Tag: theatre-2010

Ahmanson Theatre 2010-2011 Season Announcement

Posted onAuthorcahwyguy

According to the LA Times, the 2010-2011 season for the Ahmanson Theatre has just been announced. It looks very good, and I’m interested in all of the shows (surprisingly, I’ve never seen Les Miserables). I’ll probably stick with Hottix, for with the exception of Next to Normal, I don’t anticipate any selling out. The season is:

  • The world premiere of “Leap of Faith” (Sept. 26-Oct. 17), a musical based on the 1992 Steve Martin movie about a bogus faith healer who gets stranded in a small town. The production features a gospel-inspired score by Oscar-winner Alan Menken and will be directed and choreographed by Rob Ashford.
  • The national tour of “Next to Normal” (Nov. 28, 2010-Jan. 2, 2011). The musical tells the story of a suburban mother’s psychological meltdown and the effects it has on her family. “Next to Normal” won three Tony Awards last year, including one for the original score by Tom Kitt and Brian Yorkey.
  • “God of Carnage” by Yasmina Reza (April 27, 2011-May 29, 2011), in a new production. The Tony-winning comedy, which follows the interactions between two couples brought together by a playground brawl between their respective children, was supposed to have a national tour, but plans were called off, reportedly for financial reasons.
  • “Les Misérables” (June 17, 2011-July 31, 2011), as part of the musical’s 25th anniversary tour, which features a new staging of the popular show.

Nothing that risky, and it is clear they are tightening their belts. They indicated there may be additional shows.

I’ve already added these shows to my 2010/2011 theatre planning entry.

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Meeting of Minds: Episode #8

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Last night was our third theatre performance of the weekend: the latest installment of Steve Allen’s Meeting of Minds at the Steve Allen Theatre. This month was Episode #8, continuing the discussion from Episode #7 on November 24, 2009. Our guests were:

Frederick Douglass (1817-1895)….. Ernie Hudson
Cesare Beccaria (1738-1794)…. Joe Mantegna
Empress Tz’u-Hsi (1835-1908)…. France Nuyen
Marquis de Sade (1740-1814)…. Richard Gilliland
Steve Allen (1921-2000)…. Jack Maxwell

The script had a number of updates from the original 1979 script, which was appropriate as the topic was torture, and alas the US can no longer make the same claims of being on a higher ground. There was also references to health care and the Internet. It was a little surprising that during the discussion of civil rights, however, there wasn’t a reference made to gay rights.

This discussion was much more focused on the use of torture and capital punishment as a deterrant. It also focused on the institution of slavery, and how even today the effects of slavery linger. DeSade had a lot less to say in this episode (which meant less of the very entertaining Richard Gilliland). The primary speakers were Joe Mantegna as Beccaria and Ernie Hudson as Douglass. In fact, Hudson gave an exceptionally strong performance as Douglass, speaking passionately on the injustice of slavery, and how it is morally wrong to permit discrimination to continue and to try to correct the problem slowly and gradually. Will we be saying the same thing in the future about gay rights?

The production also highlighted how little westerners understand China (and if I recall correctly, there were some script excisions about a trip Steve Allen made to China). It explained why the Manchu Dynasty viewed Europeans as barbarians, with the assumption that only the western ways are the right way to do things. I wonder if that attitude persists in China relations today, and whether the cultural divide can be bridged.

This production corrected a number of the problems with Episode #7, and both Nuyen and Hudson could be heard clearly. I also find Maxwell a much more entertaining Allen than Gary Cole. The major problem here was technical: at points, the lights changed to focus on a particular speaker, and the change was just too abrupt. As always, the production was directed by Frank Megna, who did an excellent job working with the actors to bring out the characters.

Dan Lauria, who bears an uncanny resemblance to Vince Lombardi, introduced the program, commenting on how hard it is to write one of these scripts (as he is writing one).

“Meeting of Minds” is now produced monthly by Opening Minds Productions, every third Sunday of every month at 7:00pm at the Steve Allen Theatre in Hollywood. The specifics of the next episode were not announced.

Upcoming Theatre. As for us, what’s upcoming on the theatre calendar? Next weekend takes me to “12 Angry Men” on April 24 (the rest of the family sees it on May 2). May looks to be equally busy, with “Little Shop of Horrors at Cabrillo Music Theatre (May 1), and “12 Angry Men” for Karen and Erin on May 2 @ 2pm (while I get ready for a Games Night at Temple that I’m running). The weekend of May 8 sees Karen and me at the So Cal Ren Faire on Saturday. The weekend of May 15 sees the CDF Conference for Karen and Erin, followed by “The 39 Steps” at the Ahmanson at 8pm. The next weekend takes Erin to the Ren Faire, while we see the May installment of “Meeting of Minds” at the Steve Allen Theatre (May 16). The fourth weekend in May brings the Spring Dance Show at Van Nuys HS (May 20-22). The last weekend in May brings the Bat Mitzvah of a family friend, as well as “The Wedding Singer” at Repertory East Playhouse in Newhall (May 30 @ 2pm). June so far is mostly open, although I’m expecting that we’ll see “South Pacific” at the Ahmanson some weekend that month, and potentially the June “Meeting of Minds”. As for July, the month starts with “In The Heights” at the Pantages on July 3. The next weekend I’m holding upon for the first show of the 2010-2011 Colony season, “Grace & Glorie” (likely July 10). That weekend may also bring “It’s Top Secret”, a musical that is part of the Festival of New American Musicals, running Jun 19-July 18 at the NoHo Arts Center (likely July 11). July will also bring ; “The Last Days of Judas Iscariot” at REP East on July 17 (pending ticketing); a possible July “Meeting of Minds, and “Rodgers & Hammerstein’s Cinderella” at Cabrillo Music Theatre on July 31 24 (likely moved due to a birthday party).

