reviews – Page 3 – Observations Along the Road

🎭 When Do We Feel Safe | “Sanctuary City

Posted onSunday, October 2, 2022Sunday, October 2, 2022AuthorcahwyguyLeave a comment

Sanctuary City (Pasadena Playhouse) What does the word “sanctuary” mean to you?

Perhaps you come at the word from the religious sense: it is a place with holy relics where you worship. If so, you might think the play Sanctuary City, which we saw last night at the Pasadena Playhouse, is about a city filled with churches, mosques, and synagogues. You would be wrong.

Another meaning of the term refers to a safe space — a space were you are protected and safe from those who might do you harm. Recall from The Hunchback of Notre Dame that Quasimodo seeks sanctuary in the Sanctuary, as a church is viewed as hallowed ground where the clergy will protect you. We often see religious institutions treated in this manner: those who reside there are protected by a higher power.

More recently — and especially during the Trump administration — the notion of a “Sanctuary City” arose. This was a city where undocumented immigrants were safe. If the police encountered them, they wouldn’t be asked immigration status or reported to ICE. They were safe — for varying values of safe.

People find sanctuary — safe space — in many places. As noted above, some find it in church. Some find it in laws — and law enforcement that officially might not see things. Some find it in relationships: your house is a sanctuary where you are loved and feel safe.

Sanctuary City, by Martyna Majok, directed by Zi Alikhan, explores the notion of sanctuary in many ways (although never in the way the title of the play might lead you to believe). This is a one act play that has two distinct acts (and, in some ways, it really could use that intermission). I should also note that this takes place in 2006, after 9/11, and long before DACA or the other changes that came about during the Obama administration.

During the first half — which takes place in an abstract metal structure that could be the bones of a house, we meet a boy (B) and a girl (G). These two have been friends since they were toddlers, ever since their families brought them across the border in various fashions for a better life in America. G’s mother is now with an abusive guy, and so G finds sanctuary with B — constantly coming over and crashing with him. B’s mother plans to return to Mexico before they catch her, and B can come along or not. She’s fine leaving him in American — and he wants to stay because that’s where his life is. The first act is told in a distinctly non-linear fashion, with flashes between timelines that fill in the details of the story. We do learn, by the end of the first half, that G’s mother has been secretly studying to be naturalized, and has gotten her naturalization papers — and before G turned 18, meaning G was a citizen as well. G comes up with a plan to save B by marrying him, and they prepare for the eventual ICE questioning. G also gets accepted to a university in Boston.

The second half is three years later, and abandons that abstract house for a realistic apartment. Three years in, B and G’s plans are on the rocks, called off by … well, let’s just say there is a reason that B never truly “slept with” G during those earlier years. There is now a love triangle, wherein we meet B’s lover, Henry (a pre-law American). It is within the tensions created by this triangle that the other aspects of sanctuary — safety — come into play. G has come to realize that if she marries B, she isn’t safe if they are ever found out, but there is Henry in the equation. B has to decide between the safety with respect to ICE, vs safety with respect to love. And Henry — who can’t marry B at this time because of the law — is stuck in the middle. How this all resolves is the focus of the second half.

This is a story that drew me in. Initially, it was the question of who these people were, and what was their story. The non-linear flash device used is a novel story telling approach, and you quickly saw the strong friendship and figured out the backstory. You wanted them to become more, yet they never quite did. The second half was fascinating, raising all sort of ethical and legal questions. Some of the situations portrayed in this play are no longer a concern (but then again, may be a concern again, given the current Supreme Court). Some, such as the question about undocumented immigrants and what to do about children who were raised as American (but who aren’t Americans), still remain. It was a really interesting, entertaining, and still relevant play. It makes you think, as you leave the theatre, what makes you truly feel safe — and what are you willing to do and give up to get that safety?

The performances were strong. Ana Nicolle Chavez (G) was believable as the teen dealing with an abusive step parent, seeking sanctuary in the home of her friend. Miles Fower (B) was believable as her friend. The two had strong chemistry together, and you could see them capturing well the tension in the relationship. The third point in the triangle was Kanoa Goo (Henry). He was believable as someone who loved B, and there was a strong tension shown with G who was on the verge of taking B away from him.

Chika Shimizu (Scenic Designer) created an interesting scenic design. The first half was a very abstract metal structure, which combined with Solomon Weisbard (Lighting Designer)‘s lighting allowed the non-linear story telling to occur. The second half was a more conventional design of an interior of an apartment. John Nobori (Sound Design) established the mood and place through appropriate ambient sounds; the actors amplification was sufficient for my currently degraded ears. Jojo Siu (Costume Designer) rounded out the design team.

The remainder of the production team consisted of Amanda Rose Villarreal (Intimacy Coordinator), Brad Enlow (Playhouse Technical Director/Production Supervisor), Brandon Hong Cheng (Stage Manager), and Lydia Runge (Asst. Stage Manager). Casting was by The Telsey Office.

Sanctuary City continues at the Pasadena Playhouse through October 9. Tickets are available through the Pasadena Playhouse box office, and they even have a free ticket initiative for those who cannot afford it. Discount tickets are available through Goldstar, and it also appears there is a GroupOn.

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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 (modulo the COVID break). 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 (or I’ll make a donation to the theatre, in lieu of payment). I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at Actors Co-op (FB), 5 Star Theatricals (FB), Broadway in Hollywood (FB), the Ahmanson Theatre (FB), and we have a membership at The Pasadena Playhouse (FB). We were subscribing at the Musical Theatre Guild (FB) prior to COVID; they have not yet resumed productions. We have also been subscribers at the Soraya/VPAC (FB), although we are waiting a year before we pick that up again. 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. Note to publicists or producers reading this: here’s my policy on taking comp tickets. Bottom-Line: Only for things of nominal value, like Fringe.

Upcoming Shows:

For right now, we’re pretty much sticking with shows that come as part of our subscriptions or are of interest through our memberships. Looking ahead for the remainder of 2022:, the rest of October will bring Ghosts at the Odyssey Theatre Ensemble, The Addams Family at 5 Star Theatricals (FB), and To Kill a Mockingbird at Broadway in Hollywood (FB). November brings 2:22 – A Ghost Story at the Ahmanson Theatre (FB). Lastly, December will bring Annie at Broadway in Hollywood (FB).

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Footlights, as well as productions I see on Goldstar, On Stage 411 or that are sent to me by publicists or the venues themselves. 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 (although I know it is outdated and need to update it). Want to learn about all the great theatre in Southern California? Read my post on how Los Angeles (and its environs) is the best area for theatre in the Country (again, I need to review this for the post-COVID theatre landscape)!

🎭 Taking Off the Rose Colored Glasses | “Oklahoma” @ Ahmanson

Posted onSunday, September 25, 2022Monday, September 26, 2022AuthorcahwyguyLeave a comment

Oklahoma (Ahmanson) Memory can be funny thing. When we look back on memories of things we often see just the good. If I was to mention Rogers and Hammerstein to you, and ask you what you remember from their shows, what would it be? The sunniness and light of Oklahoma!? The children singing in Sound of Music? The love story in The King and I or South Pacific? The happy joyous songs?

But guess what: That’s a memory that was engineered by a series of 1950s and 1960s musicals, which had to be cheery and light to sell tickets and get past the approval boards. But what precisely made Rogers and Hammerstein so revolutionary (and, indeed, what Hammerstein started even earlier with Show Boat) was the underlying commentary in their librettos. Sexual violence in Carousel. Racism in South Pacific. The spectre of the Nazis in The Sound of Music. Slavery and oppression of people in The King and I. Rogers and Hammerstein were successful because of their political commentary, and how that commentary was such a change from the brain-dead, saccharine sweet musicals of the 1940s and 1950s.

