“Urinetown”
a kate west review
music & lyrics by Mark Hollmann; book & lyrics by Greg Kotis
directed by
at the Wilshire Theatre
Running through
or visit www.BroadwayLA.org
Not to give away plot points, but this union cannot end well.
Get the Soundtrack:
Urinetown (2001 Original Off-Broadway Cast)
“The Royal Family”
a kate west review
by George S. Kaufman & Edna Ferber
at the Ahmanson Theatre/Center Theatre Group/
March 27 –
“Twelfth Night”
a kate west review
by William Shakespeare
at A Noise Within
March 19 – May 16 (818) 240-0910
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“Caulklon the Volton”
a kate west review
written and performed by Ted Michaels, directed by Karen Maruyama
at the Groundlings Theatre, 7307 Melrose Avenue, Los Angeles, 90046
(323) 934-4747, Running April 5, 19, 26 at 8 p.m. Tickets $7
From the mind of Ted Michaels (a frightening place), who is yet another fabulously talented Groundling, comes an insanely original new one-act, “Caulklon the Volton,” performing in the house of comedic insanity: the Groundlings Theatre. The title refers to a space creature that appears to George W. Bush in a demented dream, threatening to enslave the population of the earth and keep them all in his stomach. The premise alone (almost) prepares you for the truly bizarre story about to unfold.
For those unfamiliar with past Groundlings main company shows, Michaels is known for his eccentrically intense characters such as a coal miner performing stand-up comedy and a Spaniard who rescues a depressed office worker from the doldrums of everyday life. In this production, he portrays a full range of characters, from the daydreaming current president George W., George Bailey from “It’s a Wonderful Life” and past president F.D.R. to Batman, Robin and the amazing Caulklon the Volton himself. We never find out what a Volton is, but it sounds very scary and is present via George W.’s answering machine and speaker phone.
Groundlings Alumna Karen Maruyama’s fast-paced directing keeps up a spirited energy, matching Michaels’ manically enthusiastic method of jumping in and out of character. Greg Kanaga, Groundlings band member, joins in the fun with the occasional odd character as well as providing the music. This is a wonderfully unique performance which must be seen to be believed. It is great, wild fun and a very impressive insight into the type of talent the Groundlings nurture and revere. Highly, highly recommended.
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WARNING!
a kate west review
written by Ann Noble, directed by Scott Cummins
at The Road Theatre Company, Lankershim Arts Center
5108 Lankershim Blvd. North Hollywood
call
“The Underpants”
a kate west review
by Carl Sternheim, adapted by Steve Martin
directed by John Rando
The Geffen Playhouse
March 9 –
Call (310) 208-5454
“Dirty Blonde” by Claudia Shear
a kate west review
directed by James Lapine
at the Pasadena Playhouse, 39 S. El Molino Avenue, Pasadena 91101
call (626) 356-PLAY (7529); running February 27 – April 4, 2004
Mae West was a fabulous, outspoken, sexy diva of vaudeville and early film who fascinated, titillated and shocked audiences of her day. Claudia Shear portrays West as fun and big and bawdy as she ever was in the recent production of “Dirty Blonde.” As the award-winning author and co-creator, Shear has played West in many different venues, including on Broadway. She collaborates once again with the mega-talented and brilliant James Lapine (also co-creator) who directs this produciton in his usual economical and remarkably savvy fashion.
The story revolves around West’s rise to stardom, chronicled by two modern lonely Mae West fans who discover each other because of their mutual obsession. Claudia Shear (as West and the lonely Josephine), Tom Riis Farrell (as her lover and various other characters) and Bob Stillman (various characters) make up the cast. They work very well as a team, transforming into different characters in different eras with professional simplicity. Bob Stillman also acts as Musical Director, creating a wonderful score in keeping with the vaudeville style of the production and each number is more entertaining than the next.
Casual fans my be surprised to learn that part of Mae West’s amazing life story is writing her own material, discovering Cary Grant and having the balls to live her life exactly the way she chose. Shear paints a vibrant and powerful picture of West, touched by sadness only toward the end of her life.
The show runs a bit long at about two hours and could do with an intermission. There seem to be several opportunities for a good break. In spite of this, the audience leaves the show wanting more and with the desire to go watch West’s more well-known films such as “Diamond ‘Lil” and “My Little Chickadee.” Spectators can visit the Playhouse’s current charming exhibit of her memorabilia after the show. This nicely highlights a delightful production which is loads of fun.
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“39*21*50” by Max Riley
a kate west review
directed by Mario Lescot
at The Theatre District at the Cast Theatre, 804 El Centro, Hollywood, (323) 957-2343
Running February 13 – April 3, 2004
Local playwright Max Riley’s latest one-act, “39*21*50,” developed at the Theatre District is now a full length play. The title refers to the various stages the characters go through in life, which they discuss endlessly in a local coffee shop on Melrose Avenue in Hollywood. The set design is by Two Blue Chairs and is a wonderfully natural depiction of a cozy, messy Melrose café, with muted strung lights and newspapers strewn about. It establishes the mood perfectly as the characters are introduced.
