Tag: pantages-hollywood

It’s been a hot minute, hasn’t it, Chicago?

As preparation for doing this writing, I searched and searched online to see if I could find the show in my archive of reviews I posted since I started my blog back on lil’ ol’ Livejournal back in 2004. I couldn’t. So I went to the garage to check my file of programs (which I really need to update with the 10+ years of shows since I last filed programs). It has been a hot minute. The last time I saw this version of Chicago was the first production of this revival in Los Angeles, at the Ahmanson Theatre, May 1998, with Charlotte d’Amboise, Jasmine Guy, Brent Barrett in the leads. The rest of that season, if you care, included Bring in ‘da Noise, Bring in da Funk, Rent, and An Enemy of the People (which I don’t think I saw). The time before that was seeing the original production at the Dorothy Chandler Pavilion, part of the LACLO 41^st Season. Back then, Los Angeles and the LACLO tended to get the original cast, not a touring cast, so we had the originals: Gwen Verdon, Jerry Orbach, and Chita Rivera (and dancing in the ensemble was Susan Stroman). In case you’re curious, the other shows that season were Pippin, Pal Joey, and The Sound of Music (with Florence Henderson).

Chicago has long been one of my favorite shows—the music has the quality to uplift me. I constantly played the original cast album, especially loving the velvet tone of Jerry Ohrbach on “Razzle Dazzle”, as well as the other high energy numbers. A character modeled after Mr. Cellophane was my superhero when we did Superhero 2044 in the UCLA Computer Club. I still remember having to miniaturize weapons so no one would notice my character. When the revival album came out, I love it—especially Bebe Neuwirth’s timing and delivery. But I haven’t seen the show in a long time; with the tour still trudging along, Chicago is one title that has never been released to the regional producing circuits, and so there have been precious few productions since the 1996 revival other than the tour (at least in the US).

By now, I’m going to guess that most folks are familiar with the story of Chicago. The highly successful movie did that, even if folks never saw it on stage. People are familiar with the style of Chicago, which was Bob Fosse at his obsessive peak; the revival attempted to preserve that with choreography in the style of Bob Fosse being done by his second muse, Ann Reinking. What most people today aren’t familiar with is the original conceit of the show: Every number was to be a vaudeville style number, in the style of a different vaudeville performer. There’s a good analysis of that aspect of the show here; here’s a quote from that article to explain things:

Almost every song in the show is modeled on an actual vaudeville act or star. In “All That Jazz,” Velma is playing Texas Guinan, inviting the audience in to drink and have a good time. She is our host for the evening. “Funny Honey” starts out being an homage to torch song queen Helen Morgan’s song “Bill” from Show Boat, a song about an ordinary man, who’s nothing special, but she loves him anyway. Roxie even sits atop a piano, like Helen Morgan often did. But then Kander & Ebb turn “Bill” on its ear, as Amos finds out just who the murder victim is and rats Roxie out. As Roxie gets drunker and drunker, as Amos finally tells the cop how it really happened, the lyric changes its tone and it ends with her calling Amos “That scummy, crummy dummy hubby of mine.” A perfectly cynical Fosse moment. And if that isn’t cynical enough, we find out in the courtroom scene later that Roxie has cheated on her husband and murdered her lover on Valentine’s Day!

In the original, this homage was emphasized in the dress and the staging. But audiences at the time didn’t get it, and the show floundered against its competition, especially this new little show that swept the awards: A Chorus Line. The cast album survived; the show didn’t. In 1996, Encores at City Center revived the show with a minimalize production. No sets to speak of. The cast all in black, surrounding the orchestra (which was on-stage). It was a smash. It moved to Broadway and has been running ever since. 26 years. A tour started soon after, and iterations of that tour are still crossing the country. Back when I saw the revival, in 1998, I wasn’t writing up shows. If I had, I probably would have discussed how I enjoyed hearing the musical after all these years, but bemoaned that the original conceit was lost. That’s even worse today: do “the kids” of today even know who the vaudeville stars are?

Last week, writing about Million Dollar Quartet, I bemoaned how dated musicals about the 1950s really were, and how they didn’t speak to audiences of today; this is especially true for jukebox musicals. Yet Chicago was packed? With young folk, even. I guess that’s because greed and treachery never go out of style; sex and violence always sells. We have yet another politician attempting to win via razzle dazzle instead of substance and truth. The original came out in the post-Watergate era; we weren’t as jaded then. The revival opened in the era of the OJ trial; and the notion of trials that were circuses were in the news. America loves its sex and cynicism.

So how as the tour held up after all these years. I’ll note that this particular tour is a non-Equity tour, meaning younger actors and no real name actors. It’s also been on the road a long time, which can lead tours to get sloppy.

I’ll start with the good news: The Orchestra is flaming hot. You see that during the Entr’acte when they just wail. They are the real stars of this production (probably because they are union musicians). As for the performers, they are very strong vocally and with characterizations and dance.

Alas, for the bad news: The wear is showing. I noticed this first in the casting. Fosse was a perfectionist. He had a look, and he wouldn’t let it be destroyed for anything. The folks casting this tour? They may have picked for talent, but look was problematic. Kailin Brown, as Velma, had a visible tattoo between her breasts right at her cleavage; she also had a tattoo on her arm and stars down her back. This is the 1920s; women did not have tattoos then. Cover them with pancake for the show. Perhaps the kids these days who are in a tattoo world just didn’t notice; I found them a distraction that drew my attention away from the dance. J. Terrell, as Mary Sunshine, had a visible tooth missing in front. Strong vocally, but (again) distracting visually.  Lastly, Roxie is supposed to be a redhead—its in one of the song lyrics. The costumers missed that detail. I also found the choreography not quite as hot as it once was. Perhaps styles have changed. Perhaps it is because we’re in a show where the choreography has been a game of telephone: The Revival was Ann Reinking doing it in the style of Fosse; the tour has recreation of the original (revival) choreography by Gregory Butler.

Long running shows, and long running tours have this problem. I don’t fault the actors: they are trying hard, and doing their best. The problems here are all correctable: pancake makeup, a tooth cap, hair color. But what they demonstrate is complacency, living on a reputation. New audiences to a show may not notice. But there does come a time where a show may need to come off the road; where the Broadway production needs to close to let the show rest. Let a revival come after a few years to see what new it can uncover in the show. Let regional theatres get a crack to bring their own magic to the material. Gypsy is a fine example of this: It comes back after a few years with strong revivals. Hell, look at the current Sweeny Todd about to close on Broadway. Chicago, in particular, is great to keep touring because it is less expensive to tour: There aren’t a lot of costumes and sets; there isn’t a lot of projections and magic to recreate. Orchestra on stage; black leotards; cane chairs, and some ladders. It can fit in almost any theatre; few modifications and no real fly-space required.

If you haven’t seen Chicago on stage before, by all means go see this tour. It’s a great show, and the performers here give it their all. If you had the opportunity to see Chicago when it was fresh (either the original or the revival), then you’ll start to see the wear and the original magic may be lost a bit.

