Don't miss Deaf West's "Cyrano" at the Fountain Theatre. It is a treat for the eyes and ears!
Sunday, April 29, 2012
Saturday, April 28, 2012
The Fix Pre Show
A pleasure to be back in Long Beach at the beautiful ICT. Friendly staff as always and a great theatre atmosphere for what I hope will be a great show.
Tuesday, April 24, 2012
The Elephant Man
There is a fascinating and uniquely executed production of Bernard Pomerance’s The Elephant Man on stage at the Pico Playhouse. It is a show that has been often performed and a story that has become a fixture in the annals of American literature and entertainment. This most recent production, articulated by The Mechanicals Theatre group, is as stirring as it is strange and as mesmerizing as it is memorable.
The story, based on the life of the disfigured 1880’s Londoner John Merrick (John Newman), tells the tale of a man whose appearance was so dominated by a horrible skin and bone disorder that he became commonly known as the Elephant Man. Living in the same London of Jack the Ripper and Charles Dickens, Merrick ekes out an existence as a side show freak and lives in squalor until he is seen by proper Victorian gentleman and doctor Fredrick Treves (Michael Matthys). Treves takes mercy as well as a scientific interest in Merrick and gives him sanctuary inside the prestigious London Hospital where, together, they pursue some modicum of normalcy for the horribly afflicted man. Through the efforts of Treves and the generosity of hospital donors, Merrick finds a home at the London and begins to heal. As part of his treatment, Treves hires the well-known actress Ms. Kendal (Cynthia Beckert) to aid Merrick and lift his sprits. Lift his spirits she does, but the convention of the Victorian ideal combined with the pressures of Merrick’s unusual burden soon put doctor and patient at odds and force Miss Kendal away. As Treves endeavors to repair Merrick’s body, he discovers that he, too, is in need of healing, but of a very different kind. Together, the pair reaches a greater understanding of each other and themselves all while commenting on the contradictions of the society in which they dwell -or so it has been played a thousand times.
Playwright Bernard Pomerance provides a script open to unconventional story telling. He constructs a composition that is based around inference rather than special effects, suggesting among other devices that projected titles be used to guide the narrative. The Mechanicals Theatre Group has taken his structure and skillfully aerated it by injecting an imaginative and bold theatrical reality. They use it to its full potential.
Clothed in Steampunk inspired costumes with a vagabond touch, the audience feels at the onset as if a savant-like group of time traveling hobos has stumbled onto this text while rummaging through discarded treasures of years gone by. The production that emerges from their discovery contains elements of reader’s theatre, existentialism, and deep character study, but is somehow still seems completely cohesive and unified. The performers are strong; Beckert plays Kendal with all the persuasion and delicacy befitting the role. Richard Gilbert-Hill is compelling in the dual roles of Ross and Gomm, and Newman‘s Merrick is both odd and gripping with a great depth of feeling despite some lack of assuredness in the dream sequence. As Treves, Matthys nimbly coveys an understated honesty in the role that fits the style of the show to perfection while still maintaining every ounce of character and emotion that the part must exhibit. With eye-catching costumes and an absorbing set by Wan Chih Haley Ho, there is plenty of support for the players. The greatest success of this production, however, comes from the outstanding direction of Neil Patrick Stewart and the fearless, artistic, and visionary concept that he and his tremendous ensemble cast have built. Considerable liberties have been taken in cross gender casting, and at times the Englishness and authentic Victorian feel noticeably missing, but this cast’s unwavering commitment to Stewart’s goal and the fused vision of this highly stylized production make it effective across the board. The Elephant Man at the Pico Playhouse leaves a full sized creative foot print for future productions to try and follow.
The Elephant Man Plays at the Pico Playhouse until May 13th http://www.picoplayhouse.com/
There is a fascinating and uniquely executed production of Bernard Pomerance’s The Elephant Man on stage at the Pico Playhouse. It is a show that has been often performed and a story that has become a fixture in the annals of American literature and entertainment. This most recent production, articulated by The Mechanicals Theatre group, is as stirring as it is strange and as mesmerizing as it is memorable.
