Lunch at Sardi's everyday...

One of my FAVORITE things about theater in the Bay Area is getting to know such a tightly knit and wonderful community. In fact, I don't feel comfortable these days unless I see someone I know at an audition. Actors are totally crazy, but the Equity (Union) ones aren't. These are the people who see acting as a profession and keep themselves pretty sane. They don't have anything to prove, they know their shit doesn't stink. And my favorite thing so far this year has been getting to work with more "traditional" companies; making the transition from the experimental theater world doesn't always translate across the board, and I'm glad to have made the crossing rather seamlessly.

But the best thing about getting to know more actors? Getting to see their work up close and personal; it's wonderful to see how much people on stage are so unlike their real life personas and to see the amount of work that they put into a performance. Finally got to see Blondie do her performance of 'the Producers' on Friday at DLOC.



The Producers info on Wikipedia

Another one of Mel Brooks' films that was a film then a musical then a film again (Young Frankenstein); the story of a down on his luck, shyster of a Broadway producer Max Bialystock (Marcus Klinger) and his winsome accountant Leo Bloom (Ryan Drummond) who dreams of becoming a producer. They discover that they can make more money by producing a flop than a hit; so they set out to create the worst show ever. Along the way, they acquire a Reichstag playwright (Danny Cozart), a flaming queen director (Tim Johnson) and a nubile Swedish ingenue (Ginny Wehrmeister).

Probably the most genuinely funny find of the night was Cozart's delightfully macho and brutish Franz Leibkind; the physical comedic actor was knee slap hilarious during the Gutentag Hop Clop and nearly all of his scenes. Of course, Mel Brooks is a damn good writer. Which makes it sad to note that quite a few of the best jokes were overblown. Wehrmeister was WONDERFUL as Ulla - even thought her accent wasn't strictly Swedish. Rather, her Ulla was a wonderful sketch of an eager, hypersexualized and clueless sex kitten. The chemisty between her and Drummond's greenie Leo (himself an incredible singer) was palpable, although it would probably take a blind, gay, parapalegic octogenarian not to appreciate Wehrmeister's charms. Leo and Ulla's combination dance/seduction scene at the beginning of Act II is both sweet and funny.

Tim Johnson as the drag queen cum director has an incredible soaring voice that carries well during the huge show number, "Springtime for Hitler" - and wears a sparkling evening gown with a beaded Chrystler building motif imperially around the stage. I could do with less of the "gay" jokes, and the irony of the showgirl/huge ensemble scenes gets lost amidst the mismanaged direction. This is one of those shows where the actors are doing all of their own work, but aren't cohesive as a cast. There are definite standouts, but it seems as if people are playing the show for the double takes to the audience rather than really listening to one another. It's one of the scariest things that can happen to an ensemble, each one trying to top the other. Drummond and Wehrmeister work well together, and Drummond in general (showing why he won the Men's Best Actor Shellie for 2008) is a superb actor. He matches his comedic timing and excellent vocals with physicality and develops Leo into an upstanding leading man.

Klinger makes a decent Bialystock, but his last swansong, "Betrayed" started and ended at the same level; overly kvetching New York Jew. Zero Mostel and Nathan Lane knew how to take their performances and temper them gently between slick shyster, overbearing producer and genuinely neurotic man. I felt like Klinger was always trying to play catch up to Drummond and some of the best lines in the show were upstaged by long pauses and off timing. The ensemble is rather good including some of the best hoofer/tappers in the Bay Area. They're all incredibly athletic and keep up with the choreography well. And the costuming is gorgeous; Wehrmeister of course gets the best costumes; jewel toned teal, ruby reds, a jewelled black eagle costume of barely nothing. But the showgirls are alos aptly attired in sparkling outfits, patent pleather and tap boots abound.

Even though sets and costumes, lighting and sound take skill and craft, the actors are the ones putting themselves out to be judged every night. DLOC keeps their production values high and their audiences happy with this show. 'the Producers' closes today at the Dean Lesher Center for the Performing Arts in Walnut Creek.

TOMORROW: my review of Thursday Nights at the Academy and Revit class. Oi.

You probably think this world is a dream come true... but you're wrong.

