Well, dear readers, I spent a mostly restful Sunday. I slept over ten hours, which was restful, got up, didn’t do much, which was restful, and then finally moseyed on over to the NoHo Arts Theatre to see a show. Because it’s a youth community theater show I’m not going to say much other than the kids gave it their all and there was a lot of talent on that stage. Friend Barry Pearl directed the show, and lots of talented folks worked on it – but the show itself is truly one of the worst things I’ve ever seen – created only as a brand and to make a buck, which is not how a show should be created. The book was silly, clichéd, and non-involving (it’s based on a popular cable movie, which I have no doubt was just as bad), the songs all sound the same and not one, not a single ONE had a button. They all literally ended with the last word being sung. Note to “songwriters” – go take a class or something. For me, a show like this does a disservice to everyone, most especially the kids. Barry’s last directorial effort for this group, 13, a show I have no particular fondness for, at least was a good showcase for the kids. This thing doesn’t give anyone anything to do. I have worked with two of the creators of this adaptation and it’s just about what I would expect, if you get my meaning. But I always enjoy watching young performers who have heart and spirit.
After that, I decided a visit to Hugo’s would be a nice way to have a meal. I was incorrect. A visit to Hugo’s at five o’clock on a Sunday was met with a completely full restaurant and a wait – I couldn’t believe it, really. The lady told me ten minutes. I told the lady goodbye. And good riddance to Hugo’s. If I can’t walk into ANY restaurant at five o’clock and get in, then I don’t need to go to that restaurant. And they’re just so cocky about it.
So, instead I went to Jerry’s Deli and had a very tasty patty melt and fries and they know how to treat their loyal and valued customers. Note to Hugo’s – learn that.
Then I came home, and was thrilled to find a wonderful review of our show by Rob Stevens, and I got a preview of another wonderful review by Don Grigware, where we’re a Critic’s Pick – that review is up on his own site, but will hit Broadway World in the next day or so. Then I sat on my couch like so much fish.
Last night, for the first time in quite a while, I watched a motion picture, this on a home grown DVD from the Warner Archive, entitled Ode to Billy Joe, which I haven’t seen since the day it came out. I kind of enjoyed it back then, mostly due to Glynnis O’Connor’s lovely performance, and Robby Benson’s anguished performance. I was a huge fan of the song, especially it’s brilliant arrangement by Jimmie Haskell, which was done after the fact – the original recording was just Bobbie Gentry playing her guitar. Haskell’s incredible string writing transformed it into a real work of art. Since she’s always been enigmatic about the song’s meaning, she gave screenwriter Herman Raucher permission to take the story in any direction he wanted, and he chose a very interesting one. Seeing it after all these years, I enjoyed it still – especially the short Michel Legrand score, and in addition to the two lead performances, the wonderfully subdued and beautiful performance by the recently late James Best. Transfer was fine.
Then I did some work on the computer, mostly choosing photos to post here and elsewhere from our show. Here are some more for your viewing pleasure. First we have Lamont Oakley and his back-up singers Glendale and Glendora (Prisca Kim on the left, Shawna Merkley on the right) in Wayne Moore’s hilarious Straight Outta L.A.
Next we have a sketch I wrote with David Wechter, called The Art of the Hollywood Deal – Then and Now. The then is how the deal for Double Indemnity might have gone down THEN back when it was made, and then how it would go down in today’s Hollywood NOW. It’s a really funny sketch that I think is probably completely accurate. Left to right: Michael MacRae and Elle Willgues, pitching the reboot of Double Indemnity to studio head Robert Yacko and his three executives, Lamont Oakley, Kole Martin, and April Audia. Elle really reminds me of Imogene Coca in this sketch.
I’ll have more tomorrow, but for our final photograph, here are two from our audacious act one finish – Every Wednesday Night, my tribute to the classic wrestling matches of the 50s and 60s. This is one of my proudest moments in the entire show, and certainly a high point of my directing career.
Today, I will be working on the Kritzerland show, doing some banking, I’ll eat something at some point, I’ll hopefully pick up packages, and I’ll hopefully get some relaxing in during the evening hours.
The rest of the week is meetings and meals, a pick-up rehearsal, then a two-show Thursday, a one show Friday and our closing two show Saturday.
Well, dear readers, I must take the day, I must do the things I do, I must, for example, work on the Kritzerland show, bank, eat, hopefully pick up packages, and relax. Today’s topic of discussion: What are your favorite story songs in the manner of Ode to Billie Joe? Let’s have loads of lovely postings, shall we, whilst I hit the road to dreamland, happy to have had pretty much a day to myself.