F3Stage Review: The fiery passions & voices of LA Opera's Il Trovatore triumph over a muted design

Giuseppe Verdi's Il Trovatore is a tale of fiery, often conflicting, passions--that of an intense romance; that of an unrequited love; that for revenge--so it makes sense that actual flames notably figure in the physical design of LA Opera's big return to the live stage of the Dorothy Chandler Pavilion. But what really ignites the production is the figurative fireworks set off by voices and performances by the leads, who ultimately shine far brighter than the imposing physical production.

Louis Désiré's design for director Francisco Negín's production is hard to ignore from the initial curtain raise, but not for the extravagant opulence one typically associates with opera; rather, quite the opposite. Ironically, such a tale of emotions run amok--the love and devotion between the troubadour of the title, Manrico (Limmie Pulliam in performances through October 3; Gregory Kunde from October 6 through 10) and Leonora (Guanqun Yu); the Count DiLuna's (Vladimir Stoyanov)'s pathological pining for Leonora; Manrico's mother Azucena's (Raehann Bryce-Davis) quest to avenge her mother's death--plays out in a stark, stone cold grey box with a heavily raked floor. Perhaps reflecting the heavy burdens all the principals carry, there's even a vertical pillar upstage that's occasionally pushed by the leads across the stage length while in song. Undoubtedly, the stark set makes for some occasionally striking stage pictures when working in tandem with other elements (case in point, pictured below, the cross that forms during a scene taking place in a convent) and Bruno Poet's lighting design, and the overall dearth of color makes the pyrotechnic elements all the more punctuating, especially the memorable finale. But with Désiré's costumes similarly muted for the leads and the chorus members, the latter not only additionally done up in anonymous white face makeup, but also literally hiding in the walls much of the time, visually the show becomes a bit monotonous.

Thankfully, though, Verdi's music--and, thus, the emotion of the piece--under the ever-reliable baton of James Conlon is thrilling. Most of the lead quartet is nothing short of exquisite. Yu's Leonora has a luminous soprano to match her graceful stage presence, and her chemistry with the commanding and charismatic Pulliam makes the central romance consistently resonate. Perhaps the real star here is Bryce-Davis, who is simultaneously, appropriately menacing and heartbreaking as Azucena; her ever-simming anger, and the sadness behind it, is mesmerizing as it ultimately consumes all in her path. Stoyanov does not make quite the lasting impression in the less showy role of Count DiLuna, but he is a more than adequate foil to his co-stars. And despites its everlasting ubiquity across all media, the most famous passage of the opera, the "Anvil Chorus," retains its melodic, infectious punch in a live music hall.

And that, right there, underscores how valuable it is to have LA Opera back in season, and even with this Il Trovatore making some unconventional, maybe even questionable, choices, what does work exemplifies how nothing quite matches the creativity and excitement of the live performing arts.

Limmie Pulliam as Manrico, Guanqun Yu as Leonora,
Vladimir Stoyanov as Count di Luna, Morris Robinson as Ferrando
(photo by Cory Weaver)

LA Opera's production of Il Trovatore will have four more performances, on Saturday, September 25; Sunday, October 3; Wednesday, October 6; and Sunday, October 10, at the Dorothy Chandler Pavilion in The Music Center in Downtown Los Angeles. The October 3 and 6 performances will also be available for livestream at the LA Opera On Now digital platform.

(Special thanks to LA Opera)

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F3PR: The Pasadena Playhouse announces Head Over Heels cast

PRESS RELEASE

HEAD OVER HEELS
CAST ANNOUNCEMENT

Tickets Now on Sale
at pasadenaplayhouse.org

Tuesday, November 9 to Sunday, December 12
Opening Weekend: November 13 & 14, 2021

PASADENA, CA (September 23, 2021) – Pasadena Playhouse, the State Theater of California, announces initial casting – Alaska 5000 (RuPaul’s Drag Race), Lea DeLaria (Orange is the New Black), Yurel Echezarreta (Steven Spielberg’s West Side Story), Tiffany Mann (Be More Chill), George Salazar (Little Shop of Horrors), Emily Skeggs (Fun Home), and Shanice Williams (“Dorothy” in NBC’s The Wiz Live!) – for Head Over Heels, with music of The Go-Go’s, which kicks off the Playhouse’s 2021-2022 season. The historic Pasadena Playhouse will be fully transformed for the production creating an experience with both traditional reserved theater seats and a general admission dance floor. Performances are scheduled from November 9 through December 12; the press opening weekend is November 13 and 14. Tickets are on sale now, starting at $30, at pasadenaplayhouse.org.

