LOS ANGELES BEAT BY LAURA HITCHCOCK

 

          People tell me I have an interesting life.  Because I’m an arts journalist, many have suggested I write an arts journal about the theatre and opera beat I cover here in Los Angeles.  They’re also interested in my personal passion, tango, and the Film Appreciation course I teach at a local college.

          Hallowe’en, my favorite holiday, seems like an auspicious time to start.  I always loved dressing up like a person from another planet and wandering dark streets, even past the trick or treat age.  Metaphorically, I do it still.

 

Thursday, October 30, 2008

          Today is the day I teach Film Appreciation and I’ve been sifting ghost movies all week. Not horror stories but really good films, both classic and contemporary.  I’ve debated “The Innocents” starring Deborah Kerr, “The Sixth Sense” starring Bruce Willis, “Somewhere in Time” starring Christopher Reeve and Jane Seymour, Jack Nicholson’s “The Shining”.  I had a first choice but none of these were it and I couldn’t find my first choice. 

I took my back-up, the wonderful 1944 thriller “The Uninvited”.  Based on a novel by Irish writer Dorothy McCardle and scripted by Dodie Smith (“I Capture the Castle”,), it stars Ray Milland and Ruth Hussey as a brother and sister who buy a beautiful house on the cliffs of Cornwall and find they’re sharing it with a pair of beautiful ghosts. Gorgeous young Gail Russell is the object of one’s malevolence.  Other actors include Donald Crisp, Alan Napier and Dorothy Stickney in a cameo turn as dotty Miss Bird.  Considered the first real film ghost story, its noted for its film noir cinematography and Victor Young’s classic ballad “Stella by Starlight”.  In addition to these two values, I always loved the charming old house that was as much a character as any of the cast.

The villainess is played by stage great Cornelia Otis Skinner, also a writer who, with college roommate Emily Kimbrough, wrote a book about their trip to Europe called “Our Hearts Were Young and Gay” which was a best-seller and became a movie starring Diana Lynn as Emily and, as Cornelia, Gail Russell!  There’s a story in there someplace.

Fortunately, after trying four video outlets, I found my first choice favorite ghost movie:  “Truly, Madly, Deeply” the first film written and directed by the late Anthony Mingella, who won an Oscar for “The English Patient”.  He wrote it for English actress Juliet Stevenson and paired her with the magnificent Alan Rickman.  For anyone who has ever lost a loved one, this tender funny poignant film is consoling and unforgettable.  Mingella’s photography and lyric original script make one wish he’d been able to do more of his own things.  It was an especially fitting tribute to a sensitive original artist who died way too soon of a brain hemorage last spring at age 54.

Tonight was the premiere of “Spring Awakening”, the multi-Tony winning musical about teen-age angst based on Frank Wedekind’s 19^th century play.  My guest was my friend Paul, a professional actor/singer/dancer whom I call my artistic adviser.  The Ahmanson Theatre.  always has a special buzz on opening nights with the paparazzi carefully herded into photo-op area next to the press desk.  Autumn’s in the air and a starlet in a strapless black sequined sheath tossed her coat to an assistant just long enough to smile and pose for the cameras and then dashed shivering back to put it on.  Jane Seymour, gorgeous in a red silk shirt and slinky black-and-white print pants, sat in our row.  She made me glad my leopard print dress wasn’t any slinkier, as I contemplated losing weight again.  Cheering me up was Marisa Janet Winokur, pudgy stair of “Hairspray”, who tossed weight to the winds.

New York production values were intact with a new young cast that interpreted them vividly.  The score for this rock popera didn’t make our ears bleed and some of it, like folk music, had charm and energy.  I missed any hint of the joy and curiosity that leaven the life of teen-agers occasionally, no matter how dark their lives.  This lack made the characters one-dimensional, perhaps partly because there were so many of them.  My full review, along with our New York reviews, is posted on CurtainUp.com. Com, so I’ll just echo Paul who said, “This is a production that should bring young people into the theatre.”

Friday, October 31, 2008.

