I should begin with the caveat that I have never reviewed a play before.

And while I enjoy going to the theater from time to time, I would hardly consider myself an informed critic.

And now that I’ve gotten my excuses out of the way, I’m happy to say that I really enjoyed the opening night performance of “The Language Archive,” which took place last night at the David Henry Hwang Theater in Little Tokyo.

The play is an exploration of how love, language, meaning, and relationships intersect, all portrayed through a mix of humor, philosophical meanderings, and emotional gravity. The East West Players did a very nice job hitting these various notes through most of the play, with my personal favorites being Ryun Yu as George and Jennifer Chang as Emma. Read the rest of this entry →

A lot will happen in the next five years.  You’ll be an astonishing half a decade older. We’ll have the same or a new president with whom no one will be completely satisfied unless all that hope for change actually translates to more real dollars and a lot more sense. For Cornerstone Theater Company, the next five years will be dedicated to hunger: nine plays, to be exact, that will address the topic from all sides, including nutrition, environment, access, and food equity.

To kick off the series, Cornerstone is hosting “Creative Seeds: An Exploration of Hunger,” a two-week event starting November 7 and stuffed full of panels, discussions, art events, workshops, and demonstrations with Farmers, chefs, artists, performers, and food writers.  On the 10th, for example, popular organic peach farmer David Mas Masumoto will be part of a “Who’s Your Farmer?” roundtable (if you haven’t read his Epitaph for a Peach, go and get it, now), and on the 15th, our homegrown Jonathan Gold will part of a “Food Critics” panel discussing what “different generations of food critics hunger for.”  And, because this is a theater company after all, there will be an evening of one-minute plays for those whose attention lasts as long as their (in)ability to compose an wildly interesting 140-character tweet

The panel discussions are free, and most of the other events request just a modest donation.  See the full schedule here, and reserve your tickets here. And, if you want to start your food drive contributions straight away, you can donate non-perishable food items at all Creative Seeds events.  This looks like a good one, guys.  Go on. Five years will be here and gone before you know it.

2 weeks ago, friend of the blog Jordan Harbinger from The Art of Charm invited me out to see him talk on the Sex Nerd Sandra podcast at NerdMelt. The NerdMelt space is technically in the back of Meltdown Comics on Sunset but the theater is a 3-way collaboration between Meltdown, Chris Hardwick and Geek Chic Daily where they basically film live podcast tapings. As a long time fan of the Nerdist podcast I was excited to go.

The theater is in the back of Meltdown so the first thing I did was put my head down and stare directly at my shoes as I made my way to the back to avoid any impulse buys before I even got to the show. I’m terrible in comics shops and never make it out without my bag being heavier and my wallet extremely lighter. The theater also doubles as an art gallery which is nice since it gives you something to do when you get there too early and desperately don’t want to step foot in the store and spend all your lunch money for the week.

I do have a few complaints about the theater but not many. The damn bathroom door wouldn’t close which some twat had to figure out in the middle of the show by repeatedly slamming the door which was partly the theaters fault for having such a shitty door and the twats fault for being so twatty. There was also no AC or fans which made it a bit too hot. PRO-TIP: Sitting by the door in the back definitely helps. Lastly the chairs were really crappy and after sitting in them for 2 hours straight really put a hurting on the old ass parts. Definitely not enough to keep me from coming back but something they should really fix. Especially that bathroom door!

The podcast taping actually ran for 2 hours total and was a really good time. Besides Sandra and Jordan they were joined by comedian Dave Ross who is a seriously funny guy. You really have to check his stuff out. It was a sex podcast but sadly no one was having any so they just talked about it a lot. As far as podcast tapings go I was a little more sober than I usually am (I’ve only ever been to Diggnation tapings and you tend to never remember those) so it was pretty cool to actually remember the whole thing the next day ;-) The panel shared advice and funny as hell stories that I definitely encourage you to check out. The mix of humor along with the sex and relationship talk make for a great combo. All in all it was a great time and cheaper than a movie. You can check out the episode here and the NerdMelt calendar here. Go grab some tickets and catch a show!

