cahwyguy: (Default)
2017-08-15 08:15 am
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The Last Battlefield

We saw history happen last weekend in Charlottesville. History as significant as the shots fired at Fort Sumter. Just as with the Civil War, this is the beginning of a significant battle brought to the surface by, you guessed it, the election of Donald J. Trump. It is a battle that might leave our country in disarray, weakened for another power to come in, if we aren’t careful. And remember, there is one big difference between now and Civil War days: Russia is awake.

This musing was prompted by a piece in the LA Times that indicated how, after Charlottesville, cities were rushing to take down any Civil War statues before White Supremacists could rally around them. These Supremacists, awakened by the election of Barack Obama, called out of the dank recesses by the dog whistles of the Trump campaign, and emboldened by the subsequent non-discouragement of said administration, feel empowered in a way that hasn’t been seen for almost 80 years. As the LA Times has written:

To the white supremacists who gathered from across the country, the havoc in the Virginia college town and the international attention it earned them marked a win. To the counter-protesters, widespread acknowledgment of the threat posed by racism — evident in television images of Nazi symbols and other blatant bigotry — was proof they had prevailed.

It remains unclear what will happen to the racist movement that has been energized by the election of President Trump and was laid out for all to see in Charlottesville. But one thing seems certain: The fighting is not over. Both sides are gearing up for more.

White nationalists and pro-Confederate groups quickly announced rallies and speaking events in Virginia, Texas and beyond, gaining throngs of online supporters while the people who live in those places are already taking to the streets to warn them to stay away.

When Trump had his surprise victory, I felt that this was the final rally of the “White Privilege” folk — a final exercise in protest of the coming shift in America — a shift where the overall non-white or non-Christian population becomes the majority in this country, a shift heralded by the election of Barack Obama to a leadership that looks a lot more like our diverse nation than does the homogeneous complex we see these days. And Mr. Trump has been true to form: selecting individuals as leaders that reflect the White Christian view set, that work to undo advances that helped the minorities, to quick-cement in place privilege and power to those that have long held it — the upper white class.

Charlottesville has brought this to the fore. What could have been a simple exercise of free speech like the marches in Skokie turned — as the organizers likely intended — into violence. When the President did not immediately and swiftly condemn the specific cause of that violence, they were further empowered. His specific condemnation yesterday, read from a teleprompter, was “too little, too late”, especially when he followed it quickly with tweets complaining about how the media had blown this situation all out of proportion. Those who oppose the White Supremacists saw it as an insincere message written by the staff and not really felt by the President; the Supremacists saw it as a further insult by the leadership of the nation and wanted to fight more.

And so we have it now: The battle for the future of this nation. Does it move, as the President and Stephen Bannon’s factions want, to a more White and more Christian nation — a nation much like the United States of the period from 1860 to 1950? Or does it move to a Nation of the 1990s and 2000s: a nation that celebrates both the strength that comes from its diversity and the strength that comes from the unity of that diversity. Does it move to a nation that truly stands for the words in the Pledge of Allegiance: not specifically “under God”, but “with liberty and justice for all”? Does the influence of God in this great nation present itself in enforcement of the punitive restrictions of the Bible — hatred of gays, hatred of other nations, women as a distinct and hidden second class, punishment for abortion, or does God’s influence present itself in the compassionate aspects of the Bible: remembering that it is we too who were slaves and foreigners, that it is our job to help the captive, heal the sick, pick up the downfallen, aid the poor and show mercy (just as, as this non-Christian understands it, Christ showed mercy to Mary Magdelaine)? I know who I want to win.

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cahwyguy: (Default)
2017-08-14 08:34 pm
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Feeling Crafty

This collection has taken a while to ripen to fruition:

  • Knitting as a Patriotic Duty. Here’s an interesting article on how knitting helped us win the war. From knitting for the troops to encoding information in garments, knitting has been vital.
  • The Welcome Blanket. Here’s an interesting knitting project: The Welcome Blanket. The aim of the project is to use 2,000 miles of yarn to knit blankets. The significance of that staggering number? It’s the approximate length of President Donald Trump’s proposed border wall between the U.S. and Mexico. Those participating in the project are asked to knit (or crochet, or sew) a blanket that is 40 inches by 40 inches, which averages 1,200 yards. That means about 3,200 blankets will be needed to meet the goal. Participants are encouraged to make their blankets “something you would like to receive” and think of it as “a gift to a neighbor.”
  • Baby Hats. Don’t want to knit a blanket? How about baby hats? Oklahoma needs 5,000 of them, all in purple. Why? The campaign is part of an effort to raise awareness of Shaken Baby Syndrome, a form of abusive head trauma that’s a damaging parental response to excessive crying and can result in serious brain injury. The effort, dubbed “Click for Babies” after the sound knitting needles make, is intended to highlight the potential hazards of improper infant care. Why purple? Because the National Center for Shaken Baby Syndrome refers to an infant’s period of prolonged crying as the PURPLE period. The word is an acronym for reminders about the syndrome: L, for example, stands for Long-Lasting. Babies can cry for five hours a day, up to four months of age.

Don’t knit. Here’s a non-knitting item:

 

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cahwyguy: (Default)
2017-08-13 05:07 pm

Imperfect Men, a Perfect Union | “Hamilton” @ Pantages

Hamilton (Pantages)Singing and dancing founding fathers. They’ve trod the Great White Way slightly more times than professional sports have. Some — like 1776 — have been spectacularly successful. Others — like Mr. President, 1600 Pennsylvania Avenue, and Ben Franklin in Paris — have been less so. All have portrayed our leaders as ultimately human, as flawed men that have worked towards a more perfect union.

Two years ago, another musical in this genre burst upon the scene. In doing so, it did what few musicals have done since the Golden Age of Musicals. It entered the vernacular. It spoke a musical language that moved from the stage to the airwaves, with an album that has gone triple platinum. It spoke and moved the hearts not just of the greyhairs that typically attend musicals, but of the everyday people. It spoke to the people of today — the immigrants that works as hard as they can and give more than 100% to make this nation great, to the women who have worked equally hard and been equally smart but have often blended into the background. It demonstrated that the storybook history is fantasy, that the real sausage-making is only seen by those in the room where it happened, and that those who tell the story are just as important in coloring it — or removing the color — as those who were there. This musical, like West Side Story, Hair, and Rent, spoke to the people and conflicts of today while couching it in the language of the stage. This musical demonstrated to a generation the power of the stage, the ability of live performance to move hearts, tell a story, and change the world.

I am speaking, of course, of Hamiliton (FB), the Broadway blockbuster with book, music, and lyrics by Lin-Manuel Miranda (FB) (based on the book by Ron Chernow (FB)) that just arrived in Los Angeles, officially opening on Wednesday, August 16, with previews starting August 11. We were at the second preview last night at the Hollywood Pantages (FB), thankful for our season tickets that enabled us to see the show for a mere $46, when people are paying multiple hundreds and thousands of dollars for a seat (although the people sitting next to us paid only $10 thanks to the Hamilton Lottery). There is a reason to buy season tickets sometimes. There is a reason that one has to sit through The Bodyguard sometimes.

So does Hamilton live up to the hype? Is it the musical of this generation? We have to agree with Charles McNulty of the LA Times: Yes. Although there are some flaws, it speaks to an audience the way no other musical has since perhaps Rent. It energizes people not only about America but about the theatre. It is, at its heart, theatrical. It is something that hopefully will live on in its execution and its message. It will hopefully energize a younger generation on that unique American form that is the “Broadway Musical”, and it has already sparked / continued a move of popular composers back to the theatrical stage — and both popular and “Broadway” music will be the better for it. It already is.

I’m not sure I need to tell you the actual story of Hamilton. By now, you’ve likely listened to the album. You know it is the story of an immigrant that created the modern financial system. It is the story of a man that rose from nothing to be a Founding Father, but one whose imperfections ultimately brought him down. It is a demonstration that our founding wasn’t easy. It is the story of founders such as Hamilton, Washington, Jefferson, and Madison. It is not the story of John Adams or Benjamin Franklin — they already have their own musicals. It is the story of Alexander Hamilton. You still want the synopsis. Read Wikipedia.

The musical presents incredible performance. It has incredible choreography. It has an incredible ensemble (it is worth seeing a second time if only to focus on watching the ensemble as opposed to the principals). McNulty opines that it has a flawed book: “I have quibbles with the book, which suffers a few minor dips in its retreading of Alexander Hamilton’s revolutionary life story. And I’ve questioned the relative gentleness of Miranda’s take on Hamilton’s complicated economic legacy and the founding fathers’ personal relationship to slavery. “Hamilton” could probably have done more to connect the framers’ partisan squabbles with our own.” I, on the other hand, see the flaws of Hamilton in a more technical fashion. For a show to become a show of the ages, it must be reproducible for the masses. We know of West Side Story and Hair and Rent because they have been performed on stages from the amateur to the professional. On the other hand, Spiderman: Turn Off the Dark? Yeah, a tour is promised, but we’re not going to see it in high schools? Curious Incident of the Dog in the Night-Time, which we saw last week, may not do well on the intimate or regional stage just because of the technical demands. I’m unsure if whether the double-turntable staging of Hamilton will be possible on the high school, intimate, or regional stage. Will Hamilton move from the Broadway and Touring stage to the stages of the heartland of America? I’m not sure we know that yet. Some past blockbusters — Producers, Spamalot, and Rent have. Others haven’t. Et tu, Wicked?

But that just makes it more imperative that you go see Hamilton while you can. If you miss it this go around — either due to schedule, cost, or bad luck in the lottery — I can guarantee you that it will be back. This will be another Wicked, reappearing every few years to empty pocketbooks and win hearts — and everyone should see it at least once. Director Thomas Kail and Choreographer Andy Blankenbuehler  have crafted an remarkable “whole”: a harmonization of the leads and the ensemble that tell a story in a way that hasn’t really been done on the stage before, except, perhaps, In The Heights (which was from the same team). This is worth seeing, and seeing again.

Describing the performance — in a review sense — is difficult. Gone are the days LA Civic Light Opera days where Los Angeles got the original Broadway cast. We have a cast trained on Broadway, but we don’t have Lin-Manuel Miranda (FB) or Phillipa Soo. But you know what? It doesn’t matter. All of the leads are spectacular, demonstrating that this not a star dependent show. Just like some of the greatest television shows, the strength of this show is its its entire cast, the synthesis of talent and performance and energy that makes all it difficult to separate performances, for all are great — from Hamilton, Burr, and the other leads to the nameless background dancer.

Our top protagonists are Michael Luwoye (FB) as Alexander Hamilton and Joshua Henry (FB) as Aaron Burr. Luwoye brings a different intensity and style to Hamilton (at least audibly, as I only know Miranda’s performance from the album), but it is one that works well. Henry is just spectacular in his intensity as Burr. The two men — perhaps one of the most famous frenemies duos — have a great chemistry together on stage, and work well in the roles.

The Schuyler Sisters are the most prominent female roles in the story — Emmy Raver-Lampman (FB) as Angelica, Solea Pfeiffer (FB) as Eliza, and Amber Iman (FB★, FB) as both Peggy and Hamilton’s later lover, Maria Reynolds. They have perhaps some of the most complicated vocal harmonies and blendings in the score, and they handle them well. Each brings a unique look and style to the role, and provide both a touching softness and strength to the leads. They are a joy to watch.

