Month: July 2018

🛣️ Headlines and Related Material About California Highways – July 2018

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Another month has come to an end. I’ve been preoccupied this month with the “Mapping Project”; more on that in a subsequent post. But until then, here are some headlines and related material about California Highways that I’ve collected over the month:

  • Custom Highway Shields – OpenStreetMap Wiki. A good source for blank shields for those drawing maps. In particular, it provides a good US blank shield for California sign usage, vs. what comes up from Shields Up.
  • June 23, 1907: Auto Club Begins Posting Road Signs Along Future Route 66.  June 23, 1907. The Auto Club of Southern California has begun posting white enamel signs with blue lettering along Foothill Boulevard between Los Angeles and Riverside.Spending about half a day, auto club President George Allen Hancock and Charles Fuller Gates, who is in charge of the county’s signage, staked the route through Highland Park, South Pasadena and Pasadena, Lamanda Park, Baldwin’s ranch, Monrovia, Azusa, Glendora, Claremont, Uplands, Cucamonga, Etiwanda, Stalder (34.0119/117.3125 to folks with GPS) to West Riverside.
  • Highway 395 widening project to begin later this year.  Significant progress is being made in addressing one of the High Desert’s biggest transportation priorities — the widening of US Highway 395 from Victorville to Adelanto. Later this year, work will begin on nearly $60 million in improvements to the busy stretch of highway — a major freight traffic route and passenger corridor that connects economic centers, recreation areas, cities and rural communities.
  • Caltrans Last Chance Grade Expert Based Risk Assessment (PDF). This report presents the methodology and findings of the expert-based risk assessment BGC Engineering conducted for the Last Chance Grade portion of US 101 in Del Norte County. The drawings attached to the report were developed as part of this process and were instrumental in the expert panel review. The other content reviewed by the panel has been published previously and is not duplicated here.
  • Truckee bridge construction taking off in Tahoe City.  Since the beginning of May, road blocks and orange cones have lined the edges of California Route 89 leading into Tahoe City, marking the beginning of a major construction project that is expected to run through Oct. 15. The project, originally conceptualized in the 1994 Tahoe City Community Plan, is a new Truckee River bridge — a rebuild of Fanny Bridge.

Read More …

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🗯️ Flaws in the American System

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While eating lunch the other day, I was reading an article about the rolling back of EPA regulations, and it got me thinking. Specifically, it got me thinking about how the current Republican administration has shown the danger of governing through regulation and executive order: it is far too easy for a subsequent administration to roll things back. The administration has also uncovered a number of other flaws in our systems — ways that the rules are being exploited in ways that do harm, or ways that allow manipulation of the system in ways that are… less than good. Here are some stream of consciousness thoughts on this:

  • Governing by executive order or regulation is proving far too easy to undo, or too easy to institute. It is also particularly one sided. There should be a requirement (likely a constitutional amendment) that Congress needs to consent to the Executive Order — or reject it within a specified number of days — for it to take permanent effect. Regulations currently require publication and review before they go into effect; there should be similar requirements before they are removed or modified.
  • Recent elections have highlighted flaws in the current Electoral College approach. Our current system has become a cascade of winner takes all — from districts to electors to the White House, and the voice of the people (i.e., the majority) gets lost through manipulation of the process. The system needs to move — at least at the Presidential level — to the winner of the popular vote. Smaller states can still make their voice heard through the Senate.
  • Gerrymandering has gotten ridiculous, and has seen district boundaries drawn to benefit parties, not the people. The requirements for district determination should change to require them to be drawn by an independent, politically balanced board, with the goal of having compact districts. One would like to have commonality of interests, but that can be easily exploited to serve one group and disadvantage the other. However, diversity can and should be a goal within compactness — and that diversity includes political diversity to have competitive districts.
  • The 14th Amendment promotes equality, but has been problematic with the categories of equality. It must be clear that equal protection under the law — equality — covers a broad swatch of protected categories: skin color, sex, gender, religion, orientation, size, and other characteristics out of control of the individual.
  • The 1st Amendment has shown itself to be badly written in a number of ways. Looking at Freedom of Speech in particular, it has been used to achieve freedom of hate speech. There needs to be some specific categories of speech with limitations — specifically, speech advocating violence or hatred based on “protected categories” needs to be limited. The flip side of this, alas, is that haters will always find a way to exploit the rules. Hate, unfortunately, is like water — it always finds a path.
  • The 1st Amendment expression of Freedom of Religion needs to be similarly clarified. It needs to be clear that the government must not establish a national system of beliefs, nor give preference to one form of belief expression (or lack thereof) over another. Citizens must explicitly be free to practice their belief system as individuals, but that freedom only extends to them, and cannot impinge on someone else’s practice of their belief system. In other words: I cannot impose my belief system upon you, even thought I believe I’m doing it for your own good. That also means we need to learn to not judge others based on our beliefs; reserve judgement for whatever higher power you believe in.
  • The 2nd Amendment has proven equally ambiguous. It must be clear that gun ownership is allowed, but that gun ownership is subject to reasonable regulation to protect other citizens. In general, the type and quantity of guns permitted must be appropriate for their intended use, there should be requirements for training and securing of weapons, and the weapon owner must be responsible for any crimes committed by someone using their weapons. Only legal gun owners and registered gun ranges should be able to purchase ammunition. Yes, this won’t stop criminals, illegal weapons, or weapons already out there (although ammunition restrictions might), but risk reduction is better than doing nothing.
  • The Supreme Court has become politicized. The intent of life-time terms was that justices might become independent of politics and judge based on the law alone (similar to academic tenure), but that hasn’t happened. To address that, justices should have term limits that don’t cleanly align with Presidential terms — I’d suggest 21 years.
  • The Constitution has shown itself to be far too weak when faced with a deranged President. There are also Constitutional issues with respect to disputed elections, and elections that are subsequently determined to have been subject to tampering. The Electoral College was supposed to be able to address this, but the power of party politics have destroyed that. There needs to be a recall and reconsideration process instituted other than impeachment or the 25th Amendment. My thinking in this area has two prongs: First, the ability for a joint session of Congress to examine the past election, declare it void, and select new temporary executive officers from the remaining candidates of that election (who were running in the primaries) until a special election can be held within a specified time frame. Second, the ability for the people to initiate a recall through a cascade of recall requests from some greater-than-majority percentage of the states, using state procedures; again, this would invoke temporary leadership until a special election.

