With Just a Stick in her Hands | Anat Cohen Tentet @ VPAC/Saroya

Anat Cohen Tentet (VPAC/Saroya)Sometimes, I’m familiar with the artists that we see. Sometimes not. The latter is often the case when I’m selecting shows from the Saroya [the venue formerly known as the Valley Performing Arts Center (VPAC)] (FB)’s season brochure. In this case, they listed a performance as the “Anat Cohen Tentet”, categorized as Jazz, with the following description:

Israeli clarinet virtuoso Anat Cohen is the charismatic female bandleader who stands out in a predominantly male environment. Cohen’s tapestry of sounds captures the jubilation of many genres, spanning modern and traditional jazz, classical music, klezmer, Brazilian choro, and Argentine tango.

I was trying to pick a program that had a few shows that might appeal to my wife, and this was clearly one of those: my wife loves modern and traditional Jazz and klezmer, and here we have one led by an Israel, and a female bandleader.

I’m pleased to say that this program was enjoyable beyond any expectations; as my wife put it, this women can do things with her clarinet and create sounds we’ve never heard before. This show came on top of two Grammy nominations (one for Outra Coisa, an album of Latin Jazz, and one for Rosa Dos Ventos). The Anat Cohen Tentet (FB) is a new group she has organized together with her music director, Oded Lev-Ari (FB). They have just put out their first album, and this is their first tour. The Tentet consists of the following musicians, in addition to Cohen on Solo Clarinet: Rubin Kodheli (FB) [Cello], Nadje Noordhuis (FB) [Trumpet & Flugelhorn], Nick Finzer (FB) [Trombone], Owen Broder (FB) [Sax & Clarinet], James Shipp (FB) [Vibraphone & Percussion], Vitor Gonçalves (FB) [Piano & Accordion], Sheryl Bailey (FB) [Guitar], Tal Mashiach (FB) [Bass] and Anthony Pinciotti (FB) [Drums].

Going into the show, I didn’t know what to expect. I like Jazz as well, but I’m less varied in my likes than my wife: She’ll go for the modern Jazz of Marsales; I’m more into the rhythmic swing or big band or New Orleans’ Dixieland. I don’t know how to describe the Tenet’s music, but it definitely wasn’t atonal or non-rhythmic. Joyful? Melodic? All I know is that I found myself enjoying it greatly. After the show, we purchased the Tentet’s new album, Happy Song, as well as one of the Grammy-nominated albums, Outra Costa. I’ve given them a listen (playing them into the 5-or-less playlist, currently at just under 400 songs), and they are quite enjoyable.

The performance consisted on one very long set, mostly of songs we learned later were from Happy Song, a brief introduction to the band, followed by a closing number and an encore.   Perhaps my one and only complaint is with the phrase “charismatic female bandleader” (in the program, described as ” infectious charisma”). Although she did exhibit some charisma with the fellow bandmates, she needs to work a bit on her interaction with the audience. As an audience member, I hope to get in a live show something I can’t get listening to an album. Let me learn your story and the Tentet’s story. Tell me about each song, and a bit more about the featured performers. But I think this is a learned skill, and the Tentet is new. This will come with more tours and more performances, I am sure.

Overall, I’m thankful for this performance. It introduced me to yet another new artist, and a new style of Jazz that I like. You often see Jazz groups fronted by trumpeters; I can only think of three (Pete Fountain, Benny Goodman, Jimmy Dorsey) led by folks on the stick.  Correction: White men on the stick. As one who champions women in all fields, it was great to see female leadership. It is something we need more of (especially given the men that have screwed things up).

The  Anat Cohen Tentet (FB) had only one performance at  the Saroya [the venue formerly known as the Valley Performing Arts Center (VPAC)] (FB), although there are more performances in both their International and Jazz series coming up. The Tentet is on tour, so perhaps you can catch them in your city.

***

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:

December started with Levi! (a new Sherman Brothers musical) at LA Community College Caminito Theatre (FB). That’s next on the writeup list.

This week continues 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 (FB). 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 — who knows — perhaps it’ll be the upcoming The Greatest Showman.

