Review of ‘You Can Call Me Eve’

 

As a general rule I will not see a play for the purpose of review during the closing performance.  I make the exception here because like good wine, good theatre experiences should be shared. 

 

Let’s face it; most playwrights will rarely get their first play produced. Among other reasons, if that play actually does get produced, it’s nearly impossible for it to tell a compelling story in a compelling way.  The Write Act Repertory surprisingly defies the odds with Michael Coulombe’s world premiere drama ‘You Can Call Me Eve‘ which closed Sunday, December 18.

Okay, technically playwright Michael Coulombe is actually not so new to writing at all.  Although he’s a writer, filmmaker and poet, he clearly understands the art of dramatic storytelling which is evident in this solid play.  Testimony that in competent hands, the development process works well for new plays (the piece was originally a 30 minute radio drama presented in 2007).

This memory play is narrated by a middle-aged, single Latina named Eve (Marina Gonzalez Palmier) who is also now without a family.   Her heartfelt journey from love to loss to self-sufficiency is initiated for our benefit to explain why she changed her given name of Rosa to the respectable and “better sounding” Biblical name of Eve.

As the play unfolds her flashbacks begin in the 1970’s when we see her younger self as Rosa (Natalie Camunas) living at home with her sister, Maria (Misha Gonz-Cirkl) and her socially reserved nephew, Danny (Henry Alberto).  Like her sister, she is quick to fall in love and decides to marry the kind and hardworking boyfriend Carlos (Alex Rodrigo).  After she marries him and moves in, Maria succumbs to leukemia and as a promise to her sister, she takes care of Danny.

Exposition set, the play kicks into high gear when we learn that Danny is gay.  This in itself conflicts with her Catholic values and Carlos’ traditional Latino sense of masculinity.  After Carlos kicks him out of the house, Danny soon finds a friend at the YMCA in Eric (Peter DiVito) who will later become his lover and life partner.

As the flashbacks move forward in time to the 1980’s, both her mind and heart open to Danny and Eric while Carlos remains unable move forward or embrace the two.  As we reach the height of the AIDS epidemic, the disease soon claims the lives of both men.  This puts such strain on her domestic life with Carlos that she eventually divorces him and liberates herself through their untimely losses.

In addition to Coulombe’s clear and robust writing, the actors in this company all hold their own.  Alberto’s range from a teenage boy with a tortured soul to a man dying of AIDS was particularly moving as was Camunas’ brave portrayal of a woman who struggles to keep the pieces together.

Unfortunately where this play falls short is in technical support.  Although Director Hector Rodriguez does a great job understanding the material and drawing memorable performances out of his actors, he misses the mark by opting for a realistic and mostly amateur set and light design.  As memories always are, this play begs to be sparse, jagged, ethereal, wispy, and like Eve herself, liberated from the natural world.

“Cyclops: A Rock Opera”

Happy new year friends!

Although I have been remiss in posting to this blog on a more frequent basis, I endeavor to remedy that in 2011 by blogging at least once a month, hopefully more.  If nothing else, I have a few exciting projects in the works that I am eager to share with my readers this year as the months unfold ahead!  Thanks for your patient and reading my blog.

See you next month! -PV

If my first play of 2011 is any indication of what’s to come this year for theatre in Los Angeles, we are in for a vibrant and satisfying season of theatricality and showmanship.

Now playing at Son of Semele Ensemble’s Compay Creation Festival through March 4 is Psittacus Productions‘ “Cyclops: A Rock Opera“.

The narrative in this show is freely adapted from Percy Bysshe Shelley’s translation of Euripides’ play “Cyclops“, the only extant Ancient Greek satyr play. Satyr plays incidentally were the drunken, burlesque romps that ended an afternoon of tragedies during the ancient dramatic festivities in Athens.  Satyr plays generally poked fun at elements of the trilogy of dramas the playwright had just entered for competition, or sometimes was used to parody other playwrights’ entries in those festivals.  Although a little historical context can be helpful to appreciate this show, Psittacus Productions’ take on the play works well even for those without any background knowledge going in.  That’s because Shelley’s lyrical foundation and this ensemble’s talented musicians are potent vehicles for musical storytelling.  Particularly because the frolicking, sexual, hedonistic world of rock ‘n’ roll is used as a conceptual starting point.