As always: live theatre is a gift and a unique experience, unlike a movie. It is vitally important in these times that you support your local arts institutions. If you can afford to go to the movies, you can afford to go to theatre. If you need help finding ways, just drop me a note and I’ll teach you some tricks. Lastly, I’ll note that nobody paid me anything to write this review. In fact, I receive no remuneration for any reviews I write.

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A Devil of a Show

Posted onAuthorcahwyguy

Last night, we went to go see our second show in this weekend of three: “Damn Yankees” at Van Nuys High School. Now “Damn Yankees” is not one of those typical high school shows, and it was nice to see it being done.

For those unfamilar with this 1955 show (which starred such folks as Gwen Verdon as Lola and Ray Walston as Applegate)… or its late 1990s revival (with Bebe Neuwirth as Lola and either Victor Garber or Jerry Lewis as Applegate), “Damn Yankees” is a sports-oriented retelling of the Faustian legend. It is set during the 1950s in Washington, D.C., during a time when the New York Yankees dominated Major League Baseball. The story is set in motion when a long-time baseball fan, real estate agent Joe Boyd, offers to sell his soul to see his team, the Washington Senators, win the pennant away from those damn Yankees. Be careful what you say, for the Devil (in the form of Mr. Applegate) shows up and offers Joe the chance to leave his long-suffering baseball widow Meg and become the long-ball hitter the Senators need. Joe agrees, but insists on an escape clause: he can decide the evening before the last game to get out and return to his wife. Applegate waves his hands, and Joe Boyd disappears and young Joe Hardy replaces him. Joe shows up at the Senators locker room, and convinces the manager to add him to the team. Everyone is won over by this man, except for a young reporter who is suspicious. While she investigates his background, Joe begins longing for his wife. Joe’s visits back to his old home get under the skin of Applegate, who plots what he can do to get Joe away from his wife. He sends a skilled homewrecker, Lola, after him, but she fails to seduce him. Applegate decides to switch tactics to ensure Joe’s failure. He releases false information about Joe Hardy’s true identity being “Shifty McCoy”, an escaped criminal and con artist. When Gloria discovers this information, she presses charges, and Joe is forced into court. As the Senators prepare for the final game against the Yankees for the pennant, Joe goes on trial. Joe tells the Applegate he wants out, and Applegate says he has to confirm this at 5 minutes before midnight. But the trial has various delays, and at the magic mark, just as Joe is proven innocent, the delays prevent him from exercising the clause. Joe heads into the final game, but Lola has drugged Applegate, and he doesn’t show until the very end. In order to have the Senators lose (the plan all along, for then there will be loads of suicides and anguish from the fans), Applegate does the only thing he can do: turns Joe back as he is catching the final run. Joe Hardy disappears, and Joe Boyd returns to his wife. Applegate tries to convince Joe Boyd to go back to being Joe Hardy, but the older Joe prefers the love of his wife. I’ll note there’s a longer synopsis (alas, of the 1994 version) on Wikipedia; the primary difference appears to be the setting of the novelty number, “Whos Got The Pain” and the setting for “Two Lost Souls”. Van Nuys appears to have done the 1955 version, with the “Pain” number as part of the Talent Show, and the “Souls” number done in a nightclub.

Van Nuys did a pretty good job with this production—in fact, it was one of the best I have seen them do. This one had some very strong singing and dancing. Of particular note were Quest Sky Zeidler’s Applegate and Glory Smith’s Meg. Both were excellent: well acted and reasonable well sung (note that the Applegate role has never been cast for its singing prowess). Sean Scott was pretty good as Joe Boyd and Joe Hardy—I wasn’t that taken with the older Joe (especially singing), but the younger Joe was very strong and only had a few notes that he had trouble reaching for. Glessida Magaling was also pretty good as Lola: her singing was fine, but dancing for the “Whatever Lola Wants” number was weak. I blame this more on the choreographer than the student; the routine came off as fake-sexy and actually created some laughs. That routine needs to be super sexy, but that’s also difficult and uncomfortable to present with a high-school girl these days. Also particularly strong was Ashylyn Killham as Gloria and Aikiro Tiongson as Vanburen, the coach. Overall, even with the typical problems one sees in a high school production (some voices not 100% able to reach all the notes, a few confused lines, and the questionable choreography), it was a strong and enjoyable performance. Rounding out the cast were Tylor Morris (Lynch), Priscilla Legaspi (Miss Weston), Anjela Tokadjian (Postmaster), Safia Allibhoy (Commissioner), Maria “Alex” Geronilla (Doris), Talia McIlwain (Sister), Rhomas O’Hara (Rocky), Andrew Kim (Henry), Erin Geronimi (Linville), Regine Bautista (Lowe), Matthew Golden (Smokey), Mike Hill (Vernon), Kiran Sanghiran (Welch), and Ariel Kostrewski and Camille Santos in the ensemble. I’ll note that this casting gave the baseball team two women, which created an interesting scene in the discussion before Lola’s big dance (where the women were transformed, and looked more like the other player’s dates),

The set was also unique for Van Nuys: Mr. Tom Kirkpatrick and his stage class constructed a very raked diamond, with various locales (such as Joe’s home, the locker room) rolled up to the side. This made all the action easy to see, but must have been hell (well, so to speak) to dance on. The large orchestra (led by Mr. Robert Eisenhart) was also excellent, and provided great inter-scene music during scenery changes.

