Month: February 2019

🎭 Russian Meddling and Affairs Destroy Lives | “Anna Karenina” @ Actors Co-Op

Posted onAuthorcahwyguy

Anna Karenina (Actors Co-Op)C’mon, do you really expect something involving Russians, affairs, and political leaders to have a happy ending? Has the 2016 election taught you nothing?

But seriously, last weekend was a weekend of theatrical whiplash, going from the positive uplifting message of the musical 1776 to the sturm und drang-ish drama of the play Anna Karenina, adapted from the Leo Tolstoy novel by Helen Edmundson in 1992 and currently on-stage at Actors Co-op (FB) through March 17, 2019.

Anna Karenina is a classic of Russian literature, and (at least according to Wikipedia), some consider it the greatest novel ever written. I think that’s Russian propaganda. You can read the full gory synopsis on the Wikipedia page; here’s a 50,000 ft. view of the novel (also from the Wikipedia page):

Anna Karenina is the tragic story of Countess Anna Karenina, a married noblewoman and socialite, and her affair with the affluent Count Vronsky. The story starts when she arrives in the midst of a family broken up by her brother’s unbridled womanizing—something that prefigures her own later situation, though she would experience less tolerance by others. A bachelor, Vronsky is eager to marry Anna if she will agree to leave her husband Count Karenin, a senior government official, but she is vulnerable to the pressures of Russian social norms, the moral laws of the Russian Orthodox Church, her own insecurities, and Karenin’s indecision. Although Vronsky and Anna go to Italy, where they can be together, they have trouble making friends. Back in Russia, she is shunned, becoming further isolated and anxious, while Vronsky pursues his social life. Despite Vronsky’s reassurances, she grows increasingly possessive and paranoid about his imagined infidelity, fearing loss of control. A parallel story within the novel is that of Konstantin Lëvin or Ljovin, a wealthy country landowner who wants to marry Princess Kitty, sister to Princess Dolly and sister-in-law to Anna’s brother Prince Oblonsky. Konstantin has to propose twice before Kitty accepts. The novel details Konstantin’s difficulties managing his estate, his eventual marriage, and his struggle to accept the Christian faith, until the birth of his first child.

Edmundson’s adaptation (and director Heather Chesley (FB)’s staging and Stephen Gifford (FB)’s scenic design) makes this all much more abstract. You start with Anna and Constantine “Kostya” on a bare stage with four chairs, as if in an afterlife, haunted by ghosts of some sort. They are constantly asking where they are now, which is seemingly an expositional technique to establish place and allow them to introduce their separate parts of the story. They don’t meet in “real life” until somewhere late in the second act. Around them we see the action unfold with the other characters, with actors often playing multiple roles in the different threads of the stories. Yes, it does end with the suicide in the train station (c’mon, it’s a classic novel and a classic trope, so it shouldn’t be a spoiler), but it is all done very abstractly.

For me — and I’ll emphasize that this is my opinion — the story just didn’t grab me. I really can’t get into a complex tale of infidelity, shifting affairs, Russian societal position, and a fair amount of depression and lack of self worth. It just wasn’t my thing, but I’ll emphasize that’s why we subscribe to theatres: it brings us to shows we might not normally seek out on our own. But that also brings the risk that we might not like everything we see.

But just because I didn’t get into the story doesn’t mean I didn’t like the performances. Chesley brought out great performances in her acting team, and they were believable as their characters. This is especially true for the two leads: Eva Abramian (FB) as Anna Karenina and Joseph Barone (FB) as Constantine “Kostya” Levin. The two had good chemistry together and were fun to watch.

All of the other characters played both a “major” and a minor role, which makes it difficult to tier or group them. But I’ll try. We’ll start with Anna’s brother, Stiva, played by Michael Worden (FB) [also: Vassily the Bailiff, Petristsky, the Priest] and his wife, Dolly, played by  Lauren Thompson(FB) [also: Countess Vronsky]. Worden’s Stiva came across as a “bro” in modern speak: a man interested in womanizing and fun more than his family. In this, Worden portrayed him well. Thompson’s Dolly was more the dutiful wife, staying with a man she didn’t like for the sake of the marriage. Again, a strong portrayal.

Moving to Anna’s lovers, we have Bruce Ladd (FB) as Alexei Alexandrovich Karenin, her husband, and Garrett Botts (FB) as Count Alexei Vronsky, her lover [also: Nikolai]. I liked Ladd’s performance, but I’ve liked him ever since seeing him in A Man for All Seasons last year. He’s a great actor, and fun to watch. Botts was believable as the Russian Captain who was obsessed with Anna, after being obsessed with Kitty, after …. It was an interesting love triangle.

