Sunday, November 15, 2009
Laguna Playhouse Welcomes Winter Wonderettes
Just in time for the holidays, Bets Malone, Misty Cotton, Julie Dixon Jackson and Susannah Hall will star in the Laguna Playhouse production of Winter Wonderettes, written and directed by Roger Bean. Previews for the show are November 24-27 with opening night November 29. The run will continue through December 30, 2009.
Set six months after the end of The Marvelous Wonderettes, this seasonal sequel finds the girls returning to their hometown for a Holiday celebration with their family and friends, complete with great Wonderette renditions of ‘60s holiday tunes.
Wonderette member Betty Jean is in charge of her company’s Christmas party, so naturally the Wonderettes are the logical choice for the entertainment. But when Santa turns up missing, the girls must use their talent and creative ingenuity, plus some great holiday tunes such as “Little Saint Nick” and “It’s a Marshmallow World,” to rectify their holiday party without the jolly big guy in red. The result is, of course, marvelous! This energetic and entertaining show is guaranteed to delight audiences of all ages.
Tickets are available now at www.lagunaplayhouse.com/.
Tickets are available now at www.lagunaplayhouse.com/.
posted by MusicalsInLA @ 
Thursday, November 12, 2009
Mark Taper Forum's Powerful PARADE
I’m so glad I had the chance to experience the Donmar Warehouse production of Parade at Center Theatre Group’s Mark Taper Forum last night. If you haven’t seen it yet, this is one show you really should see before it ends its run this weekend. It is a powerful production written by Alfred Uhry and Jason Robert Brown, directed and choreographed by Rob Ashford, with a cast led by T.R. Knight and Lara Pulver.
Much has been written about the Leo Frank Case. The tragic death of 13-year old factory worker, Mary Phagan, and the accusations that led to Frank’s conviction and eventual lynching are disturbing. The seduction of mob mentality, sensationalism of the press, fear instilled by the religious right, and the desire to lay blame at the most useful person’s doorstep to feed political aspirations is not so different in the world in which we live today. That in itself is disturbing.
T.R. Knight’s richly textured performance as Leo Frank is remarkable. The way a complex thought moves across his face, his body language, his complete commitment to his character is reason enough to see this show. The layers of his work reach deep and he is successful in portraying the humanity of a man who finds himself in an unimaginable situation.
Pulver recreates her London Donmar Warehouse role and beautifully embodies the spirit of the steadfast, determined Lucille Frank, proving that a woman’s inner strength knows no bounds where love is involved.
Talent runs deep throughout the cast, with Christian Hoff as prosecutor Hugh Dorsey, Michael Berresse as Governor Slaton, Charlotte d’Amboise as Mrs. Phagan and Sally Slaton, Davis Gaines as Judge Roan and the Old Soldier, P.J. Griffith as Tom Watson and many others.
Another amazing dual performance is David St. Louis as Newt Lee and Jim Conley. One character is as downtrodden as the other is corrupt and I had to keep reminding myself they were the same actor. In addition to his powerful presence onstage, he adds an element of danger and intensity to the message within the musical.
This is an important musical that says much about society’s flaws. Jason Robert Brown’s score rises and falls with a passionate frenzy – lyrical, beautiful, challenging. If you’re not sure what to feel, listen to the music and it will tell you.
Nothing is black and white in a situation like the Frank Case, and this was thoughtfully carried out in the set and costumes as well. Christopher Oram uses shades of brown and gray to play upon the subtext. Neil Austin’s lighting artfully creates a sense of time and space while evoking the tension of the period. All of the elements combine to make a theatrical experience that is not to be missed.
You only have until Sunday November 15 to get your tickets. www.centertheatregroup.com/.
Photos by Craig Schwartz
Sunday, November 8, 2009
Bonnie & Clyde Opens at La Jolla Playhouse
Stark Sands and Laura Osnes
La Jolla Playhouse begins preview performances November 10th for its world premiere of Bonnie & Clyde, the seductive and cinematic new musical which examines how a troubled Texas teen and a love-sick waitress became America’s most infamous couple, Depression-era outlaws Bonnie Parker and Clyde Barrow.
The creative team is made up of Frank Wildhorn (music), Don Black (lyrics) and Ivan Menchell (book), with direction and musical staging by Jeff Calhoun.
The cast features Tony Award-nominee Stark Sands (Journey’s End, Twelfth Night) as Clyde, Laura Osnes (South Pacific and Grease!) as Bonnie, two time Emmy Award-winner Mare Winningham (St. Elmo’s Fire, off-Broadway’s 10 Million Miles) as Emma, Melissa van der Schyff (Deaf West’s Big River) as Blanche, Wayne Duvall as Sheriff, Claybourne Elder as Buck, and Chris Peluso as Ted.
The ensemble includes Leslie Becker, Daniel Cooney and Michael Lanning, as well as San Diego actors Courtney Corey, Michael Covert, Victor Hernandez, Michael Mulligan, Carly Nykanen, Mike Sears and UC San Diego MFA student Jessica Watkins.
An industry reading of the show took place previously at The Roundabout Theatre Company in early February 2009. The reading was directed by Jeff Calhoun, with music direction by John McDaniel. The cast was led by Laura Osnes as Bonnie and Stark Sands as Clyde. They were joined by Rob Evan, Kelsey Fowler, Natalie Hill, Michael Lanning, David Larsen, Jacob Levine, Brynn O'Malley, Geoff Packard, Tricia Paoluccio, Jessica Phillips, Nancy Ringham, Bart Shatto, Marty Thomas, Ben Thompson, Tad Wilson and Betsy Wolfe.
The show will begin previews on November 10, officially open on November 22 and run through December 20 at the Playhouse's Mandell Weiss Theatre in La Jolla, California. Tickets to Bonnie & Clyde are available by calling 858-50-1010 or by visiting www.lajollaplayhouse.org/.
Tuesday, November 3, 2009
SEUSSICAL Cast Announced at CLOSBC
Civic Light Opera of South Bay Cities and Executive Producer James A. Blackman, III have announced that they will close out their 2009 season with the Broadway family musical SEUSSICAL by Lynn Ahrens and Stephen Flaherty, based on the works of Dr. Seuss. The musical will run December 2 – 20, 2009.
Leading the cast are Harrison White as The Cat in the Hat and Sam Zeller as Horton the Elephant, with Annie Ramsey as Gertrude McFuzz, Paula Chimene Jiles as Sour Kangaroo, Jessica Gisin as Mayzie LaBird, Gary Lee Reed as General Schmitz, Jason Wenn as Mayor Who, Janet Clark as Mrs. Who, John Lindahl & LJ Benet alternating as as JoJo and Sophia Viggiano & Kyrsti Chavez alternating as Baby Roo.
Stephanie Coltrin will direct the production, Heather Castillo choreographs and Gary Busby provides musical direction.
The story centers around Horton the Elephant’s endeavors to protect the people of Who-ville, who live on a tiny speck of dust, and features characters and scenarios from many of the Dr. Seuss books. Although Horton faces ridicule, danger, kidnapping and a trial, the intrepid Gertrude McFuzz never loses faith in him. Ultimately, the powers of friendship, loyalty, family and community are challenged and emerge triumphant in a story that will make you laugh and cry.
Tickets to SEUSSICAL are available by calling 310-372-4477 or online at http://www.civiclightopera.com/.
Friday, October 30, 2009
ICT's "Songs For a New World" Soars
Life is made up of millions upon millions of moments strung together. Some are ordinary, quietly passing before we even have a chance to notice. Others crash awkwardly into our path and demand attention whether we’re ready for them or not. And then there are the critical moments that require us to summon up our inner strength and become the larger part of who we are. These are the ones that chart our course and define us.
All of these are present in International City Theatre’s production of Jason Robert Brown’s Songs For a New World - moments of resignation, regret, fear, joy, courage, and ultimately hope. There is an elegance in this production, directed by Jules Aaron, choreographed by Allison Bibikoff and under the musical direction of Brent Crayon that complements the sophistication of Brown’s musical scenes.
The cast of four appears onstage throughout, always in some way connected to each other. They are a radiant Jennifer Shelton and powerful Anthony Manough (who has some of the most poignant moments in the show), Brent Schindele, (who especially shines in the angst-ridden “She Cries”) and humorous character woman Parnia Ayari.
Each of Brown’s songs is a self-contained “moment” of its own, effectively staged to invite the audience into the thoughts and feelings of the actors, and when they open up in glorious four-part harmony the effect is stunning. This is a contemporary, yet timeless piece full of weight and meaning.
John Lennon said, “Life is what happens while you’re busy making other plans.” Perhaps we would do well to remember that it's all about the present moment too. Life does have a way of moving on whether we're paying attention or not.
Songs For a New World runs through November 15 at Long Beach Performing Arts Center. Tickets are available at www.ictlongbeach.com/ or by calling 562 436-4610.
