Wednesday, October 14, 2015
Review: CARRIE The Killer Musical Experience - Still Killing It at the Los Angeles Theatre
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| Emily Lopez as Carrie White. All photos by Jason Niedle |
Where you sit will make a big difference in the kind of experience you will have at Carrie the Killer Musical Experience. Aptly renamed from its earlier revival at La Mirada Theatre for the Performing Arts where it was known as Carrie the Musical, it has now been adapted for a larger space with added seats and a pre-show opportunity to wander the historic Los Angeles Theatre for spooky photo ops in various locations extracted from the show. The shower stall with blood-stained graffiti, a distressed locker room, and deserted prom auditorium with remnants of decorations all add to the creep factor of staging a horror musical in a worn, but still stunning, 1930s movie palace. You can almost feel the ghosts peering out of the corners.
Much like it was configured at La Mirada, the audience is seated on bleacher-style benches that surround the stage on three sides. Four pods of movable bleachers at the front of those sections rotate in various ways throughout the performance giving audience members the intimate immersive experience everyone is raving about. And it’s true. While the seats are pricey, they are entirely worth it for how involved you’ll be with the characters. It’s always the experience you remember later anyway, not the souvenirs or things that end up shoved into a drawer.
We go to the theater to have an experience. THIS is the Los Angeles theatre experience of a lifetime.
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| Misty Cotton and Emily Lopez |
Sit here and you’ll feel Carrie’s pain and embarrassment as your own. You’ll feel how Chris’s atrocious behavior will make your blood boil. And you’ll feel the dysfunctional relationship between mother and daughter with a horror that sits in the pit of your stomach.
By contrast, the stationary bleachers do not allow you to feel like part of the experience in the same way. If you sit in the first two rows of the side sections you’ll have sight line issues and won’t be able to see over the pods when they close in on the actors in several critical scenes, including the opening shower scene. (Plus, on the house left section you’ll have to contend with generator noise). Choose seats higher up on the sides or anywhere in the middle section for a better overall view.
This is also one show for which you’ll want to arrive early because that’s where you’ll get the other half of the immersive experience. Wandering around the Los Angeles Theatre is one of the great perks of buying a ticket. Plus, you’ll be part of history. This is the first time a live theatre production has been staged in what was once a lavish film venue that premiered the likes of Charlie Chaplin’s City Lights. It’s creepy and wonderful, unsettling and fantastic, just like Carrie.
The well-cast ensemble – most of them returning from the La Mirada production – continues to throw everything they have into their performances. Emily Lopez’s (Carrie) evolution from mousy outcast to winsome prom queen to raging retaliator has grown and expanded much like the production itself, and Misty Cotton, as her mother Margaret, owns every inch of that 499 seat theater. Alone on the stage singing “When There’s No One,” she focuses enough energy in the intense stillness to compel every eye with only the sound of her voice, and she holds it for an entire song. I dare you to look away.
In expanding the production for the larger space, director Brady Schwind has added effects, enhanced the supernatural element, and continued to evolve its many moving parts. Since this was not my first experience with Carrie, some of the audacious staging didn’t have the same element of surprise as it did initially, but no matter. The work is still astonishing and, if this is your first time seeing Carrie, you’ll be blown away.
Even the design team has moved in to the Los Angeles Theatre and adapted to the unusual space with considerable ingenuity (Stephen Gifford - scenic design, Cricket S. Myers - sound design, Jim Steinmeyer - illusions, Paul Ruben - flying sequences, Adriana Lambarri - costumes and Brian Gale - lighting & projections).
In fact, Gale’s lighting reveal in the second Act is the stunner of the night. Capitalizing on the theater’s cavernous upper reaches, he spills glitter ball splendor over the entire audience in a single breathtaking moment. It caught me completely off guard and was absolutely stunning. I don’t think I’ll ever forget it.
As for the rest, my previous review still applies so I have included it below the photos. There’s nothing else to say but go!
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| Emily Lopez and Misty Cotton |
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| Garrett Marshall and Valerie Rose Curiel |
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| The Company of CARRIE the Musical |
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| Jon Robert Hall (center) and Kayla Parker (balcony) |
October 1 - November 22, 2015
Los Angeles Theatre
615 S. Broadway
Los Angeles, CA 90014
Tickets: (888) 596-1027 or
www.ExperienceCarrie.com
Thursday, March 19, 2015
Review: Third Time's a Charm for CARRIE THE MUSICAL
Twice before, producers have attempted to bring Stephen King’s horror novel, Carrie, to the stage but were met with less than positive results. The musical’s first U.S. production played an embarrassing16 previews and 5 performances on Broadway before it was shuttered and a 2012 revival Off-Broadway closed early after only a month of performances and disappointing sales.
But, as they say, third time’s a charm, and director Brady Schwind’s immersive vision of Lawrence D. Cohen (book), Dean Pitchford (lyrics), and Michael Gore’s (music) musical has resurrected this phoenix from the dead in a way that will thrill audiences and finally give it the life the creators always hoped it would have. Yes, in La Mirada Theatre’s production, blood drops, Jesus flies, and an electric cast brings the fires of hell to life in an unforgettable intimately experiential setting.You’ll be sorry if you miss it so get your tickets now.
That setting (creatively envisioned by Stephen Gifford) is one in which the audience is placed on stage right up against the action. There are stationary bleacher units as well as movable pods that continually revolve to create a changeable playing area. We were seated in one of the four moving sections that put us very close to the actors and I highly suggest choosing those if you can. (They are the red A Level sections when you go to buy tickets). They give you a unique perspective on the story, especially when the space closes in around the students in an almost stifling way.
You’re there in the shower with Carrie huddled naked on the floor, and you’re there in the gym when Chris refuses to apologize for her actions. You can feel the slap before Margaret throws her daughter in the closet, and when Carrie begins to experiment with her telekinetic abilities, you can feel the power surge in the shadowy room. Gifford’s a problem-solver from the word go and this show certainly presented logistical challenges. His big reveal at the prom is so effective the audience around me gasped.
It’s also a brave production, thanks to the glorious debut performance of Emily Lopez as Carrie and that of music theatre veteran Misty Cotton as her mother, Margaret. Neither one shies away from the vulnerability required of them, nor do they tiptoe around their dysfunctional relationship. Lopez has a lovely lyrical singing voice and a naïve subtlety that works beautifully for her socially disadvantaged character while Cotton poignantly reveals the obsessions of a bible-thumping mother deathly afraid of being alone. Few can do a song like “When There’s No One” true justice and Cotton’s tour de force performance turns it into a visceral showstopper.
Kayla Parker, excellent as good girl Sue Snell, narrates the events leading up to the fatal prom and realizes too late that “Once You See” you can never un-see what your actions have done. A brash Valerie Rose Curiel leads the charge for revenge as the vicious Chris whose taunts show how damaging bullying can be (and how damaged many teens really are). Her motto is to strike first before you’re struck and with her jerk of a boyfriend Billy in tow (played by a physically intimidating Garrett Marshall) she plots her payback. Jenelle Lynn Randall nails the humor and attitude of PE teacher Miss Gardner.
Vibrant choreography by Lee Martino captures the angst of youth with its percussive moves and sharp energy. Musically the production has real impact due to the way music director Brian P. Kennedy matches the specificity of a character’s personality to his or her musical style. Miniature speakers mounted in front of the movable audience pods are a great solution to making the sound work and designer Cricket Myers also pulls a few surprises out of her bag of tricks to accompany the special effects designed by illusionist Jim Steinmeyer and Paul Rubin (responsible for the flying sequences).
From the cast to the creative team to the cult status previously established, this is a show with so much going for it yet its success really begins and ends with the director. Were it not for Brady Schwind and his vision, this wouldn’t be nearly the exciting event that it is and colleagues from around the country wouldn’t be calling and emailing me to see what it was like. I kid you not – this IS an event…and the rest of the country wants it. If you’re in LA, get in on it now.
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Labels: Los Angeles Theatre
Wednesday, March 4, 2015
Interview: Misty Cotton Takes on the Mother of all Mothers in CARRIE THE MUSICAL
A day off from rehearsals gave Misty a chance to catch her breath and tell us a little about her road to Carrie and what it’s like stepping into this iconic role.
It was a pretty normal audition situation however my first time auditioning for this creative team was about a year and a half ago when they were first going to produce it. Then I got called in for it when this co-production with La Mirada was seeing people. Interestingly though, I had auditioned for the Off-Broadway production after having worked with the director Stafford Arima on Miss Saigon at Sacramento Music Circus. He thought I was right for it and had me come to N.Y. and audition. So I have been aware of this new version and the material for a while.
Carrie is based on Stephen King’s well-known horror novel and even if people don’t know the musical they definitely know the Brian de Palma film with Sissy Spacek and Piper Laurie (who was downright scary!) Does that present any specific challenges for you in creating your version of the character?
Piper is not only scary but genius in the role! It earned her an academy award nomination. I actually had the pleasure of working with her last winter on a production of A Little Night Music at The Ensemble Theatre Company in Santa Barbara. She’s an amazing lady and is really looking forward to seeing this production. The biggest challenge is coming to terms with the fact that this can’t be like the movie. The role is written differently for the musical and many of what would be dialogue scenes for me are now songs. There’s actually one scene where it’s a bit of a hybrid of two scenes in the film. The roles in the movie have become so iconic that the challenge is to make the role my own with what is written for the musical. People shouldn’t expect to see the movie on stage. That being said, the hashtag for the show is #experiencecarrie so they are sure to experience things that they only can in this live version.
The show deals with all kinds of high school issues: bullying, peer pressure, religion, suppression… How does this revival handle them, and are they all secondary to the fact that it is a “horror” story?
From what I understand, in the 2012 Off-Broadway production they really shone a light on the bullying aspect of the story. I have been able to watch some of the scenes with Carrie being bullied and it is just heartbreaking. It gives the story a conscience and heart. I’ve always felt Carrie was so much more than a horror story. To me it’s more a psychological thriller dealing with many issues.
Would you talk a little about the style of music in this revival? Does it lean more toward rock or does it vary based on who is singing?
I wouldn’t call the music rock but more pop. At least some of it. Magaret’s music is very different stylistically compared to what the high school kids sing. She is in a different world so it makes sense that her music would reflect that. I really love listening to this score. I mean look at the pedigree of the award winning creators [Michael Gore and Dean Pitchford]. They know how to write a song!
Other than the obvious, why did you want to be part of the show?
It just isn’t every day you get to play a character like this. It isn’t every day you get to have the lyricist, Dean Pitchford, come to rehearsal and give you firsthand gems of why something was written and how you can use it. It’s a show that has musical theatre cult status and is making its Los Angeles Premiere so that doesn’t happen every day either. This show hadn’t been licensed for over 25 years since it closed on Broadway so this amazing character of Margaret has not only been a coveted role, but one not played by many. I am so grateful to have the opportunity to do so.
What has been the biggest surprise for you as you’ve gotten further into rehearsals?
Margaret’s got to be in shape! The first number out of the gate really is a heart rate raiser. I guess the creative team told the director Brady Schwind to make sure he cast a Margaret who could handle physicality. I’m answering this while I’m at the gym on a treadmill.
By the way, do you like scary stories?
I do like scary stories. I tend to like more psychological horror than blood and guts. But that can be fun too.
* * * * * * * * *
Music by Michael Gore, Lyrics by Dean Pitchford
Book by Lawrence D. Cohen
Based on the Classic Horror Novel by Stephen King
Directed by Brady Schwind
Cast: Emily Lopez as Carrie White, Misty Cotton as Margaret White, with Kayla Parker (Sue Snell), Jon Robert Hall (Tommy Ross), Valerie Rose Curiel (Chris Hargensen), Jenelle Lynn Randall (Miss Gardner), Garrett Marshall (Billy Nolan), Bryan Dobson (Mr. Stephens and Reverend Bliss), Michael Starr (George Dawson), Adante Carter (Dale “Stokes” Ullman), Ian Littleworth (Freddy “The Beak” Holt), Kimberly Ann Steele (Helen Shyres), Rachel Farr (Norma Watson), Teya Patt (Frieda Jason) and Carly Bracco, Lyle Colby Mackston, Kevin Patrick Doherty, Chris Meissner and Amy Segal.
The creative team includes Stephen Gifford (set), Adriana Lambarri (costumes), Brian Gale (lights), Cricket S. Myers (sound), Jim Steinmeyer (illusion design), Brian Kennedy (music director/conductor), Adam Wachter (music supervisor), Michael Donovan (casting), and Buck Mason (general manager). The Production Stage Manager is Heidi Westrom.
Carrie the Musical is produced by La Mirada Theatre for the Performing Arts (Brian Kite, Producing Artistic Director), Bruce Robert Harris and Jack W. Batman, and The Transfer Group; Associate Producers: Joe Everett Michaels, Robb Nanus, Lisa Reich, Jane Lynch.
Performance Dates: March 12 - April 5, 2015 with opening night set for Wednesday, March 18 at 8:30 pm. Tickets are available at www.lamiradatheatre.com or by calling the box office at (562) 944-9801 or (714) 994-6310. Student and Senior discounts are available. For more information on the production, visit www.experiencecarrie.com.
La Mirada Theatre for the Performing Arts is located at 14900 La Mirada Blvd. 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
Friday, February 27, 2015
Inteview: Emily Lopez Turns up the Heat for CARRIE THE MUSICAL
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| Emily Lopez in rehearsal for Carrie the Musical Photo by Ann B. Taylor |
One of the most highly anticipated productions in LA is the upcoming revival of Carrie the Musical opening March 18 at La Mirada Theatre for the Performing Arts. Word has it that the performance will take place all over the theater in what will be a truly immersive experience. Based on the unforgettable Stephen King horror novel, the revival reunites the original creative team: bookwriter Lawrence D. Cohen (screenwriter of the classic film) who has revised the book, lyricist Dean Pitchford (Fame, Footloose), and composer Michael Gore (Fame, Terms of Endearment). Carrie has always been the kind of story that prompts a strong reaction. People who love it, really love it. As for those of us in the musical theatre community - we can’t wait to see what happens at this high school prom.
Today we get a first look at the actress playing the title character, Emily Lopez, as she talks about high school, auditioning for Carrie, and that blue prom dress.
Everyone has horror stories from high school and in some way I think we can all identify with Carrie. What do you bring to the role from your high school experience?
The most terrifying thing about high school for me was that there was no way out. You really just had to grin and bear it. I consider myself very lucky because I had the opportunity to graduate early so I could focus on music and theater full time. Most teenagers only have two worlds to exist in - home and school. That’s horrific enough without any pig’s blood or telekinesis. My high school literally had barbed wire on the fences, so I’m not exaggerating when I say I felt like a prisoner.
I heard you broke into your high school to record your audition. Is that true and where did the idea come from?
Were you familiar with the musical or the film before these auditions came up? Why did you want to be part of the show?
I auditioned for the show at the open call two years ago, but I ran out of gas on the way and had $1.35 in my bank account. I called my mom sobbing, telling her I knew that this was a sign that I shouldn’t go and it was time for me to give up and try something else. She calmed me down, sent me some money for gas and food, then before she hung up she told me that if I believe in what I’m doing and never give up on it, it will eventually work out one way or another. I wanted to do Carrie because I feel that the cast, crew and creative team are all living proof that my mother was right. There is a tangible feeling in the air that we are all in the right place at the right time.
What do you love most about working on it?
This is the most challenging project I’ve ever worked on. Musically, emotionally, every aspect is unrelenting in what it’s asking of the cast. I can’t get enough of it. I’ve always said that I love doing theater because I love playing pretend, but this is so much more than that. It’s completely immersive so it’s more like living the story than pretending it. I feel so lucky to get to be a part of this.
It sounds like you’re prepared for this moment.
I grew up doing Community Theater and continued to perform, audition, and work in theater locally in the Inland Empire. I’ve been fortunate enough to always find myself surrounded by an incredibly supportive community of artists, friends, and out of the box thinkers. There are so many amazing directors, musicians, writers, and actors in the San Bernardino/Riverside area. I consider everything I learned and gained from working and collaborating with those artists I’ve known to be my true experience more than the roles I’ve played.
* * * * * * * * *
Music by Michael Gore, Lyrics by Dean Pitchford
Book by Lawrence D. Cohen
Based on the Classic Horror Novel by Stephen King
Directed by Brady Schwind
Cast: Emily Lopez as Carrie White, Misty Cotton as Margaret White, with Kayla Parker (Sue Snell), Jon Robert Hall (Tommy Ross), Valerie Rose Curiel (Chris Hargensen), Jenelle Lynn Randall (Miss Gardner), Garrett Marshall (Billy Nolan), Bryan Dobson (Mr. Stephens and Reverend Bliss), Michael Starr (George Dawson), Adante Carter (Dale “Stokes” Ullman), Ian Littleworth (Freddy “The Beak” Holt), Kimberly Ann Steele (Helen Shyres), Rachel Farr (Norma Watson), Teya Patt (Frieda Jason) and Carly Bracco, Lyle Colby Mackston, Kevin Patrick Doherty, Chris Meissner and Amy Segal.
Performance Dates: March 12 – April 5, 2015 with opening night set for Wednesday, March 18 at 8:30 pm. Tickets are available at www.lamiradatheatre.com or by calling the box office at (562) 944-9801 or (714) 994-6310. Student and Senior discounts are available. For more information on the production, visit www.experiencecarrie.com.
La Mirada Theatre for the Performing Arts is located at 14900 La Mirada Blvd. 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
Thursday, March 19, 2015
Review: Third Time's a Charm for CARRIE THE MUSICAL
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| Emily Lopez as Carrie. All photos (c) 2015 Jason Niedle |
Twice before, producers have attempted to bring Stephen King’s horror novel, Carrie, to the stage but were met with less than positive results. The musical’s first U.S. production played an embarrassing16 previews and 5 performances on Broadway before it was shuttered and a 2012 revival Off-Broadway closed early after only a month of performances and disappointing sales.
But, as they say, third time’s a charm, and director Brady Schwind’s immersive vision of Lawrence D. Cohen (book), Dean Pitchford (lyrics), and Michael Gore’s (music) musical has resurrected this phoenix from the dead in a way that will thrill audiences and finally give it the life the creators always hoped it would have. Yes, in La Mirada Theatre’s production, blood drops, Jesus flies, and an electric cast brings the fires of hell to life in an unforgettable intimately experiential setting.You’ll be sorry if you miss it so get your tickets now.
That setting (creatively envisioned by Stephen Gifford) is one in which the audience is placed on stage right up against the action. There are stationary bleacher units as well as movable pods that continually revolve to create a changeable playing area. We were seated in one of the four moving sections that put us very close to the actors and I highly suggest choosing those if you can. (They are the red A Level sections when you go to buy tickets). They give you a unique perspective on the story, especially when the space closes in around the students in an almost stifling way.
You’re there in the shower with Carrie huddled naked on the floor, and you’re there in the gym when Chris refuses to apologize for her actions. You can feel the slap before Margaret throws her daughter in the closet, and when Carrie begins to experiment with her telekinetic abilities, you can feel the power surge in the shadowy room. Gifford’s a problem-solver from the word go and this show certainly presented logistical challenges. His big reveal at the prom is so effective the audience around me gasped.
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| Emily Lopez and Misty Cotton |
It’s also a brave production, thanks to the glorious debut performance of Emily Lopez as Carrie and that of music theatre veteran Misty Cotton as her mother, Margaret. Neither one shies away from the vulnerability required of them, nor do they tiptoe around their dysfunctional relationship. Lopez has a lovely lyrical singing voice and a naïve subtlety that works beautifully for her socially disadvantaged character while Cotton poignantly reveals the obsessions of a bible-thumping mother deathly afraid of being alone. Few can do a song like “When There’s No One” true justice and Cotton’s tour de force performance turns it into a visceral showstopper.
Kayla Parker, excellent as good girl Sue Snell, narrates the events leading up to the fatal prom and realizes too late that “Once You See” you can never un-see what your actions have done. A brash Valerie Rose Curiel leads the charge for revenge as the vicious Chris whose taunts show how damaging bullying can be (and how damaged many teens really are). Her motto is to strike first before you’re struck and with her jerk of a boyfriend Billy in tow (played by a physically intimidating Garrett Marshall) she plots her payback. Jenelle Lynn Randall nails the humor and attitude of PE teacher Miss Gardner.
Vibrant choreography by Lee Martino captures the angst of youth with its percussive moves and sharp energy. Musically the production has real impact due to the way music director Brian P. Kennedy matches the specificity of a character’s personality to his or her musical style. Miniature speakers mounted in front of the movable audience pods are a great solution to making the sound work and designer Cricket Myers also pulls a few surprises out of her bag of tricks to accompany the special effects designed by illusionist Jim Steinmeyer and Paul Rubin (responsible for the flying sequences).
From the cast to the creative team to the cult status previously established, this is a show with so much going for it yet its success really begins and ends with the director. Were it not for Brady Schwind and his vision, this wouldn’t be nearly the exciting event that it is and colleagues from around the country wouldn’t be calling and emailing me to see what it was like. I kid you not – this IS an event…and the rest of the country wants it. If you’re in LA, get in on it now.
