I Promise(s Promises) that Ramin Setoodeh is Wrong

Much as been said about Sean Hayes' performance in Promises, Promises and the subsequent Newsweek article panning his performance because of his out sexuality. Forgive my tardiness on the subject, but I didn't feel it was safe to destroy Ramin Setoodeh's argument in the article "Straight Jacket" until I'd seen the show myself. And now I can!



While in New York (full blog coming soon) Mikey and I got a chance to grab tickets to aforementioned musical. Sean Hayes and Kristin Chenoweth in the musical version of The Apartment? Sure!

I'll divert the subject for a moment to commend Kristin Chenoweth's powerhouse performance. Girl is incredible. She has so much power and such stage presence that it is impossible to take your eyes off of her.



Thought I stopped talking about the article? Think again. It is because of her power (not Hayes' sexuality) that the two don't have the chemistry they should. I honestly think this is neither of their faults, its just that Kristin Chenoweth needs to be put against other powerhouse belters (Idina Menzel, perhaps). Notice that Setoodeh left of Hayes chemistry with Marge (Tony Award winning Katie Finneran), instead criticizing her "drunkness". The two were spot on because they were on equal playing ground. Putting Hayes in a musical with Chenoweth and expecting him (and not just him-nearly anyone!) to be at her level is tough. She's too good to a fault.



But Chenoweth is not the only reason Setoodeh was wrong. He says Hayes isn't a leading man. Of course he's not! The character is a giant goof. He's silly. He's slapstick. We're not talking about your hyper-sexualized Danny Zuko here- this is Seymour in Little Shop of Horrors territory. This character doesn't have super manly traits. That's not Hayes fault.



And you! Audience member sitting in Promises, Promises, stop bringing Jack to the performance! Hayes isn't. It's got to be on close minded audience members who can't shake his previous work. I wasn't staring at Chenoweth and seeing April Roades. Unfortunately after successful TV shows, you can get stuck in a character. This is the audience's fault for bringing it with them- not your own.

So, bravo Sean Hayes and suck it Setoodeh.

HFF: Days 1-6

So this Fringe has begun! Three one-woman shows, a comedy game show and a musical later, I have my first batch of reviews (three of which were published: here)!

What was fun/terrifying about this first one is that everyone seemed to know the actress. After being asked several times, "oh what are you doing here?" I quickly developed a lie so all of Amy's friends and family wouldn't find out (until later of course) that I was critiquing her every move.



Reblogged from www.LAtheatrereview.com:

Dancing with Crazies at The Complex Theatres
by Marcus Kaye~

With an abundance of energy, Amy Milano took the stage for her one-woman show, Dancing with Crazies. The comedy follows Milano’s desire for acceptance and her search for the meaning of “home”. Milano unifies, through dance, her life experiences- such as childhood with her grandmother, study abroad classes in Africa, and dating in Brooklyn- looking for a place to call home along the way.

While Milano enjoyably captures the caricatures of those around her, it is the fictional version of herself that she seems to struggle with. Instead of presenting any depth or growth, she offers herself in a flat, one-note fashion.

The play, written by Milano, focuses on the idea of home, but feels purposeless. With no greater message about acceptance, or meaningful explanation as to what or where home actually is, Dancing with Crazies is simply a self-indulgent excuse for Milano to “showcase” herself.

Lighting by Sarah Templeton aided in varying the scenes and the sound by Andrew Wickens helped to unify the piece overall.

Dancing with Crazies plays June 17 at 9pm and June 19 at 4pm



Betty at The Asylum Lab
by Marcus Kaye~

If Kellydawn Malloy, as the 50’s Paramount Starlet Betty Hutton, seems slightly distracted and lost, there is no surprise why. This one-woman show, written and directed by Shelby Bond is scattered and disjointed and presented in a different order every night. The audience is given a series of topics allowed to ask Ms. Hutton in the press conference that is this play. The audience picks interview topics in any order, leaving Malloy to jump from one monologue to the next.

