Deaths of Interest: Actual, Imagined, or Anticipated

A number of deaths have come across my desk in the last few days:

  • Gene Spafford. Gene Spafford has died. Well, actually, he hasn’t, but he has written his obituary in advance. You should read it–it’s a hoot! It truly reflects Gene’s unique sense of humor. We’ll miss him.
  • Hybrid Roses.  Earlier this year I got the urge to plant bare-root roses. I went over to Lowes… and there was nothing of interest. I remember the days when I’d visit Green Arrow Nurseries, and there would be loads and loads of varieties. Today,  it is harder and harder to find interesting hybrids and varieties, grandifloras and such. There’s a reason: Varietal roses have gone out of style: rose breeders have gone bankrupt, and in this economy, people are more interested in hardier landscape roses.
  • Encyclopaedia Britannica. The print edition of Encyclopaedia Britannica is dead. I remember growing up in a world of encyclopedias. We had the World Book at home, with yearbooks added regularly. We also had Funk & Wagnalls. Today, everyone believes that well-known bastion of knowledge: Wikipedia and Google. Yet another sign of the devaluation of learning in our society today (if you need another example of the devaluation of learning, just look at the Republican Presidential campaign).
  • Education in California. Steve Lopez has an excellent piece in the Los Angeles Times about how, at every level from public K-12 to universities, California has gone from an educational giant to a laughingstock. I touched upon this a few days ago. I, too, am a proud product of California education: Los Angeles Unified (Palisades HS) and the University of California (UCLA). My wife is also California-educated (Chatsworth HS and CSUN). Yet our daughter is escaping LAUSD just in time (she’s a senior), and hopefully she’ll be able to go to a good school out of state (because we’re not sure if we could afford state schools). It is just sad to see this.

Now, some of these deaths are inescapable: I don’t think there is any way to save Britannica. Some are imaginary: I hope Gene continues to be around and enlighten our industry for years to come (although I’m not sure his grad students feel the same way). But the rest we can do something about: We can demand good varietal roses. We can demand the California stop decimating education in favor of prisons. We can elect politicians who want to save education — at the state and the local level. It is up to us to prevent unavoidable deaths.

Music: Aspects of Love (1989 Original London Cast): ‘She’d be Far Better Off With You’

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Beautiful Music, Beautiful Venue

Last night, we went to the new Valley Performing Arts Center at California State University, Northridge (CSUN) to see one of their inargural concerts: Brian Stokes Mitchell. Before I go into the show itself, a few words about the venue.

This was our first time at VPAC, which is a brand-new (opened in February) performing arts facility located on the CSUN campus. It is a beautiful venue in many ways, with loads of light woods and marble; however, as befits a CSUN building, it isn’t overly ornate. Decorations are primarily glass and the overhead lighting is florescent, although there is a beautiful reflecting pool with sculptures in front of the building. Inside, the light woods theme is repeated. There are three seating levels (we were the last row in the first balcony, called the loge) over four stories with a total seeting capacity of 1672. This is about the same size as the Ahmanson (which is configurable to 1600-2000), but it seems a lot smaller; it’s smaller than the 1800-seat Kavli and significantly larger than the 499-seat Broad. The sight lines are great, and the seats are comfortable (although firm). What sets the building apart are the acoustics (technical specifications). The hall has variable acoustics, meaning that behind the screen “grillage” covering the rear and side walls are carefully shaped reflecting wall construction and deployable sound absorptive wool serge fabric. Additional variable acoustic banners can be deployed above the hall’s catwalks to further modify the halls sound quality to suit a wide range of performance types. The hall also includes sinuous wood ribbons radiating from the stage while more than 34,000 feet of stainless steel mesh panels cover the acoustical fabric on the rear walls. The hall also includes an adjustable orchestra shell, a spacious professional stage-house with an 85-foot-high full fly tower equipped with a 60-line set rigging system, a hydraulic stage extension/pit lift and generous backstage maneuvering space for large stage sets. You can see the effect of this in the figure to the right.. What this means, of course, is that the acoustics are perfect (better than the Disney Hall downtown, from what I’ve been told). From where we were sitting in the last row of the first balcony, we could hear perfectly, and there was no hint of amplification is the sound. In fact, Stokes did one song without amplification, and we could hear him perfectly. That’s great acoustics, and that’s what makes this hall a delight. We only had two, easily correctible, complaints with the hall, in fact: (1) the blue safety lights behind the box seating were too bright and need to be toned down, and (2) they need edging on the marble steps so that people know where the edges are and don’t slip.

