I’m on a roll with theatre so far this year, because, in addition to everything else I’ve reviewed recently, I really enjoyed Clybourne Park at the Mark Taper Forum.

The “u” in the title misled me; I assumed it was some old-time English situation, like the movies Gosford Park or The Remains of the Day. Instead, it was a wonderfully-crafted play with two separate-yet-connected acts performed by the same cast with the same theme—modern-day prejudices brought to light by real estate situations. I couldn’t help but think of similar dilemmas that several of us are going through right now.

Photos by Craig Schwartz.

The first act takes place in a basic family home in Chicago in 1959. My mouth was watering over the wallpaper from that time! (When we just had to remove part of the wall phone in my mother’s house in Brooklyn, I saw a similar patch of original paper. Yum!) And the second half is updated to 2009 in the same house, but with different characters.

All the actors are excellent, but Jeremy Shamos is the stand-out…in both acts! Playing totally different characters. Yes, he does remind me of Ed Grimley a little in the first one, (the Martin Short character, who goes “mental” over Pat Sajak,) but it doesn’t matter. (And, actually, Christina Kirk brought to mind Kristen Wiig, also of SNL fame. Maybe it’s the Chicago influence.)

I don’t want to go deep into the race relations issues that the play brings up, as many other reviewers do. All you really need to know is that it’s funny, mostly painless, and worth seeing. If you’ve ever bought or sold a house, or moved, or even just lived, it should appeal to you, on so many levels. As many of you know, I really need as many laughs as I can get nowadays, and Clybourne Park provided some juicy ones, especially late in the second half. Very appreciated.

And with having to sell the beloved house I grew up in, sometime in the next year, this play gave me insight as to what I may have to expect. I just hope that I can bring the sense of humor to the just- about-guaranteed drama I’ll have to go through as playwright Bruce Norris brought to this fictional journey. Fingers crossed.

Clybourne Park running through December 18, 2011 Mark Taper Forum 135 N. Grand Ave. 213-628-2772 www.CenterTheatreGroup.org

I love a show with a three-letter title! I hate typing, so the name already had me in a good mood when I arrived at the Pasadena Playhouse. (Knowing the after-party was at Bistro 45 didn’t hurt, either.)

Photo of Roger Bart by Jim Cox.

After a month filled with seeing tons of mostly-depressing films, (to vote for the SAG Awards,) it was a pleasure to see a comedy! Especially one starring Roger Bart. That man knows his craft! I had never even heard of him until I saw him in the title role in Young Frankenstein at the Pantages a year and a half ago, but when I researched him, I found-out that he’s been working in the biz for twenty-five years! Wow. And deservedly so.

The other two actors, Michael O’Keefe and Bradley Whitford, are famous-ish also; I had heard both names, but wasn’t familiar with them, although I’m sure most other audience members were. [Note: I researched them, as well. And was shocked by just how many credits they have, and I've never seen their work before! My bad.)

I had first seen Art thirteen years ago, almost to the day. (Thirteen years and eleven days ago, to be exact.) I enjoyed it more this time, I'm sure because of Mr. Bart. He brought such life to the role.

The short play, which won the 1998 Tony Award, is about three male friends in Paris, arguing about an expensive all-white painting that one of them bought. The location isn't important; as a matter of fact, I'm surprised that the producers kept it as the location. I had reasoned that its French playwright, Yasmina Reza, had dictated that Paris was non-negotiable, but she also wrote God of Carnage, and that site was transferred to Brooklyn when it was produced on Broadway, so I don't get it. The talk of “euros,” as opposed to “dollars,” was just distracting. If you don't know the story, you can think that the location will come into play somehow, and it does not.

Photo by Jim Cox.

I enjoyed the show, although the long scene near the end does get a tad wordy. And I really do think it should end a few minutes earlier than it does, because the last little bit seems superfluous. But I always love a short one-acter. And, I know I’m probably alone in this opinion, but I liked the controversial painting that’s the centerpiece of the show, twhich I’m assuming is really about friendship. Ms. Reza seems to like to write about friendly conflict that in real life would not be resolved.

The best part about a short play at the Pasadena Playhouse is that there are so many cool eateries to try before or after! I was jumping out of my skin to return to Bistro 45 for the opening night party, a restaurant I had reviewed more-than-favorably many years ago. At the time of the review, they featured chocolate crème brûlée for dessert and my taste buds have never been the same. I dream of that stuff!!!

I have to laud them for the most super-generous hors d’oeuvres and buffet that I’ve ever seen at party—including mine, where I’m always proud to have way more food than necessary. But Bistro 45 surpassed even moi. (There–I threw-in un peu de Francais pour vous, parce que le play et du cette cite. Or something like that.)

The assemblage mingled on the cozy patio while imbibing several wines, which were constantly replenished by the always-on-top-of-it staff. I loved every hors d’oeuvres I tried, but especially the pork loin on crunchy toast and the chicken dumplings. OMG to those two!

Then we moved into the dining room to dine on a sumptuous buffet of French delicacies, like lamb and seafood cassoulet. As many of you know, I don’t eat either one of those, so even though I could barely eat another bite, I was happy to see that the efficient staff still passed the appetizers for the patio gang. (Some peeps could just not tear themselves away from that lovely area.)