Malloy has Hutton down and is adorable throughout the tales of "Annie Get Your Gun," and working with director Cecil B DeMille during his heart attack. When asked about her time in the USO she skillfully belts out a number she did for the troops. When accidentally asked about her time in the USO again by a latecomer audience member, Malloy did a quick, comedic recap which was somehow even more entertaining than the first time she told it.

There is no denying Malloy's talent. She quickly switches from happy stories to her drug addiction and alcoholic mother. She juggles emotions as the audience juggles her interview topics. The structure of the play, however, hurts it. It provides no opportunity for through line or growth. And Malloy’s Hutton mentions things in one monologue that she comes back to in others because of the disorganized structure. There are no plants and payoffs because we’re often told the end before she is asked about the beginning.

Given a straight structure, this play would have been undeniably more enjoyable, and would have left Malloy considerably less flustered.

Betty plays at June 19 at 1pm, June 20 at 5:30pm, June 21, 22 at 7pm
and June 27 at 4pm at Theatre Asylum.



Jeb and Jeremiah at The Hudson Theater
So much fun, as always. Read my review here. I brought Banner and Mikey and they both laughed themselves silly. It was wonderfully received and my choice show the weekend (unbiased, I swear). Kudos to Janove, Collin and the wonderful cast!



Reblogged from www.LAtheatrereview.com:

Deadly Sin Bingo at the Second City Studio Theatre
by Marcus Kaye~

With no plot to speak of, audience participation, games and prizes, and a finale sing-a-long, Deadly Sin Bingo can hardly be considered the theatrical experience that it’s touting itself to be- but that doesn’t make it any less fun.

Led by Jon Marco as the enthusiastic game-show host, Father Chuck Martini, the Deadly Sin Bingo show is divided into three bingo games, each based on different deadly sins. Winning audience members are awarded prizes that reflect the contrasting heavenly virtue.

The show doesn’t branch out further than themed bingo, but Marco’s on-the-fly improv, and the supporting commentary provided by Jenni Lamb and Lisa Merkin as Sister Cherisse and Sister Roberta, respectively, moves the show along, providing a bevy of laughs along the way.

The show is ludicrous without ever being blasphemous, but it often opts for silliness over substance. Any real commentary about the nature of sin is avoided and while this might not be the proper place for righteousness, it is the proper place for entertainment. It might not have heart– but it’s got prizes.

Deadly Sin Bingo plays June 17, 19 and 21 at 10pm and June 20 at 2pm at The Second City Studio Theatre and June 26 at 1PM at ComedySportz LA.



Reblogged from www.LAtheatrereview.com:

A Picnic at the Asylum at the Hudson Theatre
by Marcus Kaye~

From the moment she steps onto the stage, Angela Neff has the audience in the palm of her hand, or rather, in the seat of her father’s woody. Neff’s stage presence alone is reason enough to see A Picnic at the Asylum. Factor in her seamless character transitions, a darkly comedic story, and a compelling examination of father/daughter relationships and what results is nothing short of a Hollywood Fringe hit.

Bravely portraying her bi-polar father, pregnant mother and 6 other siblings, Neff paints a fascinating picture of suburban life with her manic depressive dad. Through AA, asylum picnics and birthday dinners, the audience grows up with Neff, clearly seeing how she could both love and hate her father.

Neff’s mannerisms are so distinct, that she is able to fluidly transitions between her multitude of personalities by simply changing gesture. While other one-man shows rely on costumes or dialogue to mark the transition, it is Neff’s physicality here that does the trick.

The story hits the dramatic highs and lows of Neff’s childhood without ever dragging or feeling redundant. Expertly written and full of surprises, the script is pitch perfect.

A Picnic at the Asylum plays June 19 at 5pm, June 20 and 25 at 8pm and June 22 and 23 at 9:30pm at the Hudson Theatre.

Hollywood Fringe Festival

This Thursday marks the beginning of the Hollywood Fringe Festival. It's the first ever in Hollywood. Approximately 200 shows will go up in a scattering of theater across Los Angeles for 10 days. During those 10 days I will be seeing 9 shows and reviewing them for LA Theater Review (a job I'd like to thank both blogspot and twitter for helping me secure). My loyalty will temporarily shift to them, but expect the reviews to be posted here shortly after.

Here is what my week looks like:

Thursday Night: Dancing with Crazies - 1 Woman Show - 8:30PM @ The Complex



Sunday Night: Jeb and Jeremiah - Musical - 8:00PM @ The Hudson



Monday Night: Deadly Sin Bingo - Comedy - 10:00PM @ Second City Studio Theater



Thursday Night: The Birthday Boys - Drama - 9:00PM @ The Complex



Friday Night: Existential Crises - Sketch Comedy - 10:30PM @ Art|Works Theatre



Saturday Night: The Meanest Guy That Ever Lived - 1 Woman Show - 9:30PM @ The Hudson



Sunday Night: Wet Cookies - Sketch Comedy - 7:00PM @ Theater Asylum



Eat, Pray, Laugh - 1 Woman Show - 8:30PM @ Theater Asylum



Attentive readers will notice that that is only 8 shows, but have no fear... there will be 9. I'm just missing a Wednesday night assignment!

As a critic I get two tickets to each show, so if there is one you want to come see with me, let me know!

Jeb & Jeremiah: Alive in 2010

There is a problem with indie theater today- not enough show times. They just don't have the money. They go up, they close and if they are lucky enough to have a reviewer attend, it does little good when the review comes out. It gives readers and potential theater patrons about two shows to see before the show is rushed out of the theater. This year's Hollywood Fringe Festival is no exception-

That is why I, here at Old Hollywood Calls, have opted to do a pre-show, completely biased, review of Jeb and Jeremiah: Alive in 2010!!!!

Written by David Janove, with music by Collin Martin, Jeb and Jeremiah's opening could be right out of Singing in the Rain. The world famous silent comedy duo of Jeb (Clay Keller) and Jeremiah (Russell Ford) are on the verge of smashing success and the verge of "talkies."

At the request of their producer Marcy (Annie Chernecky, channeling her best Kate Hepburn) they move forward on their first "talkie," a musical about love. The best friends brain storm, and shortly after they learn that all love doesn't end in pedophilia, something strange happens: TIME TRAVEL!

In the future (our present) we quickly scoot past some off-color jokes to a bevy of strange characters (including, but not limited to): a hyper-sexual Rachel (played with a childlike intensity by the lovely Kate Alden), the elderly Francis (Craig Shields), a chorus of library singers and the least threatening gangsters you've ever met.

In a Wizard of Oz-esque fashion, our characters journey to find their way home (stopping of course, along the way, for a handful of musical numbers).

Ladies and gentleman, this show is funny. Aside from some stand-out one liners written by Janove (who also directs) the cast is on top of their game when it comes to improv and comedic timing. A challenge anyone to watch Russell's comedic idiocy without laughing, especially when paired with Clay's stone faced Jeb.

Vocally, Britt Keller, as young Francis is the stand out. Her solo during the opening number is gorgeous, and I couldn't help but wish for her to sing more in the show. That's not saying the rest of the cast is something to plug your ears for. Their all perfectly capable singers, who thanks to Martin's gorgeous music - are made to sound extraordinary. The songs are yet another high point of the show, ranging from the gorgeous, with "Someone to Sing With" to the wildly comedic "Train to Ohio" (which is young Kimmy Shield's time to shine as a puppy drowning gold-digger).

So what I suppose I'm trying to say here is COME TO THIS DAMN SHOW. It's funny. The cast is talented (and good-looking) and it's an all around good time. Come for the fun that you'll have in the audience and that feel-good feeling when you leave.

The costumes look fantastic (shameless plug! I did them) but the credit has to go to the extremely passionate, dedicated, talented and ballsy David Janove and Collin Martin.

Showtimes: Click here!

Tickets: Click here!

See you in the future/past/theater!

Playing Dress Up: A Blog About Costumes

My current Hollywood excursion has involved a lot less alcohol and a lot more money. What could I possibly be spending money on that isn't booze and rent? Costumes.

Have no fear, it's not MY money, but rather that of the production JEB & JEREMIAH: ALIVE IN 2010.

I wouldn't exactly call myself new to the costume scene, but this is only my second costuming excursion in LA (the others, all being for short films in Orange County). Don't get me wrong, there was certainly a high frequency of trips to LA when we needed things we couldn't find in the thrift stores/costume stores/fabric stores in Orange County - but now... now it's all LA, baby.

Costumes are important to any production because they do a fascinating trick. Acting aside, they take a person you could see on the street and make them someone else. It does this not only for the audience, but also for the actor. Costumes are important to actors to find the character inside themselves. Inside the clothes.

Prepare yourself, this is going to be a long one (you wish that what she said. or he. I don't judge). Items of discussion in the most important costuming blog: Design, Film, Theater, Colors, Stores & Jeb and Jeremiah

Lets get into this then, shall we?

DESIGN

I'll admit to you now, I don't sew. It makes being a costume designer difficult. It's on my list of things to learn. So for now, I design and then find the pieces to match my vision. It's difficult, but it works for now. If I had an arsenal of seamstresses my life would be much easier. Design is important though. You've got to know what you want. Walking into the stores I shop at can be an overwhelming experience and if you don't know what you're looking for- you'll quickly get lost in blazers and trench coats and sweaters. that being said, sometimes you stumble upon a piece that throws your design out the window. Be prepared to let it go. The piece you find is better than the one in your head.

FILM

You can get away with a lot less in film, because sometimes the camera is closer to the outfit than you'd ever want. It's for THIS reason that I find pre-made pieces, as opposed to try and make them myself. For S.S. HUMANITY we needed white jumpsuits that we then ended dying light blue for camera. How I wish we could have simply found light blue tops to begin with. The end result was fine, but I was terrified that my uneven bucket dye job would show on camera.

THEATER

Much more freedom, and much more room for fun. It might just be a misguided notion in my head, but I feel like you can get away with so much more on stage because it doesn't need to look as real. You can be extravagant. You can play with color. You can be surreal. I know you can do this in film, but in my opinion you can get away with stylization so much more in theater. Unless you work for Tim Burton. The thing about theater costumes, more than film, is that they need to look like they belong together. Lots of characters on stage need to look like they're from the same world. That's why, when it came to costuming DOG SEES GOD, Anna and I used American Apparel for all our base colors.

Well that... and the fact that we fucking love American Apparel.

COLORS

I love playing with color more than anything else. Sure, you can learn things from fabric and cut, but COLOR, my goodness. I really love colors. All of them. It's my high school background in art, I think, that makes color so important to me. Never just put someone in a color. Every color means something. Every color means multiple things. And what about color combinations? And what about when there's a change in color for an actress? What internal change does it represent? There is a simpler character in JEB AND JEREMIAH who I am costuming in primary colors to illustrate her simple nature. Things like that... things that NO ONE will EVER notice- those are the types of things I love in costuming. In THE SPRINKLER we transitioned the old man from Velcro shoes to lace up to illustrate his gained mobility. Do I think anyone caught it? No. But they registered it subconsciously. (That last bit.... not about color. Sorry!)

Jumping back to the primary colors real quick - if you ever work with me you will quickly learn that primary colors are my signature. It's how I leave my mark on things. I try and incorporate them somewhere in everything artistic I do.

STORES

Squaresville- I first came across Squaresville when costuming A VISIT OF CHARITY. It's a vintage store tucked away on Vermont Avenue. It's phenomenal and I make trips out there often (especially since Ozzie Dots it right over there). Most of the stores I hit up are vintage stores, since most of the things I end up costuming are vintagey feeling, if not set in the past completely.

Ozzie Dots- Part costume store, part vintage store. What more could you ask for? Props? Okay, it's got them too. It's amazing and I could spend HOURS in there. Lesley and I have. Mikey and I have. Alison and I have. It's terrific.

American Vintage- It's on Melrose. It's great and the cheapest of all the vintage stores mentioned here.

Jet Rag- It's huge. The biggest of all of these by far. Two stories of excellence. Sundays they have a 1$ sidewalk sale. Check it out. Also vintage.

American Apparel- I swear I'm not endorsed by them. The plain colors and standard pieces are great building blocks to costumes.

JEB AND JEREMIAH

One of my most daunting challenges yet. A play that starts in the 1920's and then time travels to the present. I needed to be able to create not just one world with costumes - but two.

Here's a look at the two most opposite costumes in the show: Jeb and Jeremiah's and the sexy dancers. If that doesn't make you want to see the show, I don't know what will. Check it out. I had a lot of fun with this one. Hitting all the aforementioned stores. It's gonna be a good one.

The reason I end on Jeb and Jeremiah is so that I can urge you all to see it, as its coming soon. There will be more on Jeb and Jeremiah in the weeks to come. Stay tuned.

I may be poor, I may be black, I may be ugly, but dammit- I'm here.

If you ever want to trap yourself in a long conversation that you can't get out of, ask me about me about The Color Purple.

After reading it Freshman year in college, it quickly became my favorite book. Since then, I read it every year (whenever I can get the book back in my possession - it being my favorite, I loan it out a lot to share the experience).

So of course, I've seen the movie and of course I wanted to see the musical. The moment the banners were hung outside the Pantages on Hollywood and Vine, I knew I'd be forking over the money (33 bucks! Not even that bad) to see how the book translated to the stage.



So real quick, for those of you that don't know the story - The Color Purple is the story of Celie, a poor illiterate black woman who was twice impregnated by her father, and sold off to another black man to care for his children. After completely abandoning her faith in God, Celie finds strength in the women around her to accept her role in life. Deep shit, right?

Not in this musical. That caught me off guard. The material is treated almost like a comedy and it was jarring. I had so many tonal expectations for the piece, thinking I was about to watch the African-American equivalent to a Les Mis, or a Phantom. I was anticipating dark and moody- instead, I got a lively & Gospel-y musical. It threw me completely off. It wasn't the Color Purple that I knew, loved and expected.



The first black woman to come into Celie's life is Sophia (we saw the actress who originated the role on Broadway-got a Tony nomination) and from the moment she marches on the stage she's a comedic role. She was an excellent comedic actress, but again, not what I expected.

The next woman is the sexual Shug Avery. Holy hell, this woman was my absolute favorite. The more I think about the musical, the more I love this actress/this character/this part. My favorite from the book, Shug is to sex what Sophia is to brute strength. Shug is also the one who opens Celie's eyes to what God really is.

"I think it pisses God off if you walk by the color purple in a field somewhere and don't notice it."



With Shug Avery, the musical got right, what the movie got wrong. It kept the lesbian undertones. It's a tough sell. It was abandoned in the movie (and noticeably so). Celie has been abused by men, so naturally she opts to stay away from them. To keep herself closed off. She meets Shug, the epitome of sex (something she doesn't know) and immediately falls for her. It's part of her journey in accepting herself.

And the play hit it spot on. Their relationship is raw, and difficult. When Shug leaves (spoiler!) it hurts.

Fantasia shone as Celie. She completely embodied the role (and quite physically) and where I normally can't stand her voice (blasphemous? maybe) it worked perfectly for the down trodden character of Celie. And she can act! Boy, can she act. Her "I'm Here" is powerful. She absolutely brings down the house in act two. Brings it down, then builds it right back up again.



I abandoned my tonal expectations in act two and saw the musical for what it was. A celebration. A celebration of life and being here. It acknowledged the bad - but you can't live in it. It really made me take another look at the entire adaptation process and I can say this much: They got it right. It's not the book, but it shouldn't be. I know that now. It's hard because I'm so close to the book, but the themes came across and that's what's important.

If the book has my heart, this musical has my soul.

"I may be poor, I may be black, I may be ugly, but dammit- I'm here."

I'm none of those. (Okay- I'm one of those, maybe 2) But no matter who you are, there is always a time where you see nothing but your faults. You see nothing but the bad. When this happens, as The Color Purple reminds us, you've got to just accept yourself and remember that you're here.

And I am.