Stephanie J. Block Sensational in Reprise's TPOS

Stephanie J. Block is so gracious and such a wonderful actress/singer. She proves once again that she can do it all in They're Playing Our Song. Stephen Sondheim, take note!

review below!

review - They're Playing Our Song

CRITIC'S PICK

They're Playing Our Song

book by Neil Simon

music by Marvin Hamlisch; lyrics by Carole Bayer Sager

directed by Lonny Price

Reprise Theatre Company @ The Freud Playhouse, UCLA

through October 10

It's the late 70s. Oversized mockup stereo speakers adorn both sides of the Freud stage as part of the set for They're Playing Our Song. At opening curtain Jason Alexander enters, not to start the scene, but to give the downbeat as conductor of the overture. The back part of the set that serves as a window and skyline of New York City converts to a screen and the audience is treated to a retrospective slide show of 70s pop culture. Redford and Newman, Sonny and Cher, Lee Majors and Farrah, Ron Howard and  Henry Winkler as Fonzie, Charlie's Angels...the list goes on. A fun and flavorful beginning to a wonderfully nostalgic evening of theatre that marks the first production of Reprise's 14th season.

Alexander (composer Vernon Gersch) and Stephanie J. Block (lyricist Sonia Walsk) make magic as they create two very real people in a relationship based on that of Marvin Hamlisch and Carole Bayer Sager. He is a sensitive soul who still keeps on display the bathroom towels monogrammed with his ex-girlfriend's initials. Was she worth it? She slept with him but hated his music. Sonia is a crazed and mixed-up but caring creature who just cannot seem to break off a failing relationship with her neurotic boyfriend Leon - though he never appears, he becomes a vivid third character in the play. Vernon and Sonia become work partners and start to unconventionally fall for each other. This relationship is as rocky as a roller coaster ride, and that, as a real slice of life, makes it funny and totally endearing. Alexander makes Vernon frustrated and bewildered, but thoroughly likeable. 

Block is nothing short of amazing. Her Sonia is flighty yet sensible. Very intelligent except when it comes to love. She is a woman that cares too much. Her second act "If You Remember Me?" proves her worth as a stunning actress. Within it she captures every emotional nuance of Sonia's deep longings and fears.

What makes the play tick is the continued collaboration of Hamlisch and Sager, who have added two songs to the score from other projects "One Hello", a great finale, and the aforementioned "...Remember me?" There's also a brand new tune "Leon". As well as the two leads six boys and girls make up a chorus of alter egos. That's right, dressed identically, there are three more Sonias: Christa Jackson, Jamey Hood and Sylvia MacCalla and three more Vernons: Christopher Zenner, Dennis Kyle and Daniel Guzman. They rock!

Set pieces by John Iacovelli and costumes by Kate Bergh are bright and put us smack dab in the psychedelic 70s. Josh Rhodes' zippy choreography and above all, Lonny Price's priceless vision and dynamite pacing make Song a sheer delight from start to finish. This is great musical theatre not to be missed!

5 out of 5 stars

Taylor Tracey Dazzles Her Audience

Taylor Tracey says hello after her knockout performance @ Sterling's Upstairs @ Vitello's.
see review below!

Bill Derringer Memorial Service

Bill Derringer is very special to me. He wrote some of the most wonderful plays, one of which - Shiva Warriors - I was so lucky to be a part of. I played George, a homophobic brother - certainly against type - and it was so encouraging to be supported by Bill in the choices I made as an actor in NoHo in 2003. Sadly, Bill passed away in June.
I will miss him, his kind ways and his tremendous gift of talent as a writer.
- don grigware

 A REMEMBERENCE FOR WILLIAM “BILL” DERRINGER

ACTOR/WRITER/DIRECTOR

WE ARE PLEASED TO ANNOUNCE THAT ON SATURDAY

OCTOBER 16^TH AT 3:00PM WE WILL HAVE A REMEMBERENCE FOR OUR “MR. BILL.”

THIS WILL BE HELD AT PLUMMER PARK IN THE COMMUNITY CENTER – ROOM ART ONE.

7377 SANTA MONICA BLVD, WEST HOLLYWOOD  CROSS STREET IS MARTEL - 323-848-6530.

WE WILL HAVE AN UPLIFTING AND WONDERFUL PRESENTATION OF BILL’S WRITING AND STORIES OF HIS CAREER AND HIS IMPACT ON ALL OF US.

WE WOULD APPRECIATE A RSVP IF YOU ARE PLANNING ON ATTENDING.  PLEASE CALL ROCHELLE SIMON AT 310-553-9544 OR E-MAIL HER AT (ROCHELLESIMON@AOL.COM).  WE WILL HAVE A SMALL MEET AND GREET AFTER THE PRESENTATION.

BILL AT 20 YEARS OLD

Group rep After Party for Barefoot in the Park

Melissa Soso makes a delightful Corie Bratter, such a wonderful actress! Director Stan Mazin (top photo) adds his two cents.
review up below!

