theatre-2012 – Page 6 – Observations Along the Road

Friday Cleanin’ Out The Links: Financial News, Food News, Robocalls, and Theatre Notes

Posted onFriday, February 17, 2012Authorcahwyguy

Well, it’s Friday, and you know what that means: Time to clear out the links over lunch…

Financial News You Can Use. We start with a few financial items. The White House is proposing a mortgage refinanciang plan. This actually is of interest to me: I’d like to refinance down to the lower rates (IMSC, we’re at 5.125% now), but am unsure about having sufficient equity. Of course, it doesn’t help that prices in SoCal haven’t bottomed yet. For those dealing with taxes, here’s another wrinkle: starting next year (i.e., for actions this year), reporting stock sales just got a lot more complicated. I hope you have good records.
Food News You Can Use. A number of food items have accumulated in the links list. First, an article about how not all of those going Gluten-Free need to be GF. What caught my interest on this particular article was that they relied on Dr. Alessio Fasano, director of the University of Maryland Center for Celiac Research. Next we have a collection of food safety myths. Next up is the world’s hottest Chile Pepper: The Trinidad Moruga Scorpion, at 1.2 million Scoville units. Ouch! Lastly, M&M Mars is going to be making their candy bars smaller.
Those Annoying Phone Calls. Speaking of food, if you’re like me you hate those robocalls during dinner. Evidently the rules are changing and they will be more limited to calling you, except of course, when they aren’t changing (such as when they can construe some relationship). For me, the most hated calls are from Van Nuys HS (we typically get four a night, between 6p and 7p), usually about stuff we don’t care about.

P.S.: Something for me to look into: A local small production of Spring Awakening, at the Arena for the Arts stage in Hollywood, which is where we saw Gypsy. Everyone seems to be doing Spring Awakening these days: even Simi Valley Repertory is doing it (October 2012). I also need to look into the next Pasadena Playhouse production: “Heiress“, which will star Richard Chamberlain, Heather Tom, and Julia Duffy. This was recently broadcast on LA Theatre Works, and I enjoyed the story. The trick is finding time for these shows during this busy Spring: there are already numerous shows (such as this, this or that) that I just can’t seem to work in.

Music: Pachebel Canon and other Baroque Music: Rondeau From Sinfonies de Fanfares

The Man In Black Returns

Posted onSunday, February 12, 2012Sunday, February 12, 2012Authorcahwyguy

Cabrillo Userpic Growing up, I looked down on country music. I stereotypically assumed it to be all twangs and songs about pickup trucks and such. My musical interests were PP&M, cast albums, and era-appropriate rock. As I got older, my musical tastes have broadened substantially, and now are pretty wide ranging. I’ve grown to appreciate country and its connection to folk–especially bluegrass music and older country stylings (I’m not currently into some of the more recent country artists, although I’m not precluding it in the future).

I mention all of this as way of explanation: I was never a Johnny Cash fan growing up: he was that dour man in black. In the last few years I’ve grown to appreciate the contributions of Johnny Cash–especially his earlier sound–and his importance to country music and the broader field of pop music. So while another pop icon was dying, we were in Thousand Oaks at the Cabrillo Music Theatre seeing the Johnny Cash musical, “Ring of Fire“.

“Ring of Fire” is a 2006 musical developed by conceived by William Meade and created by Richard Maltby Jr. (who has experience with jukebox musicals, going back to the granddaddy of the subgenre, “Ain’t Misbehavin’“). In it, four actor/musicians and an on-stage band–who also act and sing the songs–roughly tell the story of the life of Johnny Cash by stringing together a number of Cash’s songs (in a manner similar to Ain’t Misbehavin’ did for Fats Waller). No single actor consistently portrays Cash throughout, although they do portray him (as well as his wife, June Carter Cash) in various songs. The songs include most of his major hits, opening with “Country Boy”, and closing with “Hey Porter”. In short, there is no formal book, although there is a story, and the music has the capacity to soar and get your feet tapping.

