Observations Along the Road

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HFF17 Batch 2: The Heart Change | 86’d | Insuppressible/Leah Rimini

Written By: cahwyguy - Sun Jun 11, 2017 @ 1:28 pm PDT

userpic=fringeYesterday, we saw our second batch of Hollywood Fringe Festival (FB) shows: Ink Theater (FB)’s The Heart Change, 86’d , and Insuppressible: The Unauthorized Leah Remini Story. Unlike our first Fringing day, there was nary a clunker in the bunch. We found parking for the first two easy, and were able to pick up our Fringe pins at Fringe Central without difficulty. The only sour spots for the day were our continuing headaches, and the parking ticket I got in West Hollywood for not being precisely within the parking space markings. Cost of doing business, I guess — I haven’t had one in over 20 years. On to our first show….

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The Heart Change - INK Theater (Hollywood Fringe)We selected Ink Theater (FB)’s The Heart Change because the description sounded so interesting: here was a show not only with kids as actors, but the kids wrote it, designed it, choreographed it, designed it — it was basically a creative project for a bunch of kids ages 7-12. The subject was also interesting: “When a group of kids have to face a crabby Hollywood director and realize just how powerful they are. ” Shows done by kids are usually fun at Fringe – witness last year’s Titus Andronicus Jr. – so this had good potential.

I’m pleased to say that I sat through this entire show smiling. No, by adult standards, it was far from perfect. Some jokes were sophomoric, the story was a bit simplistic and stereotyped, and there was a bit of caricature/overacting in the performance. But these kids aged 7-12. For their ages and what they did it was remarkable.

Last week I saw adults in a show that was painful because of the potential squandered. This week, I saw kids in a show that was imperfect, and all I could see is the potential-to-be.

The basic story the kids developed is this — insert the appropriate suspension of belief. Hollywood director is forced by his studio to make a movie with kids. He hates kids, and needs the money. The kids audition and get the movie, but problems arise immediately between the kid’s personality/sense of entitlement and the director’s desire to control. It doesn’t end well, and the kids quit the production. But the cameraman relates the story of one of the kids, and as the director and the kids learn more about what is driving them and what their behavior was making, they have a change of heart and learn to work together.

This is a story written by kids under 12. Pretty remarkable isn’t it. It also contained three songs, performed by the kids on-stage, and a dance.

There were also some great performances. You’ll have to excuse my imprecision here: there were no photos in the program, and these kids don’t have an internet presence yet (being under 13), so I can’t necessarily put names with the performances I liked. There was a little black kid who kept spouting scientific stuff about nutrition and eating tomatoes who was just hilarious. I also liked the two girls who sung — such a great effort (I think they were Bela Salazar and Caytlin McKinney). One girl kept reminding me of my niece with her vocal style and behavior (this is in a good way), and the two kids who played the baboons were just hilarious. This was just a delight to watch.

The cast consisted of: Olivia Brumit – Alexandria; Stephen Ramsey – Bob; Sienna Sullivan – Charlotte, Waiter; Emma Patti – Eliza Jane; Malachi Turnbull – Jacob; Gael Bary – John Pierre; Ruby Miller – Luna; Bela Salazar – Mercedes; Nadia Gray – Ms. George; Zoe Gray – Nelly; Terydan Green – Roberto; Caytlin McKinney – Sunshine; and Tegan Linehan – Toby.

Credited adult supervision was Rachel Kiser (FB) – Director; Sarah Cook (FB) – Producer / Choreography Coach; and Erin Hall (FB) – Acting Coach / Stage Manager.

There is one more performance of The Heart Change, today at 7:00pm. If you enjoy watching kids with potential — hell, if you enjoy just watching incredibly cute kids on stage — go see this.

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86'd (Hollywood Fringe)The second show that we saw was, 86’d, a one-woman show about life in the service industry — something every actors supposedly knows because being a waitron is supposedly one of the best subsistence jobs. I went into this show expecting it to be a one-woman monologue of vignettes. Instead, Co-writer and performer Courtney Arnett (FB) presented a series of scenes from what was ostensibly her life as a server at a restaurant called “Sweats”.

These vignettes begin when she has been working a double shift, and gets assigned a clueless newbie to train. They continue through the life of the restaurant, its decline, its rebirth as a new venue with the same chef and staff, until that venue’s eventual decline and closing. It ends, fittingly, with her being the newbie at a new restaurant.

During the saga, we get to see how a life such as this doesn’t permit her life to go on. She may meet bartenders and busboys and chefs, but her reason for moving to Los Angeles is never achieved, and she never achieves her goals of family either.

However, that is the character in the story. My hopes for this actress, however, are much more. In this production, she demonstrated a remarkable singing voice, great comic timing, wonderful expressions, and an easy-going way of relating to the audience. We found the show very enjoyable, providing a different view of those servers we see every day.

The title, “86’d”, refers to a term used in the restaurant industry for running out of a food or service items (e.g., “We’re 86’d on the haddock today.”). Early in the show, the running joke is that everything on the menu is 86’d except for the hamburger, fries, and Miller Lite.

86’d was cowritten by Julia Meltzer (FB), who also directed the piece. Courtney Arnett (FB) created the piece. It was produced by Terri Arnett, Rachel Germaine (FB★; FB) [who was checking us in at the door], and Matt Robinson. Music was by Kait Hickey and Ariana Lenarsky (FB). Tech by Colin Johnson (FB).

86’d has 3 more performances: Wednesday June 14th @ 700pm; Monday, June 19th @ 830pm, and Friday, June 23rd @ 1130pm. It plays at Studio C as the Asylum, which is right next to “The Complex” group of theatres near Fringe Central.

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Insuppressible - The Absolutely Unauthorized Leah Remini Story (Hollywood Fringe)The last show we saw yesterday was Insuppressible: The Unauthorized Leah Remini Story at The Actors Company facility in West Hollywood. Yes, this is where I received the love note from the West Hollywood Traffic Force for not being exactly between the lines. Not worth contesting, but something others should note when visiting this venue. Perhaps they were agents of David Miscavige, mad about my seeing this show.

