Month: July 2017

Technology for the Win

Posted onAuthorcahwyguy

Here are three interesting uses of technology that I’ve seen come across my various feeds lately:

  • Cats without the Litterbox. Do you love cats for the relaxing purr, but hate cleaning litter boxes? Are you allergic to cats but still find the sound relaxing. Problem solved. The Internet has a cat, and it is ready and willing to purr just for you.
  • Travel Tips. I regularly bemoan the fact that kids these days can’t read maps. They are addicted to their GPS and navigation apps. But here’s a cool navigation thing for when you don’t have real experience: Google Maps will now tell you the best time to leave to avoid traffic to your destination.
  • Finding Counterfeits. People who operate pawn shops have a big problem: counterfeits. They have no control over their supply chain (no SCRM here), so that Gucci handbag that was brought in might not be the real thing. Luckily, technology helps. There’s now an app/camera combination that can examine a handbag (or other products) to determine their authenticity. Entrupy’s microscopic camera device is used in conjunction with the Entrupy app on a Apple device to take images of handbags, its seams, its inner fabric and any serial number or date code in the bag. Artificial intelligence algorithms analyze the images to determine authenticity, and results are received in real time. Entrupy backs up the authentication service with a financial guarantee. If a bag is deemed to be authentic and later is discovered to be fake, Entrupy will cover any financial loss. Entrupy plans to enter the shoe authentication sector next. Shoes such as Air Jordans, Yeezys and others can fetch hundreds to thousands of dollars on the resale market.
Share

Food, Medicine, and Science

Posted onAuthorcahwyguy

Today’s lunchtime news chum post brings you three interesting recent reports related to food and medicine:

  • Artificial Sweeteners. Obesity is a growing problem in the world — although the issue should really be not the size, but the health of the individual. For the longest time, people believed that “diet” products were (a) good for you, and (b) helped you either lose or not gain weight. Increasingly, we’re believing and discovering otherwise. Specifically, a recent analysis of data from 37 studies has shown that artificial sweeteners are associated with weight gain and heart problems. After looking at two types of scientific research, the authors conclude that there is no solid evidence that sweeteners like aspartame and sucralose help people manage their weight. And observational data suggest that the people who regularly consume these sweeteners are also more likely to develop future health problems, though those studies can’t say those problems are caused by the sweeteners.  In other words, if you are going to have something sweet, have the real sugar.
  • Carbohydrates. If you have tried to lose weight, you know how it is. Those carbs call to you. Here’s an explanation of why it is so hard to cut carbs. The answer is: Insulin. It directly links what we eat to the accumulation of excess fat and that, in turn, is tied to the foods we crave and the hunger we experience. It’s been known since the 1960s that insulin signals fat cells to accumulate fat, while telling the other cells in our body to burn carbohydrates for fuel. By this thinking these carbohydrates are uniquely fattening. As insulin levels after meals are determined largely by the carbohydrates we eat — particularly easily digestible grains and starches, known as high glycemic index carbohydrates, as well as sugars like sucrose and high-fructose corn syrup — diets based on this approach specifically target these carbohydrates. If we don’t want to stay fat or get fatter, we don’t eat them. This effect of insulin on fat and carbohydrate metabolism offers an explanation for why these same carbohydrates, are typically the foods we crave most; why a little “slip,” as addiction specialists would call it, could so easily lead to a binge.Elevate insulin levels even a little, and the body switches over from burning fat for fuel to burning carbohydrates, by necessity. In other words: The more insulin you release, the more you crave carbs.
  • Expiration Dates. We’ve all been taught to throw away stuff that is expired. Food, medicine, grandparents. If it is expired, throw it away. But it turns out, that’s really bad advice and a waste of money. Food dates rarely are true expiration dates: most are “best by” dates and the food remains perfectly fine and nutritional, and for some, the printed date can be overtaken by poor handling. A study recently released shows that medicine expiration dates are also meaningless. A cache of medicine was recently found in a hospital from the late 1960s, and it was tested for efficacy. Of the 14 drugs, 12 were as potent as when they were manufactured.  Both of these findings point to needed better rules on “expiration dates” to avoid waste and early unnecessary disposal; it also should teach you to use your common sense. Look and smell before using. You may discover it is still good.