Where Van Nuys did have trouble was on the technical side: particularly, lights and sound. In the past this has been very strong, but for this production, something was missing*. The crew’s timing was off (lights did not come on sharply on cue, microphones came on off cue), and there were numerous crackles and static from the microphones. When the sound worked, it was great—but it got worse as the night went on. Other than the timing problems, I thought the lighting was pretty good: there were no real spots and no overuse of the moving lights, but there were some questionable color choices. The tech crew is under the direction of Mr. Marque Coy.
(*: That’s an in-joke for those familiar with the story: My daughter used to be on the technical crew, but was effectively forced off at the beginning of the semester. Hopefully, we’ll see her back on the Van Nuys boards as an actor or stage manager)

The production was directed by Mr. Randy Olea, who did a good job getting the students to bring believable characters out. Choreography was by Anita Morales and was mostly OK, except that they didn’t know how to get Lola to dance right. They really should have brought in Mr. N to at least do her routines—Mr. N is a strong dancer, and could have made Lola’s dances something special. There were no specific credits for make-up and costumes, but I did want to note in particular Quest’s makeup and the costuming in general, which was excellent.

Last night was the final production of “Damn Yankees” at Van Nuys High School.

Upcoming Theatre. As for us, what’s upcoming on the theatre calendar? Tonight brings the April installment of “Meeting of Minds” at the Steve Allen Theatre. Next weekend takes me to “12 Angry Men” on April 24 (the rest of the family sees it on May 2). May looks to be equally busy, with “Little Shop of Horrors at Cabrillo Music Theatre (May 1), and “12 Angry Men” for Karen and Erin on May 2 @ 2pm (while I get ready for a Games Night at Temple that I’m running). The weekend of May 8 sees Karen and me at the So Cal Ren Faire on Saturday. The weekend of May 15 sees the CDF Conference for Karen and Erin, followed by “The 39 Steps” at the Ahmanson at 8pm. The next weekend takes Erin to the Ren Faire, while we see the May installment of “Meeting of Minds” at the Steve Allen Theatre (May 16). The fourth weekend in May brings the Spring Dance Show at Van Nuys HS (May 20-22). The last weekend in May brings the Bat Mitzvah of a family friend, as well as “The Wedding Singer” at Repertory East Playhouse in Newhall (May 30 @ 2pm). June so far is mostly open, although I’m expecting that we’ll see “South Pacific” at the Ahmanson some weekend that month, and potentially the June “Meeting of Minds”. As for July, the month starts with “In The Heights” at the Pantages on July 3. The next weekend I’m holding upon for the first show of the 2010-2011 Colony season, “Grace & Glorie” (likely July 10). That weekend may also bring “It’s Top Secret”, a musical that is part of the Festival of New American Musicals, running Jun 19-July 18 at the NoHo Arts Center (likely July 11). July will also bring ; “The Last Days of Judas Iscariot” at REP East on July 17 (pending ticketing); a possible July “Meeting of Minds, and “Rodgers & Hammerstein’s Cinderella” at Cabrillo Music Theatre on July 31 24 (likely moved due to a birthday party).

As always: live theatre is a gift and a unique experience, unlike a movie. It is vitally important in these times that you support your local arts institutions. If you can afford to go to the movies, you can afford to go to theatre. If you need help finding ways, just drop me a note and I’ll teach you some tricks. Lastly, I’ll note that nobody paid me anything to write this review. In fact, I receive no remuneration for any reviews I write.

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A Bit of French Culture in Beautiful Downtown Burbank

Posted onAuthorcahwyguy

When the Pasadena Playhouse closed, my wife and I began to think about what would replace that subscription (because, even if they did come back, their handling of patrons was not worthy of our subscription dollar). We began to think about what other theatres had the right mix of ambiance, size, and quality. Very quickly, our thoughts turned to a mid-size professional theatre in Burbank, the Colony Theatre company. We had seen a number of shows there before (and were impressed), so we started watching for a show to “test them out” again. Last night was that show: “Jacques Brel is Alive and Well and Living in Paris”

Jacques Brel is one of the original “jukebox” musicals, dating back to its debut off-Broadway in 1968 (long before “Ain’t Misbehavin’”). We last saw the musical in one of our first seasons at the Pasadena Playhouse, way back in the summer of 1988 (in fact, it may have been our second season there). I have no real memories of it; the show is simply a collection of Jacques Brel songs, assembled and translated by Eric Blau and Mort Shuman. The show was revived in 2006; the revival trimmed a number of songs and added some. However, although the songs are beautiful and small stories in themselves, there is no particular book. What makes the show is the staging, the actors, and what the director and actors bring to the songs. This is not a show that can depend on a classic book to save it; it is the skill of the performance and the artistic vision.

In both of these areas, the Colony excelled. As we learned at the talkback, the director, Jon Lawrence Rivera, had a vision after reading the lyrics and listening to the music of placing the show in a memorial setting: the first act is at a funeral; the second act is graveside. Not adding any dialogue or lyrics, and simply drawing on the talents of the actors and creative team, he turned the song cycle into a story of sorts—well, if not a story, then he at least established personas for the actors. His accomplice in all of this was the acting team: Eileen Barnett (who we saw in both Kiss of the Spider Woman and Radio Gals), Zachary Ford (who we saw in Camelot at the Playhouse), Gregory Franklin, and Jennifer Shelton. This team had a remarkable talent of bringing the characters to life—they weren’t just singing the songs, they were living them. It is this combination and synergy that makes this show special. Adding to all of this was Brent Crayon, the Musical Director, who took a score that was received in pieces and assembled something great.

