Sally Kellerman Still Smooth and Sexy

Sally Kellerman performed @ Vitello's

promoting her new CD Sally. She's one red hot mama!

see review below!

CABARET review - Sally Kellerman @ Vitello's

Academy-Award nominated actress/singer Sally Kellerman presented her cabaret act as a sort of CD party for Sally Wednesday June 30 @ Vitello's. What a knockout! This lady knows her way around a tune and knows how to envelop her audience. Spontaneous from the getgo, she oozes sensuality from every pore - still intact after 40 some odd years - and utilizes her smoky voice to its greatest advantage, whether she's crooning the jazz of Cole Porter or Chris Caswell. She's fun, makes fun of herself and plucks every ounce of meaning from each and every lyric. I've always said the best actresses make the best singers, because when they love the material and put their soul into it, it traverses
the footlights.
At one point Kellerman talked about how hot the dressing room had been. She felt the need for exercise and started to run in place as she delivered a song. At its close, she suddenly collapsed to the floor and sighed "Well, it seemed a good idea at the time. I think I'll do the rest of the show from down here. You've seen me. Nothing special!" Boy oh boy, how wrong she is! At another moment she glanced sideways at marvelous pianist Andy Langham and asked "Is it time for something wild?" at which point she burst into a feverish "Somebody Call the Cops!" by Caswell. Later she kicked off her shoes and did a little tap to "It Could Happen To You". Like a giant improv or delicious potluck, thoroughly entertaining from moment to moment with Kellerman calling all the shots, the hour long set went by all too quickly.
Other highlights included: the tantalizing "I Want a Little Sugar in My Bowl" by Nina Simone, George Gershwin's intimate "I've Got a Crush On You" as Kellerman wisely mingled with the audience, Leiber and Stoller's delectable "Love Potion # 9", just made for Kellerman's sultry tones, the hilariously enticing "Don't You Feel My Leg", the gorgeous "Say It Isn't So" by Mervyn Warren and Billy Hill's "The Glory of Love" as encore.
Magnificently backed up by Langham on piano, Ryan McGillicuddy on bass and Kevin Kanner on drums - who opened with a splendid jazzed-up rendition of "If I Were a Bell", Kellerman's evening was hot, hot, hot. She has fun, you have fun and that's what makes for great cabaret. A red carpet at Vitello's awaits her speedy return!
Visit: www.sallykellerman.com

Domonique Paton Supreme @ Sterling's Upstairs @ Vitello's

Congratulating James Lent, pianist and singer Domonique Paton after their incredible performance on Sunday, June 27.
see review below!

Gregg Marx @ Maggiano's

Usnavi - a gracious Lin-Manuel Miranda

The amazing creator/star of In the Heights opening night at the Pantages.
See review below!!

CABARET review - Domonique Paton

Singer/musical comedy actress Domonique Paton, runnerup in LA's Next Great Stage Star 2010 made her cabaret debut Sunday June 27 at Sterling's Upstairs @ Vitello's to a thundering standing ovation. What potential for great success this young artist has! She is vibrantly alive with a strong voice and steadfast delivery that in the past have served quite well the like of Stephanie Mills, Diana Ross and Miss Lena Horne who all had gigantic careers on Broadway, the big screen and in the recording studio. Paton possesses that rare star quality that will sustain her for life if she keeps on singing. Virtuoso pianist/accompanist James Lent served as musical director.

Highlights of the evening included: her sock-it-to-them opener "Don't Rain On My Parade", a beautiful "My Joe" by Oscar Hammerstien and George Bizet from Carmen Jones - it once scared her and took her vocally to the next level, a stunning medley in honor of Miss Horne: "Stormy Weather" and "If you Believe" from The Wiz, "Summertime" from Porgy and Bess and the optimistically dynamic "It Won't Be Long Now" from In the Heights. On the fun side, Paton sang songs from roles she would never play, like "Johanna" from Sweeney Todd, "The Music of the Night" from Phantom, "Popular" from Wicked and "I Am Telling You" from Dreamgirls. There was also an amusing tune that suits a black lady best "Random Black Girl" by Michael Kooman and Christopher Dimond, in which the singer sustains the notes on and on and on in that inimitable style ...which Paton did amazingly well. There was also a contemporary medley of move/groove to the music stuff like "I Wanna Dance With Somebody" by Whitney Houston and "Crazy" by Gnarls Barkley. She concluded with the wonderful "Home" by Charlie Smalls from The Wiz, and encored with "Waiting For Life" from Once On This Island.

This was a first for Paton, so adding some audience participation and variety to her show will come with time. She should also add a couple of low-key 'just for fun' melodic tunes that show a more layed-back, less dramatic quality. She is a truly outstanding performer with a sterling set of pipes who is destined for only the best.

Rock on!

review - CHiPS The Musical

CRITIC'S PICK
The Troubadour Theater Company
CHiPS the Musical
written by Rick Batalla & Henry Phillips
directed by Matt Walker
Falcon Theatre
through July 25

It's always great news when the Troubies return to the Falcon for their summer shows. Two seasons back they lampooned The Brady Bunch and maid Alice in Alice Through the Looking Glass and 60s/70s television sitcoms were never the same. This season they turn to TV drama and the 1977 blockbuster CHiPS - and for the very first time, ladies and gentlemen, the Troubies have created their very own musical score for CHiPS The Musical. Rick Batalla and Matt Walker play the simple-minded Ponch, played originally by Erik Estrada and John Baker, originally played byLarry Wilcox, respectively. Needless to say, skin tight uniforms, Ponch's sexy bod and John's perfect coiff aside, these guys bring new and obscenely funny meaning to being California Highway Patrolmen. Thank Heavens! The Troubies' outrageous parody/improv makes this dull show better than it was, or could be or ever hope to be!

