{"id":14253,"date":"2018-05-20T20:55:37","date_gmt":"2018-05-21T03:55:37","guid":{"rendered":"http:\/\/cahighways.org\/wordpress\/?p=14253"},"modified":"2018-05-31T14:25:56","modified_gmt":"2018-05-31T21:25:56","slug":"seeing-beneath-the-surface-violet-actors-co-op","status":"publish","type":"post","link":"https:\/\/cahighways.org\/wordpress\/?p=14253","title":{"rendered":"Seeing Beneath the Surface | “Violet” @ Actors Co-Op"},"content":{"rendered":"

\"Violet\"\"A few weeks ago, I wrote about the stark difference between two shows by the same composer (in that case, the team of\u00a0Andrew Lloyd Webber<\/a>\u00a0(FB<\/a>) and\u00a0Glenn Slater<\/a>\u00a0(FB<\/a>)):\u00a0School of Rock<\/a>\u00a0<\/em>was fantastic, whereas\u00a0Love Never Dies<\/a>\u00a0<\/em>really should have. Last night brought a similar comparison. Last week, I wrote about how\u00a0Soft Power<\/a>\u00a0<\/em>at the\u00a0Ahmanson Theatre<\/a>\u00a0(FB<\/a>), with a score by Jeanine Tesori<\/a>, landed with a thud<\/a>. Last night, we saw an earlier show by\u00a0Jeanine Tesori<\/a>, Violet<\/em><\/a>,\u00a0at\u00a0Actors Co-op<\/a>\u00a0(FB<\/a>) and it was glorious and soaring and delightful. It even was a temporary cure for a migraine, it was that good.<\/p>\n

I’ve seen\u00a0Violet\u00a0<\/em>before — I saw the West Coast Premier almost three years ago to the day<\/a> at the\u00a0El Portal<\/a> in NoHo, produced by Kelrik Productions<\/a>. Last nights production was a bit larger and had a bit — just a bit — more props, but was equal if not stronger performance-wise. Before I go into those performances, let me describe the first, stealing from my description of three years ago:<\/p>\n

Violet (Music by the aforementioned\u00a0Jeanine Tesori<\/a>, lyrics and book by\u00a0Brian Crawley<\/a>, based on \u201cThe Ugliest Pilgrim\u201d by\u00a0Doris Betts<\/a>) tells the story of Violet Karl of Spruce Pine, NC in 1964. When Violet was 12, an accident with her father and an axe left her with a large facial scar, from cheek to nose. Ever since, she has been teased and grown to accept her ugliness. Keeping her going was a faith healer in Tulsa OK. Now 25, Violet has raised enough money to take Greyhound to Tulsa to be healed. Going through Tennessee, she meets two Army soliders: a black sergeant named Grady \u201cFlick\u201d Fliggins, and a young white corporal named Monty. Both take an interest in Violet. While overnighting in Memphis in a hotel that accommodates blacks, they go out to party and Monty ends up sleeping with Violet (although Violet told Flick she had left the door unlatched).\u00a0 When they arrive at Fort Smith AR, the Monty indicates he will come back Saturday to meet her bus after she\u2019s done in Tulsa. She continues on to Tulsa where she meets the healer\u2026 and you can likely predict what happens there. I won\u2019t spoil the details of the end of the story, but\u00a0you can read them on the Wiki page for the musical<\/a>. Throughout the show, there are regular flashbacks to young Violet and her father showing their relationship and how she reacted to the scar and the absence of her mother. PS: I also found\u00a0a wonderful scene breakdown<\/a>.<\/p>\n

\"VioletThis is a show with a strong message \u2014 and it isn\u2019t about the charade of faith healers (although there is a strong message of the power of belief). At one point, the phrase\u00a0\u201cAct ugly<\/em>, do\u00a0ugly, be ugly<\/em>.\u201d is used. In many ways, this is the underlying metaphor for the show. What you believe about yourself, how you behave, is what makes you ugly or beautiful. At the beginning of the show, Violet sees herself, due to the scar, as ugly. Later on in the show, after she believes she has been healed, you can see the change in her \u2014 she now believes she is beautiful and through the stint of that belief, transforms. But it isn\u2019t just Violet. We see the soldiers transform from acting ugly to becoming caring people. We see, in the reactions of others, ugliness reflects. What becomes important is not \u201cAct ugly, do ugly, be ugly\u201d but its counterpoint: \u201cAct beautiful, do beautiful, be beautiful.\u201d It is our beliefs and behaviors that dictate how society sees us. Further, given this is the south in 1964, it is how society behaves \u2014 beautiful or ugly \u2014 that determines what society is.<\/span><\/p>\n