Back to the acting team for a paragraph, because they were so special. Although it is hard to pick a favorite, I just couldn’t take my eyes off of Ms. Shelton, who was just so expressive and playful in her character. She also had a remarkable voice and an obvious sense of humor and physical timing, which came across well in the song “Timid Freida”. Less physical but almost more emotional was Ms. Barnett, especially in songs such as “Marieke” and “Sons Of” (which is actually the song from which “Seasons in the Sun” derives—see, you have heard Brel). Turning to the men, Mr. Ford was another remarkable singer and performer, being especially notable in “Madeleine” and “Next”. Lastly, Mr. Franklin (who represented the older man) was great in numbers such as “Funeral Tango” and “Jackie”. Lastly, I’ll note that even the music director got into the singing act (and did quite a good job of it), joining with the other men in the number “The Middle Class”.

Turning to the technical side, there was good and bad. The scenic design by John H. Binkley was simple but effective: a coffin and chairs in Act I; fewer chairs and a grave site in Act II, surrounded by surrealistic metal trees. The lighting design by Adam Blumenthal was also simple: Colored lights, few spots, and effective color on the cyclorama (with an effective gobo splash). I noticed some moving mirrors, but couldn’t identify how they were being used. The costumes (by Dianne K. Graebner) were non-detractive, which in a show like this is what you want, as there is no particular period. They came across as appropriate mourning wear, with Mr. Ford’s being slightly military (although I was unsure whether the arm rank matched the shoulder rank). The sound design was by Cricket S. Myers who normally does excellent stuff (so I’m sure the actual design was good), but there were some setting and balance, as well as sound cue problems, that were noticable. We asked about this at the talkback, and it appeared to be due to settings not being reestablished during the week. Hopefully, that was just an anamoly for our show. Set dressing was by MacAndME. Crystal M. Munson was the Production Stage Manager. The casting director was Patricia Cullen.

As I noted before, the musical direction was by Brent Crayon, who coordinated the five member band (Brent Crayon, Piano; Cris Mello, Guitars; Jeff Novack, Bass; Oliver Steinberg, Bass; and Emiliano Almeida, Drums). Supplementing them was Zachary Ford on the accordian.

The artistic director of the Colony Theatre is Barbara Beckley, who did something I love to see: got up before the show, welcomed the audience, described the upcoming season, and made the place feel like a family. This is important to me as a patron: it is something the Pasadena Playhouse did under Lars Hansen and Susan Dietz, and something that was lost under Sheldon Epps.

As I noted at the start of this review: We went in trying to decide whether to subscribe, and we made the decision to become Colony Subscribers last night. This gives me the right to promote their upcoming season :-): “Grace & Glorie” by Tom Ziegler, June 9-July 18, 2010; “Free Man of Color” by Charles Smith, August 11-September 12, 2010; “Bell, Book, and Candle” by John Van Druten, October 20-November 21, 2010; “Moonlight and Magnolias” by Ron Hutchinson, February 2-March 6, 2011; and “The All Night Strut!”, conceived by Fran Charnas, March 30-May 1, 2011. You can get information on each of the shows here, or visit here for the PDF brochure. After the increasingly high prices at the Playhouse ($815 for the 7 show season, plus upwards of $5-$8 for parking), I was pleased by the subscription prices. Looking at the middle tier, the total tickets were $300 for 5 Saturday night performances (top tier would be only $50 more). That’s much much more reasonable, plus there is free parking at the theatre.

“Jacques Brel is Alive and Well and Living in Paris” continues at the Colony Theatre until May 9, 2010. Tickets are available through the Colony, and are often available via Goldstar or LA Stage Tix.

Upcoming Theatre. As for us, what’s upcoming on the theatre calendar? Tonight brings “Damn Yankees” at Van Nuys HS; with the April installment of “Meeting of Minds” at the Steve Allen Theatre on Sunday. The following weekend takes me to “12 Angry Men” on April 24 (the rest of the family sees it on May 2). May looks to be equally busy, with “Little Shop of Horrors at Cabrillo Music Theatre (May 1), and “12 Angry Men” for Karen and Erin on May 2 @ 2pm (while I get ready for a Games Night at Temple that I’m running). The weekend of May 8 sees Karen and me at the So Cal Ren Faire on Saturday. The weekend of May 15 sees the CDF Conference for Karen and Erin, followed by “The 39 Steps” at the Ahmanson at 8pm. The next weekend takes Erin to the Ren Faire, while we see the May installment of “Meeting of Minds” at the Steve Allen Theatre (May 16). The fourth weekend in May brings the Spring Dance Show at Van Nuys HS (May 20-22). The last weekend in May brings the Bat Mitzvah of a family friend, as well as “The Wedding Singer” at Repertory East Playhouse in Newhall (May 30 @ 2pm). June so far is mostly open, although I’m expecting that we’ll see “South Pacific” at the Ahmanson some weekend that month, and potentially the June “Meeting of Minds”. As for July, the month starts with “In The Heights” at the Pantages on July 3. The next weekend I’m holding upon for the first show of the 2010-2011 Colony season, “Grace & Glorie” (likely July 10). That weekend may also bring “It’s Top Secret”, a musical that is part of the Festival of New American Musicals, running Jun 19-July 18 at the NoHo Arts Center (likely July 11). July will also bring ; “The Last Days of Judas Iscariot” at REP East on July 17 (pending ticketing); a possible July “Meeting of Minds, and “Rodgers & Hammerstein’s Cinderella” at Cabrillo Music Theatre on July 31 24 (likely moved due to a birthday party).