But I still love the music.

[As a PS: I’ll note my enjoyment was also lessened by the fellow sitting in front of me, who was tall and kept moving his head so I can to keep switching from side to side just to see the show. He also smelled. Some things are just out of your control.]

The last performances of this iteration of the Chicago tour at BiH/Pantages are today. I’m guessing they are sold out, but you can possibly get tickets through the website. From Los Angeles, the tour goes to such big cities as Conway AR, Tulsa OK, Dallas  TX, Oklahoma City  OK, and Easton PA. Clearly, this is not the first circuit for this tour cast.

———

Cast: Kailin Brown Velma Kelly; Katie Frieden Roxie Hart; Connor Sullivan Billy Flynn; Robert Quiles Amos Hart; Illeana “Illy” Kirven Matron “Mama” Morton; J. Terrell Mary Sunshine; Paul Amrani The Judge, Ensemble; Olivia Lacie Andrews Annie, Ensemble; Bentlei Benak Mona, Ensemble;  Jason Carroll The Bailiff / The Clerk, Ensemble; Ed Gotthelf Fred Casely, Ensemble ; Olivia Greco June, Ensemble; Liz Lester Go-To-Hell Kitty, Ensemble; Joe Meldrum Aaron, Ensemble; Adolfo Ortiz-Feder Harry / The Jury, Ensemble; Lauren Teyke Hunyak, Ensemble; Kodiak Thompson The Doctor / Harrison, Ensemble; Francisco Thurston Sergeant Fogarty, Ensemble; Cait Zuckerman Liz, Ensemble. Swings: Faith Jordan Candino, Austin Taylor Dunn Asst Dance Captain; Chelsea James Dance Captain. At our performance, Asher Van Meter had assumed the role of Harry / The Jury; Van Meter wasn’t even listed in the Playbill! Of course, this is a non-Equity show, so who do they complain to?

Music: Cameron Blake Kinnear Music Director, Conductor; Andy Chen Assoc Conductor; Sean Franz Reed 1 – Clarinet / Soprano Sax / Alto Sax / Piccolo; Brett McDonald Reed 2 – Clarinet / Soprano Sax / Tenor Sax / Piccolo; Ken Fisher Reed 3 – Bass Clarinet / Bari Sax / Tenor Sax / Soprano Sax / Clarinet; Aaron Smith and Javier Gonzalez Trumpet / Flugelhorn; Charlie Morillas Trombone; Alby Potts Piano ; Brian LaFontaine Banjo / Mandolin / Ukulele; Blake Cooper Acoustic Bass / Tuba; Joel Alpers Drums / Percussion; Eric Heinly Orchestra Contractor.

Original Creative and Production: Music by John Kander. Lyrics by Fred Ebb. Book by Fred Ebb & Bob Fosse. Original production directed and choreographed by Bob Fosse. Original NY Revival directed by Walter Bobbie. Original NY Revival Choreography by Ann Reinking in the style of Bob Fosse.

Tour Creative and Production: David Hyslop Re-creation of Original Production Direction; Gregory Butler Re-creation of Original Production Choreography; John Lee Beatty Scenic Design; William Ivey Long Costume Design; Ken Billington Lighting Design; Scott Lehrer Sound Design; Robert Billig Supervising Music Director; Cameron Blake Kinnear Music Director; Ralph Burns Orchestrations; Rob Fisher Vocal Arrangements; Bernie Ardia Wig & Hair Design; Justen M. Brosnan Makeup Designer; Peter Howard Dance Music Arrangements; David Thompson Script Adaptation; JP Meyer Music Coordinator; Andy Chen Assoc Conductor; ARC-Duncan Seward, CSA & Patrick Maravilla Casting; Anita Dioniak & Melissa A. Hazek Tour Marketing & Press; Camden Loeser Resident Director / Asst Choreographer; Marc Clemiewicz Resident Company Manager; Taneal Williams Tour Company Manager; The Booking Group Tour Booking; Lauryn Elizabeth Production Stage Manager; Bethany Sortman Production Supervisot; Elspeth Bustard Asst Stage Manager.

♦ ♦ ♦

Administrivia: I am not a professional critic. I’m a 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; Geffen Playhouse (Mini-Subscription); 5-Star Theatricals. We’re looking for the right intimate theatre to subscribe at — it hasn’t been the same since Rep East died (it’s now The Main, and although it does a lot of theatre, it doesn’t have seasons or a resident company), and post-COVID, most 99-seaters aren’t back to doing seasons (or seasons we like). I used to do more detailed writeups; here’s my current approach.

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

• March: ♣ Go Jazz Big Band at The Main; ♦ Fat Ham at Geffen Playhouse.
• April: ♦ Funny Girl at CTG/Ahamanson Theatre; ‍◊ Renaissance Pleasure Faire; Xanadu at Canyon Theatre Guild; ♦ Spongebob Squarepants – The Musical at CSUN Theatre; ♣ Gordon Goodwin and the Big Phat Band at BofA/Kavli Theatre in Thousand Oaks. Possible: ♦ Head over Heels – The Musical at Santa Clarita Performing Arts Center – COC.
• May: ♦ Hands on a Hardbody at Charles Stewart Howard Playhouse; ♦ Girl from the North Country at Broadway in Hollywood/Pantages; ♦ The Play That Goes Wrong at Canyon Theatre Guild (⊕)
• June: ♦ Jelly’s Last Jam at the Pasadena Playhouse; ♦ A Strange Loop at CTG/Ahamanson Theatre; ♦ Mrs. Doubtfire at Broadway in Hollywood/Pantages; ♦ You Can’t Take It With You (⊕) at Group Rep; and potentially some ♦ Hollywood Fringe Festival shows, although June is pretty well booked already.

On the Theatrical Horizon:

Morgan-Wixson Theatre in Santa Monica has announced their Mainstage 2024 Season, and it includes Bat Boy the Musical running Sept 28 through October 18. We saw Bat Boy back when CSUN did it in 2014; it is a wonderful musical about how a society treats outsiders. I also just learned about a theatre company in Fullerton, Maverick Theater. They are doing Evil Dead: The Musical , which is a hoot if you’ve never seen it (we’ve seen it twice). They also have some interesting other stuff on their season, and we might drive down for Santa Claus Vs The Martians in November.

There’s an important lesson that is taught in the musical The Wiz (which we saw last night at Broadway in Hollywood/Pantages Theatre): Believe in Yourself. Dorothy is supposed to learn, while out on the road, that the things she needed to survive and thrive were in herself all the time. She just needed to trust herself and see them. It is a lesson that this pre-Broadway tryout of The Wiz needs to learn: trust the material, and do it justice, and it will bring you home happier than when you left. But if you fail to discover your smarts, your heart, and your courage along the way, you may be stuck in a fantasy land that is more charade than real.