Going in, my only knowledge of Scientology was what I picked up by listening to A Very Merry Unauthorized Children’s Scientology Pageant. I had heard roughly about the disappearance of David Miscavige’s wife, Shelly, but hadn’t followed the Leah Remini (FB) series. My wife, however, had.

[ETA: I completely forgot, until the tweet with this writeup was re-tweeted, that we saw Squeeze My Cans at last year’s HFF. That show was one woman’s story of how she got drawn into the tar-baby that is Scientology, how she worked her way into the upper tiers of the religions, and how she eventually escaped its grasp. Not only did this effort take more than a decade, it decimated her finances. Quite interesting to think about, when paired with this musical.]

Insuppressible started late due to the previous show running late (this is Fringe, folks); I’m sure the show after us was late due to the same shift, plus the confetti left by this show. I’m glad to say, however, the show was worth the wait.

I went into the show, for some reason, thinking that his would be  a one-woman musical. Far from it. This was a large cast (8) musical, executed well, with strong song and dance, and great effects. This was the exact opposite of Robot Monster: The Musical. This is a good thing.

Insuppressible tells, in five scenes, the story of Leah Remini’s path through Scientology. It opens with her making friends with Shelly, and Shelly to encourage her to persue her dream of acting. It then moves to her professional pinnacle in King of Queens, and her being a Scientology Celebrity up there with Tom Cruise. It then moves to the wedding of Katie Holmes and Tom Cruise, where all the resentment that Remini has with Scientology starts to bubble up, leading to her split with the group. It ends with her getting the courage to leave Scientology and go onto a life of success or something close thereto.

This was a fringe show. Jeffrey McCrann (FB)’s book and Robert Hill (FB)’s music were relatively entertaining, although it is unclear if they could extend the piece into a fully-sustained two-act musical with a deeper book and connection of the songs to the inner turmoils of the characters as opposed to being more scene oriented. Still, it might be worth a try. I certainly didn’t sense the show dragging, although I would have liked to find out more what happened afterwards, and to see some more fleshing out of the beliefs of the group and how strange they are. But then I’m always for exposing strange rituals.

The performances were excellent. In the lead position was Leslie Rubino (FB) as Leah. We saw her a few weeks ago in Freeway Dreams, and again we were blown away by her talent, voice and sense of comic timing.  It is worth seeing this show alone just for her performance.

The remaining seven cast members all are strong. Jaimie Day/FB‘s Katie Holmes was mostly a caricature, but she was spectacular in her solo number “Katie and Tom”. A great LA theatre debut. There was just something about Tiffani Ann Mills (FB)’s Shelly Miscavige that was a delight to watch. Perhaps it was her believable friendship with Leah; perhaps it was her look; perhaps it was her singing in the opening number — in any case, I just couldn’t keep my eyes off of her. Libby Baker (FB)’s Mother was strong in the opening number, but then the writing moved her to more of a background role, although she was strong in “The Gaslighting Song”. Nicole Clemetson/FB‘s J-Lo was a hoot — I have no idea whether J-Lo acts like that in real life, but that’s how I want her to act.  Clemetson was also a strong singer. Lastly, of the female cast, Sohm Kapila (FB) was Nicole Kidman. She only had one scene as Nicole in the end and was good in that. Note that all of the actresses other than the lead were also in the ensemble in various scenes.

There were two male members of the cast: David Wilkins/FB as Tom Cruise and Milo Shearer/FB as David.  Both were strong performers and strong singers — they were particularly strong in “Matter, Energy, Space, and Time”.

Music was a mix of prerecorded music and on-stage music from Robert Hill (FB).

No credits were provided for choreography, set design, costumes, sound, lighting etc. With respect to those creative areas, a few observations. First, someone went crazy with the glitter glue. Second, I’m sure the production following this wanted to shoot this production for the on-stage confetti gun that left confetti everywhere. Third, there was some sort of sound problem that sounded like constant rain, which was annoying. Other than that, however, the costumes and props were clever, and the show fit in and out of the Fring requirements great.

The production was directed by Jeffrey McCrann (FB).

Insuppressible: The Unauthorized Leah Remini Story continues at the Let Live Space at the Actors Company with four more performances: Sunday June 11 2017, 5:30 PM; Thursday June 15 2017, 8:30 PM; Friday June 23 2017, 11:30 PM; and Saturday June 24 2017, 4:00 PM. We found this to be a very enjoyable production, and predict you will as well. If not, well, there are always soup cans.

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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.

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: June? Three words: Hollywood Fringe Festival (FB). This is the current planned schedule for HFF. To see the full Fringe guide, click here.

With respect to the Hollywood Fringe Festival: I’d like to recommend Hello Again, The Songs of Allan Sherman. Linden, the artist, did the show for our synagogue Mens Club back in October, and it was a delight. So good, in fact, that we’re going to see the show again during Fringe. If you want a fun show full of parody music, see this one.

July brings us back to normal theatre (° = pending confirmation). We start with The Voysey Inheritance at Actors Co-op (FB) the first weekend. The second weekend is currently open, but we’re thinking about Animal Farm at Theatricum Botanicum (FB). The third weekend brings Peter Pan at Cabrillo Music Theatre (FB) and Ruthie and Me at  Actors Co-op (FB). The fourth weekend of July has a hold for Motown/Miracle | Harlem/Renaissance from Muse/ique (FB). The last weekend of July brings The Last 5 Years at Actors Co-op (FB).  August will (hopefully) start 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 may also squeeze 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). 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). 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.

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Finding Acceptance 👗 “Casa Valentina” @ Pasadena Playhouse

Written By: cahwyguy - Sun Mar 20, 2016 @ 12:24 pm PDT

Casa Valentina (Pasadena Playhouse)userpic=pasadena-playhouseIn the last two years, we’ve seen remarkable strides in the acceptance arena. We’ve seen homosexuals get the right to be married; we’ve been able to observe the transformation of Wheaties Box Heroes from one gender to the other. We’ve seen acceptance of a wide range of sexual preference in society, from no preference at all (asexual) to traditional preference to non-traditional preferences. We’ve seen similar understanding (perhaps not full acceptance yet) of the full range of gender identities. But this hasn’t been comfortable for many; arguably, many wish for those simpler days when the roles and nature of the sexes were much more separate, and those roles and orientations that went against “what nature intended” were best hidden from sight.

