The national tour of the Pulitzer Prize-winning musical by Tom Kitt and Brian Yorkey, Next to Normal, begins in Los Angeles at the Ahmanson Theatre. Next to Normal won three 2009 Tony Awards, including best score, best orchestrations and best actress in a musical for Alice Ripley as the mother. It received 11 nominations overall.
This self proclaimed rock musical breaks the boundaries of conventional musical theatre by diving in to heavy subject matters typically reserved for drama. In the wake of similar modern musicals like Spring Awakening and American Idiot, Next to Normal soars above its contemporaries with inspiring insight into the effects of mental illness.
The music is splendidly original with its story telling quality, even though it is not as catchy as typical show tines. The story-line is emotionally terrifying with just enough humor to defuse the overall tragic tone and inspire hope.
It is a given that actress Alice Ripley as Diana is spellbinding. Her vocal talent and emotional availability is truly touching. She has had ample time to profect her role, and relives her award winning performance every time she steps on the stage.
Curt Hansen, protraying Diana's son, is equally memorizing. He commands attention as he negotiates his way around the complexly leveled set, holds his ground and belts his heart out.
Asa Somers plays the father, desperate to hold on to his family. His portrayal of the head of the household is level-headed, yet aids in the dysfunction that surrounds him.
Tickets are on the expensive side, but this show really is a must see for theatre lovers.
Next to Normal, Ahmanson Theatre, 135 N. Grand Ave., Los Angeles Music Center. 8 p.m. Tuesdays through Fridays, 2 and 8 p.m. Saturdays, 1 and 6:30 p.m. Sundays (call for exceptions). Ends Jan. 2. $20 to $95.
Thursday, November 25, 2010
Friday, November 19, 2010
Vote Now to Have Your Say on the BEST of Theatre in Southern California!
Earlier this year I was involved in a truly inspired production of Christopher Marlowe’s Edward II, adapted and directed by the talented Darcy Hogan. I always speak about this show in fondness because it was not only a satisfying experience as an artist, but I also made some life-long friends on the journey. I am so thankful to have played Margaret, and that Darcy provided me with the opportunity to originate a role which she so lovingly created.
I am proud to announce that Darcy’s adaptation has been nominated by Broadwayworld.com for Best New Work/New Adaptation. Please help support the Theatre Out family by voting today.
There are many great productions and categories on the ballot. I hope you can take a few minutes to vote for all of the wonderful artists – but if time is limited, just skip to question #17 and vote Edward II!
Vote Now to Have Your Say on the BEST of Theatre in Southern California!
I am proud to announce that Darcy’s adaptation has been nominated by Broadwayworld.com for Best New Work/New Adaptation. Please help support the Theatre Out family by voting today.
There are many great productions and categories on the ballot. I hope you can take a few minutes to vote for all of the wonderful artists – but if time is limited, just skip to question #17 and vote Edward II!
Vote Now to Have Your Say on the BEST of Theatre in Southern California!
Voting Ends December 20
Vote Edward II for Best New Work/New Adaptation (Resident Non-Equity)!
Go to http://losangeles.broadwayworld.com/vote2010socal.cfm and enter in your email address to vote.
Monday, November 15, 2010
Friday, November 12, 2010
Killjoy opens with laughs!
Opening night of Killjoy at NTAC – The Thursday night crowd packed the house, eager to laugh and comment on every uncomfortable situation. What an intelligent audience! By the time the first couple of lines were said, no one seemed to take notice of our leading lady’s tech-week injuries, which left her face black and blue. While the cast and crew have been struggling for the last week to put to finishing touches on the performance, all efforts were paid back in full by the mirthful patrons attending the performance. Whatever hardships we have faced along this journey, one thing is for certain – the audience loved the show!
Tuesday, November 9, 2010
Killjoy Gets a Bump on the Head
Killjoy’s final dress rehearsal before preview night – Just when it looked like we were back in the swing of things, our lovely and talented leading lady, Andrea LaVela, took a tumble during the blackout prior to Act 1 scene 2.
A terrible thud was heard in the darkness, and I turned around in the black to see the shadow of Andrea on the floor.
Apparently she walked up stage to retrieve a prop and tripped on the step to the upstage platform.
“What’s happened? Is everyone alright?” I heard the director call from the house. “We need lights up!” I called. With an empty house I had decided that in this case the show didn’t have to go on.
Poor Andrea knocked her head really good. It started swelling before we could get ice on her head. We kept her away from a mirror for a good 20 minutes. But once she insisted on looking there was not stopping her. “Ah! I looked like the elephant man!” she shouted.
