Inspired Lunacy

El Grande Circus de Coca-Cola (The Colony Theatre)userpic=colonyCircuses are inherently theatrical. Performers adopt larger than life persona in order to entertain. They clown. They make you laugh. They make you cry. They are theatrical, yes. But are they theatre?

That, perhaps, is the question you find you asking yourself after you see the current production, El Grande Circus de Coca Cola at The Colony Theatre (FB) in Burbank. To me, well, I haven’t seen such inspired lunacy in Burbank since, well, January 2014 when Moonie and Broon were at the Colony. But for others…

El Grande Circus de Coca Cola is, in a sense, a continuation of the story started in El Grande de Coca Cola (which I mean to see when it was at the Ruskin Group Theatre (FB), but (alas) didn’t). The original tells the story of Senor Don Pepe Hernandez, has announced in the local newspaper in that he is going to bring international cabaret to Trujillo. Eventually he succeeds, and we see the cabaret within the cabaret as it unfolds, with all of mistakes — the conjuring tricks that don’t work, the people that trip up, a blind American folk singer who falls off the stage, colliding chorus girls, etc.

El Grande Circus continues the adventures as this troupe sneaks across the border, first to Hollywood, and thence to the Hollywood-adjacent Burbank. The 85-minute, one-act show is a circus performance by Don Pepe (Marcelo Tubert (FB)) and his family: Miguel (Paul Baird (FB)), Maria (Olivia Cristina Delgado (FB)), Consuelo (Lila Dupree (FB)), and Juan (Jesse D. Myers (FB), who replaced Aaron Miller).  The picture to the right shows the original cast (all but the Juan we saw, but he’s the Juan that I want (sorry, couldn’t resist)) at the Skylight (FB), but the production was essentially the same at the Colony).

The show itself consists of circus acts and performances. I was going to say “improvised circus acts”, but this is really more choreographed inspiration, for it takes quite a bit of rehearsal and choreography to make what these folks do on stage come across as improvised. But there is clearly an element of improvisation underlying all of this, for some percentage of the act is playing off the audience, and I get a sense that it changes at every performance. But to give you a sense of what happens in this show, here are some of the scenes we saw:

  • Impersonations
  • Telenovelas
  • Bolshoi Ballet Radioactivo
  • An insanely choreography family picture.
  • A flea circus
  • Ariel Acrobat mishaps
  • A palm-reader act

The entire show is narrated by Tubert’s Pepe Hernandez in a mixture of Spanish and Spanglish. It is understandable to those who do not understand Spanish, but it does takes some work. The show does operate at two levels, which jokes that children will get, and many that have double implications of a more adult nature. The performances are uniformly strong, with Delgado and Dupree out in the audience before the show, playing their characters and flirting with the audience members (especially those producers from over the hill in Hollywood).

The show is inspired; it is indeed a three-ring circus in a low-budget single ring. It is theatrical. But is it theatre?

This, ultimately, is the problem with the show. Artistic director Barbara Beckley works to manage expectations before the show, noting how the originally-scheduled production, Humble Boy, had been in the planning stages for over a year, starting when the theatre was in a strong financial condition. That condition weakened over the year and the costs for Humble Boy proved too high, and so the show needed to be replaced. Barbara found El Grande Circus at the Skylight (FB) in Los Feliz (Hollywood), where it had been getting rave reviews. Moving the show provided the ability to bring an established “hit” to a larger theatre without a lot of expense for dramaturgy, set design, rehearsal, etc. This aspect of the story has been downplayed a bit: the #pro99 community likes to point to El Grande Circus as a shining example of 99-seat moving to paid contracts, but that’s not the reason the show is there. In any case, Barbara lets the regulars know this is a show that was brought in to serve a purpose, and that some subscribers love it, and some hate it.

We enjoyed the show, but we’re odd ducklings of the old theatre audience. The show certainly does not fit the notion of conventional theatre. There really is no character growth. There is no storyline. There is no protagonist or antagonist. There is inspired humor, choreographed improvisation. It is unconventional theatre. We saw audience members around us cracking up in laughter. We saw others totally confused as to what we saw. We also saw loads of younger people in the audience.

