Tag: theatre-2016

Complexity in Simplicity. That’s a good way to describe the musical we saw last night: The Last Five Years (L5Y) by Jason Robert Brown (FB). Now L5Y would not be at the top of the list of musicals we would see this week if we could (42nd Street Moon’s The Most Happy Fella would have that spot). After all, we’ve seen it twice before: in 2006 at the Pasadena Playhouse, and in 2007 at the 81 seat REP East Playhouse. However, our daughter specifically asked to see it, and so off to the Geary Theatre we went. This did provide us with the opportunity to see the show in a large venue — Pasadena is mid-size, and REP was intimate.

The Last Five Years is a simple show in terms of story: there are two actors, and they rarely appear together. The show tells the story of the relationship between Jamie and Kathy. Kathy’s version of the relationship story is told backwards: from the breakup to when they meet. Jamie version is forward: from when they meet to the breakup. They are only together at the middle (the marriage) and the last scene (but that time their songs are separate). The story alternates between the two stories, and from it the audience gets the story.

Given this structure, the storytelling depends on two things: the performance and the music. Jason Robert Brown (FB)’s music has the JRB romantic musical sound (i.e., you’ll find that The Bridges of Madison County has a similar sound): deep, lush, emotive, and at times playful. There are some very beautiful songs in L5Y; there are some very funny songs; and there are some very poignant songs.

More than almost any other show I know, this show is a showcase for the actors and the directors. Good actors can make the show. Wooden actors can put you to sleep. I’m pleased to say that the performances at A.C.T. were wonderful — they were full of personality and character. When these actors were happy, you know it; when they were sad, it was clear. You could get a real sense of their personalities from their performances. For example, just look at Zak Resnick (FB)’s performance in “Shiksa Goddess”. It was playful, happy, bouncy, and full of character. Similarly, the emotion he brought out for “The Schmuel Song” was spectacular. He was paired with Margo Seibert (FB)’s Kathy. Again, this was a performance filled with personality, as demonstrated in both “A Summer in Ohio” and “I Can Do Better Than That”. Both were just a lot of fun to watch. Kudos to the director, Michael Berresse (FB), for keeping the production simple and for bringing out the personalities of the characters.

Jeffrey Brian Adams and Kelsey Venter were the understudies.

The six piece orchestra was under the music direction of Matt Castle (FB), who also played the piano. Accompanying him were Deborah Price on violin; Jessica Ivry (FB) on cello; Kelley Maulbetsch (FB) on cello; Schuyler McFadden (FB) on guitar; Dewayne Pate (FB) on bass. Kevin Porter (FB) was the music contractor.

Tim Mackabee (FB)’s scenic design of the production was simple. Some large scrims created walls that could move, and there were various establishing furniture pieces and props that would move on stage to indicate the particular scenic location.  This was complemented by the excellent lighting design of Robert Wierzel (FB), who used the lighting not only to establish mood but to punctuate songs and emotions. Kai Harada (FB)’s sound design was clear and crisp up in the mezzanine, which is something that can be difficult in a large theatre. Remaining production credits: Associate Lighting Designer – Paul Hackenmueller (FB); Costume Design – Callie Floor (FB); Casting – Janet Foster C.S.A. (FB); Stage Manager – Megan Q. Sada (FB); Assistance Stage Manager – Christina Larson. A.C.T. San Francisco is under the artistic direction of Carey Perloff (FB).

The Last Five Years continues at the American Conservatory Theatre (ACT) of San Francisco (FB) until June 5, 2016. Tickets are available through A.C.T. online. Discount tickets might be available through Goldstar or Theatre Bay Area.

A.C.T. San Francisco has announced their 2017 season, and one show caught my eye: Here Lies Love, running in June 2017. This is a musical by David Byrne, with music by David Byrne and Fatboy Slim, about Imelda Marcos. I’ve heard the music, and it is quite fun. I recommend it to those in the Bay Area.

* 🎭 🎭 🎭 *

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

Upcoming Shows: Next weekend brings Los Angeles: Now and Then (FB), a new musical at LA City College (FB) from Bruce Kimmel. The last weekend of May has HOLDs for the MoTAS Outing to the Jethawks, and for I Only Have Eyes for You at the Ricardo Montalbán Theatre (FB).

That brings us to June. June is the Hollywood Fringe Festival (FB), and I’ve already written about the shows I plan to see, as well as suggestions to the Fringe regarding viewing the audience as a customer. Our Fringe schedule is as follows:

• Sat, 6/4: Alien vs. Musical (230p) ✨Code 197 DWB (Driving While Blewish) (400p) ✨ Toxic Avenger: The Musical  (600p)
• Sun, 6/5: Tell Me On A Sunday (600p) ✨ All The Best Killers are Librarians (800p)
• Sat, 6/11: Pali Hi All Year Picnic, Einstein (400p), The Boy from Oz – the Celebration Theatre (FB) (800p)
• Sun, 6/12: Titus Andronicus Jr. (700p); and then the Tony Awards when I get home.
• Sat, 6/18: 30JJ or Bust: The World is My Underwire (1130a) ✨ Lamprey: Weekend of Vengeance (200p) ✨ Mark Twain Answers All Your Questions (600p) ✨ The Old Woman (800p)
• Sun, 6/19: Sweet Love Adieu (100p) ✨ All Aboard the Marriage Hearse (400p)
• Sat, 6/27: Squeeze My Cans (400p) ✨ My Big Fat Blond Musical (830p)
• Sun, 6/28: Temple Israel Reunion; Hamlet (Las Vegas Style) (630p)

Whew. July brings us back to conventional theatre, with Beautiful at the  Hollywood Pantages (FB) and the Western Corps Connection (FB) the first weekend, a HOLD for Grey Gardens at the Ahmanson Theatre (FB); the second weekend, The Little Mermaid at  Cabrillo Music Theatre (FB); the third weekend, Weird Al Yankovic at the Hollywood Bowl (FB) and Operaworks (FB) Opera Re-Constructed at CSUN; the fourth weekend, a mid-week Hollywood Bowl (FB) concert of Wynton Marsalis and Aaron Copeland, and a HOLD for Armadillo Necktie at The Group Rep (FB) the last weekend.  As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Bitter-Lemons, and Musicals in LA, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves.

