From Screen to Stage, in Blonde and Pink

Movie-to-stage adaptations are interesting beasts, especially when the target is a musical. The notion seems to be: take a familiar property, add music, stir well, and you end up with something entertaining for the audience. Sometimes the transition works spectacularly (“The Producers“), and sometimes it doesn’t (“King of Hearts“). Sometimes the transition is a serious rexploration and musicalization (“Man of No Importance“), sometimes it is a camp romp and parody(“Xanadu“), but most often it is somewhere in the middle. One such translation is the movie “Legally Blonde” (2001), a fun summer flick about a blonde sorority girl chasing her man to law school, and discovering something about herself. The theatrical doppelganger to this confection appeared on Broadway in 2007: “Legally Blonde – The Musical“; it is currently on-stage in Thousand Oaks at Cabrillo Music Theatre (FB) in an excellent regional/professional production (non-tour). We saw it last night, and here are my thoughts on the show.

“Legally Blonde – The Musical” (book by Heather Hach, music and lyrics by Laurence O’Keefe and Nell Benjamin), based on the novel by Amanda Brown and the motion picture) is a relatively faithful translation. It tells the story of Elle Woods, a UCLA Delta Nu sorority girl, about to be engaged to Warner Huntington III. When Warner dumps her for someone more serious to advance his law career, Elle makes the decision to follow him to Harvard Law School. She gets in, and initially her “blonde” ways get her rejected both by the other students and a key law professor, Callahan. But the teaching assistant Emmett Forrest, together with a mental greek chorus of her sorority sisters keep her positive. She decides to become a brunette, but the beautician Paulette, who convinces her to stay blonde and keep plugging away. After another setback when she embarrasses herself, Emmett helps Elle reassess her priorities until she realizes it is her obsession with Warner that keeps her from earning his respect. This helps her move forward legally, and win a coveted internship position. During this internship, Elle has to defined fitness queen, Brooke Wyndham, a former Delta Nu. Elle obtains Wyndham’s alibi where no one else could, but never discloses it. Instead, Elle and Emmett use smarts to break the case open. Calahan hits on Elle, and so Elle and Emmett go of on their own, are hired by Wyndham, and subsequently use fashion smarts to prove Wyndham’s innocence. Cue happy ending. [This is a summary - you can find a full synopsis on Wikipedia]

The translation to the stage makes a number of changes from the movie. Some are minor, and others are annoying and nonsensical. Emmett’s involvement is increased into a significant mentorship role (essentially incorporating the role of the female Law School president). This works. The end is also changed from Emmett and Elle dating to Elle proposing to Emmett, which also works well and shows an important change in Elle’s character. What doesn’t work are the changes to Paulette’s role, which is not only expanded in importance, but has a large Irish dance aspect added for no rational reason. These changes annoyed my wife, who is movie purist for this movie; for me, the only annoying change was the Irish stuff. Why, oh why, did they feel the need to add that?

Otherwise, I think this was a relatively successful adaptation — primarily because they played up the sillyness and humor to just the right amount. They lampooned sorority stereotypes and various behaviors without turning into camp, and without turning the production into a parody of the movie (“Silence!“). This, combined with the high energy production as the excellent direction by Tiffany Engen (FB), made this production a joy to watch.

I normally don’t talk much about the direction, for I have difficulty separating what the director brings to the production from what the actors bring to the production. The Cabrillo production was directed and choreographed by Tiffany Engen (FB), with choreography assistance by her sister, Brooke Engen (FB), based on the original Broadway choreography by Jerry Mitchell. These two blondes (the Engen girls, not Mitchell) brought a delightful manic energy and joy to the production — these actors were having fun with the moves, story, and performance, and that joy was transmitted to the audience, making this a fun show. There was a great mix of realism and fantasy, played well. I’m guessing this is the contribution of the director, but it wasn’t so heavy-handed that it wasn’t natural. In other words, so to speak, this was clearly a natural Blonde, not a bleached bottle Blonde that is trying too hard.

