|
|
 |
|
|
WOW!
FACING EAST
Carol Lynn Pearson’s heart-wrenching, thought-provoking drama about a Mormon couple still reeling from the suicide of their 25-year-old gay son is being given an absolutely superb production at ICT. Every moment of Christian Lebano, Terry Davis, and (in the role of the son’s grieving lover) Daniel Kash’s performances is honest and unforced, aided by the subtle, superb direction of Shashin Desai. Working with the always brilliant lighting designer Jared A. Sayeg, Dasai stages frequent flashbacks highly effectively. Stephen Gifford’s cemetery set is gorgeous to look at, though a curious cocoon-like suspended object proves a distraction. Playwright Pearson is seeking to touch playgoers’ hearts and minds, and the loud applause at curtain calls would seem to indicate that she, and the production itself, have succeeded eminently in this task.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
WOW!
FARRAGUT NORTH
Farragut North is Beau Willimon’s exciting, riveting play about the behind-the-scenes maneuverings (and back-stabbings) of a Presidential primary campaign. Chris Noth, Isiah Whitlock, Jr., Olivia Thirlby, and Dan Bittner reprise the roles they created in the play’s off-Broadway debut under Tony-winner Doug Hughes’ fast and furious direction, joined here by emerging movie star Chris Pine, Mia Barron, and Justin Huen—a powerhouse cast delivering electric performances each and every one. Pine particularly proves himself a stage actor to be reckoned with, never anything less than spontaneous and absolutely believable in his role. From Farragut North’s opening lines to its absolutely satisfying coda, the energy is electric, and not just on stage. Farragut North is exciting, thought-provoking, conversation-starting theater at its best.
|
|
|
|
WOW!
HE ASKED FOR IT
Erik Patterson’s play starts out a hilarious spot-on commentary on the gay scene in today’s WeHo and ends up a devastating drama about a young man who goes looking for HIV and another young man only too happy to give it to him. That Patterson’s play manages to do this in a fresh, entertaining, gripping and entirely unpredictable way without ever preaching or oversimplifying or turning into a PSA is an amazing feat indeed. Joe Egender’s performance dazzles on so many levels that it’s easy to see why he got nominated for all three major L.A. theater awards. Film/TV favorite Andrew Keegan gives a performance that belies the fact that this is his stage debut. Jeremy Glazer gets the meaty lead role that he so richly deserves and delivers a performance that goes right to the heart. Excellently directed by Neil H. Weiss, this is truly must-see theater.
|
|
|
|
WOW!
STICK FLY
Lydia R. Diamond’s gripping family drama gets its West Coast premiere in an absolutely splendid production rivaling the best of Broadway. Under Shirley Jo Finney’s assured direction, there’s not a false note in multilayered performances by every one of the terrific cast—Chris Butler, Terrell Tilford, Avery Clyde, Tinashe Kajese, John Wesley and particularly Micholle Briana White, whose unexpected and ultimately hilarious rant against Clyde’s Kimber and the pain she exposes when recalling the father who barely even acknowledged her existence are just two of her many breathtaking moments. John Iacovelli’s superbly detailed set is one of the most gorgeous you’re likely to see in a 99-seat theater, matched by Christian Epps’ multifaceted yet subtle lighting design and Mitch Greenhil’s simply marvelous sound design. Stick Fly is a winner all around.
|
|
|
WOW!
THE VOYSEY INTERITANCE
Rarely has a century-old play better reflected contemporary reality than The Voysey Inheritance, the story of a financier who bilks his clients of their investments. David Mamet’s adaptation retains Harley Granville-Barker’s 1905 setting and most of his cast of characters, but focuses more on son Edward’s ethic dilemma than on family dynamics. The adaptation seems at once classic and modern, with considerable tension and suspense. Director Bruce Gray keeps the action taut and the performances entirely real, including a stellar leading man turn by L.A. newcomer Alec Beard, and Theatre 40 Artistic Director David Hunt Stafford, disappearing into the skin of a man devastated to learn that almost his entire fortune has been lost. The Voysey Inheritance provides a fascinating look into a world of wealth and power, secrets and lies. It’s cracklingly good entertainment.
