Showing posts with label Theater Reviews. Show all posts
Showing posts with label Theater Reviews. Show all posts

Sunday, January 15, 2017

Writers Resist - Defiance, Remembrance and Inspiration in Venice

Today I went to the Writers Resist event at Beyond Baroque in Venice. It was a packed house, raising funds for the ACLU. I believe they could only fit about 100 people in the room, so they used a patio as overflow space and pumped the audio feed out there. It’s too bad they didn’t have a bigger venue for this incredible gathering of writers, but then again it was nice that the event had an intimate feeling.


Writers Resist events took place all over the country today in honor of Martin Luther King Jr. Day and in response to the impending inauguration. Nobody used the President Elect’s name today but he hung like a specter over the proceedings. The event was three hours long and 27 writers were given five minutes each to read their own work or work of other writers that suited the theme.


Some writers read from Dr. King’s work. Viet Thanh Nguyen (below) read from the speech “Beyond Vietnam”. David Ulin - after saying he was angry we all had to be there, that things had come to this point - read “Letter from a Birmingham Jail”.




Some writers used their timeslots to pay tribute to other writers. Carol Muske-Dukes read from “Of Courage and Resistance”, a speech given by Susan Sontag. Ishmael Beah read “Let America Be America Again” by Langston Hughes. Dana Goodyear read Ann Sexton’s poem “Snow”. Naomi Hirahara read from Michi Weglyn’s book “Years of Infamy” about Japanese internment camps. Mona Simpson read Matthew Arnold’s poem “Dover Beach”. Amy Wilentz revisited The Gettysburg Address. Safiya Sinclair (below), Lynne Thompson and Vanessa Villarreal gave stirring readings of June Jordan poems, including “In Memoriam: Martin Luther King, Jr.”.




Some of my favorite readings were from those who shared their personal stories about the election. Aimee Bender read an essay about an election night party she tried to host that turned out to not be much of a party. They had to throw the jug of cocktails down the drain. She tried to give leftover pizza to a neighbor, but the neighbor said he had lost his appetite.  It reminded me of my own dark night of the soul on election night in the fun capital of the world Vegas, after a week of canvassing for Hillary (I wrote about it in this essay). Meme Kelly shared a letter she wrote to her sons after the election to help them grieve and encourage them to carry on. Michelle Latiolais read a fantastic piece about her sister excitedly telling her last week’s news about Russian interference. Michelle knew it wouldn’t derail anything. “You can’t blackmail someone who has no shame,” she wrote. Douglas Manuel talked about drinking “Nasty Woman” cocktails in anticipation of an election night celebration that didn’t come, and then read a Jean Valentine poem called “I Came to You”.


Some shared original work. Douglas Kearney wrested everyone’s attention with a dramatic interpretive riff on the theme of “We Shall Overcome.” Ron Carlson read a hilarious poem about being annoyed by someone in front of him texting in his car who had ignored the light changing to green. Victoria Chang read her thought-provoking poem [Today my daughter wants to be a waitress when she grows up she doesn’t]”. Amy Gerstler read her poem “Giraffes”, and Vandana Khanna shared her poem “Dot Head”.


I was also somewhat relieved to hear that all these successful writers who I know have better self-discipline and work habits than me were also having trouble writing since the election. But this is the kind of event that reminded me how important it is that we try, and if we can’t manage to write right now, at least we can read some important classic works, like the ones I've linked here.




David St. John (above), one of the organizers of this amazing event, closed the gathering by remembering a conversation between his mentor Adrienne Rich and Philip Levine. I may not be remembering the exact quotes, but this is the gist...


Levine: There’s still work to be done.

Rich: There’s always going to be work to be done.


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Wednesday, November 04, 2015

Courtney Love and the Kansas City Choir Boy Take Culver City

As a long-time Courtney Love fan, I couldn't pass up the unprecedented opportunity to see her on stage a mere two miles from my condo. She is currently co-starring in Kansas City Choir Boy at the Kirk Douglas Theater, running until November 8.  

This was my first time to this theater and it was arranged for this show with seats on three sides of the action. The staging area for the musical was quite small, and it felt very intimate.  This is not the kind of show I normally like, as it has very little narrative, but I found myself really enjoying it.

Todd Almond wrote and stars in the musical, as the unnamed Kansas City Choir Boy, who recounts his relationship with Athena (Courtney Love) in flashbacks after seeing a TV news report that she was murdered in a park. Girl meets boy in Kansas City, girl dreams of being an actress, boy writes music, girl leaves to pursue dreams in New York, girl meets a tragic end, boy struggles to go on and seeks her inspiration from beyond the grave.  That's about as much of the storyline as I could gather. It's never really explained why he doesn't want to go to New York with her, since he has artistic aspirations, too.