Helping this all work together was an excellent acting ensemble, led by Emma Egerstadt* (FB, FB Fan, @DegerstedtEmma). Based solely on her look on the advertising postcards, I wasn’t sure she was right for the part. Then I saw her performance, and… wow! This young women was perfection as Elle — bubbly and determined, playful and sarcastic, and basically just a delight to watch. Hopefully, this is one of those Cabrillo finds that will go far in her career, and I hope to see her more on stage. Stealing the stage from Emma whenever he was on, however, was Frankie, the rescue dog playing Bruiser. Well-training and full of energy, this 7-year Chihuahua barked, jumped, and acted with abandon. Perhaps that’s why he was only on in selected scenes.

The second tier of actors were also excellent. Of particular note were Matt Bauer (FB, Muffookies) as Emmett, who portrayed a wonderful level of comfort and wisdom, as well as being an excellent actor, singer, and dancer. As Paulette, Lowe Taylor* (FB) was also very strong. We saw her back in 2011, in the Blank production of The Cradle Will Rock and we were impressed with her singing then; this show cemented the fact that she is a wonderful performer. Another notable performer was John D. Lemay (FB) as Callahan, who we’ve seen in numerous Cabrillo productions.  Lemay gave off a wonderful sharky-slime vibe, as well as being a great singer. Another supporting performer of particular note was Natalie Storrs (FB) as Vivienne. We were introduced to Storrs in Cabrillo’s You’re a Good Man Charlie Brown, where I wasn’t sure about Storrs’ look as Lucy, but was won over by her comic timing and singing skills. Both were put to great effect here, and she just was a delight as Vivienne (which was, inexplicably changed from the movie’s Vivian).  Lastly, Jaycie Dotin (FB) was wonderfully exhausting as Brooke, especially in her dance number that opened Act II.

However, in reality, all the supporting actors and ensemble was strong in their singing, dancing, and performance skills and it is difficult to highlight specific performances. Rounding out the cast were J. D. Driskill (FB, @jddriskill) (Warner); Sheila Karls (FB) (Enid); Veronica Dunne (FB?) (Margot); Kimberly Ann Moore/FB (Pilar); Caitlyn Calfas (FB) (Serena); Ben Bowen (FB) (UPS [Kyle] / Dewey); Ryan Braun (FB) (Aaron Shultz); Rachel Burkert/FB (Whitney / Delta Nu); Nathaniel Flatt (FB) (Nikos / Padamadon); Jay Gamboa/FB (Bailiff); Raquel Jeté (FB) (Judge / Delta Nu); Ashley Jones (FB) (Kate / Chutney); Kurt Kemper (FB) (Kiki); Natalie MacDonald/FB (Lellani / Stenographer / Cat Lady / Delta Nu); Sabrina Olivieri/FB (D.A. Joyce / Delta Nu); Jayson Puls/FB (DJ Chad / Ensemble); Tracy Ray Reynolds (FB) (Elle’s Mom); Kelly Roberts/FB (Elle’s Dad / Winthrop); Alex Sanchez/FB (D.A. Jack); and Lamont Whitaker (FB) (Carlos).

The musical side of the production was excellent.  Darryl Archibald (FB), who we last saw at Next to Normal, was musical director and conducted the wonderful Cabrillo orchestra. He was assisted by Kevin Roland (FB). The orchestra consisted of Darryl Archibald (FB) (Keyboard Synthesizer), Kevin Roland (FB) (Keyboard Synthesizer II), Alby Potts (FB) (Keyboard Synthesizer III), Sharon Cooper (Violin), Ian Dahlberg (FB) (Alto Sax, Oboe, English Horn, Flute, Clarinet, Piccolo), Gary Rautenberg (FB) (Baritone Sax, Clarinet Flute), Stan Hernacki (FB) (Trumpet I, Flugelhorn), Scott Wright (FB) (Trumpet II, Flugelhorn), David Blake (FB) (Tenor and Bass Trombone), Steve Bethers (Electric and Acoustic Guitar), Shane Harry (Double String and Electric Bass), Alan Peck (Set Drums), and Kelly Weaver (Percussion).

