review - Santa Claus Is Coming Out

CRITIC'S PICK
Santa Claus Is Coming Out
written & performed by Jeffrey Solomon
directed by Joe Brancato
Diversionary Theatre, San Diego
through December 21

An intelligently imaginative turn, Jeffrey Solomon's one-man play Santa Claus Is Coming Out @ the Diversionary in San Diego may cause controversy among conservatives but is certainly a milestone in the acceptance of gay rights. Gay bashing is not a new issue in schools; in fact, Solomon first presented this piece in Chicago in 2001 as a protest to the manner in which the educational system has been dealing with young gay students. They deserve to be treated as human beings and accepted for who they are. And who knows for sure whether great icons like Santa, a pegan outcast in Christian philosophy, wasn't homosexual as well?

Solomon ingeniously plays over a dozen characters in documentary style as he presents Gary Grey, a little boy, who asks Santa for a Brenda Ann doll, only to receive a truck instead. His irate father and bewildered mother refuse to give in to his choices, but when he does finally get a Dream Date Norm doll for his consistent efforts at being a good little boy, dark suspicions are cast on Santa Claus and school psychologist Mary Ellen Banfield of FAGA (Families Against the Gay Agenda) begins a superficial investigation which destroys the image of the myth. There is an uproarious puppet sequence here of Banfield's wickedly dishonest enactment of what supposedly happened when Santa enticed Gary onto his lap with a candy cane.

This is a story about Gary, but it is also a story about Santa. That is the beauty of this piece, that it manages to cleverly bring two divergent stories together to make its point and at the same time entertain. Santa's history of sealing a deal with Coca Cola in 1929 provided him a job as spokesperson for the soft drink, a chance to uphold his image, and an economical one to save his workshop. Due to the eventual emergence of Santa's homosexual reputation and living with a male lover - Giovanni Gepetto, the distant relative of Pinnochio, his agent Sid Green points out to him the urgency of having a wife, to keep his public image clean, so Green sets out to hire classical actress Cecilia Lawrence to play the role of Mrs. Claus. Solomon essays all of these roles and more.

Not unlike Lily Tomlin in Search For Signs of Intelligent Life in the Universe, the actor, dressed simply in black trousers and black tee-shirt, shifts characters within split seconds by changing vocal inflection, accent, facial expression and using a simple prop like a hat, wig or jacket. That's it! A well-honed exercise in adept acting talent executed with style and flair! Solomon offers quite a brilliant display of expertise. Other hilariously outrageous characters include a gay activist Jose, calling Santa - Santa Closet, an adorable little black girl, friend to Gary, named Cheyanne, a recklessly gay-bashing evangelist Bobby Bucket, a caring elf - "You mean Mr. Claus is a prancer?" and even Rudolph who changes his red nose to lavendar in support of his master's lifestyle.

There is tremendous creative humor in Santa Claus Is Coming Out but what emerges first and foremost, aside from the astounding acting portrayals by Solomon, is a tender glance at the deep-seated feelings of being gay - what it is like for an innocent little boy, and for one living legend who is devastated because he cannot maintain his image as a true lover of children. At one point someone guns down and kills Santa when the news hits the streets. In the end there is a book in which Santa has outed himself and Gepetto, and his truthful disclosure, to the horror of many, is cathartic, going a long way to help cleanse the souls of Gary Grey and other gay children. Gay bashing is pitiful and unfair, and Jeffrey Solomon makes us really care about the truth and standing up and fighting in its defense.

5 out of 5 stars

review - West Side Story

CRITIC'S PICK

West Side Story

book by Arthur Laurents

music by Leonard Bernstein; lyrics by Stephen Sondheim

directed by David Saint (based on Arthur Laurents' Broadway direction)

choreographed by Joey McKneely

Pantages Theatre

through January 2, 2011

Ask musical actors/actresses for their choice of favorite Broadway musical of all time and they most often concur, West Side Story. Why? It has phenomenal music by Leonard Bernstein, with concise poetic lyrics by Stephen Sondheim and a tight and gripping book by Arthur Laurents, who directed two years ago, and brilliant choreography established in 1957 by Jerome Robbins. It is one of the most powerful love stories ever, next to Romeo and Juliet. With all these elements complementing one another, from the first downbeat of the orchestra and the appearance of the Jets creeping in one by one on a half-lit stage, the show pulls you in and doesn't let go of you for its two and a half hours ... and its message and images of love linger long after.

Arthur Laurents' newest revival (2009) is certainly more realistic than others. First, the score is sung with some lyrics in English and some in Spanish. Also, more Spanish is spoken within the dialogue of the scenes. Sondheim gave his approval for this to draw contemporary Hispanic audiences to the show, and it makes sense, for Puerto Ricans arriving in the US still spoke Spanish. Also, the ending of this revival is less theatrical, as the opposing gangs do not carry Tony's body off. It would never be allowed in a modern CSI (Crime Scene Investigation). Without that overpowering piece of staging to conclude, it is left solely to the power of Maria's riveting speech against violence to encourage hope for any possible reconciliation between the warring gangs. Real but still potent!