I’m probably one of the dwindling number of folks who saw the original version of The Wiz when it was on the road: it was at the Ahmanson Theatre the summer I graduated from high school. We didn’t have all the original cast, but we had some key folks: Dee Dee Bridgewater, Andre de Shields, Ted Ross. I subsequently got the cast album, and fell in love with it. It had such energy and pop. “Don’t Nobody Bring Me No Bad News” had me from that opening piano vamp; it is currently #24 in my Top 50 Most Played Songs out of the 56,000+ songs in my library. “So You Wanted to Meet the Wizard” grabs you from those opening horns and drums, and never lets you go (the recording I linked was from the opening night back in 1975, and you can just hear the energy). Even “Slide Some Oil to Me” has that energy and tempo, drawing heavily on the piano and the horns. The music and lyrics of Charlie Smalls, with some additional authors, combined with the original orchestrations of Harold Wheeler, just stun. Don’t want to go back that far? Listen to the energy of these songs in the somewhat recent live TV version (here’s No Bad News).

Now I’ve never seen the movie. I could never bring myself to transpose this story to New York, or age Dorothy 10+ years to satisfy some diva’s desire for screen time. But even there, the problem was the interpretation (more on that in a minute), not the musical interpretation. Mabel King and “No Bad News” still brings down the house. Even Nipsy Russell’s “Slide Some Oil To Me” isn’t bad.

But my wife and I both had the same comment with respect to the musical interpretation of this pre-Broadway tryout of The Wiz: It was tepid. The music lacked tempo. It lacked energy. It lacked horns and piano (I’m sorry, but one trumpet and one trombone does not a powerful horn section make). It gave the feeling that the director (Schele Williams) and the orchestrator (Joseph Joubert) were going for a Bluesy field, as opposed to the Jive Jazz of the original. It does not work—this show needs to up the tempo if it is going to make it. Of the faster songs in the show, only two got it right: Kyle Ramar Freeman’s performance of the Lion in “Mean Ole Lion” was spot-on; and the ensemble’s energy in “Everybody Rejoice” was great. However, for the slower numbers that were more traditional R&B, the interpretations were great. Nichelle Lewis (Dorothy)’s rendition of “Home” was wonderful, and Melody A. Bett (Aunt Em)’s was great with “The Feeling We Once Had”. Bett’s is a great example: Great on the slow number, but from the opening notes of her rendition of “Don’t Nobody Bring Me No Bad News”, you knew the tempo was off. The voice was there. The energy wasn’t.

The director also failed to trust the material. The problem was not the added and material by Amber Ruffin. Those did a great job of updating the characters. No, the problem was the more fundamental changes to the material. Songs were added (or restored) based either on the movie or recent productions (for example, “You Can’t Win”). Songs were rearranged; notably “What Could I Do If I Could Feel”, the Scarecrow’s introduction in the first act, became “We’re Gonna Make It” in the second act. “Wonder, Wonder Why” was added from the 1984 revival. A totally different version of the Tornado Dance was used. I’m not sure it helped. “You Can’t Win” was cut in Detroit in the original Broadway version; it was added back to the movie because it showcased Jackson. The song still isn’t right.

But the problem with the trust in the material goes beyond just the music—it goes to the story. As it was so long ago, I reviewed the synopsis of the original Broadway version. The original stage show set aside many of the “additions” that came in the 1939 movie, and hewed closer to the original L. Frank Baum material. William F. Brown (the original book writer, adapting the Baum material and not the movie), preserved many of the things from the book that never made it to the movie: Munchkin land was blue, Glinda’s land was red, the land of the Winkie’s was yellow, and the Emerald City was only green because you were required to wear green glasses upon entry. But here, the director’s vision muddled things around. Instead of the Munchkins, we got a New Orleans style wake for Evamean, the Wicked Witch of the East… and we get both Addaperle and Glinda. Instead of an opening with both Aunt Em and Uncle Henry, we get just Em (and with a pre-prise of “Soon as I Get Home”). We get a tepid tornado. We get a strange scene with the poppies (which had a different way of resolution in the original). We get drastic cuts in the battle with the witch in the second half. We get a completely different resolution with the Wiz in the second act, and how the characters learn that they always had the attributes they were seeking. We get the WInkies in bright multicolored T-shirts, vs the yellow that is the tradition of Winkie-land.

In some ways, it is as if the director was cutting things to save costs, reduce the scenery required for the road, and perhaps reduce the cast size. The orchestra was certainly cut back from the size it was in the 1970s. There are ways to work within a budget. Skimping in the wrong places is not one of them.

This production is on the road to Broadway. I think it opens there in April 2024. Fixing the tempo of the songs is something that is doable, and is something that I hope they listen to the reviewers and fix. Fixing the changes they made to the story is a lot harder, and probably can’t be done. Are these story changes enough to torpedo the show? They will be problematic for purists like me who love the original. But I do think the story changes won’t be noticed by younger audiences, who remember only the movie (which was little like the original stage production), or the live TV production (which was only broadcast twice).

Some of the other production aspects were, to lack a better term, workable. The choreography by Jaquel Knight was good and pleasant to watch; but it rarely wowed or went above and beyond. The set design was clearly built to fit the touring life well, but there was still the over-dependence on projections. Projections at times can simplify things and lower costs, but they can also make it harder for subsequent regional life of a show.

To be clear: I’m not saying this was a bad show. It was very enjoyable. But it could have been so much more. It just had under-developed heart, brain, and courage. But there were many pieces that did work.

First and foremost, the cast was spectacular. Nichelle Lewis was a knockout as Dorothy: she got the characterizations down pat, and boy could that girl sing. From her opening pre-prise to the closing note of “Home”, she grabbed you. Her companions on the road were equally strong, most notably Kyle Ramar Freeman’s Lion; but Avery Wilson’s Scarecrow and Phillip Johnson Richardson’s Tinman were also great. Although the tempo was wrong, the singing and characterizations in “Slide Some Oil To Me” were great. Melody A. Betts’ opening number as Aunt Em (“The Feeling We Once Had”) was a perfect characterization; her voice was great in “No Bad News”, even if the tempo was off. Wayne Brady was strong as the Wiz, especially in “Y’all Got It” (although he didn’t quite have the energy in “Meet the Wizard”). Deborah Cox’s Glinda did spectacular with “Believe in Yourself”. So the talent and casting was spot-on.

Also strong was the costuming: The bright colors popped in numerous sequences, but even more notable was the opening number. It was costumed to make everyone appear to be black and white, making the transition to color work. I can’t recall if the original did this. It was certainly a takeoff of the technicolor transition of the original, but this one works. Notably, unlike the movie, when Dorothy returns to Kansas for the closing scene, the color has returned to the landscape.

The additional humorous material added by Amber Ruffin worked well. This show has many laugh out loud moments, and has much more humor than did the original.

