Avenue Q

Avenue Q
a kate west review
music & lyrics by Robert Lopez
and Jeff Marx
directed by Jason Moore
choreographed by Ken Roberson
at the Ahmanson Theatre
Center Theatre Group
135 North Grand Ave, Los Angeles 90012
playing September 6 - October 14, 2007
contact 213-628-2772 or www.centertheatregroup.org

Winner of the 2004 Tony Award for Best Musical, Best Score and Best Book, adroitly clever "Avenue Q" is an inside look at the lives of the people on Avenue Q (supposedly in New York), of their loves, quarrels, hopes and dreams, just like in any other neighborhood, except some of them are puppets. You read that right. Like in Sesame Street, only the adult version. Direct from Broadway and Las Vegas, Los Angeles finally hosts the wildly popular show at the Ahmanson Theatre.

It all starts with Princeton (puppeted by Robert McClure) strolling into Avenue Q singing "What Do You Do with a B.A. in English?" What IS he going to do with his life now? Turns out he and the rest of the neighborhood aren't as happy as they could be ("It Sucks to Be Me" and "Purpose"). Princeton rents an apartment from former child star Gary Coleman (Carla Renata) and befriends a lovely little Monster named Kate (puppeted by Kelli Sawyer). They start dating after a few bumpy starts, such as Kate reprimanding Princeton that not all Monsters are related ("Everyone's a Little Bit Racist"). Their courtship is fairly standard ("Mix Tape", "You Can Be as Loud as the Hell You Want - When You're Makin' Love") but Princeton dumps her when he thinks she's getting in the way of him finding his ever-important and elusive purpose.

Meanwhile, roommates Rod and Nicky (puppeted by Robert McClure and Christian Anderson) struggle with their relationship when Nicky suspects Rod of being gay ("If You Were Gay") who vehemently denies it ("My Girlfriend, Who Lives in Canada"). Rod eventually kicks Nicky out, who ends up homeless and begging on the street ("The Money Song"). Asian stereotype Christmas Eve (Angela Ai) marries wanna-be comedian Brian (Cole Porter) and doles out sympathy and advice to everyone. Trekkie Monster (Christian Anderson) whacks off in his apartment ("The Internet Is For Porn") and life goes on. It all turns out alright, more or less. No give aways here; go see the show.

Interspersed with video monitors that show childlike animated lessons geared toward us cynical grownups, Director Jason Moore coordinates actors and puppets alike into show-stopping musical numbers by Robert Lopez and Jeff Marx (original creator). The actors are incredibly versatile, jumping from character to person to character again, some of them even doubling up on puppets (including ensemble players Minglie Chen, Maggie Lakis, Seth Rettberg and Danielle K. Thomas). Special fun is Kelli Sawyer's scandalously voluptuous Lucy the Slut, who seduces Princeton, ends up in the hospital and then finds God, turning her into Lucy the Virgin. Costume Designer Mirena Rada fits actors and puppets with equally appropriate dressing and Rick Lyon's puppets themselves are divine. And Scenic Designer Anna Louizos' cute little set is straight out of your favorite childhood televion show.

Musical highlights include Rob and Nicky's elaborate fog-filled dream sequence ("Fantasies Come True"), Princeton dancing with singing moving boxes ("Purpose") and "Schadenfreude" (the German expression meaning delighting in the misfortunate of others) which Nicky sings joyfully with Gary Coleman. Robert McClure handles his main characters deftly, as does Kelli Sawyer who sings sweetly or sultry, depending on which adorable puppet she's wearing. The whole cast does a perfectly amazing job. You'll notice some obvious Jim Henson and Sesame Street influences, like Rod and Nicky looking suspiciously like Bert and Ernie and Trekkie Monster, the masturbator with a distinctly computer nerd like name.

Generation X-ers will love remembering our struggles as twenty-somethings in tiny New York apartments, barely a step up from "Rent's" East Village Bohemians (Broadway's mega-hit modern update on "La Boheme"). The songs are funny, upbeat and memorable and it's absolute great fun to see puppets acting like real people, having sex (and in all kinds of positions too!), getting drunk, getting cold feet (you'll love Princeton's visually hysterical nightmare sweats on committment) and doing everything else demonstrating human weakness. At least according to the cheering audiences every night. Just remember to leave the kids at home.

"Avenue Q" has not been authorized or approved in any manner by the Jim Henson Company or Sesame Workshop, which have no responsibility for its content."

The Broadway Soundtrack:
Avenue Q (2003 Original Broadway Cast) Read more!

Legally Blonde The Musical

Legally Blonde The Musical
a kate west review
directed/choreographed by Jerry Mitchell
(Beth McCarthy Miller - Television)
music/lyrics by Laurence O'Keefe and Nell Benjamin
book by Heather Hach; novel by Amanda Brown & MGM
MTV Broadcast at the Palace Theatre
1564 Broadway, New York, NY
contact 212-307-4100 or 800-755-4000
www.legallyblondethemusical.com

How often do you get a sneak peek at a currently running Broadway show? MTV offered viewers that very chance this weekend by broadcasting the full length "Legally Blonde The Musical" straight from the New York stage. It's a pretty cute show for free, considering top running Broadway shows can run you about a hundred bucks easy.

The show follows the Reese Witherspoon movie hit fairly closely, with Laura Bell Bundy in the lead as Elle Woods, the Malibu barbie doll who gets accepted into Harvard Law School, surprising everyone, even herself. She's there chasing her ex-finance Warner Huntington III (Richard H. Blake) who dumped her for being blonde ("Serious"). With the support of her faithful sorority sisters ("Omigod You Guys", "What You Want"), she decides to get serious and apply herself, completely trading coasts and attitudes. Challenges abound, including impressing the tough Professor Callahan (Michael Rupert) by managing to get into his exclusive intern program. The ultimate discovery is a profound belief in herself, of course, resulting in forgetting about her snobby ivy league ex, taking up with a new lawyer hottie, Emmett Forrest (Christian Borle) and finally earning the respect of her peers, even becoming class valedictorian. She even defies her Professor when he proves to be fallible. An inspiration to little blondes everywhere.

Bundy and Borle make a cute couple and have some nice numbers together ("Chip On My Shoulder", "Take It Like A Man" and "Legally Blonde"). Fun standouts include Elle's spacey hairdresser (Orfeh) who makes the part her own, in spite of the popularity of Jennifer Coolidge's crazy fun movie character. With Elle's help, she lands her sexy UPS man, Kyle (real life husband Andy Karl) and recovers her beloved bulldog Rufus from her evil ex boyfriend. Elle is highly sympathetic as she has her own beloved Bruiser, a stylish chihuahua, and dog loving romantics have to stick together. Completing the feminine circle of strength is the spunky Greek chorus, comprised of the Delta Nu sisters (the energetic trio of Annaleigh Ashford, Asmeret Ghebromichael and Tracy Jai Edwards) who appear occasionally to give Elle some helpful advice. Elle also meets a tired stereotypical Birkenstock lesbian Enid (the solid Natalie Joy Johnson) at Harvard.

Devoted fans of the movie will also notice certain deviations, such as some brilliant ideas coming from the man, Emmett, rather than Elle herself, or a bizarre courtroom scene where the Judge (Amber Efé ) orders everyone to the bathroom crime scene in order to rat out a suspicious hair perm, following the outing of the gay pool boy Nikos played by Manual Herrera ("There! Right There!"). Elle prevails in the end, and exonerates her fitness idol Brooke Wyndham (Nikki Snelson), on trial for allegedly killing her millionaire husband. Thank God for Greek sisterhood. The first act is stronger than the second act, which seems to get a little off track, especially in those odd moments.

Director Jerry Mitchell does a fine job choreographing the group numbers, especially Elle's Harvard "essay", a brassy drum majorette number ("The Harvard Variations"). David Rockwell's set designs are pink, colorful fun, as are Gregg Barnes' Malibu-inspired preppy costumes. Laurence O'Keefe and Nell Benjamin provide a punchy musical score, but it doesn't really stick in your head.

