Roberto Zucco

Roberto Zucco
a kate west review
by Bernard-Marie Koltès
at Open Fist Theatre Company, 1625 N. La Brea, Hollywood 90028
Runs June 4 – July 17, 2004; Contact (323) 882-6912 or www.openfist.org

Murder itself is never justifiable but the potential for violence exists in all of us. What triggers that latent darkness is something best left to the professionals to analyze and the rest of us to speculate about. French Playwright Bernard-Marie Koltès (1948-1989) explores this disturbing tendency for us in the Open Fist Theatre Company’s recent production of “Roberto Zucco.”

Inspired and loosely based on actual events, “Roberto Zucco” is a bleak, sardonic look at domestic and social violence, in a European surrealistic style reminiscent of Jean Genet, Samuel Beckett or Bertolt Brecht. Robert Zucco (darkly portrayed by Patrick Tuttle) is on the run, wanted for murdering his father. During the course of the play, he murders more people, including his own mother (Melanie Chapman). Because many of the characters are not particularly sympathetic, Koltès appears to be painting an ugly world which reflects different degrees of human evil. The Brother (Aaron Lyons) sells his sister (Jennifer Pennington) into prostitution, a spoiled, rich, Waspish Elegant Lady (fiercely portrayed by Michelle Haner) inadvertently sacrifices her own son (Sabrina Bernasconi) and the police force is generally ineffective.

Although some of the actors seem to be a little out of their depth, they handle the difficult material fairly well for the most part. Patrick Tuttle as Roberto Zucco becomes stronger as the play progresses and character actors like Weston Blakesley (The Father/Man 2), Andrea Fears (The Sister) and Rebecca Metz (the stoic Madam in a wheelchair) stride in and out of the action, adding to the bizarre, angry alienation of Zucco’s tortured world. Jennifer Pennington plays The Girl who loses her virginity to Zucco and in losing her innocence, she is abandoned by her family and by society. It is jarring to see that Pennington herself is obviously older than a young girl, but Director Russell Milton (and it is probably in the script as well) may have purposefully cast the role this way in order to reflect how short-lived true innocence can be. The choice of a Madam in a wheelchair is interesting as well, for a character whose livelihood depends on her body.

Set Designer Eric Hugunin maintains this sense of stylized isolation with his esoteric set, composed of huge, dark rectangles, in different shades of blue-grey, with a severe rake at stage left. The odd angles of the set add to the twisted perspective of the piece, where morality is not so easily defined and normal decency is rare. Who are the real criminals – the actual murdered or the cruelly pathetic members of society who created the wanted killer?

Avant-garde theater is an acquired taste and this production may be difficult to watch but in the end, one appreciates the thought-provoking influence it has on the audience, even while not drawing any satisfactory conclusions. If you are comfortable with unanswered life questions, then by all means brave this theatrical experience.

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North of Lila

North of Providence & Lila on the Wall
a kate west review
two plays by Edward Allan Baker
directed by Sean Sellars
at the McCadden Place Theater, 1157 N. McCadden Place, Hollywood
Runs July 1 – 11, 2004; Call (818) 247-0087

It is difficult to achieve a build up of pathos, conflict and climax all within the constraints of a typical 45-minute one act. Playwright Edward Allan Baker attempts this in both of his one acts, “North of Providence” and “Lila on the Wall,” now playing at the McCadden Place Theater. He does not quite pull it off, as the characters in both plays seem unmotivated so it is not easy to earn the audience’s sympathy. The saving grace of the production is the talent. Laurie Naughton and Justin Okin are two likeable, sincere, skilled and versatile actors both with an easy natural stage presence. It is delightful to witness their commitment to both heavy drama and to having fun while both excelling at line delivery, especially in the second piece.

“North of Providence” is the story of an estranged brother and sister brought together by the looming death of their ill father. Carol (Laurie Naughton) begins the play by begging her brother Bobbie (Justin Okin) to come visit their aging father in the hospital. They engage in a verbal tug-of-war by her coercing him and him in turn telling her to leave him alone. This goes on a bit long and finally ends with Carol giving up and on the verge of walking out. Bobbie then opens up to her and tells her the real reason he gave up on living. His father may be dying but Bobbie is already dead, a ghost of himself, haunted by his past inactions. His immobility in the past has a stranglehold on him in the present. The play ends with no real resolution, however, although both actors handle the Rhode Island accents well and enact the intense dramatic scenes nicely.

