A Day Without Gays

America voted for its first African-American President. But opponents of full equality for another minority were also successful across the Nation.

It's time to take a stand for FULL EQUALITY for ALL AMERICANS, including the LGBT Community.

45 States ban gay marriage in some form.
30 states ban gay and lesbian employment protection
16 states are planning to ban gay adoptions and fostering.
Civil Unions are denied the 1100 Federal benefits of marriage.

Join us on December 10th, International Human Rights Day.

STRIKE - Take the day off, close your business, or call in sick (unless you may get fired because you are gay or lesbian).

BOYCOTT - Don't buy anything, spend money or support the economy.

PARTICIPATE - Don't stay home. To volunteer, petition or protest, go to www.adaywithoutgays.com.

(If you live in California, go to www.couragecampaign.org to find out how to help overturn Prop 8).

THIS IS ABOUT RAISING AWARENESS. A one-day strike/boycott is symbolic and will not have a huge impact. However, for millions of gay and lesbians, the current economic situation is made even worse without the rights and benefits of marriage or employment protection. Also, gay marriage would have brought $683 million and over 2200 jobs to CA in 3 years. If you really support America's economy, support Gay Marriage.

"The world only moves forward. We will be citizens! The time has come." - ANGELS IN AMERICA

"Prop 8 - The Musical" starring Jack Black, John C. Reilly, and many more... by Jack Black

Read more!

Planet Unicorn

a kate west favorite

"In the year 2117, an 8 year old gay boy named Shannon found a magic lamp. He was granted three wishes. The first, a fur jacket. The second, a flying car. The third, a planet full of unicorns. This is the story of that planet." [spoken] "A gay boy wished for a planet full of unicorns, planet unicorn, unicorn planet. Give it up for Feathers, oooh Cadillac, and Tom Cruise. Ohhh, planet unicorn, heyyy!" [sung]

So begins the hottest new video site online, featured on both NPR and in August's issue of TIME OUT, "Planet Unicorn". As the song above says, it's all about a planet full of unicorns (dig those crazy names too), wished into existence by an 8-year-old gay boy named Shannon. The fact that it appeals to children and adult alike is testament to the cleverness of its creators Mike Rose and Tyler Spiers, talented young comedic actors in Los Angeles. Now internationally known, the website has well over a million hits and has become a pop culture phenomenon. Thank you, You Tube!

It's pink, quirky, harmless fun, with childlike animation and simple dialogue. And it all works really well. Check it out now, and you too can be cooler than My Space.


Creators: Mike Rose and Tyler Spiers

Shannon: Mike Rose
Feathers: Drew Droege
Cadillac: Mike Rose
Tom Cruise: Tyler Spiers

Animation: Craig Morris and Robert Potter

Theme Song/Vocals: Mike Rose

Original Music: Ryan Elder

Shannon

Shannon is an 8-year-old gay boy. He found a magic lamp and wished for a planet full of unicorns.
He has a vivid imagination and likes to have fun.

Feathers

Feathers has a southern accent and a cowboy hat.
He's sassy and no-nonsense. He likes to have fun.

Cadillac

Cadillac is Hispanic and wears his mane in a pompadour.
He likes having the last word and he likes to have fun.

Tom Cruise

Tom Cruise likes to travel and is always up for a new adventure.
He likes to have fun.

http://www.planetunicorn.tv

Congratulations on your NewNowNext Award!!!
http://www.newnownext.com/2007/04/planet_unicorn_.html
Read more!

The Break Up Notebook

The Break Up Notebook: The Lesbian Musical
a kate west review
written by Patricia Cotter; music/lyrics by Lori Scarlett
directed by Sue Hamilton
at the Hudson Backstage, 6539 Santa Monica Blvd., L.A. 90038
contact (323) 960-5563 or www.plays411.com
running Friday and Saturday nights through February 2006 – EXTENDED!

The Hudson Backstage presents “The Break Up Notebook: The Lesbian Musical” which tells us that lesbians have the same relationship frustrations as the rest of us do. Who knew? Patricia Cotter wrote the original crowd-pleasing script of “The Break Up Notebook” back in 2002 (which was also nominated for a GLAAD award) and then turned it into a musical. While the first incarnation definitely had its charm, the new version works even better as a musical.