As a result, what makes or breaks a production of “Ring of Fire” is the quality of the performers, and I’m pleased to say that the performance quality of the Cabrillo team is excellent. It is difficult to separate out individuals, as this is a true ensemble, but I’ll try. The four main performers are Trenna Barnes, Troy Burgess^æ, Jason Edwards^æ, and Kelli Provart^æ. Edwards also directed the production. All are wonderful singers, and as the number “I’ve Been Everywhere” showed, all can play the guitar. I was having fun watching their faces during their performances–this quartet appears to really love this music and to love performing it. Of equal status with the actors were the official band–who often led numbers, sang numbers, and participated equally onstage. The band consisted of John Foley (guitar, harmonica… and one of the authors of Pump Boys and Dinettes), Mark San Filippo (drums), Brantley Kearns (fiddle), Jeff Lisenby (keyboard, accordion… and musical direction), John W. Marshall (bass guitar), and Brent Moyer (guitar, trumpet). As with the actors, all were excellent. I was particularly impressed with John Foley’s guitar work, Brantley Kearns’ fiddlin’, and especially, the bass-work of John W. Marshall (which was astounding). [ETA: Another nice article on the band may be found in this article from the Musicals in LA blog.
[^æ denotes members of Actors Equity ]

Turning to the technical: the scenic design was by John Iacovelli, and consisted of a circular stage platform, a projection screen, and a country musician’s cabin. Lighting design was by Jean-Yves Tessier and was clean and effective. Sound design was by Cabrillo-regular Jonathan Burke. Costume design was by Trish Clark who created wonderfully appropriate period costumes for the Arkansas Repertory Theatre production that were reused here. As previously noted, Jason Edwards served as the director, assisted by Jane Lanier (article), and Jeff Lisenby served as musical director. Cabrillo-regular Allie Roy served as production stage manager, assisted by Jessica Standifer. Lewis Wilkenfeld is the artistic director of Cabrillo Music Theatre.

The last performance of “Ring of Fire” is today, February 12, 2012, at 2:00pm. Tickets are available at the box office or online.

Cabrillo has announced their 2012-2013 season of musicals: “1776” (October 19-28, 2012), “You’re a Good Man, Charlie Brown“, February 8-17, 2013, “Grease” (April 12-21, 2013), and “Legally Blonde: The Musical” (July 19-28, 2013). The remainder of the 2011-2012 season is “Once Upon a Mattress” (April 20-29, 2012) and “Meet Me in St. Louis” (July 20-29, 2012). We’ve been subscribing to Cabrillo for many years, and they always deliver great productions, with primarily local casts (Ring of Fire was a slight exception to that, with many from the ART production), that are an exceptional value for the money you pay. We recommend subscribing.

Upcoming Theatre, Concerts, and Dance: Next weekend has two shows: Saturday night we’re in Saugus for “Jewtopia” at REP East; the following afternoon we’re in Sierra Madre for “On The Twentieth Century” at the Sierra Madre Playhouse. February concludes with “Old Wicked Songs” at the Colony Theatre. March is equally busy, beginning with “How to Succeed in Business without Really Trying” at Van Nuys High School (March 2-3 and 8-10; we’re likely going on 3/2), and Bernadette Peters in concert at the Valley Performing Arts Center on March 3. March should also bring “American Idiot” at the Ahmanson, and “Journey’s End” at REP East. March will conclude with Tom Paxton in concert at McCabes on 3/31. Continuing the look ahead, April will bring “Billy Elliot” at the Pantages, the Southern California Renaissance Faire, “Once Upon a Mattress” at Cabrillo, and “Dames at Sea” at the Colony. As always, open dates are subject to be filled in with productions that have yet to appear on the RADAR of Goldstar or LA Stage Alliance.

