Sunday, February 9, 2020
First Look: REVENGE SONG: A Vampire Cowboys Creation at Geffen Playhouse
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| L-R Margaret Odette, Amy Kim Waschke, Noshir Dalal, Eugene Young, and Tom Myers. All photos by Jeff Lorch. |
This swashbuckling adventure follows the escapades of the real life queer 17th century swordswoman and opera singer, Julie D’Auginy, played by Margarette Odette. Robert Ross Parker directs the world premiere production of Revenge Song: A Vampire Cowboys Creation, written by Qui Nguyen and featuring original songs by Shane Rettig (music) and Qui Nguyen (lyrics). True to the superhero style of the Vampire Cowboys Theatre Company, the story gives history an outrageous comic book aesthetic and creates a wholly original genre – one that is hilariously fun, and full of hip hop, rock and epic fight scenes. It’s a heroine’s journey you’ve never seen before so get your tickets now at www.geffenplayhouse.org. Feb 4 – March 8 (Opening night, Feb 13).
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| Tom Myers and Margaret Odette |
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| Amy Kim Waschke, Margaret Odette, and Beth Hawkes |
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| Margaret Odette |
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| Beth Hawkes and Margaret Odette |
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| Margaret Odette and Amy Kim Waschke |
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| Tom Myers and Beth Hawkes |
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| Tom Myers and Margaret Odette |
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| Eugene Young and Margaret Odette |
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| Noshir Dalal and Eugene Young |
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| Tom Myers, Margaret Odette, and Noshir Dalal |
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| Amy Kim Waschke, Noshir Dalal, and Beth Hawkes |
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| Eugene Young, Margaret Odette, Beth Hawkes |
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Labels: geffen playhouse
Sunday, November 19, 2017
Review: Tyne Daly Deals with Loss in CHASING MEM'RIES: A Different Kind of Musical
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| Tyne Daly. All photos by Chris Whitaker |
The title of Joshua Ravetch’s new play Chasing Mem’ries: A Different Kind of Musical is misleading. It really isn’t a musical at all, though it does contain half a dozen songs written by lyricists Marilyn and Alan Bergman. Their collaborations with composers like Marvin Hamlisch, Johnny Mandel, and Michel Legrand produced some of the most well-known hits of the ‘70s, ‘80s and ‘90s and garnered numerous awards throughout their lengthy career.
“The Way We Were,” “Where Do You Start” and “Little Boy Lost,” are three such songs, all of which can be found in Ravetch’s latest work, now on stage at the Geffen Playhouse. But as beautiful as these wistful ballads are they, and the rest of the songs included in the piece, all have the same tone, tempo, and nostalgic longing within them, and that’s problematic.
Rather than functioning in a storytelling capacity, they become resting points for Victoria (Tyne Daly) as she processes the pain of losing her husband of 57 years by triggering memories of long ago. Or, they linger as underscoring, which makes the piece feel even more like it’s trying to manipulate the audience’s emotional response. In both cases, the play languishes under the weight of its protracted sentimentality.
Essentially, Chasing Mem’ries is a walk down memory lane that takes Victoria through all five stages of grief in the course of 90 minutes. Denial, anger, bargaining, depression and acceptance each get their due, prompted by conversations with her son Mason (Scott Kradolfer) and dead husband Franklin (Robert Forster) who appears to her in the attic where Ravetch’s play is set.
Victoria won’t go downstairs to the memorial service happening on the lawn because she isn’t ready to let go of him. It’s a foregone conclusion that she will by the end of the play and perhaps that is part of the challenge. We know where this story is going before it even gets started, and it doesn’t add anything new to the conversation about grief we haven’t heard before.
Daly’s consummate skill as an actress is, of course, the reason to see this production and she doesn’t disappoint. She wrings every ounce of nuance possible out of the opinionated, wise-cracking widow’s dialogue but the play still can’t shake its own sentimental death grip.