Rick Batalla is one helluva funny guy. Not unlike Tim Conway, one of the most brilliant physical comedians ever, all he has to do is get down on the floor to pick up his shades in slow motion - that's a show all by itself. His Ponch is a howl! What can be said about Walker as John? This mischievous clown - blond, redhead or brunette - can do it all, and never let's us forget it!. Batalla and Walker ride their bikes in front of an onstage screen careening over sidewalks and pedestrians and even float above the earth for a bit as they serve to keep the streets of LA safe and secure. Watch out! A lesbian environmental terrorist group-Gang Green-led by KG (the mega funny Beth Kennedy), a synthetic albino, is out to create havoc for the likes of Jim (Joel McCrary), a diner owner who sprays his hair and drops tons of garbage in the sewer outside his establishment, enhancing LA's already deadly pollution. Kennedy is another physical comedienne like Batalla and Walker whose every move onstage has comic meaning - just to see her peel off a bandaid, calling it albino rind, burnt by the sun, is one hilarious moment. McCrary, a big guy, has great presence and when he opens his mouth, he makes it even bigger - he's a hoot and what a great singer! We cannot forget funnyman Mike Sulprizio as Sgt. Joseph Getrear, originally played by Robert Pine. 'Get rear', as the Troubies call him, has a bit too much of the iron fist control and leaves the force for a while to be de-sensitized at Camp Sensitive led with gay aplomb by two Sensitive Guys (Joseph Keane and Andy Lopez). Funny gal Christine Lakin plays Statch, the one female on the force who is asked more than once to bend over and pick up the occasional pen. And Getrear's temporary replacement tough Carmel played with a good balance of toughness and sensuality by Michelle Anne Johnson sure as shootin' gets Ponch in the mood for action. Caroline Gross does a beautiful 'on the ribbons' ballet as she - well, I won't spoil that fun! The highway is not only full of Gang Green but more menacing bandits like a truckload of clowns that our boys help to safety in style. Musn't forget Matthew Morgan as couch potato Grossman, Meleney Humphrey, Kristin D'Andrea, Jen DeMinco, Jackie Seiden and Mike Teele who complete the fab Troubie ensemble.

Praise to the Band with composer Henry Phillips on guitar, Kevin McCourt on keyboard, and on drums musical director Eric Heinly.

The rockin' music, the dancin' (mean choreography from Ameenah Kaplan) and the in-your-face comedy is all here. It's nonstop fun that simply rocks and rocks some more on and on and on... for two whole hours. YEAH! It's better than TV Land, believe me! No intermission, so be sure to p-- before the show.

PG Bring the older kids!

5 out of 5 stars

review - King Lear

CRITIC'S PICK
King Lear
by William Shakespeare
directed by Bart DeLorenzo
The Antaeus Company @ Deaf West Theatre, NoHo
through August 8
alternating casts: Fools* led by Dakin Matthews
& Madmen by Harry Groener

Difficult to believe, but this is the first full production of a Shakespeare play performed by the Antaeus Company, which was founded to keep the classics alive. And that they have, most splendidly with Festivals, challenging new visions like Cousin Bette by Jeffrey Hatcher and Chekhov, but not the Bard - until now. This lavish yet economical King Lear proves beyond a shadow of a doubt that it has been most definitely worth the wait.
Making Lear come alive is far from an easy task. It requires acting champions. There's a once powerful king gone mad, and two of the most sinister daughters ever to trod the boards. Then there are the technical challenges of the expansiveness of the heath, the devastating storm, let alone the battles looming in the background... that must seem completely real onstage. Under Bart DeLorenzo's economically brilliant staging, the Antaeus Company triumphs in all areas.
* The Fools cast is led by the ever resourceful Dakin Matthews whose quick turns from anger to lunacy are emotionally compelling. Whether called upon to be most sanely authoritative, or reduced to the whimpering of a child, he delivers fully and magnificently. Kirsten Potter as Goneril and Francia DiMase as Regan perform their dastardly tasks with a cool and cunning edge, yet always real and leveled. Equally true to form is Rebecca Mozo as Cordelia, the dutiful daughter. Seamus Dever brings seething fire to his dark intentions as Edmund and Ramon de Ocampo is breathtaking as the legitimate victimized Edgar. Norman Snow plays the Earl of Gloucester with restraint and valor, as does Morlan Higgins as the loyal Earl of Kent. Stephen Caffrey is just delightful as Fool, Shakespeare's soothsayer and mouthpiece of wisdom.
Tom Buderwitz' mobile set pieces in wood serve supremely for both interior and exterior locales. A. Jeffrey Schoenberg's costumes, Lap Chi Chu's dark lighting design and John Zalewski's phenomenal sound effects are noble factors all in an elegant production.
The Antaeus Company stands heads above all others as the premier American conveyor of world renown literary classics.
5 out of 5 stars

review - In the Heights

CRITIC'S PICK

In the Heights

conceived &

music & lyrics by

Lin-Manuel Miranda

book by Quiara Alegria Hudes

choreographed by Andy Blankenbuehler

directed by Thomas Kail

Pantages Theatre

through July 25

Lin-Manuel Miranda's Tony and Grammy Award-winning show In the Heights has a lot to shout about. First of all, it's a musical with and about Latinos - way overdue -plus it has a terrific book with a heartwarming storyline and a bevy of exceedingly likeable characters, an unusually varied score, joyful choreography and direction, and an ensemble that rocks.