First we meet Suzie (Suzie Kane) and Nancy (Nancy Peterson), two middle-aged friends who lunch at the same Melrose café every day and never get served. It is their favorite hangout, however, where they feel the most comfortable. The running joke is that the wraithlike waitress (Randi Haynes) never brings actual food and never does any actual work, but is a good pal. Next their divorced friend Karen (Karen Mangano) comes in, soon followed by the frantic businesswoman Trish (Alice Ensor) who quickly becomes a regular customer, along with her ever-patient assistant Ellen (Shannon Hunt).
A special find is Drew Droege, who plays Drew, the only male friend in the bunch, who imparts both wisdom and serenity as only a local yogi teacher can. He plays his part joyfully and with a refreshing immediacy and realism. In fact, it seems that the younger characters, Drew, Ellen and even the waitress, in spite of their own problems, are there to teach the older women how to cope gracefully with life’s little quirks.
Throughout the play, the women sort out their various problems while drifting in and out of the café. Businesswoman Trish learns to slow down and appreciate the small pleasures in life, even reclaiming her Brooklyn accent. She finally notices and appreciates her assistant Ellen who very sweetly reveals her inner life. Karen reconciles with her bad husband, while Suzy and Nancy strengthen their already strong friendship. Drew wanders between both sets of women, as some sort of symbolic touchstone.
The actors give more or less strong performances; however, all the heartfelt emotion comes across a bit forced, with overwritten dialogue and incongruous monologues. For instance, Drew compares not living a full life to a cheap version of an Armani suit where “the collar rides up.” The mundane point of stopping to smell the roses might have been made with less tedious writing. Also director Mario Lescot has the actors amble off occasionally for spotlight monologues which do not provide anything specifically revealing. All in all, the play is a tad slow and may leave the audience a tad bored.
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The Velvet Hammer Burlesque presents “Illuminata”
a night of rhapsody & abandon
a kate west review
created, produced & directed by Michelle Carr
at The Avalon Theater
and The
playing
Contact www.velvethammerburlesque.com for upcoming tour information!!!
“Fleetwood Mac,” by the Troubadour Theater Company
a kate west review
now playing at the Matrix Theatre, 7657 Melrose Avenue, West Hollywood (800) 595-4849
February 19 – March 28, 2004
In Shakespearean time, theater was a bawdy, entertaining, interactive affair and audience members participated in their own raucous evening out. Shakespeare would have loved the Troubadour Theater Company. Troupe leader Matt Walker heads a company of professional improvisers, musicians and actors in a theater company that holds nothing sacred.
Their latest effort, “Fleetwood Macbeth,” stays true to their familiar style of wacky, irreverent fun. Set to the music of Fleetwood Mac, it is the classic story of Shakespeare’s “Macbeth.” From the beginning of the play, we know this will be a very different experience as some of the actors mingle with the audience before the show and the pull some “volunteers” on stage. Latecomers are greeted with a house-lights-up joyous song and the actors talk to us throughout the entire play.
Morgan Rustler as Macbeth and Matt Walker as Banquo take us through the entire story, jumping from traditional Shakespearean soliloquies to pop culture references such as mega singer Janet Jackson’s recent Super Bowl faux pas. Choreographer Michelle Anne Johnson dazzles us with fabulous numbers, including many acrobatic feats and Musical Director Andre P. Holmes accents the show with his rockin’ band. Meanwhile, the actors sing familiar Fleetwood Mac hits such as “Don’t Stop.” Lisa Valenzuela is an especially strong singer as Lady Macbeth and the crew of witches, led by Beth Kennedy as Hectate, are a delightful chorus of talented singers and dancers. Matt Walker’s direction is tightly controlled, yet still allows for improv and nice rapport with the audience. Costume Designer Sharon McCunigle creates a combination of modern and olden Scottish wear and most of the actors sport crazy huge rubber feet.
For those who can’t remember their high school lit class, “Macbeth” is inspired by the witches and his wife to murder King Duncan (Travis Clark) and take his place. Violence begets violence and he murders his friend Banquo to prevent his rise to the throne and then slaughter the entire family of his rival Macduff (portrayed East Los Angeles “homie” style by Guillermo D. Robles). He is ultimately and justly defeated by Macduff and heir to the throne, Prince Malcolm (deliciously foppishly played by Guilford Adams). Lady Macbeth dies and Macbeth himself is killed, all of his blood lust having left him with nothing but anguish and disturbing hallucinations.
The dramatic moments in this production, especially Macbeth’s speeches, could have been heightened in order to better contrast the troupe’s zaniness. As a whole however, it is a rewardingly juicy show, highlighting lowbrow humor and a finely toned ensemble. Tremendous fun and definitely recommended.
