The 340-square-foot Deluxe King Suite features a plush king-size bed, hardwood flooring, granite bathrooms, flat-screen television, fully stocked mini-bar, and a coffee maker. The room also comes with a comfy sleeper sofa, office desk with free hi-speed WiFi and beautiful, music-inspired artwork that is a nod to the hotel’s location across the street from Costa Mesa’s Theater and Arts District.

The highlight of the suite is a giant sliding glass door and balcony, overlooking the hotel pool and a large community park and lake full of tall trees and walking paths and flocks of ducks, geese and other local birds. The vantage point also offers incredible views of planes heading to and from John Wayne Airport about 4 miles away.

When not relaxing in the room, the family and I lounged poolside or explored the eclectic Theater District. The pool is situated on the ground floor beside the lake. It is a shady haven beneath tall trees, with umbrellas, chairs, a Jacuzzi and crystal clear water. It is a peaceful and playful spot where one can relax poolside while watching ducks and geese play in the lake.

Beyond the hotel, we found exciting and delectable food choices within walking distance or a very short car ride. One of my favorite spots was Habana, a Cuban-inspired restaurant with a large outdoor patio and fire pits. Named one of the best outdoor dining spots in the U.S by Open Table and most romantic restaurants in the U.S. on Yelp, Habana serves up tasty Cuban dishes such as Ropa Vieja with shredded beef, sofrito black beans, white rice and sweet plantains; and El Churrasco grilled skirt steak.

For our lunch we devoured Salmon a la Parrilla, a memorable piece of succulent salmon in a spicy tomato cream sauce, with sofrito black beans, buttered white rice, and sweet plantains; and a half roasted chicken with garlic mojo, pickled white onions, sofrito black beans, buttered white rice and sweet plantains.

Habana is located in an eclectic enclave called The LAB. The name stands for “Little American Business” and is a celebration of small and unique businesses and restaurants. Besides Habana Restaurant, The LAB features old, silver Airstream trailers selling clothes and jewelry, an organic coffee shop, a few small hidden bars, and more.

After lunch we headed back to Avenue of the Arts Hotel to relax by the pool and walk around the lake to watch geese, ducks, fish and turtles frolic in the water. We then explored the 238-room, AAA Four-Diamond hotel. Located in the heart of Costa Mesa’s Theater and Arts District, Avenue of the Arts is an eclectic art-filled property with boutique charm and a flair for luxury. The modern rooms and suites are stylish, with plush furnishings and beds, and a resort-style feel.

Next to the hotel is the Segerstrom Center for the Arts, a world-class performing arts campus and Orange County’s largest non-profit arts organization. An architectural gem, the center boasts six performance venues — the main two being Segerstrom Hall and Renee & Henry Segerstrom Concert Hall. The place is also home to the American Ballet Theatre William J. Gillespie School. The campus is getting a new addition later this year when the new 53,000-square-foot, Orange County Museum of Art opens.

Across the street from Segerstrom Center for the Arts is South Coast Plaza, a renowned international destination for shopping and dining that is home to more than 250 prominent boutiques and acclaimed restaurants.

After touring the area we had drinks and appetizers at the hotel’s signature dining spot, Silver Trumpet Restaurant & Bar. The restaurant offers an artisanal culinary experience to match the creative arts district. The contemporary California cuisine is served under the direction of expert Chef Hector Zamora in a sophisticated dining space surrounded by tranquil lake views.

Our next stop was an outdoor dance class at Segerstrom Center for the Arts. Every Tuesday night a professional dancer leads participants in different types of dance, from Broadway shows to Salsa.

From here we headed to Spain, via Costa Mesa. In other words we had an exciting and delicious Authentic Spanish dinner at Vaca. Located next to Segerstrom Center, Vaca is operated by Chef Amar Santana (runner up on Bravo’s Top Chef Season 13). Vaca is known for specialty imported meats and cheeses, and assorted tapas from the diverse regions of Spain. At Vaca dishes are tapas and family style and are “meant to share over great conversation, atmosphere and with an amazing crafted drink or aromatic wine in hand.”

Our meal was highlighted by various tapa plates such as Pulpo A La Gallega, warm spanish octopus, fingerling potatoes, pimentón, spanish olive oil; Gambas Al Ajillo, sautéed shrimp , olive oil, garlic, chili flakes, grilled bread; Albacore Tataki, albacore tataki, strawberry, yuzu-ginger-soy, toasted sesame seeds, crispy quinoa, cilantro; and Piquillos Rellenos, beer battered, cheese stuffed piquillo peppers, pickled grapes, peanut romesco. For dessert we had decadent and delicious fresh-made churros with chocolate dipping sauce.

Other tasty food places to try in Costa Mesa include Outpost Kitchen, a gourmet coffee and organic food eatery; Marugame Udon, homemade noodles; Pie Society, a local speakeasy / pizzeria with hand-crafted cocktails and pitfire pizza; and Sidecar Doughnuts, which was recognized by Food & Wine as California’s Best Doughnut.

More info on Avenue of the Arts Hotel

More info on Costa Mesa

The post Cuisine, Comfort and Culture in Costa Mesa appeared first on Traveling Archive.

