Today, I am a Mont Blanc

This morning, based on the recommendation of our Rabbi at a recent meeting for parents of soon-to-be-b’nai mitzvah students, we went to go see Keeping Up With The Steins. This is a movie that I predict will become part of the standard Bar/Bat Mitzvah Parent training.

What the story? Here’s how Moviefone describes it: After his best friend’s bar mitzvah complete with ice sculptures and a rap version of ‘Hava Nagila,’ Benjamin (Daryl Sabara) discovers his father (Jeremy Piven) is planning to out-bar mitzvah his friend’s father by throwing Benjamin’s rite of passage at Dodger Stadium. But all of this just spells stress for Benjamin, who secretly laments over his pending adulthood and Torah memorizations, all while nursing a preteen crush on the pretty blonde in his Hebrew school. So he hatches a plan to sabotage his own bar mitzvah by inviting his estranged, skinny-dipping hippie grandfather (Garry Marshall) to the event. What begins as chaotic staging for a hostile family reunion quickly turns into a touching family comedy that anyone can relate to.

What did I think? First, I thought that Garry Marshall stole the show. His character is the heart of the film, together with Daryl Sabara. He plays the croctcheyt old Jewish grandfather (now living on an Indian Reservation) who teaches the lesson of the real meaning of a Bar Mitzvah ceremony. [Hmmm, like Mel Brooks in Blazing Saddles] The other characters were mostly innocuous: the over-the-top dad (Jeremy Piven); the classic Brentwood mom (Jami Gertz); the Jewish grandmother (Doris Roberts); the trophy-girlfriend of the grandfather (Darryl Hannah). Second, I though the movie had a great point.

So what was this point, and why did our Rabbi (who is the rabbi of a congregation of mostly upper-middle-class to upper-class Jews) recommend it. Simple. The point is that the point of the ceremony is not the party afterwards. It is believing in the ceremony, and making it the center of action, not the party afterwards. What makes the party is the people and the love between them there, not the spectacle. I think this is a good message, and one that is important to reiterate to parents. The party is not for them.

Luckily, this is a message we had already planned on. NSS&F’s Bat Mitzvah is at the end of 2007, and we know we’ll have the reception afterwards in the Temple social hall. We’re planning to keep it simple. Middle-eastern food. A simple DJ. The focus will be the people there.

If you will be facing a bar or bat mitzvah in the future, I recommend you see this film.

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Mistresses, Lovers, and Cooks. Oh My!

Last night we went to see Don’t Dress for Dinner at the Rep East Playhouse in Newhall. The show is your typical British farce about mistresses and lovers. Here’s how the Lucilla Dramatic Society summarized the plot: Set in a converted farmhouse in the French countryside, ‘Don’t Dress for Dinner” begins when when Jacqueline (no one seems to have surnames in this play!) decides to visit her mother for a few days. At this point, her husband, Bernard sees the opportunity of a cosy weekend with his new girlfriend. His bachelor pal, Robert rings up to announce his return from Hong Kong, so Bernard invites him along as his alibi, also hiring a Cordon Bleu cook to ensure they don’t go hungry. Convinced his plan is foolproof, Bernard is taking his wife’s suitcase out to the car, when the phone rings and she answers it. From then on the story moves into the surreal world of high-speed farce, with mistaken identity — two girls, both known as Suzy; clandestine relationships,. the wife has a secret lover; hasty improvisation, the cook must play the mistress and vice versa, all carried along on a stream of rapid-fire, double-meaning dialogue. One impossible situation piles on another, as the hapless Robert finds himself the target of amorous attentions from all three ladies, Bernard tries frantically to salvage at least a scrap of illicit bliss from the wreckage of his weekend, and his intended playmate, the glamorous Suzanne, ends up in the kitchen, expected to cook dinner, while Suzette, the cook, is transformed into a femme fatale!

So how did the Rep East do? Those who know farce know that it is one of the hardest genres to do (a good example is the play, later movie, Noises Off!). It requires absolute memorization of the material, and split second timing. This cast was about 80% there. There were a few points where the timing was off, there was hesitation, etc. It was still fun, and of course, I was really enjoying watching the actresses, especially Jacqueline (Susan Biesinger) and Kristen Paige (Suzette). You could tell the actors were really having fun with this one.