But our memories have been whitewashed, with an emphasis on the “white”, by the movie musicals and the endless cute revivals of these shows. We go in with an expectation of what the show is — and when that expectation is not met, we are disappointed, angry, and we write off the production as something we don’t like. We are so constrained by our expectations we fail to see the real, underlying text and commentary.

This is clearly playing out in the reaction to the Bard Summerscape production of Oklahoma!, directed by Daniel Fish, currently at the Ahmanson Theatre. The reaction that I’ve seen is that people either love it or hate it. But what they forget is that not a single word has been changed from the original text; not a single song is omitted. All of Richard Rodgers‘ music is there. The book and lyrics by Oscar Hammerstein II is still there. It is still drawn from “Green Grow the Lilacs” by Lynn Riggs. It just is a production that emphasizes the darker nature that has been in the story rather than the expected cheeriness and light. For many, this is not the Oklahoma! they grew up with and knew. It’s not that warm apple pie on the porch; it isn’t Shirley Jones and Gordon McRae, or Florence Henderson, or any of the numerous bubbly blondes that have done the role. But guess what folks? Read the synopsis of the movie musical. It is the same story.

Furthermore, when you look at the story, the same hatreds are there today. The fear of the lower class workers. The justification for self-defense killing when the defendant is well-respected (the only thing that would have made this stronger was if Judd was cast strongly with a minority actor). Just think about the line, made famous by the Monkees’ in “Zilch”, “Nevermind the furthermore, the plea is self-defense” — from the end of Oklahoma!, referring to a self-defense excuse for innocence, ignoring the other facts. That wouldn’t happen to day … would it?

There were also other modern themes. The fear of sexual violence especially when men do not take “no” for an answer. The castigation of women when they want their own sexual agency. The tendency in some cultures to overprotect women or to sell them to the highest bidder — independent of what the woman might want. Gun violence.

This is all in Oklahoma! folks. It’s there in the movie.

So what does this production do that offends folks so? It strips the veneer from the story to expose this scaffolding. The stage doesn’t open on a cornfield; there is no surrey or farmhouse. There is no action in the fields. This takes place in a modern gymnasium, with bright lights and gopro cameras. There are crockpots of chili, and folks dressed modern. There is a mix of races, gender identities, sizes. This isn’t a whitewashed farm in lily-white Oklahoma. Just setting aside that traditional staging bothers people enough that they shut down.

Then there is the staging. This isn’t realistic, transporting you back to the farm. You have to imagine that based on the story and the performances. There are also times they play with your perception: the smokehouse scene is done in the dark, with just the actors on microphones. There is stark video at times. The dream ballet isn’t this nice gentle ballet, but an acid-rock tinged interpretation of the music with a single dancer abstractly expressing their fears. There are gunshots, and at the end, there is bloodshed. Oh, and the first few rows are a literal splash zone. This isn’t as bad as The Lieutenant of Inishmore, but be prepared.

Lastly, there is the music. One expects Oklahoma! to have this lush full orchestral score. This is a stripped down western ensemble: banjo, guitar, bass, fiddle, cello, accordion, etc. No brass section. No woodwinds. Not what one expects from a show like this.

Think about it this way, folks. Rogers and Hammerstein came upon the scene in 1943. That’s almost 70 years ago. We’ve been taking Shakespeare’s words and using them unchanged in different settings to highlight meaning. That’s all this production is doing. If you can go into this production setting aside your pre-conceived notions of what this show is, and accept the conceit of how the director is trying to emphasize the story and not the schmaltz, you’ll enjoy this. If you can’t set aside your expectations, skip this production and go see a regional production that does it in a traditional manner.

From the above, you may believe this is saying that I liked everything about the show. I didn’t.

First, I wasn’t that enamored of the dream ballet. I understand that was the approach taken in shows in the 1940s and it was convention. But I don’t think the intent comes across well, and especially in the new staging, it was difficult to tease out the meaning. The dance was beautiful, but the symbolism was not conveyed well. The program credits Agnes De Mille‘s original choreography, but I think that’s more contractual because little of that remains. This production features choreography by John Heginbotham. Generally what that was worked well (this wasn’t a heavy dance show, unlike other productions of this title), but the dream ballet just failed me.

Second, echoing last week even more, I hate hate hate digital programs. Both The Pasadena Playhouse and CTG are using the new Performances platform. But this requires an account separate for each theatre (you would think a combined account would work), and you can’t read the program until you create the account (meaning you can’t do things easily during an intermission). Further, the program app is filled with notifications and settings and preferences that just bog things down even worse than a static website. Theatres: The cost of the paper is minuscule compared to the goodwill and memory a printed program provides. Make them shorter if you will, but provide a printed program and make your digital programs easy to navigate.

Lastly, the casting. I thought the mixed race, etc. casting was good, but it could have been better. First, although Sis was wonderful, I would have loved to see the tour continue to push the movement that Ally Stroker started to have more disabled actors on stage. That sends a vital message — especially on tours — both to the folks in the audience and the folks running the theatre. Secondly, the casting of Judd should have been more explicitly minority. Hired hands in that era weren’t white. Making that explicit serves to highlight the racism that underlies the tension in the story of Judd Fry. Was Judd really as threatening as he was made out to be, or was this an expectation or perception built out of prejudice. What we had was good; it could have been great.

The cast was uniformly strong. Hunter Hoffman, filling in for Sean Grandillo (Curley McLain) had a lovely voice and a good rapport with Sasha Hutchings (Laurey Williams). Hutchings was also strong, bringing a great internal fire and independence to Laurey (especially in Act II). Sis (Ado Annie) brought a unique take to the role — again, a load of energy and fire and spunk that played well off of both Hennessy Winkler (Will Parker) and Benj Mirman (Ali Hakim). Christopher Bannow (Judd Fry) was suitably menacing and had a good singing voice, but I’m not sure he conveyed the depth of fear that justified the end. Barbara Walsh (Aunt Eller) was a modern Ma Kettle midwestern non-nonsense broad, but brought some interesting sexual tension to the role I hadn’t noticed before. I also also smitten with Hannah Solow (Gertie Cummings): a character I had never noticed much in the story before, but she brought some unique characterizations and playfulness to the role.

Rounding out the main cast were: Ugo Chukwu (Cord Elam), Mitch Tebo (Andrew Carnes), Mauricio Lozano (Mike), and Jordan Wynn (Lead Dancer). Understudies in various roles were: Gillian Hassert (u/s Aunt Eller, Gertie Cummings), Cameron Anika Hill (u/s Laurey Williams, Lead Dancer, Cord, Mike), Minga Prather (Alternate Lead Dancer, Asst. Stage Manager), Scott Redmond (u/s Ali Hakim, Curly McLain, Cord Elam, Mike, Will Parker), and Gwynne Wood (u/s Laurey Williams, Ado Annie).

Music was provided by an on-stage orchestra led by Andy Collopy (Conductor, Accordion, Drums), and consisting of Dominic Lamorte (Assoc. Conductor, Upright Bass), Rick Snell (Mandolin, Electric Guitar), Josh Kaler (Pedal Steel, Acoustic Guitar, Electric Guitar), Justin Hiltner (Banjo), 🌴 Olivia Breidenthal (Violin), Caleb Vaughn-Jones (Cello), and occasionally, the fellow playing Curley (Hunter Hoffman, at our performance) on Guitar. Other members of the music department were: Daniel Kluger (Arrangements and Orchestrations), Nathan Koci (Music Supervision and Additional Vocal Arrangements), John Miller (Music Coordinator), Anixter Rice Music Services (Music Preparation), Robert Payne (🌴 Los Angeles Contractor). I did appreciate the fact that the orchestra joined the cast in the bows at the end of the show.

