Friday, March 30, 2012
Romance Abounds in The Old Globe's A Room With A View
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| Ephie Aardema and Kyle Harris. Photo by Henry DiRocco |
Apologies to the Old Globe. Reprinted due to a computer glitch.
After seeing Marc Acito and Jeffrey Stock’s new musical based on E. M. Forster’s novel, A Room With A View, I couldn’t stop thinking about how fortunate we are to live in the 21st century. Women today can, for the most part, make choices based on what they prefer to do rather than what society expects them to do. They can work outside the home, live wherever they like, and marry whomever they choose…not exactly the case in Edwardian England in 1908.
Despite the rigid social restrictions placed on his young heroine, Lucy Honeychurch (Ephie Aardema) comes to find that one of life’s biggest lessons is learning to listen to one’s own heart. If you want the life of your dreams, there comes a point when you must say ‘yes’ despite what others may think. In A Room With A View Lucy finds the way to her ‘yes’ by learning to understand and appreciate her own feelings, and who can’t identify with that?
It’s a story that romantics will adore and one that presents endless possibilities in Acito and Stock’s envisioning. Visually it is a beautiful presentation with vintage travel postcards in warm earth tones and lush period accents creating the framework of Heidi Ettinger’s gorgeous set design all under the glow of David Lander’s inspired lighting.
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| The cast of A Room With A View |
While traveling abroad, the well-bred Lucy Honeychurch and independently minded George Emerson (Kyle Harris) take an instant dislike to each other in typical storytelling fashion. We know without a doubt that these two contrasting personalities will eventually end up together but that may be one of the biggest challenges the show faces; how to develop the story in a way that keeps the audience from drawing the obvious conclusion at the end of the first scene.
While the musical contains strong characters and lovely scenes that take us through the Italian city and English countryside, there is still a sense that the story is biding its time. We know how it’s going to end but it shouldn’t feel like such a foregone conclusion. Act II especially contains scenes that, while charming and humorous, seem a departure from the real heart of the story.
Lucy’s struggle must draw us in from the very beginning and though Aardema is lovely and brings a youthful determination to Lucy that makes a song like “Ludwig and I” a theatrical tour de force, her initial scenes continually focus on her resistant attitude. The result is that it takes us longer to warm up to her than the authors might like. By contrast, George Emerson, played by Harris is a handsome fellow with an inquisitive mind and easy charm. He is instantly likeable. His trio “Splash,” with Lucy’s brother Freddy (Etai BenShlomo) and Reverend Beeber (Edward Staudenmayer) captures his joie de vivre and also makes for a rousing display of camaraderie among the three men.
Karen Ziemba shines in the Maggie Smith role of Charlotte, Lucy’s straight-laced cousin and ever-watchful traveling companion. She delivers her Act II song “Frozen Charlotte” from a powerful well of emotion but the song itself seems out of place in the story. By the way, Judith Dolan’s costume design is magnificent, with the construction and detail of Ziemba’s dresses being especially stunning. Kurt Zischke gives a moving performance as George’s father and Gina Ferrell’s double turn as the fearless novelist Miss Lavish and fluttering Mrs. Honeychurch is a delight. Even Will Reynolds makes the most of his rather one-dimensional character, Cecil Vyse.
A Room With A View is a beautifully drawn collage yet for all of its glossy and well put together effects, it feels as though something is missing. Reaching deeper into the psyche of its leading lady and loosening her corset could be just what’s needed to make this story truly soar. Internal struggle is always worth the exploration, and with so much going for it already, this is one romance we want to see succeed. A Room With A View has been extended and will run through April 15 at The Old Globe in San Diego. For tickets and information go to www.theoldglobe.org.
