Sunday, November 4, 2018
Review: The Woman Who Went To Space as a Man, a Baffling Space Odyssey
 |
| L-R: Nathan Nonhof, James Ferrero, Emma Zakes Green, Betsy Moore, Megan Rippey and Ashley Steed. All photos by Mauricio Gomez. |
Maureen Huskey’s new one act play with music The Woman Who Went to Space as a Man takes place wholly in the moment before death. Conceived as a 90 minute suspension of time in which Alice B. Sheldon (Betsy Moore) watches her life pass before her eyes, it blends music, movement, sound, and text to create as enigmatic a piece as the life of its central character. That’s not necessarily a good thing.
Sheldon was a woman who never felt comfortable in her own skin. Under the pen name James Tiptree, Jr., she would become known as a pioneering science fiction writer whose stories delved into the dark reaches of the human soul. Gender discrimination, violence against women, and issues like genocide and racism would inform her works, fueled by her own experiences in the suffocating social constructs of a male-dominated world.
Born in 1915, she was 6 when her parents first took her on safari to Africa, a troubling expedition that confirmed she had no power to express herself or make sense of the questions she had about the world. During her teen years she began to explore her previously repressed attraction to women but, at 19, Sheldon eloped and spent the next several years in an abusive marriage that would eventually end in divorce.
In 1942, she joined the Army as a WAAC and later the CIA, where she met and married a man ten years her senior, Huntingdon Sheldon (Alex Wells). “Ting” as she called him, was aware of her sexual orientation and although the two did not share a romantic relationship, they were comfortable and relatively happy together. He encouraged her to write and, at the age of 50, with the protective barrier of a male pseudonym, she found the personal and creative outlet she’d always longed for.
 |
| L-R: Ashley Steed, Paula Rebelo and Betsy Moore |
Huskey’s examination of the woman whose inner demons eventually got the better of her is a worthy one and imagining it as a departure from one of Tiptree’s sci-fi stories is an interesting way of presenting it. But the play meanders through Sheldon’s life as memories enacted by younger versions of herself (Isabella Ramacciotti at 6, Paula Rebello at 19) while a bewildered Moore looks on. It isn’t possible to discern if the purpose is for clarity, understanding, or simply to review a life that never let her forget she didn’t fit in. And with an ambitious array of performance disciplines employed to tell the story, which unfortunately often stretch beyond the wheelhouse of its ensemble, it loses its impact amid all the confusion.
The musical background is by world music artist Yuval Ron and is more of a soundscape than a song score. There are songs but all are forgettable within the larger context of the play, instead folding into the kind of generalized cosmic sound you’d expect to hear in a sci-fi film. The overall effect is artsy but ultimately does little to emotionally engage the audience.
Set designer Eli Smith conjures foggy images of the galaxy and Sheldon’s time machine/space ship with a minimal number of elements. A complicated series of cords is used for characters to step in and out of time periods and create visual interest in the small space. The optics work well within this abstract theatrical world Huskey has created, along with Rose Malone’s amorphous lighting. As the story starts to short circuit around Sheldon, Martin Carrillo’s evocative sound design takes on an urgency that underscores the play’s impending conclusion.
Though the sum of its parts does not yet add up dramatically, The Woman Who Went to Space as a Man does fit somewhat more effectively in the landscape of a theatrical tone poem. There the freer style of its content allows more room for the playwright to explore Sheldon’s fascinating life journey and tragic end without limits.
THE WOMAN WHO WENT TO SPACE AS A MAN
October 27 – November 18, 2018
Son of Semele
3301 Beverly Blvd.
Los Angeles, CA 90004
Tickets: www.sonofsemele.org
 |
| L-R: Nathan Nonhof, Betsy Moore, Isabella Ramacciotti, Anneliese Euler, Robert Paterno, Megan Rippey and Ashley Steed |
 |
| L-R: Nathan Nonhof, Betsy Moore and Paula Rebelo |
For more Musicals in LA news:
Become a Fan on Facebook
Follow Musicals in LA on Twitter
Click Here to return to home page
Labels: son of semele
Wednesday, June 26, 2013
Review: The Last Days of Mary Stuart, an Electro-Opera Evolution
 |
Mary (Marianne Thompson) begins her rise in Becca Wolff's
The Last Days of Mary Stuart. Photo Credit: Molly Erin Kahr
|
immersive (adj): noting or pertaining to digital technology or images that deeply involve one’s senses and may create an altered mental state.