Technically, the show was a marvel. Under the technical Direction of Gary Wissmann, people and set pieces were flying everywhere but it was all working out great. The scenery was originally designed by John Patrick for Citrus College Music Theatre workshop, and worked very well. The costumes, designed by Carin Jacobs for FCLO Music Theatre in Fullerton, worked well (although the UCLA costumes weren’t UCLA). Wardrobe supervision was by Christine Gibson. Hair and Makeup was by Cassie Russek.  The lighting by  Christina L. Munich worked very well in establishing the mood and scene, and Jonathan Burke (FB)’s sound, as always, was clear and crisp. Animal Training was by William Berloni.  Allie Roy* (FB) was the production stage manager, and Kirsten D’agostaro Shook (FB) was the assistant stage manager. Cabrillo Music Theatre (FB) is under the artistic direction of Lewis Wilkenfeld (FB), who also introduced the show and introduced the stage crew just before Act II when he awarded a stage crew scholarship.

The last performance of “Legally Blonde – The Musical” at Cabrillo Music Theatre (FB) is today at 2pm. Tickets are available at the box office. Cabrillo has also announced their 2013-2014 season: Kiss Me Kate (October 18-27, 2013); Forever Plaid (January 31-February 9, 2014); In The Heights (March 28-April 6, 2014); and Bye Bye Birdie (July 18-27, 2014). Prices run from $229 for Orchestra to $100 for balcony, with special kids rates. Contact Cabrillo for more information.

Upcoming Theatre and Concerts:  This afternoon brings “Exposure” from OperaWorks at CSUN (FB). August starts with Nine at DOMA Theatre Ensemble (FB). That will be followed by “The Apple Tree” at ELATE/Lincoln Stegman]. Otherwise, August is currently completely open due to vacation planning, although we may see a show at the Lawrence Welk Resort in Escondido at the end of the month (depending on price), or at another venue in San Diego. September may bring Sarah Ruhl’s “In The Next Room or The Vibrator Play“ at the Production Company/Secret Rose (FB) and “Blue Man Group” at the Hollywood Bowl. The middle of the month may bring “The Vagina Monologues” at REP East (FB), and the end definitely sees us back at REP East (FB) for “God of Carnage” (September 28). October 5th brings “Breath and Imagination” at the Colony Theatre (FB), as well as the Cabrillo Music Theatre (FB) production of “Kiss Me Kate” at the end of the month (October 26). November will start (hopefully) with “Dirty Rotten Scoundrels” at Actors Rep of Simi (FB), as well as ARTS’s Nottingham Village (FB) (a one-weekend ren-faire-ish market — tickets are now on sale). November will conclude with “Play It Again Sam” at REP East (FB) at the end of the month (November 23), and “Miracle on S. Division Street” at the Colony Theatre (FB).  The fall should also bring a production of “Carrie – The Musical” (FB) by Transfer Theatre, but the specific dates have not been announced. As always, I’m keeping my eyes open as the various theatres start making their 2013/2014 season announcements. Lastly, what few dates we do have open may be filled by productions I see on Goldstar, LA Stage Tix, Plays411, or discussed in the various LA Stage Blogs I read (I particularly recommend Musicals in LA and LA Stage Times).

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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What Is It With Opera Singers and Sex?

I’m not normally an opera person. Live theatre – bring it on. Musicals and light opera – I’m right there. But full on opera? I’ve actually never been to one, unless you count Porgy and Bess (Houston Grand Opera back in 1976). That said, last year we found a form of opera that I really like. It is the culmination of the advance session at a training program at CSUN called Operaworks. It is a special performance that is, essentially, an opera mashup. However, it’s not a mashup in the normal sense, nor is it a “stand up and perform” concert either. Let me explain.

