Tag: theatre-2013

My Amazon Wish List is big; my music collection is bigger (I lovesssss me my iPod Classic, my precioussssss). Both contain music to shows I have never seen. I mention this because I love to finally see shows I’ve only heard, or shows I know only through a cast album that is highly rated but I’ve neither seen nor heard. So when my LA Theatre RADAR uncovered the fact that “Ordinary Days“, a newish musical whose cast album was on my “Cast Albums after 1990” wish list, was opening at the Victory Theatre Center in Burbank, I jumped at the chance to go see it. I wasn’t disappointed. It was an enjoyable musical, well performed, with a few unexpected surprises. (ETA: I’ll probably get the album on my next Amazon order).

“Ordinary Days” is a new musical by Adam Gwon. It is described on the licensing site as telling “the story of four young New Yorkers whose lives intersect as they search for fulfillment, happiness, love and cabs. Through a score of vibrant and memorable songs, their experiences ring startlingly true to life.” That’s a very glossy and slightly misleading description, particularly with respect to the word “intersect”.

“Ordinary Days” tells the story of two pairs of people in New York in what I would surmise to be 2003-ish. The first pair is Warren and Deb. Warren works for an artist who is in jail, handing out slips of paper with sayings this artist once wrote on building, and collecting found things. Deb a a slightly neurotic English literature grad student getting ready for her first thesis meeting with her advisor. One day, she loses her notebook with all her research notes it it, and Warren finds it. He sends her an email, and their friendship begins (it isn’t a “relationship”, for one brief exchange notes that he’s gay). Once they meet, we see them going back and forth trying to find each other’s big picture. Warren’s picture is perhaps the seed thought for the show: being able to see the extraordinary in the ordinary days in New York. Eventually, he teaches Deb about this; Deb teaches him there is more to life.

The second pair is Jason and Claire. As we first meet them, Jason is moving into Claire’s apartment and they are fighting over what stuff to keep and what to pitch. We see that each has their historical baggage they want to keep; Claire’s includes an old sweater that she won’t explain (we presume it belonged to a former boyfriend). As their interactions go on and on, we see the relationship between the two get testier, with Jason unable to tell Claire that he loves her, and Claire unable to accept Jason’s affection. It reaches a boiling point when Jason blurts out a proposal. What happens then is what makes the musical, but I really don’t want to spoil it.

Remember that I said the original description said that the lives of these people “intersect”. That’s misleading. Gwon’s story (which is told entirely through songs — there is no recitative dialog in any scene) keeps alternating between the two pairs of people. There are a few scenes where all four are on stage at the same time, but one pair never directly interacts with the other in a plot-meaningful way. Even near the end of the piece, where the actions of one pair influence the actions of the other, there is never a direct interaction. In fact, except for that one scene, this could be divided into two one-acts, each act focusing on one pair, and the story wouldn’t be hurt. Perhaps that’s a strength; perhaps it is a weakness. However, I do believe that if they were forced to interact, it would seem forced and artificial; perhaps the message is that in the large number of “dots” that is New York City, even the actions of one or two dots can have significant effects on others.

As I noted, the story is told entirely through songs (as Stan Freberg might say, “The music is the book, the book is the music”). Initially this was jarring, but by the end it seemed to work. It reminded me most of another song heavy musical, “The Story of My Life” (which we saw back in 2010). This opened up an interesting post-show debate about when is something a musical vs. a light opera vs. an opera. I opined that musicals focus primarily on the story and less on the emotion of the music. That was certainly the case here — I didn’t walk out humming any particular melody, although the music worked well to carry the story along. The word play was clever (I did appreciate rhyming “dork” with “New York”), and I look forward to getting the cast album. But it wasn’t the sort of music that carried your along with its scope and grandeur as operas do, and I’m not sure it fit the light (i.e., comic) opera or operetta role of a Gilbert & Sullivan piece.

The direction by Angel Creeks (FB) (interview) did a great job of bringing out the character in these characters; that is, helping the actors to inhabit and become the roles. She made the interactions work well on the limited set. However, I didn’t realize this to the end. In particular, the behavior of the second pair seemed somehow off to me throughout most of the show; it wasn’t until the end that I realized there was a reason for that behavior. As always, I’m not sure where in this portrayal how to separate the work of the director from the skills brought by the actors. So let’s turn to the actors.

The first pair we meet are Warren (Reggie De Leon (FB)) and Deb (Katie Kitani (FB)). De Leon wins you over with his first song, “One by One by One” — he is just so joyful as his character it is infectuous. This is a young man who just finds joy in the little things. His performance does something that I enjoy so much — he inhabits his character and it seems to just be natural and exuberant. We see a similar performance from Kitani as Deb — her Deb is neurotic and controlled and nervous and enthusiastic and confused and… just a delight to watch. Again, she nails this with her first song, “Don’t Wanna Be Here”, which establishes not only her character but her quirky personality. With Kitani, I particularly enjoyed watching the nuances of her face and motions as she sang the songs. Again, she just inhabited the character, making it hers and seemingly merging actor and role. Both De Leon and Kitani sang wonderfully and just lit up the stage whenever they were on it. I’ll note that Amir Levi (FB) plays Warren on Friday nights. Based on the picture in the program, I would imagine that Levi would bring a different vibe to the character that would be interesting to contrast with De Leon’s portrayal.

The second pair we meet are Jason (William Martinez (FB)) and Claire (Anne Schroeder/FB). These two are much more cold and brittle, and something in their portrayal bothered me slightly. It turned out to have an explanation (which, being a pivotal plot point, I don’t want to spoil). Still, you don’t find out the reason for those aspects until near the end, so it would have been nice to see some occasional playful nuances. Overall, however, their performance was very good, although I wish that Martinez’s Jason had a bit more joy and excitement — he had found the love of his life, but he was more confused than shouting it to the world. Both sang well, although each had a slightly off point in their opening number. Presumably, that will work itself out in future performances.

The music in the production was under the direction of Alby Potts (FB) and P. Matthew Park. Potts was also onstage playing the sole keyboard (and interacting with the characters as a barista, in one scene). The production worked well with a single piano; it would be interesting to see how this production might change with larger orchestration. It might overpower the piece.