So, let’s get to ultimate question: Should you see this? If you want to get a sense of what the original 1975 version was like, I’d say to watch the Live TV version (skip the movie: I still think the transition to New York and a 24 year old schoolteacher was wrong wrong wrong). However, if you want to see some remarkable performances and a … different … take on the material (more bluesy, less in-your-face up tempo jazz), this is worth seeing. Hell, it’s worth seeing just to see the star-to-be that is Nichelle Lewis. That girl is going to go far. It’s also worth seeing for Kyle Ramar Freeman’s lion.

The Wiz continues at Broadway in Hollywood/Pantages Theatre through March 3, 2024. I understand the run is close to sold out, but tickets may be available through the BiH Website. Note that Broadway in Hollywood will be announcing their 2024-2025 season on February 23; it is at that time that autorenew subscribers (like me) will have a chance to purchase tickets for the return of Hamilton (over the summer) and Wicked (December 2024). I have guesses as to which shows will show up based on what I know is touring. If I had to guess, I’m sure & Juliet, Shucked, Some Like It Hot, New York New York and Back to the Future will show up, although one of those could end up at the Ahmanson. The revival of Sweeny Todd might to to the Pantages, although it seems more like an Ahmanson show; Life of Pi is certainly more of an Ahmanson show. I’m not sure where Kimberly Akimbo or A Beautiful Noise will end up. The former is a toss up; the latter is more Pantages material but it all depends on the other shows they pick. So, yes, I’m looking forward to the announcement.

 ———

The Wiz. Book by William F. Brown, Music and Lyrics by Charlie Smalls. Adaopted from “The Wonderful Wizard of Oz” by L. Frank Baum. Additional Material for this production by Amber Ruffin. Directed by Schele Williams; Choreography by Jaquel Knight.

Cast (∈ denotes ensemble): Nichelle Lewis Dorothy; Avery Wilson Scarecrow; Phillip Johnson Richardson Tinman; Melody A. Betts Aunt Em / Evillene; Wayne Brady The Wiz; Deborah Cox Glinda; Maya Bowles ∈; Shayla Alayre Caldwell ∈; Jay Copeland ∈; Allyson Kay Daniel Addaperle, ∈; Judith Franklin ∈; Collin Heyward ∈; Amber Jackson ∈, Dance Captain; Olivia “Melo. J” Jackson ∈; Christina Jones ∈; Polanco Jones Jr ∈; Kolby Kindle ∈; Mariah Lyttle ∈; Kareem Marsh ∈; Anthony Murphy ∈; Cristina Raé ∈; Avilon Trust Tate ∈; Keenan D. Washington ∈. Swings and Standbys: Michael Samarie George Swing; Matthew Sims Jr. Swing; Timothy Wilson Swing; Alan Mingo Jr. The Wiz – Standby.

Production and Creative Team: Joseph Joubert Music Supervision, Orchestrations, Music Arrangements; Allen René Louis Vocal Arrangements, Music Arrangements; Adam Blackstone Dance Music Arranger; Hannah Beachler Scenic Design; Sharen Davis Costume Design; Ryan J. O’Gara Lighting Design; Jon Weston Sound Design; Daniel Brodie Projection Design; Charles G. Lapointe Hair and Wig Design; Kirk Cambridge-Del Pesche Makeup Design; Tara Rubin Casting Casting Director; Paul Byssainthe Jr. Music Director; Kathy Fabian Production Properties Supervisor; Michael Aarons Music Coordinator; Tavia Rivée Jefferson Assoc. Director; Anthony “Kanec” Carr Assoc. Choreographer; Candace Brown Asst. Choreographer; Ralph Stan Lee Production Stage Manager; Heather Hogan Stage Manager; David S. Cohen Asst. Stage Manager; Foresight Theatrical General Manager.

Orchestra (≡ indicates local): Paul Byssainthe Jr Conductor/Keyboard 1; Darryl G. Ivey Asst Conductor/Keyboard 2; Trevor Holder Drums; Sean Franz ≡ Reed 1 (Flute / Piccolo / Clarinet / Oboe / English Horn / Alto Sax / Tenor Sax); Ken Fisher ≡ Reed 2 (Tenor Sax / Clarinet / Bari Sax / Bassoon / Bass Clarinet); Katie Faraudo ≡ French Horn; Aaron Smith ≡ Trumpet / Flugelhorn; Nick Daley ≡ Trombone / Bass Trombone; Linda Taylor ≡ Guitar (Electric / Nylon & Steel String Acoustic); Chris Thigpen ≡ Bass (Electric / Acoustic); Danny Taylor ≡ Percussion; Dolores Duran ≡ Keyboard Sub; Eric Heinly ≡ Orchestra Contractor; Michael Aarons and M²Music Music Coordinator; Anja Wood Assoc. Music Coordinator.

 ♦ ♦ ♦

Administrivia: I am not a professional critic. I’m a 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; Geffen Playhouse (Mini-Subscription); 5-Star Theatricals. We’re looking for the right intimate theatre to subscribe at — it hasn’t been the same since Rep East died (it’s now The Main, and although it does a lot of theatre, it doesn’t have seasons or a resident company), and post-COVID, most 99-seaters aren’t back to doing seasons (or seasons we like). I used to do more detailed writeups; here’s my current approach.

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

• March: ♦ One of the Good Ones at the Pasadena Playhouse; ♦ Million Dollar Quartet at 5-Star Theatricals; ♦ Chicago at Broadway in Hollywood/Pantages; ♣ Go Jazz Big Band at The Main; ♦ Fat Ham at Geffen Playhouse.
• April: ♦ Funny Girl at CTG/Ahamanson Theatre; ‍◊ Renaissance Pleasure Faire; Xanadu (⊕) at Canyon Theatre Guild; ♣ Gordon Goodwin and the Big Phat Band at BofA/Kavli Theatre in Thousand Oaks; ♦ Spongebob Squarepants – The Musical at CSUN Theatre.
• May: ♦ Hands on a Hardbody at Charles Stewart Howard Playhouse (⊕); ♦ Girl from the North Country at Broadway in Hollywood/Pantages; ♦ The Play That Goes Wrong at Canyon Theatre Guild (⊕)
• June: ♦ Jelly’s Last Jam at the Pasadena Playhouse; ♦ A Strange Loop at CTG/Ahamanson Theatre; ♦ Mrs. Doubtfire at Broadway in Hollywood/Pantages; ♦ You Can’t Take It With You (⊕) at Group Rep; and potentially some ♦ Hollywood Fringe Festival shows, although June is pretty well booked already.

On the Theatrical Horizon:

Morgan-Wixson Theatre in Santa Monica has announced their Mainstage 2024 Season, and it includes Bat Boy the Musical running Sept 28 through October 18. We saw Bat Boy back when CSUN did it in 2014; it is a wonderful musical about how a society treats outsiders. Conundrum Theatre Company will be doing Urinetown The Musical in mid to late March 2024 at the Broadwater; this is a great musical, but we can’t fit it into the schedule (nor does my wife care to see it again). However, if you haven’t seen it, it is worth seeing. I also just learned about a theatre company in Fullerton, Maverick Theater. They are doing Evil Dead: The Musical , which is a hoot if you’ve never seen it (we’ve seen it twice). They also have some interesting other stuff on their season, and we might drive down for Santa Claus Vs The Martians in November.

