Tag: taper-ahmanson

Where were you from mid-August to the beginning of October, 1978? Me? I was in my second year as a Junior Counselor up at Gindling Hilltop Camp (FB), followed by starting my Sophmore year at UCLA. I wasn’t the avid theatre-goer back then, although I do remember seeing another Center Theatre Group (FB) show at the Ahmanson Theatre (FB), They’re Playing Our Song with Robert Klein and Lucie Arnaz (FB). I recall that I knew about a new show called Zoot Suit at the Mark Taper Forum (FB), but I certainly hadn’t been to the Mark Taper Forum, nor was I going to go up to the Mutual Ticketing Window at the Student Union to get full price tickets for it (for there was no notion of discount tickets back then). I even didn’t get tickets after it moved to the Aquarius Theatre. However, I do remember the El Pachuco ads all around the city. I later learned of the significance of the production — for its message, for its impact on Chicano theatre, and for its impact on the œuvre of the Los Angeles centered play. I am still sorry I missed the original production.

So when I learned that Center Theatre Group (FB) was celebrating its 50^th anniversary by remounting Zoot Suit, I had to get tickets. We were able to fit one of the preview performances into our schedule, and so last night saw us at the Mark Taper, bookmarked and interspersed with a series of what can be best called “adventures”^†.

Zoot Suit is a dramatized retelling of the incidents surrounding the Sleepy Lagoon Murder and the Zoot Suit Riots in Los Angeles in the 1940s. Names were changed, and some events altered slightly, but what strikes me in reading the linked Wikipedia pages is how much of the truth of what happened made it into the show. Note: If you are curious where the Sleepy Lagoon was, wonder no longer — this website has the answer.

A good summary is from the ABC-CLIO website on the show:

A work of historical fiction, Zoot Suit follows two significant stories of racial injustice in Los Angeles from the 1940s. Set in the streets of East Los Angeles, Zoot Suit recounts events of the 1942 Sleepy Lagoon case and the 1943 Zoot Suit Riots. These incidents became symbolic of the racial injustice against Mexican Americans in Los Angeles and across the country during this time period. The play follows Henry Reyna and members of the predominantly Mexican American 38th Street Gang, who were wrongly accused and convicted of murder. The play also treats incidents from the 1943 Zoot Suit Riots, where racial tensions escalated into violent confrontations between zoot suit–wearing pachucos, U.S. servicemen, and Los Angeles law enforcement. The play is set against actual testimony from the Sleepy Lagoon murder trial and press headlines from the 1940s, recounting these historical events through the eyes of a group of Mexican American youth. At the center of Zoot Suit is the character El Pachuco, an idealized zoot suiter played memorably by Olmos during the play’s (original) Los Angeles run.

I think the saddest thing about Zoot Suit is that it is again relevant. The unjustified racial animosity against Mexicans, Filipinos, Blacks, and other non-whites during the 1940s has sadly seen a resurgence today, and the techniques and biases and riots that were seen then, built out of a fear of xenophobia, has infested our society today. Back then, it was the zoot suit that tarred many hard-working men unjustifiably as dangerous; today, it is the hijab, the beard, and the hoodie. Almost 75 years later, and white society is still fearful of the stranger that is coming to attack their privilege. Back then, they registered Japanese and Hispanics; today, it is Muslims. Reading the history, leaders like Ceser Chavez and Malcom X were zoot suiters. Will we ever learn from history? Our leaders today want extreme vetting and bans to keep out muslims, and they want a wall to keep out, yes, the Mexicans.

Back in December, Donald Trump complained that theatre should not make one uncomfortable. He is wrong. Although there are times theatre is an escape, theatre at its heart makes one uncomfortable. It speaks truth to power, it dramatizes messages that must be heard, and be heard, and be heard again until they sink into our thick skulls. What makes our country great is not the top 1% with all the money. What makes our country great are the immigrants, the workers, and those who struggle everyday; they are the ones who work the hardest to make a better life. They don’t want to keep people out to protect the life they have.

So, do I think you should see Zoot Suit? Hell yes. See it. Talk about it. Learn from it.

One other thought related to the overall show. Two weeks ago, we saw another Hispanic production, the Dual Language version of Disney’s Aladdin at Casa 0101 in East LA.  Very different, but very similar. Both tell a story of Love. Both tell a story of class and non-acceptance. Both have elements of intolerance. Both mesmerize, but in different ways. Zoot Suit was the start of Chicano theatre in Los Angeles; looking back at intolerance of Pachuco culture in our city. Aladdin is where Chicano theatre is today, building upon dual language while still demonstrating how lack of understanding between cultural groups can divide. A cartoon going around Facebook this week showed Jasmine and Aladdin on the carpet, noting that “I can show you the world… well, except the United States.” Speaking truth to power, have we come that far and grown. Alas, perhaps not.

The realization of the show by author and director Luis Valdez (FB) had a very newspaper-ish esthetic: stacks of newspapers served as chairs, tables, and beds; there was lots of emphasis on the headlines of the day and newspaper reporters; there was projection on to Venetian blinds. Looking back at some original production photos, however, and it appears this was much like the original conception. It still worked.  Valdez also gave the show a very authentic Chicano and Pachuco feel; one got the impression that the feel of the show was the feel of the original. I’ll note here that the show was co-produced with El Teatro Campesino (FB), Valdez’s theatre company. ETC was also the birthplace of Culture Clash, who we saw at VPAC back in November — in many ways unknowingly preparing us for Zoot Suit and introducing us to the music of Lalo Guerrero, who composed much of Zoot Suit‘s original music. Alas, there is no CD of Zoot Suit, and the movie soundtrack is only available on vinyl. Pity.

Leading us through the Zoot Suit dramatization was El Pachuco, played originally by Edward James Olmos (FB), and here by Demian Bichir (FB). El Pachuco is perhaps the alter-ego of the lead character and “leader” of the gang, Henry Reyna. He eggs Henry on, pushes him in various directions, spreads the Pachuco way, and provides a little clarity to the audience.  Bichir channels the character well, embodying the style and attitude that is so important in the Pachuco culture.

Playing the lead character, Henry Reyna, and his girlfriend Della Barrios were Daniel Valdez (FB) and Rose Portillo (FB), respectively. Wait, strike that. Those were who played those roles in the original 1978 production. In this production, Valdez and Portillo provided interesting continuity with the past by playing the parents of Henry Renya, Enrique Reyna and Dolores Reyna. It was an interesting nod to the original and a passing of the torch; I’m sure it was astoundingly meaningful to the acting ensemble.