We all know the story for required reading in High School.  To Kill A Mocking bird is set in 1935, the rural south and told from a child’s point of view.  It is about a black man accused of raping a white woman and exposes the racism of the period.  This cast gave a wonderful rendition of the play on their small intimate stage.

What I didn’t know is what a great little venue the Sierra Madre Playhouse is for such a play. It is small enough that you have an up close and personal view of the stage no matter where you are in the room.  The seats are nice and comfy stuffed theatre seats…though they are covered in bright red mouse fur.  Parking is ample and free near the theater.  One caveat, they don’t do assigned seating, rather its by cattle call Ala Southwest so you do need to be in line early in order to get the best seats.

I’ve been here in the SGV for many years and often heard of the Sierra Madre Playhouse, just never had the time to get there until last night for the short trek up the hill to see them.  If To Kill A Mockingbird is an indication of the quality production they do I’ll be back.  More information on Sierra Madre Playhouse’s presentation of To Kill A Mockingbird just pop onto their web link HERE.

Something captivating is happening in Hollywood about a half-block south of Santa Monica Boulevard on Orange Drive, almost midway back from the street along a nondescript business complex. It’s happening at the Art of Acting Studio, which until Saturday night had been unknown to me like so many of the scores upon scores of small theaters throughout greater Los Angeles that live so often under the radar hosting productions week in and week out.

Within the cozy theater on that sold-out night I was to see the Harold Clurman Laboratory Theater Company’s premiere staging of Clifford Odets’ landmark 1935 agit-prop drama “Waiting For Lefty,” directed by Don K. Williams. And what I saw was a brilliant embrace of a classic that was absolute magic.

Consisting of a series of vignettes threaded through the framework of meeting of cab drivers (with the title character being their absent and expected leader), Odets’ masterpiece is what launched the Group Theatre into the minds of the social conscience in the 1930s. “Waiting for Lefty” centers on union members meeting to discuss a possible strike while offering glimpses into their desperate lives as they search for a way out of poverty in a world where greed outweighs the value of human life and the only way to escape was to fight together.

Read the rest of this entry →

Glendale’s A Noise Within (ANW) has been the region’s premiere classical repertory theater company for a long time now.  Other than about a year at the end of last century spent at the Luckman Fine Arts Complex at Cal Sate Los Angeles, the company’s home has been the landmark Masonic Temple building at 234 S. Brand Boulevard.

But the company is Glendale’s no longer. It’s leaving its home and heading to its own dedicated space in Pasadena, a move that’s been more than five years in the making. And today as one of its final acts in the Jewel City before beginning its life in the Crown city, the company held a rummage sale to clear out its inventory. Everything from lighting equipment and furniture to props to costumes was priced to move.

But instead of looking for bargains, I took the opportunity to go looking around, sneaking backstage and up the stairs to explorie the 1928 building’s upper levels where I found this jaw-droppingly amazing top-floor space in mid-demolition/arrested decay (click to panoramally enlargify and/or check out this rotate-ready version of the image):

UPDATE (8.26): Where’d the picture go? Short-ish story is that a representative of the building’s owners, Frank DiPietro and Sons, contacted me the day after this post went live wanting to discuss the photograph’s publication. After some further consideration, it was politely requested of me today to remove the above image,  for several reasons. First, it was taken and published without their permission. Second, the picture shows the hall in a condition that doesn’t showcase it in the best light. Third, the company is in the midst of submitting plans and obtaining permits for a renovation/remodel of the space and the company is sensitive about photographs and information about the
building being released as that process progresses. So, basically,  I have agreed to honor their request because the simple fact is that it’s their private property and I was there on those upper floors without their knowledge. Since it’s not OK for them to sneak into my house and take pictures and put ‘em up on the internutz, down comes the pic.

I have no idea what the plans are for this hall and the rest of the building. But in the meantime I’m going to keep my fingers crossed that it doesn’t become a gym..

After the jump, a brief bio on the building’s historical significance excerpted from the Glendale Register of Historic Places.