Just when I thought it couldn’t get any better, they came around with trays of desserts, which were all perfect and delicious, especially the chocolate-caramel squares and dark chocolate truffles. I was so busy enjoying the fare that I totally forgot to take pictures of it!!! I guess you’ll just have to go there and see the food for yourself.

As if all that wasn’t enough, at dinner I sat with Pasadena Playhouse Artistic Director Sheldon Epps, which I wasn’t afraid to do because I could honestly give him props for this production, and old acquaintance Mike Stoller, who wrote many of the iconic songs of our lives, such as Stand By Me and On Broadway, with his partner Jerry Leiber. Pretty good dinner companions.

What a completely satisfying evening! I think I need more of those this year! Please!

Art running through February 19, 2012 Pasadena Playhouse 39 South El Molino Ave. Pasadena 626-356-7529 www.PasadenaPlayhouse.org

Bistro 45 45 South Mentor Avenue  Pasadena 626-795-2478 www.bistro45.com

In all my years of observing every kind of cultural event, even going back to when I was a wide-eyed child in New York City, I’ve never seen anything that comes close to a Cirque du Soleil show. I haven’t seen nearly as many of their thirty different versions as I would like, but each one I have been lucky enough to observe has been spectacular. OVO is no exception.

Adding to the spectacle is the venue; it’s back in it’s original Los Angeles spot, the Santa Monica Pier, where it all began back in 1987. (In the U.S.; it was born in Canada and appeared there for years before we were lucky enough for the company to come here). The romance of the event being staged there has endured.

As most of you already know, I absolutely hate e-words, making it hard to even write the word out for you! But, since Ovo means “egg,” I have to tell you that this is the first e-word I’ve ever enjoyed! I did try to avert my eyes when they were carting the giant one around the stage, but it wasn’t often, thank goodness for me. I wonder if Lady Gaga had already seen this show somewhere before she was brought to the stage in a giant one at last year’s Grammys. Hmmm.

I obviously couldn’t take notes during the show as I was riveted to the on-stage action. For the few of you who have never seen any Cirque du Soleil, let me tell you that one of their hallmarks is to have action at all times with no down time and no breaks, save for intermission. There’s constant music and the players do all the set changes, which are seamless and creative.

They do have comedy, of the mainly physical variety, in between the death-defying acts, but it’s still action, which the audience really enjoyed. The man next to me was downright guffawing over some of it! (For full disclosure, I’ve never liked their comedy, but then again, I’m not big into clown acts. When I was in the circus myself, back in the day, I had planned on training to be a clown, while being the star of the sideshow, but realized I’m just not into silliness, so I chose to stay being The Divided Lady and be cut up in a box. Good choice, eh?)

Comedy aside, Ovo’s acts are wonderful. My favorite, (though with so many uber-talented performers, it was hard to choose,) was the final one–frogs jumping on a giant wall. Any humble description I could offer would not do it justice, so you really just have to see it for yourself. The single guy on the most interesting high-wire I’ve even seen is a close second.

I’ve always felt that Cirque’s acts simulate fireworks—they just build and build, and just when you’re sure you’ve just witnessed the finale, they go even deeper. I really can’t figure out the minds of the amazing creators of each show. They constantly out-do themselves!

Each show has it’s own concept, some which I understand, others not so much. But they’re really beside the point. The concept helps fuel the set, costumes, and original music, so each is unique in those aspects, as well as the acts. Ovo is something about insects, and the costumes are stunning. I especially loved the grasshoppers, and how the costumes dictated the movement of the dancers and acrobats.

A couple of people I recommended the show to have told me that they’ve already been to another Cirque du Soleil show. To that I must say—are you nuts? Each one is unique! And even Cirque’s worst show, if there even is one, is better than even the best other entertainment, so you’re missing out big-time if you miss any Cirque du Soleil. One of my dreams is to see all their shows, and if you have the opportunity to do so, I say go for it! Every person in this amazing company always gives it his or her all.

This Sunday, January 29, the one PM show will be Ovo’s 1,000th! Even if they do nothing special for it, you’ll be witnessing history, so it should be a really fun time to attend.

Also, if you’re like most people I know, and worry about getting there, parking, etc., it’s so much easier than you’d think. There’s affordable parking right by the Grand Chapiteau itself, (that’s the colorful moniker for their tent,) and on the Pier. And the portable bathrooms are not gross. And, surprisingly, there really aren’t any bad seats under the big top; we were kind-of high-up and semi-view-obstructed, but the show looked great. The designers make sure that there’s something going on on all levels of the stage, and for trapeze, higher-up is actually better. And the colorful sets and costumes are so entertaining that there’s always something wonderfully visual going on, from every vantage point. I was so busy eyeing the amazements on the stage, that I forgot to peruse the audience! I don’t think there are any other entertainments that can claim that, so extra kudos to Ovo!

Cirque du Soleil: OVO running through March 11, 2012
Santa Monica Pier   www.cirquedusoleil.com/ovo

Being that A Christmas Carol is Mr. X’s favorite holiday movie, to which he knows every word, (and acts it out better than any actor ever, save for the definitive Scrooge, Alastair Sim,) I was actually hesitant to see any other production of it because we’re such purists about this tale. But, since I love the Glendale Centre Theatre, I decided to chance it on opening night, forcing Mr. X to accompany me, so I wouldn’t feel like I was cheating on him. They did not disappoint.

Part of the lobby.