The play Casa Valentina by Harvey Fierstein (FB), officially opening tonight for a run through April 10, 2016 at the Pasadena Playhouse (FB) (which we saw last night) explores those days. It is based upon the true story of Casa Susana, a resort that existed in the Catskill Mountains of New York in the 1950s and early 1960s. The resort catered to men who wanted to release the girl within; in other words, it provided heterosexual men a place where they could endulge their desire to dress as women.  This is an era when homosexuality was firmly in the closet, and any inkling of transvestism except as humor tended to be an offense that could land you in jail. The genders, for the most part, were clearly distinct (and God meant them to be that way).

In the play, George (Valentina) and his wife Rita are the proprietors of Chevalier d’Eon, a resort in the Catskills catering to men who like to dress as women. We meet them when a first-timer, Jonathan, arrives for the weekend. He is greeted by Rita and Bessie (Albert), a large friendly girl. Both welcome him, and Bessie helps him get over his fear of transformation into his alter ego, Miranda. We shortly learn that this is a weekend when most of the regulars are present, because there is another special first time guest: Charlotte (Isadore). George arrives home, and during his transformation into Valentina provides more information. Charlotte is from California and is the publisher of a transvestite magazine for which Valentina regularly writes articles. Charlotte has an announcement that could be the savior of George, Rita, and the resort.  George also discusses with Rita the reason he arrived late: he was being questioned by the postal inspectors about an envelope of pictures of naked cross-dressing men that had been addressed to him. This worries Rita, and she asks him to discuss it with another of that weekend’s guests, Amy (The Judge).

Soon the other guests have arrived — Gloria (Michael) and Theodore (Terry) — and it is time for the announcement. Their informal sorority was going legit. Charlotte had incorporated it as a non-profit in California, and he just needed their legal (birth names) on a form to sign as officers. Discussion of the risks of this uncover that they are signing a second statement: that they are not homosexuals. It turns out that Charlotte is a strong advocate for transvestites and wants them to be accepted in society. To do this, he believes, they must disassociate themselves from the homosexual cross-dressers. He says something to the effect of: in 50 years, society will broadly accept the cross-dresser, while homosexuals will still be on the outside. Quite a telling line.  This requirement — to disavow homosexuals — essentially splits the group. I won’t go into the dynamics from there as it would spoil the story.

This notion — of hetrosexual transvestites — provides some of the most interesting discussions and characters of the story. Much of this centers around Rita, the wife of Valentina and the only GG (genuine girl) on stage for much of the show. What is her relationship to George? What is the relationships of the other characters with their wives? Through exploration of those questions, we begin to see the nature of transvestite relationship: the distinction between the relationship between the man and “the girl within” and their spouses.

All of this is told — as would be expected from Firestein — through loads of extremely humorous lines. This is a very funny play, as humor often comes from great pain. I should note the humor is not from the cross-dressing (as those who recall Milton Bearle or Flip Wilson might recall), but from commentary on life itself.

As I left the play, I had quite a few observations and “compare and contrasts” going through my head. The first was with the musical Dogfight, which we had seen earlier this year.  In the first half of Dogfight, the notion of Marines competing to find the ugliest woman, and possibly bed her against her will, just grated against today’s mores against non-consensual sex and how we treat women. Similarly, the notions expressed in Casa Valentina against cross-dressing and homosexuality grate against where society is today: where gays are accepted, and transgender has come out of the closet into something closer to a cultural norm.

The second comparison, which was related to the first, was seeing Casa Valentina in a triangle with two other shows: Feirstein’s Kinky Boots and the reality show RuPaul’s Drag Race. Unlike what was hypothesized in the play, homosexuality has not remained on the outside. In much of the country, homosexuals are completely accepted. It is out in the open and dramatized on commercial TV. As for transvestites: although some still hold the view that many are gay, the efforts of the transgender movement has brought out into the open that some see themselves as female: women trapped in a male body. But this play doesn’t concern either of those: it deals with men with a clear male gender identity and clear heterosexuality just wanting to dress as women. In society today, there’s only one way such men are accepted: as drag queens. Does society accept men who just cross-dress and pass? Have we reached the To Wan Foo, Thanks For Everything, Julie Newmar level? I’m not sure were there yet. Places like Casa Valentina no longer need to exist… or do they?

A final observation has to do with the ending, which is somewhat sudden and on an odd note. The play ends with a discussion between Rita and George about the nature of their relationship, and how it might differ from the relationship between George and Valentina. Rita knows she is George’s wife, but what is she to Valentina. The answer disturbs her, and we end the show with Rita slumped at the table, head in her hands.  It raises the question about how all this looks from the wives of such men: there is acceptance, but what is the relationship. Could be an interesting character study.

Overall, what is the impact of the story of Casa Valentina? On the surface, this is a very funny show. It is possible that the surface level is all that was meant. But I think the show has a deeper takeaway: it makes a statement about how society has grown and changes, and how what we predict might be the direction of grown might be very different from what actually happens. It demonstrates the power that fear of discovery can have, and makes us realize that we still have a ways to go for full acceptance. Lastly, it raises wonderful questions about the nature of our relationships: our relationship to the facets of our personality, as well as our relationships to our spouses and our friends.

Director David Lee leads the actors to a very natural performance.  He lets the actors draw the humor from the words, and doesn’t draw humor from the costumes. This leads to a very easygoing and humorous show. He has also worked to design the show around a gigantic house as opposed to a flat stage. I believe this amplifies the closeness of the quarters and the closeness of the men. It is a different way of staging the show from the pictures I have seen of other productions.

The actors themselves are excellent. I think the most interesting was Valerie Mahaffey (FB)’s Rita. There was some hidden depth to her character that came off through her performance that was fascinating. Just seeing her in relationship with the men and their girl alter-egos was fascinating. She was part wife, part sister, part confidant, part girl friend. A multilevel complex character, well portrayed.