 

Share

A Secure Companion

Posted onAuthorcahwyguy

This is a companion lunchtime post to my previous one. Whereas that post focused on government-related areas, this posts shares some cybersecurity items of broader interest:

  • Two Factor Authentication. The Verge has an interesting opinion piece on why two-factor authentication has failed us. We have a mix of approaches, some still depending on SMS even though there are significant weaknesses there. As they say: “Nearly all major web services now provide some form of two-factor authentication, but they vary greatly in how well they protect accounts. Dedicated hackers have little problem bypassing through the weaker implementations, either by intercepting codes or exploiting account-recovery systems. We talk about two-factor like aspirin — a uniform, all-purpose fix that’s straightforward to apply — but the reality is far more complex. The general framework still offers meaningful protection, but it’s time to be honest about its limits. In 2017, just having two-factor is no longer enough.”
  • Backup Software. One of the best solutions for security — and a key protection against ransomware — is having backups. But Windows backup software is often hit or miss. Here’s a good review of various packages from PC World. I’ve been using an older version of their top-rated software for a few years now: I’m on Acronis True Image 2015. It backs up to the cloud without a subscription. Their newer stuff seems to have some different models, and I haven’t decided (a) if I want to upgrade, and (b) if I want to go with their subscription approach. I’ll also note that I’ve used the Paragon backup (an older version). What I didn’t like was that it grabbed every partition on the system, and did really bad space management such that your backups would fill a drive.
  • Family Passwords. This week, Lastpass announced a new service: A family password manager. As they write: “Enter LastPass Families, where you can store everything from bank accounts to passports to credit cards. Your details are secure, organized the way you want, and easily shared with your spouse, kids, in-laws, and more. You can even give access to others in the event of an emergency. The family manager can quickly add and remove members to the account, making it easy to get everyone up and running.” I still need to figure out if this service (or how this service) is an improvement over multiple Lastpass accounts. They also indicate that there is a fee for the service beyond Lastpass Premium, but if I have multiple family members with LP Premium, can things somehow be combined into one account that takes into account what has been paid. Perhaps they’ll answer this post.
  • Alice and Bob. I’ve always joked that when I hear the names Alice and Bob, my eyes glaze over for the crypto discussion that follows. But why Alice and Bob? What is their history? This article answers that question. It details the major events in the “lives” of Alice and Bob, from their birth in 1978 onwards.
  • Erasing Data. Here’s a pretty good summary of how to erase data from both magnetic and solid state drives. File it away; it may prove useful.
Share

Cyber (Security + Space)

Posted onAuthorcahwyguy

Over the past few weeks, I’ve collected a number of articles related to, shall we say, work-related topics. Here is where I share them with you, while enjoying my lunch:

  • Headline: “Air Force operationalizes new cybersecurity plans“. This is a real interesting article detailing some of the changes being made in the Air Force to improve their cybersecurity stance. For those with an interest in cybersecurity and resilience, it is a move in the right direction.
  • Headline: “There may soon be a new US military service — for space“. There’s one problem with the US Air Force. There’s no air in space. This article is about a potential separation between the Air Force side and the “Space Force”, with a notion that the Space Force would be like the Marines: part of, but yet separate from, the Air Force. It will be interesting to see how this pans out.
  • Headline: “Malware protection for air-gapped systems“. One of the ways we supposedly protect system is through air gaps — that is, no actual network connections. Yet as we saw with Stuxnet, such gaps don’t always work. This explores the way one vendor is addressing protection for such systems.
  • Headline: “U.S. to create the independent U.S. Cyber Command, split off from NSA“. The Department of Defense has many broad commands, most representing geographic areas (think Atlantic Command, Pacific Command, etc.) or broad functional areas (Strategic Command). One recent command created was Cyber Command, but it was part of and colocated with NSA. This article, as well as this one, discuss the potential separation of the two. This would permit Cyber Command to focus on cyber-related defense activities  (and possibly offense), and NSA to focus on its intelligence role. What they don’t discussion is the disposition of the unclassified side of NSA — what was once the National Computer Security Center, and now would include things like the Common Criteria folk. My guess is that the separation is easier in theory than practice.

