Tag: reviews-2010

Sitcoms on the Stage Part II: The Essence of the Vampire

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Vampires. They seem to be omnipresent in popular culture. Growing up, media has surrounded me with them, from the Barnabas Collins fandom that existed when I was young to the Twlight-mania of today. So it is any surprise that when Van Nuys High School went to choose a fall production, they turned to vampires. Their selection was Varney the Vampire, or “The Feast of Blood”.

You’ve heard of it, no?

First, to assuage any fears, this is not a production about a giant purple dinosaur with the speech impediment that lures children to him under the guise of education but turns around and sucks the life force from them. That would be truly horrific and scary and any resemblence to the rehearsals for this production are truly a coincidence.

Varney the Vampire (full plot summary; another summary) was originally published between 1845 and 1847 in 109 (some say over 200) weekly installments as a penny dreadful (a serial story marketed to the working class). It was written by James Malcolm Rymer (although it has long been attributed to Thomas Preskett Prest instead). If you want to read the actual story, someone is posting it chapter by chapter on their blog. The story was actually quite influential, having contributed quite a few of the vampire lore notions to popular culture (but not the notion that they sparkle). Somewhere along the way, a fellow by the name of Tim Kelley adapted and condensed these stories into a play version, which has been performed in various venues to mixed levels of success (one review I found while researching this background begins: “Not since Sebastian Sly butchered “Madness at Midnight” has there been another stage play that bites as badly as “Varney the Vampire.” This play sucks. Literally.”)

This version of Varney concerns the events that occurred at the Inn of the Grouchy Wolf near Mt. Vesuvius in Italy. The Inn is owned and operated by Signora Bell. One evening, the kitchen man Gino and his sister Carla hear a noise. While investigating the noise, Gino is murdered by what Carla reports is a giant bat. Inspector Balsadella arrives to investigate, at which point we meet the current occupants of the Inn: Flora Bannerworth, her chaperone Miss Anderbury, the young artist Richard Dearborn, and his ditzy cousin Jennifer. We learn that Flora has fallen in love with Richard (to the disapproval of her chaperone), and that Jenny likes to wander the woods in search of birds nests. We also get to meet Sir Francis Varney, who has returned to the inn after 200 years to kill himself, having never gotten over the death of the love of his life, Amelia Quasimodo (who is haunting the inn as a ghost, unable to rest while Varney lives). However, when Varney arrives he meets Flora and falls in love, finding a purpose to live (if you can call it a life). Adding complication to the mix is the return of Gino as some form of hunchback zombie minyon, and Lady Cynthia Holland, a wannabe vampiress who wants Varney to seal the marriage deal and turn her into a real vampire.

As you can see the story is your usual series of silly complications, which isn’t surprising given it was based on the sitcom of the day. In that sense, this show is similar to last week’s show, Happy Days: The Musical, in that it was a sitcom put on stage. The plot improbabilities and sillyness was about equal. There were a few good lines, but quite a few of scenes did make me want to add commentary (I remember, for example, when the cross was put on the vampire’s head, and he complained about it burning, that I said to myself: “Head on. Apply directly for forehead”). There were a few very funny scenes, in particular the death of Lady Cynthia and the reaction of Flora to the garlic necklace (which I attribute to the actresses in the role having fun with the part).

This leads to the key factor that overcame the weak story and made this reasonably fun to watch: the cast had fun with it. Once you got past the poor writing, the student actors did quite a good job with the acting side, speaking clearly and with good characterization. A few segments were a bit overplayed, but that seems to be something the faculty director likes to do. It would be intereting to see how this production might work with student direction (in fact, it would be good if Van Nuys took up took up Ken Davenport’s suggestion and had full student control, including student directors, student producers (including fundraising and control over budget), student marketing directors, student casting agents, etc.).

In any case the cast was excellent (I should report here that I am biased in this, for my daughter had a role and many of her friends were in the cast). Leading the cast was Quest Sky Zeidler as Sir Francis Varney. We’ve seen Quest grow over the years, and he has quite a bit of fun with villinous roles. Here he built upon his Mr. Applegate of the Spring to create an evil, but not fearful, vampire. As Flora Bannerworth, Glory Smith was fun to watch, especially (as noted above) in her garlic reaction scene and the scene where she is on top of her intended, Richard Dearborn. As Dearborn, Matthew James Golden portrays the artist well, moving from a seeming milquetoast to a strong young man. Ariel Kostrzewski is fun to watch as Jenny: she captures the ditzy aspects quite well. Sameer Nayak played Inspector Balsadella quite comically, with some sort of odd Italian accent that made me wonder where the director learned about Italy (it wasn’t just this show, for the director has had bad Italian accents before). Lady Cynthia Holland, of the aforementioned excellent death scene (which prompted the line from Varney: “Can’t anyone learn to die properly”), was played by Taylor Morris. Amelia Quasimodo was played by Erin Faigin (my daughter), who brought a lot of emotion to her love for Varney, which came across quite well in here graveyard scenes. Gino, played by Cesar Alas, was fun to watch as the huntchback where he seemed to enjoy hamming in up. Rounding out the cast were Kiran Sanghera as Inez-the-Gypsy-Girl (yes, that’s how she was introduced every time), Jade Field as Miss Anderbury, and Priscilla Legaspi as Carla.

The production was under the stage management of Ericka Lopez, Alicia Ryan Lee, and Manmit Sigh, aided by the members of Actors in Action. Randy Olea was the faculty director.

Technically, there were hits and misses. The tech crew was lead by Marque Coy, and featured Nicolai Reeve, Sierra McDuffee, and Kenji Kang as sound engineers, Cody Banks as lighting designer (Jonathan Waters on moving lights), and Patricia Ponce and Ricksang Jachung as asst. lighting technicians. The sound was markedly better than in previous productions, although someone kept forgetting to turn off the backstage microphones. The lighting was reasonably good, although there were some miscues on Saturday night. The set was built by Mr. Tom Kirkpatrick and his stage class and looked a lot nicer than some of the sets we’ve seen in the past. In particular, the haunted grotto was particularly spooky, and there was a nice touch of having a picture of Amelia Quasimodo (with the real actress) in the inn.

Varney the Vampire has completed its production run. The Spring production of Van Nuys will be Evita. That should be interesting.

Upcoming Theatre and Dance. Next week brings “Bell, Book, and Candle” at The Colony Theatre on November 13; “Amadeus” at REP East (ticketed for November 21), “The Wild Party” at Malibu Stage Company on Friday November 26, and “Randy Newman’s Harps and Angels” at the Mark Taper Forum (ticketed for Saturday November 27). December will bring “Uptown, Downtown” starring Leslie Uggams at the Pasadena Playhouse on December 11, “Next to Normal” at the Ahmanson on December 18, and for Karen and Ern, “West Side Story” at the Pantages Theatre on December 24 (I’m not interested in that particular production, especially at Pantages prices).