As always: live theatre is a gift and a unique experience, unlike a movie. It is vitally important in these times that you support your local arts institutions. If you can afford to go to the movies, you can afford to go to theatre. If you need help finding ways, just drop me a note and I’ll teach you some tricks. Lastly, I’ll note that nobody paid me anything to write this review. In fact, I receive no remuneration for any reviews I write.

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It Depends On Your Point of View

Posted onAuthorcahwyguy

Last night, our theatre-going resumed again, when we attended the first preview performance of “See What I Wanna See” at The Blank Theatre in Hollywood (Erin wasn’t with us; she was at the 3rd performance of “Damn Yankees” at Van Nuys HS). “See What I Wanna See” (henceforth, SWIWS) is a musical written (i.e., words and music) by Michael John LaChiusa, based on the stories of Rynosuke Akutagawa as translated by Takashi Kojima. As described on The Blank’s website, it is a musical “about lust, greed, murder, faith, and redemption based on three short stories that unfold like a Japanese screen painting. In Kesa and Morito, set in medieval Japan, two lovers sing of the ecstasy and torment of their affair. R Shomon, set in 1951 New York City, follows the investigation of a crime of passion and the witnesses’ contradicting versions of the event. Gloryday, set in present day New York, presents a priest during a crisis of faith after a terrible tragedy strikes the city.” But that description does’t really tell you want you want to know about this story.

Each act of SWIWS presents 1½ stories. The first act begins with the story of Kesa and Morito told from Kesa’s point of view. Kesa and Morito were lovers having an extramarital affair, but each has decided to end it: he by strangling her, her by stabbing him. This opening story closes with a freeze of the two about to kill each other. The remainder of Act 1 is the story “R Shoman”, which is a telling of a story that occured after the premiere of the movie Rashomon (but the “a” fell off the marquee). “R Shoman” concerns a murder in Central Park, and comes across as a very dark SVU story told in a series of police interviews. The gist of the story is that the thief saw the husband and wife leaving Rashoman, and fell in lust with the wife. He followed them to a bar where she danced and he got the husband drunk. He convinced the couple to go with him to Central Park to dig up some hidden money, where later the theater’s janitor found the husband dead. But who killed the husband? The thief? The wife? The husband himself (we hear his story through The Medium)? The janitor? Each sings and describes what they did that night, and the audience is left to decide.

Act 2 also begins with the story of Kesa and Morito; this time the story is told from Morito’s point of view. Again, it closes with the freeze, creating the question: Who killed who? It is never actually stated: it depends on how you look at it. The remainder of Act II is the story “Glory Days”, which tells the story of a disillusioned priest in New York shortly after 9/11 (although the incident is never named). Although originally having a strong calling, he has lost his belief in God. He posts a sign in Central Park indicating a miracle will happen in three days as a joke, and sits back and watches the hysteria form (which to his mind demonstrates that religion is hokum). We see how the coming “miracle” affects others, including a CPA who has given everything up, an actress who has lost everything, a reporter questioning his beliefs, and even the priest’s Aunt Monica, who never believed, but who is now dying. When the time for the miracle comes, something happens, and we see that those who were expecting the miracle were transformed… but not by the miracle… and the priest is transformed back into believing and resuming his calling. So did a miracle happen?

The basic theme through out these stories is that of point of view and perception; that, in the words of the title, you see what you want to see. So in the first act, each party interpreted what happened differently and saw themselves as the killer. In the second act, each party had a different perception of the miracle. We all perceive our realities differently, and with these different perceptions, can truth and experience actually be objective?

This was an interesting play and an interesting musical. Although I had heard the music before, this really helped place it in context. The music is atypical (which is typical for LaChiusa), ranging from some very jazzy and upbeat numbers (such as Glory Days or See What I Wanna See ) to some very dark sungthrough stories. These leave you down by the end of the first act, but lift you up by the end of the second. Quite a good and interesting musical.

The musical was performed by a cast of five extremely talented players: Lesli Margheritaæ (Kesa, The Wife, An Actress); Doug Carpenteræ (Morito, The Theif, A Reporter); Jason Graaeæ (The Janitor, The Priest); æ; Perry Ojedaæ (The Husband, A CPA); and Suzan Solomonæ (The Medium, Aunt Monica). Of these, my favorites were Carpenter and Graae. Doug Carpenter (who we have seen previously in “Life Could Be A Dream” across the street at the Hudson) was a supurb singer and a menacing actor, and just fun to watch. Jason Graae (who we have also seen previously in “The Grand Tour” at The Colony in Burbank) just gave mesmerizing and colorful performances, especially as the priest in Act II. As I say sometimes, he inhabited the characters, which is what you want to have happen. I was also impressed with Lesli Margherita, who was a very good singer.
[æ denotes members of æ Actors Equity ]

The staging of the show was simple and effective (set design was by Ginnie Ann Held). The first act had a simple table and some Japanese screens. The second was a smaller table. But this was enough: the cast (under the excellent direction of Daniel Henning) made you see what you needed to see. The lighting (design by Jeremy Pivnick) made use of a number of gobos (projections) to create various scenic areas such as windows or the park, and used a number of mirrored moving lights to provide spots and draw attention. There was one minor problem with the lighting: the scrollers in the second act were loud when they changed colors. Costumes (by Dana Peterson) and hair design (by Butch Belo) were excellent—in particular, the wife’s dress in the first act and the CPA’s destroyed suit in the second. The music was provided by a very effective 5-piece on-stage band, under the musical direction of David O. Stage management was by Ramon Valdez, assisted by Michael Geniac. The production was directed by Daniel Henning, assisted by June Carryl. SWIWS was produced by Stacy Reed, Jon VanMiddlesworth, and Noah Wyle; Michelle Appezzato, Daniel C. Garcia, Jen Husczaq, Stephen Moffatt, and Sam Rowley were associate producers.

