Observations Along the Road

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

Musings on the 2017-2018 Touring Season

Written By: cahwyguy - Fri Dec 23, 2016 @ 7:46 am PST

In my most recent theatre review, I wrote:

We recently received a note from the Pantages that said: “You know you are going to renew, why not make it easy and let us do the work for you? Sign up now for our annual, hassle-free season ticket auto-renew program by paying $100 DOWN TODAY and never worry about renewal deadlines again! Signing up to auto-renew automatically put you FIRST in line for Season Seat Upgrades.” The problem with this is that they haven’t announced the 2017-2018 season yet. So what might it be?

I’ve continued to think about this. I did some Googling around for tour announcements, and looked at some booking office websites (Broadway Booking Office, Troika, The Booking Group). Here are my thoughts/predictions of potential touring shows that might hit Los Angeles that we haven’t seen before or might be interested in, together with where they might end up. I’m not bothering to list the stuff that constantly shows up (i.e., Wicked):
[ETA: 🎫 = Tour Confirmed, and I’ve seen at least one Broadway-tour venue book the show.]

  • Aladdin – The Musical. 🎫 A national tour has been announced. I expect this will be at the Pantages, and may be one of the longer-run shows.
  • Allegiance. This closed on Broadway, and there are mixed reports on a tour: the FAQ on the website says “no”; the trades say “yes”. If a tour materializes, this will be at the Ahmanson.
  • Anastasia. This rework of the animated musical by the original team hasn’t yet opened on Broadway. It opens in April 2017, and there is no tour announcement. I expect it to eventually tour, and it is a tossup whether it ends up at the Ahmanson or the Pantages.
  • A Bronx Tale – The Musical. The musical just opened on Broadway in December 2016. I haven’t seen an announcement of a National Tour.
  • Bright Star. M/L: Steve Martin, Edie Brickell. A tour was announced in December 2016, starting in Salt Lake City in 2018. This is a show I’d like to see. This one is likely for the Pantages, but could be Ahmanson-fodder.
  • The Color Purple.  🎫 The revival has closed on Broadway, with a National Tour set for Fall 2017. The original was at the Ahmanson, and the revival will likely be at the Pantages. I’d go to see it.
  • Come From Away – The Musical. This musical opens on Broadway in February of 2017. I see no tour announcement.
  • Dear Even Hansen. This just opened on Broadway; it has gotten good reviews. No tour announcement, although I’d expect one. Likely 2018, and this would be an Ahmanson show if it materializes.
  • Escape to Margaritaville. 🎫 This appears to be on tour on its way to Broadway. If it hits LA, likely Pantages.
  • Falsettos. William Finn. This revival recently opened on Broadway. No tour announcement yet. My guess would be 2019, if it happens.
  • Fiddler on the Roof. The Danny Burstein revival is currently on Broadway, closing 12/31/16.  I haven’t seen an announcement that this version will go on tour. [ETA: The tour has now been announced for 2018]
  • Groundhog Day – The Musical. This London transfer is supposedly opening on Broadway in 2017. No tour announcement that I see. Not that interesting to me at this point.
  • The Humans. This is one of those rare plays that is having a national tour. This will be at the Ahmanson; they like to book the occasional play.
  • Les Miserables. 🎫 The 25th Anniversary Production closed in September 2016, and a tour has been announced for 2017. If it happens, this will show up at the Pantages, for it a clear draw for that audience. I wouldn’t go out of my way to see it again, but I wouldn’t give away the tickets if it was part a subscription.
  • The Lord of the Rings: The Musical.  Sigh. Yes, this is a real thing. No, I haven’t heard the music. I don’t believe it has played Broadway; it is an import from the West End (like The Bodyguard). The show ended in London in 2008, and a “World Tour” was announced for 2015. Although it is on the booker’s website, there have been no further announcements. Not well reviewed, over 3 hours. I’m not sure this will hit Los Angeles if the tour materializes; if it does, it will materialize at the Pantages. Likely a “meh” for subscriptions.
  • Love Never Dies. 🎫 The Andrew Lloyd Webber sequel to Phantom. A 2017 tour of North America has been announced. This is something the Pantages would book, given their success with Phantom.
  • MatildaI saw this with the first National tour at the Ahmanson. A 2017 National Tour has been announced. This repeat could appear at the Pantages.
  • Miss Saigon. This will be coming back to Broadway in 2017. A National Tour starts in Providence RI in Fall 2018. This has the feel of a Pantages show, although I could see this at the Ahmanson in a 2018 or 2019 season.
  • On Your Feet. The Gloria Estefan musical. Currently on Broadway. No tour announcement that I see, although I could easily see this on tour and being successful in Los Angeles. Has the feel of a Pantages show.
  • Phantom of the Opera. 🎫 A perennial on the tour market. There is a US Tour, booked into 2017. I could see this reappear at the Pantages, although I’m not that interested in it.
  • School of Rock. ALW”s new musical has announced a national tour. I’d like to see this one. My gut says 75% chance of the Pantages; 25% Ahmanson.
  • Something Rotten. Closes on Broadway, and tour dates have been announced. Furthest west so far is Austin. I expect this to hit LA. Gut says 75% Ahmanson, 25% Pantages.
  • Deaf West’s Spring Awakening. A national tour has been announced, and CTG has expressed interest. Given the relationship between CTG and Deaf West, this will be an Ahmanson show.
  • Tuck Everlasting. Oh, I wish. Closed on Broadway after a very short run. No announcement of a tour, but licensed and available. I’d expect a production to show up at MTI or something like that.
  • Waitress. 🎫 A national tour was announced in April. I expect this in LA, and I’m going to predict the Ahmanson.
  • The Who’s Tommy. The show is available for booking, although I don’t really see signs of a current major or forthcoming tour.

There are numerous other shows currently coming to Broadway that I expect to tour, but I think they would be 2018-2019 at best. So how do I predict the seasons to work out? Here are my predictions:

  • Ahmanson 2017-2018 Season: Deaf West’s Spring Awakening, The Humans, Something Rotten, Waitress, and possibly the Fiddler revival, Allegiance, or a pre-Broadway musical.
  • Pantages 2017-2018 Season: Disney’s Aladdin, School of Rock, Love Never Dies, Bright Star, Matilda, Miss Saigon, Les Miserables, Color Purple, and possibly On Your Feet.

There may also be some pointless retreads in there, such as Phantom, Lion King, or Momma Mia.

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Calculus and Magic – “Amélie” @ Ahmanson Theatre

Written By: cahwyguy - Sun Dec 11, 2016 @ 8:57 pm PST

Amélie - A New Musical (Ahmanson)It is rare to find a musical that has, at its heart, calculus and mathematics. Yet the magical new musical Amélie, currently in previews and officially opening at the end of the week at the Ahmanson Theatre (FB), does. Amélie is a musical that charmed and enthralled me, and had me smiling from beginning to end — so much so that I am considering seeing it a second time (a rarely) so that I could catch some of the magic that I missed.

Amélie is based on the French 2001 Romantic Comedy starring Audrey Tautou, about a shy imaginative girl who changes the lives of those around her for the better. The film, which I saw ages ago, had a magical quality that almost made it slightly surrealistic (you’ll see the same surrealism in the TV show Pushing Daisies, which used Amélie as a model). In the film, Amélie rarely speaks but we see her inner thoughts, and inner thoughts are just the thing to musicalize.

But first, the calculus. As the musical relates, when Amélie is young, her parents mistakenly believe she has a heart condition and choose to home-school her. Her mother teaches her Zeno’s Paradox, which is the notion that one can never go from point A to point B, because of the infinite sequence of going half-way there means you never make it all the way. As a result of this, Amélie uses the paradox as an excuse to never get close to people, because she believes she can never actually be close.

The story told in the musical is roughly the story told in the movie, with some slight reworkings. You can get a better idea of the story by looking at the Wikipedia page for the musical, but note that the synopsis there is of the Berkeley Rep (FB) version. This is a production on the way to Broadway, and there have been reworkings since Berkeley Rep. In particular, a number of story elements from the movie have been restored, and Amélie has been given more songs to highlight her inner thinking and motivation.

Where as the movie used special effects to achieve its magic, the theatrical production uses a mixture of traditional theatrical stagecraft and projections to recreate magic on the stage. This includes an integrative approach to the ensemble, use of puppets, use of set tricks and lighting tricks, combined with effective projections. The net effect is a delight for the eyes, and astonishment for the heart. The clever direction of Pam MacKinnon (FB) and choreography of Sam Pinkelton (FB) combine with the theatrical stagecraft of the production team and the talent of the performers to create something that had me spellbound. I’ll note that this starts even before the show does, look at the opening projection very carefully, and wait….

