Observations Along The Road... at Dreamwidth

There are many reasons we go to see a show. Often, it is because the show is part of a subscription series. Sometimes, it is because it is something we have heard of and want to see. Occasionally, it is a recommendation or the urging of a publicist, or because the subject is just so intriguing. But the last reason is the most fun: because someone we know is involved in the show. In the case of Ghosts, currently running at the Odyssey Theatre Ensemble, the assistant director is a friend of our daughter. We’ve known this young man since he started doing theatre in 7th Grade, and we’ve seen him grow and excel in his career. When our daughter mentioned he was doing a show at the Odyssey, we just had to get tickets.

Now, that’s not to say we were going into the show blind. I had been sent material from the show’s publicist (I’m on a bunch of mailing lists due to this blog). But the title and the description didn’t catch me; I’m not one for spooky shows. I was familiar with the playwright, Henrik Ibsen, from A Dolls House; however, I had never heard of this. The version performed was adapted by Richard Eyre.

Well, I guess we were going into the show blind after all.

Ghosts tells the story of the Alving family. Looking over the summary of the plot on Wikipedia, I think they capture it as well as anything I could do:

Helen Alving is about to dedicate an orphanage she has built in memory of her late husband. Despite his affairs, Mrs. Alving stayed with him to protect her son Oswald from the taint of scandal and for fear of being shunned by the community.

In the course of the play, she discovers that Oswald (whom she had sent away to avoid his being corrupted by his father) is suffering from syphilis that she believes he inherited from his father.[a] She also discovers that Oswald has fallen in love with her maid Regina Engstrand, who is revealed to be the illegitimate daughter of Captain Alving and is therefore Oswald’s half-sister.

A sub-plot involves a carpenter, Jacob Engstrand, who married Regina’s mother when she was already pregnant. He regards Regina as his own daughter. He is unaware, or pretends to be, that Captain Alving was Regina’s father. Having recently completed his work building Mrs. Alving’s orphanage, Engstrand announces his ambition to open a hostel for seafarers. He tries to persuade Regina to leave Mrs. Alving and help him run the hostel, but she refuses. The night before the orphanage is due to open, Engstrand asks Pastor Manders to hold a prayer-meeting there. Later that night, the orphanage burns down. Earlier, Manders had persuaded Mrs. Alving not to insure the orphanage, as to do so would imply a lack of faith in divine providence. Engstrand says the blaze was caused by Manders’ carelessness with a candle and offers to take the blame, which Manders readily accepts. Manders in turn offers to support Engstrand’s hostel.

When Regina and Oswald’s sibling relationship is exposed, Regina departs, leaving Oswald in anguish. He asks his mother to help him avoid the late stages of syphilis with a fatal morphine overdose. She agrees, but only if it becomes necessary. The play concludes with Mrs. Alving having to confront the decision of whether or not to euthanize her son in accordance with his wishes.

Watching the play, I was first amazed that someone could come up with a story and develop this way to present it. I’m an engineer by trade, and I envy those who are so creative they can see characters as rich as this, and figure out how to structure a story and dialogue and characters like this.

The play raises a number of interesting questions. I think the first is the question of obligation of children to parents. Are children obligated to take care of their parents, no matter how their parent has treated them. We see that in this play with Regina, and the question of whether she is obligated to serve her “father” or her employer. The play makes the argument (despite what the Reverend says) that children are not so obligated. Sometimes the treatment of the child is such that it abrogates any implicit care agreement. Essentially, if the parent couldn’t show or provide the appropriate care for the child, why should the child care for the parent.

The play also touches on the other side of the question: What must a parent do for a child? Is it the parent’s job to do anything the child wishes? Even to help the child commit suicide if the child’s pain is sufficient? That’s the question Mrs. Alving is faced with at the end of the play. There’s a similar question with respect to marital obligations: Is the wife obligated to defend the memory of the husband? In this case, it is determined that Captain Alving, despite his public recognition, was secretly beating his wife, sleeping with his maid, and all other sorts of degenerate behavior. Should the wife continue to publicly uphold the public image? Should the parish? What to do with the money acquired through this degenerate behavior?

So the central question of the play is that of obligation, and the power it holds over us.

The secondary focus of the play is an exploration of generational guilt. How much do the behaviors of the parent influence the child, otherwise known as “Does the apple fall far from the tree?” How much is Oswald’s life and behavior influenced by his degenerate father? Did his mother save him by sending him away, or did that just make it worse? And what about Regina: Did she suffer by having the truth of her parentage hidden?

As you can see, this play raised a bunch of interesting questions. As directed by Bart DeLorenzo, assisted by Quest Sky Zeidler, the story unfolded at a brisk pace and held the audiences attention. The single open space was divided into a bunch of rooms, with most of the action taking place in a sitting room areas. The story was exposed gingerly, and the performers did a good job of bringing the characters to life.

All of the performances were strong. We meet Viva Hassis Gentes (Regina Engstrand) first, a vivacious and playful young thing who one can see wants to move up and out of where she is living now … but most decidedly not with her father, played by J. Stephen Brantley (Jacob Engstrand). Brantley does a great job of showing both sides of her father–a drunk whom you might not trust, and a man who is trying to do good under meager circumstances. As the Reverend, Barry del Sherman (Reverend Manders) has an appropriately stern countenance, and did a good job of playing a religious man with some problems underneath.

I was very impressed with Pamela J. Gray (Helene Alving), as the mother. She brought a great energy and spirit to the role, and her performance as things came crashing down was astounding. Rounding out the cast was Alex Barls (Oswald Alving). He played the character well, but there was something in his look that didn’t mesh right for me. But still, it was an enjoyable performance.

The design team did a mostly good job of turning the flat stage of the Odyssey into the spaces required for the story, and projecting the correct mood and tenor of the piece.  About my only quibble was John Zalewksi’s sound design. There was some constantly odd noise in the background that I later realized was supposed to be the rain, but only served to distract my attention. Other than that, the ambient noises were good. Frederica Nascimento’s Scenic Design created the spaces well, supported by the Scenic Art of Chris Bell. Lena Sands’ Costume Design seemed appropriate, and Christine Ferriter’s Lighting Design established the mood well — especially in the fire scenes.

Rounding out the production team were: Beth Mack (Stage Manager), Ron Socci (Artistic Director), Beth Hogan (Producer), and Josh La Cour (Producer).

Ghosts continues at the Odyssey Theatre Ensemble through October 23, 2022.  Tickets are available through the Odyssey website; discount tickets may be available through Goldstar.

❧

Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member (modulo the COVID break). 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 (or I’ll make a donation to the theatre, in lieu of payment). I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at Actors Co-op (FB), 5 Star Theatricals (FB), Broadway in Hollywood (FB), the Ahmanson Theatre (FB), and we have a membership at The Pasadena Playhouse (FB). We were subscribing at the Musical Theatre Guild (FB) prior to COVID; they have not yet resumed productions. We have also been subscribers at the Soraya/VPAC (FB), although we are waiting a year before we pick that up again. 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. Note to publicists or producers reading this: here’s my policy on taking comp tickets. Bottom-Line: Only for things of nominal value, like Fringe.

Upcoming Shows:

For right now, we’re pretty much sticking with shows that come as part of our subscriptions or are of interest through our memberships. Looking ahead for the remainder of 2022:, the rest of October will bring The Addams Family at 5 Star Theatricals (FB), and To Kill a Mockingbird at Broadway in Hollywood (FB). November brings 2:22 – A Ghost Story at the Ahmanson Theatre (FB). Lastly, December will bring Annie at Broadway in Hollywood (FB).

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Footlights, as well as productions I see on Goldstar, On Stage 411 or that are sent to me by publicists or the venues themselves. 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 (although I know it is outdated and need to update it). Want to learn about all the great theatre in Southern California? Read my post on how Los Angeles (and its environs) is the best area for theatre in the Country (again, I need to review this for the post-COVID theatre landscape)!

This entry was originally posted on Observations Along the Road as Haunting is such a Strong Word | "Ghosts" @ Odyssey by cahwyguy. Although you can comment on DW, please make comments on original post at the Wordpress blog using the link to the left. You can sign in with your LJ, DW, FB, or a myriad of other accounts. Note: Subsequent changes made to the post on the blog are not propagated by the SNAP Crossposter; please visit the original post to see the latest version. P.S.: If you see share buttons above, note that they do not work outside of the Wordpress blog.

Memory can be funny thing. When we look back on memories of things we often see just the good. If I was to mention Rogers and Hammerstein to you, and ask you what you remember from their shows, what would it be? The sunniness and light of Oklahoma!? The children singing in Sound of Music? The love story in The King and I or South Pacific? The happy joyous songs?

But guess what: That’s a memory that was engineered by a series of 1950s and 1960s musicals, which had to be cheery and light to sell tickets and get past the approval boards. But what precisely made Rogers and Hammerstein so revolutionary (and, indeed, what Hammerstein started even earlier with Showboat) was the underlying commentary in their librettos. Sexual violence in Carousel. Racism in South Pacific. The spectre of the Nazis in The Sound of Music. Slavery and oppression of people in The KIng and I. Rogers and Hammerstein were successful because of their political commentary, and how that commentary was such a change from the brain-dead, saccharine sweet musicals of the 1940s and 1950s.

But our memories have been whitewashed, with an emphasis on the “white”, by the movie musicals and the endless cute revivals of these shows. We go in with an expectation of what the show is — and when that expectation is not met, we are disappointed, angry, and we write off the production as something we don’t like. We are so constrained by our expectations we fail to see the real, underlying text and commentary.

This is clearly playing out in the reaction to the Bard Summerscape production of Oklahoma!, directed by Daniel Fish, currently at the Ahmanson Theatre. The reaction that I’ve seen is that people either love it or hate it. But what they forget is that not a single word has been changed from the original text; not a single song is omitted. All of Richard Rodgers‘ music is there. The book and lyrics by Oscar Hammerstein II is still there. It is still drawn from “Green Grow the Lilacs” by Lynn Riggs. It just is a production that emphasizes the darker nature that has been in the story rather than the expected cheeriness and light. For many, this is not the Oklahoma! they grew up with and knew. It’s not that warm apple pie on the porch; it isn’t Shirley Jones and Gordon McRae, or Florence Henderson, or any of the numerous bubbly blondes that have done the role. But guess what folks? Read the synopsis of the movie musical. It is the same story.

Furthermore, when you look at the story, the same hatreds are there today. The fear of the lower class workers. The justification for self-defense killing when the defendant is well-respected (the only thing that would have made this stronger was if Judd was cast strongly with a minority actor). Just think about the line, made famous by the Monkees’ in “Zilch”, “Nevermind the furthermore, the plea is self-defense” — from the end of Oklahoma!, referring to a self-defense excuse for innocence, ignoring the other facts. That wouldn’t happen to day … would it?

There were also other modern themes. The fear of sexual violence especially when men do not take “no” for an answer. The castigation of women when they want their own sexual agency.  The tendency in some cultures to overprotect women or to sell them to the highest bidder — independent of what the woman might want.

This is all in Oklahoma! folks. It’s there in the movie.

