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Christine Joy, Shaun Tuazon, Miller Tai, Katy Tang, Reuben Uy and Scott Keiji Takeda.
All photos by Ed Krieger |
The Emperor’s Nightingale by Damon Chua, directed by Tim Dang, with original music by Howard Ho and choreography by Tom Tsai. May 4 - 19, 2019. MainStreet Theatre Company at Lewis Family Playhouse. This adaptation of the Hans Christian Andersen story is set in China during the Qing Dynasty, and Prince Bao is based on the prince who would one day become one of the greatest rulers of Imperial China. The story includes classical Chinese art forms like calligraphy, music, poetry, and dance, and is filled with humor. There is also a nod to modern hip-hop culture mashed into the classical 18th Century Chinese art forms. It’s a story the whole family can enjoy so get your tickets now at www.lewisfamilyplayhouse.com.
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| Scott Keiji Takeda |
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| Christine Joy |
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| Katy Tang |
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| Christine Joy, Katy Tang, Scott Keiji Takeda, Shaun Tuazon and Reuben Uy |
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| Beth Kennedy and Matt Walker |
When it comes to developing a loyal fan base, Troubadour Theater Company has found the secret: do outstanding work, stay true to your aesthetic, and give the people what they want - a great time at the theater. Artistic Director Matt Walker started the troupe and, with the help of longtime friend and foil, Beth Kennedy, continues to lead his merry band into the great theatrical unknown. Next up for the company is Julius Weezer, which combines Shakespeare’s Julius Caesar and the music of Weezer to tell its tale of political intrigue Troubie style. Today, they talk about what it’s like putting together a new show and why they keep on coming back for more.
Matt and Beth, you’re about to open the latest in a long line of Troubie originals developed over the last 25 years. How would you characterize this show?
Matt: It’s a joy. It’s the first original Shakespeare we’ve done in about seven years. The last one was Two Gentlemen of Chicago and that was a more lighthearted comedy with the music of Chicago. Julius Weezer is the tragedy everybody knows with all the hard-driving rock, dissonant chords, and minor keys of Weezer. It really has been an exploration of the depths of darkness and what parallels can we draw with Game of Thrones. The series is very stylized and heightened in its own way and its fans really get into it. We kept that in mind in the build of this show.
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| The cast of Julius Weezer (2019) |
You’re known for comedy but you’ve had just as many drop dead moments of authentic drama in your Shakespeare productions where the audience is so engaged you can hear a pin drop.
Beth: That’s what we’re aiming for. A lot of us are classically trained and we have some of the best actors in this cast, like Rob Nagle and Morgan Rusler and Andy Robinson. From the beginning, Matt came into this as a true, pure Shakespeare lover. He fully understands the text and he knows how to access it, so we help people understand the story just by the way we tell it. We’re going for those pin drop moments.
Matt: It can be hard for the Troubie actors who are used to the buffoonery and the chicanery and the ridiculousness. Sometimes it’s difficult to steer them back and get them to play the darkness and trust that the funny will come when it should come. To serve the story and the tragedy, and to expose the emotional depth to which we can go if we allow ourselves, is challenging in its own way.
A Withers Tale [The Winter’s Tale + Bill Withers’ music] is a great example where Beth and I were out there every night yelling and screaming at each other, and crying and serving the play, and then two scenes later we’re both wearing tooth black and a fright wig when the play moves out to the country and now we’re the bumpkin farmers. It really is fun for us to play both sides of the coin and show off the range of the company – to be true to the story and, at the same time, be true to our brand – which is the sublimely ridiculous.
Is that what you set out to do when you first started?
Matt: In 2007, we did a 75-minute stripped-down production of Othello with the music of E.L.O. The goal was to be serious because, at the time, we were running in rep with Alice in One Hit Wonderland. We wanted one show to be fluffy and fun and the other to be sort of dark and spooky, but we found out pretty quickly that the Troubie audience’s expectations wouldn’t allow it to be purely serious. So, right after the first couple of previews, the ratio – which had been about 80/20 percent serious/funny – moved closer to 60/40. Since then, it’s been a goal to get back to that original ratio. Let’s play it as straight as we can and know that the humor will seep through the cracks.
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| Alice in One Hit Wonderland / OthE.L.O. |
How did the two of you end up as “show spouses”?
Beth: Technically, Matt and I met before Troubie ever came to be. I went to Cal Arts and my first show out of CalArts was an original play, Meet the Wilsons, at Maria Gobetti and Tom Ormeny’s Victory Theatre. We were cast as Fred and Robin, boyfriend and girlfriend. It’s so goofy. Greg Thirloway was in that play too. Full circle, he’s married to Heather Lee. Heather Lee is the daughter of Pegge Forrest, and Pegge is the Managing Director of the El Portal Theatre where we’re doing Julius Weezer.
So, we hit it off really well, really fast. Matt has a comic sensibility like mine. I have a lot of brothers so I love his way of razzing you if he likes you. We’d be smartasses with each other, and we had a great time in that short run. That was in 1991. After that I did some legit Shakespeare in town, and he was doing his thing. Then, in 1995, he started Troubie. He kept saying, “BK, come and play with us,” because we stayed in touch that whole time, and finally I was able to make it work with my schedule.
The first Troubie show with a clever quote unquote title where we did the mashup was Twelfth Dog Night, and that was my first Troubie show. It was 1998. Matt said, “I want you to play an Italian man on stilts,” and I said, “Okay, I’ve not yet been cast as a guy.” I did some weird stuff at CalArts, and I’ve always had that ability. I don’t want to just play the female. And I’d never been on stilts before so I was like, “Alright, I’m gonna give this thing a try.”
Matt: To use an old baseball analogy, it’s like the Yankees were always the Yankees but then they got Babe Ruth.
Beth: Wow, that’s like…wow. Thank you.
Matt: They were good and they won some championships, but then they got Babe Ruth on their team.
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| Rudolph the Red-Nosed ReinDOORS (2013) /Fleetwood Macbeth (2011) |
What kind of shorthand have you developed over the years?
Matt: I always know I can trust her to find something or make something, even if it’s out of very little, and it’s going to benefit the whole. It’s sort of like Babe Ruth is going to get his hits and his home runs so let me focus on some of these other players. This show is a great example. Beth is playing Calpurnia, the wife of Caesar, and Calpurnia has one scene in the show. But there are seven conspirators and some of them are very under-represented in Shakespeare’s play. One of the characters is Metellus. Metellus is the first one on the assassination team who starts to distract Caesar but he only has five or six speeches in the whole play. So, okay Beth, you’ll do that.
The shorthand is, here’s one scene for Calpurnia and here’s an underserved conspirator. I know that together we’re going to find how to get you in the show in a way that will make the show better and make us all happy because we get to see Beth be Beth. And now the vocabulary shorthand, on a daily basis, is that we know each other enough to know if we write a joke, we’re going to put the punchline at the end of the line, or she’s going to come in after a quick change and there’s going to be some reference to what just happened offstage, but we don’t have to script that out because we know in the moment, in front of the audience, there’s enough trust built up to just lob the ball back and forth.
How much of the show do you develop in rehearsals?
Matt: It really depends on how much we think we need to. In the last show, we developed a lot of the Heat Miser and Snow Miser scenes on stage in front of the audience. It’s an “I’ll see you out there” kind of an attitude.
Beth: It depends on the scene too. If it’s one that is super mechanical, meaning there are head takes or the cues have to be really tight, then that’ll take more rehearsal time. But, if we know in the middle there’s going to be this twenty second loose area and we’re gonna let ourselves tread water on stage and learn from the audience, then we’ll just tread water and see what happens.
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| Haunted House Party (2016) / The Year Without a Santana Claus (2018) |
Speaking as an audience member, sometimes the funniest things happens when a bit doesn’t work.
Beth: Oh yeah, we almost try to make them not work sometimes. It’s the best.
Matt: And that goes back to the shorthand. We know there are a certain number of lines we can say in the moment to bail ourselves out and sometimes the twinkle in the eye between us is who’s going to get to that line first.
I think that works so well because you have a unique relationship with your audience. They go along with you because they’ve adopted you as “their” theatre company.