The overall show is harmless frothy fluff, cute if you like that sort of thing. Fun eye candy for free, but a bit of a steep price, unless your teenage daughter won't speak to you otherwise. Judging from the MTV audience, it's a hit with the young crowd, so you might want to brush up on your teen speak, or just send the babysitter. Or you can stay home and rent the movie again with some microwave popcorn. Oh, and special kudos to animal wrangler William Berloni - those dogs are adorable.

The Soundtrack:
Legally Blonde (2007 Original Broadway Cast)

The Movie:
Legally Blonde Read more!

Sunday In The Park With George

Sunday In The Park With George
a kate west review
music and lyrics by Stephen Sondheim
book by James Lapine
directed by Oanh Nguyen
musical director Bill Strongin
at the Chance Theater
5552 E. La Palma Avenue, Anaheim 92807
contact (714) 777-3033 or www.chancetheater.com
Thursdays-Sundays
August 3 - September 16, 2007
(Bob Simpson as George; photo courtesy Doug Catiller)

Fed up with recent unusually unfavorable reviews, famed musical composer Stephen Sondheim declared a break from theatre in order to write mystery novels. He quickly changed his mind however, after being newly inspired by an intense discussion on a particular work of art and an artist he could readily identify with. He soon opened "Sunday in the Park with George" on Broadway in 1984, in collaboration with James Lapine. It garnered a slew of Tony nominations, the New York Drama Critics Circle Award and most impressively, the Pulitzer Prize for Drama, and it remains one of Sondheim's most brilliant and lyrically beautiful musicals to date.

The George in the title refers to the neo-impressionist French painter Georges Seurat (1859-1891), whose new "Pointillism” technique* was initially ill received and created much critical controversy. He approached his art scientifically, carefully studying all different classes of people to put into his paintings, using color to balance emotional harmony, much the way a composer might create musical harmony. Small wonder that Sondheim was so drawn to his story; art is harmony, after all, and Sondheim is expert at blending seeming discordance into surprising harmony.

Seurat's most famous oil painting, “Sunday Afternoon on the Island of La Grande Jatte,” (an agonizing two-year project), is literally the set piece for the musical. The show takes place in two eras, that of the 1800's when George first creates his masterpiece and that of the 1980's, which involves speculations on possible Seurat descendants and the timeless effect of the painting's legacy.

In the Chance Theater's production, Bob Simpson is the definite highlight of the show. He is a sincere and contemplative George Seurat, obsessively focused on minute details like "Finishing the Hat" in his grand work of art, to the exclusion of all else around him, including the woman he claims to love, Dot (warmly portrayed by Lowe Taylor). The show is completely about George, from his unique perspective, which explains why only those closest to him have any real character resonance, rather than just one-dimensional characters in a painting.

Dot (yes, like a dot of paint) represents the mysterious woman appearing so prominently in many of Seurat's pieces, a possible mistress he tried to keep secret until after his death (apparently Madeleine Knobloch, mother to his child). She starts out a spunky illiterate woman of feeling, fancying simple pleasures like going to the Follies, who, under George's manic and worldly influence, transforms into a quieter, more mature woman in charge of her own life. Inevitably, she finally leaves George ("We Do Not Belong Together"/"Move On") in the end, child and all. Taylor has a real immediacy and accessible stage presence.

Simpson and Taylor have many lovely strongly emotional scenes together, and while Taylor is the stronger singer, Simpson absolutely holds his own. He has a fun turn imitating two different types of dogs happily yipping and yapping at one point, as well as maintaining a quiet tortured intensity when attempting normal social interaction, so alien and uncomfortable for such an internal artist. And both of them transition well into the second act, when Simpson plays the frazzled modern artist supposedly descended from Seurat, who presents his laser marvel Chromolume #7 (taken from Seurat's language of using lines and color intensity called Chromoluminarism.) Taylor is his endearing grandmother Marie, who cautions us that life is about more than connecting dots of paint, that we must connect with people too ("Children and Art").

But for the most part, the rest of the ensemble is a bit weaker, unfortunately, and some of them are not quite up to the demands of the complicated musical score (Jonathon Lamer was fine as Jules, George's rival and friend). Also, with such a stylized script, the actors might want to clarify emotion in the simplest ways and not indicate as much (granted, presentational style is always tricky). The production itself appears a little over-ambitious for the small space and might suffer from the producers need to be original. For instance, Set Designer John Robinson inexplicably uses spackled paint, which jars with the projected beauty of the Seurat paintings. And while it may be a more convenient and clever device to use reverse cutouts sliding from the wings, the actual colorful cutouts used so sparingly go better with the back projection, artistically speaking. The general projected effects are O.K. in general, although they might work better viewed from afar. Cassandra L. Stone's costuming was nice, and in keeping with both periods and Musical Director Bill Strongin and his musicians did a fine job as well.

Director Oanh Nguyen might have given the audience a longer time at the end of the first act to drink in the effect of the actors sliding into position and creating an actual living painting ("Sunday"). Again, in such a small space the effect would be much more enhanced had the audience been seated further back, in order to appreciate the overall stage composition. The lights did come down a tad early. The crowd's cacophony leading up to George's frustrated shout of "Order!" works up to a point. Nguyen stages everything fine, balancing movement with stillness, but his company is just not up to the demands of the production. Since his actors comprise manifestations of characters from the painting, except for Seurat himself, the quintessential and imaginative observer, the whole cumulative effect works visually, more or less, just not theatrically. Ensemble pieces such as "The Day Off" and "It's Hot Up Here" are general crowd pleasers though.

The modern second act is a good follow-up, delving into financing art, a necessary skill of which Sondheim is probably all too painfully aware ("Putting It Together"). Seurat never learns to deal with real people's emotions, yet profoundly moves everyone around him and gives us insight into a brand new perspective. The classic misunderstood artist, dead by age 32, never having sold a single painting. In the show, he comes to understand his surroundings only through the next generation. Nguyen tries to be sensitive to this conflict in the artist in his staging which is really the key to mounting this show. It is most important to be true to the integrity of the story, that of balancing color, light and harmony with the struggle of humanity within the artist. And of course the musical score is sublime, and Sondheim's best.


*Refers to breaking up the surface of the painting, by painting pure dots of color on the canvas to create pure color. Viewed at a distance, the dots appear to fuse together, creating brilliant color. The human eye blends the colors instinctively. The "Sunday in the Park" painting is currently in the permanent collection of the Art Institute of Chicago.

Get the original Broadway score:
Sunday in the Park with George (1984 Original Broadway Cast)

Read more about it:
The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat Read more!

Debbie Does Dallas The Musical!

This summary is not available. Please click here to view the post. Read more!

Spamalot

Spamalot
a kate west review
book by Eric Idle; music & lyrics by John DuPrez & Eric Idle
directed by Mike Nichols
at the Shubert Theatre, 225 W. 44th Street, New York, NY 10036
contact (212) 239-6200 or (800) 545-2559 OR Telecharge.com
running through October 2007

It won the Tony for Best Musical in 2005 and it's still running. A must-see for Monty Python fanatics (of the well-loved BBC series), "Spamalot" is also quite the hoot for the tourist crowds. Created by Eric Idle of Python fame, it adds new music to the stage adaptation of the Python hit movie "The Holy Grail".

Jonathan Hadary ("Sex and the City") takes over the Tim Curry (a more inspired choice) role as King Arthur on a quest to find the holy grail and to get to know the Britons. Surrounded by his loyal knights, he embarks on a very silly journey in parodying his own legend. Sir Robin (Martin Moran), Sir Lancelot (Rick Holmes) and Sir Galahad (Lewis Cleale) help him in this endeavor. Also key is Marin Mazzie as the Lady of the Lake in her own fine take on the former Sara Ramirez role.

We know we're not in Kansas anymore when an Historian (Tom Deckman) chides the chorus for singing about Finland instead England ("Fisch Schlapping Song"). The comedic spoofs escalate from there. Generally following the "Holy Grail" storyline, King Arthur and his Knights roam the countryside, encountering Laker Girls, Camelot, the taunting evil French ("Run Away"), a Black Knight, the notorious Knights of Ni, a Killer Rabbit and even God (voiced by John Cleese). Each scene is sillier than the next. Ultimately, King Arthur decides his true goal, the real holy grail, is to find his way to Broadway.

