Tag: pantages-hollywood

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).

• May: ♦ Brigadoon at The Pasadena Playhouse; ♦ Fat Ham at Black Reperatory Theatre (St. Louis) ♦ Hells Kitchen at BIH/Pantages.
• June: ♦ Ain’t Misbehavin’ at Ebony Rep; ♦ Elegies at Chromolume; ♦ Primary Trust at CTG/Taper; ♦ Mamma Mia at CTG/Ahmanson.
• July: ♦ Mexodus at Pasadena Playhouse; ♦ The Wizard of Oz at 5-Star Theatricals; ♦ If/Then at Chromolume Theatre.
• August: ♦ Beauty and the Beast at BIH/Pantages;
• September: ♦ Water for Elephants at BIH/Pantages; ♦⊕ The Visit at Pasadena Playhouse; ♦ The Turning at Taper/CTG; ♣⊕ Sutton Foster at The Soraya; ♦⊕ Catch Me If You Can at The Colony Theatre; ♦⊕Every Brilliant Thingat The Main; 

Just as with movies, there are some theatre shows that are worth seeing again and again, and there are some that are one and done, unless there’s some extenuating circumstances. The “Bridges of Madison County”? It never caught my attention that much, and I’m not sure I’d see it again unless it was part of a season. Most Sondheim shows? I’ll see those again and again, because there are often new interpretations. Things like “Hamilton” or “Wicked”? Possibly, if there is sufficient time between the last time I saw the show or something different. Often, what prompts seeing a show again is a reimagining or a unique venue: For example, the recent “A Color Purple” at Chromolume was interesting to see again because the company was taking a show that was intended for a large theatre and doing it in a 74 seat black box. Similarly, “The Play That Goes Wrong” at 5-Star was interesting as it was a regional theatre production, vs. a community theatre (Canyon Theatre Guild) or a tour (Ahmanson). On the other hand, I’m not all that interested in “The Sound of Music” tour coming to the Pantages: I’ve seen it innumerable times, at all level of theatres, and there are really no new reinterpretations of the productions. You turn your brain off to the story, and just watch the performances. It is a showcase for up and coming talent, and not much more.

This brings us to Spamalot, which was saw last night at the Pantages/Broadway in Hollywood. We last saw this in 2009 at the Ahmanson, when I wrote:

I should also note that I don’t believe this is a show that will have a long future of revivals. I’m not sure the Python-bits are that timeless, and the parodies of other shows will become less funny as time goes on. Rarely do you see the topical humorous reviews such as “New Faces of 1952” or “Parade: A Musical Review” (the one by Jerry Herman) revived, no matter how good the material. Combine that with some of the unique technical projection requirements of this show (which cuts out the high school half life)… and my conclusion is that you should see this tour now. I’m not sure we’ll be seeing it in 2020 (whereas we might see “The Producers”).

So why did we see it again? Well, primarily because it was part of the season. But as it got closer, we were looking forward to it. It was a reliable source of laughter, and that’s something we all need these days. This production was the tour-mounting of the 2023 Broadway revival. It’s been a long time since we last saw it, and there haven’t been all that many local, community, or regional productions. What did I think of it? All things in good time.

If you’re not familiar with Spamalot, here’s how I described it back in 2009:

One group that was popular [in my high school days, i.e., the 1970s] in my circles was a comedy troupe known as Monty Python. Their BBC program (or should that be programme), Monty Python’s Flying Circus, was just hitting PBS in the US at that time, as was their movie, “Monty Python and the Holy Grail (“Monty Python’s Life of Brian” hit while I was in college). We watched those shows and those movies again and again. And again. And again. And again. Eventually we got so we could recite the jokes and scenes in our sleep. You could just say, “the dead parrot sketch”, and folks would know what you meant.

I note this all as background, because today we went to go see “Monty Python’s Spamalot” at the Ahmanson Theatre. As the cover states, Spamalot is “lovingly ripped off” from “Monty Python and the Holy Grail,” with the nibbly bits of “Life of Brian” tossed in. The show features book and lyrics by Eric Idle, and music by Eric Idle and John DuPrez, based on a screenplay by Monty Python. The story is roughly that of “Holy Grail”: Arthur gathers his knights together and goes looking for the Grail. You can find a full synopsis in the Wikipedia entry, but suffice it to say that all the favorite and expected Python bits are there: killer bunnies, cow catapults, farting French, gay jokes, cocoanuts, arguments about swallows, the Black Knight, etc. There are also other bits thrown in that are various parodies of the musical theatre biz, from the ethnicity of successful show producers, to parodies of numerous shows and composers. In the end, everyone finds their grails, and the show ends with a group sing-along.

Therein lies the success of the show, and theirin lies the problems. If one is a neophyte to Monty Python, the recycled bits are likely uproareously funny. If one is a rabid Python fanboy or fangirl, the bits are mandatory… and uproareously funny. If you are someone familiar with Python and to whom repeated humor become less laugh-out-loud the more often you hear the joke, the Python bits become checkmarks on a page. However, this is not to say the show isn’t funny: what saves the show is the new material. Although some is weak (the whole notion of Laker Girls as the cheering squad for the Lady of the Lake, the eventual Queen Gueneviere), some of it is spot-on, in particular, “The Song That Goes Like This” (which is a Phantom of the Opera parody), “You Won’t Succeed on Broadway” (which is a parody of “Fiddler”, and arguably a parody of every Mel Brooks musical), and “I’m All Alone”. Other songs, although drawn from the Python canon, are very well executed and enjoyable, in particular “I Am Not Dead Yet” and “Always Look on the Bright Side of Life”. Our production had an extremely cute topical number inserted about Sarah Palin to the tune of Frère Jacques. I also enjoyed Patsy’s line near the end, but I won’t give it away. So overall the show is enjoyable, and you walk away humming tunes. I guess that’s the meaning of success… even without Jews.

Watching the production in 2026, the recycled bits for one familiar with the show are less funny, but they were still interesting with respect to the audience reaction. The audience was anticipating them, and interacting with them: an it was that interaction that was funny. There was the extra applause that the favorite bits were reached. There was the audience calling out to the actors. Spamalot has become a participation show, and that adds to the fun. I can imagine that something similar will happen in the new Broadway revival of Rocky Horror.

The other thing that makes this show worthy of repeat is that it isn’t the same show as in 2009. Whereas, as noted above, there were jokes about Sarah Palin in 2009, those jokes were gone in this production. There were a few Trump jokes, and many more topical references inserted into the show. A recent interview with Eric Idle in the LA Times noted that he is constantly tinkering with the show to improve it. The show also has places where the fourth wall is broken, and places where improvisation is explicitly encouraged (for example, I’m sure the renaming of the Knights that say “Ni” is improvised each night to befuddle the actor that plays King Arthur). This improvisation keeps the show fresh and keeps the actors on their toes (and is something you never see in a static movie).

So this show was thoroughly enjoyable, made even better by the excellent tour cast. Major Attaway, as King Arthur, honed his skill doing the Genie in Aladdin. You could clearly tell he was having fun with this performance, especially with his facial expressions and reactions. He felt comfortable enough in the role to play with it, and this is the type of show that encourages that play (contrast this, for example, with Hamilton, which is very tightly scripted and choreographed with no changes possible). Attaway was having fun playing off his compatriots in crime, Sean Bell as Sir Robin, Steven Telsey as the Historian, Blake Segal as Patsy, and Leo Roberts as Galahad. Adding to this insanity was Amanda Robles as the Lady of the Lake, who was having fun with her diva role. She’s a bit more constrained, as she can’t adlib the music, which requires orchestral coordination, but she was still able to keep up with the fun (especially in the closing sequences).

On the whole, the combination of this cast and the improvisation and the updating of the bits made this a really enjoyable remounting.

There were, however, some complaints. My primary complaint is the overdependence on projections. I understand that projections reduce the cost of Broadway productions, and make possible some scenes that can’t be done otherwise (the travel scenes in Anastasia come to mind). But overdependence on projections can make shows impossible to mount outside of the original tours and Broadway productions as local and regional theatres don’t have the means to duplicate the projections, nor the budgets to implement real sets to replace them. In the case of this production of Spamalot, the castle sets and projections were spectacular, but overdone. I understand the need for the projection of God, as that was done in the Python animation style. But much of the other projections were clearly cost saving, such as the torches during the “Dennis” scene, or the storms or sunlight or backgrounds and such. The tendancy seems to be to use projections to replace stage-craft magic. It does save cost; the environmental savings are unclear dependent on how much the LCD sets are reused. But something is lost, and it does make some jokes fall flat. A good example of this is the opening joke at the start of Act II about being lost in a very expensive forest set. Well, that doesn’t work when your forest is primarily a projection on a screen used throughout the show.