It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, …

Oh, wrong tale of two cities.

Let me tell you the story of two cities, both staging the West Coast Regional Premiere of The Boy from Oz, a musical based on the life of Peter Allen, with music and lyrics by Peter Allen^*, and book by Martin Sherman and Nick Enright.
^*: Additional music and lyrics by Adrienne Anderson, Burt Bacharach, Jeff Barry, Michael Callen, Christopher Cross, David Foster, Tom Keane, Marsha Malamet, Dean Pitchford, and Carole Bayer Sager.

In one city, there is an established theatre company going back to 1982, with a large donor pool and a reasonable budget for an intimate theatre. There are significant production resources collected over that time in terms of lights, stagecraft, sound, facilities. There is a large talent pool, and due to the nature of the company and local agreements, multiple AEA actors were allowed (on top of SAG/AFTRA actors). There is a small theatre (under 99 seats) to fill. There is time to plan the show, with the production being announced in August 2015. There is significant publicity, with numerous reviewers and almost daily posts in social media such as Twitter and Facebook, as well as publicity through popular blogs and theatre websites.

In the other city, there is a new company for which this is their second production. There is miniscule budget. There is a historic theatre with no production resources for which this is the first stage musical to be presented. There is a small talent pool with a short time to assemble it, as the rights for the show were approved in January 2016. There are limitations on the use of AEA actors (one AEA guest spot is permitted). There is a large old theatre to fill (399 seats). There is no social media presence, perhaps two reviews, and a small amount of publicity.

Both, however, open the same night, and both have the right to claim West Coast Regional premiere. However, one distinctly operates in the shadow of the other.

Perhaps the quote applies after all: “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, …”

Guess which production we saw? That’s right: as we believe a weekend is never complete without some form of live performance, we didn’t let a trip to the San Francisco Bay area deter us from theatre, and so last night we were in San Francisco’s Chinatown for the last weekend of Landmark Musical Theatre (FB)’s production of The Boy from Oz. As for the other city? Landmark’s production inspired us so much we want to do a “compare and contrast”, and have booked tickets to see the much better known Celebration Theatre (FB) production of The Boy from Oz while we are in Hollywood for the Hollywood Fringe Festival (FB).

If you are unfamiliar with The Boy from Oz, that’s not a surprise. The musical opened in Australia in 1998, and moved to Broadway in 2004, where it won a Tony for an actor you might have heard of: Hugh Jackman (FB). However, the show never went on tour, and the regional producing rights in America were not released until this year. So the show has faded from popular memory, much like the subject of the show, Peter Allen.  The show itself is a jukebox musical, using the songs of Peter Allen to tell the life-story of Peter Allen. This is a story that starts in the outback of Australia in Tenterfield, New South Wales. It includes Allen’s stint as part of the  It includes both Judy Garland, the mentor who discovered Allen in Hong Kong and for whom Allen was a protégé, and Liza Minnelli (FB), Garland’s daughter whom Allen married shortly after her success in Flora the Red Menace. It is a story of the birth of gay awareness, as Allen realizes he is homosexual during the marriage, and the birth of the gay movement including the Stonewall Riots that occurred shortly after Garland’s death. It is the story of Allen going out as a solo act, and hitting his peak popularity in the 1980s. And it is the story of AIDS, with the death of Allen’s lover, Greg Connell, from AIDS, followed by the death of Allen himself. It is a celebration of the life of Peter Allen.

The show features many of Allen’s better known songs, including “When I Get My Name In Lights”, “The Best That You Can Do”, “Continental American”, “She Loves to Hear the Music”, “Bi-Coastal”, “Everything Old is New Again”, “I Honestly Love You”, “I Still Call Australia Home”, “Don’t Cry Out Loud”, and “I Go to Rio”. You’ll know the songs, even if you don’t know Allen.

As I implied at the start of the writeup, the Landmark production had limited production funds. I’ll go into that in more detail when I cover the production aspects — lighting, costumes, sets, etc. But the production was still a great success and a lot of fun primarily due to the talent that director Jon Rosen (FB) assembled. It appears that much of the energy and drive for this production came from Rosen, who is by day a software designer (go Jon 😃), and by night an active theatre force in the SF Bay Area: producing, directing, doing lighting design, and acting. Rosen also serves as Artistic Director for Landmark Musical Theatre, who are developing their first full season of musicals at the Great Star Theatre.

Leading the production was the team’s one AEA guest artist: Dan Seda (FB) as Peter Allen (nee Peter Woolnough). Seda had a wonderful singing voice, and gave a warm and accessible performance. He was quite enjoyable and engaging to watch. His performance took quite a bit of energy, as he was on stage and involved in the action for almost every scene. He was particularly touching in his interactions with both Liza and Greg. I cannot judge how authentic his Australian accent was, but it was somewhere between Hugh Jackman and the guy that does the Outback commercial (but I think closer to Jackson).

There were three primary women in Allen’s life: Judy Garland, Liza Minnelli, and his mother, Marion Woolnough. Judy Garland was portrayed by Connie Champagne (FB), a well-known Garland impersonator who was one of the first performers cast. The program noted the New York times described her Garland portrayal as “a subtle masterpiece of parody and homage”. I would tend to agree with that: she eerily captured Garland’s persona and voice, with an oddly frozen look that worked well for Garland in the latter days of her life. What I found odd was that she didn’t lift that personal during the curtain call, when you would customarily see a smile. Evidently, she deeply immerses herself in her character. She did a great job in “All I Wanted Was The Dream”, as well as in “Only an Older Woman” and “Quiet Please,There’s a Lady On Stage.” As Liza Minnelli, Kat Robichaud (FB) captured the basic look of Minnelli well, and had the dance moves (especially in the Fosse-style number) down well. She needed a pinch more kookiness in Minnelli’s early days, but overall it was a great portray. Robichaud also did a great job of capturing Minnelli’s singing style, especially in “She Loves the Music.” Lastly, as Allen’s mother Marion Woolnough (pronounced “Wilna”), Amy Meyers (FB) did a spectacular job with a very touching portrayal… plus knockout singing on “Don’t Cry Out Loud”.

