Tag: reviews-2008

Here’s the story of a lovely lady…

Posted onAuthorcahwyguy

Many years ago, Sherwood Schwartz and Frank DeVol penned a little ditty that is burned into everyone’s mind:

Here’s the story of a lovely lady
Who was bringing up three very lovely girls.
All of them had hair of gold, like their mother,
The youngest one in curls.

Here’s the story, of a man named Brady,
Who was busy with three boys of his own,
They were four men, living all together,
Yet they were all alone.

Till the one day when the lady met this fellow
And they knew it was much more than a hunch,
That this group would somehow form a family.
That’s the way we all became the Brady Bunch.

God, is that burned into my mind. Oh, anyway.

Last night, we went to see “A Very Brady Musical” at Theatre West in Hollywood. This is a musical that asks the question: With all those kids at home, when do Mike and Carol ever have the opportunity to play “Hide the Salami”. Not sure what I mean? Well, I can’t be more specific, after all, this is the Bradys!

“A Very Brady Musical” was a creation of the Sherwood Family. Sherwood Schwartz was Executive Producer. The book of the musical was written by Lloyd J. Schwartz (his son), and Hope Juber (his daughter), with music and lyrics by Hope Juber and Laurence Juber (her husband). So this musical really is in the spirit and style of the original, and does feel like an extended episode of the series that was never shown.

The story roughly goes like this. In over 3 years of marriage, Mike and Carol have, ummm, have never consummated their relationship as a result of never having a moment when the kids aren’t in the house. They are singing about this, in a cleverly entitled song called “Euphemisms”, when Cindy overhears them. Of course, being Cindy, she tattles about her parents being upset about something she didn’t understand. It could be groceries (“you be my pickle, I’ll be your jar”), it could automotive (“I’ll be the garage where you park your car”, it could be hot dogs (“you bring the hot dog, I’ll be the bun”), or even lunchmeats (the previously mentioned game of hide the salami). The kids decided they need more information, so Bobby uses his tape recorder to find out. When they play the tape, they hear Mike and Carol swearing and threatening each other (little did they know they were doing a reading for a PTA play, “I Hate Your Guts”). The kids decide their parents are getting a divorce (dun-dun-dun). In order to figure out how to solve the problem, they do what they always do: Ask Alice. She first sings them a song about confidence (“”A cup of confidence, a sprinkle of hope, a dash of experience will help you to cope.”) and gives them the idea to send their parents to Dr. Anonymous, a TV Advice Show.

So, they set out to raise money. Greg has recently acquired his first car, which he is very proud of. He thinks lots of people will want to rent it out. In the song “Greg’s Car”, better known by its key line (“I have a Woody, My woody’s hard to beat”) he sings about his car, and how his Woody has never been used. (No, he doesn’t get the entendre. He’s a Brady). Marcia decides that her skill is dating, and seeing an ad for a service that permits her to date for money, she’s all gung ho. After all, she’s been a cheerleader, and knows how to do the splits, mounts, and dismounts, and once even took on the football team, against her brother’s advice. Jan thinks she’s useless, until Peter comes up with a magic show where he is Peter the Great, and she is Jan… the Jan. As for Bobby and Cindy, they decide to look for money in the sofa cushions. After finding none there, they go to the neighborhood park where a friendly panhandler teaches them a better way to find money: in other people’s pockets (“Seize the Opportunity”). During all this, wheneven ever everyone is out of the house, Mike and Carol attempt to rendevous… but are constantly frustrated (as they say in TFOS: Sex isn’t funny. Frustration, now that’s funny).

Of course, the inevitable happens. Greg is arrested for bank robbery (he drove the getaway car after being seduced by Destiny). Marcia is arrested for prostitution. Peter and Jan are arrested for attempted murder (they used a real saw to cut a man in half). Bobby and Cindy are arrested for theft. All the kids are in jail… and Alice has her day off. Just what are two parents to do, especially given the bail hearing isn’t until the following morning?

In the end, of course, all the situations are resolved happy, with no stains on the permanent records. The kids are happy, Alice is happy, and the parents are, finally, happy. And Jan is happy that Marcia got arrested for prostitution.

The show does a remarkable job of playing off the Brady stereotypes of wholesomeness and cheerfullness, especially in songs like “Groovy Happy Sunshiny Day” or “My Special Recipe”. It also includes loads of references to the original TV series, such as all the stupid things the kids did. Certainly the older folks in the audience, and the folks that grew up with the Bradys in reruns, got the references. It was just a fun shows, not a Broadway experience.

The cast did a very good job with this, especially with the overplaying that is necessary in the Brady universe. Mike and Carol Brady were played by John Cyganæ and Barbara Malloryæ (Lloyd Schwartz’s wife). Cygan was great (and wore the requisite perm); Mallory was strong in the acting department, but weaker in the singing department and looked a bit old for the part. Greg Brady was Elliot Kevin Schwartz (Lloyd Schwartz’s son) was Greg Brady — he was a good actor and a strong singer. Marcia (Marcia, Marcia) was played by Erin Holtæ, who sang and acted very strong, and was a pleasure to watch. The middle kids, Peter and Jan, were played by Justin Meloni and Laura Marion: Meloni was OK, but I really enjoyed watching Marion — both her singing and expressions. The youngest kids were played by Adam Congeræ (who kept reminding me of my daughter’s friend Bobby) and Kelly Stablesæ (a pint-sized actress with Kristen Chenowith talent). Alice was played by Kathy Garrickæ, who was an extremely strong singer. Rounding out the cast, in a variety of character roles, were Roger Cruzæ, Matthew Hoffmanæ, Selah Victoræ, and Claire Partinæ.
[æ: Member of æ Actors Equity]

Theatre West is a black-box theatre. The set consisted primarily of a flat on a turntable: one side was the infamous Brady stairway that represented the house; the other side opened up in various ways to be a street, a hotel room, and the escort service office. Greg’s Woody was another large prop. These were all designed by Joseph M. Altadonna and Daniel Keough (who appears to have been Lisa Marie Presley’s hubby before Michael Jackson), and were quite clever, assisted by Heather Alyse Becker as Property Master and Richard De Siato as Scenic Design/Painter. Lighting was by Yancey Dunham, who had a very funny bit with a spotlight and Jan. Choreography was by Paul Denniston, assisted by Kelly Stables, with Laura Marion and Elliot Kevin Schwartz as Dance Captains. Costumes were by Diana Marion. The production was directed by Lloyd J. Schwartz with musical direction by the Jubers. It was produced by Matthew Hoffman, David P. Johnson, and Bonnie Kalisher. Theatre West is under the direction of John Gallogly.

“A Very Brady Musical” continues at Theatre West until July 20.

