Observations Along the Road

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

Internal Contradictions

Written By: cahwyguy - Fri Jun 09, 2017 @ 12:45 pm PDT

userpic=trumpI haven’t done a Trump post in a while — basically, the situation has become so bazaar that no commentary is necessary, and the sides are so polarized that no commentary is useful. A bad situation. But a post came across my RSS feeds this morning that keeps sticking in my head. It is about an internally contradictory tweet from Trump about the Comey testimony:

At 6:10 am on Friday, Trump broke his silence on Comey’s testimony. And in doing, he provided an object lesson in how he uses bullshit, rather than arguments or even lies, to achieve his goals.

Despite so many false statements and lies, total and complete vindication…and WOW, Comey is a leaker!

— Donald J. Trump (@realDonaldTrump) June 9, 2017

Step back and assess the contradictory things Trump is asking us to believe:

  • Trump’s first point is that Comey is a liar (and, since he was testifying under oath before the Senate, a perjurer). It is not just Trump making this case. White House staff have said that Trump, among other things, never asked for Comey’s loyalty, and that the ex-FBI director is making his story up. No one really believes this, but then, that’s not the point.
  • Trump’s second point is that even though Comey is a liar trying to frame Trump, his testimony is believable as a complete and total vindication for Trump, though what Trump is being completely and totally vindicated of is unclear.
  • Trump’s third point is that Comey “is a leaker.”

My take on this is: If Comey is a liar, then how can his testimony be a total and complete vindication. If what he says is a fabrication, it can’t prove anything. If it is true, then it really isn’t a vindication. Additionally, if he is a liar, then his leak is false as well. Since you consider him a leaker, and that his testimony was true enough to vindicate, then he can’t be lying.

There was an interesting take on things yesterday on NPR, when discussing whether when the president indicates he wishes something would happen, whether that was a direct order. The response was that the President is similar to a mafia boss: When Don Corlione wishes that someone might have an accident, they somehow conveniently have an accident. So when the President hints that Flynn is his friend and he wishes the investigation would go away, that is obstruction of justice.

I have all confidence that the hole will continue to be dug deeper. My larger dismay is more with the Eric Trumps of the world, who don’t consider Trump’s opponents as people. I’ve seen this from many, but not all, of my Conservative friends. They view Democrats and Liberals as the lowest of the low, as scum of the earth, a class that they wish would go away. And, as noted above, we know the power of “wishes”. This dehumanizing language is the first step towards genocide of groups or people. View your opponent — be it Democrat, Jew, Black, Asian, Mexican, Muslim — as not human and worthy of life, and it becomes much easier to treat them as such, to the point of killing them because they have no value. I strongly urge those who hold such views — no matter where you are on the political spectrum — to reconsider them. You can disagree with someone without dehumanizing them.

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Get ‘Yer Culture Here

Written By: cahwyguy - Fri Jun 09, 2017 @ 11:56 am PDT

As I walk into work, there are signs noting that June is a month where they are emphasizing a culture of safety. So here is a collection of news chum articles intended to keep you safe. If not safe, then perhaps healthy. If not healthy, then hopefully not in pain. And if you are in pain, remember that they eventually move out and live on their own.

  • Wheelchairs and Airplanes. In many ways, our current airplane culture is a poor way to travel. We’re all aware of how much of a pain it is for able-bodied passengers. Just imagine how much worse it is for those who must be in wheelchairs: enduring transfers to narrow chairs, dealing with narrow aisles and seats, and all sorts of other indignities. Wouldn’t it be much nicer if they could take their chair onto the plane and simply lock it in place? There’s a group, All Wheels Up, working to achieve just that goal.
  • Dealing with Chronic Pain. Here’s a report on a device that will supposedly help with chronic pain. It looks, to all intents and purposes, to be a form of TENS device. I’ve had such a device (Cephaly) suggested for my migraines and I’m considering it, and this might help my wife with various joint pain. Has anyone tried it?
  • Allergies and Antihistimines. Via Compound Interest, here’s a full graphic on how antihistamines and other treatments work to help allergies.  Understanding how medicines work chemically is a key to using the right medicine at the right time, in the right way.
  • Dealing with Hives. When one sees topical (skin) hives, one often thinks they are an allergic reaction that that oral steroids will help. A new study says: perhaps not. Despite standard use for the itching associated with urticaria (commonly known as hives), prednisone (a steroid) offered no additional relief to emergency patients suffering from hives than a placebo did, according to a randomized, placebo-controlled, double-blind, parallel-group study published online. What works? Antihistamines.
  • Drug Prices. We’re all aware of spiraling drug prices, and are sure of the common culprit: drug companies. Yet even their tricks to make their drugs affordable raise prices. Consider the question: You can get a generic drug for which you have a copay of $10, or a more expensive brand-name drug which, with copay assist from the drug company, brings your cost to $5. Which do you get? Most people think with their pocketbooks, and go for the $5. But this ends up costing insurers much more, as they pay their share of the much higher brand price. California is working on a bill to prohibit this: make it so that co-pay assist is not permitted on drugs that have equivalent generics. What is unclear is what will happen to co-pay assist when the equivalent drug isn’t available, and the drug company wants to cover something with supposedly similar indications for treatment (e.g., you are on a branded specialty drug, but the company only wants to cover a generic for that condition).
  • MALM. Lastly, if you have any of the various shapes and sizes of the Ikea MALM dressers, Ikea has a recall on because of supposed tipping dangers. We have two: one is in a closet so I’m not worried about it, and I believe I’ve already anchored the other. But if you have one of these, you should make sure they are anchored.

