Shephard's Theatre Alley

We interrupt this Blog....

2010-09-28T12:58:00.000-07:00

This blog is on permanent hiatus until my hubby finishes directing you-know-what and we get some semblance of our lives back, probably around mid-2011.

For the record, as of today: the best theatre I've seen in years is still "Next to Normal." Powerful. If you're here in LA, don't miss Alice Ripley's revisiting of her Tony-award-winning performance.

I'm still out there supporting and seeing theatre!

~Shephard :)

I'm on a Break

2009-05-09T08:02:00.000-07:00

**

UPDATE: I should start up again VERY soon, after our trip to New York this month!

~Shephard

Billy Elliot

2009-01-30T08:12:00.000-08:00

January 24th, 2009

Victoria Palace, London

Musical

Liking the movie, but not knowing what to expect, we were completely blown away. It's a powerful and energetic musical carried on the back of a young triple-threat actor who seems to believe his performance with every fiber of his being.

We laughed and were moved by the performances, absorbed in the music and story.

Music by Elton John, lyrics & book by Lee Hall (the screenwriter as well)

It's not a dance musical either. It's a musical. That said, the dancing was fantasticly entertaining!

Haven't seen the Broadway cast, but seeing it in London seems hard to beat, the accents and performances being so authentic. Really enjoyed this production! And you can't help but take away a very positive message from this production. The cental theme is being who you are, as evidenced in the show-stopper "Expressing Yourself."

As the song goes:

"What the hell's wrong with expressing yourself?....
Everyone is different, It's the natural state
It's the facts, it's plain to see
The world's grey enough without making it worse,
What we need is in-div-id-ual-ity."

A Chorus Line

2008-05-27T12:56:00.000-07:00

May 25th, 2008
Ahmanson Theatre, Los Angles
Musical, we went with Theresa

This was my first time seeing A Chorus Line live. I've seen the movie as well, and I know the songs. And now I've seen it on stage.

The touring cast is full of great dancers and actors.

Stand-outs for me were Emily Fletcher as Sheila, Hollie Howard as Maggie ("At the Ballet") and the hilariously appealing Natalie Hall as Val ("Dance Ten, Looks Three" aka T*ts and *ss). Hollie Howard's voice was especially beautiful and likely the strongest in the production. We hope to see her in something again soon. And we all agreed Kevin Santos as Paul was very empathetic and appealing.

The choreography was energetic and crisp, and we did thoroughly enjoy this production. It's very funny and real, and I can't imagine a more accurate window into the world of Broadway performers.

Flora the Red Menace

2008-05-19T12:38:00.001-07:00

May 16th, 2008

Reprise Theatre Company
Musical by Kander & Ebb
We went with Pam

Starring: Eden Espinosa & Manoel Felciano
Megan Lawrence, Katie O'Toole, Matthew Rocheleau, Katherine Von Till, Gibby Brand, Wilkie Ferguson, Perry Ojeda

The plot is about a depression-era working girl who gets mildly involved with a communist group's push for unionization.

Flora is anything but a "Red Menace." She's a salutary effect on everyone who comes into her life. The irony of the title is kinda lost in the book, however. I expected it to be a bit more kooky with mix-ups and hijinx. Nope. I couldn't help but think about the kookiness that Liza Minnelli must have brought to it (1965, for 87 performances).

But the want of kooky was quickly forgotten the moment Eden Espinosa sang. She's wonderful. We loved her in "Wicked" (she's our favorite Elphaba, next to Idina). She has tremendous color and control over her tight vibrato, and her high notes are lovely and clear. She can also belt with the best of them. Her last song, "Sing Happy," was a diva-calibre performance with thrilling vocals that left the three of us quite impressed.

It was also a kick seeing Megan Lawrence again (originally saw her as Little Sally in "Urinetown" on Broadway). She gave some real humor to the production. We enjoyed hearing Manoel Felciano (his voice was golden as usual, but the songs don't show off his impressive voice the way "Sunday in the Park with George" did). The set was a lot of fun and worked well in it's simplicity.

Another opportunity from Reprise to hear Broadway-calibre performers doing an oft-overlooked musical. An enjoyable night of theatre.

Most notable song: "It's a Quiet Thing" ~which Eden Espinosa sang with great control and soaring vocals.

(thank you to Peter Goldman of Davidson & Choy Publicity for the photos; I'm assuming they were taken by Michael Lamont)

Out of This World

2008-04-26T15:54:00.000-07:00

April 21st, 2008
Musical Theatre Guild at The Alex
Cole Porter Musical, we went with Rachel

(Damon Kirsche, Terri Bibb)

If you don't recognize this title, it's Cole Porter's comic-musical about a Hollywood starlet and her husband-to-be (Teri and Damon, above) who land in the middle of Jupiter's Court, and his amorous machinations and very randy family of gods and goddesses. This tongue-in-cheek movie-treatment of a musical was actually a lot of fun. Cole Porter's melodies and quirky lyrics provided an evening of silliness and unexpected surprises. And the performances had the audience laughing and clapping from start to finish.

For a concert-style performance, I have to say the actors' command of the show was very solid and natural. I barely noticed books in hand at all because the performances were so much fun.

(Eileen Barnett and Marsha Kramer)

I may not have gone to see this if not for knowing someone in it, as Cole Porter is not one of my favorites. But I'm so glad I did, because I actually liked the story and had a great time! I'd see it again. The voices were all stellar (esp. Teri Bibb's soaringly lovely soprano and Richard Israel's very entertaining performance as Mercury).

We were all surprised by some very contemporary spins on a love triangle (much laughter), and howled at the actors' deft deliveries of Hollywood puns, zingers and cliches-come-to-life. The comedy and plot had a very Doris Day/Rock Hudson feel to it, complete with chase scenes, infidelity and mistaken identities.

(Richard Israel and a Bevy of Beauties)

The production design and costumes managed to evoke both Hollywood of the 50's and The Gods of Mt. Olympus. It's pretty much one of those musicals where everyone gets their moment to shine. A solid evening of professional theatre, spilling over with laughs and lovely voices.

Starring : Teri Bibb (Helen Vance), Richard Israel (Mercury), Marsha Kramer (Juno), Damon Kirsche (Art O'Malley), David Holmes (Jupiter), Melissa Fahn (Venus), Jill Townsend (Chloe), Eileen Barnett (Isadora St. John), Kevin McMahon (Apollo), Kami Seymour (Diana), Sam Zeller (Mars), Jennifer Gordon (Minerva), Erica Whalen (Night) and Quinn Van Antwerp (Bacchus).

My Fair Lady

2008-04-17T19:13:00.000-07:00

April 10th, 2008
Ahmanson Theatre, Los Angeles
Musical, we went with Theresa & Pam
(guests of artistic director, Michael Ritchie)

We were really looking forward to Cameron Mackintosh's full-blown touring production with great sets, lavish costumes and mostly British cast. We were not disappointed!

(photo: Michael Le Poer Trench)

(photo: Joan Marcus)

Well cast. Lisa O'Hare as Eliza, Christopher Cazenove as Professor Higgens, Tim Jerome (above) as Mr. Doolittle, and Marnie Nixon as Mrs. Higgens.
I read a review that claimed the Professor and Eliza had no on-stage chemistry. But I disagree based on the way this production was played. We got the impression that it was intentional to play down the romance between them (based on the end scene especially), and so it seems to me some reviewers didn't read the type of chemistry they were aiming for.

Lisa O'Hare (who was London's 3rd Mary Poppins) was bubbly, charming and has a Julie Andrews-esque voice (what the role requires). And Christopher Cazenove was an ideal Professor Higgens (he reminded us of Darren McGavin).

I hate to say this... but... it really was as if the movie came to life before our eyes. And in the case of this musical, that's a good thing! We loved the innovative choreography by Matthew Bourne ~ particularly the Stomp-like use of trashcan lids in one number, and the veddy British upper-crust choreography at the races, which got great laughter. And Marnie Nixon still commands a stage. We also liked Justin Bohon's comic take on Freddie (adding some real life to the character). The fluidity of set changes was impressive and graceful.

An enjoyable production.

Cry Baby

2008-04-16T15:55:00.000-07:00

April 7, 2008
Marquis Theare , Broadway
Musical, based on John Waters' 1990 musical-comedy

We've been waiting so long for this to hit Broadway, and we're over-joyed that it didn't disappoint! It's a fast and furious, splashy, tongue-in-cheek parody of good and bad in the 1950's...with all the stereotypes rewired!

Cry-Baby singing "Girl, Can I Kiss You (with Tongue)"

Elizabeth Stanley as Allison, singing "I'm Infected"

The songs were great fun... esp. the above two, and also "Squeaky Clean," "Screw Loose," "Thanks for the Nifty Country," and Harriot Harris singing "I Did Something Wrong Once" (a showstopper).

You can tell just by the song titles that this musical goes for the smug Middle-American jugular, and it does so expertly. Book written by Mark O'Donnell & Thomas Meehan ("Hairspray") and songs by David Javerbaum (The Daily Show) & Adam Schlesinger (Fountains of Wayne).

James Snyder plays Cry-Baby Walker with an innocence and freshness that I didn't expect. He's got you right where he wants you from the beginning... in his swiveling, tight back pocket. He avoided cliches like "Elvis," and played Cry-Baby like a reluctant rebel, and it worked beautifully. And the chemistry between Cry-Baby and Allison was palpable. Great voices and harmony.

Alli Mauzey cracked us up as Cry-Baby's psycho-stalker smitten-kitten (who has carved his name in her arms, lol). She has a wonderful belt and sings the heck out of (what else?) "Screw Loose."

Christopher Hanke as Baldwin, the goodie-goodie square, was perfect, great voice, and very funny.

And Harriet Harris played the uptight but sympathetic Mrs. Vernon-Williams with panache.

Dupree, played by Chester Gregory, got songs that showed his voice in a much greater light than his run as Seaweed in "Hairspray." Boy, can he sing!

Carly Jibson (Pepper, left), Courtney Balan (Mona "Hatchet-Face," right), Lacey Kohl (Wanda, in back) were always there with tight harmony, back-up and great site-gags and one-liners.

We thoroughly enjoyed this fun little musical, and highly recommend it! I can't wait for the cast-recording. It was a fresh, fun evening of theatre.

Young Frankenstein

2008-04-15T14:52:00.000-07:00

April 6th, 2008
The Hilton Theatre, Broadway (at 42nd)
Musical

Starring:
Roger Bart (Frederick Frankenstein)
Megan Mallally (Elizabeth ~ the Madeline Kahn role)
Shuler Hensley (The Monster)
Fred Applegate (Inspector Kemp/Hermit)
Andrea Martin (Frau Blucher)
Christopher Fitzgerald (Igor)
and Sutton Foster (Inga)

I've read a lot of disparaging remarks about this musical. No, it's not the movie. Get over it and enjoy it for what it is. We had a great time. We laughed and revisited one of our favorite moives, live. We loved Megan Mallally and were impressed with her voice ~her songs suit her range and style. And she was just plain funny!

Sutton Foster was very sweet as Inga.And as expected, Andrea Martin was the perfect Frau Blucher. Fred Applegate made a great hermit, and Christopher Fitzgerald was a real stand-out as Igor (SO intuitively funny, deserves a nomination).And Roger Bart has excellent comedic timing, a great voice and he made us laugh from start to finish. He paired nicely with Christopher as Igor.

We enjoyed the big splashy sets, creative costumes and fun production numbers (where else can you see umpteen tap-dancing Frankenstein monsters?). It was fun. We didn't mind it being a re-framing of the movie. So sue us.

To me, this is a cast-centric production; this is the one and only cast to see in this musical. I knew that going in, and was not going to make the mistake of missing this cast (the way I did with "Spamalot").

South Pacfic

2008-04-13T18:23:00.000-07:00

(zoom in to appreciate this painting)

April 5th, 2008
Vivian Beaumont Theatre, Broadway
Musical

Kelli O'Hara - Nellie Forbush
Paulo Szot - Emile de Becque
Loretta Ables Sayre - Bloody Mary
Matthew Morrison - Lt. Joseph Cable
Danny Burstein - Luther Billis

I can't imagine a more solid version of this production. Vocally, Kelli O'Hara is spot on. Add to this her unforced Southern charm, and you have the perfectly appealing Nellie. Loretta Ables Sayre was a very desperately intense Bloody Mary; her voice was more sweet and sultry than booming, which was a nice surprise on Bali Ha'i. Matthew Morrison, as always, was in great voice, and evoked sympathy as the young Lt. in love. Paulo Szot was a very traditional Emile, with a wide, deep vibrato. Last but not least, I can't leave Danny Burstein out... he really added some life and punch to the production as the scheming, lovable Luther Billis.

The vast Vivian Beaumont stage made for great opportunities. Airplanes, jeeps, a breezy plantation-like sun-room, and the rolling dunes on a beach made you believe you were on a war-time South Pacific island. We really enjoyed the performance and our first visit to the Vivian Beaumont (only 12 more theatres before we'll have seen a production in every house on Broadway).

Laura Linney was in the audience with us.

(This is the first of 3 productions I will post reviews of from last week's visit to Broadway)

Sweeney Todd

2008-03-23T17:56:00.000-07:00

March 23rd, 2008
Ahmanson Theatre, Los Angeles
Musical

Starring Judy Kaye and David Hess.

By now, most know the story of the Demon Barber of Fleet Street who, with the help of Mrs. Lovett, wrought monstrous revenge on the evil judge who imprisoned him, raped his wife and stole his child.

This production has no orchestra. The instruments are played by the cast of actors/singers. This cost-saving innovation was cooked up by talented British director, John Doyl. And it is interesting to watch how the actors never leave the stage, always supporting and helping one another in what really amounts to a complex juggling act. The cast is a well-oiled machine.

Judy Kaye is Mrs. Lovett. She's wonderful (and has done the production several times with different Sweeney's by her side). Her voice was strong, powerful, sweet and her comic timing is very sharp (as always). And we both liked David Hess's less "stony" Todd. He seemed more alive, more human, more expressive.

We were especially entertained and impressed by Edmond Bagnell who played Tobias (Toby). The violin seemed part of his character, and he projected a constant drama and realism that went along way toward helping us use our imagination to fill in the missing set pieces and actions. Lauren Molina as Johanna was also wonderful, adding a charmingly goofy freshness to the character we hadn't seen before.

If you know this musical and have seen it before, you'll likely enjoy it for the music and solid casting. But we both wondered how on earth anyone who hasn't seen this can follow the miming, odd stage business and "milling about" that is supposed to represent actual action taking place. It didn't hinder the first act, but in the 2nd act, this did not work at all; the miming and indications of what was happening were a pale ghost of the intensity and emotional impact needed (in spite of superb performances). To us, this approach shattered the mood and the effectiveness. It was like watching an approximation of "Sweeney Todd."

