CVREP THEATRE LAUNCHES A NEW RE-IMAGINING OF THE MUSICAL PRODUCTION “BALLROOM”

Teri Ralston, Mary Ewing, Leslie Tinnaro,
Juliet Lapointe, Melodie Wolford and Joe Mitchell
in "Ballroom".  All photos by Jim Cox

As theatre and society, in general, evolve, especially here in the United States, “Ballroom,” the new re-imagined musical is a very appropriate production choice for CVREP to present to its 2019/2020 audiences. It’s another crowd-pleasing show that fits the 2019/2020 season theme of “New Beginnings.”

It’s also the boldest and most audacious production in CVREP history. The Cathedral City-based theatrical company headed by Founding Artistic Director Ron Celona, now in its 11th season of producing quality Equity productions here in the Coachella Valley, has become a beacon for more professional actors and creative artists who want work in the Valley’s newest, state-of-the-art theatre complex.

What began as a dream of Ron Celona’s long-held desire to create an Equity Regional Theatre in the Coachella Valley eight years ago is now a reality.  The stakes were high, but the passion and skills, plus hard work and the generosity of some of the Valley’s loyal Patron’s of the Arts, along with Celona’s dedicated and committed Board of Directors has won the day.

The birth and chronology of “Ballroom” is as follows: Born in 1975, it became an Emmy-winning feature film made for TV as a musical starring Maureen Stapleton and Charles Durning.  In the late 1970s, the show was refashioned into a musical play which had a short-lived run on Broadway and was filed away wherever failed Broadway shows go to die.

In 2019, however, artistic director Celona became interested in reviving the project as an updated musical that would make an excellent choice for his CVREP theatre to kick off the 2020 decade.  “BALLROOM,” like the Phoenix rising from the ashes, became a viable project again.

The production features the music of Billy Goldenberg, with a libretto by Jerome Kass, and the lyrics by multiple Oscar, Emmy, and Grammy award-winning songwriters Alan and Marilyn Bergman, under the direction of Ron Celona.

The production boasts a talented cast of twenty-four professional performers ranging in age from 50 to 70, making this entertaining and relevant musical a natural fit that should appeal to Valley audiences of a certain age – that includes both men and women.

The story centers around Bea Asher (a wonderfully sensitive and nuanced performance by Melodie Wolford), who is recently widowed.  Her Morrie (never seen) was her Prince Charming, who did everything for her in his loving and adoring husband way.  But now, Bea must learn to do everything for herself.  It’s a new beginning to Bea’s life that will test her as a respectful widow who now has to carry on with her life.  A life filled with many surprises that lie ahead.

The opening bittersweet number “Who Gave You Permission?” brings lumps and misty eyes to many in the audience.  Its ambivalent lyrics sets a haunting tone, not only to the song sensitively performed by Ms. Wolford, it’s also a definite “grabber number” that should bring every Ladies Club member in the Valley clamoring for tickets to see it.

Bea’s support group to ease her passage as a new widow (actually, Morrie has been gone for over a year) consists of her older, overly protective, tradition-bound sister Helen, played to the hilt by Marcia Rodd.  Almost every family has a relative whose advice is at odds with the feelings of the aggrieved.  After all, they think they’re only trying to help the survivor. Helen’s understanding husband Jack is cleverly and understatedly played by Bill Lewis.

Bill Lewis, Melodie Wolford, Marcia Rodd,
Aviva Pressman and Sean Timothy Brown in "Ballroom"

Bea’s daughter Diane (nicely played by Aviva Pressman), and Bea’s son David, performed by Sean Timothy Brown, are puzzled at Bea’s interest in her newfound group of ladies who gather at the local Bronx dance ballroom; eager to dance, gossip, and get out of the loneliness of their homes every week. They thought their mom wasn’t interested in ballroom dancing anymore.  Ah, adult children… who only see their parents as “parents.”