Don’t Dress for Dinner is an older play, written by Marc Camoletti, adapted by Robin Hawdon. It has a tremendous entertainment track record. Before playing in theaters all over the U.S., it began as Marc Camoletti’s French play “Pajamas for Six” which played for two years in Paris. Beginning in 1991, Robin Hawdon’s English adaptation kept audiences howling for six years in London. The Rep East production starred Susan Biesinger, Julie Ann Lowery, JJ Mayes, Kristen Paige, Bill Quin, and Steven “Nanook” Burkholder. It was directed by Jason Goldberg.

Next up: Sherlock Holmes: The Final Aventure at the Pasadena Playhouse next weekend. After that is Shakespeare in the Park: Hamlet, The Prince of Denmark, being done by the Rep East Playhouse the weekends of June 10 and 17 in Central Park of Santa Clarita.

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Getting Your Hair Done Right

Back in June 2001, I saw the Reprise production of Hair. This production starred Sam Harris (Claude), Steven Weber (Berger), Rod Keller (Woof), Allan Louis (Hud), Jennifer Leigh Warren (Sheila), and Marissa Jaret Winokur (Joanie), with a cast of about 17 more. The show was at the Wadsworth Theatre. I want you to notice a few things about this production: (1) It was before 9/11 and the “War on Terrorism”; (2) most of the leads in the show were well over 30 years old; and (3) it was held on the campus of the Veterans Administration.

Last night, I saw Hair for a second time; this time at a proper venue (CSUN); with a proper cast (college students); and in a proper context (post 9/11). This was Hair done right. It starred a large collection of college students (30), who obviously were more than just “actors”: they were in to this musical and what does it say? (and what is that, you ask). The message of Hair is really two fold: the power of love, and the horror of war. It is a message that resonates extremely strongly today.

This production of Hair (the “Waabi Kiizis Tribe1 — yes, they have a myspace page) starred Kevin Ellis as Berger, Chris Chase as Woof, Marcel Hill as Hud, Erik Roget as Claude, either Tillie Spencer or Bonnie Sludikoff as Jeanie, Ana Therese Lopez as Dionne, Molly Orr as Crissy, Emily Belgard as Sheila, Daniel Mahler as M. Mead, Patrick Ryan as Hubert, and Sarah Modelowitz Walsh as Ronny. Others in the tribe were Katie Ashley, Brandon Baciocco, Elliott Barker, James Bingham III, Verity Branco, Aubrey Canfield, Deverau Chumrau, Ana Galang, Pippa Greene, John Paul Jones, Stephanie Jones, Kiki Kusama, Shari Lucas, Jeff Nichols, Talia Sarah Savren, Milo Shearer, Carlie Sonenschein, Sammi Wallschlaeger, and Mary Grace Wilson. It was directed by Garry Lennon, with musical direction by Paul Taylor and Cheoeography by Christine Chrest. I’ll note that most of the cast has Myspace profiles,2 as befits this generation (and as I result, I created one too (use my LJ name), but mine just points back to LJ).

For those unfamiliar with the story, there isn’t one, or there is. Hair is a rough musical. The basic plot is the story of Claude, who just had his induction physical for the Vietnam draft, and is about to go into the Army. The first half, however, is more getting to know the tribe and their relationships; the second half (which was extremely powerful) is a hallucination about the war. Along the way there is love, some nudity (although quite tastefully done), more love, war protests, drugs, more love, Abraham Lincoln, Ulysses S. Grant, more love, some starshine, and a wild trip. For those unfamiliar with the 1960s (alas, I was the next generation), this recreates it.

So how did this cast do? Extremely, extremely well. You could see on there faces that this was more than an acting job: this had meaning and depth to them (which is something I don’t recall about the Reprise! cast). I had a really fun time watching the faces and the movement of the entire cast. It was riviting how much they were into this show. Perhaps it was the fact that this show echos what is happening today in Iraq. More on that later.

