Archive for August 2010

Pho 999 – pretty lame…

Pho 999

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Okay, I am no pho (pronounced “fah”) expert, but I do know that the broth should be quite clear.

Cloudy broth, such as the bland dishwater served at Pho 999, simply does not cut it.

Phor those who don’t know, pho is a Vietnamese soup, similar to Japanese ramen or soba, that is usually served with beef (pho bo) or chicken (pho ga). The soup includes thin vermicelli rice noodles and comes served with a platter of basil, lime, bean sprouts and sliced peppers that are added to the soup by the consumer.

I ordered the “˜Tai”™ which is rare beef, but all the various choices are there, including tripe, tendon and brisket also chicken or shrimp or tofu or BBQ pork – the usual suspects.

Pho_in_Saigon

My soup with its “˜rare”™ steak shows up immersed in the hot broth, not looking at all pink.

Fail.

It”™s thinly sliced but chewy and overcooked. I squeeze some lime into the bowl and pluck some pungent purple Thai basil and some bean sprouts from the platter that lands on your table in advance of the soup. Some people also add hoisin (a sweet Chinese soy bean-based sauce) and/or sriricha (a smooth Thai paste made from sun ripened chilies and garlic) to amp up the heat. They do have a good selection of condiments on the table, including hot green peppers in vinegar.

Insipid and uninspiring, the only saving grace is that this hearty meal only costs about $7.00.

They also serve exceedingly sweet boba concoctions, including some fancy ones such as jackfruit, durian, papaya, coffee and mango, and Ca Phe Sua Da – the Vietnamese ice coffee that’s essentially a shot of espresso mixed with condensed milk, served in a glass of ice.

Well, I feel like I struck out with this place. Pho 999 is not phabulous.

So what”™s your favorite Pho location?

Pho 999
6411 Sepulveda Blvd
Van Nuys, CA 91411
NW cnr Sepulveda and Victory
(818) 782-1999
Open: Mon-Sun 9 am – 10 pm

Review by Pauline Adamek

Serious and soulful – A Wither’s Tale from The Troubies

A Wither's Tale - photos by Chelsea Sutton

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Those madcap pranksters from The Troubadour Theatre Company are at it again, mixing a Shakespearean plot with some pop hits to create a new show. This time they”™ve taken a lesser-known Shakespearean work, A Winter”™s Tale, and sprinkled it with some soul from Bill Withers to create A Wither”™s Tale.

Long-term Troubie fans, who usually arrive ready to laugh enthusiastically at the on-stage antics, will need to brace themselves for a more serious outing here.

The Bard”™s intense psychological drama perfectly complements the haunting songs of seventies singer/songwriter Bill Withers, albeit with some switching of lyrics and a few throwaway pop-culture references for the occasional jokey bit.

With snippets of familiar themes from Shakespeare”™s earlier tragedy Othello, and even a fragment of plot from the classic Greek myth of Oedipus, A Winter”™s Tale unfolds in a curious fashion. The first three acts are serious, while the last two short acts strive for comedy and a happy ending. In the story, King Leontes (Matt Walker) becomes inflamed by jealousy. He sends his pregnant consort, Queen Hermione (Monica Schneider), to jail on suspicion of an affair with his oldest friend, King Polixenes (Matt Merchant), and even issues the death sentence of their baby girl Perdita (Katherine Malak), only to lament his subsequent solitude. Many years pass and the sorrowful King is miraculously offered a chance at happiness.

Writer/Director Matt Walker is not afraid to plumb the depths of this mostly dark story of jealousy, banishment and regret. Consequently, this poignant show seems a lot quieter than the Troubie”™s usual fare, with far less of the wacky hilarity that generally ensues. The cast certainly proves they have the mettle to tackle Shakespeare.

The five-piece backing band – clad in period costume, no less – is magnificent, led by Musical Director Eric Heinly on drums and features a memorable performance by John Krovoza on cello and violin. It”™s obvious a great deal of care was taken in putting together a top-notch band that flawlessly duplicates all the quiet hit songs from the catalogue of Bill Withers.

Founding member Lisa Valenzuela has a couple of important roles, including a preliminary précis of the plot delivered at a breakneck (and slightly confusing) pace. Sadly, there were no opportunities for Valenzuela to belt out a tune with her legendary powerhouse voice. Nevertheless, she gets some comic mileage from her “˜Justin Beiber”™ wig.

photos by Chelsea Sutton

Walker”™s impressive performance of Wither”™s best-known hit Ain”™t No Sunshine includes a fantastic solo on harmonica and all but brought the house down. Monica Schneider as Queen Hermione has a strong voice. Katherine Malak as Princess Perdita brings a great deal of grace and beauty to her performance.