“Lila on the Wall” is the story of an eager beaver reporter desperately trying to prove she is ready for the big time. At the scene of a Jesus sighting reporter Lila (Laurie Naughton) attempts to justify her life to her charismatic cameraman Carl (Justin Okin). Both actors are obviously having fun with the lighter roles while maintaining the integrity of their characters. Carl teachers Lila to let go of her fear and speak from the heart and both characters bond, inadvertently inspired by the holy sighting. This is a much more satisfactory conclusion than the first play.

Director Sean Sellars deftly maneuvers his actors into interesting stage pictures, adeptly guiding them through the various highs and lows of the two pieces. Among the three of them, both actors and director, the production takes a professional turn. In addition, Set Designer Michele Miatello creates a versatile set, a depressingly hopeless bedroom in the first act, converted into a graffiti-ridden depressing ghetto scene in the second.

Not the best choice of material, the artists make the most of it, commanding the audience’s attention and respect. It is a nice peek at our diverse local talent at any rate and for that reason alone might be worth looking into. Read more!

The Tempest

The Tempest
a kate west review
By William Shakespeare
directed by Steven Shields
The Ark Theatre Company, 1647 S. la Cienega Blvd., Los Angeles 90035
April - June, 2004 Call (323) 969-1707

Watching the Ark Theatre Company's current production of "The Tempest" is like accidentally stumbling into an early rehearsal. There are no props, no set and minimal lights and costumes. In fact, there is barely any production at all. Actors warm up on stage before the show, the stage manager calls places, the fluorescent lights snap on and the play begins. Director Steven Shields seems to think this pseudo-minimalist approach is stylistically artistic; however it only succeeds in looking amateurish. Actors wear street clothes, a liquor bottle is really a bottle of Aquafina and a cord of wood is really a set of cardboard paper towel rolls. Even Prospero is without his symbolic staff.

The actual story by Mr. Shakespeare is that of Prospero, former Duke of Milan, who reigns over a faraway island with his daughter Miranda, having been usurped by his brother Antonio. Fortune shipwrecks a royal party on the island, which includes Alonso, King of Naples and Prospero's brother, the false Duke. Prospero's dominion over all the fantastical creatures of the island (including his personal helper Ariel and the monster Caliban) easily enables him to render his enemies helpless and subject to his will. Unexpectedly, Prince Ferdinand, among the shipwrecked crew, falls for Miranda and so partly because of her innocent love and partly because grudges do not help anyone, Prospero ultimately forgives everyone and gives up his powers, breaking his staff in two. Thus people often remark that this is Shakespeare's most mature play.

Now back to the current production. David Grammer is an uninspiring Prospero, which is unfortunate as his is the prominent voice of the pieces. Kourtney Kaas is an inexplicably acrobatic Ariel and actress Aomawa Baker plays the monster Caliban as a male, sans makeup. Even more confusing is that two traditionally male characters are turned into women: ingénue Jules Wilcox plays "Antonia," Prospero's sister, rather than brother Antonio and Dee Amerio Sudik plays "Gonzala," rather than Prospero's long-lost trusted friend, Councellor Gonzalo. The character changes seem as unmotivated as is the decision to forgo traditional lighting, sets, costumes and props and there are no real standout performances.

The cast alternates between actual characters and roving mischievous spirits. This is distracting, especially when the actors try to speak their lines over makeshift sound effects created by the actors using plastic bags and other random everyday items. The three main female sprites (Kourtney Kass, Mary Elizabeth Barrett and Anna Quirino) occasionally burst into song which comes across rather weak in the midst of bad acoustics. Ryan Johnston and Ross Gottstein as comic relief, Trinculo and Stephano respectively, do little to break up the relentlessly unprofessional atmosphere.

In order to justify the concept of listening to the Bard's words alone, without special dressing, the actors need to be outstanding and this cast simply does not fit the bill. With random scraps of costuming, one real light cue and a plain black platform serving as a bare set, this production lends nothing to the work and can easily be missed. You are better off staying at home with a good book rather than witnessing this sad translation of an a normally brilliant play.