Right now, early 2018 is pretty open, with only a few weekends taken by shows at the Pantages and Actors Co-Op. I did just pick up tickets for Candide at LA Opera (FB). 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! We may also be adding a CTG subscription, given their recent announcements regarding the next season.

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.

Share

But Just Don’t Stare | Folk Reunion @ T.O. Kavli Theatre

Folk Reunion (Thousand Oaks Kavli)Over the weekend, we had the opportunity to go the Kavli Theatre in Thousand Oaks (FB) to see what was being sold as a “Kingston Trio” concert, but was really what was called a “Folk Reunion. What this meant was that there were two groups: The first act was John Sebastian (FB) (of the Loving Spoonful, as well as his solo career); the second act was the current incarnation of what is called the “Kingston Trio” (FB) (but which contains none of the original Trio members). Owing to a migraine, I didn’t note any setlists.

John Sebastian opened the show with a one-hour reminiscence, starting with stories of Mississippi John Hurt. I was familiar with John Hurt from Tom Paxton’s shows; I had no idea that Sebastian was also influenced in his guitar stylings from him. Such an influential man. He basically told the story chronologically of how he entered into folk music, and how the Spoonful got started — again, demonstrating the importance of the Greenwich Village NY scene to the folk revival. Along the way, he did representative tunes and a number of his hits, most of which I was familiar with (I wasn’t familiar with his theme song for the Care Bears, and alas he didn’t do “That’s Cat“). But he did do other Spoonful hits, and I found his history lesson quite enjoyable.

After the intermission, the Trio came on. John Sebastian was the real guy — the original who had been there at the birth. The Trio, on the other hand, was just the latest incarnation. If you read the history of the Trio on Wikipedia,  you’ll know that — just like the Limeliters — they went through a number of incarnations over their history, to the point where the group performing has the sound and the shirts, but not the history. The original Trio was  Dave GuardBob Shane, and Nick Reynolds. Disagreements in the group led to Guard leaving and being replaced with John Stewart. That configuration lasted until a hiatus in 1967. A “New Kingston Trio” was later formed by Bob Shane with a number of different artists over the years. In 1976, they were able to drop the “New”, and the KT was Shane, Roger Gambill, and George Grove, and after Gambill died, there were a number of configurations.

The Trio that we saw was the latest version, and consisted of Josh Reynolds, who is the son of Nick Reynolds, a founding member of the band, his cousin Gerald “Mike” Marvin, and  Tim Gorelangton. This configuration, after some legal kerfuffles, started performing in October of this year.

Now to true Folkies like me, the Kingston Trio is … problematic. They are one of the few groups responsible for the growth of folk music in the late 1950s — it was their success that led to folks like Tom Paxton, Peter Paul and Mary, The Brothers Four, the Chad Mitchell Trio and many others. They had a sound and an energy that was infectious. However, they also were not folk purists. They changed lyrics, often for the worse (you should hear what they did to Oleanna). They butchered the story of Tom Dula into Tom Dooley. They claimed royalties on traditional songs. All of this is noted in the Wikipedia entry. But, as they say in Urinetown: the music — it’s so good. They have an energy and a fun that makes you forget all that pesky history and tradition.

The current Trio — Reynolds, Marvin, and Gorelangton — have the musical craft down. They know the old songs and the old routines and the pacing (although a few of the songs seem speeded up a little, in particular, “Scotch and Soda”). They know the hits the audience wants to hear. They still get things wrong — they introduced the Ballad of the Shape of Things as an old English Madrigal, when it is nothing of the sort: It was also written by Sheldon Harnick (for the Littlest Revue), just like the Merry Minuet (which they also did).  They are just fun to watch and have a lot of fun on stage.

But they are not the real Trio. They are an enjoyable facsimile, a generation once removed. When you put them with the real history that is Sebastian, there is no comparison. As Tom Paxton said about nostalgia: It’s OK to look back, as long as you don’t stare. With these two groups, you looked back, but you stared for different reasons.