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| Tyne Daly and Robert Forster |
Tony Fanning’s set design is a gorgeous cutaway attic stuffed with forgotten items representing a life well-lived, complete with autumn leaves trailing across the shingled roof. It’s beautiful but it makes for challenging traffic patterns, and there are times Ravetch’s staging in the cramped space is restrictive and repetitive. That may be intentional but critical moments end up feeling contrived.
Watching Victoria and Franklin dance with their hands hovering inches away from each other, not touching, is odd. We know he isn’t really there but she would be able to feel him in the intimacy of the moment, particularly since this is in her mind. It’s puzzling rather than poignant because, if she couldn’t feel him, that would certainly be a source of frustration.
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| Scott Kradolfer and Tyne Daly |
For those who have lost a loved one, Chasing Mem’ries may conjure up memories of their own, making Victoria’s journey a cathartic one. Without that connection, the play is nothing more than an old-fashioned love letter to days gone by.
CHASING MEM’RIES: A Different Kind of Musical
November 7 - December 17, 2017
Geffen Playhouse
10886 Le Conte Avenue, Los Angeles, CA 90024
Tickets: 310-208-6500 or www.geffenplayhouse.org
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Monday, August 1, 2016
Review: In & Of Itself, Where Theatre and Magic Become Art
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| Derek DelGaudio. All photos by Jeff Lorch Photography |
“willing suspension of disbelief” --the willingness to suspend one’s critical faculties and believe the unbelievable; sacrifice of realism and logic for the sake of enjoyment.
In 1817, “poet and aesthetic philosopher Samuel Taylor Coleridge coined the phrase ‘willing suspension of disbelief’ and suggested that if a writer could infuse a ‘human interest and a semblance of truth’ into a fantastic tale, the reader would suspend judgement concerning the implausibility of the narrative.” [Wikipedia]
It’s a concept I couldn’t help thinking about while watching Derek DelGaudio’s world premiere of In & Of Itself at Geffen Playhouse last week. The show lives somewhere in that make-believe realm between magic and theatre where what you see isn’t real but presents itself to be so, and it is up to you to determine what your experience will be. I found it to be as thought-provoking as any piece of theatre I’ve ever seen and as revelatory in its awe-inspiring moments as any magic act I’ve ever witnessed.
It is an experience that will change you, or at the very least, change how you see yourself in relationship to the world. And isn’t that why we go to the theatre? In & Of Itself is a rare entertainment where magic and theatre have evolved into a new form of art.
DelGaudio created the show and it is directed by Frank Oz, the much-loved puppeteer who brought to life many iconic characters for The Muppets and Sesame Street, as well as Jedi Master Yoda for the Star Wars series of films. Perhaps it isn’t so surprising then that the very humanity found in In & Of Itself should be one of its most memorable characteristics. Windows in a wall or windows into the soul...they aren’t all that different when you stop and think about it.
The production has been extended five times but is now in its final weeks and will close August 28. This kind of performance doesn’t come around very often. Don’t miss out.
Even now, several days after seeing it, I continue to reflect on the show’s philosophical forks in the road: the weight of our secrets, who I think I am, and how I choose to see what I see…because, he reminds us, it is always a choice.
This point of view, like everything in DelGaudio’s show, is unexpected. The illusions woven into his theatrical narrative flow seamlessly – almost matter-of factly – out of his storytelling. I’m loathe to say much about the actual content because the very fact that you don’t know what you’re in for throws you ever so slightly off balance. Relaxing into that place of not knowing can be difficult in our fast-paced, results-driven world but it carries a great payoff in this instance.
What I will say is that the Geffen’s Audrey Skirball Kenis Theater has been completely reconfigured to create an intimate and antiquated cigar box setting worthy of the wholly original experience. I guarantee you’ve not heard these stories before nor seen them integrated with such poetic grace.