The story, based on the life of the disfigured 1880’s Londoner John Merrick (John Newman), tells the tale of a man whose appearance was so dominated by a horrible skin and bone disorder that he became commonly known as the Elephant Man. Living in the same London of Jack the Ripper and Charles Dickens, Merrick ekes out an existence as a side show freak and lives in squalor until he is seen by proper Victorian gentleman and doctor Fredrick Treves (Michael Matthys). Treves takes mercy as well as a scientific interest in Merrick and gives him sanctuary inside the prestigious London Hospital where, together, they pursue some modicum of normalcy for the horribly afflicted man. Through the efforts of Treves and the generosity of hospital donors, Merrick finds a home at the London and begins to heal. As part of his treatment, Treves hires the well-known actress Ms. Kendal (Cynthia Beckert) to aid Merrick and lift his sprits. Lift his spirits she does, but the convention of the Victorian ideal combined with the pressures of Merrick’s unusual burden soon put doctor and patient at odds and force Miss Kendal away. As Treves endeavors to repair Merrick’s body, he discovers that he, too, is in need of healing, but of a very different kind. Together, the pair reaches a greater understanding of each other and themselves all while commenting on the contradictions of the society in which they dwell -or so it has been played a thousand times.
Playwright Bernard Pomerance provides a script open to unconventional story telling. He constructs a composition that is based around inference rather than special effects, suggesting among other devices that projected titles be used to guide the narrative. The Mechanicals Theatre Group has taken his structure and skillfully aerated it by injecting an imaginative and bold theatrical reality. They use it to its full potential.
Clothed in Steampunk inspired costumes with a vagabond touch, the audience feels at the onset as if a savant-like group of time traveling hobos has stumbled onto this text while rummaging through discarded treasures of years gone by. The production that emerges from their discovery contains elements of reader’s theatre, existentialism, and deep character study, but is somehow still seems completely cohesive and unified. The performers are strong; Beckert plays Kendal with all the persuasion and delicacy befitting the role. Richard Gilbert-Hill is compelling in the dual roles of Ross and Gomm, and Newman‘s Merrick is both odd and gripping with a great depth of feeling despite some lack of assuredness in the dream sequence. As Treves, Matthys nimbly coveys an understated honesty in the role that fits the style of the show to perfection while still maintaining every ounce of character and emotion that the part must exhibit. With eye-catching costumes and an absorbing set by Wan Chih Haley Ho, there is plenty of support for the players. The greatest success of this production, however, comes from the outstanding direction of Neil Patrick Stewart and the fearless, artistic, and visionary concept that he and his tremendous ensemble cast have built. Considerable liberties have been taken in cross gender casting, and at times the Englishness and authentic Victorian feel noticeably missing, but this cast’s unwavering commitment to Stewart’s goal and the fused vision of this highly stylized production make it effective across the board. The Elephant Man at the Pico Playhouse leaves a full sized creative foot print for future productions to try and follow.
The Elephant Man Plays at the Pico Playhouse until May 13th http://www.picoplayhouse.com/
Tuesday, April 17, 2012
SLOW DANCE IN MIDTOWN
Any world premiere production is saddled with the unspoken concession that there is very little new under the theatrical sun. However, it is still possible to tell meaningful, relevant, and interesting stories in a way that casts a fresh light on the characters whose lives they chronicle. Bella Vita Entertainments production of Slow Dance in Midtown at the Whitefire Theatre in Sherman Oaks is a glowing example of stories told anew and dedication to detail.