The touring cast at the Pantages is remarkable. It is such a joy to see such young triple threats throughout the ensemble, in which there are no weak links. Ali Ewoldt and Kyle Harris as Maria and Tony set the stage on fire with their passionate love. Both are dynamite actors/singers. Michelle Aravena makes Anita earthy, feisty, and humane, causing one to forget the legends that have come before her. Joseph Simeone is electric as Riff, and German Santiago macho and seething as Bernardo. Drew Foster as Action, Alexandra Frohlinger as Anybodys, Jay Garcia as Chino and the other Sharks and Jets are incredible, as are the adults: John O'Creagh as Doc, Christopher Patrick Mullen as Lt. Schrank, and Mike Boland as Krupke.

Choreography by Joey McKneely, especially the dance mix in the gymnasium, is superlative. James Youmans' dark scenic design is riveting, particularly the fenced off area underneath the highway that sets the scene for the rumble at Act I's finale. This entire show is Class A Number One. It is a perfect representation for both fans of the stage version and for those first-timers, familiar only with the ten time Academy Award-winning 1961 film. Don't miss it!

5 out of 5 stars

review - Next to Normal

CRITIC'S PICK
Next to Normal
book and lyrics by Brian Yorkey
music by Tom Kitt
directed by Michael Greif
Ahmanson Theatre
through January 2, 2011

To keep up with the ultra-fast pace of the modern age is difficult for most 'normal' people. Dealing with emotional pain or loss on top of average daily strife can be overwhelming. It may easily destroy a life and those connected to it as well. In the Pulitzer Prize winning Next to Normal, the problem is presented via a wife and mother, who has been diagnosed as bi-polar. Her behavior patterns show extreme mental instability verging on insanity, and the effects on her husband and teen daughter are astronomical. Eventually a heartfelt loss from the past unravels that is at the core of the woman's suffering. Structured in a most unique way, Next to Normal is akin to a rock opera, but it is not completely sung; there is intermittent dialogue. The most emotional moments, though, come through song, so the music and book flow together, and with the three tiered open set and loosely structured staging, it all comes together as an unparalleled musical drama.

Back in the 70s A Chorus Line broke tradition with its atypical structure. Was it a musical or a drama? Most argued: a combination of both. Next to Normal will undoubtedly do the same in this decade with its heavy emphasis on dramatic themes of emotional unbalance and dysfunction storied through music. There is nothing to compare it to. At one point in the score Diana sings her objections to ECT or electro-shock therapy by stating "I saw this before in One Flew Over the Cukoo's Nest". The allusion gets a laugh but that drama was never made into a musical, at least to my knowledge. What composer Tom Kitt and lyricist Brian Yorkey have achieved is something phenomenal and amazing. When the songs can present and explain the argument and then move you more than dialogue, the results go beyond normal expectations. The three leveled set by Mark Wendland is another wonder in itself. Multiple meanings come into play. The first two levels are primarily the family's two story home. The first two levels could also represent earth, with the top layer heaven from which Gabe (Curt Hansen) descends in the thoughts of Diana (Alice Ripley). He alone seems to reside there. All three could also represent the mind in its various forms of unrest and healing. Diana seems to reside more on level two, on her own, toward play's end, when she is working through her pain more independently. Brilliant imaginative design!

The cast is outstanding with all reports on Alice Ripley's performance resoundingly true. She is brilliant and engaging throughout. She never crumples, remaining a fiercely strong woman at every stage.

Also dynamic and real is Asa Somers as her caring husband Dan, and Emma Hunton as daughter Natalie, so headstrong yet fragile, especially concerning her own future. Hansen is physically agile as the enigmatic spirit, Preston Sadleir affable as Natalie's boyfriend Henry and Jeremy Kushnier riveting as two totally different doctors, both sadly more wrapped up in the medical profession than in their patient's healing.

This is a play that will repel some, but engage most with intelligence and feeling. Those who turn their backs on reality will like it least. Everyone deals with loss or pain in some way, and the complex but healing message of Next to Normal is curative for all., but one must first accept it with feet on the ground.

5 out of 5 stars

review - Cinderella / Panto

                                
CRITIC'S PICK :  A Modern Musical Extravaganza

           Cinderella

             The Family Fun Christmas Show

             written by Kris Lythgoe

     choreography by Mark Ballas

               directed by Bonnie Lythgoe

                El Portal Mainstage

               through December 19

This sparkling new version of the classic fairytale Cinderella is a joy for adults and kids alike. In fact, it's done in the style of a British Panto (short for Pantomime), which has nothing to do with silent mime, but is classified as a winter comedy with music hall or vaudeville sensibility and enough audience participation to make it raucous and fun for the entire family. The Lythgoe Family's new entertainment @ the El Portal is certainly that, judging by audience reactions on the day I attended. Everyone was cheering, booing and participating in top form making for a fun-filled afternoon.