All of these would likely require constitutional amendments. I’d rather these changes go through the amendment process; opening up the entire document to revision would be disastrous. But this administration has highlighted some areas that truly need addressing in light of the changes in society.

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🎭 Perhaps Tinder Might Have Better Odds | “The Golden Lasso” @ Operaworks

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Golden Lasso (Operaworks)One of the more interesting shows we go to every year is the culmination of the Advanced Artists summer session at OperaWorks (FB). We saw this year’s show last Sunday; the writeup has been delayed due to my preoccupation with the “map project” for my highway pages (this is where I’m adding maps for each highway to that highway’s pages; I’m up to Route 228, as of the time of posting).

Back to Operaworks. Operaworks is a program for up and coming opera singers. They all know how to sing, but being a successful performer in the world of Opera involves much more. Operaworks teaches them that “much more”. It teaches them the business of opera; it also teach them how to perform and interact as a character on the stage. The program that we see is the culmination of that teaching. The class works together to pick a theme for the show. They then create their characters, determine their interactions, and select arias that convey the message of that interaction. These arias are rarely from the same show or the same composer. The result is a new 3-act opera crafted from a mish-mash of arias, with a plot that is often some pastiche of current culture. The performers seem to be having great fun with this creation; it is far from your normal staid opera.

I am certain that the theme for this year’s show was crafted around the class makeup: 24 girls, 1 guy. What better to parody than “The Bachelor”. In this case, it was a web series called “Cow Country Bachelor”, where a single guy, Vinnie Mahal, was the target for a lot of wannabees. The three acts all related to the show: The first act was at the regional auditions for the show; the second act was at a training facility for drag queens being used by the show; the third act was at Vinnie’s mansion where he was making the final selections. As for the title? Instead of a rose, he gives a “golden lasso”.

The characters reflected the creativity of the artists. Here’s a typical character bio to give you an idea:

Gwendolyn Gray is a thirty year old woman in mid-life crisis. She is klutzy, chatty, and unobservant. Her occupation as a chicken sexer is quite demanding, yet she finds time to attend every speed dating event in town. Her biggest fear is matching her clothing day to day.

This year’s show was quite entertaining.

In the first act, we are introduced to a number of different characters who want to be on the show, as well as the producer and wrangler, and a videographer. Memorable characters were Lou Ann, a character who entered the competition drunk; Kathy “Honey” Fayette, who keeps trying to get on the show; and Chastity Bliss White, who had the most unique look of the various characters. Memorable performers, a week out, were Alexandra Logue, Julia Gmeiner, and Suzanne Ramo. Best bios were Harvey Wendell and Angelina Bacciagalupe. Performers, their characters, and their arias were as follows (in performance order); the pianist was Douglas Sumi (FB) (Harvey Wendell):

In the second act, we are at a boot camp for another set of contestants. Memorable characters were Myra Francis Walker, who kept needing higher and higher shoes until she was on stilts; Gwendolyn Gray, who has a hilarious sequence involving waxing; and Dorie Galford, who keeps going after the shoes. Memorable performers were: Gemma Balinbin, Olivia Hacker, and Nina Polachek. Best bios were Linda and Myra Francis Walker. Performers, their characters, and their arias were as follow (in performance order); the pianist was Michelle Alexander (FB) (Sergeant Senta):