 

Share

Underlying Meanings | “Peter Pan” @ Cabrillo Music Theatre / 5☆ Theatricals

Posted onAuthorcahwyguy

Peter Pan (Cabrillo Music Theatre)Cabrillo UserpicHatred of Women. As I start writing this, news of the new Dr. Who has been released, and mysogyny is rampant in the comment sections on the Internet. I mean, Hillary Clinton was one thing, but a female Time Lord.

Get over it. Grow up!

The reason I bring the subject up at all, however, is because I saw a show last night that made me think about a deep seated hatred of women — mothers in particular — from another boy that refused to grow up. I am, of course, talking about Peter Pan (and I don’t mean the peanut butter). Peter’s hatred of mothers — his deep seated mistrust of them and desire to inflict regular pain on them by stealing their children — has been brought to mind regarding this story every since I saw the Blank Theatre production of Peter Pan – The Boy That Hated Mothers. That made me look at the boy quite differently. Gone were the days of innocence brought upon by the famous Mary Martin TV production of the musical.

However, until last night, I actually can’t recall having seen the actual stage musical … on stage. I’d seen the origin story of the story, of course, as well as the origin story of the author. I’d see both the 1960 original TV version and the recent politically-corrected and lengthened remake. But the actual stage version…. I hadn’t seen it. When Cabrillo Music Theatre (FB) announced their season I was intrigued — and I wondered if in face I would see the original, or whether the updated TV version was now the only version licensed.

The answer: It was the original version being licensed with only one PC change (the word “redskins” was dropped in favor of “warriors”), meaning the problematic portrayals (i.e., stereotypical “Indians” vs. respectful “Native Americans”) were in the hands of the director.

And my verdict? What did I think of it?

The production itself was spectacular. The performances. The singing. The dancing. The theatricality. The fun. The spectacle. The magic. It was all there. There were scenes and songs I didn’t remember; it was different from yet similar to the 1960 broadcast. It erased the problematic memories of the recent Live! version.

But… But…

The story flaws remain. The presentation still hearkens to a level of stereotypical Indians — braves, savages, and war-paint. The presentation still is based around a child that has some deep psychological issues. In addition to, you guessed it, Peter Pan syndrome, there is that resentment towards mothers and adults. But you know, I see those things only when I have my “adult” hat on. Taking it off; being a child again — this remains a magical fun musical. Alas, the world forces us to grow up. But we can be children, and sometimes set aside our problems, when we go to a large building, often in a central part of a city, and sit together in the dark with lots of other people, all of whom have paid a great deal of money to be there, and just… imagine.

Oh, and for those that can’t get over the fact that Peter Pan, a boy, is played by a girl: GET OVER IT. Just think of Peter Pan as the ultimate Time Lord.

At this point, I would normally give you a synopsis of the story. But, c’mon, who doesn’t know the story of Peter Pan? A boy who refuses to grow up, who together with a fairy who loves the boy in a way that fairies  shouldn’t love boys, kidnaps the children of a family. He takes them, after performing some mindwashing, to an island where they get to play with poison and swords and fight pirates, keeping them out of communication with their parents. He fights a local Native American tribe, and after saving their leader, makes friends with the tribe. He then refuses to listen to a voice of sanity, lets a fairy get poisoned to the point of near death (only to be saved by breaking the fourth wall), and lets innocent children be captured and threatened with death. He then fights the pirates, wins, throws the captain overboard, and then burdens a family in their moment of relief at getting their children back with a significant number of additional mouths to feed. Oh, he then comes back years later and takes away the daughter of the woman he once called “mother”.