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| Valerie Rose Curiel (center) with the cast of Carrie |
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| The cast of Carrie the Musical surrounded by the audience |
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Labels: Carrie the Musical, la mirada theatre
Tuesday, April 15, 2014
La Mirada Theatre Announces 2014-2015 Season
GOOD PEOPLE
Sept. 19 - Oct. 12, 2014
By David Lindsay-Abaire, Directed by Jeff Maynard
LATE NITE CATECHISM: Las Vegas SISTER ROLLS THE DICE
Oct. 24 – Nov. 16, 2014
By Maripat Donovan, Directed by Marc Silvia
BILLY ELLIOT
Jan. 16 – Feb. 8, 2015
Book & Lyrics by Lee Hall & Elton John, Music by Elton John
Directed by Brian Kite, Choreography by Dana Solimando
Set in a northern mining town, against the background of the 1984 miners’ strike, this is the inspirational story of a young boy’s struggle against the odds to make his dream come true.
Jane Austen’s PRIDE AND PREJUDICE: A Musical
April 17 – May 10, 2015
Book, Music and Lyrics by Lindsay Warren Baker & Amanda Jacobs
Directed by Igor Goldin. Choreography by Jeffrey Denman
In this musical, which was the runaway hit of the New York Musical Theatre festival, the love story of Elizabeth Bennet and Mr. Darcy comes to life when Jane Austen and her sister Cassandra revisit “First Impressions,” an earlier version of the beloved novel. As Austen makes changes, the Austen sisters must learn to see both the story and each other in a new light.
MARY POPPINS
May 29 – June 21, 2015
Original Music and Lyrics by Richard M. Sherman and Robert B. Sherman
Book by Julian Fellowes
New Songs and Additional Music & Lyrics by George Stiles and Anthony Drewe
Co-created by Cameron Mackintosh
Directed by Glenn Casale. Choreography by Dan Mojica
Based on the books by P.L. Travers and the classic Walt Disney film, Mary Poppins includes a score filled with timeless classics such as “Feed the Birds,” “Jolly Holiday,” “Step in Time” and the Academy Award®-winning “Chim-Chim Cher-ee.” Young Jane and Michael have sent many a nanny packing before Mary Poppins arrives on their doorstep. Using a combination of magic and common sense, she must teach the family how to value each other again.
BONUS Event:
CARRIE THE MUSICAL
March 12 – April 5, 2015
Music by Michael Gore, Lyrics by Dean Pitchford
Book by Lawrence D. Cohen
Based on the Classic Horror Novel by Stephen King
Directed by Brady Schwind
Twenty-five years after its spellbinding premiere shocked critics and audiences from London to New York, Carrie, the most legendary Broadway musical of all time, comes to Los Angeles. A misfit at school, terrorized by her holier-than-thou mother at home, 17 year-old Carrie White, nonetheless, has a secret. And when a prank at the high school prom goes horribly wrong, they’ll all find out just how scary a secret can be...outrageous, controversial and completely thrilling, Carrie comes to L.A. in a blazing new ONSTAGE immersive production.
Special BONUS Event:
BALLROOM WITH A TWIST: March 1, 2015 – 2pm & 8pm
So you can’t get your fill of Dancing with the Stars, American Idol, and So You Think You Can Dance? Take your obsession with live talent-based reality TV shows to the next level. The show will feature a frenzy of sizzling dance spanning the hot moves of samba, waltz, foxtrot, quickstep, jive, hip-hop and contemporary mixed with several of your favorite American Idol finalists and their powerhouse hit songs.
Special Two Performances Only:
AMY GRANT, with optional special VIP reception with Amy
May 23, 2015 – 2pm & 8pm
Amy Grant became the first artist in Christian music to have a platinum record and went on to become a crossover sensation, her musical gifts transcending genre boundaries to make her a household name.
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Tuesday, July 29, 2014
Musical News for Tuesday July 29, 2014
Someone is killing off the Drama Club of Vera Miles High School, everyone is a suspect and you decide who the killer is. Combining a slasher movie plot with a rock ‘n roll score, pop-culture humor and an homage to classic horror film clichés, Scary Musical has all the elements of your favorite “Scary Movies” with an added twist – the teenagers sing and dance – before, during and sometimes after getting killed! The setting is the quiet coastal village of Hidden Secrets, USA. On the night before the opening of the Vera Miles High School Drama Dept’s production of Scary Musical The Musical a brutal double murder takes place. We soon learn that a Crazy Mental patient has escaped from the Hidden Secrets Psychiatric Hospital and all “musical” HELL is about to break loose. Ticket: (818) 508-7101 x 6 or www.nohoace.com.
Upright Citizens Brigade Theatre in Hollywood will present Quick & Funny Musicals, three brand new short musicals, on August 2nd at 10:00 pm in an evening of. They are: Gwyneth Paltrow’s Nightmare. We all know that the GOOP is a super woman BUT what is Gwyneth Paltrow afraid of? This musical will explore the depths of Gwynnie’s soul, while not at all making fun of her penchant for lording her superiority. Catfish: The Musical. Can Nev & Max sing? Is the man on the internet who refuses to meet up a total creeper troll? Find out in the newest edition of Catfish (the musical!). Understudies: The Musical. The intrigue, the sabotage, ever wonder what goes on back stage? And what the heck even happens in Wicked? Does anyone know?
The Company includes Rachel Bloom, Kathryn Burns, Nate Clark, Kimmy Gatewood, Jackie Johnson, Henry Kaiser, Jessica Reiner-Harris, Zach ReinoTony Rodriguez and Ben Siemon. Writers: The Company, Fiona Landers, Richie Root, Steve Szlaga. Quick & Funny Musicals are directed and produced by Lindsay Lefler. Tickets are $10. Upright Citizens Brigade Theatre, 5919 Franklin Avenue in Hollywood. Reservations: http://losangeles.ucbtheatre.com/shows/view/2159
Hair, by Gerome Ragni & James Rado (book & lyrics) and Galt MacDermot (music) comes to the Hollywood Bowl August 1 – 3, directed and choreographed by Adam Shankman. The cast includes Kristen Bell (Sheila), Sarah Hyland (Chrissy), Mario (Hud), Hunter Parrish, (Claude), Jonah Platt, (Woof), Amber Riley, (Dionne), Jenna Ushkowitz, (Jeanie), Benjamin Walker, (Berger), Beverly D'Angelo, (Mom), and Kevin Chamberlin, (Dad). From its stunning Broadway premiere in 1968, Hair defined the “rock musical,” exuberantly celebrating hippie counterculture, the anti-war movement and, of course, the sexual revolution of the 1960s with a rainbow score of hits – including “Aquarius,” “Good Morning Starshine,” and “Easy to be Hard.” Let down your long, beautiful hair, pull out the tie-dye and come celebrate. Tickets: www.hollywoodbowl.com/tickets/hair/2014-08-01
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The new national tour of Menopause The Musical® opens on Wednesday, September 17 at the Laguna Playhouse. (There will be one preview on Tuesday, September 16 and the show runs through September 28.) Now celebrating 13 years of female empowerment through hilarious musical comedy, Menopause The Musical® has evolved as a “grassroots” movement of women who deal with life adjustments after 40 by embracing each other and the road ahead. Set in a department store, four women meet by chance while shopping for a black lace bra at a lingerie sale. After noticing unmistakable similarities among one another, the all-female cast jokes about their woeful hot flashes, mood swings, wrinkles, weight gain and much more. These women form a sisterhood and unique bond with the entire audience as they rejoice in celebrating that menopause is no longer “The Silent Passage.” Laguna Playhouse, 606 Laguna Canyon Road in Laguna Beach. www.lagunaplayhouse.com
EXTENDED: The Old Globe has additional performances of Stephen Sondheim and James Lapine’s Tony Award-winning musical Into the Woods, which made its world premiere at The Old Globe in 1986. The production is an inventive reimagining by Fiasco Theater, directed by Noah Brody and Ben Steinfeld, in a production that originated at McCarter Theatre Center. By popular demand, it will now play through Sunday, August 17. www.theoldglobe.org
AUDITIONS: Kentwood Players will hold open auditions for Into the Woods on Saturday, September 13, 2014 from 11am-3pm and on Sunday, September 14 from 6-10pm. Callbacks will be held on Monday, September 15 from 7:30-10pm. Auditions and performances take place at the Westchester Playhouse, located at 8301 Hindry Avenue, Westchester, CA 90045. For complete audition details go to www.kentwoodplayers.org.
