From the Sad-but-True department. Leave it to the NYT to highlight the problems LA theatres face in the aftermath of COVID and bearing the brunt of the ills of the gig economy. Uber and Lyft skate while tiny arts orgs have to conform to new wage laws while trying to reopen. Whatever Dr. Soon-Shiong may have done for the LA Times, his inaction on the sacks of filth at his arts and culture desks is unpardonable.
Oh, yes… this is still here, isn’t it? Well then.
The Atlantic glances a little farther west of the Hudson(*) and asks a transplant intriguingly named Rosecrans Baldwin to take stock of his new city. He obliges with an excerpt from a forthcoming book assessing Los Angeles as a city-state for this age.
Los Angeles fits the city-state frame well, certainly better than it does a lot of other possibilities—if we update the model a bit. In 2010, Forbes suggested that if the criteria for a place to be considered a city-state were modernized for the 21st century, certain global capitals might qualify thanks to a few key features: a big port to sustain trade; investors from overseas; money laundering; international museums worth visiting; multiple languages spoken in good restaurants serving alcohol; and an ambition to host the World Cup.
If it is from Forbes, it must be true so we get some evidences, quotes from a politician, a novelist, and a final paragraph that ends in the air, leaving one just short of hungry for the book-to-come. The article does link to a 2010 piece in the same journal, Defending Los Angeles, broaching similar concerns but more engagingly. That further links to The Tyranny of New York which gets at the gizzards of the problem – how relentless public relations has defined American life, especially its art and culture, to the discharge from the Brooklyn sewers.
(*) Yes, it is a New Yorker cover but an iconic one that sums up the mentality.
On inauguration day, a large chunk of America unclenched and exhaled for the first time in four wretched, miserable years. Five if we count the rancid campaign of naked bigotry and full throated lies that preceded and presaged the disaster of 45.
We now have some sanity in the ship of state and can hope that any honeymoon lasts long enough to get people vaccinated, businesses restarted, and the arts out from under hiding. Even before COVID, anything on the finer side of life was ignored at best and ridiculed at worst under the moron of Mar-a-lago. Many of us who eagerly awaited 20 January and some sign of support to the better things woke up to surprise and not a little disappointment at the overwhelmingly pop-culture besotted inauguration that actually occurred. The shark sandwich playlist promised much and delivered nothing.
“Whether you are a country soul, a jazz enthusiast, a hip hop head, a classical sort, or just love that old-time rock and roll, music clarifies, inspires, unites, and heals.”
— Inaugural Committee CEO Tony Allen
Us “classical sorts” got jack shit, not even the ubiquitous OFFS not-him-again Yo-Yo Ma bowsynching to Copland as in 2009 although the equally overexposed Rénëê Fleming was said to have sung at one of the side events. The rest, excluding Bob Marley, was as America-centered and nobrow as anything the MAGA movement could scrape together, excepting of course getting the performance rights. The perpetually inept LA Times arts and culture department, or at least one of its representatives, thinks things are looking up. This schlemiel, a tv critic no less, views the cultural future as the wasteland of the Discovery Channel, Bravo, History, and TLC which at one time actually had some decent programming but which long ago sold out to the perpetually dropping lowest common denominator. It might get better for the arts but it is more likely that the arts will just get redefined just as science was for ‘The Science Channel.’
What galls about the 46-0 shutout is that the United States does not lack for options. Copland and Gershwin are overplayed but we have Ives, Joplin, and Gottschalk. Dvorák was inspired in Iowa, Rachmaninoff and Stravinsky lived out their lives here (as did Schoenberg but let’s stay within realistic limits). Hell, John Williams or Peter Schickele could have done something if asked. And, if all of that is still too off-the-radar, there’s good ol’American John Philip Sousa transcribed by good ol’ American Vladimir Horowitz. One pianist, one piano – saves on cost and brings everyone to his or her feet. Regardez from the Hollywood Bowl in 1945.
Youtube Channel: Michael Brown
Silicon Valley has reshaped the earth, Hollywood has driven our perceptions of it, and not always for the better. Less well known is the outsized role California has played in understanding our universe. Mt. Wilson, Mt. Palomar, and their astronomers have had a Copernican impact on where we stand in the grand scheme of things. The word ‘vision’ gets bandied about a lot these days but George Ellery Hale had it in spades. Here’s how the two observatories that housed Hubble, Humason, Shapley, Zwicky, Baade, Rubin, and Schmidt came to be.
The third video from Corning’s Museum of Glass shows that the path to science is not always smooth and that learning from mistakes is the norm. The original 200 inch pyrex disk for the Palomar primary did not go according to plan and had to be recast. The second attempt succeeded and even so, it took ten years of painstaking grinding and polishing at Caltech before it was ready for use.
Youtube Channel: Palomar Observatory
Youtube Channel: Irish Astronomy
Youtube Channel: Corning Museum of Glass
In days of old, when the city was pronounced ‘Los Anguluz’ and radio ruled the waves, “Romance of the Ranchos” offered half-hour looks at the many regions that congealed into our present megalopolis. Herewith the episode on what are now the Beach Cities.
Youtube Channel: Old Time Radio Researchers
Since 2005, the LA Times has published the micturitions of one Charles McNulty as its ‘theatre critic.’ Since then he has striven to be the Niles Crane of stage criticism; uncheckable pomposity in tedious academic argot focusing squarely on getting himself back to NYC. Now Artsjournal reports of his assessment of Los Angeles theatre. He finds it wanting because the Center Theater Group and the oily Michael Ritchie aren’t leading the charge. A couple of the smaller outfits get a passing mention but this putz no doubt looks to GM for automotive innovation and Nokia for the latest in phones. He’s reviewed very few of the very many companies around, preferring the edgy climes of Costa Mesa and La Jolla when he isn’t reporting back from the East Coast. Apparently the Brooklyn sewers now empty into Hollywood writer’s rooms and thereby hangs the salvation of the form. Joy to the world.
The Times’s theatre coverage has gone from mediocre to nonexistent on his watch while his relentless pandering to Broadway runs counter to the non-arguments of the present piece. At least the actress Glenda Jackson had the good sense to give him the eminently deserved kick to the yodelayheehos when he went to “worship her.” With all of the changes Dr. Soon-Shiong is making at the LAT it is mind-boggling that he hasn’t sent this dingleberry packing. It will be a better city when he’s out of it.
Memo to self: Always check to see if a playwright is <nationality>’s Chekhov before buying the ticket. The sinking feeling sets in early with Open Fist‘s otherwise attractive ‘Dancing at Lughnasa’ and by 75 minutes into a seemingly interminable first act, plans are set for an intermission escape. Then things happen for about 10 minutes and the coin flip comes up as stay to see how it pans out. We get another 5 to 7 minutes of explanation in the remaining hour as we learn what happens to the hard-luck, bad-luck if any luck at all Mundys of fictional Ballybeg, County Donegal. In the meantime, five sisters and a cleric brother may be poor but they have one another, then the fast moving world of change rolls over them.
Open Fist brings its traditional craftsmanship and smart casting to Brian Friel’s highly praised but unbalanced memory play. Lane Allison and Christopher Cappiello stand out as lively, optimistic Maggie and Father Jack, the latter recently returned from decades in Uganda where he found the existing customs and community much more to his liking than the Catholic faith he was sent there to sell. He’s not the only rambler in the mix as Christina’s (Caroline Klidonas) baby-daddy (Scott Roberts) shows up occasionally to see her and their son (David Shofner) who is narrating the piece from… the future. The Mundys are hanging on the edge of society. Breadwinner Kate (Jennifer Zorbalas) loses her teaching job due to Jack’s apostasy not sitting well with the church school. Industrialization eliminates a pittance that Agnes (Ann Marie Wilding) and Rose (Sandra Kate Burck) earn from piecework. The world just stomps on their knuckles until they finally let go. Burck has an especially fine moment in the second act as developmentally-disabled Rose is cruelly used by an unseen admirer despite the loving protection of Agnes – Friel’s hat-tip to Tennessee Williams, perhaps? We guess early on that every flicker of light these characters see is just the streamer for the next lightning bolt to hit them but the waits between the strikes are too damned long. The set, lights, and sounds (James Spencer, Matt Richter, and Tim Labor) do hang well over the production.
The play has won all the awards and feels calculated to do so, much like ‘Anna in the Tropics’ which preceded it. Both will be good box office for years to come.
Youtube Channel: MetOffice
Youtube Channel: Carpalton
Youtube Channel: Mickey Mouse
Dancing at Lughnasa
by Brian Friel
Directed by Barbara Schofield for Open Fist Theatre
Plays Mondays, Saturdays, and Sundays through 18 August 2019
at the Atwater Village Theatre
3269 Casitas Ave, Los Angeles, CA 90039
Visit OpenFist.org for showtimes and tickets
Mil Grus does double duty as the name of “Los Angeles’s Premier Bouffon Troupe” and their eponymous show at the 2019 Hollywood Fringe Festival. Ostensibly based on Pliny the Elder’s story of a Thousand Cranes, a five member ensemble in heavy padding, tights, and grotesque makeup do various skits and improvisational bits taken from (if not exactly inspired by) extensive crowd work and audience participation. The closest hooks to cranes are the elegant little origami handed to a few of us in the front row (right) with the totality of the hour being a mystery. The young and young-at-heart in the packed McCadden Place Theatre roared and ohmyGODded with every twitch, tic, and bit of shtick. Being neither, I was tossed into my recurring nightmare of the final exam in a class I never knew I was taking. If there were references I didn’t get them and if there was a through line, it escaped me. The performers do show talent in physical theatre and this may have been an intentionally loosely-formatted bit of nonsense for a festival audience. Perhaps their other offerings have at least some structure for those of us that need it.
Summertime is usually Shakespeare season but one festival company has taken on on the daunting task of mounting rival Marlowe. This is no easy task as there are probably very good reasons why Shakespeare (or Bacon or DeVere or whomever) has dropkicked contemporaries to the curb over the past few hundred years. Let’s blindly extrapolate from one or two encounters with the rest and assert that their language isn’t as smooth, their characters as fleshed, or their plots as nuanced. Nevertheless, School of Night Theatre‘s adaptation of “Tamburlaine the Great Parts 1 and 2” into the Star Trek milieu is galactic in scope, brazen in ambition, and a stone cold marvel. Historical Timur/Tamerlane/Tamburlaine was such a brutal and unrepentant conqueror that transplanting him into a Klingon makes eminent sense. It is easier to recognize savagery in the other than to acknowledge it in the self. The uncredited adapter also cleverly remaps various tribes and city-states involved in an endless series of wars into Vulcan, Romulan, and Starfleet counterparts. Played straight, Tamburlaine’s unremitting and unpunished transition from shepherd to despot would wear thin quickly but Director Christopher Johnson deftly leavens the grim proceedings with wry humor, sight gags, posturing, and plenty of tongue.
This production would be a tight fit in an outdoor venue and it is the height of q’hutzpagh to put a fully costumed beak-over-tailfeathers cast of 13 and a percussionist/Foley artist into the 360 square feet offered by the Complex Theatres. The action is non-stop, full-tilt, loud, and a tad too long with commedia head snaps and full throated oration from start to finish. Neither is this a land-bound adaptation. The large design team puts together epic space battles with supernumeraries, starship models, and clever lighting although the bulk of the fighting is incongruously hand-to-hand combat with pointy objects and blades.
There is no comeuppance, no divine retribution, and no great moral to the story other than lying, cheating, nepotistic, usurping sleazeballs can and do get away with it. Some things don’t change over the centuries. If there is a criticism of the production it is that it might have reached out to LA’s vibrant Klingon community to cast parts currently played by human actors in prostheses and makeup. The theatre world has taken steps toward inclusivity but there is always room to grow.
Mil Grus by Mil Grus Theatre
Closed at the Hollywood Fringe Festival 2019
McCadden Place Theatre
Klingon Tamburlaine by School of Night Theatre
Remaining performances: Thursday 27 June at 8:30pm and Saturday 29 June at 4pm
Ruby Theatre at The Complex, Hollywood
6476 Santa Monica Blvd
Los Angeles, CA
Online tickets via the Hollywood Fringe Festival
Youtube Channel: The Vestibules
Youtube Channel: KyleKallgrenBHH