Observations Along the Road – Page 24 – 🎭 Theatre Writeups, 🛣️ Highway Updates, 📰 Musings on the News, and other 🗯️ Rants and Roadkill Along the Information Superhighway

🗯️It’s Not the Language; It’s the Constitutional Trampling

Posted onSunday, February 2, 2020Authorcahwyguy

userpic=trump

Recently, I’ve had a few friends post articles or pen screeds implying that the reason Democrats do not like Trump is because of his course language.

My reaction to that is to call “Bullshit!” Much as I wish he behaved with more decorum, we’ve had Presidents that spoke coursely before, from Lyndon Johnson to Richard Nixon. If Trump’s worst aspect was his language, I could live with it.

These friends equally go on about how they love his support of life (meaning his current stance on abortion, as he certainly doesn’t sanctify all lives), and his support of Christian values (while not living them himself, which they indicate is acceptable citing King Cyrus).

My reaction to that, again, is to call “Bullshit!”. The job of the President is to uphold the Constitution. That’s the oath that is sworn at inauguration, not an oath to the Bible. The Constitution explicitly states that there shall not be a state religion, nor shall the government interfere with the practice of your religion That means religion is a personal matter for YOU to do. The President should not be dictating one religions beliefs over anothers. If you don’t believe in abortion, then don’t have one.

What offends me from this President is not his language. It is his blatent disregard for the Constitution and the separation of powers. It is his lack of respect for Congress, his lack of respect for Judges that don’t agree with him and side with the law. It is his abuse of his position to take actions that would have been unthinkable for any other President. It is his thinking he is above the law. It is his failure to represent the entire nation instead of just his base.

And for those who proclaim his support of Christian values: what he promotes is decidedly UN-Christian. To my understanding, Christ taught to take care of the poor and the suffering. If the poor or suffering aren’t in a womb, Trump would throw them in the street and cut their welfare. The Bible teaches us to treat the stranger with respect. Trump insults the stranger. Christ threw the moneylenders out of the Temple. Trump embraces the moneylenders and big business, and helps them take advantage of the people even more.

For this particular Impeachment charge, Trump may be acquitted by the Senate. He was able to manipulate the Republican senators in a partisan way to keep evidence hidden and suppress the facts. He prevented a true investigation of his behavior. If President Obama or Clinton had attempted such obstruction, well … let’s just say there is a double standard at play. But it is important to remember that the Senate voting to not remove him from office is not an acquittal of the charges — merely a demonstration that they didn’t want to establish the precedent of removal. Even acquittals by a court doesn’t mean innocence — unless you believe that OJ was really innocent and is still looking for the killer. They sometimes mean the court was just skillfully manipulated by shady legal tricks in front of the bar, or corruption or pressure tactics behind the bar.

🛣 Headlines about California Highways – January 2020

Posted onSaturday, February 1, 2020Authorcahwyguy

A new year. New beginnings. Maybe a site rework. Maybe not — I’ve been promising it for a while. But one thing I can promise is to keep collecting those highway headlines and sharing them with you. So as we enter 2020, here are some headlines about California’s numbered highways, together with a few other things of interest for my highway pages. As always, I welcome your discussion of these headlines. May your drives and explorations in 2020 be interesting, fruitful, and safe.

[💰 Paywalls and 🚫 other annoying restrictions: LAT/LA Times; SJMN/Mercury News; OCR/Orange County Register; VSG/Visalia Sun Gazette; RDI/Ridgecrest Daily Independent; PE/Press Enterprise; TDT/Tahoe Daily Tribune; SFC/San Francisco Chronicle; MODBEE/Modesto Bee]

MTC: I-880 Express Lanes Between Milpitas, Oakland To Open In Summer 2020. Express lanes on Interstate Highway 880 between Milpitas and Oakland are scheduled to open late in the summer of 2020, the Metropolitan Transportation Commission said. Workers are converting to express lanes the existing Highway 880 HOV lanes that run from Hegenberger Road in Oakland to Dixon Landing Road in Milpitas in the southbound direction and from Dixon Landing Road to Lewelling Boulevard in San Lorenzo in the northbound direction.
💰_SJMN Letter: Too few cyclists use the Richmond-San Rafael Bridge bike lane. Letter: Too few cyclists use the Richmond-San Rafael Bridge bike lane. Yet the MTC, Caltrans and elected officials spent $20M giving a third of the westbound car lanes to cyclists. Aug. 31, 1956: Gov. Goodwin Knight opens the Richmond–San Rafael Bridge. The July-August 1956 issue of the journal California Highway and Public Works stated “the structure will then provide two 36-foot roadways; three 12-foot lanes of traffic on the upper deck to San Rafael and the same provision on the lower deck to Richmond.” Now, 82,000 cars cross the bridge westbound daily, along with public bus lines and endless streams of trucks. Westbound rush-hour back-ups are a daily nightmare for commuters.
Granite Awarded $33 Million Highway Reconstruction Project in Central California. Granite (NYSE: GVA) has been awarded a contract by the California Department of Transportation (Caltrans) for the reconstruction of four miles of State Route 99 (SR 99) near Kingsburg. A primary source of funding for this project is Senate Bill 1 (SB 1), the Road Repair and Accountability Act of 2017 that is expected to invest $54 billion over a ten-year period to improve California’s roads, freeways and bridges. Granite booked the $33 million contract in the fourth quarter of 2019. This four-mile project includes reconstructing two lanes in both directions of SR 99 with continuously reinforced concrete pavement as well as reconstructing ten off- and on-ramps with hot-mix asphalt.
More Toll Lanes Coming to California Freeways. “California is expanding toll lanes on freeways like never before, not just to raise revenue for transportation projects but to change behavior as well,” writes Alejandra Reyes-Velarde, a Metro reporter for the Los Angeles Times, in a comprehensive piece that covers Northern and Southern California.
California Transportation Plan (CTP) 2050 | Caltrans. The California Transportation Plan (CTP) 2050 is the state’s long-range transportation plan that establishes an aspirational vision that articulates strategic goals, policies, and recommendations to improve multimodal mobility and accessibility while reducing greenhouse gas emissions. The purpose of the plan is to present innovative, sustainable, and integrated multimodal mobility solutions. These will help guide the planning and implementation of a low-carbon transportation system that fosters economic vitality, protects the environment and natural resources, and promotes health and well-being equitably for all Californians. The CTP 2050 update will focus on meeting current and emerging trends and challenges affecting transportation, including economic and job growth, air quality and climate impacts, new technologies, freight movement, transportation funding, and public health.
Big shakeup coming next week to major streets serving downtown Napa. The freeway entrance into downtown Napa will be shaken up next week with the debut of a second roundabout, then the one-way directions of First and Second streets flipping on Friday between California Boulevard and Jefferson Street.
These will be the most significant traffic changes in the downtown area since First and Second in the business district became two-way in 2014 after being one-way for over a half century, said Eric Whan, the city’s deputy public works director.

