Showmag.com

  • Increase font size
  • Default font size
  • Decrease font size

A Beach Blanket Party Invades Pasadena Playhouse

E-mail Print

At last! An entertainment that was irreverent when created in 1879, made more so by The Hypocrites, an outrageous young troupe that knows its way around operetta just as well as it knows how to amaze and delight in the 21st century. At The Hypocrites performances of Pirates of Penzance, now playing at the venerable Pasadena Playhouse, rather than finding one’s way to a traditional seat in, audiences find themselves on a crowded beach promenade, transformed from auditorium to playing area. Beach balls whiz by on their way to an unsuspecting beachgoer who must quickly pass them on. The actual stage is ignored for the most part, with a series of bleachers placed around the room for the fuddy-duddies who don’t want to move about (I was one).

Read more...
 

Cabaret

E-mail Print

Since its inception in 1966, Cabaret has been staged and re-staged over the years in venues large and small. Based on stories by Christopher Isherwood and John Van Druten's play I Am a Camera, and with a worthy book by Joe Masteroff, it captures a time period in the 1930s when the world was awakening to the threat of Nazi Germany. Fifty years later, the play seems as relevant as ever in our current divisive political climate.

Read more...
 

Nothing Is the Same...a harbinger to the present

E-mail Print

A pastel panorama, courtesy of scenic designer Tesshi Nakagawa, brings island ease to mind as audiences enter the Sierra Madre Playhouse for Nothing is the Same, by Y York. But the view of Hawai’i that unfolds shows the unease that emerged in the aftermath of the attack on Pearl Harbor by the Japanese in World War II.  The play is at once a look back to halcyon days of youth and a prescient view of conditions leading to ethnic unrest that we are experiencing today.

Read more...
 

Aladdin

E-mail Print

Channeling Robin Williams' manic take on the genie in Walt Disney's animated feature Aladdin, Michael James Scott takes center stage as the Broadway Arabian nights tale of the "street rat" from the fictional city of Agrabah gets three wishes from from a genie in a magic lamp and has a happy romance with a princess. It is tailor-made for Disney, as their princesses are big business for the company, and the audience on opening night was liberally sprinkled with little girls cheering on the hero and heroine. Some were carrying purchased Jasmine dolls. Its message is positive, and it is delivered with humor and a generous portion of energy.

 

Read more...
 

Rotterdam

E-mail Print

2017 has been a good year for playwright Jon Brittain and his timely play Rotterdam. The original British production garnered great reviews, and this year saw an Off-Broadway run, a re-opening of the original production in London, and, now, a Los Angeles premiere.

Read more...
 

Max Frisch's The Chinese Wall: If the Chinese Could Do It...

E-mail Print

Although we remember Brecht as the pre-eminent mid-20th Century European playwright, his contemporary, Swiss playwright Max Frisch, was just as important after the Second World War.  The concern then, having ostensibly defeated fascism, was the threat of nuclear war, made more fearsome by the recent destruction of Hiroshima and Nagasaki.

 

Read more...
 

A Delicate Ship

E-mail Print

 

It is Christmas Eve, and a delicate snow is falling on Brooklyn, courtesy of Sarah B. Brown’s graceful scenic design and Nick Santiago’s effective projections. Inside her apartment, Sarah (Paris Perrault) and Sam (Philip Orazio) are enjoying a romantic holiday evening. Outside the apartment stands Sarah’s childhood friend, Nate (Josh Zuckerman) – definitely not enjoying the holiday. So he amuses himself by sharing caustic biographical tidbits on each of the lovers.

Read more...
 

Small Mouth Sounds

E-mail Print

Playwright Bess Whol’s Small Mouth Sounds is a gentle satire of the wellness industry, a chronicle of the intimate adventures and annoyances of a group of retreat participants, and it's an exploration of the eloquence of silence.

Read more...
 

Miracle on 34th Street

E-mail Print

If you had looked for an alternative to the plethora of productions of The Christmas Carol this year, you’d have encountered a delightful Christmas show at Pasadena Playhouse.  If you’re old enough to remember radio drama, you’d be drawn to the Playhouse’s staging of the original script for the 1947 broadcast of Miracle on 34th Street; if not for you, at least to share with your kids and grandkids.

Read more...
 

A Christmas Carol

E-mail Print

For such a somber story as Dicken’s A Christmas Carol, A Noise Within’s holiday treat manages to be full of fun and spectacle.  Never fear, the cautionary tale is still there, but the apparitions Christmas Past and Present are splendid creations, indeed; and as director with Julia Rodriquez-Elliott, Geoff Elliott populates the stage with scampering ensemble members who are just as often moving set pieces around as performing in each episode.

Read more...
 


Page 7 of 27

Spotlight

Hollywood Fringe Awarded 10K from National Endowment for the Arts

Hollywood, CA -- The Hollywood Fringe Festival is proud to announce that it has been awarded a National Endowment for the Arts Art Works grant of $10,000 to support the Fringe Scholarships program. This grant stems from more than $82 million approved by NEA Chairman Jane Chu to fund local arts projects and partnerships. The Art Works category supports the creation of work and presentation of both new and existing work, lifelong learning in the arts, and public engagement with the arts through 13 arts disciplines or fields.

“Hollywood Fringe began only seven years ago and has grown into a festival reaching tens of thousands of people,” says Festival Director Ben Hill. “This funding allows us to sustain that growth by supporting artists and programming that is diverse, inclusive, and relevant to the local community. We are truly honored to have been selected a recipient."

The Fringe Scholarships program strives to provide a platform for artists to exhibit the most diverse and cutting-edge points-of-view, by offering unique and underserved artists scholarships to participate in the 2016 Hollywood Fringe Festival. Scholarships will be awarded to artists whose festival participation will increase festival attendance and participation by local Hollywood residents, increase arts participation of ethnically diverse and/or low-income artists, and enrich audience experience through the presentation of unique, underrepresented themes and/or narratives.

“The arts are all around us, enhancing our lives in ways both subtle and obvious, expected and unexpected,” said NEA Chairman Jane Chu. “Supporting projects like the one from Hollywood Fringe Festival offers more opportunities to engage in the arts every day.”

ABOUT HOLLYWOOD FRINGE

The Hollywood Fringe Festival is an annual, open-access, community-derived event celebrating freedom of expression and collaboration in the performing arts community. Each June during the Hollywood Fringe, the arts infiltrates the Hollywood neighborhood: Fully equipped theaters, parks, clubs, churches, restaurants and other unexpected places host hundreds of productions by local, national, and international arts companies and independent performers. The 2016 festival runs June 9th - 26th and offers over 1,400 performances in over 30 venues.

Participation in the Hollywood Fringe is completely open and uncensored. This free-for-all approach underlines the festival’s mission to be a platform for artists without the barrier of a curative body. By opening the gates to anyone with a vision, the festival is able to exhibit the most diverse and cutting-edge points-of-view the world has to offer. Additionally, by creating an environment where artists must self-produce their work, the Fringe motivates its participants to cultivate a spirit of entrepreneurialism in the arts. 

Want more information? Contact us at press@hollywoodfringe.org or by visiting the website at www.HollywoodFringe.org/press.

 
Laguna Playhouse Announces Ellen Richard as its Interim Executive Director

May 3, 2016…Laguna Beach, Calif…Laguna Playhouse Board of Directors announced today that, later this month, Ellen Richard will be joining Laguna Playhouse as its Interim Executive Director. The Playhouse announced late last year that it was undertaking a national search guided by Arts Consulting Group (ACG) for an Executive Director to succeed Karen Wood who had held this position for the past eight years.

Commenting on the appointment Joe Hanauer and Paul Singarella, Co-Chairmens of the Board of Directors, said “In the midst of our search we encountered this wonderful opportunity to engage Ellen while we continue to seek appropriate long-term leadership. To have found someone with the extraordinary qualifications that Ellen has is thrilling. She is the recipient of six Tony Awards as producer at New York’s Roundabout Theatre Company where she was Managing Director. Ellen also has strong successes in supervising the construction of theatres in New York and also in San Francisco at the American Conservatory Theater, a rare and valuable skill set considering the contemplated major remodel and expansion of the Laguna Playhouse.” Laguna Playhouse Artistic Director Ann E. Wareham adds, “We are pleased and proud to have Ellen Richard, truly a rock-star in our field, join us as our interim Executive Director who will help guide the Playhouse during this transition.” Comments Ellen Richard, “I have quickly grown fond of Laguna Beach and the Playhouse. I embrace this extraordinary opportunity to join one of the country’s top regional theatres at this time in its remarkable 95-year history. I look forward to helping the Playhouse and working with their incredible Board of Trustees and Ann E. Wareham.”

ABOUT ELLEN RICHARD

Ellen Richard served as Executive Director of the American Conservatory Theater in San Francisco from 2010 through 2015.  During her tenure, Ms. Richard negotiated a deal to buy the Strand Theater in tech corridor of Mid-Market San Francisco, helped raise the $34,000 million to renovate and operate it and steered the design and construction for the project which opened in May of 2015. The complex featured two performance spaces and has won multiple awards.  She opened the 50 seat Costume Shop Theater, a 49-seat “black box” venue used for the company’s Master of Fine Arts students and for shows by other local companies.  Ms. Richard was also credited with expanding the company’s educational efforts, coming up with programs like the San Francisco Semester, which brings undergraduate acting students to ACT from around the world, and Stage Coach, a community theater mobile unit that reaches into diverse neighborhoods

She was also Executive Director of The Second Stage Theatre in New York City. During her tenure at Second Stage, which began in 2006 (through 2009), she was responsible for the purchase contract of the Helen Hayes Theatre, growth in subscription income of 48 percent, and growth in individual giving of 75 percent, as well as conceptualization of a highly successful gala format and “Second Generation,” a giving program through which donors enable deserving New York City youth to experience live theater. Under Ms. Richard’s leadership, Second Stage provided the initial home for the Broadway productions Everyday Rapture, Next to Normal, and The Little Dog Laughed.

From 1983 to 2005, Ms. Richard enjoyed a rich and varied career with Roundabout Theatre Company. The Roundabout that Ms. Richard joined was a small nonprofit theater company in bankruptcy. By the time she departed as Managing Director, Roundabout had become one of the country’s largest and most successful theater companies of its kind, with net assets in excess of $67 million dollars. Ms. Richard is the recipient of six Tony Awards as producer, for Roundabout productions of Cabaret (1998), A View from the Bridge (1998), Side Man (1999), Nine (2003), Assassins (2004), and Glengarry Glen Ross (2005). As producer of more than 125 shows at Roundabout, she had direct supervision of all management and marketing functions. She created Roundabout’s “Theatre-PLUS” programs, which include singles, teachers, family, gay and lesbian, wine tasting, and the 7 p.m. “Early Curtain” series, all of which grew to represent more than 10 percent of Roundabout’s 40,000 subscribers.

As director of design and construction at Roundabout, Ms. Richard was responsible for more than $50 million of theater construction for 11 projects. She conceptualized the three permanent Roundabout stages — The Broadway venues of Studio 54 and the American Airlines Theatre, and the Off-Broadway venue The Harold and Miriam Steinberg Center for Theatre She directed the location search for Cabaret and oversaw the creation of the production’s environmental Kit Kat Klub. Prior to her tenure at Roundabout, Ms. Richard served as business manager of Westport Country Playhouse, theater manager for Stamford Center for the Arts, and business manager for Atlas Scenic Studio. She began her career working as a stagehand, sound designer, and scenic artist assistant.