Sunday, June 17, 2018

Diana Ross Opens The Hollywood Bowl Season


Summer unofficially began last night with the Hollywood Bowl ushering in its 2018 season during its Opening Night Concert featuring Diana Ross. The living legend with an impressive career spanning nearly six decades performed a unique set featuring her favorite and most memorable songs accompanied by the Hollywood Bowl Orchestra (HBO), led by Principal Conductor Thomas Wilkins.
The evening also included a special performance with members of YOLA (Youth Orchestra Los Angeles), the LA Phil's initiative to provide access to free, high quality instrumental and orchestral education to underserved youth in the area in order to promote youth development.
The Opening Night at the Hollywood Bowl benefit concert raised more than $1.75 million for the Los Angeles Philharmonic's many education and community programs (including YOLA), which serve more than 150,000 youth, families, and teachers every year.


The festive evening began with Wilkins leading the HBO in Bernstein's rousing composition Slava! This was followed by the performance of John Williams' "Adventures on Earth" from E.T.: The Extra-Terrestrial and a video montage showcasing the Los Angeles Philharmonic's educational initiatives was shown on the Bowl's big side screens.
After officially welcoming the audience to the special night, Wilkins introduced the LA Phil Opening Night Committee Chairs Teena Hostovich, Doug Martinet, and Michael Martinet, as well as Opening Night Title Sponsor Kaiser Permanente's Group President Gregory Adams, and President, Southern California Region Julie Miller-Phipps.
The first half of the program concluded with 30 senior members of YOLA, seated among the HBO, performing Arturo Márquez' Conga del Fuego Nuevo along with the professional musicians.
For the second half of the concert, legendary icon Diana Ross promised an evening of music, memories, and fireworks - and she delivered. Diana Ross entered the stage performing an overture accompanied by a choir. Ross went on to sing fan favorites from her vast catalog of hits, such as "He Lives In You," "More Today Than Yesterday," and "You Can't Hurry Love." She was joined again by choir for "If We Hold On Together," and continued with "Chain Reaction," "It's My Turn," "It's My House," "Touch Me in The Morning," "Amazing Grace," "Fine and Mellow," "The Man I Love," "Home," and "Upside Down." She went on to a medley of "Do You Know" from Mahogany and "Ain't No Mountain" accompanied by both the choir and a spectacular fireworks show. For her encore, Ross concluded with "Reach Out And Touch," accompanied by the choir to a standing ovation.
Several entertainers, as well as elected and other civic officials, were present to enjoy the benefit concert, including Debbie Allen, Lee Daniels, Terrence Howard, Ralph Johnson and Verdine White of Earth, Wind & Fire, Heidi Klum, and Ross' children: actress and singer-songwriter Rhonda Ross Kendrick, actress Tracee Ellis Ross, producer Chudney Ross, producer Ross Naess, and actor and singer Evan Ross and his wife, singer Ashlee Simpson. Also present were Los Angeles County Board Supervisors Mark Ridley-Thomas and Hilda Solis, Los Angeles City Councilmember David Ryu, Los Angeles Philharmonic Board Chair Jay Rasulo, Los Angeles Philharmonic Chief Executive Officer Simon Woods, and Los Angeles Philharmonic Chief Operating Officer Chad Smith.
Prior to the concert, Opening Night Patrons enjoyed a VIP cocktail reception in the Monique and Jonathan Kagan Hollywood Bowl Museum Patio. Reception attendees delighted in the evening's signature drink - a refreshing Frosé created with Winc Summer Water rosé. Brief welcoming remarks were made by LA Phil CEO Simon Woods, in his first Opening Night since taking on his role with the organization, as well as Opening Night Committee Chair Teena Hostovich and LA Phil Board Member and Kaiser Permanente Group President Gregory Adams.
Following the reception, Opening Night patrons were served dinner at their boxes. The table décor featured white linens with white orchid centerpieces.
Catering for the evening was provided by James Beard Award Winners Suzanne Goin and Caroline Styne of Hollywood Bowl Food + Wine. The custom menu offered the first course of farro salad with chopped romaine, cucumber radish, snap peas, and olive oil green goddess dressing. The main course, chicken under a brick, was complemented by fresh corn polenta, spinach, and succotash salsa. The meal concluded with a dessert course of vanilla cheesecake with strawberries and blackberries.
Wine for the evening was provided by Winc, Official Wines of the Hollywood Bowl.
For guests who opted to make use of on-demand transportation Lyft, the Hollywood Bowl's Official Rideshare Partner, the Lyft Lounge, located in the rideshare pick up area, provided comfortable seating and mobile phone charging stations while guests awaited their vehicles.
The Hollywood Bowl Opening Night Concert was chaired by Gala Co-Chairs Teena Hostovich, Doug Martinet, and Michael Martinet. Kaiser Permanente was the Opening Night Title Sponsor. Additional sponsors were Premier Sponsor Live Nation/Ticketmaster, Wine Sponsor Winc, Muse Sponsor Wells Fargo and Rideshare Partner Lyft. 