Read the rest of this entry →

I’ve spent the past few evenings at the Hollywood Fringe festival, which is happening at theatres and stages all over Hollywood.  Fringe Theatre Festivals have a special place in my heart – I used to be involved in running one when I was in college, and I think the format of Fringe Festivals allows for a lot of innovative and creative work to get staged that might not otherwise be seen.  The other night, I saw Headscarf and the Angry Bitch, which was a cute, funny, if somewhat earnest, musical take on being a Muslim woman in the U.S.  I also saw Of People and Not Things (and in the interests of full disclosure – the writer of this play is a friend, so I am somewhat predisposed to liking it) which takes the idea of a bad breakup being the end of the world to its literal extreme, through two moving, extended monologues from the two involved parties.   And later tonight I’m checking out a late staging of Freakshow Deluxe.  I’ve got tickets for a few shows later this week, as well – Girl Band in the Boys Room and Our Lady of 121^st Street, both of which I’m looking forward to!  And I’ll probably try to squeeze in a few more shows, too – one of the great things about Fringe is that it makes it easy to see lots of shows and performers relatively cheaply.

Some Fringe Freaks, the mascots of the Hollywood Fringe!

Fringe Festivals are, by definition, open and unjudicated, which means anyone with a show can potentially get in and stage their show.  On hand, this is part of the reason why the Fringe can be so exciting and cool; on the other hand, it means that sometimes the shows are a bit hit and miss, and it can be hard to tell from the program what’s worth checking out or not.  So, if you’ve been out to the festival, please let us know in the comments if you’ve seen shows that you recommend!  The performers, who have to absorb a lot of the costs of staging their shows, always appreciate a shout-out.

For info about tickets, shows, venues, and schedules, visit hollywoodfringe.org!

I’m just a bit melancholy this morning. My youngest is finishing up middle school where it seems like I’ve spent an eternity already. Both of my boys were in Drama as their elective. Their fall and spring plays were always punctuated with some corny jokes by their teacher Randy Medina during the intermission.  Last night was my final “Spring Performance” by the Clifton Middle School Drama class and am going to miss those corny, punny jokes of his.

Full disclaimer: I’m not really into dance. Whenever “So You Think You Can Dance” or “Dancing With the Stars” get their DVR playback, I conveniently find a reason to go fix something in the garage.

But, if you’re looking for a cool last-minute gift idea for Mother’s Day that does not involve a spa or Mimosas, take her to see Burn the Floor at Pantages.

20 champion dancers from the hit Broadway show will blow your mind. It’s billed as “ballroom reinvented,” but, it sure didn’t feel like ballroom. It’s a phenomenal show, that makes you want to Patrick Swayze into the aisle.

Did I just type that? Ahem.

It’s a great gift for Mother’s Day, or a great date. And there are only 5 shows left.

Burn the Floor at the Pantages Theatre.

Tonight at 8:00PM
Tomorrow at 2:00 PM, 8:00 PM
Sunday at 1:00 pm, 6:30 PM

There’s film folk and then there’s theater folk, and then there are just folks who will see whatever looks good.  That last group is me, and this upcoming play looks great: tonight, Cornerstone Theater, in association with Watts Village Theater Company, will start previews of its new play, The Unrequited (Between Two Worlds).  The play’s official opening night is on May 4.

The play is based on The Dybbuk, a 1914 play by author and playwright S. Ansky, about a bride possessed – possessed! – by a terrible spirit on the night before her wedding.  Cornerstone’s version re-locates the play in time and space: to a 1930s-era Watts neighborhood.  In the theater’s long-running tradition of incorporating community actors and sourcing creative spaces for their productions, the production actually will be held in Watts at a local high school auditorium.

Tickets are based on a $5 to $20 sliding scale online, and will be pay-what-you-can at the door.  That’s right, no need to wait in the student rush line the 5 minutes before doors open.

The Unrequited (Between Two Worlds)
Thursdays through Sundays, plus a few Wednesdays here and there, April 28 – May 22
At the Youth Opportunities High School, Mafundi Auditorium, 1827 E. 103rd St in Watts.
Tickets here.

LA cirque-gone-feral performance troupe Cirque Berserk have arrived at the Nokia Theatre for a month-long engagement, and we’ve got a FREE pair of tix just for you!