Macbeth (Folger Shakespeare Library)
“Pigs and Bugs,” a world premiere by Paul Zimmerman
a kate west review
directed by Chris Fields,
Echo Theatre Company, McCadden Place Theatre,
Hollywood 90038; (800) 413-8669; www.echotheatrecompany.com
Running February 12 –
“The Diary of a Madman”
a kate west review
written by Nikolai Gogol; adapted by Don Eitner & Tom Troupe
directed by Don Eitner
at the Odyssey Theatre Ensemble
2055 S. Sepulveda Blvd. Los Angeles 90025
call (310) 477-2055; Running January 10 – March 7
“I Am Not Mark Twain”, Written and Performed by Steven Cragg
a kate west review
directed by Ron Lagomarsino
at the Groundlings Theatre, 7307 Melrose Avenue, Los Angeles 90046
(323) 934-4747, Running Mondays February 2004
Steven Cragg, alumnus of the well-known Groundlings Troupe is currently performing his unusual one-man show “I Am Not Mark Twain” at the Groundlings Theatre through February. The previous incarnation was directed by Melanie Graham (another Groundlings alumna) and depicted Cragg, southern accent and all, in a Mark Twain costume with the disclaimer that he is most definitely not Mark Twain. (You need to see the show to get the joke). The one act is actually about Cragg’s personal life which he shares with the audience in painful detail. From his crazy road exploits with a drinking buddy, to the terrible scare he had when his son was diagnosed with a serious disease, Cragg keeps the audience in turn involved, sympathetic, enchanted and dismayed.
The current production directed by Rob Lagomarsino is an extension of the earlier work, maintaining the same emotional intensity and pathos. Combining sarcasm, witty humor and revealing frankness, Cragg once again holds the audience captive. Along with his “not-Mark-Twain” costume, he presents slides of his life, daring us to judge his choices, while keeping his dignity and integrity intact. This is an amazing show and an amazing insight into a complex and intelligent man. It is well worth time invested and may leave you dizzy from all the strongly exposed passion. Don’t miss it.
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Hairless
written & directed by Sarah Johnson
starring Angelique Little
Under the new-and-different category comes an usual independent film. "Hairless" is a movie about baldness. More specifically, about Alyssa, who tries to hide her hairless state from potential suitors. But this proves to be a daunting task, as she has no hair anywhere, due to a disease called alopecia areata (see info below on the very real condition).
Check out the website www.hairlessmovie.com
WHAT IS ALOPECIA?
From The National Alopecia Areata Foundation
Alopecia areata is a common autoimmune disease that results in the loss of hair on the scalp and elsewhere. It usually starts with one or more small, round, smooth patches. It occurs in males and females of all ages and races, but onset most often occurs in childhood. It is estimated that approximately two percent of the population will be affected at some point in their lives, or over 4.5 million people in the United States.
In alopecia areata, the affected hair follicles are mistakenly attacked in groups by a person’s own immune system (white blood cells), resulting in the arrest of the hair growth stage. These affected follicles become very small, drastically slow down production, and grow no hair visible above the surface for months or years. The scalp is the mostly commonly affected area, but the beard or any hair-bearing site can be affected alone or together with the scalp.
Some people develop only a few bare patches that regrow hair within a year. In others, extensive patchy loss occurs, and in a few, all scalp hair is lost (referred to as alopecia totalis) or, hair is lost from the entire scalp and body (referred to as alopecia universalis). No matter how widespread the hair loss, the hair follicles remain alive and are ready to resume normal hair production whenever they receive the appropriate signal. In all cases, hair regrowth may occur even without treatment and even after many years.
At present, there is no cure for alopecia areata, although the hair may return by itself. There are various treatments, which are most effective in milder cases, but none are universally effective.
For more information, please check the website of the National Alopecia Areata Foundation, at www.naaf.org.
More from Angelique Little:
The Smartest Person Who Ever Lived
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The 9 O’clock 10:17 Comedy Night
a kate west review
Saturdays at the Gershwin Hotel, 7 E. 27th Street, between 5th and Madison, New York NY, $5 only.
Info: (212) 932-3767 or http://www.1017comedy.com
Husband and wife team Michael Birch and Bricken Sparacino have served up yet another entertaining show with their long running 10:17 Comedy Troupe playing at the Gershwin Hotel on Saturday nights. The five dollar admission charge is the cheapest rate for the most laughs in town. Every week is a different show so it is well worth seeing multiple times.
Last week, September 27, the talented line up included stand-ups Erin Foley, Andres du Bouchet, Dan Allen and Jessica Delfino. Du Bouchet spars playfully with the audience and Delfino is a special delight accompanying her quirky outlook on life with some fun guitar strumming. And as if all that weren’t enough joy, the troupe itself (this time consisting of Glenn Stoops, Eric Chercover, Michael Birch and Bricken Sparacino) pepper the evening with comedy sketch, song and miscellaneous ad-libbing.