Next up on the theatre calendar is “Pest Control: The Musical”, described by Native Intelligence as “Imagine Rocky Horror Picture Show meets Little Shop of Horrors. Now, throw in cockroaches, cloak & dagger CIA types, hitmen, a love story and lots of rock, rap and dancing and you’ve got an idea of what you’re in for with Pest Control, the Musical”. It is based on the novel by L.A. crime writer Bill Fitzhugh in which a bug exterminator is mistaken for a hit man and hired to kill a South American dictator. We see this (its final performance) at the NoHo Arts Center today at 3:00pm. Following that is “A Chorus Line” @ Ahmanson Theatre (Sat, 6/28 @ 2pm), and “The Taming of the Shew” (Shakespeare in the Park) on Sun, 6/29 @ 6pm in Hart Park in Santa Clarita. July brings “The Drowsy Chaperone” at Ahmanson Theatre (Sun 7/13 @ 1pm), “Parade” at Neighborhood Playhouse, Palos Verdes (Sat 7/19 @ 8pm), “Looped” at Pasadena Playhouse (Sat 7/26 @ 8pm), and “Singing in the Rain” at Cabrillo Music Theatre (Sat 8/2 @ 2pm). I’m still exploring tickets for “Songs From an Unmade Bed” at Celebration Theatre (perhaps 7/5), as well as the Cal Phil production of the music of Rogers and Hammerstein featuring Suzanna Guzman as mezzo soprano and Kevin Earley as tenor on Sunday July 27 at 2:00p at the Disney Concert Hall.

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A Wop Ba-ba Lu-mop, A Wop Bam Boom

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For the last two nights, we’ve gone over to Nobel Middle School (and we’re going twice today) to see the Theatre Arts Department production of “Grease”. Of course, we have a vested interest: our daughter is the student producer, plays Mrs. Lynch, and was also an assistant to the Set Designer, a Set Assistant, and just a general “do-er”. In fact, last night we heard her teachers say that she is one of the reasons this two-year program has gotten off the ground so successfully; they won’t know what to do next year without her. That really warms a parent’s heart.

Anyway, on to “Grease”. The version of “Grease” that was done by the school was not the original stage version (book, music, and lyrics by Jim Jacobs and Warren Casey), the movie version, the current stage version, or even the exact current licensed version. It certainly wasn’t exactly the version we saw at Van Nuys HS earlier in the year. I think the basic version of “Grease” is well-known; if you’re not familiar with the canonical story, please look at the Wiki page. The version at Nobel was adapted by the Theatre Arts Department teachers. This adaptation did some things you would expect a middle school to do, such as add sufficient roles to involved the entire class, which worked reasonably well. As an example of this, there were two teen angels, one saw a full cheerleading squad, and one saw the coach trying various sports with Danny Zucko before settling on track. There were some wording adaptations to (sigh) adapt things for younger sensibilities, for who wants to hear 13 year old girls singing about possibly being P.G., or singing “Won’t go to bed ‘till I’m legally wed”. I could actually live with both of these. But there were aspects of the adaptation that did create problems for the purest in me. Songs were cut: Alma Mater, Those Magic Changes, Freddy My Love, Mooning, Shakin’ at the High School Hop, It’s Raining on Prom Night, Born to Hand Jive, Alone at a Drive-In Movie, Rock N’ Roll Party Queen, and There Are Worse Things I Could Do. Some of the movie songs were added (this was done in the revivals as well, so I can’t fault them much on this). Significant aspects of characters were either dropped or mentioned and forgotten. In particular here was the nature of Marti’s relationship to Freddy (shown in “Freddy My Love”) and the world-view of Rizzo (which didn’t require the P.G. aspect), shown in “There are Worse Things I Can Do”. Songs were also rearranged slightly. Some of these adaptations were due to time, and some to permit scenery changes, but I felt that it hurt the story. It didn’t make the show unwatchable, and probably would not have been noticed by those not familiar with the stage or movie versions, but it did grate on me.

However, what didn’t hurt the production was the quality of the student acting and singing. Overall, this was quite good, although in a few number the ensemble drowned out the leads, and as with the Van Nuys production, the Teen Angels could have used a bit more vocal suave, smoothness, and strength (in particular the Good Angel). But overall the acting was quite strong: students were in character, most could be heard clearly (a problem in the last musical they did), there were no dropped lines, no prop gaffes — everything was seamless and strong.

Before I go to listing the cast, there are a few standouts I want to mention (and no, my daughter isn’t the only one). I think one of the strongest actresses in the entire show was Camille Martellaro as Frenchy. She sang strong and clear, she got the vocal characterization down, and she played the character well. I think she’ll go far. The leads (Teal Fink as Sandy and Henry Rosen as Danny) were also quite strong. Their acting was spot on. They had the right vocal quality and timbre for singing, but at times they needed a bit more strength. That will come with practice. The honor students, Gabby Koek as Patty Simcox and Evan Lowell at Eugene were also well played: they didn’t have non-ensemble singing roles, but they embodied their characters well. Maria Kazantsev as Cha-Cha DeGrigorio was also quite strong: she did perfect dancing, had fun playing off Eugene, and just seemed to fill the role well. Lastly, I was impressed by Erin Faigin (nsshere) as Mrs. Lynch. Again, a non-singing role, she characterized it well — and had the best projection and diction of all the characters, being heard clearly and distinctly, in character, from the back of the auditorium. Daniel Black was also very strong as Coach Calhoun.

This production also exhibited the growth of the department at Nobel. There were professional quality sets, and a significant number of set changes and costume changes (difficult in a middle school with limited wing space). From a full school professional-quality backdrop, to a full burger shop, to a Murphy-bed in a bedroom, to era-appropriate props. All excellent. Credit goes here to Dennis Kull (who was the set designer for “Bark!”) and his team of parent and student set builders, the prop selectors, the prop managers (led by Shoshana Strom and Crysta Gomez). The dancing was also very strong, even with multiple injured T-Bird members. Credit here goes to Giamaica Zeidler and her dance captains (Samantha Dorman, Nicole Zweig, and Chelsea Thomas). The sound was much improved over past performances, although the school could really benefit from the donation of about 6 body mics for production leads (hint, hint). Lighting was also strong, under the direction of Quest Ziedler. These were amazing technical aspects, especially for a 1960-era multipurpose room without significant upgrades.