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Labels: old globe
Thursday, March 29, 2012
The Old Globe Announces West Coast Premiere of The Scottsboro Boys
The Old Globe has announced the cast and creative team for the west coast premiere of The Scottsboro Boys, the critically acclaimed musical about an infamous chapter in American history. Nominated for 12 Tony Awards, The Scottsboro Boys features music & lyrics by the legendary team of John Kander and Fred Ebb, libretto by David Thompson, musical direction by Eric Ebbenga, and direction and choreography by five-time Tony Award winner Susan Stroman. The Scottsboro Boys will run May 5 - June 10. Preview performances are April 29 - May 4.
The Scottsboro Boys is a daring new musical based on the notorious “Scottsboro” case in which nine young African American men were unjustly accused of rape in 1930s Alabama. Their lives would eventually spark the Civil Rights Movement.
The cast features Tony Award winner Ron Holgate (for 1776) as The Interlocutor, Clifton Duncan as Haywood Patterson, Jared Joseph as Mr. Bones and JC Montgomery as Mr. Tambo, along with David Bazemore (Olen Montgomery), Nile Bullock (Eugene Williams), Christopher James Culberson (Andy Wright), Eric Jackson (Clarence Norris), Kendrick Jones (Willie Roberson), James T. Lane (Ozie Powell), Clifton Oliver (Charles Weems), Clinton Roane (Roy Wright) and C. Kelly Wright (The Lady), Audrey Martells (The Lady Understudy), and Shavey Brown and Max Kumangai (Swings).
The Old Globe’s production of The Scottsboro Boys reunites the original creative team of Jeff Whiting (associate director and choreographer), Beowulf Boritt (scenic cesign), Toni-Leslie James (costume design) and Ken Billington (lighting design). Boritt and Billington were nominated for Tony Awards for their designs. The creative team also includes Jon Weston (sound design), Eric Santagata (assistant choreographer), Rick Sordelet (fight director), Janet Foster, CSA (casting) and Joshua Halperin (stage manager).
The Old Globe’s production of The Scottsboro Boys reunites the original creative team of Jeff Whiting (associate director and choreographer), Beowulf Boritt (scenic cesign), Toni-Leslie James (costume design) and Ken Billington (lighting design). Boritt and Billington were nominated for Tony Awards for their designs. The creative team also includes Jon Weston (sound design), Eric Santagata (assistant choreographer), Rick Sordelet (fight director), Janet Foster, CSA (casting) and Joshua Halperin (stage manager).
Tickets can be purchased online atwww.TheOldGlobe.org, by phone at (619) 23-GLOBE or by visiting the Box Office at 1363 Old Globe Way in Balboa Park.
The Old Globe will present three educational seminars about The Scottsboro Boys and the historical significance of the Scottsboro legal case. Admission is free, but reservations are required for these special events. Please email RSVP@theoldglobe.org to reserve a seat for one or more of these seminars.
Insights Seminar: Monday, April 30 at 7:00 pm. Reception at 6:30 p.m. Director and choreographer Susan Stroman and playwright David Thompson will discuss the history of the production and the issues they faced in the creation of the musical.
Insights Seminar: Monday, April 30 at 7:00 pm. Reception at 6:30 p.m. Director and choreographer Susan Stroman and playwright David Thompson will discuss the history of the production and the issues they faced in the creation of the musical.
Diversity in the Arts: Monday, May 7 at 7:00 pm. Reception at 6:30 p.m. Join Delicia Turner Sonnenberg (MOXIE Theatre) and Seema Sueko (Mo’olelo Performing Arts Company) for a conversation about how theatre artists — both present and past — explore stories about race on stage.
Turning Points in San Diego Civil Rights History: Monday, June 4 at 7:00 pm. Reception at 6:30 pm. The Scottsboro case galvanized a generation of African Americans and became a turning point in civil rights history. Dr. Carrol Waymon and Dr. John Warren lead a discussion of the civil rights movement in San Diego.