I must also insert my usual note about the confetti cannon. I think Spamalot deserves the blame for introducing this in 2009. Nowadays, every show seems to think they need a confetti cannon to show non-recyclable shit into the audience. Whereas it made a nice conclusion at the end of the sing-along originally, it has become overdone.

The confetti cannon is an example of what I call the sustainability problem in both theatre and movies. Think about all the sets that get constructed for the movies, that then get tossed out (at least sitcom sets are often reused). Stage sets last longer, but tend to see less reuse other than flats (which are repainted). Projections, for all my hate, at least are somewhat sustainable. But confetti cannons are often an example of needless waste: they don’t advance the plot, and they make a mess of typically plasticized bits that are then just tossed into a landfill. If you’re going to shoot something into the audience, shoot popcorn. At least it is biodegradable.

But those are minor complaints. This was a really fun show, with great performances. Sound and lighting was strong. Folks should really go see it — the touring cast is just awesome.

Our performance was also during the twice-a-year fundraising periods for Broadway Cares – Equity Fights AIDS. Again, the cast had quite a bit of fund with the fundraising call, inserting their own humor and playfulness in the appeal for what is a serious organization. They even auctioned off a pair of cocoanut shells autographed by Eric Idle. We go to such much theatre that we typically get the “red buckets” at least twice a year (I think they fundraise around Easter and Thanksgiving). The organization is good and we always donate. You should too. This time, they even had the credit card readers working; this is much better than the QR code as you don’t have to fill out the forms.

Spamalot continues at the Hollywood Pantages (Broadway in Hollywood) until April 12, 2026. Go see it. Tickets are available through the BIH website.

P.S.: Broadway in Hollywood has announced their 2026-2027 season, and it is strong. The season is WATER FOR ELEPHANTS (Sep. 8 – 27, 2026); THE OUTSIDERS (Sep. 30 – Oct 18, 2026); THE WHO’S TOMMY (Oct. 27 – Nov. 15, 2026); BUENA VISTA SOCIAL CLUB (March 9 – 28, 2027); OPERATION MINCEMEAT (March 30 – April 18, 2027); MAYBE HAPPY ENDING (May 4 – 23, 2027); THE GREAT GATSBY (June 1 – 20, 2027); and DEATH BECOMES HER (July 6 – 25, 2027). The add-ons are HAMILTON and THE LION KING. Only one retread in the bunch (Tommy). I do fear that this means the 2027-2028 season will be weak. I expect that Oh Mary will go to the Ahmanson, and possibly Boop as well. That just leaves Just In Time and possibly Boop for 2027-2028. Many of the other shows from the season closed early and aren’t likely to tour (Dead Outlaw, Smash, Redwood, Queen of Versailles), and other recent shows just haven’t announced tours (in particular, Real Women Have Curves – The Musical, Illinoise and How to Dance in Ohio). Some of these might show up at the Ahmanson, which does actually mount local productions, but not at the Pantages which only books tours. As for other stuff on tour (see here and here): there’s not much else, other than possibly Heathers or Hamnet (which would go to the Ahmanson). There’s also not a lot of new stuff coming to the current Broadway season to feed the tour market. So 2027-2028 may be a weak season. Expect Wicked and Chicago to return :-). Perhaps some local theatre will decide to mount Real Women Have Curves – The Musical or Dead Outlaw. One can hope.

ETA: Nailed it. CTG has announced their 2026-2027 season, and both Oh, Mary and Boop are part of the season. That just leaves Just in Time for BIH in 2027-2028. I wonder how they will fill the next season, and what will decide to tour from this Tony season? The touring houses need to fill the spaces, and if Broadway is light, it just might prompt some shows that were on the edge, that might still be paying rent for scenery and costumes in storage, to try to recoup via a tour.

Credits

Monty Python’s Spamalot. Book and lyrics by Eric Idle. Music by John Du Prez & Eric Idle^*. A musical lovingly ripped off from the motion picture Monty Python and the Holy Grail from the original screenplay by Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, and Michael Palin. Directed and choreographed by Josh Rhodes.
^*: According to the fine print, although most music and lyrics are © 2005 by Eric Idle d/b/a Rutsongs Music and John Du Prez d/b/a Ocean Music, there are some exceptions. Notably, songs from Monty Python and the Holy Grail: “Finland”, with music and tyrics by Michael Palin, “Knights of the Round Table” with music by Neil Innes and lyrics by Graham Chapman and John Cleese; “Brave Sir Robin” with music by Neil Innes and lyrics by Eric Idle, and “Always Look on the Bright Side of Life”, with music and lyrics by Eric Idle from Life of Brian.

Cast [underscores indicate “at our performance”; strikeouts indicate “not at our performance”; ↑ indicates “swung up”]: Major Attaway King Arthur; Sean Bell Sir Robin, Guard 1, Brother Maynard; Chris Collins-Pisano Sir Lancelot, The French Taunter, Knight of Ni, Tim the Enchanter; Ellis C. Dawson III Dennis’ Mother, Sir Bedevere, Concorde; Leo Roberts Sir Galahad, The Black Knight, Prince Herbert;’s Father; Amanda Robles The Lady of the Lake; Blake Segal Mayor, Patsy, Guard 2; Steven Telsey Historian, Not Dead Fred, Baby, Nun, Mime, Minstrel, Prince Herbert, Bunny; Lindsay Lee Alhady Ensemble; Delany Benson Ensemble; Connor Coughlan Ensemble; L’ogan J’ones Ensemble; Graham Keen Ensemble; Claire Kennard Ensemble; Ben Lanham Ensemble; Nathaniel Mahone Ensemble; Meridien Terrell Ensemble. Swings: Jack Brewer, Maddie Mossner, Emilie Renier, Mark Tran Russ

Music Department (♯ indicates local): Jonathan W. Gorst Music Director, Conductor, Keys 1; John Bell Music Supervision and Additional Arrangements; David Lai Music Coordinator; Glen Kelly Music Arranger; Larry Hochman Orchestrator; Shan Ffrench Assoc. Music Director, Keys 2; Brandon Wong Drums; ♯ Jen Choi Fischer Violin; ♯ Jeff Driskill Alto Sax, Flute, Piccolo, Clarinet; ♯ Aaron Smith Trumpet, Flugelhorn, Piccolo; ♯ Nick Daley Trombone; ♯ Michael Abraham Guitar (Electric/Nylon String Acoustic), Banjo, Ukulele; ♯ Michael Valerio Bass (Acoustic/5-String Electric); ♯ Alby Potts Keyboard Sub; ♯ Eric Heinly Orchestra Contractor; Randy Cohen Keyboards LLC Synthesizer Programming; Josh Clayton Music Preparation.

Production and Creative: Eric Idle Book, Music, Lyrics; John Du Prez Music; John Rhodes Director, Choreographer; Paul Tate Depoo III Scenic and Projection Design; Jen Caprio Costume Design; Cory Pattak Lighting Design; Kai Harada Sound Design; Haley Parcher Sound Design; Tom Watson Hair and Wig Design; Derek Kolluri Assoc Director; Michael Fatica Assoc Choreographer; Emilie Renier Dance Captain, Fight Captain; Jack Brewer Asst Dance Captain; Ray Wetmore & JR Goodman Production Props Supervisors; Patrick Mulryan Dialect Coach; Geoff Josselson Casting Casting Director; Sightline Productions Production Management; Matthew Brooks Production Stage Manager; Anna K. Rains Stage Manager; Dani Berman Asst Stage Manager; Elaina Z. Kaehler Asst Stage Manager; James Neal Company Manager; RCI Theatricals General Manager; Bond Theatrical Tour Booking, Marketing, & Publicity; The Social Team Social Media.

Fine print credit items: For some reason, the credits include a shoutout to Ohio, The Heart of It All, even though there is no obvious connection to Ohio. Spam is a registered trademark of Hormel Foods LLC.

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.