Cast: Pink Ladies: Teal Fink (Sandy); Nicole Thompson (Rizzo); Camille Martellaro (Frenchy); Brooklyn Madrid (Marty); Lisa Aleksyuk (Debby). T-Birds: Henry Rosen (Danny); Trevor Chandler (Kenickie); John Accardo (Sonny); Benji Lampel (Putzi); Imman Leyberman (Doody); Roger (Robert Torres). Honor Students: Gabby Koek (Patty Simcox); Evan Lowell (Eugene). Cheerleaders and Jocks: Samantha Dorman (Sammy); Kelsey Trammell (Kelly); Erika Correa (Elizabeth); Owen Harvey (Arnold); Brandon Palacios (Andy); Ishaan Dayal (Albert). Teen Angels: Quest Ziedler (Bad Angel); Devon Yaffe (Good Angel). Faculty: Brandi Mcdow (Principal McGee); Jessica Levonian (Secretary Blanche); Erin Faigin (Mrs. Lynch); Rachel Spire (Miss Murdoch); Daniel Black (Coach Calhoun). Shining Stars: Jon Brenner (Vince Fontaine); Ryan Tayahua (Johnny Casino); Maria Kazantsev (Cha-Cha); Nicole Zweig (Violet). Greasers: Paola Grillo, Anthony Perrone, Shoshana Strom, Justice Benjamin, Mario Martinez, Tiffany Fleetwood, Quincy Moore, Emily Stachowiak. Poodle Skirs School Girls: Jaqueline Olguin, Alicia Lee, Jessica Harlow, Lianna Novitz, Belinda Freeman, Heather Raksin, Sussie Lopez, Jessica Zelaya, Brooke Gould. Denim Chick Clique: Chelsea Thomas, Tanira Cahu, Crysta Gomez, Claudia Ayala, Monique Bugarin, Jade Field, Elitza Batchiyska, Amanda Hirsch.

Crew: Fanny Arana and Jean Martellaro (Faculty Producers/Directors); Erin Faigin (Student Producer); Michael Chandler (Vocal Director-Parent Volunteer); Giamaica Zeidler (Choreographer-Sister Volunteer); Dennis Kull (Set Designer), assisted by Sarah Martellaro, Josh Zweig, Camille Martellaro, Nicole Zweig, Erin Faigin, and Quest Ziedler; Chelsea Thomas (Stage Manger), assisted by Tanira Chau; Brandi McDow (Vocal Assistant); Hollywood Sound (Sound); Jon Brenner and Devon Yaffe (Sound Managers); Quest Ziedler (Light Manager), assisted by Lianna Novitz; Evan Lowell, Alicia Lee, and Ishaan Dayal (Costume Managers, Mistresses, and Masters), assisted by Anthony Perrone and Jacqueline Olguin; Shoshana Strom and Crysta Gomez (Prop Managers) assisted by Nicole Zweig and Ryan Tayahua; Brandon Palacios (Mic Manager); Maria Kazantsev (Set Manager)… and many others.

“Grease” continues at Nobel Middle School this weekend: there are performances today at 2:30 PM and 6:30 PM. Come out and see the show, and support Rydell Nobel Middle School.

What’s next for us, theatre-wise? June brings “A Very Brady Musical” at Theatre West (Sat, 6/14 @ 8pm) and “A Chorus Line” @ Ahmanson Theatre (Sat, 6/28 @ 2pm). July brings “The Drowsy Chaperone” at Ahmanson Theatre (Sun 7/13 @ 1pm), “Looped” at Pasadena Playhouse (Sat 8/2 @ 8pm), and “Singing in the Rain” at Cabrillo Music Theatre (Sat 7/31 @ 2pm). There is nothing currently ticketed for August. I’m still exploring tickets for “Songs From an Unmade Bed” at Celebration Theatre (6/22 or 7/5) and “Parade” at Neighborhood Playhouse, Palos Verdes (7/19). Lastly, I just learned of a Cal Phil production of the music of Rogers and Hammerstein featuring Suzanna Guzman as mezzo soprano and Kevin Earley as tenor. Saturday July 26 at 7:30p will be on the green at the County Arboritum, but we have Playhouse tickets that night. However, they will reprise the concert on Sunday July 27 at 2:00p at the Disney Concert Hall, which I’ve never seen. Sounds like a possibility.

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“because I got you to look after me, and you got me to look after you, and that’s why…”

Posted onAuthorcahwyguy

The buddy-buddy team of two guys, one smart, one dumb. We’ve seen it all the time. It shows up in our comedy teams (e.g., the Smothers Brothers, Rowan and Martin… and alas, Dick has said goodnight). We’ve seen it in the cartoons, and here I’m thinking particularly of George and Lenny cartoons that MGM did in the 1930’s and 1940’s. Who can forget “which way did he go, George; which way did he go?”, or “I wanna hug him and squeeze him and call him George” (although the latter is Warner Brothers — see comments). We see it in duos such as “Pinky and the Brain”. This form of team comes from a classic piece of American Literature: “Of Mice and Men”, by John Steinbeck.

Of course, the reason I’m writing this is that we saw the Pasadena Playhouse production of “Of Mice and Men” last night, and upon the opening scene, I though of those prior images. “Of Mice and Men” is basically the story of George Milton and Lennie Small, two migrant workers in California. Steinbeck’s novel is based in the 1930s, and the workers are dust bowl migrants; this play places the story about 10 years later, and the workers are braceros — but it makes no difference to the underlying story, other than to interject small bits of Spanish into the dialogues.

So where was I? Ah, yes. “Of Mice and Men” tells the story of George and Lennie. George is the smarter member of the duo, making plans for a secure future for the two. He tries to do all the talking. His best friend Lennie is a gentle giant of a man, but obviously with a mental problem that makes him appear slow and stupid. Lennie loves to pet soft things: he loves to hug them and squeeze them, but sometimes he doesn’t know his own strength. When we meet these two, they are on their way to a job in Soledad CA to buck barley. We learn that Lennie has had trouble before grabbing a girl’s dress in Weed CA and they were run out of town, and that Lennie loves to pet mice, but they often are squeezed to death. These two eventually get to Soledad and the farm, and quickly become friends with most of the other workers, including Candy, an old swamper, and Crooks, a negro stablehand. Lennie even finds something soft to pet, and Smitty, the foreman, gives him a new puppy to pet. But there’s trouble brewing when Curley’s wife keeps coming out to talk to the men. First Curley gets in a fight with Lennie, and Lennie injures Curley. Later Curley’s wife is found by the boss talking to Crooks, Candy, George and Lennie, and this leads to the ultimate ending, which I don’t want to spoil. Throughout this all, George is talking and talking about the days when he and Lennie can buy a small plot of land and grow their own food and be their own boss, and Lennie can tend to the rabbits. He talks about how important it is that they are there for each other, and how they watch out for each. As such, this play focuses on the nature of this relationship, the importance of hope, and the ultimate price of actions.