Led by Miranda himself (for the LA run only) as Usnavi the show starts at about 100 mph and never slows down. The man has a personality and delivery akin to that of comedian Paul Rodriguez. He is everyone's favorite brother, son, you name it. Each day of living in the heights is made better through his contact. If you don't already know him, by intermisssion, you want to be his friend. Arielle Jacobs makes a beautiful Nina, intelligent and caring, not unlike Usnavi, but her good fortune lies outside the heights, not within. Sabrina Sloan is a sultry Vanessa, who, unlike Nina, has less of a chance for self-improvement. She resigns herself to stay, but like most of her friends, rarely lets living get her down. She is up, happy and ready to dance. Elise Santora is Abuela Claudia, everybody's favorite grandma. Hailing from Cuba, she reminisces about starry Havana nights, so missing from the New York sky and keeps a strong faith, if not always for herself, at least for everybody else's goodwill. Natalie Toro and Danny Bolero are Camila and Kevin Rosario, Nina's parents, who will do just about anything to guarantee a successful future for their daughter. Like Miranda, Jacobs, Sloan, Santora, Toro and Bolero are all strong and vibrant actors/singers. Others completing the cherished mix are David Baida as Piragua Guy, Rogelio Douglas Jr. as Benny, so in love with Nina yet 'not fitting in', Isabel Santiago and Genny Lis Padilla as Daniela and Carla, Vanessa's partners at the hair salon, whose gossipy and graphically biting humor keep things jumping, kind of like in a Latino TV sitcom. Shaun Taylor-Corbett is Usnavi's faithful Tonto and Jose-Luis Lopez , Graffiti Pete, budding artista.

Under Thomas Kail's fast paced direction and Andy Blankenbuehler's mesmerizing choregraphy, the entire cast have energy to burn. When one of the street kids is asked early on if he can dance, the reply crackles "Like a drunk Chita Rivera!" Salsa, hip-hop, all the nonstop ingrained Latin rhythms are present. Miranda's music starts and ends with rap, but in between runs the gamut of salsa, a nice variety of pop and even a couple of beautiful ballads like "Inutil", "Alabanza" and "Everything I Know".

Despite lapses into sitcom-like dialogue and cheap laugh lines like (referring to the barrio after the blackout and looting) "This is Gilligan's Ghetto Island", the stories have enough relevance to maintain interest, and in the long run, it's the whole picture that matters most.

Anna Louizos' incredible set of the tenements and storefronts with the Brooklyn Bridge in the background is awesome, making us fully aware every second where we are. As LA's Mayor Villaraigosa said after the show, everyone can relate life to some heights whether they be Washington or Lincoln or the like.

In the Heights is a community of people who live for and love each other, regardless of where they eventually end up. In our repressed economic times, it represents what every place needs to have: a heightened sense of heart, soul and joy that just don't quit.

5 out of 5 stars

mini review - Daddy Long Legs

CRITIC'S PICK

Daddy Long Legs

Broad Theatre, Santa Monica

__________

A royal treat of a musical with two easy-to-please storybook-like characters, energetic score by Paul Gordon, engaging book by John Caird and a preciously charming performance by Megan McGinnis who could win over the cruelest of hearts! The Rubicon Theatre in Ventura originally produced in October 2009 and Daddy's legs are Broadway bound!

____________________________

I do not usually like two character pieces where the actors do not face each other for a very long time. Somehow, McGinnis' glowing and exquisite charisma, the uplifting tunes, the very intelligent growth of young Jerusha Abbott into a strong and independant woman, the romantic mood that builds little by little to a fever pitch in both lives (including that of Jerusha's benefactor played by Robert Adelman Hancock) - whatever, every one of these elements fueled my interest and I was hooked for the two and a half hours. For those devoid of a romantic nature, stay at home; Daddy is most definitely a plus for the genuinely romantic at heart.

___________________________________________

directed by John Caird

musical direction by Laura Bergquist

book by John Caird,

based on the novel by Jean Webster (1912)

music & lyrics by Paul Gordon

The Broad Stage, SM

through June 27 only

___________________________________

5+ stars

Kevin Dulude @ the Mayflower Club

(What's this? The White Party?)(Photo credit: Henry Tokar)
Katharine Hepburn Sings! with Kevin Dulude as the Great Kate played Saturday June 19 & Sunday matinee June 20 at the Mayflower Club in NoHo. Dulude's performance got even stronger than when I first saw him two weeks ago at the Macha in WeHo. Loved every story he told: about Spencer Tracy, brother Tom, John Huston & Bogie's cure for dysentery while in Africa, Katie's evaluations of many of her male costars and especially her singing of "The Impossible Dream" which closed the hour long playlet most memorably. Now he must return as Miss Bette Davis and Mr. Vincent Price. I've heard great things; don't disappoint me, Kevin!

CONCERT review - GMCLA's L'Amour

Always expect the unexpected from GMCLA (Gay Men's Chorus of Los Angeles)! The greatest thing you'll ever learn L'Amour was no exception, as Avalon (home to 60s TV's Hollywood Palace)

became the showplace for the concert. Bejeweled and dressed grotesquely in blacks, reds and various shades in between, chorus members hung over balconies, strooned themselves across the famous runway attached to the stage and created a one-of-a-kind futuristic bizarre circus atmosphere before the show. Once the concert began, the audience was treated to singular arrangements of traditional and pop love ballads in honor of filmmaker Baz Luhrmann, who had incorporated most of the tunes in his movies: Romeo and Juliet, Strictly Ballroom and Moulin Rouge.