Some interesting shows that have caught my eye. Wisteria Theatre is doing Reefer Madness: The Musical (in April), as is Long Beach Playhouse (in October/November).  Wisteria was overpriced for a black-box; I might look into Long Beach’s production (but have to factor in the drive). Ebony Rep is doing Ain’t Misbehavin’ at the end of May into June. I love the show, but the prices are a bit high and I’m still trying to decide. I have a hold on the calendar. Casa 0101 is doing the play version of Real Women Have Curves from the end of March into May. Conundrum Theatre is doing a bunch of shows, but notably Big Fish in December 2026. And, as noted earlier, the Colony Theatre is doing Catch Me If You Can in the September/October 2026 timeframe. I’ll look into ticketing the fall shows once I know the CTG Season, to prevent conflicts. Lastly, I’ll note Group Rep in NoHo has announced their season, which includes a mounting of Applause in the July-August timeframe. That’s useful if you missed the MTG one-nighter; I haven’t yet decided if I want to see it again (although Group Rep does a great job with older and rarely done musical re-visits).

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).

• April: ♦ Kim’s Convenience Store at CTG/Ahmanson; ♦ Ride the Cyclone at The Main; ♣ Jeremy Jordan at The Soraya; California Science and Engineering Fair at CLU; ♦ Flower Drum Song at East/West Players; ♦ Real Women Have Curves at Casa 0101. NOTE: We need judges for the California Science and Engineering Fair. If you have a degree in the sciences and are available to judge April 12 at Cal Lutheran in Thousand Oaks, sign up to judge here.
• May: ♦ Falstaff at LA Opera; ♦ The Sound of Music at BIH/Pantages; ♦ Brigadoon at The Pasadena Playhouse; ♦ Hells Kitchen at BIH/Pantages.
• June: ♦⊕ Ain’t Misbehavin’ at Ebony Rep; ♦ Elegies at Chromolume; ♦ Primary Trust at CTG/Taper; ♦ Mamma Mia at CTG/Ahmanson; plus whatever I schedule from the Hollywood Fringe Festival.
• July: ♦ Mexodus at Pasadena Playhouse; ♦ The Wizard of Oz at 5-Star Theatricals; ♦ If/Then at Chromolume Theatre.

When the 2025-2026 season for Broadway in Hollywood was announced, there was a mixture of shows I was excited to see (Suffs, Stereophonic), the usual retreads on tour (Sound of Music), and the anticipatory “mehs”.  In the “meh” category was The Notebook, a weepy chick-flick turned musical, based on the original novel by Nicholas Sparks (i.e., it technically wasn’t based on the 2004 movie, but played on the familiarity of the intellectual property. I’ll note that I’ve never seen the movie; it is not the type of movie to which I’d allocate one of my few movie slots a year.

Well, I saw The Notebook last night at the Pantages.

First and foremost, it wasn’t the weepshow I expected (I think back to my reactions to The Bodyguard or Ghost: The Musical). It certainly wasn’t bad. It had an engrossing story that was easy to follow (certainly easier than Stereophonic). The performances were excellent. But overall it wasn’t … memorable. Of course, this is odd for a musical that is at its heart about memory.

The Notebook  is about a couple, Noah and Allie. When we first meet them, Noah is reading a story to Allie, who is in  a home with some form of severe memory loss or dementia, probably Altzheimers. She doesn’t know who Noah is. The story he is reading is their story: how they met, fell in love, had kids, and so on. He believes that when he finishes the story, she’ll come back to him (remember him). That story, is essentially, the musical.

This is not a jukebox musical. The music and lyrics are by Ingrid Michaelson. They are pretty. They also don’t stick in your head; when you walk out of the theatre they are gone. Most of the songs are slower ballads. There are few high-energy numbers, and this isn’t a dance show.  I had gotten the album previously. If I had to compare it musically to something, perhaps it would be Light in the Piazza or Bridges of Madison County. Both of those are mostly slow numbers, and if you asked me to recall the music from those shows afterwards I’d be hard pressed to do so.

What does stick with you afterwards is the performance, especially Beau Gravitte as the Older Noah and Sharon Catherine Brown as the Older Allie. They are a believable couple, and Brown (especially) has the mannerisms down. The part of the story that really touches is her performance: It isn’t the love that touches, it is the loss of life that touches. She brings that to the stage, and Gravitte brings the love. The middle and younger Noahs and Allies bring the youth and energy, but it is the performances of the older Noah and Allie that you leave with. They are the heart and soul of this show.  Also notable was the performance of understudy Makenna Jackson as the younger Allie; she brought a lot of vitality to the role.

One additional thought: During the last song, “Coda”, which is all about remembering life and people, what came to mind was: a parallel with Dear Evan Hansen. DEH has, as one of its things, remembering people. Being seen and not forgotten. The Notebook is also about remembering people and not forgetting them.

Should you go see it? That’s a harder question. You won’t hate it if you see it, and it isn’t polarizing like Stereophonic was. But it is also forgettable. If you’re into weepy love stories, you’ll love it. If you have a parent who is suffering from memory degradation, this might hit too close to home.

The Notebook continues at Broadway in Hollywood through January 26. Tickets are available through the Pantages website.

Credits

The Notebook: The Musical. Book by Bekah Brunstetter. Music and lyrics by Ingrid Michaelson. Based on the novel by Nicholas Sparks. Directed by Michael Greif & Schele Williams. Choreography by Katie Spelman.

Cast [underscores indicate “at our performance”; strikeouts indicate “not at our performance”; ↑ indicates “swung up”]: Beau Gravitte Older Noah; Ken Wulf Clark Jesse Corbin Middle Noah; Kyle Mangold Younger Noah; Sharon Catherine Brown Older Allie; Alysha Deslorieux Middle Allie; Chloe Cheers Makenna Jackson Younger Allie; Annie Tolpegin Mother / Nurse Lori; Connor Richardson Johnny; ↑ Jesse Corbin Nick Brogan Lon / others; Jerome Harmann-Hardeman Father / Son / others; Rayna Hickman Nurse Joanna / others; ↑ Makenna Jackson Samantha Rios Sarah / Grandaughter / others; Caleb Mathura Fin / Grandson / others; Grace Ohwensadeyo Rundberg Georgie / Concierge / others. Swings: ↑ Nick Brogan, Aaron Ramey, Shari Washington Rhone, ↑ Samantha Rios, Emily Some, Joe Verga.

Music Department  (♯ indicates local):  Carmel Dean Music Supervision, Co-Orchestrations; John Clancy Co-Orchestrations; Tina Faye Conductor / Keyboard; Mary Grace Ellerbee Assoc. Conductor / Keyboard 2; Gioia Gedicks Violin / Viola; Sarah Fuller Harp; Quinten Hansen Reeds; Michael Karcher, Michiko Egger Guitar; Chris Sutherland Percussion; ♯ Jen Choi Fisher Violin / Viola; ♯ Brian LaFontaine Guitar 2 (Steel String / Nylon String Acoustic / Mandolin); ♯ Brad Gardner Keyboard 2; ♯ Eric Heinly Music Contractor; Kimberlee Wertz Music Coordinator; Billy Jay Stein and Hiro Iida for Strange Cranium Electronic Music Design; Christopher Petti and Harrison Roth Mainbrain / Ableton Programming; Adam Wiggins for Strange Cranium Tour MainStage Programming; Megan Sperger for J&J Music Preparation Music Preparation 

Production and Creative: Ingrid Michaelson Music and Lyrics; Bekah Brunstetter Book; Nicholas Sparks Original Novel Author; Michael Grief Director; Schele Williams Director; Katie Spelman Choreographer; David Zinn Scenic Design; Brett J. Banakis Scenic Design; Paloma Young Costume Design; Ben Stanton Lighting Design; Nevin Steinberg Sound Design; Mia Neal Hair and Wig Design; Lucy MacKinnon Video Design; Claire Warden Intimacy Director; Samantha Rios Dance Captain; Justin Myhre Production Stage Manager; Melissa Richter Stage Manager; Egypt Dixon Asst. Stage Manager; Asmeret Ghebremichael Assoc Director; Emily Madigan Assoc Choreographer; The Telsey Office Casting; Neuro Tour Physical Therapy; Hudson Theatrical Associates Production Management; Theatre Matters General Management; Michael Camp Company Manager; The Booking Group Tour Booking Agency; Allied Global Marketing Tour Marketing & Press; And That’s Showbiz Social Media.

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; The Soraya, Chromolume Theatre ^NEW, and 5-Star Theatricals. We just added Chromolume Theatre as our intimate theatre subscription — we subscribed there pre-pandemic when they were at their West Adams location, but they died back in 2018. They started back up last year (but we had seen all their shows); this year, their season is particularly interesting: The Color Purple, If/Then, Elegies (during Hollywood Fringe), and Roadshow (nee Bounce) [by Steven Sondheim]. Mind you, these are all in the intimate theatre setting, and this will be the first time Roadshow has been done in Los Angeles, to my knowledge. Information on purchasing their 2026 season is here. Our previous intimate theatre, Actors Co-Op, seems to be on hiatus.