Cast Overview:

• Alaska 5000 (Queen Gynecia) is the winner of the second season of RuPaul's Drag Race All Stars and runner-up on the fifth season of RuPaul's Drag Race.
• Lea DeLaria (King Basilius) has had a multi-faceted career as a comedian, actress, and jazz musician, spanning decades, including her three-time SAG Award-winning role as “Carrie ‘Big Boo’ Black” in Orange is the New Black.
• Yurel Echezarreta (The Player) was in the Broadway production of Head Over Heels, as well as Moulin Rouge!, Aladdin, Matilda, and La Cage aux Folles, and Steven Spielberg’s West Side Story.
• Tiffany Mann (Pamela) appeared on Broadway in Be More Chill and is a Lucille Lortel Award winner for Jerry Springer the Opera.
• George Salazar (Musidorus) was last seen as “Seymour Krelborn” at Pasadena Playhouse in Little Shop of Horrors and starred as “Michael” in the Broadway production of Be More Chill (Lucille Lortel winner and Drama Desk Nominee for Outstanding Featured Actor in a Musical).
• Emily Skeggs (Mopsa) was nominated for both a Tony and Grammy Award for her work in the Broadway award-winning production of Fun Home.
• Shanice Williams (Philoclea) is best known for her portrayal of “Dorothy” on NBC’s The Wiz Live!

The remaining role of “The Oracle” will round out the cast of eight and will be announced at a later date.

In addition, Pasadena Playhouse announces the full creative team. The production is being directed, choreographed, and conceived by Jenny Koons and Sam Pinkleton and features music direction by Kris Kukul, scenic design by David Meyer; costume design by Hahnji Jang; lighting design by Stacey Derosier; sound design by Danny Erdberg and Ursula Kwong Brown; casting by Ryan Tymensky of The Telsey Office, and stage management by Sara Sahin. Head Over Heels, with songs by The Go-Go’s, is based on The Arcadia by Sir Philip Sidney, conceived by and features an original book by Jeff Whitty, and adapted by James Magruder.

About the Show and Design Concept

Head Over Heels is a musical comedy, set to the music of the iconic LA-based female rock band The Go-Go’s, that follows a royal family in search of a purpose, lovers in search of each other, and a whole kingdom in search of a beat. Featuring the hit songs "Our Lips Are Sealed," "Vacation," Belinda Carlisle’s "Heaven is a Place on Earth," and "Mad About You," among others, the audience will be whisked away through a world of exuberance and wit from the first notes of "We Got the Beat" to the final celebratory curtain call.

Head Over Heels has been reimagined for the Playhouse by Director/Choreographer Jenny Koons and Director/Choreographer Sam Pinkleton in an all new experiential production. Originally produced for a traditional proscenium stage on Broadway in 2018, the Playhouse’s 90-minute, intermission-free production puts the audience in the middle of a non-stop, dance-filled joyride through magic, merriment, and mischief. With the actors performing all over the converted theater, every seat, or spot on the dance floor, will have a unique vantage point and an experience to remember. Patrons will be required to be fully vaccinated and wear masks when entering the theater.

Whether you prefer to watch this play as a traditional theatrical experience or to be in the middle of all the action, the Playhouse will ensure that you will have a good time. Danny Feldman, Pasadena Playhouse Producing Artistic Director said, “We return to the stage with a party for all. There’s been nothing like it in our 100+ year history. Our historic theater will be turned on its head as the audience joins in on the exuberant celebration. This is a live musical experience created just for this moment, this theater, and this community."

Tickets for Head Over Heels start at $30 and are available at pasadenaplayhouse.org, by phone at 626-356-7529, and at the Box Office at 39 S. El Molino Avenue, Pasadena, CA 91101.

COVID-19 and Patron Safety Guidelines

Pasadena Playhouse’s HVAC system is in the process of a complete overhaul and modernization. The new air filtration and ventilation system along with other strict COVID-19 safety protocols will ensure a safe return to the theater for Head Over Heels. Pasadena Playhouse will follow all safety protocols put forth by Los Angeles County and the City of Pasadena. At this time, the following safety plan will be in place upon our return to stage:

• All patrons will be required to wear a mask fully covering their nose and mouth at all times while in the theater.
• Ticket holders will be required to be fully vaccinated and will need to provide a photo ID and proof of vaccination (physical vaccination card, a picture of vaccination card, or a digital vaccination record). Guests under 12 will not be admitted.
• Guests who need a reasonable accommodation for medical reasons or due to a sincerely held religious belief must provide proof of a negative COVID-19 PCR test taken within 72 hours prior to entering the theater.

Pasadena Playhouse will continue to address these guidelines as we approach performances. The most up-to-date requirements can be found at pasadenaplayhouse.org/covid-19/.