Clearly working with a bigger budget this year, the show features atmospheric special effects (dry ice) as well as several stylish lighting effects, courtesy of designer Jeremy Pivnick. While the set design by Mike Jespersen of a substantial archway door flanked by curtains is simple and effective, the period costumes, designed by Sharon McGunigle, are especially gorgeous.

As always, Matt Walker had his bright yellow sequined cloth hanging from his belt, but it was hard to imagine him blowing the whistle and calling a foul and bringing the show to a halt to ridicule a cast member for fluffing a line. Generally in those instances, accusations get tossed about, such as “Unauthorized butchering of the text without a meat license!”

Not so on opening night.

Also absent from the performance was the extended improvisation and indulgent ad-libbing that – while hilarious – rendered the previous show, CHiPs, The Musical, so sluggish.

A Wither”™s Tale is a beautifully presented show that scoots along for an hour and a half, with no intermission, and showcases this gifted gang of clowns at their serious and soulful best.

If you have any trouble obtaining tickets to this hot show, then do consider becoming a Troubadour or Falcon Theatre subscriber.

You”™ll find it”™s definitely worth your while.

A Wither”™s Tale

The Falcon Theatre

4252 Riverside Drive, Burbank CA

Performances:

Runs until – Sunday, Sept 26, 2010

Thursdays through Saturdays at 8pm, and Sundays at 4pm.

Tickets:  $34.50″”$42.00

Box office and bookings – (818) 955 8101

Official site.

Review by Pauline Adamek

Sultry and seductive – The Rendezvous by Cherry Boom Boom

Lindsley Allen with the girls -- photo by Chris Monberg

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Some of the sexiest, most luscious dancers in town can be seen at the King King nightclub in Hollywood on the last Thursday of every month. Lindsley Allen’s tres chic and tres slick rockin’ burlesque show features the sizzling gals of Cherry Boom Boom in a raunchy and thrilling night of fun.

Entitled The Rendezvous, these eight incredibly talented and super-hot female dancers perform an up-tempo evening of back-to-back burlesque dance numbers, strutting their stuff to a loud and appreciative crowd. Silhouette, bump and grind, seductive stripping and hard rock and retro tunes – this erotic and glamorous cabaret show has it all!

Cute ‘cigarette girls’ prowl the audience pre-show, offering their wares; cherry embossed panties and matching tank tops. They’re affordably priced.

The sensational show kicks off with a sly strip through beaded curtains and a slow, teasing removal of elbow length gloves. Then, our sultry MC, Sharon Ferguson, saunters onto center stage and titillates the crowd with her suggestive banter while the remaining cast of seven female dancers prance about, their taut, hot bodies barely clad in racy lingerie and dazzling costumes of red, black and sliver sparkles, tassels and fishnets.

Sharon Ferguson and the girls -- photo by Chris Monberg

Bouncing effortlessly from one supple and acrobatic number to the next, these cute and voluptuous vamps have attitude to burn!

The super-sexy gal who created and choreographed this electrifying show, Lindsley Allen, is an original Pussycat Doll and also a dancer in the rock ‘n’ roll burlesque show at Hollywood’s 40 Deuce, several years ago, before the show moved to Las Vegas.  It looks as if Allen may have taken that concept and developed it into much more of a narrative with much better ‘acts’ and cooler, more diverse choices of music. The songs range from rock hits like Black Magic Woman and Whole Lotta Love to fifties & sixties classic sounding songs, including a sultry Sorry ‘Bout That sung by Nancy Sinatra and an updated version of the Andrews Sisters’ Candyman. It’s fun watching these modern pin-up princesses snap vertical high kicks that reach their forehead to the strains of Jimi Hendrix’s Foxy Lady – the song choice is almost too obvious but still great.

During the tasteful dance routines, you’ll see plenty of speedy Brazilian-style shimmy and precise moves. Highlights include gyrations to edgy psychobilly tunes such as Queen of Pain courtesy of the garage punk band The Cramps. Allen lip-synchs to Dusty Springfield’s Son of a Preacher Man barely wearing a racy schoolgirl outfit of a teeny Burberry pleated skirt teamed with frilly panties.

During one treacherous number, Ferguson leads a line of corseted dominatrixes through a dangerous bondage-inspired whip-cracking routine. Ruthy Inchaustegui defies gravity with her daring aerial silk trapeze ’tissue’ sling act that has to be seen to be believed. There’s even a mind-bogglingly erotic hula-hoop strip number performed by Kelleia Sheerin.

Every now and then the pace briefly slows down to develop a sweet storyline in pantomime, tracing the awkward courtship between a pair of shy young lovers as romance blossoms. These adorable entre-actes counterpoint all the sexy stuff; with her high-class evening of burlesque, Allen concocts the perfect blend of retro with rock ‘n’ roll, sugar and spice.

photo by Chris Monberg

The seemingly endless parade of ultra-sexy corsets, stockings, peek-a-boo panties, multi-colored feather boas, lace and leather – and more – are courtesy of costume designer Anne Closs-Farley.

