Tag: wce

Last night, otaku_tetsuko joined us (nsshere wasn’t feeling well) as we ventured to Hollywood to see the West Coast Ensemble production of “Gypsy“. Yes, that “Gypsy“—the one that has numerous big name stars in it (Ethel Merman, Angela Lansbury, Tyne Daly, Bette Midler, Bernadette Peters, and Patti LuPone) and is generally acknowledged as one of the greatest musicals. West Coast Ensemble is doing a version of the show they are calling “Gypsy… stripped”, which is done in a very small production, directed by Richard Israel, in a 99-seat older theatre, with a five-piece orchestra. A very seedy-feeling production, bare-bones, that focuses on the acting.

Wait, you say you’ve never heard of the story of “Gypsy“? “Gypsy“, on its face, is the story of the creation of the stripper Gypsy Rose Lee. In reality, it is the story of her stage mother, Rose Havok. You can find a detailed summary at Musicals.Net, but in short: The story starts in Seattle, where Rose is trying to get her kids, June and Rose, into a kiddy show. She succeeds, and this starts them on the road. They acquire an agent (Herbie) and supporting boys, and start on the vaudeville circuits. Slowly successful, they run into the death of vaudeville. Bookings start to get slower, and the children get older—at least in life, if not on stage. As the first act ends, June has gotten fed up, and one of the boys, Tulsa, has developed his own dance duo act. They elope, leaving Rose, Herbie, and Louise to regroup. In Act II, Rose is attempting to restart the act around Louise, but failing. They eventually end up as a children’s act at a burlesque theatre in Wichita. Here, Louise learns about the stripper’s life. When their gig ends, Herbie is about to marry Rose, when the theatre suddently needs a star stripper. Rose volunteers Louise, which is the last straw for Herbie. Louise goes on, timidly at first, to discover a career she loves and is good at. This leaves Rose unneeded, and as the musical ends, we learn why Rose did it all—not for the children, but for herself, living vicariously through her children’s success that she could never have.

Most versions of Gypsy are built around a star and a star’s performance, and people remember their Gypsy’s by the Mama Rose performer. Oh, I saw Merman. I saw Daly. I saw Peters. For this Gypsy, the Mama Rose actress (Jan Sheldrick^æ) was not a big-name star. Her singing was not the calibur of a Peters or LuPone (although it was good); I’m not sure her voice will last out the run. But she was a strong actress… and it is the acting at close quarters that makes this show. Watching her face during performances such as “Roses Turn” you could see the determination and vulnerability of this woman—this was a woman you crossed at your own risk.

Faces. They are what made this production. I just loved watching the faces. My favorite was that of Stephanie Wall^æ (). She was just such a great reactive performer. Watching her in “Little Lamb” or “If Mama Was Married” was a delight. She was timid; she was joyful; she was expressive. In “All I Need Is the Girl”, you could see her longing to dance with Tulsa. Perhaps her best faces and reactions were in “Everything’s Coming Up Roses”, where her face showed such abject terror and horror as Rose became focused on Louise’s success. Similarly, her face during “You Gotta Get a Gimmick” was remarkable: going from shock to joy. Watching this young woman’s transformation into Gypsy was just great; you could just read the self confidence (although I was disappointed there wasn’t more of the older Gypsy — I seem to recall a bit more in the strip routine number). Although people claim Rose is the star of this show, I personally feel this show was made by Ms. Wall.

Another great face was Michael Matthys^æ as Herbie. This is not a strong singing role (the original was Jack Klugman). Mr. Matthys’ strength, again, was in his acting and his face. You could see his love for Rose and the kids. You could see his horror as Rose turned in “Everythings Coming Up Roses”. You could see his disappointment as Rose pimped her daughter in Wichita. Very expressive actor.

A few other “faces” that I want to particularly mention. The first “face” that I found fascinating was that of Caitlin Williams as young Louise. She seemed so lost on the stage when contrasted with her sister (played by Kaleigh Ryan). She seemed off in the dance numbers, a bit lost with the words, but I got the impression that was the actress acting—she was doing a wonderful job of showing Louise as the introverted one who was not comfortable on stage. I also enjoyed the face of Kaylie Swanson as the older June, especially during the “If Mama Was Married” sequence where her personality shone through. As Tulsa, Eric Allen Smith was a remarkable dancer and a delight in “All I Need Is The Girl”. A fourth worthy face was Sara J. Stuckey () as Tessie Tura (she also had a few other small roles). As Tessie, you could she how she enjoyed burlesque for what it was, and how she enjoyed interacting with Mama Rose’s girls.

Rounding out the cast were: L. J. Benet () (performer boy / singer / newsboy); Kelly Jean Clair^æ () (Mazeppa / Miss Cratchitt); Quintan Craig (Yonkers); Glory Curda (Balloon Girl); Major Curda^æ (Boy Scout / Newsboy); Saylor Curda (Twirling Girl); Amy Lawrence^æ () (Marjorie); Larry Lederman^æ () (George / Rose’s Father / Mr. Kringelein / Cigar); Dan Pacheco^æ (Angie); Tony Pandolfo^æ (Uncle Jocko / Mr. Weber / Mr. Goldstone / Pasty); Zack Salas () (L.A. / Bourgeron); Katie Scarlett (Agnes / Showgirl); Jessica Schatz^æ () (Electra / Renee / Stage Mother); Ann Villella () (Geraldine / Showgirl); and Petey Yarosh () (Newsboy).
[^æ denotes members of  Actors Equity ]

Technically, the production was bare bones. The set, designed by Stephen Gifford, was primarily a bare stage with vaudeville stage cards and simple props. The costumes, by Zale Morris (assisted by Cat J. Scanlan as associate and Daniel Kingsland as assistant), were appropriately period and seedy (although Tessie’s was a big more risque than I expected). Wigs were by Anthony Gagliardi. The sound by Rebecca Kessin was seemingly unamplified. The lighting by Lisa D. Katz was relatively static and unadored with lots of blues and pinks, with a single follow spot. Stage management was by Nicholas Acciani, assisted by Lindsay Capacio.

The production was directed with Richard Israel, with musical directon by Johanna Kent. The orchestra was uncredited and unseen, but sounded like five pieces. This was a mistake—they deserved credit. Choreography was by John Todd, who did an effective job with movement and dance.

The West Coast Ensemble webpage does not show a closing date for “Gypsy“. It is being performed at the Theatre of the Arts Arena Stage, which is behind the Egyptian Theatre on Las Palmas in Hollywood. Tickets are available through West Coast Ensemble, as well as through Goldstar or LA Stage Alliance.

Upcoming Theatre, Concerts, and Dance: The last weekend of May brings “Cabaret” at REP East on May 28. June begins with “Year Zero” at the Colony Theatre on June 5, but most of June is lost to the college visit trip (but who knows — we might go see “Always Patsy Cline” at the Ryman Auditorium in Nashville). July should hopefully start with “Les Miserables” at the Ahmanson on July 2; pending hottix ticketed, followed by Western Corps Connection on July 3 in Riverside. July should continue with “Jerry Springer: The Opera“ (July 8, Chance Theatre, pending ticketing); “Twist: A New Musical” (July 16, Pasadena Playhouse, ticketed); “Jewtopia” (July 17, REP East, ticketed); Dolly Parton (July 23, Hollywood Bowl); “Shrek” (July 23 or 24, Pantages Theatre, pending ticketing); and “The Sound of Music” (July 30, Cabrillo Music Theatre, ticketed). August will bring “Doubt” at REP East on August 13, and “On Golden Pond” at the Colony Theatre on August 20. The remainder of August is currently open.

This afternoon, we went to Hollywood to see “big: The Musical” at the West Coast Ensemble. For those unfamiliar with this musical, which is based on the Tom Hanks movie, it tells the story of 12-year old Josh Baskin. Josh is at that awkward age — too small for girls to notice him, awkwardly growing into teen-hood. One day at a carnival, Josh wishes to “be big” at the carnival Zoltar machine. The next morning… he wakes up “big”. A grown up. Of course, his mom thinks he’s a stranger and out of the house he goes. His best friend Billy packs him off to New York to find a job, while he goes to find another Zoltar machine. Josh lands at FAO Schwartz, where he meets a toy company executive who can’t figure out why his toys aren’t selling. Josh, being a kid inside, tells him… and gets hired. Now Josh is in the corporate world… and is a success by being a kid at heart. But he also has to start dealing with things he’s never dealt with before: such as the female co-worker who falls for him. Does he stay “big” for her, or does he go back to being a kid?

But that’s just the story. “big” is really a play about how kids grow up too fast, and what it is really like to be a kid inside. We all lose that kid far to quickly these days. I just heard a wonderful piece on Quirks and Quarks about the importance of play… and that’s something that is harder and harder to do in today’s world: just be playful. We see the view of the parents, whose children grow up far to fast. We see the view of the adults, all business. We also see the dilemma through two important sets of eyes: Josh’s, who must face the difficulties of adult love for the first time, and Susan, the colleague who falls for him, who learns that sometimes playfullness is the secret to love. I should note that the book for “big” is by John Weidman, based on the screenplay by Gary Ross and Anne Spielberg. Music was by David Shire, with lyrics by Richard Maltby Jr..

West Coast Ensemble is a theatre group that does great things with off-beat musicals like this. We’ve seen them work their magic on “Zanna Don’t” and “Assassins” before, and this production was no exception. Working in an extremely limited space, they created the flexibility to pull this off. As an example, one of the best known numbers in the show is the one where Josh and the president of the Toy Company dance on a gigantic floor keyboard. This theater could not afford a gigantic fancy lit keyboard–so they just painted one on the floor, and as the actors danced on the keys, the ensemble behind them sang individual notes. Their musical director (Daniel Thomas) also created a great sound with what appeared to be a single keyboard. A simple multi-level stage became everything from a schoolyard to bunk-beds in an apartment, to a working office, to a toy store… with just a few props. Credit goes to Stephen Gifford for his remarkable stage design and Lisa D. Katz for her imaginative lighting design in the limited space.

Of course, no production would be complete with out the actors, and this production had an excellent set of them. Leading the cast as the adult Josh Baskin was Will Collyer^æ, who captured the kid inside of him, as well as being a great singer and dancer. His adult love interest, Susan Lawrence, was played by Darrin Revitz^æ, and equally great singer and dancer. Both were just having fun with the roles, which is a joy to see. Others in the cast who particularly impressed me were: Johanna Kent (Mrs. Kopecki/Panhandler/Salesperson/Miss Watson/Diane), who we saw first in Assassins as Sara Jane Moore, and must be one of the most expressive actresses around; Alex Scolari (Cynthia Benson/Goth Girl/Kid/Intern), who we saw in 13 and was just mesmerizing, and LJ Benet as the young Josh Baskin, who in his second act solo number demonstrated a remarkable voice. Also worthy of note were Lisa Picotte^æ as Mrs. Baskin and Larry Lederman as Mr. MacMillan (head of the toy company). Rounding out the cast were Ashley Marie Arnold (Tiffany/Kid), Sterling Beaumon^æ (Billy Kopecki), Joseph Castanon (Brandon/Kid), Coby Getzug (Derek/Gang Dude/Kid/Intern), Frank Romeo^æ (Mr. Kopecki/Arcade Guy/Salesperson/Birnbaum/Nick), Jake Wesley Stewart (Mr. Baskin/Drag Queen/Salesperson/Barret/Tom), Sara J. Stuckey (Mom/Homeless Lady/Salesperson/Receptionist/Abigail), Kaylie Swanson (Debbie/Kid), and Stephen Vendette (Dad/Stoner Musician/Paul Seymour).
[^æ denotes members of  Actors Equity ]

I’ve already spoken about the excellent technical side of this production. Completing the backstage element were Sharon McGunigle with an excellent costume design (although I’m unsure whether cell-phones were that prevalent during that period), and Cricket S. Myers for Sound Design. The production was directed by Richard Israel assisted by Suzanne Doss. Choreography, which was remarkable given the limited space, was by Christine Lakin, assisted by Corrie English. The stage manager was Amy E. Stoddard^æ, who was gracious to take nsshere backstage to discuss working in technical theatre. The producer was Ben Campbell. West Coast Ensemble is under the artistic direction of Les Hanson and Richard Israel.

I should note that if you are familiar with “big” from the cast album: some of the songs appear to be changed. In particular, I noticed a new song for Josh’s mom (“Say Good Morning to Mom”) in the opening, and I think one or two others were changed. However, a number of my favorites are still there, including “Fun”, “Stars”, “Cross the Line”, and “Coffee Black”. Some of the song changes are explained in the Wikipedia page.

“big” continues at West Coast Ensemble through June 28. Tickets are available through West Coast Ensemble, and Tix.Com; discount tickets are available through LAStageTix and Goldstar events. The show is well-worth going to, but note that parking in the neighborhood can be difficult, and the seats in the theatre are very narrow.

Upcoming Theatre: Our next production is “The Green Room at Hermosa Beach Playhouse on May 24 @ 7:00pm. The end of May (May 28, 29, 30) brings “Fiddler on the Roof” at Nobel Middle School: we’re planning on going on Fr 5/29. May 31 @ 2pm brings “Setup and Punch” at The Blank Theatre Company. June 20 @ 8pm is “The Little Foxes” at The Pasadena Playhouse. Lastly, July 11 will bring “Fat Pig” at Repertory East Playhouse. Based on the reviews, we’ve decided to take a pass on “Marry Me a Little/The Last 5 Years” at East/West Players. Other shows pending scheduling and ticketing include “Spamalot” at the Ahmanson (7/7-9/6/09), the “Guys and Dolls” concert at the Hollywood Bowl (7/31-8/2/09), and Liza Minelli at the Hollywood Bowl (8/28-8/29/09). Also of potential interest are: “Cat on a Hot Tin Roof” at the Neighborhood Playhouse (Venue Goldstar) (7/9-7/26/09); “Breaking the Code” at The Production Company in North Hollywood (5/15-6/20/09) (on LAStageTix, Venue Goldstar) (with “Equus” over the summer); and “The Apple Tree” at Crown City Theatre in North Hollywood (6/5-6/28/09) (LAStageTix). I’m also always looking for interesting productions on Goldstar and LA Stage Tix.

In late 1990, a new Stephen Sondheim musical premiered on Broadway, with a book by John Weidman. It was dark, and had a very uncomfortable theme. It was a musical that highlighted the men and women who have a dream, a burning in their bellies, a driving need to do what they think is necessary to make their world a better place. They want to shoot the president. As one might expect, this musical (“Assassins”) flopped, running only 73 performances. In 2001 in one, it was about to be remounted again… and then terrorists flew planes into the WTC and the Pentagon (and wanted to hit the White House) on September 11th — echoing a would be assassin of Richard Nixon in the show, who wanted to fly a plane into the White House. The revival was scrapped again. It was finally remounted in 2004 to a bit more success… but the subject remains uncomfortable.

Today, we saw “Assassins” in its production at West Coast Ensemble. Assassins tells the story of all the successful and unsuccessful presidential assassins: John Wilkes Booth (Lincoln), Charles Guiteau (Garfield), Leon Czolgosz (McKinley), Giuseppe Zangara (FDR, unsuccessful), Lee Harvey Oswald (Kennedy), Samuel Byck (Nixon, unsuccessful), Lynette “Squeaky” Fromme and Sara Jane Moore (Ford, unsuccessful), and John W. Hinkley Jr (Reagan, unsuccessful). They are egged on by a character called the Proprietior, who is really more of a carnival barker, urging them to “Shoot a President, Win a Prize”. A more sardonic view of the proceedings comes from the Balladeer. What’s hard to figure out is the point of the show. One underlying theme is captured in the title of this post: “Everyone has the right to be happy, everybody has the right to their dreams”. Part of the American dream is the right to take action for what you believe in. Does that include the right to shoot the president? Is that a form of free speech? But the play shows that folks had a variety of reasons behind their actions: to ease their pains, to make a statement, to please someone or to get attention for their cause, or because they were just nuts. But it doesn’t work. They aren’t remembered for their cause, they are remembered because they attempted to shoot the president. Perhaps some lines from the Balladeer’s first number make the point best:

Every now and then
A madman’s
Bound to come along
Doesn’t stop the story —
Story’s pretty strong
Doesn’t change the song…

Listen to the stories
Hear it in the songs
Angry men don’t write the rules
And guns don’t right the wrongs

Hurts a while
But soon the country’s
Back where it belongs
And that’s the truth

So, “Assassins”, in the end, isn’t a musical about the right to dreams. It is more a musical on the strength of the American dream — that even though there are madmen out there who do mad things, these angry men don’t write the rules, and America ultimately will right itself. We now have madmen who are using more than guns, and we have leaders who are tilting the ship strongly in reaction. But the system is strong, and we have the ability to right it. Pretty good message in a dark musical, I must say.

So how did West Coast Ensemble do? I think they did a very good job (only one substantive complaint, which you’ll find near the end). The acting was supurb. The whole cast was remarkable, not only in their singing but in their acting and their nuances. This is one of Sondheim’s most dramatic plays (I think the second half would rival most dramas), and it was just astounding. Some actors deserve some special praise. From the set of assassins, I was particularly impressed with Christopher Davis Carlisle as John Wilkes Booth, the first man to show it was possible to shoot a president; Steven Connor^æ at Charles J. Guiteau, who lots of life and energy; Johanna Kent as Sara Jane Moore, who had loads of confused playfullness; Darrin Revitz^æ as Lynnette “Squeeky” Fromme, who portrayed the crazy devotion one would expect from a Manson followerer. Even more of note were Dana Reynolds as the Balladeer, who seemed to take glee in interacting and commenting on the assassins. Even stronger was Shannon Stoeke in the dual role of the Proprietor/Lee Harvey Oswald, who was the evil counterpart to the Balladeer, encouraging our protagonists that they had the right, if not a duty, to shoot the president.

The remainder of the company were supurb, but their performances just didn’t “pop” as the folks named above. Rounding out the assassins were Jim Holdridge^æ as Guiseppe Zangara; Larry Lederman^æ as Leon Czolgosz, David Nadeau at John Hinckley, and John O’Brien at Samuel Byck. Others in the ensemble, playing various roles, were Sterling Beaumon^æ and Andrea Covell.
[^æ denotes members of  Actors Equity ]

Technically, the crew did a remarkable job with the small space they had. The current WCE location was Sydney Chaplin’s first theatre. The stage is very small, with no wing space. But somehow the crew made it work with remarkable sets, remarkable lighting, remarkable costumes (with really fast changes), and remarkable direction. Credit goes to Richard Israel (Director), Carla Barnett (Producing Director), Suzanne Doss (Assistant Director), Lisa D. Katz (Lighting Design), Stephen Gifford (Set Design), Johanna Kent (Music Director), Richard Berent (Orchestral Realizations), A. Jeffrey Schoenberg (Costume Design), and Cricket S. Myers (Sound Design). Stage management was by Erin Bedinger, and produced by Michelle Exarhos and Flip Laffoon. The artistic director for WCE is Les Hanson.

Now for the complaint. Although the page for the theatre says there are 46 seats, I heard there were 99 in there — and they were the narrowest, most uncomfortable seats I’ve ever been in. Hopefully WCE will soon find themselves a venue that is equal to their outstanding productions.

Dining Notes: Dinner was that old standby, Canter’s Deli. Although good, I think either Weiler’s or Brent’s is better. Still, the one on Fairfax is a classic.

So what’s upcoming on our theatre calendar? We have a bit of a break until the end of September, when we are seeing “Vanitites” at the Pasadena Playhouse on 9/20 @ 8pm. I hope to ticket “9 to 5” at the Ahmanson in September (HotTix go on sale on Wednesday). September will also bring “Of Mice and Men” at Repertory East on a date to be determined. October will bring “The King and I” at Cabrillo Music Theatre on 10/25 @ 2pm.