The success of a production of “Of Mice and Men” really hinges on the actors, and the Playhouse did an excellent job of casting. George Milton was played by David Noroña, a small but powerful actor who captures the fast talking bracero George perfectly. His partner, Lennie Smalls, was played to perfection by Al Espinosa, a tall large man who captured the mentally-incapacitated nature of Lennie. He came across as gentle and strong, but stupid. Working around these two was the foreman, a mule skinner named Slim (Alex Mendoza), the old swamper Candy (Thomas Kopache), the two workers Carlson (Gino Montesinos) and Whit (Sol Castillo), and the Negro stableman, Crooks (Curtis C). Running the farm was the Boss (Josh Clark), his hot-headed son Curley (Joshua Bitton), and Curley’s lonely wife, Mae (Madison Dunaway). All actors are members of æ Actors Equity.

Much is being made of the change in this play’s setting, which lead to a primarily latino cast. The credit for this is given to the director, Paul Lazarus, who has given many interviews on the subject. I actually didn’t find the change in setting to be that big of a deal: other than the insertion of a few bits of spanish here and there, and the latino casting, you would never have known. I don’t think the change helped or hurt the play, other than bringing in some great actors. Lazarus, of course, is best known in Playhouse circles as the artistic director of the venue until 1992 when he resigned. The remainder of the technical staff consisted of D. Martyn Bookwalter (Scenic Design), Rita Salazar-Ashford (Costume Design), Lonnie Rafael Alcaraz (Lighting Design), Bruno Louchouarn (Music/Sound Design), and Michael Donovan (Casting). Production stage management was by Susie Walsh assisted by Hether Verhoef. The Playhouse is under the artistic direction of Sheldon Epps.

It will be very interesting to compare and contrast this version of “Of Mice and Men” with a smaller version of the same play we’ll be seeing at REP East in late September 2007. Although I’m sure it will be equally excellent, it will be interesting to see the story up close and personal, and in the migrant worker timeframe vs. the bracero timeframe. The Pasadena Playhouse production of “Of Mice and Men” continues through June 8, 2008; the REP East production runs from September 19 through October 18, 2008.

As for us, what’s next on the theatre calendar? Next week all of nsshere’s hard work pays off in the production of “Grease” at Nobel Middle School (5/29 @ 6:30pm, 5/30 @ 6:30pm, and 5/31 @ 2:30pm and 6:30pm). Those of you who are in the Southern California area, we encourage you to come and see it. These kids have built remarkable sets (especially for a middle school), and have worked long and hard on this production. June brings “A Very Brady Musical” at Theatre West (Sat, 6/14 @ 8pm) and “A Chorus Line” @ Ahmanson Theatre (Sat, 6/28 @ 2pm). Lastly, July brings “The Drowsy Chaperone” at Ahmanson Theatre (Sun 7/13 @ 1pm), “Looped” at Pasadena Playhouse (Sat 7/26 @ 8pm), and “Singing in the Rain” at Cabrillo Music Theatre (Sat 7/31 @ 2pm). I’m still exploring tickets for “Songs From an Unmade Bed” at Celebration Theatre (6/22 or 7/5) and “Parade” at Neighborhood Playhouse, Palos Verdes (7/13). Lastly, I just learned of a Cal Phil production of the music of Rogers and Hammerstein featuring Suzanna Guzman as mezzo soprano and Kevin Earley as tenor. Saturday July 26 at 7:30p will be on the green at the County Arboritum, but we have Playhouse tickets that night. However, they will reprise the concert on Sunday July 27 at 2:00p at the Disney Concert Hall, which I’ve never seen. Sounds like a possibility.

See you all at Grease. It’s the word, don’t cha know.

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Exposing Oneself to Art

Posted onAuthorcahwyguy

This afternoon we went out to Saugus to see the current production of one of our favorite small theatres, the Repertory East Playhouse: “The Full Monty”. This was one of the playhouse’s most ambitious productions to date, with 31 scenes, a revolving turnable on the stage, and 20 cast members.

For those not familiar with “The Full Monty” (book by Terrence McNally, music and lyrics by David Yazbek), it tells the story of six men in Buffalo NY who are dealing with picking up their life after a plant closure. The resulting long-term unemployment has put stress in their lives. Jerry is trying to maintain a relationship with his son, while unable to pay back child support. Dave has put on weight and has distanced himself from his wife due to loss of self-esteem. Harold is attempting to keep up the facade that he is working, but it is all about to come crumbling down. Horse has been fired from McDonalds for not being cheerful enough. Malcolm is still living with his mother. You get the picture. To earn funds, these men form a group to do a male strip. In preparing and rehearsing, they realize what is important in their lives. I know I’m not doing the synopsis justice–the full summary of the plot is more detailed. Suffice it to say that the focus of the story is really on the family and the relationships, not the strip. Yes, you do see a lot of bare butts, but the “full monty” is more implied.

The REP East production was quite well done. Songs were, for the most part, well sung and the lyrics were very clear. In fact, I found the REP East expression of the lyrics much more understandable, and allowed me to see the similarity between these lyrics and those of Dirty Rotten Scoundrels, also written by Yazbek. The lyrics were equally clever and full of hidden meanings. The performances were all excellent, although there were a few line hesitations (this was only the third performance). I was particularly taken by the expressive faces of George Chavez (Jerry) and Erin Rivlin (Georgie Bukatinsky, Dave’s wife). The entire cast was having fun with this one, as was the audience who became part of the action.

I should note that one of the most fun parts of the show was watching nsshere’s reactions.

The male leads (i.e., the ones who bared more than their souls) were George M. Chavez II (Jerry Lukowski), Kevin High* [MyS] (Dave Bukatinsky), George D. Cummings (Harold Nichols), Jarod Scott [MyS] (Malcom MacGregor), Aaron Wong (Ethan Girard), and Tyrone “Tippy” Washington (Noah/Horse). On the female side, there was Allissa-Nicole Koblentz (Pam Lukowski), Erin Rivlin (Georgie Bukatinsky), Lori D’Itri (Vicki Nichols), Kelly Bader (Estelle Genovese), Amber Clark (Susan Hershey), and Amber Van Loon (Joanie/Molly MacGregor). Ross Mayer played Jerry’s son, Nathan Lukowski, and Marla Khayat played their accompanyist, Jeanette Burmeister. Rounding out the cast were Jeff Hyde (Minister/Police Sergeant), Joe Montgomery* (Reg Willoughby/Repo Man 2), John Morris (Teddy Slaughter), Angelo Romanelli (Buddy “Keno” Walsh), Don Sweezer (Tony Giordano) and Brian Watts (Marty Jackson/Repo Man 1). Most of those links were to MySpace pages; you can find full professional bios at the REP East site.