The design team consisted of: Laura Jellinek (Set Design), Terese Wadden (Costume Designer), Scott Zielinski (Lighting Designer), Drew Levy (Sound Designer), Joshua Thorson (Projection Designer), and Jeremy Chernick (Special Effects Design). I mentioned the set design before: very stark gym vibe, wooden floor, no fly scrims or anything like that. Lighting was equally harsh: either all on, green, or red. I couldn’t judge sound too well, as I’m healing from ear surgery that muffled things (my wife said it was clear). I do want to note the show’s attitude on guns, which were all around the stage. They made clear from the onset that these were prop guns, could not fire live ammo, and there was indeed no live ammo in the theatre at all. Further, they partnered with Gun Neutral, an initiative that takes donations for each visible gun on stage to fight gun violence and fund STEM grants.

Rounding out the production team were Taylor Williams CSA (Casting), Eszter Zádor (Stage Manager), Mikhaela Mahony (Assoc. Director), Jordan Fein (Assoc. Director), Daniel Kells (Production Stage Manager), Minga Prather (Asst. Stage Manager), and SB Production Services (Technical Supervisor).

Oklahoma! continues at the Ahmanson Theatre through October 16. Tickets are available through the Ahmanson box office. Discount tickets may be available through Goldstar, as well as through TodayTix. If you can set aside your expectations for a traditional, sickly-sweet production of Oklahoma!, this is well worth seeing.

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Upcoming Shows:

For right now, we’re pretty much sticking with shows that come as part of our subscriptions or are of interest through our memberships. Looking ahead for the remainder of 2022:, October will bring Sanctuary City at the The Pasadena Playhouse (FB), Ghosts at the Odyssey Theatre Ensemble, The Addams Family at 5 Star Theatricals (FB), and To Kill a Mockingbird at Broadway in Hollywood (FB). November brings 2:22 – A Ghost Story at the Ahmanson Theatre (FB). Lastly, December will bring Annie at Broadway in Hollywood (FB).

🎭 A Party So Wild There Were Two | “The Wild Party” (Lippa) at Morgan-Wixson

Posted onSunday, September 18, 2022Saturday, September 24, 2022AuthorcahwyguyLeave a comment

The Wild Party (Lippa) (Morgan-Wixson) Boy, this is the weekend for musicals with strong sexual themes, isn’t it.

Back in 1926, Joseph Moncure March wrote a poem called “The Wild Party”; it was rediscovered by Art Spiegelman in 1994 and subsequently came to the attention of two composers who turned it into a musical. You can see the full poem here; it starts:

Queenie was a blonde and her age stood still
And she danced twice a day in vaudeville.
Grey eyes. Lips like coals aglow.
Her face was a tinted mask of snow.
What hips! What shoulders! What a back she had!
Her legs were built to drive men mad.
And she did. She would skid.
But sooner or later they bored her
Sixteen a year was her order.

The poem was about Queenie, a low life vaudeville blonde and her boyfriend Burrs, a violent, small minded and jealous hoodlum and professional clown who together decide to throw a party. They do and it is a wild one.

As I said, two different composers decided to turn this poem into a musical. The musicals were both titled “The Wild Party”: one was written by Andrew Lippa and premiered in 2000 Off-Broadway; the other was written by Michael John LaChiusa and premiered in 2000 on Broadway. I’ve long had the CDs for both versions. Back in 2010, I was able to see the LaChiusa version at the Malibu Stage Company. Sometime back in 2019 I learned that Morgan-Wixson was planning to do the Lippa version (probably from Daniel Koh, who was the music director of the show). I put it on my calendar. And then COVID happened.

But luckily, Morgan Wixson didn’t let the production work go to waste, and just opened that production of The Wild Party, which I saw this afternoon.

It is interesting how two different artists interpret the same source material. We see this often with Shakespeare, where producers come up with wildly different ways of interpreting or presenting the same words. We see that here as well. Here’s how I described LaChiusa’s version back in 2010:

From there we learn about Queenie, a fading vaudeville chorine, and her misogynist and borderline racist lover Burrs, a vaudeville comic who performs in blackface. They decide to throw a wild party, complete with bathtub gin, debauchery, and everything that makes life worth living. During this party, we meet Queenie and Burrs’ collection of friends: Kate, Queenie’s conniving rival—a dagger-tongued, former chorine and would-be star; Jackie, a cocaine-sniffing bisexual playboy; Eddie, a washed-up boxer; Eddie’s wife, Mae, a ditzy former chorine; Nadine, Mae’s excitable 14 year old niece (who claims to be 16) who wants to break into vaudeville; Phil and Oscar D’Armano, a black brother act; Dolores Montoya, a diva of indeterminate age and infinite life experience; Miss Madeline True, a lesbian actress and nearly famous stripper; Sally, Madeline’s comatose girlfriend; Gold and Goldberg, two vaudeville producers with Broadway ambitions; and Black, Kate’s date and a bargain basement moocher. As the party escalates, we learn the story of each of these characters, and see the debauchery that was the 1920s. We’re treated to adultery, bisexuality, cocaine, drinking, incest, rape. It is a circus on stage, with action taking place on every corner. As the jazz and the gin flow, the orgy starts, and by the end of the evening, the midnight debauchery leads to destroyed lives. Ultimately, in the light of morning, comes the reminder that those who fly high land with a thud, especially when the mask and artificial face we put out to the world is removed.

When we compare this with how Andrew Lippa (Book and Music) approached the material, certain elements have been toned down or changed. There’s no blackface. The racist elements are gone. There’s not quite as much backstory. There’s not the connection between Nadine and Mae, and although she is a minor, her age isn’t made clear. The black brother act is gone, and some of the other characters are less named. Now, admittedly, this could be a decision from the production team. But it is something I noticed comparing the shows.

There’s also the music. Looking at both shows in my iTunes Library, I liked songs from both shows, but seemed to like Lippa’s a little more. Perhaps that’s because they stick in my head. Lippa’s songs seem to be more of a mix of character and scene introduction songs (especially in the first act), and less memorable story songs. But I like the songs, and quite a few from the Lippa version are among my favorites (“An Old Fashioned Love Story”, “The Life of the Party”, “Raise the Roof”).

Another interesting “compare and contrast” is with last night’s show, Jagged Little Pill. Both, after all, were based upon popular poetry of the time. Here, The Wild Party really shows the problematic mores of the time: heavy drug use, heavy alcohol use, violence against women, and racism. No apologies. Jagged Little Pill reflects more modern mores: we see the consequence of actions. But in both shows: wild parties have consequences.

One more thing before I launch into the specifics of this production. Morgan-Wixson, alas, does one thing in this production I don’t like: a digital ONLY program, accessed via a QR code. This is horrible for program collectors, it requires use of phone and data, it is harder to read (especially for older patrons), and it provides no archival record. Provide a digital program if you must, but make some small number of printed copies available. They don’t have to be fancy: a simple printed booklet is fine.

Now as they say: on to the show.