The version we saw was a one-act, and the songs and scenes were not listed in the program. This is appropriate for a production that may be subject to change before Broadway (but it is hell on a reviewer, especially one like me that might not get publicity material). I found that the productions pace was good, with a particular drive that kept my attention. My wife felt that it was a little long, and could use an intermission. There was one point that I felt would be a good intermission point — right after Amélie runs away after first finding Nemo (heh, heh, Finding Nemo). I wonder if the producers felt that interrupted the drive, or that it left too little material in Act I or Act II. I’d suggest that the audience is enthralled with the character by that point, and will return to see what happens — plus there are a few remaining themes from the movie that could be integrated.

The performance of the lead, Phillipa Soo, supported by Savvy Crawford (FB) as the younger Amélie, was spectacular. She captured the playfullness as well as the enigmatic nature of Audrey Tautou‘s Amélie, which combined with her wonderful singing voice to provide a truly captivating performance. This was a role made for these two young ladies.

As for the rest of the performers, I’m lumping them together as the emsemble, although in the program some are listed as only one character. This is because, at points, they all do various background stuff. Recently, I’ve been listening to the Ensemblist podcast as it has been going through the changing role of the ensemble in the arc of Pulitzer Prize winning plays. This show is clearly in the mold of the Rent and Hamilton ensembles: the actors play specific characters, but they also fill in to give a fullness to the piece, complementing each other in anonymous or small characters in addition to their named roles. This tier of performers were: Adam Chanler-Berat (FB) [Nino], Tony Sheldon [Collignon / Dufayel], Alison Cimmet (FB) [Philomene / Amandine]; Heath Calvert (FB) [Lucien / Lug / Mysterious Man], Alyse Alan Louis (FB) [Georgette / Sylvie], Paul Whitty (FB) [Joseph / Fluffy], Manoel Felciano (FB) [Bretodeaux / Raphael], Harriett D. Foy (FB) [Suzanne], Maria-Christina Oliveras (FB) [Gina], David Andino (FB) [Blind Beggar / Garden Gnome], and Randy Blair (FB) [Hipolito]. Emily Afton (FB) (Dance Captain) and Jacob Keith Watson (FB) were the swings.

Overall, it is hard to highlight individual performance with the lack of a songlist. Suffice it to say that all work together to create an indescribable, beautiful whole. This is truly a holistic show, where the actors just come together magically to tell a story.

As noted earlier, movement design is by Sam Pinkelton (FB), assisted by Associate Choreographer Katie Spelman (FB) and Dance Captain Emily Afton (FB). It is hard to say there is formal dance in this production; certainly, there  is not the traditional theatrical dancing chorus. There is, however, beautiful movement from the opening piece that tells the story of of Amélie’s birth, and the overall movement contributes to the magical whole.

So far, although this is a musical, I haven’t mentioned the writing credits. Amélie features a book by Craig Lucas, with music by Daniel Messé (FB) and lyrics by Nathan Tysen (FB) and Daniel Messé (FB). I found the music to be strong and driving — music that had a good driving energy and was fun to listen to. Lacking the list of songs and having only heard the pieces once, it is hard to identify something specific. I will say that there were precious few slow ballads, and nothing that had me looking at my watch. Orchestrations were by Bruce Coughlin (FB), and musical direction was by Kimberly Grigsby. The orchestra consisted of Kimberly Grigsby (Conductor / Keyboard), Jeff Driskill (FB) (Woodwinds), Adriana Zoppo (FB) (Violin/Viola), Amy Wilkins (Harp), Paul Viapiano (FB) (Guitar), Ed Smith (FB) (Percussion), Ken Wild (FB) (Bass), Robert Payne (Trombone / Contractor). Alby Potts (FB) was the Associate Conductor.  The orchestra provided good sound, but I missed the real full orchestra of last week’s Wonderful Town at the Chandler.

Turning to the production and creative side of the equation. The imaginative scenic and costume design was by David Zinn (FB), which combined all sorts of stuff to create the magical world Amélie inhabited. This was augmented by the lighting design of Jane Cox and Mark Barton and the projection design of Peter Nigrini, which completed the magic. The puppet design of Amanda Villalobos was great, in particular Fluffy the fish. Wig Design was by Charles G. LaPointe (FB), and were suitably imaginative. Sound design was by Kai Harada (FB); it blended into the background as it should. Vocal arrangements were by  Kimberly Grigsby and Daniel Messé (FB). Rounding out the production credits: James Harker (Production Stage Manager), Jim Carnahan CSA and Stephen Kopel CSA (Casting), Cherie B. Tay (Stage Manager), Lora K. Powell (Assistant Stage Manager).

Amélie continues at the Ahmanson Theatre (FB) through January 15. Tickets are available through the Ahmanson website; discount tickets may be available through Goldstar. You’ll be enchanted.

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Ob. Disclaimer: I am not a trained theatre critic; I am, however, a regular theatre audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at Cabrillo Music Theatre (FB), the  Hollywood Pantages (FB), Actors Co-op (FB), the Chromolume Theatre (FB) in the West Adams district, and a mini-subscription at the Valley Performing Arts Center (VPAC) (FB).

Past subscriptions have included  The Colony Theatre (FB) (which went dormant in 2016), and Repertory East Playhouse (“REP”) (FB) in Newhall (which entered radio silence in 2016). 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 brings  The King and I at the Hollywood Pantages (FB). December concludes with an unspecified movie on Christmas day; and a return to our New Years Eve Gaming Party.

Turning to 2017, January starts with a Southern California Games Day, followed by Zanna Don’t at the Chromolume Theatre (FB) on January 16. We may get tickets to Claudio Quest at the Chance Theatre (FB) on January 28. February 2017 gets back to being busy: with Zoot Suit at the Mark Taper Forum (FB) the first weekend. The second weekend brings 33 Variations at Actors Co-op (FB). The third weekend has a hold for the WGI Winter Regionals. The last weekend in February brings Finding Neverland at the Hollywood Pantages (FB). March quiets down a bit — at least as currently scheduled — with the MRJ Man of the Year dinner,  Fun Home at the Ahmanson Theatre (FB) at the beginning of the month, and An American in Paris at the Hollywood Pantages (FB) at the end of the month.

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

 

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Changes in Ahmanson Ticketing – No More Hottix/Rush Tickets

Written By: cahwyguy - Mon Jul 11, 2016 @ 7:07 pm PST

userpic=ahmansonAs I noted in my last post, when we were at the Ahmanson Theatre (FB) Saturday night a very interesting piece of news was reveled. We were walking by the subscription table when the subscription-pushing-volunteer asked if we were interested in subscribing. I indicated that we were already full-up on subscriptions, and we tended to use Hottix to get our Ahmanson tickets. For those unfamiliar with it, Hottix was a program that made the limited view seats on the sides of the  theatre available for $25 plus a 10% service charge. This was a remarkable deal. It was then that he dropped the bombshell: Center Theatre Group (FB) was discontinuing the Hottix program as of the 2016-2017 season.

Heaven forfend! I quickly took out my cell phone and looked for confirmation, but couldn’t find any corroborating material online.

When I got home and was writing up the show Sunday morning, I did more research. I also dropped a note to Customer Service at the Ahmanson, where my fears were confirmed: “I am sorry that at this time there has not been an announcement as to the ending of HotTix.   There will be soon.” I also asked about Day-Of Rush HotTix, and those are disappearing as well: “From what we have been told, there will be no “Day Of” rush.” I also asked about the Ahmanson continuing to put tickets up on Goldstar (which we never used because HotTix were a better deal), and learned: “There will still be some Goldstar offers – but they will be for pre-sale to get patrons to purchase earlier rather than later and they will not be as discounted as the Subscriber tickets.”

That’s the bad news. Basically, the Ahmanson is adopting the same approach that we currently see at the Pantages: better scaling of the pricing of seats in the orchestra (they won’t be all the same price), and demand pricing for popular shows (i.e., if there is lots of demand, ticket prices go up). Thank you, New York.

2016-2017 Ahmanson Pricing ModelTo the right is the new Ahmanson pricing model (snarfed from their website). As you can see, pricing has been divided into roughly 6 levels: the premium orchestra seats, four price levels spanning the orchestra and mezzanine (and presumably founder’s circle) areas, and the remainder of the mezzanine and balconies. The old HotTix areas are the “D” seats.

For general admission sales, a limited number of $25 tickets will be available. As my customer service rep wrote: “I will also mention that we will still have 25 dollar seats that go on sale with the general public.  We are trying to have patrons buy early and be rewarded for that.  With hit shows waiting until the last minute will result in higher prices and surely all the 25 dollar tickets will be gone.” General sales will also be available in the Balcony and Mezzanine.