So what does this production do that offends folks so? It strips the veneer from the story to expose this scaffolding. The stage doesn’t open on a cornfield; there is no surrey or farmhouse. There is no action in the fields. This takes place in a modern gymnasium, with bright lights and gopro cameras. There are crockpots of chili, and folks dressed modern. There is a mix of races, gender identities, sizes. This isn’t a whitewashed farm in lily-white Oklahoma. Just setting aside that traditional staging bothers people enough that they shut down.

Then there is the staging. This isn’t realistic, transporting you back to the farm. You have to imagine that based on the story and the performances. There are also times they play with your perception: the smokehouse scene is done in the dark, with just the actors on microphones. There is stark video at times. The dream ballet isn’t this nice gentle ballet, but an acid-rock tinged interpretation of the music with a single dancer abstractly expressing their fears. There are gunshots, and at the end, there is bloodshed. Oh, and the first few rows are a literal splash zone. This isn’t as bad as The Lieutenant of Inishmore, but be prepared.

Lastly, there is the music. One expects Oklahoma! to have this lush full orchestral score. This is a stripped down western ensemble: banjo, guitar, bass, fiddle, cello, accordion, etc. No brass section. No woodwinds. Not what one expects from a show like this.

Think about it this way, folks. Rogers and Hammerstein came upon the scene in 1943. That’s almost 70 years ago. We’ve been taking Shakespeare’s words and using them unchanged in different settings to highlight meaning. That’s all this production is doing. If you can go into this production setting aside your pre-conceived notions of what this show is, and accept the conceit of how the director is trying to emphasize the story and not the schmaltz, you’ll enjoy this. If you can’t set aside your expectations, skip this production and go see a regional production that does it in a traditional manner.

From the above, you may believe this is saying that I liked everything about the show. I didn’t.

First, I wasn’t that enamored of the dream ballet. I understand that was the approach taken in shows in the 1940s and it was convention. But I don’t think the intent comes across well, and especially in the new staging, it was difficult to tease out the meaning. The dance was beautiful, but the symbolism was not conveyed well. The program credits Agnes De Mille‘s original choreography, but I think that’s more contractual because little of that remains. This production features choreography by John Heginbotham. Generally what that was worked well (this wasn’t a heavy dance show, unlike other productions of this title), but the dream ballet just failed me.

Second, echoing last week even more, I hate hate hate digital programs. Both The Pasadena Playhouse and CTG are using the new Performances platform. But this requires an account separate for each theatre (you would think a combined account would work), and you can’t read the program until you create the account (meaning you can’t do things easily during an intermission). Further, the program app is filled with notifications and settings and preferences that just bog things down even worse than a static website. Theatres: The cost of the paper is minuscule compared to the goodwill and memory a printed program provides. Make them shorter if you will, but provide a printed program and make your digital programs easy to navigate.

Lastly, the casting. I thought the mixed race, etc. casting was good, but it could have been better. First, although Sis was wonderful, I would have loved to see the tour continue to push that Ally Stroker started to have more disabled actors on stage. That sends a vital message — especially on tours — both to the folks in the audience and the folks running the theatre. Secondly, the casting of Judd should have been more explicitly minority. Hired hands in that era weren’t white. Making that explicitly serves to highlight the racism that underlies the tension in the story of Judd Fry. Was Judd really as threatening as he was made out to be, or was this an expectation or perception built out of prejudice. What we had was good; it could have been great.

The cast was uniformly strong. Hunter Hoffman, filling in for Sean Grandillo (Curley McLain) had a lovely voice and a good rapport with Sasha Hutchings (Laurey Williams). Hutchings was also strong, bringing a great internal fire and independence to Laurey (especially in Act II). Sis (Ado Annie) brought a unique take to the role — again, a load of energy and fire and spunk that played well off of both Hennessy Winkler (Will Parker) and Benj Mirman (Ali Hakim). Christopher Bannow (Judd Fry) was suitably menacing and had a good singing voice, but I’m not sure he conveyed the depth of fear that justified the end. Barbara Walsh (Aunt Eller) was a modern Ma Kettle midwestern non-nonsense broad, but brought some interesting sexual tension to the role I hadn’t noticed before. I also also smitten with Hannah Solow (Gertie Cummings): a character I had never noticed much in the story before, but she brought some unique characterizations and playfulness to the role.

Rounding out the main cast were: Ugo Chukwu (Cord Elam), Mitch Tebo (Andrew Carnes), Mauricio Lozano (Mike), and Jordan Wynn (Lead Dancer). Understudies in various roles were: Gillian Hassert (u/s Aunt Eller, Gertie Cummings), Cameron Anika Hill (u/s Laurey Williams, Lead Dancer, Cord, Mike), Minga Prather (Alternate Lead Dancer, Asst. Stage Manager), Scott Redmond (u/s Ali Hakim, Curly McLain, Cord Elam, Mike, Will Parker), and Gwynne Wood (u/s Laurey Williams, Ado Annie).

Music was provided by an on-stage orchestra led by Andy Collopy (Conductor, Accordion, Drums), and consisting of Dominic Lamorte (Assoc. Conductor, Upright Bass), Rick Snell (Mandolin, Electric Guitar), Josh Kaler (Pedal Steel, Acoustic Guitar, Electric Guitar), Justin Hiltner (Banjo), 🌴 Olivia Breidenthal (Violin), Caleb Vaughn-Jones (Cello), and occasionally, the fellow playing Curley (Hunter Hoffman, at our performance) on Guitar. Other members of the music department were: Daniel Kluger (Arrangements and Orchestrations), Nathan Koci (Music Supervision and Additional Vocal Arrangements), John Miller (Music Coordinator), Anixter Rice Music Services (Music Preparation), Robert Payne (🌴 Los Angeles Contractor). I did appreciate the fact that the orchestra joined the cast in the bows at the end of the show.

The design team consisted of: Laura Jellinek (Set Design), Terese Wadden (Costume Designer), Scott Zielinski (Lighting Designer), Drew Levy (Sound Designer), Joshua Thorson (Projection Designer), and Jeremy Chernick (Special Effects Design). I mentioned the set design before: very stark gym vibe, wooden floor, no fly scrims or anything like that. Lighting was equally harsh: either all on, green, or red. I couldn’t judge sound too well, as I’m healing from ear surgery that muffled things (my wife said it was clear). I do want to note the show’s attitude on guns, which were all around the stage. They made clear from the onset that these were prop guns, could not fire live ammo, and there was indeed no live ammo in the theatre at all. Further, they partnered with Gun Neutral, an initiative that takes donations for each visible gun on stage to fight gun violence and fund STEM grants.

Rounding out the production team were Taylor Williams CSA (Casting), Eszter Zádor (Stage Manager), Mikhaela Mahony (Assoc. Director), Jordan Fein (Assoc. Director), Daniel Kells (Production Stage Manager), Minga Prather (Asst. Stage Manager), and SB Production Services (Technical Supervisor).

Oklahoma! continues at the Ahmanson Theatre through October 16. Tickets are available through the Ahmanson box office. Discount tickets may be available through Goldstar, as well as through TodayTix. If you can set aside your expectations for a traditional, sickly-sweet production of Oklahoma!, 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 (modulo the COVID break). 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 (or I’ll make a donation to the theatre, in lieu of payment). I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at Actors Co-op (FB), 5 Star Theatricals (FB), Broadway in Hollywood (FB), the Ahmanson Theatre (FB), and we have a membership at The Pasadena Playhouse (FB). We were subscribing at the Musical Theatre Guild (FB) prior to COVID; they have not yet resumed productions. We have also been subscribers at the Soraya/VPAC (FB), although we are waiting a year before we pick that up again. 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. Note to publicists or producers reading this: here’s my policy on taking comp tickets. Bottom-Line: Only for things of nominal value, like Fringe.

Upcoming Shows:

For right now, we’re pretty much sticking with shows that come as part of our subscriptions or are of interest through our memberships. Looking ahead for the remainder of 2022:, October will bring Sanctuary City at the The Pasadena Playhouse  (FB), Ghosts at the Odyssey Theatre Ensemble, The Addams Family at 5 Star Theatricals (FB), and To Kill a Mockingbird at Broadway in Hollywood (FB). November brings 2:22 – A Ghost Story at the Ahmanson Theatre (FB). Lastly, December will bring Annie at Broadway in Hollywood (FB).

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Footlights, as well as productions I see on Goldstar, On Stage 411 or that are sent to me by publicists or the venues themselves. 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 (although I know it is outdated and need to update it). Want to learn about all the great theatre in Southern California? Read my post on how Los Angeles (and its environs) is the best area for theatre in the Country (again, I need to review this for the post-COVID theatre landscape)!

This entry was originally posted on Observations Along the Road as 🎭 Taking Off the Rose Colored Glasses | "Oklahoma" @ Ahmanson by cahwyguy. Although you can comment on DW, please make comments on original post at the Wordpress blog using the link to the left. You can sign in with your LJ, DW, FB, or a myriad of other accounts. Note: Subsequent changes made to the post on the blog are not propagated by the SNAP Crossposter; please visit the original post to see the latest version. P.S.: If you see share buttons above, note that they do not work outside of the Wordpress blog.

Expectations are funny things. Sometimes, someone else expectation can screw up your life. You may be expected to be the perfect mother, the perfect student, the perfect sibling, the perfect minority. The pressure of those expectations can sometimes be overwhelming, and can push you into paths you never expect.

Expectations can often color what you expect as well. When I first learned about the Ananis Morissette jukebox musical, I expected this heavy rock musical, especially with the name “Jagged Little Pill”. I’m an older fart (in my 60s) — my taste in music runs a broad gamut, from Broadway cast albums to folk to classic rock to bluegrass to celtic to dixieland to big band to … well, as you can see, a wide variety. But I had never knowingly listened to Morissette. Her classic album was not part of my vernacular. And although, thanks to the Tony nomination, I had listened to this cast album ahead of time, it hadn’t overpowered the expectation regarding this show. Going in, I was expecting this really hard rock, extremely dark and pulsating show … emphasizing the “jagged” nature of the title. Little did I know that the emphasis was more on the “pill”, as in “Mother’s Little Helper”. Little did I know that the title really referenced a prechorus (“Swallow it down (what a jagged little pill) / It feels so good (swimming in your stomach)”) to a key point in this show: “You live, you learn / You love, you learn / You cry, you learn / You lose, you learn / You bleed, you learn / You scream, you learn”.

Jagged Little Pill is a show that both didn’t meet my expectations, and yet exceeded my expectations.

One more digression before I describe the show … or perhaps it is more of a question: Why do we go to theatre (especially with what it costs these days)? Is it for mindless entertainment? We certainly get that with spectacles like Moulin Rouge, which at the heart of it is all flash and pizazz but no real substance or story. We certainly get that with the movies-to-stage pipeline, which bring familiarity and songs but not much new. But the really successful shows are those that make you think — that touch a raw nerve. That could be the struggles of our nation’s birth, as in Hamilton, or it can issue like sexuality as in the recent The Prom or Spring Awakening. Do we go for the comfortable, or do we go because the purpose of theatre is just to make us uncomfortable, to hold up that mirror, to make us think. (and we’ll revisit this again next week when we see Daniel Fish’s interpretation of Oklahoma at the Ahmanson next week).

