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MARK BLANKENSHIP
The Critical Condition

ISAAC BUTLER
Parabis

MATTHEW FREEMAN
On Theatre and Politics

GEORGE HUNKA
Superfluities Redux

CHLOE VELTMAN
Lies Like Truth

jazz

PAMELA ESPELAND
Bebopified

Lauren Yarger

'Butts'
in Seats

Before the new theater season gets rolling, it's time to stop and honor the audience member who stood out the most during the 2010 Broadway season.

Each year I sit through hundreds of shows, usually near audience members who enjoy the theater and who understand etiquette. Every once in a while -- OK, more than once in a while -- I end up next to someone who makes me wonder whether they ever have been taught manners. Every year I offer my "Most Annoying Audience Member" award.

This year there were tons of the usual offenders -- the people who talk during the show, arrive late, text and check email on their phones and who crinkle food wrappers, apparently unable to go more than an hour without consuming junk food. We'll call them the runners up and focus on a few that really stood out -- those who became stars in their own rights when it comes to being rude.

We have a court of four this season, with a queen who will be hard to beat:

5 The guy seated behind me who gave new meaning to the words "you need a bath." So horrible was the stench from this guy that everyone in the area dug in pockets and bags for tissues and shared them with fellow audience sufferers to be used as air filters over their noses and mouths. I broke out a bottle of hospital-strength sanitizer, applied some liberally to my hands and held them under my nose for the first act. During intermission (one of the few occasions I have been grateful the show wasn't a 90-minute, no-intermission presentation), we all ran for empty seats elsewhere in the theater, where the fresh air was like a garden oasis. So, if you found yourself seated pretty much alone in your section of seats after intermission, you'll know we are talking about you, sir. And please, take a bath. Now.

4 The teenage girl, seated on my right, who constantly squirmed in her seat while putting her hair up in a pony tail, undoing it, flinging her hair around, then sweeping it back into a pony tail. She changed hair style in that seat more times during that show than I have in my life time. At one point, the decorative elastic she was using snapped from her clutches and landed somewhere between me and my coat. Without so much as an "excuse me," she proceeded to thoroughly grope me, my seat and my coat looking for it. I will be happy to provide her with a letter of recommendation for a position with the TSA.

3 The woman a few rows away who smacked gum and blew bubbles constantly through the first act. I am sure it was heard on stage. At intermission, she spit the gum out and sat quietly. When act 2 started, she unwrapped another piece and began smacking away again.

2 This one is a tie – For one show in Connecticut, the person who was scheduled to come with me had a sudden work-related issue develop and she wasn't sure whether she would be able to attend the show or not. I got to the theater and put my bag and coat on our seats, then stepped outside to call and find out whether she would indeed be able to join me. When I returned, a woman had removed my things from the second seat (put them on the floor) and generously informed me that she would move if I had someone coming, but if I didn't, she would be sitting in my second seat.

The second was a woman in the front row with a very large hat. The woman behind her (no, it wasn't me) asked whether she would be kind enough to remove it once the show began. "I'll think about it," she replied. She didn't. When the woman who couldn't see complained to an usher, she was moved to another row away from the group of friends with whom she had come to enjoy an afternoon of theater. Note to usher: next time, tell the woman to take her stupid-looking hat off, only say it nicer than that. That's your job.

1 And the winner of this year's Most Annoying Audience Member probably is a contender for the World's Rudest Person Award as well. During a performance of the first revival of Angels in America in New York, a woman in the front row left her cell phone on. It rang numerous times throughout the four-hour play, each time ringing about 10 times before going to voice mail. When a message was left, the phone would then play music to let her know she had a message. Other cell phones also were allowed to ring (not an usher in sight). When the front-row woman's went off again someone in the back yelled, "Turn off that phone." She didn't, it did its ring-to-voice mail noise again. Then, the woman got up to leave (remember, she was in the front row), causing everyone in the row to have to get up and block the view of everyone behind just at the end, when the last moving lines of dialogue are being given. The ending was completely ruined. When the view was unobstructed again, the moment for applause had passed. Kudos to the cast members, however, for managing to stay in character despite the numerous interruptions and for not clubbing the rude woman with her cell phone.

Here's a big thanks to the majority of audience members who AREN'T annoying, especially to those friends who join me for so much wonderful theater. Looking forward to another season (and remember, that aisle seat is mine....)