The first time I saw Andy Garcia was in The Untouchables.  I was mesmerized by his acting and powerful on-screen presence.  I made a note to myself that he was a young actor destined to become a major movie star and, indeed, he has. With dozens of movie credits going back to 1984, there are too many to list but here are a few of my favorites: Mamma Mia! Here We Go Again, Book Club, Kill the Messenger, Rob The Mob, At Middleton, City Island, Ocean’s Twelve( and Thirteen,)  Smokin’Aces, When a Man Loves a Woman, The Godfather, Part III, and Internal Affairs.  So, it was with great anticipation that I was going to cover Jeffrey Hatcher and Garcia’s adaption of  the 1948 film noir version of Key Largo starring the incomparable team of Humphrey Bogart and Lauren Bacall, as well as super bad guy, Edward G. Robinson.  It was directed by John Huston, who changed the original story of Maxwell Anderson’s 1939 play, which centered around the Spanish Civil War.

Presented by the Geffen Playhouse, Warner Brothers Theatre Ventures, in association with Frank Mancuso and Andy Garcia, there is nothing overtly wrong with the play.  The casting is excellent, beginning with Garcia in the lead role of Johnny Rocco, a bad guy who was deported to Italy for a year and a day, but sneaked back to America via Cuba and was now running a drug cartel.

The action is played out on set designer John Lee Beatty’s sprawling, incredibly detailed period set of the hotel lobby, which was perfect for the ensuing unfolding drama.  The hotel is closed for the winter and is occupied by caretakers blind Mr. D’Alcala (Tony Plana) and his widowed daughter-in-law, Nora D’Alcala (Rose McIver).

While a full-blown hurricane is brewing, the hotel has been taken over by Rocco and his gang.  Curly (Louis Mustillo) and Toots (Stephen Borrello) are the boss’s henchman who keep Nora and Mr. D’Alcala at bay.  Also present is Gaye Dawn, Rocco’s girlfriend, exquisitely played by Joely Fisher.  Gaye is a former entertainer but has turned into lush and is treated very poorly by Rocco.  She gives one of the best, heart breaking performances of the evening when Rocco forces her to sing for a drink that she desperately needs.

Rounding out the cast is the very talented Danny Pino as the troubled, brooding Frank McCloud who was a captain during World War II and has been traveling around the country to talk to parents of soldiers killed in combat. Mr. D’Alcala’s son served under McCloud’s command but made a decision to counter his captain’s orders, which had tragic results.  We don’t exactly know what’s wrong with McCloud as Pino keeps that sub-text well under wraps.  Now, what would a town be like without a sheriff?  Well, Richard Riehle does an okay job as the corrupt Sheriff Gash who has no compunctions about taking a bribe here and there.  Finally there’s the character of Ziggy, well played by Bradley Snedeker, who brings a bit of much needed levity to the proceedings.  This snappy, handsome dude is a drug dealer who drives down to Key Largo during the raging hurricane for a drug buy from Rocco.  Carrying a suitcase filled with money, on seeing the young Nora and blind Mr. D’Alcala quips, “Is this the new gang?  They look pretty tough.”  Let’s just say there’s an unexpected twist to the quarter-of-a-million dollar cocaine transaction.

There are confrontations between McCloud and Rocco, which included pistols and an undeveloped relationship between McCloud and Nora to whom Rocco has taken a fancy.  This bad guy, with all his bluster, is actually afraid of thunder, which could tarnish his tough-guy image just a bit, and makes him human instead of a cliché characterization of an Italian gangster. Mahem ensues and there’s lots of unconvincing shooting.  All this action takes place during an increase in the hurricane’s ferocity, beautifully replicated by Alex Hawthorn’s thunderous sound effects, including the sound of a buoy being tossed around in the water or hearing thunder or seeing the pouring rain through a window and the skylight.  Peter Kaczorowski’s lighting design, and Linda Cho’s costumes, especially those nifty suits in which she dressed Garcia, are both outstanding. Rounding out the excellent production values are Kaitlyn Pietras and Jason H. Thompson’s projection designs, and Arturo Sandoval’s music, all working together for a satisfying audio-visual experience.

Again, there is nothing terribly wrong with this production.  All the technical elements are outstanding, as well as a highly professional cast, but Doug Hughes’ direction left a number of dead spots both in some of the stagnant  blocking and uneven  pacing.  There are no particularly strong highs or lows but all this said, seeing Andy Garcia, Danny Pino, and Joely Fisher deliver strong performances makes this re-imagined production of Key Largo just a tad short of spectacular, but definitely worth a trip to The Geffen Playhouse.

Gil Cates Theater
The Geffen Playhouse
10886 Le Conte Avenue
Los Angeles, CA 90024

Run:
Tuesday  – Friday: 8:00pm
Saturday:   3:00pm: & 8:00pm
Sunday:      2:00pm: & 7:00pm

Closing:      December May 10, 2019

Tickets:      $30-$145
310.208.5454 or www.geffenplayhouse.com

Box Office Rush Tickets: 30 minutes before curtain

$35.00 General/$15.00 Student

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The Mischief Theatre production of The Play That Goes Wrong, written by Henry Lewis, Jonathan Sayer, and Henry Shields, could be subtitled Laurel & Hardy meet the Marx Brothers and the Three Stooges with a sprinkling of the comic antics of Max Sennett and Charlie Chaplin, who before “talkies,” entertained film-going audiences with his hilarious slapstick routines.

