The Best in LA Theatre for 2010
(alphabetical listings)
(artists performing outside LA may be included in performance categories) 

(click: archived reviews ...  right ...  to see list)

Concert review - Kristin Chenoweth @ Disney Pavilion New Year's Eve December 31

(Chenoweth's Disney Hall concerts will feature performances of familiar songs from "Promises," "Wicked" and TV's "Glee," as well as some holiday chestnuts. But the Tony- and Emmy-winning actress said that half the material will be new songs that fans haven't heard before and are scheduled to appear on her new album, a collaboration with Diane Warren that is expected to be released in 2011.

"They lay in the country-pop area," Chenoweth said about the new pieces, some of which she wrote herself. "They're moving away from the persona I have of being this happy person all the time. They'll show a more serious side, dealing with relationships and men."
The Oklahoma native said that she has already recorded some of the songs while in the thick of her "Promises" run — an extremely challenging juggling act, she added — and that she will record the rest in Nashville in 2011. She's also contemplating a concert tour tied to the album.
For the Disney Hall concerts, Chenoweth said she is importing five of her "Promises" ensemble members, including Seán Martin Hingston, to serve as singing partners and backup. Chenoweth and her cast mates will miss four Broadway performances.) - from the Los Angeles Times
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review

Renowned actress/singer Kristin Chenoweth upheld her "Popular" ity on New Year's Eve @ the Walt Disney Pavilion by giving her audiences, who regail her for TV's The West Wing, Pushing Daisies and Glee, what they want most: namely, a large dose and a half of her glowing charisma. The petite and pretty talent has a gorgeous soprano voice which she displayed most effectively and a great sense of comedic humor which was also put to good use throughout the varied 90-minute set.


She opened with a  familiar and beautifully serious Jerome Kern medley which included "Can't Help Loving That Man of Mine" and "Bill", followed by a cute, funny number about living in apartment 14-G, where, surrounded by artistic talent, one must be prepared to put up with just about anything. There was a look at the simple life of Oklahoma, where she grew up "Going to the Dance with You", nicely choreographed by director Rob Ashford with dancers Sean Martin Hingston and Charlie Williams struttin' some fun cowpoke stuff. There was a truly gorgeous rendition of Frank Loesser's "Somebody Somewhere" from The Most Happy Fella, allowing her soprano to really shine; from Promises, Promises "I Say a Little Prayer for You" with great backup from Promises gals Nikki Renee Daniels, Sarah Jane Everman, Chelsea Krombach and Kristen Beth Williams. From one extreme to the other there followed the seductive "Daddy" and then a religious "Because He Lives", before which Chenoweth proclaimed her love of Jesus. Irish tenor Eamonn McCrystal, who had previously been an opening act for Randy Travis,  dynamically performed "You Raise Me Up" while Chenoweth made a costume change. There followed three original Chenoweth compositions about the loss of love , one of which says it all: "I Want Somebody I Can Bitch About", introduced by "If" in which she pretended to shoot her ex-boyfriend dead. Dancer Hingston as the boyfriend stole some greatly agile lifeless moments onstage. Remember Bernie in Weekend at Bernie's? If so, you've got the unforgettable picture. The set concluded with a countdown to midnight and "Auld Lang Syne" and as encore, a number which poetically expresses a performer's love for her audience at the final curtain. Musical director Rob Fisher skillfully led the six-piece orchestra on piano throughout.


All in all, it was a lovely polished evening of song and humor from Kristin Chenoweth. I would have liked a song from Wicked and maybe one or two more from Promises, Promises, but that's all relative. Her adorable personality won me and the SRO crowd over completely. When thanking the audience for spending New Year's Eve with her, Chenoweth confessed "I'm the lucky one". I'll go one step further and add that we were lucky to have her in LA.  It lent the beginning of 2011 added glitter, hope and warmth.

review - Diva on the Verge

CRITIC'S PICK
Diva on the Verge
conceived & written by Julia Migenes; additional text by Bruce Villanche
original production directed by Travis Preston
Odyssey Theatre Ensemble
through January 9, prior to France
(January 1, 7, 8 at 8pm; January 2, 9 at 7pm)

Opera diva Julia Migenes performed Diva on the Verge ten years ago at the Odyssey after a triumphant London engagement; at that time she showed a bold bravura that still is tantalizingly delicious. After beginning the evening with a disclaimer that more or less states "if you expect serious opera, you have come to the wrong venue", Migenes clearly and frankly details the practically impossible feats that are expected from a diva in an operatic performance and then proceeds to illustrate them to the audience through wickedly exaggerated yet endearingly loving renditions.