Let’s try this again, in this production, playing the lead character, Henry Reyna, and his girlfriend Della Barrios were Matias Ponce (FB) and Jeanine Mason (FB), respectively. Ponce is on-stage for almost the entire show and he has the presence to carry it off. His portrayal captures well the opposing natures of Henry: leadership and violence, family and love, the tormented conflict of one under constant attack by “the man”. Mason’s role is smaller, yet she is still quite fun to watch and shines in her scenes at the conclusion of the story.

The remainder of the Sleepy Lagoon defendants and the key gang members we see are Ismael “Smiley’ Torres (Raul Cardona (FB), also: u/s El Pachuco), Joey Castro (Oscar Camacho), and Tommy Roberts (Caleb Foote (FB)). They embodied their characters well, bringing distinct personalities to what could have been cookie-cutter portrayals. Their individual moments during the jail sequences were great.

Rounding out the Reyes family were Stephani Candelaria (FB) as Lupe Reyna and Andres Ortiz (FB) as Rudy Reyna. Candelaria’s Lupe was fun to watch, especially in her initial scenes with the family before the first dance. Ortiz’s Rudy showed the power of drink to change a personality, with the actor handily capturing the transformation from kid wannabe to dangerously hot-tempered drinker.

Rounding out the lead characters were Brian Abraham (FB) as Henry’s attorney, George Shearer, and Tiffany Dupont (FB) as Alice Bloomfield, head of the committee that was arranging for the legal defense of the Sleepy Lagoon defendants.  Abraham’s Shearer was a typical grizzled attorney who cared about his clients deeply, and came across well. Dupont’s Bloomfield captured the style of the era well and had great chemistry and humor with all four of the Sleepy Lagoon defendants, but especially with Ponce’s Henry.

Rounding out the cast in various roles were: Mariela Arteaga [La Pachuca Hoba, u/s Bertha Villareal]; Melinna Bobadilla (FB) [Bertha Villareal, u/s Dolores Reyna]; Fiona Cheung (FB) [La Pachuca Manchuka]; Holly Hyman (FB) [La Pachuca Lil Blue]; Kimberlee Kidd [Dance Captain, Guera, u/s Alice Bloomfield]; Rocío López (FB) [Elena Tores, u/s Della Barios / Lupe Reyna]; Tom G. McMahon [Press]; Michael Naydoe Pinedo (FB) [Ragman / Cub Reporter / Sailor , u/s Rafas / Marine , u/s Joey Castro , u/s Sergeant Smith / Baliff / Bosun’s Mate]; Gilbert Saldivar (FB) [Rafas / Marine, u/s Enrique Reyna / Ismael ‘Smiley’ Torres]; Richard Steinmetz (FB) [Lt. Edwards / Judge F.W. Charles / Prison Guard]; Evan Strand (FB) [Swabbie, u/s Tommy Roberts / Cub Reporter]; Bradford Tatum (FB) [Sergeant Smith / Boson’s Mate / Baliff, u/s George Shearer / Press / Lt. Edwards / Judge F.W. Charles / Prison Guard]; and Raphael Thomas (FB) [Dance Captain / Newsboy, u/s Swabbie]. All were strong dancers and performers. I want to highlight Bobadilla’s Bertha Villareal, who was a standout in her scenes.

Turning to the music and movement side: Daniel Valdez (FB) was the music director, with choreography by Maria Torres (FB). The movement and dance was strong, with what seemed to be (at least to me) period appropriate dance. Hand in hand with the movement was the fight direction of Steve Rankin (FB). With respect to music, it appears to have been pre-recorded, as there are no credits for musicians.

The scenic design, which I mentioned previously and worked quite well, was by Christopher Acebo. It was complemented by the projection design of David Murakami (FB) and the lighting design of Pablo Santiago. I particularly appreciated the latter’s use of red lighting in a few scenes to create a very ominous tone. Murakami’s projections provided the news backdrop, especially when projected against the Venetian blinds. The sound design was by Philip G. Allen. At the preview performance there were numerous sound problems, including some very bad computer-created static in Act I and some very low microphones — all of which I presume will be ironed out by opening, as will some overly loud sound effects. <rant> What won’t be ironed out was the static caused by cellphones!!! People — please — put your phones in airplane mode or turn them off during a show. You can focus your attention for something live for three hours instead of your silly screens! </rant> The costume design of Ann Closs-Farley and the wig design of Jessica Mills (FB) worked together to recreate the 1940s — the costumers were just fantastic for both the ladies and the gents (credit also goes to El Pachuco Zoot Suits in Fullerton for the wonderful suits). Rounding out the credits were David S. Franklin – Production Stage Manager; Neel Keller – Associate Artistic Director; and Phillip Esparza — Executive Producer / El Teatro Campesino. Michelle Blair and Susie Walsh were the stage managers.

Zoot Suit continues at the Mark Taper Forum (FB) through March 19. Tickets are available through the CTG website. Discount tickets may be available through Goldstar. Don’t miss this show this time.

^†: Such as, you ask: We had a relatively bad dinner at Black Bottom Southern Cuisine at Vineland and Cabrillo in NoHo: it may have been takeout hipster, but it wasn’t great Q (the BarBeQue Bar up the street is much better) or good Southern, and they used too much MSG. My wife left her purse on the Metro when we got off at Civic Center; luckily Metro security nabbed it and had it at Union Station for pickup, but we had to go back in and ride one stop to Union Station and back to pick it up before the show (this left my wife’s knee in pain); the preview audience was poor — arriving late (stand up to let them in) both for the show and after intermission (ouch! that was my toe!), leaving early, and using their cell phones; coming back the Metro accelerated harder than usual throwing us across the train because we hadn’t sat down yet; and then driving back we drove through a cloud of burning rubber on the freeway. Good show around a bad evening.