|
|
|
|
IN THE MOOD FOR A COMEDY?
|
|
|
|
Recommended
APARTMENT 6 & 9
Apartment 6 & 9 is a pair of one-act comedies (All Aboard The Marriage Hearse and Stay Over) which showcase Matt Morillo’s talents as a writer/director, his gift for intelligent dialog, and his insights into the many ways that “Men are from Mars, Women are from Venus.” Besides Morillo’s writing, the best reason to spend time in Apartment 6 is Jessica Moreno’s riveting performance as Amy, for whom a three-year live-in relationship is not enough. Like quicksilver, the actress is always “in the moment.” All Aboard The Marriage Hearse is the best reason to see Apartment 6 & 9. Were it divided into two acts instead of two scenes, it would be almost long enough to stand on its own. Though not without its flaws, as a showcase for a talented young playwright and his terrific leading lady, Apartment 6 & 9 is worth stopping by for a visit.
|
|
|
|
WOW!
ITALIAN AMERICAN RECONCILIATION/THE RED COAT
This is probably the most out-and-out romantic double bill of the 13 By Shanley fest, John Patrick Shanley’s brief but unforgettable teens-in-love romantic comedy The Red Coat, followed by the two-act romcom Italian American Reconciliation. The former features utterly lovable Brent Austin Tarnol and endearingly charming Shelly Hacco as a pair of teens in first-love. The latter, a sort of theatrical cousin to Shanley’s film Moonstruck, stars Sally Struthers, Danny Nucci, Danny Cistone, Angela Pupello, and Kim Rousseau in one of the most star-studded Waiver casts likely to be seen this spring, and all five are perfection. Together, the playlet and the play, both of them directed with grace and panache by Ronnie Marmo and assistant director Katy Jacoby, make for the most quirkily romantic (or romantically quirky) evening of theater around.
|
|
|
|
IN THE MOOD FOR A COMEDY WITH MUSIC?
|
|
|
|
WOW!
2 PIANOS 4 HANDS
If ever a show can be called “unique,” it’s the comedy with music 2 Pianos 4 Hands. Superbly performed by Roy Abramsohn and Jeffrey Rockwell, this is the tale of two boys with a dream—to become world class concert pianists. On the Colony stage there’s a pair of grand pianos, a pair of piano benches, and two performers. That’s it, yet that’s more than enough to create an entirely delightful and charming evening of theater, one that earns quite possibly the loudest and longest standing ovation I’ve heard at the Colony. Director Tom Frey’s ten years of experience performing in 2 Pianos 4 Hands shows in the fine performances he’s helped his two actors shape. If the Opening Night audience’s reaction is any indication, then Ted and Richard are likely to be generating many more standing ovations and shouts of “Bravo!” throughout the month ahead.
|
|
|
|
IN THE MOOD FOR A SPAGHETTI WESTERN MUSICAL/COMEDY/ACTION DRAMA?
|
|
|
|
WOW!
STRANGER
Billing itself as “a new Spaghetti Western Musical,” Stranger is a thrilling (and often hilarious) tribute slash lampoon of those 1960s Clint Eastwood-Sergio Leone films like The Good, The Bad, And The Ugly. With a pulsating background score by Anthony Bollas performed at rock concert volume by a live band, several songs, fights, and dances, and a cast that plays it dead serious, Stranger isn’t quite a musical, isn’t quite a comedy, isn’t quite a drama. What it is is entirely its own genre, and great entertainment as well. The Man With No Name has become the titular Stranger, brought to uncannily Eastwoodian life by Cameron Dye. Like last year’s Joe’s Garage, Stranger has already become a kind of cult hit. More traditional playgoers need not be concerned, however. No matter which way you categorize it, Stranger is great theater, pure and simple.
|
|
|
|
IN THE MOOD FOR A MUSICAL?
|
|
|
|
WOW!