There's a sort of interlocutor or narrator Buttons (Benny Harris) who breaks the fourth wall and talks to the audience, the kids in particular, and gets them to root for Cinderella (beautiful Veronica Dunne) and hiss the ugly wicked stepsisters Cowel (Eddie Driscoll) and Seecrest (Mark Edgar Stephens). In this story, there's a Baron (Jerry Mathers) who is father to Cinders and the two uglies. Of course, there's a fairy godmother (Jennifer Leigh Warren), a handsome Prince (Freddie Stroma) and his attendant Dandini (James May) and Little Man as Blitzen, a real live pony who glides Cinderella's carriage to the ball. Harris is wonderfully entertaining and sympathetic as Buttons, Mathers is his characteristically confused Beaver Cleaver, Warren sings beautifully as Fairy, and Dunne and Stroma make a gorgeous couple; even May as the attendant has some cute comical moments, but it's Driscoll and Stephens who steal the show as the campy evil stepsisters, whose bawdy inuendos will delight parents and go right over the heads of the wee ones. They'll be too busy laughing at their excessively gaudy appearance to pick up on the adult jokes.

QDos Entertainment UK is responsible for the lovely sets and great costumes, especially the over-the-top outfits for Cowel and Seecrest; Mark Ballas' choreography is winning with tiny tots dancing around the stage with the grace of sugar plum fairies. And the original music is bright, bubbly and uplifting.

This is the show to see this holiday season - one that will delight the entire household. It's Cinderella like you've never seen it before: you'll laugh yourselves silly! The British tradition has arrived, and will soon become an American one as well!
5 out of 5 stars

review - Inspecting Carol

RECOMMENDED

Inspecting Carol

by Daniel Sullivan & the Seattle Repertory Theatre Company

directed by Chris Winfield

Group rep @ Lonny Chapman

through January 2, 2011

Last mounted by Group rep in 2008, Daniel Sullivan's intelligent and very funny Inspecting Carol is a farcical look at a production of Dickens' A Christmas Carol by a regional theatre, in this case the fictional Soap Box Playhouse. Group rep's current superb cast make their second production of it a worthy view.

Beset by financial woes and desperate to keep a grant from the NEA (National Endowment for the Arts), the Soap Box Co will do just about anything to mount their benefit performance of A Christmas Carol. It's all about money. Of course what ensues, when a member of the NEA visits for inspection, is a delightful romp of mistaken identities and a slew of onstage mishaps. Everything that could go wrong does, all of which adds to the hilarity of the piece. Michele Bernath (Zorah) is the artistic director who has a reputation of being a sl--; well, let's say, she is a very giving woman, and will do what she must to get what she wants - for the sake of art, to be sure. Bernath is such a dandy actress, ever resourceful and a joy to watch, that she is a welcome addition to this cast. 

Equally so is Judith E. as M J whose bossy and direct manner make things move. Doug Haverty as Wayne Wellacre, an amateur actor and fast-talker, literally talks his way into the company - they fear mistakenly that he is the NEA inspector. Haverty is drop dead funny with his over-the-top Richard III  audition monologue and with his exaggerated stance as Tiny Tim. Larry Eisenberg is terrific as a befuddled Scrooge, and Robert McCollum Jr. a hoot as Walter, trying to figure out how to play not just one but all three ghosts; he hasn't a clue. Lareen Faye and Klair Bybee as two over-the-top and over-the-hill company members are just great, especially Faye stealing all of her scenes. Add Patrick Burke as an overly nervous secretary/accountant, Kent Butler, Steven Wasserman as a precocious child actor, and Diana Martin as Bart an inept stage manager to the brood and the laughs continue...

Director Chris Winfield does a great job up until the last half hour of Act II, where the slapstick needs to pick up and go faster. Also the last scene with the real inspector (Linda Alznauer) dressed up as the Queen of England needs more clarification. A scene leading to it needs to be further staged.

Winfield's set is spot perfect, and overall, this production is one very enjoyable ride and holiday treat.

4 out of 5 stars

The Best of LA Theatre for 2010

Ruminating over Best Productions, Best Lead Actors and Best Featured Actors for 2010. List will be announced right here on December 23. Stay tuned!!

Cinderella and Her HP Prince

Windy day @ Panto Cinderella @ the El Portal in NoHo with Veronica Dunne and Freddie Stroma (of Harry Potter film fame).

Bonnie & Clyde Will Hit Broadway in August 2011

Bonnie and Clyde is a thrilling new musical with book by Ivan Menchell (The Cemetery Club, Chitty Chitty Bang Bang); music byFrank Wildhorn (Jekyll & Hyde, The Scarlet Pimpernel); lyrics by Tony Award-winner Don Black (Sunset Boulevard, Song and Dance); Music Supervision, Arrangements and Orchestrations by John McDaniel; and direction and musical staging by Tony Award- winnerJeff Calhoun (Deaf West's Big River and Pippin, Grease!), now playing at Asolo Repertory Theatre in Sarasota, Florida through December 19. 

Producers Jerry Frankel and Jeffrey Richards have revealed that they intend to bring the production to Broadway in August 2011. Says Frankel: "We're planning to go to Broadway in August. We're going to Broadway, absolutely."