I also enjoyed the performance of Raymond McAnally (FB; FB Actor Page) as Albert/Bessie.  When compared to the other actors, I think he inhabited his girl most completely. There was no sense that there was a man under the frock: this was a loving, open girl who was having fun and just being herself. This was a very open portrayal that made the character very accessible to the audience.

Christian Clemenson‘s Charlotte/Isadore perhaps did the best “crossing”: her portrayal of Charlotte was seamlessly female, and was a fascinating character to watch in her portrayal and her passion.

As for the other “girls” in the cast — James Snyder (FB)’s Jonathan/Miranda, Robert Mammana (FB)’s George/Valentina, Mark Jude Sullivan (FB)’s Michael/Gloria, Lawrence Pressman (FB)’s Theodore/Terry, and John Vickery (FB)’s The Judge/Amy — I’m trying to think if there are any portrayals that stick out in my mind… and there aren’t. They generally came across as men dressing as women and playing their characters. They were good, but none had that special something that transcended the line between the man and the girl.

Rounding out the cast was Nike Doukas as Eleanor, the Judge’s daughter, who only appeared in one scene. The understudies are Matthew Magnusson (FB) (Michael/Gloria, Jonathan/Miranda), Mark Capri (FB) (The Judge/Amy, Theodore/Terry, Albert/Bessie), and Sean Smith (FB) (George/Valentina, Charlotte/Isadore).

Turning to the production and creative team: The small amount of choreography in the show was provided by Mark Esposito; what was there worked well. The scenic design by Tom Buderwitz was mentioned previously: a gigantic house on a turntable that rotated to bring to the fore various rooms and locations. It worked well, but it was interesting following the actors through the rooms. The costumes (by Kate Bergh (FB)) and wigs (by Rick Geyer) were a key to this show: they worked well on their characters and did an excellent job of creating the illusion of femininity (or at least men dressing as women). The lighting was by Jared A. Sayeg (FB) and was up to his usual excellent standards. The sound design was by Philip G. Allen and consisted primarily of sound effects and recorded music, which worked well. Remaining technical and production credits: Mike Mahaffey (FB) — Fight Choreographer; Jeff Greenberg Casting — Casting; Jill Gold — Production Stage Manager; Julie Ann Renfro — Assistant Stage Manager; Joe Witt — General Manager; Christopher Cook — Production Manager; Brad Enlow — Technical Director. Sheldon Epps is the Artistic Director of the Pasadena Playhouse.

Casa Valentina continues at the Pasadena Playhouse (FB) through April 10. Tickets are available through the Pasadena Playhouse website. Discount tickets may be available through Goldstar. I think this show is worth seeing.

The Pasadena Playhouse has announced their 2016-2017 season, and I’ve gone over it here. It may be worth subscribing, but I need to see their pricing. In the past, Playhouse season pricing has been expensive, and Goldstar has been the better option.

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Ob. Disclaimer: I am not a trained theatre critic; I am, however, a regular theatre 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 subscribe at three theatres:  The Colony Theatre (FB), Cabrillo Music Theatre (FB), and I just added the  Hollywood Pantages (FB). In 2015, my intimate theatre subscription was at REP East (FB), although they are reorganizing and (per the birdies) will not start 2016 shows until August. Additionally, the Colony just announced that the remainder of their season has been cancelled, so the status of that subscription is up in the air. 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 third weekend of March takes us back to the Pasadena Playhouse (FB) on March 19 to see Harvey Fierstein’s Casa Valentina, followed by Bach at Leipzig at The Group Rep (FB) on March 20.  The last weekend of March brings “A Gentleman’s Guide to Love and Murder” at the Ahmanson Theatre (FB) on Saturday, followed by A Shred of Evidence at Theatre 40 (FB) on Sunday.  April will start with Lea Salonga at the Valley Performing Arts Center (VPAC) (FB) on April 1 and an Elaine Boosler concert at Temple Ahavat Shalom on April 2 (this concert is open to the community; get your tickets here). We’re also considering the Voices/Rising concert from Muse/ique on April 3 in Alhambra. We have a mid-week concert of the Turtle Quintet at the Valley Performing Arts Center (VPAC) (FB) on April 7, followed by “Children of Eden” at Cabrillo Music Theatre (FB) on April 10. The next weekend’s theatre is on Thursday, because the weekend brings our annual visit to the Renaissance Faire (Southern). The Thursday show is Stella’s Last J-Date at the Whitefire Theatre (FB). The fourth weekend in April is is Pesach, but the Indie Chi Productions dark comedy Dinner at Home Between Deaths at the Odyssey Theatre (FB) sounded so interesting I’ve booked Sunday tickets. The last weekend of April has a hold date for The Boy from Oz at the Celebration Theatre (FB). May starts with a hold date for Endgame at the Kirk Douglas Theatre (FB). We then run off to the Bay Area for our daughter’s graduation from Berkeley. While there, we may squeeze in a show: the Landmark Musical Theatre (FB) is doing The Boy from Oz (if we miss it at the Celebration), but otherwise the pickings and concerts are bare. May 21 has a hold for Los Angeles: Then and Now, a new musical at LA City College (FB) from Bruce Kimmel. The last weekend of May has holds for the MoTAS Outing to the Jethawks, and Armadillo Necktie at The Group Rep (FB). As for June? It’s the Hollywood Fringe Festival (FB), and I’ve started to hold dates for the following shows: All Aboard the Marriage HearseAll The Best Killers are LibrariansQaddafi’s Cook — Living in Hell, Cooking for the DevilSqueeze My CansTell Me On A Sunday   Toxic Avenger: The Musical  ✨. As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Bitter-Lemons, and Musicals in LA, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves.