          Hallowe’en has always been sort of the national holiday of L. A.  I remember librarians at UCLA wearing billowing black capes. I think of them every time I see a “Harry Potter” movie.  The first Hallowe’en I was down here I drove 30 miles to see Vincent Price give a one-man show that featured Edgar Allen Poe readings.  Those two were made for each other and it was illuminating to hear him read Poe with respect and a sure instinct for subliminal values beyond the camp he used for his movies.

Tonight my Hallowe’en begins at home when I open my door and look up to the costumed recent college grads who live next door.  My black-haired 6’3” neighbor wears a blonde page-boy.  His date looks like Paris 1900.  One neighbor is having a party and they’re dropping in, before casing the scene on Santa Monica in West Hollywood, the gay capitol of L.A.  Buzz was that a large percentage of guys are going to that as Sarah Palin.

          I’m wearing white because the TANGO MILLONGA of my choice is featuring black lights which make women in white glow.  The room is so dark I can’t see who my partner is until I’m in his arms.  Try it sometime!  My first partner Michael has been studying with an Argentine teacher and has perfected the art of the pause.  One thing I’ve finally learned in my dance studies is not to fear waiting.  It’s a beautiful part of the dance.  Another highlight of this particular millonga hosted by Michael Espinoza at LA Dance Experience is a soul-shattering flamenco guitar performance with vocal accompaniment by the incomparable Bill Freeman.

          Other tango ops for Hallowe’en include the Tango Masquerade, hosted by Orlando Paiva, Junior, and Laura Tate at the Marriott Burbank Airport Hotel, a three-day extravaganza with many classes, millongas, master teachers, costume competition and a fashion show.  There was also a class in the wonderful sensuous Canyengue, a dance preceding tango, expertly taught by Robert Schafer and Vivian Wong at Linda Valentino’s class in the Hollywood Dance Center.  Full info on the wonderful world of tango in Los Angeles can be found on Tango Afficionado.

Granted, you have to fight Hallowe’en traffic which this year is compounded by Friday night traffic.  Everybody is out and you’re right in the middle of it.  Don’t be in a hurry, absorb the scene, and play something you love on your CD/tape deck, either music or a truly scary detective novel, anything from Margery Allington to Jeffrey Deaver, from your local library.  By the time you get home you’ll be ready for the nightcap of your choice, whether it’s peppermint tea or a martini on the rocks.  And so to bed with your favorite haunting companion.

 

Saturday, November 1, 2008.

          Another day, another premiere, this time at The El Centro Theatre, one of the many small theatres in Los Angeles.  This one is located a block from Paramount Studios and when both venues have events, street parking is scarce.  Actors who come here for the film/TV work feed their souls in these little venues and many of the productions are excellent, like this one, the west coast premiere of Christopher Durang’s “Miss Witherspoon” by the West Coast Ensemble Theatre under the inventive direction of Joel Swetow. 

          Miss Witherspoon is the nom de plume assigned to Veronica by her after-life guide, a beautiful Indian named Maryamma.  Proud at having rid herself of her earthly life by committing suicide, Miss Witherspoon is bent on controlling her after-life, too, but Maryamma has other ideas.  Although Miss Witherspoon wants no part of reincarnation, that’s what she gets and the journeys she takes are pierced with Durang’s signature hilarity.  He gently spoofs all organized religions, as well as such fictional guides as Gandalf the Grey from “The Lord of the Rings”.  Full review posted on CurtainUp.com.

          We stopped by the after-party at a small Mexican restaurant, Pueblo Viejo, which served fabulous empanadas as well as the opportunity to dish with cast and audience.

 

Sunday, November 02, 2008

          Hallowe’en is followed by All Souls Day which reminds us that after all the trick-or-treating and the masquerades, the holiday was originally intended to honor the departed.  Nowhere is that commemorated more gorgeously than at All Saints Episcopal Church, Beverly Hills.  It’s their patronal or saints day when the congregation celebrate all the saints for whom their church is named, renew their pledges and hear a necrology read.  A necrology is a list of names submitted by the congregation of people who have died in the last year.  It’s particularly poignant to hear familiar names ring out in company with all those others and acknowledged by the congregation.  Some of the church’s most beautiful hymns are sung: “For all the saints who from their labors rest”, “Ye watchers and ye holy ones”, “Ye holy angels bright”, with dazzling brass, drums and organ accompaniment composed by All Saints Associate Director of Music and Composer-in-Residence Craig Phillips.  The nationally known and commissioned composer celebrates his 20^th anniversary at All Saints tonight with a concert christened Phillips Fest.