Looking briefly into 2011: January will bring Tom Paxton at McCabes on my birthday, January 21 (pending ticketing), and perhaps the first REP show of the season. February will bring “The Marvellous Wonderettes” at Cabrillo Music Theatre on February 12; “Rock of Ages” at the Pantages on February 19, and “Moonlight and Magnolias at the Colony Theatre on February 26. 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 (although my daughter was in this production). In fact, I receive no remuneration for any reviews I write.

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Jumping the Shark

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Most people know that the phrase “Jumping the Shark” refers the point in a television program’s history where the plot spins off into absurd storylines or unlikely characterizations, and usually signals the start of a show’s decline. Some of those folks may even know that the term arose due to an episode of “Happy Days”, although the episode’s author disputes that’s where it happened. I mention this all because last night we went out to Thousand Oaks to see “Happy Days: The Musical” at Cabrillo Music Theatre. Although Cabrillo made a valient attempt to do the best they could with the material they had, they were hampered by book problems, music problems, and technical problems (but, I should say, no acting problems, for the cast itself was pretty good).

“Happy Days: The Musical” tells an episode in the list of one of America’s favorite TV families: The Cunninghams of the sitcom “Happy Days”. The plot, in TV Guide style:

The local hangout, Arnold’s, is threatened with closure and demolition unless the gang helps Arnold raise enough money to buy the land from the developer.

Oh, you want more details. Arnold’s is threatened with destruction when the land under Arnold’s is sold to a developer to build a mall. So that entire gang from the TV show (more on that later) comes up with ways to make money to save the drive-in: a dance contest, a pie contest, and a televised wrestling match. Pinky Tuscadero comes into town to judge the dance contest, dredging up the past relationship with Fonzie, and the Howard Cunningham comes up with idea for a TV wrestling match where the Malachi Brothers challenge Fonzie. But Fonzie runs away, thus providing us with an act break, as well as the opportunity for Fonzie to admit you have to face your weaknesses. Arnold’s is saved, although (at least in how Cabrillo presented it) not by raising the money, but by being declared a historic landmark by the Leopard Lodge members, who just happened to be the city council.

Yeah, it does read better as the TV Guide plot summary.

Let’s start with the show’s problems, and then go on to what worked. Foremost among this show’s problem is the book by Garry Marshall, author of the original series. Books have done in many a show, so this isn’t a surprise. What’s wrong with the book? Too much and too little. Let’s take these in reverse order.

The “too little” was that there was too little in terms of context. The musical takes place in 1959, perhaps the fourth year of the TV series, although some of the characters make that wrong. It opens with the assumption that you know all the characters (well, to be truthful, it doesn’t, but the opening song doesn’t provide enough characterization or information, despite all its exposition, to provide an adquate introduction). And by “all the characters”, I mean all, for the author brings in almost every named character over the life of the series including Roger Phillips: the entire Cunningham family, Potsie, Ralph, Arnold (who wasn’t Japanese), Fonzie, Pinky, Chachi, the Malachi brothers, Lori-Beth, among others. With all these characters, none receives adequate characterization in the storyline to become more than stereotypes of their TV characters. This means that the main characters are stereotypes of 30-year old TV characters who many people do not remember well, and this means you never grow to care about these characters. Compare this with a well-crafted musical such as “South Pacific”, where the opening numbers truely educate you about the loves, characteristics, and wants of the much smaller set of major characters.

This brings us to the “too much”. There is just too much in the story. There are too many different ways to save Arnolds: a dance contest, a pie contest, the wrestling match. There are too many characters. There’s also too much of a requirement that the audience remember the minutae of the TV series, such as Fonzie injuring his knee in a demolition derby, or that he jumped a shark (yes, it is referenced, as is Chuck, the missing brother). There are also numerous additional plots added: will Joanie fall for Chachi, will Howard get a plaque, will Marion ever be fulfilled as a 1950s housewife, will Pinky and Fonzie get together, and will the Dial-Tones ever perform? This is just too, too much. Further, the main plot line is simply discarded at the end: after raising money, it is discovered that it isn’t enough. But (he said, pulling the rabbit out of the hat), Ritchie discovered that a historic property designation will save the drive-in (yeah, like in 1959 a drive-in was historic)… and that can be done by a majority of the council… and all the Leopards are all the council and constitute a majority. And so they vote, and the plot becomes unnecessary and the story, so to speak, jumps the shark.

The best musicals have simple plots, usually whether the boy will get the girl, and have all the extraneous crap tossed out on the road. That never happened here: this show only got to off-Broadway, and was hampered by the book author being the concept creator. The book needs characters pruned and characterizations improved, and to treat the audience like the TV series never happened. It needs to pick a single plot that exhibits character growth—and that character shouldn’t be Fonzie, whose growth wasn’t the point of the series. If this show had taken the same basic plot description but simplified, and instead of Fonzie saving the day had Ritchie finding his inner strength and saving the day, it would have been much better. That’s the character that needs to grow, for the sitcom “Happy Days” was ultimately the story of Ritchie Cunningham becoming an adult.

But the book isn’t all the problem with this show. Let’s turn to the music next. Here the problems were a mix of the musical team and Cabrillo. The show features music and lyrics by Paul Williams, whose music, historically, has been relatively bland. The most energetic song was the original show’s theme song by Norman Gimbel and Charles Fox. The music for this show needs a much stronger 1950s flavor; perhaps Gimbel and Fox should have been consulted. Cabrillo’s execution also hurt the music, for they used a very small orchestra (under the musical direction of Cabrillo regular Lloyd Cooper, with Darryl Tanikawa as Orchestra Contractor): two electric guitars, a keyboard, perhaps two horns, and drums. This left the music with a small feel for a big show, and subtracted significantly from the energy. Although I understand the economics of the decision, two more horns and perhaps an additional keyboard would have been much better and the cost could be covered by cutting some extraneous plot.

There were also technical problems. Although the choreography by John Charron was mostly adequate, some things were inexplicable, such as why the dance contest used swing moves from the 1940s. Microphones kept cutting in and out, which distracted from the otherwise adequate sound design by Cabrillo regular Jonathan Burke. Lastly, the lighting was weird. Here I’m not referring to Cabrillo’s known problem of overuse of the follow-spot. Rather, there were on-stage moving lights that seemed to serve no purpose other than to blink on and off. Christina L. Munch, the Lighting Designer, needs to rethink that aspect of the lighting design.

So with all of the above, you might think this was a bad show. It wasn’t. As I said before, Cabrillo did a reasonable job with the material they were given, and what saved the show was the excellent cast. So let’s turn to talking about the good stuff.