🎭 Melting Hearts | “Frozen” @ Hollywood Pantages

Posted onSaturday, January 25, 2020Saturday, January 25, 2020Authorcahwyguy

Frozen (Hollywood Pantages) Q: So, when Elsa gets hungry in that Ice Palace™ of hers, what does she eat?

A: Frozen foods.

Are we going out on that joke? No, we’ll do an overdue writeup of a Disney™ animated movie turned into a stage musical first. Will that help? Not much, no.

OK, Stan Freberg aside: Yes, we saw Frozen at the Hollywood Pantages (FB) last Sunday, and this writeup is way way overdue. But it has been a busy busy week in the evenings (which is when I have time to do the writeups), and its not as if this writeup would do much to change the trajectory of this musical, which has its expected popularity with particular audience segments.

The way I’m starting this writeup makes it appear that this was a bad musical. It wasn’t at all. It was essentially the Disney musical on stage, with some adaptations to better fit the limitations of a real, non-animated world. The story was musical to begin with, so there wasn’t the question of whether this should be musicalized. It is clear that Disney intended for this to eventually move to the stage with the structure of the story and songs. The larger question of whether this needed to be on the stage is a different one: is it making an important point or message that isn’t being made elsewhere, or is this a profit calculation. I do think this falls into the latter category — this isn’t a Dear Evan Hansen, Come From Away, or Hamilton. It is clearly motivated by profit and parents, as evidenced by the length of its sit-down run at the Pantages.

That, by the way, doesn’t make this a bad musical. It is just not one of lasting social importance. But it is revolutionary, in its own way, for a Disney musical. You have princesses wearing pants, for example. But more importantly, you have a princess story where the goal is NOT the princess getting the prince. In fact, the prince is a cad. The true love in this story is the one between the sisters. It is that “true loves kiss” that moves the story forward (and sorry for the spoiler if you haven’t seen the movie). There are some who believe that this story even has a lesbian subtext. I don’t see that — neither sister seems to express a strong sexual desire towards anyone, so this could be asexual at best. But it is a strong story based on the sibling bond, and that’s something you don’t see in Disney that often. That could be one reason why shows like Frozen and Wicked have such a strong following from young women: they center on relationships between women that are/love each other as sisters, and that aren’t centered around the men on the periphery. That’s a message of female empowerment, something that is decidedly not the Disney of Yore.

The stage production is also a technical marvel. First and foremost is the puppetry. There are two primary puppets: Sven (the reindeer) and Olaf (the snowman). Sven is marvelous, with no real hint that there is a human actor inside. Realistic movements, playful, believable. Not at all a cartoon. Olaf, on the other hand, is intentionally cartoonish. You can see the human moving him behind him. But the attachments are such that Olaf really comes to life, and is an equally believable characters. Second and, umm, duomost, is the magic. This is a combination of projection, LED manipulation, stage magic, flying effects. They create Arendale, but more importantly, they create the ice effects and the magical ice palace. They create the magic costume transformations. This magic will make this production memorable for the youth in attendance, and may go a long way to creating lifetime theatre lovers. That’s the good thing. What’s bad? Think regional and smaller productions of this. This will be licensed at some point, and there will be regional and smaller productions of this. How will they reproduce the puppetry and stage magic, within limited budgets? That remains to be seen. Hopefully, the Disney juggernaut has planned ahead for those situations. I’m curious how the productions of Frozen Jr. handle this?

The songs are generally those of the movie, with some substitutions based on the changes in the story — primarily involving how the hidden folk that raised Kristof are presented and integrated in the story. More notably, in terms of music, this is NOT the production that is on Broadway. A new song has been integrated into Act II: “I Can’t Lose You”, which does a great job of showing and emphasizing the sisterly bond between Anna and Elsa. This helps center the story, and foreshadows the conclusion much better. This is as good a place as any to note that the music and lyrics are by Kristen Anderson-Lopez and Robert Lopez, with a book by Jennifer Lee, who also wrote the Disney animated film, which was directed by Chris Buck and Jennifer Lee.