All of these are present in International City Theatre’s production of Jason Robert Brown’s Songs For a New World - moments of resignation, regret, fear, joy, courage, and ultimately hope. There is an elegance in this production, directed by Jules Aaron, choreographed by Allison Bibikoff and under the musical direction of Brent Crayon that complements the sophistication of Brown’s musical scenes.
The cast of four appears onstage throughout, always in some way connected to each other. They are a radiant Jennifer Shelton and powerful Anthony Manough (who has some of the most poignant moments in the show), Brent Schindele, (who especially shines in the angst-ridden “She Cries”) and humorous character woman Parnia Ayari.
Each of Brown’s songs is a self-contained “moment” of its own, effectively staged to invite the audience into the thoughts and feelings of the actors, and when they open up in glorious four-part harmony the effect is stunning. This is a contemporary, yet timeless piece full of weight and meaning.
John Lennon said, “Life is what happens while you’re busy making other plans.” Perhaps we would do well to remember that it's all about the present moment too. Life does have a way of moving on whether we're paying attention or not.
Songs For a New World runs through November 15 at Long Beach Performing Arts Center. Tickets are available at www.ictlongbeach.com/ or by calling 562 436-4610.
Monday, October 26, 2009
Paige Davis & Patrick Page Star in I Do! I Do!
Photo courtesy of The Old Globe.
The well-loved classic, by the creators of The Fantasticks, spans five decades in the life of a married couple – from the nervousness of their wedding day to the wisdom of old age. I Do! I Do! will run Dec. 11 - 20, 2009, opening on Saturday December 12.
The creative team of I Do! I Do! will be announced at a later date.
Tickets are available at www.theoldglobe.org/, by phone at (619) 23-GLOBE or by visiting the Box Office.
Friday, October 23, 2009
An Enchanting "Daddy Long Legs" for Rubicon Theatre
This is my kind of musical. I love beautiful music, characters that take me along with them on their journey of discovery, and a story that tugs at my heart. This enchanting world premiere musical at Rubicon Theatre contains all of that, and much more.
Writers Paul Gordon (music & lyrics) and John Caird (book) have transformed Jean Webster’s novel, Daddy Long Legs, into a heartwarming and poignant musical that tells the story of Jerusha Abbott, an 18 year old girl who has grown up at the John Grier Home for orphans.
When a trustee of the home reads an essay she has written and sees promise in her writing, he offers to send her to college to continue her education. His only requirements are that she must write him monthly letters, even though he will not write her back, and that she will never know his identity. She sees him once in the shadows and nicknames him “Daddy Long Legs.”
Beyond that, all she can do is imagine the rest of the details with a wit and fascination that make her wonder…is he old or is he very old? Is his hair black or white, thinning or balding? This is a girl you can’t help but fall in love with, especially when brought to life by Megan McGinnis. She has a voice like a nightingale and in this vivacious star-turn of a performance, she is magnificent. Her honest portrayal of the intelligent, self-determined young woman is inspiring and filled with layers of emotional depth.
The other half of this two person musical is Robert Adelman Hancock, who takes on the role of Jervis Pendleton, a.k.a. Daddy Long Legs. Becoming the benefactor to less fortunate students such as Jerusha is his attempt at soothing his guilty conscience over being born with a silver spoon in his mouth. The terms for his help have always been the same and he has never before become involved in the lives of those he has helped. This time, however, he finds himself accidentally, unwittingly and completely enthralled by Jerusha and her letters.
Hancock workshopped the role of Jervis in Daddy Longs Legs as part of Rubicon’s Plays-in-Progress development program and does a fine job of bringing him to life in this full production. His dashing good looks and warm lyric baritone voice make him a perfect complement to McGinnis’ spirited presence onstage. Through their eyes we witness the roller coaster of emotions that occur in a relationship between two people, whether it be friends, lovers, associates, or even between two people who have never really met.
Musical Director Laura Berquist leads a six-piece orchestra in Paul Gordon’s score full of beautiful melodies. Gordon was nominated for a Tony Award for Jane Eyre, directed by John Caird, and also wrote the musical Emma, (which I had seen at NAMT, and premiered at TheatreWorks in Palo Alto in 2007). Caird is best known for his London and Broadway creations of Les Misérables and Nicholas Nickleby, which won Tony and Olivier Awards.
Daddy Long Legs runs through November 8, 2009 at Rubicon Theatre in Ventura. Tickets are available at http://www.rubicontheatre.org/, or by calling the box office at 805-667-2900.
Whether Jerusha is thoughtfully pondering the secret of happiness or humorously observing the behavior of men, “they purr if you rub them the right way; they spit if you don’t,” you'll find yourself thinking about your own life in a way you may not have before. I say don’t miss this charming musical, sure to become a classic favorite.
Tuesday, October 20, 2009
MTG Casts Fade Out - Fade In
Musical Theatre Guild will feature the Comden and Green musical Fade Out – Fade In as the next musical in its 2009-2010 season.
It is directed by Lewis Wilkenfeld, with Dean Mora as musical director and Cheryl Baxter as choreographer and is produced for MTG by Karen Culliver and Pamela Hamill.
The cast for this production features Chuck Bergman, Jill Marie Burke, Dan Callaway, Christopher Carothers, Robin DeLano, Joe Hart, David Holmes, Damon Kirsche, Paul Keith, Michael Kostroff, Carol Kline, Beth Malone, Marsha Kramer, Jeffrey Polk and Jeffrey Todd.
Originally starring Carol Burnett as Hope Springfield, a chorus girl full of hope but not much talent, the show spoofs some of the great film stars of the 1930s, such as Shirley Temple and Bill “Bojangles” Robinson. This rarely produced musical was last seen in Los Angeles 25 years ago.
Fade Out – Fade In will play the Alex Theatre in Glendale Monday, November 9 at 7:30 pm. 818-243-ALEX for tickets or click http://bit.ly/29SYD8.
It will also play the Janet and Ray Scherr Forum Theatre at the Thousand Oaks Civic Arts Plaza Sunday, November 15 at 3:00 pm. 805-583-8700 for tickets or http://bit.ly/WPeqP.
There will also be an exclusive Broadway Babies© greeting card sale at these events.
Sunday, October 18, 2009
Bringing Jan Karon's "At Home in Mitford" to Life as a Musical
At Home in Mitford, a new musical based on the popular novel by Jan Karon, will receive a one night only concert reading October 26 at 7:30 pm. Its part of The Academy for New Musical Theatre’s reading series at The Colony Theatre in Burbank. Written by Cynthia Ferrell (book), Carl Johnson (music) and Chana Wise (lyrics), it tells the story of Father Tim, a cherished small-town rector, and the quirky group of people that live in the town of Mitford, NC. Elise Dewsberry directs and Darin Goulet is musical director.
Featured in the cast are David Holmes as Father Tim, Kelly Lester, Tess Ferrell, Elise Dewsberry and Jerry Martin, along with Evelyn Halus, Ellen Dostal, Johanna Kent, Christopher Maikish, Andrea Press, Ben Ryan, Stephen Vendette and Peter Welkin.
The show is adapted from the very popular and much loved Mitford series of books by writer Jan Karon and I was interested in hearing how Ferrell, Johnson and Wise developed the musical. Here’s what they had to say.
What inspired you to write a musical based on Jan Karon’s books? Were you already familiar with them?
Carl: Several years ago I had finished writing a commissioned musical based on John the Baptist and was trying to decide what to do for my next project. My priest at my church suggested I consider writing a musical based on the Mitford series of books. At that time I hadn’t read any of them, so he gave me a set of books-on-tape. I listened to them on a long drive, and found myself circling my destination until the book was over!
How did you approach Jan Karon with the idea?
Carl: On a whim, I contacted the book’s publisher to see if the musical theater rights to the book were available, and to my surprise they were. I asked Jan if anyone had ever tried to adapt her books for musical theater. She said that there was a non-musical stage adaptation, but that nobody had ever approached her about a musical. I think she was surprised by the idea, and agreed to let me have a year to try. We came back a year later on deadline and presented her with a completed show and a recording of a read-through. She liked the work and we incorporated her notes into the revised script, which we’ll be presenting in Burbank.
So she liked what you’d done with it?
Chana: Yes, Jan was very enthusiastic about the material we presented, and we were happy to get her approval. When Carl approached me with this project, I wondered what it would be like in terms of my capability of writing the thoughts and feelings of a Christian cleric (given that I'm Jewish). But Carl and I worked together previously on a short musical film called The Coffee Quintet that we shot earlier in the year and it was a great experience. Carl and Cynthia, along with lyricist Jeff Marx (Avenue Q), have also worked together writing a 15-minute musical called The Rightful Monarch of America so I knew we were in good hands all the way around. In the end, writing lyrics for this show was a very broadening and rewarding experience.
Cynthia, as the bookwriter, where did you come into the writing process?
Cynthia: The bookwriter goes to work first and is charged with pioneering the way. I started writing the Mitford musical book in May 2008, with Chana adding lyrics starting in late fall, and Carl adding music in December. My musical book created the character voices and the plot of each scene.