In the lead positions were Derek Keelingæ as Fonzie (who we last saw in “Life Could Be A Dream”) and Misty Cottonæ as Pinky (who we last saw in “The Marvelous Wonderettes” and “The Last 5 Years”). Both were wonderful in their roles and brought the weak written characterizations of their characters to life. Misty in particular was excellent: when she was on-stage, she grabbed your attention and just shone. Also strong was Tracy Loreæ as Marion Cunningham. In her main numbers, “What I Dreamed Last Night” and its reprise, you could see through her characterization that there was much more than Marion Cunningham than a 1950s housewife. I was also impressed with Derek Klena as Ritchie Cunningham. Although his hair was the wrong color (hint: there’s a reason his nickname was “Red”), he combined youthful enthusiasm with a good singing voice, albeit one that was overshadowed at times. I was also very impressed with Tessa Grady, a senior at Santa Susana High School, as Joanie Cunningham. Again: youthful enthusiasm, great singing and dancing, combined with strong acting and characterization made her a standout, and I look forward to seeing her as she grows in a professional career.

The remainder of the cast was good, but without particular standouts. In the first tier were John Richard Petersen (Howard Cunningham), Benjamin Goldsmith (Potsie Weber), Dane Biren (Ralph Malph), and Estevan Valdes (Charles “Chachi” Arcola). These folks were strong, but needed a stronger resemblance (either physically, or even more so, in characterization) to the original characters. The remainder of the cast consisted of: Nicholas Leinbach (Myron “Count” Malachi), Will Harris (Jumpy Malachi), Jay Weber (Arnold), Holly Long (Lori Beth), Valentine Bezar (Marsha Simms), Simone Denise Burch (Cindy Moon), Callie Carson (Pinkette Tina), Ryyn Chua (Johnny Oliver), Jessie Lee Coffman (Joyce James), Aubrey Elson (Paula Petralunga), Sarah Girard (Pinkette Lola), Keenon Hooks (Gil Crawford), Natasha Hugger (Susan Prescott), Tyler Muhlenkamp (Freddy Bascomb), Joe Roth (Roger Phillips), and Zane Gerson (Elvis).
[æ denotes members of æ Actors Equity ]

Although I picked apart the writing in the large earlier, there were a number of good lines in the show, often as throwaway laughs (such as the reference about college dorm rooms in the 1960s being safe places, or the question about whatever happened to the older brother Chuck). The show was directed by Susan Morgenstern, who gave a valient try to overcome the material, and did a pretty good job of making the sitcom characters somewhat three-dimensional. The choreography by John Charron (assisted by Kai Chubb), except as noted above, was reasonably good, enhanced by a strong dancing ensemble. The Production Stage Manager was William Coiner assisted by Anne Mureau; this is a new stage management team.

Turning to the technical: I’ve already discussed the problems with the sound and the lighting. Other technical aspects were good: I liked the set design (scenery designed by Walt Spanger, and provided by McCoy Rigby Entertainment) and the costumes (designed by David C. Wallard, and again provided by McCoy Rigby Entertainment). Hair and makeup was designed by Mark Travis Hoyer. Gina Farina was Technical Director.

Tonight is the last performance of “Happy Days: The Musical” at Cabrillo. Tickets are available through the online box office or by calling the Thousand Oaks Civic Arts Plaza box office at (805) 449-2787, and two-for-one Mezzanine tickets are available (just mention the code “Sunday”). The remainder of the Cabrillo season is: “The Marvelous Wondettes (February 4 – 13, 2011); “The Producers” (April 8 – 17, 2011); “The Sound of Music (July 22 – 31, 2011), and “The Cabrillo 2010 Holiday Spectacular starring Shirley Jones and Patrick Cassidy” (December 21-24, 2010). Cabrillo has dedicated all their performances of “Happy Days” to the memory of Tom Bosley.

Dining Notes: One success of last night was that we found a new restaurant: Los Agaves Mexican Grill on T.O. Blvd just E of the theatre. I had an excellent grilled salmon with steamed veggies and rice, and the rest of the party enjoyed the various stuff they ordered. I think we’ll try this one again.

Upcoming Theatre and Dance. Next week brings “Varney the Vampire” at Van Nuys High School on November 4, 5, and 6 (contact us for tickets; Erin has a leading role). The following week will see “Bell, Book, and Candle” at The Colony Theatre on November 13; “Amadeus” at REP East (ticketed for November 21), and “Randy Newman’s Harps and Angels” at the Mark Taper Forum (ticketed for November 27). December will bring “Uptown, Downtown” starring Leslie Uggams at the Pasadena Playhouse on December 11, and “Next to Normal” at the Ahmanson (November 23–January 2; Hottix on November 2; planned date December 18 or 19). It should also take Erin to “West Side Story” at the Pantages Theatre, which is pending ticketing (sigh).

Looking briefly into 2011: January will bring Tom Paxton at McCabes on my birthday, January 21 (pending ticketing), and perhaps the first REP show of the season. February will bring “The Marvellous Wonderettes” at Cabrillo Music Theatre on February 12; “Rock of Ages” at the Pantages on February 19 or 20 (pending ticketing), and “Moonlight and Magnolias at the Colony Theatre on February 26. 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.

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A Leader for Troubled Times

Posted onAuthorcahwyguy

I’m about to say something I didn’t think I would say back in February: This afternoon we went to the second show of the Pasadena Playhouse 2010 season: “FDR” starring Ed Asner. Before I start the actual review, a few words about the Playhouse itself.

Those who have been following my journal know about the travails with the Pasadena Playhouse. The organization went backrupt after their first 2010 production, “Camelot”. Although I knew they would be back, I didn’t expect it to be quickly, and we opted to donate the remainder of our subscription. Surprisingly, the Playhouse did come back after six months, and even more surprisingly, they provided tickets to the first two productions even to those that had donated their subscriptions. I think this is a strong good will gesture, and one that is appreciated. Will we renew when the next season is announced? I still don’t know: it depends on (a) what is in the season; (b) the pricing for the season; and (c) the payment options and timing. One problem that the Playhouse had was that their season was getting pricey: on the order of $400 for 6 shows per ticket. The Colony is on the order of $150 for 5 shows per ticket; REP East is $120 for 7 shows. So the jury is still out regarding subscription renewal, although we may opt to do Goldstar/LA Stage Tix instead.

That said, it was weird walking into the Playhouse after so long. The place felt different: we didn’t have our usual greeters, and the auditorium seemed different. My wife and daughter said that some of the extra speakers and lighting that were there had been removed. Perhaps. I couldn’t put my finger on it, but it felt different. It wasn’t the P Playhouse of old—there was a perceptable change of vibe. Perhaps this was due to the nature of the product, so let’s turn to the review…

Unlike other productions that have graced the Pasadena Playhouse stage (for the most part), this wasn’t a Pasadena Playhouse production in the sense that it was cast and staged by the Playhouse. “FDR” is a one-man vehicle that Ed Asner is touring around the country at various venues; in fact, “FDR” was originally scheduled for earlier October to play at CSUN, but that production was postponed. This doesn’t make it a bad production, but could contribute to the odd Playhouse vibe.