Under the direction of Michael Grandage, aided by Adrian Sarple Associate Director, the cast does a great job of bringing life to their characters and making them much more than cartoons. They seem to be having a lot of fun with these roles. The director also did a great job of keeping the story moving and presenting it in a way that is entertaining to the clear audience and keeps them entranced. This is especially true with his use of the younger characters, who have to entertain while the required story exposition and setup occurs.

The performances were strong. In the lead positions at our show were Caelan Creaser (FB) as Elsa and Caroline Innerbichler (FB) as Anna. Creaser was the understudy for the role, stepping in for Caroline Bowman (⭐FB, FB). Creaser did a great job with a wonderful voice and movement, and a personality that suited the character. I phrase it that way because Elsa, as a character is an Ice Princess — she is an embodiment of a frozen personality, cold and hiding any warmth inside. Creaser did that well, only showing the required moments of warmth when interacting with her sister. Innerbichler, as the warmer sister Anna, was remarkable. Warm and playful and delightful and (dare I say it) cute and exuding joy. Innerbichler captured that all, as well as playing well with both Hans and Kristof, in addition to her sister. Top that off with a wonderful singing voice.

Beyond the princesses, the other part of the main character group are the characters that travel with Anna to find Elsa: Kristof, Sven the Reindeer, and Olaf the Snowman. At our performance, these characters were brought to life by Mason Reeves (FB) Kristof, Evan Strand (⭐FB) Sven, and F. Michael Haynie (FB) Olaf. Due to the physical demands of the role, Even gets the Sunday evening we saw (as well as Wed, Thus matinee, Fri, Sat matinee); Collin Baja gets the other performances. This is good because I got to learn about Evan on his recent West of Broadway podcast interview; Mason Reeves also has an interview on the same podcast. All of these folks were particular strong — especially when you consider their youth. Reeves, IIRC, is a rising senior at University of Michigan. He does a wonderful job with Kristof, bringing loads of personality of fun, as well as a strong singing voice to the character. You don’t get to see anything of Strand beneath the puppet, but he does a great job of bringing the puppet to life and imbuing it with a personality and a character and believability. Haynie’s Olaf is more cartoonish, but he has loads of fun with the character which is transmitted to the audience.

In the second tier are some notable recurring actors. The cutest ones of the bunch are (again, at our performance) Arwen Monzon-Sanders Young Anna W, Th-Mat, Fri, Sat-Mat, Sun-Eve and Jaiden Klein Young Elsa W, Th-Mat, Fri, Sat-Mat, Sun-Eve. They alternate with Stella R. Cobb Young Anna T, W-Mat, Th, Sat-Eve, Sun-Mat and Alyssa Kim Young Elsa T, W-Mat, Th, Sat-Eve, Sun-Mat. Monzon-Sanders (and presumably Cobb) also have notable roles in the ensemble for “Fixer Upper”. These young girls were so cute and playful, especially Monzon-Sanders. They just seemed to be loving their time in front of the audience. They sing and move well, and are just fun to watch. Further, I’m sure that their presence makes the show have a stronger connection to the children in the audience.

The other main characters are perhaps the villains of the story: Austin Colby (FB) Hans of the Southern Isles and Jeremy Morse (FB) Weselton. Colby, who is in real life married to the actress that normally plays Elsa, does a wonderful duplicitous job of being the charmer that Anna falls in love with, and later the cad that refuses her “loves true kiss” and leaves her to freeze to death. His is strong at capturing the duality of the character. Morse’s character, on the other hand, is much more comically drawn, along the lines of a Hedley Lamarr in Blazing Saddles. But Morse captures the aspect of that character well.

The remainder of the cast serves as the ensemble, with a few folks moving up to featured positions for a moment or two. Note that, due to Caelan Creaser (FB)’s move to Elsa for our show, swing Natalie Wisdom swung into the ensemble and into the featured role of the head handmaiden. The ensemble at our show consisted of the following folk (featured roles noted): C. K. Edwards (FB); Michael Everett (FB); Berklea Going; Michael Allan Haggerty (⭐FB, FB); Tyler Jimenez Pabbie; Hannah Jewel Kohn (FB); Marina Kondo (FB) Queen Iduna; Nika Lindsay (FB); Tatyana Lubov (FB); Adrianna Rose Lyons (⭐FB, FB); Kelly Methven (⭐FB, FB); Michael Milkanin (FB) Bishop, Oaken; Kyle Lamar Mitchell (FB) King Agnarr; Naomi Rodgers (FB); Daniel Switzer (⭐FB, FB); Zach Trimmer (FB); Brit West (FB) Bulda; and Natalie Wisdom (FB) Head Handmaiden.

Other swings were: Dustin Layton (FB), Ralph Meitzler (FB), and Jessie Peltier (FB). Natalie Wisdom (FB) is also a swing, but swung into the ensemble for this performance.

On-stage movement was choreographed by Rob Ashford; aided by Sarah O’Gleby (FB) and Charlie Williams (FB) Associate Choreographers. In general, it was enjoyable, but not that much of the choreography sticks out in the mind a week after the performance … except for two numbers. The “Hygge” number was cute for its well-placed use of body-suits and humor, and the “Fixer Upper” number also had memorable and cute movement from the ensemble. Supporting the movement was Dustin Layton (FB) Dance Captain and Jessie Peltier (FB) Assistant Dance Captain and Fight Captain.

The music was under the direction of Faith Seetoo (FB) Music Director, Conductor. The Frozen orchestra consisted of (🌴 indicates local): Cathy Venable (FB) Assoc. Conductor; Nancy Whelan (FB) Keyboard 1; Josh Cullen (FB) Keyboard 2; 🌴 Jeff Driskill (FB) Flute / Piccolo / Clarinet / Alto Sax / Soprano Sax; 🌴 Richard Mitchell Oboe / English Horn / Flute / Clarinet / Tenor Sax; 🌴 John Fumo (FB) and Aaron Smith (FB) Trumpet / Flugelhorn; 🌴 Charlie Morillas (FB) Trombone; 🌴 Laura Brenes (FB) French Horn; 🌴 Dan Lutz (FB) Bass / Electric Bass; 🌴 Chris Jago (FB) Drums / Percussion. Other music support: Michael Keller and Michael Aarons Music Coordinators; Anixter Rice Music Service (FB) Music Preparation; 🌴 Eric Heinly (FB) Orchestra Contractor; Dave Metzger Orchestrations; Chris Montan Executive Music Producer; and Stephen Oremus Music Supervision and Arrangements. In general, the music was strong, although I feel for the musicians having to deal with all of that theatrical fog rolling into the pit.

Finally, we turn to the production and creative side. I’ve already commented on the artistry of Michael Curry‘s puppet design for Sven and Olaf. Also worthy of mention is Christopher Oram‘s Scenic and Costume Design work in establishing the kingdom and its environs in an effective way for the tour, and for creating the beautiful costumes. This combined with the work of Natasha Katz Lighting Design, Finn Ross Video Design, and Jeremy Chernick Special Effects Design to create the stage magic that makes everything work and astonish the audience. Additional creative and production credits: Peter Hylenski Sound Design; David Brian Brown Hair Design; Anne Ford-Coates (FB) Makeup Design; David Chase Additional Dance Arranger; Christoph Buskies Electronic Music Programming; Telsey + Company Casting; Aurora Productions Production Management; Clifford Schwartz (FB) Senior Production Supervisor; Lisa Dawn Cave Production Supervisor; Melissa Chacón Production Stage Manager; Patricia L. Grabb Stage Manager; Theron Alexander Assistant Stage Manager; Brae Singleton Assistant Stage Manager; and Neuro Tour Physical Therapy. This was a production of Disney Theatrical Productions.

Frozen continues at the Hollywood Pantages (FB) through February 2. Tickets are available through the Pantages box office; discount tickets are sold out in Goldstar, but may be available through TodayTix.

🎭

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 (or I’ll make a donation to the theatre, in lieu of payment). I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at 5 Star Theatricals (FB), the Hollywood Pantages (FB), Actors Co-op (FB), the Soraya/VPAC (FB), and the Musical Theatre Guild (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:

Tomorrow brings our last production for January: Cirque Éloize at the Soraya/VPAC (FB).

Things heat up in February, with The Last Ship (with Sting) at the Ahmanson Theatre the first weekend. The second weekend brings West Adams at Skylight Theatre (FB) on Saturday, and the $5 Shakespeare Company from The Sixth Act (FB) at Theatre 68 on Sunday. The third weekend brings A Body of Water at Actors Co-op (FB) and It Shoulda Been You at Musical Theatre Guild (FB). To top all of that, the fourth weekend brings The Simon and Garfunkel Story at the Hollywood Pantages (FB), Escape to Margaritaville at the Dolby Theatre/Broadway in LA (FB), and Step Afrika at the Soraya/VPAC (FB) the fourth weekend. Yes, that is the Pantages and the Dolby the same day — that’s what I get for not entering season tickets on my calendar before ticketing a bonus show. The last weekend is open, but I’ll probably find some theatre in Madison WI when I’m out there; alas, I’ll be missing both Nefesh Mountain at Temple Israel of Hollywood and Tom Paxton and the Don Juans at McCabes.

March starts with Passion at Boston Court (FB) the first weekend. The 2nd weekend brings the MRJ Man of the Year dinner (and possibly The Wild Party at Morgan Wixson). The 3rd brings Morris’ Room at Actors Co-op (FB) ; and the last weekend brings Spongebob Squarepants at the Dolby Theatre/Broadway in LA (FB) and the MoTAS/TBH Seder. April is similarly busy: the 1st weekend is Mamma Mia at 5 Star Theatricals (FB); the 2nd is during Pesach and is open (but has Count Basie at the Soraya/VPAC (FB) the Thursday before); the 3rd is Once on This Island at the Ahmanson Theatre; the last is Hamilton at the Hollywood Pantages (FB) (and possibly Hands on a Hardbody at the Charles Stewart Howard Playhouse (FB)), and the first weekend of May is Mean Girls at the Dolby Theatre/Broadway in LA (FB)

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. 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. Want to learn about all the great theatre in Southern California? Read my post on how Los Angeles (and its environs) is the best area for theatre in the Country!