Adding to the show’s ethereal nature is a mesmerizing sound design composed by Devo frontman Mark Mothersbaugh and an illusory, almost spectral, lighting design by Adam Blumenthal. More than the sum of its parts, each decision enhances the overall effect and delivers on the show’s promise. And for a production whose very title is an idiom with no meaning, that is rather astonishing.
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| L-R: Producer Glenn Kaino, Derek DelGaudio, and Frank Oz |
IN & OF ITSELF
Through August 28, 2016
Geffen Playhouse
10886 Le Conte Avenue
Los Angeles, CA 90024
www.geffenplayhouse.com
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Labels: geffen playhouse
Saturday, January 2, 2016
Louis and Keely ‘Live’ at the Sahara Stars Discuss Bringing the Show Back to LA
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| Vanessa Claire Stewart and Anthony Crivello as Louis and Keely Photos by Eighty-Eight Entertainment |
Louis & Keely ‘Live’ at the Sahara returns to the Geffen Playhouse this month in a revamped production produced by the award-winning Hershey Felder. Written by Vanessa Claire Stewart, Taylor Hackford and Jake Broder and directed by Taylor Hackford, it is the story of Louis Prima and Keely Smith whose larger-than-life marriage and groundbreaking Las Vegas act featured an amazing cavalcade of hits that would forever secure their place in American musical history.
The show stars Anthony Crivello, Tony Award-winner for his performance in Kiss of the Spider Woman, and Ovation Award winner Vanessa Claire Stewart, who originated the role of Keely Smith. This is part of a new national tour based on the recent hit Chicago production featuring Crivello and Stewart. It originated here in LA and it was terrific the first time around where I saw it in the Geffen’s Audrey Skirball Kenis Theater. Now it will play the main stage at the Geffen through January 17 before continuing on to the Laguna Playhouse where it will open February 24.
I asked Stewart and Crivello about the show’s return and what we can expect to see this time around. From the sound of it, the energy is higher than ever and should make for one great night out.
Vanessa, as a writer, how has the show changed since it was first seen at the Geffen?
Since the Geffen, the show has grown in many ways! We really wanted Louis and Keely to “live” at the Sahara, so we put more of their personal moments on stage. We really tried to bring more of the act into the storytelling by adding more of their comedic bits and three additional new songs.
The point of view of the piece has changed quite a bit as we needed the piece to fill a bigger space. When we were previously at the Geffen, the space was more intimate (135 seats). We learned in Chicago that the story had to be told in a different way because the space had expanded. We also added an intermission, which helps our patrons. I’m really looking forward to seeing what people think.
Has your performance of Keely developed in any surprising ways?
A lot has happened since our initial run here! I got married and had a baby! So the push and pull that Keely experiences balancing family and work really tugs at me now in a way that it didn’t before. Also, I feel that my voice has grown a lot since my initial run here. While we were on hiatus, I wanted to grow as a musician so I did a few gigs around town as a jazz vocalist to really understand that side of things. It was a great learning experience for me.
Script wise, we really tried to develop the love story even more and make Keely more assertive than she was before. I’m enjoying her strength in this one. I’ve found that as I’ve grown up, so has the character.
Louis Prima is indeed a challenging role – both physically and emotionally. 118 pages of text and song to portray Louis is a challenge in and of itself: massive research, reading biographies, studying video of their act, watching documentary…it’s all part of the building process. Mr. Prima’s larger than life personality demands 110%. To give the subject matter his full due, there is no other way.
Our director Taylor Hackford and our choreographer Vernel Bagneris have paid acute attention to the movement, the style, ‘the delivery’ of Louis Prima and Keely Smith. The show has the indelible earmarks of a Hershey Felder Presents production in its classy presentation.
And the piece is constructed in such a wonderful way to replicate their energy and charisma, as well as Louis and Keely’s humor. Not as an impersonation but rather, to recreate the essence, the sound, the humor, the inspired madness, the human vulnerability, and the flaws.