I am thrilled to say "I told you so!" with a CRITIC'S PICK when the production originated @ La Jolla Playhouse last season in 2009. It made my year-end list as Most Promising New Musical and Best Lead Performances included Laura Osnes and Stark Sands (Clyde @ La Jolla) and in Featured Performance Mare Winningham (Emma @ La Jolla).
Bravo to its continued success!

review - Yo Ho Ho A Pirate's Christmas

CRITIC'S PICK

Yo Ho Ho! A Pirate's Christmas

conceived, written and directed by James J. Mellon

music & lyrics by Scott DeTurk and James J. Mellon

NoHo Arts Center Ensemble

through December 23

 Perhaps one of the best family Christmas shows returns this season to NoHo Arts Center: Yo Ho Ho! A Pirate's Christmas. It was my choice for Best Family Show in 2007.What puts it on top? It's light, frothy and fun, but most urgently it encourages the audience to interact with the actors throughout. Interaction is foremost in getting kids' attention. The pirates trample through the aisles, swing on ropes from the audience to the stage and never let us forget that they are pirates ... and naughty. The kids love it, and most of the big kids as well! Kudos to James J. Mellon for a theatrical staging of such bravado.

And the cast is terrific from stem to stern: Jonathan Zenz, on my year-end list of bests for this performance in 2007, as questionably stalwart Black-Eyed Johnny is boldly funny, as is Melanie Ewbank, also a best performance for 2007, as the brazen female lead Grainne. "It's Grainne, not Granny!" Other memorable pirates include Alex Holmes as the troupe's weakest link Winky, J. R. Mangels as Tusk, Joshua Sterling as Billy Goat. And let's not forget Petie the talking bird! Nora James/Danielle Soibelman share the role of Evie, the wee brave girl who longs to be a pirate. Congrats as well to Brad Blaisdell as Santa, Merilee Magnuson as Mrs. Claus, and Janet Fontaine and Gilmore Rizzo as Eve's parents, and every last one of the merry ensemble.

Songs by Scott DeTurk and James Mellon are up and bright, with vocal tug of war "Yo Ho Ho/Ho Ho Ho" and pretty ballad "Christmas Is All About Love" special favorites. Dove Huntley's set of the icy North Pole delights the eye as do Curtis Jackson's Christmasy costumes in various reds and greens, which prove colorfully commendable. The humor, of course, is inane, like the  pirates defining Eve as an elf: "She lives in a tree and makes cookies."  If only that were so! You can't say it lacks imagination!

This is a sweet, adorable show for kids of all ages, and when you go to see it, remember your childhood dreams, hopes and wishes. Imagination and fantasy are great big pluses during the Christmas season and Yo Ho Ho! has them in abundance. Yippee!

5 out of 5 stars

CABARET review - David Campbell

On Tuesday November 23 Aussie singing sensation David Campbell opened a two-night gig at the Catalina Jazz Club, promoting his new CD On Broadway. Possessing a big belting Broadway vocal instrument, Campbell wowed the small but enthusiastic crowd the moment he stepped on stage. His warm and outrageously funny personality was on display throughout the 60 minute set as he bantered about his English roots, his rock star dad, his New York and Australian encounters with genius Stephen Sondheim and about his infant son asleep in the dressing room. He really enjoyed talking with his fine accompanist Christopher Denny, with whom he's had a twelve-year professional relationship. "Oh, I sing, too!" he quipped.

And sing he does! Highlights included: the flashy Peter Allen opener "When I Get My Name in Lights", "Oh What a Beautiful Morning", "Hey There", "Luck Be a Lady", "Being Alive" and "You'll Never Walk Alone", both especially dynamic, an equally riveting "Bring Him Home", "Mack the Knife", "What Kind of Fool Am I?" honoring his idol Sammy Davis Jr., and a beautifully cool rendition of David Cassidy's rock hit "How Can I Be Sure?" On the romantic side there was also a velvety smooth "My Funny Valentine".

"Can't take the camp out of Campbell!" he assured, as he bragged about arranging a date in Australia for Daniel Radcliffe with an onstage musician. "I'm his pimp!" he added facetiously. He played Marius in Les Miz once, singing "Empty Tables, Empty Chairs" - "Like tonight!" he interjected, referring jokingly to the empty tables directly in front of the stage.

He was brought up by his grandmother and watched a lot of American movie musicals on TV as a kid, "I didn't think Broadway was an actual place, but a set on a movie backlot!" His upbeat humor kept him hopping and his audience hypnotized throughout the hour.

This was a wonderfully entertaining evening of song and laughs. Watch for the dynamic David Campbell as he plays Feinstein's in New York November 28 to December 2 and the Rrazz Room in San Francisco on December 5! Don't miss him! And buy his CD On Broadway available @ his website!

www.davidcampbell.com

From Australia to LA on Thanksgiving Eve Eve

Singer David Campbell opened at the Catalina Jazz Club on Tuesday, November 23 to a small but enthusiastic crowd. Attributing the small audience to what he called Thanksgiving Eve Eve the small but fiery and funny Aussie singing sensation was just that. Expect great things to follow for this talented man on this US tour, his first in almost 12 years.

review above!