In the latter part of Allen’s life, the principle characters were Allen’s lover Greg Connell (played by Ivan Hardin (FB)), and Allen’s agent Dee Anthony (Keith T. Nielsen (FB), who also played Garland’s husband, Mark Herron). Hardin was wonderful, with a strong stage presence and a very engaging way about him. He also had a truly spectacular singing voice, which he demonstrated in “I Honestly Love You”. Men’s looks don’t normally catch my eye, but he had a look that made you see why Allen fell for him. Nielsen was also a surprise, who had a bit more of the Jerry Ohrbach vibe. He also had a strong singing voice.

One other non-ensemble member is worthy of special note: Dylan Palmer (who plays Young Peter Allen, alternating with Daniel Kaukonen). Palmer, for his age, was a remarkable singer and dancer, and interacted well with Seda’s Allen. He was just a delight to watch.

Rounding out the smaller roles and the ensemble positions were: Davin Coffey/FB [Ensemble]; Lisa Darter (FB) [Ensemble / Dance Captain]; Brian FitzMaurice (FB) [Dick Woolnough]; Janine Hartmann (FB) [Ensemble]; AeJay Mitchell (FB) [Trick, Ensemble]; Jery Rosas [Chris Bell]; Garrick Sather (FB) [Ensemble]; Joella Wolnik (FB) [Ensemble]; and Bessie Zolno (FB) [Ensemble].  Of these performers, a few comments. Wolnik had a spectacular singing voice — there were occasions when you could distinguish it from the rest of the ensemble and it was just a delight. Harmann was quite fun to watch on the stage with both her movement and dancing, although I’m not quite sure about the blue sparkly lipstick in the last number. Lastly, it is important for all the ensemble to remember to have fun out there. In the final number I could see the obvious fun that they were having, but there some of the numbers where they were seemingly concentrating more on getting the smiles right and the moves right. Remember to have fun out there.

The production was choreographed by Kimberly Krol (FB). The dancing was good, but some of the ensemble numbers could have used a touch more precision to give them a bit more oomphf. However, overall, the look and (to use a DCI term) general-effect were well-served by the choreography. Music was provided by an on-stage 5 piece orchestra under the music direction of Tammy Hall (FB). Hall was not there at our show; on the keyboards and leading the orchestra was Grace Renaud/FB. Rounding out the orchestra were Keith Leung/FB (Reeds); Aaron Priskorn (FB) (Trumpet); Ben Brown/FB (Bass), and Daria Johnson (FB) (Drums/Percussion).

Moving to the production side of things: remember how I said the production had high talent. This high talent compensated for a low production budget and facility limitations. The set design, from what were were told by the director (who designed it), was under $1000. There was a large (artificial) piano, a multi-tier musical base, and a chaise/banquette (moved up from the audience), together with some projections that were the sole mechanism of establishing place.  This is understandable given the budget, but the show would really benefit from stronger sets and better projections. Richard Gutierrez/FB‘s costume design (assisted by Myriah Gross (FB) (Costumer) and Rhonda Coles (Wardrobe Supervisor)) was similarly low-budget, but creatively appropriate within that budget. No credit is provided for hair and makeup — which generally worked well, although the wigs at times could use  a little better seating. The lighting design of Colin Johnson was similarly hampered: the Great Star Theatre only had lights on the side of the stage, no proper spot booth, no uplights and minimal proscenium lights. It reminded me of the early days of Nobel Middle School. Still, they did the best with what they had. The theatre space (Great Star Theatre) similarly hampered the sound design of Lisa Lash. The performers were all adequately amplified, but the hard-surface nature of the space (walls are undampered cinderblock, and there are limited speakers) resulted in a muffled sound. Rounding out the production credits are:  Richard Gutierrez/FB [Production Manager]; Liz Matos (FB) [Stage Manager]; Jon Rosen (FB) [Projection Design]; Lou Fischer [Photography]; Shaina Elster [House Manager]; and Danny Williams [Marketing].

This is the last weekend to catch The Boy From Oz at Landmark Musical Theatre (FB). Tickets are available through Goldstar as well as Brown Paper Tix.

Dining Notes: Before the show, we ate next door at Bund Shanghai Restaurant (Yelp), 640 Jackson Street. In one word: Yum! They were very accommodating of our dietary gotchas.

* 🎭 🎭 🎭 *

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

Upcoming Shows: Tonight we will be seeing The Last 5 Years at San Francisco’s American Conservatory Theatre (A.C.T.) (FB).  May 21 brings Los Angeles: Now and Then (FB), a new musical at LA City College (FB) from Bruce Kimmel. The last weekend of May has HOLDs for the MoTAS Outing to the Jethawks, and for I Only Have Eyes for You at the Ricardo Montalbán Theatre (FB).

That brings us to June. June is the Hollywood Fringe Festival (FB), and I’ve already written about the shows I plan to see, as well as suggestions to the Fringe regarding viewing the audience as a customer. Our Fringe schedule is as follows:

• Sat, 6/4: Alien vs. Musical (230p) ✨Code 197 DWB (Driving While Blewish) (400p) ✨ Toxic Avenger: The Musical  (600p)
• Sun, 6/5: Tell Me On A Sunday (600p) ✨ All The Best Killers are Librarians (800p)
• Sat, 6/11: Pali Hi All Year Picnic, Einstein (400p), The Boy from Oz – the Celebration Theatre (FB) (800p)
• Sun, 6/12: Titus Andronicus Jr. (700p); and then the Tony Awards when I get home.
• Sat, 6/18: 30JJ or Bust: The World is My Underwire (1130a) ✨ Lamprey: Weekend of Vengeance (200p) ✨ Mark Twain Answers All Your Questions (600p) ✨ The Old Woman (800p)
• Sun, 6/19: Sweet Love Adieu (100p) ✨ All Aboard the Marriage Hearse (400p)
• Sat, 6/27: Squeeze My Cans (400p) ✨ My Big Fat Blond Musical (830p)
• Sun, 6/28: Temple Israel Reunion; Hamlet (Las Vegas Style) (630p)

Whew. July brings us back to conventional theatre, with Beautiful at the  Hollywood Pantages (FB) and the Western Corps Connection (FB) the first weekend, a HOLD for Grey Gardens at the Ahmanson Theatre (FB); the second weekend, The Little Mermaid at  Cabrillo Music Theatre (FB); the third weekend, Weird Al Yankovic at the Hollywood Bowl (FB) and Operaworks (FB) Opera Re-Constructed at CSUN; the fourth weekend, a mid-week Hollywood Bowl (FB) concert of Wynton Marsalis and Aaron Copeland, and a HOLD for Armadillo Necktie at The Group Rep (FB) the last weekend.  As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Bitter-Lemons, and Musicals in LA, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves.