Besides the two principals, there's a group of women known as the sirens who form a Greek chorus. The choreography for the sirens kept things interesting, as did the creative lighting.  At times the sound mix was a bit muddled, so it was hard to make out what the actors were singing. A string quartet plays at some points and provides refreshing interludes. The songs were appealing, but I couldn't hum any of them a day after seeing it.

Courtney is mesmerizing with her alabaster skin and commanding presence, however she doesn't have much to do and her character isn't really developed. She basically functions as a muse.  At one point, she appears in a black dress that is just spectacular. It's hard to keep your eyes off her. I have been glad to see her in Empire and I hope she continues to focus more on acting. Her singing voice is not for everyone but since the material here is rock-oriented, it works. It would be even better if the script was developed further. It's more of a sketch than a fleshed-out story. 


There's palpable chemistry between Almond and Love, and anyone who has loved and lost will find something relatable in the show.  Almond based it on his own experience growing up in the midwest and watching TV news and seeing the face of an actress he had been working with who had been murdered in a park.  

After the show, there was a talkback, and most of the audience admitted they had no idea what they had witnessed or what the story was about.  One woman mentioned she had not been familiar with the music of Cyndi Lauper before seeing the show - clearly, she had her singers with the initials CL confused! Most enjoyed the show for its creativity in lighting, staging, and music. The musical is only an hour, so I think it can get away with its vagueness without wearing out its welcome.  

Although I bought tickets through Goldstar Events, we ended up in the front row, and I felt a bit starstruck to be so close to Courtney. A girl next to me could hardly sit in her seat due to her excitement at almost being able to touch the rock icon. I realized the last time I was this close to Courtney was way back in 1994, when I saw Hole on their Live Through This tour at a small club in St Louis. 21 years later, she is still mesmerizing, raw, and a very real presence in an ethereal musical.  


Kansas City Choir Boy official website

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Sunday, October 31, 2010

Rocky Horror 35th Anniversary Show

Thursday's all-star tribute to The Rocky Horror Picture Show was a night out that I am going to remember for a long, long time. It was definitely one of those "only in LA" events, and it was all for a great cause - The Painted Turtle, a camp for special needs kids.

Lou Adler, who produced the movie, put the evening together, and called in some favors from many of his famous friends to put together an all-star cast that accompanied the shadow cast. What made this a must-see for me was the inclusion of Jack Nicholson, who shared the narrator role with Danny DeVito. To my knowledge, Jack hasn't performed on stage since his high school plays, so this was really special to see. Jack and Lou have sat next to each other at Laker games for over 30 years, so I imagine that friendship plus the good cause prompted Jack to get involved.

The event took place at The Wiltern. Dave and I were running a bit late so didn't have any time before the show to mingle and check out everyone's great costumes. We came dressed as Time Warp party guests. Upon arrival, we got t-shirts and quickly made our way to the balcony where the show was about to begin.

Adler and director Kenny Ortega (best known for his work with Michael Jackson, including This Is It) did a terrific job of staging the show in a way that paid appropriate homage to the movie and the cult experience of the movie. The movie played on a big screen, and an all-star shadow cast reenacted it on stage (the all-star cast appears on the new blu-ray and is comprised of the best shadow cast members from around the world). Then they'd pause the movie to have the celebrities come out and actually speak the lines or sing the songs live, sometimes on their own and sometimes accompanied by the shadow cast.

Matthew Morrison and Lea Michelle kicked things off as Brad and Janet, fresh from the Rocky Horror episode of Glee. Nicole Scherzinger of The Pussycat Dolls was a sexy usher. Then there was a huge ovation for Jack Nicholson, who came onstage and settled into an easy chair for the opening narration. Listening to Jack read again reminded me of listening to my old audio cassette of him narrating The Elephant's Child - if you can find this, it's really cool, with Bobby McFerrin doing the music. They won a Grammy for it. Personally, I could listen to Jack read the phone book.

The second narrator was Danny DeVito, who instructed us on how to dance the Time Warp. Evan Rachel Wood played Magenta and Lucas Grabeel (High School Musical) was Riff Raff. Melora Hardin was Columbia. Most of the audience got up and tried to do the dance, although it wasn't easy being packed into theater seats.

