Tag: theatre-2011

Oh, The Carnage / Ahmanson Season

Posted onAuthorcahwyguy

Well, we may not be seeing “God of Carnage” after all. Hottix sold out after 1/2 hour. Looking on the website for the date of interest (4/24, Easter Sunday), the balcony shows as $65-$40, but they have all the $40 seats in the rear balcony unavailable for sale. So I have to decide whether I want to shell out $65 for three seats, or try for “day of” tickets in the rear balcony. Neither are great options.

ETA: The Ahmanson Season has been announced. The shows are (one’s I’m interested in are bolded):

  • “Bring It On” (Nov. 11 to Dec. 10), loosely inspired by the 2000 cheerleading movie starring Kirsten Dunst and its sequels. The production will kick off its national tour at the Ahmanson, which follows its world premiere staging at the Alliance Theatre in Atlanta.
  • “Funny Girl” (Feb. 1 to 26), the classic Jule Styne / Bob Merrill musical, will receive a new production directed by Bartlett Sher, a Tony winner for “South Pacific”.
  • “American Idiot” (March 14 to April 22, 2012) will make its L.A. debut as part of a national tour.
  • “Fela!” (April 27, 2012 to June 3, 2012). Again, this is part of a national tour. Directed and choreographed by Bill T. Jones, the musical is based on the life of Nigerian musician Fela Anikulapo-Kuti.
  • “War Horse”, (June 20, 2012 to July 22, 2012). The war drama is directed by Marianne Elliott and Tom Morris, and features puppetry by the Handspring Puppet Company. Adapted from the book by Michael Morpurgo, the play will bow in New York April 14 at the Vivian Beaumont Theatre.
Share

A Message for Our Times: History Repeats Itself

Posted onAuthorcahwyguy

Problems with unions. Union busting. The power of the privileged class to control the media and the message. These are concerns currently in the news today (cough, Wisconsin, cough), but they are nothing new. Back in 1937 there was a musical called “The Cradle Will Rock” about the subject written by Marc Blitzstein, produced by the Federal Theatre Project. The musical was a Brechtian allegory of corruption and corporate greed. Set in “Steeltown, USA”, it followed the efforts of Larry Foreman to unionize the town’s workers and otherwise combat wicked, greedy businessman Mr. Mister, who controls the town’s factory, press, church, artistic, medical, and educational organizations. It portrays a whole panoply of societal figures: Mr. Mister’s vicious, outwardly genteel philanthropic wife and spoiled children, sell-out artists, poor shopkeepers, immigrant families, a faithless priest, and an endearing prostitute named Moll. The point was demonstrating the power of the union against corporate greed. Timely subject, isn’t it. So, in celebration of its 20th anniversary, the Blank Theatre produced a revival of its 1994 revival of this musical, which we saw this afternoon at the Stella Adler Theatre in Hollywood.

This musical was very controversial when it first opened. It was directed by Orson Welles, and produced by John Houseman. Originally set to open at the Maxine Elliott Theatre in New York in June 1937 with elaborate sets and a full orchestra, the production was shut down due to political pressure and budget cuts within the Federal Theatre Project. The theatre was padlocked and surrounded by security to prevent anyone from stealing props or costumes, as all of this was considered U. S. Government property and could not be used in a for-profit theaterical production. According to The New York Times, “Within three days their theater the Maxine Elliott…was invaded by a dozen uniformed W.P.A. guards bearing strict orders prohibiting the removal of such Government property as scenery, props and costumes.” after receiving a memo prohibiting the performance of the play. The production was targeted by the government because of its leftist politics. The production was forbidden to be performed onstage, with the government threatening arrest to any actor appearing onstage. On the spur of the moment, Welles, Houseman, and Blitzstein rented the much larger Venice Theatre and a piano, for a performance on June 17, 1937. They planned for Blitzstein to sing/play/read the entire musical to the sold out house which had grown larger by inviting people off the street to attend for free. Cast members sang their lines from the audience, so that they wouldn’t run across union rules for performing from the stage. Just after beginning the first number, Blitzstein was joined by Olive Stanton, the actor playing Moll, from the audience. During the rest of the performance, various actors joined in with Blitzstein and performed the entire musical from the house. Actors sang across the theatre to one another. The success of the performance led Welles and Houseman to form the Mercury Theatre.
*: Historical information and synopsis from Wikipedia

Luckily, today we are free to present works such as this, uncomfortable as their message might be for some. The question of government funding of political art is still a relevant question, so it is worth being reminded that it is nothing new.