Incorporating various elements of physical and visual comedy, the madcap antics  begin as the audience is taking its seats.   Stagehands are checking props and set pieces in anticipation of the opening night of, The Murder at Haversham Manor, presented by The Cornley University Drama Society.  The plot centers on a murder that has taken place on the eve of the engagement of Florence Colleymoore (Jamie Ann Romero) to Charles Haversham (Yaegel T. Welch).   The lighting and sound operator, wonderfully played by Brandon J. Ellis, is trying to close a door which, despite many attempts, simply won’t stay closed.  A great example of building on a comedic action, it stays closed for a second or two and then reopens.  Another visual gag centers around a piece of wood one of the actors is trying to attach as a mantle but it keeps falling off.  The same actor is attempting to find a way to keep the door closed while at the same time holding up the mantle piece.  He accomplishes this through the use of various limbs.  The stage manager, Annie (Angela Grovey), comes to the rescue of the malfunctioning props wielding a giant role of masking tape, which she uses to secure the mantle.

More slapstick antics ensue and remember all this is taking place before the actual play begins.  Later on, when the grieving fiancée has a fainting spell, Annie steps in and reads her lines from the script.  Subsequently, because she’s enjoying “acting,” she gets into a physical confrontation with the actress playing Colleymore, who is dragged off stage through a pane-less window by the other actors.

With set pieces seemingly under control, and before the action actually begins, a speech is given to the audience by the director – not the brilliant original Broadway director Mark Bell or the National Tour Director Matt DiCarlo, but the play within the play director, characterized by talented Evan Alexander Smith, who also plays Inspector Carter.  Confused?  That’s ok.  It is confusing, but laughter abounds every step of the way. He addresses the audience thanking them for their patience and apologizes for the mix-up to those people thinking apologizes they bought tickets to a performance of Hamilton.  He gives some background on the 1920 mystery thriller and the action finally begins with the dead body of murdered Charles stretched out on the sofa.  However, it’s hard for him to stay dead and every once in a while he moves a different part of his body.

Inspector Carter arrives and tries to hang up his coat, but there is no hook and his coat falls to the floor, which he ignores.  This is just one of the myriad sight gags that will keep you laughing.  Another comedic element is the split “bad timing” on some of the dialogue where the reaction comes before the actual line.  For example, but not necessarily in the play, someone says, “God bless you” before the sneeze.  An actual example is when bad-tasting whiskey is poured and the actors spit it out with the line “That’s the best whiskey I’ve ever had.” These miss-timed or contradictory lines permeate the entire play resulting in the audience trying to catch its collective breath as these moments appear at an accelerated rate.  At one point, the inspector is late on his entrance so the rest of the cast freezes in place until he finally appears and delivers his line.  The audience even got into the act.  One of the characters is looking for something and someone yells, “Look under the chair!”

In the genre of farce or slapstick, the brilliantly designed “non-functional” set by Nigel Hook is absolutely spot on as just when you thought nothing else could malfunction, something does.  Another comical moment is when the inspector, along with Cecil Haversham, (Ned Noyes) brother of the deceased Charles, attempt to remove the body from the parlor sofa.   As the not really dead body is laid on top of a stretcher, it collapses leaving a gaping hole where the canvas should be but, ignoring that mishap, they carry out an empty stretcher.  The actor playing Charles (Yaegel T. Welch) knows he shouldn’t still be on stage and slowly, ever so slowly, crawls off and despite being “dead,” turns up unexpectedly from time to time throughout the play where he is reminded by another cast member that he’s supposed to be dead.  I would be remiss if I didn’t mention Perkins the butler, who constantly screws up his lines and misses cues.  This delightful character is wonderfully played by Scott Cote.   With his almost operatic, beautiful bass booming voice, the most imposing Peyton Crim plays Florence’s brother Thomas Colleymoore.  He is a master of visual comedy and perched high above the stage, uses just about every part of his body from head to toe to keep the set pieces from falling to the floor below.  Despite one technical snafu after another, all of which are ignored by the actors, Inspector Carter finally solves the crime.  This is not a spoiler, but think Charles’ brother Cecil and the heart broken fiancée, Florence.  I hope this is not TMI.

Contributing to the awesome technical elements of this production are Ric Mountjoy’s excellent lighting design, Roberto Surace’s costumes, Andrew Johnson’s sound design and Rob Falconer’s pre-set original “goofy” or “silly” music, which set the tone on what silliness lay ahead.

“The Play That Went Wrong”

Ahmanson Theatre
135 N. Grand Avenue
Los Angeles, CA 90012

Run: Tuesday – Friday:  8:00 pm
Saturday:    2:00 pm & 8:00 pm
Sunday:       1:00 pm & 6:30 pm

Tickets: $30 – $135
(ticket prices are subject to change)

Closing: Sunday, August 11, 2019 – 1:00 pm

Reservations:  (213) 972-4400 or www.CenterTheatreGroup.org
Groups: (213) 972-7231.
Deaf community: CenterTheatreGroup.org/ACCESS

The post The Hilarious “The Play That Goes Wrong” Entertains at the Ahmanson Theatre appeared first on Traveling Archive.

Is it a book?  Is it a film?  Is it a play? Is it a musical? Is it “Jersey Boys?”  Is it “Guys & Dolls?”  Is it “West Side Story?”  Well, my friends, if this production was a stew, it would be a dash of this, a little bit of that, and a drop or two of schmaltz* for seasoning.  “A Bronx Tale” the musical, is yet another iteration of Academy Award nominee Chazz Palminteri’s heartwarming, semi-autobiographical story based on his childhood.  The genesis of the current version began when he was 40.  His career wasn’t exactly skyrocketing and as any smart, ambitious actor would do, he decided to write and star in his own material.  He launched his one-man show in Los Angeles after which it travelled to off-Broadway and enjoyed a successful run.  Eventually it morphed into a film directed and acted by two-time Oscar winner Robert De Niro, who also co-directed with four-time Tony Award winner Jerry Zaks for the current North American tour.