Has it been difficult writing the lives of characters that another author has created?
Cynthia: Jan’s Mitford series is massively popular, and it’s always a challenge meeting fans’ expectations for the characters they know and love. She is an enormously popular writer and this is her first foray into musical theatre. What plays on the page is different from what plays onstage. I like working with her characters, and I like working with her. Mostly I love when she reads my dialogue in her wonderful, warm North Carolinian accent
At Home in Mitford is about second chances for all – that’s it’s never too late to find true love, safety, peace, family. Jan’s bio mirrors that. She was in her teens when she had her only child, and divorced at age 20. She rose through the ranks to build a successful advertising career, but after much soul-searching, she abandoned it at age 50 to become a novelist. We’re lucky she did.
Tell us a little about the development process you went through.
Carl: We developed Mitford through the Academy for New Musical Theater’s writing curriculum. The advantage of this was that we had monthly deadlines, monthly feedback and a goal of doing a full reading at the end of the year. It was a very compressed schedule, but it kept the project from languishing, and allowed us to complete the first draft within the time Jan had given us.
Chana: Our concert reading in May was directed by Allison Bibikoff (Xanadu) and accompanied by Tom Griep. Some of the actors that were with us then are reprising their roles in the upcoming reading. That early reading was very helpful and allowed us to see where we needed to make changes.
For what audience is the musical geared?
Carl: Jan Karon’s books are sometimes thought of as Christian book market-oriented, but I think she sees her books as more about everyone’s life experiences. The mythical town of Mitford is a metaphor for Anytown U.S.A. The people and their relationships she writes about could be in any small town in America. I think that part of the appeal of her books is that almost anyone can find something to relate to in her characters and their lives
Chana: I see this as a very traditional type of musical. In contrast to some of the edgier musicals being done today, this is a musical you can safely bring your grandma to without worrying if she'll be offended by the language or the situation.
And the future of At Home in Mitford?
Carl: While we don’t know if the show will fit within the current trends on Broadway, we think this show will have broad appeal to family-oriented audiences in most other parts of the country.
At Home in Mitford will be presented at 7:30 pm on October 26 at The Colony Theatre, 555 N. Third Street in Burbank, CA. For reservations go to http://bit.ly/BWdcc.
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Carl Johnson is a two-time Emmy Award-winning film and television composer (Invasion America, Aladdin: the Animated Series), and has recorded his music with symphonies around the world, conducting in London, Canada, Japan, Los Angeles, Bulgaria, and the Czech Republic. His feature films include Piglet’™s Big Movie, Disney’™s Hunchback of Notre Dame II, and Winnie the Pooh™’s Grand Adventure. Carl has also composed over 60 hours of music for TV projects, including Animaniacs and Batman: the Animated Series for Warner Brothers, Gargoyles and The Mighty Ducks for Disney, and Invasion America and Toonsylvania for DreamWorks.
Chana Wise began writing irreverent parodies to popular show tunes when she was a little girl, and just really never stopped (although now she is occasionally reverent). Among her recent projects are lyrics for the ANMT mini-musical Ahead or Behind. She is currently working on two original new musicals; Bagels! with Carl Johnson, and Cuban Nights with Nic De Armendi and Jonathan Price.
Cynthia Lewis Ferrell works internationally as a librettist and playwright. She is the winner of the Jerome Lawrence Fellowship in playwriting and the Conquest Prize for her essay “Cries that Register.” With works developed via 24th Street Theatre, Moonlight Studios, Celebration Theater and Theatricum Botanicum, her recent staged pieces include Jerome Lawrence Festival winner Snapshoot, the musical and Tennessee Williams Festival finalist 3DB Inside. Latest award: Spektrum Villa Music’s 2009 commissioning of Angeleno with Peter Michael von der Nahmer (Germany). She is a member of ASCAP, ALAP and the Dramatists Guild, and is published by Doubleday NY.
Wednesday, October 14, 2009
Street Lights to Hit The Old Globe
The Old Globe has announced that it will produce the world premiere of Street Lights, a new musical by writer/composer Joe Drymala February 20 - 28, 2010. The musical chronicles a group of inner city teenagers who fight to save their high school music program from being shut down.Directed by Ryan J. Davis, Street Lights uses hip hop, R&B and pop to tell a timeless story in the musical language of today's youth, while creating a bridge to earlier generations by incorporating samples of classic civil rights anthems.
(l. to r.) Jim Stanek, Virginia Cavalier, Chad Carstarphen, Jay Garcia, Melissa Joyner, Claudeen Benoit in Street Lights at the 2009 New York Musical Theatre Festival. Photo: Karen Rusch
Street Lights is currently an official selection of the 2009 New York Musical Theatre Festival (NYMF) with showcase performances being held at American Theatre for Actors in New York City October 13 - 18. It is also part of the Globe’s ongoing Southeastern San Diego Residency Project.
While fighting to save their high school music program from being shut down, the teenagers of Street Lights discover the power of music to unite their community and bring new hope to the residents of their troubled neighborhood. The talented singer and songwriter Dominique, her academically gifted brother Rocky and their beat-making DJ friend X-Ray use organizing techniques pioneered during the civil rights movement to help rally the people around them. When Dominique begins to fall in love with Damon, a local drug dealer with a Robin Hood streak, she must choose between accepting the hard realities of the world she lives in or try to change her neighborhood for the better.
Joe Drymala is the primary composer and original book writer for the satirical musical White Noise, which received its premiere at the 2006 NYMF and which received a Summer Theater Award for Outstanding Score that year. White Noise was subsequently optioned for Broadway, and was recently mounted in New Orleans as a tryout for the Broadway production.
Director Ryan J. Davis conceived and directed the award-winning, Broadway-bound White Noise at the 2006 New York Musical Theatre Festival, and was featured on “Good Morning America” and “Primetime Live.” Other New York City projects include My Life on Craigslist and the annual “Broadway Beauty Pageant.” He recently directed Vote! the Musical at FringeNYC and My Broken Brain at Midtown International Theatre Festival.
Tickets for Street Lights are currently available to subscribers only. Single tickets go on sale Dec. 6 and can be purchased online at www.theoldglobe.org/, by phone at (619) 23-GLOBE or by visiting the Box Office.
Thursday, October 1, 2009
Casting Announced for MTW's Meet Me in St. Louis
Casting is complete for Musical Theatre West’s upcoming production of Meet Me in St. Louis, which runs October 30 - November 15, 2009 at the Carpenter Performing Arts Center in Long Beach. Richard Israel will direct, Lee Martino will choreograph and musical direction is by Daniel Thomas.
Cassie Silva and Jason Evans star as Esther Smith and boy next door John Truett in this classic musical based on the heartwarming movie starring Judy Garland. Playing Anna and Alonzo Smith are Mary Gordon Murray and Norman Large, Sarah Bermudez is Rose Smith, Grace Kaufman is Tootie Smith, and Robert Pieranunzi is Lon Smith. The cast also features Jeremy Bernard as Warren Sheffield, Kevin Cooney (Grandpa), Alexa Freeman (Agnes) and Cathy Newman (Katie).
The ensemble includes Andrew Ames, Seth Belliston, Courtney Evans, Stephanie Gerson, Zane Gerson, Karla Gilbert, Danny Moreno, Linda Neel, Allison Paraiso, Tiffany Reid, Katie Schaar, John J. Todd, Daniel Smith and Karl Warden.
Meet Me in St. Louis tells the story of four sisters living in St. Louis at the time of the 1904 World’s Fair. Perfect for the entire family, it includes the classic musical numbers, “The Boy Next Door”, “The Trolley Song”, “Have Yourself a Merry Little Christmas” and “Under the Bamboo Tree.”
For tickets and information visit www.musical.org/.
Guys & Dolls Cast Announced for Cabrillo Music Theatre
Cabrillo Music Theatre has announced the cast of its upcoming production Guys and Dolls, which will run October 16 – 25 in the Kavli Theatre at Thousand Oaks Civic Arts Plaza.
Jeff Griggs (Sky Masterson), Jessica Bernard (Sarah Brown), Barry Pearl (Nathan Detroit) and Alet Taylor (Miss Adelaide) will head the cast directed by Nick DeGruccio. Musical direction is by Darryl Archibald and choreography by Roger Castellano.
The cast also features Nova Safo, Mike McLean, Danny Blaylock, Ronald Rezac, Farley Cadena, Paul Zegler, Jay Weber and David Scales, along with Jebbel Arce, Marc Bastos, Paul Berry, Cory Bretsch, Johnny Cannizzaro, Heather Castillo, Josh Christoff, Andreas de Rond, Jeff Ditto, Jennifer Foster, Jantre Haskin, Kat Liz Kramer, Alida Michal, Sabrina Miller, Clay Stefanki, Erica Strong, Bobby Traversa and Estevan Valdes.
