Tag: pantages-hollywood

Silence. Calm. Space. Relaxation.

Those are not things you associate with a Tony-award winning Broadway musical. When you think of Broadway, you think of high kicking dance numbers. Lots of energy. Lots of volume. Something happening in every minute. Long leggy dancers. Big bands.

That’s not The Band’s Visit, which we saw last night at the Dolby Theatre as part of Broadway in Hollywood.

The Band’s Visit is best summarized by the opening projection, which is also said at the end of the show: “Once not long ago a group of musicians came to Israel from Egypt. You probably didn’t hear about it. It wasn’t very important.” What distinguishes this show is the quiet. The show is not afraid of silence; there’s quite a lot said in the pauses. That particular message is very important right now. We are all going crazy with the ongoing stress and fatigue of COVID, of politics, of conflict, of hostility, of partisanship. What we need to do is appreciate the quiet, to get the most out of our pauses.

This musical tells the story of The Alexandria Ceremonial Police Orchestra, which was invited to perform at an Arab cultural center in Petah Tiqva. However, when getting their bus tickets, they get tickets for Beit Hatikva. This is a speck of concrete in the middle of the desert.  They spend the night with the villagers, and then go on their way and perform their concert.

That’s it. That’s the story. Two groups of strangers getting to know each other, and then moving on.

There are no big dance numbers. There are, instead, insightful chamber numbers. There are songs in English. There are songs in Hebrew. There are songs in Arabic. People who speak different languages, somehow finding out how to see past the differences and get along. Calmly. By listening to the pauses.

As the musical unfolded, I found myself enveloped by the difference of this musical. It relaxed me; it pulled out the stress in a different way than Head over Heels had the week before. Yet I found myself leaning forward and smiling (under my mask). I was also enthralled by the portrayal of the people. When we think of the conflict in the Middle East, we often think stereotypically of the strongly religious. That’s not present here. We see people. Secular folks, running cafes, going out to eat, playing music, taking care of families, dealing with family issues. The only hint of religion is the mezuzah on the cafe door. The story forces us to see people as people, and not through the lens of religion and politics. In these polarized times, perhaps that’s worth remembering.

One post show musing I had regarded the subsequent life of this musical. On the surface, it is deceptively appealing: a small cast, not a lot of technological tricks. Few curse words. But will it success in the regional and school circuit? It requires actors that can speak not only English but Hebrew and Arabic. It requires folks that can play some odd instruments. It has that odd sort of quirky draw similar to another Tony award winner, Once. I’m not sure this will make it on the regional circuit. Translation: See this now while it is on tour, or you may be waiting a while.

The Band’s Visit is based on the 2007 screenplay by Eran Kolirin, with a book for the stage by Itamar Moses. Music and lyrics are by David Yazbek, and sound very different than other shows of his such as The Full Monty, Dirty Rotten Scoundrels or Women on the Verge of a Nervous Breakdown.

The performances were uniformly strong, let by Janet Dacal Dina and Sasson Gabay Teqfiq. I had heard Dacal before on the Wonderland album, and I have the recording of her solo album. She has a lovely voice, and brought a nice depth to the performance. Gabay played the role in the original screenplay, and brought a night level of formality and warmth to the role. But the cast, as a whole, was an ensemble. Other than the leads, it was difficult to single out any performance. The remainder of the cast at our performance was: Joe Joseph Haled; Clay SInger Itzik; Yoni Avi Battat Camal, 🎼 Violin; Coby Getzug Papi; Joshua Grosso Telephone Guy; Kendal Hartse Iris; David Studwell Avrum; Billy Cohen Zelger; Layan Elwazani Julia; Nick Sacks (in for Marc Ginsburg) Sammy; James Rana Simon; Hannah Shankman (in for Ariel Reich) Anna; Roger Kashou 🎼 Darbouka/Riq; Brian Krock 🎼 Clarinet / Saxophone / Flute; Kane Mathis 🎼 Oud / Guitar; Wick Simmons 🎼 Cello. Other standbys were Ali Louis Bourzgui, Loren Lester, and Dana Saleh Omar. 🎼 indicates on-stage band members. I’ll note I was a bid sad not to see Marc Ginsberg; we’ve seen him in numerous 5-Star/Cabrillo productions and the in LA Premier of Levi – The Musical. Also interesting is the large number of Los Angeles locals in the cast (such as Dacal, Getzug,  Ginsberg, Lester, Omar) and CMU alumni (Singer, Grosso, Sacks).

The remainder of the band, offstage, were Adrian Ries Conductor / Keyboard; Kelly Thomas Assoc. Conductor / Keyboard; David White Electric & Acoustic Bass; Shai Wetzer Drums / Arabic Percussion. Other members of the music team were: Jamshied Sharifi Orchestrations; Andrea Grody Music Supervisor / Additional Arrangements; Alex Farha Musician Swing; Dean Sharenow Music Coordinator; Peter Foley Music Preparation; Billy Jay Stein and Hiro Iida for Strange Cranium Inc Electronic Music Design.

Turning to the production and creative side: In terms of performance design, the production was directed by David Cromer, and choreographed by Patrick McCollum. Of course, they don’t go on the tour, so credit for keeping the tour fresh goes to Seth Sikes Associate Director; Jesse Kovarsky Associate Choreographer; and Hannah Shankman Dance Captain.  Also pretty significant was Zohar Tirosh-Polk Israeli Dramaturg / Dialect Coach and Lamia Bensouda Arabic Dialect Coach. The stage design team consisted of Scott Pask Scenic Design; Sarah Laux Costume Design; Tyler Micoleau Lighting Design; Kai Harada Sound Design; Charles G. LaPointe Hair and Wig Design. As with the story, the stage design was similarly understated. There were well worn buildings, well worn living rooms, a well worn cafe. The costumes were well-worn for the residents, the band was in uniform. Lighting was often subdued. Sound was clear; this was a show that benefitted from being in the Dolby with its clear and crisp sound (it would have suffered in the Pantages, which swallows sound). The scenic design elements worked well. Rounding out the production team were: John M. Atherlay Production Stage Manager; Nikki Lint Stage Manager; Sean Francis Patrick Asst. Stage Manager; Tara Rubin Casting Casting; Foresight Theatrical Management Consultant; Chris Danner Company Manager; Justin T. Scholl Asst. Company Manager; Bond Theatrical Marketing and Publicity Direction; The Road Company Tour Booking. There were loads and loads of producers. I always give credit to the COVID Safety Team: Toni Ostini Tour COVID Safety Manager; and … well … the Broadway in Hollywood staff directory does not give a credit for their COVID safety team. They should. They are what keeps the theatre open.

One last thing, if the Broadway in Hollywood (FB) staff read this: The show needs a pre-show announcement about keeping your masks on during the show, and keeping any light emitting and sound emitting devices off. Audiences have been out of the live theatres for so long they have clearly forgotten the protocols, and mask reminders keep everyone safe.

The Band’s Visit continues at The Dolby Theatre through December 19, 2021. Tickets are available through Broadway in Hollywood (Ticketmaster). 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 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 Actors Co-op (FB) and 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. We have one more show in December: A Christmas Carol at the Ahmanson Theatre (FB). Turning to 2022: January brings Everyone’s Talking About Jamie at the Ahmanson Theatre (FB). February brings Something Rotten at 5 Star Theatricals (FB) and Marvin’s Room at Actors Co-op (FB). March brings The Lehman Trilogy at the Ahmanson Theatre (FB), Trayf at the Geffen Playhouse (with the TAS Live Theatre group); and Ann at The Pasadena Playhouse (FB). April brings the Southern California Renaissance Faire; Hadestown at at the Ahmanson Theatre (FB) (although that may get pushed to May); and Tootsie at Broadway in Hollywood (FB). May is otherwise empty, but June will see Come From Away at the Ahmanson Theatre (FB) and Pretty Woman at Broadway in Hollywood (FB), plus as much of the Hollywood Fringe Festival as we have the energy for.

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)!

👇🏼👇🏼👇🏼 (tap) (tap) (tap). Is this thing on? I’m so out of practice. I mean, I haven’t written a theatre review since March 8, 2020, when I saw Passion at Boston Court. We haven’t been to a Broadway in Hollywood show since Escape to Margaritaville at the end of February 2020. I mean it seems like forever since I’ve been, to quote a favorite show, “in a large building in a central part of town in a dark room as part of a play with a lot of people listening, who have all paid a great deal to get it in”.

If you haven’t figured it out, last night I was in such a dark room. With a mask on. Having shown proof of vaccination to get in. Feeling somewhat safe. Could it have been better? Sure. They needed a pre-show announcement reminding people to turn off their cell phones and keep off any device that generates light or noise (as people are out of practice). They needed an announcement to remind people to keep their masks on at all times unless actively eating or drinking (which you shouldn’t do during a show anyway). But still. 🎉 WE WERE AT LIVE THEATRE AGAIN.

Yes, we’re taking it slow. For now, it is pretty much our existing subscriptions and our prior subscriptions when they come back to life. Perhaps more as we get deeper into 2022 and the number of cases continues to drop. But we were at our first show in a long time, and it felt good. As the first notes of the overture drifted over us, the anxiety floated away.

But I ramble. On to the write up.