THE APPLE TREE
Jerry Bock and Sheldon Harnick’s The Apple Tree, one of Broadway’s forgotten gems of the mid-60s, gets a small stage revival worth remembering in this charming, funny, tuneful, and sparklingly performed production. Each act is a separate “musical-ette”—The Diary Of Adam And Eve, The Lady And The Tiger, and Passionella. Unlike the original Broadway production, Crown City’s version makes The Apple Tree an ensemble piece, and it works wondrously to have leads in one play as supporting players in the others. As chimney sweep turned beautiful glamorous movie star Passionella, Stephanie Fredericks gives the standout performance, but everyone in the cast is terrific as is the work of the three directors. The Apple Tree’s reappearance on the L.A. theater scene is welcome news, especially in a production as charming (and beautifully performed) as this one.
|
|
|
|
WOW!
BIG THE MUSICAL
This sensational intimate staging of Big The Musical, directed by Richard Israel, is one of the most infectiously joyous (and poignant) musical concoctions I’ve seen in quite some time. Will Collyer is endearing, adorable, and utterly believable as 12-year-old Josh in an adult body. As Susan, Darrin Revitz transitions affectingly from cynical to sweet, the palpable chemistry she shares with Collyer leaving no doubt that she’s found the right Mr. Right. Working on master designer Stephen Gifford’s marvelously versatile set, the combined talents of Israel, his stellar cast, and musical director Daniel Thomas impress from the get-go. Christine Lakin’s innovative choreography manages to fit a dozen or so dancers onto the El Centro Theatre’s small stage. Big is likely to be a big hit at the El Centro—and that is BIG news for L.A. theatergoers.
|
|
|
|
WOW!
CABARET
This is one of the sexiest, rawest, darkest, and most entertaining Cabarets L.A. has seen, directed with originality and flair by Judy Norris, with choreographer Tania Possick’s racy dance sequences burning up the floor. As the Emcee, Eduardo Enrikez is a larger than life stage presence, charismatic, seductive, and frightening all at once. The lovely Kalinda Gray is completely convincing as Sally Bowles, acting the hell out of the part. Michael Bernardi too is absolutely real as Cliff, a gifted young actor with a dynamic stage presence, a sweet voice, and sex appeal to match Gray’s. Finally, the superb AnnaLisa Erickson virtually reinvents the role of Fraulein Schneider. Director Norton deserves highest marks for keeping this production of Cabaret exciting and innovative. This is an all-around sensational evening of musical theater.
|
|
|
|
Recommended
ECSTASY, THE MUSICAL
Some terrific performances by a talented cast, choreography by Broadway legend Kay Cole, and psychedelic costumes and wigs make the most of S. Claus’s world premiere “seventies” musical. In lead roles, petite powerhouse Lisa Marinacci and charismatic L.A. newcomer Meyer DeLeeuw are both excellent. Gina D’Acciaro has the most powerful pipes in L.A. Patrick Hancock is every bit as delightful as he was portraying Charlie Brown in Snoopy. Dina Buglione is sassy and powerfully voiced. Ecstasy benefits enormously from the fun, bouncy, energetic dance steps Cole has created for its musical numbers. Book, music, and lyrics by S. Claus are the production’s weak element, and (aside from its costumes), the show is more 60s than 70s. Ultimately, Ecstasy, The Musical’s entertainment value comes from its performers, its director, and its musical and design participants.
|
|
|
|
|
WOW!
FELLOWSHIP! A MUSICAL PARODY OF “THE FELLOWSHIP OF THE RING”
Fellowship! is a full-fledged musical (with original songs) based on the first volume of the epic novel The Lord Of The Rings. With book by Kelly Holden-Bashar and Joel McCrary, music by Allen Simpson, and “Lyrics By Everyone,” Fellowship! won the 2005 LA Weekly Award for Best Musical, and for those like myself who missed its first incarnation, this return to L.A. is happy news indeed. The cast is so all-around splendid that it’s no wonder they won the Weekly Award for Best Comedy Ensemble. McCrary’s direction, Michele Spears’ choreography, and Simpson and Cory Rouse’s musical direction (with Simpson on keyboards) couldn’t be better. Songs by Simpson and “Everyone” pastiche a wide variety of genres, Broadway and otherwise. Even non-LOTR aficionados like myself can have a fine time with Frodo and his friends. In fact, I had a Frodo-lightful, Galandriel-icious time!