As I’ve told you before, this theatre company really knows how to do things right, from the outside of the theatre to the lobby to the snacks to the production. And, in this case, after it, as well, but I don’t want to spoil the last bit of fun for you, so you just have to see if for yourself. [Note: I'll tweet it when the run is over, in case you missed the show but are curious to know what I'm talking about. @KarenSalkin.]

The cute concession corner.

To that end, they made the lobby into a winter wonderland. (I would have liked to spend more time in it, but Mr. X had unknowingly dropped all of our cash out of the car and we spent just about the entire intermission searching for it, to no avail. Merry Xmas to us, I guess!) It was just gorgeous! And the treats concession featured hot chocolate and cider. (Not blended, of course, though that might be an interesting idea.) There were cute Xmas items to buy, as well, which we did, but please remember to bring cash.

Now to the show itself. I was pleased to see that they basically followed the real script, with not much auxiliary chicanery. Since they produce mainly musicals at this theatre, I had concerns that they’d try to turn this into one, (which we would have hated,) but they did something clever instead and added carols at the beginning and occasionally throughout, with what sounded like a couple of original ditties here and there. It was lovely to hear beautiful voices so up-close and personal. I’m used to hearing only myself sing those songs, and trust me, it’s not a joyful noise.

The only semi-weakness was Scrooge himself. Mario DiGregorio’s portrayal seemed skewed more for a children’s audience than a mixed one. If that was his intent, he succeeded. One problem for us was his silly asides that were far from Dickensian, though, in fairness, that may have been the fault of the direction and not the actor. His acting was good enough, but he didn’t imbue the role with the desperation necessary during and after the spirits’ visits, nor the absolute elation that should have been there when he woke up near the end and realized that he hadn’t missed Christmas after all. We really wanted to revel with Scrooge in his newfound happiness, but we never got to. Mr. DiGregorio just didn’t seem as invested as the rest of the cast, who gave it their all.

But, other than that, the production was totally successful! It had charm, breathtaking visuals, and production values that surpass most other Los Angeles theaters. The stars to me, though, were the Broadway-caliber costumes. The company, and Angela Wood of Glendale Costumes, outdid themselves with these stunners.

All photos by Karen Salkin.

I must laud the Glendale Centre Theatre for something that I’ve noticed in all three of the shows I’ve seen there this year–this company’s productions aren’t vanity projects, as just about all the other productions in the L.A. Area are; these people really put a lot into it. They never scrimp on the cast, that’s for sure! They don’t have just a couple of actors representing a town—they always have lots of cast members, and part of the fun is watching them all navigate such a small space without bumping into each other or making the audience nervous. And I enjoy seeing the creation of some of the different sets unfold in front of our eyes.

Their little touches are always special. In this production, they even take it down to design of the floor, which has snow patches on hints of cobblestone.

And I love that the theatre director, Tim Dietlein, has two sons in the show with him; what better way to spend a family Christmas?! Especially for a theatre family!

So, if you get to just one theatre this holiday season, the Glendale Centre Theatre’s production of A Christmas Carol should be the one, in my opinion. Alone, as a couple (or a couple of pals,) or with kids, I guarantee you’ll have a fun holiday experience. Just at some point in your life, please do yourself a favor and watch the Alastair Sim version, too!

A Christmas Carol running through December 24 (when else?), 2011 Glendale Centre Theatre 324 N. Orange Street,  Glendale  818-244-8481 www.glendalecentretheatre.com

Bring It On, The Musical is yet another show that I was too riveted to to bother writing notes during. The truth is that there were a few weaknesses, but I didn’t care even one little whit; the musical was that enjoyable. Everyone keeps asking me about it, knowing how critical I usually am, and I tell them the same thing that I’m telling you all: GO SEE IT! It was totally fun from beginning to end.

Photo by Craig Schwartz.

Where else can you see cheerleading live and on a stage, rather than in an arena? It looks much more spectacular with a closer ceiling than at Pauley Pavilion. When I was friends with the UCLA National Championship basketball team, fifteen years ago, several of my pals were cheerleaders and dance team members, so I got to see them perform all the time. I marveled at their abilities, and loved the “backstage” stories, like of which guy was dropping which girl. But there’s something about seeing these actual cheers on a stage, rather than outside for football games, or indoors for basketball ones, that blew me away even more than what my own friends did. [Fun note: my friend who was the UCLA cheerleading captain married the strong guy who caught her, perhaps because her previous partner dropped her all the time. I love that story!] The theatre should have had oxygen on hand—not for the cheer-ers on-stage, but for all the gasp-ers in the audience!

Anyway, I really don’t remember much about the movie this show is based on, other than that I should have asked for my money back when I wasted my time on it, but it seemed to me that this was not the same story as the film, or even close to it. Mr. X confirmed for me that it wasn’t.

Photo by Craig Schwartz.

But again, I didn’t care because this story, though kind-of dumb, is fun. Yeah, not-thought-provoking fun, and way-over-the-top fun, and high-school-play kind-of fun, but fun nonetheless, which is always so important to me. And I love going to the theatre and see everyone come out smiling. That’s the best to me. There’s so much pain everywhere else you look that to spend a night with colorful, mindless fun is what everyone should want to experience.

Photo by Craig Schwartz.

Mr. X commented that the voices were strong and he thought the use of several drop-down screens, to establish place, was superior. (I’m paraphrasing quite a bit.)