There were a wonderful mix of solos and even an aerialist - on the ribbons -(Michael Lipari)(bottom photo) who dazzled the onlookers. Highlights included: "Nature Boy", "La Vie Boheme", "Diamonds Are a Girl's Best Friend"(top photo), "Material Girl", "Lady Marmalade", "Perhaps, Perhaps, Perhaps", "Time After Time" and "Love Is In the Air".

Kudos to director Bill Bowersock, choreographer Billy Rugh and costume designer Philip Hayman who set the guidelines for the original dress-up. Also praise to lighting designer Steven Young, sound man James Hunt, hair/wig designer Curtis Foreman and pianist Michael Alfera. Memorably eclectic and psychedelically colorful show. Bravo!

Join the chorus in August once again as they sing at the Walt Disney Concert Hall downtown.

4 Clowns @ the Hollywood Fringe Festival

A clown for every mood - sad, angry, nervous and mischievous. See them at Art/Works Theatre at 6567 Santa Monica Blvd as part of this year's Fringe Festival. Limited performances.

Saturday, June 19 @ 2pm
Thursday, June 24 @ 8pm
Friday, June 25 @ 8pm
Saturday, June 26 @ 2pm
@ Art/Works Theatre
6567 Santa Monica Blvd.
Hollywood, CA 90038

review - OKLAHOMA!

OKLAHOMA! / music by Richard Rodgers/book & lyrics by Oscar Hammerstein II/directed by Robert Marra/The Met Theatre/through July 18

Musical Theatre of Los Angeles was on a roll with their stunning productions of Blood Brothers, West Side Story and particularly Judy Norton's outstanding Cabaret. With Oklahoma! they are experiencing a setback. Firstly, it opened before it was ready. Sound and lighting problems plagued its playing smoothly on opening night, despite some fine performances.

The ensemble is overall very good, but some of the actors need to be miked, as their singing voices are not strong enough to carry over the first couple of rows. Travis Dixon makes an appealing Curly. (Though I hope he learns to put his chaps on correctly!) His excellent singing and straightforward acting approach are a winning combination. Gold-plated charismatic Ryan Oboza steals the show as Will Parker. Awkward and deliciously insecure, his Will bursts out in glorious dance. Jean Altadel is a lovely Laurie; Maura Smith is appropriately feisty as Aunt Eller. Both should be miked, nevertheless, as the minute they turn their backs, it is difficult to understand many of their words and lyrics. It takes a while for Jillian Gomez to wear the skin of Ado Annie, but by Act II she is quite convincing. This is a most difficult role as the humor is so important, but Gomez will grow into it. Jay Rincon sings well as Jud Fry, but is rather miscast. He is a tad too attractive, so his threat to Curly and Laurie's happiness comes off less menacing than it needs to be.

Tania Possick has done an admirable job with choreography, especially with Act II's rousing "The Farmer and the Cowman...Should Be Friends". In fact, all of Act II played with an energy and spark that was missing in the lackluster Act I. Marra's direction is finely paced. Once the kinks in sound and lighting are worked out and the entire company plays and plays, the show will hopefully rise above its current community theatre-level presentation. The key to more than moderate success has always been in the just-right casting of a musical, and Musical Theatre of Los Angeles (MTLA) has and will most definitely do better next time!

3 out of 5 stars

NOTE: As I reread my original press release for this production, I saw that they were promoting it as 'raw and gritty', 'not your mother's ribbons and lace', 'the darker side of life on the Plains'. Well, the set was certainly dull and dreary, but the deeply scary, dark side of Jed Fry was missing. I have to recall the film where Fry set fire to the haystacks and Curly had to pull Laurie to safety or the frightening chase in the surry, where Laurie feared for her very life. That certainly provided more cutting-edge grit than this current production.

review - Surf Report

RECOMMENDED

Surf Report

by Annie Weisman

La Jolla Playhouse @ Mandell Weiss Forum

directed by Lisa Peterson

through July 11

Catering to the whims of a spoiled womanizing boss and dealing with the philanderings of an ailing husband are but two of the issues facing career-oriented wife and mother Jude in Annie Weisman's entertaining world-premiere play Surf Report now playing

in La Jolla.

After 17 years of devoted service to multi-millionaire investor Bruce Ernst (Gregory Harrison) of La Jolla, California, Jude (Linda Gehringer) has a pitch for the development of a machine that will: revolutionize cancer treatment, make her boss a leading philanthropist, if he buys into it, and help her husband in his fight against testicular cancer. The major problem she encounters is her selfish boss' s indifference to the cause. He would rather collect art and surf, and so interpreting her deal as a condemnation of his lifestyle, he fires her for crossing the line. To make life more miserable, Jude's husband Hal (Matthew Arkin), has had an affair with an employee at his privately owned bakery. Daughter Bethany (Zoe Chao), a visual artist now residing in New York, despises her mother's ambition, sympathizes with her father (without knowing of the indiscretion) and gets unwillingly caught up in the family crises. Such is the plot of Surf Report, and Weisman, a strong and intelligent feminist writer, cautiously puts the women in the driver's seat. At her play's finale, however, some character choices are left wide open

to interpretation.

Harrison makes a superior scoundrel. He has cornered the market on suave boyish charm, and at 60 is as attractive and charismatic as ever, but never before has he played unwitting self-absorption with such panache. His Bruce is disgusting and a lot of fun to watch. Gehringer is excellent as Jude. Although, she does not get what she wants, she never stops manipulating and finding new options. Chao is a joy as Bethany. Like a frightened and bewildered child, much like her mother, she makes her own way. Arkin's role is a difficult one, as we know less about him until facts are disclosed later, and does a fine job within his confinement. Liv Rooth plays Jena, an old acquaintance of Bethany. With a valley girl demeanor and speech, Rooth creates a quite loyal and totally amusing woman. Her confrontation with Jude on Bethany's behalf makes a refreshing and surprising change of pace scene.