Birch and Sparacino are excellent hosts, making the audience feel completely comfortable as if we were right in their cozy living room. Two highlights include Sparacino’s monologue as an outraged Barbie, reprimanding Saudi Arabia for banning her likeness and Birch serving up some funny “improvised” singing with musical partner Eric Chercover as the Mike Birch Caucasian Experience. The entire evening is a delight and the gracious hosts welcome you to smooze with the cast afterwards, creating a fun and relaxed atmosphere so when they pick on you it’s good natured fun as if being teased by your family.
Definitely a good bargain for your buck, especially in New York. Go see it soon!
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The Lord of the Rings Saga
Films and Books
a kate west favorite
(Elijah Wood as Frodo Baggins)
An absolute success from the very beginning, Peter Jackson's "Lord of the Rings" Trilogy wowed audiences as a box office hit; not bad for three epic movies, each three whole hours long. At least. Taken from the modern classic novels of J.R.R. Tolkien (1892-1973), the films are scrupulously true to the original novels, with but a few very minor deviations not even worth mentioning. Jackson captures the essential characters perfectly and his eye for casting is sublime.
Frodo Baggins (Elijah Wood) is Bilbo Baggins’ (Ian Holm) favorite nephew and a Hobbit (small, jovial and gentle creatures). Bilbo must have passed on his vivid wanderlust (read “The Hobbit” for details) onto Frodo as both of them encounter incredible adventures in their full lives. The most important quest by far is that of the great ring of power, forged for the evil Sauron, a demon lord trying to take over Middle Earth.
Tolkien painstakingly created Middle Earth and even developed complicated languages for his characters. A contemporary of the Christian writer C.S. Lewis, he himself was Roman Catholic. He incorporated much of that mysticism and symbolism into his works and in his worlds, good is constantly pitted against evil, causing much internal conflicts. Having lived through both World Wars (and witnessing Tolkien cult fanaticism), Tolkien was acutely aware of the corruption of power and mania and of how kingdoms can be felled. The message of his novels is always that good will prevail, but often at heavy cost.
In the films, as in the books, the cost in “The Lord of the Rings” Trilogy is the death of some main characters and the toll on everyone’s soul. To begin with, Gandalf the Grey (Sir Ian McKellan) tasks Frodo with bringing the ring into the heart of Mordor and the fires of the Mount Doom, which will destroy its sinister power forever. To aid the valiant Hobbit is the Fellowship of the Ring, consisting of three fellow Hobbits, a Ranger, Gandalf, a Dwarf, an Elf and a second mortal human, Boromir (Sean Bean). Their quest ends up taking them all on different paths, finding their dark destinies and ultimately returning to the light in one fashion or another.
Frodo and his loyal friend Sam (Sean Astin) encounter Gollum (voiced by Andy Serkis, with most visuals done by CGI*), on their lonely last leg of the journey. Gollum had the ring long ago (no one ever truly owns the ring) and its siren song compels him to follow it all the way to his doom, having already been twisted into a sub being, tragically far from his origins. He serves as a warning to Frodo not to let himself be swallowed up by the magic of the ring, and thankfully, Sam is at hand to help him stay strong.
Meanwhile, heroic Strider/Aragon (Viggo Mortensen), the ancient mortal King Isildur’s heir; gallant Legolas the Elf (Orlando Bloom) and the fierce Dwarf Gimli (John Rhys-Davies) seek the other two lost Hobbits, Merry (Dominic Monaghan from television’s “Lost”) and Pippin (Billy Boyd). Boromir and brother Faramir (David Wenham), heirs to the Gondor throne have unresolved family issues, adding even more dimension to the characters' stories. Other standout characters are the elegant Fairy Queen, Lady of Light and Wood, Galadriel (Cate Blanchett), Elven leader Elrond (Hugo Weaving) and his beautiful daughter Arwen (Liv Tyler), in love with Aragon. Elves are pretty cool in general, as well as mighty warriors, like Haldir (Craig Parker) another suave hero. Talking trees, goblins, orcs and more populate this fantastical world. Suffice it to say, you have plenty to look at and will want to view these magnificent films over and over again.
Peter Jackson truly understands Tolkien’s world and visualizes a gorgeously filmed work of art. It’s touching, breathtaking, so musically apt, wonderfully acted and beautifully costumed. Tolkien inspired many storytellers, in fantasy and science fiction alike, and his works continue to spark the imagination. It is a credit to Jackson that his Oscar-award winning epics do fine justice to the beloved novels.
*Computer Graphics Interface: A digitalized imaging process of computer animating characters on screen.