Bill Nolte and Melodie Wolford in "Ballroom"

What they didn’t see coming, however, was Alfred Rossi, a mild-mannered, shy, caring, mailman tenderly played and sung by Bill Nolte.  It’s easy to see why Bea has a renewed interest in ballroom dancing.  As a couple, Ms. Wolford and Mr. Nolte have nice on-stage chemistry that slowly draws them together, becoming a couple.

Solid supporting performances come from an energetic Angie, Bea’s hairdresser, that is winningly played by Teri Ralston, who first urges Bea to come to the Stardust Ballroom; Pauline, the current reigning Queen of the Stardust Ballroom, is nicely performed by Leslie Tinnaro, who sings and gets to name her choice for next year’s reigning Queen. Her ballroom co-host Artie at the microphone is sung and performed by Randy Brenner.

Angie’s friends and now Bea’s friends include Mary Ewing as Emily; Juliet Lapointe as Martha and Corinne Levy as Shirley. The ballroom performers and dancers feature Douglas Graham as “rubber legs Harry the Noodle”; Nathan Holland as Johnny Lightfeet; Lovely Alessandra Di Pietro as Sandy and handsome Robin Somes as Charley (a look-a-like Yul Brenner) who trip the light fantastic as a dance couple who possess exquisite and athletic dancing moves.

Jitterbug dances, sambas, tango dances. Rumbas and waltzes along with solid dance moves from Anthony Marciona as Petey, and Glenn Rosenblum as Moe, (sporting a Moe Shemp haircut of three stooges fame); from Terry “T-Mac” McLemore; and Lois Bondurich; Olga Morales; Lindsay Ouellette; Wayne Hundley, and Joe Mitchell as Joe the Bartender.  It appears that every bar, tavern, and gin-joint in the world has a Joe the bartender with broad shoulders to lean on and/or a sympathetic ear for listening to the lonely.  Frank Sinatra made millions by singing about those after-hours conversations.

In the technical credits department led by director Celona, two-time Emmy-winning resident design wizard Jimmy Cuomo delivers a breath-taking ballroom set that sports a seven-piece, live on stage orchestra, under the musical direction of Scott Storr.  Designer Cuomo’s New York street backdrop, a small boutique shop, and an interior living room area easily rivals any New York show you can see, but with Celona’s productions, you won’t have to leave the Coachella Valley to enjoy fabulous shows.

Orchestrations for “Ballroom” are provided by Richard Bronskill. The Eleven O’clock spot belongs to a clever, terrific musical number called “Fifty Percent” and the closing number “This Is More Than A Ballroom/I Wish You A Waltz,” both of which are sung by Ms. Wolford and both are winners.

Lighting Designer Moira Wilkie Whitaker provides just the right amount of light to see and appreciate the colorful costumes designed by Frank Cazares (although I’m not too sure about that kaleidoscopic-like cowboy jacket worn briefly by Mr. Brown).  However, the sharp choreography by Jose De La Cuestra neatly fills the stage with flowing movement and graceful dance moves.

“Ballroom” is an impressive and delightful production that will have its audiences smiling as they leave the theatre.  The musical performs at CVREP, Cathedral City, through February 16, 2020. For reservations and ticket information, call the box office at 760-296-2966.

-- Jack Lyons

STING'S "THE LAST SHIP" SETS SAIL AT THE AHMANSON THEATER

Sting (center) and the cast of THE LAST SHIP at Center Theatre Group's Ahmanson Theater, Los Angeles
All photos by Matthew Murphy

THE LAST SHIP portrays the end of an era in Great Britain when the shipbuilders of Wallsend ultimately went the way of the dinosaurs much like American coal miners in the late 20th century. when overseas shipbuilders could produce a competitive product for millions less with no messy unions to deal with. It eliminated a whole way of life for thousands of workers who struggled to reinvent themselves in an economy that no longer wanted them. Singer/composer/musician Sting created a loving tribute to the town of his youth in England's gritty Northern country. Entire generations of families lost everything...but they didn't go quietly. The battles they fought to take over their shipyard and launch one last ship is the plot of this uneven musical that can't quite decide to go port or starboard.