This brings us to Kostya’s object of affection: Kitty, played by Ivy Beech (FB) [also: Seriozha]. As Kitty, she was strong and believable in her emotional arc. As Seriozha, she was less believable, but that was primarily an age problem.

Lastly, there was the exceptional character actor in the Co-Op stable: Deborah Marlowe (FB), this time as Princess Betsy / Agatha / Governess / Railway Widow. Marlowe specializes in these small character roles, and always does them well.

There is one understudy listed in the program: Micah Kobayashi [u/s for Princess Betsy / Agatha / Governess / Railway Widow].

As noted earlier, Stephen Gifford (FB)’s scenic design was simple and abstract, supplemented by Lori Berg (FB)’s property design. This was supported by Vicki Conrad (FB)’s costume, hair, and makeup, which seemed, suitably, Russian and period. David B. Marling (FB)’s sound design provided good sound effects. Lisa D. Katz (FB)’s lighting established the place and mood well. Other production credits: Nora Feldman [Publicist]; Julie Hall (FB) [Choreography]; Selah Victor (FB) [Production Manager]; Eric M. White (FB) [Stage Manager]; and Kay Bess (FB) [Producer].

Anna Karenina continues at Actors Co-op (FB) through March 17, 2019. It wasn’t my favorite story, but the performances are strong. If it is a story you’re into, then you’ll likely enjoy this production. Tickets are available through the Actors Co-Op Website. Discount tickets 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 (or I’ll make a donation to the theatre, in lieu of payment). 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:

Presidents Day weekend brings  The Joy Wheel at Ruskin Group Theatre (FB) in Santa Monica.  The last weekend of February is our annual trek to the Anaheim Hills for Lizzie at the Chance Theatre (FB).

March starts with Matthew Bourne’s Cinderella at the Ahmanson Theatre (FB), followed by the annual MRJ Regional Man of the Year dinner at Temple Beth Hillel. The next weekend brings “Disney’s Silly Symphony” at the Saroya [nee the Valley Performing Arts Center (VPAC)] (FB). The third weekend of March brings Cats at the Hollywood Pantages (FB). The following weekend is Matilda at  5 Star Theatricals (FB) on Saturday, followed by Ada and the Engine at Theatre Unleashed (FB) (studio/stage) on Sunday. March concludes with us back at the Hollywood Pantages (FB) for Charlie and the Chocolate Factory.

Lastly, looking into April: The month starts with Steel Magnolias at Actors Co-op (FB) and the MoTAS Men’s Seder. The next weekend has a hold for OERM.  April will also bring Fiddler on the Roof at the Hollywood Pantages (FB) and the annual visit to the Renaissance Pleasure Faire.

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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🎭 Perfect Union, Imperfect Men | “1776” @ The Saroya

Posted onAuthorcahwyguy

1776 (The Saroya/VPAC)There are those that would have you believe that the founders of our nation were perfect and infallible, working with a God-given drive to create America. Those folks would make you believe that their decisions were right then, and are right for now.  Those folks … would be wrong.

We have (well, most of us have) celebrated the rise of a new musical over the last few years that tells the story of the founding of America. A musical that has been playing to sold out houses, returning to cities over the country again and again (it will be returning to Los Angeles in March 2020). This musical, while framing the story in the modern immigrant narrative, shows the ugly personal and political battles that the founders engaged in. There was petty jealousy, there were strong disputes about how the county should move forward and establish itself. It wasn’t pretty, and the founders were far from perfect men. Even those protesting the history contain in the show aren’t trying to show the perfect of the men in the story, but to show them as even less perfect than the musical holds them out to be.

But this show wasn’t the first to put the creation of the nation on the musical stage. Fifty years ago — back in 1969 — another musical premiered that told the story of the creation of America — a musical that shared Broadway with the rock musical of its day, Hair — and bested it at the Tony Awards. That musical was 1776, with music and lyrics by Sherman Edwards, and book by Peter Stone, based on an original concept by Sherman Edwards.