[This is another abbreviated write-up. More on write-ups going forward, as well as a year or more of theatre in review, later this week. Who remembers the line-eater bug these days?]

Last night, we saw “MJ: The Musical” at Broadway in Hollywood/Hollywood Pantages last night. A few observations about the show:

Start by letting this sink into your head: Michael Jackson’s music is oldies music. Remember a few weeks ago I commented, after a visit to a Bob’s Big Boy in Northridge, how their playing music from the 1950s felt off; it was like when I was growing up in the 1970s they were playing music from 1915. The 1950s was oldies music during the 1980s and 1990s. Grease (the movie) came out in 1978. So for kids in the 2020s, music from the early 90s is just about as old. Hence: Michael Jackson is oldies; it is classic pop of today. Watch minds explode.

Going into this show, I was torn. I liked the music of Michael Jackson (although I was never an obsessed fan — I was a different generation). But Michael Jackson has the same problem as Bill Cosby and Woody Allen and so many others: How do you separate the talented artist from the tortured soul who was alleged to (and quite likely did) so many problematic things. Although I have a large collection of Bill Cosby humor albums acquired in the 1960s, I no longer listen to them. I probably won’t until after he dies. I avoid Woody Allen films, as I don’t want to profit the man. Michael Jackson has similar problems, but he is gone. The owners of his music catalog benefit from this show; his children may benefit. A little better, but still a little uncomfortable.

That brings me to the gloved elephant in the room: Does the show address the allegations, or how he died? The answer is that it doesn’t. It’s is set at the time of the start of the Dangerous Tour. There are indications that he’s being hounded by personal questions (that are never stated). There’s brief discussion — but no exploration — of his dependence on pain killers. But that’s about it. I truly debated titling this writeup “Pay no Attention to the Man-Boy Behind The Curtain”, but that would have made the title too long.

So what perception of Jackson comes through? His perfectionism. His dedication to the music and the art. HIs dedication to dance. His putting art above the money, and performance above profit. His desire to do good for others. His shaping through the abuse of his father, Joseph.  As for Jackson’s origin story, well that comes through only superficially. We don’t see the conflicts, if they exist, between his brothers. We learn nothing about the relationship of Jackson and his sisters. We learning nothing about the person that was Michael Jackson; we learn only the image he wanted … sold to the public.

This is not to say that the show was bad. But if you go in expecting to learn something significant about Michael Jackson, you’ll be disappointed. This show, much likes Jackson himself, focuses on the image. “Bad” is only a song. There’s flash and sequins and sparkle and (pay no attention to the man behind the curtain) and music and sub-woofers and dance and dance and dance. It’s a Thiller, where the monsters aren’t real.

The performances were spectacular. The dancing was astounding. The music brought back memories.

But the story was focused on Jackson as the artist, with only glimpses of the person underneath the facade.

As this is an abbreviated writeup, I’m not listing the cast and creatives. Special mention should go to Roman Banks _MJ , for his nailing of the sound and movement of Michael Jackson, to Ethan Joseph _{Little Michael} for his powerhouse voice, and to Kellie Drobnick _{Tour Dancer}, who for whatever reason just kept catching my eye.

One additional thought: As I watch productions, I think about what additional life they will have. I can see shows like Come From Away being done at the regional, or even the high school level. I can see revivals and reinterpretations. As for MJ? I can’t see this being done at the High School level — they won’t find students who can do this. At the regional level, perhaps only in select levels. But the production design would be hard to duplicate with the intense projections. Further, duplicating this era at the regional or high school level might be hard, especially props and costumes. This tour might be it. I’d be interested in your thoughts about the the future life of this musical.

MJ: The Musical runs until January 28, 2024 at the Pantages Theatre.

Expectations are funny things. Sometimes, someone else expectation can screw up your life. You may be expected to be the perfect mother, the perfect student, the perfect sibling, the perfect minority. The pressure of those expectations can sometimes be overwhelming, and can push you into paths you never expect.

Expectations can often color what you expect as well. When I first learned about the Alanis Morissette jukebox musical, I expected this heavy rock musical, especially with the name “Jagged Little Pill”. I’m an older fart (in my 60s) — my taste in music runs a broad gamut, from Broadway cast albums to folk to classic rock to bluegrass to celtic to dixieland to big band to … well, as you can see, a wide variety. But I had never knowingly listened to Morissette. Her classic album was not part of my vernacular. And although, thanks to the Tony nomination, I had listened to this cast album ahead of time, it hadn’t overpowered the expectation regarding this show. Going in, I was expecting this really hard rock, extremely dark and pulsating show … emphasizing the “jagged” nature of the title. Little did I know that the emphasis was more on the “pill”, as in “Mother’s Little Helper”. Little did I know that the title really referenced a pre-chorus (“Swallow it down (what a jagged little pill) / It feels so good (swimming in your stomach)”) to a key point in this show: “You live, you learn / You love, you learn / You cry, you learn / You lose, you learn / You bleed, you learn / You scream, you learn”.

Jagged Little Pill is a show that both didn’t meet my expectations, and yet exceeded my expectations.

One more digression before I describe the show … or perhaps it is more of a question: Why do we go to theatre (especially with what it costs these days)? Is it for mindless entertainment? We certainly get that with spectacles like Moulin Rouge, which at the heart of it is all flash and pizazz but no real substance or story. We certainly get that with the movies-to-stage pipeline, which bring familiarity and songs but not much new. But the really successful shows are those that make you think — that touch a raw nerve. That could be the struggles of our nation’s birth, as in Hamilton, or it can issue like sexuality as in the recent The Prom or Spring Awakening. Do we go for the comfortable, or do we go because the purpose of theatre is just to make us uncomfortable, to hold up that mirror, to make us think. (and we’ll revisit this again next week when we see Daniel Fish‘s interpretation of Oklahoma at the Ahmanson Theatre (FB) next week).

This brings us back to Jagged Little Pill. First and foremost: Discard your expectations. This is not hard rock like American Idiot or Hedwig. This is more angsty ballads. As for the show itself: yes, it is dark. I’d characterize it best as a blender mix of Spring Awakening and Next To Normal. The subject matter touches on a number of triggery areas: drug abuse, rape and sexual assault, how we react to such assault, expectations on children, teen sex, gender issues. If these are triggers to you, be prepared. But the show handles them in a somewhat SFW combined with in-your-face manner. I didn’t find it too strong, but others might.

The show tells the story of the Healy family: super-mom Mary Jane, workaholic dad Steve, overachiever child Nick, and adopted minority child Frankie. Just from that description, what could go wrong. We learn over the course of the show the jagged little pill that this facade covers. This is told through the use of the Alanis Morissette‘s catalog, primarily her album Jagged Little Pill (Glen Ballard also worked on the music, the book was by Diablo Cody, and additional music was by Michael Farrell and Guy Sigsworth).  I don’t want to give too much away of the plot, but given the warnings and the description of the family, you should be able to figure out the eventual arc.