The revolutionary team of compadres that form around Hamilton — Jordan Donica (FB) as Marquis de Lafayette, Mathenee Treco (FB) as Hercules Mulligan, and Rubén J. Carbajal (FB) as John Laurens — capture the headstrong nature of youth well. They reappear in the second act — Donica as Jefferson, Treco as Madison, and Carbajal as Hamilton’s son, Phillip. It is here where Donica shines as the effusive dandy Jefferson, primping and preening as he contrasts and battles with Hamilton. Treco’s Madison is a lot quieter, behind the scenes as Jefferson’s right-hand man. Carbajal — a local boy, having done In The Heights at the Chance Theatre (FB) — has some wonderful scenes as Phillip — especially in his duel.

Rory O’Malley (FB★, FB)’s King George is a spectacular dandy — someone whose “da da da da” refrain will stick in your head. He tends to appear on-stage by himself, in a world of his own — capturing the separation of King George from his subjects well. As a side note: When O’Malley as the King sang of John Adams, I noted that Adams does not appear at all in this show. Why? Because he’s the center of his own show and story, someone else tells his story. Similarly, Ben Franklin has no voice at all in this show (referenced in just one song); again, he’s not only in Adams’ show, but has his own show as well. Hamilton focuses on the founding fathers whose stories haven’t been told.

The other main founding father presented in the show is George Washington, portrayed by Isaiah Johnson (FB). Looking nothing like the be-wigged father on the postage stamps, he does a great job of leadership and mentorship in his portrayl.

Rounding out the cast in the ensemble are (other named characters as noted): Raymond Baynard (FB) [also George Eacker], Dan Belnavis (FB), Daniel Ching (FB) [also Charles Lee], Jeffery Duffy (FB), Jennifer Geller (FB), Afra Hines (FB★, FB), Sabrina Imamura (FB), Lauren Kias (FB), Raven Thomas (FB), Ryan Vasquez (FB) [also Philip Schuyler, James Reynolds, and Doctor], and Andrew Wojtal (FB) [also Samuel Seabury] . This ensemble is spectacular: in constant motion, as wonderful background characters, as strong dancers, and people floating in and out. As you can, focus your attention and watch them closely, and you’ll be richly rewarded.

I’m not going to detail who understudies who, but there are a fair number of standbys [SB], swings [SW], and universal swings [USW]: Ryan Alvarado (FB) [SB], Julia K. Harriman (FB★, FB) [SB], Josh Andrés Rivera (FB) [SB], Amanda Braun (FB) [SW], Karli Dinardo (FB) [SW, Dance Captain], Jacob Guzman (FB) [SW, Dance Captain], Alex Larson (FB) [SW], Yvette Lu (FB) [SW], Desmond Newson (FB) [SW], Desmond Nunn (FB) [SW], Keenan D. Washington (FB) [SW], Hope Endrenyi (FB) [USW], Eliza Ohman (FB★, FB) [USW], Antuan Magic Raimone (FB) [USW], and Willie Smith III [USW].

The music in the show was sharp and clear, with the Hamilton Orchestra conducted by Julian Reeve (FB) [also Keyboard 1] and Andre Cerullo (FB) [also Keyboard 2]. The other orchestra members were: John Mader (FB) [Drums]; Kathleen Robertson (FB) [Violin]; Adriana Zoppo (FB) [Concertmaster]; Jody Rubin (FB) [Viola / Violin]; Paula Fehrenbach (FB) [Cello]; Trey Henry (FB) [Bass / Electric Bass / Key Bass]; Paul Viapiano (FB) [Electric Guitar / Acoustic Guitar / Banjo];, and Wade Culbreath [Percussion / Keyboards]. Other music related credits: Brian Miller [Orchestra Contractor]; Randy Cohen (FB) [Synthesizer and Drum Programmer]; Matt Gallagher [Universal Music Associate]. Larger creative music credits: Alex Lacamoire (FB) and Lin-Manuel Miranda (FB) [Arrangements]; Michael Keller (FB) and Michael Aarons (FB) [Music Coordinators]; Julian Reeve (FB) [Music Director]; Alex Lacamoire (FB) [Music Supervision and Orchestrations].

Finally, turning to the creative and production credits. The scenic design by David Korins (FB) was spectacular: a large brick background with scaffolding that some how transports well, including a deck with a double turntable. This was augmented by Howell Binkley (FB)’s lighting design, which not only impacted the actors but the back of the scenic designed, and used a type of LED mover I hadn’t seen before. Nevin Steinberg (FB)‘s sound design, as noted before, was quite clear; I noted they added additional speakers to improve the sound in the mezzanine and balcony of the Pantages. The costume design of Paul Tazewell and the hair and wig design of the very busy Charles G. LaPointe worked well for the movement and dance, and to establish the nature of the characters. Rounding out the production credits: J. Philip Bassett [Production Supervisor]; Hudson Theatrical Associates [Technical Supervision]; Kimberly Fisk (FB) [Production Stage Manager]; Telsey & Company (FB) and Bethany Knox CSA (FB) [Casting]; Roeya Banuazizi [Company Manager]; Patrick Vassel (FB) [Associate and Supervising Director]; Stephanie Klemons (FB★, FB) [Associate and Supervising Choreographer]; Derek Mitchell (FB) [Resident Choreographer].

Hamiliton (FB) continues at the Hollywood Pantages (FB) through December 30th. Tickets might be available through the Pantages website, but they might be expensive. Orchestra tickets start at $650, and resale prices vary widely. There is a $10 ticket lottery: either through the Hamilton App, or through the Hamilton Lottery Website. If you like the voice of Aaron Burr, Joshua Henry (FB), you might also look into the final production of the Muse/ique (FB) 2017 “Summer of Sound”: Glow/Town, on August 26,  featuring Savion Glover (FB) and, from the Hamilton tour, Joshua Henry (FB). Tickets are available from the Muse/ique website; discount tickets may be available from Goldstar. I find the Festival Seating just fine: general admission tables and chairs to see the show, and you bring your own picnic to enjoy. A perfect summer evening. Summer events take on the lawn in front of the Beckmann Auditorium at CalTech in Pasadena.

***

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) (well, make that 5 Stars Theatricals (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:

For the remainder of August, we’ve got a little theatre vacation. I’m still scheduling September, but so far we have only The 39 Steps° at Actors Co-op (FB). There’s also the Men of TAS Golf Tournament, if any theatre company reading this wants to donate tickets to our silent auction (hint, hint). October is also filling up quickly, with Joseph and the Amazing Technicolor Dreamcoat at Cabrillo Music Theatre (FB), the Upright Citizens Brigade (UCB) at the Valley Performing Arts Center (FB), a tribute to Ray Charles — To Ray With Love — also at the Valley Performing Arts Center (FB), and Bright Star at the Ahmanson Theatre (FB). Lastly, looking into November, we have The Man Who Came to Dinner at Actors Co-op (FB), the Nottingham (FB) and Tumbleweed (FB) Festivals, a Day Out with Thomas at Orange Empire Railway Museum (FB), Spamilton at the Kirk Douglas Theatre (FB) and Something Rotten at the Ahmanson Theatre (FB). December brings ACSAC 2017 in San Juan PR, the Colburn Orchestra and the Klezmatics at the Valley Performing Arts Center (FB),   Pacific Overtures at Chromolume Theatre (FB), and our Christmas Day movie. More as the schedule fleshes out, of course, but we’re booking all the way out in mid to late 2018 already!

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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cahwyguy: (Default)
2017-08-13 06:48 am
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Understanding America

Before I start my morning task of writing up Hamilton: An American Musical, a few observations on what I read when I got home. I had just spent three hours watching a musical that celebrated the men that fought for our freedom, and when I read Facebook, I was dismayed. I saw statements such as it was incompatible to be a Proud American and an Nazi sympathizer. People clearly do not understand America, and the strengths and risks of the American experiment. There is a reason the ACLU fights not only on the side of minorities, but on the side of Nazis and Racists.

Simply put: In American you can think whatever you want. You can be racist, you can be Nazi, you can be Socialist, you can be Communist, you can be Democratic, you can be Republican. For the most part, you can even say what you want (however, I believe you cannot encourage violence). You can protest, you can be silent, you can yell, you can scream. Of course, those who oppose your opinions have an equal right to speak back at you with their opposition. So yes, you can be a Proud America and think racist and supremacist thoughts.

What you can’t do, however, is violate the constitution or the constitutional rights of others. You cannot act in such a way that takes away the civil rights of others. You can think as racist as you want, but you can’t act in a racist fashion. You can protest all you want, but you can’t take away the life, freedom, and liberty of others. Had Charlottesville remained simply two vocal protest groups, it would have made the news one day and been gone, a demonstration of America’s strength again to hear repugnant views, relish in our remarkable country that permits people to say stupid things and not be arrested. But protests that kill and injure people cross the line — they move from action that is speech to action that impinges on civil rights and is thus illegal and unconstitutional.

So think however you want. Even write it up and protest — that is your right in this astounding country of ours. I may be offended by your words; I may be glad to know who you are and what you think so I don’t have to go anywhere near you. But I will defend your right to offend me with words. Cross that line of impinging rights. Act to deny any protected class — religion, sex, color, country of origin, orientation, etc. — their right to freedom and we will fight back to protect those rights.

Being an American isn’t easy. Our founding fathers and mothers fought for freedom from Britain so that the King could not dictate what we could say, think, or believe. Every day is a continual fight for those freedoms and rights, even if sometimes it is painful and hard to do. While we recognize the right of those who hold views repugnant to us to speak, we must protest loudly and clearly the movement of that hate from speech into actions against others, actions that took or injured the lives of those also expressing their views. We must use our speech — and our laws — to condemn such actions and ensure that those that take away constitutional freedoms learn what it is like to be deprived of theirs.

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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cahwyguy: (Default)
2017-08-12 11:49 am
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Our Sad Heritage

I’m sitting at my computer this morning reading about the hatred expressed yesterday evening at UVA, thinking about an extremely interesting BackStory episode about race in America, and getting ready to go to Hamilton this evening… and I’m thinking about how this country started with speaches about freedom, liberty, and justice from one side of their mouth, and hatred for the other coming out the other side. Before the founding of this country, there was hatred based not on skin color, but on country of origin. It was America — Virginia, in particular — that created the distinction between “white” and “black”. It was America that created race hatred. It is America that has amplified hatred of foreigners — be they African, Irish, Italian, Chinese, or from the Middle East. It is American that has pushed hatred of others based on political party, on sexual orientation, on size, on appearance.

For a country that is about freedom and liberty, we’re damn judgemental. I blame the Puritans.

If we are going to succeed as a nation, and continue to prosper, we must get past this hate. We must unite against it. The “other” is not out to get it; homogeneity is not the answer to piece. Our nation was built upon the other. Our nation was built on the melting pot of ideas and, yes, cultures. Our nation wasn’t built on one side winning and the other side losing, but on compromise — on finding that middle group that moves us incrementally forward, ever advancing, ever improving, ever shaping our society to be better than it was before.

Since the 1990s, our politics have become increasingly divisive. The other side is not just wrong, they are evil. There is no reconciliation with evil, no granting them of any quarter. That’s wrong. Different ideas are not evil, they are just different. Refugees are not out to get us; they are out to make peaceful homes for their families. Gays and Transgenders are not out to destroy the cis world; they are just out to live their lives in piece. Almost all of us (except for a few aberrations) was the same thing: to live in peace, to have a safe place to live, to be able to earn enough to take care of our families, to love, to be loved, and hopefully, to leave the world a better place than we found it.

Let us remember what binds us together, and not see in another’s ascent an implication of our descent. There’s a meme going around that points out that the world isn’t pie: one person being successful doesn’t always comes at the expense of another.

Or, in the words of The Mad Show: (music by Mary Rodgers, lyrics by Stephen Sondehim):

We’re gonna stamp out hate
That’s our creed
Wipe out violence, intolerance and greed
We’re gonna start right now
Tomorrow is too late
We’re gonna stamp out hate.

