Saturday, December 17, 2011
The Old Globe premieres Burt Bacharach's SOME LOVERS
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| The cast of Some Lovers Photos by Henry DiRocco |
There’s no mistaking the sound of Burt Bacharach’s classic pop songs in Some Lovers now premiering at The Old Globe in San Diego. Co-written by Bacharach and Spring Awakening’s Steven Sater, the world premiere musical is reminiscent of his distinct style of the ‘60s and ‘70s, a period that marked Bacharach’s collaboration with longtime lyricist Hal David. Those early hits like “Walk On By,” “What the World Needs Now is Love,” and “I’ll Never Fall in Love Again” dominated the radio and created the everlasting sound of an easy listening generation, while exploring the many facets of love and romance. They are at once timeless and yet still etched in the past.
But no matter how beautiful or lyrical the melodies are in Some Lovers - and there are many - because we’ve been here before, the piece feels much like its own ‘ghost of Christmas past.’ The musical familiarity that might be excused on songs reflecting the lighter side of love feels more than a little out of place when used to underscore angrier sentiments. Ben’s “A Thousand Things that Were You” and Molly’s “Just Walk Away” are two that are guilty of such treatment, though Michelle Duffy sings her eleven o’clock number with such heated passion that it still remains a high point of the evening.
Based loosely based on O. Henry’s The Gift of the Magi, the story finds Ben (Jason Danieley) and Molly (Duffy), old lovers still filled with regret at the loss of their relationship, drawn back together by a phone call on Christmas Eve. She’s about to lose her apartment and move out of New York City, and he has been unable to find the success as a songwriter he so desperately dreamed of as a young man.
Enter their younger, more innocent selves (Andrew Mueller and Jenni Barber), who use this as a last opportunity to remind them that in the beginning they were happy and if they would only be honest with each other, they could be again. The trip down memory lane meanders through a few of their best, and many of the worst, moments of their relationship as they ponder, for a second time, whether they really are still meant to be together. But since we only see them in the most generalized kind of ‘that was then, this is now’ story line, we miss any growth the two might have achieved in their years apart, and ultimately don’t really care if they get together again.
It isn’t for lack of trying on the actors’ part however. They make the most of what little character development they have to work with, and each finds ways to add what interest he or she can, though the task of the older lovers is somewhat more daunting. In director Will Frears’ staging in the round, all four actors remain on stage alternately participating in or watching their other selves recreate the past and present. And there’s a lot of watching…with wistfulness, or sadness, or disdain…a lot of watching that may evoke feelings from the lovers but ultimately leaves the audience feeling empty.
Ben Stanton’s lighting design sections off the playing areas with elegant, moody pools of light, stunning against the twin black and white baby grand pianos, (set design by Takeshi Kata), but the mirror ball is a confusing distraction. Lon Hoyt and his eight-piece orchestra are hidden below the stage.
The world according to Burt Bacharach will always be one in which a love song, be it bitter or sweet, rings out to speed the passage of time. For many, that in itself is reason enough to make the drive to San Diego to see Some Lovers. Some Lovers runs through December 31 at The Old Globe. Click Here for tickets and more information.
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Labels: old globe
Thursday, October 27, 2011
The Old Globe Announces Cast & Crew for SOME LOVERS
To create his first original stage musical since Promises, Promises (recently revived on Broadway), Bacharach has joined forces with Spring Awakening‘s Steven Sater to re-imagine the classic O. Henry Christmas tale The Gift of the Magi for today’s audiences. On Christmas Eve, estranged lovers Molly and Ben are haunted by the memory of happier times, and like the unforgettable melody of a favorite song, their memories conspire to bring them together again.
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| From left: Jason Danieley, Michelle Duffy, Burt Bacharach, Steven Sater, Jenni Barber, and Andrew Mueller. Photo by Henry DiRocco |
The cast of Some Lovers features Jenni Barber (Young Molly), who has appeared on New York stages in The 25th Annual Putnam County Spelling Bee, Sam Mendes’ Bridge Project, From Up Here and Cactus Flower; Jason Danieley (Ben), whose Broadway credits include Next to Normal, Curtains, Candide and The Full Monty; Michelle Duffy (Molly), who has originated roles in the world premieres of Leap of Faith, Continental Divide, An Italian Straw Hat and Mask; and Andrew Mueller (Young Ben), who recently appeared in the world premiere of For the Boys and received a Jeff Award for his work in Big River in Chicago.
