Tag: theatre-2024

Anything For a Laugh | “Once Upon a Mattress” @ CTG/Ahmanson

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Once Upon a Mattress (CTG/Ahmanson)Two words: Sutton Foster

Sutton Foster is a comic gem and an outstanding theatre artists, and her energy, enthusiasm, and playfulness make this production of Once Upon a Mattress spectacular, and something you must go see (if you like comedy) before it closes shop next week. Go, buy your tickets, I’ll wait.

(taps feet)

Got them? Great.

Now to explain. Last night, we saw Sutton Foster in the aforementioned Once Upon a Mattress at the Ahmanson. For those unfamiliar with the show, Mattress is a lightweight musical from the late 1950s with music by Mary Rodgers and lyrics by Marshall Barer, with a book by Jay Thompson, Dean Fuller, and Marshall Barer. It basically is a retelling of Andersen’s “The Princess and the Pea”. Nothing deep here.

The original production was notable for who it launched into the world: Carol Burnett. Burnett was the lead, and her comic chops made the show. She mugged, she played, she sang, and she demonstrated the wide array of talents she possessed. Back in 1996 a revival was attempted with Sarah Jessica Parker in the lead, but Parker is not the comic that Burnett is, and it didn’t do quite a well.  I’ll note that I last saw Mattress back in 2012 at Cabrillo Music Theatre with local talent Bets Malone, who was great in the role.

A year or two ago, someone had the bright idea to cast Sutton Foster as Princess Winnifred for an Encores production. I think this was between her time in The Music Man (where she got entangled with her current paramour, Wolverine) and her time in Sweeney Todd. Foster is well known on the Broadway stage for her dancing and comic timing (demonstrated many years ago in Thoroughly Modern Millie). But comic timing is not the same as being a comic. Here, she is a comic.

Sutton Foster is clearly having fun with the role, and milking every moment for comic potential. About halfway into the first act, there’s a scene where she’s eating some grapes. She stretches it. She plays with it. Without saying a word, she makes it incredibly funny. At other points, she has staring contests with other actors, just to see if they can remain in character. She flops, she falls. She is clearly having the greatest amount of fun with this role, and when an actor enjoys their role, it is projected to the audience. I wrote about that last week when talking about Olivia Valli as Elphaba in Wicked. When an actor loves a role and the role loves them back, it shows and the magic happens.

Watch Foster closely. Her face. Her movements. Her reactions. Bring binoculars. It’s priceless.

And the thing is: It’s not just Foster having fun. Her partner in crime, Michael Urie, has equal fun as Prince Dauntless. Just watch him attempt to work the steps. Watch his reaction and faces. Watch his comic falls. He’s having equal fun. Then there is Daniel Breaker as the Jester. From the moment he starts the show, he is playing with the audience. He’s clearly in on the joke, and he wants you to realize this isn’t your serious show: this is fun.

It goes on that way throughout the cast: Ana Gasteyer creates an over the top shrew of a Queen, but with her own jokes as well. Kevin Del Aguila as the Wizard has fun with the role and the flash paper. David Patrick Kelly makes the most of the King’s pantomime (in the original production, they had cast an actor that couldn’t sing, and so they made the King’s role silent) — and he was played by the great Jack Gilford).  Even the second story pair: Ben Davis as Sir Harry and Oyoyo Joi as Lady Larkin know how to play for the laughs.

This is a funny funny show. You want serious? Go up the street and see Wicked. Find a production of A Christmas Carol. This production will send you into the new year smiling.

Tickets are available through the Center Theatre Group website page on the show here. It closes on Jan 5. So get your tickets now.

———

Once Upon a Mattress. Book by Jay Thompson, Marshall Barer, and Dean Fuller. Music by Mary Rodgers. Lyrics by Marshall Barer. Adapted by Amy Sherman-Palladino. Directed by Lear deBessonet. Choreographed by Lorin Latarro.

Cast: Sutton Foster Princess Winnifred; Michael Urie Prince Dauntless; Ana Gasteyer Queen Aggravain; Kevin Del Aguila Wizard; Daniel Breaker Jester; Ben Davis Sir Harry; Oyoyo Joi Lady Larkin; David Patrick Kelly King Sextimus the Silent; Daniel Beeman Ensemble; Wendi Bergamini Lady Rowena, Nightingale of Samarkand, Ensemble, Asst. Dance Captain; Taylor Marie Daniel Princess #10, Ensemble; Cicily Daniels Ensemble; Amanda Lamotte Prologue Puppeteer, Princess #12, Ensemble; Michael Olaribigme Ensemble; Destinee Rea Princess #11, Ensemble; Adam Roberts Ensemble; Jeffrey Schecter Ensemble; Matt Wall Ensemble; Daniel Wright Ensemble; Richard Riaz Yoder “Very Soft Shoes” Dance Soloist, Ensemble. Swings: Sheldon Henry, Sarah Michele Lindsey Dance Captain, Matthew Steffens.

Music Department: Bruce Coughlin Orchestrator; Mary-Mitchell Campbell Music Supervisor; Annbritt duChateau Music Director, Conductor; Chris Kong Assoc. Conductor, Keyboard 1; Brad Gradner Keyboard 2; Sal Lozano Reed 1; Glen Berger Reed 2; John Mitchell Reed 3; Dan Fornero Trumpet 1; James Ford Trumpet 2; Wendell Kelly Trombone; Jen Choi Fischer Violin 1; Grace Oh Violin 2; Adrianne Pope Violin 3; Bryan Gonzalez Viola; David Mergan Cello 1; Ira Glansbeek Cello 2; Will Johnson Bass; Robert Payne Contractor; Kimberlee Wertz Music Coordinator; Randy Cohen Keyboard/Synthesizer Programmer; Josh Clayton and Adam Beskind Music Copying.

Production and Creative: David Zinn Scenic Design; Andrea Hood Costume Design; Justin Townsend Lighting Design; Kai Harada Sound Design; J. Jared Janas Hair, Wig, Makeup Design; Skylar Fox Physical Comedy & Effects; Martavius Parrish Assoc. Director; Juniper Street Productions Production Management; The Telsey Office Casting; Cody Renard Richard Production Stage Manager; Jhanaë K-C Bonnick Stage Manager; Angela M. Griggs Asst Stage Manager; Megan Curren General Manager; Dylan Glen Assoc General Manager; Brian Decaluwe Company Manager; Ray Metmore/JR Goodman Production Props Supervisor.

Favorite Minor Credit: Sutton Foster Custom Crochet Crowns

♦ ♦ ♦

Administrivia: I am not a professional critic. I’m a cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; and 5-Star Theatricals. We’re looking for the right intimate theatre to subscribe at — it hasn’t been the same since Rep East died (it’s now The Main, and although it does a lot of theatre, it doesn’t have seasons or a resident company), and post-COVID, most 99-seaters aren’t back to doing seasons (or seasons we like). I used to do more detailed writeups; here’s my current approach.

Upcoming ♦ Theatre / ♣ Music / ◊ Other Live Performance – Next 90ish Days (⊕ indicates ticketing is pending). We’re a bit light on theatre while my wife is recuperating from her knee replacement.

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Green Girls and Politics | “Wicked” @ BIH/Pantages

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Wicked (Pantages/BIH 2024)It’s sad, somewhat, that I must start out with clarifying that I’m writing about the original live musical on stage, not the movie. We haven’t seen the movie yet. Perhaps Christmas Day.  But I’m leaning towards the Bob Dylan movie. I do wonder what those who have only seen the movie—never read the book, never seen the musical—would make of the stage musical. How would they feel with the direction into which the second act descends? For Wicked, my friends, is not a light and fluffy musical. Like other musicals with staying power, it has much deeper messages. You want light and fluffy. Go see Legally Blonde-The Musical. You can find your pink girl power there.

As you might have guessed, last night we saw Wicked at the Pantages. We rarely see the same production multiple times (and I consider a tour instances to be the same production as other tour instances, as they are the same producing and designing team). We’ve seen Hamilton three times. But normally, there needs to be something novel to make a show worth seeing again. A regional or small theatre mounting (such as 5-Star doing Frozen). An interesting twist in the execution (such as the Deaf West American Idiot). But, for example, Annie (which is also coming to the Pantages)—I have no urge to see it again.

This brings us to Wicked. We saw the tour when it first came to the Pantages in 2005. I think 20 years is a sufficient waiting period, and yes, the show has been on tour that long. No regional productions. No local productions. So it was time. My green friend, you’ve held up well.

Back when I first saw it, I didn’t write a detailed review. I was just getting started with my writeups. Since then, I’ve been doing more analysis. I’ve also read the books — multiple times. But I had forgotten the depth of the show. It’s popularity, of course, comes from the music and the implied girl power and friendship between the two principals: Elphaba and Galinda. There are those who see themselves as the outcast, never accepted, Elphaba. There are those who see themselves in the princess, Galinda. There are those who ache for those two sides to come together.