Recently went with Moward to see 'Coraline' in 3D - on a blustery, windy, rainy SF night. While I was rather fond of the concept of this film (Neil Gaiman, dark fairy tale etc.) and the overall effect, there is a huge ZOMGNERD in me that enjoyed the quality of the 'Making of' clips better than the actual movie. (which are all available online)

Based on a novel by Neil Gaiman, Coraline (Dakota Fanning) is the story of a young girl who moves into a new house, that is also occupied by a couple of quirky neighbors - despite which she becomes bored, restless and neglected by her over worked parents (Teri Hatcher, John Hodgeman). One night, after being given a doll by a neighbor kid that looks exactly like her only with buttons for eyes, Coraline finds a mysterious tunnel behind a locked hatch door in her living room that leads to another world. An exact replica of her own, but with some fantastical dream like qualities. Like mice that perform in a circus, flower gardens that play and tease her, and wonders of wonders, parents who not only pay attention to her but are perfect Stepford renditions of the originals. But with sinister intentions. The 'Other Mother', actually a demon in disguise (the Beldame, a version of a succubus) demands that Coraline stay in the fantastic world so that she can feed off her energy and kidnaps Coraline's real parents in order to trap Coraline into agreeing. Not to be fooled, ala Harry Potter or any of your modern day spunky heroines, Coraline gets the Beldame to agree to free her mother and the other children if she can successfully recapture the rest of their trapped spirits and find her parents.

There are some beautiful aspects to the film that are truly astounding. And only lend themselves to the storytelling. The actual crafting that went into the film is incredible - from the thousands of yards of gold wire that was used to make the hair of one of the characters to the teeny tiny sweaters with intarsia stars that were knitted for Coraline, to the sets that were created - this film is worth seeing just for all the craft that went into it. It is a Bay Area Etsy esque dream. Truly, this is not your regular stop animation film. The craftspeople deserve an award for their sheer will in making all the elements of this film.



First of all, there is just some incredible animation. The multitude of some of the scenes, including the variables of the mouse circus and the flower garden scene - and there is a slick Hollywood feel to the film that flows between scenes nicely. Action sequences work incredibly well and the softness of the evening scenes paired with the sharp washed out aspects of the others is truly lovely. The filmmakers should truly feel proud of this film which is a theatrical feat and rarity. A stop animation movie that bears muster with creations like, "The Nightmare Before Christmas" (same director) and the Wallace and Gromit films - good enough and long enough to be a feature film with national distribution.

That being said, there are a couple of detracting factors, one which might be the scope of which the film was shot in-which included the huge sweeping sets. If you watch a 'Wallace and Gromit' film, one of the most delightful part of those films is how much the animators achieve in such a tiny tiny space. In the realm of one room there are clocks, coffee pots, mechanized arms and Rube Goldberg type machines that move elements throughout. With Coraline, these elements exist but in a much more mundane and less fantastical way. For example, during the dinner scene - a literal gravy train and drink dispensing chandelier are less focal points than they are background supporting actors. Even a praying mantis shaped gardening tool/machine is not so incredible until it becomes a horrifying killing machine.

As the book and movie may be pointing out, as much as these beautiful creations awe and delight, they have the tendency to feel almost as empty as the drab world Coraline has been trying to escape. There's is no soul-just a terrifying desire to please the ego of an 11 year old who honestly would like stability, homeyness and a little discipline to go along with her colorless life. She wants to matter and for people to listen. But like her "real" life, the other life is just as dangerously mundane - since her other mother only wants to control and manipulate Coraline under the guise of affection. Things slowly start to turn and twist into horrifying renditions of their original shapes as the Other Mother starts to lose control over Coraline's personality.

