London 2012
a kate west congratulations
You were different. But we loved you. Congratulations Ambassadors of Peace!
And hooray USA!
Catch up:
NBC
BBC
p.s. Huh?!!
Read more!
You were different. But we loved you. Congratulations Ambassadors of Peace!
And hooray USA!
Catch up:
NBC
BBC
p.s. Huh?!!
Read more!
War Horse
a kate west review
by Michael Morpurgo
adapted by Nick Stafford
directed by Marianne Elliott and Tom Morris
and by Bijan Sheibani (U.S. tour)
at the Ahmanson Theatre/Center Theatre Group
135 N. Grand Avenue, Los Angeles 90012
running June 14 - July 29, 2012
contact 213-628-2772 or www.centertheatregroup.org
The innovative British production of "War Horse" finally makes it way from Broadway to the Los Angeles stage. Originally a book by Michael Morpurgo, the story was adapted for theater by Nick Stafford and brought to life by The Handspring Puppet Company. This South African troupe uses puppetry to illustrate storytelling, a more and more popular approach to modern theater (we all remember Julie Taymor's fabulous version of "The Lion King", right?)
The essential story is of a beautiful horse, Joey, born to be a hunter, but raised as a farm horse by the young Albert Narracott (Andrew Veenstra). Both are soon drafted to the army unfortunately, for the first World War (the war to end all wars), and lose each other in the ensuing chaotic madness of battle. Both endure terrible hardships and are forced to grow up faster than they wanted to, before finding each other again.
The play seems to tell us, that yes, war is hell. Especially when a hunter learns to be a draft horse, then a war horse, then a draft horse again. The core innocence of the horse with many masters (Michael Stewart Allen as Captain Friedrich Muller is a particularly strong and poignant owner) mirrors the boy's fragile hope in finding his beloved companion once more. There is no mercy during wartime and the only thing that can keep you going is to hold on fiercely to whatever you believe in. Men, women, children and animals die during war - there is no discrimination with death. And as far as the plot goes, that is pretty much it. But a powerful message, to be sure.
Steven Spielberg jumped at the chance to show these images on the big screen and made his award-nominated film "War Horse" while the theatrical productions were still going strong. It is hard to imagine missing out on the creativity of the staging, however. Each horse is masterfully manipulated by three actors. They make the sounds and movements so very realistic, while maintaining a lovely stylized version of that truth. This must have taken a great amount of rehearsal (in fact, the Ahmanson postponed its opening in order to perfect the carefully synchronized choreography). Each animal is crafted with mechanical precision (a bit more complicated than the horses of "Equus") and delights audiences by drawing them into the personalities of the animals. We forget there are humans behind the masks.
As a sorrowful background chorus, John Milosich sweetly sings ballads during much of the action, giving us a local flavor of Devon, England, in a time gone by. Above the village is a large torn sheet of paper where shadows, drawings and pictures flash across its screen during key moments in the play. There are explosions and (warning) gunshots too, spooking both horse and audience. A simple and poetic story, rather reminiscent of Anna Sewell's "Black Beauty", Joey the War Horse shows us the dimensions of mankind, in moments of kindness and cruelty. It's a nice story, elevated by the incredible stagecraft spectacle of the puppets. (Oh, there's a tank too).
Worth seeing for the imagery, so don't spoil it by seeing the move first. And you might want to skip the film altogether after this. But that's up to you since ... a horse is a horse of course.
To read Black Beauty:
Black Beauty
To see the movie:
War Horse
Read more!
Comic-Con
a kate west revelation
#SDCC #ComicCon
a.k.a. The San Diego Comic Convention
San Diego, CA July 2012
Well who'da thunk? I finally made it to the CON. After months of trying (involving waking up early to jump online and not making it past the waiting room) I got a resold ticket. For Sunday only. Since I'd never been before, being the researcher I am, I looked up every blog I could find on the phenomenon and took the advice very seriously. Usually when I travel it springs from spontaneity and I kind of decide where to go once I'm there, but with the magnitude of the CON, I knew I had to choose a different tactic.
First of all, just getting a ticket is a big pain. Not just that waking up early part, it's also the actual waiting part after that, to see if you made it in. Then choosing a hotel, with a similar kind of website deal, just not as painful. As I feared, I ended up on Hotel Circle. Actually that turned out to be not so bad as the shuttle took us straight to the convention and the hotel was probably quieter than the ones downtown. I'm assuming.
Second, everyone talks about how huge the convention center is. No kidding. I think I read something about walking roughly three miles in order to see everything. I believe it. It's gi-normous. There is no way to take it all in in one day. And unfortunately, that's all I had.
So, three, everyone also talks about the lines, lines, lines. No kidding part two. There's a line to pick up your badge, a line to get in, a line to get a t-shirt. And these are not grocery store lines. More like overnight sold-out concert ticket lines (and yes, people do camp out, for days even, for some of the events taking place there).
Here's where I stood in line:
See? Big. I didn't mind all THAT much though because it was my very first CON so I was eager to take in every (EVERY) experience. The hotel site makes you book two nights so I had Saturday to wander San Diego itself, which I didn't know too well. I remember Old Town being kind of cool but wanted to stay more in the downtown area so I checked out the Gaslamp district. Dined at a quiet Italian place and just people watched. The crazy, crazy people. Like the Edinburgh Fringe Festival, the streets teem with people in costume, handing out fliers, chasing celebrities and wreaking good natured havoc. I am sure the locals have learned to live with this July madness, just like the Scots have to every August. I loved it, though I can imagine getting a little claustrophobic after a few days. But since I just had the limited time, I drunk it all in. By the way, another tip I followed is to drink a lot of water. It's summer, it's hot, it's crowded, you get tired and lose track of time. I was told not to eat the convention food and to bring my own, but it didn't seem too bad in there.
Which brings me to the big day. Right. You should get up early, get a head start on those lines, lines, lines. So I thought I was early, but even an hour early still brought me to a long line. Oh well. When that was finally over, I got my badge and a ridiculously huge Warner Brothers bag (who came up with this size?) that wouldn't fit in my satchel so that was another awkward hour standing in line until I could wrangle another bag. From the t-shirt line (did I mention the lines?)
But then I was in. And took a moment just to register it all. Yeah, big. Comics, comics, more comics (yes, they still sell comics - they haven't sold out that much), studios forcing swag on you, people, people, people, and the costumes. Nerd and geek cosplay (in costume) from STAR TREK, STAR WARS, DOCTOR WHO, every kind of superhero and comic fantasy imaginable and then some. Once again, I followed sage advice and took a break once in a while to get out of the convention center, breathe some harbor air, people watch outside and then brave the hordes once more.
I didn't do any panels. I only had one day, remember? And the panels have - you guessed, lines, lines, lines. Especially the big studio ones. The Twihards slept outside for two (TWO) days to get in to see their TWILIGHT idols (ugh). I would have liked to see a few (like my SUPERNATURAL boys) but decided to forego those lines and focus on the event itself. The inner core. And vowed to take stock of what I learned for when I came back again next year. Hell yes, I'm coming back.