The creative team includes Takeshi Kata (Scenic Design), Jenny Mannis (Costume Design), Ben Stanton (Lighting Design), Leon Rothenberg (Sound Design), Jonathan Tunick (Orchestrator), AnnMarie Milazzo (Vocal Designer), Jim Carnahan, CSA (Casting) and Matthew Silver (Stage Manager).
The Old Globe is located in San Diego’s Balboa Park at 1363 Old Globe Way. Free parking is available throughout the park. Valet parking is also available ($10). Click Here for tickets and information or call (619) 23-GLOBE.
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Labels: old globe
Thursday, May 5, 2011
The Old Globe Premieres Two New Musicals on 2011-12 Season
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Broadway cast of The Scottsboro Boys. Photo by Paul Kolnik |
The Old Globe’s 2011-2012 winter season will feature the world premieres of two new musicals: Some Lovers by Burt Bacharach and Steven Sater and Nobody Loves You by Gaby Alter and Itamar Moses, plus the world premieres of two new plays: Somewhere by Matthew Lopez and The Recommendation by Jonathan Caren.
Direct from Broadway, the season will also feature the west coast premieres of Kander and Ebb’s final musical, The Scottsboro Boys, nominated for 12 Tony Awards including Best Musical, directed and choreographed by five-time Tony Award winner Susan Stroman, and Horton Foote’s Dividing the Estate directed by Michael Wilson.
The Season also includes revivals of the The Rocky Horror Show and the Eugene O’Neill classic Anna Christie directed by Pulitzer Prize and Tony Award winner David Auburn, Dr. Seuss’ How the Grinch Stole Christmas! returning for its 14th consecutive year, and a special world premiere of Odyssey by Todd Almond, a music theater event conceived and directed by Lear deBessonet celebrating the Globe’s 75th Anniversary.
Tickets to the Globe’s 2011-12 Winter Season are currently available by subscription at http://www.theoldglobe.org/ or by calling (619) 23-GLOBE or by visiting the Box Office.
Show dates are as follows:
The Rocky Horror Show
September 15 – November 6, 2011
Book, Music and Lyrics by Richard O’Brien
Director: Oanh Nguyen, Artistic Director of the award-winning Chance Theater
Opening the 2011-12 season is the sweet transvestite from Transylvania, Dr. Frank N. Furter, and his time-warped laboratory of sexual and scientific possibilities.
Somewhere
September 24 – October 30, 2011
By Matthew Lopez
Director: Giovanna Sardelli
Lopez’s newest play, infused with dance, takes place in 1959 and tells the story of a family of dreamers whose home is scheduled for demolition to make way for the construction of Lincoln Center.
Dr. Seuss’ How the Grinch Stole Christmas!
November 19 – December 31, 2011
Book and Lyrics by Timothy Mason
Music by Mel Marvin
Director: James Vasquez
Everyone’s favorite green meanie returns in the delightful and heartwarming musical that has become a beloved San Diego holiday tradition.
Some Lovers
November 26 – December 31, 2011
Music by Burt Bacharach
Book and Lyrics by Steven Sater
Academy and Grammy Award-winning music legend Burt Bacharach teams with Tony Award winner Steven Sater (Spring Awakening) for the world premiere of a new musical based upon The Gift of the Magi, the classic O. Henry short story.
Dividing the Estate
January 14 – February 19, 2010
By Horton Foote
Director: Michael Wilson
A co-production with the Alley Theatre
Wilson, considered the foremost interpreter of Foote’s work, reunites with Dividing the Estate’s Broadway creative team and members of the cast to remount this modern classic.
The Recommendation
January 21 – February 26, 2012
By Jonathan Caren
Director: Jonathan Munby
A chance encounter with an accused felon puts the longtime friendship of two college roommates at risk in this world premiere play by Jonathan Caren, a recent graduate of the Playwrights Program at The Juilliard School and one of America’s exciting new theatrical voices.