Christine Ebersole Delights

(Photo credit: Joe Barnaba)

see review archived at right!

More Pix from Group rep's Gala About Anne

Salome with her students.

With Group rep's co-artistic directors: Chris Winfield and Larry Eisenberg

With former student Vicki Pacifico.

Salome Jens Evening @ Group rep

(top photo: co-artistic director of GRT/actor Larry Eisenberg,
middle: actor Mitchell Ryan
right: actor Richard Chamberlain, and actor Anthony Zerbe behind)

It is difficult to put into words the brilliance of this performance of About Anne by Salome Jens. Her ultra-smooth transitions from event to event and the fluidity of her artistry are astounding. As she cascades from emotion to emotion, she is nothing short of mesmerizing. Personal, but universal, the poetry speaks to us all about the pain and joy of living. Out of time and place, the pieces, like Anne Sexton herself, show not only the tragic side but also the abundance of life. Jens is pure joy to watch and experience!

About Anne and Salome Jens

Great actors appreciate the work of other great actors. Richard Chamberlain is as big a fan of Salome Jens as I.

Leslie Uggams One of Our Greatest Living Performers

Leslie Uggams is simply the best in her new one-woman musical journey Uptown Downtown directed by Michael Bush @ the Pasadena Playhouse through December 12.
see review below!
Visit interviews (at right) for our new interview!

review - Uptown Downtown with Leslie Uggams

CRITIC'S PICK

Uptown Downtown

directed by Michael Bush

Pasadena Playhouse

through December 12

It's hard to find fault with Leslie Uggams. The immensely talented lady can act and sing up a storm. She didn't soar as Lena Horne in Stormy Weather for naught. Now in Uptown Downtown, her own musical journey, she excels once more, this time in the comfort of her own shoes.

The journey began uptown in Harlem and made several visits/stops downtown before the name Leslie Uggams lit up a Broadway marquee. As a little girl she marveled at seeing Yul Brynner and Gertrude Lawrence in The King and I and watching her aunt in the cast of Porgy and Bess with Leontyne Price, William Warfield and Cab Calloway. As a teen she won many a TV weekly contest on Name That Tune and became a regular on Sing Along With Mitch. The television career, also downtown, preceded the Broadway career. The TV miniseries Roots was another milestone for Uggams as well as her own variety show The Leslie Uggams Show. In 1968 she won a Tony Award for Hallelujah, Baby! as Georgina, a role that was turned down by Lena Horne. Ms Uggams' career came full circle two years ago playing Horne in Stormy Weather. Uggams

chronicles all these events in the two-hour concert, telling warm and funny anecdotes with a huge concentration on the early Harlem years at the Apollo Theatre, where she learned her craft from the likes of Louis Armstrong, whom she affectionately called Pops, Ella Fitzgerald and the Queen of the Blues Dinah Washington. What is ultimately missing from the stories are her parents and intimate family and the Broadway years following Hallelujah, Baby!

Song highlights include: Gershwin's "There's a Boat Dat's Leavin' Soon for New York",  "Them There Eyes", "Up a Lazy River", "Sunny Side of the Street", Fitzgerald's oh so famous & catchy "A Tisket, a Tasket", "Up On the Roof" a tribute to The Drifters, who like many groups appeared regularly at the Apollo, and "Good Morning Heartache", written by Irving Drake, who also composed Uggams' second Broadway show Her First Roman.

She closes the first half with "A Train" and opens the second with "Love" another Lena Horne song from Ziegfeld Follies. Also outstanding in Act II are a medley "Yesterday"/"Yesterdays", "I Got Plenty of Nothin'", "Summertime", her signature Jerry Herman song from Mame "If He Walked Into My Life", "Stormy Weather" and as encore "The Man I Love", closing, as she opens, with a Gershwin number.

Praise to director Michael Bush for his concept, expansion and wonderful execution of the show and to Uggams' eight-piece orchestra, all superb musicians: musical director at the piano Don Rebic; on guitar Andrew Synowiec; on bass Joel Hamilton; on drums Gordon Peeke; on synth David Witham; on trombone Charlie Morillas; on trumpet John Fumo and on woodwinds Sal Lozano.

Uggams has a divine vocal instrument. She can sing a soft quiet ballad in almost a whisper and then belt out the next song to the rear balcony. She's also a singer who really lives her material; a good actress, she digs deeply into what each song says and then shares that with her audience. She's pure bliss! If you love Leslie Uggams, you will love Uptown Downtown. While waiting for Stormy Weather to get to Broadway, she may just want to consider bringing in UTDT. It's a winner, will please her many fans and is a terribly fine evening of theatre not to be missed. Brava, brava, brava!
5 out of 5 stars

Read our interview! Go to interviews on this site!

review - Harps and Angels

RECOMMENDED
Harps and Angels

music and lyrics by Randy Newman
conceived by Jack Viertel
directed by Jerry Zaks
Mark Taper Forum
through December 22

Like an actor or writer who represents the common man, songwriter Randy Newman certainly stands heads above other contemporaries as the one who can really conjure him up. Whether he be a country singer, a business tycoon or a beer guzzling mechanic, we see ourselves in the characters that his songs are about.
It is high time that Newman be paid homage for his work over the last 40 years, and Harps and Angels is not just a musical revue but a fitting tribute and an authentically colorful montage of Americana told through Newman's music. The singers sing, but the music is itself the main character. Well staged by Jerry Zaks and beautifully played out - totally in song - by six incredibly wonderful song stylists, Harps and Angels at the Mark Taper Forum is a masterfully tuneful show.