As for the concert itself. If you’re not familiar with Brian Stokes Mitchell, he’s a Broadway performer who has been the lead in a number of shows: Ragtime, Man of La Mancha, South Pacific (concert), Do Re Mi, and many many others. He has a beautiful baritone voice with lots of power behind it; this is combined with a friendly and accessible demeanor that makes him great in shows. Over the two-and-a-half hour show, Stokes (as he is known) sang the following:

Act I
Some Enchanted Evening
Make Someone Happy
Where is the Life That Late I Led?
Stars
Dulcinea
Love for Sale
How Long Has This Been Going On
Soliloquy
This Nearly Was Mine (no amplification)
I Was Here
      Act II
Take The “A” Train/Another Hundred People
The Best Is Yet To Come
The Waters of March
It’s Not Easy Being Green
Hooray for Tom
New Words
America The Beautiful/Wheels of a Dream
Some Other Time (encore)
The Impossible Dream (encore)

This was a mix of Broadway songs (with at least one from each of his major shows, with the exception of Guys and Dolls, which he was in at the Hollywood Bowl). Some songs were particularly notable. He did “This Nearly Was Mine” without amplification (as I noted above); we could hear him perfectly from the back of the hall, although I was much more conscious of audience noise. “I Was Here” is a song from The Glorious Ones that was adapted by Ahrens/Flaherty for a new book Stokes has out supporting the Actors Fund; it is all about being in the theatre. “The Waters of March” was a Brazilian list song I hadn’t heard before. “Hooray for Tom” is a song about a kid at a spelling bee. “New Words” is a Maury Yeston song about a child learning new words that is a beautiful lullaby.

On the whole, this was a beautiful concert in a beautiful facility.

Also announced during the concert was the 2011/12 season at VPAC. There are a number of shows we’re interested in (my shows are bolded; my wife’s are italicized; and things we both like are bold-italic: Arturo Sandoval “Tribute to My Friend Dizzy Gillespie) (Sep 10); Jamie Lee Curtis (Sep 24); National Acrobats of the People’s Republic of China (Sep 30); An Evening with Bernadette Peters (Oct 15); Mariinsky Orchestra (Oct 18); The Miles Davis Experience (Oct 23); Linda Eder and Tom Wopat (Oct 30); The King’s Singers (Nov 5); Wynonna (Nov 6); Trisha Brown Dance (Nov 19); David Sedaris (Nov 20); Compania Flamenca/Jose Porcel (Dec 2); Moscow National Ballet (Dec 14/15); Susan Graham (Jan 18); Diavolo (Feb 2); Hal Holbrook/”Mark Twain Tonight” (Feb 4); Ramsey Lewish with Nnenna Freelon (Feb 11); Royal Winnipeg Balley/Moulin Rouge (Feb 18); Wroclaw Philharmonic (Feb 23); Vladimir Spivakov/Olga Kern (Mar 1); Los Tigres del Norte (Mar 8); Marin Mazzie/Jason Danieley (Mar 17); Savion Glover (Mar 24); SFJAZZ Collective (Mar 27); Emerson String Quartet (Apr 18); Geena Davis (Apr 19); Academy of St. Martin in the Fields with Joshua Bell (Apr 25); The Acting Company/Julius Caesar (May 1); The Acting Company/Comedy of Errors (May 3); Stars of the Russian Ballet (May 4); John Pizzarelli Quartet with Jane Monheit (May 12); and Barbara Cook (May 19).