We’re gonna stamp out hate
Stamp it in the ground
And then take happiness and spread it all around
We’ll put an end to grief
We can hardly wait
We’re gonna stamp out hate.

We’re gonna stamp out hate
Sock it in the eye
Shoot it in the stomach yelling, die, die, die!
We’ll pull its insides out
And look at look at what it ate
We’re gonna stamp out hate.

We’re gonna stamp out hate
Lash it with a switch
Amputate its arms and legs and see how long they twitch
We’ll put its toes on hooks
And dangle them for bait
We’re gonna stamp out hate.

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2017-08-12 10:38 am

Of Historical Interest

Over the past few weeks, there have been quite a few articles I’ve uncovered related to California and Los Angeles history:

Speaking of going away….

 

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cahwyguy: (Default)
2017-08-11 05:41 pm
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Sesame? Says Me!

Over the last few days, my newsfeed has been filled with people gloating over the fact that the fellow who came up with that original guidance — make complex passwords and change them often — admitted he was wrong. But, if course, as with most people, they are misinterpreting things. Here are some key takeaways:

  • Complex passwords are still critical, but the answer is not an unpronouncable mix of letters and characters — because you can’t remember that. You can get equal or stronger passwords by choosing random words from the dictionary (passphrases) because although the “string” is shorter, the alphabet is larger. Math is math.
  • Frequent changing of passwords defeats the strength not because frequent changing is bad, but because human nature is. If you change things frequently, you’ll go to patterns that make things easier to remember — and to break.

In reality, the best solution is still a high-quality Password Manager, with a strong master password. In the password manager, you can create strong passwords for all your sites — unique for each site — and not have to remember them. This is something recommend (and not using my Facebook authentication for everything, which is not only weak but gives FB far too much information). I’ve recommended Lastpass for a long time for this purpose. It can keep track not only of passwords, but all that information you fill into forms — such as credit card info — so that you are storing it in your encrypted password vault, not on another machine where you depend on their encryption.

Recently, Lastpass changed their charging model: they upped the price (without notice) of Lastpass Premium from $12 to $24 a year. Everyone was up in arms! Heaven forfend! Doubling the price! (Never mind the fact that we’re talking $1 a month, which is noise, but hey, it’s the percentage!). It’s a concern for me: we have three Lastpass Premium accounts. However, I plan to move to the Family pricing model (which is worth it for 2 or more family members); hopefully, Lastpass will provide a way to consolidate existing Premium accounts into a single Family account with prorata balances applying towards the fee.

In the larger world, NIST is simplifying their password recommendations. The folks at Lastpass believe that will make things easier, but I believe that the fundamentals still remain: pick a unique password for each site, make it suitably complex, ideally gaining complexity through words vs. characters. How to do that? Use the password generator in your password manager, use the nonsense word generator, or use the XKCD Password Generator, XKPasswd.

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2017-08-11 11:32 am
Entry tags:

Household Chum

Sometimes news chum is just useful information. Here’s a bunch of items, all related to your house or your household:

 

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2017-08-11 11:22 am
Entry tags:

It’s a Bundle of 💩

An article in today’s LA Times by the usually reliable David Lazurus prompted this rant, especially as Lazurus opined that Disney’s move to its own streaming service was yet another death blow to expensive cable bundles. He opined that it would be better for consumers. I respectfully disagree.

Increasingly, we’re moving to the ala carte method of pricing. Airlines such as United are touting “Basic Economy”, where you get a seat and nothing more, and pay for any other privilege. TV, which used to be simple, is now an increasing number of services to which you must subscribe separately — which hides the total cost of all you see. Add your internet service provider fee to what you pay for Netfix + Amazon + YouTube Red + Hulu + CBS All Access + …. you name it, and your total can quite likely be more than that of cable, but you don’t see it. Sometimes, there is an argument for simplicity: A single price that bundles together what you would likely want.

Perhaps it is because I am older, but I don’t want to have to manage all of these separate fees. I want that simplicity. Alas, this means that much of new TV that is on these streaming services is lost to me. I’d love to watch Star Trek: Discovery, but I don’t want to have to deal with CBS All Access to do so. I’d love to explore some of the Netflix exclusive series, but don’t want to deal with yet another service and how it fits into my system.

All of these systems that increasingly use the Internet as their delivery mechanism are an exploitation of privilege, and a way of strongly focusing on a privileged audience. Much of US likes to forget that not everyone has fast streaming access, or can afford all the computer systems required for access, or the newer TVs. Low-income minorities, seniors — who cares about them. As long as we can reach our middle and upper class well educated audience — with the buying power — that’s what we want. Let those plebians watch the shows that can only be in the Cable and Satellite bundles.

So I disagree with the Times. I think the move of Disney to its private streaming service is a grab for more profits, and yet another way of targeting messages of consumption to those with the means to consume. Quality TV is no longer the opioid of the masses; it is the crack of the rich.

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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2017-08-07 10:25 pm

I’ve Written a Play… | “On the 20th Century” @ Proof Doubt Closer

On the Twentieth (20th) Century (Proof Doubt Closer)Did you know I’ve written a play? It is about life as a professional audience member.

I call it, “Life as a Professional Audience Member”. I put it down, just as it happened.

Oh, you’d prefer to read it as a blog instead? (walks away dejected)

But to be serious: I do consider myself of lover a theatre, ever since I saw my first Bock-Harnick show, The Rothschilds. As I’ve gotten older, I began to look at the composing team, and exploring all the works from that team. One of the best composers during the post-Rodgers and Hammerstein phase was Cy Coleman. He tended to team with other lyricists, but you could always guarantee a jazzy score. Just consider his string of hits (not in order): Little Me, Wildcat, Sweet Charity, I Love My Wife, Seesaw, The Life, City of Angels, Will Rogers Follies, and On the Twentieth Century. He also made a number of albums with his jazz trio, including one with the songs from Barnum, which is one of my favorites.

But I don’t just collect albums from composers; I try to see all of their shows. Here it is a bit harder, as many of the Coleman shows are rarely produced. I was lucky enough to see Barnum and City of Angels — as well as Coleman’s last show, Like Jazz — when they were first performed in LA; other companies in LA have done productions of  The Life and Will Rogers Follies, and I was lucky enough to catch those. For a while, it looked like DOMA was going to do Sweet Charity, but that fell through. Back in 2012, I heard that the Sierra Madre Playhouse (FB) was doing On The Twentieth Century and booked tickets, but alas, it was was the original play by Ben Hecht and Charles MacArthur, adapted by Ken Ludwig. A great production, but not what I was looking for.

So when an actor I met through Repertory East Playhouse informed me that she was going to be in a production of the musical version, on the calendar it went. I learned about the Kickstarter for the show and supported it, for this was a new production company (Proof Doubt Closer (FB)), dedicated to doing lesser known works. Our “reward” for donating was tickets, and so we found ourselves squeezing in a second show for the weekend: Cy Coleman’s On the Twentieth Century, with Book and Lyrics by Betty Comden and Adolph Green, based on plays by by Ben Hecht and Charles MacArthur and Charles Bruce Millholland (not Bruce Mullholland, as in the program), and additional music by David Krane (FB) and Seth Rudetsky (FB), at the Pan Andreas Theatre (FB) in Hollywood.

I should note that, going in, the Kickstarter only raised about 40% of the funds that were required for the show. This impacted the production budget, which could be seen in the set (and to some extent, the costumes), which were more suggestive of the location and period than capturing the actual elegance of the namesake train or how passengers of this caliber would have dressed for the travel. One might also think it was reflected in the air conditioning budget — at least the day of our show, the poor unit was broken or unable to keep up. Hint: Sit in the back rows, under the ceiling fans, and you’ll do much better.

Here’s what I wrote in 2012 about the play:

The play itself is quite significant: produced in 1932, it was later remade as a 1934 movie with John Barrymore and Carole Lombard that ushered in the era of 1930s screwball comedies.

The story of “20th Century” is set in March 1933 on the Twentieth Century Limited, a train from Chicago to New York City. The story is centered around Oscar Jaffe, an egomaniacal Broadway director, and Lily Garland, the chorus girl he transformed into a leading lady. With three failed productions in a row, bankrupt, and about to lose his theatre after the failure of his latest, “Joan of Arc”, Oscar boards the Twentieth Century Limited. He knows that his former protege and star, Lily Garland, will also be on the train; Lily is now a temperamental movie star (with a “golden statue”). He’ll do anything to get her back under contract and back in his bed, but his former protege will have nothing to do with him.  Assisting Jaffe in this exercise are his staff, Ida Webb and Owne O’Malley. Also on the train are Dr. Grover Lockwood and his mistress, Anita Highland; the doctor has written a play he wants Jaffe to product (about “Joan of Arc”). Also on the train is Myrtle Clark, a religious fanatic and heiress of a laxative fortune (and also escaped from an asylum). After Lily Garland boards the train at the second stop with her agent and boytoy, George Smith, the craziness begins. Now add to this mixture a second producer who also wants to cast Garland in his production, and the touring company of the  Oberammergau Passion Play. The role of the century! A potential investor! All of this to be resolved on a single train trip from Chicago to New York.

The musical is every similar, although some names have changed and characters split. You can see the detailed updated synopsis on the Wikipedia page. The main characters, Jaffee and Garland, remain, although Jaffee’s assistances become Oliver Webb and Owen O’Malley. The doctor and Lockwood split: Lockwood becomes a Congressman, who has written a play about life on the Hogworking Committee, and the Dr. becomes a gastroenterologist who, it just so happens, has written a play about life in a Metropolitan Hospital. The religious fanatic was renamed as Letitia Primrose, and Garland’s boyfriend became Bruce Granit. But the other plot aspects remain the same; and the farcical nature remains the same. As Coleman, Comden, and Green adapted the show, it also becomes a parody of melodramas and operettas in the musical and lyrical styling. I should note that, in the Broadway version that won five Tony awards, John Cullum played Oscar Jaffee, Madeline Kahn and later Judy Kaye as Lily Garland, Imogene Coca as Mrs. Primrose, and newcomer Kevin Kline as Bruce Granit. All stellar actors with the split second farcical timing required for a show such as this. Note also that the reworking into the musical played up the campiness, and permitted some level of overacting by the leads due to the nature of the play as a farce.

One other note about the reworking: in his approach to the musical, Coleman intentionally parodied the operetta style that was common at the time of the story, especially as that was what the leads would have been using on the stage (think shows like The Desert Song by Sig Romberg). Thus, there is a lot of use of the operatic style voice (although, being a layperson, I have no idea what to call that).

Now that the bones of the show are known, and are known to be good, how did Proof Doubt Closer do with the show, recognizing they had about 40% of the needed budget and the typical limited rehearsal time one sees in intimate theatre in Los Angeles, especially where actors often have real day jobs (as opposed to the stereotypical New York waiter)? (I”ll note we actually did see Proof Doubt Closer’s first show, although I don’t think they were called that then)

The answer is: reasonably, given what they had to work with. This wasn’t at the level of what I’m sure the tour was like when it hit the Civic Light Opera or the Ahmanson (I forget which produced it in 1979, when I’m sure it toured). The earnestness and the desire to be funny was there. But I think there was too much earnestness, so to speak. The success of a farce comes very much from the direction, and I just got the feeling that the director, Trace Oakley (FB) tried a little too hard. There was too much camp, there was too much overacting (especially by Jaffee and his assistants). There was the lack of unison, the lack of a well-oiled machine needed for farce. (I’ll note that this also showed in Averi Yorek (FB)’s choreography, which needed a bit more precision and everyone doing the same thing at the same time). There is the possibility that this is something that could have been ironed out in a longer and more intense rehearsal period, but that’s not possible in the LA intimate theatre scene where current rules from Actors Equity force either use of non-Equity actors (meaning they may not have training in that precision), or limited rehearsal time, and the nature of LA acting work means the performance is a labor of love, not the full time job. So the net result was tolerable unity, which lead to the aforementioned reasonable production. It wasn’t painfully bad by any extent, but it wasn’t at the level of a well-oiled production from companies like Sacred Fools, DOMA, or Good People Theatre.  It should also be noted that the director had a wide range of experience in his cast, from new-ish actors to folks who have been in the LA intimate theatre scene for a while. Lastly, I’ll note it was warm in our production, so I have no idea how much the heat was affecting the acting team.

In the lead acting positions were Wade Kelley (FB) as Oscar Jaffee and Alena Bernardi (FB) as Lily Garland. Kelley’s Jaffee struck me as off — and I’m unsure how much was direction, and how much was the actor. For Jaffee, I expect a certain level of gravitas in the role. After all, this is a man filled with self-importance, who has been producing theatre for years. Kelley didn’t convey that too much. There was a bit “too much” at times. It was a good performance, but not quite great. Bernardi’s Garland was stronger, and was plagued a bit less by the “too much” problem, although I got a sense the direction was trying to bring that in. Bernardi got many of the songs and handled them well, although the shift from what I would call the musical theatre singing voice and the “opera” singing voice was pronounced (I specifically noted it in one of the numbers — I thought the opening, but looking back, I’m not sure she was in it, so it must have been in a different number). In Bernardi’s case, both were strong, although some songs might have worked better in more of the musical theatre style (although, this was more of a personal perference; the first priority is to do numbers as written in the score). [Note: In writing this up, I see from Bernardi’s FB that she’s on vocal rest today — that could explain the pronounced shift in her voice — it was tired. That happens, and given that I liked her voice when I last saw her, I hope it recovers quickly.]

Supporting Oscar Jaffee were his two associates, Oliver Webb and Owen O’Malley, played by Rafael Orduña (FB★, FB) and Nate Beals (FB), respectively. As characters, the two were interchangeable — think Peter Falk to Jack Lemmon’s character in The Great Race. Both sang very well and very strong, but both tended to overplay the farcical side of their roles. I think particularly of their faces during “The Legacy” as an example of that. But they were fun to watch. In a similar supporting role was Nathan Jenisch (FB) as Bruce Granit, Garland’s boyfriend and agent. His role is more slapstick, and he handled it quite well.

Georgan George (FB★, FB) played Mrs. Letitia Primrose, and she captured the crazy of the character well. She had wonderful facial expressions and glee as she stickered away (again, this was great during the latter half of Act II). It was our first time seeing her in a singing role: she was strong on the musical theatre side of the voice, but could use a drop more strength on the operatic side (which she tends to use less in the roles she has done). But that was a minor concern; overall, she was fun in the role.

Portraying the train staff were Philip McBride (FB) as the Conductor, and Nicole Sevey (FB), Talya Sindel (FB), and Rowan Treadway (FB) as porters. Performance-wise, these were background roles to the craziness on the train with little separate identity. Music-wise, however, they provided some of the key transitory numbers (and all the tap dance). I enjoyed watching them, although they need a bit more precision in the movement and tap to be in complete unison. All were strong singers, but I was particularly taken by Sindel, a UCB astrophysics student transitioned to the stage. She just had a lovely voice that stood out, combined with great looks and great dance. Her compatriots, Severy and Treadway, were also very good.

Rounding out the cast were the remaining members of the ensemble, who also had various small supporting roles: Anagabriela Corrdero (FB) [Agnes, Ensemble]; Tatiana Gomez (FB) [Stranded Actor, Ensemble]; Stephen Juhl (FB) [Congressman Lockwood, Max Jacobs]; and Chelsea Pope (FB) [Imelda, Doctor Johnson]. There were a few here I’d like to single out. On first sight, I fell in love with Corrdero’s face — it is quite adorable. But more importantly, that girl can sing: she had a remarkable voice that stood out in the ensemble numbers. I hope to hear more of her (“see more of her” just sounds wrong) in other productions around the city. Pope had an interesting and expressive face that was quite fun to watch in her various roles; it was harder to assess the singing voice, which she had to intentionally make bad as Imelda, but I think sounded good as the doctor.

Musical direction was by Alena Bernardi (FB), assisted by Cynthia Cook-Heath (FB), who also led the on-stage orchestra on the piano. Also providing music were Mike Dubin (FB) on drums, Millie Martin (FB) on bass, and Christian Robinson on trumpet. The music was strong and I especially appreciated the brass (which this show needs), although there was one number at the beginning of Act II where the trumpet sounded just a little off. Philip McBride (FB) / Pikakee Music did the musical arrangements.

Turning to the production side: I feel sorry for the overworked Rebekah Atwell (FB), who did the set design, lighting design, and also served as the stage manager. I think she bore the brunt of the limited budget, and did the best that she could with the budget that she had. I always find it interesting how stage companies interpret trains, as a member of a train museum who knows the trains well. There was no credit for sound design. Rachel Harmon (FB) did the costume design, although she had no credit in the bio section. The costumes were reasonable, given the budget, although I’m not sure about the netting on the porter’s skirts. Zahra Husein (FB) is listed as propsmaster and assistant costume designer.

The Proof Doubt Closer (FB) production of On the Twentieth Century (or is that On the 20th Century) runs at the Pan Andreas Theatre (FB) on Melrose until August 27th. Tickets are available through Brown Paper Tickets, discount tickets may be available through Goldstar or through a Groupon. The production isn’t perfect, but it is a valiant attempt to present a rarely done musical — and in that area, it succeeds quite well. However, be prepared for a warm theatre.

***

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) (well, make that 5 Stars Theatricals (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:

We have one more show scheduled in August, and then we’ve got a little theatre vacation. The show, however, is worth it:  Hamilton at the Hollywood Pantages (FB).

I’m still scheduling September, but so far we have only The 39 Steps° at Actors Co-op (FB). There’s also the Men of TAS Golf Tournament, if any theatre company reading this wants to donate tickets to our silent auction (hint, hint). October is also filling up quickly, with Joseph and the Amazing Technicolor Dreamcoat at Cabrillo Music Theatre (FB), the Upright Citizens Brigade (UCB) at the Valley Performing Arts Center (FB), a tribute to Ray Charles — To Ray With Love — also at the Valley Performing Arts Center (FB), and Bright Star at the Ahmanson Theatre (FB). Lastly, looking into November, we have The Man Who Came to Dinner at Actors Co-op (FB), the Nottingham (FB) and Tumbleweed (FB) Festivals, a Day Out with Thomas at Orange Empire Railway Museum (FB), Spamilton at the Kirk Douglas Theatre (FB) and Something Rotten at the Ahmanson Theatre (FB). December brings ACSAC 2017 in San Juan PR, the Colburn Orchestra and the Klezmatics at the Valley Performing Arts Center (FB),   Pacific Overtures at Chromolume Theatre (FB), and our Christmas Day movie. More as the schedule fleshes out, of course, but we’re booking all the way out in mid to late 2018 already!

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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2017-08-06 11:40 am

Finding Inner Strength | “The Curious Incident” @ Ahmanson

The Curious Incident of the Dog in the Night-Time (Ahmanson)A little over 10 years ago, I picked up a fascinating book, The Curious Incident of the Dog in the Night-Time by Mark Haddon (FB). The book told the story of a murder mystery — a dog that had been found in a neighbor’s front yard, killed by a pitchfork. What was the fascinating conceit of the book was that the story was told from the point of view of the next-door neightbor, a 15 year old teen somewhere on the Asperger/Autism scale, who found the dead dog. With the help of his teacher, Siobahn, the boy writes the story of his investigation — including all his personality quirks, such as chapters numbered as primes and so forth. Along the way to solving the investigation, he discovers hidden truths about his family, and hidden strength within himself.

The book was a truly odd presentation of a story, and really gave insight to readers about what it might be like living as an Aspie-boy, and what parenting one involved. The odd nature of the story — with digressions, tantrums, and quirks was almost non-linear at times, but it drew you in and held you rapt.

For me, it truly made me appreciate Haddon as an author (as I had Gregory Maguire of Wicked before him), and I went out and devoured Haddon’s other books as soon as they hit trade paperbacks.

When I heard that Simon Stephens and the National Theatre (FB) were developing a play based on the novel, I found it difficult to conceive of how such as odd book could be transformed for the stage in a manner that preserved its uniqueness. How does one put the mind of an Aspie on stage? Yet somehow they did, and the production came to Broadway, and then went on to win 5 Tony Awards, including Best Play.

Last night, we saw the play at the Ahmanson Theatre (FB), and all I can say is (paraphrasing Steve Stanley, as I believe he has the phrase trademarked): Wow!. They did it. They captures the confusion and the noise and the order and the chaos and the methodicity and the emotional lack of emotion of the Aspie mind. This was done by the interplay of having the teacher, Siobahn, of the boy, Christopher, serve as the narrator. This was done by the use of a black box stage and animations, through the use of color, and through the use of the ensemble as interchangeable people that moved throughout Christopher’s life. This was just not economy of hiring actors; it captured the fact that Aspies often find it different to identify differences in people. It was done through the performances of the actors, the choreography of movement throughout the piece, the dissonant sounds.

I recently heard a discussion about the role of a director in a stage production, which intrigued me as I’ve always had difficulty distinguishing between what the director brings and what the actor brings. The discussion pointed out that the actor brings the individual portrayal, based on their experience and research, to the character; the director brings the whole together. The overall conception, the synthesis of creatives, and the interaction of the actors with one another and with the environment created by the production creative team (set, props, lights, sound). If that is indeed the case, then Curious Incident is indeed a director’s play, with vision of the director, Marianne Elliott, providing unified environment around Christopher’s behavior, demonstrating and illustrating the larger picture that surrounds his mind, and giving reality to the truth that he speaks.

That’s not to diminish the work of the actors. As Christopher, Adam Langdon (FB)†, captures the Aspie behavior well (although I should note  that the play never states a particular diagnosis). This includes all the quirks from the behavior when touched to the focus on something else while having a discussion, to the lack of emotion in speech and action, to the fear and panic. It is a tour de force,  a powerful performance and portrayal.
† [Benjamin Wheelwright (FB) at weekend matinee performances]

All of the other actors serve as members of the ensemble as well as their principle roles. Three, however, have only one other role besides the ensemble: Maria Elena Ramirez (FB) as Siobhan — Christopher’s teacher, Gene Gillette (FB) as Ed — Christopher’s father, and Felicity Jones Latta (FB) as Judy — Christopher’s mother.  Ramirez captured well the gentle guiding force that was Siobahn — a teacher, a confidant, a source of strength. She also served as narrator, describing things that Christopher couldn’t and effectively bringing the book to the stage. Gillette’s Ed was initially gruff and inscrutable, but as the play progressed you got to see the deep depth of affection and care and concern he had for Christopher. Lastly, Latta’s Judy came into the story length and was, for much of the story, an enigma. By the end, you could see that she initially didn’t know how to handle and deal with a child like Christopher, and this led to her — shall we say “predicament” — that drove the story. By the end, however, you could see that she was getting more comfortable with her role as mother.