The Trilogy:
Lord of the Rings: Fellowship of the Ring
Lord of the Rings: The Two Towers
Lord of the Rings: The Return of the King
Director:
Peter Jackson
Writing Credits:
J.R.R. Tolkien (novels)
Fran Walsh (screenplay)
Philippa Boyens (screenplay)
Peter Jackson (screenplay)
Cast:
Alan Howard ... The Ring (voice)
Noel Appleby ... Everard Proudfoot
Sean Astin ... Sam Gamgee, Hobbit
Sala Baker ... Sauron, Dark Lord
Sean Bean ... Boromir of Gondor
Cate Blanchett ... Galadriel, Lady of Light, of Wood
Orlando Bloom ... Legolas Greenleaf, Elf
Billy Boyd ... Peregrin 'Pippin' Took, Hobbit
Marton Csokas ... Celeborn, Elf Husband of Gladriel
Brad Dourif ... Grima Wormtongue
Megan Edwards ... Mrs. Proudfoot
Michael Elsworth ... Gondorian Archivist
Mark Ferguson ... Gil-Galad, Elf King of Noldor
Bernard Hill ... King Theoden of Rohan
Ian Holm ... Bilbo Baggins, Hobbit
Christopher Lee ... Saruman, The White Wizard
Lawrence Makoare ... Lurtz, Uruk-Hai (half Orc/half Man)
Brent McIntyre ... Witch-King
Ian McKellen ... Gandalf the Grey
Peter McKenzie ... Elendil, Father of Isildur
Sarah McLeod ... Rosie Cotton, Hobbit
Dominic Monaghan ... Merry, Hobbit
Viggo Mortensen ... Aragorn/Strider, Isildur's heir
Ian Mune ... Bounder
John Noble ... Denethor, Father of Boromir & Faramir
Miranda Otto ... Eowyn, Shield Maiden of Rohan
Craig Parker ... Haldir, Elf Captain
Cameron Rhodes ... Farmer Maggot
John Rhys-Davies ... Gimli the Dwarf
Martyn Sanderson ... Gate Keeper
Andy Serkis ... Gollum/Voice of The Witchking
Harry Sinclair ... Isildur, Past King of Gondor
Liv Tyler ... Arwen, Elf
David Weatherley ... Barliman Butterbur, Owner Prancing Pony
Hugo Weaving ... Elrond, father of Arwen
David Wenham ... Faramir, brother of Boromir
Elijah Wood ... Frodo Baggins, Hobbit
Start with the first LOR Book:
The Lord of the Rings (Collector's Edition)
Special Edition Film Series:
The Lord of the Rings - The Motion Picture Trilogy (Platinum Series Special Extended Edition)
Bob’s Holiday Office Party
a kate west review
by Rob Elk and Joe Keyes, Directed by Justin Tanner
at The Elephant Asylum Theater, 6320 Santa Monica Blvd., Los Angeles,
(323) 960-7717, www.bobsofficeparty.com, LAST WEEK
A new Hollywood Christmas tradition, “Bob’s Holiday Office Party” is a silly, drunken farce which blurs in your memory like a holiday hangover from a really wild party. Indeed, this appears to be the playwrights’ intent. The title character, Everyman Insurance Agent, Bob Finhead (Rob Elk), holds his annual Christmas party for his loyal and colorful eccentric small town clients. The main plotline is that in one evening, he must make a life decision affecting everyone. In the meantime, the audience is entertained by a parade of increasingly bizarre and tipsy characters who pop in and out of the action, sharing and stealing focus from one another in a joyous free-for-all. Two standouts include the hilarious Johnson sisters (the talented Laura Carson and Maile Flanagan) who echo each other with merry intensity.
It is great fun to watch each character become progressively more insane, from the likeable stoner slacker Marty (Mark Fite) to the rigidly anally repressed Margie Mincer (Andrea Hutchman), embroiled in a love affair with Bob. Ann Randolph does a good job also of balancing her two extreme characters, polar opposite twin sisters, Carol and Brandy.
Playwrights Rob Elk and Joe Keyes (playing Bob and Joe Walker, respectively), tie things up nicely with simple conflict resolutions, complete with an apparently ineffective meek villain, Elwin Beewee (subtly portrayed by Pat O’Brien), who comes back into town to confront his childhood bullies and avenge himself. Director Justin Tanner sets a fast-paced tone, dotted with outrageous antics such as Joe’s over-the-top “orgy” with the Johnson sisters and wanton Brandy’s brazen sexual openness.
All in all, it is clear that the creators and actors have polished the production over the few years it’s been running and are having the time of their lives cavorting on stage. Silly yes, and not particularly deep or meaningful so don’t go looking for lessons to be learned. It is obviously not for the serious-minded. Then again, it’s Christmas. So if you are already on your way towards holiday debauchery, stop by the Elephant for a preview of holiday madness.
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“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.
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The Parlour Club
a kate west recommendation
7702 Santa Monica Blvd., Russian Quarter,
(323) 650-7968, every Friday,
$5 for 21 and over; www.parlourclub.com.