***

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:

Next 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). November concludes with the Anat Cohen Tentet at the Saroya (the venue formerly known as the Valley Performing Arts Center (VPAC)) (FB) and  Levi (a new Sherman Brothers musical) at LA Community College Caminito Theatre (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 (FB). 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. I did just pick up tickets for Candide at LA Opera (FB). 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.

 

 

Share

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

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 Halloween 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.

 

Share

Making It Up | UCB at the Soraya (VPAC)

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.

Share

Rockin’ and Swingin’ at the Bowl | Brian Setzer @ Hollywood Bowl

Bian Setzer (Hollywood Bowl)This has been a busy busy week, what with meetings and loads of stuff to do in the evenings. One of those evening activities was an evening at the Hollywood Bowl (FB) where we were seeing Brian Setzer and his Orchestra. Originally, this was going to be a simple evening: I’d work from home during the day, we’d take the bus to the bowl, have a nice picnic, and rock away. The universe, however, had other plans. I was specifically requested to attend some off-campus meetings, meaning I was driving into work (and driving back to the valley) instead of working from home. I spilled something all over myself after lunch, meaning not only was I off-site, but I had to deal with wet pants and a meeting to attend. My cousin, who was now living with us, stepped wrong and sprained her ankle, meaning (a) my wife lost part of the day at the ER, and (b) we had to switch to handicapped seating at the last minute instead of walking up the hill. Just one of those cascade failure days.

The cascade continued when I got home. We caught the 6:00pm bus instead of the 5:45pm, and it didn’t leave Chatsworth until 6:30p, meaning we got to the bowl around 7pm, and then it took another 45 minutes to get reseated (because someone decided to work out all of their season tickets in front of us in the handicapped line). Then increased security at the Bowl (they’ve added metal detection scanners, meaning emptying all your pockets) let to my setting off security, and my time frustration getting in as things kept getting closer and closer to the show with dinner shifting further and further away. We didn’t have a chance to pick up merch or a program, as the handicapped route to the seats bypasses all of that.

We finally got to our seats (which were much better than our original seats) about 5 minutes before the opening act started, and things began to get better from there. The opening act was a fellow by the name of J.D. McPherson (FB), with a band that played rock and rockabilly. I was too out of it to make my own setlist, but I did find it online:

  1. Bossy
  2. I Can’t Complain
  3. North Side Gal
  4. Wolf Teeth
  5. It Shook Me Up
  6. Desperate Love
  7. Lucky Penny
  8. Precious
  9. Mother of Lies
  10. Let The Good Times Roll

The band was OK, but it didn’t make me want to go out and get their music. I was more into the big-band side of Setzer, not the pure rock. I will observe this was the first bowl concert I’ve been to that didn’t start with The Star Spangled Banner.

After a 30 minute intermission, the main act came on. This was Setzer’s 25th Anniversary Show. Setzer was great, mostly playing the music and doing less audience dialog than I’ve seen some do. Again, here’s the setlist I found online:

  1. Pennsylvania 6-5000
  2. Stray Cat Strut
  3. This Cat’s on a Hot Tin Roof
  4. Gene & Eddie
  5. The Dirty Boogie
  6. Runaway Boys
  7. Sleep Walk
  8. Drive Like Lightning (Crash Like Thunder)
  9. Let’s Shake
  10. Jump, Jive an’ Wail
  11. Let There Be Rock
  12. I Won’t Stand in Your Way
  13. Put Your Cat Clothes On
  14. Slow Down/Folsom Prison Blues
  15. Fishnet Stockings
  16. Rumble in Brighton
  17. Encore: Rock This Town

The show started with the big band numbers and rock run through the big band, and ended with rockabilly. Overall, the music was great and the crowd was dancing in the aisles. For the most part, the Setzer part of the show made up for any shortfalls during the day. I’ll note that Setzer only introduced some of his backup band; in particular, he didn’t introduce all of the big band members, nor did he introduce the backup singers. Not having a program, I couldn’t grab their information from there either (in fact, there might not have been programs at all).

Of course, coming back meant the handicapped route again — meaning we had to wait for the last bus back to the Park and Ride, which got us back around 11:30pm, and home around midnight, and to bed at 1am… and getting up at 430am for work. It also meant dealing with an iGen teen who seemingly had a face in the phone all the time. More on that in another post.