Helen (Heidi Godt) was just dumped by the love of her life and is slowly picking up the pieces, with the help of her well meaning but interfering friends. She makes all the classic mistakes we all do: she calls her ex, repeatedly hanging up, spies on her, asks all her friends about her, moans “why doesn’t she love me anymore?” and generally drives everybody nuts. To snap her out of her self-indulgence, her weary friends set her up on a series of disastrous dates. She finally meets someone she is excited about, but despite her friends’ warnings, goes way overboard, making her new love her whole world and refusing to see her faults. Thankfully, she achieves enough growth that she realizes she is better off alone than begging for scraps at the pathetic mercy of a selfish someone else.

Throughout this well-toned, well-timed production, Lori Scarlett (composer of the wildly popular “Sneaux!” local musical) accompanies Patricia Cotter’s witty dialogue with equally beguiling music and lyrics. One of the funniest moments in the show comes during one of Heidi’s many tedious dates, when the cast sings “It Takes A Nail”, mimicking embarrassing small talk (“Ex-girlfriend, la la la …”). “The Polynesian Dance” seems a bit overkill, although a sure-fire hit with the audience every time. In general though, the musical numbers are snappy, fun and clever. Director Sue Hamilton contributes greatly to the professional atmosphere, including smooth scene transitions and overall staging.

Heidi Godt as Helen is the perfect self-deprecating but still likeable protagonist and Patrick Bristow, is the perfect gay best friend Bob, playing silly and poignant at the exact right levels. Whitney Allen as Frances, the new love, was not a strong singer on opening night, but the rest of the cast is fine, including friends Monica and Joanie (Melody Butiu and Jacqueline Maloney) who are great fun as the couple about to go through a commitment ceremony. The whole show is delightfully entertaining and the truths are universal for everyone, straight and gay alike. Patricia Cotter could have given us a happy ending, but she doesn’t go for that cliché, giving us an open ended closing, so to speak, yet still managing to fill us with optimism. We applaud the heroine’s new found-confidence and we root for her (and our own) future success.

For further information, check out www.thebreakupnotebook.com. Read more!

Do You Fear What I Fear?

Do You Fear What I Fear?
a kate west review
written and performed by David Jahn
directed by Ian and Robert Tucker
at the Elephant Asylum Theatre
6322 Santa Monica Blvd. L.A. 90038
running Fridays, Saturdays & Sundays;
January 6 – February 12, 2006
contact (323) 960-4412 or www.plays411.com/fear; tix $18


David Jahn, alum of the famous Groundling troupe (www.groundlings.com), pulls off the amazing feat of gaining the audience’s sympathy even as they feel slightly uncomfortable in his riveting one-man show “Do You Fear What I Fear?” Originally premiering at the Groundlings Theatre, as part of a 30th anniversary celebration, the show now performs at the Elephant Asylum, not too far from its first location.

As in similar shows, Jahn bears his soul, confronting childhood fears while entertaining us at the same time. And he does such a marvelous job at it too. We watch him cope with his angst in many engaging ways: by always counting in “fours” as a child (which he constantly refers to throughout the show), by burying himself inside a prison of fear, escaping into the world of theater and finally learning how to be an adult in Los Angeles and in life.

During all this insight, Jahn is accompanied on keyboard piano as he bursts into song and dance at key points in the story. This contributes wonderfully to his character since his background actually is musical theater, another aspect he refers to in comic detail. Musical Director Cindy Warren sets this all up very well.

In one hour, Jahn deals with family, relationships and his homosexuality in a funny, wistful, endearing, enjoyable as well as mature way. He conquers his fear bravely (by mounting a public play, first of all), causing us to wonder what we are all so afraid of. Why can’t we approach a stranger at a party - what’s the worst that can happen? It’s nice to know we don’t suffer alone. For a one-act he covers a remarkable bit of ground. His show seems a little like a preview to a bigger revelation and it would be nice to see a longer version in the future. Hopefully, he will come up with a part two which would certainly be as well attended. As it is, it is definitely a show worth watching and one which will stay with you for a very long time. Read more!