The Lippa version of the musical follows the basic trajectory of the poem: Queenie and Burrs are stagnating, and decide to throw a party to bring some excitement back, or to create tension (as Queenie is turned on by violent men). A number of different folks attend the party, but notable is Kate (who wants Burrs for her). Kate brings along Mr. Black and aims him at Queenie. This sets up the tension, which leads to the eventual conclusion. Also notable is Mae and Eddie, for Mae looks a lot like Queenie and Eddie is a washed-up boxer. Guess what happens when Burrs mistakes Mae for Queenie. Yup. Other characters are more ancillary but present — notably Madeline True and Nadine. As the party goes on, the drugs and booze flow. Predictable results. Tempers flare. Guns (and probably other things) go off. Life is left in disarray. Unlike in Jagged Little Pill, it is questionable whether anyone learns anything.

Under the direction of Kristen Towers-Rowles, the production moves pretty well (there was one lag point about 2/3rd through the first act). The story holds your interest. The performers and their characterizations are good, although sometimes that is not always clear to the audience. A few performers, at times, seemed to be staring into the sunset. That could be the actor, or it could be a drugged or stone characterization. Somehow, that needs to be clearer. I found the sound balance a bit off. Some performers (notably Queenie) needed a bit more power in the voice (the performance was good, and the singing was good — it just needed a bit more power). If you see the show, contrast the power of Queenie vs. Kate. This is not to say the performance was bad — in fact, the performance was quite good. WIth a bit more power behind it, it could have been great. The choreography by Michael Marchak (who was also the asst director) was in general good, although there was a bit of going through the motions. This is something I expect will improve further in the run as folks get reacquainted with the movement. I was also particularly taken by the background characters and how they made the party realistic.

The performances were strong. I was particularly struck with Serenity Ariel Robb (Queenie), Mirai (Mae), and Kelsey Weinstein (Nadine). I may have thought Robb’s volume could be a bit stronger, but her performance of the role was outstanding and I enjoyed her singing (it just needed that oomph on some songs). Especially strong — and a knockout at the start of Act II — was Kaitlin Doughty (Kate), and as I love the “Old Fashioned Love Story” number, I enjoyed Emilia Sotelo (Madeline True). On the male side, Hamilton Davis (Burrs) and Deonte Allen (Mr. Black) were particularly good. Rounding out the cast were: Iah Bearden-Vrai (U/S Burrs), Katelyn Coon (Ensemble), Krystal Combs (Jackie, U/S Queenie, Dance Captain), Eric Eberle (Max, Fight Captain), Eadric Einbinder (Swing), Javon Ford (U/S Black), Sam Gianfala (Phil), Spencer Johnson (Eddie), Gianna Pira (Swing), Jonathan Saia (Oscar), Roland Vasquez (Ensemble), Holly Weber (Dolores), and Steve Weber (Sam).

Daniel Koh was the music director. The program had no credit for musicians; it was unclear if the music was recorded or the musicians were in the wings. I didn’t see any musicians coming in, but they could have been there before me.

The design department consisted of: Yelena Babinskaya (Scenic Design), Ryan Rowles (Sound Design), Derek Jones (Lighting Design), Michael Mullen (Costume Design), Jon Sparks (Wig Crew), Mia Staraci (Props Master), and numerous support folks.

The production team consisted of: Emily Ellis (Production Stage Manager), Ethan Kuwata (Asst. Stage Manager), Emilia Ray (Intimacy Director), Amanda Noriko Newman (Fight Choreographer), and various artists, builders, and back of house folks who are listed in the program.

The Wild Party continues at the Morgan-Wixson in Santa Monica through October 9. I think this is well worth seeing — it is entertaining, it is a good exploration of a similar time in history, and it shows how mores have changed. Tickets are available through the MW Box Office, and discount tickets may be available through Goldstar.

Lastly, note I posted this without the usual heavy linking. That might come later.

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Upcoming Shows:

For right now, we’re pretty much sticking with shows that come as part of our subscriptions or are of interest through our memberships. Looking ahead for the remainder of 2022:, the remaining September show is Daniel Fish’s interpretation of Oklahoma at the Ahmanson Theatre (FB). October will bring Sanctuary City at the The Pasadena Playhouse (FB), Ghosts at the Odyssey Theatre Ensemble, The Addams Family at 5 Star Theatricals (FB), and To Kill a Mockingbird at Broadway in Hollywood (FB). November brings 2:22 – A Ghost Story at the Ahmanson Theatre (FB). Lastly, December will bring Annie at Broadway in Hollywood (FB).

🎭 You Attend, You Learn | “Jagged Little Pill” @ Broadway in Hollywood

Posted onSunday, September 18, 2022Friday, September 23, 2022AuthorcahwyguyLeave a comment

Jagged Little Pill (Pantages/Broadway in Hollywood) Expectations are funny things. Sometimes, someone else expectation can screw up your life. You may be expected to be the perfect mother, the perfect student, the perfect sibling, the perfect minority. The pressure of those expectations can sometimes be overwhelming, and can push you into paths you never expect.

Expectations can often color what you expect as well. When I first learned about the Alanis Morissette jukebox musical, I expected this heavy rock musical, especially with the name “Jagged Little Pill”. I’m an older fart (in my 60s) — my taste in music runs a broad gamut, from Broadway cast albums to folk to classic rock to bluegrass to celtic to dixieland to big band to … well, as you can see, a wide variety. But I had never knowingly listened to Morissette. Her classic album was not part of my vernacular. And although, thanks to the Tony nomination, I had listened to this cast album ahead of time, it hadn’t overpowered the expectation regarding this show. Going in, I was expecting this really hard rock, extremely dark and pulsating show … emphasizing the “jagged” nature of the title. Little did I know that the emphasis was more on the “pill”, as in “Mother’s Little Helper”. Little did I know that the title really referenced a pre-chorus (“Swallow it down (what a jagged little pill) / It feels so good (swimming in your stomach)”) to a key point in this show: “You live, you learn / You love, you learn / You cry, you learn / You lose, you learn / You bleed, you learn / You scream, you learn”.

Jagged Little Pill is a show that both didn’t meet my expectations, and yet exceeded my expectations.

One more digression before I describe the show … or perhaps it is more of a question: Why do we go to theatre (especially with what it costs these days)? Is it for mindless entertainment? We certainly get that with spectacles like Moulin Rouge, which at the heart of it is all flash and pizazz but no real substance or story. We certainly get that with the movies-to-stage pipeline, which bring familiarity and songs but not much new. But the really successful shows are those that make you think — that touch a raw nerve. That could be the struggles of our nation’s birth, as in Hamilton, or it can issue like sexuality as in the recent The Prom or Spring Awakening. Do we go for the comfortable, or do we go because the purpose of theatre is just to make us uncomfortable, to hold up that mirror, to make us think. (and we’ll revisit this again next week when we see Daniel Fish‘s interpretation of Oklahoma at the Ahmanson Theatre (FB) next week).

This brings us back to Jagged Little Pill. First and foremost: Discard your expectations. This is not hard rock like American Idiot or Hedwig. This is more angsty ballads. As for the show itself: yes, it is dark. I’d characterize it best as a blender mix of Spring Awakening and Next To Normal. The subject matter touches on a number of triggery areas: drug abuse, rape and sexual assault, how we react to such assault, expectations on children, teen sex, gender issues. If these are triggers to you, be prepared. But the show handles them in a somewhat SFW combined with in-your-face manner. I didn’t find it too strong, but others might.

The show tells the story of the Healy family: super-mom Mary Jane, workaholic dad Steve, overachiever child Nick, and adopted minority child Frankie. Just from that description, what could go wrong. We learn over the course of the show the jagged little pill that this facade covers. This is told through the use of the Alanis Morissette‘s catalog, primarily her album Jagged Little Pill (Glen Ballard also worked on the music, the book was by Diablo Cody, and additional music was by Michael Farrell and Guy Sigsworth). I don’t want to give too much away of the plot, but given the warnings and the description of the family, you should be able to figure out the eventual arc.