On the technical side, the program was directed by Leslie Berra assisted by Jennifer Rennels-Magon. The production was produced by Mikee Schwinn. Lauren Pearsal was Stage Manager. Sets were by Jeff Hyde assisted by Jim Robinson. Vocal direction was by John Morris. Nancy Alternman was the Choreography, with sound design by Steven “Nanook” Burkholder, lighting by Tim Christianson, and costumes by Claudia Alexopoulos. The artistic director of REP East is O. Michael Owston.

“The Full Monty” continues at REP East until June 14.

As for us, what’s next on the theatre calendar. Next Sat Evening (5/24) @ 8pm we’re seeing “Of Mice and Men” at Pasadena Playhouse (I should note we’ll be seeing the same show later in the year at REP East: they are doing it in late September). The following weekend all of nsshere’s hard work pays off in the production of “Grease” at Nobel Middle School (5/29 @ 6:30pm, 5/30 @ 6:30pm, and 5/31 @ 2:30pm and 6:30pm). June brings “A Very Brady Musical” at Theatre West (Sat, 6/14 @ 8pm) and “A Chorus Line” @ Ahmanson Theatre (Sat, 6/28 @ 2pm). Lastly, July brings “The Drowsy Chaperone” at Ahmanson Theatre (Sun 7/13 @ 1pm), “Looped” at Pasadena Playhouse (Sat 7/26 @ 8pm), and “Singing in the Rain” at Cabrillo Music Theatre (Sat 7/31 @ 2pm). I’m still exploring tickets for “Songs From an Unmade Bed” at Celebration Theatre (6/22 or 7/5) and “Parade” at Neighborhood Playhouse, Palos Verdes (7/13).

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I’ve Got Ma-Ma-Ma-Ma-Magic To Do

Posted onAuthorcahwyguy

Continuing with our theatre this weekend, we went to go see “Pippin” at East West Players. Now, many of you may be familiar with “Pippin” (book by Roger O. Hirson, music and lyrics by Stephen Schwartz), and the original choreography by Bob Fosse, who essentially crafted the story to work his magic. Well, East-West Players is not your typical company (it is an all Asian American company), and this version of Pippin was not your mother’s Pippin, nor your father’s Oldsmobile.

For those unfamiliar, Pippin is the story of the son of King Charlemange, who is searching for his meaning in life. The leading player invites the audience to join them in the story of the search, promising a grand finale. We see Pippin’s search through being a warrior, through the simple joys of fleshly pleasure, through attempts at leadership of his people (and regicide), through the simple domestic life… all leading to the grand finale the leading player wants: Pippin’s immolation in flame. But Pippin decides on another course, leaving the leading player to strike the sets, and find someone else to have the magic. You can also find a summary in my review of the Reprise staging of Pippin in 2005.

In the East-West Pippin, the basic story was there, but it was twisted a bit. The music, with the same themes, had strong hip-hop and sampling flavors. The artwork and costumes were heavily Asian (including full kimonos and Japanese war garb). The dancing incorporated both traditional Japanese and Chinese moves, as well as martial arts, hip-hop, and jazz. The projections were strongly Anime. This revision of the story was under the direction of Tim Dang, with a score adaptation by Marc Macalintal.

The cast was strongly up to the challenge (I should note we saw the last preview, and it was our Pippin’s fourth performance, so he was still consulting the script). The leading player was Marcus Choiæ, who cast a menacing figure in a long coat and goatee. As Pippin was Ethan Le Phongæ, who was remarkably strong and mesmerizing as the young prince. His evil stepmother (isn’t there always one), Fastrada, was played by Jenn Aedo, who is extremely sexy and suggestive, even when blowing bubbles. Her strong but stupid son Lewis was played by Cesar Ciprianoæ. King Charles was played by Mike Hagiwaraæ, in full feudal warlord getup. In an interesting casting move, Berthe, Pippin’s old grandmother, was played by a man, Gedde Watanabeæ. Rounding out the domestic force in Pippin’s later life were Catherine, played by Meagan McConnellæ, and her son, Theo (William Jay). Supporting all of these folks were the dance crew, Kari Lee Cartwrightæ, Ryyn Chua, Blythe Matsuiæ, Mike Mohæ, and Chloe Stewartæ.
(æ æ denotes Actors Equity)

The unique Hip-Hop sound of the musical was achieved by a remarkable three piece, well, band is not the right word. Mark Macalintal was on keyboard, Vince Reyes on guitar, and DJ Linotype served as DJ. Other significant technical credits include choreography by Blythe Matsui and Jason Tyler Chong, scenic and projection design by Alan E. Muraoka, costume design by Naomi Yoshida, lighting design by Dan Weingarten, prop coordination by Ken Takemoto, and hair and makup by Jackie Phillips. Stage management was by Ronn Gosswickæ, assisted by Ondina V. Dominguezæ.

I highly recommend this production for a different take on a great musical. It continues through June 8, 2008.

As for us, what’s next on the theatre calendar. Next Sunday at 2pm we see “The Full Monty” at REP East Playhouse. The following weekend, Sat 5/24 @ 8pm we’re seeing “Of Mice and Men” at Pasadena Playhouse. The following weekend all of nsshere’s hard work pays off in the production of “Grease” at Nobel Middle School (5/29 @ 6:30pm, 5/30 @ 6:30pm, and 5/31 @ 2:30pm and 6:30pm). June brings “A Very Brady Musical” at Theatre West (Sat, 6/14 @ 8pm) and “A Chorus Line” @ Ahmanson Theatre (Sat, 6/28 @ 2pm). Lastly, July brings “The Drowsy Chaperone” at Ahmanson Theatre (Sun 7/13 @ 1pm), “Looped” at Pasadena Playhouse (Sat 7/26 @ 8pm), and “Singing in the Rain” at Cabrillo Music Theatre (Sat 7/31 @ 2pm). I’m still exploring tickets for “Songs From an Unmade Bed” at Celebration Theatre (6/22 or 7/5) and “Parade” at Neighborhood Playhouse, Palos Verdes (7/13).

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Look, in the sky! Saucers! And they’re invading the San Fernando Valley!

Posted onAuthorcahwyguy

Last night we went down into the Anaheim Hills (quite a schlep) to The Chance Theatre to see the musical “The Brain from Planet X”, part of the summer Festival of New American Musicals. Before I gush about the show, a few words about the theatre itself, for I’d never been there before last night. The Chance is a small (about 70 seats, if memory serves correct) black-box theatre at the edge of an industrial park near Imperial Highway and Route 91… with a strong rep company. I meant to get out there earlier this year, when they had a production of “Assassins”. For a small company and a small theatre, they are quite ambitious–they’re next production (for example) is “Evita”, and somehow they even find the space for live musicians. I can’t say we’re be regulars (given the distance), but we’ll certainly keep our eye on their future productions.