The story, told through the eyes of the adult character of Calogero, portrayed by Joey Barreiro, takes us from his childhood and teenage years to adulthood. The tale begins with a familiar Frank Sinatra shot of a quartet of bebop singers standing under a lamppost, illuminated by an effective lighting design by Howell Binkley, which is consistent throughout the production.  With a backdrop of movable multi-level fire escapes and storefronts by set designer Beowulf Boritt, “Belmont Avenue” sung by the ensemble and a young Calogero, kicks off the first of 18 production numbers with music by Oscar, Grammy, and Tony Award winner Alan Menken with lyrics penned by Glenn Slater, Grammy Award winner and Oscar and Tony Award nominee, with choreography by Tony nominee Sergio Trujillo.

The youthful Calogero, played by a little dynamo named Frankie Leoni, lives in this Italian-American Bronx neighborhood with his father Lorenzo, (Richard H. Blake) and his mom, Rosina (Michelle Aravena).  Dad is a hard working bus driver who makes just about enough money to pay the rent and put food on the table.  Their kid witnesses a shooting by the local gangster, Sonny, well played by Joe Barbara, but when interviewed by the police, and asked to identify the shooter, Calogero, declines to pick the killer out of the lineup. This act becomes an immediate bond between he and Sonny, who nicknames him “C.”  Hence begins a tug of war for influence over the youngster between his dad and this exciting, well-dressed, slick guy who is free and easy with money.  He gives “C” a hundred bucks for bringing him luck in a crap game during which Sonny, “C” and the ensemble sing “Roll “Em.”  Over “C’s” strong objections, dad returns the money to Sonny whose colorful gang members have Runyonesque names such as Handsome Nick, (Giovanni DiGabriele,) Rudy the Voice, (John Gardiner,) Frankie Coffeecake, (Robert Pieranunzi,) Eddie Mush, (Mike Backes,)  JoJo the Whale (Michael Barra,) Crazy Mario (Joseph Sammour) Tony-Ten-To-Two (Paul Salvatoriello,) and Sally Slick (Sean Bell). Sonny has profound effect on “C’s” life, saving him from dying in an explosion that killed his friends.  He recognizes early on that this kid is special and encourages him to make something of himself, which clearly he did as in addition to writing “A Bronx Tale,” the talented Mr. Palminteri has had a successful career with starring roles on stage, film and television.

Of course, what would a good story be without a complicated love life and here we have yet another version of the war between the Capulets and Montagues in Shakespeare’s “Romeo & Juliet,” or the conflict between the white Jets and Puerto Rican Sharks in “Westside Story.” So, this young man falls in love with Jane, (Brianna-Marie Bell) a black girl from Webster Avenue, forbidden territory for “C” and his gang, as is Belmont Avenue off limits for Jane’s brother Tyrone (Antonio Beverly) and his gang.   Jane, Calogero, Tyrone, Denise (Ashley McManus) and Frieda (Brandi Porter) sing a rousing “Webster Avenue.”  Some of the other production numbers include, “Look to Your Heart,” “Giving Back the Money,” “These Streets,” “Out of Your Head,” “In A World Like This,” and “The Choices We Make.”

A lot of talent went into creating this production including Robert Westley’s excellent fight sequences and William Ivey Long’s costumes.  Although there is nothing intrinsically wrong with this show – excellent acting and powerful legit voices – there is nothing particularly outstanding.  It’s akin to a satisfying meal that doesn’t stick to your ribs or cause a bitter aftertaste.  It’s unmemorable, but nice.

*schmaltz – rendered (clarified) chicken or goose fat used for frying or as a spread on bread.

“A Bronx Tale”
Hollywood Pantages Theatre
6233 Hollywood Blvd.
Los Angeles, CA 90028

Performance Schedule:

• Tuesday – Friday: 8:00 pm
• Saturday: 2:00 pm & 8:00 pm
• Sunday: 1:00 pm & 6:30 pm

No evening performances: Thursday 11/22 & Sun 11/25
Added performances: Monday: 11/19  8:00 pm & Friday 11/23: 2:00 pm
Closing:  1:00 pm Sunday, November 25, 2018
Individual Tickets start at: $35

Phone:  1-800-982-2787 or Online:  HollywoodPantages.com
Ticketmaster.com
In Person: Hollywood Pantages Box Office

The post A White Bread Version of “A Bronx Tale” on Stage at the Pantages Theatre appeared first on Traveling Archive.

As animated on the big screen, the Live in HD simulcasts offer an up-close and personal look at the opera’s staging — beads of sweat-on-the-brow, and all — that is truly thrilling. Moreover, with the easy-to-read supertitles, it is simple to follow the story line, even if the libretto is one of opera’s more notoriously convoluted plots. Additionally, the Saturday afternoon simulcasts are often shown again on the following Wednesday evenings, with an encore screening. The transmissions are accompanied by engrossing intermission segments — behind the scenes, say, with the scenic or costume department, or an interview with a popular tenor or soprano, or an informative segment about a modern composer. It is always a rewarding afternoon, culturally, educationally, and visually.

Fathom Events is one of the largest overall distributors of content to movie theaters and is well-known for its domestic presentations of event-cinema, including high-definition performances of not only the Metropolitan Opera, but also dance and theater productions, such as performances of the Bolshoi Ballet and England’s National Theatre; additionally, Fathom presents screenings of classic films.