How do we know our perception of the world is what we believe it to be?

This deep question is ultimately at the heart of the new production from Four Clowns (FB) at The Shakespeare Center of Los Angeles (FB), Four Clowns Presents Lunatics and Actors, written by David Bridel and directed by Jeremy Aluma (FB). Lunatics & Actors explores the question of emotional authenticity, through a descent into the real-life obsessions of Dr. Guillaume-Benjamin-Amand Duchenne du Loulogne. du Loulogne was a French neurologist who greatly advanced the science of electrophysiology. Duchenne’s monograph, Mécanisme de la physionomie humaine – also illustrated prominently by his photographs – was the first study on the physiology of emotion and was seminal to Darwin’s later work. Duchenne also wanted to determine how the muscles in the human face produce facial expressions that Duchenne believed to be directly linked to the soul of man. Duchenne is known, in particular, for the way he triggered muscular contractions with electrical probes, recording the resulting distorted and often grotesque expressions with the recently invented camera. The images that Four Clowns used in their poster for the program are literally of Duchenne performing facial electro-stimulation.

In Lunatics & Actors, Duchenne (Thaddeus Shafer (FB; FB (page))) is presenting the audience with a simple question: what is authentic emotion? Can a highly skilled trained actor produce authentic emotion? Can the skills of the actor surpass the real emotion induced through electrostimulation? In asking these questions, the production induces a different set of question in the audience. Namely, it raises the question of whether any of the emotions that we might see on stage or screen are real, or even realistic portrayal. Is the entire history of theatrical entertainment just an artifice, a facade of fake emotion? If it is, are we better off going out and experiencing real emotion?

The way that Duchenne does that is to create a challenge: knowing that he is in Los Angeles and the audience is filled with actors, he selects three actors from the audience to test against three lunatics from his asylum. The question: between the actor and the lunatic, who can portray the most authentic emotion. He begins by interviewing the actors to find the most skilled amongst them, based on training, technique, experience, and recognition. At our performance we had three actors, whose names I cannot currently remember. There were various levels of technique and experience, ranging from students to one who had won a few local awards and had toured with a Shakespeare troupe.  The doctor selected the most experienced candidate, and we were off.

The doctor then introduced us to his three lunatics: Bon-Bon (Tyler Bremer/FB), Fifi (Alexis Jones (FB)), and Pepe (Andrew Eldredge (FB)). Not being an expert in neuropsychology, I can’t quite described their maladies. Externally, Bon-Bon seemed to be driven for treats, but otherwise pliant and withdrawn. Fifi seemed shell-shocked; she wanted treats but never got them. Pepe was energetic and strange, almost prone to violence. All were in straightjackets.

The doctor then proceeded to request the selected actor to portray a series of emotions, which in many cases seemed to confuse or befuddle him based on his experience. He then used electroshock on his selected lunatic, and induced the requested emotion. The audience was then asked which was the most authentic emotion. In most cases, it appeared to this audience member that the lunatics gave the better performance. It seemed that way to our selected actor as well, as he got more and more incensed.

Things, well, things degenerated from there.

To describe more of the story might give away some of the twists and turns, so I’ll defer doing so. But the experience, as noted above, explored electroshock therapy, and its ability to make its subjects do whatever the authority figure asks them to do, and to believe whatever the authority figure wants them to believe. One review I encountered writing this up referred to this as gaslighting on stage. Reviewing the definition of the term, I would say that is accurate. As such, I would note that this performance could potentially be triggery (i.e., TRIGGER WARNING)  to those troubled by gaslighting simulations or situations, or those who have undergone electroshock therapy. But I think the ultimate question the gaslighting results asked is a real one — and a significant one — are the emotions and beliefs we see something that we should believe, and who is really responsible for those emotions. Is the fear induced by electroshock (for example) the same as real fear for a situation? Is what is perceived as real by the lunatic or actor the same as a real-life experience? For actors, what is a realistic performance?

I don’t think these questions are easy one, but I think the discussion of them can be an interesting discussion. However, the path to get to the questions can be a dark and disturbing one; perhaps one that is not for everyone.

But this is a Four Clowns production, you say. Where are the clowns? Wikipedia says the following about clowns: “The comedy that clowns perform is usually in the role of a fool whose everyday actions and tasks become extraordinary—and for whom the ridiculous, for a short while, becomes ordinary.”  That is certainly true in this production. The style of questioning of the actors by Duchenne is clearly ridiculous, and the answers (and his reactions) to the questions becomes hilarious. The performances of the lunatics: they are certainly foolish and become extraordinary in the transformation of their madness. So while this is not your traditional clowning — and certainly not the style of clowning we saw in Four Clowns’ recent Hamlet — it is one of the funniest shows I’ve seen in a while.

Other reviewers I’ve read have been seemingly insulted by the premise of the show. The aforementioned “gaslighting” review said ” In essence it is an experiment in acting versus physical forced mind control, the gas lighting of an artist to a mere puppet or shadow of the real.” and it went on to state “What the play is lacking is the realization that the physical manifestation of an expression could be separate from the actual feeling. If anything this play can be the center piece of a lively discourse for actors of the conflicting acting schools of thought…”. Now, I’m not an actor. I’ve never claimed to be an actor, and I’m envious of those that can inhabit other characters. I’m a cybersecurity specialist — an engineer — who loves watching theatre. To me, it raised the interesting question of the artifice of what we see, and whether our senses can really tell us anything authentic about the world. It emphasized the importance of experience over detached observation. As such, the play remains a centerpiece for lively discussion, but perhaps not the discussion that an actor might have (who would feel their craft had been insulted by the question).