The luscious ladies of the Cherry Boom Boom burlesque troupe include Linda Cevallos, Katie Miller (also assistant choreographer), Vanessa Huntoon, Lisa Eaton, Angela Berliner and Brian Kimmet (as the shy lovers) and special guest Janette Manrara.

So get your sweet ass over to King King tomorrow night!  If you want a taste, check out their ‘sexy and sassy’ video clip.

Production photos by Chris Monberg.

Presented by Millennium Dance Complex & Lindsley Allen. Produced by Shana Sosin.

The Rendezvous

 

King King Nightclub

6555 Hollywood Blvd. Los Angeles, 90028

(323) 960-5765

Performances:

Last THURSDAY evening of every month:

August 26th;

September 30th;

and

October 28th, 2010

Doors open @ 8PM

Show kicks off @ 9PM

Tickets:

$25 – standing room

$30 – general reserved seating

$40 – VIP primo seating, with cocktail service (recommended!)

SUPER VIP – $200

Advanced tickets are highly recommended – purchase here.


Review by Pauline Adamek

My latest LA Weekly theatre review

A Wither's Tale -- photos by Chelsea Sutton

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Gentle readers, here is a link to my latest  LA Weekly theatre review, of

A Wither’s Tale.

Happy reading!

Review by Pauline Adamek

Last weekend for this powerful play – Medea at the Knightsbridge

Production photos by John Dlugolecki

A powerful and ancient Greek tragedy by Euripides (circa 431 BC), Medea draws on the earlier myth of Jason and the Argonauts and the instrumental role Medea played in his heroic quests.

The daughter of King Aeëtes of Colchis, niece of Circe (a minor goddess of magic) and granddaughter of the sun god Helios, Medea is known in most stories as an enchantress and is often depicted as being a priestess of the goddess Hecate.

When this compelling drama by Euripides was originally staged, viewers would have been well versed in the supernatural elements of this myth.

The play”™s accessible text and storyline, however, is resolutely earthbound and focuses on Medea”™s life after she married Jason and bore him two sons. When Medea is spurned and betrayed by Jason, she begins to plot her unspeakable revenge.

From the press notes:

Set during modern day at The Corinth Mental Institution, Medea (Adalgiza Chemountd) is cast aside by her husband, Jason of the Argonauts (Max Horner), while having been committed to an insane asylum for schizophrenia and under Creon’s psychiatric care. Tortured by love, betrayal, anger, a broken heart and the chorus of voices in her head (Shaina Vorspan, Lauren Wells, Karen Richter), Medea descends into madness and a vengeful rage leading her to commit an unthinkable deed. Joined by cast members Sara Maraffino, Nicholas Hope, R. Benito Cardenas, Jill Gehrke, Ari Skye and Fionn James, Medea takes the notion of “an eye for an eye” far further than you could ever imagine.

The unsettling tone of the play is set by director Travis Terry from the moment we enter the space. Although the lights are dim as we take our seats, we are quite obviously in a present-day lunatic asylum. On stage a handful of troubled crazies are compulsively pottering away at their favorite obsessions, occasionally shrieking and murmuring.

Designer Dionne Poindexter”™s set is suitably bare and institutional. At its centre is Medea”™s room, at first shielded by a paper wall. Eventually this central set-piece is manually revolved by the actors to reveal our anti-heroine, who is first heard wailing wretchedly for Jason.

In concert with the modern setting, the authenticity of the text is preserved, allowing for a few updated tweaks while preserving its language rich with colorful, vivid imagery and heightened emotion.

Production photos by John Dlugolecki

Medea”™s scornful nurse (Sara Maraffino) – disapproving and intolerant of Medea”™s insanity – sits on the edge of the stage smoking a cigarette and giving voice to her fears of what Medea might do to herself or her children.

In the title role, Adalgiza Chermountd gives a well-modulated performance as Medea that powerfully climaxes when Medea unleashes her fury in two cleverly orchestrated stages. The final monstrous and unnatural act of revenge is depicted in a subtle yet disturbingly effective fashion.

The chorus is a trio of women, from young girl (Shaina Vorspan), to mother (Lauren Wells) and grandmother (Karen Richter). Together they observe the proceedings and comment in unison, also doubling as asylum orderlies when required.

Apart from an inexplicable and artificially happy resolution, this is a fresh and unpretentious staging of Medea that is worth experiencing.

Medea - image by Audra Phillips

Medea

Knightsbridge Theatre

1944 Riverside Drive, Silver Lake

Performances:

Runs through August 29th, 2010

Fri.-Sat., 8 p.m.;

Sun., 6 p.m.

Tickets: $20.00

(Students $18.00)

Box Office:

(323) 667-0955

Review by Pauline Adamek