And, as big fans of So You Think You Can Dance, we were happy to see Season Three third-place finisher, Neil Haskell, have a featured role. It was fun to hear him talk and sing just a bit, but it was really great to see his wonderful gymnastics skills in person.

Photo by Michael Lamont.

There’s no need to go more in depth with analysis of the show. It was basic goony fun, with incredible dance/athletic routines, an interesting enough premise, and the requisite musical comedy performances from the actors. And I could see it several more times. And judging by the super-appreciative reaction from the opening night audience, so would everyone. So, you might have to fight us for tickets for this limited-engagement. But it will be well worth the fight.

Speaking of the audience, it wasn’t as star-studded as I expected, but I have a feeling that a corporation bought it out, although I really have no idea about that. I did spy several famous people, though, including Sally Struthers, Kent Boyd, Jesse Tyler Ferguson, and Kym Johnson. I’ll tell you more details about them in my next Celeb Sightings column, which should appear here in the next couple of weeks, so keep an eye out for it.

One last note: as much as I love all these wonderful opening nights, I do slightly lament the fact that they rarely have opening night parties anymore, which I suspect is due to the economy, just like everything else nowadays. But that’s where I always got my best celebrity sightings and dish. And after Bring It On, the audience members were so upbeat that an after-party would have been a pleasure. I even brought the krump-dancing Mr. X, in case the party (that, alas, was only in my mind,) had a DJ, since everyone in the show was a dancer, as well. So, we just had to go home and do some dancing on our own. Which, as it turned-out, was even more fun than a party would have been! Rah rah rah.

Bring It On, The Musical running through December 10, 2011
Ahmanson Theatre 135 N. Grand Ave. 213-628-2772 www.CenterTheatreGroup.org

I was too interested in the play Vigil, on opening night at the Taper, to take notes as it was unfolding, so I’m sure I’ve forgotten most of my bon mots. But, despite the topic being the impending death of an elderly loved one (maybe–to everything,) I thought it was great.

Photo by Craig Schwartz.

I don’t want to tell you the details because you need to just witness the play for yourself. But I can tell you that the two actors, Olympia Dukakis and more notably Marco Barracelli, who does most of the heavy lifting, were fabulous.

It’s billed as a dark comedy, which I usually hate. But other than the plot, it’s not really dark; it’s just plain funny. It’s not a laugh riot, because of the basic premise, but it brings a smile to one’s face for the most part, with several actual guffaws.

Anyone with relatives should enjoy it (unless they have an elderly one who’s about to die, that is. Then it might just be painful.) But, to me, it really highlights the concept of family and belonging, which are always relevant.

I’d advise audiences to just go along with the ride and not try to get ahead of the action, as Mr. X and I are often guilty of doing. Several pieces of the action were quite predictable to me, but I still laughed at the execution. However, most of the script twists I didn’t see coming, which was half of the fun. I think that all audiences love to be surprised.

My other piece of advice is to listen to every word here. Vigil can get wordy, but don’t space-out because just about every word counts. There are few wasted ones. (And the play is actually kind-of short, so you can get back to worrying about your own lives in about two and a quarter hours.)

One note about Mr. Barracelli: He’s such a confident actor, and had a familiar type of voice, (he sounds a lot like Penn Gillette, only not annoying,) that I assumed that I had seen him on film many times and just not noticed his name. But I researched him, and was shocked to find out that he doesn’t have many TV or movie credits. He has mainly theatre and teaching ones, which is admirable. But, in my opinion, he would fit into just about any genre of series or film. The best part is that the during the whole play, I couldn’t figure out anything him personally, (like gay or straight, for example,) which was just perfect for the character. As an actor, it’s hard to make yourself a blank piece of paper on which to create your character and he did it beautifully.

The Ken MacDonald-designed set was pretty interesting, as well, although there were parts I didn’t quite understand. No matter, though. I just happy to have spent an enjoyable evening at the theatre because most shows nowadays don’t always cut it for me. Thanks, Taper!

Vigil running through December 18, 2011
Mark Taper Forum 135 N. Grand Ave. 213-628-2772 www.CenterTheatreGroup.org

In junior high school in Brooklyn, my classmates and I were treated to seeing an old movie in the auditorium, for the “seventh grade film day.” Everyone was excited…until we got there. It was a very old MGM musical, Seven Brides For Seven Brothers, and of course, the boys wanted no part of it. So, teen-age hormones being what they are, the girls went along with the non-cooperation.

As much as I was already boy-crazy, I was thrilled about the film. My parents always filled our lives with culture, and seeing an old movie musical on a big screen was heaven to me. So, I blocked out everyone’s snide remarks and honed in on the film action, like a scene out of Cinema Paradiso.

Real life couple, Jason W. Webb and Jennifer J. Webb, (guess this fam is really into middle initials...and kids--they have five in real life,) starring as stage duo Adam and Milly. Photo by Tim Deitlin.

So, here it is, many years later, and the stage version of the movie musical just opened at the Glendale Centre Theatre. I panicked expecting a similar reaction from my potential invitees, but lo and behold, I came up with a pal who absolutely loves that movie!!! And, I’m happy to report, we both really enjoyed this production.

So much so that I didn’t even take one second during it to write notes! I think that’s a first. The show, and whole production, was charming, with great staging, excellent choreography by Lee Martino for the limited space (and actors’ dancing abilities,) colorful costumes (which were color-coordinated by couple–you know I loved that!!!,) and cute “throw-ins,” which I usually think are goony. It all worked.