Beth: Most definitely. We let our audience in. We open the door wide. It’s almost like we have sliding glass doors that are open the whole time and the draft is coming back and forth. We let them in on the jokes, and in on the jokes that don’t necessarily work, and they are possessive. They really have taken us on as their theatre company and we love that. We want to continue that.
Where did the latecomer bit come from?
Matt: We knew as a company early on that L.A. audiences were notoriously late. I can’t remember exactly how it started but it was an offhand remark where someone said, “we should just sing ‘You’re So Late’ as they come in,” and it was like, ha ha…wait a minute. We started it pretty early and then it took on its own life. The expectation of our audiences now is that the wheels will fall off at some point and they’ve come to want to see that as well.
We’ve had audience members bring people to the show and set them up. One night, somebody in the audience called one of their friends who was sitting four seats down so their cell phone would ring during the show because they knew we would stop. I literally came out and grabbed the cell phone. We called the number back to have a conversation and the phone rang four seats over. Well, that turned into ten minutes right there. The guy came up on stage and we made him sit in a chair with a dunce cap on. People have come to understand that that’s what’s fun about a Troubie show, and they want to expose their friends to that as well. So they’ll say, “Oh, they never start on time; don’t worry about it.”
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| A Charlie James Brown Christmas (2007) / The Comedy of Aeorosmith (2005) |
Have you had other happenings over the years that have been memorable for one reason or another?
Matt: The recent thing is that we’re having one of the band members come and jam with us again. Our first one was Chuck Negron [from Three Dog Night] for Twelfth Dog Night. He came to a performance at the Falcon and got up on stage with us in his tight leather rock and roll pants. Then we had two different band members from Chicago come – Danny Seraphine, the drummer, played with us, and Robert Lamm, one of the lead singers, was at a performance of Two Gentlemen of Chicago. And now Scott Shriner, Weezer’s bass player, will be playing with us opening night. He’s been coming to Troubie shows for about ten years with his wife Jillian and they’ve just started to bring their two young kids. Those are always memorable because it’s exciting for the fans, and it’s exciting for the actors. And we get to pay homage and say thank you…and hopefully their lawyer’s not with them.
Another night, at the Falcon, someone in the third or fourth row on the aisle was reading a paperback book. As soon as the lights went up and the show started, the paperback came out, and he just sat there turning pages reading his book. We all noticed it, of course, and throughout the show, we worked in that every character would come out with a book at some point. Then the audience started noticing and we ended the act with all of us and our books crowding around this guy who was sitting and reading his book. He looked up, cracked a smile, and closed his book. The audience went nuts and we took intermission right there.
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| Fleetwood Macbeth (2011) |
Matt, I think of you as the pied piper of mayhem. You’re the leader of all the silliness. And Beth, have you ever seen the photo of all the little girls who dressed up like princesses for their princess week at dance class except for one who dressed like a giant hot dog? I tweeted it with the title, “In a sea of princesses, be a hot dog.” It always reminds me of you and your off-kilter choices.
Beth: That’s what I love. I’m always looking for that. What’s everybody doing? I’m gonna do the opposite.
Matt: In fact, in The First Jo-el she played Hoffy, who worked at Hot Dog on a Stick.
Beth: So I actually was kind of like a hot dog. And the thing about Matt is, I’ll come to rehearsal and be like, “Matt, I was thinking, what if this person is a Hot Dog on a Stick gal? I can have my husband make me a Hot Dog on a Stick lemonade pump,” and then I found a girl in Alhambra who was fired from Hot Dog on a Stick because she didn’t smile enough. I drove out there and it was like I was meeting Beyoncé. I said, “You actually have a Hot Dog on a Stick outfit?” They do not let you take those. So, I have a legit uniform, and that character turned into the most ridiculous thing in the middle of this world, in Jerusalem. I thank him every time he says, “okay, BK, let’s see where this leads.”
Matt: Yeah, that’s the shorthand.
Beth: That’s the shorthand, the trust.
Matt: That’s the trust that’s built over hours logged on stage together watching the craft be applied in front of people in the moment and trading back and forth. That’s what I love about this company.
How has your performance aesthetic evolved?
When I look back at the development of the company, I see the maturity. Sometimes I watch the old shows and it was just Hellzapoppin. It was everything we could think of thrown into the show, sometimes story be damned, sometimes for its own sake. But the evolution of the company and all of us having the life experiences we’ve had over 25 years, have given us so much we can use for the characters we play now. The emotional value has grown. The childlike glee for what we do is still there, but it’s nice to see it evolve too.
Do you feel Julius Weezer is a pinnacle for you?
Matt: The goal is to always try to expand the company and create more opportunities, get the brand out there to compete in New York and take our chances with being the next overnight sensation that took 25 years to build. Each show is different in its own way. The last production, The Year Without a Santana Claus, featured legit dancers and it was a pinnacle in and of itself. The show was a light entertainment for families, and it featured the theatricality of the El Portal Theater and the company in a bigger space. So that was groundbreaking for us.
This show is reliant on, as Beth said, our grounded actors. The focus is on the storytelling and having the music serve the story. Instead of just putting the hits out there, we tried to go through the Weezer canon to find the songs that really fit the show, whether or not we thought people would recognize them. It’s a pinnacle in that way because there are about seventeen different pieces of music in this show, which is more than we’ve ever done in any single play. We’ve got a kickass band that will bring the rock and roll, and we also have a cellist to help us move the soul. Everybody knows the act that happens (the assassination) but the why and the wherefores, and the personal cost and the sacrifice involved, are really what makes Shakespeare’s Julius Caesar compelling, for me anyway. Hopefully, the synergy and the seamlessness of weaving song and story has reached a new level.
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L-R: Mike Sulprizio, Matt Walker, Rob Nagle and Joseph Leo Bwarie
in Julius Weezer (2019) |
You mentioned earlier Game of Thrones. Are you incorporating some of those characters into Julius Weezer?
Matt: Not everybody is a watcher of the show, but we talked a little bit about corollaries for those in the cast who are fans, so there will be a few mentions or homages. We wanted to dress BK’s Calpurnia like the Red Woman and have her say a line that I still haven’t given her yet, which is a line a Game of Thrones fan will know, but we don’t go full immersion because we want to preserve the Shakespeare telling of the Julius Caesar story. We want the audience to leave saying, “Oh, I didn’t realize there were that many people involved,” and to know who they were and what they felt.
Caesar is the title character, but he’s typically not the most prominent figure in the play. The focus is really on the relationship between Brutus and Cassius, unless it is different in your production.
Matt: Yes, and on the relationship between Brutus and his servant, and Brutus and Portia, and in our production, between Mark Antony and Cleopatra. We’ve taken some scenes from Antony and Cleopatra and woven them into Julius Weezer because, according to my historical research, Cleopatra was in Rome at the time of Caesar’s assassination. And, as we know, she had a child with Caesar, so we’ve incorporated that to show the effect and the sacrifice.
Are you using any circus elements in this show?
Matt: Not so much. We talked a little bit about bringing the trampoline on stage just to give, pun intended, a little bounce, but staging-wise it didn’t fit. I might put the stilts on in the ghost scene, and we have a bunch of ghosts that come in and sing with Julius Caesar, which is where Weezer’s “Buddy Holly” fits in. “Woo-ee-ooh, I look just like Julius Caesar / woo-ee-ooh, but I’m Julius Caesar’s ghost.” They have a lot of great songs and there are more that didn’t make the cut that could have gone in, like “Cleopatra.” We do use “Cold Dark World” which Cassius sings to convince Brutus that things aren’t right, and “Brave New World” where Brutus is getting the rest of the conspirators on board.
They’ve got a song on the Red Album called “The Greatest Man That Ever Lived” and there’s a speech in it that Rivers Cuomo makes at about the four minute mark that starts with “All the world’s a stage” so we’ve incorporated that into the show. It’s the speech that Caesar says at the end while everybody’s lying dead around him and he’s singing “I am the greatest man that ever lived.”
You have a lot of familiar faces in the group that have become audience favorites over the years. How about a quick sentence for a few of your usual suspects?
Beth: To me, our secret weapon is Rick Batalla man. He is the secret sauce. I’ve known him for twenty years and he still makes me crack up in rehearsal. He’s the youngest of a brood of kids, and I swear he’s been trying to make people laugh since the day he came out of the womb.
