I'm on a Break

**

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

~Shephard

Billy Elliot

January 24th, 2009

Victoria Palace, London

Musical

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

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

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

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

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

As the song goes:

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

A Chorus Line

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

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

The touring cast is full of great dancers and actors.

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

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

Flora the Red Menace

May 16th, 2008

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




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


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

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



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



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



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



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




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

Out of This World

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

(Damon Kirsche, Terri Bibb)

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

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

(Eileen Barnett and Marsha Kramer)

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

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

(Richard Israel and a Bevy of Beauties)

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

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

My Fair Lady

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

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

(photo: Michael Le Poer Trench)

(photo: Joan Marcus)

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

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

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

An enjoyable production.

Cry Baby

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

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

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

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

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

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

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

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

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

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

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

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

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

Young Frankenstein

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

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

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

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

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

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

South Pacfic

(zoom in to appreciate this painting)

April 5th, 2008
Vivian Beaumont Theatre, Broadway
Musical

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

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

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

Laura Linney was in the audience with us.

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

Sweeney Todd

March 23rd, 2008
Ahmanson Theatre, Los Angeles
Musical


Starring Judy Kaye and David Hess.

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

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

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

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

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

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



photos from the program: David Allen Studio dot com.

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

.
.

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

Starring (and written by) Joan Rivers

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

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

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

The Paris Letter

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

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

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

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

(Ron Rifkin, John Glover)

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



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

Li'l Abner

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

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

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

(Fred Willard, Jamie Luner and Eric Martsolf)

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

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

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

As Much As You Can

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

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

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

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

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

~S

The History Boys

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

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

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


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

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

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

Little Fish

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

Written by Michael John LaChuisa (Wild Party)

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

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

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

Damn Yankees

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


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


Once again, Reprise! delivers.

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

(Ty Taylor, Jackee Harry and Lillias White)

(Ty Tyalor and Meg Gillentine)

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

(Cleavant Derricks as The Devil)

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

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


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

The Quality of Life

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

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

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

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


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

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

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

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

~S

Third

(zoom in)

October 14, 2007
Geffen Playhouse, Westwood
Play

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

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


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


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

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

~S

Skinner/Ripley: Live at The Pantages

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

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

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

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

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

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

~S

Rufus Wainwright Sings Judy at The Bowl

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

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

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


(singing "Somewhere Over the Rainbow")

Another wonderful evening at The Hollywood Bowl.

~S

(photos copyright ME)

CHESS

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

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


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

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

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

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

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

Celine Dion: A New Day

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

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

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

Legally Blonde

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

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

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

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

Xanadu on Broadway

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

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

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

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

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

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