 

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Chum to Chew On

Written By: cahwyguy - Wed Jun 07, 2017 @ 8:05 pm PDT

The last few weeks have been busy, what with getting the highway page updates done, planning for the Fringe Festival, and assorted craziness at home. The chum has been accumulating, so let’s start clearing it out. This first batch is all food related — a common theme, if you hadn’t noticed:

  • Defining a Sandwich. A few months ago, the Sporkful podcast introduced the debate of whether a hot dog is a sandwich.  That opened the question of what makes a sandwich a sandwich, and is our opener to this batch of chum. First, there is the sandwich alignment chart, rating your view of sandwiches on two dimensions: structure and ingredients.  I tend to go for radical sandwich anarchy, but I don’t know how well that plays in this administration. Of course, you could instead turn to the law, and look at the five ways the law defines a sandwich. This can have big tax ramifications when sandwiches are taxed differently than other foods. For example, California considers hot dogs to be sandwiches. So would New York — anything on a bread like product is a sandwich. But the USDA is stricter: two slices of bread are required.
  • Do You Like It Hard. Sandwiches, of course, bring us to tacos. Here, the question is not not whether tacos are sandwiches, but whether hard-shell tacos are real tacos or a gringo aberration. The New York Times tries to make the case for hard shell tacos: Do they have their place? Are they just folded tostadas? Something to appeal to the middle-of-the-road? Something to bring the family together? All I know is that there are times a good hard-shell taco is what I want.
  • Ringing a Bell. Tacos and Mexican food bring us to the fruit that I dread: the bell pepper. Can’t stand the taste. The aroma. The indigestion it causes. So, naturally, an infographic on the chemistry of bell peppers caught my attention. It looks at the compounds behind the colors (as well as some pepper aroma chemistry) – and finds that peppers have some extraordinary chemistry to thank for some of their hues. Peppers start off green, which unsurprisingly is due to the presence of chlorophyll pigments. These are vital for photosynthesis in plants, and actually come in two subtly different forms, chlorophyll a and chlorophyll b. As the pepper ripens, these chlorophyll pigments start to decompose, and other types of pigments start to take their place. All of the different colours of peppers that follow green are due to the presence of carotenoid pigments.
  • Making a Mold. Leave your peppers in the refrigerator too long, and you end up with mold. Have you ever wondered about the different molds you see on food? Why can you cut off some, but not others? Are any safe to eat? Here’s an interesting science article on all the different molds you see on your food, including those black specs on your apples or grapes.
  • Doughnut Boxes. If you live in Southern California, you’re familiar with pink doughnut boxes. But why does SoCal have pink doughnut boxes? The answer: Cambodian Doughnut Shops. According to lore, a Cambodian doughnut shop owner asked a local supply shop some four decades ago if there were any cheaper boxes available other than the standard white cardboard. So the company found leftover pink cardboard stock and formed a 9-by-9-by-4-inch container with four semicircle flaps to fold together. To this day, people in the business refer to the box as the “9-9-4.”
  • Valley Food. One big problem in Los Angeles is that people often look down on the San Fernando Valley. All these lists of restaurants that EaterLA loves to put out just have a few token valley dines, and rarely off of Ventura Blvd. That’s what makes this  list of 12 valley favorites so interesting. Most I would agree with, but I would eschew Hogly-Woglys for Mom’s at Vanowen and Hazeltine. I’d also eschew anything at the Village at Topanga: I’m sorry, but the modern take on a mall is far too new for anything to be a favorite.  EaterLA’s contribution to this is their list of 25 essential cheap eats in LA. I love cheap eats — I started la.eats back in the early Usenet days to talk about cheap dive restaurants, of which the first was the original Versailles in Venice. Of course, Eater  only lists 3 places in the valley; one of which is on the first list as well (Saj). I will have to try their chicken place in Northridge. Of course, Mom’s belongs on the cheap eats as well.

 

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HFF17 Batch 1: My Hustle Has ADHD | Robot Monster (Musical) | B Kills E

Written By: cahwyguy - Mon Jun 05, 2017 @ 9:27 pm PDT

Hey Hollywood, My Hustle Has ADHD (HFF17)userpic=fringeThe Hollywood Fringe Festival (FB) has started, and we’re going to be seeing multiple shows each weekend. So I’m going to batch my writeups… and this is batch one. We saw all these shows Sunday night.

***

As Hey Hollywood, My Hustle Has ADHD started, the author and sole performer, Rasika Mathur (FB), was clearly unprepared.  It was as if she had put off writing and blocking and staging this show until the last minute.  As if her attention had been focused somewhere else, and she just didn’t sit down and get the damn show done. I mean, at times she was even having to go back and review the script to see where she was. I know this was a preview, but … Then again (and possibly more likely), that was the point of this exercise — to make you realize the impact of ADHD on a person’s life. Not knowing whether it was an act or real was part of the charm, just like knowing how hard it is for a trained singer to intentionally sing bad.

Hustle is structured as a one-woman show, but it really isn’t. Mathur brings up audience members to represent key people in her life — her parents, casting agents, Nick Cannon, her manager and agent. She then plays off these people to tell her story, and how her condition affected her life until she decided to take charge of it.

I found the show fascinating, especially as we had brought a teen relative who may have ADHD with us to the show. The bell rang and the lights went of. It was also interesting to see the levels of ADHD within ourselves, and seeing something like this is the first step on dealing with it. So the show was enlightening and entertaining and a great start to the Fringe Festival. I just wish there was a show from the other side: Hey Hollywood, I’ve Got To Deal With An Actor with ADHD!