Matt: He’s the Swiss Army knife of Troubie.
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Rick Batalla, Lisa Valenzuela, Matt Walker and Mike Sulprizio in A Midsummer
Saturday Night's Fever Dream (2013) |
Lisa Valenzuela?
Beth: Lisa V. She is mama Troubie. She brings so much soul and open arms to our audience and that’s why we often start the show with her. She’s great at getting the audience in that warm fuzzy place. Any time she’s on stage people are glowing.
Matt: She makes people feel like they’re at home. There’s also Mike Sulprizio, who is our foundational, fundamental Shakespearean actor. Whenever I need somebody to either be the Shakespearean heavy or deliver the exposition, I go to him. He’s so solid, and then he can completely transform himself and be a Sir Toby Belch type with the tooth black and the padded suit performing pratfalls.
Beth: Mike is all-purpose, an everyman. He has an amazing instrument. You can give him any role. He’s a natural. I think he was a Shakespearean actor in another time.
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| Little Drummer Bowie (2016) |
How would you describe your longtime musical director, Eric Heinly?
Beth: Eric is all-knowing and knows all. He’s a musical genius. And he knows every musician in town.
Matt: Besides Beth and Rick and Lisa, I’ve known Eric the longest. He and I just seemed to understand each other so we have a shorthand and a trust that’s there as well. He was really good friends with a musician named Henry Phillips who Rick and I performed with at a theater called Upfront Comedy in Santa Monica in the early ‘90s. Eric was just always hanging around with us. I knew he was a drummer and when we got to Twelfth Dog Night, Eric did some subbing in for us and the subbing in turned into a 23-year subbing in gig.
Beth, what about Matt?
Beth: Gosh, I am the most present as an artist when I’m on stage with Matt Walker. He does not allow you to check out for a minute. He has taught me more than any school has ever taught me about performance, and I love him dearly. Thank God for the Victory Theatre.
Matt, in addition to being your Babe Ruth, any other thoughts about Beth?
Matt: It’s difficult to quantify that but there’s a healthy competition to make the other person look good. So it’s almost like I get more joy when I can lob her a soft ball that she can hit out of the park, and then I’ll see her be like, oh, but I’m gonna lob you a soft ball. That’s sort of what it is, knowing that you’re going to go out there with somebody who’s gonna really work to help make you look good, and how safe that is.
* * * * * * *Julius Weezer runs May 4-19 (opening night 5/10 at 8pm) at the El Portal Theatre, 5269 Lankershim Blvd in North Hollywood. Tickets: 818-508-4200 or www.elportaltheatre.com.
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| Little Drummer Bowie (2003) |
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How the Princh Stole Christmas (2017)
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| Matt Walker / The Snow QUEEN (2014) |
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| Abbamemnon (2014) / A Midsummer Saturday Night's Fever Dream (2013) |
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| Two Gentlemen of Chicago (2012) |
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| A Christmas Westside Story (2011) |
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Evan Gutierrez (Colin) and Dino Nicandros (Archibald)
All photos by Caught in the Moment Photography |
When 3-D Theatricals artistic director T.J. Dawson tells you during the curtain speech to read his program note before The Secret Garden begins, take him at his word. It will go a long way toward helping you understand the feverish dream sequence that lays the foundation for Lucy Simon and Marsha Norman’s dark, but ultimately uplifting, musical based on Frances Hodgson Burnett’s 1911 classic novel.
At its center is a family cursed with more than its fair share of heartbreak. Young Mary Lennox (Glory Joy Rose) is the only survivor of a cholera epidemic in India that has claimed the lives of her parents and everyone she knows.
Far away in England, her uncle Archibald (Dino Nicandros) still mourns the loss of his wife Lily (Jeanette Dawson) ten years after she died giving birth to their son Colin (Evan Gutierrez) whom Archibald keeps bedridden for fear the child has inherited his own physical deformity.
It is into this dreary household that Mary is sent to live, though not by choice. She arrives a spoiled brat but with the help of kindly spirits, a locked, overgrown garden, and the down-to-earth folk who work for Archibald, blossoms into the caring catalyst who helps heal them all.
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| Glory Joy Rose and Evan Gutierrez |
Simon’s sophisticated score is the star, with its haunting melodies and choral depth, though it is not always handled with finesse by an ensemble that has difficulty with pitch, clarity, and restraint. Sound issues were prevalent on opening night as even the orchestra was out of tune, most noticeably in the exposed sections of the score. Still, nothing could dim the overall effect of this lush gothic musical romance steeped in the ache of loss but rich in lessons of rebirth and the cyclical nature of life.
Also a star is Nicandros, in a deeply moving performance as the grieving widower. Archibald is a man lost and sinking under the weight of his own demons but Nicandros never gives in to the piece’s melodramatic pull. Instead, he is grounded in an honest simplicity that reveals a chameleon-like actor who has matured over the last several years on southern California stages and should be on everyone’s watch list. With a gorgeous voice and impeccable phrasing, he also sounds eerily like Mandy Patinkin, who originated the role, when he sings.
As Mary, Rose bites into the role with gusto. She is an unlikable character for a great deal of the first act but when Rose makes the transition from petulant to precocious we see a girl whose previously undeveloped concern for others blooms like the garden in which she finds a purpose and an actress capable of rounding the turn. Dawson’s tender presence watches over all.
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| Glory Joy Rose and Evan Gutierrez (center) and the cast |
Around them, an ominous production design comes together to create the imposing Misselthwaite Manor and grounds where helpful spirits and restless humans reside (scenic design by Stephen Gifford, lighting by Paul Black, projections by Andrew Nagy). Gifford’s somber portraiture and towering, movable stair units become even more menacing against the midnight blues and obsidian grays of Nagy’s projections and the severity of Black’s lighting. A perpetual air of melancholy exists, even in the background of Mary’s more lighthearted scenes with Martha (Renna Nightingale) and Dickon (Brandon Root) until we reach the touching finale when all wrongs are righted and a family reunited in Gifford’s sumptuous, but no longer secret, garden.
THE SECRET GARDENMay 3-19, 2019Cerritos Center for the Performing Arts12700 Center Court Drive, Cerritos, CA 90703Tickets: www.Cerritoscenter.com or www.3dtheatricals.org
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| Glory Joy Rose and Jeanette Dawson |
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| Jeanette Dawson and Dino Nicandros |
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| Glory Joy Rose and Brandon Root |
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| The cast of The Secret Garden |
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| Andy Robinson (center) and the company. All photos by Ed Krieger |
In Julius Weezer, Troubadour Theater Company uses its signature wit to turn a Shakespeare classic into a blissfully-alive rocker version of its ancient self, and the result is divine madness. You don’t need to be a Bard lover to have a great time but, if you are, you’ll be impressed by the level of classical talent on stage and the company’s ability to “speak the speech” while tickling your funny bone.
Their “sublimely ridiculous” brand of theatre succeeds because they understand that to make something funny you first have to know how to play it straight. Then you can twist it, poke it, and stretch it with the kind of modern day humor that keeps audiences primed and ready for more. It’s a hallmark of the Troubie style and one of many reasons their fans are so loyal.
But, back to the play. The story is Julius Caesar (with a couple of scenes pulled from Antony and Cleopatra) and the music is by Weezer, featuring revamped lyrics by Matt Walker, who adapted the Shakespeare and also directs, choreographs (along with Nadine Ellis and Suzanne Jolie Narbonne), and plays Cassius. He’s the glue that holds it all together, and he skillfully orchestrates the onstage machinations with a glint in his eye and a suspiciously cocked eyebrow that lets you know the wheels are always turning.
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| Matt Merchant and Matt Walker |
Latecomers, onstage fumbles, and moments planned or unplanned all provide comedy gold in their own way. Just ask good sport Matt Merchant (Marcus Antonius) the hapless recipient of Walker’s spit spray to the face on several successive lines, presumably accidental the first time and certainly intentional after that, or Mike Sulprizio (Casca) who was planted in a compromising stage pose when the cast broke out of their places to sing “Happy Birthday” to him on opening night. It calls to mind the fun of The Carol Burnett Show in all its glory, and this bunch is on their game from beginning to end.