Come back in time to revel in incredible 1920’s Jazz music, dance and fun cabaret style. Yes, it’s true. Show up late Friday night at the Parlour Club and the crazy cats there will reveal their secret of time travel in the amazingly bright and sassy show, “Bricktops.” Starring such sparkling entertainers as Mr. Uncertain (see below) and Vaginal Davis, plus DJ Bernice Bobserhair spinning les hot jazz nuggets and Tin Pan Alley favorites, the show features a group of talented cross-gender sprites who will make you believe in being young again.
Everyone dresses up 1920’s, so girls, be sure to go vintage shopping ahead of time and get those long strands of pearls and yummy fringe flapper dresses and guys, get those scrumptious era hats and come Charleston with the regulars. Fair warning - a poor, lost, wandering tourist may feel stuck in a time warp in his modern era blue jeans. Everyone, regardless of attire, will have the time of their lives.
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“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.
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“Passion” by Stephen Sondheim
a kate west review
at the East West Players, David Henry Hwang Theater
120 Judge John Iso Street, Los Angeles 90012, (213) 625-7000
Running September 10 – October 5, 2003
Most Sondheim musicals are difficult to stage, given the complexity of the music as well as the emotional depth each character exhibits. The East West Players do a fine job in their recent show “Passion.” From the fascinatingly dark set design (Victoria Petrovich) to the particular and economical directing by Tim Dang (also Artistic Director), this production certainly does justice to one of Sondheim’s best later works.
This achingly powerful and passionate story shows us the obsessive lengths to which someone in love will go. Handsome soldier Giorgio, aptly portrayed by Michael Dalager, is stationed in a strange, far-off barracks. There he befriends the host, Colonel Ricci (Orville Mendoza), brother to the odd, house-bound, invalid Fosca, exquisitely played by Jacqueline Kim. Fosca becomes immediately enamored of Giorgio and her passion for him initially repulses him and drives him away but he gradually sees that he cannot get her out of his mind and ultimately succumbs to her chronic seduction. At first he believes that he is in love with Clara (Linda Igarashi) who is a married mother. She refuses to leave her husband and that inspires Giorgio to see that Fosca’s twisted love for him is the only true passion in his life. From beginning to end, each character undergoes profoundly painful change in realizing the potential for deep passion. The climax of the play is a dramatic duel between Colonel Ricci and Giorgio, over the honor of Fosca.
While Michael Dalager (Giorgio) demonstrates the wonderful emotional resonance of a tortured lover, it is Jacqueline Kim as Fosca who steals the show. She perfects the consumptive’s sickly cough and the awkwardness of a deeply shy and backward woman who finds the strength to become her own woman, through the fierce love she has for Giorgio. Her characterization is inspired and her stage presence magnificently compelling. Orville Mendoza as the Colonel and Michael Hagiwara as Doctor Tambourri are among the minor characters who are not as strong in the ensemble but the main characters are well up to the task of creating magic.
Scott Nagatani does a fine job as Musical Director, not an easy feat with a Sondheim musical. The dark music is slightly discordant which serves to remind us that love does not follow normal paths in life and that there is never one true definition. Overall, the production is very strong musically and the dramatic conflicts well played out. It is well worth checking out this intensely odd and poignant piece.
Passion (1994 Original Broadway Cast)
8 Simple Rules
a kate west reflection
Dear John,
I'm sorry I missed you in the first couple of seasons of "8 Simple Rules". I only caught part of the third and last season so I really didn't get to see you spar with your annoying t.v. neighbors, love your t.v. wife or lecture your t.v. children. I tuned in on reruns when they were all lamenting your passing. I'm so sorry. But you've really got to hand it to the writers - they did a fine and sensitive job incorporating those inner and outer worlds (with the exception of the what-were-they-thinking "Freaky Friday" episode - ick). That's what grabbed my attention in the first place. I was intrigued by the genuine emotion from the actors. It really helped audiences deal.
Kaley Cuoco and Amy Davidson are evenly matched sparring night-and-day sisters as the blonde peppy Bridget and the red-headed passionate Kerry and Martin Spanjers is adorable as your son Rory. Oh and I'm a big fan of Katey Sagal - she was so great as your grieving widow Cate. Did you get to work with James Garner as your father-in-law? Classic. Or David Spade as your cousin-in-law C.J.? Love the sarcastic one-liners.
I never read W. Bruce Cameron's original book "8 Simple Rules for Dating My Teenage Daughter" but I love the idea. I'll have to order a copy from Amazon now. And I'll have to Netflix your earlier episodes. It really is a charming show and I know everyone still misses you terribly. I watch when I can.
The 8 Simple Rules:
Rule One: If you pull into my driveway and honk you'd better be delivering a package, because you're sure as heck not picking anything up.
Rule Two:: You do not touch my daughter in front of me. You may glance at her, so long as you do not peer at anything below her neck. If you cannot keep your eyes or hands off of my daughter's body, I will remove them.
