Month: May 2026

🎭 Music Saves, Family Invests | “Hells Kitchen” @ BIH/Pantages

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Hell's Kitchen (Broadway in Hollywood/Pantages)As of the time I’m writing this, I have 57,778 songs in my music library. However, until the musical Hell’s Kitchen popped onto the scene, I don’t think I had ever knowingly listened to a song by Alicia Keys. That’s actually not a surprise: Most of my music listening is music on my iPod Classic; I discover new music through the Tony Awards, the Woodsongs Radio Hour, the Irish and Celtic Music Podcast, and (until it stopped its podcast) the Mostly Folk podcast. I’m into folk and bluegrass and cast albums. Although I enjoy rhythm and I enjoy the blues, I’m not that much into the slower R&B music. I generally don’t watch the Grammys as I’m not really into modern hip-hop and rap, and so I don’t discover the new and upcoming artists unless they are on something else I watch.  To put it succinctly, Keyes was new to me.

Shortly before the 2024 Tony awards, I downloaded the cast album of Hell’s Kitchen into my library and onto my iPod. It was interesting and had some good songs, although I couldn’t really discern the story. After all, this was a jukebox musical, where the songs are selected from an artists catalog to fit a story and set the mood, and they don’t always serve, advance, and illuminate the plot.

Last night, we saw the Hell’s Kitchen  tour at the Pantages.

I’m not sure what to say, which is something different from being speechless. The show had remarkable dancing, and the story was somewhat like Keys’ biography. Well, a little. The music was beautiful, and the performances were very good. And yet, I was left unmoved.

As I noted, the story was somewhat like Keys’ own. It does take place in Manhattan Plaza in New York City’s Hell’s Kitchen community, where Keys did grow up. The lead character, Ali, was the child of a bi-racial family where the father left early, and she was raised by a single-mom who was a former actress. Her wikipedia bio notes that Keys “credits her “tough” mother for anchoring her on a right path as opposed to many people she knew who ended up on the wrong path and in jail. Keys attributed her unusual maturity as a young girl to her mother, who depended on her to be responsible while she worked…” But from there it diverges. Whereas Keys was raised on Jazz music, sang and started playing piano at the age of six, and started classical piano training at age seven, the lead character in Hell’s Kitchen took a different path. Ali wants to go out with the dangerous boys, including and especially Nuk, a pickle-drum drummer and house painter. She had no other interest in music until she goes to the music room at her apartment, where she meet Miss Liza Jane who starts teaching her piano. This is at age 16-17, and seemingly in a year or less she has it mastered. The story in the musical concerts Ali’s relationship with Nuk, how that impacts her relationship with her mother, and how she discovered music through Miss Liza Jane. It deals with Ali maturing into a more adult relationship with her mother and her mostly-absent father.

Talking about the story, I should explain the title of this writeup. One of the key plot lines in the story is about music, and how Ali’s discovery of the piano provides her a refuge from the turmoil and leads her to a path forward and out. The other key plot line of the story is the love of family: Although Ali fights with her mother Jersey, they ultimately work through it and grow to depend upon and support each other. Jersey provides the investment into Ali’s safety that moves her forward.

My wife really enjoyed the story. I found it interesting, but could see how it had been assembled to use the music catalog. It is hard to do an effective jukebox musical. There are lots of them, and we’re seeing perhaps the first and best example of them next week, Ain’t Misbehavin’ . Others are hit and miss. Some, like Jersey Boys, work well. Some, like Mamma Mia, are fluff that exists to highlight a great musical catalog. Here, the story was a reasonable one, but it would have been better if I had been able to understand the lyrics that were supposedly supporting the story. The problem was that the sound design for the tour left the side orchestra seats with muddy sound, and the fast nature of the lyrics made it hard to understand the words. This isn’t a problem for those familiar with an artists catalog before the show: they already know the songs and the words. Those who are unfamiliar with the artist are dependent on the sound designer to make the show legibly audible in all the seats. The tour missed its mark in that area (and I know it is the tour: we’ve had no other problems recently with sound design in the Pantages).

This brings us to the music. I’m torn on how to express this. The music was good, but it just wasn’t the style or musical genre that hooked me. I enjoyed it; I was tapping my foot throughout the faster songs. But it didn’t have the underlying melodic lines I tend to like; I can’t really say that the music would make me go out and buy albums from Alicia Keys catalog. This is unlike, say, American Idiot, which I enjoyed so much I started buying albums from Green Day. Listening to the music while writing this up, it has a very R&B feel to it. Slow R&B at times. But not being my style doesn’t make it bad; it just makes it not my style. My wife thoroughly enjoyed the music. I believe that if you like modern pop or R&B music and especially Alicia Keys, you’ll enjoy this music.

The dance was spectacular, but again: it was modern. I don’t know how to describe it. Hip-hop? Street? Break? All I know is that it wasn’t traditional theatre dancing and that it was really fun to watch. The dance performances were very strong. When compared to the last show we saw in Southern California, Brigadoon, the dancing was 180° different. Brigadoon was traditional and spoke the language of ballet and ballroom, with a little celtic thrown in. HK was street and angles and bounce and rapid angular movement. Each beautiful in their own way.

The performances were outstanding. Alas, we didn’t get to see the tour lead, Maya Drake, as Ali. Instead, we got Marley Soleil who normally plays Jessica. Soleil was spectacular as Ali, bringing a great energy and a wonderful voice to the role. But the actor who moved me the most was Roz White as Miss Liza Jane. She brought a gravitas to the role that shone from the stage, and was just a delight to watch. Also strong was Kennedy Caughell as Jersey, Ali’s mom. She had an incredibly strong duet in the second act that just blew everyone away. I also was blown away by the musical performances of the actors. I don’t mean singing—I mean playing instruments. I was closely watching those who were supposedly playing piano: Soleil as Ali, White as Liza Jane, Desmond Ellington as Davis. All seemed to be really playing the instruments, including the pedal work. The actors who were playing the pickle tub drums were also really playing. It is nice to see the talent on stage.

Will this show have a long life post-tour? That’s harder to say. There’s no confetti cannon, which is a plus. The music is accessible to the “youngers”, which will bring in the audience. But the scenic design depends heavily on projections to create the “New York” feel, and to establish locale. Will regional or smaller theatres be able to duplicate the staging? That’s really hard to say.

Speaking of New York: The closing song is “Empire State of Mind”, essentially a tribute to New York as the greatest city in the world. This hit very strange in Los Angeles. Theatre is so very centered in New York and in Broadway, that the writers often forget that theatre exists in other cities, and that other cities can also be great.

So, overall, what is my assessment of the show. It certainly wasn’t a bad show; that’s reserved for things like Girl from the North Country or I, Caligula. It wasn’t a favorite show: one that I might go out of my way to see multiple times, or feel compelled to see regional productions of. Well, maybe on the latter, just to see if a different take on the show uncovers something or works without the original staging.

As for the assessment. For those that know of and appreciate Keys’ music, this was a very good jukebox musical with a compelling story and remarkable performances. For those unfamiliar with Keys’ music: This is a good exposure to her music. You’ll really enjoy the performances and the dance and the compelling storyline.

Hell’s Kitchen continues at the Hollywood Pantages through June 21, 2026. Tickets are available through the Broadway in Hollywood/Pantages website.

Credits

Hell’s Kitchen. Music and lyrics by Alicia Keys. Book by Kristoffer Dias. Directed by Michael Greif. Choreography by Camille A. Brown.

