Archive for November 2009

A kaleidoscope of hit tunes — Baby It’s You!

"The Shirelles and Jocko" -- photo by Michael Lamont

Jam-packed with catchy, up-beat hit tunes and fab outfits, the sixties-infused musical, Baby It”™s You!, is now playing at the Pasadena Playhouse, having successfully transferred from its run at the Crown Playhouse earlier this year.

Featuring many of the greatest songs of the pre-British Invasion era, Baby It”™s You! tells the story of Florence Greenberg and Scepter Records. This was the label that Florence eventually started when she signed the talented teenagers who became known as The Shirelles. This cutting-edge female quartet went on to become the biggest girl-group of the early sixties. With the help of African-American songwriter and producer Luther Dixon, who became her business partner and lover, Florence took on the male music establishment and revolutionized pop music.

A ground-breaking label in its day, Scepter Records pre-dated many of the most important movements in music – the ascent of The Beatles, the distinctive sound of Motown, even the folk-rock era. Baby It”™s You! is the intriguing story of how classic records such as “Baby, It”™s You,” “Soldier Boy,” “He”™s So Fine,” “Dedicated to the One I Love,” “Tonight”™s the Night,” “Twist and Shout,” and many others came to be made. Greenberg”™s company created and launched some of the most important songs in the golden era of rock “˜n”™ roll, from artists including The Isley Brothers, The Kingsmen, Chuck Jackson, Burt Bacharach and Dionne Warwick.

Leading the insanely talented cast of Baby It”™s You! is Meeghan Holaway, as Florence Greenberg. When we first meet Florence, she is suffering suburban malaise, having moved out of the city to New Jersey to raise her kids. Once the youngest is almost out of school, Florence complains to her husband that she needs a job. Intractably stuck in his old-fashioned mind-set, Florence”™s husband Bernie (played well, if unsympathetically, by Barry Pearl) cannot comprehend his wife”™s quest for a career, for a more meaningful pursuit than homemaker.

When Florence”™s daughter Mary Jane (Suzanne Petrela) introduces her Mom to a group of girls at her school who are writing and singing their own songs, Florence decides to take a chance on their sound and obvious talent and starts up her first record label.

photo by Michael Lamont

Written by Colin Escott and Floyd Mutrux, this lively musical is a perfect balance of songs and story and fashion. In fact, the whole show is like an endless fashion parade of some of the most glamorous and stylish outfits from the era, thanks to the exquisite creations from costume designer Lizz Wolf and her hard-working team. The shimmery, sparkling and fur-trimmed costumes and fabulous printed fabrics and gowns are a treat for the eyes. As we follow Florence”™s trajectory to fame and fortune, we see all the adversity she faced along the way, from resentment on the home front to rampant corruption in the industry to the racism she experienced in her relationship with her partner Luther Dixon (beautifully portrayed by Allan Louis).

Playing the talented Shirelles are Erica Ash as Micki, Berlando Drake as Shirley, Paulette Ivory as Beverly (who also does a stunning cameo as Dionne Warwick), and Crystal Starr Knighton as Doris. These beautiful and gifted women all give brilliant performances, though this critic felt there was not enough time devoted to delineating between the characters of the four women. Nevertheless, their powerhouse voices more than make up for this narrative deficiency.

Geno Henderson sets the high-energy, rocking vibe right from the start and narrates the show as Jocko, a Little Richard-style radio DJ. Henderson also plays the magnetic stage personality Chuck Jackson, as well as Ron Isley and Gene Chandler when needed, and demonstrates a razor-sharp efficiency when sketching these different characters for their brief scenes.

Upstage and, for the most part, hidden behind a scrim, the live band pump out all the musical accompaniment for the show with remarkable flair.

Baby It”™s You! is a marvelous musical with heart and brimming with sensational performances.

Currently playing at the Pasadena Playhouse,
39 South El Molino Avenue, Pasadena

Runs: until December 20th, 2009

Tuesday through Friday at 8:00 p.m.;
Saturday at 4:00 p.m. and 8:00 p.m.;
and Sunday at 2:00 p.m. and 7:00 p.m.

Ticket prices are $62.00 – $78.00.

Subscriptions may be purchased by calling the Pasadena Playhouse at (626) 356-7529 or by visiting the Pasadena Playhouse Box Office, open from 12:00 p.m. until 6:00 p.m. daily excluding holidays and online.