Was it a perfect show? No. This is a theatre school, and there were a few problems, mostly technical (i.e., sound). But the raw talent of this cast more than made up for that–these young actors and the talented crew behind them are going to go far. I look forward to seeing them in the future on the stages of Cabrillo, the Pasadena Playhouse, the Ahmanson and Pantages, and on Broadway.

We took our 11 year old daughter (NSS&F) to the show with us. She was worried about the nude scene, but they did it very tactfully (it occurs during the song Where Do I Go?). You really couldn’t see anything3. I think the sex portions just passed her by, but the anti-war message of the show came through loud and clear. She told us afterwards that she was extremely glad that she went; it gave her understanding of that generation.

As to the anti-war message. The CSUN Theatre and Art Departments made the relevance to today clear. In the lobby were displays of various current incidents, including the Iraqi war, immigration issues, terrorism issues. Little dioramas that depicted scenes of topical relevance. Made with Peeps. Yup. Bunnies, Rabbits, Chicks. Additionally, during the hallucination sequence, not only were Vietnamese being killed by the soldiers, but Iraqis, Buddhist Monks, Koreans, Japanese, Germans, and Native Americans as well.

Tonight (5/14) is the last night of the show; if you can get tickets, go see it. It was great.

What’s next on the theatre calendar? Don’t Dress for Dinner at the Rep East Playhouse in Newhall at the end of the month, and Sherlock Holmes: The Final Adventure at the Pasadena Playhouse in early June. Rep East will also be doing Shakespeare in the Park: Hamlet in June. I’m still keeping my eyes open for tickets to Curtains at the Ahmanson; I’ll grab them as soon as I see them on Goldstar.

[Crossposted to cahwyguy and socal_theatre]


1 According to the tribe, Waabi Kiizis is Algonquin for “See the Sun” or “See Sun.” This name was chosen because it not only exemplifies Cal State University Northridge (“C”SUN), but it embodies the desire to “Let The Sun Shine IN!”
2 I attempted to traceback all the MySpace profiles for the cast. If I missed one, or got one wrong, please let me know and I’ll fix it.
3 Which in some ways is too bad, because the cast was extremely attractive :-).

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Defending the Caveman

No, not Tim Allen. There’s no defense for him.

Last night, my wife and I saw Rob Becker’s Defending the Caveman with Chris Sullivan at the Kavli Theatre in Thousand Oaks. This is a one-man show that explores the relationship between men and women. It opened on Broadway at the Helen Hayes Theater March 1, 1995 and ran until June of 1997, when it embarked on its national tour. It has been performed for over 5-million people.

The show starts with a video showing typical man-and-women things. Fighting over the remote. Man ignoring the women. Men being slobs. The host then recounts an experience where he was with a group of women at a party, and they were stating that all men were assholes… and he was wondering why he didn’t speak up for his gender. He then gets in touch with his inner caveman, and thence starts the riff. The basic premise is that man and women are different creatures that speak different language and behave differently. Men are “hunters”, trained by instinct to be narrowly focused on the “kill”: be that the job, the ball in the game, the television. Men are also negotiators. Women are gatherers: gathering information and cooperating. This shows in how they relax, regain energy, etc. He then shows how these differences lead to the misunderstandings we see between men and women, where we try to talk the wrong language to each other. It is a 115-minute, no-intermission, very very funny show.

During the show, I found myself observing the audience. There was a mix of grey- and no- hair seniors plus middle-aged folks like us and younger folks. The middle-aged and younger folks were finding this guy’s stuff hilarious. The older folks: stone-faced. I also noticed that certain jokes were resonating with the women, who were raucously laughing. The men were silently nodding their heads; you rarely heard deep-laughs. I guess this is how cavemen work.

Our version of the show was performed by Chris Sullivan, who seemed to bring a lot of his life into the show. He’s actually a native of Sacramento, so some of the folks reading this might know him. It was presented by T.O.’s Theatre League.

Next on the calendar: Orange Empire Railway Museum this weekend. SoCal Ren Faire on the 29th (if you’re a SoCal RenFaire person, please speak up, and perhaps we can meet). May 7th will hopefully be the Israeli Independence Day Festival in Woodley Park, and May 13th will be Hair at CSUN. I’ll also note that the NoHo Theatre and Arts Festival (always a great event) is the weekend of May 20/21. Shows I’m planning to get tickets for include Curtains at the Ahamanson, and Don’t Dress for Dinner at the RepEast Playhouse.

[Crossposted to cahwyguy and socal_theatre]

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There’s A Sucker Born Ev’ry Minute…

…but ma’am, you might have been the minute inbetween.

Last night we went to see Barnum at the NoHo Arts Center. Now, I’ve seen Barnum before, in January 1982 at the Pantages Theatre with most of the original cast: Jim Dale, Glenn Close, Catherine Gaines, Ray Roderic, Terri White, Terrence V. Mann, and others. I love Cy Coleman‘s music and the music from the show: not only do I have the original cast recording, but I also have very rare Cy Coleman Trio recording of Barnum (Gryphon Records G-918). So I’ve very familiar with the music.

After seeing that the NoHo Center was doing Barnum, I ordered tickets to the show via Goldstar Events. The NoHo Center is a small (99 seat) theatre in North Hollywood, formerly the American Renegade Theatre. It was my first time there; needless to say I was impressed and I’ll see if they have other interesting shows.

For those unfamiliar with the show, it tells the story of P.T. Barnum, from his first “humbug” with Joice Heth (after he met his wife Charity Barnum) until the creation of the Barnum and Bailey Circus. It has a very Dixie-land score, and features rope tricks, juggling, tightrope walking, marching bands, the world’s smallest man, the world’s oldest woman, the world’s biggest elephant, magic tricks, and more… all with a cast of 12. Don’t believe me? See the show.

For the most part, the cast was excellent. Barnum was played by James J. Mellon, Artistic Director of Open at the Top (the company doing the production) and the NoHo Arts Center… and the President and Founding Pastor of the NoHo Arts Center for New Thought. I mention this because this fellow has the remarkable charisma and acting chops of a great pastor. He becomes Barnum, and was excellent in the role. He is also the author of many musicals, including Dorian, The Ghost and Mrs. Muir, and the upcoming Lizard at the NoHo Arts Center.

Others in the cast included Janet Fontaine as Chairy Barnum (filling in for Yvette Lawrence); Emily Kosloski as Jenny Lind, Robert Mammana as the Ringmaster, Jacquelyn Levy as Joice Heth/Blues Singer (filling in for Regina LeVert), Dan Perry as Tom Thumb (our third understudy), and Cory Benjamin, Elly Jaresko, J. R. Mangels, Jennifer Richardson, Jonathan Zenz, and Jamie Rogers. The production was directed by Josh Prince, with musical direction by A.J. Robb, Scenic Design by Craig Siebels, Lighting by Luke Moyer, Costumes by Shon Leblanc, and Sound by Jonathan Zenz.

What did I think of the production? Good and bad. I thought the cast, for the most part, was excellent. In some of the early songs, Ms. Fontaine’s voice was a bit weak, and I think Jacquelyn Levy could have belted a bit more. My wife noted that Ms. Kosloski didn’t quite have Jenny Lind’s range. In terms of acting, however, the cast was uniformly excellent, and the 99-seat venue allowed one to see the facial expressions of the cast, and share in the 0bvious joy this cast has in doing the show. I did miss some of the benefits a larger theatre provides; in particular, the number “Come Follow The Band” needs a full marching band to be entirely effective. But that’s a nit; I truly enjoyed the show.

Reviews for the show have been mostly raves. Backstage.Com says that the show is “a great blend of energy and in-your-face magic”. TheatreMania.Com says that the NoHo Arts Center lifts “this musical to new heights with a minimal orchestra, a cast of 12, and a stage smaller than most living rooms”. ShowMag.Com says “small theater doesn’t get any better than this”. The only pan came from the Daily News, which said ” to succeed, “Barnum” needs razzle-dazzle, and this tight space prohibits it”, although it looks like they attended on a night frought with mishaps.

The show has one more week, and supposedly tickets are still available for next weekend. Don’t look for us there; we’ll be out in Perris at the Orange Empire Railway Museum for the Spring Train and Trolley Festival. Come by and say hi: I’ll be on one of the cabooses 3rd shift on Saturday, and on train 51 (the passenger train) all day on Sunday. Upcoming theatre events include Defending The Caveman this Wednesday night in Thousand Oaks, and Hair at CSUN on May 13. Of course, we’ll also be seeing shows at the RenFaire on April 29. Shows I’m planning to get tickets for include Curtains at the Ahamanson, and Don’t Dress for Dinner at the RepEast Playhouse.

[Crossposted to cahwyguy and socal_theatre]

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There’s Something Wrong in Pasadena

You see, Pasadena has just elected a new mayor. This clown has turned the Rose Bowl into a racing track, and expelled the ex-mayor and his family to Mojave, t0gether with his daughter and a comic.

Sounds stupid? It is.

Last night, we saw “As U Lyk It: A Caliofrnia Conconction” at the Pasadena Playhouse. To put it succinctly: Don’t bother. This is one of the few shows that we left during intermission and didn’t come back.

The show was an adaption of “As You Like It“, one of Shakespeare’s funnier comedies. The show was “reimagined” to take place in Pasadena and Mojave, retaining the iambic pentameter, but none of the humor. There were attempts, which fell flat. To give some examples: there were loads of jokes against the administration, which fell flat in blue-hair Pasadena; the actress playing Rosalind looked and sounded better as a guy than a girl; there were jokes about swallowing or spitting (and I’m not talking water here); the characters were indistinguishable; the attempt at Iambic Pentameter served only to confuse the audience not tell the story… well, you get the idea. The play basically insulted the audience, and the author butchered the story. Take a look at the cast list below with their roles, and you can get an idea.

I need to go watch Atomic Shakespeare to see how Shakespeare can be translated right. The Complete Works of William Shakespeare (Abridged) was much much better. Oh well, at least I’ll see good Shakespeare in a few weeks at the Renaissance Faire.

We’re currently planning on writing a letter to the Playhouse, because the first two plays of this season (this and Diva) have been such disappointments. We’re 20 year subscribers, so this is not a good thing to have happening. Update 10/2006: They redeemed themselves with the remainder of the season, which has been excellent.

Production Statistics: As U Lyk It: A California Concoction. Produced by the Pasadena Playhouse in association with Cornerstone Theatre Company. Adapted from the William Shakespeare original by Alison Carey. Starring Leith Burke as Orlando (a young man); Dorothy James as Eve (his one-time babysitter); Lisa Tharps as Olivia (Orlando’s sister); Kate Mulligan as Charles (a race car driver), Bilbo (a staff member to the Mayor), Amy (an aide to the ex-mayor), Olive Martext (an internet wedding officiant), and William (a park ranger); Christopher Liam Moore as Rosalind, the daughter of the ex-Mayor; Jonathan del Arco as Touchstone (a comic); Ivar Brogger as Frederick (the mayor) and Senior (the ex-mayor); Scott Rodarte as Givan (a councilman loyal to the ex-Mayor); Dorothy James as Corinna (a cactus nursery worker); Christian Barillas as Sylvius (a cook); Gregory Cruz as Snakebite (a biker); Peter Howard as Jaques (a former TV producer and friend of the ex-mayor); Benajah Cobb as Aubrey (a mechanic); and Monette Magrath as Phebe (a waitress). Directed by Bill Rauch.

[Posted to cahwyguy and socal_theatre]

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The Plaids The Thing

This afternoon, we went to Cabrillo Music Theatre in Thousand Oaks where we went to see Forever Plaid. What can I say? Forever Plaid, is, ummmm, Plaid.

For those unfamiliar with the story, Forever Plaid is a revue musical about the Forever Plaid group, killed in a car crash while driving a two-tone Mercury convertible in 1964 by a bus of Catholic girls from Our Lady of Harrisburg on their way to see the “Ed Sullivan Show.” The group returns from Harmony Heaven 42 years later, presenting the show they never got to present when they were still alive. It is all four-part harmony, with songs like Three Coins In the Fountain, Gotta Be This or That, Crazy ‘Bout Ya Baby, Perfidia, Sixteen Tons, Heart and Soul, Lady of Spain, … well, you get the idea.