This production of Violet, directed by Richard Israel<\/a> (FB<\/a>) with choreography by \u00a0Julie Hall<\/a>\u00a0(FB<\/a>), was a delight. The performances were remarkable, with great facial expressions and believable reactions, wonderful movement, and soaring voices.<\/p>\n

In the lead position was Claire Adams<\/a>\u00a0as Violet. I had so much fun watching her perform this role. She had a strong singing voice, but what got me more was the attitude she displayed and her facial expressions, She displayed a wonderful range of attitudes, and truly made the show special. Effectively paired with her was the younger version of Violet, played by Lily Zager<\/a> (FB<\/a>). She captured a similar range of attitude well and had a great singing voice. Even better was when the two of them sang together; their voices merged together delightfully. Just watch the two of them in the opening number or “Luck of the Draw”. [PS: Claire also designs webpages<\/a>, a fact not in her bio but one of the ads]<\/p>\n

Primarily playing off the adult Violet were the two soldiers she met on the bus ride:\u00a0 Morgan West<\/a> (FB<\/a>) as Monty and Jahmaul Bakare<\/a> (FB<\/a>) as Flick. West gave a very tender portrayal of Monty, capturing not only bravado of a man entering the special forces, but the tenderness of a man who connected with a girl inside the damaged shell.\u00a0 We’ve seen Jahmaul Bakare before — he was in the previous production we saw, where I wrote\u00a0Bakare had a voice that would just make you melt; it was particularly notable in numbers such as \u201cLet It Sing\u201d and \u201cHard To Say Goodbye\u201d.\u00a0 He hasn’t changed, and is wonderful to listen to.<\/p>\n

Primarily playing off the younger Violet was John Allsopp<\/a> as Violet’s father. We saw Allsopp ages ago in\u00a0Pest Control<\/em><\/a>, so long ago he doesn’t list it on his resume! He gave an intense performance, ranging from the playful in “Luck of the Draw” to the emotional in the “That’s What I Could Do” number. His intensity in that number was just remarkable.<\/p>\n

The remaining actors played multiple roles as bus passengers, as well as members of the ensemble. There are a few performances that are worth singling out. First and foremost is Kevin Shewey<\/a> (FB<\/a>) as the Televangelist Preacher (also Bus Driver, Gospel Choir).\u00a0 He played the preacher with such intensity and spirit that I almost got up. Alas, my Judaism won out :-). He was also a strong singer in “Raise Me Up”. As we’re talking about church, I’d also like to single out Benai Boyd<\/a> (FB<\/a>) who portrayed Lulu Buffington, the lead Gospel singer (also: Almeta (Landlady) and a bus passenger). She had a wonderful voice during the gospel number. The next performer worthy of note was Lauren Thompson<\/a> (FB<\/a>), who for the longest time was our box office contact for this company. She played the Music Hall Singer, as well as a member of the Gospel choir and a bus passenger. I never realized that she had such a lovely voice. Lastly, I’d like to mention Co-Op regular Lori Berg<\/a>\u00a0(FB<\/a>), who was wonderful as old lady on the bus (also: hotel hooker, gospel choir). Rounding out the ensemble as various bus passengers and choir members were: Patrick Cheek<\/a> (FB<\/a>) [Virgil, Leroy Evans]<\/span>; Matthew Podeyn<\/a> (FB<\/a>) [Billy Dean, Waiter, Radio Singer]<\/span>; and Emuna Rojkumar<\/a> (FB<\/a>).<\/p>\n

Music was provided by a 5 piece band, conducted by Taylor Stephenson<\/a>. The band consisted of Ellie Bunker<\/a>\u00a0[Violin]<\/span>; Thomas Lovasz<\/a>\u00a0[Cello]<\/span>; Dominic White<\/a>\u00a0[Guitar 1]<\/span>; Manuel Mendoza (FB<\/a>) [Bass]; and\u00a0Jorge Zuniga<\/a>\u00a0(FB<\/a>) [Drums]<\/span>. The band had a wonderful sound.<\/p>\n