Operaworks is a program for advanced performers. These artists already know how to sing — they have bachelors, masters, and even doctorates in music and many have performed professionally. But although they know how to sing, what they don’t know is how to perform: how to act on stage, how to move in a non-operative fashion, how to interact with other characters on stage, and how to do the things that moves the student from being a “singer” to being a “performer”.  This is what they learn in the advanced program. For their culmination, each student in the program selects an aria from whatever opera they want. They then create characters to go with their arias, figure out how they will interact, construct a somewhat coherent storyline (but no real plot), do slight costuming, and perform it.

The resulting “show” is not a traditional show, nor a traditional opera. You have a summary of the characters and a list of the arias, but there is no real story nor point to make. This doesn’t mean there isn’t conflict — there’s lots of conflict and emotion, and you spend your time watching groups of characters interacting. However, it doesn’t have the traditional progression of a single protagonist to achieve a goal against obstacles. To those that know opera (which I don’t), you go to hear the arias and assess how well they are performed. You won’t find that from me. Rather, I listen to the beautiful music and voices and hear the emotion of the characters, and judge how well that fits with the performance from the characters. Every year is unique, and this is something you truly won’t see somewhere else. Operaworks for this year is done, but I strongly suggest you friend them on Facebook or otherwise get on their mailing list, and go to next year’s show.

Let me describe this year’s show and characters. This will be rough, as I’m doing it from memory and the information they provided in the program.  This year’s show was called “Exposure”, and the through-theme appeared to be characters exposing their emotions and inner wants. What did they want? This year, it appears to be love and sex. Hmmm, last year they wanted love and sex as well. I sense a theme for opera singers here. This year’s production also interspersed poetry from Ackerman, Akhmatova, Baudelaire, Cummings, Ded, Dickenson, Donne, Eliot, Erdrich, Gibran, Griswold, Hughes, Hugo, Millay, O’Hara, Oliver, O’Meally, Rilke, Ryan, Silverstein, Supertramp, and Updike.

The first act (“Asylum/Funeral”) was really two half acts that were not the really closely related. The first act took place in an asylum of some form, in which we meet a number of patients and their doctors. It’s hard to describe the story, so I’ll go through the characters and their arias in the order sung. We first see Kylena (Kylena Parks (FB)), who is being held in the asylum against her will. She’s in a wheelchair, being berated by Dr. Emmanuel (Emmanuel Cruz/FB), the head doctor.  She sings “Willow Song” (The Ballad of Baby Doe, Moore). In parallel to this, Erin A. (Erin Alcorn (FB)), a patient traumatized by an abusive doctor, is expressing sorrow at the plight of fellow patents through the song “Prendi, per me sei libero” (L’Elisir D’Amore, Donizetti). We next meet Roland (Roland Mills (FB)), a psychiatrist at the asylum dealing with sex addiction. He is interacting with Joannah (Joannah Ball (FB)), an exotic dancer trapped in the asylum. She sings “Saper vorrestte” (Un Ball in Maschere, Verdi), while at the same time Rebecca R (Rebecca Richardson (FB)), the head administrator of the asylum, sings “Vilja-Lied” (Die Lustige Witwe, Lehár). At this point, Dr. Emmanuel asserts himself, singing “O Colombina, il tenero fido Arlecchin” (I Pagliacci, Leoncavallo). We next meet Serena (Serena Eduljee (FB)), a former patient who has escaped and returned for revenge. She sings “S’altro che lagrime” (La Clemenza di Tito, Mozart). Lastly, we meet Carami (Carami Hilaire (FB)), who has been forced to seduce clients for money, but wants to meet someone she loves. She sings the last aria in the Asylum half, “Come in quest’ora bruna” (Simon Boccanegra, Verdi). This half ends with all the patients and other doctors killing Dr. Emmanuel.

Some observations on this half. First, as you can see, summarizing the story is difficult. My attention was more focused on just watching the interactions between characters, and the movements and interactions of characters in the background. A few things stand out in my mind. First, all of the performers were exceptional singers (to my untrained ear) and beautiful to watch — both in their facial expressions and their movements. This was true throughout the show. I was also impressed how they worked to stay in character, and appeared to be enjoying acting things out.

