Tag: boulevard-music

🎭 🎸 Learning About Legends | Surviving Frank Lloyd Wright @ EST/LA ♦ Ruskin / Book Binder @ Blvd Music

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Surviving Frank Lloyd Wright (EST/LA)Saturday was an interesting day. The Hollywood Fringe Festival (FB) hasn’t started yet, so my calendar was empty. My wife was out of town and I wasn’t in the midst of highway page updates, so I didn’t have much to do. I thought about the opening night of  Ready Set Yeti Go at Rogue Machine Theatre (FB), but there were no discount tickets. But then I received some emails about the solution to my problem.

The first was from Ensemble Studio Theatre / Los Angeles (FB) about a “Check-In Reading” for a play they had in development from Tom Lazarus (FB). “Check-In Readings” are no-frills readings of plays under development in the Launchpad 2018-19 Long Term Dramaturgical program. The readings “check-in” on the current status of the play, and allow an audience to give their reactions and make suggestions.

At this reading, the play was “Surviving Frank Lloyd Wright: The Creation of Hollyhock House“. It was described in the email thusly:

The true story of political radical and free love advocate Aline Barnsdall hiring the scandal plagued genius Frank Lloyd Wright to architect a creative utopia. They battle over the design and the out of control budget. Wright hires Rudolph Schindler to supervise construction throwing the future of Hollyhock House in doubt as the aesthetic and sexual triangles play themselves out.

Given that as an ancillary interest to my highway hobby I have a keen interest in the history of Los Angeles, this play caught my eye. So yesterday started out with a jaunt to Atwater Village for the reading.

This was my first time attending one of these readings, and I had a blast. The setup was simple: actors reading from the script, with another actor reading the stage directions. Voice performance, no costumes, allowing one to focus on the script in development. The performers were: Ian Patrick Williams (FB) – Frank Lloyd Wright; Lizzie Peet (FB) – Aline Barnsdall; Ethan Rains (FB) –Rudolph Schindler; Ashley Francis Hoffman (FB) – Maud (Maude Noel, Wright’s 2nd wife); Maura Knowles (FB) – Miss Lang; Jon Sperry (FB) – Norman Bel Geddes; and Stevie Stern (FB) – stage directions.

I’m not going to go into the developmental work needed or any criticisms — those were communicated to the playwright during the discussion afterwards (and were the purpose of this reading). Readings are how plays mature into what you see working on stage, and it is rare for a play to emerge fully formed and perfect (no matter what the author may think). The same is true for government documents :-). So this is more my positive thoughts on the show.

Going in, although I had heard of Frank Lloyd Wright and Barnsdall Park, I didn’t know much more than that. This show was focused on the creation of Hollyhock House. It starts with Aline Barnsdall hiring Frank Lloyd Wright to build an artist’s utopia at the top of Olive Hill, which she had purchased with her inheritance.  Her plan was to build a theatre, housing for staff, and a house for herself and her daughter on the hill. Wright was focused on the house, and kept delaying everything else. The focus of this play was the conflict between the two, and which ones would give first, and what the ultimate result would be.

I was initially confused as to location when this play started, probably because I’ve never been to Barnsdall Park or seen Hollyhock House. The way the characters spoke, I thought the hill was much higher than it was — but that was likely due to the growth of the area around the park obscuring the hill. Still, this play introduced me to a side of Los Angeles that I didn’t know, and made me go and research people I had never heard about (in particiular, Aline Barnsdall). That’s a good thing for a historical play. It helped me learn the personalities of these people. The script caught and held my attention, and I had a blast learning both about the story and the play development process.

The performances were strong. The actors, as this was a reading, had no costumes, no particular directions other than those in the script, and no real rehearsal. As such, you got to see the pure actor’s side: taking the lines on the page and bringing them to life just through voice and minimal movement. They did a great job. I particularly enjoyed the Williams, Peet, and Sperry.

I got such a kick out of this that I plan to attend more readings. If you want to learn about these types of efforts, get on the email lists for the theatres you like. To get on EST/LA’s list, click here.

