Monday, June 30, 2014
Review: Ghost the Musical at the Hollywood Pantages
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| Steven Grant Douglas and Katie Postotnik. Photos by Joan Marcus |
While there is no formula for success, the creative team of every new musical holds its breath to see if they have put together a theatrical experience that audiences will respond to and ultimately love. The cast, the crew, the writers and everyone involved pray that the outcome will be worthy of their long hours and hard work, and that the result will, at least in part, do justice to the story. I’m sure that was the intention with Ghost the Musical but an unfortunate combination of elements prevents this musical from soaring and more than once left me wondering, “What were they thinking?”
Helmed by Tony Award-winning director Matthew Warchus (Matilda, God of Carnage, Boeing-Boeing) and adapted for the stage by Bruce Joel Rubin (book & lyrics), who wrote the screenplay for Ghost, along with original music & lyrics by Dave Stewart of the Eurythmics and Glen Ballard (Michael Jackson’s Man in the Mirror, Alanis Morissette’s Jagged Little Pill), it’s hard to believe that so many poor choices could be made in one musical.
To begin with, I question whether this film should ever have ever been adapted for the stage because, in all honesty, I don’t believe the character of Molly Jensen would sing. Even at the height of her pain, she’s a quietly strong kind of internal character that Demi Moore brought to life with incredible pathos in the film. She said more with her stillness and with one look than this disastrous version of Molly Jensen (played by Katie Postotnik) does in the entire show. Postotnik storms around the stage like a football player trying so hard to be earnest that all she does is look and sound uncomfortable.
It doesn’t help that the producers have cast Steven Grant Douglas as Sam Wheat, the other half of one of the most romantic film couples to come out of the ‘90s and played by Patrick Swayze with such heartbreaking honesty that a generation of women fell in love with him. But no one is falling in love with Douglas, who is completely unlikable to the point that one wonders what Postotnik sees in him. The mechanics of the relationship are there but they have no chemistry. At all. And their songs are the kind you’d hear on American Idol, full of power belting and riddled with angst but minus any real feeling.
Granted, the writers don’t make it easy for them. For example, how can you create the steamy sensuality of the scene at the pottery wheel when, in this stage version, Sam is already dead? And when Molly asks Sam over dinner why he never says “I love you,” their resulting song “Three Little Words” is a frustrating, whiny clash of opinions that doesn’t allow the audience to see that these two people really do love each other. Rather, it feels like that uncomfortable couple you see in a restaurant that you know is fighting and you wonder why they went out at all.
Other puzzling choices:
-- Choreographer Ashley Wallen’s embarrassing Fame-gone-wrong choreography, often in business suits, that sticks out like a sore thumb and makes the dancers look as awkward as they must feel
-- An angry over-the-top Subway Ghost (Brandon Curry) who screams through all of his scenes such that you can’t understand him. When he finally sings about how to move an object, it is with the regrettable lyric “You’ve got to take all the hatred, take all the fear / Shove them in your gut, shove them down here / Your love and desire, it’s like you’re on fire / And let them implode like you’re ready to explode…”
-- A hospital scene in which a trio of inane and unbelievable ghosts informs Sam he’s dead
-- Continually flashing lights in the audience’s face to cover ghostly appearances and disappearances
Stewart, the best thing about this production, makes Oda Mae a fun, ballsy big-voiced character who steals the show with her comic timing and a dynamite fantasy number “I’m Outta Here” featuring a terrific orchestra made up of local and touring musicians led by musical director Matthew Smedal.
There are also more magical effects in this show than I’ve ever seen before, many of which are spectacular and worthy of a musical about ghosts. [Effects are designed by illusionist Paul Kieve with the help of Jon Driscoll (video & projection design), Hugh Vanstone (lighting design) and Bobby Aitken (sound design).]
Not all of them work (the choice to show a spirit leaving the body by walking horizontally up toward the sky is silly, and the musical could have ended 30 seconds earlier without the final dissolve, which is also a bit silly) but when they do, they are breathtaking to the point of overshadowing the story. It’s like seeing a combination film and stage show transposed on top of each other with so many moving parts that the result feels like an over-stimulated, at times discordant mix of mediums. What’s missing is the simple romantic story about the enduring power of love that transcends all. That is the real magic.