Want to find a show: Check out the Theatre Commons LA show list.

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).

• January: ♦ All the Devils Are Here at The Broad; ♦ Jewish for Dinner at the Santa Monica Playhouse; ♣ Tom Chapin @ McCabes.
• February: ♦ Applause at MTG; ♦ Amadeus at Pasadena Playhouse; ♣ Anat Cohen at the Soraya; ♣ Preservation Hall Jazz Band at The Soraya.
• March:  MoTAS Brotherhood Seder at Temple Beth Hillel; ♦ The Color Purple at Chromolume; ♦ The Play That Goes Wrong at 5-Star Theatricals;  ♦ Here Lies Love at CTG/Mark Taper;  MRJ Man of the Year Dinner at Temple Beth Hillel;  MoTAS Poker Tournament; Spamlot at BIH/Pantages.
• April: ♦ Kim’s Convenience Store at CTG/Ahmanson; ♦ Ride the Cyclone at The Main; ♣ Jeremy Jordan at The Soraya;  California Science and Engineering Fair at CLU; ♦ Flower Drum Song at East/West Players

There’s an adage that goes something like: Sausage is tasty, but you don’t want to see how it is made. If there is a short summary of “Stereophonic“, which we saw last night at the Hollywood Pantages as part of the Broadway in Hollywood season, that would be it.

Going into this show, I didn’t know what to expect. Coming into the 2024 Tony awards, it had loads of buzz. Loads of Tony nominations. According to Wikipedia: “13 overall nominations at the 77^th Tony Awards, breaking the record previously held by the Jeremy O. Harris play Slave Play (2020) to receive the most nominations for a play in the history of the ceremony; The play proceeded to win five awards: Best Play (which it also won at the Drama Desk Award, the Drama League Award, the Outer Critics Circle Award, and the New York Drama Critics’ Circle Award), Best Direction of a Play, Best Featured Actor in a Play (for Will Brill; Eli Gelb and Tom Pecinka also received nominations for the award), Best Scenic Design of a Play and Best Sound Design of a Play. Juliana Canfield and Sarah Pidgeon both received nominations for Best Featured Actress in a Play.”

The Broadway production received excellent reviews. I had gotten the album and was underwhelmed, but then again: This was a play with music, not a musical. So based on the Tony awards, and the performance at the Tony Awards, I was looking forward to the show. But then I started reading the comments when Broadway in Hollywood was posting about the show on Facebook. Comments like:

“Most nominated play in theater? Then theater is dead. Our entire group left at intermission tonight.”.

“I saw some comments before we saw it on Tuesday that the Pantages is too big for this particular show. And after leaving at Intermission (which we’ve NEVER done before), I’d have to agree. 1/4 of the stage was cut off for us and the play was incredibly slow.”

“Was really looking forward to this production. I’ve had season tickets for years here, and have been going to theater my entire life. I have NEVER walked out of a production before. We left at intermission.”

The pre-show buzz was so bad that Broadway in Hollywood felt the need to manage expectations, sending out an email that said to expect “cinematic, almost documentary-style pacing” and “Stereophonic paces in real time with conversations that overlap, spark, and erupt”, noting “Trust the silence. Sometimes the quietest moments are the loudest.”

But, then again, I also saw comments praising the show. So I really didn’t know what to expect going in. Would this be a disaster on the level of “Girl From the North Country”? Would this be spectacular, on the level of “To Kill A Mockingbird” (the last non-musical to play the Pantages)? I just didn’t know. All I really knew is that this was a play based on the making of a record album, supposedly based on Fleetwood Mac and the creation of the 1977 album “Rumours”, and that the Broadway running time of 3 hours, 10 minutes had been cut to 2 hours, 50 minutes.

So, here are my thoughts:

First, I think this was very much a case of a good show in the wrong theatre, with the wrong audience. The Broadway in Hollywood audience has been trained on musicals, with the best reception for spectacular, uplifting musicals. This was a dark (in theme) downer of a show. It wasn’t musical. It had slow pacing, with a documentary style, meaning the story wasn’t spoon fed to the audience. It had a single set that was boxed-in on the stage, meaning that much was lost in the cavern that is the Pantages. In short: This wasn’t playing to an audience that was receptive to the story, and the theatre was so big it swallowed the performances. These were two fatal flaws that doomed the reception of the show for much of the Pantages audience. “Stereophonic” would have been received much better on the Ahmanson stage; it might even have been acclaimed had it be done in one of Los Angeles’ mid-size prestige houses such as the Pasadena Playhouse or the Geffen.

Second, reviews were right in that it was a bit slow in its pacing. Taking a show on tour allows the production team a chance to review and improve the production for its eventual long life. A prime example of this is “The Addams Family”. That show had book and pacing problems on Broadway. It was revisited for the tour, and the result was a production that is now extremely popular and is being done everywhere. The production team of “Stereophonic” wisely cut out 30 minutes in preparing the tour version, as noted in the program. I think they could have tightened the production just a bit more.

Thirdly, this was not a production for everyone. There was strong language, there was reference to sex and drugs and rock and roll. There were fights. There was overtalking. There was silence. This wasn’t a feel-good show. The characters ended the show in a different place than where they started, but it was arguably a much worse place in terms of relationships and the band’s future. Those looking for a light musical would be disappointed. Those looking for a traditional play with a traditional structure and storytelling would be disappointed. This was a play for a more sophisticated audience who were willing to tough it out for a good conclusion.

That said: This wasn’t a “I Caligula: An Insanity Musical” level train-wreck. It wasn’t a “Girl from the North Country” level disaster. It was even better than mediocre. I was interested in the characters, and what happened to them. The story was interesting, and the behind-the-scenes of the making of an album was interesting. It clearly is a pressure cooker, and a good environment for story telling. It could have used a bit more dramatization to clarify the story and heighten interest. It probably had more relevance for those familiar with Fleetwood Mac and the “Rumours” album (I think I might have one Fleetwood Mac album in my library — it is a group I never knowingly listened to).

If I had to rate it, it was on the level of “OK” to “good”. I enjoyed the story, but I don’t really have a desire to see it again. But this clearly is a play not for everyone. I did like the Four Rules for Engineers stated early on in the show: 1. Show up. 2. Pay Attention. 3. Tell the truth. 4. Deal with the consequences

The performances were strong. I particularly liked Jack Barrett’s Grover, Claire Dejean’s Diana, and Denver Milord’s Peter.

“Stereophonic” continues at the Hollywood Pantages until January 2, 2026. You can get tickets through the Pantages website. Be forewarned that this isn’t a show for everyone: There were a number of people that left before and during intermission.

Other December Live Performances

You may have noticed a dearth of reviews during December. Part of that was due to the Annual Computer Security Applications Conference, which was in Waikiki the week of December 8, and prevented us from seeing shows the first and second weekends of December. However, while at the Conference, we did see the Pa’ina Waikiki Luau at Waikiki Beach Marriott. We actually coordinated the attendance of a group of 245 conference attendees at the luau. The luau itself was spectacular, with hulu, island stories, fire dancing, and all other sorts of traditional dances. Of course, the best was when we quietly engineered for our conference chair to join the dancing on stage. I have heard there are videos of this, but I don’t have the links.

After we returned, we saw two live concert performances. I normally don’t review concert performances, but I’m listing them for completeness:

• Ben Platt: Live at the Ahmanson. I went in expecting this to be mostly Broadway music. Instead, it drew heavily from Ben’s solo albums and songwriting. It was an enjoyable show, and those more familiar with Ben’s music were really rocking out to it.
• Nochebuena: A Christmas Spectacular at the Soraya. This production featured Ballet Folklórico de Los Ángeles, Mariachi Pueblo Viejo from Tucson, and had as a special guest Ximena Sariñana. I didn’t understand much of the words, but the dance was spectacular.

Lastly, the Christmas period concluded as halachicly required, with two movies: “Wicked: For Good” and “Song Sung Blue”. Both were excellent.

Credits

Stereophonic. Written by David Adjmi. Original songs by Will Butler. Directed by Daniel Aukin.