Rick Ruskin and Roy Book Binder (Blvd Music)The second email I received was from Boulevard Music (FB) about a concert from Rick Ruskin and Roy Bookbinder. I was familiar with Rick Ruskin (FB), having been introduced to him by my uncle through some of his earlier albums. I was unfamiliar with Roy Bookbinder (FB) (sometimes written as Roy Book Binder). Both were expert guitar players, students and friends of the Reverend Gary Davis, with both a blues and humorous guitar style.

As I was less familiar with the songs from these artists (I have four albums from Ruskin, none from Bookbinder), I don’t have a play list. The two were both on stage at the same time, alternating songs and sharing stories. Ruskin did a mix of songs from Davis, himself, and a few covers of popular songs. Bookbinder focused more on the blues, doing songs from Davis, himself, and a few others. What was notable about Bookbinder was his stories. Before — and sometimes during — each song, Bookbinder would tell a rambling story of how the song came to be, stories about characters in the songs, and so forth.

There were a few mentions of Peter, Paul and Mary; I hadn’t realized that “If I Had My Way” was a Davis song and earned him substantial earnings. There was also a story about Mississippi John Hurt.

I enjoyed the music quite a bit, and picked up two albums from each artists. Always support artists at shows by buying merch.

Both had interesting observations about their age. This got me thinking about who the new folk artists are; in other words, who are the youngsters perpetuating the folk tradition. I’m not sure the answers, but I’d like to explore getting music from folk artists who aren’t 15 years older than I am.

🎭

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 Ahmanson Theatre (FB) [2018-2019 season], 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:

Next week, the the Hollywood Fringe Festival (FB) starts. If you are unfamilar with Fringe, there are around 380 shows taking place over the month of June, mostly in the stretch of Santa Monica Blvd between 1 bl W of La Brea to 1 bl E of Vine, but all generally in Hollywood. On a first pass, there were lots I was interested in, 30 I could fit on a calendar, but even less that I could afford. Here is my current Fringe schedule as of the date of this writeup. [Here’s my post with all shows of interest — which also shows my most current HFF19 schedule. Note: unlike my normal policy, offers of comps or discounts are entertained, but I have to be able to work them into the schedule with the limitations noted in my HFF19 post]:

Key: ⊕: Non-Fringe Show/Event; °: Producer/Publicist Arranged Comp or Discount

As for July, it is already filling up. The first weekend of the month is still open. The second weekend brings An Intimate Evening with Kristen Chenowith at,The Hollywood Bowl (FB).  The third weekend of July brings Miss Saigon at the Hollywood Pantages (FB), followed by A Comedy of Errors from Shakespeare by the Sea (FB)/Little Fish Theatre(FB). The last weekend of July brings West Side Story at 5 Star Theatricals (FB). August starts with an alumni Shabbat at camp, and The Play That Goes Wrong at the Ahmanson Theatre (FB). August ends with Mother Road at the Oregon Shakespeare Festival (FB), and we might do rush tickets for Alice in Wonderland as well. In between those points, August is mostly open.

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!

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🎶 My One Band is the One True Band | “Austin Lounge Lizards” @ Boulevard Music

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Austin Lounge Lizards (Boulevard Music)My dear departed friend Stuart Schaeffer did two outstanding things for me, musically: he introduced me to the music of Big Daddy, and he introduced me to the Austin Lounge Lizards. The Lizards are a satirical bluegrass band out of Texas, and their music is just great. Although described as “bluegrass”, they run the range from acapella choral singing to rock and roll, from the aforementioned bluegrass to country, and pretty much everything in between. Their lyrics skewer people and topics, and are cleverly written. Whenever we learn they are coming to town, we do our best to see them (but, alas, they often conflict with prescheduled theatre).

Luckily, although there was a conflict, it was with a subscription show, and we were able to change our tickets to Sunday. So last night we got together with some friends and went down to Boulevard Music in Culver City to see the current incarnation of the Lizards do their show. The Lizards are down to two of the three founding members (Tom Pittmann having retired, but Hank Card and Conrad Diesler are  still there), and have been joined by two original Lizards, Kirk WIlliams and Tim Wilson. For two songs, Corey Simone, who was also a former Lizard and now has a band in the area, joined the group.