To fully appreciate The Last Days of Mary Stuart it is necessary to forget what you normally think of when you think of musical theatre. The allegorical piece jettisons the traditional trappings of the genre and instead surfaces from a lengthy workshop process as a fusion of worlds.
Developed by Tilted Field Productions through the SOSEhost curated production program at Son of Semele, the work is part theatre, part rock concert, part operatic enigma, meant to push the boundaries of its forms and create a new kind of theatrical experience. What has emerged is an almost entirely sung-through immersive electro-opera that considers the “kill or be killed” tenet of war by examining the death of one historical queen, the ascension of another, and an imagined conversation between the two from beyond the grave.
As envisioned by creator & director Becca Wolff, Elizabeth (Laila Ayad), the elegant queen and Mary Stuart (Marianne Thompson), the rebel rocker, represent opposing factions of a people divided, with Wolff using the standoff as a departure into a larger political question. In the battle between God and country, is it possible to achieve a balance in which all parties are served, or have we retreated so far into our respective corners that our positions have become immovable. And more importantly, how are we to know if our choices are even right?
It’s a worthy parallel to draw as we wrestle with opposing views on every political and social topic in our country today. The fact that this piece ends up being greater than the sum of its parts speaks to its ability to move fluidly beyond traditional expectations and effectively present a kind of musical suspension of thought. I found it to be extremely hypnotic.
 |
| The ghost of Elizabeth confronts Queen Mary (L-to-R: Laila Ayad, John Nixon, Byron Kahr [on guitar in background], Ryan Adlaf, Marianne Thompson) |
An intensely focused cast connects to the material with unwavering assurance. Thompson is a charismatic presence who can float an ethereal note over the band as easily as she can fill the room with full sound. Ayad pushes back against her rival with an equal measure of ferocity and strength in her vocals that never gives in. They are a well-matched pair of Queens and Wolff draws out the subtle shifts in tone necessary to the piece from each of them.
Daniel Stewart’s volatile performance as The Kid reflects Mary’s ability to galvanize her followers to action. Alex Knox is defiant as the Badge Man and remaining cast members Ty Foster and Karen Jean Olds express the increasingly insubordinate temperament of the crowd via back-up vocals and pointedly precise staging.
Electronic music is a little out of my element but those who are more familiar with it than I will recognize the names Byron Kahr and John Nixon, who wrote the score, as part of the L.A.-based bands TONY and the Whqles. The sound is powerful and full of musical motifs that make it a good fit for what the work wants to communicate.
Visually, the compact stage’s tight quarters and unique levels fit the concert framework and allow lighting to play an important part in the production design. The band – Kahr on guitar, Nixon on drum machine, and Ryan Adlaf on synthesizers and drum machine – is positioned center stage with the singers working the areas in back of, to the sides, and in front of them. Adlaf is also responsible for the sound design, which could easily have blown the place apart but was mastered in such a way that it was effective without simply being loud. (Ear plugs are available at the bar but I found that they weren’t all that necessary).
Blown fuses on opening night brought the 8pm show to a standstill twice as circuits became overloaded. It can be a challenge to transform a non-concert space for this style of performance and the speed with which they managed to get the show back on track was admirable. More of a distraction was the dead air that lingered at times when the band needed to reset between some of the songs and everything was silent.
The theater is intimate so everyone is close to the stage. I recommend foregoing the chairs and buying standing room in the club area to get the full effect of the piece while keeping easy access to the bar. Note the smart touches in Molly Erin Kahr’s costumes, especially the progression for Mary.
