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As I’ve gotten older, my eyesight has deteriorated to the point I need glasses. When you wear glasses, you become acutely aware how the lens you see something through affects how you look at that object. This lunchtime post brings together a few articles and topics, all about how the lens you view through changes your perception:

  • Our View of the World. Most of us have our idea of the spatial relationships of the world from the Mercator Projection map, which goes back to 1589. This map was designed for navagators, and it was important to get where the countries were in relation to each other.  Size and proportion, less so.  Realize that any map is a projection, taking a portion or the entirety of a spherical surface, and making it flat. The distortions may be minor when this is done for a city, increase as you move from a state to the country, and are magnified for the world. The Mercator is a particularly bad projection. As Wikipedia notes: “It became the standard map projection for nautical purposes because of its ability to represent lines of constant course, known as rhumb lines or loxodromes, as straight segments that conserve the angles with the meridians. Although the linear scale is equal in all directions around any point, thus preserving the angles and the shapes of small objects (which makes the projection conformal), the Mercator projection distorts the size of objects as the latitude increases from the Equator to the poles, where the scale becomes infinite. So, for example, landmasses such as Greenland and Antarctica appear much larger than they actually are relative to land masses near the equator, such as Central Africa.” This also means that the size of *white* areas — Europe, Russia, America — are enlarged and the size of non-white areas are smaller. This can influence one’s understanding of power dynamics, and so some alternate projections have come in the news to address this. In Boston, they are using the Peters Projection, which stretches out the world in order to give each continent a proportionally accurate amount of room. On the Peters, Canada—so huge on the Mercator—shrinks to its proper size, while Africa, which the Mercator shows shrunk and jammed beneath a too-large Europe, stretches out. In Japan, a design competition has brought us the AuthaGraph Map, where continents curve upward like a smile. Africa and the Americas look like they swapped places, longitude and latitude are no longer a tidy grid, and proportions of continents and bodies of water are retained. All of these cause discomfort for Euro-centra or America-centric — really, white centric — for they emphasize the reality of the smallness of Europe and America.
  • Transit Maps. No article here, but a similar distortion of view comes from transit maps. Transit maps are often drawn stylized, showing stations in relationship to each other, but with a grid that may not accurately reflect the distance between stations, or how stations relate to the geography of the city. This can often result in travelers believing a distance is walkable when it isn’t.
  • The Meaning of Art. We tend to believe that the meaning of an artwork is independent from where that artwork is located. But that’s not always true. Consider the “Fearless Girl” statue in NYC. This statue — which was part of an advertising campaign — was placed in proximity to the private artwork “Charging Bull”. This bothered the artist behind bull as it changed the meaning of his piece… and the location was specifically chosen by the “girl” artist because of the meaning the bull gives. But, as the article points out, replace the bull with a group of immigrant families, and the meaning completely changed. “Girl” is a piece that gains meaning from its surroundings.
  • Men’s Magazines. The LA Times recently had an article on the attempted rebirth/resurgence of Penthouse Magazine. But what caught my eye was one exchange: «“I don’t wish the bunny ill,” Holland said. “But I’ve seen it make bad decisions for so long.” She cited Playboy’s decision two years ago to stop running nude photos in its magazine, only to reverse that decision earlier this year. “We are defined by Playboy and Playboy is defined by us,” she said. “I respect iconic brands.”» Penthouse is defined by Playboy. Playboy was borderline acceptable; Penthouse when across the line to raunchy, and Huster went to the strip club around the corner. A fascinating definition, but quite common. Look at Conservative Judaism. Rarely is it defined for what it is, but that it is somewhere in the middle between Orthodox and Reform. Again, we are defined by what is around us.

Can you think of additional examples?

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Sister Act (Cabrillo Music Theatre)Cabrillo UserpicTen and a half years ago we were subscribers at the Pasadena Playhouse (FB) when they presented the premier  of a troubled new musical, Sister Act. At the time, we could pinpoint a few suggestions, but overall, we enjoyed the musical, stating, “Wow! Call out the choir and sing it to the rafters, because this show has success written all over it.” (this was, of course, before I had realized that “Wow!” was trademarked by another professional audience member in Southern California). We had no problems with either the book by Cheri Steinkellner (FB) and Bill Steinkellner (FB), nor with the music by Glenn Slater (FB), nor with the lyrics of Alan Menken (FB). In fact, we looked forward to the cast recording. Since that November day, this little musical went off to Atlanta and then to London, where it had cast member changes, and saw extensive reworking of the book by Douglas Carter Beane. It got a cast recording, and then went off to Broadway — with some more book changes and song changes. It opened on Broadway, got some Tony nominations, but didn’t get a new cast recording. It went on tour, and came to the  Hollywood Pantages (FB) … where we didn’t see it, because we had seen it in Pasadena. A few years after that, it was released for regional productions, and Cabrillo Music Theatre (FB) picked it up for this season. This is a long way of saying that last night saw us in Thousand Oaks, revisiting the delightful musical Sister Act, and still wishing for a cast recording that had all the songs in the show in it.

Since we saw the show in Pasadena, some character names have been changed. A few songs have been added, and some have been dropped.  But the basics of the plot, which go back to the 1992 movie, have remained the same: black jive lounge singer witnesses a murder and turns police informant, and needs to go in hiding from her crime gang boyfriend. The police decide to hide her in a fading Catholic Church, amidst a superfluity (gee, and I thought the term was gaggle) of nuns. Mostly white nuns. Yeah, she won’t stand out at all. In any case, the Mother Superior objects and the two clash like oil and water. But this of course is the movies (and later, the theatre), so they must learn to love and appreciate each other. In this case, it happens by our nun-in-hiding taking over as choir director, and teaching the other nuns to repurpose 1950s and 1960s pop songs as Catholic anthems (and which, since that can’t be done in the theatre, to develop new songs that sound like 1950s and 1960s pop anthems but are not). These new songs bring new people into the church and save the church from being sold and the nuns dispursed. They also bring the spotlight to the church, leading the gangster boyfriend and his, umm, gang to figure out where the nun-in-hiding is hiding. A chase then ensues, which in the movie takes place in Las Vegas, but since the Las Vegas set was stolen by the gang from Honeymoon in Vegas, the theatre chase takes place in the nunnery itself. But in the end, everything comes together: the convent is saved, the Mother Superior and the nun-in-hiding grow to appreciate each other, the nun-in-hiding falls in love with the cop-who-hid-her (who had a crush on her in high school — fancy that!), and the gangsters, as in any show, turn into song-and-dance-men.

So what rewriting was necessary? Think of the plot as a skeleton. A certain series of adaptations were made to put the plot on the big screen. Not all of those work when one translates to the more limited stage, and so that movie plot was reworked for the first stage version. But there were rough spots still. Some songs didn’t work. Some points that may have been clear before — in particular, whether the conversion of the nun-in-hiding, Doris Collins → Deloris Van Cartier → Sister Mary Clarence, was a religious one or just an appreciation. Some character names were changed to — well, I don’t know why, perhaps to make them more stereotypical. The humor was punched up to a form that works better on the stage. The general consensus is that the changes worked — they made a better show. I do know they removed one song I liked from the London cast album, pretty much for logical consistency: the nuns sounded too good singing it, and it was before they were supposed to start singing well.

This is where the compare and contrast comes in. There probably aren’t many audience members that saw it in both 2006 and 2017. We did. We liked it then, and we liked it now. I think that, in general, they improved the story, tightened the songs, and created a production that worked. Further, Cabrillo executed that new production well, under the direction of Misti B. Wills. Wills created the cohesive whole of the cast, bringing them together to create a family that shows to the audience: these nuns really care about what they are doing and each other. That’s a key aspect to this story. She also helped them play for the humor. In fact, the show was so funny we had some folks behind us constantly saying, loudly, “Gee, that’s funny!” But I digress (they were also crushing their water bottles, whistling in my ear during the curtain call, and screaming that everyone should stand up, they were so good). Theatre newbie audiences. Sheesh.

Sister Act - Cabrillo - CastOne of the strengths of this production is the cast. Let’s start at the top, with our nun-in-hiding, Deloris Van Cartier → Sister Mary Clarence. I enjoyed the original, Dawnn Lewis, and I can imagine how strong Patina Miller (FB) must have been on Broadway (but, alas, she’s now been shuffled off to a desk job in the State Department), but Daebreon Poiema (FB) was spectacular. She had the comic chops, the dance moves, the personality, the look, and most importantly, the killer voice to take and own this role. I could name some numbers, but she is great in all of them.

Our group of thugs was led by Dedrick Bonner (FB) as Curtis, supported by David Kirk Grant (FB) (Joey), Kenneth Mosley (FB) (TJ), and John Paul Batista (FB) (Pablo). Their roles, alas, are written very shallow and stereotypical, but the script is what it is. They do their best with it, shining in numbers such as “When I Find My Baby” and “Lady in the Long Black Dress”.

The savior of Deloris — no, not that savior, the other savior (Officer Eddie Souther) — is portrayed by Wilkie Ferguson III (FB). Ferguson expressed a very pleasant, and affable personality that interplayed well with Deloris; he also did a very nice job with “I Can Be That Guy”.

The named members of our murder of nuns — wait, murders are for crows, who also dress in black — our superfluity of nuns were Cabrillo regular David Gilchrist (FB) as Monsignor O’Hara, Debbie Prutsman as Mother Superior, Francesca Barletta (FB) as Sister Mary Patrick, Karla J. Franko (FB) as Sister Mary Lazarus, Hallie Mayer (FB) as Sister Mary Martin of Tours, and Chelsea Morgan Stock (FB) as Sister (Novitiate) Mary Robert. Gilchrist, as usual, played the comedy well — we’ve seen him in quite a few roles now, and he is just a great character actor. Prutsman made a strong Mother Superior and played off Poiema quite well, especially in the opening scene of Act II and the reprise of “Sister Act”. Barletta, who again, we’ve seen many times, brought great humor and the requisite sillyness to Sister Mary Patrick (the original Kathy Najimy role). Franko’s Mary Lazarus has the requisite crustiness and handled the rap chops quite well. Lastly, Chelsea Stock, who astounded as Sister Mary Robert. Who knew such a big voice could be in such a small package? To quote Steve Stanley, “Wow!”.

The remaning roles in the production were handled by the expert ensemble that consisted of Terri K. Woodall (FB) [Michelle, Ensemble], Fay James/FB [Tina, Ensemble], Ron de la Peña MD (FB) [Ernie, Pope, Ensemble], Bernadette Bentley (FB) [Ensemble], Jacob Byrd/FB [Ensemble], Gwen Carole (FB) [Ensemble], Amanda Carr/FB [Ensemble, Dance Captain], Zy’heem “Z” Downey/FB [Ensemble, u/s Pablo], Jenna Elise (FB) [Ensemble], Catriona Fray (FB) [Ensemble], Erin Grandelli [Ensemble], Lakeisha Renee Houston (FB) [Ensemble, u/s Deloris], Alyssa Noto (FB) [Ensemble], Katie Porter (FB) [Ensemble, u/s Mary Patrick], Rile Reavis (FB) [Ensemble], Shanta’ Marie Robinson (FB) [Ensemble, u/s Michelle], Dana Shaw (FB) [Ensemble, u/s Mother Superior], Marie Spieldenner (FB) [Ensemble], Tyler Stouffer (FB) [Ensemble, u/s Joey], Natalia Vivino (FB) [Ensemble, u/s Mary Robert], Kendyl Yokoyama (FB) [Ensemble, u/s Tina], and John Gaston [Pit Singer]. Of all of these, just a few notes, as they were all great — but also hard to distinguish. We always enjoy seeing Vivino on stage ever since first seeing her in Addams Family. She will make a great Mary Robert if she gets the chance. A shout-out to Ms. Bentley, who is a friend of a friend of ours on FB and a wonderfully creative cosplayer. Also notable is Jenna Elise for her dancing and movement skills; she caught my eye in the one number where she was out of the habit.

Music was provided by the Cabrillo Music Theatre Orchestra, under the direction of Kyle C. Norris (FB). The orchestra consisted of: Gary Rautenberg (FB) [Alto Sax, Clarinet, Flute, Alto Flute]; Matt Germaine/FB [Tenor Sax, Flute, Clarinet]; Bill Barrett [Trumpet I, Flugelhorn]; Chris Maurer/FB [Trumpet II, Flugelhorn]; Mike McCully [Trombone]; Gary Solt [Electric and Acoustic Guitars]; Benjamin Ginsberg/FB [Keyboard Synthesizer I]; Ryan Whyman [Keyboard I]; Shane Harry/FB [Electric and Double String Bass]; Alan Peck [Set Drums]; and Tyler Smith/FB [Percussion]. Darryl Tanikawa (FB) was the Orchestra Contractor. The orchestra was produced by Tanikawa Artists Management LLC.

Dancing and movement was choreographed by Michelle Elkin (FB), and was mostly 1950s and 1960s group dance movement, as opposed to the more intricate ballet we saw recently in An American in Paris.  What is more note-worthy is that Elkin was also the choreographer back in 2006 for the Pasadena Playhouse production.

Turning to the production aspects: Sets were provided by The Music and Theatre Company (FB), which was newly released for production this year. Costumes were provided by the Tuacahn Center for the Arts (FB) in Utah; additional costumes and designs were by Helen Butler. Daniel Robles designed the hair and wigs, and Trina White designed the makeup. Cabrillo regulars Christina L. Munich (FB) and Jonathan Burke (FB) did the lighting and sound design, respectively. Alex Choate (FB) designed additional props. Rounding out the credits were: Jack Allaway, Technical Director; Art Brickman (FB), Production Stage Manager; Richard Storrs (FB), Marketing Director; David Elzer/Demand PR, Press Representative; and Will North (FB), Managing Director.

Sister Act: The Musical plays for one more weekend at Cabrillo Music Theatre (FB). Tickets are available at the box office and through Ticketmaster. Discount tickets may be available through Goldstar.  It is a very enjoyable show.

 🎩 🎩 🎩

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

Upcoming Shows: The last weekend of April brings the Renaissance Pleasure Faire on Saturday, and the new musical The Theory of Relativity at Harter Hall/Charles Stuart Howard Playhouse (FB) on Sunday. Lastly, looking to May, the schedule shows that it starts with My Bodyguard at the Hollywood Pantages (FB) the first weekend. It continues with Martha Graham Dance and American Music at the Valley Performing Arts Center (VPAC) (FB). The third weekend brings the last show of the Actors Co-op (FB) season, Lucky Stiff, at Actors Co-op (FB). May concludes with Hello Again at the Chromolume Theatre (FB), and hopefully Five Guys Named Moe at Ebony Repertory Theatre (FB).  As for June? Three words: Hollywood Fringe Festival (FB). That, barring something spectacular cropping up, should be the first half of 2017.

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Musicals in LA, @ This Stage, Footlights, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves. Note: Lastly, want to know how to attend lots of live stuff affordably? Take a look at my post on How to attend Live Theatre on a Budget.

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Over the last week or so, a number of interesting history articles have been tossed across the transom. Here are some I thought you might find of interest:

You can thank me later.

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This has been a busy busy week, and I haven’t had a chance to work on clearing out the news chum until now. This first collection is all computer related:

  • Going Phishing. Hopefully, you’re all cyber-aware. You know not to trust links in email you receive. You’ve been trained to look at where a URL goes before you click on it. You know not to click on links in email; you’ll copy the link and paste it into your browser bar. You know not to trust sites that aren’t the well-known version. But https://аррӏе.com is safe, right? Right? RIGHT? Actually, no. It may look like it reads “apple”, but that’s actually a bunch of Cyrillic characters: A (а), Er (р), Er (р), Palochka (ӏ), Ie (е). The security certificate is real enough, but all it confirms is that you have a secure connection to аррӏе.com – which tells you nothing about whether you’re connected to a legitimate site or not. This is what is called a homograph attack. It is something that can fool the best people, even if you hover over and check the link before browsing — unless you’re using IE or Edge or Safari. Ars Technica has even more information, but the short and skinny is: If you use Chrome, make sure you’re at Chrome 58 or later; if you use Firefox, enter “about:config” in the address bar, agree to the displayed warning, and then enter “punycode” in the search box to bring up a line that reads network.IDN_show_punycode. Next, double-click the word “false” to change it to “true.” From then on, Firefox will display the “dumb ascii” characters and not the deceptive, encoded ones.  I’ve done that, and now I see xn--80ak6aa92e.com when I hover over the link.
  • Secure Coding. I grew up programming in Fortran, PL/I, Algol 68, RSTS/E Basic, and C. Except for perhaps Fortran and C, the rest are mostly dead. Today, kids program in C++ and Java — but they aren’t necessarily writing better programs. But following good standards can help. Here’s a link to a discussion on how to do secure coding in C++.
  • iPod without iTunes. If you are like me (and fewer are), you use your iPod for all your music (and you plan on adding more this Record Store Day). But do you backup your iPod? I do — via iTunes to my M: drive, and I back that up on my X: and W: drives and on a backup iPod. But most don’t — and most abhor iTunes. Here’s how to backup your iPod without using iTunes. I’ll not that I’ve used copytrans in the past (especially before I just kept everything in iTunes), and I’d recommend it.
  • Never Too Late. As I’m typing this, iTunes is playing “Never Too Late” (to tell the Truth) from Scottsboro Boys. If you’re like me, and like to tell the truth, you’ll be happy to know that Snopes is now embeddable.  Here’s an example of an embedded article:
  • Decluttering Apps. If you’re like us, you need to declutter. The NY Times recently had a review of a number of apps that will help you do just that.
  • Pushy Microsoft. Microsoft is continuing to push people to subscribe to Office 365. The latest is restricting the ability to use Skype for Business and One-Drive if you are using a Microsoft Office Standalone Office product. You’ll see more and more products insisting on the subscription model: Adobe, Quicken, Microsoft, ….

 

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I’m still working on clearing out the news chum, now that I’ve done some cleaning of the house. Looking over the news chum, I think I can theme this bunch by relating them all to parts of the body:

  • Your Head. Ever wonder if you’re depressed. Here are 7 common symptoms of depression. Remember that depression, if left untreated, can be devastating. If you exhibit symptoms, talk to someone — friends, your doctor, a trained psychologist. But don’t try to do it alone.
  • Your Mouth (Part I). Have you ever wondered why dentistry is a separate specialty. This article explains why. Basically, blame your barber. Dentists were a trade. Doctors were a profession. At one time, the dentists tried to be considered medical. They approached the physicians at the college of medicine at the University of Maryland in Baltimore with the idea of adding dental instruction to the medical course there, because they really believed that dentistry was more than a mechanical challenge, that it deserved status as a profession, and a course of study, and licensing, and peer-reviewed scientific consideration. But the physicians, the story goes, rejected their proposal and said the subject of dentistry was of little consequence. As a result, dental insurance is often even harder to get than health insurance (which is not known for being a cakewalk), max out of pockets and payments are lower, and dental problems left untreated worsen, and sometimes kill.
  • Your Mouth (Part II). Using your mouth — that is, asking person-to-person — is 34 times more effective than asking for something via email. For the new study published in the Journal of Experimental Social Psychology, researchers Mahdi Roghanizad and Vanessa K. Bohns instructed 45 participants to each ask 10 strangers to fill out a survey. Half of the volunteers sent their requests over email while the other half found people to ask in person. Both groups used the exact same wording when reaching out to strangers. The experiment showed that the face-to-face requests were 34 times more likely to garner positive responses than cold emails alone. The results vastly differed from the participants’ expectations: Both groups guessed their methods would be equally effective, saying they’d find success about half the time.
  • Your Nails. Here’s a neat infographic on the chemistry of nail polish. Polymerisation, thixotropic agents, solvents and thermochromism are all terms you might expect to hear more frequently in a lab than in a nail salon, but they can all crop up in relation to nail polish. When you read this, ask yourself: is using all these chemicals good for me?
  • Your Heart. More precisely, Follow Your Heart, an ages-old natural food store in Canoga Park. They invented Vegenaise. Here’s their story. They started as a small store in 1973 (back when Lindberg Nutrition was the definition of health food). They would go on to become a global natural-foods brand, raking in $50 million in sales last year. Along the way, owners Bob Goldberg and Paul Lewin — hippies in the ’70s, like many founders of the movement — would help shape how Americans eat. Their effect is profound: Thanks to them and their compatriots, organic spinach is normal. Whole wheat bread isn’t a rare item.
  • Your Gut. Those with a genetic predisposition to celiac disease don’t always suffer from it. Why? Some scientists believe that a virus or stress point may trigger it. Scientists have been looking at a reovirus. Researchers studying the virus began to suspect otherwise during a series of recent experiments on mice. The scientists had infected mice with two different strains of the virus. The mice given the first strain were fine, as was expected. Their immune systems switched on, but nothing went wrong. The second strain was different. Mice who had been infected with this reovirus—one that commonly infects people, too—began getting sick when they consumed gluten. Their immune systems had switched on, then freaked out.
  • Your Feet. Scientists have discovered why shoe laces become untied. The answer, the study suggests, is that a double whammy of stomping and whipping forces acts like an invisible hand, loosening the knot and then tugging on the free ends of your laces until the whole thing unravels. A better understanding of knot mechanics is needed for sharper insight into how knotted structures fail under a variety of forces. Using a slow-motion camera and a series of experiments, the study shows that shoelace knot failure happens in a matter of seconds, triggered by a complex interaction of forces.

 

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Animaniacs Life (La Mirada)One of my fondest memories of my college days was an event the UCLA Computer Club organized (I have no idea how) when we brought Bill Scott and June Foray in to speak about Bullwinkle. So almost a year ago, when we saw that the La Mirada Performing Arts Center (FB) was bringing in Animaniacs Live, we were sold (and a good thing, because the show did sell out). Last night was the show, and we had a blast.

For those unfamiliar with the series, Animaniacs was part of the resurgence of Warner Brothers animation on TV in the early 1990s, much of it the brainchild of Tom Ruegger (FB). This resurgence started with Tiny Toon Adventures, and continued with the spinoff Pinky and the Brain (a personal favorite) and Freakazoid!.

The new stage show, Animaniacs Live, consists primarily of Randy Rogel (FB) and Rob Paulson (FB) telling stories about the making of the show, and singing songs from the show, backed by a large orchestra (in the show we saw, the La Mirada Symphony Orchestra (FB)).  Rogel was one of the main composers (music, lyrics) of songs on the show; Paulson voice Yakko, Dr. ScratchandSniff, and numerous other characters. Depending on availability, they bring in other principals and voice talent from the show. In the La Mirada shows, this included Jess Harnell (FB) who voiced Wakko, and Tress MacNeille who voiced Dot¹. Also featured were Steve Bernstein (FB) and Julie Bernstein, who were involved in the original scoring of the show and some of the music numbers (Steve conducted the orchestra for a few songs, and Julie provided some background vocals), as well as someone whose name I don’t remember in the orchestra. Additionally, it turned out the both creator Tom Ruegger (FB) and director Andrea Romano were in the audience for our performance.

[¹: When Rogel introduced MacNeille, he said she was the most prolific female voice actor and was behind the most characters. I do beg to differ on that one: I think June Foray was, but I’ll give MacNeille second 🙂 ]

The show consisted of two acts, followed by a question and answer session. During the two acts, Rogel and Paulson sang songs from the show (occasionally along to animated clips), with Harnell and MacNeille occasionally joining them. These four exhibited very different personalities. Rogel and Paulson were as reasonable and normal as anyone associated with animation would be 🙂 — in other words, normal suits, normal personalities, great stories, wonderful rapport with both the audience and each other. This likely befits their nature as actors first. Harnell had an outsized adult personality like a rock musican, coming out in a different glitter suit each time. MacNeille seemed a lot more shy on stage — seeming to prefer her characters more than letting the real Tress out.

I did not keep a full set list, but here’s what I recall. This is certainly not in order:

  • Yakko’s World
  • Yakko’s Universe
  • Wakko’s America
  • I’m Mad
  • The Planets
  • I’m Cute
  • La Dot
  • L.A. Dot
  • History of War
  • A Quake! A Quake!
  • There’s Only One Of You
  • Hello Nurse!
  • Variety Speak
  • Noel
  • Pepper in the Pot (History of the Spice Trade)
  • All the Plays of Shakespeare
  • Animaniacs

One last thing that cracked me up: During the Q&A, Paulson was asked about his favorite thing from the show, and he related Pinky’s non-sequitur reponses. He then asked the questioner to ask him what his was pondering. His response: “If Susan B. Anthony and Ann B. Davis, then who Bea Arthur?”

Still cracks me up.

All in all, a wonderful show. If you get a chance to catch it in your city, do so.

 🎩 🎩 🎩

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

Upcoming Shows: Next weekend brings Sister Act at Cabrillo Music Theatre (FB). The last weekend of April brings the Renaissance Pleasure Faire on Saturday, and the new musical The Theory of Relativity at Harter Hall/Charles Stuart Howard Playhouse (FB) on Sunday. Lastly, looking to May, the schedule shows that it starts with My Bodyguard at the Hollywood Pantages (FB) the first weekend. It continues with Martha Graham Dance and American Music at the Valley Performing Arts Center (VPAC) (FB). The third weekend brings the last show of the Actors Co-op (FB) season, Lucky Stiff, at Actors Co-op (FB). May concludes with Hello Again at the Chromolume Theatre (FB), and hopefully Five Guys Named Moe at Ebony Repertory Theatre (FB).  As for June? Three words: Hollywood Fringe Festival (FB). That, barring something spectacular cropping up, should be the first half of 2017.

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Musicals in LA, @ This Stage, Footlights, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves. Note: Lastly, want to know how to attend lots of live stuff affordably? Take a look at my post on How to attend Live Theatre on a Budget.

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Sometimes, you read an article someone posts, and you just want to write something up. A friend of mine, who is very active in the social justice arena, with a particular sensitivity to marginalized voices and communities, and commitment to ensuring those voices are heard, posted a link to a very interesting article titled: “Les Miserables, Black Lives Matter, and the Complacency of White Liberal Theatre Communities“.

The article related the story of an actor in tech for Les Miserables in Baltimore at the time of the Baltimore riots. The story pointed out the complacency of the typical white liberal theatre audience, as the author noted:

It suddenly occurred to me that I was in a musical about a group of young students who – after years of enduring inequality, poverty, and police brutality – resort to violence. The heroes of this story stage a revolution, aiming their guns and animosity towards abusive police officers.

And this musical is revered by white people.

The article noted this was acceptable revolution: Poor whites rising up against rich whites. But if they were people of color? A different story. As the author wrote:

You watch Javert mistreat and brutalize innocent French citizens, and you despise him. You watch Jean Valjean – a criminal swept up in the effects of mass incarceration and an unjust prison system – amend his ways, and you forgive him. You watch the people of Paris struggling to survive, bearing the burden of uneven distribution of wealth, and you empathize with them. You watch students rise up – violently – against these forces of oppression, and you cheer them on. When they are killed by militarized police forces, you mourn for them. Not once do you utter, “Well, they should have formed a peaceful demonstration if they didn’t want to be killed,” or “Javert was just trying to do his job,” or, “These young men were dangerous criminals,” or even, “You can’t fight hate with hate!”

But if their bodies were black, if they were wearing hoodies, if the setting were not 19th century France, but rather 21st century America…you would find ways to justify Javert’s actions. You would call these young men thugs. You would start quoting Martin Luther King jr. in a vacuum, to invalidate their struggle. Or you’d refrain from saying anything at all.

This made me wonder — as a theatregoer — how the audience would react to a reinterpretation of Les Miserables — preserving the music, but translating the story to any urban inner city, and the revolutionaries, criminals, and prostitutes as people of color. We do these translations all the time to Shakespeare. What would the audience reaction be? Would a director have the temerity to try it?

Theatre is supposed to be one of the true venues that speaks to power. But the majority of live musicals fail to do so. This is often due to safety and cost: the people that are supposed to be able to hear can’t shell out the funds. Even when you have a musical that speaks the vernacular — a Hamilton — the audience that needs to see it can’t afford it. I’ve long bemoaned the fact that the only time I see people of color in an audience is when the corresponding color is one stage — and when the color is on the stage, the white folks in the audience often disappear. Don’t believe me? Attend a performance of The Color Purple. I saw this regularly at the Pasadena Playhouse when they put on African-American themed shows.

And actors of color? The lack of diversity in the audience is often a mirror of the lack of diversity on stage. Only recently have musicals about Asians cast Asians in the roles. This is largely due to efforts of folks like David Henry Hwang, and the recent casting of things like Flower Drum Song, The King and I, and Allegiance.  But jobs for actors of color are much harder these days.

There are places where these voices are heard and cast: in the small intimate theatre scene. I see and hear about innovative and questioning theatre all the time from the 99 seat community here in Los Angeles. But as you move up to the larger theatres, that largely disappears. Venues such as the Pasadena Playhouse have made attempts to broaden the audience, but it is unclear if they have been successful in the long term.

What are your thoughts? What should the theatre community due to ensure that the concerns of the marginalized are heard? That the stories tell what is happening? That there is diversity on stage and in the audience?

This entry was originally posted on Observations Along The Road (on cahighways.org) as this entry by cahwyguy. Although you can comment on DW, please make comments on original post at the Wordpress blog using the link below; you can sign in with your LJ, FB, or a myriad of other accounts. There are currently comments on the Wordpress blog. PS: If you see share buttons above, note that they do not work outside of the Wordpress blog.

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Doc Severinsen and his Big Band (VPAC)If you haven’t figured it out by now, I like music and live performance. As I’ve gotten older, I find a read less, but treasure music and performance more. As for what type of music, the answer is simple: all. I can find performers in almost every musical genre that I love (yes, even rap). I go to theatre seasons and plays and musicals to fulfill my need as an audience member to see stories on stage. I go to venues such as the Valley Performing Arts Center (VPAC) (FB),  McCabes (FB),  and the Hollywood Bowl to satisfy my musical live performance needs.

Thursday night saw us at VPAC for the penultimate show of our mini subscription: A celebration of Doc Severinsen and his Big Band on the occasion of his upcoming 90th birthday. For the youngsters out there, Doc Severinson was the long time band leader on the Tonight Show with Johnny Carson, from 1962 until the show ended in 1992. No, not the version with Jimmy Fallon. Not the version before that with Conan O’Brian. Not the version before that with Jay Leno. The long running version that actually had a big band.

Doc actually opened VPAC in… well, whenever it opened. It was Doc that did the first show and helped them tune the hall.

Thursday nights show was pure big band and swing. Doc was joined on a few songs by his vocalist, Vanessa Thomas. He was also joined, at times, by a violinist who was not listed in the program. His band consisted of:

I’ll note that a number of these musicians are also involved with Gordin Goodwin’s Big Phat Band (Goodwin is also a graduate of CSUN’s jazz program).

The program was straightforward big band jazz:

  • The Johnny Carson Theme
  • I Want To Be Happy
  • September Song
  • Singing in the Rain
  • When You’re Smiling
  • Georgia on My Mind
  • Isn’t She Lovely?
  • Jumping at the Woodside

(Intermission)

  • [Song I didn’t recognize]
  • Things Aren’t The Way They Used To Be
  • Happy Birthday Papa Doc
  • Mood Indigo
  • Secret Love
  • Every Day I Have the Blues
  • 1 O’Clock Jump

I’ll note this is very similar to their 2016 program on the website. This means the song I didn’t recognize was likely Dizzy Gillespie’s “Night in Tunisia.”

This was truly an enjoyable program. It is also remarkable to see Severinsen still doing this — touring and blasting away with his trumpet — at age 90.

 🎩 🎩 🎩

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

Upcoming Shows: Tonight brings Animaniacs Live at the La Mirada Performing Arts Center (FB). That will be followed on the penultimate weekend of April with Sister Act at Cabrillo Music Theatre (FB). The last weekend of April brings the Renaissance Pleasure Faire on Saturday, and the new musical The Theory of Relativity at Harter Hall/Charles Stuart Howard Playhouse (FB) on Sunday. Lastly, looking to May, the schedule shows that it starts with My Bodyguard at the Hollywood Pantages (FB) the first weekend. It continues with Martha Graham Dance and American Music at the Valley Performing Arts Center (VPAC) (FB). The third weekend brings the last show of the Actors Co-op (FB) season, Lucky Stiff, at Actors Co-op (FB). May concludes with Hello Again at the Chromolume Theatre (FB), and hopefully Five Guys Named Moe at Ebony Repertory Theatre (FB).  As for June? Three words: Hollywood Fringe Festival (FB). That, barring something spectacular cropping up, should be the first half of 2017.

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Musicals in LA, @ This Stage, Footlights, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves. Note: Lastly, want to know how to attend lots of live stuff affordably? Take a look at my post on How to attend Live Theatre on a Budget.

This entry was originally posted on Observations Along The Road (on cahighways.org) as this entry by cahwyguy. Although you can comment on DW, please make comments on original post at the Wordpress blog using the link below; you can sign in with your LJ, FB, or a myriad of other accounts. There are currently comments on the Wordpress blog. PS: If you see share buttons above, note that they do not work outside of the Wordpress blog.

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Continuing to clear the news chum, here are a bunch of articles all related to cybersecurity:

  • NIST Cybersecurity Framework is Changing. NIST is getting ready to release an update to their Cybersecurity Framework (and other updates are planned: eventually, the IPD of 800-53rev5 will be out for review, and then an update to 800-37). A key change in the new framework is measurement: The first, which should really be the starting point for any comprehensive cyber risk management program, is an entirely new section about measuring the performance and maturity of organizations’ cyber risk programs. It also discusses the need and complexity of correlating those metrics to business objectives and outcomes. That means measuring both how organizations are reducing risk to the business and identifying the benefits to the business resulting from good cybersecurity, such as how many new customers the organization has gained and/or how much more revenue was brought in. Another significant change in the framework is the addition of recommendations surrounding supply-chain risk management. Finally, the access-control category has changed within the framework. It was renamed to identity management and access control. The change adds more focus on making sure identities and credentials are managed from the time they are created to the time they are deactivated.
  • Minimal Cybersecurity Requirements. Although some of us have known about this for a while, the world is growing increasingly aware of NIST SP 800-171. The new mandates take effect Dec. 31 this year and apply to contractors for the Department of Defense, National Aeronautics and Space Administration (NASA) and the General Services Administration. While some manufacturers are accustomed to working with federal agencies on classified projects, these regulations are meant to safeguard sensitive information in unclassified material, particularly as the threat of cybersecurity breaches grows.  Basically, they apply to any federal contractor that handles what is called Controlled Unclassified Information.
  • Encryption and Protection. Protection is good. Just ask porn site Pornhub, home to things like thumbzilla and youporn. They’ve gone to always on encryption, meaning that although your ISP knows you’re going to pornhub, they don’t know what you’re looking at. Others are turning to VPNs, and here’s a good summary of how to use one.  Lastly, for those worried about your ISP seeing where you go, one thing you should do is not use the ISP’s DNS. I use openDNS: 208.67.222.222 and 208.67.220.220.
  • Verizon and Spyware. Note that if you use Verizon Wireless, they may be pre-installing spyware on your phone.
  • JavaScript Popups. Google is making some changes to eliminate those popup dialogs that don’t let you leave. Such popups are occasionally useful as alerts, but their fix sounds reasonable.
  • Congrats to North Hollywood High. They won a national cybersecurity competition. Disclosure: My employer helped sponsor the team, although I was not involved.
  • Printer Cartridges. Lastly, an interesting court case that could dictate how much you pay for ink. This week, oral arguments were heard in the case of Impression Products, Inc. v. Lexmark International, Inc., and according to the well-regarded SCOTUSblog, it seems that the justices are having a tough time figuring out how to view this difficult legal tangle themselves. At its most basic, the case is a dispute over Lexmark’s patent rights regarding refilling printer cartridges. Impression Products is a small business with about 25 employees. It specializes in buying used printer cartridges and re-manufacturing them. In 2012, Lexmark decided to add Impression to an already existing lawsuit against other re-manufacturers. While the other defendants eventually settled, Impressin has stuck it out and the case has made it to the highest court in the land. The question is: Does the manufacturer give up rights to something when you physically purchase it? Can Lexmark dictate what you can do with your printer cartridge? Can HP dictate you can’t open your computer and modify it? Big key questions.

 

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XKCD EditorsA recent XKCD on editors reminded me that I’ve been accumulating a number of articles on computer history I should clear out, because I’m a computing dinosaur.

  • With respect to the xkcd, there’s nothing new under the sun. I remember the days at UCLA when there was a pitched battle between the supporters of the Rand window editor (“e”, formally “ned”), and the vi editor (for those clueless, vim is a later reimplementation of vi, and of course, vi was the visual version of ex, which competed with the ed editor on Unix). Then there were the TECO stalwarts that came from the DEC world (I used TECO on RSTS/E), the editors such as TSO and URSA on the IBM 360/91 (later 370/3033), and the battles between emacs and vi stalwarts.
  • At the same time we were dealing with URSA and TSO, we were printing on a IBM 1403 Lineprinter. This wasn’t a dot matrix or a laser printer, kids: this used a chain of type and printed super fast. You could even play music, if you did your boldface right. IEEE Spectrum has a fascinating article on how the 1403 was able to print so fast, including the fact that it didn’t press the type against the paper — it pressed the paper (from behind) against the type.
  • Back in those days, we didn’t program in C++ or Java or even Ada. It was FORTRAN and COBOL and Algol and… Guess what? Folks are still using those languages. I had a CSSF submittal this year that was programmed in FORTRAN, and you can make a slew of money in banking if you can program in COBOL. All the old-time COBOL programmers are retiring (sometimes feet-first); and these newfangled kids don’t want to learn it. [As a PS: Dan Berry at one time had a cartoon that showed a 1950s housewife labeled COBOL, a 1950s engineer labeled FORTRAN, and a baby labeled PL/I…. and the milkman walking down the driveway labeled ALGOL. The caption: “Funny dear, he doesn’t look like me.” Does anyone have a scan of that cartoon?]
  • Jumping up to the 1980s: The news these days are filled with items on the death of support of Windows Vista and the first version of Windows 10. But there’s another milestone: Windows 3.1. Twenty years have passed, and we’re still living with many of the notions 3.1 introduced (it was the first stable and popular Windows version, cementing the fact that you should never trust even numbered Windows variants, remembering that Windows 10 is really Windows 9, but they screwed things up with 95 and 98)
  • Turning to the hardware: Chips used to be simple: instructions sets, memory mapping and such. Intel is starting to change all that, with multiple processor instruction sets on a single chip. One of Intel’s changes is a mix-and-match heterogeneous design where different types of cores can be put in a single chip package. Under the new design, it’ll be possible to mix different architectures on a single chip. Chip packages could also have cores made using different manufacturing processes. Now ask yourself: with hardware this complex, how do we know it is correctly implemented?

 

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Yesterday, over on Facebook, I posted a link to a friend’s post on the United Passenger Ejection Kerfuffle™, noting that it was “a good examination of the recent United kerfuffle — demonstrating yet again why what you read on a social media snippet-of-outrage(tm) is often not the full story in context.” There were loads of responses, and the debate devolved into everyone pointing out how United had screwed up, how the cops had screwed up, how the airline industry had screwed up, and how it was all Trump’s fault. Well, I made that last bit up, but wouldn’t you :-).

Seriously, however, everyone missed what — to me — was the most important point: A cell phone video is not news. The outrage here — much justified — was mostly generated without knowledge of the full context. That’s not journalism. Journalism investigates the story, attempts to get all sides. Journalism isn’t outrage shared on social media, which often gets facts wrong and rapidly descends into hype and hyperbole.

Contrast the social media outrage with the LA Times Business article on the subject. The Times (or more properly, its corporate sibling the Chicago Tribune) investigates the story. It looks into the full background of what created the situation: an overbooked plane, the need to move airline personnel, the way the contract of carriage works. It looks at how the airline responded. It shows the video wasn’t the whole story, and there was plenty of blame to go around. United (more properly, the less experienced United Express operator), feeling intense time pressure to get its plane and crew in the air,  screwed up the procedure to entice volunteers, randomly select passengers, and to do this all before anyone boarded the aircraft. United (the corporate side) completely bungled the PR response. The Chicago PD, demonstrating the tact they learned at the 1968 Democratic Convention, bungled how they requested the passenger leave the aircraft and the subsequent removal. The passengers bungled their response: everyone put themselves first and no one volunteered, and then they fought back against the removal — yet another demonstration of a “me first” attitude that has infected society. And everyone bungled things by not taking the time to think: it is a flipping five hour drive — the airline could have rented a car and driver, and gotten either its employees or passengers to their destination by the morning when they were needed, likely even before the plane touched down with the delays this created.

This incident demonstrates the worse of what our society has become: a society that doesn’t think, a society that feeds on outrage instead of journalism, a society that uses arcane rules instead of common sense, a mob response against “the man” (corporate leaders and law enforcement) before common sense.

All of this could have been avoided — at much less cost in terms of dollars and PR — if someone had said, “Hey, you know we could get our employees — or the bumped passengers — to their destination for perhaps $300 by renting a Lincoln Towncar and driver, with only a 3 hour delay.” Instead, they spent how much on the volunteer incentives, how much on dealing with negative publicity, and how much on the eventual legal proceedings.

Think first, people.

This entry was originally posted on Observations Along The Road (on cahighways.org) as this entry by cahwyguy. Although you can comment on DW, please make comments on original post at the Wordpress blog using the link below; you can sign in with your LJ, FB, or a myriad of other accounts. There are currently comments on the Wordpress blog. PS: If you see share buttons above, note that they do not work outside of the Wordpress blog.

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The Sirens of Titan (Sacred Fools)There are many things I can blame for my science fiction addiction, but one of the first culprits was a camp counselor who decided to read to us short stories from Kurt Vonnegut‘s excellent short story collection, “Welcome to the Monkey House“. From that point, Vonnegut rapidly became one of my favorite authors, and I devoured everything he wrote. One such book was his novel “The Sirens of Titan”, which my notes from those days say I first read in September 1976, when I would have been starting my senior year of high school. Vonnegut’s novels were unlike any other novel — at times oddly non-linear, referencing odd concepts and painting a very sardonic and cynical view of society and where mankind had been taking itself.

I haven’t picked up “The Sirens of Titan” since 1976 (when I paid $1.95 for the paperback, new). That’s a shame, for it would have been nice to have the story fresher in my mind for last night, when we saw The Sirens of Titan in an excellent production at Sacred Fools Theatre (FB) in Hollywood. Looking back at the book when I got home, the production hewed true to both the story and the tone of the book, and made me want to revisit my Vonnegut addiction after all these years. That’s a good thing, and if you don’t  think so, you’re a ✴️ (and if you don’t know what that symbolizes, well, you need to read your Vonnegut).

The production of The Sirens of Titan originated with Chicago’s Organic Theatre (FB) in 1977, if I have my math right. At that time, Vonnegut himself was involved in the adaptation, and encouraged the adaptation team to not be slavishly faithful to the book, but to make the story right for a play. Skimming the novel’s text afterwards, I believe they achieved the right level. I can see places where Vonnegut’s dialogue and notions were lifted straight off the page. I can also see a few things cut out. They made good choices. If you like Vonnegut, you’ll enjoy this show. It is clear that the director, Ben Rock (FB), is a Vonnegut fan.

So what is the plot of the story? That may not be the right question, not only because it is a little hard to describe. A spaceman, Winston Niles Rumfoord, and his dog Kazak, take a spaceship to Mars but get caught in a chrono-synclastic infundibulum, which to put it simply, means they stretch out over time, see everything, but reappear on Earth every 57 years. On one of these anniversaries, Rumfoord summons one of the richest and luckiest men in the world, Malachi Constant, to tell him his future. Basically, he’ll go to to Mars, fall in love with Rumfoord’s wife Beatrice, have a son, Chronos, then go to Mercury, then back to Earth, and then to Titan, where he will fall in love. The rest of the play is watching that all played out from the eyes of our confused protagonist Malachi Constant. We meet his friends on Mars, such as Boaz, as well as the alien Salo that lives on Titan. You can find the summary of the book’s plot on Wikipedia.

Perhaps a better question is: What is the point of the story? In some ways, it is a commentary on religion — after all, the story posits the creation of a church of God the Indifferent, and the play opens with a commentary about fake religious leaders. I tend to think there is a deeper meaning about the purpose of life overall, and Vonnegut’s cynical take on it. This is captured in a line from the book spoken by a character near the end: “The worst thing that could possibly happen to anybody would be to not be used for anything by anybody.” Vonnegut is very big on character relationships, both meaningful and meaningless. To Vonnegut, a meaningless interaction — an interaction devoid of deeper purpose — is still better than to be ignored.  The same saying was captured many years later in the musical Rent, when it noted that the opposite of love isn’t hate, it is indifference.

One of the hallmarks of Sacred Fools is its inventiveness, which we saw a few years ago in their old space with the delightful Astro Boy. Ben Rock (FB) has continued that inventiveness with a creative and playful staging. He has worked with his actors to bring out that playfulness and creativity as well, making the production a joy to watch even as you puzzle over the deeper meaning and significance.

In the lead positions are Eric Curtis Johnson (FB) as Winston Niles Rumfoord, Pete Caslavka (FB) as Malachi Constant, and Jaime Andrews (FB) as Beatrice Rumfoord. Johnson’s portrayal of Rumfoord is a mixture of bemusement and resignation to his fate, which comes across quite well. He seemed to be having a great time with the role, and that (as always) came across well. He performance was also a consistent characterization across the entire story. That’s less so for the other main characters, who start out with one personality, and end up with a completely different persona. Martian brainwashing and all that. Caslavka’s portrayal of Malachi captures this well, starting out as an overly self-important prick (think Elon Musk, and add it a little Steve Jobs), and then transforming into more of the everyman that life is dragging from place to place, often not telling us why. Similarly, Andrews’ performance of Beatrice captures that character’s transformation well: this time from a stuck-up society wife seemingly indifferent, to more of an adaptable badass, to again someone who has been swept along, accepting her fate. A minor distracting note for Caslavka’s portrayal: there are times where the costuming reveals perhaps something that isn’t appropriate to reveal (or at least an unnecessary distriction), especially in the yellow jumpsuit. Luckily, that’s easily correctable.

The remaining performers constitute the ensemble, while also playing named characters. There are four I would like to single out. First, Jax Ball (TW) as Young Chrono is irresistibly cute, and reminded me of the lead from Astro Boy even though she wasn’t with SFT at the time. She was just having fun with the role, and it was great to see. It is always fun to see Jesse Merlin (FB) on stage — going back to the days many many years ago when we saw him in The Beastly Bombing and he was still regularly on LiveJournal. Here, his take on the alien Salo is playful and inventive and just a joy to watch (Merlin also gave me the most astonishment on this writeup, as I can’t figure out how we have the FB friends we have in common in common).  Tim Kopacz (FB) was notable for a role in which he isn’t seen: inside the wonderful Kazak the dog, who is incredibly dog-like in his movement and behavior it is remarkable. Oh, he makes a great Stony Stevenson as well.  Lastly, K. J. Middlebrooks (FB) as Boaz, Malachi (then called “Unk”)’s friend. I was unsure about him on his Mars scenes, but he came into his own on Mercury, especially in the scene that opened Act II. Tifanie McQueen (FB) was billed as Mrs. Peterson + Ensemble, but I didn’t recognize the character until I saw her FB photo: she was great explaining the Harmonium. Rounding out the ensemble were Dennis Neal (FB) as Redwine + Ensemble, Keith Szarabajka (FB) as the voice, and Emily Kosloski (FB) as the voice of the sirens.

Understudies were: Curt Bonnem (FB) (u/s Malachi Constant); Libby Baker (FB) (u/s Beatrice Rumfoord); Paul Plunkett (FB) (u/s Winston Niles Rumfoord); Adriana Colón (FB) (u/s Young Chrono + Ensemble); Gabriel Croom (FB) (u/s Boaz / Kazak / Stony Stevenson / Ensemble); Corey Klemow (FB) (u/s Salo + Ensemble); Brendan Broms (FB) (u/s Redwine); and Missy Mannila (FB) (u/s Mrs. Peterson + Ensemble).

As I said upfront, the creative team behind this production was remarkable. From the extremely clever set design to the remarkable sound effects to the great projections to the wonderful lighting effects to the costumes and makeup — all came together to create a wonderfully creative and cohesive whole. The team consisted of: Krystyna Łoboda (FB) (Scenic Designer); Matt Richter (FB) and Adam Earle (FB) (Lighting Designers); Jennifer Christina DeRosa (FB) (Costume Designer); Hat & Suitcase (Projection Design); Jaime Robledo (FB) (Sound Design); Lisa Anne Nicolai (FB) (Prop Designer); Russ Walko (FB) (Puppet/Creature Designer); Angela Santori Merritt (FB) (Hair and Makeup). Rounding out the production credits were:  Scott Golden (FB) – Assistant Director; Maggie Marx (FB) – Stage Manager; Alicia Conway Rock/FB – Dramaturge; Hillary Bauman – Key Scenic; Ruth Silveria/FB – Assistant Costume Designer; Michael Teoli (FB) – Score Composer; Cj Merriman – Choreography; Chairman Barnes (FB) – Military Advisor. The Sirens of Titan was produced by Shaela Cook (FB); Bo Powell (FB) was the Associate Producer.

The Sirens of Titans continues at Sacred Fools Theatre (FB) in Hollywood until May 6, 2017. This clever and inventive production of Kurt Vonnegut’s novel is well worth seeing. Tickets are available through the Sacred Fools Online box office; discount tickets may be available through Goldstar.

 🎩 🎩 🎩

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

Upcoming Shows: Next week brings Doc Severinsen and his Big Band at Valley Performing Arts Center (VPAC) (FB) on April 13, followed by Animaniacs Live at the La Mirada Performing Arts Center (FB) over the weekend. That will be followed on the penultimate weekend of April with Sister Act at Cabrillo Music Theatre (FB). The last weekend of April brings the Renaissance Pleasure Faire on Saturday, and the new musical The Theory of Relativity at Harter Hall/Charles Stuart Howard Playhouse (FB) on Sunday. Lastly, looking to May, the schedule shows that it starts with My Bodyguard at the Hollywood Pantages (FB) the first weekend. It continues with Martha Graham Dance and American Music at the Valley Performing Arts Center (VPAC) (FB). The third weekend brings the last show of the Actors Co-op (FB) season, Lucky Stiff, at Actors Co-op (FB). May concludes with Hello Again at the Chromolume Theatre (FB), and hopefully Five Guys Named Moe at Ebony Repertory Theatre (FB).  As for June? Three words: Hollywood Fringe Festival (FB). That, barring something spectacular cropping up, should be the first half of 2017.

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Musicals in LA, @ This Stage, Footlights, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves. Note: Lastly, want to know how to attend lots of live stuff affordably? Take a look at my post on How to attend Live Theatre on a Budget.

This entry was originally posted on Observations Along The Road (on cahighways.org) as this entry by cahwyguy. Although you can comment on DW, please make comments on original post at the Wordpress blog using the link below; you can sign in with your LJ, FB, or a myriad of other accounts. There are currently comments on the Wordpress blog. PS: If you see share buttons above, note that they do not work outside of the Wordpress blog.

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A quick morning post: Upon starting up my RSS feeds and blogs, I discovered that Livejournal has changed their terms of service, which you must agree to before you can do anything with your logged in account.  You are given a tiny window through which to read the agreement, and a link that is supposedly to the full text. Some highlights I noted were:

  • This Agreement constitutes a public offer in accordance with Article 437 of the Civil Code of the Russian Federation. By using the Service, including every access to the Website pages by any means, User unconditionally accepts this Agreement in its entirety.
  • Any User who does not agree with the terms of the current version hereof in full or in part shall discontinue using the Service in any way.
  • The User shall be responsible for any possible loss or distortion of information and for other consequences of any nature which may occur due to the User’s breach of any provisions of the Agreement.
  • The technical data transmitted to the Service by the User’s software as well as any other information transmitted by the User to the Service shall be available to the Administration and may be used at its own discretion legally, including targeting the advertising to User.
  • Please note that in accordance with part 3 Article 10.1 of the Federal Act of the Russian Federation No. 149 the Administration shall keep the following information and provide it upon the lawful request of the competent authorities regardless of Users will:any information related to receipt, transfer, delivery and/or processing of voice information, written texts, images, sounds, video and other electronic messages of Users and information on Users who performed the above actions, within one year upon performing such actions;
  • Please note that, User shall be subject to Article 10.2 of the Federal Act of the Russian Federation No. 149 if more than three thousand Internet users access the Blog (the Blog’s page) within 24 hours.
  • User who posted comments in Blog and User keeping such a Blog shall be jointly and severally liable in respect of such comments.
  • In respect of any Content which constitutes intellectual property, User provides to the Administration a non-exclusive (simple) license to use his/her Content in order to provide the Service by reproducing his/her Content as well as by making it public for the entire period the Content is posted on the Service. If User participates in any rankings or if User’s Content is used in any editorial projects of the Service, User provides to the Administration an additional authorisation to modify, shorten and amend his/her Content, to add images, a preamble, comments or any clarifications to his/her Content while using it, and in certain cases based on the Service functions, an authorisation to use User’s Content anonymously.
  • Mark Content estimated by Russian legislation as inappropriate for children (0 −18) as “adult material” by using Service functions.
  • User shall be liable for breaching the terms and conditions hereof, including the requirements to Registration and Content posting, as well as for violation of applicable laws committed by User, including the laws of the Russian Federation and the laws of User’s residence;
  • Please note that in accordance with the Russian Federation Act No. 2300-1 dated February 7, 1992, the provisions of the said act related to consumer rights protection do not apply to the relationship between the Administration and Users as the Service is provided for free.
  • Paid Services are not subject of this Agreement. The Administration shall not be liable for Paid Services. All Paid Services’ related questions shall be address to Live Journal Inc.

I have a number of concerns about this. If paid services (which include permanent services) are not subject to this agreement, as a permanent user, why do I have to agree to it? How can I agree to be governed by the Russian Federation when I have no idea what I am agreeing to. Legal liability for comments? Excuse me?

I am strongly considering severing the cross post connection between Dreamwidth and LJ, and leaving LJ as a static account just to preserve the username. I want your opinions on this agreement. Please post them on my blog on cahighways, or on my Dreamwidth account, or on Facebook. I WILL NOT READ COMMENTS ON LIVEJOURNAL.

ETA: It looks like if you haven’t approved the new agreement, the DW-LJ crosspost doesn’t work. Good.

ETA #2: LJ, it’s been real. Don’t let the door hit you on the way out. There will be no more DW to LJ crossposting, and I do not intend to update my LJ after today. I am not deleting it out of consideration for hard links in posts and such.

This entry was originally posted on Observations Along The Road (on cahighways.org) as this entry by cahwyguy. Although you can comment on DW, please make comments on original post at the Wordpress blog using the link below; you can sign in with your LJ, FB, or a myriad of other accounts. There are currently comments on the Wordpress blog. PS: If you see share buttons above, note that they do not work outside of the Wordpress blog.

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Tom Paxton and the DonJuansWhen last we saw Tom Paxton (FB) — that is, in September 2015 — he had announced he was stopping touring except for special events. As with many other groups, the farewell tour wasn’t. Tom went on tour again this year, together with two of his collaborators, Don Henry (FB) and Jon Vezner (FB) — the Donjuans (FB). Last night, they were at McCabes (FB) in Santa Monica, so naturally we were there (after rushing over from our matinee of Cat’s Paw in Hollywood).

Before the usual song list, a few observations. One would have expected given the Orange-Colored Man in the White House, there would have been some pointed observations from Tom. There were none. I don’t know if it was the presence of the Donjuans, disgust at the current political situation, or lack of focus on the “short shelf life” songs, but Trump did not inspire Tom as Bush 43 did. The political commentary was sorely missed.

The Donjuans started off the show, and then accompanied Tom throughout. I enjoyed their opening, although my wife didn’t. They had a few mistakes and joked about this being their first tour, although their Facebook page belies that claim. I am interested in ordering their album when it comes out.

Noel Paul Stookey (FB) [who we saw recently in Thousand Oaks] was in the audience, and he joined Tom on one song. Alas, he didn’t perform Impeachable.

It should note that shortly before the show, Tom was involved in an accident. As the papers reported:

Folk legend Tom Paxton was miraculously unhurt after he fell backward down an escalator at Penn Station.

The 79-year-old “Ramblin’ Boy” singer, who received a Grammy Lifetime Achievement Award in 2009, tells us, “I was going up normally and I felt myself pulled back and I couldn’t stop it. It was scary as hell. They stopped the escalator and got me on my feet and I was good to go.”

Joking, he said, “I’m a little old for that kind of dive. By the degree of difficulty, I hoped for higher scores . . . I’m just glad I didn’t make the obits today.”

While he amazingly escaped serious injury, aside from bloody hands, he did crack the head of his Martin guitar.

As a result, Tom occasionally used finger picks. There were also some songs in which he stood back and just sung. I don’t know if this was due to the accident.

The show consisted of the following songs (* indicates new for this year; ♫ indicates songs from his new album, Boat in the Water; 🎸 indicates songs performed by the DonJuans; 🎼 indicates songs written by the DonJuans (or members thereof); 🎙️ indicates songs unrecorded (either on YouTube or on an album)):

Act I Act II

 The DonJuans

Left It On The Plane 🎼🎙️
Is Love 🎼
Garden of the Dead 🎼
Where’ve You Been 🎼

Tom Paxton and the DonJuans

How Beautiful Upon The Mountain
Boat in the Water *♫
If The Poor Don’t Matter
Whose Garden Was This?
And If It’s Not True
Bottle of Wine

 Tom Paxton and the DonJuans

Did You Hear John Hurt?
The Mayor of MacDougal Street
It Takes All Kinds of Kinds 🎼🎸
This Old Town 🎸
Eleanor’s Song 🎼♫*
All The World Is Green *🎼🎙️
Susie Most of All *
Has Anybody Seen Amy? 🎸
Last Thing on My Mind
Ramblin’ Boy (w/Noel Paul Stookey)
What’s So Bad? *🎼🎙️
Dream On, Sweet Dreamer 🎼♫*

As I wrote last year:  McCabes (FB): The challenge is up to you. You now need to book some new favorites, such as the Austin Lounge Lizards (FB) or Blair Crimmons and the Hookers (FB).

 🎩 🎩 🎩

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

Upcoming Shows: Today brings the Colburn Orchestra at the Valley Performing Arts Center (VPAC) (FB). The weekend of April 8 brings Kurt Vonnegut’s The Sirens of Titan at Sacred Fools Theatre (FB). Mid-April brings Doc Severinsen and his Big Band at Valley Performing Arts Center (VPAC) (FB) on April 13, followed by Animaniacs Live at the La Mirada Performing Arts Center (FB) over the weekend. That will be followed on the penultimate weekend of April with Sister Act at Cabrillo Music Theatre (FB). The last weekend of April has two holds: one for the Renaissance Pleasure Faire, and one for Uncanny Valley at ICT Long Beach (FB) [we’re just waiting on Goldstar]. Lastly, looking to May, the schedule shows that it starts with My Bodyguard at the Hollywood Pantages (FB) the first weekend. It continues with Martha Graham Dance and American Music at the Valley Performing Arts Center (VPAC) (FB). The third weekend brings the last show of the Actors Co-op (FB) season, Lucky Stiff, at Actors Co-op (FB). May concludes with Hello Again at the Chromolume Theatre (FB), and hopefully Five Guys Named Moe at Ebony Repertory Theatre (FB).  As for June? Three words: Hollywood Fringe Festival (FB). That, barring something spectacular cropping up, should be the first half of 2017.

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Musicals in LA, @ This Stage, Footlights, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves. Note: Lastly, want to know how to attend lots of live stuff affordably? Take a look at my post on How to attend Live Theatre on a Budget.

This entry was originally posted on Observations Along The Road (on cahighways.org) as this entry by cahwyguy. Although you can comment on DW, please make comments on original post at the Wordpress blog using the link below; you can sign in with your LJ, FB, or a myriad of other accounts. There are currently comments on the Wordpress blog. PS: If you see share buttons above, note that they do not work outside of the Wordpress blog.

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Cats Paw (Actors Co-Op)Yesterday, as part of my Aprils Fools “real or fake news” post, I linked to a real news article about planned cuts at the EPA: “The Environmental Protection Agency has issued a new, more detailed plan for laying off 25 percent of its employees and scrapping 56 programs including pesticide safety, water runoff control, and environmental cooperation with Mexico and Canada under the North American Free Trade Agreement.” In response, you could easily see an Eco-Terrorist taking someone hostage to protest these cuts and the damage done under them, especially when you consider that with a more limited budget, the EPA will be forced to make more questionable decisions about the communities in which they spend the little budget they do have. Decisions made by bureaucrats, with lives measured by actuaries and accounts.

Back in 1984, William Mastrosimone wrote a play — Cat’s Paw — about an unusual terrorist, one who is brilliant, articulate and who believes he is right. He updated this play in 2001, right after the 9/11 attacks. It is running until April 30, 2017 at Actors Co-op (FB) in Hollywood, and it is surprisingly relevant today (especially in light of the Trump administration EPA actions). The play tells the story of  an eco-terrorist (Victor) who blamed the EPA for an incident in which the water supply of a town was poisoned. He kidnapped an EPA official (David Darling), and masterminded a suicide bomb attack at the White House in which 12 senators were killed. This terrorist — excuse me, eco-warrior — has a television news reporter (Jessica Lyons) led to his lair by his follower, Cathy, so she can tell the world why he has done what he has done. Victor’s obsession is the destruction of the world’s water supply and, with it, the final destruction of the human race by pollution. When the reporter asks if he feels any guilt about the death of the innocent people, he replies that hundreds of innocent people die every hour because of what mankind is doing to its water supply and do the people responsible feel guilt for this? The cat and mouse game between the young woman reporter and Victor gets more and more tense, leading to a shocking and violent conclusion.

In a very interesting piece about the play in the acting script (reprinted in one theatre’s blog), the author writes:

Information is what enables us to make good decisions in a democracy – right? but the truth is that most of information is repetitive or useless; turn is most of us have a morbid curiosity that needs to be satisfied. By giving in to our need to see mayhem, we give more power to the terrorists. We are all part of the deadly triangulation between the acts of terror, the media coverage, and the viewing.

During her tenure as P.M., Margaret Thatcher advanced a thought that we have not heeded: “Democratic nations must try to find ways to starve the terrorist and the hijacker of oxygen of publicity on which they depend.”

Until we figure out how to stay free and still report the news, terrorist acts will involve two explosions. The primary explosion kills innocent people in the street. The secondary explosion occurs in the viewer’s mind, over and over again, as a neural pathway is created. Ring bell. Bring food. Dog salivate. News is not just reported anymore; it is designed for effect. The story is edited, parts subtracted, associations established with editing in other stories and/or expert opinions or carefully chosen public reaction. The fear we felt when we first saw the event on television can be conjured again and again, at will, in video replay, as news and entertainment slowly merge. Fear is reinforced. Fear makes us malleable, and caught between the act of terror and media coverage, we exist for a time in a state of impaired judgement.

Cat’s Paw connects to a number of ongoing discussions in the world today: What is our responsibility to ensure clean air, clean water, and a safe world to live in? When there are other economic priorities, is it reasonable to cut back on environmental protections (and endanger other innocent lives) out of a need for that money for other economic purposes? Who should make those decisions, and what should be their basis: science, economics, or actuarial science? What is the role of the media in all this — are they dispassionate observers reporting news in a neutral fashion, or are they manipulating what we see to make us feel and believe things? Are they playing up our fears — whether that is a fear of our leaders, or those who oppose them? All relevant questions — all great discussions.

Actors Co-op (FB) production of Cat’s Paw is an intense and gripping presentation of these questions and issues (if not a little heavy handed). It places you in that bunker with David Darling; it allows you to see the sausage-making that is Terrorism, and its manipulation of the story for particular purposes. Is it relevant today? Yes. Does it present a clear answer? No. One would hope that this excellent production raises the questions above for you, and sends you home to discuss and explore the issue further. This is what theatre can do: start a discussion.

Cats Paw (Cast)The Actors Co-op (FB) presentation of Cat’s Paw, tensely directed by Stephen Rothman (FB), stars Sean McHugh (FB) as the eco-warrior Victor and Deborah Marlowe (FB) as the reporter Jessica Lyons, supported by Ivy Beech (FB) as Cathy (one of Victor’s minions) and Vito Viscuso (FB) as David Darling (the hostage). All are strongly believable as their characters: their fears and pains and intent come across strongly. Staged in the small Crossley theatre with audience members on three sides, there are often small moments off on the side that speak to the powerful immersion of these actors in their characters. Just great performances.

Lauren Thompson (FB) was the understudy for Cathy, and was ever-reliable behind the scenes in the box office.

Director Rothman’s vision, realized by the Scenic Design of David Potts, places the audience in the bunker with the Earth Now activists. There are rough tables and chairs, graffiti, and shelves of realistic supplies and realistic weapons (all the work of Property Designer Lori Berg (FB)). The feelings of the bunker are amplified through the lighting design of James Moody (FB) and sound design of Adam R. Macias (FB). All this makes the audience part of the story, and amplifies its impact.  E.B. Brooks (FB)’s costume design also contributed to the feeling that these were real terrorists talking to a real reporter. Other creative and production credits: Collin Bressie (FB) [Fight Director]; Greyson Chadwick (FB) [Producer]; Heather Chesley (FB) [Artistic Chairwoman); Christian Eckels (FB) [Stage Manager]; David Elzer/Demand PR (FB) [Marketing/Publicity]; Selah Victor (FB) [Production Manger].

Cat’s Paw continues at Actors Co-op (FB) through April 30, 2017. Tickets are available through the Actors Co-Op website. Discount tickets may be available through Goldstar. An intense play, very timely, and well-performed.

 🎩 🎩 🎩

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

Upcoming Shows: The evening continued with a concert with Tom Paxton and the DonJuans at McCabes Guitar Shop (FB). Today brings the Colburn Orchestra at the Valley Performing Arts Center (VPAC) (FB). The weekend of April 8 brings Kurt Vonnegut’s The Sirens of Titan at Sacred Fools Theatre (FB). Mid-April brings Doc Severinsen and his Big Band at Valley Performing Arts Center (VPAC) (FB) on April 13, followed by Animaniacs Live at the La Mirada Performing Arts Center (FB) over the weekend. That will be followed on the penultimate weekend of April with Sister Act at Cabrillo Music Theatre (FB). The last weekend of April has two holds: one for the Renaissance Pleasure Faire, and one for Uncanny Valley at ICT Long Beach (FB) [we’re just waiting on Goldstar]. Lastly, looking to May, the schedule shows that it starts with My Bodyguard at the Hollywood Pantages (FB) the first weekend. It continues with Martha Graham Dance and American Music at the Valley Performing Arts Center (VPAC) (FB). The third weekend brings the last show of the Actors Co-op (FB) season, Lucky Stiff, at Actors Co-op (FB). May concludes with Hello Again at the Chromolume Theatre (FB), and hopefully Five Guys Named Moe at Ebony Repertory Theatre (FB).  As for June? Three words: Hollywood Fringe Festival (FB). That, barring something spectacular cropping up, should be the first half of 2017.

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Musicals in LA, @ This Stage, Footlights, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves. Note: Lastly, want to know how to attend lots of live stuff affordably? Take a look at my post on How to attend Live Theatre on a Budget.

This entry was originally posted on Observations Along The Road (on cahighways.org) as this entry by cahwyguy. Although you can comment on DW, please make comments on original post at the Wordpress blog using the link below; you can sign in with your LJ, FB, or a myriad of other accounts. There are currently comments on the Wordpress blog. PS: If you see share buttons above, note that they do not work outside of the Wordpress blog.

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Today is April Fools Day. On one hand, the day seems unnecessary, as we have elected the biggest (or should I say yugist or bigly) April Fool to the White House. But that doesn’t make you laugh; that just makes you run for cover and want to hide for four years (hopefully less). But this election has also ushered in the era of fake news, which makes every day April Fools Day. You never knew which news stories you read are true and which are not. So the following are some more stories I’ve seen over the last few days.  You assess, fake or real?

  1. Beetlejuice, Beetlejuice, Beetlejuice. Yes, if there is anything we need, is it is ghost exorcist — someone trained to remove humans from where they are not supposed to be — like the White House. But first, the BJ will visit Broadway.
  2. Set Phasers on Kill. George Takei has announced that he is running for Congress in 2018, against Devon Nunes. This will be after he stars in a remount of Pacific Overtures.
  3. Viewing Porn Safely. With all the changes in the Internet, a major porn site has announced it is turning on encryption all the time.
  4. Gay Characters in Disney Movies. Continuing the trend of having gay characters in Disney movies, Disney have announced that the live-action Lion King will feature a gay Simba.
  5. Metro Extension. LA Metro has decided to continue the “subway to the sea” saga, and is extending the Expo line to Catalina.
  6. Paige! TLC has announced that, given these poor economic times, it is bringing back Trading Spaces.  The plans are, for the first episode, for two political families in Washington to trade spaces. There are also rumors that While You Were Out is next, with the first target being Trump Tower.
  7. Tony Categories. Given the presence of the Cats revival, the upcoming Groundhog Day, and similar shows, the Tony Award committee has announced an award for the best leading animal on Broadway.
  8. More EPA Cuts. There are more cuts in the work at the EPA, including to pesticide safety and water runoff.  Documents reveal that concern that someone will use a pesticide to get rid of a family of invasive pests in public housing.
  9. Vending Machine Changes . Vending machines are being modified to introduce a short delay when you get unhealthy snacks, in order to make you satisfy your immediate urges healthier.
  10. Microsoft Goes Open Source. Microsoft is changing. First there was a Linux shell in Windows 10. Then Microsoft joined Linux Foundation. Now Microsoft has announced they are going open source.

This entry was originally posted on Observations Along The Road (on cahighways.org) as this entry by cahwyguy. Although you can comment on DW, please make comments on original post at the Wordpress blog using the link below; you can sign in with your LJ, FB, or a myriad of other accounts. There are currently comments on the Wordpress blog. PS: If you see share buttons above, note that they do not work outside of the Wordpress blog.

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The adage is that March comes in like a lion, and goes out like a lamb. Here in Southern California that is proving to be true. We started the month with the atmospheric river in full force; we’re going out with 90°F days in the San Fernando Valley. Gotta love California. Here are your highway headlines for last month:

  • Part of Route 66 in Mojave Desert to be closed until mid-September. A portion of Route 66 that runs through the Mojave Desert just east of Amboy, California, will be closed through mid-September because of bridge construction.
  • HONK: CHP has a nifty number for the public. Q: There is an easy way to remember a non-emergency number for the California Highway Patrol –1-800-TELL-CHP. Years back, I saw the number on a freeway sign. I don’t even remember the context, but the number has always stuck with me.
  • Marin looks at using Highway 101 shoulders for buses. Marin transportation officials want to be part of a pilot program that would allow buses to use freeway shoulders to speed travel times, an alignment that has been used successfully in other parts of the country. During commute hours, buses can become tangled in traffic as they cross lanes to get to bus stops on the right side of Highway 101, then cross back over to get back to a carpool lane on the far left of the freeway.
  • Golden Gate Bridge suicide barrier completion date set. A date has been set for completion of a suicide barrier on the Golden Gate Bridge. The bridge district last month issued a notice to proceed with the project and is now targeting Jan. 12, 2021, as the date to finish it. Work has already begun.

Read the rest of this entry »

This entry was originally posted on Observations Along The Road (on cahighways.org) as this entry by cahwyguy. Although you can comment on DW, please make comments on original post at the Wordpress blog using the link below; you can sign in with your LJ, FB, or a myriad of other accounts. There are currently comments on the Wordpress blog. PS: If you see share buttons above, note that they do not work outside of the Wordpress blog.

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We all have fears. Some find strength in them. Some let them shape their lives.

Fear, thy name is Apple.

This post, of course, is brought to you by the letters “i”, “t”, “u”, “n”, “e”, and “s”. Put them together, and they spell “iTunes” — the reason for this musing, especially after reading an article titled “How iTunes built, and then broke, my meticulous music-listening system“. I’m one of those folks: curing my iTunes library, making sure the meta-data is right, the album art reflects the version of the album I have — for all of my 40,000+ songs (yes, I’ve crossed the 40K song mark). Although the article discusses the problem of iTunes with newer devices, I’m dependent on the software to sync with my modded iPod Classic (512GB storage). I’ve even stayed on iTunes 11, because I know that will work with the device. I will never get an iPhone, because that would mean upgrading iTunes — and we all know that will spell doom.

So what are my fears?

Well, my iPods could die. I’d still have the music of course: tracks lovingly downloaded, ripped from CDs, recorded by hand from LPs, extracted from videos. Most of the music not available elsewhere digitally. But that’s why I have a backup iPod Classic. Primero and Segundo. Prime.

But what if iTunes 11 no longer works when I move eventually to Windows 10. How will I sync my music? How will I move everything to another library system. I really do not want my music in the cloud. There are so many places where streaming just does not work. Not to mention, of course, that it is MY music. I paid for it, I should be the only one to control it.

That, by the way, is why I tend to buy digital music from Amazon, but not use Amazon Music.

This brings us to the problem with MP3 download collections. Unlike CDs or LPs, there’s nothing tangible. Nothing to pass on. It is in a fixed format that might not be supported in the future. Then what? Pay for your music again, if you can find it. I can still listen to LPs from almost 80 years ago (alas, I can’t deal with 78s). We can still listen to CDs from 30 years ago. 30 years ago, the MP3 format didn’t exist.

30 years from now, how will we listen to our expensive MP3 downloads? We will probably still be able to find CD players (although forget those CD-ROMs you recorded — they’re likely toast now). We’ll find the cassette players, and LP players. But will our computers still be able to play MP3s? Ask yourself this: Could you open a Wordstar file?

So a big fear of my: My music won’t age well with me. Of course, in 30 years I’ll be 87. I probably will have forgotten how to use a computer. Hopefully, my iPod Classics will still be working 🙂

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If you haven’t figured it out by now, I like posts about interesting transitions. I’ve been accumulating the following articles on transitions for a while, so let’s take a walk through memory lane:

  • Earthquake Panorama. The Northridge Earthquake was almost 25 ago. Since then we’ve moved from near Panorama City to Northridge, and almost all the damage has been repaired. But there’s been one building — a blighted high-rise near Roscoe and Van Nuys that has remained standing and unoccupied. Not for much longer, though. Plans have finally been announced for redevelopment of the 1962 Welton Becket designed building. It is going to become housing and retail, with an “open mall” next door. But that’s not all. A large mixed use project on the site of the former Montgomery Ward department store is also in the works, while the recent purchase of the Panorama Mall by Primestor Development has inspired speculation that a major overhaul of the shopping center could be on the way.
  • Albertsons and Sprouts. Talk about a mixed marriage! Evidently, Albertsons and Sprouts are in merger talks. This would be Albertsons (parent of Safeway) buying Sprouts, putting Sprouts in a better pricing tier and meaning more bad news for Whole Paycheck. Here are the details from Bloomberg.
  • Downtown Redevelopment. Panorama City isn’t the only place being redeveloped. There are big plans for Downtown LA, or in newspeak, DTLA. Parker Center would be replaced with a 27-story structure set to include around 713,000 square feet of office space, along with 37,000 square feet of street-level retail. A second office tower would be constructed at the site of the Los Angeles Mall, where one can currently find City Hall power players chowing down on chicken plates and sandwiches from Quizno’s. The project would include 545,000 square feet of office space, 50,000 square feet of retail, and 80,000 square feet of flex space. There is no word on what will happen to the Triforium.
  • New Digs for Valley Outreach. Valley Outreach Synagogue finally has a home. On March 19, in a ceremony 32 years in the making, 400 VOS members attended the grand opening of the Valley Outreach Synagogue and Center for Jewish Life in Calabasas. Formerly a warehouse, the 15,000-square-foot facility, located at 26670 Agoura Road, has a library, a coffee bar, offices and a Meeting and Learning Center. Its high-ceilinged sanctuary seats 500 and features three flat-screens on the walls as well as a Jerusalem limestone-lined ark housing four newly donated Torah scrolls.
  • Dancing the Airport Boogie. Are you ready to dance? Come May, if you fly a number of airlines in/out of LAX, you might need to. There’s going to be a gigantic gate shuffle, with Delta moving to Terminals 2/3, and most of who is in 2 and 3 moving hither and yon. Having been in Delta’s beautiful Terminal 5, the logos and style are going to be out of place for the folks moving in there.
  • Neon Museum Grows. Moving from LAX to LAS, there’s welcome news that the Neon Museum will be growing. They have acquired the ugly building next to them, will be tearing it down, and soon there will be more dead neon signs. Maybe even some new lit ones. Makes me want to go back to Vegas.
  • Remembering TWA. Dead neon is pretty. Dead buildings, less so. But we still have the unfinished Fontainebleau in Vegas, where the Thunderbird used to be. Blame is squarely on Carl Icahn. But that’s not the only thing he killed. He also killed TWA, which was a great airline. I recall many a flight to STL on TW 91. Luckily, there’s a neat TWA museum in Kansas City. It even has a Carl Icahn Voodoo Doll.

 

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Well, I like to think I fought the good fight. I mean, I’m an old fart. Old habits die hard, and for the longest time I just kept using the term I was used to, even though it was politically incorrect. After all, I held on to other ideas that I believed were morally superior, only to watch them get discredited by the new-think, by people that didn’t know what was right was right, and what was wrong was wrong.

Eventually, though, I caved. I started using the updated politically correct term. People no longer looked at me funny, they no longer made fun of the way that I talk. As for my discredited ideas, well, I kept them to myself, lest I be made fun of. After all, in today’s world, you have to use the right terms and speak the right way and think the right things.

Right?

But then, of course, a new term came in for what I previously knew. I resisted, because resistance is good. After all, the new term was, to put it bluntly, stupid. It was idiotic. It didn’t refer to what they said it referred. But I forgot my Star Trek. Resistance is futile.

OK, “cyber“. You win. I mean, HelpNet even says as much.

I grew up in an era when it was “Computer Security” and COMPUSEC, when we believed we could write multi-level secure systems that provided high assurance. What did we get for our efforts? perl, and a High Assurance Brake Job.

Then it became “Information Assurance” and “Information Security“. A1 systems? Sorry, but A1 was reserved for steak.  Multi-level systems? They were for special uses; no one would write a general purpose MLS operating system. Formal Methods? Never in your wildest dreams — that’s Gypsy talk. Ina know about you, but I need some Jo.

But now? We have Cybersecurity and Cyber and Trustworthiness. We’ve lost the war. Here’s what HelpNet has to say:

We have lost the cyber war. No, not that cyber war. Maybe war of words is a better way to put it. Whether we like it or not, cyber has become the default way for everyone else to talk about what we do.

[…]

It’s tempting to take the moral high ground and refuse to engage with cyber. Instead, we could choose to refer only to information security because we believe it accurately reflects both physical documents as well as digital assets, while giving importance to each one.

It’s fair to say that some of the industry’s suspicion about cyber comes from the fact that it’s broad enough to cover the charlatans in the industry who think there’s a buck to be made by scaring people into stocking up on silver bullets instead of informing them in a responsible way about how security can help them to do business better.

[…]

But if you open a dictionary, you’ll find cybersecurity is the only term of its kind. One survey ranked information security as the least popular term among the general public, even lower than e-security.

e-Security? Well, at least I can be thankful that term didn’t win.

e-Security? Sheeesh.

This entry was originally posted on Observations Along The Road (on cahighways.org) as this entry by cahwyguy. Although you can comment on DW, please make comments on original post at the Wordpress blog using the link below; you can sign in with your LJ, FB, or a myriad of other accounts. There are currently comments on the Wordpress blog. PS: If you see share buttons above, note that they do not work outside of the Wordpress blog.

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