Bruce's character never really undergoes any monumental change by the close of Act II, but Weisman's concern is more with Bethany's future and what she will do to find happiness. Maybe she will have the opportunities that her mother never had. The future is a mystery and we must fill in the blanks.

Rachel Hauck's wide open scenic design with the backdrop and floor evoking the ocean and the dolphin sculpture on the upper level serve the play well. There is a dichotomy of two very different worlds created here. Bruce's love of surfing, his desire to be out in the ocean, experiencing a peace and tranquility like no other, puts him on an idyllic plain that clashes with the stress of everyday living. Maybe he's not really the villain here but a guru. Maybe his is the way to go!?

4 out of 5 stars

review - Yellow

CRITIC'S PICK
Yellow
written and directed by Del Shores
Coast Playhouse
through July 25

No writer knows how to grab hold of an audience, especially a gay one, and make them laugh and cry quite like Del Shores. Southern Baptist Sissies, Sordid Lives, and the more mainstream Trials and Tribulations of a Trailer Trash Housewife - all period pieces - are but three of this prolific writer's major triumphs. We may now add Yellow to the list. Unlike other Shores works, Yellow, with its references to Meryl Streep and TV's Glee, is now. Deeply engrossing with familiar and absorbing characters, the play's drama , like life, runs its course without ever losing its infectious sense of humor.

The Westmorelands of Vicksburg, Mississippi are a contemporary close-knit family. Coach Bobby (David Cowgill) and therapist Kate (Kristen McCullough) are the happy parents and Dayne (Luke McClure) and Gracie (Evie Louise Thompson) the sibling kids whose normal everyday lives, particularly in today's mixed-up, crazy world, seem more than desirable. Then there's sweet gay Kendall (Matthew Mark) Parker (Matthew Scott Montgomery), Gracie's friend, and his bible-thomping mother Sister Timothea (Susan Leslie), who, like Piper Laurie's character mother in Carrie, gives new meaning to intolerance and family dysfunction. Out of the blue tragedy strikes the Westmorelands, and the crux of the action of the play is how everyone copes in the light of son Dayne's fatal illness. Along with the tragedy come heretofore hidden secrets, that if disclosed to everyone, could hasten the boy's demise.

The ensemble, as in all Shores plays, is stellar. McCullough and Leslie as the two very different mothers are riveting at every second as they deal with the crises. Cowgill stands tall and formidable throughout. Montgomery as Kendall is a loveable mensch, whose fiercely independeant self-acceptance sets him apart. He is funny, warm and totally engaging. Thompson as Gracie the typically rebellious, insecure drama-queen is just wonderful. She shrills and shrieks for attention, and her closing tribute to her brother is dynamically heartfelt. McClure as Dayne is just right as the soft-spoken, very masculine Dayne, who is so proud to be his father's son. Shore's direction of the cast is astounding, as they work brilliantly together and separately, with no one ever stealing the spotlight away from anyone else. Most writers should not direct their own work, but Shores certainly knows what he's doing and never needs a third eye.

A terrific example of how humor serves so well as comic relief comes in the midst of a heated parental confrontation between Kate and Bobby when Kendall tells Gracie "Let's remember all this. We can draw on it in our acting".
The nonsexual bedroom scene before the finale is a beautifully crafted one between Kendall and Dayne. Although I disagree with the kiss, it does work well theatrically and stands apart as a near-to-perfect acting scene. If I were to change anything it would be the ending - for Bobby and Kate and even for Sister Timothea - that for me is unrealistically tidy, but... Shores knows his audience quite well and therefore, how to please them.

Robert Steinberg's angular set design of the exterior and two-leveled interior of the Westmoreland home is one of the best to be seen at the Coast in many a year.

Yellow is a first-rate, well-crafted drama that both entertains and inspires hope...and boy, do we need it!
5 out of 5 stars

review - Cesar Chavez - Fringe Festival

CRITIC'S PICK
The Stories of Cesar Chavez
developed & performed by Fred Blanco
Theatre Asylum, Hollywood
part of Hollywood Fringe Festival
remaining performances: June 21 @ 7 pm, June 24 @ 10 am, June 26 @ 2:30 pm
ideal for school groups

Cesar Chavez was a nonviolent leader, who, for many, came close to sainthood. The beauty of Fred Blanco's work is that he humanizes the legend and puts the man at arm's reach. He was, after all, a bilingual campesino, born of humble beginnings. But the asset of speaking another language worked ridiculously against him. Always moving forward and upward, however, amidst verbal and physical obstacles, he eventually gave migrant farm workers their very first union in an excrutiatingly long civil rights struggle that literally killed him.

