Friday, January 20, 2017

Review: Love Transcends Limitations in Casa 0101's ALADDIN Dual Language Edition

L-R: Valeria Maldonado, Rosa Navarrete, Sebastian Gonzalez and
Daniel Martinez. All photos by Luis Gaudi

Love transcends the limitations of language in Casa 0101’s charming production of Disney’s Aladdin Dual Language Edition/Edición De Lenguaje Dual, and that uplifting message is a takeaway that never loses its luster. The simple story of Aladdin (Daniel Martinez) and his magic lamp overcoming the villainous Jafar (Omar Mata), with the help of a jovial genie (Lewis Powell III) and his loyal pet monkey (Sebastian Gonzalez), has become a family favorite, thanks to the popularity of Disney’s 1992 animated film.

This version pairs Alan Menken’s classic songs with a newly-adapted book by Jim Luigs and José Cruz González to create a fresh spin on the story that is tailor-made for Los Angeles. Casa 0101’s staging is bright and full of life, with energetic production numbers and creative undisguised stage magic. There is pageantry, romance, and plenty of humor packed into the 85-minute show which is performed by a cast of twenty each night (the four leading characters are double-cast). And, as the title suggests, there is a twist.

The people of Agrabah are under a spell. Those in the palace can only speak Spanish while those in the streets can only speak English. So when Princess Jazmin (Valeria Maldonado) runs away and meets Aladdin in the market place they are only able to understand each other with the help of their translators (who happen to be their pets). For the sake of the audience, a trio of Royal Translators (Diana Castrillon, Blanca Espinoza, and Shanara Sanders) also provide narration with other characters adding further explanation. The result is a story that is easy to follow regardless of whether you speak both, or only one, of the languages.

Valeria Maldonado (Jazmin) and Daniel Martinez (Aladdin)

That’s an important distinction for those who have championed the show, which is being presented by Casa 0101 Theater and TNH Productions in association with the office of Councilmember Gilbert A. Cedillo. This is a true community effort meant to increase opportunities for underserved members of the surrounding area and to provide a tangible method of expression for those who wish to pursue a career in the arts.

To see them in action was inspiring on many levels, not the least of which was watching how they inspired potential donors after the show to pledge funds to help others attend who might otherwise not be able to see the show on their own. Other theaters may do this but I haven’t seen it done in quite this way before.

Following the performance, producers came out and made a quick pitch for why their work was so important. Using a dry erase board to record the pledges, they then asked if anyone in the audience was willing to commit to different sponsorship levels. Within the span of five minutes, they received over $4500. Now that’s impressive.

But what I found even more encouraging was that they didn’t just ask for money, they made the case for why it was so important. They succeeded in getting people invested in their vision by showing why their work is relevant and good for the community. And the community responded.

The joy of theatre, and the whole new world it can open up, is on full display in Casa 0101’s Aladdin. Seeing it made me happy, and that’s what I call a job well done.
*        *        *        *        *        *        *

Aladdin Dual Language Edition/Edición De Lenguaje Dual is directed by Rigo Tejeda and produced by Abel Alvarado, Felipe Agredano, Emmanuel Deleage, Edward Padilla, Rigo Tejeda & Conrad Terrazas, with musical direction by Caroline Benzon and choreography by Tania Possick. Book is by Jim Luigs and José Cruz González, music by Alan Menken, lyrics by Howard Ashman and Tim Rice, lyric translation by Walterio Pezqueira. The music is adapted, arranged and orchestrated by Bryan Louiselle.

Lewis Powell III as the Genie

Jason David (Iago) and Omar Mata (Jafar)

Shanara Sanders, Blanca Espinoza and Diana Castrillon with cast of Aladdin

Henry Madrid (Sultan) and Valeria Maldonado (Jazmin)

The Ensemble of Disney's Aladdin - Dual Language Edition

January 13 - February 19, 2017
Casa 0101 Theater
2102 E. First Street (at St. Louis Street)
Boyle Heights, CA 90033

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Tuesday, January 17, 2017

Review: Christopher Reiner Reflects on the Road in END UP HERE

Photo by Joe Reiner
Composer Christopher Reiner serves up a sixty-minute set of original songs and prose selections at ZJU Theatre Group that demonstrates the unique range of programming found at Zombie Joe’s North Hollywood establishment. The company’s niche is live horror and they have gained tremendous popularity with productions like their Urban Death series and other renegade theatre pieces that deliver a purposely disquieting “underground” take on the world. But ZJU also produces a wide variety of other theatrical offerings including Shakespeare, musicals, and even family theatre under its Limecat banner.

