F3PR: Super Freak: The Rick James Story making its way to L.A. this June

PRESS RELEASE

SUPER FREAK: THE RICK JAMES STORY,
CELEBRATING THE KING OF PUNK-FUNK,
MAKING ITS WAY TO L.A. THIS JUNE

Four Performances Only!

Hollywood Pantages Theatre
June 6 - 8, 2024

February 6, 2024 – Broadway in Hollywood and Je'Caryous Entertainment are pleased to announce that the Hollywood Pantages Theatre in Los Angeles will host the L.A. Premiere of Super Freak: The Rick James Story, about the charismatic, flamboyant, provocative musician who dominated the airwaves, with his infectious song “Super Freak”. Rick James’ fusion of funk, groove and rock made the unruly pioneer the trendsetter of the 80's. Super Freak will play the Hollywood Pantages Theatre June 6 – 8, 2024 for four performances only.

Tickets for Super Freak are available for purchase at www.BroadwayInHollywood.com or in-person at the Hollywood Pantages Box Office. Check the website for current box office hours. All prices are subject to change without notice.

Always outrageous, Rick James was a master of celebration and now the party lives on through Super Freak. With a stellar cast, breathtaking choreography, and popular hits such as "Give It to Me Baby," "Mary Jane," and "Super Freak," this musical odyssey bursts to life on the gritty streets of Buffalo – the backdrop for the arrival of the King of Punk Funk.

With his iconic braids and leather-clad body, Rick's flamboyant and rebellious stage persona takes center stage as we follow his turbulent life; tracing his rise to stardom, his chart-topping hits, and the profound impact he made on modern music as a brilliant hitmaker, and influential producer.

Produced by acclaimed Writer/Producer/Director Je'Caryous Johnson and Ty James, James’ only daughter and President of the Rick James Estate, Super Freak: The Rick James Story is based on the books Glow by Rick James and David Ritz, and Memoirs of a Superfreak by Rick James, and is written by Johnson, J. Kyle Manzay and Troy Byer.

Johnson, who has earned acclaim for his dynamic and immersive theatrical productions, expressed his excitement about bringing Rick James' story to the stage. "Rick James was a true trailblazer whose influence continues to resonate in today's music landscape. With Super Freak: The Rick James Story, we aim to honor his unparalleled talent and captivating persona, giving audiences an unforgettable experience."

Ty James, who has been instrumental in preserving and promoting her father's musical legacy, shared her enthusiasm for the project. "This project is a labor of love and a tribute to my father's extraordinary life. I’m thrilled to collaborate with Je'Caryous Johnson to create an authentic and exhilarating portrayal of Rick James' journey, showcasing his musical genius and larger-than-life spirit."

Rick James was Motown’s hottest artist in the 80s releasing chart-topping hits "Super Freak" and "Give It To Me Baby" on his 1981 LP, Street Songs. These tracks showcased James' mesmerizing bass lines and infectious grooves that beckoned listeners to the dance floor. He was a sought-after producer, working on hits for Eddie Murphy (“Party All the Time”), The Temptations (“Standing On The Top”), The Mary Jane Girls and Teena Marie.

Super Freak: The Rick James Story takes audiences beyond the glittering facade. The musical explores the layers of Rick's internal struggles and insane lifestyle filled sex, drugs, and music. From humble beginnings to the glitzy, hedonistic world of Hollywood, Super Freak: The Rick James Story captures the essence of a musical icon, leaving audiences with an unforgettable experience and the resounding declaration, "He's Rick James, B*tch!"

About Je’Caryous Johnson:

For almost two decades, Je’Caryous Johnson has transformed the world of urban theatre and propelled himself into mainstream notoriety and success. It all started for him with his forward thinking to turn African American romance novels into stage plays. The four-time National Championship Playwright is a recipient of the NAACP 2007 Trailblazer Award and is the youngest producer/playwright to garner national media attention. He was the first person to adapt an African American romance novel into a stage play. He was also the first person to write and produce a novel and a play, simultaneously.

