CALIFORNIA | LOCAL
July 3, 1998 |
Hoping to complete funding for a new performing arts theater, city officials here are seeking a donor to give his or her name--and $500,000--to the project. "When you look at all the arts facilities in L.A. that are named after folks--most of which came with much bigger price tags--plus the fact that we're in the media capital of the world, . . . we really think that this will happen," said Mary Alvord, director of Parks and Recreation for Burbank.
CALIFORNIA | LOCAL
December 2, 1994 |
Plans for a live theater district in the heart of downtown Glendale inched forward this week with the release of a planning study concluding that the city will benefit not only culturally, but economically if it gives the arts a chance. AMS Planning and Research of Petaluma interviewed local businesses and theater-goers and recommended that the district be established on Brand Boulevard, where the Alex Theatre, Glendale Centre Theatre and A Noise Within are already located.
January 1, 1988 |
No year-end wrap-up can ignore the impact of Del Shores' "Daddy's Dyin' (Who's Got the Will?)." It's the Equity-Waiver success story of the year. "Daddy's Dyin' . . ." is almost a commercial affront to Waiver--the show makes money. The actors have been sharing in the profits every week since the current comedy premiered at Theatre/Theater 10 months ago. Critically, it's also among the 11 superlative productions--of 95--that I reviewed in 1987.
December 30, 1988 |
My New Year's wish for L.A. theater is that producers stop talking about the merits of non-traditional casting and do it. I saw only one instance of a starring role cast colorblind in 1988 (a black actress, Gloria Rusch, playing the Theban wife Alkmena in "Amphitryon 38" at the Group Rep). Otherwise, it wasn't a timid year. There was plenty of risk-taking.
August 18, 1989 |
The line on "Guys and Dolls" at the Colony Studio Theater is even money: The voices are mostly terrific and director-choreographer Todd Nielsen's show clips along like a racer, but Frank Loesser's songs are mangled by Natasha (Boots) Walker's orchestra. Loesser's spunky music can never be permanently damaged, of course, but Walker's tinny synthesizers seriously mar what can be one of Broadway's most irresistible entertainments.