This brings us back to Jagged Little Pill. First and foremost: Discard your expectations. This is not hard rock like American Idiot or Hedwig. This is more angsty ballads. As for the show itself: yes, it is dark. I’d characterize it best as a blender mix of Spring Awakening and Next To Normal. The subject matter touches on a number of triggery areas: drug abuse, rape and sexual assault, how we react to such assault, expectations on children, teen sex, gender issues. If these are triggers to you, be prepared. But the show handles them in a somewhat SFW combined with in-your-face manner. I didn’t find it too strong, but others might.

The show tells the story of the Healy family: super-mom Mary Jane, workaholic dad Steve, overachiever child Nick, and adopted minority child Frankie. Just from that description, what could go wrong. We learn over the course of the show the jagged little pill that this facade covers. This is told through the use of the Alanis Morissette’s catalog, primarily her album Jagged Little Pill (Glen Ballard also worked on the music, the book was by Diablo Cody, and additional music was by Michael Farrell and Guy Sigsworth).  I don’t want to give too much away of the plot, but given the warnings and the description of the family, you should be able to figure out the eventual arc.

This brings us to the first assessment: story and music. I should note that this assessment is tempered a bit by poor sound, which I’m going to blame on the touring company as I know that BIH can get it right. Especially during the musical numbers, the lyrics were muddied (perhaps folks were mic-ed bad, or perhaps speakers were misaimed or mistuned). I could hear dialogue just fine. Now, if you’re younger and you’ve memorized these songs, that probably didn’t matter. But if you’re an old fart, it made the lyrics inaccessible with just snippet here and there. You get the sense but not the specifics. My advice: Try getting the headsets for the hard of hearing. You’ll probably get better sound.

That said: I found the story engrossing and relatable. There were things in this story that hit home for me, and I’m sure others as well. No family is perfect, and this showed how our experiences shape us. Not just the successes, but especially the failures. Where we fail. Where others fail. The Jewish High Holy days are coming up, and this is something I’ll be thinking about: how can I learn from my failures. This show raises those questions. That’s a good thing.

The show also touches on a number of hot topics today: sexuality and gender; sexual assault, consent, and who you believe; the current opioid epidemic; and what pressure does to us. That it raises these questions and provokes discussion places this head over heels a spectacular like Moulin Rouge. For story and subject along, this is a must see.

Now we have the next assessment: vision and execution. Diane Paulus’s original direction, and Sidi Larbi Cherkaoui’s original movement and choreography do a good job of bringing out the emotion. Place and mood is does through either projections or screens as opposed to traditional fly-scrims. This works well to immerse you in the story.

The last assessment is performance. Here I’d like to note a number of standouts. Heidi Blickenstaff (Mary Jane Healy) amazes me with her voice and her emotion. She conveys a wide range here, with a voice that handles both rock and soft well. Those who have been following her career know this well, from her first foreys with [Title of Show] to her performance in Freaky Friday. Her performance is remarkable. Also strong is Lauren Chanel (Frankie Healy), who really brings that character to life. Jade McLeod (Jo) is remarkable in “You Oughta Know”, and Allison Sheppard (Bella) does a wonderful job of leading the company in “No” (which should be a watchphrase for today: What part of “no” do you not understand). For the guys, I was really taken by Chris Hoch (Steve Healy), who reminded me a lot of the dad in Next to Normal. Dillon Klena (Nick Healy) was also strong.

Rounding out the performance credits with ensemble and smaller parts: Lee H. Alexander (Doctor, Ensemble), Delaney Brown (Denise, Ensemble), Maya J. Christian (Swing), Jada Simone Clark (Barista, Ensemble), Lani Corson (Jill, Teacher, Ensemble), Claire Crause (Swing, Dance Captain), Sean Doherty (Swing), Rishi Golani (Phoenix, Ensemble), Jason Goldston (Andrew, Ensemble), Zach Hess (Ensemble), Cydney Kutcipal (Ensemble), Jordan Leigh McCaskill (Pharmacist, Therapist, Ensemble), Alana Pollard (Ensemble), Daniel Thimm (Drug Dealer, Ensemble), Kei Tsuruharatani (Ensemble), Jena VanElslander (Courtney, Ensemble), and Charles P. Way (Swing/Asst. Dance Captain).

Music was provided by an onstage orchestra led by (🌴 indicates local) Matt Doebler (Conductor, Keyboard) and consisting of the following additional folk: Christopher Hanford II (Guitar 1), David Manning (Guitar 2), Jennifer Giammanco (Bass), Lucy Ritter (Percussion), 🌴 Nicole Garcia (Violin (Concertmaster)), 🌴 Rhea Hosanny (Viola), 🌴 Michelle Elliot Rearick (Cello), and 🌴 Brian LaFontaine (Guitar Sub). Rounding out the music department was: David Manning (Asst. Conductor), Michael Aarons (Music Coordinator), Emily Grishman (Music Preparation), Randy Cohen (Keyboard Programming), and 🌴 Eric Heinly (Music Contractor). Tom Kitt provided music supervision, arrangements, and orchestrations.

The design team consisted of: Riccardo Hernández (Scenic Design), Emily Rebholz (Costume Design), Justin Townsend (Lighting Design), Jonathan Deans (Sound Design), Lucy Mackinnon (Video Design), and J. Jared Janas (Wig, Hair, and Makeup Design).

Rounding out the production team with tour and other support were: Pascale Florestal (Assoc. Director), Marc Kimelman (Assoc. Choreographer), Yeman Brown (Asst. Choreographer), Ira Mont (Production Supervising Stage Manager), Justin Myhre (Production Stage Manager), Jenn Gallo (Stage Manager), and Ashani Smith (Asst. Stage Manager). It is interesting that an Intimacy Coordinator was not listed.

I’ll note: For this writeup, I have not done my usual hyperlinking of artists. I may go back and fill that in. Not doing it saves a lot of time.

Jagged Little Pill continues at Broadway in Hollywood through October 2. Tickets are available through the BIH Website. Discount tickets may be available through Goldstar.

❧

Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member (modulo the COVID break). 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 (or I’ll make a donation to the theatre, in lieu of payment). I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at Actors Co-op (FB), 5 Star Theatricals (FB), Broadway in Hollywood (FB), the Ahmanson Theatre (FB), and we have a membership at The Pasadena Playhouse (FB). We were subscribing at the Musical Theatre Guild (FB) prior to COVID; they have not yet resumed productions. We have also been subscribers at the Soraya/VPAC (FB), although we are waiting a year before we pick that up again. 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. Note to publicists or producers reading this: here’s my policy on taking comp tickets. Bottom-Line: Only for things of nominal value, like Fringe.

Upcoming Shows:

For right now, we’re pretty much sticking with shows that come as part of our subscriptions or are of interest through our memberships. Looking ahead for the remainder of 2022:, the remaining September shows are Andrew Lippa’s version of The Wild Party at the Morgan Wixson Theatre, and Oklahoma at the Ahmanson Theatre (FB). October will bring Sanctuary City at the The Pasadena Playhouse (FB), Ghosts at the Odyssey Theatre Ensemble, The Addams Family at 5 Star Theatricals (FB), and To Kill a Mockingbird at Broadway in Hollywood (FB). November brings 2:22 – A Ghost Story at the Ahmanson Theatre (FB). Lastly, December will bring Annie at Broadway in Hollywood (FB).

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Footlights, as well as productions I see on Goldstar, On Stage 411 or that are sent to me by publicists or the venues themselves. 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 (although I know it is outdated and need to update it). Want to learn about all the great theatre in Southern California? Read my post on how Los Angeles (and its environs) is the best area for theatre in the Country (again, I need to review this for the post-COVID theatre landscape)!

This entry was originally posted on Observations Along the Road as 🎭 You Attend, You Learn | "Jagged Little Pill" @ Broadway in Hollywood by cahwyguy. Although you can comment on DW, please make comments on original post at the Wordpress blog using the link to the left. You can sign in with your LJ, DW, FB, or a myriad of other accounts. Note: Subsequent changes made to the post on the blog are not propagated by the SNAP Crossposter; please visit the original post to see the latest version. P.S.: If you see share buttons above, note that they do not work outside of the Wordpress blog.

This has been a busy but strange summer. The combination of my Cholesteatoma, getting the podcast off the ground, working on the highway pages, and taking care of my wife has left my weekends pretty full. I’ve seen a bunch of shows over the end of June and into July, but haven’t had the time to do the full write ups of the show (in case you didn’t know, each writeup — including all the linking to the people involved — takes 3-4 hours). So I decided, while I was on vacation this week, to do some shorter write ups of the shows. These will get across my general impressions of the shows and perhaps highlight a performer or three, but they won’t list all of the folks involved. I’ll try to include a link to the programs for the shows, which these days are often online.

So, with that said, let’s begin:

There has been a trend in the theatre of late to — shall we say — play it safe. Revive that remarkably successful old chestnut with a bit name star (never mind the problematic undertone)^*. Take that very successful movie property and bring it to the stage and hope that people come out of nostalgia^**. Although these often make money (especially on tour, playing to the crowds in Podunk USA), they often aren’t the best musicals. The best productions are often original stories or stories adapted from unexpected sources. Their originality wins the audience over: they get to see something they’ve never seen before, instead of the same old same old.
*: e.g., Music Man. **: e.g., Tootsie, Pretty Woman, Beetlejuice, Mrs. Doubtfire, …

Hadestown, which we saw last Sunday at  the Ahmanson Theatre (FB), is one of those original shows. It is based on the Greek myths of Orpheus and Eurydice, which is connected to the story of Hades and Persephone. It featured music, lyrics, and book by a non-theatre artist: Anaïs Mitchell; after a few staged performances, she released the music as a song concept album in 2010, and it was workshopped and grew from there.  The music style is not your typical Broadway musical: it is bluesy and jazzy and has that hit of New Orleans to it. It is a seedy bar joint, at times joyous and at times dark. It is light and dark. It is, well, Persephone and Hades.

The basic myth is this: Persephone was the daughter of Demeter, the Goddess of nature. She is the bringer of spring and summer, the bringer of the bounty of the Earth.  Hades is King of the Underworld. Hades fell in love with Persephone and kidnapped her (although this isn’t in the play). They fall in love and marry, and agree that for six months out of the year she will live with him in the Underworld. During that time we have fall and winter. She returns for six months, bringing Spring and Summer. But Hades is a jealous and possessive man, and doesn’t want her away from him. He starts keeping her longer and longer, with predictable effect  in the world above.

Orpheus was the son of Apollo and the muse Calliope. He had a gift of song and writing. He is guided by Hermes, who has the responsibility of conducting souls to the Underground. Hermes takes Orpheus under his wing. Orpheus is writing a song; a song so powerful it will bring Persephone back to the upper world, and bring back spring. Enter Eurydice, a woman of grace, who is tired of the endless winter. Orpheus falls in love with Eurydice, and she falls in love with his melodies. This is especially true when Persephone returns. But she always must return, and when she does, Eurydice despairs (especially as Orpheus ignores her as he writes his song). She is enticed by Hades to go to the Underworld (and pay the price those who take the trip must take). When Orpheus learns of this, he travels to the Underworld to rescue her.

