La Boheme

“La Boheme”
a kate west review
directed by Baz Luhrmann
Music by Giacomo Puccini, Libretto by Giuseppe Giacosa & Luigi Illica
at the Ahmanson Theater, 135 North Grand Ave at Temple St., Los Angeles CA 90012
call 213-628-2772 Fall 2004

Baz Luhrmann’s more familiar magical feats are his two luscious films “Romeo and Juliet” and “Moulin Rouge”, both nominated for Academy Awards. His work in theater is no less dazzling. His latest production, “La Boheme,” direct from the Australian Opera and Broadway is now playing in Los Angeles and is a virtual feast for the eyes and ears. The cast rotates due to the demanding vocals and this particular matinee performance showcased the wonderfully talented young stars Alfred Boe as Rodolfo and Wei Huang as Mimi.

Set in Paris in the 1950’s, the producers contemporized the Italian score so the written English translations emulate 50’s cool with slang words of the day. The thinking behind this is to get away from the more traditional grand scale operas which depict unrealistic looking singers portraying young lovers and to make the beloved story more accessible to younger audience members. These singers really are young and cool. This Sunday Ben Davis (Marcello) and Chloe Wright (the sultry temptress Musetta) were especially captivating, while Daniel Webb (Colline) and Daniel Okulitch (Schaunard) nicely rounded out the rest of the Bohemian gang.

Mimi is sick with tuberculosis when she meets Rodolfo and both are terribly poor yet in spite of life’s circumstances they fall in love. Their story parallels that of Marcello and Musetta who fight back and forth and have a tumultuous and doomed love affair. Rodolfo eventually leaves Mimi when he realizes he cannot deal with her illness. They do not come together again until the end when the friends all gather around a dying Mimi. This simple story has been told in thousands of opera houses around the world and always evokes emotional intensity. The Bohemian artists struggle in life and love and still manage to celebrate their existence with fervent passion.

The production features a revolving set (designed by Prisque Salvi) which alternates between bare minimum and drab and jazzy, dazzling and electrifying. Also, the crew members are clearly visible to the audience, casually strutting in during scene changes demystifying the whole opera experience. Costume Designers Catherine Martin and Angus Strathie also alternate between drab and colorful, depending on the mood of the scene.

All of these elements tie in brilliantly to the humor and tragedy of the story rendering the production more than worthy of the famously romantic score. Baz Luhrmann is quite adept at capturing the soul of a piece, skillfully using the music, set and costumes to carry the story and in this production he outdoes himself once again. Definitely a must-see.

Puccini - La Bohème / Freni, Pavarotti, Harwood, Ghiaurov, Karajan Read more!

Battle of the Deviants

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


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

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

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

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

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

A Little Night Music

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

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

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

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

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


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

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

NASA

a kate west reflection

I was never good at science. I dreaded math class. I ended up a Theater Major (with an English Minor), for God's Sake. So ask me about Shakespeare. And yet I loved scientists. I read as much science fiction as possible and avidly watched every "Star Trek" (you know that many Star Trek fans probably grew up to be astronauts, possibly even cooler than being firemen). So I was excited when I had a chance to visit NASA in Texas ("Houston, we have a problem").

My brother and I took the tour with the tram and drove by several nondescript gray buildings but never got to go inside. Our tour guide would say "and this is where all the moon rocks are processed and other fascinating artifacts from space, but we won't be going in there". This happened a couple of times and all we got to see was a couple of old rockets out front. But then, FINALLY we got a quick trip through Mission Control. The old one. The new one is in Florida, I learned. That part was cool, as was a very short glimpse into some of the astronaut's training facilities. And plenty of time for the gift shop, of course. Houston weather is pretty humid in the summer, so it definitely felt like a vacation and trip to another world.

I wish I had more aptitude for that kind of field, but I just don't. I can only admire them from afar. I feel the same way about the United Nations (another fascinating tour), but I have a better shot with them if I join the Peace Corps and exploit my language skills. I hope.

Sigh.

To learn more, check out www.nasa.gov.

