Tag: reviews-2024

🎭 “Believe in Yourself” | The Wiz @ BIH/Pantages

Posted onAuthorcahwyguyLeave a comment

The Wiz (Broadway in Hollywood)There’s an important lesson that is taught in the musical The Wiz (which we saw last night at Broadway in Hollywood/Pantages Theatre): Believe in Yourself. Dorothy is supposed to learn, while out on the road, that the things she needed to survive and thrive were in herself all the time. She just needed to trust herself and see them. It is a lesson that this pre-Broadway tryout of The Wiz needs to learn: trust the material, and do it justice, and it will bring you home happier than when you left. But if you fail to discover your smarts, your heart, and your courage along the way, you may be stuck in a fantasy land that is more charade than real.

I’m probably one of the dwindling number of folks who saw the original version of The Wiz when it was on the road: it was at the Ahmanson Theatre the summer I graduated from high school. We didn’t have all the original cast, but we had some key folks: Dee Dee Bridgewater, Andre de Shields, Ted Ross. I subsequently got the cast album, and fell in love with it. It had such energy and pop. “Don’t Nobody Bring Me No Bad News” had me from that opening piano vamp; it is currently #24 in my Top 50 Most Played Songs out of the 56,000+ songs in my library. “So You Wanted to Meet the Wizard” grabs you from those opening horns and drums, and never lets you go (the recording I linked was from the opening night back in 1975, and you can just hear the energy). Even “Slide Some Oil to Me” has that energy and tempo, drawing heavily on the piano and the horns. The music and lyrics of Charlie Smalls, with some additional authors, combined with the original orchestrations of Harold Wheeler, just stun. Don’t want to go back that far? Listen to the energy of these songs in the somewhat recent live TV version (here’s No Bad News).

Now I’ve never seen the movie. I could never bring myself to transpose this story to New York, or age Dorothy 10+ years to satisfy some diva’s desire for screen time. But even there, the problem was the interpretation (more on that in a minute), not the musical interpretation. Mabel King and “No Bad News” still brings down the house. Even Nipsy Russell’s “Slide Some Oil To Me” isn’t bad.

But my wife and I both had the same comment with respect to the musical interpretation of this pre-Broadway tryout of The Wiz: It was tepid. The music lacked tempo. It lacked energy. It lacked horns and piano (I’m sorry, but one trumpet and one trombone does not a powerful horn section make). It gave the feeling that the director (Schele Williams) and the orchestrator (Joseph Joubert) were going for a Bluesy field, as opposed to the Jive Jazz of the original. It does not work—this show needs to up the tempo if it is going to make it. Of the faster songs in the show, only two got it right: Kyle Ramar Freeman’s performance of the Lion in “Mean Ole Lion” was spot-on; and the ensemble’s energy in “Everybody Rejoice” was great. However, for the slower numbers that were more traditional R&B, the interpretations were great. Nichelle Lewis (Dorothy)’s rendition of “Home” was wonderful, and Melody A. Bett (Aunt Em)’s was great with “The Feeling We Once Had”. Bett’s is a great example: Great on the slow number, but from the opening notes of her rendition of “Don’t Nobody Bring Me No Bad News”, you knew the tempo was off. The voice was there. The energy wasn’t.

The director also failed to trust the material. The problem was not the added and material by Amber Ruffin. Those did a great job of updating the characters. No, the problem was the more fundamental changes to the material. Songs were added (or restored) based either on the movie or recent productions (for example, “You Can’t Win”). Songs were rearranged; notably “What Could I Do If I Could Feel”, the Scarecrow’s introduction in the first act, became “We’re Gonna Make It” in the second act. “Wonder, Wonder Why” was added from the 1984 revival. A totally different version of the Tornado Dance was used. I’m not sure it helped. “You Can’t Win” was cut in Detroit in the original Broadway version; it was added back to the movie because it showcased Jackson. The song still isn’t right.

But the problem with the trust in the material goes beyond just the music—it goes to the story. As it was so long ago, I reviewed the synopsis of the original Broadway version. The original stage show set aside many of the “additions” that came in the 1939 movie, and hewed closer to the original L. Frank Baum material. William F. Brown (the original book writer, adapting the Baum material and not the movie), preserved many of the things from the book that never made it to the movie: Munchkin land was blue, Glinda’s land was red, the land of the Winkie’s was yellow, and the Emerald City was only green because you were required to wear green glasses upon entry. But here, the director’s vision muddled things around. Instead of the Munchkins, we got a New Orleans style wake for Evamean, the Wicked Witch of the East… and we get both Addaperle and Glinda. Instead of an opening with both Aunt Em and Uncle Henry, we get just Em (and with a pre-prise of “Soon as I Get Home”). We get a tepid tornado. We get a strange scene with the poppies (which had a different way of resolution in the original). We get drastic cuts in the battle with the witch in the second half. We get a completely different resolution with the Wiz in the second act, and how the characters learn that they always had the attributes they were seeking. We get the WInkies in bright multicolored T-shirts, vs the yellow that is the tradition of Winkie-land.

In some ways, it is as if the director was cutting things to save costs, reduce the scenery required for the road, and perhaps reduce the cast size. The orchestra was certainly cut back from the size it was in the 1970s. There are ways to work within a budget. Skimping in the wrong places is not one of them.

This production is on the road to Broadway. I think it opens there in April 2024. Fixing the tempo of the songs is something that is doable, and is something that I hope they listen to the reviewers and fix. Fixing the changes they made to the story is a lot harder, and probably can’t be done. Are these story changes enough to torpedo the show? They will be problematic for purists like me who love the original. But I do think the story changes won’t be noticed by younger audiences, who remember only the movie (which was little like the original stage production), or the live TV production (which was only broadcast twice).

Some of the other production aspects were, to lack a better term, workable. The choreography by Jaquel Knight was good and pleasant to watch; but it rarely wowed or went above and beyond. The set design was clearly built to fit the touring life well, but there was still the over-dependence on projections. Projections at times can simplify things and lower costs, but they can also make it harder for subsequent regional life of a show.