Cast [underscores indicate “at our performance”; strikeouts indicate “not at our performance”; ↑ indicates “swung up”]: Maya Drake Marley Soleil Ali; Kennedy Caughell Jersey; Roz White Miss Liza Jane; Desmond Sean Ellington Davis; Jonavery Worrell Knuck; Rashada Dawan Crystal; ‘Zaiah Ellis Q, Ensemble; Mae-Lynn Flores Ensemble; Marques Furr Asten Stewart Dance Ensemble, “Hallelujah” Dancer, Ensemble; Destini Hendricks Dance Ensemble, “Unthinkable” Dancer, “Work on It” Dancer, Ensemble; Sean Holland II ‘Riq; Gigi Lewis Tiny, Ensemble; Christopher Miller Dance Ensemble, “Unthinkable” Dancer, Ensemble; Usman Ali Mughal Dance Ensemble, “Work on It” Dancer, Ensemble, Police Officer; Chikezie “Chike” Nwankwo Ray; Sangeetha “Sang” Santhebennur Dance Ensemble; Marley Soleil Sydney Townsend Jessica; Beda Spindola Millie, Ensemble; Ethan Zundell Dance Ensemble; Stemarciae Bain Ensemble; TeeTee Ensemble. Swings: ↑ Stemarciae Bain Asst. Dance Captain; Miya Bass; Jaylen T. Bryant; Sherée Marcelle Dunwell; Alfred Jackson Fight Captain; ↑ Asten Stewart; ↑ TeeTee, ↑ Sydney Townsend, Timothy Wilson Dance Captain.

Music Department (🌴 indicates local): Adam Blackstone Music Supervisor, Co-Orchestrator, Co-Arranger; Tom Kitt Music Consultant, Co-Orchestrator; Lily Ling Assoc Music Supervisor; Kristy Norter Music Coordinator; Emily Orr Music Director, Keyboard 1; Enrico de Trizio Ableton and Electronic Drum Programmer; Joy Brown Asst. Conductor, Keyboard 2; Darrick Brown Music Assoc, Keyboard Swing; Azana Hightower Guitar 1; Jamick A. Johnson-Hector Bass; Adam Bailey Percussion; Brandon Brooks Drums; 🌴 Dan Lutz Bass (5-String Electric, Acoustic Stick Bass, Synth Bass); 🌴 Eric Heinly Music Contractor; Randy Cohen/Randy Cohen Keyboards LLC Synthesizer Programming; Chris Sutherland Drum Programming; Jared “Choclatt” Crawford Bucket Drum Consultant; Jason Berlanger Music Asst.; Emily Grishman Music Copying; Timothy Hanson Music Preparation.

Production and Creative: Alicia Keys Book Music, and Lyrics; Kristoffer Diaz Book; Michael Greif Director; Camille A. Brown Choreographer; Robert Brill Scenic Designer; Dede Ayite Costume Designer; Natasha Katz Lighting Designer; Gareth Owen Sound Designer; Peter Nigrini Projection Designer; Mia Neal Hair and Wig Designer; Michael Clifton Makeup Designer; Monet Assoc. Director; Rickey Tripp Assoc. Choreographer; Tom Schall Fight Director; Rocio Mendez Intimacy Coordinator; Bond Theatrical Tour Booking, Marketing, and Publicity; Doug Rodgers Company Manager; Veronica Aglow Production Stage Manager; Hollace Jeffords Stage Manager; Jasmin Holton Asst Stage Manager; Amber Dickerson Sub Asst Stage Manager; Caroline Inches Sub Asst Stage Manager; Kate Murray, CSA & Heidi Griffiths, CSA Casting; Juniper Street Productions Production Manager; Foresight Theatrical General Manager; Aaron Lustbader Executive Producer; The Public Theatre Originating Theatre.

Administrivia

I am not a professional critic. I’m a retired cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; The Soraya, Chromolume Theatre, and 5-Star Theatricals.

Want to find a show: Check out the Theatre Commons LA show list. Other good lists are the Theatre in LA listings; the TodayTix listings; OnStage 411 (use the “shows” drop down); and Theatermania.

As the Tonys approach, shows left and right have been announcing that they will be going on tour (even shows that are closing). So, even though we haven’t started the 2026-2027 seasons for Broadway in Hollywood (BIH) and the Center Theatre Group (CTG), here are my predictions for the 2027-2028 seasons in Los Angeles.
* indicates shows for which tours are not yet announce, but I’m guessing they will tour.
Sources: Playbill as indicated, Tours to You, Broadway League Tours.

Show Where It Will End Up
The Lost Boys BIH/Pantages
Ragtime BIH/Pantages
Every Brilliant Thing CTG/Taper, but note there will be a local production at The Main in Sept. 2026
Beaches BIH/Pantages
Titanique BIH/Pantages
Just In Time BIH/Pantages
Two Strangers Carry A Cake Across New York CTG/Ahmanson
Schmigadoon! BIH/Pantages
Cats: The Jellicle Ball* CTG/Taper, but poss. BIH/Pantages
Giant* CTG/Ahmanson (but possibly as a local production)
Rocky Horror – New Broadway Production* BIH/Pantages
Rodgers & Hammerstein’s Cinderella BIH/Pantages (Add-On)
Heathers – The Musical CTG/Ahmanson
Liberation* In 2027 at the Geffen Playhouse
The Ballusters* Local production at the Geffen or Pasadena Playhouse.

Additionally, May saw the opening of ticket sales for the Hollywood Fringe Festival. There are over 2,150 performances over the month of June; there are 439 shows listed in the show catalog. These all occur during the month of June, with multiple shows throughout the day. 20 minutes to move in; then the show; 20 minutes to move out. Ticket prices are low. The shows run the gamut, from totally strange to one person shows to full on short plays to musical reviews. You’re sure to find something you’ll like.

Upcoming

Key: ♦ Theatre / ♣ Music / ◊ Other Live Performance – Next 90ish Days (⊕ indicates ticketing is pending).

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🎭 Roasted Ham and Hasenpfeffer | “Fat Ham” @ Black Rep … and Bugs Bunny

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Just because we’re out of town doesn’t mean that the desire to see live performance goes away. While we were visiting our daughter in St. Louis, we were able to squeeze in two show. I’ll talk about them out of order, becauwe these writeups tend to focus more on theatre than concerts.

Roasted Ham

Fat Ham (Black Rep - STL)While in St. Louis, we had the opportunity to see the Black Repertory Theatre production of Fat Ham, which we last saw a little over two years ago at the Geffen, in a production starring The Neighborhood‘s Marcel Spears as Juicy. Here’s the synopsis of the play as I wrote it then:

Fat Ham transposes the story [of William Shakespeare’s Hamlet] to one about a black family, somewhere in the south, sometime in the near past. The program states that is is North Carolina or Virginia or Maryland or Tennessee, but not Mississippi, Alabama, or Florida. The time is sometime in the 1970s or 1980s, based on dress and hairstyles and such. It is a blue-collar level (but not poor) house, in a rural area, where the family business is a barbeque restaurant run by Pap and Rev, two brothers. Pap went to prison for gutting a customer like a pig, and while in prison, was shafted. It turns out that Rev, Pap’s brother, had arranged the shafting … and not a week after the funeral, Rev married Pap’s widow, Tedra. The play takes place in the backyard of Tedra’s house, where there is to be a celebration of the wedding.

The focus of the story is Juicy, Tedra’s son. After Juicy’s friend Tio sees Pap’s ghost, the ghost comes to Juicy and asks him to avenge his death. Juicy is conflicted. Story beats of the traditional Hamlet story play out in the backyard, as Rev’s friend, Rabby comes to visit with her two children, Larry (who is in the Marines) and Opal. There are both rough and obvious correspondences: Juicy/Hamlet, Rev/Claudius, Tedra/Gertrude, Tio/Horatio, Rabby/Polonius, Larry/Laertes, Opal/Ophelia. But not all of the character beats are the same, especially as the story goes on and the relationships get … shall we say more contemporary.