So I didn't get an autograph but did glimpse my boys:
But no sign of my fave! I love Spider-man. He's been my favorite superhero since I was a kid watching those afternoon cartoons with that catchy song (you know the one). He's a teenager and a climber(!) and ends up working for a paper. What's not to love? I guess that makes me a Stan Lee fan and obligated to see his movies and spot his cameos (and hey, comic aficionados, I know more people were involved in those early comics than just Stan Lee, but I'm still learning. I also love Neil Gaiman and his SANDMAN series so that should buy me a little redemption). But back to my adventure. As foretold, I ran into many people I recognized (not so many people I knew, unfortunately - I never seemed to be able to coordinate with peeps I knew were going, go fig) like ...
The Enigma, from that circus episode on The X-Files (Humbug), did you see that one? That was a fun one. I am sure he gets tired of being asked the same questions (did those tattoos hurt?) but as he was hawking his very own comic book, I am sure he took it all in stride.
Also saw a quirky little group of nerd music makers called Kirby Krackle. They do hilarious lyrics to rock music, paying homage to geek pursuits, like gaming and movie role playing, etc. By Sunday, there probably weren't as many familiar faces as the earlier days, but you can still spot some good ones.
Wait, Flo the Progressive Lady?!!
My feet hurt less than they should (thank you marathon shoes) but I did get awfully tired. I refreshed with power bars, coffee and water to make it through the day before collapsing back in my hotel room with room service.
Bottom line: I have to go back. It was surprisingly hard to say goodbye to San Diego as I pulled out of the hotel parking lot. A hop, skip and a jump from Los Angeles, it's really not a big deal for me to jet down there every once in a while. The atmosphere is electric and as San Diego is already a tourist attraction, you get the sun, the water, the summer vibe, along with sci-fi and fantasy. It's Nerd Mecca. I know that die hards lament the studios taking over their comic book floors, but the revenue must be awfully nice for San Diego and even the most petulant graphic novel enthusiast can't help but jump for joy at spotting a comic hero. In addition to move stars and even more television starts, Comic-Con offers comic book illustrators and creators, muses and icons of the comic world. Almost anyone you can think of from that world has passed through the hallowed halls, to the rapture of their followers. Ray Bradbury used to show up there all the time. It's just that now it's maybe (a tad?) more crowded. But oh so very, very worth it.
Oh and my revelation? While I'm not a fan girl, I am kind of a nerd. But you knew that already. Anyway, if YOU want to go, click here.
Sideways the Play
a kate west review
a world premiere event
by Rex Pickett
directed by Amelia Mulkey
at Ruskin Group Theatre
3000 Airport Avenue, Santa Monica, CA 90405
Contact 310-397-3244 or http://ruskingrouptheatre.com/
Running May 18 - July 22, 2012 - EXTENDED!!!
Rex Pickett's life used to be a mess. Being a writer, the only way he could cope with it all was to scrawl all his deep darks onto paper. You can read all it about in his blog here. But for straight novelization, you'll have to turn to his acclaimed book "Sideways", the wine country's game changer and pinot noir champion (sorry, merlot), particularly in the Santa Ynez Valley. If you haven't read it or seen the delightful award-winning Alexander Payne film, (and if even your parents have seen it, why the heck haven't you yet?) it's about two old friends, Miles and Jack, who go on a wine tasting road adventure for one last hurrah before Jack gets hitched (and Miles can try to forget his recent divorce and publishing woes). How much trouble could they possibly get into? Prepared for a more sophisticated palate than the usual "Hangover" crowd might expect, with a good helping of artistic ennui thrown in, "Sideways" leads us down some dark (but profoundly delicious) paths. For even more in vino veritas insight you can jump on the grape bandwagon, so to speak, and take the actual "Sideways" wine tour in an "Eat, Pray, Love" follower kind of way (more on that phenomenon elsewhere in this blog), or you can check out the newly published sequel "Vertical". If you choose the latter, you may notice a marked difference in the writers voice. The first book was wholly from the point of view of Miles, with a marketable blend of humor and grief, while the second book shows more of that real writer anguish behind the iconic character. Both are semi-autographical, but the second reads much more introspectively.
But this is a theater review. The good news is that "Sideways" turned out to be rather conducive for the type of monologuing so often used on stage. And Pickett found just the place to collaborate with at the Ruskin Group Theatre. And in case you weren't aware, this company exists right across from Santa Monica Airport (yes, Santa Monica does have its own airport - who knew?) You get free parking there and if you are seeing the world premiere production of "Sideways", free wine poured from high-end wineries (list below). Sharp Cellars showed a particularly fun little pinot during a Sunday matinee.
Now about the production itself. Amelia Mulkey directs her professionally adept actors with a light hand, choreographing transitions nicely (the scene changes are very fun too). The actors are likeable, especially the quiet romantic interest, Maya (Julia McIlvaine), who seduces Miles with her wine expertise. Crowd favorite Jack is boisterously played by Jonathan Bray and very much a match for Thomas Haden Church in the film version (if we're making comparisons). Cloe Kromwell lends some hot Italian flavor to Terra, the temptress who enables Jack to fully embrace his bad boy. As for our protagonist Miles, John Colella lends a properly pretentious voice to the famous wine connoisseur. So do people really speak that condescendingly in daily conversation? Yes, writers (and wine drinkers) do apparently, and while his character is constantly made fun of for it throughout the piece, you might also feel the urge to strangle him at times.
Interspersed with one-sided phone calls to the "real world", the Miles and Jack journey grants us some temporary fantasy, which is easy to believe in after a few drinks, but nausea-inducing upon reflection the next morning. Still, the characters are flawed but believable, and earn their redemptions. Road trips are always fun, even without an actual car, and the play captures the spirit of that wanderlust nicely. A competent crew of secondary characters fills in the action well and Set Designer CJ Strawn gives us a cozy all-purpose setting, which the actors use fully. Director Mulkey creates a charming atmosphere, the way sunny alcohol-fueled vacations should be. Oh, included in the price of admission is a boar hunting trip from the novel (not the movie) with live-fake gunshots, just to warn you. Fun scene though. Kerouac worthy, in fact.
Plus you still get some of the more famous scenes (spit bucket ring any bells?) so every taste bud will be satisfied. Who hasn't felt as lost as Miles at times, helpless to stop the inevitable self-destruction that seems to consume us more and more in this crazy modern world. All we have to hang on to is each other sometimes. Jack's wild side may be a misdirected complement to the introverted Miles, yet while they are initially bad influences on each other, sticking together through the insanity lands them safely (more or less) where they are supposed to be. Eventually. And really, that's all you can ask of a friend.