And the star, Jason W. Webb, has a wonderful “Jean Valjean” type of voice and presence. (Jean’s the main character from Les Miserables, for those of you not in the theatre know.) I’d love to hear Jason sing the beautiful song from that show, Bring Him Home, sometime.

The premise is that seven mountain men brothers want brides, basically, and it goes from there. As Len Goodman, head judge on Dancing With The Stars, loves, there was no “messing about” at the beginning—they got right into the story, which brings the audience in from the get-go. It’s all controlled silliness from there, which everyone seemed to love. We were never bored, and even had smiles on our faces for most of it.

As with all shows, there are a few weaknesses, like main bride Milly’s ill-fitting costumes (which her bad posture doesn’t help,) but overall, it’s such a happy experience that they don’t amount to enough to speak of.

And, in case you missed my review of their production of 1776, I absolutely love this theatre! (My admiration of it is described in the first few paragraphs here: www.itsnotaboutme.tv/news/2011/06/28/theatre-1776/) My only problem with it is the North Pole-esque temperature, but, if you ask the right person, they really do work it out for you. Just remember to dress in layers, and you’ll be as fine as their shows.

Seven Brides For Seven Brothers running through November 19, 2011
Glendale Centre Theatre 324 N. Orange Street Glendale 818-244-8481 www.glendalecentretheatre.com

SOUTH STREET

This new, original musical musical that opened at the wonderful Pasadena Playhouse recently was not my cup of tea, but the rest of the audience gave it a standing ovation on opening night, so there you go. I didn’t hate it–I just couldn’t find anything to recommend it. It may be okay for theatre newbies, though, because it was pretty basic all around–kind-of like Stage Musicals 101.

The one interesting aspect was the use of pole dancing. I’ve never seen that in a musical before! Although the girls who did it could really benefit from lessons with Steven Retchless, the beautiful male pole dancer who was on America’s Got Talent this past summer, it was still a fun addition to a stage show, I’m sure especially for the males in attendance. Their wives probably force some of them to go the theatre, so they got a bonus with with this one!

The fun part of the evening for me was the after-party in the historic courtyard of the Playhouse. It was beautiful weather and, this time, the entire assemblage was invited, which was a nice touch. All their parties are good, but this one featured several food stations by different caterers.

The salad and cupcakes were absolutely delicious, but, sadly, due to stupid car trouble that was distracting us, (don’t ask—we had to get a Gumby-guy to shimmy though a slight crack in the door to let us in!,) I never got to take any pictures of them. Or the rest of the party, for that matter. But here’s the info on them: The salads (and meat and cheese sandwiches, that were excellent, as well,) were done by tender greens, which I reviewed a couple of years ago when I was the restaurant critic for The Culver City News and The Blue Pacific News.

And those wonderful cupcakes were by Sugar Fix in Old Town Pasadena. I’m telling you, those were the best cupcakes I’ve had possibly ever! Next time I got to the Playhouse, I’ll try to make time to go early and see what else this bakery has to offer. Then, no matter what is happening on the stage, yay or nay, I’ll be smiling through the performance.

South Street running through October 16, 2011
Pasadena Playhouse 39 South El Molino Ave. Pasadena 626-356-7529 www.PasadenaPlayhouse.org

WICKED‘S COMING!

For you crazy Wicked fans, (you know who you are!,) and the few people, (like Mr. X!,) who have never seen the show before, it’s coming to the Pantages on November 30 for two months.

To celebrate, the theatre held a fun daytime event recently with snacks, give-aways, and a karaoke contest, where, I must say, at least half the contestants were really pretty good.

I was lucky enough to see it when my favorite performer in the world, Adam Lambert, was in it…in the chorus!!! When he told me that he was the understudy for the lead guy, I boycotted for awhile because I couldn’t believe that any production people were stupid enough to not give him a starring role. But he was really happy about it, being the lovely guy that he is, so I finally broke down and went to it. But I spent most of the time listening for his amazing voice to rise above the others.

So now, with Adam established as a star in the music biz, with no time to do musicals, this time I can see Wicked and actually pay attention to the show. I’m really looking forward to it. And to seeing you there!

www.BroadwayLA.org   800-982-2787

I very rarely review little theatre productions anymore, not because they’re usually not great, (which is a true statement,) but because I just don’t have that kind-of time in my life. But my friend, Vanessa, knew the director of this one at the Odyssey, so we went to the opening last week-end.

I’m not a great judge of this two-character play because as many of you know by now, I’m not a fan of one-person shows, unless it’s the brilliant Dale Gonyea, or the late comic genius Dick Shawn, whose iconic one-man show is still to this day on my short list of the most amazing things I’ve ever witnessed.

And two-people plays come next as the kind of show that are rarely up my alley. So, I’m not the best judge of Revisiting Wildfire as a production. Vanessa said she was happy to see portrayals of strong women, and she’s a psychologist, so she should know! At least I can share my thoughts on the ying and yang of it.

I can’t really tell you much about the story itself because, as it’s not too long, I would be giving away the action. What I can tell you is that it’s about two female friends in their fifties who haven’t seen each other in awhile. I wish I had read the description beforehand myself because, since the women appear to not be the same age, I was confused as to the relationship for about the first third of the show. Then, it turns out that the older-looking one has grown kids in the play, so that could explain the difference in appearance, if that’s what the casting person was going for. As those of us who were smart enough to not have children know, being a mother really ages a woman. Yay!