The second half of Act One (“Funeral”) took place at Dr. Emmanuel’s funeral, and dealt with all of the weird family interactions and relationship between the survivors (yup, this is opera). It started with his children, Alexandra and Madison, mourning his passing. Elizaveta (Elizaveta Agladze (FB)) enters. Elizveta has one of the better full character descriptions in the show: “Elizaventa is a lame prostitute working for Dr. Emmanuel, while secretly having a love affair with his daughter, Alexandra. Her leg was maimed in an encounter with an especially enthusiastic BDSM client.” [I'm sure this says something about the secret life of opera singers ] She sings “O mio Fernando” (La Favorita, Donizetti), expressing her love for Alexandra. Alexandra (Alexandra Fees/FB) is at the funeral with her husband Philippe (Philippe Pierce (FB)), who is torn between staying with Alexandra and leaving her for her sister, Madison. She sings the aria “Comme autrefois dans la nuit” (Les Pêcheurs de Perles, Bizet) while Phillippe sings “O blonde Cèrés” (Les Troyens, Belioz).  Trying to prevent further problems, Sylvia (Sylvia Baba (FB)), Alexandra’s daughter, is attempting to prevent her aunt Madison from reconnecting with her father. She sings “Tu che di gel sei cinta” (Turandot, Puccini).  Adding to the mess at the funeral is Will (Will Vestal/FB), who has had difficulty with women. He is currently engaged to Madison, but still in love with Natalie (Natalie Dewey/FB) — a rich hieress who turned him down, but now regrets it and is still in love with him.  Will sings “Io già t’amai” (Rodelinda, Händel) to Natalie, and she sings “Mi chiamano Mimì” (La Bohème, Puccini). Aine (Aine Hakamatsuka/FB) uses this to prove to Madison at Will does not love her, singing “Sul fil d’un soffio etesio” (Falstaff, Verdi). At the end, everything does unravel, as Philippe leaves Alexandra for Madison, and Madison (Madison Smith (FB)) sings “Martern aller Arten” (Die Entführung aus dem Serail, Mozart).

The latter half of Act One was much more understandable, given the crazy family dynamics. It was interesting to watch the character interactions, and as always, the voices and faces were just beautiful.