Finally, turning to the production side. This performance was held in the Crossley Theatre, which is essentially a thrust staging with audience on three sides of the main action. The sides were made up to look like bus windows, and there were 1950’s style (mimicing PCC busses) movable benches and seats that became the various problems. Credit for the scenic design goes to\u00a0Nicholas Acciani<\/a> (FB<\/a>), and it worked very well, Supporting this design was \u00a0Wendell C. Carmichael<\/a>‘s costumes, which seamed reasonably appropriate for the era (I have a few quibbles on the Army uniforms — they conveyed the message but were lacking the normal uniform accouterments).\u00a0\u00a0Cameron Combe<\/a>\u00a0(FB<\/a>)’s sound provided the appropriate sound effects. Martha Carter<\/a>‘s lighting design worked well, modulo a misbehaving LED above the band that wasn’t her fault. Remaining credits: Klint Flowers<\/a>\u00a0[Hair and Makeup]<\/span>; Samantha Ramirez [Properties]<\/span>; Derek R. Copenhaver<\/a> (FB<\/a>) [Stage Manager]<\/span>; Jamie Mills<\/a> [Asst. Stage Manager]<\/span>;\u00a0Heather Chesley<\/a>\u00a0(FB<\/a>) [Artistic Chairwoman]<\/span>; \u00a0Selah Victor<\/a>\u00a0(FB<\/a>) [Production Manager]<\/span>; Nora Feldman<\/a>\u00a0[Publicity]<\/span>;\u00a0Thomas Chavira<\/a>\u00a0(FB<\/a>) [Producer]<\/span>.<\/p>\n

Violet<\/a>\u00a0<\/em>continues at\u00a0Actors Co-op<\/a>\u00a0(FB<\/a>) through June 15. Go see it; it is a wonderful production with great music. Tickets are available through Actors Co-Op<\/a>; discount tickets may be available through Goldstar<\/a>.<\/p>\n

Actors Co-Op has announced their 2018-2019 season, which consists of:\u00a0Rope<\/em> (Sept 21-Oct 28);\u00a0She Loves Me<\/em> (Nov 2 – Dec 16);\u00a0Anna Karenina\u00a0<\/em>(Feb 8-Mar 17);\u00a0Steel Magnolias<\/em> (Mar 22-May 5); and\u00a0The Christians<\/em> (May 10-Jun 16). They’ve also announced their Co-Op Too! summer series:\u00a0Stories of Madness from the Mindful Nut<\/em> (July 20-22, 27-29);\u00a0Always Andrews: A Musical Tribute to the Andrews Sisters<\/em> (Aug 2-5); and\u00a0Twelfth Night, or What You Will\u00a0<\/em>(Aug 10-12, 17-19). We’ve subscribed. So should you<\/a>.<\/p>\n

***<\/p>\n

Ob. Disclaimer<\/strong>: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I\u2019ve been attending live theatre and concerts in Los Angeles since 1972; I\u2019ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I\u2019m 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\u00a05 Star Theatricals<\/a>\u00a0(FB<\/a>) [the company formerly known as\u00a0Cabrillo Music Theatre<\/a>\u00a0(FB<\/a>)], the\u00a0Hollywood Pantages<\/a>\u00a0(FB<\/a>),\u00a0Actors Co-op<\/a>\u00a0(FB<\/a>), the\u00a0Chromolume Theatre<\/a>\u00a0(FB<\/a>), a mini-subscription at\u00a0the Saroya [the venue formerly known as the Valley Performing Arts Center (VPAC)]<\/a>\u00a0(FB<\/a>), and the\u00a0Ahmanson Theatre<\/a>\u00a0(FB<\/a>). 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\u2019s production, I focus on the positive \u2014 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.<\/p>\n

Upcoming Shows<\/strong>:<\/p>\n

Next weekend brings\u00a0a\u00a0Nefesh Mountain<\/a>\u00a0concert at Temple Ramat Zion on Shabbat; the weekend itself is currently open.<\/p>\n

June \u2014 ah, June. That, my friends, is reserved for the\u00a0Hollywood Fringe Festival<\/a>\u00a0(FB<\/a>), including\u00a0The Story of My Life\u00a0<\/em>from\u00a0Chromolume Theatre<\/a>\u00a0(FB<\/a>). You can find\u00a0a detailed discussion of the Fringe schedule here<\/a>. Right now, it looks like the following:<\/p>\n