1776 shares a moment in time with that other musical, Hamilton. focusing on a two to three month period in 1776. It shares only two characters with Hamilton: Thomas Jefferson and John Adams. But it makes the same point: this is a nation that is built on compromise with those you disagree with. It makes the same point: our nation was founded by imperfect, but passionate men. 1776 portrays our founders not as paragons of virtue, but as flawed men: gluttons, drunkards, womanizers, and much more. It shows how they were flying by the seats of their pants, and taking immense risks to create this nation.  It shows that many of the political battles of today existed at this nation’s founding: battles over taxes, battles over the treatment of minorities, the battles of Conservatives vs LIberals. When John Dickenson sings that people will follow the Conservatives because most people would rather protect the possibility of being rich than face the reality of being poor, that is something that one could sell in the poorest “red” precincts of this country. When Jefferson and Adams stand up for the rights of the Negro, this is a battle that is still being fought. And when Jefferson is forced to admit that he is a practitioner of that filthy practice of slavery, he is admitting complicity in the immoral practices of his time, just as the leadership of Virginia has been caught up today. It demonstrates that America was, and still is, a nation that is built upon imperfection and compromise.

So I think we have established that 1776 is an important musical to be seen — in the abstract. So why this production, and why now? First, because to see live theatre at the Saroya (nee VPAC) (FB) demonstrates that the San Fernando Valley wants first class musical theatre in the heart of the valley. Second, because in the political times we are facing today, it is important to remind ourselves of the need to compromise with those with whom we disagree, in furtherance of a larger and more important goal. Third, because the production team behind this production, McCoy – Rigby (FB), has a proven track record of doing strong theatre both at the southern edge of Los Angeles County, and now here in the valley. Lastly, because this production itself is very strong (I had only a few minor quibbles). Alas, however, the Saroya only bring in these shows for one weekend. We need to encourage them to do more theatre — both bringing in productions, as well as presenting on the Saroya stage, for the Saroya audience, more of the excellent work done by the Theatre department on campus.

This is not to say that 1776 doesn’t have its flaws. The roles for women in the production are both few and miniscule. They interact with the men more as wives; one is on for essentially two scenes and one song, and then disappears. Even some of the men have tiny roles: one song and gone. The production — mirroring those times — is excessively single hued, and does not hold up to broader casting well. There are extremely long stretches of dialogue with no music; at times this is more of a play with music than a musical. There is no latitude for creative staging: the show builds up to a single tableau at the end, and must do so for the story to work.  Lastly, as Wikipedia summarizes, there are numerous historical flaws and inaccuracies in the story. In the last case, yet again, this is just like that modern musical, Hamilton, which also adapts history for dramatic purpose.

But even in acknowledging the flaws in the work, the show is an important one to be seen for its message. Although this production has come to a close, if 1776 shows up again near you, go see it.

Luckily, the production team of Glenn Casale (FB) [Direction and Staging] and Jeff Rizzo (FB) [Musical Direction], were up to the task. They essentially used two scenic areas: the meeting room of the Continental Congress, and a space in front of a shuttered wall for all the other scenes. Within these limitations, they helped the story to unfold, with the help of the acting team.

In the lead performance position was Andy Umberger as John Adams (Mass.). Umberger captured the fire and the passion of the character well, and had a strong singing voice demonstrated in so many numbers. Working with Umberger was Peter Van Norden (FB) as Benjamin Franklin (Penn.). Van Norden’s was the one performance that didn’t set me on fire. It wasn’t bad, but he just didn’t seem to fit the character for some reason, which made the performance a little bit off. But that’s just my opinion. Rounding out the main trio was Caleb Shaw (FB)’s Thomas Jefferson (Virginia). He gave a strong and spirited performance, although his wig needed a touch more red in it to fit with the comment made by Adams about his being red-headed.

This brings us to the rest of the Continental Congress — or at least the subset thereof who are portrayed on stage. All get their moments; some even get songs :-).  The rest of the Congress consisted of:  Nick Santa Maria (FB) [John Hancock (Mass.)]; Jason Chacon (FB) [Dr. Josiah Bartlett (NH)]; Gordon Goodman (FB) [Stephen Hopkins (RI)]; Michael Dotson (FB) [Roger Sherman (Conn.)]; Jotapé Lockwood (FB) [Lewis Morris (NY)]; Victor E. Chan (FB) [Robert Livingston (NY)]; Mitchell McCollum (FB) [Rev. John Witherspoon (NJ)]; Michael Stone Forrest [John Dickinson (Penn.)]; Ted Barton (FB) [James Wilson (Penn.)]; Gary Lee Reed (FB) [Caesar Rodney (Del.)]; Matthew Kimbrough (FB) [Col. Thomas McKean (Del.)]; Brad Rupp (FB) [George Read (Del.)]; Peter Allen Vogt (FB) [Samuel Chase (Maryland)]; Michael Starr (FB) [Richard Henry Lee (Virginia)]; Joey Ruggiero (FB) [Joseph Hewes (N. Carolina)]; James Barbour (FB) [Edward Rutledge (S. Carolina)]; and Jordan Schneider (FB) [Dr. Lyman Hall (Georgia)]. Of these folks, most notable were Starr’s performance as Lee in “The Lees of Old Virginia”; Forrest’s strong performance as Dickinson in “Cool, Cool Considerate Men”, and Barbour’s Rutledge in “Molasses to Rum”. Non-musically, I liked Kimbrough’s McKean and Chan’s Livingston.

Supporting the Congress were Jordan Goodsell (FB) [Congressional Secretary, Charles Thomson]; Michael Rothhaar (FB) [Congressional Custodian, Andrew McNair]; Rodrigo Varandas (FB) [A Leather Apron /A Painter]; and Nick McKenna (FB) [A Courier]. Rothhaar was fund to watch throughout, but the standout performance was McKenna in “Mamma, Look Sharp”.

This brings us to the two women in the cast, who are relegated to ancillary characters: Teri Bibb (FB) as Abigail Adams and Ellie Wyman (FB) as Martha Jefferson. Wyman gave a standout performance both in voice and dance and playfulness during her one scene and one song (“He Played the Violin”). We see more of Bibb, but her character is more restrained. She does have a lovely singing voice.

Music was provided by 9-piece orchestra, conducted by Music Director Jeff Rizzo (FB). The Orchestra consisted of: Kathleen Robertson (FB) [Concertmaster / Violin, and who coincidentally also played Violin for Hamilton when it was at the Pantages ];  Rachel Coosaia (FB) [Cello]; John Sawoski (FB) [Keyboard]; Jay Mason (FB) [Woodwinds]; Adam Bhatia (FB) [Trumpet]; Dave Ryan [Trombone / Bass Trombone]; Mark Converse (FB) [Percussion]; and Tim Christensen [Bass / Contractor].

Turning to the production and creative team: I’ve already mentioned Stephen Gifford (FB)’s Scenic Design and how that worked well. It was supported by the Properties Design of Kevin Williams (FB). I should note that I missed the nice “rip” of the dates; but I understand the need for removable dates. The Costume Design of Shon Leblanc (FB) mostly worked well; however, the red heels on the black shoes of John Dickinson were a distraction. Other than that, both the costumes and the hair / wig / makeup design of Eb Bohks (FB) seemed reasonable period and were effective in conveying the characters. Again, this is an area where there is limited creativity, as the end result has to fit Trumbull’s tableau painting of the signing. The sound design of Philip G. Allen (FB) and Leon Rothenberg (FB) mostly worked well, although there were a few annoying sound drops that I’ll attribute to mistuning on the move from La Mirada to VPAC / Saroya. Jared A. Sayeg (FB)’s lighting conveyed place and mood well. Rounding out the production credits: Julia Flores (FB) [Casting Director]; Justen Asher (FB) [Technical Director]; Patti McCoy Jacob (FB) [General Manager]; Ana Lara (FB) , Lindsay Brooks (FB), and David Nestor (FB) [Production Management]; John W. Calder III (FB) [Production Stage Manager]; Heidi Westrom (FB) [Asst. Stage Manager]; and David Elzer (FB) / Demand PR (FB) [Publicity]. 1776 was produced by McCoy Rigby Entertainment (FB), originally for The La Mirada Theatre for the Performing Arts (FB) .

1776 has closed at The Saroya, but a subsequent production from the same production team, Singing in the Rain, will be at The Saroya over the weekend of April 12. Tickets for Singing in the Rain are available through The Saroya online, and 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 (or I’ll make a donation to the theatre, in lieu of payment). 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 day we saw 1776 was theatrical whiplash, as we ran out of the production to head over to Hollywood for Anna Karenina at Actors Co-op (FB).  Presidents Day weekend brings  The Joy Wheel at Ruskin Group Theatre (FB) in Santa Monica.  The last weekend of February is our annual trek to the Anaheim Hills for Lizzie at the Chance Theatre (FB).

March starts with Matthew Bourne’s Cinderella at the Ahmanson Theatre (FB), followed by the annual MRJ Regional Man of the Year dinner at Temple Beth Hillel. The next weekend brings “Disney’s Silly Symphony” at the Saroya [nee the Valley Performing Arts Center (VPAC)] (FB). The third weekend of March brings Cats at the Hollywood Pantages (FB). The following weekend is Matilda at  5 Star Theatricals (FB). March concludes with us back at the Hollywood Pantages (FB) for Charlie and the Chocolate Factory.

Lastly, looking into April: The month starts with Steel Magnolias at Actors Co-op (FB) and the MoTAS Men’s Seder. The next weekend has a hold for OERM.  April will also bring Fiddler on the Roof at the Hollywood Pantages (FB) and the annual visit to the Renaissance Pleasure Faire.

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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🎭 How To Combat Depression | “Hello, Dolly!” @ Hollywood Pantages

Posted onAuthorcahwyguy

Hello Dolly (Hollywood Pantages)If you’re like me, you always thought you had seen Hello, Dolly!. Sure, you listened to the cast album zillions of times. Sure, you’ve seen the movie … well, sometime in the past, and you thought Barbra Streisand was too young for the part, and why would she want Walter Matthau anyway? But you didn’t remember it that well. But when did you last see Hello, Dolly!, well done, on an actual stage?

If you’re like me, it was, well, I can’t remember if I have.

Seeing Betty Buckley (FB) in Hello, Dolly! Sunday evening at the  Hollywood Pantages (FB) was a revelation. It was a reminder of what theatre was in the golden age — the days of Gower Champion and David Merrick. It was also a reminder about how what you might remember as a fluff of a show — a star vehicle — has surprising relevance over 50 years after it first premiered.

For those who don’t remember the story, it is based on Thornton Wilder‘s 1938 comedy The Merchant of Yonkers, which Wilder revised and retitled The Matchmaker in 1955. In 1964, it was adapted into a musical by producer David Merrick, with lyrics and music by Jerry Herman and a book by Michael Stewart. It tells the story of Dolly Gallagher Levi, a widow whose business since her husband died is “meddling” — matchmaking, among numerous other businesses. She has recently arranged a match for Horace Vandergelder, a half-a-millionaire in Yonkers, but aims to get him to change his mind and marry her. She’s also helping Ambrose Kemper to marry Vandergelder’s niece, Ermengarde … but to do so she’s got to overcome Horace’s reluctance because the young man has no income. Vandergelder is planning to propose to Irene Molloy, a hatmaker in New York. In parallel, Vandergelder’s clerks also engineer a trip to New York for adventure. They run into Molloy’s shop, where they get involved with Molloy and her assistant, Minnie Fay. That gives you the basics: you can find a detailed synopsis on the Wikipedia page.

The story itself — unsurprisingly — is silly and a bit dated. The behavior reflects the attitudes of the 1890s, not today. But there are some really important messages in the story that I never realized, and that are really, really important. First and foremost is Dolly’s message, best captured in “Before the Parade Passes By”. Dolly had been in a deep funk after her husband died, and that become clear as the musical progresses. But what is clear is that the incidents shown in the musical reflect a turning point for her: a decision to get out of her depression and jump back into life. That’s a very important message — perhaps one that wasn’t as strongly recognized in the 1960s. Far too many people are depressed, and the best way out of that depression is to go out and live. To return to life. To do it before the parade — and life — passes you by.

The second message comes out at the end, and seems even more relevant in the days of Donald Trump. The goal of money is not to hoard it; it is not to be like a dragon pinching every penny (even that one in your pocket). Money is like manure, as Dolly notes: it works best when you treat it like fertilizer and spread it around, enabling those around you to grow. This is such an important lesson — and one that our current administration could well learn.

The messages in Dolly are made stronger with the right casting. Having seen Dolly now, I can say that Streisand was clearly too young for the part. So was Channing in 1964. So were many of the other actresses playing the role then. Dolly needs to be an older woman who is clearly returning to life, not a younger women with her life before her. This is one reason why this revival has worked so well. The women playing the role on Broadway — Midler, Peters — were the right age. Betty Buckley is the right age — and is an example of how older women are coming into their own, as the LA Times noted.

So before we get into the nuances of the performances of this cast, let me say again: Go see this show. This isn’t your father’s or grandfather’s creaky musical. If you watch closely, you’ll see a message that is truly relevant today.

Under the direction of Jerry Zaks and the choreography of Warren Carlyle (with Stephen Edlund (FB) [Assoc. Director]; and Sara Edwards (FB) [Assoc. Choreographer], and David Chase [Dance Arrangements]), the production scintillates, shines, and entertains tremendously. This team seemingly permitted the cast and ensemble to explicitly have fun, to play the characters as characters (i.e., not hyper-realistic), and to just go with it. I have no idea whether the original director and choreographer Gower Champion permitted this, but it made this staging just a real joy to watch. I was just smiling through the entire show — it was that much fun.

In the lead position was Betty Buckley (FB). Before I saw the show, I was unsure whether she would be able to make this show her own, but from the moment of her entry — she did. She played to and with the audience; she was clearly having fun and was bringing the audience along for the ride. Buckley’s Dolly seemed to have two sides: the side that was the acknowledged character in the story, and the side that was the character in the show, knowing it was the show. Other characters did this as well (at times), encouraging the audience to go along with the gag — a “we know this is silly, but let’s have fun together”. Buckley’s voice handled the music well — although truth be told, this isn’t a show that requires a spectacular singing voice for Dolly, just a loud one. After all, Channing’s voice during her (shall we say) extended run was never the greatest (her voice was better in Gentlemen Prefer Blonds), but the character made up for it. Buckley had the voice, and the character. Buckley also had the age, which gave her character the right gravitas and experience for the role to actually make sense. I don’t think this was the case in the 1960s original, when Channing or Streisand were in their 20s and 30s (Merman and some of the others did have the right age, at that point). But in this revival, the age worked to the advantage of the character.

Also super-strong was Lewis J. Stadlen (FB)’s Horance Vandergelder. I was never enamored of David Hyde Pierce in the role — he didn’t have the age, and the curmudgeon-ness was forced. Stadlen, on the other hand, brings that in spades. It’s like Pangloss was on stage (which he was). He has the comic timing, the playfulness, and the experience to do the role right. In many ways, he harkens back to the original Vandergelder, David Burns, who was an old man at the time. He also makes a believable couple with Buckley’s Dolly; not something you could say for all the various Dolly/Vandergelder actor pairings.

In the supporting male positions were Nic Rouleau (🌟FB, FB) [Corneilius Hackl] and Jess LeProtto (FB) [Barnaby Tucker]; the corresponding ladies were Analisa Leaming (FB) [Irene Molloy] and Kristen Hahn (FB) [Minnie Fay]. All had wonderful comic timing and expressions, and were strong singers and dancers. In particular, the comic playfulness of Rouleau was just a delight, and he seemed to take great joy in going above and beyond in the comedy department. Leaming found the right balance between being prim and proper and letting her hair down and letting the girl out. As for the other pairing of LeProtto and Hahn: LeProtto got the comedy and timidness of Barnaby well, and was an outstanding dancer in “Dancing”. Hahn caught my eye from the first moment she came on stage. She had the right aura of naive and nerd that made her pairing with LeProtto’s Barnaby work. All were strong.

The third tier of characters were Garett Hawe (FB) [Ambrose Kemper] and Morgan Kirner (FB) [Ermengarde]. This were almost literally one-note characters — certainly for Kirner, who seemed to only screech as a character. But they were strong in their dancing during the contest, and provided the necessary humor.

Rounding out the cast were the minor named characters (who were also part of the ensemble), as well as the unnamed ensemble members: Jessica Sheridan (FB) [Ernestina Money, Dolly Leviu/s]; Wally Dunn (FB) [Rudolph, Horace Vandergelderu/s]; Maddy Apple (FB) [Irene Molloyu/s]; Daniel Beeman (FB) [Court Clerk, Cornelius Hacklu/s]; Giovanni Bonaventura (FB) [Ambrose Kemperu/s]; Elizabeth Broadhurst (FB) [Irene Molloyu/s, Ernestinau/s]; Julian DeGuzman (FB) [Barnaby Tuckeru/s]; Alexandra Frohlinger (FB) [Ermengardeu/s, Minnie Fayu/s]; Dan Horn (FB); Corey Hummerston (FB) [Ambrose Kemperu/s]; Madison Johnson (FB) [Minnie Fayu/s]; Beth Kirkpatrick (FB) [Mrs. Rose, Dolly Leviu/s, Ernestinau/s]; Ben Lanham (FB); Kyle Samuel (FB); Scott Shedenhelm (FB) [Barnaby Tuckeru/s]; Timothy Shew  [Judge, Horace Vandergelderu/s]; Maria Cristina Slye (FB); Cassie Austin Taylor (FB); Davis Wayne (FB); Brandon L. Whitmore (🌟FB, FB); and Connor Wince (FB). Swings were: Brittany Bohn (FB) [Asst. Dance Captain, Ermengardeu/s]; Whitney Cooper (FB); Nathan Keen (FB); and Ian Liberto (FB) [Dance Captain, Cornelius Hacklu/s]. Of these, a few stand out: Jessica Sheridan, not only for her comic playfulness as Ernestina, but her joy as she moved in the ensemble; and Wally Dunn for the fun he had as Rudolph during the waiter’s gallop. Additionally, all of the ensemble should be commended for the fun they were having, and how that fun was conveyed to the audience.

Musically, Jerry Herman’s music and lyrics were supplemented by the orchestrations of Larry Hochman. Music was realized under the music direction of Robert Billig (FB). The remaining members of the orchestra were (♯ indicates local musicans): Tim Laciano (FB) [Keyboard2, Assoc. Conductor]; Max Mamon (FB) [Keyboard1]; Rich Rosenzweig (FB) [Percussionist]; Jeffrey Wilfore (FB) [Trumpet1]; Jen Choi Fischer (FB)♯ [Violin, Concertmaster]; Grace Oh (FB)♯, Ina Veli (FB)♯ [Violin]; Ira Glansbeek♯ [Cello]; Michael Valerio (FB)♯ [Acoustic Bass]; Richard Mitchell♯ [Clarinet / Flute / Piccolo / Alto Sax]; Jeff Driskill (FB)♯ [Flute / Clarinet / Alto Sax]; Sean Franz (FB)♯ [Clarinet / Flute / Bass Clarinet / Tenor Sax]; Chad Smith♯ [Clarinet / Baritone Sax / Bassoon];  John Fumo (FB)♯ [Trumpet2]; Aaron Smith (FB)♯ [Trumpet3]; Charlie Morillas (FB)♯ [Trombone]; Juliane Gralle (FB)♯ [Bass Tombone]; and Mary Ekler (FB)♯ [Keyboard Sub]. Other music credits:  Eric Heinly (FB)♯ [Orchestra Contractor];  Seymour Red Press [Music Coordinator]; Kimberlee Wertz [Assoc. Music Coordinator]; Emily Grishman Music Preparation [Music Copying].

Santo Loquasto did the Scenic and Costume Design. The scenic design was heavily traditional scrims and flats — no abuse of technology and projections here — with larger sets for Feed and Grain Shop, the Hat Shop, and the Harmonium Gardens. More spectacular were the costumes, with a remarkable use of color and bustles to provide a scenic rainbow on stage. In general, the scenic use of color in this show as something special. This was all supported by the hair, wigs, and makeup design of Campbell Young Associates. The sound design of Scott Lehrer was unusually clear in the Pantages space; it will be interesting to see how show sound evolves as musicals move to the Dolby. Natasha Katz (FB)’s lighting established time and mood well. Rounding out the production and creative credits were: Don Pippin [Vocal Arrangements];  Telsey + Company [Casting]; William Joseph Barnes [Production Supervisor]; Brian J. L’ecuyer (FB) [Production Stage Manager]; Karyn Meek (FB) [Stage Manager]; Amy Ramsdell (FB) [Asst. Stage Manager]; Allied Touring [Tour Marketing and Press]; Aurora Productions [Production Manager]; Neurosport [Physical Therapy]; and far too many producers and executive producers.

If I haven’t made it clear by now, go see Hello Dolly! You’ll be glad to be back where you belong. Hello, Dolly! continues at the Hollywood Pantages (FB) theatre through February 17, 2019. Get your tickets through the Pantages online box office; discount tickets may be available through Goldstar or TodayTix. The Pantages has announced their 2019-2020 season, and it’s a good one. You can read my thoughts on the season here.

***

Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted (or I’ll make a donation to the theatre, in lieu of payment). 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:

This coming weekend is busy, with 1776 at the Saroya [nee the Valley Performing Arts Center (VPAC)] (FB) and then running over to Hollywood for Anna Karenina at Actors Co-op (FB).  Presidents Day weekend brings  The Joy Wheel at Ruskin Group Theatre (FB) in Santa Monica.  The last weekend of February is our annual trek to the Anaheim Hills for Lizzie at the Chance Theatre (FB).

March starts with Matthew Bourne’s Cinderella at the Ahmanson Theatre (FB), followed by the annual MRJ Regional Man of the Year dinner at Temple Beth Hillel. The next weekend brings “Disney’s Silly Symphony” at the Saroya [nee the Valley Performing Arts Center (VPAC)] (FB). The third weekend of March brings Cats at the Hollywood Pantages (FB). The following weekend is Matilda at  5 Star Theatricals (FB). March concludes with us back at the Hollywood Pantages (FB) for Charlie and the Chocolate Factory.

Lastly, looking into April: The month starts with Steel Magnolias at Actors Co-op (FB) and the MoTAS Men’s Seder. The next weekend has a hold for OERM.  April will also bring Fiddler on the Roof at the Hollywood Pantages (FB) and the annual visit to the Renaissance Pleasure Faire.

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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🎭 Thoughts on a Theatre Season – Pantages 2019-2020 Season / Ahmanson Prognostications

Posted onAuthorcahwyguy

No, I haven’t forgotten my Hello Dolly writeup. It should be up in the next day or three — but it is a great show and you should go see it. But first … this morning the Hollywood Pantages (FB) announced their 2019-2020 season, and I thought I should share some thoughts. Here’s the graphic and some thoughts:

  • The Nederlander Organization is expanding to programming two theatres this year: the Hollywood Pantages (FB) and the Dolby Theatre (FB) at Hollywood and Highland. It will be interesting to see how our seats translate to the Dolby; I’ve never been in that facility. They also seem to be returning to the “Broadway in Hollywood” moniker. People forget the history, but the original Pantages programming going back to the days of Joseph and the … back in 1982 merged with what was left of the Los Angeles Civic Light Opera (which used to program musicals at the Dorothy Chandler Pavilion — in fact, it was one of the original tenants) to create an organization called “Broadway LA“. That name (and the website) was dropped around ten years in favor of only the Pantages name, but it appears to be resurrected in a slightly different form. Here’s the press release.
  • The shows announced are as follows:
  • The split between the theatres is interesting. What this seems to be permitting — at least this year — is a long sit-down engagement for Hamilton starting in March while they can still satisfy the subscription base they have built with new shows at the Dolby. This may work — I’m sure the Dolby will have significantly better acoustics than the Pantages; I don’t know about sight lines from the side. But once the juggernauts are gone, what will happen then? The major long sit-down shows will be things like Wicked, Hamilton, Dear Evan Hansen, and such. What others will sustain a long run in this city?
  • This season, I’ve heard the music from all of the shows. Most of the shows in the season I’m excited to see: in particular, The Band’s Visit, Spongebob, and Anastasia. I’ve heard Frozen has some good effects, but at least based on the cast album, the first act is a bit slow. It will be interesting to see on stage. I like the music to Mean Girls, but it comes across as a Heathers-ish show. I’ve heard really good things about the My Fair Lady revival, and supposedly they’ve addressed the tonal problems in the original, but I’m curious to see how. The music in Escape to Margaritaville is good, but it’s a jukebox musical with little substance (much like Buffett’s music). The least interesting of the bunch is Summer — another jukebox, but with disco. Yes, disco, the music of my college years.
  • This year, I’ll likely get the add on: Hamilton is one musical I won’t mind seeing a second time.

So what does this leave for the  Ahmanson Theatre (FB)? We know their first show in the 2019-2020 season will be Once on this Island, as that has been announced. What will join it? Perhaps the Bat Out of Hell tour will finally make it back on the road (supposedly it will in 2019), but I’m not holding my breath. Piecing together the announcements that I’ve seen, plus how the Ahmanson is programmed, here’s my best guess. Note that the Ahmanson differs from the Pantages in that is isn’t exclusively tours: they do produce new musicals, they present plays, and they do dance shows like the upcoming Cinderella. They don’t do many repeat or second-tier revivals, so tours like Hair, JC Superstar, Clue, Percy Jackson, and such are extremely unlikely to go to the Music Center. Here’s what I think will join Once on this Island:

I haven’t heard rumors of Angels in America going on tour, but I could see the Ahmanson adapting that and bringing it in as a one-off. They may also bring in some dance show; I think Harry Potter would suffice for the play. There could be a new musical in the mix; they tend to do that.

There are some other shows that I could see coming in, but they are too new to be highly likely: Pretty Woman, The Prom, or Be More Chill.

Look for my Hello Dolly review by the end of the week. This weekend: Theatrical whiplash, in the form of 1776 and Anna Karenina, both on the same day.

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