At the show's opening scene, young Gideon desperately wants to flee the poverty and narrowness of Wallsend and rebels against his father's wishes to join the shipbuilders union. Instead, he impulsively runs off to join the Navy, leaving behind his childhood love Meg whom he promises to return for in a short while.

Frances McNamee as Meg and Oliver Savile as Gideon
in THE LAST SHIP

Seventeen years later, the disillusioned Meg is running a local pub and raising daughter Ellen as a single mum, when Gideon suddenly reappears wanting to reclaim his lost love and discovers he has a daughter. This all happens in the midst of news that the shipyard will be closing and the last ship they are working on, the Utopia, will be torn down and sold for scrap.

Sting as Jackie White in
THE LAST SHIP 

Sting plays Jackie White, the shipyard foreman, who is caught between management and his men. His wife Peggy is the shipyard nurse who stands loyally by her man as the builders and their families turn on Jackie in a rage of betrayal and disappointment.

If it sounds like there is a lot going on here, there is. And each element - plot, music, dialogue, movement - is fighting against each other, much like the characters in the show. The opening number is a rousing sea shanty of sorts, "We've Got Nowt Else" sung full-throttle by the powerful chorus. Starts promising, but then subsequent numbers are alternately Sondheim-esque character pieces, inspiring hymns, jazzy eleven o'clock showstoppers or a plaintive reflection from Sting's classic album "The Soul Cages." In fact, three songs from that album are featured in THE LAST SHIP. This results in a dissonance that often throws the show off balance.

As far as the cast goes, there are some outstanding talents up there, giving it their all. The real find of this production is the glorious Frances McNamee whose tremulous yet powerful voice brings Meg to full life. As her love Gideon, Oliver Savile has a nice presence and shows both the good and bad sides of this prodigal. As Ellen, the feisty young woman who also longs to flee the shipyards like her father did to pursue a musical career, Sophie Reid has a strong voice but seems a bit too mature to be 16 years old. 

Sophie Reid as Ellen in THE LAST SHIP

Other outstanding performers include Jackie Morrison as the no-nonsense wife of Jackie White; Marc Akinfolarin as a philosophizing builder who brings a sweet quality to his scenes; and Annie Grace, channeling her best Margaret Thatcher person as a Baroness who represents the government in the shipyard brouhaha. 

Frances McNamee and the ladies of Wallsend Shipyard
in THE LAST SHIP

But what about Sting, you might be asking, the star and musical creator of THE LAST SHIP? Ironically, he is the least compelling actor on that stage. Don't get me wrong, I adore Sting and when he is performing in concert, he is a magical, magnetic presence. But he's not rough-edged and dynamic enough to portray Jackie. I have a feeling that he agreed to be the marquee name to boost sales for the show, which isn't necessarily a bad thing. But his restrained and erudite way of speaking doesn't really fit the working class Jackie. However, he has the most authentic accent on the stage. Many of the cast members are inconsistent, slipping between Scottish, Irish and a weak attempt at the traditional Geordie accent of northern England.

Kudos to the 59 Productions design team that created the imposing multi-level set using projected images to change scenes and mimic the look of a real shipyard bay. Director Lorne Campbell (who also wrote the revised book) met the challenge of bringing the sound, movement, dialogue and performance elements into a cohesive presentation which was no easy task. Other outstanding production team members include Sound Designer Sebastian Frost, Lighting Designer Matt Daw, Music Supervisor and Orchestrator Rob Mathes, Musical Director Richard John, Costume Designer Molly Einchcomb, and Movement Director Lucy Hind.

While it may not be the grand musical the creators envisioned, it is nonetheless a unique look at a way of life that is no more. THE LAST SHIP is playing at the Music Center's Ahmanson Theater through February 16, 2020. General tickets for “The Last Ship” are available online at CenterTheatreGroup.org, by calling Audience Services at (213) 972-4400 or in person at the Center Theatre Group Box Office.