That’s the basic story (sans the ending). As staged, there are layers upon layers of metaphor. The most obvious one is the intimation of climate change: we have been destroying the world by driving away Spring, and we must take action to bring it back. I also detected allegories of anti-immigrant phobia, concerns about poverty making the world ugly, and even intimations of Trump and his wall, although this long predates Trump. What would you think when you hear lines like: Why do we build the wall? We build the wall to keep us free, we build the wall to keep out the enemy, the enemy is poverty. There are the workers, who toil and toil and never get anywhere — until they decide to hear each other and come together. There are deep messages in this show, folks.

As I noted earlier, the music is different than most shows. There are truly joyous songs. There are haunting songs. There are dark and scary songs. There are earworms (“Way down, Hadestown, Way down under the ground”) or “Now That the Chips Are Down”. I’ve picked up three versions of the music to this show: the concept album, the off-Broadway version, and the Broadway version. All are excellent and slightly different.

The direction of the show is also atypical. The show was developed with and directed by Rachel Chavkin. Chavkin is best known for Natasha Pierre and the Great Comet of 1812, which is another very different musical. This is a different theatre sensibility, and is unlike the typical fare one sees on the stage. I can imagine the impact of the show would be much greater in a smaller venue, but touring theatres are not small venues (and don’t work well on the thrust stage, eliminating the Taper from consideration).

The performances were also strong. Let’s start with the glue that holds the show together, provides the exposition, and moves the story along: Hermes (Levi Kreis). Let’s start off by saying that Kreis is not Andre de Shields, who won a Tony for this role. de Shields is one of a kind, and you can’t duplicate that. But Kreis works well and brings a different take to the role. More soul, and less Wiz. I enjoyed his voice and his interactions, and he was fun to watch off on the side in the small moments.

The protagonist couple, who are the center of the story, is Orpheus (Nicholas Barasch) and Eurydice (normally Morgan Siobhan Green, but…).  I say “but….” because we had a substitution at our show (which started late, so I’m guessing there was a last minute substitution). We had Sydney Parra as Eurydice, who swung up from her normal role as a worker. Barasch had a beautiful lilting high tenor (at least I think that’s the right term), and expressed a lovely naivete and lightness of character. As for Parra, you would never have known she was an understudy. She deftly handled the role. She captured a lovely tenuousness and had a great voice; it was also interesting to see her come to life in the underworld. I also applaud her for not bowing to convention on stage — she was distinctly herself, and it was great to see her self confidence. Those who saw her performance will know what I’m referencing.

Our other couple were Persephone (Kimberly Marable) and Hades (Kevyn Morrow).  Again, don’t expect the Broadway actors to be cloned — no one can clone Patrick Page. But Morrow does have the baratone, but not quite the malevolence. Marable is clearly a jazz singer by trade, and she brings that joy and light to her performance. Again, these actors  embody the archetypes of their Greek counterparts: Morrow is dark, Marable is light and joy.

Directing the action somewhat and guiding things along are the three Fates: Belen Moyano, Bex Odorisio, and Shea Renne. They sang beautifully, and even brought some instruments to the stage (accordion, fiddle).

Rounding out the production was the worker’s chorus. As we had some swings, I’m indicating the performers we saw by putting the names in bold, normal swings are indicated with ^§: Lindsey Hailes, Chibueze Ihuoma, Will Mann, Sydney Parra, Jamari Johnson Williams, Tyla Collier^§, Ian Coulter-Buford^§, Alex Lugo^§, Eddie Noel Rodriguez^§, J. Antonio Rodriguez^§.  In other words: Out of the normal five workers, three were swings. You would have never known from the performances we saw, which were all strong. I particularly noticed the chorus in the scenes Underground: Why We Build the Wall, or the various chants.

Also on stage — essentially as part of the performers — were the musicians: Nathan Koci Conductor/Piano; Jacob Yates Cello / Asst. Conductor; Maria Im Violin; Michiko Egger Guitar; Audrey Ochoa Trombone / Glockenspiel; Calvin Jones Double Bass; and Anthony Ty Johnson Drums / Percussion. Of these folks, I’d like to single out Ochoa on Trombone. She was playful on stage and brought some wonderful jazz licks to the piece. But this entire ensemble was just great.

Before we turn to the scenic and other production aspects, let’s finish off the music and the movement. The production was choreographed by David Neumann, with help from Katie Rose McLaughlin Associate Director / Choreographer.  The movement was very jazz oriented and fit the piece well; this wasn’t your typical chorus line. Rounding out the music team was Liam Robinson Music Supervisor and Vocal Arrangements; Michael Chorney Arrangements and Orchestrations; Todd Sickafoose Arrangements and Orchestrations; Nathan Koci Music Director.  Note that none of the music team are your typical Broadway music types. Assisting in the direction was Chika V. Ike Associate Director.

The scenic design was interesting. A New Orleans type blues pub was at the center (with a small turntable); on the sides were the musicians and high-boy tables. On a balcony in the back was space for Hades and Persephone to watch. There was a circular staircase, and the back opened to be a train. This tour design was by Rachel Hauck Scenic Design. It was supported by the other design aspects: Michael Krass Costume Design; Bradley King Lighting Design; Nevin Steinberg Sound Design; Jessica Paz Sound Design; and Jennifer Mullins Hair Design. All these pieces combine to establish the mood and the characters well.  Rounding out the production team were: Ken Cerniglia Dramaturg; Stewart/Whitley Casting; Joel Rosen Production Stage Manager; Annelise Castleberry Stage Manager; Zachry J. Bailey Assistant Stage Manager; Denny Daniello Company Manager; Aurora Productions Production Management.

Hadestown is well worth seeing; we thoroughly enjoyed it.  It continues at the Ahmanson Theatre (FB) through May 29, 2022. Tickets are available through the Ahmanson box office. Discount tickets may be available through Goldstar or through TodayTix.

❧

Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member (modulo the COVID break). 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 (or I’ll make a donation to the theatre, in lieu of payment). I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at Actors Co-op (FB), 5 Star Theatricals (FB), Broadway in Hollywood (FB), the Ahmanson Theatre (FB), and we have a membership at The Pasadena Playhouse (FB). We were subscribing at the Musical Theatre Guild (FB) prior to COVID; they have not yet resumed productions. We have also been subscribers at the Soraya/VPAC (FB), although we are waiting a year before we pick that up again. 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. Note to publicists or producers reading this: here’s my policy on taking comp tickets. Bottom-Line: Only for things of nominal value, like Fringe.

Upcoming Shows:

For right now, we’re pretty much sticking with shows that come as part of our subscriptions or are of interest through our memberships. That may change later in 2022. Looking further into 2022: We’re done with our May shows. June will see Come From Away at the Ahmanson Theatre (FB) and Pretty Woman at Broadway in Hollywood (FB), as well as Tom Paxon at McCabes plus as much of the Hollywood Fringe Festival as we have the energy for. July brings Moulin Rouge at Broadway in Hollywood (FB) [Pantages], Dear Evan Hansen at the Ahmanson Theatre (FB), Newsies at 5 Star Theatricals (FB), and Freestyle Love Supreme back at The Pasadena Playhouse (FB). August is quieter, with just The Prom at the Ahmanson Theatre (FB). Lastly (for this look ahead), September brings Oklahoma the Ahmanson Theatre (FB) and Jagged Little Pill at Broadway in Hollywood (FB), although they are on the same day so I’ll be shifting one show. September may also bring Andrew Lippa’s version of The Wild Party at the Morgan Wixson Theatre. This was a show I had been planning to see before the COVID shutdown, so I’m putting it in the “part of our subscriptions” list. There may also be some Hollywood Bowl stuff, depending on how my wife is doing.

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Footlights, as well as productions I see on Goldstar, On Stage 411 or that are sent to me by publicists or the venues themselves. 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 (although I know it is outdated and need to update it). Want to learn about all the great theatre in Southern California? Read my post on how Los Angeles (and its environs) is the best area for theatre in the Country (again, I need to review this for the post-COVID theatre landscape)!

This entry was originally posted on Observations Along the Road as 🎭 The Road to Hell is Quite Entertaining | "Hadestown" @ Ahmanson by cahwyguy. Although you can comment on DW, please make comments on original post at the Wordpress blog using the link to the left. You can sign in with your LJ, DW, FB, or a myriad of other accounts. Note: Subsequent changes made to the post on the blog are not propagated by the SNAP Crossposter; please visit the original post to see the latest version. P.S.: If you see share buttons above, note that they do not work outside of the Wordpress blog.

Whew! It’s been a week, hasn’t it. I feel more exhausted than an actor trying to juggle pretending to be someone whom I’m not who is then trying to be someone who they are not while not letting out a secret… well, more on that in a minute. But I have been really busy, so please excuse the lateness of these writeups. They took a back seat to some other projects this week — working up updates to my highway pages,  and continued new work on getting a new podcast about highways off the ground. Combine that with a full time job, caretaking for my wife who is still down after her accident, and an ear infection, and … whew!

In any case, let’s talk about Tootsie, which is the current production of  Broadway in Hollywood (FB) at the Dolby Theatre. We saw it last Saturday, and I’m really conflicted in my reaction.  On the one hand, it was extremely funny with great comic timing. On the other hand, it is an attempt to bring 1980’s attitudes about men and women to a context 40 years later, and that just doesn’t work. Add to that the fact that this is a non-Equity tour (with the labor issues related thereto): yes, it gives talented actors their start, but it also treats them like second class citizens. Hmm, like women in a professional field. As I said, conflicted.

For those unfamiliar with the story, Tootsie is based on a 1982 comedy starring Dustin Hoffman, with a screenplay adapted by Larry Gelbart, Barry Levinson, Elaine May and Murray Schisgal from a story by Gelbart and Don McGuire. The basic premise is: perfectionist male actor, who is so annoying he has been blackballed by most directors, pretends to be a woman in order to get an acting job. In doing so, he takes a job away from his actress best-friend, and turns what is a crappy soap-opera into a smash success with his suggestions for improvement. He falls in love with the leading lady of the soap-opera (who is having an affair with the director), and has a male leading man fall in love with him. When the secret comes out, then (as they say) hijinks ensue.

This was really funny stuff in the 1980s folks. I mean that this was the second most profitable film of 1982, and was nominated for ten Academy Awards including Best Picture. In 1998, the Library of Congress deemed the film “culturally, historically, or aesthetically significant” and selected it for preservation in the United States National Film Registry. You can just imagine a producer thinking, 20 years later: This would be great on Broadway!

But the times, as Bob Dylan sang, are a changin’. The whole schtick of man dressing as women for humor isn’t as funny as it once was. Show real trans folk. That’s fine. Show real stories of drag queens, as serious drag queens (cough, Kinky Boots, cough, Everyone’s Talking About Jamie), OK. But dress as a woman for humor (as we saw in My Fair Lady or as is likely in the upcoming new version of Some Like It Hot), and it doesn’t work. I’ll note there are similar problems with playing on old and tired gay stereotypes — how well would a La Cage revival work these days. Perhaps this is why we’re hearing so little about Mrs. Doubtfire, currently on Broadway. It plays up the man dressed as woman for humor, and that just doesn’t fly. (Hmmm, he wondered, why there are so few shows that find humor in a woman dressing as a man? I can only think of two — both Shakespeare — and the humor is situational. Victor Victoria, perhaps? But I digress).

