🛣 Headlines About California Highways – January 2024

Welcome to 2024, and your first headline post of the year. For those unfamiliar, this post generally contains headlines about California Highways that I’ve seen over the last month. It also serves as fodder for the updates to my California Highways site, so there are also other pages and things I’ve seen that I wanted to remember for the site updates. Lastly, the post also includes some things that I think would be of peripheral interest to my highway-obsessed highway-interested readers.

The end of 2023 saw the posting of the next batch of website updates.  This meant that, on the update front, things have been quiet as they are normally built starting with the headline post. With this posting, I’ll start work on the next round of updates. The end of 2023 also saw my posting of my plan for theatre reviews/writeups going forward; indeed, we’ve already seen three shows in January (Kate, POTUS, and Sukkot) and shows continue every weekend until late February, when there is a little break. Of course, that may change if something interesting comes across the transom.

Also on the horizon, posting-wise, will be my analysis of the Spring 2024 Sample Ballot. Having read through the Senate candidate statements, all I can say is that “Hoo-boy, this is going to be a doozy”. As a preview, the Voter Information Guide included a statement (and a disclaimer from the state) from an clear and unabashed racist. Welcome to California Primary season, where the kooks and nuts are on the ballot, in addition to being on the roads. But I will get to do my exploration of the Schiff vs Porter vs Lee. Given the offices I’ve already started to get advertising for, I expect this to be a multi-part post, although there is only one state proposition.

California Highways: Route by Route logoThe podcast continues apace. We’ve recorded and released a few episodes, and will be recording another one next Monday. The scripts for the last two episodes in Season 2 are done (they are on Route 2). A short break, and then I’ll start researching and writing Season 3, covering Route 3 through Route 7. The most recent episode also prompted a friend at Caltrans to offer to do an interview to talk about Fastrak and tolling in California. We’ll likely do that as a bonus episode. As I write this, the most recent episode (according to Spotify, which doesn’t count direct downloads from cahighways/caroutebyroute) had 36 listens; the most popular season 2 episode (2.02, Route 1 in LA County) had 77 downloads, and the most popular episode overall ((1.01, the start of the chronology) had 154. Please tell your friends about the podcast, “like”, “♥”, or “favorite” it, and give it a rating in your favorite podcatcher. Yes, the sound quality of the episodes does get better — we were learning. As always, you can keep up with the show at the podcast’s forever home at https://www.caroutebyroute.org , the show’s page on Spotify for Podcasters, or you can subscribe through your favorite podcatching app or via the RSS feeds (CARxR, Spotify for Podcasters) . The following episodes have been posted this month:

  • CA RxR 2.05: Route 1: Monterey, Santa Cruz, and the Santa Cruz Coastline. Episode 2.05 of California Highways: Route by Route, continues our exploration of Route 1 by exploring everything about the segment of Route 1 from Carmel in Monterey County to just N of the Tom Lantos Tunnels near Montara (in San Mateo Couny). This includes communities such as Carmel, Monterey, Seaside, Watsonville, Castroville, Aptos, Santa Cruz, the Santa Cruz Coastline, Half Moon Bay, and Montara. As always, we go over the history of this segment of the route, the history of the route through various communities , the freeway plans, discuss relinquishments, names, and some current plans. We also talk in detail about the Devil’s Slide and the Tom Lantos Tunnels, as well as projects in Santa Cruz.  (Spotify Link)
  • CA RxR 2.06: Route 1: Pacifica and San Francisco. Episode 2.06 of California Highways: Route by Route continues our exploration of Route 1 by exploring everything about Route 1 from Pacifica, just N of the Tom Lantos Tunnels near Montara (in San Mateo Couny) to and through San Francisco up to the Golden Gate Bridge. This includes communities such as Pacifica, Daly City, and of course, San Francisco. As always, we go over the history of this segment of the route, the history of the route through various communities , the freeway plans, discuss relinquishments, names, and some current plans (although there’s not much in the relinquishment or plans area). As part of the freeway plans in the area, we include a discussion of the freeway revolt and some broader plans for San Francisco.  (Spotify Link)
  • CA RxR 2.07: Route 1ish: Golden Gate Bridge. Episode 2.07 of California Highways: Route by Route continues our exploration of Route 1 by exploring an interesting gap in the route: The Golden Gate Bridge (GGB). The GGB is not part of the state highway system, and thus (from the point of view of the state) not part of either Route 1 or US 101. It is part of US 101 per AASHTO, and is run by its own district. We’ll cover what was there before the bridge, the construction of the bridge, and current projects along the bridge (such as the singing bridge retrofit, the suicide barrier, and the earthquake retrofit. We’ll also discuss how one pays tolls on the bridge. (Spotify Link)

Looking forward, episode 2.08 will continue our exploration of Route 1 moving northward from the Marin Headlands to the Redwoods.

Well, you should now be up to date. Here are the headlines that I found about California’s highways for January:

Key

[Ħ Historical information |  Paywalls, $$ really obnoxious paywalls, and  other annoying restrictions. I’m no longer going to list the paper names, as I’m including them in the headlines now. Note: For paywalls, sometimes the only way is incognito mode, grabbing the text before the paywall shows, and pasting into an editor. See this article for more tips on bypassing paywalls. 🎧 indicates an primarily audio article. 🎥 indicates a primarily video article. ]