“See What I Wanna See” continues at The Blank’s Second Stage until May 23. Tickets are available through The Blank; discount tickets are usually available through Goldstar and LA Stage Tix.

Upcoming Theatre. As for us, what’s upcoming on the theatre calendar? Next weekend brings three productions: “Jacques Brel is Alive and Living in Paris” at the Colony Theatre on Friday, April 16; “Damn Yankees” at Van Nuys HS on April 17, and the April installment of “Meeting of Minds” at the Steve Allen Theatre on April 18. The following weekend takes me to “12 Angry Men” on April 24 (the rest of the family sees it on May 2). May looks to be equally busy, with “Little Shop of Horrors at Cabrillo Music Theatre (May 1), and “12 Angry Men” for Karen and Erin on May 2 @ 2pm (while I get ready for a Games Night at Temple that I’m running). The weekend of May 8 sees Karen and me at the So Cal Ren Faire on Saturday. The weekend of May 15 sees the CDF Conference for Karen and Erin, followed by “The 39 Steps” at the Ahmanson at 8pm. The next weekend takes Erin to the Ren Faire, while we see the May installment of “Meeting of Minds” at the Steve Allen Theatre (May 16). The fourth weekend in May brings the Spring Dance Show at Van Nuys HS (May 20-22). The last weekend in May brings the Bat Mitzvah of a family friend, as well as “The Wedding Singer” at Repertory East Playhouse in Newhall (May 30 @ 2pm). June so far is mostly open, although I’m expecting that we’ll see “South Pacific” at the Ahmanson some weekend that month, and potentially the June “Meeting of Minds”. Also of interest is “It’s Top Secret”, a musical that is part of the Festival of New American Musicals, running Jun 19-July 18 at the NoHo Arts Center. July brings “In The Heights” at the Pantages on July 3; “The Last Days of Judas Iscariot” at REP East on July 10 (pending ticketing); a possible July “Meeting of Minds, and “Rodgers & Hammerstein’s Cinderella” at Cabrillo Music Theatre on July 31.

As always: live theatre is a gift and a unique experience, unlike a movie. It is vitally important in these times that you support your local arts institutions. If you can afford to go to the movies, you can afford to go to theatre. If you need help finding ways, just drop me a note and I’ll teach you some tricks. Lastly, I’ll note that nobody paid me anything to write this review. In fact, I receive no remuneration for any reviews I write.

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Learning to Love a Crotchety Old Man

Posted onAuthorcahwyguy

Growing old. It’s such a delightful time. The kids are grown and out of the house, and you can be as crochety as you want. Or, if you were always crochety, you can be even more so. I’m sure we all know old folks like this (we might even be them): the old man, crochety and ready to help you put your foot in your mouth and chew vigorousy; the old woman, sweetness and light, baking cookies. Such a typical picture. But pretty? That depends.

I mention this because last night we went to REP East in Newhall to see their latest production, “On Golden Pond”. Most of us know this story from the classic 1981 film by Mark Rydell starring Henry Fonda, Katherine Hepburn, and Jane Fonda, but the property was originally a 1979 play by Ernest Thompson. The play takes place at a fictional location (Golden Pond) in Maine, where Norman and Ethel Thayer have a summer cottage they visit every year. The play takes place during their 48th visit in 1979, and takes place over the summer. It starts in May, when the couple arrive and open the cottage. We see how Ethel is full of life, but Norman is crotchety and feeling his mortality. By June, they have settled into the cottage. Norman is looking for a job, but it is clear he is losing his faculties and is starting to have what we now know is Altzheimers. We learn about the locals, including Charlie Martin, who brings news that their daughter, Chelsea, will be arriving later that summer with her boyfriend. In July, Chelsea arrives with her boyfriend Bill and his 14-year-old son, Billy. We learn about the love between mother and daughter, but the tension between Norman and Chelsea. Ethel convinces Norman to let the boy, Billy, stay with them while Chelsea and Bill go to Europe. Act 2 opens in August, where Billy and Norman have become fishing buddies. Chelsea returns, and reveals that she and Bill got married in Brussels, while going on and on about the past. Ethel grows impatient with this, especially with Chelsea’s dispute with her father. After a butting of heads, Chelsea and her father reconcile to an extent. The last scene of the play takes place in September as Norman and Ethel are closing up the cottage. Chelsea calls and invites her parents to visit her in California. Ethel is eager, but Norman is reluctant to go… until he realizes he can spend time with Billy.