The remaining actors — at least from the distance we sat — formed an ensemble that went in and out of character as necessary, all providing multiple characters and props as needed, and doing well. The remaining ensemble members, and their additional roles, were: Kathy McCafferty (FB) (Mrs. Shears, Mrs. Gascoyne, Woman on Train, Shopkeeper, Voice One); Brian Robert Burns (FB★, FB) (Mr. Thompson, Policeman One, Drunk Two, Man with Socks, London Policeman, Voice Three); John Hemphill (FB) (Roger Shears, Duty Sergeant, Mr. Wise, Man Behind the Counter, Drunk One, Voice Two); Geoffrey Wade (FB) (Reverend Peters, Uncle Terry, Station Policeman, Station Guard, Voice Four); Francesca Choy-Kee (FB) (No. 37, Lady in Street, Information, Punk Girl, Voice Five), Amelia White (FB) (Mrs. Alexander, Posh Woman, Voice Six); Robyn Kerr, J. Paul Nicholas (FB).

Understudies were Josephine Hall (FB), Robyn Kerr, Tim McKiernan (FB), J. Paul Nicholas (FB), and Tim Wright (FB★, FB) (who also served as dance and fight captain).

Turning to the creative and production team: Bunny Christie‘s scenic and costume design was ingenious (well, the scenic design was — costumes were closer to everyday clothes). She created a black box with a graph-paper grid with LEDs at the nexii, and a series of white boxes. Everything came through doors in the box. This combined with Finn Ross‘s video design to create both the outside world and the world of Christopher’s mind. Added to that was the lighting design of Paule Constable that took the projections out into the audience to heighten emotion and set move, and the choreography of Scott Graham (FB) and Steven Hoggett (FB) to create the frantic movement that also served to establish both mood and emotion. Lastly, all this worked with the sound design of Ian Dickinson for Autograph and Adrian Sutton (FB)’s music to move the audience from order to cacaphony as appropriate. Other technical and production credits: David Brian Brown (FB) [Wig and Hair Design]; Ben Furey (FB) [Voice and Dialect Coach]; Daniel Swee and Cindy Tolan (FB) [Casting]; Benjamin Endsley Klein (FB) [Associate Director]; Taylor Haven Holt (FB) [Assistant Director]; Yasmine Lee (FB) and Jess Williams [Associate Choreographers]; C. Randall White [Production Stage Manager]; Lynn R. Camilo (FB) and Kristin Newhouse (FB) [Stage Managers]; Elizabeth M. Talmadge [Company Manager]; Bond Theatrical Group [Marketing and Publicity Direction]; Aurora Productions [Production Management]; The Booking Group (FB) [Tour Booking]; Bespoke Theatricals [General Manager].

The Curious Incident of the Dog in the Night-Time continues at the Ahmanson Theatre (FB) through September 10. Tickets are available through the Ahmanson Box Office; discount tickets may be available through Goldstar. If you want an interesting show — either from the Aspie/Autism angle or just the mystery angle — this is well worth seeing.

***

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) (well, make that 5 Stars Theatricals (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:

August theatre starts with The Curious Incident of the Dog in the Night at the Ahmanson Theatre (FB) on the weekend. We are also squeezing in On The Twentieth Century at the Pan-Andreas Theatre in Hollywood from Proof Doubt Closer (FB), as a friend is in the cast. The second weekend of August? What made sitting through The Bodyguard worth it: Hamilton at the Hollywood Pantages (FB).

I’m still scheduling September, but so far we have only The 39 Steps° at Actors Co-op (FB). There’s also the Men of TAS Golf Tournament, if any theatre company reading this wants to donate tickets to our silent auction (hint, hint). October is also filling up quickly, with Joseph and the Amazing Technicolor Dreamcoat at Cabrillo Music Theatre (FB), the Upright Citizens Brigade (UCB) at the Valley Performing Arts Center (FB), a tribute to Ray Charles — To Ray With Love — also at the Valley Performing Arts Center (FB), and Bright Star at the Ahmanson Theatre (FB). Lastly, looking into November, we have The Man Who Came to Dinner at Actors Co-op (FB), the Nottingham (FB) and Tumbleweed (FB) Festivals, a Day Out with Thomas at Orange Empire Railway Museum (FB), Spamilton at the Kirk Douglas Theatre (FB) and Something Rotten at the Ahmanson Theatre (FB). December brings ACSAC 2017 in San Juan PR, the Colburn Orchestra and the Klezmatics at the Valley Performing Arts Center (FB),   Pacific Overtures at Chromolume Theatre (FB), and our Christmas Day movie. More as the schedule fleshes out, of course, but we’re booking all the way out in mid to late 2018 already!

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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2017-08-06 08:15 am

Sex and Drugs

We’ve had the rock and roll, so how about some sex and drugs before the next writeup. Here’s is some news chum I found particularly interesting in these areas:

Sex

Three interesting articles related to the subject of sex:

  • Bespoke Porn. Technology changes the porn industry. As free porn has become increasingly available on the Internet through sites like Pornhub, the primary industry in the San Fernando Valley — porn — has been hurt. When people don’t pay, how are actors to earn a living? The answer is a bit of a surprise: Bespoke Porn. What this means is porn specifically made for one individual for their particular tastes. This isn’t always the sex you think. The article notes cases of women fully clothed swatting flies or destroying stamp collections. To each their own; I find this interesting less for the sex aspect and more for the statement it makes about the larger industry.
  • Cosplay Capers. The second article I found explores the trend for cosplayers (usually buxom young women) to create patreon pages where followers can pay to see even more risque photos (usually at the edge of R towards the S T U, but not getting as far as X or multiples thereof). I see this on FB: I have one friend that has befriended a bunch of cosplay models and comments on their pages; thus I see them promoting their patreons. It bothers me what such comments telegraph to others, but that’s neither here nor there. As for the evolution of cosplay, as long as this is the player’s choice I guess it is OK, but I can also see how such images play to the troublesome double standards we see in society.
  • Sex on Stage. Here’s a fascinating article on intimacy directors: that is, those individuals whose job it is to choreography intimacy onstage to make it believable, and yet not cross actors’ personal boundaries.

Drugs

Here are two articles related to … well, not quite drugs, but something that acts like a drug for the current generation: smartphones.

  • Smartphones and the iGen. As I wrote in my last post, we’re dealing with a teen who constantly has her face in her phone: snapchat, youtube, constant selfies. We don’t think it is healthy, and this article gives some facts and statistics to confirm it. It leads to significant sleep deprevation and depression, and serves to isolate the generation from personal contact and interactions with friends (not in all cases, but as a general statistical sample). It really is an interesting read.  Here’s an example of such a statistic: “All screen activities are linked to less happiness, and all nonscreen activities are linked to more happiness. Eighth-graders who spend 10 or more hours a week on social media are 56 percent more likely to say they’re unhappy than those who devote less time to social media. Admittedly, 10 hours a week is a lot. But those who spend six to nine hours a week on social media are still 47 percent more likely to say they are unhappy than those who use social media even less. The opposite is true of in-person interactions. Those who spend an above-average amount of time with their friends in person are 20 percent less likely to say they’re unhappy than those who hang out for a below-average amount of time.”
  • Sinister Screens. Here’s a shorter article that addresses the same subject, and again an interesting quote: Brain-imaging studies have shown that the dopamine released when users are getting their technology fix is akin to what is seen in other forms of addiction — one of the reasons Peter Whybrow, director of UCLA’s Semel Institute for Neuroscience and Human Behavior, has referred to digital technology as “electronic cocaine.”

Bringing It All Together

Now, think about these articles in the large. Are we creating a generation that finds intimacy online through individualized porn and patreon girls? Is this an unanticipated side effect of the growth of the Internet? What does that say about society as a whole?

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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2017-08-06 07:30 am

Rockin’ and Swingin’ at the Bowl | Brian Setzer @ Hollywood Bowl

Bian Setzer (Hollywood Bowl)This has been a busy busy week, what with meetings and loads of stuff to do in the evenings. One of those evening activities was an evening at the Hollywood Bowl (FB) where we were seeing Brian Setzer and his Orchestra. Originally, this was going to be a simple evening: I’d work from home during the day, we’d take the bus to the bowl, have a nice picnic, and rock away. The universe, however, had other plans. I was specifically requested to attend some off-campus meetings, meaning I was driving into work (and driving back to the valley) instead of working from home. I spilled something all over myself after lunch, meaning not only was I off-site, but I had to deal with wet pants and a meeting to attend. My cousin, who was now living with us, stepped wrong and sprained her ankle, meaning (a) my wife lost part of the day at the ER, and (b) we had to switch to handicapped seating at the last minute instead of walking up the hill. Just one of those cascade failure days.

The cascade continued when I got home. We caught the 6:00pm bus instead of the 5:45pm, and it didn’t leave Chatsworth until 6:30p, meaning we got to the bowl around 7pm, and then it took another 45 minutes to get reseated (because someone decided to work out all of their season tickets in front of us in the handicapped line). Then increased security at the Bowl (they’ve added metal detection scanners, meaning emptying all your pockets) let to my setting off security, and my time frustration getting in as things kept getting closer and closer to the show with dinner shifting further and further away. We didn’t have a chance to pick up merch or a program, as the handicapped route to the seats bypasses all of that.

We finally got to our seats (which were much better than our original seats) about 5 minutes before the opening act started, and things began to get better from there. The opening act was a fellow by the name of J.D. McPherson (FB), with a band that played rock and rockabilly. I was too out of it to make my own setlist, but I did find it online:

  1. Bossy
  2. I Can’t Complain
  3. North Side Gal
  4. Wolf Teeth
  5. It Shook Me Up
  6. Desperate Love
  7. Lucky Penny
  8. Precious
  9. Mother of Lies
  10. Let The Good Times Roll

The band was OK, but it didn’t make me want to go out and get their music. I was more into the big-band side of Setzer, not the pure rock. I will observe this was the first bowl concert I’ve been to that didn’t start with The Star Spangled Banner.

After a 30 minute intermission, the main act came on. This was Setzer’s 25th Anniversary Show. Setzer was great, mostly playing the music and doing less audience dialog than I’ve seen some do. Again, here’s the setlist I found online:

  1. Pennsylvania 6-5000
  2. Stray Cat Strut
  3. This Cat’s on a Hot Tin Roof
  4. Gene & Eddie
  5. The Dirty Boogie
  6. Runaway Boys
  7. Sleep Walk
  8. Drive Like Lightning (Crash Like Thunder)
  9. Let’s Shake
  10. Jump, Jive an’ Wail
  11. Let There Be Rock
  12. I Won’t Stand in Your Way
  13. Put Your Cat Clothes On
  14. Slow Down/Folsom Prison Blues
  15. Fishnet Stockings
  16. Rumble in Brighton
  17. Encore: Rock This Town

The show started with the big band numbers and rock run through the big band, and ended with rockabilly. Overall, the music was great and the crowd was dancing in the aisles. For the most part, the Setzer part of the show made up for any shortfalls during the day. I’ll note that Setzer only introduced some of his backup band; in particular, he didn’t introduce all of the big band members, nor did he introduce the backup singers. Not having a program, I couldn’t grab their information from there either (in fact, there might not have been programs at all).

Of course, coming back meant the handicapped route again — meaning we had to wait for the last bus back to the Park and Ride, which got us back around 11:30pm, and home around midnight, and to bed at 1am… and getting up at 430am for work. It also meant dealing with an iGen teen who seemingly had a face in the phone all the time. More on that in another post.

***

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) (well, make that 5 Stars Theatricals (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:

August theatre starts with The Curious Incident of the Dog in the Night at the Ahmanson Theatre (FB) on the weekend. We are also squeezing in On The Twentieth Century at the Pan-Andreas Theatre in Hollywood from Proof Doubt Closer (FB), as a friend is in the cast. The second weekend of August? What made sitting through The Bodyguard worth it: Hamilton at the Hollywood Pantages (FB).