In the third and final act, we get to meet the bachelor. We also meet a bunch of injured and bruised contestants, as well as the one woman that our bachelor was hoping would show up. Memorable characters were Clara Belle, who had anger management problems; Nina Mae, the woman of Vinnie’s desire; and Charlotte Ann Weathersby, who had the freedom to speak up. Memorable performers were Vinell Mahal, and Nicole Anderson. Best bios were Charlotte Ann Weathersby and Clara Belle. Performers, their characters, and their arias were as follows; the pianist was again Michelle Alexander (FB) (Sergeant Senta):

Overall, these summer Operaworks shows are entertaining, and you get to see singers learning the business of being characters. It is remarkable to watch. It is also a great way to get a taste of Opera without paying the big bucks for a 3 hour show. I look foward to next year.

Production credits: Eli Vinnaneuva (FB, ★FB) [Director / Co-creator];  Ann Baltz (FB), Laura Parker (FB) [Co-Creators]; Michelle Alexander (FB), Kevin Bylsma (FB), and Douglas Sumi (FB) [Music Directors].  Ann Baltz (FB) is the founder and artistic director of Operaworks.

***

Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at 5 Star Theatricals (FB), the Hollywood Pantages (FB), Actors Co-op (FB), and the Ahmanson 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:

The last weekend of July is currently open; it turns out the Muse/ique (FB) show is not that interesting. August starts with Waitress at the Hollywood Pantages (FB) on Saturday, and the Actors Co-Op Too! production of Always Andrews: A Musical Tribute to the Andrews Sisters on Sunday at Actors Co-op (FB). The next weekend brings the last Actors Co-Op Too! production, Twelfth Night, or What You Will at Actors Co-op (FB). There may also be a production of The Most Happy Fella at MTW — I’m not sure about it, but the hold date is on the calendar.

Looking forward to September: The first weekend of September is currently open. The second has a hold date for I Dig Rock and Roll Music at the Rubicon in Ventura. The third weekend has Ain’t Too Proud at the Ahmanson Theatre (FB) on Friday, but the weekend itself is open. The fourth weekend has Rope at Actors Co-op (FB), and the fifth is currently open. Looks like I need to book some dates in September! October is equally open, with only two weekends currently booked, and one with a hold date.

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

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Signs that You are Old

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The world is changing — fast — and you don’t often realize it until it slaps you in the face. That happened this week. I’m starting to plan for an office move, and that means figuring out a new office layout. I’m going to a smaller office, and that means getting rid of the table and keyboard tray I use for my computer. As I needed to get a smaller computer table, I asked our office assistant. She pointed me to a website where I could get a new table (or I could go to the warehouse and rummage around). It was at this point, I realized I was living in a different era.

I wanted a simple table with a keyboard tray, possibly with a riser for the monitor so that I could have good ergometrics. What I could order, however, were standing desks with motors to rise or lower them; keyboard trays were an options. Standing desks. You mean I need to do something other than sit at my desk all day.

I also asked about boxes for the move; I was told that we no longer do that. Now we get reusable plastic bins.

As for whiteboards: Now, when I started, we had real chalkboards. But then we went to whiteboards, which were, well, white. Now we have these Quartet Boards, which are glass things all fancy. My old whiteboard? Going into the trash.

We’re being encouraged to downsize and get rid of paper. I’m getting rid of two four-drawer file cabinets and a 3′ bookcase. We’re being encouraged to print less and review on the screen more. Many are moving to open offices, or offices where you camp and share your space.

I understand why this is all being done. We need to use less paper and cardboard, and standing is much better for your health than sitting all day. Cognitively, I know this is a good thing. But it is also wasteful. Think of all the perfectly serviceable furniture and boards that are being tossed and not reused; manufacturing energy going to waste. We used to have Steelcase desks that lasted 50-80 years. Now tables less than 10 years old are considered obsolete and are being toss. Everyone wants the newest and greatest; the whole notion of “reuse” is disappearing. It makes me think of an article I read recently about trying to move to a new apartment without using anything new. You used to be able to do that when you changed offices. But upgrade mania has overtaken the workplace.

Emotionally? It’s making me feel old. I’ve gone 30 years in the workplace with traditional desks, and traditional computer tables. I’ve gone 30 years reviewing documents on paper and marking them up. I’ve gone 30 years of having historical files of paper that I could go through. As they sing in Working, “It worked for me then, what’s wrong with it now.”

I am increasingly feeling old, and am increasingly understanding how seniors feel the world is moving too fast and passing them by. I know that I must keep up with it, but it is shocking when you think you’ve been keeping up, and discover you’re out of date for the modern workplace. This could very well be one reason why older workers find it harder to fit into new tech.

It’s very disconcerting, but I’ll eventually figure it out (and probably grow to like it). Inertia is a hard thing to overcome.

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Nationalism and Democracy

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Yesterday, I read an excellent article in the New York Times by Max Fisher about Israel’s new law restricting national self-determination to the Jewish people (making the non-Jewish population second-class citizens in their own country). The article started by noting the path Israel chose after the 6-day war in 1967, and the warning by David Ben-Gurion:

But Ben-Gurion insisted that Israel give up the territories it had conquered. If it did not, he said, occupation would distort the young state, which had been founded to protect not just the Jewish people but their ideals of democracy and pluralism.

The article had a very interesting note — almost prophetic:

Above all, the law may be a choice between two visions of Israel that have come into growing tension. American diplomats have long issued a version of Ben-Gurion’s warning: If Israel did not make peace with the Palestinians, they said, it would have to choose between its dual identities as a Jewish state and democratic one.

Polls suggest that Israelis have come to agree: Growing numbers see their country as facing a choice between being Jewish first or democratic first. And for many on the political right, the choice is identity first.

This is, in many ways, the same dilemma America is facing  — and has face, after 9/11. There are those in this country who feel the “traditional” identity of this country is being lost (this identity typically being defined as “white, European, Christian, predominantly male”, although that is hardly constitutional, and has been changing since the end of the Civil War). They feel the battle is being lost, and thus elected a champion to preserve that identity. He is making the choice of identity first, democracy whatever. This is clear from his policies and his practices and his statements.

The article I read noted the tensions we are facing:

The modern era endowed countries with two rights, supposedly unassailable, that turned out to exist in tension. The right of national self-determination envisioned states as unified collectives; one nation for one people. And the right of democracy prescribed equal participation for all, including in defining the nation’s character.

Idealistic world leaders who set out those rights a century ago imagined countries that would be internally homogeneous and static. But reality has proved messier. Borders do not perfectly align with populations. People move. Identities shift or evolve. What then?

[…]

Civil rights movements challenged countries to broaden national identities long associated with whiteness. The end of colonialism saw mass migration of non-Europeans to Europe; within former colonies, conflicts erupted over who belonged and did not.

The democratic world arrived, in the 1960s, at an informal consensus: If the requirements of democracy and national identity clash, the first should prevail. That didn’t mean abandoning national identity, but it did mean softening how it was understood and maintained.

The article goes on exploring the situation in Israel (which is well worth reading — and troubling, for those of us that supported the Israel of the 1960s, but are less sure about supporting at least the government of the Israel of today). It concludes on this note:

Democracy’s growth has stalled globally. Though the causes for this are not fully known, the trend is marked, in part, by once-healthy democracies rolling backward. Conventional wisdom holds that this is because of mismanagement or the self-interest of leaders. But maybe this is wrong.

Forced to choose between putting democracy or identity first, people may not always pick democracy.

Here in America, we are at that crossroads. Do we put identity first, or democracy first? Do we do whatever we need to do to preserve the power and privilege of white – Christian – heterosexual – male – European, which is the path of Trump? Do we preserve that which makes America strong — and makes America America — its democracy, and the melting pot of cultures that move and morph over time.

Me? I’m choosing Democracy. America is that Chicken Tikka Quesedilla I love from Indy-Mex. It is sushi with cream cheese and lox. It is a pastrami taco. It is a combination of cultures, all equal, all contributing.

All welcome.

P.S.: This Vox article shows my impression of Trump supporters is not wrong: “And the last line, about “the survival of the Christian nation,” is crucial to doing that. Because this sense of existential threat is, according to the best research we have, a vital reason why Trump’s brand of white identity politics has attracted so many followers — and will likely continue to attract more in the future.” Essentially, the upturning of what groups are in the “majority” in America has previously-majority groups facing an existential threat.

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🎭 Belle, Matured | “Beauty and the Beast” @ 5-Star Theatricals

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Beauty and the Beast (5-Star Theatricals)Last night, I interrupted the marathon addition of maps to my highway pages (I’m in the 170s) to go see Beauty and the Beast at  5 Star Theatricals (FB). When the production was announced last summer, I wasn’t all that excited about it. After all, these days, productions of Beauty and the Beast are everywhere. We all know Alan Menken‘s music, Howard Ashman and Tim Rice‘s lyrics, and Linda Woolverton‘s book. We all know the original Disney animated movie. Why see it again? But 5-Star figured out a way to elevate it above the ordinary. First, they cast the original Belle on Broadway, Susan Egan (FB), to reprise her role for the first time in 22 years. I happen to love Egan’s voice and vocal characterizations, so that truly made it unique. Although back in the days of the LA Civic Light Opera we might get the original stars, that doesn’t happen much these days. Then they announced the supporting cast — true local luminaries like Adam Hollick (FB), David Gilchrist (FB), Marc Baron Ginsburg (FB), and Gregory North (FB). All are excellent performers. Combine this with 5-Stars excellent orchestra, and the significantly better acoustics than the Pantages, and this production was truly “Broadway in your Backyard”.

I don’t think I need to provide a synopsis of Beauty and the Beast. Unless you’ve been living under a rock since the 1980s, you know the story. But I would like to share a few observations about the impact of the story at this performance.

First, Susan Egan. Lovely voice, lovely performance, and clearly she was having the time of her life. Limited run, with a strong cast, she had the freedom to have fun with the role, and it showed — and was broadcast to the audience. But the real critical question is whether the show would work with her now. After all, presume she first did the role when she was very young — perhaps 20. That would make her in her mid-40s now. Could she pull off the character?

The answer is an emphatic YES. In fact, arguably, Belle works stronger as someone in her mid-20s or early 30s vs the sweet young thing she is in the movie (other than an odd taste for fairy tales). It emphasizes her difference from the rest of the town; it makes their assertion that she’s a strange and special girl much stronger. She’s someone who never married to take care of her father, and retreated into the world of her books. Most of us know folks like that. So the mature Belle works a lot better. It also makes the one “new” song (as in, “it’s not on the cast album” — turns out it was added in 1998 for Toni Braxton), “A Change in Me”, even more significant.

The second change in view arises from the impact of the “#MeToo” generation. Twenty-two years ago (even longer for the movie) when this first came out, the behavior of Gaston and the Beast (in the beginning) seemed cartoonish, but something we had all seen and could laugh at. Today? Gaston is downright creepy and a bully, mentally and physically abusing those around him. He makes fun of people, abuses underlings, demands adoration, treats women like trash, and is not above inciting mob violence against an imagined enemy to get what he wants. He is, in another word, Donald Trump.

Beauty and the Beast PhotostripI’ll give you a second to let that sink in. The analogy hit me in the second act like a ton of bricks. This makes Belle’s behavior even more reflective of the modern woman: standing her ground, not giving in to intimidation, not giving into harassment. Not only is Belle reflective of the smart woman, she’s reflective of today’s woman who no longer puts up with sexual harassment.

Beast’s behavior, on the other hand, is indeed beastly in the beginning. But that’s the point of the story. But more so, it is demonstrative of the modern man who can move past the learned abusive behavior and attitude towards women and others to a more enlightened worldview. All it takes is an enchantment — be that fairytale magic, or the thing that actually did it in this story: the enchantment of a modern women. For in this story, it wasn’t enough for the Beast to want to be rid of the enchantment and to love Belle, but to learn how to share her interests, truly care about her and others as people, and to learn how to treat her with respect and with consent.

Now add the fact that Belle is an older women, and the new mature view of Beauty and the Beast comes into play. I don’t know if this was on the mind of director Yvette Lawrence (FB) , but it sure came across clearly to me. Lawrence is also to be applauded for not insisting on a tight rein, and letting these talented actors have a little fun a points. This came across clearly with both Egan and Ginsberg, and a lesser extent North and Hollick. They were having fun, and that makes this show fresh.

I’ve already written about how much I love Susan Egan (FB) — her voice, her vocal characterizations, her performance, her movement. I think both her performance and voice have gotten stronger since Broadway days; she’s matured and gotten more comfortable with her craft and what she can do with it. She made clear the value a Broadway performer can bring.

The Beast, Jason Chacon (FB) we last saw in the Kelrik production of Violet, and we liked him then. He gave a strong performance with lovely singing, although the pre-recorded roar was a bit odd. He also had a good chemistry with Belle.

The comic foils, Adam Hollick (FB) as Gaston and Justin Charles Cowden (FB) as Lefou worked quite well. Hollick understood the nature of Gaston as a self-absorbed fool, and played that up well. He had the strong voice and the physique for it. Cowden handled the comedy well, but was hampered at our performance by amplification that failed, making it hard to hear him during his standout number, “Gaston”. Still, his comic timing and movement was spot on.

David Gilchrist (FB) as Belle’s father, Maurice, was a type of character that Gilchrist plays exceptionally well. He did again, but brought in a number of very touching moments with Egan’s Belle.

The lead enchanted objects,  Marc Baron Ginsburg (FB) as Lumiere and Gregory North (FB) as Cogsworth, were perfect. We’ve seen Ginsberg before and always enjoyed his engaging performance and voice — his Levi Strauss is still stuck in my memory, and I love his voice on the cast album. North was a complete 180° from his character in the recent Hunchback. Both were having fun out there — playing, laughing at jokes, and bringing strong characters to what were inanimate objects. That’s a good way to put it — they were animated.

The very slightly lesser enchanted object — lesser in terms of stage time, although she still gets the main song from the show — was  Sarah Marie (FB) as Mrs. Potts. Although the understudy, she was a delight to see. I’ve loved her when I’ve seen her before on the Cabrillo/5-Star stage, and this was no exception. She was a bit more limited in her vibrancy in the role, but she embodied the character well, interacted well with the other objects, and seemed to be having a great time. She did a great job on “Beauty and the Beast”. The role is normally performed by Tracy Ray Reynolds.

The other somewhat major lesser enchanted objects — Luke Pryor as Chip, Nandani Sinha (FB) as Madame de la Grande Bouche, and  Devon Davidson (FB) as Babette, were all joys to watch. Pryor was exceptionally cute; Sinha brought the operatic aspect to the role, and as for Davidson, she brought the playful French maid aspect to the role. I’d say “oooh-la-lah”, but that’s no longer correct these days :-). All were great and having fun.

The remaining cast members served as members of the ensemble and in various named smaller roles. All were strong performers and great acrobats and dancers. These folks were: William Carmichael (FB) [Monsieur D’Arque]; Melia Bacon (FB) [Enchanted Objects, Belleu/s];  Claudia Baffo (FB) [Enchanted Objects]; Daniel Berlin (FB) [Enchanted Objects, Madame de la Grande Boucheu/s]; Daisy Bishop (FB) [Silly Girl]; Lulu Bishop (FB) [Enchanted Objects]; Aaron Camitses (FB) [Young Prince, Wolf, Pepper, Enchanted Objects, Lefouu/s]; Amanda Carr (FB) [Wolf, Enchanted Objects]; Josh Christoff (FB) [Bookseller, Enchanted Objects, Mauriceu/s]; Gil de St Jeor (FB) [Kids Ensemble]; Courtni Gidish (FB) [Wolf, Salt, Enchanted Objects]; Veronica Gutierrez (FB) [Enchantress, Enchanted Objects, Dance Captain]; Marcus Henson [Wolf, Enchanted Objects]; Grant Hodges (FB) [Cheesegrater, Enchanted Objects]; Keenon Hooks (FB) [Enchanted Objects]; Danielle Jensen (FB) [Ensemble Swing]; Ashley Knaak (FB) [Ensemble Swing, who swung in at our performance]; Liana Leininger (FB) [Enchanted Objects]; Sharon Logan (FB) [Enchanted Objects]; Marissa Margolis [Kids Ensemble]; Sean McCarthy [Enchanted Objects]; Madison North [Kids Ensemble]; Luca de la Peña [Kids Ensemble]; Ron de la Peña MD [Enchanted Objects]; Drew Rosen [Kids Ensemble]; Jade Rosenberg (FB) [Silly Girl]; Pablo Rossil (FB) [Enchanted Objects]; Katie Self (FB) [Enchanted Objects];  Jessie Sherman (FB) [Silly Girl]; Olly Sholotan (FB) [Wolf, Doormat, Enchanted Objects]; Bayley Tanenbaum [Kids Ensemble]; and Jater Webb (FB) [Enchanted Objects]. Particularly notable were Sholtans, Gidish, and Camitses’s dance performances.

Music was provided by the 5-Star Theatricals Orchestra, under the musical direction and conduction of  Dan Redfeld (FB★, FB). Orchestra members were: Rhondda Dayton [Flute, Piccolo]; Ian Dahlberg (FB) [Oboe, English Horn]; Darryl Tanikawa (FB) [Clarinet, Bass Clarinet, Flute]; Bill Barrett (FB)  [Trumpet1, Piccolo, Trumpet]; Chris Maurer (FB) [Trumpet2]; Nathan Stearns [Trombone, Bass Tombone, Tuba, Horn3]; Sharon Cooper (FB) [Violin1, Concertmaster]; Sally Berman [Violin2]; Rachel Coosaia [Cello]; Chris Kimbler [Keyboard1]; Lloyd Cooper (FB) [Keyboard2]; Tom Griffin (FB) [Keyboard3]; Elaine Litster [Harp]; Shane Harry (FB) [Double String Bass]; Alan Peck [Set Drums]; and Tyler Smith (FB) [Percussion]. Darryl Tanikawa (FB) was the orchestra contractor. The orchestra was produced by Tanikawa Artists Management LLC.

Dance and movement was choreographed by Cheryl Baxter (FB). The dance and movement worked well, especially during the large numbers like “Gaston” and “Be My Guest”.

Finally, turning to the production and creative side; Scenery was provided by Fourth Wall Scenic LLC, with costumes and props from 3D Theatricals, Mela Hoyt-Heydon, Costume Designer. Additional costumes were from Fourth Wall Scenic LLC, Youth costumes were by Frank LaGuardia, with additional scenic elements by Escape Theatre.  Beth Glasner (FB) was the costumer, Daniel Robles did the hair and wig design, and Denice Paxton did the Makeup Design. Additional prop design by Alex Choate (FB). ZFX Inc. did the flying effects. Jonathan Burke (FB), did the sound design, which was plagued by microphones that weren’t working and comic sound effects that were just odd.  Jose Santiago (FB)’s lighting design had similar niggling problems, such as performers occasionally being in the dark. The lighting and sound were the only two minor flaws in the production. Remaining production credits:  Jack Allaway [Technical Director];  Talia Krispel(FB) [Production Stage Manager];  David Elzer/Demand PR [Los Angeles Press Representative]; Richard Storrs (FB) [Marketing Director]; Mustang Marketing (FB) [Ventura County Press Representative, Marketing Team]. Patrick Cassidy is the new Artistic Director for 5-Star Theatricals.

Beauty and the Beast continues at 5-Star for one more weekend, until July 29. If you can work your way to see this production, do so. It truly is “Broadway in Your Backyard”. Tickets are available through the 5-Star Box Office; they may be available on Goldstar.

***

Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at 5 Star Theatricals (FB) [the company formerly known as Cabrillo Music Theatre (FB)], the Hollywood Pantages (FB), Actors Co-op (FB), the Chromolume Theatre (FB) ז״ל, a mini-subscription at the Soraya [nee the Valley Performing Arts Center (VPAC)] (FB), and the Ahmanson 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:

Today brings the OperaWorks (FB) production “Golden Lasso” at CSUN. The last weekend is currently open; it turns out the Muse/ique (FB) show is not that interesting. August starts with Waitress at the Hollywood Pantages (FB) on Saturday, and the Actors Co-Op Too! production of Always Andrews: A Musical Tribute to the Andrews Sisters on Sunday at Actors Co-op (FB). The next weekend brings the last Actors Co-Op Too! production, Twelfth Night, or What You Will at Actors Co-op (FB). There may also be a production of The Most Happy Fella at MTW — I’m not sure about it, but the hold date is on the calendar.

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

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Do the Right Thing

Posted onAuthorcahwyguy

userpic=divided-nationThis is a note to all my Republican and Conservative friends, in response to some posts that I have seen this morning about the Democratic reaction to the meetings in Helsinki.

I want you to set aside, for the duration of this post, all your hatred of the left. Set aside your seething anger, your belief against anything Democrats might have to say.

I want you to imagine it is 1980, an election year, with Jimmy Carter vs. Ronald Reagan. The FBI and CIA uncover evidence that the Soviet Union has been meddling — not attempting to meddle, but actual meddling through our media outlets and manipulation of Americans — in the election. It didn’t sway the results, but it is clear that a foreign government — one that has a history of working against the US — has been interfering in our democratic process.

What would have been the reaction of the Republican party?

I want you to imagine that President Reagan held a meeting afterwards with President Gorbachev General Secretary Brezhnev, and after the meeting, said he believed Gorbachev Brezhnev‘s statement that the Soviet’s were not involved, and that the FBI and CIA were untrustworthy?

What would have been the reaction of the Republican party? Remember: This is the party of Eisenhower and Nixon, a party that was renown for going after Communists and Soviets, a party that felt “Better dead than red.” This was a party that did not accept its politicians working for the Soviets. How would they have reacted?

I want you to imagine that President Reagan had insulted our allies in Europe such as the United Kingdom. That he had implied that the US didn’t need NATO.

How would the Republican party react.

I could go on and on. Just imagine how Republicans at the time of President Bush would have reacted to tax cut proposals that drastically increased the national debt?

Here’s my point: Out of hatred for the left, and out of a desire to retain the power of the Presidency, Republicans have abandoned their principles and joined the Cult of Trump. They have abandoned their love of the nation and their principles for a lust for power (and for many, money).

I’m not asking you to vote for Democrats, or to take up progressive causes. But you need to TAKE BACK YOUR PARTY from those that have stolen it from you. Condemn Trump. Condemn his ideas. Condemn his relationship with the Russians. Condemn the Russian interference in American politics. Condemn his abandoning of the norms of the Presidency and Presidential behavior.

TAKE BACK YOUR PARTY. Work to elect Republicans that express the ideas that have been consistently in your party platforms for the last 60 years. Elect Republicans that hold those values, and clearly reject those that blindly express hatred based on skin color, national origin, sex, and other factors. Elect Republicans that hold with Republican fiscal policy of not increasing the national debt. Elect Republicans that understand foreign policy and America’s role in it, that understand which countries are working against American interests. Elect Republicans that believe in the integrity of the National law enforcement and Intelligence Community — almost all of whom are hard working honest individuals have work across administrations for our great nation (I know, I’ve worked with them). Elect Republicans that understand international trade, and how to use it to help — not hurt — American business.

Even though I’m a Democrat, I respected what the Republican party was. They were a good adversary, and working together we found compromises that moved this nation forward in strength. Trump has hijacked your party; your current party leaders have been blinded by his charisma and power. YOU MUST TAKE BACK YOUR PARTY.

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🎭 Rolling the Dice on a Staged Reading | “Tabletop” @ Charles Stewart Howard Playhouse

Posted onAuthorcahwyguy

Tabletop (Charles Stuart Howard Playhouse)Last night, we were supposed to be seeing Jane Eyre: The Musical at the Chromolume Theatre (FB). But, alas, Chromolume has become a  a dead parrot ⚰🐦, its artistic director seemingly disappeared, and after an email of a potential resurrection, … nothing. So we scheduled something else: the first staged reading of a new musical called Tabletop about Role-Playing Gaming, at the Charles Stewart Howard Playhouse (FB) in Woodland Hills. The musical, which I believe is a first work from the authors, features music and book by Chad Sundman, and lyrics and book by Race Benaglio.

As a staged reading, there was no costumes or sets. Music was prerecorded, and sung by different performers. Actors had the scripts in their hands. There was a talkback session after the show to give the authors, and the director, Brittany Sundman, feedback on the show to help move it forward.

The story of a show, in a broad sense, was about a group of friends playing a tabletop RPG — essentially some version of Dungeons and Dragons. As the story progresses, some of the strengths they reveal in the game help them deal with their personal lives.

As this was a staged reading of a first performance, I’m going to not review or provide critiques here. We discussed the show last night with the authors. I will say that I found it a very promising work, and one whose story captured my attention and held it through the show. I’ve never been an RPGer, for the same reason I’m not up on the stage: I’m a professional audience. I’ve never had the ability to role-play in any capacity: be it at the gaming table or on the stage. That doesn’t mean I’m not an avid gamer; it is just in the realm of boardgames and strategy gaming. I’ve known many RPGer through the years — including some RPG authors. I recognized the characters; I liked the characters; I liked the growth. I hope this musical continues on and has a successful life; I’d be intrigued to see it at a future point in its life.

The performances were very strong. The cast consisted of Axel Knight (Luke), Brandon Kemmer (Brandon), Caitlyn Rose Massey (Emily, Ensemble), Canon Hamlin (Mayor, Doctor, Ensemble), David Mark Beraru (Korrow, Ensemble), Erin Goulet (Sarah), Justin Huff (Ken), Katie Lynn Mapel (Karen), Mackayla Hill (Lyla, Ensemble), Matt DeNoto (Eric), and Natalie Swanner (Valerie). I’d like to particularly call out a few of these folks.  Katie Lynn Mapel nailed it with her sardonic delivery as Karen. I truly enjoyed watching Natalie Swanner — she had a very expressive face, and was putting some lovely energy into her character that came across to the audience in the little movements and expressions. Erin Goulet was truly kick-ass with her fighting moves. Matt DeNoto’s Eric was quite strong, serving well both as the DM and exhibiting great growth in his story line. Also strong were Axel Knight’s Luke, especially in the 2nd act, and Justin Huff’s Ken in the stealth number.

On the whole, we’re glad we braved the heat to see this show. It has a lot of potential, and it will be interesting to see where it goes.

***

Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at 5 Star Theatricals (FB) [the company formerly known as Cabrillo Music Theatre (FB)], the Hollywood Pantages (FB), Actors Co-op (FB), the Chromolume Theatre (FB) ז״ל, a mini-subscription at the Soraya [nee the Valley Performing Arts Center (VPAC)] (FB), and the Ahmanson 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:

Next weekend, brings a Bat Mitzvah in Victorville, and Beauty and The Beast at 5 Star Theatricals (FB) that evening on Saturday, and the OperaWorks (FB) production “Golden Lasso” at CSUN on Sunday. The last weekend is currently open; it turns out the Muse/ique (FB) show is not that interesting. August starts with Waitress at the Hollywood Pantages (FB) on Saturday, and the Actors Co-Op Too! production of Always Andrews: A Musical Tribute to the Andrews Sisters on Sunday at Actors Co-op (FB). The next weekend brings the last Actors Co-Op Too! production, Twelfth Night, or What You Will at Actors Co-op (FB). There may also be a production of The Most Happy Fella at MTW — I’m not sure about it, but the hold date is on the calendar.

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

 

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