To date over 3.5 million people have seen Johnson’s shows and they have grossed over $150 million dollars in revenue. Some of Johnson’s hit plays have included Men Cry in the Dark with Allen Payne, The Maintenance Man with Billy Dee Williams, and Friends and Lovers and Cheaters with Grammy Award winning singer Brian McKnight. Married but Single and Married but Single Too, which starred LisaRaye McCoy and Bill Bellamy, sold out from coast to coast and continued to garner Johnson a groundswell of support and fans. Even his most recent endeavors Redemption of a Dogg, adapted for the stage and based on the hit gospel album of hip-hop icon Snoop Dogg; Two Can Play That Game starring Vivica A. Fox; Set It Off starring Da Brat as Cleo; and New Jack City, starring Allen Payne, reprising his role as Gee Money, and Naughty by Nature's Treach, both based on the hit movies, continue to establish Johnson as a trailblazer and put him in a league of his own.

About Ty James:

As the President of the Rick James estate, Ty James is wholeheartedly dedicated to honoring her father's musical contributions and ensuring his enduring impact on the history of music. She has joined forces with Showtime and Mass Appeal as an executive producer for the official documentary chronicling her father's life. The documentary premiered on September 3, 2021, offering an intimate and comprehensive portrayal of the legendary artist.

In addition to her involvement in the documentary, Ty James has launched a clothing line named after her father's band, Stonecity. This clothing line serves as a tribute to Rick James funky style and his profound musical legacy. Furthermore, she has established a music label called Dreammakers Worldwide, inspired by one of Rick James' hit songs. Through this label, Ty aspires to sign and promote artists whose music carries deep meaning and touches hearts, transcending through decades, much like her father's music does.

Ty James embraces her role as a custodian of her father's musical heritage, actively working on various projects to honor Rick James' legacy and support the continuation of his influential musical impact.

Super Freak: The Rick James Story is recommended for ages 18 and up. The show contains mature subject matter. Children under the age of 5 will not be admitted into the theatre. All patrons must have a ticket, regardless of age.

For more information about Super Freak: The Rick James Story, please visit https://jecaryous.com/superfreak/.

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F3Stage Review: Pretty Woman: The Musical transplants the movie to the live stage... quite literally, for better or worse

Even if musical adaptations of films were not an increasingly commonplace presence on Broadway in the last fifteen years or so, the beloved 1990 rom-com Pretty Woman would have been a no-brainer for a tuneful treatment. After all, what is Vivian Ward, Hollywood hooker with a heart of gold whose rich client ends up being the knight in shining designer suit of her dreams, but the one and only R-rated Disney (via Touchstone) Princess? Or to take things even further into the legit theater canon, what is this tale of a rough around the edges young woman who undergoes an external makeover and internal awakening with the help of a privileged male benefactor but a variation on Pygmalion / My Fair Lady? With such familiar archetypes and tropes--and, in this day and age, established/beloved IP's--comes a certain luxury that lends theatrical creatives a certain extra latitude for imagination, what with the audience already having built-in comfort from the tried-and-true source material. But then that very advantage can also, even more easily, lead to a certain creative complacency and even laziness--and that sadly is the case with the squandered potential of the perfectly pleasant but ultimately disposable Pretty Woman: The Musical, which only ultimately underscores what rare alchemy the makers of the now-classic film were able to pull off.

Two of those makers, screenwriter J.F. Lawton and the late director Garry Marshall (in what ended up being his final project), are credited with the book here, and at curtain-up they, along with director Jerry Mitchell and songwriters Bryan Adams and Jim Vallance, appear to inject some freshness into what I would presume is an oft-viewed film for most of the audience members. The opening production number "Welcome to Hollywood" effectively sets the scene of 1990 Hollywood, with its big dreams from little people on the fringes (namely, the homeless and prostitutes), while also showing a smart adaptation note in seemingly establishing the film's bookending "Welcome to Hollywood! What's your dream?" drifter (here played by Kyle Taylor Parker) as a narrator of sorts. But perhaps more importantly to fans of the original film, which, while not being a musical, had a very memorable soundtrack, the song and number also capture the buoyant energy with which Go West's otherwise lyrically-inapplicable "King of Wishful Thinking" kickstarted the movie.