***

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:

August theatre starts with The Curious Incident of the Dog in the Night at the Ahmanson Theatre (FB) on the weekend. We are also squeezing in On The Twentieth Century at the Pan-Andreas Theatre in Hollywood from Proof Doubt Closer (FB), as a friend is in the cast. The second weekend of August? What made sitting through The Bodyguard worth it: Hamilton at the Hollywood Pantages (FB).

I’m still scheduling September, but so far we have The 39 Steps° at Actors Co-op (FB) and Pacific Overtures at Chromolume Theatre (FB) [although a little birdie … OK, Nance from Chromolume whom I saw at The Last Five Years, indicated the dates on that are shifting out to November]. There’s also the Men of TAS Golf Tournament, if any theatre company reading this wants to donate tickets to our silent auction (hint, hint). October is also filling up quickly, with Joseph and the Amazing Technicolor Dreamcoat at Cabrillo Music Theatre (FB), the Upright Citizens Brigade (UCB) at the Valley Performing Arts Center (FB), a tribute to Ray Charles — To Ray With Love — also at the Valley Performing Arts Center (FB), and Bright Star at the Ahmanson Theatre (FB). Lastly, looking into November, we have The Man Who Came to Dinner at Actors Co-op (FB), the Nottingham (FB) and Tumbleweed (FB) Festivals, a Day Out with Thomas at Orange Empire Railway Museum (FB), Spamilton at the Kirk Douglas Theatre (FB) and Something Rotten at the Ahmanson Theatre (FB). More as the schedule fleshes out, of course, but we’re booking all the way out in mid to late 2018 already!

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Musicals in LA, @ This Stage, Footlights, as well as productions I see on Goldstar, LA Stage Tix, Plays411 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.

Share

Magic Motown / Scintillating Soul

Muse/ique Soul/Town Motown/MiracleWe don’t always see theatre. Sometimes, we see concerts. Some of our favorites are the ones produced by Muse/ique (FB), a “counter-culture” orchestra out of Pasadena under the artistic direction of Rachael Worby (FB). Each year they pick a theme — in 2014 it was Break/Through about breakthrough performance; in 2015 it was Bernstein; last year it was Gershwin. They then explore the theme from all sorts of angles. This year the theme was Motown/Miracle, and the exploration was of the soul, of soul music (and particularly the Motown / girl group style), of the soul of the artist. The special guest performer was Darlene Love (FB), a significant Los Angeles background presence on many of the soul music hits (not always credited to her). I was actually familiar with Love from the cast album of her 1985 Broadway show, Leader of the Pack. The evening was not just a celebration of the soul music style — as produced from the recording centers in Los Angeles, New York, and the true Motown, Detroit; it was a celebration of the power in the backup singers and artists backing the promoted names. Also supporting Love on a number of songs was Milton Vann (FB), together with the background trio of Melodye Perry (FB), Vee Nelson (FB), and Kenna Ramsey (FB).

The songs performed during the show were as follows (♥ indicates Darlene Love performances; ♦ indicates Milton Vann lead):

  1. Medley: I’ll Be There / My Girl / Heard It On The Grapevine / Love Machine
  2. A Change Is Gonna Come ♦  Tribute to Sam Cooke.
  3. Lean on Me ♥ Written by Bill Withers
  4. Among The Believers ♥ Written by Steve Van Zandt
  5. Night Closing In ♥ Written by Bruce Springsteen
  6. Forbidden Love ♥ Written by Elvis Costello
  7. Wait Till My Bobby Comes Home ♥
  8. Today, I Met The Boy I’m Gonna Marry ♥
  9. He’s a Rebel ♥
  10. Do Do Run Run – Backup singers a-capella
  11. The Boy I Love ♥
  12. Do Do Run Run ♥
  13. Marvelous ♥
  14. Ain’t No Mountain High Enough – Demonstration of James Jamerson‘s bass stylings by Mike Valerio
  15. You’re All I Need To Get By ♥
  16. Ain’t No Mountain High Enough ♥
  17. His Eye Is On The Sparrow ♥
  18. River Deep, Mountain High ♥

As is common with the shows, by the end, the audience was dancing in the aisles (well, on the side of the lawn). This was one of the best Muse/ique performances that we have seen: great music, a lovely evening.