 

November 3, 2008

          I get behind on movies but fortunately I’m only blocks away from one of our city’s second run theatres, THE REGENCY FAIRFAX, on the corner of Fairfax and Beverly.  It’s in the traditional Jewish part of town, across the street from CBS Television and spitting distance from Farmers Market and the Grove where you can eat and shop in that order.

          Georgiana, Duchess of Devonshire, would have loved it.  The movie I caught up with was “The Duchess”, based on Amanda Foreman’s biography of this gorgeous  18^th century fashionista and ancestress of Princess Diana whose life paralleled hers in many other ways.  Both were married to members of the nobility who flaunted their mistresses.  The Duke actually took his, formerly best friend of “G” as her husband called her, to live with them.  The screenplay, by outstandingly original playwright Jeffrey Hatcher and Anders Thomas Jensen, focuses on children as the motivating and humanizing influence of these women.  Keira Knightly makes a gorgeous duchess, though, under Saul Dibbs’ direction, she conveys none of the wit, intelligence and political passion of the real G.  But her gowns are magnificent and the movie is a visual treat, enhanced by Hatcher’s screenplay and Ralph Fiennes beautifully calibrated performance as a distant Duke, the living definition of droit du seigneur, basically interested in nothing but his dogs.  Full review posted on Value-magazine.org.

 

November 4, 2008, Election Day

          I stood in line for TWO HOURS up behind the Chateau Marmont waiting to get into somebody’s family room and vote, while the fog glowed around the towers below. The Paparazzi were there but they didn’t take any pictures that I saw.  The crowd was very patient and good-tempered.  Nobody left.

          The streets were extremely crowded.  The air was sizzling.  Of course, I had the TV on all day.

          11,000 people had RSVPd for The Democratic Gala at the Century Plaza Hotel.  Doubting I could even get a parking place, I opted to walk down the hill to the local Democratic office, a storefront on Santa Monica at Crescent Heights.  The election party was scheduled to start at 8:00 PM but at something like 7:57 Obama was declared President-Elect.

          Horns hooted and people screamed up and down Sunset Blvd., more jubilation than New Year’s Eve, more excitement than Hallowe’en.  A man stood at the door of the little office pouring champagne.  It was a real working office and I know they’d been working the phones up to the last minute because somebody called me.  McCain was giving his concession speech when I walked in and the workers applauded him and then applauded Sarah Palin and thanked them for their hard work.

          The crowd hushed when Obama spoke, as silent as the crowd in Chicago.  His speech was not triumphalist.  He reached out to those who hadn’t voted for him.  When his family and Biden’s family came out afterwards, tears sprang to my eyes.  We have a remarkable young President and a First Lady with Flair.  So strong, so charismatic – so American!

 

 

 

 

Wednesday, November 5, 2008

          “By the Waters of Babylon,” by Pulitzer-Prize winner Robert Schenkkan, opened at the Geffen Theatre tonight.  The combative passionate relationship between a Texas widow (Shannon Cochran) and the Cuban refugee she hires to work in her garden (Demian Bichir) becomes a metaphor of guilt, pain, confession and, ultimately, acceptance and absolution.  Schenkkan has worked in the metaphorical mode before, specifically in “Heaven on Earth” which I saw labbed at the Eugene O’Neill National Playwrights Conference in the 1980s.  A literate humorous writer who is not afraid to try many approaches, it was a pleasure catching up with him again.  Full review is posted on CurtainUp.com.

          The after-party honored the Latino influence with a delicate but finely-spiced buffet catered by Loteria, the Farmers Market based Mexican restaurant, which my guest swears is the best in town.  The Chicken Mole Poblano spoke for itself.