GHOST THE MUSICAL
June 27 - July 12, 2014
Hollywood Pantages
6233 Hollywood Blvd.
Los Angeles, CA 90028
www.hollywoodpantages.com
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Stewart, the best thing about this production, makes Oda Mae a fun, ballsy big-voiced character who steals the show with her comic timing and a dynamite fantasy number “I’m Outta Here” featuring a terrific orchestra made up of local and touring musicians led by musical director Matthew Smedal.
There are also more magical effects in this show than I’ve ever seen before, many of which are spectacular and worthy of a musical about ghosts. [Effects are designed by illusionist Paul Kieve with the help of Jon Driscoll (video & projection design), Hugh Vanstone (lighting design) and Bobby Aitken (sound design).]
Not all of them work (the choice to show a spirit leaving the body by walking horizontally up toward the sky is silly, and the musical could have ended 30 seconds earlier without the final dissolve, which is also a bit silly) but when they do, they are breathtaking to the point of overshadowing the story. It’s like seeing a combination film and stage show transposed on top of each other with so many moving parts that the result feels like an over-stimulated, at times discordant mix of mediums. What’s missing is the simple romantic story about the enduring power of love that transcends all. That is the real magic.
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| L-R: Nicole Turner, Carla R. Stewart, Evette Maria White and Hana Freeman |
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| Robby Hal Tiwanger and the cast |
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| Katie Postotnik and Steve Grant Douglas |
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| The cast of Ghost the Musical |
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| Katie Postotnik and the cast of Ghost the Musical |
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| Carla R. Stewart and Steven Grant Douglas |
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| Steven Grant Douglas and Katie Postotnik |
GHOST THE MUSICAL
June 27 - July 12, 2014
Hollywood Pantages
6233 Hollywood Blvd.
Los Angeles, CA 90028
www.hollywoodpantages.com
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Labels: pantages
Friday, June 27, 2014
Review: The Werewolves of Hollywood Blvd Rocks the Fringe
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| L-R: David Haverty, Kyle Nudo, Leigh Wulff and Michael Shaw Fisher. Photos by Terra Espinosa |
I have to say…I really loved this crazy new rock musical. In my book, it’s the kind of show that embodies all that is best about the Fringe, with its unconventional characters, sly direction (by Aaron Lyons), pert choreography (by Michelle LaVon), and wicked twist on a relevant message. The musical balances broad comedy with a subtler kind of humor that sometimes takes an extra beat to sink in before you can fully appreciate it, so listen closely to the dialogue and the lyrics and you won’t be left behind.
The Werewolves of Hollywood Blvd is a collaboration between Michael Shaw Fisher (book & lyrics) and Michael Teoli (music & additional lyrics) with the Orgasmico Theatre Company, the same folks who brought Fringe favorites Exorcistic and Doomsday Cabaret to the festival in previous years. If you know their style, you know that this is a company that does everything full out and can deliver a punch line like nobody’s business. This show is no exception.
What I loved most about Fisher’s treatment of the story is that it has an underlying impish quality that bubbles throughout. The subject matter may be dark but the execution is playful and a helluva lot of fun. Plus, Teoli’s score is complex, electrically-charged, and filled with recurring character motifs and well-placed reprises that make the songs familiar quickly. He also has a way of hiding subtle melodic phrases that linger within a particular song, just for a moment, and if you can catch them before the music moves on, they’ll make you smile in recognition – dissonant Mary Poppins anyone?
Like the song says, “We’re all a little damnable…” especially those who scheme to get ahead in Tinseltown, and Werewolves takes a satiric look at the tipping point of one Hollywood agent (Kyle Nudo well-cast as Lawson Grace) who veers over the edge when his world spins out of control after losing his job. Now on the skids, he revisits a film script he had previously discarded and becomes swept up in the lives of three historical “werewolves” who come to life as he reads the story.
In flashbacks we see Peter Stump (David Haverty), Jacques Roulet (Michael Shaw Fisher), and Joana of Tarcouca (Leigh Wulff) tell of their pain, their sacrifices, and their difficult choices, and we see their increasingly mesmerizing effect on Grace as they urge him to release his own inner wolf. Haverty blazes through Stump’s inner struggle and Teoli’s music with a calculated charismatic intensity that never disappoints while Wulff’s warm alto voice adds a plaintive richness to her sad Slavic tale. Fisher’s fearlessly comedic Frenchman, with his horrible teeth, bawdy behavior, and hair-trigger responses, is absolutely riveting.