So what is “The Cradle Will Rock” about? As noted above, it is an allegory. It opens with Moll, a worker forced into soliciting due to only having work two days out of five. She is arrested and jailed for refusing her services to a police officer loyal to Mr. Mister, the owner of the steel factory — and everything else in town. Members of the Liberty Committee, a group of prominent citizens who oppose the union, are also arrested because a policeman misunderstood his orders from Mr. Mister and thought they were union organizers. At night court, Moll meets Harry Druggist, who is continually arrested for vagrancy after having lost his drugstore because of Mr. Mister. Harry tells Moll that the Liberty Committee are bigger prostitutes than she is; he explains how they, and even he himself, has sold out to Mr. Mister. In a series of flashbacks, we see this happen: Reverend Salvation is convinced by Mrs. Mister to make sermons on World War I that are convenient to the profits of the steel industry, Editor Daily of the Steeltown News runs stories against union organizer Larry Foreman and gives Junior Mister a correspondent’s job in Honolulu. Harry’s son Stevie is killed trying to save Gus Polock, an immigrant steelworker, from a bomb planted by one of Mr. Mister’s henchmen, after Harry had agreed to stay quiet in order to keep his store. More flashbacks show other Liberty Committee members selling out to Mr. Mister. For example, we learn that the painter Dauber and the violinist Yasha work for Mrs. Mister, using their art to support her husband’s ideals. In the present, Larry Foreman is beaten by the police and jailed for “inciting to riot”. He explains the principle behind unions, and says that the time is coming when “the cradle will rock” and overthrow Mr. Mister and others like him. In another flashback, Mr. Mister has President Prexy and other faculty at College University get students to take extra military training to be anti-union thugs. Doctor Specialist, Mr. Mister’s personal doctor as well as the one that treated a worker who died in a machine accident, is threatened with the loss of his chairmanship of the Liberty Committee if he does not report that the worker was drunk. Ella Hammer, the worker’s sister, knows that he was pushed, and angrily confronts the doctor. When Mr. Mister arrives at night court to release the Liberty Committee, he offers Foreman a place on the Committee if he will give up his union activities. Foreman refuses: though a common man, he stands up to the corrupt forces of Mr. Mister. Mr. Mister feels that his monopoly may be slipping away. He confronts Foreman, but as the musical ends the workers are rising up.

The Blank production was excellent, building upon musical direction and staging of the previous award-winning 1994 production… which was easy, as the original director (who is now the Artistic Director of the Blank), Daniel Henning was involved. The cast also included individuals who were involved with the 1994 production, and was uniformly strong. In fact, it was so strong as an ensemble that it is hard to single out individual performances (hmmm, perhaps that’s the strength of a union). So let me at least introduce you to the cast and share some observations.

Tiffany C. Adams (Moll) was the first character we see, and she exhibited just a timeworn character, who was soliciting not because she wanted to, but because she needed the money. She represented the audience: the downtrodden public who didn’t understand why unions were important. Helping to narrate the allegory was Jack Lauferæ (Harry Druggist). Forming the Liberty Committee were Christopher Carrollæ (Reverend Salvation), Rob Roy Cesaræ (Dr. Specialist), Matthew Patrick Davisæ (President Prexy), Jim Holdridge (Yasha), Roland Rusinekæ (Dauber), and David Trice (Editor Daily). All were strong and seemingly slightly crazy, with some exaggerated characteristics fitting the allegory. This made them appear more comical, knocking them down a peg. The Mister family consisted of Peter Van Nordenæ (Mr. Mister), Gigi Berminghamæ (Mrs. Mister), Adam Wylieæ (Junior Mister), and Ashley Adleræ (Sister Mister). Again, all were strong. I particularly enjoyed Van Norden’s portrayal of the capitalist, and Wylie and Adler’s portrayal of the children. Rex Smithæ portrayed Larry Foreman, the union leader, with a clear strength of conviction. Rounding out the ensemble were Matt Wolpeæ (Gus Polack, Gent, Mamie, Reporter), Penelope Yates (Sadie Polack), Will Barker (Cop/Bugs/Trixie), Mikey Hawley (Dick/Stevie/Scoot/Reporter), and Lowe Tayloræ (Ella). I particularly enjoyed Taylor’s singing and the comic portrayal of Walpe, Barker and Hawley as the university professors—especially WIll Barker’s hilarious portrayal of Prof. Trixie!
[æ denotes members of æ Actors Equity ]

Music was provided by David O, who played the piano onstage and introduced scenes.