The cast includes three knockout female singers: Katey Sagal, Storm Large and Adriane Lenox, and three strong males: Michael McKean, Matthew Saldivar and Ryder Bach. Sagal has never sounded better and is the standout here with a raft of songs, but "Feels Like Home" is the special one. McKean parlays his expertise as character actor essaying an earthy country singer and a dying old man at the end. The entire ensemble are dynamite under Jerry Zaks skilled control.

Newman, a Mark Twain of sorts, conveyed tidbits of wisdom, even involving politics and religion, but always in a satirical way; he can be serious - really meaning what he believes in - but is never too heavy-handed. "The World Isn't Fair" is beautifully presented with a portrait of Carl Sandburg on the video screen above; other political views include a seemingly didactic lecture on the "Great Nations of Europe". Heavenly angels are shown on high "God's Song", right next to the orchestra on that level, so any spiritual message is equated directly to the music - and, tongue-in-cheek, of course. Other Newmanesque favorites include: "Short People", "Real Emotional Girl", "I Love L. A." and "You Can Leave Your Hat On". Accused of writing sad songs, Newman defends himself via a video on screen after which is sung "Laugh and Be Happy".

The show's book is in question, but being a revue of sorts, do we really need one? The clever staging - open, cinematic scenic design by Stephan Olson, pictures and video clips, and singers essaying various characters are perhaps enough to give us the flavor and joy of Newman's music, which is consistently the centerpiece. Growing old can be ok, if we let it, and being proud to be an American, despite our complaints, is at the very heart and core of each Newman song.

4 out of 5 stars

Maura Hanlon Smith an Adorable Performer

(photo credit: Robert Marra)

See review below!

Luca Ellis Going Places

Luca Ellis as The Crooner in Hoboken to Hollywood is the suave actor/singer who has enough charisma and style to make it on his own, irregardless of his uncanny ability to sound exactly like the Chairman of the Board. see my review below!

review - A Chicago Christmas Carol

CRITIC'S PICK
A Chicago Christmas Carol
book & music by William A. Reilly; lyrics by Gary Lamb
directed by Brent Beerman
Crown City Theatre Company
through December 19


With  a plethora of reproductions of Charles Dickens' most famous work, it is nice to see one that stands tall, remaining faithful to the original story and introducing a slightly new slant...and with music too. Crown City Theatre's A Chicago Christmas Carol is one big Christmas present to the entire community, reminding one and all of the urgency of humility and generosity.


Set in Chicago in 1908, Scrooge (Gary Lamb) is in charge of a meat packing company, originated in partnership with Jacob Marley (Dave Berges) and Mr. Fezziwig (Kevin Michael Moran). He is also a landlord, evicting impoverished tenants left and right without the teeniest bit of conscience. Most of the story is in tact as we know it from Dickens, but in this version Freddy Munson (Paul Marchegiani) is Scrooge's nephew and the Cratchits are not related to Scrooge, but Bob (also Kevin Michael Moran) is still in his employ. Scrooge is visited by the ghost of Marley and the three spirits of past, present and future... and the outcome remains, indeed, a happy one.


Lamb is a delight as Scrooge, never going over the top, but making him thoroughly unlikeable until the last chapter. Berges is terrific as Marley. With beanpole height he towers over Scrooge making his ghostly chain shaking scene frightening and funny simultaneously. Louis Silvers is a hoot as the Ghost of Christmas Present, milking and savoring each and every word and gesture. Among the ladies, outstanding contributions are made by Paton Ashbrook as Isabella Fezziwig, Susan Grozier as Maria Jessup, an irate evicted tenant with her young daughter Christine (Sadie Calvano) in tow, and Anne Mannal superb in four roles including Headmistress. Kudos as well to everyone else.


Keiko Moreno's dark set design serves well for both interior and exterior locales. Stephanie Pease provides some lively choreography, and Brent Beerman keeps the pacing nice and tight.
The music is mostly uplifting, with the beautiful ballad "Robinson Crusoe" sung cherishingly by Lamb, my favorite.


This is a wonderful representation of the Dickensian classic, proving once more that good theatre is right in our backyard. Crown's show rings in the holiday season with gusto.


5 out of 5 stars

CABARET review - Maura Hanlon Smith

On Sunday evening November 14 actress/singer Maura Hanlon Smith made a return to cabaret @ Sterling's Upstairs @ Vitello's with an exciting and entertaining new show. Hanlon Smith is so warm and genuine a personality that you just want to leave your seat, go up on stage and give her a great big hug. She's also an extremely talented singer who has played clubs and musical theatre in LA for the past sixteen years to critical and popular acclaim. Her accompanist/musical director Bob Remstein, who has worked with her throughout her career, served optimally, and sterling director Robert Marra oversaw the show.