Hustle was directed and developed by Deana Barone (FB), who worked on last Fringe’s 30JJ or Bust.

There are three more performances of Hey Hollywood, My Hustle Has ADHD: June 11 @ 6PM, June 15 @ 10PM, and June 24 @ 10PM. It plays in the Lounge 2 Theatre, 1 block E of Vine on Santa Monica.

***

Robot Monster - The Musical (HFF17)I always operate on the conceit that the stage production came first, and then they made a movie of it. If that was true, then they improved Robot Monster when they made the movie version of the story, based on the musical Robot Monster – The Musical (FB), which was our second Fringe show. And since Robot Monster (the movie) has 1.9 stars on IMDB, and a 31% fresh on Rotten Tomatoes, that should scare you more than any Ro-Man could ever do.

So why did we go? Well, the description made it sound better than it was:

Hailed as one of the greatest bad movies in the annals of film history, the 1953 cult sci-fi classic, “Robot Monster” is a beloved fan favorite for its complete absurdity, hammy acting, charming naiveté and – most of all – for its famously tortured space gorilla.

But more than just an infamously “bad movie,” the film has a charming and unpretentious sincerity that’s so appealing in our frenetic age

With 16 original songs, the musical includes everything current and new fans demand from a show about a space gorilla sent to earth to destroy the human race. Will he succeed?

I will say that the musical had all of what was claimed: complete absurdity, hammy acting, charming naiveté and a tortured space gorilla. But often — almost usually — stage musical versions of bad musicals figure how to turn the camp into a redeeming feature. Look at shows like Johnny Guitar, Zombies from the Beyond, or even Evil Dead – The Musical. They make it work. Partially, it is because a campy plot can be improved by good songs and performances.

Not here.

For the most part, the performances were weak (again, that may have been intentional given the camp and the history) — but they were at the verge of painful. Yes, this was a preview performance, but when the best part of the performance is the line missteps…. But I do say, “for the most part”. Dana Deruyck (FB) was perhaps the sole redeeming player in this show. Her “Johnny” was a hoot with hilarious facial expressions, strong singing, and just, well, she was fun to watch. Her sister, Stephanie Thomas/FB, was also fun to watch.

Now, I will admit that perhaps I was expecting to much from this. After all, the show’s FB page indicated that other audience members really enjoyed this and found it a hoot. So perhaps you need to be a Robot Monster fan to truly appreciate what was done here. In other words, YMMV. But for someone who had never seen the movie, and was going based on experience with other campy SF movies turned into good small musicals, I was expecting much much more.

Cast: Stephanie Thomas/FB – Carla; Dana Deruyck (FB) – Johnny; Don Margolin – The Professor; Andrew Villarreal (FB) – Roy; Val Peterson/FB – Martha; Jamie Miller (FB) – Alice; Marcus Chavez/FB – Ro-Man XJ2; Derek Long (FB) – Voice of Ro-Man XJ2; Rich Silverman (FB) – Great Guidance.

The musicians would not admit they were in this show.

Production Team: Brandon Baruch (FB) – Lighting Design; Madeleine Dahm – Select Choreography; Corwin Evans (FB) – Video Design; Paul Frederick (FB) – Arrangements and Music Production; Derek Long (FB) – Director; Pamela J. Paulson (FB) – Assistant Director; Rich Silverman (FB) – Producer, creator, composer, lyricist, etc.

Robot Monster – The Musical (FB) has four more performances at the Sacred Fools Mainstage: June 10 @ 8PM; June 15 @ 5PM; June 18 @ 1:30 PM; and June 23 @ 11PM. If you are familiar with the original movie and know what you’re getting, you’ll likely enjoy this. Anyone else — your mileage may vary drastically.

***

Buffy Kills Edward - A Musical Romp (HFF17)If this had been a normal Fringe night and venue, you would have likely seen a glowing review of Buffy Kills Edward – A Musical Romp. After all, a wonderful actress we’ve seen before, Kim Dalton (FB), was in it.

But we didn’t see the show — through no fault of the producer.

You see, the Fringe venue for the show, The Three Clubs, is a bar.  This means they cannot admit anyone under 21. Anyone. No exceptions.

Even if you have a ticket.

Even if you have a ticket from the Fringe Festival itself, because the information on the show did not indicate the venue was age restricted (it does now, after I complained). The Fringe ticketing system didn’t inform us of the fact.

So the one show we really wanted to see Sunday night … we were turned away from the door by the big burly (but very nice and understanding) bouncer.

I have written to Fringe, and they are supposedly processing a refund.

But be forewarned: If you are planning to see this show, or anything else at the Three Clubs, you must be 21 and have ID with you.

But I’m sure the show is great, and I encourage you (if you are old enough) to go see it. Visit their Fringe page for ticket 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.