Back to our story. “The Brain From Planet X” (book by David Wechter and Burce Kimmel, with music and lyrics by Kimmel) tells the story of aliens intent on world domination taking over the 1958 San Fernando Valley (because we all know it is the stepping stone to the rest of civilization). Their e-vil plan, Plan 10 (for Plan 9 from Outer Space has already been done), involves using their Will Bender ray to destroy family values and turn Americans into automatons, communicating through keyboards and personal wireless devices. Their attack starts with a typical American family living in a tract house in Van Nuys, Fred (who works for a defense contractor on a top-secret thermonuclear device in Pacoima), Joyce (a June Cleaver-esque housewife), their daughter Donna (a good girl who wants to be bad), and Professor Leder, Joyce’s father (an old history professor). Constantly with Donna is her beat poet boyfriend, Rod. After the aliens (the Brain, Zubrick, and Yonni) land, they first bend Joyce to their will, and then Fred. Battling the aliens are General Mills (attempting to go from 1 Star to 5 Star), and Private Partz. Overseeing the whole shindig is a Narrator, who also coordinates the Feel-A-Rama affect of the production. As you may have guessed, the whole thing is very tongue-in-cheek (something Yonni would probably like).

The cast (which consisted of a large number of company members, indicated with *) did an excellent job of the piece. Narrating the adventure with a strong satiric voice (as well as playing Professor Leder) was Michael Irish*. Irish had strong exaggerated movements as the narrator; as Leder, he successfully morphed into an old man. Fred and Joyce were played by Bob Simpson* and Allison Appleby. Both were excellent, but I particularly enjoyed Appleby’s housewife, and her glazed expression after her will was bent. Donna, their daughter, was played with gleeful abandon by Shannon Cudd, bouncing continually around the stage. Her oblivious beatnik boyfriend Rod was played by Dimas Diaz*. Helping defend the world against the alien attack were Warren Draper* as General Mills and Dan Flapper, in a mostly silent but very expressive part as Private Partz.

Turning to the aliens. Leading the attack on the Valley was The Brain, played by Mark Rothman. Rothman’s brain was a disheveled leader, more comic than threatening. Assisting him in the tody assistant role was Zubrick, played by Daniel Berlin. Lastly (and our favorite) was Emily Clark*, who had such joy, and was so expressive, she just stole the stage whenever she was on in. Rounding out the cast as the Ensemble were Cody Anderson, Jamie Lee Baker, Marlana Filannino, Patrick Robert Kelly, and Jenna Romano.

Technically, the theatre attempted to use its small space well. For the most part, it did, with a projection approach that worked pretty well. There were a lot of actor mic-ing problems, and my wife and daughter commented on some costuming problems. The technical staff featured lighting design by KC Wilkerson, set design and projections by Masako Tobaru*, sound design by Dave Mickey and Mitchell Kohen*, and costume design by deb Millison. The production featured a three-piece band, consisting of Bill Strongin* on piano, Lonn Hayes on percussion, and Ross Craton on reeds.

The program was directed by the co-author, composer, and lyricist Bruce Kimmel (MyS), with musical direction by Bill Strongin*, choreography by Adam Cates, orchestrations by Larry Moore, and vocal and dance arrangements by Larry Goldberg. Jonathan Josephson* was the Dramaturg. The stage manager was Courtny Greenough*, assisted by Rosalynn Nguyen.

The production continues through June 8, 2008, in repertoire with “Rabbit Hole” by David Lindsay-Abaire. Ticket information at the Chance Theatre website.

As for us, what’s next on the theatre calendar. This afternoon is “Pippin” at East-West Players. Sun 5/17 @ 2pm is “The Full Monty” at REP East Playhouse. The following weekend, Sat 5/24 @ 8pm we’re seeing “Of Mice and Men” at Pasadena Playhouse. The following weekend all of nsshere’s hard work pays off in the production of “Grease” at Nobel Middle School (5/29 @ 6:30pm, 5/30 @ 6:30pm, and 5/31 @ 2:30pm and 6:30pm). June brings “A Very Brady Musical” at Theatre West (Sat, 6/14 @ 8pm) and “A Chorus Line” @ Ahmanson Theatre (Sat, 6/28 @ 2pm). Lastly, July brings “The Drowsy Chaperone” at Ahmanson Theatre (Sun 7/13 @ 1pm), “Looped” at Pasadena Playhouse (Sat 7/26 @ 8pm), and “Singing in the Rain” at Cabrillo Music Theatre (Sat 7/31 @ 2pm). I’m still exploring tickets for “Songs From an Unmade Bed” at Celebration Theatre (6/22 or 7/5) and “Parade” at Neighborhood Playhouse, Palos Verdes (7/13).

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From you I get opinions. From you I get the story. Listening to you I get the music.

Posted onAuthorcahwyguy

Around the time my brother died (1970), a unique rock album hit the streets called “Tommy”, by the British rock band The Who. Back then, I dismissed it. I was heavily into Peter, Paul, and Mary, and didn’t like the heavy loud rock music. By the time I was in college, I had acquired a few albums by The Who, including “Meaty, Beaty, Big, and Bouncy”, a compilation album featuring the song “Pinball Wizard”, which I really liked.

I never thought much about “Tommy”, although over time I did acquire the album itself, as well as the original cast album of its first Broadway production (which won a Tony award for Best Original Score in 1993). This afternoon I finally had the opportunity to see “Tommy” on stage, as the CSUN Theatre Arts Department was doing a production of the show.

I saw it. I heard it. I felt it. And I have excitement in my feet.

For those unfamiliar with the story, Tommy is the story of Tommy Walker. It begins with a musical prologue showing the meeting of his parents, and his fathers departure for the WWII front, including his capture and internment. Mrs. Walker takes a lover upon hearing that her husband didn’t return. When Tommy is four, his father returns finding his wife and her lover inflagrante, and shoots the lover while Tommy watches everything in a mirror. His parents tell Tommy that he heard nothing, saw nothing, and is to say nothing. Tommy withdraws into himself, and is for all intents and purposes deaf, dumb, and blind. As such, he is the target of molestation at the hands of his uncle and taunting and torture at the hands of his cousin. His only solace is pinball, and he is a pinball wizard. As such, he becomes popular and hero of the neighborhood lads. Back at home, all Tommy does is stare into the mirror. Desparately trying to reach him, his mother smashes the mirror, which frees Tommy. He leaves home, and the cure is considered miraculous. His uncle and cousin capitalize on his stardom, and Tommy gives in. When one fan rushes to the stage and gets beaten, he realizes the cost of his celebrity. He invites everyone to return home, and spreads the message that the true miracle is available to everyone: to see, hear, and feel other people, not withdraw inside themselves. Of course, the crowd doesn’t like this message, wanting instant salvation, and turns away from him. Tommy is left with his family, who embraces him.