Cast: Jack Barrett Grover; Claire Dejean Diana; Steven Lee Johnson Charlie; Emilie Kouatchou Holly; Cornelius McMoyler Simon; Denver Milord Peter; Christopher Mowod Reg. Understudies: Jake Regensburg u/s Grover, u/s Reg; Quinn Allyn Martin u/s Diana; Andrew Gombas u/s Charlie, u/s Peter; Lauren Wilmore u/s Holly; Eli Bridges u/s Simon.

Production and Creative: David Adjmi Playwright; Will Butler Original Songs and Orchestrations; Daniel Aukin Director; David Zinn Scenic Design; Enver Chakartash Costume Design; Jiyoun Chang Lighting Design; Ryan Rumery Sound Design; Robert Pickens & Katie Gell Hair and Makeup Design; Justin Craig Music Director and Orchestrations; Alldaffer & Donadio Casting Casting; Gigi Buffington Vocal, Text, and Dialect Coach; Dylan Glen General Manager; Brian Decaluwe Company Manager; Geoff Maus Production Stage Manager; Holly Adam Stage Manager; Work Light Productions Production Management; Bond Theatrical Tour Booking, Marketing & Publicity; Ray Wetmore & JR Goodman Production Props Supervisor; Ann James Intimacy Coordinator; Drew Leary Fight Director.

Favorite Minor Credit: Work Light Productions Tax Credit Consultant.

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; The Soraya, Chromolume Theatre ^NEW, and 5-Star Theatricals. We just added Chromolume Theatre as our intimate theatre subscription — we subscribed there pre-pandemic when they were at their West Adams location, but they died back in 2018. They started back up last year (but we had seen all their shows); this year, their season is particularly interesting: The Color Purple, If/Then, Elegies (during Hollywood Fringe), and Roadshow (nee Bounce) [by Steven Sondheim]. Mind you, these are all in the intimate theatre setting, and this will be the first time Roadshow has been done in Los Angeles, to my knowledge. Information on purchasing their 2026 season is here. Our previous intimate theatre, Actors Co-Op, seems to be on hiatus.

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).

• January: ♣ New Beginnings: A Chromolume Cabaret! at Chromolume; ♦ The Notebook at BIH/Pantages; ♦ All the Devils Are Here at The Broad; ♦ Jewish for Dinner at the Santa Monica Playhouse; ♣ Tom Chapin @ McCabes.
• February: ♦ Applause at MTG; ♦ Amadeus at Pasadena Playhouse; ♣ Anat Cohen at the Soraya; ♣ Preservation Hall Jazz Band at The Soraya.
• March: ✡ MoTAS Brotherhood Seder at Temple Beth Hillel; ♦ The Color Purple at Chromolume; ✡ MRJ Man of the Year Dinner at TBD; ♦ The Play That Goes Wrong at 5-Star Theatricals;  ♦ Here Lies Love at CTG/Mark Taper; ✡ MoTAS Poker Tournament; Spamlot at BIH/Pantages.
• April: ♦ Kim’s Convenience Store at CTG/Ahmanson; ♦ Ride the Cyclone at The Main; ♣ Jeremy Jordan at The Soraya; 🧬 California Science and Engineering Fair at CLU; ♦ Flower Drum Song at East/West Players

In these troubled times, what we need if something that reminds us to keep fighting for our goals, to keep fighting even when faced with an administration that wants to jail us and do unspeakable things to us just for exercising our constitutional right to protest. If we keep ourselves focused on that singular goal and if we protest not just with words but with actions that cannot be ignored, we will eventually win. Luckily for those of us in Southern California, such a reminder is currently at the Pantages Theatre under the “Broadway in Hollywood” banner: Suffs, with music, lyrics, and books by Shania Taub.

If you haven’t figured it out by now, we saw Suffs last night at the Pantages, and enjoyed it quite a bit.

Suffs tells the story of the fight to pass the 19^th Amendment, which is what gave women the right to vote. If it sounds like a dry subject, well so was the life of Alexander Hamilton. You saw what happened with that story. Suffs really doesn’t cover the entire 65+ years of the Suffragist movement, however; instead, it focuses pretty much on the last decade or so: from the start of the Wilson administration through the passage of the amendment, including a bit of a postscript regarding the modern day.  The ultimate point of the show seems to be the message that polite behind-the-scenes work is important, but insufficient to bring about change. Action is required: peaceful protest, strong messaging to the people, and getting those impacted out on the streets to effect change. Although this show premiered during the Biden administration, this message is especially important during the Trump administration. We’ve all seen the impact of the 50501 movement, the “No Kings” marches, and the emphasis on the release of the Epstein Files on this administration. We can learn from history; and that learning seems to be part of this show.

It should be no surprise that Hilary Clinton was part of the producing team of the Broadway production; alas, she doesn’t appear to be listed as part of the producing team for the National Tour.

Suffs focuses on quite a few real historical characters, most notably Alice Paul, and her cohorts from what became the National Woman’s Party: Ruza Wenclawska, Lucy Burns, Doris Stevens,  and Inez Milholland. It also focuses on the clash between Paul’s strategy and the strategy of the NWP when contrasted to the more sedate National American Woman Suffrage Association (NAWSA), led by Carrie Chapman Catt and Molly Hay. It also intertwines the story of some Black Suffragists, Ida B. Wells, Mary Church Terrell, and Phyllis Terrell. As you can tell by the links, these were all real people, as were (of course) Woodrow Wilson, his chief of staff Dudley Malone, and backers such as Alva Belmont. As with that other historical musical, Hamilton, the book gets the story mostly right, although it does play with the timeline a little for narrative purposes.

As a man who was unfamiliar with the story of women getting the right to vote, I found this music inspiring (and I loved much of the music). I saw numerous parallels between the story of this fight, and the fights we are seeing today with the Trump administration. The story relates to the continuing right for gay and Trans rights, and (alas) for the continuing fight for women’s right. The musical rightly points out that the protagonist of the musical, Alice Paul, was one of the authors of the Equal Rights Amendment, which didn’t get submitted to the states until the Nixon Administration, and which still hasn’t quite passed to this day (some say it is past its ratification deadline, and some states want to retract their ratification). In fact, it was just this week that Michelle Obama said that the country isn’t ready for a woman president. The battle for the equality of women is far from over, and the battle to convince many of my sex that men aren’t the sole ones that posses the right and ability to lead continues. The patriarchal notions of male leadership rights, both in politics and at home, still haven’t gone away (and this country is far worse for it, for it gave us Donald Trump in 2016 over Hilary Clinton, and Donald Trump in 2024 over Kamala Harris)

But I’m a man, and my opinion of this show shouldn’t be the only thing that matters. So I asked my wife — a person who personifies one of the best songs in the show, a “Great American Bitch”, in the best sense of the phrase. Her attitude is that we need another mob like the one shown in the show to descend on all the men in politics who don’t understand women and reproduction to fight for women to have the control over their own bodies and their reproductive rights. She loved the show and found it empowering.

There were points in the show that drew echoes of Hamilton, particularly the song “Finish the Fight”, and the various battle songs. The show, unlike Hamilton, also passes the high school test: this show could easily be staged in high schools (unlike the full version of Hamilton). I predict, once the rights are released, that it will be a popular high school production because of its combination of history education and music. Alas, two things may hold it back: First, words like “bitch”. Second, the men that don’t want their womenfolk to be reminded of their political power.

The performances were extremely strong and strident. We moved back from row Q to row Y this season, and perhaps we hit the sweet-spot for sound in the theatre (or the sound engineer for this show was particularly good). Spectacularly impressive performances were the norm. Most notable was Maya Keheler as Alice Paul, Livvy Marcus as Doris Stevens, Joyce Meimei Zheng as Ruza Wenclawska, Monica Tulia Ramirez as Inez Milholland, and Danyel Fulton as Ida B. Wells. I’ll note that all roles in this cast were played by women (perhaps this would limit the high school producibility, but perhaps not).

The music is strong and entertaining, although it does suffer from the problem that the best songs are concentrated in the first act. That, perhaps, is unavoidable given the story. It also made me think of The Rothschilds when Inez Milholland reappeared as  ghost in the second act. Just as with Meyer Rothschild in The Rothschilds, the performer was such a powerhouse they had to reappear, even though they died in the first act. Book and liberetto authors, however, will find a way.

This is a show that all should see, and may be one of the best shows in this season of Broadway in Hollywood. It continues at the Pantages through December 7. For more details and tickets, visit the show page at Broadway in Hollywood. Go see this one. It will more than make up for the sobfest I expect The Notebook to be.