You thought the story was something different? Perhaps this?

Seriously, though, to give credit where credit is due: Peter Pan is the 1954 musical version based on the play by Sir J. M Barrie, with lyrics by Carolyn Leigh and music by Moose Charlap, with additional lyrics by Betty Comden and Adolph Green, and additional music by Jule Styne, and original choreography by Jerome Robbins, with proceeds from the licensing still going to the Great Ormond Street Hospital for Children in London.  With those credits, it isn’t a bad show at all. I just pull your leg — perhaps overly so, which is in the spirit of the show.

Peter Pan Cast (Cabrillo)The Cabrillo production of Peter Pan is simply outstanding. Under the direction of Yvette Lawrence (FB) and with choreography by Cheryl Baxter (FB), magic is created by the cast and crew. These production leads knew how to bring out the best in their cast, how to keep and make the playfulness in the story come out on stage, and how, simply to have fun.

In the lead position as Peter Pan, Carly Bracco (FB) has fun with the role. To my eyes, she was quite a boyish, impish, and strong Peter. I never cared for the lilt of Mary Martin, and have only a vague recollection of Sandy Duncan. Allison Williams was far too reserved in her portrayal. Bracco captures the right amount of boy — perhaps tomboy — in the character. Playful, petulant, flighty. All captured well, combined with a very strong singing voice and great dance moves.

Playing against her as Mr. Darling / Captain Hook was Gregory North (FB). As Mr. Darling, the role calls for a modicum of measured bluff and bravado. But as Hook, ah, as Hook, that is where North shines. This is a role that calls for measured and controlled over-acting, of chewing scenery and the pirate crew around you, of, in essence, playing as strong at the stereotype of a pirate as one can. North nails that person perfectly, and combines it with marvelous singing and performance. He is a delight to watch.

The Darling children are portrayed by Sarah Miller-Crews (FB) as Wendy, Micah Meyers as John, and Luke Pryor as Michael. All are spectacular. I’d like to particularly call out Miller-Crews lovely voice on “Distant Melody,” and Pryor’s remarkable dancing in Ugg-a-Wugg.

I noted earlier that, unlike the 1954 version, the character Liza does not come to Neverland. Perhaps that is because, similar to Mr. Darling, they cast the actor in a different role in Neverland. In this case, Brittany Bentley (FB), who portrays Liza, also portrays Tiger Lily. As with Hook, it is in Neverland that Bentley shines.  This time, it isn’t by overacting — it is by dance. From the moment of her Cirque de Soleil entrance as Tiger Lily thought her amazing dances throughout, she is just a joy to watch.

Turning now to some of the various named ensemble types, starting with the pirates. These are great comic roles, and the team just excels at them — particularly Justin Michael Wilcox (FB)’s Smee. From the Mezzanine, where I was sitting, it was hard to tell them apart, but there was loads of play, athleticism, gymnastics, and just great dance and fun.

Turning to the Lost Boys: As a group they were spectacular. Strong singing, strong dancing, strong gymnastics, and most importantly, strong play.

Lastly, Angela Baumgardner (FB) played Mrs. Darling/Adult Wendy (and presumably the narrator).