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Ob. Disclaimer: I am not a trained theatre critic; I am, however, a regular theatre audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at Cabrillo Music Theatre (FB), the  Hollywood Pantages (FB), Actors Co-op (FB), the Chromolume Theatre (FB) in the West Adams district, and a mini-subscription at the Valley Performing Arts Center (VPAC) (FB). Through my theatre attendance I have made friends with cast, crew, and producers, but I do strive to not let those relationships color my writing (with one exception: when writing up children’s production, I focus on the positive — one gains nothing except bad karma by raking a child over the coals).  I believe in telling you about the shows I see to help you form your opinion; it is up to you to determine the weight you give my writeups.

Upcoming Shows: February 2017 continues with the Manhattan Transfer at the Valley Performing Arts Center (VPAC) (FB) on February 9th, followed by 33 Variations at Actors Co-op (FB) over the weekend. The third weekend brings Peter Yarrow and Noel Paul Stookey at the Thousand Oaks Civic Arts Plaza (FB) on Friday, February 17, with seeing Allegiance – A New Musical (recorded on Broadway) at the AMC Promenade on Sun 2/19. The last weekend in February brings Finding Neverland at the Hollywood Pantages (FB). March quiets down a bit — at least as currently scheduled — with the MRJ Man of the Year dinner,  Fun Home at the Ahmanson Theatre (FB) at the beginning of the month, and An American in Paris at the Hollywood Pantages (FB) at the end of the month. April starts with Cats Paw at Actors Co-op (FB) and a concert with Tom Paxton and the DonJuans at McCabes Guitar Shop (FB) (shifting Cats Paws to an afternoon matinee that day, or the Sunday matinee the weekend before). The next day brings the Colburn Orchestra at the Valley Performing Arts Center (VPAC) (FB). The next weekend is currently open (and will likely stay that way). Mid-April brings Animaniacs Live at the La Mirada Performing Arts Center (FB). That will be followed on the penultimate weekend of April with Sister Act at Cabrillo Music Theatre (FB). Lastly, looking to May, the schedule shows that it starts with My Bodyguard at the Hollywood Pantages (FB) the first weekend. It continues with Martha Graham Dance and American Music at the Valley Performing Arts Center (VPAC) (FB). The third weekend brings the last show of the Actors Co-op (FB) season, Lucky Stiff, at Actors Co-op (FB). May concludes with Hello Again at the Chromolume Theatre (FB). As for June? Three words: Hollywood Fringe Festival (FB). That, barring something spectacular cropping up, should be the first half of 2017.

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Musicals in LA, @ This Stage, Footlights, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves. Note: Lastly, want to know how to attend lots of live stuff affordably? Take a look at my post on How to attend Live Theatre on a Budget.

P.S.: Mostly so I can find it later, here’s my predictions of what will go on tour and where they will end up. The Hollywood Pantages (FB) announces February 7th.

It is rare to find a musical that has, at its heart, calculus and mathematics. Yet the magical new musical Amélie, currently in previews and officially opening at the end of the week at the Ahmanson Theatre (FB), does. Amélie is a musical that charmed and enthralled me, and had me smiling from beginning to end — so much so that I am considering seeing it a second time (a rarely) so that I could catch some of the magic that I missed.

Amélie is based on the French 2001 Romantic Comedy starring Audrey Tautou, about a shy imaginative girl who changes the lives of those around her for the better. The film, which I saw ages ago, had a magical quality that almost made it slightly surrealistic (you’ll see the same surrealism in the TV show Pushing Daisies, which used Amélie as a model). In the film, Amélie rarely speaks but we see her inner thoughts, and inner thoughts are just the thing to musicalize.

But first, the calculus. As the musical relates, when Amélie is young, her parents mistakenly believe she has a heart condition and choose to home-school her. Her mother teaches her Zeno’s Paradox, which is the notion that one can never go from point A to point B, because of the infinite sequence of going half-way there means you never make it all the way. As a result of this, Amélie uses the paradox as an excuse to never get close to people, because she believes she can never actually be close.

The story told in the musical is roughly the story told in the movie, with some slight reworkings. You can get a better idea of the story by looking at the Wikipedia page for the musical, but note that the synopsis there is of the Berkeley Rep (FB) version. This is a production on the way to Broadway, and there have been reworkings since Berkeley Rep. In particular, a number of story elements from the movie have been restored, and Amélie has been given more songs to highlight her inner thinking and motivation.

Where as the movie used special effects to achieve its magic, the theatrical production uses a mixture of traditional theatrical stagecraft and projections to recreate magic on the stage. This includes an integrative approach to the ensemble, use of puppets, use of set tricks and lighting tricks, combined with effective projections. The net effect is a delight for the eyes, and astonishment for the heart. The clever direction of Pam MacKinnon (FB) and choreography of Sam Pinkelton (FB) combine with the theatrical stagecraft of the production team and the talent of the performers to create something that had me spellbound. I’ll note that this starts even before the show does, look at the opening projection very carefully, and wait….

The version we saw was a one-act, and the songs and scenes were not listed in the program. This is appropriate for a production that may be subject to change before Broadway (but it is hell on a reviewer, especially one like me that might not get publicity material). I found that the productions pace was good, with a particular drive that kept my attention. My wife felt that it was a little long, and could use an intermission. There was one point that I felt would be a good intermission point — right after Amélie runs away after first finding Nemo (heh, heh, Finding Nemo). I wonder if the producers felt that interrupted the drive, or that it left too little material in Act I or Act II. I’d suggest that the audience is enthralled with the character by that point, and will return to see what happens — plus there are a few remaining themes from the movie that could be integrated.

The performance of the lead, Phillipa Soo, supported by Savvy Crawford (FB) as the younger Amélie, was spectacular. She captured the playfullness as well as the enigmatic nature of Audrey Tautou‘s Amélie, which combined with her wonderful singing voice to provide a truly captivating performance. This was a role made for these two young ladies.

As for the rest of the performers, I’m lumping them together as the emsemble, although in the program some are listed as only one character. This is because, at points, they all do various background stuff. Recently, I’ve been listening to the Ensemblist podcast as it has been going through the changing role of the ensemble in the arc of Pulitzer Prize winning plays. This show is clearly in the mold of the Rent and Hamilton ensembles: the actors play specific characters, but they also fill in to give a fullness to the piece, complementing each other in anonymous or small characters in addition to their named roles. This tier of performers were: Adam Chanler-Berat (FB) [Nino], Tony Sheldon [Collignon / Dufayel], Alison Cimmet (FB) [Philomene / Amandine]; Heath Calvert (FB) [Lucien / Lug / Mysterious Man], Alyse Alan Louis (FB) [Georgette / Sylvie], Paul Whitty (FB) [Joseph / Fluffy], Manoel Felciano (FB) [Bretodeaux / Raphael], Harriett D. Foy (FB) [Suzanne], Maria-Christina Oliveras (FB) [Gina], David Andino (FB) [Blind Beggar / Garden Gnome], and Randy Blair (FB) [Hipolito]. Emily Afton (FB) (Dance Captain) and Jacob Keith Watson (FB) were the swings.

Overall, it is hard to highlight individual performance with the lack of a songlist. Suffice it to say that all work together to create an indescribable, beautiful whole. This is truly a holistic show, where the actors just come together magically to tell a story.

As noted earlier, movement design is by Sam Pinkelton (FB), assisted by Associate Choreographer Katie Spelman (FB) and Dance Captain Emily Afton (FB). It is hard to say there is formal dance in this production; certainly, there  is not the traditional theatrical dancing chorus. There is, however, beautiful movement from the opening piece that tells the story of of Amélie’s birth, and the overall movement contributes to the magical whole.

So far, although this is a musical, I haven’t mentioned the writing credits. Amélie features a book by Craig Lucas, with music by Daniel Messé (FB) and lyrics by Nathan Tysen (FB) and Daniel Messé (FB). I found the music to be strong and driving — music that had a good driving energy and was fun to listen to. Lacking the list of songs and having only heard the pieces once, it is hard to identify something specific. I will say that there were precious few slow ballads, and nothing that had me looking at my watch. Orchestrations were by Bruce Coughlin (FB), and musical direction was by Kimberly Grigsby. The orchestra consisted of Kimberly Grigsby (Conductor / Keyboard), Jeff Driskill (FB) (Woodwinds), Adriana Zoppo (FB) (Violin/Viola), Amy Wilkins (Harp), Paul Viapiano (FB) (Guitar), Ed Smith (FB) (Percussion), Ken Wild (FB) (Bass), Robert Payne (Trombone / Contractor). Alby Potts (FB) was the Associate Conductor.  The orchestra provided good sound, but I missed the real full orchestra of last week’s Wonderful Town at the Chandler.

Turning to the production and creative side of the equation. The imaginative scenic and costume design was by David Zinn (FB), which combined all sorts of stuff to create the magical world Amélie inhabited. This was augmented by the lighting design of Jane Cox and Mark Barton and the projection design of Peter Nigrini, which completed the magic. The puppet design of Amanda Villalobos was great, in particular Fluffy the fish. Wig Design was by Charles G. LaPointe (FB), and were suitably imaginative. Sound design was by Kai Harada (FB); it blended into the background as it should. Vocal arrangements were by  Kimberly Grigsby and Daniel Messé (FB). Rounding out the production credits: James Harker (Production Stage Manager), Jim Carnahan CSA and Stephen Kopel CSA (Casting), Cherie B. Tay (Stage Manager), Lora K. Powell (Assistant Stage Manager).

Amélie continues at the Ahmanson Theatre (FB) through January 15. Tickets are available through the Ahmanson website; discount tickets may be available through Goldstar. You’ll be enchanted.

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Ob. Disclaimer: I am not a trained theatre critic; I am, however, a regular theatre audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at Cabrillo Music Theatre (FB), the  Hollywood Pantages (FB), Actors Co-op (FB), the Chromolume Theatre (FB) in the West Adams district, and a mini-subscription at the Valley Performing Arts Center (VPAC) (FB).

Past subscriptions have included  The Colony Theatre (FB) (which went dormant in 2016), and Repertory East Playhouse (“REP”) (FB) in Newhall (which entered radio silence in 2016). Through my theatre attendance I have made friends with cast, crew, and producers, but I do strive to not let those relationships color my writing (with one exception: when writing up children’s production, I focus on the positive — one gains nothing except bad karma by raking a child over the coals).  I believe in telling you about the shows I see to help you form your opinion; it is up to you to determine the weight you give my writeups.

Upcoming Shows:  Next week brings  The King and I at the Hollywood Pantages (FB). December concludes with an unspecified movie on Christmas day; and a return to our New Years Eve Gaming Party.

Turning to 2017, January starts with a Southern California Games Day, followed by Zanna Don’t at the Chromolume Theatre (FB) on January 16. We may get tickets to Claudio Quest at the Chance Theatre (FB) on January 28. February 2017 gets back to being busy: with Zoot Suit at the Mark Taper Forum (FB) the first weekend. The second weekend brings 33 Variations at Actors Co-op (FB). The third weekend has a hold for the WGI Winter Regionals. The last weekend in February brings Finding Neverland at the Hollywood Pantages (FB). March quiets down a bit — at least as currently scheduled — with the MRJ Man of the Year dinner,  Fun Home at the Ahmanson Theatre (FB) at the beginning of the month, and An American in Paris at the Hollywood Pantages (FB) at the end of the month.

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Bitter-Lemons, Musicals in LA, @ This Stage, Footlights, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves. Note: Lastly, want to know how to attend lots of live stuff affordably? Take a look at my post on How to attend Live Theatre on a Budget.

Sometimes, you see a show and wonder what was going through the instigator’s mind. What prompted Stephen Sondheim to see a musical in the story of Sweeney Todd? What led Kander and Ebb to see a musical in the story of the Scottsboro Boys? Why did Merrill and Styne see a musical in the story of Prettybelle? Why, oh why, was there a notion to musicalize “The Madwoman of Chaillot” as Dear World? Musicalize Carrie? What are you smoking?

Then, surprisingly, the ideas sometimes work out. Sweeney Todd is a masterpiece. History is showing that there was more to Carrie – The Musical than originally seen. Scottsboro Boys may eventually find its place as well.

There’s no hope, however, for Dear World or Prettybelle.

Then there is last night’s show at the Ahmanson Theatre (FB): Grey Gardens, the Musical. One wonders what possessed book writer Doug Wright, composer Scott Frankel, and lyricist Michael Korie, to see a musical in the documentary film “Grey Gardens” by David  and Albert Maysles, Ellen Hovde and Muffie Meyer, and Susan Froemke, is beyond me. The result — which tells of the dysfunctional mother-daughter relationship of Edith Ewing Bouvier Beale and her daughter Edith Bouvier Beal (“Little Evie”) — may have great performances, but the story leaves you shaking your head and asking “Why?”