I do, however, have my usual complaint. There was no program. In particular, we didn’t get a list of the orchestra and backup singers, let alone the production team. I have requested this information from Muse/ique; they updated the show page to provide most of it. In particular, that page lists all the composers and orchestrators (although it does not match them to the pieces performed)

The Muse/ique orchestra, under the direction of Rachael Worby (FB), consisted of VIOLIN I – Ana Landauer (FB), Marisa Sorajja, Radu Pieptea (FB), Kathleen Sloan (FB), Loránd Lokuszta (FB), Marisa Kuney (FB) / VIOLIN II – Maia Jasper (FB), Neel Hammond, Grace Oh (FB), Anna Kostyuchek (FB) / VIOLA – Shawn Mann (FB), Rodney Wirtz (FB), Caroline Buckman (FB) / CELLO – Charlie Tyler (FB), Ginger Murphy (FB), Joo Lee (FB) / BASS – Mike Valerio (FB), Don Ferrone (FB) / FLUTE – Angela Weigand (FB), Sal Lozano / OBOE – Michele Forrest (FB) / CLARINET – Stuart Clark (FB), Damon Zick (FB) / BASSOON – William May (FB), Adam Havrilla (FB) / HORN – Steve Becknell (FB), Nathan Campbell / TRUMPET – Rob Schaer (FB) / TROMBONE – Steve Suminsky (FB), Brent Anderson (FB) / TIMPANI – Theresa Dimond / PERCUSSION – Jason Goodman (FB) / DRUMSET – Ted Atkatz (FB) / KEYBOARD – Alan Steinberger (FB) / GUITAR – Andrew Synowiec (FB)

There were no production credits provided.

In the 2017 “Summer of Sound”, there is one more production: Glow/Town, on August 26,  featuring Savion Glover (FB) and, from the Hamilton tour, Joshua Henry (FB). Tickets are available from the Muse/ique website; discount tickets may be available from Goldstar. I find the Festival Seating just fine: general admission tables and chairs to see the show, and you bring your own picnic to enjoy. A perfect summer evening. Summer events take on the lawn in front of the Beckmann Auditorium at CalTech in Pasadena.

***

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 last weekend of July brings The Last 5 Years at Actors Co-op (FB). August starts with Brian Setzer at the Hollywood Bowl (FB) on August 2, followed by The Curious Incident of the Dog in the Night at the Ahmanson Theatre (FB) on the weekend. We are also squeezing in On The Twentieth Century at the Pan-Andreas Theatre in Hollywood from Proof Doubt Closer (FB), as a friend is in the cast (you can contribute to the production here). The second weekend of August? What made sitting through The Bodyguard worth it: Hamilton at the Hollywood Pantages (FB).

I’m still scheduling September, but so far we have The 39 Steps° at Actors Co-op (FB) and Pacific Overtures at Chromolume Theatre (FB). There’s also the Men of TAS Golf Tournament, if any theatre company reading this wants to donate tickets to our silent auction (hint, hint). October is also filling up quickly, with Joseph and the Amazing Technicolor Dreamcoat at Cabrillo Music Theatre (FB), the Upright Citizens Brigade (UCB) at the Valley Performing Arts Center (FB), a tribute to Ray Charles — To Ray With Love — also at the Valley Performing Arts Center (FB), and a hold for Bright Star at the Ahmanson Theatre (FB). Lastly, looking into November, we have The Man Who Came to Dinner at Actors Co-op (FB), the Nottingham (FB) and Tumbleweed (FB) Festivals, a Day Out with Thomas at Orange Empire Railway Museum (FB), and HOLDs for Spamilton at the Kirk Douglas Theatre (FB) and Something Rotten at the Ahmanson Theatre (FB). More as the schedule fleshes out, of course, but we’re booking all the way out in mid to late 2018 already!