Megan Mullally to Appear @ Samueli Theater

Emmy® Award-winning actress, comedienne and singer Megan Mullally returns to the Orange County Performing Arts Center with her band Supreme Music Program October 7 – 10 to open the  2010-2011 Cabaret Series in Samueli Theater. Best known for her Emmy-winning performances as Karen Walker on NBC’s hit show Will and Grace, Center audiences discovered in her sold-out Cabaret debut a few seasons back that this multi-talented star is also an incredibly gifted singer who can perform everything from country to rock to Broadway showstoppers.

Recently, Mullally and Supreme Music Program made their international debut on the West End, performing at the Vaudeville Theater in London. Mullally’s concert appearances with Supreme Music Program include The Allen Room at The Lincoln Center, The Kennedy Center, The Seattle Symphony, Chicago’s Goodman Theatre and SUNY Buffalo Performing Arts. She also has appeared as a soloist at the Walt Disney Concert Hall.  She has made three CDs with Supreme Music Program titled The Sweetheart Break-In, Big As A Berry and Free Again. She can also be heard singing the solo barn burner song “You Took Advantage of Me” on the FAME soundtrack.

Tickets to Megan Mullally and Supreme Music Program are $72 and are now on sale. They will be available at OCPAC.org, at the Center’s Box Office at 600 Town Center Drive in Costa Mesa or by calling 714.556.2787. For inquiries about group ticket discounts for 15 or more, call the Group Services office at 714.755.0236. The TTY number is 714.556.2746.

CABARET review - Taylor Tracey

Taylor Tracey was a top five finalist in LA's Next Great Stage Star 2010, and one of its youngest. This gal has a truly dazzling voice. She can belt out a big number like "The Name of the Game" from Mama Mia and deliver ever so gently as with Jason Robert Brown's beautiful "What It Means To Be a Friend" from 13. On Sunday September 26, Tracey brought the house down @ Sterling's and proved why she made the top five of this year's contest.

Highlights of the evening were: a cute medley of songs from shows she did as a kid replete with pictures, like "Do-Re-Mi" from The Sound of Music, "Getting to Know You" from The King and I, "Doin' What Comes Naturally" from Annie Get Your Gun and "Tomorrow" from Annie. There was also a gorgeous rendition of "Light in the Piazza" from the show of the same name, an adorable "Frank Mills" from Hair, and a dynamite "Take Me Back to Manhattan" from Anything Goes.
Friends Rose Ouellette did a dueling diva duet "Two's Company" from The Magic Show with Tracey and Derek Klena joined her in the encore, a mesh of Madonna's "Borderline" and "Open Your Heart". Superb musical accompaniment was provided by James Lent at the piano throughout and the evening entitled You're Gonna Hear From Me was directed by her manager Julie Stevens.

This young lady joked about the perils of being a redhead, but kept banter to a minimum, letting her singing carry her successfully through the program - a wise choice for a beginner with an exceedingly strong and versatile voice. Her style will develop with time and more experience.

Keep your eyes open for future engagements of the up and coming singing sensation Taylor Tracey!

review - Phantom of the Opera

RECOMMENDED
The Phantom of the Opera
book by Richard Stilgoe and Andrew Lloyd Webber
music by Webber; lyrics by Charles Hart
directed by Harold Prince
choreography by Gillian Lynne
Pantages Theatre
through October 31

I will say upfront that I have never been a great fan of Phantom. I have always found it hokey in part, even though it has pretty music and some dazzling effects. This touring production, I must admit, has held up fairly well after so many years, and the production is fresh and vibrant - more vibrant, with one major exception, than the production that I first saw in LA in the late eighties (1986-first performed in the UK).

Why do audiences love this show so much and why has it remained the longest running show in Broadway history? Its underdog. The Phantom of the Opera is a twisted, tortured, deformed soul with great artistry with whom we sympathize by play's finale. Tim Martin Gleason as the Phantom is magnificent in every way. His acting, his singing, his command of the role. He comes closest vocally to Davis Gaines who played the role for so many years in LA. Gleason reduced me to tears in the final scene, and thus, I now understand the impact that the show has been able to create with its die-hard patrons. We long to commiserate with someone lonely and alone and hope the same fate will never be ours to emulate.

I loved Dale Kristien in the original LA cast as Christine Daae. Her powerful soprano - she stills sings beautifully - made the role reverberate, and so I was disappointed with Trista Moldovan as Christine. She is beautiful and has a delicate voice, but, unfortunately it got downed out in many of Act I's big numbers. It wasn't until Act II that she started to come across with "Wishing You Were Somehow Here Again". In the solos she vocally came to life. Kim Stengel is wonderful as Carlotta, and Nancy Hess Judith Anderson-in- Rebecca frightfully strong as Madame Giry. Sean MacLaughlin is less eager and heartfelt than he should be as Raoul. The rest of the ensemble is great. Chorus songs and dance all gleam!

I love the Labyrinth underground in Act I, Act II's "Masquerade", "The Point of No Return" and seeing the Phantom pop up here, there and everywhere around the theatre over the course of the three hours. Production values are lush:  credit Maria B Jornson for production design.

Hokiness aside, I came to love this villain/hero more because of Tim Martin Gleason, and I recommend that you see him as well.