I should note that the play does not appear to be an accurate representation of the works of Dr. Duchenne. Then again, it doesn’t claim to do so: it is a fictional play, not an autobiography.

It somehow seems inauthentic to say this (at this point), but what makes this play works so well is the performance of the actors, and the qualities and emotions that the director draws out of them. Whether they were real or not, they were transmitted to the audience and they felt real. All of the actors were excellent, but I’ll particularly call out Thaddeus Shafer (FB; FB (page))’s Duchenne. He was hilarious in his questioning of the actors and his responses to their responses. How much of this was scripted vs. improvised is unknown to me. It was funny to watch. He also handled the dark side and the descent of Duchenne quite well.

The portrayal of the three lunatics, Bon-Bon (Tyler Bremer/FB), Fifi (Alexis Jones (FB)), and Pepe (Andrew Eldredge (FB)), was also quite strong. The transition between lunatic and sane emotion was quite startling, and seemingly believable. As such, it was a remarkable performance.

Lastly, there was the actor that was selected at our show. For an unprepared actor drawn from the audience, he was great. In particular, he was remarkable as the show descended into madness and gaslighting. He’s lucky he remembered his lines from his past shows.

Turning now to the production aspects: One of the remarkable things about Four Clowns productions is their set design. Fred Kinney (FB), who designed the set here, did a great job of creating the industrial madhouse feel. There was sheetrock hung by galvanized steel plumbers tape. There was open 2×4 woodwork. There were industrial power boxes, seemingly wired to control the industrial style lighting. A remarkably creepy feel, augmented by the lighting from Azra King-Abadi (FB) and the well-timed sound effects from Kate Fechtig/FB, who did the sound design. The combination was…. realistic and creepy. Kinney also did the properties (under the control of Nicole Mercs, propmistress). The electroshock apparatus had a wonderful steampunk-ish feel to them with loads of exposed brass, cords, and old-style incandescent lighting. That, combined with the chairs and other props, increased the uneasiness feeling substantially. I was also intrigued by Duchenne’s glasses. Elena Flores (FB) provided the costume design, which was equivalently creepy with blood-splattered straight-jackets and Victorian dresses and suit-pants. Rounding out the production credits were: Matt MacCready (FB) [Technical Director]; Amaka Izuchi (FB) [Assistant Director]; Ashley Jo Navarro (FB) [Stage Manager], and David Anis (FB) [Producer].

The publicity material for the show notes that this is the last collaboration between David Bridel and Jeremy Aluma (FB) for a while. Bridel continues in his academic positions as USC, where he directs the MFA in Acting and is Interim Dean of the School of Dramatic Arts. Aluma is off to Chi-town for grad school for an MFA in Directing. Having met Jeremy a few times through Four Clowns, I know he will be great and I wish him well in his new city. Hopefully, he’ll direct some theatre there that he can move to Los Angeles. Hint to Jeremy: if you do get to direct a show in Chicago, hire Moonie (Philip Earl Johnson). He is a clown of the first order, who you can see as part of the Moonie and Broon show at the RenFaire. He’s also a great actor.

Four Clowns Presents Lunatics and Actors, written by David Bridel and directed by Jeremy Aluma (FB), continues at the Shakespeare Center of Los Angeles through May 28, 2016. Tickets range from $12 to $15 and can be purchased through Four Clowns online. Discount tickets may be available through Goldstar. Although the production may be somewhat disturbing, it is also quite funny. If you can handle portrayal of electroshock therapy to induce emotion, you’ll find it enjoyable.

* 🎭 🎭 🎭 *

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

Upcoming Shows: May starts with Endgame at the Kirk Douglas Theatre (FB), followed by Carney Magic at The Colony Theatre (FB). We then run off to the Bay Area for our daughter’s graduation from Berkeley. While there, we are seeing the Landmark Musical Theatre (FB)’s West Coast Regional Premiere of The Boy from Oz (but pay no attention to that production behind the curtain at the Celebration Theatre (FB) — if they start the same day, they are simultaneous premieres and both have equal bragging rights). We will also be seeing The Last 5 Years at San Francisco’s American Conservatory Theatre (A.C.T.) (FB).  May 21 brings Los Angeles: Now and Then (FB), a new musical at LA City College (FB) from Bruce Kimmel. The last weekend of May has HOLDs for the MoTAS Outing to the Jethawks, and for I Only Have Eyes for You at the Ricardo Montalbán Theatre (FB).

That brings us to June. June is the Hollywood Fringe Festival (FB), and I’ve already written about the shows I plan to see, as well as suggestions to the Fringe regarding viewing the audience as a customer. Our Fringe schedule is as follows:

• Sat, 6/4: Alien vs. Musical (230p) ✨Code 197 DWB (Driving While Blewish) (400p) ✨ Toxic Avenger: The Musical  (600p)
• Sun, 6/5: Tell Me On A Sunday (600p) ✨ All The Best Killers are Librarians (800p)
• Sat, 6/11: Pali Hi All Year Picnic, Einstein (400p)
• Sun, 6/12: Titus Andronicus Jr. (700p); and then the Tony Awards when I get home.
• Sat, 6/18: 30JJ or Bust: The World is My Underwire (1130a) ✨ Lamprey: Weekend of Vengeance (200p) ✨ Mark Twain Answers All Your Questions (600p) ✨ The Old Woman (800p)
• Sun, 6/19: Sweet Love Adieu (100p) ✨ All Aboard the Marriage Hearse (400p)
• Sat, 6/27: Squeeze My Cans (400p) ✨ My Big Fat Blond Musical (830p)
• Sun, 6/28: Temple Israel Reunion; Hamlet (Las Vegas Style) (630p)

Whew. July brings us back to conventional theatre, with Beautiful at the  Hollywood Pantages (FB) and the Western Corps Connection (FB) the first weekend, a HOLD for Grey Gardens at the Ahmanson Theatre (FB); the second weekend, The Little Mermaid at  Cabrillo Music Theatre (FB); the third weekend, Weird Al Yankovic at the Hollywood Bowl (FB) and Operaworks (FB) Opera Re-Constructed at CSUN; the fourth weekend, a mid-week Hollywood Bowl (FB) concert of Wynton Marsalis and Aaron Copeland, and a HOLD for Armadillo Necktie at The Group Rep (FB) the last weekend.  As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Bitter-Lemons, and Musicals in LA, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves.