Tickets for The Met Live in HD 2018-19 season can be purchased online at Fathom Events or at participating theater box offices. For a complete list of theater locations, visit the Fathom Events website (theaters and participants are subject to change). Details on ordering tickets for the 2018-19 broadcasts vary from country to country.

The Met Live in HD series is made possible by a generous grant from its founding sponsor, the Neubauer Family Foundation. Global sponsorship is provided by Bloomberg Philanthropies. Transmission in Canada is made possible through the generosity of Jacqueline Desmarais, in memory of Paul G. Desmarais, Sr.  Within months of their initial live transmissions, many of the operas from the Live in HD programs are shown on the Public Broadcasting System. The PBS series, Great Performances at the Met, is produced in association with PBS and WNET, with support from Toll Brothers, one of America’s luxury home builders. Additional funding is provided by the National Endowment for the Arts.

The 2018-19 season began in early October with a broadcast of Aida, and continues with the following roster:

SAMSON ET DALILA (Camille Saint-Saëns) – New Production / First Time in HD

Saturday, October 20, 2018 – 12:55 p.m. ET/ 11:55 a.m. CT/ 10:55 a.m. MT/ 9:55 a.m. PT
Encores: Wednesday, October 24 – 1:00 and 6:30 p.m. local time

Saint-Saëns’s biblical epic Samson et Dalila stars Elīna Garanča and Roberto Alagna in the title roles; the pair was last seen together by HD audiences in the acclaimed 2010 transmission of Bizet’s Carmen. Laurent Naouri co-stars as the High Priest, with Elchin Azizov as the Philistine King Abimélech and Dmitry Belosselskiy as the Old Hebrew. Darko Tresnjak, the Tony Award–winning director of A Gentleman’s Guide to Love & Murder, makes his Met debut directing the first new Met production of the opera in 20 years. Sir Mark Elder conducts.

LA FANCIULLA DEL WEST  (Giacomo Puccini) – Revival

Saturday, October 27, 2018 – 12:55 p.m. ET/ 11:55 a.m. CT/ 10:55 a.m. MT/ 9:55 a.m. PT
Encores: Wednesday, October 31 – 1:00 and 6:30 p.m. local time

Soprano Eva-Maria Westbroek sings Puccini’s gun-slinging heroine in this romantic epic of the Wild West, alongside star tenor Jonas Kaufmann in the role of the outlaw Dick Johnson. Baritone Željko Lučić is the vigilante sheriff Jack Rance, and Marco Armiliato conducts.

MARNIE  (Nico Muhly/Libretto Nicholas Wright) – Met Premiere / First Time in HD

Saturday, November 10, 2018 – 12:55 p.m. ET/ 11:55 a.m. CT/ 10:55 a.m. MT/ 9:55 a.m. PT
Encores: Wednesday, November 14 – 1:00 and 6:30 p.m. local time

Nico Muhly’s Marnie, based on Winston Graham’s novel, which in turn inspired Alfred Hitchock’s suspenseful thriller, has its U.S. premiere at the Met this season. Isabel Leonard stars in the title role opposite Christopher Maltman as her blackmailing husband Mark Rutland, Iestyn Davies as his brother Terry, Janis Kelly as Mrs. Rutland, and acclaimed mezzo-soprano Denyce Graves as Marnie’s mother. Robert Spano makes his company debut conducting.

THE MAGIC FLUTE  (Wolfgang Amadeus Mozart) – Revival; a special presentation of the festive opera for the holiday season, and not a simulcast of a live opera that afternoon.

Encore: Saturday, December 1, 2018 – 12:55 p.m. local time

Julie Taymor’s dazzling production returns to select cinemas this holiday season in an encore presentation of the company’s first-ever Live in HD transmission. James Levine conducts a winning ensemble including Matthew Polenzani, Nathan Gunn and René Pape in this abridged, English-language version of Mozart’s classic fable.

LA TRAVIATA (Giuseppe Verdi) – New Production

Saturday, December 15, 2018 – 12:55 p.m. ET/ 11:55 a.m. CT/ 10:55 a.m. MT/ 9:55 a.m. PT  
Encores: Wednesday, December 19 – 1:00 and 6:30 p.m. local time

Met Music Director Yannick Nézet-Séguin conducts Verdi’s timeless tragedy La Traviata. Directed by Michael Mayer, this new production features a dazzling 18th-century setting that changes with the seasons. Diana Damrau is the doomed heroine Violetta, opposite Juan Diego Flórez as her lover, Alfredo, and Quinn Kelsey as Alfredo’s protective father, Giorgio Germont.

ADRIANA LECOUVREUR (Francesco Cilea) – New Production / First Time in HD

Saturday, January 12, 2019 – 12:55 p.m. ET/ 11:55 a.m. CT/ 10:55 a.m. MT/ 9:55 a.m. PT
Encores: Wednesday, January 16 – 1:00 and 6:30 p.m. local time

For the first time at the Met, Anna Netrebko sings the title role of Adriana Lecouvreur, the great 18th-century actress in love with the military hero Maurizio, sung by Piotr Beczała. Gianandrea Noseda conducts Cilea’s tragedy, directed by Sir David McVicar, with the action partially set in a working replica of a Baroque theater. The cast also features Anita Rachvelishvili as the Princess of Bouillon, Adriana’s rival for Maurizio’s affections; Ambrogio Maestri as Michonnet, Adriana’s faithful friend; and Carlo Bosi as the duplicitous Abbé.