About the Pasadena Playhouse

The Pasadena Playhouse is a place where people have gathered for 100 years to experience bold and important theater. It is one of the most prolific theaters in American history with a legacy of profound theatrical impact and courageous new work. In 1937, the Playhouse was officially recognized as the State Theater of California for its contribution and commitment to the dramatic arts. Today it continues that tradition of excellence under the helm of Producing Artistic Director Danny Feldman. Dedicated to enriching lives through theater, community programs, and learning initiatives, Pasadena Playhouse is a living force in the community.

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F3Stage Review: LA Opera stages a darkly alluring & affecting La Bohème

Giacomo Puccini's La Bohème is one of the most widely known and, thus, widely produced operas around the world, and so it would be easy, and quite understandable, for a company to play it safe and traditional with its staging. But after mounting the same Herbert Ross-directed production no less than seven times (most recently in 2016) over the last 25 years, LA Opera revives Puccini's tale of bohemian bonhomie and tragic romance in a dark, striking, and different staging that director Barrie Kosky premiered in Berlin earlier this year.

The particulars of the plot remain as familiar as they have been to opera aficionados--and, for that matter, fans of Jonathan Larson's ever-popular La Bohème-inspired '90s musical Rent. In 1830s Paris, poet Rodolfo (Saimir Pirgu), "painter" (more on the quotes later) Marcello (Kihun Yoon), philosopher Colline (Nicholas Brownlee), and musician Schaunard (Michael J. Hawk) are starving artist roommates struggling to pay rent to landlord Benoit (who, in Kosky's big deviation, does not appear at all here, with the four instead play-acting his part); Marcello pines over lost love Musetta (Erica Petrocelli), has moved on to another; Rodolfo meets and falls for neighbor Mimi (Marina Costa-Jackson), but looming over their romance is the spectre of disease. Coincidental or not, one cannot help but see some echoes of Larson's work here, from the more youthful than the norm cast, to the Mimi here sharing Mimi Marquez's bright, forceful joie de vivre that only the absolute final stages of terminal illness can dampen, to making Marcello only a metaphoric "painter" and more literally working in film, namely early forms of photography.

But, make no mistake, this La Bohème is distinctly Kosky's own. Much of his concept springs from that shift in Marcello's art, with blacks, whites, and greys dominating the palette he crafts with scenic designer Rufus Didwiszus and lighting director Alessandro Carletti. While this choice falls a bit short in act three, where a static black and white, period photography-tech accurate street scene drop feels a bit too minimalist, it makes for an appropriately ominous atmosphere hanging over the entire proceedings and lends a darkly alluring sense of decadence and indulgence to the act 2 Cafe Momus. It is here that Kosky and his designers appropriately go the most grandiose, with the principal cast and a horde of chorus members young and old in Victoria Behr's striking costumes create a vibrant, bustling, constantly shifting scene on a revolve stage. The exuberance is in effective, sharp relief to more somber turn post-intermission and, of course, in the fourth and final act, where the tragedy is augmented by some truly stunning stage pictures, particularly the final images.

But images would only half serve Puccini's intended effect, and thankfully Kosky's cast is up to the task in lending the characters life. All of the principals are in strong, fine voice, but appropriately the pair of romantic leads make the strongest impression, with Pirgu and Costa-Jackson fittingly striking an immediate spark right from when Rodolfo lights Mimi's candle. Costa-Jackson especially resonates in both literal and character voice, and once Mimi takes her final breath, Kosky's untraditional approach lends the loss and the overall production a lingering and haunting sadness and shiver.

Saimir Pirgu as Rodolfo, Marina Costa-Jackson as Mimi
(photo by Cory Weaver)

LA Opera's production of La Bohème will have two more performances, on Wednesday, October 2, and Sunday, October 6, at the Dorothy Chandler Pavilion in The Music Center in Downtown Los Angeles.

(Special thanks to LA Opera)

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F3Stage Review: Hello, Betty! The legendary Buckley delights as Dolly

With Broadway managing to achieve a certain sense of contemporary zeitgeist hipness--and, thus, mainstream media attention--in recent years with a stream of younger-appealing successes such as Dear Evan Hansen, Mean Girls, the soon-to-transfer Off-Broadway cult sensation Be More Chill, and a certain little slice of American political (and, now, theatrical) history known as Hamilton, the knee-jerk impulse, particularly for the new audiences these shows rope in, is to reject the shows of yesteryear as being simple, square, and antiquated. But certain shows become enduring classics for a reason, and that one usually does indeed boil down to a simplicity that's been lost over time: that of the laser-focused aim to provide theatergoers with pure, unadulterated joy. And that the current national tour of Hello, Dolly!, now running at the Pantages Theatre in Hollywood, definitely serves up by the gallon.