But watching the show last night, what struck me more was how political the show was, and how increasingly relevant the political heart of Greg Maguire’s book that remained in the show is. For Wicked, at its heart, is an intensely political show. It was written in the heart of the Bush administration, with commentaries on Bush’s treatment of political prisoners and the views against minorities. But in our new political era, it is even more timely. Here we have a story about a talented flim-flam man, who knows how to manipulate public opinion and spread falsehoods for his own power and gain. Here we have a society that has made a literal scapegoat of the Animals (following the book’s convention, Animals are the creatures that have the power of speech, whereas animals do not). They blame the Animals for their economic problems (remember the reference to the Great Drought), and then serve to exclude them and push them from society. Deport them, as you might characterize it. We see those who look different and act different being ostracized, and accepted only for what they can give to those in power. We have celebrities harnessed to spread the message of the flim-flam man, spreading lies and stories they know not to be true. But this has no resemblance to what we have seen in 2024-2025, does it.

And our heroine? She is someone who is rejected who uses her power to speak out for those that literally have lost the voice they used to have. She is able to sway others to her position and eventually sweeps the administration of the political flim-flam man away. He leaves the country, with the people unaware of the extent of his crimes, and his cronies end up in prison.

We need an Elphaba today to start the fight. We need a Glinda, post-Elphaba, to arise and push out the flim-flam man. Perhaps in 2026.

The best musicals reflect their times, and are often not well received when they first come out, although sometimes they are popular. Chicago was a failure when it first came out. But after OJ and the rise of the celebrity trial where we realized it was all showbiz, it was a hit. It has been going strong since then, with a steady stream of Roxies keeping the show going. Wicked was poorly received the season it debuts. Avenue Q was the big hit of that season. But although Avenue Q is still being produced regionally, Wicked remains open on Broadway and on tour. It resonated with audiences. They saw the girl power and the humor, and perhaps they absorbed the political message.

In response to the movie, there are those on the right who are claiming that the movie is “woke” and propaganda. A petition from Million Moms states: ““Of course, the musical contains a tremendous amount of witchcraft and sorcery, and that content prompts most parents to avoid taking their children to see Wicked. But the film also shows not-so-discrete crossdressing and men crushing on men, which parents may not expect. Instead of an uplifting Broadway musical about friendship and family, talents and resources were used to create a dark movie that also pushes wokeness.” Kristen Chenowith, the original Glinda, has spoken out against this statement. But even more: Wicked has always been political. It has always been “woke”. It was never a musical primarily about friendship and family: it was a musical about the importance of speaking out for those with no voice. It is a musical that makes the point that those whom our leaders purport to be “wicked” may really just be those who are speaking out to power, who are speaking up for truth and justice. Wicked has always been this way, from the original book, to the original musical.

[And, I guess I should note: Those on the other side of the political spectrum may also see their views in this. Sigh. But they are wrong.]

A musical that has been running this long has created a large family of Ephabas and Glindas. One might think a 20 year old tour might be tired, and the performances would be weaker. That clearly seemed to be the position of Charles McNulty of the LA Times, who bemoaned the fact that the tour cast wasn’t near Chenowith and Menzel. I disagree. I don’t think there was a weak performer in the entire tour cast. At worst, some were merely very good.

At our performance, we had some substitutions. The primary tour Ephaba, Lauren Samuels, was out for some reason. We didn’t have one of the other understudies or standbys; instead, the producers brought in a former Elphaba for the role: Olivia Valli. She was out when we saw the Pretty Woman tour, alas. She was outstanding, bringing a wonderful personality to the role. I was just fixated in watching her face. During the curtain call, she broadcast such happiness with being able to perform the role again. It was clear she was broadcasting that happiness during her performance. Had McNulty seen her, perhaps his opinion would have been different.

Our Glinda, Austen Danielle Bohmer, fell into the very good category. She was good in the role, but was more a Laura Bell Bundy as Elle than Kristen Chenowith. She lacked the little extra spark that the role needs. But it wasn’t a bad performance, but when up against Valli’s Ephie, she just couldn’t hold her own.

The other substitution we had was David Kaverman as the Wizard. He was good, but came off as a little too young, with not quite the paternalistic charm required. Was he even old enough to be Elphaba’s father?

Other cast members were very strong, including Kingsley Legg’s Dr. Dillamond, Erica Ito’s Nessarose, and Xavier McKinnon’s Fiyero. The production quality was very high; something my daughter commented upon. The orchestra was also very strong. One might think, after 20 years, the production values would get tired and worn, but the company seems to be doing an excellent job of keeping the quality and production high. This wasn’t a schlocky tour that was dependent on projection.

That leads to another side note: Some shows you know will fade into the history books because of their production demands. Few regional theatres will be able to do Back to the Future: The Musical because they can’t handle the productions and the Delorian. Similarly, could a regional theatre or an intimate theatre or school do Mrs Doubtfire because the the needs of the latex mask? Looking at Wicked from that point of view: It’s doable. Sure you need a flying rig, but that’s known technology from Peter Pan. You don’t need the dragon at the top of the stage, and pretty much everything else is achievable. I think there is the potential, when the tour eventually ends as it must, for Wicked to be a hit on the regional and smaller circuits. I’ll note that will be harder for Hamilton, as some creative thought will be required to rework the staging for venues without double turntables.

Attempting to wrap this up: With the movie now in theatres, should you shell out the bucks to see Wicked on stage. I think so. First, folks rarely sing back at a stage musical (and the ushers will slap them down if they do). At the movie, folks sing back to the screen (one reason I’m hesitant to see the movie). Second, you get to see the whole story. You don’t have to see Act I, and then wait a year for Act II. The musical condenses the story, and in doing so provides a tighter focus on the story. The performances on the tour are strong, and unless you have seen it on stage recently (I think it was out in LA just pre-pandemic), it is worth seeing again. Of course, if you have never seen it, you must see the stage version BEFORE the movie, so you get the whole story. I also strongly recommended reading the Greg Maguire books (and there are four, now five, in the series: Wicked, Son of a Witch, A Lion Among Men, and Out of Oz. The latest in the series, Elphie, just came out. I haven’t read it yet.

Wicked continues at the Pantages through February 3.  You can buy tickets through the Pantages web page.

———

Wicked. Music and lyrics by Stephen Schwartz. Book by Winnie Holzman. Based on the novel by Gregory Maguire. Directed by Joe Mantello. Musical Staging by Wayne Cilento.

Cast (Add/Delete indicates changes at our performance). Lauren Samuels Olivia Valli Elphaba; Austen Danielle Bohmer Galinda/Glinda; Aymee Garcia Madame Morrible; Blake Hammond David Kaverman The Wonderful Wizard of Oz; Erica Ito Nessarose; Kingsley Leggs Doctor Dillamond; Xavier McKinnon Fiyero; Alex Vinh Boq; Jennifer Mariela Bermeo Ensemble; Anthony Lee Bryant Ensemble; Sean Burns Ensemble; Matt Densky Ensemble; Kelley Dorney Midwife, Ensemble; Kayla Goldsberry Witch’s Mother, Ensemble; Rose Iannaccone Ensemble; Mattie Tucker Joyner Ensemble; Lauren Leach Ensemble; Colin LeMoine Ensemble; Tiffany Rae Mallari Ensemble; Adelina Mitchell Ensemble; Brayden Newby Ensemble; Allsun O’Malley Ensemble; Madison Clair Parks Ensemble; Kat Rodriguez Ensemble; Derek Schiesel Ensemble; Wayne Schroder Witch’s Father, Ozian Official; DJ Smart Chistery; Brett Stoelker Ensemble; Ben Susak Ensemble; Justin Wirick Ensemble. Swings (⇑ indicates swung in): ⇑ Anthony Lee Bryant;  ⇑ Mattie Tucker Joyner; ⇑ David Kaverman; Kelly LaFarga Dance Captain; Marina Lazzaretto; ⇑ Ben Susak Dance Captain. Understudies: Anthony Lee Bryant u/s Chistery; Sean Burns u/s Boq; Matt Densky u/s Boq; Kelley Dorney u/s Madame Morrible; Mattie Tucker Joyner u/s Nessarose; ⇑ David Kaverman u/s Witch’s Father, Ozian Official, The Wizard, Dr. Dillamond; Colin LeMoine u/s Fiyero; Adelina Mitchell u/s Elphaba; Allsun O’Malley u/s Glinda, Nessarose; Madison Claire Parks u/s Glinda; Kat Rodriguez u/s Madame Morrible; Wayne Schroder u/s The Wizard, Dr. Dillamond; Brett Stoelker u/s Fiyero; Ben Susak u/s Chistery.  Standbys: Carly Augenstein Elphaba Standby . Chelsea Emma Franko Elphaba Standby.

Music Department (Ł indicates local): William David Brohn Orchestrations Stephen Oremus Music Supervisor; Alex Lacamoire & Stephen Oremus Music Arrangements; Michael Keller Music Coordinator; Faith Seetoo Music Director, Conductor; Derek Shorter Associate Conductor, Keyboard 2; Luke Flood Keyboard 1; Amy TatumŁ Piccolo / Flute / Alto Flute / Recorder / Penny Whistle; Michelle ForrestŁ Oboe / English Horn; Katie FaraudoŁ French Horn; Jeff DriskillŁ Soprano Sax/E♭ Clarinet/B♭ Clarinet / Bass Clarinet; Aaron SmithŁ  Trumpet / Flugelhorn; Nick DaleyŁ  Tenor/Bass Trombone; Michael ValerioŁ Bass (Acoustic / 5-String Electric / Fretless); Michael AbrahamŁ Guitar (Electric / Nylon String / Steel String / 12-String / Banjo / Mandolin); Chris JagoŁ  Drums; Bruce CarverŁ Percussion; Alby PottsŁ Keyboard 3; Adam McDonaldŁ Keyboard 4; Mary EklerŁ Keyboard Sub; Eric HeinleyŁ  Orchestra Contractor.