What distinguished a Cabrillo production from any other production is the large and outstanding ensembles they assemble, especially in the quality of their dance. This show was no exception. The ensemble consisted of: Claudia Baffo (FB) [Indian]; Mackinnley Balleweg [Lost Boy]; John Paul Batista (FB) [Indian]; Brigid Benson (FB) [Indian]; Aaron Camitses (FB) [Twin #1]; Ethan Daniel Corbett (FB★; FB) [Starkey]; Luca de la Peña [Lost Boy]; Natalie Esposito (FB) [Indian]; Shannon Gerrity (FB) [Twin #2]; Kevin Gilmond (FB) [Cecco]; Veronica Gutierrez (FB) [Indian, Dance Captain]; Diane Huber (FB) [Mermaid]; Evin Johnson (FB)  [Indian]; Ty Koeller (FB) [Indian]; Joey Langford (FB) [Tootles]; Sharon Logan (FB) [Indian]; Calista Loter (FB) [Indian]; Natalie MacDonald (FB) [Lost Boy]; Missy Marion (FB) [Nana, Crocodile]; Nathaniel Mark (FB) [Lost Boy]; Andrew Metzger (FB) [Noodler, Scottish Pirate]; Alyssa Noto (FB) [Lost Boy]; Charles Platt (FB) [Turkish Pirate]; Tanner Redman (FB) [Bill Jukes]; Shanta’ Marie Robinson (FB) [Nibs]; Brandon Root (FB) [Algerian Pirate]; Jessie Sherman (FB) [Curly]; Anthony Sorrells (FB) [Indian]; Landen Starkman (FB) [Pirate]; Gabriel Taibi (FB) [Slightly]; Ashley Kiele Thomas (FB) [Indian]; Taylor Lynda Thomas (FB) [Los Boy]; Abigail May Thompson [Jane]; Riley Way [Lost Boy];  and Jater Webb (FB).

No credit was provided for Tinkerbell. I preferred the days when they had to be imaginative with her, instead of playing confuse-a-cat with a laser pointer.

Understudies: Brittany Bentley (FB) – Peter Pan; Ethan Daniel Corbett (FB★; FB)  – Mr. Darling/Captain Hook;  Natalie MacDonald (FB) – Wendy Darling; Nathaniel Mark – John Darling; Taylor Lynda Thomas (FB) – Michael Darling; Diane Huber (FB) – Mrs. Darling.

Music was provided by the Cabrillo Music Theatre Orchestra, under the musical direction of Dan Redfield/FB, who served as conductor. The orchestra consisted of Gary Rautenberg (FB) [Flute, Piccolo, Bariton Sax]; Ian Dahlberg (FB) [Oboe; English Horn; Flute 2]; Darryl Tanikawa (FB) [Clarinet, Bass Clarinet, Tenor Sax]; Bill Barrett [Trumpet I, Piccolo Trumpet]; Mike Davis [Trumpet II]; Michael Fortunato (FB) [Trumpet III]; Jennifer Bliman (FB) [Horn]; June Satton (FB) [Trombone]; Sharon Cooper [Violin]; Rachel Coosaia (FB) [Cello]; Chris Kimbler (FB) [Keyboard I]; Tom Griffin (FB) [Keyboard II]; Lloyd Cooper (FB) [Keyboard III]; Elaine Litster [Harp]; Shane Harry/FB [Double String Bass]; and Alan Peck [Set Drums, Percussion]. The orchestra was produced by Tanikawa Artists Management LLC.

Turning to the production side of the show: The scenery was designed by John Iacovelli (FB), and was provided by McCoy Rigby Entertainment (FB) (together with the costumes (designed by Shigeru Yaji), and any props that weren’t designed by Alex Choate (FB).  Add to this the hair and wig design of Jim Belcher. The total package worked quite well, especially in the costuming for the lost boys and the pirates, and the hiding of the flying harnesses. As for the costumes of the Indians, well, lets just say they fit the stereotype well, but in this area this show is not known for cultural sensitivity. Lighting and sound design were by CMT regulars Christina L. Munich (FB) [lighting] and Jonathan Burke (FB) [sound]. Flying effects were by Zfx, Inc (FB), who also win the award for best bio. After all, “They don’t wake up and put their pans on one leg at a time like the other guys. They wrap themselves in kilts and stride boldly out into the world.” Other production credits: Jack Allaway, Technical Director; Talia Krispel (FB), Production Stage Manager; Richard Storrs (FB), Marketing Director; David Elzer/Demand PR, Press Representative; and Will North (FB), Managing Director.

There is one more weekend to see Peter Pan at Cabrillo Music Theatre (FB) [and one more week to see it as Cabrillo Music Theatre (FB), see below]. Tickets are available at the Cabrillo Box Office Online; or you can call the Kavli box office. Discount tickets may be available through Goldstar.

To explain the last parenthetical: At the beginning of last night’s show, Managing Director Will North announced that Cabrillo Music Theatre was no more. It wasn’t going away, no shows were changing; the upcoming season was unchanged. However, they were changing their name to 5 Star Theatricals. The reason for this was unclear. Was it to disassociate themselves from the horrid Theatre League productions, or the financial problems of the past? Probably not. The thinking seems to be more that it is to broaden their producing horizons to plays and other events, and to possibly increase their geographic reach (touring 5-Star productions on a regional circuit, perhaps). Whatever the reason, I think the timing is bad, especially after they printed up all the specialty material with the Cabrillo logo. The name has loads of goodwill; just go to Cabrillo Theatricals and be done with it. That’s my 2c. Alas, they don’t have a website up for the new name.

***

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

Upcoming Shows:

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

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

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Musicals in LA, @ This Stage, Footlights, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves. Note: Lastly, want to know how to attend lots of live stuff affordably? Take a look at my post on How to attend Live Theatre on a Budget.

 

Share

A Notable Beginning | “Ruthie and Me” @ Actors Co-Op Too!

Posted onAuthorcahwyguy

Ruthie and Me (Actors Co-Op)Everything has a beginning. In the case of musicals, long gestation periods often begat workshops, which begat more workshops as a musical is honed into the eventual stage production that one sees. One of the companies to which we subscribe, Actors Co-op (FB), does this through their summer series Actors Co-Op Too!: a series of short runs to explore new plays, grow new directors and new actors, and season the acting muscles of existing company members.

Yesterday, we saw the second production of this year’s Too! series: Ruthie and Me. Ruthie and Me was written 20 years ago by book writer and lyricist Karen Wescott (FB), with music by Marylou Dunn (FB), but it had never seen a full production (although it appears there was a staged reading at some point at the Pasadena Playhouse, and possibly a church variant of the show). Director Natalie Hope MacMillan (FB★, FB) worked with the authors to develop a streamlined revision, with the result being this first staged workshop production. (Note: This doesn’t appear to be the first time the author and director have worked together; I found this while attempting to find the author’s bio online)

Ruthie and Me tells the story of the biblical character Naomi and her daughter-in-law Ruth.  Coming from the Jewish tradition, I was aware of the importance of the story: Ruth is the first recorded instance of a convert to Judaism and provides the model for Jewish conversion; she is also traditionally in the lineage of King David. However, I recalled from my Jewish Studies courses at UCLA that Ruth had some additional implications within Christianity (see here and here or here, for example). Essentially, the Jewish interpretation focuses on the conversion and lineage, and the Christian interpretation focuses on redemption and the parallels between Ruth’s son and Jesus. My fear was that, given the mission of the company, the Christalogical aspects would be too heavy-handed (i.e., sufficient to make this non-Christian audience member uncomfortable). I’m pleased to say that nothing along this aspect struck me during the show, although there was a little bit more emphasis on the redemption aspect than the conversion aspect.

As this was, essentially, a workshop production, there is the written understanding that this is a work in progress — not a finished “Broadway ready” piece. I would essentially agree with that: I think the piece is a good beginning, but needs some work along the path. In the spirit of that, I hope that the following comments will help it along the way. In terms of the story itself, limiting to the specific Biblical concept and age is understandable given the nature of the author, but rarely have such stories succeeded. If a way could be found to transport the bones of the story to a different setting (as is often done with Shakespeare), it could provide some additional insights on the acceptance of a convert in a closed and insular society, and the redemptive power of an open heart. Conversion is a powerful metaphor these days: whether it is conversion and suspicion of the foreigner in a larger society (witness what we have seen with refugees and foreign immigrants), or conversion and acceptance in terms of gender. There could be some very interesting parallels to explore there.

In terms of the writing itself: there were some language concerns. Specifically, there was use of both Yiddish and Hebrew and moving back and forth between the two (with the typical differences in pronunciation). But a larger concern was why the Yiddish was used. It wasn’t used as part of the context of the time, or to create the feeling of Yiddishkeit community, but rather for the humor of the words in the Jewish context of the play (perhaps we only know a character is Jewish if they spout Yiddish?).  If that is the intent, there needs to be a deeper way of conveying that message without dropping to the stereotypical. As the musical is shaped further, ask yourself: Why are they speaking Yiddish. As I write that, the phrase and role that comes to mind is dramaturg. Enlisting such a person to help in the shaping might resolve those issues.

Musically, the show comes off as … a church play or cantata. It is predominately sung through, and a chorus is often used to provide exposition along the way as opposed to the dramatic scenes illustrating the story. The music from song to song tends to have a similar tonality and feel; the only song that truly stands out is “Life After a Certain Age”. So unless the intent is to take this along the lines of Andrew Lloyd Webber or a Lin Manuel Miranda, an effort needs to be made to craft this more along traditional musical lines. The music can use a bit more variety in tempo and style as well. There were also points where I got the feeling that the rhyming dictionary was handy during the process. In other words, the rhymes felt like they were there because the lyricist though this rhyme is good — let’s add a few more, as opposed to letting the lyrics serve the story and advancing it forward.

If you are interpreting the comments above as my thinking this was a bad show, think again. I thought it was a good show and a great musical telling of the Story of Ruth. But as it currently stands, it might only have a life on the liturgical stage. If it wants something more than that, then further seasoning and adjustment is required.

The performances (under the direction of Natalie Hope MacMillan (FB★, FB)), for the most part, were reasonably good. In the lead positions were Lori Berg (FB) as Naomi and Christina Gardner (FB) as Ruth. Berg gave a strong performance as Naomi — conveying humor, singing well, capturing the Jewish nature of the character, and in general, being very enjoyable to watch. Gardner needs some more seasoning (as is understandable for a Too! performance): I liked her acting and dancing quite a bit, but she does need to work a bit more on the singing. Specifically, she needs a bit more power behind the voice to be able to compete and compare with other actors on stage, and there were a number of notes where I got the impression she was reaching a bit out of her range or was slightly off. These are all correctable with a little training, and I think the underlying basics and talent are there — so I view this like the larger show: this is a strong start, and I hope to see her again, improved, in a future production.

In what I would characterize as the second tier of importance were Darrell Philip (FB)’s Boaz and Tracey Bunka‘s Sapphira. I really liked Philip’s Boaz: he exuded a strong warm personality, and one could easily see why Ruth was attracted to him even given the difference is ages. He also sang very nicely. Bunka’s strength was in singing in movement — she had a very strong voice that stood out and defined the songs she was in, and was a joy to listen to.

Rounding out the cast in other smaller named roles and ensemble positions were: Tamarah Ashton (FB) [Ensemble]; David Buckland (FB) [Ensemble, Baruch]; Hannah Dimas (FB) [Ensemble, Orpah]; Wayne Keller III (FB) [Ensemble]; Perry Hart [Ensemble, Nathan]; Carly Lopez (FB) [Woman 2]; Lisa Rodriguez (TW) [Woman 1]; Karlee Squires (FB) [Ensemble]; and Priscilla Taylor (FB) [Ensemble]. All were strong and performed and sang well. About the only weakness was one of the male ensemble members — there were two times where he had line trouble. I’m writing that off to this being a workshop and having only three performances (and thus, likely an equivalently light rehearsal period).

Music was provided by side-stage accompanist Jeff Gibson (who it turns out is connected to a family we’re good friends with). We hadn’t seen Jeff in ages, so it was a treat to see him (plus his dinner recommendation worked out great).

Actors Co-Op Too! productions have minimal budgets and sets. There was no credit for scenic design or anything like that. Lighting design was by Dan Corrigan (FB). Choreography was by Jorie Janeway (FB).  Derek Copenhaver (FB) was the stage manager. Ruthie and Me was produced by Carly Lopez (FB).

Alas, Ruthie and Me had only three performances: one on Friday, July 14, and two on Saturday, July 15, so you missed your chance to see it. However, there is one more Actors Co-Op Too! production, The Last 5 Years, in two weeks, and Actors Co-Op (FB) has a great 2017-2018 season. Visit their website for more information.

***

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:

After this show, we ran to Thousand Oaks for Peter Pan at Cabrillo Music Theatre (FB). The fourth weekend of July brings Motown/Miracle | Harlem/Renaissance from Muse/ique (FB). The last weekend of July brings The Last 5 Years at Actors Co-op (FB). August starts with Brian Setzer at the Hollywood Bowl (FB) on August 2, followed by The Curious Incident of the Dog in the Night at the Ahmanson Theatre (FB) on the weekend. We are also squeezing in On The Twentieth Century at the Pan-Andreas Theatre in Hollywood from Proof Doubt Closer (FB), as a friend is in the cast (you can contribute to the production here). The second weekend of August? What made sitting through The Bodyguard worth it: Hamilton at the Hollywood Pantages (FB).

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

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Musicals in LA, @ This Stage, Footlights, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves. Note: Lastly, want to know how to attend lots of live stuff affordably? Take a look at my post on How to attend Live Theatre on a Budget.

Share

News Chum: This Is The City…

Posted onAuthorcahwyguy

Alas, I’m home sick for another day. So, before I get to attempting to work from home, here’s a bit more of the accumulated news chum. This batch is all about Los Angeles:

  • Damn You, Internet. Just as Amazon has decimated so many retailers, the easy availability of porn has decimated the adult movie theater. Whereas there were once loads of adult theaters across Los Angeles, the city is down to just two. Is this a good thing? Is there some element to the communal experience of an adult theater that we are losing? Having never gone to one … I can’t answer. [But then, who needs the Internet … the next uproar you’ll see has to do with Teen Vogue, which has decided to inform teens by publishing a tutorial on anal sex. I kid you not, and I’ve already started to see the protest posts from the Conservative / Evangelical side on FB]
  • Damn You, Interent (Take Two). The Internet has also impacted journalism, causing many big city papers to see falling readership and resulting in downsizings. The LA Times isn’t immune. As part of the whole mess with Tribune and Tronc, the paper’s real estate, including the storied HQ downtown, went with Tribune (not Tronc) and was sold for the cash. Developers are supposedly keeping the historic core, and developing the rest. Yup. More live / work / retail / office space. As for the Times, some say they are staying there, and some say they are moving to new digs. But then again, no.
  • Good Dog. Short but sweet: The iconic home of the former Tail Of The Pup restaurant has found a new home.
  • Remembering Obama. The LA City Council has voted to rename Rodeo (Road-ee-oh) Road after President Obama. The road is in an area where there are Washington, Jefferson, and Adams Blvds (and who can forget President Venice), so that works. It also eliminates the longstanding confusion with that similar named street in Beverly Hills (Rodeo (Road-ay-oh) Drive). But what of the symbolism of the fact that the road travels through predominately black neighborhoods, and there aren’t similar roads for later Presidents. (Related: There is a pending resolution to name a short stretch of Route 134 after Obama as well, but that name won’t go into common use given the nature of the naming mechanism.)
  • BBQ. Wood Ranch BBQ (not known as a haven for great BBQ) is attempting to master Texas Brisket BBQ. I’m not sure I want to try it.
Share

Chum Stew: Interesting Links and News You Can Uze … and a bit more

Posted onAuthorcahwyguy

Observation StewI’m home today with a cold, and I have loads of interesting news chum links that have no coherent theme, so let’s just get them out there (h/t to Andrew Ducker for a few of these). Oh, and with each, you’ll get a little bit more.:

Share