my wife with respect, it was some other guy.”. Even more will be: “So what?” There will also be the minority that begin to see the problem, and then ask themselves, “Who have we elected?”

But for many, this will just be another salvo in the Culture Wars. It will be yet another attack on male privilege and power, and they will likely double-down on the behavior.

We must, in response, emphasize that society has changed. As the friend from whom I snarfed #IHave said:

The good news is that our culture’s perception of sex, consent and negotiation is changing. When I was learning about this stuff, and/or trying to figure it out for myself, the assumption was that the person interested (usually a guy) would attempt to “up the game”, by kissing, touching a bit further etc. The other person (usually a woman) was expected to decline the advance at first, and then until the initiator had sufficiently turned them on to be interested in going further.

Unfortunately, this leads to a lot of cases where one person unknowingly violates another’s consent. Even worse, there are still a lot of people, on both sides, that think that it is still the way things are, or should be, done.

I can’t do anything about things that have already been done, but we can all work to prevent things from happening in the future.

We must make clear that, just like discrimination against Blacks or Jews or other racial minorities is no longer acceptable, this abuse of power and privilege is no longer acceptable. There must be freedom from real or perceived harassment, and it is our responsibility as men to set the example to simply not do it.

P.S.: To explain the user icon: This comes from a campaign in 2006 against men who believed they needed endangered sea turtle eggs as an aphrodisiac. In reality, there is only one aphrodisiac: a freely willing partner.

P.P.S. H/T (Hat tip) to those who have posted or brought to my attention things incorporated herein: David Bell (and his friend’s friend Mitch Kocen), Isaac Brynjegard-Bialik, Larry Colon, Karen Davis, and Gene Spafford.

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The Magical Morphin’ Dreamcoat | “Joseph … Technicolor Dream Coat” @ 5-Star Theatricals

Written By: cahwyguy - Mon Oct 16, 2017 @ 5:25 pm PDT

Joseph and the Amazing Technicolor Dreamcoat (5 Star Theatricals)Sunday afternoon we saw the first show of the 2017-2018 5 Star Theatricals (FB) Premiere season, even though we’ve been subscribing at the theatre for 16 years, since the 2000 season. Perhaps I should explain. Over the summer, what was Cabrillo Music Theatre was rechristened “5 Star Theatricals”; we, however, have been subscribing since Anything Goes in the Fall of 2000 (with the exception of the 2014-2015 season). Over that time, we’ve seen a wide variety of shows at the theatre — including, way back in Summer 2003, a little show called Joseph and the Amazing Technicolor Dreamcoat as part of the 2002-2003 season. As part of the 2017-2018 season, 5-Star opted to revive the show at 14 years and see if they could find something fresh in it. The result was an interesting updated take on the show: some aspects worked, and some didn’t, but overall it was quite enjoyable. [I’ll note that 5-Star is reviving yet another show they’ve done before later in the season: they last did Beauty and the Beast back in 2007, 10 years ago.]

Now, this isn’t our first experience with Joseph. “Joseph and the Amazing Technicolor Dreamcoat” is a late 1960’s pop cantata, 35 minutes long— it was the first published work by Tim Rice and Andrew Lloyd Webber. After the success of Jesus Christ Superstar and Evita, it was rewritten and lengthened with some novelty musical numbers — but at its heart, it is a simple pop cantata, essentially sung through.  I know, I’ve had the original pop cantata album for years. It tells the Biblical story of Joseph from the incident with the coat of many colors through the brothers return to Egypt through pastiches of musical styles, and is — to put it succinctly — cute. It requires some strong lead vocals, and has loads and loads of choral parts. The first time I saw the show on stage was the tour of 1982 Broadway Show when it was at the newly remodeled Pantages theatre  — in fact, I think it was one of the first shows after the remodeling. Since then, it has been lengthened a little each time it hits Broadway again. This adds material, not depth. None of this is anything to those who license it can change. The most recent time that I’ve seen the show was in December 2014, when it was performed by Nobel Middle School.

So if the text of the show can’t be changed, and the lyrics of the songs can’t be changed, how does one freshen the show. The answer is simple and triparte: staging, dance, and music. Although the story can’t be changed, the director (in this case Will North (FB)) can adjust the energy and diversity of the cast to influence the story’s perception; the addition of children and wives, in only singing roles, can influence the cuteness. The director can also influence the staging of the scenes in both positive and negative ways. The dance styles of the show are not fixed (unlike, say, West Side Story where Jerome Robbin’s dance is part of the staging). In this case, 5-Star selected a choreographer, Dave Scott (FB), who comes not from the theatre world but the modern pop “hip hop” dance world — and he brought a very different dance sensibility to the show. Lastly, the Musical Direction (in this case by Dr. Cassie Nickols (FB)) can slightly adjust songs — lengthening them through reprises, or introducing extended dance breaks in a piece. All three of these things were done in this production to make it slightly different than past Josephs.