4 out of 5 stars

review - Barefoot in the Park

CRITIC'S PICK
Barefoot in the Park
by Neil Simon
directed by Stan Mazin
GROUP rep @ Lonny Chapman
through October 31


For those who grew up in the 60s, it is easy to see why Neil Simon's Barefoot in the Park (1963) was such a tremendous hit. Corie Banks Bratter (Melissa Soso) and Paul Bratter (Christian Kehoe) are the young newlyweds next-door, that everyone can relate to. Typical as well, they have day vs. night personalities. She is as sparkling, fun-loving and open-minded as he is sedate, serious and closed-in. They are different, but in the long run it does not get in the way. Today, sadly, they might actually divorce and never reconcile: alas , who knows? Differences are more the style in 2010, so they might just make it. After all, a young couple in love had and still do have hopes and dreams. That fact will never change. Simon's crisp dialogue and funny offbeat situations are certainly as timely as ever , and in GROUP rep's stunning production, the look and feel of the 60s are kept vibrantly alive thanks to a great cast and Stan Mazin's meticulous expertise as director.


Soso is a terrific actress. Her Corie is energetic, beautiful and lovable to a fault. Today Corie would be called high maintenance, but it's not really a negative appraisal. Soso makes her antics so genuine that we root for Corie to squeeze as much from life as she can. She is assuredly never selfish...women today, take note! Kehoe makes a delightful Paul, especially in his duels with Corie. Though intense, he never actually opposes her, remaining detached and human enough to accept marriage's newfound pitfalls. Even when he leaves briefly, we sense underneath that Paul is just going through the motions and will be back. Kathleen Taylor as Mrs. Banks, although a tad over-the-top, wins our hearts. Taylor makes Ethel's caring support of her daughter and willingness to change her own lifestyle totally real and admirable. Very funny with the exasperation and confusion of her unexpected drunkenness and its aftermath, she does need, though, to work more on Ethel's straight-laced nature. Robert Gallo as Victor Velasco* is a charmingly wise eccentric and his built-in silliness, thoroughly enjoyable. He could, nevertheless, be even more seductive and, on a minor note, he should be more consistent with the accent he chooses. In smaller roles Mark Atha and Henry Holden add lots of humor, especially Atha as the telephone repair man. His flustered Paul Lynde-like delivery is a scream.

Set design by Chris Winfield, set decoration by Stan Mazin, costumes by Diana Martin and quick pacing by Mazin could not be better. Of course, some of Simon's lines are corny and a bit dated, by today's standards, but they are still disarmingly funny. "Six days does not a week make", for example - who talks that way? - is a nonsensical reason for wanting a divorce, but in the scene it works hilariously. Not one other living playwright today has managed to master the wit and brilliance of a comic retort quite like Neil Simon.


This is a wonderful stroll down memory lane for those that remember the original film of Barefoot in the Park (1967). Soso and Kehoe have wondrous chemistry together and make you query....now what stars played those roles? Of course, Fonda and Redford are unforgettable, but in their own special way, so are these two young actors. For those that have never experienced the play or any Simon, you are in for a treat.

* Bix Barnaba plays Velasco from October 15 through October 31. Upon viewing the play a second time, I found him to be much more in tune with Velasco's rhythms, oozing with charm and flair. Physically Barnaba adds some wonderfully flambuoyant mannerisms like using his hands more expressively and doing little things like leg stretches on the ladder and finding that age causes limitations. All in all, a terrifically executed performance!
5 out of 5 stars

Book Review: Brad Lemack's The New Business of Acting

September, 2010
The New Business of Acting
How to Build a Career in a Changing Landscape
Ingenuity Press, USA
195pp.

This is first and foremost not a sequel to Brad Lemack's 2002 book. The new book concentrates on the changing landscape, the tremendous changes in technology that have opened up and are now available to today's blossoming actor. Divided into 15 chapters, there is a foreward by Lemack's first client, popular actress Isabel Sanford, now deceased, of The Jeffersons fame. Sanford at a younger age is a perfect example of the student of acting that Lemack is trying to reach in his guidebook. If you are ever to be successful in your acting career, you must be a businessman and know the business from the inside out. Talent and a desire to act is only the beginning; you must have a plan and shape that plan with some
wise choices.
The book offers skills in the basics, like: getting the best headshot, seeking talent representation or an agent, knowing talent casting directors and the selectivity as to which ones to approach that are specific to your individual needs, organizing a good resume and bio, and a wonderful chapter entitled "Emotional, Physical and Fiscal Fitness" - who ever said that being an actor would be an easy going process? Lemack then concentrates on the plan of action for the proactive actor, that must be personal, customized, strategic and an empowered action for one's career achievement.
With advanced technology and so many websites appealing to actors that supposedly help them to get started, the actor must learn discretion from the start and avoid those sites that are out merely to grab a buck or two. Lemack gives a list at the end of the book of those preferred sites for actors, starting with Breakdown Services - and also those to avoid.
Brad Lemack had a legitimate professional career in broadcasting, has been a talent manager, acting career coach, and writes a blog for actors. This incredibly detailed and caring book is a by product of this totally knowledgeable and caring man. You can reach him with your questions at blemack@TheBusinessOfActing.com
What I personally love about the book is that it includes a code of ethics for actors. Actors need to be reminded that in order to be the most successful at what they do they must be true to themselves, be persistent, and always respectful and supportive of their fellow artists. Not an easy code, this one, but it must be followed if a student of acting really wants to become a working professional.
5 out of 5 stars

Of Grapes and Nuts After Party

(Top: publicist Michael Sterling & below: Keith Cooper, playwright in from Chicago)(Middle: Kimberly Van Luin & Paul Stroili)

(Bottom: Jamie Denton)

review - Mysterious Skin

RECOMMENDED

Mysterious Skin

by Prince Gomolvilas

based on the novel by Scott Heim

directed by Tim Dang

East West Players

through October 10

Provocative, imaginative material about sexual abuse, despite its uneasy and controversial nature, can fascinate, and this Los Angeles premiere Mysterious Skin @ East West Players begs to be seen.