Reiner has written music for nearly two dozen Zombie Joe productions so he is well-acquainted with the ZJU aesthetic. This particular performance is a departure from the darkness. The two exceptions are the overture (played by a hooded wraithlike figure in candlelight) and one instrumental soundscape in the show. These two passages capture that intergalactic, otherworldly feel you might expect to find in this theatre space. For the rest of End Up Here, the atmosphere is a cross between a coffeehouse salon and an after-hours lounge, somewhere in the neighborhood of 3AM, the bewitching hour to reflect on past lessons and loves.

In this setting, Reiner’s unassuming persona and lack of self-indulgence allows the audience to connect with his witty pop songs in a much more personal way than if they were being presented by singers and actors layering on their own interpretations. It is one of the benefits of hearing a songwriter perform his own work and it plays beautifully here.

In the short space of an hour he transitions through sixteen musical and two literary compositions that made me smile, wonder, nod, and sigh in recognition. It is true what they say, the more specific a story the more universal its appeal.

Reiner’s songs are uncomplicated but potent. Each slice of life tale contributes to the overall emotional journey of the show. He and director Zombie Joe balance humor with introspection, always taking care to let the material speak for itself. Nothing is heavy-handed. The experience ends up being a perfectly delightful diversion for a Sunday afternoon.

January 8 - 22, 2017
ZJU Theatre Group
4850 Lankershim Blvd., North Hollywood, CA 91601
Tickets ($15) Call 818-202-4120 or
More Info:

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Monday, January 16, 2017

Jeffrey Kahane - Venturing Out Into What Matters with LOST IN THE STARS

Photo courtesy CMArtists
Not since 1950 have audiences in L.A. been able to see a live professional performance of Kurt Weill’s musical masterpiece Lost in the Stars. That changes this month when the Los Angeles Chamber Orchestra, led by Music Director Jeffrey Kahane, presents a brand new production in partnership with CAP UCLA. Set during the era of South African apartheid, the devastating tale of a black minister whose son accidentally kills a white neighbor’s son explores racial inequalities and the courage it takes to forgive when faced with an impossible moral dilemma.

The riveting story, with book and lyrics by Maxwell Anderson, is based on Alan Paton’s powerful novel Cry, the Beloved Country. It was Weill’s final work for the stage debuting on Broadway in October of 1949 where it ran for 281 performances. After it closed, a limited 14-week national tour of the U.S. launched from San Francisco with Los Angeles as its second stop.

Here in L.A., it played the 2600-seat Philharmonic Auditorium downtown (which has since been demolished) located at 427 W. 5th St. and Olive Street, just north of Pershing Square, before moving on to eight other venues around the country. The national tour was eventually cancelled because African-American cast members were not allowed to stay in the same hotels as whites. (Kim H. Kowalke,

Jeffrey Kahane and Anne Bogart in rehearsal

On January 28 & 29, musical theatre lovers in L.A. will finally have the opportunity to see Lost in the Stars, directed by SITI Company Artistic Director, Anne Bogart, and conducted by Jeffrey Kahane. The performances are the highlight of Kahane’s Lift Every Voice series which is a three-week schedule of concerts and events inspired by Kurt Weill, Martin Luther King, Jr. and Rabbi Joachim Prinz exploring “themes of tolerance, compassion, cooperation, creativity and the power of music to encourage understanding and promote peace.” It is also an important part of Kahane’s final season with LACO as he completes his 20-year tenure with the organization.

“I believe that an orchestra should be an instrument of community,” says Kahane, “both a musical instrument that represents a community and a tool for building, enriching, and inspiring that community. I wanted very much, as part of my legacy to this orchestra – to which I have devoted more than half of my professional life – and to the city in which I grew up, to give LACO the opportunity to embody that idea in a way that I hope might inspire other orchestras to do the same.”

The musical was an important artistic achievement by Weill and Anderson, both of whom had been looking to write about the racial challenges in our own country for some time. And, while progress has been made in the years since, the social injustices they sought to expose then still take place today. It is one of the reasons Kahane wanted to program it on his last season with LACO.