Special events for Guys and Dolls will include a post-performance discussion following the 2:00 pm show on October 17th. You can also hear Jeff Griggs and Jessica Bernard preview songs from the show at the West Hills Fest this Sunday, October 4 at 11:00 am. West Hills Center is located at 23233 Saticoy Avenue at the corner of Woodlake and Saticoy.
Tickets for Guys and Dolls are available through the box office at 805-449-ARTS, via Ticketmaster at 213-480-3232, or online at http://www.ticketmaster.com/.
For more information about Cabrillo Music Theatre go to http://www.cabrillomusictheatre.com/.
Wednesday, September 30, 2009
Sacred Fools is Savin' Up For Saturday Night
Set up another round of drinks bartender ‘cause every night is Saturday night at the Honky Tonk Bar and Fill, the scene for Savin’ Up For Saturday Night, the first show of the season at Sacred Fools Theater Company. Written by Jeff Goode (book) and Richard Levinson (music & lyrics), this world premiere musical more than delivers on its promise of a good time. Relationships are complicated everywhere and love in this small town is no exception.
Director Jeremy Aldridge has assembled a stellar cast, beginning with Brendan Hunt as Eldridge Junior Paisley, the headliner and owner of the bar. If ever there was a role Hunt was born to play, it’s this one. In his yellow stretch polyester outfit, Hunt sings up a storm, dances like a man possessed, and commits to his wacky character in a way that makes you love Eldridge no matter what his faults may be. After all, this is a man who slides down a pole from his dressing room to make an entrance and switches off the lights on his own sign when he storms out the door in frustration proclaiming, “The fun has left the building.” All you can do is shake your head and laugh.
Natascha Corrigan plays Eldridge’s ex-wife and singing partner Lucinda. Here’s a woman full of sass with a singing voice to die for, and a wise-cracking sex appeal that spins Eldridge around at every turn. Their stormy relationship still smolders with unresolved passion and allows for some great comic moments as each struggles to get the upper hand.
The third character mixed up in love is Doc, the bartender, played by Bryan Krasner. In true bartender fashion, Krasner keeps the place grounded with his everyman demeanor and down to earth advice. He’s the kind of man you can feel safe around and Krasner knows exactly what to do with him...now if Doc only knew what to do with Lucinda.
And finally there’s Patsy, played by the lovely Courtney DeCosky. Sweet, but a little slow on the uptake, she’s replaced Lucinda as the object of Eldridge’s affection and is about to get her big chance replacing her onstage as well. DeCosky’s got the pipes to prove she’s up to the task. Her rendition of “She Wanted To Be A Singer” is one of the best of the night.
Rounding out the cast are Rachel Howe as first-time waitress Sissy, and Dave Fraser as grease monkey/piano player Roddy. He’s one fifth of the terrific band led by musical director/guitarist John Groover McDuffie, along with Peter Freiberger on bass, John Palmer on drums and Al Bonhomme alternating on guitar. They’ll make you want to jump out on the dance floor and join in the fun…and if you’re lucky you just might get the chance.
Allison Bibicoff’s choreography adds a sparkling layer of authenticity to the show executed by some expert country western dancers like Rhonda Diamond and Don Baker, who hold three UCWDC World Championship titles in the Couples Diamond Showcase and Pro-am Showcase divisions. Along with them are Ceasar F. Barajas, Mike Kluck, Gregg Moon, Gina Tucci and Natasha Norman.
The production team, especially Dave Knutson (set designer) and Lisa Anne Nicolai (props) have done an exceptional job of transforming the theatre into the country western roadhouse. With Priscilla, the stuffed Jackalope, up on the wall and bottles of liquor and motor oil for sale nightly, this establishment is appropriately, and happily, more than a little frayed around the edges.
Don't miss the fun. Savin' Up For Saturday Night runs through October 24, 2009 at Sacred Fools Theater, 600 N. Heliotrope, Los Angeles, CA 90004. Tickets are available at http://www.sacredfools.org/.
Photos by Jason Charnick
Monday, September 28, 2009
Sally Spectre the Musical - A Myth in the Making
The show is an irreverent yet charming musical about the gruesome ghost of a little girl who sings and dances her way through a nightmare-laced purgatory. Along the way she gets a little guidance from an unlikely and unexpected host of sources. (And, yes, that is an axe you see lodged directly in her head.) How did it get there? Well, that's sure to be revealed somewhere in the story.
Sally is the brainchild of David P. Johnson, a writer/musician with a life-long fascination with stories – but not just any stories - his is a specific fascination with mythology and fable.
According to Johnson, what differentiates a myth from an ordinary story is that, “…mythology is actually a rudimentary form of science invented as an explanation for something. Imagine being in ancient Greece and looking up into the sky and seeing the sun go across it every day. Why does that happen? Well, there must be a giant guy with a huge chariot that’s dragging it across the sky. That’s a myth. It’s an effort to explain something that happens in nature, therefore the science.
A fable has a universal message that almost every culture can embrace, like the story of The Three Little Pigs. It teaches you not to be lazy. That lesson can be communicated in almost every culture, as opposed to something that is more regional like The Legend of Sleepy Hollow. If you live in Iran it doesn’t mean anything to you, but if you live in New York in the area in which it took place, it means a great deal more.
Few people have contributed to the world of mythology or fable in a very long time. The most recent modern storyteller would be Tim Burton, who has had a massive influence on me, as has Edward Gorey and Wes Anderson.
For example, Edward Scissorhands is a modern myth. The idea may be a little far-fetched but by the time you get to the end of the story, you have an explanation for where snow comes from. Edward is cutting ice sculptures so frantically that he creates snow that covers the town. I don’t know if it was intentional or not but Tim Burton basically wrote a myth.
It took me a long time to come up with the kernel of an idea that I developed into Sally Spectre the Musical. It’s about a little girl who has been dead for 50 years, dealing with a lot of adult situations and problems, but she still has the mind of a five year old child because that’s how old she was when she was killed.
Because it is a ghost story, there is an element of horror. Because it is a musical, there is an element of music. Since I am attempting to create something new in the world of fable, there is also a message.”
Rebecca Lane as Sally Spectre
The musical has expanded from its initial 40-minute draft to a full-length musical as part of Theatre West’s ongoing Writers Workshop, moderated by Doug Haverty and Christine DiGiovanni. From there it went on to win Grand Prize in the 2008 Eclectic Company Theatre’s Hurricane Season Playwriting Competition as the only musical out of 152 entries. It also received Honorable Mention in the 2008 Ellen Idelson Playwriting Awards, and was part of Theatre West’s West Fest before being slated for production in the current Theatre West season. Not bad for a year and a half’s worth of intense work.
The cast features Rebecca Lane in the title role, Roger Cruz, who appeared as Berger in the original Hair on Broadway, Matthew Hoffman, Adam Conger, Rob Monroe and Kerry Melachouris, along with Johnson.
Archimedes Keys on the ivories
Johnson moved to Los Angeles from Chicago at the age of seventeen with the dream of becoming the next Eddie Van Halen. Rock and roll was in its heyday on the Sunset Strip and the young pop rock musician was enamored, and a bit overwhelmed, by the LA music scene.
“The goal when I came out here was to be a pop or pop rock artist. I’d done a little bit of acting. I’d been a writer all my life, and almost instantaneously on my arrival in LA I looked at the hotbed of rock and roll and wondered how well I really fit into that world. I ended up working with a South Gate theatre group to recreate all the music for Godspell and immediately felt that this might be where I really belonged…in musical theatre. It took a long time to make that transition. I like to say I was the only rock and roll musician that had a subscription to Archaeology Magazine, loved Chicago Cubs Baseball, and would occasionally teeter off to see Broadway shows.
Developing Sally Spectre has been very satisfying. I love to put a new twist on an old story or take a brand new idea and fashion it into something no one has ever experienced before. I had a vision for Sally and I didn’t try to rush it. I took time with it and allowed it to develop. This musical has captured all of my passionate interests and combined them into one unique project. That’s why I’m so tremendously enthusiastic about the show. I feel like so much of my soul is actually in it.”
While billed as a children’s horror story for adults, Johnson describes the show as a family musical appropriate for children over the age of eight or nine. “It’s a very fun production. My hope is that the audience really enjoys the humor and yet ends up being touched by the message. I haven’t seen a dry eye in the previous eighteen performances of the show and since this is, in essence, a fable, it delivers a very universal message. The route I took to get the message across may be a little controversial, but the message itself is not.
It’s been a fabulous ride working with Theatre West on this musical. Executive Director John Gallogly, Storybook Theater Producer Lloyd J. Schwartz and the entire company have tremendously embraced me and my work and made this journey possible.
Sally Spectre the Musical opens October 16 and will run through November 29, 2009. Tickets are available by calling the box office at 323-851-7977 or online at http://www.theatrewest.org/.