Jesse Merlin once again proves that funny is his middle name, this time bringing Lawson’s oddball boss, JP Governs, a devotee of Vlad the Impaler, to quirky life. Jim Hanna goes mental, Laura L. Thomas oozes Succubus sex appeal and Sarah Chaney returns as the reigning queen of the deadpan delivery. Alex Lewis and Hannah Johnson add a dose of hipster energy and Marc Jablon makes his own eccentric contributions to the comedy.
Those who like a solid rock musical with plenty of big sound will also find much to get excited about in Werewolves. Even from behind the set, Teoli’s 4-piece band owns plenty of stage time and makes a big impact on the production.
Not merely the raging rocker you might expect, this original musical contains more than meets the eye, but you’ve got to let it carry you away. Go with it and you’ll have a great time. Check it out and see for yourself.
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| L-R: Michael Shaw Fisher, David and Leigh Wulff |
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| Kyle Nudo and Leigh Wulff |
THE WEREWOLVES OF HOLLYWOOD BLVD
Remaining performances: June 28 at 4:45 pm and 11:55 pm
Orgasmico Theatre Company
Theatre Asylum (Lillian Theatre)
6320 Santa Monica Blvd
Los Angeles, CA 90028
http://hff14.org/1507
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Labels: hollywood fringe
Thursday, June 26, 2014
Musical News for Thursday, June 26, 2014
Hi Everyone, I'm back from a little R&R and catching up on all the latest happenings around town. Check out these great upcoming shows.
The cast also includes Yorke G. Fryer, Chante Carmel, Jacquelin Schofield, Will North, Ernest Williams, Caitlin Gallogly, Joshua Leduc, Sequoia Houston, Stephanie Martin and Courtney Turner. Music and lyrics are by Padgelek, who also co-wrote the musical’s book with director Tom Coleman. Musical arrangements are by Teresa Ruiz and Bryan Shaw, musical director is Jeff Bonhiver, and choreography is by Ali North. July 26 – Aug. 31. Tickets: (323) 960-7787 or www.plays411.com/visionary.
The Ojai Playwrights Conference announces its 17th Summer New Works Festival which will take place over two weekends from August 2 through 10. Opening night, August 2, will feature Two Dynamic Duos – One Musical Night during which composers, lyricists, book writers and singers will offer a rare opportunity to peer behind the scenes into the creative process of making musical theatre. Walt Disney Imagineering, Creative Entertainment curates this evening of uplifting entertainment and lively discourse from two dynamic duos. Alan Zachary and Michael Weiner, collaborators on musical film, theatre, television and animated projects, have created projects for divisions of the Walt Disney Company around the globe. Their original romantic comedy musical, First Date, opened last year on Broadway at the Longacre Theatre. Brendan Milburn and Valerie Vigoda have teamed up on Sleeping Beauty Wakes, Toy Story: The Musical, Long Story Short, Midsummer Night and Wheelhouse. They come to Ojai after the acclaimed world premiere of their newest musical, Ernest Shackleton Loves Me, at the Seattle Rep. For a complete schedule of events call (805) 640-0400 or go to www.ojaiplays.org.
CONCERTS/CABARET: Rockwell Table & Stage presents Christina Bianco in her Los Angeles debut of Diva Moments! Tuesday June 24th and Sunday June 29th at 8pm. Drama Desk Award nominated singer, actress and impressionist Christina Bianco has become a worldwide YouTube sensation with her diva impression videos going viral. Her hit show Diva Moments is made up of songs that made divas out of the women who sang them. From Barbra Streisand to Celine Dion to Britney Spears, no celebrity is safe! Christina will perform these iconic songs in her own voice, as well as impersonating the great divas themselves. Musical direction by Michael Orland. Tickets and info: http://rockwell-la.com/.