Dividing scenes between fantasy and reality, in Act I on stage right we see Brian (Scott Keiji Takeda), obsessed with nightmares of 'being abducted by aliens' as an eight year-old, and on stage left, another young man of similar age, who has become a full-fledged male hustler: Neil (played by David Huynh). In this half the theory of alien abduction is given equal focus to the issue of prostitution, but the two elements are distinctly unrelated. They do not intersect until Act II, when the two boys meet and see that they have something in common from the past which has irrevocably damaged their lives.

The cast is outstanding under Tim Dang's thoughtful and caring direction. Huynh and Takeda both give wonderfully layered and complex portraits of the two totally different males. In the long run their truthful interactions prove somewhat therapeutic. Elizabeth Liang is precious as Avalyn, so desperately lonely and in love with Brian. Everyone has had a close friend like Avalyn at some point in their lives and Liang makes us recall that person. Christine Corpuz as Deborah is smart, outspoken and completely supportive of Neil and is equally terrific playing three other roles. Ruffy Landayan and Marcus Choi display tremendous versatility in a variety of roles. Choi has his finest hour as the deceptive rough trick and Landayan, sweet and tender as Eric, who has deep feelings for Neil.

Dang's direction could not be better, as we are pulled in to what appears at first glance to be a taut and chilling sci-fi adventure and then suddenly jolted back to the starkly real facts of the case ... with some mercy and spiritual consolation appearing at the very end. Very interesting and eerie to have actors look at other actors as they are exiting the stage, even if they are not in the actual scene with them. A fascinating experience, all!

Set and projection design by Alan E. Muraoka is to be especially singled out for its darkly bold and engaging look. It is a tad disconcerting to have the projected images change so often during a scene, though, as one may focus on that and lose track of the content of the actual scene.

This is riveting, intelligent theatre for the socially conscious, but its nudity, foul language and sexual situations make it off limits to young children and for those adults less open-minded.

4 out of 5 stars

(post note: In this play, the little league coach is responsible for the sex crimes described. Jokes against priests have gotten tiresome and way out of hand. Male sex offenders deserve proper punishment, but we need to be reminded they do come from every walk of life.)

review - Of Grapes and Nuts

CRITIC'S PICK

Of Grapes and Nuts

written by Doug Armstrong, Keith Cooper, and Tom Willmorth

directed by Paul Stroili

SeaGlass Theatre @ the Victory Theatre's Little Vic Theatre, Burbank

through October 24

Fans of John Steinbeck will not want to miss this delightful parody of Grapes of Wrath and Of Mice and Men. Lenny becomes an unwanted member of the Joad family, boss Curly is a lady and the Joads are as determined a family as ever to beat poverty in Oklahoma and find their little patch of green earth in sunny California. SeaGlass proves once again that they are a top-notch theatre company to be reckoned with, making the West coast premiere of Of Grapes and Nuts a wicked classic all by itself.

This sendup leaves no stone unturned. Respect? There's no place for it here. When Pa Joad said that he wanted to make it to California, the family takes that request seriously and wait until you see how they get his body over the border line. If they must wear clothespins over their noses to dispel the aroma of a decaying grandma in the back seat of the truck, life marches on. Even when a dying Lenny asks for a glass of milk, will Ma Joad satisfy his last request? Well...this is a show about family. Although adult fare, it's grotesque humor on the clean, goofy side, so there must be some limitations, right? Only a few! All in the name of fun, irreverance runs rampant in this script and so be it! Let the laughs endure.

Actor Paul Stroili is a clown with a touch of class, so therefore makes just the right director for this kind of material. His cast is surefire great. Casey Kramer is dynamite as Ma Joad. With a look that might stop a clock, her delivery is priceless, and her Pretty Boy Floyd speech about being in prison and turning out 'mean mad' is drop dead hilarity. David Reynolds adds just the right flavor of simplicity as Lenny without ever crossing the line, whereas Kimberly Van Luin goes for broke as Curly, and the results are winning. With moppet, excessively curly pigtails in place, her boss woman is mean, yet needy. Her seduction of Lenny is a hoot! Another unforgettable Van Luin performance! Lauren McCormack does great double duty as Jim Casy/Pa Joad, and David Ghilardi and Jen Ray display comic versatility in several roles. Ray's shrewd waitress is a gem. Ian Vogt has perhaps the most difficult role as Tom Joad. Who can forget that "I'll be everywhere" speech made so memorable on film by Henry Fonda? Thanks to Stroili's keen sense, he plays it straight out, not going over the top, and it works.