THE LAST DAYS OF MARY STUART
June 21 – July 20, 2013
A Tilted Field Production made possible by the SOSEhost program at Son of Semele
3301 Beverly Blvd., Los Angeles, CA 90004
(west of Downtown LA; between Vermont & Alvarado)
Performances: Thurs. & Fri. at 8:00pm; Sat. at 8:00 & 10:30pm; no performance on Thurs. July 4th
Tickets: (213) 351-3507 or www.sonofsemele.org
www.tiltedfield.com
For more Musicals in LA news:
Become a Fan on Facebook
Follow Musicals in LA on Twitter
Click Here to return to home page
Labels: son of semele, tilted field
Saturday, May 18, 2013
What’s Happening Around Town for May 18, 2013
Tilted Field's Last Days of Mary Stuart
Tilted Field, in association with Son of Semele Theater, presents the world premiere of The Last Days of Mary Stuart, an electro-opera, through the curated guest-production program SOSEhost. This immersive music theater experience is conceived, written and directed by Becca Wolff, with music by Byron Kahr and John Nixon of TONY. The show will run June 21 – July 20, with opening night on Saturday, June 22. In an immersive club atmosphere, The Last Days of Mary Stuart blurs the lines of history to create a musical allegory for our time.
Mary Stuart is the disgraced and charismatic Queen of Scots, fast becoming an It-Girl on a meteoric rise in 16th-Century England. As she drives herself into the rift over Queen Elizabeth’s legitimacy, foreign powers threaten and youths are radicalized abroad. It is in this political hothouse that Mary Stuart grows her cult of personality that menaces the future of the English Empire and the new world in which we live.
The sound has evolved over the two years of the project’s development from a rock idiom to the more dramatic, flexible and sweeping sounds of electronica. The vocal style is straightforward and powerful and the piece is structured in the aria/recitative mode of classical opera where the music tells the story as much as the words within it. The cast includes Laila Ayad (Elizabeth), Alex Knox (Judge #2/Badge Man), Daniel David Stewart (The Kid), and Marianne Thompson (Mary Stuart). Performances are Thursdays & Friday at 8:00 pm; Saturdays at 8:00 & 10:30 pm (no performance on Thu. July 4) at Son of Semele Theater, just west of Downtown LA at 3301 Beverly Blvd., Los Angeles, CA 90004. For more information, please call (213) 351-3507 or visit www.sonofsemele.org. For more about the show visit www.tiltedfield.com/projects.html.
Ryan Black's 88’s Lineup for May 22nd
Ryan Black’s 88’s is back at Don’t Tell Mama, every Wednesday beginning May 15th at 8pm. There is no cover charge and seats may be reserved with a dinner reservation by calling (323) 380-7209, or you can reserve online HERE. The lineup for May 22nd includes Cortes Alexander, Shane Alexander, Laura Dickinson, Tawny Dolley, Erin Duncan, Ava Gaudet, Adam Hunter, Paulette Ivory, Matt Scott, Craig Taggart, Pam Trotter, and Coco & Ruby (Courtney Freed & Rebecca Johnson). Open mic after the show so bring your music. For more information, visit www.facebook.com/RyanBlacks88s.
Joanne Tatham Comes To Catalina Jazz Club
Joanne Tatham brings her jazz-infused vocal storytelling back to Catalina Jazz Club in Soundtrack New York: Music from Movies Made in Manhattan on June 6th at 8:30 pm. From Breakfast at Tiffany’s to Midnight Cowboy, from West Side Story to Tootsie -- this brand-new show includes the work of The Gershwins, Burt Bacharach, Kander and Ebb, Marilyn and Alan Bergman, Henry Mancini with Rod McKuen, and many more. Visit www.JoanneTatham.com for more news. Quinn Johnson is the musical director for Soundtrack New York and the show is produced by Clifford Bell. www.Cabarabia.com
Kritzerland’s Mad About the Boy
Kritzerland presents Mad About the Boy: The Songs of Noël Coward June 2 at 7:00 pm at North Hollywood’s Sterling’s Upstairs at the Federal, with musical direction by Lloyd Cooper. The cast includes Eileen Barnett, Lisa Livesay, Jane Noseworthy, John Sloman and Robert Yacko, with special guest Susan Watson. For reservations call 818-754-8700.