This brings us to the first assessment: story and music. I should note that this assessment is tempered a bit by poor sound, which I’m going to blame on the touring company as I know that BIH can get it right. Especially during the musical numbers, the lyrics were muddied (perhaps folks were mic-ed bad, or perhaps speakers were misaimed or mistuned). I could hear dialogue just fine. Now, if you’re younger and you’ve memorized these songs, that probably didn’t matter. But if you’re an old fart, it made the lyrics inaccessible with just snippet here and there. You get the sense but not the specifics. My advice: Try getting the headsets for the hard of hearing. You’ll probably get better sound.

That said: I found the story engrossing and relatable. There were things in this story that hit home for me, and I’m sure others as well. No family is perfect, and this showed how our experiences shape us. Not just the successes, but especially the failures. Where we fail. Where others fail. The Jewish High Holy days are coming up, and this is something I’ll be thinking about: how can I learn from my failures. This show raises those questions. That’s a good thing.

The show also touches on a number of hot topics today: sexuality and gender; sexual assault, consent, and who you believe; the current opioid epidemic; and what pressure does to us. That it raises these questions and provokes discussion places this head over heels a spectacular like Moulin Rouge. For story and subject along, this is a must see.

Now we have the next assessment: vision and execution. Diane Paulus‘s original direction, and Sidi Larbi Cherkaoui‘s original movement and choreography do a good job of bringing out the emotion. Place and mood is does through either projections or screens as opposed to traditional fly-scrims. This works well to immerse you in the story.

The last assessment is performance. Here I’d like to note a number of standouts. Heidi Blickenstaff (Mary Jane Healy) amazes me with her voice and her emotion. She conveys a wide range here, with a voice that handles both rock and soft well. Those who have been following her career know this well, from her first foreys with [Title of Show] to her performance in Freaky Friday. Her performance is remarkable. Also strong is Lauren Chanel (Frankie Healy), who really brings that character to life. Jade McLeod (Jo) is remarkable in “You Oughta Know”, and Allison Sheppard (Bella) does a wonderful job of leading the company in “No” (which should be a watchphrase for today: What part of “no” do you not understand). For the guys, I was really taken by Chris Hoch (Steve Healy), who reminded me a lot of the dad in Next to Normal. Dillon Klena (Nick Healy) was also strong.

Rounding out the performance credits with ensemble and smaller parts: Lee H. Alexander (Doctor, Ensemble), Delaney Brown (Denise, Ensemble), Maya J. Christian (Swing), Jada Simone Clark (Barista, Ensemble), Lani Corson (Jill, Teacher, Ensemble), Claire Crause (Swing, Dance Captain), Sean Doherty (Swing), Rishi Golani (Phoenix, Ensemble), Jason Goldston (Andrew, Ensemble), Zach Hess (Ensemble), Cydney Kutcipal (Ensemble), Jordan Leigh McCaskill (Pharmacist, Therapist, Ensemble), Alana Pollard (Ensemble), Daniel Thimm (Drug Dealer, Ensemble), Kei Tsuruharatani (Ensemble), Jena VanElslander (Courtney, Ensemble), and Charles P. Way (Swing/Asst. Dance Captain).

Music was provided by an onstage orchestra led by (🌴 indicates local) Matt Doebler (Conductor, Keyboard) and consisting of the following additional folk: Christopher Hanford II (Guitar 1), David Manning (Guitar 2), Jennifer Giammanco (Bass), Lucy Ritter (Percussion), 🌴 Nicole Garcia (Violin (Concertmaster)), 🌴 Rhea Hosanny (Viola), 🌴 Michelle Elliot Rearick (Cello), and 🌴 Brian LaFontaine (Guitar Sub). Rounding out the music department was: David Manning (Asst. Conductor), Michael Aarons (Music Coordinator), Emily Grishman (Music Preparation), Randy Cohen (Keyboard Programming), and 🌴 Eric Heinly (Music Contractor). Tom Kitt provided music supervision, arrangements, and orchestrations.

The design team consisted of: Riccardo Hernández (Scenic Design), Emily Rebholz (Costume Design), Justin Townsend (Lighting Design), Jonathan Deans (Sound Design), Lucy Mackinnon (Video Design), and J. Jared Janas (Wig, Hair, and Makeup Design).

Rounding out the production team with tour and other support were: Pascale Florestal (Assoc. Director), Marc Kimelman (Assoc. Choreographer), Yeman Brown (Asst. Choreographer), Ira Mont (Production Supervising Stage Manager), Justin Myhre (Production Stage Manager), Jenn Gallo (Stage Manager), and Ashani Smith (Asst. Stage Manager). It is interesting that an Intimacy Coordinator was not listed.

I’ll note: For this writeup, I have not done my usual hyperlinking of artists. I may go back and fill that in. Not doing it saves a lot of time.

Jagged Little Pill continues at Broadway in Hollywood through October 2. Tickets are available through the BIH Website. Discount tickets may be available through Goldstar.

❧

Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member (modulo the COVID break). 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 Actors Co-op (FB), 5 Star Theatricals (FB), Broadway in Hollywood (FB), the Ahmanson Theatre (FB), and we have a membership at The Pasadena Playhouse (FB). We were subscribing at the Musical Theatre Guild (FB) prior to COVID; they have not yet resumed productions. We have also been subscribers at the Soraya/VPAC (FB), although we are waiting a year before we pick that up again. 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. Note to publicists or producers reading this: here’s my policy on taking comp tickets. Bottom-Line: Only for things of nominal value, like Fringe.

Upcoming Shows:

For right now, we’re pretty much sticking with shows that come as part of our subscriptions or are of interest through our memberships. Looking ahead for the remainder of 2022:, the remaining September shows are Andrew Lippa’s version of The Wild Party at the Morgan Wixson Theatre, and Oklahoma at the Ahmanson Theatre (FB). October will bring Sanctuary City at the The Pasadena Playhouse (FB), Ghosts at the Odyssey Theatre Ensemble, The Addams Family at 5 Star Theatricals (FB), and To Kill a Mockingbird at Broadway in Hollywood (FB). November brings 2:22 – A Ghost Story at the Ahmanson Theatre (FB). Lastly, December will bring Annie at Broadway in Hollywood (FB).

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Footlights, as well as productions I see on Goldstar, On Stage 411 or that are sent to me by publicists or the venues themselves. 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 (although I know it is outdated and need to update it). Want to learn about all the great theatre in Southern California? Read my post on how Los Angeles (and its environs) is the best area for theatre in the Country (again, I need to review this for the post-COVID theatre landscape)!