The set design by David George is great, making indoor and outdoor locales completely believable in this tiny space.

This is a raucous, unbarred look at the American way and how we'll stop at nothing to make a buck at the expense of others. Ever make fun of others when their backs are turned? Ever make a hearty meal out of penny candy? Ever watch an all day Beverly Hillbillies marathon and end up relishing it? C'mon, you know you have, be honest! If the answer is yes to these three and other silly, silly questions, git yourself on over to the Victory Theatre Center and enjoy Of Grapes and Nuts! You all go, now, you hear? It's new in town, but already destined to be the next cult classic!

5 out of 5 stars

review - Merrily We Roll Along

CRITIC'S PICK

Merrily We Roll Along

book by George Furth; music & lyrics by Stephen Sondheim

directed by Richard Israel

Actors Co-op

through October 24

Merrily We Roll Along may just very well be Stephen Sondheim's greatest lesser known musical.

Like Harold Pinter's nonmusical play Betrayal, its action works backwards in time instead of forwards, allowing audiences to pay closer attention to the details that lead to the breakups and failures. It also puts an emphasis on the optimism and positive spirit of youth so missing within the framework of fleeting success. It's lonely at the top could not be a wiser old adage. Now onstage at Actors Co-op, Merrily is vibrantly alive, singing the praises of Sondheim and George Furth. This is a blessed representation with Actors Co-op production values, rich and full.

Richard Israel has assembled a wonderful cast, every single one of them just about perfect for their roles. Heading the ensemble are Brent Schindele as Franklin Shepard, Matt Bauer as Charley Kringas, and Leslie Spencer as Mary Flynn, a triumvirate of friends who avow from the beginning to stay true to each other through thick and thin. They all shine, singing and acting gloriously throughout, not missing a beat - and that's not easy singing Sondheim. Bauer's "Franklin Shepard, Inc" in Act I is unforgettable. Selah Victor is loving and true as Beth and Gina D' Acciaro makes a powerhouse Gussie. Her character is the perfect example of how success may totally ruin an individual personality. Obsessive, greedy and loud, when it all started she was just a shy unassuming little secretary without any moxy or drive. Praise as well to John O'Brien, Michael Covert, Catherine Gray, David Greenman, Dominic Leslie, little Sam Melnikov, Rory Patterson, Ben Ryan, and Stephen Vendette. They all sing and move with gusto under Richard Israel's expert direction and John Todd's snappy choreography.

Stephen Gifford's scenic design with its sliding panels works divinely and Sharon McGunigle's costumes are colorful, especially the ladies' evening wear.

What a terrific production! I could sit through it again and again! Bravo to Actors Co-op!

5 out of 5 stars

review - RUINED

CRITIC'S PICK

Ruined

written by Lynn Nottage

directed by Kate Whoriskey

Geffen Playhouse

through October 17

With our world's current preoccupation with war, its shadowy aftermaths and so much being written in the press about it, a war play could very well be an unwelcome addition to the fall lineup. So what about Lynn Nottage's Pulitzer Prize-winning Ruined about Africa's World War in the Congo? It is far superior to others of its kind because it takes a very personal approach and relays joy as well as sorrow, making it a real unexpected surprise. Now at the Geffen, the play which originated at the Goodman in Chicago and the Manhattan Theatre Club in New York, has a marvelous cast, is splendidly directed and relates a truly optimistic perspective on

survival.

War still rages in the Congo despite democracy being declared in 2003 and its ravages on the women of the country are best understood if the women themselves are allowed to speak about their intimate horrors. Nottage bases Ruined on actual interviews with many of these women, so the characters, though fictitious, are the real thing. Mama Nadi (Portia) is the quintessential survivor. She is all business, runs a whore house - the only one with a pool table for miles around - and relishes every ounce of her success. She is proud and wants to stake her claim on a piece of land that she can one day call her very own. She is constantly planning for the future, but there are obstacles, like her girls. Sophie (Condola Rashad) is already physically 'damaged goods', and to make matters worse, is caught stealing from the weekly grosses. What Mama does in return is surprising, something that only a deeply caring soul will do for another human being. Portia gives a powerhouse performance of a no nonsense woman, and Rashad is a marvel in a sweet underrated role. She also possesses a mean singing voice. Russell G. Jones as Christian, so in love with Mama, takes his opposing spirit on war to another level creating a totally likeable individual. Most all the other men in the play are depicted as selfish, monstrous pigs. Cherise Boothe is bold and savvy as Josephine, but it is Quincy Tyler Bernstine as Salima who has the prime supporting role. Shunned by her family and dishonoured for being raped by soldiers, and pregnant, she fights her own private war for daily survival. Her monologue in Act II, so full of torment, is beautifully written by Nottage and tells the plight of thousands of women just like her.

This is quite obviously not an easy play to take in. It is painful, and annoying on many levels, but yet if you stay with it, you will enjoy the ride and reap its many benefits. The addition of song and dance adds a lot of flavor to the dark proceedings. Mama puts it best when she declares, "Who will win? Who cares? There must always be a a part of you the war won't touch." Whoriskey's detailed direction is impeccable, the performances are all top-notch and Ruined is an absorbing, heartwarming evening of theatre.