Julian McMahon (Nip / Tuck) made a great Frank N. Furter. He really got into it and seemed to be totally comfortable in the costume. He wasn't dreaming it; he was being it. My only regret about the evening was that our seats were in the balcony. I wish I hadnt cheaped out and had sat down closer. It was hard to tell who the celebs were from our vantage point, and we weren't able to pick up a program until after the show. We totally missed Ricki Lake, and only noticed her during the curtain call (and I'm not sure who she played).

Jorge Garcia (Hurley from Lost) knocked it out of the park as Eddie. He can really belt. And George Lopez was daring as Dr. Scott, sporting the fishnets. There were some audio issues during his scenes and part of his dialogue was lost.

Jack and Danny returned to the stage to do the final narration together, to another big ovation.

Lou Adler brought everyone out for a curtain call and talked a little about The Painted Turtle. He then surprised us by calling up a couple of notable folks from the audience: Barry Bostwick and Tim Curry. The theater went nuts for Tim and the shadow cast on stage was truly starstruck. Then everybody did the Time Warp one more time, although Tim and Jack slinked off stage.

There was a costume ball afterwards, catered by Wolfgang Puck. Admission was $500, so we passed on that. We had a terrific time. I hadn't seen the movie in a few years, and it's always good to revisit it. I have been feeling a bit down lately about the lack of creative output in my life, and the movie reminded me that I just need to get off my butt and do it. Don't dream it; be it. I've been singing that everyday since the show.

Thanks to Lou Adler for putting together such a spectacular event!



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Friday, January 25, 2008

Steve Martin: a Conversation with Carol Burnett

(Jan 24, 2008, at The Wilshire Theater Beverly Hills)

Imagine my glee finding Steve Martin’s latest book, Born Standing Up: A Comic's Life, sitting in a stack at a Santa Monica bookstore and discovering that it was not another piece of fiction but a biography about his long-lost life as a stand-up comedian. And here I’ve been kvetching so much about his abandonment of the art form for more well-heeled work in academic theatricals intermingled with big-budget, saccharine movie turds. (I’ll take fifty Lonely Guys any day if we can just forget that movie with Queen Latifah ever happened.

My brothers and father would re-tell scenes of The Jerk at the dinner table. I knew the entire “he hates cans!” routine before I ever watched the movie like I knew “it’s only a flesh wound” years before watching Monty Python’s Holy Grail). My brother also had the King Tut Steve Martin album which we both loved (the embezzling cat story, the France bits). However, my admiration of Martin didn’t survive past the movie Roxanne, which was so sweet it hurt my teeth. And his appearances on SNL and talk shows struck me as cold. Then he did that great Oscar hosting job and I was back yearning for his old days of stand up. Then the bad movies with too many weddings and kids and Goldie Hawn romances happened and I was put off again.

Let me tell you, Martin's new book did wonders for showing a much warmer human being. And it’s a recommended read for his insight into how a comedy act is assembled, structured and crafted over years of sweat and experimentation, also delving into what it feels like on the other side of 40-thousand fans who know your routines by heart.

Good enough. But then it was announced that Steve Martin would be talking with Carol Burnett at a special event in LA at hosted by the group Writers Bloc. I was in heaven!

The theater was huge; the event was sold out so we had to sit in the balcony where I was too far away to ask my big Steve Martin question at the Q&A, which was: As a writing team for The Sonny & Cher Comedy Hour, why didn’t more of Bob Einstein and Steve Martin’s early-70s brilliances end up on the show? Sonny & Cher’s show is now remembered as an amazing variety show…but not for its comedy. It’s loved for its eclectic guest roster, Bob Mackie costumes and torch musical numbers.
Even the opening monologue (the only comedic bit every discussed today) mostly succeeded on S&C chemistry. And Martin was working on some cutting-edge material at the time, his own act was about to explode. Bob Einstein was already doing Super Dave Osbourne on the John Byner show.

Asked what bits Martin did for The Smothers Bros show (one of his writing gigs before S&C), he joked that “all the best stuff you remember…I wrote that.” But alas, for the S&C show, there was no best stuff.

There was on irritating aspect of this “conversation” between Burnett and Martin and it was Carol Burnett. Press lead us to believe this would be talk about Martin’s new book. Burnett however seemed disinterested in interviewing Martin at best, dead set against asking any questions at worst, letting dead silence hang in the air instead of doing any work. She asked him probably a total of two questions, both lame. One question was who his favorite movie star was. This turned into an excuse for her to segue, with neck-breaking speed, into an anecdote about that particular movie star, Cary Grant and how Grant loved her show. Frankly, she seemed only motivated to tell Carol Burnett Show anecdotes about herself.