Now, add to this the problems related to #MeToo, sexual harassment in the workplace, and the growing concern about men not listening to the voices of women (as well as a man taking a woman’s job). You have to keep saying to yourself: What were these producers thinking smoking?

Yet with all these problems, Tootsie came to Broadway and found some measure of success. It was nominated for a slew of Tony awards and won two (including Best Book of a Musical). It beat out Beetlejuice, which was better and far less problematic. Yet problems remain.

To their credit, the new book by Robert Horn makes some significant changes. It moves the milieu from New York and the soap opera scene to Broadway. Now the actor (Michael Dorsey) is finding failure with Broadway directors, and so becomes an actress (Dorothy Michaels) in a successful new Broadway production. This makes it more accessible, and adds to the in-jokes that only those in the Broadway profession would get. But it works better on stage. Horn also explicitly acknowledges the problems with what Michael is doing: there is gnashing and wailing about how this is wrong, followed by jokes about how he’ll get paid less. There are scenes calling out Michael for mansplaining, while there are no remarks about the hidden-in-full-view Michael as Dorothy mansplaining away, and getting heard while women staffers are ignored.

So there are loads and loads of problems remaining in the book. And yet … I laughed. Especially in the second act, where Michael’s subterfuge is uncovered, and there are some wonderful comic timing scenes taking place. This thing is laugh out loud funny, while you’re thinking at the same time that it is so wrong. Just like Jackass. This is likely why it won best book: if the book can make you laugh at something that is patently so wrong these days.

While we’re talking book, we mustn’t forget this is a musical. In this case, the music and lyrics are by David Yazbek, The songs are very funny, but what kept bothering me is how much they sounded like Yazbek’s other work. I kept hearing hints of The Band’s Visit  or Women on the Verge and even The Full Monty. There are some particular riffs and styles that Yazbek likes, and they seem to have recycled themselves here. It was distracting, and Yazbek needs to work better on getting his musicals to not sound so much … like Yazbek-stereotypes.

The production was directed by Dave Solomon; Scott Ellis was the original Broadway director. Broadway choreography was by Denis Jones. Buried in the small print were the key local folks: Augustine Ubannwa Asst. Director and Chip Abbott Associate Choreographer. All are members of the Society of Stage Directors and Choreographers. I always have trouble telling direction from performance (which is how it should be), but the comic aspects of the direction were strong. Dancing was a bit weaker: there wasn’t anything that particular stands out in my mind a week after the performance.

Let’s turn to the performances, but before we do: When this production was originally booked for Broadway in Hollywood (back in the pre-pandemic days), it was to be an Equity tour, with Equity actors, and Equity pay scales, and Equity health insurance and such. But, on the verge of going out, it was recast and went out as a non-Equity tour. So note: Union directors and choreographers, union scenic artists, union back and front of house, but non-union actors. This is not meant as a disparagement of the actors, who do a remarkable job (as I’ll describe below). But it is a ding to the producers, who are getting away with paying them less and providing fewer benefits (pay breakdown) and worse working conditions. This has led to increased efforts from Equity to go after the non-Union tours. In particular, they are going after the touring companies that often have union and non-union versions, feeding back into the same pockets. If you ever want a key difference between Broadway in Hollywood and Center Theatre Group: CTG only does Equity productions on the main stages (and CTG does show production, not just booking). BIH books both Equity and non-Equity productions. Rant over, and I will say that I do still love Broadway in Hollywood — their subscriber support folks are the greatest (more on that later). I just wish the talent got treated as well, and part of that is encouraging the industry to do Equity tours.

Despite being young, the cast was excellent — drawing heavily from other non-Equity tours and the strong regional theatre markets. In the lead position was Drew Becker Michael Dorsey / Dorothy Michaels . Becker was remarkable in the role, with great comic timing and performing chops. He captured both the masculine and the feminine sides well, and had a strong singing voice. But as I noted, what really impressed me was his comedy. There were times where he said everything with a simple facial expression, a pause, or a simple reaction. To this untrained eye, that goes beyond the direction to bringing the actor’s chops to the role. I hope others see it.

The other key people in Michael’s direct sphere of influence were Payton Reilly Sandy Lester and Jared David Michael Grant Jeff Slater. Reilly’s role is really written more as comic relief, and we don’t see as much of her as we would like. She has a recurring song motif that is extremely funny and self-deprecating (even if it sounds like it could be plopped down in Women on the Verge). Reilly handles this well with great comic timing. Grant gets to play the lovable schlub friend — and you wouldn’t expect such a strong performance for that character. But Grant excels at the comedy — again, he’s a master of the timing and the look and the reaction. The scenes with him, Reilly, and Becker are just masterpieces. Watching their performances, you wouldn’t realize that these are relatively new actors — they are that strong in their roles.

Next we have the key people in Dorothy Michael’s stage life: Ashley Alexander Julie Nichols and Lukas James Miller Max Van Horn.  Alexander (who also appears to go by Ashley Seldon) has a remarkably strong voice and come across as a credible actor in her role. She gets less opportunity to play the role for the comic side. Miller, on the other hand, is heavily comedy — especially in the second act. The scene where he comes and hits on Dorothy is priceless, but his introductory scenes are strong as well.

In supporting roles we have Kathy Halenda Rita Marshall; Steve Brustien Stan Fields and Adam du Plessis Ron Carlisle.  All are written and played with appropriate stereotypes in mind. Halenda is the aging woman producer who wants to champion other women; Brustien is the typical agent; and du Plessis is the over-egoed director. The actors play them well.

Rounding out the cast in the ensemble and smaller named parts as noted are: Leyla Ali Gone Female Trio, Connor Allston Stuart, Darius Aushay, Michael Bingham, Kyra Christopher, Delaney Gold Gone Female Trio, Maverick Hu, Dominique Kempf Suzie, Gone Female Trio, Marquez Linder, Lucy Panush, Alec Ruiz Carl, and Stefanie Renee Salyers. Swings are Lexi Baldachino Dance Captain, and Ashton Lambert Asst. Dance Captain. The ensemble was strong, performing with spirit and energy, and seeming to enjoy what they were doing.

Music was provided by an orchestra under Andrea Grody Supervising Music Director and Andrew David Sotomayor Music Director The orchestra consisted of: Richard Mitchell Alto Sax, Flute, Piccolo, Recorder; Sean Franz Tenor Sax, Clarinet, Flute, Soprano Sax; Aaron Smith and Javier Gonzalez Trumpet, Flugelhorn; Charlie Morillas Trombone; Chris Thigpen Bass (Acoustic/Electric); Brian LaFontaine Guitar (Electric / Acoustic / Mandolin); Carl Thomson Drums / Percussion; Adam McDonald Keyboard 1; and Mary Ekler Keyboard 2. Other music credits: Dean Sharenow Music Supervisor; Talitha Fehr Music Coordinator; Eric Heinly Music Contractor; Billy Jay Stein and Iro Iida (for Strange Cranium Productions Inc) Electronic Music Design; David Chase Dance Arrangements; and Simon Hale Orchestrations.

Lastly, we turn to the production team, starting with the lead designers. Overall, the scenic design was suitable, although there were sound problems that left the distinct impression that some speakers were not working (because the music sounded off to one side). The set was relatively compact, with elements that opened up to create Michael Dorsey’s apartment, and that when closed became a generic New York skyline. My biggest complaint with the set design was more of a tour set design issue: there was a large frame around the set that would create site line problems for anyone sitting off to the far side. That’s bad design: even for a tour, sets should be designed to be clear and visible to all. The scenic design team consisted of: David Rockwell Original Scenic Design; Christine Peters Tour Scenic Design; William Ivey Long Costume Design; Christopher Vergara Costume Coordinator; Donald Holder Lighting Design; Brian Ronan Sound Design; Paul Huntley Hair & Wig Design; and Angelina Avallone Make-Up Design.  One costume/make-up note: The quick changes for Drew Becker (Michael Dorsey) were impressive, including changing the nail polish!

Rounding out the production team were: Binder Casting Casting; Andrew Terlizzi Company Manager; Suzayn Mackenzie-Roy Production Stage Manager; Brianna Thompson Asst Stage Manager; Brian Schrader General Manager; Heather Chockley Production Management. The tour manager was Troika Entertainment.

I mentioned earlier about the superb customer service from the Broadway in Hollywood subscription team. My wife currently is in a wheelchair, which requires handicapped seating. When I booked the show we were not in accessible seats; I had changed the tickets, but hadn’t realized they weren’t accessible either. Day of the show, the subscription folks in the box office got us changed to wheelchair accessible seats (in the orchestra, no less) without any muss. They may book non-union tours, but I still think Broadway in Hollywood is great!

Tootsie continues at the Dolby Theatre for Broadway in Hollywood (FB) until May 15. Tickets are available through the BIH box office (they have specials for $39). Discount tickets may be available through Goldstar. Tootsie goes next to the Segerstrom in Orange County.

❧

Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member (modulo the COVID break). 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 (or I’ll make a donation to the theatre, in lieu of payment). I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at Actors Co-op (FB), 5 Star Theatricals (FB), Broadway in Hollywood (FB), the Ahmanson Theatre (FB), and we have a membership at The Pasadena Playhouse (FB). We were subscribing at the Musical Theatre Guild (FB) prior to COVID; they have not yet resumed productions. We have also been subscribers at the Soraya/VPAC (FB), although we are waiting a year before we pick that up again. 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. Note to publicists or producers reading this: here’s my policy on taking comp tickets. Bottom-Line: Only for things of nominal value, like Fringe.

Upcoming Shows:

For right now, we’re pretty much sticking with shows that come as part of our subscriptions or are of interest through our memberships. That may change later in 2022. Looking further into 2022: May brings Hadestown at at the Ahmanson Theatre (FB). June will see Come From Away at the Ahmanson Theatre (FB) and Pretty Woman at Broadway in Hollywood (FB), as well as Tom Paxon at McCabes plus as much of the Hollywood Fringe Festival as we have the energy for. July brings Moulin Rouge at Broadway in Hollywood (FB) [Pantages], Dear Evan Hansen at the Ahmanson Theatre (FB), Newsies at 5 Star Theatricals (FB), and Freestyle Love Supreme back at The Pasadena Playhouse (FB). August is quieter, with just The Prom at the Ahmanson Theatre (FB). Lastly (for this look ahead), September brings Oklahoma the Ahmanson Theatre (FB) and Jagged Little Pill at Broadway in Hollywood (FB), although they are on the same day so I’ll be shifting one show. September may also bring Andrew Lippa’s version of The Wild Party at the Morgan Wixson Theatre. This was a show I had been planning to see before the COVID shutdown, so I’m putting it in the “part of our subscriptions” list. There may also be some Hollywood Bowl stuff, depending on how my wife is doing.

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Footlights, as well as productions I see on Goldstar, On Stage 411 or that are sent to me by publicists or the venues themselves. 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 (although I know it is outdated and need to update it). Want to learn about all the great theatre in Southern California? Read my post on how Los Angeles (and its environs) is the best area for theatre in the Country (again, I need to review this for the post-COVID theatre landscape)!