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Master Class

Master Class
a kate west review
by Terrence McNally, directed by Simon Levy
Fountain Theatre production at the Odyssey Theatre, 2055 Sepulveda, L.A. 90025
Extended through July 25, 2004! Tix (323) 663-1525; www.fountaintheatre.com

Following in the footsteps of a career-defining role such as Maria Class in “Master Class” is no easy task. Zoe Caldwell is well-known for brilliantly defining that part on Broadway and Faye Dunaway attempted the same in a recent Los Angeles production. Now the Fountain Theatre’s new production of “Master Class” provides the answer to the question, ‘can an actress make the role her own and still capture the essence of Callas?’ The answer is a resounding YES. Karen Kondazian’s recent interpretation is magnificent. She artfully plays the maestra, exposing Callas’ raw complexities, simultaneously making her sympathetic and terrifying.

The play begins with the house lights up and Callas (Kondazian) striding in after her accompanist (Bill Newlin). She acknowledges the audience as her “students” in one of her famous 1970’s master classes at Julliard in New York. She lectures us on how to behave and playfully picks out members of the audience, completing the illusion that she is indeed Callas, “la divina” resurrected. Thus we dare not make a sound, lest we anger the great one. Her students (“victims,” she calls them) come in one by one, never good enough and woefully unprepared for her attack. This particular evening the first Soprano, Sophie, is shyly portrayed by the alternate, Stephanie Reese. Barely getting out the first note, Callas rips into the poor girl, ruthlessly bullying her into feeling some real emotion. After these brutal onslaughts, Sophie’s final tearful attempt is significantly better than her first and one begins to see why Callas was considered possibly the greatest vocal artist of her century (1923-1977).

Another fascinating aspect of the production is that Callas is occasionally lost in reverie and the student fades out while we hear the actual Callas recordings of the same roles. During these flashbacks, we glimpse the torture and agony of being Callas, from her insecurity and paranoia, thinking everyone was talking behind her back and ridiculing her looks, to her tumultuous relationship with millionaire Aristotle Onassis. She was a real, vibrant, passionate, jealous and endlessly fascinating human being. Kondazian effortlessly jumps between the younger and older Callas, creating a fully realized, dimensional and superb characterization and homage.

The next two students challenge her authority. Clifton Hall saunters in as the Tenor, determined to get by on his good looks alone (and indeed Hall is pretty dreamy). Callas gives him a few notes and then sends him on his way. The final student, Alternate Sierra Rein, the second Soprano, imperious and proud, is the ultimate challenger, declaring her dislike for Callas and throwing all Callas’ doubts in her face. Absurdly over-dressed in a ball gown (credit Costumer Designer Naila Aladdin-Sanders), she is hurt by Callas’ relentless digs and lashes out. At this point, we feel deeply for Callas as she slips into another reverie, exposing the ultimate pain of her life and her current loneliness. Fighting with everyone around her, from her surly stagehand (Scott Tuomey) to her three students, Callas comes across as feisty and full of pride herself, yet missing something vital at the end. It is not easy being great.

Multimedia Designer Mark Rosenthal and Sound Designer John Zalewski support the reminisces with slide projections of the real Callas, Director Simon Levy sensitively puts Kondazian through her paces and Set Designer Desma Murphy creates a precise atmosphere with a bare stage, a piano and a table and chair for Callas just as it must have been during the actual master classes. All three students are fine singers as well, giving the audience the added bonus of listening to good musical performances (selections were from Bellini, Puccini and Verdi). The overall production is an intriguing depiction of Cecilia Sofia Anna Maria Kalogeropoulos, the New York born Greek diva who so tragically lost her voice early on. Playwright Terrence McNally should be honored to have his well-known play so lovingly depicted. An excellent production, one comes away with the burning desire to read a biography on Callas and of course to attend an opera as soon as possible.

The Very Best Of Maria Callas Read more!

Exits and Entrances

Exits and Entrances
a kate west review
by Athol Fugard
directed by Simon Levy
at the Fountain Theatre, 5060 Fountain Avenue, Los Angeles (near Normandie)
May 13 – July 25, 2004; Call (323) 663-1525 or www.fountaintheatre.com


Known for writing powerful plays that expose the damage to humanity and its far-reaching effects caused by apartheid, Athol Fugard presents the world premiere of his newest play, “Exits and Entrances,” at the Fountain Theatre in Los Angeles. It explores the relationship between two South Africans: an idealistic playwright and a famous actor. Based on the story of André Huguenet, the critically acclaimed and award-winning South African actor of the 1960’s, “Exits and Entrances” is a flashback to Huguenet’s extraordinary theatrical career, seen (in this version) through the worshipful eyes of his dresser-turned-playwright.

In this intimate two-person production, William Dennis Hurley plays The Playwright with appealing innocence and optimistic fervor, while Morlan Higgins does a nice turn as the actor genius, André, portraying him as a larger-than-life personality who ultimately comes to terms with his own humility. Both are extremely personable, in spite of the constant bickering between the characters.

The play opens with The Playwright reading André’s obituary and then taking us back to his heyday when he brilliantly plays Oedipus in the highlight performance of his career. Through a series of flashbacks, we watch the great André prepare for his role, while carelessly dispensing wisdom to the eager young Playwright. He regales him with flamboyant and extravagant tales of his youth and life which The Playwright avidly drinks in, filled with awe.

The final scene takes place several years later, after they have long ago parted ways and The Playwright discovers André in a production of “The Prisoner.” His more recent performance is so different from the regal and proud Oedipus, so much more nuanced and basely human, that The Playwright is compelled to visit him in his dressing room, not merely for old time’s sake but to commend him on a very moving experience. Both actors play this pivotal scene very well, illustrating the vast maturity and growth of both characters. Each has learned about harsh realities but has chosen to deal with life in different ways. André chooses a tragic, untimely end while The Playwright believes he can save the world. Each is a little bit right, but a little bit wrong too. The backdrop of the political atmosphere of South Africa is but a small reflection of the greater universal injustice rampant in the world. And yet there are also exquisite moments of beauty in art and the hope of the intellectual.

The language alone in Athol Fugard’s piece commands attention from the riveted audience. Director Simon Levy honors the words by staging the setting simply and perfectly, encouraging the actors to give understated, yet powerful performances. Judging from his other currently running production, “Master Class,” Levy understands how to make our giants human, while leaving their dignity intact. A fine production, “Exits and Entrances” merits a good run. Read more!

The Bungler

The Bungler
a kate west review
by Jean Baptiste Poquelin de Moliere
translated by Richard Wilbur and directed by Jules Aaron
the West Coast Ensemble, 522 N. La Brea Avenue, Hollywood 90036
June 4 - July 25, 2004; Call (323) 525-0022 www.wcensemble.org

Now in its twenty-second year, an artistic gem of a theater, the West Coast Ensemble, consistently produces small but vibrantly genuine productions of the best quality. Their latest effort is no exception. Set in Messina, Italy of 1740, this version of "The Bungler" is an excellently appropriate translation from Moliere by Richard Wilbur.

The play revolves around Mascarille (wonderfully charismatic Steven Einspahr), the rascally clever servant to Lelie (portrayed with wide-eyed youthfulness by Joey Borgogna). Mascarille's main aim in life is to please his mater. This often proves to be a daunting task as Lelie is a bit slow-witted and often bungles the many well thought out schemes his beleaguered servant comes up with to help him. Still one has to try.

The current scheme is to win Lelie his true love, the Gypsy girl Celie (CB Spencer), currently serving Trufaldin (Larry Lederman). Through many mishaps and mistaken identities, Lelie and Celie are eventually united and all other misunderstandings and plot twists are resolved. Along the way we are entertained by the delightful cast, including the likeable and effervescent Dan Alemshah as the foppish Anselme, beautifully charming CB Spencer as Celie, the inspired comedic performance of Erika Amato as the desperately lonely Hippolyte and a solid performance by Alex Kaufman as the dashing young Leandre, in what would otherwise might have been a throwaway role. (In case you were worried, Hippolyte does end up with a true love of her own, Leandre.) Character actors Larry Lederman, Pablo Marz, Matt J. Popham and Gil Bernardi round out the ensemble quite nicely. From beginning to end, the acting is engaging, the direction impressively clever and the entertainment boundless. Everyone involved obviously enjoys doing the play.

A master of his craft, director Jules Aaron drills his actors into presenting seemingly effortless transitions, amusing asides and well choreographed sounds effects created by cast members seated upstage. The play actually begins in a dressing room where we watch the actors prepare for their roles. This fits in perfectly with the broad comedic style of Moliere and Aaron's interpretation creates an immediate accessibility. It also soundly illuminates the social satire of then and now (clever servant besting his superiors, etc.) It is very hard to pull off an impression of a play-within-a-play without coming across either woefully pretentious or clumsily inadequate, yet the West Coast Ensemble succeeds marvelously.

Scenic Designer Tom Buderwitz and Costume Designer Shon LeBlanc do their usual magnificently professional work, creating a simple, versatile revolving set and beautiful period costumes. The whole spirit of the show is profoundly sincere and light-hearted, while maintaining an acute standard of refreshing professionalism. A guaranteed crowd pleaser, this production is highly recommended. If you want become a Los Angeles theater subscriber, this is absolutely the theater to join.

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Things We Do For Love

Things We Do For Love
a kate west review
by Alan Ayckbourn
directed by Barry Phillips
at the Odyssey Theatre, 2055 S. Sepulveda Blvd, L.A. 90025
May 8 – July 25, 2004; Extended! Contact (310) 477-2055 or www.odysseytheatre.com

If you are looking for an escape from the hot weather, the most recent production at West L.A.’s Odyssey Theatre provides air-conditioned, light, summer fare. “Things We Do For Love” is about the confusion between expectation and real love. What is love anyway and will we recognize it when we see it? Sometimes it comes from unexpected venues and we must set aside all preconceived notions and accept the unavoidable conclusion that love and reason seldom go together.

Barbara (Stephanie Nash) considers herself happy and self-reliant and in no need of the entanglements of love. Her friend Nikki (Caitlyn Shannon) is unlucky in love, always hopeful, yet forever picking the wrong abusive men again and again. But this time she has finally struck gold with gentle, good-natured Hamish (James Tupper). Barbara takes an instant dislike to him, foreshadowing the inevitable clash and reconciliation of two people hating each other and then of course falling in love. It happens a bit too quickly, in spite of Playwright Alan Ayckbourn’s initial set up of Barbara’s obvious deep-seated need for affection. In the process, they hurt sweet Nikki terribly and are so wracked with guilt that they almost call the whole thing off but ultimately decide to go for it. Life is short and good love is hard to find.

Stephanie Nash is good as the stiff and properly British Barbara, although she might have punched up her underlying passionate nature a notch. James Tupper is wonderfully sincere and ravenously attractive as the vegetarian Scottsman, Hamish, and Caitlyn Shannon is delightfully simple with a crowd-pleasing accent that nicely punctuates her amusing delivery. Greg Mullavey does a nice turn as the comic relief neighbor/postman Gilbert who lives in the basement and is secretly obsessed with Barbara. Each actor holds his/her own and keeps up quite well with the comic timing.

Director Barry Phillips has assembled an appealing production, although the scene transitions seem a little awkward and the ends of scenes rather abrupt. Set Designer Don Llewellyn has created a uniquely delightful set which contains a window into the downstairs basement and a peek into the guest room above. The audience can only see the upper bodies of anyone in the basement and the legs of the people upstairs and it works very well in adding that extra bit of zaniness.

All in all, this is the type of production you may not remember forever, but while you’re there, it is amusing, good, harmless fun. A nice summer respite.

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Thoroughly Modern Millie

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

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

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

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

Thoroughly Modern Millie (2002 Original Broadway Cast)
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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!