5 out of 5 stars

Erich Bergen's CD Concert @ Inner Circle of the Magic Castle

(Photo by: Brian Putnam)

Erich Bergen performed a CD release concert @ the Inner Circle of the Magic Castle Wednesday September 15.

see review below!

CABARET review - Erich Bergen

Erich Bergen of Jersey Boys fame appeared at the Inner Circle of the Magic Castle Wednesday September 15 to launch his new CD The Vegas Sessions. Taking the stage with the gusto akin to a tornado or blazing brushfire, this young dynamo captivated the packed house from the moment he opened his mouth. There are singers with great pipes but no personality and others who rely on a strong charisma to pull them through. Bergen has talent to spare and enough charm to spread around. And he's truly funny and... fun. Exchanging quips with musical director Michael Orland between numbers like "Did you notice how I was really acting there?" brought the house down, as many Jersey Boys loyal fans were in attendance.

Highlights of the hour long set included his rousing opener "I'm Gonna Live Till I Die", a dynamite New York medley "Empire State of Song" arranged by Steve Orich with "I Love New York", "Another Hundred People", "Arthur's Theme", and "New York State of Mind", Bergen's own compositions "Wastin' Time" and the beautiful love song "I Hope You Know", and an obscenely hysterical "Blow Me a Kiss" which heretofore will be known as the "Come In Your Face" song. You have to hear it to appreciate the humor. There was also George Michael's "One More Try", Rupert Holmes' lovely "The People You Never Get To Love" and Larry O'Keefe's facetious "Sensitive Song".

Joining Bergen onstage were Jersey Boys costars Michael Ingersoll who did a hilarious duet with him entitled "A Jazz Odyssey", and later Rene Ruiz and Timothy Quinlan with all four performing "Cry For Me" written by Bob Gaudio whom Bergen played in Jersey Boys. Accompanying Bergen along with Michael Orland on piano were superior musicians Joe Hamilton on bass and Ed Smith on drums.

Like John Barrowman, another charming Broadway and West End singer/actor, Erich Bergen is an adorable guy who can really engage an audience and leave them smiling and wanting more. Be sure to catch him in the new musical Venice when it plays in October at the Kirk Douglas Theatre in Culver City, and in the meantime purchase his new CD The Vegas Sessions!

Judith Ivey & Patch Darragh Party @ Ciudad

T.Reichman, who writes for Warner Center News, joins me in congratulating Patch Darragh (Tom) and Judith Ivey (Amanda) for their great work in The Glass Menagerie @ The Mark Taper Forum. Party was @ Ciudad on Figueroa with delicious tapas and margaritas on the house.

review - The Glass Menagerie

CRITIC'S PICK

The Glass Menagerie

by Tennessee Williams

directed by Gordon Edelstein

Mark Taper Forum

through October 17

For many, Tennessee Williams' The Glass Menagerie remains his finest play. Semi-autobiographical, the play takes place in St. Louis during the Depression and depicts the relationships between a restless alcoholic factory worker, wannabe writer, his overbearing mother and his psychologically deficient sister - all of which stems from Williams' actual background.

Currently at the Taper, Gordon Edelstein's award-winning production, originating at the Long Wharf in Connecticut and winning the Lucille Lortel Award for Best Revival at the Roundabout Theatre in New York, is a re-envisioning of the original that works miraculously by connecting Williams' early playwrighting years to his Southern roots from which he constantly longed to escape. How is this accomplished? Tom (Patch Darragh) is no longer the traditional merchant marine narrator at the top but a writer in a hotel room struggling to write his memory play, thereby giving closure to this segment of his life. Everything he remembers comes to vibrant life: the hotel room becomes the rundown tenement with the infamous portrait of the traveling telephone salesman father carefully lit behind a scrim. When Tom is not involved in the action, he lingers onstage observing, writing, or typing, throughout. Edelstein's vision works wonderfully, but it makes one question why it has never been tried before.

Another fascinating addition to this production is the consistently piquant humor as expressed by Amanda (Judith Ivey) and Darragh as Tom. Ivey's whole being as an actress creates a warmer and more caring mother than usually seen and her frequent nervous cackle especially in the presence of Jim (Ben McKenzie) is a delight. Ivey is a tower of strength, and her entire performance rings of truth and eccentricity similar to those of another wonderful Tennessee Williams actress, the late Geraldine Page. Darragh's drunken scenes are honest and funny and, when he first speaks, his Southern inflections bear a striking resemblance to those of the real Williams. Darragh's Tom, a frustrated mama's boy, is more daring and bold than previous Toms, in its overall execution.

Keira Keeley is perfect as Laura, evoking every nuance of self-consciousness but wisely dropping the heavy clump and giving her a quicker more normal pace. McKenzie offers the traditional interpretation of the Gentleman Caller: extremely open, egotistically self-confident and most abundantly polite. Both render model performances.

Michael Yeargan's simplistic hotel room set with a scrim-like wall works most effectively to evoke past events. The suitcase in the hotel room used to store props and clothing for the Wingfields is an ingeniously functional device. Edelstein's risky but effective restaging and the brilliant work of his cast, especially from Ivey and Darragh make this The Glass Menagerie you cannot afford to miss. It's a bit longer due to the opening setup, but terribly entertaining, emotionally engaging and ultimately fulfilling.