-- Lisa Lyons

PALM CANYON THEATRE NOW IN ITS 23RD SEASON PRESENTS LERNER AND LOEWE’S “CAMELOT”

Paul Grant as King Arthur and Fabrizio Ibanez
as young Tom of Warwick in "Camelot"
All photos by Paul Hayashi

Although our society and culture is always evolving when it comes to our entertainment choices – theatre, movies, TV streaming platforms, and music – thankfully, there are always the golden oldies that audiences of a certain age cling to and with good reason. They’re familiar; they’re warm, cozy, and deliver music and lyrics to which that age group can understand and relate.

The Palm Canyon Theatre of Palm Springs (PCT), now in its 23rd season of presenting quality entertainment, is producing a revival of Alan Jay Lerner and Frederick Loewe’s romantic fairy tale of King Arthur and the Knights of the Roundtable, based on the T.H. White book “The Once and Future King,” better known as the musical “Camelot.”

Alan Jay Lerner and Frederick Loewe are among Broadway’s music royalty, ranking alongside Rodgers and Hart, then Rodgers and Hammerstein, Cole Porter, Leonard Bernstein, and Stephen Sondheim, among others.  The Broadway theatre was built on the talents of these giants. 

In case one has been living in a cave for the past 60 years, “Camelot” the musical has some of the most iconic music and lyrics found in the American Song Book.  The haunting “If Ever I Would Leave You,” to the clever, wishful thinking, lyrics of the title song “Camelot,” to the poignant “I Loved You Once in Silence,” to the tender “How to Handle a Woman,” have resonated with audiences for six decades.

The Palm Canyon stage production of “Camelot,” is once again awash in the breathtaking colors and costumes created by play director/choreographer Derik Shopinski.  The set by resident design wizard J.W.Layne cleverly reduces the sprawling story to fit neatly within the PCT proscenium walls and stage space. Sound by Brenna Williams and Props by Toby Griffin round out the creative technical team under the direction of Derik Shopinski.

Opening Night can often produce opening night jitters among cast members.  Especially when the production had to share the theatre and performing space with the Palm Springs International Film Festival that uses the PCT venue as a festival screening site, which then shortened the musical’s normal rehearsal time to just thirteen rehearsals.

Sixteen performers bring the production to life for its appreciative audience. The cast presents a broad range of experience and credits to this “Camelot.”  Having said that, the strength of the musical lies in its leading actors:  Garnett Smith brings a wealth of professional credits to his role as the delightful but somewhat dotage-driven elderly King Pellinore, advisor to King Arthur. It’s the type of role that has “scene-stealer” written all over it.  Solid support also comes from Nikki Hock as Nimue/Morgan Le Fay and Noah Arce as Mordred.

A little gem of a performance near the final scene is courtesy of Fabrizio Ibanez as young Tom of Warwick.  It’s a tiny, but important, poignant moment that young Ibanez shares in a scene with Paul Grant’s King Arthur. It’s delivered with just the right amount enthusiasm and understanding for one so young.  TV and the stage may be in his future if he gets bitten by the acting bug.

Jordan J. Jones as Lancelot and Nikki Hock as
Nimue/Morgan Le Fay in "Camelot"

Jordan J. Jones as Sir Lancelot, (originally a role made famous by Robert Goulet), is a singer who acts and gets to fall in love (lucky fellow) with the fairest maiden in the land of Camelot, Queen Guenevere, the beautiful wife of King Arthur Pendragon, who is played by Se Layne.

The last time I saw Ms. Layne, on stage, she was tutoring the children of the King of Siam in the musical production “The King and I” at PCT.  I stated then that the role of Anna was a role she was born to play. I may have misspoken myself.  The beautiful Ms. Layne is on a roll with back to back winning performances.  She easily slips from young maiden into a coquettishly young adult, to a desirable Queen.  It’s another finely judged performance from Ms. Layne, who stars in a role that features her classically trained voice once again (lucky audience).

