Get Mortified

Mortified
a kate west review
created by David Nadelberg
Running in Los Angeles: Wednesday, July 21 at 8 p.m. at the M Bar, 1253 (corner of Vine/Fountain), $5, for tix call (323) 856-0036
Running in New York: June 17 & 19 at 8 p.m.
at the Magnet Theater, 254 W. 29th Street, NYC 10001
for $10 tix call (212) 244-8824; www.getmortified.com


David Nadelberg, writer/producer/angstologist, has come up with the perfect idea for the perfectly simple show. Humiliate your actors by having them read their teenage and childhood diary excerpts in public. Performing bicoastally and on “This American Life”, NPR’s popular homespun radio show, “Mortified” is as entertaining as it is clever.

The latest show playing in Los Angeles features Johanna Stein, Melissa Wolfe, Angela Pupello, Christopher Wood, Sascha Rothchild, Krista and Keleigh Lanphear, Chris Farah, Will Seymour and Mark Phinney. Ranging from the Lanphear sisters’ ludicrously heartfelt original song about the Challenger tragedy, to Will Seymour’s casual passing reference to living next door to “Aunt” Liza Minnelli, the show presents adolescent angst and absurdity quite well. Melissa Wolfe’s vehement attack on her childhood teacher is uproarious as well. And after each show, the audience is abuzz with excitement, as each of us can relate to how wildly different children’s points of view can be.

Nadelberg assembles the show adeptly, plugging in appropriate pop songs and pacing his actors just the right amount of time. No one is on stage too long and each excerpt is long enough to give us amusing details, but short enough that we don’t get as restless as school children. He picks likeable actors, for the most part, encouraging them to let their guards down, resulting in sincere human appeal and making us laugh until we cry.

It’s a great show and a terrific idea. You have many chances to see it; both in Los Angeles and New York so don’t miss it. And don’t forget to check out their detailed website too at www.getmortified.com.

And there are books too!:
Mortified: Real Words. Real People. Real Pathetic
Mortified: Love Is a Battlefield


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Mourning Becomes Electra

Mourning Becomes Electra
a kate west review
by Eugene O'Neil
directed by Geoff Elliott & Julia Rodriguez Elliott
at A Noise Within, 234 S. Brand Blvd. Glendale 91204
running April 8 - May 29, 2005; contact (818) 240-0910 or www.anoisewithin.org

“Mourning Becomes Electra” by Eugene O’Neil is as darkly oppressive as the tortured author’s life itself. Born in the late 1880’s, O’Neil endured a troubled and unstable home. Unhappy and bitter all of his life, he died in 1953, convinced that life was generally miserable. Adapted with stunning clarity from the Oresteia Trilogy by Greek Tragedian Aeschylus, and as is the case with so many of O’Neil’s works, “Mourning Becomes Electra” is about family dynamics, the burden of which plagued O’Neil all of his life. Set in post-Civil War New England, it tells the story of a doomed family dynasty.

Brigadier-General Ezra Mannon (William Dennis Hunt) comes home from war, only to discover that his wife Christine (Deborah Strang) no longer desires him when she finally confesses that she never loved him and has taken a lover, Captain Adam Brant (Geoff Elliott). Lavinia (Libby West) is the jealous daughter, who, like Electra in the Greek tragedy, plots against her mother (like Clytemnestra) and worships her father (like Agamemnon).

Christine makes the first move by murdering her husband and Lavinia happens to catch her in the act, the daughter’s worst fear come true. Brother Orin (Doug Tompos) comes home shortly after, like his Greek equivalent Orestes, shell-shocked from war and ready to wreak vengeance. Tied to his mother’s apron strings his whole life, he refuses to believe his sister’s account of events, until they actually catch Christine embraced in her lover’s arms.

The resulting tragedy lasts a whopping three hours and forty-five minutes and leaves the audience drained, but never bored. O’Neil knows his stuff. A Noise Within does a competent job with this difficult piece of material. Co-directors Geoff Elliott & Julia Rodriguez Elliott pace the actors well, unfolding the trilogy with heavy but sure hand. Set Designer Michael C. Smith and Costume Designer Julie D. Keen recreate 1880’s New England quite well. The war uniforms look authentic, as do the swirling hoopskirts on the women. The stone-like mausoleum slab in the middle of the stage serves as a constant metaphor of death, easily converted into a cold marriage bed when the occasion arises.

Libby West, as Lavinia, is a bit stiff at first, partly because her character is so tortured and unexpressive. Warming up by the end, Lavinia becomes her mother all over again, with all the fiercely dangerous sexuality. Her black dress in the beginning is later exchanged for the vibrant green colors of her mothers. Doug Tompos is good as the equally suffering brother, becoming convincingly insane by the end.

The supporting cast, love interests Toby Meuli (Peter Niles) and Hazel Niles (Amy Chaffee), are fine, representing a normal, balanced family which is almost sucked into the dreaded darkness of the Mannon family, but thankfully escapes that fate at the end. Deborah Strang, as the domineering matriarch, is strong and expressive, going from a powerful force of nature to a terrified victim of fate.

Like the Furies of Greek mythology, vengeance is exacted with brutal inevitability. No one escapes retribution. The chilling moment at the end, when the sole family heir and survivor is literally entombed in the Mannon household, is well done indeed. Faithful servant Seth (Apollo Dukakis) pounds hammer into window shutters, echoing nails into a coffin and thus we know that justice has been served. The Mannon legacy, rife with haunted memories and a legacy of the doomed can finally be put to rest. The ghosts of the past will be silent.

So if you’re up for almost four hours of heavy drama, know that O’Neil is rarely light, yet always reveals the raw truth of human nature. Be prepared for great insight.

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A Play Without Words

A Play Without Words
a kate west review
devised by Matthew Bourne, music by Terry Davies
inspired by Joseph Losey's film, based on "The Servant" by Robin Maugham
A New Adventures / National Theatre Production
at the Ahmanson Theatre, 135 North Grand Ave, Los Angeles 90012
playing April 8 – May 29, 2005; contact 213-628-2772 or www.taperahmanson.com


Matthew Bourne must know how ultra-cool he is. The sophisticated choreographer and creator of the 1995 ground-breaking new version of “Swan Lake” brings his latest work of art to the Ahmanson Theatre in Los Angeles and wows audiences yet again with his signature style and aplomb. “A Play Without Words” is just that – a stylized unfolding of intrigue, without words and with much to decipher. First of all, the music is incredible. Sexy jazz tunes created by Terry Davies, specifically for this performance, prevail throughout, setting the silky suave mood. Musical Directors Michael Haslam and Benjamin Pope keep the pace well. The soundtrack, combined with Bourne’s sure-handed choreography and direction, makes for a truly knock-out production.

Each character is portrayed by three different dancers, so there are always a multitude of people on stage, each one acting out a different nuance of the story. There is no dialogue, the dancers relying solely on music and choreography to tell their story. Based on the classic film by Joseph Losey (from Robin Maugham’s “The Servant”), the story is about a worldly couple, living in 1960’s hip London, bored with life and each other. Two servants live with them, who scheme to bring down their masters a notch or two. The resulting drama is exciting and extraordinarily well-executed.

Dancers include Sam Archer, Ewan Wardrop, Richard Winsor, Michela Meazza, Anjali Mehra, Emily Piercy, Scott Ambler, Steve Kirkham, Eddie Nixon, Maxine Fone, Valentina Formenti and Alan Vincent. It is fascinating to watch the different areas of the stage where different parts of the story play out. Matthew Bourne is terrific at expressing dimension in dance and emotion and both are always crystal clear. Already well-known for such brilliant modern productions as “Swan Lake”, “Cinderella” and “Nutcracker”, his current production of “A Play Without Words” is no exception to his prolific roster of gems.

A pure delight, this production is definitely a must see. Witty, sexy, groovy and fun, its intensity steams up the stage, riveting the audience, so much that you can hear a pin drop. It will not disappoint, so hurry and join in another innovative Bourne event, as soon as you can. Read more!

TIVO (and Netflix)

a kate west reflection







TIVO is a wonderful technological gift. A gift and a curse. On the one hand, it gets rid of all those pesky commercials you'll never have to watch again, but on the other, it's extremely addictive. I thought I would end up spending less time in front of the t.v. but now I actually end up spending more, because you can watch a recorded program while you're taping another and then watch that one after. It never ends. And since my genes are prone to addiction, this is exactly the kind of modern escapism I would indeed succumb to.

For those cave dwellers amongst you, TIVO is a DVR system you hook up to your cable box allowing you to record programs which you can fast forward through later. It's a fun toy for sure. But are we now becoming even more disconnected, especially car dwelling Angelenos? Especially for certain people (who, me?) who subscribe to cable, TIVO and Netflix (a brilliant mail-in DVD rental program). Who ever needs to leave the house then?

Remember reading? Sigh. And we wonder why I'm still single ....

Change your life too!
www.tivo.com
www.netflix.com Read more!

The Derby

The Kentucky Derby
"The most exciting two minutes in sports"
a kate west reflection







www.kentuckyderby.com

I spent my childhood in Louisville, Kentucky and the thing we are most proud of there, of course, is Churchill Downs and the Kentucky Derby. Oh, and mint juleps.

My father says Kentucky is a good place to be from. He prefers the ocean. And liberalism. But as a child I loved it all, even the extreme weather, the snow days staying home from school and the humid summers that come with that cicada tsss-tsss-tsss sound. Real south, man, and yes that grass really is blue. I never got to go to the Kentucky Derby (not yet, anyway), but I've been to many horse parks and to Churchill Downs itself, off season. It is a magnificent racetrack, with those famous spires and that spotless track. I loved horses as a child (what girl didn't?) and read plenty of "Black Stallion" and every other horse book I could get my hands on. Horse racing seemed romantic to me back then. I don't really feel that way anymore, except once a year, during the Kentucky Derby.

Run the first Saturday of every May since the late 1890's, it is indeed a blink-of-an-eye two minute race, this sport of kings. For competing two to three-year olds only, it's "The Run For The Roses" and is part of the Triple Crown, which also includes the Preakness and the Belmont Stakes. Ladies wear big hats, everyone sings Stephen Foster's "My Old Kentucky Home" and by God, they all drink mint juleps (recipe below). With enough money, you can sit old school style, unless you want to try the cheap seats (think bleachers) in the infield, but I'm too old to jostle with that rowdy crowd.

It's one of the few elegant sports we have left in America, often written about and filmed. It sure does provide great cinematic drama, as we hold our breaths right down to the wire (the finish line). A long line of quality horse breeding precedes the modern version, from Triple-Crown winner Secretariat to poor Barbaro (so recently put down). You don't have to be a Racing Form expert to enjoy the spectacle and whether or not you finish Win, Place or Show, it's the best horse race around.

MINT JULEP

2 cups granulated sugar
2 cups water (branch water is ideal)
Fresh Mint
Crushed Ice
Premium Kentucky Bourbon (2 ounces per serving)

Make a simple mint syrup by boiling sugar and water together for 5 minutes; cool. Place in a covered container with 6 or 8 bruised mint sprigs. Refrigerate overnight. Fill a julep cup or glass with crushed ice, then add 1 tablespoon of mint syrup and 2 ounces of bourbon. (Bruise mint by placing in a cup and gently passing the back of a spoon between cup and the leaves a time or two.)Stir rapidly with a spoon to frost outside of cup or glass. Garnish with a fresh mint sprig. Keep remaining covered syrup in refrigerator sans mint leaves.

Read More About It:
The Kentucky Derby: Run for the Roses

The Mint Julep:
Kentucky Mint Julep


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Floyd Collins

Floyd Collins
a kate west review
music & lyrics by Adam Guettel, book & additional lyrics by Tina Landau
directed by Richard Israel
at the West Coast Ensemble, 522 N. La Brea (between Melrose and Beverly),
Hollywood, CA, 90036
running February 11 - April 3, 2005; contact 323/525-0022 or visit www.wcensemble.org

"Floyd Collins" is a new musical based on the true story of Floyd Collins, allegedly the best caver in America, who died in 1925, after being trapped and immobile in a cave for 17 days. Exploring alone, and attempting to find a tunnel linking Kentucky's Sand Cave to Mammoth, his leg caught under a rock and he was permanently wedged in. Despite repeated attempts to extricate him and a carnival of onlookers and nationwide interest, he succumbed to the elements and died.

Bryce Ryness plays the doomed Floyd in the West Coast Ensemble's recent production. His strong portrayal does justice to the memory of the Kentuckian caver. Roger Befeler plays his brother Homer, in this particular evening, understudying Stef Tovar. Dana Reynolds is Nellie, sister to the close brothers and David Kaufman plays Skeets Miller, the reporter who visited Floyd daily and tried to keep up his spirits. All the actors turn in good performances and the company is, as usual, professional and competent. The overall production is rather limited, however. A bit too long, it merely tells the tale of Floyd Collins, without offering any significant insight.

Adam Guettel's music is fine, at times even catchy, especially the fun routine "Is That Remarkable", an old-time jazzy and perky ensemble-rousing number. "Carnival" is fun as well, incorporating all cast members. "The Ballad of Floyd Collins" is a constant theme throughout, also contributing to the length of the show. Richard Israel's directing and Cate Caplin's choreography really shine in these types of numbers. The ensemble works together quite well and brings to life what it must be like to twist through narrow crevices. Adding to this illusion is Evan A. Bartoletti's set consisting of mere wooden planks, which are meant to look like a dark cave. The wood is a bit distracting at first; however one soon realizes it is supposed to convey stalactites and stalagmites.

Tina Landau's story of Floyd Collins is moving, yet fairly predictable. A true story, it relates the events accurately, delving into supposition when Floyd is dying and hallucinating at the end. Again, however, it merely tells the tale, in spite of the talent and ultimate sincerity of the cast and producers. It is worth noting, by the way, that a trip to the West Coast Ensemble is always worth it, especially now that they are moving. So it is your last chance to catch them in their present location and to wish them good luck wherever they end up. Donations for the move are always welcome, of course.

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The Caretaker

The Caretaker
a kate west review
written by Harold Pinter, directed by Matt Gottlieb
at the Zephyr Theatre, 7456 Melrose Avenue (between LaBrea and Fairfax), Los Angeles 90046
running February 12 - March 20, 2005;contact (323) 852-9111

Harold Pinter, brilliant contemporary British playwright, wrote "The Caretaker" in 1960 and has been unstoppable since those early plays. Always sharp, bleak and clever, his works illustrate human alienation and the everyman coping with the harsh modern world.

"The Caretaker" opens with dangerous-looking and surly Mick (Steven Spiro) rifling through a rundown apartment. He runs out when slow-moving Aston (Jaxon Duff Gwillim) enters, bringing home old man Davies (Robert Mandan, of television's "Soap"). The two shuffle in and begin a rather disconnected Pinteresque dialogue, the gist of which is that the old man can stay with Aston for a while, as he is currently homeless. When Aston is away, however, Davies meets the other brother Mick, who greatly intimidates him and a subtle power struggle ensues. Davies tries to play one brother off the other, never knowing for certain which one is actually in charge. Aston has undergone some kind of psychiatric brain washing (a lobotomy is strongly implied), yet in spite of this, the two brothers are fiercely protective of each other. In the end, in spite of each character's plans and dreams, the play concludes precisely the same way it begins, signifying that there is rarely a possibility for change.

Pinter's deliberate pace must be delicately balanced with the energy of the actors, however in this production, Director Matt Gottlieb does not push the actors. Jaxon Duff Gwillim, as the brain foggy Aston has very low energy, which he tries very hard to convey as mentally slow but the danger is that the pacing is deadly slow and at times even boring. Pinter should not be boring. The other two actors are fine; Robert Mandan may be a bit over the top but he is generally quite entertaining and Steven Spiro turns in a fairly conventional performance as the darkly mysterious brother. It is a standard version of a Pinter play, with no obvious insight, yet the playwright's voice is still strong and one comes away with an inkling of a great man's work.

Set Designer Ben Ainlay (also Light Designer) and Costume Designer Susan Chan create a convincingly drab atmosphere with a cluttered, dilapidated apartment and shabby clothes but all that does not compensate for the slow pacing and the fact that the play is over two hours long with two intermissions doesn't help. Still it always nice to hear classical contemporary works acted live so it may not be a total loss.

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Absolutely Nothing In Common

Absolutely Nothing in Common
12 new plays in 2 series (A&B)
a kate west review
the Acting Company at the Laurelgrove Theatre Festival,
Hollywood Court Theatre at 6817 Franklin Avenue, Hollywood
Running Thursdays through Sundays, February 5 - March 13, 2005
Contact (323) 692-8200 and specify either Series A or B


If you've never been to that rather prominent landmark church with the AIDS ribbon on the corner of Franklin and Highland in Hollywood, but always been curious about it, now's your chance. The Acting Company at Laurelgrove presents twelve different opportunities in two series of plays (A & B, running different nights) to take a glimpse into moments of humanity. Twelve scenes, some very short and some long enough to be one acts, showcase little slices of life, depending on the style of each author.

One of the best pieces, running in Series B, is "Allergic to Walnuts," by Michelle Kholos and directed by Gina Collens, a fresh take on the difficulties of dating. Jack Heller and Darlene Young play an older couple who have finally gotten around to a first date. The dialogue is in a slightly absurdist style, but not enough to alienate the audience into not being able to relate to the human truth of the scene. The characters are delightfully odd and the scenario of the two musing about human foibles is greatly entertaining. Well written and economically directed, it is a nice, strong piece to open that evening.

Some scenes do not work as well, however, such as "CeCe and Joey" by Christina Hart and directed by Erik Passoja. Steve Altman and Rita Kane portray two lonely people who meet once a week, he for some company, she for money and end up arguing about breaking routine in a perplexingly pointless manner. The actors do what they can but it is not a very interesting piece.

"The Miraculous Day Quartet" by Mary Steelsmith and directed by Matt Kirkwood is the last piece in both series. With a different cast each night, it is a symphony of people arranged behind musical stands explaining all the random coincidences that prevented them from being present at a momentous event. We do not find out until later what that event was and although dramatic, it comes across rather predictable. Nonetheless, it is probably one of the pieces most often discussed post performance.

Other pieces include "Something for the Boys" by Louis Felder and directed by Jack Heller, "Heart to Heart" by Susan C. Hunter and directed by Sal Romeo, "Daddy's Girl" by Bonnie Summer and directed by Jack Heller, "Off-Hand" by Michel Wallerstein and directed by Portia Doubleday, "Modern Art" written and directed by Christina Hart, "Speed Dating 101" by Jeffrey Davis and directed by Barry Primus, "A Couple of Horses' Asses" by Dave Field and directed by Al Bonadies and "Telegraph Lady" by Steven Levi and directed by Christina Hart. This last piece occurs during World War II and Kara Pulcino is quite strong as the Jersey reformed prostitute (although her scene partner Matt Doherty is a bit weaker).

Actors include Joe Regelbrugge, Devon Reilly, Herschell Sparber, Rob Tepper, Darlene Young, Deborah Austin, Joy Claussen, Christina Hart, Tom O’Keefe, Kaitlin Doubleday, Nameer El-Kadi, Kara Pulcino, Jack Heller, Steve Altman, Rita Kane, Louise Davis, Erik Passoja, Brenda Ballard, Steve Franken, Matt Doherty and also range the gamut of weaker and stronger.

With subjects ranging from coping with Alzheimer's disease to the inevitable agonies of dating, either choice of evening should have at least one appealing thing for everyone. Just as some pieces are longer, some shorter, some are stronger and some weaker. Either way, it is commendable of The Acting Company to showcase new plays and playwrights and offer us a chance to catch up and coming new talent. Read more!

The Shape of Things

The Shape of Things
a kate west review
written by neil labute, directed by dámasco rodriguez
at the Balcony Theatre, Pasadena Playhouse, 39 S. El Molino Ave. South Pasadena
contact the Furious Theatre Company (www.furioustheatre.org) or call (626) 356-PLAY
running January 21 - February 20, 2005

Playwright and filmmaker Neil LaBute brings his trendy cynicism to Los Angeles audiences once again in “The Shape of Things,” now playing at the Balcony Theatre in Pasadena.

Four college students meet and are immediately entwined in dramatic relationship scenarios that play out in very unexpected ways. Of the four actors, Vonessa Martin, Brad Price, Sara Hennessy and Shawn Lee (all co-founders of the Furious Theatre Company), the men are much stronger than the women. Vonessa Martin as Evelyn, the co-ed who seduces Adam (Brad Price), is rather stiff and mannered, unfortunately. Shawn Lee, as Phillip, Adam’s best friend, is the most engaging and dynamic, casually tossing out lines designed to skewer, yet amuse. Neil LaBute’s dialogue is an acquired taste in the first place, as it is unrealistically stylized at times and only works with an actor’s strong delivery.

The story is that Evelyn (Vonessa Martin) and Adam (Brad Price) meet and apparently fall in love. Phillip (Shawn Lee) and Jenny (Sara Hennessy) also meet and fall in love and the four of them parallel each other as they complicate each other’s lives. Misunderstandings and innuendoes ensue and in spite of the best of intentions, each friend becomes increasingly disheartened, duplicitous and cruel. All four characters grow up meanwhile, especially Adam, who goes from an awkward nail-biting wallflower to a confident, stylish, wiser man.

The unexpected conclusion is rather harsh and incredulous. To LaBute’s credit, we don’t see this one coming, however, it may leave you cold. Dámasco Rodriguez’s directing is fine, the transitions smooth and actually entertaining, but the overall story is rather bleak. Also, scenic Designer Melissa Teoh built a nice, white set, which converts seamlessly into various scenes (coffee shop, museum, apartment, etc.). Still, although the play is short, with no intermission, the final act is a bit tedious and overly written. If you enjoy this type of cold introspection, give it a try, but remember this is not a play for romantic hopefuls.

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The Blacker the Berry

The Blacker the Berry, the Sweeter the Juice
a kate west review
written by and starring Mario Burrell, directed by Jemal McNeil
at the Zephyr Theatre, 7458 Melrose Ave., Hollywood, CA 90046
contact www.marioburrell.com or call (323) 960-7792
Running January 2 – February 14, 2005

Mario Burrell, vibrant local talent, Broadway veteran (“Rent”) and former Groundlings student (famous improv troupe – see www.groundlings.com), tells his own tale in “The Blacker the Berry, the Sweeter the Juice.” Playing to full houses at the Zephyr Theatre in Hollywood, Mario relates his life in show business while reflecting on his father, Walter Burrell (prominent journalist and publicist), who inspired him to celebrate his black heritage.

It is a sweetly-told love ballad, encompassing all the wrongs and rights that Hollywood has dealt him as a black actor and emphasizing his ability to stay strong, holding on to the memory of his beloved father. His father’s passing away had a profound on him obviously, but it also gave him the strength of integrity to remain true to himself.

Mario plays about eight different characters, all wildly different, and he completely immerses himself in each. One standout character is an older woman Mario presumably met while teaching at the Los Angeles Unified School District whose down-to-earth personality really shines through in his delightful version. She does not put up with fools and runs her classroom in a very real no-nonsense, but absolutely loving way. Her homespun sayings are highly entertaining and Mario delivers each with crowd-pleasing expertise. He also impersonates a street punk with acting aspirations, a clueless director who asks him to “be blacker” (Kelli Kirkland makes a special as the “Fried Chicken Fairy” to help him achieve that blackness) and many other delightful characters, each having had a vivid impact on his life.

Director Jemal McNeil paces Mario fairly well, although that particular evening there seemed to be some minor technical glitches and Mario had to overcome some initial nervousness. The house was packed to the rafters, however, which is truly commendable for a one-man show. Los Angeles audiences can be fickle, after all. Mario’s sincere and still-raw emotion over his father and his obvious love of theater and for playing fascinating characters makes this a poignant performance. He has a real sweetness in his stage presence and is immediately likeable. While the show could have been a bit longer and we would have liked to hear more about his father, it is a nice piece of nostalgia and audiences leave gratified to have shared some common emotions.

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Big River

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


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

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

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

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

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

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

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

Nunsense

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

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

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

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

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

Read more!

Nutcracker!

Nutcracker!
a Kate West review
Music by Pyotr Ilyich Tchaikovsky
directed and choreographed by Matthew Bourne
at Royce Hall, UCLA, Los Angeles
contact UCLA Central Ticket Office (310) 825-2101
info@uclalive.org or www.matthewbournesnutcracker.com
Running December 15 – January 2, 2005

Matthew Bourne, that brilliant British choreographer sensation, once again wows Los Angeles audiences with his revival of his 1992 “Nutcracker!” at Royce Hall this holiday season. Known for his wildly flamboyant and uniquely witty adaptations of popular ballets such as “Cinderella” and “Swan Lake” (one of the few outstanding productions seen in Los Angeles that truly deserved a standing ovation), he brings a once-in-a-lifetime experience to audiences with each new show.

This version the “The Nutcracker” places the children in a creepy sterile orphanage where Clara fantasizes about a nutcracker coming to life and taking her to fabulous new experiences. Encountering outlandish characters along the way, (exquisitely costumed in fantastic designs by Anthony Ward, who is also responsible for an incredible set, which at one point includes a giant fully pillow), she returns from Sweetieland empowered to make her escape. Dancing among orphans, Princess Sugar, Prince Bon-Bon, Humbug Bouncer, Queen Candy, Cupids and many more, Clara’s dance highlights include spectacular numbers on a frozen lake and on a huge pink wedding cake. Although Clara loses her love in the fantasy world, he does exist as her savior in the real one. Too numerous to list, Scott Ambler, Etta Murfitt, Shelby Williams, Anabelle Dalling, Rachel Lancaster, Vicky Evans, Alan Vincent and Adam Galbraith are among just a few of the incredibly talented dancers.

“Nutcracker!” is such a simple story it does not need much explanation, merely a recommendation to see it as soon as possible. This production is absolutely a refreshing twist on a timeless Christmas tradition. Rest assured that if Matthew Bourne is involved, you are in for a rare treat and will see something you will remember forever. An absolute must for all family members, please try to fit it into your busy holiday season. You can then tell your grandchildren you saw an early Matthew Bourne. It will not disappoint you.

Pytor Illych Tchaikovsky: The Nutcracker - Complete Ballet
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Jesus' Kid Brother

Jesus' Kid Brother
a kate west review
Music, lyrics & book by Brian & Mark Karmelich
Directed by Jules Aaron
Hudson Theatre, 6539 Santa Monica Blvd
Hollywood, CA (323) 856-4200
EXTENDED October 3 now through December -

Although critically touted as a Los Angeles hit sensation, the new musical "Jesus' Kid Brother" leaves much to be desired. From the excruciatingly simple lyrical score (think along the lines of "Jesus in school. He is so cool") to the wildly inappropriate final dance number, this production fails to hit an intelligent satirical mark. It is certainly no "Jesus Christ Superstar."

Director Jules Aaron does a solid job of blocking the piece, while the real stage dynamics are credited to Choreographer Brian Paul Mendoza. Yet however much the actors work at it, they cannot overcome the poor material.

The story revolves around Larry Christ (the name is already a hoot!), Jesus' kid brother, admirably portrayed by John Altieri (on alternate nights) who pours his heart into an uninspiring role.

Other standouts include Jeffrey Landman as an earnest Joseph and Amir Talai as a proud, tongue-in-cheek Pontius Pilate. Larry is feeling down being under the shadow of the Messiah, while his family and friends offer comfort. Joseph explains that family is all-important and that he needs to find his own way. Larry takes this advice to heart and sets out to find someone to share his life with. He runs into Mary (vocally way-too-uber-strong Katherine Von Till), daughter of mortal enemy Pontius Pilate.

They fall in love but naturally Mary is already betrothed to a Roman soldier and her parents would never let her marry a Jew. That headache, combined with all-consuming guilt over the villagers choosing to free his best friend Barabbas (Christopher Dean Briant) over his own brother Jesus Christ, forces Larry to stage a resurrection in order to keep Jesus' image alive.

Incredibly offensive as this might seem to some, the creators push the envelope even further with a dancing Jesus as well as a dancing crucified Roman soldier. Jesus' actual resurrection supposedly redeems his brother Larry but the sight of Christ in a phony beard only takes the mockery to another level. (Costumer Shon LeBlanc might want to rethink that look.).

A special note should also be made to Lighting Designer J. Kent Inasy not to leave chorus members in the dark.

The entire story is not worth retelling as it not a tale worth recounting. Suffice to say, there is a lot of poor story-telling, bad music, bad jokes, bad puns, obvious humor, little originality and never any true parody. You would be much better off spending the ticket price for this fiasco on purchasing Monty Python's brilliant social satire Life of Brian ( a convenient link can be found below...). Read more!

Frasier

Frasier
a kate west favorite




For those of you already familiar with the series, you know Psychiatrist Frasier Crane (Kelsey Grammer) used to hang out in the Bostonian bar at Cheers (of the hit show of the same name) and then moved back home to Seattle, Washington to star in his own radio program. Spin-offs can be annoyingly lame corporate marketing attempts, but this one was really superior. Great writing, great characters and great acting sell it all. You may see a few familiar "Cheers"faces too.

The basics: Crane bonds with his estranged father, Martin Crane (John Mahoney), and fussbudget little brother Niles (David Hyde Pierce). His assistant Roz Doyle (Peri Gilpin) offers lots of sassy comedic moments, along with Dan Butler's neurotically overcompensating Bulldog Briscoe. Crane hires a kooky housekeeper, Daphne Moon (Jane Leeves) from Manchester, England, who inspires Niles to a true romantic ideal. I won't go into details here as most people have seen the show. And if not, do Netflix it.

What I really want to know is - how, in eleven whole seasons, did Niles never waver for his love for Daphne? C'mon, do guys really pine away like that? Is it really possible - the whole torch-carrying thing? I'm sorry, I don't want to be bitter, but every time a guy breaks up with me, he immediately starts dating again and 80% of the time finds his true love. Right after me. So does that make me easy to get over or just really good practice? O.K. that sounded a little bitter. And maybe a bit off the subject. Didn't mean to, just trying to figure guys out. And I don't get asked out all that much. I know, go figure. In real life, you know how it is - the guys you like don't like you back or you don't like the ones that like you. The trick is in two people liking each other at the same time. And then liking each other for a while. What are the odds.

But I guess that's part of the show's appeal. It's idealized romance, or what you want to be true. The characters are silly and flawed and still manage to find happiness. Granted, after a long, long time. Kudos, though, to the writers for leading us to hope that it can happen for us too.

So we'll see.



The Cast:
Kelsey Grammer - (Frasier Crane)
David Hyde Pierce - (Niles Crane)
John Mahoney - (Martin Crane)
Jane Leeves - (Daphne Moon)
Peri Gilpin - (Roz Doyle)
Dan Butler - (Bulldog Briscoe)
Moose the Dog - (Eddie, the dog)

Series Directed by:
David Lee (41 episodes, 1993-2004)
Kelsey Grammer (38 episodes, 1996-2004)
Pamela Fryman (33 episodes, 1997-2001)
James Burrows (32 episodes, 1993-1997)
Sheldon Epps (22 episodes, 1998-2004)
Philip Charles MacKenzie (21 episodes, 1995-1996)
Jeffrey Melman (19 episodes, 1995-1998)
Katy Garretson (11 episodes, 1999-2004)
Scott Ellis (9 episodes, 2000-2004)
Andy Ackerman (8 episodes, 1993-1995)
Wil Shriner (8 episodes, 2000-2003)
Robert H. Egan (5 episodes, 1999-2001)
Jerry Zaks (4 episodes, 2002-2003)
Rick Beren (2 episodes, 1994)
Gordon Hunt (2 episodes, 1996-1997)
Cynthia Popp-Landsberger (2 episodes, 2002-2004)

Series Writing Credits:
David Angell (53 episodes, 1993-2002)
Peter Casey (53 episodes, 1993-2002)
Glen Charles (51 episodes, 1993-2002)
Les Charles (51 episodes, 1993-2002)
David Lee (51 episodes, 1993-2002)
Joe Keenan (24 episodes, 1994-2004)
Danita Jones (23 episodes, 2002-2003)
Lori Kirkland (19 episodes, 1998-2004)
Christopher Lloyd (18 episodes, 1993-2004)
Anne Flett-Giordano (17 episodes, 1993-1997)
Chuck Ranberg (16 episodes, 1993-1997)
David Lloyd (15 episodes, 1994-2001)
Bob Daily (15 episodes, 1999-2004)
Sam Johnson (15 episodes, 1999-2004)
Chris Marcil (15 episodes, 1999-2004)
Jon Sherman (15 episodes, 1999-2004)
Rob Hanning (14 episodes, 1997-2002)
Rob Greenberg (11 episodes, 1996-1999)
Jeffrey Richman (10 episodes, 1997-2004)
David Isaacs (9 episodes, 1994-2004)
Suzanne Martin (8 episodes, 1996-1998)
Jay Kogen (8 episodes, 1997-2000)
Eric Zicklin (8 episodes, 2000-2003)
Ken Levine (7 episodes, 1994-2004)
Linda Morris (7 episodes, 1994-1996)
Vic Rauseo (7 episodes, 1994-1996)
Dan O'Shannon (7 episodes, 1999-2002)
Saladin K. Patterson (7 episodes, 2000-2003)
Heide Perlman (7 episodes, 2001-2004)
Sy Dukane (5 episodes, 1993-1994)
Denise Moss (5 episodes, 1993-1994)
Steven Levitan (4 episodes, 1994-1996)
Mark Reisman (4 episodes, 1999-2001)
Patricia Breen (4 episodes, 2002-2004)
Michael B. Kaplan (3 episodes, 1996-1997)
Jack Burditt (3 episodes, 1996)
Janis Hirsch (3 episodes, 1998-1999)
Gayle Abrams (3 episodes, 2000-2002)
Leslie Eberhard (2 episodes, 1993)
Don Seigel (2 episodes, 1994-1995)
Elias Davis (2 episodes, 1995)
David Pollock (2 episodes, 1995)
Dan Cohen (2 episodes, 1996-1997)
F.J. Pratt (2 episodes, 1996-1997)
William Lucas Walker (2 episodes, 1997)
Charlie Hauck (2 episodes, 1999-2000)
Alex Gregory (2 episodes, 1999)
Peter Huyck (2 episodes, 1999)

Season One:
Frasier - The Complete First Season

Even Funnier:
Seinfeld - The Complete Series Read more!

Fellowship!

Fellowship!
The musical parody of “The Fellowship of the Ring”
a Kate West review
directed by Joel McCrary
written by Kelly Holden & Joel McCrary
El Portal Theatre, 5269 Lankershim Blvd. North Hollywood, CA 91601
Running the month of December 2004, Tickets (323) 960-7774




“Fellowship!” is a delightful little parody of the J.R.R. Tolkein “Fellowship of the Ring,” the first volume of “The Lord of the Rings” trilogy, and the mega popular hit movies by Peter Jackson. Written by Kelly Holden and Joel McCrary, it chronicles the classic story of Frodo Baggins, winsome Hobbit (a furry little creature of Middle Earth) inheriting the one ring of power and embarking on a journey to the fires of Mordor in order to destroy it. Aided in his quest are eight other inhabitants of Middle Earth: Gandalf the Wizard; Sam, Pippin and Merry, fellow hobbits; Strider, rightful heir to Gondor; fellow warrior Boromir; Gimli the Dwarf and Legolas the Elf. A very serious business. Except in this version, when it is actually a silly and ridiculous saga of song and dance.

The happy ensemble is obviously overjoyed to entertain us with this gentle mockery of Frodo’s mighty trek. With lighthearted fun, Bilbo Baggins, the kindly older hobbit who first discovered the evil ring, begins the piece with his big birthday celebration. Dressed like a bad lounge singer, Steve Purnick aptly plays Bilbo, complete with cummerbund and ruffles, rattling off terrible puns, and thus sets the perfect tone of hilarity. This is perfectly illustrated as the cast joyfully launches into song at every opportunity. In addition, in between numbers as background to the zaniness, there are slide projections of sketch drawings depicting a map following their progress.

Cory Rouse is an excellent Frodo, reminiscent of the touching innocence of Elijah Wood in the film epics and Edi Patterson is spunky and effervescent as Legolas and later Arwen, Strider’s elfin love interest. Peter Allen Vogt is immensely likeable as Sam, the barely suppressed homosexual sidekick to Frodo and is irrepressibly funny as the headliner demon, the Balrog, especially in his show-stopping number “The Balrog Blues”. The rest of the ensemble is quite strong as well: Brian D. Bradley as Gandalf, Kelly Holden as an almost-too-cutesy Pippin, Ryan Smith as the tragically unmemorable Merry and El Rond, the Matrix-inspired Elvish King, Matthew Stephen Young as the dude-like Strider and Lisa Fredrickson as the fiercely proud Gimli. Each actor seems to have the time of his or her life paying homage to the beloved story.

Some deliciously original ideas include Legolas (Edi Patterson) and Gimli (Lisa Fredrickson), evolving from bitter Elf-Dwarf enemies to fast friends singing “I always thought,” an amusingly satirical ballad. Edi Patterson also contributes a very Stevie Nicks/Cher attitude to “One Moment (with you)” singing a love duet as Arwen with Strider (the very funny Matthew Stephen Young). Joel McCrary must be credited with putting together an excellent ensemble and unfolding such a strong concept in a very loving way. The audience happily follows along with each inside joke, thrilled to be so in the know. There are no weak spots or actors and every minute is as enjoyable as the next. The entire cast, crew and producers all deserve warm congratulations for such a fun experience. Of course, it helps to read the books or see the movies first so be sure to do that and then call the box office immediately to be part of the hippest show in North Hollywood. Afterwards, you’ll all clamor for a sequel. Guaranteed. Read more!

A Gift From Heaven

A Gift from Heaven
A Kate West review
Written by David Steen, Directed by Jim Holmes
At the Beverly Hills Playhouse, 254 S. Robertson Blvd., Beverly Hills, CA 90212
Tickets (310) 855-1556, Playing through December 2004

Beth Grant, accomplished Hollywood character actress, (featured in a slew of movies, including “The Rookie” and “Speed”, not to mention countless television appearances), next tackles the psychologically complicated role of an Appalachian mother in “Gift from Heaven.” Running for a short time at the Beverly Hills Playhouse, this dark piece encompasses all that is dysfunctional and wrong in stereotypical hillbilly folk.

Grant, as the domineering matriarch, runs her small household like a veteran general, evoking awe and subjugation in her family. Messy (heartwrenchingly portrayed by Tara Buck) is the hopelessly unloved daughter of the clan, begging for any random scrap of affection. Charlie (Michael Petted) is the golden boy who, in spite of being a bit backward, can still do nothing wrong. Life in that southern abode remains pretty much the same until a distant cousin Anna (played deliberately wide-eyed by Tara Killian) visits, bringing optimism to Messy, love to Charlie and despair to the mother. Upon learning she is the real biological child of her mother and not just adopted, Messy is even more desperate to win her affection. It is too late, alas, as the mother, entrenched in incestuous possessiveness of her son, strikes out at the two girls, when she realizes her beloved boy-man is about to leave her.

The resulting climax of the story is violent and bleak as all the characters clash in an emotionally turbulent free-for-all. Messy’s desperate need for affection has governed her whole life and she can no longer stand inactive. Anna is horrified at the sickness rampant throughout the bloodline, Charlie realizes he can escape his current fate and actually have a future. Only the mother does not have a clean revelation, choosing instead to remain in her delusion of perverted religious fervor.

The two younger actresses are strong (Tara Buck and Tara Killian) and Michael Petted stays more or less on one note, although this is partly the fault of the extremely withdrawn character he portrays. Beth Grant, however, is dynamic, forceful, and equally as awe-inspiring as her fearsome character. Director Jim Holmes gleans good performances from everyone, vitally necessary in keeping with the stark, sometimes too-heavy-handed writing of David Steen. The original music by Christomos D. Argerakis highlights the alienation of such a backward family and on this past Saturday night, the audience was treated with a live rendition after the performance.

Be prepared for severe intensity and if you have the stomach for a glimpse at a bonafide Appalachian household, take a gander. Go especially for Beth Grant, a phenomenally talented lady; it is always a pleasure to watch her expert grasp of multi-dimensional women, a rare find in Hollywood. Read more!

The Ten Commandments

The Ten Commandments
a Kate West review
directed by Robert Iscove
songs by Patrick Leonard and lyrics by Maribeth Derry
Kodak Theatre, 6801 Hollywood Blvd, Hollywood, CA 90028 (Hollywood/Highland)
Contact (323) 308-6363 or www.the10com.com or Ticket Master (213) 480-3232
Extended December, 2004

Hollywood’s recent production of “The Ten Commandments” stars Hollywood’s own bad boy celebrity Val Kilmer taking on the daunting role of Moses, prominent biblical hero. Presented by BCBGMaxazria Entertainment, the production is indeed a genuine Hollywood spectacle, housed in the sacred venue of the annual academy awards at the Kodak Theatre. In fact, many of the musical numbers seem like variety show interludes between Oscar nominations with actual streams of fire bursts and projected images of mysterious Egyptian landscapes provided by Robert W. Rang, Inc. and Thomas E. Cluff.

For those of you who never read the bible in school or don’t know Charleston Heston (see D.W. Griffith’s famous film “The Ten Commandments”), the story of Moses takes place in ancient Egypt where Moses, in order to avoid the terrible slaughter of Hebrew first borns, is raised by the Pharaoh and His Royal Family. He is as a brother to Prince Ramses and no one is the wiser until Moses begins to question the official treatment of resident Hebrews. His surrogate mother Queen Bithia confesses that Moses is adopted and he is consequentially banished from the kingdom. Inspired to defend his people, the Jewish slaves, Moses rouses them to rebellion, Pharaoh Seti dies, Ramses becomes the new ruler and Moses returns to free the slaves once and for all. A series of plaques is sent down to Egypt direct from the Wrath of God, (which in this production entails stenciled revolving lights). Ultimately, Moses guides his people to the Promised Land and teaches them to live by the Ten Commandments, conveying the Word of the Lord.

The famous parting of the Red Sea is an effectively staged spectacle (with foam plastic waves and projected filmed water) and Choreographer Travis Payne creates some wonderful moves for slaves and Egyptians alike, but other than that the production is uninspiring. Val Kilmer for one, sleeps walks the part of Moses, virtually pouting, with no real charisma or energy. The music (songs by Patrick Leonard and lyrics by Maribeth Derry) is monotonous and repetitive, with no power to convey true emotion. Director Robert Iscove (original conception by Elie Chouraqui) does what he can with the material at hand and nicely culls strong performances out of the supporting cast. These include Michelle Pereira as Yukebed, Moses’ birth mother, Mark Luna as Joshua (in this particular performance), Luba Mason as Bithia and Lauren Kennedy as Nefertari, Ramses’ wife, the Egyptian Princess pining for Moses. Nita Whitaker as Zipporah, Moses’ wife and Alisan Porter as Miriam, Moses’ sister are solid as well though all the women tend to be rather indistinguishable and it is difficult to get all those biblical names straight. You might want to do a little research before attending. The chorus is strong and entertaining as well, especially after the first few slower numbers.

In short, the overall impression is that of a slick film studio machine churning out entertainment for the visiting tourists but with no real soul. The production does not work as a whole but seems to merely serve as a vehicle for Hollywood ego. If you are interested in seeing where they film the annual academy awards, by all means buy a ticket, but other than that, you aren’t missing much.

Terrific Anniversary Edition:

The Ten Commandments (50th Anniversary Collection)

Read more!

Sex and the City

Sex and the City
a kate west favorite





From 1998 to 2004, American women everywhere were riveted to HBO's bold new ultra feminine series, "Sex and the City". Sexy Manolo Blahnik heels and cosmopolitans abound in this sensually fulfilling indulgence (better than a box of chocolates and a night of "Desperate Housewives"). American style indulgence, of course. We all know Europeans are more sophisticated. But then again, this is New York, our most suave city, so maybe we do have a leg up after all, so to speak. And we want to believe in the magic that helps those girls walk the Big Apple in those impossible shoes.

Carrie Bradshaw (Sarah Jessica Parker) writes a column on sex and relationships. Her three friends are as single as she is and have apparently extravagant career and lifestyles enabling them to live in fabulous New York apartments. Miranda, the lawyer (Cynthia Nixon), Charlotte, the graceful housewife (Kristin Davis), and Samantha, the sexy PR lady (Kim Cattrall). They all want love, pretend they don't, and then decide they do. We've all seen the show. And it's a fun fantasy. But is it one to emulate?

On the one hand, they were four fabulously single and carefree ladies in New York, but on the other, the series ended with everyone successfully paired up with a man. Does this mean they are only complete with a man in their lives or that they each finally grew up and were finally mature enough to handle a relationship? I choose to think it's the latter. And because while all the guys come and go in their lives, the friendship foursome remains intact. At least that's what the creators wanted to leave us with. That and the burning desire to recreate some of that mojo in our own lives. We all want to be Carrie, but we're probably more a Miranda or a Charlotte. Or maybe some of us are lucky enough to be the uninhibited Samantha. In spite of all the risqué talk, these girls were fairly standard for their generation - my generation. And much of that bold talk often made them quite uncomfortable (again, with the notable exception of no-holds-barred Samantha). I get them, unlike the brash twenty-somethings these days who really do want to talk about anything and everything. Ugh.

So there's nothing wrong with being any of those four stylish ladies, all different sides of a single gal. If only reality was so fab. Guess we'll all just have to keep being our boring old selves. Thank God for reruns, Netflix and Amazon.

Created by
Darren Star

Based on the book by
Candace Bushnell

Starring
Sarah Jessica Parker
Kristin Davis
Cynthia Nixon
Kim Cattrall
Chris Noth
David Eigenberg
Mikhail Baryshnikov

Who Could Resist?
Sex and the City - The Complete Series (Collector's Giftset)

Speaking of Indulgences:
Desperate Housewives - The Complete First Season
(Felicity Huffman being the one consistently elevating this show.)

And yet another modern twist on dating - men in the kitchen, cooking for women:
Cooking to Hook Up: The Bachelor's Date-Night Cookbook (Cookbooks)
Read more!

Caroline Or Change

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

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

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

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

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

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

Kith and Kin

Kith and Kin
a Kate West review
by Oliver Hailey
directed by Matt Kelley
at the Hudson Guild Theatre, 6539 Santa Monica Blvd., Hollywood
(corner of Santa Monica and Hudson)
contact (323) 960-7753
playing November 12 – December 18, 2004, Thurs, Fri, Sat. 8pm, Sunday 7pm

There is no dysfunction quite like southern family dysfunction. Oliver Hailey’s West Coast premiere of “Kith and Kin” at the Hudson Guild Theatre paints a picture of a disharmonious white trash clan. Drawn together by the death of their parents, one after the other, three brothers, Tommy Joe, Darryl and Big Boots, mercilessly brawl and torture each other into a state of semi-understanding. Thrown into the mix are two long-suffering women, Sarah, a surly pregnant widow and Charlene, a hardened four-time divorcee vamp. Each redneck is more socially repugnant that the next, ruthlessly competing in a twisted family feud of hilarious inappropriateness.

Tommy Joe (winsomely played by Nathan Brooks Burgess) is at first glance the most sympathetic. Enamored of classical music, he philosophizes and attempts to fight hysteria with reason. Yet he falls short of his potential. In one example, he longingly pretends to play the piano, but never actually learns it, although clearly devoted to the musical art and determined to teach it to his nephew Little Boots (whom we never see), giving him a more sophisticated route of escape from his roots. Though unseen, the child is pivotally important to each character in different ways. He represents everyone’s future and each character wants to manipulate it to suit his/her own needs.