Did it work? That’s a different story, but for the most part, the answer is yes.

There were some staging elements that had me scratching my head. In particular, during “Those Canaan Days”, there was inexplicably a mime, a fairy, and the Les Miserables red flag. Why? There was also the overuse of the projected Instagram graphics and the overuse of the animation and cuteness in the projections. But other things worked well. The diversity of casting of Joseph’s brothers brought an interesting overtone and meaning to the scene where they come to Egypt, and Joseph doesn’t trust them. Could the Bible have been foreshadowing current society’s lack of trust of unknown foreigners and people different from them? I have no idea, but this is what diversity in casting can bring. (Similarly, I read about a production of Oklahoma that cast Judd as a black man, which put the relationship with Laurie in a completely different light, and would have been realistic). The Children’s Chorus made me melt with the cute of it all. The addition of the female dancers (generally portrayed as wives), added a lot of dance energy. The addition of the school choirs brought in a lot of parents to see their kids — always a good thing for the energy of a show.

The staging — and especially the costume design of Beth Glasner (FB) assisted by the wigs of Leo Quang Zeller (FB) — emphasized the cultural anachronisms in the show. In general, the traditional “biblical” style was replaced by a hip-hop street sensibility for the brothers (although Jacob remained in robes, and Joseph in a loincloth); Egypt was more “King Tut”; and the musical pastiches were area-appropriate. For some odd reason, there was writing on the Egyptian wigs that I couldn’t figure out. One other costuming / makeup comment: Cover the tats. Whenever I see real tats on an actor, it takes me out of the make-believe of their character into the reality of the actor, and I wonder what they are and what their symbolism is. That’s an unnecessary distraction.  I noticed them on the Assistant Choreographer; my wife noted them on some of the male dancers.

Similarly, the new approach to dance worked well. There was a problem in that the non-theatrical dance sensibility made the dance less part of the story, and more a separate performance aspect (especially so in the ending mega-mix). But the energy and the quality of the dance was top-notch, and the additional styles of dance made what is, admittedly, a overstretched and overstuffed and over-pastiched cantata into a dance show accessible for a modern generation. All in all, that’s a good thing. It was the best they could do given the limitations of the story.

The one change that consistently worked well was the stretching of the music to provide extended dance and the occasional reprise.

Turning to the performances, this was in general top-notch. In the lead position was Adam Hollick (FB) as Joseph and Laura Dickinson (FB) as the Narrator. My wife’s summation of Hollick: Beefcake with a voice to match. I’d have to agree (and I’m not into beefcake). This is a guy who came into school on a football scholarship (so he has the bod), then transitioned to vocal performance and opera singing before transitioning again into acting and the musical theatre world. He had one of the nicest and smoothest voices I’ve ever heard as Joseph, and he captured the emotion of the character well (well, as much as there is in this lightweight show).  Dickinson brought a powerhouse voice and movement to the Narrator — this is much more of a singing than an acting role, for as the narrator she moves the action along. But that she did, with a remarkable fluidity and presence.

Another character role that stands out is Pharaoh, normally portrayed as an Elvis-type. One wonders how much of the audience even remembers Elvis, but I digress. He was popular in the 70s when this was written. Pharaoh was portrayed by Patrick Cassidy (FB) — yes, of David Cassidy and Shirley Jones fame. Cassidy has done this show many times before (I’m guessing as Joseph), and he was clearly having fun with his role here — and that fun comes across to the audience. He was a delight to watch, had a great singing voice, and got the Elvis moves down well.

Next come Joseph’s brothers: Reuben – Marc Ginsburg (FB); Judah – Mitchell Johnson (FB); Levi – James Olivas (FB); Benjamin – Patrick Viloria (FB); Asher – Cedric Dodd (FB); Naphtali – Derek A. Lewis (FB); Simeon – at our performance, Adlai Musia (FB), but normally Neico Joy (FB); Issachar – Rodolfo Larrazolo (FB); Dan – Rile Reavis (FB); Zebulon – Zy’heem Downey (FB); and Gad – Kyron Correia (FB). Most of these become interchangeable on stage unless you can memorize faces quickly, but all had great dance moves and got the choreography down well. A few were worth singling out. James Olivas, as Levi, got to take the lead in “One More Angel”, and he did a great job with capturing the humor of the piece well. Simarly, Marc Ginsberg as Reuben got the lead in “Those Canaan Days”, nailing the French bathos well. Mitchell Johnson’s Judah got the lead in the “Benjamin Calypso” and handled the calypso/island nature of that well. Lastly, Patrick Viloria’s Benjamin just was great to watch dancing.