The numbers are well directed by Mike Nichols but include a few "un-PC" scenes, such as "You Won't Succeed on Broadway" without Jews, which showcases menorahs and dreidels, as well as "His Name is Lancelot" where Lancelot discovers he is fashionably gay. Other than that, the songs are fun and entertaining and you are free to laugh as loud as you want. By the way, there is some gentle audience participation for whoever is lucky enough to sit in the middle right orchestra and a joyous chorus of "Always Look On the Bright Side of Life" for everyone at the curtain call, followed by confetti.

As previously stated, Jonathan Hadary is all right as King Arthur, but not as much fun as Tim Curry. The rest of the cast is strong, including the new Lady of the Lake (Marin Mazzie) who is amusingly frustrated at the smallness of her role ("The Diva's Lament"). "The Song That Goes Like This" pokes fun at Broadway manipulation and showcases her quite well. Most of the ensemble plays multiple roles, sharing spotlights and zaniness and are very adept at jumping in and out of characters and well-paced scene changes. Tim Hatley designed fun, authentic costumes and sets so that you might think you're watching an old Python skit. No doubt Eric Idle made sure everyone stayed true to Python esthetics.

It's a fun show and a tourist delight. If you're a true Python fan, you'll love quoting the original film , chuckling at inside jokes and watching new fans revel in good old-fashioned slapstick puns.

Monty Python's Spamalot (2005 Original Broadway Cast)

Monty Python and the Holy Grail (Extraordinarily Deluxe Three-Disc Edition)

More Sublime Python:
The Complete Monty Python's Flying Circus 16-Ton Megaset

Fawlty Towers - The Complete Series Read more!

Company

Company
a kate west review
music & lyrics by Stephen Sondheim; book by George Furth
direction & musical staging b y John Doyle
at the Ethel Barrymore Theatre, 243 W. 47th Street, New York, NY
contact (212) 239-6200 or (800) 432-7250 OR Telecharge.com or http://www.companyonbroadway.com/tickets.htm; running through June 2007

The latest Broadway revival is Stephen Sondheim's "Company", featuring actors becoming their own orchestra, playing various musical instruments on stage. This may seem innovative at first, until one realizes that the actors in last year's "Sweeney Todd" revival (another Sondheim musical) also played instruments in a daring new modern take. A bit of a disappointing revelation.

Raúl Esparaza is Robert, a declared bachelor constantly bombarded by well-meaning friends trying to set him up on dates to put an end to what they perceive as his loneliness. He gets conflicting advice, however, as some of the longer-term relationships suffer from a bit of malaise and envious friends consider him lucky to be single. Women drift in and out of his life, while Robert wrestles with the idea of getting married, finally deciding that it's enough to live life ("Being Alive"). Esparaza is quite a gifted performer, but even he cannot rise above the slightly tedious material.

Barbara Walsh, Keith Buterbaugh, Matt Castle, Robert Cunningham, Angel Desai, Jane Pfitsch (in this particular performance), Amy Justman, Heather Laws, Fred Rose, Bruce Sabath and Elizabeth Stanley are among the strong ensemble that tries to help Robert figure out his life. There are also many lyrically moving pieces to aid him, including "The Ladies Who Lunch" (the deep toned Barbara Walsh), "Another Hundred People" (feisty Angel Desai) and lighter, quirkier pieces like "Getting Married Today" in which the company performs a wedding, alternating between doubt and delight. However, in general, the idea that relationships are difficult is not new.

Also, David Gallo's minimalist black and white plastic set design does not really do anything to promote the story, other than provide a mood gimmick, similar to the actors playing instruments. The latter, while showcasing versatility (actors really can sing, dance and push a cello at the same time), does not add any kind of dimension either. Also, the drinks are pretend, but the cigarettes are real. Huh?

Well directed by John Doyle, "Company" is beautifully musical as are most Sondheim pieces, but rather light on interesting plot. A character study from several points of view, it's overall feeling of depression does not inspire any new revelations on the dating world. Dating is hard, relationships harder, but presumably worth it in the end. Not particularly worth the $100 Broadway ticket, expect for die-hard Sondheim fans, determined to see every work in every era, no matter from what decade.

Company (2006 Broadway Revival Cast) Read more!

Grey Gardens

a kate west review
book by Doug Wright; music by Scott Frankel
lyrics by Michael Korie
directed by Michael Greif
musical staging by Jeff Calhounat
the Walter Kerr Theatre, 219 W. 48th Street
New York, NY 10036
running November 2006 - June 2007
contact (212) 239-6200 or (800) 432-7780 OR Telecharge.com

In 1975, brother filmmakers Albert and David Maysles (www.mayslesfilms.com) premiered "Grey Gardens", which chronicled six weeks at the decaying 48-room mansion Grey Gardens, in East Hampton. Home of former Bouvier socialites, both named Edith Bouvier Beale ("Big" and Little" Edie, mother and daughter), it is now considered a cultural icon and inspiration for much discussion and controversy. Groundbreaking in documentary films, "Grey Gardens" was part of the cinema verite style that would soon become vogue. The new Broadway musical "Grey Gardens" perfectly captures the two women's fascinating eccentricities and ferocious characters so well documented in the film, although the structure is a tad rough around the edges.

Director Michael Greif, in collaboration with Doug Wright (Book), Scott Frankel (Music) and Michael Korie (Lyrics), creates an innovative take on a familiar story, surprisingly adaptable to a musical score.We are able to speculate on the two Edies' early history in 1941 in the first act, where the mother once again drives away an appropriately high-class suitor to her daughter. Obsessed with her own musical career, the mother spends all her time rehearsing and cultivating a relationship with her accompanist George Gould Strong (Bob Stillman), rather than her daughter (Erin Davie in the first act). A glimpse into the pre-Camelot era also reveals the young niece Jackie Bouvier (a.k.a. First Lady/Jackie O as played by Sarah Hyland) and sister Lee Bouvier (Abigail Ferenczy in this performance) who are enchanted by their aunt's outrageous antics. The grandfather, Major Bouvier (John McMartin), is appalled at the convention-defying women in his family, especially his daughter (who sings the vulgar "Hominy Grits"), thus representing traditional society's rejection, as does young Edie's handsome young fiancée, Joseph Patrick Kennedy, Jr. (Matt Cavenaugh) who cannot bear to live with the shame of a wayward wife.The two Beales women are really the heart and soul of the piece.

Christine Ebersole beautifully embodies the mother ("Big" Eddie) in the first act set in 1941, as well as brilliantly channeling the daughter ("Little" Edie) in the second Act amidst the crumbling decay of the 1973 Grey Gardens mansion. She is ultimately worthy of every theatrical award you can throw at her, not to mention a sure bet for a Tony. And Mary Louise Wilson is a wonderful maternal counterpart in the second act as "Big" Eddie; the way they over-talk each other and push emotional buttons is a veritable mirror of the film. It is almost heart-rending to learn that "Little" Edie used to be the talk of town, the "It" girl, referred to as Body Beautiful. She does not evoke pity, however, being of "staunch" character, leaving her mother and absent father (who divorces the family via telegram) in Act One, only to heroically return to aid her ailing mother decades later, in Act Two.

Though not an absolute requirement, it is definitely helpful to have seen the film before watching the musical, in order to share the joy of remembered lines with enthusiastic patrons and to relish in the actors' skill at impersonation. Plus, the complete personality changes and seemingly abject ruin in the second act might not come as such a shock. It will come across very uneven. As in the film, there are many years-long gaps in the story since the subjects were so externally dramatic and open, yet not as revealing of personal history. It is also interesting to see how the producers deal with the earlier cinematic devices. For instance, in the film, the women address the two filmmakers, but in the musical, they address the hired help, either Brooks (Michael Potts portrays the father in the first act and the next generation in the second) and Jerry (Matt Cavenaugh) and us, of course.