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Musicals in LA, @ This Stage, Footlights, as well as productions I see on Goldstar, LA Stage Tix, Plays411 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.

Share

Helllllo Nurse! | “Animaniacs Live” @ La Mirada

Animaniacs Life (La Mirada)One of my fondest memories of my college days was an event the UCLA Computer Club organized (I have no idea how) when we brought Bill Scott and June Foray in to speak about Bullwinkle. So almost a year ago, when we saw that the La Mirada Performing Arts Center (FB) was bringing in Animaniacs Live, we were sold (and a good thing, because the show did sell out). Last night was the show, and we had a blast.

For those unfamiliar with the series, Animaniacs was part of the resurgence of Warner Brothers animation on TV in the early 1990s, much of it the brainchild of Tom Ruegger (FB). This resurgence started with Tiny Toon Adventures, and continued with the spinoff Pinky and the Brain (a personal favorite) and Freakazoid!.

The new stage show, Animaniacs Live, consists primarily of Randy Rogel (FB) and Rob Paulson (FB) telling stories about the making of the show, and singing songs from the show, backed by a large orchestra (in the show we saw, the La Mirada Symphony Orchestra (FB)).  Rogel was one of the main composers (music, lyrics) of songs on the show; Paulson voice Yakko, Dr. ScratchandSniff, and numerous other characters. Depending on availability, they bring in other principals and voice talent from the show. In the La Mirada shows, this included Jess Harnell (FB) who voiced Wakko, and Tress MacNeille who voiced Dot¹. Also featured were Steve Bernstein (FB) and Julie Bernstein, who were involved in the original scoring of the show and some of the music numbers (Steve conducted the orchestra for a few songs, and Julie provided some background vocals), as well as someone whose name I don’t remember in the orchestra. Additionally, it turned out the both creator Tom Ruegger (FB) and director Andrea Romano were in the audience for our performance.

[¹: When Rogel introduced MacNeille, he said she was the most prolific female voice actor and was behind the most characters. I do beg to differ on that one: I think June Foray was, but I’ll give MacNeille second 🙂 ]

The show consisted of two acts, followed by a question and answer session. During the two acts, Rogel and Paulson sang songs from the show (occasionally along to animated clips), with Harnell and MacNeille occasionally joining them. These four exhibited very different personalities. Rogel and Paulson were as reasonable and normal as anyone associated with animation would be 🙂 — in other words, normal suits, normal personalities, great stories, wonderful rapport with both the audience and each other. This likely befits their nature as actors first. Harnell had an outsized adult personality like a rock musican, coming out in a different glitter suit each time. MacNeille seemed a lot more shy on stage — seeming to prefer her characters more than letting the real Tress out.

I did not keep a full set list, but here’s what I recall. This is certainly not in order:

  • Yakko’s World
  • Yakko’s Universe
  • Wakko’s America
  • I’m Mad
  • The Planets
  • I’m Cute
  • La Dot
  • L.A. Dot
  • History of War
  • A Quake! A Quake!
  • There’s Only One Of You
  • Hello Nurse!
  • Variety Speak
  • Noel
  • Pepper in the Pot (History of the Spice Trade)
  • All the Plays of Shakespeare
  • Animaniacs

One last thing that cracked me up: During the Q&A, Paulson was asked about his favorite thing from the show, and he related Pinky’s non-sequitur reponses. He then asked the questioner to ask him what his was pondering. His response: “If Susan B. Anthony and Ann B. Davis, then who Bea Arthur?”

Still cracks me up.

All in all, a wonderful show. If you get a chance to catch it in your city, do so.