This brings us to the first assessment: story and music. I should note that this assessment is tempered a bit by poor sound, which I’m going to blame on the touring company as I know that BIH can get it right. Especially during the musical numbers, the lyrics were muddied (perhaps folks were mic-ed bad, or perhaps speakers were misaimed or mistuned). I could hear dialogue just fine. Now, if you’re younger and you’ve memorized these songs, that probably didn’t matter. But if you’re an old fart, it made the lyrics inaccessible with just snippet here and there. You get the sense but not the specifics. My advice: Try getting the headsets for the hard of hearing. You’ll probably get better sound.

That said: I found the story engrossing and relatable. There were things in this story that hit home for me, and I’m sure others as well. No family is perfect, and this showed how our experiences shape us. Not just the successes, but especially the failures. Where we fail. Where others fail. The Jewish High Holy days are coming up, and this is something I’ll be thinking about: how can I learn from my failures. This show raises those questions. That’s a good thing.

The show also touches on a number of hot topics today: sexuality and gender; sexual assault, consent, and who you believe; the current opioid epidemic; and what pressure does to us. That it raises these questions and provokes discussion places this head over heels a spectacular like Moulin Rouge. For story and subject along, this is a must see.

Now we have the next assessment: vision and execution. Diane Paulus‘s original direction, and Sidi Larbi Cherkaoui‘s original movement and choreography do a good job of bringing out the emotion. Place and mood is does through either projections or screens as opposed to traditional fly-scrims. This works well to immerse you in the story.

The last assessment is performance. Here I’d like to note a number of standouts. Heidi Blickenstaff (Mary Jane Healy) amazes me with her voice and her emotion. She conveys a wide range here, with a voice that handles both rock and soft well. Those who have been following her career know this well, from her first foreys with [Title of Show] to her performance in Freaky Friday. Her performance is remarkable. Also strong is Lauren Chanel (Frankie Healy), who really brings that character to life. Jade McLeod (Jo) is remarkable in “You Oughta Know”, and Allison Sheppard (Bella) does a wonderful job of leading the company in “No” (which should be a watchphrase for today: What part of “no” do you not understand). For the guys, I was really taken by Chris Hoch (Steve Healy), who reminded me a lot of the dad in Next to Normal. Dillon Klena (Nick Healy) was also strong.

Rounding out the performance credits with ensemble and smaller parts: Lee H. Alexander (Doctor, Ensemble), Delaney Brown (Denise, Ensemble), Maya J. Christian (Swing), Jada Simone Clark (Barista, Ensemble), Lani Corson (Jill, Teacher, Ensemble), Claire Crause (Swing, Dance Captain), Sean Doherty (Swing), Rishi Golani (Phoenix, Ensemble), Jason Goldston (Andrew, Ensemble), Zach Hess (Ensemble), Cydney Kutcipal (Ensemble), Jordan Leigh McCaskill (Pharmacist, Therapist, Ensemble), Alana Pollard (Ensemble), Daniel Thimm (Drug Dealer, Ensemble), Kei Tsuruharatani (Ensemble), Jena VanElslander (Courtney, Ensemble), and Charles P. Way (Swing/Asst. Dance Captain).

Music was provided by an onstage orchestra led by (🌴 indicates local) Matt Doebler (Conductor, Keyboard) and consisting of the following additional folk: Christopher Hanford II (Guitar 1), David Manning (Guitar 2), Jennifer Giammanco (Bass), Lucy Ritter (Percussion), 🌴 Nicole Garcia (Violin (Concertmaster)), 🌴 Rhea Hosanny (Viola), 🌴 Michelle Elliot Rearick (Cello), and 🌴 Brian LaFontaine (Guitar Sub). Rounding out the music department was: David Manning (Asst. Conductor), Michael Aarons (Music Coordinator), Emily Grishman (Music Preparation), Randy Cohen (Keyboard Programming), and 🌴 Eric Heinly (Music Contractor). Tom Kitt provided music supervision, arrangements, and orchestrations.

The design team consisted of: Riccardo Hernández (Scenic Design), Emily Rebholz (Costume Design), Justin Townsend (Lighting Design), Jonathan Deans (Sound Design), Lucy Mackinnon (Video Design), and J. Jared Janas (Wig, Hair, and Makeup Design).

Rounding out the production team with tour and other support were: Pascale Florestal (Assoc. Director), Marc Kimelman (Assoc. Choreographer), Yeman Brown (Asst. Choreographer), Ira Mont (Production Supervising Stage Manager), Justin Myhre (Production Stage Manager), Jenn Gallo (Stage Manager), and Ashani Smith (Asst. Stage Manager). It is interesting that an Intimacy Coordinator was not listed.

I’ll note: For this writeup, I have not done my usual hyperlinking of artists. I may go back and fill that in. Not doing it saves a lot of time.

Jagged Little Pill continues at Broadway in Hollywood through October 2. Tickets are available through the BIH Website. Discount tickets may be available through Goldstar.

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Upcoming Shows:

For right now, we’re pretty much sticking with shows that come as part of our subscriptions or are of interest through our memberships. Looking ahead for the remainder of 2022:, the remaining September shows are Andrew Lippa’s version of The Wild Party at the Morgan Wixson Theatre, and Oklahoma at the Ahmanson Theatre (FB). October will bring Sanctuary City at the The Pasadena Playhouse (FB), Ghosts at the Odyssey Theatre Ensemble, The Addams Family at 5 Star Theatricals (FB), and To Kill a Mockingbird at Broadway in Hollywood (FB). November brings 2:22 – A Ghost Story at the Ahmanson Theatre (FB). Lastly, December will bring Annie at Broadway in Hollywood (FB).

🎭 Summer Short Takes: “The Prom” / “If I Forget”

Posted onSunday, September 18, 2022Friday, September 23, 2022AuthorcahwyguyLeave a comment

For some reason, this summer I haven’t had the urge or the drive to write my normal full-up theatre reviews. Quite likely, it is burnout from caregiving; whatever the reason, the urge wasn’t there. But we’re entering into the Fall theatre season, and this weekend starts a series of 8 shows in a row. So I need to get the summer shows out of the way. So here are some quick takes, and I’m probably not going to go through and do the heavy linking thing (unless I go back and do it).

The first show we saw in August was The Prom at the Ahmanson Theatre. Let me start out by saying that The Prom is one of those few shows that I would have no qualms about seeing multiple times — it was that good and I loved the message that much.

The Prom tells the story of a bunch of narcissistic Broadway actors. When their show crashes and burns on opening night and they get ravaged in the press, they decide that to rehabilitate their image they need to do something that looks like they care about someone else. They stumble upon the story of a lesbian teen in Indiana who was denied the ability to go to the Prom. So they get on the bus (with a touring company of Godspell) and go out to save the day.

As they say next, predictable hilarity ensues.

However, what could be a train-wreck sitcom concept actually works out, and the story ends up being a quite touching one about acceptance. One of my favorite songs is “Love Thy Neighbor”, about how so many Christians seem to cherry pick what the Bible says, ignoring other prohibitions that aren’t convenience, and forgetting the most important message — how they turn a message of love into a cudgel of hate.

That’s a message that is so true today. This was a really enjoyable musical, and it left us with a smile on our face.

The touring company cast was strong, especially the performances of the leads: Kaden Kearney (Emma), Kalyn West (Alyssa), Courtney Balan (Dee Dee Allen), Patrick Wetzel (Barry Glickman), Emily Borromeo (Angie Dickenson), and Bud Weber (Trent Oliver).