L-R: Stephen Duff Webber as Arthur and Justin Hopkins as Kamalo

Lost in the Stars is a piece that speaks very directly to some of the most pressing issues we face today, not just in the United States but around the world. And, it is a simple but powerfully moving story of tragedy and redemption, and the overcoming of prejudice through the shared experience of loss.”

It is also a work he admits is personally significant to him, and that’s saying a lot for an artist whose entire life has been spent laying bare the emotional soul of music.

“I love the music passionately and find much of it profoundly moving. It also has great personal resonance to me because Weill’s experience as a German-Jewish refugee from the Nazi regime very much mirrors that of my own mother. Both of them became proud American citizens, learned to speak perfect American English, and no longer identified themselves in any way as Germans, but they most certainly did identify with their Jewish heritage. More importantly they both had great concern for the plight of their fellow African-American citizens (as did Rabbi Prinz, who is also celebrated during this festival), and didn’t just talk about it – they acted on those concerns.”

For this presentation he is collaborating with Anne Bogart and the SITI Company, singers Lauren Michelle, Issachah Savage, and Justin Hopkins, the Albert McNeil Jubilee Singers, and others. Although the orchestra and cast will have a limited amount of time to rehearse together, Kahane’s own work on a piece begins far in advance of a scheduled performance.

“It is a long, gradual process of exploring the work and thinking about it for many, many months,” he says. “Sometimes the vision of the piece one starts out with changes over time, but usually there is a kernel of an idea about how I want the piece to sound that remains at the core of the process, and then it’s all about finding ways of bringing that idea to life. Anne and I have had many hours of conversation over the last year about our visions of the piece, and it was very thrilling to me to discover from the time of our first conversation how much our visions coincided.”

Jeffrey Kahane and Anne Bogart in rehearsal with the cast of Lost in the Stars

The remaining artists then join Kahane and Bogart for a three week rehearsal period which he says includes “many hours a day, six days a week. It’s a lot of time compared to what an orchestra usually has to prepare a symphonic program, but not a lot of time for a theatrical production.”

Weill’s score is a rich amalgam of styles that blends a Broadway sensibility and the kind of soaring melodies found in opera with those of gospel, jazz, and blues. Kahane says navigating the various forms isn’t difficult because Weill’s own voice always shines through each number in the show.

“He has very clever ways of tying the music together with certain motives that recur over and over, sometimes subtly transformed so that the listener isn’t necessarily aware of the fact that the same material is being used in radically different musical or dramatic contexts.”

Still, if he had to choose a favorite from among the songs it would be the title song, “Lost in the Stars.”

“For me, it is one of the greatest, most beautiful, and most moving songs in the whole history of American musical theatre. I also especially love the climactic chorus, ‘Cry, the Beloved Country’ (which of course is the title of Alan Paton’s novel on which the show is based), whose words are eerily prophetic of the American experience at this moment in history, and take on a heart-breaking urgency.”

Saturday, January 28, 2017 (8pm)
Sunday, January 29, 2017 (7pm)
Los Angeles Chamber Orchestra 
Royce Hall - UCLA
340 Royce Drive
Los Angeles, CA 90095
Tickets: or 310-825-2101 (Monday-Friday 10am - 4pm)
Box office at Royce Hall opens one hour prior to the event start time.

LACO’s Lift Every Voice series:
Jan 14 (7pm) - ICYOLA Annual Free Martin Luther King, Jr. Day Concert
Jan 15 (3pm) - Salastina Chamber Music Concert
Jan 19 (8pm) - Forging “the knife” – Kurt Weill Before Broadway
Jan 20 (10am) - Terezin – Refuge in Music Film Screening & Discussion
Jan 21 (8PM) & Jan 22 (7pm) - Storm Large sings 7 Deadly Sins
January 22 (3pm) - Artists in Exile
For a complete listing of events and details, go to
Photo credit: Lost in the Stars rehearsal photos by Reed Hutchinson

L-R: Zuri Adele as Grace and Justin Hopkins as Kamalo

L-R: Justin Hopkins as Kamalo and Larry Powell as John

Issachah Savage as Leader and Erinn Horton as Nita

Larry Powell as John with the male chorus

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Friday, January 13, 2017

First Look: The 20th Anniversary Tour of RENT

The Company of RENT. All photos by Carol Rosegg, 2016

The 20th Anniversary Tour of RENT will play the Hollywood Pantages Theatre January 25-29. Evan Ensign restages Michael Greif’s original direction of Jonathan Larsen’s rock musical which is a re-imagining of Puccini's La Bohème. It follows a year in the lives of seven artists struggling to follow their dreams without selling out and offers an inspiring message of joy and hope. A day-of-show lottery will be held before each performance of the non-union production for a limited number of $25 orchestra seats. Click Here for more information.