There are also some key changes in the characters, beyond the obvious transposition from the Court of Denmark to the rural south, with the “Kings” becoming owners of a BBQ Joint. Juicy is a bit of a schlubsy student, attending the University of Phoenix. His friend, Tio, is a stoner addicted to porn. Rabby is a high church lady, her son Larry is on leave from the Marines, and her daughter Opal wants to go to the Marines, although her mom wants her to be a debutant. Relationships are not traditional.

The production in Los Angeles was (essentially) the Broadway cast. The production of Black Rep was a regional production; essentially at the level of a Colony Theatre production: a 644 seat thrust stage, with three Equity actor positions and the rest cast regionally from the local non-Equity pool. The Geffen Playhouse production was in a 512 seat proscenium stage with a mostly Equity cast. How did the two productions compare?

Let’s start with the performances. The lead, Marshall W. Mabry IV Juicy brought a much darker energy to the role;  this isn’t a surprise as he wasn’t carrying the sitcom baggage of Marcel Spears. Mabry was a truly believable pseudo-Hamlet: brooding and angry. Enoch King was strong as Rev/Pap, bringing out two distinctly characterizations. Angela Wildflower was good as Tedra, although at times she spoke so fast it was hard to make out her words. To, ummm, amplify that last point: This production was not amplified (unlike most mid-sized productions in Los Angeles), and it was a bit harder to hear folks. Amplification isn’t required (witness our recent outing to Falstaff); however a bit more projection or volume would be good.

In the smaller roles: Brian McKinley was good as Larry, although on his initial entrance he was missing one button, which a Marine would never do. Raevyn Ferguson was strong as Opal—an interesting character who is almost as conflicted as Juicy. Margery Handy brought the right church-lady vibes to Rabby, and Olajuwon Davis captured Tio’s personality (although he also was hard to hear at times).

One additional note on the characters… and the audience. It was interesting to watch the interactions of the performers and the audience, and contrasting that with what I recall of the audience reaction at the Geffen. Here in St. Louis, we’re much closer to the Southern-style churchgoers than in Los Angeles. As such, there was more audience reaction as the tropes referenced in the play were recognized. The audience also didn’t have the complexion problem I see in Los Angeles: one of my major complaints with black-themed plays in Los Angeles is that the non-white audience often seems to stay away. When the Pasadena Playhouse does a black-themed production (common when Sheldon Epps was the artistic director), the audience seems to be 80% black; the pendulum would swing the other way for less diverse stagings. This would bother me quite a bit as I believe theatre is for all, and that theatre provides us the opportunity to learn about and gain insights into milieus different than our own. Alas in Los Angeles, despite its progressivism, audiences seem to self-segregate based on the show. That’s bad. The Edison audience, although far too small, was much more mixed. That’s a good thing. I just wish it was larger. We had, perhaps, only a quarter of the theatre filled. This was an excellent show with excellent performances. Why wasn’t the audience there? Memorial day weekend? Publicity problems? St. Louisians (if that’s a word): This is an excellent show. You should be going out to see it!

The set was remarkably similar to the one at the Geffen. The major difference was the treatment of Pap. At the Geffen, I remember him rising out of the smoker and rising out of the cooler. Here he generally came in from the side. Thankfully, the Black Rep production didn’t use a glitter cannon or balloon drop like the Geffen for the last scenes. I abhor such things for the waste of plastic that goes straight into the waste stream, and they have become far too common in theatre today. Black Rep found a way to bring the fun without the plastic.

There were a few minor production problems: at times, characters walked to the edge of the stage or came in from the edge of the stage and didn’t have the lighting they needed. There were also problems with the amplification of the Karaoke machine.

One other last complaint: Black Rep handed out a postcard Playbill, with a QR code linking to the actual playbill. I recognize this saves the production money, but at what costs. Most folks won’t go to the code and learn about the actors and production team. It won’t serve the advertisers that support the theatre. It won’t provide a physical record that lasts. Digital link rot is real. Websites get reorganized. Try to go to this link 10 years down the road, and there is a 95% chance the link won’t work anymore. Yet with a printed playbill it lasts. Last weekend, I filed playbills from about the last 20 or so years of theatre. I saw playbills in my files from the 1980s and 1990s. I couldn’t do that with the digital QR code playbills; I don’t get a memory that lasts. Digital playbills are a false economy. Give your playgoers a physical playbill, or at least have them available at the show. Print at a level of 50%, but print them. Color isn’t required.

Fat Ham continues at The Black Rep at the Edison Theatre on the grounds of Washington University, St. Louis, until June 7, 2026. Tickets are available through OvationTix. The Black Rep has announced their upcoming season, and it is a good one. Were they closer to Los Angeles, I might even subscribe. The 2026-2027 season is: The Color Purple—The Musical (Sep 9-27, 2026); The Colored Museum by George C. Wolfe (Jan 6-24 2027); Purpose by Braden Jacob-Jenkens (Feb 3-21 2027); For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf  by Ntozake Shange (Mar 3-28 2027); and August Wilson’s Gem of the Ocean May 12-30 2027. I’ve always heard about For Colored Girls; I can’t recall a recent production in Los Angeles. I wonder if anyone will ever remount a production of Your Arms Are Too Short to Box with God?

Hasenpfeffer

Bugs Bunny at the Symphony (St Louis Symphony Orchestra)“Hasenpfeffer” refers to the live concert we saw: Bugs Bunny at the Symphony, which is a touring production nearing the end of its 35th Anniversary tour, celebrating Bugs Bunny’s 85th birthday. We saw the production at Powell Hall, which is just coming off a multi-year renovation, accompanied by the St. Louis Symphony Orchestra.

Surprisingly, although the production has been a regular at the Hollywood Bowl, we’ve never seen it there. My wife loves the WB cartoon library, so this was a perfect fit. The music was outstanding, and the production presented five “new” cartoons (with live music) as part of the production:

  • “Skyscraper Scrap“, a new Bugs Bunny cartoon, with score adapted by Carl Johnson from La gazza ladra by Gioachino Rossini. This was a Sylvester and Tweety Bird cartoon set of the ledge of a skyscraper.
  • The “Coyote Suite”, a set of three new Road-Runner cartoons (3D animation):
    • “Rabid Rider“, a 2010 short involving the Coyote on an Acme Segway-equivalent, with predictable results.
    • “Coyote Falls“, another 2010 short using an Acme bungee cord
    • “Fur of Flying“, another 2010 short with an Acme flying helmet
  • “Dynamite Dance“, a 2019 Elmer/Bugs romp with lots of dynamite to Dance of the Hours.

The Coyote/Road Runner cartoons made me think of the supposed rules for Road Runner/Coyote cartoons.

The music was very enjoyable, and the cartoons were delightful. A lovely evening.

Credits

Fat Ham. Written by James Ijames. Directed by Geovanday Jones.

Cast (æ indicates members of Actors Equity): Marshall W Mabry IVæ Juicy; Angela Wildfloweræ Tedra; Enoch Kingæ Rev/Pap; Brian McKinley Larry; Raevyn Ferguson Opal; Margery Handy Rabby; Olajuwon Davis Tio.

Production and Creative (æ indicates members of Actors Equity): Geovonday Jones Director; Heather Beal Choreographer; Patrick Huber Scenic and Lighting Design; Andre Harrington Costume Design; Tre’von Griffith (TreG) Sound Design; Courtnee Rouseæ Stage Manager; Joyous Celestine 1st Asst Stage Manager; Stanley Powell 2nd Asst Stage Manager; Marissa Perry Costume Shop Supervisor; Taina Bantu Wardrobe Head; Mikhail Lynn Props Designer; Alan Phillips Sound Board Operator; Trenton Ames Light Board Operator; Mikhail Lynn Shop Foreman; Victor Malmgren Scenic Charge; Mondis Doyle, Alan Phillips, Mikhail Lynn, Stanley Powell Carpenters.