 

Thursday, November 6, 2008

          My Film Appreciation class deserved a dose of Americana after several weeks of English movies, and I showed them the highly-praised “The Visitor”, written and dircted by Tom McCarthy whose first feature was the quirky, moving “The Station Agent”, starring Peter Dinklage and Patricia Clarkson.

          In “The Visitor”, a widowed 60-something college professor, Walter, played by Richard Jenkins, is so withdrawn he has no compassion or even communication with anyone:  his students, the elderly lady he hires to give him piano lessons and fires almost immediately for no reason.  Returning to the long-abandoned apartment he still keeps in New York to give a paper at a convention, he is dumbfounded to find a black girl from Senegal in his bathtub and her boyfriend Tarek from Syria also in residence.  They’ve been conned into renting the apartment.  Walter relents and lets them stay and they change his life.  Walter learns piano, his late wife’s instrument, isn’t his.  It’s the drums, which Tarek teaches him and coaxes him into performing.  The young couple are illegal immigrants and when Tarek is picked up and put in detention, their lives change.  Tarek’s beautiful mother, who has been living in Michigan, comes to New York where she and Walter embark on a desperate odyssey to save her son.

          My class loved this movie and it seemed strongly appropriate in this historic Election Week to see a film in which fear of other races plays a cruicial role.  Unlike the movie, in real life, we have what the cover of this week’s The New Yorker illustrated:  light at the end of the tunnel.

 

Friday, November 8, 2008

          “Song of Extinction”, by E.M. (Ellen) Lewis, is one of the most beautiful and important plays of the season.  Presented by Moving Arts, it premiered at the John Anson Ford as part of their Winter Partnership Program to give three small companies with no permanent performance space an opportunity and support.

          Lewis won this year’s $10,000 Primus Prize for an emerging woman theatre artist, awarded at the American Theatre Critics convention last summer in Washington, DC, where I first met her.  Since I interviewed Ellen for L. A. Stage Magazine, a review by Cynthia Citron will be posted on CurtainUp.com.

          Lewis wanted to write about science exploration but this play is about much more than that with vivid, believable and unforgettable characters.   Max, a teen-age musician, suffers from the approaching death from cancer of his mother, Lily, and the neglect of his biologist father, Ellery.  Ellery is obsessed with trying to save a rare insect species he discovered in Bolivia from the land development planned by Gil Morris.  Morris reminds him of the jobs and income his work will bring to the needy country.  As well as the conflict between science and development, the play deals with Khim Phan, Max’s Cambodian science teacher, whose family suffered extinction from the Khmer Rouge.  Khim is the only person who perceives Max’s dilemma but, frozen for 40 years in his own grief, has a journey of his own to undertake before he is able to help.  Lewis tells this story with beautiful economy and compassion. 

          What a coup for Los Angeles theatre to be in on the premiere of a world-class woman playwright!  Watch for her work!

          There was the after-party and a little tango for me at Linda Valentino’s practica at the Hollywood Dance Center on Highland Avenue but I want to leave this at the feet of Ellen Lewis who deserves it.

 

Sunday, November 9, 2008

 

          The New Mark Taper Forum opened the American premiere of English playwright Peter Whelan’s “The School of Night”, inspired by the mysterious murder of Shakespeare’s contemporary, the dazzling playwright Christopher Marlowe.  The fine cast portrays other famous Elizabethans, such as Sir Walter Raleigh, Thomas Kyd and Shakespeare himself.

I wrote:  “It’s a brave playwright who puts words in the mouth of another playwright, particularly Christopher Marlowe, as famed for his lyricism as for his dramatic passion, but Peter Whelan pulls it off gorgeously.”

          The first act is a little long but, having spent two years in Japan where I happily sent through day-long productions of Kabuki Theatre, that doesn’t put me off.

          Bill Alexander, who directed many of Whelan’s plays, helmed this particular production, with an intuitive sense for its suspense and passion.  Russell H. Champa’s shadowy film noir lighting design projected a cell’s barred windows on the floor.  Full review is on CurtainUp.com.

          The after-party drew such English thespians as actress Joan Collins and James Warwick, now President of the American Academy of Dramatic Art West.