Tag: rep-east

Last night, we went to Rep East Playhouse to see the last show in the 81 series: “Sideman”, by Warren Leight. This wasn’t our first time seeing the play: we saw the 2001 production at the Pasadena Playhouse, but that was almost a decade ago and the memory fades.

A “side man”, according to Wikipedia, is a professional musician who is hired to perform or record with a group of which he or she is not a regular member. They often tour with solo acts as well as bands and jazz ensembles. Sidemen are generally required to be adaptable to many different styles of music, and so able to fit smoothly into the group in which they are currently playing. Often aspiring musicians start out as sidemen, and then move on to develop their own sound, a name, and fans of their own, or go on to form their own groups.

The play “Side Man” tells the story of one such man: Gene Glimmer, a trumpet player. It is told from the point of view, and narrated by, his son, Clifford. It is centered around the time that Clifford is about to leave his family and move west in 1985, prompting a goodbye visit to his mother and a meeting with his father, who is estranged from the family. Through a series of flashbacks we learn the story of Clifford’s life: how Gene met and wooed his wife, Terry; the relationship with the other sidemen in Gene’s life (Al, Ziggy, and Jonesy); the role of the Melody Lounge and its waitress, Patsy. We see how the relationship between Gene and Terry was tolerable in the beginning, but began to slide downhill with the birth of Clifford. We also see how the death of the big band era and the growth of rock and roll meant the end of the way of life for the big band sidemen: journeymen horns found little work as the touring big bands dried up, the regional and house big bands disappeared, and the musical style changed. We saw the effect of this on the family: Gene being oblivious to anything but the music, and Terry sinking deeper and deeper into the bottle.

The story itself is an ultimately moving one, and could be said to be focused on the notion of the toll that obsession takes on a person and those around him. In this play, the primary obsession is Gene’s: at the center of everything is the music—it is the god that is worship, and the god to whom homage must be paid and sacrifices made. Financial and relationship success are meaningless: art is everything. Terry is less obsessed with the music: she is obsessed with the musician, and over time that obsession is replaced with hatred for him, hatred for herself, and an obsession with the booze. Clifford, the narrator, has his obsession too: he’s obsessed with pleasing people: trying to make peace whatever the cost—a classic enabler. I know what Clifford went through: my mother was like Terry—although brilliant, obsessed with the bottle at times and prone to the violent outbursts at those she loved. The play tells the story of these obsessions well. If it has a problem, it is in the structure: at times the all-known narration diffuses the tension, in the same way that a family member of an alcoholic attempts to joke to diffuse the tension in the house. The narration also treats the audience as a character, and is occasionally noticed by the characters in the play (“Who are you talking to, Clifford?”), creating an odd and jarring juxtaposition.

The play, as with all plays at the REP, was very well acted. Clifford (Reid Gormly) did a believable job as the narrator. In this play, the real test of Clifford is when he is called upon to play a younger version of himself (this was noted as a problem in the 2001 Pasadena production). The trick is to channel the inner 10-year old while still being an adult narrator. It is difficult to do, and was only partially successful here. That’s about the only area that could use improvement in an otherwise spot-on performance.

As Gene, David Heymann^æ captured the man addicted to the music well. You could see him zoning out on a hot riff, riding the music. It is, in a sense, a form of aspergers: the social skill to read people is replaced with the musical talent. Heymann captured this well, and was a delight to watch.

Terry, Clifford’s mom, was played supurbly by Chera Holland. She captured the drunk, abusive mother so perfectly I was reminded of how my mom was at times. You could see her love of the man, not the music. You could also see how she wasn’t the material type: she lumped her son together with the father: he was something put in her life to take care of her, not for her to take care of. Well played, well acted.

Rounding out the cast were the other sidemen and denizens of the Melody Lounge. The other sidemen were Ziggy (Richard Van Slyke^æ), Al (Michael Hanna), and Jonesy (Gabriel Kalomas^æ). All were quite good (although I kept thinking that REP regular Johnny Schwinn would have been great in the Jonesy role, had he been in town). As Patsy, April Audia^æ, did a wonderful and believable job as the all knowing waitress and wife/lover to numerous sidemen.
[^æ denotes members of  Actors Equity ]

The production was directed by Mark F. Kaplan, who did a supurb job of pulling these characters out of the actors and assembling the story on stage. The technical aspects of the production were assembled by the usual REP team: Steven “Nanook” Burkholder (Sound Design), Tim Christianson (Lighting Design, with an assist from my daughter on hanging and aiming), and Jeff Hyde (Scenic Design). All were at the usual “excellent” REP level. Costumes were by Claudia Wells and the cast. “Sideman” was produced by Mikee Schwinn and Ovington Michael Owston. Katie Mitchell was the stage manager.

“Side Man” runs for one more weekend at the REP, closing on August 28. Tickets are available through the REP Online Box Office. They are often up on Goldstar. There are two productions remaining in the REP MMX season: “Dr. Jekyll & Mr. Hyde” (September 17–October 16) and “Amadeus” (November 12–December 11). I learned from “O” that the 2011 season has been decided upon, but I’ll wait for the formal announcement from the REP so I don’t spoil their thunder. Look for it in my review of “Jekyll”, if not before.

Upcoming Theatre and Dance. Next Friday brings us to North Hollywood and “U.S.S. Pinafore”, a mashup of Star Trek and Gilbert and Sullivan that’s running at the Crown City Theatre. September starts with “Free Man of Color” at the Colony on September 4. The following weekend brings “The Glass Menagerie” at the Mark Taper Forum on September 11. The weekend of September 18 is Yom Kippur; no theatre is currently scheduled. The last weekend of September brings “Leap of Faith” at the Ahmanson Theatre. October is currently more open, with “Dr. Jekyll and Mr. Hyde” at REP East anticipated for October 9. and “Happy Days: The Musical” at Cabrillo Music Theatre ticketed for October 30. I should note that October 23 will be a Family Gaming Night at Temple Ahavat Shalom. , November will see “Bell, Book, and Candle” at The Colony Theatre on November 13; “Randy Newman’s Harps and Angels” at the Mark Taper Forum (November 10–December 22, Hottix on sale September 9, potential date November 21); and “Amadeus” at REP East (Potential date: November 27). December will bring “Next to Normal” at the Ahmanson (November 23–January 2; Hottix on November 2; planned date December 11). Of course, I learn of interesting shows all the time, so expect additions to this schedule.