Technically, the production was very simply designed. The scenic design by Kurt Boetcher was primarily a bare stage with a few props. Most of the scenic design came from the properties by Michael O’Hara and the excellent costumes of Maila Aladdin Sanders. The lighting design by J. C Gafford was equally creative, combining traditional leikos with scrollers (which were a bit noisy)… as well as the stage ghost light, harsh overhead florescents, and bright halogens. As noted earlier, the production was directed by Daniel Henning, assisted by Caitlin Eckstein and Tamara Williams. Irma Alejandra Gomez was stage manager, assisted by Tamara Becker. I’m not listing all of the numerous producers.

“The Cradle Will Rock” continues at the Stella Adler Theatre through March 20, although I understand many shows are sold out. Tickets are available through The Blank (use the code ADLER to save $5), and may be available through Goldstar.

Upcoming Theatre, Concerts, and Dance: March 19 brings “Having It All” at the NoHo Arts Center. Lastly, March 26 brings “The Diary of Anne Frank” at Repertory East. April 2 will hopefully bring “Glory Days” at the Lillian Theatre (pending ticketing). April 9 will bring the Renaissance Faire. April 16 brings “The Producers” at Cabrillo Music Theatre, with “Lust N Rust: The Trailer Park Musical” at the Lyric Theatre on April 17. April 23rd, which is during Pesach, brings the last show of the current Colony season, “The All Night Strut” at the Colony Theatre. The last weekend of April is being held open (i.e., pending ticketing) for Brian Stokes Mitchell at the new Valley Performing Arts Center. May 7 will bring “God of Carnage” at the Ahmanson Theatre (pending Hottix). The weekend of May 12-14 will bring the “Collabor8 Dance Festival” at Van Nuys High School, which is always excellent. The third weekend in May is currently open, but I expect that to change. The last weekend of May brings “Cabaret” at REP East on May 28, and (pending ticketing) “Dear World” at the Lyric Theatre. June begins with “Year Zero” at the Colony Theatre on June 5, with the rest of June being lost to Confirmation Services at Temple and a college visit trip (but who knows — we might hit a show in Nashville or St. Louis). Lastly, July should hopefully start with “Les Miserables” at the Ahmanson on July 2 (pending hottix).

Share

A Commanding Performance

Posted onAuthorcahwyguy

Last night, we went to see “Evita” at Van Nuys High School. Now, if that sounds ambitious for a high-school musical, it was. Even more surprising than the choice of musical was that they pulled it off. Yes, there were a few rough spots, but one expects that with a high school production. This one was 90% there, and that’s remarkable given the experience of these kids.

For those not familiar with Evita, it is the second rock opera written by Andrew Lloyd Webber and Tim Rice. It concentrates on the life of Argentine political leader Eva Perón, the second wife of Argentinian president Juan Perón. The story follows Evita’s early life, rise to power, charity work, and eventual death. It is a sung-through opera, with no non-musical spoken dialogue. You can find a detailed synopsis of the story on the wikipedia page or on the Rice/Webber page for the show.

As I indicated above, Van Nuys nailed this production. A majority of the credit for that goes to the leads, Laurel Anderson as Evita, Sean Scott as Che, and Michael Hill as Juan Peron. Laurel in particular deserves strong notes for both her singing ability and her acting ability—this was a young lady who had the skills to pull this off on a professional stage, if this had been her desire (and I’m not just saying this because she’s a friend of my daughter—Laurel was just excellent in the role). The two young men (Sean Scott and Michael Hill) were almost as strong. Both were good singers, although Scott could have been stronger in the rock numbers with a bit more of an edge. Both had greater problems with the acting side; in particular, with the overuse of their hands during their songs. If they were to restrain that more and focus on a more naturalistic side, they would have been better.