Joni and Gina's Wedding

Joni and Gina’s Wedding
a kate west review
created by Marianne Basford & Ann Lippert; directed by Ann Lippert & David Pavao
at El Cid, 4212 Sunset Blvd. L.A. 90029; http://www.elcidla.com/index.htm
contact http://www.joniandginaswedding.com/; (323) 769-KISS (5477)
tix* $30 (includes dinner, champagne & cake)
running through December 2005 and may be extended 2006!

In the spirit of the semi-pretend-reality live show “Tony and Tina’s Wedding,” “Joni and Gina’s Wedding” is a lesbian version of its Italian-style predecessor. Patrons are the wedding guests who mingle with Hollywood actors posing as members of an eclectic wedding party.

You are escorted onto the cozy patio at El Cid, a trendy Spanish restaurant in trendy Silver Lake. There you can drink to your heart’s content at the full bar while you wait for the festivities to begin. Some cast members may venture out to greet you, including the Caterer Funqueesha (Brandi Hawkins) with a few appetizers for you, and MadDog (Jane Wolfe). By the time you’ve had a few cocktails in you, you’re introduced to the madcap members of the wedding party, by Rychard, honorary male maid of honor (Alex Garner) and you’re escorted into the banquet room for the marriage ceremony.

Ministress Pat Miass (S. Rachel Lovey) performs the “almost holy matrimony” for Joni and Gina (Lowe Taylor and Jessica Hopper). Interspersed throughout are wholly inappropriate comments by the pretend family members, which of course contribute to the hilarity of the proceedings. After the atypical ceremony, you’ll be escorted out onto the patio for more drinking and then the reception begins, along with the real fun. Dinner includes chicken, rice, salad and a champagne toast. And what a lot of toasts there are. The Best Woman, Maureen (Allie Rivenbark), bitterly remarks on her lost love, Gina, trying to goad Jodi into a catfight. Both sets of parents and siblings make speeches, the stereotypes continue and the sparks fly.

Bruce Cronander, in this performance, is General Armstrong, Gina’s waspish father and plays the stodgy, horrified military man rather well. Gina’s roguish brother Joe (Chris Burton) makes some off-hand boorish remarks and Charisse Savarin, Gina’s mother Margaret, plays an alcoholic somnambulist with no idea where she is. Feuding Jewish ex-spouses, Larry (Tom F. Evans) and Ida (Rebecca Michaels) embarrass their daughter Joni by squabbling endlessly. Joni’s sister perpetuates the Jewish stereotype as Rivkah (Kim Anton), an orthodox, mousy Jewish scholar. Larry’s current girlfriend Wamsetta (Tonya Harris) outplays Alex Garner’s Man of Honor Rychard’s queeny outrage with saucy Puerto Rican fire.

We expect and applaud these stereotypes which would might not work in a normal play but fit in great with a wedding. Because the audience feels a part of the show and have had ample time to drink, we delight in being at a wild party. Making it all worthwhile are Lowe Taylor and Jessica Hopper as Joni and Gina - both very charming and interesting. Joni is the more butch of the two, contrasting Gina’s slightly more demure side. We forget they are an unusual couple by mainstream standards and we root for them wholeheartedly. By the time we are served cake, danced in a conga line and learned to line dance, we are completely won over. Word of advice: don’t go if you don’t want to party. The actors will ask you to dance and none of them are shy, giving new meaning to the words audience participatory. From beginning to end, when the girls run off to their honeymoon, you are swept into this crazy world. Also try sitting near the walls for the best view and make sure you drink – a lot. It’s the best wedding in town if you want to go with the flow. It’s time to let your hair down and catch that bouquet.

*Partial proceeds from all shows goes to the Equality Campaign, the group that helps to fight against constitutional amendments that discriminate against same sex marriage. Read more!

Bent

Bent
a kate west review
written by Martin Sherman; directed by Claudia Jaffee
at the Deaf West Theatre, 5112 Lankershim Blvd. North Hollywood, CA
running Fridays - Sundays; July 14 - August 21, 2005
contact (323) 960-7740 or www.plays411.com/bent

The basic premise of Martin Sherman's play "Bent" is about tolerance. In a modern age where we still experience much intolerance this should be a blessed relief, but unfortunately, the play falls a bit short, emotionally.

Gay playboy Max (John Marzilli) and the shy dancer Rudy (Jon Cohn) are living as lovers, just as the Nazis take over in 1930's Germany. Homosexuality, always socially controversial, is especially taboo in the Third Reich. Nevertheless, pragmatic Max lives it up, while still understanding what's going on in the periphery, but Rudy lives in denial. Confronted by the present at last, in the form of a stranger, Wolfe (Michael Bronte), that they pick up in a bar one night, their world comes crashing down around them when Wolfe is taken by the Gestapo. Forced to flee themselves, Max and Rudy soon become fugitives.

John Marzilli does all right as Max, though he sometimes comes across too gruff and Jon Cohn is a bit too presentational. (To be fair, however, Cohn's delicate flower character is not the most well rounded to begin with and Marzilli does not always have enough dimension to work with either.) Also, the supporting characters, like Greta (Geoffrey Dwyer) and the Nazi Captain (Paul Vroom) are not real standouts.

The Nazis eventually catch up to Max and Rudy and en route to Dachau, Max makes a horrible decision in order to survive. He also meets Horst (Josh Gordon) who becomes his survival guide and in spite of the circumstances, in spite of the horror and their initial reluctance, Max and Horst fall in love. Constantly under surveillance by evil Nazi guards, they develop a way of communicating so that no one will suspect them. Their first point of contention, the fact that Max pretends to be Jewish, preferring the yellow star to the pink triangle that Horst wears, eventually fades to the background as they begin to understand each other. Max has always been in denial about real love (much like Rudy was in denial about the outside world) and was never very good at getting in touch with his feelings. With Horst, however, he becomes his best self. Josh Gordon is highly sympathetic as Horst and of all the cast best expresses the subtlety and diversity of emotion.

Yet in spite of Gordon's excellent performance, the production lacks real heart. Director Claudia Jaffee makes the best of it, but we are left feeling a bit too removed. Max and Horst try to create something beautiful in the middle of all the ugliness, but even with some strongly tragic scenes, we should care more than we do. While there is good historical content, there is not a well-realized and emotionally satisfying ending. Still, half the audience seemed wrapped up in the story so it could go either way. Note: this is not a play for children, so leave them at home. And aside from the strong content (violence and sexuality), there is also brief nudity and some gunshot sounds. Read more!

Battle of the Deviants

Battle of the Deviants
a kate west review
directed by Patrick Bristow
at the Celebration Theater, 7051 Santa Monica Blvd., 1 block east La Brea, Hollywood
Wednesdays & Thursdays at 8 p.m., July 28 – August 26, 2004 - EXTENDED!!!
Tickets $12, Groups (10 or more), $10, Call (323) 957-1884


The Deviant Laboratories (www.deviantlaboratories.com), that brilliant, inspirational local comedy sketch group, now in their third year of entertaining Hollywood, strikes gold once again with their latest show, “Battle of the Deviants.” Comprised of outlandish scenes such as a feisty, yet lonely girl raised by turkeys, brawling British boys, an over-the-hill once-glamorous actress, peaceful aliens and many other memorable wacky characters, “Battle of the Deviants” is an original, fast-paced evening of glorious insanity.

Director Patrick Bristow, luminous alum of the reputable Groundlings Theatre, once more creates refreshingly stunning stage pictures and blocking (an actor’s stage movement), deftly moving his actors from one scene to the next with the dexterity of a true pro. In a daring and strikingly innovative choice, there are often no scene transitions, which work amazingly well in blurring the lines of reality. It is also fascinating to watch the level of concentration between cast and crew alike as every spare second of the show is so carefully choreographed (including rapid costume, scene and character changes) that each person depends utterly on his fellow cast or crew member. True teamwork indeed, complete with faint echoes of Monty Python (the pinnacle of British comedy sketch.) Michele Miatello’s lavishly delicious and extreme set looks like a genuine boxing ring and adds yet another level of zany reality.

The entire cast is solid, and a tremendously strong group. One notable standout is newcomer James Adomian, whose multitude of characterizations dazzle and enchant spectators. Rather than give away any fun character reveals, suffice it to say that audience members do not soon forget him. Annie Morgan, another new recruit, has several nice moments and Carrie Seim and Chad Cline, new to the group as well, easily match the veterans’ professional pace. The usual suspects, Michael Serrato, Brian Clark, Scotty Scarboro, Tanya McClure and Ted Cannon are naturally quite wonderful and the whole ensemble works together well, considering many of the scenes collide (not to worry, all will be clear at the show). Some of the actors might want to work on projecting however, especially considering how the loud the show gets at times so that the occasional good one-liner is lost here and there.