Back in mid-March, I received a very interesting press release about the forthcoming play “Anton in Show Business” (now running at the Hudson Mainstage (FB) through May 15th). The release (or some article I saw on the show) noted that a unique fact about this production was its all female production team: writer, director, producer, cast, creatives. Everyone except the guy who built the set was female. Given all the recent talk about diversity (both in the theatre, such as the Producers Perspective with Lynn Ahrens, or elsewhere, such as in the recent excellent episodes of both Startup and of Reply All), and the importance of having women (and minorities) both on-stage and in the creative and production positions — this was (alas) noteworthy.

Alas, the one possible weekend I could see the show was already booked. But then that changed. As a result, Sunday afternoon saw us in Hollywood for the all female Anton in Show Business, written by Jane Martin and directed by Nell Teare (FB).

Anton in Show Business tells the story of two New York actresses and one Hollywood star recruited to star in a production of Anton Chekhov’s Three Sisters in San Antonio, Texas. Along the way (i.e., as the story is told), theatrical conventions are skewered, the industry is criticized in many ways, comments are made about the power of critics, realities are exhibited about the power of producers… and of their “name” stars, and in general the curtain is pulled back to expose what theatre is really like (well, at least what the mysterious Jane Martin wants you to think theatre is really like — I wouldn’t know, being a cybersecurity guy).

This is all done on a very simple set: chairs, beds, tables, and that’s about it. The entire sense of story comes through costuming and the wonderful performance of the various characters.  The character who keeps things moving along is the stage manager, T-Anne. She introduces the sense of place, provides the interstitials when place changes or there is information of side significance. Also providing commentary are the three actresses — the Hollywood star Holly, the long-suffering off-Broadway actress Casey, and the newbie Lisabette. In many ways, the behavior of these three provides an echo of their counterparts in Three Sisters, Masha, Olga, and Irina. Additional commentary is provided by an “audience” member, Joby, who is also a critic.

Given the simplistic set, direction is key. Luckily, Nell Teare (FB)’s direction is spot-on, making these characters believable and amplifying the chemistry between the actresses. One would almost think she understood the commentary being made about the theatre personally.

In the lead positions were Gillian Shure (FB) as Holly, Anzu Lawson (FB) as Casey, and Dana Pollak (FB) as Lisabette. All three were a delight. Shure’s Holly projected a wonderful sense of self-importance and confidence that befit her character. She was also able to show the underlying vulnerability within her facade of bravada. Lawson’s Casey had that wonderful sense of “been there, done that”, which was appropriate for a character of her experience and lack of significant advancement. Lastly, there was Pollak’s ever cheerful Lisabette who was just a joy to watch.

Supporting these folks were a number of talented actresses who got to portray multiple characters. Courtney Sauls (FB) was not only the aforementioned stage manager T-Anne, but also Andwyneth (the Female African American Artistic Director of the San Antonio Black Rage Ensemble) as well as Don Blount (the Male VP of Tobacco Co, the corporate sponsor). Sauls was wonderful in all the roles, but I particularly enjoyed her stage manager and her single scene as Andwyneth. Just hilarious. Claudia de Vasco (FB) was Ralph (the arrogant gay British stage director), Wikewitch Konalkvis (the male Polish stage director), and Joe Bob (the Chairman of the Board of the San Antonio Black Rage Ensemble). de Vasco’s Ralph did a wonderful job of capturing the arrogance of British directors, as well as the overblown sense of importance of the Polish director. Lastly, Marguerite Insolia (FB) was Kate (the producer of the San Antonio Three Sisters), as well as Ben (a San Antonio actor and cowboy singer playing Vershinin), and Jackey (a gay male costume designer). We saw Insolia mostly in the role of Kate, where she had just the right sense of exasperation at the proceedings and her loss of control. She was also strong as Ben in her interactions with Shure’s Holly. Jesse Madera (FB) was Joby, the audience member and critic.

Katie Hall  (FB) was the understudy in the cast so we didn’t see her. Although the main cast was great, it would have been nice to see her as she was a REP East alumna.

Turning to the production and creative side: The production design was by Isabella Mack (FB), and was relatively simple in terms of set construction. No specific credit is given for costume design, so presumably Mack took care of that as well. The costumes were very good, especially the one for Andwyneth. Mack also handled the lighting design. No credits were provided for sound design, however Ashley Clark (FB) (whom we know from the Nigerian Spam Scam Scam (FB) team) was there. Ashley has handled those functions in other shows, so she might have been doing that here as well. Set construction was by the token male Aaron Lyons (FB). Sandra Kuker (FB) handled publicity. Lara Myrene (FB) was the real stage manager. Anton in Show Business was produced by Gillian Shure (FB) (which has greater significance, as the program notes this was under AEA’s Self Producing Plan (as opposed to the 99-Seat agreement that the #pro99 group is working to keep in a modified form).

Anton in Show Business continues at the Hudson Mainstage (FB) until May 15th. Tickets are available through Plays411.net. Discount tickets are available through Goldstar. This is a very funny show, well worth seeing.