Music: Come Saturday Morning (Liza Minnelli): Simon

Upcoming Theatre of Interest

Posted onFriday, February 10, 2012Saturday, February 11, 2012Authorcahwyguy

This has been a busy week, what with loads of meetings, getting in early and such. That lead to a late lunch today, and thus this post. Here are a few upcoming theatre productions I’ve noted of late that I’m meaning to investigate. This is mostly for my own edification and enjoyment, but you might find it of interest as well:

Xanadu. Today’s LA Stage Insider had an intriguing mention of a new theatre company (or at least new to me): the DOMA Theatre Company, which is launching its first full season of musicals–the six-show linup, at the MET Theatre in Hollywood, is:
Now of these, Xanadu is quite interesting. I’m not sure it has been done in LA; I certainly haven’t seen it. I remember when it was on Broadway, and it was supposedly quite fun.
Rooms: A Rock Musical. A mention by someone on Facebook alerted me to the fact that “Rooms: A Rock Musical” is currently at the Chance Theatre in Orange County. Now Rooms is one of those musicals for which I’ve heard the musical and haven’t seen it. Alas, it is only running until March 4, and it doesn’t really fit into the schedule, especially with the drive down to the Anaheim Hills. Discount tickets are available. Alas, nothing else in their 2012 season looks interesting; I’m still kicking myself for not being able to see “Jerry Springer: The Opera” when they did it.
For Colored Girls… Another LA Stage Times post reminded me that the Lyric Theatre in Hollywood is doing “For Colored Girls Who Have Considered Suicide When The Rainbow is Enuf“. This is a show I’ve heard about. I may try to fit this in during March, especially if Goldstar or LA Stage Tix tickets are available.
Twentieth Century. This one I am going to. The Sierra Madre Playhouse is doing a revival of Cy Coleman’s “On the Twentieth Century“. Alas, when I ticketed it, I forgot to check if LA Stage Alliance discounts were available.

Music: Chronicle: 20 Greatest Hits (Creedence Clearwater Revival): Down on the Corner

And They Say Parents are Civilized. Hah!

Posted onSunday, February 5, 2012Sunday, February 5, 2012Authorcahwyguy1 Comment

Last spring, the New York cast of “God of Carnage” visited the Ahmanson Theatre. I wanted to see the show, but the discount tickets were extremely limited and difficult to get, and it passed me by. Luckily, International City Theatre in Long Beach selected the show to open their 2012 season, and we decided to skip the Super Bowl and go see it instead. For us, the story is the key, not particular names in the cast; in fact, we were happy to see a production where we’ve seen three of the four actors on Southern California stages.

This was our second Yasmina Reza play in a row (last week was “Art” at the Pasadena Playhouse), and both had to deal with adults behaving like children. Last week, it was three men obstensibly arguing about a friend’s taste in art, whereas the real hurt was something much much deeper. Similarly, in “God of Carnage“, the surface argument is not what the real fight is about. (I’ll also note that both plays are 90-minute, one-act plays).

“God of Carnage” tells the story of two parental couples who are brought together because their pre-teen children had a schoolyard brawl–specifically, Benjamin Raleigh had used a stick to hit Henry Novak and knock out two of his teeth (injuring the nerve of one of them) [later we learn this occurred because Henry refused to let Benjamin join his “gang” and called him names]. That evening, the parents of Henry (Veronica and Michael Novak) invite Benjamin’s parents (Annette and Alan Raleigh) over to discuss the matter, and to get their son to apologize personally to Henry. As the evening goes on, the parents civil discussion becomes significantly less civilized (especially after Annette vomits over the coffee table), and the veneer that we parents wear becomes ripped off. I could probably describe more, but as with “Art”, it is really best to watch and see the gory details as these to parents become children and brawl in the fancy living room.

The production we attended had a talkback, and I asked how much came from the director and how much from the actors. Both noted they couldn’t be separated, giving the example of how after you have baked a cake, you can no longer separate the constituent ingredients. So I won’t attempt to do so; I’ll simply indicate that this is a delightful cake, indicating the skill of both the cook and the quality of the ingredients.

In this case, the cook is the director, caryn desai, who is also the artistic director of ICT. The ingredients are Greg Derelian and Leslie Stevens as Michael and Veronica Novak, and David Nevell and Alet Taylor as Alan and Annette Raleigh. The cake is so thoroughly sweet that you can’t even separate the actors: all of them are great, and all of them give wonderful performances. As I indicated, we have seen most of them before: we saw Leslie and David at the Pasadena Playhouse, and Alet at Cabrillo and the NoHo Arts Center (I’ll also note that all are members of Actors Equity).