The energy soon dissipates when the book scenes immediately begin soon after, with a lost Edward (Adam Pascal) asking an on-the-job Vivian (Olivia Valli) for directions on a Hollywood street corner. All proceeds about exactly as it does on screen, and that's the issue--one that proves to ultimately plague the production as a whole. There is some validity to the old adage of not fixing what isn't broken (and, in this specific case, has held up remarkably well under the three-decade-plus test of time), but Lawton and Marshall don't so much adapt their work for the screen so much as transplant it directly onto the stage, nearly scene for scene, and even more nearly verbatim. As one of those people who has seen the original film countless times, there admittedly is a certain amount of amusement that comes with anticipating certain lines before they are uttered. But that novelty wears off quickly, leaving one with the increasingly nagging question of why exactly (aside from the obvious financial reason) this production exists in the first place.

That elusive raison d'être theoretically should come from the score, which, unlike the book, is wholly original. However, this is one area where the creative team probably could have more effectively used elements from the film. After that rousing opener, Adams and Vallance eventually find themselves in a losing battle against the lingering impression of the classic movie soundtrack. This is not to say their songs are not pleasant to hear, especially sung by voices as strong as Pascal (who, astonishingly, has lost none of his power, edge, and clarity in the quarter century since his star-making turn in Rent's original cast) and Valli's. Given how the songs here are more or less merely grafted onto the existing screenplay, Adams's well-established brand of agreeable pop is at its best here when called on to catch the general vibe of a scene/beat's movie counterpart, as they do with the opening scene and "Rodeo Drive," a pre-first shopping spree number for Vivian's BFF/mentor Kit De Luca (Jessica Crouch) that reasonably duplicates the raucous, rock-y verve of Natalie Cole's "Wild Women Do." While the commitment to serve up completely original songs is admirable, whenever they attempt to replace the iconic sonic touchstones (no pun intended) from the source, Adams and Vallance are at their least inspired. Vivian's second, and far more fruitful, attempt at a shopping spree makes for a smart intermission break point, and while nothing anyone could ever compose could ever compete with the Roy Orbison evergreen that lent the film its title (which does, eventually, get performed, but only as a half-hearted curtain call), it is a plum opportunity for an all-stops-out act one closer in its own right. Alas, what Adams and Vallance offer is neither melodically nor lyrically memorable from the moment the lights black out, ending the first half with a whimper. Even more meek is their replacement for the film's climactic chart topper, Roxette's "It Must Have Been Love"--a ready-made (both in music and lyrics), barnstorming, no-dry-eye-in-the-house 11 o'clock number if there ever was one. Repeating the word "extraordinary" ad nauseum to a sluggish, soppy tune does not quite pack the needed punch for a moment that calls for a power ballad. (One cannot help but wonder why, unlike other stage adaptors of popular films, Lawton, Marshall, and Mitchell did not simply license and retain the source film's most memorable songs, à la Ghost: The Musical; one can only surmise a veteran pop star like Adams would only agree to compose no less than a 100% original score.)

Hamstrung by the limitations of the book and score, Mitchell mostly does whatever else he can to freshen up the proceedings. Also serving as choreographer, he never passes up an opportunity to showcase the dance skills of his gifted ensemble. While some of these passages are a bit gratuitous, such as an extended dance break for the helpful Regent Beverly Wilshire Hotel manager Barnard Thompson (also played by Parker, in a bit of dual casting that initially seems to have, but ultimately doesn't, have an additional meaning) with one of his bellhops, the impressive moves do help to keep the energy level up. Despite generally lackluster, no more than merely functional, scenic design by David Rockwell (for all of its Hollywood-ized, feel-good gloss, the Marshall film was able to clearly paint a contrast between Vivian and Edward's worlds; not so much here, where the minimalist approach, down to a literally blank backdrop, makes both Hollywood Boulevard and Beverly Hills look rather cheap), Mitchell does craft some interesting set pieces, most notably a recreation of the famous opera scene, where a creative blend of dance, excerpts from La Traviata (immaculately sung by Amma Osei), one of the better Adams/Vallance tunes ("You and I"), and a replica of Julia Roberts's famous red dress make for a highlight that honors but does not completely ape the original. Also working on a similar honoring-but-not-duplicating note is Mitchell's casting, particularly that of the leads, who do make a worthy, valiant effort to step out of their film predecessors' shadows and inject their characters and the pairing with their own unique spins. A suitably dashing Pascal has the easier job, what with Richard Gere being the blankest of slates in the film, and being a generally more vibrant actor, he more clearly tracks Edward's thawing and loosening under Vivian's spell. As such, he and Valli create a beguiling chemistry distinct from the fire-and-ice Roberts/Gere match. Valli makes the most of her first major lead, injecting Vivian with a beautiful and versatile singing voice, loads of charm and spunk, and a bit more of an edge to her presence than America's Sweetheart-era Roberts. She truly is a name to watch.