This entry was originally posted on Observations Along the Road as I Shouldn't Be Laughing | "Tootsie" @ Broadway in Hollywood by cahwyguy. Although you can comment on DW, please make comments on original post at the Wordpress blog using the link to the left. You can sign in with your LJ, DW, FB, or a myriad of other accounts. Note: Subsequent changes made to the post on the blog are not propagated by the SNAP Crossposter; please visit the original post to see the latest version. P.S.: If you see share buttons above, note that they do not work outside of the Wordpress blog.

As you may have figured out by now, I wear many hats. Some look like train engineer hats. Some are whatever a roadgeek wears. Some protect your information technology investments. And others, well, clip on with a hair clip and cover your head in shul. In other words, a kippah. Now, mine isn’t always black, nor do I wear a fedora on top of that, or any other additional hat. Still, I know those communities well, being a co-maintainer of a set of Frequently Asked Questions on Judaism, as well as founder and moderator of the Liberal Judaism Mailing List.  More on that in a minute.

With my kippah on, I serve as facilitate for a group out of our Reform synagogue in Northridge that regularly attends Jewish-themed live theatre. We’ve attended a wide variety of shows over the years: Eight Nights at Antaeus; It Shoulda’ Been You at MTG; Shared Legacies at JWT;  Stars of David at the Y! I Love Yiddish Fest; Fabulous Fanny Brice; Allan Sherman Unmasked!; and Jews, God, and History (Not Necessarily In That Order). So I’m always on the lookout for Jewish themed theatre for our group; and as COVID restrictions were lifting, something we could do in person again. So I was very pleased to get an email from the Geffen Playhouse announcing a production that sounded interesting. Here was the description:

Zalmy lives a double life. By day, he drives a Chabad “Mitzvah Tank” through 1990s New York City, performing good deeds with his best friend Shmuel. By night, he sneaks out of his orthodox community to roller-skate and listen to rock and roll. But when a curious outsider offers him unfettered access to the secular world, is it worth jeopardizing everything he’s ever known? This road-trip bromance is a funny and heartwarming ode to the turbulence of youth, the universal suspicion that we don’t quite fit in, and the faith and friends that see us through.

The production was Trayf , written by Lindsay Joell and directed by Maggie Burrows, which would be running at the Geffen from March 1 through April 10, 2022. So I put out a call to see if there was interest, and coordinated group tickets. We ended up with a group of 18 temple members, who came out to Westwood Saturday afternoon to see the show. It was a very successful outing.

Trayf tells the story of Zalmy (Ilan Eskenazi) and Shmuel (Ben Hirschhorn), two Chassids out Crown Heights, best friends since grade school, who are going around encouraging people to do mitzvahs. For shoe unfamiliar with Chassidic Judaism, you should consult my FAQ let me explain (from my FAQ): Chassidic Judaism is a group within the broader rubric of Orthodox Judaism. It started in the 1700’s (Common Era) in Eastern Europe in response to a void felt by many average observant Jews of the day. The founder of Chassidism, Rabbi Israel Baal Shem Tov (referred to as the “Besht,” an acronym of his name) was a great scholar and mystic, devoted to both the revealed, outer aspect, and hidden, inner aspect of Torah. He and his followers, without veering from a commitment to Torah, created a way of Jewish life that emphasized the ability of all Jews to grow closer to G-d via everything that we do, say, and think. In contrast to the somewhat intellectual style of the mainstream Jewish leaders of his day and their emphasis on the primacy of Torah study, the Besht emphasized a constant focus on attachment to G-d and Torah no matter what one is involved with. The group continued, as modern Lubavitch Chassidism,  commonly known as Chabad, follows Rabbi Schneerson and his teaching. They are still very active today with Chabad Houses in almost every community. They are well known for inviting more secular Jewish in to do commandments laid out in the Torah, such as joining them for Shabbat, laying Tefillin. Back in the 1990s, when this story took place, they were active going out on the streets to pull folks in to do Mitzvahs. I remember them regularly on the streets of Westwood when I was at UCLA.

So, back to the story. Zalmy and Shmuel are in Chabad, best friends in the insular community that is Crown Heights, following all strictures of Orthodox — including separation from the secular world. Their own outreach is the Mitzvah Tank — a van they take to neighborhoods to “spread the word” (but only to other Jews, as Judaism does not encourage conversion). Shmuel has a secret, thought … he loves secular music and is drawn to it. One day, in comes Jonathan (Garrett Young), a young man whose father just died, and who discovered information that his father’s family were survivors of the holocaust, rescued by a non-Jewish family. He wants to get in touch with his Jewish soul. One of the through lines of this play is Jonathan’s movement into the insular community. As he learns about Chabad’s enthusiastic brand of Judaism, he is drawn in deeper.

But we do learn in Judaism that no one’s path is travelled in isolation. Jonathan’s journey impacts others. One person impacted is Leah (Louisa Jacobson), Jonathan’s girlfriend. Suddenly — although she is Jewish by birth — she is no longer Jewish enough for Jonathan. You see, she was raised Reform. Her kitchen isn’t kosher; she doesn’t observe the strictures, and Jonathan pulls away. Also impacted is the tight friendship of Zalmy and Shmuel. Shmuel is drawn to Jonathan for the secular music, and keeps encouraging Jonathan to come into the Chabad community more. But as he comes in, the secular is pushed out. This drives wedges between Jonathan and Shmuel, and Shmuel’s embracing of the secular draws a wedge between him and Zalmy.

On one hand, this story is a deep examination of the power of friendship, and whether that friendship can survive someone moving out of an insular community. Is the strictures of one’s faith more powerful than friendship. But this is also an examination of what an insular community can do to someone: how it can draw them in and get them to reject their former live and friends. But for me, what was most telling was the one scene with Leah, where a Reform Jewish woman was considered “less than” by these two young Chabbadniks. That’s not really what Judaism teaches, yet it is an attitude that is far too common.

This got me thinking back to my days at UCLA, across the street from the Geffen. I was effectively a Jewish Studies minor, and I knew a few Chabbadniks. Yet I never gave in to going to the Chabad House (or Hillel). I know folks who did. But one of my best friend was from the Orthodox Yeshiva community, and we had wide ranging intellectual discussions I treasure to this day. There is beauty in what Chabad does; but I don’t always agree with their isolating approaches. But it did trigger those memories.

In general, I think this was a great show for our little group (I’ve also recommended The Lehman Trilogy, which we saw last week). I’m on the lookout for our next show.

Rounding out the cast as the necessary understudies one needs in this COVID world: Katie Croyle U/S Leah; Josh Green U/S Zalmy / Shmuel; and John Garet Stoker U/S Jonathan.

The scenic design by Tim Mackabee was simple: chairs, a streetlight, some signs, a center auto console with a tape deck. This conveyed enough to establish the needed sense of place. It was supported by Lap Chi Chu‘s lighting design that established the mood, and Everett Elton Bradman‘s sound design, which provided the soundscape for the lives and communities. Denitsa Bliznakova‘s costumes captured the Chabad esthetic well. Rounding out the production team were: KC Monnie Choreographer; Rachel Wiegardt-Egel Dramaturg; Leia S. Crawford Production Stage Manager; Matt Shakman Artistic Director; Gill Cates Jr. Executive Director; and Behnaz Ataee CFO.  I always make a point to credit the COVID-19 Compliance Manager, Phil Gold, without whose work the theatre would not happen.

Trayf continues at the Geffen Playhouse through April 10. Tickets are available through the Geffen; discount tickets may be available through Goldstar.

❧

Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member (modulo the COVID break). 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 (or I’ll make a donation to the theatre, in lieu of payment). I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at Actors Co-op (FB), 5 Star Theatricals (FB), Broadway in Hollywood (FB), the Ahmanson Theatre (FB), and we have a membership at The Pasadena Playhouse (FB). We were subscribing at the Musical Theatre Guild (FB) prior to COVID; they have not yet resumed productions. We have also been subscribers at the Soraya/VPAC (FB), although we are waiting a year before we pick that up again. 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. Note to publicists or producers reading this: here’s my policy on taking comp tickets. Bottom-Line: Only for things of nominal value, like Fringe.

Upcoming Shows:

For right now, we’re pretty much sticking with shows that come as part of our subscriptions or are of interest through our memberships. That may change later in 2022. As for the remainder of the first half of 2022: We have no more theatre in March. April brings Ann at The Pasadena Playhouse (FB), the Southern California Renaissance Faire; and Tootsie at Broadway in Hollywood (FB). May brings Hadestown at at the Ahmanson Theatre (FB). June will see Come From Away at the Ahmanson Theatre (FB) and Pretty Woman at Broadway in Hollywood (FB), as well as Tom Paxon at McCabes plus as much of the Hollywood Fringe Festival as we have the energy for.

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Footlights, as well as productions I see on Goldstar, On Stage 411 or that are sent to me by publicists or the venues themselves. 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 (although I know it is outdated and need to update it). Want to learn about all the great theatre in Southern California? Read my post on how Los Angeles (and its environs) is the best area for theatre in the Country (again, I need to review this for the post-COVID theatre landscape)!

This entry was originally posted on Observations Along the Road as 🎭 What You Find in Community | "Trayf" @ Geffen Playhouse by cahwyguy. Although you can comment on DW, please make comments on original post at the Wordpress blog using the link to the left. You can sign in with your LJ, DW, FB, or a myriad of other accounts. Note: Subsequent changes made to the post on the blog are not propagated by the SNAP Crossposter; please visit the original post to see the latest version. P.S.: If you see share buttons above, note that they do not work outside of the Wordpress blog.

The last few times I’ve gone to the theatre it’s been strange. Either I went without my usual theatre companion, because she was in the hospital, or I had to navigate handicapped access at the theatre. This is because my wife (my regular theatre companion) fell in mid-November, and after a few weeks in the hospital, has been in a wheelchair ever since. She just got the clearance last Thursday to start putting weight on the leg; she won’t be walking normally for a while. This has put me in the position of being her caretaker, on top of my normal work and volunteer activities. It also means I’ve doing everything around the house. It’s exhausting.

Why do I mention all this in a theatre writeup? Last night, we saw a show at yet another of our subscription venues that is coming back to life. This time it was our intimate theatre subscription at  Actors Co-op (FB), which is on the grounds of First Presbyterian Church of Hollywood. The show was the show that was just about to go on when the world shut down: Marvin’s Room,  written by Scott McPherson, directed by Thomas James O’Leary. I’m not sure I would have gotten it then. I get it now (after a bit of thought).

This is because Marvin’s Room is, at its heart, about caregivers.  In one corner we have Bessie (Francesca Casale), who has given up her life for the last 20 years to take care of her father, Marvin, and her Aunt Ruth (Crystal Yvonne Jackson). Marvin has been living with a number of medical complications: diabetes, a stroke, and much more. Ruth is in better shape, but has been dealing with constant pain and dementia. In the other corner we have Bessie’s estranged sister, Lee (Tara Battani). Lee is also a caretaker, but in the other direction: she’s taking care of her two sons: Hank (Dean Hermansen) and Charlie (Marek Meyers). Lee also has her hands full: Hank is in a mental institution after setting their house on fire, and Charlie (who looks up to his brother) has retreated into books.