Group Sales (15 or more) are available by calling (626) 737-2851

Review by Pauline Adamek

A farcical feast of split-second timing – Noises Off

photo by Craig Schwartz

A hilarious three-act play by English playwright Michael Frayn, Noises Off *** is extended until Feb 14th *** check website for dates & tickets.

First staged in 1982, the play premiered at the Lyric Theatre, in Hammersmith, London. It opened to universally ecstatic reviews and shortly after transferred to the West End”™s Savoy Theatre, where it ran until 1987 with five successive casts.

According to wikipedia, the idea for it was born in 1970, when Frayn was standing in the wings watching a performance of Chinamen, a farce that he had written for Lynn Redgrave. According to the playwright, “It was funnier from behind than in front and I thought that one day I must write a farce from behind.” The prototype, a short-lived one-act play entitled Exits, was written and performed in 1977. Reportedly at the request of associate Michael Codron, Frayn expanded the play into what would become Noises Off.

In theatrical stage directions, the term “˜noises off”™ specifies sounds that are meant to originate offstage. A Noise Within”™s lively production is a joyfully out-of control version of this very British and ingeniously constructed farce.

In Act One we see the hapless cast rehearsing the play that is due to open the next night, as they all head on tour around the country. Frustratingly for the temperamental director, no one seems to understand that this is the dress (meaning final) rehearsal and not the technical rehearsal. The muddled actors are still forgetting their lines and entrances and tempers are beginning to fray.photo by Craig Schwartz

For Act Two the set has been reversed and now we, the audience, are backstage, along with the cast, for the same Act we previously saw being rehearsed. By now the play has dissolved into a shambles with missed cues and fluffed entrances. Trousers and skirts keep falling down and plates of sardines keep getting thrown about. In Act Three, the cast and production are now well into their touring season and the set has been reversed once again. Now we are the unlucky “˜new”™ audience for the performance that further unravels before our very eyes.

A well-staged farce requires a tremendous amount of skill from the cast. There are split-second entrances and exits, lots of slamming doors, gags with props, people”™s trousers falling down at inappropriate moments and plenty of pratfalls. Frayn”™s side-splitting play provides all this and more. By incorporating all the backstage shenanigans, love triangles and so forth, the comedy is cranked to its fullest potential.  As the fictional tour wears on, so does a crescendo of sexual jealousies and in-fighting amongst the cast.

The cast of A Noise Within”™s production of Noises Off all do a fantastic job with this demanding play. The British accents are decent (though, curiously, almost all are lower class ones) and the play proceeds at a cracking pace. While some of the pratfalls were a bit weak (giving this critic the impression a couple of the actors were fearful of breaking a hip,) Mikael Salazar shines with his standout performance as the belligerent cockney Garry, especially when brilliantly executing a comic tumble down the stairs, complete with legs windmilling.

One unexpected treat is the complicated set change that occurs during both intermissions and is fun to watch at least once. Despite a loss of buoyancy towards the end, Noises Off is a rollicking night in the theatre and should not be missed.

All production photos taken by Craig Schwartz.

A Noise Within
234 South Brand Boulevard
Glendale, CA 91204

Playing, in rep, on the following dates:

Sunday, November 22, 2 pm
Sunday, November 22, 7 pm
Saturday, November 28, 2 pm
Saturday, November 28, 8 pm
Sunday, December 6, 2 pm
Sunday, December 6, 7 pm
Wednesday, December 9, 8 pm
Thursday, December 10, 8 pm
Friday, December 11, 8 pm
Friday, December 18, 8 pm
Saturday, December 19, 2 pm
Saturday, December 19, 8 pm
Sunday, December 20, 2 pm – (Victorian Tea)

TICKET PRICES:
$44 (Friday and Saturday evenings, Sunday matinees);
$40 (Wednesday, Thursday and Sunday evenings, Saturday matinees);

Group rates and special rates for school groups available

To purchase tickets or for a full season brochure, call 818-240-0910 x1 or
visit their website.

A NOISE WITHIN ANNOUNCES A SPECIAL EVENT:

Two “Champagne and Sardines”
Post-Performance Receptions are slated for
Michael Frayn’s NOISES OFF
on Saturday, November 28, 8 P.M. and Friday, December 18, 2009, 8 P.M., featuring a lively discussion with cast members.

review by Pauline Adamek

Verdi Chorus presents their annual Fall Concert – Nov 21 & 22

Verdi ChorusWhen most people think of going to the opera, there”™s a good chance they”™ll think of the popular and well-known compositions of Giuseppe Verdi, Giacomo Puccini or Georges Bizet.