 

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A New Years Stew: Buildings, Books, and Booms; Music, Medicine, and Mattel

Written By: cahwyguy - Sat Jan 02, 2016 @ 1:00 pm PDT

Observation StewIt’s the first weekend of the new year, and as is traditional, it’s time to clear out the accumulated news chum from the week — the chum that couldn’t be used to create a coherent themed chum post of 3 or more articles. So let’s see what is in this week’s stew:

  • Saved! The first news chum item was to be about where I live now, but that became its own article. So let’s talk about where I used to live: North Hills.  At the corner of Devonshire and Sepulveda is a shopping center we used to frequent (especially when Hughes was still there). Today, the Hughes Ralphs has closed, and so has Mission Hills Bowl, and rumors are circulating about redevelopment of the center. This week, some good news came out of this: the bulk of the center appears to be saved, and the Mission Hills Bowl building will remain.  The Googie designed Bowling Alley by LA architect Martin Stern Jr. will be saved as part of a new commercial development that will include a mix of retail, restaurants, medical office, gym, warehouse, and bank uses spread over one and two story buildings.
  • Booking It. When Borders and Barnes and Noble took off, the prediction was that they would kill the small bookstore. They almost did, but the bookstores hung on. Now Borders is gone, and B&N is on the ropes, being killed by Amazon. What is still surviving? The small independent used bookstore. In fact, used bookstores are making a comeback. The reason isn’t surprising, when you think about it. It costs more to ship used books than to just sell them locally. Here’s the quote that BoingBoing used from the original article: “Used bookstores, with their quintessential quirkiness, eclectic inventory and cheap prices, find themselves in the catbird seat as the pendulum eases back toward print. In many cities, that’s a de facto position: They’re the only book outlets left… And it’s a business with good economics. Used bookstores can beat Amazon and other online booksellers on price, offering shoppers both a browsing experience and a money-saving one. Also, profit margins on used books are better than new ones — so good that many indies are adding used sections.”
  • Travelling? Good News and Bad News. Traveling in the new year? You need to watch out if you live in Alaska, California, Illinois, Missouri, New Jersey, New Mexico, South Carolina, Washington, Puerto Rico, Guam, the US Virgin Islands, Minnesota or American Samoa. Your state is bumping into (or has gone past) the RealID deadline, and your state IDs may not be acceptable to TSA or the DOD. About the only good news here is that California got granted an exemption. I have no idea what this means: in particular, it could mean that everyone in the state needs to be issued a new ID. Ouch!
  • New Album from Paul Stookey. As you have likely figured out, I love folk music… and my first love was Peter, Paul, and Mary. Thank’s to Noel Paul’s Facebook account, I just learned that Noel Paul Stookey issued a new album in September 2015. I’ve already grabbed my copy, it is it like one of his recent concerts (i.e., very good).
  • Going Boom. Here’s a fun article: The history of the Toy Chemistry Set. What started out as a kit for the academic world became something to encourage men to become scientists (why would women care about chemistry), and then got neutered as society became worried about safety and homemade bombs.
  • More Problems from Inflammation. The inflamatory response is turning out to be the culprit is more and more problems. We’ve seen articles in the past linking it to arthritis and migraines. Here’s an article showing the link between depression and inflammation. Quite an interesting read, and it shows why we might not need to monkey with brain chemicals to address depression.
  • Deaths of Note. We’ve had a number of notable deaths at the end of the year, such as Wayne Rodgers and Natalie Cole. Here’s one you may have missed: Ruby Cavanaugh, namesake of Ruby’s Diners.
  • Sign of the Times? Mattel, owners of the American Girl line of dolls, has introduced a diabetic kit for their dolls, allowing girls with diabetes to have a doll that is just like them. While I applaud the production of the kit, what does it say about the prevalence of diabetes in our society that this needs to be a thing?

 

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Up in the Air

Written By: cahwyguy - Sun Nov 29, 2015 @ 8:30 am PDT

userpic=psa-smileOne last themed news chum as appetizer before we serve the stew. I’ll let you decide if this is suitable to spread on crackers.

  • Another Nail in the Coffin of Third-Party Travel Agents. As I wrote in my aphorism post, travel websites make their money by steering you to hotels. Just as with travel agents of yore, they earn commissions and referral fees. The hotels, naturally, hate this — not because they want to save you money, but they want that commission profit for themselves. Just as we have seen elsewhere in other industries, they will be doing whatever they can do to up their profits. Here’s another example of that trend, this time in Las Vegas: As part of MGM’s profit growth plan, the company intends to realize further income by asking customers to help them put a boot on the neck of 3rd party travel retailers. The target? The 15% cut MGM pays to Expedia Inc. (Expedia, Hotels.com, Hotwire, Trivago, Travelocity, Orbitz etc), Priceline Group (Priceline.com, Kayak, Booking.com, Agoda, OpenTable) and even family-owned shops like Jadd Fong Travel in north east Albquerque, New Mexico. How are they going to do this? MGM Resorts International is going to begin penalizing guests who book via third parties, not by direct confrontation but by withholding services and adding fees. Forewarned is…
  • Flying the 727. Those of us who are old enough will remember the Boeing 727. Here’s an interesting report on the refurbishment of an early 727, and what it was like to fly it.
  • Speeding Up Boarding. Here’s an interesting report on a patent by Airbus: The plane, instead of being a single, contiguous hull, would have a huge hole in the middle where the passengers and luggage would normally be. Instead of boarding the plane directly, passengers and luggage would be loaded into a separate “cabin module.” Then, when the module is ready to go, it’s simply dropped into the airplane. You would take your seat in the module, from the comfort of the departure lounge… and then descend into the airplane when it’s ready to go. Interesting idea? Will it ever happen?

 

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Looking everywhere, going nowhere

Written By: cahwyguy - Wed Nov 18, 2015 @ 11:56 am PDT

userpic=travelToday’s news chum post continues the trend of using a song lyric in the title. Does anyone recognize the song? If you figure it out (or cheat), I’ll note that even thought the line fits the post, the overall song doesn’t really. In any case, today’s post — focused on going nowhere — is about transportation in the news. Transportation, in fact, that may get us nowhere fast. Here are a few transportation articles I’ve corrected, while I eat my lunch…

 

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It Won’t Be 30 More…

Written By: cahwyguy - Fri Sep 04, 2015 @ 8:34 pm PDT

userpic=pineappleBack sometime in the late 1970s, my parents purchased a timeshare in Maui. This was one of the early timeshare developments, where one had a fixed interval; it was at The Whaler on Kaanapali Beach. Throughout my teen years, I regularly accompanied them to it (we had the last two weeks of August into early September) — I have distinct memories of coding for the UCLA Computer Club, listening to the Jerry Lewis Telethon, while sitting at the game table in the unit. All together now: Yes, I was a nerdy teen with no life.