Upcoming Theatre, Concerts, and Dance: May starts with our penultimate Pasadena Playhouse production, “George Gershwin Alone“, on May 7. The weekend of May 12-14 will bring the “Collabor8 Dance Festival” at Van Nuys High School, which is always excellent. The third weekend in May is currently open, but I expect that to change. The last weekend of May brings Cabaret” at REP East on May 28. June begins with “Year Zero” at the Colony Theatre on June 5, but most of June is lost to the college visit trip (but who knows — we might go see “Always Patsy Cline” at the Ryman Auditorium in Nashville). July should hopefully start with “Les Miserables” at the Ahmanson on July 2 (pending hottix), and continue with Jerry Springer: The Opera (July 8, Chance Theatre, pending ticketing); “Twist: A New Musical” (July 16, Pasadena Playhouse, ticketed); “Jewtopia” (July 17, REP East, ticketed); Dolly Parton (July 23, Hollywood Bowl, pending ticketing); “Shrek” (July 23 or 24, Pantages Theatre, pending ticketing); and “The Sound of Music” (July 30, Cabrillo Music Theatre, ticketed).

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Oh, The Things That You Think!

This evening we did something a little unusual and saw a mid-week musical: “Seussical: The Musical” as done by the Teenage Drama Workshop at CSUN. It was a show we hadn’t seen, and we knew a number of kids in the cast from Erin’s days at Nobel.

As background, “Seussical” is a musical based on the Dr. Seuss books, with music by Lynn Ahrens, Book and Lyrics by Lynn Ahrens and Stephen Flaherty, and co-conceived by Lynn Ahrens, Stephen Flaherty, and Eric Idle. The story basically combines “Horton Hears a Who” with “Horton Hatches an Egg”, with a number of other Seuss stories and characters thrown in for good measure. If you are familiar with the two-act version of the cast album, this is a cut down, one act version that preserves the basic story, but cuts out some of the more extraneous stuff, such as the Butter Battle, and the environmental subplot (it appears to be the Jr. High/Middle School version). Most of the songs were preserved that related to the main plot, although I noticed some tweaks along the way.

The TADW kids did an excellent job with the show. I want to highlight some particular performances before I list everyone. Standouts in the cast were Sarah Martellaro as Gertrude McFuzz and Ian Fairlee as Horton. Sarah in particular was spectactular: she had great comic timing and expressions, and her vocal quality was excellent. She moved well and danced well and just drew your eye. As Horton, Ian had good vocal quality and expression; his role has much less dancing and movement. I was also impressed by Brittany E. Williams as the Sour Kangaroo: she had a very strong jazzy singing voice and good moves and expressions.

My second tier were some folks who had some problems, but were entertaining none-the-less. In this group were Colin Mika as Jojo: he had a few weak singing moments, but on the whole was fun to watch. I also enjoyed Lindsay Kazan as Mayzie LaBird: other than some points where her voice mysteriously disappeared, she had a strong singing voice and good dance moves. As The Cat, Daniel Stewart was very good on the acting and the movement, but his voice was a little bit nasally for my taste.

Completing the cast were: Aaron Jacob (Mr. Mayor), Milli Miereanu (Mrs. Mayor), Yael Karoly (Wickersham), Lily Lester (Wickersham), Devon Yaffe (Wickersham, Puppeteer), Tiffany Conway (Bird Girl), Lili Khalighi (Bird Girl), Lindsay Robb (Bird Girl), Josh Knoller (The Grinch), Evan Sanford (Thing #1, Cop Who), Camden Garcia (Thing #2, Kid Who), Kate Westrum (Miss P. Bush, The Guff, Puppeteer), Kaitlyn Rickaby (Vlad, Shopping Lady Who, Puppeteer), Zach Birch (Hunter, Marching Band Who, Puppeteer), Kathy Steele (Hunter, Tennis Who, Puppeteer), Camille Martellaro (Yertle the Turtle, Librarian Who, Puppeteer), Samantha Hartmann (It’s Possible Dancer, Yep on a Step), Raleigh Stamper (It’s Possible Dancer, Rainbow Bellied Flark), Nichole Church (The Purple Smerk, Puppeteer), Mara Eisner (Twin Gink, Puppeteer), Daniela Grinblatt (Twin Gink, Puppeteer), Olivia Hsia (Flying Feegle, Puppeteer), Sarah Lasky (The Parazeek, Puppeteer), Rocio Alvarenga (Baker Who), Kaitlyn Katalbas (Little Girl Who), Kyla Lockette (Rainy Day Who), Collette Navasartian (Boo Who), Haley Perkins (hard Hat Who), Annie Reznik (Cindy Lou Who, Puppeteer), Analisa Venolia (Teen Who), and Gracie Wall (Business Lady Who, Puppeteer).