The show was enjoyable and fun, and we had a blast seeing it. But was the Colony right in bringing it to their stage? For that question, I’m not sure the answer is “yes”. I think that many of their older subscribers (for, alas, Colony does have an older subscription base) will walk away confused, disappointed that this wasn’t the theatre they were expecting. The younger families and their kids have the other problem — they may love this, and it may make them want to come back to the Colony to see more shows — where they will be disappointed as the Colony returns to its traditional shows, such as the Frank Loesser tuner that is up next. A small percentage of their audience will appreciate why Barbara brought this in, and will be open to the wide variety that theatre can encompass — and will enjoy this for what it is.

Luckily, we’re in that small percentage. We enjoyed Tubert’s Pepe, with his mangled English and Spanish, with his air of sanity in a sane world. We enjoyed the sexy Delgado’s Maria and Dupress’s Consuela: from their flirting with the audience to their performances onstage. We enjoyed Baird’s Miguel and Myers’ Juan (especially in the Ballet scene).

Alan Shearman‘s direction keeps the show moving along, although there were a few points where I wondered how close we were to the end. He did a good job of creating the El Grande characters and personas, and helping the actors inhabit those personas. In a show such as this, that’s really critical, for there is no story to provide the motivation or direction.

On the production side, this was a combination of the normal Colony quality and the elements that made it a success in the much smaller and lower-budget Skylight. The scenic design by John Iacovelli (FB) was simple but effective: big top draping and art that created the image of a worn circus facility. This combined with the properties by Jeff Faeth (FB) to establish the lunacy (such as in the magic act scene, or the aforementioned flea circus). Adding to this were the costumes by Sarah Figoten (FB), which were just… inspired. I particularly enjoyed the adapability of the ladies costumes, as well as the male costumes during the ballet scene. The sound design by Jeff Gardner (FB) worked well, although there were points where there was significant background noise — I don’t know if that was intentional, or someone backstage forgot to turn off their microphone. Jennifer Edwards (FB)’s lighting was effective — particularly the use of the LED lights — in establishing the mood of the situation. Although the show appears improvised, what holds it together is the choreography of Tor Campbell (FB) — nowhere is this more apparent than in the slow-motion replay of the family picture, the Bolshoi Ballet number, or in the voodoo scene. The remaining main production credits are: Christopher Hoffman (FB) [Production Coordinator], Garrett Longley (FB) [Production Stage Manager], Paul Ruddy (FB) [Casting Director]; Rachel Berney Needleman (FB) [Associate Producer]; Gary Grossman (FB) [Producer]. These are all Skylight folks — making clear how this was a production of the Skylight Theatre Company (FB) and Flying Cucumber Productions.

El Grande Circus de Coca Cola continues  at The Colony Theatre (FB) through December 13. Tickets are available through the Colony website; discount tickets are available through Goldstar. I found the show very funny, but if you’re looking for a traditional theatrical book-based show, this might not be to your taste.

Ob. Disclaimer: I am not a trained theatre critic; I am, however, a regular theatre audience member. I’ve been attending live theatre in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I subscribe at three theatres:  REP East (FB), The Colony Theatre (FB), and Cabrillo Music Theatre (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 week I become a producer, when we present The Nigerian Spam Scam Scam as the dinner entertainment at the Annual Computer Security Applications Conference (ACSAC). The weekend after the conference sees us at the NoHo Arts Center (FB) for Theatre 68 (FB)’s production of Who Killed Santa?, which sounded so warped as to be either extremely funny or extremely stupid– should be fun to watch! The third weekend of December brings the touring company of “If/Then” at the Pantages (FB). The last weekend of December has “The Bridges of Madison County” at the Ahmanson Theatre (FB), and Nunsense at Crown City Theatre (FB). I’m just starting to plan 2016 — I’ve been waiting on the Repertory East Playhouse (“the REP”) (FB) schedule. So far, January shows “Bullets Over Broadway” at the Pantages (FB) on January 9; “Stomp” at the Valley Performing Arts Center (VPAC) (FB)  on January 24; and “A Funny Thing Happened on the Way to the Forum” at Cabrillo Music Theatre (FB) on January 30. There is also a “hold” (i.e., dates blocked, but awaiting ticketing) for “Louis and Keeley – Live at the Sahara” at The Geffen Playhouse (FB) for either January 2 or 16 (pending tickets on Goldstar), and for “That Lovin’ Feelin’” at The Group Rep (FB) for January 17 (in case the REP’s delay pushes their first show back to February). There is currently nothing on the schedule for February, except for February 28, when we are seeing The Band of the Royal Marines and the Pipes, Drums, and Highland Dancers of the Scots Guards at the Valley Performing Arts Center (VPAC) (FB). March brings “Another Roll of the Dice” at The Colony Theatre (FB), and has two potential dates on hold for “A Gentleman’s Guide to Love and Murder” at the Ahmanson Theatre (FB) (pending Hottix). As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Bitter-Lemons, and Musicals in LA, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves.

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But It’s In a Middle School. I’m So Confused.

High School Musical (Noble CMS)userpic=nobelLast night, as I was driving the van home from work, I was listening to one of the many podcasts on my iPod. In this case, it was one of the Ensemblist podcasts, specifically one of their rehearsal reports on the soon-to-open The School of Rock. In this report, Jessie Swimm (one of the swings) talked about how they had been doing constant changes to the production throughout tech, and the gypsy run was going to be the first time they had put everything together. I thought about this last night at the Alumni Performance of High School Musical at Nobel Middle School (FB) — which was only the second time (IIRC) that the cast and crew had done a complete run through of the show, after adding in lots of last minute transitions and dealing with technology problems.

Before I go further, you’re probably wondering why I’m attending an alumni performance of a middle school musical. The answer is that my daughter was heavily involved with this program during its first two years, and as I write up all shows, as a drama parent-alumni, we’re considered special. We get to go to the alumni shows, and provide some comments to the cast and crew. What that means for you, dear reader, is that I’m going to operate on the assumption that most of the minor correctable problems that we saw last night will be worked out when the show opens on December 3rd.

I will note, however, that the show has one major uncorrectable problem — which given where it is performed is probably not a problem for most. It is, unfortunately, Disney’s High School Musical. This means we’re dealing with a Made-for-TV musical not originally designed for the stage, and designed specifically for the sort of audience that watches the Disney Channel. I’ll give you an example. As the show opens, we have our two protagonists, Troy and Gabriella, talking about the wonderful person of the opposite sex that they met on school break, and not telling their friends how they were a completely different person away from school… and not realizing they were now at the same school. It was expecting them to start singing “Summer Nights” (but this isn’t Grease). At another point in the show, all the kids are on their telephones exchanging gossip about a budding romance between the main characters. Again — “The Telephone Hour” from Bye Bye Birdie, anyone? The storyline is also quite predictable: not only do our protagonists get to star in the show, but they get to star and excel in their individual activities as well, …. , and all their friends end up coupling with their equivalent in a different clique that they hated before. Yes, a happy ending, but just so Disney.

Oh, what is the plot? MTI, the licensing company, summarizes it as follows: “It’s the first day after winter break at East High. The Jocks, Brainiacs, Thespians and Skater Dudes find their cliques, recount their vacations, and look forward to the new year. Basketball team captain and resident jock Troy discovers that the brainy Gabriella, a girl he met singing karaoke on his ski trip, has just enrolled at East High. They cause an upheaval when they decide to audition for the high school musical, led by Ms. Darbus. Although many students resent the threat posed to the “status quo,” Troy and Gabriella’s alliance might just open the door for others to shine as well.” Here’s the full detailed summary from IMDB. Then again, if you have kids, you’ve probably seen it over and over. You might have even heard the music (I’ll admit that I do have the album — a number of the songs are quite catchy). Who wrote it? According to MTI, the book is by David Simpatico, and the music is by (take a deep breath): Matthew Gerrard, Robbie Nevil, Ray Cham, Greg Cham, Drew Seeley, Randy Petersen, Kevin Quinn, Andy Dodd, Adam Watts, Bryan Louiselle, Faye Greenberg, Jamie Houston, and David N. Lawrence.  IMDB credits the original film to Peter Barsocchini.

So you know my opinion of the show. I went in not expecting much from the book. But it is not my expectations that matter. This is High School Musical, after all. It is being presented in a middle school. Parents are not the audience: other kids are. This is just the type of show that the kids will enjoy.  Not just “will”, but “do enjoy”. The other alumni at the show we saw were having loads of fun with the stereotypes and the first kisses and the holding hands. They don’t want deep drama. Kids like fluff, and this will be very popular.

Even if the characters are stereotypes, exaggerating the comical characteristics of each group for humor instead of seeing people as people. Wait, that sounds like the plot of the show. Hmmm.

In any case, the show will succeed if the performances succeed, and this is one case where the enthusiasm of the kids comes through. We were at an early show, but began to see how performances improved as the audience reacted and had fun. We were a small audience. With a full audience of peers, these kids should be great.

One advantage of reviewing a middle school show is that I don’t have to link all the kids names — they won’t have professional pages and you don’t link to a tween or early-teens Facebook. So lets talk about some of the strong points, and just go clique by clique, in program order.

The Cheer Squad consisted of Daniela Johns [Varsity Captain], Harmony Nielsen, Inaya Durfield, Jeannhel Odero, and Taylor Briones. This was a very energetic group of girls who had some strongly athletic moves and flips.

The Jocks consisted of Maddex Tortorici [Troy Bolton], Akshat Bansal [Chad Danforth], Joshua Pereira [Zeke Baylor], Colby Haney, Gannon Ripchick, Jacob Gilliam, Jordan Ellison, and Justin Godinez. The adult “jock”, Coah Bolton, was Kevin Foster. Maddex Tortorici, in his first singing performance, got to play the lead. He actually did a very good job performance-wise, and his duets with Gabriella were quite nice. Also strong was the tall fellow playing his best friend, whom I’m guessing was Akshat Bansal.  Kevin Foster did a great job as the coach.

The “Braniacs” (a horrible word) consisted of Mandi Macias [Gabriella Montez], Payton Blanks [Taylor McKessie], Julia Denny [Martha Cox], Anthony Carmona, Carolyn Lindsay, Isabella Tapia, Jillian Jergensen, Kylie Hamuel, Sarah Borquez, and Thadiel Zancoli. Mandi Macias was great on stage, performing very strongly and having a great voice. I also enjoyed the performances of both Payton Blanks and Julia Denny.

The Thespian Clique consisted of Brooke Kier [Sharpay Evans], Shane Smith [Ryan Evans], Abigail Beck [Kelsi Nielsen], Arno Nizamian, Daniella Jones, Jordyn Lowe, Nareg Hanessian, Natalie Chavez, and Timi Akinsola. The real standout here was Abigail Beck’s performance as Kelsi. She demonstrated a lovely voice and seemed to be really into the role. Brooke Kier was good as Sharpay, but the character as written is a bit overdone, which probably tempered my reaction (translation: she performed it well, but I wasn’t crazy about the character). The reactions of Shane Smith to Brooke were quite fun to watch. The adult teacher, Mr. Barbus, was played (if not overplayed, but again, that’s how it was written) by Sam Katz. Sam captured the intentional comedic aspects of the character well.

The Skater Clique consisted of Adam Jacobsen [Jack Scott], Gavin Riley [Ripper], Amanda Pipolo [Mango], Carlie Birnbaum, Chirstina Povolotsky, Kyle Kaplan, Nina Krassner-Cybulski, and Rana Amet. Adam Jacobsen was fun to watch in the radio booth, and the whole crew did some great acrobatics on stage. Their interaction with the cheerleaders was fun to watch.

The last group was the Wildcat Band, which was actually the award-winning Nobel Drum Line and Advanced Band. They consisted of Anthony Collado, Aurora Torres, Benjamin Maines, Brandon Azoy, Christina Sottile, Gabrielle Martinez, Gilberto Cornejo, Iman Khan, Kenny Ceron, Moises Sabido, Noah Chisom, Owen Jennings, Scott Robinson, Spencer Mandel, Travis Jackson, and Venessa Villegas. It was a joy to see these musicians there — I strongly believe in live music where ever possible. I encourage Nobel to seriously consider incorporating the music department into these productions. It really does make a difference.

I’ll note there was some very good performances of songs, especially in the large group numbers. There were also some wonderful dance moves. I still think Nobel does remarkable shows for a middle school. This year seemed a bit of a building year, with a lot of new performers who are just starting to grow. That’s fine — this is a middle school, after all, and these kids aren’t professionals. But they are learning wonderful skills that will serve them whatever their careers, and they deserve our support.

