Observations Along the Road

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

The Art of the Dance | “An American in Paris” @ Hollywood Pantages

Written By: cahwyguy - Sun Mar 26, 2017 @ 10:51 am PDT

An American in Paris (Pantages)At least Bob Fosse was honest about it.

At the beginning of Bob Fosse’s show Dancin’ many years ago, an actor came out on stage and said sometthing like: “If you are looking for any plot in this show, don’t bother. This show is about dance.” And it was. Spectacular dance.

Last night, we went to go see the tour of An American in Paris (FB) at the Hollywood Pantages (FB). We went expected to see a musical. What we saw was a spectacular dance show wrapped in the trappings of a musical about love in Paris after WWII. By this I mean that your traditional musical tells the story through the music and lyrics, with a bit of connecting dialogue. An American in Paris tells its story — spectacularly — through dance, with a bit of connecting dialogue (that was written by Craig Lucas). The actual timeless music and lyrics by George and Ira Gershwin? The lyrics really don’t matter to the story; the mood and the music and the rhythm — oh, that rhythm — propels the dance that gives life to the story. Paris is a city of light, of beauty, of style, of art. Substance? Have another baguette, let’s sit at the corner patisserie shop, and watch the people.

But this isn’t a bad thing.

If you’ve ever seen the 1951 MGM musical, you know the purpose of the film was not to tell a significant story, but to listen to glorious Gershwin music and watch Gene Kelly and Leslie Caron dance. Why should the stage show be any different? The stage adaptation of the movie plot adds a hint more of darkness, but the characters and the songs remain the same: three buddies, two Americans (Jerry Mulligan and Adam Hochberg) and one French (Henri Baurel); one beautiful dancer (Lise Dassin); a wealthy art patron (Milo Davenport); and, well, who cares who else. The story is the scaffold on which the dance is built.

It should be no surprise, then, that the director and the choreographer of this show, Christopher Wheeldon (FB), are one and the same, and that Wheeldon is primarily a ballet artist. It should be no surprise that, reading the credits of the performers, that there is a very large emphasis on ballet skills. About the only surprise is that the program does not provide any credit to the tour medical and physical therapy team, who must be on their toes to keep these athletic dancers in tip-top shape. This is just a very physically demanding show,  8 times a week, on tour. The astounding physical skill to pull it off and not suffer stress injuries is remarkable, and the unnamed medical team who keep these professionals together behind the scenes deserves a lot of credit. [Luckily, my Google-Fu is strong, and it appears that the folks keeping these dancers together is NeuroSport (FB)]

All of the performers are strong singers and have great voices. All can emote well, and all inhabit and are having fun  with their lightly drawn characters. Remember — this isn’t a deep character drama. You have socialites, dancers, artists, and performers. Not a rocket scientist in the bunch. (Well, at least on stage. At our performance, there was at least one rocket scientist in the audience.)

In the lead positions at our show were Garen Scribner (FB) and Sara Esty (FB), as Jerry Mulligan and Lise Dassin, respectively (they alternate with Ryan Steele (FB) and Sara Esty’s twin sister, Leigh-Ann Esty (FB) (who is also a great photographer), who move from the ensemble to the leads at select Sunday performances). Both were spectacular dancers — their final ballet sequence in “An American in Paris” was truly spectacular.

Supporting our leads on the male side were Etai Benson (FB) as Adam Hochberg and Nick Spangler (FB) as Henri Baurel. Benson’s role involved a fair amount of dance, especially in “Stairway to Paradise” — but his role was more as narrator and as one of the vocal leads, which he handled quite well.  Spangler — who evidently won the Amazing Race in 2008 — who knew, but I follow Survivor — was also a strong singer and jazzy dancer, as demonstrated in the aforementioned “Stairway to Paradise” as well as the opening “I Got Rhythm”.

The secondary love interest, Milo Davenport, was played by Emily Ferranti (FB). Ferranti brought a lovely style and grace to the piece, and danced wonderfully in “Shall We Dance?”

There were a few other named characters, but they all dropped back into the ensemble at points (with the exception of Gayton Scott [Madame Baurel]) and were very lightly drawn. As usual, it is hard to single out the ensemble members, but I do want to note their wonderful athleticism and fluid movement was on display throughout, and that this is one show in particular that depends on the dancing ensemble: it is their talent, in group numbers like “An American In Paris”, that make this show the spectacular dance show that it is. This splendid dancing team consisted of the aforementioned Ryan Steele (FB) and Leigh-Ann Esty (FB); as well as Karolina Blonski (FB); Brittany Bohn (FB); Stephen Brower (FB); Randy Castillo (FB); Jessica Cohen (FB); Barton Cowperthwaite (FB) [also Returning Soldier, Lise’s Ballet Partner]; Alexa De Barr (FB); Caitlin Meighan (FB) [also Returning Soldier’s Wife]; Alida Michal (FB); Don Noble (FB) [also Monsieur Baurel, Store Manager]; Alexandra Pernice (FB); David Prottas (FB); Lucas Segovia; Kyle Vaughn (FB) [also Mr. Z]; Laurie Wells (FB) [also Olga]; Dana Winkle (FB); Erica Wong (FB); and Blake Zelesnikar (FB). Swings were Jace Coronado (FB); Ashlee Dupre (FB) [Asst. Dance Captain]; Erika Hebron (FB); Christopher M. Howard (FB) [Dance Captain]; Colby Q. Lindeman (FB); Nathalie Marrable (FB); Tom Mattingly (FB); Sayiga Eugene Peabody (FB); and Danielle Santos (FB). There were far too many understudy allocations to list them all here. The one thing that comes from hunting down the links of all these actors/dancers is the immense amount of dance and ballet talent in this group. This is why these dancers are so good — they have been working hard at it.

The orchestra was under the direction of music director and conductor David Andrews Rogers (FB). The other members were Brad Gardner (FB) (Assoc. Music Director, Keys); Ray Wong (FB) (Key 1, Piano); Henry Palkes (FB) (Keys 2); Katherine Fink (FB) (Reed 1); Tansie Mayer (FB) (Reed 2); Tom Colclough (FB) (Reed 3); Sam Oatts (FB) (Trumpet 1); Anthony DiMauro/FB (Trumpet 2); Dave Grott (FB) (Trombone); Susan French (FB) (Violin 1); Adrian Walker (FB) (Violin 2); Nick Donatelle (FB) (Cello); and Paul Hannah (Drums/Percussion). These were augmented by local performers Kathleen Robertson (FB) (Violin, Concertmaster); Adriana Zoppo (FB) (Violin); Paula Fehrenbach (FB) (Cello); Steve Kujala (FB) (Flute, Piccolo); Dick Mitchell (Flute, Clarinet); John Yoakum (FB) (Clarinet, Bass Clarinet); Marissa Benedict (FB) (Trumpet 2, Flugelhorn); Andy Martin (FB) (Trombone); Wade Culbreath (Percussion); David Witham (FB) (Keyboard Sub). Other music credits: Emily Grishman (Copying / Preparation); Seymour Red Press (Music Coordinator); Brian Miller (Orchestra Contractor). Orchestrations were by Christopher Austin and Bill Elliott. Dance arrangements were by Sam Davis. Todd Ellison was the music supervisor. The Musical Score was adapted, arranged, and supervised by Rod Fisher.

Lastly, turning to the production and creative team. I’m going to combine the set and costume design of Bob Crowley and the Projection Design of 59 Productions together because they truly worked as a singular whole (hmmm, both are UK based, as is the director — odd for an AMERICAN in Paris 🙂 ). Anyway, this was another show that depended quite heavily on projections — the main scenic design elements, other than props and such, were various flats and mirrored surfaces upon which the projections were placed. These were animated and changing and extremely creative and .. well, in many ways, they were vital set elements of the overall design. This went to the costumes as well, especially as in the block-patterned American in Paris dance sequences, where the Mondrian-style color scheme of the set was repeated in the block primary color scheme of the ensemble’s costumes. This was all augmented by the lighting design of Natasha Katz (FB), which used scaffolds around the stage behind the proscenium, combined with two movers one on each side of the balcony (in other words, there wasn’t the universal array of Lekos and movers midway above the orchestra, and the follow-spot was by programming). The sound design of Jon Weston (FB) was unnoticeable, as a good sound design should be.  Rounding out the production credits were: Kenneth J. Davis (FB) [Production Stage Manager]; Rick Steiger (FB) [Production Supervisor]; Troika Entertainment / Laura Dieli (FB) [Production Manager]; Telsey + Company (FB) / Rachel Hoffman C.S.A. [Casting]; Dontee Kiehn (FB) [Associate Director / Choreographer]; Sean Maurice Kelly (FB) [Associate Choreographer / Resident Manager]; Donvan Dolan (FB) [Asst. Stage Manager]; Laura C. Nelson (FB) [Asst. Stage Manager]; Lori Byars [Asst. Stage Manager]; Kathy Fabian/Propstar [Props Supervisor]; Unkledave’s Fight House (FB) [Fight Direction]. The Executive Producer was 101 Productions Ltd. The list of producers and associate producers is far too long.

An American in Paris (FB) continues at the Hollywood Pantages (FB) through April 9. Tickets are available through the Pantages Box Office online or by calling (323) 468-1770. Discount tickets may be available through Goldstar.