Turning to the technical side. The set was designed by Stephen Gifford, who has done numerous productions at both ICT and the Colony, and did a very elegant New York apartment set. Lighting was by Jeremy Pivnick, and was very simple. Sound was by Chris Kittrell, and was reasonably good (my only complaint was that the cellphone sound effect didn’t come from the cellphone). Kim DeShazo was the resident costume designer; Gordon and Patty Briles were the resident property designers, and Michael Donovan was the resident casting director. Pat Loeb was the Production Stage Manager.

“God of Carnage” continues at ICT through February 19. Tickets are available through the ICT online box office.

Upcoming Theatre, Concerts, and Dance: Next weekend sees us in Thousand Oaks for “Ring of Fire” at Cabrillo Music Theatre on February 11. The third weekend of February has two shows: Saturday night we’re in Saugus for “Jewtopia” at REP East; the following afternoon we’re in Sierra Madre for “On The Twentieth Century” at the Sierra Madre Playhouse. February concludes with “Old Wicked Songs” at the Colony Theatre. March is equally busy, beginning with “How to Succeed in Business without Really Trying” at Van Nuys High School (March 2-3 and 8-10; we’re likely going on 3/2), and Bernadette Peters in concert at the Valley Performing Arts Center on March 3. March should also bring “American Idiot” at the Ahmanson, and “Journey’s End” at REP East. March will conclude with Tom Paxton in concert at McCabes on 3/31. Continuing the look ahead, April will bring “Billy Elliot” at the Pantages, the Southern California Renaissance Faire, “Once Upon a Mattress” at Cabrillo, and “Dames at Sea” at the Colony. As always, open dates are subject to be filled in with productions that have yet to appear on the RADAR of Goldstar or LA Stage Alliance.

Music: Time to Think (Kingston Trio): Song for a Friend

What Makes Something Good Art?

Posted onSunday, January 29, 2012Monday, January 30, 2012Authorcahwyguy3 Comments

Beauty is in the eye of the beholder. That’s what they always say, isn’t it. But what if you believe the beholder is an idiot, and what he thinks is beautiful is a piece of shit? That’s the opening premise of “Art“, which we saw last night at the Pasadena Playhouse.

“Art“, by Yasmina Reza, tells the story of three friends: Serge, Marc and Yvan—who find their previously solid 15-year friendship on shaky ground when Serge buys an expensive painting. The 5’x4′ painting has a white background, upon which there are some faint white diagonal lines. Serge (a dermatologist) is proud of his 200,000€ acquisition, and fully expects the approval of his friends. However, when his friend Marc, an engineer, sees the painting, he scornfully describes it as “a piece of white shit”. This sets of an exploration of not only what is art, but what is friendship, for it isn’t clear whether it the painting that offends him, or the uncharacteristic independence-of-thought that the purchase reveals in Serge? Added to this mix is the insecure Yvan. Yvan has just left his job in the textile trade to become a stationary salesman, plus he is about to be married. His friendship with Marc and Serge is safe, and he always attempts to make peace. This, of course, backfires. Eager to please he laughs about the painting with Marc but tells Serge he likes it. Pulled into the disagreement, his vacillations fuel the blazing row. Lines are drawn and the three square off over the canvas, using it as an excuse to relentlessly batter one another over various failures. As their arguments become less theoretical and more personal, they border on destroying their friendship. As this happens, the story becomes more and more hilarious… but I don’t want to spoil the ending.

The Pasadena Playhouse production of “Art” is one that makes me treasure not only the director, David Lee, but especially the actors who make this production something special. Translation: In this production, I could really see the talent of the actors, and what they bring to the production. No more was this seen better than the character of Yvan, played by Roger Bart. Bart portrays Yvan as a pure maniac, crazy in both action and deed, and hilarious everytime you see him because you have no idea what he is going to do. Equally crazy is Bradley Whitford as Marc. Whitford has equally great moves and reactions, and watching him play off of Bart is just hilarious. Lastly, as Serge (the fellow who bought the painting), Michael O’Keefe. Initially the stiffest of the three characters, his personality grows throughout the piece. The three together make a great ensemble that makes this piece a joy.
[All actors are members of Actors Equity ]

Turning to the technical: The set (designed by Tom Buderwitz) was simple: a modernistic apartment, with a greyish background. This allowed the focus to be on the acting. Similarly, the lighting by Jared A. Sayeg and the sound by Philip G. Allen were unobtrusive and seemed to be part of real world. This is good. Technical direction was by Brad Enlow. Jill Gold was Production Stage Manager, and Hethyr (Red) Verhoef was Asst. Stage Manager. Joe Witt was the Production Manager.