In terms of other named characters, two come to mind. First is Cabrillo / 5-Star Regular  David Gilchrist (FB) as both Jacob and Potiphar. Gilchrist is a reliable character actor, who did great with both characters (although Potiphar with a bit of a British accent was odd). What was neat was seeing him rocking out during the mega-mix.  Tyler Stouffer(FB) played the Baker and handled him with aplomb, but was more interesting was his mime during the “Canaan Days” number. The remaining named characters were Michael Mittman (FB)’s Butler and Naomi Pacheco (FB)’s stint as Potiphar’s wife. She also served as Assistant Choreographer, which explains her great dance.

Rounding out the cast were the various ensembles and choruses. All of the brothers sans Joseph joined the ensemble at points. Additionally, the following dancers and singers were in the adult ensemble: Julia Lester (FB), Terri Woodall (FB), Rebecca Gans (FB), Devon Davidson (FB), Haley Gilchrist (FB), Alyssa Noto (FB), Alissa Tucker (FB), Miyuki Miyagi (FB), Carolyn Lupin (FB), Julia Marley (FB), and Naomi Pacheco (FB). Looking at the photos, the following folks in the ensemble stuck in my mind from some aspect of their dance or performance: Terri Woodall, Alissa Tucker, and Julia Lester. The kids ensemble consisted of: Rhythm Pacheco, Bayley Tanenbaum, Lilly Thompson, Marissa Margolis, Collin Nelson, Madison North, Taylor Lynda Thomas (FB), Marcello Silva, Andrew Grigorian, Calista Loter, Lal Besir, Luca De La Pena, Amelia Fischer , Savannah Fischer, and Drew Rosen. Can’t speak to talent, but the kids ensemble was adorable. At times, the ensembles were joined on stage by visiting local choirs — a different one each performance. The choirs performing are MATES, Westlake Elementary, Homeschoolers of Ventura County Choir, Red Oak Elementary Choir, EARTHS Elementary Choir, Round Meadow Elementary, Mariposa School of Global Education, Sumac Elementary, Lindero Canyon Middle School, OPUSD – Brookside Elementary, Viewpoint Chorus, and Oaks Christian (Note: I believe we had Round Meadow Elementary at our performance).  Julia Lester (FB) was also the understudy for the narrator.

As always, the newly renamed 5-Star Theatricals Orchestra, conducted by Dan Redfeld (FB), sounded great. The orchestra consisted of: Gary Rautenberg (FB) – Flute, Clarinet, Alto Sax; Ian Dahlberg (FB) – Oboe, English Horn;  Melissa Hendrickson (FB) – Horn; Sharon Cooper (FB) – Violin I; Sally Berman (FB) – Violin II; Karen Goulding-Long (FB) – Viola; Bang Eunn Lee (FB) – Cello; Chris Kimbler (FB) – Keyboard I;  Tom Griffin (FB) – Keyboard II; Lloyd Cooper (FB) – Keyboard III; Brian LaFontaine (FB) – Acoustic & Electric Guitars I; Shane Harry (FB) – Double String and Electric Bass; Alan Peck (FB) – Set Drums; Tyler Smith (FB) – Percussion.  Darryl Tanikawa (FB) was the Orchestra Contractor. The orchestra was produced by Tanikawa Artists Management LLC. Music direction was by Dr. Cassie Nickols (FB).

Turning to the production credits: The production was directed by Will North (FB) with choreography by Dave Scott (FB) [assisted by Naomi Pacheco (FB)]. I’ve already commented on their work. There is no credit for the set design, although the program does indicate that the sets and props were provided by 3-D Theatricals (FB). The set was supplemented with projections designed by Jonathan Infante (FB). The set was a three-level beast with spaces for the various choirs and ensembles on the side, and a top piece that could connect to the projections. The set itself was fine. The problem is the projections attempted to modernize the story, with occasional Instagram snaps related to the story, and graffiti on Jacob’s tent. I’m not sure that worked, but I’m an older audience, not the modern audience. Props were also credited to Alex Choate (FB).  The lighting and sound designs were credited to Jose Santiago (FB) and Jonathan Burke (FB), respectively. Both worked well. Other production credits:  Jack Allaway, Technical Director; Talia Krispel (FB), Production Stage Manager; Richard Storrs (FB), Marketing Director; Mustang Marketing (FB), Marketing Team; David Elzer/Demand PR, Press Representative; and Will North (FB), Managing Director.