Turning to the production credits: The set design was by Ben Tiber, and worked really well — lots of welded steel and steps and risers, with clever integration of backdrops to establish place. I’m guessing the Wildcat costumes were rented, given their quality and the pinning on the back. The remaining costumes, which I’m sure the students created, worked well to establish their character’s looks. Kat Delancey was the music director. Choreography was by Carolyn Doherty and Midison Tilner. Prop Coordinator was Kamille Flack. Lighting Designer was Artur Cybulski. There are loads of additional production and crew credits, so I’m only going to list the traditionally listed ones: Vivian Chu was the Stage Manager, and Jaden Weinstein was the House Manager. The production was directed by Fanny Araña, Carolyn Doherty, and Ryan Wynott.

High School Musical runs at Nobel Middle School in Northridge through Saturday, December 5th. Should you go see it? If you have a tween or a teen — go. They’ll enjoy it, and they’ll get a kick about the quality that can come from their peers. If you’re not connected to the youth of American, it still is worth seeing — if you can get over the fact it is HSM— just to see the quality that can come out of a middle school that is actually not a performing arts magnet. This is all parents and volunteers and dedicated teachers, working with dedicated students, that create the magic. So, translation: yeah, go see it, even if it is HSM.

Ob. Disclaimer: I am not a trained theatre critic; I am, however, a regular theatre audience member. I’ve been attending live theatre in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I subscribe at three theatres:  REP East (FB), The Colony Theatre (FB), and Cabrillo Music Theatre (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: December starts with High School Musical at Nobel Middle School (FB) (running December 1-4) — this is a middle school that does surprisingly good productions (although we may be biased a little — our daughter was there for the first two years of their program). It is followed by “El Grande Circus de Coca-Cola” at The Colony Theatre (FB) on December 5. During the week I become a producer, when we present The Nigerian Spam Scam Scam as the dinner entertainment at the Annual Computer Security Applications Conference (ACSAC). The weekend after the conference sees us at the NoHo Arts Center (FB) for Theatre 68 (FB)’s production of Who Killed Santa?, which sounded so warped as to be either extremely funny or extremely stupid– should be fun to watch! The third weekend of December brings the touring company of “If/Then” at the Pantages (FB). The last weekend of December has “The Bridges of Madison County” at the Ahmanson Theatre (FB), and Nunsense at Crown City Theatre (FB). I’m just starting to plan 2016 — I’ve been waiting on the Repertory East Playhouse (“the REP”) (FB) schedule. So far, January shows “Bullets Over Broadway” at the Pantages (FB) on January 9; “Stomp” at the Valley Performing Arts Center (VPAC) (FB)  on January 24; and “A Funny Thing Happened on the Way to the Forum” at Cabrillo Music Theatre (FB) on January 30. There is also a “hold” (i.e., dates blocked, but awaiting ticketing) for “Louis and Keeley – Live at the Sahara” at The Geffen Playhouse (FB) for either January 2 or 16 (pending tickets on Goldstar). There is currently nothing on the schedule for February, except for February 28, when we are seeing The Band of the Royal Marines and the Pipes, Drums, and Highland Dancers of the Scots Guards at the Valley Performing Arts Center (VPAC) (FB). March brings “Another Roll of the Dice” at The Colony Theatre (FB), and has two potential dates on hold for “A Gentleman’s Guide to Love and Murder” at the Ahmanson Theatre (FB) (pending Hottix). As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Bitter-Lemons, and Musicals in LA, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves.

 

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California Highway Headlines for November 2015

userpic=roadgeekingAnother month has come and gone, and we’re one month closer to the end of 2015. Here are the highway headlines for November:

  • The 5, the 101, the 405: Why Southern Californians Love Saying ‘the’ Before Freeway Numbers. Southern Californians have a distinctive — “Saturday Night Live’s” Fred Armisen and Kristen Wiig might say funny — way of giving directions. To get from Santa Monica to Hollywood, take the 10 to the 110 to the 101. Burbank to San Diego? The 134 to the 5. And, if you can, always avoid the 405. Why the definite articles? After all, a resident of the Bay Area enjoys coastal drives along “101” or takes “80 east” to Sacramento. Most of North America, in fact, omits the “the” before route numbers.
  • How We Got Into This Mess: A History of Bay Area Transportation. “Growing congestion due to a booming economy.” / “An influx of new people into already crowded cities.” / “Rising real estate prices.” / Sounds like the San Francisco Bay Area today, no? But actually, these are clips from newspapers stories in the 1950s, when San Francisco, Oakland and San Jose saw rapid population growth due to soldiers returning from World War II and the first phase of the baby boom. That is when the region embarked on a plan to build what was then the largest public works project in American history — the Bay Area Rapid Transit system, now known as BART — which opened in 1972 and is, today, a vital pipeline for the region, carrying more than 400,000 people each workday.
  • Demolition begins on 91 Freeway bridge in Corona after collapse.
    Crews have begun demolition on the 91 Freeway bridge that partially collapsed and injured several construction workers in Corona last month. At least nine workers were injured when the bridge that spans E. Grand Boulevard gave way on Oct. 9. The workers were lowering an on-ramp bridge into place when the jacking operation failed, causing the bridge deck to drop about 16 inches and hit the wooden support beams. The wooden support beams then hit the workers, the commission said in a press release.
  • At 100, ‘Mr. Freeway’ looks back at his concrete creations. If Jacob Dekema ’37 was an artist, his signature would be on the world’s largest art installation — 480 miles long — a sculpture with bending and twisting arteries of concrete, swirling through canyons, over hills, through valleys, intersecting in spectacular loops and bridges and all built on a monumental scale with the ultimate in concrete and tensile technology. Once he was hanged in effigy for putting a highway through a town. Some condemned him for building too many freeways. Others criticized him for not building enough. Officials gave him keys to their cities, and business leaders who appreciated the economic blessings of a good highway praised him.
  • PERRIS: I-215 construction opens road to progress. The expansion of I-215 through the middle of Riverside County was one infrastructure project that hit close to home for Daryl Busch. Not only is he the mayor of Perris, he also is the chairman of the Riverside County Transportation Commission. And the I-215 Central Project called for the Perris Boulevard Bridge, which runs between the Busch residence and City Hall, to be rebuilt.
  • NB 101 Freeway Lankershim off-ramp to close Nov. 30 – Dec. 9 for pedestrian bridge construction. Construction for the Universal Pedestrian Bridge that crosses Lankershim Boulevard continues with steel sections of the bridge arriving for installation. This will require a closure of the Northbound 101 Lankershim off-ramp, which will take place during late night hours from Nov. 23 through Dec. 9. Signage will be in place directing both foot and vehicular traffic around the construction zone. Temporary lane closures will be on Universal Hollywood Drive, Lankershim Blvd. and at Campo de Cahuenga. Access to Universal Studios, hotels and City Walk will be maintained via detour. Emergency vehicle access will be maintained at all times.
  • MID-COUNTY PARKWAY: Riverside wants county to build route as promised. About 10 years ago, a 32-mile freeway linking the San Jacinto Valley to Interstate 15 took shape as a way to improve east-west traffic flow in Riverside County’s growing midsection and provide an alternative to going through Riverside en route to Highway 91. Today, the Mid-County Parkway has been cut in half and won’t reach I-15, if it’s built at all. And Riverside city officials worry about the future of efforts to ease congestion that snarls the 91 and clogs city streets.
  • The 10 deadliest interstates in America, mapped. Car accidents killed 32,719 people in 2013, about 90 people each day. And there are some stretches of American road that prove much deadlier than others. I used data from the National Highway Traffic Safety Administration to examine where fatal traffic accidents are most likely to occur, and whether there are certain stretches of highway that seem to have a disproportionate number of collisions given their size. I pulled the 2,867 fatal accidents on major American interstates in 2013 into the map below.
  • Study: 405 Freeway Expansion Not Easing Traffic Congestion. Angelenos who commute through the Sepulveda Pass on the 405 Freeway are all too familiar with the heavy traffic that frequently chokes the main Westside to San Fernando Valley artery. A 5-year, $1.1 billion project to add a carpool lane, along with new on-ramps and off-ramps, was supposed to help ease some of that congestion. That project is perhaps best remembered for “Carmaggedon,” which closed parts of the freeway for a weekend in 2011 for construction work.
  • Largest support pier of old San Francisco-Oakland Bay Bridge demolished. The largest of more than 20 in-water piers that supported the old eastern span of the San Francisco-Oakland Bay Bridge was demolished Saturday morning during a six-second underwater implosion. Sprays of water shot into the air as workers set off 600 charges that had been placed in pre-drilled holes in Pier E-3, a hollow, reinforced concrete structure that stretched from the waterline to 175 feet beneath the bay floor.
  • California’s DOT Admits That More Roads Mean More Traffic. Whenever a road project gets announced, the first thing officials talk about is how it’s going to reduce traffic. Just last month, for instance, the Connecticut DOT reported that it would be widening Interstates 95 and 84, a project that would result in major economic benefits from “easing congestion”: The analysis found that adding a lane in each direction border-to-border will save I-95 travelers well over 14 million hours of delays by the year 2040. Likewise, the widening of I-84 will save travelers over 4.7 million hours of delays during the same period.
  • 34 neighbors want to remove highway 980, which segregates W Oakland and downtown between 580 and 880 in Oakland.. 980 is the lowest traffic segment of urban freeway in Oakland, and the most valuable land (whether from a community or commercial perspective) taken up by a freeway. Reunite historic West and downtown Oakland, recover about 29 core city blocks!
  • Here’s the Bonkers, $700-Billion Libertarian Plan to Fix Los Angeles Traffic. The future of transportation in Los Angeles is getting a lot of much-deserved attention lately, as the sustainability of the city’s model has city planners looking at major changes in the way LA gets around town. Mobility Plan 2035, the city’s long-term transportation plan seeks to finally get many Angelenos out of their cars with workable public transportation and an improved network of bike lanes. Not everyone agrees that that’s the way to go, though. The Libertarian Reason Foundation says bikes and buses are not the solution to traffic congestion—making more room for cars is. They have proposed a $700-billion plan to build an extensive network of new tunnels and expressways that they say would help free up some of the city’s most congested areas of traffic.
  • Four Design-Build Teams Short-Listed for I-405 Improvement Project. The OCTA Board approved the short-listing of four design-build teams for the design and construction of the Interstate 405 (I-405) Improvement Project. OC 405 Partners, Orange County Corridor Constructors, Shimmick/Tutor-Perini, and Skanska-Flatiron will be invited to participate in the industry review process and submit proposals in response to the final request for proposals for the project.
  • A Freeway-Free San Francisco. Of all North American cities, San Francisco is the most commonly cited example of how urban freeways can be removed successfully. The City by the Bay has earned high marks in using surface streets and transit in place of freeways to better move people, goods, and services, and improve the vitality of neighborhoods. A Freeway-Free San Francisco explores the following question: If the Embarcadero and Central Freeway demolitions achieved success, could the same benefits result from replacing other urban freeways? If San Francisco were to remove more freeways, what strategies will generate the most success—and which stretches of road might be removed first? Building on the experiences of both cities, A Freeway-Free San Francisco outlines practical steps for replacing freeways with surface streets and how those steps could help San Francisco, and, by example, other cities.
  • Roadshow: How would you fix Highway 17?. Q The problem with Highway 17 is simple: It is too narrow. Santa Cruz County doesn’t want to widen and straighten 17 because they want it to be a barrier to more people commuting from Santa Cruz to Silicon Valley. I understand people wanting to complain about it, but the focus of their complaints should be in Santa Cruz government halls.
  • The 12 Worst Bottlenecks on Los Angeles’s Freeways. Thanksgiving traffic is nearly upon us, but for those who drive year-round, the hellish crawl of holiday gridlock is not quite as soul-crushing as dealing with some of the worst congestion points in the nation as part of everyday life. A new study shows that the Los Angeles area “had far more bottlenecks than any other metropolitan area, claiming the second through seventh worst spots, as well as the 11th, 13th, 14th, 29th, 30th and 40th,” says City News Service. The award for second most terrible bottleneck in the whole country, and the worst in the LA region, goes to (drumroll please): the 405 Freeway between the 605 Freeway and Route 22.
  • In L.A., One Way to Beat Traffic Runs Into Backlash . The music can start blaring at the crack of dawn. That is often followed by loud cellphone conversation, and before too long Melissa Menard, clad in a bathrobe and holding a cup of coffee, confronts the offenders: the caravan of morning commuters driving by her house. “Everybody loves Beyoncé, but not at 7 a.m.,” she said. Ms. Menard’s suburban Los Angeles street of ranch houses, Cody Road, has turned into a thoroughfare with enough gridlock to make Times Square at rush hour feel tranquil. On early mornings when headlights are still needed, it resembles one long funeral procession.
  • Caltrans finishes Upvalley bridge work a year ahead of schedule. Caltrans has completed construction of the new Highway 29-Troutdale Creek Bridge one year ahead of its late 2016 schedule. It opened to two-way traffic Friday. The bridge is in northwest Napa County between Calistoga and Middletown. Motorists on Highway 29 should drive with caution as crews switch traffic lanes and remove temporary traffic signal lights approaching the new bridge.
  • Study: San Francisco, Oakland among worst traffic bottlenecks in US. A new study shows that the San Francisco-Oakland area has two of the top 50 trouble spots in the country. The report says this proves America is stuck in traffic, costing billions in lost productivity and fuel. The stretch of Interstate 80 between Highway 101 and the Bay Bridge is nationally recognized, but it’s nothing to be proud of. That section has landed on the list of America’s Worst 50 Traffic Bottlenecks.
  • In the Inland Empire, Freeway Overpasses Can Win Urban Planning Awards . The American Planning Association advocates for excellence in planning. But to judge from the awards given by its Inland Empire chapter, sometimes the notion of “excellence” is in the eye of the local beholder. The chapter gave its 2015 Urban Design Award to a sprawling freeway interchange where Van Buren Boulevard crosses over I-215 in Riverside. As Jason Arango points out on GJEL’s blog, there are a lot absurdities about this award.
  • TIGER helping fix worst freeway interchange in California . In Los Angeles County, a 2014 TIGER grant is going toward improvements on a 2-mile stretch of highway where the congested 57/60 freeways converge. If you drive in the County, you probably know the 57/60 Confluence all too well…and for all of the wrong reasons.
  • Highway 227 traffic problems to be studied by SLO agency . During rush hour on Highway 227, some residents in the Rolling Hills neighborhood just south of San Luis Obispo purposefully avoid leaving their homes. “We don’t go out for dinner,” said Carolyn Park, who has lived off Highway 227 for 40 years. “We schedule doctor’s appointments past 9 or 9:30 a.m. I’ve heard this from other people, too. Many people said we adjust our lives now, so we don’t have to go out during those times.” Numerous Rolling Hills residents said they had seen traffic steadily increase, then become much worse in the past few years, in part because of new developments near the San Luis Obispo County Regional Airport. Some of the additional traffic also comes from drivers trying to avoid bumper-to-bumper traffic on southbound Highway 101 during rush hour.
  • The 710 Long Beach Freeway: A History of America’s Most Important Freeway. From the corporate investment of Jamestown to the Wolf of Wall Street era, economic interests have superseded many other American values. The I-710 Long Beach Freeway, meanwhile, has become the country’s most important — although clogged — economic artery, in the vascular system of American capitalism. The business of America is business. Yet, the 710 Freeway’s primary function has aided in the largest trade deficit in world history, facilitating the exporting of U.S. manufacturing jobs, while Pocahontas pajamas, children toys, and a litany of consumer goods are imported onto thousands of diesel powered trucks.
  • Agency studies 101 toll lanes: Millions sought for early phases of bringing carpool/toll lanes to well-used highway . With commute times on Highway 101 getting worse, the City/County Association of Governments is moving forward with studying whether carpool and toll lanes can solve the problem. The C/CAG board is seeking $9.4 million from the Metropolitan Transportation Commission to conduct the preliminary environmental and design work needed before any potential construction can actually take place on the corridor. C/CAG has also requested another $8.5 million from the San Mateo County Transportation Authority for the environmental phase of the project.
  • Analysis of Bay Bridge pier implosion shows minimal effect on water, wildlife. Initial analysis of the implosion of the largest pier of the old Bay Bridge eastern span shows that there was minimal impact to wildlife and water quality, Caltrans officials said Tuesday. Given the success of the Nov. 14 implosion of Pier E3, Caltrans will likely seek to use explosives to demolish the remaining 21 piers of the defunct span.

 

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