Our story here is about the hero, Odysseus (Chas LiBretto), who meets satyrs, the goat people (Louis Butelli, Paul Corning, Stephen Edelstein, Benjamin Sherman and Jayson Landon Marcus), in his quest to free Dionysus, God of theatre and wine (Casey Brown) from Polyphemus, the Cyclops (Jayson Landon Marcus).  The Maenad’s, female followers of Dionysus, (Nicole Flannigan, Madeleine Hamer and Liz Saydah) also serve as dancers and backup vocals, often punctuating the scenes with evocative dance or give additional commentary.

As the title suggests, this show truly is a rock opera. Which is to say it tells a coherent story through the vehicle of rock music.  Although the Euripides play is the vehicle, as is often the case in this musical genre, the story becomes less important than the presentation.  This fearless troupe is aided by Caiti Hawkins’ stylistic and spot-on costume design.  It’s hard not to be impressed when The Satyrs arrive on set in black goth eye shadow, black fingernail polish, black leather boots and shaggy white lambskin chaps then proceed to pick up their black glossy Fender Stratacaster guitars and rock our faces off in wild costumes for the next 90 minutes.  The Maenad’s scantly clad outfits of flowing white fabric, white bras and matching drawers titillates the Bacchanalian senses even more as the evening progresses.

What’s most enjoyable about this show is that it feels less like a play and more like an intimate rock concert sometime between 1975 and 1985 when the rock opera genre was just maturing.  The band here, most aptly named The Satyrs, pulses with hard riffs, power ballads, soaring anthems, and even a earnest ukulele number that all pay aural homage to rock legends like Ozzy Osbourne, Iron Maiden, The Who, Pink Floyd, Meat Loaf and Peter Gabriel-era Genesis to whom the style owes so much.   The Satyrs are led with no less gusto, bravado and flair behind their own frontman Louis Butelli.

Producing shows from the classical canon is no easy task.  Making them fun, vibrant and accessible to modern audiences can be virtually impossible.  Psittacus Productions is up to the task and somehow makes it all look so easy.

If other companies in Los Angeles display such courage and take such daring risks this year, 2011 may be the start of best theatrical decade we have seen yet!

Commentary on TGC’s Theatre Facts 2009

Theatre Communications Group (TCG), the preeminent national organization for the American theatre, conducts an annual survey that analyzes the not-for-profit theatre field’s attendance, performance and fiscal health.  The data gathered becomes the basis for Theatre Facts, TCG’s yearly in-depth industry report.

This month TCG released their annual report; Theatre Facts 2009.

What the report shows should be a surprise to no one.  The global financial crisis (aka The Great Recession) has effected every sector of American life, including our beloved theatres.

With comprehensive facts and figures quantifying their findings, TCG‘s assessment of financial conditions of today’s American theatre appear quite unsettling.  “While a majority of theatres operated in the black from 2005 to 2007, more than half had a negative bottom line in 2008 and 2009 and an increasing percentage of theatres experienced shortfalls greater than 20% of operating expenses over the last two years. Working capital… improved from 2005 to 2008 then dropped precipitously in 2009“.

The report also asserts that as a field, theatres contributed “an estimated $1.9 billion to the economy in the form of direct compensation and payment for services and goods. They opened their doors to 30 million patrons. They provided employment to 128,200 artists, administrators and production personnel. They created 187,000 performances of 17,000 productions that now represent the American theatre legacy of 2009“.

So what can we make of the numbers?

From the intimate theatre companies to the largest of performing arts institutions, today’s theatrical presenters must accept the realities that current economic trends will continue well into the foreseeable future.  Indeed individuals, corporations, government agencies and private foundations have all made adjustments to their annual budgets and many have decided not renew their support for the arts.  As dire as this trend may seem, I believe it’s actually an exciting opportunity in disguise.   Change is certain and our existence should ever be taken for granted, especially these days and most especially in the arts, let alone the theatre.