There is one more weekend of performances for this production of Joseph and the Amazing Technicolor Dreamcoat. Tickets are available through 5 Star Theatricals (FB) on their ticketing page; discount tickets may be available through Goldstar. Additionally, 5 Star posted on their FB page: “Use code TEN4JO & save 10% off rear/side orchestra and mezzanine tickets for all evening performances! (Code good through 10/22).” This is an interesting take on a well-worn pastiche. It is enjoyable and presents a lot of great dance, but the updates and juxtapositions are jarring at times and some don’t work. Still, it is worth seeing for the effort and ideas and the attempt alone.

***

Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at 5 Star Theatricals (FB) [the company formerly known as Cabrillo Music Theatre (FB)], the Hollywood Pantages (FB), Actors Co-op (FB), the Chromolume Theatre(FB) in the West Adams district, and a mini-subscription at the Saroya [the venue formerly known as the Valley Performing Arts Center (VPAC)] (FB). Through my theatre attendance I have made friends with cast, crew, and producers, but I do strive to not let those relationships color my writing (with one exception: when writing up children’s production, I focus on the positive — one gains nothing except bad karma by raking a child over the coals). I believe in telling you about the shows I see to help you form your opinion; it is up to you to determine the weight you give my writeups.

Upcoming Shows:

The drought has ended, and the last three months of 2017 are busy busy busy. Thursday sees us back at the Saroya (the venue formerly known as the Valley Performing Arts Center (VPAC)) (FB) for a tribute to Ray Charles — To Ray With Love.  The third weekend in October brings Bright Star at the Ahmanson Theatre (FB) on Saturday; on Sunday, I’m going to see a thriller penned by the fellow through whom we get our Saroya (VPAC) subscriptions, Schaeffer Nelson (FB) — Mice at the Ensemble Studio Theatre LA (FB) in Atwater Village. The weekend before Thansgiving brings This Land at Company of Angels (FB) in Boyle Heights

Looking into November, we start with the Nottingham Festival (FB) in Simi Valley, followed by The Man Who Came to Dinner at Actors Co-op (FB). The following weekend brings a Day Out with Thomas at Orange Empire Railway Museum (FB). The third weekend will hopefully bring Edges at the CSUN Theatre Department (FB) on Friday, the Tumbleweed Festival (FB) on Saturday, and Spamilton at the Kirk Douglas Theatre (FB) on Sunday. Thankgsiving Weekend will bring Something Rotten at the Ahmanson Theatre (FB) and hopefully Levi (a new Sherman Brothers musical – join the Indiegogo here) at LA Community College Camino Theatre (FB). November concludes with the Anat Cohen Tentet at the Saroya (the venue formerly known as the Valley Performing Arts Center (VPAC)) (FB).

December starts with ACSAC 2017 in Orlando FL. As soon as we return, we’ve got Pacific Overtures at Chromolume Theatre (FB) and the Colburn Orchestra at the Saroya (the venue formerly known as the Valley Performing Arts Center (VPAC)) (FB). The weekend encompassing Chanukah sees us back at the Saroya  (FB) for the Klezmatics. We also hope to squeeze in a performance of A Christmas Story at the Canyon Theatre Guild (FB). Of course there will also be the obligatory Christmas Day movie.

Right now, early 2018 is pretty open, with only a few weekends taken by shows at the Pantages and Actors Co-Op. But that will likely fill up as Chromolume announces their dates, and announcements are received on interesting shows. Currently, we’re booking all the way out in mid to late 2018!

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-LemonsMusicals in LA@ This StageFootlights, as well as productions I see on GoldstarLA Stage TixPlays411 or that are sent to me by publicists or the venues themselves. Note: Lastly, want to know how to attend lots of live stuff affordably? Take a look at my post on How to attend Live Theatre on a Budget.