And that's, ironically, kind of a shame since Pretty Woman: The Musical should, in theory, itself be a star-making vehicle for an actress on the stage as it was for Roberts on the screen. But Valli, as naturally shining a presence as she is, can only do so much with a production where--new, generally forgettable songs notwithstanding--slavish adherence to the film is the general modus operandi. She, or anyone else playing Vivian on stage, can switch up the inflections and rhythms of her line deliveries as much as they want, but that those lines and those costumes are the same as those spoken and donned by Roberts serve as a constant reminder of that iconic turn that was immortalized (and then replayed/rewatched ad nauseum) over 30 years ago, and suffocate any chance for its star--and the show as a whole--from standing on its own.

The First National Tour of Pretty Woman: The Musical is now playing at the Dolby Theatre in Hollywood through Sunday, July 3; the production then moves to Orange County at the Segerstrom Center for the Arts in Costa Mesa from Tuesday, July 5 through Sunday, July 17 before continuing to other cities across America through 2023.

Olivia Valli as Vivian Ward, Adam Pascal as Edward Lewis,
and the company of Pretty Woman: The Musical
(photo by Matthew Murphy for MurphyMade)

(Special thanks to Broadway in Hollywood)

The Movie Report wants to attend all your live stage productions! Please send any and all invitations to this address. Thanks!

F3Stage: The Band's Visit cast's visit with media in Hollywood

Less than a day after taking the stage for their official opening night at the Dolby Theatre, The Band's Visit First National Cast members Janet Dacal, Sasson Gabay, Joe Joseph, and Coby Getzug discussed the multiple Tony Award-winning musical in a special event held for media this morning, Wednesday, December 1, at the Hollywood Roosevelt Hotel. Joining them for the event taking place diagonally across Hollywood Boulevard from their stage home for the next few weeks were the non-actor members of the titular band, Roger Kashou, Wick Simmons, Yoni Avi Battat, Kane Mathis, and Brian Krock, who treated the assembled audience to two live musical performances while in full costume. Video of the entire panel and performances are below.

The first national tour of The Band's Visit is now playing at the Dolby Theatre in Hollywood through Sunday, December 19; the national tour then moves on to other cities across North America through 2022, including a return to the Southern California area at the Segerstrom Center for the Arts in Costa Mesa from Tuesday, March 22 through Sunday, April 3, 2022.

(Special thanks to Broadway in Hollywood)

The Movie Report wants to attend all your live stage productions! Please send any and all invitations to this address. Thanks!

F3Stage Review: My Fair Lady is still classy and classic... and now modern and relevant

It seems almost ridiculous to think a beloved old musical chestnut of stage and screen such as My Fair Lady could ever be considered "controversial" or even "divisive," but that actually happened within the community of theater aficionados when Bartlett Sher's revival production opened at Lincoln Center in New York in 2018. While enjoying a successful run of about 15 months, during that time it remained a subject of debate due not to any deletions or alterations to the familiar text and music but... an adjustment in stage direction. While such a subtle move does indeed make an inversely dramatic impact at the final curtain, one thing about this production, whose national tour is now playing in Hollywood at the Dolby Theatre, that cannot be disputed is that it is a fittingly classy staging that more than respects the deservedly enduring original work of Alan Jay Lerner and Frederick Loewe. It's just that Sher's production now also honors the social reality of it being a work from the 1950s being mounted in the 2020s, and in a way that feels completely appropriate with the ideas and issues already addressed by the creators in the first place.

And those issues, as relevant as they are now as they were back then, are that of class and gender roles. The genius, of course, of Lerner and Loewe's adaptation of George Bernard Shaw's straight play Pygmalion is that the weightier concerns are seamlessly packaged in such an appealingly accessible and downright fun package. This is no better exemplified by the delightful performance of stage superstar-to-be Shereen Ahmed as the eventual "fair lady" of the title, young Cockney flower saleswoman Eliza Doolittle. She is a game comedienne as the rough-around-the-edges, Eliza is taken in by snooty professor Henry Higgins (Laird Mackintosh), who sets out to transform her into a refined, well spoken "lady" in a bet with colleague Colonel Pickering (Kevin Pariseau). Not only is she golden in physical gags or barbed, culture clash banter with Mackintosh, she consistently maintains Eliza's harsh accent in the early songs without sacrificing the timeless beauty of Loewe's melodies, for which her glorious soprano was made to sing.

The effortless charm with which Ahmed instantly wins over the viewer is key following the outcome of Higgins's "experiment" and the very real fallout from all the comic shenanigans. While Sher's production remains consistently fun throughout both its acts, it more clearly foregrounds Eliza's conflicting emotions following the show's centerpiece ball scene. Case in point, the celebratory "You Did It" number, in which the spirited singing of Higgins, Pickering, and others is strikingly contrasted with, Eliza's eloquently wordless actions and expressions, which speak just as loudly as the song. More than just a quiet way for setting the stage for what has always been the driving question for the remainder of act two, that of what Eliza's "refinement" and resulting new prospects mean for her future, it also underscores Sher's emphatic, and rather relevant to the current social climate, perspective and power shift to Eliza and Eliza alone. Yes, the effect going forward on the relationship/situationship with her mentor (or, perhaps more accurately, abuser, given the condescension, manipulation, and exploitation that sparked the link in the first place?) Higgins is part of the question, and still a major one at that. But here it's not so much a formulaic, love-hate "will they or won't they?" romantic issue that places them on equal ground rather than one that more plausibly reflects the post-"transformation" reversion of their dynamic. It's now all about Eliza's matured feelings and expanded world view and how/if Higgins can comfortably fit there for her, not about being overly mindful and concerned with his feelings out of blind loyalty--or, to step back and into a general artistic standpoint, out of shameless, easy crowd pleasing and pandering. From this comes that bold adjustment to the stage direction, which, given the modern thematic lens of Sher's creative vision, is completely organic, earned, and, quite frankly, inevitable.

Even more undeniable, though, even from anyone who has any doubts about Sher's more radical touches, is what a lush and often gorgeous production this is. Michael Yeargan's sets, in particular the rather spectacular revolving one for Higgins's house, are visually striking while being practical to keep the action and story going; ditto Catherine Zuber's costumes, with Eliza's ball gown being a particularly "loverly" highlight. Ahmed's voice may rise above all, but everyone else in the ensemble is in vocally fine form (as Eliza's hopelessly besotted suitor Freddy, Sam Simahk is especially impressive) and have great stage rapports with their castmates. Christopher Gattelli's choreography is perhaps one area where the envelope is nudged maybe slightly too far, namely in Eliza's father Alfred's (Adam Grupper) second act showstopper "Get Me to the Church on Time." Gender roles may be pertinent in this piece, but an extended drag bit in this number feels like needless overkill in a production that is largely defined by its finesse.

Such finesse is quite fitting for as sturdy an entertainment as My Fair Lady, which 65 years after its Broadway debut still makes for a wildly enjoyable night at the theater that delivers in music, laughs, and emotion. That, at its very end, Sher also leaves his audience with food for thought is just the proverbial cherry on top.

The Lincoln Center Theater production of My Fair Lady is now playing at the Dolby Theatre in Hollywood through Sunday, October 31; the national tour then moves on to other cities across North America through 2022, including a return to Southern California at the Segerstrom Center for the Arts in Costa Mesa from Tuesday, January 11 through Sunday, January 23.

(Special thanks to Broadway in Hollywood)

The Movie Report wants to attend all your live stage productions! Please send any and all invitations to this address. Thanks!