That means every Troubie – and this show is packed with many longtime players – turns his or her role(s) into something unique. It doesn’t matter if it is three lines and a walk across the stage (case in point, an outstanding Morgan Rusler as the Scottish Soothsayer and a Cinna with a distinctive gait) or a two-hour complex character like Rob Nagle’s excellent Brutus.![]() |
L-R: Morgan Rusler, Matt Walker, Rob Nagle, David C. Wright,
Mike Sulprizio and Rick Batalla |
It’s inspiring to watch Nagle move through the serious role while dressed in an above-the-knee tunic and mop top wig, purposely plopped on top of his head like the fifth Beatle, without batting an eye. By the way, all of the conspirators wear the same style of wig but with a slightly different silly variation. In a way, you could say they’re the dagger-fisted precursor to today’s much less dangerous boy band phenomenon. Just add blood…and eyeliner.
The absurd visuals are a show unto themselves so keep an eye out for them. Costume designer Halei Parker has outdone herself with the abundance of jokes built into her looks from Andy Robinson’s costume for Caesar’s death scene set to Weezer’s “Undone – the Sweater Song,” to Joseph Leo Bwarie’s glitter eye shadow and Roman rock star garb as Caesar’s nephew Octavius Caesar, to Rick Batalla’s sheer pink caplet sleeves for Brutus’ effeminate servant Lucius. Batalla always latches onto the more curious aspects of his characters and it helps that he has no shame. Think of him as the Tim Conway of the group. He doesn’t even need to say anything and he’s funny.
Beth Kennedy’s dramatic Calpurnia references both Cher and the Red Woman from Game of Thrones while her wacky version of conspirator Metellus repeatedly insists he has an assassination plan but no one will listen. Victoria Hoffman (Portia) floats innocently in on a voluminous cloud of blue chiffon with a voice as pleasing and clear as a nightingale. She’s a lovely breath of fresh air within the testosterone-laden milieu. Cloie Wyatt Taylor’s Cleopatra is a ballsy vixen, and the payoff for poor forgotten conspirator Trebonius (David C. Wright) is his ability to stay standing on the battlefield. Just count the swords.![]() |
| Andy Robinson and Beth Kennedy |
But the biggest delight is how Caesar (Andy Robinson) is integrated into the scenes. Though he is the title character, he isn’t usually remembered for much more than his death. Not so here. Robinson is a veteran actor who creates a formidable autocrat; smart, embittered, and just as conniving as those who would assassinate him. It is a bold take on the role, both in verbal attack and brash physicality, which gives Julius Weezer a larger than life presence, one that makes sense given the bass-heavy rock ‘n roll power of Weezer’s music.
Songs like “Cold Dark World,” “Where’s My Sex,” “The Greatest Man That Ever Lived” and “Brave New World,” were chosen for their ability to help tell the story. It makes the score darker than normal but, in this case, that’s a plus. Underscoring adds pathos to the dialogue where needed.
In the end, the Troubies spin their tale as only they can, with feet planted firmly in the text and eyes on the punchline prize.
JULIUS WEEZERMay 4 – 19, 2019Troubadour Theater Company at the El Portal Theatre5269 Lankershim Blvd, North Hollywood, CA 91601Tickets: 818-508-4200 or www.elportaltheatre.com ![]() |
Rob Nagle, Victoria Hoffman and Rick Batalla
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| L-R: Matt Merchant, Joseph Leo Bwarie and Cloie Wyatt Taylor |
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| Cloie Wyatt Taylor and Matt Merchant |
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| Rob Nagle and Victoria Hoffman |
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| The company of Julius Weezer |
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| Eric B. Anthony and Amanda Leigh Jerry. All photos by Ed Krieger |
A singing cowboy tries to keep his Wild West show alive despite the cards being stacked against him in Bronco Billy – The Musical, a heartwarming musical comedy loosely based on the 1980 Clint Eastwood film. It’s a boisterous entertainment in the style of the old traveling western shows made popular by early twentieth century showmen like “Buffalo Bill” Cody. Moving from town to town, they appealed to one and all with their daring feats, rambunctious comedy, and good old-fashioned fun. So does this hot property.
The amiable homage is a little bit country and a little bit Broadway baby, with a big dose of disco fever thrown in for good measure. Bookwriter Dennis Hackin, who also wrote the screenplay for the film, has given his characters new back stories augmented for the stage while keeping a few key details in the mix. Billy (Eric B. Anthony) still harbors an important secret from his past but love interest Antoinette’s (Amanda Leigh Jerry) reason for joining Billy’s troupe is reconfigured into a screwball murder plot involving her flamboyant stepmother (Michelle Azar), crooked lawyer (Marc Cardiff), devious husband (Chris M. Kauffmann), and eccentric gun for hire (Pat Towne).
If she can stay alive for thirty days, Antoinette will inherit her deceased father’s (Anthony Marciona) fortune and the candy company that made him rich. But the only way to ensure that happens is for her to stay out of sight. Luckily, Billy and his struggling troupe provide just the cover she needs.
Composers Chip Rosenbloom and John Torres (additional lyrics by Michele Brourman) have created a lively score to go along with Hackin’s retooled story. Arrangements & orchestrations by David O give the production a bigger presence than most new musicals can boast right out of the gate. Vocals are strong and the five piece band led by musical director Anthony Lucca sounds terrific.
Director Hunter Bird uses two contrasting but complementary acting styles: naturalistic, which plays up the goofy charm in his misfit performers, and heightened, which allows his bumbling villains the melodramatic flair they need to make the show sizzle. When the two groups collide it means there’s plenty of comedy to be had, and the ensemble makes good use of every opportunity.
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| Randy Charleville, Eric B. Anthony, Amanda Leigh Jerry and the cast |
Perhaps the most impressive element of this world premiere however is Janet Roston’s personality-driven choreography. Her skill in choreographing to character is astonishing, and she can do it in any style on any size stage for any level of artist and make them shine. Whether she’s using a simple two-step to build a budding romance or creating a whopper of a production number to highlight every asset – and rodeo trick – the talented cast has in their back pocket, she succeeds in furthering the story through movement. It’s hard to describe but, in essence, it creates a physical arc to the show that transports you to a different place from where you started.
The same goes for the rest of the design elements. It’s delightful to watch John Iacovelli’s traveling tent show transform from a bunch of crates into a mansion, a gas station, a prison, a wagon, or the skyline when combined with David Murakami’s witty projections and Brian Gale’s lighting. The effects in Cricket S. Myers and Daniel S. Tator’s sound design are also stacked with jokes you’ll love in the moment, and Ann Closs Farley’s colorful costumes are as functional as they are fun.
Anthony makes an endearing romantic lead and Jerry an expressive ingénue. Azar’s “kill” song is a hilarious example of how to be over-the-top without becoming a caricature. Cardiff is the dancing clown you never knew you needed but now can’t do without, and Towne’s expert timing turns his joyfully childlike machinations into a subplot that deserves a spin-off of its own.
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| Pat Towne, Michelle Azar, and Marc Cardiff |
Every show needs a utility player like Marciona who can morph from a silent (funny) portrait to a disco (funny) diva to an affected (funny) stage manager and nail every personality change no matter how absurd. Suffice it to say, the cast is having a great time and, because they are, so are we.
Yes, the story is a little thin and the second act could be tightened up in the next edit but, as a first outing, Bronco Billy is a likable new musical that will appeal to buckaroos of all ages. It’s got bells and whistles, romance, danger, and disaster, yet it never loses sight of its humanity, which can be summed up in a line Billy delivers during a touching moment, “Just because a man’s been dealt a bad hand doesn’t mean he should be out of the game.” Good words to remember in these trying times.
BRONCO BILLY - THE MUSICALMay 10 – June 30, 2019Skylight Theatre1816 ½ North Vermont, Los Angeles, CA 90027Tickets and info: 213) 761-7061 or Skylighttheatre.org![]() |
| Michelle Azar, Amanda Leigh Jerry, Pat Towne, Chris M. Kauffmann, and Marc Cardiff |
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| Fatima El-Bashir, Randy Charleville, Eric B. Anthony, and Michael Uribes |
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| Eric B. Anthony, Benai Boyd, Amanda Leigh Jerry, Randy Charleville, and Kyle Frattini |
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Photos from Chance Theater's production of the award-winning musical Ragtime: The Musical. Based on the novel Ragtime by E. L. Doctorow, the musical is written by Terrence McNally, and composed by Stephen Flaherty with lyrics by Lynn Ahrens and directed by Casey Stangl, with choreography by Kelly Todd and music direction by Robyn Manion. Now through July 28th at the Bette Aitken theater arts Center in Anaheim. Tickets: ChanceTheater.com.