Paul Grant as King Arthur and Se Layne as
Guenevere in "Camelot"

As King Arthur, Mr. Grant brings his extensive credits in New York, along with his many national touring company roles, to the Palm Canyon stage once more.  His energy and on-stage chemistry with his co-star Ms. Layne underscores the standards that these two professional performing actor/singers bring to their roles of King Arthur and Queen Guenevere. 

The musical production, once again, is under the musical direction of Steven Smith, on piano with accompaniment by David Bronson on drums and Larry Holloway on string Bass.

“Camelot” performs on the Palm Canyon Theatre stage and runs through February 9, 2020.  For reservations and ticket information, call the box office at 760-323-5123.

-- Jack Lyons

NORTH COAST REP THEATRE PRESENTS “BLOOMSDAY” A STEPHEN DIETZ FANTASY/COMEDY

Martin Kildare, Rachel Weck and Hunter Saling in "Bloomsday"
All photos by Aaron Rumley

Steven Dietz was among the five most produced playwrights in America during 2019. And now his latest play “Bloomsday,” is on stage at North Coast Repertory Theatre (NCRT), making its Southern California debut.

The Solana Beach professional theatre, now in its 38th season of presenting quality entertainment to North County San Diego residents, offers something a little bit different with playwright Dietz’s comedy-fantasy “Bloomsday.”

Life’s journeys are replete with choices we humans make every day. Bombarded with choices, many of which are made in haste without a lot input.  On the other hand, many missed opportunities have slipped away because of too much cogitation and hesitation, and not enough action on our part.

“Bloomsday,” is a whimsical, magical, reflection of unrequited love that didn’t have to be.  What if we could alter time in such a way as to manipulate that pesky time continuum?   Playwright Dietz thought it might make for an interesting and entertaining evening in the theatre to attempt that leap of faith.

Martin Kildare and Rachel Weck in "Bloomsday"

What place of whimsy and magical fantasy to set such a play other than in Ireland, land of tall tales and fetching colleens, the land of O’Casey, and of James Joyce and his iconic, epic story “Ulysses,” which plays a part in this ‘what if’ love story.

What better person to direct this non-linear, delightful comedy than Andrew Barnicle, native son of the Emerald Isle and a favorite NCRT director, who was the Laguna Playhouse’s Artistic Director for twenty years.

Hunter Saling, Jacquelyn Ritz, Martn
Kildare and Rachel Weck in "Bloomsday"

Director Barnicle is blessed with a cast of talented comedy practitioners who know their way around a witty and sometimes tricky play in order to keep their audience engaged.  Martin Kildare, as Narrator and Robert, is our guide/interlocutor who sets the story points along the way that keeps the story moving.

Caithleen, a Dublin Tour guide (wonderfully played by Rachel Weck), meets Robert and chats him up, only to lose contact later on.  Robbie, a young American of boundless energy played by Hunter Saling, is taken with Caithleen, but these two young people fail to connect, although there is interest on both sides.

Timing, you see, always plays a part in the love equation of “what if.”  To assist the audience in making this charming play work, the character of Cait, winningly played by Jacquelyn Ritz, appears as the older Caithleen, and Martin Kildare reappears as the older Robbie. It may sound a bit confusing, I’ll admit, but in the capable hands of director Barnicle and this talented cast, and as Sherlock Holmes always said to Dr. Watson, “Patience Watson. All will be revealed.” would be my admonition also.

The technical credits at NCRT are always first-rate.  The sets designs of Marty Burnett are legendary, and the light designs of Matt Novotny compliment Burnett’s designs over their years of working as a team.  The costume designs are by Renatta Lloyd, with Hair and Wig designs by Peter Herman, and Props by Phillip Korth.  A special kudo goes to Sound and Projection designer Aaron Rumley whose creative designs over the seasons have lent an authenticity that enriches the overall experience of the audience.  Mr. Rumley also stage manages this production.

“Bloomsday” is a charming production that performs at North Coast Repertory Theatre in Solana Beach and runs through February 2, 2020.