L-R: Danny Harris Kornfeld, Christian Thompson and Kaleb Wells 

David Merino

L- R: Jasmine Easler and Katie LaMark 

Skyler Volpe

Skyler Volpe and Kaleb Wells

L-R: Danny Harris Kornfeld and Kaleb Wells 

The company of RENT

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Tuesday, January 3, 2017

MUSICAL NEWS for Tuesday, January 3, 2017

International City Theatre in Long Beach starts the year off with Forever Plaid, directed and choreographed by Scott Dreier and Kurtis Simmons, at the Long Beach Performing Arts Center. It’s the ‘50s all over again when four young singers killed in a car crash on the way to their first big gig miraculously return to earth 60 years later for a doo-wop do-over. Full of wholesome comedy, fun choreography, and a hit parade of favorites like “Rags to Riches,” “Shangri La,” “Chain Gang,” and “Love is a Many Splendored Thing,” this is a show to warm your heart and make you smile. (Feb 17 – March 5)

Nick DeGruccio will direct Jason Robert Brown’s The Last Five Years at La Mirada Theatre for the Performing Arts & McCoy Rigby Entertainment. The show stars Devin Archer and Natalie Storrs, with musical direction by Brent Crayon. The Last Five Years is a beautifully intimate, vivid picture of the five-year relationship between a young, ambitious author and a struggling actress told in reverse chronological order: we see her experiences from the painful ending of the relationship, while we see his from the passionate beginning. The endearingly funny, poignant, and insightfully honest two-person musical has enraptured audiences around the world with its spellbinding, emotional score. (Jan 20 – Feb 12)

Palos Verdes Performing Arts has announced the cast of its upcoming production of Dan Goggin’s Nunsense playing at the Norris Theatre. Nunsense follows the crazy antics of five spirited nuns from the Little Sisters of Hoboken Convent. When their cook accidentally serves some tainted soup, poisoning 52 of the sisters, the five surviving nuns band together and put on a show to raise money to cover the burial costs. The cast includes Dawn Stahlak as the jovial Reverend Mother; Jennifer Leigh Warren as the Mistress of Novices, Sister Mary Hubert; Noelle Marion as wannabe ballerina, Sister Mary Leo; Rebecca Lumiansi as the streetwise Sister Robert Anne; and Silvie Zamora as the charmingly wacky Sister Mary Amnesia, the nun who lost her memory when a crucifix fell on her head. The show is directed by Ken Parks with music direction by Jake Anthony and choreography by KC Gussler, and accompanied by a live orchestra. (January 20 – 29)

Chance Theater will present the west coast premiere of Drew Fornarola and Marshall Pailet’s new video game musical Claudio Quest beginning Jan 27. Pailet also directs, choreography is by Maxx Reed, and musical direction is by Ryan O’Connell. The new musical comedy is the story of a very super hero, his less super little brother, and one butt-kicking princess, as the three embark on a mission to overcome killer eggplants, a love-starved platypus, and their own 8-bit existential crisis. Sounds fun, yes? (Jan 27 – Feb 26)

If you can’t make it down to Chance for Claudio Quest you can also get a sneak preview of the show at (mostly)musicals’ songsforahappynewYEAR on Monday, January 16 at the E Spot Lounge. Joining musical director Gregory Nabours will be Amanda Kruger, Caitlin Gallogly, Emily Clark, Eric B. Anthony, Jason Peter Kennedy, Jeff Scot Carey, Justin Michael Wilcox, Kelley Dorney, Kristina Miller, Matt Valle, Tiana Okoy, and Selda Sahin in an evening of happy songs to start the new year right.

Theatre Artists Unite, Artists Rise Up Los Angeles presents a special one-night-only benefit on Jan 31, E Pluribus Unum: Out of Many, One, a collection of short plays and scenes, music, dance, spoken word, art installations and multi-media presentations in reaction to the 2016 presidential election. The benefit is part of the National Month of Outrage which first began in New York City when Jonathan Alexandratos put together a group of artists called Theatre Artists Unite. Artists and producers across the country followed his lead by setting up protests for their own stages. Here in LA, Artists Rise Up Los Angeles is the brainchild of director and executive producer Sue Hamilton, (in collaboration with Artists Rise Up New York and its leader, Jessica Litwak). It is made up of diverse members of the creative community, representing actors, directors, writers, filmmakers, singers and dancers, spoken word artists, photographers and others, all of whom have come together to Rise Up.