The Pygmalion story of mentor and pupil, and the love story between Louis and Keely is wonderful fodder for an actor. Add to that our kick-ass band, and “Lazzes Les Bon Temps Rouler” is the appropriate axiom for this play/musical.
It sounds like you’re having a blast.
To sing these unforgettable songs: “Just a Gigalo,” “Pennies from Heaven,” “Hey Boy, Hey Girl,” “That Old Black Magic,” “My Sweet Embraceable You,” “Angelina, Zooma-Zooma”... what more can an actor/singer/comic ask for? We can hear the audiences singing along. We see their smiles and hear their laughter. We see their tears. That is gold.
Most importantly, there is exhilaration in interacting with the audience. Breaking the ‘fourth wall’ to create a night club atmosphere, to improvise and play the crowd nightly, is such fun. There is spontaneity that Vanessa and I share with them each performance. I believe that is the most rewarding part for us both.
The joy of portraying these legends of Las Vegas, these giants of the music and entertainment industry – it’s a delight. And to be able to introduce Louis Prima (and Keely Smith) to a new generation ... to bring them to ‘life’ ... is a benchmark in my career as an actor... and an unmitigated, gratifying ‘romp.’
Hershey Felder Presents Taylor Hackford’s
LOUIS & KEELY: ‘LIVE’ AT THE SAHARA
Written by Vanessa Claire Stewart, Taylor Hackford and Jake Broder
Directed by Taylor Hackford
Now through January 17, 2016
Gil Cates Theater at the Geffen Playhouse
10886 Le Conte Avenue, Los Angeles, CA 90024
Tickets: www.geffenplayhouse.com or (310) 208-5454.
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Wednesday, September 9, 2015
From Green to Groovy - Nicole Parker Gets a '60s Makeover for THESE PAPER BULLETS
Still high on the adrenaline of a full day of rehearsal, an energetic Parker spoke to me about her experience working on the new production. I think you’ll see why the former star of Wicked and MADtv landed the role. This is one all-around great gal.
Nicole, what has it been like working on a brand new show like this one?
What’s great about working on something new is, while the creative team has done a version of the show before, they’ve made sure we know, as the new actors to the piece, that we can make it our own. That’s something you never get when you’re plugging into a show that already exists where you really need to hit the marks and you can give it your own flair but it needs to be what it is. This show isn’t set. Even from a comedic standpoint, I won’t even know whether some things I’m doing work until we get in front of an audience and they tell me.
Both you and your leading man, Justin Kirk, are new, right?
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| Nicole Parker and Justin Kirk |
What are your overall impressions of the piece?
It’s not a musical proper. What I mean is it’s really a new, unique hybrid show. Even though the songs Billie Joe has written are stand-alone Beatles-esque songs, they drive the show and fit what’s going on in the plot. In that sense, where a musical will forward plot or character with a song, or even heighten an emotion, it is similar. But it’s only done in a very realistic way with the band – in this case they’re called The Quartos – singing their songs.
That is something I haven’t seen before where, in a proper musical, someone is just going to sing out to the audience and share with us their deep wants and desires or fears. It’s all sitting within this very neat thematic idea of The Quartos existing as a very popular Beatles-like band but the band is comprised of the Benedick and the Claudio so they’re going through things even as their characters are having to perform and sing these songs.
What effect does the time period have on the play?
I love that it’s set in the ‘60s because I think that was the beginning of the movement when women really started standing out, especially in London, with Mary Quant fashioning the mini skirt and really pushing the envelope with the look. It sets up the Beatrice/Benedick story perfectly. In this case Benedick is a John Lennon/Paul McCartney type and Beatrice is a fashion icon and a successful woman in her own right. They both are very strong individuals who don’t need a mate. But then obviously they ‘doth protest too much’ and we know that they are meant to be together. I think that only supports what we love about Much Ado, which is that great sparring between Beatrice and Benedick.
Is it written in verse?
