Month: June 2010

And You Thought The Terrible Two’s Were Bad

Posted onAuthorcahwyguy

[Want your own rant? See the Rant Meme: http://cahwyguy.livejournal.com/1029809.html This rant is for whalejudge, who wanted a rant on “Teenagers”, but this can’t be rant on how they don’t respect adults, as jumbach requested that. Remember: the rant meme is a great creative writing exercise. Just follow the instructions and post it to your own journal.]

[He walks out, with a soapbox. He sets it on the ground. He climbs up on it, and speaks…]

When you become a parent, all your friends give you the same advice. Watch out for the “Terrible Twos”. They then walk away chuckling. There’s a reason for that. They know that two-year-olds are easy compared to teenagers. I’m sure you’ve heard the line: God made babies cute and cuddly so you want to keep them when they cry all night. God made teenagers the way they are so you want them to move out after high school. Look at the news about Abby Sunderland. All these folks are saying that Lawrence Sunderland shouldn’t have let his daughter go sailing around the world alone. Let me let you in on the real reason he did it: she’s a 15 year old teen age girl. Is it any wonder he wanted the peace and quiet the comes from having her on the other side of the world!

So, what’s so wrong about teens? They’re just little adults. As Bill Cosby used to say in his comedy routines, “……right”. They just look like little adults. But they crack under the pressure.

Let me explain. Take a teen that’s in high school. One of two things will happen: either they will be a slacker, and make your life a living hell by not doing anything and making you believe you will have to pay to feed and clothe them all of their lives… or they will be an overachiever. You know the type: they take four AP classes in 10th grade, and 6 in 11th. They have so many extra-curricular activities they have no time to do chores. Of course, they can’t drive, so you drive them everywhere. How do they respond to this pressure? They whine at you for not treating them right. Of course, they then get the good grades and expect you to pay for them to go for 10 years of college.

But lack of respect for their parents is just one problem, and I’ll go into that in another post. There’s also the opposite sex.

Remember when we were teens, and had to walk in the snow 30 miles to get to the beach? Remember how we juggled multiple boy/girl friends, and nothing was serious? Forget that. Today, they find their one true love, and when dumped, take it out on the most convenient target. Yup, you guessed it. Still think two year olds are easy? They just say, “no”.

But, of course, you can’t talk to your teen. Conversations are dead in this day and age. No one talks on the phone for hours. Remember the Telephone song from “Bye Bye Birdie”? Wouldn’t happen today. You would have a square of teens, all busily typing away on their cellphones or on Facebook. Who needs words and proper spelling when LOL works so well. Why pass notes in class when you can text. Dating today is going to a restaurant and texting each other. Or should I say sexting.

Where do they get these technological toys today? That’s right: mom and dad. For in today’s economy, the teen doesn’t get the job. The local McDonalds is filled with ex-Bear Stearns executives. Folks from Countrywide Mortgage ask you if you want fries with that. No one hires teens to give them spending money.

The teenager that we grew up with—the teen from Happy Days or the Brady Bunch—is a television myth. They are all just older Bart Simpsons. As for us parents, even though they are teens, we still love them and are there for them. That’s what it says in the parent contract.

Disclaimer: This is a rant. It has no resemblance to reality, even though I’m the father of a 15½ year old teen who is about to start learning to drive. My daughter is the perfect child.

…… right.

[He carefully climbs off the soapbox. He picks it up, and walks offstage.]

Share

Pasadena Playhouse Update: Positive Movement

Posted onAuthorcahwyguy

I’m pleased to report some positive news regarding the Pasadena Playhouse. I heard back from the Operations person today. She reported that the Playhouse Board had a long meeting addressing many of the issues that I have pointed out (although I don’t know if they included the suggestions from my last post). She indicated that there was a great deal of acknowledgment that within the past couple of years, communication with the subscribers had not been well maintained. She indicated that one of their prime goals in this reorganization is to mend that.

I am very pleased to hear that. The first step in fixing relations with the subscribers is to recognize the problem exists.