In the smaller named roles, Ashlyn Killham was perfection in her sole number as Peron’s mistress (one of my favorite numbers in the show). Matthew James Goldsen Augustin Magaldi was much weaker. Augustin needed more suave and smoothness in his voice, as well as a deeper understanding the movement and style of a tango singer… plus he had to lose the gold lame jumpsuit that made him look like Elvis.

The remainder of the ensemble was strong, with only the occasional flat note (most noticible to me in “Rainbow Tour”). They sang well as a group, acted well in a variety of roles, and moved strongly. The ensemble consisted of Taylor Morris, Erin Geronimi, Angela Tokadjian, Priscilla Legaspi, Karina Gonzalez, Summer Mannshahia, Melodie Munoz-Lestrade, Darwin Gallegos, Vivian Cermeño, Kim Reyes, Marelen Villalta Priscilla Zambrano, Gabriel Dominguez, and Omar Contreras.

The production was directed by Randy Olea, the drama teacher. In the past, I haven’t always been kind to Mr. Olea’s direction. Although some aspects here were problematic (in particular, the aforementioned overuse of hands by the male leads), he did something right in this production… for this was the first production that held the high-school audience spellbound, without the usual cheers and jeers that one constantly gets from kids. These kids were mesmerized by the story and the acting, and the credit for that goes to Mr. Olea for selecting such an ambitious show, and pulling it off in a way that worked. Credit also goes to the choreography and voice coaching of Anita Morales and Robbyn Kermsse.

Music was provided by Mr. Eisenhart and his student orchestra. This could have been improved, as a few instruments (in particular, one violin) sounded distinctly flat. This style of music may not have been their forte, for they were pitch perfect and wonderful with their intermission jazz music.

Turning to the technical…. the set was constructed by Mr. Kirkpatrick and his student set construction team. It was a relatively simple set, with some relatively simple props… but it worked and allowed the student acting and singing abilities to come through. The sound and lights by Mr. Coy’s tech crew were relatively problem free. The sound was the clearest I’ve ever heard in a Van Nuys production, and the lighting had no obvious miscues and no misuse of the technology, working to establish the mood quite well. In other words, the team worked together on this show, and it showed well.

Last night was the last performance of Evita at Van Nuys High School.

Upcoming Theatre, Concerts, and Dance: This afternoon sees us in Hollywood at the Stella Adler Theatre for the Blank Theatre‘s production of “The Cradle Will Rock”. March 19 brings “Having It All” at the NoHo Arts Center. Lastly, March 26 brings “The Diary of Anne Frank” at Repertory East. April 2 will hopefully bring “Glory Days” at the Lillian Theatre (pending ticketing). April 9 will bring the Renaissance Faire. April 16 brings “The Producers” at Cabrillo Music Theatre, with “Lust N Rust: The Trailer Park Musical” at the Lyric Theatre on April 17. April 23rd, which is during Pesach, brings the last show of the current Colony season, “The All Night Strut” at the Colony Theatre. The last weekend of April is being held open (i.e., pending ticketing) for Brian Stokes Mitchell at the new Valley Performing Arts Center. May 7 will bring “God of Carnage” at the Ahmanson Theatre (pending Hottix). The weekend of May 12-14 will bring the “Collabor8 Dance Festival” at Van Nuys High School, which is always excellent. The third weekend in May is currently open, but I expect that to change. The last weekend of May brings “Cabaret” at REP East on May 28, and (pending ticketing) “Dear World” at the Lyric Theatre. June begins with “Year Zero” at the Colony Theatre on June 5, with the rest of June being lost to Confirmation Services at Temple and a college visit trip (but who knows — we might hit a show in Nashville or St. Louis). Lastly, July should hopefully start with “Les Miserables” at the Ahmanson on July 2 (pending hottix).

Share

Who Can Go Wrong With Singing and Dancing Nuns?