Yes…kind of. That’s what I mean about it being unique. I don’t think I’ve seen a show like this before that folds in the original text with updated verse. Shakespeare fans will recognize some of their favorite lines and it’s brilliant the way that Rolin wrote it. In some instances it just seamlessly goes from one into the other, and then it can also be used comedically to have Shakespeare’s verse all of a sudden updated as modern dialogue that might even comment on what the actual text was saying. It makes it really fun to do. I feel like it’s one of the coolest shows I’ve ever been in. Even listening to the read-through the first time and having the four guys sitting there singing was cool. They’re all proper musicians. That’s exciting to me as an audience member.
Is the show for musical theatre people or Shakespeare lovers or both?
I think there’s something for everyone in it. Even if you’re not familiar with Shakespeare’s language, you’ve got this text that’s integrated with modern language. Of course, if you’re a lover of the classics there’s something in there for you as well. I’m not sure that there’s a dull moment in it. There’s so much going on and there’s so much to look at and listen to. Every single actor is such a brilliant comedian and physical performer. It’s one of those shows where you think, wow, I wish I could sit and watch the show…oh wait, I’m in it.
How did the role come to you?
It’s always that story of being a random thing that drops out of the sky. It really was the middle of summer and I had heard about this show and had that passing thought, ‘oh, that sounds so cool, it would be awesome to do it…not gonna happen.’ You know, that positive attitude we sometimes have as actors. Then the audition came up and I got to read the script. It was really up my alley and seemed like something that I could maybe be the right fit for. But just like anything, you show up to audition and see every other gal who is so great and you think, oh that’s right. I’m not the only person who wants to do this for a living. There were so many amazing women at the auditions that I’m a geeky fan of, or just good friends with. Any one of them would have been amazing. I feel very fortunate that, for whatever reason, they thought I would be the right fit.
So it wasn’t a situation where you knew someone or had an inside track?
Oh no, it was definitely a serious audition process. In fact, I don’t think people realize that, even for an actor that you might think has had great success and would never have to audition for anything – I’d say there are about 7-10 people who never have to audition for anything and the rest of us, we’re all auditioning – you’ve still got to go out there and get it.
Even after you’ve done Elphaba on Broadway you’re still auditioning?
Even after you have done Elphaba on Broadway. You just see all the other Elphabas at all the other auditions. Here we are. All the Elphabas auditioning for the next Elphaba-like part!
That would make a hilarious premise for a show.
Oh wow, it would be loud, that’s for sure.
What did you learn from playing Elphaba?
That’s a great way to look at it.
It’s very empowering in terms of realizing what you’re made of. It really asks everything of you and if you can learn how to conquer it – and no one ever really feels like they’ve conquered it – what I mean is, if you can even just get through a week of shows, that’s an accomplishment. I don’t know any girl who’s ever walked away from Wicked saying, ‘nailed it, perfect, every time, wouldn’t change a thing.’ That’s too big of a beast.
It was also a great lesson in what you think you can do versus what you really can do. It made me a much more fearless performer, and a stronger one. I know if I can handle that I can handle this.
Do you mean vocally?
Vocally, yes, but also mentally and physically. Those times when you wake up for the Saturday matinee and you think, yeah, I don’t really see how this is going to work. And then you’re sitting in the chair at the end of two shows and you say, well, I did it. Just the fact that you can get through it is an accomplishment. I mean, we’re all human, we get tired, and we think maybe I have to give up or maybe I can’t go on. When you’re in that kind of situation where so many people are depending on you, it’s interesting what you can dig up.
What a great lesson. Anything else?
I also learned if you treat your body a certain way it will reward you. I didn’t speak on Mondays. I was on full 24 hour vocal rest. Obligatory joke – my husband says that was his favorite day (she laughs). I’m kidding. He’s very, very supportive but we have a good laugh about what it was like when I was Elphaba and just how much he helped me.