Current subscribers in the balcony and mezzanine have been moved to equivalent price points (I’ll get to that in a minute) in the A-D levels. This will likely mean that the D and possibly C seats may be full; and for those getting D, they may not be very happy moving from good view balcony to limited view orchestra. There are also no subscription options for the Premium seats — presumably those are full up from past Orchestra subscribers, and new subscribers will get the option to “upgrade” after they see who doesn’t renew.

That brings us to subscription options and pricing. For this discussion, I’m going to use Saturday Night seating as my benchmark.  Here’s the pricing table that I was provided from customer service; it agrees (on the full ticket prices) from what I got from the Ahmanson subscription pages:

Old
Price Zone
NEW
Price Level
Equivalent
2015-16
Weekend
Full 5-Show
Season
2016-17
Weekend
Full 6-Show
Season
2016-17
Discount
Price
Per Show
Starting
Single Ticket
Price
Premium
Orchestra /
Mezzanine
Premium $675 $732* 11% $112 $125
Preferred
Orchestra
A $535 $600* 5% $90 $95
Preferred
Mezzanine
/ Mid-Orch
B $335 $450* 7% $65 $70
Orchestra
X-ZZ
C $199 $288* 15% $38 $45
Front and
Rear
Balcony
D $199 $198* 8% $23 $25
Includes
$60
handling fee

 

Note the “$60 handling fee”. That is a $10/per ticket fee for subscribers, and it applies for both full subscriptions and the “build your own” subscriptions (which are less than 6 shows). This means that, in some cases, the per-ticket price for subscribers may be higher than the full price ticket. Note that this belies their claim of “enjoy the absolute very best seats at every Center Theatre Group performance at the best price—up to 30% off single tickets.” Right now, it also does not appear to include parking (which might make it a better bargain, but then again, if you take Metro to the theatre, it doesn’t). All this gives you is the ability to change your dates easier, and the ability to buy more tickets at your price if demand pricing raises the price of tickets. I’ll note that the “build your own season” (“Pick four or more shows at all three of our theatres and get access to our best seats, prices, and benefits.”) appears to have the same pricing as the full season.

ETA 2016-07-16: For comparison purposes: If you buy full price tickets at the box office online, the handling charge is 10%. If you buy at the physical box office, according to customer service, there is no handling charge. This means, when you add in handling charges, unless you are going for premium seats, the cheapest seats (until demand pricing kicks in) will always be at the physical box office, with full price online coming less than the subscription price. That’s not how to design a subscription program, boys and girls. You are assuming your audience is too stupid to do the math.

There is a third option: the Passport. For that, you pay $125 “and save up to 50% off at all three of our theatres.” Basically, the Passport gives you the ability to “purchase up to two tickets at the discounted Passport price to each production at the Ahmanson Theatre, Mark Taper Forum, and Kirk Douglas Theatre produced or presented by Center Theatre Group.” This would be in a special purchase period before the show opens, and the price of the passport is not based on where you buy the tickets. That’s significant, for buying 2 discounted tickets for six shows in the lower-priced tiers will not offset the cost of the passport.

At this point, I’m not sure what I will do. I’ve been going to the Music Center for theatre since 1972. My parents were LA Civic Light Opera subscribers. At one point I had an Ahmanson subscription, but dropped it ages ago and have used HotTix for better seats for lower prices.  I broke down and subscribed at the Pantages this year to ensure Hamilton tickets, but they (a) don’t add the outrageous $10 per ticket fee, and (b) allow you to break your subscription into 10 payments (CTG only supports 2).  This year we’re only interested in three shows: Amalie, Fun Home, and Curious Incident. Do I do a Build-Your-Own Subscription? a Passport? Goldstar? Take my chances on open sales? Right now, I’m thinking open sales or Goldstar.

A final conspiracy-theory thought: Could this be connected to the Pro99 battle? After all, if the 99 seat theatres are killed off, there will be less theatre in town, and more demand for the Ahmanson, and they can charge more. That would never happen now, would it?

I’m open to your thoughts.

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Dysfunctional Relationships | “Grey Gardens” @ Ahmanson

Written By: cahwyguy - Sun Jul 10, 2016 @ 1:52 pm PST

Grey Gardens (Ahmanson)userpic=ahmansonSometimes, you see a show and wonder what was going through the instigator’s mind. What prompted Stephen Sondheim to see a musical in the story of Sweeney Todd? What led Kander and Ebb to see a musical in the story of the Scottsboro Boys? Why did Merrill and Styne see a musical in the story of Prettybelle? Why, oh why, was there a notion to musicalize “The Madwoman of Chaillot” as Dear World? Musicalize Carrie? What are you smoking?

Then, surprisingly, the ideas sometimes work out. Sweeney Todd is a masterpiece. History is showing that there was more to Carrie – The Musical than originally seen. Scottsboro Boys may eventually find its place as well.

There’s no hope, however, for Dear World or Prettybelle.

Then there is last night’s show at the Ahmanson Theatre (FB): Grey Gardens, the Musical. One wonders what possessed book writer Doug Wright, composer Scott Frankel, and lyricist Michael Korie, to see a musical in the documentary film “Grey Gardens” by David  and Albert Maysles, Ellen Hovde and Muffie Meyer, and Susan Froemke, is beyond me. The result — which tells of the dysfunctional mother-daughter relationship of Edith Ewing Bouvier Beale and her daughter Edith Bouvier Beal (“Little Evie”) — may have great performances, but the story leaves you shaking your head and asking “Why?”

Let me elaborate. The title, Grey Gardens, refers to an estate in East Hampton, NY, that was purchased in the mid-1920s by the Phelan Beale. Beale was a Wall Street banker, and his with, Edith, was socialite and singer, whose primary claim to fame was as the aunt of Jackie Kennedy Onassis. Jackie, and her sister Lee, used to spend their summers with their aunt during the 1940s at Grey Gardens. Edith and Phelan’s daughter, also named Edith, was another aspiring actress. Any chance she had for marriage with thwarted by her mother, and eventually both Ediths ended up living in squalor in Grey Gardens with a collection of over 50 cats and feral raccoons. The situation was so bad they were threatened by the East Hampton health department. A documentary film was made of their story, and it became a cult classic.

The musical, Grey Gardens, attempts to tell the story in the documentary. The first half occurs in the 1940s, and centers on the engagement party for Little Edie and Joseph Kennedy Jr. (Jack Kennedy’s older brother). Big Edie sabotages the engagement to bring attention to herself, and Little Edie storms off to New York. This act takes some liberties with the story: there is no confirmation of the Kennedy-Beale engagement or this party; the actual party was a coming out party for Edie’s brother and took place earlier, with the divorce telegram actually arriving in 1946. The second half occurs in the early 1970s, and is essentially the documentary brought to life. It shows what Big and Little Evie’s life had degenerated into, their self-delusions, their dysfunctional relationship.

Ultimately, however, the show is a picture of a dysfunctional mother, and how she screwed up her daughter. Why we would want to see this — when there is no ultimate redemption — is beyond me. So you’re probably asking why I bought tickets? That’s easier to answer: I had seen the performance on the Tonys (they did the opening number from Act II), and had heard the music, and wanted to see how they handled the story. My conclusion was that there were some very good numbers, some excellent performances, but the story was one of those train wrecks that make you wonder afterwords why you found it so interesting.

My wife identified the problem well: both she and I grew up with mothers who were easily like this. We escaped. So why would we want to see a story that shows what could have been? It didn’t leave us with a great feeling.

That’s not to say there were not redeeming aspects. This wasn’t a complete train wreck like I Caligula, The Musical. A number of the songs are very entertaining, such as “The Five-Fifteen” (a dangerous ear worm), “Marry Well”, “The Revolutionary Costume for Today” (the number I saw on the Tonys) and “The House We Live In”. But I think the most poignant number is the penultimate one, “Another Winter in a Summer Town”, which could easily be a sad standard. It captures well the sadness of Little Evie’s life, what happens in the Winter for a Summer Town girl.

The performances were much stronger than the story itself. The trick conceit of this show is that the actress playing “Big Evie” in the first act becomes the Little Evie of the second act. This Edith was portrayed by Rachel York, who gave a remarkable performance. According to two of the orchestra members we spoke to after the show at the Metro station, her performance perfectly captured the Little Edie of the documentary. I haven’t seen the documentary, but it was a strong performance both in characterization and vocalization. She was just mesmerizing on stage.

Playing against York’s Little Edie in the second act, as Big Edie, was Betty Buckley (FB). Again, this was a great performance of a controlling woman, who achieved the control in various passive aggressive ways. Another example of strong characterization and vocalization. The two played well against each other — you could believe they were mother and daughter fighting.

At this point, I’ll interject to credit the director, Michael Wilson. I can never tell what comes from the director and what comes from the actor, but Wilson clearly worked with this cast to make the portrayals realistic, and it worked.