Last night we saw the Lincoln Center revival of the musical My Fair Lady at Broadway in Hollywood (BIH)/The Dolby Theatre (Program). This was the first BIH show at the Dolby post-COVID, and their second show overall post-COVID (Hamilton started at the Pantages Theatre back in August). As noted above, they have a number of protocols to make patrons feel safer; there’s also comfort in the fact that there have been no reported breakthrough incidents throughout the Hamilton run so far, meaning they are doing something right.

My Fair Lady is, in many ways, a creaky musical that is showing its age. It premiered in March 1956 (meaning it is older than I am), and ran for 2,717 performance. It is well known (especially due to the movie’s success) and for a long time was a staple for regional theatre. Loads of people know the bones of the story, but few have likely seen it on stage recently. Prior to the LCT revival, it was last revived on Broadway in 1994 (1977 and 1981 before that) — a 24 year span. LACLO last did it in 1969; the last big production in Los Angeles was the Downey CLO in 2009. It’s been a while, and truth be told, I don’t think I’d ever seen it on stage.

For those not familiar with the story, the basic premise is a man who studies dialect and English (Henry Higgins), and who thinks the only way to succeed is to speak the Queen’s English, runs into a lower-class flower seller (Eliza Doolittle). He makes a bet that in 6 months he can teach her proper English and pass her off as a member of upper class society. He succeeds at his bet, but at what price?

With these bones, you’ll think it doesn’t fit well in the society of today. Here you have a white man, using the power of his class, to try to take advantage of and rehabilitate a woman from a poorer class. Boy, are those class issues, with a touch of “we’re smarter, we know better”, problematic. Then their is the side of the woman, who is essentially a pawn to the men in her life (at least that’s how it was presented in the 1950s). How does that fit with today’s woman who has agency?

But that’s what memory tells one about the show. Watching the show, those themes aren’t quite there in such a start way. But there are some that are both worse and more familiar.  So let me frame the story in a different way.

Let me tell you the story of a man. This man is so full of himself he thinks he knows everything, and can solve the problems of the world. He certainly thinks he can change people into being what he thinks they should be. How does he plan to do this? By bullying them and torturing them. Further, when these people succeed, he’s there to take all the credit and claim he was the only reason things work out well. When the person who changed wants some acknowledgement of their role in the transformation, they are ignored and told they are ridiculous. They are in essence, no more than a trained monkey. A monkey that is useful to keep around, because they make him laugh and bring him his slippers. This man never acknowledges his own flaws; in fact, he projects his flaws upon others absolving himself of any part of a failure.

Now, does that man sound familiar? Have we run into anyone like that recently? But I’m not talking about a recent politician. I’m talking about one of the two main characters in this show: Professor Henry Higgins. The word we use to describe the recent politician fits Higgins to a T: “Narcissist”. Higgins in a narcissist. He believes the world revolves around him, that he can do no wrong, and those in lower positions are there to serve him. He treats anyone below him like crap, and is proud of the fact. So, point in fact, today’s eyes show us that My Fair Lady is, at its heart, a show about a narcissist.

The object of Higgins’ obsession is the flower girl, Eliza Doolittle. Throughout much of the show, she shows precious little character but does stand up for herself a few times. She’s generally bullied and broken down by Higgins — in fact, much of the first act is devoted to breaking her down like a Marine drill sergeant. In the second half, after Eliza finally comes to see the narcissism in Prof. Higgins she attempts to get away but is drawn back. The ending of the show is ambiguous as to whether she succeeds in doing so, but it clear that her attempt to make Higgins see his problematic behavior fails on deaf ears.

The conscience of the show — or at least what passes for one — comes in the form of Colonel Pickering, a colleague of Prof Higgins and one of the lone voices reminding him to keep Eliza’s feelings in mind during the process. But he is, in general, a background character and generally ignored.

The other major fleshed out character is that of Eliza’s father, Alfred Doolittle. He generally shows up to provide boisterous barroom dance numbers to balance the ballads that are fun to watch but don’t advance the plot all that much. But Mr. Doolittle is the source of additional show problems: He essentially offers to sell his daughter, disparages the middle class. When he is dragged into the middle class and has a well-known second act number “I’m Getting Married In The Morning”, he also introduces what I felt to be an unnecessary problem: characters dressed as the opposite sex just for the joke of it all. We have a woman dressed as groom, and men dressed at the bride and bar dancers, all in bustiers. Perhaps in the last millennium men dressed as women were funny. Nowadays it just seems wrong, and there was no context set up that a bar in London in 1912 would have such dancers or a wedding. It was a poor directorial choice for 2018.

As the above makes clear, story-wise, this adaptation of the 1913 play Pygmalion may have worked well in 1956, but feels dated and creaky in 2021. It somehow needs a bit more tweaks to fit with modern sensibilities, or at least more contextualization in the program to put it in the context of its time. But that doesn’t mean the show is bad. The show is grand, glorious, and glittering, under the direction of Bartlett Sher. What saves it are the well-known tunes by Alan Jay Lerner (Book and Lyrics) and Frederick Loewe, as well as the wonderful performances by the touring troupe.

Everyone knows the music from this show. From the opening “Why Can’t The English?” to the ear-worm “I Could Have Danced All Night”; from the dance numbers of “With a Little Bit Of Luck” and “I’m Getting Married in the Morning”; from touching songs like “I’ve Gown Accustomed to Her Face” or “On The Street Where You Live” — essentially every song is at the top of the form. About the only problem is you listen to some of them, such as “Show Me”, and think it was from their later show Camelot… but it wasn’t

The performances were also quite strong. Shereen Ahmed Eliza Doolittle had a lovely spirit and look, and had a remarkably beautiful voice. Ahmed is also noticeable for the diversity she brings to the cast, being Arab-American (as well as having a BS in Criminal Justice, so I sense a career for the restart of Law and Order in her future). Playing opposite her was Laird Mackintosh Prof. Henry Higgins. He bio makes clear that he has the chops to sing well (having been involved with an opera company); alas, he’s in a role that was designed for the sing-speaking Rex Harrison. He makes the best of it, and does bring a good fire to the role.

In the supporting positions are Adam Grupper Alfred P. Doolittle, Kevin Pariseau Col. Hugh Pickering, and to a lesser extent, Leslie Alexander Mrs. Higgins. I’ve noted earlier that Grupper’s role is more one of comic relief. He handles that quite well and is very playful in his numbers and his scenes.  Pariseau’s Pickering is also present in the traditional side-kick and reaction role, which he does well. Alexander blends in during the first act, but shines in the second act where she stands up to her son’s narcissism and takes Eliza’s side. There she is wonderful.

In the Tertiary supporting character category were Sam Simahk Freddy Eynsford-Hill and Gayton Scott (at our performance, Sarah Quinn Taylor was substituting) Mrs. Pearce.  Simahk captured the character as written well — a man with the personality of an infatuated puppy. Taylor’s Pearce had a bit more meat. Although she didn’t have many lines, she was able to capture through her actions and her face her disapproval of how Higgins was treating Eliza.

Rounding out the cast in various small and ensemble roles were: Lee Zarrett Professor Zoltan Karpathy / Selsey Man; Rajeer Alford Ensemble; Colin Anderson The “Loverly” Quartet, Higgin’s Butler, Ensemble; Mark Banik Frank the Bartender, Ensemble; Michael Biren Steward, Constable, Ensemble, Asst. Dance Captain; Mary Callanan Mrs. Hopkins, Higgins’ Maid, Ensemble; Elena Camp Queen of Transylvania, Ensemble; Christopher Faison The “Loverly” Quartet, Higgins’ Butler, Lord Boxington, Footman, Ensemble; Nicole Ferguson Higgins’ Maid, Ensemble; Juliane Godfrey (FB) Higgins’ Maid, Ensemble; Colleen Grate Flower Girl, Higgins’ Maid, Ensemble;  Patrick Kerr Harry, Ensemble;  Brandon Leffler Charles, Mrs. Higgins’ Servant, Ensemble; Nathalie Marrable Ensemble;  William Michals Hoxton Man, The “Loverly” Quartet, Jamie, Footman, Ensemble; Aisha Mitchell (FB) Ms. Clara Eynsford-Hill, Ensemble; Rommel Pierre O’Choa Mrs Higgins’ Servant, Ensemble; Kevin Quillon Ensemble; JoAnna Rhinehart Mrs. Eynsford-Hill, Ensemble; Samantha Sturm Lady Boxington, Hostess, Ensemble; Gerard M. Williams The “Loverly” Quartet, Steward, Constable, Ensemble; and Minami Yusui Ensemble, Dance Captain, Fight Captain. Swings were Kaitlyn Frank, George Psomas, Sarah Quinn Taylor, and Richard Riaz Yoder.