* 🎭 🎭 🎭 *

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

Upcoming Shows: The last weekend of April will be the Four Clowns (FB) production of Lunatics and Actors at the LA Shakespeare Center on April 30. May starts with Endgame at the Kirk Douglas Theatre (FB). We then run off to the Bay Area for our daughter’s graduation from Berkeley. While there, we are seeing the Landmark Musical Theatre (FB)’s West Coast Regional Premiere of The Boy from Oz (but pay no attention to that production behind the curtain at the Celebration Theatre (FB) — if they start the same day, they are simultaneous premieres and both have equal bragging rights). We will also be seeing The Last 5 Years at San Francisco’s American Conservatory Theatre (A.C.T.) (FB).  May 21 has a HOLD for Los Angeles: Then and Now, a new musical at LA City College (FB) from Bruce Kimmel. The last weekend of May has HOLDs for the MoTAS Outing to the Jethawks, and for I Only Have Eyes for You at the Ricardo Montalbán Theatre (FB). As for June? It’s the Hollywood Fringe Festival (FB), and I’ve started to hold dates for the following shows: Alien vs. Musical ✨ All Aboard the Marriage Hearse ✨ All The Best Killers are Librarians ✨ Code 197 DWB (Driving While Blewish) ✨ Qaddafi’s Cook — Living in Hell, Cooking for the Devil ✨ Squeeze My Cans ✨Tell Me On A Sunday  ✨ Toxic Avenger: The Musical  ✨  Vintage Box ✨ Einstein ✨Titus Andronicus Jr. ✨The Old Woman ✨Sweet Love Adieu ✨ My Big Fat Blond Musical✨Doctor in the House ✨ Hamlet (Las Vegas Style) ✨. But that’s just a small percentage; there are over 240 shows listed now.  We thought about Love The Body Positive, but then again… no. Can’t be scaring people.  July brings us back to conventional theatre, with Beautiful at the  Hollywood Pantages (FB) and the Western Corps Connection (FB) the first weekend, a HOLD for Grey Gardens at the Ahmanson Theatre (FB) the second weekend, The Little Mermaid at  Cabrillo Music Theatre (FB)  the third weekend, a HOLD for Weird Al Yankovic at the Hollywood Bowl (FB) and Operaworks (FB) Opera Re-Constructed at CSUN the fourth weekend, a mid-week Hollywood Bowl (FB) concert of Wynton Marsalis and Aaron Copeland, and a HOLD for Armadillo Necktie at The Group Rep (FB) the last weekend.  As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Bitter-Lemons, and Musicals in LA, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves.

Selecting theatre is a lot like going on a blind date. You peruse a list of shows, swiping left, swiping right, until something piques your interest. But before you commit to seeing it, you do a bit of research. You read the press release. You read reviews of the show. You look at the Lemonmeter. This is very similar to the online dating scene: you review profiles and you mark some for future investigation. You read their background. You look at their ratings (perhaps from others that went out with them). For both shows and dates, in the end, you pick one that you hope is compatible with your taste.  However, that selection doesn’t always work out, for your tastes may not agree with others. Everyone else can like the person or show, and it might have off tastes or characteristics for you. That doesn’t make it bad; that just makes it something that you might not like. Further, people and shows can be like cilantro: over time and with enough exposure, you can grow to love them.

Last night, we saw Stella’s Last J-Date at the Whitefire Theatre (FB) in Sherman Oaks. The show looked like it would be a winner: the press-release writeup sounded interesting, there were some great performers in the show, and it was universally loved over on Bitter Lemons. And, for the most part, we enjoyed it. For the most part, as there was some small percentage that hit wrong, that left us a little confused. That’s happened before: I remember one show at ZJU that everyone was hysterical over while we were just… whelmed (neither over nor under). That also happened with the recent Bach at Leipzig over at Group Rep — everyone else loved it, but something was off for us (although not quite as bitter as B-L made us out to be).

Stella’s Last J-Date is simply that: we’re the fly-on-the-wall watching Stella, a neurotic Jewish female dog trainer of unspecified middle age (I’d guess in her 40s) out on a date arranged by J-Date. Her date of the evening is Isaac, a 50-60s fellow who is a 5th grade teacher. The entire evening consists of their determining whether they are compatible, exposing their particular neuroses and quirks, coming together and blowing apart, and so forth. We learn secrets about each. We learn the color of their baggage. They slap. They hit. They make fun of their problems. Periodically, the evening is punctured with the appearance of Don, a black pimp-like character who seems to beat up Isaac to give up trying to like Stella. Don seems to know secrets about both Isaac and Stella, and appears to be warning Isaac to run… run…. run…. and don’t look back.

Let’s get the most important part out first: This is a funny show. Even as the underlying story left us a little confused (more on that in a moment), there were some wonderful jokes that had us really laughing along the way. I can’t remember most of them, but I do remember one about how Jewish women don’t care how much something costs, but how much they saved. There were great comedic performances, verbal and non-verbal. So where was the problem?

Thinking about the show afterwards, I can see three areas that may have made things difficult for us, and that might not have bothered others:

• Stereotypes. The show was built around a number of stereotypes of characters. The neurotic Jewish woman that can’t hold on to a man, that loves to shop, that obsesses over everything, that has been through the drug mill. The nebbish Jewish man who is a milquetoast. The African-American pimpish character. Stereotypes are wonderful to convey information without exposition, but in today’s society they are increasingly uncomfortable. In the wrong eyes, they can be slightly-insulting or off-putting. They often become a comedy crutch, something to lean on when it is difficult to create the character of depth from their experience. Stereotypes are very popular on sitcoms, and there is a reason why. Some Jews embrace our stereotypes. Some don’t. (and if you don’t believe me, ask any one that truly understands Yiddish culture and the Yiddish language what they think of the stereotype of Yiddish as a language with funny sounding insulting words).
• Character Arc. From attending a lot of theatre, I’ve learned that one thing you look for is a character arc. Characters in a story (at least the main ones) typically start at point A, face some sort of trial or situation, and end up at point B having learned something about themselves or changed something about their character. Where is the character arc here? It clearly isn’t Don’s– he’s just a catalyst. Do Stella or Isaac really change from the beginning to the end? They’ve faced their problems, but has it affected them in any way, changed anything about their characters? In the end, I don’t think so. They’ve found each other. But have they changed who they are? I don’t think so, or at least we don’t know for sure. Without that change, this is just a bunch of very funny jokes in a particular context.
• Confusion. Specifically, who or what was Don? The character was clearly not someone from J-Date (then again, he could be blewish). Was he part of Isaac’s subconscious? Stella’s subconscious? Both? Neither? Stella’s protector? All I could conclude is that he was an unexplained weenie with the purpose of exposing and exploiting subconscious aspects of Isaac’s and Stella’s past. That left me confused.