I’m still scheduling September, but so far we have The 39 Steps° at Actors Co-op (FB) and Pacific Overtures at Chromolume Theatre (FB) [although a little birdie … OK, Nance from Chromolume whom I saw at The Last Five Years, indicated the dates on that are shifting out to November]. There’s also the Men of TAS Golf Tournament, if any theatre company reading this wants to donate tickets to our silent auction (hint, hint). October is also filling up quickly, with Joseph and the Amazing Technicolor Dreamcoat at Cabrillo Music Theatre (FB), the Upright Citizens Brigade (UCB) at the Valley Performing Arts Center (FB), a tribute to Ray Charles — To Ray With Love — also at the Valley Performing Arts Center (FB), and Bright Star at the Ahmanson Theatre (FB). Lastly, looking into November, we have The Man Who Came to Dinner at Actors Co-op (FB), the Nottingham (FB) and Tumbleweed (FB) Festivals, a Day Out with Thomas at Orange Empire Railway Museum (FB), Spamilton at the Kirk Douglas Theatre (FB) and Something Rotten at the Ahmanson Theatre (FB). More as the schedule fleshes out, of course, but we’re booking all the way out in mid to late 2018 already!

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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2017-07-31 07:36 pm
Entry tags:

California Highway Headlines for July 2017

July. The month for brush fires, roadtrips, and vacations. Also the month for highway work, and highway headlines:

  • Roadshow: Is there hope for the torturous trek over Pacheco Pass?. Q: I know it’s been a few weeks, but I am still recovering. It took me four hours to go from Mountain View to Interstate 5 on the Friday of Memorial Day weekend on highways 101 and 152. I knew it was going to be bad, but four hours? To go about 90 miles? Something must be done. HOV lanes? Yes! Toll roads? Yes! Eminent domain? Yes! We need a four-lane freeway from 101 to I-5. It is absurd to have a two-lane chokepoint like this on Highway 152 for millions of people in the South Bay. Is there any hope?
  • Isolated part of California’s Big Sur opens to public again. A portion of Big Sur which has been cut off since February by a collapsed bridge and a massive landslide is accessible again. Specifically, a public hiking trail that links visitors to popular tourist attractions in south Big Sur opened on Saturday. A daily shuttle takes visitors to the half-mile trail, which was initially built for locals to circumvent the Pfeiffer Canyon Bridge after it was badly damaged by winter storms and had to be demolished.
  • More Than $34 Million Awarded to 125 Projects Under Cap-and-Trade Fund. Caltrans today announced that 125 local projects received $34.5 million in funding from the Low Carbon Transit Operations Program. These projects continue California’s effort to reduce greenhouse gas emissions and improve the sustainability of public transportation systems around the state.

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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2017-07-30 05:35 pm
Entry tags:

Very Interesting….

Here’s a collection of articles that I found to be quite interesting (and worthy of comment), and yet ones that are unlikely to fit into a themed post:

  • Garfield is Not Meant To Be Funny. We’re all familiar with the lasgane-eating cat. We read the script, and scratch our heads. Some of us even find Garfield minus Garfield to be funnier.  Turns out there is a reason. Garfield was never meant to be funny; it was specifically designed to be marketable.  That is, Garfield was designed to be able to create plush toys, trite sayings, kitchen magnets, T-shirts, and such — not to be a funny strip.
  • Judaism Isn’t Cheap. The LA Times has an interesting op-ed today on the high cost of Judaism. This isn’t even talking about the cost of living Judaism — kosher food and the like. Rather, it refers to the high cost of Jewish community services, the high cost of synagogue membership. It posits that this is one reason behind declining synagogue membership. I know that at our large synagogue in the ‘burbs, membership dues are high, there are regular additional appeals because dues don’t cover all, and accounting errors lead to additional assessments … plus all the various fundraisers and events that have their fees. If you’re not lucky enough to be middle-class, what do you do. You join with dues assistance, which then makes things even worse for the rest of the congregation. There are some answers, but they take, so to speak, a leap of faith and assumption of a certain amount of risk. They take making synagogues be more than dues for service, rather a relationship you want to support. It’s not an easy question.
  • Dealing with ADHD. We have taken in a cousin who is dealing with ADHD. This is something new to us, and is leading us to be more attentive to the various posts that go around on the subject. Recently, a FB friend brought to light this wonderful ADHD survival guide. I think it has some really good tips that we are going to try.
  • You Are What You Drink. Coke Zero is rebranding itself as Coke Zero Sugar. Why? The new name is intended to make clearer that the drink has no calories, and a new recipe is intended to make the drink taste more like regular Coke. The company isn’t specifying what it’s changing aside from saying it tweaked the “blend of flavors.” It says the drink will use the same artificial sweeteners. Mainly, they are making it look more, and taste more, like Coke. Why? Because “Diet Coke” doesn’t taste like Coke (remember, Diet Coke replaced Tab, which was saccharine based). The push behind Coke Zero comes as people continue moving away from Diet Coke in the United States. Coca-Cola in the past has blamed the declines on concerns over the aspartame used in the drink, though the ingredient is also used in Coke Zero, which has enjoyed growth globally. Note that last bit: aspartame is used in Coke Zero. That’s why I don’t drink it. I either drink water or plain black tea. With respect to that, alas, Starbucks is closing down all Teavana locations. Starbuck has never had a commitment to tea. Note that both Peets and Coffee Bean and Tea Leaf have also been reducing their tea selections, likely because there’s no profit in tea as people don’t doctor it as much as coffee to make it drinkable, and thus they can’t charge the extra $$$. Let’s hope David’s Tea stays around.
  • Dealing with Dementia. Unfortunately, many of us are having to deal with the mental decline of our aging parents. We get diagnoses of cognitive impairment, and often leave it at that. But it turns out that the type of dementia is important to know, for it can impact the approach to treatment. So, for me, this article was interesting simply because of all the dementia we’re dealing with these days.

 

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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2017-07-30 08:06 am

Coming Together, Coming Apart | “The Last 5 Years” @ Actors Co-op Too!

The Last 5 Years (Actors Co-Op)This has been a weekend of love. Friday night we saw a Shakespearean celebration of love through the eyes of Galt MacDermot and John Guare: Two Gentlemen of Verona – The Musical (nee “A Grand New Musical”). Last night (Saturday), we saw a different sort of celebration: The Last 5 Years by Jason Robert Brown (FB) at Actors Co-op (FB) today, part of the Actors Co-Op’s Actors Co-Op Too! summer series — a series of short runs to explore new plays, grow new directors and new actors, and season the acting muscles of existing company members.

If I had the choice of a musical to see, The Last 5 Years would not be it. I’ve seen it three times before: 2016 at ACT San Francisco; 2006 at REP East; and 2006 at the Pasadena Playhouse. It is one of those musicals that gets trotted out when you need an inexpensive two-hander; it is a great showcase for two actor-singers. But for an audience member, it is unclear what the different versions bring. So why see it again? Partially because it was offered to subscribers, and I’m all about value and getting my subscription dollar’s worth. Partially because I view it as a salami and eggs show: it is a reference dish that is a good test of a theatre.

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

Given this structure, the storytelling depends on two things: the performance and the music. Jason Robert Brown (FB)’s music has the JRB romantic musical sound (i.e., you’ll find that The Bridges of Madison County has a similar sound): deep, lush, emotive, and at times playful. There are some very beautiful songs in L5Y; there are some very funny songs; and there are some very poignant songs. It is a test of the actor-singer who must convey everything through performance and voice. This is especially true in the small theatre where the lushness of the score is reduced by simplification to a single keyboard.

My reaction to the Actors Co-op production of The Last 5 Years was mixed. I really liked Claire Adams (FB)’s Cathy. I felt she brought a wonderful sense of performance and character to the role, and I enjoyed her singing. This is the third time we’ve seen Adams; we saw her previously in both Lucky Stiff and A Funny Thing…Forum. In this show, her face was a delight to watch and wonderfully expressive; her body language was real; her comedy adept. I enjoyed her singing voice, and didn’t notice any significant problems. A cousin who came with me — who has had some professional vocal training — did notice some. Setting aside her comments on “Broadway voice”, she did note that the singing was done in a way that was more tiring to the vocal cords; looking back, I can see that the voice was more tired near the end. So, as this is a workshop production and thus desirous of constructive comments, my one suggestion for the actress would be to work on that: she has a great voice, and learning how to use it in a way that doesn’t expose it to strain can only be a good thing. But I really enjoyed the performance aspects — it brought some wonderful insights and views of the character that I hadn’t seen before. This was apparent from the “get-go” in the opening number, “Still Hurting”, where you could see the real emotion coming through in the staging. It continued through her numbers — all of which were great.

On the other hand, there was Dorian Keyes (FB)’s Jamie. Sigh. I mean, I was rooting for him, as a fellow software engineer. After all, this is a guy that with other computer science friends started a production company called Nerd Squad. Further, although not shown in the program (but discovered doing this writeup), he’s played the character a few months before this outing. So he should have been much better. The main problem: he just didn’t give off the vibe that made him believable as the character. That is, he didn’t strike me as particularly New York Jewish (which Jamie is clearly), nor was he believable as a writer and author. Nowhere was this problem clearer than in “The Schmuel Song”, which has become a classic Jewish character story-song. His focus was on the cheesy Christmas tree; he didn’t bring Schmuel to life — there was no sense of being in that tailor shop in Clemovich. To me, his voice was a bit generic and lacking the character I like to see come through in a voice (the reason I love folks like Susan Egan or Kate Baldwin). My cousin characterized his voice as mediocre — it needs more training to develop character and strength and depth. I think, overall, I’m not saying that he was bad — because he wasn’t. A better characterization is … non-descript. His performance wasn’t the “Wow! 🎆” that Jamie needs to be. He was average on the edge of good; but when contrasted with the powerhouse portrayal of Cathy from Adams, there was no shine to the star. In terms of workshop constructive criticism: this is actor that needs some more seasoning on the acting and singing side. The bones of a good performer are there, but a greater variety of roles, with directors who can help him find the depth to bring it out, and vocal coaches to help mature and strengthen his voice (as well as discovering how to bring character to that voice) will help in the long run.

This production was directed by Laura Manchester (FB). I’ve always said that I have difficulty telling where what an actor brings stops and what the director brings starts. That’s certainly true here. Manchester produced the background film used as part of the scenic design, as aside from one faux paus I’ll mention in a bit, that was excellent. Manchester’s direction of Adams as Cathy was strong and on-point. But with respect to Keyes, it was weaker — and again, this came across clearly in “The Schmuel Song”, where seemingly the character’s focus was setting up the Christmas Tree (an incongruous thing for a Jewish person to do), and not the charm of the story song. It may have been a casting issue; her FB (discovered while writing this) shows she was having some difficulty casting the role, so this could simply have been the problem of finding the right actor, and that actor having the right connection with both the director and the story. The director also had to contend with the nature of the theatre space used. Every other production I’ve seen of this show has been proscenium based: the actors on a stage surrounded by a proscenium, separated from the audience. This production used the Crossly Theatre space, which is a “theatre in the round” space with the audience on three sides. Manchester used that space well, bringing the actors forward and interacting with the audience on all sides; she also used the entry and exit arches to good effect.

Musical direction was by Taylor Stephenson (FB), who did a fine job on the keyboard, and interacted well with Adams’ Cathy during the audition scenes.