Chris Isaacson Presents has announced a one-night-only concert event Broadway Under the Stars at the John Anson Ford Amphitheatre on Saturday, Aug. 16 at 8pm. The show will star Tony Award-winner Jennifer Holliday and will also feature Erich Bergen (Jersey Boys, stage and film), Rogelio Douglas, Jr. (In the Heights), Danny Gurwin (Little Women) and Tony Award-nominee Chad Kimball (Memphis) David Galligan will direct, and the music director is Gerald Sternbach. Broadway Under the Stars will feature songs from some of the most beloved musicals of our time, including Cabaret, Jersey Boys, Pippin, The Phantom of the Opera, Chicago, Les Misérables, and Wicked, along with new favorites from the 2013-14 Broadway season including Aladdin, Rocky, Hedwig and the Angry Inch, and A Gentleman’s Guide to Love and Murder. Purchase tickets by August 2 and save $5! Discount tickets are available by calling (323) 461-3673 or at www.FordTheatres.org.
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Wednesday, June 18, 2014
Musical News for Wednesday, June 18, 2014
The new comedy review Don’t Leave it all to your Children has been extended through June 29 at the Whitefire Theatre. Written, directed and produced by Saul Ilson, it stars Barbara Minkus, John Shull, Kit Smythe, and Kenny Ellis. Sundays at 2:00 pm at The Whitefire Theatre, 13500 Ventura Blvd., Sherman Oaks, CA 91423. Reservations: (800) 838-3006 or www.brownpapertickets.com/event/526560
FILM: Pop culture phenomenon A Hard Day’s Night opens nationwide July 4th in a 50th Anniversary Re-Release, with a state of the art digital restoration from the 35mm original camera negative, and new sound mix approved by sound producer Giles Martin. The final result was approved by director Richard Lester, and is in its original theatrical aspect radio of 1.75:1. This exuberant classic will screen in Los Angeles at The Cinefamily, July 4 – 10.
Just one month after they exploded onto the U.S. scene with their Ed Sullivan appearance, John, Paul, George, and Ringo began working on a project that would bring their revolutionary talent to the big screen. A Hard Day's Night, in which the bandmates play wily, exuberant versions of themselves, captured the astonishing moment when they officially became the singular, irreverent idols of their generation and changed music forever. Directed with raucous, anything-goes verve by Richard Lester, it features a slew of iconic pop anthems, including the title track, “Can't Buy Me Love,” “I Should Have Known Better,” and “If I Fell.” For more info go to http://janusfilms.com/harddaysnight
Kritzerland Goes Off Broadway on Sunday July 6th at 7:00 pm. The show stars Brennley Brown, Kim Huber, Madison Claire Parks, Jenna Lea Rosen, Sami Staitman, Robert Yacko with special guest Jason Graae and music director John Boswell at the piano. Sterling’s at The Federal. 5303 Lankershim Blvd., North Hollywood, CA 91601. Reservations: 818 754-8700.
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Monday, June 16, 2014
Review: Blood, Guts and Classic Troubie Mayhem in ABBAMEMNON
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| Matt Walker, Katherine Donahoe, Monica Schneider and Rick Batalla. Photos by Chelsea Sutton. |
After a particularly long laundry list of names in which Helen of Troy jumps out as the only familiar one, Chorus Leader Rob Nagle says in a completely deadpan voice, “Don’t worry… that’s the last name you’ll recognize tonight,” and everyone bursts into laughter. More than one person in the audience had already been wondering if they’d be able to follow the story in this Aggamemnon meets ABBA invention and, with that one statement, he made sure loyal fans knew the Troubies had their backs.
Turns out it doesn’t matter if you know your Greek classics or not because this latest Troubie original takes on the task of explaining and recapping the characters and story as it goes along. No audience member is left behind when it comes to these hilarious shows so you can relax and enjoy the view…unless you come late, like the woman who sat next to me found out. I can vouch for the fact that she wasn’t a plant because she was really sweet, completely embarrassed, and had no idea they were going to sing an entire song dedicated to putting her on the spot. Ah the joy of being a first-timer.
A Troubie pre-show is always unique and this time around it starts off as a photo op with masked guards posing for pictures like they had been relocated from Hollywood Boulevard, “photo op” sign and all. They are initially placed strategically around the imposing set, which has been designed with quite a bit of flair by Morgan Rusler and beautifully lit by Jeremy Pivnick. The whole effect is quite dramatic, especially with the addition of Robert Arturo Ramirez’s rich atmospheric sound design. It all makes a striking welcome into the world of the play.