5 out of 5 stars

review - Miss Saigon

CRITIC'S PICK

Miss Saigon

music by Claude-Michel Schonberg

lyrics by Richard Maltby, Jr. and Alain Boublil

Moonlight Amphitheatre, Vista

directed by Steven Glaudini

through September 26

When it first premiered on the West End in 1989 and then on Broadway in 1991, Miss Saigon won over critics and public alike with its bold operatic score and absorbing story of the Viet Nam War and its aftermath. Almost twenty years later it is as relevant as ever and Moonlight's stunning production could not be better.

Claude-Michel Schonberg and Alain Boublil blazed trails with Les Miserables and continued their success by bringing the theme of futility of war closer to present time. American guilt over what happened in war-torn Viet Nam never subsided as those who fought went through a living hell of pain and desperation for those innocents they left behind. The time was ripe in the late 80s to write it all down and musicalize it, for what is more conducive to opera than psychological trauma? Strangely enough, when I first saw Saigon 10 years ago on tour it seemed so distant and cold like Madame Butterfly before it. Moonlight's splendid representation pulled me in and gripped me with its excellent storytelling, cast and direction.

Heading the wonderful ensemble is Jennifer Paz as Kim. She is committed to the role to the very depths of her being. Kim's love for her child is unsurmountable; she is willing to die for him and Paz conveys this element palpably. Without an outstanding voice for Kim, Miss Saigon could not play at all; Paz makes it shine. Another strong character that makes the work go is The Engineer, played magnificently by Johann Michael Camat. Anglo-Americans played this part before, and it made little sense. Camat is bold, brazen and a perfect fit. Doug Carpenter as Chris is just great. Vocally never better and intensely into his character's angst, Carpenter is astounding. Cassandra Murphy as Chris' wife Ellen brings warmth and understanding to a difficult role as does Melvin Robert III as nice guy John. Joseph Andreas as Thuy is a powerhouse of revenge and little Ace Young as Tam is a wonder - so focused on stage for such a tiny tot. Praise as well to Katherine Brady for her beautiful solo at play's start on "The Movie In My Mind", one of the show's most meaningful tunes.

Glaudini's direction is consistently sturdy and Carlos Mendoza's choreography electric especially in Act I's "The Morning of the Dragon" and Act II's "The American Dream" which remains an ode to greed at all costs.

This is a terrific production of Miss Saigon from top to bottom and is definitely worth the ride to Vista, 30 miles north of San Diego. The beautiful moonlight amphitheatre's atmosphere adds a dark and chilling mood to this tragic piece.

5 out of 5 stars

Doug Carpenter After Vista Performance

Doug Carpenter relaxes after his performance as Chris in Miss Saigon at Vista on Saturday September 11.

see review above!

Critics Meet and Chat

It's always fun to see Pat Taylor at a NoHo show. I've known her for years. She's so youthful, peppy and full of the dickens. We saw each other at Anais Nin @ The Sherry.

see review below!

review - Anais Nin

Anais: An Erotic Evening with Anais Nin

written and directed by Michael Phillips

The Sherry, NoHo

througth October 16

Sonia Maslovskaya stars as Anais Nin the mistress of novelist Henry Miller and his wife June. Married and an authoress herself, Nin kept diaries in the 30s in Paris that turned the literary world upside down when published in the 60s and 70s with her erotic protestations of lesbian as well as heterosexual love. Running Fridays and Saturdays through October 16 at The Sherry in NoHo, the play, written and directed by Michael Phillips, is a world premiere and certain to create as much controversy as did Nin herself. Some will be upset with the sexually graphic material; others, like myself, will find the production lacking depth and joie de vivre.

Maslovskaya is a lovely creature who physically fits the role. She has a low-key personal style that is appropriate for an intimate audience, but somehow the eroticism never caught fire for me. Her delivery was on one note throughout, giving the entire play a pedestrian rather than exciting tone. It is difficult to be moved by provocative, illicit sexual passages when they are presented in a lackluster fashion. If Nin really loved June Miller from the bottom of her soul, the description of their passionate love-making in the rear of a taxi would have left the audience gasping, begging for more. This was hardly the case with Maslovskaya's interpretation. Also, the ending is a big shock. The love is unrequited and Nin is devastated by the impact of what June tells her. Maslovskaya does not build to a dramatic finish, so theatrically it's a grand letdown.

Phillips is as much to blame for his lack of direction, which should consist of more than moving an actor from stage right to stage left. Despite the fine efforts of The American Ballet of Los Angeles to brighten up the proceedings on opening night with a brief performance before Act II, the background and flavor of Paris is totally missing here for the flashback scenes. Perhaps a couple of set pieces - like cabaret tablecloths with fishnet coverings -or rear projectuals of the Parisian streets and artists quarters would help to transport us to that place and time.

With proper handling, this piece may leave its audience smoldering. At present, my suggestion is to read Nin's journals; they must be more evocative and inspiring.

2 and a half stars / 5

Patti Lupone A Memoir

Available in bookstores everywhere Tuesday, September 14!

Can't wait!