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

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

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

July brings us back to normal theatre (° = pending confirmation). We start with The Voysey Inheritance at Actors Co-op (FB) the first weekend. The second weekend is currently open, but we’re thinking about Animal Farm at Theatricum Botanicum (FB). The third weekend brings Peter Pan at Cabrillo Music Theatre (FB) and Ruthie and Me at  Actors Co-op (FB). The fourth weekend of July has a hold for Motown/Miracle | Harlem/Renaissance from Muse/ique (FB). The last weekend of July brings The Last 5 Years at Actors Co-op (FB).  August will (hopefully) start with Brian Setzer° at the Hollywood Bowl (FB) on August 2, followed by The Curious Incident of the Dog in the Night at the Ahmanson Theatre (FB) on the weekend. We may also squeeze in On The Twentieth Century at the Pan-Andreas Theatre in Hollywood from Proof Doubt Closer (FB), as a friend is in the cast. The second weekend of August? What made sitting through The Bodyguard worth it: Hamilton at the Hollywood Pantages (FB). I’m still scheduling September, but so far we have The 39 Steps° at Actors Co-op (FB) and Pacific Overtures at Chromolume Theatre (FB). There’s also the Men of TAS Golf Tournament, if any theatre company reading this wants to donate tickets to our silent auction (hint, hint). More as the schedule fleshes out, of course, but we’re booking all the way out in mid to late 2018 already!

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

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Changes to the California Highways Website: Jan – May 2017

Written By: cahwyguy - Wed May 31, 2017 @ 8:49 pm PDT

Much as I tell myself that I won’t wait more than two months between updates, life gets away from me, my weekends get booked with theatre, and (boom) five months have passed. So it goes, I guess. Let’s start with the important numbers first: 40,818 songs on the iPod, up from 39,653 since Decmeber, with 582 songs on the “5 or Less” list (including two cast albums about Los Angeles, including one about Freeway Dreams), and about 6636 on the “10 or Less” list.

So far, in 2017, we’ve seen the passage of a gas tax proposal to fund roads (if it survives, hopefully), the inauguration of Donald Trump’s administration (which hopefully won’t survive), a proposal for a gazillion bajillion dollars — trust me, it’s yuge — in infrastructure funding in the administration’s spending proposal (which won’t survive in its present form, and would include more toll roads), and the seeming death of Route 1 due to actual weather, and Route 710 due to political weather — and when and whether either will return as a zombie is unknown. Depends on the brains available.

But this site does not work on political opinion. We work on facts: news reports, reports from the fields, legislative actions, transportation commission actions. But before I go into that, a question for those reading this on my website. At times I’ve had the urge to redo the website into something responsive, which would likely take a lot of time. I’ve also worried about the fact that I don’t serve everything via https://. But this is primarily an information site, that doesn’t handle any personal or sensitive data. Going responsive would require Javascript to resize and rearrange pages for phones, as opposed to full width web pages as in the current design. There’s no content management system to do this for me (although the blog is WordPress). My tools still generate hand-coded HTML, at some generation before HTML4 (pretty-much before CSS). I’m inclined not to change things if they work, but if you think I need to do the effort, please drop me a note.

Updates were made to the following highways, based on my reading of the papers (which are posted to the roadgeeking category at the “Observations Along The Road” and to the California Highways Facebook group) as well as any backed up email changes. I also reviewed the the AAroads forum. This resulted in changes on the following routes, with credit as indicated [my research(1), contributions of information or leads (via direct mail) from Max Rockatansky(2): Route 1(1), Route 4(1), I-5(1), I-8(1), Route 9(1), I-10(1), Route 12(1), Route 29(1), Route 35(1), Route 37(1), Route 39(1), Route 46(1), US 50(1), Route 55(1), Route 58(1), Route 65(1), Former US 66(1), Route 67(1), Route 74(1), Route 75(1), Route 76(1), Route 79(1), I-80(1), Route 84(1), Route 91(1), Route 94(1), Route 99(1), US 101(1), I-110(1), Route 121(1), Route 125(1), Route 142(1), Route 174(1), Route 190(1), I-210(1), Route 273(1), I-405(1), I-580(1), Route 710(1), I-805(1), I-980(1), County Route J1(2). Note: I was out of it, and didn’t pick up that much from AAroad (so folks there should just email me desired changes), and no one really emailed me anything during this change period.

Gribblenation.com supposedly closed as of the end of 2016, and Gribblenation.net actually closed as of January 2017. However, gribblenation.com still seems to be up. Per the discussion over on AAroads, a number of pieces will be moving to new sites as of January 2017. Those so identified have been updated. If you were at gibblenation.com or .net and have a new site, please mail me information on the corrected link. Otherwise, your entry has been deleted. As always, if you have a regional road page, please send me the link. If you had a page, please make sure I have the correct link.

Reviewed the Pending Legislation page, based on the new California Legislature site. As usual, I recommend to every Californian that they visit the legislative website regularly and see what their legis-critters are doing. Right now, we’re at the point everything for this legislative session has been sent to the Governor for signature. I noted the passage/veto of the following bills and resolutions (for some of these, I’ve highlighted key phrases in red):

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May 2017 Headlines About California Highways

Written By: cahwyguy - Mon May 29, 2017 @ 9:18 am PDT

Memorial Day. First and foremost, a thank you to those who have made the ultimate sacrifice defending our country. Their service has made it possible for me to spend a weekend working on pages about California Highways. Which I am. Which also means I need to incorporate the May Headlines, and thus need to post them first. So here goes:

  • Caltrans Proposes Safety Upgrades Along Entire SR-110 Arroyo Seco Parkway. The California Department of Transportation (Caltrans) will hold a public hearing on Tuesday, May 2, about its plans to improve motorist and worker safety along the entire length of the SR-110 Arroyo Seco Parkway route from Pasadena to downtown Los Angeles. With the SR-110 Safety Enhancement Project, Caltrans proposes to install metal beam guardrails and concrete barriers, add maintenance vehicle pullouts, remove several thousand feet of curb and gutters, and apply graffiti-resistant coating at various locations along the freeway.
  • Marin carpool lane hours could expand by June. Southbound Highway 101 carpool lane hours could be extended in Marin as soon as next month in hopes of better traffic flow for commuters sharing rides and buses. The southbound Highway 101 commute between north Novato and the Civic Center is considered “very degraded,” with traffic flows at less than 45 mph between 50 and 75 percent of the time. The southbound carpool lane is limited to two or more people in a vehicle from 6:30 to 8:30 a.m.
  • Bay Bridge bike path has new $2 million ‘vista point;’ will open seven days a week starting Tuesday. Bicyclists and pedestrians seeking awe-inspiring views of the East Bay will soon be able to get their fix seven days a week. Starting Tuesday, the 2.2-mile path along the eastern span of the Bay Bridge will open during weekdays. After three years of stopping a mere 525 feet shy of Yerba Buena Island, the path was finally completed in October, but it was only accessible on weekends while Caltrans disassembled the remaining portion of the old Bay Bridge.

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A Cycle of Relationships | “Hello, Again” @ Chromolume

Written By: cahwyguy - Sun May 28, 2017 @ 10:21 am PDT

Hello Again (Chromolume)Some theatre is pure entertaining fluff. It isn’t there to make a point; sometimes, it isn’t even there to tell a story. It’s goal — pure and simple — is to have you walking out of the theatre with a smile on your face and a song in your heart. Think a jukebox musical, such as Mamma Mia, An American in Paris, or 70, Girls, 70, and you get my drift.

Some theatre is there to make a clear point and statement. You are entertained, but walk out with a specific message intended by the authors. Think of Hamilton or Scottsboro Boys.

Some theatre leaves you scratching your head. It doesn’t fall into the “bad theatre” bin (i.e., poorly written story, poor acting, etc.), but its intent isn’t otherwise clear. It entertained you, but wasn’t entertaining. It had a message, but it was something to be teased out as opposed to being a brickbat to the head.

Last night’s show, Hello, Again at Chromolume Theatre (FB), with book, music, and lyrics by Michael John LaChuisa (FB), based on the 1897 play La Ronde by Arnold Schnitzler, was such a show. The music was dark and operatic at times. The story seemed to be trying to make a point, but the ultimate meaning and goal of that point was elusive. The basic subject matter — a series of sexual relationships — was uncomfortable at the minimum, and potentially triggery at the maximum (my wife said the show needed a trigger warning for the nature of the sex). In retrospect, this shouldn’t have surprised me. I’m familiar with some of LaChuisa’s music — I have the albums to First Lady Suite, Little Fish, See What I Wanna See, Giant, Queen of the Mist, and The Wild Party, and I’ve looked into the albums of Bernarda Alba and Marie Christie, but haven’t gotten them because the music is dark. LaChiusa has the occasional lighter song, but in general his music is deep and dark, melodic but not rhythmic – something unique. That doesn’t make his shows bad, but they are definitely not the typical Broadway fluff.

The structure of Hello, Again is a musical round. Not in the sense of multiple voices singing different songs coming together (although, looking back, it may have done that unintentionally). Rather, the show forms a circle of scenes told through a quasi-operatic, almost sung-through, score. The whore and the soldier in the 1900s, the soldier and the nurse in the 1940s, the nurse and the college boy in the 1960s, the college boy and the young wife in the 1930s, the young wife and the husband in the 1950s, the husband and the young thing in the 1910s, the young thing and the writer in the 1970s, the writer and the actress in the 1920s, the actress and the senator in the 1980s, circling back to the senator and the whore in the 1990s. These are essentially the same characters as in La Ronde, except that La Ronde was in a single timeframe, and LaChuisa changed La Ronde‘s “young miss” to “young thing” to introduce a gay relationship into the mix. La Ronde‘s point was to show the similarity of relationships across all strata of society, from the whore at the bottom, to the elite at the top.

As an aside, I’m not sure whether LaChiusa’s jumping around in the timestream helps the show. It served to confuse me, and to draw my attention to the program to see when we were. This is especially true when the implication seems to be that the character in one scene is seemingly the same character in the next. That works for adjacent-in-the-normal-direction decades; it is confusing when you go back in time.

So I walked out and the end of Hello, Again at the Chromolume conflicted. There were outstanding performances and the vocals were spot on, but I didn’t warm to the show. It left me uncomfortable, unsure. On the way home, my wife and I discussed the show. Our conclusion was that the show highlighted a continual pattern of relationships whose focus was the quick and hard sex (“wham, bam, thank you ma’am”), sometimes not fully consensual. None of the relationships in the round had any depth or love in them. They were couplings of convenience, almost all of them (for their era) being couplings of unequal power. They were consensual — so perhaps they weren’t rape in the conventional sense — but they were also not expressions of love. They were expressions of something darker: one side of a relationship using the other side for a particular purpose. They were portrayed in an ultimately negative light — moral bankruptcy, meaningless.

But through all of this, what was LaChiusa, or ultimately Schnitzler, trying to say? Our existence is a series of meaningless relationships where love is replaced by using other people? That nothing ever changes in how people treat and use people? That meaningless relationships exist across all strata and all ages?

Not cheery stuff. Not the typical stuff of musicals, which are more idealized romantic love as opposed to meaningless unbalanced power dynamic sex.

I think my wife was right: this stuff needs a trigger warning. The combination of the power dynamics and meaningless sex makes this borderline sexual abuse, and those with sensitivities may find the material disturbing.