She indicated that she will personally do her best to get the online media back up and running properly, that they are bringing in a new ticketing and email system, and that (in my case) she has confirmed our information is in the database. She also hinted that, pending approval, they will have some big announcements in mid-July.

Again, I’m please to hear this. I do want the Playhouse to survive and thrive.

She also indicated that both the Executive Director and Artistic Director were willing to sit down and discuss the issues with me. I’ve deferred that for now—I want to see what they do in July, plus I want to have concrete suggestions to give her. I did suggest that she read my favorite producing blogs (The Producers Perspective, Live 2.0 (from the fellow behind Goldstar Events), and Confessions of an LA Theatre Producer). I also suggested that the Artistic Director should work his way onto Downstage Center the next time he’s in New York.

So, the big question: Will we resubscribe? I can’t answer that yet, which I guess is a good answer (and certainly a better answer than my earlier ones). I want to see what their recovery plan is; I want to see what productions they program; and most importantly, I want to see how the subscriptions are priced and how the payment plans (if they have one) work. I also want to see how things change for returning subscribers—what are they going to do to repair relations with the subscriber base. I don’t want to give up our good seats, but they were getting a bit pricey, and I might want to do single tickets for specific productions until I see how things stabilize.

Share

(meme) The Rant Meme

Posted onAuthorcahwyguy

The meme:

1. Comment with almost any subject that you would like me to rant on, with possible swearing involved. Any subject – I don’t even have to agree with it.

2. Watch my journal for your rant. It should be propagated to FB as a note, unless it is friends-locked.

3. Post this in your own journal (or your Facebook), so that you may rant for others.

The small print:

  • I reserve the right to publically rant about some topics, so depending on the topic, the rant might be restricted access.
  • Facebook users: You may also comment on the FB note or my status.
  • If you want to see some past rants, look here.
  • Credit for this meme goes to patgund, who first posted it in 2005. I last did the meme two years ago.

Now, while you go come up with subjects, I’ll go find the soapbox in the closet, and get it cleaned.

Share

The Challenge

Posted onAuthorcahwyguy

The challenge: posting an entry to LJ for every day of July. You know who you are on my flist… you escaped to twitter and facebook… but you also know it is not the same as what you remember LJ to be like. Copy/paste this to your own journal, and accept the challenge. Share your favorite music clip if you don’t feel like writing much, leave us your movie review, a recipe, an update of your mundane life. And post this to your own journal.

Cahwyguy modifications: “on average for every day”. That is, some days you might get two, others none. Oh, and you FB users, you don’t get away that easy: Adapt this for your status, and post a new NOTE (not just a brief status update) each day, on average. Let’s get those writing juices flowing.

[h/t jeannegrrl, while taking a quick look at my FOAF list over lunch]

Share

On The Naming of Highways

Posted onAuthorcahwyguy

While I eat my lunch, I’d like to take a few minutes to wax rhapsodic about the naming of highways. When the freeway system was first established, freeways were often named for their eventual location. The San Diego Freeway went to San Diego. The Santa Monica Freeway to Santa Monica. The San Bernadino Freeway to San Bernadino. The Nimitz Freeway to… uh… Nimitz. My naming page notes the following:

Caltrans names highways for a variety of reasons, and the policy differed by Caltrans district. In District 7 (Los Angeles), highways were originally named based on their ultimate designation. In District 4, they were often named after people, but some acquired names through local usage. To address this, in 1962, Senate Concurrent Resolution 8 requested a study and report regarding the naming of freeways, highways, and expressways. The report made recommendations and suggested criteria for naming highways and freeways in the State Highway system. In response to the report, the legislature in 1963 (SCR 12) placed a moratorium on assigning further highway names until there was more study. In 1967, subsequent legislation directed Caltrans to update and expand the report. Caltrans did, and recommended the following:

  • Freeway naming should be vested in a single authority: the Highway Commission.
  • Naming should be provided on the basis of motorists’ needs.
  • Geographical or historical names are most suitable.
  • Terminal or destination names are not suitable.
  • Memorial names should be avoided.
  • A single name shall apply to the entire length of a route between logical points.
  • Names should be limited to a maximum of twelve letters not including the word “Freeway”