I also learned a bunch of tricks about how to take care of myself and at the same time, how to perform when you’re not 100%. You learn how to do it even when you’re not having a perfect vocal night, which honestly is what I think half of theatre is, especially with an 8 show a week schedule. Your body is not going to comply, nor is your personal life going to comply, with some things like that 8 times a week. But you learn how to manage it and that’s an incredible lesson.
You also worked on MADtv. What did you learn from that process?
I also learned to not be so sensitive, to not be so attached to ideas, especially from working with Marty Short. A joke gets 3 choice chances and if it doesn’t work it’s out. Or if someone in the writers’ room has a better option or someone wants to pitch you a joke and it’s great, I love the spirit of, yes, take it. All that matters is what works best. It’s sort of the improv idea of ‘yes, and’ which is just continue to move forward and take ideas, say yes to them, and implement them.
That sounds like something you can use in any situation, and especially on stage.
It definitely helped me as an actress as well because you have to let go of your ego. If you don’t you’ll be crying every night. It can be very hard when you’re working on a new show – say it’s a musical – your song might get cut, your scene might get cut, your character might get cut down. You have to always remember that it’s all about what tells the story best. As solid an ego as you have to have in the business, it’s interesting you have to put it aside for the good of the whole. It teaches you to be flexible and to think on your feet. And it sharpens your brain.
One of your other talents is doing impressions, both singing and speaking. What goes into that process?
Whether it’s speaking or singing, it starts with the shape of the actual mechanism. So, if I’m looking for Ellen DeGeneres, for example, I’m looking at the shape her mouth makes when she talks because some people will hold their jaw forward, their jaw back, they’ll be lisping slightly, they’ll be barely opening their mouth, they’ll be using their teeth too much. Then that becomes the character. When I’m searching for a character who’s not a well-known celebrity I find that maybe this person has Ellen-like qualities or I feel like this person’s voice wants to live in the place that Ellen’s voice does. It’s about characteristics. There are also times I’ve based a character on a person in my life. Certain family members have made it into many sketches. I just don’t think they know it. But they’re there.
Who are you using for Bea?
That’s an interesting question. I remember when Meryl Streep was doing interviews for The Devil Wears Prada and she said she noticed that men in power don’t raise their voices, ever. They never have the need to. So she decided her character in The Devil Wears Prada was really never going to raise her voice at all. And it gave her so much power. I just loved that. I had the same thought when I was watching Mary Quant. She was the Anna Wintour of the day – that fashion-forward, super-hip icon – and she’s very soft-spoken. I loved how laid back she was.
Bea is supposed to be iconic so how do you be someone who stands out? I think it’s very specific things. She’s a smoker and it’s the ‘60s so I decided I would start from a very low place, a very floaty place. She’s also a trendsetter and even within the way she talks she can set a trend. She’s definitely not high up in energy in terms of where I normally am in a musical. In musical theatre we’re always in the mask, we’re always up here [she demonstrates the sound and laughs (think Seth Rudetsky doing the great divas)]. I’ve done that a lot so I really thought about how I wanted her to be someone totally different. Plus, I have an accent on top of that.
It sounds like a lot of fun.
It is a lot of fun. We’re wearing vintage dresses and, as a gal, even that is fun. It’s play time.
Why do you think theatre matters?
Theatre matters because it’s one of the few things that, even in this crazy day and age, can’t be replaced. It’s important to have a cultural shared moment with the community. It reminds us of the real stuff we’re all made of and if you’re telling a good story and people care about what’s happening on stage then that’s where real magic happens. It’s its own wonderful ephemeral art and it exists only for that one night and it will never happen again…unless it is recorded and played on YouTube 60,000 times… I may or may not be talking about Wicked… but in general, theatre is designed for just that one exact moment and then it will never happen again.
The title comes from a line in Much Ado About Nothing. Does it have any special significance for you personally in the show?