To Be Announced
March 3 – April 8, 2012
An exciting production will be announced at a later date
Anna Christie
March 10 – April 15, 2011
By Eugene O’Neill
Director: David Auburn
Pulitzer Prize and Tony Award-winning playwright David Auburn (Proof) directs Eugene O’Neill’s poetic masterpiece about the knotty relationship between an old sailor, his daughter and her seafaring young lover.
The Scottsboro Boys
April 22 – June 3, 2012
Music and Lyrics by John Kander and Fred Ebb
Director/Choreographer: Susan Stroman
A co-production with American Conservatory Theater
Nominated for 12 Tony Awards including Best Musical, The Scottsboro Boys is the final collaboration by musical theater giants John Kander and Fred Ebb. This daring and entertaining new musical tells the shocking and inspiring true story of the notorious 1930s Scottsboro case in which nine African American men were unjustly accused of a terrible crime.
Nobody Loves You
May 2 – June 10, 2012
Music and Lyrics by Gaby Alter
Book and Lyrics by Itamar Moses
Director: Michelle Tattenbaum
A young grad student joins a reality television dating show to win back his ex-girlfriend and is instead seduced by fame in this irreverent new musical comedy about the search for real relationships in a pop culture that is anything but.
Special events include:
Odyssey
September 30, Oct 1 and 2, 2011
Conceived and directed by Lear deBessonet
Music, lyrics and book by Todd Almond
A special music theater event commissioned by The Old Globe in celebration of its 75th Anniversary, Odyssey is a reimagining of Homer’s epic poem performed by both professional artists and over 60 members of the San Diego community.
Twelfth Night
November 6 – 13, 2011
William Shakespeare
Director: Richard Seer
Presented by The Old Globe/University of San Diego Graduate Theatre Program.
The 2011 Summer Shakespeare Festival led by acclaimed director Adrian Noble. Noble will direct The Tempest (June 5 – Sept. 25) and Amadeus (June 12 – Sept. 22). Presented in repertory, the Festival will also include Much Ado About Nothing (May 29 – Sept. 24) directed by Ron Daniels. The Summer Season also includes Hershey Felder as George Gershwin Alone (July 1 – July 10) and Hershey Felder in Maestro: The Art of Leonard Bernstein (July 15 – Aug. 28) directed by Joel Zwick and Engaging Shaw (July 29 – Sept. 4), John Morogiello’s romantic comedy directed by Henry Wishcamper.
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Labels: old globe
Wednesday, January 28, 2015
MUSICAL NEWS for Wednesday, January 28, 2015
Producer/Director Janet Miller says that this production of Closer Than Ever is ideally timed as a prelude to the May opening of Maltby and Shire’s newest musical, Waterfall, which gears up for Broadway by having out-of-town try-out runs first at Pasadena Playhouse and then in Seattle. “Closer Than Ever isn’t done very often here in LA, so this is a special chance for musical theater fans to remind themselves of Maltby and Shire’s classic before Waterfall debuts this Spring. What’s special in our production is the chance to see some great performers in a very intimate setting--in what is probably one of the nicest rooms with the finest grand piano in the 99-seat theater scene. Our audience has a chance to really cozy up to Maltby and Shire’s material: a funny, poignant and slightly risqué portrait of how complicated things get as we all start to grow up.” The cast will include musical director Corey Hirsch (Guy at the Piano), Elizabeth Brackenbury (Elizabeth), Jessie Withers (Jessie), and Jordan Lamoureux (Guy Playing Bass).
As a part of their commitment to “good people doing good work,” the Company has also announced a special “Charity of Choice” performance of Closer Than Ever on Saturday, March 14 at 3:00 pm. 100% of the ticket proceeds from this performance will be donated to Los Angeles Habilitation House. www.lahabilitationhouse.org. Hollywood Piano is located at 323 North Front Street, Burbank, CA, 91502. Tickets are $25 for general admission and $12.50 for students and seniors. Tickets and more information: www.goodpeopletheaterco.org.