Rounding out the company was: Sinclair Mitchell (Mr. Hawkins), Ashanti J’aria (Mrs. Greene), Shavey Brown (Sheldon Saperstein), Gabrielle Beckford (Ensemble), Ashley Bruce (Ensemble), Maurice Dawkins (Ensemble), Jordan De Leon (Swing, Ensemble at our performance), James Caleb Grice (Ensemble), Megan Grosso (Ensemble), Marie Gutierrez (Ensemble), Chloe Rae Kehm (Ensemble), Braden Allen King (Ensemble), Brandon J. Large (Ensemble, Aug 9-14), Daniel May (Ensemble, Aug 16-Sep 11), Christopher McCrewell (Ensemble), Alexa Magro (Ensemble), Adriana Negron (Ensemble), Marcus Phillips (Ensemble), Lexie Plath (Swing, Co-Dance Captain), Zoë Brooke Reed (Ensemble), Thad Turner Wilson (Ensemble), and Josh Zacher (Ensemble, Co-Dance Captain).

Music was provided by an orchestra consisting of: Dean Balan (Conductor, Keyboard 1), Randi Ellen Rudolph (Assoc. Conductor, Keyboard 2), Ricky Roshell (Reed 1), Erika Friedman (Reed 2), Rob Slowik (Lead Trumpet), John Replogle (Trumpet), Stephen Flakus (Guitars and Banjo), Crissy Martinez (Acoustic & Electric Bass, Librarian), Derek Stoltenberg (Drums & Percussion), Glen Berger (Woodwind 1), 🌴 Keith Fiddmont (Woodwind 2); 🌴 Dan Fornero (Trumpet 1), 🌴 James Ford (Trumpet 2). The rest of the music department was: Robert Payne (L.A. Contractor); Howard Joines (Music Coordinator); Kay-Houston Music/Anne Kaye, Doug Houston (Music Copying); Jim Abbot (Synthesizer Programming); Chris Petti (Abletron Programming); Mary-Mitchell Campbell (Music Supervisor, Vocal Arrangements), Larry Hochman (Orchestrations); John Clancy (Additional Orchestrations); Glen Kelly (Music Arrangements).

The show was written by Bob Martin (Book), Chad Beguelin (Book & Lyrics), and Matthew Sklar (Music, Vocal Arrangements), based on an original concept by Jack Viertel. It was directed and Casey Nicolaw.

The design department consisted of: Scott Pask (Scenic Design), Ann Roth (Costume Design), Matthew Pachtman (Costume Design), Natasha Katz (Lighting Design), Brian Ronan (Sound Design), Josh Marquette (Hair Design), and Milagros Medina-Cerdeira (Makeup Design).

The production team consisted of: Casey Hushion (Assoc. Director), John Macinnis (Assoc. Choreographer), Kelsey Tippins (Production Stage Manager), Ben Shipley (Stage Manager), Kyle Dannahey (Asst. Stage Manager).

The tour departed the Ahmanson on Sept. 11, 2022 and has gone on to another city. Go see it if you can.

The second show we saw in August was If I Forget at the Fountain Theatre. This show, alas, succumbed to a common trend these days: A single page information sheet with a QR code for the program. Folks: QR codes for programs are ephemeral — they go away when you redesign the website or when the site. After that, what then? You, shall we say, forget. There should always be printed (or printable) full programs for archival purposes and people’s collections. The only thing worse is a bespoke interface that requires logins — which is what the Pasadena Playhouse and CTG does. Luckily, they provide printed programs.

If I Forget wasn’t initially in our plans. But the show featured the son of the former education director at our synagogue in the cast, which brought it onto our RADAR when I received the press release. I asked our Live Theatre group at our synagogue if they were interested in the show — and a large group was. Arrangements were put in place, and we went down as a group to see the show.

The piece itself was pretty interesting. I was afraid — especially from the title — that it would be a dark show about the Holocaust. Although there was a dark scene or two regarding that, it wasn’t the focus of the show. It really was more of a family drama, and about the clash of values from different family members. The family members also held various secrets, all of which came to a head when the question of selling the family business came to the fore.

The resulting show had some very humorous moments, likely due to the influence of the director, Jason Alexander. I found it a pretty enjoyable show.

Performances were strong. I had strong and good memories of the performance of Leo Marks (Michael Fisher) and Samantha Klein (Sharon Fisher). Rounding out the cast were Síle Bermingham (Ellen Manning), Caribay Franke (Abby Fisher), Matt Gottlieb (Lou Fisher), Valerie Perri (Holly Fisher), Jerry Weil (Howard Kilberg), and Jacob Zelonky (Joey Oren). Evidently, the role of Abby Fisher was added by Alexander to tie things together better; I think it worked well.

The production was written by Steven Levenson, and directed by Jason Alexander.

The scenic team was Sarah Krainin (Scenic Design), Donny Jackson (Lighting Design), Cricket S. Myers (Sound Design), A. Jeffrey Schoenberg (Costume Design), Katelyn M. Lopez (Prop Design).

Rounding out the production team were: Allison Bibicoff (Asst. Director & Dance Composition), Shawna Voragen (Production Stage Manager), Lexie Secrist (Asst. Stage Manager), and Scott Tuomey (Technical Director).

The show was to close in September, but was extended to December 18. It resumes, after a hiatus, on October 28. Tickets are available through the Fountain Theatre.

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Upcoming Shows:

For right now, we’re pretty much sticking with shows that come as part of our subscriptions or are of interest through our memberships. Looking ahead for the remainder of 2022:, September brings Jagged Little Pill at Broadway in Hollywood (FB), Andrew Lippa’s version of The Wild Party at the Morgan Wixson Theatre, and Oklahoma at the Ahmanson Theatre (FB). October will bring Sanctuary City at the The Pasadena Playhouse (FB), Ghosts at the Odyssey Theatre Ensemble, The Addams Family at 5 Star Theatricals (FB), and To Kill a Mockingbird at Broadway in Hollywood (FB). November brings 2:22 – A Ghost Story at the Ahmanson Theatre (FB). Lastly, December will bring Annie at Broadway in Hollywood (FB).

🎭 Summer Theatre Shorts: Pretty Women, Moulin Rouge, DEH, Newsies, and Freestyle Love

Posted onMonday, July 25, 2022Tuesday, July 26, 2022AuthorcahwyguyLeave a comment

This has been a busy but strange summer. The combination of my Cholesteatoma, getting the podcast off the ground, working on the highway pages, and taking care of my wife has left my weekends pretty full. I’ve seen a bunch of shows over the end of June and into July, but haven’t had the time to do the full write ups of the show (in case you didn’t know, each writeup — including all the linking to the people involved — takes 3-4 hours). So I decided, while I was on vacation this week, to do some shorter write ups of the shows. These will get across my general impressions of the shows and perhaps highlight a performer or three, but they won’t list all of the folks involved. I’ll try to include a link to the programs for the shows, which these days are often online.

So, with that said, let’s begin:

🎭 Returning to the Rock | “Come From Away” @ Ahmanson Theatre

Posted onSunday, June 5, 2022AuthorcahwyguyLeave a comment

Come From Away (2022 - Ahmanson) One of my wife’s favorite shows is Come From Away. We first saw it at the Ahmanson back in 2018. She loves the music, she loves the message, she loves the humor. So when it appeared as a bonus show in the Ahmanson 2020-2021 season, we planned to go. Then COVID hit. Luckily, it was in the reworked Ahmanson 2021-2022 season We saw it last night. The magic is still there.