In short: there’s no plot, just lot of music. To get an idea of the music, visit the site for Forever Plaid: The Movie (yes, it is in the works).

So, if there is no plot to write about, and the music is about the same every show, what is there to write about? Oh, the cast. In the role of Sparky (my favorite) was Steve Gunderson, who has played the role numerous times, including at the Pasadena Playhouse. Jinx was played by Kevin McMahon, who has also performed the role nearly 1,500 times. Smudge was played by George Miserlis (part of the group The Blanks, a/k/a Teds Band from Scrubs). Lastly, Frankie was played by the only CMT retread, Robert J. Townsend. All good singers, all good plaids.

Of more interest was the announcement of CMT’s next season:

  • A Chorus Line (October 27-November 5, 2006)
  • Smokey Joe’s Cafe (March 23-April 1, 2007)
  • Beauty and the Beast (July 27-August 5, 2007)

What’s next on the theatrical calendar? We have tickets to As You Like It: A California Confection at the Pasadena Playhouse next weekend. We’re also exploring tickets to Hair at Cal State Northridge in early May (which, alas, means we won’t be seeing Zorba at Reprise). In the quasi-theatrical vein, we’re going to the Renaissance Faire on April 29, and the weekend before that is the Train and Trolley Festival at Orange Empire Railway Museum. If you’re coming out to the Rail Fest on 4/22-23, or to Ren Faire on 4/29, please give me a holler, and perhaps we can meet up.

[Crossposted to cahwyguy and socal_theatre]

Note: This entry was originally posted on Observations Along The Road (on cahighways.org) as this entry by California Highway Guy. You may comment either here or there (where there are comment(s)).

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The Plaids The Thing

This afternoon, we went to Cabrillo Music Theatre in Thousand Oaks where we went to see Forever Plaid. What can I say? Forever Plaid, is, ummmm, Plaid.

For those unfamiliar with the story, Forever Plaid is a revue musical about the Forever Plaid group, killed in a car crash while driving a two-tone Mercury convertible in 1964 by a bus of Catholic girls from Our Lady of Harrisburg on their way to see the “Ed Sullivan Show.” The group returns from Harmony Heaven 42 years later, presenting the show they never got to present when they were still alive. It is all four-part harmony, with songs like Three Coins In the Fountain, Gotta Be This or That, Crazy ‘Bout Ya Baby, Perfidia, Sixteen Tons, Heart and Soul, Lady of Spain, … well, you get the idea.

In short: there’s no plot, just lot of music. To get an idea of the music, visit the site for Forever Plaid: The Movie (yes, it is in the works).

So, if there is no plot to write about, and the music is about the same every show, what is there to write about? Oh, the cast. In the role of Sparky (my favorite) was Steve Gunderson, who has played the role numerous times, including at the Pasadena Playhouse. Jinx was played by Kevin McMahon, who has also performed the role nearly 1,500 times. Smudge was played by George Miserlis (part of the group The Blanks, a/k/a Teds Band from Scrubs). Lastly, Frankie was played by the only CMT retread, Robert J. Townsend. All good singers, all good plaids.

Of more interest was the announcement of CMT’s next season:

  • A Chorus Line (October 27-November 5, 2006)
  • Smokey Joe’s Cafe (March 23-April 1, 2007)
  • Beauty and the Beast (July 27-August 5, 2007)

What’s next on the theatrical calendar? We have tickets to As You Like It: A California Confection at the Pasadena Playhouse next weekend. We’re also exploring tickets to Hair at Cal State Northridge in early May (which, alas, means we won’t be seeing Zorba at Reprise). In the quasi-theatrical vein, we’re going to the Renaissance Faire on April 29, and the weekend before that is the Train and Trolley Festival at Orange Empire Railway Museum. If you’re coming out to the Rail Fest on 4/22-23, or to Ren Faire on 4/29, please give me a holler, and perhaps we can meet up.

[Crossposted to cahwyguy and socal_theatre]

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