From my perspective, ‘these paper bullets of the brain’ is all about the words that Beatrice and Benedick use to throw at each other, these barbs and insults and jokes we come up with. I like that because they are such intellectuals. They constantly use their brains and by the end of the play their hearts outsmart all those little paper bullets and overcome the obstacles. By that time, they have no words and so they end up together. It’s one of Shakespeare’s greatest examples of that fun back and forth banter between characters. That’s what Beatrice and Benedick are famous for.
We were talking about it today in rehearsal, it’s such a miracle that it actually works out for any two people to find love. We get to see in this show how many different ways you can screw that up and still have it work out. The story has a very lovely real life element to it about what a miracle it is that this thing called love actually works out sometimes. We celebrate that in the end.
* * * * * *
These Paper Bullets is currently in previews at Geffen Playhouse and will officially open September 16, 2015. For tickets and more information, go to www.geffenplayhouse.com.
Photos of These Paper Bullets! by Michael Lamont.
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Labels: geffen playhouse
Wednesday, February 29, 2012
Music @ Boston Court, Funky Punks are Back, and Brian Stokes Mitchell at The Broad
Music @ The Court will open its eclectic 2012 season with Stacy Sullivan in A Tribute to Ms. Peggy Lee, two nights only March 2 & 3 at 8pm. Peggy Lee, composer, musical icon, and compelling performer, has long been an inspiration to generations of performers and audiences.
After years of exploration and contemplation, the incandescent Stacy Sullivan has joined forces with the extraordinary Jon Weber, to create a tribute to Miss Lee that honors both her legacy, and the music she performed in fresh and unusual ways. Click Here for tickets and more information.
All of the characters are here: overly-ambitious jugglers, a family of acrobats, contortionists and even a sly ring master. This is a circus like you've never seen before! Stay for snacks and meet the cast after the show. Click Here for tickets.
With his terrific chops, stage charm, and movie-star good looks (not to mention his multiple Tonys©), Brian Stokes Mitchell is one of Broadway’s legendary leading men. In March he’ll bring his big-city talent to The Broad Stage in Santa Monica in a diverse program of his most loved tunes.
The two performances are Friday, March 9 at 7:30 pm and Sunday, March 11 at 4:00 pm. For tickets visit www.TheBroadStage.com, 310.434.3200. Parking is free.
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Labels: boston court, broad stage, geffen playhouse
Wednesday, November 30, 2011
Geffen Playhouse Brings Students in to see NEXT FALL
We salute our friends over at Geffen Playhouse for something amazing they did today providing a student matinee of Next Fall for nearly 500 students from 10 Title I public high schools. These students were able to see the production thanks to the Geffen Playhouse Education Department who provided FREE tickets and transportation. Attending schools included: Santee Education Complex, Roosevelt Academy of Medical & Health Sciences, Roosevelt Humanitas Art School, Roosevelt Math, Science & Technology Magnet, Annimo Inglewood Charter, Westchester High School, Hemet High School, James Monroe, Miguel Contreras, San Pedro High & Gabrielino High.
Next Fall, written by Geoffrey Nauffts is playing its final performances at the Geffen and will close on December 4 so you have only one more weekend to see it. This is the critically acclaimed play’s west coast debut directed by Sheryl Kaller. It was nominated for the 2010 Tony Award for Best Play, and received a Drama Desk Award for Outstanding Play, and an Outer Critics Circle Award for Outstanding New Broadway Play). It stars Ken Barnett, Betsy Brandt, Jeff Fahey, Geoffrey Nauffts, Lesley Ann Warren, and James Wolk.
Adam and Luke seem like a case of opposites attract – Adam is older, neurotic and an atheist; Luke is impulsive, a struggling actor and a devout Christian. After Luke is involved in a critical accident, family and friends descend upon the couple and these longtime differences collide, forcing opposing views on faith and family into a stand-off. As timely as it is touching, this must-see play exposes the fundamental truth that we love people both because of – and in spite of – who they are.
Way to go Geffen. Doing good with theatre. It makes a difference. http://www.geffenplayhouse.com/
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Labels: geffen playhouse