Hello, Again (Chromolume / Cast Photos)But despite the nature of this musical and its ultimately cynical message, I don’t believe it is a bad musical. There are many for whom its message about men, women, and society will resonate. There are many for whom this represents their relationship arcs: sex and power dynamics, first; endearing or enduring love a distant second. It is certainly something emphasized by many “Hollywood” relationships.  I tend to have a more positive and upbeat outlook regarding relationships, and I’m not sure this is something I’d see again. But as they say, YMMV.

Setting aside the story, the performances (under the direction of Richard Van Slyke (FB) — a REP East alumni!) were uniformly excellent. So much so, in fact, that it is difficult to single out one performer above another. So let me introduce the primary cast, and we’ll continue the analysis on the other side: Michelle Holmes (FB) – The Whore; Cesar Cipriano (FB) – The Soldier; Allison Lind (Actor FB; FB) – The Nurse; Bretten M. Popiel (FB) – The College Boy; Sarah Randall Hunt (FB) – The Young Wife; Corey Rieger (FB) – The Husband; Kevin Corsini (FB) – The Young Thing; Joe Hernandez-Kolski (FB) – The Writer; Tal Fox (FB) – The Actress; and Michael Corbett (Actor FB; FB) – The Senator. Understudies were Nadia Ahern (Actor FB; FB) – Whore/Actress; David Callander (FB) – Husband/Senator; Kim Dalton (FB) – Nurse/Young Wife; Bradley Alan Turner (FB) – Writer/Soldier; and Judd Yort (FB) – College Boy/Young Thing.

Looking back this morning, which performances stick in my head? The first is Tal Fox. Not only when she was onstage in her role as The Actress, but in other smaller background parts, she had a look that was unique and caught your eye — which was drawn to her wonderful facial expressions. In whatever character she was, her face was reacting in a fantastic way that was a delight to watch.

Allison Lind’s Nurse was also fun to watch for the spunk and character she brought to the role. She also had one of the stronger dance routines in the show. Both were delightful to see. [Although I must admit I missed seeing the understudy for this role, as we have seen Kim in a number of shows and always enjoy her performances]

Bretten Popiel’s College Boy was another actor that was just fun to watch — he brought a great sense of playfulness to the role and that fun was transmitted to the audience.

All of the actors gave strong performances with this vocally difficult score. La Chiusa’s music doesn’t have your typical rhythms, and exhibits (at least to my ear) very odd ranges. This cast handled it all with seeming aplomb.

Music for the production was provided by the onstage music director, Brenda Varda (FB), behind the piano. Most of it was great; the only nit was that the actors mispronounced the Yiddish זײַ געזונט , which was particularly noticable in the second verse when they sang “tuh zei guzing” as if it was the Hebrew צ as opposed to ז. Choreography was by Bretten M. Popiel (FB), and seemed period appropriate. I particularly enjoyed the nurse’s dances.

Turning to the production and creative sides: Scenic design was by Chromolume regular Lauren J. Peters (FB) and was a creative use of the limited black-box space the theatre provides: abstract backdrops, with the sense of place primarily provided through the props and scenery pieces. The lighting design by Richard Fong (FB) worked reasonably well, as did James Esposito (FB)’s sound design (except for one nit: during the end of the second scene, the rain effects were confusing at first, with the bass thunder seemingly coming from something external to the building). Michael Mullen (FB)’s costume design seemed somewhat period, and was sexy without being too revealing. However, my wife had some quibbles with the nurses’ uniform not being as precise as it should have been (she noted that nurses would not have gone out with those wrinkles, worn open toed shoes, or had anything like long hair). As for me, I just wondered whether they got the ranks and forms correct on the military uniforms, and where the hell they found those leisure suits and polyester shirts for the ’70s (which brought back bad memories — I had shirts like that in those years). Other behind the scenes support included: Mara Aguilar (FB) – Stage Manager; Armen Janazyan (FB) – Assistant Stage Manager; Ken Werther Publicity (FB) – Publicity.

The last performance of Hello, Again at Chromolume Theatre (FB) is tonight (5/28) at 7:00 PM. Call (323) 510-2688 to make a reservation. Chromolume will have a production at the upcoming Hollywood Fringe Festival (FB): Slightly Off Broadway. I’m kicking myself for not seeing their past productions at Fringe, especially Pasek and Paul’s Edges: A Song Cycle, which they did in 2016 and does not have a cast recording. I discovered this after the fact from their YouTube channel, where I also discovered another musical I didn’t know (and they had done): Next Thing You Know, with the great song “Hungover“.

One additional note: I love subscribing at the smaller and regional theatres! The Pantages and Ahmanson never know your name. But little theatres like Chromolume, Actors Co-op, and in the past, the Colony and REP East get to know you, and the people there are like family. You don’t need to present anything when you check in; they know you and see you coming in the door, and have everything ready. These theatres need your support, and treasure every subscriber. Find a local theatre you like and subscribe. You might not like everything you see. But you will find a home.

🎩 🎩 🎩

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

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

Upcoming Shows: Today, my wife is off to the Simi Valley Cajun and Blues Festival (FB) on Sunday, as Big Bad Voodoo Daddy is playing, while I work on the highway pages. As for June? Three words: Hollywood Fringe Festival (FB). This is the current planned schedule for HFF. To see the full Fringe guide, click here.