Posted onAuthorcahwyguy

Singing and dancing nuns. Who can resist them? Dan Goggin took a lesson from the singing and dancing Chasids of Fiddler on the Roof back in 1986 and created “Nunsense“, That show featured the Little Sisters of Hoboken, who discover that their cook, Sister Julia, Child of God, has accidentally poisoned 52 of the sisters, and they are in dire need of funds for the burials. The sisters decide that the best way to raise the money is to put on a variety show. The sisters consist of Reverend Mother Regina, a former circus performer; Sister Mary Hubert, the Mistress of Novices;a streetwise nun from Brooklyn named Sister Robert Anne; Sister Mary Leo, a novice who is a wannabe ballerina; and the delightfully wacky Sister Mary Amnesia, the nun wholost her memory when a crucifix fell on her head, and whose alter-ego is a puppet, Sister Mary Annette. This show was a success around the country due to its humor, its good music, and the fact that it could be put on relatively easily with a small cast. Goggin subsequently went back to the Convent for more shows: “Nunsense II: The Second Coming“, “Sister Amnesia’s Country Western Nunsense Jamboree“, “Nuncrackers”, and “Meshuggah-Nuns. The sixth show in the series, “Nunsensations” is the show we saw last night at the Lyric Theatre in Hollywood. [And you should be scared, because “Nunsensations” isn’t the last one. There is also “Nunsense A-Men (an all male version of the first show), “Nunset Boulevard”, and “Sister Robert Anne’s Cabaret Class”]. I’ll note this was the Los Angeles premier of “Nunsensations”

The basic plot of “Nunsenstations” doesn’t matter (oops) is just an excuse for the sisters to do a variety show (oops) is that the Sisters have been told by a Hoboken parishioner that he will donate $10,000 to their school if the Sisters go to Las Vegas and perform in a friend’s showroom. Reverend Mother has serious doubts about appearing in “Sin City.” However, after convincing her that “what happens in Vegas stays in Vegas,” the Sisters plan their program…. and this is their show, from the Pump Room Lounge of the Mystique Motor Lodge in Las Vegas, Nevada. Hmmm. Perhaps my first two answers were correct after all.

“Nunsensations” has the virtue that it is moderately entertaining, is quite humerous, and can tolerate quite a range of actresses (after all, the nuns are novices (rimshot)). Of course, it is better if the nuns are good singers and dancers, and astounding if they are great singers and dancers. The sets don’t have to be fancy, and a single piano accompaniment is fine. It has the problem in that the story and the music are essentially recycled from the previous Nunsense musicals—certain plot elements always show up. But you didn’t come for the plot. You came for the singing and dancing nuns, right?

Alas, the Lyric production didn’t fall into the great category, but it was pretty good. The singing quality could have been a bit stronger, but for the most part it was quite good. I was also impressed by comic abilities and facial expressions of a majority of the cast. My favorites were Tracy McBurnett as Sister Mary Leo, and Becky Birdsong as Sister Robert Anne. McBurnett just had fun with the role: her face was extremely expressive and her movement was great. Birdsong also had a wonderfully expressive face. Also strong was Doreen Calderonæ as Sister Mary Amnesia—again, a very expressive face, although she could have been a bit stronger with Sister Mary Annette. Rounding out the cast were Bonnie Snyder as Reverend Mother and Dorrie Braun as Sister Mary Hubert. Music was provided by Lauren Buck Fraley.

This crew was directed by Amy Rowell, who did a reasonable job of creating the characters. Sister Robert Anne could have come across a bit more “Brooklyn Hood”, and Sister Mary Hubert a bit more stern. Choreography was by Josh Brodis. The set was designed by Allan Jensen, who did a good job of turning the black box of the Lyric into a low-budget facsimile of a Las Vegas Motor Hotel stage. Costumes and props were by Leslie Guardado. Lighting Design was by Irina Khodorkovsky. Sound was by Lucas Lilieholm. Allen Jensen was the production manager, and Stephaine Boltjes was the stage manager. The production was produced by Thomas Colby and Dorrie Braun.

“Nunsensations” continues at the Lyric Theatre until March 13. Tickets are available via BrownPaperTickets and Goldstar. Upcoming productions at the Lyric Theatre are the Los Angeles premier of “Lust n’ Rust: The Trailer Park Musical” (March 25-April 30, 2011) and the little-produced Jerry Herman musical, “Dear World” (May 13-June 13, 2011). I may get tickets to “Dear World”.