To make my life easy, I copied their set list before the show. This show was a little different in that there were a number of non-Lizard rock numbers worked in between the traditional Lizards fare. Here is the set  list, with a few comments. I’ve done my best to get the full names of songs (non-Lizard songs in italics):

  1. Highway Cafe of the Damned
  2. Ashokan Farewell / War Between the States / War
  3. We’ve Been Through Some Crappy Times Before
  4. That God Forsaken Hell-Hole I Call Home
  5. Grunge Song
  6. The Dogs, They Really Miss You / Walking the Dog / Iggy
  7. Boudreaux Was a Nutcase
  8. Black Helicopters
  9. Buenos Dios, Budweiser
  10. Gospel Medley: One True God / Three Sinners / Zen Gospel Singing
  11. (Intermission)
  12. Teenage Immigrant Welfare Mothers on Drugs
  13. Carazon de Goma (new song)
  14. Creep / Shallow End of the Gene Pool / People are Strange
  15. Another Stupid Texas Song
  16. Strange Noises in the Dark
  17. Have You Ever Seen the Rain / Irma / Acid Rain Keeps Falling / Beatle
  18. Jesus Loves Me (But He Doesn’t Like You)
  19. The Chester Nimitz Oriental Garden
  20. The Zombie Song / Monster’s Holiday
  21. Hillbillies in an Haunted House
  22. (curtain call)
  23. Old Blevens
  24. Stop in the Name of Love / Can’t Do / Cornhusker Refugee / My Boyfriend’s Back

I still  think they need to combine “Stupid Texas Song” with “I’m Leaving Texas” from Best Little Whorehouse Goes Public.

Alas, they didn’t do a number of my favorites, but that’s the nature of any show. What’d I miss? Saguaro, The Drugs I Need, Rasputin’s HMO, Go Ahead and Die (a great medley trio there), Industrial Strength Tranquilizers, Bust the High School Students, Big Rio Grande River, Half a Man, and Big Tex’s Girl… for a start.

But still, it was a great show, and you can never get all the songs you want.

***

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

Upcoming Shows:

Today brings She Loves Me at Actors Co-op (FB) a visit to Stitches So Cal.  The second weekend of November is very busy: Dear Even Hansen at the Ahmanson Theatre (FB) and A Bronx Tale at the Hollywood Pantages (FB), as well as A Day Out With Thomas at Orange Empire Railway Museum (OERM) (FB). The third weekend of November brings Beyond Jacobs Ladder from Jewish Woman’s Theatre (FB) at our synagogue on Saturday, and Finks at Rogue Machine Theatre (FB) on Sunday. Thanksgiving weekend has Steambath at the Odyssey Theatre Ensemble (FB) on Saturday and Remembering Boyle Heights at Casa 0101 (FB) in Boyle Heights on Sunday. December starts with the Annual Computer Security Applications Conference (ACSAC), followed by a hold for the Canadian Brass at the Saroya [the venue formerly known as the Valley Performing Arts Center (VPAC)] (FB). Then we may travel up to the Bay Area for Tuck Everlasting at TheatreWorks Silicon Valley (FB) (although that is starting to look less likely).

January is much more open, especially after the postponement of Bat Out of Hell at the Ahmanson Theatre (FB). Right now, all there is is a Nefesh Mountain concert at Temple Judea and a hold for the Colburn Orchestra at the Saroya [nee the Valley Performing Arts Center (VPAC)] (FB) but the rest of the month is currently open (as few shows run in January due to complicated rehearsals over the holidays). We’ll keep our eyes open. February starts with the Cantor’s Concert at Temple Ahavat Shalom (FB), Hello Dolly at the Hollywood Pantages (FB), and Anna Karenena at Actors Co-op (FB).  There’s also a HOLD for 1776 at the Saroya [nee the Valley Performing Arts Center (VPAC)] (FB), and Lizzie at the Chance Theatre, but much of February is also open.