Angel City Chorale 20th Anniversary Concert
Angel City Chorale (ACC) will celebrate its first two decades in song with special reunion concerts on Saturday, June 1 and Sunday, June 2, 2013, at 7:00 pm. The 20th Anniversary Concerts will feature the west coast premiere of Grammy Award-Winning Composer Christopher Tin’s "Calling All Dawns." In addition to performing Tin’s highly acclaimed three-movement piece, which celebrates the circle of life in 12 languages, Angel City Chorale will also perform “The Best of ACC,” highlighting much-loved and crowd-favorite songs from the choir’s 20-year history. Conducted by ACC Founder and Artistic Director Sue Fink, the concerts will be held at the historic Wilshire United Methodist Church, 4350 Wilshire Blvd., Los Angeles, CA 90010. The audience is invited to join the performers for a dessert reception after each performance. For additional information and tickets, please call (310) 943-9231 or visit www.angelcitychorale.org.
For more Musicals in LA news:
Become a Fan on Facebook
Follow Musicals in LA on Twitter
Click Here to return to home page
Labels: angel city chorale, catalina jazz club, kritzerland, ryan black, son of semele
Wednesday, May 8, 2013
What's Happening Around Town for May 8, 2013
The Colony Theatre has announced that the final production of its Season of Premieres, the world premiere of Falling For Make Believe, is a sellout smash hit, and will add a special performance Sunday, May 12 to accommodate the demand for tickets. With music by Richard Rodgers, lyrics by Lorenz Hart, book by Mark Saltzman, and directed by Jim Fall, the show was greeted by rave reviews [read ours HERE] and such enthusiastic word-of-mouth that the announced performances have sold out quickly.
“We have been working on this show with Mark for over two years,” says artistic director Barbara Beckley, “so to watch it come together so beautifully, and then have the critics and the public embrace it so enthusiastically, is incredibly gratifying.” When asked about a possible extension, executive director Trent Steelman responded, “it’s a big show and an extension will depend on the availability of key people as well as other factors, but we’re definitely considering it.” For further information and tickets, call (818) 558-7000 or visit www.colonytheatre.org.
Thousand Oaks Goes Legally Blonde
Elle Woods is going to Harvard, and making her Thousand Oaks and regional professional debut, as Legally Blonde: The Musical takes the stage at the Civic Arts Plaza July 19 – 28. This funny and heartwarming story of the college student who fights for her dignity, and finds herself along the way, has been turned from a popular movie into a bubbly and energetic Broadway show. It features music & lyrics by Laurence O’Keefe and Nell Benjamin, and a book by Heather Hach, U.C.L.A. student, Emma Degerstedt [pictured above], who starred in the original production of Thirteen at the Mark Taper Forum, plays Elle, and she’s joined by Matt Bauer as Emmett, John D. LeMay as Professor Callahan, and Lowe Taylor as Paulette. Natalie Storrs co-stars as Vivienne. Recreating the choreography of Jerry Mitchell is director Tiffany Engen, who performed in the Broadway and National Tours of Legally Blonde. She will be joined by musical director Darryl Archibald. A post-show discussion will follow the Saturday, July 20th, 2pm performance and a signed performance for the deaf and hard-of-hearing will take place on the Friday, July 26th performance. For more information and tickets, visit www.cabrillomusictheatre.com.