Coming Up

Four Clowns

February 17-19
South Coast Repertory

Clowns in Costa Mesa. L.A.-based Four Clowns, which has earned recognition at San Francisco, Minneapolis, and Hollywood Fringe Festivals, now heads to Orange County as part of SCR's Studio Series. More info here

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SPISTO

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Charles McNulty, that the show's driving force, Harvey Fierstein, launched a a public feud. Also mentioned is Robin and the 7 Hoods, a less than memorable jukebox musical, Chita Rivera: The Dancer’s Life, which was relied on Rivera's appearance, and the Twyla Tharp/Bob Dylan musical The Times They are A-Changin’, which was completely misguided [our review]. Not mentioned were Sammy [our review] and Whisper House, two premiere musicals that made up in star appeal what they lacked in artistic vision.

In fact, despite all the investment in musicals over the past several years, none have made it to New York since 2008, when O'Brien left.

The fourth show mentioned, the launch of the national tour of Avenue Q is a great credit to claim, but hardly one that involved creative input.

However, these shows expanded ticket sales and a donor base that funded major capital and programming expansion. Spisto is credited with initiating a cross-border project, a new play development program, and a "free matinee series that brings thousands of students to the Globe’s productions annually."

According to The Old Globe announcement, he "shepherded the institution's recently completed $75 million capital campaign resulting in a major campus renovation that included the new Sheryl and Harvey White Theatre, Karen and Donald Cohn Education Center and Hattox Hall, which are all part of the Conrad Prebys Theatre Center."

A Noise Within Pasadena facility rendering

IF YOU BUILD IT DEPT.

ANW to open Pasadena home

A Noise Within Founding Artistic Directors Geoff Elliott and Julia Rodriguez-Elliott have announced the play titles for their 20th Anniversary which is also the inaugural season in the company's 33,000 square-foot venue in Pasadena.

The schedule, which runs from October 2011 through May 2012 will be divided as always in two, but with only two plays in repertory in the lead-up to the Christmas holiday break, and then usual three in repertory after the new year. A short, now-traditional fourth slot in January 2012, will again bring back a recent hit - the Elliotts' staging of Michael Frayn's Noises Off, which debuted two seasons ago to rave reviews (including ours), was brought back earlier this year in the same spot, and now returns as part of the new season. The company's former home, the Masonic Hall in Glendale, was a vital 10th player on the field in the previous stagings. However, there should be every reason to see it anew.

The classic theater company sticks with the writers that got it here: Shakespeare (Antony and Cleopatra and a "new treatment" of Twelfth Night), O'Neill (Desire Under the Elms), and Moliere (The Bungler), along with Tony Kushner's adaptation of Pierre Corneille's The Illusion.

To introduce neighbors new and old to ANW’s new facility and longhand company standards, the general public will be invited to a series of free events (tours, readings and special education programs) in the days before the first production. The 281-seat theatre, with thrust stage, expansive backstage area and cutting-edge technology, boasts an intimacy – with no seat further from the stage than seven rows – and "cutting-edge technology."

The facility and season will open on October 29 with a black-tie Opening Night Gala, presented by Wells Fargo. The evening-long festivities will begin with a champagne reception toasting the new home, a performance of Twelfth Night, and a post-performance dinner party.

A Model Effort

In an effort to foster the introduction of theater to young people through the family – the way most current theatergoers – and theater professionals – were introduced, ANW is adding a new "Family Package" option to its subscription plans. With the passes included, youngsters can experience A Noise Within with their parents, either on stage or in an on-site classroom. The pass is available to young people ages 6 to 17 with the purchase of an adult subscription series and can be redeemed for a ticket to the show or an educational workshop at the theatre offered during selected Sunday matinee performances.

This is a very important step in audience development that we will be watching and encouraging.

Also, there are also 4-, 5-, and 6-play packages, special rates for patrons 18 to 30 years of age, group rates, school group rates, and more. Free programs for audience members include pre- or post-performance conversations with scholars and/or ANW artists on selected dates throughout the season.

The venue is located in the former Stuart Pharmaceutical building, a historic, mid-century modern masterpiece designed by celebrated architect Edward Durell Stone, known for landmark buildings around the country including the John F. Kennedy Center for the Performing Arts in Washington, DC, and Radio City Music Hall in New York. Constructed in the mid-1950s, the Stuart Pharmaceutical building was listed on the National Register in 1998 and features a striking landscape garden designed by Thomas Church. The completely new three-story theatre – which retains the building's original façade -- features support facilities, offices, rehearsal space, a classroom, considerable storage for costumes, props and scenery and large restrooms. There is plentiful, convenient, free parking in the adjacent Gold Line's Sierra Madre Villa Metro parking structure.

For more information visit the company website.

KDT season announced

Center Theatre Group has announced the schedule of the eighth season of its Kirk Douglas Theatre in Culver City. The season of four productions and the DouglasPlus series of several short runs will stretch from September 17, 2011 through June 2012.

The season will include writer-performer Charlayne Woodard's newest play, The Night Watcher; a remount of last year's Ebony Repertory Theatre production of Lorraine Hansberry’s A Raisin in the Sun (reviewed here); a new Culture Clash work written by Richard Montoya, American Night: The Ballad of Juan José; and Danai Gurira's new The Convert.

Included in DouglasPlus this season will be a full production of Rude Mechs’ new musical I’ve Never Been So Happy and a reading of the Burglars of Hamm’s The Behavior of Broadus.

"I am happy to point out," said CTG Artistic Director Michael Ritchie, "that CTG’s New Play Production Program is in full gear with three CTG-commissioned works, The Convert and The Behavior of Broadus, and the further development of Rude Mechs’ work on I’ve Never Been So Happy through a CTG Completion Commission. Part of our mandate is to form partnerships with L.A. theater companies, and it’s of particular pleasure to present the important work of Ebony Repertory Theatre."

The Schedule

The Night Watcher, written and performed by Woodard and running November 17 through December 18. Taken from personal experience as "a best friend, advisor, confidant and sage to the many young people for whom she is an auntie or a godmother," this latest solo show from the author of Pretty Fire, In Real Life, and Flight, pays homage to "the life-enhancing intimacy that can exist between children and the loving extended family of other adults who are not related."

The Night Watcher had its world premiere at the Seattle Repertory Theatre in October 2008 (and was previously workshopped at the La Jolla Playhouse and Ojai Playwrights Festival). A director is yet-to-be-announced.

Phylicia Rashad's critically acclaimed staging of A Raisin in the Sun for L.A.'s Ebony Repertory Theatre will be remounted at the Douglas to bring in the new year. Running from January 19 through February 19, the production that ran at the Nate Holden Performing Arts Center on Washington Blvd., where ERT is resident company.

Montoya and fellow Clashers – Herbert Siguenza and Ric Salinas – along with director Jo Bonney, have "hilariously upended" the contemporary American immigrant experience in American Night: The Ballad of Juan José. The script premiered at the Oregon Shakespeare Festival a year ago. The Douglas run will be March 9 through April 1, 2012.

This is the story of a resident alien on the night before his U.S. citizenship test. In the process of cramming for the exam, Juan is transported to incidents in American history that are missing from his history book. The ingenious Clash offer a steely-eyed look at the realities in order to arrive at a true celebration of the land that continues to draw new citizens from around the world.

Still an all-time Theatertimes favorite is Danai Gurira, a co-author and co-star of In the Continuum (review) and author of the more recent Eclipsed, both at the Douglas. Her The Convert was commissioned by Center Theatre Group, and will receive a Douglas Theatre premiere April 17 through May 13, 2012, in a co-production with McCarter Theatre Center and Goodman Theatre, directed by the McCarter's Emily Mann.

In tone and subject matter, The Convert continues Gurira's exploration of Africa, where she was raised after being born in the U.S. After the contemporary subjects of AIDS and war in her previous plays, she explores colonialism in 1895 through its "softcore" tentacle, religious missions. Jekesai is a young girl who escapes a forced marriage arrangement by becoming the newest convert of a well-meaning black catechist for the Catholic Church. When an anti-colonial uprising erupts she is force to choose between her loyalties to her own family and culture and the adopted world of her faith.

The DouglasPlus series includes two titles. On September 17, 2011, there will be a reading of The Behavior of Broadus, a new work by Burglars of Hamm. Commissioned by CTG, the new comedy is the "incredible, sort-of-true story" of John Broadus Watson, the father of both behaviorism and modern advertising. The other show, running October 6-23, 2011, is the world premiere of I've Never Been So Happy by the Austin-based theatre collective Rude Mechs. I’ve Never Been So Happy is a "Western musical transmedia shindig" that features a range of music from traditional gospel to operatic arias and hip-hop party mixes. Additional DouglasPlus programming for May and June of 2012 will be announced later.