Upcoming Theatre, Concerts, and Dance: Saturday March 12 sees us back at Van Nuys High School to see “Evita”, at Van Nuys High School. Sunday, March 13 is “The Cradle Will Rock” at the Blank Theatre. March 19 brings “Having It All” at the NoHo Arts Center. Lastly, March 26 brings “The Diary of Anne Frank” at Repertory East. April will bring the Renaissance Faire on the weekend of April 9. April 16 brings “The Producers” at Cabrillo Music Theatre. April 23rd, which is during Pesach, brings the last show of the current Colony season, “The All Night Strut” at the Colony Theatre. The last weekend of April is being held open (i.e., pending ticketing) for Brian Stokes Mitchell at the new Valley Performing Arts Center. May is just starting to shape up, with the first weekend being held for “God of Carnage” at the Ahmanson Theatre (pending Hottix) and “Cabaret” at REP East on May 28.

Share

What Does He Have That She Doesn’t Have (or) Now, That’s A Revision!

Posted onAuthorcahwyguy

One of the RSS feeds that I read is Playbill News. One of the items that came across today was a notice about Harry Connick Jr. starring in a revised revival of the musical “On A Clear Day You Can See Forever“. This was a 1970s musical that was moderately successful, and spawned a Barbra Streisand movie with Yves Montand. The plot of the original musical was summarized as follows (from Wikipedia):

Quirky Daisy Gamble sees herself as an unremarkable person and has low self-esteem, even though she can (1) make plants grow remarkably, (2) predict when a telephone will ring or someone will drop in, and (3) tell where to find an object that someone else is looking for. Her current problem, though, is her nasty smoking habit, which will interfere with the chances of her fiancé, Warren, for a job with great benefits. She seeks help from a psychiatrist, Dr. Mark Bruckner, to stop smoking. When he hypnotizes her, she describes living a previous life in late 18th century England as “Melinda Wells”, who died in her late twenties from circumstances beyond her control. Free spirited Melinda was in love with portrait painter Edward Moncrief. Mark keeps to himself what Daisy has revealed to him, and he tells her that she should not be ashamed of her ESP. At their next session, Daisy, under hypnosis, relates scenes from the salacious London Hellrakers’ Club where Melinda met Edward. Melinda and Edward eventually marry, but the painter is unfaithful to her, making love to his subjects. Mark, the psychiatrist, finds himself falling for “Melinda” and becomes convinced that Daisy is really the reincarnation of Melinda. Melinda finally left Edward and set sail for America, but the ship never reached Boston. Before Mark can save Melinda from shipwreck, Daisy wakes up.

Mark reports on the case to his fellow psychiatrists, who ridicule his findings. Greek shipping magnate Themistocles Kriakos learns of Mark’s belief in reincarnation and offers to finance a study of the events of Melinda’s life in exchange for Mark’s help in discovering who he will be in his next life, which will allow him to leave his fortune to his future self. Daisy accidentally discovers that she is the “Melinda” at the center of the growing controversy and that Mark prefers Melinda to herself. In her angry confrontation with the psychiatrist about the matter, she tells him that she is “through being a go-between for you and your dream girl. You’re not going to go on using my head for a motel.” Daisy goes to the airport, ready to return home. Her ESP powers warn her that the plane on which she plans to travel will crash. She realizes at last how special she really is. She leaves her starchy fiancé, and she and Mark unite to explore their extraordinary future.

Now, here’s the summary of the “revised” plot:

Love blooms in unexpected places in the delightfully reimagined world of On a Clear Day You Can See Forever. Still in love with his deceased wife, Dr. Mark Bruckner (Harry Connick, Jr.), a dashing psychiatrist and professor, unknowingly takes on the case of his life with David Gamble, a quirky young florists’ assistant. While putting David under hypnosis to help him quit smoking so he can move in with his perfect boyfriend Warren, Dr. Bruckner stumbles upon what he believes to be David’s former self — a dazzling and self-possessed 1940s jazz singer Melinda Wells. Instantly intrigued by Melinda, Dr. Bruckner finds himself swept up in the pursuit of an irresistible (and impossible) love affair with this woman from another time and place, who may or may not have ever existed.

I think I’ve got whiplash from the changes. Daisy becomes David. A late 18th century woman becomes a 1940s jazz singer off a different sex from the present day person. The doctor is in love with the past person, but not the present person as well. They are adding songs from the film score (OK), such as ‘Love With All The Trimmings’ and ‘Go To Sleep’, but also adding songs from the Lerner and Lane score for the film ‘Royal Wedding’ such as ‘Ev’ry Night at Seven,’ ‘You’re All the World to Me,’ ‘Open Your Eyes’ and ‘Too Late Now’.