There are many lyrical songs invoking the mystique of the place, including "Entering Grey Gardens" in which the supporting cast drifts onstage like released ghosts, echoing the meowing of the many cats running rampant in the house. As Mama Beale, Mary Louise Wilson sings "Jerry Likes My Corn", a plaintive little ballad wistfully remarking that Jerry appreciates her more than her own daughter does. And Christine Ebersole begins the second half with "The Revolutionary Costume for Today" in scarf and upside-down skirt, a most quintessential "Little"Edie. She longs to leave Grey Gardens, but can never quite make it past the front door. She cannot leave her mother and they are tied together forever. Many people see these women as nutty, but both the filmmakers and the Broadway producers show them in a loving and admiring light. From "Little" Edie's triumphant military march ("The House We Live In") to "Big" Edie's trademark "Will You", the two leads demand respect and sympathy from the audience and we give it gladly. The two women are sublime and the rest of the cast strong.

As an added bonus, Costume Designer William Ivey Long captures the fashionable idiosyncrasies very well and Scenic Designer Allen Moyer's revolving sets create the eerily dank mood of the mansion. There are even some film clips, thanks to Projection Designer Wendall K. Harrington to further reference the popular story.

Whatever the shortcomings of the actual history and the unfulfilling gaps, it is well worth the price of admission, if only to see Christine Ebersole's incredible transformation and character diversity. Fans of the film will be in seventh heaven; so again, you might want to see the film first. And ladies, if you are worried about spinsterhood and cats, take heart at these trendsetters, who at least make them interestingly fashionable.


The Original:
Grey Gardens - Criterion Collection Read more!

The 25th Annual Putnam County Spelling Bee

The 25th Annual Putnam
County Spelling Bee
a kate west review
music & lyrics by William Finn
book by Rachel Sheinkin
conceived by Rebecca Feldman
directed by James Lapine
Post Street Theatre, 450 Post Street, 2nd floor, San Francisco, CA 94102
contact (415) 771-6900

www.spellingbeethemusical.com or www.poststreettheatre.com
San Francisco tour from February through September 2006


The late, great playwright Wendy Wasserstein once saw a delightful little show about spelling called C-R-E-P-U-S-C-L-E, improvised by the New York Lower East Side comedy troupe known as The Farm. She convinced friend William Finn (award-winning “Falsettos” composer) that it would make a perfect musical and so it did. With Finn’s music and lyrics (book by Rachel Sheinkin), the show ended up on Broadway, evolving into the new musical, “The 25th Annual Putnam County Spelling Bee”. It also won two Tony awards and the hearts of theatergoers everywhere.

Multi-awarding winner and star Broadway Director James Lapine honors San Francisco audiences by bringing his accomplished style to California. Together with Choreographer Dan Knechtges, they recreate this charming Broadway sensation for the Bay Area. Currently playing at the cozy Post Street Theatre, the “Bee” incorporates all of the magic simplicity that made it a crowd favorite back east. To begin with, Set Designer Beowulf Boritt’s set is just as beautifully evocative of your classic high school gymnasium, with bright bleachers and basketball hoops and Costumer Jennifer Caprio’s high school outfits still perfectly capture different adolescent personalities.

Then there’s the San Francisco cast. The six main spelling bee contestants comprise a wonderful ensemble, winsomely giving vibrant life to the delicious choreography and direction. Chip Tolentino (the energetic Aaron J. Albano) is a former Bee champ, returning to the competition as bright-eyed as ever. Leaf Coneybear (Stanley Bahorek) is the out-of-sorts bumbling spastic child, Logainne Schwartzandgrubenierre (the intense Sara Inbar) is the feisty political activist with two fathers and Marcy Park (Greta Lee) is the stereotypical Asian over-achiever. And Olive Ostrovsky (sweet Jenni Barber) and William Barfee (the hilarious Jared Gertner) are two opposite extremes, who as finalists wage the inner battle over competition versus friendship. Rounding out the cast is Rona Lisa Peretti (the sublime Betsy Wolfe) former child-champion, now running the Bee, Vice Principal Douglas Panch (the highly likeable Jim Cashman), a last minute replacement to the Bee and “Comfort Counselor” Mitch Mahoney (understudy Evan D’Angeles in this performance) doing his community service at the Bee. It’s quite clear that everyone is having the time of his/her life on stage.

The audience gets to have fun too. Four lucky chosen (don’t worry it’s all volunteer) get to come up on stage and relive their spelling bee days. The actors playfully torture them a little and one by one they are all eliminated from the competition. Great fun. The one-liners and witty comebacks fly back and forth in between musical numbers and of course intense spelling.

Some musical highlights include Olive’s (Jenni Barber) plaintive “The I Love You Song” beautifully sung to her absent parents who are missing her moment of glory, William’s (Jared Gertner) amusing “Magic Foot” which explains how he spells with a possessed foot, Marcy’s (Greta Lee) rebellious “I Speak Six Languages” and many reprisals. “Goodbye” is sung to each losing contestant, for instance and Rona Lisa Peretti (Betsy Wolfe) keeps bringing up her “Favorite Moment of the Bee” every time something reminds her of what she loves about spelling and competition. The music is memorable and the talent perfectly in tune with the show.

All of the actors are wonderful but one special standout is Stanley Bahorek as Leaf Coneybear, who perfectly captures the awkward spacey teenager as well as skillfully jumping back and forth from different adult roles. He’s amazing. Each character represents a different adolescent archetype and you are sure to recognize yourself in one of them. The poignant scenes are subtly emotional and the bigger numbers seemingly spontaneous. Rather than give away who actually wins, it is best to enjoy the ride and let these consummate professionals dazzle and entertain. You will be guaranteed to be quoting lines from the show for days afterward.

Hear the score now!
The 25th Annual Putnam County Spelling Bee (2005 Original Broadway Cast) Read more!

The Black Rider

The Black Rider: the casting of the magic bullets - a musical fable
a kate west review
directed by Robert Wilson
music & lyrics by Tom Waits; text by William S. Burroughs
at the Ahmanson Theatre, 135 North Grand Ave, Los Angeles 90012
running April - June 2006; contact (213) 628-2772 / CenterTheatreGroup.Org

Based on Carl Maria von Weber's opera "Der Freischütz" ("The Free-Shooter"), which is in turn based on a German fable, "The Black Rider" originally premiered in Hamburg, Germany in 1991 in German and in London 2004 in English to great success. The Ahmanson Theatre now presents the latest reincarnation of this classic devilish tale about selling a soul for a heavy price - right here in Los Angeles.

The combination of the above dark elements with the modern talents of musician Tom Waits and noted writer William S. Burroughs should get you an amazingly innovate and original production. It's different all right. For starters, you really (really) need to be in the mood for extreme expressionism - the kind of heavy German presentational style that ran rampant in the early 1920's (picture exaggerated gestures and elongated facial expressions).

Wilhelm (Matt McGrath) is the Clerk in love with Kätchen (Mary Margaret O'Hara), daughter of Bertram the Forester (Dean Robinson) and Anne (Joan Mankin). All the characters are initially introduced by the devil himself, Pegleg (Vance Avery) while they emerge in procession from what looks like a floating coffin or a magician's box, judging from the big top references in the song lyrics. This circus-like presentational formation prepares the audience for the stylistic acting to come, which may quickly become rather tedious for some audience members. The gist of the story is that Wilhelm is not good enough for Kätchen until the devil gives him a rifle with magic bullets enabling him to hit every thing he aims at. Wanting too badly to win over his future-father-in-law and to live happily ever after, he starts to get greedy and gets more bullets. Unfortunately, the devil is always owed his due and the final bullet ricochets wildly and instead of hitting a white dove, hits Wilhelm's all-in-white bride.

The symbolism and artistry leading up to this event is rather interesting - white brides cooing and cawing like white doves with various ominous death images, but there are also some annoyingly unexplained moments as well. For instance, in the first scene, we see an enormous table and two chairs which become progressively smaller until they are miniature toys in the final scene. Wilhelm playing scenes with his pants down around his ankles, while perhaps foreshadowing his eventual madness, is still an irritating image. Luckily, Tom Waits' music is fascinating, especially the theme song "The Black Rider" and "That's the Way," which is essentially akin to beat poetry ("That's the way the stomach rumbles, that's the way the bee rumbles, that's the way the needle pricks, that's the way the glue sticks …"). His is a perfect pairing with author William S. Burroughs to evoke modern angst. An important historical note here is that Burroughs literally did accidentally kill his real-life wife when playing William Tell (the one who shot apples off of people's heads) to her trusting figure of a target and thus is well familiar with the descent into madness and violent confusion.