To be clear: I’m not saying this was a bad show. It was very enjoyable. But it could have been so much more. It just had under-developed heart, brain, and courage. But there were many pieces that did work.

First and foremost, the cast was spectacular. Nichelle Lewis was a knockout as Dorothy: she got the characterizations down pat, and boy could that girl sing. From her opening pre-prise to the closing note of “Home”, she grabbed you. Her companions on the road were equally strong, most notably Kyle Ramar Freeman’s Lion; but Avery Wilson’s Scarecrow and Phillip Johnson Richardson’s Tinman were also great. Although the tempo was wrong, the singing and characterizations in “Slide Some Oil To Me” were great. Melody A. Betts’ opening number as Aunt Em (“The Feeling We Once Had”) was a perfect characterization; her voice was great in “No Bad News”, even if the tempo was off. Wayne Brady was strong as the Wiz, especially in “Y’all Got It” (although he didn’t quite have the energy in “Meet the Wizard”). Deborah Cox’s Glinda did spectacular with “Believe in Yourself”. So the talent and casting was spot-on.

Also strong was the costuming: The bright colors popped in numerous sequences, but even more notable was the opening number. It was costumed to make everyone appear to be black and white, making the transition to color work. I can’t recall if the original did this. It was certainly a takeoff of the technicolor transition of the original, but this one works. Notably, unlike the movie, when Dorothy returns to Kansas for the closing scene, the color has returned to the landscape.

The additional humorous material added by Amber Ruffin worked well. This show has many laugh out loud moments, and has much more humor than did the original.

So, let’s get to ultimate question: Should you see this? If you want to get a sense of what the original 1975 version was like, I’d say to watch the Live TV version (skip the movie: I still think the transition to New York and a 24 year old schoolteacher was wrong wrong wrong). However, if you want to see some remarkable performances and a … different … take on the material (more bluesy, less in-your-face up tempo jazz), this is worth seeing. Hell, it’s worth seeing just to see the star-to-be that is Nichelle Lewis. That girl is going to go far. It’s also worth seeing for Kyle Ramar Freeman’s lion.

The Wiz continues at Broadway in Hollywood/Pantages Theatre through March 3, 2024. I understand the run is close to sold out, but tickets may be available through the BiH Website. Note that Broadway in Hollywood will be announcing their 2024-2025 season on February 23; it is at that time that autorenew subscribers (like me) will have a chance to purchase tickets for the return of Hamilton (over the summer) and Wicked (December 2024). I have guesses as to which shows will show up based on what I know is touring. If I had to guess, I’m sure & Juliet, Shucked, Some Like It Hot, New York New York and Back to the Future will show up, although one of those could end up at the Ahmanson. The revival of Sweeny Todd might to to the Pantages, although it seems more like an Ahmanson show; Life of Pi is certainly more of an Ahmanson show. I’m not sure where Kimberly Akimbo or A Beautiful Noise will end up. The former is a toss up; the latter is more Pantages material but it all depends on the other shows they pick. So, yes, I’m looking forward to the announcement.

 ———

The Wiz. Book by William F. Brown, Music and Lyrics by Charlie Smalls. Adaopted from “The Wonderful Wizard of Oz” by L. Frank Baum. Additional Material for this production by Amber Ruffin. Directed by Schele Williams; Choreography by Jaquel Knight.

Cast (∈ denotes ensemble): Nichelle Lewis Dorothy; Avery Wilson Scarecrow; Phillip Johnson Richardson Tinman; Melody A. Betts Aunt Em / Evillene; Wayne Brady The Wiz; Deborah Cox Glinda; Maya Bowles ∈; Shayla Alayre Caldwell ∈; Jay Copeland ∈; Allyson Kay Daniel Addaperle, ∈; Judith Franklin ∈; Collin Heyward ∈; Amber Jackson ∈, Dance Captain; Olivia “Melo. J” Jackson ∈; Christina Jones ∈; Polanco Jones Jr ∈; Kolby Kindle ∈; Mariah Lyttle ∈; Kareem Marsh ∈; Anthony Murphy ∈; Cristina Raé ∈; Avilon Trust Tate ∈; Keenan D. Washington ∈. Swings and Standbys: Michael Samarie George Swing; Matthew Sims Jr. Swing; Timothy Wilson Swing; Alan Mingo Jr. The Wiz – Standby.

Production and Creative Team: Joseph Joubert Music Supervision, Orchestrations, Music Arrangements; Allen René Louis Vocal Arrangements, Music Arrangements; Adam Blackstone Dance Music Arranger; Hannah Beachler Scenic Design; Sharen Davis Costume Design; Ryan J. O’Gara Lighting Design; Jon Weston Sound Design; Daniel Brodie Projection Design; Charles G. Lapointe Hair and Wig Design; Kirk Cambridge-Del Pesche Makeup Design; Tara Rubin Casting Casting Director; Paul Byssainthe Jr. Music Director; Kathy Fabian Production Properties Supervisor; Michael Aarons Music Coordinator; Tavia Rivée Jefferson Assoc. Director; Anthony “Kanec” Carr Assoc. Choreographer; Candace Brown Asst. Choreographer; Ralph Stan Lee Production Stage Manager; Heather Hogan Stage Manager; David S. Cohen Asst. Stage Manager; Foresight Theatrical General Manager.

Orchestra (≡ indicates local): Paul Byssainthe Jr Conductor/Keyboard 1; Darryl G. Ivey Asst Conductor/Keyboard 2; Trevor Holder Drums; Sean Franz ≡ Reed 1 (Flute / Piccolo / Clarinet / Oboe / English Horn / Alto Sax / Tenor Sax); Ken Fisher ≡ Reed 2 (Tenor Sax / Clarinet / Bari Sax / Bassoon / Bass Clarinet); Katie Faraudo ≡ French Horn; Aaron Smith ≡ Trumpet / Flugelhorn; Nick Daley ≡ Trombone / Bass Trombone; Linda Taylor ≡ Guitar (Electric / Nylon & Steel String Acoustic); Chris Thigpen ≡ Bass (Electric / Acoustic); Danny Taylor ≡ Percussion; Dolores Duran ≡ Keyboard Sub; Eric Heinly ≡ Orchestra Contractor; Michael Aarons and M2Music Music Coordinator; Anja Wood Assoc. Music Coordinator.