Her other question to Martin was about how he started out as a TV writer which only betrayed the fact that she hadn’t read the book or even done a quick IMDB or Wikipedia search for a brief timeline on his career.

To Martin’s credit, he made gentlemanly (as in gentle) attempts to keep the conversation going, respectfully taking the piss out of Burnett’s strange reluctance to engage in any real “conversation” about comedy. At one point Martin joked, “I DARE you to ask me a question.” She never really did.
And it pains me to complain about Burnett because she is one of my comedic idols along with Steve Martin and Harvey Korman. I believe The Carol Burnett Show was one of the three most influential comedies of the 70s (along with The Mary Tyler Moore Show and All in the Family) and a landmark moment for women in comedy and a variety show of superior quality. And she deserves to be knighted for that. But the truth is, she hasn’t done anything worthy of knighthood since then (although I loved her in Annie and The Four Seasons).

And I’ve heard all the Carol Burnett anecdotes many times, have taped all the reunion specials, read her autobiography (One More Time) her biography (Laughing Till It Hurts by J. Randy Taraborrelli).
Steve Martin has been far less available for public introspections of this kind. It would have garnished Burnett extra kudos for showing some interest in this comedic trailblazer she was sitting next to. Instead she came off as Hollywood, as a self-absorbed scene-stealer. And too make matters worse, her anecdotes took too long to perform. She sunk too many details into each story, making sure we knew the name of every person in the business she ever worked with or talked to. I kept thinking “can we get back to Steve please?”

On the other hand, Martin was accessible and pleasant with the fan Q&As and showed true affection for Burnett. I wished he would have showed more interest in contemporary comedians, however, when asked for his favorites. His disinterest in even knowing the names of his most recent famous co-workers felt a little isolationist.
But I’ve come a far ways if that’s the worst thing I could say about Steve Martin. His book went a long way to showing a person with flesh and feelings, portraying a modest, thankful kid from Orange County after years of seeming affected and quietly arrogant.

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Monday, October 29, 2007

Westside LA Gets a Cool New Haunted House!

Coolia and I decided to visit our local haunted house last night, an abandoned Blockbuster Video locale, where Westwood, Overland and the 405 converge. Now I used to work at Blockbuster so I know just how scary the prospect of a haunted Blockbuster is...our sufferings from a cheapskate employer and ever disappearing employee discounts ("What do you mean video rentals are now full price for all employees? I don't want discounted jiffy pop!") This Blockbuster in question was particularly horrifying when it was open - a pitiful selection and zombie-like service. Good riddance to bad rubbish I said when the shop closed down months ago. I never dreamed ghosts and goulies would start squatting at the place.


Because it's our hood, we found it by driving by...no news is sometimes a little bit scary. These do-it-yourself haunted houses don't feel quite as....um...safe. The handmade signs look a little nutty.

But the ticket-takers seemed normal enough and you could adjust your own scare-level, which was very decent of them. We picked Code Red which was just shy of the ultimate scare Bloody Code Red or Bloody F-ing Code Red. I can't remember.

The do-it-yourself-ness of the maze reminded me of the great haunted mazes of my old neighborhood in St. Louis. And for $12 (less for kids), it was perfect, just long enough but not rip-off short. And the ghosts were fully into their tasks; some were downright creepy.

What I appreciated most was that they controlled the experience, only letting one group of friends enter at a time (as you know there's protection in numbers; no protection in no numbers - which makes the crowds at NotScaryFarm kind of a drag) and the ghouls "personalize your journey" as you walk through. It's both hilarious and effective.

For more information on the maze, visit their MySpace page.

To read another review on them: http://laist.com/2007/10/25/west_la_gets_a.php

Here are the details:
Creepy Hollow
3101 Overland Ave.
Corner of National and Overland (where Blockbuster used to be)
Neighborhood: Palms
Hours: Friday- Sunday 7 :00 PM- 11:00 PM
Open Halloween

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Monday, July 02, 2007

A Trip to Kwik E Mart



As I drove back from seeing Sicko tonight, I noticed searchlights. Hmm, these seem to be near my house, I thought, as I drove closer. Suddenly, I saw the source - my 7-11 had been transformed into a Kwik-E-Mart!

There was a line to get in and I had to search a while to find street parking. They had painted the building and changed the signage. The windows displayed ads for Krusty-Os and Buzz Cola. It was quite a scene, with tons of folks cruising by to gawk.