Somehow, I’m not sure about this revival. I’m not sure how the original authors would take to the quirky young florists’ assistant, David Gamble. I just can’t see a good reason for that particular change, unless the thinking is that you can’t be successful on Broadway without a gay element somewhere. Wrong. You can’t be successful on Broadway without a good book.

Share

2011-2012 Pantages Season

Posted onAuthorcahwyguy

The 2011-2012 Pantages Season has just been announced. Alas, this means I’m going to have to pay for higher-priced seats in a theatre I’m not crazy about because this is the only place some shows I want to see will be. Sigh. Here are the shows. I’ve bolded the ones I want to see, and italicized the “maybe”s:

  • “Come Fly Away” (Oct. 19 to 30)
  • “Riverdance” (Nov. 15 to 20)
  • “Wicked” (Nov. 30 to Jan. 22)
  • “Mamma Mia!” (March 27, 2012 to April 8, 2012)
  • “Billy Elliot: the Musical” (April 12, 2012 to June 2, 2012)
  • “The Addams Family” (June 5, 2012 to June 17, 2012)
  • “Million Dollar Quartet” (June 19, 2012 to July 1, 2012)
  • “La Cage aux Folles” (July 10, 2012 to July 29, 2012)
  • “Memphis” (July 31, 2012 to Aug. 12, 2012)

Explanations: Both “Billy Elliot” and “Memphis” are Best Musical winners (2009 and 2010, respectively). “Addams Family” is just something I want to see. I’m unsure about “Million Dollar Quartet”—I like the music, but it’s a jukebox musical at heart, so I’m not sure it is worth the $$$. I’ve seen “La Cage” before, although it was ages ago. That all depends on who is cast to determine if it is worth the $$.

Share

I Don’t Know Nuthin’ ‘Bout Birthin No Movie

Posted onAuthorcahwyguy1 Comment

Dum-dum-dum-dum. Dum-dum-dum-dum. If you didn’t recognize those notes (I type better than I sing), those were the opening bars to theme from “Gone with the Wind”, one of the classic American movies. But the movie almost wasn’t completed, and certainly wasn’t a guaranteed success. David O. Selznick, the producer, had paid $50,000 for the rights to the story (before it became popular), and had the difficulty of turning a 1,000+ page story into something filmable (it’s a problem that symied many—just look at the history of Harold Rome’s “Gone With The Wind-The Musical” or the later Trevor Nunn version). There was difficulty finding the right cast, and George Cukor took three weeks just to film the opening. The initial screenplay was the work of over a dozen famous writers. Faced with this mess, Selznick did what any producer would do: he shut down production for a week to rework everything.

Tthe story of what happened during that fateful week is what is told in the Ron Hutchinson’s play “Moonlight and Magnolias”, which we saw last night at The Colony Theatre in Burbank. Selznick has brought in Ben Hecht, a talented and prolific screenwriter to completely rewrite the screenplay of “Gone With The Wind”, and has yanked Victor Fleming off of “The Wizard of Oz” to help. Never mind the fact that Hecht has never read the book. Selznick and Fleming will act out the story, while Hecht writes. They lock themselves in Selznick’s office, living only on bananas and peanuts brought in by Selznick’s secretary, Miss Poppenghul, and go to work… What results is, on its surface, an incredibly funny play, where you have these two men acting out scenes from an already melodramatic three-hour movie (it makes one think of “The 39 Steps”). If the play was just manic expression of GTTW, it would be good.

But “Moonlight and Magnolias” is more than that. M&M is also an exploration of the roles of jews in Hollywood. Selznick is Jewish, and is thought of a Jew first, and American second (a common perception of Jews at the time—and how many Americans think of Muslims today). So is Hecht. Fleming isn’t. This comes out as a whole subtheme in the play: trying to succeed at something and make an imprint as a Jew. There is also the responsibility that Hecht feels as a Jew to do something socially meaningful—and GTTW, which glorifies the institution of slavery, and the behavior of a tramp and potential homewrecker who marries for revenge and not love—is not it. There are also the subthemes of Selznick trying to prove something to his father-in-law, Louis B. Mayer. There’s also the continuing fight of who makes a movie a success: is it the writer, who gives the story; the director, who translates that story into film, or the producer, who finds the story and the money to enable everyone to do their work. Are all three at the mercy of the audience, who can reject the best story and elevate drek to classic. These are all subthemes in this very very funny story.