Act Two was titled “Speakeasy Brothel” and had no connection to Act One. I found this act much harder to follow, but much more interesting to watch (likely due to the nature of the characters and their costumes — did I mention that all of the performers were exceedingly beautiful/handsome?). This act basically dealt with brothel owners attempting to control their prostitutes, and dealing with family dynamics. The act started with Beth (Beth Hoselton (FB)), a swinger and performer at the Gatsby Brothel. She is married to Shane, but Shane is in love with Alyssa. Beth opens the act by singing “Chacun le sait” (Le Fille du Régiment, Donizetti). We next meet another performer at the brothel, Danielle (Danielle Lozano (FB)), the seductive bisexual. She sings “Silver Aria” (The Ballad of Baby Doe, Moore). Lastly, we’re introduced to Rainelle (Rainelle Krause (FB)), the “successful narcissistic dominatrix” (although I didn’t see much narcissistic in the performance, and the main dominatrix element was a very tight leather corset — it was amazing how she sang “Ah! non credea mirarti” (La Sonnambula, Bellini) with it on). Into this mix comes Kevin (Kevin Peters (FB)), a pimp without a stable of women. He’s looking for new girls at the Gatsby, but instead finds Erin O. (Erin O’Meally (FB)), a drag queen who only wants acceptance for who she is.  While Kevin sings “È un folle, é un ville affetto” (Alcina, Händel), Erin sings “De qué me sirve” (Los Diamantes de la Corona, Barbieri). Also working at the brothel is Alyssa (Alyssa Marshall (FB)), a bouncer and entertainer, who sings “Deh vieni, non tardar” (Le nozze di Figaro, Mozart), expressing a secret passion for Shane (the husband of Beth, who we met at the opening of the act). Shane (Nicholas “Shane” Tapley/FB) responds by singing “Una furtiva lagrima” (L’Elisir D’Amore, Donizetti). Trying to regain control of her brothel, the madam, Mariya (Mariya Kaganskaya (FB)) sings “Kuma’s Arioso” (The Enchantress, Tchaikovsky).  We then meet some more of the prostitutes at the brothel. First is Amanda (Amanda Workman (FB)), a troubled shy prostitute in love with her cousin’s fiancé, who sings “Einst träumte meiner sel’gen Base” (Der Freischütz, von Weber). There is also Lauren (Lauren Barchi (FB)), who is consumed by drink and abusive relationships. Lauren sings “Piangerò la sorte mia” (Giulio Cesare, Händel). Into this mix is added Barbee (Barbee Monk/FB), a rival brothel owner who wants to steal some prostitutes. She also wants forgiveness from Aaron (Erin Gonzalez), who has come to the brothel to see his sister for advice about a recent breakup. Barbee interacts with Andrea (Andrea Lyons/FB), a prostitute who wants help finding a new job and a new life. While Barbee sings “Quando m’en vo” (La Bohème, Puccini), Andrea sings “O mio babbino caro” (Gianni Schicchi, Puccini). Aaron (Erin G.) then responds to Barbee and his sister, singing “Che farò senza Euridice” (Orfeo ed Euridice, Gluck). Responding to all of this is Rebecca C. (Rebecca Coberly (FB)), who will ruin anyone who will take what is hers. She sings “Donde lieta uscì” (La Bohème, Puccini). Also trying to take away prostitutes is the other bouncer, Philip (Philip Morgan/FB), who sings “Here I stand…” (The Rake’s Progress, Stravinsky). Last in the mix is Laura (Laura Perkett (FB)), a socialite, who wants to apologize to her daughter, and have her come back home. She sings “I go, I go to him” (The Rake’s Progress, Stravinsky).

This act was much more visually interesting, but I found it harder to follow what story there was. Still, the music was so pretty .

Turning briefly to the technical… music was provided by Daniel Gledhill and Kelly Horsted in Act One, and Douglas Sumi and Margaret Singer in Act Two. Jennifer Potell was the stage manager. Staging was very simple: a backdrop with a simple supertitle of the basic theme of each aria, and simple lighting. A few props.

OperaWorks is an annual program whose summer program is held at CSUN.

Upcoming Theatre and Concerts:  August starts with Nine at DOMA Theatre Ensemble (FB). That will be followed by “The Apple Tree” at ELATE/Lincoln Stegman]. Otherwise, August is currently completely open due to vacation planning, although we may see a show at the Lawrence Welk Resort in Escondido at the end of the month (depending on price), or at another venue in San Diego. September may bring Sarah Ruhl’s “In The Next Room or The Vibrator Play“ at the Production Company/Secret Rose (FB) and “Blue Man Group” at the Hollywood Bowl. The middle of the month may bring “The Vagina Monologues” at REP East (FB), and the end definitely sees us back at REP East (FB) for “God of Carnage” (September 28). October 5th brings “Breath and Imagination” at the Colony Theatre (FB), as well as the Cabrillo Music Theatre (FB) production of “Kiss Me Kate” at the end of the month (October 26). November will start (hopefully) with “Dirty Rotten Scoundrels” at Actors Rep of Simi (FB), as well as ARTS’s Nottingham Village (FB) (a one-weekend ren-faire-ish market — tickets are now on sale). November will conclude with “Play It Again Sam” at REP East (FB) at the end of the month (November 23), and “Miracle on S. Division Street” at the Colony Theatre (FB).  The fall should also bring a production of “Carrie – The Musical” (FB) by Transfer Theatre, but the specific dates have not been announced. As always, I’m keeping my eyes open as the various theatres start making their 2013/2014 season announcements. Lastly, what few dates we do have open may be filled by productions I see on Goldstar, LA Stage Tix, Plays411, or discussed in the various LA Stage Blogs I read (I particularly recommend Musicals in LA and LA Stage Times).

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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