“Art” officially opens at the Pasadena Playhouse today, January 29, and runs through February 19. Tickets are available through the Pasadena Playhouse, as well as on Goldstar and through other discount outlets. The two productions at the Playhouse are “The Hieress” (April 24-May 20, 2012) and “Sleepless in Seattle-The Musical“. The latter doesn’t interest me, but the former does, after I listened to it on LA Theatreworks.

Upcoming Theatre, Concerts, and Dance: February theatre starts at Van Nuys High School, with the Senior and Alumni Dance performances on February 2-3. “God of Carnage” at ICT Long Beach follows on February 5. The next weekend sees us in Thousand Oaks for “Ring of Fire” at Cabrillo Music Theatre on February 11. The third weekend takes us to Saugus for “Jewtopia” at REP East. February concludes with “Old Wicked Songs” at the Colony Theatre. March is equally busy, beginning with “How to Succeed in Business without Really Trying” at Van Nuys High School (March 2-3 and 8-10; we’re likely going on 3/2), and Bernadette Peters in concert at the Valley Performing Arts Center on March 3. March should also bring “American Idiot” at the Ahmanson, and “Journey’s End” at REP East. It may also bring Albert Herring at the LA Opera, if we can find discount tickets. March will conclude with Tom Paxton in concert at McCabes on 3/31. Continuing the look ahead, April will bring “Billy Elliot” at the Pantages, the Southern California Renaissance Faire, “Once Upon a Mattress” at Cabrillo, and “Dames at Sea” at the Colony. As always, open dates are subject to be filled in with productions that have yet to appear on the RADAR of Goldstar or LA Stage Alliance.

Music: Traditions 4 – The New Era (Vanguard Cadets): 2000: Journey From The Darkness

We Had Been Warned … and We Didn’t Listen

Posted onSaturday, January 14, 2012Sunday, January 3, 2016Authorcahwyguy1 Comment

Back in 2003, Molly Ivens wrote “Okay, we cut taxes for the rich and so we have to cut services for the poor. Presumably there is some right-wing justification along the lines that helping poor people just makes them more dependent or something. If there were a rationale Bush could express, it would be one thing, but to watch him not see, not make the connection, is another thing entirely. Welfare, Medicare, Social Security, food stamps–horrors, they breed dependency. Whereas inheriting millions of dollars and having your whole life handed to you on a platter is good for the grit in your immortal soul? What we’re dealing with here is a man in such serious denial it would be pathetic if it weren’t damaging so many lives.”

This is someone whose wit and insight we need today. Someone who has the ability to cut through the bullshit of political rhetoric, who is proudly liberal (just like Jesus would be, as she noted in another essay), and is willing to call people on their idiocy. One could just imagine what she would make of the current Tea Party efforts and the crop of Republican candidates. One could imagine what she would say about the Occupy movement and the importance of their message about inequality of wealth (as she has written about it before). Alas, we don’t have this wit and insight, as she died in 2007. However, “Red Hot Patriot: The Kick-Ass Wit of Molly Ivens“, which we saw this afternoon at the Geffen Playhouse, provides a great reminder and a great facsimile.

“Red Hot Patriot” is basically a one-woman show of Molly Ivens (portrayed by Kathleen Turner). It starts out with Ivens attempting to write a column about her father, “General Jim” and getting stuck. This turns her into reminiscing about her life and the political characters therein, moving through all the newspapers she worked at. This provides the opportunity to work in a lot of the classic Ivens lines, such as Jim Hightower’s line when he was informed that Governor Bill Clements was studying Spanish: “Oh, good. Now he’s be bi-ignorant.” Special attention is paid, however, to Shrub (her name for George W. Bush) and the Texas State House, which gave her ample ammunition. The telling closes with some stories about her battle with breast cancer, which ultimately took her life.