🗯️ Lunchtime Impeachment Thoughts

Posted onWednesday, January 22, 2020Authorcahwyguy

userpic=divided-nation Reading the news while eating lunch brought up some general observations on the impeachment circus:

The Republicans need to think beyond this moment and this President, and consider very carefully about what they are doing and the precedent they are setting. Pendulums swing, and eventually they will be out of power. Do they want a Democratic president, whom they believe to be abusing their power, to be able to be tried for impeachment and suppress all evidence and arguments in Congress? Do they want that Democratic president to be able to withhold witnesses? If this had been Bill Clinton, or a President Hillary Clinton, how would they have felt? One would think, if they weren’t under the cult of personality around Trump, that they wouldn’t want to be setting this precedent for the Democrats to abuse in the future.
The voting public needs to watch this process carefully, and ask the question: If the President was innocent of these charges, why wouldn’t he be having those who can prove his innocence going in front of Congress to make the case? Why is he suppressing all witnesses and all exonerating information? These considerations won’t make any difference to those already under Trump’s cult of personality (his diehard base), nor will they make any difference to the diehard Democratic base. However, those Republicans moderates who have been tolerating this President need to ask themselves those questions: Why isn’t he out there bringing in counter-witnesses that prove his innocence? What is he hiding?
Lastly, all voters need to consider this circus when determining their votes for their House and Senate representation. Especially for the Senate: they took an oath to be bipartisan, and to objectively consider the evidence. What does this say about their trustworthiness when they fail to keep that oath: they fail to allow bi-partisan evidence to be presented, and they fail to objectively obtain and review evidence.

There may be a long game at play here. Even though this attempt to remove Trump may fail, it is likely that Democratic control of the House will remain, and the Democrats may take the Senate. If that happens, and if Trump is reelected, there will be more impeachment charges … and this time, the subpoenas will fly, and all the dirty details will come out (unless Trump finds some excuse for an emergency and suspends Congress — which he can do under the Constitution). If that happens, we need to be really scared (although that does not give the President the power of appropriations or to make laws).

🎭 Understanding Your Rights | “What the Constitution Means to Me” @ Taper/CTG

Posted onSunday, January 19, 2020Authorcahwyguy

What the Constitution Means to Me @ Taper And with a return to Jr. High Debating Club, our theatrical year starts off with a bang, and a reminder of why this year is so important. The fundamentals of our nation are at stake, and this play reminds us why we must get out there and march and vote to protect our hard fought rights.

But back to Jr. High first. When I was in 8th and 9th grade, I was in Mrs. WIlliams Debate Club, and I actually enjoyed debating. Researching the premise, establishing your position, defending your thoughts. It was wonderful mental exercise and training.

The production currently at the Mark Taper Forum, What the Constitution Means to Me, is centered around the debate that is at the heart of America. It presents the real story of the play’s author, Heidi Schreck (FB), represented here by Maria Dizzia (FB). It essentially has three acts. In the first, Shreck goes back to her days as a 15 year-old doing American Legion debates for college funds, talking about what the constitution means to her. This includes digression into areas of interest to her, such as what the constitution says about womens rights and Native American rights. The second part brings us the story of the current Shreck, her family history of violence against women and abortion, and what the constitution says about that. In the third and last part, Shreck debates a 15-year old student about whether to keep or rewrite the constitution. The production was directed by Oliver Butler.

In trying to decide how to write this up, I read McNulty’s review in the LA Times. For the general opinion on the production, I agree with McNulty:

Let me preface this review of Heidi Schreck’s “What the Constitution Means to Me” with a strong plea to every man, woman and mature teenager in the Los Angeles area to see this play, which opened Friday at the Mark Taper Forum.

At a time when the Constitution is being assailed by those who have sworn an oath to defend it, this buoyant and often-stirring civics lesson is the theatrical curriculum Americans desperately need now.

As much a play as a performance piece, “What the Constitution Means to Me” reveals with courageous poignancy the way our nation’s founding legal document intersects with the choices, opportunities, relationships and destinies of those who have had to fight for their foothold in our imperfect democracy.

I agree with McNulty’s assessment of Shreck and the subject matter. Caution is required for those who have experienced sexual violence: there is reference to it in the play, and it could be triggery for some. But, alas, how our constitutions protects or fails to protect those subject to violence should be even more reason for people to vote.

You also get a present from this production: A pocket copy of the constitution courtesy of the ACLU. Read it. It’s scary at times. For example, it only refers to the President as “he”. Could this be used by originalists to argue that women can’t be President. This is why we so need the ERA to pass. It also shows that the President could shut down Congress with a declaration of an emergency. I wouldn’t put it past this President to do so if he couldn’t get his way — again, reason to vote.

This play demonstrates that the constitution is personal, and affects everyone one of us. It is why we must fight to defend it against those who would abuse it or make it a travesty.

As I said, I agree with McNulty’s assessment of the play, and of Dizzia’s performance. They did make a change in the play for the tour: about two-thirds into the play, the artifice of Dizzia’s playing Shreck is abandoned, and she is herself, sharing some of her story and what the constitution means to her. McNulty also covers well the fellow who plays the American Legion representative (and himself): Mike Iveson (TW). McNulty also covers the student debater who performs Wed, Fri, Sat matinee, and Sunday evening, Rosdely Ciprian.

However, Rosdely’s not the only student. Tues, Thurs, Sat evening, and Sunday matinee we get a local student, Jocelyn Shek (FB). That’s who we had, and we were impressed with the young woman and her debating style. For a stage-novice, she shows the poise and quick thinking that debate training gives one.

Understudies are Jessica Savage (FB) and Gabriel Marin.