Better:
The Tempest (Folger Shakespeare Library)

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Forever

Forever
a kate west review
by Judy Blume
directed/produced/adapted by Gerald McClanahan
the Sacred Fools Theater Company, 660 N. Heliotrope, Los Angeles 90004
Running June 12, 19, 26 only at 11 p.m., (310) 281-8337, www.SacredFools.org

Most Generation X-ers are very familiar with Judy Blume and her many popular novels depicting teenagers reveling in their overly dramatic angst and pain. The most supposedly controversial novel was “Forever,” which described a young girl losing her virginity in a fairly explicit manner. Many high school students spent part of their study hall secretly reading the forbidden book. Perusing the book as an adult, however, one finds it rather more innocuous than anything in today’s modern sexual world.

Producer/Director Gerald McClanahan must have come to the same conclusion and so created a parody of “Forever,” a book just begging for gentle ridicule. Now playing at The Sacred Fools Theater and part of their “Get Lit!” series, this new production of “Forever” is silly and fun but still fondly reminiscent of the earnestness of the novel.

Beginning at a modern party in the 90’s, the story is a flashback to the 70’s, a time of wanton sexual openness. Katherine Danziger (the winsome Stephanie Dees) struggles with the overwhelming decision of whether or not to lose her virginity to Michael (Chase Sprague). She is egged on by her friends and family, who take turns topping each other with sexual outrageousness. Her promiscuous parents, Roger and Diana (Drew Droege and Lori Funk), grope each other and everyone else in sight and have an unhealthy interest in their children’s sex lives. Classmate Artie (Andy Corren) struggles comically with latent homosexuality, while Jamie Danziger (Tabatha Hall) pines away for her sister’s boyfriend Michael, who keeps calling her Julie in a very Jan Brady pathetic sort of way (watch “The Brady Bunch Movie”).

Each scene is more outlandish than the next, exaggerating Judy Blume’s already melodramatic style in an amusingly satiric manner. Those familiar with the novel will appreciate the play the most, laughing at inside jokes such as the name ‘Ralph’ and the highlighting of various character traits like Katherine constantly storming out in a teen tantrum. Even if you have not read the book, you will enjoy the 70’s flashbacks, with the flamboyant costumes and dewily sentimental music. It would have been nice if the set and props reflected even more of the 70’s kitsch (where were the lava lamps?) although the fondue pots were plentiful. The general set is composed of simple brown stripes on boulder-type blocks which is definitely 70’s, yet perplexing in that it looks like a desert rather than someone’s house.

The acting is a bit uneven in general and it might have been funnier had the director cajoled his actors into being even more over the top; however, the overall impression is entertaining. Still it is obvious that McClanahan is quite fond of the material and the production sincere. Having only three performances in which to perfect their comedic timing (never an easy feat under any circumstances), any actors flubbing lines are to be forgiven. A fun evening out, it is worth attending and those of us from a certain generation will especially delight in the campiness and consequence-free frivolity of an era rife with comedic fodder.

Forever Read more!

Cavalia

“Cavalia”
a kate west review
created by Normand Latourelle
directed by Erick Villeneuve
under the White Big Top
corner of Colorado & Central, downtown Glendale
April/May – Extended!!! Tix $59 - $79, V.I.P. $175
Contact (866) 999-8111 or www.cavalia.net


For those of you fully entrenched in the endlessly fascinating and diverse world of the equine, the magic of “Cavalia” is a dream come true. Created by Nomand Latourelle (co-founder of the world-renowned mystical world of Cirque du Soleil) and directed by Erick Villeneuve, “Cavalia” is a show of lights, acrobats, stunning visual projections and even more beautiful horses. In fact there are thirty-three of them: Arabians, Belgians, Lusitanos, Percherons and Quarter Horses and they are all magnificently impressive, even for those of us who know nothing about horses. And the people keep up the pace pretty nicely as well.

Direct from sold-out runs in San Francisco and all over Canada, this fabulous team of Canadian artists gives the crowd their money’s worth, leaping, bounding and dancing their merry way around the arena. Composer Michel Cusson and Costume Designer Mirelle Vachon provide a new age atmosphere and stylistic costumes while the technical crew also puts on a dazzling display of effects. Scenic Artist Marc Labelle and Lighting Designer Alain Lortie create one of the most imaginative sets this side of the Mississippi by ingeniously projecting a series of incredible images on the backdrop. It really has to be seen to be believed. Jerome Boisvert also does well with Sound Effects and Choreographers Brad Denys and Alain Gauthier provide captivating tribal-like dance numbers.

Then there are the fantastic co-directors: namely, Frederic Pignon (they call him a “horse-whisperer”) and his equally talented wife, Magali Delgado. They appear throughout the production, skillfully showing off the horses’ best tricks, including bowing to the audience (always a classic). It is amazing to watch their quiet rapport with these noble beasts. Each act showcases the highly skilled. Two standout numbers include riders thundering by on Quarter Horses with an astounding display of trick riding and also twirling acrobats high on trapeze swings, interacting with the horses and riders. From beginning to end, the horsemanship is remarkable. Trainer Andre St-Jean is to be applauded as well.

Although the show drags a bit for those of us not completely obsessed with horses, it is suitably entertaining and a huge step above your average circus act. Insider tip: purchasing the V.I.P. package gets you into the V.I.P. tent where the food is plentiful and the service impeccable. And after the show you can visit the stables and see the “artists” up close (no touching allowed) and ask their human companions for autographs. Well worth paying a little extra and watching the younger fans’ delight. This truly original production has something for everyone and is definitely an enchanting evening. Read more!

Hedwig and the Angry Itch

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


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

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

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

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

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

The Talking Cure

“The Talking Cure”
a kate west review
by Christopher Hampton; directed by Gordon Davidson
at the Mark Taper Forum
135 N. Grand Avenue, Los Angeles 90012
April 4 – May 23, 2004; call (213) 972-7376

The two most recognized names in Psychiatry, Sigmund Freud and Carl Jung, are often remembered together and although they did work closely for a time, they were very different. Tony-award winning playwright Christopher Hampton’s “The Talking Cure,” now at Los Angeles’ Mark Taper Forum, illustrates these differences and relates the events leading to the two men’s inevitable estrangement. What distinquishes this story is the introduction of Sabina Spielrein, who, after suffering in a mental institution, is cured by Jung, has an affair with him and then becomes a reputable psychiatrist in her own right.

Harris Yulin is the stern, inflexible Freud and Sam Robards is the passionate and confused Jung. Abby Brammell plays the bright and promising Spielrein. The actors seem a bit stiff in the first half of the play but warm up by the second half, especially Robards.

Spielrein, suffering from a mental and sexual disorder, is brought in to the Burgholzli Mental Hospital in Zurich, Switzerland, where she meets Jung. He is ecstatic at the prospect of trying out his mentor’s (Freud) new “talking cure” on an actual patient. He believes he can cure her by delving into her childhood and talking her through her traumas. He is so swept away with euphoria when he succeeds that he falls in love with her, dismissing any suggestion of transference* and betrays his wife, family and Freud, the father figure. This leads to much feuding and by the end, Jung is friends with no one and although he is no longer seeing Spielrein, she implores him to reconcile with Freud, but it is not to be. She feels the two men are very much the same but Jung vehemently disagrees.

The play is essentially a live essay on the theories and practices of these three vibrantly intelligent forward-thinkers but does not offer any particular insight. While it is interesting to note how the radical new ideas of the early 1900’s must have seemed remarkably extreme back then, we tend to take the terminology for granted today. Although most people are unaware of the nature of the relationships among the three, we are still left feeling that there is no real added dimension to the story.

Set Designer Peter Wexler creates a fascinatingly simple set, which is at first a mental hospital which he converts into Freud’s office, an ocean liner and finally a beautiful backyard garden, all by moving a few pieces of furniture and changing the lighting. Its stark economy is impressive. The directing and acting are fairly solid but aside from learning about Spielrein, we learn nothing much new.

*The process by which emotions and desires originally associated with one person, such as a parent or sibling, are unconsciously shifted to another person, especially to the analyst.

The Talking Cure 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.

Get the Soundtrack:

Urinetown (2001 Original Off-Broadway Cast)

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The Royal Family

“The Royal Family”
a kate west review
by George S. Kaufman & Edna Ferber; directed by Tom Moore
at the Ahmanson Theatre/Center Theatre Group/L.A. Music Center
135 North Grand Ave, Los Angeles 90012
March 27 – May 16, 2004; Call 213-628-2772

Creators Edna Ferber and George S. Kaufman, flamboyant artistic voices from the early 1920’s, may have officially denied it, but “The Royal Family” is absolutely a portrait of the famous theatrical dynasty, the Barrymores. Currently running in downtown Los Angeles’ large venue, the Ahmanson Theatre, the latest production of “The Royal Family” is an extravagantly nostalgic dramatic romp designed to be a crowd pleaser.

The matriarchal head of the “Cavendish” (a.k.a. Barrymore) clan is Grand mere Fanny Cavendish, gloriously portrayed by stage diva Marian Seldes. Her daughter Julie, normally played by Kate Mulgrew, is aptly played by understudy and local stage veteran Jenna Cole at this particular Sunday matinee. Rounding out the family cast is spunky granddaughter Gwen (Melinda Page Hamilton) and swashbuckler brother/uncle Anthony (the suave Daniel Gerroll).The entire artistic brood is in constant uproar throughout the play, exiting and entering in proper melodramatic manner. The Cavendish family has been comprised of world famous actors dating back to their ancestry. They are expected to love the theater and to act ‘til they drop as did poor old Grandfather Cavendish.

Blustering George S. Irving as theatrical manager Oscar Wolfe and equally vociferous Charles Kimbrough as Herbert Dean dart in and out of the household, contributing to the general noise and clamor. Adding to the mayhem are frantic stereotypical servants (Ellia English and Alan Mandell) running around as well as five live dogs, while extraordinarily well-trained, are naturally distracting as they run up and down steps and jump on chairs.

Perplexed outsiders Gilbert Marshall (Richard Cox) and Perry Stewart (Robert L. Devaney) attempt to the win the hands and hearts of Julie and Gwen respectively, hopelessly trying to become more important to the women than the Cavendish’s fanatical devotion to their theatrical careers and family. Both women struggle between wanting a normal life and wanting to be loved. The family naturally loudly discusses this dilemma endlessly. The issue is never fully resolved, as Gwen marries and has a child but still longs to return to the stage and Julie decides to marry Gilbert but has doubts of her own. She does not want her only daughter Gwen to end up alone as she did and yet cannot bear for her to give up her heart’s desire. The puzzling ending (no fear – it will not be given away here!) does not offer any illumination.

Set Designer Douglas W. Schmidt creates a clever set, a cross between a realistic mansion-style home (with gorgeous floors, rugs and furniture) and an obvious stage “set” with painted murals and exaggerated colors. This atmosphere encourages applause when the curtain first goes up as do all the usual theatrical manipulative devices such as grand gestures and Noel Coward style delivery. All in all, it is a rather empty piece and while director Tom Moore has the actors make the most of playing as melodramatic as possible this exaggerated technique grows rather tiresome. Unfortunately, the play is not particularly inspirational or deeply interesting in spite of the obvious effort of the unrestrained actors.

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Twelfth Night

“Twelfth Night”
a kate west review
by William Shakespeare
at A Noise Within
234 S. Brand Blvd. Glendale
March 19 – May 16 (818) 240-0910

One of William Shakespeare’s most popular and oft-performed works, “Twelfth Night,” is the story of Viola, who is separated from her twin brother Sebastian after a shipwreck, then disguises herself as the loyal male servant Cesario in order to serve the handsome Duke Orsino. We learn early on that Orsino is desperately in love with the beautiful Countess Olivia, who steadfastly and heartlessly opposes the match. Meanwhile, Viola (as Cesario) finds herself in the compromising position of wooing Olivia for her master and realizing she is in love with Orsino, while Olivia, mistaking Viola for a youthful, fine-looking man, falls for the deceptively charming Cesario (Viola).

Confused? No worries. All gets sorted out cleverly in the end in classic Shakespearean style. Viola is reunited with her long-lost twin brother Sebastian, Orsino finds out that Cesario is really Viola and lovingly asks for her hand, Olivia falls for the attractive Sebastian, the thoroughly unpleasant manservant Malvolio gets his comeuppance and the audience rejoices.

As far as this production goes, the versatile and gifted Julie Coffey is quite good as Viola, giving excellent line readings and aptly aiding director Kris Tabori in creating a truly audience-accessible production. J. Todd Adams as Orsino, Robertson Dean as Sir Toby Belch (Olivia’s uncle) and Tessa Thompson as Olivia are all equally strong. Cynthia Beckert is the subtle, yet mischievous maidservant Maria and Hamilton Camp does a nice turn as the comic relief, playing the ridiculous Sir Andrew Aguecheek, another hopeless suitor to Olivia. Alan Brooks plays a somber, yet delightfully twisted Malvolio and the rest of the cast is fairly strong, especially standout Mark Bramhall, as the sharply intelligent court fool, Feste, who serves as an impish go-between for many of the characters.

Set Designer Trefoni Michael Rizzi creates a generically peaceful Mediterranean-style set and the scenes flow together smoothly. Modern audiences must take all the obvious disguises with a grain of salt, but we are nonetheless entertained by the consummate skill of the Bard and the simplicity of the emotion in the story. It might be fun to see actual identical twins cast in a production of “Twelfth Night,” but barring that, A Noise Within does a fine job of justifying classic mistaken identity. This is a nicely entertaining and likeable production. The perfect light menu for such a hot summer.

Read it:
Twelfth Night (Folger Shakespeare Library) Read more!

Caulklon the Volton

“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. Read more!

The Pagans

WARNING! KEY PLOT POINTS REVEALED IN THIS REVIEW!

“The Pagans”
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 (818) 761-8829, www.roadtheatre.org; running through April 24

Audiences usually relate quite well to good family drama as so many of us have experienced that type of conflict. The award-winning Road Theatre Company handles this discord nicely in their recent production of “The Pagans.”

Prodigal son Michael Riordan, now fallen from grace, finally returns to Ireland after five years in America. Shaun O’Hagan plays Michael with depth and dignity, while remaining the cornerstone around which the other characters revolve. It turns out that when he left Ireland, he also left behind the love of his life, Danaan (co-Producer Marci Hill) who, unbeknownst to him, has borne his son Connor. His brother Tadhg (played by the intensely sexy Erin Beaux) has been acting as a father figure to Connor in Michael’s absence.

Michael’s return results in many surprises, including bringing home his American wife Anna (uninterestingly portrayed by Lauren Clark). Alex Douglas is also rather weak as the family friend, Bobby Quinn. However, the rest of the cast is very strong, including James K. Ward as Thomas, the father and Peggy Billo as the fiercely bitter spinster, Aunt Frances. Artistic Director, Taylor Gilbert, plays Margaret, the mother of the Irish brood and does a fine job as the voice of reason as well as acting as the glue that hold the family together in the midst of tragedy. Her performance is subtle and multi-layered and she pulls off the perfect level of emotional intensity.

Playwright Ann Noble succinctly sets up the many conflicts in the first act which are all quickly resolved in the second act. The troubled Tadhg’s untimely end may seem a bit forced; however, Director Scott Cummins deftly motivates his actors to show a range of emotion in the logical unfolding of the tale. What may have been a predictable soap opera is converted into a gripping drama, by the strong directing, solid acting (for the most part), realistically accessible dialogue and vividly sympathetic characters. Set Designer Desma Murphy also presents a detailed and cozy set creating a wonderfully apt setting and atmosphere for this touching story.

This moving play keenly resonates with the audience as we watch each character undergo a dramatic transformation, enabling them to be a stronger family on the road to self-discovery. “The Pagans” is a sold production with a nice emotional payoff and the Road Theatre Company well deserves its critically acclaimed reputation.

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The Underpants

“The Underpants”
a kate west review
by Carl Sternheim, adapted by Steve Martin
directed by John Rando
The Geffen Playhouse
10886 Le Conte Avenue, Los Angeles 90024
March 9 – April 18, 2004 – EXTENDED
Call (310) 208-5454

Hollywood’s own Steve Martin, having written and performed his uniquely zany style of comedy for decades, has recently turned to playwriting. The Geffen Playhouse’s first original production was Martin’s “Picasso at the Lapin Agile” and both theater and writer have come full circle in their latest production, “The Underpants.”

Influenced by German expressionism and adapted from (bitterly anti-bourgeois) Carl Sternheim’s “Die Hose” (“The Knickers”) of 1910, “The Underpants” is a broad, stylistic, comic romp reminiscent of the classic French comedies by Moliere. The play stars Dan Castellaneta (best known as the voice of America’s favorite cartoon dad, Homer Simpson) and Meredith Patterson as a quintessential ordinary middle class 1900’s German couple, Theo and Louise Maske. Theo is furious at his wife Louise for accidentally dropping her underpants in a public park, in front of the eyes of His Royal Majesty, the King and all of society. The direct result of this intolerable scandal is a parade of lustful young men, seeking to board with the Maske’s and smitten by their stolen glimpse of Louise’s drawers. Jack Betts and Steve Vinovich have smaller roles as other German caricatures.

Anthony Crivello plays the magnificently exaggerated Italian version of Casanova, the flamboyant Versati. He excites Louise into fantasizing about romance in her humdrum, oppressive existence. Egged on by her vicariously hungry and ever-optimistic neighbor, Gertrude (deliciously played by the delightful Amy Aquino), Louise plots an affair with Versati as revenge against her boorish, demanding and unpleasant husband. As Theo, Dan Castellaneta plays the part overly loudly in the style of the piece, but a little grating nonetheless.

Also, the constant double entendre references to melons, wieners, cigars and cherries do get a bit old. Patrick Kerr plays another suitor, Cohen, the Jewish dentist, who, by hiding his religion, provides much fodder for the buffoonishly anti-Semitic Theo. The entire production is larger than life and over-the-top, including the fascinating surreally clownish set by Alexander Dodge. The award-winning director John Rando (for Broadway’s acclaimed hit, “Urine Town”), pulls together a professional production, however the blatant humor is an acquired taste.

Obviously poking fun at social convention, the audience must still suffer through bad puns and outright slapstick routines. Martin’s influence is apparent in much of the sexual humor and will appeal to the common denominator. The contemporary relevance lies in the ridiculous furor over a minor social faux pas and how that affects everyone’s lives, bringing a little glamour and fleeting fame to Louise and then just as quickly leaving her again to her domestic fate. Running about one and a half hours long, with no intermission, the frantic pace is dizzying at times and the base humor is not for everyone. In general, however, the production is definitely an audience pleaser and has drawn sell-out houses.

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Dirty Blonde

“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. Read more!

39*21*50

“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. Read more!

The Velvet Hammer Burlesque

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
1739 N. Vine Street, Hollywood, (323) 466-0270
and The Great American Music Hall
859 O’Farrell Street, San Francisco
playing California in April
Contact www.velvethammerburlesque.com for upcoming tour information!!!

Straight from the glamour and glitz of the 1930’s and 40’s cabaret-style floor shows comes the outrageously (and naked!) modern version by the Velvet Hammer Burlesque. Their latest effort is “Illuminata,” is a three-hour-full extravaganza of scrumptiously and scandalously costumed Hollywood allure and style.

The brainchild of Michelle Carr, the show features comics Bill Chott, Laura Kightlinger, Jeremy Kramer, Blaine Capatch and Dave Cox, with varied levels of comedic talent. Mr. Uncertain is a middling retro piano player who can also be seen at Hollywood’s Parlour Club. Lord Millionaire and his Arhythmacrats bring the house down with their rousting band and the delightful Velvet Hammer chorus girls come on between acts to dance their way into creating a retro fan’s heaven.

Miss Astrid, the one-eyed German dominatrix is the Mistress of Ceremonies, sparring raunchily with the audience between numbers. She does need to pick up the pace as her sexual innuendos tend to drag on. As each act is brand new, there are no real costume changes so her stalling technique is a bit perplexing.

But then of course, there are the strippers, each girl act more spectacular than the next. The many fantastic numbers include Dorothy Gale being accosted by flying monkeys, two flamenco dancers stripping each other, a sex robot being created and there are many ball gowns and designer dresses which all come off slowly and in other cases furiously, inspiring wolf whistles from the audience. This is a show that is even better the more you drink, and at the Avalon Theater, there is ample opportunity.

With names like Scarlette Fever, Aurora Borealis and Venus de Mille you could not ask for better entertainment. There is even a vivaciously sexy little person in the show named Bobby Pinz as well as twin maids called the Poubelle Twins. Very exciting and well worth the steep price of $30. So take a trip back to ludicrous vaudeville and bawdy burlesque and enjoy yourself!

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Fleetwood Macbeth

“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) Read more!