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

July brings us back to normal theatre (° = pending confirmation). We start with The Voysey Inheritance at Actors Co-op (FB) the first weekend. The second weekend is currently open, but we’re thinking about Animal Farm at Theatricum Botanicum (FB). The third weekend brings Peter Pan at Cabrillo Music Theatre (FB) and Ruthie and Me at  Actors Co-op (FB). The fourth weekend of July has a hold for Motown/Miracle | Harlem/Renaissance from Muse/ique (FB). The last weekend of July brings The Last 5 Years at Actors Co-op (FB).  August will (hopefully) start with Brian Setzer° at the Hollywood Bowl (FB) on August 2, followed by The Curious Incident of the Dog in the Night at the Ahmanson Theatre (FB) on the weekend. We may also squeeze in On The Twentieth Century at the Pan-Andreas Theatre in Hollywood from Proof Doubt Closer (FB), as a friend is in the cast. The second weekend of August? What made sitting through The Bodyguard worth it: Hamilton at the Hollywood Pantages (FB). I’m still scheduling September, but so far we have The 39 Steps° at Actors Co-op (FB) and Pacific Overtures at Chromolume Theatre (FB). There’s also the Men of TAS Golf Tournament, if any theatre company reading this wants to donate tickets to our silent auction (hint, hint). More as the schedule fleshes out, of course, but we’re booking all the way out in mid to late 2018 already!

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

 

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How Appropos | “Freeway Dreams” @ WriteAct Rep

Written By: cahwyguy - Sat May 27, 2017 @ 10:39 am PDT

Freeway Dreams (Write Act Rep)I recently received a press release from a publicist¹ about a “world premiere” musical at Write Act Repertory (FB)² at the Brickhouse Theatre (FB) called Freeway Dreams. How appropos, I thought. After all, my hobby is California Highways; I developed and maintained the California Highways page³. I commute every day on the LA freeways, driving a vanpool between Northridge and El Segundo (35 miles, one way) across the 405. I attend live theatre almost every week, and write up every show I go to. If there was anyone who should be writing up a musical about freeways, it is me. So I made my usual arrangement with the publicist4, figured out a spot in my increasingly full schedule, which resulted in our seeing the show last night in North Hollywood, after a 109 minute freeway commute home.

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¹: There are those who believe I am a theatre critic. I tell them I’m a cybersecurity specialist who just loves going to live performances (especially theatre), and then sharing that experience as an audience member via write ups on my blog. Still, I’ve learned a lot over the years.

²: You’ll notice no web site links. Write Act: Get your website act together. You have a link on your postcard: It gives a Wix error that the site isn’t set up yet. You have another link on your Facebook page: it gives a 403 Forbidden (although some subpages do work). You don’t have a direct link to your Brown Paper Tickets site on your postcard, nor is it on your current FB page. You need a proper website to promote your work.
³: Everything you want to know about numbered highways in California but were afraid to ask.
4: Most critics accept free tickets. I don’t. My real life job has strong ethics rules about what we can accept from suppliers, and I apply them to life. Free tickets could be seen as influence to a critic. I arrange for ½ price tickets, what I would have paid on Goldstar.
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Freeway Dreams, with book, music, and lyrics by Wayne Moore (FB) (one song co-authored by Jason Blume), started out as a cabaret show back in 1992 at The Gardenia Club in West Hollywood. There was a cycle of songs (eventually recorded as a “cast” album) with introductions and rough characters, but it wasn’t a fleshed out musical. After numerous requests for the script, Moore decided to flesh the song cycle out into a musical — better defining characters, snipping a song here and there. The result was this one-hour, no intermission musical.

The story framework is much like the cabaret show: A tourist bus of Japanese tourists has overturned on the Hollywood Freeway (US 101) turning the freeway into a parking lot. Four commuters — an aspiring actor, a young woman of unspecified employment, a casting director, and a pizza delivery guy — are stuck on the road and start to daydream. The bulk of those songs are those dreams.

As a song cycle, the show is very enjoyable. The songs are great, they are performed well, and fun to listen to. I’m sure that many of the songs on the cast album will get rated ★★★★★ on my iPod.

As a musical, the show is… a good start. I think — if the show is to have a longer life — more work is required. One review I saw commented on the dated references in the show (they suggested replacing pizza delivery with Uber, for example), and the overuse of the radio motif for news. I disagree to an extent — we still get our traffic reports on the radio, for example — but I do feel there needs to be nods to modern technology such as streaming music or podcasts. My observation is a bit deeper: I think that we need to learn more about these characters and their life, and see a greater arc than just “stuck on a freeway”. There also needs to be more of a connection to Los Angeles than just Hollywood and the opening song. There are precious few LA musicals (Billy Barnes LA, Bruce Kimmel’s LA: Then and Now), and this needs to go beyond the stereotypical Hollywood schtick. Where are the harried parents stuck on the freeway, the business executives that work downtown, the people commuting to aerospace and technology jobs. There is potential to make this something deeper — a commentary on the Los Angeles mindset to balance out the stereotypical New York condescension of the city that so much theatre has. The show needs more book, something that moves it beyond the fun song cycle at bit more. There are also songs that seem throwaway — no real connection to character or story (“The Bette Davis Chorus” is one such song — cute and enjoyable, but shoehorned in). The potential — the seed — is there; it just needs to drive past a few more exits to reach its ultimate destination, avoiding the temptation (to abuse a metaphor) of jumping off onto the surface streets now. Surface streets always seem like a good idea at the time….

As a commuter, there are realism problems. The show portrays drivers holding phones while driving, smoking pot on the freeway, and getting out of their cars on a stuck freeway to talk to other drivers. Those are either problematic behaviors or illegal behaviors, and should be rethought so as not to encourage other drivers (although there could be a great song in there about some of the stupid things drivers do while commuting). There is lots of potential in a musical about commuters and the freeway. But it needs to be done right.