The set design is a simple representation of the American Legion hall, designed by Rachel Hauck. The costume design of Michael Krass was similarly simple. There wasn’t that much for the lighting (Jen Schriever) and sound design (Sinan Refik Zafar) to do other than simply work, and that they did well. Other production credits: Sarah Lunnie Dramaturg; Tatiana Pandiani Assoc Director; Taylor Williams CSA Casting; Nicole Olson Production Stage Manager; Terri K. Kohler Stage Manager; Michael Camp Company Manager; Bethany Weinstein Stewert Production Management; MEP and 321 Theatrical Management General Management.

What the Constitution Means to Me continues at the Mark Taper Forum/Center Theatre Group through February 28. Tickets are available through the CTG box office; discount tickets may be available on Goldstar or on TodayTix. This is a show every American — or anyone wanting to understand the Constitution — should see

🎭

Upcoming Shows:

This evening brings our second show of the weekend: Frozen at the Hollywood Pantages (FB). We then get busy. The last weekend of January brings Cirque Éloize at the Soraya/VPAC (FB).

🗯️ Finesse, or Lack Thereof

Posted onSunday, January 5, 2020Sunday, January 5, 2020Authorcahwyguy

userpic=trump Let’s start off with the basics: Soleimani was not a good man. The world is a better place without him. But this is NOT how you do it.

Here’s the key point: Although he directed terrorist groups, he was not a “terrorist leader” unaffiliated with a government. He was a top General in the Iranian military — a country that Congress has not declared war against.

Just imagine if China or some other country with whom we have testy relations launched a drone strike against one of the members of the Joint Chiefs of Staff and killed him while he was in another country. How would we react? Would we treat that as an act of war?

This is why Trump’s attempt to “wag the dog” — to distract attention from his impeachment and draw attention to himself is so bad. His failure to think ahead, to think about the potential consequences of the action, has put the entire nation in danger.

There are many ways that this nation could have taken out Soleimani without it appearing to be a military operation approved by the President. That’s called finesse, and it is how you prevent war. But this President thinks only about himself and his popularity with his base, and how to look good in the news. He doesn’t know finesse.

The Iranian leadership has put a high bounty on Trump’s head. Just imagine the repercussions if someone takes them up on that offer.

They say they will only hit military targets. But again, imagine the repercussions if they do and American soldiers are killed. We, of course, will escalate … with a country that will not hesitate to do a small demonstration of their nuclear capability.

So suppose they make this personal, and go after a Trump property. Imagine how Mr. Ego will respond. Again, not good.

So suppose they take to the cyber-realm, and work against Trump in the election. Even that is fraught with peril, for it then provides the argument for him to invalidate the election results. After all, it’s OK if Russia meddles on his behalf, but for a country to work against him…

Although Soleimani’s death is a good thing, I can’t see how in the long run, anything good comes from this.

🛣 Headlines About California Highways – December 2019

Posted onTuesday, December 31, 2019Tuesday, December 31, 2019Authorcahwyguy

Ah, the end of the teens. The 21st century is moving into the 20s. What a decade it has been.

As befits the winter months, things have been a bit quieter. But still there are headlines. I’ve also been working on the highway pages (although not all uploaded yet) to add pictures to all the naming resolutions, with the goal of putting faces with the names. If we’re going to go to the trouble of naming a highway after someone, we should know who that person is or was, and be able to look at their face and seem them as more than just a name we pass by at 60mph. These were people that contributed to society and were important to their family. Remembering is important.

In any case, here are the headlines about California Highways for December. Ready, set, discuss.

[💰 Paywalls and 🚫 other annoying restrictions: $LAT/LA Times; SJMN/Mercury News; OCR/Orange County Register; VSG/Visalia Sun Gazette; RDI/Ridgecrest Daily Independent; PE/Press Enterprise; TDT/Tahoe Daily Tribune]

💰 LAT / Toll lanes in the Sepulveda Pass? The 405 Freeway is moving in that direction. Los Angeles County spent 4½ years and more than $1.6 billion to widen the 405 Freeway through the Sepulveda Pass. Now, the carpool lane born from that mega-project is facing a major change of its own: tolls. The Metropolitan Transportation Authority is in the early stages of planning to allow solo drivers in the 405’s carpool lanes, for a price. Similar programs on portions of the 110 and 10 freeways charge drivers a per-mile toll that changes based on traffic conditions.
A Line, making transit a habit, 405 ExpressLanes: Metro News Now, Dec. 2. I’m sure some of you reading this enjoyed some quality time sitting parked on the 405 freeway at some point in the last week. Thus you may be interested to know that the Metro Board on Thursday will consider a $27.5-million contract with WP USA to do the environmental document and other studies for the Sepulveda Pass ExpressLanes project, reports the LAT.
Metro eyes toll road on 105 in Downey. One of the best things about living in Downey is our freeway proximity. And that includes hopping on the 105 Freeway and a straight shot to LAX. That drive could get more complicated, however. The LA Times published a story today about Metro’s plans to add a toll lane to the 405 Freeway through the Sepulveda Pass. At the end of the article is this revelation …
Metro Driving Toward Sepulveda Pass Toll Lanes On 405 Freeway. Toll lanes are being explored for one of the busiest freeways in the nation – the 405 Freeway in West Los Angeles. Metro is in the early stages of a plan to create 405 Freeway “fast lanes” that would give drivers willing to pay up a lane of their own.
Upgrade in Eureka. Times they are a-changin’! We’re aiming for another helpful upgrade in Eureka by the end of the year. Those that regularly use the Henderson Street intersection along U.S. Highway 101 know that traffic can back up there. …
Caltrans: Part of Henderson Street in Eureka to be made a one-way to reduce congestion. By the end of 2019, the California Dept. of Transportation plans to turn part of Henderson Street into a one-way route to alleviate traffic delays in the area. Caltrans said the area of Henderson Street between Highway 101 and Fairfield will be turned into three lanes, all going toward the highway.