Rule Three: I am aware that it is considered fashionable for boys of your age to wear their trousers so loosely that they appear to be falling off their hips. Please don't take this as an insult, but you and all of your friends are complete idiots. Still, I want to be fair and open minded about this issue, so I propose this compromise: You may come to the door with your underwear showing and your pants ten sizes too big, and I will not object. However, In order to assure that your clothes do not, in fact, come off during the course of your date with my daughter, I will take my electric staple gun and fasten your trousers securely in place around your waist.
Rule Four: I'm sure you've been told that in today's world, sex without utilizing a "barrier method" of some kind can kill you. Let me elaborate: when it comes to sex, I am the barrier, and I WILL kill you.
Rule Five: In order for us to get to know each other, we should talk about sports, politics, and other issues of the day. Please do not do this. The only information I require from you is an indication of when you expect to have my daughter safely back at my house, and the only word I need from you on this subject is "early."
Rule Six: I have no doubt you are a popular fellow, with many opportunities to date other girls. This is fine with me as long as it is okay with my daughter. Otherwise, once you have gone out with my little girl, you will continue to date no one but her until she is finished with you. If you make her cry, I will make YOU cry.
Rule Seven: As you stand in my front hallway, waiting for my daughter to appear, and more than an hour goes by, do not sigh and fidget. If you want to be on time for the movie, you should not be dating. My daughter is putting on her makeup, a process which can take longer than painting the Golden Gate Bridge. Instead of just standing there, why don't you do something useful, like changing the oil in my car?
Rule Eight: The following places are not appropriate for a date with my daughter: Places where there are beds, sofas, or anything softer than a wooden stool. Places lacking parents, policemen, or nuns. Places where there is darkness. Places where there is dancing, holding hands, or happiness. Places where the ambient temperature is warm enough to induce my daughter to wear shorts, tank tops, midriff T-shirts, or anything other than overalls, a sweater, and a goose down parka zipped up to her chin. Movies with a strong romantic or sexual theme are to be avoided; movies which feature chainsaws are okay. Hockey games are okay.
Goodnight John. Rest well.
Love,
Kate
Actors
John Ritter: Paul Hennessy (d. September 11, 2003)
Katey Sagal: Cate Hennessy
James Garner: Grandpa Jim
Kaley Cuoco: Bridget Hennessy
Amy Davidson: Kerry Hennessy
Martin Spanjers: Rory Hennessy
David Spade: C.J.
Production Credits:
W. Bruce Cameron (Book Author)
Lori Openden (Casting)
Tony Askins (Cinematographer)
Dan Foliart (Composer (Music Score))
Gil Junger (Director)
Joe Bergen (Editor)
Michael Bostick (Executive Producer)
Flody Suarez (Executive Producer)
Tom Shadyac (Executive Producer)
Tracy Gamble (Executive Producer)
Franco E. Bario (Producer)
Jay Pelissier (Production Designer)
Tracy Gamble (Screenwriter)
The Book:
8 Simple Rules For Dating My Teenage Daughter
AGA-BOOM, created/directed by Dimitri Bogatirev
a kate west review
at the Falcon Theater, 4252 Riverside Drive, Burbank
call (818) 955-8101; running June 19 – August 24, 2003
Dimitri Bogatirev and Iryna Ivanytska from Cirque de Soleil’s “O” and “Alegria” and Philip Karp-Briggs from Ringling Brothers Barnum and Bailey Circus are three highly talented clowns who make up the delightfully visual “Aga-Boom.” Granted its initial appeal is for children but it’s clever and whimsical enough to counter adult cynicism. The production begins with one clown (Ivanytska) sweeping up the stage, creating a hilarious routine of playing with audience while cheerily trying to extricate herself out of amusingly awkward situations. Bogatirev and Karp-Briggs soon join her on stage and the three of them create charming little comic vignettes for the next hour.
Be forewarned that in true clown tradition, they will pull innocent spectators on stage with them and torture them mercilessly. In one instance a blanketed audience member “corpse” was left on stage alone for a few moments. The audience loves this of course, especially the children who scream and jump in frenzied happiness all throughout the production. The bizarrely colorful costumes match the frantic mayhem pace of the action and the clever use of simple props, such as toilet paper and brooms. There are too many special moments to list here, it is infinitely better to experience this magical show in person and be marvelously surprised. Watch out for interesting beach balls to play with. This is a short, concise, excellent presentation of classic clowning and well worth the adventure.
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Tomlin and Wagner Theatricalz present Lily Tomlin in
THE SEARCH FOR SIGNS OF INTELLIGENT LIFE IN THE UNIVERSE, by Jane Wagner
a kate west review
Produced by Lily Tomlin, Directed by Jane Wagner
Running May 13 – July 6, 2003
In association with The Seattle Repertory Theatre and McCarter Theatre Center, now playing at the Ahmanson Theatre at the Los Angeles Music Center (Gordon Davidson, Artistic Director/Producer, Charles Dillingham, Managing Director, Center Theater Group/Ahmanson Theatre).