Turning to the technical. The scenic design by Frank Pepito (FB) was very simple: some outlines of buildings, some boxes, some empty frames, and some props. It worked to evoke New York City, but didn’t give a strong sense of place that might have worked better for those less familiar with the city (such as many in Los Angeles). The trick is conveying the unique vibe that is New York City to someone who has never been there, especially when the NYC vibe is often the antithesis of the LA vibe. The sound design by Dayne Donnell/FB was clear and crisp. One could imagine some background sounds to establish place, but these would have worked against the songs. The lighting design by Wynn Zucchero (FB) worked well most of the time; there were some lighting transitions that briefly left the actors a little in the dark. Costumes were coordinated by Cheddar Verna/FB and worked well.  I particularly appreciated the attention to detail demonstrated in Claire’s jewelry, which initially confused me but became clear by the end. Well done! Graphic design by Amy Turner/FB. Linda Griffin (FB) was the assistant director and stage manager, assisted by Max Griffin. “Ordinary Days” was produced by the Victory Theatre Center (FB) and Not So Artful Productions (FB).

“Ordinary Days” (FB) continues at the Victory Theatre Center until September 29. For those that enjoy off-Broadway style smaller musicals, it is well worth seeing — especially for the performances of Reggie De Leon and Katie Kitani. Tickets are available through the VTC Box Office, and may be available through Goldstar.

ETA: [Ob. Disclaimer: I am not a trained theatre critic; I am, however, a regular theatre audience. I’ve been attending live theatre in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I believe in telling you about the shows I see to help you form your opinion; it is up to you to determine the weight you give my writeups.]

Dining Notes. We had dinner before the show at La Maria Restaurant, which is about ½ mile W of the theatre on Victory, right near the Burbank/LA city line. Excellent Columbia and Americas food, with a wonderful salsa. I had their Pollo en Salsa Criolla, and it was just great. I’m going to recommend this place to the So Cal Games Day crowd, as Games Days are held at the church about a block away from VTC.

Upcoming Theatre and Concerts:  I told you our schedule would fill up quickly. Next weekend sees us in Santa Clarita for the Exit 81 production of “The Vagina Monologues” on September 15th at REP East (FB). The fourth weekend in September brings two shows: “bare – A Rock Musical” (FB) at the Hayworth in the Westlake Disttrict on Saturday, and “Carrie That Tune” (great songs from flop musicals) at the Avery Schreiber Playhouse (FB) in North Hollywood on Sunday.  We close September by returning to Santa Clarita and REP East (FB) for “God of Carnage” (September 28). Theatre in October starts on the 5th with “Breath and Imagination” at the Colony Theatre (FB).  The second week of October sees me at the West Coast Premier of “Burnt Street Boys“ at the Third Street Theatre (FB).  The third week of October is being held for the production of “Carrie – The Musical” (FB) by Transfer Theatre, but tickets are not yet on sale. October ends with the Cabrillo Music Theatre (FB) production of “Kiss Me Kate” (October 26). November will start (hopefully) with “Dirty Rotten Scoundrels” at Actors Rep of Simi (FB). That will be followed by a visit with Thomas the Tank Engine when we volunteer at OERM over Veterans Day.  The third week will be theatre-ish, as we attend ARTS’s Nottingham Village (FB) (a one-weekend ren-faire-ish market — tickets are now on sale). November will conclude with “Play It Again Sam” at REP East (FB) at the end of the month (November 23), and “Miracle on S. Division Street” at the Colony Theatre (FB).  December is mostly open, but should bring “The Little Mermaid” at Nobel Middle School, and “Peter and the Starcatcher” at The Ahmanson Theatre. As always, I’m keeping my eyes open as the various theatres start making their 2013/2014 season announcements. Lastly, what few dates we do have open may be filled by productions I see on Goldstar, LA Stage Tix, Plays411, or discussed in the various LA Stage Blogs I read (I particularly recommend Musicals in LA and LA Stage Times).

Vibrators and Sex Toys. What would the world be without them?

No, seriously, what would the world be without them? The play we saw today at the Secret Rose in North Hollywood: The Production Company (FB)’s production of Sarah Ruhl‘s “In The Next Room” (or “The Vibrator Play”) explores that very question.

At the dawn of electricity, women often went to doctors for treatment of hysteria. This play tells the story of one such doctor, Dr. Givings, who has devised a new treatment for hysteria. He has developed an electronic vibrating devices that he administers clinically to eliminate the congestion in the womb that leads to hysteria. The play addresses the treatment of Sabrina Daldry, a woman suffering from hysteria and depressions. Daily administration of the device changes Mrs. Daldry’s mood immensely. The play also concerns the arc of Dr. Givings wife, Catherine. Catherine has just had a baby but has little milk, so she hires Mrs. Daldry’s housekeeper as a wet nurse for the infant. Catherine also forms a relationship with Mrs. Daldry, and becomes curious about what is happening in the next room.  Wikipedia summarizes the plot from there best: Both are excited to have their first orgasms with the machine. Mrs. Daldry is content to continue having clinical treatments with the machine and suffer lifeless, boring sex with her own husband. “I am afraid there is very little sympathy between us.” Catherine Givings wants more. First Mrs. Givings learns from a visiting artist that orgasms detached from love ultimately are unfulfilling and empty, simply surface, without soul, and similar to sex with prostitutes. Then her wet nurse, Elizabeth, reveals to Catherine that she may be able to enjoy the same sensations from the machine with her husband, with whom she is frustrated because of his clinical detachment, but still ultimately loves. Catherine first inspires jealousy and passion in her husband, then convinces Dr. Givings – who had earlier observed that “what men do not perceive because their intellect prevents them from seeing would fill a book” – to make naked snow angels with her and discovers the woman on top sex position, allowing her at last sexual satisfaction while the curtain lowers.

To me, a number of aspects of the story hit home. I saw in Dr. Givings the classic scientist: focused on the clinical, detached from the emotional. It took his wife thumping him on the head (essentially) to move him to a place of passion. It also demonstrated the power of healthy sexual outlets to create a positive mood. I was also impressed with how the story was told with propriety: this wasn’t a focus on the skin or the sex — it was focused on the story and the people, and how a new approach to orgasms affected them.

The Production Company’s production of  “In The Next Room“, under the direction of August Viverito (FB) (assisted by T L Kolman (FB)), did a very good job of telling the story. I’ve been to the Secret Rose for other productions, and this was the nicest set I’ve seen at the facility; this combined with actors that truly came across as their characters resulted in a production that was a delight to watch. The technical and performance elements of this show came together to draw the eye where it should be drawn, and to excite the spirit when it should be excited.

Of course, the top-notch performances didn’t hurt. All of the cast was just a delight to watch, so I’ll say that once and hopefully not repeat it (too much). The leading ladies, Joanna Strapp (FB) as Catherine Givings and Yael Berkovich as Sabrina Daldry, were just so full of passion and energy (especially after the “treatments”) that they were a joy to watch on stage. You really believed that they were their characters, and you couldn’t keep your eyes off of them. The male leads, Michael Oosterom (FB) as Dr. Givings and Michael Zemenick (FB) as Dick Daldry, gave off a different vibe. They came off as personable individuals who cared about their wives, in the same way they cared about anything in their domain. Again, this was a case of the actors inhabiting their roles, for that is the detachment common for men in that area. In other words: wonderful performances from all the leads.

The second tier of roles consisted of Candace Nicholas-Lippman (FB) as Elizabeth (the wet nurse); Elizabeth Southard (FB) as Annie (the doctor’s assistant), and Ben Gillman (FB) as Leo Irving (an male artist also being treated for hysteria — again, with vibrating equipment).  Nicholas-Lippman’s Elizabeth had a wonderful inner beauty that started out reserved and blossomed in her few appearances. Billman’s Irving was exuberant, to the point where you didn’t know if his walking into furniture at times was part of the act or overexcitement. Southard’s Annie was more in the background in the first act, but really shone in her later scenes with Mrs. Daldry later in Act II. Again, all great performances.

As I indicated earlier, the set design (which was by the director, August Viverito (FB)) was spectacular. August Viverito (FB) was also responsible for the sound design (although the program says lighting), which provided appropriate special effect noises. Lighting design was by Matt Richter (FB) assisted by associate lighting designer Caitlin Rucker/FB. The lighting design was particularly notable for the way it focused your attention on one room or the other. Costume designs were by Kelly Graham, and seemed appropriately period (although my wife noted some hems could use touching up).  Scott Fleming/FB was the production stage manager. No credit was given for the house manager.

“In The Next Room (or The Vibrator Play)” continues at The Production Company (FB) in residence at The Secret Rose in North Hollywood through September 29. It is worth seeing. Tickets are available online and may be available through Goldstar.

Upcoming Theatre and Concerts:  I told you our schedule would fill up quickly. In the last week, I’ve added three shows. So let’s begin. The weekend between Rosh Hashanah and Yom Kippur sees us in Burbank for “Ordinary Days” (FB) at the Victory Theatre Center (FB).  The following weekend sees us in Santa Clarita for the Exit 81 production of “The Vagina Monologues” on September 15th at REP East (FB). The fourth weekend in September brings us back to North Hollywood for “Carrie That Tune” (great songs from flop musicals) at the Avery Schreiber Playhouse (FB) on September 22. We close September by returning to Santa Clarita and REP East (FB) for “God of Carnage” (September 28). Theatre in October starts on the 5th with “Breath and Imagination” at the Colony Theatre (FB).  The second week of October sees me at the West Coast Premier of “Burnt Street Boys“ at the Third Street Theatre (FB).  The third week of October is being held for the production of “Carrie – The Musical” (FB) by Transfer Theatre, but tickets are not yet on sale. October ends with the Cabrillo Music Theatre (FB) production of “Kiss Me Kate” (October 26). November will start (hopefully) with “Dirty Rotten Scoundrels” at Actors Rep of Simi (FB). That will be followed by a visit with Thomas the Tank Engine when we volunteer at OERM over Veterans Day.  The third week will be theatre-ish, as we attend ARTS’s Nottingham Village (FB) (a one-weekend ren-faire-ish market — tickets are now on sale). November will conclude with “Play It Again Sam” at REP East (FB) at the end of the month (November 23), and “Miracle on S. Division Street” at the Colony Theatre (FB).  December is mostly open, but should bring “The Little Mermaid” at Nobel Middle School, and “Peter and the Starcatcher” at The Ahmanson Theatre. As always, I’m keeping my eyes open as the various theatres start making their 2013/2014 season announcements. Lastly, what few dates we do have open may be filled by productions I see on Goldstar, LA Stage Tix, Plays411, or discussed in the various LA Stage Blogs I read (I particularly recommend Musicals in LA and LA Stage Times).

What’s a weekend without live theatre, right?* So even though we are on vacation, we found some theatre to see. In this case, it was Patio Playhouse‘s production of the Mel Brooks musical “Young Frankenstein” (or, to be precise, “The New Mel Brooks Musical Young Frankenstein“). The production was part of the “Plays in the Park” series, and was held in the amphitheatre at Kit Carson Park in Escondido (although the amphitheatre is 1,200 seats, not the 3,000 seats as claimed by the city). It was billed as the “Southern California Premiere” on the Patio Playhouse website, however, that is not true: The original tour hit Los Angeles in summer 2010, and Moonlight Prodctions in Vista is also doing the show (although the Moonlight version started after Patio’s version, so this could be the “San Diego Premier”). To Patio’s credit, Moonlight also claims it is the “Southern California professional premiere. I’ll note that this could be the Southern California region theatre premier (as the Pantages version was the tour).  [*: Yes, we did see live theatre last weekend, even though I didn’t write it up — we went back to REP East Playhouse to see the closing night of “9 to 5 – The Musical“.]

“Young Frankenstein” (with book by Brooks (FB) and Thomas Mehan, and music and lyrics by Brooks) basically tells the same story as the movie version. You can find a writeup of the stage version on the Wiki page. The stage version elongates some scenes and musicalizes others, and does some slight rearrangement of the action. However, essentially, it is the film on stage, with more singing, dancing, and tits (although the tits were smaller (umm, that is, the tits were deemphasized) in Patio’s production). The stage production did not have the critical or box office success that Brooks’ first musical, “The Producers” — this could be because the property was better known and loved by the pubic, or because the stage was tired of Brooks’ humer. The more likely reason has to do with the book — by being faithful to the movie, they ended up with an overly long book (the first act is 90 minutes); and the love and fame for the property as well as Brooks’ involvement as a producer) prevented the stage developers from cutting and tightening the show. Still, the musicalized stage version of “Young Frankenstein” is quite enjoyable when done well. The Escondido audience we saw it with seemed to enjoy it, except for the few that walked out at the first mention of “tits”.

In general, the Patio Playhouse production of “Young Frankenstein” was reasonably good, especially when you consider it was community theatre (the Moonlight version in Vista was using professional actors; Patio had mostly community players). The lead performers were generally excellent, and the supporting ensemble did a good job. There were technical glitches, and the set was far from the standard of quality set by the touring version. Still, the production made for an enjoyable night — I’d tell you to go see it, but we caught the closing night.

One of the things that made the Patio Playhouse production shine was the strong casting of the leads — especially Tyler C. Jiles/FB as the lead. Jiles’ Frederick Frankenstein was an inspired piece of madness. His eyebrows, his facial expression, his movement — all combined to make this young man a strong and funny stage presence. Add to that the fact his strong singing, and Jiles made the part come alive. As I say with every show I right, I love actors that can inhabit their characters, and this man did.

Another strong performer was Sean Doughty/FB as Igor (pronounced “eye-gore”). Īgor was comic madness, with some incredible ad libbing that forced the other actors to work to keep a straight face. This came across best during his comic antics behind Frankenstein’s reading of “How I Did It”, but also shone at numerous other places in the show. You never knew what he was going to do; he seemed to be channeling Marty Feldman with a smaller hump. He also sang quite strongly, but his real forté was his comedy.

As Frankenstein’s comely lab assistant Inga, Jenna Wille was spectacular. She had a very strong singing voice, lovely looks, a wonderful facial expression. In short, she seemed to be having a lot of fun with the role, which (if you are familiar with my write ups) you know that I enjoy. I had two minor complaints with Wille’s performance: First, when dancing, she often painted on this odd smile (this was especially obvious in “Transylvania Mania”) — I’m sure this was the director or choreographer’s instructions, but I would have been much happier to see her real joy come across. [ETA: A comment later clarifies this odd smile was due to pain as she had sprained her ankle the week before… and “the show must go on”. Knowing that, I’m even more impressed with her performance, and it reminded me of the actress playing Claudia in the DOMA production of “Nine“.] Secondly, and again this is more likely the choice of the costumer than Wille, her outfit needed to emphasize her (to be blunt) tits more. It did a great job with her legs, but Mel Brooks likes to place the emphasis on the tits — and so it would have made the jokes even better. Then again, it looked like Patio is used to drawing the family audience, and the tits may have been toned down to not add insult to an already strong sexual innuendo (or is that inn-u-end-o) in the script).

The second tier was also very strong. As Frau Blücher (#insert <horse-rearing-sound-effect>), Kelli Harless/FB projected a wonderfully stern personality (that appeared not to be there in real life, as demonstrated when she broke character after the curtain call to thank the production staff). Again, a strong comic performance, joy in doing this role, and a strong singing voice (demonstrated in “He Was My Boyfriend”) made her fun to watch. Also strong was Lindsey O’Connor/FB‘s Elizabeth Benning. Although she had a costuming problem similar to Inga (again, in any Mel Brooks show, the tits must be played up), she gave a wonderfully strong comic performance and seemed to be delighting in the role — this was especially true in Act II and her numbers with the Monster. Speaking of the Monster, Donny Bronson/FB was (umm) very strong. He particularly shone in “Putting On The Ritz” and his subsequent interactions.

Turning to the third tier/ensemble, there are a few performances I’d like to comment upon. As Victor Frankenstein and a member of the ensemble, Robert Malave/FB had a look I found fascinating. If Patio Playhouse ever decides to do “The Addams Family – The Musical“, they should cast Malave as Gomez because he has the perfect look (and I’m sure, maniacal behavior). Rick Hernandez/FB gave a great performance as “The Hermit”, but he really needed dark sunglasses to pull off the blind look convincingly (yes, they are stereotypical, but this is Mel Brooks, who loves to play the stereotypes). Steve Bohnstedt’s Inspector Kemp was good but needed a bit more projection, plus the arm effects didn’t work out quite right (affecting the humor). Lastly, as Ziggy (the village idiot), John Rogers/FB had a wonderful idiotic look throughout, and was a delight to watch. Rounding out the cast, in various ensemble and singing positions, were Helen Brehm/FB (dancer/ensemble), Matthew Brehm (dancer/ensemble), Heidi Breuer (octet/ensemble), Candace Carbajal (FB) (dancer/ensemble),  Linda Claudius/FB (octet/ensemble), Josalyn Dietrich/FB (dancer/ensemble), Connie Fischl/FB (octet/ensemble), Matt FitzGerald/FB (dancer/ensemble), Ali Robbins-Goddard/FB (dancer/octet/ensemble), Judy Gonsalves/FB (ensemble), Cathy Pence/FB (octet/ensemble), Jennifer Purviance/FB (octet/ensemble), Curtis Quay (Mr. Hilltop), Michaela Summers/FB (dancer/ensemble), Karen Tavares/FB (ensemble), Stephen Tavares (ensemble), Brenda Townsend/FB (octet/ensemble), Andre Urbano (dancer/ensemble), and Myra Zamora/FB (dancer/ensemble) . In general, the quality of the ensemble was mixed: about ⅔^rds to ¾^ths were strong and inhabited their roles quite well, but there were a few that just seemed to be focusing more on getting the steps right than having fun. [ETA: Again, this is not a complaint — it was actually quite good for a community production… rather it is more of a goal to work towards.]

The orchestra sat off to the side and provided reasonable sound. It was under the direction of Emily Awkerman (FB) (who was on the keyboards) and Christian Tordahl (conductor). The remaining members of the orchestra were Dan Townsend/FB (Percussion), Mike Mahoney/FB (French Horn), Taylor Ingalls/FB (Clarinet, Accordion), Sabrina Ingalls/FB (Clarinet), Steve Yee (Trumpet I), Ken Carstens (Trumpet II), Marcia Yee (Violin I), Bill Oakes (Trombone), J. D. Noland (Trombone), Debbie Olson (Flute, Piccolo), and Tim Knorr (Bass).

The production was directed by Mary Bright/FB and Richard Brousil/FB.  Given that they were working with community-level performers and what I’m guessing was a low budget, they did a remarkable job. The performances, in general, were strong and believable (well, as much as anything can be believed in this show). Choreography was by Evelyn Lamden/FB, assisted by Candace Carbajal (FB). The dance, in general, was good. A number of the numbers needed a bit more precision (e.g., when tap dancing, the taps should be a single “bang”), but then again, this was community theatre. [ETA: Again, a comment noted that the stage at the Kit Carson was rather beat up, affecting both sound and movement.]  There was also the issue of the painted on smile during dancing — I’d much rather see the dancers internal joy at the movement and fun. But, as I said, it was great for community theatre. Vocal direction was by Emily Awkerman (FB) and Cheryl Hernandez/FB.

Now to the technical. I’m coming to believe that the main distinguishing factor between community theatre and professional theatre is the quality of the sets. Professional theatre either has perfect sets or sets so simple that your imagination gives you the perfection. Community theatre attempts the realistic but doesn’t quite make it. The sets here were mostly flats with a rough-painted wall that worked good enough for the show. They didn’t compare to the quality of the national tour sets, but that’s not a surprise. However, the limitations of the sets did force some compromises based on the synopsis. I do applaud the use of the hidden hydraulic scissors lift to substitute for the lack of fly space. The set design was by Richard Brousil/FB, with props by  Connie Fischl/FB. Georgette Fleuret‘s costume design worked well for the most part, modulo the problem I highlighted above (e.g., the ladies costumes needed to channel Mel Brooks and emphasize the tits). Makeup was by Shawna Greshik.

If there was one area the show had a problem, it was sound. The sound effects worked well, although there were occasional timing glitches. More problematic were the microphones that kept cutting in and out. I don’t know if this was a problem endemic to the facility, but the sound design by David Farlow/FB should have compensated better. The lighting design by Bryan Slothower/FB worked reasonably well. Technical design was by Bruce Blackwell/FB, Chris DeArmond/FB, Dan Townsend/FB, and David Farlow/FB. Mark Lansing was the special effects operator. Jen Ernst/FB was the stage manager. “Young Frankenstein” was produced by Brenda Townsend/FB.

[ETA: Seeing how well this company did with the problems they faced, I’d be intrigued to see one of their productions at their home “black box” stage. Alas, we live in Northridge (San Fernando Valley), and the drive to Escondido is a bit far for most shows (our usual southern extent is Chance Theatre in the Anaheim Hills. Perhaps on another visit to Escondido.]

Two last notes:  First, although there names are not in the program, the two young ladies who did the raffle were delightful in their enthusiasm, stage presence, and general joy. They made losing the raffle worth the price of admission. Second, “boos” to those audience members who could not stay away from their cell phones for a 3 hour show, or who insisted in holding them up, screens lit, to take non-flash pictures. If you are in an audience, please remember that the light from a cellphone screen disturbs not only the actors, but the audience members seated around you. You can live without the phone for a few hours, and pictures are typically contractually prohibited during the show. Find your friends afterwards and take all the pictures you want.

Last night was the final performance of Patio Playhouse (FB)’s “Young Frankenstein“. Their next production is “Almost, Maine“, starting August 30. Based on the quality of this production, I’d recommend their productions to those that live in the area (alas, it is too long of a drive from the San Fernando Valley).

ETA: Lastly, some words about the venue. Kit Carson Park was easy to find and parking was a breeze. However, don’t get it confused with the Moonlight Amphitheatre — there is no real space for picnicing, and the wasps in the area are a bit aggressive (we had one who kept dive bombing us). There’s not much rake to the amphitheatre; we were lucking to get patio chairs upfront, as opposed to the normal benches. Bring a blanket to sit on, and be prepared for it to be a little cool after the sun goes down.

Upcoming Theatre and Concerts:  This afternoon we’re going to another local show, “Coastal City Jazz Band with Andy Martin” in Carlsbad, CA. Theatre-wise, next Sunday brings Sarah Ruhl’s “In The Next Room or The Vibrator Play“ at the Production Company/Secret Rose (FB). After a break for the High Holy Day, theatre resumes with “The Vagina Monologues” on September 15th at REP East (FB), and we return to REP East (FB) for “God of Carnage” (September 28). October 5th brings “Breath and Imagination” at the Colony Theatre (FB), as well as the Cabrillo Music Theatre (FB) production of “Kiss Me Kate” at the end of the month (October 26). November will start (hopefully) with “Dirty Rotten Scoundrels” at Actors Rep of Simi (FB), as well as ARTS’s Nottingham Village (FB) (a one-weekend ren-faire-ish market — tickets are now on sale). November will conclude with “Play It Again Sam” at REP East (FB) at the end of the month (November 23), and “Miracle on S. Division Street” at the Colony Theatre (FB).  The fall should also bring a production of “Carrie – The Musical” (FB) by Transfer Theatre, but the specific dates have not been announced. As always, I’m keeping my eyes open as the various theatres start making their 2013/2014 season announcements. Lastly, what few dates we do have open may be filled by productions I see on Goldstar, LA Stage Tix, Plays411, or discussed in the various LA Stage Blogs I read (I particularly recommend Musicals in LA and LA Stage Times).

If you read my blog at all, you know I like things that come in threes (such as news chum). If you read my theatre reviews, you know I like to see musicals I’ve only heard but never seen. Recently, I discovered that a local theatre group was mounting Jerry Bock and Sheldon Harnick‘s three act musical “The Apple Tree“. I’ve had the music for years, but it’s one I’ve never seen. You know the read. It was instantly added to my watch list, and last night saw us in the basement of a church in North Hollywood watching ELATE (FB)’s production of “The Apple Tree“.

ELATE is an interesting theatrical group. A ministry of the Emmanuel Lutheran Church, ELATE has been around for many years (since either 1991 or 1984). They have a full theatre (73 seats) in the basement of the parish hall, and use a mix of amateur, regional, and professional actors (being in North Hollywood, they’re plentiful). They advertise for auditions in trade publications (i.e., not just within their church), and in general, put on good shows. We’ve seen one of their shows before — “Songs for a New World“ — in fact, “Apple Tree” had one actor from that show. In general, they do good productions.

“The Apple Tree“ is collection of three one-act musicals adapted from the original short stories by Jerry Bock, Sheldon Harnick, and Jerome Coopersmith. The show was Bock/Harnick’s first show after their success “Fiddler on the Roof“, and it is a very different show both in size and scope. I’ve seen reviews indicating they were connected by a theme — which I’ve either seen described as “the results of temptation” or “love”, but this connection is very very loose.  Rather, it seems these are three stories the team wanted to musicalize, and they collected them together in a show.

Act I is based on Mark Twain‘s The Diary of Adam and Eve, and tells the story (duh) of Adam and Eve in the Garden of Eden. You can find the synopsis at Wikipedia, but in short: We start out with Adam creating the animals. Eve appears, and we see how the start of their relationship, with stereotypical implications that made me think of “I Love You, You’re Perfect, Now Change“. The snake comes along and tempts Eve. After eating the apple, the two leave the garden and start a real relationship. It is at this point the love between the two of them starts to grow, and we see how children affected their lives.

This act was very simple, and it made me realize how differently this must have been staged on Broadway. ELATE’s staging was very simple, and emphasized the acting to create the environs and mood. The performances were reasonably good. I enjoyed the performance and voice of their Eve, Catherine Rahm (FB) — who was also the director, although she came across as a little older than I expected that part to be. Also strong was their snake, Jeff Thorsen (FB), who sang well and looked wonderfully evil in his suit. Adam was played by Joseph Bell, and Henry Parke (FB) provided the voice of God. The set was simple — a large tree in the center, and a few benches. Costumes for this act were … a little odd. Eve was in a simple white dress; Adam in white shirt and shorts; the Snake in a full-on lawyer suit. In some ways, I would have expected more skin (or something skin-looking) — the dress made the modesty post-apple quite odd.

Act II is based on Frank R. Stockton‘s The Lady or the Tiger? This is a simple story. It takes place in a “Kingdom” (although ELATE changed it from “King Arik” to “Queen Erin”) with a simple trial system: the accused is placed in an arena, and must choose between two doors. Behind one is a starving and vicious tiger. Behind other is a maiden appropriate to the accused’s station. They choose a door — behind one is certain death, and behind the other the tiger eats them. Actually, that’s close: if they choose the maiden, they are married on the spot; if they choose the tiger… death. The problem in this story is that the Queen’s daughter, Princess Barbara, is in love with a man, Sanjar, who is beneath her station. The queen finds out, and sentences Sanjar to the arena. Barbara finds out which door has the tiger so she can save Sanjar, but then learns that behinds the other will be her servant, Najira, who she does not want to marry Sanjar. Essentially, if she’s can’t have Sanjar, she doesn’t want anyone else to. However, she also loves Sanjar and doesn’t want to be the cause of his death. At the time of the trial, Sanjar pleeds to Barbara to tell him which door to pick. She motions to one of them. He starts to open it and… fade to black. Which one did he choose?

This act was very well performed, and I was very impressed with Renee Laramore (FB) as the Balladeer.  Not only did she sing well, but she was having great fun with the part and had this very playful air about her. Also strong was Maria Sermonia (FB) as Barbara — also strong in the singing department, and having fun with the role (plus I enjoyed her costume). Lastly, as Najira, Sydney Berk (FB) caught my eye — more on her in a minute. On the male side, Matthew Elszy (FB)  as Sanjar had a very nice singing voice and performed quite well. Rounding out the cast in this act were Debbie Lowe/FB (Queen Erin), Henry Parke (FB) (Prisoner), Therese Hawes (Bride), Carol Bratcher/FB (Barbarian Woman), Tyler Guilorry (FB) (Guard), and Sharon McDowell/FB (Barbarian Woman).  The actress that played the tiger was not credited. The sets again were simple — two doors, and a little statuary on the walls.  Costumes were reasonable, with the balladeer’s being the most elaborate.

Act III was Jules Feiffer‘s Passionella. Passionella tells the story of Ella, a chimney sweep who wants to be a beautiful glamorous movie star (but not necessarily a rich beautiful glamorous movie star, or a well-likes beautiful glamorous movie star). Every day she sweeps chimneys, and every night she falls asleep to the TV and dreams of the movies. One night, after getting fired from her chimney sweeping job, her fairy TV godmother comes to her and grants her wish — she’s a beautiful glamorous movie star (Passionella) … but only between the 6 o’clock news and the late-late show (which ELATE changed to the “last infomercial”). She goes to Hollywood and instantly finds fame… and work in the movies… but only between 6pm and 4am. She discovers she has everything she wants… except love. One day she meets Flip Charming, a hippie rock singer (which ELATE changed to a black rap singer with dreads). Flip doesn’t want the glamor — he wants a real woman (“the woman of my dreams is a slob”). So Ella agrees to film a new movie — “The Chimney Sweep” — during the day. She wins an Oscar for her realistic portrayal… and wins Flip. They return to Ella’s flat and make love in front of the TV. When the last infomercial goes off, not only does Passionella change back to Ella, but Flip… returns to the schlub Joe Brown. The two live happily ever after. I’ll note that ELATE updated a number of references in this — not only the “Late Late Show” into “Infomercial”, but the type of singer Flip was, as well as adding references to blogging, Facebook, and the web as well.

My impression of this act was especially colored by knowing the original cast album — Alan Alda as Flip and Barbara Harris as Passionella. I felt that Sydney Berk (FB) was very strong… when she was Passionella. Her Ella needed a bit more grunge and imperfection to make the transition stand out more.  Tyler Guilorry (FB)’s Flip was weaker — he needed to come across both stronger and more nerd-ish in his main song “You Are Not Real” to get the point across, but otherwise his performance was good. Also strong was Henry Parke (FB) as the Narrator. Rounding out the cast for this act were Renee Laramore (FB) (Producer), Debbie Lowe/FB (Reporter), Maria Sermonia (FB) (Blogger), Therese Hawes (Stagehand), Carol Bratcher/FB (Godmother), Matthew Elszy (FB) (Director), and Sharon McDowell/FB (Mrs. Fallible). The set here retained the doors from Act II, brought back the bench from Act I, and added a chimney to sweep. Again, this would have been very different in a larger production. Costuming was more problematic here — Ella’s outfit wasn’t grungy enough (especially with the glamor dress peaking through), and the Passionella outfit needed to be properly hemmed (and needed something other than ballet flats). Other costumes were reasonable.

One other acting note: In the original Broadway production, there was one set of main leads common in all three acts (Alan Alda – Adam/Sanjar/Flip, Larry Blyden – Snake/Balladeer/Narrator, Barbara Harris – Eve/Barbara/Passionella). That wasn’t done here, which I feel hurt a little as it diluted what talent they had. My other observation is that this show demonstrated the divide between the professional or trained actor and the community player well. In writing this write-up, I note that all the actors that impressed me were the ones who turned out to be actively working as actors and doing lots of shows across lots of theatres. The other folks were good, but didn’t give the same strong impression.

Music was provided by a two-piece ensemble featuring Diana Brownson (FB) on Keyboards and Anita George/FB on Baritone Sax. Catherine Rahm (FB) was the musical director. Vicki Kirk/FB provided the choreography, which was relatively simple. The production was directed by Catherine Rahm (FB).

The simple set design was by Joseph Bell and worked well within the constraints of the ELATE space (as well as within their likely small budget). Lighting was designed by Michael Updegraff and was … bright. The set was lit mostly with leikos with no colors, which made the actors visible and focused attention, but didn’t work on establishing mood or emotion. Sound was by Mark Stegman/FB. No credit was given for costumes, although special wigs and hair were by Jon Sparks (FB). No credit was given for the stage manager.

The last performance of “The Apple Tree” at ELATE (FB) is today at 2pm. Tickets, I’m sure, are available at the door.

Dining Notes: For dinner, we tried a Greek restaurant recommended by Yelp – Olympus Tavern. Located on Laurel Canyon just S of Victory, it was very tasty and not overpriced. We’ll go back.

Upcoming Theatre and Concerts:  Next weekend is our wedding anniversary (evidently orchids are the “traditional” 28th anniversary gift)… and we’re celebrating it with theatre friends. That’s right, our daughter and one of her roommates will be joining us at REP East to see the final performance of “9 to 5 – The Musical” with our friends at REP.  Tickets are available through the REP Online Box Office or through Goldstar — c’mon out and join us (and possibly surprise Karen). We may also see a show at the Lawrence Welk Resort in Escondido at the end of the month (depending on price), or at another venue in San Diego (I particularly noted a production of “Young Frankenstein” in the park). September may bring Sarah Ruhl’s “In The Next Room or The Vibrator Play“ at the Production Company/Secret Rose (FB) and “Blue Man Group” at the Hollywood Bowl. The middle of the month brings “The Vagina Monologues” at REP East (FB), and the end sees us back at REP East (FB) for “God of Carnage” (September 28). October 5th brings “Breath and Imagination” at the Colony Theatre (FB), as well as the Cabrillo Music Theatre (FB) production of “Kiss Me Kate” at the end of the month (October 26). November will start (hopefully) with “Dirty Rotten Scoundrels” at Actors Rep of Simi (FB), as well as ARTS’s Nottingham Village (FB) (a one-weekend ren-faire-ish market — tickets are now on sale). November will conclude with “Play It Again Sam” at REP East (FB) at the end of the month (November 23), and “Miracle on S. Division Street” at the Colony Theatre (FB).  The fall should also bring a production of “Carrie – The Musical” (FB) by Transfer Theatre, but the specific dates have not been announced. As always, I’m keeping my eyes open as the various theatres start making their 2013/2014 season announcements. Lastly, what few dates we do have open may be filled by productions I see on Goldstar, LA Stage Tix, Plays411, or discussed in the various LA Stage Blogs I read (I particularly recommend Musicals in LA and LA Stage Times).

Music:  Follies (2011 Broadway Revival Cast) (Elaine Paige): “I’m Still Here”

 

Back in 1982, I was captivated by the performance of Kathi Moss is “Be Italian”, from the musical “Nine“, on the Tony Awards. I quickly went out and got the cast album, and promptly fell in love with the music. I saw it on the Tony’s again in 2003, and have distinct memories of seeing “Getting Tall” somehwere. (I’ve never seen the movie). But I’ve never had the opportunity to see the full musical. So when DOMA Theatre Company (FB) opted to mount “Nine” this summer, I jumped at the opportunity to see it (although I was disappointed this postponed the scheduled “Sweet Charity“, but hopefully that will show up some day). Last night we saw the show at DOMA; here are my thoughts.

“Nine” (book by Arthur Kopit, music and lyrics by Maury Yeston) is based upon the movie “8½” by Federico Fellini. It tells the story of Guido Contini, a celebrated Italian director who has just signed a contract to make a new movie. The only problem is — he has no idea what the movie will be about. He goes off to a spa in Venice with his wife, Luisa, to try to find an idea for the movie.  Once at the spa, he continues to juggle women — his wife; his mistress, Carla; his producer, Liliane LaFleur; her assistant, Stephanie Necrophorus; and the ladies of the spa. Further, as his creative block worsens, his past starts to blend with his present, adding his mother to the mix. This includes the memories of Saraghina, the whore, and how he visited her when he was 9. He’s also juggling his cast, including Claudia Nardi, his lead actress, who he wants for the film, but who doesn’t want to keep playing the same role. He eventually comes upon a subject (Casanova) and starts filming, but it ends up being his life, and it ends up collapsing. All the women in his life start to leave him — Carla, Claudia, Luisa, Liliane. This leads him to attempt suicide. He ends up confronting… himself.

The book for this production appears to have been a jumble from the 2003 revival and the movie. I’ve read the synopsis of both the 1982 original and the 2003 revival. This production omitted “The Germans at the Spa”, making it the 2003 revival version. However, the ending fitted neither the 1982 nor 2003 versions. In the DOMA version, Guido just confronts and accepts his 9-year old self at the end. I don’t recall the women returning (sans Luisa), nor do I recall him returning to Luisa. More significantly, they didn’t do “Getting Tall”, which is what makes the point about Guido’s rediscovery of himself at the end. In fact, their musical sections are a bit of a jumble, as they interpolate two songs from the movie: “Cinema Italiano” at the start of Act II (after “The Bells of St. Sebastian”), and “Guarda La Luna” in the “Getting Tall” position just before the closing “Long Ago”. The former works, although it wasn’t where it was in the film; the latter doesn’t and adds to the closing confusion. As a result of these changes, I found myself enjoying much of the musical, but being totally confused at the end. Perhaps that was an homage to Italian Cinema.

I think the fault here belongs with the executive producer / director / musical stager, Marco Gomez. Although he did a wonderful job on bringing out great performances from his actors, a number of his choices just didn’t resonate with me. As I noted above, I found the changes he made in the ending confusing. Additionally, I felt he didn’t bring out sufficient sex and sensuality in the performances. This could just have been a simple fault of the costumes, but rewatching the 1982 segment highlighted the fact that some of it was in the choreography and staging as well. Guido is a man driven by sex and guilt, and that didn’t come across as strong as it should have. Lastly, although I liked the actress and her performance, I felt that Saraghina should have had a different look — larger, earthier, lustier, enjoying life, enjoying sex, enjoying everything. Even casting a smaller women than I saw in my mind, the director should have been able to bring out that lust — but it just didn’t come across.

Modulo that, it was a beautiful production. I just love, love, love some of the music in “Nine“. Songs like “Only With You”, “Unusual Way”, and “Simple” are just so lilting and lovely. Other songs, such as “Folies Bergeres” and “Be Italian”, are great production numbers. The performances told the story well, and some of the performances were simply spectacular. Even with the confusing ending, this is a musical production worth seeing. The movement and dance, staged by Gomez and the Choreographer, Rae Toledo (FB; FB-DIO) is a delight to watch and does what it can to bring out the sex (which is why I think the problem was the costumes). DOMA, once again, demonstrates how a “Broadway” musical can work well, if not better, in the intimate size of an under-99-seat production.

One of the best things about this production is the cast. Going out of order for a minute, I’ll talk about my favorite — the cast with a cast. As Claudia Nardi, Toni Smith (FB; resume) just blew me away. Evidently, she injured her foot at some point, and was dancing with a foot-boot and a cane. These were bejeweled, and she used them to give a wonderful nuance to her character. She demonstrated that one could do conservative movement and still come off as sexy and powerful. Of course, then she opened her mouth and sang. Wow! In her numbers — particularly “Cinema Italiano” and “Unusual Way” — she was just remarkable. This performance is worth seeing for Smith’s performance alone.

Now for the rest of the cast.

Faces. One of the things I noticed about this cast were their faces — expressive, reacting, and demonstrating  (at least to my untrained eye) what acting really is. It is in the small movements that actors connect with their audience. Nowhere was this seen better than in the performance of the lead, David Michael Treviño (FB) as Guido Contini. Watch Treviño’s face during the opening number, or during “I Can’t Make This Movie”. So expressive. This is then topped by a wonderful singing voice that comes across in all of his numbers. Treviño is the center of this show, and he carries it well.

Guido’s heart and solemate — although he doesn’t realize it until too late — is his wife Luisa. Melissa Anjose (FB) is just lovely as Luisa. She has a very strong singing voice, demonstrated in both “My Husband Makes Movies” and “Be On Your Own”, and has a very powerful performance presence. Again, Anjose is someone with a very expressive face that is just a delight to watch as it reacts to the changing situation. The face, to me, is one of those ways I can tell if an actor is living the role vs. playing a part. Anjose is one that seemed to be living her role.

Guido’s mistress, Carla Albanese, was played by Lovlee Carroll (FB), who we last saw as a lead in Xanadu. As with her Kira, initially I was unsure about her based on her look. But again, she gave a performance that was just perfect, especially in songs such as “A Call from the Vatican” and “Simple”.

Guido’s producer, Liliane LaFleur, was portrayed by Emilia Sotelo (FB). She was just a knockout in her production number “Folies Bergeres”, and I also enjoyed her performance at the end as the movie is coming apart. Working with her on the Folies number was Andrea Arvanigian (FB) as Stephanie Necrophorus. Arvanigian got the patter number within “Folies” (“The trouble with Contini…”) and did a very good job with it. I’ll note that Sotelo did what I think was a wonderful ad lib with a 2-year old in the audience about being too young to be at the Folies.

Now we come to Saraghina, who was played by Liza Baron (FB), who we last saw at REP East in “Jewtopia”. For this number, my mind was colored, alas, by the Tony performance. I was expecting someone larger, lustier, and exuding sex. Baron did a great job with what she had — singing well, dancing well, and acting well. Looking back (after a night’s sleep), I think the fault was less the actor and more the staging. Had she been a little more lustily playful with Little Guido, it would have had an entirely different effect. So I enjoyed Baron’s performance, and I’d like to go back and see it again, removing the Tony coloration.

Rounding out the cast were Donovan Baise (Little Guido), Michelle Holmes (FB) (Guido’s Mother), Brittany Rodin (FB) (Our Lady of the Spa), Amy Garbett (FB) (Mama Maddelena), Tania Possick (FB) (Diana), Devin Holliman (FB) (Maria), Ra’Shawn Durell (FB) (Francesco / Cardinal), Victor Mercado (FB) (Renato), and Alex Favela (FB) (Angelo). All were strong — particularly Baise as Little Guido and Holmes as Guido’s mother. As for the rest of the ensemble, they danced, moved, and expressed themselves well (remember, I watch the faces). There were just a few moments with the ensemble where the faces looked more focused on getting the moves right than inhabiting the character; hopefully these will improve as the show is performed more.

Music was provided by an excellent on stage band under the direction of Chris Raymond (FB), who was at the keyboard conducting. Supporting him were Ng Yuhong (FB) (Keyboard 2); Tom Luer (FB) (Reeds 1); Stephen Clothier (Reeds 2); James Blackwell (Trumpet); Antonio Rodrigo (FB) (Bass); and Ben Rose (FB; FB-Fan) (Drums/Percussion).

Turning to the technical. The sound design of David Crawford (FB) was strong and clear, although I was a little unsure why amplification was required. The sound effects worked well, although I was a little confused by some of the background noises. Johnny Ryman (FB)’s lighting design worked well, effectively conveying different moves and highlighting the actors well. The set by Amanda Lawson (FB) worked well given the limitations of the DOMA space — I always enjoy the creativity a black-box theatre forces upon the set designer, making them move from a semi-realistic set that a large theatre with fly-space can accomodate to something that forces the audience to use their imagination to create the place. The set design was supported by the properties work of Hallie Baran (FB). Irvin Jimenez (FB) did the costumes, assisted by Ellie Lynn Follett (FB) [Wardrobe Assistant] and Mayra Jimenez (FB) [Wardrobe Supervisor]. The costumes worked reasonably well, but… I wish they were sexier. Especially when dealing with Italian cinema in the 1960s (the time period of this show), bra straps should not have been visible. There needed to be a little bit more titillation and daring — the most exposing costumes were the bike shorts on the male dancers. I also have the belief that the gift from Guido to Carla should have been sexier — given the dialogue of the song, one expected something extremely risqué, and to get a black dress with a fancy necklace seemed off. This is not to say that the costumes were bad (I particularly enjoyed how Claudia was dressed); rather, I felt that they needed a little something more. Timothy Miller (FB) was the Technical Director, assisted by Steve Mendoza (FB). Danielle DeMasters (FB) was the Production Manager. Nicholas Acciani (FB) was the stage manager, and the house was managed by Edgar Edgerly (FB). Victor Mercado (FB) is the artistic director of DOMA.

“Nine – The Musical” continues at DOMA Theatre Company until August 18, 2013. Tickets are available through the DOMA website. They are also on numerous discount sites: LA Stage Alliance, Plays411, and Goldstar. It is well worth seeing.

Dining Notes.  We had dinner before the show down the street at Rinconcito Guatemalteco. The food was very tasty and the prices were great (as for ambiance … this is a dive). Alas, for the bell pepper sensitive, you have to be careful ordering.

Upcoming Theatre and Concerts:  Next week is the only other ticketed show we have in August: “The Apple Tree” at ELATE/Lincoln Stegman]. I haven’t yet figured out what, if anything, we’re seeing for our wedding anniversary weekend. We may also see a show at the Lawrence Welk Resort in Escondido at the end of the month (depending on price), or at another venue in San Diego (I particularly noted a production of “Young Frankenstein” in the park). September may bring Sarah Ruhl’s “In The Next Room or The Vibrator Play“ at the Production Company/Secret Rose (FB) and “Blue Man Group” at the Hollywood Bowl. The middle of the month may bring “The Vagina Monologues” at REP East (FB), and the end definitely sees us back at REP East (FB) for “God of Carnage” (September 28). October 5th brings “Breath and Imagination” at the Colony Theatre (FB), as well as the Cabrillo Music Theatre (FB) production of “Kiss Me Kate” at the end of the month (October 26). November will start (hopefully) with “Dirty Rotten Scoundrels” at Actors Rep of Simi (FB), as well as ARTS’s Nottingham Village (FB) (a one-weekend ren-faire-ish market — tickets are now on sale). November will conclude with “Play It Again Sam” at REP East (FB) at the end of the month (November 23), and “Miracle on S. Division Street” at the Colony Theatre (FB).  The fall should also bring a production of “Carrie – The Musical” (FB) by Transfer Theatre, but the specific dates have not been announced. As always, I’m keeping my eyes open as the various theatres start making their 2013/2014 season announcements. Lastly, what few dates we do have open may be filled by productions I see on Goldstar, LA Stage Tix, Plays411, or discussed in the various LA Stage Blogs I read (I particularly recommend Musicals in LA and LA Stage Times).