🎭 But He Won’t Fit on the Shelf | “Elf” @ Canyon Theatre Guild

Posted onTuesday, December 24, 2019Authorcahwyguy

Elf (Canyon Theatre Guild) I’m not a big fan of Christmas media: movies, music, plays, musicals. On the surface, that’s not a big surprise as I’m Jewish and Christmas is not my holiday. From the day after Holloween nowadays, we’re saturated with the commercial and sentimental message of the holiday, with its underlying message of buy, buy, buy. Perhaps Stan Freberg and Tom Lehrer had it right after all … but I digress.

Still, there are a few properties in each media category that I like. I’m enamored of Peter Paul and Mary’s Christmas Dinner, because I think that’s the message of the day. I love A Mulholland Christmas Carol and wish it would be done again. But much of what is out there is sentimental claptrap or remountings of classics (such as the recent production of Miracle on 34th Street at Actors Co-Op). Recently, two musicals have emerged as Christmas perennials. One we saw in 2017: A Christmas Story. The other is Elf: The Musical, with book by Thomas Meehan and Bob Martin, Music by Matthew Sklar, and Lyrics by Chad Beguelin, based on the 2003 movie written by David Berenbaum. I could easily see Elf becoming one of those holiday musicals I actually like, as it is a whole lot of fun, has great music, and a wonderful non-religious and non-commercial message.

Elf basically tells the story of Buddy the Elf. As an infant, after his single mother died, he crawled into Santa’s bag and was taken by mistake to the North Pole. He was raised by the elves to be one of them, even after he grew to be six feet tall. One day, he learns he is human and journeys to New York City to meet his dad, who has no Christmas spirit. He does, and as they say, hijinks ensure. He gets a job as an elf at Macy*s, and falls in love with a cynical “elf” Jovie. He destroys his dad’s office. But this is all done with childish joy and innocence, as Buddy has never really grown up and is the embodiment of a child’s Christmas spirit and belief. When Santa gets stranded in NYC due to the lack of Christmas spirit, of course it is Buddy to the rescue. Cue the closures of the story lines and the happy ending that is required.

Although there are numerous productions of Elf in Southern California this time of year, we saw the production at Canyon Theatre Guild in Santa Clarita/Newhall. To understand CTG, you need to understand the tiers of theatres in So Cal. There are the big boys that have the tours and are typically all Equity (although the Pantages does some non-Equity tours). There are the mid-size houses that are all Equity. There are the intimate theatres, some of whom use Equity contracts and some Equity actors (as REP was, down the street from CTG, when it was in existance); there are others that eschew Equity’s BS and use only non-Equity actors (who are typically rising actors, or actors from film/TV (SAG/AFTRA)). Community theatre is a step below that: theatre performed by a mix of community members who just love to act, and in SoCal, actors from the cadre of non-Equity and film/TV actors who like to exercise their craft on stage. As a result, the quality of the performances at CTG can be mixed: you have some performers who are seasoned vets who bring their “A” game to the show, and you have the teacher, printer, or student that may flub a line, miss a step, or be focused too much on getting the moves right to inhabit or create a background character. But you know, going in, these folks are up on the stage because they love it, and they are giving all their heart.

With this mix, the directing team (in this case, Barry Agin (FB) and Timben Boydston (FB)) had their hands full. They had to come up with the overall design of the production. They had to work with the actors to bring out and shape the characters — and with community theatre actors that can be a bit more work. They had to ensure the evenness of the performances and ensure that the characters created were true to what was on the written page. Lastly, they had to do this while ensuring that everyone was having fun, because you’re not in community theatre to make the tens and tens of dollars that those big-time actors in LA’s intimate theatres make. I’m pleased to say that Barry and Timben achieved these goals: this was a fun production with easily overlooked imperfections, with actors that generally did a great job.

But there is one primary reason for the success of this show — and that reason is the same reason we chose this production out of all the productions of Elf in Southern California that we could see: George Chavez (FB). We’ve seen George in numerous productions throughout the years at REP, when it existed up the street; in Simi Valley; and at other theatres in LA. He brings a wonderful enthusiasm and manic energy to his roles; a tender craziness. George wasn’t just playing Buddy the Elf — George was Buddy the Elf. He brought a child’s wonder and sense of playfulness to the role, he brought the manic energy of an elf, as well as the innocence. He made you believe in the Christmas spirit through that energy. If you know George in real life, you know that he is also a teacher — and his performance here made it clear why his students must love love him, and why he finds joy in that other aspect of his life. This enthusiasm for whatever he does — whatever role or profession he is in — can’t be faked. He is successful as a teacher because he loves that. He is successful as an actor because he loves that. And, as this performance demonstrated, he was successful as Buddy the Elf because he brings the love for anything Christmas that is inside Buddy to the stage, beams it out to the audience, and literally becomes that character while on stage. His enthusiasm and joy was such that it raised up all the other actors, and smoothed over the rough edges that community theatre might have. I’m sure this joy was also broadcast backstage and set the tone for the entire company.