Production and Creatives: Eugene Lee Set Design; Susan Hilferty Costume Designer; Kenneth Posner Lighting Design; Tony Meola Sound Design; Elaine J. McCarthy Projection Design; Tom Watson Hair and Wig Design; Joe Dulude II Makeup Designer; Jake Bell Technical Supervisor; James Lynn Abbott Dance Arrangements; The Telsey Office Casting; Lisa Leguillou Assoc. Director; Corinne McFadden Herrera Associate Choreographer; Edward Pierce Assoc. Scenic Designer; Chic Silber Special Effects; Dawn Fenton Production Stage Manager; Michelle Dunn Stage Manager; Colleen Danaher Asst. Stage Manager; Joseph Heaton Asst. Stage Manager; 321 Theatrical Management General Management.

Favorite minor credits: Sascha Kaminski Spellbooks; Bob Flanagan Puppets; Michael Durry Design Inc Flatheads and Monkey Wings; although a close second was Bra* Tenders Undergarments and hosiery. 

♦ ♦ ♦

Administrivia: I am not a professional critic. I’m a cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; and 5-Star Theatricals. We’re looking for the right intimate theatre to subscribe at — it hasn’t been the same since Rep East died (it’s now The Main, and although it does a lot of theatre, it doesn’t have seasons or a resident company), and post-COVID, most 99-seaters aren’t back to doing seasons (or seasons we like). I used to do more detailed writeups; here’s my current approach.

Upcoming ♦ Theatre / ♣ Music / ◊ Other Live Performance – Next 90ish Days (⊕ indicates ticketing is pending). We’re a bit light on theatre while my wife is recuperating from her knee replacement.

  • December: ♦ Once Upon a Mattress at CTG/Ahmanson;
  • January: ♦ Anything Goes (Concert) at Pasadena Playhouse (Pasadena Civic);
  • February: ♦ Sondheim’s Old Friends at CTG/Ahmanson;  ♦ Harry Potter and the Cursed Child at BIH/Pantages; ♦ Desperate Measures at ICT Long Beach
  • March: ♦ Top Dog/Underdog at Pasadena Playhouse; ♣ Nefesh Mountain at McCabes; ♦ Fake It Until You Make It at CTG/Taper; ♦Drat the Cat at Group Rep; MoTAS/MoTBH Mens Seder @ TAS
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Finding Your Pride | “La Cage Aux Folles” @ Pasadena Playhouse

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La Cage Aux Folles (Pasadena Playhouse)Sometimes, I’m not sure what other reviewers are smoking. Last night, while attending La Cage Aux Folles at the Pasadena Playhouse, I attempted to figure out when I last saw the show on stage. I searched for a writeup of the show on my site, and came up empty (and I started writing up shows on Livejournal around 2004). I did find this other reviewer’s writeup of the PP version of the show, and he thought it was an ill-conceived take on the show — and this is a reviewer that seems to love everything. I did discover that the revival of La Cage toured in 2012 (and I seemingly skipped out on attending that), and the original was in LA through the LA Civic Light Opera in 1984. This could actually mean that the last time I saw this show on stage was way back in 1984. Forty years. Wow!

Reading through this other review, the reviewer’s opinion is that this production was essentially overdone, overacted, and ill-conceived. This reviewer didn’t like the interpretation, which is completely their prerogative. I disagree, and hopefully in this writeup I can explain why.

Hopefully, you’re someone familiar with La Cage Aux Folles. Perhaps you read the original story. Perhaps you saw the original film. Perhaps you saw the American remake (“The Birdcage”). Perhaps you’ve even seen the musical, which is based on the original story, not the movie. The basic plot is as follows — and it is essentially a sitcom. You know that because you can end it with “Hijinks ensue”

Two gay men operate a nightclub in the south of France: one is the star drag performer (Albin/Zaza), and the other serves as the non-drag emcee (Georges). Albin is a bit of a Diva, and a bit of a force of nature; Georges is the more sedate of the two. Their son comes home and tells them he’s found the girl he wants to marry. Her family is coming to dinner. However, her father is a right-wing politician who wants to get rid of all gay nightclubs, so they need to degay the place. Oh, and Albin, who service as the son’s mother, needs to disappear for the night, and they will invite the son’s real mother whom Georges had a one-night-stand with 24 years ago. Insert the first hijinks ensue. The ultimate conclusion is to masculine-ize Albin into “Uncle Al”. But when the mother skips out on attending, Albin becomes … yup. Add to that the press discovering that the politician is at a gay club, and, well. Hijinks ensue.

The show itself is surprisingly timeless. It was written in the 1980s, and came out during the AIDS epidemic. There was lots of anti-gay sentiment. Pivot to today: And there is still a lot of anti-gay, and especially anti-drag, sentiment. There are right wing politicians that want these folks to go away. The response from the gay community: PRIDE. The anthem at end of Act I says it all: “I Am What I Am”. We must be proud of who we are, and be out about who we are, not matter who we are.

I’ll also note that this is one of those rare shows that does not play the “man dressing as a woman” trope for humor. It is simply who these people are, and the costumes are not the humor in the show. Contrast that the recent shows that never learned the lesson: Tootsie, Mrs. Doubtfire, Some Like It Hot, and others.

The original production of this did a traditional Broadway take on the show. The nightclub was a classy joint, and the Cagelles were dressed as French showgirls, making it hard to tell, as they say, who was who and what was what. The actors didn’t overplay their characters, although one can’t say that they played them straight. [I’d say “rimshot”, but even that has a different meaning]. But it was a big singing and dancing extravaganza with Jerry Herman tunes. The 2012 Revivial, with Doug Hodges and Kelsey Grammer, I’ve only heard. But the album makes it clear that Hodges hammed it up as Albin, and Grammer overplayed it. That’s likely why I skipped that version.

In this version, the director, Sam Pinkleton, takes a very different take on the show. Instead of being in a high-class nightclub, this show is more of a very seedy, low-rent, drag review. Think the quality of the club you see in Cabaret. It has seen better days, and the quality of the performers isnt’ the best.  In many ways, that works better (and would be even stronger if the leads were visibly older). But some reviewers can’t get past their conception of the club.

Another change made by the director — and one that bothered me a bit more — was changing the characterization of the son, Jean-Michel. In this production, he is differently-abled (and the actor that portrays him really has C.P.). His fiancée is also not the typical beauty that you find playing the character — she is larger and my guess from the portrayal is intended to be slightly autistic.  This is a truly different take, but it also makes some of the songs actually have more meaning (especially “Anne on My Arms”). Think about the following lyrics when the guy is disabled and can’t walk too well unaided: “Who else can make me feel like I’m handsome and tall? / Who else can make me feel I’m on top of it all? / I found a combination that works like a charm: / I’m simply a man who walks on the stars / Whenever it’s Anne on my arm! / Life is a celebration with you on my arm / Walking’s a new sensation with you on my arm / Each time I face a morning that’s boring and bland / With you it looks good, with you it looks great / With you it looks grand!”. This directorial choice: It surprisingly works.

The production also retains the over-the-top nature of Albin. Grating at first, it grows on you and now I can see its charm that must have been there in the 2012 revival. It certainly adds to the hilarity of the show. And believe me: this show is laugh-out-loud funny. I tend not to laugh at shows, and I was laughing at this one.

Some of the changes made I didn’t like, and these are likely due to the limitations to the Playhouse and budget: The Cafe scenes seemed to be more randomly at the beach, which made no sense at all. There was far too much glitter flying everywhere, which bothers me as I’ve become more aware of plastic pollution. We don’t need glitter cannons in every show, folks.

A lot of credit in this show goes to the performers, and especially the leads. Cheyenne Jackson is charming, with a wonderful singing voice and incredible comic timing (which you likely saw on Call Me Kat). He’s also an incredibly good looking hunk, and I say this as a straight guy. He is just a delight delight to watch, and appears to be having the time of his life with this show. When actors are having fun, it comes through in their performance. Kevin Cahoon was not a super feminine Zaza, but was a great over-the-top comic Albin. Ryan J. Haddad, as I’ve noted, gave a very different interpretation of Jean-Michel, and Shannon Purser was (in my eyes) an extremely beautiful Anne. Additional comic chops go to Michael McDonald and Nicole Parker as Anne’s parents. You only see them in a few scenes at the end of Act II, but they are just hilarious.

So, in summary, if you are expecting a traditional take on La Cage, then this show probably isn’t for you. The low rent conception of the nightclub, combined with the changes in portrayal of some of the characters, will likely turn you off. But if you go into this show with an open mind and open heart, you can really believe that perhaps this is what Jerry Herman meant all along: a show that really emphasizes being who we are, and being proud of who we are. Straight or gay. Differently-abled or not. Sedate or over-the-top. We are who we are. We are our own special creations. We should be proud of that.