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Dony Wright (Coalhouse Walker, Jr.) and Jennifer Talton (Sarah)
All photos by Doug Catiller, True Image Studio |
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| Rebeka Hoblik (Little Girl) and Wyn Moreno (Tateh) |
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Christianne Holly Santiago, Yunga Webb, Jake Burnett, Glenn Koppel, Sarah Pierce,
and Rachel Oliveros Catalano |
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| Jennifer Talton (Sarah) |
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| Rachel Oliveros Catalano (Mother) |
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| Matt Takahashi (Harry Houdini) and Sarah Pierce (Evelyn Nesbit) |
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| Bryce Hamilton (Emma Goldman) and Joseph Bricker (Younger Brother) |
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Musical lovers will have the opportunity to see new work in action when New Musicals Inc. debuts eight original short musicals on July 18 and 19. The 15 Minute Musical Project is the culmination of NMI’s writers’ workshop, a program that teaches the essentials of writing for musical theatre and covers everything from bookwriting to lyric construction to musical composition.
The 15-minute musicals will be presented at the Broadwater Second Stage in Hollywood and sell out quickly each year (everyone says that but these really do!) Tickets are $25 and can be purchased HERE. Performances begin at 7:30 pm.
For the final project of the writers’ core curriculum, teams of three writers – a composer, a lyricist, and a bookwriter (in some cases 2 writers) – will write, revise and polish a brand-new musical written for four actors whom they’ve never met before, in only three months.
“It’s like a rite of passage,” says Elise Dewsberry, the Academy’s Artistic Director and producer of the 15 Minute Musicals. “We design the process to imitate a full-length show in a professional theatre: draft, rehearsal, rewrites, rehearsal, opening. It’s really a wonderful experience, but it’s often stressful, just like a million-dollar opening night. Our writers’ names are in the program, and it’s important to them they write the best show they possibly can, in the short amount of time we’ve given them.”
This year’s presentation is entitled: Green-Eyed Monsters: eight new musicals about jealousy, and the writing teams have created wildly different approaches to the theme. Picture a high-wire act featuring feuding siblings, jealous musical divas succumbing to magical trickery, a conniving cat and mouse, and a pair of gardeners raising rival flowers and you get the picture.
The annual NMI event is an inspiring celebration of the musical development process and one no musical theatre geek should miss. You just might hear the next big Broadway sensation here before they hit it big!
All eight shows are presented each night and include:
The BLUE Program:Granny Wars with book by Kimberly Barger, and music and lyrics by Katie BradyStanford or Bust with book by Michael Harold, and music and lyrics by Jan WongCheese & Crackers with book by Thomas Blakely, music by Duncan Smith, and lyrics by Bill CoeHighwire with book by Gustav Hoyer, music by Joely Zuker, and lyrics by Elizabeth Coleman
Directed by John Coppola; Music Directed by Jake Anthony; Stage Managed by Jenn DupreStarring Melvin Biteng, Tianna Cohen, Marcello Padilla, and Andrea Somera
The RED Program:The Cure with book and lyrics by B.K. Wells, and music by Xavier VidalGreener Gardens with book by Sara Beil, music by Jon Kull, and lyrics by Greg BeattieI Heart Jeffrey Braddock with book by Marilyn Haese, music by Ron Barnett, and lyrics by Charlotte BashThe Fifth Element with book and lyrics by Wayne Self, and music by Joelle Ferrando
Directed by Elise Dewsberry; Music Directed by Ron Barnett; Stage Managed by Rachel ShanblattStarring Corinne DeVries, Seth David Mitchell, Giane Morris, and Patrick Steward.
NMI 15 Minute Musical ProjectBroadwater Second Stage6320 Santa Monica BlvdLos Angeles, CA 90038Tickets, reservations and more info: NMI.org/nmi-summer-events-2019/
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| The cast of The Spitfire Grill. All photos by Aaron Batzdorff |
Don’t miss this heartwarming musical based on the film by Lee David Zlotoff featuring book and music by James Valcq, lyrics and book by Fred Alley, and directed by Dimitri Toscas who says: “I wanted to tell this story in a new way — one that speaks to us today. I wanted to redefine ‘Main Street USA’ as a place where EVERYONE belongs. Even though we all have unique struggles and diverse backgrounds, we can all come together to make something beautiful… to make a new community. This is the impetus for having the actors playing their own instruments. No matter what they were keeping from each other or how they all got along, these characters are forced to come together to make music. Together. I like the idea of that. And I jumped off from there.” Now through August 11th. Tickets: www.garrymarshalltheatre.com ![]() |
| Erich Schroeder and Rachel Sarah Mount |
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| Ashley Argota and Rachel Sarah Mount |
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| Joey Ruggiero, Erich Schroeder, and Linda Kerns |
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| Erich Schroeder, Rachel Sarah Mount, Linda Kerns, Ashley Argota, and Joey Ruggiero |
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Aleks Pevec (center) and the company of West Side Story.
All photos by Ed Krieger |
5-Star Theatricals’ gorgeous production of West Side Story runs through August 4th at the Thousand Oaks Civic Arts Plaza. This legendary love story with book by Arthur Laurents, music by Leonard Bernstein, and lyrics by Stephen Sondheim features musical direction by Jeff Rizzo, choreography by Karl Warden and is directed by Larry Raben. For tickets and more information go to www.5startheatricals.com.
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| Brandon Keith Rogers and Giselle Torres |
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| Jared Cardiel, Giselle Torres, Patrick Ortiz and Lauren Louis |
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| Aleks Pevec (center) and The Jets |
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| Giselle Torres and Lauren Louis |
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| Doug Penikas, Brock Markham, Aleks Pevec and Skip Pipo |
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| Taleen Shrikian, Giselle Torres, Cheyenne Omani and Veronica Gutierrez |
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| The Company of West Side Story |
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Richardson Jones, John Colella and Chris Jewell Valentin.
All photos by Matthew Brian Denman |
Celebration’s irreverent summer hit The Producers is now extended through August 26th at the Lex theatre in Hollywood! In 2001, the musical swept the Tony Awards and breaking records winning twelve out of fifteen categories. Celebration’s production is directed by Michael Matthews and features choreography by Janet Roston and musical direction by Anthony Zediker. Get your tickets now at www.celebrationtheatre.com!
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| Chris Jewell Valentin, Mary Ann Welshans and Richardson Jones |
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| Michael A. Shepperd (center) and the company of The Producers |
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| Chris Jewell Valentin and Richardson Jones |
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Andrew Diego, Michael J. Marchak, Evan Borboa, Michael A. Shepperd,
Sarah Mullis and Stephen Markarian |
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| Chris Jewell Valentin and Richardson Jones |
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| Richardson Jones |
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Hey everyone – I know you love a good discount. Well, right now you can get 30% off tickets to see the artist Rolling Stone calls “The Showman of Our Generation” – BARRY MANILOW! Barry performs at the Hollywood Bowl September 6-7 and you can get 30% off tickets on Sept. 6th using the promo code UNDERTHESTARS (select sections - SEPT 6 only). http://bit.ly/SP_Manilow.
See legendary Grammy®, Emmy®, and Tony® Award winner Barry Manilow in a night of non-stop hits as he and special guest Lorna Luft join the LA Philharmonic at the Bowl. This is one concert you don’t want to miss!
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September 11, 2019, 12:17 pm
Check out what's happening in Southern California and go see a show!