The second act is even more chaotic than the first and each reveal more delightful than the next, especially the rare inside jokes you might pick up on if you have seen previous shows. Crowd favorites include “The Champ,” featuring an old time hammy actor portraying a cheesy boxer, “Battleship,” featuring familiar political figures, “TIVO,” with two lovers arguing about anger, “Playing by the Rules,” a particularly relevant and poignant piece about domestic partnership, a bitter old couple in “Oldie Fight,” stoic and taciturn lovers in “Fences” and an uproarious take on television’s “Little House on the Prairie.” “Anyway,” features a hellish shrill stage mother and untalented son team, much improved in a later incarnation by having them as the intermission act. This works much better than allowing them a separate scene in the show. Other unusual devices that add nicely to the multi-dimensional and sophisticated whole include an apologist and several rants (again, please see the show for a proper explanation.)

In short, the Deviant Laboratories is definitely the up-and-coming group to watch, a casting director’s dream, consistently showcasing the very best in young comedic talent. Never a dull moment in a Deviant show, each production is more ambitious than the next as their many fans wait breathlessly for what madness they will come up with next. Their latest show is an absolute must-see and will not disappoint. But be sure to see it now so you can say I-knew-them-when. Read more!

Hedwig and the Angry Itch

“Hedwig and the Angry Itch”
a kate west review
by John Cameron Mitchell, music & lyrics by Stephen Trask
directed by Derek Charles Livingston
at the Celebration Theatre
7051B Santa Monica Blvd., West Hollywood, (323) 957-1884, Tix $25
Thursdays – Saturdays; April 17 – May 23, 2004


Diehard fans of the newly-touted cult classic film “Hedwig and the Angry Itch,” (or the original Broadway production) may need to be coaxed to see the Celebration Theatre’s recent production of the same name; however, they also may very well be surprised. Wade McCollum plays an intense Hedwig Schmidt, an East German transsexual suffering from a botched sex change operation. He may not match creator John Cameron Mitchell’s take on the character but still makes the part very much his own.

Hedwig regales the audience with tales of her East German childhood, her stoic mother, her first love and her escape into the fabulously wild world of rock and roll. McCollum’s light-hearted manner delights the audience, lulling us into joyous entertainment only to surprise us with the occasional emotional outburst, which he handles well. Haunted by her all-consuming passion to find her twin soul mate, Hedwig falls for up-and-coming rock star Tommy Gnosis who cannot deal with Hedwig’s shortcomings, so to speak (you’ll understand when you see the play) and naturally ends up breaking her heart.

Peppered with topical references (including a knock at George W.), Hedwig’s two hour rant (with no intermission) is supported by a sympathetic and talented crew of singers, dancers and musicians. Standouts include Trystan Angel Reese as former drag queen and new husband Yitzhak, William Belli as the surly ex-lover Tommy Gnosis and Lisa Robert as one of the versatile Angry Itch singers and Hedwig’s mother.

By the end of the production, the audience is on their feet cheering, pulling for Hedwig while we watch her many twists and turns on her emotional roller coaster. The story is amusing, sad, scandalous, entertaining, passionate and joyful. Hedwig is tragic, noble, lonely, sad, strong, funny and triumphant. The climax is a frenzy of dance, complete with strobe lights, exhausting the performers and the participatory spectators. While a more definitive ending would have brought enhanced closure, Hedwig’s final monologue still leaves us sympathetic and wanting more. And the music is fabulous. A wonderful endeavor by the Celebration Theatre.

Hedwig and the Angry Inch (New Line Platinum Series) Read more!

Take Me Out

“Take Me Out” by Richard Greenberg
a kate west review
directed by Joe Mantello
at the Walter Kerr Theatre, 219 W 48th Street, New York, NY
(212) 239-6200


A typical baseball fan would be naturally inclined to see the new Tony-award winning hit Broadway play about the all-American pastime. Richard Greenburg’s latest work, “Take Me Out,” seemingly offers a little something for the non-athletic as well.