La Cage Aux Folles continues at the Pasadena Playhouse through December 15. Go see it. Tickets are available through the Playhouse Box Office.

———

La Cage Aux Folles. Book by Harvey Fierstein. Music and lyrics by Jerry Herman. Based on the play by Jean Poiret. Directed by Sam Pinkleton. Choreography by Ani Taj.

Cast (æ indicates Actors Equity): Cheyenne Jacksonæ Georges; Kevin Cahoonæ Albin/Zaza; Ryan J. Haddadæ Jean-Michel; Shannon Purseræ Anne; El Behæ Francis; Michael McDonaldæ  Edouard Dindon/M. Renaud; Nichole Parkeræ Marie Dindon/Mme. Renaud; Shea Diamondæ Jacqueline; George Salazaræ Jacob; Key Bebe Queueæ Cagelle; Cody Brunelle-Potteræ Cagelle; Salina EsTitties (Jason De Puy) Cagelle; Rhoyle Ivy King Cagelle; Ellen Soraya Nikbakhtæ Cagelle; Suni Jade Reidæ Cagelle; Paul Vogtæ Cagelle

Music Department: Darryl Archibald Music Director / Keyboard; Abdul-Hamid Royal Assoc Music Director / Keyboard; Damon Zick Reed 1 (Flute, Clarinet, Soprano Sax); Joe Di Fiore Reed 2 (Clarinet, Bass Clarinet, Alto Sax); Erick Jovel Trumpet; Devon Taylor Trombone; Jonathan Richards Bass; Dominick Anzalone Drums / Percussion; Eric Heinly Orchestra Contractor.

Production and Creative: David Zinn Scenic Design; David Reynoso Costume Design; Stacey Derosier Lighting Design; Daniel Erdberg Sound Design; Ursula Kwong-Brown Sound Design; Alberto “Albee” Alverado Wig and Hair Design; Ryan Bernard Tymensky, CSA / RBT Casting Casting; Chris Waters Stage Manager; Sam Allen Asst Stage Manager; Lydia Runge Asst Stage Manager.

♦ ♦ ♦

Administrivia: I am not a professional critic. I’m a cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; and 5-Star Theatricals. We’re looking for the right intimate theatre to subscribe at — it hasn’t been the same since Rep East died (it’s now The Main, and although it does a lot of theatre, it doesn’t have seasons or a resident company), and post-COVID, most 99-seaters aren’t back to doing seasons (or seasons we like). I used to do more detailed writeups; here’s my current approach.

Upcoming ♦ Theatre / ♣ Music / ◊ Other Live Performance – Next 90ish Days (⊕ indicates ticketing is pending). We’re a bit light on theatre while my wife is recuperating from her knee replacement.

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This Seems Vaguely Familiar | “Groundhog Day: The Musical” @ LB Landmark

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Groundhog Day: The Musical (LB Landmark)When you go to the theatre these days, there’s this sense of déjà vu: that you’ve seen what is up on stage before. Now, I don’t get that, because I always consider the stage show to have come first (and thus, Shakespeare begat Pulp Fiction). But for many, seeing a musical adaption of a film is déjà vu: it is comfort food for the brain; it is a known quantity that folks think will be successful. Sometimes it works, and the stage production has a long life, sometimes even moreso than the original. Productions like Shrek,  Legally Blonde, The Producers, and Hairspray come to mind. Sometimes, they fail miserably, leaving not that much memorable. American Psycho or the more recent Almost Famous. Sometimes, these failed shows have some wonderful songs: One of my favorite songs is The Last Real Record Store on Earth from High Fidelity. But most shows that attempt screen-to-stage end up in this middle ground—entertaining in the moment, one, perhaps two, memorable songs, but ultimately they are “Donuts for Dinner”. If you’re not familiar with that phrase, it comes from [title of show], and refers to an idea that seems satisfying at the time, but an hour later you’re hungry again. We’ve had a lot of donuts up on stage of late: Pretty Woman, Tootsie, Mrs. Doubtfire. Entertaining, but other than prolonging the life of a property, you wonder why they made the stage production. We saw one such show last week: Back to the Future: The Musical.  Technically astounding, with great performances and humor, but if you were to ask me any of the songs a week later, I could only name one. Ask me in a month, and …

I’ll note that, for me, there’s another category of musicals: Shows for which I have heard the music, but have never seen the show. Some I may never see. I doubt anyone will mount American Psycho or Sweet Smell of Success in Los Angeles. Not even MTG. Occasionally, I luck out, such as Charles Steward Howard Playhouse’s production of Hands on a Hardbody this year, or MTW’s Big Fish in 2014. But there are so many I would like to see for completeness: High Fidelity, Tuck Everlasting, How to Dance in Ohio, Cry Baby. Universe, if you’re listening, put a bug in an artistic director’s ear about this.

These two groups (screen-to-stage musicals and musicals I’ve heard but never seen) led to the show I saw last night. A small theatre company I’d never heard of, Long Beach Landmark, which is a theatre-ministry offshoot of a local long-established church (similar to Actors Co-Op or Troll Players or CSH Playhouse) publicized their current show on some group I’m a member of on Facebook. I thought I wouldn’t be able to squeeze it in, but I ended up booking the penultimate performance. The show? Groundhog Day: The Musical.

Going in, I’ll note that I’ve actually never seen the movie upon which this was based (Groundhog Day, 1993). That said…

To summarize up front: I went in thinking this would be another Back to the Future: cute, but utterly non-memorable. In many ways, it was. But I was ultimately taken by the lead character’s redemption arc (which is what made the original film so significant). I was also taken by the performances, aspects of the staging, and in general how this little company did such a good job with the property.

Let’s start with the story. As I said: I hadn’t seen the movie. Perhaps it is me, but many of the jokes in the story that had the audience roaring had little impact on me. But by the second act, I was taken by how this time loop had changed Phil. I felt there was a wonderful lesson in that: To be successful and move on, we need to be doing good for others, and not be so self-centered. Perhaps this is why this church theatre ministry chose the property: this message of DOING good, not just speaking good or subscribing to the Gospel of Prosperity, is fundamental to the UCC denomination with which they are associated. It was a risky choice for a church group, given the language and sex in the show. But it worked. As always: a good book is a good book, and the folks familiar with THE good book probably recognized that.

Musically, however, there’s not much to write home about. The music and lyrics are by Tim Minchin, who did Matilda (a fun show, but only a few memorable songs). In this show, most of the songs were unmemorable. There were a few standouts, however. “If I Had My Time Again” is a lovely looking forward song; and the final song, “Seeing You” had a catchy melody and some really nice words.

But what set this performance above the typical was the performances and the production. Performances first. Groundhog Day requires a strong Phil, and Jay Dysart was up to the task. He had a very strong voice, and some great comic timing. In short, he was fun to watch. But the performer who was astounding was Lauren McGunigale as Rita. She had an astounding voice, and a playful personality that shone through her characterization. She also had great chemistry with Dysart’s Phil. Some other notable performances were Emily “E.C.” Cipriani, who just shone joy and fun; Amanda Webb, who I was initially unsure about but who shone in the second act; and Joel Steven, who was just having fun with Buster.

The production was great, especially considering what this theatre had to work with. Landmark does its shows in the First Congregational Church of Northridge. They don’t do them in a gussied up social hall (like Troll Payers or CSH Playhouse or Actors Co-Op). They do it in the historic main sanctuary. This means no fly space, the wings are just spaces curtained off, the orchestra is downstage in the choir pit. Lighting likely needs to be removed after each Saturday show for the Sunday morning services and put back. As a result, their scenery was mostly flats and construction pieces that can be moved off to the side. Yet they still made turntables on the side, human powers. But most impressive was a scene in Act 1 that was clearly a projection in the original show, where Phil and two guys from the bar take off on a dangerous road trip. Lacking a projection, instead actors carried stick figures of the cars and the landscape, and moved all around the stage. It worked: yeah, it wasn’t realistic, but this is theatre. It told the story, and was a clever invention to do so. BTTF should pay attention, as this is a way to get around that shows heavy use of projections.

A few nits: The first had a bunch of microphone static, and I think the sound balance was a bit off, with the speakers for the music overshadowing the performers.

So in the pantheon of middle-ground screen-to-stage musicals, where does this fit? Hard to say. It won a lot of awards when it was first produced in 2016, especially in the UK. But there’s no accounting for taste in the UK, as they liked Girl from the North Country. In the US, it won some awards primarily for the lead actor: As I said, the performance of Phil Connors is what makes or breaks this show. I think you’ll see regional or community theatres occasionally do this show, drawn by the creating team (Matilda), the familiarity of the movie, or a desire to do something that isn’t that frequently done but is still familiar. If there’s a local production in your area, certainly go an see it. But I wouldn’t go to the level of getting caught in a time loop to see it again and again.

The last performance of Groundhog Day: The Musical by Long Beach Landmark, in the historical First Congregational Church of Long Beach, is tonight at 7pm. Limited tickets are available through their website. This is a company that is worth following, but that entails going into Long Beach.