Johnson added one final thought about the many influences on his work in musical theatre. “I can't forget Stephen Sondheim. Sondheim is God. He has had a huge impact on me. I guess you'd say to me, he’s the Eddie Van Halen of the musical theatre world.” Now that's something we haven't seen before.
Ellen Dostal
Musicals in LA
Friday, September 25, 2009
Jai Rodgriguez in Musical Theatre West's RENT
Musical Theatre West has announced that Jai Rodriguez, star of Bravo TV's "Queer Eye for the Straight Guy" has joined the cast line up for their production of Jonathan Larson’s Rent, in the role of Angel. Rent is directed by Nick DeGruccio and runs December 11-20, 2009 at the Richard and Karen Carpenter Center in Long Beach.
The complete cast will include Beau Hirshfield (Mark), P.J. Griffith (Roger), Sabrina Sloan (Mimi), Mel Robert (Tom Collins), Nicole Tillman (Joanne), Callie Carson (Maureen) and Andrew Johnson (Benny), along with Nick Lorenzini, Alex Alvarez, Michael Sky Moon, Jino Pereze Ray, Amber Mercomes, Valerie Rose Curiel and Anna Schnaitter.
Tickets are available now at
Photo Feature: The Old Globe's "Sammy" Hits the Stage
Obba Babatundé as Sammy Davis, Jr. with Jenelle
Engleson and Sarah Strimel. Photo by Craig Schwartz.
Engleson and Sarah Strimel. Photo by Craig Schwartz.
The world premiere of new musical Sammy has begun performances at The Old Globe in San Diego. Opening night is set for October 2 and the show will run through November 8.
Free post show forums with members of the cast will take place following the performance on Tuesday Oct. 6 & 27 and Wednesday Oct. 14. Don't miss this highly anticipated musical based on the life of the original song and dance man, Sammy Davis Jr. Tickets are available for all performances now at (619) 23-GLOBE [234-5623] or http://www.theoldglobe.org/.
Free post show forums with members of the cast will take place following the performance on Tuesday Oct. 6 & 27 and Wednesday Oct. 14. Don't miss this highly anticipated musical based on the life of the original song and dance man, Sammy Davis Jr. Tickets are available for all performances now at (619) 23-GLOBE [234-5623] or http://www.theoldglobe.org/.
Obba Babatundé.
Photo by Craig Schwartz.
Obba Babatundé as Sammy Davis, Jr. and
Heather Ayers as May Britt. Photo by Craig Schwartz.
Lance Roberts (Will Mastin), Ann Duquesnay
(Rosa Davis) and Ted Louis Levy (Sammy Davis, Sr.)
Photo by Craig Schwartz.
Obba Babatundé
Photo by Craig Schwartz.
From left: Troy Britton Johnson as Dean Martin,
Obba Babatundé as Sammy Davis, Jr. and Adam
James as Frank Sinatra. Photo by Craig Schwartz.
From left: Lance Roberts (Will Mastin), Obba Babatundé
(Sammy Davis, Jr.) and Ted Louis Levy (Sammy Davis, Sr.)
with the cast of Sammy. Photo by Craig Schwartz.
Obba Babatundé as Sammy Davis, Jr. (center) with
Ted Louis Levy as Sammy Davis, Sr. (left) and Lance
Roberts as Will Mastin (right). Photo by Craig Schwartz.
Saturday, September 19, 2009
Follow Your Dreams at Secret Rose Theatre
Original Artwork by Sergio Vasquez
Follow Your Dreams, a new play with music, is currently playing at the Secret Rose Theatre in North Hollywood. It tells the story of ten people brought together by their only point of connection – a telemarketing room where most are shilling a diet pill that may or may not actually work. Each has a secret and some are in search of the courage to follow a secret dream. The question is - who among them will actually reach their goal?
Book and lyrics are by Laurie Stevens and Ronald Jacobs and the show is directed by Stan Mazin and Chris Winfield.
Most enjoyable is Hector Hank who plays Richard, an ex-merchant marine conscious of his past mistakes, yet struggling with how to overcome his demons. His honest performance is filled with nuance and his storyline with Rebecca Jensen (Alicia) is a thought-provoking study. Your heart will go out to him.
Also enjoyable in a more comical turn is Lana Ford as June; a sweet middle-aged woman whose husband long ago stopped paying attention to her. Her friendship with Kamel Dickinson (Lil Pill), an aspiring hip-hop singer, allows for plenty of laughs and we find ourselves pulling for her with every decision she makes.
Making up the rest of the exuberant cast are Adreana Gonzales, Judy Ho, Lee Biolos, Dan Woren, Dennis Delsing and Sean McGee. As each explores their character’s desires in their own unique way, we alternately laugh with them or at them, depending upon the nature of their situation.
Ultimately, what is most interesting is what's left unspoken by the characters. The writers should continue to examine the relationships, grounding each one in a reality that acts as a foundation for the humor, as with Richard and June. As the words are allowed room to breathe, the characters’ stories will have even more meaning amid the frenetic pace of the show.
Follow Your Dreams runs through October 31st, 2009. Performances are at Secret Rose Theatre at 11246 Magnolia Blvd. in North Hollywood, CA 91601. Tickets are available at www.plays411.com/followyourdreams.
Friday, September 18, 2009
Sammy Sings and Dances into The Old Globe
The Old Globe in San Diego begins previews September 19 for the eagerly anticipated world premiere musical, Sammy, based on the life of one of the greatest entertainers of all time, Sammy Davis, Jr. Broadway veteran Obba Babatundé stars as the song and dance man.
The show has book, music and lyrics by Leslie Bricusse, and additional songs by Bricusse and Anthony Newley. It is directed by Keith Glover, with choreography by Keith Young and music supervision by Ian Fraser.
The ultimate triple-threat (singer, actor and dancer), Sammy defined an era. With a cast of sixteen of Broadway’s best singers and dancers, the musical takes us from Sammy’s life as a child working in vaudeville through his time with Dean and Frank as a member of the Rat Pack. Featuring the unmistakable classics that helped to make Sammy an icon - from hits like “The Candy Man,” “Mr. Bojangles” and “What Kind of Fool Am I” to new songs written just for this musical - Sammy shows us the struggles and triumphs of the man who was adored by millions.
In addition to Babatundé the cast includes Adam James as Frank Sinatra, Troy Britton Johnson as Dean Martin, Keewa Nurullah as Lola Falana, Perry Ojeda as Eddie Cantor, Mary Ann Hermansen as Kim Novak, Ann Duquesnay as Rosa Davis and Heather Ayers as May Britt. Also featured are Ted Louis Levy, Victoria Platt, Lance Roberts and Alonzo Saunders.
Ensemble includes Jenelle Engleson, Stephanie Girard, Lauren Haughton, and Anise Ritchie and Sarrah Strimel.
Opening night is October 2, 2009 and performances will run through November 8. Tickets are currently available at http://www.theoldglobe.org/.
Friday, September 11, 2009
It's Oklahoma! Time at CLOSBC
Civic Light Opera of South Bay Cities is readying its next show of the 2009 season, Rodgers & Hammerstein’s Oklahoma!, which will run September 16‐October 4, 2009 at the Redondo Beach Performing Arts Center. The award-winning production team features Stephanie Coltrin as director and Alby Potts as musical director, with Karen Nowicki choreographing.
The cast of national and regional musical theatre stars is led by Sarah Bermudez as Laurey, Damon Kirsche as Curly, Diane Vincent as Aunt Eller and Sam Zeller as Jud Fry. Annie Ramsey and Karl Warden are featured as Ado Annie and Will Parker, along with Nathan Holland (Ali Hakim) and Gary Lee Reed as (Andrew Carnes).
The ensemble includes: Jessica Bernard, Jeremy Bernar, Dane Biren, Brittany Blossom, Meki Michelle Blackwell, Leland Burnet, Craig Donnelly, Jasmine Ejan, Brad Fitzgerald, Corina Gill, Jessica Gisin, Juan Guille, Rhett Guter, Jenny Rose HobbsHutzler, Trevor Krahl, Barrie Linberg, William Loufik, Melissa Mitchell, Mike A. Motroni, Jo Patrick, Charles A. Pelletier, Tiffany Renee Reid, Karie Seasock.
Oklahoma! is the 3rd production of the 2009 season - the 18th season for the CLOSBC. The final production of this season is the holiday extravaganza Seussical The Musical in December.
For tickets and information please call the Civic Light Opera Box Office at 310-372-4477 or go to http://www.civiclightopera.com/.
Wednesday, September 9, 2009
Jeff Goode and Richard Levinson are "Savin' Up For Saturday Night"
Jeff Goode and Richard Levinson. Photo by JJ Mayes
It’s almost show time at The Honky Tonk Bar and Fill, a one stop gas station and dance hall in the tiny town of Ready, U.S.A. The band is warming up on stage, as the bartender limps over to the dressing room and pounds on the door. “Showtime Eldridge!” And so begins Savin’ Up For Saturday Night, a world premiere country-western dance hall musical, with book by Jeff Goode (The Reindeer Monologues) and music & lyrics by Richard Levinson (Songwriter, True Blood). The show will open Sacred Fools Theater Company’s thirteenth season (September 18 – October 24, 2009) and is directed by Jeremy Aldridge (Louis & Keely Live at the Sahara) and choreographed by Allison Bibicoff (Xanadu on Broadway).