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| Christopher Gattellil |
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| Stephen Flaherty |
“In Your Arms is one of the most romantic shows I’ve ever come across, and I am happy and proud to bring it to San Diego audiences,” said artistic director Barry Edelstein. “Its creators are a staggeringly brilliant group of top-rank theatrical talent, and the Globe is honored to host them. Stephen Flaherty’s lush and beguiling music comes together with wildly imaginative scenarios by an unprecedented gathering of significant writers to express the many moods and varieties of love. And wizardly director-choreographer Christopher Gattelli weaves this diverse material together with a special magic: the potent and exuberant language of dance. I’m thrilled to open our new season with such a fresh, original, and moving show.”
The cast and full creative team for the world premiere at The Old Globe will be announced at a later date. www.theoldglobe.org
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Labels: good people theater company, old globe
Thursday, October 10, 2013
Review: The Last Goodbye Reignites Shakespeare's Doomed Lovers
**You know the story but spoilers ahead**
“Holy freak out, The Last Goodbye is hot! Dirty sexy and Jeff’s music suits it to a T.” That was my gut response and intermission tweet from the Old Globe on opening night. It was an hour into the re-mastered Romeo & Juliet story transformed by Jeff Buckley’s music into a heart-pounding, testosterone-driven assault on adolescence and love. Michael Kimmel’s adaptation may not have retained Mercutio’s famous Queen Mab speech (one of my favorites in the play), but he does give the character Buckley’s metal driven “Eternal Life” to end the first act after he dies. And that’s tradeoff enough for me.
Hale Appleman, who plays Mercutio, delivers the prophetic lyric with such charismatic defiance and raw vocal energy that you’re still trying to wrap your head around the fact that he’s singing this amazing rocker ode and the guy’s just died. You might even think you’d imagined it if you hadn’t seen him knifed before your eyes.
Kimmel continues to mess with death later at the tomb when Romeo (Jay Armstrong Johnson) thinks that Juliet (Talisa Friedman) is dead and drinks poison to join her. As Shakespeare wrote it, he dies, and when Juliet awakens to find him dead, she kills herself with his dagger.
But in Kimmel’s adaptation, Romeo drinks the poison, Juliet wakes up, and the two have a final scene together before he dies and she kills herself. It was so shocking and unexpected I could heard gasps from the audience when she sat up. It’s a bold departure from the story and I’d say that even if you know it’s coming, in the moment, it will still stun you.
Is that taking too much liberty with Shakespeare’s text? For some, maybe. But it feels somehow appropriate for this sexually-charged, not-so-subtle version of the tale. It’s an R&J that young people will flock to – some driven to see if the play can possibly contain Buckley’s music and meet his fans’ expectations; others because word of mouth will surely be strong. Let’s face it, sex sells, and this beautiful, sleek cast is a head-turning seductive bunch.
Propelled forward by Alex Timbers’ insistent staging, Sonya Tayeh’s explicit choreography and Kate Waters & Jacob Grigolia-Rosenbaum’s athletic fight sequences, the actors ride this story fast and hard, fully aware that the journey of these two star-crossed lovers will be cut short in a mere two hours’ time.
The look is part gothic romance, part 90s leather-clad underworld. The location is simply listed as Verona, sans time period. Within this vision, stone arches part to reveal an onstage band led by musical director Kris Kukal, with front man Adam Cochran channeling Buckley’s presence in the raging musical grid. But a solitary twang of his guitar in the musical soundscape offers just as much wracking emotion as any of the big numbers.
And what of Romeo and Juliet? Friedman and Johnson make a convincing pair, handling the text with resolute youthful intensity. Johnson also masters Buckley’s crazy vocal range, popping out falsetto riffs that ramp up Romeo’s tortured angst while paying homage to Buckley at the same time.
Yet it’s tricky, this melding of Shakespeare and Buckley. Some scenes transition between music and text beautifully but others lack finesse. Romeo and Juliet’s duets “All Flowers in Time” and “The Last Goodbye” are two examples of the former but Capulet (Daniel Oreskes) singing “Corpus Christi Carol” was a mismatch from the get-go. While it does serve to cover the scene change it’s odd that it’s sung by Juliet’s father; the same father who earlier jumps up and down in a temper tantrum like a gangster from the Bronx when Juliet refuses to marry Paris.