Which brings me to the two most disappointing aspects of Coraline. The first of all being the 3-D factor. I watched Wall-E last year and found it to be one of the most beautiful films I'd seen in a while. Because of the way it approached sweeping scenes and still managed to focus beautifully on it's main character in a way that didn't feel silly or too grandiose. The music, animation and story all swelled and flowed in a way that seemed organic. And of course there was the greater humanistic morality tale tied into the gentler love story. There's no reason for hiding anything in such a well made film. But the 3D aspect of Coraline, which was what we ended up paying an extra $3 for only made me nauseous. It seems a gimmick geared at hiding flaws which is honestly unnecessary for a quality film like this one actually is. What is a neat party trick takes away from the craftsmanship that this movie took. And it's impossible to watch the movie without the glasses. Because of the way the film is shot, the quality without the glasses becomes fuzzy. You do get used to it after a while, but the first ten minutes can be a crap shoot about whether or not you head (first) into the toilets.

Second? The acting is just sub par when compared with the animation. Look, kudos for casting an actual "desperate housewife" for the role of Mother/Other Mother - but was Marcia Cross not available? She would have made a vastly more interesting and sinister Other Mother than Teri Hatcher whose form of evil just goes into histrionic. (did you not SEE 'Melrose Place'?) And Dakota Fanning as Coraline has the annoying brat down pat, but fails to create a sympathetic or heroic character. And the three ghost children? I wouldn't necessarily want to save someone who was calling me, "Miss" all the time. For the amount of time that was spent on the two spinsters (incredible by the way), you would think that the creators would want to spend a little more time on the characters who a) send Coraline on her quest and b) provide the most vital information about the Beldame in the first place.


Overall, it's a gorgeous movie, and much of the acting by Mac/PC and Daily Show straightman John Hodgeman is great. It's wonderful to hear him sing and the rest of the supporting cast, including Ian McShane (Deadwood) as Bobinski and Jennifer Saunders and Dawn French as the two Vaudevillian spinsters Fink and Forcible (ahah, great play on names - go Neil), Keith David as the magnanimous Cat, is amazing. Yes, it's creepy - but hey, that's what makes it good. As a fine return in the Grimm Fairy Tale tradition, Coraline does what most good fairy tales should, be careful what you wish for and always remember to stick to your own strength to get you through to the truth.

Floored by Revolutionary Road

I encourage you to make friends with this changing world and remember that the tearing away of the old structures that supported over-consumption and selfishness will make way for more mature, mutually supportive structures. Change is the great law of life—after we build this new structure, an even better one should emerge after that—never stopping to stagnate, as stagnation is the seat of deterioration.

-from Natalia Rose’s blog on The Necessity of Winter (via GalaDarling)

WE all have those defining moments, don’t we? Whether or not we choose to have them, voluntarily – the moments come when the lambs become lions, when the meek decide to invoke the earth rather than have it bestowed upon them. Sometimes, moments are as rushing as a waterfall, coming to us, thunderous, epic and destructive. And sometimes, they are quiet, eye of the storm decisions.

Today, I gave up part of my identity block and went to see a movie by myself. And marveled at the simplicity of walking into a theater, purchasing a ticket, sitting down in the darkness and feeling content. Not good or bad or superior or guilty…just content. See, I had always thought that attending the movies by yourself, was a one way ticket to being a card carrying member of Hermitland. That there was something shameful and sad about seeing someone on their own at the movies. And there has always been this inner frustration at dating people who do not like to see movies. I understand that you barely get to know someone while watching a film in the dark, that if you have a hard time sitting still or become disinterested – it’s hard to leave. To me, movie night is just a wonderfully quiet thing that two people can share; being with one another but not necessarily expending so much. And suddenly, this new found freedom of not having to check in with others about their availability to see something I really wanted to see became liberating. As was my choice of film.

Revolutionary Road is not one of those movies you should see if you enjoy being married. But it is a spectacular film. And not because Kate and Leo are fine actors (because I have never been a celebrity watcher, I have been an acting watcher), but because even though this movie is set in the 50s – the theme of hopeless emptiness still resonates.

And for that split second, when you realize that the Wheelers have truly bought into the idea of moving to France – they are free. Because they now have a common goal; something that has brought them together and unifies them. They have given themselves permission to live – with the only problem being is that life gets in the way. Maybe it’s because at this time in our American outlook, the crazy people aren’t really the crazy ones, they’re the ones railing against the many of us who refuse to embrace the adventure of becoming new. There are so many subtle temptations and easier paths to take and truly, it’s hard to know who to sympathize more with in the film. Winslet’s impulsively gorgeous and fiery April, or Leo’s more tempered and frightened Frank. So many times in my life, I’ve been a Frank. The person taking the safe road and not the scary one.