“FDR” is based on the play “Sunrise at Campobello” by Dore Schary. But whereas Campobello had multiple characters and focused on Roosevelt’s battle with polio, FDR uses the polio as a starting point for a one-man show about Franklin Delano Roosevelt’s political career. It begins with FDR talking about how he triumphed over the polio and learned to stand, and continues throughout his presidency up until he leaves for his final visit to Warm Springs.

As a one-man show, the play consists solely of dialogue (Roosevelt was not known as a song and dance man, although he does sing one song about Alf Landon in the show). However, there are other characters, all unseen: either addressed offstage, supposedly in the office with FDR, or on the phone. Through this technique, there is dropping of all the famous names of the adminstration, from all the cabinet members, his opponents, military leaders, personalities of the day, etc. You might think this would be boring, but this is where the actor comes in.

Ed Asner is one of the most talented actors around. Best known for his numerous TV portrayals (the best known being the character Lou Grant) and his voiceover of Carl in “Up”. He is also committed to stage work—I saw him most recently as Karl Marx in the “Meeting of Minds” revival. In FDR, Asner becomes FDR. He mesmorizes you with his stage presence and style, just as the original FDR mesmerized the electorate. Watching Asner, you could see why FDR got to be who he was. It was just a great and a timeless performance. Asner’s performance just left you rivited in your seat for the almost two hour (no intermission) show.

Technically, there’s not much to credit. No technical credits were given in the program other than Kyle Ross as Sound Engineer. No director is listed, so presumably Asner self-directed. Ron Nash served as Production Supervisor/Production Stage Manager. “FDR” was producted by the Pasadena Playhouse in association with Campobello Theatre Productions and Gero Productions LLC.

“FDR” continues at the Pasadena Playhouse through November 7th. Tickets are available online or through the Pasadena Playhouse boxoffice. There do appear to be some discount offers: I’ve seen both 20% and the occasional 50%. The next production at the Pasadena Playhouse is “Uptown Downtown”, a one-woman life-story starring Leslie Uggams. February 2011 bring “Dangerous Beauty”, a new musical with book and verse by Jeannine Dominy, lyrics by Amanda McBroom, and music by Michele Brourman.

Upcoming Theatre and Dance. Next week brings “Happy Days: The Musical” at Cabrillo Music Theatre on October 30; I’ll note that Cabrillo has dedicated their performances to the recently departed Tom Bosley. November starts with “Varney the Vampire” at Van Nuys High School on November 4, 5, and 6 (contact us for tickets; Erin has a leading role). The following week will see “Bell, Book, and Candle” at The Colony Theatre on November 13; “Amadeus” at REP East (ticketed for November 21), and “Randy Newman’s Harps and Angels” at the Mark Taper Forum (ticketed for November 27). December will bring “Uptown, Downtown” starring Leslie Uggams at the Pasadena Playhouse on December 11, and “Next to Normal” at the Ahmanson (November 23–January 2; Hottix on November 2; planned date December 18 or 19). It should also take Erin to “West Side Story” at the Pantages Theatre, which is pending ticketing (sigh).

Looking briefly into 2011: January will bring Tom Paxton at McCabes on my birthday, January 21 (pending ticketing), and perhaps the first REP show of the season. February will bring “The Marvellous Wonderettes” at Cabrillo Music Theatre on February 12; “Rock of Ages” at the Pantages on February 19 or 20 (pending ticketing), and “Moonlight and Magnolias at the Colony Theatre on February 26. 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.

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Giving In To Your Baser Instincts

Posted onAuthorcahwyguy

One of the classics of horror fiction is the novella “The Strange Case of Dr. Jekyll and Mr. Hyde” by Robert Louis Stevenson. According to Wikipedia, stage adaptations began in Boston and London within a year of its publication and it has gone on to inspire dozens of stage and film adaptations of the novella, including over 123 film versions alone. This is all in way of introduction, for last night we went out to Santa Clarita to see one of those adaptations: “Dr. Jekyll and Mr. Hyde” at REP East, adapted by Jeffrey Hatcher.

We’re likely all familiar with the basics of the Jekyll and Hyde story, having learned about it on Bugs Bunny: Mild mannered doctor turns into murderous beast after drinking a potion he concocted, yada yada. Although that’s the heart of the concept, the execution of the story differs. Most adaptations differ from the original novella (summarized well on Wikipedia). Certainly the musical (which we saw in March 2008) was a far departure from the original. Hatcher’s adaption is also a departure from the novella. Although it starts similarly, with Richard Enfield telling of an encounter with Mr. Hyde when he beat a little girl and paid off the family, it makes some notable changes in the story. These include turning Sir Danvers Carew into a fellow doctor espousing theories Dr. Jekyll disagrees with, changing the timing and placement of the significant attacks, and introducing a love interest for Mr. Hyde, Elizabeth Jelkes. The most significant change, however, is in portrayal. Most adaptations have the same actor playing both Jekyll and Hyde. This adaptation has one actor playing Jekyll, and four different actors (who also play different roles in the production) all playing Edward Hyde at various points. This sounds like it might be confusing, but it actually isn’t because the actor’s characterization of Hyde is so good, and so drastically different from their other characters.

In this adaptation, the story is presented as a series of vignettes summarizing the story of Hyde chronologically from the first encounter with Enfield to the ultimate reavealing of the true identity of Edward Hyde to the characters of the story. Each vignette is introduced briefly by one of the characters providing context. The changes in the story deemphasize the scientific and experimental aspects of the story (and, according to my daughter, blur Stevenson’s original point which she believes to be a commentary on the dangers of science and medicine). The changes focus instead on whether man can control their baser instincts, or whether once the genie is let out of the bottle, it is gone forever. Hyde is the genie, and once let out, he threatens to overpower Jekyll, and in fact, is responsible for Jekyll’s ultimate fate. This is the key point: for it is a slow descent where one doesn’t realize they are trapped until it is too late. Perhaps this is a lesson to take to heart as we rush after our latest pleasure and decadent experience. I also found the character of Elizabeth Jelkes interesting: here is a seemingly well-mannered woman who is attracted not to the successful doctor Jekyll, but only to the beastly Hyde. Again, this is something we see far too often: women attracted to men who will ultimately destroy them, drawn by the fun, the adventure, and the excitement. As the story showed, such relationships rarely end well. Lastly, I’ll note that this play got me ultimately thinking about psychpharmacology: it would be intresting to track the development of pharmacology in theatre from the early work of Dr. Jekyll to its use in “Next to Normal”.