CARMEN (Georges Bizet) – Revival

Saturday, February 2, 2019 – 12:55 p.m. ET/ 11:55 a.m. CT/ 10:55 a.m. MT/ 9:55 a.m. PT
Encores: Wednesday, February 6 – 1:00 and 6:30 p.m. local time
Saturday, February 9 – 12:55 p.m. local time

Clémentine Margaine is opera’s ultimate seductress, opposite Roberto Alagna, who captivated Live in HD audiences as Don José in 2010. Louis Langrée conducts Sir Richard Eyre’s lively production, a favorite in the Met’s repertoire.

LA FILLE DU RÉGIMENT (Gaetano Donizetti) – Revival

Saturday, March 2, 2019 – 12:55 p.m. ET/ 11:55 a.m. CT/ 10:55 a.m. MT/ 9:55 a.m. PT
Encores: Wednesday, March 6 – 1:00 and 6:30 p.m. local time

Bel canto stars Pretty Yende and Javier Camarena team up for a feast of vocal fireworks on the Met stage. Maurizio Muraro is Sergeant Sulplice, with Stephanie Blythe as the outlandish Marquise of Berkenfield. Enrique Mazzola conducts.

DIE WALKÜRE (Richard Wagner) – Revival

Saturday, March 30, 2019 – 12:00 p.m. ET/ 11:00 a.m. CT/ 10:00 a.m. MT/ 9:00 a.m. PT
Encores: Wednesday, April 3 – 12:30 p.m. and 6:30 p.m. local time

The second installment of Wagner’s Ring cycle, Die Walküre, stars heroic soprano Christine Goerke as the warrior goddess Brünnhilde, whose encounter with the mortal twins Siegmund and Sieglinde, sung by Stuart Skelton and Eva-Maria Westbroek, leads her on a journey from Valhalla to earthbound humanity. Philippe Jordan conducts.

DIALOGUES DES CARMÉLITES (Francis Poulenc) – Revival / First Time in HD

Saturday, May 11, 2019 – 12:00 p.m. ET/ 11:00 a.m. CT/ 10:00 a.m. MT/ 9:00 a.m. PT
Encores: Wednesday, May 15 – 1:00 and 6:30 p.m. local time

Met Music Director Yannick Nézet-Séguin leads an accomplished ensemble in Poulenc’s devastating modern masterpiece of faith and martyrdom. Isabel Leonard is the young Blanche de La Force, opposite Met legend Karita Mattila as the First Prioress.

© 2018  Ruth J. Katz  All Rights Reserved

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The sometimes-heartbreaking story revolves around 17-year-old Evan Hansen, played to perfection by Ben Levi Ross who was the understudy in the New York production. His portrayal of Evan as an extremely maladjusted teenager who is more comfortable being on his computer than interacting with his classmates people, nothing short of spine tingling.   This amazing young actor has mined the myriad complexities of his character, not only the organic vocal stuttering, but imbued his body with all the tics and mannerisms that go with such a neurotic, jittery person.  It would have been easy to layer on some of his quirky body gestures but this actor’s physicalization clearly grew out of the deepest recesses of his character’s psyche and one can feel the painful struggle Evan goes through on a daily basis.

The story begins rather innocently.  Evan has been assigned by his therapist to write a letter to himself, and he begins it with “Dear Evan Hansen” and signs  it “Me.”   In the meantime, one of his classmates, Connor Murphy, well played and sung by Marrick Smith, commits suicide and through a bizarre set of circumstances the letter morphs into Connor’s farewell note, now in the hands of his grieving parents.  Except for one brief encounter, where Connor scribbled his name across Evan’s arm cast, that was the only time they spoke to each other.  The dead boy’s “ghost” reappears through the tangled web of deceit and sings “Sincerely, Me” with Evan and Jared.  The grieving parents, Larry and Cynthia, sympathetically played by Aaron Lazar and Christiane Noll, want to know about Evan’s friendship with their son and thus begins a series of well-intentioned tales.  They are convinced that their son and Evan were best friends and asked if they had emailed each other and could they see copies.  Evan enlists the help of his best friend Jared Kleinman, wonderfully played by Jared Goldsmith, who becomes his partner in creating the non-existent emails between Evan and Connor.  From total strangers, Evan is slowly morphing into Connor’s best friend and with the help of Jared, false narratives are created.  The parents become very attached to their son’s best friend, and soon he has meals at their home and develops a crush on their daughter Zoe, excellently played by Maggie McKenna.  Our neurotic fabricator’s awkwardness becomes exceedingly apparent whenever he’s around her.  He sings the lovely ballad “If I Could Tell Her.”  I should mention that Ross’ voice is powerful and has that magical ability of going from his middle range to almost an octave above without a vocal break.  Some of his solos are gut wrenching in their innate sadness.