Although the all-important job of fund raising may have grown significantly more challenging recently, re-affirming ones mission statement lies at the heart of the matter.  Now is the time to remind ourselves as to why all of us followed this most sacred of call to begin with.  We can and must also be emboldened by the new opportunities for partnerships while creatively pursuing alternative funding sources.  As passionate theatre artists we also have an obligation to deliver the absolute best value for our dedicated audiences’ dwindling entertainment dollars.

Clearly, the American public is still hungry for quality theatrical productions and it’s up to us to deliver the goods.  The reports indicate around 10% of all Americans saw a play last year.  That’s impressive!  If presenters have the courage and integrity to bravely imagine new ways of telling stories (new and old) without sacrificing quality, I believe audiences will not only continue to attend, but also increase their support.  The same goes for institutional support.  By connecting new dots and drawing in new markets, fresh backing is only a good new idea away.  Executing new ideas are no longer a matter of option, they are a matter of survival.

TCG‘s report should remind us now more than ever we cannot grow discontent or disillusioned with the state of the arts.  Now in fact is the time to re-double our efforts and champion a new, better, leaner, meaner more organized and more inclusive theatre.

Some of the participating theater companies from around Southern California included: The Antaeus Company, Center Theatre Group, The Chance Theatre, The Geffen Playhouse, Laguna Playhouse, Reprise Theatre Company, South Coast Repertory, and Will Geer Theatricum Botanicum.

Is Jerry Brown ‘An Enemy of The People’?

Last week life imitated art.

Specifically, a lawsuit in California struck an ominous parallel to Henrik Ibsen’s classic drama, “An Enemy Of The People“.

In the play, Dr. Thomas Stockmann suspects waste products from his small town’s tannery are polluting waters of the public baths, causing serious illness amongst tourists.   He sends samples of the water in for testing and the results are conclusive, the baths are contaminated and must be closed.  Town officials, including his own brother, the mayor, are unwilling to address the problem because it would spell financial ruin for the town.  Townspeople turn on Dr. Stockmann, denounce him as a lunatic and angry mobs endanger him and his family’s well being.

On August 11, 2010 Center for Environmental Health (CEH) and California State Attorney General, and current Democratic Gubernatorial candidate, Jerry Brown sued the leading makers, distributors and suppliers of bounce houses (also called “jump houses” or “inflatable jumpers”).  The suit alleges bounce houses can expose children to toxic levels of Lead that violate California law.  Defendants call for the case to be dismissed because of it’s financial impact.  The opposing Gubernatorial candidate calls him crazy as angry voters are threatening to end his political career.

In the play, Dr. Stockmann sends samples to the university to have an accurate analysis made by a chemist.  When the letter arrives…

Dr.  Stockmann: Here it is! It proves the presence of decomposing organic matter in the water — it is full of infusoria.  The water is absolutely dangerous to use, either internally or externally.

In California, CEH suspected high levels of Lead in bounce houses and tested specimens of vinyl themselves (and independently). CEH results of Lead levels in the vinyl bounce houses varied from 5,000 – 29,000 parts per million.  (Consumer Product Safety Improvement Act states acceptable levels to be between 90 – 300 parts per million).

Jerry Brown: “I was surprised, but as we test more and more of these products, we find dangers.”

Dr. Stockmann tries to make his case to his brother, the towns mayor and is met with resistance:

Peter Stockmann: In the interests of the public, you must withhold it [the report of baths being contaminated].

Aslaksen [Editor of the local newspaper]: … this matter of the water supply is of the greatest importance to us small tradesmen. The Baths promise to be a regular gold-mine for the town. We shall all make our living out of them, especially those of us who are householders.

Meanwhile in California…

Robert Field, senior vice president of Cutting Edge Creations Inc., a defendant in the suit, called the investigation a “witch hunt” that could seriously damage the bounce-house industry.  “California already has many financial problems,” Mr. Field said. “Do they really wish to potentially place thousands of small-business owners that operate children’s party centers out of business?”

Barnie Race, CEO of Bay Area Jump, another defendant in the suit: “I thought it was a joke.”

By the end of the play, Dr. Stockmann is ridiculed:

Voices from the crowd (Act IV) That is talking like an out-and-out enemy of the people!