Here's the new book: Vertical (The Deluxe Edition): The Sequel to Sideways
Here's the wine: http://affairsofthevine.com/sideways-the-play-wines/
The Oxford Companion to Wine, 3rd Edition
Here's the movie: Sideways (Widescreen Edition)
Classic road tripping: On the Road (Penguin Classics)
Photo by Agnes Magyari:
Cloe Kromwell (as Terra), John Colella (as Miles), Jonathan Bray (as Jack), and Julia McIlvaine (as Maya)
Salute!
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American Idiot
a kate west review
music by Green Day; lyrics by Billie Joe Armstrong
book by Billie Joe Armstrong & Michael Mayer
directed by Michael Mayer
musical arrangement by Tom Kitt
choreographed by Steven Hoggett
at the Ahmanson Theatre/Center Theatre Group
135 N. Grand Avenue, Los Angeles 90012
running March 13 - April 22, 2012
contact 213-628-2772 or www.centertheatregroup.org
The popular Bay Area punk band Green Day won the best rock album (Grammy) in 2005 with their smash hit "American Idiot", released the year before. The structure of this innovative album tells a story of an anti-hero, "Jesus of Suburbia", who just wants to make his mark in the world and find out if there is anything worthwhile beyond television and beer. Michael Mayer (Director of the excitingly youthful "Spring Awakenings") strongly felt this would make a great musical and a rockin' collaboration began. Premiering in Berkeley and then later on Broadway, "American Idiot" combined flashy media with "Rent"-like scaffolding, creating a minimalist stage focused mainly on strong music. And now it's finally made it to Hollywood. Yeah for us.
Johnny (Van Hughes) and his pals Will (Jake Epstein) and Tunny (Scott J. Campbell) want more out of life than what they see around them. So they set out to explore possibilities and each of them ends up with a very different life than expected. Will becomes entrenched in Jingletown suburbia, Tunny joins the military and our protagonist Johnny ends up with sex, drugs and rock and roll. And that's pretty much it. It's a simple story, bare bones really, but the music tells you all you need to know about the quintessential American dream quest. The most well-known songs, "American Idiot", "Jesus of Suburbia" and "21 Guns" express the most dramatically powerful pull of youth and angst. When we are young, we are hell bent on knowing what it all means, sometimes to our detriment. The singers are quite strong for the most part, though it was sometimes hard to hear the women (Leslie McDonel and Gabrielle McClinton) in this production (mike check, anyone?)
Choreographer Steven Hoggett matches the in-your-face lyrics with strikingly angry moves, showing the frustration of being trapped in your own worst self. The production follows in the footsteps of louder, less traditional musicals like "Jesus Christ Superstar" and "Rent" by giving us a rock concert version of underlying sentimental melodies. There are nice ballads too though, don't worry, such as "Boulevard of Broken Dreams" (no explanation necessary) and "Wake Me Up When September Ends" which enhances the diary entries Johnny provides us. "Extraordinary Girl" even includes some acrobatic moves with Scott J. Campbell and Nicci Claspell.
The difference between this and the afore-mentioned Broadway hits is that this show comes from an existing album, so lead singer Billie Joe Armstrong and Director Michael Mayer had to rearrange different orchestrations (with Tom Kitt) to allow a chorus of voices in on the action. And they do that very well. One nice characterization is the imaginary St. Jimmy (Joshua Kobak) who appears as Johnny's alter ego and embodies uniquely delightful punk, which is the heartbeat of this kind of music. In earlier versions, Armstrong himself appeared in this role and that must have been a real treat for the die hards.
Overall, Green Day's music is killer and makes up for the thin story. In other words, you probably won't remember the plot all that much, but those songs sure will stick with you. The hard-to-miss political elements fit right in with our world today too, hopefully allowing us to question how the next generation will be affected by our decisions of today. Tell your parents the music is loud, but only because of the need to be heard. Oh and that also there is no intermission.
Get the original album here:
American Idiot
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Sam Page Fitness
a kate west recommendation
I've said it here before and I will probably say it many times more. Sam Page is the best trainer you can hope to find in the greater Los Angeles area. His gentle coaxing will inspire you beyond what you thought your limits were, but he can be tough when he needs to be and he can tell when you need it too, probably more than you can. Right out of the gate, you get a thorough physical assessment of what you are capable of and what your goals are. If you ever wanted discretion in sharing your BMI, he's your guy. Rates vary, depending on how many sessions you book (the more you do, the cheaper it ends up, especially if you buddy up). You can add a meal plan to that and Sam might even go grocery shopping with you. You can absolutely trust in his years of experience as a personal trainer and entrepreneur and revel in that sunny demeanor. Motivational sayings and music propel you toward your best self, along with the latest technology (no one is hipper than S.P.) as you marvel at how far you've come. Of course Sam would say he believed in you the whole time. Heard enough?
Yeah, he's easy on the eyes too.
Go book him here now: http://sampagefitness.com/
Older review here: http://www.katewestreviews.com/2008/07/best-trainer-in-town.html Read more!
LA Phil Live With Gustavo Dudamel
a kate west review
Los Angeles Philharmonic and
Simón BolÃvar Symphony Orchestra of Venezuela
Gustavo Dudamel, conductor
John Lithgow, host
MAHLER: Symphony No. 8
LIVE from Caracas, Venezuela
Sat FEB 18, 2012 5PM ET / 4PM CT / 3PM MT / 2PM PT
US Encore Broadcast on February 29
Get tickets: http://www.laphil.com/laphillive/tickets.cfm
or check your local movie theater listings
Just so you know, it's important to pick a movie theater with an excellent sound system if you want that same I-feel-like-I'm-there feeling you get with the New York Met Live HD operas. Today was a mediocre theater (everything else was sold out) and some of the patrons grumbled a bit. You had to close your eyes to really soak in the fact that so many voices were harmonizing together to tell a story of heaven. Yet there are some fun behind-the-scenes looks with Host John Lithgow, to set your expectations on just what a great accomplishment this is for Dudamel. So taking all that into consideration, open your ears (and heart) and let the music transform and transport you.
Background: The innovative conductor wanted to take on the "Mahler Project" which meant performing all the composer's symphonies, recruiting two orchestras and several choirs to help achieve this stunning feat. Since they were unable to fit everyone in their home turf at the Walt Disney Hall downtown, voices and instruments were moved to the Shrine Auditorium where they wowed audiences and brought the house down. Local musicians then got to adventure on to the next continent, while sharing the simulcast with the rest of us. The voices are sublime, especially the soloists Anna Larsson, Klara Ek, Alexander Vinogradov, Brian Mulligan, Burkhard Fritz, Charlotte Hellekant, Julianna di Giacomo, Kiera Duffy and Manuela Uhl. Dudamel also introduces us to "El Sistema" which brings music to youth of all ages and promotes a message of peace and unity.
In two parts, Symphony No. 8 alternates between the dramatic and the poignant. If you are lucky enough to hear all the Symphonies, be sure to carry that memory with you always. And if you can only do one, make it this one, the Symphony that carries a thousand voices, invoking chills and tears in spectators and inspiring creativity in our souls. Really, words will not do, when the music speaks for itself. Kudos LA Phil and Dudamel. Well done! Read more!