 🎩 🎩 🎩

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), 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: Next weekend brings Sister Act at Cabrillo Music Theatre (FB). The last weekend of April brings the Renaissance Pleasure Faire on Saturday, and the new musical The Theory of Relativity at Harter Hall/Charles Stuart Howard Playhouse (FB) on Sunday. Lastly, looking to May, the schedule shows that it starts with My Bodyguard at the Hollywood Pantages (FB) the first weekend. It continues with Martha Graham Dance and American Music at the Valley Performing Arts Center (VPAC) (FB). The third weekend brings the last show of the Actors Co-op (FB) season, Lucky Stiff, at Actors Co-op (FB). May concludes with Hello Again at the Chromolume Theatre (FB), and hopefully Five Guys Named Moe at Ebony Repertory Theatre (FB).  As for June? Three words: Hollywood Fringe Festival (FB). That, barring something spectacular cropping up, should be the first half of 2017.

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Musicals in LA, @ This Stage, Footlights, as well as productions I see on Goldstar, LA Stage Tix, Plays411 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.

Share

A Swinging Good Time | Doc Severinsen at VPAC

Doc Severinsen and his Big Band (VPAC)If you haven’t figured it out by now, I like music and live performance. As I’ve gotten older, I find a read less, but treasure music and performance more. As for what type of music, the answer is simple: all. I can find performers in almost every musical genre that I love (yes, even rap). I go to theatre seasons and plays and musicals to fulfill my need as an audience member to see stories on stage. I go to venues such as the Valley Performing Arts Center (VPAC) (FB),  McCabes (FB),  and the Hollywood Bowl to satisfy my musical live performance needs.

Thursday night saw us at VPAC for the penultimate show of our mini subscription: A celebration of Doc Severinsen and his Big Band on the occasion of his upcoming 90th birthday. For the youngsters out there, Doc Severinson was the long time band leader on the Tonight Show with Johnny Carson, from 1962 until the show ended in 1992. No, not the version with Jimmy Fallon. Not the version before that with Conan O’Brian. Not the version before that with Jay Leno. The long running version that actually had a big band.

Doc actually opened VPAC in… well, whenever it opened. It was Doc that did the first show and helped them tune the hall.

Thursday nights show was pure big band and swing. Doc was joined on a few songs by his vocalist, Vanessa Thomas. He was also joined, at times, by a violinist who was not listed in the program. His band consisted of:

I’ll note that a number of these musicians are also involved with Gordin Goodwin’s Big Phat Band (Goodwin is also a graduate of CSUN’s jazz program).

The program was straightforward big band jazz:

  • The Johnny Carson Theme
  • I Want To Be Happy
  • September Song
  • Singing in the Rain
  • When You’re Smiling
  • Georgia on My Mind
  • Isn’t She Lovely?
  • Jumping at the Woodside

(Intermission)

  • [Song I didn’t recognize]
  • Things Aren’t The Way They Used To Be
  • Happy Birthday Papa Doc
  • Mood Indigo
  • Secret Love
  • Every Day I Have the Blues
  • 1 O’Clock Jump

I’ll note this is very similar to their 2016 program on the website. This means the song I didn’t recognize was likely Dizzy Gillespie’s “Night in Tunisia.”

This was truly an enjoyable program. It is also remarkable to see Severinsen still doing this — touring and blasting away with his trumpet — at age 90.

 🎩 🎩 🎩

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), 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: Tonight brings Animaniacs Live at the La Mirada Performing Arts Center (FB). That will be followed on the penultimate weekend of April with Sister Act at Cabrillo Music Theatre (FB). The last weekend of April brings the Renaissance Pleasure Faire on Saturday, and the new musical The Theory of Relativity at Harter Hall/Charles Stuart Howard Playhouse (FB) on Sunday. Lastly, looking to May, the schedule shows that it starts with My Bodyguard at the Hollywood Pantages (FB) the first weekend. It continues with Martha Graham Dance and American Music at the Valley Performing Arts Center (VPAC) (FB). The third weekend brings the last show of the Actors Co-op (FB) season, Lucky Stiff, at Actors Co-op (FB). May concludes with Hello Again at the Chromolume Theatre (FB), and hopefully Five Guys Named Moe at Ebony Repertory Theatre (FB).  As for June? Three words: Hollywood Fringe Festival (FB). That, barring something spectacular cropping up, should be the first half of 2017.

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Musicals in LA, @ This Stage, Footlights, as well as productions I see on Goldstar, LA Stage Tix, Plays411 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.

Share