Normally, the worlds of these two related caretakers would not collide: one is in Florida; the other has retreated to Ohio. However, there arises the age-old question: who takes care of the caretaker? In this case (and the precipitating incident for the play) is Bessie being diagnosed with Leukemia. She needs a blood marrow transplant, and who better than her sister and her family. When these groups are brought together, we see the different ways that the sisters have dealt with their caregiving: Bessie does it through patience and love; Lee does it through anger and drowning her sorrows. The problem is that approaches that work for one doesn’t work for all. It turns out that Bessie has the approach that can get through to Hank. Through that approach, we see the sisters come together.

On the surface, play is loaded with jokes,  and quite a few of the characters — in particular Aunt Ruth and the supporting characters Doctor Wally (Brian Habicht) and Doctor Charlotte / Retirement Home Director (Kimi Walker) — are played more as caricatures for the broad humor. The jokes keep the level of entertainment up. But it is the characters that sustain it. Figuring out the point of the story was a bit harder. As I left, I was unsure what the story was about or what the point was. But I let it cogitate in my head — I did my headlines post and updated the highway pages — and as I reread the synopsis it came to me.

There are two key messages in this play. The first is about approaches to caretaking. One can approach it with humor and patience, taking things one day at a time. This was Bessie’s approach (and in many ways, the approach I take). But it is tiring, and it takes something out of you. Lee had a different approach. Hard, pushing those in her care away. She didn’t want to deal with the problems. For her, the answer was in letter her guard down, and seeing those in her care (and who cared about her) as people.

The second message in the play was about who takes care of the caretaker. This is a joke I’ve had with my wife: can you finally get well so I can get sick? A big fear of a caretaker is who will take care of your charges and responsibilities if you get sick. Both Bessie and Lee had this issue. Bessie was worried about the older generation, and she wanted to retain the control (eschewing a retirement home). Lee was worried, but in a different way. You got the sense that Lee’s life was defined by the care she was given, even if she was angry about it. She was scared more of being alone.

These came together in the moment when the two sisters put down their guard and actually talked to, as opposed to at, each other. I think in that moment, they saw each other. That different form of care is what elevated this play.

We’ve had two plus years of taking care of each other, and we’re tired. We’re worried what will happen to us if we aren’t there to take care of those we love. Perhaps the delay in the presentation of Marvin’s Room made the presentation more timely than the Actors Co-Op team knew when they made the selection.

I still, however, want to see what would have been the remaining play in their season, the musical A Man of No Importance.  Maybe it will be in the 2022-2023 season.

The performances in the production were strong. I’ve listed most of the cast above. I particularly liked the performances of Francesca Casale, who really brought Bessie to live, and Dean Hermansen, who captured both the anger and the depth of Hank.

Rounding out the cast was Justin Bowles Marvin/Bob.

The scenic design of Nicholas Acciani (with additional work by David Atkinson and Jeff McGrail) established the location well; Avery Reagan lighting established the mood well (additional lighting help by Martha Carter). The costumes of E. B. Brooks (assisted by Annie Szeliski) established the characters well. Rounding out the production team were: David B. Marling Sound Design; Lori Berg Property Design; Dylan Price Original Music; Kassy Menke Stage Manager; Mia Cotton Asst. Stage Manager; Emmett Lee Merritt Asst. Stage Manager; Nora Feldman Publicist; Carly Lopez 2020 Producer; Crystal Yvonne Jackson 2022 Producer.

A few additional caregiving notes: The support from Actors Co-Op for the handicapped access was great. A bit weaker was their COVID protocols: they did require vaccinations 👍🏼 and masks 👍🏼, but also accepted proof of negative testing 🤷‍♂️ and a statement of acquired immunity 👎🏼. I’m lukewarm on that last one, but I understand their audience and luckily the numbers are going down. They did have an announcement about keeping masks on, but did not check ID/vaccination status trusting people on their word. In a theatre crowd, that’s likely OK… but I would have been more comfortable if they had checked. Hopefully, they can get a checking protocol in place for future performances. The program does not credit a COVID compliance officer or COVID coordinator — that could be part of the problem 🤔.

Marvin’s Room continues at Actors Co-Op through March 27. Tickets are available through Actors Co-Op. Discount tickets may be available through Goldstar.

❧

Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member (modulo the COVID break). 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 (or I’ll make a donation to the theatre, in lieu of payment). I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at Actors Co-op (FB), 5 Star Theatricals (FB), Broadway in Hollywood (FB), the Ahmanson Theatre (FB), and we have a membership at The Pasadena Playhouse (FB). We were subscribing at the Musical Theatre Guild (FB) prior to COVID; they have not yet resumed productions. We have also been subscribers at the Soraya/VPAC (FB), although we are waiting a year before we pick that up again. 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. Note to publicists or producers reading this: here’s my policy on taking comp tickets. Bottom-Line: Only for things of nominal value, like Fringe.

Upcoming Shows:

For right now, we’re pretty much sticking with shows that come as part of our subscriptions or are of interest through our memberships. That may change later in 2022. As for the remainder of the first half of 2022: March brings The Lehman Trilogy at the Ahmanson Theatre (FB), Trayf at the Geffen Playhouse (with the TAS Live Theatre group). April brings Ann at The Pasadena Playhouse (FB), the Southern California Renaissance Faire; and Tootsie at Broadway in Hollywood (FB). May brings Hadestown at at the Ahmanson Theatre (FB). June will see Come From Away at the Ahmanson Theatre (FB) and Pretty Woman at Broadway in Hollywood (FB), plus as much of the Hollywood Fringe Festival as we have the energy for.

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Footlights, as well as productions I see on Goldstar, On Stage 411 or that are sent to me by publicists or the venues themselves. 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 (although I know it is outdated and need to update it). Want to learn about all the great theatre in Southern California? Read my post on how Los Angeles (and its environs) is the best area for theatre in the Country (again, I need to review this for the post-COVID theatre landscape)!

This entry was originally posted on Observations Along the Road as 🎭 Who Cares for the Caretaker? | "Marvin's Room" @ Actors Co-Op by cahwyguy. Although you can comment on DW, please make comments on original post at the Wordpress blog using the link to the left. You can sign in with your LJ, DW, FB, or a myriad of other accounts. Note: Subsequent changes made to the post on the blog are not propagated by the SNAP Crossposter; please visit the original post to see the latest version. P.S.: If you see share buttons above, note that they do not work outside of the Wordpress blog.

Men dressing as women on the theatrical stage. Originally, it wasn’t funny at all. Only men could be actors, so women’s parts were were simply played, seriously, by men. But eventually that theatrical contrivance went by the wayside, and men dressing as women became a focal point for humor. The prime example of that which comes to mind is the musical Sugar, based on the movie Some Like It Hot. But there are numerous other cases, from plays like Charley’s Aunt, to the drag sequences in shows currently on the state such as My Fair Lady or even the newer musicals Tootsie and Mrs Doubtfire. These are all men dressing as women in order to get laughs. But where it might have been funny in the past when mores were a bit different, today it isn’t funny. I’ll repeat for the producers in the back: men dressing as women just to bring on the funny is not funny.

But in 1983, a new musical hit the stage: La Cage Aux Folles (based on the 1973 play). It showcased two men as leads, and featured a man dressing as a women as an alter-ego. Za Za: what we now know as drag performance thanks to the queen extraordinaire, Ru Paul. Although this musical (penned by a gay man) did play on the men-dressing-as-woman schtick, it also introduced an anthem that resonates to this day:

I am what I am
I am my own special creation.
So come take a look,
Give me the hook or the ovation.
It’s my world that I want to take a little pride in,
My world, and it’s not a place I have to hide in.
Life’s not worth a damn,
‘Til you can say, “Hey world, I am what I am.”

I am what I am,
I don’t want praise, I don’t want pity.
I bang my own drum,
Some think it’s noise, I think it’s pretty.
And so what, if I love each feather and each spangle,
Why not try to see things from a diff’rent angle?
Your life is a sham ’til you can shout out loud
I am what I am!

I am what I am
And what I am needs no excuses.
I deal my own deck
Sometimes the ace, sometimes the deuces.
There’s one life, and there’s no return and no deposit;
One life, so it’s time to open up your closet.
Life’s not worth a damn ’til you can say,
“Hey world, I am what I am!”

The anthem of “Be who you are, be true to yourself” is a theme that echoes throughout modern musicals, from stories like Billy Elliot to Kinky Boots to The Prom. This is also an anthem that also is echoed in the show we saw yesterday afternoon at  the Ahmanson Theatre (FB): Everyone’s Talking About Jamie.

As a digression: There is also one more branch to the man dressing as woman theme: True trans- and queer characters. These are much harder to treat realistically on the stage, but it has been done. Arguably, Hedwig and the Angry Inch (with a genderqueer lead) is in that canon, as are the secondary characters in Head Over Heels, which we saw recently at the Pasadena Playhouse. Also notable are some of the characters in Bring It On — The Musical, although the gay/queer friend stereotype is a bit problematic. There should be a Bechdel Test equivalent for gay sidekick characters. But I digress from the digression…

Everyone’s Talking About Jamie is based on a documentary film about Jamie Campbell on the BBC called Jamie: Drag Queen at 16. Jamie, who came out at a young age, lived in a lower-to-middle class town in England wanted to attend his prom … dressed as a girl. As with Billy Elliot, he battled the entrenched bigotry in the town but eventually won. Unsurprisingly, the one review of the LA production I read characterized the production as Kinky Boots and Billy Elliot put through a blender. The British producers of the show saw the documentary, and saw a musical in it. The result was Everyone’s Talking About Jamie, which became a production on London’s West End, and then subsequently did a UK tour and it making its American debut at the Ahmanson.  The show features music, book, and lyrics by Dan Gillespie Sells Music and Orchestrations and Tom Macrae Book and Lyrics, based on an idea by Jonathan Butterell Director and Co-Writer, inspired by aformentioned Firecracker documentary. The musical was also filmed and is available on Amazon Prime, for those that can’t make it to LA.

So what is the story in Jamie. A lot of it is establishing the situation. Jamie is in Year 11 (US equivalent: 12th grade), and in a career assignment class. He wants to be a drag queen, but his teacher dismisses the idea and shows that his testing predicts he’ll be a forklift driver. Others in the class get similarly dismal prospects. It is in this setting that we meet the rest of the class, including his best friend, Pritti Pasha. Pritti, who excels at maths and wants to be a doctor, is told she’ll only be a secretary. Her path, in many ways, is “B” story that echoes the main journey of Jamie.

Another digression: Notable in this show is a reasonable portrayal of Muslim character in the form of his classmates, Pritti Pasha and Fatimah. The production shows them as realistic people who are just like other teens within their religious confines (as opposed to stereotypes). It also shows the hatred they face and have to battle in the real world.

The establishment of the story continues as we meet Jamie’s mom, Margaret and her best friend Ray. They are encouraging Jamie to live his dreams, and even get him red high heel shoes to wear. We also learn that his father wants nothing to do with him, but his mum is hiding that from him. We see Jamie decide that he wants to bring the drag side of his persona out, encouraged by Pritti. He goes to a drag shop to buy a dress, and meets a former drag queen, Hugo (who was previously the famous Loco Chanelle). Hugo gets Jamie his first dress, and arranges a drag show for Jamie. Encourage, Jamie invites his school. You can guess what happens.