Our Town
directed by David Cromer
by Thornton Wilder
at the Broad Stage, 1310 11th Street, Santa Monica, CA 90401
running January 13 - February 12
contact http://thebroadstage.com/Our-Town or 310-434-3200
You can't get much more small town America than Grover's Corners, New Hampshire. In 1938, Thornton Wilder captured our reverence for nostalgia so very well in his Pulitzer Prize-winning play "Our Town", set in the fictional East coast town, more or less around the first World War. And aspiring acting students have been rehearsing it for ages since. Director David Cromer brings the latest adaptation straight from the Big Apple, with his modern Broadway take on this American classic. It's easy to dismiss the work you were force-fed in school, but read it again as an adult and you might come to appreciate its profound message about life, love, aging and of course, the inevitability of death.
Helen Hunt ("Mad About You", "As Good As It Gets") plays the Stage Manager, usually reserved for a folksy older Mark Twain-ish fellow (think Hal Holbrook). While that role does not necessarily have to be gender specific, it is traditionally depicted as a wise and kindly all-knowing observer. Hunt is matter of fact, which is fine, despite her tendency towards mannerisms, but she does lack some warmth. However, she works well with the rest of the cast and you can't go wrong with excellent dialogue so she does keep our interest.
Grover's Corners is a typical happy little village with typical gossip and neighbors. Emily Webb (played sweetly by Jennifer Grace) marries her next-door-neighbor George Gibbs (the amusing James McMenamin) and generations happen. Scenes of soda fountains and sports at school and the local choir are all played out under a subtle shadow of war. Mothers and Fathers fret and argue, Milkmen and Paper Boys comment on the goings on while Hunt's Stage Manager fills us in behind the scenes. Wilder's general message is that life can be sweet and good, but is too often marred by tragedy and therefore should be all the more precious to most of us. Some of his clever devices include the audience being lectured by various townspeople like Professor Willard (David LM McIntyre) and Editor Webb (Tim Curtis) who regale us with the town facts, while the Stage Manager prompts the audience to answer prepared questions. A complete picture of the town is set up quite nicely in this charming fashion.
The stage itself initially has minimal props, essentially a couple of tables and chairs, and in this production the dress is modern, even though it is set in the early 1900's, the idea being to give us a sense of timelessness. However, seeing a teenager discuss a fifty cent raise with his father can be jarring when he's wearing jeans and sneakers. Director David Cromer does use the space quite well, until one of the last scenes when Emily goes back to visit her family and a true set is revealed, way in the back of the theater, with a fully functioning kitchen. One generally wears rose-colored glasses when looking into the past but it would be nice to be able to fully hear and see properly as well. The most famous monologue of the entire play takes place upstage, far away from the audience and you can barely make it out. The shadows of the past should be a bit more metaphorical in favor of giving us a satisfying ending.
Still, much of the staging works great. The wedding scene is nice and emotional, with poignant turns from Mothers Webb and Gibbs (Ronete Levenson and Lori Myers). Normally portrayed as the height of romantic fulfillment, this wedding shows us the reality of growing older and the fear of leaving youth behind. Hunt comments that one minute you are happily in your twenties and then suddenly you are seventy. It happens so very fast. The final act is done very well (with the exception of the kitchen scene) with stoic actors reflecting on the way the living don't see what's right in front of them and never take the time to fully enjoy and appreciate life while they are in it. Choir Director Simon Stimson (the sharp Jonathan Mastro) especially captures the bitterness of this realization.
All in all, the production will leave you with much to reflect upon. The actors are strong and there is even the occasional dramatic score (courtesy Jonathan Mastro), which adds a nice touch. Thornton Wilder is too often dismissed as a sentimentalist but this play has a lot of hard truths, which are far from sentimental. You will find despair and hope, love and anger and eventual acceptance, like much of life. Cromer is to be commended for a slightly modern take on an overdone piece of theater, but also needs to be careful not to undersell the more important parts of the play.
So do any of us figure out any of this life stuff before it's too late? According to Wilder, "The saints and poets, maybe - they do some." Take heed, folks - slow it down a little. And since we're being all modern - be your own Ferris Bueller.
Get your own copy here:
Our Town
Read more about it:
Improv Can Change Your Life
a kate west congratulations!
Oscar nominations 2012: Groundling alums make good showing
Funny thing happened on the way to the Oscars -- a detour through the Groundlings comedy improv troupe resulted in five Oscar nominations for alumni on Tuesday.
The Los Angeles-based proving ground for such comic talents as Phil Hartman, Jon Lovitz and Paul Reubens has a whole new class of graduates to celebrate as writers Jim Rash and Nat Faxon received a nomination for their "Descendants" script (adapted screenplay), Kristen Wiig and Annie Mumolo were tapped in original screenplay for “Bridesmaids,” and Melissa McCarthy earned a nod for her raucous supporting turn in “Bridesmaids.”
“We have had Emmy nominations in the past, but this is our big Oscar day,” said Heather de Michele, managing director of the Groundlings Theatre and School.
With "The Help's" best picture nod, writer-director Tate Taylor is also making the troupe proud. De Michelle added that “The Help” supporting actress nominee Octavia Spencer is a “friend of the Groundlings,” so there's another mini-celebration to be had.
“In order to be a Groundling, you not only have to have done extensive improv performing, you have had to have done some sketch writing,” said De Michele. “That is what is benefiting this great group of talent now."
And while students attend the Groundlng school, they have to hone their improv performance and writing skills. " 'The Sunday Company' is the top level [of the school],” De Michele said. “Every Sunday night, you have to do new material for six months. It’s like boot camp. At any given time we have 300 students."
Currently, there are 26 members of the Groundlings troupe. Rash, she said, is the only active member among Tuesday's Oscar nominees. Not only does he direct the group, “he performs all the time on our stage. And he does occasionally teach upper levels,” De Michele said.
In fact, Rash said Tuesday morning, he would be heading to the theater that night. “I have to go teach this class tonight,” he said. “I’m covering for someone. I have been teaching and directing there for 10-plus years. We have a little workshop tonight for an opening at the theater. They all know about the film, so they better be respectful and listen tonight.”
De Michele said that the Oscar nominations will undoubtedly help the theater company, which began in 1974.
“It’s very exciting,” she said. “With the success of ‘Bridesmaids,' we saw a huge boost of enrollment in women who wanted to be comedians!”
--Susan King
Photo: Kristen Wiig (and Annie Mumolo) at the Golden Globes early last week. Credit: Chris Pizzello/AP
Full article here Read more!
Stop SOPA PIPA
Millions of Americans oppose SOPA and PIPA because these bills would censor the Internet and slow economic growth in the U.S.
Two bills before Congress, known as the Protect IP Act (PIPA) in the Senate and the Stop Online Piracy Act (SOPA) in the House, would censor the Web and impose harmful regulations on American business. Millions of Internet users and entrepreneurs already oppose SOPA and PIPA.
The Senate will begin voting on January 24th. Please let them know how you feel. Sign this petition urging Congress to vote NO on PIPA and SOPA before it is too late.
Click here: https://www.google.com/landing/takeaction/ Read more!
a kate west review
Choreography by Thordal Christensen & Colleen Neary
Music by Peter Ilyich Tchiakovsky
Alex Theatre, Glendale Dec. 3 7:30 pm Dec. 4 2:00 pm
Royce Hall, UCLA Dec. 17 1:00 pm Dec. 17 5:00 pm Dec. 18 1:00 pm Dec. 18 5:00 pm
Redondo Beach Performing Arts Center Dec. 22 7:30 pm Dec. 23 7:30 pm Dec. 24 1:00 pm
Buy tickets here: www.losangelesballet.org
The Los Angeles Ballet brings us "The Nutcracker" this cheery holiday season, filling auditoriums with young ballerina spectators, as a required rite of passage for pretty much every school-age child. Young Clara (Mia Katz) is preparing for her family's holiday party while playing with dolls and dreaming of becoming a ballerina. Her brother Fritz (Aidan Merchel-Zoric) does typically tormentinful boy things until Uncle Drosselmeyer (Nicolas de la Vega) appears with magical toy wonders. Chief among the haul is a life-size Nutcracker (Nathaniel Solis) who enchants everyone and immediately captures Clara's heart.
The rest of the story is well-known. Clara dreams of travels and adventures with her beloved Nutcracker, who fights the Mouse King (Zheng Hua Li) to get her there. While the mouse costumes look more like nightmarish rats, Costumer Mikael Melbye does a fair job with the rest of the crew, featuring soldiers and key dancers (Spanish, Harlequin, Arabian, but sadly no Sugar Plums). Clara wakes at the end wondering if it all was really a dream ... or something her uncle created?
As far as the production goes, the company is a professional one so the dancing is good of course and the sets fairly standard theatrical style (Catherine Kanner). Costumer Melbye does a fine job with the Snowflakes and a nice collaboration with Kanner's Gingerbread House/Woman. Allyne Noelle and Kenta Shimizu are excellent as Prince and Princess and the Rose (Bianca Bulle) has a nice routine as well. The Arabian dancers are especially stunning (Julia Cinquemani and Alexander Castillo), not to mention very flexible.
It is tough to fully enjoy the famous orchestral score without a real orchestra, but the notes are so familiar to us all that we will be humming them all season. While not the powerfully emotional and innovative Bolshoi Ballet, Los Angeles turns out (get it, dance students?) a good first time Nutcracker for those of you who want the experience. There is plenty of visual yumminess to enjoy (a nice big old fashioned Christmas tree for instance) and a simple enough story to explain to the kiddies. Surprisingly, the youngsters weren't too squirmy.
Happy Holidays! Read more!
Happy Holidays Everyone!
a kate west greeting
About the Fair: General Event Information
What: |  The Great Dickens Christmas Fair: A holiday adventure into Victorian London, partying with hundreds of costumed players in over 120,000 square feet of theatrically-lit music halls, pubs, dance parties and Christmas shops on winding lanes. It's a twilight evening in Charles Dickens' London Town - a city filled with lively and colorful characters from both literature and history. Enticing aromas of roasted chestnuts and hearty foods fill the air. Cries of street vendors hawking their wares ring out above the bustling crowd. Dozens of lamplit shops are filled to overflowing with Christmas presents. |
| Where: | Cow Palace Exhibition Halls, 2600 Geneva Avenue, San Francisco |
| When: | Four Weekends including the Friday after Thanksgiving, November 25, 26, 27, Dec. 3, 4, 10, 11, 17, 18, 2011; 11:00am - 7:00 pm |
| Who: | Brought to you by Red Barn Productions and the Patterson Family, who created and directed the popular Renaissance Pleasure Faire at Black Point in Marin for 25 years, the Dickens Christmas Fair is a treasured Bay Area tradition since 1970. |
| Ticket Prices at the Gate: | General Admission: $25.00 Student/Senior/Military: $21.00 Children 5-11: $12.00 Children Under 5 are Free Groups of 15 or more: $17.00 Pickwick Club (Fair season pass): $60 (available from our office or at the fair) |
| Ticket Sales: | Online ticket sales begin on Thursday, September 15. During the run of Fair, tickets may also be purchased at the Fair Box Office. |
| Parking: | $10.00 (charged by the Cow Palace) |
| Public Transport: | Ride BART to London! Take BART or Muni to the GLEN PARK Bart Station, then board the APS shuttle to Dickens' London. The Fair operates a FREE Courtesy Shuttle to and from the Glen Park BART station every 20 minutes, from 11:15 AM to 7:15 PM each Fair day. BART riders may bring their tickets or Clipper Cards to the Fair gate for $5 off one Adult admission (regularly $25; may not be combined with other offers). |
Wheelchairs: The fair is handicapped accessible, but wheelchairs are not available for rental. Entertainment: Continuous performances on six stages and in the streets feature lively and colorful characters from Dickens' London. Included will be energetic song and dance in Fezziwig's Warehouse, boisterous music hall performers in Mad Sal's Dockside Alehouse, chimney sweeps, Ebenezer Scrooge, Bob Cratchit, Tiny Tim, and that evil genius Fagin. Especially For Children: Punch and Judy puppet shows, Victorian fairies, Father Christmas, and interactive theatrical performances; games and holiday activities; Victorian arts and crafts.  Food & Drink: Gourmet chefs will offer delicious foods from around the world, including fish and chips, English bangers, Greek delicacies, French onion soup, and enticing desserts. Five authentic pubs offer Craft Ales from local breweries to satisfy the heartiest thirst. A wide selection of fine wines and champagne will be available by the glass.Shopping: Visit the shops of London to find one-of-a-kind treasures, Victorian reproductions, fine art, romantic clothing, glittering pewter, and dazzling jewelry. Complete your holiday shopping or discover the perfect dress for that New Year's Eve party. Shopkeepers will welcome you, share a story or two, and send you on your way (hopefully laden with packages) with a hearty "Happy Christmas." Re-entry: Visitors to the fair may leave and re-enter by receiving a hand stamp upon exit. Pets: Pets are not allowed. Smoking: The Cow Palace is a non-smoking facility. Lodging: For those of you traveling to the fair, check the Lodgings Search page of the San Francisco Convention and Visitors Bureau's website for accommodations in the San Francisco area, or our own accommodations page. Support the Cow Palace: The Cow Palace is a valuable community and cultural asset for the Bay Area and the State. It is also key to the quality presentation of The Dickens Christmas Fair with its Historic Exhibition Halls reminiscent of Covent Garden in London. Show your support by attending other great shows at the Cow Palace, such as The Golden Gate Kennel Club Dog Show and join http://www.cowpalace.com for email updates of all Cow Palace events. How to Reach Us:Red Barn ProductionsPO Box 1768 Novato CA 94948 Toll free (800) 510-1558 . Fax (415) 892-4039 Email: office@redbarnproductions.org Check out the review here! | |
Two Plush Two Productions
a kate west recommendation
We're still in a recession, still at war, still escaping tsunamis and still enduring reality t.v. And yet we can take a small breather from all of that to watch Two Plush Two Productions videos featuring stuffed animals enacting short stories to cool music. In fact, we should. It's light, it's fun and it's cute. And it makes you smile. And like the work of the late Jim Henson (Muppets), none of it is ever mean-spirited. Good for the whole family.
Bunnies, cats, bears, monkeys and even unicorns bust some moves on camera, in emotional farewells to friends, cuddling with loved ones and even some getting in some holiday decorating. Manipulated by human arms (the "puppeteers"), the animals show remarkable feeling and convey perfectly soulful vignettes. From classic tales like "The Tortoise and the Hare" to simulated musical videos, the cast members demonstrate delightfully furry versatility.
What's really remarkable is that something so simple can be so enthralling. Didn't we all do this as kids - make our stuffed animals perform for a captive audience (usually our parents)? The cleverness isn't at all self-deprecating or mocking as in so much of comedy today. It's sincere. And just ... happy. And what's wrong with that? We all need more playtime, especially the older we get.
Oh and they count The Presidents of the United States of America among their fans (click here). So bring along your inner child and please spread the joy (see below).
Performers
Kirsten Egan
Susie Danzig
Nick Olson
Caela Fujii
Nathan Diehl
Bill Olson
Jake Horstmann
Paul Wu
Jonathan Bender
Alicia Dattner
Website:
http://www.2plush2.com/2plush2/Two_Plush_Two_Home_Page.html
Watch them on YouTube:
Like them on Facebook:
http://www.facebook.com/pages/Two-Plush-Two-Productions/139622116101249#!/pages/Two-Plush-Two-Productions/139622116101249?sk=wall
Read more!
http://www.facebook.com/pages/Two-Plush-Two-Productions/139622116101249#!/pages/Two-Plush-Two-Productions/139622116101249?sk=wall
Steve Jobs February 24, 1955 – October 5, 2011
“Your time is limited, so don’t waste it living someone else’s life. Don’t be trapped by dogma — which is living with the results of other people’s thinking. Don’t let the noise of others’ opinions drown out your own inner voice. And most important, have the courage to follow your heart and intuition. They somehow already know what you truly want to become. Everything else is secondary." Read more!
Stuffed and Unstrung - The Tour
by Henson Alternative
a kate west review
on tour now! http://www.stuffedandunstrung.com/
check here for local dates: http://www.stuffedandunstrung.com/tickets.php
The Jim Henson Company sprung into being from one of the most endearingly creative minds in entertainment and son Brian Henson beautifully carries on Jim Henson's talented legacy (for several years now) with "Stuffed and Unstrung", an improv show with puppets. Formerly "Puppet Up", this run of unscripted delight continues to impress fans, now embarking on a nationwide tour (check the website to see if it's coming to you).
Like many improv shows, it is heavy on audience suggestion, so be prepared to shout out fun ideas for scenes. Host Patrick Bristow impeccably moderates and fields the most appealing leads. Just so you know, some of the very brave seated in the orchestra may get “volunteered”. But don’t worry, everyone is there to support and love you – the puppeteers are anyway (you can never be sure about puppets). If you don’t believe it, click the link below for one of the sweetest moments on stage.
This amazingly professional cast can improvise the heck out of any suggestion so part of the fun is watching their wild and crazy characters act out scenarios as if they happen every day. Like Brian himself says, “It can be a little disturbing to see unrequited love between a goat and a fish, but we find it delicious and surprising ….” And audiences cannot agree more. You don’t have to be a fan of Henson’s beloved “The Muppet Show” or even “Sesame Street” to enjoy the antics, but it is awfully nice to see some vintage pieces incorporated into the show (you may recognize some early Jim Henson). The best part is finally being able to watch what the puppeteers have to do in order to create the magic. As in all live shows, not every night goes 100% smoothly, but that's the secret joy of improv. And the lovely nostalgia factor (along with the talent) is always there. Guaranteed.
In short, there are two shows – one you can watch on the monitors which show the actual puppets acting out a screen on video (like you are used to with Kermit and Miss Piggy) and the other is on stage, where you can watch the dark-clothed puppeteers maneuvering their puppet characters. If you don’t think puppeteering is hard, try holding your arm up for an entire scene and training your brain to move right in order to have a character move left on screen. Fascinating. You’ll also get to see a truly multimedia interactive scene from the patented Henson Digital Puppetry Studio with a robotic version of a puppet (needs to be seen to be understood).
Although Henson has added many new features since 2005 (previous reviews of the gentle silliness here and here), the essential joy and puppet artistry is definitely still present and stuffed people and animals on sticks make for a remarkably real and touching evening. Squirrels might be foster children, hot dogs may need intervention and James Bond may even appear (anything goes with puppets!) And none of the puppetry magic would even be possible without the supremely fantastic cast (listed below). Rotating different casts for different tour dates works well for them since everyone goes through the same rigorous training process. If you weren’t in awe of this company before (and really, who isn’t?) you will be after they take your town by storm. Once you experience this uniquely delightful show, you’ll want to come back and bring a friend. Or two. Enjoy!
p.s. There is a reason the above is billed as “adult” so if you don’t appreciate strong language, stay home. But come on, you know you really want to see a puppet swear.
Like Father, like son ....
Catch them on YouTube here
(includes the best audience participation scene: http://youtu.be/S7c25whalgQ)
Previous reviews here:
Brian Henson (Creator, Producer, Performer) is Chairman of The Jim Henson Company and an award-winning director, producer, writer and performer. In recent years, Henson served as Executive Producer on the television projects It’s A Very Merry Muppet Christmas Movie, Muppet Wizard of Oz, Farscape: The Peacekeeper Wars (which he also directed) and Jim Henson’s Jack and the Beanstalk: The Real Story (which he also co-wrote and directed). Previous television projects that Henson produced include Farscape, Bear in the Big Blue House, Gulliver’s Travels, The Wubbulous World of Dr. Seuss, Muppets Tonight and Dinosaurs. Henson’s long list of film credits includes The Great Muppet Caper, Labyrinth,The Witches, Little Shop of Horrors, Teenage Mutant Ninja Turtles, The Muppet Christmas Carol and Muppet Treasure Island.
Henson also oversees the groundbreaking work at Jim Henson’s Creature Shop, one of Hollywood’s pre-eminent character building, digital and physical visual effects facilities. Henson was part of the team that first created and utilized the Henson Performance Control System, a powerful custom-based interface for puppeteers, which won an Academy of Motion Picture Arts and Science Scientific and Engineering Award in 1992. Recently, he has been leading the Shop’s work with its revolutionary puppeteered animation system. He recently directed Battleground, an episode for TNT’s anthology series Nightmares & Dreamscapes: From the Stories of Stephen King.