So, story-wise, the summary is thus: A great song cycle (performed well), but it needs a bit more fleshing out to be a stronger book musical.

Turning to the “performed well” part: Under the direction and choreography of Jim Blanchette (FB), the actors effectively convey the story through songs, movement, and facial expressions (especially when they are in the background of songs). The theatre is a pure black box space — no fly, no follow-spot or moving mirrors. There is no set other than a projection screen. The sense of place and story and setting must come must come from the performers and props, and Blanchette has brought that out well.

The strongest performance — and a real positive surprise — was Leslie Rubino (FB)’s Deborah. From the opening number I was really impressed with her voice and her expression, and she had the time of her life with “Doncha Wanna Know”. She was just a delight to watch. Note: Based on her FB page, I believe we’ll be seeing her again soon in the HFF show, Insuppressible: The Unauthorized Leah Remini Story.

Also strong was Stephanie B. Andersen (FB; FB-Fan) as Brenda, the casting agent. We’ve seen this actress before — we enjoyed her quite a bit in the 2013 bare revival — and (for the most part) she was great in both performance and singing in numbers such as “I Have This Friend.”. I particular enjoyed watching her expressions during the show. Alas, at our performance, she was having a bad night with one number (I fear she had a bad distracting headache), but knowing her strengths I’m willing to view it as a one-off, and wish her better. I’m sure every other night she knocks that number out of the park!

I enjoyed (and my wife indicated she really enjoyed) Jonathan Brett (FB)’s performance as Lee, the pizza delivery guy. He demonstrated some wonderful comic timing in his interactions and expressions, and had a strong singing voice in numbers such as “and a pizza to go”.

Rounding out the cast was Darren Mangler (FB)’s Andrew.  Mangler brought good expression and timing to his characters, but was just a tad weaker on the singing side (but that is when compared to the rest of the ensemble, meaning he was still pretty good).

Alternatives were Ashley Douglas (FB) [Brenda Alternative] and Aubrie Alexander (FB) [Deborah Alternative]. I’ll just note that we’ve seen Alexander before in Bat Boy, and I’m pretty sure that was her sitting behind us at last night’s show :-).

Lastly on the performance side: the director, Jim Blanchette (FB), had an uncredited performance as the “offscreen voices” — sitting in the audience, he provided all the unintelligible voices on the other side of the cell phone conversations. A bit odd, perhaps, but this is small intimate theatre. At least the credit gives me the chance to note that Blanchette has worked with an alum of the late great REP theatre in Santa Clarita, the also late, great Kyle Kulish.

Turning to the production side: As noted, this was a simple black box theatre. The basic scenery was solely the projections designed by Ken Cosby (FB). These worked well, although a few had me puzzling — as a freeway commuter in LA — exactly where they were taken. The lighting design was by Mark Baker (FB), who has one of the best bio’s I’ve read of late. The lighting worked well, except for the lighting during “My Superman” where odd shadows were created due to the positioning of the lights. I fear that was less Baker’s problem and more a fault of the facility, which didn’t have proper spots nor good placement locations for moving mirror lights. There were no credits for the properties, but the cardboard cars were cute. Other production credits: Wayne Moore (FB) – Musical Direction; Tamra Pica (FB) – Producer / Casting; Jonathan Harrison  – Stage Manager / Associate Producer; and John Lant  – Producing Artistic Director.

Write Act Repertory (FB)’s production of Freeway Dreams continues at the Brickhouse Theatre (FB) until Sunday, June 11. It is an enjoyable song cycle. Tickets are $15 and are available through Brown Paper Tickets. The show does not appear to be listed on either Goldstar or LA Stage Tix.

🎩 🎩 🎩

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

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

Upcoming Shows: May concludes with Hello Again at the Chromolume Theatre (FB) tonight [plus my wife is off to the Simi Valley Cajun and Blues Festival (FB) on Sunday, as Big Bad Voodoo Daddy is playing, while I work on the highway pages].

As for June? Three words: Hollywood Fringe Festival (FB). This is the current planned schedule for HFF. Not all is ticketed — we are ticketing in two groups: this weekend (¹), and right after June 1st (²), to split the charges. To see the full Fringe guide, click here.

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

July brings us back to normal theatre (° = pending confirmation). We start with The Voysey Inheritance at Actors Co-op (FB) the first weekend. The second weekend is currently open, but we’re thinking about Animal Farm at Theatricum Botanicum (FB). The third weekend brings Peter Pan at Cabrillo Music Theatre (FB) and Ruthie and Me at  Actors Co-op (FB). The fourth weekend of July has a hold for Motown/Miracle | Harlem/Renaissance from Muse/ique (FB). The last weekend of July brings The Last 5 Years at Actors Co-op (FB).  August will (hopefully) start with Brian Setzer° at the Hollywood Bowl (FB) on August 2, followed by The Curious Incident of the Dog in the Night at the Ahmanson Theatre (FB) on the weekend. We may also squeeze in On The Twentieth Century at the Pan-Andreas Theatre in Hollywood from Proof Doubt Closer (FB), as a friend is in the cast. The second weekend of August? What made sitting through The Bodyguard worth it: Hamilton at the Hollywood Pantages (FB). I’m still scheduling September, but so far we have The 39 Steps° at Actors Co-op (FB) and Pacific Overtures at Chromolume Theatre (FB). There’s also the Men of TAS Golf Tournament, if any theatre company reading this wants to donate tickets to our silent auction (hint, hint). More as the schedule fleshes out, of course, but we’re booking all the way out in mid to late 2018 already!

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

 

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