The actors are all strong, especially Matt McGrath as the doomed clerk (his growling "Lucky Day" is a highlight) and Vance Avery as the devil himself, Pegleg. John Vickery helps create a brooding atmosphere, as Wilhelm's Old Uncle and the Duke, stuck frozen in an other-worldly-type painting overlooking the living, and Nigel Richards' intensity at different points in the play is reminiscent of extreme modern art as his face contorts into silent screams and sharp angles.

Director Robert Wilson (also responsible for the yawning heights of the set) makes a clear statement of absurdism by having his actors stay true to the expressionist style. Too much of that may be hard to take, as evidenced by several people leaving the theater before even waiting for intermission. But the people who stuck it out gave the show a fierce round of applause. So it's a love-it or hate-it response with this piece, depending on the viewer, just like modern art. If you stay open to it, you will be rewarded with exotic imagery in a dangerous carnival world. As in life, it's all about your perspective and it's all subjective.

More Tom Waits:
Mule Variations Read more!

Grease

Grease
a kate west review
book, music & lyrics by Jim Jacobs & Warren Casey
directed & choreographed by Roger Castellano
at the Fullerton Civic Light Opera, Plummer Auditorium, 201 E. Chapman, Fullerton, CA
contact (714) 873-1732 or (714) 526-3832 or www.fclo.com
(Box office address: 218 W. Commonwealth Avenue, Fullerton, CA 92832)
running through May 2006; tickets $25 to $49 (group rates available)

Most of us are familiar with the cult 1978 film "Grease" starring John Travolta and Olivia Newton John. What you may not know, however, is that it was a Broadway musical before that and slowly gained immense popularity until fans were clamoring for more. In it's 34th season entertaining the O.C., the Fullerton Civic Light Opera now presents the old-fashioned version just in time for some cool fun these hot summer months.

For those of you who missed the whole "Grease" phenomenon, the story revolves around rambunctious 1950's teenagers at Rydell High School. Danny Zuko (Brian Brigham) and Sandy Dumbrowski (Michelle London) meet over the summer and fall in puppy love and then unexpectedly find themselves attending the same high school in the fall. The trouble is, Danny belongs to the infamous Burger Palace Boys and is not too cool about displaying affection for straight-laced innocent Sandy. Of course, they reconcile by the end and everyone's happy. That's the basic plot, with a lot of rock and roll (and a few small sub plots) in between.

Director/Choreographer Roger Castellano creates a lot of groovy moves for the excellent cast and regales the audience with classic rockin' good tunes. Highlights include Frenchy (the bubbly Lola Ward) being serenaded by the delectably goofy John Schoenherz as Teen Angel counseling her in career ambitions in "Beauty School Dropout", two renditions of "We Go Together" by the entire cast and everyone's favorite - "Summer Nights" - with the whole cast recounting the summer tale of Danny and Sandy. The majority of the cast is great, especially Bets Malone as the tough-talking Rizzo and head of the Pink Ladies ("Look at Me, I'm Sandra Dee" and "There are Worse Things I Could Do"), Lowe Taylor as Marty the vamp ("Freddy, My Love") and Roger (Danny Stiles) and Jan (Colette Peters) literally mooning over each other in "Mooning".

Brian Brigham is a nice, strong, handsome Danny, matching the rest of the Burger Palace Boys and all of the Pink Ladies are delightful. The one notable exception is Michelle London who is unfortunately a vanilla, uncharismatic Sandy and whose voice is much too operatic for a rock and roll musical. ("Summer Nights", "It's Raining on Prom Night", "All Choked Up", etc.) Sadly, she doesn't really fit so it's hard to root for her. Everyone else is a lot of fun, including Jeff Weeks as smarmy Vince Fontaine who oversees the climatic dance concert, where the hard core dancing really begins ("Born to Hand Jive").

The other few problems have to do with the set. Scenic Designer Dwight Richard Odle may have wanted to convey an adolescent atmosphere with brightly colored cardboard sets, but for a professional theater, it doesn't quite match the rest of the production values. To be fair, they are housed in an actual high school, so that may have been the intention after all. What should be a highlight number, "Greased Lightning," (the Burger Palace Boys crooning over a hot set of wheels), is disappointing, especially in the odd dressing the car. It should have an earlier reveal, as should the neon sign of "Grease", but both end up in a spectacular curtain call; we really should have been enjoying these electrifying sights all along. Odle's costume designs are a lot more on target, fitting the period perfectly.

The live band is great, (kudos to Musical Director Todd Helm), as are all the dance numbers and the whole dance concert scene, although it is a bit odd to have the band way up on such a high platform. It's too bad that platform isn't moveable. As it is a permanent fixture, it dominates every scene, in spite of Donna Ruzika's lighting design. Also, Sound Designer A.J. Gonzalez needs to look into the mechanical problems of the microphone since the actors kept going in and out all night.

In spite of these minor glitches, it's an awfully fun show and the irrepressible cast totally wins us over. So it's definitely worth a look, especially if you live nearby in Orange County. (Note to Angelinos: it's a bit of a long drive, so bring your I-pods or books-on-tape!) There's even a sample study guide in the program by Carol Philip (Anaheim School District teacher) translating "Grease" slang into proper English - now, how fun is that? Read more!

Pilgrim

Pilgrim
a kate west review
book, music & lyrics by John Stothers; directed by Nick DeGruccio
at the Ricardo Montalbán Theatre, 1615 Vine Street, Hollywood 90028
contact (800)595-4849 or www.whatispilgrim.com; runs March-April 2006

Combine the retro-apocalyptic look of the films "Mad Max" and "Waterworld" with a modern rock musical and you get "Pilgrim", currently debuting as a world premiere at the Ricardo Montalbán Theatre in Hollywood. The main emphasis is in spectacle with an enormous revolving platform set, a full orchestra and chorus of singers and the odd and end acrobat. Less clear is the actual story line.

Tinker (Tom Korbee) and Anna (Jessica Rush) are the two young romantic leads who find each other in a dark world of oppression. Their world is hidden behind a great wall and run by the evil leather-clad Metsys (Jeffrey Stackhouse). The upper class Anna forces the lower class Tinker to marry her in order to escape her father Verhulst (Jim Blanchette) and Metsys. They hate each other at first sight, which of course means they later fall in love. Ten Bosch (Eric Anderson) is the sidekick who initially helps them but later betrays everyone. Hieronymus (Robert Patteri) is the mysterious narrator that Tinker encounters in prison, who leads him through a dream world and ultimately to freedom, where the Tinker becomes the Pilgrim and sheltered Anna becomes a heroine.

The characters exist in an unnamed place and time amidst a chorus of medieval-looking peasants hawking candles, ale and other wares. The dream sequences consist of billowing fog, choreographed sword fights (dangerously close to the front row) and amazing acrobats who leap and twist and even walk on stilts. Costume Designer Sharell Martin creates wonderfully creative period pieces for the townspeople, while the oppressors wear leather and feathers, creating a futuristic dark look. Set Designer Tom Buderwitz provides an amazing set, with high platforms and a revolving base. Lighting Designer Steven Young and Sound Designer Drew Dalzell create fantastic special effects, adding to the general wonderment. Musical Director Jason Nyberg and Choreographer Jose Walsh work together well in combination with Director Nick Degruccio to create a truly full-blown show of sensation and spectacle.

Unfortunately, John Stothers storyline leaves much to be desired.
Tinker/Pilgrim sends out his dreams to the townspeople via Ten Bosch (also the Printer) while incarcerated, hoping to inspire them to revolt and leave their confining world. He then escapes and in a climatic semi-tragic end, leads his people to the Promised Land, whatever that may look like. The problem is that the universality of such a timeless/nameless place leaves the audience a bit remote. The two leads, Tom Korbee and Jessica Rush, are fine, but rather vanilla, in contrast to the rest of the rugged cast. Also, some characters seem entirely unnecessary such as Verhulst (Jim Blanchette). Robert Patteri as Hieronymus and Eric Anderson as Ten Bosch are both fantastic and mesmerizing and the ensemble as a whole is quite good.