Seeing a show for a second time is much easier for me. This is especially true when about 70% of the cast and orchestra are the same. I can just point you to the previous writeup, and provide a few updates.

The story is unchanged. For those unfamiliar, this is the story of the community of Gander Newfoundland, which doubled in size when 9/11 occurred and planes from all over the world were diverted there. Come From Away (CFA) is the story of the people of Gander, and the people on the planes. It is a remarkably uplifting story that leaves you feeling good.

[And just like last time we saw this, it is paired with Dear Even Hansen (DEH). Last time, DEH is before; this time it follows. DEH, although popular, is much more problematic. CFA is centered around a tragedy, and how people find hope and family in it. DEH is centered around a lie, and how the hope from that lie eventually comes crashing down. I much prefer CFA.

The cast is essentially the same as the 2018 touring company. Here’s a paste of my cast list then, with changes noted:

Kevin Carolan (★FB, FB, TW) — Claude, and others
Harter Clingman (FB) — Oz, and others
Nick Duckart (FB) — Kevin J., Ali, and others
Chamblee Ferguson (FB) — Nick, Doug, and others*
~~Becky Gulsvig (★FB, TW)~~ Marika Aubrey (★FB, TW, IG) — Beverly Annette, and others. [Marika was a swing in 2018]
Julie Johnson (FB) — Beulah and others
Christine Toy Johnson (★FB, TW) — Diane and others
James Earl Jones II — Bob and others
~~Megan McGinnis (★FB, TW)~~ Sharone Sayegh (★FB, TW, IG) — Bonnie and others
~~Andrew Samonsky (FB, TW)~~ Jeremy Woodard (IG) — Keven T., Garth, and others
Danielle K. Thomas (FB) — Hannah and others
~~Emily Walton (FB)~~ Julia Knitel (IG) — Janice and others

*: At our performance, we had Kilty Reidy (IG, TW) swinging into this role.

Swings were: Jenny Ashman (IG, TW); ~~Julie Garnyé (★FB, TW)~~; ~~Marika Aubrey (★FB, TW)~~ [Moved to Principal]; Jane Bunting (FB), Amelia Cormak (IG), ~~Adam Halpin (TW)~~, ~~Michael Brian Dunn (FB), and~~ Aaron Michael Ray (FB, TW), Kilty Reidy (IG, TW), and Brandon Springman (IG, TW).

As you can see, the bulk of the cast was the same. Performances were excellent from the ensemble.

Much of the on-stage orchestra was the same as well. Again, here’s a diff from 2018:

The band consisted of: ~~Cynthia Kortman Westphal (FB)~~ Cameron Moncur [Music Director, Conductor, Keyboard, Accordion, Harmonium]; Isaac Alderson (FB) [Whistles, Irish Flute, Uilleann Pipes]; Kiana June Weber (★FB) [Fiddle]; ~~Adam Stoler (FB)~~ Billy Bivona (IG, FB) [Electric / Acoustic Guitar]; ~~Matt Wong (FB)~~ Martin Howley (IG) [Acoustic Guitar, Mandolins, Bouzouki]; ~~Max Calkin (FB)~~ Sean Rubin (FB) [Electric / Acoustic Bass]; Steve Holloway (FB) [Bodhran, Percussion]; and Ben Morrow (FB) [Drums / Percussion].

As with the actors, much of the band is the same. However, I’d say that this time the band has gotten stronger. I hadn’t realized last time that Kiana June Weber (★FB) was part of one of my favorite Celtic groups: Gaelic Storm. She’s married to orchestra-mate Martin Howley (IG), who is new for 2022 and is one of the long-time members of the Celtic band We Banjo 3 — another favorite group. Isaac Alderson (FB) is also part of the Celtic music scene, being part of the band The Yanks. Steve Holloway (FB) also plays on loads of Celtic albums. So this touring band has loads of Celtic talent, which they show off during numbers such as “Screech In” and the jam session after the final bows. This is one of those rare shows when I can say that you should see the show not only for the great story and great performances, but for the rocking Celtic band!

Production, design, and the supporting team (stage mangers) are unchanged from 2018.

Come From Away is at the Ahmanson Theatre (FB) for only one more week (it closes June 12). Go see it — you’ll be uplifted by this show, and will love the music. Tickets are available through the Ahmanson Box Office. Discount tickets may be available through Goldstar.

❧

Upcoming Shows:

For right now, we’re pretty much sticking with shows that come as part of our subscriptions or are of interest through our memberships. That may change later in 2022. The remainder of June sees Pretty Woman at Broadway in Hollywood (FB), as well as Tom Paxon at McCabes. I thought we might make the Hollywood Fringe Festival , but with my ear problems and Karen being in a wheelchair — plus fuel costs — we’re missing it this year. July brings Moulin Rouge at Broadway in Hollywood (FB) [Pantages], Dear Evan Hansen at the Ahmanson Theatre (FB), Newsies at 5 Star Theatricals (FB), and Freestyle Love Supreme back at The Pasadena Playhouse (FB). August is quieter, with just The Prom at the Ahmanson Theatre (FB). Lastly (for this look ahead), September brings Oklahoma the Ahmanson Theatre (FB) and Jagged Little Pill at Broadway in Hollywood (FB), although they are on the same day so I’ll be shifting one show. September may also bring Andrew Lippa’s version of The Wild Party at the Morgan Wixson Theatre. This was a show I had been planning to see before the COVID shutdown, so I’m putting it in the “part of our subscriptions” list. There may also be some Hollywood Bowl stuff, depending on how my wife is doing.

🎭 The Road to Hell is Quite Entertaining | “Hadestown” @ Ahmanson

Posted onFriday, May 13, 2022AuthorcahwyguyLeave a comment

Hadestown (CTG / Ahmanson Theatre) There has been a trend in the theatre of late to — shall we say — play it safe. Revive that remarkably successful old chestnut with a bit name star (never mind the problematic undertone)^*. Take that very successful movie property and bring it to the stage and hope that people come out of nostalgia^**. Although these often make money (especially on tour, playing to the crowds in Podunk USA), they often aren’t the best musicals. The best productions are often original stories or stories adapted from unexpected sources. Their originality wins the audience over: they get to see something they’ve never seen before, instead of the same old same old.
*: e.g., Music Man. **: e.g., Tootsie, Pretty Woman, Beetlejuice, Mrs. Doubtfire, …

Hadestown, which we saw last Sunday at the Ahmanson Theatre (FB), is one of those original shows. It is based on the Greek myths of Orpheus and Eurydice, which is connected to the story of Hades and Persephone. It featured music, lyrics, and book by a non-theatre artist: Anaïs Mitchell; after a few staged performances, she released the music as a song concept album in 2010, and it was workshopped and grew from there. The music style is not your typical Broadway musical: it is bluesy and jazzy and has that hit of New Orleans to it. It is a seedy bar joint, at times joyous and at times dark. It is light and dark. It is, well, Persephone and Hades.

The basic myth is this: Persephone was the daughter of Demeter, the Goddess of nature. She is the bringer of spring and summer, the bringer of the bounty of the Earth. Hades is King of the Underworld. Hades fell in love with Persephone and kidnapped her (although this isn’t in the play). They fall in love and marry, and agree that for six months out of the year she will live with him in the Underworld. During that time we have fall and winter. She returns for six months, bringing Spring and Summer. But Hades is a jealous and possessive man, and doesn’t want her away from him. He starts keeping her longer and longer, with predictable effect in the world above.