The myth begins to take on a life of its own and the whole thing has gone viral. Soon a fan club has formed, with Alana Beck (Phoebe Koyabe) and Evan acting as co-presidents.  Buttons, tea shirts, and wrist bands with Connor’s image are being sold, a foundation is set up in the dead student’s honor, and a run-down orchard, that Evan said he and Connor visited, becomes a cause célèbre to restore and funds are pouring in from all over the country. One lie after another compounds the last lie and soon Evan is swimming in so many lies that he almost forgets what’s real.  This fantasy has given him a new family that loves and cares about him, something that is sorely lacking in his life as his mother, well played and sung by Jessica Phillips as his mother Heidi, is absent most of the time, forgetting commitments to her son to the point that she really doesn’t know anything about him, other than he has to take pills to keep his neurosis under control.  As his fake narrative advances, his need for psychotropic drugs disappears.  There is one particularly poignant scene where Connor’s dad gives Evan his son’s unused catcher’s mitt and shows him how to break it in.  They sing the ballad, “To Break in a Glove.”  Conner’s parents are now so attached to Evan that they want to give him the money they saved for their son’s college.  Evan’s mom is furious and storms out of their home.  Eventually she sings “So Big/So Small.”  As you might guess, eventually, the lies begin to unravel and what happens will surprise you.

Besides the talented cast of singers and dancers, what is also fascinating about this production are the compelling production values.  The theme of a modern-day musical begins with David Korins’ fabulous scenic design but it is Peter Nigrini’s fascinating projections that gives the production such a contemporary look. Hundreds of extraordinary overlapping images of the chatter taking place on social media fill the back wall illuminating how a lie on social media can impact thousands of lives. The images also project the overwhelming feelings some characters are experiencing.  Other members of the team include, Japhy Weideman, (candy-colored lighting design,) Emily Rebholz, (costume design,) Nevin Steinberg (sound design,)* Austin Cook (music director,) Justin Paul (vocal arrangements and additional arrangements,) Ben Cohn (Associate Music Supervisor,) and last, but certainly not least is Alex Lacamoire’s fabulous music supervision, orchestrations and additional arrangements, and Danny Mefford’s exciting choreography.

Following the play, my friend and I had an interesting philosophical discussion on the morality and ethics of perpetrating a lie if it results in changing people’s lives in a positive way and galvanizing them into action they might not have taken before.  Let me know what you think after seeing the play.

*Definitely not the fault of the designer, but technically the acoustics were a problem – sometimes the orchestra was way too loud making it difficult to hear the lyrics and at other times, the sound system was uneven in its volume.   Not a new problem at the Ahmanson.

“Dear Evan Hansen”
Ahmanson Theatre
135 N. Grand Avenue
Los Angeles, CA 90012
Run: Tuesday – Friday:  8:00 pm
Saturday:    2:00 pm & 8:00 pm
Sunday:       1:00 pm & 6:30 pm
Tickets: $99- $285
(Ticket prices are subject to change)
(No 8 p.m. performance on Thanksgiving Day, November 22)
Closing: Sunday, November 25, 2018: 1:00 pm
Reservations:  (213) 972-4400 or www.CenterTheatreGroup.org
Groups: (213) 972-7231
Deaf community: CenterTheatreGroup.org/ACCESS.

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With book by Dominique Morisseau based on “The Temptations” by Otis Williams with Patricia Romanowski and music and lyrics from The Legendary Motown Catalog, under the magical, dazzling direction of Des McAnuff, with astounding, razor sharp choreography by Sergio Trujillo, what unfolded on the Ahmanson Theatre stage was nothing short of a theatrical miracle depiction into the life and times of The Temptations. Told through the prism of Otis Williams, founding member of this iconic group, Derrick Baskin as Williams, gives a brilliant performance as both the narrator of the group’s odyssey, as well as his participation in the explosive song and dance routines. What is particularly outstanding is that this is truly an incredibly talented ensemble with each and every performer on that stage delivering knockout song and dance numbers.

The story begins in Detroit where Otis is living in a city housing project. As was common back then, he and his talented friends, Paul Williams (James Harkness,) Melvin Franklin (Jawan M. Jackson,) Eddie Kendricks (Jeremy Pope,) and David Ruffin (Ephraim Sykes) use to hang out either in front of the their building or on the street and harmonize which would become their signature sound later in their careers. I’m sure in their wildest imaginations they couldn’t conceive of what lay ahead for them; that with their unique sound and almost militaristic dance moves, they would become the greatest R&B group of all time. Their career would span 55 years, creating 42 Top Ten Hits, 14 #1 songs, three Grammys, induction into the Rock & Roll Hall of Fame and over the years, 24 different group members.

One of the first groups to inspire Otis was The Cadillacs who he saw on stage at Detroit’s Fox Theatre. The different locations in which the story takes place are illuminated both by Robert Brill’s amazing rotating scenic design and Peter Nigrini’s creative projection design, which is used throughout the play depicting the different settings.

After a brief incarceration, Otis vows never go to jail again and pursues his music in earnest. He suggests the name of the group be The Otis Williams Band but the other singers didn’t respond positively and they came up with the name of The Elgins. After bouncing around for a while, they meet Berry Gordy, played by Jahi Kearse, who captures the iron fist in a velvet glove demeanor. Gordy has just formed a new label called Motown, and signs The Elgins, assigning Smokey Robinson (Christian Thompson) for “quality control” and to write songs for this new group renamed “The Temptations.” In one of the many amusing scenes, Otis is on a street running after Melvin to talk to him. He needs a deep bass, but Melvin keeps eluding him until he finally gets tired and stops. Otis asks him, “Why were you running away from me?” Melvin replies, “I thought you were going to rob me.”

