The {proof} is in the Acting: A Younger Perspective

As NSS&F is taking a drama class this year, her teacher asked her to write a review of the show last night. Here is her review:



Robert: Michael Levine
Catherine: Kristen Paige
Harold Dobbs: Phillip Peck
Claire: Rebekah Dunn
All were members of Actors Equity


Proof is about a mathematician’s daughter, and what happens after the death of the mathematician (Robert). Robert was what you may call a insane mathematician and he was terribly ill, at least mentally. After his death, one of his students, who is now a Professor (Harold) wants to sort through his items. His daughter who took care of him (Catherine) doesn’t want his help, or anyone’s help, even her sister from New York, Claire, who flies out to help after the death of her father, for one weekend. Scene 4 of Act I is when Catherine gives Harold a key to a drawer. This drawer contains a notebook, upon which holds a much longed for, proof, to an equation. Harold believes that the notebook was Robert’s work, and so does Claire. Catherine says, that the proof was hers, not her fathers. After every one being in denial of Catherine, she goes, well, insane, like her father. Claire wants Catherine to move to New York with her, while Claire resists. The conclusion, is that the notebook was Catherine’s, and the proof, was in fact, written by her.


For me this was the first actual drama I have seen. I have seen musicals and comedies before and they are all so different from each other. Proof was very engaging and had a strong message. All of the actors did a wonderful job, and really brought this show to life. Proof was quite the opposite of any comedy I have seen. Though there were some funny parts to it, it had a serious plot line. I also thought that the actors pulled off a very good geek impression, which can be hard to do. I know that Proof was a movie, and you can’t just compare the live performance to a movie. To me a movie and a theatrical performance are two different monsters. When you see something live on stage, you are really pulled into it, and you feel as if you are there. And no matter how wonderful the movie is, you still know, that it is on a screen, and playing from some sort of tape. When it is live, you feel live. This was a wonderful performance and the cast did an excellent job of portraying the story.


The {proof} Is In The Acting

This evening we went out to the Santa Clarita Rep East Playhouse (REP) to see {proof}. For those unfamiliar with the play (which was recently made into a major motion picture), it is a four-character drama written by David Auburn, winner of the 2001 Pulitzer Prize for Drama. It tells the story of Catherine, a young woman who has dropped out of college to take care of her brilliant mathematician father, who has been losing it. She’s at the age where he started to lose it, and fears she is heading down the same path. The entire first act takes place right after her father has died, and has her dealing with both her sister (in from New York), and a young mathematics professor who has been going through her father’s work looking for any brilliance in the choas. This professor was previously the father’s last doctoral student. At the end of the first act a notebook is revealed with a brilliant proof–everyone things it is her father’s, but Catherine claims she did it. The second act moves back in forth in time: we see the father both lucid and insane inbetween the aftermath of the first act. By the end of the play, the young professor is convinced Catherine has inherited her father’s gifts. As for the madness, that’s an open question…

I thought the play was excellently done. The actors truly came across as math geeks (and trust me, I know math geeks). Some of the lines, in fact, made me flash on folks I know, especially when there was mention of how math geeks party on through the night (made me think of Dr. Dick Kemmerer at UCSB). There were some funny parts of the play, such as the band made up of math geeks who play a song called “i“, where all they do is stand on stage holding their instruments for 5 minutes (after all, it is an imaginary number). But the drama was the remarkable part: they brought up the fear that comes with being afraid you’ve reached or passed your peak at 25. They also captured the madness and joy of mathematics, and the blossoming of people. I saw a lot of folks I know in the actors. About the only problem I saw in the play was a little hesitancy on lines… but the play has only been open a week, so I expect this will get better. It didn’t distract at all from our enjoyment of the show.

The play starred (cast bios) Kristen Paige* as Catherine, Michael Levine* at Robert, Phillip Peck* as Harold Dobbs, and Rebekah Dunn* as Claire. It was produced and directed by Ovington Michael Owston, with directorial assistance from Bill Quinn and Nanook. Nanook also served as sound desinger, with Kelly Hardy as Stage Manager, Jeff Hyde as Set Designer, and Tim Christianson as Lighting Designer.

This continues our streak of good plays at REP — not a bad one in the bunch. We’ve heard good things about the upcoming Santaland Diaries & Season’s Greetings, so we might just go to that. Their 2007 season also looks quite good: A Few Good Men (Aaron Sorkin) [Jan-Feb]; Hank Williams: Lost Highway [March/April]; Driving Miss Daisy (Alfred Uhry) [May/June]; All I Really Need to Know I Learned in Kindergarten [September/October]; and The Unexpected Guest (Agatha Christie) [Sep/Oct].

Lastly, I’ll note I’ll be posting another review of this play tomorrow. Our daughter, NSS&F, attended the play this evening with us and has written her own review for her drama class. I’ll be posting it as well.

As always, the upcoming theatre calendar: The Marvelous Wonderettes, Sun 10/8 @ 2pm; A Chorus Line, Sat 11/4 @ 2pm; Sister Act, The Musical, 11/18 @ 9pm; and Dirk, 11/19 @ 2pm …plus I’m still working on tickets for The Musical of Musicals (10/21 or 10/28); A Light in the Piazza (11/25, 11/26, 12/2, or 12/3), and 13 (12/30). A busy theatre season coming up. Note: Those of you on my friends list that might be interested in joining us to see Dirk, which is based on Dirk Gently’s Holistic Detective Agency, for information, see this journal entry (which is friends-only).

*: Member of Actors Equity Association


Some People Build Fences to Keep People Out and Other People Build Fences to Keep People In

Last night we went to see the August Wilson play “Fences” at the Pasadena Playhouse. Wow! Theatre at its best.

How to describe the play? My wife suggested “The story of a flawed man, in 9 scenes.” That is an apt description. Fences is part of Augst Wilson’s “Pittsburgh Cycle“, a series of 10 plays (nine set in Pittsburgh) that chronicle the African-American Experience in the 20th Century. The 6th play in the cycle, and one of the most popular to perform, is Fences, set in the 1950s (1957, to be exact). Fences won the Pulitzer Prize for Drama and the Tony Award for Best Play, among other honors.

Fences tells the story of Troy Maxson, a garbage collector and former Negro League player; his best friend Jim Bono, whom he met in jail; his wife of 17 years, Rose; his brother, Gabriel, who was left addled after a wartime head injury; his oldest son Lyons, from before he went to Jail, and his yougest son, Cory, who he had with Rose. The play starts with Tory and Jim discussing why it is that Negros can work the back of the truck and collect garbage, but not drive. The play begins on payday, with Troy and Bono drinking and talking. Troy’s character is revealed through his speech about how he (Troy) went up to Mr. Rand (their boss) and asked why black men aren’ allowed to drive the garbage trucks (they are garbage men). Rose and Lyons join in the conversation. Lyons, a musician, has come to ask for money, confident he will receive it. A few days later, Cory tells Troy that a man from North Carolina will come to talk about Cory’s future in football, and that he will be offered a scholarship. Troy was also a sports star when younger: a baseball player in the Negro Leagues, disheartened that the major leagues began to accept black players only when Troy was too old to play. Troy allows Cory to play football only on the condition that Cory keep his after-school job at the A&P supermarket. Cory, although knowing that this is impossible, accepts Troy’s offer. By the next scene, we learn that Troy has won his case and is the first black man to drive a garbage truck in Pittsburgh. As he is boasting to Bono about his past struggles with his father, Cory comes in enraged, because Troy has told the football coach that Cory cannot play football anymore because he didn’t keep his job at the A&P. Troy views Cory’s insubordination as “strike one.” Two more strikes, and Troy will kick him out. In the next scene, Troy bails Gabriel out of jail after Gabriel was arrested for disturbing the peace. Bono warns Troy about not “messing” with Alberta and sticking with Rose. Troy says he realizes Rose’s value, but then admits to her that he is having an affair with Alberta, and she is pregnant. Rose is distraught that she put all her faith in Troy and yet he betrayed her. When Troy grabs her arm, Cory comes from behind him and shoves Troy down. Troy admonishes Cory that this act is “strike two” and tells him not to strike out. For the next few months, all Troy does is come home, change, and go to Alberta’s house. No one in the family talks to him. Six months later, Rose receives a call from the hospital. Troy’s baby is a girl, and Alberta has died in childbirth. When Troy comes home with the baby, Raynell, he asks Rose to act as the mother. She agrees to this for the sake of the child, but tells Troy that he is now a “womanless man.” Rose leaves, and Troy sits in the entrance to the house. When Cory tries to push his way past him, Troy is enraged and demands that Cory say “excuse me.” Cory then points out that the house is not really Troy’s but rather is Gabriel’s. The two men fight, trying to hit one another with a baseball bat. Troy wins and kicks Cory out, and tells him to provide for himself. The next scene is set eight years later, at Troy’s funeral. Cory returns, now a Marine. At first he refuses to come to Troy’s funeral, but after Rose admonishes his rebellion and after he and Raynell sing an old song of Troy’s, he concedes. Gabriel comes and tries to open the gates of heaven, by blowing on his horn. This fails, and the gates only open when Gabriel does a traditional African dance.
[The plot summary was snarfed from Wikipedia]

The story, as you can see, raises a number of questions. First of all, how “african-american” is this story. I discussed this with my wife on the drive home. We felt that certain aspects were: certainly the notion of the Negro Leagues, the easy acceptance of place and position in the 1950s, the easy acceptance of infidelity and fostering of a child. Other aspects we felt were universal: the impact that one’s parents have on you. Fathers that both raise you to be like them, and have trouble when you try to be something better. The importance of family. The power of a mother’s love. None of the characters in this play isn’t damaged by life in some way, and it is these flaws that create the interest. So to what does the title refer? In many ways, the father’s (Troy’s) attitudes: He is buildng fences around himself and his family, to attempt to keep what hurt him out, and to keep his family together no matter what he does or how hard he behaves. Do these fences work? Yes and no. His family still gets hurt by his behaviour, but by the end of the play, you also see how his sons have been shaped by him. In some ways, it is about how we have to work to escape our personal fences. I definately want to see some of the other plays in this cycle.

As you can see from the summary, this is powerful stuff, the makings of powerful drama. With the right cast, it is gold. They had the right cast! The production headlined Laurence Fishburne as Troy Maxson and Angela Bassett as Rose Maxson. Supporting them were Bryan Clark as Cory, Kadeem Hardison as Lyons, Orlando Jones as Gabriel, Wendell Pierce as Jim Bono, and Vinctoria Matthews as Raynell. Powerful actors, powerful roles. I particularly noted the performance of Orlando Jones, who nailed the portrayal of Gabriel and his disability. Unlike some other reviewers, I had no problems with the performances of both Angeles Bassett and Bryan Clark. Basically, you couldn’t tell these actors were acting: they became their roles.

I should note the other production credits. The production was directed by Sheldon Epps, artistic director of the Playhouse. Scenic design was by Gary L. Wissmann, Costume design by Dana Rebecca Woods, Lighting by Paulie Jenkins, Sound by Pierre Dupree, Casting by Michael Donovan, and Stage Management by Conwell S. Worthington III and Lea Chazin (asst.). Managing Directory was Brian Colburn, Producing Director was Tom Ware, and the Executive Director of the Playhouse, for two more shows, is Lyla L. White.

A few other observations. The Pasadena Playhouse does a mix of shows, with a few of them trumpeting diversity or minority themes. This is good, and Sheldon Epps, the artistic director, is to be applauded for doing this. I have noticed, however, that when there is an “African American Play” (and I cringe just saying that, as we don’t say “Jewish” or “White” play), the audience mix changes. I would estimate that the audience last night was about 70% “people of color”. This says both good and bad things. First, I think it does of wonderful job of destroying the stereotype that African Americans do not partake of culture. The turnout for this play demonstrated this: put out the right material, and you have diverse audiences. But, as Cleavon Little once said, “Where the white folks at?” Why was the mix so radically changed? Why isn’t (for the most part) play attendance color-blind, with people judging plays based on the quality of the performance, and not the skin color of the actors or the playwrite? Why can’t we get this African-American turnout for musicals such as I Do! I Do! or plays such as Sherlock Holmes; why didn’t the caucasian population of Pasadena and LA turn out for Fences, Purlie!, Blue, and other similar plays Sheldon has brought in? Sigh.

Secondly, this performance is Sold Out for the entire run. In fact, it is so sold out they are offering Standby Seating. What is this? According to the Playhouse, a stand-by pass will allow an attending to fill a “no-show” seat a few minutes prior to show time. Stand-by passes may only be purchased the day of the performance one hour before show time, are cash only, and appear to be more than the ticket price ($60; $25 for students). If you are not seated, your money is refunded… that night only. This really bothers me; it is a sneaky airline practice that doesn’t belong at the theatre. If I, as a subscriber, pay for a seat, am unable to attend, and the seat is sold a second time, my ticket price should be refunded. The theatre should not be selling seats twice, especially subscriber seats. Poor form, in my view.

So, what’s next on the theatre calendar? Well, I’ve done a long post on this, but in short: {proof}, Sat 9/30 @ 8pm; The Marvelous Wonderettes, Sun 10/8 @ 2pm; A Chorus Line, Sat 11/4 @ 2pm; Sister Act, The Musical, 11/18 @ 9pm; and Dirk, 11/19 @ 2pm …plus I’m still working on tickets for The Musical of Musicals (10/21, 10/28, or 10/29); A Light in the Piazza (11/25, 11/26, 12/2, or 12/3), and 13 (12/30). A busy theatre season coming up. Note: Those of you on my friends list that might be interested in joining us to see Dirk, which is based on Dirk Gently’s Holistic Detective Agency, for information, see this journal entry (which is friends-only).


4Q06 Theatre Planning (Updated)

My theatre planning entry has been updated to show that we are now going to see The Marvelous Wonderettes on October 8; this is the same performance that shutterbug93 will be attending. The tickets just went up on Goldstar.

We also now have tickets to Big Bad Voodoo Daddy on March 10th at CSUN.

I’m still monitoring Goldstar for tickets for Musical of Musicals, which should go on sale any day now. HotTix for A Light in the Piazza don’t go on sale until October 10th.


Theatre Planning – 4Q06

I haven’t done a post about theatre planning in a while, but since I was doing tickets tonight, I figured I’d subject you to it :-). The following are shows we either have tickets to, or are planning to go to:

  • × Fences (Pasadena Playhouse). Starring Laurence Fishburne and Angela Bassett, with Bryan Clark, Kadeem Hardison, Orlando Jones, Wendell Pierce, and with Victoria Matthews. Winner of the 1987 Pulitzer Prize and a Tony Award Winner. Single tickets are already sold out. Story: Troy Maxson — a former star ballplayer in the Negro Leagues — finds himself an embittered 53-year old garbage collector. As he comes to terms with his own lost dreams, Troy struggles to hold onto a shred of personal dignity while battling to unite his family.
    9/23 @ 9:00pm

  • × {proof} (Rep East Playhouse). Starring Rebekah Dunn, Mike Levine, Kristen Paige, and Phillip Peck. Winner of the 2001 Pulitzer Prize for Drama. Story: Catherine, the daughter of Robert–a recently deceased mathematical genius and professor at the University of Chicago–had cared for her father through a lengthy mental illness. Upon Robert’s death, his ex-graduate student Hal discovers a revolutionary mathematical proof about prime numbers in Robert’s office. Can Catherine prove that her father wrote it? Along with proving the proof, the daughter also finds herself in a relationship with the young Hal. Throughout, Catherine finds herself wondering if she will succumb to the mental illness that destroyed her father. NSS&F and ellipticcurve are joining us for this.
    9/30 @ 8:00 pm

  • × The Marvelous Wonderettes (El Portal Theatre). The Marvelous Wonderettes is a cotton-candy colored, non-stop pop musical blast from the past! Featuring your favorite songs from the fifties and sixties, including “Lollipop,” “Dream Lover,” “Stupid Cupid,” and more. The Marvelous Wonderettes stars four of the biggest stars on the Los Angeles theatre scene–Kirsten Chandler, Kim Huber, Julie Dixon Jackson and Bets Malone. Needless to say, shutterbug93 will be there (what do you expect; she does the websites for ½ the cast!) [Added 9/21]
    10/8 @ 3:00 PM

  • The Musical of Musicals (Colony Theatre). A captivating, delightfully clever homage to America’s favorite musical theatre creators, and a send-up of every musical you’ve ever seen. NSS&F will join us for this. [Added 10/6]
    10/28 @ 3:00 pm.

  • A Chorus Line (Cabrillo Music Theatre). The story of a chorus audition for a Broadway musical. It reveals the high hopes of an eclectic group of young Broadway gypsies seeking to land a job in the show. NSS&F will join us. (Side note: Ask me how Marvin Hamlisch gave me a ride home).
    11/4 @ 2:00 pm

  • The Beastly Bombing (Steve Allen Theatre @ CFI), a terrible tale of terrorists tamed by the tangles of true love, produced by SORO (The Secret Order of Revolutionary Operettists). [Added 10/6]
    11/10 @ 8:00 pm

  • A Day Out With Thomas (Orange Empire). Come and see a really useful engine. NSS&F will also be there.
    11/11 aft. 1:00 pm
    11/12 all day

  • Sister Act: The Musical (Pasadena Playhouse). Music by Alan Menken and Lyrics by Glenn Slater. Story: When disco club singer Deloris Van Cartier is placed in protective custody in a dying convent, her unique brand of funk comes face-to-face with the traditions of the church and the strict order is in for a change. Masquerading as a nun named Mary Clarence, this Sister’s act will have you laughing and singing in the aisles.
    11/18 @ 9:00 pm

  • Dirk (Road Theatre Company). A play based on Dirk Gently’s Holistic Detective Agency by Douglas Adams. This is being presented by the Road Theatre Company, a small house in North Hollywood. We’re doing this for NSS&F’s birthday party; ellipticcurve and ixixlix are part of the group purchase. If you’re interested in joining us, let me know. [Updated 9/22]
    11/19 @ 2:00 pm

  • The Light in the Piazza (Ahmanson). Story: a poignant tale of two unusual young people who fall in love and to explore the essence of love itself. Music and Lyrics by Adam Guettel and Craig Lucas. Winner of 6 Tony Awards.
    12/3 @ 2:00pm.

  • An Evening with Shel Silverstein. My daughter’s school will be doing this play, and as she’s in Drama class this year, she’ll be in it. Naturally, we’ll be there.
    12/7, 12/8 @ 7:00 pm

  • 13 (Mark Taper Forum). A musical about 13 13-year old in Indiana, with Music and Lyrics by Jason Robert Brown. Hot Tix go on sale 12/1. NSS&F wants to see this.
    Possibly 12/30.

There are also a number of good upcoming musicals and plays:

  • Santa Clarita Rep East: A Few Good Men (Aaron Sorkin) [Jan-Feb]; Driving Miss Daisy (Alfred Uhry) [May/June]; Bleacher Bums (Joe Mantegna) [July/September]; The Unexpected Guest (Agatha Christie) [Sep/Oct]
  • Pasadena Playhouse: Defiance (John Patrick Shanley); Cuttin’ Up (Charles Randolph Wright) plus 4 more plays, including Can-Can.
  • Broadway/LA: The 25th Annual Putnam County Spelling Bee (May 2007)
  • Ahmanson: Jersey Boys (May-July 2007).
  • Cabrillo Music Theatre: Smokey Joe’s Cafe, Disney’s Beauty and the Beast.

All in all, a busy time for us theatre junkies.



In the panoply of the 2nd generation of composers and lyricists for the musical theatre, there are some names that stand out. One of those sets of names is John Kander and Fred Ebb, who between them wrote the music and lyrics for musicals as diverse as Flora: The Red Menace, Cabaret, The Happy Time, Chicago, 70 Girls 70, Zorba, Kiss of the Spider Woman, Steel Pier, The Act, The Rink, Woman of the Year, and Funny Lady. They also are responsible for New York, New York. Unfortunately, Fred Ebb died in 2004, ending the string.

Well, as they say in New York, New York, start spreadin’ the word. There’s a new Kander-Ebb musical out there called Curtains, which is currently in a pre-Broadway run at the Ahmanson Theatre, and it is spectacular. The show is based on a concept in development for almost 20 years by Kander, Ebb, and Peter Stone (1776). After Stone’s death in 2003 and Ebb’s death in 2004, Rupert Holmes (Mystery of Edwin Drood) was called in. Holmes revised the book and wrote some additional lyrics, resulting in what is on stage today.

Curtains is a musical comedy back-stage murder mystery. At the opening night of the Boston tryout of “Robbin’ Hood”, a western musical, the leading lady is killed. The play bombs (primarily due to this leading lady) and the cast is sequestered. A hard-nosed Boston detective (David Hyde-Pierce as Lt. Frank Cioffi), who is also a musicals aficianado, is brought in to solve the crime. While the cast attempts to remount the show with a new leading lady (the lyricist), Cioffi attempts to solve the crime, all the while offering suggestions to the director on how to improve the show. The show is a mix of numbers in the context of Robbin’ Hood, and numbers in the context of the crime scene. I found the music quite good, and am looking forward to the cast album. The show is incredibly funny — one of the funniest musicals I’ve seen in years.

Given the context it is in, the show makes many comments about the theatre scene, including the quality of producers, directors, actors, and the dalliances thereof. Some of the songs might even be viewed as a final love letter to Fred Ebb.

This is a show I predict will do well on Broadway when it makes it there.

The show stars David Hyde Pierce (Spamalot, Frasier) as Lt. Frank Cioffi. Pierce is remarkable in the role, showing not only incredible comment timing, but great vocal and dance skills. Debra Monk (Steel Pier, Pump Boys and Dinettes) plays Carmen Bernstein, the wife of the producer who is determined to have the show open. Karen Ziemba (Steel Pier, I Do! I Do!) plays Georgia Hendricks, the lyricist who becomes a star. Other significant players include Jason Danieley at Aaron Fox, Jill Paice at Niki Harris, Edward Hibbert as the director, Christopher Belling, John Bolton at Daryl Grady, Michael X. Martin at Johnny Harmon, Michael McCormick as Oscar Shapiro, Megan Sikora (a remarkable dancer) as Bambi (Elaine) Bernstein, and Robert Walden as Sidnye Bernstein. Others in the case include Nili Bassman, Ward Billeisen, Jennifer Dunne, David Eggers, J. Austin Eyer, Matt Fransworth, Patty Gobel, Mary Ann Lamb, Brittany Marcin, Jim Newman, Jessica Lea Patty, Joe Aaron Rei, Darcie Roberts, and Christopher Spaulding.

The book was originally by Peter Stone, with the updated book and additional lyrics by Rupert Holmes. Most of the music and lyrics were by John Kander and Fred Ebb. The production was directed by Scott Ellis, with choreography by Rob Ashford, sets by Anna Louizos, costumes by William Ivey Long, lighting by Peter Kaczorowski, sound by Brian Ronan, Music by David Loud, orchestrations by William David Brohn, and hair by Paul Huntley.

Next up on our theatre calendar is Fences at the Pasadena Playhouse (pasadenaplayhse). After that, things are quiet until November, when we are seeing A Chorus Line at Cabrillo, Dirk Gently at Road, and Sister Act: The Musical at the Playhouse. There are also some other shows I’m planning on seeing: proof at REP, and possibly 13 at the Taper.


A Birthday Theatre Party Decision…

My daughter turns 12 in November, and she has decided she wants a theatre party on the Sunday afternoon after her birthday (Nov. 18) (i.e., taking a few of her friends to the theatre). We have two possibilities for non-Christmas shows (being Jewish, we’re not fans of Christmas shows):

  • Dirk, a play based on Dirk Gently’s Holistic Detective Agency by Douglas Adams. This is being presented by the Road Theatre Company, a small house in North Hollywood. Stock ticket prices are $20 for students, $25 for adults. The description of the play is as follows:

    The stage has had a long tradition of great detectives. Dirk Gently does not belong to it.

    A 200-year old Greek pot. An ordinary modern salt cellar lodged inside. This is impossible (or at least inexplicable)! From the mind of Douglas Adams, who brought you The Hitchhiker’s Guide to the Galaxy, comes DIRK; a ghost/horror/detective/time-travel/romantic comedy/epic that begins with a seemingly innocent conjuring trick and ends with the most devastating secret of humankind!

    All this and a musical number!

  • The Marvelous Wonderettes, a cotton-candy colored, non-stop pop musical blast from the past! This is being presented in the small theatre at the El Portal, also in North Hollywood. Written and directed by Roger Bean, THE MARVELOUS WONDERETTES stars Kirsten Chandler (The Rocky Horror Show, The Wild Party) Kim Huber (Laguna Playhouse The Last Five Years, Broadway’s Beauty and the Beast), Julie Dixon Jackson (Colony’s Side Show, The Wild Party) and Bets Malone (Reprise’ On The Town, Musical Theatre West’s Guys and Dolls). Of these, the latter two are good friends of our own shutterbug93. Tickets appear to be around $40. The show is described as follows:

    Featuring your favorite songs from the fifties and sixties, THE MARVELOUS WONDERETTES takes you to the 1958 Springfield High School prom where we meet the Wonderettes – Betty Jean, Cindy Lou, Missy and Suzy, four girls with hopes and dreams as big as their hoop skirts and voices to match! As we learn about their lives and loves, we are treated to the girls performing such classic 50’s and 60’s songs as “Lollipop,” “Dream Lover,” “Stupid Cupid,” “Lipstick on Your Collar,” “Hold Me, Thrill Me, Kiss Me,” “It’s My Party” “It’s In His Kiss (The Shoop Shoop Song)” and so many more! You’ve never had this much fun at a prom and you will never forget THE MARVELOUS WONDERETTES – a must-take musical trip down memory lane!

Hopefully, if we get a good enough group together (perhaps 10 people) we can get good prices for the shows. With Wonderettes, shutterbug93 might even be able to arrange for us to meet Bets and Julie (NSS&F has met Julie before, at the Pasadena Playhouse). But it’s still a hard decision. Which one to choose? We’d love your opinion.