As I got older, my parents continued to use the unit until sometime after my dad remarried (i.e., late 90s). The last time I was at the unit was in 1985, when we had a week at the unit as part of our honeymoon. After my dad stopped using the unit, he rented it out to friends and relatives. After my dad passed away and I inherited the unit, we did the same — my father-in-law regularly used the unit.

After he died, we started doing interval exchanges through Interval International. Partially, this was due to the fact that we had no knowledge of how to rent the unit easily. Partially, it was due to the fact that airfare to the Islands is expensive. Mostly, it was due to the fact that LA Unified shifted their schedule to start in mid-August, making going to our interval impossible.Through II, We regularly went to Las Vegas and Escondido, as well as Palm Springs. My wife did solo vacations to Sedona and Tucson.

This year was our 30th wedding anniversary. Our daughter had a car, and was back up in Berkeley. We had nothing holding us back — we bit the bullet on the airfare. If you haven’t figured it out by now, this is where we’ve been for the last two weeks. You can learn about it here (although we’re not going through Aston), and (here and here) (these are folks that sell and rent units).

Hawaii 2015After two weeks here, a few observations:

  • Coming back here as an adult (I wasn’t an adult at 25 when I first came; most people don’t see themselves as adults until 29), I can now see why my parents loved this place. It is extremely relaxing and laid back, and has a vibe totally unlike any other timeshare we’ve been at.
  • Elaborating on that last point: At the timeshares in Vegas and Escondido, they were pushing pushing pushing to sell units. Hell, you walk along the beach here and the Westins and other companies are pushing timeshares in your face. This timeshare is different. You have a closet, where you can leave stuff in a box for when you come back. Owners leave stuff for other owners. It is truly like you’re sharing a home, not renting a room for two weeks. In talking with the managing agent for the TIOA (Time Interval Owners Assn), this is because most interval owners come back each year and use their units — they become a family. This makes it feel like home.
  • Other vacations, I’m out and running from place to place to place. This vacation? I’ve done just a little work (checking email, a few hours of meetings on a project I’m running). Mostly, I’ve futzed on the computer reading news (perhaps you’ve noticed). I’ve read books (I’ve finished 3 so far, and am working on the 4th). I’ve gone in the ocean. I’ve sunned by the pool. The latter two are much more entertaining in Hawai’i. I’ve worked out, either by walking or in the exercise room (did an hour on the bike today). I’ve eaten healthy, having fish almost every day. I only saw one show :-). We’ve done a little shopping (I like Hawaiian shirts).
  • I’ve sunned, but this time I learned my lesson and used sunblock.
  • We found some wonderful hidden restaurants, particularly Joey’s Kitchen in Whaler’s Village; and Fish Market in Honokawai. My wife fell in love with Sugar Shop in Lahaina, a wonderful gluten-free shop. Our one dislike: Sangrita, in the Fairway Shops, whose “Grilled Ono in Anchiote” was really in a spicy mole, which created problems (as well as their continually having trouble with the order).
  • I’ve come to the conclusion that it won’t be 30 years before we are back. My plan, at this point, is every other year. This will still give us some weeks we can use towards going to Las Vegas in the spring (which we enjoy), while still coming back here.

Pictures, you ask? Didn’t take any. However, other’s did, and if you look at this week’s AOAO Weekly Picture Mail (PDF), you’ll see both my smiling face, and my wife’s even prettier smiling face (AOAO is the apartment owners association — the folks that either own their apartments, or the TIOA  — independent of the units in the Aston rental program).

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Things That Are Going Away… But Maybe Not

Written By: cahwyguy - Wed Sep 02, 2015 @ 9:35 am PDT

userpic=zombieAnd the process of cleaning out the links continues…. this collection brings together a number of stories about things that are going away… but then again:

  • Maui Potato Chips. As I’m on the island of Maui right now, let’s start with something that I’m craving, that used to be easy to find, but now is very difficult to find: The Original Maui Kettle Cook’d Potato Chips. When I was out here 30 years ago, they were everywhere (and you used to ship them back to the mainland). Today? You’re lucky to find a small bag for $7.99 in a few stores. They’ve been replaced by a knockoff chip from the state of Washington. Washington?!?!? But if you know where to look, they are still available. (but of course, I can’t eat them — I’m watching my weight and blood pressure 🙁 )
  • Renaissance Costumes. I’ve written before about how  the theatrical landscape in Southern California is changing due to the machinations of AEA. Many theatres have retrenched in various ways, and this is now starting to have ripple effects. AJS Costumes, a large theatrical and renaissance costumer, has started a GoFundMe to help them survive the ripple. As they write: “As you may or may not be aware, the live theater scene in Los Angeles has been going through an upheaval for the past several months.  Changes in the local 99-seat theater community are causing many theater companies to be very conservative in selecting their projects.  To avoid collapse, many theater companies are doing smaller productions, with less costume design needed, and fewer period plays. The rental business and costume design services of AJS Costumes has slowed to a trickle. This downturn has been sudden.  It has been unforeseen.  It has been devastating.   Despite this crisis, we are continuing to serve our clientele and assure you that all outstanding orders are being fulfilled.   But in order to survive, we must explore and secure new income options for our shop.”
  • Verizon Contract Plans. You may have heard that Verizon was getting rid of subsidized phone plans. That’s actually not true — it is only true for new customers. Old customers — as long as you keep renewing or have phones on the old plan — you can keep it.
  • iPod Classics. Well, they aren’t going away. You can even do as I’m thinking of doing and put in a SSD. But, alas, Apple is declaring them obsolete as of Labor Day. I’m sure you can still get them repaired, although some parts may be harder to get.

 

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The Art of the Possible

Written By: cahwyguy - Sun Aug 30, 2015 @ 2:51 pm PDT

Evita (Maui Arts and Cultural Center)userpic=theatre_ticketsJust because we are on vacation doesn’t mean the theatre stops. When I’m on vacation, I typically try to see at least one local show. When I confirmed we were going to Maui, I started looking for what live shows would be here while we were here. The only one in our window was Evita (FB), a Maui Academy of the Performing Arts (MAPA) (FB) production at the Maui Arts and Cultural Center (MACC) (FB), which we saw last night. The BLUF (Bottom Line Up Front) assessment is that it was a very good production for community theatre, and quite enjoyable with only a few quibbles. As an aside, I’ll note that there appears to be a fair amount of theatre on Maui, including a regular fringe festival. Who knew?

We last saw Evita in a high-school performance at Van Nuys HS back in 2011. That was my wife’s first exposure to the show; I had seen the original when it was at the Shubert Theatre in Century City back when both existed back in 1980. For those not familiar with Evita, it is the second rock opera written by Andrew Lloyd Webber and Tim Rice. It concentrates on the life of Argentine political leader Eva Perón, the second wife of Argentinian president Juan Perón. The story follows Evita’s early life, rise to power, charity work, and eventual death. It is a sung-through opera, with very little non-musical spoken dialogue. You can find a detailed synopsis of the story on the wikipedia page or on the Rice/Webber page for the show.

This production of Evita was put on by the Maui Academy of the Performing Arts (MAPA) (FB) , the third annual Broadway-style production from the 35 year old arts organization (they did Miss Saigon in 2014 and Les Miserables in 2013). As you can tell from the choice of shows, they like shows with large casts (presumably, to get large community involvement). This show was no exception, with 49 people in the ensemble, 10 additional tango dancers, 13 children in the children’s chorus.

The show was directed by David C. Johnston (FB), MAPA’s artistic director, with Choreography by André Morissette (FB) and staging by David C. Johnston (FB) and André Morissette (FB).  They made some interesting choices in the casting, movement, and staging departments — not necessarily bad choices, but ones that drew my attention. The first was in the casting. If you think about Evita and the typical casting, what comes to mind? A pencil-thin Eva Perón, a relatively thin army-officer type for Juan Perón, and a tall and thin Tango dancer for Agustin Magaldi. Their choices — talented all — were a bit more on the mid-size scale. This didn’t hurt the performances one bit (and I’m sure most of the audience didn’t notice), but it did give a different look to the show. You can see what I mean in the photos accompanying the cast credits below.  I actually enjoyed the casting, and it may have been more reflective of the Argentinian society of the time (size norms have changed over time, and what might be the image in my mind might reflect more the norms of the 1980s when this show came out, vs. the Latin American norms of 1930-1940 Argentina).

The second and third issues were more movement based. The director tended to have his actors use their arms quite a bit during songs (you likely know what a mean — the tendancy to sweep one’s arms in front of oneself as one sings to punctuate everything). This got to the point where it was a little visually distracting — again, it didn’t detract from the overall performance but was a directorial choice that was bothersome. The third issue was the overall movement of the ensemble, which was a bit more simplistic than I’m used to seeing on shows such as this in Los Angeles. My guess is that this was a combination of the extremely large ensemble and the fact that the ensemble was not built from professional dancers and gypsies, but from community members. Given that, the choreography was very good; it was just not all it could have been given what I’m used to seeing. It was great for the community theatre level, and — again — I’m sure most of the audience did not notice. I’m just used to community theatre at the level that challenges the professionals (look at the work of Cabrillo Music Theatre (FB)).

In the overall scheme of things, however, those are minor quibbles. The basic performance and staging went well, with a set that consisted primarily of moving stairways and balconies, a few drop columns, and some basic props. With this simplicity, there was a strong need for the acting to establish not only story but place and time — and it did that well. The show was overall enjoyable with some very good performances. Let’s now look at those performances.

Evita (Publicity Photos by Jack Grace)In the lead position as Eva Perón was Hawai’i’s top selling vocalist of all times (and a product of the early days of MAPA), Amy Hānaili’i Gilliom (FB). She had the perfect vocals for the role and captured the emotional performance quite well. The staging had a few odd costume changes on stage for Ms. Gilliom that were much more noticeable from the balcony (where we were sitting), but she looked beautiful in the costumes and gave a great performance. I’ll note that MAPA chose the staging that incorporated the song “You Must Love Me” from the movie, and Gilliom handled that song beautifully.

Eva’s antagonist, Che, is never mentioned by name during the show, but serves as a sardonic off-side commentator on the proceedings to provide the necessary cynical look on the situation. If you’re familiar with the concept album, you always see him as pushing his insecticide (a plot element that disappeared in the stage transition, leaving a number of musical moments where the words have been removed from the remaining music. Che was performed by Kepa Cabanilla-Aricayos/FB. He brought a much higher voice to the character (as if Patinkin wasn’t high), but worked well. The only oddity was that in a number of scenes he was part of the crowd seemingly supporting Perón; I would have expected him to be more off on the side observing instead. I’m guessing this was a directorial choice, and not a major problem. In general, I expected a strong sardonic and angry nature from the performance — this was particularly noticeable in “Goodnight and Thank You”.

Juan Perón was portrayed by Francis Tau’a/FB. Tau’a had a lovely voice for Perón and brought an appropriate stage presence, including a very touching performance in the second act.

The remaining two named characters were Danielle Dalaunay (FB) as Perón’s mistress, and Joey Schumacher/FB as Agustin Magaldi. Dalaunay (hint: don’t do a Google search on the name; unfortunately an adult industry actress also chose that name) really only has one scene and one song, but she nailed it and gave a lovely and touching rendition of “Where Am I Going To?”. Schumacher’s gave a wonderful vocal performance as Magaldi, but didn’t have the look of a tango singer that would have the teenage girls swooning.

Rounding out the performances were the large ensemble components. The ensemble consisted of (takes deep breath): Jay Agasid/FB, Ashlyn-Jade Aniban (FB), Heather Bartlemus/FB, Craig Bode/FB, Shane Borge/FB, Alfred Cantorna/FB, Emily Cantorna/FB, Dr. Virgie Cantorna/FB, Alice Carter/FB, Maile Castro/FB, Jordyn Clarke/FB, Haylie Daunhauer/FB, Haley DeForest/FB, Gina Duncan/FB, Christie Ellison/FB, Molli Fleming/FB, Marion Haller/FB, Halia Haynes/FB, Casey Hearl/FB, Tasiana Igondjo/FB, Aeris Joseph/FB, Brock Kahoohanohano-Abrose/FB, Julie Kawamura/FB, Kevin Lawrence/FB, Carlyn Leal/FB, Nomi Macadangdang/FB, Betty Miller/FB, Orion Milligan/FB, Danann Mitchell/FB, Kaimana Neil/FB, Tully O’Reilly/FB, Jim Oxborrow/FB, Sara Patton/FB, David Pisoni/FB, Isaac Rauch/FB, David Rooks/FB, Karli Rose/FB, Kela Rothstein/FB, Molly Schad, Cole Shafer/FB, Emma Smith/FB, Scott Smith/FB, Theresa Supera/FB, Joylene Nina Tabon/FB, Marc Toliver/FB, Preston Watanabe/FB, Eliza Wright/FB, and Nolan Yee. The Tango Dancers were Vicky Ayers/FB, Rose Baiot/FB, Marcia Barnett-Lopez, Peter Black/FB, Sugandha Ferro Black/FB, Hawkeye Lannis, Doug Miller/FB, Nadama/FB, Rita Okeane/FB, and Tom Weierhauser/FB. The Children’s Chorus was Avery Ardoin, Madeline Austin, Ashton Chargualaf, Nealon Guzman, Kaylee Herman, Sofia Kafami/FB, Randi Lonzaga, Haley Mahoe, Luna Graham Milligan, Jena Mukai, Elly Smith/FB, Erin Smith/FB, Dutch Tanaka Akana, and Jillian Vince-Cruz.

Music was under the direction of Gary Shin-Leavitt (FB), who conducted the 19 piece on-stage band (something you don’t often see). The band consisted of: Kim Vitterli (FB) (Keyb0ard), Beth Fobbe-Wills/FB (Keyboard), Reid Ishikawa/FB (Keyboard), Judy Waters (1st Violin), Sue Westcott/FB (1st Violin), Ana Kalina (2nd Violin), Darius Soo Hoo (FB) (2nd Violin), Teresa Skinner (FB) (Viola), Patrice Weed-Shearer (FB) (Viola), Cheryl Lindley/FB (Cello), Michelle Ancheta (Cello), Lauralei Singsank (FB) (Flute), Beth Sederstrom (Clarinet/Sax), Cody Sarmiento (FB) (Trumpet), Henry Arroyo (Trombone), Stephen Rodrigues (Electric Bass), Wenlu Duffy (FB) (Guitar), Perry Gragas/FB (Percussion), and Richard Vetterli/FB (Drums).

Turning to the technical side. The set design by Dan Hays/FB was relative simple: two movable staircases, a movable balcony, and a static balcony. Simple, but effective, as they were constantly being reconfigured. These were supported by the props by Jeff Robidoux and Barbara Sedano (FB), which worked reasonably well. My only quibble was with the Argentinian flag, which was often portrayed without the sunburst. Now, it turns out that the sunburst-less version of the flag is the ornamental flag and thus a valid version. Still, I’m not sure if that was the right flag to use. The sound design by Joseph “Joe” Arias  was reasonable, but could stand for a little adjusting (some mics were problematic, and some needed their volume increased). The lighting design by Mark Astrella served to create the mood appropriately. The costumes by Vanessa Cerrito (FB) (Kenneth Peter Lee for Eva Peron) seemed appropriately period, as did the hair, wig, and make-up design by Marc Tolliver/FB and Karli Rose/FBAndré Morissette (FB)  was the costume consultant. Lina Krueger/FB was the stage manager, assisted by Tina Kailiponi/FB. Evita was produced by the Maui Academy of the Performing Arts (MAPA) (FB).

The last performance of Evita at the Maui Arts and Cultural Center (MACC) (FB) is a few hours away, at 2:00 PM HST. Tickets are available through the MACC website, but at this point I’d call the box office. We forewarned: Hurricane Ignacio, as the time I’m writing this, is a Category 4 Hurricane about 400 mi E of the island of Hawaii, with a storm track that has it running to the north and west of the islands. We’re getting wind and some rain here on the north western side of Maui; MACC is in Kahului, on the eastern side of the island (which will have more storms and winds). The show is worth seeing, but stay safe.

Ob. Disclaimer: I am not a trained theatre critic; I am, however, a regular theatre audience member. I’ve been attending live theatre 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 subscribe at three theatres:  REP East (FB), The Colony Theatre (FB), and Cabrillo Music Theatre (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: September starts with Tom Paxton’s last concert at McCabes (FB) on September 12, followed by “The Diviners” at REP East (FB) and “First Date” at The La Mirada Theatre for the Performing Arts (FB). October will bring another Fringe Festival: the NoHo Fringe Festival (FB). They haven’t put up the Fringe shows yet, so I may start booking weekends. October also has the following as ticketed or hold-the-dates: CSUN’s Urinetown (end of October – 10/30 or 11/1);  “The Best of Enemies” at The Colony Theatre (FB) (Ticketed for Sat 10/10); and  “Damn Yankees” at Cabrillo Music Theatre (FB) (Ticketed for Sat 10/17). November will bring the Nottingham Festival (FB) on November 7; “A Day Out with Thomas” at Orange Empire Railway Museum (FB) on November 11; and Deathtrap at REP East (FB) on November 14. The rest of the month is currently open. As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Bitter-Lemons, and Musicals in LA, as well as productions I see on Goldstar, LA Stage Tix, Plays411.

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