It's worth seeing for the innovation and freshness if you know the piece. It won awards from the West End to Broadway, and this is a fantastic opportunity to see this artfully minimal production. And for Judy Kaye alone. She's wonderful.
But I'd never take someone who isn't already familiar with what this masterful musical is at its undiluted best.

photos from the program: David Allen Studio dot com.

JOAN RIVERS: A Work in Progress by a Life in Progress

2008-03-12T16:34:00.001-07:00

.
.

March 9th, 2008
Geffen Playhouse, Westwood
Play, we went with Theresa

Starring (and written by) Joan Rivers

A warm and funny play that looks back on Joan Rivers' very entertaining, interesting life, from the scoop on her break-up with Johnny Carson to her dinners with Mae West to her come-back on the red carpet. Her family, her life, her side of the story.

And it's in play-format, with a rather nice stage-set, like an old dressing room that's seen better days. There are also other cast-members portraying roles for Joan's zingers and one-liners to bounce off; and they help her tell her story in gratifying ways. Unlike the dressing room, Joan still has plenty of life. 74-years old, still going strong.

We left admiring and respecting Joan Rivers, and we had an entertaining evening with some laughs. I'm guessing that's exactly what she set out to create.

The Paris Letter

2008-02-24T11:28:00.000-08:00

February 23, 2008
Skirball Center, LA Theatre Works
Play, by John Robin Baitz
we went with Pam

Starring: (original cast) Ron Rifkin, John Glover, Neil Patrick Harris, Josh Radnor and Patricia Wettig.

To quote Playbill: "The Paris Letter centers on the life of a Wall Street hotshot (Rifkin) who struggles to escape a past that he has repressed. As the years wear on, it catches up with him and threatens both his personal and professional lives. The story is introduced and narrated by his lifelong homosexual friend who is armed with the titular piece of mail."

All the actors were quite natural and engaging.
That said, I personally found it very hard to feel sorry for Sandy (Rifkin) as we watch him destroy his life and that of those around him. Perhaps we aren't meant to empathize with him. The play, spanning 40 years, jumping backwards and forwards, has some real surprises, and some great dialogue and exchanges between characters. And I can't imagine a more engaging cast (despite the way the lead character is written) in a play that's chockablock with character development. I especially loved Patricia Wettig in her dual roles as Sandy's wife and later, mother. Both performances were full of life. And John Glover (you may remember him from Love! Valour! Compassion!) is a gifted actor with whom you feel immediate empathy. Particularly important for this role.

(Ron Rifkin, John Glover)

The play is always described as a tragedy, and for good reason. We certainly didn't see the ending coming. But it's really about the damage of self-denial and self-loathing, and more sadly, how it touches and punishes all those around you.

This play was done for radio broadcast and preservation by L.A. Theatre Works, a marvelous organization that preserves the works of great playwrights. Once edited together from the 5 or so performances, it will be broadcast on XM Satellite radio and National Public Radio as well. And it will eventually be available for purchase on CD.

Li'l Abner

2008-02-07T18:02:00.000-08:00

February 5th, 2008
Reprise, UCLA's Freud Theatre, Los Angeles
Musical, we went with Pam

Starring Eric Martsolf, Brandi Burkhardt (below), Cathy Rigby, Michael Kostroff, Larry Cedar, Robert Towers, Jamie Luner and Fred Willard (and many others). This may be the largest cast we've seen in a Reprise production.
It debuted on Broadway in 1956, and of course it's based on Al Capp's comic strip. This is the first professional production we've seen, and I have to say, the charm and voices of this cast carry any old-fashioned elements that would likely drag otherwise. The songs don't move the plot forward much, but many of them are very funny and charming, and with this cast and all the visuals, I didn't mind. Especially when the alternative is seeing this musical in its usual venue (at a high school).

Eric Martsolf couldn't be more engaging and charming as the strapping, laid-back, pure-hearted Abner. But he's also funny, and has a very strong and appealing voice. There's a genuine quality about his performance that makes you care about Abner. And Brandi Burkhardt (Daisy Mae) could sing the phone book and I'd listen. Beautiful soprano voice (we loved hearing her sing I'm Past My Prime ~ likely the most known song from this musical). I look forward to hearing her sing again. Strong voices really add some gloss to these old-fashioned musicals.

(Fred Willard, Jamie Luner and Eric Martsolf)

(Robert Towers as pappy, Cathy Rigby as mammy, Eric Martsolf and Brandi Burkhardt)

The broad characters and huge cast were full of energy and spunk, and our favorite songs were the above and The Country's in the Very Best of Hands and Namely You. The set & costumes were colorful and exaggerated and evoked the comic strip name-sake.

And I can't forget to mention how entertaining Larry Cedar always is; I doubt he could do a bad performance. Also notable in this production is the appealing Michael Kistroff as Marryin' Sam; we'd love to see him again in something.

As Much As You Can

2008-01-17T17:34:00.000-08:00

January 13th, 2008
The Celebration Theatre, Hollywood
Play, we went with Rachel

Starring Paul Oakley Stovall, Tonya Pinkins, J. Nicole Brooks, Wes Ramsey, Andrew Kelsey and Yassmin Alers

"As Much As You Can" is a heart-warming play written by Paul Oakley Stovall (2nd from the left in the above photo) about an African American Family struggling with the middle brother's homosexuality, oppressively religious older sister, and the repercussions of their father's infidelity and inter-racial relationships.

It was refreshing how naturally the dialogue played in the hands of this tight ensemble as they painted a very complete picture of family dynamics.

Broadway's Tonya Pinkins is perfectly cast as the uptight, older sister whose strong-hold on morality is merely a mask for how she tries to hold onto what she's lost. The play is beautifully cast and filled with great humor and emotion, and reminds me why I continue to take chances on more intimate productions.

The History Boys

2007-12-02T10:37:00.000-08:00

December 1st, 2007
The Ahmanson, Los Angeles
Play, we went with Theresa

Well, despite the local reviews, it won 6 Tony Awards for a reason.

I can only say that I didn't find any of this story plodding or slow or boring at all. The actors were solid. We especially enjoyed the performances of Alex Brightman as Posner, Seth Numrich as Dakin and Brett Ryback as Scripps (we remembered him from On Your Toes at Reprise, where he stood out as multi-talented!), and we thought Dakin Matthews, Peter Paige (Queer as Folk), Charlotte Cornwell and H. Richard Greene were all solid and believable in the rolls they played in these boys' lives. Dakin Matthews' portrayal of a grandfatherly mentor with a less-than-palatable secret was very entertaining and lovable. The roll demanded that. The audience has to be feel empathy for his character, or the play's message would have gone the other direction.

Some of the criticism seems to revolve around the style and format of the story-telling, which is often the case when a playwright tries something fresh. We enjoyed the video interstitials for two reasons. It gave the audience a sense of the hectic break between classes and broke up the talky scenes, and gave a sense of a life outside the classroom. And in general, we thought this gave the piece an added freshness, keeping it from being just another melodrama about a British school for boys. We noted some criticism about it being too talky and scholastic, but we thought that, for the patient and watchful audience member, all things were explained quite well.

And we enjoyed the message of the play especially, about how things can't always be wrapped up in nice, neat little generic boxes with generic outcomes. Being set in the 80's was an added bonus that we appreciated.

We thought it was a solid evening of theater. An extra half-star for the cast.

Little Fish

2007-11-18T10:28:00.000-08:00

November 17th, 2007
The Blank Theatre, Hollywood
Musical, we went with Theresa

Written by Michael John LaChuisa (Wild Party)

I'd go see Alice Ripley sing just about anything. Her voice is reminiscent of Betty Buckley (but not as throaty), and packs a punch. She's also a very intense and riveting actress.

More so than this musical unfortunately. It has a very Woody Allen neurotic urban angst feel to it. I did like the analogy of comparing the girl navigating her life, her happiness... as a little fish in the world. And I enjoyed the conclusion and many of the voices were strong and enjoyable. This may actually be very well received in NYC, but it wasn't personally my kind of story, so I can't be very objective. There were only a couple memorable melodies for me.

Still, we got to see Alice. And a new musical at the same time. Not a bad Saturday night.

Damn Yankees

2007-11-07T14:57:00.000-08:00

November 6th, 2007
Reprise!, UCLA Freud Theatre
Musical, we took Rachel

Directed by Jason Alexander
Starring: Ken Page, Armelia McQueen, Lillias White, Jackee Harry, Lesli Margherita, Hassan El-Amin, Cleavant Derricks, Meg Gillentine and Ty Taylor

Once again, Reprise! delivers.

I never thought I would see Ken Page and Armelia McQueen together again, let alone alongside Cleavant Derricks, Lillias White and the rest of this solid and impressive group of singers and actors. Living out here and being so far from New York, Reprise! brings us the talent we miss seeing most.

(Ty Taylor, Jackee Harry and Lillias White)

(Ty Tyalor and Meg Gillentine)

Using an African-American-centric cast in "Damn Yankees" was not only brilliant (and thrilling), but very natural. The music and the story are of course a guarantee, but to cram this production with such larger-than-life talent is worth just about any ticket price.

(Cleavant Derricks as The Devil)

The highlights for us were definitely the trio of Ty Taylor with Ken Page and Armelia McQueen (Near to You), some quirky choreography, and Lesli Margherita and company singing "Shoeless Joe from Hannibal Mo." Armelia and Ken couldn't have been more appealing (A Man Doesn't Know), and as expected, Lillias White brought down the house with an energized and heartfelt gospel version of "Heart (reprise)." With Armelia and Ken as Meg and Joe, the show has plenty of heart, that's for sure. You really feel how much these two love each other. And for this show, that's crucial. It was great to see Ty Taylor again (see "CHESS" below).

This one is one for the memory book.
Playing now through the 25th! Don't miss it!

(photos by Michale Lamont, special thank-you to Peter Goldman of Davidson & Choy Publicity for the wonderful photos!)

The Quality of Life

2007-10-24T13:28:00.000-07:00

October 23rd, 2007
The Audrey Skirball Kenis/Geffen
Play, we went with Pam

Written and directed by Jane Anderson
Starring: Laurie Metcalf, Scott Bakula, JoBeth Williams and Dennis Boutsikaris

Plot: a conservative midwest couple who have recently lost their daughter to a horrible crime spend the weekend with their cousins, a Northern California couple, who are dealing with the ravages of a wildfire and cancer. In a painfully funny and touching clash, both couples emerge from the wildfire weekend with different futures than they'd originally planned.

I can't say enough about this fluid and supportive cast of seasoned actors who trade powerful moments so gracefully, as if passing the salt at the dinner table. It's a powerful piece, and it's visually rich and entertaining as well. Each actor imbues their characters with a life that makes it so easy to relate to and empathize with their humanity.

The play has very natural and entertaining language and makes a solid argument for the value of open dialogue about morality and spirituality, as well as for the freedom for individuals to explore and define their quality of life... and death. And to me, more importantly, it shows the damage that desperately blind self-righteousness effects. We enjoyed what the playwright had to say, and most especially how she chose to say it.

The fact that the critics were sorta split on this play tells me the writer created these characters and their baggage so convincingly and so realistically, that some reviewers took sides, instead of seeing the value in both perspectives. We loved the play because it showcased the importance of healing the divide and segregation in our country. And the incredibly strong performances are some of the most solid we've seen in a while.

The Geffen delivers quality once again. An excellent evening of theatre. It needs to be on the mainstage though!

Special thank you to Allison for letting me post these photos (photo credit: Michael Lamont); without photos, it would be twice as hard to preserve these wonderful theatre memories

Third

2007-10-15T12:41:00.001-07:00

(zoom in)

October 14, 2007
Geffen Playhouse, Westwood
Play

Starring Christine Lahti, Matt Czuchry, Jayne Brook, Sarah Drew, and M. Emmet Walsh

Our first Wendy Wasserstein play! Why is that something to note? "Making the Great White Way a haven for post-60's feminism, this master of the bitchy zinger who was hailed as the Herodotus of our time as well as a female Neil Simon, Wasserstein created a body of work that also includes the plays Isn't it Romantic, The Sisters Rosensweig and An American Daughter." ~ Victoria Looseleaf

This play deals with a changing world that becomes harder to define into nice, neat little packages no matter how brilliant the mind of the observer. It's about the way we want to see things, the way we depend on seeing things, verses the way things really are. Christine Lahti seemed an absolute natural for the character Laurie, a well-established literary college professor bent on championing the underdog (ie... anyone who is not a straight, white male of privilege). And Matt Czuchry was disarmingly charming in his portrayal of an open and honest student who does not fit into her nice, neat little boxes.
As always, The Geffen provides some of the best theatre in Los Angeles. I am always impressed with the casting in each production. With The Geffen, I know that even if the play isn't my cup of tea, I'm going to enjoy the performances.

Third is a solid play with a message about breaking out of our ruts. This play is aimed at anyone who has become too comfortable with definitions and categories and classes. And it makes its point well. We thoroughly enjoyed it.

Special thank you to Allison for the photos (photo credit: Michael Lamont).

~S

Skinner/Ripley: Live at The Pantages

2007-10-05T15:55:00.001-07:00

October 1st, 2007
Charity Benefit for Actors Fund, The Pantages Lobby, Hollywood
Cabaret Show

Wow. One of the more memorable nights I'll be looking back on this year.

For starters, it was a chance to see (most of) their cabaret show they did at NYC's Town Hall. And secondly, it was for a great charity. But mostly, it was a rare opportunity to hear them both together. We've seen them on stage a lot, but never in such an intimate and no-holes-barred setting. As B expressed, "I like both of their voices for different reasons." Combine them, and it's a wonderful evening of two very unique and powerful voices... and comedy. :)

As mentioned in my main blog, I did get slightly teary. It's this sort of event that really drives home how special living in this city can be (of course NYC is foremost, but I'm just grateful I live somewhere that trades with NYC once in a while).

My favorite songs of the evening: Alice singing "YOU HAVE TO BE THERE," from Ulvaeus/Anderson (ABBA) musical "Kristina Fran Duvemala." Powerful. And the biggest laugh was Emily raving about Alice's version of the song, and saying sometimes she calls her on the phone and lsings the message: You have to be there, you HAVE to...." (you had to be there). And Emily just blew us all away with her sheer range and control in a song written for Barbara Cook, which I am going to call "HERE COMES THE BALLAD" (I can't remember the name, but it's a very funny send up of divas). And hearing "NO ONE IS ALONE" from "Into the Woods" was thrilling, as were both ballads from "Side Show."

A wonderful evening. More songs would have garnered the 5th star.