Mick LaSalle, critic for the SF Chronicle, suggested that people watch it twice, once through April’s eyes and once through Frank’s. Obviously, being female, my tendency was to watch it first through April’s. Unlike her rendition of Gondry’s Clementine, who in true manic pixie fashion still infuriates me as much as fascinates me, as April, Winslet’s desires, her push to resurface in the world and her eventual decline tore me up. I could feel her slowly starting to buy into the fact that she could accept living what many people still accept – a half life. But also being partially at fault for the root of the problem. Wanting and needing to feel alive, loving her husband – but also trapped by his slow succumbing to peer pressures. And the female exclusive torture of being made to choose between her own needs and a baby's. Many of her choices come from the desperation of a drug addicted person – trying to find a way to feel alive inside of a society that wanted to dictate your every motive. “Playing house.” Maybe, because like Winslet’s April, I saw in a young man, someone who was becoming a stifled soldier and I didn’t know what to do other than to leave him.

Every review of Revolutionary Road has painted DiCaprio’s character, Frank Wheeler, as a weak human study of a character – poised to fall and too willing to be led instead of leading. And still, I sympathized with him. Too often, people are encouraged by society to take the safe route and there is a fear that drives our decision making. Even Frank’s incessant need to talk things out with April, when all she wants is to be left alone with her thoughts points to his inherent insecurity. He needs to know what she’s thinking so that he can make decisions and control their relationship based upon bombarding her with his conversation. It is finally when he is recognized by his wife as being the man of the house that Frank’s potential shines through. He gives up sleeping with other women, he comes home early, his attitude is measured, protective and grounded. When she starts to immasculate him, both physically and emotionally, Frank turns abusive, desperate and childish. It bears some thinking as to how the relationships between men and women actually work, instead of how we go about thinking they SHOULD work.

The ending of the film is slightly predictable – but nonetheless poignant. And we go about thinking who died the better death? And how many of us are dying and not even dead yet? (btw, even if you hate Kate and Leo, go to see the film because of the incredible ensemble work by Michael Shannon, David Harbour, Kathryn Hahn and of course Kathy Bates – whose post-logue is absolutely hilarious) I walked around feeling absolutely hollow and changed at the end of the film, but it was a nice feeling. Truly.

“If being crazy means living life as it matters then I don’t care if we are completely insane. Do you?”

oh postnote? the fashion in the movie absolutely kills me, from April's poised perfection especially at the height of her new found freedom - the dresses with the little pleats, absolute fitted perfection were amazing. Kathryn Hahn's Millie always looks slightly unkepmt and messy compared to April's perfection. Bates is constantly in a nut brown or grey - like a clucking hen. And look at the grey dress with flowered applique pocket that Zoe Kazan (Elia's granddaughter) gets to wear in her second seduction scene with Leo. You will see knock offs of that dress at Anthropologie, I guarantee it. Also, the cinematographer should get an Oscar for his lighting affects, never have I seen sunlight so effectively wash out Kate Winslet.

Holding to the Ground

They say you always remember your first time....

The nervousness, fumbling, trying to remember where one part goes, the other people, bright lights...

WHAT?

I am talking about my first stage experience, I don't know what the rest of you sickos thought I was talking about. heh. For the long time readers of this blog - which may total a number of 3 people (and I'm being optimistic here) - you may remember my excitement then disappointment then nervous hyped up energy of nearly 4 years ago, when I was tagged to understudy SquirrelMonk in 'Falsettoland'. As a lesbian doctor.

Well, the fabulous folks over at Theater Rhino (now the oldest running LGBT based theater in the country) including some ex-Rocky cast mates have restaged a thoughtful, wells-sung and delightful version of this James Lapine/William Finn classic.

For those of you unfamiliar with the story: Yuppie Jewish couple have young son, husband realizes he is gay and leaves wife for lover, wife ends up marrying ex-husband's psychiatrist, son is caught up in all of the hulabaloo, son turns 13 (puberty and all) and has bar mitzvah catered by lesbian kosher caterer from next door, caterer's lesbian lover - internist doctor - discovers more men living with the AIDS virus as they are dying in her ER, lover develops AIDS from his HIV and dies in the middle of son's bar mitzvah at hospital.

Good times.

Originally built as a trio of plays with music (In Trousers, March of the Falsettos and Falsettoland) the Theater Rhino troupe does a true to original version of Falsettoland - which does make the production rather long. but luckily the artists keep the action and scenes moving rapidly. Falsettos was also one of the very first musicals to bring the 80s major conflicts and misunderstandings of homosexuality, the AIDS epidemic and the rise of divorce to the forefront of people's consciousness. Those men and women who lived through the 70s and 80s were just beginning to understand and accept: therapists, dealing with feelings out in the open and non-traditional gender roles. So for many people, Falsettos also represents a revolution much as Pink Floyd's, "The Wall" did for others.

Leanne Borghesi as Trina is spellbinding. Her clear, gorgeous mezzo and belt rings through the black box space clear as a bell and she is the most fascinating to watch as the equally caring and neurotic woman and mother. She is best as a soloist - her earthy voice tinged with emotion during, 'Holding to the Ground' as she cannot define her feelings for Whizzer as she watches him slowly and painfully deteriorate. And also during that incredible tour de force that is, "Breaking Down" - Borghesi's chops as comedic actress don't go overboard while she is flinging chopped pieces of produce around the stage and you can tell she is loving, loving playing this role.

As Marvin, Christian Bohm has a sweet, Irish cover to his voice. In the original versions, Marvin is both conflicted and arrogant; trying to keep his semblance of a tradional 50s nuclear family while lusting after his best friend. Throughout the play, his over-bearing father figure is tempered greatly by his son's wisdom - and eventually, the audience can feel that Marvin finally understands that love is not some definition or but in all it's complexities, the man knows how to love.

Scott Gessford as Whizzer does some of his finest work here. While in Rocky he was only the dumb hottie, he brings warmth, depth and honesty to Whizzer - which was more believable in Act I than II. His gorgeous tenorial voice soars during numbers like 'The Games I Play' and 'What Would I Do'. The love-hate-lust relationship between Gessford's Whizzer and Bohm's 'Marvin' also plays wonderfully on stage and it is during these scenes that Whizzer allows his mask to fall away to reveal gentle emotion.

David Kahawaii as Jason, has a sweetness to him that is made more hilarious by his admissions to the blossoming of puberty. He is a tousled headed voice of reason and is particularly good during both renditions of 'Miracle of Judism'. His preference for Whizzer as father figure frustates and angers both Trina and Marvin - but in the end, Jason proves to be the one who is right as the death of Whizzer brings all ends of the family together.

Additional ensemble members: Christopher Nelson, Amanda Dolan and Laurie Bushman are delightful. Christopher Nelson makes a particularly convincing Mendel the lusty psychiatrist and some of the best couple scenes are between him and Borghesi. His initial attempts to provide fatherhood to Jason are also quite hilarious. and Nelson seamlessly blends acting chops, vocal accumen and physical comedic timing. Dolan, as the kosher catererer Cordelia, is lovingly sketched out - both as clueless eye candy for her more butch partner, Dr. Charlotte - and as a true homemaker trying to come to grips with caring for people the only way she knows how, through food. Her voice is best during the stirring quartet, "Unlikely Lovers"; Dolan also gets a fantastic turn as the self-absorbed, faklempt client of Mendel demarkating the difference between 70s culture and 80s culture.

Bushman does fine as Dr. Charlotte - though many of her big numbers, "Something Bad" and "A Day in Falsettoland" seem to have been sung an octave lower. The relationship between doctor and caterer is nicely sketched out and again, "Unlikely Lovers" is a wonderful group number shared between the two couples. The entire musical is underscored simply by an upright piano in the corner that more than covers the show (double covered by Mark Hanson and Mark O'Brien).

Falsettos runs for two more weeks through Feb. 8th
Theater Rhino
2926 16th Street (btw. Capp and S. VanNess)
San Francisco, CA
www.TheRhino.org