And speaking of going into Long Beach, a bit of a rant. The intersection of I-405 and I-710 is really poorly designed. The signage from 405 SB to 710 SB is almost non-existent. I ended up on the ramp for 710 NB by mistake, diverted back to 405, and then had to work surface streets to the 710. Coming home was little better: I almost missed the 405 transition because it is a single lane for both NB and SB 405, with poor signage. That interchange really needs a rebuild. Alas, I know of no plans to do so. The City of LB is no better. You get off the 710 on a city-built freeway along Shoreline Drive. There are signs that Broadway is a left exit, but the actual exit is NOT signed as Broadway. Going home, I ended up going around the block to Ocean, thinking it would take me to the 710. But no — it feeds directly to Route 47 and the Vincent Thomas Bridge, with no signage to 710. I ended up getting off on Pico Ave, and working my way to a 270° loop ramp to the 710. Really, really, poor wayfinding.

———

Groundhog Day: The Musical. Book by Danny Rubin. Music and Lyrics by Tim Minchin. Based on the Columbia Pictures Motion Picture and the story by Danny Rubin. Directed and Choreography by Megan O’Toole. Produced by Jay Dysart.

Cast: Jay Dysart Phil Collins; Lauren McGunigale Rita Hanson; Pluto Dysart Larry; Mark Waters Ned Ryerson; Amanda Webb Nancy Taylor; Martha Duncan Mrs. Lancaster; Richie Muhammad Freddie / Healer 2 / Puppeteer; Emily “E.C.” Cipriani Debbie / Puppeteer; Charlie Carlos Ralph / Healer 1 / Bartender Billy / Elder; Joey Krumbein Gus / Groundhog Guy / Elder; Taylor Mobely Doris / Scientologist; Lisa Bode Heard Mrs. Cleveland / Piano Teacher; Mark Bruce-Casares Mr. Cleveland / Ensemble / Townsperson; Doug Emslie Old Jensen / Elder / Radio DJ; Joel-Steven Buster / Radio DJ; Corey Shaw Sheriff; Catherine Ram Deputy / Psychiatric Phamacologist; Jennifer Walquist Naturopath / Storm Chaser / Townsperson; Emily Morgan Joelle / Nurse / AA Person / Director; Jack Millis Storm Chaser / Elder; Tiger Chen Jeff / Ensemble / Puppeteer; Matthew Kopp Jonathan / Priest; Alison Mitchell Ensemble / Townsperson / Puppeteer; Marisa Krumbein Ensemble / Townsperson / Puppeteer. 

Music Department: Curtis Heard Musical Director / Conductor / Keyboard; Ed Peffer Reed 1; Jeff Sisil Reed 2; Eric Messerschmidt Bass; Amanda Duncan Drums; Greg Adamson Cello; Matt Brislawn Violin; Landon Grigsby Trumpet; Nicholas Washburn Trumpet; Paul De La Rosa Trombone; John Ballinger Guitar.

Production and Creatives: Jay Dysart, Nathan Amondson, Megan O’Toole Production Concept; Jay Dysart Producer / Marketing Director; Lily Penner Asst. Director / Producer, Prod. Coordinator, Stage Manager; Nathan Amondson Scenic Designer; Pluto Dysart Asst. Choreographer; Ken Beaupre Sound Designer; Harold Kast Technical Director; James Carhart Costume Designer; Maddie Levy, Jay Dysart Social Media; LJ Curiel Lighting Designer. Megan O’Toole Landmark Artistic Director.

♦ ♦ ♦

Administrivia: I am not a professional critic. I’m a cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; and 5-Star Theatricals. We’re looking for the right intimate theatre to subscribe at — it hasn’t been the same since Rep East died (it’s now The Main, and although it does a lot of theatre, it doesn’t have seasons or a resident company), and post-COVID, most 99-seaters aren’t back to doing seasons (or seasons we like). I used to do more detailed writeups; here’s my current approach.

Upcoming ♦ Theatre / ♣ Music / ◊ Other Live Performance – Next 90ish Days (⊕ indicates ticketing is pending). We’re a bit light on theatre while my wife is recuperating from her knee replacement.

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Time Games | “Back to the Future: The Musical” @ BIH/Pantages

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Back to the Future (BIH/Pantages)As I mentioned in my writeup of American Idiot at CTG, yesterday was a two-show day. After leaving the Music Center, we had a wonderful dinner at the all-gluten-free Lebanese restaurant Levant, shopped briefly at Gelsons on Franklin, and then dropped down to the Pantages to see Back to the Future: The Musical.

By now, everyone should know Back to the Future. It is repeated endlessly on TV, and if you don’t know the story, I’m sure you can turn on your TV and find it somewhere, together with Casino, the Men in Black series, and The Godfather. TV is endless rotation hell; when was the last time you saw The Sterile Cuckoo or Murder by Death?

So before we go into the production itself, lets talk about the connective tissue of the day: The perspective of Time. I noted that, for American Idiot, the recent campaign and the election of Donald Trump gave a different perspective to the lyrics of Billie Joe Armstrong and Green Day. The anger and the pain take on new meaning in the Trump era of hate, and the anger against the media and their bias rings ever more true.

But what about Back to the Future: The Musical. There is also perspective there: Marty gains a new perspective on his parents. He learns to see them as people. His mom was a normal horny teenager. His dad was a typical teenage boy, peeping at girls, trying to be popular (and failing). This is a useful perspective to have. Again, I’ll tie it to this weeks election. As I look at people, I try to see them with that perspective. We were all little kids once. Imagine people as those little kids, working their way through elementary school, middle school, and high school. They weren’t always the haters and grumpy cats they are today. Alas, some of the them never grew out of being the hurt bullies seeking attention. But for many, the perspective of seeing them in the past may at least help us in these trying times.

The perspective of time. The notion that ties together these shows.

But beyond that, what about the musical itself? Truthfully, there isn’t much to say. It is a trifle. A light dessert that really doesn’t fill you up. It’s not bad, but it isn’t memorable. There are no songs (save those from the movie) that are earworms or significant. There are some changes from the movie due to the changes in the perspective of time (Libyan terrorists become stolen Plutonium; the carload of manure becomes a laundry basket). Actors are limited by the movie and the expectations of the audience to caricature the performances of the movie actors. They come close.

The musical also does not have legs nor will it likely have a long production life after the tour. It is very dependent on the magic of production, especially the magic of projections and the Delorian. It is unlikely you’ll see this at the regional or community theatre level.  Put it in the same class with Pretty Woman, Tootsie, and Mrs. Doubtfire (and possibly even Beetlejuice). The only reasons these were made into musicals was the chasing of profit. The stories themselves didn’t cry out for musicalization. Note to the studios: Not every property belongs on stage.

This is not to say that Back to the Future was bad. It wasn’t. It was entertaining, and very funny at points. It just wasn’t memorable. Contrast this with Hamilton or Wicked or Come From Away or even American Idiot. There are things in those show that make them worth a return visit. BTTF? Once is plenty. About the only thing original and memorable is the song “Something About That Boy“.

The recent Kimberly Akimbo had similar problems, but was redeemed by the fact that (a) it actually had a point to make; (b) was more of a unique story, being based on a play vs. a movie. But the bulk of the songs weren’t all that memorable.

One additional note: This time dealing with BIH Subscriber Services (although it is out of their control): Parking lots in the area (especially when you pre-book with Parkwhiz) have reduced their time blocks to start at 7:00pm, making it hard to get dinner before the show. The El Centro garage has changed their system to use QRs codes and stored license plates. I’m going to guess that Eastown garage did the same, as they have the same time limitations. Parking is also overpriced in the area (contrast $25-$40 to the $10 at the Ahmanson). I’m looking forward to the day that my wife’s leg is well enough that we can take Metro again and not have to worry about parking. On the plus side, the Pantages was easily able to change our seat to one with the necessary legroom (platform on the right), although it did limit our view of the stage slightly.

Back to the Future: The Musical continues through December 1 at the Pantages. Is it worth seeing? Did you like the movie? If so, you’ll probably enjoy this. It’s not a stinker like Girl from the North Country or The Bodyguard, but it is also not particularly memorable. Things should be better with Shucked or Some Like It Hot. Tickets are available through the Pantages.

———

Back to the Future: The Musical. Book by Bob Gale. Music & Lyrics by Alan Silvestri & Glen Ballard. Based on the Universal Pictures/Amblin Entertainment fil, written by Robert Zemeckis & Bob Gale. Directed by John Rando. Choreography by Chris Bailey.

Cast (All performers are ӕ Actors Equity; underscored performers indicate performers at our performance): Don Stephenson Doc Brown; Caden Brauch / Fisher Lane Stewart Marty McFly; Burke Swanson George McFly; Zan Berube Lorraine Baines; Cartreze Tucker / Joshua Blackswan Abbott Goldie WIlson / Marvin Berry; Ethan Rogers Biff; Luke Anthony Neville Strickland / Lou Carruthers / Mayor Red Thomas / Sam Baines; Kiara Lee Jennifer Parker, Ensemble; Joshua Blackswan Abbott / Luther Brooks IV Reginald (Starlighter #1), Ensemble; Tade Biesinger Ensemble; Ina Black Ensemble; Luther Brooks IV / Lucas Hallauer Ensemble; Alyssa Carol Babs, Ensemble; Jenny Dalrymple Clocktower Woman, Ensemble; Laura Sky Herman Linda McFly, Stella Baines, Ensemble; Dan Horn Ensemble, Swing; Will Jewett 3D, Ensemble; Dwayne P. Mitchell Starlighter #2, Fight Captain, Asst. Dance Captain, Swing; Zoe Brooke Reed Betty, Ensemble; Fisher Lane Stewart / Ross Thompson Dave McFly / Slick; Emily Applebaum Swing; Brittany Bohn Swing, Dance Captain; Lucas Hallauer Swing; Ross Thompson Swing.