At the start of the play, Darren Lemming, Empire’s (very much like the Yankees) star African-American player has just unexpectedly come out of the closet in a major press conference. He is stoically and majestically portrayed by Daniel Sunjata, very much like Derek Jeter. His teammate Kippy, played by the affable Neal Huff, is the narrator explaining the repercussions of Darren’s announcement and how all the “trouble” started. At first, Darren’s self-identity is marked by an incredible arrogance. He is impatient with both his denouncers and his defenders, not wishing to be a poster boy for someone else’s idea of a hero. He just wants to play ball. Enter Shane Mungitt, played by the delightfully awkward Frederick Weller. He is a taciturn, unrefined redneck who can pitch a hell of a game. Kippy’s attempt to take him under his wing eventually backfires as can no longer deny the depth of Shane’s racism nor Darren’s latent anger which leads to a disturbingly violent confrontation.

The play explores every range of emotion, however never fully connects with the theme of baseball. Also, the light-heartedness in the first half clashes with the heavy and dark second half of the play with almost no reconciliation. The dialogue is a bit unrealistic for regular ballplayers, as the author tends to overwrite his characters, resulting in a rather stilted characterization. One exception is Denis O’Hare, whose accountant Mason Marzac comes closet to representing the author’s voice. His poignant speech about the nobility and tradition of baseball is one of the more beautiful homages in recent theater. However moving it does not tie all the story lines together. O’Hare does a superb job of conveying a full range of character in a relatively minor role. He is delightfully original.

Director Joe Mantello does a solid job of staging and Scenic Designer Scott Pask creates a realistically interchangeable ballpark and athletic locker room, complete with working showers. An extra bonus for the patrons is watching these fit young Broadway boys disrobe and play in running water. The grating catches all the runoff and prevents slipping for anyone worrying about the actors’ safety.

Overall the production is slightly disappointing but the strong core of actors keep the audience’s attention throughout. Worthwhile for the fun baseball references alone. Read more!

The Maids

“The Maids,” Camelot Artists Productions in association with
Vargo Productions
a kate west review
at Beverly Hills Playhouse, 254. S. Robertson, Beverly Hills
(323) 650-8729
Oct 26 – EXTENDED

For those a little rusty in Theater 101, Jean Genet was an internationally prominent French author famous for exposing the absurdity of life and emotion in his writing. The latest production of “The Maids” now playing at the Beverly Hills Playhouse is no exception. Genet’s own life defined contradiction. Publicly charged as a common thief, yet his real identity that of a brilliant author, his play also reflects that same dichotomy in life. Solange and Claire are two maids who take turns role-playing as mistress and servant. Genet’s own preference was to have men play all the parts in order to emphasize how illusionary one’s perception of life can be.

Director Maria Vargo takes the conventional approach and casts all women. She has the lead role as Solange, the older sister and the mastermind of the pair. The fact that they are sisters is yet another merging of identity; that of mistress and servant and sisters; Genet confuses roles by having the maids act out their daily game of pretend at the top of the play, surprising us when the supposed mistress suddenly turns back into a maid. Prevalent throughout is a deep self hatred and anger prompting the two sisters to plot their mistress’ demise. They hate and love her, pretend to be her, thus hating and loving themselves. An intensely introspective and uncomfortable work, “The Maids” forces the viewer to look into the deeply dark recesses of the human consciousness and soul.

Vargo plays an intensely determined Solange and holds her own opposite the irrepressible Madame, played by the delightful Natalia Magni. She gives a complex performance and is especially moving during her finally monologue, although Magni has a bit more of a naturally graceful stage presence. Stacy Stewart as Claire is the weaker link, her intentionally bad French accent as the pretend Madame a little grating and her performance stiff.

The audience is captured throughout with Vargas’ solid directing and pulled into the cold horror as the sisters suffer dire consequences from their plot to kill Madame. Solange, the supposed braver of the two actually does nothing while her more delicate sister actively displays courage in a final desperate act. The underlying homosexual and sadism-masochism may be a little intense for some patrons, but those familiar with Genet will find it par for the course. On the whole, the production may have been more impressive with a stronger commitment from some of the actors. Read more!