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Labels: old globe
Jersey Shoresical: A Frickin' Rock Opera Rises Again
Daniel Franzese (Mean Girls, Party Down) & Tony Award winner Daisy Eagan (The Secret Garden) return with a cast packed with the hottest rising comic talents from both coasts, including Willam Belli (RuPaul’s Drag Race, Nip/Tuck, HBO’s Cinema Verite) as a drag queen version of J-WoWW and Jessica Buttafuoco (Daughter of Mary Jo and Joey.)
Boasting a song list that includes: Snooki's Lament, GTL and I F'n Love you, I F'n Hate you, the show gives America’s favorite Guidos and Guidettes a Broadway makeover with a Greek Chorus of drunk girls, a lot of laughs and surprising amount of heart. It is written by Franzese & Hanna LoPatin (who star as Ronnie and Sammi), produced by Samantha Scharff (Saturday Night Live, TV Funhouse) and directed by Groundlings alum Drew Droege (The Sarah Silverman Program, Reno 911!).
Audiences are also treated to a different special guest “Grenade” at each performance. Past “Grenades” include: Actual Jersey Shore cast member Angelina Pivarnick, Jason Ritter (NBC’s Parenthood, The Event), Joel Michaely (The Rules Of Attraction), Riki Lindhome (Garfunkel and Oates) Brendan Sexton III (AMC’s The Killing, Boys Don’t Cry) & many more.
Jersey Shoresical: A Frickin’ Rock Opera runs April 11 – May 30 at The Hayworth Theater, 2509 Wilshire Blvd, Los Angeles, CA. 90057. Preview performances are March 29, April 4 & 5. For reservations call 323-960-4442 or visit www.plays411.com/jersey.
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Wednesday, March 28, 2012
Glendale Centre Theatre Brings Back Man with the Pointed Toes
A “Pygmalion-in-reverse” story, Man with the Pointed Toes was written by the successful film and Broadway husband and wife team of Lynn and Helen Root. The hilarious comedy centers around a shy, backward cowboy named Tom Coterel who is unschooled in the ways of love. The twist? Tom happens to have more money than a hound dog has fleas. Enter the likes of two beautiful belles: one a gold-digger; the other a tutor in social graces...and you’ve got a Texas size love story with a laugh-a-minute drawl. Tommy Kearney stars in the production with Megan Blakeley, Shawn Cahill, Kelly Hurley, Richard Large, Paul Nieman, Eric Orman, Rosh, and Kelly Smith.
Man With the Pointed Toes will be directed by Allan Dietlein, with musical direction by Steven Applegate, and is produced by Tim Dietlein and Brenda Dietlein. The design team includes Angela Wood (costume design), Tim Dietlein (set design and lighting), Nathan J. Milisavlejevich (sound design), and Caitlin Barbieri (stage manager).
Lynn Root is perhaps best known for his acclaimed 1940 Broadway musical, Cabin in the Sky and its equally successful 1943 Hollywood version, directed by Vincente Minnelli and starring Eddie “Rochester” Anderson, Lena Horne, Louis Armstrong, Ethel Waters and Duke Ellington.
Lynn and his wife, Helen, met in Los Angeles when she was handling publicity for Warner Brothers studio and Lynn began writing for the movies. Lynn started out as a singer and actor (he was a protégé of Antoinette Perry for whom Broadway’s Tony Awards are named). He then became a playwright. Among his Broadway shows was The Milky Way (1934) starring Brian Donlevy and Gladys George. In 1936, it became a film vehicle for Harold Lloyd and Adolphe Menjou and was remade in 1946 as Danny Kaye’s The Kid from Brooklyn. After moving to Hollywood, Lynn was put under contract with several studios. He wrote scripts for films that starred Cary Grant, Harold Lloyd, Fred Astaire and Bob Hope, among others.
Performances run April 5 - May 5 at Glendale Centre Theatre, 324 N. Orange St., Glendale, CA 91203. Reservations and/or ticket purchases may be made by calling (818) 244-8481, or online at www.glendalecentretheatre.com.