One of the things that made this production so good were the talented actors, under the capable directoral hand of Joe Miele, assisted by Tim Christianson. Most of the actors portrayed multiple character roles in addition to Edward Hyde; Miele was able to draw out significantly different characterizations that made these different people clear. Heading the cast was Joseph Baroneæ as Dr. Henry Jekyll. His portrayal of Jekyll was sufficiently mild-mannered so as to provide great contrast with the various portrayals of Hyde. These portrayals were provided by Ally Iseman (Hyde, also Poole (Jekyll’s housekeeper), Surgical Student, Police Doctor, Maid); Todd Larsenæ (Hyde, also Dr. H.K. Lanyon, Surgical Student); Skip Pipoæ (Hyde, also Sir Danvers Carew, Richard Enfield, O. F. Sanderson, Inspector); and Jarod Scott (Hyde, also Gabriel Utterson). Each of these portrayals was slightly different, yet all were convincingly menacing that you wouldn’t want to meet these Hydes in a dark alley. The distinction between their normal characters and Hyde were heavily in voice and demeanor, as well as the presence of a skull-topped walking stick. Playing Hyde’s love interest was Laura Eichhornæ (Elizabeth Jelkes). She was sufficiently mild-mannered that you wondered what attracted her to Hyde, which (as I noted above) appeared to be one of the questions raised in this version.
[æ denotes members of æ Actors Equity ]

The technical aspects of this production were at the REPs usual excellent level, having been done by REP’s resident team. The set, by Jeff Hyde, was mostly black with a movable red door focal point; as such, it placed the focus on the actors in this story. Lighting was by Tim Christianson, and did a wonderful job of establishing the mood. The sound by Steven Burkholder was less amplification (you don’t need mics at the REP) but sound effects and timing—all of which were excellent. Credits were not provided for the costumes, but they were generally simple black cloaks and dress clothes of the era. Video backgrounds were by Mikee Schwinn. Johnny Schwinn served as Stage Manager.

“Dr. Jekyll and Mr Hyde” continues at REP East until October 16. Tickets are available through the REP Online Box Office, or by calling (661) 288-0000. You can often get ticket deals by friending REP East on Facebook.

The REP has announced their 2011 season (their 7th), which consists of: “Moonlight and Magnolias”, “The Diary of Anne Frank”, “Caberet”, “Jewtopia”, “Doubt”, “Laughter on the 23rd Floor”, and “The Graduate”. Although some of these have been (or are being done) locally recently (“Jewtopia” is currently at the Greenway Court Theatre in West Hollywood, and “Moonlight and Magnolias” is at The Colony Theatre from February 2 to March 6, 2011), it will be interesting to see the REP take on these shows. The specific dates for each production haven’t yet been released to the public. Subscriptions are available starting at $120.

Upcoming Theatre and Dance. Next up on the theatre calendar is “FDR” at the Pasadena Playhouse on October 24. Yes, I said The Pasadena Playhouse, and in what is quite a surprise to us (as we donated the remainder of our subscriptions during the bankruptcy period), we are getting tickets to the remaining 2010 productions! I want to commend the Playhouse for this gesture—for us, at least, it is doing a remarkable job of rebuilding good will.

Continuing with the upcoming theatre list: October concludes with “Happy Days: The Musical” at Cabrillo Music Theatre on October 30. I’ll also note that October 23 will be a Family Gaming Night at Temple Ahavat Shalom—if you’re a board gamer in the area, come one out… we start at 4:30pm). 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 October 19, potential date November 21); and “Amadeus” at REP East (ticketed for November 27). December will bring “Uptown, Downtown” starring Leslie Uggams at the Pasadena Playhouse on December 11, and “Next to Normal” at the Ahmanson (November 23–January 2; Hottix on November 2; planned date December 18 or 19). It should also take Erin to “West Side Story” at the Pantages Theatre, which is pending ticketing (sigh).

Looking briefly into 2011: January will bring Tom Paxton at McCabes on my birthday, January 21 (pending ticketing), and perhaps the first REP show of the season. February will bring “The Marvellous Wonderettes” at Cabrillo Music Theatre on February 12; “Rock of Ages” at the Pantages on February 19 or 20 (pending ticketing), and “Moonlight and Magnolias at the Colony Theatre on February 26. 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.

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What Is It With CTG and Liquids?

Posted onAuthorcahwyguy

This afternoon, we went down to the Ahmanson Theatre to see the new Alan Menken/Glenn Slater musical “Leap of Faith”. Wow. I now believe in the power of Raul Esparza and Brooke Shields.

“Leap of Faith” is a new musical, with book by Janus Cercone and Glenn Slater, music by Alan Menken, and lyrics by Glenn Slater. It is based on the 1992 film “Leap of Faith” starring Steve Martin, although some characters have been changed from the movie. The story, as presented on stage, is about Jonas Nightingale, a fraudulent faith healer, who breaks down with his team of gospel angels in Sweetwater KS. While waiting for parts for their bus, they decide to do some revival shows to fleece the townspeople, who are already in dire straights because of the lack of rain. Jonas falls for the town waitress, Marva McGowan, who sees right through his act and presents a challenge like he’s never seen before. Jonas’ sister, Sam, bets Jonas about making money in the town, as well as betting him that he won’t be able to get this girl. Adding to the mess is the town sheriff, who is a realist that wants to stop Jonas before he fleeces the town, and instead wants to drill a well to solve the water problems. Another subplot involves Ida Mae Sturdevant, one of the gospel angels, and her son, Ricky, who believes in doing the Lord’s work in a more honest fashion. There are some additional subplots that I won’t get into because I don’t want to spoil the story.

Before I go into the acting and singing (which was superb), let’s look at the story and music itself. The story in some ways is reminiscent of “110° in the Shade”: both concern a con man seducing a local girl in a town that desparately needs rain, and a Sheriff that forms part of the triangle. But whereas the focus of 110 was Lizzie and her decision about the man, the focus of LoF is Jonas and whether he will do the right thing. In the end, I believe this creates a more uplifting story; you certainly walk out of the theatre feeling good about this bad man. Music-wise, the tone is very reminiscent of the previous Menken-Slater combination “Sister Act” (which we saw at the Pasadena Playhouse in 2006): both have strong gospel tinged numbers. I think I like the “Sister Act” music slightly better; it will be interesting to see if any of the music morphs as the musical moves its way to Broadway. Some of the folks I saw the show with thought it ran a little long; I didn’t notice the length as a problem.

Turning to the acting and directing: this is one of the best acted musicals I have seen in ages! Credit for this goes to the director, Rob Ashford, and for the marvelous cast, led by Raul Esparza and Brooke Shields. These two cannot be singled out enough, for they brought the characters to life: Esparza as the conniving con man Jonas Nightingale, and especially Brooke Shields as Marva McGowen. I knew Esparza was good, but Shields blew me away. When she was younger, I thought she was very wooden as an actress, but my has she grown in skill and talent. She just brought Marva to life, and I couldn’t keep my eyes off of her performance. She has worked hard on this performance, and it shows. Oh, and both can sing wonderfully as well. It is worth going to the performance just to see these two.