I DIG ROCK AND ROLL MUSICTonight, Rubicon Theatre Company opens its updated encore run of I Dig Rock and Roll Musical, last year’s world premiere sequel to Lonesome Traveler. Directed by James O’Neil, it features an all-new cast starring Yvette Cason, Harley Jay, Beau Moore, Charlotte Morris, and Scott Anthony. The celebration of folk-rock then and now is a theatrical concert highlighting songs from 1965 through the 1970s made famous by Peter, Paul and Mary; The Mamas and the Papas; Joni Mitchell; The Association; Otis Redding; Cat Stevens; The Youngbloods; The Beatles; and many others, along with original songs of passion and protest inspired by the era written by Noel Paul Stookey (of Peter, Paul and Mary), and other members of the group. Conceived by Ovation winner and Rubicon co-founder James O’Neil, Lifetime Grammy Award-winner George Grove, and LADCC-winner/Tony nominee Dan Wheetman with musical direction by Scott Anthony, and arrangements by George Grove and the performers. You can rock out now through Sept 29th. www.rubicontheatre.org![]()
A NIGHT AT THE BIOPERASecond City Hollywood is currently running a new 45-minute improvised musical production inspired by the suggestion of a historical figure. Think Drunk History meets Hamilton and you’ll get the idea. Improvisors Annie Bond, Andrew Young, Andy Apuy, Eric Pastore, Cherelle Patrice, Tess Gattuso, Mary Lou Kolbenschlag, Sara Caplan, Angela Giarratana and Scott Thiede fuse the art of long-form improv comedy with musical theater while paying homage to bio-musicals like Evita and Hamilton. Musical direction is by Tony Gonzalez. The next show is 9/18. May contain mature themes and strong language. Hey, it’s improv after all. Secondcity.com/NightBioperaSUPPORTIVE WHITE PARENTSAlso opening at Second City on Sept. 20th is this summer’s Fringe hit Supportive White Parents, by Joy Regullano (book & lyrics) and Sam & Tony Show (music). When an Asian girl tells her parents that she doesn’t want to be a doctor anymore, she wishes on a shooting star for supportive white parents. The cast includes Earl Baylon, Gina D’Acciaro, Kaitlyn Fae, Spencer Frankeberger, Jaq Galliano, Mary Grant, Aryiel Hartman, Marcel Licera, Mary Lou, Scott Palmason, Joy Regullano, Jim Shipley, Greg Smith, Giselle “G” Töngi, Reuben Uy, and Rob Warner, directed by Frank Caeti and featuring choreography by Ally Vega. More at www.secondcity.com/shows/hollywoodTHE MUSIC OF BRIAN GALLAGHEROn October 19th, the Colony Theatre in Burbank will present an evening of Broadway stars singing The Music of Brian Gallagher. Scheduled to appear are Megan Hilty, Carly Hughes, Matt Cusson, and Carrie Manolakos, with more artists to be announced. The evening will feature music from Gallagher’s concept album Brownstone for the first time on the west coast. Admission is $45 with $60 VIP tickets available (includes a post-show meet and greet with the artists). Tickets are available at www.colonytheatre.org or by calling 866-811-4111.
LADY DAY AT EMERSON’S BAR AND GRILLJoin International City Theatre for an intimate evening with legendary jazz songstress Billie Holiday when they present Lanie Robertson’s glorious musical portrait of one of the greatest jazz and blues vocalists of all time. Starring Karole Foreman in the title role, and with music direction by Stephan Terry and Ebony Rep founding artistic director Wren T. Brown directing, Lady Day takes the audience through what will be Holiday’s last performance in a seedy Philadelphia bar in 1959. Foreman performs more than a dozen of her best loved songs inlcuding “God Bless the Child,” “Crazy He Calls Me,” “T’ain’t Nobody’s Business If I Do” and “Strange Fruit.” Oct. 18 – Nov. 3. Tickets: ICTlongbeach.org.
IN CIRCLESAdapted from Gertrude Stein’s A Circular Play, this unique musical journey is part of Odyssey Theatre Ensemble’s 50th Anniversary “Circa ’69 Season” and is directed by David Schweizer, with musical direction by Kenneth J. Grimes and choreography by Kate Coleman. In Circles takes Stein’s nonlinear prose, based solely on her pleasure at the way certain words sounded together, and sets them to a splendid musical score featuring ragtime, tango, waltz, opera, barbershop quartet, jazz and other musical styles. Odyssey’s ensemble will feature original 1968 off-Broadway cast member Jacque Lynn Colton, along with Henry Arber, Shelby Corley, Ashlee Dutson, Kyle Fuller, Chloe Haven, Aaron Jung and P.T. Mahoney. For tickets and more information go to www.odysseytheatre.com.
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September 13, 2019, 9:53 am
Check out these musical treats and go see a show!
LITTLE SHOP OF HORRORSPasadena Playhouse is gearing up for its own unique version of Howard Ashman and Alan Menken’s popular sci-fi musical Little Shop of Horrors this month. With Glee’s Amber Riley starring as the R&B-singing, carnivorous plant-with-an-attitude, Audrey II, and George Salazar and Mj Rodriguez playing Seymour Krelborn and Audrey, this one’s sure to be a highlight of the Fall theatre season. The show is directed by Mike Donahue, who brings a new take on Skid Row to the stage as well as a brand-new puppet concept for Audrey II. Music direction is by one of LA’s favorite musical directors, Darryl Archibald, and Will B. Bell provides choreography. Also joining the cast are Kevin Chamberlin, Matthew Wilkas, T.V. Carpio, Tickwanya Jones, Cheyenne Isabel Wells, and puppeteers Tyler Bremer, Kelsey Kato, Tim Kopacz, Sarah Kay Peters, and Paul Turbiak. Sept. 17 – Oct. 20. PasadenaPlayhouse.orgDEADLYTrue crime fans will have a field day with the latest new work from playwright Vanessa Claire Stewart and composer Ryan Thomas Johnson over at Sacred Fools’ Hollywood home, The Broadwater. Jaime Robledo directs French Stewart, Cj Merriman, Keith Allan, Erica Hanrahan-Ball, Ashley Diane, Kristyn Evelyn, Rebecca Larsen, Brittney S. Wheeler, Samantha Barrios, and Eric Curtis Johnson in an examination of one of the most famous true crime cases in history. It’s 1893, an exciting time filled with hope and optimism as the World’s Fair opens in Chicago. But a demon hides within this cultural explosion of art and technology, and he’s luring women to their demise in what would come to be known as his “murder castle.” Inspired by the true story of H.H. Holmes, the first documented serial killer. Sept. 13 – Nov. 2. SacredFools.org/DeadlyTHE EDGAR ALLEN SHOWThis sounds like a really fun one. Ari Stidham, who played the lovable Sylvester on the CBS series Scorpion is bringing his comic celebration of Edgar Allan Poe’s Master Works to Two Roads Theatre beginning Sept. 27. The show will feature re-enactments and recitals of The Raven, The Tell-Tale Heart, The Fall of the House of Usher and more done with great silliness written, directed and featuring original songs by Stidham. Cast also includes Kimia Behpoornia, Jordan R. Coleman, and Nika H. Mabson. The 80-minute performance is appropriate for all ages and is presented without an intermission. There will be a pre-show light reception opening weekend at 7:30 pm, on both Friday, Sept. 27 and Saturday, Sept. 28. Show runs through Oct. 19 and sounds fantastic. EdgarAllanShow.comGOOSEBUMPS, THE MUSICAL: Phantom of the AuditoriumAnd if you’re looking for an entertaining Halloween musical the whole family can enjoy, make sure you get over to Chance Theater for Goosebumps, the Musical, based on the popular spooky stories by R.L. Stine. With book and lyrics by John Maclay and music and lyrics by Danny Abosch, it’s directed by Darryl B. Hovis and features music direction by Carol Roman and choreography by Monika Peña. The story follows Brooke and Zeke who are thrilled to be starring in the new school musical, a mysterious production called The Phantom. But when strange events begin interrupting rehearsals, the friends start to wonder whether their show might be cursed. You can also stay for an exclusive Halloween Party and play goosebump-worthy games, enjoy themed arts & craft projects, and meet members of the cast for photos, autographs and more after select performances. Party Tickets include a spooktacular spread of creepy-crawly and kid-friendly treats, refreshing drinks (including an adults-only option), and fun and festive games for all ages. Get 20% off tickets right now with the online code PEACHGOOSE. Discount expires Thursday, Oct. 3 and is good for any performance before Oct. 21, except opening. There is limited availability though so check the website for scheduling and all the details. Don’t forget your costume! October 4 – 27. ChanceTheater.com
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September 18, 2019, 1:12 pm
Check out the latest in Musical News and mark your calendars now!