But George’s Buddy wasn’t the only impressive talent on the CTG stage. I was also impressed with Christina Afetian (FB) Jovie. Afetian brought some wonderful character to the role, had a winning smile, and most importantly: a winning voice. She did a spectacular job on “A Christmas Song”, and was just a joy to watch.

Buddy’s human family was also very strong, in particular Ally Loprete (FB) Emily Hobbs and Jack Anderson Michael Hobbs. Loprete brought a great personality and a very strong voice to her role; Anderson was strong as the brother and handled the character well. Jeff Vincent (FB) Walter Hobbs was strong performance-wise as the father, bringing just the right sense of Christmas indifference to the role. However, at our performance, his voice was a bit tired by the end of the evening — if I had to guess, he had an ill-timed cold. Happens to all of us, and I wish we could have seen him in stronger form.

In terms of the other characters, Anna Rast (FB) Deb had a strong voice and brought a unique personality to the character. Also bringing a strong voice and some standout personality was Noemi Vaca (FB) Charlotte in her various ensemble roles.

Rounding out the cast were: Eduardo Arteaga (FB) Santa Claus, Jackson Caruso (FB) Matthews / Ensemble; Peyton Copley Ensemble; Erin Davis (FB) Sara / Ensemble; Kaitlyn Davis Ensemble; Molly Davis Ensemble; Greyson Foster (⭐FB) Charlie / Ensemble; Ellen Guinn Ensemble; Calvin Hayward Ensemble; Doug Holiday (FB) Vinny the Policeman / Ensemble; Harmony Jefferson Ensemble; La’a Jefferson (FB) Ensemble; Haileigh Johnson Ensemble; Kelly Johnson Mrs. Claus / Ensemble; Jefferson Lanz (FB) Sam / Ensemble; Hannah May LEPoidevin (FB) Ensemble; Sam Kort (FB) Ensemble; Jeff Lucas (FB) Bad Santa / Ensemble; John Morris (FB) Ensemble; Grace Morrison Ensemble; Katrina Negrete (FB) Ensemble; Christopher Passalacqua (FB) Chadwick / Ensemble; Cora Pengelly Ensemble; Eva Pengelly Ensemble; Christopher Robbin Mr. Greenway; Emma Shean Ensemble; Owen Shean Ensemble; Griffin Siroky (FB) Ensemble; Katelyn Taylor Tiara / Ensemble; and Jeremiah True (FB) Manager.

The music, alas, was recorded.

Choreography was by Melanie Lee (FB), who did a great job considering the range of dance talent she had to work with.

Turning to the production and creative side: The set design by Doug Holiday (FB) and John Alexopoulos (FB) wasn’t fancy, but worked well for the CTG stage (especially considering the limited budget CTG has to work with). Long-time REP regular Steven “Nanook” Burkholder (FB) provided sound design and appropriate sound effects. Mike Davis (FB) and Michael T. Smith (FB)’s lighting design did a satisfactory job of establishing place and time. The costume design by Jean Paletz (FB) and Jill McGlynn (FB) was appropriately Christmas-y; the elf costumes were cute. Rounding out the credits: Margo Caruso (FB) Asst. Director; Carla Bellefeuille (FB) Vocal Director; Michael T. Smith (FB) Props / Set Dresser; Keri Pierson (FB) Stage Manager; Nicole Arteaga (FB) Props / Set Dresser. Timben Boydston (FB) is the Executive and Artistic Director of CTG.

Alas, Monday was the last performance of Elf at CTG. Perhaps George will do it at a future venue.

🎭

Upcoming Shows:

We have no more live theatre scheduled in 2019. We will be seeing a movie on Christmas Day.

Looking to early 2020: most of the January is currently quiet, but the middle of the month is busy, with What The Constitution Means To Me at the Mark Taper Forum, and Frozen at the Hollywood Pantages (FB) the third weekend, and Cirque Éloize at the Soraya/VPAC (FB) the last weekend. Things start heating up in February, with The Last Ship (with Sting) at the Ahmanson Theatre the first weekend; A Body of Water at Actors Co-op (FB) and It Shoulda Been You at Musical Theatre Guild (FB) the third weekend; and (whew!) The Simon and Garfunkel Story at the Hollywood Pantages (FB), Escape to Margaritaville at the Dolby Theatre/Broadway in LA (FB), and Step Afrika at the Soraya/VPAC (FB) the fourth weekend. Yes, that is the Pantages and the Dolby the same day — that’s what I get for not entering season tickets on my calendar before ticketing a bonus show. March comes in like a lamb, with the first two weekends (2/29 and 3/7) being quiet… but goes out like a Lion. The 2nd weekend brings the MRJ Man of the Year dinner (and possibly The Wild Party at Morgan Wixson); the 3rd Morris’ Room at Actors Co-op (FB) ; and the last bringing Spongebob Squarepants at the Dolby Theatre/Broadway in LA (FB) and the MoTAS/TBH Seder. April is similarly busy: the 1st weekend is Mamma Mia at 5 Star Theatricals (FB); the 2nd is during Pesach and is open (but has Count Basie at the Soraya/VPAC (FB) the Thursday before); the 3rd is Once on This Island at the Ahmanson Theatre; the last is Hamilton at the Hollywood Pantages (FB) (and possibly Hands on a Hardbody at the Charles Stewart Howard Playhouse (FB)), and the first weekend of May is Mean Girls at the Dolby Theatre/Broadway in LA (FB)