It looked bad enough that we all urged her to go to urgent care, but the tough as nails Ms. LaVela would have none of our fussing. She finished the run sitting in our prop wheelchair with a bag of frozen spinach on her head.
Our invited dress (preview) is tomorrow night, and we open Thursday. Let’s hope the cliché, a bad dress rehearsal means a good show, holds true. We can’t afford any more injuries.
A terrible thud was heard in the darkness, and I turned around in the black to see the shadow of Andrea on the floor.
Apparently she walked up stage to retrieve a prop and tripped on the step to the upstage platform.
“What’s happened? Is everyone alright?” I heard the director call from the house. “We need lights up!” I called. With an empty house I had decided that in this case the show didn’t have to go on.
Poor Andrea knocked her head really good. It started swelling before we could get ice on her head. We kept her away from a mirror for a good 20 minutes. But once she insisted on looking there was not stopping her. “Ah! I looked like the elephant man!” she shouted.
It looked bad enough that we all urged her to go to urgent care, but the tough as nails Ms. LaVela would have none of our fussing. She finished the run sitting in our prop wheelchair with a bag of frozen spinach on her head.
Our invited dress (preview) is tomorrow night, and we open Thursday. Let’s hope the cliché, a bad dress rehearsal means a good show, holds true. We can’t afford any more injuries.
Monday, November 8, 2010
Finding Vicki's Truth....
I find myself on the cusp of opening Killjoy at the Newport Theatre Arts Center.
When I began this project I looked at "Vicki" as a modest and simple role. Playing the level-headed daughter in a modern romantic comedy/murder mystery with 52 lines cues and 5 entrances seemed mildly simple compared to my former projects this year – playing 4 separate characters in Almost, Maine and tackling Christopher Marlowe’s Edward II.
Yet, somewhere along the way I lost touch with my initial impressions of this play, and allowed the text to overwhelm me. There was a period in rehearsal when – much to my director’s dismay, I am sure – I could not find the truth in the lines.
My character became flat and hypocritical in my mind—I wondered what motivated her. I questioned her choice of diction, her actions, her relationships with her family. I could not connect the action. What was the moment before? I could not imagine what she was doing offstage, what she did when she was alone, what her relationship was like with her finance (who never appears in the show, but is frequently spoken about).
Worst of all, I could not figure out her function in the play. Here is a young woman who is about to enter into marriage with Lester – a man that “worships” her, despite the fact that he never appears in the play to support her. She is responsible, business savvy and intelligent, yet she shows her immaturity by calling her father “Daddy”. Her immediate family is completely dysfunctional, only coming together to plan her wedding—a wedding that is only important to the play due to a plot convention used to serve a piece of poisoned wedding cake to her despicable father.
Last weekend I finally had an epiphany – What if I approached this play as a film script?
In college I remember sitting in film class, with the camera over my right shoulder as my scene partner recited a rather lengthy monologue (as far as films go) from Sex, Lies and Video Tape. I remember my scene partner struggling, asking questions – Do I know about the affair at this point in the script? Have I made the decision to ask for a divorce? Etc. I remember my professor passing down these words of knowledge: Keep it simple. Play the moment.
What he meant when he said these words is something that he emphasized many times in class. When you make a film you will most likely be filming scenes out of order –so to think in terms of a timeline is often counterproductive. The successful film actor asks themselves these two things: What do I want in this scene? How am I going to get it? The rest is just listening and reacting.
So I thought to myself, what if I just play the moment? I brought myself back to the basics. I found myself in the moment, discovered goals and new tactics for my character. I listened to my mother, I listened to my brother and I listened to my father. And somehow through it all I think I got back to the roots of my character.
With only three rehearsals left, I am ready to put on my costumes for the first time tonight and hopefully discover the inner Vicki. Let’s get this show on a roll!
When I began this project I looked at "Vicki" as a modest and simple role. Playing the level-headed daughter in a modern romantic comedy/murder mystery with 52 lines cues and 5 entrances seemed mildly simple compared to my former projects this year – playing 4 separate characters in Almost, Maine and tackling Christopher Marlowe’s Edward II.
Yet, somewhere along the way I lost touch with my initial impressions of this play, and allowed the text to overwhelm me. There was a period in rehearsal when – much to my director’s dismay, I am sure – I could not find the truth in the lines.
My character became flat and hypocritical in my mind—I wondered what motivated her. I questioned her choice of diction, her actions, her relationships with her family. I could not connect the action. What was the moment before? I could not imagine what she was doing offstage, what she did when she was alone, what her relationship was like with her finance (who never appears in the show, but is frequently spoken about).