It took about 10 minutes to get inside, and once inside I checked out the merchandise and amusing signage. The slurpee machine now sold squishees in flavors such as Bubble Yum (I refrained). I picked up some Krusty-Os and Buzz Cola. They were also selling ice chests, t-shirts, toys, etc. No Duff beer, but, hey, you can't have everything.


The usually beleaguered Indian 7-11 proprietors had new uniforms and didn't seem to mind being addressed as Apu. Why should they? They were raking in the bucks!

If you're in LA, go check it out at the corner of Venice and Sepulveda. There are 12 stores throughout the US and Canada that have been transformed.

Read more about it in
Business Week.



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Sunday, December 24, 2006

Carrie Fisher Trashes Her Parents To Their Faces

I’m a big fan of Carrie Fisher. I admire her frankness and wit. In her books, she’s shown an uncanny ability to wring humor from the low points of her life, which range from drug rehab to being bipolar to discovering her husband was gay. So, I was excited to see her one-woman show Wishful Drinking, now playing at The Geffen Playhouse, and the show lived up to my hopes.

Upon arriving at the Geffen, I had to wait in the lobby for my friends to arrive. I immediately spied Leonard Maltin chatting with friends. Then I saw a petite woman with highly-coiffed blond hair. Her back was to me, but I thought it could quite possibly be Carrie’s mom, Debbie Reynolds. Sure enough it was Debbie, I realized, and so did Leonard, who rushed over to say hello. Debbie was glowing and looked quite well-preserved. I snapped a blurry camera-phone pic.


Knowing Debbie was there, it was hard not to cringe during some portions of Carrie’s show, as she describes bizarre moments like Debbie suggesting Carrie have a child with Debbie’s husband because the child would be attractive, and describes how two of Debbie's loser husbands stole all her money. In a smart and funny segment, Carrie talks about how her teen daughter was having a flirtation with Elizabeth Taylor’s grandson and she charts out all the relationships of her mother, her father Eddie Fisher, and Elizabeth, who stole Eddie from Debbie, on a blackboard in order to prove the teens’ relationship wouldn’t be incestuous. She talks about Eddie being married to a Chinese woman who passed away, and she said Eddie then moved to San Francisco because it has a large Chinatown and he’s got an affinity for Asian gals. She said he was even starting to look Asian himself due to all the plastic surgery.


Carrie talked about her father’s speed addiction, his abandonment of the family to be with Liz, and even recalled doing coke with him. And then I saw him in the lobby at intermission! Oy, imagine sitting in the audience and watching your daughter spill all your dirty laundry. Eddie is very petite and does in fact look Asian. I didn’t see Eddie and Debbie mingling, but they may have. If Carrie can laugh about things, maybe they can too after all these years.


Carrie never acknowledged her parents’ presence from stage. She just did her thing, giving a warts-and-all portrait of herself and them. Her anecdotes about Star Wars were really funny, and she even donned a donut-head wig. The finale will delight any Star Wars fan, and the rest of the show will please anyone with a love for sarcasm and a fascination with celebrity culture. I would have loved to be a mynock on the wall at the after-party with Carrie, Debbie, and Eddie.

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Tuesday, November 15, 2005

From Sitcom Dad to Big Daddy

I caught a preview performance of Tennessee Williams' Cat on a Hot Tin Roof at the Geffen Playhouse. Running from Nov. 16 - Dec 18, this play is the debut performance for the newly remodeled Geffen. While I can't compare it to the old theater since I never visited, I can say the new theater is quite plush with comfortable seats and plenty of leg room. The stage is large, but the theater feels intimate, and I don't think there's a bad seat in the house. I had not seen this play or the movie version before. While a tad overly long and talky, it's a good show and the actors handle the material capably. Brenda Fricker doesn't have much to do as Big Mama, but John Goodman fills the suit of Big Daddy quite well. I find it hard to get the image of him as Roseanne's hubby out of my head, so I didn't think he mustered quite enough menace to really do the role justice. He got the blustering and the accent right, but his sitcom presence didn't quite translate to the stage. I don't think this is really John's fault - he's a great actor. It's just the curse of being in people's living rooms everyday for perpetuity thanks to reruns. Jeremy Davidson did a good job as the closeted Brick and Jennifer Mudge was suitably smoldering and smothering as his wife Maggie. I tend to prefer realism, and although Tennessee gets the dysfunctional family thing down perfectly, he also makes his characters speak in metaphors and that takes me out of the moment. I mean, when was the last time someone told you, "I feel all the time like a cat on a hot tin roof." It's excellent writing, just not really my cup of sweetened ice tea.

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