Music Department (Ł indicates local): Nick Finlow Music Supervision, Vocal and Additional Arrangements; Ethan Popp Orchestrations; Bryan Crook Orchestrations; David Chase Dance Arrangements; Matt Doebler Music Director, Keys 1; Ted Arthur Assoc. Music Supervisor; Kristy Norter Music Coordinator; Emily Orr Assoc. Music Director / Keys 2; Jaren Angud Drums; William Leary Reed 1; Sean Franz [Ł] Reed 2 (Flute / Clarinet / Tenor Sax / Bari Sax); Aaron Smith [Ł] Trumpet/Flugelhorn; Nick Daley [Ł]Tenor / Bass Trombone;  Brian LaFontaine [Ł] Guitar (Electric / Acoustic Steel String); Dan Lutz [Ł] Bass (Acoustic / 5-String Electric); Eric Heinly [Ł] Orchestra Contractor.

Creatives and Production: Tim Hatley Scenic and Costume Design; Tim Lutkin Lighting Design; Hugh Vanstone Lighting Design; Finn Ross Video Design; Gareth Owen Sound Design; Chris Fisher Illusions; Tara Rubin Casting; Maurice Chan Fight Director; Campbell Young Associates Wig, Hair, and Makeup Design; Taylor Haven Holt Assoc Director; Beth Crandall Assoc Choreographer; Aurora Productions Production Management; Eric Sprosty Production Stage Manager; Caitlin Kellermeyer Stage Manager; Malashia Carter Asst. Stage Manager; Domingo Mancuello Asst Stage Manager; Jack Stephens Company Manager; Bespoke Theatricals General Manager.

Favorite Minor Credit; Gabriel Reis Hoverboard Coach.

♦ ♦ ♦

Administrivia: I am not a professional critic. I’m a cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; and 5-Star Theatricals. We’re looking for the right intimate theatre to subscribe at — it hasn’t been the same since Rep East died (it’s now The Main, and although it does a lot of theatre, it doesn’t have seasons or a resident company), and post-COVID, most 99-seaters aren’t back to doing seasons (or seasons we like). I used to do more detailed writeups; here’s my current approach.

Upcoming ♦ Theatre / ♣ Music / ◊ Other Live Performance – Next 90ish Days (⊕ indicates ticketing is pending). We’re a bit light on theatre while my wife is recuperating from her knee replacement.

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Give Me Novacaine | “American Idiot” @ CTG/Mark Taper Forum

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American Idiot (CTG/Taper/Deaf West)Time, and the perspective that it gives.

On two-show days, I like to think if there is any theme connecting the shows. For yesterday, the theme turned out to be the perspective of time. As I said: We had two shows yesterday (something I like to avoid), due to the poor subscriber service at CTG, which didn’t tell us the Taper dates until 3 weeks before the show. As a result, we had a 2:30pm Matinee of American Idiot at the Mark Taper Forum (on the same day the Wicked movie was having its 7:00pm premiere at the Dorothy Chandler), and an 8:00pm performance of Back to the Future: The Musical at Broadway in Hollywood (Pantages).

What connect American Idiot and BTTF? The answer is time.

We’ll delve into the perspective of time for BTTF in the next writeup. But for American Idiot the perspective of time really leads to a different interpretation of the piece. The original album was written in 2004, at the height of the Iraq war, with the Bush administration in office. As Wikipedia notes: “The album expresses the disillusionment and dissent of a generation that came of age in a period shaped by tumultuous events such as 9/11 and the Iraq War.”. It was turned into a musical that hit Broadway during the Obama administration. We saw it in a traditional tour presentation at the Ahmanson in 2012. It was hard to fathom the plot from that presentation, other than “Alienation. Anti-war. Love. Perils of war. Perils of drugs. Perils of relationships.”

But time changes perspective. Seeing American Idiot just a few days after the election of Donald Trump to a second, discontinguous term, brings new meaning to the piece. Suddenly the words about a hateful America, an America where the media is lying to us, an America that creates disillusionist view hits home.  The nihilism. The rage. It captured the anger from both sides.

The new presentation aided this view distinctly. The Deaf West approach had the lead performers signing, with “voice of” performers parallel to them singing the words, and (most importantly) all lyrics projected. You could actually understand the words, and see the poetry of Billy Joel Armstrong shine through.

You want a clear example. Just look at the opening number, and think about it in the context of Trump, how the media seemed so numb to Trump’s lies and incoherence:

Don’t wanna be an American idiot
Don’t want a nation under the new media
And can you hear the sound of hysteria?
The subliminal mindfuck America

Welcome to a new kind of tension
All across the alien nation
Where everything isn’t meant to be okay
In television dreams of tomorrow

We’re not the ones who’re meant to follow
For that’s enough to argue
Well, maybe I’m the faggot, America
I’m not a part of a redneck agenda
Now everybody, do the propaganda
And sing along to the age of paranoia

Although this was written in the era Bush, anti-Al Quaida sentiment, It truly takes on a different perspective in this era of Trump, this era of hatred, this era of paranoia about immigrants. Time changes our perspective of musical theatre pieces. Some become less relevant and dated. Some find new meaning. There was a reason that Chicago failed when it first opened, and then hit it big in the era of OJ and the celebrity killer. American Idiot is written for the anger and the era of Donald Trump

(Oh, and Back to the Future? Think about how the time change impacts Marty’s perception of his parents. More on that in the next writeup)

It is clear that the impact of Green Day’s album has grown, and is more relevant now than in 2004 when it was first released. I also tend to love the music from it. Instead of being the angry dissonance I expect from punk rock, Green Day brings wonderful melodies beneath the loud; melodies that stick in your head and drive you.

The staging here is also unique. As I noted above, this is a co-production between Deaf-West and CTG.  Deaf/signing actors are the leads, with “voice of” actors trailing behind them. Words are projected on stage, making it easy to understand what is being said. There is poetry of movement, poetry of hands, that go together with the poetry of the words.

Is American Idiot perfect? No. As is pretty much true for any rock album turned into a stage show, there is little connective tissue. There is little expository dialogue. As such, the characters never quite jell as distinct people. They never acquire personalities. You lose the story in the music; the music evokes feelings much more than the performances. As a result, you sit back and let the music wash over you; you read the lyrics, and let the performance supplement all that is evoked by the music and lyrics. This isn’t traditional theatre.

There are remarkable performances from the leads (and we had a number of folks swinging in at our performance). There are remarkable performances from the band, and not just musical ones (watch the folks on the violins).

One other discordant note — not performance related. CTG has gone to a new ticketing system, and it is problematic. The old system allowed you to download your tickets to Apple Wallet, or text them to your phone. The new system supposedly allows download to Apple Wallet (although it never gave me the option on an Android phone). But there is no text option anymore, nor the ability to use Google Wallet. Ticketmaster (which BIH uses) has its flaws, but it at least understands that folks use both Android and Apple. If you are an Android user, you’re stuck using data to go to the CTG website. Poor form. On the plus side, CTG excelled where it always excels: accessibility and parking. The new subscriber parking vouchers worked great, and the Taper was able to accommodate a last-minute need for a seat with legroom so my wife could stretch her leg.

The CTG/Deaf West production of American Idiot is well worth seeing. Alas, by the time you read this it may be too late: the last performances were to be today, but it has been extended one week, now closing on November 16. You can get tickets here. More information on the show here.

Finally: Nobody Likes You / Everyone Left You / They’re All Out Without You / Having Fun

———

Green Day’s American Idiot. Music by Green Day. Lyrics by Billie Joe Armstrong. Book by Billie Joe Amstrong and Michael Mayer. Directed by Snehal Desai. Choreography by Jennifer Weber.

Cast (All performers are ӕ Actors Equity; underscored performers indicate performers at our performance): Daniel Durant / Giovanni Maucere Johnny; Milo Manheim Voice of Johnny; Otis Jones IV Will; James Olivas Voice of Will; Landen Gonzales Tunny; Brady Fritz / Patrick Ortiz Voice of Tunny; Ali Fumiko Whitney Heather; Mars Storm Ruckner Whatsername; Ty Taylor St Jimmy; Kaia T. Fitzgerald Extraordinary Girl; Jerusha Cavazos / Monika Peña Voice of Extraordinary Girl; Will Branner Favorite Son; Monika Peña / Mia Sempertegui Alysha; Steven-Adam Agdeppa Ensemble, Lark Detweiler Ensemble, Josué Martinez Ensemble, Angel Theory Ensemble; Patrick Ortiz Ensemble/Swing, Mia Sempertegui Ensemble/Swing; Giovanni Maucere Swing.