As always: live theatre is a gift and a unique experience, unlike a movie. It is vitally important in these times that you support your local arts institutions. If you can afford to go to the movies, you can afford to go to theatre. If you need help finding ways, just drop me a note and I’ll teach you some tricks. Lastly, I’ll note that nobody paid me anything to write this review, and that I purchase my own tickets to the shows. In fact, I receive no remuneration for any reviews I write.

Last night, we went to Repertory East Playhouse in Newhall to see their first summer “81 series” production: “The Last Days of Judas Iscariot”. Although the acting and direction were great, the show didn’t grab me. This may have been due to my headache; it may have been due to the subject matter (I’m Jewish); or it may have been due to the length (just over 3 hours). I know that my wife and daughter enjoyed the show (in fact, Erin raved about it on her Facebook), so I’m guessing my reaction is just mine. It is important to remember that—just as with movies—sometimes the subject doesn’t reach out to everyone. This is why shows such as this are in the “81 series”: the shows are more on the edge and perhaps of less broad appeal. That doesn’t make them bad shows. Poor writing, poor acting, and poor production makes a show bad… and this show had good writing, good acting, and good production.

“The Last Days of Judas Iscariot” is a 2005 play by American playwright Stephen Adly Guirgis. It presents the trial of Judas Iscariot in a stylized TV-Judge manner, taking place in a corner of Purgatory called Hope. The court is presided over by Judge Littlefield, a Civil-War era judge who is impatient and mecurical, and his bailiff, Julius of Outer Mongolia. Representing Judas, who is comatose, is a sexy defense attorney named Fabiana Aziza Cunningham. Cunningham’s opponent is a womanizing prosecutor named Yusef El-Fayoumy, an Egyptian Christian. Throughout the proceedings we see a wide variety of historical characters ranging from Satan and Jesus, to Simon the Zealot, Sigmund Freud, the jive-talking Saint Monica, Calaphas the Elder (head of the Sanhedrin), Pontius Pilate, Mother Theresa, and others. Throughout the story, questions are raised of whether Judas was responsible for his actions and crazy; whether Jesus’s love for the least means that he would forgive Judas; whether Judas’ hatred for his own actions would permit him to accept forgiveness; and the role of the Jews of the time in the whole mess.

Although the story was interesting, I found it long. The story and the presentation could likely be tightened; however, since this is a new work, I’m not sure the REP had that luxury. There were also points in the story, in particular the testimony of Calaphas the Elder and Pontius Pilate, that seemed to be edging on the point of placing the blame on the Jews. That is a particular claim that’s been responsible for a lot of antisemitism over the ages, and so I am very sensitive to it. The question is a hard one to answer… and it would have been interesting to see an exploration of who Jesus would blame. I’ve always viewed the subject as this: My understanding is that Jesus’ death is a critical part of the belief system—if he hadn’t died for the sins of the people, the story of the resurrection wouldn’t have happened, and Christian theology wouldn’t exist. Thus, the actions of the “villains” of the story—Judas, the Sanhedrin of the time, Pilate—are the critical event that elevated Jesus from a local evangelical to the position he has today. It is an important view to understand: the importance of the bad things that happen in shaping the good in our lives, but without the bad, we wouldn’t have the good. The Bible does say it best: we are given the choice between good and bad, life and death, and we are to choose good. Satan exists to give us the ability to choose to do good. Judas exists to give us the opportunity to forgive.

I should note that the production opened with an audience warm-up by Jonathan “Doc” Farrow (the Bailiff), who did a great job of interacting with the audience and setting the mood of the evening. I’m guessing this wasn’t in the script, and I found that it worked very well.

The performances of the cast (under the direction of Jamie Callahan) were excellent, but I’ve come to expect nothing less from a REP production. Leading the charge were Daniel Lench^æ at Judge Littlefield and Jonathan “Doc” Farrow as Bailiff Julius of Outer Mongolia. Both had fun with their roles; Lench in particular appeared to take sadistic joy in interacting with the characters. As Fabiana Aziza Cunningham, MarLee Candell was the typical sexy defense attorney with a fire in her spirit. Opposing her was Carlo Pietrosanti as Yusef El-Faoumy, a sleazy lecherous slime of a prosecutor. Pietrosanti captured that essence well; so much so you wanted to check the stage for oil afterwards. Also playing a critical role in the proceedings was Toya Nash^æ as Saint Monica, a jive-talking product of the hood, who brought substantial energy to the proceedings (we’ve met her son, Augustine of Hippo, before).

In terms of the individuals who testified, there were a number of standout performances, often by REP regulars. I particularly recall Brad Sergi as Satan, who took full delight in his character—I think he was channeling something inside of him; Bill Quinn as Saint Matthew/Sigmund Freud, who played the Viennese doctor as a man quite full of himself; and Michael Levine as Calaphas the Elder, who brought his own tallit and seemingly brought an Eastern-European Yiddish speaking aspect to the story. Rounding out the cast were Scott Blair (Judas Iscariot); Vitthal Mendieta (Jesus/Simon the Zealot); Gregor Manns (Pontius Pilate); Christina Ridout (Henrietta Iscariot/Mary Magdalene); Christopher Murphy (Matthias of Galilee/Sant Thomas/Saint Peter); Donna Marie Sergi (Gloria/Mother Theresa); Johnny Schwinn (Roman Centurian); Amber Van Schwinn (Sister Glenna); and Mikee Schwinn.
[^æ denotes members of  Actors Equity ]

The technical production was by the usual REP crew: “Nanook” doing sound, Tim Christianson doing lighting, and Jeff Hyde on the sets. All were excellent as usual. Although uncredited in the body of the program, I’m expecting Mikee was behind the excellent videos developed for the show. Erin Anderson was Stage Manager.

“The Last Days of Judas Iscariot” continues at the REP through July 24. Tickets are available through the REP Online Box Office, and are often available through Goldstar and LA Stage Tix.

Upcoming Theatre and Dance. Tonight brings the July “Meeting of Minds (Catherine the Great, Daniel Cromwell, and Daniel O’Connell, starring Gary Cole, Penny Peyser, Ian Buchanan and Jim Handy). Next weekend brings “Rodgers & Hammerstein’s Cinderella” at Cabrillo Music Theatre on July 24, and “The Lieutenant of Inishmore” at the Mark Taper Forum on July 25. August starts with “Young Frankenstein” at the Pantages on August 1. The next weekend brings “[title of show]” at the Celebration Theatre on August 6. August 15 brings the August “Meeting of Minds”, and August 21 “Side Man” at REP East. Looking into September, there is “Free Man of Color” at the Colony on September 4, and “Leap of Faith” at the Ahmanson Theatre (September 5-October 17, to be ticketed), and “Dr. Jekyll and Mr. Hyde” at REP East (9/17-10/16). It is unknown if there will be a September “Meeting of Minds”, and if so, when and where. October will bring “Happy Days: The Musical” at Cabrillo Music Theatre, and possibly “The Glass Menagerie” at the Mark Taper Forum.