P.S.: This is BC/EFA Red Bucket Month, so I wasn’t surprised at the Red Bucket announcement. It’s a great organization, so we did our usual donation. They took cash, and had a QR code that really didn’t work. I hate QR codes for donation: this took you to a form that ostensibly took GPay (it didn’t), when I tried to switch to Paypal it started the process over, and when Paypal asked for an authorization code, it started over again. We finally got it to work with a tap machine. I appreciate the effort (and will try to go through it for BCEFA), but QR codes are never the answer when people have to enter name, address, phone, and credit card information by hand while in a theatre trying to exit.  In any case, you should make a donation too. You can do so by following this link (which is where the QR code sent you) to give credit to the Suffs Tour.

Credits

Suffs. Book, music, and lyrics by Shaina Taub. Directed by Leigh Silverman. Choreography by Mayte Natalio.

Cast [underscores indicate “at our performance”; strikeouts indicate “not at our performance”; ↑ indicates “swung up”]: Jenny Ashman President Woodrow Wilson; Anna Bakun Ensemble / Speaker of the House; Tami Dahbura Mollie Hay; Danyel Fulton Ida B. Wells; Marya Grandy Carrie Chapman Catt; Marissa Hecker Ensemble / Dr. White / Mailman; Kaitlyn Jackson Ensemble / Mrs. Herndon (Nov 18-23); Trisha Jeffrey Mary Church Terrell; Maya Keleher Alice Paul; Livvy Marcus Doris Stevens; Victoria Pekel Phyllis Terrell / Robin; Brandi Porter Dudley Malone; Monica Tulia Ramirez Inez Milholland; Jenna Lea Rosen Aquila Sol Ensemble / Major Sylvester / Senator Burn; Gretchen Shope Ensemble / Mrs. Herndon (Nov 25 – Dec 7); Laura Stracko Alva Belmont / Phoebe Burn; Gwynne Wood Lucy Burns; Joyce Meimei Zheng Ruza Wenclawska. Principle Covers: Abigail Aziz, Ariana Burks. Swings: Annalese Fusaro, Amanda K. Lopez, Merrill Peiffer, ↑ Aquila Sol.

Music Department (♯ indicates local):  Andrea Grody Music Supervisor, Co-Vocal & Incidental Arrangements; Michael Starobin Orchestrations; Dani Lee Hutch Music Director, Conductor, Keyboard 1; Kerianne Brennan Assoc. Conductor, Keyboard 2; Edward Hamilton Acoustic & Electric Bass; Daniel Santiago Drums; ♯ Jen Choi Fischer Violin; ♯ Ira Glansbeek Cello; ♯ Jeff Driskill Reed 1 (Flute / Piccolo / Clarinet / Bass Clarinet / Soprano Sax / Bari Sax); ♯ Sean Franz Reed 2 (Flute / Clarinet / Alto Sax); ♯ Aaron Smith and Barbara Laronga Trumpet / Flugelhorn; ♯ Amy Bowers Trombone / Euphonium; ♯ Michael Abraham Guitar (Acoustic / Electric / Banjo / Mandolin); ♯ Brad Gardner Keyboard Sub; ♯ Eric Heinly Orchestra Contractor; Kristy Norter and Julie Ferrara Music Coordinator; Randy Cohen and Sam Starobin, Randy Cohen Keyboards LLC Electronic Music Design; Drew Nichols, Tim Crook, and Nick Schenkel Assoc. Electronic Music Design; Emily Grishman Music Copying; Adriana Grace, Timothy Hanson, and Alden Terry Music Preparation.

Production and Creative: Shaina Taub Book, Music, & Lyrics; Leigh Silverman Director; Mayte Natalio Choreographer; Riccardo Hernández Broadway Scenic Designer; Christine Peters Tour Scenic Designer; Paul Tazewell Costume Designer; Lap Chi Chu Lighting Designer; Jason Crystal Sound Design; Charles G. LaPointe Hair and Wig Design; Joe Dulude II Makeup Design; Lori Elizabeth Parquet Assoc Director; Hawley Gould Assoc. Choreographer; Amanda K. Lopez Dance Captain; Stacy N. Taylor Production Stage Manager; Maya Bhatnagar Stage Manager; Megan Ciszek Asst Stage Manager; The Telsey Office Casting; Hudson Theatrical Associates Production Management; Brand-Nexus Marketing Supervisor; Allied Touring Tour Marketing and Press; Think Tank Social Media; The Booking Group Tour Booking Agency; 101 Productions Ltd General Manager.

Favorite Minor Credit: Bad Monkey Props Horse Body and Mechanics.

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; The Soraya, and 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).

• December: ◊ ACSAC Conference; ♣ Ben Platt: Live at the Ahmanson at CTG/Ahmanson; ♣ Nochebuena: A Christmas Spectacular at The Soraya; ♦ Stereophonic at BIH/Pantages;
• January: ♦ The Notebook at BIH/Pantages; ♦ All the Devils Are Here at The Broad; ♣ Tom Chapin @ McCabes.
• February: ♦ Applause at MTG; ♦ Amadeus at Pasadena Playhouse; ♣ Anat Cohen at the Soraya; ♣ Preservation Hall Jazz Band at The Soraya.
• March: The Play That Goes Wrong at 5-Star Theatricals; Here Lies Love at CTG/Mark Taper; MoTAS Poker Tournament; Spamlot at BIH/Pantages.

You know what I think about Shucked, which (alas) closes at the Pantages today before continuing its tour?

I think a paper plane that doesn’t fly is just stationery.

I think I just passed a huge squirrel… which is odd because I don’t remember eating one.

I think I saw this day coming, because it was on my calendar.

and, I think that Shucked is one of the funniest musicals I’ve seen in ages, and you should go see it when it comes on tour near you. San Francisco folks, you’re next.

Now, let’s be a bit meta about things first, and ask from where do musicals and plays get their humor. If you said, “the writers”, you would be right. But some draw their humor from physical comedy and timing: Noises’ Off, and the whole “…Goes Wrong” series are in that vein. Shucked draws its humor from simple jokes, which come fast and furious. There’s a whole reddit thread that attempts to capture them.  I suggest you read the thread, and I’m not going to try to repeat them, but I’ll choose one more to give you the sense: “it didn’t take a cow to smoke a joint to realize the stakes were high”. These are the sort of jokes that when a character says them, you can hear the ripple through the audience as the joke hits. OK, one more example: “As the personal trainer said to their lazy client, this isn’t working out”. OK, one more: “I was so poor if i wasn’t born a boy I would have had nothing to play with.”

Plot? Very corny. Literally. It takes place in Cob County, where life revolves around corn. The corn starts dying, so the big wedding is called off. There’s a big debate on why. Once of the characters decides to go to the big city — Tampa — to figure out why. She gravitates to a grifter podiatrist (who advertises as a corn doctor) to help the town, and bring him back. As they say, hijinks ensue.

The songs are fun and silly. My favorite song is still “Independently Owned” (Alex Newell killed with this song on the Tonys; the tour’s Lulu, Miki Abraham, did a spectacular job with it). Other songs are still great, in particular “Friends”, which has lines like “I have to call you fam’ly / But I get to call you friend”. But this is fun music. If you want sophistication, go find a remounting of a Sondheim musical. You can get a good sense of the show from the cast album.

In short: The 2024-2025 season at the Pantages goes out on a high note: the last three musicals, A Beautiful Noise, Some Like It Hot, and Shucked have been spectacular. I’m not sure next season can top it.

The tour cast is top notch, especially the leads. The two storytellers, Tyler Joseph Ellis and Maya Lagerstam, have a wonderful playful chemistry (and I remember Tyler from both She Loves Me at Actors Co-Op, and Passion at Boston Court). Miki Abraham’s Lulu hits it out of the park with an attitude and voice that could kill (although they are toned down from the OBC). Danielle Wade is spectacular as Maizy and has a wonderful voice. She needs to put out a country album.  Jake Odmark had the right brawn and attitude for Beau. And, oh Mike Nappi was spectacular as Peanut. You think the crew would be used to his jokes, but his timing and delivery was so spot on it was like watching the Carol Burnett show when Tim Conway was wound up. You could see folks trying to hold back their laughs. The cast clearly enjoys this show and each other, and that joy comes across in the performance.

You may think this is a stupid show. You may think it is, to use the words of one of the ushers, “corny”. It may be. But you will laugh and you will have a good time, and for two hours and fifteen minutes, with intermission, you’ll forget about the clown show in DC. Although, as Peanut says, “Politicians are like diapers: Both should be changed often, and for the same reason”.