While in all honesty I have to say that the story itself wasn’t of interest to me, there are several positives to the production. First of all, I loved the set, designed by Elisha Schaefer. I’m partial to New York apartments, having been a guest to so many of my friends there, and this looked exactly right to my trained eye in that category.

Secondly, the theatre itself is really comfortable, seating-, temperature-, and visibility-wise. The edifice is pretty good, as well, with a big lobby with seats and a snack bar, and an outside patio with tables. The neighborhood parking is easy, too, if you don’t want to pay the small fee to park in their lot.

And tickets are just a little more than a movie on a week-end night. Couple that with the one hour fifteen minute running time, and this show is a classier date than a crowded movie theatre, and conveniently fits in before or after dinner at one of the many near-by eateries.

And for those of you who were around in the seventies and watched TV then, both actresses were featured on prime-time shows in that era. I’ve never seen either, so I can’t really give you a lot of info on them, except to tell you the names of the women. Denise Crosby, whois a granddaughter of Bing Crosby, and has an adorable teen-age son I chatted with at the opening night reception, was on one of the Star Trek incarnations (so Trekkies would love to see her,) and Jamie Rose was on Falcon Crest, which I understand to be one of the original prime-time soaps. (They have tons of other acting credits, too; these are just the most known.) It was good to see trained, long-time successful actresses on in a small theatre production, rather than the usual trying-too-hard newcomers-to-the-industry over-acting their ways through a play.

Most of the shows I attend nowadays have all young casts and sensibilities, and occasionally, I hear more mature audience members grumble about the lack of something they’d be interested in. So, I think that Revisiting Wildfire would be perfect for them. They might be able to identify with the premise and I’m sure some of them would love to see these women in person.

I don’t think that I’m ruining anything to tell you that the title refers to the nostalgic song Wildfire, by Michael Martin Murphey, which I’m sure everyone will know. (In the show, they incorrectly classify it as “pop” and “cheese,” both of which are a great disservice to a beloved adult contemporary/country/folk classic. Or maybe songs like this were considered “pop,” waaaay back in the day, but not to the songwriters.) I actually saw him sing it in person in Santa Fe when I was much younger, and it is indeed haunting. The author must have thought so, as well, to have centered her play around it. And I bet that she can’t can’t get the tune out of her head, either.

Revisiting Wildfire running through July 31, 2011
Odyssey Theatre 2055 S. Sepulveda Blvd. 310-477-2055

A really fun time was had by all on opening night of Twist—An American Musical at the Pasadena Playhouse this past Sunday. The show was entertaining, the theatre itself is always a pleasure to be in and around, and the double after-parties catered by next-door neighbor Elements were perfect. You know that I’m chomping at the bit to tell you of the clever and delicious food, but I have to start with a review of the show.

Photo by Craig Schwartz.

Twist is to Oliver what The Wiz was to The Wizard Of Oz—a more colorful, ethnic version of the same story, and both based on famous books; Charles Dickens’ Oliver Twist, in this case. (A few of us thought it had a little bit of Annie in it, as well.) This time, the musical is set in 1920s New Orleans, rather than the original streets of London, which gives it the opportunity for bluesy and jazzy song and dance numbers.

Look-up Oliver Twist, if you want to to be more familiar with the story, or, better yet, let it just unfold on stage for you. This take on it is interesting to me because the orphan Twist is bi-racial. My favorite friend, whom I’ve told you about many times before, Ronnie Hazel, Jr., is in that same situation. I’ve known him really well for the entire eighteen years of his life and I had never heard him mention it, but when Obama was elected, he made a passing comment that they were the same in the category of race, and it seemed to comfort him, so perhaps it did bother him deep down just a little. I know it is an issue for many people of mixed races, but it hadn’t hit home until he said it. My feeling was always that everyone should be so lucky to be as gorgeous as Ronnie, so I considered it a good thing. (Growing up, people would ask him what his heritage was. He always answered, “American.” I love that kid!)

Alaman Diadhiou at the after-party, listening intently to the congratulatory speeches. Photo by Karen Salkin.

Speaking of Ronnie, the little boy who played Twist, Alaman Diadhiou, reminded me of him a bit. Alaman’s face is absolutely beautiful and his performance, thank goodness, has nothing of the usual conceit that children actors are guilty of more often than not.  I met him after the show and he was lovely and polite.  I hope he stays that way.  Oh, I almost forgot–he can sing and dance, too!

I’m always more interested in dance than song, as many of you know from my many rants about how unfairly dancers are treated, in relation to just how much talent they must possess to get even the most trivial of jobs in this biz. I knew that with Debbie Allen directing and choreographing, we could expect many, and special, dance numbers, and I think I can speak on behalf of the whole enthralled audience when I declare that we were not disappointed.

Photo by Craig Schwartz.

I mean this as a total compliment–the “nightmare” dance sequence in Act I looked like a group number from a results show on So You Think You Can Dance, so of course I loved that one! Debbie knows great dancing, and she cast all good dancers. But the most surprising to me was a tall Caucasian teenager, Chase Maxwell, who stepped out front for just a brief moment in one number. I think he could win a season of the aforementioned television show.