Sounds like a story of today, doesn’t it?

For the most part, CSUN did an excellent job. The show was a true rock opera, being entirely sung through. Unlike other “rock” musicals, this didn’t take the typical music form with ballads, 11 o’clock numbers, and charm songs. It was all heavy rock. Not even shows such as Hair, Jesus Christ Superstar, or even Rent rock like this. There was strong singing and strong dancing. As much of the story was told by dance and pantomime, the acting was equally strong. The show, however, wasn’t perfect. There were numerous sound glitches (usually over, not undermicing), and some scenery just didn’t want to concentrate. The dialogue coach also needs to learn the difference between an Australian and an English accent. I felt like I was listening to Peter Allen in The Boy From Oz.

The principles in the cast were particularly strong: Tillie Spencer as Mrs. Walker; Milo Shearer as Captain Walker, and the individuals playing Tommy. The youngest of the latter (Age 5) was played by Emily Greaver. More impressive was Lindsey Sacks as the manipulator of the Tommy Age 10 — although she didn’t say a line, she reacted to the horror and you could just read it in her face. The older Tommy was Erik Roget who had a remarkably strong singing voice and dancing skills. Look for these folks to go far. I’ll note that both Tillie and Erik are in a recording group called Acasola.

Others in the cast included Nicole Bouffard (The Specialist, Tommy Girl), Sabrina Cavalletto (Kevin’s Mother, Mrs. Simpson), John Cervanka (Allied Soldier, Judge, Local Lad), Gloria Galvan (Nurse, Voice of 4 year old Tommy), Joseph Harper (Lover, News Vendor, Hawker), Elizabeth Jordan (Nurse, Voice of 10 year old Tommy), Brent LaBrada (Cousin Kevin), Danielle Morris (Minister’s Wife), Elaine Nuguid (Nurse), Justin Rabi (Uncle Ernie), Chavonne Rees (Nurse, Tommy Girl), Jon Rosell (Officer, Local Lad), Danny Ross (Local Lad, Security Guard), Chester Sakamoto (Officer, Local Lad), Richie Sarian (Allied Soldier, Barrister, Kevin’s Father, DJ), Jonnae Thompson (The Gypsy, The Acid Queen), Brittany Thornton (Sally Simpson), Justine Woodford (Specialist’s Assistant), Kohtaroh Zushi (Barrister, Local Lad, Security Guard), and Aaron Zwirn (Minister, Harmonica Player, Mr. Simpson).

The show was directed by Garry D. Lennon, with musical direction by David Aks. Choreography and assistant stage direction by Pippa Greene. Scenic design was by John H. Binkley. Costumes by Paula Higgins. Lighting by Mark Svastics, and sound design by Mike Ziegler.

“The Who’s Tommy” continues at CSUN until April 13.

As for what’s upcoming, it hasn’t changed much from this morning. Next week is the Southern California Renaissance Faire (on Saturday). April 19th brings Pesach, and the weekend after that (April 26-27) is the Orange Empire Train and Trolley Festival (I’ll be there Saturday). Theatre picks up again on 5/10 @ 8pm with “The Brain From Planet X” at Chance Theatre. 5/17 may bring, followed by “Pippin” at East West Players on Sun 5/10 @ 2pm (currently unticketed). 5/24 @ 8pm is “Of Mice and Men” at the Pasadena Playhouse, directed by former Pasadena Playhouse artistic director Paul Lazarus. 5/29, 5/30, and 5/31 brings “Grease” at Nobel Middle School. 6/7 @ 8pm is “The Full Monty” at REP East, with (hopefully) “Songs from an Unmade Bed” at the Celebration Theatre on 6/8 (unticketed). 6/28 @ 2pm should be “A Chorus Line” at The Ahmanson Theatre (pending exchange). 7/5 will hopefully be “A Very Brady Musical” at Theatre West (unticketed). 7/13 @ 1pm is “The Drowsy Chaperone” at the Ahmanson; 7/26 @ 8pm is “Looped” at the Pasadena Playhouse, and 8/2 @ 2pm is “Singing in the Rain” at Cabrillo Musical Theatre.
(Updated 2008-04-08 2:30pm)

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A Love Ride

Posted onAuthorcahwyguy

What do you think when you see a group of tattooed bikers, their bikes rumbling with the low roar, headlines shining in your eyes? After last night’s performance of “Mask” at the Pasadena Playhouse, I will think of family, and I will think of love, and I will think of Rocky Dennis. [Although I should note that one must never judge a biker by their leathers — I know of one biker who actually had a PhD in Engineering and was a mean ASL player, and I know that bikers are often the most caring people on the inside.]

“Mask” (in its World Premier) tells the true story of Rocky Dennis, his mother Rusty, and their Tribe of biker friends. It was written by Anna Hamilton Phelan, and is based on the motion picture “Mask” also written by Ms. Phelen that starred Cher and Eric Stoltz. It featured music by Barry Mann, and lyrics by Cynthia Weil. Rocky Dennis was a young man living in the city of Azusa in the San Gabriel Valley (only a few miles from the Pasadena Playhouse, in fact). Rocky was born with craniodiaphyseal dysplasia, a rare disease where abnormal calcium deposits form in the skull, distorting and flattening the face, and making it grow to twice its normal size. The story picks up as Rocky, age 15, is enrolling in Azusa High School, and is dreaming of becoming a man and joining The Tribe on the annual run to Sturgis SD for Sturgis Bike Week. Through the almost 3 hour show (the first act is 1½ hours, the second is just under 1 hour) we see how Rocky deals with the tests that life throws at the boy that turn him into a man: helping his mother get off drugs and find a stable relationship, learning how to find and deal with love himself, and learning how to become Rocky, a person who can stand on his own independent of his mother. We see how he does with with the help of his mother, Rusty Dennis, and the members of their biker club, The Tribe. The Tribe is headed by a CBG (Chubby Bearded Guy) named ‘Dozer, and includes Roadkill, Retread, Sirocco, Zephy, Barstow, T-Bone, and Gar (who later takes the lead of The Tribe and becomes Rocky’s stepfather). By the end of the story, Rocky has indeed past all his tests, found love, found the man of him, and is on the virge of doing a solo ride to Sturgis… but dies quietly in his bed on the eve of the ride.

This is a truly touching and inspirational story. It illustrates how we can overcome whatever problems we have with the right attitude, and how the support of whatever tribe of family members we create (not necessarily blood relatives) can sustain and strengthen us. It illustrates the trials we all face as we grow to be adults, learning to be free and independent beings, finding love, establishing who we are and what we can be, what we can do, and who we can touch in our existance. It forces us to see ourselves in a mirror, and to see past our warts and our bumps to the true person inside.