Lily Tomlin once again proves herself to be one of the wittiest and most versatile comedic performers today. In the recent revival of “The Search for Signs of Intelligent Life in the Universe” at the Ahmanson Theatre in Los Angeles, she and writer/director Jane Wagner create a delicious smorgasbord variety of delightful characters ranging from Trudy, the bag lady who communes with extraterrestrials to Agnus Angst, the rebellious pink-haired punk rocker teenager. She portrays prostitutes, society ladies, feminists and even men. Each of her personas is fully articulated and funny as hell. Although the material is at times a bit dated, we relish the unfolding of plot and mayhem with each story and the clever way every character is connected with each other. Most of the stories had the audience howling with laughter but sometimes there are poignantly dramatic moments which left us deeply moved.
The night I attended, billed as opening night, the audience was fairly throbbing with excitement and anticipation and many celebrities were in sight. I knew it was a special evening when Tomlin broke character after a short coughing spell, delighting the audience with her ad-libs. Her incredible stamina in sustaining several high energy characters was wonderful to watch. She is a true professional and her performance truly inspired. The show was about two hours long with the intermission but I was sure left wanting more.
I also need to mention the amazing technical crew, especially the sound designers, Tom Clark and Mark Bennett. Tomlin uses no props and makes no costume or set changes and yet we are awestruck by the reality of each character’s atmosphere. When she mimes pulling tissues out of a box, the sound is perfectly synchronized as it is when she is putting on mascara, zipping up her punk rock “costume,” answering the phone, opening and closing a sensory deprivation tank, and on and on.
No wonder the show has always been such a hit, was also nominated for Best Revival of a Play on Broadway and the hardcover edition of the play stayed on the New York Times bestseller list for months (the first play in 20 years to earn that distinction). This is a definite must must must see. Kudos to Gordon Davidson, Artistic Director/Producer of the Center Theatre Group, for having the foresight to share this production with Los Angeles.
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CULTURE CLASH: " CHAVEZ RAVINE"
a kate west review
Mark Taper Forum, 135 N. Grand Avenue, Los Angeles, May 17 - July 6, 2003, (213) 972-7376
Directed by Lisa Peterson,
Company: Richard Montoya, Ric Salinas, Eileen Galindo, Herbert Siguenza, John Avila, Randy Rodarte, Scott Rodarte
For almost twenty years, the "premiere Chicano comedy troupe" known as Culture Clash has performed their remarkable sketch comedy around the country, including creating the first Latino-themed sketch comedy television show for Fox T.V.
Their latest accomplishment, the world premiere play "Chavez Ravine," tells the story of the 1940's - 50's controversial land development deal on an area called Chavez Ravine by locals in Los Angeles. Each historical character is depicted with the group's now characteristic comedic precision and zeal. This is rendered all the more authentic with excellent set (Rachel Hauck) and costume (Christopher Acebo) design, the stage itself a stylized baseball diamond with large panels that portray various moments in Chavez Ravine history.
At the top of the play, Los Angeles Dodgers announcer Vin Scully (the superbly talented Richard Montoya) introduces the new rookie Mexican pitcher Fernando Valenzuela (a dead-on impersonation by Herbert Siguenza) who, in this production, symbolizes the culmination of local Chicano pride after several decades' long struggle. Through clever flashbacks, a story of betrayal, cynicism and greed unfolds as the Los Angeles City Housing Authority decides to build subsidized low income housing in Chavez Ravine. The newly elected Los Angeles Mayor, Norris Paulson (delightfully clueless Ric Salinas), succumbs to the sinister public figures who coerce him to cancel the housing project leaving the local immigrants homeless. Although the people revolt, including poet Manazar (Herbert Siguenza) and an activist named Maria (sweetly portrayed by Eileen Galinda), industry and progress march on and the people are torn from their homes and eventually the Brooklyn Dodgers take over Chavez Ravine and become the Los Angeles Dodgers.
Because the Culture Clash members are such accomplished story-tellers, each plotline is poignantly clear and one character is more enchanting than the next. Particularly amusing are Richard Montoya and Ric Salinas as the famous comedy duo Bud Abbott and Lou Costello, recreating the wonderfully timeless "Who's On First" routine. They get so frustrated with each other at one point that they burst into a Spanish version! Hilarious. There is also a "seventh inning stretch" when the entire cast comes out and sings "Take Me Out to the Ballgame" and encourages the audience to sing-along while throwing bags of peanuts about the auditorium.
Although the play is rife with "chicano-isms" and local inside jokes (Artistic Director Gordon Davidson is depicted at one point), you don't have to be familiar with local Los Angeles history or understand Spanish to enjoy this engaging production. Culture Clash is comprised of talented, funny, savvy individuals with the ability to transcend time and culture. It makes for a wonderful evening and along with stories skillfully depicted with humor, joy, compassion and pathos; you'll also get a free history lesson. Highly, highly recommended.
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