On Saturday, November 21 at 7:30 p.m. and Sunday, November 22 at 4:00 p.m., opera fans – or those who are curious to learn more about the art form without the investment of time or money that often accompanies attending a full production – can hear famous choruses from works by all three composers when the Verdi Chorus presents its annual Fall Concert.

On the program, which will take place at First United Methodist Church in Santa Monica, are opera choruses from The Pearl Fishers by Bizet, Verdi”™s Giovanna d”™Arco and Puccini”™s La Boheme, plus operettas by Sigmund Romberg and Victor Herbert.

Soprano Ani Maldjian, tenor Bradley Wisk and baritone Museop Kim will appear as guest artists.

The Verdi Chorus is the only chorus of its kind – an ensemble that focuses solely on performing works written for the opera chorus – in the Los Angeles area,” says Music Director and Founder Anne Marie Ketchum, a soprano highly regarded not only in the world of opera but contemporary art music and vocal chamber music. “In fact, we”™re named the Verdi Chorus because Verdi is an example of a composer who loved the chorus. He used it a lot and was a master at writing for it.”

At the Fall Concert, audiences will hear excerpts from one of Verdi”™s earlier works Giovanna d”™Arco (Joan of Arc) - a work infrequently performed.

“But it is chock full of gorgeous music,” says Ketchum. “I kept getting distracted by music from the opera that we”™re not going to do, it”™s such a rich work. We”™ll definitely revisit Giovanna d”™Arco at future performances.”

The chorus will also perform the full Second Act Finale from Bizet”™s The Pearl Fishers as well as excerpts from the Second Act of La Boheme by Puccini, with soprano Ani Maldjian playing the role of the flirtatious singer Musetta.

“The chorus has a very strong presence throughout both operas,” Ketchum explains. “The Pearl Fishers is probably Bizet”™s most successful opera aside from Carmen”¦and for good reason, as you”™ll hear when Bradley and Museop perform the famous duet “˜Au fond du Temple Saint”™. It”™s beautiful!”

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THE VERDI CHORUS – FALL CONCERT

Saturday, November 21, 2009; 7:30 p.m.
Sunday, November 22, 2009; 4 p.m.

First United Methodist Church
1008 11th Street in Santa Monica

Soloists:
Ani Maldjian, soprano
Bradley Wisk, tenor
Museop Kim, baritone
Music Director:
Anne Marie Ketchum

Program:
Excerpts from The Pearl Fishers by Bizet, Verdi”™s Giovanna d”™Arco and Puccini”™s La Boheme plus operettas by Sigmund Romberg and Victor Herbert
Tickets:
$40 – Reserved seating
$30 – General seating
$25 – Seniors
$10 – Students 25 and younger, with student ID

For more information:
Call 310. 684.3024 or visit their official site

Review by Pauline Adamek

Women over the edge! — two plays in rep at NoHo Actors Studio

Judith E. is cracking upJ.E.T. Productions-West is proud to present WOMEN OVER THE EDGE!

These are two plays in rep that takes us from “˜whoa!”™ to “˜wow!”™ to “˜whoops!”™ as we examine the lives of two women on the verge of personal crisis.

Judith E. stars (and wrote) her one-woman show The Menopause “Crack-up” – a funny take on the trials and tribulations of the onset of menopause. Along the way, we get to know about her life, loves and hopes for the future. This is the world premiere of Judith E.”™s solo dramedy, and it is directed by Kaz Matamura.

The show opens with a dramatic flourish; our heroine, Giaa, appears to be attacked by an unseen assailant. Turns out she has been assaulted by the personification of “menopause.” Giaa tells us how it snuck up on her and how “this whole thing totally changed me.”

This period of physical change leads to some self-loathing and histrionic scenes as the distraught Latina laments the unpleasant symptoms she is suddenly experiencing. In addition to playing a version of herself, Judith E. effortlessly slips into some alternate roles, such as the Russian doctor who she consults, explaining she “always feels depressed and angry.” Another time she personifies osteoporosis as a sinister cat-stroking villain. Once in a while Judith E. dives into her box of tricks to pull out a funny prop or costume item.

There are a lot of aural gags from the inventive sound design of music snippets. Hence, we hear those famous shrieking strings from the score of Psycho or we hear the sexy theme from the Pink Panther at appropriate moments.