The play opens as Chavez prays to the Virgen of Guadalupe for guidance during a 1968 fast. Known for his 'squeaky clean' appearance and attitude and love of learning, Chavez grew up to respect the rights of others despite the odds. He believed in solidarity and no story tells it better than Blanco's anecdote of two traveling vaqueros who spot a hornet and refuse to strike it for fear that the other hornets will come. If animals can help each other in time of need, Chavez saw hope for humanity, rallying his fellow men to come together with equal strength and determination.
Blanco portrays a bevy of characters - both male and female, campesinos who had only dirty polluted water to drink, but never lost their faith. The teatro campesino comes vibrantly alive within the actor's power as he recreates with a single turn of his body - the worker and the cruel patrocino or boss man, determined to defeat him. He effectively uses masks on the front and back sides of his head and a mere change of voice to beautifully represent the opposing sides. As the campesinos themselves said, what art can be achieved with 'a little spit, gum, grease and creativity'! This was an art for social change that would allow the young to fight against
injustice.
This is a labor of love for Blanco and a wonderfully educational piece for teenagers to enhance their study of Cesar Chavez - who insisted on nonviolence as the strongest force in the world. Put aside the harmful weapons of war - that are now destroying our entire world- and use social weapons like protest marches, boycotts and strikes to make a difference. Blanco uses a few sturdy props and a simple change of hat or jacket here and there but relies mostly on his actor's resilient interior life, his gritty and intensely humane instrument, to make the message echo loud and clear.
5 out of 5 stars

Katharine Hepburn Comes to NoHo June 19 and 20

Saturday, June 19 Bar Opens at 7pm/ Dinner 8pm/ Show 9pm $25

Sunday, June 20 Show only 2pm $10

Beth Grant Portrays a Radiant 90 year-old

Beth Grant says hello after a performance of Grace & Glorie at the Colony.

review - Grace & Glorie

CRITIC'S PICK
Grace & Glorie
by Tom Ziegler
directed by Cameron Watson
Colony Theatre
through July 18

Many plays have been written about holding on to life in the face of death, many maudlin, but rarely has there been a play as glorious in every way as Grace & Glorie. The Colony's meticulous production rings out with unparalleled honesty and glory!

Grace, previously played by Estelle Parsons and Gena Rowlands on film, has found her perfect match in the consummate artistry of Beth Grant. Grant's down-to-earth, real behavior, down to the tiniest detail, makes "Amazing Grace" feisty, difficult to manage, boldly independent...but still funny, wise, and ultimately warm and loveable. Hers is a performance of undeniable truth and joy.
Melinda Page Hamilton as Gloria, all business-like at first glance, is stunning in her own way. She makes Gloria, or Glorie, as Grace calls her, beautiful, purposeful, attentive, yet, in the beginning, distant and with dubious intentions. In fact, Ziegler rasises the questions at the onset: to Grace, what has been the point of your life? and to Glorie, what is the point of you being here? As with all great drama, it's about purpose, the why of existence, and can we gracefully get past it?

Grace is a 90 year-old, old-fashioned God-fearing Christian woman who has only weeks to live and puts her reamining time in the hands of the Lord. She assuredly believes that "idleness is the devil's workshop" and sees her purpose as keeping busy. Everyone can identify with her "set in my ways" philosophy, whose lifestyle may have showed itself to us via our grandmother, great grandmother, mother or the like. She has a selfish grandson, who ignores her, and a distant young great niece who, though they have never met, gives her hope.

Glorie comes from the selfish world of now. Her husband is a lawyer, and although she fills her days as a volunteer hospice worker, money and comfort obsess her. She previously lost a 12 year-old son in an auto accident. Blaming herself for his death, she uses Grace's looming death selfishly as a first hand experience for her own suicidal plans.
The two, who are as different as day and night, gradually become fast friends, and each one's life is changed for the better. The beauty of the play lies in these characterizations - two diverse but real women who learn to live from moment to moment without a trace of artifice or
sentimentality.
Jeff McLaughlin's set of the log cabin grandma cottage is impeccably designed and
decorated.
Cameron Watson has sublimely directed the two fine actresses and never lets one outshine the other. This is a lovely nonmusical pas de deux whose heaven on earth message reaches out with pure harmony and love.
5 out of 5 stars

Zealous Zarley

Matt Zarley sang his lungs and heart out at Sterling's Upstairs @ Vitello's Saturday June 12 as Sterling's celebrated its fourth year anniversary.

His set entitled Dedication was to his family and friends, many of whom, including his mom, were in attendance.

see my review below!

CABARET review - Matt Zarley

Matt Zarley
Dedication
Sterling's Upstairs @ Vitello's
Saturday, June 12
Steven Cahill - piano, musical director/Jonny Morrow - bass/Nick Perez - guitar/Matt Lucich - drums

Truly great pop singers are a rarity these days, singers of the calibre of Elton John, Billy Joel and Stevie Wonder - all idols of Matt Zarley. No wonder Zarley turned out so good! He has an easy-going, warm style onstage that pulls you in and holds you tight. Like his grandma's idol Elvis, he becomes our "Teddy Bear" possessing on the inside such a heartfelt and winning spirit!

Dedication was Zarley's description of his career journey over the last 20+ years. He first got stagestruck via listening to Dreamgirls as a boy and eventually in his later teen years starred on Broadway in a plethora of shows, starting with A Chorus Line. Due to becoming the first openly gay Hot Bachelor in People Magazine in 2002 (50 Hottest Bachelors), he is now in the forefront as a role model for young gay men and the gay community at large. In the past several years Zarley has devoted more of his time to songwriting, mainly with his fine musical director Steve Cahill. It seems with this show that he is wisely attempting to create a quieter, more sophisticated image than the wild sexy boytoy of his younger days.

Highlights of Dedication included: a dazzling rendition of Elton's "Daniel", Elvis' "Always On My Mind", in tribute to his grandmother, an exciting Broadway medley that emcompassed all of Zarley's roles: "What I Did For Love" from Chorus Line, "My Coat of Many Colors" from Joseph..., "Pinball Wizard" from The Who's Tommy, "Memory" from Cats, "Spider Woman" from Kiss ..., and "All That Jazz" from Chicago.
The remainder of the 70-minute set consisted of Zarley's own beautifully romantic compositions: a thankful "You're Always There", written as a Christmas present to his parents, the gorgeous "Because of You", co-written with Cahill, "Where Would I Be", "Had I Known", accompanied by a background music video showing the positive loving side of gay relationships, and his encore, the riveting title song from his latest CD "Here I Am", which suggests to Zarley "you're where you're supposed to be". "Here I Am" was co-written by Tom Kitt, multi award-winning composer of Broadway's brilliant Next to Normal, set to play the Ahmanson next season.

