Author Archive for Lucy Griffin

Vivacity abounds at “The Morning After Show” – Bootleg Theater

By Lucy Griffin · Comments (0)
Friday, April 13th, 2012

Photo credit: James Daniel.

This is certainly not Los Angeles’ first encounter with one of its hardest working actors, and most definitely not the last, if all goes according to what is right in the performance world.

She can sing!  She can dance!  Wait a minute – she’s incredible.  A side-splitting encounter with Cal Arts grad Ayana Hampton proves once and again that hot girls are hilarious.

The Morning After Show, which takes place at the ever-so-awesome Bootleg Theater space in Los Angeles, is a complex and candid cabaret that examines feminism, being a black artist in show business and other beautiful, brutally honest and hysterical topics all explored through eight original songs. (Lyrics by Ayana, music by Ayana, Brian Barrale and Mark Mendelson.)

Miss Hampton, along with her groovy live band, creates a tongue in cheek cabaret that somehow takes parody and makes it sincere.  She is a sexy siren, here to tell her tale in a thoroughly enjoyable romp.

Don’t miss this show!  It’s good; I’m talking Bette Midler good.  Short, sweet and to the point, I haven’t enjoyed myself at the theater that much in a long time.

There are only TWO remaining performances – tonight and tomorrow eve.

 

A comedic desperate pursuit of many men told through a witty collage of stand-up, vaudevillian schtick, and disco infused one-woman cabaret. Does she find the man of her dreams or does the dream get to her first?

Most recently Miss Hampton produced “The Morning After Show” for a 6-show engagement in NYC at The Nuyorican Poets Cafe. “The Morning After Show” was developed at REDCAT (NOW Festival), presented by POOR DOG GROUP, and is supported by Franklin Furnace Fund and United States Artists.  This LA production is co-produced by Circa83 Productions and Bootleg Theater.

 

 

For more info on Ayana Hampton, visit her official site.

Production photo credit: James Daniel.

 

 

The Morning After Show

Bootleg Theater

2250 Beverly Blvd.,

Los Angeles CA 90057

Performances:

Plays tonight – April 13th  – and

Saturday April 14, 2012

8pm start.

(Only TWO remaining performances, so hurry!)

Running time: 

Approximately 45 minutes.

TICKETS:

$20.00

Box Office:

Purchase tickets here, or at the door.

For more info call (213) 389-3856

 

 

 

 

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Spring Awakening — the musical

By Lucy Griffin · Comments (1)
Thursday, March 29th, 2012

PHOTO CREDIT: Kat Hess

 

Review by Lucy Griffin

Angsty, eager and earnest – Spring Awakening broke out of the gate packing a whole lotta punch, with Over the Moon Productions presenting their take on the popular musical; Music by Duncan Sheik, book and lyrics by Steven Sater.

Background:

This is the rock musical adaptation of Spring Awakening, a controversial German play written in 1892 by Frank Wedekind.

Set in late-19th century Germany, it concerns a group of teenagers who are discovering the inner and outer tumult of their awakening sexuality and the complications that arise because of them.

This musical version of Spring Awakening received eleven 2007 Tony Award nominations, winning eight, including Tonys for best musical, direction, book, score and featured actor. Although the cultural landscape has changed quite a bit since Wedekind wrote his play in the late 1800′s, the enduring themes are still as timely and topical as ever.

The problem was that the ‘punch’ seemed to push us out of the intimate space instead of including us…  Energy at full tilt and busting at the seams, it almost seemed to propel the audience out and away. Additionally, the rock concert vibe crammed into Over the Moon’s small theater felt a bit forced. When the cast found their sweet spot, however, the play was extremely moving at times. The intimacy, on the other hand, added an extra thrill, almost as if we had stumbled across a diary we shouldn’t be reading or were listening to a message not intended for us.

Set in a small German town during the 1890’s, this story was clearly meant to cross time lines and push subject matter and perhaps if this critic had seen it at age 13 (the same time I saw RENT – which changed my life) or even in 2006 (when the musical version first premiered) it may have had the same RENT-like impact on me.  Who knows?  This was, after all, my first time too, not just Wendla and Melchior’s (that’s an inside plot line reference!)  Now the message somehow feels a bit overworked… Issues such as teen suicide and abortion are unfortunately more a part of our everyday. This was not at all the fault of the beautifully vulnerable cast, nor the effective direction by Kate Sullivan. Perhaps it’s because I waited so long to experience Spring Awakening that I have become inured to its contentious subject matter.