In California Jerry Brown in ridiculed:

Sarah Pompei: [spokeswoman of the Republican Gubernatorial Meg Whitman]:  “There’s something very ironic about Jerry Brown, of all people, investigating the combination of hot air and make-believe.”

Stockmann decides to weather the storm by staying in town and letting his principles elevate him.   Although the California election looms, as of Friday, August 6, Rasmussen Reports,  a leading public-opinion poll, indicates Jerry Brown leads the race for Governor by 2%.

Although Ibsen’s play was written in 1882 we find ourselves 128 years later watching the drama of commercial interests colliding with consumer safety unfolding in front of our very eyes.  Passion, politics and justice are the thing of plays but also the things of real life.  Even in trying economic times, corporations still have the responsibility of providing social and economic justice.  The art simply reminds us that the stories are real.

Incidentally, the last major performance of this play staged in Los Angeles featured Sir Ian McKellan at the Ahmanson Theatre in June of 1998 (reviewed here).

Defendants in the case were listed as: Cutting Edge Creations, Inc. , Funtastic Factory, Inc. , The Inflatable Store, Inc/Leisure Activities Co., Ltd. ,  Jump for Fun, Inc. ,  Magic Jump, Inc. ,  Thrillworks, Inc. , Bay Area Jumps

“A Tale Told By An Idiot”

Coming off an impressive run during the recent Hollywood Fringe Festival, a new theatre company in Los Angeles is showing exceptional promise with their debut production.

Gearing up for an August extension,  Psittacus Productions‘ “A Tale Told By An Idiot“  concluded its engagement at the Son of Semele Ensemble Theatre where I saw the last scheduled performance on Sunday, July 25.

Written as a ’70 minute comic-book style deconstruction of Shakespeare’s Macbeth’, the script was written by Co-Founders Robert Richmond (of the Royal Scottish Academy of Music and Drama) and Louis Butelli (of the prestigious Aquila Theatre Company).  In it we follow the journey of central character Guy Fawkes (Butelli) as he plots to kill King James I of England and VI of Scotland.  Historically, Fawkes was famous for his part in the Gunpowder Plot of 1605, where he and others failed in their assassination attempt of the King.  As he plots and broods his act of terrorism in the cellar of the Parliament building, the visions of Shakespeare’s Macbeth come to him and afflict his psyche.

Because Shakespeare’s Macbeth was believed to have also been written around the same time, some scholars conjecture that he may have been inspired by the Gunpowder Plot and its subsequent trials during the writing of his Scottish tragedy.  Either way, juxtaposing real characters with fictitious ones in this play carries with it an extra degree of emotional and historic truths.

Stylistically rendered behind a scrim with only pin-lights illuminating the action, Dan Weingarten’s lighting design is simple yet effective as we watch only faces, hands, feet, shadows and daggers unfold this tale of woe.  Graham Galatro’s haunting compositions also create a soundscape that matches the concept in tone and mood.  The focused world created here is dark with paranoia, doubt, fear, plotting, intrigue and murder.  Excellent acting from this ensemble of nine includes the irresistible witches (Elizabeth Saydah, Madeline Hamer and Casey Fitzgerald) and Butelli’s tortured Fawkes.

The idea behind Director Richmond’s concept was to “bring a graphic novel to life on stage in an attempt to evoke the ‘down-time’ before and act of terrorism, and the fragmented and erratic thoughts that must go through that terrorist’s mind as they want to die… whether their mission is ultimately successful or not”.  The comic-book idea is a clever way to depict the show and is perfectly mated with the story of Macbeth.

With the blend of performance art, dramaturgy and technology, Psittacus Productions is making waves and pushing boundaries where few companies in Los Angeles, let alone new theatre companies are daring to go.  If “A Tale Told By An Idiot” is any indication, Psittacus should bring to Los Angeles a classical style of theatre boldly re-imagined for the 21st century.

Although we have several highly regarded Shakespeare troupes in town and several more classic-oriented companies, we may be in store for the best of both worlds when Psittacus takes center stage.

“Ground control to theatregoers”

This week “Apollo 13: Mission Control” opened at the Sydney Opera House (March 20-31).