So, with respect to the story by Andy Rooster Bloch (FB), is this good or bad? I think it is clearly funny. Very funny. Laugh out loud funny. But, at least for me, funny isn’t enough. I want that funny to come from someplace deeper, and not just be one-liners tossed off to hide the pain. There’s a something more that is needed here to move this from sitcom to story. It’s good as it is, but is good enough? I’m not sure. I guess I would characterize it as the difference between Gilligan’s Island and Cheers: Does the character of Gilligan change from the beginning of the series to the end? Does the character of Sam change from the beginning to the end? Which has endearling long-lasting watchability? However, as I said, theatre is like dating, and I may be looking for different things in my theatrical matches than others are. This could be your perfect date.

One thing that is not a problem is the performances. The cast, under the direction of Bryan Rasmussen (FB), is very strong. I was particularly impressed by Barry Livingston (FB)’s performance as Isaac. Of course, I remember Barry from My Three Sons (and I have an even vaguer recollection about him being a kid in Westchester, near the airport, and possibly in the same Cub Scout troup back in the 1960s). Barry was spectacular — especially for what he didn’t say. The opening scene, which is essentially non-verbal reaction and movement from Barry, was priceless. He has the ability to convey wonderous information with his body and face. This continued throughout the show, and I think his performance was one of, if not the main, highlights of the show. His performance wasn’t comic slapstick — it was a mixture of pathos, Buster Keaton, and exasperated bemusement. If you go see this, watch him and I think you’ll be as impressed as I was.

Amy Smallman-Winston (FB) played the neurotic Stella. She captured the neuroses and craziness of the character well — she was certainly someone that I wouldn’t want to be involved with. She was clearly able to handle the physical comedy well, but didn’t have the same level of character study moments to exploit. Somehow, given the ending, she needed something a little bit more to hint at it. She did have the most comic lines in the show and tossed them off with perfection.

Lastly, there was Elvis Nolasco (FB)’s Don. His character was an enigma: it is hard to know if he was portraying it well without knowing what it was supposed to be. I can, however, safely say that he was fun to watch, and his interactions with Barry’s Isaac were quite good.

Bryan Rasmussen (FB) also did the scenic design, and it was relatively simple: tables and chairs to create the impression of a bar, with projections by David Svengalis (FB) to place it in New York. The simple set worked well, especially considering that the one stage at the Whitefire is having to serve at least three different shows each week (so complicated set treatments weren’t possible). The lighting of Derrick McDaniel (FB) served to enhance and create the mood. David Svengalis (FB) was also responsible for the sound and video design; my only comment here was that the opening sounds of the bar were just a little too loud. I don’t have that much to say about the costume design of Morgan DeGroff (FB) [assisted by Laura Tiefer (FB)] other than they appeared reasonable (although Don’s outfit might have been the source of confusion about his character). Remaining production credits: Nancy Santiago/FB [Assistant Director]; Mike Mahaffey (FB) [Fight Choreographer]; Ricki Maslar, CSA (FB) [Casting Director], Nora Feldman (FB) [Public Relations], David Svengalis (FB) [Technical Director]; Neda Ganjeh-Tabe/FB [House Manager]; and Scott Disharoon (FB) [Producer]. Stella’s Last J-Date appears to be a production of the Whitefire Theatre (FB) [I say appears to be, because with three productions going on, I’m not sure which are productions of the home company, and which are rentals from outside producers. The involvement of Whitefire’s Artistic Director, Bryan Rasmussen (FB), makes me believe this is a Whitefire show.]

Stella’s Last J-Date continues on Thursdays at the Whitefire Theatre (FB), with an extended run through May 26, 2016. Tickets are available through Brownpaper Tickets, as well as through Goldstar.

* 🎭 🎭 🎭 *

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

Upcoming Shows: This weekend is our annual visit to the Renaissance Faire (Southern). Next weekend is Pesach, but we are squeezing in a show on Sunday when we go see Anton in Show Business at Hollywood’s Hudson Mainstage Theatre (FB). The last weekend of April will be the Four Clowns (FB) production of Lunatics and Actors at the LA Shakespeare Center on April 30. May starts with Endgame at the Kirk Douglas Theatre (FB). We then run off to the Bay Area for our daughter’s graduation from Berkeley. While there, we are seeing the Landmark Musical Theatre (FB)’s West Coast Regional Premiere of The Boy from Oz (but pay no attention to that production behind the curtain at the Celebration Theatre (FB) — if they start the same day, they are simultaneous premieres and both have equal bragging rights). We may also be seeing The Last 5 Years at San Francisco’s American Conservatory Theatre (A.C.T.) (FB).  May 21 has a HOLD for Los Angeles: Then and Now, a new musical at LA City College (FB) from Bruce Kimmel. The last weekend of May has HOLDs for the MoTAS Outing to the Jethawks, and for I Only Have Eyes for You at the Ricardo Montalbán Theatre (FB). As for June? It’s the Hollywood Fringe Festival (FB), and I’ve started to hold dates for the following shows: Alien vs. Musical ✨ All Aboard the Marriage Hearse ✨ All The Best Killers are Librarians ✨ Code 197 DWB (Driving While Blewish) ✨ Qaddafi’s Cook — Living in Hell, Cooking for the Devil ✨ Squeeze My Cans ✨Tell Me On A Sunday  ✨ Toxic Avenger: The Musical  ✨  Vintage Box ✨ Einstein ✨Titus Andronicus Jr. ✨The Old Woman ✨Sweet Love Adieu ✨ My Big Fat Blond Musical✨Doctor in the House ✨ Hamlet (Las Vegas Style) ✨. But that’s just a small percentage; there are over 240 shows listed now.  We thought about Love The Body Positive, but then again… no. Can’t be scaring people.  July brings us back to conventional theatre, with for Beautiful at the  Hollywood Pantages (FB) and the Western Corps Connection (FB) the first weekend, a HOLD for Grey Gardens at the Ahmanson Theatre (FB) the second weekend, The Little Mermaid at  Cabrillo Music Theatre (FB)  the third weekend, a HOLD for Weird Al Yankovic at the Hollywood Bowl (FB) and Operaworks (FB) Opera Re-Constructed at CSUN the fourth weekend, a mid-week Hollywood Bowl (FB) concert of Wynford Marsalles and Aaron Copland, and a HOLD for Armadillo Necktie at The Group Rep (FB) the last weekend.  As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Bitter-Lemons, and Musicals in LA, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves.