The 25th Annual Putnam County Spelling Bee

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

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


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

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

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

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

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

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

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

TALK BACK with Backstage West

Show Me the Way to ‘SNL’

by Natalie Skelton

“How do I get on Saturday Night Live?”

As School Administrator of the Groundlings Theatre, that’s the question I hear most often from the 2,000 to 3,000 students who come through our doors every year. Some of them inevitably want to know the fastest way of advancing through the classes or the easiest way to get on SNL. My first inclination is to say, “Call NBC”. But I heroically restrain myself and gently explain that it’s a more complicated process than they think.

It’s true that many Groundlings alumni have made big names for themselves on SNL and other shows: Phil Hartman, (Conan O’Brien), Lisa Kudrow, Julia Sweeney and Paul Reubens, to name a few. But these are the absolute wrong questions to ask. In general, the students who do well at the Groundlings School truly understand the process. They take their time, making sure they’ve got the basics down, before moving on to the next level.

It shouldn’t be just about becoming a star or Groundlings Company member. It should be more akin to that old Zen-Master philosophy: Don’t focus on the target, but instead enjoy the journey. Sure it’s great to achieve fame and fortune, but that success is pretty meaningless if you lack a solid foundation, and even if you work hard and bone up on the basics, you are not assured wild success. Show business ain’t that kind of business.

Then why bother with the time-consuming trek at all, since it takes about four years to complete the entire program? Because basic improv drills, or for that matter any type of basic acting exercises, can help you learn the discipline necessary to turn you into a professional, whether or not you end up making tons of money or a big name for yourself. Everything starts at the raw beginning. A concert violinist or opera singer always begins with rudimentary scales and practices several hours a day for several years. They do it not only because they enjoy it but also because they need to do it, and they don’t worry about the final performance – that comes later. That’s why every Groundlings Company member has to complete every level of our school: Basic, Intermediate, Writing Lab, Advanced and Sunday Company.

Studying the craft also helps actors get out of their own “headspace” so they can connect with the audience in a real way and open themselves up to working with fellow actors as a team. Remember when you learned how to share in Kindergarten? It’s still useful. You need to learn to trust yourself, your scene partners, your instructors, and the process of education. As one of my senior instructors puts it, you need to “get out of your own way”. You can only do that if you take the time to learn the trade.

That’s a good way to approach life in general. In my experience, learning something intimidating opens up many possibilities. Even non-actors – doctors, lawyers, therapists and even policemen – have told me that improv classes helped them in their daily lives. It doesn’t have to be improv – or improv at the Groundlings. Trying something new and making the effort to excel at it can change your brain, whether or not it’s rock climbing, a new language, or sailing.

Whatever do you do, help yourself lead an enriched life and embrace the process. Forget what you think you’re entitled to. Don’t focus so much on the end result; watch the road right under your feet. And enjoy!

Natalie Skelton is the School Administrator at the Groundlings Theatre. For more information on its program, call (323) 934-4747 x21 or visit www.groundlings.com.

September 28, 2006

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Read more!

The Black Rider

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

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

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

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

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

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

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

More Tom Waits:
Mule Variations Read more!

Local Heroes

Local Heroes:
sketch and improv of heroic proportions
a kate west review



directed by Mitch Silpa
at the Westside Eclectic Theatre
1323-a 3rd Street Promenade, Santa Monica, CA
(in the alley between 3rd and 4th, south of Arizona)
contact (310) 451-0850 or localheroes6@gmail.com (Myspace.com/localheroes6) Thursdays and Fridays
April through May, 2006; tix $8

Find yourself on the west side after dinner in search of entertainment? Instead of cramming into a crowded movie theater where someone will kick your chair and munch popcorn, head down to Westside Eclectic and catch some improv. You'll get much more bang out of your buck. They do several shows there, the latest being "Local Heroes". The cast members are all Groundlings-trained (for info on that crazy-famous comedic troupe check out www.groundlings.com) and Director Mitch Silpa is an actual Groundling. That means they know their funny.

Dorien Davies, Alex Enriquez, Samantha Klein, Travis Nelson, Avi Rothman and Kenny Stevenson all write their own material and have a great time performing it on the trendy stage of the Westside Eclectic. It's obvious that they love what they do and are all strong actors, especially Kenny Stevenson. Some highlights include Dorien Davies and Samantha Klein singing "Spolish Green" as pure-as-snow twins in a deliciously wicked spoof on Christian singers. Avi Rothman's and Dorien Davis' spoof on Latina pop-singer "Shakira" is hilarious as well. Avi Rothman's versatility really shines in "N'Amaste" and "Pillow", as a mystical yoga instructor and irritating airline passenger, respectively.

When the actors give 200% it really works. Some of the scenes are not as strong as others, but in general it's a very crowd-pleasing show. "Classically Trained" (Alex Enriquez, Avi Rothman and Kenny Stevenson) - a sketch about a classically trained prima donna commercial voice over actor could be stronger, for instance. "Captain Amazing" (Kenny Stevenson and Travis Nelson) is a cute idea, with computer geeks transforming into superheroes trying and failing to fix the office copier, as is "Brian Hodel" with Samantha Klein and Dorien Davies playing giggling 1980's teenagers and Kenny Stevenson's reverse strip tease in "Girl" (with Samantha Klein). "Love Hatchet" (Travis Nelson and Samantha Klein) about a trailer park screaming love nest and "Sexy Itchy" (Alex Enriquez and Samantha Klein) is alight but a lot of these scenes get a bit lost; one of the problems being that the space itself is not really conducive to comedy sketch. It's a fun space but not contained enough for the type of thing they are trying to do here. Still, it's a rockin' good time, judging from the audience's hoots and hollers alone.

Director Mitch Silpa does a great job of pacing the scenes and inspiring energy in the actors and host Amir Talai is likeable when heading the improv sets. Every actor is appealing - just be careful not to sit near the aisles if you don't want a run-in with sexually exuberant Russians in "To Russia with Love" (Dorien Davies and Kenny Stevenson). It's shorter than a full length movie so you'll still have time to enjoy all the diversity in the night life of Santa Monica. Read more!

Grease

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

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

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

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

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

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

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

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

String of Pearls

String of Pearls (west coast premiere)
a kate west review
by Michele Lowe; directed by Stephen Sachs
at the Road Theatre Company, 5108 Lankershim Blvd., North Hollywood 91601
running January - March 2006 ; contact (866) 811-411 or www.roadtheatre.org
extended in Santa Barbara: Center Stage Theater, 751 Paseo Nuevo, S.B.
running April - May 2006; contact (805) 963-7282; tix $25

"String of Pearls" is a poetic ensemble piece of female vignettes strung together like pearls on a necklace requiring a strong ensemble and four strong main actors.
Jacqueline Schultz, Donne McRae (understudying this particular performance), Stephanie Stearns and Alicia Wollerton all handle this quite well. Each of them plays a multitude of characters, ranging from (among others) an aging matriarch and a plus-size lesbian to a career woman and an immigrant cleaning woman. The characters all have universal appeal but demand that the audience pay strict attention when the women jump from character to character; it is a bit tricky to follow the quickly changing story lines.

Similar to the film "The Red Violin," essentially a strand of exquisite pearls passes from woman to woman, seemingly ending where it started, with the matriarch (Donne McRae). On its journey, it bestows pleasure on almost every kind of woman imaginable (in this case twenty-seven total). Whether the necklace is symbolically the same or the actual physical same necklace is subject to audience interpretation, although the implied connection between the story beads strongly suggests the latter.

Michele Lowe's original dialogue is lovely and often poignant. While some stories are not as interesting as others, the overall effect is crowd-pleasing. Also, some are more strongly connected than others and again, require a certain amount of concentration. There are no earth-shattering revelations here, but merely quiet stories about women with varying intensity. What really makes the show is the ensemble. The women work together very well and showcase their talent admirably. Director Stephen Sachs creates a nice flow between the vignettes and the actors keep up the transitions from humor to anger and sorrow just fine, in between the anecdotal.

At times reminiscent of the female strength in the film "The Joy Luck Club," this is a nice ensemble piece in general, though the story lines could be clearer. All in all, it makes for a good evening out and as the production moves to Santa Barbara in the next two months, it might make a pretty good Mother's Day jaunt too. Read more!

Pilgrim

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

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

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

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

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

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

YES

The Year of Yes
by Maria Dahvana Headley
a kate west favorite










Maria Dahvana Headley wrote "The Year of Yes" after literally living entirely for the moment for exactly one year. Because she no longer trusted her judgement in dating and her taste in men, she decided on a experiment. She would say yes to every single person who asked her out. This resulted in some bizarre entanglements, but she was willing to be open to the universe which also makes for a highly entertaining book. It's not something everyone can do, of course, but it's fun to read about someone else going through such trials and tribulations. The end result is that she finds her true love, someone she would not have considered normally and someone she now had access to due to her year of affirmation. Good to know.

It would be nice to be able to just wait and see what the universe has in store, but not all of us gets asked out as much. Headley's approach is seemingly proactive in more of a passive way, which is fine for her. That being said, you will love this book if you are at all in the mood for cheering on risk-takers, something we should all probably exercise. Since it's a memoir, her amusing anecdotes are all about her own experiences from her own perspective, which is as it should be. Be happy that it worked out for her.

Just Say Yes to:
The Year of Yes

www.myspace.com/mariadahvanaheadley Read more!

The Break Up Notebook

The Break Up Notebook: The Lesbian Musical
a kate west review
written by Patricia Cotter; music/lyrics by Lori Scarlett
directed by Sue Hamilton
at the Hudson Backstage, 6539 Santa Monica Blvd., L.A. 90038
contact (323) 960-5563 or www.plays411.com
running Friday and Saturday nights through February 2006 – EXTENDED!

The Hudson Backstage presents “The Break Up Notebook: The Lesbian Musical” which tells us that lesbians have the same relationship frustrations as the rest of us do. Who knew? Patricia Cotter wrote the original crowd-pleasing script of “The Break Up Notebook” back in 2002 (which was also nominated for a GLAAD award) and then turned it into a musical. While the first incarnation definitely had its charm, the new version works even better as a musical.

Helen (Heidi Godt) was just dumped by the love of her life and is slowly picking up the pieces, with the help of her well meaning but interfering friends. She makes all the classic mistakes we all do: she calls her ex, repeatedly hanging up, spies on her, asks all her friends about her, moans “why doesn’t she love me anymore?” and generally drives everybody nuts. To snap her out of her self-indulgence, her weary friends set her up on a series of disastrous dates. She finally meets someone she is excited about, but despite her friends’ warnings, goes way overboard, making her new love her whole world and refusing to see her faults. Thankfully, she achieves enough growth that she realizes she is better off alone than begging for scraps at the pathetic mercy of a selfish someone else.

Throughout this well-toned, well-timed production, Lori Scarlett (composer of the wildly popular “Sneaux!” local musical) accompanies Patricia Cotter’s witty dialogue with equally beguiling music and lyrics. One of the funniest moments in the show comes during one of Heidi’s many tedious dates, when the cast sings “It Takes A Nail”, mimicking embarrassing small talk (“Ex-girlfriend, la la la …”). “The Polynesian Dance” seems a bit overkill, although a sure-fire hit with the audience every time. In general though, the musical numbers are snappy, fun and clever. Director Sue Hamilton contributes greatly to the professional atmosphere, including smooth scene transitions and overall staging.

Heidi Godt as Helen is the perfect self-deprecating but still likeable protagonist and Patrick Bristow, is the perfect gay best friend Bob, playing silly and poignant at the exact right levels. Whitney Allen as Frances, the new love, was not a strong singer on opening night, but the rest of the cast is fine, including friends Monica and Joanie (Melody Butiu and Jacqueline Maloney) who are great fun as the couple about to go through a commitment ceremony. The whole show is delightfully entertaining and the truths are universal for everyone, straight and gay alike. Patricia Cotter could have given us a happy ending, but she doesn’t go for that cliché, giving us an open ended closing, so to speak, yet still managing to fill us with optimism. We applaud the heroine’s new found-confidence and we root for her (and our own) future success.

For further information, check out www.thebreakupnotebook.com. Read more!

Do You Fear What I Fear?

Do You Fear What I Fear?
a kate west review
written and performed by David Jahn
directed by Ian and Robert Tucker
at the Elephant Asylum Theatre
6322 Santa Monica Blvd. L.A. 90038
running Fridays, Saturdays & Sundays;
January 6 – February 12, 2006
contact (323) 960-4412 or www.plays411.com/fear; tix $18


David Jahn, alum of the famous Groundling troupe (www.groundlings.com), pulls off the amazing feat of gaining the audience’s sympathy even as they feel slightly uncomfortable in his riveting one-man show “Do You Fear What I Fear?” Originally premiering at the Groundlings Theatre, as part of a 30th anniversary celebration, the show now performs at the Elephant Asylum, not too far from its first location.

As in similar shows, Jahn bears his soul, confronting childhood fears while entertaining us at the same time. And he does such a marvelous job at it too. We watch him cope with his angst in many engaging ways: by always counting in “fours” as a child (which he constantly refers to throughout the show), by burying himself inside a prison of fear, escaping into the world of theater and finally learning how to be an adult in Los Angeles and in life.

During all this insight, Jahn is accompanied on keyboard piano as he bursts into song and dance at key points in the story. This contributes wonderfully to his character since his background actually is musical theater, another aspect he refers to in comic detail. Musical Director Cindy Warren sets this all up very well.

In one hour, Jahn deals with family, relationships and his homosexuality in a funny, wistful, endearing, enjoyable as well as mature way. He conquers his fear bravely (by mounting a public play, first of all), causing us to wonder what we are all so afraid of. Why can’t we approach a stranger at a party - what’s the worst that can happen? It’s nice to know we don’t suffer alone. For a one-act he covers a remarkable bit of ground. His show seems a little like a preview to a bigger revelation and it would be nice to see a longer version in the future. Hopefully, he will come up with a part two which would certainly be as well attended. As it is, it is definitely a show worth watching and one which will stay with you for a very long time. Read more!

700 Sundays

700 Sundays
a kate west review
starring Billy Crystal
directed by Des McAnuff
additional content by Alan Zweibel
producers Janice Crystal, Larry Magid
at the Wilshire Theater
8440 Wilshire Blvd, LA 90211
running Jan 6 - February 18,2006
contact www.broadwayla.org or Face Productions

When Comedian Billy Crystal was only fifteen, his father Jack unexpectedly died of a heart attack in 1963. Young Billy was devastated and angry. He finally came to a kind of resolution by pooling his memories into a one-man show called "700 Sundays", referring to the total number of Sundays he actually spent with his dad. Originally on Broadway, Tony Award winner Des McAnuff ("Big River", "Tommy") directs Crystal's opus once again, here in Los Angeles.

We learn many fascinating thing about Crystal's life, including his famous love of baseball and his surprising family involvement in jazz history. Crystal has often mentioned the beauty of baseball in interviews, his first glimpse of the green, green field so different from the picture in black and white television, as well as his experience directing a warm and loving tribute to his idols, Yankee greats Mickey Mantle and Roger Maris (HBO's seamless "61"). Ken Burns even captured Crystal's baseball stories on film in his "Baseball" PBS series. And doesn't Crystal don a New York Mets baseball hat in "City Slickers"?

More interesting still is that Crystal's family owned the Commodore Record Label and had their own store in Manhattan for a while, meaning Billy grew up with jazz greats like Duke Ellington, Ella Fitzgerald and Billie Holiday. In fact, Uncle Milt Gabler was the only man brave enough to record Holiday's controversial "Strange Fruit", a mournful jazz ballad reflecting on the unfortunate still prevalent lynchings in the south at the time. An unusual childhood indeed.

Crystal spends much of the show impersonating relatives such as an eccentric aunt ruminating on lesbianism, pointing out the real deal in 8 millimeter home movies and making typical crude one-liners. For the most part, it is a heartfelt love note to his quiet and unassuming father, and, as many one-person shows seem to be, a therapeutic catharsis for the mourner. Jack worked hard for his family and always reserved Sundays to spend with them, no matter what, taking Billy to baseball games and hosting the odd and end jazz legend. We learn a lot about his family along the way and understand how Crystal got into comedy in the first place, so much of it holds audience interest, but the show does run too long.

Scenic Designer David F. Weiner creates a cozy set with a screen door porch, replicating Crystal's Cape Cod cottage, (actually in Long Beach New York), helped out by Lighting Designer David Lee Cuthbert, Projectionist Michael Clark and Sound Designer Steve Canyon Kennedy. Director Des McAnuff creates an interesting stage picture, but Crystal is obviously the focus here and the main creative hand. As when hosting the Oscars, Billy Crystal is funny at first, but grows a little tedious after a while. If you are a Crystal fan, by all means, don't miss the show; otherwise, you may just want to borrow his book in order to cull the meatier bits of the family history, which really are quite absorbing.

Billy's Book:
700 Sundays Read more!

Ralph Nader

Ralph Nader
a kate west reflection









He ran for President four times, as a Democrat in 1992 and then in 1996 and famously in 2000 for the Green Party and also in 2004 for the Reform Party. That is what Ralph Nader is most remembered for, currently, although his real life's work is in protecting consumers and fighting tirelessly for your civil rights. Born in 1934, this attorney (a graduate from Princeton University and Harvard Law) and civil rights activist led many to take on evil corporate power, earning them the name "Nader's Raiders". He's the one responsible for our seat belts, air bags and free tickets when the airline bumps you, to name but a few of the thousands of positive reforms he's accomplished. We need men like him to remain stubborn and tenacious, even when we don't want to hear it anymore.

A hit at the 2006 Sundance Film Festival, the documentary "An Unreasonable Man" features all aspects of Ralph, to the point of illuminating, (for those of us who don't already know), the sordid details of the 1966 smear campaign by General Motors in an attempt to discredit him. The dangerous idealist Nader started a slew of activist organizations, including helping to found the Environmental Protection Agency (EPA) and has worked his entire life to save us from corporate greed.

Why then, is he ridiculed and even reviled today? For campaigning in 2004 against Al Gore and George W. Bush, supposedly taking away votes from Gore, helping Bush gain the election. Completey absurd allegations. Gore fought briefly and half-heartedly for a recount when everyone knew the Florida votes were invalid, so he lost that election all on his own. Besides, it's still a free country, and everyone should be entitled to run for President if he/she is able and it's high time the two-party monopoly system was challenged anyway. There are bound to be more than two points of view in this country. So why not try Nader's? He's always looking out for ours. He's still a hero in my book.

Directed by	Henriette Mantel Steve Skrovan
Produced by	Kevin O'Donnell
Starring	Ralph Nader Pat Buchanan Howard Zinn
Cinematography	Mark Raker
Editing by	Beth Gallagher Alexis Provost
Distributed by	IFC Films
Release date(s)	January 24, 2006 (Sundance Film Festival) January 31, 2007

www.nader.org &
www.votenader.org


Read More:
The Ralph Nader Reader

Civic Arousal

Unsafe at Any Speed: The Designed-in Dangers of the American Automobile

Read more!

Powerpuff Girls

a kate west reflection

The Powerpuff Girls are three super hero little girls made of sugar, spice, everything nice and an accidental dose of Chemical X, a mysterious component from Professor Utonium's laboratory. Blossom (fearless, smart leader), Buttercup (feisty, dark-haired favorite, guess why?) and Bubbles (silly, blonde, fun one) are Townsville's trio of saviors. The Professor just wanted companionship, but got more than he bargained for not only with three adorable daughters, but a daily method of saving the world too. Super powers often conflict with school, super villains like Mojo Jojo often conflict with bedtime and the incompetent Mayor Mayer keeps getting everyone into trouble.

A good role model for little girls everywhere, check out the Cartoon Network for your local listings now.

Checking Them Out:
The Powerpuff Girls - The Complete First Season

The Powerpuff Girls - The Movie Read more!

Frida

Frida Kahlo
a kate west review















written & directed by Rubén Amavizca Murúa
with the Grupo de Teatro Sinergia
at the Teatro Frida Kahlo Theater
2332 W. Fourth Street, L.A. 90057
contact (213) 382-8133 or www.fridakahlotheater.org
running December 2005

The colorful and boisterous love affair between famous Mexican painters Frida Kahlo and Diego Rivera is captured yearly in the Frida Kahlo Theater/Grupo de Teatro Sinergia’s production of “Frida Kahlo”. In keeping with the fascinating culture of the piece, you can choose between either the English or Spanish version; the actors memorize both scripts. The theater itself gives a nice first impression when one walks in, with a painted sunny floor, happy blue walls and Mexican style décor. The fabulous folkloric costumes and jewelry will catch your eye also, all contributing to a vibrant glimpse into a surreal artistic world.

The play is inspired by an essay by Elena Poniatowska, various letters and documents from Kahlo’s life and from Martha Zamora’s book “Frida Kahlo; The Brush of Anguish”. In a short two hours, you are briefly immersed in Frida’s tumultuous life. She lived in pain, both psychically and emotionally. As a child, she contracted polio and as a young adult was in a terrible bus accident which freakishly impaled her on a pole. As a result, she was plagued with spinal operations for the rest of her life. She also met Diego Rivera. As she says in the play, “there were two great accidents in my life: the bus accident and meeting Diego.” And what a wild ride it was.

The intense Minerva Garcia plays Frida, often deep in monologues, with herself, the audience and a puzzling little character called Judas (Edwin Rivera Corcios). There is a Mexican tradition where the people burn straw effigies of a Judas character and as Frida loved dolls, this character comes to life as her artistic consciousness, signifying death a little too. Corcios plays him too effeminately, coming across a bit grating in the first act, though he tones it down in the second. The story would be just fine without this device.

Other than that bizarre touch, the story is fairly straightforward. Frida meets Diego, they fall madly for each other and Diego spends the rest of Frida’s life cheating on her and making her miserable. He almost can’t help it though as he is a grotesque (although immensely talented) man boy and Richard Azurdia plays him with all the necessary extravagant magnificence. Garcia coos over him as Frida, calling him her “baby toad” but the final straw comes when he sleeps with her sister Cristina (Renée Durón). That he also has the gall to introduce her to his many lovers, including a glamorous actress named Paula Goldberg (Cristina Frías), illustrates the ridiculous lengths they will go to eviscerate each other. However, all the pain in her life most likely made Frida the extraordinary artist that she was. If her life had been easier, had she not had both great pain and great love, would her work have been as open and as raw?

The two main characters are wonderfully well versed, matching each other’s passion very well, and the supporting actors are fine. Director Rubén Amavizca Murúa keeps a good pace, with seamlessly blended scene transitions and well-balanced emotions. It is the merest glimpse into a complex life, but you’ll find it’s a fulfilling night out. The audience this particular night sure loved it. Be sure to get precise directions, though, as the theater is a bit hard to find.

Direct from the source:
The Diary of Frida Kahlo: An Intimate Self-Portrait Read more!

Joni and Gina's Wedding

Joni and Gina’s Wedding
a kate west review
created by Marianne Basford & Ann Lippert; directed by Ann Lippert & David Pavao
at El Cid, 4212 Sunset Blvd. L.A. 90029; http://www.elcidla.com/index.htm
contact http://www.joniandginaswedding.com/; (323) 769-KISS (5477)
tix* $30 (includes dinner, champagne & cake)
running through December 2005 and may be extended 2006!

In the spirit of the semi-pretend-reality live show “Tony and Tina’s Wedding,” “Joni and Gina’s Wedding” is a lesbian version of its Italian-style predecessor. Patrons are the wedding guests who mingle with Hollywood actors posing as members of an eclectic wedding party.

You are escorted onto the cozy patio at El Cid, a trendy Spanish restaurant in trendy Silver Lake. There you can drink to your heart’s content at the full bar while you wait for the festivities to begin. Some cast members may venture out to greet you, including the Caterer Funqueesha (Brandi Hawkins) with a few appetizers for you, and MadDog (Jane Wolfe). By the time you’ve had a few cocktails in you, you’re introduced to the madcap members of the wedding party, by Rychard, honorary male maid of honor (Alex Garner) and you’re escorted into the banquet room for the marriage ceremony.

Ministress Pat Miass (S. Rachel Lovey) performs the “almost holy matrimony” for Joni and Gina (Lowe Taylor and Jessica Hopper). Interspersed throughout are wholly inappropriate comments by the pretend family members, which of course contribute to the hilarity of the proceedings. After the atypical ceremony, you’ll be escorted out onto the patio for more drinking and then the reception begins, along with the real fun. Dinner includes chicken, rice, salad and a champagne toast. And what a lot of toasts there are. The Best Woman, Maureen (Allie Rivenbark), bitterly remarks on her lost love, Gina, trying to goad Jodi into a catfight. Both sets of parents and siblings make speeches, the stereotypes continue and the sparks fly.

Bruce Cronander, in this performance, is General Armstrong, Gina’s waspish father and plays the stodgy, horrified military man rather well. Gina’s roguish brother Joe (Chris Burton) makes some off-hand boorish remarks and Charisse Savarin, Gina’s mother Margaret, plays an alcoholic somnambulist with no idea where she is. Feuding Jewish ex-spouses, Larry (Tom F. Evans) and Ida (Rebecca Michaels) embarrass their daughter Joni by squabbling endlessly. Joni’s sister perpetuates the Jewish stereotype as Rivkah (Kim Anton), an orthodox, mousy Jewish scholar. Larry’s current girlfriend Wamsetta (Tonya Harris) outplays Alex Garner’s Man of Honor Rychard’s queeny outrage with saucy Puerto Rican fire.

We expect and applaud these stereotypes which would might not work in a normal play but fit in great with a wedding. Because the audience feels a part of the show and have had ample time to drink, we delight in being at a wild party. Making it all worthwhile are Lowe Taylor and Jessica Hopper as Joni and Gina - both very charming and interesting. Joni is the more butch of the two, contrasting Gina’s slightly more demure side. We forget they are an unusual couple by mainstream standards and we root for them wholeheartedly. By the time we are served cake, danced in a conga line and learned to line dance, we are completely won over. Word of advice: don’t go if you don’t want to party. The actors will ask you to dance and none of them are shy, giving new meaning to the words audience participatory. From beginning to end, when the girls run off to their honeymoon, you are swept into this crazy world. Also try sitting near the walls for the best view and make sure you drink – a lot. It’s the best wedding in town if you want to go with the flow. It’s time to let your hair down and catch that bouquet.

*Partial proceeds from all shows goes to the Equality Campaign, the group that helps to fight against constitutional amendments that discriminate against same sex marriage. Read more!

Equus

Equus
a kate west review
by Peter Shaffer; directed by Tim Dang
at the East West Players, 120 North Judge John Aiso Street, LA 90012
running October - December, 2005; tix $30-$35 regular performances
contact (213) 625-7000 or http://www.eastwestplayers.org/

George Takei, best known as Sulu in the celebrated original "Star Trek" series, takes a different turn as psychiatrist Martin Dysart in the East West Players new production of "Equus". A complex and demanding role, Dysart carries the play, acting as both narrator and protagonist but Takei does not quite pull it off.

The story involves a young boy, Alan Strang (Trieu D. Tran), brought to the doctor's attention after blinding six horses with a steel spike. Intrigued, Dysart agrees to take the case. In the course of his analysis, Dysart uncovers deep emotion and passion in an apparently painfully shy and odd little boy. Colleague Hesther Salomon (Jeanne Sakata) pleads for Dysart to end the boy's pain, Alan's parents Frank and Dora (Alberto Isaac and Dian Kobayashi) are bewildered by their son and Alan himself is at times defiant and at other times pathetically dependent on Dysart. The most surprising revelation of all comes from Dysart realizing that Alan's secret midnight rides on the horses make him more alive and real than the Greek gods Dysart so emulates in the pages of his dusty old books. In the end, Dysart cannot find blame in Alan's average, slightly ineffectual parents or in society and his great conflict comes in knowing that if he actually "cures" the boy, he will also be killing his originality. His own life will seem bleak in comparison, either way.

Director Tim Dang honors playwright Peter Shaffer's original staging with a minimalist stage, an arena roped platform, surrounded by benches for the actors. All the actors remain on stage throughout the play and the horses are symbolically portrayed by actors with metal horse heads stamping about on spring horseshoes. Not only does this convey confinement, but also the idea that the protagonists are under constant vigilance, perhaps even judgment. Also, since Alan is recounting past events, the psychological aspects take on a dreamlike quality. Set Designer Maiko Nezu, Costume Designer Annalisa Adams and Lighting Designer Rand Ryan also aid greatly in providing a perfect clinical atmosphere. All this is not quite enough to instill passion in his actors, however.

George Takei, as Dysart, has a nice, theatrically trained voice, but somehow does not fully encompass a fully rounded character. Tieu D. Tran, as Alan has some nice moments and is quite moving in the climactic scene with love interest Jill Mason (Cheryl Tsai). The actors are all fine, although some of them inexplicably go in and out of British accents. It is a fine production in general, yet does not have the emotional impact the original production must have generated back in 1970's London. Peter Shaffer's brilliant writing makes for a fascinating play, regardless, and as an added bonus, this production will be deeply satisfying to any theatergoers who also happen to be Trekkies. Read more!

AB FAB

Absolutely Fabulous
a kate west favorite






Jennifer Saunders, (of "French and Saunders" with Dawn French), and Joanna Lumley are Edina and Patsy, the ever-wasted exotically stylish duo of the British sit-com "Absolutely Fabulous". Hilariously wicked, these two saunter through life, wreaking havoc among friends and neighbors, especially with Eddie's perpetually mortified daughter Saffron (Julia Sawalha). Swigging vodka and chain smoking their little hearts out, no topic is too PC.

We love them for their extremely outrageous behavior and Director Bob Spiers gives them ample creativity. Saunders' cohort in comedic crime, Dawn French, also has a creative hand in the writing, all of which is fantastically brilliant, as the Brits like to say. Jane Horrocks as the bewildered and baffled personal assistant Bubbles is as zany and talented as all the rest.

The precursor to New York's "Sex and the City", this is the show where the ladies really let it all hang out. So don't be afraid, tune in, and learn how to be absolutely fabulous.


Created by
Jennifer Saunders

Starring
Jennifer Saunders
Joanna Lumley
Julia Sawalha
June Whitfield
Jane Horrocks

Opening theme
"This Wheel's on Fire" by Bob Dylan and Rick Danko


Catching Up:
Absolutely Fabulous - Complete Series 1-3

MORE Magazine: www.more.com Read more!

Honour

Honour
a kate west review
written by Joanna Murray-Smith & directed by Andrew J. Robinson
at the Matrix Theatre Company, 7657 Melrose Avenue, West Hollywood, CA
running Thursdays – Sundays, August 26 – November 6, 2005; tix $20-25
contact (323) 852-1445 or www.matrixtheatre.com; thematrixtheatre@sbcglobal.net

Marriage is tough. Especially after 32 years. No one knows that better than Honour (Susan Sullivan), whose husband abruptly leaves her, with no obvious warning (externally anyway), in the emotionally wrenching “Honour”, now playing at the Matrix Theatre Company. Robert Foxworth is Gus (alternating with Granville Van Dusen), a published author and intellectual, who decides to change his life completely after an interview with a beautiful, young aspiring writer, Claudia (Kirsten Potter). Like many men, he suffers a mid-life crisis, believing that if he exchanges one woman for another (and a younger model at that) he will find youth again. He tells himself that he is being true to his best self, and that it was a long time coming, but he is really childishly attempting to see himself more clearly through another’s eyes (something he accuses his wife of doing). “There were signs” he tells Honour, in order to justify his betrayal, and it is just unfortunate that she did not see them before as he does not responsible for any further explanation. And that’s that.

Honour bears the brunt of the news with restrained stoicism, coupled with the occasional heartbroken outburst. Her strong sense of duty caused her to remain loyal to her husband throughout all those years, perhaps sacrificing her own deepest potential. She too is a published writer, although her husband’s work always took precedence. Surprisingly, both her daughter Sophie (Becky Wahlstrom) and the “other woman”, Claudia, chide her for losing herself in her marriage. They both want to idolize her but are frustrated by her apparent lack of identity.

Director Andrew J. Robinson skillfully leads his actors to the strong performances that speak to our own private heartaches. Susan Sullivan is wonderful as the wounded Honour, who may seem a victim but who is ultimately true to her own convictions. Robert Foxworth is chilling as the unfeeling husband who seeks passion in another woman. He consumes the energy of everyone around him and then discards them when they are used up. His admiration for Claudia (played fiercely by Kirsten Potter) as a seemingly independent intellectual equal is misguided as neither of them truly understands what love really is. And what will happen when he tires of her as well? Becky Wahlstrom is also convincing as the confused, lost Sophie, caught between exasperation at her mother and resentment toward her father. Everyone aspires to happiness but do not always know how to achieve it.

In expressing this angst, playwright Joanna Murray-Smith’s dialogue reflects that of a writer’s family and not the way in which most of us would normally speak. Love is poetic, however, so this style works for the piece, enhancing the nobility of the messages of sacrifice and commitment. The main theme of the play is the question of honor – which is more honorable, remaining loyal to duty and giving yourself over to the inevitable compromises of love or making yourself your first priority? All of the characters struggle with this dilemma and in the end, Honour appears the strongest. Not only does she end up with the clearest sense of self but also the ability to survive, in spite of initially resisting change in her established world. She did not choose to live alone, but she may just triumph over all, fully living up to her name. Emotionally draining, the play encompasses sorrow and disillusionment and above all, the difficulties of human relationships. And thus we recognize the truth in ourselves and the inevitability of the anguish of love.

Read more!

Dead End

Dead End
a kate west review
written by Sidney Kingsley; directed by Nicholas Martin
at the Ahmanson Theatre, 135 North Grand Ave, Los Angeles 90012
running August 28 – October 16, 2005; ($20 Hot Tix available)
contact box office at (213) 628-2772 or www.taperahmanson.com

Sidney Kingsley’s dramatic play “Dead End” shocked Broadway audiences in 1935 with its depiction of slum living and coarse street lingo. Audiences may also remember the Oscar-nominated 1937 Humphrey Bogart movie directed by William Wyler. Now Michael Ritchie makes his spectacular debut, as the Center Theatre Group’s new Artistic Director, with an even bigger splash in a slick 2005 modern version for the Ahmanson Theatre.

With 42 actors (including a great supporting cast) and an orchestra pit filled with 10,000 gallons of water, New York’s 1930’s East River front is stylishly recreated. Scruffy neighborhood boys joyfully jump off the dock into the water, splashing any audience member daring to sit in the front row. James Noone’s amazing set is the first thing that takes your breath away as the curtain rises. A wooden dock, the edge of the East River, brown slum buildings next to posh avenue apartments all blend to create a world of feuding classes. Costume Designer Michael Krass also does wonderful work with authentic period pieces and Director Nicholas Martin seamlessly weaves the upper and lower classes together, doing justice to Kingsley’s strong story.

The real life-inspired Dead End kids, made infamous back in the play’s first incarnation, start off the show with rabble-rousing hijinks. Milty (Josh Sussman), the newest and most Jewish kid on the block is tormented by the ragamuffin gang prowling the waterfront. Tommy (Ricky Ullman) is their leader, who eventually accepts Milty but still raises hell whenever possible. His sister Drina (Kathryn Hahn) tries to keep an eye on him but can’t be everywhere at once. Philip Griswald (Benjamin Platt) is also drawn into the fray, although he can never really be of their world, as he is of the privileged variety, jeering at them from high up in a penthouse luxury balcony. They wallop him good, however, when is he caught unawares in the street. This sets off a chain of events which eventually leads to Phillip’s irate father (Charley Lang) demanding that Tommy be hauled off to juvenile prison, in spite of his sister’s pleas. Displaying a rough street-smart charm, one dead end kid is more captivating than the next and all (Trevor Peterson with his tragic cough as “T.B.”, Ricky Ullman, Greg Roman as “Dippy”, Adam Rose as “Angel” and Sam Murphy as the Judas-like “Spit”) have their own appeal.

Baby-Face Martin (“Six Feet Under’s” smoldering Jeremy Sisto) returns to the old neighborhood as living testament of a boy gone wrong (he’s the Humphrey Bogart role in the film). He also started in reform school, the lesson being that it’s small wonder he became a notorious gangster who will soon receive his comeuppance. His old pal Gimpty (the likeable Tom Everett Scott) reluctantly turns him in. Martin’s mother (Joyce Van Patten) gets applause in a heartbreaking reunion scene between killer son and devastated mother when both realize there is no going home. Gimpty too, finally realizes he doesn’t belong in either world, having come from the slums, but having higher aspirations, and is thus spurned by posh girl Kay (Sarah Hudnut). The stark contrast between rich and poor is eloquently portrayed and we are left with a sense of sorrow at the inevitability of fate. Some of the language may seem a bit dated, but it still aptly conveys the message that apparently the problems of the 30’s are still prevalent today. Timely, but unfortunate.

See the Bogie movie:
Dead End

Read more!

Wicked

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

[Warning - plot spoiler may be included!]

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

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

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

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

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

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

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

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

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

Bent

Bent
a kate west review
written by Martin Sherman; directed by Claudia Jaffee
at the Deaf West Theatre, 5112 Lankershim Blvd. North Hollywood, CA
running Fridays - Sundays; July 14 - August 21, 2005
contact (323) 960-7740 or www.plays411.com/bent

The basic premise of Martin Sherman's play "Bent" is about tolerance. In a modern age where we still experience much intolerance this should be a blessed relief, but unfortunately, the play falls a bit short, emotionally.

Gay playboy Max (John Marzilli) and the shy dancer Rudy (Jon Cohn) are living as lovers, just as the Nazis take over in 1930's Germany. Homosexuality, always socially controversial, is especially taboo in the Third Reich. Nevertheless, pragmatic Max lives it up, while still understanding what's going on in the periphery, but Rudy lives in denial. Confronted by the present at last, in the form of a stranger, Wolfe (Michael Bronte), that they pick up in a bar one night, their world comes crashing down around them when Wolfe is taken by the Gestapo. Forced to flee themselves, Max and Rudy soon become fugitives.

John Marzilli does all right as Max, though he sometimes comes across too gruff and Jon Cohn is a bit too presentational. (To be fair, however, Cohn's delicate flower character is not the most well rounded to begin with and Marzilli does not always have enough dimension to work with either.) Also, the supporting characters, like Greta (Geoffrey Dwyer) and the Nazi Captain (Paul Vroom) are not real standouts.

The Nazis eventually catch up to Max and Rudy and en route to Dachau, Max makes a horrible decision in order to survive. He also meets Horst (Josh Gordon) who becomes his survival guide and in spite of the circumstances, in spite of the horror and their initial reluctance, Max and Horst fall in love. Constantly under surveillance by evil Nazi guards, they develop a way of communicating so that no one will suspect them. Their first point of contention, the fact that Max pretends to be Jewish, preferring the yellow star to the pink triangle that Horst wears, eventually fades to the background as they begin to understand each other. Max has always been in denial about real love (much like Rudy was in denial about the outside world) and was never very good at getting in touch with his feelings. With Horst, however, he becomes his best self. Josh Gordon is highly sympathetic as Horst and of all the cast best expresses the subtlety and diversity of emotion.

Yet in spite of Gordon's excellent performance, the production lacks real heart. Director Claudia Jaffee makes the best of it, but we are left feeling a bit too removed. Max and Horst try to create something beautiful in the middle of all the ugliness, but even with some strongly tragic scenes, we should care more than we do. While there is good historical content, there is not a well-realized and emotionally satisfying ending. Still, half the audience seemed wrapped up in the story so it could go either way. Note: this is not a play for children, so leave them at home. And aside from the strong content (violence and sexuality), there is also brief nudity and some gunshot sounds. Read more!

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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