One bit of trivia that I must share, that I wish I had realized myself going into it, is that the lean beauty, who played the small role of Josephine Baker with élan, is the daughter of Debbie Allen and her husband, former LA Laker Norm Nixon!  Genealogy geek that I am, I would have paid extra attention to her.

Another bit of knowledge that I wish I had possessed beforehand is that the upsetting events of the second scene will be over quickly, so, if you’re like me and get depressed even when you know it’s fiction, (which the show is, but unfortunately, events like the one portrayed are all too real,) just hold on for a sec because the story needs this prologue. And keep in mind that musicals like this usually have at least a semblance of a happy ending.  (I’ve been told that I’m an Empath, so it’s hard for me to rise above any injustice, even a fictional one, but, trust me, I know that’s not normal.)

Cleavant Derricks. Photo by Craig Schwartz.

I can’t believe I’m saying this, but the singing was at least equal to the dancing! I was surprised by the great voices, actually. The only cast member I was really familiar with is Cleavant Derricks, who I absolutely loved in The Full Monty a few years ago at the Ahmanson. Every time I see his name in a program, I know that there will be at least a few non-boring moments in the show I’m about to see, (not that there were any in this one.) I only wish that he could have had more than one number in Twist, but it wouldn’t be possible in the story.

Tamyra Gray and Alaman Diadhiou. Photo by Jim Cox.

I was happy to discover that Tamyra Gray, the female lead, sings really beautifully.  I know this will come as a shock to most people, but I didn’t watch the first season of American Idol!  Which means that I was only minimally familiar with Tamyra prior to Twist.  And I was pleasantly surprised at just how good she is.  I believe she’s been on Broadway a couple of times in the the ensuing decade, and I can see why. (As a matter of fact,I know that the team is hoping to take this show to Broadway, and I’m pretty confident that it will get there.)

As a girly-girl, perhaps even more impressive to me than Tamyra’s performance was the stunning shoes she had on at the after-party!  My mouth was watering.  And she was really nice, too, even before we realized that we have a mutual good friend.  That’s good to know about someone who could otherwise be full of herself.

The songs were all good enough, but I really can’t judge their merit because I’d have to hear them several more times to see if any grow on me.  There was one in the second act, though, that I really did want to hear again right away–Partners In Crime, the duet of the two crooked men, played perfectly by Matthew Johnson and Pat McRoberts. Since I’m DVR-obsessed, I wished that I could immediately hit rewind. Their individually-strong voices blend perfectly. And I was thrilled that I could understand every word uttered by all the actors at all times, whether singing or just speaking. That’s always a plus in these days of everyone thinking it’s cool to slur their words.

I feel bad mentioning this one weakness, especially since, thankfully, her part was minuscule, but Ava Gaudet, as Twist’s pregnant mother, didn’t sing well at all. I’m not proud of this, but I was actually a tad relieved when her character died pretty quickly in the show. (I’m not giving anything away; the scene sets up the main character’s journey.) Perhaps she was sick that night—I recently decided to start giving people the benefit of the doubt. (I hope this phase of mine doesn’t last too long, though!)

The performance ended on a high with one of the most fun curtain calls I’ve ever seen! The audience could have cheered them on for another twenty minutes! I love leaving a theatre with a bunch of happy folks.

Someone knocked into me as I took this photo, but it's so yummy that I had to print it anyway.

Which brings us to the very well done parties. This is what I admired the most about what Elements Kitchen did: the main party, for the cast, crew, producing team, and just a very few VIP guests, was inside the actual restaurant, with brilliant food. But the catering team was kind enough to set up a table of lovely snacks in the courtyard of the Playhouse for members of the audience who are usually included in the after-parties. It was basically cheese and crackers and veggies, but there were also several baskets of colorful wrapped “theatre” candy, including big bags of M&Ms, Snickers, Reese’s Peanut Butter Cups, and Nestles Crunches. They presented a beautiful visual and provided a fun atmosphere. I also spied some kind of specialty-something table, but I was too busy socializing to investigate. I’m sure that the courtyard guests enjoyed themselves thoroughly.

"VIPS" including Debbie Allen in the middle. Photo by Karen Salkin.

Inside Elements was just wonderful! The vittles went along with the New Orleans theme and included mouth-watering fried chicken legs, (I never eat legs, but I couldn’t be separated from mine that night; that’s how delicious they were!,) make-your-own pulled pork sandwiches, salad, corn muffins, and jambalaya with just the right amount of spice. I could have gone back for seconds easily, but I was interested in hearing the opening night speeches that had just begun right next to me, near what I considered to be the “VIP section.”

The pièces de résistance seemed to be the round chocolate cake pops on sticks. Some were covered in dark chocolate, my fave, and others in white. I swear, this just hit me—I wonder if that was to go along with the theme of the show! If that was the significance of the desserts, the caterers are even more brilliant that I originally thought!

The food was so delicious that I hope I have time to go back this summer to do a proper review for you. I’ve grown to love Pasadena, so I’m happy for excuses to go there, and reviewing Elements would be a great one!

With culinary treats like that, I practically tap-danced home, only not nearly with the skill of the performers in Twist.