-- Jack Lyons

DEZART PERFORMS STAGES A POIGNANT POWERFUL PRODUCTION OF “DANIEL’S HUSBAND”

Michael Shaw, David Youse, Chuck Yeats and Hanz Enyeart

in "Daniel's Husband" All photos by David A. Lee 

Dezart Performs of Palm Springs, celebrates the beginning of its 12th season of producing quality live theatre entertainment in the Coachella Valley, with a shattering, poignant, heart-rending, drama production about Gay marriage that reaches across all gender and identity lines. 

Love is the most powerful emotion on this planet. Its reach has no limits, stretching forever, touching, and capturing everyone in its path. An anthem for both gay and straight people could easily be found in the music of Leonard Bernstein and in the lyrics of Stephen Sondheim’s iconic musical “West Side Story” punctuated by a poignant duet sung by Anita and Maria, that best sums it up with “…when love comes along, there is no right or wrong.” Words and a philosophy to live by. The country’s legal system finally legalized gay marriage in 2015. Gays all over the world celebrated this historic moment. 

In the award-winning play, “Daniel’s Husband,” insightfully written by Florida-based playwright Michael McKeever whose sharply observed play of gay partners in short or long committed relationships, comes into sharper focus by following two couples: successful architect Daniel Bixby (a terrific Michael Shaw) and his partner Mitchell, (a mesmerizing (David Youse) who collectively just suck all of the oxygen out of the onstage acting space with their flawless performances. More about the cast later.

There isn’t a weak moment or a misstep by this outstanding cast and/or the creative technical team led by director Darin Anthony. Case in point: the beautiful set design by Thomas L. Valach, drew such remarks from audience members as “I’m ready to move into that home right now.”” to “It’s just gorgeous.” It is indeed, and one of the most elegant and functional designs that fits so perfectly onto the intimate Palm Springs Woman’s Club stage that I’ve seen in a long time.

Michael Shaw in "Daniel's Husband"

In the world of theatre, there is no substitute for quality writing. It galvanizes and energizes the performances of everyone in the production, elevating all of the floating boats in the harbor, so to speak. When actors are presented with a terrific property, they respond in kind, which becomes a huge benefit for the audience. And that is precisely what we have with this impressive Dezart Performs’ production of “Daniel’s Husband.” 

The performances from this gifted ensemble cast is what every critic wishes for before we settle into our seats. Theatre is the art of telling a tale so compellingly that one cannot take one’s eyes off the stage and/or certain characters. Everyone, cast crew, and audience are fully engaged in what is unfolding on the Dezart Performs stage night after night. That’s the gold standard and goal to which every theatre company aspires.

The vision of director Darin Anthony enriches this production with his many wonderful directorial touches. And that’s not as easy as it sounds. Remember, Anthony has four award-winning actor/directors in his cast to contend with when it comes to making important decisions. Yes, theatre is first and foremost, a collaborative art form, and professionals always adhere to the one director rule in a production. However, I sure would have enjoyed being a fly on the wall during rehearsals. Spirited discussions, no doubt, abounded during their rehearsals among five directors. 

Michael Shaw, as Daniel, a successful architect, delivers a memorable and deeply affecting performance as the partner who aches to be married. Mitchell, an equally successful author, and partner of seven years with Daniel doesn’t believe in gay marriage as an institution, is brilliantly played by David Youse, in a highly nuanced tour de force performance. 

David Youse in "Daniel's Husband"

The play begins with a dinner party with another gay couple. Barry Dylon, Mitchell’s agent (solidly portrayed by Chuck Yates), and Barry’s new, 20 something, wide-eyed boy toy Trip (Hanz Enyeart). Over drinks Trip innocently asks Mitchell, you two seem to just be made for each other. Why don’t you get married? 

The comment sets Mitchell off on his standard tirade on the efficacy of gay marriage. “Why do we need a piece of paper to prove we love one another” is the rhetorical question Mitchell tosses out whenever pushed to tie the knot. Daniel, however, sits stone-faced, as Barry calmly observes the scene with the knowledge that his client is a will of the wisp when it comes to settling down. Living together with Daniel? Yes. Legally married to Daniel? No. It’s the only bone of contention in their relationship.