Among those performing at the LA event are Robert Yacko and Heidi Godt who will sing Jason Robert Brown’s original post-election composition, “Hope,” and Hamilton Broadway cast member & choreographer Karla Garcia, and fellow cast member David Guzman recreating the Best Presentation-winning number, “America,” from this year’s Gypsy of the Year competition. A post-performance lobby reception will also include a live art installation, photography exhibits, food, and drinks. Tickets are $35 and proceeds will be split between the following organizations: American Civil Liberties Union, Council on American-Islamic Relations, Human Rights Campaign, NARAL Pro-Choice America, and Natural Resources Defense Council.

MainStreet Theatre Company in Rancho Cucamonga begins 2017 with The Secret Garden, based on the book by Frances Hodgson Burnett, directed by Jessica Kubzansky. The timeless story is the perfect antidote to a dreary January and has been a staple of children’s literature for over 100 years. When cantankerous and orphaned Mary Lennox is taken away from her home in India to live with her reclusive uncle in the Yorkshire Moors, she discovers a garden that changes her life, with the help of a robin (played by a puppet in the production) and new friends. Recommended for Ages 7 and up. (Jan 28 – Feb 12)

Zombie Joe’s Underground Theatre Group will present End Up Here, three late-afternoon performances of music and prose by Christopher Reiner directed by Zombie Joe this month. Reiner has composed music and songs for 23 ZJU productions in Los Angeles, off-Broadway, and Cape Town, including Urban Death, Alice, Tell-Tale Heart, and Nightmare’s Trio. He is author of three books of poetry and prose, most recently, I Want Nothing But You In The World. (Jan 8, 15 & 22 at 4pm)

The Broad Stage kicks off its theatre season with the delightful musical comedy 13 Things About Ed Carpolotti by Barry Kleinbort, based on the play by Jeffrey Hatcher. Virginia Carpolotti (Penny Fuller) is a devoted widow with loving memories of her recently-deceased husband. Though her love endures, her confidence in him flounders as one shady character after another comes calling for the debt that Ed put in her name, and things really heat up when a mysterious $1 million ransom note appears. (Jan 11 – 29 *Contains adult language)

Also on The Broad’s Broadway series, Matthew Morrison brings a dazzling mix of show tunes and jazz to the main stage on Jan 14, and the iconic Chita Rivera recreates signature moments from her illustrious career in Chita: A Legendary Celebration on Feb 10.

In San Diego, new musical The Geeze & Me at Tenth Avenue Arts Center explores the wild ride of life’s later years in a funny, irreverent, and poignant look at surviving aging. The show features book by Hedges Capers and Nancy Capers and an eclectic blend of songs ranging from pop to blues to corner street doo-wop by Hedges Capers. The story follows a troupe of eccentric players who team up to wrangle aspects of aging from an expert. It’s a little like Hair, after it’s gone (March 31 - April 29)

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Tuesday, December 20, 2016

Happy Holidays from Musicals in LA

HAPPY HOLIDAYS from Musicals in LA!

Thank you for an amazing year of Musical Theatre.

May 2017 bring you peace, love, and plenty of new musical adventures.

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Saturday, December 17, 2016

Review: Under the Spell of THE KING AND I

Jose Llana as the King of Siam. Photo by Matthew Murphy

Jose Llana made his Broadway debut as Lun Tha in the 1996 revival of Rodgers & Hammerstein’s The King and I. Nearly twenty years later he would succeed Ken Watanabe in the role of the King of Siam in another remount. Now, with the arrival of Lincoln Center’s luscious national tour of the Rodgers & Hammerstein classic, LA audiences have the opportunity to see him return to the role at the Hollywood Pantages through January 21st.

It is one that is so closely identified with Yul Brynner who originated it, and won two Tonys and an Academy Award for his performance, that one might question whether another actor could do it justice. Llana’s portrayal erases any misgivings. Though some of his expressions are more modern than you might expect to find in a mid-nineteenth century king, he takes control of the stage with sweeping efficiency and still softens to reveal the circumspect human being behind the formidable public persona. Strong and unyielding in one moment, unexpectedly charming and funny the next, he is the rock upon which this breathtaking musical stands.