🐇🐤

Bugs Bunny at the Symphony. Starring Bugs Bunny. Conducted by George Daugherty. Created and produced by George Daugherty & David Ka Lik Wong.

Orchestra: Too large to type, but they should be available through the program notes on the SLSO website.

Production and Creative: See the production website.

Administrivia

I am not a professional critic. I’m a retired cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; BIH/Pantages; Pasadena Playhouse; The Soraya, Chromolume Theatre, and 5-Star Theatricals.

Want to find a show: Check out the Theatre Commons LA show list. Other good lists are the Theatre in LA listings; the TodayTix listings; OnStage 411 (use the “shows” drop down); and Theatermania.

I used to do more detailed writeups; here’s my current approach.

There were some interesting theatre and theatre-related announcements recently. First, the Pasadena Playhouse announced their 2026-2027 season. It’s pretty spectacular. The season begins with a new production of Friedrich Dürrenmatt’s tragicomedy The Visit, directed by Tony Award winner Darko Tresnjak and starring Jefferson Mays. The Visit was later turned into a musical by Fred Kander and John Ebb; but this is the play version. Next up is the long-awaited L.A. premiere of Passing Strange, the Tony-winning musical based on the life of L.A.-born musician Stew, directed by Tony nominee Zhailon Levingston. Passing Strange never toured after winning the 2009 Tony, so this is its LA debut. There is then a TBA winter production (hopefully better than last year’s Ha Ha Ha Ha Ha Ha, which was horrible). That is followed by Real Women Have Curves: The Musical, the musical version of the play we saw two weeks ago. This was on Broadway but did poorly and thus never toured; it is its LA premiere. Lastly, a revival of Tennessee Williams’ Pulitzer Prize-winning play Cat on a Hot Tin Roof, with Alfred Molina. We’ve already renewed our membership.

Also announcing recently was the Soraya, previously known as the Valley Performing Arts Center on the campus of Cal State Northridge. Can’t you just hear Vin Sculley saying “Isn’t it beautiful”. They have announced their 2026-2027 season. There is loads of good stuff this season. Notable for theatre folks is the opening show, Sutton Foster; in April, Audra McDonald will grace the stage. Along the way, there are shows such as Snarky Puppy with the CSUN “A” Jazz Band, Branford Marsalis and Dianne Reeves celebrating John Coltraine; a tribute to Gershwin and the Golden Age with the LA Jewish Symphony; the Dance Theatre of Harlem; Terence Blanchard and Ravi Coltraine; A tribute to Frank Sinatra with the Clayton-Hamilton Jazz Orchestra; the Emmet Cohen Trio; and much more. Music of all varieties, jazz, dance, pop, classical, and loads more. Those are just the shows we’re interested in. Memberships are also on sale.

Lastly, May saw the opening of ticket sales for the Hollywood Fringe Festival. There are over 2,150 performances; there are 439 shows listed in the show catalog. These all occur during the month of June, with multiple shows throughout the day. 20 minutes to move in; then the show; 20 minutes to move out. Ticket prices are low. The shows run the gamut, from totally strange to one person shows to full on short plays to musical reviews. You’re sure to find something you’ll like.

Watch This Space. We’ve had more and more shows announcing their 2027 tours; enough so that I can pretty well guess that 2027-2028 seasons for Broadway in Hollywood, and for some of the CTG slots (they also do some local productions, not tours). I’ll share those guesses after our next show.

Upcoming

Key: ♦ Theatre / ♣ Music / ◊ Other Live Performance – Next 90ish Days (⊕ indicates ticketing is pending).

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🎭 Perfection on the Heather | “Brigadoon” @ Pasadena Playhouse

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Brigadoon (Pasadena Playhouse)This has been the spring for classic musicals in Los Angeles. First, we had the wonderful revisical version of Flower Drum Song from East West Players, which premiered on Broadway in 1958 (and whose source book author, CY Lee, is actually remembered on the walls of the Pasadena Playhouse). Then we had the excellent touring production of The Sound Of Music, which was brought to the heights by the performances of its leads, Cayleigh Capaldi as Maria and Kevin Earley as Captain Von Trapp. The Sound of Music premiered on Broadway in 1959. The trio concluded this week with the lightly revised revival of Brigadoon at the Pasadena Playhouse, which we saw last night. Brigadoon premiered on Broadway way back in 1947. I had forgotten what a joy Brigadoon is; I truly believe the Pasadena Playhouse version is worthy of a Broadway transfer. Brigadoon hasn’t been on Broadway since 1980, and this updated version brings and updated energy and sensibility to the show, combined with the luscious score. In this era of continuous revivals of seemingly the same recent shows, this could be a breath of fresh Scottish air.

In seeing this show, I was trying to remember the last time I saw Brigadoon. I thought it might have been at the old LA Civic Light Opera, but they last did the show in 1954 (which was before I was born). Perhaps it was in the Cabrillo Music Theatre days (now 5-Star), but then I would have a program. Perhaps I only thought I had seen it, and was conflating it with the movie version with Gene Kelly and Van Johnson, which I’ve seen many times. That’s a distinct possibility, as I didn’t remember some of the songs (and those are the songs that were cut in the movie). But it turns out I have seen Brigadoon before on the stage: a December 1981 production of the Al Malaikah Shrine at the Shrine Theatre, with Genevieve Marie Sordetto as Fiona and Brad M. Arrington as Tommy Albright.  I must have gone with my parents (who were avid theatregoers), as I was still a college undergrad at the time, and my dad was a member of that Shrine club. I also, surprisingly, only had one version of Brigadoon in my music library: the 1991 Studio Cast. A good version, but one is not enough. That was remedied this morning (I added the 2017 NY City Center revival).

The reason for the above reminiscing is to demonstrate that, like many I’m sure, I knew of Brigadoon, but I didn’t remember it well. I think we all remember the outlines of the story: Two NYC hunters (Tommy and Jeff) on vacation in Scotland discover an enchanted village that reappears for one day every one hundred years. One of the hunters falls in love with a local lass (Fiona). There’s a wedding, and the suitor that wasn’t selected (Harry) attempts to leave the village, which would destroy it. He is stopped and dies in the process. The hunter in love wants to stay with the village, but his friend convinces him to leave. Back in NYC, he’s unhappy, so he returns to Scotland and loves the girl so much that the village reappears and takes him in. Along the way, there’s lot of dancing and singing, including the standard “Almost Like Being In Love”.

Those are the main story notes. But (unsurprisingly, as the original was written in the late 1940s), the original story had dated elements. It reflected an American stereotypical view of Scotland. It showed Scottish women with no agency (a very 1940s view), which was not the reality. The presentation of the two American friends was dated. The show wasn’t as problematic as Flower Drum Song, but it needed updating. If you’re not familiar with the original details of the show, Wikipedia has a good summary of the plot. If you’re only familiar with the movie, you can see the movie excised even more story, notably the sub-story of Meg Brockie. They also changed how Jeff killed Harry Beaton. The movie was clearly not the basis for a good revival: the movie was more a piece to show off its stars, Gene Kelly and Cyd Charisse.