Meanwhile, Big Boots (Drake Simpson), recently out of jail, is torn between escaping his responsibilities as a dad and embracing a new family. After murdering his wife for cheating on him, he may not be the ideal father figure but prison has seemingly refined him and softened his overall perceptions and prejudices. The middle brother, Darryl (Jeff Kerr McGivney), proudly renowned for introducing his two brothers to sodomy, and used to being the one in charge, is in the end reduced to pathetically depending on everyone else.

Sarah (played by Dawn Burgess, a saucy Toni Collette look-alike), is the closest thing to a mother figure the boys have. Never receiving affection from their own parents, they cannot appreciate Sarah’s loyalty as a housekeeper, who feeds them and holds a torch for Tommy Joe. Though fertile, she apparently drove her husband to suicide. Charlene (the deliciously sexy Kara Greenberg) sleeps with each brother periodically but never loves anyone. Thus the women are equally as toxic and flawed as the men and the actual actresses are a bit stronger than the men.

Matt Kelley (in his Los Angeles directorial debut), skillfully guides his actors into relatively strong performances. Despite some early nervous line flubs on opening night, it is more or less a sold ensemble, each actor taking turns to outrage, insult and entertain. In the end, each character is redeemed after confronting personal demons but this is no happily-ever kind of story. Life doesn’t work that way. It’s just life in Texas, folks. So no one gets what they think they want but all are able to ultimately live with their choices, having been forced into maturity. So if you have the stomach to dirty yourself a little on the wrong side of the tracks for a while, by all means go have a look-see. It’s not for everyone.

“There but for the grace of God go [I].” [John Bradford] After all, we are all a few degrees away from primitiveness ourselves. Read more!

Letting Go of God

Letting Go of God
(breaking up is hard to do)
a Kate West review
written, directed and performed by Julia Sweeney
at Hudson Backstage, 6539 Santa Monica Blvd. Hollywood 90038
from October 9 – November 21, 2004, Tix $20
contact (323) 960-4420 or www.juliasweeney.com


Julia Sweeney’s latest one-woman show, “Letting Go of God,” is a recollection of her crisis of faith and agonizing journey leading her to the terrifying conclusion that (for her) there is no God (hey, it’s in the title folks!)

Best known for the wacky, androgynous character “Pat” from the Groundlings Theatre and later Saturday Night Live, Julia first delved into performance monologues with “God, Said Ha!” - an homage to the memory of her brother Mike, who died tragically of cancer. Engulfed in the deepest sorrow, Julia still manages to charm and entertain audiences with hilarious anecdotes, all with a wonderfully warm immediacy. Her next endeavor, “In the Family Way,” chronicles her resolution to adopt a baby from China and she is now the proud mother of Mulan, a beautiful and precocious child. Another success.

“Letting Go of God” is departure from simply telling a life event in an amusing manner. All of her pieces are personal, yet “Letting Go of God” is the most intensely personal and vulnerable work. To begin with, publicly admitting that you doubt the existence of God is opening yourself up to controversy. Raised Catholic which filled her with warm memories, voicing her “conversion” to her parents seemed like a betrayal. Yet Julia is always compelled to be true to herself and, as she admits, by the need to confess it in public.

Her doubt begins to creep in after a seemingly innocent visit by two Mormon salesmen spreading the word. They ask her if she believes that God loves her and from then on, Julia starts to question everything she previously took for granted. Reading the bible cover to cover, she uncovers many contradictions and fallacies and wonders why she was always taught everything at face value. Exploring Buddhism next and then Darwinism (which includes an illuminating trip to the Galapagos Islands), she becomes more and more disillusioned with her childhood God and more and more convinced that humans are truly alone in the universe.

We suffer through every painful revelation with Julia and ache for her tortured soul. By the end of the play, however, she convinces us that she is peaceful and content with her beliefs and in fact, labels herself a naturalist (meaning she believes in the natural scientific order of things), rather than an atheist. It is also worth noting that throughout the performance, Julia is completely adept as always at entertaining and charming us, but never at any moment imposes her beliefs on anyone. With adroit professionalism, she recounts her long and painful journey toward her personal enlightenment without ever intimating that we do the same. Thus we can emphasize with her, yet still come to our own subjective conclusions. This is truly a gift she gives us, allowing freedom of thought, while allowing us a glimpse into her sharp reasoning skills. Read more!

In Between

In Between - a one act play
a Kate West review
written and performed by David Storrs
directed by Karen Maruyama
at the Elephant Lab/Lillian Theater
1076 Lillian Way, south of Santa Monica Blvd., between Cahuenga & Vine, Los Angeles
Every Thursday 8 p.m., October 21 – November 4, 2004, RSVP (818) 980-0843, $10


“In Between” is an adorable and clever true-to-life account of the pangs of despised love. Author David Storrs addresses the audience at the top of the play, explaining that we are about to see an account of his breakup with his girlfriend and what happens before healing – in other words, the “in between” stage - when people are at their most vulnerable and nutty.

Although Storrs credits Michael Naughton, Aron Kader and Jill Alexander with helping write some scenes, most likely taken from his stint in the Groundlings Sunday Company, (www.groundlings.com), his is the prevalent voice. The actors portray different people in Storrs life, depicting everyone from Shannon, the girlfriend who leaves him (sympathetically portrayed by Kristen Wiig), and best friend Kevin (the likeable Michael Naughton) to Steve Mallory, acting as a literal umpire, striking out Storrs whenever he puts his foot in his mouth. It happens frequently, as Storrs himself admits.

Through a series of amusing comedic vignettes, Storrs unmasks himself, unafraid to portray the fool and copping to all the mistakes he made in the relationship. Buoyed by a strong cast, including Stephanie Courtney, Liz Feldman, Jay Lay, Steve Mallory, Mark Mollenkamp, Katey Mushlin, Michael Naughton and Kristen Wiig, and guided by strong directing from Karen Maruyama, Storrs is the universal voice of the dumped. We emphasize profoundly because after all, who hasn’t had heard the “let’s-be-friends” speech or plaintively asked “what did I do wrong?”

We also have the added benefit of Storrs addressing us directly, creating an informal and welcoming atmosphere. He spars jokingly with fellow cast members vying for the spotlight, including girlfriend Shannon who wants to tell her side of things. Storrs is so friendly and open that we instantly sympathize with him, even when he is recalling the most embarrassing moments. It is precisely this stage presence that gives the play its charm. In other hands, it may have come across as more pathetic but Storrs highlights the drama with charming honesty and gentle self-deprecation.

At a little over an hour, the play is just long enough for one to get a good insightful look into the modern dating world, while still rooting for the main character. A little uneven at times, the play is constructed with previously written scenes that Storrs adapts for this new single-themed piece. Regardless, he wins us over by the very act of putting on this production, as he is proclaiming himself healed, giving the rest of us a little sorely needed optimism. A warm, self-contained piece, it would be interesting to see a full-length production of “In Between,” but as it stands, it is definitely an amusing evening. Read more!