Reading this, I think you can see why the movie was cast so perfectly. Pulling this off requires the right mix of young and old, of sweetness and crotchety. Luckily, the REP continued its trend of casting well. In the lead positions were Michael Levine (a REP regular) and Nancy B. Berggren (a REP newcomer). Michael played the old and crotchety very well, which (if you’ve ever met him) is truly playing against his normal character. Nancy embodied the grandmother role, making you want to try her tollhouse cookies. These were two you just enjoyed watching. The daughter, Chelsea, was portrayed by Therese Lentz, who had the character fire to stand up to Norman, but at times you could see her for the vulnerable little girl that she was. Billy, her soon-to-be step-son, was played by Zachary Kemper. Rounding out the cast were Chuck Franklin as Bill Ray and Brantley M. Dunaway as Charlie Martin. I want to mention Brantley in particular, for although Charlie is a small role, he played it in an interesting manner, coming across as almost slightly Asbergers, unable to control his outburst and seemingly uncomfortable socially. I don’t know if the character was written that way, or whether that was a director’s choice.

Rick Culbertson wrote recently about the difference between good and bad theatre, and quality and cheap theatre. He talked about the perception of 99-seat theatre as being cheap. “On Golden Pond” demonstrated that this need not be the case: although an 81-seat theatre, the REP’s technical quality was excellent as always, thanks to the supurb technical team of Jeff Hyde (Set Designer), Tim Christianson (Lighting Designer), Steven “Nanook” Burkholder (Sound Designer), and Paula Soltero (Costumes). The set was beautifully dressed, playing the part of a rustic cabin with 48 years of momentos; the lighting was effective and not overdone, conveying the mood well; the sound effects were appropriate and timely (including the railroad in the background :-)); and the costumes captured Maine-style well.

The production was directed by Barry Kemper and Bonnie Bennett-Millner, who did a wonderful job of bringing these characters to life and moving them effectively on stage. The production stage manager was Johnny Schwinn. The production was produced by O. Michael Owston and Mikee Schwinn (who is in the last throws of bachelorhood, getting married within the month).

“On Golden Pond” continues at REP East in Newhall until April 10, 2010. Tickets are available from the REP East Box Office (or by calling (661) 288-0000), or through Goldstar Events. The next REP East production is “12 Angry Men”, running from April 23 through May 2, 2010.

Upcoming Theatre. As for us, what’s upcoming on the theatre calendar? This evening brings another installment of “Meeting of Minds” — this will be the second episode with Karl Marx (Ed Asner), Sir Thomas More (Bruce Davison), Queen Marie Antoinette (Meeghan Holaway), and President US Grant (Dan Lauria). You can get a peak of the episode by listening to an interview with Asner and Lauria about the show. The last weekend of March has no theatre, but is still busy: there’s a Games Day on March 27, and Rick Recht is doing a free concert at TAS on March 28. April brings more of interest, starting with “Jacques Brel is Alive and Living in Paris” at the Colony Theatre on Friday, April 16; “Damn Yankees” at Van Nuys HS on April 17, and the April installment of “Meeting of Minds” at the Steve Allen Theatre on April 18. The following weekend takes me to “12 Angry Men” on April 24 (the rest of the family sees it on May 2). May looks to be equally busy, with “Little Shop of Horrors at Cabrillo Music Theatre (May 1), and “12 Angry Men” for Karen and Erin on May 2 @ 2pm (while I get ready for a Games Night at Temple that I’m running). The weekend of May 8 sees Karen and me at the So Cal Ren Faire on Saturday, with “See What I Wanna See” at the Blank (likely May 9, pending ticketing). The weekend of May 15 sees the CDF Conference for Karen and Erin, followed by “The 39 Steps” at the Ahmanson (likely May 15, evening, pending ticketing). The next weekend takes Erin to the Ren Faire, while we see the May installment of “Meeting of Minds” at the Steve Allen Theatre (May 16). The fourth weekend in May brings the Spring Dance Show at Van Nuys HS (May 20-22). The last weekend in May brings the Bat Mitzvah of a family friend, as well as “The Wedding Singer” at Repertory East Playhouse in Newhall (May 30 @ 2pm).

As always: live theatre is a gift and a unique experience, unlike a movie. It is vitally important in these times that you support your local arts institutions. If you can afford to go to the movies, you can afford to go to theatre. If you need help finding ways, just drop me a note and I’ll teach you some tricks. Lastly, I’ll note that nobody paid me anything to write this review. In fact, I receive no remuneration for any reviews I write.

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Pasadena Playhouse: How Not To Treat Subscribers

Posted onAuthorcahwyguy

The LA Times Culture Monster Blog (lat_cultrmnstr) just published an article with an update on the Pasadena Playhouse. Needless to say, it does not leave me—a 20 year subscriber—with a good taste in my mouth.

A few select quotes and responses:

Meanwhile, the Playhouse on Monday sent its subscribers an e-mail message thanking them for “your patience as we continue to seek solutions to the financial difficulties.” The message added that “we are pleased to say that we have new optimism in our prospects.”

Hmmm, we’re long-time subscribers, and I’ve communicated with both the Playhouse and with Sheldon Epps directly via email. I never received such an email.

Eich said some subscribers have demanded their money back, “but when we explain the process we’re in, they’re OK. Generally, they’ve been reasonable. I understand their anger. We’ve appealed for subscribers’ patience, and so far, so good.”

All I asked for was a donation letter, so I can deduct the lost money from my taxes. I was told they couldn’t give us a donation letter yet on the advice of their lawyers.

If the Playhouse does declare bankruptcy, subscribers would have the right to file claims as creditors with the U.S. Bankruptcy Court, in hopes of getting back at least part of what they paid for their tickets.

Realistically, how many subscribers would do this, and how many would likely see anything. Donation letters cost under a dollar, and could get money back into subscribers hands, without the Playhouse having to pay anything, and with no legal fees.

Meanwhile, Eich said, other theater companies have proposed plans to honor the subscriptions if the Playhouse can’t. Those offers are “generous,” he said, but at this point Playhouse leaders still aim to get the theater running again and present the shows subscribers paid for.

Translation: Instead of creating goodwill for theatre in Los Angeles, and keeping your patrons attending theatre, you’ll rather leave them in the cold while you sort things out. These offers cost the Playhouse nothing, but make their patrons feel cared about.

“It’s so important to the organization, and the arts in Los Angeles, that subscribers be taken care of, that people don’t have a bad taste in their mouth,” Eich said.

Alas, reading this article, I’ve now got that bad taste.

Earlier today, Rick Culbertson in the “Thoughts from an LA Theatre Producer” blog (latheatreprod) wrote about the different between good and bad theatre, and between quality and cheap theatre. Quality, where they spend a lot of money on sets and costumes, isn’t necessarily good theatre, and cheap theatre (such as many of the 99-seat plan theatres) doesn’t equate to bad theatre. This situation with the Pasadena Playhouse has me seriously thinking about this dichotomy, and I’d rather my subscription dollars go to support good theatre (such as Repertory East Playhouse or Cabrillo Music Theatre) than the supposed “quality” theatre. I think I’ll explore subscriptions at places like Havok, the Blank, West Coast Ensemble, InterACT, or the Colony when they come around. For “quality” theatre, I think I’ll stick with Goldstar, LAStageTix, or Hottix.

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Bad Reviews Are So Much Fun: “Love Never Dies”, a/k/a “Phantom of the Opera II”

Posted onAuthorcahwyguy

I’ve written in the past about the fun that is a bad review (if you don’t remember, you can look here or here, or especially here). Most of those are related to the stinker that was “Lestat”. However, there’s a new stinker on the horizon, and it was reviewed by the New York Times today (which I read at lunch).

“Love Never Dies” (NY Times review by Ben Brantley)

This is the sequel to “The Phantom of the Opera”. That should say it right there. I cannot think of a single sequel that has worked in Musical Theatre. Oh sure, there have been sequels: “Annie 2/Annie Warbucks”, “Bring Back Birdie”, “The Best Little Whorehouse Goes Public”. Some have even had good music (I particularly like some songs from “Whorehouse”). But they usually haven’t even had long, let alone sustained, runs.

But who am I to speak. Let’s look at the review itself. Some choice quotes:

To think that all this time that poor old half-faced composer hasn’t been dead at all, just stewing in his lust for greater glory. Being the title character of “The Phantom of the Opera,” the most successful musical of all time, wasn’t enough for him. Oh, no. Like so many aging stars, he was determined to return — with different material and a rejuvenated body — to the scene of his first triumph. So now he’s back in the West End with a big, gaudy new show. And he might as well have a “kick me” sign pasted to his backside.

[…]

Of course, bad advance word on the Internet has sometimes proved false. (Ever hear of “Avatar”?) And I would be delighted to tell you that’s what happened here, especially since “Love Never Dies” is scheduled for Broadway this fall. But how can I, when at every opportunity Mr. Lloyd Webber’s latest sets itself up to be knocked down? Directed by the protean Jack O’Brien (“Hairspray,” the New York production of “The Coast of Utopia”), choreographed by a seriously underused Jerry Mitchell and designed by Bob Crowley (“Mary Poppins,” “The History Boys”), this poor sap of a show feels as eager to be walloped as a clown in a carnival dunking booth.

For starters, the title, with its promise of immortality, was just asking for trouble. And its breathless solemnity pervades the show’s every aspect. This production keeps such a straight face, it’s as if the slightest smile might crack it. It never acknowledges that in a musical in which no one could exactly be described as animated, it might be a mistake to introduce your leading lady in the form of an automaton in her image. Or that it’s probably not a good idea to have your hero, in his first solo, sing “the moments creep, but I can’t bear to sleep” to a melody that moves like a sloth in quicksand.

[…]

The book is credited to four writers: Mr. Lloyd Webber, the comedian Ben Elton, the novelist Frederick Forsyth and the show’s lyricist, Glenn Slater. And its plot is so elaborate and implausible it makes the libretto of “Il Trovatore” read like a first-grade primer. If you don’t know the first “Phantom,” you will be very confused; if you do know the first “Phantom,” you will also be very confused.

[…]

While lushly orchestrated (by David Cullen with Mr. Lloyd Webber), the score is, for the most part, so slow that you have time to anticipate Mr. Slater’s next leaden rhyme. Each of the songs — which range from bathing-beauty frolics to power-chord operetta ballads — spins a single tune until it loses its tread.

Since the lead singers are required to haunt demanding, throat-taxing upper registers, it is perhaps too much to expect them to act as well. As the Phantom, Mr. Karimloo sings with all the force that artificial amplification allows. Vocally, the pretty Ms. Boggess (who starred in “The Little Mermaid” on Broadway) combines the more mechanical qualities of Jeanette MacDonald and Julie Andrews. Mr. Millson glares handsomely. And Ms. Strallen, as the unappreciated Meg, has a spark of something like personality.

Those are just examples. Perhaps this doesn’t eclipse “Carrie: The Musical”, perhaps it does. Then again, perhaps the phantom is a true theatrical zombie: it never dies.

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