These were actually reasonable standards, and served the travelling public. But today? It’s a free-for-all out there. For at least the last 15 years the state legislature has seemingly decided that naming a section of a highway or a bridge after someone makes an impressive resolution–and so the names have proliferated. Just looking at the current year (focus on the ACRs and the SCRs), we have resolutions proposing names for small stretches of a freeway, bridges, sometime just one direction on a bridge, and even a single exit of a freeway. And who are we naming these things after? It runs the full range, from well-known politicians to disgraced politicians, from well-known groups to lesser-known ones, from civic leaders to police officers. The latter, in fact, is the most common. If you are a peace officer (CHP, Sheriff, Police) or soldier and someone can convince your legislator, you can get a small stretch of state highway named after you.

I think this is bad.

I’m not saying that these people shouldn’t be honored (well, some of the politicians shouldn’t be honored). It’s rather that you don’t honor people by just putting their name on a sign by the side of the road. Most of these people earned their honor from their deeds. You need to remember their deeds, and tell their story to honor them. Roadside naming doesn’t do that. Every day I go through the Sadao S. Munemori Memorial Freeway Interchange. How many of the other millions of drivers going through that interchange know who Mr. Munimori was, and how what he did that was so brave? The name doesn’t preserve his memory; in fact, it cheapens the memory (how many people know, for example, that Bolton Hall in La Canada was named after Mr. Hall, not Mr. Bolton). And Mr. Munimori was deserving. Many of the freeways, highways, structures and other appurtenances are named after peace officers cut down before they could make their mark by a drunk driver or an agressive driver. No one ever learns their story; my highway pages and the dusty resolution volumes at the state capitol are the only record. Naming something after someone is a poor echo of a life.

They also don’t serve the driving public. Seeing a name change every mile, or at every bridge and intersection makes those names meaningless. A segment of road has to many names to make that name the reference; the public devolves to using the highway number or the traditional name for the entire highway. Yet again, the purpose of remembrance is lost.

Further, although the resolutions all state that the costs of the signs must be paid for by donations, they aren’t free. There is the time that these resolutions take from the legislators and their staff: research time, committee time, vote time. There is the time for the calligraphy of the parchment. There is the cost of ceremonies. Ultimately, the taxpayer pays for this time, in a state that can little afford governmental waste. More importantly, this lost time is a distraction that prevents those we elect from doing the actual jobs we elect them to do: solving the state’s problems.

These naming resolutions benefit only the legislator that introduces them by making them look to be doing good. They may make a family or organization feel good in the short term; in the long term, they disrespect the memory of the person honored. Alas, like pork and earmarks, they are difficult to get rid of.

There. I feel better for getting that off of my chest.

P.S.: I’m thinking of resurrecting the “rant meme” to try to bring some life back to LJ. Opinions?

Share

Cult Theatre

Posted onAuthorcahwyguy

We’re all familiar with cult movies: those movies that have acquired such a following that the audience becomes part of the entertainment; movies that have become part of the cultural landscape. Examples abound, from bad films such as those of Edward Wood, to “Night of the Living Dead”, to “Harold and Maude”, to singalongs for “The Sound of Music”, to …. well, I’m sure you have your favorite. Often, they are run at midnight and have a devoted group of followers. Theatre too has its cults: one only need look at the devoted followers of “Wicked” or “Jekyll and Hyde” to see this.

These two cult worlds intersect—or should I say collide—when one runs into the sweet transvestite from Translyvania. In terms of film, one the best known cult fils is “The Rocky Horror Picture Show”, whose cult stature was perhaps best captured in the 1980’s-era movie “Fame”. Before Rocky Horror was a film, however, it was a stage musical called “The Rocky Horror Show” written by Richard O’Brien. After starting in London, Rocky Horror made its debut in Los Angeles at the Roxy in 1974—producing an album many of us are familiar with. As with the movie, this musical has its cult following.