This unique interactive show guides audience members through a 1970′s themed lobby preparing to head to the moon. Two actors playing Commander James Lovell and Lunar Module Pilot Fred Haise randomly chose an audience member to represent Command Module Pilot Ken Mattingly (who historically was a late scratch for being exposed to rubella 3 days before launch).
Audience members arrive in a control room that is intended to replicate being inside NASA’s Lyndon B. Johnson Space Centre in Houston, Texas. Those who want to participate in the action are seated at individual consoles, for those less inclined to press buttons, press box seating is available.

As the show progresses, console participants are called upon to respond to directions from the cast who are in charge of the show which directly effect the outcome of the story.
Although the main plot about surrounds the crisis of malfunction, smaller subplots about ambition, belief, group power and personal ethics also come into play.

Actor Kip Chapman and designer Brad Knewstubb who co-founded the production company Hackman Productions insist their show is not an exercise in theatre-sports. Their idea was to “immerse people in the experience as much as possible”.

Reviews have been good and Australian audiences are loving the experience. Steady ticket sales will likely also spell PROFIT for the upstart production company. Incidentally the entire show apparently fits into the size of a shipping container…

For me this show presents a few questions: where is there a place for such work in todays entertainment marketplace? Will theatrical producers be more or less inclined to invest in show that is more tactile and interactive? When will something similar come to Los Angeles?

My best guess as to the first place one might see this particular show would be at theme parks in Texas or other space/science/technology centers across the country. Those type of destinations are all always looking for new ways to draw crowds and their entertain visitors. I seriously doubt many legit theatrical producers would be quick to jump at investing in such a show because of the unproven history and prohibitive cost of producing such shows.

For those interested in interactive experiences already here in Los Angeles I can think of two. The first opened in February 1993 at The Museum of Tolerance where the exhibit The Point of View Diner is a recreation of a 1950′s diner, red booths and all, that “serves” a menu of controversial topics on video jukeboxes. It uses technology to relay the overall messages and instantly calculate results.
The other opened May 6,1999 at Universal Studios, Hollywood where for 12 minutes, 41 seconds viewers experience: “T2 3-D: Battle Across Time“. The attraction includes 3-D cinematography, digital graphics, and live-action stunts.

I’m curious to see how our entertainment continues to evolve. It’s important to keep an eye on new trends, that’s for certain. If by chance this show comes here, I’ll be the first to by a “console” ticket .

“All the Classroom’s a Stage…”

This morning the Guardian newspaper reports that English teachers in the UK are now being encouraged to allow children studying the plays of William Shakespeare to “walk around the classroom rather than reading the plays while sitting at their desks“.

Additionally, exercises developed from the Royal Shakespeare Company and the Globe Theatre in London will soon replace the “talk and chalk” methods now standard in most classrooms.
Written and oral assignments developed along side the new methods will determine how well the students understand the material.

How cool is that? I wish I were 11 years old to experience this new methodology. All too often English teachers approach Shakespeare as literature instead of performance texts. That was certainly the case when I went to school. Let’s face it, Shakespeare’s plays are difficult, even for the best trained actors. They best, dare I say, the ONLY way to understand difficult text is to activate the material with free-spirited movement and exploration. Feeling the words flow through the body as distinct characters is what it’s all about.

What I really like about this pedagogy is that it removes the academic veneer off Shakespeare and makes learning his plays easy and fun for kids. I believe the theatre should be part of every child’s upbringing, especially when arts education have quantifiable benefits. Teachers in the UK have the right idea and are putting it into action.

Unfortunately, tough economic realities have all but eliminated arts education programming from nearly every public school system in the country and the outcome looks bleak. Nearly 60% of all high school students in the United States have never even seen a live stage performance. Locally, the LAUSD is poised to eliminate half all of it’s remaining arts educators next year. The first half, incidentally, were dismissed this year.

Even with the NEA’s program “Shakespeare in American Communities“, and the countless non-profit theatre companies reaching out to younger audiences, we must collectively rethink our approach to arts education and make it a much higher priority.