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Labels: glendale centre theatre
International City Theatre Announces THE FIX
Just as the 2012 presidential race heats up, International City Theatre presents the West Coast premiere of a hard-boiled, darkly comic rock musical about the American political machine. With book and lyrics by John Dempsey and music by Dana P.Rowe, The Fix begins a four-week run on April 27. Randy Brenner directs, with musical direction by Darryl Archibald, choreography by Heather Castillo, and Sal Mistretta reprising his Helen Hayes Award-winning role as Uncle Grahame.
U.S. senator and popular presidential candidate Reed Chandler has died in the arms of his mistress. His widow, Violet, determined that “if I can’t be the wife of the president I’ll be his mother,” and her brother-in-law, political king maker Grahame Chandler, thrust her son Cal into the political spotlight. Together, they shepherd Cal through races for city council and the governorship, always with an eye on the final prize – president of the Unites States. Driven by a powerful rock score, The Fix tells a cynical and darkly comic tale of one of the most dysfunctional almost-first families this side of real life Washington politics.
Originally developed in association with Cameron Mackintosh, The Fix premiered at London’s Donmar Warehouse in 1997 where it was directed by Sam Mendes and received an Olivier nomination for Best Musical. The U.S. premiere took place at the Tony Award®-winning Signature Theatre in Arlington, VA a year later, where it garnered ten Helen Hayes Award nominations, winning two— including one for Sal Mistretta.
In addition to Mistretta, the cast features Adam Simmons as Cal and Alix Korey as Violet along with Jay Donnell, Melanie Fernandez, Stephanie Hayslip, David Michael Laffey, William T. Lewis, and Carrie St. Louis. The set design is by Stephen Gifford; lighting design is by Donna Ruzika; costume design is by Kim DeShazo; sound design is by Paul Fabre; hair and wigs are by Anthony Gagliardi; property design is by Patty and Gordon Briles; and casting is byMichael Donovan, CSA.
The Fix runs April 27 - May 20, with previews April 24 -26 at 8 pm. International City Theatre is located in the Long Beach Performing Arts Center at 300 E. Ocean Boulevard in Long Beach. To purchase tickets, call (562) 436-4610 or visit www.InternationalCityTheatre.org.
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Labels: international city theatre
Tuesday, March 27, 2012
Who Stole the Show in the Troubies' Two Gentlemen of Chicago?
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| Matt Walker, Christine Lakin, Monica Schneider and Rob Nagle. Photos by Chelsea Sutton |
The inspired mockery of the Troubadour Theatre Company’s latest production Two Gentlemen of Chicago proves that a great idea never gets old. Following their highly successful formula of combining Shakespeare’s text with iconic music and mining it for laughs, they have once again concocted a show that hits its target from every angle. With an abundance of pop culture references, topical humor, and plenty of in-the-moment improv, it’s got classic Troubie written all over it. Oh, and did I mention there’s a dog?
That can only mean that this time they’ve taken Shakespeare’s earliest comedy, The Two Gentlemen of Verona, a play that already contains an abundance of the absurd, and thrown it in the pot with Chicago’s classic hits of the ‘70s and ‘80s, complete with wah wah pedal and brass section. And what a mix it makes. In balancing its many parts, it’s hard to say who or what steals the show more often.
Is it the befuddling grandiosity of one gent, or the true caddish behavior of the other? Valentine (Rob Nagle) makes the case for the former in his candy pink finery, red sweetheart lips, and white powdered wig. (My god, he’s almost one-third head in Sharon McGunigle’s fantastic costume!) It’s worth the price of admission just to see him in his Act II cupid outfit with wings and Roman sandals…and playing the pan pipes. Or is it Matt Walker as Proteus, the scheming good guy/bad friend who sings, dances, plays the puns and the women, and gets the best ominous villain underscoring possible?
Maybe it’s Beth Kennedy, who in my book tops all of her previous roles with her portrayal of Launce. Commanding the stage, alone with a dog, she throws herself completely into her utterly endearing character and is funnier than I’ve ever seen her. Her run-on jokes and top-of-Act II recap with Speed (Matthew Morgan) are highlights, as well as a gleefully called foul on Walker opening night that occurred when he was late on an entrance (though I think he’s still debating that).
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| Morgan Rusler, Rob Nagle and Rick Batalla |
The honor of scene-stealer of the night could go to Rick Batalla’s double turn as Silvia’s (Monica Schneider) prancing suitor Thurio in his “sha-bam sha-bam blue boots,” and Proteus’ father Antonio, so old you better watch out or he’ll fall down and not be able to get up. Morgan Rusler makes a play for it as the Duke who is always ready with a trombone lick when his name is mentioned and has a rather odd relationship with Thurio.
Then again it might go to Christine Lakin (Julia), and maids Lucetta (Katie Nunez) and Brushetta (Lisa Valenzuela) and their gorgeous 3-part harmonies on “Call on Me” or their scene remaking Lakin into a boy à la Bagger Vance. Lakin is also responsible for the terrific choreography in the dance numbers.
Joseph Keane is making a regular habit of stealing the end of Act I, last time by getting his tongue stuck to a pole in A Christmas Westside Story; this time with an absolutely beautiful end of Act I classic ballet pas de deux with Suzanne Jolie Narbonne en pointe. Even the Winter Warlock, fresh from his study in ‘biamic ontameter’ at the RSC (Real Shakespeare Company), makes his attempt at stealing a scene or two with a few disco moves.
The band often steals the show under Eric Heinly’s musical direction, and it should, on Chicago tunes where the horns are featured in bold arrangements. Positioned up center and always on display, they sound terrific on classics like “25 or 6 to 4,” “Does Anybody Really Know What Time It Is,” “Wishing You Were Here,” and “Make Me Smile.”
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| Beth Kennedy, Roo the Pug, and Matthew Morgan |
Cesar the dog whisperer, the Chippendale boys, Walker's wig, all of them do their level best to take the honor but in the end it is Roo the Pug, playing Crab the Dog, who succeeds in stealing the hearts of an entire audience, and every scene he enters. And he does it without saying a word. Mr. DeMille…I think he’s ready for his close-up.
Rest assured this latest Troubie confection will leave you breathless with laughter and begging for more, for once they catch a joke by the tail, you can bet money they'll chase it till the cows come home - all the while wooing you with their own special charm. They're an irresistible bunch.
Two Gentlemen of Chicago runs through April 22 at the Falcon Theatre, 4252 Riverside Drive, Burbank, CA 91505 . For tickets go to www.falcontheatre.com.
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Labels: falcon theatre, troubies
Monday, March 26, 2012
The Colony Theatre Announces Cast of Dames at Sea
This affectionate spoof of the grand and glorious Busby Berkeley movie musicals of the 1930s is a singing, tap dancing delight. Small town girl Ruby arrives in the Big Apple with her tap shoes in her suitcase, a song in her heart, and a burning desire to be a Broadway star. Just off the bus she meets and falls in love with Dick, a sailor who just happens to be a song writer with aspirations of his own. They can sing a lovely duet, but can they save a Broadway show when calamity strikes?
Heather Ayers, who most recently appeared on Broadway in On A Clear Day You Can See Forever with Harry Connick, Jr. will star as Mona. Joining her are Tessa Grady (seen locally in The Sound of Music and Happy Days) as Ruby, Shannon Mari Mills (from the national tour of Cathy Rigby is Peter Pan) as Joan, and L.A. favorites Dink O’Neal (The Colony’s Grand Hotel, On the Twentieth Century) as Hennesey & the Captain, Jeffrey Scott Parsons (Glory Days, Kiss of the Spider Woman), and Justin Michael Wilcox (Reprise’s Cabaret, How to Succeed, A Funny Thing...Forum) as Lucky.
The design team includes Stephen Gifford (scenic design), Jared A. Sayeg (lighting design), A. Jeffrey Schoenberg (costume design), Drew Dalzell (sound design), MacAndMe (props design & set dressing).
There are question-and-answer talkbacks after the performances on Friday, April 20 and Thursday, May 3. For tickets visit www.colonytheatre.org or call the box office at 818/558-7000 x 15. The Colony Theatre is located at 555 North Third Street (at Cypress) adjacent to the Burbank Town Center Mall.
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Labels: colony theatre
Friday, March 23, 2012
Intimate Version of Spring Awakening Plays the Arena
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| Lindsay Pearce and Mat Vairo. Photos by Kat Hess |
When Frank Wedekind wrote Spring Awakening in the late 1800’s, he could hardly have imagined that a little over a century later his play would be transformed into a Tony Award-winning rock musical by Duncan Sheik and Steven Sater. It makes sense though because just as Wedekind pushed the boundaries of polite society by writing about topics no one else dared to, so Sheik and Sater challenged what contemporary audiences had come to expect from musical theatre. Their use of handheld mics intentionally broke from reality and the normal storytelling function of musical theatre songs to provide a device for the characters to express their confusion and angst in a more contemporary rock concert fashion. The result was a thrilling fusion of modalities that brought a new generation to the theatre.
Set in the late nineteenth century, Spring Awakening is the story of a group of young students in the midst of their sexual awakening who are kept ignorant about life by their parents and teachers with tragic consequences. It shines a light on taboo subjects of the time like rape, masturbation, incest, abortion, and suicide, and reminds us that they are just as relevant today.
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| Payson Lewis as Georg |
The production that opened last week at the Egyptian Arena Stage in Hollywood retains much of the look and feel of its Broadway predecessor under director Kate Sullivan and choreographer Laura Harrison’s careful staging. A capable cast reproduces with polish and precision the iconic pictures and musical numbers that those familiar with Spring Awakening have come to expect, yet it is that very precision that makes the production feel uncharacteristically contained and cautious.
The Glee Project’s Lindsay Pearce and newcomer Matt Vairo give honest performances as Wendla and Melchior but they speak so quietly that it’s difficult to hear their dialogue. When they sing, which should be the moments they abandon the confines of their lives and let loose, it is with the smallest sound possible, even though they are on mics. Overall, there is a lot of pianissimo singing in this production that diffuses the impact of the story and it wasn’t until “I Believe” late in the show that the ensemble’s harmonies finally came together. Complicating the sound on opening night were strings that had difficulty tuning as well.
A terrific Tiffany Grey (Martha) gives the performance of the night when she discloses her father’s abuse in her intensely powerful “The Dark I Know Well” and Molly McCook is luminous as the wayward free spirit, Ilse. Their resonant voices cut through the quiet and we ache for them to find a way out of their troubled circumstances. Other ensemble members have moments of substance but for the most part seem only able to scratch the surface of their characters frustrations, waiting until Act Two’s explosive “Totally Fucked” to really make an impact.
David Carey Foster and Kelly Lester play all the adult characters in the show and do so beautifully. Foster is a commanding presence who expresses the intentions of his characters’ brief appearances with ease, reinforcing the fact that it isn’t how much stage time a character has but the depth of understanding and the way it is communicated that creates a strong statement. In addition to her more strait-laced characters, Lester also gets a nice comedic turn as Georg’s piano teacher.
Stephen Gifford’s set design surrounds the action with a back wall full of celestial constellations and a blackboard suspended center stage that contains the show’s song titles pieced together like abstract mathematical equations. It cleverly reinforces the dichotomy of expansion and restriction the students experience. Jessica Lively’s impeccable costumes also define the period much like those seen on Broadway.
Though not a perfect production, Over the Moon’s Spring Awakening still delivers a well-written story with an abundance of energy that is sure to resonate with youthful audiences despite its lack of depth.
Theatre of Arts Egyptian Arena Stage, 1625 N. Las Palmas, Hollywood. For tickets visit www.brownpapertickets.com or call 310-903-6150.
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The Old Globe's Romantic A Room with a View
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| Ephie Aardema and Kyle Harris. Photo by Henry DiRocco. |
After seeing Marc Acito and Jeffrey Stock’s new musical based on E. M. Forster’s novel, A Room With A View, I couldn’t stop thinking about how fortunate we are to live in the 21st century. Women today can, for the most part, make choices based on what they prefer to do rather than what society expects them to do. They can work outside the home, live wherever they like, and marry whomever they choose…not exactly the case in Edwardian England in 1908.
Despite the rigid social restrictions placed on his young heroine, Lucy Honeychurch (Ephie Aardema) comes to find that one of life’s biggest lessons is learning to listen to one’s own heart. If you want the life of your dreams, there comes a point when you must say ‘yes’ despite what others may think. In A Room With A View Lucy finds the way to her ‘yes’ by learning to understand and appreciate her own feelings, and who can’t identify with that?
It’s a story that romantics will adore and one that presents endless possibilities in Acito and Stock’s envisioning. Visually it is a beautiful presentation with vintage travel postcards in warm earth tones and lush period accents creating the framework of Heidi Ettinger’s gorgeous set design all under the glow of David Lander’s inspired lighting.
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| The cast of A Room With A View |
While traveling abroad, the well-bred Lucy Honeychurch (Ephie Aardema) and independently minded George Emerson (Kyle Harris) take an instant dislike to each other in typical storytelling fashion. We know without a doubt that these two contrasting personalities will eventually end up together but that may be one of the biggest challenges the show faces; how to develop the story in a way that keeps the audience from drawing the obvious conclusion at the end of the first scene.
While the musical contains strong characters and lovely scenes that take us through the Italian city and English countryside, there is still a sense that the story is biding its time. We know how it’s going to end but it shouldn’t feel like such a foregone conclusion. Act II especially contains scenes that, while charming and humorous, seem a departure from the real heart of the story.
Lucy’s struggle must draw us in from the very beginning and though Aardema is lovely and brings a youthful determination to Lucy that makes a song like “Ludwig and I” a theatrical tour de force, her initial scenes continually focus on her resistant attitude. The result is that it takes us longer to warm up to her than the authors might like. By contrast, George Emerson, played by Harris, is a handsome fellow with an inquisitive mind and easy charm. He is instantly likeable. His trio “Splash,” with Lucy’s brother Freddy (Etai BenShlomo) and Reverend Beeber (Edward Staudenmayer) captures his joie de vivre and also makes for a rousing display of camaraderie among the three men.
Karen Ziemba shines in the Maggie Smith role of Charlotte, Lucy’s straight-laced cousin and ever-watchful traveling companion. She delivers her Act II song “Frozen Charlotte” from a powerful well of emotion but the song itself seems out of place in the story. By the way, Judith Dolan’s costume design is magnificent, with the construction and detail of Ziemba’s dresses being especially stunning. Kurt Zischke gives a moving performance as George’s father and Gina Ferrell’s double turn as the fearless novelist Miss Lavish and fluttering Mrs. Honeychurch is a delight. Even Will Reynolds makes the most of his rather one-dimensional character, Cecil Vyse.
A Room With A View is a beautifully drawn collage yet for all of its glossy and well put together effects, it feels as though something is missing. Reaching deeper into the psyche of its leading lady and loosening her corset could be just what’s needed to make this story truly soar. Internal struggle is always worth the exploration, and with so much going for it already, this is one romance we want to see succeed. A Room With A View runs through April 8 at The Old Globe in San Diego. For tickets and information go to www.theoldglobe.org.