Music Departments: Tom Kitt Music Arrangements and Orchestrations; David O Music Supervisor, Conductor, Keyboard, Accordion; Justin Smith Guitar 1; Ben Covello Guitar 2, Assoc. Conductor; Carlos Rivera Bass; Alex Bailey Drums; Nicole Garcia Violin; Nikki Shorts Viola; Michelle Rearick Cello; Robert Payne Music Contractor.

Production and Creatives: Takeshi Kata Scenic Design; Lena Sands Costume Design; Karyn D. Lawrence Lighting Design; David Murakami Projection Design; Sheila Dorn Wig, Hair, and Makeup Design; Beth Lipari Casting Director; DJ Kurs Deaf West Theatre Artistic Director; Jeff Perri Deaf West Theatre Managing Director; Colin Analco ASL Choreographer; Amelia Hensley Assoc ASL Choreographer; David S. Franklin Production Stage Manager; Michelle Blair Stage Manager; Sue Karutz Stage Manager; Coproduction of Deaf West Theatre and Center Theatre Group.

Favorite Minor Credit: TBD Loctition. Loctition is the maintenance of dreadlocks. Learn something new every day.

♦ ♦ ♦

Administrivia: I am not a professional critic. I’m a cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; and 5-Star Theatricals. We’re looking for the right intimate theatre to subscribe at — it hasn’t been the same since Rep East died (it’s now The Main, and although it does a lot of theatre, it doesn’t have seasons or a resident company), and post-COVID, most 99-seaters aren’t back to doing seasons (or seasons we like). I used to do more detailed writeups; here’s my current approach.

Upcoming ♦ Theatre / ♣ Music / ◊ Other Live Performance – Next 90ish Days (⊕ indicates ticketing is pending). We’re a bit light on theatre while my wife is recuperating from her knee replacement.

 

 

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Taking a Chance | “Kimberly Akimbo” @ Broadway in Hollywood

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KImberly Akimbo (Broadway in Hollywood)Well, that was different.

I went into Kimberly Akimbo not quite knowing what to expect. I knew that I absolutely loved the final song in the show. I knew the show was about a girl with progeria. I had listened to the cast album, and I knew it had won the Tony award. I had read the LA Times review of the show.  I was hoping for good things.

Kimberly Akimbo was … different, but then again, Kimberly Levaco was different. It wasn’t bad; and it certainly wasn’t a Girl from the North Country, but it was (in many way) unlike a typical Broadway musical. It was less of a Shrek, and more of a Caroline or Change. As an example: At intermission we overheard the folks behind us discussing the show, and noting there wasn’t a single song that stuck in their head. Indeed, the only real memorable song in the show is the last one, “Great Adventure”, which reminds me of “Travel Song” from Shrek. The plot and the story build slowly, and it isn’t until you’re nearly at the end that the point of the show makes itself clear.

I’ll note that I ended up liking the show (although I won’t say it was a favorite); my wife was more “meh” on it. So this really is a show where your mileage may vary. It could also be a show like Soft Power, where your initial impression is one thing, but as you think about the show more (and perhaps see it a second time), that the message becomes clear.

I’m not going to do a full synopsis—you can find that on the Wikipedia page.  Succinctly, the story centers on Kimberly, who has just moved to a new city in New Jersey after some incidents in Lodi NJ (not California). She’s attempting to make new friends in school, but she’s facing two problems: one, she looks like a senior citizen, and two, her disease has a live expectancy of 16 and it is her 16th birthday. Her parents are more focused on themselves than her, and her aunt (who shows up) has similar issues, on top of being a criminal. The show basically shows how Kimberly navigates this point in her life, making friends and finding her path forward.

What’s not to like, right?

FIrst, depending on the relationship with your parents, the show could bring up feelings and be triggery. I think the ultimate message of the show offsets that, but that message may come too late for the overall show’s impression. Second, much of the music is very scene specific, and doesn’t always have a hummable theme line.

What’s there to like, then?

First, the show has some very funny moments. In particular, the aunt, Debra, is a hoot. Second, the performances are top notch, especially from Carolee Carmello as Kim, Miguel Gil as Seth, Dana Steingold as Pattie, and Emily Koch as Debra. Carmello, in particular, was just outstanding with her facial expressions. I also note that most of the cast members were in the Broadway production (although the lead roles are different actors). Third, unlike many of the shows today, the show does not depend heavily on technology or projections; this increases the odds that the show will have a life at the regional and below levels. Lastly, I really liked the ultimate message of the show: You only have one chance at your life, so grab it, take that chance, and embrace the day.

At the end, the message of the show is what saves the show and elevates it. Kimberly realizes that she can either wallow in the sadness of her disease and her horrible parents, or she can move past it and take control over what is left of the rest of her life. Our past and our situation doesn’t define who we are: we define who we are. Kimberly goes out getting the wish she didn’t know she wanted: a roadtrip (and we can all use a good roadtrip).

This was a strange show to win the Tony for Best Musical, especially given the competition (all of whom are coming to Los Angeles in the future: New York New York, Some Like it Hot, and Shucked to the Pantages, and & Juliet to the Ahmanson). But the Tony awards have (of late) been awarding shows that are pushing or experimenting with the art form: the previous year’s winner, A Strange Loop, is an example of that.

So, now the real question: Should you see it? That’s hard to answer. As I noted before, this isn’t a bad show or a depressing show. It’s not Girl from the North Country. But I think if you go in expecting a traditionally structured upbeat musical, with big song and dance numbers, you’ll be disappointed.  If you had a problematic relationship with your parents, you might have trouble. If you go in with an open mind, and just get into the story, you’ll be just fine. You just have to be willing to go on a great adventure.

Kimberly Akimbo continues at Broadway in Hollywood/Hollywood Pantages through November 3. Tickets are available through the BIH Box Office online.

———

Kimberly Akimbo. Book and Lyrics by David Lindsay-Abaire. Music by Jeanine Tesori. Based on the play by David Lindsay-Abaire. Directed by Jessica Stone. Choreography by Danny Mefford.

Cast: Carolee Carmello Kimberly; Miguel Gil Seth; Jim Hogan Buddy; Emily Koch Debra; Dana Steingold Pattie; Grace Capeless Delia; Darron Hayes Martin; Pierce Wheeler Aaron. Understudies: Sarah Lynn Marion u/s Pattie, Debra; Regene Seven Odon u/s Seth, Aaron, Martin; Marcus Phillips u/s Seth, Aaron, Martin; Bailey Ryon u/s Delia, Teresa; Brandon Springman u/s Buddy; Valerie Wright Kimberly Standby. All cast members are members of Actors Equity.

Music Department (* indicates local): Chris Fenwick Music Supervisor; John Clancy Orchestrations; Macy Schmidt Additional Orchestrations; Strange Cranium/Billy Jay Stein and Hiro Iida Electronic Music Design; Leigh Delano Music Director, Conductor, Keyboard 1;  Ryan Edward Wise Assoc Music Director, Keyboard 2; Aveion Walker Reed 1; Alex Lemma Reed 2; Frank Zambrano Drums; Dominic Lamorte Bass; Azana Hightower Guitar; Kevin Irving Cello; Sean Franz* Reed 1 (Clarinet / Flute / Oboe / Alto Sax); Ken Fisher* Reed 2 (Bassoon / Clarinet / Bass Clarinet / Tenor Sax / Bari Sax); Ira Glansbeck* Cello; Eric Heinly* Orchestra Contractor; Brian Ge Assoc Music Supervisor; Antoine Silverman Orchestra Contractor; JoAnn Kane Music (Kyle Brenn, Russell Bartmus, Jessie Rosso) Music Preparation.

Production and Creative: David Zinn Scenic Design; Sarah Laux Costume Design; Jeanette Oi-Suk Yew Lighting Design; Kai Harada Sound Design; J. Jared Janas Wig, Hair, and Makeup Design; Lucy Mackinnon Video Design; The Telsey Office Casting; Ryan Emmons Assoc. Director; Brittney Griffin Assoc. Choreographer; Baily Ryon Dance Captain; Arabella Powell Production Supervisor; Shawn Pennington Production Stage Manager; Geoff Maus Stage Manager; Maya Bhatnagar Asst Stage Manager; Candace Hemphill Company Manager; Juniper Street Productions Production Manager; 321 Theatrical Management General Management.

Favorite Minor Credit: Ken Benson Skate Sharpening.

♦ ♦ ♦

Administrivia: I am not a professional critic. I’m a cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; and 5-Star Theatricals. We’re looking for the right intimate theatre to subscribe at — it hasn’t been the same since Rep East died (it’s now The Main, and although it does a lot of theatre, it doesn’t have seasons or a resident company), and post-COVID, most 99-seaters aren’t back to doing seasons (or seasons we like). I used to do more detailed writeups; here’s my current approach.

Upcoming ♦ Theatre / ♣ Music / ◊ Other Live Performance – Next 90ish Days (⊕ indicates ticketing is pending):

On the Theatrical Horizon:

Bruce Kimmel will be bringing the rarely done Drat! The Cat! to Lonny Chapman’s Group Rep in March 2025.