Let me elaborate. The title, Grey Gardens, refers to an estate in East Hampton, NY, that was purchased in the mid-1920s by the Phelan Beale. Beale was a Wall Street banker, and his with, Edith, was socialite and singer, whose primary claim to fame was as the aunt of Jackie Kennedy Onassis. Jackie, and her sister Lee, used to spend their summers with their aunt during the 1940s at Grey Gardens. Edith and Phelan’s daughter, also named Edith, was another aspiring actress. Any chance she had for marriage with thwarted by her mother, and eventually both Ediths ended up living in squalor in Grey Gardens with a collection of over 50 cats and feral raccoons. The situation was so bad they were threatened by the East Hampton health department. A documentary film was made of their story, and it became a cult classic.

The musical, Grey Gardens, attempts to tell the story in the documentary. The first half occurs in the 1940s, and centers on the engagement party for Little Edie and Joseph Kennedy Jr. (Jack Kennedy’s older brother). Big Edie sabotages the engagement to bring attention to herself, and Little Edie storms off to New York. This act takes some liberties with the story: there is no confirmation of the Kennedy-Beale engagement or this party; the actual party was a coming out party for Edie’s brother and took place earlier, with the divorce telegram actually arriving in 1946. The second half occurs in the early 1970s, and is essentially the documentary brought to life. It shows what Big and Little Evie’s life had degenerated into, their self-delusions, their dysfunctional relationship.

Ultimately, however, the show is a picture of a dysfunctional mother, and how she screwed up her daughter. Why we would want to see this — when there is no ultimate redemption — is beyond me. So you’re probably asking why I bought tickets? That’s easier to answer: I had seen the performance on the Tonys (they did the opening number from Act II), and had heard the music, and wanted to see how they handled the story. My conclusion was that there were some very good numbers, some excellent performances, but the story was one of those train wrecks that make you wonder afterwords why you found it so interesting.

My wife identified the problem well: both she and I grew up with mothers who were easily like this. We escaped. So why would we want to see a story that shows what could have been? It didn’t leave us with a great feeling.

That’s not to say there were not redeeming aspects. This wasn’t a complete train wreck like I Caligula, The Musical. A number of the songs are very entertaining, such as “The Five-Fifteen” (a dangerous ear worm), “Marry Well”, “The Revolutionary Costume for Today” (the number I saw on the Tonys) and “The House We Live In”. But I think the most poignant number is the penultimate one, “Another Winter in a Summer Town”, which could easily be a sad standard. It captures well the sadness of Little Evie’s life, what happens in the Winter for a Summer Town girl.

The performances were much stronger than the story itself. The trick conceit of this show is that the actress playing “Big Evie” in the first act becomes the Little Evie of the second act. This Edith was portrayed by Rachel York, who gave a remarkable performance. According to two of the orchestra members we spoke to after the show at the Metro station, her performance perfectly captured the Little Edie of the documentary. I haven’t seen the documentary, but it was a strong performance both in characterization and vocalization. She was just mesmerizing on stage.

Playing against York’s Little Edie in the second act, as Big Edie, was Betty Buckley (FB). Again, this was a great performance of a controlling woman, who achieved the control in various passive aggressive ways. Another example of strong characterization and vocalization. The two played well against each other — you could believe they were mother and daughter fighting.

At this point, I’ll interject to credit the director, Michael Wilson. I can never tell what comes from the director and what comes from the actor, but Wilson clearly worked with this cast to make the portrayals realistic, and it worked.

Playing against York’s Big Edie in the first act was Sarah Hunt (FB). I quite enjoyed Hunt’s performance — I thought she captured the spunk and the scheming of Little Edie quite well, and was extremely cute in “Two Peas in a Pod”.

Before I go to the other adult characters, I want to mention two who stole the show whenever they were onstage: Katie Silverman (FB) as Jacqueline Bouvier and Payton Ella (FB) as Lee Bouvier. These two little girls were cute as proverbial buttons, strong singers and dancers, and just fun to watch. Did I mention they were cute as buttons?

Turning to the main male characters. Simon Jones was very strong as J. V. “Major” Bouvier and Norman Vincent Peale — I particularly enjoyed him in “Marry Well”. The book doesn’t quite capture what he did in real life, but the performance was a hoot none-the-less. Josh Young (FB) demonstrated his strong singing and performance skills as both Joseph P. Kennedy Jr and Jerry, especially in “Going Places”.

Rounding out the male performers in named roles were Bryan Batt (FB) as George “Gould” Strong and Davon Williams (FB) as Brooks Sr. and Brooks Jr.  Both were very strong; Batt was wonderful in his facial expressions and playfulness.  I also noticed he was actually playing the piano.

Rounding out the cast as the ensemble players — choir members in some scenes, the camera and sound operators, asst. townspeople — were…. well, the ensemble isn’t explicitly credited as ensemble. Understudies are credited, so I’ll presume that the ensemble consisted of some subset of the understudies. The “understudies” were: Olivia Curry (u/s Jackie Bouvier, u/s Lee Bouvier), Rogelio Douglas Jr (FB) (u/s Brooks Jr, u/s Brooks Sr.), Steven Good (FB) (u/s George “Gould” Strong, u/s Kennedy Jr/Jerry, u/s Major Bouvier), Melina Kalomas (FB) (u/s Little Evie), Michelle London (FB) (u/s Young “Little” Evie, Dance Captain), and Rebecca Spencer (FB) (u/s Edith Bouvier Beale).

This was not your typical show, with large dance numbers with long-legged chorines. There was some dance, and there was definitely movement, and it was under the choreography of Hope Clarke. Still, some numbers exhibited great movement — in particular, “Marry Well”, “Two Peas in a Pod”, and “The House We Live In”.  Charles Swan (FB) served as Associate Director/Choreographer.

The music was under the music direction of Kevin Stites, who served as the conductor and lead keyboard for the hidden orchestra. The other orchestra members were: Gerald Sternbach (FB) (Associate Conductor, Keyboard); Sal Lozano (Reed 1); Jeff Driskill (Reed 2); Laura Brenes (French Horn); John Fumo (FB) (Trumpet); Jen Choi Fischer (Violin); David Mergin (Cello); Ken Wild (Bass); and Cliff Hulling (Percussion). Robert Payne was the Music Contractor.

Turning to the other creative aspects: The scenic design was by Jeff Cowie; the lighting design was by Howell Binkley; and the projection design was by Jason H. Thompson (FB). I mention these three in one breath because they all integrated together. The scenic design was a combination of a decayed shingle house (which reflected the pictures I’ve seen of the real Grey Gardens), but built upon projections to establish the time of day and to provide background for various songs. More significantly, the projections included documentary style film output that was seemingly real-time, yet I couldn’t always find the camera. All three integrated with the lighting to focus attention and provide mood impacts. The sound design of Jon Weston was clear and didn’t overpower, although at times you could tell you were listening to the speaker instead of the person speaking. The costume design of Ilona Somogyi combined with Paul Huntly‘s wig design to bring the characters to life.  I particularly noted how the costuming reflected the real quirky sensibilities of the real Little Evie, as well as the style of the clothes that the little girls wore.  Rounding out the production credits: Original Casting – Stewart/Whitley (FB); L.A. Casting – Beth Lipari, CSA (FB); Production Stage Management – Robert Bennett; Assistant Stage Manager – Denise Yaney. This production was “inspired” by the Bay Street Theatre production with the same leads and the same director (and, not surprisingly, many of the same costumes).

Grey Gardens continues at the Ahmanson Theatre (FB) through August 14th. Tickets are available through the Ahmanson Box Office. Discount tickets may be available through Goldstar, and $25 HotTix may be available by calling the Ahmanson at 213.628.2772. Should you go see it? If you liked the documentary, or want to see an odd musical about a dysfunctional mother/daughter relationship, go. If that’s not your bag, or you want a traditional musical, skip it.

Regarding the HotTix comment. As we walked into the show, the subscription sales pushing critter stated that HotTix will not be available next season. I haven’t been able to confirm that online; I have a question into to CTG Customer Service. Looking at their subscription packages raises a number of question, especially as they have gone to a seating plan that divides up the orchestra (which could be the rationale for eliminating HotTix). This is a plan similar to the Pantages, and it is what drove us to subscriptions. However, their pricing makes no sense: (a) they do not offer subscription seats in either the Premium or the back Mezzanine or Balcony (which both contradicts their claim of subscriptions getting the best seats, as well as providing affordable subscriptions in the back as they used to do); (b) their pricing for the full subscriptions (6 shows) tends to have higher prices than the design-your-package with a minimum of 4 shows (the “design your package”, for Saturday Night, has $23 for D, $38 for C, $65 for B, and $90 for D, whereas the full subscription is $33, $48, $75, and no option for A; and (c) the “Passport” has only a single price, making its use for the lower price tickets non-sensical (they should offer a tier of Passports that tie to the seating areas, with discounts in other areas). Again, I have a query into CTG Customer Service.

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Ob. Disclaimer: I am not a trained theatre critic; I am, however, a regular theatre audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at Cabrillo Music Theatre (FB), the  Hollywood Pantages (FB), Actors Co-op (FB), and I plan to renew my mini-subscription at the Valley Performing Arts Center (VPAC) (FB). Past subscriptions have included  The Colony Theatre (FB) (which went dormant in 2016), and Repertory East Playhouse (“REP”) (FB) in Newhall (which entered radio silence in 2016). Through my theatre attendance I have made friends with cast, crew, and producers, but I do strive to not let those relationships color my writing (with one exception: when writing up children’s production, I focus on the positive — one gains nothing except bad karma by raking a child over the coals).  I believe in telling you about the shows I see to help you form your opinion; it is up to you to determine the weight you give my writeups.

Upcoming Shows:  July brings us back to conventional theatre and performance. Next weekend brings a Fringe encore performance of Thirteen’s Spring, as well as The Little Mermaid at  Cabrillo Music Theatre (FB). The end of July gets busy, with Weird Al Yankovic at the Hollywood Bowl (FB) on July 23, Operaworks (FB) Opera Re-Constructed at CSUN on July 24 (pending ticketing), and a mid-week Hollywood Bowl (FB) concert of Wynton Marsalis and Aaron Copeland on July 28, and … currently nothing for the weekend. August is a bit more open in terms of theatre. The first weekend just has a Jethawks game on Sunday; the second weekend has a hold for a Bar Mitzvah.  The third weekend brings another event from the wonderful counter-cultural orchestra, Muse/ique (FB) — American/Rhapsody — a celebration of George Gershwin. Late August sees us looking at shows down San Diego/Escondido for one weekend. The best of the shows available — or at least the most interesting — is Titanic from Moonlight Stages. September returns to conventional theatre. The first weekend has a HOLD for Calendar Girls at The Group Rep (FB). The second weekend may be another Muse/ique (FB) event — Summer/Time, a reimagined retelling of Porgy and Bess. The third weekend has a HOLD for Ma Rainey’s Black Bottom at the Mark Taper Forum (FB). The last weekend is yet another HOLD; this time, for The Hunchback of Notre Dame at The La Mirada Theatre for the Performing Arts (FB).

Continuing the look ahead: October is a bit more booked. The first weekend has a HOLD for Dear World at the Valley Performing Arts Center (VPAC) (FB) and Our Town at Actors Co-op (FB), as well as the start of the High Holy Days. The second weekend has another Valley Performing Arts Center (VPAC) (FB) HOLD: this time for Jazz at Lincoln Center Orchestra with Wynton Marsalis. The third weekend has yet another VPAC HOLD for An Evening with Kelli O’Hara on Friday, as well as tickets for Evita at Cabrillo Music Theatre (FB) on Saturday. The following weekend brings Turn of the Screw at Actors Co-op (FB) on October 22 and the new Tumbleweed Festival (FB) on October 23. The last weekend of October brings Linden Waddell’s Hello Again, The Songs of Allen Sherman at Temple Ahavat Shalom (a joint fundraiser for MoTAS and Sisterhood). Oh, and if that wasn’t enough, October is also the North Hollywood Fringe Festival (FB). November is still in the planning stages, but we know it will include Hedwig and the Angry Inch at  the Hollywood Pantages (FB); a Day Out With Thomas at Orange Empire Railway Museum (FB) [excuse me, “Southern California Railway Museum”]; the Nottingham Festival (FB); and possibly Little Women at the Chance Theatre (FB) in Anaheim. As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Bitter-Lemons, and Musicals in LA, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves.

In the early 1960’s Frank Loesser classic How to Succeed in Business Without Really Trying (H2$), the main character, J. Pierpont Finch, works his way to the top of the company by ruthlessly eliminating through unsuspecting tricks those above him on the food chain. It ends on a note of “what’s next?”, after someone suggested that the President better watch out.

Now, transport yourself back to London in 1909. In A Gentleman’s Guide to Love and Murder (GGLAM) (FB), currently at the Ahmanson Theatre (FB), we have a similar story: Monty Navarro, an outcast cousin of the wealthy and famous D’Ysquith family, discovers that there are 8 people in the line of succession between him and the position of Earl of Highhurst. He, too, learned that there is a way to succeed without really trying to get to the top: through love and murder. As Monty murders… or perhaps doesn’t murder… his way to the top, the audience is taken for a rollicking and extremely funny ride.

The notes to the show note the similarity of the plot to Kind Hearts and Cornets, the 1949 film starring Alec Guiness, where he played eight different characters in a wealthy family being murdered by the ninth man in line for the fortune. It notes that both Kind Hearts and GGLAM are both based on the 1907 novel Israel Rank: The Autobiography of a Criminal by Roy Horniman. Yet in writing this up the parallels between GGLAM and H2$ are quite striking: a young ambitious man working his way to the top while deftly sabotaging, directly or indirectly, those in the path above him to clear the way. Both, at times, exhibit their era’s stereotypical attitudes that are a little bit off today. Both are extremely funny. Both won Tony awards.

What GGLAM adds to the mix that H2$ does not have, however, is a playful conceit drawn from Kind Hearts: all the family members being killed are portrayed by the same actor. This quick change adds to the fun, because unlike film where there is time to change hair and makeup, stage transitions provide extremely little time. This means the actor portraying the family-to-die must be very versatile and creative.

What are the basics of the story, which was adapted from the aforementioned novel by Robert L. Freedman (FB) (Book and Lyrics) and Steven Lutvak (FB) (Music and Lyrics)? Monty Navarro, who is at the bottom of the social rungs living in poverty, is informed just after his mother’s death that he is a disinherited cousin of the aristocratic D’Ysquith family. His branch was cut off after his mother married a Castilian for love, instead of marrying for position or power. Monty is informed that there are eight D’Ysquiths ahead of him in the line of succession. Monty resolves that he will regain his rightful place in the family. After being scorned on his initial approaches, he meets with the only D’Ysquith that will talk to him: the Reverend Lord Ezekial D’Ysquith. After a dilemma similar to that faced by Seymour Krelborn with the dentist in Little Shop of Horrors results in the death of the Reverend, Monty resolves that he will become the Ninth Earl of Highhurst. How? Well, this is A Gentleman’s Guide to Love and Murder, isn’t it? All that stands in front of Monty are Asquith D’Ysquith, Jr., Henry D’Ysquith, Lady Hyacinth D’Ysquith, Major Lord Bartholomew D’Ysquith, Lady Salome D’Yssquith Pumphrey, Asquith D’Ysquith Sr., and Lord Adalbert D’Ysquith.

So where is the Love in the title? That comes from Sibella, the love interest of Monty. However, she does want to marry for wealth and position, which at the start of the story, Monty doesn’t have.  Instead, she marries the boring Lord Hallward and keeps on with Monty on the side … growing more interested in him as he moves his way to the top. Complicating matters, however, arise when Henry D’Ysquith passes. Henry is living with Phoebe D’Ysquith, and quickly, Phoebe falls in love with Monty. She proposes, he accepts, and now you have the complicating love factor of the story.

I won’t go into the closing details of the story; you can get that from the Wikipedia synopsis if you don’t mind the spoilers. Suffice it to say that the path from the first to the last, with the complications of the two women, are hilarious. This is the type of humorous farce that last week’s Bach at Leipzig needed to be, but wasn’t. Under the direction of Darko Tresnjak (FB), the silly and crazy energy required is maintained from the opening song until after the curtain call. Tresnjak brought out a playfulness in his acting team that was broadcast to the audience and was infectious.

The acting team was extremely strong. In the lead positions were John Rapson (FB) as all the members of the D’Ysquith family, and Kevin Massey (FB) as Monty D’Ysquith Navarro. I never saw the original cast member, Jefferson Mays in the role, so I cannot compare. From my vantage, Rapson was astounding — being loads of different characters in different costumes all with different comic mannerisms. He was just a hoot to watch. It seems that everything he did — and he was having fun doing it — was with the express goal of “the funny”. It worked. It is difficult to say which of his many characters was the most fun… it was either Henry or Lord Adalbert in his interactions with his wife. Massey’s Navarro was able to keep up with him; a 1909 Pierpont Finch plotting and scheming and occasionally second-guessing himself in a very funny way. Massey’s songs were less aimed at the funny, and he had a lovely voice with which to carry them off.

The love interests were portrayed by Kristen Beth Williams (FB) as Sibella Hallward and Adrienne Eller (FB) as Phoebe D’Ysquith. Both had lovely singing voices, both were sexy, and both had great comic chops. This was demonstrated in top form in the Act II number “I’ve Decided to Marry You”.  I enjoyed watching them both, but I must admit I was very taken by Eller’s performance (it is just so cute). Fun, fun to watch. Hint: If you sit close enough (or bring binoculars), watch their facial expressions throughout the show (as well as those of the other D’Ysquiths). These actors were really into their roles.

Almost all of the other roles, with the exception of Miss Shingle (Mary VanArsdel (FB)), the lifelong friend of Monty’s mother who informs him of his status, are played by the members of the ensemble switching into named characters. All of these folks were very strong. Again, it was fun watch their faces and movements — it is clear they are having loads of fun doing this show and that energy and fun comes is projected out to the audience. I do want to highlight  Kristen Megelkoch (FB), who was spectacular as Lady Eugenia — her comic interaction with Rapson’s Lord Adalbert was just hilarious. The ensemble (and swings, because I have no idea whether any of those ninjas were on stage) were: Christopher Behmke (FB) (Magistrate, Guard, Ensemble), Sarah Ellis (FB) (Swing/Dance Captain), Matt Leisy (FB) (Tom Copley, Ensemble), Megan Loomis (FB) (Tour Guide, Ensemble), Dani Marcus (FB) (Swing), Lesley McKinnell (FB) (Miss Barley, Ensemble), Kristen Megelkoch (FB) (Lady Eugenia, Ensemble), David Scott Purdy (FB) (Swing/Fight Captain), Chuck Ragsdale (FB) (Swing), and Ben Roseberry (FB) (Chief Inspector Pinckney, Ensemble).

As they often point out at the soon to be dark Cabrillo Music Theatre (FB), live musicals are nothing without live music (a lesson that the Theater League in Thousand Oaks evidently didn’t learn). GGLAM had a 13 person orchestra (when do they change from a band to an orchestra?) under the music direction of Lawrence Goldberg. The orchestra gave a very nice sound and did not overpower the actors. The orchestra consisted of Albin Konopka (FB) (Associate Music Director / Piano), Eric Kang (Piano / Librarian), Jonathan Davis (Oboe / English Horn), Larry Hughes (Clarinet), Andrew Klein (Bassoon), Joe Meyer (French Horn), Robert Schaer (Trumpet), Jen Choi Fischer (Violin 1), Marisa Kuney (Violin 2), Diane Gilbert (Viola), David Mergin (Cello), Ken Wild (Bass), and Cliff Hulling (Percussion). The music contractor was Seymour Red Press / Robert Payne. Paul Staroba was the music supervisor. Orchestrations were by Jonathan Tunick.

The dances in GGLAM make clever use of the space, and are not the typical production numbers (kick kick step turn). Kudos to Peggy Hickey (FB) for the choreography. As dance captain, Sarah Ellis (FB) got the un-envious job of maintaining that choreography on the road.

Turning to the production and creative side: Alexander Dodge‘s scenic design for the tour provides a limited working stage within a stage that keeps the action narrowly focused and emphasizes the comic and theatrical nature of the story being told. This is complemented by the projection design of Aaron Rhyne (FB), which permits the working stage to be many locations through back projection of a scenic flat, often with animation. Both combined with the lighting of Philip S. Rosenberg to provide an effective package of sight and mood. [ETA: An aside on the lighting: I noticed much fewer lights for this show than usual, as it appears the Ahmanson has gone to the more versatile LED lighting systems.] As for sound, the sound design of Dan Moses Schreier was one of the clearest I’ve heard for a tour in ages. Of course, the creativity didn’t stop with the stage, lights, and sounds. They were complemented by the remarkable costumes of Linda Cho, the hair and wig design of Charles G. LaPointe, and the make-up of Brian Strumwasser. As an example of how these were remarkable, consider that John Rapson had to instantly change not only costumes, but wigs and makeup in seconds during transitions, and it was flawless.

The remaining members of the production team were: Dianne Adams McDowell (Vocal Arranger), Binder Casting (Casting), Tripp Phillips (Production Supervisor / Assistant Director), Daniel S. Rosokoff (Production Stage Manager), Eric H. Mayer (Stage Manager), Sarah Helgesen (Assistant Stage Manager).  Neuro Tour provided physical therapy. There were loads and loads of producers. This was an AEA tour.

A Gentleman’s Guide to Love and Murder continues at the Ahmanson Theatre (FB) through May 1, 2016. Tickets are available through the CTG Box Office. Discount tickets may be available through the CTG Hottix program, and Goldstar. It is well worth it — a well done very funny show.

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Ob. Disclaimer: I am not a trained theatre critic; I am, however, a regular theatre audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I had been subscribing at three theatres:  The Colony Theatre (FB), Cabrillo Music Theatre (FB), and REP East (FB): but all have gone or are going dark., I just added a subscription to the  Hollywood Pantages (FB). Through my theatre attendance I have made friends with cast, crew, and producers, but I do strive to not let those relationships color my writing (with one exception: when writing up children’s production, I focus on the positive — one gains nothing except bad karma by raking a child over the coals).  I believe in telling you about the shows I see to help you form your opinion; it is up to you to determine the weight you give my writeups.

Upcoming Shows: This afternoon saw us in Beverly Hills for A Shred of Evidence at Theatre 40 (FB) — this will be written up in the next day or two.  April will start with Lea Salonga at the Valley Performing Arts Center (VPAC) (FB) on April 1 and an Elaine Boosler concert at Temple Ahavat Shalom on April 2 (this concert is open to the community; get your tickets here). We have a mid-week concert of the Turtle Quintet at the Valley Performing Arts Center (VPAC) (FB) on April 7, followed by “Children of Eden” at Cabrillo Music Theatre (FB) on April 10. The next weekend’s theatre is on Thursday, because the weekend brings our annual visit to the Renaissance Faire (Southern). The Thursday show is Stella’s Last J-Date at the Whitefire Theatre (FB). The fourth weekend in April is is Pesach, but the Indie Chi Productions dark comedy Dinner at Home Between Deaths at the Odyssey Theatre (FB) sounded so interesting I’ve booked Sunday tickets. The last weekend of April has a hold date for The Boy from Oz at the Celebration Theatre (FB) (although we may end up seeing the Landmark Musical Theatre (FB) in the Bay Area instead (support their kickstarter), meaning I have a weekend to program!). May starts with a hold date for Endgame at the Kirk Douglas Theatre (FB). We then run off to the Bay Area for our daughter’s graduation from Berkeley. While there, we may squeeze in a show: the Landmark Musical Theatre (FB) is doing The Boy from Oz, but otherwise the pickings and concerts are bare. May 21 has a hold for Los Angeles: Then and Now, a new musical at LA City College (FB) from Bruce Kimmel. The last weekend of May has holds for the MoTAS Outing to the Jethawks, and Armadillo Necktie at The Group Rep (FB). As for June? It’s the Hollywood Fringe Festival (FB), and I’ve started to hold dates for the following shows: All Aboard the Marriage Hearse ✨ All The Best Killers are Librarians ✨ Qaddafi’s Cook — Living in Hell, Cooking for the Devil ✨ Squeeze My Cans ✨Tell Me On A Sunday  ✨ Toxic Avenger: The Musical  ✨  Vintage Box ✨ Einstein ✨Titus Andronicus Jr. ✨The Old Woman ✨Sweet Love Adieu ✨ My Big Fat Blond Musical✨. We thought about Love The Body Positive, but then again… no. Can’t be scaring people.  As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Bitter-Lemons, and Musicals in LA, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves.