Tuesday, December 22, 2015
Happy Holidays from Musicals in LA!
Wishing You a MERRY CHRISTMAS
and the HAPPIEST OF HOLIDAYS as we close out 2015!
Thank you for an amazing year of Musical Theatre.
Thank you for an amazing year of Musical Theatre.
See you in 2016!
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Tuesday, December 15, 2015
Review: Skewering Santa in The Troubies' Santa Claus is Comin' to Motown
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| Reindeer: Suzanne Jolie Narbonne, Mike Sulprizio, Lisa Valenzuela, Joey Keane, and Andy Lopez w/ Darrin Revitz and Matt Walker. All photos by Jill Mamey. |
Matt “Mashup” Walker and his trusty Troubies are skewering Santa Claus 5 or 6 times a week at the Falcon Theatre in Toluca Lake and nobody minds a bit. In fact, the more groan-worthy the jokes the more the audience loves them. And that’s exactly how this company of clowns likes it.
Regulars such as Rick Batalla, Beth Kennedy, Lisa Valenzuela, and Walker know their stock in trade is their ability to put it all out there each time they perform and rely on the others to bail them out, send them up, or let them die. And truthfully, when they’re dying it is usually funnier than what they originally intended.
Their commitment to the ad-lib is unwavering. Even a 5-second sight gag is worthy of a full costume and choreography, like Walker playing an animal in black parachute pants spoofing MC Hammer. That costume is never seen again but Sharon McGunigle trots out a wonderful series of crayon-colored finery that includes a sequined lollipop girl group, reindeer reimagined as UPS delivery men, a bevy of happy forest creatures walking upright, and German military uniforms with short pants.
All that to say it’s the kind of show that proudly wears its puns on its sleeve, and always looks good doing it. Eric Heinly’s band gives the Motown sound plenty of kick on songs like The Jackson 5’s “ABC,” Aretha Franklin’s “Chain of Fools” and James Brown’s “I Feel Good,” all reworked with quirky new lyrics to fit the seasonal story.
Plus, any Troubie show that gives Suzanne Jolie Narbonne a chance to break out her toe shoes and add a little unexpected sophistication with a ballet sequence gets a thumbs up from me. They may be a company of crazies but they do know how to play to their strengths. And who knew she could be so absolutely adorable as a penguin? A woman of many talents, she is also responsible for recreating Nadine Ellis’ original choreography.
One other note - Santa Claus is Coming To Town is where the Winter Warlock was originally introduced to the world. Since Kennedy first played the androgynous stilt-walker, it has become a stock character who makes an appearance in every Troubie Christmas show, without fail. Kind of like your crazy uncle Charlie whose magic tricks never seem to work but you love him anyway.
This is one holiday tradition that comes with a lot of laughs, a lot of optimism, and a lot of fun. Nothing tired here - just a bunch of cutups entertaining the heck out of a holiday crowd and succeeding in the best way possible.
If you don’t have a ticket by now you’re most likely out of luck. Regular seats are sold out for the entire run but you might score a cancellation so give the theatre a call just in case (818) 955-8101.
SANTA CLAUS IS COMIN’ TO MOTOWN
December 2, 2015 - January 17, 2016
Troubadour Theatre Company at the Falcon Theatre
4252 Riverside Drive
Burbank, CA 91505
Tickets: (818) 955-8101 or www.FalconTheatre.com
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| Andy Lopez, Lisa Valenzuela, Darrin Revitz, Beth Kennedy, Mike Sulprizio, Suzanne Jolie Narbonne, and Joey Keane |
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| Leah Sprecher, Suzanne Jolie Narbonne, Darrin Revitz, and Lisa Valenzuela |
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| Tyler King, Mike Sulprizio, and Andy Lopez |
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| Andy Lopez, Darrin Revitz, Rick Batalla, Suzanne Jolie Narbonne, and Tyler King |
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| Darrin Revitz and Matt Walker |
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Labels: troubies. falcon theatre
Sunday, December 13, 2015
Review: Run Away with Cirque du Soleil's KURIOS: Cabinet of Curiosities
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| All Photos: Martin Girard / shootstudio.ca Costumes: Philippe Guillotel © 2014 Cirque du Soleil |
Who hasn’t wanted to run away with the circus at some point in their lives? The ephemeral world created under the big top has always managed to entice with the glamour of its imaginary delights. Acrobats and elephants, beautiful people flying through the air, and the side show of unimaginable curiosities - they are all part of the ultimate escape from an otherwise ordinary world to a place where the extraordinary exists.
Even as a child in my tiny town of 350 people in the Midwest, I can remember the traveling circus that would come through once a summer. They set up in the park - and even though it consisted of only a couple on a trapeze, a single bareback rider, a clown, and a sideshow (with a very fierce gorilla and a few bottled “monstrosities”) it was still like magic to my 6 year old eyes.
Today the reigning kings and queens of the circus are the world-famous troupe, Cirque du Soleil. Hard to believe they began in the early 1980s as a small group of street performers who entertained the locals and tourists of Baie-Saint-Paul on the shores of the St. Lawrence River.
Since then, Cirque has completely reimagined the circus, theatricalized it, and morphed it into its own magnificent art form. Each show gives us a world we’ve never seen before and, as it draws us in, we become like children all over again, ready to run away - at least in our imaginations - to the circus.
In KURIOS: Cabinet of Curiosities, Cirque’s latest production on display at Dodger Stadium, science meets art in a Seeker’s (Anton Valen) steampunk-like fantasy world. Here we travel to a place where imagination creates all things, bringing to life the inhabitants of his cabinet of wonders in the most whimsical of ways.
There is the aviator (James Eulises Gonzalez Correa) whose flying machine opens up to become a platform for his rola bola cylinders and boards, stacked higher than it seems anyone could possibly balance upon. Just when you think you’ve seen him do it all, his platform lifts and begins to swing back and forth high above the stage and you are certain you’ve witnessed the impossible.
A duo springs to life on the Chinese Pole (Maude Arseneault and Mikaël Bruyère-L’Abbé) in a series of vertical tricks and drops that would seem to defy the laws of gravity and an aerial bike is the trapeze of choice for a young woman’s athleticism (Anne Wessbeicker) high in the air.
Contortionists (Bayarma Zodboeva, AyagmaTsybenova and Khaliuka Narankhuu) slither over and under each other atop a giant mechanical hand which is an amalgam of objects collected from the Seeker’s travels. A dinner party presents itself as the setting for one of the guests (Andreii Bondarenko) to display his chair balancing abilities to the amazement of the rest of the diners. As his stack of chairs grows taller and taller, they gasp as they realize an exact duplicate of their party is happening directly above them, only upside down.
Also overhead is a thrilling display of acrobats on an Acronet stretched across the full stage catapulting sea creatures up into an airborne underwater show filled with unexpected humor. Equally as amazing is the Banquine act, synchronized acrobatics on the floor of the stage that create human pyramids and sequences that again present feats of physical daring with astounding precision.
To complement these extraordinary talents are two comedy acts (both featuring David-Alexandre Despres), one that pays homage to circus history with his Invisible Circus, a mechanical marvel of timing and surprise, and another that reveals his expertise with physical comedy. In this scene he brings a young lady from the audience on stage to join him for a date at home. While the not-so-smooth Romeo goes to get them drinks, his hilarious cat takes over. This one you’ve got to see to believe.
Two other acts are wonderful examples of director Michel Laprise’s return to ideas that represent the heart of Cirque, which is to grab the audience and create an emotional connection with its invention. Yo-yos dressed up as watches are manipulated by an artist (Tomonari Ishiguro) who spins them faster than you’ve even seen before, straight up in the air, around and about as easily as if time itself stops to make it possible. The other is theatrical storytelling by a pair of hands (Nico Baixas) filmed in real-time and shown on a hot air balloon that floats overhead. Poetry in motion, it too is funny, sweet, and imaginative in its progression through its tale.
Other assorted oddball characters emerge to further create the colorful life of this cabinet of curiosities in motion. Costume designer Philippe Guillotel incorporates a myriad of elements culled from the industrial era into his fanciful creations while Stéphane Roy’s retro-mechanized set design of gears and recycled parts gives new life to repurposed outdated items. The score, written by composers Raphaël Beau and Bob & Bill and sung by Eirini Tornesaki is as haunting as ever.
KURIOS is an astonishing adventure into a world without limits where you’ll fall in love with every one of its curious characters. It is an emotionally rich experience - one that is sure to stimulate your own imagination and make you believe the impossible is possible.
Additional artists:
Acronet: Mathieu Hubener, Karl L’Ecuyer, Ryan Shinji Murray, Victor Degtyarev, Arnaud Caizergues, Jack Helme, Nathan Dennis
Banquine artists: Igor Strizhanov, Elena Kolesnikova, Roman Polishchuk, Serguei Okhai, Nikolay Atashkin, Sergey Kudryavstev, Roman Kenzhayev, Alexey Starodubsev, Ekaterina Evdokimova, Anton Lyapunov, Dimitri Parmenov.
Characters: Ekaterina Pirogovskaya (Klara), Nico Baixas (The Accordion Man), Karl L’Ecuyer (Mr. Microcosmos), Antanina Satsura (Mini Lilli)
Chaos Synchro 1900 Opening: Gabriel Beaudoin, Christa Mercey, and Kit Chatham
Musicians: Marc Sohier (band leader, bass, double bass), Kit Chatham (drums), Christa Mercey (percussions), Michael Levin (cello, keyboard), Lydia Kaminska (accordion, keyboard), Paul Lazar (violins), Patrick Kelly (guitars)
KURIOS: CABINET OF CURIOSITIES
Dec. 9, 2015 - Feb. 7, 2016
Dodger Stadium
1000 Elysian Park Ave, Los Angeles, CA 90012
Tickets: www.cirquedusoleil.com/kurios or 1-877-924-7783
Photos: Martin Girard / shootstudio.ca Costumes: Philippe Guillotel © 2014 Cirque du Soleil
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Labels: cirque du soleil
Saturday, December 12, 2015
Photo Flash: PETER PAN AND TINKERBELL - A Pirates Christmas
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| L-R: Adam Moss, Tio'ya Leatherwood, Mason Trueblood, John O'Hurley, Parvesh Cheena, Chris Jarosz, Ricky Jaime and Clarice Ordaz. Photos by Philicia Endelman |
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| Sabrina Carpenter and Kevin Quinn |
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| L-R: Chris Jarosz, Mason Trueblood, John O'Hurley, Parvesh Cheena and Ricky Jaime |
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| Chrissie Fit |
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| L-R: Kevin Quinn, Corey Fogelmanis, August Maturo, Sabrina Carpenter and Company |
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| Kevin Quinn and Chrissie Fit |
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Labels: lythgoe productions, pasadena playhouse
Friday, December 11, 2015
Photo Flash: IF/THEN at the Hollywood Pantages
Tony Award winner Idina Menzel and original cast members James Snyder, Anthony Rapp, and LaChanze recreate their roles in the national tour of If/Then, now playing at the Hollywood Pantages Theatre through January 3, 2016. The contemporary musical by Brian Yorkey and Tom Kitt, directed by Michael Greif, follows two possible paths of a New York City woman based on whether or not she makes a single decision. Menzel's (star of Wicked and Frozen) reign as the queen of the power belt continues in this latest powerful performance. Tickets are available now at www.hollywoodpantages.com. |
| Idina Menzel and Anthony Rapp |
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| Idina Menzel and James Snyder |
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| La Chanze and Anthony Rapp |
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| Idina Menzel and the cast of If/Then |
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| Idina Menzel |
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| Idina Menzel and the cast of If/Then |
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| Idina Menzel and the cast of If/Then |
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Labels: hollywood pantages
Thursday, December 10, 2015
Review: Guys and Dolls, Reinvented and Rich with Life at The Wallis
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| Jeremy Peter Johnson, Richard Howard, and Kate Hurster. All photos by Kevin Parry |
Luck has nothing to do with it. Mary Zimmerman’s Guys and Dolls is a well thought out, surprisingly fresh reinvention of one of the best golden age musicals ever written. The charming production just concluded a 9-month run at Oregon Shakespeare Festival and can now be seen on stage at the Wallis Annenberg Center for the Performing Arts through December 20. It is the second musical to make such a transition following last December’s enchanting Into the Woods, also directed by Zimmerman. Let us hope the tradition will continue.
The show itself is darn near bullet-proof. Based on a story and characters by Damon Runyon, with a book by Jo Swerling and Abe Burrows, and music & lyrics by Frank Loesser, it is a world of wisecracking gangsters and starry-eyed dames. At its core it sparkles with hope – of love, of success, and of beating the odds, especially when they aren’t in your favor. It is also a glorious escape, one whose getaway plot is propelled forward by Nathan Detroit’s (Rodney Gardiner) floating crap game in search of a home.
Everyone roots for an underdog and this Detroit is one lovable mug. Between trying to come up with 1000 bucks to move his game to Joey Biltmore’s (Eugene Ma) garage and dodging the altar where his fiancé of 14 years, Adelaide (Robin Goodrin Nordli) is ready and waiting, he’s got his hands full. A sure-fire bet with Sky Masterson (Jeremy Peter Johnson) should bring him the dough for the “oldest established permanent floating crap game in New York” but he hasn’t calculated for risk…especially risk named Sgt. Sarah Brown (Kate Hurster) who runs the Save a Soul Mission.
Every musical theatre fan of the classics knows the story but this retelling first and foremost puts character above all. Many a legit singer has sung Loesser’s songs beautifully but with only a general understanding of their real motivation. Not so under Zimmerman’s direction. Create the world and fill it with actors who know how to reveal their character’s wants and flaws while letting their humanity shine through and you have two of the hallmarks of her method of directing. Sounds easy, but it’s not. Here it works like a dream.
Detroit is the pivot point for everything that happens and Gardiner is a constantly moving target with so many balls in the air that a great deal of the fun is in seeing how he spins events in his favor, however temporarily. His chemistry with Goodrin Nordli sets up an endless succession of laughs and her character choices are so original you’ll marvel that no one has ever found what she has in the text before. She is a revelation.
Johnson also finds the twinkle in Sky Masterson’s eye that other leading men often overlook. He’s smooth alright, and he takes great joy in being a gambler. But when it becomes clear that he has finally met his match and sings “I’ve Never Been in Love Before” to Sarah, it is the kind of tender moment that is a complete tonal change from what has happened previously in the story. Johnson’s vulnerability under that streetlamp is a showstopper, largely because of what it doesn’t do. Even Hurster reinvents the typical straight-laced mission doll by going all out on her drunken spree in Cuba. Her commitment to bringing out the lioness within is hilarious and a welcome change to her earlier buttoned-up behavior.
A large part of the show’s energy is brought to life by Daniel Pelzig’s choreography which runs the gamut from full-on Michael Kidd-inspired production numbers like “The Crap Shooter’s Ballet” to cheeky burlesque Hot Box dances by Adelaide and the girls.
Doug Peck’s musical direction mimics the feverish pace of Runyon’s 1930’s New York City and his singers deliver Loesser’s lyrics with skillful precision. You always get a clue what you’re in for in the vocal department when Benny Southstreet (David Kelly), Rusty Charlie (Joe Wegner), and Nicely-Nicely Johnson (Daniel T. Parker) reach the harmonies at the end of “Fugue for Tinhorns.” If they lock in and Johnson’s high notes lift, you know it’s going to be a good night. At the Wallis, it is indeed a good night.
Miniature skyscrapers are moved about by the actors as if pulled from a diorama and lightly plopped down on a table top to await its miniature people. Scenic designer Daniel Ostling continues the miniature theme with a tiny plane on a high wire zooming overhead to signify the trip to Havana where colorful beach balls bounce across the stage as Cuban breezes blow.
Zimmerman’s Guys and Dolls is such a joy. It seems to remind us of a less jaded world where innocence can triumph over the toughest odds, love comes with an equal measure of patience and persistence, and somehow things always work out in the end. It is also one terrifically written musical. Just what you need to get you through the holidays.
The show itself is darn near bullet-proof. Based on a story and characters by Damon Runyon, with a book by Jo Swerling and Abe Burrows, and music & lyrics by Frank Loesser, it is a world of wisecracking gangsters and starry-eyed dames. At its core it sparkles with hope – of love, of success, and of beating the odds, especially when they aren’t in your favor. It is also a glorious escape, one whose getaway plot is propelled forward by Nathan Detroit’s (Rodney Gardiner) floating crap game in search of a home.
Everyone roots for an underdog and this Detroit is one lovable mug. Between trying to come up with 1000 bucks to move his game to Joey Biltmore’s (Eugene Ma) garage and dodging the altar where his fiancé of 14 years, Adelaide (Robin Goodrin Nordli) is ready and waiting, he’s got his hands full. A sure-fire bet with Sky Masterson (Jeremy Peter Johnson) should bring him the dough for the “oldest established permanent floating crap game in New York” but he hasn’t calculated for risk…especially risk named Sgt. Sarah Brown (Kate Hurster) who runs the Save a Soul Mission.
Every musical theatre fan of the classics knows the story but this retelling first and foremost puts character above all. Many a legit singer has sung Loesser’s songs beautifully but with only a general understanding of their real motivation. Not so under Zimmerman’s direction. Create the world and fill it with actors who know how to reveal their character’s wants and flaws while letting their humanity shine through and you have two of the hallmarks of her method of directing. Sounds easy, but it’s not. Here it works like a dream.
 |
| Robin Goodrin Nordli and Rodney Gardiner |
Detroit is the pivot point for everything that happens and Gardiner is a constantly moving target with so many balls in the air that a great deal of the fun is in seeing how he spins events in his favor, however temporarily. His chemistry with Goodrin Nordli sets up an endless succession of laughs and her character choices are so original you’ll marvel that no one has ever found what she has in the text before. She is a revelation.
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| Robin Goodrin Nordli |
Johnson also finds the twinkle in Sky Masterson’s eye that other leading men often overlook. He’s smooth alright, and he takes great joy in being a gambler. But when it becomes clear that he has finally met his match and sings “I’ve Never Been in Love Before” to Sarah, it is the kind of tender moment that is a complete tonal change from what has happened previously in the story. Johnson’s vulnerability under that streetlamp is a showstopper, largely because of what it doesn’t do. Even Hurster reinvents the typical straight-laced mission doll by going all out on her drunken spree in Cuba. Her commitment to bringing out the lioness within is hilarious and a welcome change to her earlier buttoned-up behavior.
 |
| Kate Hurster and Jeremy Peter Johnson |
A large part of the show’s energy is brought to life by Daniel Pelzig’s choreography which runs the gamut from full-on Michael Kidd-inspired production numbers like “The Crap Shooter’s Ballet” to cheeky burlesque Hot Box dances by Adelaide and the girls.
Doug Peck’s musical direction mimics the feverish pace of Runyon’s 1930’s New York City and his singers deliver Loesser’s lyrics with skillful precision. You always get a clue what you’re in for in the vocal department when Benny Southstreet (David Kelly), Rusty Charlie (Joe Wegner), and Nicely-Nicely Johnson (Daniel T. Parker) reach the harmonies at the end of “Fugue for Tinhorns.” If they lock in and Johnson’s high notes lift, you know it’s going to be a good night. At the Wallis, it is indeed a good night.
Miniature skyscrapers are moved about by the actors as if pulled from a diorama and lightly plopped down on a table top to await its miniature people. Scenic designer Daniel Ostling continues the miniature theme with a tiny plane on a high wire zooming overhead to signify the trip to Havana where colorful beach balls bounce across the stage as Cuban breezes blow.
Zimmerman’s Guys and Dolls is such a joy. It seems to remind us of a less jaded world where innocence can triumph over the toughest odds, love comes with an equal measure of patience and persistence, and somehow things always work out in the end. It is also one terrifically written musical. Just what you need to get you through the holidays.
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| Jonathan Luke Stevens (center) and the cast of Guys and Dolls |
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| L-R: Jonathan Luke Stevens, Al Espinosa, Richard Elmore, Joe Wegner, Rodney Gardiner, Christopher Henry Young, and David Kelly |
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| Daniel T. Parker and the cast of Guys and Dolls |
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| Daniel T. Parker and cast |
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| Rodney Gardiner and Robin Goodrin Nordli |
GUYS AND DOLLS
December 1-20, 2015
Wallis Annenberg Center for the Performing Arts
9390 N Santa Monica Blvd
Beverly Hills, CA 90210
Tickets: www.thewallis.org
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Labels: the wallis
Wednesday, December 9, 2015
First Look: The Group Rep's THAT LOVIN' FEELIN'
The Group Rep presents the west coast premiere of That Lovin’ Feelin’ written by James A. Zimmerman, directed by Jules Aaron, celebrating the history and hits of the Righteous Brothers, Dec 11 - Jan 24, 2016. The play follows the struggles of two young white boys breaking into R&B, as well as illuminates the challenging and amazing relationship they had for more than forty years. Tickets: www.thegrouprep.com or (818) 763-5990. |
| L-R: Morgan Lauff and Brendan MacDonald. Photos by Doug Engalla |
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| Brooke Van Grinsven, Nicole Chapman, Amadna Harrison, Morgan Lauff, and Brendan MacDonald |
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| Sarah Karpeles and Paul Cady |
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| Brendan MacDonald and Nicole Chapman |
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| Brendan MacDonald and Morgan Lauff |
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Labels: group rep
Saturday, December 5, 2015
Photo Flash: The Bridges of Madison County at the Ahmanson Theatre
The national tour of The Bridges of Madison County opens at the Center Theatre Group’s Ahmanson Theatre Thursday, December 10, 2015 at 8pm, with previews beginning December 8. The two-time Tony Award-winning musical will continue through January 17, 2016. It stars Elizabeth Stanley as Francesca and Andrew Samonsky as Robert Kincaid, and Cullen R. Titmas, Mary Callanan, David Hess, Dave Thomas Brown, Caitlin Houlahan and Katie Klaus. Tickets: www.centertheatregroup.org. |
| Andrew Samonsky and Elizabeth Stanley. All photos by Mattew Murphy |
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| Andrew Samonsky and Elizabeth Stanley |
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| Andrew Samonsky and Elizabeth Stanley |
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| Andrew Samonsky and Elizabeth Stanley |
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| Dave Thomas Brown, Tom Treadwell, Cole Burden, Cullen R. Titmas, Elizabeth Stanley, David Hess, Mary Callanan, Caitlin Houlahan and Matt Stokes |
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| Andrew Samonsky and Elizabeth Stanley |
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| Mary Callanan and David Hess |
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| Dave Thomas Brown, Elizabeth Stanley, Cullen R. Titmas and Caitlin Houlahan |
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| Elizabeth Stanley |
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| Elizabeth Stanley and Andrew Samonsky |
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Labels: ahmanson, center theatre group