Shari Barrett - Page 15

RUTHLESS! THE MUSICAL originally opened Off-Broadway in 1992, created as an over-the-top dark comedy spoof of the films The Bad Seed and All About Eve, and well-known Broadway musicals Gypsy and Annie. Similar to the dark comedy in musicals such as Little Shop of Horrors and Sweeney Todd where characters are murdered and then eaten, RUTHLESS! THE MUSICAL centers on 8-year old Tina Denmark, who knows she was born to play the lead in her school's third grade show and will do anything to win the part. And I do mean anything. Now onstage at Theatre Palisades, directed by Alta Abbott who first fell in love with the show during its 1993 West Coast premiere at the Canon Theatre in Beverly Hills, I can only say that the over-the-top production sometimes seemed so dark that the comedy became invisible.

HAIR was written more than 50 years ago by Gerome Ragni, James Rado and Galt MacDermot and broke new ground in musical theatre by defining the genre of 'rock musical' as well as using a racially integrated cast and inviting the audience onstage to join in the a?oeBe-Ina?? finale. But at the time it opened off Broadway at the end of 1967, it seemed unlikely that HAIR would be relevant five decades later. A product of the hippie counter-culture, sexual revolution, and Vietnam War protests of the late 1960s, several of its songs became anthems of the anti-war movement, while its profanity, depiction of the use of illegal drugs, treatment of open sexuality, irreverence for the American flag, and full-frontal nude scene caused much comment and controversy at the time. Yet today it seems what was shocking has become so common place that even a few children were in the audience at the performance I attended.

Beginning on a basically empty stage with a large center rug and one wooden stool, Birbiglia begins by talking about the first thing he bought as an adult for his first apartment a?' a new couch - and how much he loved sleeping on it. As he gushes about how he loved being wrapped in its warmth, that little stool literally becomes his beloved, overstuffed companion where he reads, writes, eats and sleeps. That is until THE NEW ONE arrives and changes everything!

For those not familiar with the term, polyamorous relationships are those in which the participating persons agree all parties involved may participate simultaneously in more than one serious or casual romantic or sexual relationship with the knowledge and consent of all partners. It's more than just a a?oehall passa?? in which monogamous couples agree to allow their partner to be with one other person. And those two lifestyle choices are the focal point of Playwright Brian Reynolds' world premiere play MONO/POLY now at the Odyssey Theatre through November 10.

As the tension mounts to its bloody end, audience members, especially the few who get invited into the scene within Macbeth's castle, are drawn into the characters' lives and motives, all the while experiencing the evocative moody atmosphere of haunted, stone-walled castles. Kudos go out to the entire design team from Runco's sets, Avery Reagan and Wesley Chew's lighting design, Joseph a?oeSloea?? Slawinski's sound design, to A. Jeffrey Schoenberg's costume design which work brilliantly together with the talented acting ensemble to transport audiences into a sensory experience none will ever forget.

I have been following magician Siegfried Tiber for several years, marveling at his mind-boggling sleight of hand magic and illusions. His latest show, RED THREAD presented by Atlas Obscura, offers a theatrical exploration of the concepts of chance and chaos, with Siegfried guiding participants through an unlikely journey during which he manages to blur the line between the improbable and the impossible. And afterwards. I found myself wondering if seemingly random decisions made are really our own, made of our own free will, or if they are somehow predetermined.

For those too young to remember, from 1957 to 1962 The Everly Brothers sold more than 35 million records and had 35 Billboard top-100 singles, 26 in the top 40, and to this day, carry the record for most Billboard charting hits of any American Duo. Their success at that time was only rivaled by Elvis. The Zmeds are absolutely thrilled to be able to contribute to a cause that supports the recognition and preservation of the intimate origins of America's greatest Rock 'n Roll sibling duo, stating, 'We are not impersonators. Our aim is to honor the aesthetics of the Everly Brothers' iconic sound and their unique place in music history, all while having a little fun telling our own personal story.' And that they certainly did with great style, talent, and humor.

THE DROWSY CHAPERONE with music and lyrics by Lisa Lambert and Greg Morrison, book by Bob Martin and Don McKellar, offers audiences a toe-tapping trip back to the golden age of musicals, and took Broadway by storm, winning five Tony Awards. It spoofs musical-comedy fanatics and the genre itself, often called one of the wittiest, craziest shows ever to hit Broadway. The very entertaining production at Santa Monica's Morgan-Wixson Theatre through October 13 is directed by Kristie Mattsson, produced by Michael Jackson Heimos, with music direction by Daniel Koh, and choreography by Niko Montelibano.

Elton John has been a powerful name in music for more than 40 years, and is currently enjoying another wave of popularity. Now, more than ever, there is demand and desire to step back in time and experience the sights and sounds of this amazing artist. In tribute to his greatness, Kenny Metcalf has wowed international audiences during live performances, often in his hometown of Los Angeles with or without his band, and is known for performing a technically accurate Vegas style production, featuring the wildly popular music, costumes and antics of Elton John. And he never disappoints!

Directors for MAMMA MIA! at the Simi Valley Cultural Arts Center, Keenon Hooks and Fred Helsel, with Fred Helsel as Producer, Keenon Hooks as Choreographer, and Mazie Rudolph as Musical Director, prove beyond a shadow of a doubt that this musical is just as much fun in a smaller theater thanks to the talented cast who really enjoy every moment they appear onstage, with a lively band that really enjoys performing the ABBA score. The overall enthusiasm displayed by all draw the audience in to the action, especially by the finales when everyone was up on their feet, singing and dancing along.

Told in three separate one-act stories, the World Premiere of Leda Siskind's play THE SURVEILLANCE TRIOLOGY explores the ways in which private citizens have become victims of ever-present eavesdropping by forces able to be kept secret until the damage has been done. Directed by Amanda Conlon at Theatre 40, ultimately you may just walk out at the end wondering just how you are being watched and for just what purpose, especially when you turn your cell phone back on and begin interacting with it.

During the thought-provoking 90-minute play, made even more visually intense via attention-grabbing historical projections of news headlines to forward the progression of time on Rachel Myers exquisitely transformational scenic design, Feldshuh and Faracy fully embody not only the physical presence of Ginsburg and O'Connor but also their dependency on each other to get their voices heard over the gender-biased male members of the Court. Their dedication to justice and the law was solid, although O'Connor felt the need to take it slowly like a tortoise while Ginsburg always felt the need to charge ahead like the hare when it came to issues of sexual harassment towards women.

IN CIRCLES is a feast for the eyes, even if Gertrude Stein's texts as lyrics seem nonsensical at times. Just go with the flow and let the atmosphere of the avant-garde 1968 theatre scene set your mind free! If only Stein's lover Alice B. Toklas was there to hand out her special recipe brownies to enhance the 80-minute experience!

Hudson emerged from the darkness as himself with nary a trace of his Poe essence to be seen. Soon he opened the suitcase placed on the stage and as he shared how his adoration of Poe's work began, he transformed himself before our eyes into the Master of the Macabre in all his glory. And by the time Poe's signature long black coat graced his frame, the actor was no longer there and before us stood the physical essence of Edgar Allan Poe.

Sacred Fools Theater Company is launching its 23rd season with the World Premiere of the musical DEADLY by Vanessa Claire Stewart with Music by Ryan Thomas Johnson and directed by Jaime Robledo. Taking place in 1893, a time of hope and optimism as the World's Fair turns the globe's eyes toward Chicago and the cultural explosion of art and technology on display. But it is also a time when a demon lurks beneath, taking advantage of the adventuresome spirit of modern-thinking and very independent women. It just wouldn't do to forget who they were.

While I find Beckett's plays often too intensely intellectual for my comprehension, this was not the case with Irwin's seemingly effortless way of donning a bowler hat (or 2 or 3), juggling them until the perfect one is atop his head, and then going on to flop around the stage in his baggy pants and oversize shoes as a quintessential clown while explaining his interpretation of passages reflecting a?oethe noise of lifea?? in Beckett's a?oeText for Noting,a?? a?oeWatt,a?? a?oeWaiting for Godot,a?? a?oeEndgame,a?? and a?oeThe Unnamable.a?? It was an extraordinary evening of watching a master of the stage interpret the life and brilliance of a theatre legend.

Imagine my surprise, even before the September 15 DIRTY TRICKS with The New Bad Boys of Magic monthly event, when I walked into The Three Clubs to find the room where I have seen dozens of shows over the years now completely remodeled to look and feel like a real cocktail lounge performance space! And what a perfect place to sit up close and personal during the ongoing monthly comedy-magic variety s featuring Chicago natives and Los Angeles residents, now headliners at the world-famous Magic Castle, Daniel Donohue and Eric Siegel, collectively known as The New Bad Boys of Magic, along with a rotating cast of the world's foremost professional prestidigitators and other adult variety acts, making it an entertaining evening for the over 21 crowd.

Deaf West's THE SOLID LIFE OF SUGAR WATER features Sandra Mae Frank (the extraordinary deaf actor who starred as Wendla in all three of their Spring Awakening productions at Inner-City Arts, at the Wallis and on Broadway) as Alice, who uses ASL to communicate along with deaf actor Tad Cooley who portrays Phil, although his character was not written as hearing-impaired in the script. Speaking actors Natalie Camunas and Nick Apostolina give voice to Alice and Phil's most private thoughts, both in and out of bed, by shadowing the actors and often portraying other characters being described during Alice and Phil's ASL conversations, with the quartet's true partnership presenting both characters visually and verbally to perfection.

Led by Brad Ford, who has starred as CCR's lead singer John Fogerty since 1994, on guitar and harmonica, FORTUNATE SON band members include Mike Franceschini (Aka 'The Butcher') on Guitar/Vocals, Ron Ota (Aka 'The Deacon') on Bass /Vocals, and Dan Murdy (Aka 'The Matrixx') on Drums/Percussion, all of whom bring the excitement, spirit and grit of America's Favorite Rock & Roll Band, who personifies the turbulent late 60s in their music, alive in each and every song performed.

Pacific Opera Project (POP) was founded in July of 2011 with the purpose of bringing accessible, affordable, and entertaining opera to audiences across Los Angeles, with productions that are incredibly modern in format, performed with traditional music although on occasion POP has been known to change a few lyrics to reflect our current society. Such was the case in their reprise of its popular 2013 production of Gilbert and Sullivan's THE MIKADO at The Highland Park Ebell Club. I was in the audience on closing night along with a very appreciative packed house, enjoying POP's colorful production, called a?oeabout the most fun one can have in a Los Angeles theater right now,a?? with cleverly modernized Harajuku costumes for the 28 singers designed by Maggie Green, inspired by the district of Tokyo famous for its wild mix of eye-popping colors and styles.