Twist–An American Musical running through July 24, 2011
Pasadena Playhouse 39 South El Molino Ave. Pasadena 626-356-7529 www.PasadenaPlayhouse.org

On the second day of summer last week, my friend Lauren, who was visiting from New York, and I ventured out to Glendale for opening night of the over-forty-year-old musical 1776 at Glendale Centre Theatre, which has the distinction of being the longest continually-operating theatre in the United States! And we were so happy that we did.

First of all, Glendale is not at all very far away from the west side—we were there in no time, and I loved the town! I had been there only once before, to the Galleria, (to choose my wardrobe for some celebrity charity fashion show I was appearing in,) but I didn’t get the feel of the town like I did this time. As a matter of fact, the very first note I wrote about this whole experience is, “Loved the location, theatre, parking, and lobby.” It was all just perfect, especially for seeing an old-fashioned show such as this.

I was particularly happy that I was seeing this production as the season turned to summer because it made me hark back to being a little girl on vacation with my nuclear family, enjoying summer stock and music tents (in the round) in Bucks County, Pennsylvania and Westbury, Long Island. I love that feeling!

This theatre is basically an indoor theatre-in-the-round, which is a fun set-up for the audience. There’s not a bad seat in the house! (But one word of warning—it’s frigid in there, for the sake of the actors, so dress in layers.  Trust me on this because I’m always hot, but I had to borrow a tablecloth, from the wonderful intermission festivities,* to wrap around my bare legs. I have no pride when it comes to comfort.)

[*For the opening night, they served Marie Callender's apple pie, with vanilla ice cream, to the entire assemblage, which was such a delightful treat!  I'm not even a fan of either, but they were so much fun to partake of for that special occasion. And very clever of the theatre team to come up with; apple pie, America--get it?]

Now, finally, to the show review. As you should be able to tell from the title of the musical, it’s about the events leading up to the drafting and signing of the Declaration of Independence, a topic I spaced-on in school. (I know that’s weird for someone with a great memory like me, but I think that perhaps I have to witness an event to be able to retain every detail of it like I do.) It hit me near the end of the show that the acts depicted are why we all have the freedom to be able to sit here today to begin with!  Powerful stuff.

This, of course, is the perfect show for July, especially for the Fourth of July week-end, when this is exactly what we’re celebrating. Perhaps you should take your kids who either just studied the subject in school or will study it next year, to give them a leg up.

Jeff Drushal (as Thomas Jefferson,) John Butz (as Benjamin Franklin,) and Peter Husmann (as John Adams.) Photo by Tim Dietlein.

Quite honestly, this is not a topic that ever held my interest, but I did get involved in it here and by the end, I actually did have a little lump in my throat. But topic aside, the production itself was excellent, on every level. All the actors’ voices were Broadway-worthy, the set was creative and just perfect for the space, every word from every cast member could be understood, and Peter Husmann as John Adams should be first in line for an Ovation Award next year. His performance and voice tone reminded me of a straight Nathan Lane.

The casting of the main roles was great, and combined with the spot-on costumes, most members of the twenty-four men and two women cast really did resemble historic portraits. As a matter of fact, the man who played the representative from Rhode Island, one of the three states that’s near and dear to my heart, looks just like some of my college professors there! (And I loved being reminded that that state was so involved in the shaping of our country!  Even I, who’s lived there a lot, usually forgets that fact.)

Growing up in New York, my parents used to see every Broadway musical, and, being both a scholar and music lover, I’m sure that my father loved this one. I have a feeling, though, that my antsy mother probably made them leave before it was over.  But, it would have been no biggie because, as Mr. X said about the musical Titanic, everyone knows the end!  (I can only hope that we all do!)

So, the points about this show are mainly all positives. I enjoyed it and Lauren loved it. She keeps calling from New York to reiterate that fact and rave about Mr. Husmann. There are very few negatives, but, in all honesty, I must cite the length. At an hour and a half, the first act was way too long for me, and way too verbose, but Lauren enjoyed the historicalness of it. The second act came in at one hour.  I could easily have cut forty-five minutes from the show, but I believe that the deal with producing known shows is that they have to be produced as is, so the length isn’t the fault of this production. I really do prefer to see revivals in their original form anyway. Maybe in 1969, when it was produced on Broadway, audiences had more time on their hands.

Also, this was a strange topic for a musical, but most of the numbers did work, especially with those aforementioned great voices. (But if you’re desperate to get a head start to the restroom at intermission, and you’re sitting in a proper seat to get up without disturbing others, you can totally miss the final little scene of the first act.  It’s anticlimactic after the big exit number preceding it. Not that I’m advocating ever leaving an audience before you’re supposed to, but I’m just saying. Hey, if you gotta go, you gotta go.)

This is not a negative, rather an observation, but in my humble opinion, there wasn’t really enough music to call it a musical.  It was more of a musical/play hybrid, or a play with a few songs.  At the beginning, though, I thought it was going to be music only, ala Les Miz,because there were a bunch of ditties in a row.  Then, by about twenty minutes in, I kept thinking that the plethora at the beginning was all there was going to be.  The show went about forty minutes with nary another note struck!

So, accept it for what it is, with no expectations. 1776 is an enjoyable show, with lots of humor and no pain. And the price at the Glendale Centre Theatre sure is right!  (I believe the absolute top ticket is only $26!) Especially for such a professional production. I can’t wait for their next one!

1776 running through August 13, 2011
Glendale Centre Theatre 324 N. Orange Street Glendale 818-244-8481 www.glendalecentretheatre.com