Opera is nothing less than over-the-top, so Migenes' biting humor of each scene makes it that much more scintillating and enjoyable to watch. Take, for example, Lucy's mad scene from Donizetti's Lucia di Lammermoor. Unable to marry the man she loves and forced by her brother to marry another, the woman, as Migenes describes her, is cuckoo from the start. She goes to great physical extremes to illustrate the madness, like crawling around the stage and then climbing on top of the piano and putting her head full of tossed red hair directly in front of and blocking the view of superb accompanist Victoria Kirsch, so that she cannot read the notes of the aria. Migenes' physical comedy is brilliant and she never misses a beat. Another example is Juliet's Poison Aria from Gounod's Romeo and Juliet. Could a 15 year-old singer portray the 15 year-old Juliet? No way, explains Migenes, who shows the  psychological agony and mental stress that the diva assigned to play her must convey. A fat 40 year-old might be cast, but never an inexperienced 15 year-old. In opera, it just cannot work! There is also a wonderful display of adroit physical comedy with Violeta's death scene from Verdi's La Traviata, in which Migenes literally drags herself across the stage on the strength of one arm, at times falling face forward over a settee and then stretching backwards over it to the floor in quick fits of dying. Not unlike memorable bits from The Carol Burnett Show, these engender a hilarious tour-de-force. "To play a heroine dying of consumption, you'd better be in perfect health", Migenes warns. And "It's not over until the fat lady sings"; thus, the piece de resistance is Wagner's Tristan and Isolde. Migenes essays Isolde, a role she claims, is out of her range as actress and singer due to the largeness required of most Wagnerian women. She sits atop the piano and drapes herself with excessive pieces of clothing attempting to look right as Isolde. The result is deliriously unforgettable.

There are also brief glimpses of other divas such as Madame Butterfly, Salome, and Manon. Migenes ingeniously carries it all off with costume changes in full view of her audience. In fact, watching her change and the comments she makes about the wigs and apparel add much enjoyment to the proceedings.

Apart from the entertaining nature of the piece, there is an abundance of educational insight such as a description of the length of the vocal chords in relation to those of a piano. How can an opera singer possibly keep up? It's an amazing feat to accomplish, or as Migenes describes it "like a chihuahua trying to bark like a great dane". Yet, Migenes does it exceedingly well and truly adores every morsel of it. The long and short of it prove Julia Migenes to be a genuinely gifted and skilled artiste who, like most other divas, just wants to have fun.
5 out of 5 stars

mini-review - Shirley Jones and Patrick Cassidy @ Cabrillo in Thousand Oaks

Cabrillo Music Theatre have done themselves proud these past couple of seasons with stellar productions of great Broadway shows. Their 2010 Holiday Spectacular is indeed just that. There's something for everyone in the family: Broadway show tunes, Christmas carols and a delightful sing-a-long, and some pretty wonderful dance numbers involving some pretty talented kids, beautifully choreographed by director Cheryl Baxter.

Stars Shirley Jones and Patrick Cassidy are a joy to behold together. She, more beautiful than ever, sings three of the Rodgers and Hammerstein hits that made her famous in the film versions of Oklahoma! and Carousel: "If I Loved You", "People Will Say We're In Love", and "Out of My Dreams" and "'Till There Was You" in duet with Cassidy from Meredith Willson's The Music Man. She can still hit the high notes with ease and has kept her voice in quite dandy shape. Cassidy, with his good looks and boyish humor in tact, plays warmly with his mom, and nothing is more touching than "Mama, a Rainbow" sung directly to her in Act II. Tearfully she follows singing a lovely "Have Yourself a Merry Little Christmas", her finest hour.

 Cabrillo veterans are also on hand like Cassie Silva, Shannon Warne, Dion Mial and Jeffrey Scott Parsons, along with ensemble Derek Klena, Farley Cadena, Jason Evans and Noelle Marion. Highlights include: "The Christmas Song" by Mial in a mock-up USO show, a splashy "Zat You, Santa Claus?" by Silva, a beautiful "A Place Called Home" by Warne in duet with Cassidy who sings "I'll Be Home for Christmas" and a playful "Little Red Hat" performed by Silva and Parsons.The kids, including Lexie Collins, Natalie Esposito, Max Kennedy, Quinn Martin, Malia Tyler and Anthony Valdez, are terrific as elves in "Santa's Little Helper" and score later in "When Christmas Comes to Town". Bravo to the dancers as well who do a great "Parade of the Toy Soldier" and a fun "Jingle Bell Rock" and "White Christmas" with Cassidy strutting his comic stuff. Kudos as well to Dan Redfeld and the top-notch Cabrillo orchestra.

This is a totally fun and heartwarming evening for the entire family. Don't miss it! Performances remaining are today at 1 pm and 7 pm and again tomorrow Thursday December 23 at 1 pm and 7 pm and final performance on Christmas Eve at 1 pm. Fred Kavli Theatre @ Thousand Oaks Civic Arts Plaza, in Thousand Oaks. Call for tix: (805) 449-ARTS. 

mini-review - GMCLA's Comfort & Joy

Alex Theatre in Glendale

GMCLA's annual holiday concert, this year entitled Comfort & Joy, was presented Saturday, December 18 and Sunday, December 19 to sold out houses at the Alex Theatre in Glendale, and proved once again to be one of the most innovative and enjoyable holiday concerts around town. With guest director Dr. Timothy Seelig, en route from Dallas, Texas to take over as director of the GMC in San Francisco, firmly in control, the afternoon was a glorious one indeed.
This year saw a return to the famous "The Twelve Days of Christmas" staged by The Foamettes "Black-Light Puppet Spectacular" under the guidance of Phil Hettema: a dazzlingly brilliant display of artistry. It was an annual tradition a few years back. There was also a team of elves performing practically acrobatic feats thanks to choreographer Billy Rugh and ... offering a great Elves' Broadway Christmas, in which they incorporated A Chorus Line, Phantom and other Broadway musical treats in the guise of Christmas madness. LeeAnn Rimes guested on Sunday (when I attended), with Sheryl Lee Ralph the guest star on the 18th. Rimes lifted her gorgeous "Patsy Cline" like vocal instrument to "Rockin' Around the Christmas Tree", "All I Want for Christmas Is You" and Amanda McBroom's beautiful "The Rose" in duet with the chorus singing "Lo How a Rose".

Other highlights included: "Sleigh Ride", a simply gorgeous arrangement by Mark Riese of "God Rest Ye Merry, Gentlemen", a medley of "Joy", "Silver Bells", a hilarious tribute to Hannukah "Boogie Woogie Hannukah" and the traditional finale of "Silent Night", both sung and in sign language.
Never a let-down, the concert proved once again this year that GMCLA ranks at the top for originality in entertainment.

Toy elves were given to purchasers of $20 raffle tickets, offering a variety of great giveaways like spectacular Club Med vacations. Showing off his elf is GMCLA singer/ Avenue Q composer Jeff Marx.

review - Sweet Mama String Bean

CRITIC'S PICK
Sweet Mama String Bean
A Celebration of  Blues Woman Ethel Waters
written by ValLimar Jansen &William L. Slout
directed by Barbara Masters
Fremont Centre Theatre, Pasadena
extended to January 2, 2011

Actress/singer ValLimar Jansen beautifully becomes Ethel Waters, body and soul, in Sweet Mama String Bean. The story concerns the first half of Waters' life, which may be little known to many: how she rose from illegitimacy to radio, club and Broadway super-stardom by the 1940s, before becoming the well-known Emmy and Oscar nominated actress.

ValLimar really gets into Waters' gritty honesty, especially concerning her dirt poor roots. On top of that she sings and dances divinely, but not without showing the hard work and effort that Waters put out to attain the fame that would come her way much later down the road. It was a true "fight for her dreams" as she encountered the pitfalls of being a black performer in vaudeville, the opposition of Bessie Smith among other greats, and seeing herself be superceded by 'chorus' member Josephine Baker, whose rise to fame in Paris would never have happened if Waters had accepted that gig. Limar relishes every moment, like ogling herself in a full-length mirror as a chamber maid who fancies herself a great lady. It's a key moment from the inside out. And ... she's fearless, as she gets down, shimmying with members of the audience brought on stage to share the joy of the moment with her in "Shake That Thing". Waters became synonymous with the blues, but never shunned other musical opportunities, even those that turned her act more risque. Songs she made famous are all here: "Lonesome Swallow", "Am I Blue?", "My Handy Man", "Dinah", first international hit for a black singer, "Heat Wave", "Stormy Weather", a turning point for her, "Black and Blue", "St Louis Blues", "Supper Time" and the beautiful "His Eye Is on the Sparrow", which Waters, thankfully for us, committed to film in Member of the Wedding.

There is great accompaniment from musical director Frank Jansen at the keyboard, Mark Davey on drums and Ruben Ramos on bass - a trio that opens the show and helps Limar tell Waters' musical journey throughout. Barbara Masters' direction is stylish, keeping movement fluid and pacing just right. Limar is the one to watch here. Like Waters, she is a sensational singer, dancer, actress and splendidly brings Waters' artistry and humanity into our lives. Limar should consider developing chapter two of this project, essaying the other, even more complex part of Waters' life from the 40s to her death in 1977. Let's hope she considers it!

5 out of 5 stars

mini-review - Broadway Holiday @ The Geffen

RECOMMENDED

Broadway Holiday

creation & musical direction by Neil Berg

Geffen Playhouse

through January 2, 2011

New York veteran Neil Berg is well known for his acclaimed musical revue 100 Years of Broadway, and in this version, now @ the Geffen, five glorious singers perform a combination of Broadway standards and Christmas tunes, mostly made famous in shows or films.

Great talents Carter Calvert, Rita Harvey, Marc Kudisch, Jeffry Denman and Ivan Rutherford sing solo and together with Berg at the piano, Roger Cohen on drums and Mickey Hachey on bass.

Highlights include: "Give My Regards to Broadway", "Cell Block Tango", "Bring Him Home", "Singing in the Rain", "Rich Man", "Memory", "Think of Me", a very delightful "Oh Hanukkah/Oh Christmas Tree" medley with Kudisch and Denman strutting their wonderful stuff, and "Phantom of the Opera" sung exquisitely by Harvey. Christmas tunes from shows include: "Hard Candy Christmas" from Best Little Whorehouse in Texas, "Have Yourself a Merry Little Christmas" from Meet Me in St Louis, "White Christmas" and "We Need a Little Christmas" from Mame.

Stage setting of giant Christmas trees against a full backup screen used for projections throughout is designed by Patrick Keough and seasonally pretty.

This is a very enjoyable evening of song with some exceedingly talented folks, that is laid back and bound to please, as long as you don't expect anything out of the blue. I liked it a lot but would have appreciated a surprise or two.

4 out of 5 stars

review - Deck Them Halls Y'All

CRITIC'S PICK
Deck Them Halls Y'All
written & performed by Leslie Jordan
directed by David Galligan
Renberg Theater @ the Gay and Lesbian Center
through Sunday December 19 only

Whereas most actors would take realistic material and make it sentimental and sugary for the Christmas season, Leslie Jordan, ever the risk taker, goes out on a limb, keeping Deck Them Halls Y'All about as disenchanting as you are likely to find anywhere. For many, who abhor the phoniness of Christmastime and for fans of Jordan, that's just fine, because the play's enchantment like Jordan himself lies in its gritty and down-to-earth sense of humor. Now at the Renberg through Sunday only, Jordan plays three members of a Southern white trash family: an aging stripper, her lesbian transgender daughter and her little son, all distinctly different yet equally touching.
The funniest is the stripper who recalls the worst Christmas ever when she met up with her ex for some much needed money and all calamity broke loose. He died and left her empty-handed. The second, drug addicted Theresa Louise wants to win a contest in a gay bar singing a Christmas song "Blue Christmas" so she can have sexual reassignment surgery and become a better parent for the son she was never meant to have. A very moving portrait! Ronnie Lee, Theresa's unwanted son and the stripper's grandson, is living with grandma who he views as "not alright, as she takes her clothes off for strangers". Impressionable, intelligent, and with much potential, Ronnie Lee wins our hearts in his Christmas choir robe (party dress?), singing "The Little Drummer Boy" and sharing his painful secret.
With skilled direction from David Galligan, Jordan makes quick and fluid onstage costume changes by turning his back whilst pulling wardrobe and wigs from a big suitcase ... and with minimal physical movements and vocal inflections he does a superb job of making all three as real and believable as they can be.
This is a terrific little gem of a play that will make you laugh and cry simultaneously. The connection between the second and third scenes is heartfelt; he could work a bit further on the first to make it blend more meaningfully with the other two. But...it is certainly refreshing to connect with distraught and lonely people who are less fortunate and must view the holiday season as a Merry F- - -in' Christmas!
5 out of 5 stars

GMCLA,

GAY MEN’S CHORUS OF LOS ANGELES, LED BY GUEST CONDUCTOR TIM SEELIG, PRESENTS COMFORT & JOY,

ANNUAL HOLIDAY CONCERT FEATURING BELOVED SEASONAL CLASSICS, A HOST OF MISCHIEVOUS ELVES AND THE TWELVE DAYS OF CHRISTMAS “BLACK-LIGHT PUPPET SPECTACULAR”

Saturday, December 18, 3 PM and 8 PM, and Sunday, December 19, 2010, 3 PM,
at Glendale’s Alex Theatre

On Saturday the 18th, Broadway sensation Dreamgirl Sheryl Lee Ralph joins the chorus as special guest star for two performances only.

As a special gift, country music legend LeAnn Rimes joins the chorus for one performance only on December 19 @ 3 pm, providing a rare opportunity to hear the star’s radiant and distinctive voice in an intimate venue.  
Rimes has sold more than 37 million albums, won two Grammy^Ò Awards, three Academy of Country Music Awards and 12 Billboard Music Awards.  She is the youngest recipient of a Grammy^Ò A
Holiday spirit reigns from the first note to last with a broad spectrum of classical and pop selections.  Works include Handel’sComfort Ye, Bruckner’s Ave Maria, the Kenny Loggin’s anthem Celebrate Me Home, Silver Bells by Jay Livingston and Ray Evans, and Mariah Carey’s playful All I Want for Christmas Is You.  Mark Riese’s God Rest Ye Merry, Gentlemen, Mary Sat A-Rockin’ by Greg Gilpin, Pat Ballard’s classic Mr. Santa, and the lush Merry Christmas/Christmas Carol by John Williams and Leslie Bricusse are also featured.

Singing and dancing elves add a touch of merry mischief in the number Elves Broadway Christmas. Santa is tired of his elves singing nothing but show tunes and has declared the season to be show-tune free.  The elves have a delightful way of getting around this edict. 

Another concert highlight sure to delight the entire family is the “Black-Light Puppet Spectacular” set to the Twelve Days of Christmas.  As the chorus begins to sing the beloved tune, the lights fade to black, a black light comes up and the only thing visible is a single gift-wrapped package sitting on stage, out of which flies the Partridge in a Pear Tree.  Then, magically, 12 gift boxes appear and all 78 gifts pop out of them again and again with enchanting choreography as the chorus sings down the days of Christmas.  Through the magic of black light, the puppeteers and chorus remain invisible, creating an amazing visual and aural spectacle.

Lisa Valenzuela Top Troubie Singer

Scores as Greta in The First Jo-el.
review below!

2010 BEST in LA THEATRE

My friend columnist Diva Dona and I will be presenting GRIGWARE TALKS THEATRE's BEST in LA THEATRE for 2010 on December 23!
Check back right here!

CABARET review - Antony Field/You and Me on Christmas Eve

On Sunday December 12 Antony Field and Chip Smith presented a CD release party of their new Christmas CD You and Me on Christmas Eve @ Sterling's Upstairs @ Vitello's. For fans of jazz and country inspired music, this one's for you! Field has a vocal sound along the lines of Frank Sinatra or Harry Connick Jr.- a true gem of a singer with velvety smooth vocal chords - and musician Smith has an amazing versatility on keyboards, horn, sax and clarinet. Their 10 original Christmas songs have an easy-going, mellow sound perfect for a laid-back holiday evening by the fireside or sitting around a table with lots of friends and Christmas libation.

Highlights of the evening included traditional standards of Christmas and three traditional non Christmas numbers, as well as the 10 original Christmas songs from the CD. CD songs, all hopeful future standards are: "When It's Christmas", "Song of Joy", the country inspired "Home for Christmas", "Oh Santa Claus", "What Do You Want This Year?" "It's Lonely at Christmas Without You", "Puttin' Up the Christmas Lights", conceived as a kids' song, "Let's Get the Christmas Tree"", a jaunty two-beat theatre song, their most recent endeavor "Sliding Down the Chimney to You" and the title song "You and Me on Christmas Eve". Christmas standards included: Andy William's favorite "It's the Most Wonderful Time of the Year", "I'll Be Home for Christmas", "Sleigh Ride", Mel Torme's "The Christmas Song", and "Have Yourself a Merry Little Christmas". Non Christmas tunes included: Timothy Grey and Hugh Martin's "You'd Better Love Me While You May", "On the Sunny Side of the Street" and Duke Ellington's "Lucky So and So". The style of the originals fit perfectly with the standards, and vice versa, making the entire 80-minute set memorably joyful.

The comraderie between Field and Smith was a delight, with Smith frequently interjecting little anecdotes about their compositions. Definitely the funnier of the two, Smith facetiously expressed his desire for global domination of the Christmas market and gave, as an example of success, Mel Torme's "The Christmas Song", which put four of his children through college. The Chip Smith quartet, Phil Small on piano, Doug Macaskill on guitar, Peter Marshall on bass and Tony Humecke on percussion blended unbelievably, enriching the entire experience for all.

This was a terrific evening of cabaret and I can't wait until Field and Smith return to perform selections from the Great American Songbook. In the meantime, visit:

www.antony-field.com

to download selections and buy You and Me on Christmas Eve.

(left Chip Smith and right Antony Field)

review - Fruitcake Follies

CRITIC'S PICK

directed by James Gray

Casita del Campo, Silver Lake

through Tuesday, December 14; also December 22 @ 8 pm

(Photo credit: Stan Mazin - James Gray and Momma with Santa's Big Elf)

It's hard to believe, but the fiercely fruity hit Fruitcake Follies is celebrating its 12th birthday, having originated in Hollywood at the Cinegrill, and now in its permanent residence in the basement of a Mexican restaurant in Silver Lake. About as original as you'll find anywhere, the show's genius is James Gray, who serves as host, and costars the one and only Momma ... and this year Eric Seppala and Sandy Fox. Guest stars are Leslie Carrara and puppet pet Lolly and Melanie Hutsell as chef Paula Deen.

Set in the form of a party at Gray's home, guests drop by one by one, and silliness runs wild. Carrara and Lolly (above) are hilarious with their crazy versions of "Do You Hear What I Hear?" and "Silent Night". Think Lambchop (Remember Shari Lewis' prize?), only louder and more outspoken & feisty, and there's Lolly! Eric Seppala drops by as a caroler - a comical one man band - and delights on a doll duet with Barbra Streisand "Jingle Bells", asthma and all. Sandy Fox, not unlike a petite Megan Mullally, sings a perky "Blue Christmas" and tells campy jokes like "Does Santa like Twinkies? No, he prefers Ho Hos." They get friskier, but if you want to hear the others, go and enjoy! Gray's cousin Danielle, a surprise guest, performs a truly naughty "My Favorite Things". And Melanie Hutsell is a big, big surprise as she recreates chef Paula Deen and tries out some holiday recipes on the audience. I don't want to ruin the fun by mentioning the scrumptious goodies here, but I left with a whole new feeling about butter and how to use it! She's over-the-top delightful! Of course, Gray shows us some adorable family slides of Christmases past; Momma has her camp Sing a Long, passes out Christmas cookies, and sings about wanting plastic surgery for Christmas ... and there's a very special storybook retelling of A Christmas Carol with one very exciting Carol at the finale.
This is one helluva ride, replete with a blutiful set, and great costuming. Momma's frocks - and Gray's gaudy vests - keep coming and coming...ands she even makes out with Santa under the mistletoe. Momma Kissing Santa Claus puts the ho in ho, ho, ho!
Only a few shows remaining. If you miss it, there's always the Firecracker Follies to look forward to late June, early July; this year for two weeks, by popular demand.
So treat yourselves, get to Casita del Campo, have a margarita or two and relish the Fruitcake Follies!
5 out of 5 stars

(photo credit: Stan Mazin: Melanie Hutsell, Santa Grigware and Eric Seppala)

review - The First Jo-el

CRITIC'S PICK

The First Jo-el

The Troubadour Theater Company

written by the Troubies

directed by Matt Walker

Falcon Theatre

through January 16

no performances December 24, 25, 26, 31 and January 1

Christmas is not Christmas without a Troubie show. Parodies such as It's a Stevie Wonderful Life and Frosty the Snow Manilow have become staples of holiday cheer. This year it's The First Jo-el celebrating the birth of Jesus - well, it's at least a part of it, but let's not get too serious, and the music of Billy Joel. Matt Walker and his jolly troupe of actors/singers/dancers/clowns make the Falcon rock, setting audience spirit at a rip-roaring holiday high.

As one Troubie member describes it, at the onset the troupe sit down with a bottle of tequila and a concept, and the creative process of the show and its characters begins. There is not one writer, as everyone participates in character and scene development. With a heavy emphasis on the news, politics and laughter, The First Jo-el is set in Bethlehem where a Spanish Palestinian couple Leticia (Katie Nunez) and Manolo (Matt Morgan) are expecting their first child. Innkeepers Nicholas (Jack McGee) and Greta (Lisa Valenzuela), parents of Letty, do not condone her marriage to a common stable boy, but there are other more pressing issues in store. Enter three travelers: Gold (Matt Walker), Myr (Brandon Breault) and Frankenstein (Morgan Rusler) who have followed a star in the sky to the Inn expecting a heavenly birth. Greedy Nicholas seizes the opportunity to advertise his daughter as a Miracle Mom. Mary (Katherine Malak) and Joseph (Matt Walker) show up seeking shelter, and the plot thickens. Throw in not one but two Winter Warlocks (Beth Kennedy and   ? - is it a hologram?), King Herod (Morgan Rusler) and three Angels (Christine Lakin, Katherine Malak, and Jackie Seiden) for atmosphere, and the story of the First Christmas is born, glorious or not. One thing is clear: you've never seen it played out quite like this before!

It's a hoot and a holler, like all Troubie shows, and the cast are all terrific. No real standouts, except maybe Morgan Rusler as Herod and particularly as a hilariously goofy Frankenstein monster. Walker, Kennedy, Malak and Rusler all play more than one role, proving their versatility, or is it insanity? Walker keeps the pace fast and cheerful and those great Joel songs are here including: "Movin' Out", "Get It Right", "Uptown Girl", "I Love You Just the Way You Are", "Always a Woman", "Big Shot", "Only the Good Die Young", "New York State of Mind", "Pressure" and even "Piano Man" after the finale.

Credit Mike Jespersen for a fun set, Naomi Yoshida for bright period costumes and Jeremy Pivnick for fab lighting design! Molly Alvarez is responsible for the dynamite choreography.

Fun, fun, fun and more funny adult humor that you should not miss! Most performances sell out, so get your tickets now!

Call (818)-955-8101.

5 out of 5 stars

The Christmas Spectacular Starring the Rockettes Is a Super Show

Enjoying the ambiance @ Nokia LA LIVE after the fabulous Rockettes Christmas Spectacular Show. Enjoying with me are friends: Gary Warmee and publicist Nora Feldman.

review - Fascinating Rhythms

CRITIC'S PICK

Fascinating Rhythms

conceived by Karyl Lynn Burns, Melissa Manchester and Cate Caplin

directed and choreographed by Cate Caplin

Rubicon Theatre, Ventura

through December 23

One of the most uniquely thrilling musical experiences to be found in the theatre right now is at the Rubicon Theatre in Ventura. There's a  glorious production there called Fascinating Rhythms, an ode to ballroom dancing told through the music of one of the greatest singer/songwriters of our time Melissa Manchester.

Manchester sings with eight magnificent dancers surrounding her. There are three couples performing samba,
cha cha cha, rumba, the foxtrot, jive, swing and the tango: Michael Kuka and Natalia Lind, Christopher J. Beroiz and Anya, and Willem De Vries and Alicia Richardson, with comic tappers Richard Schwartz and Melissa Giattino providing unexpected humor and terrific tap dancing. Sometimes one pair, sometimes two and other times all three pairs dance together, but whatever the configuration, it's physically astounding electrically charged. The two tango numbers are especially on fire with Beroiz exotically manipulating a cape while stepping in dandy torero fashion. Under the expertise of director/choreographer Cate Caplin, a ballroom dancer, the couples seamlessly weave the dances in and out of songs like "Let's Face the Music and Dance", which opens and closes the show, "From This Moment On", "Rock Around the Clock", "Midnight Blue", "Through the Eyes of Love", "Come In From the Rain", "Don't Cry Out Loud", "Gypsy in My Soul", "I Got Rhythm", the title song "Fascinating Rhythm" and Manchester's beautiful "A Mother's Prayer". Manchester does about a dozen songs either center stage or at the piano, and "A Mother's Prayer" she introduces with a lovingly poetic description of a child's heartbeat, the pains of childhood and the wild rhythms of the teen years, placing dance universally at the core of everyone's daily living. Sometimes crazy, sometimes predictable, but hopefully always graceful, the rhythms of dance bring great joy. Manchester looks and sounds stunning, making four costume changes. She could go on singing... to the delight of the audience!

Great lighting design from Jeremy Pivnick, set design by Thomas S. Giamario, costume design from Stacie Logue, wonderful music supervision from Stephan Oberhoff, and superb musical direction from Dean Mora and drummer Emiliano Almeida, who do a wildly original Duke Ellington patter in Act II, make the show rock. But it's Cate Caplin and the dancers and Manchester who are to be praised for their vision and sensational execution of this dynamite little show and to Karyl Lynn Burns for her brilliant germinating concept. This is a different and truly exciting evening in the theatre, perfect holiday fare!

5 out of 5 stars

Janet Krupin in Bring It On!

Janet Krupin, winner of LA's Next Great Stage Star 2010, is now in the cast of Bring It On! set to open in Atlanta for a short run from January - February 2011. With composer Tom Kitt (Next to Normal) and lyricist Lin-Manuel Miranda (In the Heights), she's in good hands. "How Lucky Can She Get?" Break a leg!

All Hail the Queen Special Holiday Edition

All Hail the Queen (Hail yes!) special holiday edition

Lesli Margherita

Level 3, Hollywood

Monday, December 6

Lesli Margherita combined her superb one-of-a-kind show extravaganza with Christmas songs and cheer on December 6 @ Level 3. Super holiday highlights included: "Come Let Us Adore Her", "All I Want For Christmas", "Have Yourself a Merry Little Christmas", a fun talk about Millenium Falcon and Star Wars gift artifacts, "Little Drummer Boy", "Jingle Bells", "Baby It's Cold Outside", "Santa Claus Is Comin' to Town", the Story Time devoted to T'was The Night Before Christmas, Lesli style and a snowjob for musical director Brett Ryback.

The other delightful segments of the show (mentioned in my original review below) were happily in tact. Queen Lesli assured me there will be a whole new show in 2011. If it's the same, that's OK too, as she's the greatest!

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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" fromDreamgirls - 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 Mermaidwearing 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 forZorro: 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!

Jeffrey Solomon Great Character Work in Santa Claus Is Coming Out

The Best of 2010 Los Angeles Theatre

List announced here December 23. So many great productions and performances to select from this year, I've asked my friend & columnist Diva Dona (above) to assist me in the final judging. She's ecstatically agreed.
Remember to check back on the 23rd!

Toni Morrell Dazzles On and Off Stage

(Left to right: musical director David Dial, Tippi Hedren, Toni Morrell and director/producer Karen Cadle)

review - Toni Morrell Remembering the Ladies

CRITIC'S PICK

Remembering the Ladies

Starring Toni Morrell

directed by Karen G. Cadle

El Portal Forum Theatre

through December 31

Spending an evening with Toni Morrell and her Legendary Ladies is one to treasure. This lady, as I've reviewed her in My American Dream, is one hell of a singer and actress who embodies a star, and underneath possesses the warmth and radiance of a genuine human being.

With the expertise of producer and director Karen Cadle and superb musician/husband David Dial,

Morrell never does an impersonation, but lovingly brings the ladies to life - both living and deceased - primarily through song and anecdotes and also via film and video.

Highlights of the evening include: Dame Shirley Bassey "My Life", an Edith Piaf medley with her signature "Je Ne Regrette Rien", a lovely "Smile" for blondes Marilyn Monroe and Lady Diana, shy and misunderstood, true divas Barbra, Bette and Cher with "Memories", "I Remember You" and "If I Could Turn Back time" respectively, "Unforgettable" for Shirley MacLaine, an audience participation with "Falling in Love" and Marlene, "Before the Parade Passes by" for Carol Channing, "Is That All There Is?" for Miss Peggy Lee, "From This Moment On" for Lena Horne, "Some People" to the Broadway ladies of Gypsy and a glorious medley to the greatest legend of all time, Judy Garland, with "Quiet Please, There's a Lady Onstage" a heartfelt and fitting salute.

There is a hilarious montage of clips to the Bad Girls of Hollywood, including Bette Davis, Joan Crawford, Barbra Stanwyck, Faye Dunaway and even Meryl Streep from "The Devil Wears Prada", and, an extra special treat on opening night was an onstage tribute to the Hitchcock Blondes and Miss Tippi Hedren, still stunningly beautiful at 80 years old. Morrell and Dial closed Act I with their video salute to "Shambala" (song composed by Dial), Hedren's very special place for all those glorious wild animals who need our help for preservation. There is also a talk back session in Act II with Karen Cadle and some of her wonderful stories about interviews she's produced with her favorites such as Hedren and the unique Miss Audrey Hepburn.

This is a wonderful evening in the theatre not to be missed. Sensational Toni Morrell will be entertaining, as only she can do, through December 31 in the Forum Theatre of the El Portal, so don't miss out!

5+ out of 5 stars

for tickets, visit: www.elportaltheatre.com

or call:

818-508-4200/

866-811-4111

Post note request: I wish Toni to include Bernadette Peters and Patti LuPone to the Gypsy ladies, and also to include Rita Hayworth, Ava Gardner, Jane Wyman and Loretta Young to her film montage.
Brava!