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The first live standings have been announced for the 2022 BroadwayWorld Los Angeles Awards! Nominations were reader-submitted and now our readers get to vote for their favorites.
LITTLE RED RIDING HOOD (Catercita Roja) is Storybook Theatre's award-winning musical retelling of the famous fairy tale. There is a Granny at the Pianny, a funny wolf, and an adorable Little Riding Hood. There are opportunities for audience participation as Little Red Riding Hood goes through the woods to Granny's house. Fun for the whole family.
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.
Simi Valley Cultural Arts Center presents MAMMA MIA! from September 14 a?" October 20, 2019 with performances Friday and Saturday at 8 pm and Sunday at 2 pm at the Simi Valley Cultural Arts Center, 3050 Los Angeles Avenue, Simi Valley, CA 93065. Additional performances will be at 8 pm on Thursday, October 17 and at 2 pm on Saturday, October 12 and 19, 2019 Tickets are Adults $28, Seniors 60 & Above and Students $24, and Children 12 & Under $20 and can be purchased online at www.simi-arts.org or by calling the box office at (805) 583-7900.
Pasadena City College brought Lin-Manuel Miranda's IN THE HEIGHTS to Southern California in an exciting, vibrant, and mesmerizing production.
Santa Monica's Morgan-Wixson Theatre is sharing the comedy so prevalent in Florence Foster Jenkins performances by presenting "GLORIOUS! the True Story of Florence Foster Jenkins, the Worst Singer in The World" written by Peter Quilter through February 5, 2017. It is a hilarious and heart-warming comedy, somewhat similar to the 2016 film Florence Foster Jenkins starring Meryl Streep. As directed by Anne Gesling, and thanks to the brilliant performance of AnnaLisa Erickson as Florence, we get to know the real woman who truly believes she is the best opera singer in the world - with a remarkable ability to ignore the taunts and laughter from her critics and audiences in the pursuit of her dream. Erickson's ability to overplay Florence's brutally imperfect singing and flamboyant physical style to perfection is captivating.
Much like the much-loved musical "Fiddler on the Roof," IN THE HEIGHTS focuses on family love and traditions being challenged by the beliefs of the next generation. In our modern world where a good education can make all the difference, what does it take for a poor family to put a cherished only child through an expensive university? And what happens when the student cannot keep up and drops out and gets romantically involved with someone her parents don't think is good enough? And what happens when a neighborhood is challenged by urban renewal and its flavor is about to be lost? Can it be saved when local shop owners must leave their beloved neighborhood when rents rise?
What do the 1950s have in common with 1912? Ages of innocence, both. When Meredith Willson wrote his story with Franklin Lacey about a con artist bamboozling an Iowa town in 1912, which formed the substance of his musical The Music Man (1957), the effect became like that of N. Richard Nash's The Rainmaker. People were jubilant, ecstatic and welcomed Professor Harold Hill, as they craved a good old-fashioned love story coated with ironic excitement. He was a charmer, and they saw way past his bad side. Now in a jubilant new production at GCT, the company pulls out all the stops and yet presents a delightfully down.to.earth show that keeps the flavor of Meredith Willson in tact. With fast-paced direction from Valerie Rachelle and a terrific cast led by Brent Schindele, The Music Man offers a refreshing look at the way life should be.
Following the model of the original Broadway production, four people were pulled from the Theatre Palisades audience and asked to participate in the contest. These visiting spellers were thrown into the mix, led into musical numbers by the cast, and asked to spell words until disqualified and sent back to their seats.