 

Whew! It’s been a week, hasn’t it. I feel more exhausted than an actor trying to juggle pretending to be someone whom I’m not who is then trying to be someone who they are not while not letting out a secret… well, more on that in a minute. But I have been really busy, so please excuse the lateness of these writeups. They took a back seat to some other projects this week — working up updates to my highway pages,  and continued new work on getting a new podcast about highways off the ground. Combine that with a full time job, caretaking for my wife who is still down after her accident, and an ear infection, and … whew!

In any case, let’s talk about Tootsie, which is the current production of  Broadway in Hollywood (FB) at the Dolby Theatre. We saw it last Saturday, and I’m really conflicted in my reaction.  On the one hand, it was extremely funny with great comic timing. On the other hand, it is an attempt to bring 1980’s attitudes about men and women to a context 40 years later, and that just doesn’t work. Add to that the fact that this is a non-Equity tour (with the labor issues related thereto): yes, it gives talented actors their start, but it also treats them like second class citizens. Hmm, like women in a professional field. As I said, conflicted.

For those unfamiliar with the story, Tootsie is based on a 1982 comedy starring Dustin Hoffman, with a screenplay adapted by Larry Gelbart, Barry Levinson, Elaine May and Murray Schisgal from a story by Gelbart and Don McGuire. The basic premise is: perfectionist male actor, who is so annoying he has been blackballed by most directors, pretends to be a woman in order to get an acting job. In doing so, he takes a job away from his actress best-friend, and turns what is a crappy soap-opera into a smash success with his suggestions for improvement. He falls in love with the leading lady of the soap-opera (who is having an affair with the director), and has a male leading man fall in love with him. When the secret comes out, then (as they say) hijinks ensue.

This was really funny stuff in the 1980s folks. I mean that this was the second most profitable film of 1982, and was nominated for ten Academy Awards including Best Picture. In 1998, the Library of Congress deemed the film “culturally, historically, or aesthetically significant” and selected it for preservation in the United States National Film Registry. You can just imagine a producer thinking, 20 years later: This would be great on Broadway!

But the times, as Bob Dylan sang, are a changin’. The whole schtick of man dressing as women for humor isn’t as funny as it once was. Show real trans folk. That’s fine. Show real stories of drag queens, as serious drag queens (cough, Kinky Boots, cough, Everyone’s Talking About Jamie), OK. But dress as a woman for humor (as we saw in My Fair Lady or as is likely in the upcoming new version of Some Like It Hot), and it doesn’t work. I’ll note there are similar problems with playing on old and tired gay stereotypes — how well would a La Cage revival work these days. Perhaps this is why we’re hearing so little about Mrs. Doubtfire, currently on Broadway. It plays up the man dressed as woman for humor, and that just doesn’t fly. (Hmmm, he wondered, why there are so few shows that find humor in a woman dressing as a man? I can only think of two — both Shakespeare — and the humor is situational. Victor Victoria, perhaps? But I digress).

Now, add to this the problems related to #MeToo, sexual harassment in the workplace, and the growing concern about men not listening to the voices of women (as well as a man taking a woman’s job). You have to keep saying to yourself: What were these producers thinking smoking?

Yet with all these problems, Tootsie came to Broadway and found some measure of success. It was nominated for a slew of Tony awards and won two (including Best Book of a Musical). It beat out Beetlejuice, which was better and far less problematic. Yet problems remain.

To their credit, the new book by Robert Horn makes some significant changes. It moves the milieu from New York and the soap opera scene to Broadway. Now the actor (Michael Dorsey) is finding failure with Broadway directors, and so becomes an actress (Dorothy Michaels) in a successful new Broadway production. This makes it more accessible, and adds to the in-jokes that only those in the Broadway profession would get. But it works better on stage. Horn also explicitly acknowledges the problems with what Michael is doing: there is gnashing and wailing about how this is wrong, followed by jokes about how he’ll get paid less. There are scenes calling out Michael for mansplaining, while there are no remarks about the hidden-in-full-view Michael as Dorothy mansplaining away, and getting heard while women staffers are ignored.

So there are loads and loads of problems remaining in the book. And yet … I laughed. Especially in the second act, where Michael’s subterfuge is uncovered, and there are some wonderful comic timing scenes taking place. This thing is laugh out loud funny, while you’re thinking at the same time that it is so wrong. Just like Jackass. This is likely why it won best book: if the book can make you laugh at something that is patently so wrong these days.

While we’re talking book, we mustn’t forget this is a musical. In this case, the music and lyrics are by David Yazbek, The songs are very funny, but what kept bothering me is how much they sounded like Yazbek’s other work. I kept hearing hints of The Band’s Visit  or Women on the Verge and even The Full Monty. There are some particular riffs and styles that Yazbek likes, and they seem to have recycled themselves here. It was distracting, and Yazbek needs to work better on getting his musicals to not sound so much … like Yazbek-stereotypes.

The production was directed by Dave Solomon; Scott Ellis was the original Broadway director. Broadway choreography was by Denis Jones. Buried in the small print were the key local folks: Augustine Ubannwa Asst. Director and Chip Abbott Associate Choreographer. All are members of the Society of Stage Directors and Choreographers. I always have trouble telling direction from performance (which is how it should be), but the comic aspects of the direction were strong. Dancing was a bit weaker: there wasn’t anything that particular stands out in my mind a week after the performance.

Let’s turn to the performances, but before we do: When this production was originally booked for Broadway in Hollywood (back in the pre-pandemic days), it was to be an Equity tour, with Equity actors, and Equity pay scales, and Equity health insurance and such. But, on the verge of going out, it was recast and went out as a non-Equity tour. So note: Union directors and choreographers, union scenic artists, union back and front of house, but non-union actors. This is not meant as a disparagement of the actors, who do a remarkable job (as I’ll describe below). But it is a ding to the producers, who are getting away with paying them less and providing fewer benefits (pay breakdown) and worse working conditions. This has led to increased efforts from Equity to go after the non-Union tours. In particular, they are going after the touring companies that often have union and non-union versions, feeding back into the same pockets. If you ever want a key difference between Broadway in Hollywood and Center Theatre Group: CTG only does Equity productions on the main stages (and CTG does show production, not just booking). BIH books both Equity and non-Equity productions. Rant over, and I will say that I do still love Broadway in Hollywood — their subscriber support folks are the greatest (more on that later). I just wish the talent got treated as well, and part of that is encouraging the industry to do Equity tours.

Despite being young, the cast was excellent — drawing heavily from other non-Equity tours and the strong regional theatre markets. In the lead position was Drew Becker Michael Dorsey / Dorothy Michaels . Becker was remarkable in the role, with great comic timing and performing chops. He captured both the masculine and the feminine sides well, and had a strong singing voice. But as I noted, what really impressed me was his comedy. There were times where he said everything with a simple facial expression, a pause, or a simple reaction. To this untrained eye, that goes beyond the direction to bringing the actor’s chops to the role. I hope others see it.

The other key people in Michael’s direct sphere of influence were Payton Reilly Sandy Lester and Jared David Michael Grant Jeff Slater. Reilly’s role is really written more as comic relief, and we don’t see as much of her as we would like. She has a recurring song motif that is extremely funny and self-deprecating (even if it sounds like it could be plopped down in Women on the Verge). Reilly handles this well with great comic timing. Grant gets to play the lovable schlub friend — and you wouldn’t expect such a strong performance for that character. But Grant excels at the comedy — again, he’s a master of the timing and the look and the reaction. The scenes with him, Reilly, and Becker are just masterpieces. Watching their performances, you wouldn’t realize that these are relatively new actors — they are that strong in their roles.

Next we have the key people in Dorothy Michael’s stage life: Ashley Alexander Julie Nichols and Lukas James Miller Max Van Horn.  Alexander (who also appears to go by Ashley Seldon) has a remarkably strong voice and come across as a credible actor in her role. She gets less opportunity to play the role for the comic side. Miller, on the other hand, is heavily comedy — especially in the second act. The scene where he comes and hits on Dorothy is priceless, but his introductory scenes are strong as well.

In supporting roles we have Kathy Halenda Rita Marshall; Steve Brustien Stan Fields and Adam du Plessis Ron Carlisle.  All are written and played with appropriate stereotypes in mind. Halenda is the aging woman producer who wants to champion other women; Brustien is the typical agent; and du Plessis is the over-egoed director. The actors play them well.

Rounding out the cast in the ensemble and smaller named parts as noted are: Leyla Ali Gone Female Trio, Connor Allston Stuart, Darius Aushay, Michael Bingham, Kyra Christopher, Delaney Gold Gone Female Trio, Maverick Hu, Dominique Kempf Suzie, Gone Female Trio, Marquez Linder, Lucy Panush, Alec Ruiz Carl, and Stefanie Renee Salyers. Swings are Lexi Baldachino Dance Captain, and Ashton Lambert Asst. Dance Captain. The ensemble was strong, performing with spirit and energy, and seeming to enjoy what they were doing.

Music was provided by an orchestra under Andrea Grody Supervising Music Director and Andrew David Sotomayor Music Director The orchestra consisted of: Richard Mitchell Alto Sax, Flute, Piccolo, Recorder; Sean Franz Tenor Sax, Clarinet, Flute, Soprano Sax; Aaron Smith and Javier Gonzalez Trumpet, Flugelhorn; Charlie Morillas Trombone; Chris Thigpen Bass (Acoustic/Electric); Brian LaFontaine Guitar (Electric / Acoustic / Mandolin); Carl Thomson Drums / Percussion; Adam McDonald Keyboard 1; and Mary Ekler Keyboard 2. Other music credits: Dean Sharenow Music Supervisor; Talitha Fehr Music Coordinator; Eric Heinly Music Contractor; Billy Jay Stein and Iro Iida (for Strange Cranium Productions Inc) Electronic Music Design; David Chase Dance Arrangements; and Simon Hale Orchestrations.

Lastly, we turn to the production team, starting with the lead designers. Overall, the scenic design was suitable, although there were sound problems that left the distinct impression that some speakers were not working (because the music sounded off to one side). The set was relatively compact, with elements that opened up to create Michael Dorsey’s apartment, and that when closed became a generic New York skyline. My biggest complaint with the set design was more of a tour set design issue: there was a large frame around the set that would create site line problems for anyone sitting off to the far side. That’s bad design: even for a tour, sets should be designed to be clear and visible to all. The scenic design team consisted of: David Rockwell Original Scenic Design; Christine Peters Tour Scenic Design; William Ivey Long Costume Design; Christopher Vergara Costume Coordinator; Donald Holder Lighting Design; Brian Ronan Sound Design; Paul Huntley Hair & Wig Design; and Angelina Avallone Make-Up Design.  One costume/make-up note: The quick changes for Drew Becker (Michael Dorsey) were impressive, including changing the nail polish!

Rounding out the production team were: Binder Casting Casting; Andrew Terlizzi Company Manager; Suzayn Mackenzie-Roy Production Stage Manager; Brianna Thompson Asst Stage Manager; Brian Schrader General Manager; Heather Chockley Production Management. The tour manager was Troika Entertainment.

I mentioned earlier about the superb customer service from the Broadway in Hollywood subscription team. My wife currently is in a wheelchair, which requires handicapped seating. When I booked the show we were not in accessible seats; I had changed the tickets, but hadn’t realized they weren’t accessible either. Day of the show, the subscription folks in the box office got us changed to wheelchair accessible seats (in the orchestra, no less) without any muss. They may book non-union tours, but I still think Broadway in Hollywood is great!

Tootsie continues at the Dolby Theatre for Broadway in Hollywood (FB) until May 15. Tickets are available through the BIH box office (they have specials for $39). Discount tickets may be available through Goldstar. Tootsie goes next to the Segerstrom in Orange County.

❧

Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member (modulo the COVID break). 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 Actors Co-op (FB), 5 Star Theatricals (FB), Broadway in Hollywood (FB), the Ahmanson Theatre (FB), and we have a membership at The Pasadena Playhouse (FB). We were subscribing at the Musical Theatre Guild (FB) prior to COVID; they have not yet resumed productions. We have also been subscribers at the Soraya/VPAC (FB), although we are waiting a year before we pick that up again. 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. Note to publicists or producers reading this: here’s my policy on taking comp tickets. Bottom-Line: Only for things of nominal value, like Fringe.

Upcoming Shows:

For right now, we’re pretty much sticking with shows that come as part of our subscriptions or are of interest through our memberships. That may change later in 2022. Looking further into 2022: May brings Hadestown at at the Ahmanson Theatre (FB). June will see Come From Away at the Ahmanson Theatre (FB) and Pretty Woman at Broadway in Hollywood (FB), as well as Tom Paxon at McCabes plus as much of the Hollywood Fringe Festival as we have the energy for. July brings Moulin Rouge at Broadway in Hollywood (FB) [Pantages], Dear Evan Hansen at the Ahmanson Theatre (FB), Newsies at 5 Star Theatricals (FB), and Freestyle Love Supreme back at The Pasadena Playhouse (FB). August is quieter, with just The Prom at the Ahmanson Theatre (FB). Lastly (for this look ahead), September brings Oklahoma the Ahmanson Theatre (FB) and Jagged Little Pill at Broadway in Hollywood (FB), although they are on the same day so I’ll be shifting one show. September may also bring Andrew Lippa’s version of The Wild Party at the Morgan Wixson Theatre. This was a show I had been planning to see before the COVID shutdown, so I’m putting it in the “part of our subscriptions” list. There may also be some Hollywood Bowl stuff, depending on how my wife is doing.

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Footlights, as well as productions I see on Goldstar, On Stage 411 or that are sent to me by publicists or the venues themselves. 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 (although I know it is outdated and need to update it). Want to learn about all the great theatre in Southern California? Read my post on how Los Angeles (and its environs) is the best area for theatre in the Country (again, I need to review this for the post-COVID theatre landscape)!