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Labels: old globe
Tuesday, March 20, 2012
The Blank's Sukie & Sue: Their Story Casting is Complete
Based on actual events, Sukie & Sue: Their Story tells the creepy yet funny tale of two young nurses who have everything to live for ... great boyfriends, jobs that actually help people, and as much weed as they can smoke. That is until their Raggedy Ann doll becomes possessed and destroys their lives. Packed with laughter, this play is likely to send audiences home checking under their beds for demons with hair made of red yarn.
The cast is Nick Ballard, Lindsey Broad (The Office, 21 Jump Street), Elena Campbell-Martinez, Eddie Driscoll, Rae Foster, Lenny Jacobson (Nurse Jackie), Mary-Beth Manning, and Mackenzie Phillips (One Day at a Time).
Along with an original underscore by Michael John LaChiusa, the design team for Sukie & Sue: Their Story includes set by Eric Broadwater, lighting by Stephanette Smith, costumes by Bethany Jane Bohatila, props and special effects by Stephen Weston, and sound by Warren Davis. Producers are Matthew Graber, Daniel Henning, and Noah Wyle, and the stage manager is Liana Dillaway.
Sukie & Sue: Their Story begins previews on Saturday, April 21. Opening night is set for Saturday, April 28 at 8:00. Tickets are on sale now and may be purchased by visiting www.TheBlank.com, or by calling (323) 661-9827. The Blank’s 2nd Stage Theatre is located at 6500 Santa Monica Boulevard (at Wilcox), in Hollywood. Secured valet parking is available for evening performances.
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Labels: the blank
La Mirada Theatre Announces Cast and Crew for Miss Saigon
This new production will be choreographed by Dana Solimando, musical directed by John Glaudini and directed by La Mirada Theatre’s Producing Artistic Director Brian Kite. Miss Saigon will run April 13 – May 6, with opening night on Saturday, April 14.
The classic love story brings Puccini’s Madame Butterfly to the modern world in a moving testament to the human spirit and a scathing indictment of the tragedies of war. In the turmoil of the Vietnam War, an American soldier and a Vietnamese girl fall in love, only to be separated during the fall of Saigon. Their struggles to find each other over the ensuing years ends in tragedy for her and a fighting chance for the child he never knew he had. Raw and uncompromising, Miss Saigon is an intensely personal story of the losses we suffer and the sacrifices we make in a world gone mad.
The cast of will feature: Jacqueline Nguyen as Kim, Kevin Odekirk as Chris, Joseph A. Foronda as the Engineer, Aidan Park as Thuy, Lawrence Cummings as John, Cassandra Murphy as Ellen, April Malina as Gigi and will also feature Ken Shim, Daniel Dawson, Jenn Aedo, Chris Holly, Jasmine Ejan, Nancy Lam, Bety Le, Ashley Matthews, Klarissa Mesee, Melinda Porto, Ryan Castellino, Patrick Lloyd, Patrick Lundquist, Daniel Ryan May, Kalen Sakima, Clay Stefanki, Estevan Valdes and Stefan Raulston.
The design team includes Dustin J. Cardwell (scenic design), Steven Young (lighting design), Julie Ferrin (sound design), Mela Hoyt-Heydon (costume design), Kaitlin McCoy (wig design), Terry Hanrahan (props design), Julia Flores (casting director), and Donna Parsons (production stage manager).
Miss Saigon will begin performances on Friday, April 13, 2012 (with a press opening on Saturday, April 14) and run for four weeks through Sunday, May 6. There will be talk-back sessions with the actors for the audience following the performances on Wednesday, April 18 & Wednesday, May 2. For tickets go to www.lamiradatheatre.com or call the box office at (562) 944-9801.The theatre is located at 14900 La Mirada Boulevard in La Mirada, near the intersection of Rosecrans Avenue where the 91 and 5 freeways meet. Parking is free.
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Labels: la mirada theatre