Music was provided by the My Fair Lady Orchestra (🌴 designates local orchestra): John Bell Music Director, Conductor; Luke Flood Assoc. Music Director, Keyboard; Dmitriy Melkumov Violin, Concertmaster; Mark O’Kain Percussion; 🌴 Elizabeth Johnson Violin 2; 🌴 Erik Rynearson Viola; 🌴 Ginger Murphy Cello; 🌴 Ian Walker Bass; 🌴 Richard Mitchell Flute, Piccolo, Clarinet; 🌴 Michele Forrest Oboe, English Horn; 🌴 Jeff Driskill Clarinet; 🌴 William May Bassoon; 🌴 John Fumo Trumpet 1; 🌴 Aaron Smith Trumpet 2; 🌴 Katie Faraudo French Horn 1; 🌴 Lizzie Upton French Horn 2; 🌴 Denis Jiron Trombone; 🌴 Amy Wilkins Harp; and 🌴 Mary Ekler Keyboard Sub.  Music support and development was provided by Robert Russell Bennett Orchestrations 1894-1981; Philip J. Lang Orchestrations 1911-1986; Trude Rittmann Dance & Incidental Music Arrangements, 1908-2005;  Ted Sperling Additional Arrangements; Talitha Fehr and David Lai Music Coordination; Josh Clayton Tour Orchestrations, Music Copying; and 🌴 Eric Heinly Orchestra Contractor. Orchestras in Los Angeles are always superb due to the talent in the city. Notable about this orchestra is that I didn’t recognize a lot of the names. In the past, there was a revolving group of artist that showed up in the local component of theatre orchestras. This time, there were a bunch of new faces. That’s always great to see.

Turning to the production side: The production was directed by Bartlett Sher and choreographed by Christopher Gattelli, assisted by Sari Ketter Assoc. Director and Mark Myars Assoc. Choreographer.  Generally the direction was good and helped the actors bring the characters to life. There were some questionable choices, such as the aforementioned drag actors during “Get Me To The Church on Time”. The choreography was also generally good, but one really got the sense of the confines of the stage: endless circling back and forth that, when combined with the set design, left one a little dizzy. But My Fair Lady is not a strong dance show except in the ancillary Alfred P. Doolittle numbers and the formality of the Ascot Gavotte. Again, this probably goes back to Rex Harrison.

Michael Yeargan Sets provided a scenic design that both worked and was confining. The principle piece was Higgins’ study / front room / door and was set on a turntable. When it was rotating it tended to be a bit dizzying and disconcerting, especially if you were watching the actors close through binoculars. I understand the confines of a tour, but wondered if more traditional pieces might have worked better. At least there were no projections. Catherine Zuber Costumes were, to put it simply, sumptuous. From the dowdy looks of the lower class, to the beautiful gowns for Eliza, they were lovely. The atmosphere was set well by Donald Holder‘s lighting design and Marc Salzberg‘s sound. There were also no obvious microphone or amplification problems — often the curse of a touring company. Rounding out the production team were The Telsey Office Casting; Tom Watson Hair and Wigs; Elizabeth Smith Dialect Consultant; Donavan Dolan Production Stage Manager; Aaron Heeter Stage Manager; James Ogden II Asst Stage Manager; Jeff Mensch Company Manager; Kiara Bryant Asst. Company Manager; Karen Berry General Manager; and Troika Entertainment Tour Management. Notable absent from the program was any credit (either at the tour level or the BIH level) for a COVID Safety Officer. Nowadays, that’s a vital role and deserves acknowledgement and applause. Luckily, I found it on the travel page of the company website: Kudos to Jody Bogner Covid Safety Manager Workplace Compliance and Amy Katz COVID-19 Communications Director, Policies/Venue Relations/Testing for keeping the My Fair Lady company safe and healthy, and in turn, keeping the audience healthy.

One last thing, if the Broadway in Hollywood (FB) staff read this: The show needs a pre-show announcement about keeping your masks on during the show, and keeping any light emitting and sound emitting devices off. Audiences have been out of the live theatres for so long they have clearly forgotten the protocols, and mask reminders keep everyone safe.

The Broadway in Hollywood engagement of My Fair Lady continues until October 31, 2021. Tickets are available through Broadway in Hollywood (Ticketmaster). Discount tickets may be available through Goldstar (Los Angeles, MFL Tour in General) or other ticketing agencies.

❧

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 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 Actors Co-op (FB) and 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:

Wow. I haven’t done this in a while. (rummages through the calendar)

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. Later in October we will have Mamma Mia at 5 Star Theatricals (FB). November brings Hamilton at Broadway in Hollywood (FB) and Head over Heels at The Pasadena Playhouse (FB). December brings The Bands Visit at Broadway in Hollywood (FB) and A Christmas Carol at the Ahmanson Theatre (FB). Turning to 2022: January brings Everyone’s Talking About Jamie at the Ahmanson Theatre (FB). February brings Something Rotten at 5 Star Theatricals (FB); lastly, March brings The Lehman Trilogy at the Ahmanson Theatre (FB), and Ann at The Pasadena Playhouse (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)!

As I mentioned in my writeup for The Simon & Garfunkel Story, Saturday was a crazy day. Due to my scheduing confusion, we ended up with two shows in Hollywood, moving from S&G at the Hollywood Pantages (FB) to the Dolby Theatre (FB) for Escape to Margaritaville, the first show for Broadway in Hollywood (FB) at the Dolby. Before I go into the details of the show, let’s talk about BinH at the Dolby.

The Dolby is a very different venue than the Pantages. Whereas the Pantages is old and ornate and rococo and filled with history, the Dolby is new and shiny and modern. For those familiar with the old-day in LA theatre, contrast the old Shubert Theatre in Century City with the style of the Dorothy Chandler. The Pantages staff working at the Dolby were warm and welcoming and friendly, guiding people unfamiliar with the facility to where the needed to go. As for the facility itself … good and bad. The bad is that there is no longer the same central lobby there was at the Pantages. One can enter either on the first or second floor; entering on the second bypasses much of audience services and the all important merchandise booth. Refreshments (not that I partake) are more expenses; at the Dolby they are a Wolfgang Puck enterprise, with prices to match. As for the theatre itself, the venue is narrower but taller. This means that what had been side orchestra seating has been relegated to the loge and first mezzanine, often off to the sides. In some ways, it is a better view, but it is also further from the stage. I don’t think they are using the topmost balcony. In any case, if you aren’t on the orchestra floor, bring your binoculars. Sound in the facility was good, and a bit clearer than in the Pantages.

Turning to the show itself: Escape to Margaritaville is a jukebox musical, built around the music of Jimmy Buffett and Buffett’s general theme of Island Rock, also characterized as “Gulf and Western”. This music plays up the notion of relaxing life on a tropical island. We seem to be in a jukebox musical period, where songs from a performer’s songbook are stitched together, given a few nips, tucks, and alterations, and crafted into a serviceable story of varying strength. Sometimes this story is autobiographical (think Beautiful or the upcoming Cher Show), sometimes is a somewhat fictionalized quasi-autobiography (think The Last Ship with its Sting surrogate), and sometimes the story has no connection with the artist at all, but it just works with the catalog (think Mamma Mia or Head Over Heels). Escape fits somewhere between the latter two types: it is quasi-autobiographical in that an Island-rock singer is discovered, but the rest of the story is fictional.

The story of Escape is relatively simple, and you can find the gory details on the Wikipedia page. The book was developed by Greg Garcia and Mike O’Malley, building around the music of Jimmy Buffet (who evidently changed a few songs and lyrics a bit).  The basic notion is this: Margaritaville is a bar on an unnamed tropical island that has a dormant volcano (why do they always have volcanos, right, Spongebob?). The bar is owned by Marley; denizens of the bar include Tully (the singer), Brick (the bartender), J.D. (the crochety old tourguide who has supposedly hidden a treasure somewhere), Jamal, and Jesus (two of the staff). The life is easy: tourists come in for a week, get drunk, have island romances, and then go back to their dank winters in the northeastern US. Two such tourists are Rachel and Tammy, out on a last vacation before Tammy gets married to Chadd, who keeps wanting Tammy to lose weight. Tammy wants to have fun. Rachel is less interesting, but is going to the island to collect soil samples so she can work on her project: an energy-producing potato. Yes, I said potato. This is the opening exposition, and the rest of the first half of the story is building up the love interests: Tammy with Brick, who represents a guy who loves her for who she is, and Tully with Rachel, who gets Rachel to drop her guard and adopt the Island lifestyle. But all good things end, and Tammy and Rachel go back to Ohio and the cold. Then the Volcano blow. Cue: “Now I don’t know, I don’t know, I don’t know where I’m a gonna go, When the volcano blow”

The second half of the show is after. We get to see the island folks evacuating, Tully and Brick chasing J.D. who has gone off in search of his treasure — which he finds as they escape the island just in time. We see the island folks running off to Ohio to follow Tully’s love. Meanwhile, back in Ohio, the rehearsal dinner is proving a problem where Tammy wants to have a cheeseburger (cue the song), but her fiancee Chadd wants her to have vegan pasta, and Rachel is trying to find funding for her potato. In rushes the island folks and … well, this is a musical so you can probably predict the happy ending that ensures.

Before the show hit Broadway (it started out in La Jolla), reaction to it was positive. It did well in New Orleans and Houston and even Chicago. It hits New York and … gets a resounding thud from critics, as do many shows that play well outside the city (Bandstand is another example of that). What was our reaction?