For the Pasadena Playhouse version, Alexandra Silber adapted and updated the story. Here are the changes I could detect. She changed Meg Brockie from a simple milkmaid to an independent woman who operated a pub (which became the center for much of the action in the story). She might have been a widow, which would explain the ownership. They also made Meg much more sexually forward and lusty than would have been acceptable in the 1940s or 1950s. She changed the town leader, Mr. Lundie, into the Widow Lundie. This might have been done to fit the casting of Tyne Daly, but it also fits with the power of Widows in Scottish society. She changed the manner of death of Harry. In the 1940s original, as Wikipedia notes “Jeff also reveals that he tripped Harry and accidentally killed him.”. In the movie, again according to Wikipedia, “With men closing in on him, Harry climbs up a tree to hide but is accidentally gunned down by Jeff, who skipped the wedding to go hunting. Harry falls dead to the ground and is soon found by the men.” In this version, however, Jeff is not responsible for Harry’s death. As Harry nears the edge of town, they lock eyes. Harry seems to decide he can’t cause the town’s destruction, and so throws himself off the bridge instead.

There are also significant changes made in the penultimate scenes. In the original, according to Wikipedia, “Four months later, Jeff is drinking heavily at a hotel bar in New York. Tommy, who has been living on a farm in New Hampshire, enters and greets Jeff, but is still in love with Fiona and cannot stop thinking about her. His fiancée Jane Ashton, a beautiful socialite, talks to him about their impending wedding, but everything she says causes him to hear Fiona’s voice and dream of Brigadoon (“Come to Me, Bend to Me” (reprise) and “Heather on the Hill” (reprise)). Tommy tells Jane that he cannot marry her, and she argues with him, but he continues to daydream about his true love (“Go Home With Bonnie Jean” (reprise) and “From This Day On” (reprise)). Jane leaves, and Tommy tells Jeff that he wants to return to Scotland, although he knows the village will not be there.”

In this updated version, Silber turns it around: Tommy is so much in love he can’t get over it and has turned to drinking. Recent promotions mean nothing to him, and there is no fiancée. Everything the barkeep says (played by the same actor that played Widow Lundie) makes him think of Fiona and Brigadoon. Jeff, now sober, returns and convinces Tommy he was wrong. There can be such a love, and he had it with his wife who died (presumably of cancer). It is Jeff who tells Tommy he must go back to Scotland, and provides him with the tickets.

I found that the updated story worked well, and fit the beats I remembered. The revisions were suitably gentle and nudged the story into something that worked better for modern audiences. There are still some aspects that feel dated—in particular, the heavier emphasis on dance and ballet that one doesn’t see in modern shows—but they are tolerable. It is quite possible that the Agnes DeMille dances are contractually required (similar to the dream sequences in Oklahoma or The King and I).

The performances were top-notch. In the leading positions were Betsy Morgan as Fiona Mac Laren, Max Von Essen as Tommy Albright, and Happy Anderson as Jeff Douglas. Morgan brought a wonderful life and vivaciousness to Fiona; one could easily see why Tommy fell in love with her. She also had a spectacular singing voice. Von Essen was a great leading man, with a relatable stage presence, a great singing voice, and most notably, spectacular chemistry with Morgan. Anderson transformed Jeff from a handsome friends to a more lovable doofus. Anderson provided some wonderful comic relief through the show.

As the couple getting married, Kylie Victoria Edwards (Jean Mac Laren) and Daniel Yearwood (Charlie Dalrymple) were great. I particularly enjoyed Yearwood: he had a wonderful voice and was fun to watch on stage.

The simple milkmaid, Meg Brockie, was transformed in this version to a tavern owner, vivacious and fully of life and happiness. She was played by Donna Vivino with a strength of voice and personality that was great. Although it wasn’t listed in her credits, I could swear that Vivino is a local. I think I’ve seen her (and her daughters) playing multiple roles out at Cabrillo/5-Star.

The matriarch of the town, Widow Lundie, was played by Tyne Daly. This was a coup getting her for this role, as she brought a wonderful gravitas to the character. Alas, you could see by how she was moving on stage that she is getting frailer than she once was. Still, she is a theatrical powerhouse and it is always a delight to see her on stage. I particularly liked her turn as Frankie, the barkeep.

Also notable was Jessica Lee Keller as Maggie Anderson. She was hidden during much of the production, but had a spectacular dance turn during the funeral scene.

Lastly, I’d like to call out the ensemble and cast members who were playing instruments on stage. They aren’t explicitly identified in the program, unless they had some of the musicians don costumes and come on stage. So to the unspecified fiddle, bodhran, bass, piccolo, and bagpipe players: your presence in the tavern scenes added a wonderful authenticity to those scenes, and brought back memories of shows such as Once or Come From Away, both of which have elements like that.

I am delighted to note that the scenic aspects of the show were achieved without the use of a single glitter cannon or a single projection. There was wonderful traditional scenery: bridges, taverns, villages; the Pasadena Playhouse provides sufficient fly space that they were able to use a lot of “fly in” scenery. Costumes were suitably Scottish; Jeff and Tommy had their costumes updated to modern times (including modern backpacks and water bottles, and I think I even spotted a cell phone).

Were there any negatives? Perhaps one minor one: There were four stage lights at the top of the proscenium that were very bluish-white (distractingly so). They were fine when they were tuned to other colors, so they just need to be toned down a bit.

Other than the horrid (to us) Ha Ha Ha Ha Ha Ha earlier this year, the Pasadena Playhouse has been hitting it out of the park this season. Their next season looks to be equally strong. We’ve already renewed our membership, and we look forward to scheduling our shows for the next season. This production of Brigadoon is yet another example of the quality work from the Playhouse. Folks should get over to the Playhouse to see it and be reminded how the classic musicals still hold up. It runs until June 14, 2026. Tickets are available through the Playhouse Website.

Credits

Lerner & Loewe’s Brigadoon. A new adaptation by Alexandra Silber, inspired by the original book by Alan Jay Lerner. Book and Lyrics by Alan Jay Lerner. Music by Frederick Loewe. Original dances created by Agnes DeMille. Directed and choreographed by Katie Spelman.

Cast (æ indicates members of Actors Equity): Happy Andersonæ Jeff Douglas; Brian Calìæ Ensemble / Angus; Amanda Clementæ Ensemble, Dance Captain; Tyne Dalyæ Widow Lundie; Sophie Liu Davidæ Ensemble; Kylie Victoria Edwardsæ Jean MacLaren; Michael Scott Harrisæ Archie Beaton; Jessica Lee Kellaræ Maggie Anderson; Evan Kinnaneæ Ensemble; Julia Wheeler Lennonæ Ensemble; Brian Kim McCormickæ Ensemble / Stuart; Spencer Davis Milfordæ Harry Beaton; Betsy Morganæ Fiona MacLaren; Gabriel Navarroæ Ensemble; Chuck Sacullaæ Ensemble / Sandy Dean; Amy Smithæ Ensemble; Gil Sweeney Ensemble / Swing; Donna Vivinoæ Meg Brockie; Max Von Essenæ Tommy Albright; Daniel Yearwoodæ Charlie Dalrymple; Geoffrey Wadeæ Andrew MacLaren.

Music Department: Darryl Archibald Music Supervisor; Brad Gardner Music Director / Conductor; Gennie Cheng Assoc Music Director / Piano; Bethany Mennemeyer Concertmaster, Rhea Fowler, Nichole Garcia, and Nolan Livesay Violin; Rodney Wirtz and Bryan Gonzalez Viola; Ginger Murphy and Chris Ahn Cello; David Hughes Bass; Rachel Mellis Flute, Piccolo; Victoria Sabonjohn Oboe; Laura Stoutenborough and Adrienne Murray Clarinet; Lieza Kallin Bassoon; Jared Haworth and Elizabeth Donahue Bagpipes; Lisa McCormick French Horn; Tim Rubottom, Barbara Laronga, and Justin Drisdelle Trumpet; Devon Taylor Trombone; Nick Stone Percussion; Eric Heinly Orchestra Contractor.