Turner’s portrayal of Ivens is pretty spot-on. At our performance, Turner’s already husky voice sounded hoarse–I don’t know if this is part of the character, but Ivens evidently did have a husky voice. Turner is relaxed on stage, costumed in red boots, jeans, an a jeans-shirt, with red hair. You can see an image of her in character here. It was a very good and entertaining performance. Turner is supported by Matthew Van Oss as the silent copyboy.
[All actors are members of Actors Equity ]

Turning to the technical side. The set (designed by John Arnone) was simple: a desk for Ivens, a teletype machine, and a collection of old metal desks and chairs stacked in the back. This design was augmented by projections by Maya Ciarrocchi; the two combined very effectively. Lighting was by Daniel Ionazzi and was simple but good. Costumes (already described) were by Elizabeth Hope Clancy, with wig design by Paul Huntley. Original music and sound design was by Rob Milburn and Michael Bodeen. The music was good, but the sound could have been more effective–but this may be a problem with the facility.

“Red Hot Patriot” was written by Allison Engel and Margaret Engel, and directed by David Esbjornson. Mary Michele Miner was the Production Stage Manager, and Susie Walsh was the Assistant Stage Manager.

A note about the theatre. The Geffen Playhouse is what used to be the Westwood Playhouse. It’s pretty, but I wasn’t that impressed with the facility. The hard brick walls inside lead to a lot of sound bouncing. We also had an older crowd at this show (common for matinees), meaning that (a) they couldn’t figure out how to turn off their cellphones; (b) couldn’t figure out how to turn them off once they started ringing during the show (sigh), and (c) had their amplification headsets turned up on high so that everyone could hear the feedback and an echo of the performance.

“Red Hot Patriot” continues at the Geffen until February 12, 2012. Tickets are available through the Geffen Box Office; you may be able to get a discount code through Theatremania.

As we’re speaking of theatre… today I got our renewal notice for the upcoming 2012-2013 Colony Theatre season, so let me share it with you: (1) “The Savannah Disputation” by Evan Smith, West Coast Premiere, June 13-July 8, 2012; (2) “Blame It on Beckett” by John Morogiello, West Coast Premiere, August 8-September 2, 2012; (3) “American Fiesta” by Stephen Tomlinson, Los Angeles Premiere, September 26-October 21, 2012; (4) “The Morini Strad” by WIlly Holtzman, West Coast Premiere, November 14-December 16, 2012; (5) “I’ll Be Back Before Midnight” by Peter Colley, Los Angeles Premiere, February 6-March 3, 2013; and “Falling for Make Believe“, World Premiere, Book by Mark Saltzman, Lyrics by Lorenz Hart and Music by Richard Rodgers (a new musical developed by the Colony that looks to be a jukebox musical). Subscription rates are reasonable–between $222 and $132 for Saturday evenings (non-opening night). They don’t yet have up the subscription page.

Upcoming Theatre, Concerts, and Dance: January theatre continues in two weeks with “Art” at the Pasadena Playhouse on January 28. February is busier. It begins at Van Nuys High School, with the Senior and Alumni Dance performances on February 2-3. “God of Carnage” at ICT Long Beach follows on February 5. The next weekend sees us in Thousand Oaks for “Ring of Fire” at Cabrillo Music Theatre on February 11. The third weekend takes us to Saugus for “Jewtopia” at REP East. February concludes with “Old Wicked Songs” at the Colony Theatre. March is equally busy, beginning with “How to Succeed in Business without Really Trying” at Van Nuys High School (March 2-3 and 8-10; we’re likely going on 3/2), and Bernadette Peters in concert at the Valley Performing Arts Center on March 3. March should also bring “American Idiot” at the Ahmanson, and “Journey’s End” at REP East. March will conclude with Tom Paxton in concert at McCabe on 3/31. Continuing the look ahead, April will bring “Billy Elliot” at the Pantages, the Southern California Renaissance Faire, “Once Upon a Mattress” at Cabrillo, and “Dames at Sea” at the Colony. As always, open dates are subject to be filled in with productions that have yet to appear on the RADAR of Goldstar or LA Stage Alliance.