GRUMPY OLD MEN: THE MUSICALHold on to your hats, folks, La Mirada Theatre for the Performing Arts and McCoy Rigby Entertainment are opening a brand-new musical this weekend based on the beloved 1993 film by Mark Steven Johnson and it looks like it’s going to be terrific. Matt Lenz directs Hal Linden who plays Grandpa Gustafson, Cathy Rigby as Punky Barrels, and Ken Page as Chuck Barrels in this west coast premiere by Dan Remmes (book), Neil Berg (music), Nick Meglin (lyrics), with additional orchestrations by Phil Reno, choreography by Michele Lynch, and musical direction by Benet Braun. Max (Gregory North) and John (Mark Jacoby) have been feuding for more than 50 years over the silliest things but when the beautiful Ariel (Leslie Stevens) moves in across the street their rivalry reaches epic proportions. This story of family, friendship, love, and romance is sure to win your heart. Audience Talk-Backs with the cast will take place on Sept. 25 and Oct. 9. Show runs Sept. 20 – Oct. 13. LaMiradaTheatre.com![]()
THE DROWSY CHAPERONEMorgan-Wixson Theatre opens its season with The Drowsy Chaperone on Sept. 21. Kristie Mattsson directs and the show features music direction by Daniel Koh and choreography by Niko Montelibano. This sparkling musical comedy charmed audiences when it debuted on Broadway, winning five Tony Awards including Best Book (Bob Martin and Don McKellar) and Best Original Score (Lisa Lambert and Greg Morrison). Morgan-Wixson’s cast features Deonté Allen, Jake Asaro, Mirai Booth-Ong, Chris Clonts, Devin Dimitri Dominguez, AnnaLisa Erickson, Michael Heimos, Estaban Hurtado, Daniel Koh, Janet Krajeski, Aric Martin, Audrey Pennington, Serenity Robb, Krystyna Rodriguez, Richard R. Rosales, Jenáe Denise Thompson, Christopher Tiernan, Holly Weber, and Steve Weber. Audience talk-backs will follow the performances on Sept. 27 and Oct. 6. Show runs through Oct. 13. www.morgan-wixson.org [Pictured: Holly Weber as Janet. Photo by Niko Montelibano]
LIFE IN BOOBSAlso on Sept. 21st, the new musical comedy Life in Boobs debuts at Second City Hollywood. The show is conceived by Jennifer Goodman and highlights the true trials and tribulations of boobs everywhere, with original songs, comedic vignettes and dramatic monologues, books & lyrics by Casey Christensen, and music by celebrity vocal coach Rachael Lawrence. Cast members include Sherry Cola, Brooke Eyler, Naomi Murden, Sara Montgomery, Leslie Rubino, and Kyla Page Williams along with Christensen and Goodman. A portion of the show’s ticket sales will go to Susan G. Komen Los Angeles. Performances are at 10pm, Sept. 21 – Dec. 14. SecondCity.com/LifeinBoobsADVENTURES OF PETER RABBITStorybook Theatre’s version of Beatrix Potter’s classic tale hops into Theatre West beginning Oct. 5. With book and lyrics by Anthony Grupposo, who also directs, music by Matt Dahan, and choreography by Mark Michello, it’s a musical adventure for the whole family. Cast includes Alex Mashikian, Ashley Fox Linton, Kathy Garrick, Saratoga Ballantine, Will Collyer, and David P. Johnson. Come do “The Bunny Hop” and sing along with Peter and the rest of the audience in this adaptation created specifically to appeal to children. Special accommodations can be made for birthday parties and school field trips by calling (818) 761-2203. This is Storybook Theatre’s 35th consecutive season providing wholesome family entertainment and many children’s first experience with theatre. We think that’s a very good thing. TheatreWest.org
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September 21, 2019, 5:05 pm
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L-R: Gregory North (Max), Ken Page (Chuck), Hal Linden (Grandpa Gustafson),
and Mark Jacoby (John). All photos by Jason Niedle |
Grumpy Old Men: The Musicalstarring Hal Linden, Cathy Rigby, Ken Page, and Mark Jacoby is now playing at La Mirada Theatre for the Performing Arts! Get your tickets now for performances through October 13th at LaMiradatheatre.com!![]() |
| Leslie Stevens (Ariel) and the cast |
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| Cathy Rigby as Punky Barrels |
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| Hal Linden and Mark Jacoby |
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| L-R: Fatima El-Bashir, Leslie Stevens, Cathy Rigby, Ken Page, and Heather Jane Rolff |
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| Peter Allen Vogt (with sign) and the cast |
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| Neil Starkenberg, April Nixon (Sandra) and John Battagliesen |
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| Hal Linden |
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| Leslie Stevens and Ken Page |
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September 23, 2019, 2:40 pm
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Holly Weber (center) and the cast of The Drowsy Chaperone
All photos by JDCPhotography |
Morgan-Wixson Theatre’s charming production ofThe Drowsy Chaperone is now open and will run through Oct. 13. Follow the Man in the Chair as he plays his favorite cast album and the story magically springs to life on stage around him. This one’s a crowd-pleaser from beginning to end so don’t miss it. Tickets are available at www.morgan-wixson.org.
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| Jenáe Denise Thompson (right) and the cast |
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| Holly Weber and Christopher Tiernan |
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| Deonté Allen, Richard R. Rosales, and Steve Weber |
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| Michael Heimos as the Man in the Chair |
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| AnnaLisa Erickson and Daniel Koh |
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| Aric Martin and Janet Krajeski |
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| The cast of The Drowsy Chaperone |
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| Holly Weber (center) and the cast of The Drowsy Chaperone |
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September 25, 2019, 7:01 am
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L-R: Brittany Campbell, Mj Rodriguez as Audrey, Cheyenne Isabel Wells
and Tickwanya Jones. Photo by Jenny Graham |
Pasadena Playhouse opens Little Shop of Horrors tonight and that means you better watch out for Audrey II, an unassuming little plant secretly set on world domination, because she’s got a plan to make it happen. Getting Seymour to feed her is only the beginning! Danny Feldman, Pasadena Playhouse Producing Artistic Director says, “Our new electrifying production of Little Shop of Horrors will give our audiences the opportunity to see a show they know and love in a way they never have before. From a delicious new take on everyone’s favorite singing plant to the stunningly talented cast, this is sure to be a landmark theatrical event for Los Angeles.” We can’ wait. The show runs through October 13th and tickets are available at www.pasadenaplayhouse.org.
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| George Salazar as Seymour. Photo by Jenny Graham |
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| Cheyenne Isabel Wells, Brittany Campbell and Tickwanya Jones. Photo by Jenny Graham |
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| Matthew Wilkas as Dr. Orin Scrivello and George Salazar as Seymour. Photo by Jeff Lorch |
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| Mj Rodriguez (Audrey) and George Salazar (Seymour). Photo by Jenny Graham |
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| Kevin Chamberlin (Mr. Mushnik) and George Salazar (Seymour). Photo by Jenny Graham |
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| Matthew Wilkas as Dr. Orin Scrivello. Photo by Jenny Graham |
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| Audrey II. Photo by Jeff Lorch |
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| The cast of Little Shop of Horrors. Photo by Jeff Lorch |
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September 28, 2019, 12:34 pm
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Jacque Lynn Colton (center) with Henry Arber, Aaron Jung, Chloe Haven, P.T.
Mahoney, Shelby Corley, Ashlee Dutson and Kyle G. Fuller. All photos by Enci Box |
Adapted from Gertrude Stein’s A Circular Play, In Circles is part of Odyssey Theatre Ensemble’s 50th Anniversary “Circa ’69 Season” and is directed by David Schweizer, with musical direction by Kenneth J. Grimes and choreography by Kate Coleman. In Circles takes Stein’s nonlinear prose, based solely on her pleasure at the way certain words sounded together, and sets them to a splendid musical score featuring ragtime, tango, waltz, opera, barbershop quartet, jazz and other musical styles. Origina1 1968 off-Broadway cast member Jacque Lynn Colton stars. For tickets and more information go to www.odysseytheatre.com.