Highlights of the evening included: a riveting opener "Come Back To Me", two jazz greats which propelled her in the beginning years "Hit Me with a Hot Note" and "Detour Ahead", an ode to her hubbie Adam Smith, Jule Styne's  "Cornet Man" from Funny Girl, two tributes to love "Falling in Love with Love" and "The Night It Had to End", and a gorgeous encore Sammy Fain's "I'll Be Seeing You". On a lighter side, there was an unexpected and delightful segment wherein Smith explained about an entertainment business for kids that she and her husband have kept running for several years. When they first started, they would go out to birthday parties dressed as clowns and sing. With the assistance of two friends, Smith performed "Be a Clown" whilst pulling from a chest a complete clown outfit into which they helped her dress, and under which, there were two other layers of costumes: she was a pregnant princess - she was pregnant with one of her own kids when she did this - and a pirate. She, talked, sang, blew up balloons and did other clown schtic in this highly enjoyable section. Later she did a terrific "I Can't Say No" rewritten with her own lyrics to express her devotion to her children, followed, on a much heavier note, by a magnificent "Just a Housewife", Craig Carnelia's dramatic tribute to the most urgent but underrated of occupations. Hanlon Smith really shined here! There was also a dynamite "Don't Know Much" that served as her finale, with four lovely backup singers she referred to as her soul sisters.

Maura Hanlon Smith is a remarkably fabulous performer with a "knock -it-out-of-the-park" style and honest delivery that are totally winning. Don't miss her in anything she does!

Visit Maura and Adam @:    www.celebrationentertainment.net

CABARET review - Christine Ebersole: From Broadway to The Broad

On Saturday November 13 stunning Broadway actress/two-time Tony Award winner Christine Ebersole performed a classy evening of cabaret directed by Scott Wittman on The Broad stage in Santa Monica to a terribly enthusiastic full house. Ebersole is a dynamic actress with a resilient vocal range. She could sing "Oh What a Beautiful Morning" from Oklahoma! as Laurie and then turn 360 degrees within seconds to do Ado Annie and "I Cain't Say No". Just an illustration, as she did not perform these songs, but did offer a rousing "42nd Street" from 42nd Street and a gorgeous "Another Winter in a Summer Town" from Grey Gardens, as different as night and day - what versatility, and presented with a warmth and intimacy usually reserved for a smaller venue!

Backed by superb musical director John Oddo and a four piece orchestra, the two act set also included: the sexy "Too Darn Hot", the lovely "The Folks Who Live on the Hill", "I've Got a Crush On You", "Fascinating Rhythm", the torchy "Stormy Weather" - sizzling and one of her finest moments, "On the Sunny Side of the Street" and Noel Coward's "I'll See You Again". On the comedic side there was a salute to Eartha Kitt, replete with Kitt's vocal intonations "Mink Schmink". Perhaps two of the most gorgeous numbers offered were Coward's "Matelot" and in tribute to her 92 year-old mother "The Last Rose of Summer". The musical numbers were sprinkled with delightful anecdotes throughout, calling once again upon Ebersole's joyous versatility. One, quite amusing,  was about an early Broadway audition where she learned fast just how much of herself she was expected to 'give away', which she comedically referred to as "The Road Not Taken", and the other about the birth of one of her three children. She described with great imagery the peace and ingratiating nature of the natal sac and then the child's sudden explosion into a cold steely world. And then, handed the child to cradle in her arms, the intensely maternal love she felt, expressed with "I've Got a Crush On You". Beautiful!

Ebersole is a world class performer, a vibrant singer and actress who gives 150% to what she does best.
Don't miss her as she tours with her newest cd Christine Ebersole Sings Noel Coward.
visit:
www.christine ebersole.com

review - Hoboken to Hollywood

CRITIC'S PICK
Hoboken to Hollywood
A New Musical Event
written by Luca Ellis, Paul Litteral and Jeremy Aldridge
directed by Jeremy Aldridge
Edgemar Center for the Arts, Santa Monica
extended through December 19

At first glance there are similarities between Hoboken to Hollywood and Louis & Keely: Live at the Sahara! Both plays place their artists in front of a live orchestra throughout. After Act I, however, it is obvious that Hoboken to Hollywood is distinctly different. It does not analyze the personal life and conflicts of its star, called the Crooner, but rather offers a glimpse of his professional character whilst doing what he did best, singing for an audience. The play's a taping of an hour-long TV special in 1965 with its star handsome Luca Ellis winning the hearts and admiration of the entire universe, just like his character Frank Sinatra. Hoboken to Hollywood is what it is: an entertaining show and an unparalleled work of nostalgia looking back at the best music of the century.