You’ll enjoy your evening of lovely fire dancers, disturbing clowns, stunning aerialists, music and burlesque, chez bLA and Goldenvoice (thanks guys!).

To win: Tell me, in the comments, which sideshow attraction you would be if you had to be in a traveling circus. Would you be the bearded lady? The giant? The knife thrower? The fortune-teller? Let a girl know! We’ll randomly pick one lucky winner to go.

You can buy tickets here.

Photo by Brion Topolski.

The inimitable Peaches returns with something only she could have thought up–and only she would have the rocks to do.  The reigning queen of electro-rock-raunch is singing the entire rock opera of “Jesus Christ Superstar,” from beginning to end, all by herself–accompanied only by virtuoso pianist & rapper Chilly Gonzales, playing piano.

If you’re looking for another camel-toe-tastic, colorful and bombastic performance by Peaches–this won’t be like the past shows you’ve seen. It’s her alone on a stage, singing the original songbook of the musical, with tonality and emotional range you don’t see as much of in her original work. But if you can imagine her powerhouse voice belting out these power-ballads, you know you’re in for an amazing, one-of-a-kind show.

To win, tell me what musician or band you’d like to see perform a classic rock opera, classical opera, or Broadway musical. For example, I’d love to see Adele do a stripped-down, soulful bluesy version of La Boheme, or David Bowie doing Cats.  That would be epic.

Info on the show is here.

Photo by helenadagmar on Flickr via a Creative Commons license.

The Bringing Back Broadway initiative has announced plans to celebrate the 100-year anniversaries of the three oldest remaining theatres in the Historic Theatre District of Downtown Los Angeles. 100-year-old buildings. IN LOS ANGELES.

The Broadway Centennial Summer is envisioned as a month-long festival of films, art, theatre and tours to honor the oldest surviving theatre district in Los Angeles, and one of the largest intact historic theatre districts in the entire United States.  The two oldest theatres on Broadway, the Arcade Theatre (originally the Pantages) and its next door neighbor, the Cameo Theatre, turn 100 years old this fall, having opened on Sept. 26, 1910 and Oct. 10, 1910, respectively. To coincide with the 100^th anniversary of the theatres opening, property owners of the Arcade and Cameo Theatres say they are planning façade improvements to bring back the original historic character of the theatres. The Palace Theatre opened on June 26, 1911.

Activities will include the 25^th Annual Los Angeles Conservancy Last Remaining Seats screenings in Broadway theatres, special screenings of early films, tours and discussions, historical retrospectives and other arts and cultural activities.

While it remains to be seen exactly what “façade improvements” are in the works for the theaters, I thought you might like to see what the Cameo Theatre originally looked like, when it opened as Clune’s Broadway Theatre in 1910. Wouldn’t you love to see that sign restored?

A city celebrating it’s history. Don’t look now. But, maybe we’re finally growing a conscience.

Photo from Jose Huizar’s flickr stream

Electra Receiving the Ashes of her Brother, Orestes, by Jean-Baptiste Joseph Wicar

Elektra is the third Greek drama I’ve been to see at the Getty Villa, and it’s the first I’ve been compelled to blog about. That should tell you something right there. I went to see a preview show Saturday night thanks to a belated birthday present from a dear friend, and I was so impressed I wanted to tell you all that you should go, but here’s the sad news–well, sad for you, good for the Getty and the troop–the show, which runs Thursdays, Fridays and Saturdays through 2 October, is already sold out. So then I wasn’t going to write about it, because I didn’t want to irk folks like Frank, and I didn’t want to gloat-post (“Look what I did that you can’t do…”). But then I read that it’s not impossible that seats will become available and so I’m back to posting about it. Besides I’d really love to get a take on the performance from someone who knows more about translations and/or classical drama than I do (and I know precious little, so that’s a lot of someones).