Music: McKinney’s Cotton Pickers (1928-1930): The Band Don Redman Built (McKinney’s Cotton Pickers): It’s Tight Like That

Oh This Shiny New Computer / There Just Isn’t Nothin’ Cuter…

Posted onWednesday, January 11, 2012Thursday, January 12, 2012Authorcahwyguy

Today’s lunchtime news chum brings a few articles related to the arts:

Making Sense of Relics. If you didn’t catch the author of the title of this post, it is Shel Silverstein. The Poetry Foundation has a very interesting article on the man and what he left behind: in particular, loads and loads and loads of writings. Evidently, Shel wrote everywhere. They are slowly going through it all, and determining what is suitable quality for publishing. This is where the latest Shel Silverstein book came from (which is still on my wishlist). A very interesting article to read.
Learning to Play. The LA Times has a very interesting article on ArtistWorks, a program where artists provide online streaming lessons and feedback for students. This provides a way for instructors to make money, and students to interact with well-known instructors. It sounds fascinating. Makes me wish I could play an instrument (instead, I live by Tallulah Bankhead’s adage: “If you really want to help the American theater, don’t be an actress, dahling. Be an audience.”)
Follies Casting. Speaking of American theatre, the first information about the casting for Follies at the Ahmanson is out. Victoria Clark will be in the production (in Bernadette Peters position). Also in the cast will be four-time Tony nominee Jan Maxwell as Phyllis Rogers Stone, two-time Tony nominee Danny Burstein as Buddy Plummer, three-time Emmy nominee Ron Raines as Benjamin Stone and Olivier Award winner Elaine Paige as Carlotta Campion. I’ll note that Paige and Raines have an interview on the first edition of the “new” Downstage Center.

Music: Country Pickin’ (Chet Atkins): The Bells of St. Mary’s

Cabrillo Music Theatre 2012-2013 Schedule

Posted onSaturday, January 7, 2012Saturday, January 7, 2012Authorcahwyguy

As you know, I just love to share with you the season announcements from our favorite theatres. We subscribe to three: the Colony Theatre in Burbank, REP East in Saugus, and Cabrillo Music Theatre in Thousand Oaks, and follow quite a few more (such as ICT Long Beach, the Blank, the Pasadena Playhouse, and of course Center Theatre Group and BroadwayLA). Yesterday I received the announcement of the 2012-2013 season at Cabrillo. Cabrillo is a regional theatre in Thousand Oaks, right where US 101 and CA 23 come together, that specializes in musicals. They tend to use a small number of equity actors and a local cast; they do not bring in tours as the Pantages does. Season subscription prices are quite affordable; our balcony tickets are $100 for four shows.

The Cabrillo 2012-2013 season is:

1776: The Musical (October 19-28, 2012)
You’re a Good Man, Charlie Brown (February 8-17, 2013)
Grease (April 12-21, 2013)
Legally Blonde: The Musical (July 19-28, 2013)

I think this is a pretty good season. We’ve seen 1776 before, but only in a small cast version in an equity-waiver house. I haven’t seen YAGMCB on stage, although I’ve heard both versions of the music. Grease we’ve seen many times, but only in school productions, so it should be good to see a professional treatment. Last up is Legally Blonde, which I’ve only seen on MTV (it was last in LA at the Pantages, and I didn’t want to pay Pantages prices for the show). Cabrillo’s production is the first professional regional production of the show, and should be good.

Speaking of theatre, I’ll note that we’ve added a show to our January schedule: Red-Hot Patriot: The Kick-Ass Wit of Molly Ivens at the Geffen Playhouse in Westwood. TheatreMania had a ticket code for $40 tickets, including fees (let me know if you need the code). I haven’t been to the Geffen since the days it was the Westwood Playhouse (meaning I was last there in the 1980s!). The show stars Kathleen Turner as Ivens, so I’m hoping it is pretty good.

Music: You’re a Good Man, Charlie Brown (1967 Original Off-Broadway Cast) (Gary Burghoff): Kite