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Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at 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). 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: April starts with Cats Paw at Actors Co-op (FB) and a concert with Tom Paxton and the DonJuans at McCabes Guitar Shop (FB). The next day brings the Colburn Orchestra at the Valley Performing Arts Center (VPAC) (FB). The weekend of April 8 brings Kurt Vonnegut’s The Sirens of Titan at Sacred Fools Theatre (FB). Mid-April brings Doc Severinsen and his Big Band at Valley Performing Arts Center (VPAC) (FB) on April 13, followed by Animaniacs Live at the La Mirada Performing Arts Center (FB) over the weekend. That will be followed on the penultimate weekend of April with Sister Act at Cabrillo Music Theatre (FB). The last weekend of April has two holds: one for the Renaissance Pleasure Faire, and one for Uncanny Valley at ICT Long Beach (FB) [we’re just waiting on Goldstar]. Lastly, looking to May, the schedule shows that it starts with My Bodyguard at the Hollywood Pantages (FB) the first weekend. It continues with Martha Graham Dance and American Music at the Valley Performing Arts Center (VPAC) (FB). The third weekend brings the last show of the Actors Co-op (FB) season, Lucky Stiff, at Actors Co-op (FB). May concludes with Hello Again at the Chromolume Theatre (FB). As for June? Three words: Hollywood Fringe Festival (FB). That, barring something spectacular cropping up, should be the first half of 2017.

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

P.S.: The Hollywood Pantages (FB) announced their 2017-2018 season (which was the rest of 2018, after Hamilton took over the last 5 months of 2017) on February 7th. You can find my reaction to it here. The Ahmanson Theatre (FB) announcement was at the end of February, and here’s what I thought of it.

 

 

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A Bluegrass Fable, Upon a Natchez Trace | Robber Bridegroom @ LAVC

Written By: cahwyguy - Sat Mar 25, 2017 @ 10:50 am PDT

The Robber Bridegroom (LAVC)My musical taste is wide and varied (if you hadn’t figured that out by now), but one of my favorite styles is folk, which then connects to bluegrass, some elements of country, and celtic. My Uncle Tom had similar tastes, and many years ago he introduced me to a favorite musical of his, The Robber Bridegroom (book and lyrics by Alfred Uhry, music by Robert Waldman, adapted from the novella by Eudora Welty, based on an even older folktale). Especially for when it was first produced in 1975, it was a rarity among Broadway musicals, for it had a country and bluegrass score, with the musicians on the stage. I can count the musicals that have done this on one or two hands, the latest being last season’s Bright Star with a score by bluegrass artist and comedian Steve Martin.

We first saw The Robber Bridegroom in 2011 at ICT Long Beach (FB); it tends to be rarely done. Last week I learned that LA Valley College (FB)’s Department of Theatre Arts was doing a student production of the show (FB). We decided to give it a try, and squeezed it into the weekend. As I wrote back in 2011:

[The Robber Bridegroom] tells the fable of the Robber Bridegroom in 1795 in Rodney’s Landing, Mississippi. It is a fable about, as the song says, “A gent and a robber all in one, A girl who made the moon burn like the sun. A greedy witch, A man that rich. A brain that big, A filthy pig. A talkin’ head. … Once upon a Natchez Trace!” So let’s meet the characters. The “gent and robber all in one” is Jamie Lockhart, a gentleman robber who is also the Bandit of the Woods. He charms to get in, and takes what he wants. The girl who made the moon burn like the sun is Rosamond, the beautiful daughter of the “man that rich”, Clemment Musgrove, a wealthy planter, and the step-daughter of the “greedy witch”, Salome, current wife of the planter. Rosamond wants love, and finds it with the Bandit of the Woods, but doesn’t want to get married to the gentleman her father prefers, Jamie Lockhart, who wants to marry Rosamond not for love, but for the plantation. The “brain that big” refers to the brain the size of a pea belonging to “Goat” the simpleton hired by Salome to kill Rosamond to gain the reward of a suckling pig. The “filthy pig” refers to Little Harp, a thief and robber who travels the country with the talkin’ head of his brother, Big Harp, and who plans to steal both the gold and the girl of the planter. “Once upon a Natchez Trace”, of course, refers to the historic forest trail that connects landings like Rodney MS with the mouth of the Mississippi in New Orleans LA. As you can imagine from this cast of characters, we have a backwoods story of greed, love, lust, and desire. Quite a fun tale.

This production, as I noted earlier, was a student production under the direction of Cathy Susan Pyles (FB), with musical direction by Evan J. Marshall (FB). The fact that this was a student production means the range of talent and experience is wide and varied. We had some performers for whom this was their first time on stage … ever. We had some who had been in a fair to large number of amateur and other unspecified shows. In other words, this was a cast with a range of raw talent in both performing and singing. The latter is significant, for LAVC does not have a formal musical theatre program, and so there was not a formal effort to improve and strengthen vocal quality with this show (at least noted in the program, as there was no credit for vocal coaching, and no vocal coaches on the LAVC faculty). Again, raw talent up and coming, gems that required various levels of polishing. One doesn’t go into a show like this expecting virtuoso Broadway-caliber performance; one expects to be able to note strengths and weaknesses. Hopefully, the performers expect this as well, taking any weaknesses as areas to work on for the future. And thus, the caveat is ended.

In the lead positions were Jacob Reynolds/FB as Jamie Lockhart and Tiffany Fuller/FB as Rosamund. Both were good (at least to my untrained eye) on the performance side — believable as their characters, having fun with their roles. I was particularly smitten by Fuller’s performance (and not just due to her smile and other charms) — writing this up I discovered she was from Kentucky, and that clearly showed in the accent and country mannerisms she brought to the role. Both had good singing voices that were pleasant to listen to, but that could use a tad more strength and volume.

Rosamund’s family was portrayed by Nicholas Goodreau/FB as Clemment Musgrove (Rosamund’s father) and Victoria Pizarro/FB as Salome (Rosamund’s stepmother). I quite enjoyed Goodreau’s performance — he had the right bearing and style for the role. For the most part his singing was good, especially in some harmonies, although there were just a few time he was a little off. This was Pizarro’s first time on stage, according to her credits. Especially in consideration of that, her acting performance was strong and it was clear she was having fun. Where the inexperience showed was vocally, although it was unclear the extent to which that was part of her character. Her voice was a bit weaker and all over the map at times. An area to work on.

The other major characters were R. J. Godinez/FB (Little Harp), Robert Butler/FB (Big Harp), Tristan Samson/FB (Goat), and Cameron Caddell (FB) (The Raven). As his character, Butler’s performance was more limited (he was a talking head in a box, after all); but the others were all strong as their characters. I was particularly taking with Godinez and Samson’s performances and characterizations; both also had good singing voices was reasonable strength. I did really like Caddell’s voice as the Raven — it was quite lovely — and her peformance was remarkably athletic in all the climbing and jumping and movement she had to do.

Most of the cast also played members of the ensemble. Other ensemble members and minor characters were: Serena El-Farra (FB) (Ensemble, Goat’s Mother); Carlos A. Gomez Jr./FB (Ensemble, The Caller); Ann Kriss/FB (Ensemble); Chase Mac Leay/FB (Ensemble, Landlord); Mariam Petrosyan/FB (Ensemble, Goat’s Sister); Zihan (Layla) Zhao/FB (Ensemble). There was quite a skill mix here, but all were clearly having fun and doing their best to be characters at the given place and time. Singing-wise, there was a wide range of performances, from strong singers to weak. There was also a good variety of shapes and looks. A few specific notes: Although she didn’t have a large singing role, the few times I could single out El-Farra’s voice, I was quite impressed with it. On the other end of the spectrum, Zhao needs to work a bit on her voice. Not singing (as I don’t recall being able to single out her singing voice), but more moving past her native accent to get the words out a little bit clearer and stronger.  I also recall that I enjoyed Petrosyan’s voice the one or two times I could pick it out, and thinking Kriss could have made an interesting Salome.

On-stage music was provided by a four-piece bluegrass group led by Evan J. Marshall (FB) on Mandolin. Rounding out the group were Mike Ley (FB) on Bass Fiddle, Alex Finazzo (FB) on Guitar, and Hiro Goto (FB) on Fiddle. Jean Sudbury (FB) does the fiddle on March 25 (tonight). I was very impressed by the music during the show, and will actually look for albums from the Mandolin and Guitar artists.

There was no specific choreography credit.

Robber Bridegroom Cast and Musicians (LAVC)Turning to the production and creative side: The scenic and lighting design by Jennifer L. Read (FB) was quite strong. I still recall the scenic design of the ICT production, with a large metal scaffoding in a U-shape with a large center portion. Read’s design was very different: very wooden and muscular, with a wood floor, sawhorses and planks, and a wooden structure along the back of the stage with ladders and ropes and such. She much of had fun shopping at Home Depot or Lowes :-). It worked quite well and was used in many creative ways by the cast to create all sorts of objects. The lighting design was equally strong, combining use of Lekos and what appeared to be some LED lights and spots to establish mood and focus attention. Mary Reilly‘s costume design seemed appropriately rural and rustic, as befits Rodney MS at the end of the 18th century. The costumes also served to distinguish the characters well and were quite fun to watch. To the right is a picture of the cast and musicians, which also shows the wonderful set and costumes (picture snarfed from the director’s FB page — and shows L-R, (back row) A. Kriss, C. Caddell, C. Mac Ley; (back +1) T. Fuller, J. Reynolds; (back + 2) M. Ley, H. Goto, R. Butler, Z. Zhao, V. Pizarro, N. Goodreau, M. Petrosyan, S. El-Farra, E. Marshall, A. Finazzo; (front -1) C. Gomez,  R. J. Godinez; (front) T. Samson).