Production and Creative (æ indicates members of Actors Equity): Alan Jay Lerner Lyrics, Book; Frederick Loewe Music; Alexandra Silber Playwright; Katie Spelman Director, Choreographer; Jason Sherwood Scenic Designer; Raquel Adorno Costume Designer; Jaymi Smith Lighting Designer; Danny Erdberg Sound Designer; Ursula Kwong-Brown Sound Designer; Alberto “Albee” Alvarado Wig, Hair, and Makeup Design; Ryan Bernard-Tymensky Casting; Jill Goldæ Production Stage Manager; Lauren Buanganæ Asst Stage Manager; Miriam Mendozaæ Asst Stage Manager; Gaby Ostroveæ Asst Stage Manager.

Administrivia

I am not a professional critic. I’m a retired cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; BIH/Pantages; Pasadena Playhouse; The Soraya, Chromolume Theatre, and 5-Star Theatricals.

Want to find a show: Check out the Theatre Commons LA show list. Other good lists are the Theatre in LA listings; the TodayTix listings; OnStage 411 (use the “shows” drop down); and Theatermania.

I used to do more detailed writeups; here’s my current approach.

There were some interesting theatre and theatre-related announcements recently. First, the Pasadena Playhouse announced their 2026-2027 season. It’s pretty spectacular. The season begins with a new production of Friedrich Dürrenmatt’s tragicomedy The Visit, directed by Tony Award winner Darko Tresnjak and starring Jefferson Mays. The Visit was later turned into a musical by Fred Kander and John Ebb; but this is the play version. Next up is the long-awaited L.A. premiere of Passing Strange, the Tony-winning musical based on the life of L.A.-born musician Stew, directed by Tony nominee Zhailon Levingston. Passing Strange never toured after winning the 2009 Tony, so this is its LA debut. There is then a TBA winter production (hopefully better than last year’s Ha Ha Ha Ha Ha Ha, which was horrible). That is followed by Real Women Have Curves: The Musical, the musical version of the play we saw two weeks ago. This was on Broadway but did poorly and thus never toured; it is its LA premiere. Lastly, a revival of Tennessee Williams’ Pulitzer Prize-winning play Cat on a Hot Tin Roof, with Alfred Molina. We’ve already renewed our membership.

Also announcing last week was the Soraya, previously known as the Valley Performing Arts Center on the campus of Cal State Northridge. Can’t you just hear Vin Sculley saying “Isn’t it beautiful”. They have announced their 2026-2027 season. There is loads of good stuff this season. Notable for theatre folks is the opening show, Sutton Foster; in April, Audra McDonald will grace the stage. Along the way, there are shows such as Snarky Puppy with the CSUN “A” Jazz Band, Branford Marsalis and Dianne Reeves celebrating John Coltraine; a tribute to Gershwin and the Golden Age with the LA Jewish Symphony; the Dance Theatre of Harlem; Terence Blanchard and Ravi Coltraine; A tribute to Frank Sinatra with the Clayton-Hamilton Jazz Orchestra; the Emmet Cohen Trio; and much more. Music of all varieties, jazz, dance, pop, classical, and loads more. Those are just the shows we’re interested in. Memberships are also on sale.

Lastly, May saw the opening of ticket sales for the Hollywood Fringe Festival. There are over 2,150 performances; there are 439 shows listed in the show catalog. These all occur during the month of June, with multiple shows throughout the day. 20 minutes to move in; then the show; 20 minutes to move out. Ticket prices are low. The shows run the gamut, from totally strange to one person shows to full on short plays to musical reviews. You’re sure to find something you’ll like.

Upcoming

Key: ♦ Theatre / ♣ Music / ◊ Other Live Performance – Next 90ish Days (⊕ indicates ticketing is pending).

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🎭 The Sound of Perfection | “The Sound of Music” @ BIH/Pantages

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The Sound of Music (Broadway in Hollywood/Pantages)Last night, we saw the touring production of The Sound of Music at the Pantages as part of the Broadway in Hollywood season. When the show was announced, my thought was “Not again. We’ve seen this old chestnut enough.” This is a show that we had recently seen (2024) in an excellent regional production at 5-Star Theatrical. Enough! But this production was so well performed, and the show itself is so well constructed, that we thoroughly enjoyed ourselves. It was also interesting that quite a few audience members had never seen the show, or only knew the show from the movie musical. So perhaps the time was right for the new tour.

I’m going to assume, at this point, that everyone knows the story. If you don’t, you can read the details on Wikipedia. Note that the original musical has some songs in a different place from the movie. The really short synopsis is young nun in Austria doesn’t fit in at the convent, is sent to be the governess of 7 children of an Austrian naval officer. She teaches them to sing and charms the britches off the Captain. He was set to marry a rich baroness, but a dispute about supporting the Germans as they advance into Austria, combined with the Captain’s growing love for the nun, sabotages that. The Germans take over Austria, and the Captain has to leave. They figure out a way to exploit a music festival to all escape over the mountains, thanks to the music festival promoter.

A few thoughts on the show itself, some of which are echoes from what I wrote back in 2024.

First, if I had to ask you to name a perfect musical, what would it be? I mean a musical where you don’t really need to change anything for modern audiences? A musical where the construction and staging and design has no flaws? A musical that is eternal with absolutely no way to “revisical” it. Only a few come to mind: Gypsy, Guys and Dolls, and Sound of Music. There’s precious little that can be changed about the presentation of the story.

The story is also timely. The LA Times recently had a story about how there are three revivals currently in LA of “old chestnuts” that are surprisingly relevant: Flower Drum Song, at East West Players, which we saw a few weeks ago; The Sound of Music, which we saw last night; and Brigadoon, which we’re seeing at the Pasadena Playhouse next week. Both Flower Drum Song and Brigadoon have been updated to address dated or problematic plot elements. The Sound of Music requires no changes.

All three are also relevant to the times. But I noted that regarding Sound of Music back in 2024:

This begs the question: Is The Sound of Music relevant today? Listening closely, it is. The situation presented in the show of the rise of Hitler and Germany in the backdrop of people that want to ignore it—of people who think they can just go with the flow and ride it out—has an eerie echo to the rise of Trumpian politics today. At one point in the second act, as the song “No Way to Stop It” is starting, the Captain questions whether there is any way to stop the Germans, whom he hate, from taking over his country? Austria may not have had that ability, but here in America we do have the one tool they didn’t have: The Ballot Box. This show is a reminder of what might happen if we don’t use the tools we have. We will have brainwashed legions enforcing their view of what we can think, of what we can say. It is clear from the messages in their shows—a hatred of racism, a hatred of indoctrination, a hatred of violence against women—that Rodgers and Hammerstein would have stood against Trump and his Project 2025 agenda. Could a timely revival of Sound of Music reinforce that message? It is an interesting thought.

The Sound of Music tells the story of a family that refuses to accept that facists are taking over their country. They decide to escape the problem by running away to America, because America was a place where facism could never take hold. Alas, in 2026, we’re seeing the facism and racism are taking hold, and we really don’t have a safe place to easily run away to… nor should we. We do have a way to fight, by voting in the upcoming election. I have done a ballot deep dive for the upcoming primary, and you can see it here.