Ryan Black’s 88’s is back at Don’t Tell Mama, every Wednesday beginning May 15th at 8pm. There is no cover charge and seats may be reserved with a dinner reservation by calling (323) 380-7209, or you can reserve online HERE. Singers featured at this performance include Brandon Alameda, Aaron Beaumont, Gina Coconato, Robin De Lano, Laura Dickinson, Emma Fitzpatrick, Shelly Goldstein, William Martinez, Rene Millan, Sarah Jane Nelson, Katrina Parker, Kristin Towers Rowles, Vanessa Stewart, Rena Strober, and Shannon Warne. Open mic after the show so bring your music and you can sing too. For more information visit www.facebook.com/RyanBlacks88s.
Hanistarot and Son of Semele will present the world premiere of Starcrosser’s Cut, a new play written and directed by Joseph Tepperman, with a score by composer David Dominique. Performing Dominique’s contemporary impressionistic score are Leah Harmon on accordion, Sammi Lee on flute, Heather Lockie on viola, and Alex Noice on guitar. The cast features Shawn Lockie as Lisa and Tom Colitt as Camuso. Inspired by true events, Starcrosser’s Cut is an inner-space detective story, a cassette symphony in the tradition of Krap’s Last Tape, and an indictment of the nihilism of the U.S. Space Program. Performances will be held at Son of Semele Theater, 3301 Beverly Blvd, Los Angeles, June 6 – 16.
In 2007, after driving nine hundred miles in an attempt to murder her romantic rival, astronaut Lisa Nowak was arrested. Based loosely on the real-life transcript of Nowak’s police interview, a character known only as “Lisa” listens back to the tape, re-enacts her interview with the detective, and attempts to re-record it all. Through a labyrinth of tape edits and revisions within revisions, Starcrosser’s Cut takes an unflinching look at the “crimes that are ours to do.” Seating is general admission and tickets are available now at www.starcrosserscut.com.
The Los Angeles Drama Critics Circle has elected new officers for its 2013-2014 term. Terry Morgan (laist.com) will serve as president, Bob Verini (artsinla.com; variety.com) will take on the duties of vice president and secretary, Sharon Perlmutter (talkinbroadway.com) will fill the post of awards chair, Hoyt Hilsman (huffingtonpost.com) will fulfill the office of treasurer and Deborah Klugman (laweekly.com) has been chosen as web content editor. The LADCC, now in its forty-fourth year, is a nonprofit organization dedicated to excellence in theatrical criticism and to the encouragement and improvement of theatre in Greater Los Angeles. Further information about the Circle, articles by members and details of the annual LADCC Awards may be accessed at www.ladramacriticscircle.com.
Bend in the Road, the new musical comedy that premiered at the Carrie Hamilton Theatre at the Pasadena Playhouse in 2012 has been selected to appear at the New York Musical Theatre Festival (NYMF) this summer. Based on the classic novel Anne of Green Gables, it centers on young Anne Shirley, an orphan who is mistakenly adopted by siblings Marilla and Matthew Cuthbert. Although they had hoped for a boy to help with their Avonlea farm, Anne’s joyous, intelligent and vivacious spirit changes the lives of all those around her. Written by Benita Scheckel (book & lyrics) and Michael Upward (music & lyrics), the musical will play five performances only, July 18 – 28 at PTC Performance Space, 555 West 42nd Street (between Tenth & Eleventh Ave.) The cast will be headed by Alison Woods as Anne Shirley, under the direction of Benjamin Endsley Klein. www.BendInTheRoadMusical.com
Search for a Twitter Composer Competition
This came in from one of our musical theatre pals across the pond: “I wonder if you’re aware of the Search for a Twitter Composer run by @westendproducer that helps to encourage new musicals. I’m entering my musical Footsteps to the Moon and I'd be grateful if you would vote for me, Rod Anderson, at: http://bit.ly/18ogaaE. You can hear the songs on SoundCloud Here. If you like them, I'd be delighted if you could share with your friends. Thanks so much.” Rod Anderson @footsteps_moon www.westendproducer.co.uk. Good luck Rod and all!
For more Musicals in LA news:
Become a Fan on Facebook
Follow Musicals in LA on Twitter
Click Here to return to home page
Labels: cabrillo music theatre, colony theatre, ladcc, ryan black, son of semele