Zarley's musical journey was at once intimately personal and genuinely entertaining. His intense dedication, which resonates in every note he sings, puts him on top as a rich pop vocalist - where, indeed, he's most definitely supposed to be.

Visit: http://www.mattzarley.com/

Lesli Margherita - Italian like the Pizza

Congratulating HRH Queen Lesli Margherita after her show All Hail the Queen @ Level 3 in Hollywood. Did I like it? Hail yes! Did Jason Graae steal a scene? Hail no!

see review below!

CABARET review - Booze, Boys & B!*ches

Inventive director Odalys Nanin's vision of a play followed by a cabaret works deliciously as following Kevin Dulude's Hepburn Sings! on the main stage, we are invited to the lobby as Lana Harper performs her set night club set Booze, Boys & B!*ches. The cute, perky, sexy Harper tantalizes her audience in a fast-paced 40 minutes that is, like her favorite martini, simultaneously fresh and refreshing. Hepburn & Harper - different as night and day - what a curiously infectious mix!
Harper keeps her smooth and seductive set moving with such classics as "My Funny Valentine", "Maybe This Time", "Big Spender", "Friends" and the increasingly popular "Alto's Lament". Whether lounging on a pink sofa caressing a vibrator, slinking through her audience seducing men and women, or with gun in hand and...I won't spoil it for you, this gal is a great attention getter and quite a fine singer.
Director Nanin realizes her dream of the perfect evening: a play on stage followed by a cabaret in the lobby. With Gay Pride at hand, one couldn't wish for much more than Hepburn and Harper, who may be on opposite sides of the fence, but who know how to captivate and keep us hooked.
Thanks as well to accompanist Geoffrey Leigh Tozer and Carey Dunn, stage manager...and, nope, it's a surprise!

Hepburn and More Hepburn!

Kevin Dulude - quite a stunning transformation into Ms. Katie Hepburn!!!!! See review below!

CABARET review - All Hail the Queen

All Hail the Queen(Hail yes!)

Lesli Margherita
Level 3, Hollywood

Tuesday, June 8

Good cabaret comes in a variety of forms, but I haven't had this much diverse and perverse fun since Divine Madness in the late 70s when the Divine Miss M - Bette Midler - performed live at the Greek. That's right, All Hail the Queen - what can I say, is one-of-a-kind multi-presentational craziness with its mega talented leading lady Lesli Margherita, a rare and individual entertainer.

This gal is beautiful, can act, can sing and is funny. Genuinely funny, because she knows how to make fun of herself as well as everyone around her. There's enough attitude to start a war and the royalty in attendance - audience, that is - just eat it up. What's not to enjoy? There are two screens behind for hysterical pictures - like one of little Lesli with a cow, two fab backup singers - Robin DeLano and Teresa Marie Sanchez, a five-piece chamber orchestra, all fabulous as well: Brett Ryback on keyboard, Matt Smedel, keyboard II, Brian Reardon on guitar, Nick Schaadt on bass and Brian Boyce on drums. There are also three bodyguards/dancers: Ray Garcia, Robert Laos, and Jeremy Lucas, who run in and out throughout the 80 minute set with props and other treats.

Brian Beacock serves as puppeteer of a second Lesli, a sort of Miss Piggy, that provides two hilarious segments, including a great duet with Ms. Lesli on "Nobody Does It Better". Other song highlights include: "Gypsies, Tramps and Thieves", "Part of Your World" from The Little Mermaid - with some terrific visual comedy(more below) -, "Rainbow Connection", "I Am Changing" from Dreamgirls - with a silly, literal twist -, "Fever", "Don't Go Breakin' My Heart", "I Had the Time of My Life" and "That's Life!"

Director Lauren Bass does an admirable job filling the large space and keeping the show moving without a glitch. With Margherita's expertise at funny banter, that comes across for the most part impromptu, there's never a dull moment. Voluptuous that she is, she pokes fun at the roles she is always chosen to play - sluts and whores, comparing herself to Sophia Loren and Raquel Welch, does a screamingly raucous takeoff on Ariel from Mermaid wearing not C shells, but D shells over her breasts and camps it up continuously with her backups, her pal Ryback at the keyboard - they even fight verbally -c,mon she's a drama queen, her fans expect it. In one terribly fun segment, Margherita lists three ways to ensure that you will win a Laurence Olivier Award - which she won a few years ago on the West End for Zorro: lie about your nationality - as a gypsy she was supposed to be Spanish and not Italian, wave high the American flag and three: Bantees. Chodem. If that doesn't make sense, keep repeating it and voila!

This is one outrageous, rip-roaring, fiercely original entertainment. Is HRH Margherita worth it? Hail yes! Did I waste my time? Hail no! Would I go back for more? Hail yes!

Carmen Miranda - The Lady in the Tutti Frutti Hat

opens June 11!

review - Hepburn Sings

CRITIC'S PICK

Hepburn Sings!

written and performed by Kevin Dulude

directed by Odalys Nanin

MACHA Theatre, WeHo

6 performances remaining:

June 10, 11, 12, 13, 17, 18

Thursdays, Fridays, Saturdays at 8pm and Sundays 7pm

In a thoroughly engrossing and original piece, actor Kevin Dulude portrays Katharine Hepburn in selected highlights throughout her long career. Each segment includes a song from that time period, which though Hepburn never sang originally, adds mysteriously fascinating luster to the Hepburn mystique. If she had recorded an album of these songs, each would punctuate to perfection a feeling, mood or opinion that was undeniably Hepburn.This portrayal is not an impersonation, mind you, but a loving and moving tribute - both humorous and poignant - and, remarkably well etched.

