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BRENTWOOD MAGAZINE
January 2000
Running with the Devil Gounod’s Faust comes to town By Linda LaRoche
Many
ballads, folk tales and dramas have been inspired by the legend of
Faust’s sinister pact with the devil, but the first production of the
Los Angeles Opera’s 2000 season executes a feat of magic. Faust
composer Charles François Gounod synthesizes the tragic tale with
overtures, passionate French melodies, a waltz, an oratorio and ballet. The
tale begins as Faust, an aged chemist who has grown weary and
disillusioned with the pursuit of knowledge, resolves to commit
suicide. Cursing life, he calls for Satan’s help.
Mephistopheles appears and suggests that, in return for wealth and
power, Faust signs away his soul. The philosopher demands youth
and love instead. Immediately
he begins to woo the lovely Marguerite. Once he seduces her,
however, Marguerite is unable to cope with reality. She hears
taunting voices goes mad and murders their illegitimate child.
Imprisoned, she awaits death. With diabolical designs on her soul
the obsessive Mephistopheles urges Faust to see her and asks her to
join him in his pact. In anguish, Marguerite calls out to God for
protection accompanied by a choir of seraphic voices. As her soul
is borne to heaven, she damns Faust. Fantasy and sorcery come to
an end with Mephistopheles gloating “Condemned!” as he drags his victim
off to perdition. The
production features renowned bass baritone Samuel Ramey in his
signature role as the quintessential Mephistopheles. Ramey
previously performed with the company’s recital in 1998 to considerable
acclaim. Entering the third decode of an extraordinary career, Ramey is
extraordinary in this role. He’s a striking man with the stage presence
of a dancer. But it’s his commanding and expressive voice that allows
him to convincingly portray various incarnations of devils, villains
and malicious characters. In Offenbach’s The Tales of Hoffman
he sang all four villains, prompting one critic to write “It was the
best interpretation I can remember in 25 years. This is the stuff
of which operatic legends are made.” The
all star cast includes the L.A. Opera debuts of Marcello Giordani as
Faust and Romanian-born soprano Leontine Vaduva as the beautiful
Marguerite. Also starring are Malcolm MacKenzie as Valentin,
Megan Dey-Toth as Siebel, Catherine Cook as Marthe Schwerlein and
Cedric Berry as Wagner. Conductor Philippe Auguin will make his
debut at the podium. Christopher Harlan will direct the revival
of Frank Corsaro’s enticing 1994 staging of Gounod’s tragic
tale. The production will work its charm on the public from
January 19 to February 5 at the Dorothy Chandler Pavilion. |
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LOS ANGELES TIMES
SUNDAY EDITION
September 12, 1998
Slow Boat Actors Alley’s production admirable, but lacks pace, rhythm By Linda LaRoche
Though
admirable in its intentions, the songs of Kander and Ebb’s “The World
Goes Round” at North Hollywood’s Actors Alley El Portal Theater is a
non-descriptive music hall revue that feels it age with glitches
weaving in and out of its 34 songs. Styled as mini-Broadway
productions, the show bloats with a cast of 10 often assembled on a
small stage refraining from vigorous movements.
Choreographer
and director David Mingrino is the weak link. His pace lacks
rhythm and drive and can best be described as soporific. Loosely
assembled, a number of songs missed the cue of good solid invigorating
tap dance. Often falling at the seams, one number would shine
toward a slight upbeat tempo only to be followed by an unconvincing
vignette that would throw one back into a state of blasé
mediocrity. Since neither the performers nor the dancers
galvanize, the direction is constructed on a sandy foundation.
“All
That Jazz”, performed by Lori Allen Thomas, Bobbi Stamm, Nora Linden,
Carol Keis and Karen Reed, a too infrequent jazz dance, had a lot of
derrieres shaking to the cymbals of the back-beat of a drum. Light
Designer Peter Strauss lacked imagination by not dimming the lights, so
it merely hinted at the potential of sensuality, teasing the viewer
with diluted sexy magnetism. Karen
Reed softened the mood with a ballad called “A Quiet Thing,” which
recounts the sweet fanciful fall into love from a feminine point of
view. Also deserving mention is Marcia Rodd and Jonathan Maller
in “Arthur in the Afternoon,” a playful rumble of two lovers who
rendezvous daily. Their rendition has humor, and delightful
lyrics that set to percussive music that set the middle-aged woman and
her young gigolo into a racy beat. Richard
Scully’s set is strikingly New York in feeling and inviting at first
glance, yet oddly unimpressive without the compliment of the lighting
design. Daian Ross has done particularly well with costuming.
Despite
choreographic failings, of memorable note s “New York, New York,” sung
up-tempo in multiple languages. Yet it comes at the finale, a
very long wait for a moment of brisk staging. |
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PASADENA STAR-NEWS
July 21, 2001
A Bittersweet Musical Everybody Loves Leona
By Linda LaRoche A
single middle-aged teacher from the Midwest with romantic ideas of love
waits to be discovered amidst the canals and gondolas of Venice,
Italy. If this sounds like a summer read, you’re only warm.