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Making It Up | UCB at the Soraya (VPAC)

Written By: cahwyguy - Sun Oct 15, 2017 @ 7:56 am PDT

Upright Citizens Brigade (VPAC)The live entertainment break that started when we went off on vacation in August is over, and the theatre calendar thought the rest of 2017 is quite busy. The drought-breaker was the first show in our 2017-2018 season at The Soraya,  the venue formerly known as the Valley Performing Arts Center (VPAC) (FB): an evening of improv comedy from the Upright Citizens Brigade (FB), featuring Sasheer Zamata (FB) and Matt Besser (FB), with  Jessica McKenna (FB), Hillary Anne Matthews (FB), and one other player who was only named from the stage.

Going in, I noticed that this was one of the most poorly attended shows we’ve been to at VPAC. The upppermost balcony was closed, and I’d estimate the crowd was perhaps one third to one half of its normal size (but significantly younger). I’m not sure why, but this wasn’t the expected draw.

As for the show itself, it wasn’t what we expected — although to be true, we didn’t know what to expect. Perhaps an evening of topic sketch comedy, or a series of standups? What we got was five people, five chairs, soliciting stories from the audience. After hearing each embarrassing story, the improv team would riff on various aspects of the story.

There were points of the show that were very funny, but there were often a lot of misses and missed opportunities. That’s how improv goes, I guess. It’s something that would work well on the small stage of UCB over on Franklin in Hollywood, but I’m not sure it works in the large hall like the Saroya (VPAC). [I’ll never get used to that name.]

***

Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at Cabrillo Music Theatre (FB) (well, make that 5 Stars Theatricals(FB)), the Hollywood Pantages (FB), Actors Co-op (FB), the Chromolume Theatre(FB) in the West Adams district, and a mini-subscription at the Valley Performing Arts Center (VPAC) (FB). Through my theatre attendance I have made friends with cast, crew, and producers, but I do strive to not let those relationships color my writing (with one exception: when writing up children’s production, I focus on the positive — one gains nothing except bad karma by raking a child over the coals). I believe in telling you about the shows I see to help you form your opinion; it is up to you to determine the weight you give my writeups.

Upcoming Shows:

The drought has ended, and the last three months of 2017 are busy busy busy. This afternoon brings a supposedly refreshed version of  Joseph and the Amazing Technicolor Dreamcoat at 5 Star Theatricals (the company formerly known as Cabrillo Music Theatre) (FB). Thursday sees us back at the Saroya (the venue formerly known as the Valley Performing Arts Center (VPAC)) (FB) for a tribute to Ray Charles — To Ray With Love.  The third weekend in October brings Bright Star at the Ahmanson Theatre (FB) on Saturday; on Sunday, I’m going to see a thriller penned by the fellow through whom we get our Saroya (VPAC) subscriptions, Schaeffer Nelson (FB) — Mice at the Ensemble Studio Theatre LA (FB) in Atwater Village. The weekend before Thansgiving brings This Land at Company of Angels (FB) in Boyle Heights

Looking into November, we start with the Nottingham Festival (FB) in Simi Valley, followed by The Man Who Came to Dinner at Actors Co-op (FB). The following weekend brings a Day Out with Thomas at Orange Empire Railway Museum (FB). The third weekend will hopefully bring Edges at the CSUN Theatre Department (FB) on Friday, the Tumbleweed Festival (FB) on Saturday, and Spamilton at the Kirk Douglas Theatre (FB) on Sunday. Thankgsiving Weekend will bring Something Rotten at the Ahmanson Theatre (FB) and hopefully Levi (a new Sherman Brothers musical – join the Indiegogo here) at LA Community College Camino Theatre (FB). November concludes with the Anat Cohen Tentet at the Saroya (the venue formerly known as the Valley Performing Arts Center (VPAC)) (FB).

December starts with ACSAC 2017 in Orlando FL. As soon as we return, we’ve got Pacific Overtures at Chromolume Theatre (FB) and the Colburn Orchestra at the Saroya (the venue formerly known as the Valley Performing Arts Center (VPAC)) (FB). The weekend encompassing Chanukah sees us back at the Saroya (VPAC) for the Klezmatics. We also hope to squeeze in a performance of A Christmas Story at the Canyon Theatre Guild (FB). Of course there will also be the obligatory Christmas Day movie.

Right now, early 2018 is pretty open, with only a few weekends taken by shows at the Pantages and Actors Co-Op. But that will likely fill up as Chromolume announces their dates, and announcements are received on interesting shows. Currently, we’re booking all the way out in mid to late 2018!

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-LemonsMusicals in LA@ This StageFootlights, as well as productions I see on GoldstarLA Stage TixPlays411 or that are sent to me by publicists or the venues themselves. Note: Lastly, want to know how to attend lots of live stuff affordably? Take a look at my post on How to attend Live Theatre on a Budget.

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