When the doorbell suddenly rings, the tension in the air quickly dissipates. Daniel’s mother, Lydia Bixby (Deborah Harmon), makes a grand entrance dressed to the nines slyly claiming she just wanted to see how her “two boys” were doing before going off to a previous engagement. Ms. Harmon’s portrayal of a waspish, controlling mother whose only concerns in life are all about her, is spot-on.

What could possibly go wrong when Mitchell’s prospective mother-in-law is just dropping by to see how two adult men are doing? Plenty. Stay tuned. But no spoiler alerts from me at this point. But what I can say is the following. The first 15 minutes of the play unfolds as a comedy, peppered with terrific dialogue ala Neil Simon like zingers aplenty; however, it shifts into a drama of consequence later on and right up to the end. The play is performed without an intermission and runs approximately 90 minutes.

David Youse, Deborah Harmon, and
Michael Shaw in "Daniel's Husband"

This impressive production is produced by Michael Shaw and sound designer Clark Dugger. It is also one of their finest productions over the last eleven years, which I suspect will be taking home several Desert Theatre League (DTL) Stars Award trophies come October of 2020. “Daniel’s Husband” performs on the Pearl MacManus stage in the Woman’s Club of Palm Springs and runs through January 19th. It’s a Must-See Show!

-- Jack Lyons

NEW MUSICAL, LITTLE BLACK DRESS, CELEBRATES LIFE'S GREAT MOMENTS WITH LAUGHTER, TEARS AND RAUNCH

Jennette Cronk, Jenna Cormey, Clint Hromsco,
Danielle Trzcinski in "Little Black Dress The Musical"
Photos by Rebecca McNicholas 

IMHO, "Little Black Dress The Musical" (aka LBD), is a show that is perfect for GNOs and fans of raunchy improv humor. A combination of original songs, audience participation, improv and a smidgen of drama, the brand new musical is in search of a wider audience in its initial tour.

Written by predominantly women, the show hits the mark on many topics that will resonate with women of all ages, and even some men. From first kiss, to first sexual encounter, job interviews, proposals and eventually funerals, the LBD has played an important part of many lives.

In a nutshell, the story centers on best friends Dee (Danielle Trzcinski) and Mandy (Jennette Cronk) who at age 13 pledge to be BFFs for life and to take a dream trip to "Paree!" when they grow up. When Dee's mom (Jenna Cormey) takes the girls to a boutique to find dresses for their upcoming school dance, they are introduced to and fall in love with the LBD.

Jennette Cronk as Mandy and Danielle Trzcinski
as Dee in "Little Black Dress The Musical"

The rest of the show covers the progression of time where the two womens' futures diverge, but they hang on to their friendship despite many setbacks. Dee marries Mark (Clint Hromsco) and has a baby girl Madison, while Mandy remains defiantly single as she forges her own path in life.

There are times in the show where the actors call on audience members to share their own memories of first kisses and bachelorette parties, which leads to some unexpected shenanigans. The night I went, one woman was so startlingly raunchy that the performers struggled to keep a straight face during the "A Night You'll Never Forget" number. There is always a risk in improvised segments, as they can often slow a show down, but again the ladies (and gentleman) had it under semi-control. LOL.

Danielle Trzcinski as Dee
in "Little Black Dress The
Musical"

The set is simple (perfect for road shows and local theater companies), the LBDs could have been a tad more stylish, and some of the choreography and staging was a little dodgy, but overall it charmed the audience who gave the performers a rousing, well-deserved ovation at evening's end. Both Trzcinski and Cronk are powerful singers, while Hromsco and Cormey both do quadruple duty in the show and always hit the comic bullseye.

Kudos to all the talented folks who brought "Little Black Dress The Musical" to life including creators Amanda Barker, Natalie Tenenbaum, Danielle Trzcinski and Christopher Bond who also directed.