With that, one other thought: This isn’t really a stupid show. Simple, perhaps, but not stupid. It is actually subtly subversive. On the surface it is about corn and jokes, but it is really about family. It is about diversity and accepting people. It is about finding love wherever it is.  It is about feminism, and how you shouldn’t underestimate women (one of the lines is “A wise woman once said something smarter than anything a man ever said.”). It is also not a family show — there are numerous jokes that are double entendres, that will have kids asking “why is that line funny”. Example: “I’m independently owned and liberated / And I think sleeping alone is underrated / Don’t need a man for flatteries / Got a corn cob and some batteries”

This is one of those shows that, if I had been able to see it earlier in the run, I would have tried to get tickets to see it again. I liked it that much.

Additionally: This show has no projects, and not a single glitter cannon. No significant special effects. If it wasn’t for the language, I think this would be popular in high schools. I do expect it to become a staple show in the regional and local theatre repertoire. I’ll certainly go see it.

Alas, we had to move our tickets because of our vacation to Hawaii. The last shows in Los Angeles are today. So go see the tour when it comes near you.: San Francisco (Sept. 9–Oct. 5, 2025); Portland OR (Oct. 28–Nov. 2, 2025); Seattle WA (Nov. 4–9, 2025); and back in Costa Mesa (Nov. 11–23, 2025). Hmm, perhaps I should get tickets for that :-).

Credits

Shucked. Book by Robert Horn. Music and Lyrics by Brandy Clark and Shane McAnally. Directed by Jack O’Brien. Choreographed by Sarah O’Gleby.

Cast: [underscores indicate “at our performance”; strikeouts indicate “not at our performance”; ↑ indicates “swung up”]: Miki Abraham Lulu; Tyler Joseph Ellis Storyteller 2; Maya Lagerstam Storyteller 1; Mike Nappi Peanut; Jake Odmark Beau; Quinn Vanantwerp Gordy; Danielle Wade Maizy; Eric Pinnick Grandpa, Ensemble; Kyle Sherman Tank, Ensemble; Zakiya Baptiste Ensemble; Cecily Dionne Davis Ensemble; Ryan Fitzgerald Ensemble; Jackson Goad Ensemble; Celeste Rose Ensemble; Chani Wereley Ensemble. Swings: ↑ Carly Caviglia Dance Captain; ↑ Sean Casey Flanagan, Nick Raynor Dance Captain; Mallorie Sievert.

Music Department (♯ indicates local): Jason Howland Music Supervisor; Strange Cranium Electronic Music Design; Nick Williams Music Director, Conductor, Keyboard; John Miller Music Coordinator; Jeff Theiss Assoc. Conductor, Keyboard, Guitar; Andy Poxon Guitars; Patrick Phalen IV Drums/Percussion; Marc Hogan Bass; ♯ Brian LaFontaine Guitar Sub; ♯ Eric Heinly Orchestra Contractor.

Production and Creative; Jack O’Brien Director; Sarah O’Gleby Choreographer; Scott Pask Scenic Design; Tilly Grimes Costume Design; Japhy Weideman Lighting Design; John Shivers Sound Design; Mia Neal Wig Design; Derek Kolluri Assoc. Director; Robin Masella Assoc. Choreographer; Michael J. Passaro Production Supervisor; Alan K. Knight Production Stage Manager; Lily Archambault Stage Manager; Sophia Shafiuzzaman Asst Stage Manager; Dhyana Colony Company Manager; Stephen Kopel CSA Casting; Juniper Street Productions Production Management; Arthouse Digital Advertising; RCI Theatricals General Manager; Bond Theatrical Tour Booking, Marketing, Publicity; Marathon Digital Social Media.

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; The Soraya, and 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).

• September: ♦ Fiddler on the Roof in Yiddish at The Soraya; ♦ Eureka Day at Pasadena Playhouse; ♦ One Man, Two Guvnors at A Noise Within. Possibles: Just Another Day at the Odyssey (simply so I can go up to Dan Lauria afterwards and ask if he’ll ever bring back Meeting of Minds, which stopped when he went off to do Lombardi many years ago); Real Women Have Curves at Kentwood Players.
• October: ♣ Fly Me to the Moon at The Soraya; ♦ Hairspray at 5-Star Theatricals; ♦ ha ha ha ha ha ha at Pasadena Playhouse
• November: ♦ Jaja’s African Hair Braiding at CTG/Taper; ♦ Paranormal Activity at CTG/Ahmanson; ♦ Suffs at BIH/Pantages;
• December: ◊ ACSAC Conference; ♣ Nochebuena: A Christmas Spectacular at The Soraya; ♦ Stereophonic at BIH/Pantages;

Mariposa. The Spanish word for “butterfly”. Butterflies are often used as a metaphor for transformation, for a change from something that doesn’t look so great into something beautiful. Because of this, it is cherished as a transformational symbol in many communities. More on that in a minute (because it is relevant); for now, the mariposa is also a metaphor for a particular piece of intellectual property.

Last night, we saw Some Like It Hot at the Hollywood Pantages (Broadway in Hollywood). Some Like It Hot is based on the 1959 Billy Wilder movie of the same name starring Tony Curtis, Jack Lemmon, and Marilyn Monroe. In that movie, the humor often came from the overused, and now outdated, trope of the “man in a dress”. In 1972, this property finally made it to Broadway with the musical Sugar! (title changed because they couldn’t license the movie title), with music by Jule Styne and lyrics by Bob Merrill. I saw it at the LACLO in 1974, and truthfully don’t remember much about it (I was 14 at the time). But this version of the show didn’t last on Broadway; it was increasingly creaky in an era of the new, socially relevant, music (its competition in that season, for example, was Pippin).

For those unfamiliar with the story, the basic plot of the show is that two jazz musicians, Jerry and Joe, witness a mob killing. They need to get out of town, quick. So they decide to disguise themselves as women, and hide out in an all woman’s band that is travelling far away (Florida in the movie; San Diego in the musical). Of course, problems ensue. Joe falls in love with the band’s beautiful songstress, Sugar Kaine (who knows him not as Joe, but as either Josephine, or Kip, the screenwriter he pretends to be). In San Diego, the owner of the hotel, Osgood Fielding III, falls in love with Jerry, who he knows as Daphne. Oh, and the mob boss, Spats, discovers where the two men are hiding.

Broad comedy, truly in the sense of the implicit pun. But comedy that, on the face of it, is much less funny these days. I’ve written before how the “man in a dress” trope isn’t aging well. We’ve seen it on the Pantages stage recently, with shows such as Tootsie and Mrs Doubtfire. Those shows were, in the language of [Title of Show], “Donuts for dinner”. Tasty for a brief moment, but in reality a bad idea. It takes a careful approach to make it work. Intent is everything. La Cage Aux Folles works because the humor comes not from a man dressing as a woman (he’s a drag performer), but from someone trying to act as a man. For Some Like It Hot, the book writers for this version appear to have taken inspiration from the actual ending of the movie. Wikipedia describes it thusly:

Still dressed as “Daphne”, Jerry persuades Osgood to take Daphne and Josephine away on his yacht. Sugar runs from the stage at the end of her song and jumps aboard Osgood’s launch just as it is leaving the dock. Removing his disguise, Joe confesses the truth to Sugar and tells her that she deserves better, but Sugar wants him anyway, realizing he is the first man to genuinely care for her. Meanwhile, “Daphne” tries to get out of his engagement by listing reasons why “she” and Osgood cannot marry—can’t wear Osgood’s mother’s wedding gown because she’s “not built the same”, not a natural blonde, smokes, can’t have children, has been living with a saxophone player—none of which dissuade Osgood. Exasperated, Jerry rips off his wig and says “I’m a man!” in his normal voice. Still smiling, Osgood replies “Well, nobody’s perfect!” confounding Jerry and leaving him speechless.

Think about that: A man who wanted to marry someone he thought was a woman, who turns out to be a man dressed as a woman… and saying “Well, nobody’s perfect”. In 1959, mind you, when gay acceptance was in hiding, and no one knew of transgender. It was played for humor then, but today…

Mariposa

With subtle (and not so subtle) tweaks and changes, this new production of Some Like It Hot turns the trope around. Jerry is still a man, but this time, he’s a colored man. And Sweet Sue and much of her band? They are also colored. They are running to San Diego, not Florida, because, well, colored folks in the South. Oh, and this time, when Jerry puts on the dress to become Daphne, he discovers … that he likes it. He discovers that it unleashed a side of him that makes him feel complete. The show never explicitly states he is trans (they never had the language for it then), and in fact, he seems to be more genderfluid, for Daphne indicates that at times he is more comfortable in pants, and at time she is more comfortable in a dress.