Playing against York’s Big Edie in the first act was Sarah Hunt (FB). I quite enjoyed Hunt’s performance — I thought she captured the spunk and the scheming of Little Edie quite well, and was extremely cute in “Two Peas in a Pod”.

Before I go to the other adult characters, I want to mention two who stole the show whenever they were onstage: Katie Silverman (FB) as Jacqueline Bouvier and Payton Ella (FB) as Lee Bouvier. These two little girls were cute as proverbial buttons, strong singers and dancers, and just fun to watch. Did I mention they were cute as buttons?

Turning to the main male characters. Simon Jones was very strong as J. V. “Major” Bouvier and Norman Vincent Peale — I particularly enjoyed him in “Marry Well”. The book doesn’t quite capture what he did in real life, but the performance was a hoot none-the-less. Josh Young (FB) demonstrated his strong singing and performance skills as both Joseph P. Kennedy Jr and Jerry, especially in “Going Places”.

Rounding out the male performers in named roles were Bryan Batt (FB) as George “Gould” Strong and Davon Williams (FB) as Brooks Sr. and Brooks Jr.  Both were very strong; Batt was wonderful in his facial expressions and playfulness.  I also noticed he was actually playing the piano.

Rounding out the cast as the ensemble players — choir members in some scenes, the camera and sound operators, asst. townspeople — were…. well, the ensemble isn’t explicitly credited as ensemble. Understudies are credited, so I’ll presume that the ensemble consisted of some subset of the understudies. The “understudies” were: Olivia Curry (u/s Jackie Bouvier, u/s Lee Bouvier), Rogelio Douglas Jr (FB) (u/s Brooks Jr, u/s Brooks Sr.), Steven Good (FB) (u/s George “Gould” Strong, u/s Kennedy Jr/Jerry, u/s Major Bouvier), Melina Kalomas (FB) (u/s Little Evie), Michelle London (FB) (u/s Young “Little” Evie, Dance Captain), and Rebecca Spencer (FB) (u/s Edith Bouvier Beale).

This was not your typical show, with large dance numbers with long-legged chorines. There was some dance, and there was definitely movement, and it was under the choreography of Hope Clarke. Still, some numbers exhibited great movement — in particular, “Marry Well”, “Two Peas in a Pod”, and “The House We Live In”.  Charles Swan (FB) served as Associate Director/Choreographer.

The music was under the music direction of Kevin Stites, who served as the conductor and lead keyboard for the hidden orchestra. The other orchestra members were: Gerald Sternbach (FB) (Associate Conductor, Keyboard); Sal Lozano (Reed 1); Jeff Driskill (Reed 2); Laura Brenes (French Horn); John Fumo (FB) (Trumpet); Jen Choi Fischer (Violin); David Mergin (Cello); Ken Wild (Bass); and Cliff Hulling (Percussion). Robert Payne was the Music Contractor.

Turning to the other creative aspects: The scenic design was by Jeff Cowie; the lighting design was by Howell Binkley; and the projection design was by Jason H. Thompson (FB). I mention these three in one breath because they all integrated together. The scenic design was a combination of a decayed shingle house (which reflected the pictures I’ve seen of the real Grey Gardens), but built upon projections to establish the time of day and to provide background for various songs. More significantly, the projections included documentary style film output that was seemingly real-time, yet I couldn’t always find the camera. All three integrated with the lighting to focus attention and provide mood impacts. The sound design of Jon Weston was clear and didn’t overpower, although at times you could tell you were listening to the speaker instead of the person speaking. The costume design of Ilona Somogyi combined with Paul Huntly‘s wig design to bring the characters to life.  I particularly noted how the costuming reflected the real quirky sensibilities of the real Little Evie, as well as the style of the clothes that the little girls wore.  Rounding out the production credits: Original Casting – Stewart/Whitley (FB); L.A. Casting – Beth Lipari, CSA (FB); Production Stage Management – Robert Bennett; Assistant Stage Manager – Denise Yaney. This production was “inspired” by the Bay Street Theatre production with the same leads and the same director (and, not surprisingly, many of the same costumes).

Grey Gardens continues at the Ahmanson Theatre (FB) through August 14th. Tickets are available through the Ahmanson Box Office. Discount tickets may be available through Goldstar, and $25 HotTix may be available by calling the Ahmanson at 213.628.2772. Should you go see it? If you liked the documentary, or want to see an odd musical about a dysfunctional mother/daughter relationship, go. If that’s not your bag, or you want a traditional musical, skip it.

Regarding the HotTix comment. As we walked into the show, the subscription sales pushing critter stated that HotTix will not be available next season. I haven’t been able to confirm that online; I have a question into to CTG Customer Service. Looking at their subscription packages raises a number of question, especially as they have gone to a seating plan that divides up the orchestra (which could be the rationale for eliminating HotTix). This is a plan similar to the Pantages, and it is what drove us to subscriptions. However, their pricing makes no sense: (a) they do not offer subscription seats in either the Premium or the back Mezzanine or Balcony (which both contradicts their claim of subscriptions getting the best seats, as well as providing affordable subscriptions in the back as they used to do); (b) their pricing for the full subscriptions (6 shows) tends to have higher prices than the design-your-package with a minimum of 4 shows (the “design your package”, for Saturday Night, has $23 for D, $38 for C, $65 for B, and $90 for D, whereas the full subscription is $33, $48, $75, and no option for A; and (c) the “Passport” has only a single price, making its use for the lower price tickets non-sensical (they should offer a tier of Passports that tie to the seating areas, with discounts in other areas). Again, I have a query into CTG Customer Service.

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Ob. Disclaimer: I am not a trained theatre critic; I am, however, a regular theatre audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at Cabrillo Music Theatre (FB), the  Hollywood Pantages (FB), Actors Co-op (FB), and I plan to renew my mini-subscription at the Valley Performing Arts Center (VPAC) (FB). Past subscriptions have included  The Colony Theatre (FB) (which went dormant in 2016), and Repertory East Playhouse (“REP”) (FB) in Newhall (which entered radio silence in 2016). 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:  July brings us back to conventional theatre and performance. Next weekend brings a Fringe encore performance of Thirteen’s Spring, as well as The Little Mermaid at  Cabrillo Music Theatre (FB). The end of July gets busy, with Weird Al Yankovic at the Hollywood Bowl (FB) on July 23, Operaworks (FB) Opera Re-Constructed at CSUN on July 24 (pending ticketing), and a mid-week Hollywood Bowl (FB) concert of Wynton Marsalis and Aaron Copeland on July 28, and … currently nothing for the weekend. August is a bit more open in terms of theatre. The first weekend just has a Jethawks game on Sunday; the second weekend has a hold for a Bar Mitzvah.  The third weekend brings another event from the wonderful counter-cultural orchestra, Muse/ique (FB) — American/Rhapsody — a celebration of George Gershwin. Late August sees us looking at shows down San Diego/Escondido for one weekend. The best of the shows available — or at least the most interesting — is Titanic from Moonlight Stages. September returns to conventional theatre. The first weekend has a HOLD for Calendar Girls at The Group Rep (FB). The second weekend may be another Muse/ique (FB) event — Summer/Time, a reimagined retelling of Porgy and Bess. The third weekend has a HOLD for Ma Rainey’s Black Bottom at the Mark Taper Forum (FB). The last weekend is yet another HOLD; this time, for The Hunchback of Notre Dame at The La Mirada Theatre for the Performing Arts (FB).

Continuing the look ahead: October is a bit more booked. The first weekend has a HOLD for Dear World at the Valley Performing Arts Center (VPAC) (FB) and Our Town at Actors Co-op (FB), as well as the start of the High Holy Days. The second weekend has another Valley Performing Arts Center (VPAC) (FB) HOLD: this time for Jazz at Lincoln Center Orchestra with Wynton Marsalis. The third weekend has yet another VPAC HOLD for An Evening with Kelli O’Hara on Friday, as well as tickets for Evita at Cabrillo Music Theatre (FB) on Saturday. The following weekend brings Turn of the Screw at Actors Co-op (FB) on October 22 and the new Tumbleweed Festival (FB) on October 23. The last weekend of October brings Linden Waddell’s Hello Again, The Songs of Allen Sherman at Temple Ahavat Shalom (a joint fundraiser for MoTAS and Sisterhood). Oh, and if that wasn’t enough, October is also the North Hollywood Fringe Festival (FB). November is still in the planning stages, but we know it will include Hedwig and the Angry Inch at  the Hollywood Pantages (FB); a Day Out With Thomas at Orange Empire Railway Museum (FB) [excuse me, “Southern California Railway Museum”]; the Nottingham Festival (FB); and possibly Little Women at the Chance Theatre (FB) in Anaheim. 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 or that are sent to me by publicists or the venues themselves.

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What We Call Making an Exit 👴 “Endgame” @ CTG + “Carney Magic”

Written By: cahwyguy - Sun May 08, 2016 @ 6:45 pm PST

Endgame (Kirk Douglas)userpic=ahmansonIf you attend musicals, there are classic composers and lyricists that you should see. Similarly, if you attend plays, there are seminal playwrights (in addition to Shakespeare). One of these is Samuel Beckett, a 20th century author of a number of absurdist comedies. Currently, the  Center Theatre Group/Kirk Douglas Theatre (FB) is doing one of these plays (Endgame, 1957); it has the added benefit of being directed by one of the few actor/directors left that actually worked with Beckett when he was alive, Alan Mandell (FB). When we discovered that Endgame was on the Kirk Douglas schedule while seeing a show at the Ahmanson, we decided we should take advantage of Hottix and catch it. We were able to get seats, and so after a lovely dinner at Picnic LA (FB), we entered the absurd world of Samuel Becket.

Endgame is hard to describe. It is a four character play. The lead is Hamm (Alan Mandell (FB)), an old man confined to a wheelchair, who is unable to walk and unable to see. Taking care of him is Clov (Barry McGovern), who may be his son (it is unclear). Clov is unable to sit down. Near him, in two ashbins, are Hamm’s elderly parents, Nagg (James Greene) and Nell (Charlotte Rae, at our performance, alternating with Anne Gee Byrd (FB)). They do not have legs. The setting, which Beckett is very particular about (i.e., no interpretations allows) is a small empty space. Left and right back, high up, are two small windows, curtains drawn. At the front right is a door. Hanging near door, its face to wall, a picture. There are the two ashbins, front left, touching each other. Hamm is in the center, in an armchair on castors, initially covered with an old sheet.

The play consists of Clov taking care of Hamm, and Hamm directing Clov to do various things. At points Clov tries to go away, but he rarely succeeds for long, being constantly called back to take care of Hamm. Nagg and Nell interact with each other for a bit, but Nell passes away at some point. Nagg also interacts with Hamm, being requested to listen to a story the Hamm wants to tell after Clov refuses to listen to it. At the end of the play, Clov finally indicates that his leaving. He then stands there, dressed to go, while Hamm continues on believing he has been abandoned.

You can find a more detailed plot summary at SparkNotes. You can actually find the text of the play at the Samuel Beckett website.

One of the questions I had watching this play is: What led Beckett to write this? After all, it is such a strange play, it is difficult to see how the situation and dialog could come to a playwright. But I guess that’s why I’m not a playwright. Beckett wrote this play during an era when Theatre of the Absurd was popular. It was a post WWII-style. According to Wikipedia, Theatre of the Absurd focused largely on the idea of existentialism and expressed what happens when human existence has no meaning or purpose and therefore all communication breaks down, in fact alerting their audiences to pursue the opposite. Logical construction and argument gives way to irrational and illogical speech and to its ultimate conclusion, silence. It is up to the audience to decide the meaning of the piece.

Endgame Publicity PhotosAs I’m a Professional Audience™ PEND , here are my thoughts on meaning.

The primary thought that kept going through my head while watching the performance was the relationship of my wife to her mother. Her mother is in assisted living right now, dealing with mental deterioration. The resulting relationships of parent to child, caregiver to caregivee, is a lot like the relationship between Clov and Hamm. Hamm is elderly and utterly dependent on Clov to feed him, clothe him, give him medicine, and fulfill his every need. Hamm is also non-sensical, often living in the past, at times petulant and vindictive, not caring about those around him, gruff and bitter, and at other times resigned. If you have ever seen a parent dealing with cognitive impairment or Alzheimers, that is exactly the behavior. Clov, on the other hand, is like any adult child taking care of such a parent. He keeps wanting to leave, wanting to have his own life, but is trapped in the endgame of taking care of his parent because he’s the only one who is able to do so. This game has worn him down so that any love that has been there has been replaced by forced duty, forced obligation. Whatever relationship there once was has been eroded away. At the end of the play, Clov finally decides to be his own man and walk away and take care of himself for one — but never quite makes it out.

So what about Nagg and Nell. I think they were the memories of the parents in the mind of Hamm. Often, for such patients, they are living in a quasi-world where both the past and the present exist in their mind. Clov was required to play along with the artiface, as caregivers often do.

There are some wonderful lines in the production that seem to support my interepretation:

  • Sometimes I wonder if I’m in my right mind. Then it passes over and I’m as lucid as before.
  • Sometimes I wonder if I’m in my right senses. Then it passes off and I’m as intelligent as ever.

I’ve certainly felt that way.

That’s the primary interpretation that was in my head. The secondary interpretation was more of a joke, but as I thought about it… it made quite a bit of sense: Endgame is a political argument on Facebook. Hamm represents the person posting the initial article and defending it with all sorts of convoluted argument. The argument draws people into a discussion they can never quite leave, and into which they get trapped — until they just decide to walk away. Nell and Nogg, in this case, are side digressions that support the story but go in unexpected directions. The fact that everyone in the discussion is crippled in one way or another is a representation of the fact that nobody on Facebook is playing with a full deck.

But Beckett couldn’t have been talking about Facebook. After all, it didn’t exist in era when the play was written.

In general, the story focuses on the larger issue of dependency, and the dispair that dependency can bring to us. Hamm is dependent on Clov. Clov on Hamm (he has the keys to the larder). Nagg on Hamm. And so far. As we are dependent for longer, we become handicapped by our dependency, and it traps us. The term “Endgame” refers to the chess position where the final set of moves are dictated and cannot be changed. Our dependency traps us into an endgame. How do we escape? Nell makes that clear: she escapes by dying, after she refuses to be dependent on Nagg. At the end, has Clov refused enough to escape? We never find out.

The discussion above is the demonstration of one important take-away about this performance: it was good enough to make people think about a variety of subjects. It provided the ability for the elderly cast (I don’t think there has been a cast this elderly on stage since the last production of 70 Girls 70) to demonstrate their expertise with Beckett — this was a rare chance to see some of the foremost Beckett performers on one stage. It was at points humorous, sad, befuddling,  touching, relevant and irreverent. It was outstanding.

Normally, at this point, I would turn to a discussion about the performances. All were spectacular, and it was difficult to single anyone out. Central to the story were the spot on performances of Alan Mandell (FB) and Barry McGovern. These are foremost interpreters of Beckett; they know how to convey every nuance of the story. Our Nagg (James Greene) and Nell (Charlotte Rae, at our performance, alternating with Anne Gee Byrd (FB)) worked well together; I hesitate to say chemistry, for that implies there is a reaction between the two. I think the overall ensemble was just interesting to watch.  Note that Ned Schmidtke was the understudy for the male roles.

Turning to the production and creative side: The overall production was directed by Alan Mandell (FB), whose experience with Beckett was demonstrated in the overall ensemble and portrayal. John Iacovelli (FB)’s scenic design captured well the bleakness that Beckett intended from the text: a cold-grey stone castle, with two inset grey windows, grey dustbins, dirty dropcloths, grey clothing. A world of despair, with nothing to live for except the life from the characters. Maggie Morgan (FB)’s costume designs were equally bleak: grey, black, and dark-brown bed clothes and suits, adding to the atmosphere. Jared A. Sayeg (FB)’s lighting design was strong, as usual: mostly white lights, often kept dimmer, adding to bleakness. A lack of color. Cricket S. Myers (FB)’s sound design was what a good sound design should be: unnoticeable. The few sound effects that were present worked well. Rounding out the production credits: Susie Walsh (FB) [Production Stage Manager]; John Sloan (FB) (Assistant Director); Brooke Baldwin (FB) [Stage Manager]. Michael Ritchie is the Artistic Director for Center Theatre Group.

One last note: After the performance, there was an audience discussion on the meaning of Endgame. This discussion was led by Isabella Petrini (FB), and was excellent. Isabella also curated the Endgame game in the foyer, and we had the pleasure of talking to her before the show. Isabella’s company, Bae Theatre (FB), has a show at the upcoming Hollywood Fringe Festival (FB): Matt and Ben. It sounds interesting, and is written by Mindy Kaling. Alas, I have already booked my schedule, and do not have room to fit it in, but figured I would mention it.

Endgame continues through May 22 at the  Center Theatre Group/Kirk Douglas Theatre (FB). Tickets are available through the Center Theatre Group online. Hottix may be available. All offers for Endgame on Goldstar have expired, but tickets are available to the next show at the Kirk Douglas.

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Carney Magic (Colony)userpic=colonyAt the last minute, an opportunity arose for live performance today as well. As you recall, The Colony Theatre (FB) had gone dark due to financial problems, although there was the option for subscribers to potentially attend lease events. One such event was this weekend: Carney Magic, an encore performance of a previous successful lease. Carney Magic is what is purports to be: 90 minutes of sleight of hand magic by magician John Carney (FB).

So, how was the magic? Entertaining. I couldn’t see how it was done, but it was also a relatively straightforward slight of hand show. There was audience participation. There was humor.

I think the larger question for me was: This fellow is entertaining and does corporate shows. Is this a possibility for ACSAC in December? That I haven’t decided yet. I want to see Einstein at the Fringe Festival first.

I will note there was one thing that was sad about the show: seeing the lobby and waiting area at the Colony. Evidently, it is a full-on lease house now, and all the photos of past productions are down. All of the furniture and old props are out, replaced by simple uncomfortable seats. The art gallery is empty of art. The character is gone. I felt like I was identifying a corpse in a hospital, and that was sad. The patient may not be dead yet, but she’s definitely moved out to either Board and Care or Assisted Living, and it was sad. We may, alas, be in the Endgame period for the Colony. And that’s sad.

Production credits for Carney Magic: Written and manipulated by John Carney (FB). Produced by John Carney (FB) and PFC Entertainment. Additional material by Jim Steinmeyer. Technical coordination by Genetra Tull.

We saw the last performance of this incarnation of Carney Magic.

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Ob. Disclaimer: I am not a trained theatre critic; I am, however, a regular theatre audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at Cabrillo Music Theatre (FB) and the  Hollywood Pantages (FB); my subscription at  The Colony Theatre (FB) has gone dormant, and REP East (FB) has seemingly gone dark for 2016. 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 sees us in the Bay Area for our daughter’s graduation from Berkeley. While there, we are seeing the Landmark Musical Theatre (FB)’s West Coast Regional Premiere of The Boy from Oz (but pay no attention to that production behind the curtain at the Celebration Theatre (FB) — if they start the same day, they are simultaneous premieres and both have equal bragging rights). We will also be seeing The Last 5 Years at San Francisco’s American Conservatory Theatre (A.C.T.) (FB).  May 21 brings Los Angeles: Now and Then (FB), a new musical at LA City College (FB) from Bruce Kimmel. The last weekend of May has HOLDs for the MoTAS Outing to the Jethawks, and for I Only Have Eyes for You at the Ricardo Montalbán Theatre (FB).

That brings us to June. June is the Hollywood Fringe Festival (FB), and I’ve already written about the shows I plan to see, as well as suggestions to the Fringe regarding viewing the audience as a customer. Our Fringe schedule is as follows:

Whew. July brings us back to conventional theatre, with Beautiful at the  Hollywood Pantages (FB) and the Western Corps Connection (FB) the first weekend, a HOLD for Grey Gardens at the Ahmanson Theatre (FB); the second weekend, The Little Mermaid at  Cabrillo Music Theatre (FB); the third weekend, Weird Al Yankovic at the Hollywood Bowl (FB) and Operaworks (FB) Opera Re-Constructed at CSUN; the fourth weekend, a mid-week Hollywood Bowl (FB) concert of Wynton Marsalis and Aaron Copeland, and a HOLD for Armadillo Necktie at The Group Rep (FB) the last weekend.  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 or that are sent to me by publicists or the venues themselves.

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How To Succeed … The Other Way 🎩 Gentleman’s Guide (GGLAM) @ Ahmanson

Written By: cahwyguy - Sun Mar 27, 2016 @ 7:03 pm PST

Gentleman's Guide to Love and Murder (Ahmanson)userpic=ahmansonIn the early 1960’s Frank Loesser classic How to Succeed in Business Without Really Trying (H2$), the main character, J. Pierpont Finch, works his way to the top of the company by ruthlessly eliminating through unsuspecting tricks those above him on the food chain. It ends on a note of “what’s next?”, after someone suggested that the President better watch out.

Now, transport yourself back to London in 1909. In A Gentleman’s Guide to Love and Murder (GGLAM) (FB), currently at the Ahmanson Theatre (FB), we have a similar story: Monty Navarro, an outcast cousin of the wealthy and famous D’Ysquith family, discovers that there are 8 people in the line of succession between him and the position of Earl of Highhurst. He, too, learned that there is a way to succeed without really trying to get to the top: through love and murder. As Monty murders… or perhaps doesn’t murder… his way to the top, the audience is taken for a rollicking and extremely funny ride.

The notes to the show note the similarity of the plot to Kind Hearts and Cornets, the 1949 film starring Alec Guiness, where he played eight different characters in a wealthy family being murdered by the ninth man in line for the fortune. It notes that both Kind Hearts and GGLAM are both based on the 1907 novel Israel Rank: The Autobiography of a Criminal by Roy Horniman. Yet in writing this up the parallels between GGLAM and H2$ are quite striking: a young ambitious man working his way to the top while deftly sabotaging, directly or indirectly, those in the path above him to clear the way. Both, at times, exhibit their era’s stereotypical attitudes that are a little bit off today. Both are extremely funny. Both won Tony awards.

What GGLAM adds to the mix that H2$ does not have, however, is a playful conceit drawn from Kind Hearts: all the family members being killed are portrayed by the same actor. This quick change adds to the fun, because unlike film where there is time to change hair and makeup, stage transitions provide extremely little time. This means the actor portraying the family-to-die must be very versatile and creative.

What are the basics of the story, which was adapted from the aforementioned novel by Robert L. Freedman (FB) (Book and Lyrics) and Steven Lutvak (FB) (Music and Lyrics)? Monty Navarro, who is at the bottom of the social rungs living in poverty, is informed just after his mother’s death that he is a disinherited cousin of the aristocratic D’Ysquith family. His branch was cut off after his mother married a Castilian for love, instead of marrying for position or power. Monty is informed that there are eight D’Ysquiths ahead of him in the line of succession. Monty resolves that he will regain his rightful place in the family. After being scorned on his initial approaches, he meets with the only D’Ysquith that will talk to him: the Reverend Lord Ezekial D’Ysquith. After a dilemma similar to that faced by Seymour Krelborn with the dentist in Little Shop of Horrors results in the death of the Reverend, Monty resolves that he will become the Ninth Earl of Highhurst. How? Well, this is A Gentleman’s Guide to Love and Murder, isn’t it? All that stands in front of Monty are Asquith D’Ysquith, Jr., Henry D’Ysquith, Lady Hyacinth D’Ysquith, Major Lord Bartholomew D’Ysquith, Lady Salome D’Yssquith Pumphrey, Asquith D’Ysquith Sr., and Lord Adalbert D’Ysquith.

So where is the Love in the title? That comes from Sibella, the love interest of Monty. However, she does want to marry for wealth and position, which at the start of the story, Monty doesn’t have.  Instead, she marries the boring Lord Hallward and keeps on with Monty on the side … growing more interested in him as he moves his way to the top. Complicating matters, however, arise when Henry D’Ysquith passes. Henry is living with Phoebe D’Ysquith, and quickly, Phoebe falls in love with Monty. She proposes, he accepts, and now you have the complicating love factor of the story.

I won’t go into the closing details of the story; you can get that from the Wikipedia synopsis if you don’t mind the spoilers. Suffice it to say that the path from the first to the last, with the complications of the two women, are hilarious. This is the type of humorous farce that last week’s Bach at Leipzig needed to be, but wasn’t. Under the direction of Darko Tresnjak (FB), the silly and crazy energy required is maintained from the opening song until after the curtain call. Tresnjak brought out a playfulness in his acting team that was broadcast to the audience and was infectious.

The acting team was extremely strong. In the lead positions were John Rapson (FB) as all the members of the D’Ysquith family, and Kevin Massey (FB) as Monty D’Ysquith Navarro. I never saw the original cast member, Jefferson Mays in the role, so I cannot compare. From my vantage, Rapson was astounding — being loads of different characters in different costumes all with different comic mannerisms. He was just a hoot to watch. It seems that everything he did — and he was having fun doing it — was with the express goal of “the funny”. It worked. It is difficult to say which of his many characters was the most fun… it was either Henry or Lord Adalbert in his interactions with his wife. Massey’s Navarro was able to keep up with him; a 1909 Pierpont Finch plotting and scheming and occasionally second-guessing himself in a very funny way. Massey’s songs were less aimed at the funny, and he had a lovely voice with which to carry them off.

The love interests were portrayed by Kristen Beth Williams (FB) as Sibella Hallward and Adrienne Eller (FB) as Phoebe D’Ysquith. Both had lovely singing voices, both were sexy, and both had great comic chops. This was demonstrated in top form in the Act II number “I’ve Decided to Marry You”.  I enjoyed watching them both, but I must admit I was very taken by Eller’s performance (it is just so cute). Fun, fun to watch. Hint: If you sit close enough (or bring binoculars), watch their facial expressions throughout the show (as well as those of the other D’Ysquiths). These actors were really into their roles.

Almost all of the other roles, with the exception of Miss Shingle (Mary VanArsdel (FB)), the lifelong friend of Monty’s mother who informs him of his status, are played by the members of the ensemble switching into named characters. All of these folks were very strong. Again, it was fun watch their faces and movements — it is clear they are having loads of fun doing this show and that energy and fun comes is projected out to the audience. I do want to highlight  Kristen Megelkoch (FB), who was spectacular as Lady Eugenia — her comic interaction with Rapson’s Lord Adalbert was just hilarious. The ensemble (and swings, because I have no idea whether any of those ninjas were on stage) were: Christopher Behmke (FB) (Magistrate, Guard, Ensemble), Sarah Ellis (FB) (Swing/Dance Captain), Matt Leisy (FB) (Tom Copley, Ensemble), Megan Loomis (FB) (Tour Guide, Ensemble), Dani Marcus (FB) (Swing), Lesley McKinnell (FB) (Miss Barley, Ensemble), Kristen Megelkoch (FB) (Lady Eugenia, Ensemble), David Scott Purdy (FB) (Swing/Fight Captain), Chuck Ragsdale (FB) (Swing), and Ben Roseberry (FB) (Chief Inspector Pinckney, Ensemble).

As they often point out at the soon to be dark Cabrillo Music Theatre (FB), live musicals are nothing without live music (a lesson that the Theater League in Thousand Oaks evidently didn’t learn). GGLAM had a 13 person orchestra (when do they change from a band to an orchestra?) under the music direction of Lawrence Goldberg. The orchestra gave a very nice sound and did not overpower the actors. The orchestra consisted of Albin Konopka (FB) (Associate Music Director / Piano), Eric Kang (Piano / Librarian), Jonathan Davis (Oboe / English Horn), Larry Hughes (Clarinet), Andrew Klein (Bassoon), Joe Meyer (French Horn), Robert Schaer (Trumpet), Jen Choi Fischer (Violin 1), Marisa Kuney (Violin 2), Diane Gilbert (Viola), David Mergin (Cello), Ken Wild (Bass), and Cliff Hulling (Percussion). The music contractor was Seymour Red Press / Robert Payne. Paul Staroba was the music supervisor. Orchestrations were by Jonathan Tunick.

The dances in GGLAM make clever use of the space, and are not the typical production numbers (kick kick step turn). Kudos to Peggy Hickey (FB) for the choreography. As dance captain, Sarah Ellis (FB) got the un-envious job of maintaining that choreography on the road.

Turning to the production and creative side: Alexander Dodge‘s scenic design for the tour provides a limited working stage within a stage that keeps the action narrowly focused and emphasizes the comic and theatrical nature of the story being told. This is complemented by the projection design of Aaron Rhyne (FB), which permits the working stage to be many locations through back projection of a scenic flat, often with animation. Both combined with the lighting of Philip S. Rosenberg to provide an effective package of sight and mood. [ETA: An aside on the lighting: I noticed much fewer lights for this show than usual, as it appears the Ahmanson has gone to the more versatile LED lighting systems.] As for sound, the sound design of Dan Moses Schreier was one of the clearest I’ve heard for a tour in ages. Of course, the creativity didn’t stop with the stage, lights, and sounds. They were complemented by the remarkable costumes of Linda Cho, the hair and wig design of Charles G. LaPointe, and the make-up of Brian Strumwasser. As an example of how these were remarkable, consider that John Rapson had to instantly change not only costumes, but wigs and makeup in seconds during transitions, and it was flawless.

The remaining members of the production team were: Dianne Adams McDowell (Vocal Arranger), Binder Casting (Casting), Tripp Phillips (Production Supervisor / Assistant Director), Daniel S. Rosokoff (Production Stage Manager), Eric H. Mayer (Stage Manager), Sarah Helgesen (Assistant Stage Manager).  Neuro Tour provided physical therapy. There were loads and loads of producers. This was an AEA tour.

A Gentleman’s Guide to Love and Murder continues at the Ahmanson Theatre (FB) through May 1, 2016. Tickets are available through the CTG Box Office. Discount tickets may be available through the CTG Hottix program, and Goldstar. It is well worth it — a well done very funny show.

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Ob. Disclaimer: I am not a trained theatre critic; I am, however, a regular theatre 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 had been subscribing at three theatres:  The Colony Theatre (FB), Cabrillo Music Theatre (FB), and REP East (FB): but all have gone or are going dark., I just added a subscription to the  Hollywood Pantages (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: This afternoon saw us in Beverly Hills for A Shred of Evidence at Theatre 40 (FB) — this will be written up in the next day or two.  April will start with Lea Salonga at the Valley Performing Arts Center (VPAC) (FB) on April 1 and an Elaine Boosler concert at Temple Ahavat Shalom on April 2 (this concert is open to the community; get your tickets here). We have a mid-week concert of the Turtle Quintet at the Valley Performing Arts Center (VPAC) (FB) on April 7, followed by “Children of Eden” at Cabrillo Music Theatre (FB) on April 10. The next weekend’s theatre is on Thursday, because the weekend brings our annual visit to the Renaissance Faire (Southern). The Thursday show is Stella’s Last J-Date at the Whitefire Theatre (FB). The fourth weekend in April is is Pesach, but the Indie Chi Productions dark comedy Dinner at Home Between Deaths at the Odyssey Theatre (FB) sounded so interesting I’ve booked Sunday tickets. The last weekend of April has a hold date for The Boy from Oz at the Celebration Theatre (FB) (although we may end up seeing the Landmark Musical Theatre (FB) in the Bay Area instead (support their kickstarter), meaning I have a weekend to program!). May starts with a hold date for Endgame at the Kirk Douglas Theatre (FB). We then run off to the Bay Area for our daughter’s graduation from Berkeley. While there, we may squeeze in a show: the Landmark Musical Theatre (FB) is doing The Boy from Oz, but otherwise the pickings and concerts are bare. May 21 has a hold for Los Angeles: Then and Now, a new musical at LA City College (FB) from Bruce Kimmel. The last weekend of May has holds for the MoTAS Outing to the Jethawks, and Armadillo Necktie at The Group Rep (FB). As for June? It’s the Hollywood Fringe Festival (FB), and I’ve started to hold dates for the following shows: All Aboard the Marriage HearseAll The Best Killers are LibrariansQaddafi’s Cook — Living in Hell, Cooking for the DevilSqueeze My CansTell Me On A Sunday   Toxic Avenger: The Musical  ✨  Vintage BoxEinstein Titus Andronicus Jr.The Old Woman Sweet Love AdieuMy Big Fat Blond Musical✨. We thought about Love The Body Positive, but then again… no. Can’t be scaring people.  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 or that are sent to me by publicists or the venues themselves.

 

 

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Thoughts on a Theatre Season: Ahmanson 🎭 Geffen

Written By: cahwyguy - Tue Mar 22, 2016 @ 7:28 pm PST

userpic=theatre2Well, the Ahmanson Theatre (FB) and The Geffen Playhouse (FB) just announced their upcoming seasons, so it is time for another “Thoughts on a Theatre Season“…

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The Ahmanson Theatre

Back in January, when Cabrillo Music Theatre (FB) and the Pantages (FB) announced their seasons (and after a moment of silence for Cabrillo), I wrote:

Other Tour Musings: Aladdin: The Musical just announced their national tour, starting in Chicago April-July 2017. Those dates mean it can’t go into the Pantages until at least 2018, and this is show that I’d expect to go into the Pantages. So it may show up at the Ahmanson in the Fall of 2017 (they haven’t announced their season yet), or (more likely) it will be in the Winter or Spring of 2018 at the Pantages. It also sounds like there is a tour of Curious Incident of the Dog in the Nighttime.  It is part of the 2016-2017 SHN San Francisco season, so my guess is that it will be a fall show at the Ahmanson, because (a) it is unlikely they would delay it until 2018, and (b) they rarely, if ever, book plays into the Pantages. Fun Home and Something Rotten have also announced tours; Fun Home starts in late 2016; Rotten in 2017. Given the Pantages schedule, I’m expecting both to show up at the Ahmanson. School of Rock: The Musical has also announced a tour; although that’s a show that would fit the Pantages audience better, the long sitdown at the Pantages means it will likely be an Ahmanson show. Gee. I’ve just figured out the Ahmanson season :-).

The Ahmanson just announced their season, and I ended up being 2 out of 6. Here are my thoughts:

  • Thumbs Down Arthur Miller’s A View from a Bridge. Sep 7 – Oct 16, 2016. This is the Young Vic production, but it doesn’t really excite me.
  • Thumbs Up Amalie: A New Musical. Dec 6, 2016 – Jan 15, 2017. This premiered last fall under the direction of Pam McKinnon at Berkeley Repertory Theatre. I liked the movie, so this intrigues me.
  • Thumbs Up Fun HomeFeb 21 – Apr 1, 2017.Tony-winning. Need I say more?
  • Thumbs Down Into the Woods. Apr 4 – May 14, 2017. This is the Fiasco 10-actor version, but I’ve seen the original and I’ve seen it in 99 seat. Why see it again?
  • Thumbs Down Jersey Boys. May 16 – Jun 24, 2017. Been there. Saw it.
  • Thumbs Up Curious Incident of the Dog in the Nighttime.  Aug 2 – Sep 10, 2017. Oh yes.

This still leaves the question of where Aladdin and School of Rock will end up: I’m guessing the Pantages after Hamilton; similarly, Something Rotten may also end up at the Pantages depending on timing, or the next season at the Ahmanson.

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The Geffen

The Geffen in Westwood has also announced their season. My thoughts:

  • Thumbs Down Barbecue. Sept. 6 to Oct. 16, 2016. Seen last year at the Public Theater in New York. O’Hara’s comedy follows two families — one white, one black — as they bicker and brawl amongst themselves at separate gatherings in a public park.
  • Thumbs Down Margulies’ The Model Apartment. Oct. 11 to Nov. 20, 2016. This debuted in 1995 and tells the story of a retired couple living in a condo.
  • Thumbs Down Icebergs. Nov. 8 to Dec. 18, 2016. This takes place in the Silver Lake neighborhood of Los Angeles, following four friends negotiating professional and personal challenges. World premier of a Alena Smith play.
  • Thumbs Down Benjamin Scheuer’s solo show The Lion. Jan. 4 to Feb. 19.
  • Thumbs Down Matthew Lopez’s The Legend of Georgia McBride. April 4, 2017, to May 14, 2017.
  • thumbs-side Payne’s Constellations. June 6, 2017 to July 16, 2017. The elusive story involves a man and a woman, bound together by advanced physics.

Plus two productions to be announced later. Only one show piques my interest, which is about par for the course at the Geffen.

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Going Straight to the Source 🎭 “An Act of God” @ Ahmanson

Written By: cahwyguy - Mon Feb 08, 2016 @ 7:49 pm PST

An Act of God (Ahmanson)userpic=ahmansonHave you ever wanted a relationship with God?

Have you ever wondered what God thinks of the world today?

Have you ever wondered if God answers prayers?

Have you ever wondered if God would revise the Ten Commandments, if he (or she) could?

Have you ever wondered if God was a Windows or a Mac user?

If you have, get thee down to the Ahmanson Theatre (FB) and see Sean Hayes (FB) in An Act of God (FB), which we saw yesterday evening. Yes, the evening of the Super Bowl. Great time to go to the theatre. It was empty, and our $25 Hottix became 6th row center! I’ll have to remember that.

In any case, back to God. You might have heard about this show. It is based on the book “A Memoir of God” by God (FB, TW) and David Javerbaum (FB). Well, mostly by Javerbaum serving as God’s ghostwriter. After all, if you’re incorporial, it is hard to hold a chisel (just ask Moses), or type on a laptop … and I have a feeling that God does not like Microsoft Word.

As I was saying, you may have heard of this show. It’s basic conceit is that God comes back to Earth and inhabits the body of a white male comedian, and expounds on society today, answering questions from the audience. On Broadway, God inhabited Jim Parsons. But even God couldn’t get Jim Parsons out of a contract with Chuck Lorre, and so for Hollywood, he inhabited Sean Hayes (FB). [BTW, I never noticed how much Hayes looks like John Ritter]

The show starts with a death. Well, think a blue screen of death. But it then goes on to God just sitting and chatting with the audience, and expounding on various subjects. God talks about the Ten Commandments, and decides to introduce a new set of commandments for today.

If you want a sense of the show, look no further than the bios. Here’s the show’s bio of God:

GOD is the original multi-hyphenate and triple threat, an auteur and visionary whose bold creations and intelligent designs have earned Him international recognition since Day One. Though best known for his performance art, He is also a writer whose previous literary efforts, The Old Testament and The New Testament, have collectively sold an impressive 7,000,000,000 copies. They have also been adapted numerous times for the big screen, most recently by Ridley Scott in Exodus, a project he regrets green-lighting. An Act of God is His first work written directly for the stage, although His 1827 comic romp The Book of Mormon was recently adapted into a successful, albeit unauthorized, Broadway musical. The current production marks his first appearance in California not involving the consumption of psychotropic drugs. God lives in heaven with His wife Ruth and their children Zach, Jesus and Kathy. He is managed by David Miner at 3Arts Entertainment.

So what are the New Ten Commandments. Piecing them together from various reviews, I get:

  1. I am the Lord your God. Thou Shalt Have No Other Gods Before Me
  2. Thou shalt not tell others whom to fornicate
  3. Thou shalt not kill in My name
  4. Thou shalt separate me and state
  5. Thou shalt honor thy children
  6. Thou shalt not take my name in vain
  7. Thou shalt not tell Me what to do
  8. x
  9. Thou shalt not believe in Me
  10. Thou shalt believe in You.

(The numbers may not be right, and I’ve forgotten one of them)

On each of these, as well as in numerous other bible stories (creation, Noah, Jesus), God (as Sean Hayes) expounds with a load of humor. Many targets are skewered, but especially the religious right and those who use God for their own purpose.

Will you find it funny? That’s a different question. If you aren’t extremely religious, probably. If you see the hypocracy in many who are religious, probably. If you’re a fundamentalist Bible belt thumper, I doubt it.

For me, it was one of the funniest shows I’ve seen in… a week (what a pair — this and A Funny Thing Happened on the Way to the Forum)

I should note that God isn’t alone on stage. He is supported by David Josefsberg (FB) as Michael (the angel in the audience, representing the view of Man), and James Gleason (FB), who handles the Gutenberg.

[ETA: One additional note: On both coast, God has chosen a white male comedian. What would be the impact of this show if God inhabited, say, Rosie O’Donnell. Jamie Foxx. George Lopez. Margaret Cho. Would the impact be different, and why?]

God has a very simple set: a couch, some fancy stairs, a podium, and some projections, and loads of special lighting. These were created by creatives with God-given talent: Scott Pask – Scenic Design; David Zinn – Costume Design; Hugh Vanstone – Lighting Design; Fitz Patton – Sound Design; Adam Schlesinger – Music; Peter Nigrini – Projection Design; Paul Kieve – Illusion Consultant; Gregory Meeh – Special Effects. God was directed by Joe Mantello, as if God needs direction. Lora K. Powell served as Production Stage Manager, giving God his 30 minute notice. The production was entirely subsidized by Angels.

Seriously, go see this. You’ll really enjoy it. An Act of God continues at the Ahmanson Theatre (FB) through March 13th, and then it goes to San Francisco. God wants you to see this, and God wants you to pay full price and buy merchandise. Of course, if you are morally opposed to paying retail (and God knows who you are), there are discount tickets on Goldstar.

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Ob. Disclaimer: I am not a trained theatre critic; I am, however, a regular theatre audience member. 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 am not compensated by anyone for doing these writeups in any way, shape, or form. I subscribe at three theatres:  The Colony Theatre (FB), Cabrillo Music Theatre (FB), and I just added the  Hollywood Pantages (FB). In 2015, my intimate theatre subscription was at REP East (FB), although they are reorganizing and (per the birides) will not start 2016 shows until August. Additionally, the Colony just announced that the remainder of their season has been cancelled, so the status of that subscription is up in the air. 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: February theatre continues tomorrow night with The Jason Moran Fats Waller Dance Party at the Valley Performing Arts Center (VPAC) (FB). The following weekend brings the Southern California premiere of the musical Dogfight at the Chance Theatre (FB) in Anaheim Hills.  The third weekend in February is currently open, but that is likely to change. February closes with The Band of the Royal Marines and the Pipes, Drums, and Highland Dancers of the Scots Guards at the Valley Performing Arts Center (VPAC) (FB). March starts with “Man Covets Bird” at the 24th Street Theatre (FB) on March 6 (the day after the MRJ Man of the Year dinner) The second weekend of March is open, thanks to the cancellation of “Another Roll of the Dice” at The Colony Theatre (FB). The third weekend of March takes us back to the Pasadena Playhouse (FB) to see Harvey Fierstein’s Casa Valentina.  The last weekend of March is being held for “A Gentleman’s Guide to Love and Murder” at the Ahmanson Theatre (FB) (pending Hottix).  April will start with Lea Salonga at the Valley Performing Arts Center (VPAC) (FB) on April 1 and an Elaine Boosler concert at Temple Ahavat Shalom on April 2. It will also bring the Turtle Quintet at the Valley Performing Arts Center (VPAC) (FB), “Children of Eden” at Cabrillo Music Theatre (FB) , and our annual visit to the Renaissance Faire (Southern). 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 or that are sent to me by publicists or the venues themselves.

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