Lovin’ ain’t easy in this one-honky-tonk town, and when the bandleader and the bartender fall for the same dance hall girl, you can bet all heckfire’s bustin’ loose. You’re in for an evening of non-stop toe-tappers, cat fights, and love quadrangles.
Featured as the cast’s troubled trio are Bryan Krasner as Doc, Brendan Hunt as Eldridge and Natascha Corrigan as Lucinda, with Courtney DeCosky (Patsy), Dave Fraser (Roddy) and Rachel Howe (Sissy). Dancers are Ceasar F. Barajas, Mike Kluck, Gregg Moon, Don Baker, Rhonda Diamond, Gina Tucci and Natasha Norman.
Brendan Hunt (Eldridge) and Courtney DeCosky (Patsy)
Photo by Jason Charnick
Photo by Jason Charnick
I caught up with busy writers Jeff Goode and Richard Levinson and asked them how it all began.
This musical’s genesis is unique in that the songs were written before the book instead of simultaneously. Did you always have in mind that the songs would eventually turn into a musical?
Richard: Yes, but not as I was writing them because they were all written for different reasons, and I’d written so many songs over a period of years. Eventually I saw that I actually had a catalogue of country songs that I could group together. I’d met Jeff several years ago at No Shame Theatre and we had worked on some short projects together. I gave him some of the songs to look at and told him I had this idea. We were both busy, but a year and a half later he called and asked what I was doing with those country songs. He had an idea for them and he came back very quickly with an outline of a script. We’ve had some rewrites and polish work since then but our story is 75% the story he created right away.
Jeff, what did you hear in the songs that gave you the story idea for the musical?
Jeff: I listened to the CD Richard sent me and they’re great songs. I liked them all. They were solid, and the idea of writing a show where the score was already tight was really appealing to me. As I listened to them, an atmosphere came to me. Many of them are dance songs so I started thinking about a dance hall and a honky tonk (a place where music is being played and people are dancing). I could also see the three main characters begin to emerge.
You could see the characters in the music?
Jeff: Yes, I had a vibe from the songs to begin with but then the characters jumped out fairly quickly. One of the first songs in the show is called “Dr. Bartender” and that really defined a character for me that was easy to expand upon. Several other songs didn’t sound like they were really story-related but sounded like something Eldridge, the band leader, would sing. And then, in some of the relationship songs about a dysfunctional relationship, I saw this girl who was the best dancer in the place that everybody wants. Once I saw those three characters, I knew that there was a story that could be told using these songs as an anchor.
Bryan Krasner as Doc
Photo by Jason Charnick
Photo by Jason Charnick
Did anything about that story surprise you?
Richard: No, but what really surprised me was that I recognized all of the people. Jeff made their individual stories very clear. I know Eldridge, the band leader. I’ve worked with that guy many times before, and Doc is the kind of person that I think will be familiar to a lot of people.
Jeff, your plays often have an edge or deal with subject matter in a satirical way, yet this musical is a bit more mainstream. Will people that know you be surprised by it?
Jeff: I think one of the things that I’m good at is character, and the only thing that really makes this show different is that I’ve selected a set of characters that are in a part of the country that I haven’t written about that much before, but my way of working with characters is similar… the way the humor comes from the characters and situations rather than just the dialogue.
Our core audience for this show is a little more mainstream. Compared to some of my work there’s very little obscenity. We wanted this show to appeal to a wide audience so you think about who those people are - how they’re going to feel, how they’re going to approach it - so if it’s challenging it’s still going to be within the realm of what that audience is going to like and find interesting.
You’re a writer whose work actually gets produced on a regular basis across the country, not just in LA. What do you think is the key?
Jeff: I think a lot of writers don’t get produced because they start to write what they really want to write without thinking if someone else wants it. That’s one of the first things I think about. I have all kinds of ideas ready to go that I look at and ask myself, who is the audience for this? Why spend a year or two years working on something that isn’t going to get produced?
Generally it’s people who know you and have worked with you before who will take a risk on your work, so having a good relationship with them is important. Then when you ask them to read something new, instead of it going onto the stack, it actually gets read because they enjoyed working with you the last time, and this one also happens to fit their theatre perfectly because you know their situation. As my career has gone on, that group of people has gotten larger, but when I was younger, it was one theatre.
That’s one of the first things I learned from John Patrick Shanley. I did an internship with him when I was in college on Beggars in the House of Plenty at the Manhattan Theatre Club, and it was something like his sixth show there. I think he started out with them as an usher. Well, Beggars wasn’t quite there yet and during the process he said Manhattan Theatre Club lets him do these shows because they know he’ll deliver the goods. (But he said it with a Brooklyn accent). And that’s important. That’s one of the reasons people don’t take risks on playwrights they don’t know.
How did you ultimately end up at Sacred Fools with this show?
Richard: I’ve been a member of Sacred Fools Theater for about three years and done a number of things there, like Louis & Keely, and really enjoyed working with the company. We sent the script to Jeremy, who also directed Louis & Keely, and he felt it was 80% of the way ready and we should go for it. Then the Sacred Fools submission deadline was coming up. They liked it and were considering it within the context of the entire season, ultimately opening with it.
How did adding a director to your creative team impact your collaboration?
Richard: It’s been very interesting for me. Jeremy is very visual and has a real commitment to the relationships between the characters and how that will be communicated to an audience. He’s really wonderful at it and he’ll see things in the script I never saw before. Both Jeremy and Jeff have been very helpful in the collaboration process creating this musical.
So this has been a growth process for you as an artist as well?
Richard: No question about it. The process itself is very gratifying for me, very hands on. I’m having a terrific time putting the components together and I think the final product is going to be great fun to watch.
Jeff: I’ve written a lot of different types of shows, things that are funny, things that are hopefully beautifully written or clever, and I do think this is a really fun show. It’s exhilarating watching the dance numbers and songs, and the actors are great too. (And, we’re even serving beer during the performances too).
Ellen Dostal
Musicals in LA
Sunday, August 30, 2009
For One Inspired Writer, Books + Musicals = Booksicals!
One of my favorite activities growing up was reading. Oh, don’t get me wrong – I spent plenty of time running around outside too – riding bikes, playing capture the flag, catching tadpoles and looking for agates, but there was nothing like weekend trips to the library. Once a week we drove to a neighboring town and mom would drop me off at the public library while she did her shopping. I really looked forward to those Saturday afternoons. In many ways it felt like I was on my own private treasure hunt. Books of all kinds interested me and the library had them all – every topic I could imagine. To this day, I always have a half-finished book somewhere nearby.
That’s why when I heard about a program called Booksicals I was immediately intrigued. Booksicals is the brainchild of Los Angeles based writer, composer and producer, Susan Chodakiewitz, and the name comes from combining her two loves – books and musicals. (I can’t help wondering if she, too, used to rummage around the library at an early age searching for adventures in the pages of a good book.)
Both the children’s books Chodakiewitz writes, Booksicals, and the accompanying live program called Booksicals on Stage, provide a creative, interactive, fun and musical way of inspiring kids with a love for reading.
Theatrical performances of the company’s debut book Too Many Visitors for One Little House are currently being done at schools, libraries, theaters and special events around LA. Too Many Visitors tells the story of three crabby neighbors, a new family on the block, a big family reunion, and the need to be included. The 4-character musical show is brought to life by the members of the Booksicals Repertory Company. They are Jesse Lee, Cindy Burnett, Niketa Calame, Sarah Phillips, Booter Griffin, Elizabeth Mehdtiach, Nick Rutherford, Brittney Kalmbach, DeReau K. Farrar, Alice Sherman and Tara Hunnewell.
Each program consists of an introduction by the author followed by a musical performance with audience participation, and a question and answer period with the author and characters. The program is geared for 4 - 8 years old, kindergarten through second grade.
If you’d like to experience Booksicals on Stage live, you can see a free musical performance on Wednesday, September 9, 2009 at Baby Gap/Gap Kids at The Grove. Showtimes are 11:00 a.m. and 1:00 p.m.
Barnes and Noble at The Grove will also feature a performance on Sunday October 25, 2009 at 1:00 pm followed by a book signing. For more information about the programs, additional dates and even upcoming contests, go to http://www.booksicals.com/.
I know first hand that books have the power to open up the world for a child. It gave me access to ideas, dreams and interests I might never have had without the experience of reading a book. Booksicals is a fresh approach to reading - and theatre - that is sure to inspire children everywhere.