Worst of all, I could not figure out her function in the play. Here is a young woman who is about to enter into marriage with Lester – a man that “worships” her, despite the fact that he never appears in the play to support her. She is responsible, business savvy and intelligent, yet she shows her immaturity by calling her father “Daddy”. Her immediate family is completely dysfunctional, only coming together to plan her wedding—a wedding that is only important to the play due to a plot convention used to serve a piece of poisoned wedding cake to her despicable father.
Last weekend I finally had an epiphany – What if I approached this play as a film script?
In college I remember sitting in film class, with the camera over my right shoulder as my scene partner recited a rather lengthy monologue (as far as films go) from Sex, Lies and Video Tape. I remember my scene partner struggling, asking questions – Do I know about the affair at this point in the script? Have I made the decision to ask for a divorce? Etc. I remember my professor passing down these words of knowledge: Keep it simple. Play the moment.
What he meant when he said these words is something that he emphasized many times in class. When you make a film you will most likely be filming scenes out of order –so to think in terms of a timeline is often counterproductive. The successful film actor asks themselves these two things: What do I want in this scene? How am I going to get it? The rest is just listening and reacting.
So I thought to myself, what if I just play the moment? I brought myself back to the basics. I found myself in the moment, discovered goals and new tactics for my character. I listened to my mother, I listened to my brother and I listened to my father. And somehow through it all I think I got back to the roots of my character.
With only three rehearsals left, I am ready to put on my costumes for the first time tonight and hopefully discover the inner Vicki. Let’s get this show on a roll!
Saturday, October 23, 2010
A Charming Devil! - Who Knew?
Clive Barker’s The History of the Devil, is a surprising brilliant play, if you are able to sit still for the 3.5 hour ordeal. For an actor it is an exercise in character development and stamina. For an audience it can easily become tedious and long. However, director M.S., Cliff E. Threadgold’s production at the Garage Theatre proves that this epic play is an edge of your seat adventure.
While plays with a religious connotation are often a reminder of the forsaken mystery and morality plays of the medieval ages, The History of the Devil is a modern and edgy twist on the subculture surrounding Lucifer’s fall from grace.
The play revolves around a trial by jury – where the devil seeks a pardon for his heinous deeds in order to return to heaven. The defense and prosecution both plead their case in the dessert wasteland of Kenya. As the plot unravels the audience is transported through time and space – given an inside glimpse into the devil’s past.
Angel Correa gives a standout performance as the devil. He is charmingly deceptive, despicable and sensual. He seems otherworldly in his mannerisms and speech. His performance provokes the question – What is evil? Can we be seduced by such evil and for what purpose?
Amy Louise Sebetius matches Correa’s ferocity in many characters she plays –using a variety of dialects added distinction to her roles. Most haunting of all was her portrayal of an accused Salem Witch, beaten down and imprisoned, pleading for the devil to come to her aid.
While there is some disunity in time provided on behalf of Clive Barker, this otherwise well structured play with a strong ensemble cast is a must see this season.
Read more review at What the Butler Saw and in the Daily 49er.
The History of the Devil; Performances are 8pm, Thurs. - Sat. The show runs until Oct. 30. Tickets are $15-18. The Garage Theatre is located at 251 E 7th St. For more info call 433-8337 or visit www.thegaragetheatre.org.
While plays with a religious connotation are often a reminder of the forsaken mystery and morality plays of the medieval ages, The History of the Devil is a modern and edgy twist on the subculture surrounding Lucifer’s fall from grace.
The play revolves around a trial by jury – where the devil seeks a pardon for his heinous deeds in order to return to heaven. The defense and prosecution both plead their case in the dessert wasteland of Kenya. As the plot unravels the audience is transported through time and space – given an inside glimpse into the devil’s past.
Angel Correa gives a standout performance as the devil. He is charmingly deceptive, despicable and sensual. He seems otherworldly in his mannerisms and speech. His performance provokes the question – What is evil? Can we be seduced by such evil and for what purpose?
Amy Louise Sebetius matches Correa’s ferocity in many characters she plays –using a variety of dialects added distinction to her roles. Most haunting of all was her portrayal of an accused Salem Witch, beaten down and imprisoned, pleading for the devil to come to her aid.
While there is some disunity in time provided on behalf of Clive Barker, this otherwise well structured play with a strong ensemble cast is a must see this season.
Read more review at What the Butler Saw and in the Daily 49er.
The History of the Devil; Performances are 8pm, Thurs. - Sat. The show runs until Oct. 30. Tickets are $15-18. The Garage Theatre is located at 251 E 7th St. For more info call 433-8337 or visit www.thegaragetheatre.org.
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