Tonye Patano also seems to be dropped in from another place and time, making the much abbreviated appearance of the nurse more reminiscent of the television sitcom maids of the second half of the twentieth century. Even Broadway veteran Stephen Bogardus falls into a sing-song version of Friar Laurence that feels a little too Mr. Musical to fit with the overall style of the show.
And though the end of act one left me on a high at intermission, The Last Goodbye’s second act could use another pass to smooth out its rough edges. Then the final “Halleluiah” would have the heartbreaking impact the show so obviously intends.
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| Jay Armstrong Johnson and Talisa Friedman Photos by Matthew Murphy |
“Holy freak out, The Last Goodbye is hot! Dirty sexy and Jeff’s music suits it to a T.” That was my gut response and intermission tweet from the Old Globe on opening night. It was an hour into the re-mastered Romeo & Juliet story transformed by Jeff Buckley’s music into a heart-pounding, testosterone-driven assault on adolescence and love. Michael Kimmel’s adaptation may not have retained Mercutio’s famous Queen Mab speech (one of my favorites in the play), but he does give the character Buckley’s metal driven “Eternal Life” to end the first act after he dies. And that’s tradeoff enough for me.
Hale Appleman, who plays Mercutio, delivers the prophetic lyric with such charismatic defiance and raw vocal energy that you’re still trying to wrap your head around the fact that he’s singing this amazing rocker ode and the guy’s just died. You might even think you’d imagined it if you hadn’t seen him knifed before your eyes.
 |
| Hale Appleman as Mercutio |
Kimmel continues to mess with death later at the tomb when Romeo (Jay Armstrong Johnson) thinks that Juliet (Talisa Friedman) is dead and drinks poison to join her. As Shakespeare wrote it, he dies, and when Juliet awakens to find him dead, she kills herself with his dagger.
But in Kimmel’s adaptation, Romeo drinks the poison, Juliet wakes up, and the two have a final scene together before he dies and she kills herself. It was so shocking and unexpected I could heard gasps from the audience when she sat up. It’s a bold departure from the story and I’d say that even if you know it’s coming, in the moment, it will still stun you.
Is that taking too much liberty with Shakespeare’s text? For some, maybe. But it feels somehow appropriate for this sexually-charged, not-so-subtle version of the tale. It’s an R&J that young people will flock to – some driven to see if the play can possibly contain Buckley’s music and meet his fans’ expectations; others because word of mouth will surely be strong. Let’s face it, sex sells, and this beautiful, sleek cast is a head-turning seductive bunch.
Propelled forward by Alex Timbers’ insistent staging, Sonya Tayeh’s explicit choreography and Kate Waters & Jacob Grigolia-Rosenbaum’s athletic fight sequences, the actors ride this story fast and hard, fully aware that the journey of these two star-crossed lovers will be cut short in a mere two hours’ time.
 |
| (foreground with swords, from left) Jeremy Woodard as Tybalt and Brandon Gill as Benvolio with the cast of The Last Goodbye |
The look is part gothic romance, part 90s leather-clad underworld. The location is simply listed as Verona, sans time period. Within this vision, stone arches part to reveal an onstage band led by musical director Kris Kukal, with front man Adam Cochran channeling Buckley’s presence in the raging musical grid. But a solitary twang of his guitar in the musical soundscape offers just as much wracking emotion as any of the big numbers.
And what of Romeo and Juliet? Friedman and Johnson make a convincing pair, handling the text with resolute youthful intensity. Johnson also masters Buckley’s crazy vocal range, popping out falsetto riffs that ramp up Romeo’s tortured angst while paying homage to Buckley at the same time.
Yet it’s tricky, this melding of Shakespeare and Buckley. Some scenes transition between music and text beautifully but others lack finesse. Romeo and Juliet’s duets “All Flowers in Time” and “The Last Goodbye” are two examples of the former but Capulet (Daniel Oreskes) singing “Corpus Christi Carol” was a mismatch from the get-go. While it does serve to cover the scene change it’s odd that it’s sung by Juliet’s father; the same father who earlier jumps up and down in a temper tantrum like a gangster from the Bronx when Juliet refuses to marry Paris.