 ♦ ♦ ♦

Administrivia: I am not a professional critic. I’m a cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; Geffen Playhouse (Mini-Subscription); 5-Star Theatricals. We’re looking for the right intimate theatre to subscribe at — it hasn’t been the same since Rep East died (it’s now The Main, and although it does a lot of theatre, it doesn’t have seasons or a resident company), and post-COVID, most 99-seaters aren’t back to doing seasons (or seasons we like). I used to do more detailed writeups; here’s my current approach.

Upcoming ♦ Theatre / ♣ Music / ◊ Other Live Performance – Next 90ish Days (⊕ indicates ticketing is pending):

On the Theatrical Horizon:

Morgan-Wixson Theatre in Santa Monica has announced their Mainstage 2024 Season, and it includes Bat Boy the Musical running Sept 28 through October 18. We saw Bat Boy back when CSUN did it in 2014; it is a wonderful musical about how a society treats outsiders. Conundrum Theatre Company will be doing Urinetown The Musical in mid to late March 2024 at the Broadwater; this is a great musical, but we can’t fit it into the schedule (nor does my wife care to see it again). However, if you haven’t seen it, it is worth seeing. I also just learned about a theatre company in Fullerton, Maverick Theater. They are doing Evil Dead: The Musical , which is a hoot if you’ve never seen it (we’ve seen it twice). They also have some interesting other stuff on their season, and we might drive down for Santa Claus Vs The Martians in November.

Share

🎭 Nostalgia is a Funny Thing | “Wonderettes/Dream On” @ Canyon Theatre Guild

Posted onAuthorcahwyguyLeave a comment

The Marvelous Wonderettes - Dream On (Canyon Theatre Guild)Roger Bean has made an industry out of nostalgia. In a series of “off-broadway” level musicals (i.e., musicals designed for a smaller cast, fewer sets, and more intimate venues), he had built upon a desire to look back on what were perceived as simpler times viewed through the haze of nostalgia. Examples include The Andrews Brothers (which we saw back in 2010 at Cabrillo/5-Star), Life Could Be a Dream (which we saw at the Hudson Mainstage back in 2009), and The Marvelous Wonderettes (which we saw back in 2006 at the El Portal).  This type of show has a musical lineage stretching back to Forever Plaid (which we first saw back in 1991 at the Pasadena Playhouse, and then again in 2006 at Cabrillo, and again in 2014 at Cabrillo). And, just like with Plaid and the follow-on Plaid shows, Bean has found a forumula that works, crafting multiple follow-ons to the Wonderettes line: The Marvelous Wonderettes – Cap and Gowns,  and The Marvelous Wonderettes – Dream On. This last show has made its way to Santa Clarita, and is currently being presented by the Canyon Theatre Guild.

Dream On continues the story of the Wonderettes, who we first meet at 1958 at their graduation. This musical places them at a teacher’s retirement celebration in 1969, and a 20th class regionin in 1978. This allows the show to revisit the music of the late 1960s and the 1970s. Those dates are interesting, when viewed from the present day (2024). I’ve written about this before, but you’re talking a 66 year difference to 1958; 55 years to 1969; and 46 years to 1978. If you think about it, that’s like someone in the mid 1970s being nostalgic for the music of the 1910s, 1920s, and 1930s. The 50s first started being popular in the late 1970s, the difference was less — perhaps 30 years. That would mean right now, the “kids” should be nostalgic for the late 1990s. Actually, that’s starting, and the recent musical MJ, just at the Pantages, is an example of that. Classic rock stations have already shifted their time window to the right. I wonder how long the music of the Wonderette’s series will be popular, and how long audiences will still understand the references. This may not bode well for musicals like Grease.

One more quick note about the 1950 through 1970s. This period is often viewed through rose-colored glasses, often created by TV sitcoms or filtered remembrances of childhood. It is viewed as a simpler and better time, when streets were safe, and it was a white bread world. Emphasis on the white. That, of course, isn’t true when you look at the reality. There were race riots and financial strife, and life for many wasn’t what is portrayed in the media. But the rosy view of memory is strong, and certain politicians these days try to take advantage of it, without recognizing the positive ways our society has improved. Enough of that soapbox, but for those interested, I’ll refer folks to my ballot recommendations for the upcoming California March Primary election. You can make a difference to keep us moving forward by voting. In terms of this show, there are just mere hints of the changes that were coming, mostly in terms of the emerging women’s movement of the late 1970s.

The show itself was very entertaining, with a strong mixture of songs from the late 1960s and 1970s. The songs were less the rock of the era (nary a Beatles tune in the mix), but more the ones for which girl-group harmony was a good fit. Less Rolling Stones, more Fifth Dimension, if you get my drift. The story was the tried-and-true Wonderettes’ story of what is happening in their lives and loves, with the usual intergroup sniping. It is here that you see the work involved in writing, and how the book writer had to make the story fit the names in the songs (as such, the “Mr. Lee” and “Johnny” referenced as husbands/boyfriends harkens back to the mothership production, and the songs in that show that referenced a Mr. Lee and a Johnny as love interest. There are a few additional such fittings in this show, such as a reference to “angel face”.

One of the best parts of the show was the audience participation. At various points in the show, audience members are brought (unsuspectingly) to the stage as characters in the show; notably Miss McPherson in the first act. Some play along; some don’t. Our McPherson was more shocked than taking on the role of a teacher, but it was interesting to watch her reaction. There were similar events in the second half. Notably, they tried to recruit me to be the father-in-law of one of the characters. I declined; it was a good thing because they then had the character dance The Hustle on stage. I didn’t dance the Hustle when it was popular in the 1970s; don’t expect me to do it now! Still, the audience interaction was well played and hilarious.

The performances from the four ladies forming the Wonderettes were very strong. I was particularly impressed by Kelly Miyake Cindy Lou Huffington and Zoë Bryant Betty Jean Reynolds, who were both really strong singers. It was also great to see Jill Scott again; we haven’t seen her since 2014 and the days of Rep East Playhouse (they closed in 2015; the space is now The Main). But all the singers were great. If there was one shortcoming, it was the use of recorded music. However, that was understandable—CTG is a community theatre, and live orchestras are expensive in Southern California. The show was directed by another RepEast alumna, Leslie Berra, who flew in from all the work she does in Nashville TN. She did a great job of bringing out the individual characterizations well.

The Marvelous Wonderettes — Dream On. Written and Created by Roger Bean. Vocal and Musical Arrangements by Michael Borth. Cast: Zoë Bryant Betty Jean Reynolds, Kelly Miyake Cindy Lou Huffington, Jill Scott Missy Lee, Sarah Stoddard Suzy Stevens. Production and Creative Team: Leslie Berra Director; Nancy Alterman Choreography; Mo Davis Asst. Director; Ingrid Boydston Addl Choreography; Leslie Berra Vocal Direction; John Alexopolous Co-Set Designer; Douglas Holiday Co-Set Designer; Scarlett Lang Lighting Designer; Leslie Berra Costume Design; Maria Falasca Costume Assistant; Michael T. Smith Lighting Designer Mentor; Mo Davis Stage Manager.

The Marvelous Wonderettes — Dream On continues at Canyon Theatre Guild through Feb. 24. Tickets are available through the CTG Website; they may be available through discount sites such as Goldstar or TodayTix.

 ♦ ♦ ♦

Administrivia: I am not a professional critic. I’m a cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; Geffen Playhouse (Mini-Subscription); 5-Star Theatricals. We’re looking for the right intimate theatre to subscribe at — it hasn’t been the same since Rep East died (it’s now The Main, and although it does a lot of theatre, it doesn’t have seasons or a resident company), and post-COVID, most 99-seaters aren’t back to doing seasons (or seasons we like). I used to do more detailed writeups; here’s my current approach.

Upcoming Theatre – Next 90ish Days:

On the Theatrical Horizon:

There are a few shows for which announcements have crossed my transom that may be of interest: The CSUN Theatre Department in Northridge will be doing the Spongebob Musical in April 2024. We really wanted to see this when it was on tour in 2020, but the tour was killed by COVID; we did drive up to Woodland CA to see a friend in a community theatre production of it. It is a great show about science and climate denial. Charles Stewart Howard Playhouse in Woodland Hills will be doing Hands on a Hardbody in May 2024. CSH announced this back in 2020, but it was killed by COVID; I’m glad to see it will be back (and with another RepEast alumna in the cast, even). Morgan-Wixson Theatre in Santa Monica has announced their Mainstage 2024 Season, and it includes Bat Boy the Musical running Sept 28 through October 18. We saw Bat Boy back when CSUN did it in 2014; it is a wonderful musical about how a society treats outsiders. Conundrum Theatre Company will be doing Urinetown The Musical in mid to late March 2024 at the Broadwater; this is a great musical, but we can’t fit it into the schedule (nor does my wife care to see it again). However, if you haven’t seen it, it is worth seeing. I also just learned about a theatre company in Fullerton, Maverick Theater. They are doing Evil Dead: The Musical , which is a hoot if you’ve never seen it (we’ve seen it twice). They also have some interesting other stuff on their season, and we might drive down for Santa Claus Vs The Martians in November.

Share

🎭🩰 An Unexpected Love Story | “Bourne’s Romeo + Juliet” @ Ahmanson

Posted onAuthorcahwyguyLeave a comment

Matthew Bourne's Romeo + Juliet (Ahmanson)When the 2023-2024 Ahmanson season was announced, I saw the inclusion of Matthew Bourne’s Romeo + Juliet and thought: Ugh. Ballet. I had seen his Cinderella back in 2019, and had a very mixed reaction. About that Cinderella, I wrote: ” I found it difficult to get into the story of Cinderella, and I identify who the myriad of characters were. The dance itself was beautiful, and the dancers were highly skilled, and much emotion was conveyed. But what who did what? I wasn’t always sure. Which of the Pilot’s friends was Tom and which was Dick — I have absolutely no idea. In fact, other than seeing the characters as their “role” (pilot, stepmother, child), I couldn’t tell you who was which name. Although there was theatricality, the notion of conveying more than the gist of the story to the audience was lost.”

Given this experience, I went into the 2024 Romeo + Juliet very apprehensive. I’m not a ballet or dance fan, and Bourne didn’t work for me last time. I’m pleased to say that this time I was pleasantly surprised. The music had energy; the dancing was entertaining; and I roughly knew who people were. I say roughly, because unless you are really familiar with the characters in Shakespeare’s story, you would be hard-pressed to tell a Mercutio from a Balthasar, a Dorcas from a Lavinia, or a Sebastian from a Fabian. Romeo and Juliet, on the other hand, you can identify. So you just watch the dance.

So, setting aside identification of which ancillary character was which, the story was great. Bourne resets the action to some sort of Juvenile Hall or Facility in the future–seemingly some sort of prison with guards and such. But there does seem to be some way for parents to check their children into the facility, so perhaps it isn’t quiet a jail. It’s harder to identify the factions in the story. There is one clear bad guy (he’s the one in black with the tattoo), but the motives of the others in the facility are less clear. I’d say you can’t tell the families apart without a program, but the program doesn’t help here. So I think if you want to really understand the story being told, you would be best to brush up your Shakespeare before seeing the show; or lacking that, at least read the Cliff Notes.

The staging was interesting. The Juvie Hall was imagined as a white tiled facility, with a railing above, stairs on the side, and gated entrances for boys and girls. it was white. The costuming was white. The lights were white. This made the few characters who were not in white–the Reverend, the Senator, the Governor–really stand out. If you see this, I encourage you to watch the reflections and the shadows on the stage, which were as beautiful as the dancers themselves.

The dancing was energetic, with moves that were much more modern dance than traditional ballet. There was humor at times, and some of the dancers even smiled :-). Looking back without any notes, it is hard to recall any specific moves, only the overall visual effect. Suffice it to say it was unique enough to draw my interest and keep my interest. Rarely did I find myself looking elsewhere in the auditorium or getting drowsy.

In summary, this changed my opinion of ballet. I still find it hard to get into the story, and believe you need to really understand the story well beforehand to understand the dance. However, with the right music and staging, appreciating the beauty of the dance itself is easy. This show had the right music and staging to make the dance really enjoyable.

Matthew Bourne’s Romeo + Juliet continues at the Ahmanson through February 25, 2024. Tickets are available through the CTG website.

Matthew Bourne’s Romeo + Juliet . Directed and Choreographed by Matthew Bourne. Music by Terry Davies based on the original score by Sergei Prokofiew. Cast at this performance:  Jackson Fisch Romeo ; Hannah Kremer Juliet; Adam Galbraith Tybalt; Cameron Flynn Mercutio; Leonardo McCorkindale Balthasar; Euan Garrett Benvolio; Daisy May Kemp Rev. Bernadette Laurence, Brie Montague, Nurse; Paris Fitzpatrick Senator Montague, Guard, Orderly; Anya Ferdinand Frenchie; Eleanor McGrath Dorcas; Tasha Chu Magdalen, Governor Escalus; Blue Makwana Lavinia; Kate Lyons Morgan; Kurumi Kamayachi Martha; Matthew Amos Edmund; Eve Ngbokota Lennox; Louis Harris Sebastian; Dylan Jones Fabian; Lyra Treglown Faith. Production and Creatives: Bryony Pennington Dance Captain; Lez Brotherston Set and Costume Design; Paule Constable Lighting Design; Paul Groothuis Sound Design; Terry Davies Orchestrator; Sergei Prokofiev Composer; Etta Murfitt New Adventures Assoc. Artistic Director; Arielle Smith Assoc. Choreographer; Neil Westmoreland New Adventures Resident Artistic Assoc.; Alan Vincent New Adventures Resident Director; Daisy May Kemp New Adventures Asst. Resident Director; Duncan Parker Stage Manager; Ian Wheatstone Company Manager.

 ♦ ♦ ♦

Administrivia: I am not a professional critic. I’m a cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; Geffen Playhouse (Mini-Subscription); 5-Star Theatricals. We’re looking for the right intimate theatre to subscribe at — it hasn’t been the same since Rep East died (it’s now The Main, and although it does a lot of theatre, it doesn’t have seasons or a resident company), and post-COVID, most 99-seaters aren’t back to doing seasons (or seasons we like). I used to do more detailed writeups; here’s my current approach.

Upcoming Theatre – Next 90ish Days:

On the Theatrical Horizon:

There are a few shows for which announcements have crossed my transom that may be of interest: The CSUN Theatre Department in Northridge will be doing the Spongebob Musical in April 2024. We really wanted to see this when it was on tour in 2020, but the tour was killed by COVID; we did drive up to Woodland CA to see a friend in a community theatre production of it. It is a great show about science and climate denial. Charles Stewart Howard Playhouse in Woodland Hills will be doing Hands on a Hardbody in May 2024. CSH announced this back in 2020, but it was killed by COVID; I’m glad to see it will be back (and with a friend in the cast, even). Morgan-Wixson Theatre in Santa Monica has announced their Mainstage 2024 Season, and it includes Bat Boy the Musical running Sept 28 through October 18. We saw Bat Boy back when CSUN did it in 2014; it is a wonderful musical about how a society treats outsiders. Conundrum Theatre Company will be doing Urinetown The Musical in mid to late March 2024 at the Broadwater; this is a great musical, but we can’t fit it into the schedule (nor does my wife care to see it again). However, if you haven’t seen it, it is worth seeing. I also just learned about a theatre company in Fullerton, Maverick Theater. They are doing Evil Dead: The Musical , which is a hoot if you’ve never seen it (we’ve seen it twice). They also have some interesting other stuff on their season, and we might drive down for Santa Claus Vs The Martians in November.

Share

🎭 Who Told Them About My Family? | “Sukkot” @ 6th Act / Skylight

Posted onAuthorcahwyguyLeave a comment

Sukkot (Sixth Act at Skylight)Let’s get the fanboy out of the way first. I saw Elim Garek in a play today. Well, Andy Robinson, but I could figure it out. It was everything I could hope for, and it was the icing on the cake of a great play.

So, going back to the start. I’m always on the lookout for Jewish-themed plays for the Live Theatre group at our synagogue (which I coordinate). I don’t want only plays focused on the holocaust or bad things, but I want plays that will stimulate the mind, and get the group thinking about Judaism. So when the North Hollywood facebook page posted about the upcoming play Sukkot being done by the 6th Act Company at Skylight Theatre, I knew I had our next show.  I coordinate the group, and off we went to the show. It was a very successful outing.

Sukkot, by Matthew Leavitt, tells the story of the Sullivan family. Patrick, the father of three adult children, has just lost his wife to cancer. He was raised Catholic, but she was Jewish. The unveiling of her marker, marking one year after the death, is coming up. It lands on Sukkot, the Feast of Booths. For those unfamiliar, this is when Jews build open-air structures in their yards and eat and sometimes sleep in them, symbolizing the booths that the Jews escaping Egypt slept in in the desert.  It is notable for being the only holiday where Jews are commanded to rejoice.

So, to try and rediscover joy, Patrick builds a sukkah in his back yard, and has all his children who are coming out for the unveiling “live” in the hut. This serves as the central focal point for the story. In turn, we meet the children: Asher, who has been living with Patrick taking care of his mother while she died of Breast Cancer. He is unemployed. Mairead, who has a husband and two children, lives in St. Louis, and is a gynecologist. The youngest, Eden, who lives in the Pacific Northwest and does children’s entertainment. Unsurprisingly, the children are very different from each other, and have the sibling squabbles we all know.

The show is at point hilariously funny and deeply inciteful. We went with a group, and I think everyone saw elements from their families or their children in the characters. As an example, for me it raised the question I’m debating now: Should I retire, and what will I do with myself when I retire? But the show delves into much more: relationships between children, relationships between parents and children, parents raising children differently, dealing with life and illness, dealing with elderly parents, realizing parents are people too. I saw my mother-in-law in the show; I saw my wife’s siblings; I saw my parents. Somehow they turned a camera on everyone’s family.

I’m not going to spoil the details of the story with further details of plots specifics, but I think all the characters grow and learn. There are some important points that come from show. First is that family may fight and squabble, but when a family member needs help, they usually come together. I think a more important message was on the meaning of Sukkot. One character observes that the only time we get unquestioning positives is when we get married, or right after we die. We don’t hear the latter. So Sukkot should be the time we rejoice in each other, and tell people the good things about them. Thinking good about people at least once a year isn’t a bad thing.

The performances were remarkable. I’ve already mentioned Andy Robinson, who played Patrick. There were times I could see Garak there, but his characterization of the father was nuanced and fun to watch. All of the other cast members—Jonathan Slavin (Asher), Liza Seneca (Maired), and Natalie Lander (Eden)—were equally compelling characters, played well. Show like this remind one of how special live theatre is for the Los Angeles community. These were all top grade actors, and here we get to see them, in an intimate theatre, doing what they love best: acting on the stage. This is small theatre—they aren’t doing this for the money. They are known in the industry—they don’t need the exposure. They are doing this for the love and perfection of the craft, and it shows.

The writing of the show was strong, and there were points that reminded me of Moonlighting, with the overlapping dialogue. But Leavitt created compelling characters and story, and there were only a few “ouch” moments. Some of those came from some characterizations of Jewish practice that might grate for a Jewish group; others were mentions such as “UC Fresno”, which is wrong in many ways (there is a UC Merced, and a Cal State Fresno, and they are different things). But overall, this was great.

Sukkot. Written by Matthew Leavitt; Directed by Joel Zwick. Cast: Andy Robinson Patrick Sullivan; Jonathan Slavin Asher Sullivan; Liza Seneca Mairead Sullivan; Natalie Lander Eden Sullivan. Production and Creative Team: Mark Mendelson Scenic Design; Douglas Gabrielle Lighting Design; Christopher Moscatiello Sound Design; David Elzer, Demand PR Publicity; Michelle Hanzelova-Bierbauer Graphic Design; Rich Wong Stage Manager.

Sukkot plays for one more weekend at the Skylight Theatre (until Feb 4th), over on Vermont S of Franklin, near Skylight Books. Tickets are available through the Sixth Act website; discount tickets may be available through the usual suspects. This was a really interesting play, and I strongly recommend it.

♦ ♦ ♦

Administrivia: I am not a professional critic. I’m a cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; Geffen Playhouse (Mini-Subscription); 5-Star Theatricals. We’re looking for the right intimate theatre to subscribe at — it hasn’t been the same since Rep East died (it’s now The Main, and although it does a lot of theatre, it doesn’t have seasons or a resident company), and post-COVID, most 99-seaters aren’t back to doing seasons (or seasons we like). I used to do more detailed writeups; here’s my current approach.

Upcoming Theatre – Next 90ish Days:

On the Theatrical Horizon:

There are a few shows for which announcements have crossed my transom that may be of interest: The CSUN Theatre Department in Northridge will be doing the Spongebob Musical in April 2024. We really wanted to see this when it was on tour in 2020, but the tour was killed by COVID; we did drive up to Woodland CA to see a friend in a community theatre production of it. It is a great show about science and climate denial. Charles Stewart Howard Playhouse in Woodland Hills will be doing Hands on a Hardbody in May 2024. CSH announced this back in 2020, but it was killed by COVID; I’m glad to see it will be back (and with a friend in the cast, even). Morgan-Wixson Theatre in Santa Monica has announced their Mainstage 2024 Season, and it includes Bat Boy the Musical running Sept 28 through October 18. We saw Bat Boy back when CSUN did it in 2014; it is a wonderful musical about how a society treats outsiders. Conundrum Theatre Company will be doing Urinetown The Musical in mid to late March 2024 at the Broadwater; this is a great musical, but we can’t fit it into the schedule (nor does my wife care to see it again). However, if you haven’t seen it, it is worth seeing.

ETA 24-01-30: I also just learned about a theatre company in Fullerton, Maverick Theater. They are doing Evil Dead: The Musical , which is a hoot if you’ve never seen it (we’ve seen it twice). They also have some interesting other stuff on their season, and we might drive down for Santa Claus Vs The Martians in November.

Second: Broadway Dallas just announced their season. I like to look at the announcements of other “presenting houses” (i.e., regional theatres that specialize in touring productions) to get an idea of what will be coming to Broadway in Hollywood or the Ahmanson. Broadway Dallas’ season included the following shows that haven’t yet been in Los Angeles: Shucked; Back to the Future – The Musical; & Juliet; and Life of Pi. Other shows that I know will be touring are a new remounting of Beauty and the Beast (lukewarm on this, but I’m sure it will be at least an option at Broadway in Hollywood) and the recent production of Parade. According to Playbill and some other sources, other upcoming tour productions (that haven’t been announced for the LA area) are Kimberly Akimbo; the new revival of Sweeny Todd; A Beautiful Noise; Some Like It Hot; and New York, New York. I hope How to Dance in Ohio tours, but perhaps there will be a regional mounting; Harmony should be seen and I also hope it tours, but we saw it in a pre-Broadway version almost 10 years ago.

Share

🎭 The White House is a Farce | “POTUS” @ Geffen Playhouse

Posted onAuthorcahwyguyLeave a comment

POTUS (Geffen Playhouse)The West Wing was never like this. Or, perhaps given some recent presidents, it was — and it was covered up well. After all, I’m sure the White House staff is great at covering up from the gaffes of the President. One thing is definitely for certain—this wasn’t like last week’s train wreck.  For unlike last week where it was clearly a you either loved it or didn’t get it affair (and we weren’t alone on that — Stage and Cinema talked about how the show “devolves into a self-indulgent tangent that meanders without direction”; whereas McNulty at the Times talks about how “irony and egotism are blended like a fine Bordeaux”), POTUS, or more properly POTUS, or Behind Every Great Dumbass are Seven Women Trying to Keep Him Alive, currently at the Geffen Playhouse through February 25, was uproariously funny. This is a show well worth seeing.