The musical numbers are a little long though, as is the whole show. In the end, however, the confusion and tediousness of the story and music are saved by the magnificent production values. Sounds like your typical Hollywood blockbuster. 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!

Wicked

Wicked - the Los Angeles Tour
a kate west review
music & lyrics by Stephen Schwartz, book by Winnie Holzman
directed by Joe Mantelloat the Pantages Theater, 6801 Hollywood Blvd. Los Angeles, CA 90028 running Summer 2005 in Los Angeles & touring nationwide
contact (323) 462-6898 or http://www.wickedthemusicaltour.com/cities/la.htm

[Warning - plot spoiler may be included!]

Direct from New York's Broadway, the Tony award winning mega-hit musical "Wicked", now at the Pantages in Hollywood, is as spectacularly satisfying on tour as it is in the Big Apple. Based on Gregory Maguire's innovative novel of the same name, the story centers on the behind-the-scenes story of the Wicked Witch of the West of "The Wizard of Oz" fame (also check out the L. Frank Baum books and the MGM film).

The witch herself, Elphaba (Stephanie J. Block), has the odds stacked against her from an early age. She was born green, first of all, assuring her status as an outcast. And it all seems to go downhill from there. Yet in spite of her hardships, she manages to find her inner power and exceed her own expectations. Along the way, she encounters many people to help her achieve this. First, her instructor at Shiz University, Doctor Dillamond (Timothy Britten Parker), and then Galinda (Kendra Kassebaum), who later becomes Glinda, the Good Witch. Handsome Fiyero (Derrick Williams) is her dashing love interest in contrast to the many friends who inevitably turn into enemies - like the Wonderful Wizard of Oz (David Garrison), Madame Morrible (Carol Kane) and even the seemingly innocuous Munchkin Boq (Logan Lipton).

Glinda sets up the entire tale for us as a flashback at the top of the show. Kendra Kassebaum gives a delightful performance as the effervescent and irrepressible ditzy-blonde "good" girl and does some darn good scene stealing to boot. We will soon discover that the wicked and the good are sometimes not so easy to define. Elphaba and her sister Nessarose (Jenna Leigh Green) are sent to school after their mother dies. Nessarose is in a wheelchair and Elphaba is well, green, so they are definitely the resident oddballs. Glinda is the queen of the ball and the favorite of all the students, but not the instructors. Of course she and Elphaba go from hating each other ("What is this Feeling?") to being the best of friends. Their friendship makes them stronger and they are irreparably changed for having known each other ("For Good").

Stage and television veteran Carol Kane is the chirpy Madame Morrible at Shiz University who first glimpses the possibilities of Elphaba's awesome power. Her initial dismissal of Glinda's power ultimately becomes her undoing. Elphaba eventually becomes disillusioned with the school when Doctor Dillamond is dismissed for being a goat. It seems that talking animals will no longer be tolerated in Oz.

After visiting her hero, the Wonderful Wizard of Oz, and feeling betrayed by him as well, Elphaba strikes out on her own in what is usually the most spectacular number of the entire show - "Defying Gravity". Stephanie J. Block is wonderful and amazing as Elphaba, conveying a sincere depth of emotion, in spite of this particular night's faux pas (her harness didn't work and she was not able to fly). All the musical numbers are fantastic, especially the crowd-pleasing "Popular" with Glinda and Elphaba, "One Short Day" where a green-clad chorus regales us with the magic of the Emerald City, and "No One Mourns the Wicked," another captivating chorus number. The entire cast is strong and stands up quite favorably in comparison with the original Broadway cast.

And yes, Dorothy Gale of Kansas is referenced (again, see the movie or read the books) but we never actually see her. However, her house still falls on top of Nessarose in a twister and she does steal her magic shoes and Elphaba does get splashed with water and dies (or does she?) We also learn the origins of the Tin Man, the Scarecrow and the Cowardly Lion in a "Star Wars III; Revenge of the Sith" type of revelation (from the famous George Lucas film sagas). Oz die-hards will love all the clever "inside jokes". And for those of you who have read the oddly original novel "Wicked", you'll find that this version is much more satisfying, especially when accompanied with memorable tunes and terrific production values.

Director Joe Mantello is to be commended for his fine directing, Susan Hilferty for the richly fantastical costumes and Eugene Lee for the stage settings, like the great silver dragon overlooking the top of the stage. The entire production crew is Broadway-professional and phenomenal (except for that one time poor Elphaba didn't get to fly). Balancing between darkness and light, such as the dirty world of politics, the dangers of intolerance and the freedom of realizing your own potential and fulfilling your own dreams, it's a heck of a fun show and well worth every penny. You won't want it to end. You might not know who you like better - Elphaba or Glinda (two very sexy sorceresses, by the way) - but you'll sure never look a witch the same way again. And hopefully not be too quick to judge wickedness. Be sure to catch it soon in a city near you, as it's the hottest ticket in town and selling out fast.

Read the story first:
Wicked: The Life and Times of the Wicked Witch of the West

Then enjoy the Broadway score:
Wicked (2003 Original Broadway Cast) Read more!

Big River

Big River, The Adventures of Huckleberry Finn
a Kate West review
music and lyrics by Roger Miller; book by William Hauptman
directed and choreographed by Jeff Calhoun
a Deaf West Theatre Production
at the Center Theatre Group/Ahmanson Theatre
135 North Grand Ave, Los Angeles 90012
January 11 -23, 2005; Call 213-628-2772


Rarely does a stage production come along so fascinatingly innovative that you remember it for days. The Deaf West Theatre's adaptation of "Big River", now playing at the Ahmanson Theatre, is just such a piece.

Roughly half the performers are deaf, first of all, already an unusual device in a musical. The speaking actors can all sign, resulting in a delightful collaboration of seamless synchronicity. Each deaf actor has a speaking partner shadowing him or her 'voicing ' their lines. It all works remarkably well, as evidenced by the wonderful choreography of Jeff Calhoun (also the director). Some of the hearing actors are on their own, such as Michael McElroy, who gives a very moving performance as the runaway slave Jim. He signs for himself.

Not only is a musical version of Mark Twain's "The Adventures of Huckleberry Finn" an interesting choice, but it takes on an added dimension of emotional intensity in this particular production. And it stays true to the original text of the beloved story. Mark Twain is the narrator, impeccably and commandingly portrayed by Daniel Jenkins, who voices the character of Huck (played by the delightful and extraordinarily talented Tyrone Giordano). He relates the entire story, beginning with Huck's escapades with Tom Sawyer (Benjamin Schrader), his running away from Widow Douglas (Cathy Newman) and helping Jim escape slavehood, despite his uneasy conscience. Huck was brought up to believe it is a sin to free a black slave but his adventures with Jim teach him the inhumanity of that belief and he vows to stay true to Jim, even if it means hell and damnation for himself, a seemingly very powerful deterrent.

Along the way, he has to address his own history, especially with his father, Pap, signed by Troy Kotsur and voiced by Erick Devine. This character is the most delightful of all because the two actors who portray him work so well together. When one succumbs to the devil drink and takes a swig out of the jug, the other wipes his mouth. They move in perfect harmony and are dressed in identical rags. It is a very clever device. Huck runs away from his drunken father, never hoping to find a decent life, but accepting his present wild existence.

Later, Huck and Jim encounter two scoundrels, the Duke (signed by the versatile Troy Kotsur and voiced by James Judy) and the King (Erick Devine), who impress him tremendously at first, but he soon learns that although they talk pretty fancy they are dishonest men and not worthy of his or Jim's friendship. They try to trick everyone they meet. Huck helps one victim, the lovely Joanna Wilkes (signed by Alexandria Wailes and voiced by Melissa Van Der Schyff), escape the two criminals and as a result most of the characters are redeemed, including the slave Jim, who to Huck's initial astonishment, has the same human feelings for his own family as do white folk.