Tonye Patano also seems to be dropped in from another place and time, making the much abbreviated appearance of the nurse more reminiscent of the television sitcom maids of the second half of the twentieth century. Even Broadway veteran Stephen Bogardus falls into a sing-song version of Friar Laurence that feels a little too Mr. Musical to fit with the overall style of the show.
And though the end of act one left me on a high at intermission, The Last Goodbye’s second act could use another pass to smooth out its rough edges. Then the final “Halleluiah” would have the heartbreaking impact the show so obviously intends.
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| The cast of The Last Goodbye |
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| Talisa Friendman and Jay Armstrong Johnson |
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| L-R: Bryan Scott Johnson (Montague), Wallace Smith (Prince) and Nancy Snow Carr (Lady Montague) |
THE LAST GOODBYE
Sept. 22 – Nov. 3, 2013
The Old Globe
1363 Old Globe Way in Balboa Park
San Diego, CA 92101
Tickets: (619) 23-GLOBE or www.theoldglobe.org
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The Old Globe
1363 Old Globe Way in Balboa Park
San Diego, CA 92101
Tickets: (619) 23-GLOBE or www.theoldglobe.org
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Labels: jeff buckley, old globe
Tuesday, May 20, 2014
Fringe Spotlight: ROCK & ROLL’S GREATEST LOVERS, a New Musical
It is the story of a love that changed the world and defined an era, featuring original music by Anzu Lawson and Joerg Stoeffel, book & lyrics by Anzu Lawson, and directed by Nell Teare.
Cast member Erin Muir (who plays Cynthia Lennon) says, “The musical originated in our acting studio, the Jocelyn Jones Studio, during which Anzu Lawson, the composer, did a photo exercise as Yoko Ono. We developed it over the course of two years and this is our first full production, outside of pieces and scenes presented in the studio. We love the high energy experience of the Fringe Festival and wanted our show to be part of this theater fever frenzy.
No one has ever done a project from Yoko’s point of view…that we know of. There was so much anger and hatred toward her, but all she (and she and John together as a couple) wanted for the world, was peace. When all the musicians in India got together to protest the violence against women, it was ‘Imagine’ they played on their guitars.
Some of the most important parts of John Lennon’s legacy have gotten lost in the frustration and anger of our times, and this project looks to remind the audience that LOVE was what John and Yoko stood for as a couple. And then again, Yoko Ono was, well…a little weird! Look for plenty of fascinatingly mad ideas in the show as well.
The music is all original, composed by Anzu Lawson, who was once a J-pop star and will be playing Yoko, plus we have an amazing cast and crew, including Tom Mesmer as John Lennon, John Griffin as Paul McCartney, Garon Joseph as George Harrison, William McKinney as Ringo Starr, Casey Hayden as Tony Cox, Carey Dunn, Jewel Greenberg, Lauren Poole, Rebecca Ocampo, Tia Robinson and Joseph Verdi. It’s going to be one hell of a ride.”
ROCK & ROLL’S GREATEST LOVERS
June 7, 13, 21, 29, 2014
Theatre Asylum (Lillian Theatre)
6320 Santa Monica Blvd in Hollywood
Tickets: $8
http://hff14.org/1800
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Labels: hollywood fringe
Thursday, July 10, 2014
Musical News for Thursday, July 10, 2014
Sierra Madre Playhouse has announced a new slate of shows to carry its programming into early 2015. Musicals will include A Little House Christmas adapted by James DeVita from the books by Laura Ingalls Wilder, directed by Emily Chase. (Nov. 28 - Dec. 28, 2014), Always…Patsy Cline by Ted Swindley, directed by Robert Marra (May 8- June 28, 2015) and Einstein is a Dummy, book & lyrics by Karen Zacarias, music by Deborah Wicks La Puma, directed by Mary Jo Duprey (Jan.16 – Feb. 28, 2015). As an adult, Albert Einstein changed our view of the universe. But as a boy, he struggled with the same issues any 12-year-old might—keeping up with violin lessons, impressing the girl next door and, oh yeah, comprehending the fundamental relationship of space and time to the speed of light, of course. As with last season’s Battledrum, the Playhouse is offering a musical entertainment that will appeal to an underserved youth audience as well as to its adult patrons. For a list of all the shows on their season, go to www.sierramadreplayhouse.org.