The story line isn’t on the bestseller list- it’s the theatrical
revival of the 1965 musical, “Do I Hear a Waltz” that opened at the
Pasadena Playhouse on July 15. This
play has a history filled with several incarnations that have altered
its originality. Its first life came in 1952 with the Arthur
Laurent's play, “The Time of the Cuckoo”. Later it was adapted
into the 1954 film “Summertime” directed by David Lean and starred
Katherine Hepburn and the Italian bello, Rozzano Brazzi. It’s worth
renting just to look at Brazzi’s European old-world sensibility and
charm. The film was compelling and although sentimental reflects a
woman searching for love, yet once found has a hard time accepting it
in a form that she is not familiar with culturally. She also comes to
grips with crushing disappointments consequently gaining self-
knowledge and her world. My favorite scene is where Hepburn seductively
shops for a pair of red high heels for her last date- “with him” an
occurrence that so many women can identify with. The
third manifestation was a 1965 Broadway musical that featured
collaboration between famed composer Richard Rodgers and lyricist
Stephen Sondheim. Now in its fourth existence, “Do I Hear a Waltz”
seems outdated. Directed by “Frasier” creator David Lee, the
all-star cast includes Carol Lawrence, as the Italian highfalutin
donna Fioria. Anthony Crivello stars as Renato, the married
Italian shopkeeper and Alyson Reed stars as Leona the American single
schoolteacher. Lawrence is as glib and natural as she was when she
starred in her own television show. “Darling, there is no divorce
in Italy, only discretion” she states as she doles out advice and gets her share of laughs. No one can gainsay her timing. As
a woman if you want a play to speak for you or to be a part of your
language then this production may not take you on an internal journey
however, the film version achieved that result superbly. But you will
walk out with a sense of lightness coming from the sounds of the
60-piece orchestra and a magical spell from Crivello’s singing
voice. When I asked him about his talent, I could hear a New York accent, and he seems to bubble over at the suggestion that his voice has the power of a lion. The
party wasn’t held at the usual venue but at a private home to
accommodate over 200 guests. The architecture was Spanish Revival,
stunning, no compromising of space and lined with religious artifacts
that captivated a flow of guests throughout the interiors. In the
backyard tables were set for dining al fresco. You could never feel
claustrophobic here. Peggy Dark with The Kitchen for Exploring
Foods created an Italian light supper buffet that would make anyone say
with delight, “Veni, Vidi, Vici (I
came, I saw, I conquered). Selections were fresh and satisfying.
Elegant with a touch of “California” a.k.a. produce driven although fit
for a Roman Legion. They included a Tuscan bean white salad, antipasto
platter with salami and imported cheeses, eggplant caponata with
chevre, figs with gorgonzola wrapped with prosciutto, spinach dip and
saffron aioli served with olive bread, a fava bean puree and misto
fritto, an array of artichokes, fennel and zucchini fried in tempera. Sampling in the good times was a collection of actors and from the original production, Jack Manning. |
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PASADENA STAR-NEWS
February 10, 2001
Good Vibrations A Short Tour of "The Universe"
By Linda LaRoche “Respecting
Our Past, Creating Our Future” were the six words that were written
across the colorfully painted buses. Destination: “The Universe”-
a convergence of eight cultural venues throughout the city of Pasadena
celebrating the millennium of art, music and science. Haven’t we had enough of the millennium you ask? Apparently not; on
Feb.3, the sites were buzzing with enthusiasts.
First on my agenda: the Pacific Asia Museum. This
exhibition included objects from four Asian-born religions, Buddhism,
Jainism, Daoism (Taoism) and Hinduism. Did I hear anyone say Om? The
first lesson in Zen philosophy: Time doesn’t exist. There were
woodcuts on paper and hanging scrolls with scenes indicative of our
interest in the past springing from a desire to understand the
present. Set against blue slate walls, the art provided powerful
imagery. The
main attraction was in another room- an enormous mandala, blessed by
his holiness, the Dalai Lama of Tibet. This three-dimensional
cosmic diagram was constructed to promote universal peace. Second
lesson in Zen: Less is more. The offerings surrounding it red
roses, greens, cookies, and candles, were of great significance.
I
must have been in the right place at the right time: I had a
conversation with a museum trustee. Clad in black jersey tunic and
matching slacks offset by an antique silver Indian choker, she avoided
eye contact but then began to speak about her personal transformations.
“Some time ago I documented all my belongings” she said. “It’s truly
amazing to see the interconnection between things and the people I
meet. It validates that I’m living my life as I’m suppose
to". The third lesson in Zen; old souls meet again. In
the courtyard flanked by Bodhi trees were hordes of gatherers munching
on a nirvana of brownies and lemon bars dipped in cream. On the
path to enlightenment no one should travel hungry. Next Stop: East meets West in spirit. In
the beginning: A familiar story from Genesis is that of Jacob’s
ladder. Jacob sleeps on the rocky ground and dreams of a ladder
on earth reaching to heaven. At the top of the ladder stands God
who speaks to Jacob. Ascending, existing in two realms. If
this sounds like the ordinary stress of life, it isn’t. Nor is it
part of an oral or written tradition. This concept is a painting,
loaned by the Los Angeles Museum of Art. “Creation,
Constellations and the Cosmos”, was the theme that examined how
artists define spiritual connections using various artistic
media. And then there were the cosmic circles. As a symbol of
universality, a circle can take on many meanings, a sacred emblem as
infinite as the universe itself. One favorite symbolic icon is
from India. “Shiva, as Lord of dance”, Shiva dances with his left
leg raised in the center of a circle.
End of Cycle: Science Continuing
my journey, I stopped at the Art Center College of Design. It is here
artist and astronomer Russell Crotty documents his drawings with ball
point pen on paper. “The Universe from my backyard” is what
Crotty calls his own observatory, a hilltop in Malibu. His
playful style reminded me of Maurice Sendak of “Where the Wild Things
Are”. Invoking
the pastime of viewing that stars at night, Crootys generates
renderings in large journals of his vision. Gallery attendants leaf
through the journals wearing white cotton gloves narrating the result
of the combination of art and science.
The fabulous night ended with a gong and we were all gone. |
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