Jeff Calhoun is to be profoundly commended for this amazing production. All the actors are acutely aware of each other and work in harmonious precision together. Threre are no weak moments and no weak actors. All the musical numbers are show-stomping fun and one even ends in silence, with the entire cast signing together which will send a chill up your spine. It would have been interesting had the final moment on stage ended in silence as well, since there were a good number of deaf actors and audience members and a notable reference to deafness in the production itself. The original book is of course, a defining statement about ignorance and intolerance and thus a perfect venue for this theater company.

It earned a much deserved that standing ovation on opening night and proves to be a huge hit with audiences, based on overheard post-play discussions. Tip: in the world of the non-hearing, applause is signified by fluttering your hands above your head. (Not to worry, all will become clear if you attend). It looks like they will have sold-out houses for their entire run. And well they should. Read more!

Nunsense

Nunsense
a kate west review
written and directed by Dan Goggin
at Theatre West, 3333 Cahuenga Blvd., Los Angeles, 90068
opening January 20, 2005 for 7 weeks only
contact (323) 851-7977 or www.theatrewest.org

Singing and dancing nuns are always funny, especially to lapsed Catholics, so the musical “Nunsense” is inevitably a crowd pleaser. On the other hand it can also come across a bit tired as in Theatre West’s latest production of this perennial favorite starring stage veterans Betty Garrett (best known as the feisty landlady on television’s “Laverne and Shirley”), Bridget Hanley, Barbara Mallory, Lee Meriwether (one of the sexy elite chosen to play Catwoman back in the day), Rhonda Stovey and Sandra Tucker.

The cast is delightful, each member a gifted and experienced actress who knows how to hold an audience in the palm of her hand, yet even they almost cannot overcome the trite material. The story begins with the Little Sisters of Hoboken holding a fundraiser to bury four of their order who succumbed to bad soup, now sitting in kitchen refrigerators. The rest of the story is simply variety numbers, one after the other, until random coincidences solve all of the problems in a rather flimsy manner.

Each nun has a solo number in the spotlight, usually reflecting her inner desires and musings. Lee Meriwether shines as Sister Robert Anne, the street-smart nun from Brooklyn whose effortless banter and fantastic stage presence hold the audience captive. She is truly the best thing in the show, a terrific lady and consummate entertainer. She’s old school. Betty Garrett is endearingly sweet as Sister Julia, the cook who poisoned her fellow sisters and can’t seem to get back on the right track although the new material written especially for her seems a bit forced. Writer/Director Dan Goggin might have been better off giving the script a complete overhaul. Mother Superior is Sandra Tucker as Sister Regina, who oversees the whole evening and has an amusing “drunk” scene. The rest of the cast, Bridget Hanley, Barbara Mallory and Rhonda Stovey are also strong and take turns addressing the audience and upholding the reality of a local high school benefit show.

One of the more distracting elements is the set by Joseph M. Altadonna and Daniel Keough. It is the set of “Grease,” supposedly left there by the high school students who are allowing the sisters to hold a benefit on their off night. It would have been much better had the stage been simply a high school auditorium setting. As it is, the background does not fit in with the story. Also the constant topical references and inside jokes grow a bit tedious. The company is obviously thrilled to be working with local celebrities but we don’t need to be reminded of it every other scene. All in all, the women are greatly entertaining but the show is a little too long. It is amusing to have them venture into the audience every once in a while, turn on the lights and talk to us but the show can be half as long and still tell its simple story. The silly resolution at the end is quite sudden and again, rather far-fetched. If you can sit through the evening, be my guest. The women are worth it but the story is not.

Read more!

Caroline Or Change

Caroline, or Change - a new musical
a kate west review
book and lyrics by Tony Kushner
music by Jeanine Tesori
directed by George C. Wolfe
at the Ahmanson Theatre, 135 North Grand Ave, Los Angeles 90012
playing November 6 – December 26, 2004; contact 213-628-2772 or www.CarolineOrChange.com

Gordon Davidson, Artistic Director and Producer for the Center Theatre Group, has been bringing innovative and direct-from-Broadway hits to the Los Angeles theater audience for 37 years. Now in his final year of reigning supreme over such local powerhouses as the Ahmanson Theatre and the Mark Taper Forum, he kicks off the season with “Caroline, or Change.” Coming from the creators of the acclaimed Tony award-winning Broadway hit “Angels in America”, Tony Kushner and George C. Wolfe, this new musical should be a runaway hit and indeed has garnered many accolades on Broadway. Unfortunately, the current production does not fully match the majesty and unique brilliance of an acclaimed piece like “Angels in America.”

Fairly heavy-handed, the story revolves around a bitter, yet stoic black maid named Caroline (Tonya Pinkins) working for a Jewish family in Lake Charles, Louisiana, 1963. Her daily labor is accompanied by a Greek chorus of appliances: the Washing Machine (Capathia Jenkins, alternating), the Radio (Tracy Nicole Chapman, Marva Hicks and Kenna Ramsey) and the Dryer and an arbitrarily mobile Bus Stop (currently both played by Chuck Cooper). Although amusing, these devices do not really add much to the play, other than endlessly repeat Caroline’s inner struggle of conscience.

Noah Gellman (in this performance, strongly played by Sy Adamowsky) is the only child of the household. After his mother dies, Rose (Veanne Cox) moves in and tries desperately to be his surrogate mother but he only finds comfort down in the hot basement watching Caroline do laundry. Caroline is “implacable” his mother once said, and in spite of her roughness, Noah adores her until his stepmother’s plan to teach him a lesson results in driving a wedge between him and Caroline. Caroline struggles with her own stubbornness and is aided in achieving some sort of peace by her children, especially her eldest daughter, Emmie (the vibrantly talented Anika Noni Rose), who tries to drag everyone kicking and screaming into a more optimistic future.

The supporting cast is strong, including Veanne Cox as Stepmother Rose, Larry Keith as her argumentative father and Aisha de Haas (alternating) as the Moon overseeing the Louisiana neighborhood on the verge of entering the civil rights struggle. Regarding the title character of Caroline, the inherent danger of playing someone so unemotional and reticent is that she comes across as unsympathetic, on top of which Tonya Pinkins suffers from vocal problems, at times sounding raspy while straining her voice in the more bluesy tunes.

Be warned, if you are expecting a light-hearted musical, Jeanine Tesori’s music is not your snappy, hummable sort as the tone is more somber and not typically melodic. More “Sweeney Todd” than “West Side Story.” And although Musical Conductor Kimberly Grigsby leads a solid orchestra and the entire production is professionally mounted, from the Choreography of Hope Clarke to George C. Wolfe’s direction, overall it lacks real soul. The musical is more lackluster than impressive and what should inspire, merely depresses. The title itself is confusing. Does Caroline really change or does it refer to the power of currency? It is all a bit unclear. Perhaps the touring company lacks the fire of performing on the actual streets of Broadway. At any rate, the audiences seem to love it as demonstrated by their overwhelmingly positive response and the inevitable Los Angeles standing ovation after every performance. Read more!

A Little Night Music

A Little Night Music
a kate west review
music & lyrics by Stephen Sondheim, book by Hugh Wheeler
directed by Scott Ellis
at the Dorothy Chandler Pavillion, 135 N. Grand Avenue, L.A. 90012
July 7 – July 31, 2004; Contact (213) 972-8001 or www.losangelesopera.com

Stephen Sondheim, the preeminent voice of the sophisticated musical, is so prolific that it is impossible to list all of his beloved works of musical art. “A Little Night Music,” one of his best-loved and familiar musicals, first appeared in the late 1980’s and may be classified as an operetta (like “Sweeney Todd,” another Sondheim masterpiece). Known for his ability to take on complicated projects, Sondheim understood that it is not easy to deconstruct an Ingmar Bergman film (in this case “Smiles of a Summer Night”) and turn it into an audience-accessible musical. But if anyone can do it, Sondheim can. The current production at the Los Angeles Opera does fine justice to the stylish piece. Starring such Broadway luminaries as Zoe Caldwell, Victor Garber and Judith Ivey, Sondheim’s tale of lost love touches a cord, even while couched in the moral ambiguity of adultery.