The story of Spring Awakening mainly focuses on the wonders and wanderings of a group of teenagers discovering their bodies and their thoughts. Struggling with curiosities not quenched by their often dismissive, ignorant and sometimes abusive parents, these teens are forced to figure out things on their own, and often the wrong way…

Directed by Kate Sullivan, this cast was wonderful as an ensemble, melting together to form delicious harmonies, yet there was a tendency in certain actor’s performances that felt a bit like “me, me – look at me!”  Tiffany Gray (who plays Martha) used exactly the right blend of star quality and supportive ensemble work to leave me thinking about her performance. She brought honesty and beauty to the role, bringing me to tears with her powerful rendition of ‘The Dark I Know Well.’  Also impressive were actors Mat Vairo as Melchior, Christopher Higgens (wide-eyed and precious) as Ernst, Payson Lewis as Georg and Hope Lauren as Thea.

A thoroughly entertaining and sometimes powerful show, Spring Awakening continues its successful run this time by Over the Moon Production at Theatre of Arts Arena Stage

The show was impeccably lit by Brandon Baruch and featured a solid band of musicians backing the hard working actors.

PHOTO CREDIT: Kat Hess

Spring Awakening

The Theatre of Arts Egyptian Arena Stage

1625 N. Las Palmas Ave, Hollywood.

Performances:

Thursdays–Sundays at 8pm (with no performance April 5th) through April 22, 2012.

Running time:

Approx. 2 hours, with an intermission

TICKETS:

$25.00 general.

Box Office:

For tickets, please visit this site and this site or call 310-903-6150.

 

 

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Strange and tender — God’s Ear at the Zephyr Theatre

By Lucy Griffin · Comments (1)
Monday, January 30th, 2012

Strange and tender, God’s Ear by Jenny Schwartz unfolds like a haunting case of déjà vu where relationships become a string of idioms, kind of like Dr. Seuss in couples counseling.

Amanda Saunders and Paul Caramagno (Mel and Ted) lead the show with incredible performances as a couple devastated by tragedy and struggling to make sense of what has become of their shattered and seemingly meaningless lives. After the loss of their son, they are faced with the monotony and repetition of grief’s demise. As their relationship declines, they drag with them their daughter Lainie (played by Alana Dietz in a true and touching performance). Lanie consistently and innocently reminds her mother of her existence, and impressionably listens and learns. Saunders and Caramagno, both thick with depth, each take the time and talent to lead us through the pathos of this play.

Conversations bleed into the next, days repeat in front of our eyes from line to line, strange characters make appearances in the fantasy world that makes up this realistic portrayal of the impact of trauma. Among those characters is Andrea Grano in a painstakingly perfect portrayal of the sad and constant ‘other woman’ Lenora, whose airport dwellings are the obstacles of a married couple’s life and whose own relationships are the beatings and battle of a woman probably only looking to love and instead finding broken men who linger in airport bars. One of those lost souls is Troy Blendell, charming and magnetic as Guy. We also meet the Tooth Fairy played by Tara Karsian, a hard-edged comic queen with a heart of gold, in a small yet beautifully realized role and Jeremy Shranko as the buried GI Jo and cross dressing airline stewardess offering comedy and depth in just the right places.

Schwartz’ writing is clever and layered, although at times it seems to trip over its own trickery. Much like the works of David Mamet, one can get lost in the wordy text.  Certain scenes even sound like an acting exercise or an Abbot and Costello routine. Director Rory Kozoll, however, does an exquisite job steering the way for the audience to have a clear relationship with the play. With a great deal of work and attention to detail, this cast and crew have created a meaningful night of theatre.

 

The Echo Theatre Company is indeed a strong one.

Production photos by Megan J. Carroll.

God’s Ear

Echo Theatre Company at the Zephyr Theatre

7456 Melrose Ave

West Hollywood 90046

Performances:

Runs through February 19, 2012

Fri & Sat at 8pm;

Sun at 7pm

Running time:

90 minutes, no intermission.

Tickets:

$25.00

Box office:

Call (877) 369-9112, or purchase online here.

 

 

 About the Company:

The Echo Theater Company is a group of actors, writers, directors, and producers dedicated to developing and presenting the work of playwrights on all levels.

 

 

 

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The sexual compulsion of Shame

By Lucy Griffin · Comments (0)
Wednesday, January 25th, 2012

Shame’s unabashed nauseating effect is, in its own right, beautiful and nonetheless daring. While current television and cinema currently push the sexual envelope, Shame seems to seal it, and then pass it through the paper shredder.