By now, you have realized this is all lead-in, for last night we went to the Underground Theatre (who has a website to make a subway fan swoon) in Hollywood to see their production of “The Rocky Horror Show”. About half of the audience was made up of a party group made up with red boas and sparkly hats celebrating the birthday of a fabulous man named Michael. This was neither your typical staid and boring theatre audience that sits back and watches the show, nor was it your rowdy high school audience. This audience knew the show, and shouted back at the cast (encouraged by the producer), just as those at the movie shout at the screen. It was a unique (pause) experience (pause)… and quite a blast!

I’m not sure I even need to explain the plot of “Rocky Horror”, but perhaps there is some virgin somewhere that hasn’t seen either the stage production or the movie. A detailed synopsis can be found on the Wikipedia page. The show tells the story of a young couple, Brad Majors and his fiancee Janet Weiss. Their car breaks down in the rain one night while they are on the way to visit Dr. Everett Scott, and they go to the local castle to phone for help. Once there, they are greeted by Riff Raff, the hunchbacked assistant of the castle’s owner, Frank N. Furter, a bisexual mad scientist. They meet the castle’s staff: Magenta, the maid (Riff Raff’s sister), and Columbia, Frank N. Furter’s “groupie.” They do the Time Warp (“It’s just a jump to the left…”). They then go to the laboratory where they learn about Frank’s creation: a blond, bronzed man named Rocky Horror. We also learn about Furter’s earlier effort: Eddie, whom Columbia loves/loved. From there the events and activities get weirder, more sexual, and at times bizarre. Janet enjoys Brad’s advances in her darkened bedroom before realizing that it is in fact Frank in disguise. Brad enjoys Janet’s advances in his darkened bedroom… before realizing that it is in fact Frank in disguise. Rocky escapes, and has a trist with Janet, while Dr. Scott shows up investigating aliens. Eventually, the inhabitants of the castle are revealed to be space aliens led by Frank, and under Frank’s influence, Columbia, Rocky, Brad, and Janet perform song and dance routines while clad in lingerie. This all climaxes (in every sense of the word) in your typical science fiction movie ending. In short: wild, bizarre, fun. Everything a musical should be.

The Underground Theatre’s production of “Rocky Horror” was excellent. All of the cast were a delight to watch: they acted well, they danced well, and except for an odd note or two here and there, sang well. This was especially true up close and personal in the front row, and given the nature of the costumes. Let’s start with the “normal” leads: Troy Guthrie as Brad Majors and Susan Huckle as Janet Weiss. Strong singers and actors, these two captured the innocence and subsequent descent of the characters well. Huckle, in particular, was a joy to watch—one of those actresses you can’t take your eyes off of.

Turning to the castle’s inhabitants: Adia Joëll (Riff Raff), Jessica “Sugar” Kiper (Magenta), Kelly Devoto (cast page) (Columbia), Peter Tucci (Rocky Horror), and of course, Carey Embry (Dr. Frank N. Furter). Before we even start, yes, it was Sugar from Survivor. As I was saying… the castle’s inhabitants. Joëll’s Riff Riff was an interesting choice, as normally Riff Raff is male. She brought an interesting sexuality and a strong singing voice to the role. I found Devoto’s Columbia truly remarkable to watch: a unique characterization that reminded me of Abby on NCIS: cute, small, a distinctive voice and style, and a great dancer. Sugar was more in the background as Magenta (or perhaps I just felt this way because she was situated more on the other side of the stage), but proved to be a surprisingly strong singer, especially in the opening number. Tucci’s Rocky didn’t capture me: although he was having fun with the role and had the requisite bronzing and package, he had a few off notes that I can’t precisely pin down in both singing and performance. Embry, as Furter, was fantastic: a towering transvestite who could act, sing (except for one off note) and dance; a freak who drew your eye and did wild bizzare things with it.