So yeah, if you’ve heard that the Getty is putting up Sophocles’ Elektra what you’ve no doubt heard is that Olympia Dukakis plays the chorus, which is, somewhat oddly in this production, not really a chorus at all but more like Dukakis and a sidekick along with a cellist. And sure, that’s noteworthy. Who doesn’t like Olympia Dukakis? But the real star of this show is Timberlake Wertenbaker’s translation, which was commissioned specially for this performance. And here’s where my questions come in: at what point does a translation cease to be a translation and become, instead, an interpretation? It’s been about a thousand years since I read Elektra (really, I think I was in high school, which means it was not only a thousand years ago but also that I was extremely stoned, so I truly don’t remember any detail), but it did, to my muddled memory, seem like the translation followed the sense of the play throughout. The language was almost hyper-contemporary at times, however. By itself, that would have probably gotten under my skin eventually (I am generally averse to the dumbing-down of things), but throughout the performance, at the moments of most heightened drama, the actors launched into pure Greek. It was delightful. Wertenbaker completely won me over. And really, like Stephen Mitchell’s Tao, the translation, while contemporary sounding, was extraordinarily poetical in its own right. I was so impressed that, if Wertenbaker’s translation is published, I’ll probably purchase it and read it.

As one would expect from a performance at the Getty, the acting was spot-on throughout. The other unexpected (to me) aspect of the performance was the music (cello, light percussion, and another odd sort of found-object-looking instrument I can’t name for you). Theresa Wong, the cellist, and Bonfire Madigan Shive (hippy parents anyone?), the composer, deserved their own ovation post-performance. Things that worked less well for me were the costuming, which was just too modern for my tastes, in the men’s jacket’s in particular–really, a leather jacket and a linen sport coat?–and the chain link fence part of the set design. The latter is explained this way in the program:

In designing this production, we wrapped the Getty facade in security tape and chain-link fencing to evoke the protective barriers Clytemnestra herself might have erected to defend against acts of reprisal. We are, of course, sadly accustomed today to the sight of public buildings becoming bunkers against possible “terrorist” attacks, and we are certainly accustomed to repetitive cycles of violence. Perhaps this is the real fascination of revisiting Greek drama: it is an occasion to look at our own experience through the unblinking lens of great tragedy.

I’d say, no, in fact, that’s not what the fascination is for me, nor do I expect that’s what draws most people. I could have just as well done without the chain link and leather jackets and amateurish references to terrorism, honestly. If I’m going to seek out a parable of some kind for our war against terror, Elektra wouldn’t be it.

A long time ago, in a galaxy far, far away, there was a world without film. (I know!) Whatever did people do for fun on a Saturday night, aside from bathing? They would go see amazing spectacles called “Panoramas.” Starting in 1792, 360 degree paintings were installed in circular venues and you viewed them from the inside. Don’t tell James Cameron this, but they were even in 3d! Faux terrain elements were placed in front of the images to enhance the paintings themselves. Even Disney took a cue from this style and created CircleVision 360.

Another version of the Panorama experience was the Moving Panorama. Images were painted on huge panels and scrolled through in a theater accompanied by live narration, music and sound effects. The original Moving Picture Show!

What does this have to do with Los Angeles? LA is home to the Velaslavasay Panorama “an exhibition hall, theatre and garden dedicated to the production and presentation of unusual visual experiences, including those of the 360-degree variety.” They research and preserve fragile works of mass entertainment from centuries gone by. You can visit the gardens and exhibits during the day and for the next four weekends, you can see a Moving Picture Show.

Every Friday and Saturday night until August 21, The Velaslavasay Panorama will be showing “The Grand Moving Mirror Of California” a modern panel based on an 1853 script about the journey to get to California during the Gold Rush. Adventures around Cape Horn, views of historic California cities and “famous natural treasures” are part of the story.

This Saturday, July 31, is a fundraiser for the museum. You get a gourmet dinner before the showing of the Moving Picture and help raise funds for this fascinating non-profit. Click here for more details on that event.

The Velaslavasay Panorama
In the Historic Union Theater in the West Adams District
1122 West 24th Street
Los Angeles, CA 90007

Open to the public on Fridays, Saturday and Sundays from 12-6pm
Street parking only.

I’m buying tickets for Friday’s show…join in!

Cross section of a Panorama rotunda

Ack!! I totally forgot to add a Hat Tip to Los Angeles Magazine (August issue), which is where I first read about the Panorama!