CONCERTS/CABARET: MISCAST: Right Singer, Wrong Song returns to Sterling’s Upstairs at the Federal, Monday, July 21st. Reservations: (818) 754-8700.
Following Next To Normal at Cabaret at the Merc is Spring Awakening on August 8 – 11, book & lyrics by Steven Sater, music by Duncan Sheik,musical direction by Cris O’Bryon, choreography by Evan D’Angeles and directed by J. Scott Lapp. The company includes Nick Eiter, Emily Chelsea, Austyn Myers, Lindsay Joan, Hayley Marian, Jonathan Sangster, Tyler Lenhart, A.J.Foggiano, Claire Keefer, Bailey Sonner, Zackary Scot Wolfe, Joseph Arreola and Katie Larsen. Tickets: (866) 653-8696 or www.CabaretAtTheMerc.com. The Merc in Temecula, 42051 Main St. Temecula, 92590.
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Labels: cabaret at the merc, hollywood fringe, la mirada theatre, pasadena playhouse, sierra madre playhouse, sterling's
Friday, October 24, 2014
MUSICAL NEWS for Friday, October 24, 2014
The cast includes Sean Smith (Sir), Alec Medlock (Cocky), Liam Daniels, Caitlin Gallogly, Marc Antonio Pritchett, Phil Biedron, Lola Michelle Brown, Tess Colley, Alexa Druyanoff, Langdon Janos, Vera Wheatley and Jenna Zuckerman. The Eclectic Company Theatre, 5312 Laurel Canyon Blvd. (between Chandler and Magnolia), Valley Village, CA 91607. Tickets: (818) 508-3003 or www.eclecticcompanytheatre.org
Pockets, created and performed by Darien Martus, will play the Hudson Mainstage Theatre Nov. 2 – Dec. 7 at 7:00 pm. The show is a one man, one piano musical of songs that reach into our pockets: what we carry in them, what we have with us all day, what’s important to us and maybe something of who we are, Hudson Mainstage Theatre 6539 Santa Monica Blvd Hollywood, CA 90038. Tickets: (323) 960-7712 or www.plays411.com/pockets.
This performance will include: Brendan Milburn and Valerie Vigoda with songs from Ernest Shackelton Loves Me, a New York-bound musical fresh from its critically acclaimed premiere at Seattle Rep and co-written with Tony winner Joe DiPietro; Rona Siddiqui and Liz Suggs with songs from One Good Day, which will receive a reading in NYC in November and was recently awarded ASCAP’s Mary Rodgers & Lorenz Hart Award; Ryann Ferguson and Steven Jamail with songs from Nicholas and Alexandra, which will open in Denver, Spring 2015; and Gregory Nabours with songs from Masque of the Red Death (co-written with Wendi Pini). A past Ovation award winner; in November, an evening of his work will be performed and broadcasted live from the Kennedy Center. Click Here for tickets. www.lafestival.org
Dancing in My Cockroach Killers, a play with music, is an explosive mix of text, visuals, and music based on the writings of award-winning poet & playwright Magdalena Gómez that will be part of the Encuentro 2014 Festival Oct. 31- Nov. 8. Based on selected works by Gómez, it is adapted for the stage and directed by Rosalba Rolón, presented by Pregones Theater and Puerto Rican Traveling Theater. The cast includes Sol Crespo, Shadia Fairuz, Jesús Martinez, Omar Pérez, Elise Santora and Rocky Vega, and musicians Desmar Guevara, Nicky Laboy and Bryan Vargas. Musical direction is by Desmar Guevara and choreography by Antonio Vargas. It will be performed in English with some Spanish phrases accompanied by English supertitles. Los Angeles Theatre Center, in the 499-seat Theatre 1, 514 S. Spring St., Los Angeles, CA 90013. Click Here for tickets or call (866) 811-4111.
EXTENDED: Re-Animator the Musical has been extended through Nov. 23 (www.trepanyhouse.org for tickets) and has also announced that it will play Las Vegas Jan. 6 - 18, 2015 at the Smith Center for the Performing Arts, 361 Symphony Park Ave., Las Vegas NV 89106. Tues.- Fri. at 8:00, Sat. and Sun. at 2:30 and 8:00. Click Here for tickets.
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