That’s not to say the rest of the cast is any slouch. Certainly not, when the cast contains such local favorites as Michelle Duffy (Emma Schlarp, an Angel of Mercy, and U/S for both Sam and Marva), Darcie Roberts (Rita), and Kendra Kasselbaum (Sam Nightingale). We’ve seen Michelle before in both Mask and Can-Can at the Pasadena Playhouse (among other shows), Darcie in The Andrews Brothers, and Kendra in Wicked. Other notables in the cast included Kecia Lewis-Evans (Ida Mae Sturdevant), Nicholas Barasch (Boyd McGowan), Jarrod Emick (Sheriff Will Braverman), and Leslie Odom Jr (Ricky Sturdevant). All strong singers and actors, and a delight to watch. Rounding out the cast were the following: Bryce Ryness (Dude), Brandon Wardell (Amos), Krystal Joy Brown (Ornella), C. E. Smith (Titus), Dennis Stowe (Caesar), Harvey Evans (Mugs), Michael X. Martin (Jake), Brad Anderson (Tom), Bob Gaynor (Fred), Shannon Lewis (Susie Raylove), Alex Michael Stoll (Robert Raylove), Charlie Williams (Deputy Wayne Storm), Tom Berklund (Ensemble), Bradley Benjamin (Ensemble), Christopher Bones (Ensemble), Ta’rea Campbell (Ensemble), Eric L. Christian (Ensemble), Ashley Blair Fitzgerald (Ensemble), Jennie Ford (Dance Captain/Swing), Angela Grovey (Ensemble), Maurice Murphy (Ensemble), Anise E. Ritchie (Ensemble), Ariel Shepley (Ensemble), Katherine Tokarz (Ensemble), and Natalie Willes (Ensemble).

The production was choreographed by Rob Ashford, and had dance arrangements by David Chase. Chris Bailey served as associate choreographer with Stephen Sposito as associate director. In general, the movement was good, although I found the ballet-style numbers inbetween scenes to be perhaps a bit overdone and unnecessary. Music supervision was by Michael Kosarin, with orchestrations by Michael Starobin and Joseph Joubert. The orchestra was conducted by Brent-Alan Huffman, and consisted of 9 pieces.

In general, the technical aspects of the program were excellent. I was astounded by Robin Wagner’s scenic design, the costume designs of William Ivey Long, the lighting designs of Donald Holder, and the wig and hair designs by Paul Huntley. I want to single out Holder for the clever use of moving lights and the creation of mood via the cyclorama. Also notable were the rain effects by Showman Fabricators, which topped the previous rain in Cabrillo’s Singing in the Rain. As the title of this post indicates: what is it with CTG and liquids: first 37 gallons of blood nightly in The Lt. of Inishmore, and now a full rainstorm in Leap of Faith! The only technical problems were in John Shivers sound design: the first act had very muddied and weak sound, and the second act had the sound changing the tone of singer’s voices. Hopefully, these problems will be worked out. Steven Zweigbaum was Production Stage Manager, and Susie Walsh and Michelle Blair served as stage managers.

“Leap of Faith” continues at the Ahmanson Theatre until October 24, 2010. Tickets are available through CTG.

Upcoming Theatre and Dance. Theatre for the month of October begins with “Dr. Jekyll and Mr. Hyde” at REP East. We are also seeing “Happy Days: The Musical” at Cabrillo Music Theatre on 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 October 19, potential date November 21); and “Amadeus” at REP East (ticketed for November 27). December will bring “Next to Normal” at the Ahmanson (November 23–January 2; Hottix on November 2; planned date December 11). It may also bring the FDR with Ed Asner at the Pasadena Playhouse, and Leslie Uggams one-woman show “Uptown, Downtown” at the Pasadena Playhouse: According to the box office, we may get tickets… or I may purchase tickets at the subscriber rate. 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.

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“Glass breaks so easily. No matter how careful you are.”

Posted onAuthorcahwyguy

This afternoon, I took a break from arguing about privacy and the latest LJ kerfluffle to go to the Mark Taper Forum to see “The Glass Menagerie”. For those unfamiliar with the play, it is one of Tennessee Williams’ classic Southern plays. It is a four-character memory play narrated by Tom Wingfield about his family, in particular, his mother Amanda and his sister Laura. Here’s the synopsis from Wikipedia:

Amanda’s husband abandoned the family long ago. Although a survivor and a pragmatist, Amanda yearns for the illusions and comforts she remembers from her days as a fêted Southern belle. She yearns especially for these things for her daughter Laura, a young adult with a crippled foot and tremulous insecurity about the outside world. Tom works in a warehouse, doing his best to support them. He chafes under the banality and boredom of everyday life and spends much of his spare time watching movies in cheap cinemas at all hours of the night. Amanda is obsessed with finding a suitor for Laura, who spends most of her time with her collection of little glass animals. Tom eventually brings a nice boy named Jim home for dinner at the insistence of his mother, who hopes Jim will be the long-awaited suitor for Laura. Laura realizes that Jim is the man she loved in high school and has thought of ever since. After a long evening in which Jim and Laura are left alone by candlelight in the living room, waiting for electricity to be restored, Jim reveals that he is already engaged to be married, and he leaves. During their long scene together, Jim and Laura have shared a quiet dance, and he accidentally brushes against the glass menagerie, knocking the glass unicorn to the floor and breaking its horn off. When Amanda learns that Jim was engaged she assumes Tom knew and lashes out at him. At play’s end, as Tom speaks, it becomes clear that Tom left home soon afterward and never returned. In Tom’s final speech, as he watches his mother comforting Laura long ago, he bids farewell.

There are two aspects to this play: the story and writing, and the acting. First, this isn’t a story that particularly grabs me. It is a play with some excellent lines, but it is like the south it portrays: languishing and slow. That may be the intent, but it wasn’t a pace that I particularly liked. These problems are more pronounced in the first act than in the second: I found the second act much better than the first. I’ll note that this isn’t my first time seeing the play: the Pasadena Playhouse did it back in 2000.

But this is a classic. It will be done and redone for ages, irrespective of my personal take on the story. What makes or breaks the production is the acting and the directing. Here I’m glad to say that the Mark Taper Forum succeeds.

This production, directed by Gordon Edelstein (who is artistic director of the Longwharf Theatre), does create the languishing South of these characters. It creates some interesting impressions—for example, I got the distinct impression that Tom might be gay. I also found how the director chose to highlight the menagerie interesting. I recall the Playhouse had a special curio cabinet for the menagerie; this play had them on a glass underlit table with the typewriter. This made them a lot harder to see, and meant there had to be more effort from the actress playing Laura to show how she was disabled both mentally and physically.