Rufus Wainwright Sings Judy at The Bowl

2007-09-24T15:23:00.001-07:00

September 23rd, 2007
The Hollywood Bowl, Hollywood, CA
Concert, we went with Troy, Kristen and Davin

Rufus recreated the famous 1961 Judy Garland concert at Carnegie Hall, and he took it to not only Carnegie Hall, but the London Palladium and the Paris Olympia. This Sunday, he played The Hollywood Bowl. It really was a unique and special concert, with appearances by his mother (famous folk singer) Kate McGarrigle, sister Martha (singer) and the real surprise, Judy Garland's daughter Lorna Luft (a brassy belter who wears pink better than anyone I've seen). Hearing Rufus sing Judy's songs was a surprise and a treat. Who'd ever guess he'd do something so innovative?

The best matches for Rufus' voice were the songs The Man That Got Away, Puttin' On the Ritz, Come Rain or Come Shine, Over the Rainbow (with his mom playing piano), Zing! Went the Strings of My Heart and Every Time We Say Goodbye (my favorite of the evening). I've always described Rufus' voice to others as The Human Violin. Such a smooth and rich voice, and a very accomplished and talented song-writer in his own right. Although he had intermittent trouble with his voice during the evening, the songs above were especially flawless. His natural demeanor and sense of humor were very playful, and fun to watch.

(singing "Somewhere Over the Rainbow")

Another wonderful evening at The Hollywood Bowl.

(photos copyright ME)

CHESS

2007-09-18T16:32:00.000-07:00

September 17th, 2007
Ford Amphitheatre, Hollywood CA
Musical Concert Charity Benefit, We went with Pam

Starring: Susan Egan, Kevin Earley, Matthew Morrison, Ty Taylor, Cindy Robinson, Tom Schmid, Thomas Griffith

I'm blown away that these dedicated professionals learned this very demanding musical so quickly, with only a week's rehearsal. But then again, I've seen talented Broadway performers do this time and again.

According to a friend of Tim Rice that we spoke with, this was only the 2nd professional production of CHESS in the United States. Not only was the audience filled with people supporting this amazing charity (Broadway Cares Equity Fights Aids), but it was full of delightfully geeky theatre-fans who were beyond excited to be seeing the show.

The entire production was throughly entertaining and surprisingly polished, but our personal highlights would have to be hearing Kevin Earley sing Anatole (the Russian) and the equally wonderful Matthew Morrison (Hairspray, Light in the Piazza ~ original leads/casts) who clearly blew everyone away as The Arbiter. The music and songs are challenging and also demanding of the listener, yet this cast kept the audience's attention without any trouble.

For those who know the musical... this production combined the original London version with the (arguably) dumbed-down (butchered) Broadway version (keeping "Someone Else's Story" and their version of "Mountain Duet"). We were thrilled to be able to hear the original lush arrangements and big-voiced numbers, as well as the charming and rich quartets.

And it was all to benefit a wonderful charity that makes life easier for millions.
Another great evening of theatre in Los Angeles.

Celine Dion: A New Day

2007-09-11T10:21:00.000-07:00

September 6th, 8:30pm
Coliseum at Caesar's Palace, Las Vegas
Cirque-Style Show/Concert, we went with Pam

She's studio-perfect in concert. Her voice isn't even slightly less than what you hear on CD. Add to this Franco Dragone designing a dazzling, never-ending parade of floating, twirling, spinning visual surprises backed by a colossal building-sized digital video display that was so crystal clear you had to squint to tell if the images weren't actually there sometimes. And I can't forget the 42 dancers in colorful costumes; it's a fully choreographed production. And Celine did "River Deep, Mountain High" which is one of my favorite Celine covers, so I was thrilled with that. She also did a tribute to Frank Sinatra, some Stevie Wonder and all the favorites.

Had the show not ended so predictably (with Titanic/My Heart Will Go On) and so abruptly without even an encore, I'd give it a full five stars.

Legally Blonde

2007-08-18T23:35:00.000-07:00

August 18th, 2007, 8pm
The Palace Theatre, New York
Entire Original Cast

This musical is just fun. We sat back and let go of the world, and enjoyed a well-told story of under-dog triumphing over seemingly impossible odds. You know the story, you've seen the movie, and this production captures the spirit of the original and raises it a few notches. It's very high energy with lots of laughs. Laura Bell Bundy makes a wonderfully optimistic and perky Elle Woods.

The sets and lighting were really well-done, and Elle's signature pink was actually very cheery for as much as it was used. Our favorite part of the musical was actress Orfey's performance as Paulette, the trailer-park hair-dresser whose unlikely friendship with Elle adds immeasurably to the fun of the story. And Orfey has a powerhouse voice, very expressive and easy on the ears.

The musical clearly appeals to young girls, as the audience was crammed with them. Several songs remain in your head (my favorite was Orfey's tribute to "Ireland."). It's a feel-good show and we really enjoyed it.

Xanadu on Broadway

2007-08-18T16:37:00.000-07:00

August 18th, 2007, 2pm matinee
The Helen Hayes Theatre, New York
Entire Original Cast (with Cheyenne Jackson)

All the critics have hailed it this season's most fun and wildly witty production on Broadway. And they're right. We laughed so hard our eyes teared, and we couldn't have enjoyed this strong ensemble cast more.
Kerry Butler (Hairspray, Bat Boy) was not only the perfect voice, but she nailed Olivia Newton-John in a parody that was part goofy and part homage. Her comic timing and strong and lovely voice more than satisfied (and I say that as an ONJ fan).

The music couldn't have been more fun, with a few surprise songs thrown in for good measure. And Douglas Carter Beane, the Tony-Nominated playwright, took what is arguably one of the worst movie scripts and turned the book for this musical into a brilliantly funny commentary on movies and Broadway. And he even added characters and a plot. The dry self-effacing wit and biting humor buoys this collection of wonderful songs and talented singers and actors.

We were particularly thrilled to see Cheyenne Jackson, who has been standing in for the original Sonny since previews. And, he was the original Sonny from the musical's early workshop days. Why he wasn't cast originally, I have no idea... because he couldn't be a more endearingly charming beach-bum Venice artist, with the voice of (yes, I'm going to say it) a god. Good lord, he can sing. This is the 3rd production we've seen him in, and he is always solid, charming and funny.

Mary Testa and Jackie Hoffman steal every scene they're in as Kira's conniving muse-sisters. They have some of the show's most hilarious lines. At one point, in an aside, Jackie proclaims the show "children's theatre for 40 year old gay people" (to thunderous laughter).

We couldn't have had a more enjoyable theatre experience. The only thing they could do to improve this musical is restore the full-length version of "Dancin'" to prolong the whole experience. It's a shame the show isn't in a larger theatre as well, with grander sets. But the set designer should be lauded for making cleverly artful use of the space. Wonderful show. Wonderful time. Wonderful voices and songs. There wasn't a dry eye in the house (from laughter). And you can even buy souvenir leg-warmers in the lobby.

On Your Toes

2007-08-15T10:33:00.000-07:00

August 14, 2007
Reprise, UCLA's Freud Theatre
Musical, we went with Rachel
Rodgers & Hart

Starring: Jeffrey Denman, Beth Malone, Dan Butler, Stephanie Powers, Yvette Tucker, Brett Ryback and Jonathan Sharp.

I sometimes get bored with musicals that have as much dance as singing, but this choreography was highly entertaining, as were the very talented dancers. It's always nice seeing dancers who are gifted & solid character actors (Yvette Tucker and Jonathan Sharp, pictured above). And we were surprised to learn that Stefanie Powers has some pipes! Brett Ryback is clearly multi-talented and has a great voice and appealing stage presence. We'd love to see him take a lead in something. We thoroughly enjoyed lead Jeffry Denman, a triple-threat... great voice, quirky, funny, and he's as good a dancer as we've seen on The Great White Way.

The plot... a music professor's aspiration to help his student write a non-traditional jazz ballet for the Russian ballet collides with the highly tempermental Maestro (Butler, who played Bulldog on "Frasier") and his prima-donna leads (Tucker & Sharp). There's romance (with Beth Malone whom we enjoyed in "Sister Act") and just enough plot to string the songs together. They lyrics were brilliant. It's a very charming musical, and it was great to see Reprise bring it out and remind us. This musical is still fresh enough to entertain modern theatre audiences.

Notable songs: "There's a Small Hotel," "You Took Advantage of Me," "The Heart is Quicker Than the Eye" and "On Your Toes."

And we laughed out loud when Stefanie uttered the words "heart to heart" (Hart to Hart), and when Dan Butler, as Maestro of the Ballet proclaimed "I am The Decider." Another fun evening at Reprise!

Jersey Boys

2007-08-08T19:23:00.000-07:00

August 7th, 2007
Ahmanson, Los Angeles
Musical

Starring Christopher Kale Jones (Frankie), Erich Bergen (Bob), Deven May of Bat Boy fame (Tommy) and Steve Gouveia (Nick Massi)

I didn't know what to expect really, other than hoping it won the Tony for good reason. We weren't disappointed. The music is a no-brainer, enjoyable and solid with a chart-topping history. But how about the singing, arrangements, acting and the story/book?

The book and story were surprisingly well-written and kept us engaged. And the cast of the touring production was solid and enjoyable in both their singing, harmony and portrayal of these men. Deven May seemed a natural for the role of Tommy DeVito, a real surprise. Each of the guys was very natural and funny and sang their hearts out, successfully pulling off the signature and unique Four Seasons sound. What more could you want? This and a seat a proper distance from the stage (because it's a VERY LOUD musical). Another wonderful evening of Los Angeles theatre.

Stay tuned. New York trip scheduled this month. We'll return with reviews of 3 Broadway musicals.

Blood Brothers

2007-06-19T12:51:00.001-07:00

June 18th, 2007
Musical Theatre Guild at The Alex, Glendale
Concert reading of a Musical

It's the tragic and true story of a working class British mother forced to give away one of her twins, dividing their lives and sealing their dark destiny. The music is wonderful, tuneful, and the repeating refrains are some of the best examples of effective repetition in musical story-telling. The finale "Tell Me It's Not True" leaves an emotional lump in the throat and stays with you.

Musical Theatre Guild provided a solid cast with Cynthia Ferrer as Mrs. Johnstone, Chris Warren Glibert as Mickey, William Martinez as Eddie, and the equally Broadway-calibre voices of Johnny Hawkins, Reece Holland, Tracy Lore, Eydie Alyson and Joe Hart supporting. These dedicated champions of musical theatre put these concert performances together in about 24 hours. Considering the vocal energy and dramatic, tragic nature of the story, to throw this together that quickly and come off with such a powerful performance is nothing short of evidence of first rate performers, on or off Broadway.

I especially enjoyed the voices of Warren Gilbert, Johnny Hawkins, William Martinez and Cynthia Ferrer.

We'll be returning to see more productions from MTG.

25th Annual Putnam County Spelling Bee

2007-06-12T14:53:00.000-07:00

June 10th, 2007
The Wadsworth (Pantages Season)
Musical, we went with Pam

I love the music, songs and singers in this musical, and I have waited three years to see it (missed the original cast on Broadway). Needless to say, seeing the original cast was an absolute thrill!

The only original cast member missing was Derrick Baskin (his harmony was missed on "The I Love You Song"), but with all the principals there, I can't complain. It was wonderful. We got to see Dan Fogler's Tony-Winning performance. But surprisingly, every single character was larger than life. And the unwitting audience participation added several big laughs. The musical is innovative, charming and laugh-out-loud funny. We laughed so hard! The music is lush and beautiful with some great harmony.

A warning: this musical is NOT necessarily geared toward children (unless your children already know what an erection is). It's an unflinching look at the development of children in this context, with some themes involving adolescence and some overbearing parents and their effects on children, but always handled with a light touch and humor. This is Will Finn at his finest, and his music and songs do not disappoint.

I have to wonder... this musical strikes me as being a cast-centric one, since it plays so heavily on the believable child characters these actors are able to create. I can see how it may not fly without an exceptional cast. But here in LA, it's the original cast for the exclusive run, and I couldn't have been happier. I've been looking forward to it for months!

A rare opportunity to see this cast 3 years into the show's run (it's played 880+ shows on Broadway and is stilling running). Five stars.

Fat Pig

2007-06-06T13:05:00.002-07:00

June 5th, 2007
The Audrey/Geffen Playhouse, Westwood
Play by Neil LaBute

Five stars. I have to say I wasn't expecting five stars, and what a shame The Geffen didn't include this in their regular season on the mainstage.

It's not often that a morally-charged subject matter is portrayed in a way that lets you empathize with the flawed characters equally. It's about a young man working in an office, who falls in love with a zaftig and spirited woman he meets at a lunch-counter. As the play advanced, he is put through the ringer of life's skewed values, defending being in love with his overweight girlfriend. Put the wrong actor in this role, and you will instantly dislike him and consider him weak, pathetic and superficial. But put someone as empathetic and genuine as Scott Wolf in the role, and you find yourself relating and empathizing.

Andrea Anders and Chris Pine play co-workers who mirror the man's choices and values in challenging and painful ways. Even when they behaved abominably, the writer reveals the reality of their lives so well, you relate and even empathize with their behavior.
The dialogue is well written, and the actors' deliveries very natural and organic. Especially Scott Wolf. I was so touched and impressed by this play that doesn't have easy answers. And it should be noted that both Scott Wolf and Andrea Anders are under-used and under-appreciated actors. I can't imagine a better production of this play.
It was "Talk-Back Tuesday" so the cast, writer and director were on hand to field questions and answers with the audience of 75 or so. The Audrey is a very intimate space, and I enjoyed hearing Neil talk about his play especially.
Playing through June 25th. See it!

Georgia Stitt & Friends

2007-06-03T14:13:00.001-07:00

June 2nd, 2007

El Portal Theatre, NoHo

Concert w/Broadway Singers

I have to start by saying, we went to this concert expressly to see Shoshana Bean, one of Broadway's (nearly) unsung extremely-talented singers. We'd seen her in the orginal cast of HAIRSPRAY (twice), and she was a real standout in its periphery. I only wish I'd had a chance to get back to NYC to see her in WICKED when she took over Elphaba from Idina Menzel.

Georgia Stitt is very sweet, and you can just tell she has the kind of wit that's bound to surprise you from underneath her engaging veneer. Her songs are a bit like that as well. It was a nice assortment of voices to complement her songs, most notably Shoshana, Susan Eagan, Jean Louisa Kelly and Kathleen Monteleone, four very gifted performers.

(Shoshana Bean)

It's always wonderful to see Susan Eagan... a strong and consistant Broadway talent, but I have to say, the moment Shoshana stepped onto the stage, her voice took command. She sang this stirring and darkly introspective song called "It Almost Felt Like Love" ~ which paints an emotionally painful and sad story of the scars having an affair can leave on both persons ~from the adulteress' perspective. It's a very human and honest and empathetic song, and I felt it was Georgia's best song of the night. And Shoshana made the moment both captivating and vocally evocative.

~S

Graae's Anatomy

2007-05-22T13:07:00.000-07:00

May 21st, 2007
El Portal Theatre, NoHo
Cabaret/One-Man Show

Jason Graae (pronounced "graw") is a one-man-bonanza of charm and entertainment, spilling over with talent, sincerity and humor to spare. He's quirky but poised, funny and yet able to move his listeners. He invites his audience into his world with expressive, tuneful, beautiful and hilarious songs and a silvery voice that fills the theatre.

When he sings those first few notes, you think you're hearing a traditional Irish tenor voice, but you soon discover that he's much more versatile than that. I could listen to this man sing anything and he'd hold my attention. His voice is natural, lyrical, sweet and never forced, yet has real power and belt which he reserves for those special moments in each song. He's a true showman and a sincere and engaging artist.

I'm gushing. But when I attend an eveing where song and singer are so perfectly matched, it's worth gushing.

The evening opened with a hilarious version of "Not Getting Married Today" (from Company) which I'm guessing Bruce Vilanch turned into "I'm Not Doing My Cabaret." In fact, Bruce intro'd the show and he and strong soprano Susanne Blakeslee went on to help Jason with this number.

None of the songs were written down, so I know I'm going to miss a couple. But I remember, in no particular order, his tribute to West Side Story (where he played Chino), a lovely version of "Lusty Month of May" from Camelot (thanks Teri!) where he sang beautifully and played his oboe off key on purpose to gales of laughter, his very sweet song "Mama, A Rainbow" from "Minnie's Boys" sung to his mom (in the audience), Johnny Mercer's "Tangerine/Laura," a story about his forays into the dating scene with a very sweet and wistful John Bucchino song called "Playbill," the gorgeous "What More Can I Say?" (Falsettos), his stories of being the voice of Lucky the Leprechaun (Lucky Charms breakfast cereal) expressed with the song "How Lucky Can You Get," a song from Jerry Herman's The Grand Tour called "Mrs. S. L. Jacobowsky" (we saw him in The Colony's production; he made the show), and a stirring and funny version of "Applause" (from Applause, Applause) where at one point he did a manic run of impressions of a host of singers including Al Jolson, Johnny Matthis, and the one that brought me to tears of laughter, Mandy Patinkin clucking like a chicken. His encore... "Blow Me... a Kiss from Across the Room" (a song filled with tongue-in-cheek lyrics).

I was also touched by his candor and his sense of humor in being gay, which turned into a surprise reunion with two of his fellow Forever Plaid alums, David Engel & Stan Chandler, who then helped him sing a request to Hillary Clinton to make gay marriage legal in "Let Him Marry Me, Hill'" (Will You Marry Me Bill)!

If Jason Graae ("graw") ever comes your way, go see him. You won't be disappointed. He has the voice of an angel... a spritely, charming, mega-talented angel.

Why only 4.5 stars? I'm greedy. I wanted 2 more songs. ;)

It's a Bird, It's a Plane... It's Superman!

2007-05-15T16:13:00.000-07:00

May 14th, 2007
Reprise, UCLA
Musical in Concert

written by Charles Strouse (music) & Lee Adams (lyrics)

Starring: Cheyenne Jackson as Superman, Jean Louisa Kelly as Lois Lane, Richard Kind as Dr. Sedgewick, Shoshana Bean as Sydney, Patrick Cassidy as Max Menchen, and Stan Chandler as Jim Morgan.

"Superman is in trouble. A reporter is out to uncover his identity, while another girl is trying to steal him away from Lois, and meanwhile, an evil mad scientist is trying to take over the world. What is Superman to do? With a little help from the Citizens of Metropolis, save the WORLD...of course! The hilarious book and wonderfully, witty score make for a SUPER night of fun!"

This musical has surprisingly fun songs. And for starters, Cheyenne has an A+ voice: powerful, clear and resonant (he was wonderful on Bway as Trevor Grayden in "Thoroughly Modern Millie"). He's just the right combination of boyish charm and leading man... the perfect Superman! He didn't need costumes or flight to convince us. Jean Louisa Kelly we've seen at Reprise 3 other times, and I have to say, this role showed off her voice better than any other production. She was a well-cast spunky Lois Lane, and her voice was in lovely form. Richard Kind was HILARIOUS as the bitterly evil scientist! He milked every line for a full-bodied performance that kept people laughing. The real treat for us... getting to hear Shoshana Bean live (in the role originated by Linda Lavin). Damn she can sing. We've wanted to see her in something since we first got a glimmer of her voice in "Hairspray" on Broadway. We weren't disappointed. It was also interesting to note that Patrick Cassidy was paying homage to his father Jack Cassidy who originated the role of Max Menchen, the slick & on-the-make opportunistic reporter. And a fun treat... Charles Strouse himself was there to do the narration.

This production is surprisingly timely, considering it was written in 1966, and the humor hasn't aged. One of our favorite lines was when Richard Kind as the evil Dr. is foiled in is first attempt to off Superman, and says, "Plan A may have failed, but it's a BIG alphabet!" The lines & lyrics were smartly written and quippy, and maintained the tongue-in-cheek snap you expect with this genre. It felt surprisingly fresh. Although none of the production is meant to take itself seriously, I was surprised to see them approach the psyche of Superman with a rather telling Dr. Phil-like analysis of what makes him tick.

We were thoroughly entertained by both the musical and the solid performances. Once again, Reprise delivers a wonderful evening of theatre (and some yummy snacks afterwards).

Celebs in attendance (that we spotted): Shirley Jones (of course), Bryan Batt, and Bruce Vilanch.

No Strings

2007-05-09T12:30:00.000-07:00

May 8th, 2007
Reprise, UCLA
Musical by Richard Rodgers, we went with Rachel

Starring Scott Bakula, Sophina Brown and Bets Malone

This musical is surprisingly sweet and tuneful.
An American writer down-on-his-muse falls in love with a young successful fashion model in 60's Paris (Bob Mackie's costume design brought Paris, San Tropez and Monte Carlo to life quite brilliantly). These two might normally clash, but Paris brings them together in spite of their differences.

Based on hearing the original cast from 1962 with Diahann Carroll & Richard Kiley, Reprise's casting makes all the difference. Scott Bakula plays a very sincere David, a road-traveled writer captivated by Sophina Brown's Hepburnesque naive and doe-eyed Barbara. Scott plays a romantic lead effortlessly, I have to say. Bets Malone as Comfort O'Connell steals her scenes and never disappoints (we won't soon forget her rendition of "Eager Beaver"). And Ruth Williamson was perfectly cast as a "seen-it-all" American Editor of Paris Vogue (and Sophina's motherly confidante and adviser). One highlight was how well Ruth's and Bets' voices blended in their brassy duet "Love Makes the World Go."

The songs are very sweet, ranging from romantic to spunky and full of cheek, and the lyrics (also by Rodgers) are less self-conscious than a lot of older musicals. I'd say of most of the older musicals we've seen, this one holds up fairly well. Who doesn't want to spend 2 hours in Paris, Monte Carlo and San Tropez with two young lovers, in love with life and each other? (and the costumes... did I mention Mackie's costumes? I did? Okay).

What I loved most was that this musical wasn't afraid to spend time letting the lovers fall in love and be together. That was refreshing.

I don't care for the very coarse and brash vocal textures in the original cast recording at all, but I will always remember a gentler, more rich and easy-on-the-ears cast of voices in Reprise's production. You'll leave, but the haunting ballad "The Sweetest Sounds" will stay in your head for days.

Extra half star for what I thought is a well-written book and wonderfully casted leads.

Speed the Plow

2007-03-19T12:37:00.000-07:00

March 18th, 2007
Geffen Playhouse, Westwood
play by David Mamet
We went with Troy

One of Mamet's shorter plays, but nonetheless packed with crisp hilarity and masterfully crafted dialogue. Speed the Plow (as in "God Speed the Plow") means a hope for prosperity and success. This play is about the inner personal turmoil of the Hollywood movie-making process, involving two high-stakes players (Jon Tenney & Greg Germann) in the "green-lighting" department. Now throw a seemingly innocent temp-secretary into the mix (Alicia Silverstone), and watch the unraveling.

We love Mamet, and enjoyed another superbly directed play by Randall Arney. He's fast becoming our favorite director in SoCal.

Side by Side...by Stephen Sondheim (S.T.A.G.E.)

2007-03-12T18:05:00.000-07:00

March 10th, 2007
Wilshire Theatre, Beverly Hills
Musical Charity Benefit for a.i.d.s.
Southland Theatre Artists Goodwill Event (S.T.A.G.E.)

Cast: Len Cariou, Randy Graff, Nancy Dussault, Shaun Cassidy, Patrick Cassidy, Alice Ripley, Valerie Pettiford, Ann Hampton Callaway, Betty Garrett, KT Sullivan, Rip Taylor, Carole Cook, Sally Ann Howes, Lisa Vroman, Kevin Earley, Charlotte Rae, Michele Nicastro, Marc Cherry & Felicity Huffman. Gerald Sternbach, Conductor
Honorable funny mention: Bruce Vilanch helping out with the Live Auction.

As always, a wonderful group gathering together to help fight a.i.d.s. by donating their vocal chords.

Highlights for us personally:

Alice Ripley:
singing "Me and My Town" from Anyone Can Whistle.
A flawless performance of the song with a gaggle of handsome backup singers and dancers. Her voice was strong and lovely as usual, but in this song, she was able to show off a sultry, playful side and a bit of dancing. This woman not only knows how to sing, but how to take stage and work the song. We love Alice.

Randy Graff:
singing "Losing My Mind" from Follies.
I love this woman's voice, and its effortless power and texture. Smooth and steady and unwavering, like electrical current. You get the impression she's always spot-on and has never hit a sharp or flat in her life. Not only is her voice powerful, but she knows how to use it (and the microphone), and she did this tortured torch song justice.

Shaun & Patrick Cassidy:
singing "Agony" (& its reprise) from Into the Woods.
Having seen Patrick Cassidy on stage, we knew he'd be solid. The real surprise (to us) is how mature and full a baritone Shaun Cassidy has! They were decked out in full Prince tights and demonstrative codpieces. They were laugh-out-loud entertaining.

Ann Hampton-Callaway:
singing "No One is Alone" from Into the Woods.
I've never heard this song sung better. The moment she took stage and sang her first phrase, she owned the evening. So well-matched were singer and song, that I don't think anyone could match the hauntingly beautiful rendition of this song. We both just looked at each other and shook our heads in awe and appreciation.

A wonderful night and a wonderful cause.

Who's Afraid of Virginia Woolf

2007-03-06T23:24:00.000-08:00

March 6th, 2007
Ahmanson Theatre, Los Angeles
Play by Edward Albee

Starring Bill Irwin and Kathleen Turner

Both having won Best Actor (Tony Award) and Best Actress (London Evening Standard Award), we had high expectations. And we got to add another classic to our theatre-experiences.

We came into this fresh, not having seen the play or the movie, so we relied completely on the story to unfold through the performances. Albee's play contains a lot of emotional subtext so the audience can keep up with George and get some foreshadowing of the difficult decision he will have to make. Albee's dialogue will give you all the clues if you listen (and we did... the play holds your attention fast), but an equal importance falls on the emotional delivery of the lines that clues you into both the strength and love George has for Martha. That wasn't there for us, and we had to do the mental legwork by paying attention to the clues, instead of gleaning them from line delivery and characterization. So, we came out just a bit frustrated. I am sure none of this crossed the minds of people who saw the movie or play and knew the story. They were undoubtedly able to fill in the subtext.

That said, Kathleen especially was larger than life, and both she and Bill Irwin delivered the bitingly funny lines with perfection. They're two consummate actors, so that makes me wonder about direction.

The two supporting actors, David Furr and Kathleen Early, were both flawless. It was a fast 3 hours, and we were riveted by the story and performances.

WICKED

2007-02-21T11:37:00.000-08:00

February 20th, 2007
Pantages Theatre, Hollywood
Musical, we went with Troy

Another Wicked review?
Yes, and for good reason.
The current cast of Wicked at The Pantages is a MUCH stronger one than when the show first came through Los Angeles (summer 2005).

For starters, Megan Hilty as Glinda was not only bubbly and vivacious and genuinely funny, but she could actually hit Kristin Chenoweth's high notes. She milked her role for every drop of humor and appeal without being a ham. We loved her.

Eden Espinosa (Idina's original standby for Elphaba, later starred in the musical Brooklyn) not only had a style and phrasing all her own, but she is quite the intense and expressive actress. I really found this added to the role considerably, and I stopped thinking about Idina and was able to enjoy Eden's performance. That's always the challenge when you see an original cast on Broadway that is so stellar. After that, everything else never holds a candle to the performances. But last night was not the case.

Carol Kane as Madame Morrible definitely took command of the character and was always fun to watch, and John Rubinstein was a more politician-like Wizard of Oz. It was fun to see Adam Wylie on stage again (as Boq), as well as Jenna Leigh Green (the orig. Nessarose). But I have to specially mention Kristoffer Cusick as Fiyero. What he lacked in a Broadway style voice, he made up for with personality and a genuine chemistry with Eden. That was a refreshing change from the last cast at The Pantages.

WICKED is playing an open-ended run at The Pantages. If you love the show or want to see one of the best shows in the last 10 years, don't miss this cast.

Altar Boyz

2007-02-17T19:19:00.000-08:00

February 17th, 2007
The Wadsworth, Westwood
Musical

Ok. Wasn't sure what to expect. We really enjoyed it!
The plot: a Christian Boy Band's Soul-Saving Tour across the country. And I have to say, true to the genre, there was plenty of gay subtext and asides in the show, which I didn't expect because of the so-called Christian element of the show. This made it all the more tongue-in-cheek hilarious. The characters represented every boy-band archetype: the bad boy, the charismatic front-man (boy?), the gay one, the Hispanic one and, in this show, the Jewish one (funny!).

The show is actually not that religious and is more an example of how badly shoe-horned into the straight-laced Christian ideology a boyband would be. It's a parody of both. The plot is snappy, and the show books at a song-packed 90 minutes filled with puns and asides, laugh-out-loud choreography and lyrics ~ and in my opinion, very catchy songs with crisp 4-part harmony.

You may not love the musical genre (boyband pop), but if you go see this and wind up bored, there's truly no hope for your soul (wink to those who've seen the show).

Cast: Austin Lesch (Matthew), Joey Khoury (Mark), Jesse JP Johnson (Luke), Jay Garcia (Juan), and Nick Blaemire (Abraham). This is one of those instances when the tour cast is actually much better than the original cast. Rare, but it happens.

The Busy World is Hushed

2007-02-09T11:24:00.000-08:00

February 8th, 2007
Skirball Center
play by Keith Bunin

I bought the tickets because it was Jill Clayburgh. She's a wonderful actress, and I figured, how often will I get the chance to see her live?
The other two actors, Hamish Linklater from "The New Adventures of Old Christine" (he plays Christine's brother) and Luke MacFarlane (recurring character on TV's "Brothers & Sisters"), were so well-cast.

Imagine an airy open theatre full of chairs, a small vestigial stage, microphones, and actors wearing headsets, and a Foley artist set-up off stage where all the sound effects (opening/shutting doors, clinking glasses, etc) is created live. It was a new experience for us. I thought I wouldn't be able to get sucked into the play without sets, costumes, props, movement, etc. I was wrong.

Imagine a very unconventional widowed Episcopal Minister (Jill Clayburgh) who hires a young writer (Hamish Linklater) to help her with a scholarly work about a newly discovered biblical gospel. Imagine this young man's life is in turmoil, with his father suffering a brain tumor. Oh, and he's gay. Imagine Hannah (Jill) has an estranged gay son who disappears for years at a time. The emotional struggle between the three unfolds as they all grapple with what they believe about life and death and faith.

Hamish said something very profound that stayed with me. I'll try to quote it as best I can remember. Loosely paraphrasing : "I look around and all I can see is the emptiness of where god should be, but is not. And I'm not sure if that void is the end of my faith, or the beginning."

I was very moved by the play. The writing was wonderful, and it was a rare opportunity to see it with the original cast.

"A complex, thought-provoking look at why religion, faith, and the human heart can't always be reconciled." (Hollywood Reporter)

Oh, and guess who was in the audience with us? *Michael Emerson* (Ben) from LOST. He looked much better after his spinal surgery (wink).

I will likely buy this play on CD once LA Theatre Works releases the performance.
Wish all theatre could be this emotionally satisfying. It was our first visit to The Skirball Center. We'll be returning soon.

Baby

2007-02-06T15:12:00.000-08:00

February 5th, 2007
Reprise Productions, Freud Theatre UCLA
Concert, Marvelous Musical Mondays

Starring: Kerry Butler as Lizzie, Daniel Tatar as Danny, Alice Ripley as Pam, Graham Rowat as Nick, Faith Prince as Arlene and Christopher McDonald as Alan. Directed by Kevin Chamberlin.

Another wonderful evening. With this calibre of talent, we didn't miss sets for this concert performance of the Maltby & Shire favorite. I had low expectations, but left with a new appreciation for the songs. The cast sung the hell out of them.

Faith Prince was funny and as always, expressive and touching. Alice was funny and spirited and her vocals (which I'd compare to a young Betty Buckley) were exciting and lovely. We expected all of that. Thrilling. The surprise was Kerry Butler's silvery clear soprano ~ surprising in its strength and fluidity. We'd seen her on Broadway in Hairspray (twice) and also in "Little Shop of Horrors." Her voice was in wonderful form last night. As was Daniel Tatar (whom we'd seen in "Elegies"). Can't wait to see him in more things. A solid, strong and expressive pop-tenor, in complete command.

Another wonderful evening at Reprise!
(in the audience: actors Richard Kind, Jason Alexander and Marsha Wallace)

Sunday in the Park with George

2007-01-31T12:20:00.000-08:00

January 30th, 2007
Reprise! Productions, Freud Theatre
Musical, we went with Troy

Starring Manoel Felciano (Sweeney Todd, Brooklyn)
& Kelli O'hara (Light in the Piazza, Pajama Game).
Directed by Jason Alexander.

Pulitzer Prize winning musical inspired by the Georges Seurat’s painting “A Sunday Afternoon on the Island of La Grande Jatte..” A moving portrait of an artist struggling to reconcile the perfect, imaginary world of his painting with the imperfect, flawed world of real life. Often called a musical masterpiece, its songs stay with you, as do the characters from the artist's painting and real world.

Wow.
For starters, I don't care for the cast recording of this musical, despite the wonderful songs. So I went in expecting very little.

Manoel and Kelli were both amazing. Kelli's voice is an effortless and warm soprano, and her performance added a warmth and empathy to Dot. And Manoel... imagine the vulnerability, enthusiasm (and good looks) of Ewan McGregor combined with the intensity of an artist bent on making the world understand his discoveries. What can be a cold and offputting introverted and isolated character, became an ernest and engaging outcast in Manoel's hands. And what a lovely voice he has.

The set and art direction were superb. The lighting and effects, so crucial in this musical about an artist obsessed with light and color, were flawless.

I actually sat one seat from Jason Alexander, and Troy had him sign my playbill. I never do things like that. But he was so nice.

Reprise continues to blow us away. This production was as good as anything we've seen, on or off Broadway. And I am heartbroken that I can't have this cast on CD.

I love Los Angeles!

Wishful Drinking

2007-01-09T15:56:00.000-08:00

January 7th, 2007
Geffen Playhouse, Westwood
One-Woman Show, went with Troy

Carrie Fisher is witty and endearing at the same time. She's a story-teller. Two hours of anecdotes and observations about her life, her marriage to Paul Simon, her entertaining mother Debbie Reynolds, her battles with addictions, her discovery of being bipolar, her lothario father and and humorous grandmother, and her Star Wars experiences with George Lucas and also an affair with her Star Wars "Marlboro Man." Toward the end of her show, she said the very telling line "Imagine what I'm leaving out!"

A very entertaining and intimate evening. I bet she's thinking of taking it to Broadway.

The Marvelous Wonderettes

2007-01-05T10:39:00.000-08:00

January 4th, 2007
El Portal Theater, NoHo
Musical, went with Troy

Starring Kristen Chandler, Kim Huber, Julie Dixon Jackson and Bets Malone.
Imagine 4 girls at their prom in 1958. Now imagine them using songs of the 1950's to tell the story of their high school life and loves. For act two, flash forward to their 10 year High School Reunion, where they switch to songs of the 60's. Very entertaining show.

These four women are strong singers. We love Bets Malone, having enjoyed her performance in Reprise' "On the Town" (for which she won an LA Drama Critics Circle Award), and I have to be honest and say she is the reason we chose to go. And we weren't disappointed. But the other three women held their own, were funny and expressive, all with their own solid Stage-credits to support their lovely voices. The harmony was very nice. Their voices meshed fluidly with lots of texture. Duets, trio's and quartets, and plenty of do-waps and shebops through-out. Charming and funny, but the book needs some strengthening. It was tongue-in-cheek much of the time, which let the audience relax. Well, all but one member of the audience, but I won't spoil that.

The Forum at El Portal only seats about 90 people, so it was a very intimate and relaxed environment. The success of the show has led to yet another extension of the run into February. A lot of fun even for those of us who don't remember some of the songs.

Extra half star for their voices.

Edward Scissorhands

2006-12-22T12:25:00.000-08:00

December 21st, 2006
Ahmanson Theatre, Los Angeles
Ballet, went with Troy

I really dislike most ballet.
That said, we were not bored.
Choreography and concepts by famed ballet bohemian, Matthew Bourne (who did the all male Swan Lake), with music by Danny Elfman (who did the movie's music as well). Much of this ballet's excitement comes from the wonderful and creative music and the evocative sets.

Unlike the movie, I was always a little worried those scissor hands were going to clip, swipe or lascerate a fellow dancer. A little unnerving. But these are professional ballet dancers, and they had complete command (I looked for bandages and bandaids, no sign of them). Dancing with these appendages was amazing, and Windsor captures Johnny Depp's portrayal of innocent very well. For me, I didn't really believe the depth of love that was supposed to be there between the two main characters. Something was lost in making the girl so "popular" and well-liked. I missed Winona Ryder's very expressive doe-eyed waifishness.

It was visually fun, with broad caricatures of subburban residents (just like the movie) ~that part was entertaining from start to finish. The story, we knew, and it follows the movie faithfully up until the end. The end could have had more drama and flair and maybe a little money could have been spent to jazz it up. No helicopters, transforming beasts or chandeliers necessary... just some "magic." But the sets and dancers and portrayals were all entertaining, as was the small surprise at the curtain call. For non-ballet fans, fun to see. Once.

Generally, it lacked a big punch and needed some trimming in the looooooooonger dance numbers. But I can't be objective, since ballet doesn't appeal to me. Nor would I claim my review to be one a person who loves ballet finds helpful. But I will say I liked the visuals, and some of the dancing was quite fun/funny/inventive.

Sister Act the Musical

2006-11-26T07:40:00.000-08:00

November 25th, 2006
Pasadena Playhouse, Pasadena
Musical

(photos by Craig Schwartz)

Dawnn Lewis (Jaleesa in the Cosby spinoff, A Different World, and also the upcoming Dreamgirls movie) plays Delores (Whoopie's role)
Elizabeth Ward Land as Mother Superior.
Amy K. Murray as Sister Mary Patrick (Kathy Najimy's role)
and Beth Malone as Sister Mary Robert

Strong voices over-all, colorful fun costumes, humor and decent music. It was musically exactly what I thought we'd find from composer Alan Menken (Little Mermaid, Beauty & the Beast, Aladdin); and the lyrics by lyricist Glenn Slater were fun and clever, even if we expected all the religious and catholic puns. The set is typically representational if not minimal (common on Broadway in the last decade) so it didn't bother me.

"Lady in the Long Black Dress" was a hilarious number, and we also loved "How I Got the Calling," "Raise Your Voice," and the Reverend Mother's 11th hour solo, "I Haven't Got a Prayer." Elizabeth Ward Land's voice is both matronly when it needs to be and soaringly clear and strong throughout. I was ready to doubt, because how can anyone replace Maggie Smith? Amy K. Murray recreated Kathy Najimy's role of Sister Mary Patrick, and added her own bubbly charm. Beth Malone, very strong, reminded me a bit of Sutton Foster, very nice, and Dawnn Lewis surprised both of us with a strong performance that reminded me a bit of Sheryl Lee Ralph. I've heard other reviews early on that reviewed the rough spots. But this is why B & I usually do not go to a production in the early weeks. I'd rather see them in their comfort zone.

We thought they should have moved Sweaty Eddie's song to the hotel scene, and had him sing it to Delores. It came way too early, before you got a chance to care about any sort of future for the both of them. And frankly, the song could have used some sparks between the two of them to liven it up.

The production is very faithful to the movie, so if you loved the movie, you'll likely love this. It's not meant to be Sondheim. It's clearly meant to be a faithful representation of the movie. I'd compare it to "Hairspray."

Simply put, we had fun, laughed, and enjoyed the music. For me, the voices, the melodies and lush harmony and strength in ensembles is what I look forward to in an evening of good theatre. It could use some tightening, and when I talked to an usherette, she said they'd already cut things to shorten it. I expect that anyway when I go to see a production that is "trying out" before headed to Broadway. It's headed to Atlanta next before The Big Apple. See it if you want an evening of fun! We were entertained and the voices were decent.

Souvenir

2006-11-14T15:00:00.000-08:00

November 12th, 2006
Brentwood Theatre, Brentwood/Westwood
Musical (more or less)

It's always a treat when the original cast from Broadway transfers to Los Angeles. Judy Kaye and Donald Corren were about as perfect a cast for this as I can even imagine.

This play reminds me of American Idol's worst auditioners. It's based on the story of Florence Foster Jenkins, a society eccentric who thought she was a great coloratura soprano (think William Hung). She never realized her immense popularity was the entertainment value of her lack of talent. The story is told by her gay accompanist, the highlights condensed from their 12 year artistic partnership (he was under no delusions about her talent whatsoever, and did his best to protect her).

Judy Kaye was hilarious. She deserved her Tony Nomination for successfully pulling off the vocal pyrotechnics associated with a tone-deaf soprano trying to sing opera. Mozarts Queen of the Night was particularly painfully funny. The musical (play?) was so artfully written that I became very absorbed in the story and didn't think about "writing." And Donald Corren's voice was very easy on the ears.

The first act was a bit slow, but the second really delivered. At the end, Judy sang Ave Maria as the play gave the audience a window into what "she hears in her head" --as opposed to what came out of her mouth. That was worth waiting for, because Judy Kaye has a marvelous soprano that filled the space.
Extra 1/2 star for the wonderful cast and writing.

Elegies: A Song Cycle

2006-09-12T19:06:00.000-07:00

September 11, 2006
Reprise!, UCLA
Musical

Starring:
Liz Callaway, Malcolm Gets, Randy Graff, Daniel Tatar and Amick Byram
Written by William Finn (Falsettos, A New Brain, 25th Annual...Spelling Bee).

William Finn's song cycle Elegies is about life and death, and about the effects people have on you. Specifically, the people Mr. Finn wrote all these songs about, and also the experience of 9/11.

I have to say I was unexpectedly moved and touched.
And it doesn't get any better than Liz Callaway and Randy Graff, two noteworth Broadway verterans who never disappoint.

When Randy Graff (a woman, btw) sang Infinite Joy her resonant violin of a voice soared and soothed and enthrawled. It filled the theatre from wall to wall. And Liz, with her silvery soprano was equally powerful and engaging. It was Daniel's song, about the experience of Will Finn's mother passing away, called "When the Earth Stopped Turning," that really touched me.
So much so I did a whole post on it at my main blog (click *here*).

"Make a Parade of Every Moment."
I don't think I'll be forgetting that lyric any time soon.

Wonderful evening of sparkling talent and beautiful music.

My One and Only

2006-09-06T17:56:00.000-07:00

September 5th, 2006
Reprise!, UCLA
Musical, we went with Troy

The infamous Tommy Tune Gershwin musical that got bad reviews on Broadway shines anew at Reprise! Reprise brings it to life with Michael Gruber, Rachel York, Betty Garrett and Vicki Lewis. A solid cast can make all the difference.

And for those of us who love theatre, the chance to see Betty Garrett tap dance at 87 years of age was a real privelege. She's still got it.

The other highlight for me was hearing Rachel York sing "How Long Has This Been Going On." All three of us agreed it was the best song of the evening. She has such control and grace and strength. Wish we could see her in more.

As always with Reprise, we were happy with the sheer talent, energy and charm of the cast.

Curtains

2006-08-17T10:16:00.000-07:00

August 16th, 2006
Ahmanson Theatre, Los Angeles
Musical

Music and Lyrics by Kander and Ebb (additional lyrics by Kander & Rupert Holmes, who also wrote the book).

Starring David Hyde Pierce (Niles from Frasier) and three of Broadway's solid best, Debra Monk, Jason Daniely and Karen Ziemba. It's a murder comedy about a production that is struggling to get off it's feet while dealing with murders happening right and left, the squabbles of a husband and wife composer/lyricist, and a dectective who happens to love Musical Theatre. The show's creative team and backers try to save it from certain box office failure while the detective (Pierce) helps out, and also solves the murders.

We loved the cast, and thought additional performances by Jill Paice and Edward Hibbard (you'd also recognize him from Frasier) were fun. The real highlights for me: hearing Jason Daniely sing (god, he can sing!), and thoroughly enjoying Debra Monk take command of the stage and two of the show's best songs. David Hyde Pierce is always enjoyable, and he's quite affable, polished and solid in this show. He's a delight to see. But the theatre geek in me can't help but imagine the likes of Mark Kudisch in the role.

The music is solid, the lyrics fantastic, and my gut tells me that, although many of the melodies didn't grab me right away, the songs would grow on me. I esp. loved "Show People," "It's a Business" and "He did it!" INHO, this show is far more solid and tightly put together than the last world premiere at Ahmanson (Drowsey Chaperone), and deserves to go to Broadway. Enjoyable and fun evening of theatre!

Happy Days: The Musical

2006-08-06T12:51:00.000-07:00

August 5th, 2006
Falcon Theatre, Burbank
Musical

Written by Gary Marshall, music by Paul Williams.
We actually enjoyed ourselves even more than we thought we would. I say this because, usually, when you attach the description of "family musical" to anything, it's the kiss of deathly boredom. It usually means the production is aimed (quite lowly/dumbed down) to children (like "Seussical: The Musical"). That was not the case this time.

Some inherrent problems ...like how do you make Fonzie cool AND have him sing ballads. But it worked. Frankly, Andy Karl (of Altar Boyz) was so engaging, I was willing to forgive just about anything.

There's a lot of music ~ a song for almost every major and secondary character. A couple times the pace suffered because of this. But again, my nostalgia for the TV series made it easy to wait patiently for the next bit of fun. There were so many throw-backs and in-jokes that made this feel like the TV series (but c'mon... a brunette Pinky Tuscadero? No. That I can't forgive... esp. since other women were wearing wigs).

The real highlight: Paul Vogt (aka Mrs. Garrett from Mad TV) playing one of the Malachi Brothers. We were laughing so hard. I had tears coming out of my eyes. OMG, he was funny!

An enjoyable evening. I think fans of the series will overlook a lot of what slows this musical down.

Kristin Chenoweth at The Greek Theatre

2006-07-11T18:05:00.000-07:00

July 9th, 2006
The Greek Theatre, Los Feliz
Concert, went with Dare & James

We'd seen her at The Walt Disney Concert Hall earlier this year. This concert was very similar.
Her voice was in great form, and the new songs were nice additions.
Her encore finale of "Glitter and Be Gay" from Candide was amazing.
Though we really dislike The Greek Theatre ~ the sound system sucks and the seats are horribly uncomfortable ~ Kristin is worth seeing just about anywhere, hearing songs from contemporary and classic Broadway, mixed with pop and lots of humor. Adorable factor +10 as well. At least I was able to take photos this time. 4 solid stars. :)

The Phantom's Leading Ladies, in Concert

2006-07-08T14:33:00.000-07:00

July 7th, 2006
El Portal Theatre, NoHo
Concert

A classy and fun concert, spotlighting clever arrangements, unexpected twists and beautiful music from Broadway to Pop. Three sparkling, silvery sopranos, left to right: Mary D'Arcy, Teri Bibb and Karen Culliver.

People who like Julia Andrews are cool.
A wonderful Friday evening event.
Only 4.5 stars cuz Teri didn't sing "Ice Cream." (wink)
They're wonderfully talented and entertaining performers, and we look forward to future performances.

Joseph and the Amazing Technicolor Dreamcoat

2006-06-23T11:24:00.000-07:00

June 22, 2006
Pantages Theatre, Hollywood
Musical, went with Troy & Rachel

I love this musical. Just because it's fun. Tim Rice's lyrics are witty and tongue-in-cheek, and Webber's melodies are bouncy and engaging. I've seen 4 professional productions, on and off Broadway, and although this National Tour was a bit weak in places, I still love the glamour and energy and entertainment value.
But hands down, Amy Adams (American Idol alum) is the reason to see this tour. She's in her element, her voice is in top form, and she was an absolute joy to listen to, her voice sweet and polished one moment, and belty and full of color the next. No overdone American-Idol embellishments here... just a singer who knows what she's doing. Loved it. The extra half star is for her, and for the entertainment value.

Tick...Tick... BOOM!

2006-06-17T15:50:00.000-07:00

June 16th, 2006
Coronet Theatre, Los Angeles
Musical, we went with Troy and Debra

Wasn't sure what to expect from the composer/lyricist who wrote RENT. And I should say, B & I are not huge RENT-heads. This musical, however, is wonderful.

With a cast of three, it tells the story of a young, straight musical theatre composer who is about to turn 30, and he's having a major life crisis ~ his world, his girlfriend, his best friend and his career all pressing in on him, demanding he make a choice. Fantastic lyrics and melodies.

The Cast
Wilson Cruz as the best friend, Tami Tappan Damiano as the girl friend (she has such a clean, strong voice; we have seen her in several things) and seemingly, out of nowhere, Andrew Samonsky as Jon, our conflicted hero. The harmonies were tight, the melodies were strong and held your attention, and the actors filled the stage with their energy and personality. Very honest and solid performances.

We loved it. A strong evening of theatre. We're going to keep our eyes on The Coronet Theatre and Rubicon Theatre Company to see what else they offer.

Zorba, The Musical

2006-05-03T16:55:00.000-07:00

May 2nd, 2006
Reprise, Westwood
Musical by Kander & Ebb, we went with Troy

We weren't sure what to expect from this Greekfest starring Marc Kudisch (Thoroughly Modern Millie), Judy Kaye (Mamma Mia) and Camille Saviola (Nine). It was a thoroughly entertaining, energetic, soulful surprise. We thought, nah, Marc's too young and handsome to play Zorba. Silly us. That voice, that charisma. He was wonderful. It all worked. Excellent casting. Normally I have a love/hate attitude casting to type, but in this musical, it helps to do this with the supporting cast especially.

As is often the case with Reprise, we see these sparkling casts, with many singers direct from Broadway, and then we're left with the knowledge that the original cast recording of the musical will not be anywhere near as magical.

We also discovered that Marc Kudisch (Zorba) is not only a wonderful singer and comic actor, but he's a versatile and competant dramatic actor as well. He was wonderful. Judy Kaye (Hortense) was charming as always, lovely voice, but this musical did not provide her any songs to really shine with her bigger-than-life voice. Camille Saviola ripped the stage a new one. She was powerful and really embodied the Greek Spirit (spiritos) in the "Leader" role. What a powerhouse voice.
We enjoyed this cast-centric production a lot.

All My Sons

2006-04-24T13:41:00.000-07:00

April 23rd, 2006
The Geffen Playhouse, Westwood
Play by Arthur Miller, we went with Troy

Starring Len "Sweeney Todd" Cariou, Laurie Metcalf (Jackie on Rosanne), Neil Patrick Harris (Doogie Howser) and Amy Sloan.

This is theatre at its pinnacle. A beautifully written powerful play, flawlessly cast. Every beat of this play tracks, and not a line or moment is wasted. Laurie Metcalf's heart-wrenching portrayal as the mother who keeps the family secret was touching and pained and real. Len Cariou as the partriach who "wears the pants while she beats me with the belt" was empathetic even in the reveal. As Troy put it, he's an under-appreciated actor. I can't say too much or it would spoil it, but if you've read or seen the play, you know why it's such an important role. And Neil Patrick Harris' performance as the surviving son holding the family's faith together was equally strong and touching. Canadian actress Amy Sloan surprised us as the character with the most constrasting arc, matching these three seasoned actors stroke for stroke as the story built to its conclusion.

I wish all plays were this well cast, this well written, and had something as relevant and profound to say about personal responsibility. It just doesn't get any better than this.

Dame Edna: Back with a Vengeance!

2006-04-07T13:55:00.000-07:00

April 6th, 2006
Ahmanson Theatre, Los Angeles
One Woman Show, went with Troy & Clark

Dame Edna Everage, Gigastar, delivers again, but this time she's back with a vengeance! With her rapier wit and quick-on-her-feet delivery, you'd never know she was 72. As usual, she makes sport of anyone in the first 5 rows with hilarious results. This is the 3rd time we've seen Dame Edna live (once in her 1st Bway show, and then when that show traveled), and it was worth the 3rd outing.

This is not her best show. But if you appreciate a certain British (even tho she's Australian) wit and style, and if she comes to your city, go with an open mind. It's live and a lot depends on the audience as well. But regardless, there's no one like her. It's a surprising evening full of accessible humor and you'll laugh til your cheeks hurt.

Do Re Mi (S.T.A.G.E.): Comden & Green's Broadway

2006-03-13T12:32:00.000-08:00

Do Re Mi: Comden & Green's Broadway
S.T.A.G.E., Charity Benefit, Luckman Theatre, CalState
Musical Revue!

CAST: Bruce Vilanch, Judy Kaye, Betty Garret, Nancy Dussault, Carol Cook, Vicki Lewis, Chistine Pedi, Valarie Pettiforrd, Kevin Earley, Jo Anne Worley, John Bisom, Mary Jo Catlett, Adam Lambert, Tami Tappan Damiano, Len Cariou, Adam Wylie, and Larry Raben (to name the majority).

Southland Theatre Artists Goodwill Event (S.T.A.G.E.) is in its 22nd year of this impressive charity event. The theme was obviously Comden & Green, two of Broadway's most talented lyricists/book writers. The shows represented were: On the Town, Peter Pan, Bells Are Ringing, Singing in the Rain, Wonderful Town, On the Twentieth Century, Will Rogers Follies, Two on the Aisle, Hallelujah Baby, and of course, Do Re Mi.

It was nearly 4 hours of sparkling voices and performances. This event is clearly a well-oiled machine. And Bruce Vilanch was of course hilarious (watching him as the auctioneer during the auction was a hoot). I'll also add that seeing who was attending the performance was equally fun and entertaining.

But the real highlights: Judy Kaye, Tami Tappan Daimiano, Kevin Earley, Jo Anne Worley, Vicki Lewis and Christine Pedi. Everyone was great, but these people really blew me away. Esp. Judy Kaye.

An amazing event, but more importantly, an important benefit and charity supporting APLA and Project Hope. We will be returning every year, Universe willing.

The Cherry Orchard

2006-03-09T11:07:00.000-08:00

March 9th, 2006
Mark Taper, Los Angeles
Play

Annette Bening and Alfred Molina starred in this Chekov play about families and social responsibilities. It's also a study of how a privileged family is dislodged from their comfortable past toward a more uncertain future.

The first act has a lot of characters, is long, and spends a lot of time setting up relationships. I noted people walking out after this. We stayed. 2nd & 3rd acts (no intermission between them) were together shorter than the first and moved more swiftly, and were more alive and engaging.

We enjoyed seeing Annette Bening and Alfred Molina on stage. Both have stage presence and appeal. The uneven casting in the minor characters was noticeable but easily ignored as the characters spent less time on stage. For a crusty old Chekov play, it's very contemporary in its themes, and despite it's overlong 1st act, we stuck it out because we were curious. We've seen it now. Doubt we'd willingly do so again.

Kristen Chenoweth at Walt Disney Concert Hall

2006-02-28T16:53:00.000-08:00

February 26th, 2006
Conductor: Andrew Lippa
Special Guest: Alanis Morissette
Walt Disney Concert Hall, Downtown LA, went with Jane

Kristin is an amazing singer and performer. We'd seen her live on stage before of course, but it was a wonderful opportunity to hear her concert program. Most surprising was the duet on "For Good" from Wicked, with Alanis Morissette. Their voices actually blended; sounded great texturally. Made us wonder if Alanis is considering a turn as Elphaba?

Kristin also hinted at being part of Andrew Lippa's new musical project, Betty Boop (yes, the cartoon character).

We were grateful that she kept the show "non-denominational" and that we got to hear her sing the songs that we have come to love her voice for ~ Broadway. That is why we paid to hear her, and we were not disappointed. Her encore of the famous aria from Candide was amazing. Just a phenominally clear and lyric voice. We had a thoroughly wonderful evening.

Sweeney Todd (East West)

2006-02-19T20:43:00.000-08:00

February 19th, 2006
East West Players/Downtown L.A.
Musical, went with Troy

The Demon Barber of Fleet Street with an all-Asian cast! We were impressed by the talent and the polish.

Ronald M. Banks was perfectly cast as Sweeney, with a voice as rich as a basoon. He was ideal. Timothy Ford Murphy as Anthony had a strong and lovely tenor. Wonderful. In fact, most of the men were impressive. And Kathy Villaneuva as Lucy the Beggar Woman had a powerful voice that filled the theatre. The rest of the principal women were weak, but entertaining.

There were moments when this production was spot on, gritty and captivating, Broadway calibre, but other moments were less tight. Still, it was an admirable and professional production, despite a few weak voices (I have a hard time over-looking this as it is a light opera). It's also in our top 5 musicals.

Our first show at East West. We're definitely going back!

Boston Marriage

2006-02-13T13:13:00.000-08:00

February 12th, 2006
Geffen Playhouse, Westwood
David Mamet Comedy, went with Troy

Starring Mary Steenbergen, Rebecca Pidgeon and Alicia Silverstone.

This Victorian comedy of manners is about two lesbians, a servant named Katherine and an emerald brooch. It's an entertaining potpourri of language and wit.

Pidgeon and Steenbergen flew through the demanding dialogue without so much as a slip, tearing the English language a new one. And Alicia Silverstone was the real surprise as a Scottish maid who took the air out of the sails of these very loquacious women. Alicia really was a breath of fresh air, and handled the accent with ease. Rebecca Pidgeon reminded me of a youthful Joanne Woodward, and Mary Steenbergen was eloquent and dryly sarcastic as the story's fulcrum. And the costumes and wigs were also a hoot!

Solid production, fun play. Not for the underexposed. Reviewed as "wickedly funny." I'd say it was more charmingly, cleverly funny. We're fast David Mamet fans now.

The Importance of Being Earnest

2006-02-08T13:04:00.000-08:00

February 7th, 2006
Los Angeles, The Ahmanson
Oscar Wilde Comedy, went with Troy

Wilde is famous for his wit, and this is counted as a favorite for many Wilde fans. It's a scathing comentary on Victorian values, as well as a comedy of errors. If done well, it's very funny and timely.

But this production was a little dry and lifeless. The real treat was seeing Lynn Redgrave as Lady Bracknell ~one of theatre's hotly sought after roles for mature women who know how to command a stage. Lynn took Wilde's love of long descriptive sentences, and made sure the audience not only heard every word, but understood the flow and meaning.

I wish I could say that for the male leads, who tended to throw away a sentence or two. This play needs to have larger-than-life actors. The women in the cast were up to the challenge. Personally, I do however wish Lynn would have been a little bit more larger-than-life and less properly restrained. A broader portrayal is more fun.

For me & B, another rare treat was seeing Miriam Margoyles as Miss Primm. She's a favorite character actress of ours. Love her. :) It gets the extra half star for Lynn and Miriam.

Another fun evening of eating at the outdoor grille under the stars then seeing theatre with top drawer talent in a great venue though. No big complaints.

City of Angels

2006-01-26T12:56:00.000-08:00

January 24th, 2006
Reprise!, UCLA's Freud Playhouse
Musical, went with Troy

Starring Broadway's Stephen Bogardus, Burke Moses, Tami Tappan Damiano, and Vicki Lewis (a real surprise).

As always, Reprise delivers solid & amazing voices and actors. This production, done without sets but using mobile pieces of furniture, was tight and fluid. As the inner world of a writer's book runs up against the outer world of his clash with the movie industry, we see actors playing both the characters in the hilarious film-noire book and those involved in bringing his book to the big screen.

Bogardus (who also played the author Stine on Broadway opposite Naughton eventually) was flawless. And Burke Moses as Detective Stone (he originated Gaston in B&tB) was strong and also very funny. Vicki Lewis (you may remember from TV's Newsradio sitcom) held her own against these Broadway voices (as well she would, having done several things on Bway herself). But hearing Tami Tappan Damiano again was the real highlight for me; we'd seen her in Reprise's recent mounting of "On the Town" and she has an amazing voice... silvery and piercing, no cracks or wavering, just strong, clear and powerful. A real torchy, sirenesque quality. :) In general, the cast had some big shoes to fill (the original Broadway cast), and did so beautifully.

We sat next to the new Producing Director Jim Gardia (who was very friendly!), 3 seats from actor Michael York, 2 rows in front of actor Richard Kind, and 4 rows in front of the musical's lyricist David Zipple. LA is a a great place for us theatre geeks to live. :)

Cat on a Hot Tin Roof

2005-11-20T12:33:00.000-08:00

November 20th, 2005
The Geffen Playhouse, Westwood/L.A.
Play, we went with Troy

Sometimes lauded classics are dry without historical perspective and topnotch casts, and they don't seem very topical. Not true with this one. It's pretty timeless. The cast was solid, though we agreed that Maggie, the Cat herself, needed to be spilling over with Southern charm and mannerisms, and it just wasn't there.

The half-star is for a gorgeous set, which was dripping with southern charm, and the chance to see John Goodman as Big Daddy and Brenda Fricker as Big Mama --wonderful! A real treat.

The Drowsy Chaperone

2005-11-18T15:04:00.000-08:00

November 17th, 2005
Ahmanson Theatre, Los Angeles
Musical

Clever artifice and immaculate art direction, lots of gimmicks. Clever writing in places. Wonderful sets. Ideal casting for the lead actor (he was charming, natural, engaging and warm). But as far as musicals go, very thin.

Because its music was so authentically 1920ish, it lacked modern appeal (unlike Thoroughly Modern Millie, which managed not to lose the feeling of the 20's and yet used a modern Broadway sensibility). Agruably necessary for the format though. A couple cute, mildly catchy songs, but the rest are average. Sutton Foster was wasted in this.

2 hours, no intermission!! We both agreed we couldn't sit through it again. It's always about the music for me... and it was average at best, musically. Even if they do some major tightening before landing on Bway, the music is still blandly old-fashioned. It tries really hard, but needs better songs.

Romance

2005-11-16T15:21:00.000-08:00

November 15th, 2005
The Mark Taper, Los Angeles
Play, went with Rachel

By David Mamet. A trial breaks down into hilarity when complicated by issues of race, sexuality and abusing perscription medicine. Guaranteed laughs from start to finish. We had a blast.

Avenue Q

2005-11-13T16:56:00.000-08:00

**UPDATE** The entry below refers to the version of Avenue Q in Vegas before they hacked it up. They should have just built the same size theatre that the production inhabits in NYC to sold out crowds, 40% smaller, and then their 60% ticket sales would have been 100%, and they'd have had a smash hit. We went to Vegas to see it one more time in late FEB, and they had edited out several songs and shortened it to 90 minutes with no intermission. It's still a fun show. But it's not the show that won the Tony. Oh well. Now it will tour, and tour successfully! Go see the tour instead!
**

November 12th, 2005
Las Vegas, The Wynn Theatre
Musical, went with 5 friends

What a treat.
RENT meets SESAME STREET is not a bad way to describe this hilarious blend of live actors and "muppet-like" characters. Though, instead of learning about the alphabet, these characters are learning about racism, culture, pornography on the internet, self-esteem, unrequited gay love, committment, and the trials and tribulations of being a 20-something and trying to find a career and a mate.

Avenue Q's transfer from the Broadway stage (where B & I saw it twice) to The Wynn in Las Vegas was a faithful and flawless one. What few trims and primps done to the Vegas version are barely noticeable. The theatre is gorgeous as well.

We saw The Blue Bear cast, of course, as it had Broadway original cast members Rick Lyon and John Tartaglia. The rest of the cast, including the girl who played Kate Monster, were wonderful.

If you're going to Vegas, this is must see. Even if you don't care for musical theatre, you'll laugh out-loud at mosters obsessed with porn, Gary Coleman as the building super, and full-puppet nudity. But what really makes this Tony-winner a thrill, is the catchy, fun melodies and brillaint book & lyrics. 5 stars all the way.

The Grand Tour

2005-11-04T15:14:00.000-08:00

November 3rd, 2005.
The Colony Theatre, Burbank CA
Musical

The story of a very clever and affable Jewish man trying to escape France ahead of the Nazi's, complicated by falling in love with the fiance of a Polish General as they all try to escape.

Music by Jerry Herman. We went to see this because it's rarely ever done. His music as always is tuneful, bouncy, heart-felt and layered with catchy, singable melodies. And, for this theatre geek, thrilling because we were sitting 4 seats away from him as we watched the production.

Jason Graee is a phenomenal singer and actor, full of charisma and charm and warmth. The man even dances well. And that voice. I'd listen to him sing the phone book. The book to the musical was a little weak, but the casting made up for it. I over heard a women behind me say she was friends with Jerry, and he'd told her this was the best cast the show has ever had. I can certainly believe that. Not sure we'd go see it again with out star-turns, but it was a great evening.

Gorey Stories

2005-10-29T14:57:00.000-07:00

October 28th, 2005
Sacred Fools Theatre, Hollywood, CA
play, with a song or two

Taking the macabre and fanciful tales of author/artist Edward Gorey, and spinning them into laugh-out-loud entertaining theatre is no small feat ("A is for Amy who fell down the stairs, B is for Basil assaulted by bears...").

It helps that we love Edward Gorey's delightfully odd sense of humor. The costumes were wonderful, all done in pale grays and blacks, whites and offwhites, and adding to the gothicly humorous tone. Everyone was well-cast. The Art direction was superb. What a fun evening! Shame it can't be a Halloween tradition.

On the Town

2005-10-02T14:55:00.000-07:00

October 1st, 2005
Reprise! Broadway's Best
UCLA's Freud Theatre
Musical

Hard call, but this may be the best thing we've seen at Reprise. As usual, solid voices, but what truly made the difference was that the actors were larger than life characters. Yeah, it's the same musical made into a movie with Gene Kelly, Frank Sinatra, Betty Garret and Ann Miller. It's just a fun story.

I'm not always a fan of Comden/Green (B & I were two of very few who didn't care for "Wonderful Town" on Bway), but this production was just so much fun, so well done. "On the Town" has better music (than Wonderful Town), cavorting handsome sailors, great singing, really funny women and character actor roles, and really appealing music, especially the duets and group numbers.

A cast of Stand-Outs: David Elder as Gabey (Gene Kelly role)... what a beautiful voice. We saw him sing The Look-Out role on Broadway in Titanic (No Moon....). He was ideal. And not hard on the eyes either. David Brouwer as Ozzie was freakin' hilarious, esp. when he was paired with Tami Tappan Damiano (Claire). I honestly can't imagine the song "Carried Away" ever having been done better (I'm very careful when I say things like that). Dynamic actor too. And Bets Malone as Hildy was full of charm and chutzpah, with a strong belt. And I can't leave out Broadway's Kate Levering as Ivy, who was charming and sweet.

Dead End

2005-08-31T12:49:00.000-07:00

Aug 30th, 2005

The Ahmanson Theatre, Los Angeles

Play, went with Troy

For starters, fantastic 4-story set, mimicking two or 3 brownstone buildings in New York City, replete with the East River (they filled in the orchestra pitt with 10,000 gallons of water!). Plot: NYC residents struggle to live and survive amidst disease and lack of social welfare and programs that help the poor. The origin of "The Dead End Kids."

The sets, cast and costumes, as well as its historical relevance, was better than the actual play itself. The actors who played the kids were surprisingly natural, and we got a kick out of watching them splash the front row. And Jeremy Sisto was wonderful yet again.

The Ghost & Mrs. Muir

2005-07-22T10:48:00.000-07:00

July 21st, 2005
NoHo Arts Center, North Hollywood
Musical, went with Troy and Marty

The story is about a demure and proper widowed woman raising her children by herself with her maid, befriended by a handsome ghost of a sea captain who built the house she bought. Based on the book, which became a movie, and then a TV series.

It's just not there yet. And we were a little underwhelmed by the pairing of the lead actors. Not because their voices lacked. Both James Barbour and Lynne Wintersteller have very strong and lovely Broadway calibre voices, and they can certainly act. No, it was more about casting. Both leads can't feel dour in this storyline. It just doesn't work.

The melodies were very nice, the group numbers tending to be more polished and melodic than the bare-bones ballads. I liked Lucy's ballads more, but thought poor James Barbour got stuck with the blander melodies for his rich and strong baritone.

Lynn has a lovely, rich voice, with strength and control and color. And there was nothing wrong with her acting -- very pleasant and appealing. She just isn't what we tend to expect of this literary character and her arc. She was cast just enough against type to make it hard to put your finger on what is missing.

I think Troy would agree with B and I that DeTurk & Mellon's melodies from Dorian the Musical are much more dynamic and evocative (and fun). But Dorian had more time to evolve also. The writing -- B especially felt some warm, funny and engaging aspects of the sparring of the main characters were completely lost. I agree. This piece is almost humorless. In short, this musical is going some place, but it's not quite there yet.

But there was a great line from it:
"True love is not blind; it sees everything." (James J. Mellon)

Wicked

2005-06-29T13:07:00.000-07:00

June 28th, 2005
Los Angeles, The Pantages Theatre
Musical, with Rachel and Troy

What happened before Dorothy dropped in? A lot.
This musical unravels the backstory of The Wizard of Oz, with Elphaba the Wicked Witch at the center, as well as her friendship with Glinda and the other famed characters of this pop-culture icon. I was one of the few I know who loved the music from the start. And I snickered to myself as I watched snobby critics who first denounced it, then recanted closer to Tony Awards time (they had tons of excuses).

That said, on Broadway it was a five star experience.
I take away one star here for the touring company as there is just no replacing Kristen Chenoweth and Idina Menzel (Tony winner) for me personally.

I am happy to report that they spent a lot of money making the tour a faithful reproduction, and it's thoroughly enjoyable with Stephanie J. Block.

I Am My Own Wife

2005-06-27T12:02:00.000-07:00

June 26th, 2005
Geffen Playhouse @The Brentwood Theatre
Play, we went with Troy

Gay Transvestite in War Time Berlin Miraculously Survives Nazi Germany & The Communist Stazi Against All Odds. The story is fascinating. It won the Tony & Pulitzer prize for a reason (and just about every other award). And there are equally good reasons Jefferson Mays won the Tony Award for Best Actor in a Play. It's a stellar performance with an array of diverse characters... all blossoming out of one man.

Jefferson Mays plays Charlotte Von Mahlsdorf (and also the actual playwright, Doug Wright, and 35 other characters), and takes the rapt audience through the entire story. This is not "drag theatre" or a comic send-up. This is theatre that portrays the encapsulated reality of this small gay man, whose love of music and antiques sees him through an abusive homicidal father, the charges brought against him for murdering his father (to protect himself & his mother), the raining bombs of the allies, the Nazi regime, the Communist Stazi, and even the more recent Skinhead Neo-Nazi insurgence.

Charlotte Von Mahlsdorf (aka Lothar Berfelde) died in 2002, in his 70's. But he survived it all. Including death, in my opinion. Sixty years after the Nazi ordeal, I found this man's love of music to be a small bridge of relatability, and the tiniest point of commonality. Music was definitely the life raft of my adolescence. That it could buoy the spirits of someone surviving the Nazi ordeal is amazing. And I wish I could talk about the amazing photograph at the end of the play.... the one that summed up this man's entire amazing survival, but I don't want to spoil it for anyone going to see it.

Once again, the Geffen Playhouse delivers powerful theatre straight from Broadway to our doorsteps here in Los Angeles.

Stuff Happens

2005-06-08T00:14:00.000-07:00

June 8th, 2005
Mark Taper Forum, Los Angeles
Play, we went with Troy

starring:Keith Carradine (Pres. Bush) John Michael Higgins (Donald Rumsfeld) Julian Sands (Pr. Minister Tony Blair)Lorraine Toussaint (Condoleezza Rice) Dakin Matthews (VP Dick Cheney) Jane Carr (1st Lady Laura Bush) Tyrees Allen (Colin Powell)...and 13 other cast members!

The Mark Taper Theatre's stage is a semi-round venue, and worked so well for when the play needed to recreate the senate, congress, U.N. and Oval Office. The play itself is a chronology of Pres. George W. (Keith Carradine) and the events that led up to the "war on terrorism." Sounds dull? It really wasn't!

Exceptional casting! The gamut of talent played French ambassadors and world dignitaries, as well as British cabinet members and imfamous Americans. The acting was impressive and solid. Embodying famous LIVING people cannot be an easy thing, but this cast made it look easy. The audience couldn't help laughing at Dakin Matthews (King of Queens, Gilmore Girls, Jack & Bobby) as Dick Cheney and John Michael Higgins (A Mighty Wind, Best in Show, Ally McBeal) as Donald Rumsfeld. So funny! In fact, although a serious play, the tone was leavened regularly with not only the unintensional humor of George W, but with everyone's reactions to him.

The play, written by accomplished Brit playwright David Hare, captured Bush and his cronies, as well as the way they are/were viewed abroad, using scenes of direct address and quoting rousing and surprising speeches verbatim, and when necessary some researched and insightful imagination for "behind closed doors."

I wish everyone could see this imporant and thought-provoking play.

"Stuff Happens" may make you openly boo, hiss, cheer or even cry, but it will also remind you of why this 2,500-year-old art form remains the best way for human beings to collectively experience and contemplate the effects of war." --James C. Taylor, LA Times

Applause

2005-05-11T09:35:00.000-07:00

May 10th, 2005
Reprise! Broadway's Best
UCLA's Freud Theatre
Musical

Sheryl Lee Ralph (Thorouhly Modern Millie, Dream Girls) was so well cast in this musical version of "All About Eve." Every moment this women is on the stage, you think Diva, but only in the warmest, most commanding and talented sense of the word. We saw her in Millie twice, and she just takes the stage. I can't really imagine anyone who has previously played Margo being any better (I say that very quietly).

Another strong cast: Kevin Chamberlin (Seussical, Triumph of Love, Company with Reprise), Jean Louisa Kelly (again!), and Veanne Cox (whom we'd seen in Caroline or Change, and you might recognize from Disney's TV movie version of Cinderella with Brandy and Whitney).

I didn't know most of the music ahead of time, and after the production, it really made me want to run out and buy it (even with Lauren Bacall singing). Sets were effective and nice.

We left with that tingle that erases the longing to fly to NYC. I love Reprise.

We Will Rock You

2005-04-30T13:07:00.000-07:00

April 29th, 2005

Las Vegas, The Paris

Musical

Well, there wasn't a lot playing in Vegas at this time. So, since B & I loved Queen, we thought, despite all the bad reviews, why not?

This is definitely a niche Juke-box musical.
Outlandish, and definitely not taking itself seriously, and critics felt likewise. It was solid (though long) when we saw it, with some notable improvements from the London roster of songs. I gave it an extra half star above solid/okay because the voices were brilliantly cast & very enjoyable, and the band reproduced Queen's unique sound faithfully (we were so happy about that).

That said, I probably wouldn't see it again. Personally, I think it's just for people who love musical theatre, and want to experience the gamut. We had a great time and already love the music, so we overlooked a lot for the sake of a good time. Enough said.

Pippen

2005-01-26T10:14:00.000-08:00

January 25th, 2005
Reprise! Broadway's Best
UCLA's Freud Theatre
Musical

This production did not disappoint, and kept its 1970's feeling in a tongue-in-cheek way. Everything about this staging worked.

Standouts: Mimi Hines -the Queen, she was amazing, and Conrad John Schuck as the King was very appealing, as was Jean Louisa Kelly yet again, and Luba Mason. But Michael Arden (of BARE fame), fresh off doing this in NYC for a benefit, was truly the soul of the show as Pippin (as he should be). He was amazing. Fantastic voice. A matured and charming Sam Harris (a fantastic showman) played the delightful "Leading Player" role (Ben Vereen's role). This production was very well cast. I'd never seen this production on stage, and I am so happy that this was my first production of it. Strong, vibrant performances, very entertaining.

Big River

2005-01-24T12:12:00.000-08:00

Jan 11th, 2005
The Ahmanson Theatre, Los Angeles
Musical, went to see it with Troy

Possibly the best production we've seen since moving to L.A. in FEB 2004 (and we've seen plenty!). And better than at least 3/4 of the 40+ things we've seen on Broadway.

Beautifully cast with strong voices and stage presences, sets, costumes, etc. And it was a rare and wonderful treat to hear Daniel Jenkins (the original) sing Huck.

The original Broadway cast is one of our favorites. How could anything compare? But it did. This was a phenoninally well-done production.

Caroline, or Change

2004-12-24T15:33:00.000-08:00

December 23rd, 2004
The Ahmanson, Los Angeles
Musical

Starring Tonya Pinkins, and the entire original Broadway Cast, give or take a few.

I rarely write a review this long, but I feel like my perspective is not one I've really read in print, so here goes.

It was great to get to see the original cast of this very creative and unique show. I especially liked the actress playing The Moon… she was amazing… the one and the same who sang “Aquarius” in the opening scene of the movie version of “Hair.”

Caroline’s daughter was absolutely wonderful (Anika Noni Rose, who WON the Tony for best supporting… amazing voice…). The Jewish family she works for…the mother (Veanne Cox) and the son especially were strong presences. A lot of characters surround Caroline.

The following is just my opinion, and it's going to differ wildly from all the critics falling all over themselves to laud this musical.

No truly memorable songs or melodies.
But if you listened to the cast CD, it would very likely grow on you, because parts are pretty and lovely and fun. It’s just that these pretty and lovely and fun parts are strung together by continuous, forgettable sing-songy bridges with odd choices. I always hate when the melody goes a direction that’s so opposite any kind of resolve… so that it stands out, and just kind of hangs there uncomfortably… somewhat like the discordant note at the end of “Music of the Night”…. but different in that this musical is riddled with these bastard notes that don’t feel right. You hear them and it takes you a second to tell if it’s the singer goofing it up, or if it’s intentionally in the score. Still, there were a couple songs I wanted to hear again.

The other thing that I didn’t like about the music… is that two or three times during the musical, characters would sing their individual songs, and then come together and sing them all at once. This only works with a brilliant composer at the helm. It didn’t work during this musical because the songs weren’t crafted in a way that they fit together. And they did it at least three times.

The actress playing Caroline is very good, convincing. It's a very honest performance. But I can tell you at least 3 other amazing, power-house black women of Broadway who could have ripped that part a new one (Lillias White, for starters). So, nominated for a Tony… sure. She sang her heart out. But the part only requires that an actress be grumpy, sullen, resentful and angry for two hours. There’s no range required for this character. No arc either. That’s intentional, and part of the message… everyone around her changes, but she stays the same.

Tonya has a very hollow and mournful quality about her voice that was really nice. And also, when she sang plainly, her voice was pure and soft. And having seen the musical now, I have to say that the song she performed on The Tony Awards… her emotional climax of the entire musical… is hands-down the worst song of the entire show (for me).

The sets were minimal, and just like the characters, they mingled and floated in and out together (the moon sang from inside a giant moon) –sometimes there would be three different sets on stage at once, and it all really worked well.

The kids were really strong in the show and gave the show some energy. Jewish or black caricatures were avoided, which was nice, and the plot didn’t take a big cliché turn that I was waiting for. So, as a piece of theatre, it was unique and creative and enjoyable.

But in the end....
the music didn’t grab us. Once again, I am on the lonely fringe of theatre-goers whose views are in sharp contrast to the masses. But like I said to B, people will applaud and give ovations to any production that can make a convincing noise these days. I’d say that this production was equal parts “take your medicine like a good boy” and “hey, good theatre.”
In retrospect, I liked it more than B, and I'd also like to see it with a different cast.

Paint Your Wagon

2004-12-13T11:58:00.000-08:00

December 12th, 2004
Geffen Playhouse at The Brentwood
Los Angeles
Musical, went with Troy

We actually enjoyed the playfulness of this western musical. It was fun. And it was fun to see someone we knew in the cast. The problem with reviewing old musicals is viewing them as historical and taking them for what they are, not ranking on them for not being modern. I don't know that this one will ever come back to Broadway, but there were some fun songs and the singing and acting were great.

The plot... er, well, young fillie falls for Native American, and Papa Don't Preach, and throw in a mormon, and there's gold in them thar hills, and happy ending. Yup. That's about it.

It gets an extra half a star, making a total of 3, because of the singing and solid casting.

Take Me Out

2004-11-01T10:34:00.000-08:00

October 31st, 2004
Geffen Playhouse at The Brentwood Theatre
Play, went with Troy

One of the most brilliant (and surprising) productions we've yet seen.

Since B & I saw it on Broadway, we weren't expecting to be bowled over. But, I have to say (and do so very quietly) that this production bettered the original Broadway cast.
It's about a baseball player, who comes out of the closet, and then expects everyone to be as nonchalant about his actions as he is, not realizing the ripple effect he has on people. The play is powerful, riveting, gripping, touching, funny, scary and hopeful all at once.

Here are the major differences, for anyone who saw the Broadway production. Jeremy Sisto as Shane, for one. He blew us away. He was much more menacing and ominous than we expected, and it changed the dynamic, all in good ways. A threatening "villian" is much more powerful than a confused and desperately ineffectual one.

Also, in this version, we could feel real warmth from Darren (the central character), and also from his relationship with his accountant. The added chemistry worked really nicely. You didn't feel like Darren was just tolerating and toying with him, but genuinely liked him. This really changed the implicit meanings behind their final scene to one of true friendship.

5 stars for an evocative and fascinating play by Richard Greenberg.

Dorian the Musical

2004-10-22T11:24:00.000-07:00

October 21st, 2004
NoHo Arts Center, North Hollywood
Musical, we went with Troy

The Oscar Wilde book becomes a musical, but is now set in turn-of-the-century New Orleans, which works beautifully for the spiraling decadence of Dorian's decline. Throw in some inter-racial romance, a nude scene, lots of Mardi Gras color, unrequited gay love and a spooooky painting, and you have an intriguing night of theatre.

The reason for the half star: 3 words: Max Von Essen. Seeing him reprise this role was a real thrill. Though the musical was a bit over-long, our attentions didn't wane because the music itself held our attention. Strong, catchy songs, good melodies with beautiful harmonies and solid singers. And I can't forget to mention seeing Armelia "Ain't Misbehavin'" McQueen. She was wonderful --her stage presence filled the little 100 seat theatre.

Bottom line: the musical needs polish, but far lesser productions end up on Broadway. Great evening and our first introduction to NoHo Arts Center Theatre.

Brigadoon

2004-08-18T17:16:00.000-07:00

August 17th, 2004
Reprise! at UCLA
Freud Theatre
Musical

Marin Mazzie and Jason Danielly. Husband and wife Broadway faces familiar to the New York scene, but not sure how many people in L.A. appreciated what they were seeing. Stellar voices, solid actors.

Fun casting of the 3 leads, Jason, Marin and Larry Cedar as Jeff. It was a wonderful opportunity to see a classic cast with such strong leads. Jason and Marin (whom we'd seen in 110 in the Shade in Pasadena just months earlier) were so charismatic and fun to watch. And personally, I could probably listen to Jason sing the phonebook.

A Little Night Music

2004-07-22T14:29:00.000-07:00

July 28th, 2004
L.A. Opera, Dorothy Chandler Pavilion
Musical, went with Troy

Hands down, one of the best Sondheim productions we've seen anywhere. It's a charming musical to begin with (Sondheim calls it Whipped Cream with Knives, lol). Add Judith Ivey, Victor Garber, Zoe Caldwell, Laura Benanti, Michele Pawk, Danny Gurwin and Mark Kudisch and you have a stellar evening of Broadway calibre Sondheim. I suppose one should expect this from The Los Angeles Opera at The Dorothy Chandler Pavilion.

Judith Ivey (whom I guiltily admit I didn't know had a competent singing voice) played Desiree to the hilt, with a kind of diguised southern charm always present. It was very effective. Desiree has to be charming and bigger than life. She can't be prim, proper and small. Victor Garber and Mark Kudisch captured your attention whenever on stage.

The set was sparse, but we just didn't care; we were to enthrawled with the songs and voices no notice.

It won Best Direction, Costume and Sound at The L.A. Drama Critic Circle Awards.

110 in the Shade

2004-06-23T16:30:00.000-07:00

June 22nd, 2004
Pasadena Playhouse
Musical

I'm not a fan of The Fantastiks, so I wasn't expecting a lot musically from this one. It's the musicalization of the play, The Rainmaker, and it starred the wonderful Jason Danielly (we'd seen him on Broadway, in the original cast of The Full Monty) and Marin Mazzie.

We both found the casting (including Tom Wilson, Adam Wylie and Lyle Kanouse) to be very solid. There was a true feeling of family unit, and a sense of connection. Jason Danielly as Starbuck was very charismatic, and his voice was wonderful as always. Ditto for Marin Mazzie (his wife in real life, and a Broadway light in her own right).

I didn't fall in love with the music, but it was better than The Fantastiks. This production gets an extra half star, making it total 3 because of the stellar cast and a very artsy set that we liked. I don't think we'd see the musical again though. But Jason and Marin were wonderful.

Thoroughly Modern Millie

2004-06-18T19:53:00.000-07:00

June 17th, 2004
The Ahmanson, Los Angeles
Musical, went with Troy and Heather

We had seen Millie twice on Broadway with the original cast, and just loved the musical. It's about as tight a production as you can imagine, and I tend to agree that it deserved the Tony Award that year, as did Sutton Foster, the original Millie.

The touring production is noticeably scaled down, costumes, set, cast. But I have to say, Darcie Roberts did not disappoint. I still love Sutton's vocals, but Darcie gave Millie a sort of Carol Burnett physical comedy edge that was new and fresh. And Darcie's vocals were certainly appealing and strong. But it was her comedic timing and sense of fun with the character that won me over.

I'd have given it another star if the actress playing Mrs. Meers had been stronger (and the right age range), and if the production values had been truer to the Broadway production.

Company

2004-06-04T13:05:00.000-07:00

June 3rd, 2004
Reprise! Broadway's Best,
UCLA's Freud Theatre
Musical

This is one of my absolute favorite musicals, and when we heard we were going to see Christopher Sieber in it, we were thrilled. He did not disappoint!
The supporting cast was solid. Louise Kelly as Amy was the real stand-out. She nailed "I'm Not Getting Married." Not an easy song.

I have to note that this is one of our first professional productions since moving to Los Angeles, and and we were so happy to see Broadway faces after moving from the East Coast. Reprise clearly cares about bringing Broadway to the West Coast. We are excited for future productions. Voices are clearly important to Reprise. I can't wait to see their next!

The Royal Family

2004-04-14T18:03:00.000-07:00

April 13th, 2004
Ahmanson, Los Angeles
Play

This was our first real production in Los Angeles, and we were beyond happily surprised. With a cast like Kate Mulgrew, Charles Kimbrough and Marian Seldes, it was more than solid. The set was just over-the-top-gorgeous. Used to scaled back sets on Broadway, we were visually overwhelmed.
The play is described as follows:

"A fond and engaging send-up of the more legendary aspects of the off-stage life of the famous Barrymore family, The Royal Family has become a classic of the American theatre ever since its premiere in 1927. The Royal Family tells the uproarious story of the Cavendishes, an old and celebrated “First Family” of the theatre. It is a warmhearted and knowing portrait that lives and breathes in the grand tradition of the stage.... a rich story of a family whose love for the theatre was so great that it could not possibly get the greasepaint out of its blood."

The play was light-hearted and frisky, and often very funny. Kate Mulgrew was wonderful.

A rather appropriate beginning for what we hope will be a long and fruitful relationship with theatre in Los Angeles.