What makes the Rocky Dennis story so touching is that it is a true story, not one crafted by Hollywood writers to make a point. The author, Phelan, met Rusty and Rocky when they were being treated at the UCLA clinic. After telling the story in the movie, Phelan got to know the family better, and started work on the stage version in 1995, with input from Rusty. Alas, Rusty never got to see the final product, as she died in 2006 at age 70 in a motorcycle accident on her way to an NA meeting. Other principles in the story, such as Gar Youngblood, are still alive.

If you want a taste of this moving story and its music, there is an embedded video at BroadwayWorld.

What makes this production even more special is its amazing cast, who inhabit and become their characters, and give truly remarkable performances. They are just outstanding, and all give Ovation-worthy performances (and I hope they receive such recognition). Let me gush about a few of them. [æ indicates æ]

Allen E. Readæ plays Rocky Dennis, and he comes across as just a normal teen, one that most of us would like to know. He has a very powerful singing voice, and even underneath the mask he wears through the show (a 2-hour makeup job by the master, Michael Westmore) conveys his emotions and feelings with his eyes, voice, and movements. Michelle Duffyæ is even more outstanding. We’ve seen Michelle numerous times before (“A Class Act” at the Playhouse, “Can-Can” at the Playhouse, and in “Johnny Guitar”), and I have just astounded at this actor’s versatility and voice. She excels at playing strong tough women, who are inside very loving creatures.

Leading the tribe is Michael Lanningæ [MySpace] as ‘Dozer, a chubby bearded guy (and the beard is real) who is truly what we think of when we think “biker”. Lanning is a remarkably tender singer, and portrays a caring man beneath that gruff exterior. Gar is played by Greg Eviganæ (of BJ and the Bear fame), and he comes across as truly caring about this family, but having seathing anger under the surface he cannot control.

A number of other members of The Tribe give truly remarkable performances. Roadkill, another senior tribe member, is played by Brad Blaisdellæ, gives off a strong mentoring vibe. His lady, Retread, is played by Diane Delanoæ (who folks probably best remember as Officer Barbara Semanski in Northern Exposure). Delano has a strong singing voice, and comes off as a great biker chick. The two hot babes of the tribe are Katy Blakeæ and Heather Marie Marsdenæ [MySpace]. We’ve seen Ms. Marsden numerous times (in both “The Beastly Bombing” and “It Came From Beyond”), and she never fails to impress us with her talent. We’ll also never forget Ms. Blake, not only for her performance, but for the end of the show, when during the standing ovations a voice boomed informing us of a special announcement. The spot was turned on Ms. Blake, and her boyfriend Barry came on stage, got on his knee, and proposed to Ms. Blake then and there, presenting her with a ring. Of course she said yes, and I’m sure it was something neither she nor the audience will ever forget.

The remainder of the cast featured Alec Barnes (Eric/Counselor), Ryan Castellino (Ruben/Camper), Chris Foreæ (Man at Carnival/Biker/Student), Sarah Glendeningæ (Student/Diana, Rocky’s love interest), Krysten Leigh Jonesæ (Clarissa Davis/Camper), Mark Lunaæ [MySpace] (T-Bone), Shanon Mari Mills (Amy/Camper) (who was in “They’re Playing Our Song”), Suzanne Petrela (Angel/Student), Ethan Le Phongæ (Scott/Camper), Jolene Purdyæ (Biker/Student), James Leo Ryanæ (John the Baptist/Rabbi), and Matthew Stockeæ (Barstow/Mr. Simms/Dr. Vinton/Camp Director). Ms. Blendening was particularly strong as Diana Stills, the young lady Rocky meets at a camp for the blind–he teaches her how to see, and she teaches him how to love.

Turning to the technical side. The stagecraft and lighting were remarkable. The set had an open sky backdrop with silhouettes of powerpoles and the tops of houses, capturing the color and tone of the San Gabriel Valley perfectly. There were lots of set pieces rolled on and off stage, as well as a moving turnable. It was all very effective, enhanced by the lighting bar that was another member of the cast. This design was by Robert Brill (set design) and David Wiener (lighting design). The effective makeup was by Michael Westmore (who did the movie as well), with wig and hair by Carol F. Doran. Costumes were by Maggie Morgan. Projection design was by Austin Switser.

The musical staging was by Patti Columbo, with musical direction by Joseph Church, who also conducted the 9-piece orchestra. Orchestrations were by Steve Margoshes, with electronic music design by Jeff Marder. Sound design was by Peter Fitzgerald and Carl Casella. The production was directed by Richard Maltby Jr.

This production has plans to move to Broadway, and I think it may succeed, if the critics can get past their bias against Los Angeles productions (as seen in the Variety review, among others). We truly enjoyed the music and the story. However, I think during the move to Broadway the production can be tightened a little. There are points in the first act where there are long dialog sequences that can serve with a little trimming, and it is likely that one song needs to go or be reworked because it doesn’t really advance the story (“Do It For Love”, a musical retelling of the history of the Trojan War). Songs in musicals should advance the story and tell the inner emotions of their characters. Still, I hope this production moves to, and is successful on, Broadway. It is certainly one of the strongest Playhouse premier musical productions, even stronger than “Sister Act” (which should also go to Broadway). The Playhouse continues to astound us with their quality.

“Mask” continues at the Playhouse until April 20.

What’s next on the theatre and activity calendar for us? Today we’re going to see “The Who’s Tommy” at CSUN. Next week is the Southern California Renaissance Faire (on Saturday). April 19th brings Pesach, and the weekend after that (April 26-27) is the Orange Empire Train and Trolley Festival (I’ll be there Saturday). Theatre picks up again on 5/10 @ 8pm with “The Brain From Planet X” at Chance Theatre. 5/17 may bring “Pippin” at East West Players (currently unticketed). 5/24 @ 8pm is “Of Mice and Men” at the Pasadena Playhouse, directed by former Pasadena Playhouse artistic director Paul Lazarus. 5/29, 5/30, and 5/31 brings “Grease” at Nobel Middle School. 6/7 @ 8pm is “The Full Monty” at REP East, with (hopefully) “Songs from an Unmade Bed” at the Celebration Theatre on 6/8 (unticketed). 6/28 @ 2pm should be “A Chorus Line” at The Ahmanson Theatre (pending exchange). 7/5 will hopefully be “A Very Brady Musical” at Theatre West. 7/13 @ 1pm is “The Drowsy Chaperone” at the Ahmanson; 7/26 @ 8pm is “Looped” at the Pasadena Playhouse, and 8/2 @ 2pm is “Singing in the Rain” at Cabrillo Musical Theatre. Yup, we loves our theatre, that we do.

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