HOTEL C'EST L'AMOUR

Falsely billed as “A World Premiere Musical,” by Michael John LaChiusa “Hotel C’est l’Amour” is really just a review of LaChuisa’s songs from all his other shows set in the bridal suite of a hotel, except the ‘just’ is sufficient enough to enjoy his nuanced, deeply felt music and lyrics even as performed by the shallow yuppies (with a few exceptions) performing them at the 2nd Stage in Hollywood.

What director Daniel Henning and his designers accomplish in this 50 seat theater is nothing short of remarkable. As with “Lobster Alice’s” over the top comedy pulled off with brilliant delicacy, director Henning again pulls a rabbit out of a hat, a full blown musical that doesn’t in any way seem trapped on it’s tiny stage, it seems to make the intimate songs so intimate that you sometimes feel like your intruding on a very intimate encounter, it’s uncomfortable but moving. Mr. Henning understands the language of stage pictures and movement with expertise. He keeps his audience focused with precision and makes it fun.

The cast is a mixed bag. The Bride Jennifer Malenke is angelic looking and sounding. A fine soprano with matching looks and depth, she stands out next to The Groom Rick Cornette’s Ken doll looks and depth. America Olivo’s the other woman Marie is sultry and sympathetic with mixed results, but her “Beautiful” from ‘Marie Christine’ is a wonder to watch and hear. Vicki Lewis takes ‘over the top’ to new heights, ripping every inch of comedy (and then some) out of LaChiusa’s comic relief numbers almost to the point where they aren’t funny any more. But “Orangatang Marriage-On-the-Rocks” is a true hoot!

The sophistication and tenderness of LaChuisa’s music learned of Sondheim, Rodgers & Kern make “Hotel C’est l’Amour” another treat at Hollywood’s best kept secret...let the word be heard.

THE TIMES THEY ARE A-CHANGIN'

OH MAN are the reviews of "THE TIMES THEY ARE A CHANGIN'" AWFUL, but ALL of the reviews I read spend nearly all of the review criticizing PLOT! DUH This ISN'T a PLOT-driven show, it's ABSTRACT as is their thinking! They barely even mention the fucking amazing singing of Michael Arden, come on!!!!! Having just seen a video of the NY production, it was a bit rougher & grittier in San Diego which helped, a bit too slick in NY. The sad poignancy of Dylan's songs resonate way too much today is commentary enough on our society! It's not neat and easily classifiable which seems to be a cardinal sin on Broadway these days. It's not perfect or totally understandable but either are dreams which is where this show takes place, crazy, weird, odd, strangely beautiful, sexy...isn't that enough to enjoy people?! I predicted that NY would "get" this show and it's politics alone would make it a hit, shows what I know.

THE WIZ

OZ:2006 advertises Des McAnuff’s final production at the La Jolla Playhouse THE WIZ, and there’s truth in their advertising, this production epitomizes the first decade of the new millennium; high-tech, fat & soulless. Despite all of it’s technology (and there’s lots) it seems very uninventive. Somewhere underneath this ironically light-skinned staging, there is a musical about missing values that has been swallowed by too much money. Mr. McAnuff has sold out, depending on MTV dialogue and laser beams over trusting real emotion and talent, it’s a sorry reflection on the state-of-the-art.

Designed like the overblown STARLIGHT EXPRESS and microscopically directed like TOMMY leaving no room for spontaneity, it borrows heavily from RENT and THE LION KING but this mish-mash never finds a voice of it’s own.

Amidst the mess, a few glimmers of talent do emerge. Mainly, the amazing hip-hop dancing Toto. Albert Blaise Cattafi‘s athletic agility and laser focus is mesmerizing, you can’t take your eyes off of him and luckily he’s almost always onstage. Michael Benjamin Washington as the Tin Man gives a heartfelt performance and his “If I Could Feel” is as deep as this show ever delves. E. Faye Butler as Eveline has a powerhouse voice that’s never utilized amidst the gratuitous dialogue or undermiked when it’s needed during her song. The rest of the cast is adequate but nothing more.

The biggest disappointment is the musicality. From the vapid orchestrations, the vocals are usually drowned out by sound effects and seem hindered by the clunky costumes.

Sergio Trujillo’s choreography is diffused by the gargantuan set. The four reprises of “Ease On Down The Road” never take off because they have so much space to cover climbing the catwalks that span the many levels of the set and throughout the audience. The Up With People feel strips the entire production of all heart and soul as witnessed in the laughable “Everybody Rejoice” in which the many colors of Benneton have been reduced to black and white and light-skinned black at that. This is Uncle Tom’s hood.

At the final preview, there was so much mic level trouble and all the rehearsal time was obviously spent on tech that they seemed to forget about rehearsing the music, the beautiful score that is supposed to reveal the characters emotions and give the actors a chance to shine but that is still sitting on the back burner, the show just didn’t seem ready for opening.

Mr. McAnuff needed to look no further than the backyard of the story, the universal truths of home and family are simple and powerful but he instead pimped us out with Gen M bling and shallowness.