Laura Michelle Kelly as Anna

Chipping away at that rock, and the outdated beliefs that characterize his reign, is a feisty schoolteacher, Anna Leonowens, played by Laura Michelle Kelly. Kelly is luminous as the widow who brings her young son to Siam in order to make a living after her husband’s death. With a silky voice and endlessly elegant demeanor she elevates this already visually stunning production to “something wonderful.”

They are a match made in musical theatre heaven, these adversaries who initially interact like oil and water. But as understanding grows, they form an unlikely bond that bridges their differences and breeds respect and even affection. This bridging of worlds, and the awkward fits and starts that go with it, is masterfully crafted by director Bartlett Sher.

From the pomp and circumstance of the “March of the Siamese Children” to the politically charged ballet “The Small House of Uncle Thomas” to the glorious moment when the King takes Anna in his arms in “Shall We Dance,” Sher casts a spell that will leave audiences breathless with anticipation. Though vast in scope, the production still feels intimate, and that is no puzzlement. Christopher Gattelli’s re-creation of Jerome Robbins’ original choreography is sensational. Plus, Kelly and Llana have undeniable chemistry making this undoubtedly one of the best productions of The King and I you’re likely to see.

Jose Llana and Laura Michelle Kelly

The score is sublime, replete with Rodger’s signature soaring melodies and Hammerstein’s unaffected, insightful lyrics. Wistful ballads like “Hello Young Lovers” and “I Have Dreamed” and more lighthearted tunes like “Getting to Know You” and “I Whistle a Happy Tune” eventually lead to the show’s incredible pièce de résistance, “Shall We Dance.” In that singular moment, when the King takes Anna by the waist, the musical’s epic climax of dramatic tension and unbridled joy is fully realized. It is a perfect synergy of sound, movement, and emotion.

As Lady Thiang, Joan Almedilla’s heartfelt version of “Something Wonderful” is truly wonderful. In it, we come to understand her fierce devotion to the King and why she watches over him like a hawk. Soprano Manna Nichols is lovely as the rebellious Burmese slave girl, Tuptim and has beautiful color in her mid-register, though she tends to swallow her high notes.

The one musical characteristic I found distracting in the show was the amount of back phrasing and altered note values in the women’s solos. It doesn’t happen on every song but it was obvious enough that I wondered if it was a stylistic choice by the musical director to adjust pick-ups, break up phrases mid-thought to breathe, and not sing the music as written, or if the singers were having difficulty keeping up with the orchestra because they couldn’t hear. There were times they were just enough behind the beat that it was impossible not to notice. Regardless, the music is as beautiful as ever and will more than satisfy lovers of classic musical theatre.

Michael Yeargan employs a streamlined approach to his set design using a single striking focal point in each scene rather than filling the stage with excessive detail. A gorgeous Thai silk curtain billows across the stage to cover scene changes burnished by Donald Holder’s exquisite lighting while a massive golden Buddha looks down over the palace. In the garden, hundreds of hanging rope vines fill the overhead space like velvet drops and, in the harbor, a massive ship emerges from the fog to bring Anna and her son to this mysterious new land.

Each effect is rich and powerfully emotional, including the infinite expanse of the empty ballroom in which Anna and the King share their first dance. Catherine Zuber takes an endless array of rich textiles and turns them into some of the most beautiful costumes imaginable. Altogether, it is a work of art.

Laura Michelle Kelly, Baylen Thomas and Graham Montgomery  

Rodgers and Hammerstein made major contributions to the evolution of musical theatre and The King and I is one of their finest achievements. They told stories that brought social and cultural issues to the forefront on stage and pioneered a Golden Age of musicals that gave us such other groundbreaking shows as Oklahoma!, South Pacific, and Carousel.
 Most importantly, they taught us about ourselves.

The King and I remains an irresistible jewel in the Rodgers and Hammerstein catalog. Its themes are as timely as ever and Sher’s production beautifully embraces the heart of the piece. You wont be disappointed.  

Laura Michelle Kelly and Jose Llana

Manna Nichols and Kavin Panmeechao

Michiko Takemasa as Little Eva

The cast of The King and I

Laura Michelle Kelly and the Royal Children

The ensemble of The King and I

December 13, 2016 – January 21, 2017

Hollywood Pantages Theatre
6233 Hollywood Blvd.
Los Angeles, CA 90028

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