On the production side: The scenic design by Nicholas Acciani (FB) had a number of bookcase boxes and other props in the back, and incorporated multiple small projection screens for which Nicholas Acciani (FB) provided the projection design and Laura Manchester (FB) provided the content. This mostly worked quite well, except in the “I Can Do Better Than That” scene. The problem there? The actors are facing forward, playing the scene as if they were driving in the direction of the front center audience. So, from the audience perspective, they are looking through the front windshield at the actors, and the projections should have been reflecting what is seen in the rear window. But instead, the projections were as if the car was driving in the direction the audience was facing. In other words: The view was as if that actors were driving the car in reverse without even looking over their rear shoulders. This was an unnecessary video disconnect that brought the audience out of the moment (or at least this roadgeek out of moment); it was also something easily avoidable simply by doing a 180° with the camera during the car filming (i.e., point it backwards).

But that was the only production-side flaw. The lighting design of Savannah Harrow (FB) and the sound design by Maddie Felgentreff (FB) both worked well, establishing mood and focusing attention. There was no credit for costume design: presumably this came from either the director or the actor’s closets. Adams’ costumes were great and fit the character well (plus she did some wonderful quick costume changes); Keyes’ costumes were often a bit informal for the type of author this character purported to be. Savannah Harrow (FB)  was the stage manager; the production was produced by Selah Victor (FB) and Laura Manchester (FB).

The Last 5 Years (which this production appears to write out as The Last Five Years, just as they change Kathy to Cathy) continues at Actors Co-op (FB) through August 5th, with remaining performances on July 30 at 2:30pm, August 4 at 8:00pm. August 5 at 2:30pm and 8:00pm. Tickets are a suggested donation starting at $10 and FREE to all 2017-2018 Season Subs. Visit their website www.actorsco-op.org or call the box office at 323-462-8460 to reserve your seat.

***

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) (well, make that 5 Stars Theatricals (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:

August starts with Brian Setzer at the Hollywood Bowl (FB) on August 2, followed by The Curious Incident of the Dog in the Night at the Ahmanson Theatre (FB) on the weekend. We are also squeezing in On The Twentieth Century at the Pan-Andreas Theatre in Hollywood from Proof Doubt Closer (FB), as a friend is in the cast. The second weekend of August? What made sitting through The Bodyguard worth it: Hamilton at the Hollywood Pantages (FB).

I’m still scheduling September, but so far we have The 39 Steps° at Actors Co-op (FB) and Pacific Overtures at Chromolume Theatre (FB) [although a little birdie … OK, Nance from Chromolume whom I saw at The Last Five Years, indicated the dates on that are shifting out to November]. There’s also the Men of TAS Golf Tournament, if any theatre company reading this wants to donate tickets to our silent auction (hint, hint). October is also filling up quickly, with Joseph and the Amazing Technicolor Dreamcoat at Cabrillo Music Theatre (FB), the Upright Citizens Brigade (UCB) at the Valley Performing Arts Center (FB), a tribute to Ray Charles — To Ray With Love — also at the Valley Performing Arts Center (FB), and Bright Star at the Ahmanson Theatre (FB). Lastly, looking into November, we have The Man Who Came to Dinner at Actors Co-op (FB), the Nottingham (FB) and Tumbleweed (FB) Festivals, a Day Out with Thomas at Orange Empire Railway Museum (FB), Spamilton at the Kirk Douglas Theatre (FB) and Something Rotten at the Ahmanson Theatre (FB). More as the schedule fleshes out, of course, but we’re booking all the way out in mid to late 2018 already!

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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2017-07-29 03:33 pm

Love Has Driven Me Sane | “Two Gentlemen of Verona” @ FPAC

Two Gentlemen of Verona - The Musical (FPAC)If you were to ask me what my absolute favorite musical was — that is, the one musical that was guaranteed to leave me happy and feeling good upon hearing the score — it would be the 1972 Tony-award winning Two Gentlemen of Verona written by William Shakespeare, adapted by John Guare and Mel Shapiro, with lyrics by John Guare and music by Galt MacDermot, originally presented by the New York Shakespeare Festival (now the Public Theatre). I saw it back in 1973 when I was just 13 at the Ahmanson, with Jonelle Allen, Clifton Davis (FB), Stockard Channing, and Larry Kert, and much of the original NY cast (including a young Katey Sagal). I hadn’t seen it since — aside from one production in Central Park in 2005, I can’t recall hearing of it being revived. I certainly can’t recall it being produced in Los Angeles since the original. So when my RSS feed from Goldstar alerted me to the fact that a theatre company I had never heard of — the Foothill Performing Arts Council (FB) — was producing the show and we were in the middle weekend of a three weekend production, the question was not “if”, but whether I could fit it in. After all, next weekend I already had two shows (Curious Incident of the Dog in the Nighttime and On The Twentieth Century), and I already had a show on Saturday night of this weekend. Luckily, the show was nearby in San Fernando, so I got tickets for last night. Even though I had a slight headache, I’m very glad that I did. It was a delight to see my favorite show again, and as always, it left me very happy and with a smile on my face. I wish more companies would remember this show: it is sheer fun, multicultural, with a diverse cast great for schools, wonderful dance, pretty milkmaids, and a dog. It will live you loving it, and loving love.

If you aren’t familiar with Two Gentlemen of Verona, here’s the quick summary: TGOV is considered to be Shakespeare’s first play, and falls into the comedy category, because everyone falls in love at the end (as opposed to tragedies, where everyone dies). Valentine and Proteus are best friends. Proteus is infatuated with Julia, a local girl in Verona; Valentine scoffs at love and wants adventure in the big city, Milan. Valentine, with his servant Speed, heads off to Milan, while Proteus, helped by his servant Launce, courts Julia (and her servent Lucetta). But soon Proteus’s father sends him off to Milan, leaving Julia behind (and pregnant). She and Lucette dress up as men so they can travel to Milan and tell Proteus. In Milan, however, Valentine has found love in the form of Sylvia, the daughter of the Emperor of Milan. However, the Emperor has send Sylvia’s love, Eglamour, off to war, while arranging a marriage for Sylvia to a rich fool, Thurio. Sylvia detests Thurio, and enlists Valentine to save her. Proteus, who by now has forgotten Julia and is also smitten by Sylvia, learns of the plot and tells the Duke, who promptly sends Valentine off to war. Proteus then enlists two young men, Sebastian (nee Julia) and Cesario (nee Lucetta), to help court Sylvia. Eglamour returns to kidnap Sylvia, and everyone then joins in the hunt for Sylvia. Proteus discovers the lovers in the forest, but so does Valentine, and a sword fight ensues. When the dust has cleared, Proteus has discovered Sebastian’s reality and condition, and ends up marrying her. Eglamour is gone, and Valentine gets Sylvia. Thurio gets Lucetta, and Launce finds that a milkmaid from the field is better than a dog. Cupid is happy.

Two Gentlemen of Verona @ FPAC - CastThe musical version takes this story and just has fun with it. In an era of lily-white shows and lily-white casting, this show (like Hair before it) was gloriously multicultural. In the original cast, Proteus and Julia were Hispanic; Sylvia, Valentine, and the Duke were Black; Speed and Eglamour were Asian, Launce was old-Jewish, and Thurio and Lucetta were white. The casting of this production was similarly multicultural, although the hispanic emphasis of the leads was a bit less (the only place it made a difference was in the pronunciation, and truthfully, only people that had memorized the cast album like me would have noticed).

Under the direction of Timothy Jon Borquez (FB) (who seems to have been similarly enamored of this show), the action  was constant. He seemed to be emphasizing the fun of the production; there were few performers that had “painted on” faces — their happiness with this show was infectious to the audience. The direction brought out the playfulness in the characters — and this show is all about play. It is also worth noting that the material Borquez was working with — that is, his cast — were mostly younger actors (nary a resume on Backstage or Actors Access). They weren’t at the level of “fresh-outs” from high school, but they also weren’t seasoned Broadway professionals. Most are still theatre students. Broadly, there was a need for a bit more power in the voices. The raw talent overall was great and there was excellent vocal quality that shown through (as noted below) — just a bit more reach to the back of the auditorium was needed.

The best friends at the heart of this show were Proteus and Valentine, played by Steven Brogan (FB) and Jared Grimble (FB), respectively. Brogan had fun with Proteus (as the pictures show), really getting into the character. He had a wonderful voice that occasionally could use a little extra strength, but overall was a joy to listen to. He was great in numbers like “Symphony” and “What Does a Lover Pack?”, but needed a bit more anger behind “Calla Lily Lady”. We’ve seen Brogan before, it turns out, in the CSUN production of Bat Boy, The Musical. As Valentine, Grimble was similar: fun with the acting, believable in his character, and a remarkable voice. He was no Clifton Davis (but who is), but brought a wonderful style to numbers like “Love’s Revenge” and “Mansion”.

The object d’amour in Verona was Julia, played by Sarah Borquez (FB), and her servent, Lucetta, played by Hope English/FB. We may have seen Borquez before; her name comes up as being in a production of Into The Woods we saw at Nobel Middle School, but the years don’t fit the credits. In any case, Borquez was a strong performer and had a lovely singing voice. She just needs a bit more anger behind the loveliness in numbers like “I Am Not Interested in Love” and “What a Nice Idea”. English also had a great voice which astounded during “Land of Betrayal”.

Sylvia was portrayed by Beth Redwood/FB). Redwood had a strong voice from the opening number, and continued with that strength throughout the show. She also danced wonderfully, and captured the nature of Sylvia well. Her only weakness was costuming, which could have used a tad more support.

Proteus’ and Valentine’s servants, Launce and Speed, were portrayed by Wayne Remington/FB and Erin Arredondo/FB, respectively. Remington gets the slightly larger role here, getting to mug with the dog Gio (playing Crab), singing “Pearls”, and, at the end, getting to sing “Milkmaid”. Arredondo’s Speed mostly is a foil for Launce, but gets to join him in “Hot Lover”. Both appeared to be having quite a bit of fun with this production, which is always infectious.

The Duke of Milan was played by Dan White (FB). White’s role is mostly bombast, but he portrays that well and with joy. He gets one standout song: “Bring The Boys Back Home” (which is clearly a commentary on Nixon and the Vietnam War), which he handles with aplomb.

On the more comic ends of the spectrum are Cody Williams (FB) as Thurio and Mary Zastrow (FB) as Cupid. Williams captures the foolish and foppish nature of Thurio well, and brings that foolishness to the singing, especially in the song “Thurio’s Samba”. I was afraid they might need to censor the song, given the refrain (Boom-Chicka-Chicka, But-Fucka-Wucka-Wucka Cock-waka-waka Puss-wussy-wussy Wow) and the little ones in the audience, but they just slightly muddied the words and it went right over their heads. Zastrow was having the time of her life as Cupid. This isn’t a large singing role except for a few operatic numbers played for the humor, but as Cupid herself she got to mug away and just play.

Rounding out the named characters was Edgar Cardoso/FB‘s Eglamour. Cardoso played Eglamour more as fashion model/Fabio-ish, which is a little bit different than I remember the portrayl. He handled the number “Eglamour” well.

The ensemble consisted of Audrey Byer (FB), Cynthia Cordon/FB, Kasey Furginson/FB, Corazon Montanio (FB), Shannon Nail/FB, John Redwood/FB, Jackie Sanders/FB, Priscilla Nathalie Soltero/FB, Sienna Wescott/FB, and Van McDuff (FB) (who was omitted from the bios).  All were strong, having fun, and a joy to watch.

Music was provided by an off-stage band under the direction of Alex Borquez/FB. The band consisted of Alex Borquez/FB on Guitar, Bass, Drums, Percussion; Edgar Cardoso/FB on Keyboards (which is why there were no keyboards while he was on stage); Zachary Borquez/FB on Brass; Michael Fandetti/FB on Reeds; Desiree’ Deasy (FB) on Violin I and II (hows that again? four hands, two chins, you say); Rebecca Yeh (FB) on Cello, and Mairin Deasy on Viola.

The choreography was by Lindsey Lorenz (FB), assisted by Bella Briscoe (FB). It was all over the place, which means that it covered the stage well :-). Seriously, the dancing worked reasonably well. Nothing too complicated, but good enough that the ensemble numbers were fun to watch.

Turning to the technical side. No credits were provided for the traditional disciplines: set design, prop design, sound design, lighting design, fight choreography, and such. The presumption is that some came from the master-of-all-hats, the director, Timothy Jon Borquez (FB). In any case: the set was simple: some risers, some flats (behind-which the ensemble resided when off-stage), some vine-al and vinyl decoration. Enough to give a vague sense of place. There were various props, such as a bike, a boat, a trunk. I think here is where the limited budget of this production showed; I remember the stage show having much more in this area. Sound design was good, although a bit muffled and over-mic-ed in the beginning. The bird sounds were nice. Lighting was a different problem. The basic lights were good, but there needs to be better coordination between the actors and the lighting placement, especially the follow-spots and the follow-movers. Often actors were quite literally left in the dark. The fight choreography in Act II was reasonable but could have used with a dash more swash in the buckle. Costumes, designed by Yessica Armenta/FB (Costume Coordinator), presumably, were, well, Ren-Faire-ish which is what you expect as the RenFaire was set in roughly that time. There were a few faux paux: Sylvia’s hose line was visible, there were a few crotch buttons undone, and the more busty could use a bit more support so they didn’t bust out. But these were minor and didn’t distract from the story. Grace Gaither/FB was the stage manager, and Bianca Armenta/FB was the house manager.

Two Gentlemen of Verona – The Musical continues at the Foothill Performing Arts Council (FPAC) (FB) through August 6. A limited number of tickets are available through Goldstar; otherwise, tickets are available through Brown Paper Tickets. Performances take place at the ArTES Theatre (FB) at the Cesar E. Chavez Academies (FB), 1001 Arroyo Street, San Fernando, 91340. Although the cast is a young and less seasoned, being primarily local theatre students, they have a large amount of raw talent. This talent, combined with their enthusiasm and good singing voices and the joyous nature of this little produced show, make this a joy to watch.

***

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) (well, make that 5 Stars Theatricals (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 July proper brings The Last 5 Years at Actors Co-op (FB). August starts with Brian Setzer at the Hollywood Bowl (FB) on August 2, followed by The Curious Incident of the Dog in the Night at the Ahmanson Theatre (FB) on the weekend. We are also squeezing in On The Twentieth Century at the Pan-Andreas Theatre in Hollywood from Proof Doubt Closer (FB), as a friend is in the cast. The second weekend of August? What made sitting through The Bodyguard worth it: Hamilton at the Hollywood Pantages (FB).

I’m still scheduling September, but so far we have The 39 Steps° at Actors Co-op (FB) and Pacific Overtures at Chromolume Theatre (FB). There’s also the Men of TAS Golf Tournament, if any theatre company reading this wants to donate tickets to our silent auction (hint, hint). October is also filling up quickly, with Joseph and the Amazing Technicolor Dreamcoat at Cabrillo Music Theatre (FB), the Upright Citizens Brigade (UCB) at the Valley Performing Arts Center (FB), a tribute to Ray Charles — To Ray With Love — also at the Valley Performing Arts Center (FB), and Bright Star at the Ahmanson Theatre (FB). Lastly, looking into November, we have The Man Who Came to Dinner at Actors Co-op (FB), the Nottingham (FB) and Tumbleweed (FB) Festivals, a Day Out with Thomas at Orange Empire Railway Museum (FB), Spamilton at the Kirk Douglas Theatre (FB) and Something Rotten at the Ahmanson Theatre (FB). More as the schedule fleshes out, of course, but we’re booking all the way out in mid to late 2018 already!

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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cahwyguy: (Default)
2017-07-26 08:40 pm
Entry tags:

Travel and Transit Chum

Continuing to clear out some articles, here’s some travel and transit related articles:

 

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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cahwyguy: (Default)
2017-07-26 07:29 pm
Entry tags:

Generations and Growing Up

This news chum post has coalesced around the theme of generations, generational changes, and growing up:

  • Dealing With The Stuff. Actually, the title of this article says it all: “Boomer parents: ‘One day, this will all be yours.’ Grown children: ‘Noooo!’“. Basically, dealing with our parent’s stuff. They collect it. It has meaning to them. They leave it to us. We have no idea what to do with it. We keep some, donate the rest, and accumulate stuff with meaning to us. Which we then leave to our children. Which they don’t want.
  • The Casserole. Quite likely, some of that stuff is Pyrex baking casseroles. Compared to modern kitchen items, vintage Pyrex — which is heavy, increasingly expensive and not dishwasher safe — doesn’t seem immediately practical. Yet people remain obsessed with the old Pyrex — not just to look at but to actually use. And they collect it. And this article is about their collecting it.
  • Working Online. For the younger generation, there is the belief that they can be the next “You Tube” star with their video log, or with their written fashion or makeup blogs. Think again. Most fail.
  • Man-Boys. No, I’m not talking about Peter Pan again. Rather, the spoiled white men who never seem to grow up. Here’s an interesting opinion piece on the subject (from the NY Times), exploring why society allows them to get away with it (cough, Trump, cough), and how that ability is denied to non-whites.

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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cahwyguy: (Default)
2017-07-23 10:59 am

Magic Motown / Scintillating Soul

Muse/ique Soul/Town Motown/MiracleWe don’t always see theatre. Sometimes, we see concerts. Some of our favorites are the ones produced by Muse/ique (FB), a “counter-culture” orchestra out of Pasadena under the artistic direction of Rachael Worby (FB). Each year they pick a theme — in 2014 it was Break/Through about breakthrough performance; in 2015 it was Bernstein; last year it was Gershwin. They then explore the theme from all sorts of angles. This year the theme was Motown/Miracle, and the exploration was of the soul, of soul music (and particularly the Motown / girl group style), of the soul of the artist. The special guest performer was Darlene Love (FB), a significant Los Angeles background presence on many of the soul music hits (not always credited to her). I was actually familiar with Love from the cast album of her 1985 Broadway show, Leader of the Pack. The evening was not just a celebration of the soul music style — as produced from the recording centers in Los Angeles, New York, and the true Motown, Detroit; it was a celebration of the power in the backup singers and artists backing the promoted names. Also supporting Love on a number of songs was Milton Vann (FB), together with the background trio of Melodye Perry (FB), Vee Nelson (FB), and Kenna Ramsey (FB).

The songs performed during the show were as follows (♥ indicates Darlene Love performances; ♦ indicates Milton Vann lead):

  1. Medley: I’ll Be There / My Girl / Heard It On The Grapevine / Love Machine
  2. A Change Is Gonna Come ♦  Tribute to Sam Cooke.
  3. Lean on Me ♥ Written by Bill Withers
  4. Among The Believers ♥ Written by Steve Van Zandt
  5. Night Closing In ♥ Written by Bruce Springsteen
  6. Forbidden Love ♥ Written by Elvis Costello
  7. Wait Till My Bobby Comes Home ♥
  8. Today, I Met The Boy I’m Gonna Marry ♥
  9. He’s a Rebel ♥
  10. Do Do Run Run – Backup singers a-capella
  11. The Boy I Love ♥
  12. Do Do Run Run ♥
  13. Marvelous ♥
  14. Ain’t No Mountain High Enough – Demonstration of James Jamerson‘s bass stylings by Mike Valerio
  15. You’re All I Need To Get By ♥
  16. Ain’t No Mountain High Enough ♥
  17. His Eye Is On The Sparrow ♥
  18. River Deep, Mountain High ♥

As is common with the shows, by the end, the audience was dancing in the aisles (well, on the side of the lawn). This was one of the best Muse/ique performances that we have seen: great music, a lovely evening.

I do, however, have my usual complaint. There was no program. In particular, we didn’t get a list of the orchestra and backup singers, let alone the production team. I have requested this information from Muse/ique; they updated the show page to provide most of it. In particular, that page lists all the composers and orchestrators (although it does not match them to the pieces performed)

The Muse/ique orchestra, under the direction of Rachael Worby (FB), consisted of VIOLIN I – Ana Landauer (FB), Marisa Sorajja, Radu Pieptea (FB), Kathleen Sloan (FB), Loránd Lokuszta (FB), Marisa Kuney (FB) / VIOLIN II – Maia Jasper (FB), Neel Hammond, Grace Oh (FB), Anna Kostyuchek (FB) / VIOLA – Shawn Mann (FB), Rodney Wirtz (FB), Caroline Buckman (FB) / CELLO – Charlie Tyler (FB), Ginger Murphy (FB), Joo Lee (FB) / BASS – Mike Valerio (FB), Don Ferrone (FB) / FLUTE – Angela Weigand (FB), Sal Lozano / OBOE – Michele Forrest (FB) / CLARINET – Stuart Clark (FB), Damon Zick (FB) / BASSOON – William May (FB), Adam Havrilla (FB) / HORN – Steve Becknell (FB), Nathan Campbell / TRUMPET – Rob Schaer (FB) / TROMBONE – Steve Suminsky (FB), Brent Anderson (FB) / TIMPANI – Theresa Dimond / PERCUSSION – Jason Goodman (FB) / DRUMSET – Ted Atkatz (FB) / KEYBOARD – Alan Steinberger (FB) / GUITAR – Andrew Synowiec (FB)

There were no production credits provided.

In the 2017 “Summer of Sound”, there is one more production: Glow/Town, on August 26,  featuring Savion Glover (FB) and, from the Hamilton tour, Joshua Henry (FB). Tickets are available from the Muse/ique website; discount tickets may be available from Goldstar. I find the Festival Seating just fine: general admission tables and chairs to see the show, and you bring your own picnic to enjoy. A perfect summer evening. Summer events take on the lawn in front of the Beckmann Auditorium at CalTech in Pasadena.

***

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) (well, make that 5 Stars Theatricals (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 July brings The Last 5 Years at Actors Co-op (FB). August starts with Brian Setzer at the Hollywood Bowl (FB) on August 2, followed by The Curious Incident of the Dog in the Night at the Ahmanson Theatre (FB) on the weekend. We are also squeezing in On The Twentieth Century at the Pan-Andreas Theatre in Hollywood from Proof Doubt Closer (FB), as a friend is in the cast (you can contribute to the production here). The second weekend of August? What made sitting through The Bodyguard worth it: Hamilton at the Hollywood Pantages (FB).

I’m still scheduling September, but so far we have The 39 Steps° at Actors Co-op (FB) and Pacific Overtures at Chromolume Theatre (FB). There’s also the Men of TAS Golf Tournament, if any theatre company reading this wants to donate tickets to our silent auction (hint, hint). October is also filling up quickly, with Joseph and the Amazing Technicolor Dreamcoat at Cabrillo Music Theatre (FB), the Upright Citizens Brigade (UCB) at the Valley Performing Arts Center (FB), a tribute to Ray Charles — To Ray With Love — also at the Valley Performing Arts Center (FB), and a hold for Bright Star at the Ahmanson Theatre (FB). Lastly, looking into November, we have The Man Who Came to Dinner at Actors Co-op (FB), the Nottingham (FB) and Tumbleweed (FB) Festivals, a Day Out with Thomas at Orange Empire Railway Museum (FB), and HOLDs for Spamilton at the Kirk Douglas Theatre (FB) and Something Rotten at the Ahmanson Theatre (FB). More as the schedule fleshes out, of course, but we’re booking all the way out in mid to late 2018 already!

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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