Rounding out the production credits were: Victor Gonzalez/FB – Production Stage Manager; Mark Svastics (FB) – Technical Director; Jade Hill/FB and Ryan Schmitt/FB – Assistant Stage Managers.

The Robber Bridegroom (FB) continues at LA Valley College (FB) throughout this weekend, with matinees today and Sunday, and an evening performance tonight and Sunday night. Tickets are available at the door or via BrownPaperTickets.

🎩 🎩 🎩

Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at 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). 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 evening our gears shift to Gershwin, with the touring company of An American in Paris at the Hollywood Pantages (FB) on Saturday. April starts with Cats Paw at Actors Co-op (FB) and a concert with Tom Paxton and the DonJuans at McCabes Guitar Shop (FB). The next day brings the Colburn Orchestra at the Valley Performing Arts Center (VPAC) (FB). The weekend of April 8 brings Kurt Vonnegut’s The Sirens of Titan at Sacred Fools Theatre (FB). Mid-April brings Doc Severinsen and his Big Band at Valley Performing Arts Center (VPAC) (FB) on April 13, followed by Animaniacs Live at the La Mirada Performing Arts Center (FB) over the weekend. That will be followed on the penultimate weekend of April with Sister Act at Cabrillo Music Theatre (FB). The last weekend of April has two holds: one for the Renaissance Pleasure Faire, and one for Uncanny Valley at ICT Long Beach (FB) [we’re just waiting on Goldstar]. Lastly, looking to May, the schedule shows that it starts with My Bodyguard at the Hollywood Pantages (FB) the first weekend. It continues with Martha Graham Dance and American Music at the Valley Performing Arts Center (VPAC) (FB). The third weekend brings the last show of the Actors Co-op (FB) season, Lucky Stiff, at Actors Co-op (FB). May concludes with Hello Again at the Chromolume Theatre (FB). As for June? Three words: Hollywood Fringe Festival (FB). That, barring something spectacular cropping up, should be the first half of 2017.

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

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A Legacy of Movement | “Martha” @ Whitefire Theatre

Written By: cahwyguy - Mon Mar 20, 2017 @ 9:34 pm PDT

Martha (Whitefire Theatre)If you’ve actually been reading these theatre writeups to the end, you’ll know we have tickets for the Martha Graham Dance Troupe (performance information) at the Valley Performing Arts Center (VPAC) (FB) in late May. So when one of the publicists that thinks highly enough of me to view me as a critic emailed me information on a one-woman show on the life of Martha GrahamMartha, currently running at the Whitefire Theatre (FB) through April 16 — my virtual ears perked up. Here, I thought, was a great way for a dance novice like me to get familiar with a troupe I’ll be seeing; for with all the theatre I’ve attended, I’m dreadfully deficient in the dance arena. I may know theatre choreography, but the world of dance is often very different — theatrical dance as practiced today is very different than modern dance that tells a story solely through movement and expression, not music and lyrics. Martha, for me, provided the backstory and background of the woman who, according to many, was to the dance world what Picasso was to the art world or Frank Lloyd Wright was to the architecture world.

As a result, going into the show, I had no idea what to expect. I know this was a one woman story about the life of Martha Graham, portrayed excellently by Christina Carlisi (FB). But what approach had playwright Ellen Melaver taken to tell the story? Would it be focused on facts and dates, the chronology of life, a sequential portrayal of events? Would it be focused on the person behind the story, providing less of a factual focus and more of a focus on the drive and the persona — what made Martha Graham the unique force she has remained to this day?

The answer is that the author chose the latter, framing the story around the time Graham was in her early 70s, when she was doing a remounting of Clytemnestra with her dancing the lead. Some catastrophic incident occurred during the performance, prompting her board to send her a request to please transition from performing to choreography — a request that would require her to acknowledge her age and her mortality. This she viewed as a death sentence, for dance was her life — and so she started willing her body parts to her critics, friends, and family. In doing so, she also recounted what drove her to the dance, what kept her in the dance, what she contributed to modern dance, and what she gave up to do so. In the end of course, she grudgingly comes to the realization that she will have to start transferring her dances to her proteges, fitting her belief that dance only lives on if it is performed as originally danced.

[In reality, this likely corresponds to the late 1960s, as Graham last danced Clytemnestra in 1967. She died in 1991 at age 96, making her around 71 in 1967. This was a period of time when rheumatoid arthritis was hurting her greatly, she was increasingly turning to alcohol, leading to her doing her last dance in 1970. She regained control of her life around 1973, and Graham continued to do choreography until her death in 1991.]

One expression of Martha Graham captured in the show was that she saw dance like a beautiful shell on the beach. But if when uncovered it was half there and worn down, the beauty was gone. The entire body had to be there to be beautiful, the entire spirit is what made the performance. The audience could easily tell when the performance was just a facade. I’m pleased to say that Carlisi, working with director Stewart J. Zully (FB), didn’t have that problem. Carlisi, interpreting the script, captured not only the drive of Graham but the ego. It was clear that Graham considered herself above the nominal dance world: she was a goddess of dance, immortal, ageless, timeless. She sacrificed the fullness of her life  for the dance; she expected the dancers who worked for her to do the same. This was captured and expressed quite well by Carlisi. She also changed the language of dance, moving dance from the improvisational combinations that depended on the interpretation that day of the dancer, or the mechanical dancing that resulted from counted combination of steps, to a style focused on what the body said, on repetition, on “contraction and release”.

There were snippets throughout the performance of various Graham dances (choreography for the show was by Camille Loftin (FB)); alas, I’m not familiar enough with the Graham repertoire to know if they were represented correctly. There was a fair amount of emphasis on her interpretation of Aaron Copeland’s Appalachian Springs (a piece we know and love), especially as the vehicle for her brief marriage to Erick Hawkins. There were also numerous references to a Louis who was presumably her accompanist and someone close to her, but who was never otherwise explained. I learned, after the show when doing research for this writeup, that Louis referred to Louis Horst, a composer from Denishawn (the school where she first learned dance), who was her oldest friend and musical collaborator. Horst died in 1964, making the death still fresh in the context of the 1967 timeframe of the show. Given the nature of the show as an exploration of Graham’s ego and personality, but not a hard and fast recitation of history, the show could be improved by including in the program a brief chronology of Graham’s life and key events/performances, as well as some of the key people referenced in the show.

No where is this lack of context better illustrated than in her continual requests to have Louis play the Maple Leaf Rag, which you do not hear until the end. It turns out that the Maple Leaf Rag was the last dance she choreographed completely, finishing it in 1990. It is unclear when she started work on the piece.

So, in short, performance-wise, the production was illuminating and excellent preparation for our VPAC show in May. The program that accompanied the show could be improved with a little more context on dates and names. That is likely something that would occur in a larger mounting of the show were it to occur at a mid-size or larger venue; the framing context was missed in the intimate setting.

Production-wise, the staging was simple. The scenic design, for which there is no credit, was two boxes on the stage and a rack of costumes and costume pieces. The staging was augmented, at times, through the use of selected projections (there is no specific credit for projection design — this is likely covered by David Svengalis (FB)’s overall technical design and direction). The costumes themselves were simple and generally flowing, and were designed by Candice Cain (FB). Lighting design was by Derrick McDaniel (FB), and continued the overall transition into multicolor LED lighting from the single color Lekos and gels of the past (although a few Lekos were used). The Artistic Director of the Whitefire Theatre is Bryan Rasmussen (FB). The show was produced by Windy Productions.

The West Coast Premiere of Martha continues at the Whitefire Theatre (FB) through April 16, 2017. Tickets are $25 and are available through Brown Paper Tickets. Discount tickets may be available through Goldstar.

🎩 🎩 🎩

Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at 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). 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 brings a student production of The Robber Bridegroom at LA Valley College (FB) on Friday and An American in Paris at the Hollywood Pantages (FB) on Saturday. April starts with Cats Paw at Actors Co-op (FB) and a concert with Tom Paxton and the DonJuans at McCabes Guitar Shop (FB). The next day brings the Colburn Orchestra at the Valley Performing Arts Center (VPAC) (FB). The weekend of April 8 brings Kurt Vonnegut’s The Sirens of Titan at Sacred Fools Theatre (FB). Mid-April brings Doc Severinsen and his Big Band at Valley Performing Arts Center (VPAC) (FB) on April 13, followed by Animaniacs Live at the La Mirada Performing Arts Center (FB) over the weekend. That will be followed on the penultimate weekend of April with Sister Act at Cabrillo Music Theatre (FB). The last weekend of April has two holds: one for the Renaissance Pleasure Faire, and one for Uncanny Valley at ICT Long Beach (FB) [we’re just waiting on Goldstar]. Lastly, looking to May, the schedule shows that it starts with My Bodyguard at the Hollywood Pantages (FB) the first weekend. It continues with Martha Graham Dance and American Music at the Valley Performing Arts Center (VPAC) (FB). The third weekend brings the last show of the Actors Co-op (FB) season, Lucky Stiff, at Actors Co-op (FB). May concludes with Hello Again at the Chromolume Theatre (FB). As for June? Three words: Hollywood Fringe Festival (FB). That, barring something spectacular cropping up, should be the first half of 2017.

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

P.S.: The Hollywood Pantages (FB) announced their 2017-2018 season (which was the rest of 2018, after Hamilton took over the last 5 months of 2017) on February 7th. You can find my reaction to it here. The Ahmanson Theatre (FB) announcement was at the end of February, and here’s what I thought of it.

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“What would happen if we spoke the truth?” | Fun Home @ Ahmanson

Written By: cahwyguy - Sun Mar 12, 2017 @ 6:31 pm PDT

Fun Home (Ahmanson)There’s a quote that occurs in one of the first songs of the musical Fun Home, currently playing at the Ahmanson Theatre (FB) through April 1, 2017, that struck a nerve: “chaos never happens if it’s never seen”. That describes many families: there is utter chaos behind a carefully manicured facade. Perhaps that commonality is one reason why Fun Home won so many Tony Awards, including Best Musical in 2015. Perhaps it is the fact that it is one of the few musicals that focuses on the experience of a Lesbian finding herself (think about it: most stories that you see on stage dealing with LBGTQ focus on the G — male homosexuality. Perhaps it is the female strength of the creative team: based on a graphic novel by a woman (Alison Bechdel (FB), who is also famous for the Bechdel Test), with music by a woman (Jeanine Tesori), and stage book and lyrics by another woman (Lisa Kron). Whatever the reason, Fun Home caught my attention when it was in its Off-Broadway run at the Public (which is when I picked up the cast album). I enjoyed the music, and was pleased when it made it to Broadway, and then announced the tour. By now, you should have figured out that’s where we were last night, instead of hearing a Purim Schpiel. After all, if I want to hear about a evil madman with a plot to destroy a people, and the clueless leader that he works for and is able to manipulate, I’ll read the news.

Fun Home tells the true story of Alison Bechdel, which she captured in her non-linear graphic novel of the same name. It addresses how Alison realized that she was a lesbian, while dealing with her father who was a closeted gay man who never admitted it to himself. Shortly after Alison came out to him, he committed suicide by standing in front of an oncoming truck. It addresses the chaos behind her life: the dangerous behaviors, the domestic violence, the neglect.

If you haven’t figured it out by now, this has adult themes.

It also speaks to a certain audience. I’ve noted before about how when we go to a theatrical piece about the black experience, the hue of the audience changes. For Fun Home, it wasn’t hue but orientation. There were distinctly and clearly more gay couples at this musical than I have seen at many other shows. So many so, in fact, that I was much more conscious about the ring of keys on my belt. (See the show. You’ll understand.) I think this is because this is a musical that speaks to the gay and lesbian experience in a way that hasn’t been addressed in a musical before.  Other musicals play the gay aspect for either fun (think The Producers, think La Cage Aux Folles, think Victor Victoria), or the tragedy is the focus. This musical really focuses on Bechdel’s statement from one of her comics: “What would happen if we spoke the truth?”. This is a family that goes from denial and chaos to the truth in a way that is both tragic and comic. For some, the truth brings growth and freedom. For others, it brings a realization about the life squandered, the mistakes made, the lost communication and chances.

If you haven’t figured it out yet, this musical will make some people uncomfortable.

Reading the critical reviews of this, it is universally loved. Talking to some others more used to the conventional musical, the appreciation is different. They like the music, but are less turned on by the story. As someone squarely in the baby-boom generation, I can see how this would make some uncomfortable. It may bring up things they didn’t want to face; it may make them realize problems they hadn’t known were surfacing. It could also just be an unrelatable demographic.

As for me, I found the story and the way it was told fascinating. The approach taken was to tell the story from the point of view of Alison at three different points in her life: Small Alison [about 10-12] (Alessandra Baldacchino (FB) at our performance, alternating with Carly Gold (FB)), Medium Alison [about 19-20] (Caroline Murrah (FB), the understudy, at our performance, normally Abby Corrigan), and Adult Alison [about 30] (Kate Shindle (FB)). Except for near the end, it is small and medium Alison that are interacting with her parents Bruce (Robert Petkoff (FB)) and Helen (Susan Moniz (FB)), her siblings Christian (Pierson Salvador (FB)) and John (Lennon Nate Hammond (FB)), and her partner Gail (Karen Eilbacher). Adult Alison observes it all as a memory, commenting and drawing and providing context and, of course, captions. Note that all of the other characters (Roy / Mark / Pete / Bobby Jeremy) — primarily the boyfriends of Bruce — are played by Robert Hager (FB).

As directed by Sam Gold (FB), the production unfolds quite smoothly. The actors seem to be having quite a bit of fun with their roles. I particularly noted this for a number of numbers with Small Alison such as “Come to the Fun Home” and (of course) “Ring of Keys”, and with Medium Alison in “Changing My Major to Joan”. Adult Alison got her chance in “Telephone Wire”. All sang and performed quiet well. Note that this isn’t your typical show with chorines and choreography for large dance numbers, except perhaps for “Raincoat of Love”. Danny Mefford (FB) designed what choreography there was.

Rounding out the swing and understudies were Michael Winther (FB) (u/s Bruce), Amanda Naughton (FB) (u/s Helen, Alison), Sofia Trimarchi (u/s Small Alison, Christian, John), Caroline Murrah (FB) (u/s Medium Alison, Joan), and Anthony Fortino (FB) (u/s Roy / Mark / Pete / Bobby Jeremy). Fortino also served as Dance Captain.

The music was under the direction of Micah Young (FB), who also played keyboard in the onstage band. Others in the band were Jakob Reinhardt (FB) (Guitars); Alan Stevens Hewitt (FB) (Basses); Philip Varricchio (FB) (Reeds); John Doing (FB) (Drums/Percussion); David Mergen (FB) (Cello); Jen Choi Fischer (FB) (Violin/Viola). Other music credits: Alex Harrington (FB) – Associate Music Director; Antoine Silverman – Music Coordinator; Billy Jay Stein (FB)/Strange Cranium (FB) – Electronic Music Programming; Kaye-Houston Music [Annie Kaye, Doug Houston (FB)] – Music Copying; Chris Fenwick (FB) – Music Supervision; John Clancy (FB) – Orchestrations.

Turning to the creating and production design: David Zinn (FB)’s scenic and costume design started as an attic of memory. At times it turned into a dorm room, and then a wall in New York, and then most interestingly, that wall rotated up to create a ceiling for Alison’s house in Pennsylvania. Tres neat! In general, the design worked quite well. It was augmented by the lighting design of Ben Stanton, which was very rainbowish (appropriately, for an LBTGQ show) and occasionally shone into the audience. One thing I didn’t realize until I saw the page on Stanton’s lighting design was that the original production was designed for a thrust stage or a stage surrounded by audience, not the proscenium of the Ahmanson or most tour houses. Thus the interesting design was a tour-specific adaptation that worked quite well given the limitations. Zinn’s costumes worked well with Rick Caroto‘s hair and wig design. I can’t speak to how appropriately period they were or how appropriately lesbian they were (but then again — here’s the scary part — lesbians and gays look like everyone else — heaven forfend! (said tongue-in-cheek) — and here’s the scary part — lesbians and gays do tongue-in-cheek as well — oh, how do I get out of this hole I’ve dug for myself 🙂 ). The sound design by Kai Harada was good, but there were a few late microphone pickups that were likely the fault of the local sound board. Rounding out the production credits: Jim Carnahan CSA and Jillian Cimini CSA (Casting); Michael Camp – Company Manager; Shawn Pennington – Production Stage Manager.

Fun Home continues at the Ahmanson Theatre (FB) until April 1. Tickets are available through the Ahmanson website; discount tickets may be available through Goldstar.

As it somehow happens every year, we caught another Broadway Cares/Equity Fights AIDS (FB) performance. Supporting this organization is even more important given the recessive administration currently in office. I gave at the show; you can give by clicking here.

🎩 🎩 🎩

Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at 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). 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  Martha, a one-woman play on the life of Martha Graham (a good preparation for our May VPAC show of her dance group), at the Whitefire Theatre (FB). The end of the month brings An American in Paris at the Hollywood Pantages (FB) at the end of the month. April starts with Cats Paw at Actors Co-op (FB) and a concert with Tom Paxton and the DonJuans at McCabes Guitar Shop (FB) (shifting Cats Paws to an afternoon matinee that day). The next day brings the Colburn Orchestra at the Valley Performing Arts Center (VPAC) (FB). The next weekend is currently open (and will likely stay that way). Mid-April brings Doc Severinsen and his Big Band at Valley Performing Arts Center (VPAC) (FB) on April 13, followed by Animaniacs Live at the La Mirada Performing Arts Center (FB) over the weekend. That will be followed on the penultimate weekend of April with Sister Act at Cabrillo Music Theatre (FB). Lastly, looking to May, the schedule shows that it starts with My Bodyguard at the Hollywood Pantages (FB) the first weekend. It continues with Martha Graham Dance and American Music at the Valley Performing Arts Center (VPAC) (FB). The third weekend brings the last show of the Actors Co-op (FB) season, Lucky Stiff, at Actors Co-op (FB). May concludes with Hello Again at the Chromolume Theatre (FB). As for June? Three words: Hollywood Fringe Festival (FB). That, barring something spectacular cropping up, should be the first half of 2017.

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

P.S.: The Hollywood Pantages (FB) announced their 2017-2018 season (which was the rest of 2018, after Hamilton took over the last 5 months of 2017) on February 7th. You can find my reaction to it here. The Ahmanson Theatre (FB) announcement was at the end of February, and here’s what I thought of it.

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Finding the Child Within | “Finding Neverland” @ Pantages

Written By: cahwyguy - Sun Feb 26, 2017 @ 2:05 pm PDT

Finding Neverland (Hollywood Pantages)From where does inspiration arise? What gives the author the impetus to write a story, particularly an imaginative story? These are the questions that underlie the musical Finding Neverland (FB), currently at the Hollywood Pantages (FB) through March 12. The original production opened on Broadway in March 2015, closing in August 2016 after 565 performances — a respectable run. I discovered the production through the cast album, which I found enjoyable. The musical, with book by James Graham, and music and lyrics by Gary Barlow (FB) and Eliot Kennedy,  was based on the 2004 Miramax movie of the same name by David Magee and the play The Man Who Was Peter Pan by Allan Knee.

It is clear that the story of this boy that would never grow up, and his creation by J. M. Barrie, has fascinated people for generations (especially as the original story has gone in and out of copyright protection). It has spawned both prequel (Pan (2015)) and sequel (Hook (1991)) movies, as well as various reinterpretations and origin stories for the stage (Peter and the Starcatcher, Peter Pan: The Boy Who Hated Mothers), the latter being based on Barrie’s novel Peter and Wendy.

The version of the story on the stage at the Pantages, as in the movie, is a fictionalized version of the real story. There are a number of elements in common, but there is rearrangement of both the relationships and the timeline. One wonders if the fascination with the story is because society inherently distrusts any relationship of an adult man with boys not his own. I’d hazard a guess that this is a preoccupation of the modern era; it may have been more common and innocent in the past. In any case, that intimation of creepy relationships that I raised in some biographical descriptions of Barrie are not present in this musical; rather, it expands on the notion of Neverland coming from a rediscovery of the author’s imagination.

Before I go further into giving my thoughts on the piece, perhaps a plot summary is in order. Here’s the summary from Musical Heaven:

After a less than successful opening of his latest play Little Mary, J. M. Barrie meets widowed Sylvia and her sons in Kensington Gardens and they all soon develop a strong bond. J. M. Barrie proves to be a great friend and father figure to the boys, and his antics with the children quickly begin to inspire him to write a play about boys who never wish to grow up, with youngest son Peter provides particular inspiration. Soon, people begin to question his relationship with Sylvia, although it remains fiercely platonic. His wife Mary divorces him and Sylvia’s mother starts to object at the amount of time Barrie spends with the family. Sylvia becomes increasingly weak after an illness, but Barrie continues to play with the boys, taking the adventures they experience and turning them into Peter Pan. Presenting his idea to Producer Charles Frohman, Frohman reluctantly agrees to put on the play, despite believing that it will not appeal to his upper-class theatregoers. Barrie takes it on himself to disperse children from a local orphanage throughout the audience, which causes the surrounding adults to delight in the play. Proving a huge success, Peter Llewelyn Davies arrives to watch the show and realizes that it is about him and his brothers; George, Michael and Jack. Too ill to attend the theatre, Barrie puts on a production for Sylvia in her home, gathering the actors, props and musicians in her house. At the end, Peter Pan points to the doors to signify that she should go to Neverland. She takes the hand of her boys and walks into Neverland, implying her death. At Sylvia’s funeral, Barrie discovers that her will reads that he should take care of the Llewelyn Davies boys, which he is overjoyed at. Barrie and Peter form a bond unlike any other.

Reviews of the show that I read before seeing it criticized this plot, arguing that it had no antagonist. One gets the feeling that they were looking for a conventional theatrical structure: protagonists, antagonists, charm songs, 11 o’clock numbers, “I want” songs, and so forth. That’s not here. If there was any antagonist, it might have been Barrie against itself; however, more than anything, I think this was just an attempt to tell a story. Stories do not always have good guys and bad guys — sometimes they just are. This is especially true in an origin story about something well known. One knows the ending in advance — the question is how they got there.

Where I believe the critics did have a valid complaint is the music. The reviews I read called it pedestrian. I wouldn’t go that far. This is the first score from a team that had previously done pop music. The pop music can successfully develop musicals given the right coaching, guidance, and skill. Good examples of this Sir Elton John, Cyndi Lauper, and Sara Bareilles. But they can also go bad, as demonstrated by Paul Simon and Sting, both of whom had musicals that underwhelmed. The problem with much of the score in this show is that is sounded like pop music; they moved the story along but something was missing. This didn’t make them bad, mind you. They were more…. calculated for the pop ear, if I had to say anything. I think this is best exemplified by the fact that there is a companion album to the cast album that presents pop music stars performing these songs. There is one exception, however: the song “Play”, which is one of the ones very theatrical in its nature.

Irrespective of any story issues, the execution and presentation of the story were great (not surprising for a Broadway Equity tour). As directed by Diane Paulus, with choreography by Mia Michaels (FB), the characters come to life — in particular, the leads — with playfulness and movement as befits the story.

In the lead positions were Billy Harrigan Tighe (FB) as J. M. Barrie and Christine Dwyer (FB) as Sylvia Llewelyn Davis. Both gave great performances, with displays of the impishness and childishness needed for the characters. They also had very pleasant and strong singing voices — in particular, Dwyer at times reminded me of Allison Fraser with the touch of a really interesting vocal nuance to her voice. Tighe did a beautiful job on numbers such as “When Your Feet Don’t Touch The Ground”, with Dwyer excelling in numbers like “What You Mean to Me”.

As Charles Frohman, Barrie’s producer, Tom Hewitt was strong and very funny. He came into his own, however, when portraying Barrie’s alter-ego, Captain Hook. Playful and maniacal, he was just a joy to watch. In terms of singing, I found him very strong in songs such as “Circus of Your Mind”, “Hook”, and in particular, “Play”.

The Llewelyn Davies children are portrayed by multiple actors; the actors we saw at this performance are italicized: George – Finn Faulconer, Ben Krieger, Colin Wheeler; Peter – Ben Krieger, Colin Wheeler, Mitchell Wray; Jack: Tyler Patrick Hennessy, Colin Wheeler, Mitchell Wray; and Michael – Jordan Cole, Tyler Patrick Hennessy. All were cute and fun to watch and sang well. I was particularly impressed with them in the second act where one plays ukulele (and considering they rotate, this means that most play uke).

Although there was no formal bio in the program, stealing the hearts of the audience as Porthos was Sammy, in what appears to be his debut performance. Seriously, this dog was very cute and very well behaved — especially notable for his reaction to the other “dog” in the second act. Surprisingly, Sammy has an understudy, Bailey. Note: There is no connection to the other famous dog named Porthos.

Rounding out the cast in other smaller named roles and ensemble positions were: Karen Murphy [Mrs. du Maurier]; Christina Belinsky (FB) [Ensemble, Peter Pan u/s]; Cameron Bond (FB) [Ensemble, Mr. Turpin, Acting Troupe Captain Hook, u/s J. M. Barre]; Sarah Marie Charles (FB) [Ensemble, u/s Sylvia, u/s Mary]; Adrianne Chu (FB) [Ensemble, Acting Troupe Wendy]; Calvin L. Cooper (FB) [Ensemble]; Dwelvan David (FB) [Ensemble, Mr. Henshaw]; Nathan Duszny (FB) [Ensemble]; Victoria Huston-Elem (FB) [Ensemble; Miss Bassett, u/s Mrs. du Maurier]; Crystal Kellogg (FB) [Mary Barrie, u/s Sylvia]; Thomas Miller (FB) [Ensemble, Elliot]; Noah Plomgren (FB) [Ensemble, Lord Cannan, u/s J. M. Barrie]; Corey Rives (FB) [Ensemble, Albert]; Dee Tomasetta (FB) [Ensemble, Peter Pan]; Lael Van Keuren (FB) [Ensemble, Miss Jones, Emily, u/s Mrs. du Maurier, u/s Mary]; and Matt Wolpe (FB) [Ensemble, Mr. Cromer, u/s Frohman/Hook]. I particularly enjoyed Dwelvan David’s ensemble performance — very expressive. Somebody cast this guy as the Genie in Aladdin — he has the right look and fun. Swings were Melissa Hunter McCann (FB) [Swing]; Connor McRory (FB) [Swing]; and Matthew Quinn (FB) [Swing, u/s Frohman/Hook].

The music was under the direction of Ryan Cantwell (FB), with music supervision by Fred Lassen (FB) and Orchestrations by Simon Hale (FB). The orchestra consisted of Ryan Cantwell (FB) (Conductor / Keyboard), Valerie Gebert (FB) (Associate Conductor / Keyboard), Greg Germann (FB) (Drums), Laraine Kaizer (FB) (Violin), Ryan Claus/FB (Reeds), Sean Murphy (FB) (Bass), Nicholas Difabbio (FB) (Guitar), David Manning (FB) (Synth / Acoustic Guitar / Mandolin), Kathleen Robertson (FB) (Violin), Ken Wild (Bass / Electric Bass), John Yoakum (FB) (Flute / Piccolo / Clarinet / F# Wood Flute). The keyboard sub was David Witham (FB), and the orchestra contractor was Brian Miller. The orchestra had a good sound to it, but beware there is loads of bass at the end of Act I. The original music supervisor and dance and incidental music arranger was David Chase.

Lastly, the production creative team: The scenic design by Scott Pask was relatively simple with a framing scrim (that blocked the view from the side, but narrowed the stage to a standard size for the tour 😞 ). The bulk of the scenic aspects were provided by the projection design of Jon Driscoll. This worked with the lighting design of Kenneth Posner to create most of the magic. I was particularly taken by a scene in the second act that made wonderful use of shadow effects of the actors on stage created by a single white light projecting on the actors from upstage. Speaking of magic, the real magic in this show came from the illusions of Paul Kieve, the air sculpture of Daniel Wurtzel, and the flying effects of Production Resource Group.  The effects these folks created near the finale are spectacular. The sound design by Jonathan Deans was reasonably good, but shows need to remember when booking the Pantages that all the lovely art deco flourishes in the auditorium, while great to look at, bounce the sound everywhere (and require special tuning). The costumes by Suttirat Anne Larlarb and the hair and makeup by Richard Mawbey looked good and worked well. Rounding out the production credits are: AnnMarie Milazzo – Vocal Designer; William Berloni – Animal Trainer; Stewart/Whitley – Casting; The Booking Group – Tour Booking; Mia Walker – Associate Director; Gregory Vander Ploeg – General Manager; Jose Solivan – Company Manager; Seth F. Barker – Production Stage Manager.

Finding Neverland continues at the Hollywood Pantages (FB) through March 12. Tickets are available through the Pantages website/box office; discount tickets may be available through Goldstar. Although this isn’t a perfect show, I found it quite enjoyable.

🎩 🎩 🎩

Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at 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). 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: 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, Martha, a one-woman play on the life of Martha Graham (a good preparation for our May VPAC show of her dance group), at the Whitefire Theatre (FB) in the middle, and An American in Paris at the Hollywood Pantages (FB) at the end of the month. April starts with Cats Paw at Actors Co-op (FB) and a concert with Tom Paxton and the DonJuans at McCabes Guitar Shop (FB) (shifting Cats Paws to an afternoon matinee that day). The next day brings the Colburn Orchestra at the Valley Performing Arts Center (VPAC) (FB). The next weekend is currently open (and will likely stay that way). Mid-April brings Doc Severinsen and his Big Band at Valley Performing Arts Center (VPAC) (FB) on April 13, followed by Animaniacs Live at the La Mirada Performing Arts Center (FB) over the weekend. That will be followed on the penultimate weekend of April with Sister Act at Cabrillo Music Theatre (FB). Lastly, looking to May, the schedule shows that it starts with My Bodyguard at the Hollywood Pantages (FB) the first weekend. It continues with Martha Graham Dance and American Music at the Valley Performing Arts Center (VPAC) (FB). The third weekend brings the last show of the Actors Co-op (FB) season, Lucky Stiff, at Actors Co-op (FB). May concludes with Hello Again at the Chromolume Theatre (FB). As for June? Three words: Hollywood Fringe Festival (FB). That, barring something spectacular cropping up, should be the first half of 2017.

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

P.S.: The Hollywood Pantages (FB) announced their 2017-2018 season (which was the rest of 2018, after Hamilton took over the last 5 months of 2017) on February 7th. You can find my reaction to it here. The Ahmanson Theatre (FB) announcement was this week, and here’s what I thought of it.

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Thoughts on a Theatre Season: The Ahmanson Theatre

Written By: cahwyguy - Thu Feb 23, 2017 @ 8:04 am PDT

Just before Christmas 2016, I attempted to predict what shows would be presented in the next Pantages and Ahmanson seasons. At the beginning of February, the Pantages made their announcement about their 2017-2018 season (or at least what is left of it after Hamilton presents), and I gave my thoughts on it and assessed my predictions. Today, the Ahmanson Theatre (FB) gave a rough announcement of their season (with more details in the Playbill version), so let’s see what I think and how I did.

☛ 🎱 ☚

Back in December, I summarized the shows that I thought were going on tour based on the announcements that I had seen, and I predicted the following:

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.

☛ 🎱 ☚

So how did I do? The Pantages announced a six show season. Five of the six were on my Pantages list, one was on my Ahmanson list: Aladdin, School of Rock, Love Never Dies, The Color Purple, On Your Feet, and Waitress. So lets see how I did for the Ahmanson, based on what the Times has as their announcement:

  • Matthew Bourne’s The Red Shoes. September 15 – October 1, 2017.  An American premiere. Based on the Hans Christian Andersen tale that was adapted into the 1948 film and best picture Oscar nominee of the same name, “The Red Shoes” will be Bourne’s ninth project to come to the Ahmanson. Not on my list at all. I’m not a big ballet fan, nor a fan of Matthew Bourne.
  • Bright Star. October 11–November 19, 2017.  The folksy Steve Martin and Edie Brickell musical. I predicted this for the Pantages, but it balances Waitress which I predicted for the Ahmanson. This is something I want to see.
  • Something Rotten! November 21–December 31, 2017. The witty, giddy backstage crowd-pleaser set in Shakespeare’s time earned 10 Tony nominations in 2015, including best musical. Predicted for the Ahmanson. This is something I want to see.
  • Soft Power. May 3–June 10, 2018. A world premiere David Henry Hwang that work takes the form of a Chinese musical about present-day America. Originally commissioned for the Mark Taper Forum. Jeanine Tesori will join the creative team for this production, which starts as a contemporary play and time-shifts into a musical 100 years in the future.  I predicted a pre-Broadway musical. This may be it. Unsure based on the subject, but Tesori’s involvement makes it interesting.
  • The Humans. June 19–July 29, 2018. Stephen Karam’s one-act that won four Tony Awards last year including best play. I correctly predicted this for the Ahmanson. Not sure yet if I want to see it.

One production will be announced later (obviously, in the January 1, 2018 through April 30, 2018 time period, although that period could easily support two shows — so why it is dark for so long is unknown and uncharacteristic of the Ahmanson. I am disappointed that the Ahmanson is not mounting Allegiance, but perhaps they are in negotiation for the TBA slot. Spring Awakening is less likely for that slot, given it was at the Wallis Annenberg just before Broadway.

 

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The Best Reparation Is Not Doing It Again | Allegiance Musical Broadcast

Written By: cahwyguy - Sun Feb 19, 2017 @ 9:23 pm PDT

Allegiance Musical BroadcastAs you may recall, I’ve been trying to predict shows that will be going on tour. One show I’ve really been interested in is Allegiance (FB), the Broadway musical that George Takei (FB) has been involved with about the Japanese Internment during WWII. The trade papers said a tour would materialize; but the show’s website doesn’t indicate one. I’ve always expected that a tour, if it materialized, would show up at the Ahmanson Theatre (FB) — or that the Ahmanson, recognizing the Japanese community in Los Angeles, might mount a local production. But the Ahmanson hasn’t announced their season yet, and the good folks behind the Broadway show felt the message was important enough to rebroadcast the musical. You see, these producers did something very intelligent. They recorded the musical about a month after it opened, and arranged to have it broadcast around the country, one time, a number of months after it closed. Through my various Broadway RSS and other feeds, I learned that they were arranging a rebroadcast this weekend — and so to hedge my bets in case it didn’t materialize on the stage, I got tickets.

What I didn’t realize, of course, was the significance of the day of the rebroadcast. Today is the 75th anniversary of the signing of the order that sent Japanese Americans to the internment camps. It is also in a time where there is an intense fear that a segment of our current population is dangerous just because of their religion, even when that segment are longtime American citizens. That makes the message of this show even more timely. Franklin Roosevelt, who was the President who signed the order, said the only thing we had to fear was fear itself. Then he gave into the fear, put US citizens into internment camps, tore away their livelihoods and homes, and regarded them as suspicious just because of their looks or their origins. It was wrong. It was unconstitutional. It was unthinkable. It must never never never happen again. And yet…. we have a large segment of our population living in fear of people because of their looks, their religion or their origin.

I’m an Engineer, but I have a confession to make. A good, compelling story does make my eyes water. Many deep Broadway shows do that — I love theatre because of its ability to tell a story and draw out the emotion. By the end of Allegiance, my jaw was quivering and I was find it hard to hold it together. That is a measure of how powerful this story is; how important it is to tell it. I can’t say to go see the show at your local theatre — alas Allegiance closed after a very short run on Broadway for whatever reason (well, the critics hated it, but what do they know). I can say to friend Allegiance‘s Facebook page so that you can find out if they ever broadcast it again. I can say you must encourage local theatres to do it, but I’m not sure it is licensed yet. We can clamor for a small tour, or push the Ahmanson or East/West to mount it. But I personally feel that this is something that must be seen, and that the critics often have problems with dark, different, and difficult material, only to appreciate it later. Remember: they hate Carrie when it first came out; now it is a great parable about bullying.

I left Allegiance appreciating the power of theatre. That is a good thing.

I guess I should tell you the story of Allegiance, which has a book by Marc Acito (FB),  Jay Kuo (FB), and Lorenzo Thione (FB), and music and lyrics by Jay Kuo (FB). According to Wikipedia, the genesis of the show was a chance meeting in the fall of 2008 of George Takei and his husband, Brad, who were seated next to Jay Kuo and Lorenzo Thione. They met again at another show, had some conversations, and this led to the notion of a musical based roughly on George’s experiences as a child in the internment camps.  I’ll also note you can find a more detailed version on the show webpage or wikipedia. In short, the show tells the story of the Kimura family from Salinas: the grandfather (Ojii-chan), the father (Tatsuo Kimura), and the two children: Sam and Kei. It starts with Sam, who is a WWII veteran, learning that his sister Kei has died. This opens us into the story and how the rift between them was created. We see the family running a farm and having an American life, and then the Japanese bombing Pearl Harbor. In short order, based on an agreement between the government and the Japanese American Citizens League, led by Mike Masaoka, internment orders go out, and Japanese on the Pacific coast are ordered to camps. The Kimura family has to sell all but what they can carry, and they are taken by force to a camp, Heart Mountain, in the wilds of Wyoming. We learn of life in the camp through a series of scenes, and get to meet two characters in particular: Lt. Hannah Campbell, a nurse at the camp, and Frankie Suzuki, another internee at the camp. Campbell is drawn to Sammy; Frankie to Kei. As time passes, the JACL convinces the government to let Japanese Americans serve in the armed force, in a segregated unit, for suicide missions. A questionnaire goes out that includes loyalty questions so that only loyal Japanese Americans can serve. Tatsuo refuses to answer yes to those questions, and gets hauled away to Tule Mountain. Sammy volunteers to serve (against his father’s wishes), and goes on to be one of the few survivors from that batallion. Frankie, on the other hand, resists; when drafted, he organizes resistance in the camp and is arrested. The creates the wedge that drives the story to its conclusion. I’ll let you read the synopsis for more, but you get the drift.

Given we’re in the era of identifying “fake news”, I’ll note that Wikipedia relates that the show does conflate experiences across different camps for dramatic effect, and adds a bit more military oversight than existed at Heart Mountain.

At this point in a writeup, I’d normally move into a discussion of the direction and performance. But this was a broadcast of a Broadway show, and I’d like to digress to explore that for a graph or two. Going in, I was torn. Recording a Broadway show can have some distinct advantages: it can preserve a performance for posterity; it can also make a show available in many places where this level of theater does not occur — and thus can spread the word about the power of theatre. On the other hand, it could supplant the live production, result in the undercompensation of the actors performing in the recording, and deny work to actors who might work in the local versions of the show. Coming out, I had a different view: the recording allowed on to see the performances up close and personal, in a way that wouldn’t be possible even from the orchestra seats. But it also disconnected the audience from the “big picture”; you never got the scope of the breadth of the stage or the grandeur of the choreography and movement.  The audience feedback was also very different, due to the awareness that there were no actors on stage. Unlike a show, where there is constant applause and feedback, this audience was silent, even at the end. Audience reaction is vital not only for the show but for other audience members, and I felt the different. I also felt the difference with the lack of an intermission and a playbill. In the end, I think seeing the broadcast only made me want to see it live even more.

Next: The Theatre. We saw this at the AMC Promenade theatre in Woodland Hills, which is one of the few survivors in a dying mall. The original auditorium had significant projection problems (double images) that they couldn’t correct before the show. They moved us to a different auditorium (same size, but different arrangement), which created some seating confusion but fixed most projection problems. There was still the problem of bleed-over bass from the auditorium next to us, and there was a sound synchronization problem during much of the first act. Some of this was beyond the theatre’s control, and despite the problems, they managed it well (plus they gave us passes as compensation for the problems). I think we’ll try them again. I’ll note that our show was sold out (130-some-odd seats).

Now, on to the performances, under the direction of Stafford Arima (FB). As you can tell, I was moved and astounded by all the lead performers — the projection allowed us to see things up close that we might never see from the audience. As it is hard to single them out (especially without a Playbill — if you want the Broadway experience, Fathom Events (FB) you should provide that!), let me just start by listing the leads:  George Takei (FB) [Sam Kimura (older), Ojii-chan]; Telly Leung (FB) [Sammy Kimura]; Lea Salonga (FB) [Kei Kimura]; Katie Rose Clarke  [Hannah Campbell]; Michael K. Lee  (FB) [Frankie Suzuki]; Christòpheren Nomura (FB) [Tatsuo Kimura]; and Greg Watanabe (FB) [Mike Masaoka]. With respect to their performances, I was particularly taken with the facial expressions of both Clarke and Salonga, who were just spectacular. I’d only seen Takei perform where everyone else has seen him before, and his performance here just blew me away. He was wasted at the navagation console :-). I’m always impressed by Salonga’s voice, but both Leung and Lee did great jobs as well. All and all, spectacular performances.

In small roles and ensemble parts were: Aaron J. Albano (FB) [Tom Maruyama, Ensemble]; Marcus Choi (FB) [Johnny Goto, Ensemble]; Janelle Toyomi Dote (FB) [Mrs. Maruyama, Executor, Ensemble]; Dan Horn (FB) [Recruiting Officer, Private Evans, Big Band Singer, The Victory Trio, Ensemble]; Darren Lee (FB) [Dr. Tanaka, Ben Masaoka, Ensemble]; Kevin Munhall [Federal Agent, Private Knight, Tule Lake Guard, The Victory Trio, Ensemble]; Rumi Oyama (FB) [Mrs. Tanaka; Ensemble]; Shea Renne [Betsy Tanaka, Ensemble]; Momoko Sugai (FB) [Peggy Maruyama, Ensemble]; Autumn Ogawa [Ensemble]; Elena Wang (FB) [Nan Goto, Ensemble]; Scott Watanabe (FB) [Mr. Maruyama, Ensemble]; Cary Tedder [Ensemble]; and Scott Wise (FB) [Grocer, Director Dillon, Photographer, The Victory Trio, Ensemble].  With the way this was filmed, it was harder to single out particular ensemble members and smaller characters, but I enjoyed the characters overall. Particularly notable was the actress playing the older Japanese woman — I’m guessing it was Rumi Oyama, but it could have been Janelle Dote.

I am not listing the standbys, understudies, and swings as I normally do, because the show has closed and we had the cast on the film. You can find the full list here, together with the list of musicians.

The choreography was by Andrew Palermo (FB), who did an excellent job. I particularly enjoyed not only the large dance numbers but the Japanese movement as well. The movement during the Hiroshima scene was particularly chilling. The Playbill page does not give credit for the musical direction or the conducting. Orchestrations were by Lynne Shankel. Check the Playbill page for information on the dance captains, assistant dance captains, and all the associate and assistant choreographers and directors.

One disadvantage of the theatrical projection is that one cannot get the full impact of the scenic design and other production aspects. Yet another reason to go see it live. In general, the scenic design and projections worked well to establish a sense of place; given the broadcast aspects, it was hard to get a sense of sound and lights. Costumes, makeup, and hair was excellent. Here are the production credits: Donyale Werle [Scenic Design]; Alejo Vietti (FB) [Costume Design]; Howell Binkley (FB) [Lighting Design]; Darrel Maloney [Projection Design]; Kai Harada [Sound Designer]; Charles G. LaPointe [Wig and Hair Design]; Joe Dulude II [Make-up Design];  Peter Wolf  [Production Stage Manager]; and Brian Bogin [Stage Manager].

One last closing note: The production was also notable for the attention to casting asians in asian roles. I’ve commented on this before with shows like Waterfall and The King and I. I still bemoan the fact that there were sufficient Japanese actors to be able to cast closer to role-appropriate (a common problem), and I also bemoan the fact that many asian actors can only find roles in things like this, or onsie-twosie in shows. We need to remember that unless the story requires a particular ethnicity, cast color and race blind.

For the theatrical credits, I must turn to IMDB, so look here for all the cinematography credits and such.

We can only hope that Fathom Events (FB) broadcasts this again.

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Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at 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). 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: 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, Martha, a one-woman play on the life of Martha Graham (a good preparation for our May VPAC show of her dance group), at the Whitefire Theatre (FB) in the middle, and An American in Paris at the Hollywood Pantages (FB) at the end of the month. April starts with Cats Paw at Actors Co-op (FB) and a concert with Tom Paxton and the DonJuans at McCabes Guitar Shop (FB) (shifting Cats Paws to an afternoon matinee that day). The next day brings the Colburn Orchestra at the Valley Performing Arts Center (VPAC) (FB). The next weekend is currently open (and will likely stay that way). Mid-April brings Doc Severinsen and his Big Band at Valley Performing Arts Center (VPAC) (FB) on April 13, followed by Animaniacs Live at the La Mirada Performing Arts Center (FB) over the weekend. That will be followed on the penultimate weekend of April with Sister Act at Cabrillo Music Theatre (FB). Lastly, looking to May, the schedule shows that it starts with My Bodyguard at the Hollywood Pantages (FB) the first weekend. It continues with Martha Graham Dance and American Music at the Valley Performing Arts Center (VPAC) (FB). The third weekend brings the last show of the Actors Co-op (FB) season, Lucky Stiff, at Actors Co-op (FB). May concludes with Hello Again at the Chromolume Theatre (FB). As for June? Three words: Hollywood Fringe Festival (FB). That, barring something spectacular cropping up, should be the first half of 2017.

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

P.S.: Mostly so I can find it later, here’s my predictions of what will go on tour and where they will end up. The Hollywood Pantages (FB) announced their 2017-2018 season (which was the rest of 2018, after Hamilton took over the last 5 months of 2017) on February 7th. You can find my reaction to it here. Now we just need to see what the Ahmanson Theatre (FB) will do.

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Thoughts on a Theatre/Concert Season: Hollywood Bowl, Segerstrom Center, Theatreworks

Written By: cahwyguy - Tue Feb 14, 2017 @ 7:09 pm PDT

Today was a day for a number of season announcements. I thought I would share my thoughts on them with you.

The Hollywood Bowl

I’m not going to go through the entire list of the Bowl season. But I am going to mention the shows of possible interest to me:

Segerstrom Center, Costa Mesa

This theatre is a bit far for us to travel to and subscribe, but for those in Orange County, it looks like a great season:

Broadway Series

  • Something Rotten!” Nov. 7-19, 2017. Set in the late 1500s, two brother playwrights are trying to write a hit play but their rival, the rock star writer Shakespeare, keeps getting all the attention. Thus, the concept of a musical was born.
    🎩 This hasn’t been in LA yet; given the Pantages has announced their season, I expect this at the Ahmanson.
  • Rodgers and Hammerstein’sThe King and I,” Feb. 27-March 11, 2018: The Tony Award-winning musical presents some of Broadway’s greatest numbers, including “Getting to Know You,” “I Whistle a Happy Tune,” and “Something Wonderful.”
    🎩 This played the Pantages in December 2016
  • Love Never Dies,” April 24 – May 5, 2018: Andrew Lloyd Webber’s sequel to the iconic “The Phantom of the Opera” tells the story of the Phantom and his new life in New York City.
    🎩 This is in the Pantages’ 2017-2018 Season, playing April 3-22, 2018
  • Hamilton,” May 8 – 27, 2018: Based on Ron Chernow’s biography of founding father Alexander Hamilton, the musical provides insight into the life of the West Indies immigrant who became George Washington’s right-hand man during the Revolutionary War. The hip-hop, jazz, and R&B score gives the musical a modern twist.
    🎩  This plays the Pantages from August 11 – December 30, 2017
  • School of Rock,” July 24 – Aug. 5, 2018: Featuring 14 songs by Andrew Lloyd Webber, the rock-and-roll musical tells the story of a wannabe rock star who poses as a substitute teacher and creates a band of his own with the music prodigies in his class.
    🎩 This is in the Pantages 2017-2018 Season, playing May 3 – 27, 2018
  • On Your Feet,” Aug. 21 – Sept. 2, 2018: From Cuba to America, Gloria and Emilio Estefan broke through barriers in the pop music world with hits songs like “Rhythm is Gonna Get You,” “Conga” and “Don’t Wanna Lose You Now.” The musical tells the story of the groundbreaking couple’s musical sensation journey.
    🎩 This is in the Pantages 2017-2018 Season, playing July 6 – 29, 2018

Curtain Call Series

  • Motown,” Dec. 19 – 24, 2017: The true American story about Motown founder Berry Gordy and his journey in the music world as he launched the careers of music sensations Diana Ross, Michael Jackson, Smokey Robinson and more. The pop musical features hits like “My Girl,” “Ain’t No Mountain High Enough” and “Dancing in the Street.”
    🎩 This played the Pantages January 31 – February 12, 2017
  • Kinky Boots,” Feb. 6 – 11, 2018: The multi-Tony Award-winning musical tells the story of Charlie Price, the owner of a small shoe factory, who meets Lola, an extraordinary performer who introduces him to new, creative ideas in the world of fashion and shoes.
    🎩 This played the Pantages April 13 – 24, 2016
  • The Color Purple,” June 19 – 24, 2018: The Tony Award-winning musical presents a soul, jazz, ragtime and blues score to the story of a young woman’s journey in love and triumph in the American South.
    🎩 This is in the Pantages 2017-2018 Season, playing May 29 – June 17, 2018

Bonus events

  • Jersey Boys,” Jan. 19-21, 2018: The Tony, Grammy and Olivier Award-winning musical about rock and roll hall of famers The Four Seasons and their rise in pop music history. The show presents hits like “Big Girls Don’t Cry,” “Rag Doll,” “Oh What a Night” and “Can’t Take My Eyes Off of You.”
    🎩 This plays the Ahmanson May 16 – June 24, 2017
  • The Book of Mormon,” March 20-25, 2018: South Park creators Matt Stone and Trey Parker’s Tony Award-winning musical comedy tells the story about two mismatched missionaries sent across the seas to share their scriptures with a Ugandan village.
    🎩 This plays the Pantages May 30 – July 9, 2017

All in all, a very good season. More information is on the Segerstrom website.

Palo Alto/Mountain View TheatreWorks

For those up in the Bay Area, I just received the TheatreWorks Season Announcement:

  • The Four Immigrants: An American Musical Manga. Jul 12–Aug 6, 2017, Lucie Stern Theatre, Palo Alto. Book, Music, & Lyrics by Min Kahng. Based on Manga Yonin Shosei by Henry Yoshitaka Kiyama. Translated as The Four Immigrants by Frederik L. Schodt. Directed by Leslie Martinson. WORLD PREMIERE. From a tumultuous earthquake to an exhilarating world’s fair, this broadly comic new musical chronicles the adventures of four endearing Japanese immigrants in a world of possibility and prejudice: turn-of-the-twentieth-century San Francisco. Driven by an infectious vaudeville and ragtime score, the quartet pursues their American Dream despite limited options in the land of opportunity. Don’t miss this runaway hit of our 2016 New Works Festival.
    🎩 This sounds potentially interesting — if I was up there, I’d go see it.
  • Constellations. Aug 23–Sept 17, 2017, Mountain View Center for the Performing Arts. By Nick Payne. Directed by Robert Kelley. London Evening Standard Award Best Play 2012. REGIONAL PREMIERE. A time-bending romantic drama spun out of string theory, this unconventional Broadway and West End sensation explores the infinite possibilities of “boy meets girl” with intelligence, heart, and humor. A charming beekeeper and a Cambridge cosmologist are nerds in love, for better and for worse, their relationship an ever-changing mystery of “what ifs.” Who knew that honey and higher physics could be so touching—or so sexy?
    🎩 C’mon, string theory in a play. Sounds good.
  • The Prince of Egypt. Oct 6–Nov 5, 2017, Mountain View Center for the Performing Arts. Music and Lyrics by Stephen Schwartz. Book by Philip LaZebnik. Directed by Scott Schwartz. WORLD PREMIERE in collaboration with Fredericia Teater, Denmark. A soaring celebration of the human spirit, The Prince of Egypt features a dazzling, multi-ethnic cast in one of the greatest stories ever told: the saga of Moses and Ramses, his Pharaoh brother, and the indomitable people who changed them both forever. Inspired by the beloved DreamWorks Animation film and featuring a score that includes the Academy Award-winning “When You Believe” by the composer and lyricist of Wicked, this breathtaking journey of faith and family is the must-see event of the season.
    🎩 A new Stephen Schwartz musical — could be good, although I’d be curious how he expanded the score.
  • Around the World in 80 Days. Nov 29–Dec 23, 2017, Lucie Stern Theatre, Palo Alto. Adapted by Mark Brown. From the novel by Jules Verne. Directed by Robert Kelley. Stampeding elephants! Raging typhoons! Runaway trains! Join fearless adventurer Phileas Fogg and his faithful valet in the original “Great Race,” circling the globe in an 1870s alive with danger, romance, and comic surprises at every turn. In the hilariously theatrical style of The 39 Steps, five actors portray dozens of characters in a thrilling race against time and treachery. Grab your family, and your passport, for an ingenious, imaginative expedition around the world!
    🎩 This is an oldie, but should be good.
  • Our Great Tchaikovsky. Jan 10–Feb 4, 2018, Mountain View Center for the Performing Arts. Music by Piotr Ilyich Tchaikovsky. Written and Performed by Hershey Felder. Directed by Trevor Hay. REGIONAL PREMIERE. Brilliant composer Piotr Ilyich Tchaikovsky springs to life through the hands and insight of piano virtuoso Hershey Felder, whose time-bending tale of culture and repression explores the mystery surrounding some of the greatest music ever written. From the unforgettable ballets Swan Lake, Sleeping Beauty, and The Nutcracker, to the outrageous 1812 Overture and the brilliant symphonic works, this powerful musical tribute travels to Czarist times to ponder the inevitable enigma of genius. From the creator and performer of Hershey Felder as Irving Berlin and Beethoven.
    🎩 Others might like this; I haven’t gotten into all the Hershey Felder shows.
  • Skeleton Crew. Mar 7–Apr 1, 2018, Lucie Stern Theatre, Palo Alto. By Dominique Morisseau. Directed by Giovanna Sardelli. A Coproduction with Marin Theatre Company. CALIFORNIA PREMIERE. A makeshift family of autoworkers navigates the recession in this funny, tough, and tender American drama. Will their Detroit plant survive? Ambitious dreams and corporate deception interweave, pushing friendships to the limit. When the line between blue collar and white begins to blur, how far over the lines is each of them willing to step?
    🎩 Sounds somewhat interesting.
  • The Bridges of Madison County. Apr 4–29, 2018, Mountain View Center for the Performing Arts. Book by Marsha Norman. Music and Lyrics by Jason Robert Brown. Based on the novel by Robert James Waller. Directed by Robert Kelley. 2014 Tony Award Best Score. REGIONAL PREMIERE. This sweeping musical romance about the roads we travel and the bridges we dare to cross recalls the unexpected affair of a devoted Italian-born housewife and a roving National Geographic photographer—four sensual, heart-stirring days that would never be forgotten. Set amidst the cornfields of Iowa in 1965, it is an intimate remembrance of love both lost and found, brilliantly adapted by a Pulitzer Prize-winning playwright and Tony Award-winning composer from one of America’s favorite novels.
    🎩 I saw the tour of this when it was at the Ahmanson, and I was very surprised at how much I liked it. TheatreWorks should do a good job with it.
  • FINKS. Jun 6–Jul 1, 2018, Mountain View Center for the Performing Arts. By Joe Gilford. Directed by Giovanna Sardelli. Drama Desk Award Best Play Nominee. CALIFORNIA PREMIERE. With the 1950s Red Scare in full swing, the House Un-American Activities Committee attacks “subversion” in the arts. When a romance blossoms between a rising comic and a firebrand actress, they face being blacklisted along with their friends and fellow artists. Will they lose their careers or betray each other and be branded forever as “finks”? Based on the true story of comedian/actor Jack Gilford, this stunning comic drama is written by his son.
    🎩 The story of Jack Gilford — should be interesting.

The season sounds interesting enough that if I was in the area, I might subscribe. Subscription information is on the TheatreWorks website.

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