The actors, oh the actors, they brought this alive. Leading the charge was Judith Ivey as Amenda, who just brought the faded Southern aristocrat to life. This is a performance that won her rave reviews at the Roundabout. You could see that faded spark, and the desire she had for her daughter to succeed where she didn’t (and I found it telling there were never mentions for the son to similarly marry well). Patch Darragh played Tom, the narrator and leading male character. He made it clear through his acting that he was annoyed with this family and his mother, and was just aching to get away to a new life. My favorite, however, was the damaged Keira Keeley as Laura. Although slow and quiet, you could just see her joy when she was interacting with her gentleman caller. This caller, Jim O’Connor, was played by Ben McKenzie with unexpected charm and grace. In short, the acting ensemble was excellent.
[All actors are members of æ Actors Equity ]

Turning to the technical side: the sets, which were designed by Michael Yeargan, were simple: tables, chairs, and bed in front of a scrim that created the aging apartment. This was supported by Jennifer Tipton’s lighting design which created the faded color wash that just established the mood. The costumes, by Martin Pakledinaz (subject of a recent Downstage Center), had just the right look for the age, and also added to the fade. The sound, by David Budries, was suitably non-intrusive and clear. Christopher J. Paul served as stage manager, and Robyn Henry as Production Stage Manager.

Speaking of sound: Please, please, please… when they ask you to turn off your cell phones, turn them off or at least put them on vibrate. Each act we had at least 5 cell phones go off during the performance, combined with some loud squeals from the Sensenheimer headsets. These were extremely distracting. Oh, and while I’m chiding the audience… as Barbara Beckley of the Colony reminds us at every show: please don’t get up and start leaving before the actors have taken their bows. We know you want to get to your car, but the actors can see you and it is insulting to them. Show proper respect; if you want to walk out early, do it at the cinema.

Upcoming Theatre and Dance. Next weekend currently has no theatre, as it is Yom Kippur. 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 ticketed for October 9 (although we are working on changing that to October 8, so we can go see “FDR” with Ed Asner at CSUN on October 9)*. We are also seeing “Happy Days: The Musical” at Cabrillo Music Theatre on 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 October 19, potential date November 21); and “Amadeus” at REP East (ticketed for November 27). December will bring “Next to Normal” at the Ahmanson (November 23–January 2; Hottix on November 2; planned date December 11). It may also bring the Leslie Uggams one-woman show “Uptown, Downtown” at the Pasadena Playhouse. Of course, I learn of interesting shows all the time, so expect additions to this schedule.
[*: Yes, we know Ed is taking “FDR” to the Pasadena Playhouse as well, but CSUN is so much closer to home]

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.

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The Impact of Education on Critical Thinking

Posted onAuthorcahwyguy

What makes a man (or woman) free? Is it simply not living under slavery… or is being able to choose your own destiny based on your convictions? That’s the ultimate question being asked by the drama “Free Man of Color” currently being presented at the Colony Theatre in Burbank.

“Free Man of Color”, written by Charles Smith, tells the story of John Newton Templeton, the first Afro-American student to graduate Ohio University. Templeton was freed in 1813 at the age of 6 or 7, at which time he and his family migrated to Ohio, eventually settling in Adams County. With the aid and encouragement of Rev. Robert G. Wilson, avowed abolitionist and president of Ohio University (1824-1839), Templeton enrolled at the University in 1824. It is noteworthy that Ohio University, unlike many institutions of higher education at this time, had no restrictive clauses pertaining to race; any male youth who qualified for acceptance was admitted. The play tells the story of Templeton’s time at the university: It tells the story of how Wilson brought Templeton to live in his house because he couldn’t live with the other students; of how Templeton interacted with Wilson’s wife, who bristled at the fact that Templeton could attend the University but women could not; of how Wilson was grooming Templeton to be leader of Liberia, a colony set up in Africa by current and former slave owners for freed slaves. Most importantly, it tells the story of how Templeton was educated and taught to think critically, and how that ability led him to see Liberia for what it was, and to be true to his convictions about establishing a home for freed blacks in America. It concludes with Templeton reading his commencement address, “The Claims of Liberia”, which can be read here.

However, this play is not just about Templeton. During the course of the play, we see growth in all of the characters. As noted above, we see Templeton move from being an empty vessel, eager for a classic education, to a critical thinker, strong in his convictions. We see Rev. Wilson move from viewing Templeton just as a student to a tool for the success of Liberia, as well as a surrogate son. We also see a remarkable amount of growth in Jane Wilson, who moves from viewing Templeton as a dumb freed slave to respecting him as a man, and as he gains this respect, she learned to heal from her personal tragedies.

The production was extremely well acted. The director, Dan Bonnell, did an excellent job of drawing out the talents of his cast and turning them into three remarkable characters. As Templeton, Kareem Ferguson created a dignified character, deferential, proud, thoughtful, who you could see grow in his reasoning. He made the show; he was a delight to watch. Opposite him was Frank Ashmore as Rev. Robert Wilson. Ashmore’s Wilson was clearly driven: driven to prove that Templeton was not just a parroting ape but was a thinker—thinking in his own right based on the study of great philosophers in the original Greek, Hebrew, and Latin. But you could also see, from his performance, that Wilson cared about Templeton, and was personally hurt when Templeton’s reasoning led him to a different destiny than Wilson thought was right. This personification of Wilson is a testament to the acting abilities of Ashmore. Lastly, as Jane Wilson, Kathleen Mary Carthy serves as a catalyst. Although initially just a thorn in the side of Templeton, the second act is where she shines, and in doing so, provides more of an education to Templeton about the ultimate reasons behind the American Colonization Society and the formation of Liberia. Carthy’s portrayal of the character did an excellent job of presenting both the fire and the tenderness of the character.
[All actors are members of æ Actors Equity ]

Turning to the technical: David Potts’ scenic design of “Free Man of Color” was sparse using abstract elements to symbolize the Reverend’s house and fields, and with silhouette’d trees and buildings. This worked well in the Colony’s quasi-thrust environment; I can imagine how different the set would have been in the more proscenium-oriented Pasadena Playhouse. The lighting by Chris Wojcieszyn was colorful in its use of ambers and pinks, and did an excellent job of establishing mood. The sound, by Cricket S. Myers, was less amplification and more ambient sounds and effects, which were quite, umm, effective. The props (by MacAndME) and costumes (by A. Jeffrey Schoenberg) were suitably period (this isn’t a surprise; Schoenberg is the owner of AJS Costumes and Renaissance Dancewear). Leesa Freed was the Production Stage Manager.

“Free Man of Color” continues at The Colony Theatre until September 12, 2010. Tickets are available through the Colony boxoffice, and are usually up on Goldstar. The next production at The Colony Theatre is “Bell, Book and Candle”, running October 20–November 21, 2010.

Upcoming Theatre and Dance. Next 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 ticketed 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 (ticketed for 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.