Friday, August 28, 2009
ICT Season to feature Ginger Rogers and Greta Garbo Musicals
International City Theatre celebrates its 25th Anniversary Season with two new musicals featuring Hollywood legends – Backwards in High Heels: The Ginger Musical, a Los Angeles premiere musical biography of Ginger Rogers, and When Garbo Talks!, a world premiere musical about the mysterious Greta Garbo.
Backwards in High Heels opens the season (February 23 – March 28, 2010) and is conceived and developed by Lynnette Barkley and Christopher McGovern, with book, songs and arrangements by McGovern. The show combines original songs and vintage movie musical numbers with dance for a toe-tapping account of the public and private life of the woman who would eventually become Fred Astaire’s dance partner.
When Garbo Talks! will close ICT’season (October 12 – November 14, 2010). The musical is a comic, moving and tuneful look at the events leading to Greta Garbo's discovery and rise to stardom at the dawn of Hollywood's Golden Age. Book and lyrics are by Buddy Kaye and music is by Mort Garson.
The 25th Anniversary season will also include:
How The Other Half Loves by Alan Ayckbourn
April 27 – May 23, 2010
In the madcap world of How The Other Half Loves, life moves at twice its usual furious pace. Three couples, connected only by the husbands' jobs, get together for two dinner parties - which take place on stage at the same time. The comically ingenious action involves a pair of illicit lovers whose outrageous behavior and unfortunate blunders create a whirlwind of chaos, confusion and laughter.
A Shayna Maidel by Barbara Lebow
June 8 – July 11, 2010
In 1946, a Polish immigrant living in New York is reunited with her sister who remained in Poland and lived through the Holocaust. A Shayna Maidel is a powerful and emotionally charged tale of sustenance, hope, and the belief that from a broken and bitter past, a better future may be born.
The Clean House by Sarah Ruhl
August 24 – September 19
An unpredictable and sublime rumination on the importance of laughter and mess in our lives. Four markedly different, yet intimately connected women grapple with order, cleanliness, and the messy ambiguities of life in a quirky and unexpectedly moving comedy about love, loss, and the power of a good joke.
International City Theatre is located in the Long Beach Performing Arts Center, 300 East Ocean Blvd., Long Beach, CA 90802. For more information call (562) 436-4610 or go to http://www.internationalcitytheatre.org/.
Big River Cast Set for Actors Co-op
Actors Co-op will open its 2009-2010 season with the Tony Award winning musical, Big River: The Adventures of Huckleberry Finn, September 25-November 1 with Richard Israel directing.Featured in the cast are Desean Anderson, Bryce Blue, Curt Bonnem, Brian Byers, James Fowler, Bruce Green, Pamela Hamill, Anna Hulsey, Joshua Kuehl, Miles Jeffries, Sean Hankinson, Kellen Law, Rory Patterson, Liz Randall, Stephen Reynolds, Tracy Ray Reynolds, Cari Satre, Kyle Shepard, and Landen Starkman.
The creative team will include Vicki Conrad Dlugolecki (costume design), Stephen Gifford (set design), Julie Hall (choreographer), Lisa D. Katz (lighting design), Linda Kerns (musical direction), and Rebecca Kessin (sound design).
Big River is based on Mark Twain's novel, which follows Huck Finn on his journey down the Mississipi. For more information go to http://www.actorsco-op.org/.
The previously announced season also includes Sherlock's Last Case by Charles Marowitz, Stephen Van Dorn’s staged version of Freddy Wyatt Christmas Spectacular, Wit by Margaret Edson, and The Philadelphia Story by Philip Barry, directed by Douglas Clayton.
Tuesday, August 25, 2009
MTG Announces Cast for Stop The World
Casting has been announced for Musical Theatre Guild’s first show of the 2009-2010 season, Stop the World – I Want To Get Off by Leslie Bricusse and Anthony Newley. Featured will be MTG members Robin DeLano, Jennifer Gordon, Tracy Lore, Melissa Lyons, Brandon Michael Perkins, Jeffrey Polk, Justin Robertson, Jennifer Shelton and Heather Hoppus-Werner.
It will be directed by Douglas Clayton, with musical direction by Ron Colvard and choreography by Joe Giamalva, and is produced by Scott Dreier and Michelle Duffy.
Set in the non-stop circus of life, Stop the World – I Want To Get Off focuses on the iconic Littlechap, whose first major step towards improving his lot is to marry his boss' daughter, Evie. After romancing Anya, Ilse and Ginnie (funny how they all look like Evie), Littlechap comes to ultimately realize that what he always had was what he wanted all along. The richly and melodiously packed score includes "Once In a Lifetime", “Gonna Build A Mountain” and “What Kind of Fool Am I?”
The show will run Monday, September 14, 2009 at the Alex Theatre in Glendale. For tickets call the Alex Box Office at 818-243-ALEX.
It will also play the Jane and Ray Scherr Forum Theatre at the Thousand oaks Civic Arts Plaza on Sunday, September 20, 2009. Tickets are available through Ticketmaster at 805-583-8700.
For more information go to www.musicaltheatreguild.com/.
Thursday, August 13, 2009
Inside Private Lives - An Inside Look
I like historical trivia, especially when it comes to the theatre, so it immediately piqued my interest when I learned that Fremont Centre Theatre, home of the currently running Inside Private Lives had previously been a mortuary. Performances take place in what used to be the chapel of the historical 1920’s building, its stained glass windows now plastered over, sealing it off from the sounds of the adjacent courtyard. As I sat in the theatre, I wondered what ghosts of previous visitors might still linger in the rafters; what remnants of the human psyche still remain in the space between the spaces.
How appropriate a setting it is for a show like Inside Private Lives, an interactive theatrical experience that takes the audience into the complex minds of its controversial (and yes, dead) characters. The cast is a rotating line-up that changes with each performance. Among them the night I saw the show were Aimee Semple McPherson (the evangelist who allegedly staged her own kidnapping), Edward the VIII and Wallis Simpson (the king who abdicated his throne for love and the twice-divorced American woman who caused a constitutional crisis), counter culture icon Timothy Leary, pin-up and fetish model Bettie Page, and Public Enemy #1, the infamous John Dillinger.
Program notes invite the audience to “…suspend belief and imagine yourselves in the scenes with the players. [In] Each vignette you’ll travel to a different time period, meet a new character and learn what he/she wants from you. Endowed with an opposing viewpoint, you’re invited to engage each character not as yourselves, but in the roles that have been revealed to you during the piece.”
Much of the fun is observing other audience members as they are drawn into the action of the play. What an interesting study in human behavior it is to watch their attempts to intimidate, startle, offend or simply try to understand the characters by confronting them with difficult questions. Tempers flare and judgments are made, often based on the response of the actor.
Some, like Molly Hagan as McPherson, seemed to consistently push buttons with the patronizing righteousness of her statements. She's a great way to open the show and immediately hooked the audience with her strong, centered performance. Others, like Fred Cross as Timothy Leary, prompted skepticism and bewilderment as he justified his request to perform LSD experiments on fellow prison inmates. In the case of John Dillinger, played by irresistible, sweet-faced charmer Jade Carter, the audience couldn’t decide whether to love him or hate him, although one man in the audience literally gave him the shirt off his back and several women volunteered to help him with his escape. In my book that constitutes a successful getaway!
This is the second time I’ve seen Inside Private Lives - the first was a couple of years ago before it went to the Edinburgh Fringe Festival. Of the characters I saw previously, only Edward the VIII, played by Freddy Douglas, was a repeat performance. I remembered him and wondered how his portrayal might have changed over time. Happily, Douglas continues to deliver the nuances of a man’s internal struggle with great depth, and is a perfect example of the research that has gone into each actor’s study of his character. He inhabits Edward rather than plays him and the angst within him is palpable.
Inside Private Lives is a unique night of theatre that’s sure to get a reaction out of you, whether you participate vocally, or sit back and watch others’ blood pressure rise. You'll even get a little singing here and there too. The show runs Sundays through August 30 and will move to San Francisco beginning September 12 so get your tickets now. For more information, go to www.insideprivatelives.com/.
And by the way, for the rest of you historical buffs, in addition to its earlier incarnation as a mortuary, the Fremont Centre Theatre is also rumored to have been a bordello in its off hours. If you glance up at the row of windows overlooking the courtyard, it isn’t such a stretch of the imagination to picture hot summer nights, sultry music and colorful characters languishing just out of sight. See for yourself.
Tuesday, August 11, 2009
Musical Theatre West's 2009-2010 Season
Musical Theatre West will offer an unforgettable season of musicals in its 2009-2010 season, beginning with Meet Me In St. Louis (October 30 – November 13, 2009). Richard Israel will direct, Lee Martino choreographs and musical direction is by Daniel Thomas. Based on the heartwarming movie starring Judy Garland, Meet Me in St. Louis is a rare musical theater treasure featuring classic favorite songs, “The Boy Next Door,” “The Trolley Song,” and “Have Yourself a Merry Little Christmas.”