There’s a meme going around these days from folks in or allied with the trans community about the transformation from a caterpillar to a butterfly. That meme hit home in a particular song in the show, “Fly, Mariposa, Fly“, which Osgood sings to Daphne/Jerry when he is expressing his love:

On a leaf, a mariposa leaves a huevo—
That means egg!
Which becomes a caterpillar by and by
When it’s grown, it hides and waits for Mother Nature’s kiss
Metamorphosis, and when we see her next
It’s time for her to fly

Fly, mariposa, fly
I would never pin such beauty down
You should be free to touch the sky
So fly, mariposa, fly

That is how I see you, Daphne
As a caterpillar?!
As a butterfly! About to take wing!

The authors of this show have turned it around. It went from being a trope comedy about a man in a dress, into a comedy that is about acceptance, about finding who you really are, and about figuring out what you really want.

Or, to put it succinctly, we really enjoyed this show.

The music was wonderful and jazzy, but I tend to like the music of Marc Shaiman and Scott Wittman (the folks behind Hairspray and Catch Me If You Can). There is one song that was repurposed from Smash (and, indeed, appears both here and in the recent Broadway version of Smash), and that song is an earworm.

The performances are also top-notch. Tavis Kordell does a wonderful job as Daphne/Jerry, and appears to be one of the only folks on stage that is actually playing their instrument (hint: If you are pretending to be a brass player, then remember to fake clearing the spit valve periodically — its a dead giveaway when you don’t). Tarra Conner Jones is great as Sweet Sue; we remember seeing her in A Strange Loop at the Ahmanson. Edward Juvier was great at Osgood, playing the role with joy and fun (and the clearest singing of any of the performers). Leandra Ellis-Gaston was also strong as Sugar. My eyes, however, were also drawn to two of the ensemble members: Brianna Kim and Ashley Marie Arnold, simply for their enthusiasm in the role. Enjoying a role really comes through in the performance.

There were also some very interesting Southern California connections. Devon Hadsell, who plays Minnie, shone in the Chance Theatre production of Lysistrata Jones, and the La Mirada production of Hunchback of Notre Dame. It was wonderful to see her doing great in a Broadway tour. Darryl Archibald, the co-Music Supervisor here, used to be one of the main music directors out at Cabrillo Music Theatre, as well as doing numerous shows at the Pasadena Playhouse. Charlie Rose — a son of the San Fernando Valley — did the orchestrations here. I remember when he got his first big break as part of the orchestra in 13 at the Ahmanson Theatre.

The show did suffer with a common problem at the Pantages: Muffled sound. We were in row Q, on the side. For many of the songs, you had to strain to make out the lyrics. That shouldn’t be the case in Row Q. What is shows is that the move-in process failed to balance-check the sound and compensate for the particular building. Hopefully, that can be fixed in this short run.

On the plus side: This is the first show in a long time that didn’t have a confetti cannon.

We really enjoyed this show, and think you will too. Tickets are available through the Broadway in Hollywood website. Some Like It Hot continues at Broadway in Hollywood (Hollywood Pantages) until August 17, 2025.

Credits

Some Like It Hot. Book by Matthew López and Amber Ruffin. Music by Marc Shaiman. Lyrics by Scott Wittman and Marc Shaiman. Based on the Metro-Goldwyn-Mayer motion picture “Some Like It Hot”. Directed and Choreographed by Casey Nicholaw.

Cast: [underscores indicate “at our performance”; strikeouts indicate “not at our performance”; ↑ indicates “swung up”]: Matt Loehr Joe / Josephine; Tavis Kordell Jerry / Daphne; Leandra Ellis-Gaston Sugar; Edward Juvier Osgood; Tarra Conner Jones Sweet Sue; Jamie LaVerdiere Mulligan; Devon Goffman Spats; Devon Hadsell Minnie; Ashley Marie Arnold Ginger / Ensemble; Kelly Berman Ensemble; Darien Crago Nellie / Ensemble; Drew Franklin Ensemble; Devin Holloway Ensemble; Emily Kelly Vivian / Ensemble; Brianna Kim Ensemble; Stephen Michael Langton Austin Dunn Man With Suitcase / Ensemble; Jay Owens Sonny / Ensemble; Ranease Ryann Ensemble; Nissi Shalome Dolores / Ensemble; Michael Skrzek Toothpick Charlie / Bar Manager / Ensemble; Tommy Sutter Brian Thomas Hunt Mack / Ensemble;   Swings: Ayla Allen; ↑ Austin Dunn; Tim Fuchs Dance Captain; Rachael Britton Hart; ↑ Brian Thomas Hunt. Vacation Swings: Ian Campayno; Adena Ershow.

Music Department (♯ indicates local): Marc Shaiman Composer, Co-Lyricist, Vocal Arranger; Scott Wittman Co-Lyricist; Mary Mitchell Campbell Co-Music Supervisor; Darryl Archibald Co-Music Supervisor; Bryan Carter Orchestrations; Charlie Rosen Orchestrations; Glen Kelly Dance and Incidental Music; Kristy Norter Music Coordinator; Mark Binns Music Director; Samuel Hoad Score Supervisor; Randy Cohen Keyboard Programmer; Sam Starobin, Tim Crook, Nicholas Schenkel, and Juan Matos Assoc. Keyboard Programmers; Sean McDaniel Drum Pad Programming; Julianne Merrill and Patchmaster Productions LLC Playback Engineer; Russel Bartmus, Charlie Savage, and Nathan Serot for 7^th Avenue Music Service Music Preparation; Lexi Vollero Music Assistant; Larry Saltzman, Mike Morris, Ryan O’Connell, and Samuel Hoad Additional Music Production. Orchestra: Mark Binns Conductor / Keys 1; Nicholas Michael Johnson Assoc. Conductor / Keys 2; Matt Gallagher Trumpet 1; Chris Karabelas Drums; ♯ Jeff Driskill Reed 1 (Alto Sax / Flute / Clarinet); ♯ Sean Franz Reed 2 (Tenor Sax / Flute / Clarinet); ♯ Brett McDonald Reed 3 (Tenor Sax / Flute / Clarinet); ♯ Damon Zick Reed 4 (Bari Sax / Bass Clarinet / Clarinet); ♯ Aaron Smith Trumpet 2 / Flugelhorn; ♯ Charlie Morillas Trombone 1; ♯ Nick Daley Trombone 2 / Bass Trombone; ♯ Michael Valerio Acoustic Bass; ♯ Anthony Zediker Keyboard Sub; ♯ Eric Heinly Orchestra Contractor.

Production and Creative: Matthew López Book; Amber Ruffin Book; Casey Nicholaw Director / Choreographer; Scott Pask Scenic Design; Gregg Barnes Costume Design; Natasha Katz Lighting Design; Brian Ronan Sound Design; Josh Marquette Hair Design; Milagros Medina-Cerdeira Makeup Design; Christian Borle and Joe Farrell Additional Material; Steve Bebout Assoc. Director; John MacInnis Assoc. Choreographer; Buist Bickley Production Properties; Karen Moore Production Supervisor; Juniper Street Productions Production Management; Donavan Dolan Production Stage Manager; Witney M. Keeter Stage Manager; Jalon Payton Asst. Stage Manager; Kelley Lynne Moncrief Sub Asst. Stage Manager; DeAnn L. Boise Company Manager; 101 Productions Ltd. General Manager; The Booking Group Tour Booking Agency; Allied Global Marketing Tour Marketing & Press; Think Tank Social Media; The Telsey Office Casting.

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; The Soraya, and 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).

• August: ♦ & Juliet at CTG/Ahmanson
• September: ♦ Shucked at BIH/Pantages; ♦ Fiddler on the Roof in Yiddish at The Soraya; ♦ Eureka Day at Pasadena Playhouse
• October: ♣ Fly Me to the Moon at The Soraya; ♦ Hairspray at 5-Star Theatricals
• November: ♦ Jaja’s African Hair Braiding at CTG/Taper; ♦ Paranormal Activity at CTG/Ahmanson; ♦ Suffs at BIH/Pantages; ♦ Amadeus at Pasadena Playhouse