Beyond the Valley of the Deviants

BEYOND THE VALLEY OF THE DEVIANTS
In association with Celebration Theater and Dennis R. Nollette
a kate west review
7051 Santa Monica Blvd. (1/2 block east of La Brea)
Directed by Patrick Bristow
May 1, 8, 15, 22, 29, June 5, 12, 19
Reservations (323) 957-1884
Info & Group Rates (323) 656-0694


If you want to fall headlong into a screaming laughfest, by all means check out the latest vivacious production of the Deviant Laboratories. The Deviants are a multi-talented group of young comedy sketch artists consisting of Ted Cannon, Brian Clark, Drew Droege, Margee Magee, Tanya McClure, Nicol Paone, Michael Serrato and Scotty Scarboro. They are a terrific ensemble, all naturally funny and astonishingly energetic. The first show they performed at the Celebration Theater about a year ago was fresh, funny and new then and it is wonderful to see how much they have progressed beyond that. First of all, they added women, who give a better dynamic energy and balance to the show. Secondly, they have obviously been keeping up their improv skills because they were all dead on funny, quick and clever in the improv sets directed by Groundling Mitch Silpa. And please prepare yourself for the ridiculously entertaining opening and closing numbers, which are, thanks to the fabulous directing of Patrick Bristow (Groundling alum), a technicolor explosion of fast-paced, broad hilarity.

There were a few minor technical glitches opening night and the actors need to work on their projection so we can hear all the dialogue, which should not be difficult in such a small venue. Also some scenes were a bit weaker than others and could use some rewrites but overall, the characters were strong, original and engaging, particularly Michael Serrato in “Hot Soup,” Drew Droege’s Chloe Sevigny in “Meet the Press” and Nicol Paone’s Tony in “Tony, Toni, Tone” (Margee Magee and Tanya McClure were also fantastic in that one). Ted Cannon, Scotty Scarboro and Brian Clark, especially, held their own quite delightfully as well. Kudos to the entire cast for their obvious delight in working as a team, helmed by a brilliantly talented director.

This show was one of the most fun comedic productions I have seen in Los Angeles. Be a deviant. Go. Indulge and immerse yourself. Bring your friends. Laugh until you cry and then beg for more. It’ll be worth it. Read more!

Matthew Bourne's Swan Lake

Swan Lake
Adventures in Motion Pictures
a kate west favorite
music by Pytor Ilyich Tchaikovsky
directed and choreographed by
Matthew Bourne
Tour: www.swanlaketour.com

Matthew Bourne has a great eye for cinema, which is one reason his production company is called Adventures in Motion Pictures. Primarily a brilliant Choreographer, he sees dance as bodies in motion, visualizing the stage in a big picture way. As a result, his productions are luscious feats for the eye and passionate elixirs for the soul. "Swan Lake" is his third and best ballet to date, and by far his most popular.

Deviating from the lovely but tried-and-true productions like the classic Petipa and Ivanov version, Bourne contemporizes famed Russian composer Tchaikovsky's epic vision. Instead of a young girl, he casts a young prince, aching to follow his dreams and escape tedious royal life. The biggest and perhaps most controversial change is that the swans are all strong and fierce men, rather than delicate, slender women. Adam Cooper is the magnificent lead swan, who seduces both versions of the Prince (Andrew Walkinshaw as the younger, and Scott Ambler as the older). Fiona Chadwick is the icy, sterile Queen, taking any lover she can and oppressing her wayward son. Many claim that Bourne's productions have a specifically gay artistic perspective and while it is true that the male presence is quite strong, especially in "Swan", it works. It's an aesthetic choice that still conveys the universality of passion and truth.

Along with the richly beautiful and sublime musical score, this production offers beautiful and sublime dance. The sets and costumes are modern bliss and the characters cavort as paparazzi, Soho club members, East End gangsters and even cold and heartless doctors and nurses. The dancers are all consummate professionals, of course.



Your imagination will be profoundly touched and you won't want it to be over. It's one of the very few original productions that truly deserves a standing ovation. If you missed it in Los Angeles, you can still try and catch the tour or at the very least check out the DVD of the acclaimed production (winner of the Olivier Award).

Also recommended: Bourne's "Cinderella", "Nutcracker!" and "Edward Scissorhands". You can skip "Carman" (Bourne's auto mechanical take on Bizet's "Carmen").

See It Now:
Tchaikovsky - Swan Lake (Matthew Bourne) Read more!