Pigs and Bugs

“Pigs and Bugs,” a world premiere by Paul Zimmerman
a kate west review
directed by Chris Fields,
Echo Theatre Company, McCadden Place Theatre, 1157 McCadden Place,
Hollywood 90038; (800) 413-8669; www.echotheatrecompany.com
Running February 12 – March 14, 2004

The recent Echo Theatre production of “Pigs and Bugs” is a contemporary, confusing tale about the effect pop culture has on the human soul. Director Chris Fields does a solid job with the material but cannot overcome the more confusing elements of the play. Sound Designer Drew Dalzell peppers the scenes with game show sound bytes, inferring a constant presence of television’s enticing hopefulness for winning the American dream. And at one point, the sound is a bit too long and too loud for sensitive spectators. Also, Set Designer David Offner creates a bizarrely fun atmosphere with hanging shopping bags and carpeted lamps suspended above one interchangeable, overstuffed sofa. It suggests to the viewer that he/she is in for a wild ride but by the end you may wonder where the fun has gone.

Enrico Colantoni (from television’s “Just Shoot Me”) is Russell; a neurotic, worried, manic writer with an exasperated, long-suffering wife named Wanda (Tara Karsian). The first act begins with his paranoia-induced monologues on the various people he believes want to destroy him. Meanwhile, Wanda’s sister Harriet (Christine Estabrook) is another neurotic paranoid and suffering from agoraphobia. Her daughter Brenda (Anna Perilo) tries everything to get her mother to leave the house but Harriett won’t budge. These four characters interact with each other in two acts; each becoming progressively more paranoid and frantic as the plots unfolds.

The play eventually climaxes with an odd focus on Brenda, leaving the audience to wonder if the playwright (Paul Zimmerman) is expressing his voice through her or if she is the “everyman,” surrounded by a family over inundated with a barrage modern of materialism. Either way, it follows a strange “death” scene in which the other three characters convulse after an endless angry spewing monologue but shortly thereafter spring back into action as if nothing had transpired. This device does not fully embody the playwright’s intention except in a rather obvious way.

All in all, the playwright seems to be commenting on modern materialism and white noise and the way it all tends to curb normal intimacy and control in people’s lives. Perhaps these people started out normally but slowly degenerated into buzzing zombies, brimming over with aggression and violence. As an original play it is an interesting look at our modern lifestyle but does not offer anything particularly revolutionary. The production ultimately fails to break new ground.

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The Diary of a Madman

“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

Veteran actor Tom Troupe stars in a one-man production of “The Diary of a Madman” which he and Director Don Eitner adapted and re-translated from Ukrainian Nikolai Gogol’s short story of the same name. The main problem with adapting a short story is in expanding a basic premise into a full length story and in translating something from Russian, is in arranging it in intelligible in English. In this case the producers make a valiant attempt; however, the end result is a full hour of the ravings of a madman. Literally.

Tom Troupe plays a nameless impoverished “Clerk” who works in a miserable anonymous European office where, in the words of Gogol himself, “… everyone is drowned by the trivial, meaningless labours at which he spends his useless time.” The Clerk becomes increasingly dissatisfied with his working conditions and escapes more and more into his own fantasy world. For instance, he seemingly believes his hand puppet is a real person but destroys it in a fire in a fit of rage which sends him into dementia. He ends up thinking he is King Ferdinand of Spain and refuses to believe otherwise even when his landlady commits him to an asylum.

Troupe does a fairly good job of depicting a descent into madness but it is not particularly interesting to watch. Unfortunately a gibbering madman does not offer any great moral lessons. It is rather more clinically interesting and perhaps might be one reason Gogol kept it a short story. Also, the sound design is distractingly archaic (by Sound Designer Dale Barnhart). Set Designer Danny Truxaw did build a nice set however, which helps depict the character of the Clerk living in a nondescript dateless European country.

All in all, it is up to each audience member whether or not to give this production a chance. Don’t expect to gain any new insights on the human condition but rather the inner workings of a lunatic.

Diary of a Madman and Other Stories (Penguin Classics)

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I am Not Mark Twain

“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. Read more!

Hairless

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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10:17

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! Read more!

LOR Saga

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) Read more!

Bob's Office Party

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. Read more!

Take Me Out

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


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

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

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

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

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