I’ve often wondered if the people who make decisions to trim arts funding such as Senators John McCain and Tom Coburn, who issued an incitement of Pig Iron Theatre, among others in their “Stimulus Checkup report, December 2009” of 100 purportedly “silly” grants issued by the American Recovery and Reinvestment Act would even deem math, science or history “silly” or “dispensable”. If not, why not?
Really, why can’t we just target math funding, math teachers, math programs and math education whenever funding gets tight and economics turn sour? Seriously? Who really uses math every day anyway? How many adults need to use math, especially now with calculators and computers doing all the adding, subtracting, multiplying and dividing for us? Dare I say because math is “necessary”? At what point do the arts become, as the are in the UK, equally necessary?

English children having fun with the plays William Shakespeare will give them an advantage we will come to envy. Now is our chance to catch up.

Review of “CATS” at the Pantages Theatre

On the very day that Andrew Lloyd Webber opened his newest offering of “Love Never Dies” in London (see 03/09/10 blog) to mixed but generally good reviews, the Pantages Theatre in Hollywood opened its engagement of the musical sensation “CATS“.

Although I had never seen the show before, I was well aware of all the hype and success this show had established for itself. The London production ran for twenty-one years (8,949 performances) and the Broadway production ran for eighteen years (7,485 performances), smashing box office records of the day and setting new benchmarks for musical theatre. The show took multiple Tony and Olivier Awards and has been translated into 20 languages by playing to millions of adoring fans all over the world.
Something told me I was going to dread every tedious minute of the next 2 hours, 30 minutes.

As the lights went down and the first few notes began to play, I was mesmerized! The opening sequence depicted an other-worldly craft hovering up into the night sky as dazzling lights and fog billowed forth and cascaded downstage. Early 1980′s English synthesized progressive rock chords soared even higher! This was going to be a GREAT night!
Admittedly, I have a personal bias and affinity for music of that genre, so it was never going to be less than a groovy show.

The rest of the show did not disappoint. John Napier’s rendering of cat costumes on stage with leg warmers, makeup and old-school wigs never really convinced me of his intended purpose. The upside was watching slender dancers prance around felines in spandex for over 2 hours. That my friends is never a bad thing. Ever.
The lighting effects felt like the best technology of the day but the over-saturation of color felt at times more like a music concert. I couldn’t help but to see the similarity with other Webber musical offerings. “Joseph and The Amazing Technicolor Dreamcoat” (1968), “Jesus Christ Superstar” (1971), “Evita” (1978) even early tinges of “Phantom of The Opera” (1986).

It would be less than accurate to say that I wished there was more of a story. Based on “Old Possum’s Book of Practical Cats” by T.S. Eliot, the show really wasn’t about the book anyway. Interestingly the other-worldliness made me realize this musical isn’t about “cats” anyway. The cats looked like foreign beings. A certain kind of animal strange, yet familiar. There are bully cats, show-off cats, scardy-cats. There are even cats who have dreams and remember better times. The last number “The Ad-dressing of Cats” explains that we have just seen the habits and habitats and asks us to simply call them “Cats”.

At that point for me it became obvious that this show was never about “cats” at all, but a running commentary on society. It’s about US. Or at least it was about English people in 1981. There’s a certain timelessness and power in entertainment that asks audiences to look inward even briefly. I admire that and appreciate those sentiments.

“Love Never Dies”

Today The Adelphi Theatre in London is premiering “Love Never Dies“, the hotly anticipated squeal to Broadway’s ‘Most Haunting Love Story’; “The Phantom of The Opera“.

Twenty six years after the premiere of “Phantom” at the Majesty Theatre, where the show is still playing, London will see another face of the Phantom.
The events of “Love Never Dies” takes place a decade after the events of “Phantom” conclude. Christine Daaé is invited to perform at Phantasma, a new attraction on Coney Island, New York by an anonymous theatrical impresario. Christine, her husband Raoul and their 10-year-old musical prodigy journey to Brooklyn, only to learn that the mysterious new patron is her one-time lover and former Phantom of the Opera.

The show will have high expectations. The “Phantom of the Opera” is one of the most successful entertainment brands of all time. The popularity of Phantom is strong in London and New York where the shows have yet to close. Sit-down and touring productions have played to more than 100 million people in 27 countries grossing more than $5 billion worldwide. Even the 2004 film adaptation earned $150 million. Although producers can’t expect the same kind of return for the November 2010 Broadway production or the 2011 Australian production, the show will certainly NOT lose money.

Ok, so what does this mean for Los Angeles audiences?
Well, first of all the US touring production of “Phantom of The Opera” will conclude and play its final performances at the historic Pantages Theatre, Hollywood. The dates of the run are currently scheduled from September 23 – October 17. This classic love story being told in our own classic theatre is not-to-be-missed.
Will we see a production of “Love Never Dies” in L.A.?
Very likely we will see a touring production in 3-5 years. I will be the first to say it will play here also at the Pantages in Hollywood. I would be a very surprised to see it land at the Ahmanson Theatre at the Music Center. Although both are subscriber houses, the Pantages is more likely to have a longer run and higher potential for making money.
Where would YOU like to see the new show, Patrick?
In a perfect world, I would like to see the show presented at the Los Angeles Theatre in downtown. Those glorious old movie palaces on Broadway deserve a show as lush and as romantic as Andrew Lloyd Webber’s. There are a few logistical problems that prevent modern shows from presenting downtown, not the least of which is parking. The Bringing Back Broadway movement may help address some of those issues.
Any final thoughts?
I will say this, the more theatre-goers get excited to see shows in Los Angeles, the better. I would like nothing more than to have audiences trickle down into the intimate venues that are scattered around the city. The “Phantom of the Opera” has played in the L.A. market something like 13 or 14 times to great success. This new show should generate excitement and hopefully inspire more audiences into our venues, large and small.

Introduction

Lights up downstage center!

Good evening ladies and gentlemen and welcome to my Los Angeles Theatre blog!  This blog will consist of my thoughts, hopes, impressions, reviews, likes, dislikes, refections and musings about all things theatre here in Los Angeles, California.

Although last night the entire city nearly closed down on the occasion of the 82nd annual Academy Awards show in Hollywood, I observed several things.  First, the production took place as it usually does at the Kodak Theatre at the Hollywood and Highland complex.  Nevermind the results of who won this award and who wore that outfit, think about this for a few moments…  The official award show for the motion picture industry took place not inside a cinema or movie palace (as was the standard in the days of old) but rather a performance venue.  A THEATRE.  I pause with dull satisfaction and a certain degree of pride that the most powerful and elite of the motion picture industry descended into Los Angeles, gathered in a theatre and put on a show. The eyes of the world were also closely watching a theatre in Los Angeles.

Now… am I fan of the Kodak Theatre in Hollywood? Not necessarily. I would much rather see the Academy Award ceremony take place at a historic venue in downtown L.A. such as the Los Angeles Theatre where “Good Morning America” broadcasted from this morning. If it MUST be in Hollywood I would even prefer the beautiful Pantages Theatre where the award show broadcasted form 1949-1959.

Although there are many justifiable reasons that prevent the Academy from moving the ceremony out of the Kodak, not the least which is because of easy access for television cameras. I understand that I I don’t take anything away from their little night of self-adulation.
My sources tell me that the folks at the Kodak are working on a deal to present a major Cirque du Soliel show to fill the often-dormant venue for an entire decade (or more). Last year City Council approved $30 million in federal funds to retrofit the Kodak for the Cirque du Soliel. Not sure where the project is at this point but acrobatics at the Kodak would be better than NOTHING at the Kodak.
A few years ago Cirque du Soliel was comissioned to provide aerial acrobatics during transition moments. They literally dazzled the audience and provided perhaps more entertainment than what happened on stage that evening! Someone in the house, perhaps the CIM Group (owners of the complex) saw an opportunity waiting to happen.

Regardless of who saw what and how it’s happening, it is my wish that Cirque does indeed come in and reshape the complex into a performance center. The theatre will have more life than it currently does and possibly, just possibly tourists and others visiting the area will think twice about seeing a show in Hollywood and perhaps, just perhaps rethinking Los Angeles as a place for theatre rather than just film.

Who out there agrees with me?