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Labels: chromolume theatre, hollywood bowl, kentwood players, laguna playhouse, noho ace, old globe, pasadena playhouse, upright citizen's brigade
Sunday, September 9, 2012
Upcoming Family-Friendly Musicals
Sing-A-Long Sound of Music - Hollywood Bowl
The Halloween Show, a world premiere interactive musical for children is coming to the Sierra Madre Playhouse September 29 – November 3. Written and directed by June Chandler, it features a cast that includes Hal Sweesy as C.B. DeMan, Barbara D’Antonio as The Black Cat, Michael Evans as Gerald Giant, Donna Ieraci as Gracie Ghost, Joyce Sindel as Wendy Witch, Helen Frederick as Scarlett Skeleton, and Steve Cipriani as The Invisible Man. Important Hollywood director C.B. DeMan is casting roles for his big new Halloween Show. There’s a problem: The ghost, skeleton, witch, giant, black cat and invisible man who live in the Playhouse are scared of being scary. The solution: Have the audience members show them how it’s done.
The musical provides opportunities for children in the audience to participate from their seats or, when called upon, to join the actors on stage. Audience members are encouraged to wear their costumes and bring their cameras. Kids will also be able to participate in the Skeleton Dance which you can preview on YouTube. The October 13 performance includes American Sign Language interpretation for the hearing impaired. For reservations call (626) 355-4318 or visit www.sierramadreplayhouse.org. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd., Sierra Madre, CA 91024.
On October 6th, Theatre West’s Storybook Theatre will open Hansel and Gretel, an interactive musical featuring book by Lloyd J. Schwartz, music & lyrics by Hope and Laurence Juber, and directed by Elliot Kevin Schwartz. Storybook Theatre presents its popular musical about the brother and sister who leave home, follow bread crumbs through the theatre, meet a funny witch and a wacky bird, have all kinds of adventures, and along the way learn that no matter what trouble you are in, it’s never a good idea to run away. Oct. 6, 2102 - March 2, 2013 Saturdays at 1pm at Theatre West, 3333 Cahuenga Blvd. West, in Los Angeles, 90068. Tickets are $12 for adults, $10 for children. For reservations call (818) 761-2203 or go to www.theatrewest.org.
Steve Blanchard returns as The Grinch in The Old Globe’s annual holiday musical Dr. Seuss’ How the Grinch Stole Christmas! Drected by James Vásquez with book and lyrics by Timothy Mason and music by Mel Marvin, it will run on the Donald and Darlene Shiley Stage in the Old Globe Theatre, November 17 - December 29. Opening night is Nov. 23 at 7pm. Blanchard reprises his role as The Grinch, which he played last year in his Globe debut. He has appeared on Broadway in Beauty and the Beast, Camelot, The Three Musketeers and A Christmas Carol. Single tickets for Dr. Seuss’ How the Grinch Stole Christmas! are now on sale at www.TheOldGlobe.org. The Globe will present an autism-friendly performance on Saturday, Dec. 15 at 10:30 am and the annual Christmas Tree Lighting will take place on Nov. 18 at 6pm.
The brand new holiday musical, A Christmas Story, The Musical, opening November 5th on Broadway is looking for a young boy to play the iconic role of Ralphie and is accepting submissions through September 16 online. As the Broadway-bound production prepares to launch a 2012 holiday engagement, the show’s producers invite young performers to submit their audition Here. Casting directors are seeking submissions from boys who can play 10-11, who are under 4’11”, excellent singers with unchanged voices, who act. They must be comfortable on stage, bright, and real. They are looking for a boy who is a regular kid, with enormous talent. Click Here for more details on the search.
Bend in the Road, a new family musical based on Anne of Green Gables, has been set for a limited engagement at the Carrie Hamilton Theatre (upstairs at The Pasadena Playhouse) in Pasadena. Written by Benita Scheckel and Michael Upward, and directed by Scheckel, Bend in the Road will run September 14 – October 7, with opening night set for Saturday, September 15 at 7:00. Click Here for tickets or call (626) 344-8846. The Carrie Hamilton Theatre is located upstairs at The Pasadena Playhouse, 39 S. El Molino Avenue, in Pasadena, 91101.
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Labels: old globe, sierra madre playhouse, theatre west