The production was directed by Ronnie Sperling, who did a great job of bringing these kids together into an excellent cohesive whole. Choreography was by Candy Sherwin, with Kailey Short as Dance Captain. Music direction was by Ed Archer, assisted by David Lockwood. Owen Panno was Stage Manager.

Technically, the production was very very good. I was extremely impressed with the sets (designed by Cesar Holguin) and the lighting (designed by Rob Fritz). They created the mood well and integrated creatively into the production. It was particularly taken with the fish designed for the bath sequence; credit for the puppet design and construction goes to Renee Vlashi. The excellent costumes were designed by Maro Parian, assisted by Tamara Cooper and Becca Lasky. Props were by Matthew McKenna. Sound was by Caroline Law.

There are two more performances of “Seussical” on Thurs, 8/5, and Friday, 8/7, both at 11am.

Upcoming Theatre and Dance. Our busy theatre week continues on Friday, when we’re seeing [title of show] at the Celebration Theatre on Friday, August 6 and “Speech and Debate” at the Secret Rose Theatre on Saturday, August 7. August 15 brings the August “Meeting of Minds”, which will be the last production at the Steve Allen Theatre and features Adam Smith (Ian Buchanan), Chacko Vadaketh (Ghandi), T. B. Specified (Margaret Sanger), and Jack Maxwell (Steve Allen). August 21 brings the last 81 Series production: “Side Man” at REP East. Currently, the only show ticketed in September is “Free Man of Color” at the Colony on September 4. Pending ticketing is “Leap of Faith” at the Ahmanson Theatre (September 11-October 24, Hottix on sale August 17), The Glass Menagerie at the Mark Taper Forum (September 1-October 17, Hottix on sale August 11), and “Dr. Jekyll and Mr. Hyde” at REP East (9/17-10/16). It is unknown if there will be a September “Meeting of Minds”, and if so, when and where. The only show currently ticketed in October is “Happy Days: The Musical” at Cabrillo Music Theatre on October 30, but I’m sure some interesting productions will pop up. They always do.

As always: live theatre is a gift and a unique experience, unlike a movie. It is vitally important in these times that you support your local arts institutions. If you can afford to go to the movies, you can afford to go to theatre. If you need help finding ways, just drop me a note and I’ll teach you some tricks. Lastly, I’ll note that nobody paid me anything to write this review. In fact, I receive no remuneration for any reviews I write.

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Recruiting Students for Engineering

This afternoon I was at Valley State (oops) CSUN for a meeting of the Industry Advisory Board for the School of Engineering and Computer Science. One subject we discussed was how to convince students in high schools and middle schools in the valley to consider careers in engineering and computer science. I mention this because of an article in today’s New York Times about fundamental shifts in the job market. Jobs are going away in this market… and unlike in other markets, these jobs are simply not coming back. There are many industries where there are fundamental shifts in the number and jobs out there. Newspapers are one: jobs in journalism are going to be very different in the future than they used to be. Manufacturing, especially the automotive industry, will be the same way. We’re going to see contractions in such manufacturing and sales that will never come back in the same way that they once were. Same thing with financial services: you’re going to see fundamental changes in the loan origination market. I’m sure this has happened before: where are the buggy manufacturers? Where are the town blacksmiths?

In any case, this article got me thinking about the original question. Engineering jobs: be it computer science, electrical engineering, civil engineering, engineering management, etc., are not going away. Just as Northrop Grumman out here is getting rid of 750 administrative job, they are looking to hire over 800 technical positions. So how to we convince students in middle school and high school to consider technical careers? In particular, how to we encourage minorities to go into these careers? The percentages of women in engineering and CS is at best static. I don’t know about other minorities, but I don’t believe they are rising. So how do we get people to go technical?

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I Feel Like I’m 90 Again!

[OK, who can identify the source of the title?]

Today, I did something I haven’t done for years. I’ve been trying to study for my CISSP, but keep being distracted by “Shiny! Internet!”. So I took a vacation day, and went over to CSUN (closer than UCLA), and hid in the Oviatt Library stacks, reviewing my CISSP book. Slogged through about 100 pages, which is pretty good for the networking chapter. I think I’ll keep it up, but I sure felt like an out-of-place college student (remember, I’ve been out of college since 1985).

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From you I get opinions. From you I get the story. Listening to you I get the music.

Around the time my brother died (1970), a unique rock album hit the streets called “Tommy”, by the British rock band The Who. Back then, I dismissed it. I was heavily into Peter, Paul, and Mary, and didn’t like the heavy loud rock music. By the time I was in college, I had acquired a few albums by The Who, including “Meaty, Beaty, Big, and Bouncy”, a compilation album featuring the song “Pinball Wizard”, which I really liked.

I never thought much about “Tommy”, although over time I did acquire the album itself, as well as the original cast album of its first Broadway production (which won a Tony award for Best Original Score in 1993). This afternoon I finally had the opportunity to see “Tommy” on stage, as the CSUN Theatre Arts Department was doing a production of the show.

I saw it. I heard it. I felt it. And I have excitement in my feet.

For those unfamiliar with the story, Tommy is the story of Tommy Walker. It begins with a musical prologue showing the meeting of his parents, and his fathers departure for the WWII front, including his capture and internment. Mrs. Walker takes a lover upon hearing that her husband didn’t return. When Tommy is four, his father returns finding his wife and her lover inflagrante, and shoots the lover while Tommy watches everything in a mirror. His parents tell Tommy that he heard nothing, saw nothing, and is to say nothing. Tommy withdraws into himself, and is for all intents and purposes deaf, dumb, and blind. As such, he is the target of molestation at the hands of his uncle and taunting and torture at the hands of his cousin. His only solace is pinball, and he is a pinball wizard. As such, he becomes popular and hero of the neighborhood lads. Back at home, all Tommy does is stare into the mirror. Desparately trying to reach him, his mother smashes the mirror, which frees Tommy. He leaves home, and the cure is considered miraculous. His uncle and cousin capitalize on his stardom, and Tommy gives in. When one fan rushes to the stage and gets beaten, he realizes the cost of his celebrity. He invites everyone to return home, and spreads the message that the true miracle is available to everyone: to see, hear, and feel other people, not withdraw inside themselves. Of course, the crowd doesn’t like this message, wanting instant salvation, and turns away from him. Tommy is left with his family, who embraces him.

Sounds like a story of today, doesn’t it?

For the most part, CSUN did an excellent job. The show was a true rock opera, being entirely sung through. Unlike other “rock” musicals, this didn’t take the typical music form with ballads, 11 o’clock numbers, and charm songs. It was all heavy rock. Not even shows such as Hair, Jesus Christ Superstar, or even Rent rock like this. There was strong singing and strong dancing. As much of the story was told by dance and pantomime, the acting was equally strong. The show, however, wasn’t perfect. There were numerous sound glitches (usually over, not undermicing), and some scenery just didn’t want to concentrate. The dialogue coach also needs to learn the difference between an Australian and an English accent. I felt like I was listening to Peter Allen in The Boy From Oz.

The principles in the cast were particularly strong: Tillie Spencer as Mrs. Walker; Milo Shearer as Captain Walker, and the individuals playing Tommy. The youngest of the latter (Age 5) was played by Emily Greaver. More impressive was Lindsey Sacks as the manipulator of the Tommy Age 10 — although she didn’t say a line, she reacted to the horror and you could just read it in her face. The older Tommy was Erik Roget who had a remarkably strong singing voice and dancing skills. Look for these folks to go far. I’ll note that both Tillie and Erik are in a recording group called Acasola.

Others in the cast included Nicole Bouffard (The Specialist, Tommy Girl), Sabrina Cavalletto (Kevin’s Mother, Mrs. Simpson), John Cervanka (Allied Soldier, Judge, Local Lad), Gloria Galvan (Nurse, Voice of 4 year old Tommy), Joseph Harper (Lover, News Vendor, Hawker), Elizabeth Jordan (Nurse, Voice of 10 year old Tommy), Brent LaBrada (Cousin Kevin), Danielle Morris (Minister’s Wife), Elaine Nuguid (Nurse), Justin Rabi (Uncle Ernie), Chavonne Rees (Nurse, Tommy Girl), Jon Rosell (Officer, Local Lad), Danny Ross (Local Lad, Security Guard), Chester Sakamoto (Officer, Local Lad), Richie Sarian (Allied Soldier, Barrister, Kevin’s Father, DJ), Jonnae Thompson (The Gypsy, The Acid Queen), Brittany Thornton (Sally Simpson), Justine Woodford (Specialist’s Assistant), Kohtaroh Zushi (Barrister, Local Lad, Security Guard), and Aaron Zwirn (Minister, Harmonica Player, Mr. Simpson).

The show was directed by Garry D. Lennon, with musical direction by David Aks. Choreography and assistant stage direction by Pippa Greene. Scenic design was by John H. Binkley. Costumes by Paula Higgins. Lighting by Mark Svastics, and sound design by Mike Ziegler.

“The Who’s Tommy” continues at CSUN until April 13.

As for what’s upcoming, it hasn’t changed much from this morning. Next week is the Southern California Renaissance Faire (on Saturday). April 19th brings Pesach, and the weekend after that (April 26-27) is the Orange Empire Train and Trolley Festival (I’ll be there Saturday). Theatre picks up again on 5/10 @ 8pm with “The Brain From Planet X” at Chance Theatre. 5/17 may bring, followed byPippin” at East West Players on Sun 5/10 @ 2pm (currently unticketed). 5/24 @ 8pm is “Of Mice and Men” at the Pasadena Playhouse, directed by former Pasadena Playhouse artistic director Paul Lazarus. 5/29, 5/30, and 5/31 brings “Grease” at Nobel Middle School. 6/7 @ 8pm is “The Full Monty” at REP East, with (hopefully) “Songs from an Unmade Bed” at the Celebration Theatre on 6/8 (unticketed). 6/28 @ 2pm should be “A Chorus Line” at The Ahmanson Theatre (pending exchange). 7/5 will hopefully be “A Very Brady Musical” at Theatre West (unticketed). 7/13 @ 1pm is “The Drowsy Chaperone” at the Ahmanson; 7/26 @ 8pm is “Looped” at the Pasadena Playhouse, and 8/2 @ 2pm is “Singing in the Rain” at Cabrillo Musical Theatre.
(Updated 2008-04-08 2:30pm)

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Update at the Conference Dinner

The conference dinner was its usual interesting affair. I’m not sure I’ll do the same thing next year, at least in terms of food. There was a lot of the buffet items left uneaten (especially the seafood paellia). I’ll probably do a plated meal.

The discussions, as always, were the most interesting part of the evening. I had my usual fun introducing people to other people (I feel that is one of my jobs at the conference). In this case, I introduced Hongxia Jin (who gave our broadcast encryption tutorial) to Deb Downs, as both have or had an interest in digital rights management. Looks like we may have a tutorial proposal on that next year. That’s about four tutorial proposals I’ve already solicited today.

Dick, as usual, was fishing for drink tickets :-). He actually won a large book on security during the book raffle… which he promptly auctioned off for 8 drink tickets. One person at our table won a book on security metrics. She was an MBA student there with her husband, which led to a fascinating discussion on risk management and how companies deal with risk and justifying the cost of security.

The student paper winner was local, from the University of Central Florida. This led to a discussion with Ed Schneider on state universities. I, for example, never knew that schools such as George Mason and William and Mary were state universities of Virginia. Evidently in Virginia the state universities don’t always have University of Virginia in their name. I know Maryland’s are all University of Maryland, and Missouri’s… well, I’ve discussed that bru-ha-ha in the past. So is University of Central Florida a state university? I have no idea, but an article in today’s Miami Herald makes me think so, as their schools don’t have consistent names. As for California, of course, there is University of California, xxxxx, and California State University xxxxx, unless it is xxxxx State (or the California Maritime Academy). I’m sure, by the way, that you can name all the UC and CSU campuses… can you? There are 23 CSUs and 10 UCs, as well as loads of ancillary locations and laboratories. However, there is at least one California University that is not in California.

Tomorrow is another full day technical program, after which the conference committee is going out for a committee dinner (Robert is pushing for Brazilian, although last time that was $$$). I’ll also have a sponsoring organization meeting (ACSA) at lunch.

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Teenage Drama, realized

Last night I went to the TADW 10 Minute Play festival wth my daughter. Setting aside the shared drama between us (she had wanted to go to TADW this year, but pre-purchased non-refundable tickets to a one-time family reunion in Nashville intervened), the festival was interesting.

This festival presented 9 student-written, student-acted, and TADW-alumni directed short plays, of for the most part, pretty good quality:

  1. Your Class President”, written by Amanda Cummins, directed by Jill Novick, acted by Chloe Bryant and Lindsay Robb. This was the story of a girl running for class president, trampling everyone along the way. The weakest of the bunch, in my opinion, although the storyline was mentioned in other plays. In this one, the actresses overacted a little, believing every word required an accompanying action. But the series got better.
  2. Chemical Dependency”, written by Zach Graber, directed by Stephanie Blaze, with Alia Bakr, Nona Harutyunyan, and Gaby Koek. This was a better play, building off the notion of so many people seeing therapists. It ended on a joke, which had the problem that folks started applauding too soon so no one could hear it.
  3. Darkroom”, written by Haylee-Rae Averill, directed by Brittany Surrett, with Alec Nelson, Malena Riccardelli, and Lauren Steinberg. This was the story of a girl who lived in a darkroom and behind her camera, given to her by her father before his death. At the end, she comes out to accept life. Well written, reasonably well acted.
  4. Mommy Murdoc”, written by Mandee Pro, directed by Doug Kayne, with Caitlin McCarthy and Jeannine Orosz. This was the story of two flight attendants, one just discovering she was pregnant, the other knowing, both impregnated by the captain of their flight. Well acted, but the story didn’t work too well.
  5. When you gaze into the Abyss…”, written by Polina Alekseenko, directed by Michael Russ, with Ashley Durrer and Inga Harutyunyan. A murder or spy mystery. Another weak play. I couldn’t quite figure out the story, and Inga didn’t speak clearly enough to follow her words.
  6. Confused Love”, written by Angelica Valiton, directed by Brent Rosen, with Bobby Lebeda, Raleigh Stamper, and Sidnie Thomas. The story of a boy who has two girls ask him to a Sadie Hawkins dance. Well written, well acted.
  7. In A Rich Man’s World”, written by Jessica Wingenbach, directed by Laura Clark, with Margot Parker-Elder, Miranda Riddle, and Taelyr Souza. Another strong story about the effect of a working mother on her kids, who aren’t having the life they want. Again, well written and well acted.
  8. Get Over It”, written by Carly Danielle Mayer, directed by Amy Geiger, with Maddie Dugan and Amanda Voyce. The story of two young girls in their first gay relationship, and how they will tell their unaccepting parents. Very well written and very well acted.
  9. For The Love of Lettuce”, written by Will Coates, directed by Jennifer Potell, with Becca Lasky and Wesley Rodriguez. The story of a young man who loves meat, who goes out on a blind date with a vegetarian child of the woods. This one started slow, but got much better.

So that’s it for this brief TADW interlude. This afternoon, we return to the big theatre world with Beauty and the Beast at Cabrillo Music Theatre.

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