A bar with an absentee bartender is likely a flight of the imagination that most people will never find in reality. However, it is the principal conceit in Elizabeth Sarnoff’s original work Slow Dance in Midtown. The play opens on Frank (Don Swazye) alone in a bar. He is soon joined by Sal (Nick Stabile), and the two men’s history is quickly revealed. Both from the same home, the pair took decidedly different paths. Now, on either side of the law, they struggle to communicate with one another and indulge both in insult and bottle. By the end of the first act, it becomes clear that their relationship is forever fractured and even the illness of a shared family member cannot bring them together again. The second act opens in the same bar on Kate (Tricia Small) drinking soda and awaiting her ne’er-do-well brother, Sal. Instead, Maria (Meredith Scott Lynn) blows in like a hurricane and swiftly drives Kate to take to stronger libations. In the end, the story comes full circle and delivers a fulfilling conclusion, despite the lives that still hang in the balance.
Swazye plays well the world-weary and weathered NYC detective and Small is strong as Kate. Stabile is fully engaged as Sal, providing depth and cohesiveness to the role that he rides from beginning to end. Lynn befits her part like a skin she was poured into and delivers a flawless performance full of laughs and crucial believability. Sarnoff’s direction is top notch, and while, at times, the information delivery becomes a bit laborious, her script overall is gratifying and poignant, leaving you with the feeling that this playwright has much to offer. The action takes place on one singularly beautiful set designed by Tom Buderwitz and Andy Hammer. While patrons might be hard pressed to find an intact Boston Red Sox hat in any bar contained within the five Burrows, this fully realized and captivating set is so authentic that one feels they could almost step into it and live there. The cast is further supported by well-conceived and fitting costumes as well as a talented design team, but it is the characters and unique story telling that gives Slow Dance its beat.
Slow Dance in Midtown runs through May 12th at the Whitefire Theatre in Sherman Oaks. http://www.slowdanceinmidtown.com/
Any world premiere production is saddled with the unspoken concession that there is very little new under the theatrical sun. However, it is still possible to tell meaningful, relevant, and interesting stories in a way that casts a fresh light on the characters whose lives they chronicle. Bella Vita Entertainments production of Slow Dance in Midtown at the Whitefire Theatre in Sherman Oaks is a glowing example of stories told anew and dedication to detail.
A bar with an absentee bartender is likely a flight of the imagination that most people will never find in reality. However, it is the principal conceit in Elizabeth Sarnoff’s original work Slow Dance in Midtown. The play opens on Frank (Don Swazye) alone in a bar. He is soon joined by Sal (Nick Stabile), and the two men’s history is quickly revealed. Both from the same home, the pair took decidedly different paths. Now, on either side of the law, they struggle to communicate with one another and indulge both in insult and bottle. By the end of the first act, it becomes clear that their relationship is forever fractured and even the illness of a shared family member cannot bring them together again. The second act opens in the same bar on Kate (Tricia Small) drinking soda and awaiting her ne’er-do-well brother, Sal. Instead, Maria (Meredith Scott Lynn) blows in like a hurricane and swiftly drives Kate to take to stronger libations. In the end, the story comes full circle and delivers a fulfilling conclusion, despite the lives that still hang in the balance.
Swazye plays well the world-weary and weathered NYC detective and Small is strong as Kate. Stabile is fully engaged as Sal, providing depth and cohesiveness to the role that he rides from beginning to end. Lynn befits her part like a skin she was poured into and delivers a flawless performance full of laughs and crucial believability. Sarnoff’s direction is top notch, and while, at times, the information delivery becomes a bit laborious, her script overall is gratifying and poignant, leaving you with the feeling that this playwright has much to offer. The action takes place on one singularly beautiful set designed by Tom Buderwitz and Andy Hammer. While patrons might be hard pressed to find an intact Boston Red Sox hat in any bar contained within the five Burrows, this fully realized and captivating set is so authentic that one feels they could almost step into it and live there. The cast is further supported by well-conceived and fitting costumes as well as a talented design team, but it is the characters and unique story telling that gives Slow Dance its beat.
Slow Dance in Midtown runs through May 12th at the Whitefire Theatre in Sherman Oaks. http://www.slowdanceinmidtown.com/
Monday, April 16, 2012
FANTASMIC
To live in southern California is to acknowledge that we live in a world of entertainment, and the man who built a tremendous amount of that reputation is the unparalleled Walt Disney. Mr. Disney would doubtless stand up and cheer Disneyland’s amazing spectacle Fantasmic.