As always: live theatre is a gift and a unique experience, unlike a movie. It is vitally important in these times that you support your local arts institutions. If you can afford to go to the movies, you can afford to go to theatre. If you need help finding ways, just drop me a note and I’ll teach you some tricks. Lastly, I’ll note that nobody paid me anything to write this review. In fact, I receive no remuneration for any reviews I write.

Sometimes, I’m amazed at what Rep East can do. This afternoon, we saw them put on a full Broadway musical, inventively, on their tiny black box stage, whilst simultaneously transporting their audience back to the mid-1980s in a rocking fashion. How did they do this? Simple: They put on “The Wedding Singer”

For those unfamiliar with the story, “The Wedding Singer” was a 1998 movie starring Adam Sandler and Drew Barrymore that was turned into a musical in 2006. The musical featured music by Matthew Sklar, lyrics by Chad Beguelin, and a book by Chad Beguelin and Tim Herlihy. The short synopsis, from the Guide to Musical Theatre, is: “It’s the ’80s. Robbie Hart lives in his grandmother’s basement in New Jersey and sings in a wedding band. His dreams of being a singer/songwriter are long gone, replaced now by a burning desire to find the right girl and settle down. When his fiancee leaves him standing at the altar, he becomes a wedding planner’s worst nightmare, taking out his bitterness on stage until his eye ­ and heart ­ turn to a new friend, Julia, but she’s engaged to a wealthy Wall Street broker.” They also have a longer synopsis of the musical.

REP has been working on getting this musical for two years. They almost had it last year, but the rights were yanked due to an aborted National tour. This year it made it to the stage, and boy did they have fun with it. From the casting to the direction to the technical, this production was just a blast to watch.

Leading the cast were Will Fogarty as Robbie Hart and Sarah Brandon^æ as Julia Sullivan. These two were perfect, and will make you forget Adam Sandler and Drew Barrymore. They captured the vulnerability of the characters, while being great singers and having great chemistry. Their tenderness was just perfect, and was a joy to watch.

The supporting roles were equally strong. Chairman Barnes^æ (Sammy) and Ever Pabon Torres (George) were great as Robby’s band and friends. Barnes had that wonderful white trash vibe, while Torres was a hoot in a Boy George-like role (and you should here him do shehekianu). Julia’s friends were played by Jill Kocalis Scott^æ (Holly), Bess Fanning^æ, and Christina Rideout^æ (Angie). Of these, Ms. Scott was spectacular playing the skanky whore best friend. Rounding out the supporting cast were Jill’s husband, Jarod Scott as Glen Guglia and Kelly Bader as Linda. Mr. Scott was spectacular, especially in his standout number, “All About The Green”.

Rouding out the cast was an extremely talented ensemble that played multiple roles with multiple wigs and costumes. This ensemble made the show, and consisted of Johnny Schwinn, Bill McBee, Charlotte Ruiz, Walter Lee Perkins III, Laura Biery, and Amber Clark.
[^æ denotes members of  Actors Equity ]

Technically, this show demonstrated the creativity that is a hallmark of the REP: the theatre that does the best with what they have. Mikee Schwinn did the video projections—these are noteworthy, for they truely turned the ordinary into the spectacular. Mikee had the show introduced by Max Headroom; he had classic 1980s MTV videos for the scene changes; he had Back to the Future references everywhere; he introduced the second act with the “A Team” theme—he went over the top on making the 1980s come alive. Laura Clark Greaver did the costume design, and found correct costumes and correct fabrics that also made the 1980s. The makeup and hair designer wasn’t in the program, but he did a great job recreating that 80s hair, both the big and the strange. The lighting was by REP regular Tim Christianson, who brought that disco feel without the need for moving lights; sets were by REP regular Jeff Hyde who established the 1980s simply and colorfully (including Pac Man); and sound was by Steven “Nanook” Burkholder, who miced the actors without making them seem amplified. Perfect.

The production featured choreography by Nicole Dionne, and vocal direction by Tamarah Ashton-Coombs. The production was directed by Ovington Michael Owston and Mikee Schwinn, who obviously had a blast. Lauren Pearsall was the production stage manager.

Go see this production. You’ll have a wonderful time. “The Wedding Singer” continues through June 19. Tickets are available through the REP Online Box Office, and may be available through Goldstar and LA Stage Tix.

Upcoming Theatre and Dance. June starts with “Peter Pan” at Nobel Middle School (June 3-5—we’re going June 5) and the “One Acts Plays” at Van Nuys High (June 2-4—we’re going June 4) [again, nsshere is acting in the One Acts], as well as the legacy tour of Merce Cunningham at the Walt Disney Concert Hall (June 6 @ 2pm) for Karen and Erin, and the new “Meeting of Minds” (Steve Allen (host) [Jack Maxwell], Congressional Medal of Honor winner Smedley Darlington Butler [Dan Lauria], Medal of Honor recipient and Civil War Doctor Mary Edwards Walker [Wendie Malick], Saint Patrick of Ireland [Jim Handy], and Saint Joan of Arc [Stana Katic]) at Greenway Court Theater for me (June 6 @ 6pm). Whew! A busy weekend. But, as there’s no rest for the wicked, June 13 brings “South Pacific” at the Ahmanson, with the regularly scheduled June “Meeting of Minds” (Episode #10: Voltaire (Ray Abruzzo); Martin Luther (Mark Moses); Plato; Florence Nightingale [Sharon Lawrence]; with Steve Allen (Gary Cole) hosting) on June 20. As for July, the month starts with “In The Heights” at the Pantages on July 3, and the Western Corps Connection in Riverside on July 5. The next weekend (July 10 @ 8pm) is the first show of the 2010-2011 Colony season, “Grace & Glorie”. That weekend may also bring “It’s Top Secret”, a musical that is part of the Festival of New American Musicals, running Jun 19-July 18 at the NoHo Arts Center (likely July 11). It may also bring “CHiPS: The Musical” at the Falcon Theatre (pending ticketing). The remainder of July brings ; “The Last Days of Judas Iscariot” at REP East on July 17 (pending ticketing); the July “Meeting of Minds on July 18, and “Rodgers & Hammerstein’s Cinderella” at Cabrillo Music Theatre on July 24. Plus July will possibly bring some ventures out to the Hollywood Bowl. Lastly, looking to August, we will hopefully find “Rent” at the Hollywood Bowl (pending ticketing); “Young Frankenstein” at the Pantages, the August “Meeting of Minds”, and “Side Man” at REP East.

As always: live theatre is a gift and a unique experience, unlike a movie. It is vitally important in these times that you support your local arts institutions. If you can afford to go to the movies, you can afford to go to theatre. If you need help finding ways, just drop me a note and I’ll teach you some tricks. Lastly, I’ll note that nobody paid me anything to write this review. In fact, I receive no remuneration for any reviews I write.

“You are summoned by the Superior Court for service as a trial juror.” These are words that strike terror (or at least annoyance) in the hearts of many, because we don’t want the hassle of jury duty. We don’t want the time lost to the juror assembly area; we don’t want the time lost to the trial; and we don’t want the risk of a long deliberation. But where does our image of what is involved with jury duty come from? For many of us, it was shaped by a 1954 teleplay originally called “12 Angry Men” by Reginald Rose, originally broadcast in September 1954. Do you remember watching it on Studio One? It was later adapted for the screen in 1957 (starring many major actors) and 1997. A stage version was written in 1955, but didn’t make it to Broadway until 2004.

Even if you didn’t see it, “12 Angry Men” has shaped your view of jury service. We’re all familiar with the basic premise of the story: Twelve jurors go into a room as the trial phase of a murder trial ends to debate the evidence. They need to decide whether the plaintiff is to be sent to the electric chair, and a unanamous voite is required. Some jurors don’t want to be there: they need to get back to work, they have tickets for the game that evening, they want to get on with their life. Most seem to believe it is an open-and-shut case: the plaintiff, a minority teen, clearly stabbed his father and left him to die. A quick vote is taken: 11 guilty, 1 not-guilty. And so the debate begins: why does that one juror believe there is reasonable doubt. Evidence is examined, scenes replayed, timelines revisited. Tempers flare, and underlying hatreds and prejudices reveals. Slowly, one by one, the doubt is exposed until at the end, the verdict is unanamous. “12 Angry Men” is how we want our jury system to work: people from all walks of life attempting to do an honest job of sifting through the evidence, using their native intelligence and experience to protect the innocent. Does our system work that way? You tell me: how do you feel when you read those words of summoning? Are you willing to debate a case with your fellow jurors for as long as it takes, or do you just want to get home.

I’m writing so much about “12 Angry Men” because I saw it last night the first production in Reperatory East Playhouse’s 81 Series. The 81 Series is a set of three short-run plays with more adult themes. Due to the short run, they have shorter rehearsal times andsimpler sets and costumes. The subsequent plays in the 81 Series this year are “The Last Days of Judas Iscariot” (July 9-July 24) and “Sideman” (August 13-August 28).

As I was saying, last night I saw “12 Angry Men at REP East. This was the third performance (Thursday was the preview, and Friday was opening night). They did their usual excellent job (although due to short rehearsal period and the intensity of the dialogue, there were a few line hesitations and restarts). The cast of twelve (c’mon, you expected a different number?) was great—in order by juror number: ¹Dave Forster, ²Chuck Franklin^æ, ³Michael Collins, ⁴Frank Rock, ⁵Erik Klein, ⁶Jeff Johnson, ⁷Harry Bennett^æ, ⁸Michael Bruce, ⁹John Morris, ¹⁰Blair Bess^æ, ¹¹Barry Agin, and ¹²Daniel Wolfe. Certain performances were standouts: I particularly liked Bruce’s Juror Number 8, who is the first non-guilty vote. This performance continued Bruce’s streak of powerful characters: he was Lenny in “Of Mice and Men” and Chief Bromden in “Cuckoo’s Nest”. Bruce came across as the strong type who stands by his convictions—someone you want on your side. I also enjoyed Chuck Franklin’s Juror Number 2: he came across as appropriately nerdish; you know that if the story was reset to the modern age, he’d be the one who was web-connected. I also enjoyed the performances of Juror Number 3 (Collins), especially at the end of the play; and Juror Number 10 (Blair Bess). But as I said, all were strong. [I’ll note that in this play, it is difficult to remember which character is which: they are referred to only by juror number, and do not sit at the table in sequential order.]

The technical aspects were handled by the usual REP team: Stephan “Nanook” Burkholder doing sound, Tim Christianson doing lights, and Jeff Hyde (assisted by his daughter, Sally) doing sets. The set was simple: a semi-circular table so that actors could face the audience and a water cooler (which, alas, wasn’t fully period). Lighting was equally simple, as befits a juror assembly room. However, complexity or even perfect period authenticity isn’t required for this play: it stands on the words and the acting, which was brought out under the strong directorial team of Johnny Schwinn (shining outside of his normal stage management role), assisted by Michael Levine. Katie Mitchell served as stage manager. The production was produced by the newlywed Mikee Schwinn and the birthday boy, Ovington Michael Owston.

“12 Angry Men” runs one more weekend at the REP, with performances on May 1 and 2. You can get tickets through the REP Online Box Office or by calling REP at 661-288-0000; they may also be available through Goldstar (although you should be forewarned that REP shows regularly are sold out). The next production at REP East is “The Wedding Singer”, running May 21-June 19, 2010.

Upcoming Theatre. As for us, what’s upcoming on the theatre calendar? Next weekend brings “Little Shop of Horrors at Cabrillo Music Theatre (May 1), and “12 Angry Men” for Karen and Erin on May 2 @ 2pm (while I get ready for a Games Night at Temple that I’m running). The weekend of May 8 sees Karen and me at the So Cal Ren Faire on Saturday. The weekend of May 15 sees the CDF Conference for Karen and Erin, followed by “The 39 Steps” at the Ahmanson at 8pm. The next weekend takes Erin to the Ren Faire, while we see the May installment of “Meeting of Minds” at the Steve Allen Theatre (May 16). The fourth weekend in May brings the Spring Dance Show at Van Nuys HS (May 20-22). The last weekend in May brings the Bat Mitzvah of a family friend, as well as “The Wedding Singer” at Repertory East Playhouse in Newhall (May 30 @ 2pm). June so far is mostly open, although I’m expecting that we’ll see “South Pacific” at the Ahmanson on June 13, and the June “Meeting of Minds” on June 20. As for July, the month starts with “In The Heights” at the Pantages on July 3. The next weekend I’m holding upon for the first show of the 2010-2011 Colony season, “Grace & Glorie” (likely July 10). That weekend may also bring “It’s Top Secret”, a musical that is part of the Festival of New American Musicals, running Jun 19-July 18 at the NoHo Arts Center (likely July 11). July will also bring ; “The Last Days of Judas Iscariot” at REP East on July 17 (pending ticketing); a possible July “Meeting of Minds, and “Rodgers & Hammerstein’s Cinderella” at Cabrillo Music Theatre on July 31 24 (likely moved due to a birthday party).

As always: live theatre is a gift and a unique experience, unlike a movie. It is vitally important in these times that you support your local arts institutions. If you can afford to go to the movies, you can afford to go to theatre. If you need help finding ways, just drop me a note and I’ll teach you some tricks. Lastly, I’ll note that nobody paid me anything to write this review. In fact, I receive no remuneration for any reviews I write.

Growing old. It’s such a delightful time. The kids are grown and out of the house, and you can be as crochety as you want. Or, if you were always crochety, you can be even more so. I’m sure we all know old folks like this (we might even be them): the old man, crochety and ready to help you put your foot in your mouth and chew vigorousy; the old woman, sweetness and light, baking cookies. Such a typical picture. But pretty? That depends.

I mention this because last night we went to REP East in Newhall to see their latest production, “On Golden Pond”. Most of us know this story from the classic 1981 film by Mark Rydell starring Henry Fonda, Katherine Hepburn, and Jane Fonda, but the property was originally a 1979 play by Ernest Thompson. The play takes place at a fictional location (Golden Pond) in Maine, where Norman and Ethel Thayer have a summer cottage they visit every year. The play takes place during their 48^th visit in 1979, and takes place over the summer. It starts in May, when the couple arrive and open the cottage. We see how Ethel is full of life, but Norman is crotchety and feeling his mortality. By June, they have settled into the cottage. Norman is looking for a job, but it is clear he is losing his faculties and is starting to have what we now know is Altzheimers. We learn about the locals, including Charlie Martin, who brings news that their daughter, Chelsea, will be arriving later that summer with her boyfriend. In July, Chelsea arrives with her boyfriend Bill and his 14-year-old son, Billy. We learn about the love between mother and daughter, but the tension between Norman and Chelsea. Ethel convinces Norman to let the boy, Billy, stay with them while Chelsea and Bill go to Europe. Act 2 opens in August, where Billy and Norman have become fishing buddies. Chelsea returns, and reveals that she and Bill got married in Brussels, while going on and on about the past. Ethel grows impatient with this, especially with Chelsea’s dispute with her father. After a butting of heads, Chelsea and her father reconcile to an extent. The last scene of the play takes place in September as Norman and Ethel are closing up the cottage. Chelsea calls and invites her parents to visit her in California. Ethel is eager, but Norman is reluctant to go… until he realizes he can spend time with Billy.

Reading this, I think you can see why the movie was cast so perfectly. Pulling this off requires the right mix of young and old, of sweetness and crotchety. Luckily, the REP continued its trend of casting well. In the lead positions were Michael Levine (a REP regular) and Nancy B. Berggren (a REP newcomer). Michael played the old and crotchety very well, which (if you’ve ever met him) is truly playing against his normal character. Nancy embodied the grandmother role, making you want to try her tollhouse cookies. These were two you just enjoyed watching. The daughter, Chelsea, was portrayed by Therese Lentz, who had the character fire to stand up to Norman, but at times you could see her for the vulnerable little girl that she was. Billy, her soon-to-be step-son, was played by Zachary Kemper. Rounding out the cast were Chuck Franklin as Bill Ray and Brantley M. Dunaway as Charlie Martin. I want to mention Brantley in particular, for although Charlie is a small role, he played it in an interesting manner, coming across as almost slightly Asbergers, unable to control his outburst and seemingly uncomfortable socially. I don’t know if the character was written that way, or whether that was a director’s choice.

Rick Culbertson wrote recently about the difference between good and bad theatre, and quality and cheap theatre. He talked about the perception of 99-seat theatre as being cheap. “On Golden Pond” demonstrated that this need not be the case: although an 81-seat theatre, the REP’s technical quality was excellent as always, thanks to the supurb technical team of Jeff Hyde (Set Designer), Tim Christianson (Lighting Designer), Steven “Nanook” Burkholder (Sound Designer), and Paula Soltero (Costumes). The set was beautifully dressed, playing the part of a rustic cabin with 48 years of momentos; the lighting was effective and not overdone, conveying the mood well; the sound effects were appropriate and timely (including the railroad in the background :-)); and the costumes captured Maine-style well.

The production was directed by Barry Kemper and Bonnie Bennett-Millner, who did a wonderful job of bringing these characters to life and moving them effectively on stage. The production stage manager was Johnny Schwinn. The production was produced by O. Michael Owston and Mikee Schwinn (who is in the last throws of bachelorhood, getting married within the month).

“On Golden Pond” continues at REP East in Newhall until April 10, 2010. Tickets are available from the REP East Box Office (or by calling (661) 288-0000), or through Goldstar Events. The next REP East production is “12 Angry Men”, running from April 23 through May 2, 2010.

Upcoming Theatre. As for us, what’s upcoming on the theatre calendar? This evening brings another installment of “Meeting of Minds” — this will be the second episode with Karl Marx (Ed Asner), Sir Thomas More (Bruce Davison), Queen Marie Antoinette (Meeghan Holaway), and President US Grant (Dan Lauria). You can get a peak of the episode by listening to an interview with Asner and Lauria about the show. The last weekend of March has no theatre, but is still busy: there’s a Games Day on March 27, and Rick Recht is doing a free concert at TAS on March 28. April brings more of interest, starting with “Jacques Brel is Alive and Living in Paris” at the Colony Theatre on Friday, April 16; “Damn Yankees” at Van Nuys HS on April 17, and the April installment of “Meeting of Minds” at the Steve Allen Theatre on April 18. The following weekend takes me to “12 Angry Men” on April 24 (the rest of the family sees it on May 2). May looks to be equally busy, with “Little Shop of Horrors at Cabrillo Music Theatre (May 1), and “12 Angry Men” for Karen and Erin on May 2 @ 2pm (while I get ready for a Games Night at Temple that I’m running). The weekend of May 8 sees Karen and me at the So Cal Ren Faire on Saturday, with “See What I Wanna See” at the Blank (likely May 9, pending ticketing). The weekend of May 15 sees the CDF Conference for Karen and Erin, followed by “The 39 Steps” at the Ahmanson (likely May 15, evening, pending ticketing). The next weekend takes Erin to the Ren Faire, while we see the May installment of “Meeting of Minds” at the Steve Allen Theatre (May 16). The fourth weekend in May brings the Spring Dance Show at Van Nuys HS (May 20-22). The last weekend in May brings the Bat Mitzvah of a family friend, as well as “The Wedding Singer” at Repertory East Playhouse in Newhall (May 30 @ 2pm).

As always: live theatre is a gift and a unique experience, unlike a movie. It is vitally important in these times that you support your local arts institutions. If you can afford to go to the movies, you can afford to go to theatre. If you need help finding ways, just drop me a note and I’ll teach you some tricks. Lastly, I’ll note that nobody paid me anything to write this review. In fact, I receive no remuneration for any reviews I write.

With all the sad news about Southern California theatre this weekend, it is a pleasure to talk about a strong theatre family—a well-run theatre that has consistently strong productions. This post provides me that opportunity, for this afternoon we went to the Repertory East Playhouse in Newhall to see the first production of their MMX season: “Lost in Yonkers” by Neil Simon.

For those unfamiliar with this play (it won the 1991 Pulitzer Prize for Drama), Wikipedia summarizes it as follows: “Lost in Yonkers is a coming of age tale that focuses on brothers Arty and Jay, left in the care of their Grandma Kurnitz and Aunt Bella in Yonkers, New York. Their desperate father, Eddie, works as a traveling salesman to pay off debts incurred following the death of his wife. Grandma is a severe, frightfully intimidating immigrant who terrified her children as they were growing up, damaging each of them to varying degrees. Bella is a sweet but mentally slow and highly excitable woman who longs to marry an usher at the local movie house so she can escape the oppressive household and create a life and family of her own. Her brother Louie is a small-time, tough-talking hoodlum who is on the run, while her sister Gert suffers from a breathing problem with causes more psychological than physical. Lost in Yonkers climaxes with a dramatic confrontation between embittered mother and lonely daughter that creates a permanent fissure in this highly dysfunctional family.”

Many in my generation are familiar with Neil Simon, who was one of the classic comedy playrights of the 1960s through 1980s. His plays are classic comedies (who here doesn’t know “The Odd Couple”, for example). Yet many of his later plays mixed the comedy with the semi-autobiographical drama. Certainly his trilogy (“Brighton Beach Memoirs”, “Biloxi Blues”, and “Broadway Bound”) did, as did this play. In a large setting, the closeness of the drama can be lost in the jokes. This is where the REP has a distinct advtange: their 81 seat venue provides the intimacy that permits the real drama of this production to shine through.

Under the steady directoral hand of Mark Kaplan, the cast achieves perfection and inhabits their characters. Nowhere is this seen better than in the two youth roles: Ross Mayer as Jay and JT Friedman as Artie Kurnitz. These two young men (aged 13 and 14, respectively) have their characterization and lines down pat, and were completely convincing as New York youths, not the Santa Clarita locals that they are. The other end of the spectrum was no slouch either: Nan Tepper emboded Grandmother Kurnitz (a role she has played before for Theatre 40). Although the stern teutonic grandmother, you could see there was some tenderness deeply buried. Tepper had the strength to play her such that you knew she wasn’t being mean just to be mean; she was being mean to protect both her children and her. However, the remainder of the ensemble made it clear that the damage had been done, from the adult child of Bella Kurnitz (played to perfection by Kelly Hawthorne, who I think could do well in Light in the Piazza), to the overcompensating tough hood of Louie Kurnitz (Daniel R. Wolfe), to Jay and Artie’s overly bullied father, Eddie Kurnitz (Michael Sollenberger), and lastly, to the withdrawn sister Gert Kurnitz (Laura Clark Greaver). All were excellent and a joy to watch.

The production was hightened by the excellent technical work. For those unfamiliar with the REP, they are a small black box space that they do the most with. The set, designed by regular set designer Jeff Hyde and lit by resident lighting designer Tim Christianson, was perfection: it captured the mid-1940s period well, with a painstaking attention to detail (we were on the side, and looking down a hallway that only we could see, it was done to perfection). The period sound was provided by resident Sound Designer Steven “Nanook” Burkholder. The period costumes were by Christie Hauptman. Johnny Schwinn was stage manager.

Going back to my opening paragraph: When we started subscribing at the Pasadena Playhouse back in 1987, they were a few years out of the rebirth, and over time, the people there became like family. Of late, that family grew cold and corporate. We started attending REP East back in 2006 (their second season), and they too have become family. We have gotten to know their artistic director “O”, their managing director Mikee, the president of the board Bill, and many others. We are impressed with the goodness and dedication to quality of the REP East team. If you are looking for a place to spend your season ticket dollar, this is one you should consider. They tend to put their tickets up on Goldstar, so give them a try. The remainder of the REP Season is On Golden Pond (March 12-April 10); 12 Angry Men (April 23-May 2); The Wedding Singer (May 21-June 19); The Last Days of Judas Iscariot (July 9-July 24); Side Man (August 13-August 28); Dr. Jekyll and Mr. Hyde (September 17-October 16); and Amadeus (November 12-December 11).

Upcoming Theatre. As for us, what’s upcoming on the theatre calendar? Next week brings our last production at the Pasadena Playhouse (their penultimate night): a reimagined version of “Camelot”. The following week (2/13) sees us at our other subscription home, Cabrillo Music Theatre, for “The Andrews Brothers”. The week after that (2/21) is the February installment of “Meeting of Minds”: Episode 23 with Jean Smart as Catherine the Great, Ian Buchanan as Oliver Cromwell, and James Handy as Daniel O’Connell. The last week of February is open, although I’m debating “Celedine” at the Colony Theatre. In March, I’m debating “The Story of My Life” at the Havok Theatre (2/25 – April), plus I have to schedule “On Golden Pond” at REP East. All I know for sure is that March 21 will be “Meeting of Minds”. April brings more of potential interest, mostly unscheduled, including “Damn Yankees” at Van Nuys HS, “See What I Wanna See” at the Blank (4/10-5/23), the So Cal Ren Faire (4/10-5/23), “12 Angry Men” at REP East (4/23-5/2), and “The 39 Steps” at the Ahmanson (4/27-5/16).

As always: live theatre is a gift and a unique experience, unlike a movie. It is vitally important in these times that you support your local arts institutions. If you can afford to go to the movies, you can afford to go to theatre. If you need help finding ways, just drop me a note and I’ll teach you some tricks. Lastly, I’ll note that nobody paid me anything to write this review. In fact, I receive no remuneration for any reviews I write.

Sunday was a busy day, with two theatre activities back to back. The first of the productions was “M*A*S*H” at the Repertory East Playhouse in Newhall. Now, after all these years, you may think you know the story of “M*A*S*H”, but you probably don’t. “M*A*S*H” was originally a book by Richard Hooker writing loosely about his experiences during the Korean war. It was a series of incidents that took place at the 4077 MASH (and, by the way, there were a number of subsequent books of lesser quality that followed this group through further adventures). Hooker’s book was adapted into a screenplay that took some of the incidents and wove them into a coherent story, and on into the successful movie. The movie story was then adapted, a subset of characters selected, and turned into the long running ensemble comedy that most people know. Early in the TV show’s run the agglomeration was adapted into a stage play by Tim Kelly.

This production was an adaptation of that adaptation, and combined some elements from all the different sources. So although it was set in the same universe, there were some changes from what is known and loved: Hawkeye was faithful to his wife (although he did enjoy watching) — it was Duke who was the lothario. Burns didn’t hang around; he was sent to the looney bin. Hot Lips’ father wasn’t a general but a cook, and so on. For those familiar with the various sources, however, these changes weren’t too jarring. They all led to the same end point: that war environments are hellacious environments, and for those in them, the pressure relieves itself in various ways.

This production pulled together an number of different incidents, and roughly covered the timeline from Hawkeye and Duke’s arrival until their departure 18 months later. It thus covered their assignment to the 4077, the suicide of Painless the Puller, Hot Lips and Frank Burns, the War Correspondent, part of the football game, Ho-Jon’s injury, and the departure of Hawkeye and Duke. This led to a long production (and evidently, one that was even longer in rehearsal). I personally felt that it was too long, and that the script could do with some additional tighening and cutting that could further enhance the point (for example, at this point, the entire football storyline could be cut without significant loss, given that the end of the game was cut).

All the scenes and all the actions led to one of the largest casts seen at the REP (it was just one smaller than The Full Monty‘s cast). It was also a true ensemble, with the players all demonstrating strong talent, improvisational skills, and playing well off of each other. There were a few occasional line hesitations, but those should go away as the run continues. The Ensemble consisted of: Ransom Boynton (Capt ‘Hawkeye’ Pierce); Joe Roselund (Capt. ‘Duke’ Forrest); Daniel Lench^æ (Col. Henry Blake); Jarod Scott (Capt. ‘Trapper’ McIntyre); David Kenny (Cpl. ‘Radar’ O’Reilly); Bill Quinn (Maj. Frank Burns); Jillann Tara (Maj. ‘Hot Lips’ Houlihan); John Morris (Fr. John Patrick Mulcahy); Tony Cicchetti (Capt. ‘Painless Pole’ Waldowski); Jill Kocalis Scott^æ (Lt. ‘Dish’ Schneider); Johnny Schwinn (Pvt. Lorenzo Boone); Zac Bygum (Ho-Jon); Harry Bennett^æ (General Hammond); Amber Van Loon (Capt. Scorch); Samantha Strickland (Lt. Leslie); Dave Forster (War Reporter); Erik Klein (Capt John ‘Ugly’ Black); and Eric Bush (Capt. ‘Spearchucker’ Jones). I really can’t single anyone out: all were excellent.
[^æ denotes members of  Actors Equity ]

This is a very busy play (just like the war environment), with lots going on in lots of different locations. The set by Jeff Hyde did a good job of providing those locations in a flexible manner; still at times the multiple locations was a little confusing. The direction by Ovington Michael Owston and Marlowe Weisman (who also helped with the script modifications) did a good job of bringing order to the chaos… most of the time. Sound and lighting design were by long-time REP regulars Steven ‘Nanook’ Burkholder (sound) and Tim Christianson (lights). Lauren Pearsall was the stage manager.

“M*A*S*H” continues at the REP East Playhouse until December 12. Shows have been selling out. Tickets are available through the REP Online Box Office; they are often available on Goldstar Events.

The REP has announced their 2010 season, which looks to be a strong one: Lost in Yonkers (January 22-February 20); On Golden Pond (March 12-April 10); 12 Angry Men (April 23-May 2); The Wedding Singer (May 21-June 19); The Last Days of Judas Iscariot (July 9-July 24); Side Man (August 13-August 28); Dr. Jekyll and Mr. Hyde (September 17-October 16); and Amadeus (November 12-December 11). Subscriptions start at $120 adult, $110 senior/student (which appear to be the same as the 2009 prices).

Upcoming Theatre: Thanksgiving weekend sees us back at the Pasadena Playhouse for “Baby Its You” on November 28. The next week brings us to Van Nuys HS for “The Taming of the Shrew” (12/3, 12/4, and 12/5; we’ll likely be going to the Friday, December 4 performance). I fly out to Hawaii for ACSAC on 12/5 (hint: registration is now open and we have a great technical program — so come to the conference).I return 12/12 (and, alas, this is why we can’t see Equus at LA Valley College the weekends of 12/3-5 and 10-12). December 20 brings “Mary Poppins” at the Ahmanson. We’ll be going to the movies on Christmas Day (as well as having Chinese food), and the likely movie is “Nine – The Musical”. As always, I’m looking for suggestions for good shows to see, especially if they are on Goldstar or LA Stage Tix.

Disclaimer: In light of the upcoming rules, you should know that nobody paid me anything to write this review. In fact, I receive no remuneration for any reviews I write.

Although it may not be safe to cross the moor at night, it certainly is safe to cross the hills ringing the San Fernando Valley, and to venture north to Saugus to see “Hound of the Baskervilles” at the Reperatory East Playhouse. That’s what we did last night, and we certainly weren’t disappointed. You might even say it was “Elementary”.

“The Hound of the Baskervilles” is a classic Sherlock Holmes mystery, first published in 1901 in The Strand magazine. It was written by Sir Arthur Conan Doyle right after “The Final Adventure”, which we saw dramatized at The Pasadena Playhouse in June 2006. It was adapted for the stage by F. Andrew Leslie. The story deals with the curse of the Baskerville family and the fiendish killer-hound that stalks its members. As the action begins Sir Charles Baskerville has died under mysterious circumstances, and his nephew and heir, the young Sir Henry, has been threatened even before his arrival at Baskerville Hall. A friend of the family and former colleague of Dr. Watson, Lady Agatha Mortimer, enlists the aid of Sherlock Holmes to protect Sir Henry from the supernatural hound and find the real killer. This leads to a series of events that build steadily in menace and suspense involving the staff of Bakerville Hall (Mr. and Mrs. Barrymore, Perkins) and the families living in and around the Moor (Kathy and Jack Stapleton, Laura Lyons). Hard pressed to protect his charge, and to fathom the strange mishaps which beset him, Dr. Watson is much relieved when Holmes himself appears to trap the diabolical killer who stalks Sir Henry and to unravel the fascinating mystery which accounts for his evil actions.

We always enjoy going to REP East productions. The primary reason is that they do such an excellent job, especially given the fact that they are an 81 seat black box theatre, off the main beaten theatre path, and do not charge an outrageous price for their tickets. That was certainly the case at this production. In fact, I was hard pressed to think of a single flaw in this production (the only ones that come to mind are perhaps one line hesitation, and I wasn’t crazy about the style of a character’s shoes… and if that’s the best this professional problem finder can find, they did damn good). I’m not even sure the great Sherlock Holmes himself would have found major problems in this product. I think this is because of the second reason we go to the REP: they care. They care about their audiences (and they REP people are like family), they care about their actors (selecting, training, and rehearsing them well), and they care about the material (selecting good material and ensuring it is presented it right). This theatre is a hidden gem; well worth the drive to Santa Clarita.

As noted above, the cast of this product was excellent. The lead investigators were the very precise Michael Levine as Sherlock Holmes as Kyle Kulish^æ as the very rotund Dr. Watson. Both captured the nature of these well-known characters well: the precision of Holmes, the familiarity and warmth of Watson. Todd Larsen^æ was Sir Henry Baskerville, and did a great job of capturing the youth and naivete of the man, as well as fear as the hound got closer. Sir Henry’s love interest, Kathy Stapleton (Amber Van Loon) — a REP regular — captured the relaxed youth and beauty of the character well, with some wonderful flashes of anger when dealing with her brother, Jack Stapleton (Jaimie Callahan^æ). The remaining moor residents that we met (as opposed to mere mentions) were Lady Agatha Mortimer (Alysan Marie Aachen) and Laura Lyons (Carolyn Morse^æ), both of whom were great. Lastly, the staff of Baskerville Hall (Donna Marie Sergi (Perkins), Janice Christensen (Mrs. Barrymore), and Brent Christensen (Barrymore)) did an excellent job of supporting the action, in particular Mr. Christensen apparent menace as Mr. Barrymore. Reviewing the program, I note he teaches drama at Hart HS in Newhall — his students must be very lucky. Wouldn’t it be great if he were at Van Nuys?

The set of the show, which was an elegant drawing room at Baskerville Hall, was well designed by Jeff Hyde. The costumes by Lynn McQuown were good, although Holmes wasn’t in his traditional Deerstalker cap. The lighting by Tim Christianson was excellent as usual, and the sound by Steven “Nanook” Burkholder was appropriately menacing. These are all REP regulars, and they are a key part for the technical excellence of this place. The production was directed by Joe Miele, and Johnny Schwinn served as Stage Manager.

“The Hound of the Baskervilles” continues at REP East until October 17^th; tickets are available through the REP Online Box Office or call (661) 288-0000. The final show of the 2009 season will be “M*A*S*H”, running November 13^th through December 12^th. Earlier this week, the REP announced their 2010 (MMX) season, and it looks to be spectacular. No dates yet, but the productions are: “Lost in Yonkers” (Neil Simon); “On Golden Pond” (Ernest Thmpson); “12 Angry Men” (Reginald Rose); “The Wedding Singer” (book by Ehad Beguelin and Tim Herlity, music by Matthew Sklar, lyrics by Ehad Beguelin), “The Last Days of Judas Iscariot” (Stephen Adly Guirgis); “Sideman” (Warren Leight); “Dr. Jekyll and Mr. Hyde” (Robert Louis Stevenson, adapted by Jeffrey Flatcher), and “Amadeus” (Peter Shaffer). These are all excellent selections (and O promised that Wedding Singer will happen this year), and I’m looking forward to the entire season. I’ll also note that this is sort-of a scoop: they don’t have the 2010 season listed yet on their website, so you read it here first.

Upcoming Theatre: As for us, our next show is this Monday, October 5, when we go out to the Steve Allen Theatre for the next installment of “Steve Allen’s Meeting of Minds” (Episode 3: Marie Antoinette, Karl Marx, U.S. Grant, and Thomas More) at the Steve Allen Theatre (ticket info). We’re still debating whether to go see Groovelily doing a concert version of “Sleeping Beauty Wakes” at the Largo on October 7^th at 9pm — we want to see the show, but it starts very late and I work the next day. No theatre is currently scheduled for the weekend of October 10, but I’m open to suggestions. Sunday October 18 we’re seeing the Donmar workshop version of “Parade” at the Mark Taper Forum, and the month of October closes with “Guys and Dolls” at Cabrillo Music Theatre. Halloween weekend is currently open. The following weekend is currently blocked off for “A Day Out With Thomas” at Orange Empire Railway Museum (although we may do it Veterans Day instead). The following weekend Erin is going to the TMBG concert at UCLA, while we will attending Havdalah with Peter Yarrow at the American Jewish University. On November 22 at 2pm we return to REP East Playhouse for “M*A*S*H”. Thanksgiving weekend is currently open; however, it might be taken by a shift of our production for the following weekend(“Baby Its You” at the Pasadena Playhouse, December 5 at 8pm), due to the fact I head out the morning after we see it for ACSAC in Hawaii. That same weekend (December 3, 4, 5) also brings “The Taming of the Shrew” at Van Nuys HS — we’ll likely be going to the Friday, December 4 performance. The rest of December is currently open, but I know that sometime in December I’ll be attempting to ticket “Mary Poppins” at the Ahmanson. There will also likely be additional episodes of “Meeting of Minds”. As always, I’m looking for suggestions for good shows to see, especially if they are on Goldstar or LA Stage Tix.