Michael Fassbender as Brandon Sullivan lives what one could call a simple yet sordid life in New York. None of his routines is altered within the pattern of his habitual everyday behavior. Routines that incidentally include a threesome, careless exhibition, an encounter with a hooker and sexually suggestive eye contact all before catching his train to work. Each act is emptier than the next, yet the complexities of such an empty life mirrored perfectly within the sexy, sad scope of Fassbender’s stare.

Alas, his performance was passed over for this year’s Oscar nominations, perhaps to allow for more crowd pleasing performances such as Brad Pitt in Moneyball aka ‘Eat Acting’ (where he spends most of the movie stuffing his mouth with food). Eliminate his talent with food, and the actor’s task is simplified; not to stray too far from the path.

Soon Fassbender’s soulless sexual routine is interrupted by the pleas of a younger and rather disturbed sister named Sissy. Leaving a trail of tears and trash, she follows hopelessly in her older brother’s footsteps. Sissy is fragile and dangling by thread, threatened by the wear and tear of what seems to be an unbearable existence. Playing Sissy, Carey Mulligan pulls off a graceful performance and always seems to find depth in her roles. Nicole Beharie brings a beautiful element to the cast, playing the nervous and fiery co-worker/sometime lover Marianne who forces Brandon to confront the realities of what taboo-less attraction entails.

While certainly too uncomfortable viewing to be deemed enjoyable, the film is beautifully executed by Brit director and co-writer Steve McQueen (fairly new to the scene) while his cinematographer, Sean Bobbitt, crafts a film shot to match the daring script that is chock full of invasive, languishing angles of ribcages and forlorn staring bouts that seem to last an eternity.  Shame reflects on images of a man we find hard to watch at times. This is a movie that asks you to confront your deepest darkest sexual guilt while questioning your faith in the familial bond.

Shame is not for the faint of heart, but a must see for avant garde movie lovers.

Running time is approximately 110 minutes.

 

Now playing in selected Los Angeles cinemas.

 

 

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W.E. Madonna’s attempt – or rather – descent into storytelling.

By Lucy Griffin · Comments (3)
Wednesday, December 7th, 2011

Perhaps it was my movie companion’s whispers “Can’t you tell this is genius?!” that had me thinking I was actually loving Madonna’s newest stab at directing a feature film, W.E.  I wasn’t and turns out he was being sarcastic.  Maybe my meter is off.

Imbued by a constant ambush of strings and dramatics, W.E. goes on for way too long.  In the end it doesn’t tell any sort of any consistent story besides a sort-of glamorous biography of Wallis Simpson. Simpson, of course, was the divorcée whose third husband, Prince Edward, Duke of Windsor, formerly King Edward VIII of the United Kingdom and the Dominions, abdicated his throne to marry her in 1936.

Co-screenwriters Madonna and Alek Keshishian juxtapose this period tale with a more contemporary (late 90s) mirrored plot of a dreamer Wally Winthrop (Abbie Cornish) who is obsessed with Wallis’ belongings that are to be auctioned off at Sotheby’s, and the random love affair between her and the security guard on constant watch.  Sure, the costumes are extraordinary. Yes, the actors are beautiful. Cornish is stunning as are Andrea Riseborough as Wallis Simpson and Oscar Isaac.  In fact, I found Riseborough’s performance as Simpson rather charming.

The scenery and the photography are gorgeous as well. But what isn’t is Madonna’s distorted and unrealistic approach to creating a film comparing the human qualities of a historically and publically scorned woman and a modern day housewife distracted by fantasy and incidentally abused by her husband. While the parallel stories are supposed to connect and reflect, instead they come off as disjointed and out of touch, unfortunately seeming to be a reflection of Madonna’s present lifestyle.  Whilst occupying multi-million dollar penthouses she somehow forgot that hero/geniuses posing as security guards dingy Brooklyn apartments don’t often appear straight out of Architectural Digest…

Perhaps Madonna sees herself as some sort of modern day Wallis?  An American fighting the tide of negative public opinion after thrusting herself into British culture, even trying out the accent for size, and later becoming tarnished by her very public divorce with adored Brit filmmaker Guy Richie. I don’t know. No matter what she was trying to do, it simply doesn’t work.  The only thing that speaks in this film is the incredible amount of money that went into its production.

 

W.E. is now showing in L.A. cinemas.  Check your local listings.

 

Review by Lucy Griffin.

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