August 5, 1987 |
What kid wouldn't rather go to the the circus than clean up a messy room? In the Los Angeles Children's Museum's colorful "Spinning the Big Top," a girl named Hero is told to tidy her room. But unmade beds and a toy-strewn floor aren't nearly as interesting as dreaming up ferocious beasties, tightrope walkers and clowns. Imagination abounds in this new Bumberchute production conceived by Bennett McClellan and directed by Candace Barrett.
March 25, 1986 |
Bravo to the Los Angeles Children's Museum and its new children's theater ensemble, Bumberchute. Last summer, a pleasingly literate production of Rudyard Kipling's "Just So" stories suggested that the fledgling acting troupe--all museum staff--would be worth a second look. Its current production, "Toad of Toad Hall," proves it. Under Candace Barrett Birk's direction, care is taken to treat classic literature for children with respect. Using A. A.
December 22, 1988 |
The homegrown Bumberchute Players of the Los Angeles Children's Museum are putting on a show for holiday visitors guaranteed to bring a little light into their lives. The show, "Night light," is about a child's fear of the dark. It's all a bit patchy, as if it needs more time to come together, but the cast delivers with such good cheer that much is forgiven.
September 6, 1985 |
"Is she going to be all right?" Pablo Marz, house manager of Louis B. Mayer Performance Space at the Los Angeles Children's Museum, paused apprehensively to address the mother of a loudly tearful infant, in the middle of his brief pre-performance cautionary speech that admonished: No sudden onstage audience ambulations, and quiet, please. "I think she'll be fine once she's entertained," was the serene reply.
November 1, 1993 |
West Coast Ensemble is alternating performances of "Bitter Cane" and "La Malasangre" ("Bad Blood"), two plays by contemporary women, set in the 19th Century. Both are ostensibly about doomed love affairs, but both apparently have deeper themes too. The subtext isn't all that subterranean in "La Malasangre," by Argentine playwright Griselda Gambaro, especially if you consider that Gambaro was forced into exile from her country from 1977 to 1988.