This was in no sense a deep show with some sort of deeper meaning. It wears its ambitions on its sleeve: this is an island musical about slowing down and enjoying life, about not worrying about the drama. If you go in knowing that, you aren’t disappointed. But if you are cosmopolitan and want something with depth and meaning and social significance, this isn’t it. If I had to draw a parallel with respect to the depth of the story, I’d say to compare it with Mamma Mia. This isn’t a story of social import; it is just a fun time (as demonstrated by the beach balls and singing at the end).

But the presentation of this story does a number of things right in my book. First, it celebrates science. Yes, we’re talking about power from a potato, but the lead heroine is not a princess, but an environmental scientist who wants to do science. Inspire those women to do STEM! Second, the woman driving the other story (Tammy) is portrayed as not a stick-thin blond but a blond with a build of a typical American woman. That is: slightly larger than the media portrays it. Her intended, Chadd, wants the media portrayal, but the “one true love” is the one that doesn’t demand change: that sees the beauty in who she is and not what she ways. This body-positive message is echoed through the ensemble casting, which includes not only diversity in color but diversity in size: there are island cuties and tourists that are in the larger size group — and it is beautiful to see on stage. So the messages in this show are a winning combination.

So overall, I’d say this is an enjoyable story, if you aren’t looking for much depth. If Mamma Mia is your speed, and your looking for something light and laughable and fun, this is it. If you are looking for the deep messages of Hamilton or The Prom or even Dear Even Hansen … this isn’t the show for you. But for a light story, told well, with a strong cast of newcomers: this works.

As we turn to the performance, I should note that this is a non-Equity cast. This does not imply any lack of talent from the cast, only that they have not yet made their Broadway debuts. For many, this is their first tour; for a few, this is their professional debut. Director Amy Anders Corcoran (FB), building upon the original Broadway direction of Christopher Ashley (FB), does a great job of realizing the story in a tour environment (which has to fit in a truck or two), as well as molding the younger cast into a wonderfully performing whole. Movement was under the direction of Kelly Devine (FB) Choreographer, assisted by Andrew Turteltaub (FB) Assoc. Choreographer. So let’s look at those performances, couple by couple.

First up: Sarah Hinrichsen (FB) Rachel and Chris Clark (FB) Tully. Hinrichsen did a wonderful job of bringing a nice spunk and playfulness to her character, and she had strong chemistry with Clark. This was demonstrated well in the “falling in love” sequences in the first act, especially in numbers like “Three Chords” or “Son of a Son of a Sailor”. I can’t judge the “hunk” quality of Clark, but he also had a strong chemistry with Hinrichsen. Both sang and moved well.

The next couple was Shelly Lynn Walsh (FB) Tammy and Peter Michael Jordan (FB) Brick. These two were also strong, especially Walsh’s portrayal of Tammy. She brought a wonderful joy to that character, together with a great singing voice in songs such as “Five O’Clock Somewhere” and “Cheeseburger in Paradise”. Jordan’s role was a bit more secondary, but he still brought a great performance to the role.

The third couple, so to speak, was Rachel Lyn Fobbs (FB) Marley and Patrick Cogan (FB) J. D.. Fobbs is strong from the opening number where she welcomes people to Margaritaville, bringing loads of fun. Cogan’s J.D. is more one spice in the first act (“Salt, Salt”), but comes into his own with a lot of humor in the second act.

Rounding out the performance team in featured and ensemble roles are: Matthew James Sherrod (FB) Jamal; Sophie Braud (FB) Ensemble; Noah Bridgestock (FB) Chadd, Ensemble; DeVon Buchanan (FB) Ted, Ensemble; Anthony Cataldo (★FB, FB) Ensemble; Chantelle Cognevich (FB) Ensemble; Katie Davis (FB) Ensemble; Nico DiPrimio (FB) Ensemble; Fabian-Joubert Gallmeister (FB) Ensemble; Diego Alejandro Gonzalez (FB) Jesus, Ensemble; Bobby Hogan (FB) Ensemble; Aimee Lane (FB) Ensemble, Dance Captain; Michael Matthew Sakelos (★FB, FB) Ensemble; Trent Soyster (FB) Ensemble; Emma Stricker (FB) Ensemble; Jade Turner (FB) Ensemble; and Morgan Unger (FB) Ensemble. Swings were Victoria Price (FB) and Tyler Whitaker (FB).

Music was provided by an on-stage orchestra under the music direction of Andrew David Sotomayor (FB), supplemented by the actor that played Tully. The orchestra consisted of (🌴 indicates local): Andrew David Sotomayor (FB) Keyboard; Claudio Raino (FB) Guitar; Jakob Smith (★FB, FB) Guitar; Joela Oliver (FB) Bass; Russ Henry (FB) Steel Drums; Taurus Lovely (★FB) Drums; Jake Boldman (FB) Trumpet; Emma Reinhart (FB) Trumpet; 🌴 Sean Franz (FB) Tenor Sax / Bari Sax / Clarinet / Bass Clarinet / Flute / Recorder; 🌴 Aaron Smith (FB) Trumpet / Flugelhorn / Recorder; 🌴 Brian LaFontaine (FB) Guitar 1 (Electric / Acoustic / Ukulele / Banjo / Lap Steel), Harmonica; 🌴 Jack Majdecki (★FB) Guitar 2 (Electric / Acoustic / Mandolin / 12 String / Ukulele); 🌴 Lynn Keller (FB) Bass; 🌴 Rayford Griffin (★FB) Drums / Percussion; 🌴 Jared Stein (FB) Keyboards. Other music related credits: Randy Cohen (FB) Keyboard Programmer; Talitha Fehr (FB) Music Coordinator; 🌴 Eric Heinly (FB) Orchestra Contractor; Michael Utley Orchestrations; Gary Adler Dance Music Arrangements; Mac McAnally (★FB) Music Consultant; Christopher Jahnke Music Supervision & Arrangements and Additional Orchestrations.

Finally, turning to the production and creative side. Walt Spangler‘s scenic design consisted of a space for the band that could be covered by a curtain or scrim at the back of the stage, and then scenic elements at the front that primarily represented Margaritaville, with an occasional additional prop for the volcano or Ohio. Some of the scenic elements were outstanding and super-creative, such as the snorkeling scenes or the volcano climbing scenes. This scenic design was supported by Paul Tazewell‘s costumes and Leah J. Loukas (FB)’s wigs, hair, and makeup. Howell Binkley (FB) & Amanda Zieve‘s lighting design established the mood well, and Brian Ronan & Craig Cassidy‘s sound design worked reasonably well in the Dolby space. Other production credits: Binder Casting (FB) Casting; Suzayn Mackenzie-Roy Production Stage Manager; Emma Iacometta (FB) Assistant Stage Manager; Andrew Terlizzi Company Manager; The Booking Group Exclusive Tour Direction; Bond Theatrical Group Marketing and Publicity Direction; Marathon Digital Social Media; Heather Chockley Production Manager; Brian Schrader General Manager; Angela Rowles Executive Producer.

Escape to Margaritaville continues at the Dolby Theatre (FB)/Broadway in Hollywood (FB) through March 8. Should you go see it? If you go in with eyes wide open regarding what it is: a jukebox musical with a story at the level of Mamma Mia, with lots of great Jimmy Buffett music and wonderful body positivity messages, than yes. If you’re looking for something deep, well, perhaps there are some Mormon missionaries coming to your door. Tickets are available through the BiH box office. Discount tickets may be available through Goldstar or through TodayTix.

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Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted (or I’ll make a donation to the theatre, in lieu of payment). I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at 5 Star Theatricals (FB), the Hollywood Pantages (FB), Actors Co-op (FB),  the Soraya/VPAC (FB), the Ahmanson Theatre (FB) [2020-2021 season] and the Musical Theatre Guild (FB). Through my theatre attendance I have made friends with cast, crew, and producers, but I do strive to not let those relationships color my writing (with one exception: when writing up children’s production, I focus on the positive — one gains nothing except bad karma by raking a child over the coals). I believe in telling you about the shows I see to help you form your opinion; it is up to you to determine the weight you give my writeups. 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:

Last Sunday afternoon brought Step Afrika at the Soraya/VPAC (FB) … which was great. I’m unsure if I’m writing it up, but I may.

As for the last weekend of February, I’ll be in Madison WI visiting my daughter, the the lineup she has scheduled is busy: The Revolutionists from Mercury Players Theatre/Bartell Theatre on the UW Madison campus on Friday (Eileen Evers is an alternative); the Lee Blessing play Down The Road from Two Crows Theatre Company on Saturday (columbinus at Edgewood College is the bad weather backup), and MST 3000 on Sunday. Whew! Alas, I’ll be missing both Nefesh Mountain at Temple Israel of Hollywood and Tom Paxton and the Don Juans at McCabes due to this.

March starts with Passion at Boston Court (FB) the first weekend. The 2nd weekend brings the MRJ Man of the Year dinner (and The Wild Party at Morgan Wixson). The 3rd brings Morris’ Room at Actors Co-op (FB) ; and the last weekend brings Spongebob Squarepants at the Dolby Theatre/Broadway in LA (FB) and the MoTAS/TBH Seder. April is similarly busy: the 1st weekend is Mamma Mia at 5 Star Theatricals (FB); the 2nd is during Pesach and is open (but has Count Basie at the Soraya/VPAC (FB) the Thursday before); the 3rd is Once on This Island at the Ahmanson Theatre; the last is Hamilton at the Hollywood Pantages (FB) (and possibly Hands on a Hardbody at the Charles Stewart Howard Playhouse (FB)), and the first weekend of May is Mean Girls at the Dolby Theatre/Broadway in LA (FB).