Highway Headlines

  • Upcoming Roadwork on Area Highways (Redheaded Blackbelt). The following scheduled roadwork [in Caltrans District 1] has been verified at the time of release. Please keep in mind work is weather permitting and subject to change.
  • Highway 1 Closure: How Long Can Big Sur Businesses Endure? (SF Standard). About 100 miles south of San Francisco lies one of the most beautiful places in a beautiful state. Of all of California’s scenic highways—State Route 120 through Yosemite National Park, U.S. 395 behind the spine of the High Sierra, the 405 through Sepulveda Pass with nobody else on it—perhaps nothing compares to the stretch of the Pacific Coast Highway from Carmel-by-the-Sea south to Santa Barbara. And the most beautiful section of this is Big Sur, which has been cut off from the south for the past 11 months. On Jan. 8, during a period of atmospheric rivers, an enormous movement of earth at a spot called Paul’s Slide near the town of Lucia buried a two-mile segment of the coast highway. The landslide some 40 miles south of Big Sur’s lodges and redwoods forced not only the highway’s closure but, eventually, also required workers to terrace the slope and move the roadway itself.
  • A new wildlife bridge is in the works across Interstate 8 for Peninsular bighorn sheep (San Diego Union-Tribune). Over the past decade, more than two dozen Peninsular bighorn sheep have been struck and killed while trying to cross I-8 in the rocky, mountainous region where San Diego and Imperial counties meet, though for various reasons that number is likely an under count of the actual death toll. In recent years, state wildlife officials identified that 13-mile stretch of freeway where the eastbound and westbound lanes split through a steep grade as one of the state’s most problematic barriers to wildlife movement. An effort is now underway, with a key first step completed earlier this year, to build one of the state’s first wildlife bridges along that stretch of I-8. The envisioned overpass, now in the planning stages after securing grant funding, would facilitate the natural movements of the estimated 790 or so members of the federally protected Peninsular bighorn species, which live between the U.S.-Mexico border and Palm Springs in the California desert.
  • ‘Turbo roundabout’ south of San Jose is second of its kind in US (Mercury News). In the coming months, drivers in San Benito County will face a traffic pattern unlike anything else in the state: a three-lane rotary shaped like a stunted ninja star. This is only the second time the new design, called a turbo roundabout, is being implemented in the U.S. But if it meets its goal of reducing accidents at a crossroads with a history of harmful crashes, drivers across the country could be seeing more of them. The intersection of highways 25 and 156 near Hollister has been notoriously dangerous — the site of more than twice as many accidents as similar intersections in the state, resulting in multiple injuries. In particular, there have been an unusual number of rear-impact and T-bone collisions there. Caltrans had previously attempted several small fixes, such as changing the timing on the traffic signals and adding rumble strips going up to the signal. But after these failed to resolve the problems, the agency opted to create a special roundabout.
  • A love letter to US Route 50, America’s loneliest highway (SF Gate). The essence of lonely is embodied after peeling off Highway 50 into a dusty parking lot at Middlegate Station, a pit stop in the Nevada desert about an hour from any cities in both directions. There’s a small wooden building that appears to have been standing for at least 100 years and near the front door a wooden plaque announces the official population — 17. (Although it’s clear that the number 18 has been scratched out.) I have a feeling the bar and restaurant may be keeping an accurate tally. Stepping inside, I simultaneously step back in time and saddle up to the bar for a drink and a burger. It could be some time before I see another opportunity to stop on the lonesome highway
  • California debuts ‘turbo roundabout’ to fix troubled intersection near Bay Area (SF Gate). A troubled California intersection is now the site of a new, spiral-shaped road feature called a “turbo roundabout” — the first of its kind in the state, and only the second in the country. The new turbo roundabout appeared near the city of Gilroy at the intersection of highways 25 and 156, two roadways frequented by interregional commuters, travelers and agricultural workers. Caltrans told SFGATE that the intersection has an unusually high occurrence of collisions, even when compared with similar intersections across the state. Installing a roundabout was a natural solution, Caltrans spokesperson Jim Shivers said. “Wherever we have installed a roundabout, the number of collisions drastically decreases,” he said. “And this is pretty much true for roundabouts around the country.”
  • Did You Know: Navigate Your Way to CSUN’s Massive Map Collection (CSUN Today). Did you know that in addition to more than 1.5 million books, 250,000 periodicals and 60,000 photos, CSUN’s University Library also boasts a Map Collection with more than 400,000 maps? They include geologic maps, traffic maps, tourist maps, zoning maps, topographic maps and planning maps of California, Los Angeles and the San Fernando Valley. There are even maps of areas and territories that no longer exist. Emilie Ducourneau is the curator of the collection that includes maps dating back to the 1700s. She notes that these documents serve as a snapshot in time — showing what was happening in a particular area at the time the map was drawn. [✒ Given that CSUN is about a mile from my house, and my wife is a CSUN Alum, I really need to make an appointment and go see this collection]

Read More …

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🎭 Who Told Them About My Family? | “Sukkot” @ 6th Act / Skylight

Sukkot (Sixth Act at Skylight)Let’s get the fanboy out of the way first. I saw Elim Garek in a play today. Well, Andy Robinson, but I could figure it out. It was everything I could hope for, and it was the icing on the cake of a great play.

So, going back to the start. I’m always on the lookout for Jewish-themed plays for the Live Theatre group at our synagogue (which I coordinate). I don’t want only plays focused on the holocaust or bad things, but I want plays that will stimulate the mind, and get the group thinking about Judaism. So when the North Hollywood facebook page posted about the upcoming play Sukkot being done by the 6th Act Company at Skylight Theatre, I knew I had our next show.  I coordinate the group, and off we went to the show. It was a very successful outing.

Sukkot, by Matthew Leavitt, tells the story of the Sullivan family. Patrick, the father of three adult children, has just lost his wife to cancer. He was raised Catholic, but she was Jewish. The unveiling of her marker, marking one year after the death, is coming up. It lands on Sukkot, the Feast of Booths. For those unfamiliar, this is when Jews build open-air structures in their yards and eat and sometimes sleep in them, symbolizing the booths that the Jews escaping Egypt slept in in the desert.  It is notable for being the only holiday where Jews are commanded to rejoice.

So, to try and rediscover joy, Patrick builds a sukkah in his back yard, and has all his children who are coming out for the unveiling “live” in the hut. This serves as the central focal point for the story. In turn, we meet the children: Asher, who has been living with Patrick taking care of his mother while she died of Breast Cancer. He is unemployed. Mairead, who has a husband and two children, lives in St. Louis, and is a gynecologist. The youngest, Eden, who lives in the Pacific Northwest and does children’s entertainment. Unsurprisingly, the children are very different from each other, and have the sibling squabbles we all know.

The show is at point hilariously funny and deeply inciteful. We went with a group, and I think everyone saw elements from their families or their children in the characters. As an example, for me it raised the question I’m debating now: Should I retire, and what will I do with myself when I retire? But the show delves into much more: relationships between children, relationships between parents and children, parents raising children differently, dealing with life and illness, dealing with elderly parents, realizing parents are people too. I saw my mother-in-law in the show; I saw my wife’s siblings; I saw my parents. Somehow they turned a camera on everyone’s family.

I’m not going to spoil the details of the story with further details of plots specifics, but I think all the characters grow and learn. There are some important points that come from show. First is that family may fight and squabble, but when a family member needs help, they usually come together. I think a more important message was on the meaning of Sukkot. One character observes that the only time we get unquestioning positives is when we get married, or right after we die. We don’t hear the latter. So Sukkot should be the time we rejoice in each other, and tell people the good things about them. Thinking good about people at least once a year isn’t a bad thing.

The performances were remarkable. I’ve already mentioned Andy Robinson, who played Patrick. There were times I could see Garak there, but his characterization of the father was nuanced and fun to watch. All of the other cast members—Jonathan Slavin (Asher), Liza Seneca (Maired), and Natalie Lander (Eden)—were equally compelling characters, played well. Show like this remind one of how special live theatre is for the Los Angeles community. These were all top grade actors, and here we get to see them, in an intimate theatre, doing what they love best: acting on the stage. This is small theatre—they aren’t doing this for the money. They are known in the industry—they don’t need the exposure. They are doing this for the love and perfection of the craft, and it shows.

The writing of the show was strong, and there were points that reminded me of Moonlighting, with the overlapping dialogue. But Leavitt created compelling characters and story, and there were only a few “ouch” moments. Some of those came from some characterizations of Jewish practice that might grate for a Jewish group; others were mentions such as “UC Fresno”, which is wrong in many ways (there is a UC Merced, and a Cal State Fresno, and they are different things). But overall, this was great.

Sukkot. Written by Matthew Leavitt; Directed by Joel Zwick. Cast: Andy Robinson Patrick Sullivan; Jonathan Slavin Asher Sullivan; Liza Seneca Mairead Sullivan; Natalie Lander Eden Sullivan. Production and Creative Team: Mark Mendelson Scenic Design; Douglas Gabrielle Lighting Design; Christopher Moscatiello Sound Design; David Elzer, Demand PR Publicity; Michelle Hanzelova-Bierbauer Graphic Design; Rich Wong Stage Manager.

Sukkot plays for one more weekend at the Skylight Theatre (until Feb 4th), over on Vermont S of Franklin, near Skylight Books. Tickets are available through the Sixth Act website; discount tickets may be available through the usual suspects. This was a really interesting play, and I strongly recommend it.

♦ ♦ ♦

Administrivia: I am not a professional critic. I’m a cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson TheatreBroadway in Hollywood/Pantages TheatrePasadena PlayhouseGeffen Playhouse (Mini-Subscription); 5-Star Theatricals. We’re looking for the right intimate theatre to subscribe at — it hasn’t been the same since Rep East died (it’s now The Main, and although it does a lot of theatre, it doesn’t have seasons or a resident company), and post-COVID, most 99-seaters aren’t back to doing seasons (or seasons we like). I used to do more detailed writeups; here’s my current approach.

Upcoming Theatre – Next 90ish Days:

On the Theatrical Horizon:

There are a few shows for which announcements have crossed my transom that may be of interest: The CSUN Theatre Department in Northridge will be doing the Spongebob Musical in April 2024. We really wanted to see this when it was on tour in 2020, but the tour was killed by COVID; we did drive up to Woodland CA to see a friend in a community theatre production of it. It is a great show about science and climate denial. Charles Stewart Howard Playhouse in Woodland Hills will be doing Hands on a Hardbody in May 2024. CSH announced this back in 2020, but it was killed by COVID; I’m glad to see it will be back (and with a friend in the cast, even). Morgan-Wixson Theatre in Santa Monica has announced their Mainstage 2024 Season, and it includes Bat Boy the Musical running Sept 28 through October 18. We saw Bat Boy back when CSUN did it in 2014; it is a wonderful musical about how a society treats outsiders. Conundrum Theatre Company will be doing Urinetown The Musical in mid to late March 2024 at the Broadwater; this is a great musical, but we can’t fit it into the schedule (nor does my wife care to see it again). However, if you haven’t seen it, it is worth seeing.

ETA 24-01-30: I also just learned about a theatre company in Fullerton, Maverick Theater. They are doing Evil Dead: The Musical , which is a hoot if you’ve never seen it (we’ve seen it twice). They also have some interesting other stuff on their season, and we might drive down for Santa Claus Vs The Martians in November.

Second: Broadway Dallas just announced their season. I like to look at the announcements of other “presenting houses” (i.e., regional theatres that specialize in touring productions) to get an idea of what will be coming to Broadway in Hollywood or the Ahmanson. Broadway Dallas’ season included the following shows that haven’t yet been in Los Angeles: ShuckedBack to the Future – The Musical& Juliet; and Life of Pi. Other shows that I know will be touring are a new remounting of Beauty and the Beast (lukewarm on this, but I’m sure it will be at least an option at Broadway in Hollywood) and the recent production of ParadeAccording to Playbill and some other sources, other upcoming tour productions (that haven’t been announced for the LA area) are Kimberly Akimbo; the new revival of Sweeny ToddA Beautiful NoiseSome Like It Hot; and New York, New York. I hope How to Dance in Ohio tours, but perhaps there will be a regional mounting; Harmony should be seen and I also hope it tours, but we saw it in a pre-Broadway version almost 10 years ago.

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🎭 The White House is a Farce | “POTUS” @ Geffen Playhouse

POTUS (Geffen Playhouse)The West Wing was never like this. Or, perhaps given some recent presidents, it was — and it was covered up well. After all, I’m sure the White House staff is great at covering up from the gaffes of the President. One thing is definitely for certain—this wasn’t like last week’s train wreck.  For unlike last week where it was clearly a you either loved it or didn’t get it affair (and we weren’t alone on that — Stage and Cinema talked about how the show “devolves into a self-indulgent tangent that meanders without direction”; whereas McNulty at the Times talks about how “irony and egotism are blended like a fine Bordeaux”), POTUS, or more properly POTUS, or Behind Every Great Dumbass are Seven Women Trying to Keep Him Alive, currently at the Geffen Playhouse through February 25, was uproariously funny. This is a show well worth seeing.

POTUS tells the story of seven women in the White House, all of whom are working or in the orbit of the President of the United States (POTUS). This POTUS doesn’t correspond to any particular POTUS, although he clearly is an amalgam of quite a few of the recent inhabitants of that position. I can think of certain recent POTUS (POTUSes? POTII?) that were clearly the model for the playwright, Selina Fillinger, although they are never named. But the focus of this story is not the specifics of the man (who is never really seen), but the women behind him and how they deal with the consequences of his actions. These women are: Harriet, his Chief of Staff, Jean, his Press Secretary; Stephanie, his Secretary; Margaret, his wife; Chris, a reporter; and Dusty and Bernadette, two women more in the personal orbit of the man.

The show opens with a SNAFU where the President refers to his wife with a slang term sure to upset … and the situation devolves from there into a broad farce. That this show is a farce means a number of things theatrically. First, it means that the show is not intended to have meaningful character arcs or show character growth (do the characters grow or learn anything in Noises Off or The Play That Goes Wrong?). Second, the character archetypes are painted with a broad, almost caricatureish brush, somewhat stereotypical even. This means that they are clearly not intended to be fully realistic portrayals of real competent women. They are women designed for the comedy  potential of the positions, with certain characteristics overdrawn for the humor. For a farce, one needs to suspend that belief. Farces are rarely realistic.

After all, a President would never fuck up. A President would never call people names. A President would never do things that would insult and offend our allies. A President would never fool around with other women while in office. A President would never have siblings whose behavior would embarrass the office. That would never happen, right? The President’s office would never be a farce, right?

I won’t spoil the plot of this show, as that could rob the show of a lot of the humor (which is in the discovery of just how fucked up this POTUS is). I will say that the cast of the show is remarkable, and are spot-on in terms of both timing and comic characterization. I’m not sure I can single out one performance over any of the others; they were all great. Jennifer Chamber’s direction was impeccably timed (again, something that is key for any farce to succeed), and worked well to bring out humor.

This show is well worth seeing.

A few last notes, before the credits: First, if you choose to park next door in the parking lot  under the Chick-Fil-A, be forewarned. It is a horrid lot, with really tight turns. Do remember to pay at the pay machines before  you go to your car to leave. Make life better for others. It took me a half-hour to clear that lot because of the clueless folks who waited to pay until they were at the gate, and then couldn’t figure out that the credit card goes in a different slot from the ticket. Second, it was really sad to drive up Westwood Blvd to the theatre and see all the empty storefronts. When I went to UCLA in the late 1970s, Westwood was this vibrant student town with quirky shops and great restaurants. It then got mall-ified, and then greedy landlords jacked up rents and priced distinctive shops out. Now it is empty, and doesn’t serve anyone. It’s sad, and the landlords need to realize that it is better to have someone in your storefront paying a moderate something, than an empty storefront with an unrealized potential that may never happen.

POTUS, or Behind Every Great Dumbass are Seven Women Trying to Keep Him Alive. Written by Selina Fillinger. Directed by Jennifer Chambers. Cast: Ito Aghayere Chris; Alexandra Billings Margaret; Lauren Blumenfeld Stephanie; Shannon Cochran Harriet; Celeste Den Jean; Jane Levy Dusty; Deirdre Lovejoy Bernadette. Understudies: Lorene Chesley Margaret / Chris; Joy Donze Stephanie / Dusty / Bernadette; Desirée Mee Jung Jean; Elaine Rivkin Harriet. Production and Creative Team: Brett J. Banakis Set & Video Design; Samantha C. Jones Costume Design; Elizabeth Harper Lighting Design; Lindsay Jones Original Music & Sound Design; Emily Moler Assoc. Director; Julie Ouellette Fight Director; Amanda Rose Villarreal Intimacy Director; Olivia O’Connor Dramaturg; Darlene Miyakawa Production Stage Manager; Colleen Danaher Asst. Stage Manager; Phyllis Schuringa, CSA Casting Director. This is not a tour of the recent Broadway production; it is a local Geffen remounting of the show.

POTUS continues at the Geffen Playhouse through February 25. Tickets are available through the Geffen Playhouse Website; discount tickets are likely available through the usual places. Note that the show has very strong language and themes, and is not for children.

♦ ♦ ♦

Administrivia: I am not a professional critic. I’m a cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; Geffen Playhouse (Mini-Subscription); 5-Star Theatricals. We’re looking for the right intimate theatre to subscribe at — it hasn’t been the same since Rep East died (it’s now The Main, and although it does a lot of theatre, it doesn’t have seasons or a resident company), and post-COVID, most 99-seaters aren’t back to doing seasons (or seasons we like). I used to do more detailed writeups; here’s my current approach.

Upcoming Theatre – Next 90ish Days:

On the Theatrical Horizon:

There are a few shows for which announcements have crossed my transom that may be of interest: The CSUN Theatre Department in Northridge will be doing the Spongebob Musical in April 2024. We really wanted to see this when it was on tour in 2020, but the tour was killed by COVID; we did drive up to Woodland CA to see a friend in a community theatre production of it. It is a great show about science and climate denial. Charles Stewart Howard Playhouse in Woodland Hills will be doing Hands on a Hardbody in May 2024. CSH announced this back in 2020, but it was killed by COVID; I’m glad to see it will be back (and with a friend in the cast, even). Morgan-Wixson Theatre in Santa Monica has announced their Mainstage 2024 Season, and it includes Bat Boy the Musical running Sept 28 through October 18. We saw Bat Boy back when CSUN did it in 2014; it is a wonderful musical about how a society treats outsiders. Conundrum Theatre Company will be doing Urinetown The Musical in mid to late March 2024 at the Broadwater; this is a great musical, but we can’t fit it into the schedule (nor does my wife care to see it again). However, if you haven’t seen it, it is worth seeing.

Second: Broadway Dallas just announced their season. I like to look at the announcements of other “presenting houses” (i.e., regional theatres that specialize in touring productions) to get an idea of what will be coming to Broadway in Hollywood or the Ahmanson. Broadway Dallas’ season included the following shows that haven’t yet been in Los Angeles: ShuckedBack to the Future – The Musical& Juliet; and Life of Pi. Other shows that I know will be touring are a new remounting of Beauty and the Beast (lukewarm on this, but I’m sure it will be at least an option at Broadway in Hollywood) and the recent production of Parade. According to Playbill and some other sources, other upcoming tour productions (that haven’t been announced for the LA area) are Kimberly Akimbo; the new revival of Sweeny ToddA Beautiful NoiseSome Like It Hot; and New York, New York. I hope How to Dance in Ohio tours, but perhaps there will be a regional mounting; Harmony should be seen and I also hope it tours, but we saw it in a pre-Broadway version almost 10 years ago.

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🎭 A Narcissistic Exercise | “Kate” @ Pasadena Playhouse

Kate (Pasadena Playhouse)Color me unimpressed. Color me confused.

I guess I should have been warned when Kate’s name was everywhere around the theatre, and her image was everywhere, and she was posing the lobby wanting people to ignore her. Her image was all over the men’s room, ferrchristssake. Then there’s her “Statement from the Artist”, which includes this: “The theatre requires a sacred corporal exchange – a sense-based modality of transference that demands physical presence.” WTF?

This was an exercise in a person wanting to be on display, who was seemingly in love with her own image.

On display she was, for 85 long minutes.

Perhaps I wasn’t her audience. Perhaps I just don’t get her humor. There were folks in the audience laughing uproariously. I laughed about 3 times, overall. She reminded me of Conan O’Brien, someone else who I don’t find funny at all. She was all exaggerated facial expressions, self-examination, and pointless dialogue. It is a form of humor I don’t understand.

The NY Times wrote of this show, when it was in New York,

Impatient, stylized, cerebral, Berlant’s comedy has never been for all markets. Nearly a decade ago, my colleague, Jason Zinoman, an early champion, described her as “not to everyone’s taste.” Marc Maron, on a recent episode of the WTF podcast, introduced her this way: “She’s an odd presence. But funny.” Her comedy resembles an infinite recursion, a hall of mirrors in which the reflections rarely flatter.

Note: The NY Times link is one of my “Gift Article” links, so you can read the whole thing. It does a good job of explaining what she is doing, although not everything mentioned is in the Pasadena Playhouse lobby. As they put it:

…she is a comic for all the girls out there who think too much… The confessional solo is a hallowed form downtown; Berlant desecrates it from every side. She plays with its creeds the way that a cat might toy with a mouse — teasing, batting, swiping, mauling. […] how you respond to “Kate” may have to do with how much you enjoy seeing theatrical tropes savaged. … The accents, the miming, the assumption of multiple characters, the buildup to some terrible trauma, all are satirized here.

So I understand now what she was trying to do. It still didn’t land with this audience goer. Listening to some of the folks as we left, we weren’t alone. Yet there were others for who it landed in a way they understood. I just don’t get what they saw.

But there are many things in this world I don’t get. #include <political-reference>

Kate certainly wasn’t for this theatregoer, who tends to prefer traditional stuff. I’m not a standup comedy person (I don’t go to comedy clubs).  I’m not into the avant guard or overly expressionistic comedy. I just don’t know what to make of this, other than it wasn’t something I liked, or would care to see again. Sometimes, theatre hits it out of the park. Sometimes, they get a base hit. Sometimes, they swing and miss, and swing and miss, and swing and miss, and ….

If Kate Berlant and her style is your thing, enjoy. We didn’t.

One additional note: The program for Kate is a similarly narcissistic, with her picture plastered everywhere. Hell, her show starts with the projected background showing links to her Amazon series, and showing her IMDB credits. But the creative team bios? Those are relegated to a QR code. That’s really poor form; a trend I don’t like. Websites go away or are reorganized away; printed program are a record of shows forever. I pay for my tickets; I should get a program with bios. There’s an Equity logo on this show; Equity shouldn’t put up with this. As a side note: The code takes you to https://pasadenaplayhouse.ihub.app/c/kate/feed?postTypeId=whatsNew .

Second note to the Pasadena Playhouse: That’s the other problem with QR codes: You have no idea where you are going — and unless you have your scanner set up to not automatically take you there, they are a cybersecurity nightmare. Well, even if you do, they are, because you can’t assess whether is a website is safe based on a URL alone. You also disenfranchise your audience (in that it is difficult to scan a QR code that is embedded within an online program) , and QR code programs encourage audiences to play with their phones during a show. Traditional printed programs, please.

Warning: There is an intense strobe light sequence in this show. Be forewarned if you insist on going to this show, and you are at all sensitive.

Kate. Runs until February 11. Tickets available through the Pasadena Playhouse, and likely through your favorite discount source.

Cast: Kate Berlant (Kate).

Above the Line Production: Kate Berlant (Writer); Bo Burnham (Director)

Below the Line Production and Creatives: Dots (Scenic Design); Amith Chandrashaker (Lighting Design); Palmer Hefferan (Sound Design); Lindsay Jones (Stage Manager); Brad Enlow (Technical Director / Production Supervisor); Davidson & Choy Publicity (Press), David S. Franklin (Asst. Stage Manager).

♦ ♦ ♦

Administrivia: I am not a professional critic. I’m a cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; Geffen Playhouse (Mini-Subscription); 5-Star Theatricals. We’re looking for the right intimate theatre to subscribe at — it hasn’t been the same since Rep East died (it’s now The Main, and although it does a lot of theatre, it doesn’t have seasons or a resident company), and post-COVID, most 99-seaters aren’t back to doing seasons (or seasons we like). I used to do more detailed writeups; here’s my current approach.

Upcoming Theatre – Next 90ish Days:

 

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🛣 Changes to the California Highway Website covering Nov-Dec 2023

It’s time for the last highway page update for 2023. A number of changes here were driven by research for the last two episodes of season 2 of the podcast (which I’m writing right now), as well as from headlines. So, as always, “ready, set, discuss”. I’ll probably start on the next round of updates come Presidents Day in February.

This update covers November and December 2023, and perhaps some of January 2024, depending on how long it takes me to finish the last little bits. Before we dive into the updates to the California Highways site, an update on the California Highways: Route by Route podcast. As always, you can keep up with the show at the podcast’s forever home at https://www.caroutebyroute.org , the show’s page on Spotify for Podcasters, or you can subscribe through your favorite podcaster or via the RSS feeds (CARxRSpotify for Podcasters) . The following episodes have been posted since the last update:

Turning to the updates to the California Highways pages: Updates were made to the following highways, based on my reading of the (virtual) papers and my research for the podcast in November and December 2023 (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 (Ꜳ). This resulted in changes on the following routes, with credit as indicated [my research(ℱ), contributions of information or leads (via direct mail or ꜲRoads) from Tom Fearer(2)Plutonic Panda(3)rte66man(4): Route 1(ℱ), Route 2(ℱ), Route 11(ℱ), I-15(ℱ), Route 20(ℱ), Route 24(ℱ), Route 29(ℱ), Route 31(2), Route 33(ℱ), Route 37(ℱ), Route 46(ℱ), Route 64(ℱ), I-80(ℱ), Route 94(2), Route 99(ℱ), US 101(ℱ), Route 117(2), Route 121(ℱ), Route 154(ℱ), Route 160(ℱ), Capitol Southeast Corridor (Route 148)(4), Route 199(ℱ), Route 222(ℱ), Route 258(ℱ), US 399(ℱ), I-405(ℱ), I-580(ℱ), I-710(3).
(Source: private email through 11/23/2023, Highway headline posts through the December Headline post, AARoads through 12/28/2023)

Research for Episodes 2.11 and 2.12 of the podcast, on Route 2, resulted in updates to Route 2, US 66, LRN 61, LRN 162, LRN 165, and LRN 188.

Added links to the Metro Dorothy Payne Grey Transportation Library Primary Resources blog’s series on Past Visions of Los Angeles’ Transportation Future to the History of Southern California Freeway Development page.

Reviewed the Pending Legislation page, based on the California Legislature site, for bills through 2023-12-25. As usual, I recommend to every Californian that they visit the legislative website regularly and see what their legis-critters are doing. As many people are unfamiliar with how the legislature operates (and why there are so many “non-substantive changes” and “gut and amend” bills), I’ve added the legislative calendar to the end of the Pending Legislation page. The State Assembly and Senate are still in their Fall recess, and there are no new bills introduced.

Reviewed the online agenda of the California Coastal Commission. This covered the December meeting. The following items were of interest:

  • 12b. December 2023 Application No. 1-23-0773 (Caltrans, South Broadway Complete Streets, Eureka, US 101)

I checked California Transportation Commission page for the results of the December 2023 meeting of the California Transportation Commission. As always, note that I tend not to track items that do not impact these pages — i.e., pavement rehabilitation or replacement, landscaping, drainage, culverts, roadside facilities, charging stations, or other things that do not impact the routing or history, unless they are really significant. As such, the following items were of interest:

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🛣 Headlines About California Highways – December 2023

2023 is rapidly coming to a close, and so I wanted to get the December headline post out a little early. The primary reason is that I need to go through the December headlines to finish off the November/December updates to the highway pages. You can expect that post to follow on the heels of this one, pretty shortly. There may also be another podcast episode, but we’re having trouble scheduling the recording session. So it’s more likely you’ll get 2-3 episodes in January to make up for a light December. Next up: The election year of 2024. Oh. Boy.

December was busy, what with the conference in Austin at the beginning of the month, and our daughter coming into town. We got one episode recorded and up — and it was an interesting one, talking all about Big Sur and the impact of highway closures there. We had planned on recording another episode this week, but various issues have delayed that. I hope we’ll be able to record it this weekend, and perhaps I’ll get it edited and up — but who knows. On the positive side, the scripts for the two Route 2 episodes are written and being reviewed. A short break, and then I’ll start researching and writing Season 3, covering Route 3 through Route 7. As always, you can keep up with the show at the podcast’s forever home at https://www.caroutebyroute.org , the show’s page on Spotify for Podcasters, or you can subscribe through your favorite podcaster or via the RSS feeds (CARxR, Spotify for Podcasters) . The following episodes have been posted this month:

  • California Highways: Route by Route logoCA RxR 2.04: Route 1: San Luis Obispo (SLO) and Big Sur.  In Episode 2.04 of California Highways: Route by Route, we continue our exploration of Route 1 by exploring everything about the segment in San Luis Obispo (SLO) County and the portion in Monterey County up through Big Sur until just S of Carmel. This includes the Five Cities (Grover Beach, Pismo Beach, Shell Beach (actually part of Pismo Beach), Arroyo Grande, and Oceano (unincorporated county land serviced by the Oceano Community Services District)), San Luis Obispo, Morro Bay, Cayucos, Cambria, and San Simeon, as well as the (in)famous Big Sur. This episode also features an interview with Anneliese Ågren, a resident of Big Sur. As always, we go over the history of this segment of the route, the history of the route through various communities , the freeway plans, discuss relinquishments, names, and some current plans. We also talk about the history of slides on the Sur, and what people should know about the impacts of those slides. Looking forward, episode 2.05 will continue our exploration of Route 1 with the portions in Monterey, Santa Cruz and San Mateo county from Carmel through Devil’s Slide (Montara). (Spotify Link)

The updates to California Highways are nearly done; I just need to incorporate this headlines post. Other than that, theatre reviews have started up again. I’ve posted “new style” reviews for A Christmas Story – The Musical at the Ahmanson, and MJ – The Musical at the Pantages, as well as my plan for theatre reviewing going forward in 2024 (which includes a summary of my 2023 shows).

I wish everyone a happy and healthy 2024. Please spread the word about the California Highways: Route by Route podcast. Review it, rate it, share it. If you’re listening to the early episodes — yes, the sound quality does get better (I’ve learned a lot about audio editing). You’ll find it in your favorite podcatchers; you can also just subscribe to the RSS feed.  If you listen through Spotify or a podcatcher, I may even see the numbers go up. The Spotify RSS feed is here.  Our most played episode is just under 150 listens according to Spotify; for this season, the best is at 71 (Route 1 in LA County). I’d love to see the numbers grow.

Well, you should now be up to date. Here are the headlines that I found about California’s highways for December:

Key

[Ħ Historical information |  Paywalls, $$ really obnoxious paywalls, and  other annoying restrictions. I’m no longer going to list the paper names, as I’m including them in the headlines now. Note: For paywalls, sometimes the only way is incognito mode, grabbing the text before the paywall shows, and pasting into an editor.]

Highway Headlines

  • Caltrans Announces Public Information Meeting for Proposed State Route 154 and Foxen Canyon Road Intersection Improvements (The Santa Barbara Independent). Caltrans District 5 will hold a Public Information Meeting regarding a proposal to implement improvements at the intersection of State Route 154 and Foxen Canyon Road in Los Olivos. The public is invited to this meeting which will be held in an open house format at the St. Mark’s-in-the-Valley Episcopal Church at 2901 Nojoqui Avenue in Los Olivos on Tuesday December 12th from 6 pm until 8 pm. The public will be able to learn more about this project, view informational displays and ask questions of the project team, including staff from engineering, traffic operations and environmental. Caltrans considered current and future traffic volumes, collision data, and other factors to identify feasible safety enhancements that would address a pattern of collisions at the intersection and support safe and efficient travel for all users now and into the future. The preliminary evaluation indicates that a traffic signal or a roundabout would be feasible alternatives at the intersection. Now that the preliminary evaluation is complete, we will lead a more detailed analysis to identify a preferred solution, and we are looking for public input.
  • Google apologizes for trapping Calif. drivers in the desert (SFGate). Google has apologized for sending a gaggle of Californians on a road to nowhere in the desert as they tried to make their way home from Las Vegas. The apology comes after Shelby Easler went viral on TikTok for documenting her experience after Google Maps promised her family a faster way out than Interstate 15. “The minute we got in the car to leave from Vegas, it popped up on Google Maps as a suggested alternative route to avoid the dust storm,” Easler told SFGATE over Instagram DMs.
  • Toll lanes open on 405 Fwy in Orange County (KTLA). It’s finally here, Orange County. On Friday, new express lanes on the 405 Freeway opened, providing what officials say is a faster option for those willing to pay and less congestion for those who aren’t. “Everyone is going to benefit from this program,” Darrell Johnson, CEO of the Orange County Transportation Authority, told KTLA’s Ginger Chan. “We’re very proud of the work that we’ve done with our partners at Caltrans and all of the cities along the corridor.” The lanes, which span 16 miles from the 605 Freeway at the Los Angeles County line to State Road 73 in Costa Mesa, use electronic tolling, requiring drivers to have a FasTrak transponder.
  • Mammoth $2 billion 405 Freeway project completes with express lanes opening (Los Angeles Times). The opening of new express lanes on the 405 Freeway in northwest Orange County on Friday marked the final step of a massive $2.16-billion highway improvement project. But in many ways, it also wrapped up one of the region’s last major freeway expansions as transportation officials move toward more sustainable and efficient investments. “The era of the big highway projects are over,” said Marlon Boarnet, an urban planning professor at USC and the director of the METRANS Transportation Consortium. “The big, big highway projects are going to become more rare. … [Future work] is going to become much more part of a more balanced system.”
  • LAFD Finds Nearly 2 Dozen Freeway Underpasses Need Fixing (LAist). In the wake of the 10 Freeway fire, the Los Angeles Fire Department inspected all state-owned freeway underpasses in the city and has identified nearly two dozen properties with violations. LAFD inspectors reviewed 50 underpass properties that are similar to where that massive fire sparked in downtown L.A., and 23 of them were referred to the State Fire Marshal for fire code violations. In addition to fire code issues, inspectors were looking for health and safety code violations. Specifically, LAFD looked at hazardous materials storage that exceeds the state reporting threshold of 55 gallons of liquid, 200 cubic feet of gas, and 500 pounds of a solid. LAFD also kept an eye out for improper storage or use of hazardous materials.
  • Driving on the Pacific Coast Highway in Malibu is about to change (KTLA). An ambitious multi-million-dollar project begins Monday to improve safety and traffic flow along the Pacific Coast Highway in Malibu, including the area where four Pepperdine University students were killed in a crash in October. As part of the “Traffic Signal Synchronization Project,” crews will install communication lines between existing traffic signals on PCH between John Tyler Drive and Topanga Canyon Boulevard. Officials said this will allow signals to be controlled remotely by Caltrans to lower speeds and reduce congestion.

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🎭 The Theatre Carol. No, Not THAT Carol

In the seasonally-appropriate classic A Christmas Carol, Scrooge is haunted by the ghosts of Christmas Past, Present, and Future. I, too, am haunted, but by the ghosts of theatre writeups from the past and present… and potentially of the future, if I don’t change things.

I’ve been attending theatre since 1972, when I saw The Rothschilds at the LA Civic Light Opera at the Dorothy Chandler Pavilion.  I didn’t start writing things up until I got my Livejournal account. It started out as a few paragraphs when we would go see a show, as a way of encouraging my friends to go to the shows. Over time, the writeups grew — to the point where they were taking me up to 3 hours to write, and the theatres thought I was a theatre critic and would send me press information.

OK, I’ll admit I was flattered by the last part. But I insisted a wasn’t a critic. Just a theatre lover, writing up things to share with my friends. I had no critical training other than attending shows. I was just a cybersecurity guy who liked live theatre. But the time to write up a show after seeing one was growing. It was a lot of work to link to every artist. I couldn’t think of things to say when I was seeing the same show for the fourth or fifth time (The Sound of Music — I’m looking at you).  Weekends also got crazy, with live theatre almost every weekend; and sometimes two shows on a weekend. It was turning my wife off of performances, and I’ll admit it was tiring trying to keep up.

Then COVID hit. We all stopped attending live performance.

As theatre came back, we started attending shows again.  Our initial position going in was: Subscriptions only. This meant our Center Theatre Group, Broadway in Hollywood, Pasadena Playhouse, 5-Star, and Actors Co-Op subscriptions, plus anything interesting at the Soraya. We didn’t go to fringe. This was our plan throughout 2021 and 2022.

I initially did writeups, but my heart was no longer in it. The effort just got to me.

In 2023, we slowly attended a few more shows. We added some Jewish-themed shows with our Live Theatre Group at our synagogue, which I coordinate. But the write-ups didn’t return.

This brings us to 2024. What am I going to do going forward with respect to theatre and writeups? Here’s the plan:

Attendance

  • We plan to continue attending theatre. We subscribe at the Ahmanson, Broadway in Hollywood, 5-Star Theatricals, and the Pasadena Playhouse. I’ve dropped Actor’s Co-op down to the “specific show” level — their return has been show, the shows haven’t grabbed me, and their Christological bent has always bothered me. We’ll still keep an eye on them, as we do most intimate theatre in LA, but I still haven’t found a company that equals the late, lamented, Rep East Playhouse. We’ll be adding specific shows we haven’t seen before and are of interest — I know there are two shows we’re planning to see at the Geffen (POTUS and Fat Ham), and we plan to see 3-4 shows from the Canyon Theatre Guild season. I want to add more non-musical comedies and dramas.
  • We plan to add more live musical performance to the mix. My wife is a bit musical-ed out (I know, how can that be?), so we plan to add more jazz and band pieces, as well as dance and some folk artists. Art is important in your life, no matter the form. For example, we have tickets to Gordon Goodwin and the Big Little Phat Band  at the Kavli at coming up.
  • We haven’t decided yet on Fringe. Part of that depends on our COVID comfort level, and part of that depends on our June schedule. Fringe can be exhausting, and Karen may not have the stamina to Fringe.
  • Some shows won’t be “we” but “me”. In other words, if it is something Karen doesn’t want to see, I won’t be dragging her. Some things she might go see alone as well. This will typically apply to shows outside the subscriptions.

Writeups

  • The writeups, as I did them in the past, probably won’t return. It is a lot of work to do all links to every artist and creative (and it makes Google suspicious of me). Further, I think performers have moved away from the model of having their own websites (although they should) and having FB pages. Now its Instagram this and Tik-tok that and Twitter/X and …. The goal of the linking was to enable people to find artists and connect. I might do it in specific cases.
  • My focus is going to be on observations regarding the story/book, and to highlight specific performances of note. You can use my recent writeups of MJ and A Christmas Story as examples.
  • I reserve the write to skip story analysis, especially for “old chestnuts” that everyone knows but that subscriptions bring us. For example, I know that Peter Pan is upcoming at Broadway in Hollywood, and Sound of Music is on the 5-Star 2024 season. Not much to say about those. Similarly, I may not do a detailed synopsis, but instead may point to one online.
  • The goals of the writeups is to share what I’ve seen, perhaps encourage (or discourage) you from seeing a show, and to share my fun of attending. I don’t want the writeups to feel like a burden.

Lastly, what haven’t I written up. Here’s the theatre we saw since my last summary writeup in May 2023:

  • May 20 | “A New Brain” @ LGBT Center (Celebration). A wonderful intimate production of a show I had heard but never seen. We really enjoyed this.
  • May 27 | “A Soldier’s Play” @ Ahmanson. Deeply moving. A great drama.
  • Jun 10 | “Bernadette Peters in Concert” @ Pasadena Civic (Pasadena Playhouse). For someone her age, a remarkable show. I wish she had done more from Mack and Mabel, but this was a Sondheim Special.
  • Jun 17 | “Tina” @ Pantages / BIH. A biographical jukebox. Strong performances and dance.
  • Jul 1 | “Into the Woods” @ Ahmanson. A spectacular performance, perhaps the best I’ve seen of this Sondheim gem.
  • Jul 15 | “Beetlejuice” @ Pantages / BIH. Quite a fun show, very different than the movie. Enjoyed it quite a bit. No, we didn’t see Lauren Boebert.
  • Jul 22 | “Cinderella” @ 5-Star. Not much to say.
  • Jul 29 | “Stew” @ Pasadena Playhouse. Interesting, but the story had some problems.
  • Aug 6 | “Tevye in New York“. A one-man show, done in a backyard, about the adventures of Tevye after he left Russia. Based directly on the Sholom Aleichem story, not the musical. TAS Live Theatre group.
  • Aug 12 | “Peter Pan Goes Wrong” @ Ahmanson. Side-splittingly hilarious, and Bradley Whitford was remarkable.
  • Aug 19 | “Spongebob Squarepants – The Musical” @ Woodland Opera House. A friend was in this production, so we drove up to Davis for the weekend. I’ve been wanting to see this; it was the first COVID theatre casualty. A wonderful show; see it if you can. Speaking of that, CSUN will be doing Spongebob at the end of April 2024.
  • Sep 9 | “The Sound Inside” @ Pasadena Playhouse. Interesting drama, with an ending I didn’t expect.
  • Oct 14 | “Oliver” @ 5-Star. Sorry to say, but we left after act 1. The show just didn’t grab me; perhaps I wasn’t in the right headspace for it.
  • Nov 4 | “Inherit the Wind” @ Pasadena Playhouse. A strong and very timely production.
  • Nov 11 | “Tom Paxton” @ McCabes. Tom is still one of the best folk singer-songwriters out there. Now with added Don-Juans.
  • Nov 25 | “70 Girls 70” @ Group Rep. A show I’ve been wanting to see forever; the music just makes me happy. Now I can put Boom Diddy Boom in context. But the story is non-sensical. Still, a fun show with fun performances.
  • Dec 16 | “A Christmas Story” @ Ahmanson.
  • Dec 23 | “MJ – The Musical” @ Pantages/BIH

At the present time, January will bring “Kate” at the Pasadena Playhouse, “POTUS” at the Geffen, and “Sukkot” at the Skylight Theatre (The 6th Act). February brings Matthew Bourne’s Romeo and Juliet at the Ahmanson, possibly The Marvelous Wonderettes: Dream On at Canyon Theatre Guild, and The Wiz at the Pantages/Broadway in Hollywood.

 

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🎭 The Man Behind the Flash | “MJ – The Musical” @ Bway in Hollywood

MJ - The Musical @ Pantages[This is another abbreviated write-up. More on write-ups going forward, as well as a year or more of theatre in review, later this week. Who remembers the line-eater bug these days?]

Last night, we saw “MJ: The Musical” at Broadway in Hollywood/Hollywood Pantages last night. A few observations about the show:

Start by letting this sink into your head: Michael Jackson’s music is oldies music. Remember a few weeks ago I commented, after a visit to a Bob’s Big Boy in Northridge, how their playing music from the 1950s felt off; it was like when I was growing up in the 1970s they were playing music from 1915. The 1950s was oldies music during the 1980s and 1990s. Grease (the movie) came out in 1978. So for kids in the 2020s, music from the early 90s is just about as old. Hence: Michael Jackson is oldies; it is classic pop of today. Watch minds explode.

Going into this show, I was torn. I liked the music of Michael Jackson (although I was never an obsessed fan — I was a different generation). But Michael Jackson has the same problem as Bill Cosby and Woody Allen and so many others: How do you separate the talented artist from the tortured soul who was alleged to (and quite likely did) so many problematic things. Although I have a large collection of Bill Cosby humor albums acquired in the 1960s, I no longer listen to them. I probably won’t until after he dies. I avoid Woody Allen films, as I don’t want to profit the man. Michael Jackson has similar problems, but he is gone. The owners of his music catalog benefit from this show; his children may benefit. A little better, but still a little uncomfortable.

That brings me to the gloved elephant in the room: Does the show address the allegations, or how he died? The answer is that it doesn’t. It’s is set at the time of the start of the Dangerous Tour. There are indications that he’s being hounded by personal questions (that are never stated). There’s brief discussion — but no exploration — of his dependence on pain killers. But that’s about it. I truly debated titling this writeup “Pay no Attention to the Man-Boy Behind The Curtain”, but that would have made the title too long.

So what perception of Jackson comes through? His perfectionism. His dedication to the music and the art. HIs dedication to dance. His putting art above the money, and performance above profit. His desire to do good for others. His shaping through the abuse of his father, Joseph.  As for Jackson’s origin story, well that comes through only superficially. We don’t see the conflicts, if they exist, between his brothers. We learn nothing about the relationship of Jackson and his sisters. We learning nothing about the person that was Michael Jackson; we learn only the image he wanted … sold to the public.

This is not to say that the show was bad. But if you go in expecting to learn something significant about Michael Jackson, you’ll be disappointed. This show, much likes Jackson himself, focuses on the image. “Bad” is only a song. There’s flash and sequins and sparkle and (pay no attention to the man behind the curtain) and music and sub-woofers and dance and dance and dance. It’s a Thiller, where the monsters aren’t real.

The performances were spectacular. The dancing was astounding. The music brought back memories.

But the story was focused on Jackson as the artist, with only glimpses of the person underneath the facade.

As this is an abbreviated writeup, I’m not listing the cast and creatives. Special mention should go to Roman Banks MJ , for his nailing of the sound and movement of Michael Jackson, to Ethan Joseph Little Michael for his powerhouse voice, and to Kellie Drobnick Tour Dancer, who for whatever reason just kept catching my eye.

One additional thought: As I watch productions, I think about what additional life they will have. I can see shows like Come From Away being done at the regional, or even the high school level. I can see revivals and reinterpretations. As for MJ? I can’t see this being done at the High School level — they won’t find students who can do this. At the regional level, perhaps only in select levels. But the production design would be hard to duplicate with the intense projections. Further, duplicating this era at the regional or high school level might be hard, especially props and costumes. This tour might be it. I’d be interested in your thoughts about the the future life of this musical.

MJ: The Musical runs until January 28, 2024 at the Pantages Theatre.

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