When Giaa relates her strict upbringing, she takes on the persona of her strict grandmother or “abuela.” While I could follow most of these dialogue exchanges, Judith E.”™s choice to do all of the grandmother”™s dialogue in Spanish risks leaving some of her audience out, judging by the shaking heads I observed in the audience.

By the conclusion of this brisk, 75-minute one-act show, Judith E. has examined her options, touching on her exploration of preventative and holistic medicine versus western medicine, which just treats the unpleasant symptoms with anti-depressants. Judith E. concludes with the statement, “I think it”™s time that we, as women, were given the information we need to be informed.”Â  I just wish I had learned a bit more concrete info from Judith E.”™s experience and one-woman show.

Sad, yet funny, The Menopause “Crack-up” is an Adults Only show, as it contains partial nudity and explicit sexual language.

The Menopause “Crack-up” is currently showing in repertory, along with the play, Mrs Cage, written by Nancy Barr, directed by the legendary Barbara Bain and starring Katelyn Ann Clark and David Ross Paterson.

The Menopause “Crack-up” plays through December 18th, on Fridays at 8pm.

Mrs Cage plays through December 20th, on Saturdays, 8pm and Sundays, 2pm

The NoHo Actors”™ Studio
5215 Lankershim Boulevard, North Hollywood, 91601

Please allow ample time for public lot and street parking

General Admission: $13 Seniors/Students with ID: $11
Reservations and information:
(818) 761-2166 or go to their official site

Review by Pauline Adamek

All You Need Is Love – Review of The Last Station

the_last_station - embrace

It”™s the time for the season of love – at least for the independent period dramas coming out of Great Britain this autumn. Following the romantic tales of Bright Star and An Education, we are now presented with The Last Station, Michael Hoffman”™s impressively moving and unexpectedly humorous look at the final days of Russian author Leo Tolstoy.

Tolstoy”™s body of work is considered among the most impressive in history. As The Last Station begins, his epic novels, Anna Karenina and War and Peace, have catapulted him to rock-star type super stardom in early twentieth century Russia. Tolstoy (Christopher Plummer) is trying to enjoy the final days of his life, but his affections and attentions are being grappled over by Sofya (Helen Mirren), his wife of his over fifty years, and Vladimir (Paul Giamatti), the head of the Tolstoian Movement, a large group of people whose lives are devoted to the promotion of Tolstoy”™s utopian ideals and theories.

The central and ironic conflict of The Last Station deals with the basest struggle over money in relation to love. Credit Hoffman”™s sharp script and deft direction with the fact that neither side is ever fully tagged as the villain in this conflict. Hoffman lets us see both sides”™ concerns for the future of Tolstoy”™s legacy and publishing rights. Sofya is looking out for her future and the future of her family, as a woman who has no other sustenance without her husband. Vladimir wants the importance of Tolstoy”™s message to reverberate through the lives of every Russian and therefore believes that the people themselves should own the rights to his works. Both sides battle in pleading their case as to which love is the most valid and worthy.

The_Last_Station - carriage

The only victim in this entire equation seems to be Tolstoy, who yearns merely to write, share ideas, tell stories, listen to music and enjoy his remaining days in peace. His only sympathetic ear appears in young Valentin (an endearingly innocent and eager James McAvoy). Planted as a spy by Vladimir to report on Sofya”™s doings, he arrives with a disciple-like awe for Tolstoy. Whenever Valentin becomes too enamored with pious devotion to the loftiness of Tolstoian ideals, however, Leo steers his focus more towards the more carnal pleasures of life, most particularly in the flesh of the independent and spirited Masha (Kerry Condon), a member of the local commune. The longer Valentin remains in the company of Tolstoy and his family, the more sympathetic he is to Sofya”™s plight and the more disillusioned he becomes with the movement, which believes in love for all humanity but considers the love of an individual to be almost condemnable. He is the only one who seems to understand that in the end when facing death, there are no winners, but merely losers who both loved different facets of the same man, and ultimately, their only comfort can be found in each other and the love they may have for another person.

Both Giamatti and Mirren shine and excel in their work to the extent that audiences are in danger of taking their gifts for granted. The true standout here, however, is Plummer, whose Oscar-worthy performance runs the gamut from playful to authoritarian to bellowing to exhausted. Though the film suffers from a subplot between Masha and Valentin that feels not quite fleshed out, the overall arc of the main throughline is terribly moving and utterly engaging.

Review by Zach Jacobs