Orpheus was the son of Apollo and the muse Calliope. He had a gift of song and writing. He is guided by Hermes, who has the responsibility of conducting souls to the Underground. Hermes takes Orpheus under his wing. Orpheus is writing a song; a song so powerful it will bring Persephone back to the upper world, and bring back spring. Enter Eurydice, a woman of grace, who is tired of the endless winter. Orpheus falls in love with Eurydice, and she falls in love with his melodies. This is especially true when Persephone returns. But she always must return, and when she does, Eurydice despairs (especially as Orpheus ignores her as he writes his song). She is enticed by Hades to go to the Underworld (and pay the price those who take the trip must take). When Orpheus learns of this, he travels to the Underworld to rescue her.

That’s the basic story (sans the ending). As staged, there are layers upon layers of metaphor. The most obvious one is the intimation of climate change: we have been destroying the world by driving away Spring, and we must take action to bring it back. I also detected allegories of anti-immigrant phobia, concerns about poverty making the world ugly, and even intimations of Trump and his wall, although this long predates Trump. What would you think when you hear lines like: Why do we build the wall? We build the wall to keep us free, we build the wall to keep out the enemy, the enemy is poverty. There are the workers, who toil and toil and never get anywhere — until they decide to hear each other and come together. There are deep messages in this show, folks.

As I noted earlier, the music is different than most shows. There are truly joyous songs. There are haunting songs. There are dark and scary songs. There are earworms (“Way down, Hadestown, Way down under the ground”) or “Now That the Chips Are Down”. I’ve picked up three versions of the music to this show: the concept album, the off-Broadway version, and the Broadway version. All are excellent and slightly different.

The direction of the show is also atypical. The show was developed with and directed by Rachel Chavkin. Chavkin is best known for Natasha Pierre and the Great Comet of 1812, which is another very different musical. This is a different theatre sensibility, and is unlike the typical fare one sees on the stage. I can imagine the impact of the show would be much greater in a smaller venue, but touring theatres are not small venues (and don’t work well on the thrust stage, eliminating the Taper from consideration).

The performances were also strong. Let’s start with the glue that holds the show together, provides the exposition, and moves the story along: Hermes (Levi Kreis). Let’s start off by saying that Kreis is not Andre de Shields, who won a Tony for this role. de Shields is one of a kind, and you can’t duplicate that. But Kreis works well and brings a different take to the role. More soul, and less Wiz. I enjoyed his voice and his interactions, and he was fun to watch off on the side in the small moments.

The protagonist couple, who are the center of the story, is Orpheus (Nicholas Barasch) and Eurydice (normally Morgan Siobhan Green, but…). I say “but….” because we had a substitution at our show (which started late, so I’m guessing there was a last minute substitution). We had Sydney Parra as Eurydice, who swung up from her normal role as a worker. Barasch had a beautiful lilting high tenor (at least I think that’s the right term), and expressed a lovely naivete and lightness of character. As for Parra, you would never have known she was an understudy. She deftly handled the role. She captured a lovely tenuousness and had a great voice; it was also interesting to see her come to life in the underworld. I also applaud her for not bowing to convention on stage — she was distinctly herself, and it was great to see her self confidence. Those who saw her performance will know what I’m referencing.

Our other couple were Persephone (Kimberly Marable) and Hades (Kevyn Morrow). Again, don’t expect the Broadway actors to be cloned — no one can clone Patrick Page. But Morrow does have the baratone, but not quite the malevolence. Marable is clearly a jazz singer by trade, and she brings that joy and light to her performance. Again, these actors embody the archetypes of their Greek counterparts: Morrow is dark, Marable is light and joy.

Directing the action somewhat and guiding things along are the three Fates: Belen Moyano, Bex Odorisio, and Shea Renne. They sang beautifully, and even brought some instruments to the stage (accordion, fiddle).

Rounding out the production was the worker’s chorus. As we had some swings, I’m indicating the performers we saw by putting the names in bold, normal swings are indicated with ^§: Lindsey Hailes, Chibueze Ihuoma, Will Mann, Sydney Parra, Jamari Johnson Williams, Tyla Collier^§, Ian Coulter-Buford^§, Alex Lugo^§, Eddie Noel Rodriguez^§, J. Antonio Rodriguez^§. In other words: Out of the normal five workers, three were swings. You would have never known from the performances we saw, which were all strong. I particularly noticed the chorus in the scenes Underground: Why We Build the Wall, or the various chants.

Also on stage — essentially as part of the performers — were the musicians: Nathan Koci Conductor/Piano; Jacob Yates Cello / Asst. Conductor; Maria Im Violin; Michiko Egger Guitar; Audrey Ochoa Trombone / Glockenspiel; Calvin Jones Double Bass; and Anthony Ty Johnson Drums / Percussion. Of these folks, I’d like to single out Ochoa on Trombone. She was playful on stage and brought some wonderful jazz licks to the piece. But this entire ensemble was just great.

Before we turn to the scenic and other production aspects, let’s finish off the music and the movement. The production was choreographed by David Neumann, with help from Katie Rose McLaughlin Associate Director / Choreographer. The movement was very jazz oriented and fit the piece well; this wasn’t your typical chorus line. Rounding out the music team was Liam Robinson Music Supervisor and Vocal Arrangements; Michael Chorney Arrangements and Orchestrations; Todd Sickafoose Arrangements and Orchestrations; Nathan Koci Music Director. Note that none of the music team are your typical Broadway music types. Assisting in the direction was Chika V. Ike Associate Director.

The scenic design was interesting. A New Orleans type blues pub was at the center (with a small turntable); on the sides were the musicians and high-boy tables. On a balcony in the back was space for Hades and Persephone to watch. There was a circular staircase, and the back opened to be a train. This tour design was by Rachel Hauck Scenic Design. It was supported by the other design aspects: Michael Krass Costume Design; Bradley King Lighting Design; Nevin Steinberg Sound Design; Jessica Paz Sound Design; and Jennifer Mullins Hair Design. All these pieces combine to establish the mood and the characters well. Rounding out the production team were: Ken Cerniglia Dramaturg; Stewart/Whitley Casting; Joel Rosen Production Stage Manager; Annelise Castleberry Stage Manager; Zachry J. Bailey Assistant Stage Manager; Denny Daniello Company Manager; Aurora Productions Production Management.

Hadestown is well worth seeing; we thoroughly enjoyed it. It continues at the Ahmanson Theatre (FB) through May 29, 2022. Tickets are available through the Ahmanson box office. Discount tickets may be available through Goldstar or through TodayTix.

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Upcoming Shows:

For right now, we’re pretty much sticking with shows that come as part of our subscriptions or are of interest through our memberships. That may change later in 2022. Looking further into 2022: We’re done with our May shows. June will see Come From Away at the Ahmanson Theatre (FB) and Pretty Woman at Broadway in Hollywood (FB), as well as Tom Paxon at McCabes plus as much of the Hollywood Fringe Festival as we have the energy for. July brings Moulin Rouge at Broadway in Hollywood (FB) [Pantages], Dear Evan Hansen at the Ahmanson Theatre (FB), Newsies at 5 Star Theatricals (FB), and Freestyle Love Supreme back at The Pasadena Playhouse (FB). August is quieter, with just The Prom at the Ahmanson Theatre (FB). Lastly (for this look ahead), September brings Oklahoma the Ahmanson Theatre (FB) and Jagged Little Pill at Broadway in Hollywood (FB), although they are on the same day so I’ll be shifting one show. September may also bring Andrew Lippa’s version of The Wild Party at the Morgan Wixson Theatre. This was a show I had been planning to see before the COVID shutdown, so I’m putting it in the “part of our subscriptions” list. There may also be some Hollywood Bowl stuff, depending on how my wife is doing.