The Temptations begin to get second billing under such groups as “The Contours” and “The Velvettes.” Their rise to fame was not meteoric, as their first 24 singles did not hit the charts until “My Girl,” which went to #1. Otis asks Gordy if he could write some songs, but he says no as he just wants him to concentrate on singing and dancing. Time passes and The Temptations still have second billing, this time after The Supremes. A little romance sweetens the story as Melvin develops a crush on Mary Wilson and Otis falls in love with Josephine, wonderfully acted and sung by Rashidra Scott. Eventually they marry and have a son named Lamont, played by Shawn Bowers. Cracks begin to develop in the marriage because her husband is away for weeks and sometimes months and she wants him off the road. Gordy decides the group needs a manager and he introduces the guys to Shelly Berger, well played by Joshua Morgan.

A particularly funny moment is when the guys do a double take, as Berger is Caucasian. With his guidance, the group is now appearing on such programs as American Bandstand singing some of their hits including, “My Girl,” “Just My Imagination (Running Away With Me,)” “I Can’t Get Next to You,” “Papa Was a Rollin’ Stone” and the song which is the show’s title, “Ain’t Too Proud to Beg.” During this time period, the backdrop is civil unrest in the country, including riots in Detroit, and despite their fame, their bus is fired upon with nasty racial epitaphs shouted at them by white nationalists. There are also drug problems within the group. David Ruffin falls victim to drug use causing him to become vocally challenged and bitter. The group also looses Eddie to lung cancer. On a lighter note, during a recording session, one of the Temps doesn’t want to sing “Papa Was a Rollin’ Stone.” He thinks the song is stupid and doesn’t like the opening line, which refers to the Third of September, his daddy’s birthday. So during the session, he deliberately spits out the first two lines, which is quite funny.

Under McAnuff’s crisp, dazzling direction, the show is perfectly paced and we are treated to hearing some of The Temptations iconic hits such as, “For Once in My Life,” “I Can’t Get Next to You,” “(I Know) I’m Losing You,” “I Wish It Would Rain,” “If You Don’t Know Me By Now,” “In the Still of the Night,” “Just My Imagination (Running Away with Me,” “My Girl,” “The Way You Do the Things You Do,” and “What Becomes of the Brokenhearted.” At the end of each number, the audience response was deafening. As for me? I smiled throughout the evening.

Along with the rest of the production team, which consists of Howell Binkley’s Lighting Design, Paul Tazewell’s authentic period Costume Design, and Steve Canyon Kennedy’s Sound Design, other members of this talented musical cast include, Esther Antoine, Shawn Bowers, E. Clayton Cornelious, Rodney Earl Jackson Jr., Taylor Symone Jackson, Jahi Kearse, Jarvis B. Manning Jr., Joshua Morgan, Saint Aubyn, Nasia Thomas, Christian Thompson, Curtis Wiley and Candice Marie Woods.

“Ain’t Too Proud—The Life and Times of The Temptations”
Ahmanson Theatre 135 N. Grand Avenue Los Angeles, CA 90012
Run: Tuesday – Friday: 8:00 pm Saturday: 2:00 pm & 8:00 pm Sunday: 1:00 pm & 6:30 pm Tickets: $30 – $160
Closing: Sunday, September 30, 2018
Running Time: 2 hours & 30 minutes
Reservations: (213) 972-4400 or here.
Groups: (213) 972-7231.
Deaf community

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I have a load of stuff I still have to do before my trip to Nigeria. I leave Thanksgiving Day. As you enjoy your turkey I will probably be stuck in the airport.

Someone wondered why I was going to unfamiliar Nigeria instead of going back to my homeland. My reply is because the opportunity presented itself.

Why did Mother Theresa minister in India instead of her homeland? Why do missionaries go to far away lands instead of helping their own kind? Were they wrong? I don’t think so.

Sometimes one needs to change to a different location to start afresh — away from the the confines of the box that people put them in. This is very true for late bloomers like me. There is a statistic that says traveling increases not only the physical borders but also the borders of one’s imagination and potential. Even Christ preferred to perform miracles away from his birthplace of Nazareth.

Has life stagnated for you? Perhaps it’s time to travel and expand your mind. Be the better person you really are.

BTW, I am not sure if I will have internet access or time to prepare my TGIF emails for the next 3 weeks. I will miss you for sure. Be good! Happy Thanksgiving!

“Where does he get this wisdom and the power to do miracles?” Then they scoffed, “He’s just the carpenter’s son, and we know Mary, his mother, and his brothers — James, Joseph, Simon, and Judas. All his sisters live right here among us. Where did he learn all these things?” And they were deeply offended and refused to believe in him.

Then Jesus told them, “A prophet is honored everywhere except in his own hometown and among his own family.” And so he did only a few miracles there because of their unbelief.

— Matthew 13:54-58

TGIF people!

Senior Theater Seats

Contributed by Rick of Chino Hills, CA

An old man lay awkwardly sprawled across three entire seats in the movie theater.

When the usher came by and noticed this, he whispered to the old man, “Sorry sir, but you’re only allowed one seat.”

The old man didn’t budge. The usher became more impatient.

“Sir, if you don’t get up from there I’m going to have to call the manager.”

Once again, the old man just muttered and did nothing.

The usher marched briskly back up the aisle, and in a moment returned with the manager.

Together the two of them tried repeatedly to move the old disheveled man, but with no success.

Finally they summoned the police.

The officer surveyed the situation briefly, then asked, “All right, buddy, what’s your name?”

“Fred,” the old man moaned.

“Where you from, Fred?” asked the police officer.

With a terrible strain in his voice, and without moving, Fred replied;
“The balcony.”

TGIF Videos

Parting Shot

Thanks to Don of Kelowna, B.C. who provided this photo

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