The touring version of Jerry Zaks's 2017 Tony-winning Broadway revival doesn't boast what was the main drawing card for that production's 16-month run: Bette Midler, and her equally Big Deal replacement, Bernadette Peters. This isn't to say that the tour skimps out on star power, however, for credit goes to the producers for snagging another legendary leading lady for the road, Betty Buckley. One need not be familiar with her long list of credits and accolades to know, from her casually grand entrance from behind a newspaper, one is in the presence of an all-caps STAR. In essaying the role of Dolly Gallagher Levi, resourceful, resilient, all-purpose Jill of All Trades widow in 19th century New York, Buckley is in fine voice tackling Jerry Herman's timeless tunes, but more crucially she exudes the boundless charisma and charm that is essential for the character and the show as a whole. Dolly's main hustle as a matchmaker entails meddling and manipulation, such as the convoluted machinations she employs to get a trio of financially strapped young paramours, artist Ambrose (Garett Hawe) and store clerks Cornelius (Nic Rouleau) and Barnaby (Jess LeProtto), to fully win over their respective true loves, frequently crying Ermengarde (Morgan Kirner), widowed hat store owner Irene (Analisa Leaming), and her assistant Minnie (Kristen Hahn). While the farcical shenanigans that ensue in Michael Stewart's book are preposterous by design, to lend even the most basic dramatic credibility to the trust they place in Dolly, it takes a presence of undeniable, irresistibly welcoming warmth such as Buckley's.

And that warmth is all the more critical to the entire piece, for Dolly's plotting is also for a major selfish concern on top of those selfless ones. Intertwined in and her ultimate end to all of these means is her ultimate master plan to marry Horace Vandergelder (Lewis J. Stadlen), the grumpy old widower who owns the feed and hay shop at which Cornelius and Barnaby work, not to mention Ermengarde's uncle and the person Dolly is supposedly matching with Irene. As mentioned, Buckley's effortlessly ingratiating presence and demeanor never keeps Dolly's best-intentioned heart of gold out of mind even through all the antics, but not for nothing did Buckley win a Tony Award by wringing torrents of tears through a single song as Grizabella in the original Broadway production of Andrew Lloyd Webber's Cats. Through the most minimal and understated inflections and rhythms of her line readings, Buckley brings a lifetime of emotional dimension to Dolly, making her motivations not only more relatable but lending them a certain gravitas. When Dolly occasionally addresses the spirit of her dearly departed husband Ephraim, Buckley is able to turn on a dime what is sometimes used as a comic device into deep dive character moments that are sincerely affecting and sell the story's most universal of themes: that of one's eternal hunger and need, even with many years behind and the world ready to count one out, to simply feel and live.

Buckley is able to just as easily shift in the other direction, and make no mistake, for all the heartfelt sentiment and poignant emotion infused in the piece, it is overall just a fun time--and a major reason for that is Zaks completely embracing the yesteryear style of the piece. Santo Loquasto's opulent scenic and costume design is a throwback to go-for-broke showmanship of Broadway's heyday, their vibrant colors matching the infectiously sunny disposition of the entire production and the boundless energy of all of the actors on stage. That last statement most definitely includes the large ensemble of ensemble players, particularly the dancers who impressively execute William Carlyle's elaborate, intricate, and even physics-challenging--as in extended "The Waiters' Gallop" set piece that features props in various, precarious positions of balance--that, in tandem with Herman's ever-hummable score, drive the show's numerous showstopping numbers.

No number is more showstopping than, of course, the title one. While the core cast members are all very impressive, in fine voice, comic timing, and having crackling chemistry with each other, when Buckley makes the most definitive of diva entrances, resplendent in the iconic Dolly red dress and feathered headpiece, it's just as much a tribute to its star as it is the character. For all the terrific work she does throughout the show--beautifully singing the songs, acting the hell out of the comedy and the drama, and bringing the character to vivid life--the manner in which she can instantly hold a housefull audience in a cavernous venue in her helpless thrall by simply strutting down a staircase while flashing a tractor beam of a smile is the true testament to what a timeless talent and treasure she is. Hello, Betty.

Betty Buckley as Dolly Gallagher Levi
(photo by Julieta Cervantes)

Hello, Dolly! is now playing at the Pantages Theatre in Hollywood in a limited engagement through Sunday, February 17; the First National Tour then continues on to other cities throughout the year.

Buy the Hello, Dolly! 2017 Revival Broadway Cast album CD here.
Buy the Hello, Dolly! Original Broadway Cast album CD here.
Buy the Hello, Dolly! 1967 Broadway Cast album CD here.
Buy the Hello, Dolly! 1994 Revival Broadway Cast album CD here.

(Special thanks to Hollywood Pantages Theatre)

Original Hello, Dolly! star Carol Channing's
Hollywood Walk of Fame star, right outside the
Pantages Theatre, on opening night
(photo by Michael Dequina)

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