Voices Thru Time and Eternity

Conductor Terry Danne.

The majesty and redemptive power of music was performed at California State University Northridge by the San Fernando Valley and Premiere Chamber Chorale on Saturday, April 14. The theme was Easter, encompassing the spring season, one of rebirth and renewal. The musical selections varied from Bach to Debussy. The chorus sang the multiple languages seamlessly.

Any agnostic would enjoy the theme presented as the music represented the grace of love, how forgiveness leads to redemption. The musicians were all in top form. Kudos to cellist Cathy Biagini and pianist Dr. Frank Garvey. Once again, conductor Terry Danne extrapolates the absolute best from all involved. Each note is distinguished and precise. Each voice carries recognized beauty.

The program featured three parts. The performance for the first two acts were classic selections of aforementioned as well as Mozart. The third act was composed by Mary E. Caldwell. It was the story of Christ, using the metaphor of the seasons of his birth, ministry, death and resurrection.

This performance was truly memorable.

LA Pierce College Philharmonic Choir @ California State University Northridge Saturday, April 14, 2012.

The cast of “Troilus and Cressida.”

It may not be one of Shakespeare’s better-known plays, but Troilus and Cressida still packs a punch and displays his genius of capturing the context of pride, hubris, and the frailty of love.

The story is set during the Trojan War. Troilus (Alex Parker) is a Trojan noble in love with Cressida (Taylor Fisher). She returns his affection; unfortunately, their joy is cut short by a deal that sends her to the Greeks. Troilus learns the hard way of a woman’s choice to survive.

The machinations of war create more havoc internally than with the opponent. Hector (a charismatic Napoleon Tavale) represents the ideal soldier. He is brave and true. Although a great warrior, Achilles (a perfectly cast Matt Calloway) is surly and arrogant. A truce is drawn, but does not last. We all know the outcome.

Director Charles Pasternak always does a superb job with the choreography. The fighting scenes are impressive and dramatic. There is focus and intent with the cast.

Missing was some boldness, controlled recklessness. Not from the production itself, or pacing, but rather theme. As the story is not easily accessible, perhaps a modern twist or reference to a recent historical event would give it some oomph.

Although the outcome is somewhat different than the history we are familiar with, the results are identical. War devastates the both victor and conquered.

Troilus and Cressida runs

through Feb. 19 at The Whitmore Theatre located at 1106 Magnolia Blvd. in North Hollywood. It runs on Fridays and Saturdays at 8 p.m., and Sundays at 2 p.m. For tickets, visit www.brownpapertickets.com or call (818) 325-2055. Tickets are $20; $15 for students and seniors.

Trapped in a basement during a zombie apocalypse, Karen (Anne Westcott) and Gary (Carl Bradley Anderson) consider their options as they watch their infected spouses fall deeper into sickness in The Visceral Company’s production of “The Revenants,” playing through March 19 at the Whitmore-Lindley Theatre Center in North Hollywood.

Zombies are a curious lot; perhaps because they are the most misunderstood of monsters. Not much for conversation and lacking any table manners, their cravings for flesh can unnerve the most stalwart hero. What may be the most unsettling aspect is that they used to be human, which poses the question in “The Revenants”: by which point do we lose our humanity and become a soulless monster?

The story has a familiar tone: watch any George Romero to get the general idea or Shaun of the Dead for laughs. This time, two married couples find refuge in a basement, with horrific results: two of them are already infected. Gary (Carl Bradley Anderson) and Karen (Anne Westcott) must chain up their respected spouses Molly (Lara Fisher) and Joe (Rafael Zubizarreta, Jr.) or risk becoming infected. Alone with sparse provisions, Gary and Karen have more to confront than the relentless hunger of their betrothed — they have to face old questions, motives and desires.

Director Dan Spurgeon creates a vivid world of fright and tension with measured timing and blocking. Scott T. Barsotti’s script is the only weak spot. A little more focus and polish would have given the story a significant punch. The real stars of the production are Justin and Melissa Meyer for make-up and sets by Christine Bartsch and Michael Sadler. “The Revenants” raises some ethical quandaries that would be best discussed over dinner — no pun intended.

The Visceral Company presents “The Revenants” through March 19 at the Whitmore-Lindley Theatre Center located at 11006 Magnolia Blvd. in North Hollywood. For ticket information, visit www.thevisceralcompany.com.

Craig Ricci Shaynak and Vern Urich in “Stealing Buffalo.”

The theme and underlying truth of Hollywood is that ambition left unchecked can build careers, yet destroy friendships. The trades are full of sordid stories of those who may have signed a bond in blood only to have it disintegrate with three simple words: “We want you…” “Stealing Buffalo” captures the essence of the desperation that so many experience, the sacrifice of everything held dear for a signature, an agreement, for the ecstatic moment of finally making it.

Our story sets place at Stu Thomas’s (Craig Ricci Shaynak) apartment. It could definitely use a woman’s touch. Stu and pal Jed Timmons (Vern Urich) plan to produce David Mamet’s “American Buffalo.” However, the infamous scribe nixes their attempt. Due to either stubbornness or reckless abandon, they scheme an alternative: produce the play without consent. It is risky. With risk comes conflict, and subsequently, the show’s premise: what is the real cost of our dreams?

Both Shaynak and Urich collaborated on the script. It captures the frightening reality of how time can force Hollywood camaraderie into Machiavellian intrigue. It is also hilarious. The jest is pointed at us, and the many who still cling to the dreams of stardom. Director Michael C. Kelly allows a naturalistic approach to the acting, and there is a brilliant background screen displaying visuals with some very interesting celebrity trivia. Who knew that entertainment could be so educational?

Recommended.

“Stealing Buffalo” runs through March 6 at the Lonny Chapman Theatre located at 10900 Burbank Blvd. in North Hollywood. For ticket information, call (818) 700-4878 or visit www.thegrouprep.com

Terry Danne.

A thoroughly entertaining performance by the San Fernando Valley Master Chorale and Premiere Chamber Chorale was given Saturday night at Pierce College. As it was German themed, the composers ranged from Beethoven to Brahms, Back to Schumann. Some of musical pieces were instantly recognized, others not so much, but all the music conveyed the beauty and triumph of the masters who crafted them.

The opening was Beethoven’s Overture Egmont conducted by Dr. Michael Arshagouni. Both subdued and grandiose, it was the perfect way to accentuate the evening. Schicksalslied from Brahms followed. It was a nice transition from the sublime, with the choir at their best. Mendelssohn’s Lobegesang provided the audience with a prism of melodies.

A deft and comedic shift was A Day in the Life of Johann S. Bach performed by Don Caldwell, Jim Sanderson and Annette Markell. Originally a radio skit, it is a parody of the master’s life with a touching dénouement. Bach’s Singet dem Herr nein neues Lied featured full choral and orchestra. It is a rousing number; restrained emotion would be a good analogy.

The audience adored Clara Schuman’s Liebst du um Schoenheidt as soprano Jenny Gattone and pianist Priscilla Taylor conveyed with precision a sublime work of art.

Terry Danne once again proves his control and exuberance with orchestration and vocals. His natural charisma and leadership conveys a love and appreciation of fine entertainment that all can enjoy.

Top row, left to right: Dylan Vigus, Dana DeRuyc. Bottom row, left to right: Jamey Hecht, Matthew Calloway.

Shakespeare’s farce is perhaps more topical than his other comedies. Although some of the intricacies of the plot are no longer recognized in polite society, the theme of duplicity and contractual bonds, be it business or marriage, are as relevant today as they were four-hundred years ago. We are just as emotional, petty, greedy and full of lust and love, yet with the exception of medical advancement and technology, there is little difference. This play explores the uniqueness of identity, warts and all.

The story opens on a dark note, as the merchant Egeon (Jamey Hecht) finds himself condemned to death. He relays his story of his family, torn asunder by a storm, now lost to him. Unknown to him, his sons are in close proximity. They are as ignorant of each other as their father. It only takes circumstance, equally comedic and dire, to mend a splintered family.

Director Charles Pasternak enlivens the script with quick pacing and excellent stage dynamics, particularly the action scenes. Both Dromios (Christina MacKinon and Gus Krieger) nailed their roles with subversive panache. Taylor Fisher as Luciana illuminates the stage with a true presence. Dana DeRuyck has the gift of comedic timing. All the performers excelled.

This is easily the best production by the Porters of Hellsgate. I have watched with interest the progression of the troupe and how they have evolved. The genius of Shakespeare is captured when you hear the voice of the seventeenth century as it were penned yesterday. This play, running through November 28 at the Actors Forum Theatre at 10655 Magnolia Blvd., comes highly recommended. For more information, call (818) 325-2055 or visit www.brownpapertickets.com.

This is a courtroom drama, a murder trial, as the victim was an industrial giant who played by his own rules. The defendant, his beautiful mistress, Karen Andre (played with eloquence by a charismatic Nancy Young). The prosecution has a solid case, but defense attorney Stevens’ (a brilliant Vern Urich) strategy is to bring to light the nature of the deceased life and how it affected everyone in its orbit. It plays on your feelings as well as your intellect, which was exactly what Rand had in mind. One leaves the show with an appreciation of her genius and a new way to use the power of reason and thought.

Charles Picerni’s direction is nearly flawless; each actor shines and portrays their character with poise and vibrancy. The beats of the tension are tight as a military snare drum. Kudos to Christine Cover Ferro for costume design, as the action is set in the early thirties. Although some catch phrases are dated, the scenario is piercingly topical. A must see.

Night of January 16th is showing at The Odyssey Theatre, 2055 S. Sepulveda Blvd. in West Los Angeles, through November 14. For more information, visit www.theodesseytheatre.com.

Pam (Pamela Laurie) does the best she can to make dinner from an empty pantry. David (John Brickner) and Mark (Eric Feliciano) clearly are not excited.

The Red Brick Road Theatre Company’s production of Snowbound emphasizes how relationships can blossom and yet simultaneously deteriorate. Our story is placed in Indiana, where Pam (Pamela Laurie) and David (John Brickner) reside. Baby makes three and David is a much better father than he believes. Pam yearns for more as she feels trapped in motherhood. She is vibrant and intelligent, qualities that David has overlooked for too long. Enter Mark, visiting from Los Angeles, who expects some nurturing after a humiliating breakup.

Though they share the same interests and values, they could not be further apart. Mark is self-absorbed and has no inkling of married life. Pam and David have let the routines of life rob them of any spontaneity. What was planned to be a festive holiday weekend becomes a torrent of emotions and revelations. An unintentional kiss carries dramatic consequences for all involved. Forcing the issue is the snowstorm, as it dictates their activities and compels them to confront any conceived inadequacies.

Director Hallie Baran does an admirable job with the production’s limitations, namely James C. Ferguson’s script. His heart is in the right place with mood and theme, but there are some holes that if rectified, would give the production more punch. The actors emoted with enthusiasm and zeal, particularly Pamela Laurie. It is a story that we can all relate to, and may have found ourselves in similar circumstances. Hopefully it won’t require a snowstorm to discover our life’s fulfillment.

Snowbound runs through October 23 at the Avery Schreiber Theatre, 11050 Magnolia Blvd. in North Hollywood. For more information call (818) 392-7526 or visit www.theredbrickroad.org.

Iris Gilad and Neto De Paula Pimenta in Valentino Valentina.

Shakespeare’s Twelfth Night gets a modern twist in Valentina Valentino, playing at the Macha Theatre. It is a story of mistaken identity, gender confusion and passionate attraction set in the rather appropriate city of Los Angeles. It is a timeless tale of how love eventually conquers all and how our masks are eventually betrayed by the authentic self. The production featured song and dance, action and the redeeming power of love.

Valentino (Michael Onofri) and Valentina (Iris Gilad) are identical twins that are separated by a horrific car crash. Thinking her brother dead, Valentina sets off to find work disguised as her brother. She succeeds with the ruse, but becomes entangled with the charismatic Ernesto (Neto de Paula Pimenta) who pines for the beautiful Olivia (Stephanie Sanchez) as she falls fervently for Valentina. It is an oft-told yarn, yet writer Carlo Allen gives it a brazen freshness and under the tender direction of Odalys Nanin, this production shines.

The acting is inspired; the cast relays the particulars of their roles very well. Micah Beals as Faustino and Veronica Alicino as Maria are quite engaging. As with many Shakespeare’s comedies, the fates conspire to derail happiness, but love has a way of finding its intended target. This is a production that may be enjoyed by the entire family. A message that love is not about gender would make the bard proud. Recommended. The show runs through October 17 at the Macha Theatre, 1107 N. Kings Rd. in West Hollywood. For more information call (323) 960-7712 or visit www.Plays411.com/valentino.

Front Porch Band (Joel, Michael, Guido, Spero, Brantley & Tom)

The root of American music is as diverse and contains raw emotional power. It embraces the listener with a fiery caress. Its origins are of myth and legend open to mystique and debate. Front Porch Band delivers the zeal and potency of blues, bluegrass, and Cajun. This is music that is unique in its capturing musical instrumentation of guitar, fiddle, and harmonica for the front-end, while bass and drums solidify and driving, mesmerizing beat.

Judy Rudin (harmonica and vocals) leads the band with a natural stage presence as the band plays with vibrancy that only seasoned musicians can attain. Joel Wachbrit (guitar and vocals), Bob Bernstein (pedal steel and dobro) and Tom Corbett (mandolin) play with subtle flair. Spero Anthony and Michael Monagan comprise the thumping rhythm section. Brantley Kearns plays a mean fiddle. Together, the band played old favorites as well as some very nifty originals.

Songs of note are “Take You Fishing,” “Please Help Me I’m Falling,” and “Hit the Road,” which has a bluesy, primal power. Front Porch Band delivers the goods. The music played can be enjoyed by all – they don’t pigeonhole themselves into one particular genre. Highly refreshing to listen to musicians really let go and play.