Any trip to Disneyland is bound to be filled with fun and enchantment, as well as Tea Cups, Wild Rides, Haunted Mansions, and mice with four fingers. However, Fantasmic, Disney’s on the water parade that runs during high-traffic times of year is one of the finest displays of live technical knowhow and entertainment anywhere on the planet. Any superlative assigned to this show is sure to be lacking, as it is, quite simply, Disney at its best.
Led by Mickey Mouse and concluded by Steamboat Willie, Disney’s Fantasmic is conducted on the water to a soundtrack of classic songs and dialogues from the finest of the Studio’s well-known films. Scenes are projected on mammoth sprays of water framing a stage across the river. The loveable mouse starts the show wearing his sorcerer’s hat, and through the course of the production, battles 20 foot tall dragons and witches, all while orchestrating a cast of characters that float magically by on driverless boats, thrilling audiences of all ages.
On the river, the most impressive manifestation is the full-sized pirate ship where Captain Hook pursues Peter Pan in a choreographed melee that covers the entire vessel and is filled with stunts and characters that rival anything else produced on the Southern California stage. Once Pan and his cohorts have passed, the crowds gathered 12 deep on the banks of the river are treated to the cast of characters that we have all come to know and love through the years. Each scene travels through the water on platforms of varying size and is complemented by seamless lights and sound that deliver every ounce of entertainment one can hope for. While the seating is first-come, first-served, and on inclement nights could be less than ideal, there is not a bad seat in the house for this expansive show. Presented in the evening as the park nears closing, anyone rushing out of the gates would be remiss to forego this artistic endeavor that will leave you in awe and prove that the magic and spirit of Walt Disney is alive and well in Anaheim.
Fantasmic runs throughout the year at Disneyland, usually during high-traffic, warm weather times of year.
http://www.studioscentral.com/fantasmic-show-times-and-schedule
To live in southern California is to acknowledge that we live in a world of entertainment, and the man who built a tremendous amount of that reputation is the unparalleled Walt Disney. Mr. Disney would doubtless stand up and cheer Disneyland’s amazing spectacle Fantasmic.
Any trip to Disneyland is bound to be filled with fun and enchantment, as well as Tea Cups, Wild Rides, Haunted Mansions, and mice with four fingers. However, Fantasmic, Disney’s on the water parade that runs during high-traffic times of year is one of the finest displays of live technical knowhow and entertainment anywhere on the planet. Any superlative assigned to this show is sure to be lacking, as it is, quite simply, Disney at its best.
Led by Mickey Mouse and concluded by Steamboat Willie, Disney’s Fantasmic is conducted on the water to a soundtrack of classic songs and dialogues from the finest of the Studio’s well-known films. Scenes are projected on mammoth sprays of water framing a stage across the river. The loveable mouse starts the show wearing his sorcerer’s hat, and through the course of the production, battles 20 foot tall dragons and witches, all while orchestrating a cast of characters that float magically by on driverless boats, thrilling audiences of all ages.
On the river, the most impressive manifestation is the full-sized pirate ship where Captain Hook pursues Peter Pan in a choreographed melee that covers the entire vessel and is filled with stunts and characters that rival anything else produced on the Southern California stage. Once Pan and his cohorts have passed, the crowds gathered 12 deep on the banks of the river are treated to the cast of characters that we have all come to know and love through the years. Each scene travels through the water on platforms of varying size and is complemented by seamless lights and sound that deliver every ounce of entertainment one can hope for. While the seating is first-come, first-served, and on inclement nights could be less than ideal, there is not a bad seat in the house for this expansive show. Presented in the evening as the park nears closing, anyone rushing out of the gates would be remiss to forego this artistic endeavor that will leave you in awe and prove that the magic and spirit of Walt Disney is alive and well in Anaheim.
Fantasmic runs throughout the year at Disneyland, usually during high-traffic, warm weather times of year.
http://www.studioscentral.com/fantasmic-show-times-and-schedule
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