Up next is Jonathan Larson’s Rent (December 11 – 20) directed by Nick DeGruccio with musical direction by Michael Paternostro. Rent tells the story of a group of young artists in New York City’s East Village, too poor to pay the rent, yet too alive and rebellious to conform to the system, and is based on Puccini’s La Boheme.
Sweeney Todd, with music and lyrics by Stephen Sondheim and book by Hugh Wheeler will follow (January 29 – February 12, 2010). The Demon Barber of Fleet Street rides again, hell-bent on revenge and up to no good with the help of his enterprising neighbor Mrs. Lovett.
Rounding out the season are Roger Bean’s The Marvelous Wonderettes (April 16 – May 2, 2010), which takes you to the 1958 Springfield High School prom where we meet four girls with hopes and dreams as big as their crinoline skirts, and 1776 (July 9 – 25, 2010) by Sherman Edwards and Peter Stone, which celebrates the founding of the United States.
For more information go to http://www.musical.org/.
Thursday, August 6, 2009
Celebration Theatre's Altar Boyz - A Match Made in Heaven
It had been a particularly long week, and all I really wanted to do was go see a good musical and be entertained. A fun night out at the theatre always makes me happy so I tend to see musicals often. Why mess with a good formula, right?
On the recommendation of a friend, I decided to see Celebration Theatre’s production of Altar Boyz, a musical I’d never seen before. While my friend hadn’t seen this particular production yet, he had seen it in New York and, according to him, it had been so much fun that he felt I’d enjoy it no matter who was in the cast or what theatre was producing it. Now, that speaks to good writing.
Well, he was absolutely right. From the moment the music started and the lights, dry ice and boys hit the stage; I knew I was in for a great night. In an opening number made in boy band heaven, “We are the Altar Boyz,” the audience meets heart throbs Matthew, Mark, Luke, Juan and Abraham…and the fun begins. These boys are young, hip, charming, and full of talent a-plenty in the singing and dancing departments. It doesn’t hurt that they also cover an all-encompassing range of good looks either.
From boy next door Matthew (Jesse Bradley), lead singer and spokesman for the band, to Mark (Clifford Bañagale), the sweet yet powerful tenor who’s never far away from him, to Luke (Jake Wesley Stewart), the lovable but dim homeboy who’s spent time in rehab, each has a way of winning you over. Sexy Latin lover Juan (Robert Acinapura), has a story line that takes the boys into more serious subject matter when a surprise backfires onstage, adding a lovely contrast to the show.
Of course, everyone will have a favorite altar boy, and mine is Abraham (the Jewish one), played by Kelly Rice. As the final member to join the group, Rice displays expert timing, a gorgeous voice and dance moves that leave you unable to take your eyes off him. He does, after all, have real-life boy band experience and uses it quite effectively on stage here.
Together, they are the Altar Boyz, on a mission to save the soul of every audience member before the evening is over. The question is, will they be successful?
Directed by Patrick Pearson, choreographed by Ameenah Kaplan, with musical direction by Christopher Lloyd Bratten, Altar Boyz fits nicely into Celebration Theatre’s intimate setting. You’re close enough to the action to remain fully engaged with the characters while the production elements capture the look and energy of a fully-staged rock concert.
In the end, my search for an entertaining musical was successful. I left the theatre with more energy than when I had gone in and I was back in that happy mode I love so well.
Altar Boyz runs through August 30 at Celebration Theatre in Hollywood. For more information go to http://www.celebrationtheatre.com/.
Monday, August 3, 2009
Get Ready for Mary Poppins at the Ahmanson
The run may not start until November 13, but Center Theatre Group’s stop on the Mary Poppins national tour has already been extended an additional two weeks, and the show will now play the Ahmanson Theater through February 7, 2010.
Based on P.L. Travers’ stories and the classic 1964 Walt Disney film, Mary Poppins features the music and lyrics of Richard and Robert Sherman, with new songs by George Stiles and Anthony Drewe, book by Julian Fellowes, direction by Richard Eyre and co-direction and choreography by Matthew Bourne.
The touring production will feature original Broadway stars, Ashley Brown as Mary Poppins and Gavin Lee as Bert, and also includes Karl Kenzler (Mr. Banks), Megan Osterhaus (Mrs. Banks), Valerie Boyle (Mrs. Brill), Mary Vanarsdel (Bird Woman), Andrew Keenan-Bolger (Robertson Ay), Ellen Harvey (Miss Andrew), and Mike O'Carroll (Admiral Boom). Christopher Flaim and Justin Hall alternate in the role of Michael Banks, while Aida Neitenbach and Abigail Droeger alternate in the role of Jane Banks.
For more information, visit http://www.centertheatregroup.org/.
Sunday, August 2, 2009
And You Thought an Improv Musical Was Easy
Seven actors and one pianist – without costumes, props, scenery or effects – are sticking their necks out in One Night Stand: An Improvised Musical, currently running at the Hudson Theater Guild in Hollywood. And they’re hitting it out of the park at each performance.
While most musical comedies come complete with book and score, One Night Stand is a completely improvised hour long musical in that everything you’ll see will be invented on the spot. Everything. That means not only dialogue, but music and song lyrics as well. If you thought it was difficult to think on the spot when only saying the words, this sets the stakes much higher. Now the actors have to create melodies and rhymes, in addition to interesting characters, relationships, situations and a story too. It’s enough to make your head spin.
Each night the audience contributes the made-up title of the show, the location in which the musical begins, and the name of a song that will appear somewhere in the show. With that, we’re off and running.
The night I saw One Night Stand, we watched the very first (and very last) performance of Pockets With Holes in Them, about a young man (Quinn Beswick) who leaves his home in Nashville in search of his dream…not the dream of stardom you’d assume, but the dream of cleaning up after those stars. Twisted, right?
Of course, there’s the prerequisite fight with his father (Jonah Platt) who doesn’t understand him and the humorous sendoff by his sweet, long-suffering mother (Josh Margolin). Ending up in Hollywood, Quinn meets up with no lack of curious characters, like a “couple” of homeless men (Kobi Libii and Margolin) who provided some of the most hilarious moments of the night, a drunken celebrity (Mollie Taxe) on her last legs, and Quinn’s eventual love interest and on-the-rise country singer, Samantha Martin.
These young performers are all quick on their feet and easily up to the task of providing a satisfying evening of comedy. It’s definitely an ensemble effort, with each enjoying his or her own standout moments. And remember, they’re all doing this off the top of their head, without discussing it among themselves first. There’s a reason it’s called the "art of improvisation." And, when the set-up is constructed and the joke lands, there’s no finer reward for the actors than hearing the audience laugh out loud…over and over again.
Andrew Resnick provides the music and acts as musical director for the show. Executive producer is Broadway’s Marc Platt (Wicked), producer is Jonah Platt, co-producer is Max Glass and LA consultant is Michele Spears.
The troupe has performed previously to sell-out crowds at the 2008 Edinburgh Fringe Festival and will be appearing this fall as one of the special event performances at the New York Musical Theater Festival. Catch them now through August 22 at the Hudson Guild Theater in Hollywood. This is easily a show you can see again and again since no two nights will ever be the same. Tickets are available at http://bit.ly/2q6BA2.
Thursday, July 30, 2009
Octomom the Musical - Never Say Die
Playing to standing room only at the Fake Gallery in Hollywood, Octomom the Musical continues to capitalize on the public’s lurid fascination with celebrity. The show is a series of sketches highlighting the antics of Octomom and others (Bernie Madoff among them), and whether you love her or hate her, you have to admit that everyone has an opinion about her. There’s something to be said for finding your news-niche, and this woman has certainly had her share of airtime.
With characters this ripe for humor, the musical takes a no-holds barred attack of the subject matter. Clever gimmicks like the use of sock puppet octuplets (socktuplets!) singing as a chorus and a cardboard cutout action figure of Miss Jolie, Octo’s obsession, play up the humor. Still in development, the creative team, made up of Chris Voltaire (book, lyrics and director), Rachael Lawrence (music and musical direction) and Dean McFlicker (musical staging), is bravely exploring the continuing saga of a woman the public just can’t get enough of. Further real-life antics are sure to end up on stage, and if the real Octo’s story is any indication, the show will have a long shelf life.
Leading the energetic cast is the vivacious Molly McCook, quite an effective look-a-like in the title role, and yes, she’s got the Octo “pout” down. Dinora Wolcott (Real) provides the through line for the show, singing with attitude and slyly commenting on the action as it unfolds. In the role of Bernie, John Combs is a commanding presence, and is especially comical when paired with Blake Hogue (Ponzi) in a wonderfully smarmy vaudeville number.
Making up the rest of the ensemble cast are Voltaire, as Octo’s maniacal doctor, Lynnette Li (Octo’s mom), Alexandra Holtzman (Angelina) and Stu Barron (Paulzon)…each playing several roles in addition to their main character…all of them slightly “bent.”
Octomom the Musical runs Saturday nights at 8:00 and 10:00 pm through August 15. Tickets are available at http://www.octomomthemusical.com/.