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Its Reputation Proceeds Me | “Cyrano de Bergerac” @ Pasadena Playhouse

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Cyrano de Bergerac (Pasadena Playhouse)I’d wager a guess that almost everyone is familiar with some aspects of the Cyrano de Bergerac story. Perhaps you know it is is story about a man with a really big nose. Perhaps you know instead the story of someone who was incapable of speaking to the opposite sex, so they get a friend to ghost-write their words for them (without secretly knowing that friend had longing for the same person). Perhaps you recall it turns out badly when the truth is found out. Perhaps you recall a moral from the story: Seeing beyond a person’s appearance to true beauty within. These elements have been excerpted for many stories throughout the years.

Perhaps you’ve seen the movie Roxanne with Steve Martin. That’s based on this story. Perhaps you’ve seen or heard of the musical Calvin Berger. Again, same story.  Perhaps you’ve seen The Truth about Cats and Dogs. Again, same story.

Suffice it to say that we’re all familiar with the outlines and basic tropes of the Cyrano story. But most of us probably haven’t seen the original, or something that hews closely to the original. So I was intrigued when the Pasadena Playhouse announced Cyrano de Bergerac as the first show of their 2024-2025 season. By this point, you should be able to guess where we were last night.

First, a slight digression to a different play, about a slightly more modern historical figure: Alexander Hamilton. I must note that last weekend was our first outing to the theatre since my wife’s knee replacement surgery in August. We went to see Hamilton at the Hollywood Pantages. It was my third time seeing the show; my wife’s fourth. I didn’t have the strong urge to do a full write up, as my notes would align with my first viewing thoughts from 2017. I did have four observations on the show that I posted on FB:

  • Burr seems almost Trump-like, with his never taking a stand on something. This parallel comes out really strong in the Election of 1800, where Hamilton, like traditional Republicans today, endorses his long-time opponent Jefferson because it was better to support someone with positions than someone who was just in it for himself.
  • I wonder how this show will be done in regional theatres, especially when there is no turntable. The turntable is the key to the choreography that moves the show forward.
  • Kudos to the Pantages for being able to change where we were sitting at intermission so my wife could be in her wheelchair, as her new knee was still giving her a lot of pain.
  • Is it time to have a revival of Bloody Bloody Andrew Jackson, if only to highlight the dangers of populism. Do our Presidential shows highlight how we view the presidency and the nation, running from 1600 Pennsylvania Ave to Ben Franklin in Paris to 1776 to Bloody Bloody Andrew Jackson to Hamilton to Soft Power?

In any case, let’s return to Cyrano.

As I noted above, we’re all familiar with the story tropes of Cyrano de Bergerac. Guy with big nose, who can write really well. Guy who can’t write gets Cyrano to write love letters for him. Girl falls in love with both guys: the outside of one, the inside (not “insides”, which would be yuk) of the other. But I’ll also willing to bet that most of us aren’t familiar with the original play from 1897 by Edmond Rostand, nor the life of the real Savinien de Cyrano de Bergerac, upon whom Rostand based his story. I certainly wasn’t. I didn’t know the original was written in lyric poetry; I didn’t know about the military aspects of Cyrano’s story, nor did I recall how it ended. I certainly didn’t know about the real Cyrano and the fact that he was one of the first science fiction authors, having written L’Autre Monde: ou les États et Empires de la Lune (“Comical History of the States and Empires of the Moon“, published posthumously, 1657) and Les États et Empires du Soleil (The States and Empires of the Sun, 1662), which are purportedly classics of early modern science fiction.

To be clear, what we saw last night was not Rostand’s original play. Rostand’s story was freely adapted by Martin Crimp in 2019 for the Playhouse Theatre in London; it is that version that was produced by the Pasadena Playhouse. Crimp’s version keeps almost all of the story elements of the original: the setting in France in the 1600s; the original characters; the lyric poetry; the relationships between the characters. It updates the language; it updates some of the mores to reflect the increasing gender fluidity of the times (although not with the primary characters). One might argue that it updates the style of the lyricism: the rhyming sounds less like pre-French-revolution, and more like today’s hip-hop rhythms.  It also moves the action of the play from the traditional proscenium setting and historical dress to one that interacts with the audience more, and the characters in modern style and dress (while still supposedly in France in the 1600s). It updates references: the play Clorise in Act I becomes Hamlet; the proprietor of the Cafe Ragueneau changes from a man to a woman. There is also plenty of commentary added on gender roles, and the datedness of those roles in early France.

The juxtaposition of the 1600s and the early 2000s is jarring, but suspension of belief quickly kicks in and your brain adapts to the dissonance. At least it does for most people; there were some audience members (such as the older folks sitting in front of us) that didn’t return from intermission.

The Pasadena Playhouse version also dispenses with a lot of props and accoutrements of a traditional Cyrano. I’ve already noted that the costuming is mostly modern, with characters in street clothes, and even the military uniforms being more suggestions of uniforms than anything else. They also dispense with the usual prosthetics; indeed, there is no visible evidence that Cyrano is actually disfigured in any way at all (other than being portrayed by a black actor, but I think that is more color-blind casting than intentional for the story). Could Cyrano’s disfigurement be entirely in his mind? That’s never made clear. The play also starts with the actors out in the audience, seemingly sharing space with the playgoers (which does fit better with the first act, which takes place in a theatre).

When the play started — and especially as I’ve never seen the original Cyrano — I wasn’t sure what to make of it. The poetry was coming fast and furious, and it was hard at times to keep up. But the story and characters quickly drew me in. The dissonance, while initially annoying, disappeared into the background and just became another novel aspect of the story. It was helped by the staging of the story by the Pasadena Playhouse, which was very abstract (which emphasized the timelessness of the story and the disconnect from realism of the presentation).

Now that I’ve seen a near-Cyrano, I understand the tropes a lot better. One can also see why the story became a timeless one, constantly being excepted for new adaptions. The divide between the handsome non-talents and the plain talented will always exist. We always wish that those we are attracted to could see the beauty and talent within us, and not fall for the handsome tasteless Wonder Bread™ standing next to us. But they almost always do, and they are the worse for it. The point of Cyrano is the importance of seeing through the bullshit and finding the truth and the talent.

#insert your election observation here. I know who the handsome tasteless Wonder Bread™ is in this election, and I’m sure you know where I stand.

The leads of the show were strong: Chukwudi Iwuji was a believable poet/soldier as Cyrano, and Rosa Salazar was a beautiful Roxanne. Will Hochman was an appropriately handsome non-poet Christian. I also enjoyed the casting of some of the smaller roles: Kimerly Scott’s Madame Rageuneu was delightful, and I grew to like Aaron Costa Ganis’ Le Bret. But the Baby Boomer in me loved seeing Barry Livingston on stage in the small role of Theatre Owner/Priest. Why? C’mon: Barry was Ernie in the classic My Three Sons,  with his brother Stanley playing his older brother Chip. It’s the little things, folks.

By the time this gets posted, the last (or next to last) performance of Cyrano de Bergerac at the Pasadena Playhouse will have started, as this is the closing weekend. You might still be able to get tickets.  There are shows today at 2pm and 7pm.  It is well worth seeing.

———

Cyrando de Bergerac. Written by Edmond Rostand; freely adapted by Martin Crimp. Directed by Mike Donahue. Cyrano de Bergerac in this adaptation was first performed at the Playhouse Theatre, London, on 27 November 2019.

Cast: Chukwudi Iwuji Cyrano; Rosa Salazar Roxane; Will Hochman Christian; Kimberly Scott Madame Ragueneau; Larry Powell Lignière; Jens Austin Astrup Alastair / Act 3 Soldier; Aaron Costa Ganis Le Bret; E. M. Davis Usher / Denise / Medic; Christine Lin Woman Sent by Roxane / Marie-Louise; Barry Livingston Theatre Owner / Priest; Michael Nathanson De Guiche; Kila Packett Fencing Referee / Sentry; Sawyer Patterson Valvert; Jonathan Slavin Montfleury / Armande; John Garet Stoker Annoying Person.

Creative and Production: Afsoon Pajoufar Scenic Design; Carolyn Mazuca Costume Design; Josh Epstein Lighting Design; Edward Hansen Lighting Design; Veronika Vorel Sound Design; Rachel Lee Flesher Fight Director / Intimacy Coordinator; Christine Adaire Voice / Text Coach; Ryan Bernard Tymensky, CSA Casting; Colleen Danaher Stage Manager; Jessica Keasberry-Vnuk Asst. Stage Manager; Kimberly Sanchez Garrido Asst. Stage Manager.

Favorite Credit: John Garet Stoker Annoying Person.  Can you imagine putting that on your resume?

♦ ♦ ♦

Administrivia: I am not a professional critic. I’m a cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; and 5-Star Theatricals. We’re looking for the right intimate theatre to subscribe at — it hasn’t been the same since Rep East died (it’s now The Main, and although it does a lot of theatre, it doesn’t have seasons or a resident company), and post-COVID, most 99-seaters aren’t back to doing seasons (or seasons we like). I used to do more detailed writeups; here’s my current approach.

Upcoming ♦ Theatre / ♣ Music / ◊ Other Live Performance – Next 90ish Days (⊕ indicates ticketing is pending):

On the Theatrical Horizon:

Bruce Kimmel will be bringing the rarely done Drat! The Cat! to Lonny Chapman’s Group Rep in March 2025.

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