Here’s a sad thought regarding The Sound of Music: There were a large number of children and young adults in the audience, and this was probably their first time seeing the show. For how many of them was there a need to explain what the Anschluss was, and why it was such a watershed? Rodgers and Hammerstein wrote this in the 1960s, when the horrors of Nazi Germany was still fresh in the minds of American; the war had ended just 15 years before. Today WWII is 80 years in the past. The last of those alive during the war are dying. The sight of a Nazi flag in a theatre was shocking in 1959. Today, similar ideas to those held by the Nazis are broadly promoted by the current administration, although targeting different groups. Do our young folks today remember and abhor what the Nazis did? Have they forgotten, and perhaps that explains the rise of Trumpism? The Sound of Music is a poor vehicle to teach about Nazi horrors; it only hints at the problem as the author’s assumed that the audience at the time knew it well. The Producers doesn’t teach it at all. There are plays that do (The Diary of Anne Frank), but plays don’t have the reach; however, musicals about the subject are doomed to failure (well, unless you’re The Producers).

Lastly, why does The Sound of Music keep coming back? You see it a lot more than you do R&H’s other perennial successes, Oklahoma and South Pacific, both of which also have relevance. I also answered this in 2024:

The Sound of Music is a great stepping stone for actors. The characters are known, people know the story, and because of this the performance can shine. Cabrillo/5-Star is well known for its ability to find and promote talent (I think that’s why it is so heavily supported by donors). I still remember seeing a young Katherine McPhee in a 2005 CMT production of Annie Get Your Gun; many other actors have gotten their start in Cabillo/5-Star productions. So, even though this is such a well-known show, I urge you to go see it. The performances are what make this production special.

That’s just a true for this Broadway tour. Let’s talk about some of the standout performances.

Let’s start with Cayleigh Capaldi as Maria, in her tour debut. She brought a load of personality and happiness to the role (although I think in that area the 5-Star Maria, Shannon O’Boyle, could have given her a run for her money). What struck me most about Capaldi was her voice. She kept making me think of Sutton Foster; if you closed your eyes, you might think it was Foster singing (and, speaking of Foster, she’s going to be the opening concert of the Soraya season. More on that in a minute). She had the voice; she had the humor. She was perfection in the role.

Then there was Kevin Earley as Captain Von Trapp. We’ve known Kevin for years: he was very active in the Southern California theatre community. I think we first saw and met him back in February 2006 when he was in It Came From Beyond; our friend Sheri was doing his website at the time. We saw him again in 2006 when he was in Johnny Guitar at La Mirada. We saw him in Empire: The Musical back in 2016. Most recently, we saw him in Old Friends at the Ahmanson in 2025. I swear, that man must have a mirror in his closet, because he hasn’t aged a day. He has one of the loveliest singing voices around, and he brought a personality and a playfulness to the Captain that I haven’t seen before. He also had astonishing acting and characterization—watch how he is checking the curtain during the concert numbers, and watch his facial expressions during his interactions with Max and Elsa.

Christiane Noll was spectacular as the Mother Abbess. Normally this is a role given to an older soprano who plays it very wooden. Noll brought play to the role—just watch her during “My Favorite Things” and some of her other scenes. She also has on of the best singing voices around.

Ariana Ferch was very strong as Liesl. In her tour debut, she brought a wonderful voice to the character; in later scenes, watch her playfulness and joy with the character on stage.

Nicholas Rodriguez was a strong Max; he has evidently played the Captain in other productions. He also had a wonderful voice and was having a lot of fun with the sardonic nature of Max. Watch him especially during his interactions with Elsa and during the Concert scene.

If there was a weak point (and it was a very minor one), it might have bene Kate Loprest as Elsa. She had the characterization down; but her voice seemed a bit wrong for the character: a bit too shrill, perhaps. But that is a very very very minor quibble.

Overall, the production was a delight (and there was no glitter cannon—a common complaint of mine). I also applaud the use of traditional scenic design: I could detect no use of projection, and there were no credits in the program for a projection designer. Far too often these days, stage productions overuse projection design, and this makes it a problem for shows to have a life past the Broadway production or subsequent Broadway tour. (Although, of course, for The Sound of Music, there is no question about there being post-Broadway productions. I don’t think it has ever been off the stage since 1959).

Yes, it is an old chestnut. But this is a well done production of The Sound of Music with spectacular performances, and is well worth seeing (if only to see Kevin and Cayleigh as the Captain and Maria). It continues at the Hollywood Pantages until May 24. Tickets are available through the BIH Ticketing Partner, and discount tickets might be available through TodayTix.

Credits

The Sound of Music. Music by Richard Rodgers. Lyrics by Oscar Hammerstein II. Book by Howard Lindsay and Russel Crouse, suggested by The Trapp Family Singers by Maria Augusta Trapp. Directed by Jack O’Brien. Choreographed by Danny Mefford.

Cast: Cayleigh Capaldi Maria Rainer; Kevin Earley Captain Georg von Trapp; Christiane Noll Mother Abbess; Nicholas Rodriguez Max Detweiler; Kate Loprest Elsa Schraeder; Anriana Ferch Liesl; Ian Coursey Rolf Gruber; Torben Mularski Friedrich; Skylar Matthews Louisa; Reece Boyle Kurt; Haddie Mac Brigitta; Berkeley Waluk Marta; Everly Beeson Gretl; John Adkison Franz, Ensemble; Corey Greenan Admiral von Schreiber, Ensemble; Jennifer Malenke Frau Schmidt, Ensemble; Daniel Robert Sullivan Herr Zeller, Ensemble; Blaire Eilene Baker Ensemble; Sydney K. Borchers Ursula, A New Postulant, Ensemble; Dylan Bradford Ensemble; Alli Echelmeyer Ensemble, Dance Captain; Hugh Entrekin Ensemble; Charlotte Jenkins Ensemble; Meredith Lustic Sister Sophia, Ensemble; Mark Bradley Miller Baron Eberfeld, Ensemble; Tess Primack Sister Margaretta, Ensemble; Lisa Rosetta Strum Baroness Elberfeld, Sister Berthe, Ensemble. Non-Ensemble Understudies: Brady Carville u/s Kurt, u/s Friedrich; Rory L. Prichard u/s Marta, u/s Brigitta; Tessa Mae Pundsack u/s Louisa, u/s Brigitta. Swings: Steven Grant Douglass, Ruthie Sangster.

Music Department (🌴 indicates local): Andy Einhorn Music Supervision and Additional Orchestrator; Robert Russell Bennett Orchestrations; Jonathan Marro Music Director, Conductor; John Miller Music Coordinator; Anne Van Steenwinkel Assoc Conductor, Keyboards; Griffin Strout Keyboards; Kyle Knepper Trumpet; Sarah Fazendin Violin, Concertmaster; 🌴 Jen Choi Fischer Violin; 🌴 Ira Glansbeek  Cello ; 🌴 Ian Walker Bass; 🌴 Jeff Driskill Flute, Piccolo, Clarinet; 🌴 Michele Forrest Oboe, English Horn; 🌴 William May Bassoon; 🌴 Emily Pesavento French Horn; 🌴 Aaron Smith Trumpet; 🌴 Charlie Morillas Trombone; 🌴 Danny Taylor Percussion; 🌴 Ryan Whyman Keyboard Sub; 🌴 Eric Heinly Orchestra Contractor; Hiro Iida and Ethan Deppe for Strange Cranium Electronic Music Design.

Production and Creative: Richard Rodgers Music; Oscar Hammerstein II Lyrics; Howard Lindsay and Russel Crouse Book; Jack O’Brien Director; Matt Lenz Assoc Director; Danny Mefford Choreographer; Mark Myars Assoc Choreographer; Douglas W. Schmidt Scenic Designer; Jane Greenwood Costume Designer; Natasha Katz Lighting Design; Kai Harada Sound Design; Tom Watson Hair, Wig, and Makeup Design; Trude Rittmann Dance and Vocal Arrangements; Leigh Zimmerman Intimacy Director; The Telsey Office Casting; The Road Company Tour Booking; Gentry & Associates General Manager; Kent McIngvale & Company Tour Press & Marketing; Jamey Jennings Company Manager; Elle Aghabala Assoc Company Manager; Brigham Johnson Production Stage Manager; Kali Ashurst Stage Manager; Megan Belgam Asst Stage Manager; Christine Tureta Tutor, Child Wrangler. “Something Good”: Lyrics by Richard Rodgers, Additional Lyrics by Jack O’Brien.

Administrivia

I am not a professional critic. I’m a retired cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; BIH/Pantages; Pasadena Playhouse; The Soraya, Chromolume Theatre, and 5-Star Theatricals.

Want to find a show: Check out the Theatre Commons LA show list. Other good lists are the Theatre in LA listings; the TodayTix listings; OnStage 411 (use the “shows” drop down); and Theatermania.

I used to do more detailed writeups; here’s my current approach.

There were some interesting theatre and theatre-related announcements this week. First, the Pasadena Playhouse announced their 2026-2027 season. It’s pretty spectacular. The season begins with a new production of Friedrich Dürrenmatt’s tragicomedy The Visit, directed by Tony Award winner Darko Tresnjak and starring Jefferson Mays. The Visit was later turned into a musical by Fred Kander and John Ebb; but this is the play version. Next up is the long-awaited L.A. premiere of Passing Strange, the Tony-winning musical based on the life of L.A.-born musician Stew, directed by Tony nominee Zhailon Levingston. Passing Strange never toured after winning the 2009 Tony, so this is its LA debut. There is then a TBA winter production (hopefully better than last year’s Ha Ha Ha Ha Ha Ha, which was horrible). That is followed by Real Women Have Curves: The Musical, the musical version of the play we saw two weeks ago. This was on Broadway but did poorly and thus never toured; it is its LA premiere. Lastly, a revival of Tennessee Williams’ Pulitzer Prize-winning play Cat on a Hot Tin Roof, with Alfred Molina. We’ve already renewed our membership.

Also announcing last week was the Soraya, previously known as the Valley Performing Arts Center on the campus of Cal State Northridge. Can’t you just hear Vin Sculley saying “Isn’t it beautiful”. They have announced their 2026-2027 season. There is loads of good stuff this season. Notable for theatre folks is the opening show, Sutton Foster; in April, Audra McDonald will grace the stage. Along the way, there are shows such as Snarky Puppy with the CSUN “A” Jazz Band, Branford Marsalis and Dianne Reeves celebrating John Coltraine; a tribute to Gershwin and the Golden Age with the LA Jewish Symphony; the Dance Theatre of Harlem; Terence Blanchard and Ravi Coltraine; A tribute to Frank Sinatra with the Clayton-Hamilton Jazz Orchestra; the Emmet Cohen Trio; and much more. Music of all varieties, jazz, dance, pop, classical, and loads more. Those are just the shows we’re interested in. Memberships are also on sale.

Lastly, May saw the opening of ticket sales for the Hollywood Fringe Festival. There are over 2,150 performances; there are 439 shows listed in the show catalog. These all occur during the month of June, with multiple shows throughout the day. 20 minutes to move in; then the show; 20 minutes to move out. Ticket prices are low. The shows run the gamut, from totally strange to one person shows to full on short plays to musical reviews. You’re sure to find something you’ll like.

Upcoming

Key: ♦ Theatre / ♣ Music / ◊ Other Live Performance – Next 90ish Days (⊕ indicates ticketing is pending).

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🗳️ June 2026 Primary Election Ballot Analysis (VI): Summary

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Here in California (and in Los Angeles in particular), we have an election coming up. You know what that means: Every election, I do a detailed ballot analysis of my sample ballot. This is where I examine each candidate and share my conclusions, and invite you to convince me to vote for the other jerk.  Because this is a long ballot, I’m splitting this analysis into a few chunks (note: links may not be available until all segments are posted):

  1. Governor of California
  2. Other State and National Offices (excluding judges)
  3. County and City (Los Angeles) Local Offices (excluding judges)
  4. Measures (nee Propositions)
  5. Judicial Offices (County and State)
  6. Summary

This part provides a summary of my ballot analysis results. Please read the full explanation of why I chose who I chose in the links above. Note: This summary is presented in the order of my Sample Ballot.

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🗳️ June 2026 Primary Election Ballot Analysis (V): Judicial Offices

Posted onAuthorcahwyguy5 Comments

Here in California (and in Los Angeles in particular), we have an election coming up. You know what that means: Every election, I do a detailed ballot analysis of my sample ballot. This is where I examine each candidate and share my conclusions, and invite you to convince me to vote for the other jerk.  Because this is a long ballot, I’m splitting this analysis into a few chunks (note: links may not be available until all segments are posted – unposted segments are marked [PENDING]):

  1. Governor of California
  2. Other State and National Offices (excluding judges)
  3. County and City (Los Angeles) Local Offices (excluding judges)
  4. Measures (nee Propositions)
  5. Judicial Offices (County and State)
  6. Summary

Note: This analysis is NOT presented in the same order as the Sample Ballot (the ballot order makes no sense). I’ve attempted instead to present things in more logical order.

This part covers all the judgeships on the ballot:

  • Judge of the Superior Court: Office № 2 ❦ № 14 ❦ № 39 ❦  № 60 ❦  № 64 ❦  № 65 ❦  № 66 ❦ № 81 ❦  № 87 ❦  № 116 ❦  № 131 ❦ № 141 ❦ № 176 ❦ № 181 ❦ № 196

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🗳️ June 2026 Primary Election Ballot Analysis (IV): Measures (nee Propositions)

Posted onAuthorcahwyguyLeave a comment

Here in California (and in Los Angeles in particular), we have an election coming up. You know what that means: Every election, I do a detailed ballot analysis of my sample ballot. This is where I examine each candidate and share my conclusions, and invite you to convince me to vote for the other jerk.  Because this is a long ballot, I’m splitting this analysis into a few chunks (note: links may not be available until all segments are posted – unposted segments are marked [PENDING]):

  1. Governor of California
  2. Other State and National Offices (excluding judges)
  3. County and City (Los Angeles) Local Offices (excluding judges)
  4. Measures (nee Propositions)
  5. Judicial Offices (County and State)
  6. Summary

Note: This analysis is NOT presented in the same order as the Sample Ballot (the ballot order makes no sense). I’ve attempted instead to present things in more logical order.

This part covers the State and Local Measures

  • Los Angeles County Measures: Measure ER
  • Los Angeles City Measures: Measure CB ❦ Measure TC ❦ Measure TT ❦  Streetlight Maintenance Assessment (separate ballot)

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🗳️ June 2026 Primary Election Ballot Analysis (III): County and City (L.A.) Local Offices

Posted onAuthorcahwyguyLeave a comment

Here in California (and in Los Angeles in particular), we have an election coming up. You know what that means: Every election, I do a detailed ballot analysis of my sample ballot. This is where I examine each candidate and share my conclusions, and invite you to convince me to vote for the other jerk.  Because this is a long ballot, I’m splitting this analysis into a few chunks (note: links may not be available until all segments are posted – unposted segments are marked [PENDING]):

  1. Governor of California
  2. Other State and National Offices (excluding judges)
  3. County and City (Los Angeles) Local Offices (excluding judges)
  4. Measures (nee Propositions)
  5. Judicial Offices (County and State)
  6. Summary

Note: This analysis is NOT presented in the same order as the Sample Ballot (the ballot order makes no sense). I’ve attempted instead to present things in more logical order.

This part covers the Local Offices (excluding US Congress and State Assembly)

  • County of Los Angeles: Board of Supervisors, 3rd District ❦ County Assessor ❦ County Sheriff
  • City of Los Angeles: Mayor of Los Angeles ❦ City Attorney ❦ City Controller

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