Most of his friend are supportive, but there are those who aren’t The second act of the show deals with this, and the importance of finding and being true to yourself. It has some of the strongest ballads in the show, including “It Means Beautiful” and “He’s My Boy”. The ending, of course, is predetermined: Jamie eventually goes to the prom, in a dress, and finds his drag self.

Prior to the show, I had gotten the album of the West End production, and liked the music. I didn’t, however, know the story. Having now seen the production, a few observations. I’ll note that we weren’t sitting in our usual vantage point: we were off on the side in the handicapped seating (due to my wife’s recent injury). More on that in a minute.

First, the negatives. This is very much a West End production, with heavy accents, fast speech, and UK-specific terminology. This gets lost on the American audience, even with a QR code pointer that doesn’t work to explain the slang. It was made worse by being in the handicapped seats: the crispness of the lyrics and words at that location wasn’t to usual Ahmanson standards. There was a similar problem with the audio of the orchestra — for a while, I thought the orchestra might be pre-recorded, but a list of musicians in the program indicated that wasn’t the case. They were revealed to be on-stage at the end of the show, so it was just poor amplification or our location.

Now, the positives. There were some very strong performances, which I’ll get to as I talk about the actors. I did like the overall message of the show, and I also really enjoyed the secondary characters — perhaps even more so than the main character. The character of Margaret New, Jamie’s mom, was a realistic presentation of a mom that wanted everything for her son, despite the flaws and the difficulties. Her anthem in the second act, “He’s My Boy”, stole the show. Also remarkable was the character of Pritti. It was nice to see a stage portrayal that normalized the Muslim faith and showed the similarities instead of emphasizing the differences. Far too often in America we are presented with the image that the only acceptable faith to have strong religious practices is Christianity; faithful adherents of non-Christian faiths are often played stereotypically. I see this far too often with Jews on stage — ask yourself the last time you saw an Orthodox Jew portrayed as a real person. Pritti was a real teen: she had aspirations, she had desires, but she also was fine living within her faith boundaries. This was made clear both when she indicated she was wearing the hijab not because religion told her to, but because she wanted to. It was her. She also didn’t treat being called a virgin as an insult: she was proud of who she was. It was her character that gave Jamie’s character the strength to be true to himself. As such, both Margaret and Pritti really stole the show.

Another remarkable character was Hugo (Loco Chanelle). He provided the essential difference between drag and trans (which clearly a large number of people do not understand). He made clear that drag is putting on a persona — an alter-ego as a way to truly express a character. It isn’t trans (where your brain sees you as a different gender than your body), nor is it cross dressing (where you aren’t becoming a different persona — you’re yourself, but just enjoying to wear opposite gender clothing). Hugo, in his own way, encouraged Jamie to find his true voice.

The other characters — his school mates, the other drag queens — were drawn much more superficially. They had just the characteristics needed to move the story (Dean – bigotry and bullying; Miss Hedge — administrative rigidity; his dad — rejection) but not much more.

The main secondary characters, however, emphasize that the real story in Jamie wasn’t Jamie’s journey. Yes, he was the main character … but for all the effort, you never see his drag persona on stage. Only glimpses. But where you see the real acceptance of themselves is in Hugo, Margaret, and Pritti. It is their journey that fleshes out this story and makes it something that everyone can see themselves it. It isn’t just drag queens, gays, and trans-folk that need to be true to yourself despite what the world is telling you to be. That’s the message here.

So would I recommend this. If you’re in Los Angeles and are up to being in a large indoor theatre for 3 hours, yes. The theatre was perhaps half full, and companies cannot come back without full audiences. We need to demonstrate that theatre is safe. So wear your N95 mask, get your vaccine and booster shot (which will be required), and go to the theatre. But if you can’t: watch this on Amazon Prime.

One last night, before I go to the individuals: 👏🏼👏🏼👏🏼👏🏼 Kudos to the Ahmanson Theatre for their handicapped services. My wife is temporarily in a wheelchair due to a fall, and is non-weight bearing on her leg until at least March. The Ahmanson made it easy. She called ahead of time, and I had already arranged for wheelchair accessible box seats (in the balcony, vs. the mezzanine, but one does what one can with the seats available). CTG had someone meet us at valet parking (which was only $9). They helped her get to our seats and run the vaccine proof gauntlet. They were there with her walker to help her to the restroom. They helped us back to the car. They made this easy.

So let’s turn to the individual performances:

In the lead position was Layton Williams Jamie New. Williams captured Jamie well and moved well. Whether he was believable as his drag persona Mimi is unknown, as we never really see him as Mimi. But he sang beautifully and seemed to be having quite a bit of fun with the role.

My favorite two performers, if you haven’t figured it out by now, were Melissa Jacques Margaret New and Hiba Elchikhe Pritti Pasha. Jacques just brought down the house with her number “He’s My Boy” as well as “If I Met Myself Again”. Elchikhe’s “It Means Beautiful” was haunting. I thought both performances were strong.

The other strong back character was a dual role by a single actor: Roy Haylock Hugo  and his alter ego, Bianca Del Rio Loco Chanelle.  We really get to know more about Hugo than we do Del Rio — we just see her briefly as near the drag show. But Haylock brings a reality to Hugo that allows you to see what drag is: an escape from a harsh world, a world where the glitter and the glamour allows one to become something better, something more. That’s an amazing transformation to see. Haylock does a wonderful job in “The Legend of Loco Chanelle”

Among the tertiary characters, there are few standouts. Shabna Gulati Ray provides some good comic moments as Margaret’s best friend; similarly, the three drag queens Leon Craig Sandra Bollock, James Gillan Tray Sophisticay, and David O’Reilly Laika Virgin provide comic relief as they give advice to Jamie. George Sampson Dean Paxton and Cameron Johnson Jamie’s Dad are the catalysts for the conflict: the former as the bully who hates gays, drag queens, and foreigners; the latter as a father who is disappointed in what his son turned out to be. The last standout was Gillian Ford Miss Hedge, who portrayed the inflexible schoolteacher and administrator who didn’t believe in Jamie or his right to be himself in this town.  Rounding out the cast were Richard Appiah-Sarpong Cy; Zion Battles Levi; Kazmin Borrer Vicki; Ryan Hughes Mickey; Jodie Knight Fatimah; Harriet Payne Bex; Talia Palamathanan Becca; and Adam Taylor Sayid. Swings (who are vitally important in these days of COVID) are: Rachel Seirian, Simeon Beckett, and Emma Robotham-Hunt. Adam Taylor was the understudy for Jamie.

Wow. That’s the first time I’ve done an actor list without a single reference to AboutTheArtists. This is a 100% imported cast.

Less imported was the on-stage but hidden band (🌴 indicates local; 👑 indicates UK): 👑 Theo Jamieson Musical Supervisor /Director; 👑 Gareth Lieske (FB) Guitars and Cover MD; Dan Hall Bass Guitar and Bass Synth; 🌴 Keith Fiddmont Tenor Sax; 🌴 James Ford III Trumpet, Flugelhorn, Piccolo; 👑 Ali Van Ryne Drums; 👑 Matthew West Percussion. Rounding out the music department was: Dan Gillespie Sells Music and Orchestrations; 🌴 Robert Payne Contractor.

Turning to the production and design team. The production was directed by Jonathan Butterell and choreographed by Katie Prince. Supporting them were Cameron Johnson Resident Director; Simeon Beckett Dance Captain; and Emma Robotham-Hunt Asst. Dance Captain. The direction was good in that the characters were believable as who they were. The dances were strong but not particularly memorable.

The design was interesting. There were three major set pieces: a collection of desks that could be moved around and lighted, almost reminding me of the set of A Christmas Carol; a piece that opened up to provide the New’s apartment (which seemed remarkably easy to move), and a back piece that used projects to provide place –which worked so-so, as the coloring (or should I say colouring) often swallowed the projections. This was all designed by the team of: Anna Fleischle Designer; Lucy Carter Lighting Designer; Luke Halls Video Designer; and executed by Patrick Molony Production Manager. The sound design by Paul Groothuis was generally good, but could use a bit more oomph in the crispness department. Rounding out the production team was: Will Burton CDG Casting Director; Maggie Swing US Production Stage Manager. I’m not listing producers or the tour info. I do, however, give credit to the COVID teamwhich is not enumerated for the tour. On the CTG side, this is Niki Armato Facilities Assistant / COVID Compliance Officer; and a large team of supporting COVID compliance officers: Chase Anderson-Shaw, Monica Greene, Dean Grosbard, Henry Kelly, and Denise Reynoso.

Everyone’s Talking About Jamie continues at the Ahmanson Theatre (FB), COVID permitting, until February 20. Tickets are available through the CTG website. Discount tickets may be available through Goldstar or TodayTix.

❧

Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member (modulo the COVID break). 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 (or I’ll make a donation to the theatre, in lieu of payment). I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at Actors Co-op (FB), 5 Star Theatricals (FB), Broadway in Hollywood (FB), the Ahmanson Theatre (FB), and we have a membership at The Pasadena Playhouse (FB). We were subscribing at the Musical Theatre Guild (FB) prior to COVID; they have not yet resumed productions. We have also been subscribers at the Soraya/VPAC (FB), although we are waiting a year before we pick that up again. 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. Note to publicists or producers reading this: here’s my policy on taking comp tickets. Bottom-Line: Only for things of nominal value, like Fringe.

Upcoming Shows:

For right now, we’re pretty much sticking with shows that come as part of our subscriptions or are of interest through our memberships. That may change later in 2022. Looking at the first half of 2022: February brings Something Rotten at 5 Star Theatricals (FB) and Marvin’s Room at Actors Co-op (FB). March brings The Lehman Trilogy at the Ahmanson Theatre (FB), Trayf at the Geffen Playhouse (with the TAS Live Theatre group); and Ann at The Pasadena Playhouse (FB). April brings the Southern California Renaissance Faire; and Tootsie at Broadway in Hollywood (FB). May brings Hadestown at at the Ahmanson Theatre (FB). June will see Come From Away at the Ahmanson Theatre (FB) and Pretty Woman at Broadway in Hollywood (FB), plus as much of the Hollywood Fringe Festival as we have the energy for.

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Footlights, as well as productions I see on Goldstar, On Stage 411 or that are sent to me by publicists or the venues themselves. 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 (although I know it is outdated and need to update it). Want to learn about all the great theatre in Southern California? Read my post on how Los Angeles (and its environs) is the best area for theatre in the Country (again, I need to review this for the post-COVID theatre landscape)!

This entry was originally posted on Observations Along the Road as 🎭 I Am What I Am, I Am My Own Special Creation | Everybody's Talking About Jamie @ Ahmanson by cahwyguy. Although you can comment on DW, please make comments on original post at the Wordpress blog using the link to the left. You can sign in with your LJ, DW, FB, or a myriad of other accounts. Note: Subsequent changes made to the post on the blog are not propagated by the SNAP Crossposter; please visit the original post to see the latest version. P.S.: If you see share buttons above, note that they do not work outside of the Wordpress blog.