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

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When Restraining Orders Expire

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Austin Lounge Lizards (Boulevard Music)userpic=folk-artistsAs I said in my last post, yesterday was a day of running. She Loves Me ended right around 5:45 PM (it started at 3:00 PM), and we had tickets for an 8:00 PM concert in Culver City. So rush off we did, grabbing dinner at Togos and flying the 51 miles between Chance Theatre (FB) in Anaheim and Boulevard Music (FB) in Culver City. Yes, Boulevard Music — there are now two small folk music venues on the westside of Los Angeles: the venerable McCabes and Boulevard, right near Culver and Sepulveda. We were running to Boulevard Music to see the Austin Lounge Lizards (FB), who were doing their first show in Southern California since 2001 in Encino. As they noted, they were able to come back because the restraining order ended. Note: We made it there in just about an hour, thanks to Google’s alternate routing.

For those who aren’t familiar with the Austin Lounge Lizards — shame on you. They are one of the best satirical bluegrass bands around (although right now, they are down a banjo player — which, depending on your view of the banjo, might be an improvement). If you like Weird Al; if you like the Arrogant Worms; if you like Tom Paxton’s short shelf life songs — you’ll like the Lizards. They combine humor with great musicality to create a very entertaining show.

A word on the venue, as it was new to us. Boulevard Music is much smaller than McCabes — they set up the folding chairs in the main showroom (instead of the room in back) and they can’t handle online ticket sales. But they are super friendly, and seem to be well connected folk-wise, given some of the other folks there for the show. Further, the parking is much much easier. I recommend you check out their concert list and sign up for their mailing list — you might learn about some interesting concerts.

As for the show itself — the show featured two original Lizards (Hank Card, Conrad Diesler) and two newer members (Darcie Deaville, and Bruce Jones). Former lizard Korey Simeone (FB), who was local, joined the group on quite a few songs. The show playlist was as follows (♦=New Song):

Act I

  1. The Highway Café Of The Damned
  2. I Lied
  3. If I Saw You All The Time
  4. Buenos Dias, Budweiser
  5. La Cacahuate
  6. One True God
  7. We’ve Been Through Some Crappy Times Before
  8. Thank You For Touching Me There
  9. The Drugs I Need
  10. Strange Noises In The Dark
  11. The Car Hank Died In
  12. Stupid Texas Song
  13. Xmas Time for VISA
  14. Would You Like To Start A Band

Act II

  1. The Golden Triangle
  2. That Godforsaken Hellhole I Call Home
  3. ♦ I Confess To You
  4. Jesus Loves Me (But He Can’t Stand You)
  5. Paint Me on Velvet
  6. The Dogs, They Really Miss You
  7. My Bonnie Johnson
  8. Old Blevins
  9. Wer Ist Da
  10. Who Needs You
  11. Teenage Immigrant Welfare Mothers on Drugs
  12. Pflugerville

In short, the show was a mix of songs from throughout the Lizard’s performing career, with one new songs. A number of songs just can’t be done well without a banjo (how many times do you hear that!), and some really require Tom Pittman to work.

All in all, a good show…. and hopefully it won’t be 13 years before the Lizards are back in Southern California.

Ob. Disclaimer: I am not a trained theatre critic; I am, however, a regular theatre audience. I’ve been attending live theatre in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I 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: There is one more show in December for me: A Christmas Carol, as interpreted by Zombie Joe’s Underground (FB) on December 28  (my wife is seeing The Klezmatics at Disney Hall on December 22). January is slowly filling up:  “An Evening with Groucho” at AJU with Frank Ferrente at American Jewish University on Sun January 11; “Avenue Q” at REP East (FB) on Sat Sanuary 17; and possibly the Cantors Concert on Sat January 31 at Temple Ahavat Shalom. February and March pick up even more, with “The Threepenny Opera” at A Noise Within (FB) on February 15, a hold for “Loch Ness” at the Chance Theatre (FB)  on February 21, “The Road to Appomattox” at The Colony Theatre (FB) on February 28, the MRJ Man of the Year dinner on March 7, “Carrie: The Musical” at La Mirada Theatre for the Performing Arts (FB) on March 14, a hold for “Drowsy Chaperone” at CSUN on Friday March 20, “Doubt” at REP East (FB) on Saturday March 21, “Newsies” at the Pantages (FB) on March 28, followed by Pesach and the Renaissance Faire on April 11. As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Bitter-Lemons, and Musicals in LA, as well as productions I see on Goldstar, LA Stage Tix, Plays411.

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