Fredrik Egerman (the irresistibly suave and debonair Victor Garber), has married again, this time to the young virgin Anne (Laura Benanti) and his brooding son Henrik (Danny Gurwin) is quite obsessed with her. Meanwhile, Fredrik’s old love, the prominent stage actress Desirée Armfeldt (the dynamic Judith Ivey), has taken a lover, the married Count Carl-Magnus Malcolm (booming Marc Kudisch), but is unhappy with her dim-witted catch. She is secretly pining away for real love and feeling guilty about her fatherless daughter Fredrika (Ashley Rose Orr on certain evenings). Her grandmother, Madame Armfeldt (the immeasurable Zoe Caldwell), hovers in the background, commenting on the foolishness of youth, disapproving especially of Desirée’s nomadic lifestyle while raising Fredrika as her own.

Count Malcolm has problems as well, oblivious of his jealous long-suffering wife, Countess Charlotte Malcolm (Michele Pawk), who plots with Anne to get revenge against the husband-stealing actress Desirée. He only wants Desirée as a trophy, having no real feelings for anyone other than himself. He is furious that Fredrik, after seeing Desirée in a play, has gone back to her, partly frustrated by not consummating his new marriage and partly because he cannot seem to stop thinking about her. Fredrik’s home life torments him. His young wife Anne does not appreciate her older husband and his intellectually tortured son does not appreciate his own youth.

“A Little Night Music” is essentially a story about losing your only love, not appreciating what you have right in front of you and denying growing older (as evidenced by Fredrik’s falling for an 18-year old while still in love with Desirée). The only healthy, normal, vibrant character of the piece with no neurosis or hang ups is the servant girl Petra (Jessica Boevers) illustrated best when she sings the beautiful “The Miller’s Son.” She meets a man she likes, having enjoyed many men along the way, pursues him and they end up together without any agonizing discussions, a shining example to the rest of the wealthier phobic group that it is possible to find uncomplicated happiness. Countess Malcolm makes a half-hearted attempt at subterfuge, but as all the characters soon learn, it is not that much fun and not what they really want. Rather than pursuing what they do not need and running away from the truth, they are better off shedding the pretense and just following their hearts. After a climactic duel, most of the characters recognize how to be happy and there are even some surprising love matches.


Director Scott Ellis has assembled a fine cast, wonderfully integrated into the musical brilliance of the Sondheim score. From the famous “Send in the Clowns” to the upbeat “The Glamorous Life” and the tongue-in-cheek “You Must Meet My Wife,” the production showcases the best in theatrical talent. The three leads are a special treat but the rest of the cast is delightful as well and everyone involved from the Choreographer Susan Stroman to the Costume Designer Lindsay W. Davis maintains an operatic and just perfection. This production offers not only great entertainment but also a strong message of love and life. It may force you to think but it is well worth exercising a few extra brain cells in order to fully appreciate the evening’s outcome. Kudos to the Los Angeles Opera.

A Little Night Music (1973 Original Broadway Cast) Read more!

Thoroughly Modern Millie

“Thoroughly Modern Millie”
a kate west review
directed by Michael Mayer
book by Richard Morris & Dick Scanlan
music by Jeanine Tesori; lyrics by Dick Scanlan
at the Ahmanson Theatre/Center Theatre Group/L.A. Music Center
135 North Grand Ave, Los Angeles 90012
May 19 – July 25, 2004; Call 213-628-2772

Recollections of the 1920’s conjure up stylish flappers, fast music and rapid-fire dialogue. The Ahmanson Theatre’s production of “Thoroughly Modern Millie” provides all of this in standard Broadway musical spectacle, with catchy tunes and spiffy dance numbers. Die-hard fans of the 1967 movie version starring Julie Andrews and Mary Tyler Moore may miss the comedic asides directly to the camera and general immediacy of the characters. This particular production is even broader and audiences unfamiliar with the film will enjoy the retro sets and costumes as well as such visual gags as translating songs into Chinese via a lowered screen. This is how the creators wink at the audience, in keeping with the rather screwball humor.

Brand new to the Big Apple of Manhattan, New York, and all the way from Kansas, Millie (the passionate and sparkling Darcie Roberts) is a modern girl. She is determined to lead a modern life by marrying her boss as this makes the best business sense. Love (maybe) comes later. Her first day there she runs into Jimmy (the rakish Joey Sorge), a carefree ladies man who dismisses her without a second thought. Yes, of course they hook up later. She gets a job as a stenographer and rents a room at the Hotel Priscilla, presided over by the shifty Mrs. Meers (formidable Hollis Resnik) with a suspiciously phony Chinese accent. It turns out that Meers is an American stage actress/convict now leading the notorious gang that kidnaps vulnerable young orphan girls and sells them into white slavery. When Millie and her friends discover that innocent young Dorothy (Diana Kaarina) is one of the abductees, they spring into action and justice is served.

Along the way, Mille learns that love is what a marriage is all about, not business. Thus she becomes emotionally evolved and truly modern. The ultimate resolution is silly and a bit unbelievable but fitting for a rather frothy and formulaic musical. There are highlights, however, such as Scenic Designer David Gallo’s scrumptious set, Costume Designer Martin Pakledinaz’s luscious outfits and Director Michael Mayer’s quick transitions. Standouts include Darcie Roberts in the title role and Pamela Isaacs as the grandiose Muzzy Van Hossmere. (Side note: Although the latest trend of color-blind casting is noble in itself, it is a bit startling in a period piece.) Fun numbers prevail throughout, especially the tap-dancing stenographers in “The Speed Test” and the nightclub scene where the characters celebrate to “The Nuttycracker Suite.” If you are a fan of any and all musicals, you’ll tap your toes to this beat, but don’t look for a deeper meaning, obviously.

Thoroughly Modern Millie (2002 Original Broadway Cast)
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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!

Urinetown

“Urinetown”
a kate west review
music & lyrics by Mark Hollmann; book & lyrics by Greg Kotis
directed by John Rando
at the Wilshire Theatre
8440 Wilshire Blvd., east of La Cienga, Beverly Hills
Running through May 23, 2004; call (323) 468-1770 now!
or visit www.BroadwayLA.org

The Tony-award winning Broadway hit, “Urinetown,” a spectacularly original fun new show, has finally arrived in Los Angeles direct from New York City for oh, too short a time. From Chicago’s hip theatre scene, Mark Hoffmann and Greg Kotis collaborated to invent an unusual story about water shortage, of all things. And with characters like Officers Lockstock and Barrel, you know you’re in for a fun ride.

Scenic Designer Scott Pask creates the first startling impression with his stark, metallic grey set, made up of prison walkways and roving spotlights (thank Light Designer Brian MacDevitt). Cast members also occasionally use flashlights to create a semi-ominous atmosphere. Director John Rando’s inspired blocking (stage movement) keeps the action moving quickly and the choreography is equally wonderful.

The story revolves around two star-crossed lovers: wistful Hope Cladwell (the lyrically beautiful Christiane Noll) and heroically handsome Bobby Strong (the delightful Charlie Pollock) trapped in an uncompromising town where everyone must pay to use a restroom. Hence the odd title “Urinetown.” Tragically, Hope is the only daughter of the tyrannical Caldwell B. Cladwell (Ron Holgate) who has the poor in a vice-grip of evil. Bobby is the leader of the underground revolution demanding free toilets and an ample water supply.

Not to give away plot points, but this union cannot end well.

We eventually discover that Urinetown is actually a euphemism for discarding the unwanted (i.e. killing the poor). Recounting these important plot details, Jeff McCarthy is a definite standout as Officer Lockstock, also acting as the Narrator. His expansive method and side winks at the front row fit in perfectly with the fantastically peculiar style of the show. His sidekick, the adorable Meghan Strange as perky Little Sally, helps to move the plot along, including the audience in scores of inside jokes. The entire cast is quite strong (Christiane Noll is like a young Madeline Kahn) and the entire production is blissfully entertaining, especially the second act.

Highly recommended as great fun, a good night and the newest hot ticket in town.

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Urinetown (2001 Original Off-Broadway Cast)

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