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I Am The Very Model of a Modern Starship Officer…

Posted onAuthorcahwyguy

Great entertainment often comes from taking a well-known and successful story and transplanting it to another place and time. For example, take Wagon Train, the story of a wagon train making its way from Missouri to California, along the way meeting all sorts of strange and interesting people. Transplant it to outer space, and voilà, you have the classic “Star Trek“. Now, suppose you took the classic Gilbert & Sullivan operetta “H.M.S. Pinafore” and transplanted it to outer space (specifically, the aforementioned world of Star Trek)… voilà, you have “U.S.S. Pinafore”, the musical we saw last night at Crown City Theatre.

“U.S.S. Pinafore” is actually a pretty straight retelling of the “H.M.S. Pinafore” story, with character name and costume changes, and of course adaptation of they lyrics to parody the TV show we all love. For those unfamiliar with the story, Pinafore tells the story of the U.S.S. Pinafore and it’s captain, Captain Corcoran (Jesse Merlin, mistermerlin). While orbiting the planet Penzance 12 in deep space, a local star trader, Little Buttercup (Kathi Chaplar), boards. She hints that she may be hiding a dark secret. Ralph Rackstraw (Aidan Parkæ), a Transporter Assistant Repairman (TAR) enters and declares his love for the Captain’s daughter, Josephine (Ashley Cuellar). The other red shirts on the crew (Bib Bobstay, first officer (Tim Polzinæ); T’Preea, Vulcan Communications Officer (Paton Ashbrookæ); Datum, Cyborg Navigator (Michael Levin); Dave Becket, Security Officer (Dave Bergesæ); and Dick Deadeye, a lizard-like alien (James Jaegeræ)) offer their sympathies, for a woman of her class would never end up with a TAR. Captain Cocoran greets his crew, complimenting them on their skill and promising to never (“well, hardly ever”) use bad language. After the crew leaves, the Captain confesses that his daugher is reluctant to consider a marriage proposal from Sir Joseph Porter (Ron Schneideræ), head of the U.F.P. Buttercup says that she knows how it feels to love in vain. Josephine enters and reveals to her father that she loves a humble sailor in his crew, but she assures him that she is a dutiful daughter and will never reveal her love to this sailor. Sir Joseph comes on board, accompanied by the Trust Fund Girls, Phoebe (Misha Bouvionæ), Hebe (Victoria Gonzalez), and Jebe (Paton Ashbrookæ) (his sister, cousin and aunt, respectively). Porter recounts how he rose from humble beginnings to be head of the U.F.P. in a well-known patter song. He also declares that all crew in Star Fleet are equal, except to him. This emboldens Ralph to declare his love to Josephine, but annoys Dick Deadhead, the realist. We also learn that Dick, the lizard creature, once had a torrid affair with Phoebe. Josephine rejects Ralphs love, but when Ralph is about to commit suicide by phaser, she enters and admits she loves him after all. Later, while the Captain expresses his concern to Little Buttercup, he indicates that if it were not for the difference in their social standing, he would have returned her affection. She prophesies that things are not all as they seem and that “a change” is in store for him. Sir Joseph enters and complains that Josephine has not yet agreed to marry him, and the Captain speculates that she is probably dazzled by his “exalted rank” and that if Sir Joseph can persuade her that “love levels all ranks”, she will accept his proposal. When Sir Joseph makes this argument, a delighted Josephine says that she “will hesitate no longer”, and reaveals her plan to marry Ralph. All beam down to the planet, where the Captain and Sir Joseph confront the lovers. The pair declare their love, justifying their actions because “He is an Earthman!” The furious Captain blurts out the D-word, and is confined to quarters. Ralph indicates the reason, and Sir Joseph has the sailor “loaded with chains” and taken to the brig. Little Buttercup now comes forward to reveal her long-held secret: when children, she mixed up the captain and Ralph: The wellborn babe was Ralph; your Captain was the other. Ralph and the Captain enter, having switched tunics, and a series of couples are now formed.

As I said, a straightforward translation of Pinafore. However, their Star Trek parody was spot on as well, mixing cliches from both the original and new series. These ranged from the fact that every red shirt expected to die; that they all leaned to the side when the ship was attacked; that the scottish crew member loved to drink; that the Vulcan was overly logical; that alien probes were painful… well, you get the idea. The set was a parody of the original set, with TNG artwork (Okuda-screens). The computer, Al (Jason D. Rennie), kept controlling things, except when he wouldn’t open the pod doors. The music was updated to reflect that Star Trek setting and changes, although the best reaction came when the entire cast started singing “Star Trekking, across the Universe…”.

Musically, the production was excellent. Although the score was pre-recorded, the vocal quality of the cast was spot-on, having been made up of a number of locals actors with operatic quality voices (a number of whom had done local opera and caberets). Some of my favorites were Jessie Merlin as the Captain; we’ve seen Jessie before in “The Beastly Bombing. Jessie has a true operatic voice, and is an expert in Gilbert and Sullivan musicals, and is just fun to listen to. Also strong was Ashley Cuellar as Josephine—her credits indicate that she’s done a lot of caberet singing (you can hear her music on her MySpace page). As Ralph, Aidan Park had an incredibly strong voice. Of course, singling out these three is difficult, as the entire cast was great.
[æ denotes members of one of the 4-A performing arts unions, including æ Actors Equity ]

Acting-wise, you could tell this ensemble was just having fun with their characters. Just watching Michael Levin as Datum’s movements in a minor role, or Paton Ashbrook’s logical movements, or the little asides of Victoria Gonzalez… these folks were just getting into their characters and going with it. Of particular note was James Jaeger’s Deadeye, where he was going wild with being a lizard (he was doing so good, the Geico Gecko should watch out). This fun is infectious, and the audience had a great time with it. This is a testament to the talent of the actors and the skills of Jon Mullich, the director. Also help shaping this production were William A. Reilly (Musical Director) and Stephanie Pease (Choreographer), who made the stage come alive with movement and music.

Turning to the technical side: the sets (designed by Tony Potter) did a wonderful job of presenting the Star Trek bridge, with TNG elements, in a limited budget. There were consoles and computer screens and interactive displays—this went far beyond just a few blinking buttons, folks. Of course, this isn’t a surprise, as his bio makes it clear he is a Star Trek geek, and has worked with many of the original crew. C0stumes were by Caitlin Erin O’Hare, and reflected the original series costumes quite well. The lighting by Sarah Templeton made effective use of the space and created the mood well with color. This was all held together by Kimberly Bullockæ (Production Stage Manager) and Keiko Moreno (Assistant Stage Manager).

“U.S.S. Pinafore” continues at the Crown City Theatre Company until, well, I don’t know. It was supposed to close August 8, but keeps being extended (right now, it looks like it goes through September 5). Tickets are available through Brown Paper Tickets, as well as through Goldstar and LA Stage Tix. If you are at all into Gilbert and Sullivan or Star Trek, go see it.

Upcoming Theatre and Dance. 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 ticketed 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 (ticketed for 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.

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