Blake McIver Ewing @ Sterling's

At 25, Blake McIver Ewing is a sensational singer who should be riding high on the wings of fame.

see review below!

review - Mitzi Gaynor Razzle Dazzle

CRITIC'S PICK

Mitzi Gaynor Razzle Dazzle: My Life Behind the Sequins

Legendary Mitzi Gaynor is currently on a limited tour of the latest incarnation of her Mitzi Gaynor Razzle Dazzle and now in her 70s, Gaynor continues to spread love, warmth and happpiness wherever she appears. Such was the case in Escondido Labor Day weekend, where she gave five sold out performances at the Lawrence Welk Resort Theater.

Backed by musical director Ed Czach on piano and a seven piece orchestra and a gigantic movie screen, Gaynor won our hearts with her one-of-a-kind anecdotes - nobody can embellish a story like Mitzi Gaynor - about her life: including a happy 50-year marriage to agent Jack Bean - indeed rare for a Hollywood star, her 17 movie film career, Vegas and road tours of her acclaimed night-club act, and her Emmy-winning TV specials. Fans of Gaynor's dancing will have to content themselves with video clips. Come on, the lady is in her 70's! She still, however, can move, cavort and girate with the best of them and that she does on: "Honeybun", a winning medley of four songs from South Pacific, including the popular "I'm Gonna Wash That Man Right Out of My Hair", a wonderful "Show Off" from The Drowsy Chaperone, where she hilariously spins two tassles with her ample chest and stretches out a la Mae West on top of the piano, "Everything Old Is New Again", "Seems Like Old Times", "There's No Business Like Show Business", and a terrific finale of "Takin' a Chance on Love", rewritten for her called "Takin' a Chance On Me" and the crowd-pleasing "You Are the Sunshine of My Life". There's also a sweet, tender rendering of "If I Had You" recalling when she first laid eyes on Bean at the Coconut Grove. Her whole being lit up and beamed here.

Gaynor makes six fab costume changes - all designed by Bob Mackie - and tells some wonderful stories about Ethel Merman, Howard Hughes, the Duke of Windsor, Louella Parsons, George Abbott, Gene Kelly, Vera Ellen among many, and the glory days of Hollywood, Broadway and the road. She is so beautifully talented with voices and impressions, and carries off some priceless ones of such greats as Rossano Brazzi: "Rossano, you're about the most handsome man I've ever seen!"

(in flashy Italian) "I know, Mitzi, I know!" And unknown people off the street like the owner of the Latin casino in New Jersey who spoke with a mouth full of spit... and his two associates. Gaynor rendered all three with inimitable style and humor, referring to them as the Three Stooges.

This is a delightful evening of entertainment for Mitzi Gaynor fans - there are legions, trust me- and for those young, impressionable ones, just beginning to learn about the love of performing. They could not learn from anyone better than the radiant Miss Gaynor who simply oozes life, love and passion from every pore.

God bless her!

5 out of 5 stars

CABARET review - Blake McIver Ewing

Actor/singer Blake McIver Ewing, well known for his big screen remake of The Little Rascals, his amazing 1992 Junior Vocalist Champion status on TV's Star Search and his stint on TV's Full House, among many others, has undeniably left his mark as an immensely talented child star. With his stage appearances in Light in the Piazza, and most recently in the critically-acclaimed Chess, he is showing just how phenomenal a talent he has become: a mature, fully blossomed musical comedy performer. On Sunday, September 5, Ewing added yet another remarkable dimension to his career with his cabaret debut @ Sterling's Upstairs @ Vitello's: Musical Confessions of a Child Co-Star.

Playing to a packed room, Ewing not only displayed a tremendous vocal range, but a style and artistry reserved for singers twice his age. He understands the stylings of standards, love songs, jazz, pop, Broadway, gospel and even bossa nova and is able to execute them all in a flawlessly professional manner. Extraordinary! He also writes his own material and has a great way with an audience. Soft-spoken, intelligent and brimming over with charisma, Ewing has it all. If he is in fact the schizophrenic he claims to be, although I feel this was his eclectic sense of humor at play, so be it: it makes him that much more the genius to be reckoned with.

Backed by superb musical director/pianist James Lent, Ewing essayed the following tunes brilliantly, each and every one. Tony Bennett's "The Best Is Yet to Come", singing to his grandmother in the audience, the beautiful Bacharach ballad "A House Is Not a Home", Sondheim's dynamically pensive "Marry Me a Little", the tear-jerking spiritual "His Eye Is on the Sparrow", the lovely "Love to Me" from ... Piazza, the imaginative "There's a World" from Next to Normal, and the glorious "Back to Before" from Ragtime, giving fresh dynamics to a number usually sung by a woman. There was also a riveting duet with Nicci Claspell, his costar from Chess: "Someday", cut from the movie version of Hunchback of Notre Dame and a vibrant encore with Alicia Keys' oh so melodic and meaningful "The Thing About Love".

Ewing is the man to watch. Don't miss him the next time he performs anywhere. At a young and tender 25, he's a class act!

MITZI GAYNOR SWEET AND WARM

Mitzi Gaynor looks radiant on the eve of her birthday after a splendid performance of her newshow Mitzi Gaynor Razzle Dazzle @ Lawrence Welk Resort Theater in Escondido.

review above!