Also part of the set-up is ABBA’s classic “Take a Chance on Me,” which becomes a pre-show pee song, and a killer rock overture featuring musical director Eric Heinly on drums with a band that blows this show out of the water. His musicians include Kevin McCourt (keyboards), Linda Taylor (guitar), Dana Decker (bass) and Ginger Murphy & Jon Drovoza (cello).
Familiar ABBA hits and lesser known songs get reworked lyrically, as is the norm, and Heinly turns each arrangement into a showpiece even before the singers, choreography and everything else, is added in. The opening number is a rousing upbeat version of “Mamma Mia” which scans perfectly as “ABBA-memnon” and we’re off to the chariot races.
If you do remember your Greeks from theatre history class, you’ll see that Abbamemnon actually follows the usual structure of a Greek tragedy which will help you organize the scenes somewhat in your head. If you don’t, it basically means that you’re in for a prologue that sets everything up followed by a series of alternating story episodes and chorus commentaries before a final exit scene wraps up the play.
Beth Kennedy takes on prologue duties as a Watchman whose floating head rises up from a Malibu lifeguard tower like the Great Pumpkin. (Yes, ancient Greece is now Malibu for the purpose of this story which provides the opportunity to add jokes and insert numerous local references). Sporting several blacked out teeth, and dressed in an ancient skull cap and peasant rags she is the funniest person on the stage every time she appears, even if she is just watching what is going on. She also has a natural gift for the classical and delivers the brief sections of text that have been retained magnificently.
Throughout subsequent scenes we meet the rest of the beautiful, athletic, virile characters and hear of their adventures. “Dancing Queen” introduces Abbamemnon (Matt Walker) and his sexy wife Clytemnestra (Monica Schneider) during the decadence that preceded the 10-year Trojan War. In his absence she will take a lover – paging Rick Batalla to aisle 3 where the mustache glue is sold – and when Abbamemnon returns ten years later he will bring with him a slave named Cassandra (Katherine Donahoe). She has been given the gift of prophecy by the gods but no one believes her which makes the perfect lead-in to ABBA’s “Cassandra” accompanied by a chorus of dancers in white.
There’s plenty of comedy at war’s expense, including a Herald (Joseph Keane) who tells of the battlefield and those who were slaughtered by the spear. Incidenatally, he brings his spear with him since it is still sticking out of the front and back of his body. Walker expertly sings and dances his way through orgies and battles in real time and slow motion. He is a vicious and imposing figure who wears some of the most realistic bloody makeup to hit a Troubie stage, yet he isn’t above calling a foul when Batalla found himself tongue-tied in a late play. These moments are what the audience lives for and always end up being great fun to watch.
This is one of the strongest productions to date with terrific performances and the kind of delightful theatrical elements that make a Troubie show a real one-of-a-kind experience. Giant belly-laughing puppet heads that look like the theatre critics from The Muppet Show, shadow play, a working chariot, Molly Alvarez’s outstanding choreography, Darrin Revitz as the sacrificed innocent daughter, Jason Turner’s eye candy version of Menelaus, Rick Batalla’s punch lines, Rob Nagle’s touching dramatic work, Sharon McGunigle’s combination of ’80s glam and ancient Greek garb…it all adds up to a winning production.
Wisdom may come from suffering but comedy comes from The Troubies and this latest hilarious reveal from the kings and queens of funny is just what you need to pump up the volume on your summer fun meter. It’s a must-see, so go!
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| Monica Schneider, Rick Batalla and Suzanne Jolie Narbonne |
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| Beth Kennedy as a Watchman |
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| Joseph Keane as Harold the Herald |
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| Darrin Revitz and Matt Walker |
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| Monica Schneider and the cast of Abbamemnon |
ABBAMEMNON
June 6 - July 13, 2014
Troubadour Theatre Company at
The Falcon Theatre
4252 Riverside Drive
Burbank, CA 91505.
Tickets: (818) 955-8101
www.FalconTheatre.com
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Labels: troubies. falcon theatre