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| Jacque Lynn Colton |
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| Jacque Lynn Colton, P.T. Mahoney, Ashlee Dutson and Henry Arber |
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| P.T. Mahoney, Kyle G. Fuller and Jacque Lynn Colton |
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Shelby Corley, Chloe Haven, Ashlee Dutson, Jacque Lynn Colton, Henry Arber,
Aaron Jung, Kyle G. Fuller and P.T. Mahoney |
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| Henry Arber and Ashlee Dutson |
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| P.T. Mahoney and Kyle G. Fuller |
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Ashlee Dutson, Aaron Jung, Chloe Haven, Jacque Lynn Colton,
P.T. Mahoney, and Kyle G. Fuller |
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Ashlee Dutson, Shelby Corley, Chloe Haven, Jacque Lynn Colton, Kyle G. Fuller,
Henry Arber, Aaron Jung and P.T. Mahoney |
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| Ashlee Dutson and Jacque Lynn Colton |
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October 5, 2019, 11:44 am
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| James Byous and Jason Paige. All photos by Darrett Sanders. |
Open Fist Theatre Company presents the world premiere of Neil Simon’s Musical Fools, a comic adaptation of the Neil Simon play Fools, with book and lyrics by Simon, and music and lyrics by Phil Swann and Ron West. In 1893 Ukraine, a young tutor arrives in Kulyenchikov after a harrowing journey only to discover that the village is cursed, rendering every resident as dumb as a bag of rocks. Will he fall victim to the curse, or can he save himself and the village too? Find out in this hilarious adventure featuring James Byous, Parvesh Cheena, Cat Davis, Nina Genatossio, Juliane Hagn, Hank Jacobs, Derek Manson, Brendan Mulally, Jason Paige, Diane Renee, Beth Robbins, Robyn Roth, Bolor Saruul, Jack Sharpe and Clare Snodgrass. Ron West directs, music direction is by Jan Roper, and choreography is by Louisa Kendrick Burton. Oct. 4 – Nov. 17. www.openfist.org![]() |
| Jason Paige, Derek Manson, Clare Snodgrass and Robyn Roth |
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| Parvesh Cheenah (center) and the ensemble |
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| Derek Manson, Parvesh Cheena, Robyn Roth, Cat Davis, Brendan Mulally, and Hank Jacobs |
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| The Ensemble of Neil Simon's Musical Fools |
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| James Byous and Clare Snodgrass |
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| Jason Paige |
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| James Byous (center) and Ensemble |
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| James Byous (center) and Ensemble |
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| James Byous and Jason Paige. |
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| James Byous, Robyn Roth, and Derek Manson |
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| The Ensemble of Neil Simon's Musical Fools |
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ANASTASIAAnastasia makes its L.A. premiere at the Pantages Theatre Oct. 8 – 27. The dazzling Broadway musical will transport the audience from the twilight of the Russian Empire to the euphoria of Paris in the 1920s, as a brave young woman sets out to discover the mystery of her past. Pursued by a ruthless Soviet officer determined to silence her, Anya enlists the aid of a dashing conman and a lovable ex-aristocrat. Together, they embark on an epic adventure to help her find home, love, and family. Adapted by Terrence McNally and set to a gorgeous score by Lynn Ahrens and Stephen Flaherty, Anastasia is currently celebrating an open-ended run on Broadway. The touring production is directed by Tony Award®-winning director Darko Tresnjak and also features choreography by Peggy Hickey, music supervision by Tom Murray, music direction by Lawrence Goldberg, and orchestrations by Doug Besterman. The cast stars Lila Coogan as Anya, Stephen Brower as Dmitry, Jason Michael Evans as Gleb, Joy Franz as Dowager Empress, Tari Kelly as Countess Lily, Edward Staudenmayer as Vlad and Victoria Amelia Bingham as Little Anastasia. A limited number of $25 tickets will be offered by Digital Lottery. Get all the details here: hollywoodpantages.com/Lottery. Click Here for more information and to purchase tickets.
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DEAR JERRY SEINFELDYou can check out the latest rock musical from composer Michael Teoli this month at Three Clubs when he combines Seinfeld and Dear Evan Hansen to bring you Dear Jerry Seinfeld. If watching Jerry, Elaine, George, Kramer and even Newman sing and dance about nothing sounds like the stuff of your dreams, then this one’s for you. Starring Alex Lewis of Bring The Funny, Allyson Phillips, Heather Woodward, Matthew Patrick Davis, Brock Baker, Dahlya Glick, Madison Lanesey, Vic Michaelis, Andrew Young and Ari Stidham from the TV series Scorpion as Newman. Thursdays at 8pm, Oct. 10 – Nov. 21. The Three Clubs has a two drink minimum per person but you can bring in outside food. Please note, you must be 21 to attend. www.dearjerryseinfeld.com
IN TROUSERSThis “prequel” to William Finn’s groundbreaking March of the Falsettos and Falsettoland is directed by Corey Lynn Howe, and produced by Zachary Harris Lutsky and Tal Fal. In the opening chapter of the Marvin Trilogy, Marvin explores his sexuality and identity through his relationships with the three most important woman in his life: his high school sweetheart; his teacher; and his wife. Torn between his natural inclination and his desire not to upset his family life as he knows it, Marvin ultimately makes the decision he feels is best for him. Cast stars Braxton Molinaro in the title role, with Tal Fox (His Wife), Michelle Lane (His Teacher), and Lea Madda (His High School Sweetheart). Brooke van Grinsven is the Female Cover. The show is appropriate for ages 14+ and runs 90 minutes with no intermission. Oct. 11 – Nov. 3 at the Lounge Theatre in Hollywood. brownpapertickets.com/event/4323015THE MUSIC MANGet those trombones ready everyone! Adam Pascal stars as Professor Harold Hill in 5-Star Theatricals’ upcoming production of The Music Man at the Thousand Oaks Civic Arts Plaza. The Meredith Willson classic musical is directed by Larry Raben and features musical direction by Brad Ellis and choreography by Peggy Hickey. The cast also includes Katharine McDonough as Marian, Trent Mills, Joshua Blond, Lisa Dyson, Savannah Fischer, Dani Gonzalez, Rich Grosso, Joe Hart, Christie Lynn Lawrence, Antonia Vivino, Chris Hunter, Jonathan Matthews, James Thomas Miller, Richard Storrs, L. Michael Wells, Adam Winer, and an ensemble of 24. Oct. 18 – 27 at the Thousand Oaks Civic Arts Plaza. 5startheatricals.com [Photo by Ed Krieger]
GOOD FISHERMEN KNOW A LOT ABOUT SEXOctober is Drug Abuse Prevention Month and AK Ink is giving back by donating all proceeds from their new musical Good Fishermen Know A Lot About Sex to benefit Opioid Abuse Prevention. Writer Alexa Karas and composer Konner Scott explore what happens when you combine a grieving family of four, hoping to put the past behind them, with a boatful of local Hawaiian fishermen. As Ally and her family learn about the cycle of life and how sex and fishing are intimately connected, they realize that even when faced with the most difficult of circumstances, life goes on. The cast includes Kelley Pierre, Ryan Lee Hughes, Peter Miller, Dorothy Blue, Earl Baylon, Kit Nolan, Konner Scott, and Jimmy Clabots. Oct. 11 – Nov. 3 at the Hudson Theatre. onstage411.com/goodfisherman
OLIVERioMainStreet Theatre Company opens its new season at the Lewis Family Playhouse with the west coast premiere of OLIVÉRio: A Brazilian Twist. This musical retelling of Oliver Twist is set in modern-day Rio de Janeiro and features book and lyrics by Karen Zacarías and music by Deborah Wicks La Puma. A play-within-a-play setting follows Oli (Ella Saldana North), an orphan girl who asks Iemanja (Patricia Jewel), the goddess of the sea, for a “little bit more” in her life. Along comes con artist Falcão (Janet Greaves) and her artful young thief Zé Esquiva (Max Torrez) who attempt to use Oli’s innocence for their own gain. Soon everyone must decide whether they will do the right thing or take the easy way out. Robert Castro directs, choreography is by Tamica Washington-Miller, and Richard Miller is musical director. The score will be performed by a live Brazilian band. Also included in the cast are Anthea Neri as Nancí, a wash maid with dreams of her own, Reuben Uy as Sykes, an unscrupulous policeman, and Gigi Bermingham as the rich widow Rosa Maria. Oct. 12 – 27. www.lewisfamilyplayhouse.com
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