So, we’ve now talked about the writing of the story. But a play is nothing without the actors to bring it to life. The ensemble for this production is excellent, demonstrating great comic timing and love for the story (and, as a bonus, they even tend to resemble the real people). As David Selznick, Roy Abramsohn protrays the drive and craziness that marks a successful producer. Battling him along the way is Matt Gottlieb as Ben Hecht. Gottlieb’s Hecht comes across as a weary but talented writer who wants to do something socially relevant… and GTTW isn’t it. As Fleming, Brendan Ford provides another counterbalance to Selznick: this time one who is willing to film anything, as long as he had a damn screenplay—he can fix any rough edges with the appropriate camera angles. Supporting these three crazies is Emily Eiden as Selznick’s secretary, who becomes increasingly exasperated as the play goes on. As a side note, there is an excellent article from LA Stage Blog on how the cast, and especially Eiden, brought life to these roles.
[All actors are members of æ Actors Equity ]

Of course, direction is important as well. Luckily, Andrew Barnicle is familiar with this property having directed it before, and works with these actors to make the timing perfect and the exasperation show. Comedy is hard, and farcical comedy is even harder–and Barnicle does it perfectly.

Turning to the technical: Bruce Goodrich scenic design recreates Selznick’s office in perfect period, down to the correct headlines on the issues of Variety strewn about and the correct pictures on the walls (credit for this likely goes also to MacAndME, who provided additional properties and set dressing). The costume design by Julie Keen is appropriately period. The lighting by Paulie Jenkins is simple but effective, and the sound design by Julie Ferrin is what a good sound design should be: unnoticable in its clarify. Ritz Gray is the Production Stage Manager, who gets the thankless job of cleaning up after this show, which destroys the set at every production (just imagine peanut shells and paper strewn everywhere).

“Moonlight and Magnolias” continues at the Colony Theatre in snowy Burbank until March 6, 2011. Tickets are available through the Colony Box Office.

The Colony Theatre has announced their 2011-2012 season. They are being bold in these economic times, expanding to six shows: YEAR ZERO by Michael Golamco (June 1 – July 3, 2011), ON GOLDEN POND by Ernest Thompson (July 27 – August 28, 2011), SHOOTING STAR by Steven Dietz (September 14 – October 16, 2011), TRAVELS WITH MY AUNT by Graham Greene (November 9 – December 18, 2011), OLD WICKED SONGS by Jon Marans (February 1 – March 4, 2012), and DAMES AT SEA with book and lyrics by George Haimsohn and Robin Miller and music by Jim Wise (April 11 – May 13, 2012). Subscriptions are affordable with pricing between $120 and $210, depending on night and seats (opening nights are $234) [that’s as low as $20 a show, getting near movie prices]. Plus you can pay in two-or-three chunks, which we find helps cash flow. Information is available here.

Dining Notes: Last nights dinner was surprisingly good, especially considering its location: the Ikea Restaurant in the Ikea across the street from the theatre. Not only do you get great food, but you get to see stylish furniture!

Upcoming Theatre, Concerts, and Dance: March begins with a Noel Paul Stookey concert at McCabes on March 4. Saturday March 5 is the MRJ Regional Man of the Year dinner at TBH, and Sunday brings “Nunsensations” at the Lyric Theatre in Hollywood. Saturday March 12 sees us back at Van Nuys to see the other actress playing Eva Peron in “Evita”, at Van Nuys High School. Sunday, March 13 is “The Cradle Will Rock” at the Blank Theatre. March 19 brings “Having It All” at the NoHo Arts Center. Lastly, March 26 brings “The Diary of Anne Frank” at Repertory East. April will bring the Renaissance Faire on the weekend of April 9. April 16 brings “The Producers” at Cabrillo Music Theatre. April 23rd, which is during Pesach, brings the last show of the current Colony season, “The All Night Strut” at the Colony Theatre. The last weekend of April is being held open (i.e., pending ticketing) for Brian Stokes Mitchell at the new Valley Performing Arts Center. May is just starting to shape up, with the first weekend being held for “God of Carnage” at the Ahmanson Theatre (pending Hottix) and “Cabaret” at REP East on May 28.

Share