Rounding out the cast were the Phantoms: Adrian Lee Borden, Kristian Espiritu, Shelly Hacco, and Natasha Velasco; Max Maven (Narrator); and Alexel Ryan (Eddie/Dr. Scott). The Phantoms were a joy to watch sing and dance, and I was particularly smitted by Adrian Borden, who had a look and facial expressions that just drew your eye. However, all were great singers and dancers and good actors. Maven was off on the side, narrating, but you can still tell he had fun with the role. Lastly, Ryan had fun with Dr. Scott, especially in the closing numbers.

If I had to summarize the effect of this cast: they had fun and ran with it, and this joy and love for this show just shone through in their performance. When this happens, it just magnifies what the audience gets out of the show.

Turning to the technical: In an interesting coincidence, David Goldstein (who did the “It’s Top Secret” set) also did the set for Rocky Horror. As this was a simple black box theatre, the set was primarily the lab setup and not all that fancy, although there were some interesting blinkenlights equipment. Jessica “Sugar” Kiper also served as costume supervisor, although it is unclear if she designed the sexy costumes, which were effective, creative, and (ahem) revealed the characters quite well. Special costume thanks were given in the program to www.pinupgirlclothing.com. Lighting design was by Ian Peacock, who effectively established the mood. Molly G. Yarn was the Production and Stage Manager.

The production was directed by Allison Austin, who has received kudos from others for how she directed this production. I have to agree with them: she did a great job in preventing the production from degenerating into camp; she drew out remarkable performances from all the cast. This makes it so one can see the show repeatedly and find nuances to enjoy from each cast member. Lindsey Glick choreographed the show, making creative use of the small space. Ed Kelly served as musical director of the off-stage small band, which was led by Rosh Roslin and consisted of Roslin, Kelly, and Mike Papgni, and provided great sound. The show was produced by Brian Glicker and Big Brit productions.

“The Rocky Horror Show” (a Big Brit production) continues through July 10, 2010, with one special midnight show remaining on July 10. General admission is $25; you may be able to find discounts on Plays411.net. Tickets are available through Plays411.net and Brown Paper Tickets, or you can call (323) 960-4443.

Dining Notes: Before the show, we hit Natalie’s Peruvian Seafood Restaurant which was up on Hollywood near Wilton, not that far from the theatre. In one word: excellent. I had the Pescado Sudado, a delightful whitefish steamed in a sauce with onions and tomatos and white white. Karen had the Ceviche Mixto, which she said was delightful but a bit spicy. Erin had the Arroz con Mariscos, which sent her into seafood ecstasy. Jim was the non-seafood person: he had the Bisteck a lo Pobre—I had a taste, and it was good (although with all the fried stuff, a bit more fattening). In short: this place is a do again!

Upcoming Theatre and Dance. Next weekend is the 4th of July. We’re celebrating this with two tours: the Broadway tour of “In The Heights” at the Pantages on July 3, and DCI Southern California drum corps tour (the Western Corps Connection) in Riverside on July 5. The next weekend (July 10 @ 8pm) is the first show of the 2010-2011 Colony season, “Grace & Glorie”. The third weekend of July brings ; “The Last Days of Judas Iscariot” at REP East on July 17 and the July “Meeting of Minds on July 18. The 4th weekend brings “Rodgers & Hammerstein’s Cinderella” at Cabrillo Music Theatre on July 24, and “The Lieutenant of Inishmore” at the Mark Taper Forum on July 25. Plus July will possibly bring some ventures out to the Hollywood Bowl. July or August should also bring “[title of show]” at the Celebration Theatre (July 16-September 5) — I’m just waiting for tickets to show up on Goldsar. In terms of what is ticketed and calendared, August starts with “Young Frankenstein” at the Pantages on August 1, and (hopefully) “Rent” at the Hollywood Bowl (pending ticketing) the following weekend. August 15 brings the August “Meeting of Minds”, and August 21 “Side Man” at REP East. Looking into September, there is “Free Man of Color” at the Colony on September 4, and “Leap of Faith” at the Ahmanson Theatre (September 5-October 17, to be ticketed), and “Dr. Jekyll and Mr. Hyde” at REP East (9/17-10/16). It is unknown if there will be a September “Meeting of Minds”, and if so, when and where.

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

Share

Well-Worn Schtick

Posted onAuthorcahwyguy

Back when I was in High School, the Marx Brothers (and other 1930s and 1940s comedy teams) had a brief resurgance in popularity due to the long-awaited re-release of “Animal Crackers” in 1974 and series of still picture books by Richard Anobile (“Why a Duck?”, “Who’s On First”, “A Fine Mess”, and others). But today, if you mentioned comedy teams such as the Marx Brothers, Laurel and Hardy, or Abbott and Costello to the “youth of america”™, you’ld likely get a blank stare. Planely silly comedy, with intelligent wordplay, has been replaced by raunch and shock.

I mention all of these because last night we went to the NoHo Arts Center to see “It’s Top Secret [Facebook] (A Golden Performing Arts Center Production), part of the New American Festival of Musicals. “It’s Top Secret” bills itself as a Marx Brothers Musical (and there are precious few of those—“A Day in Hollywood/A Night in the Ukraine” is the only one coming to mind, although “Cocoanuts” was originally a musical, and many of the Marx Bros films had music… and a non-musical bioplay, “Groucho: A Life in Revue” regularly trods the boards). With that billing, you don’t expect high comedy, a deep (or even sensical) plot, or your typical musical convention. You expect the Marx Brothers and zaniness.

The plot of “It’s Top Secret” is at the usual Marx Brothers level: sufficient enough to hang the comedy on, but not strong enough to withstand a Southern California earthquake. The year is 1942. Dr. Avendale is working on a TOP SECRET formula that will permit American to Win The War. His daughter (Carol) is in love with the beat cop (Frank), of whom Dr. Avendale and his wife (Lydia, a society matron) disapproves. However, the world is at war and treachery is afoot. As the play opens, Dr. Avendale is found dead. The butler (James) and the maid (Sally), who are really Nazi spies, conspire not to call the real FBI but the private detective agency of Notello Bordello (“Chico”) and Lucky (“Harpo”). Also called in is Milton P. Malpracticus (“Groucho”) as the coroner. The two words, “mayhem ensues”, never applied better.

As I said, this was a very slight plot, reminiscent in many ways of a bunch of Marx Brothers movies put into a blender. The strongest antecedent is perhaps Animal Crackers, but I also recognized elements of Duck Soup. Many of the characters were also charactures of movie characters: Lydia (played by a man in drag) was the Margaret Dumont role. Carol was the Thelma Todd role. Frank was obviously meant to be Zeppo, although he had little comic schtick. They also threw in almost all of the well-known Marx Brothers bits: Groucho’s puns, Harpo’s endless pockets and chasing of girls, Chico’s mangling of the languge, the chase, the fluid architecture, Harpo playing the harp. I could say they threw in everything except the kitchen sink, however…. they threw that in as well (which gives you an idea of the level of puns). The show broke the wall with the audience continually, making reference to the fact they were in a musical, and even commenting on the action and the audience.

The music in the show was slight. One song was sung four times—a fact that did not escape Groucho’s notice. They sang the audience off to Intermission, and exhorted us to by candy. There were tangos and ballets. But, as in the original movies, the music didn’t serve to further the plot—it was just another element of the entertainment, allowing characters to show their talent.

Acting-wise, it was reasonably well done. In the first tier of characters, we had the Marx Brothers equivalents: Dan Wilson Davisæ as Milton P. Malpracticus/Groucho; John Albert Price as Notelli Bordello/Chico; and Adam Miller as Lucky/Harpo. These three captured their charactures well. I was particuarly taken with Davis’ Groucho and Price’s Harpo—those two really captured the sillyness. Price’s Chico was a bit weaker, as he didn’t quite have the Italian scoundrel done right. But all three were fun to watch (and it was nice to see the Marx Brothers again): I had forgotten the zaniness, and I had forgotten how much fun a character that doesn’t speak can be if it is done right.

Turning to the second tier: Dimitri Toscasæ was a man in drag playing Lydia, the Margret Dumont characture. This was a bit weaker: I’m not sure the Brothers would have done the gender-bending, and there are certainly actresses that could have done the role. Still, Toscas was funny for the schtick he did. Megan Campbellæ was stronger as Carol, the Thelma Todd characture. She was a good singer and dancer, and seemed really to be having fun with the role. Stephen Vandetteæ was a good characture of Zeppo as Frank, the policeman. He had the slight stiffness and handsome demeanor that Zeppo had, and played with the comedy well.

Rounding out the cast were the two spies: Kyle Nudo as James and Ailene Quincyæ as Sally. Nudo was good and suitably comic as the bad guy, serving primarily as the foil for many jokes. I initially wasn’t sure about Quincy, with her deep voice and small stature. But as the evening wore on, I grew to like her more: she seemed to me to be in the Nancy Walker mode—perhaps not the strongest singer, but a gifted comic actress. Still, at points (especially in the first act), she came across as a little wooden and not having fun with the role. I hope she works on that—this is a show to play and have fun with. Completing the cast were John Welsh as Dr. Winston Avondale and Erin Daigle as the occasional kitchen help and ensemble member.
[æ denotes members of æ Actors Equity ]

Turning to the technical side: David Goldstein provided the set (assisted by Tim Miller) and lighting design. The set was a simple living room with lots of doors and stairs, which worked well for the comedy. The lights also worked well to establish the mood, with some interesting gobos used (especially at intermission). The sound by Jeff Resnick was more of a problem: there was a fair amount of static at points, some characters were overamplified, and in general you were aware of the amplification. The costumes by Rachel Stivers were good: the Brothers were dressed as their characters usually were, and the other costumes seemed reasonably period (although I’m not sure there were Nazi cummerbunds and aprons, but perhaps I didn’t visit the right merch store). Todd M. Eskin was the production stage manager, assisting by Joni Davis.

“It’s Top Secret” was written by Steven A. Muro and Daniel W. Davis. The production was directed and choreographed by Robert Petarca, who had one nice dance number in the corpse ballet. Paul Taylor was the music director and conducted the five-piece on-stage band, which included Taylor on piano, John Spooner on Percussion, Ross Craton and Tim Miller providing woodwinds, and Dave Hickok on trombone. The production was presented by the Golden Performing Arts Center, with Shelli and Tim Miller as Executive Producers.

“It’s Top Secret” continues at the NoHo Arts Center through July 11. You can get tickets from the production website; they are also available through Goldstar. More information is available from the “It’s Top Secret” production page or their facebook page. “It’s Top Secret” is a featured musical in the 3rd annual Festival of New American Musicals.

Upcoming Theatre and Dance. This is a busy, busy summer. Tonight brings “The Rocky Horror Show” at the Underground Theatre. July starts with “In The Heights” at the Pantages on July 3, and the Western Corps Connection in Riverside on July 5. The next weekend (July 10 @ 8pm) is the first show of the 2010-2011 Colony season, “Grace & Glorie”. The third weekend of July brings ; “The Last Days of Judas Iscariot” at REP East on July 17 and the July “Meeting of Minds on July 18. The 4th weekend brings “Rodgers & Hammerstein’s Cinderella” at Cabrillo Music Theatre on July 24, and “The Lieutenant of Inishmore” at the Mark Taper Forum on July 25. Plus July will possibly bring some ventures out to the Hollywood Bowl. July or August should also bring “[title of show]” at the Celebration Theatre (July 16-September 5) — I’m just waiting for tickets to show up on Goldsar. In terms of what is ticketed and calendared, August starts with “Young Frankenstein” at the Pantages on August 1, and (hopefully) “Rent” at the Hollywood Bowl (pending ticketing) the following weekend. August 15 brings the August “Meeting of Minds”, and August 21 “Side Man” at REP East. Looking into September, there is “Free Man of Color” at the Colony on September 4, and “Leap of Faith” at the Ahmanson Theatre (September 5-October 17, to be ticketed), and “Dr. Jekyll and Mr. Hyde” at REP East (9/17-10/16). It is unknown if there will be a September “Meeting of Minds”, and if so, when and where.

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

Share