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Musicals in LA, @ This Stage, Footlights, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves. 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. 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!

Sunday was our crazy day of theatre in Hollywood, due to my forgetting to enter my 2019-2020 season tickets on my Google Calendar when I renewed my  Hollywood Pantages (FB)/Broadway in Hollywood (FB) subscription. Lesson learned for 2020-2021 — they are already on my calendar. In any case, when the Pantages mailed out an announcement regarding the availability of the bonus show The Simon & Garfunkel Story, I quickly grabbed Saturday matinee tickets. It was only when I went to put the on my calendar that I realized I hadn’t entered my series tickets. So I did … and discovered we had season tickets for Escape to Margaritaville that evening. Boy, was I glad I had done a matinee for S&G! So yesterday was a double Broadway in Hollywood day: S&G at the Pantages, followed by Margaritaville at the Dolby. Whew!

The Simon & Garfunkel Story (FB) is, essentially, a Simon and Garfunkel concerts. There’s little pretense of it being much more. There’s no book writer, no fake story constructed from the songs (such as Margaritaville or All Shook Up). There isn’t acting of a bio story (along the lines of Beautiful or Summer). There isn’t even a director in the traditional theatrical sense. There are actors portraying Paul Simon and Art Garfunkel, a backing band, and a snippets of biographical information and story background along the way.

Musically, the show is excellent. The actors (George Clements (★FB) Paul Simon and Andrew Wade (★FB, FB) Art Garfunkel) are great performers, and capture the harmonies well. Individually (and when not singing) they don’t quite have the same voice and personality of the originals, but the personality that does shine through it good. Clements didn’t have quite the same nasal quality as Simon (he was about 90% there), and Wade didn’t have quite the pure tenor of Garfunkel but had the power when he needed it (he was about 90% there). They were close enough that one could enjoy the music, and mostly hear the same thing as the albums (there were a few slight differences). So on the music side, you won’t be disappointed.

I’ll note that the program credits two additional actors for Simon and Garfunkel (Taylor Bloom and Ben Cooley, respectively), although it is unclear when they are actually performing the roles. A “boo” to the Pantages for not having a signboard in the lobby indicating the actors that were in each role.

On the story side, however, there could have been so much more. It is here that the lack of participation by the real Paul Simon and Art Garfunkel were apparent. The audience was left wanting for more details on the backstory, for more details on the backstory of each of the songs. The projections would have been so much better with real pictures of the duo from those days, including pictures that had never been seen before. But although there were some bits of information there that might not have been well known, there just could have been so so much more.

The projections had another problem: inaccuracy and incorrectness. From the use of modern images to respresent the past (e.g., that livery for British Airways wasn’t used back then — it might even have been BOAC, or that the postcards during “America” were too modern, or that images were from the wrong era of the story), to the disconnection of the image from the song (e.g., the postcards should have corresponded to the story points in “America”, the voices of old people from Bookends had images of children, and — for whatever reason — the images in Scarborough Faire were anti-war. Folks, if you want to do an anti-war song from that era of S&G, do Silent Night/6 O’Clock News. It is far more moving.

Perhaps those are nits. Certainly, if you were going for the nostalgia and the music, this fit the bill. From a few obscure songs from the Tom and Jerry era, to some (but not all) of the most popular songs, the concert aspect was great. The two leads were aided in this by their backing band: Alec Hamilton (FB) Keyboards and Background Vocals; Bob Sale (FB) Drums and Background Vocals; Marc Encabo (FB) Bass Guitar and Background Vocals; Josh Vasquez (FB) Guitars and Background Vocals; Josh Turner (FB) Guitars and Background Vocals; and Adam Saxe (FB) Keyboards and Background Vocals. Note that neither the program nor the theatre makes clear which guitarist and keyboardist are at a given performance. I know we had Hamilton at our performance, and I think we had Vasquez. The major weak point of the backing music was the lack of some horns. Electronic horns on a keyboard are a weak substitute. Simon and Garfunkel were known — in their later work and at the Concert in Central Park — for their strong horn sections backing the songs. That was missed. On the other hand, the musicians they had were great — in particular, Encabo and Vasquez, who were clearly having great fun up their on stage, rocking away and enjoying the music they were playing. The solos from Sale and Hamilton were also quite strong.

Finally, turning to the production side: There’s not much to talk about here. I’ve already noted the problems with Z Frame‘s projection design in terms of getting the period right, and timing the projections to the subjects in the songs. As for the lighting design of Mike Berger Design, it was mostly innocuous, although at times the light bar in front of the backup band was confusing. Other production credits: Dean Elliott (FB) Show Director, Musical Supervisor; Ralph Schmidtke (FB) General Manager; Brian Richard (FB) Company Manager; Adam Saxe (FB)/Alec Hamilton (FB) Music Director; Steve Beatty (FB) Sound Engineer; Steve Comer Lighting Operator, Lighting Programmer; John Tellem/Andy Coscarelli – Tellem Grody PR Press; Eric “Kacz” Kaczmarczyk Stage Manager.

The last performance of The Simon and Garfunkel Story at the Hollywood Pantages (FB)/Broadway in Hollywood (FB) starts in little over an hour. You might be able to get tickets at the box office. The Simon & Garfunkel Story (FB) is on tour, however, so if you’re in Spokane WA or Canada, it’s coming your way.

🎭

Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted (or I’ll make a donation to the theatre, in lieu of payment). I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at 5 Star Theatricals (FB), the Hollywood Pantages (FB), Actors Co-op (FB),  the Soraya/VPAC (FB), the Ahmanson Theatre (FB) [2020-2021 season] and the Musical Theatre Guild (FB). Through my theatre attendance I have made friends with cast, crew, and producers, but I do strive to not let those relationships color my writing (with one exception: when writing up children’s production, I focus on the positive — one gains nothing except bad karma by raking a child over the coals). I believe in telling you about the shows I see to help you form your opinion; it is up to you to determine the weight you give my writeups. 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:

Saturday afternoon brought Escape to Margaritaville at the Dolby Theatre/Broadway in LA (FB), which is next to be written, and we just got back from Step Afrika at the Soraya/VPAC (FB) … which was great, but I’m probably not writing it up.

As for the last weekend of February, I’ll be in Madison WI visiting my daughter, the the lineup she has scheduled is busy: Madison’s Funniest Comic Contest on Wednesday (meaning I’ll miss Survivor), The Revolutionists from Mercury Players Theatre/Bartell Theatre on the UW Madison campus on Friday (Eileen Evers is an alternative); the Lee Blessing play Down The Road from Two Crows Theatre Company on Saturday (columbinus at Edgewood College is the bad weather backup), and MST 3000 on Sunday. Whew! Alas, I’ll be missing both Nefesh Mountain at Temple Israel of Hollywood and Tom Paxton and the Don Juans at McCabes due to this.

March starts with Passion at Boston Court (FB) the first weekend. The 2nd weekend brings the MRJ Man of the Year dinner (and The Wild Party at Morgan Wixson). The 3rd brings Morris’ Room at Actors Co-op (FB) ; and the last weekend brings Spongebob Squarepants at the Dolby Theatre/Broadway in LA (FB) and the MoTAS/TBH Seder. April is similarly busy: the 1st weekend is Mamma Mia at 5 Star Theatricals (FB); the 2nd is during Pesach and is open (but has Count Basie at the Soraya/VPAC (FB) the Thursday before); the 3rd is Once on This Island at the Ahmanson Theatre; the last is Hamilton at the Hollywood Pantages (FB) (and possibly Hands on a Hardbody at the Charles Stewart Howard Playhouse (FB)), and the first weekend of May is Mean Girls at the Dolby Theatre/Broadway in LA (FB).

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Musicals in LA, @ This Stage, Footlights, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves. 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. 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!

Q: So, when Elsa gets hungry in that Ice Palace™ of hers, what does she eat?

A:  Frozen foods.

Are we going out on that joke? No, we’ll do an overdue writeup of a Disney™ animated movie turned into a stage musical first. Will that help? Not much, no.

OK, Stan Freberg aside: Yes, we saw Frozen at the Hollywood Pantages (FB) last Sunday, and this writeup is way way overdue. But it has been a busy busy week in the evenings (which is when I have time to do the writeups), and its not as if this writeup would do much to change the trajectory of this musical, which has its expected popularity with particular audience segments.

The way I’m starting this writeup makes it appear that this was a bad musical. It wasn’t at all. It was essentially the Disney musical on stage, with some adaptations to better fit the limitations of a real, non-animated world. The story was musical to begin with, so there wasn’t the question of whether this should be musicalized. It is clear that Disney intended for this to eventually move to the stage with the structure of the story and songs. The larger question of whether this needed to be on the stage is a different one: is it making an important point or message that isn’t being made elsewhere, or is this a profit calculation. I do think this falls into the latter category — this isn’t a Dear Evan Hansen, Come From Away, or Hamilton. It is clearly motivated by profit and parents, as evidenced by the length of its sit-down run at the Pantages.

That, by the way, doesn’t make this a bad musical. It is just not one of lasting social importance. But it is revolutionary, in its own way, for a Disney musical. You have princesses wearing pants, for example. But more importantly, you have a princess story where the goal is NOT the princess getting the prince. In fact, the prince is a cad. The true love in this story is the one between the sisters. It is that “true loves kiss” that moves the story forward (and sorry for the spoiler if you haven’t seen the movie). There are some who believe that this story even has a lesbian subtext. I don’t see that — neither sister seems to express a strong sexual desire towards anyone, so this could be asexual at best. But it is a strong story based on the sibling bond, and that’s something you don’t see in Disney that often. That could be one reason why shows like Frozen and Wicked have such a strong following from young women: they center on relationships between women that are/love each other as sisters, and that aren’t centered around the men on the periphery. That’s a message of female empowerment, something that is decidedly not the Disney of Yore.

The stage production is also a technical marvel. First and foremost is the puppetry. There are two primary puppets: Sven (the reindeer) and Olaf (the snowman). Sven is marvelous, with no real hint that there is a human actor inside. Realistic movements, playful, believable. Not at all a cartoon. Olaf, on the other hand, is intentionally cartoonish. You can see the human moving him behind him. But the attachments are such that Olaf really comes to life, and is an equally believable characters. Second and, umm, duomost, is the magic. This is a combination of projection, LED manipulation, stage magic, flying effects. They create Arendale, but more importantly, they create the ice effects and the magical ice palace. They create the magic costume transformations. This magic will make this production memorable for the youth in attendance, and may go a long way to creating lifetime theatre lovers. That’s the good thing. What’s bad? Think regional and smaller productions of this. This will be licensed at some point, and there will be regional and smaller productions of this. How will they reproduce the puppetry and stage magic, within limited budgets? That remains to be seen. Hopefully, the Disney juggernaut has planned ahead for those situations. I’m curious how the productions of Frozen Jr. handle this?

The songs are generally those of the movie, with some substitutions based on the changes in the story — primarily involving how the hidden folk that raised Kristof are presented and integrated in the story. More notably, in terms of music, this is NOT the production that is on Broadway. A new song has been integrated into Act II: “I Can’t Lose You”, which does a great job of showing and emphasizing the sisterly bond between Anna and Elsa. This helps center the story, and foreshadows the conclusion much better. This is as good a place as any to note that the music and lyrics are by Kristen Anderson-Lopez and Robert Lopez, with a book by Jennifer Lee, who also wrote the Disney animated film, which was directed by Chris Buck and Jennifer Lee.

Under the direction of Michael Grandage, aided by Adrian Sarple Associate Director, the cast does a great job of bringing life to their characters and making them much more than cartoons. They seem to be having a lot of fun with these roles. The director also did a great job of keeping the story moving and presenting it in a way that is entertaining to the clear audience and keeps them entranced. This is especially true with his use of the younger characters, who have to entertain while the required story exposition and setup occurs.

The performances were strong. In the lead positions at our show were Caelan Creaser (FB) as Elsa and Caroline Innerbichler (FB) as Anna. Creaser was the understudy for the role, stepping in for Caroline Bowman (⭐FB, FB). Creaser did a great job with a wonderful voice and movement, and a personality that suited the character. I phrase it that way because Elsa, as a character is an Ice Princess — she is an embodiment of a frozen personality, cold and hiding any warmth inside. Creaser did that well, only showing the required moments of warmth when interacting with her sister. Innerbichler, as the warmer sister Anna, was remarkable. Warm and playful and delightful and (dare I say it) cute and exuding joy. Innerbichler captured that all, as well as playing well with both Hans and Kristof, in addition to her sister. Top that off with a wonderful singing voice.

Beyond the princesses, the other part of the main character group are the characters that travel with Anna to find Elsa: Kristof, Sven the Reindeer, and Olaf the Snowman. At our performance, these characters were brought to life by Mason Reeves (FB) Kristof, Evan Strand (⭐FB) Sven, and F. Michael Haynie (FB) Olaf. Due to the physical demands of the role, Even gets the Sunday evening we saw (as well as Wed, Thus matinee, Fri, Sat matinee); Collin Baja gets the other performances. This is good because I got to learn about Evan on his recent West of Broadway podcast interview; Mason Reeves also has an interview on the same podcast. All of these folks were particular strong — especially when you consider their youth. Reeves, IIRC, is a rising senior at University of Michigan. He does a wonderful job with Kristof, bringing loads of personality of fun, as well as a strong singing voice to the character. You don’t get to see anything of Strand beneath the puppet, but he does a great job of bringing the puppet to life and imbuing it with a personality and a character and believability. Haynie’s Olaf is more cartoonish, but he has loads of fun with the character which is transmitted to the audience.

In the second tier are some notable recurring actors. The cutest ones of the bunch are (again, at our performance) Arwen Monzon-Sanders Young Anna W, Th-Mat, Fri, Sat-Mat, Sun-Eve and Jaiden Klein Young Elsa W, Th-Mat, Fri, Sat-Mat, Sun-Eve. They alternate with Stella R. Cobb Young Anna T, W-Mat, Th, Sat-Eve, Sun-Mat and Alyssa Kim Young Elsa T, W-Mat, Th, Sat-Eve, Sun-Mat. Monzon-Sanders (and presumably Cobb) also have notable roles in the ensemble for “Fixer Upper”. These young girls were so cute and playful, especially Monzon-Sanders. They just seemed to be loving their time in front of the audience. They sing and move well, and are just fun to watch. Further, I’m sure that their presence makes the show have a stronger connection to the children in the audience.

The other main characters are perhaps the villains of the story: Austin Colby (FB) Hans of the Southern Isles and Jeremy Morse (FB) Weselton.  Colby, who is in real life married to the actress that normally plays Elsa, does a wonderful duplicitous job of being the charmer that Anna falls in love with, and later the cad that refuses her “loves true kiss” and leaves her to freeze to death. His is strong at capturing the duality of the character. Morse’s character, on the other hand, is much more comically drawn, along the lines of a Hedley Lamarr in Blazing Saddles. But Morse captures the aspect of that character well.

The remainder of the cast serves as the ensemble, with a few folks moving up to featured positions for a moment or two. Note that, due to Caelan Creaser (FB)’s move to Elsa for our show, swing Natalie Wisdom swung into the ensemble and into the featured role of the head handmaiden. The ensemble at our show consisted of the following folk (featured roles noted): C. K. Edwards (FB); Michael Everett (FB); Berklea Going; Michael Allan Haggerty (⭐FB, FB); Tyler Jimenez Pabbie; Hannah Jewel Kohn (FB); Marina Kondo (FB) Queen Iduna; Nika Lindsay (FB); Tatyana Lubov (FB); Adrianna Rose Lyons (⭐FB, FB); Kelly Methven (⭐FB, FB); Michael Milkanin (FB) Bishop, Oaken; Kyle Lamar Mitchell (FB) King Agnarr; Naomi Rodgers (FB); Daniel Switzer (⭐FB, FB); Zach Trimmer (FB); Brit West (FB) Bulda; and Natalie Wisdom (FB) Head Handmaiden.

Other swings were: Dustin Layton (FB), Ralph Meitzler (FB), and Jessie Peltier (FB). Natalie Wisdom (FB) is also a swing, but swung into the ensemble for this performance.

On-stage movement was choreographed by Rob Ashford; aided by Sarah O’Gleby (FB) and Charlie Williams (FB) Associate Choreographers. In general, it was enjoyable, but not that much of the choreography sticks out in the mind a week after the performance … except for two numbers. The “Hygge” number was cute for its well-placed use of body-suits and humor, and the “Fixer Upper” number also had memorable and cute movement from the ensemble. Supporting the movement was Dustin Layton (FB) Dance Captain and Jessie Peltier (FB) Assistant Dance Captain and Fight Captain.

The music was under the direction of Faith Seetoo (FB) Music Director, Conductor. The Frozen orchestra consisted of (🌴 indicates local): Cathy Venable (FB) Assoc. Conductor; Nancy Whelan (FB) Keyboard 1; Josh Cullen (FB) Keyboard 2; 🌴 Jeff Driskill (FB) Flute / Piccolo / Clarinet / Alto Sax / Soprano Sax; 🌴 Richard Mitchell Oboe / English Horn / Flute / Clarinet / Tenor Sax; 🌴 John Fumo (FB) and Aaron Smith (FB) Trumpet / Flugelhorn; 🌴 Charlie Morillas (FB) Trombone; 🌴 Laura Brenes (FB) French Horn; 🌴 Dan Lutz (FB) Bass / Electric Bass; 🌴 Chris Jago (FB) Drums / Percussion. Other music support: Michael Keller and Michael Aarons Music Coordinators; Anixter Rice Music Service (FB) Music Preparation; 🌴 Eric Heinly (FB) Orchestra Contractor; Dave Metzger Orchestrations; Chris Montan Executive Music Producer; and Stephen Oremus Music Supervision and Arrangements. In general, the music was strong, although I feel for the musicians having to deal with all of that theatrical fog rolling into the pit.

Finally, we turn to the production and creative side. I’ve already commented on the artistry of Michael Curry‘s puppet design for Sven and Olaf. Also worthy of mention is Christopher Oram‘s Scenic and Costume Design work in establishing the kingdom and its environs in an effective way for the tour, and for creating the beautiful costumes. This combined with the work of Natasha Katz Lighting Design, Finn Ross Video Design, and Jeremy Chernick Special Effects Design to create the stage magic that makes everything work and astonish the audience. Additional creative and production credits: Peter Hylenski Sound Design; David Brian Brown Hair Design; Anne Ford-Coates (FB) Makeup Design; David Chase Additional Dance Arranger; Christoph Buskies Electronic Music Programming; Telsey + Company Casting; Aurora Productions Production Management; Clifford Schwartz (FB) Senior Production Supervisor; Lisa Dawn Cave Production Supervisor; Melissa Chacón Production Stage Manager; Patricia L. Grabb Stage Manager; Theron Alexander Assistant Stage Manager; Brae Singleton Assistant Stage Manager; and Neuro Tour Physical Therapy. This was a production of Disney Theatrical Productions.

Frozen continues at the Hollywood Pantages (FB) through February 2. Tickets are available through the Pantages box office; discount tickets are sold out in Goldstar, but may be available through TodayTix.

🎭

Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted (or I’ll make a donation to the theatre, in lieu of payment). I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at 5 Star Theatricals (FB), the Hollywood Pantages (FB), Actors Co-op (FB),  the Soraya/VPAC (FB), and the Musical Theatre Guild (FB). Through my theatre attendance I have made friends with cast, crew, and producers, but I do strive to not let those relationships color my writing (with one exception: when writing up children’s production, I focus on the positive — one gains nothing except bad karma by raking a child over the coals). I believe in telling you about the shows I see to help you form your opinion; it is up to you to determine the weight you give my writeups.

Upcoming Shows:

Tomorrow brings our last production for January: Cirque Éloize at  the Soraya/VPAC (FB).

Things heat up in February, with The Last Ship (with Sting) at the Ahmanson Theatre the first weekend. The second weekend brings West Adams at Skylight Theatre (FB) on Saturday, and the $5 Shakespeare Company from The Sixth Act (FB) at Theatre 68 on Sunday. The third weekend brings A Body of Water at Actors Co-op (FB) and It Shoulda Been You at Musical Theatre Guild (FB). To top all of that, the fourth weekend brings  The Simon and Garfunkel Story at the Hollywood Pantages (FB), Escape to Margaritaville at the Dolby Theatre/Broadway in LA (FB), and Step Afrika at the Soraya/VPAC (FB) the fourth weekend. Yes, that is the Pantages and the Dolby the same day — that’s what I get for not entering season tickets on my calendar before ticketing a bonus show. The last weekend is open, but I’ll probably find some theatre in Madison WI when I’m out there; alas, I’ll be missing both Nefesh Mountain at Temple Israel of Hollywood and Tom Paxton and the Don Juans at McCabes.

March starts with Passion at Boston Court (FB) the first weekend. The 2nd weekend brings the MRJ Man of the Year dinner (and possibly The Wild Party at Morgan Wixson). The 3rd brings Morris’ Room at Actors Co-op (FB) ; and the last weekend brings Spongebob Squarepants at the Dolby Theatre/Broadway in LA (FB) and the MoTAS/TBH Seder. April is similarly busy: the 1st weekend is Mamma Mia at 5 Star Theatricals (FB); the 2nd is during Pesach and is open (but has Count Basie at the Soraya/VPAC (FB) the Thursday before); the 3rd is Once on This Island at the Ahmanson Theatre; the last is Hamilton at the Hollywood Pantages (FB) (and possibly Hands on a Hardbody at the Charles Stewart Howard Playhouse (FB)), and the first weekend of May is Mean Girls at the Dolby Theatre/Broadway in LA (FB)

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Musicals in LA, @ This Stage, Footlights, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves. 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. 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!

Back in 1978, Richard Maltby Jr. unleashed onto the world a little musical called Ain’t Misbehavin’. This was perhaps the first really successful biographical jukebox musical — a musical that used the catalog of a particular artist to tell the lifestory of that artist. Shortly after that musical hit there were similar shows, from Jelly’s Last Jam to Eubie to … you get the idea. In the modern era, the biographical jukebox has seen a resurgence with successful shows such as Jersey Boys. Almost every pop star out there is seeing their catalog mined for a potential show. Some end up as fictional stories with the pop catalog grafted on, such as the recent Head Over Heels which mined the catalog of the Go-Gos. But the biographical jukebox remains a steady contender. A number of been recently on Broadway, such as The Cher Show or the just opened Tina … and one of the more recent instances has ended up at the Hollywood Pantages (FB) (until November 24) — Summer: The Donna Summer Musical. Guess where we were last night?

If you are of my generation, you know Donna Summer well. Her music hit the airwaves in the US in 1975 — when I was in high school. I couldn’t go to a high school dance of that era (not that I went to many) where it didn’t close with “The Last Dance”. It was ubiquitous. So it was clear that mixing her music with a Broadway show would hit clearly at the heart of the current theatregoers: those adults aged 55 to 65. It was a no-brainer. Nostalgia is a strong pull at the box office, and judging by the audience we saw at the Pantages we saw last night it works. Older primarily white women in spandex glitter abounded.

And the mention of no-brainers brings us back to the biographic jukebox, and their greatest problem: the underlying book. For while the music may be popular and the show wonderful when viewed as a nostalgic dance concert, the real question is whether it stands up a musical theatre. That success depends on the book writers — in this case, Colman Domingo, Robert Cary, and Des McAnuff. In this case: it really doesn’t stands up as theatre. It is a mile wide and an inch deep: it doesn’t really give you any deep insight into its main characters, and the other characters in the life of Donna Summer that shaped who she is are only superficially drawn and brought to life.

Part of the problem here is the conceit used to tell the story. As is often done, the main subject is divided into three individual: child, young adult, and adult — or as they are called here, Duckling Donna, DIsco Donna, and Diva Donna. A similar approach, from what I understand, was taken in The Cher Show. The problem is: the adjectives here capture the superficial nature of the division: instead of looking at the whole character, they have amplified aspects of her life for the sake of storytelling. In doing this, and in making the story centered in that way, any character growth that might fuel the story is either lost, or boiled to the top where it is just skimmed away.

“Story” is a key word here. Musicals succeed where there is a story that demands the music in its retelling. The music, which is a key factor in telling the story, bursts out with story. It isn’t incidental or superficially related. But, for the most part, the music used in Summer is only lightly connected with the story on the stage. It rarely comes from the time; it rarely moves the story forward by itself. If you could delete all the jukebox songs (leaving just the spoken book) and the show still makes sense, that music isn’t integral. In this case, the music is rarely integral. In fact, I think the only integral song in the show is “She Works Hard for the Money”.

Ultimately, Summer: The Donna Summer Musical, while entertaining, is (in the parlance of [title of show]), very “donuts for dinner” — entertaining in the moment, but the fulfillment is not very long lasting. There’s lots of fluffy sweet carbohydrates, but very little meat.

That doesn’t mean the author’s don’t try to provide that meat. There is a strong emphasis, especially in the middle of the show, on the notion of empowerment of women — in particular the fact that women artists should be paid the same as male artists. There’s also a sharp commentary on the #metoo aspects of Donna Summer’s story: sexual abuse or harassment both at the hands of her childhood pastor and by executives at Casablanca records. But it, like the supporting characters, is superficial. It is mentioned once briefly, and how it shaped Donna Summer into the artist that she was is never explored.

Ruminating on the superficiality a bit more: The show presents Donna Summer’s life as being much like the music that made her famous: a catchy dance tune that was fun in the moment, but doesn’t have long lasting significance. It is popular and light and frothy, but is ultimately cotton candy.

The show is notable in one other aspect: it’s ensemble. More than any other show that I’ve seen, this show has made the effort to emphasize the women. Most of the tertiary male roles (there are no primary male roles) are played by ensemble members, and for the most part, those members are women. I’ve commented before on the problems I have with men dressing as women to play women’s roles for the broad laugh. Here, the women stepped into play the men’s roles, but not for laughs but in an androgynous sense. As a man watching this, this spoke to female empowerment and as the central notion of the story, as well as the fact that for much of her career, Summer’s music spoke to that audience (and the incident that broke that connection is specifically — and rightly — addressed). I’m curious how women watching the show perceived that ensemble emphasis. It was certainly different.

Two additional performance notes: (1) There are points at times where the ensemble is supposedly playing music, and even (at one point) Diva Donna is playing. For the most part, it is clear they are not: they are holding the violins wrong, there is no key movement on the piano although finger gestures appear right, there is no movement on the guitar necks and no connection of electric guitars to the speakers, there is no finger movement on the valves of the saxes. Prop instruments on stage are annoying. It did appear, however, that at point they did have the real keyboardist on stage, as well as the drummer and perhaps the guitar. That was good to see. (2) There is one point where Neil Bogart’s funeral occurs, supposedly at Hillside. They were carrying calla lilies, which is a flower that is not used at Jewish cemeteries due to its Christian symbolism; they also portrayed mourners in white with no cria ribbons. Again, not something one would see at a Jewish cemetery. Given that the writers weren’t Jewish, one can understand the mistake; surely someone on the production or design team would have caught that.

Des McAnuff‘s direction kept the show moving at a brisk pace — one might say with a disco beat. The show moved from incident to incident with little space to catch your breath in between. His direction of the scenic was similar, with view traditional set pieces or props, and heavy use of screens and projections (although in a very different sense than in Anastasia — here they were much more abstracted, as befits the 1970s). He worked with the acting team to bring out strong concert style performance; but with a superficial book, there was very little depth to bring out in the story. The movement, choreographed by Sergio Trujillo, was similarly brisk and had a strong disco feel. As to its accuracy as real disco moves I cannot say. There are some things about my youth that I either never learned or have blocked out. But it was entertaining.

In the lead performance positions were the Donnas: Dan’yelle Williamson (⭐FB, FB) Diva Donna / Mary Gaines, Alex Hairston (FB) Disco Donna; and Olivia Elease Hardy (FB) Duckling Donna / Mimi. All give strong performance and sing beautifully. Perhaps the most notable is Hardy, given her lack of experience. She’s a rising senior at U Michigan, and I couldn’t really find any local or other credits for her. For such a young and new performer to be giving such a strong performance is quite noteworthy.  As for the others, Hairston gets the bulk of the disco moves and handles those well, although her visual resemblance to the other Donnas is slight. Williamson is very strong of voice and dance.

The male roles in this cast are primarily secondary and tertiary. At the secondary level are: John Gardiner (FB) Neil Bogart / Sommelier / Gunther; Erick Pinnick (FB) Andrew Gaines / Doctor; and Steven Grant Douglas (⭐FB, FB) Bruce Sudano. The tertiary men (because they are also in the ensemble) are: Jay Garcia (FB) Brian / Helmuth Sommer / Ensemble and Sir Brock Warren (FB) Pastor / Ensemble. None of these characters are drawn that deeply; unsurprisingly, none of them also have featured vocal tracks.  Thinking back, the ones that left the greatest impressions were Warren due to his unique look and bearing, and Douglas for the way he was able to project some tenderness in what was a lightly written role.

This brings us to the remainder of the ensemble — or should I say female ensemble — as they were all women: Jennifer Byrne (FB) Pete Bellotte / Don Engel / Ensemble, Tamrin Goldberg (FB) Norman Brokaw / Ensemble, Cameron Anika Hill (FB) Young Dara / Amanda / Ensemble, Brooke Lacy (FB) Detective / David Geffen / Bob / Ensemble, Trish Lindström (FB) Joyce Bogart / Ensemble, Dequina Moore (⭐FB, FB) Adult Mary Ellen / Ensemble, Kyli Rae (FB) out at our performance – normally Giorgio Moroder / Ensemble, Crystal Sha’nae (FB) Adult Dara / Ensemble, De’ja Simone (FB) Young Mary Ellen / Brooklyn / Ensemble, Candace J. Washington (FB) Michael / Ensemble, Brittany Nicole Williams Maid / “To Turn the Stone” Soloist / Ensemble. In general, the ensemble provided strong dancing in the background. The actors portraying Donna’s sisters and children were fun to watch and clearly enjoying their roles. I particularly liked Moore and Simone (at least I think that’s who they were — the one in the yellow sweater).

Swings were Mara Lucas (FB), Jo’nathan Michael (FB), and Jennifer Wolfe (FB) Giorgio Moroder, at our performance / Dance Captain.

The large music for this show was provided by a small band — again, mostly female. Leading the band was Amanda Morton Music Director / Conductor / Keyboards. Assisting her were Lisa Le May (FB) Assoc. Conductor / Keyboard; Makeena Lee Brick (FB) Keyboard; Larry Esparza (FB) Guitar; and Jesse-Ray Leich (FB) Drums. Other music credits were: Randy Cohen (FB) Synthesizer Programmer; Anixter Rice Music Services (FB) Music Preparation; John Miller (FB) Music Coordinator; Bill Brendle and Ron Melrose Orchestrations; and Ron Melrose Music Supervision and Arrangements. Songs in the show were written by Donna Summer, Giorgio Moroder, Paul Jabara, and the following folks detailed in the back of the program: Joseph Esposito, Edward Hokenson, Bruce Sudano, Pete Bellotte, Keith Diamond, Anthony Smith, Vanessa Robbie Smith, Greg Mathieson, Jim Webb, Bruce Roberts, Harold Faltermeyer, Gregory Allen Kurstin, Danielle A. Brisebois, Evan Kidd Bogart, Jonathan Rotem, Michael Omartian, and from the musical Hair, Galt MacDermot, James Rado, and Gerome Ragni. I am sure that some of the musicians were on stage in a few scenes — in particular, Morton and possibly LeMay or Brick, as well as Leich. I was pleased to see them show pictures of the musicians at the end.

Finally, we turn to the production and creative side. The scenic design of Robert Brill (FB) depended heavily on the Projection Design of Sean Nieuwenhuis, as there were lots of moving screens and projections, and very little in the way of traditional scenery. Perhaps greater scenic aspects were provided by Paul Tazewell (FB)’s costume design and Charles G. LaPointe (FB)’s hair and wig design. There was only real one costuming flaw, which only someone growing up in that era would catch: back in the 1970s, bra straps and undergarments were not intentionally visible — according to my wife, one would go without first. Howell Binkley (FB)’s lighting generally was good, but I felt there was an overuse of strobe lights — be forewarned if you are strobe sensitive. Gareth Owen (FB)’s sound wasn’t overpowering — a fear that I had; however, there were two or three songs where the bass beat shook the cough out of me. Other production credits: Steve Rankin Fight Director; Charley Layton Dialect Coach; David S. Cohen Stage Manager / Fight Captain; Jenifer A. Shenker Asst Stage Manager; Michael Bello Assoc Director; Jennifer Laroche Assoc. Choreographer; Bruce Sudano Story Consultant; NETworks Presentations Production Management; Michael Sanfilippo Company Manager; Ralph Stan Lee (FB) Production Stage Management; Dodger Management Group General Management; Tara Rubin Casting – Felicia Rudolph CSA Casting.

Summer: The Donna Summer Musical continues at the Hollywood Pantages (FB) until November 24. If you are nostalgic for the disco era, and want a fun musical that will help you relive those times, this is the musical for you. If you can’t stand disco, or want a story with a stronger book, consider skipping this one. Go see Miracle on 34th Street up the street instead.

🎭

Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted (or I’ll make a donation to the theatre, in lieu of payment). I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at 5 Star Theatricals (FB), the Hollywood Pantages (FB), Actors Co-op (FB),  the Soraya/VPAC (FB), and the Musical Theatre Guild (FB). Through my theatre attendance I have made friends with cast, crew, and producers, but I do strive to not let those relationships color my writing (with one exception: when writing up children’s production, I focus on the positive — one gains nothing except bad karma by raking a child over the coals). I believe in telling you about the shows I see to help you form your opinion; it is up to you to determine the weight you give my writeups.

Upcoming Shows:

Tonight brings The Goodbye Girl at Musical Theatre Guild (FB).  Next weekend is open due to Stiches SoCal, although I might still book a show. November concludes with Bandstand at Broadway in Thousand Oaks. 

December is getting busy, given that we lose two weekends to ACSAC, and the small theatres are often darker around the holidays. The weekend after ACSAC brings an outing of our new live theatre group at our synagogue to Eight Nights at the Anteaus Theatre Company (FB).  I also have a hold for December 21 for Elf at Canyon Theatre Guild.

Looking to early 2020: most of the January is currently quiet, but the middle of the month is busy, with What The Constitution Means To Me at the Mark Taper Forum, and Frozen at the Hollywood Pantages (FB) the third weekend, and Cirque Éloize at  the Soraya/VPAC (FB) the last weekend. Things start heating up in February, with The Last Ship (with Sting) at the Ahmanson Theatre the first weekend; A Body of Water at Actors Co-op (FB) and It Shoulda Been You at Musical Theatre Guild (FB) the third weekend; and (whew!)  The Simon and Garfunkel Story at the Hollywood Pantages (FB), Escape to Margaritaville at the Dolby Theatre/Broadway in LA (FB), and Step Afrika at the Soraya/VPAC (FB) the fourth weekend. Yes, that is the Pantages and the Dolby the same day — that’s what I get for not entering season tickets on my calendar before ticketing a bonus show. March comes in like a lamb, with the first two weekends (2/29 and 3/7) being quiet… but goes out like a Lion. The 2nd weekend brings the MRJ Man of the Year dinner; the 3rd Morris’ Room at Actors Co-op (FB) ; and the last bringing Spongebob Squarepants at the Dolby Theatre/Broadway in LA (FB) and the MoTAS/TBH Seder. April is similarly busy: the 1st weekend is Mamma Mia at 5 Star Theatricals (FB); the 2nd is during Pesach and is open (but has Count Basie at the Soraya/VPAC (FB) the Thursday before); the 3rd is Once on This Island at the Ahmanson Theatre; the last is Hamilton at the Hollywood Pantages (FB), and the first weekend of May is Mean Girls at the Dolby Theatre/Broadway in LA (FB)

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Musicals in LA, @ This Stage, Footlights, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves. 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. 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!