Ellis sounds, in fact, just like Sinatra and conveys the relaxed demeanor and laid back mannerisms of Sinatra to the letter. He is mesmerizing and so the two hour show literally flies by. The special, called A Journey Through the Great American Songbook, offers the Chairman of the Board, his 12 piece-orchestra, announcer, and crew a plethora of opportunities for flubs, retakes and a whole lot of spontaneously staged mayhem. The Crooner, of course, becomes outraged at any retakes, as he was a one-take kind of guy and abhorred amateurs and lets the director Dwight Hemion (Al Bernstein) know it. He kibitzes between takes with conductor Nelson Riddle (Jeff Markgraff) and the various members of the band and particularly with klutzy stage hand Andy (hilarious Pat Towne), referring to him as an amateur at one point and later offering him advice on "Being a man!"

Commercials for Ford and Shmimex Watch are fun to watch with announcer Chandler Hill and assistant Franci Montgomery adding greatly to the hilarity. It's ok that there is no great drama here; it is a realistic look at a taping of a show, what can and does happen and how everyone reacts, kind of like a slice of life. Sinatra, despite his whines and brash comments, was a true pro on the set and respected by one and all. Ellis displays the element of the 'cool cat' boss at every step along the way, making the role of the Crooner brilliantly his very own creation.

Aldridge is a top-notch director, keeping the action flowing throughout and James W. Thompson is to be praised for his spot-on art direction of the simple yet classy TV set.

Some of the great standards performed are "Call Me Irresponsible", "Route 66", "Old Black Magic", "Blue Moon", "Stardust" and  "Fly Me to the Moon" among close to twenty old time favs. The Paul Litteral Orchestra - the best band in town - are at piano, Paul McDonald; bass, Nicholas Klingenberg; drums, Steve Pemberton; trumpets: Paul Litteral, Ron Sewer, and Kendall Wallace; saxes: Jim Jedeikin, Josh C. Harris, Colin Kupka, and Damon Zick; and trombones: Craig Kupka and Robbie Hioki.

For fans of the great American Songbook, those "Young at Heart", this show is a must see and for younger folk, unfamiliar with the great old standards here's a chance to learn what good music is all about and how it's well produced. The Crooner's advice? "Listen to the musician!"

5 out of 5 stars

RESERVATIONS: (310) 392-7327.

ONLINE TICKETING: www.edgemarcenter.org


Watch promo below:

           http://www.youtube.com/watch?v=hdHnPzJmkYg&feature=related

review - Maestro The Art of Leonard Bernstein

Maestro
The Art of Leonard Bernstein
music by Leonard Bernstein; book by Hershey Felder
directed by Joel Zwick
Geffen Playhouse
through December 12

Let's define Hershey Felder as a master musician, outstanding musical performer and scholar. Based on his previous works about George Gershwin, Chopin and Beethoven, he has proven himself a fine actor as well.
That aside, his newest labor of love Maestro The Art of Leonard Bernstein now onstage at the Geffen Playhouse does not measure up. I felt like I was in a class much of the time. But this is the theatre, so "where's the drama?" I kept asking myself.
There is a wealth of education in this master class - his final one - as he presents his life from childhood to impending death, set in 1990. Much to learn and to absorb about Bernstein's love for composing music, but somehow the passion and fire that Felder is talking about is lacking in his performance. He adores his teacher and mentor Serge Koussevitzsky whom he met at Tanglewood and who taught him the principles of being a great conductor, but when he tries to express this "little bit of love" of the man for this man, whom he claims to revere like a second father, the fervor runs dry. His wife Felicia was his rock and chief support when critics refused to take him seriously, but yet when he talks about returning to her during her bout with cancer, we don't feel the depth of his apparent suffering. Bernstein was an ardent bisexual or perhaps a gay man who married to save his career during the 50s and 60s, that is never really clear from Felder's interpretation, but his claim of happiness from being a husband, father and man  comes across as empty words. Talk, talk, and more talk but no action!
Bernstein's goal was to be the greatest American composer, but he ended up being a dynamic conductor, a fact he resented. He was never content with his compositions Candide, or West Side Story for that matter, and dismissed the 40 years of work and TV master classes following the latter as insignificant. He was a truly disillusioned genius. He admired the violent, erotic, mystical creation Wagner's Tristan and Isolde, and left the world thinking less of himself for not contributing a work of equal depth. Sad! I wanted to feel for him, but  found it difficult. He was a musician who was admired by millions for his unparalleled West Side Story. Most would kill to have penned that masterpiece.
Felder does play the maestro's disillusionment and musical compositions well, but little else.* Where's the excitement!?
Zwick's staging and pacing are fine. On set props like an oversized spotlight and film camera could have been used within the piece but remained merely props. An overall disappointing evening of theatre.
3 out of 5 stars
* If, indeed, Felder is playing Bernstein true to form as a dull and colorless person - and I do not doubt his artistic integrity - then the play may be served better with other characters/actors, who add the necessary dramatic tension. Or, in rewriting, he may wish to add a few in-depth scenes with say Felicia, or Aaron Copeland, or his mentor, and play all the people himself. In any way, the play needs dramatic lifting. A master class with the cerebral Bernstein we can get on video; this is theatre and we expect more.