Patrick Bristow (Co-Creator/ Director/ Host) is best known for his numerous television appearances most notably as Peter on the groundbreaking ABC series Ellen. Other television credits include, Curb Your Enthusiasm, Seinfeld, Friends, Mad About You, Whose Line Is It Anyway?, and others. Film credits include Twilight Of The Golds, The Longest Yard, as well as the first Austin Powers, So I Married An Ax Murderer, and the accidental comedy Showgirls. Bristow is also an alum of The Groundlings Main Company where he has performed, taught, and directed. He won a Garland Award for his performance in The Break-Up Notebook and though nominated for an Ovation award for the same role, didn't manage to snag that one.
Direction credits include Hot Dog TV for the Cartoon Network, IronSink.com 's Freakdom Of Speech, Improvatorium's current hit show, Zombience! He has served as an improv consultant for The WB, Bravo's Significant Others, Disneyland, Fox TV, and others.
He lives in L.A. with his wonderful partner of 16 years, Andrew Nicastro.
He sincerely hopes you enjoy Stuffed And Unstrung.
He sincerely hopes you enjoy Stuffed And Unstrung.
Grant Baciocco is the producer and host of the Henson.com Podcast, the official podcast of The Jim Henson Company. He is also the creator of several other award winning, family friendly podcasts including The Radio Adventures of Dr. Floyd, Did This Happen? and Grant's Advent Calendar Video Podcast. His comedy music act, Throwing Toasters, has toured clubs and colleges across the country, played a sold out show at the Tokyo Dome in Japan, had several #1 hits on the Dr. Demento show and opened for "Weird Al" Yankovic. He is also an Associate Producer on Joel Hodgson's Cinematic Titanic. Find out more at www.MrGrant.com. "What I enjoy most is not what the puppets are saying or doing that makes the audience laugh; it’s if the audience knows what the puppets are thinking and they laugh…then I know it’s funny.”
Jennifer Barnhart is a performer with one foot in the human world and one in the puppet world; she enjoys when those worlds intersect, as in her recent appearance in Jim Henson's Emmet Otter up at Goodspeed. She is an original cast member (Outer Critics Circle Award) of the Tony Award-winning Broadway musical Avenue Q. Favorite stage roles includeThe Angel in Angels in America, Olivia in Twelfth Night, and Jack’s Mother in Into the Woods. She has appeared on Law & Order: SVU and As the World Turns; puppeteering credits include Sesame Street, Between the Lions, Lomax: the Hound of Music, Johnny and the Sprites, and Bear in the Big Blue House.
Bill Barretta began his twenty-year relationship with The Jim Henson Company playing “Earl” on the hit series Dinosaurs. In addition to creating Muppet characters such as Pepe the King Prawn, Bobo the Bear and Johnny Fiama, he has gratefully taken over Rowlf the Dog, The Swedish Chef and Dr. Teeth, characters originally created by the late great Jim Henson. Performer, writer, producer and consultant credits include Muppets Treasure Island, Muppets Tonight, Muppets From Space, It’s A Very Merry Muppet Christmas, Muppets Wizard of Oz, and Jack and the Beanstalk: The Real Story (co-writer and “Thunderdell the giant”).
Julianne Buescher is an actor, writer, Second City alum, and founding member of Stuffed & Unstrung. Stage credits include Velma Kelly in Chicago, Kate in Old Times, and Helen in Baby with the Bathwater. TV/Film credits include The Middle, Criminal Minds, Forgetting Sarah Marshall, 24, Supernatural, The Simpsons, Pirates of the Caribbean, Robot Chicken, Mr & Mrs Smith, Jimmy Kimmel Live, and E! (narrator/host). She also created and starred in the award-winning film Resculpting Venus: a Comedy about Breast Cancer, and created many of the puppets featured in Stuffed and Unstrung. “Nothing says 'Love' like a dog puppet humping your arm."
Tyler Bunch has been working as an actor/puppeteer in the NYC area for eighteen years. In addition to performing such characters as Parris in The Crucible, Bottom in Midsummer Night’s Dream and Pooh Bah in The Mikado, he may also be recognized by youngsters (or the young at heart) for his performances as Pop, Treelo and Doc Hogg (Bear in the Big Blue House), or Grampu, Dr. Nitwhite, Winslow or Baby Cookie Monster (OOBI, Between The Lions, It’s a Big, Big World, Sesame Beginnings). “I am surprised at how amazed the audience is to see how we do what we do. Working with puppets for a long time, I forget that the audience hasn’t had a lot of opportunities to see behind the magic. The fact that we’re throwing that all out there in this show is a really new thing.”
Leslie Carrara-Rudolph is an Emmy-nominated puppeteer and multi-faceted entertainer whose stage credits range from the Beggar Woman in Sweeny Todd to the numerous characters in Lilly Tomlin's Search For Signs Of Intelligent Life In The Universe. TV / film credits include Sesame Street, Johnny and the Sprites, Muppets Tonight, Forgetting Sarah Marshall, The Wubbulous World of Dr. Suess, The Simpsons, and Nickelodeon's Tough Puppy. She created The Wahoo Wagon, a stage show for Disney's El Capitan Theater and will be premiering her new musical “Wake up Your Weird” at the Lesher Center for the Arts in Walnut Creek this September.
“I find it comforting that in this show a cavewoman can go on a blind date with an alien that her beaver buddy set up with a mutual ferret friend who is married to a punk rock monkey with a fish fetish. I feel like I fit in."
Brian Clark co-produced, co-storied and starred in Sizzle (an improvised Borat-style comedy about global warming). A member of the Groundlings, he later discovered puppetry, a helpful skill when he was cast in Puppet Up! and as a puppet panelist on the Game Show Network’s Late Night Liars. Writing credits include That Gay Ghost, In the Club, Yokies, Baydogs and The Children of Toromiro. Brian co-founded the sketch comedy group The Deviants and though he regularly fails at relationships, he currently employs himself by giving sex advice to women from the male perspective as a contributing writer for Betty Confidential.com. “Performing in Stuffed and Unstrung is like being possessed by multiple demons at the same time. Only these demons are made of felt and when they make you say something bad, technically it's still your fault.”
Stephanie DAbruzzo is a Tony and Drama Desk-nominated performer best known for originating her roles in Broadways Avenue Q (Theatre World Award, Outer Critics Circle Award). NYC stage includes Dont Say Another Word, Plaisir DAmour, Austentatious, Kiss and Makeup, I Love You Because, If You Give a Mouse A Cookie & Other Storybooks, and Gravid Water at Upright Citizens Brigade Theatre. Other cities have seen her in [title of show], The Guys, and Knuffle Bunny: A Cautionary Musical. TV includes Sesame Street (17 seasons), Oobi, The Wonder Pets!, Jacks Big Music Show, Sheep in the Big City, The Wubbulous World of Dr. Seuss, I Love the 70s Part II/80s 3D, and Scrubs. Go U Northwestern.
James Godwin Puppeteer credits include: Book of Pooh, Bear in the Big Blue House, Between the Lions, Oobi, Blue’s Room, Saturday Night Live, Chapelle’s Show, the Spike Lee-directed commercial for iam.com, and It’s A Big, Big World for PBS where he plays the character BOB. James also co-founded the puppet company The Elementals. The Elementals have performed at P.S. 122, Dance Theater Workshop, HERE, the Walker Art Center, and in the Henson International Festival of Puppetry.
Drew Massey is an actor, puppeteer, and voice-over artist whose film credits include Forgetting Sarah Marshall, The Hangover, Men In Black, Muppets From Space, The Producers, Doctor Dolittle, and Team America: World Police, among others. Drew has also performed in TV shows such as: Angel, Greg the Bunny, Warren The Ape, Malcolm in the Middle, Muppets Tonight, and Crank Yankers. He is nice to the elderly, loves animals, and is convinced that dairy products are bad for him. He also helped create some of the many puppets featured in Stuffed And Unstrung.
Ted Michaels is an alum of the performing company at the Groundlings Theater in Los Angeles where he was featured in their main stage shows. He also performed with Eddie Izzard in Mr. Izzard's One Word Improv stage show in Los Angeles. Recently, he puppeteered characters for MTV's spinoff of Greg the Bunny, called Warren The Ape. In addition to many commercial appearances, his television credits include roles on The Comeback, Campus Ladies, According to Jim, Girlfriends and Mad TV. “My favorite moments in the show are when we strike on an absurd idea and everyone goes nuts with it- piling on nonsense from every angle until that absurd idea somehow begins to make perfect sense.”
Michael Oosterom is an actor whose stage credits include the American Conservatory Theater, The California Shakespeare Festival, The San Francisco Mime Troupe and the national tour of Steve Martin's Picasso at the Lapin Agile. TV credits include Nickelodeon's The Amanda Show, The District, and Help Me Help You. Recent puppet credits include Where The Wild Things Are, Pushing Daisies, Forgetting Sarah Marshall and Dante's Inferno. He is an alumni of The Groundlings Sunday Company. “I love the warthog puppet. So ugly and yet so beautiful.”
Paul Rugg, a founding member of the ACME Comedy Group in Hollywood and an award winning writer for TV animation, has lent his vocal talent to shows such as Animaniacs, Pinky and The Brain, Histeria, Buzz Lightyear Of Star Command, Dave The Barbarian, Toonsylvania, American Dragon, and Catscratch. Paul also wrote, produced and starred in Freakazoid as well as the Manny The Uncanny segments for ABC’s One Saturday Morning. Recently he also performed Ditch in the animated web series for PBS KIDS GO!, Wilson & Ditch: Digging America.
Colleen Smith is a Groundlings Sunday Company alum and currently teaches improv at the Groundlings school. She is a correspondent on The Showbiz Show with David Spade. Her other television credits include The Office, World Cup Comedy, The Singles Table, Carpoolers, and King of the Hill. She is the co-creator of an original series called Danger Force Five. She is also the co-creator of DateGarden.com, a fictional dating website, and of The Smith Brown Project, a two woman show which ran at The Comedy Central Stage and UCB.
Allan Trautman began his performing career as an actor, noted for his portrayal of “Tarman” in the cult classics Return of the Living Dead: Parts One and Two. He has gone on to puppeteer in such features as Muppets From Space, Cats & Dogs, Babe, the Men in Black films, and Dr. Dolittle (for which he was also performance coordinator). His television puppeteering credits include Greg the Bunny, Unhappily Ever After, Muppets Tonight and Dinosaurs, and he was nominated for two Emmys for his work on D.C. Follies. He is currently featured in the web series, Lost Untangled, which can be seen at abc.com. “With television, you only get to see half the fun we have. Now you can see what happens when the cameras stop rolling."
Victor Yerrid is an actor and puppeteer who likes calling people “Hank” regardless of their name. His credits include The Hangover, Forgetting Sarah Marshall, Team America, Men In Black II, Robot Chicken, The Sarah Silverman Program, Warren The Ape, Crank Yankers, Angel, Greg The Bunny, Sid The Science Kid, and Sesame Street. Victor enjoys most berry-based smoothies and adores his wife Janet. “The best part of my night is when somebody comes up to me after the show and says ‘Wow, you were fantastic! How do you come up with all of that ridiculous stuff?’ Then they usually say ‘Wait…you’re not Ted Michaels."
Jen Schriever – Lighting Designer
Recent Designs: Hairspray (Oasis of the Seas), An Evening Without Monty Python (L.A. & Town Hall), A Streetcar Named Desire, The Winter's Tale (Berlind Theatre), Kaboom (Cherry Lane), The Epic of Sunjata (Loft), Lend me a Tenor, Other People's Money (Engeman), As Far As We Know (Flamboyan). Upcoming Design: Pearl Fishers (ENO), Premiers: Inner Voices Solo Musicals (59E59). Recent Associate Design - Broadway: Fences, A Behanding in Spokane, Joe Turner’s Come and Gone, You’re Welcome America, American Buffalo, 13 - A New Musical, A Catered Affair, Cymbeline, The Vertical Hour, The Color Purple, The Threepenny Opera. First foray into puppets: Emmet Otter’s Jugband Christmas (Goodspeed). BFA: Purchase College.
Kerry McDonald – Sound Designer
Kerry has produced live and recorded sound across the globe for the past 8 years. He has made sonorous contributions to listeners’ ears as a record producer at his studio Viva La Fuzz! and as a live sound Audio Engineer for Eddie Izzard, Camera Obscura, Passion Pit, The Vaselines, Isobel Campbell, Frightened Rabbit, Rogue Wave, Matt Nathanson, and Pinback. He has designed, repaired, and teched systems for The Eddie Izzard Stripped tour, The NYC Fringe festival, Memphis band shell, and NASCAR. He currently resides in NYC and is the Audio Production Manager for Bentley Meeker lighting and staging. He is also an advocate of the theory that Mexican food improves ones hearing.
Read more!
Kerry has produced live and recorded sound across the globe for the past 8 years. He has made sonorous contributions to listeners’ ears as a record producer at his studio Viva La Fuzz! and as a live sound Audio Engineer for Eddie Izzard, Camera Obscura, Passion Pit, The Vaselines, Isobel Campbell, Frightened Rabbit, Rogue Wave, Matt Nathanson, and Pinback. He has designed, repaired, and teched systems for The Eddie Izzard Stripped tour, The NYC Fringe festival, Memphis band shell, and NASCAR. He currently resides in NYC and is the Audio Production Manager for Bentley Meeker lighting and staging. He is also an advocate of the theory that Mexican food improves ones hearing.
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