"Little Black Dress The Musical" is at Center Theatre Group's Kirk Douglas Theatre in Culver City until December 15 only, so if you suffer from FOMO, hustle on down and buy your seats ASAP at www.centertheatregroup.org.

-- Lisa Lyons

LOVE ACTUALLY LIVE, A SPARKLING MUSICAL GIFT FOR THE HOLIDAYS

Rex Smith (center) and the cast of "Love Actually LIVE"
All photos by Kevin Parry

Next to "It's a Wonderful Life," one of the most beloved Christmas big screen films is "Love Actually", directed by Richard Curtis, that counts down the drama-filled weeks leading up to Christmas in the lives of five separate yet intertwined Londoners. The show is back after last year's sellout run at the Wallis Annenberg Theatre in Beverly Hills, and is now playing there through December 29.

In the tradition of the live sing-along nights at the Hollywood Bowl, "Love Actually LIVE" is a multi-media concert experience where the film and live action seamlessly intertwine throughout the London setting. The result is a satisfying trip down memory lane for the audience and the opening night theatergoers responded with wild enthusiasm.

John Battagliese as David
in "Love Actually LIVE"

To briefly recap, the families and friends whose lives we enter are David, the newly elected Prime Minister of London and his working class assistant Natalie; recently widowed Daniel and his adorable stepson Sam; newlyweds Peter and Juliet and his lovelorn best friend Mark; lonely editor Sarah and her erstwhile crush Karl; Sarah's cynical boss Harry and his wife Karen who suspects he is having an affair with sexy Mia; Billy Mack, a faded rock star angling for a comeback with the support of his long-suffering manager Joe; and jilted author Jamie, who is writing his newest book in France, and his beautiful Portuguese housekeeper Aurelia who speaks no English.

Original songs as well as featured numbers from the movie soundtrack are presented on a gorgeous set with a 10-foot-high decorated Christmas tree at center and two side areas where scenes are played out. There is a fantastic live orchestra that plays both onstage and, at some points, in the auditorium that adds to the evening's festivities.

The number of talented singers on stage is awe-inspiring and you'd be hard pressed to single them out, but I'll try. Several performers from last year's production are back including heartthrob recording artist Rex Smith (Billy Mack), Tomasina Abate (Karen), and Doug Kreeger (Harry), are among those who give solid performances.

Carrie Manolakos as Natalie
in "Love Actually LIVE"

Powerful women's voices soar into the rafters including standouts Carrie Manolakos (Natalie), Gabriella Carrillo (Aurelia), Aubrie Sellers (Sarah) and Nayah Damasen as Joanna, Sam's secret crush in the school band.

The men are also well-represented by Smith (who still looks damn fine in his gold lame shorts and Santa hat), young Levi Smith (Sam), James Byous (Mark), John Battagliese (David), Jon Robert Hall (Daniel), Declan Bennett (Jamie) and Rogelio Douglas, Jr. (Peter) who blew the top off the theater with his reinvented, gospel-inspired version of "White Christmas."

Ruby Lewis and Rogelio Douglas, Jr in
"Love Actually LIVE"

Huge kudos to the behind the scenes team who created a warm and welcoming world at the Wallis. They include director and adapter Anderson Davis, music supervisor Jesse Vargas, vocal designer AnnMarie Milazzo, musical stager Sumie Maeda, scenic designer Matthew Steinbrenner, lighting designer Michael Berger, sound designer Ben Soldate, costume designer Steve Mazurek, video designer Aaron Rhyne and the fantastic 15-piece orchestra.

Levi Smith as Sam in "Love Actually LIVE"

The show is basically family friendly, although be warned there are some naked body parts and suggestive actions in the filmed sequences, so maybe not great for kids under 10...just sayin'.

For fans of the film, this is a perfect kickoff for the holiday season. If you have never seen the film, shame on you! Many in the audience left the theater vowing to go home and watch the original film, so a whole new generation of "Love Actually" fans is in the making.

Tickets prices are $39-$125 (subject to change) and can be purchased by calling 310-746-4000 or visiting www.TheWallis.org/Love.

-- Lisa Lyons