POTUS tells the story of seven women in the White House, all of whom are working or in the orbit of the President of the United States (POTUS). This POTUS doesn’t correspond to any particular POTUS, although he clearly is an amalgam of quite a few of the recent inhabitants of that position. I can think of certain recent POTUS (POTUSes? POTII?) that were clearly the model for the playwright, Selina Fillinger, although they are never named. But the focus of this story is not the specifics of the man (who is never really seen), but the women behind him and how they deal with the consequences of his actions. These women are: Harriet, his Chief of Staff, Jean, his Press Secretary; Stephanie, his Secretary; Margaret, his wife; Chris, a reporter; and Dusty and Bernadette, two women more in the personal orbit of the man.

The show opens with a SNAFU where the President refers to his wife with a slang term sure to upset … and the situation devolves from there into a broad farce. That this show is a farce means a number of things theatrically. First, it means that the show is not intended to have meaningful character arcs or show character growth (do the characters grow or learn anything in Noises Off or The Play That Goes Wrong?). Second, the character archetypes are painted with a broad, almost caricatureish brush, somewhat stereotypical even. This means that they are clearly not intended to be fully realistic portrayals of real competent women. They are women designed for the comedy  potential of the positions, with certain characteristics overdrawn for the humor. For a farce, one needs to suspend that belief. Farces are rarely realistic.

After all, a President would never fuck up. A President would never call people names. A President would never do things that would insult and offend our allies. A President would never fool around with other women while in office. A President would never have siblings whose behavior would embarrass the office. That would never happen, right? The President’s office would never be a farce, right?

I won’t spoil the plot of this show, as that could rob the show of a lot of the humor (which is in the discovery of just how fucked up this POTUS is). I will say that the cast of the show is remarkable, and are spot-on in terms of both timing and comic characterization. I’m not sure I can single out one performance over any of the others; they were all great. Jennifer Chamber’s direction was impeccably timed (again, something that is key for any farce to succeed), and worked well to bring out humor.

This show is well worth seeing.

A few last notes, before the credits: First, if you choose to park next door in the parking lot  under the Chick-Fil-A, be forewarned. It is a horrid lot, with really tight turns. Do remember to pay at the pay machines before  you go to your car to leave. Make life better for others. It took me a half-hour to clear that lot because of the clueless folks who waited to pay until they were at the gate, and then couldn’t figure out that the credit card goes in a different slot from the ticket. Second, it was really sad to drive up Westwood Blvd to the theatre and see all the empty storefronts. When I went to UCLA in the late 1970s, Westwood was this vibrant student town with quirky shops and great restaurants. It then got mall-ified, and then greedy landlords jacked up rents and priced distinctive shops out. Now it is empty, and doesn’t serve anyone. It’s sad, and the landlords need to realize that it is better to have someone in your storefront paying a moderate something, than an empty storefront with an unrealized potential that may never happen.

POTUS, or Behind Every Great Dumbass are Seven Women Trying to Keep Him Alive. Written by Selina Fillinger. Directed by Jennifer Chambers. Cast: Ito Aghayere Chris; Alexandra Billings Margaret; Lauren Blumenfeld Stephanie; Shannon Cochran Harriet; Celeste Den Jean; Jane Levy Dusty; Deirdre Lovejoy Bernadette. Understudies: Lorene Chesley Margaret / Chris; Joy Donze Stephanie / Dusty / Bernadette; Desirée Mee Jung Jean; Elaine Rivkin Harriet. Production and Creative Team: Brett J. Banakis Set & Video Design; Samantha C. Jones Costume Design; Elizabeth Harper Lighting Design; Lindsay Jones Original Music & Sound Design; Emily Moler Assoc. Director; Julie Ouellette Fight Director; Amanda Rose Villarreal Intimacy Director; Olivia O’Connor Dramaturg; Darlene Miyakawa Production Stage Manager; Colleen Danaher Asst. Stage Manager; Phyllis Schuringa, CSA Casting Director. This is not a tour of the recent Broadway production; it is a local Geffen remounting of the show.

POTUS continues at the Geffen Playhouse through February 25. Tickets are available through the Geffen Playhouse Website; discount tickets are likely available through the usual places. Note that the show has very strong language and themes, and is not for children.

♦ ♦ ♦

Administrivia: I am not a professional critic. I’m a cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; Geffen Playhouse (Mini-Subscription); 5-Star Theatricals. We’re looking for the right intimate theatre to subscribe at — it hasn’t been the same since Rep East died (it’s now The Main, and although it does a lot of theatre, it doesn’t have seasons or a resident company), and post-COVID, most 99-seaters aren’t back to doing seasons (or seasons we like). I used to do more detailed writeups; here’s my current approach.

Upcoming Theatre – Next 90ish Days:

On the Theatrical Horizon:

There are a few shows for which announcements have crossed my transom that may be of interest: The CSUN Theatre Department in Northridge will be doing the Spongebob Musical in April 2024. We really wanted to see this when it was on tour in 2020, but the tour was killed by COVID; we did drive up to Woodland CA to see a friend in a community theatre production of it. It is a great show about science and climate denial. Charles Stewart Howard Playhouse in Woodland Hills will be doing Hands on a Hardbody in May 2024. CSH announced this back in 2020, but it was killed by COVID; I’m glad to see it will be back (and with a friend in the cast, even). Morgan-Wixson Theatre in Santa Monica has announced their Mainstage 2024 Season, and it includes Bat Boy the Musical running Sept 28 through October 18. We saw Bat Boy back when CSUN did it in 2014; it is a wonderful musical about how a society treats outsiders. Conundrum Theatre Company will be doing Urinetown The Musical in mid to late March 2024 at the Broadwater; this is a great musical, but we can’t fit it into the schedule (nor does my wife care to see it again). However, if you haven’t seen it, it is worth seeing.

Second: Broadway Dallas just announced their season. I like to look at the announcements of other “presenting houses” (i.e., regional theatres that specialize in touring productions) to get an idea of what will be coming to Broadway in Hollywood or the Ahmanson. Broadway Dallas’ season included the following shows that haven’t yet been in Los Angeles: Shucked; Back to the Future – The Musical; & Juliet; and Life of Pi. Other shows that I know will be touring are a new remounting of Beauty and the Beast (lukewarm on this, but I’m sure it will be at least an option at Broadway in Hollywood) and the recent production of Parade. According to Playbill and some other sources, other upcoming tour productions (that haven’t been announced for the LA area) are Kimberly Akimbo; the new revival of Sweeny Todd; A Beautiful Noise; Some Like It Hot; and New York, New York. I hope How to Dance in Ohio tours, but perhaps there will be a regional mounting; Harmony should be seen and I also hope it tours, but we saw it in a pre-Broadway version almost 10 years ago.

Share

🎭 A Narcissistic Exercise | “Kate” @ Pasadena Playhouse

Posted onAuthorcahwyguyLeave a comment

Kate (Pasadena Playhouse)Color me unimpressed. Color me confused.

I guess I should have been warned when Kate’s name was everywhere around the theatre, and her image was everywhere, and she was posing the lobby wanting people to ignore her. Her image was all over the men’s room, ferrchristssake. Then there’s her “Statement from the Artist”, which includes this: “The theatre requires a sacred corporal exchange – a sense-based modality of transference that demands physical presence.” WTF?

This was an exercise in a person wanting to be on display, who was seemingly in love with her own image.

On display she was, for 85 long minutes.

Perhaps I wasn’t her audience. Perhaps I just don’t get her humor. There were folks in the audience laughing uproariously. I laughed about 3 times, overall. She reminded me of Conan O’Brien, someone else who I don’t find funny at all. She was all exaggerated facial expressions, self-examination, and pointless dialogue. It is a form of humor I don’t understand.

The NY Times wrote of this show, when it was in New York,

Impatient, stylized, cerebral, Berlant’s comedy has never been for all markets. Nearly a decade ago, my colleague, Jason Zinoman, an early champion, described her as “not to everyone’s taste.” Marc Maron, on a recent episode of the WTF podcast, introduced her this way: “She’s an odd presence. But funny.” Her comedy resembles an infinite recursion, a hall of mirrors in which the reflections rarely flatter.

Note: The NY Times link is one of my “Gift Article” links, so you can read the whole thing. It does a good job of explaining what she is doing, although not everything mentioned is in the Pasadena Playhouse lobby. As they put it:

…she is a comic for all the girls out there who think too much… The confessional solo is a hallowed form downtown; Berlant desecrates it from every side. She plays with its creeds the way that a cat might toy with a mouse — teasing, batting, swiping, mauling. […] how you respond to “Kate” may have to do with how much you enjoy seeing theatrical tropes savaged. … The accents, the miming, the assumption of multiple characters, the buildup to some terrible trauma, all are satirized here.

So I understand now what she was trying to do. It still didn’t land with this audience goer. Listening to some of the folks as we left, we weren’t alone. Yet there were others for who it landed in a way they understood. I just don’t get what they saw.

But there are many things in this world I don’t get. #include <political-reference>

Kate certainly wasn’t for this theatregoer, who tends to prefer traditional stuff. I’m not a standup comedy person (I don’t go to comedy clubs).  I’m not into the avant guard or overly expressionistic comedy. I just don’t know what to make of this, other than it wasn’t something I liked, or would care to see again. Sometimes, theatre hits it out of the park. Sometimes, they get a base hit. Sometimes, they swing and miss, and swing and miss, and swing and miss, and ….

If Kate Berlant and her style is your thing, enjoy. We didn’t.

One additional note: The program for Kate is a similarly narcissistic, with her picture plastered everywhere. Hell, her show starts with the projected background showing links to her Amazon series, and showing her IMDB credits. But the creative team bios? Those are relegated to a QR code. That’s really poor form; a trend I don’t like. Websites go away or are reorganized away; printed program are a record of shows forever. I pay for my tickets; I should get a program with bios. There’s an Equity logo on this show; Equity shouldn’t put up with this. As a side note: The code takes you to https://pasadenaplayhouse.ihub.app/c/kate/feed?postTypeId=whatsNew .

Second note to the Pasadena Playhouse: That’s the other problem with QR codes: You have no idea where you are going — and unless you have your scanner set up to not automatically take you there, they are a cybersecurity nightmare. Well, even if you do, they are, because you can’t assess whether is a website is safe based on a URL alone. You also disenfranchise your audience (in that it is difficult to scan a QR code that is embedded within an online program) , and QR code programs encourage audiences to play with their phones during a show. Traditional printed programs, please.

Warning: There is an intense strobe light sequence in this show. Be forewarned if you insist on going to this show, and you are at all sensitive.

Kate. Runs until February 11. Tickets available through the Pasadena Playhouse, and likely through your favorite discount source.

Cast: Kate Berlant (Kate).

Above the Line Production: Kate Berlant (Writer); Bo Burnham (Director)

Below the Line Production and Creatives: Dots (Scenic Design); Amith Chandrashaker (Lighting Design); Palmer Hefferan (Sound Design); Lindsay Jones (Stage Manager); Brad Enlow (Technical Director / Production Supervisor); Davidson & Choy Publicity (Press), David S. Franklin (Asst. Stage Manager).

♦ ♦ ♦

Administrivia: I am not a professional critic. I’m a cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; Geffen Playhouse (Mini-Subscription); 5-Star Theatricals. We’re looking for the right intimate theatre to subscribe at — it hasn’t been the same since Rep East died (it’s now The Main, and although it does a lot of theatre, it doesn’t have seasons or a resident company), and post-COVID, most 99-seaters aren’t back to doing seasons (or seasons we like). I used to do more detailed writeups; here’s my current approach.

Upcoming Theatre – Next 90ish Days:

 

Share