With a smart intro Hebpurb enters with gardening tools singing "I Love a Gershwin Tune" and proceeds to confide her love of music and how she knew that 'the peanut sound' that came out of her throat would never be adequate to create an acceptable singing voice. Then came the offer to do Coco on Broadway to her utter dismay, and she was terrified at the thought of having to carry it off. But what emanated across the footlights to her was love and understanding. The fans adored her and didn't care that she really could not sing.

There are segments about her brother Tom, his death, the painful aftermath, the closeness of her mother and dad and other family members ending with the song "What'll I Do?" to accentuate the difficulty for her as a teen to go on without Tom's love and companionship. But go on she did, and to wide acclaim. There are movie scenes from Stage Door with "Too Marvelous For Words" showing off the young arrogant Hepburn who knew just how fascinating she had grown to be, also from The African Queen with original words to "Blue Tango", Guess Who's Coming to Dinner? with "The Glory of Love" and a splendid farewell scene to Spencer Tracy in which she acknowledges that the Oscar really belonged to him for his couageous work in that film, On Golden Pond - a very funny comment about Jane Fonda seeing Kate as her fantasy mother and tuning Gloria Gaynor's "I Will Survive" ... and as a fitting finale "The Impossible Dream" where Hepburn speaks from the great beyond to everyone to "Get on with it, get a life, and never regret not pursuing your fondest dreams while you still have the chance!" On a humorous note - as only Hepburn could be - she refuses to let you know where she is, and whether there is really an afterlife. As in life, she keeps us guessing!

Dulude does a beautiful job with the physicality of Hepburn, with shaking head and quavering voice just right. In fact, he is a very convincing Kate, but does, indeed, sing a bit better than Hepburn. If only she had sounded this good, she would have been quite musically pleased with herself!

This whole experience was such a nice surprise, as I was expecting some fool impersonator that could in no way live up to the great Charles Pierce - who did Hepburn better than anyone! Accompanied by Nanin's smooth direction, Dulude is a fine actor who has properly ingested Katharine Hepburn's temperament and mannerisms and knows how to get his points across without going overboard. Even though the songs are an appendage to the story, they make a pleasant reminder that even Hepburn was not as perfect as she may have wanted to be and that there are things worth striving for that unfortunately may get left unaccomplished.

Good show!

5 out of 5 stars

review - BABY

RECOMMEN-DED
Baby
book by Sybille Pearson
music by David Shire & lyrics by Richard Maltby, Jr.
directed by Cate Caplin
musical direction by Jeffrey Rockwell
the GROUP rep
through July 11




(top photo: Abrams and Rizzo)

From Ain't Misbehavin' and Big, prolific team Maltby & Shire produce a Tony nominated Baby - in which three couples at various stages of life find themselves expecting a child. Sound simple? Well, in Baby 's revised, West Coast premiere, it's pretty damn complicated as life's unexpected changes do not always work smoothly. The GROUP rep has a first-class production on its hands that will surely appeal to a wide audience, especially to marrieds and those planning for the patter of little feet.

The music is pop, jazzy and totally uplifting, kind of like David Yazbek's score for The Full Monty with a couple of wonderful ballads "The Story Goes On" and "Patterns". "Fatherhood Blues" is a great 'guy' number and "Baby, Baby, Baby" provides the gals a chance to shine musically together. The book by Sybille Pearson follows the ups and downs of the 3 pairs as they try to adjust to their new lifestyle - "fit the baby into your life and not the other way around", is what everyone advises. Lizzie and Danny (Emily Thompson and Robert Allen) are still college students and have no desire to marry. Pam and Nick (Dana Abrams and Steve Rizzo), the other young couple are married and have security, but, as fate would have it, are problematic at conceiving - the announced pregnancy was a false alarm. Alan and Arlene (Lloyd Pedersen and Luise Heath), the older couple - over 40 - already have grown children and are settling comfortably into middle age, and so the disruption causes much consternation, particularly for Arlene who twice changes her mind as to whether to give birth.

Ultra-skilled director Caplin has thankfully provided a fast-paced & exceedingly active staging that never allows for a lull in the action. Rockwell, as musical director, has laid down an audio soundtrack that works quite nicely.

The cast is terrific. Thompson is a treasure as Lizzie, the best singer onstage and a bundle of energy and joy. Pedersen and Heath, although too old for the roles they are playing, make their characters so likeable that we tend to forget the age thing. Pedersen, a wonderful comic actor, is more restrained here and Heath is just superb in her change in mood and sense of direction.
Allen and Rizzo, though weak in the vocal department, make up for it with a great sense of focus, fine comic delivery and miles of personality. Abrams is sensational as the wife who tries and tries but cannot succeed.
Chorus members Klair Bybee, Lareen Faye, Beckett Arnold, Michael Cassano, Tonilyn Hornung and Jeremy M. Sage do remarkably well with a myriad of small roles. Faye is particularly funny as a midwestern cowgirl type who prefers birthin' au naturel.

This is a simultaneously fun-filled and thought-provoking evening of theatre, in which love proves once again a dependable winner. Should be an audience hit for GRT!
4 out of 5 stars

(Pedersen & Heath)




(Allen & Thompson)