|
|
|
|
Recommended
INSANITY
Though not the aptest subject matter for a musical, Insanity provides plenty of opportunities for its cast and design team to do some exciting, memorable work. Kevin Bailey gives yet another tour de force performance as colorful, eccentric, self-important, idealistic, ambitious movie director Zarek Saxton. Dana Meller gives a rich, multi-layered performance as a doctor dealing with her own guilt over a personal tragedy. Since much of Insanity takes place inside Zarek’s hallucinogenic-altered brain, the show provides a perfect opportunity for its crackerjack design team to do absolutely stellar work, particularly lighting designer Luke Moyer and sound designer Jonathan Zenz. Though I wish Insanity had moved and touched me more than it did, there is still much to admire and applaud in James J. Mellon and Scott DeTurk’s latest work.
|
|
|
|
WOW!
LES MISERABLES
Alain Boublil and Claude-Michel Schönberg’s Les Misérables is given fresh new life by director Roger DeLaurier and a superb cast. As Valjean, Sam Zeller gives the performance of his career, epic work which showcases his powerful acting chops and a fine tenor. Doing towering work both in physical stature and emotional depth is an equally brilliant Erik Stein as Javert. Michael Jenkinson (Marius) combines leading man good looks with one of the most glorious voices I’ve heard. The women are in a word sensational. Valerie Rachelle’s “I Dreamed A Dream” and Christine D. Alvarez’s “On My Own” earn deserved cheers. For those who have never visited the charming California Danish town of Solvang, this is a perfect excuse for a drive north. Whether you’re a longtime Les Miz-head, or just someone who loves great musical theater, this Les Miz is not to be missed.
|
|
|
|
Recommended
OKLAHOMA!
Oklahoma! performed in-the-round places the audience close to the action, making this production feel at times like “Oklahoma! in-the-(sur)round.” With performances as strong as those on the Glendale stage, this Oklahoma! is well worth seeing. Robert Standley (Curly) combines melodious singing with excellent acting chops. The luminous Heather Lundstedt (Laurey) and Standley have palpable stage chemistry. August Stoten is one of the best Juds ever and Jason Keef’s Will is irresistible. Ann Myers is a bubbly delight as Ado Annie and Ann Rittenhouse’s crusty charm makes her a fine Aunt Eller. Though proscenium sets and a live orchestra are missed, director Martin Lang brings out the best in his performers and Orlando Alexander’s choreography fills the compact stage with lively dancing feet, particularly those of Keef and the topnotch male ensemble.
|
|
|
|
Recommended
THOROUGHLY MODERN MILLIE
Santa Monica Theatre Guild brings “thoroughly modern” Millie Dillmount to musical life under Anne Gesling’s capable direction, and if the opening night audience’s enthusiastic reaction is any indication of a show’s success, then the production is likely to be a summer crowd-pleaser—thoroughly entertaining and filled with performance gems. Krystal Jasmine Combs is an absolute delight as Millie, and proves herself a triple-threat performer with a voice that needs no amplification. Stealing every scene she’s in is the marvelous Joanna Churgin, who gets every one of Mrs. Meers laughs. Paul Reid and Allan Penales have choreographed the production to bring out the best in the ensemble. SMTG has been offering Santa Monicans quality theater for sixty-three years now. Thoroughly Modern Millie continues the tradition in fine fashion.
|
|
|
|
IN THE MOOD FOR A FAMILY MUSICAL?
|
|
|
|
WOW!
SCHOOLHOUSE ROCK LIVE TOO
Schoolhouse Rock Live Too! has arrived, with 20 more classic Schoolhouse Rock songs/lessons performed live by a stellar cast of triple threat talents and a rocking live band. Children can enjoy the bouncy melodies and clever lyrics (and learn something at the same time) while adults can savor the cast and band’s show-stopping performances. Many of the numbers feature clips from the original TV series projected above the set as the cast performs them live. Comedy director extraordinaire Rick Sparks does double duty here, choreographing each number with nifty dance steps, and with a cast who can dance as well as they can sing, the results are infectious fun. Harley Jay, Jayme Lake, Michael “Milo” Lopez, Kelly Meyersfield, Lisa Tharps, and Brian Wesley Turner make for a dream ensemble. Children and grownups alike will enjoy Schoolhouse Rock Live Too!
|
|