Wednesday, June 13, 2018

Perry's 'Nobody's Fool' Opens November 2 2018

Tika Sumpter, Whoopi Goldberg, and Tiffany Hadish

Trying to get back on her feet, wild child Tanya (Tiffany Haddish) looks to her buttoned-up, by the book sister Danica (Tika Sumpter) to help her get back on track. As these polar opposites collide — with hilarious and sometimes disastrous results — Tanya discovers that Danica’s picture-perfect life — including her mysterious boyfriend — may not be what it seems. 

Nobody's Fool (Paramount Pictures) is written and directed by Tyler Perry. The film stars Tiffany Haddish, Tika Sumpter, Omari Hardwick, Mehcad Brooks, Amber Riley and Whoopi Goldberg.

Sunday, June 10, 2018

72nd Tony Awards Handed Out In New York

The Band's Visit

The 72nd annual 
Tony Awards, which were handed out Sunday night at 
Radio City Music Hall in Manhattan. Below is a complete list of winners.
Best Musical
The Band’s Visit
Best Leading Actress in a MusicalKatrina Lenk, The Band’s Visit
Best Leading Actor in a MusicalTony Shalhoub, The Band’s Visit
Best Revival of a MusicalOnce on This Island
Best Revival of a PlayAngels in America
Best Original ScoreThe Band’s Visit, Music and Lyrics: David Yazbek
Best Direction of a PlayJohn Tiffany, Harry Potter and the Cursed Child
Best Direction of a MusicalDavid Cromer, The Band’s Visit
Best Sound Design in a PlayGareth Fry, Harry Potter, and the Cursed Child
Best Sound Design in a MusicalKai Harada, The Band’s Visit
Best Leading Actress in a PlayGlenda Jackson, Three Tall Women
Best Scenic Design for a Musical
David Zinn, SpongeBob SquarePants

Best Scenic Design for a Play
Christine Jones, Harry Potter and the Cursed Child
Best Featured Actor in a MusicalAri’el Stachel, The Band’s Visit
Best Featured Actor in a PlayNathan Lane, Angels in America
Best Book of a MusicalThe Band’s Visit, Itamar Moses
Best Featured Actress in a MusicalLindsay Mendez, Carousel
Best ChoreographyJustin Peck, Carousel
Best Featured Actress in a PlayLaurie Metcalf, Three Tall Women
Best OrchestrationsJamshied Sharifi, The Band’s Visit
Best Performance by a Lead Actor in a PlayAndrew Garfield, Angels in America
Best Costume Design of a PlayKatrina Lindsay, Harry Potter and the Cursed Child
Best Costume Design of a MusicalCatherine Zuber, My Fair Lady
Best Lighting Design of a PlayNeil Austin, Harry Potter and the Cursed Child
Best Lighting Design of a MusicalTyler Micoleau, The Band’s Visit
Regional Theatre Tony AwardLa MaMa E.T.C.

Friday, June 8, 2018

City of Lies in Theaters Nationwide September 7


ABOUT CITY OF LIES:
Synopsis
: Based on the true story of one of the most notorious and unsolved cases in recent time, CITY OF LIES is a provocative thriller revealing a never-before-seen look at the infamous murder of The Notorious B.I.G. shortly following the death of Tupac. L.A.P.D. detective Russell Poole (Johnny Depp) has spent years trying to solve his biggest case, but after two decades, the investigation remains open. "Jack" Jackson (Forest Whitaker), a reporter desperate to save his reputation and career, is determined to find out why. In search of the truth, the two team up and unravel a growing web of institutional corruption and lies. Relentless in their hunt, these two determined men threaten to uncover the conspiracy and crack the foundation of the L.A.P.D. and an entire city.

Cast: Johnny Depp, Forest Whitaker
Directed by: Brad Furman
Produced by:  Miriam Segal
Written by: Christian Contreras, based on the novel by Randall Sullivan

Tuesday, June 5, 2018

Lula Washington Set To Receive Champion Award


By Darlene Donloe

Lula Washington, the founder and artistic director of her namesake Lula Washington Dance Theatre, has long cemented her status as a creative driving force.

Her efforts have not gone unnoticed.

This weekend, as part of the 2018 Dance/USA Annual Conference (the country’s broadest gathering of dance professionals) taking place in Los Angeles from June 6-9, Washington and her husband, Erwin, the company’s co-founder and executive director, will be recognized with the Dance/USA Champion Award for their impact on dance. 

The Champion Award is given to an organization, business, foundation, or individual in appreciation for their achievements, leadership, outstanding service, and dedicated efforts that have sustained and significantly advanced the dance field in the annual conference host city. 

Lula Washington Dance Theatre
Photo by Sol Washington

As part of the annual celebration, The
Ford Theatres’ IGNITE @ the FORD! will host three renowned choreographers - Kyle Abraham, Rennie Harris, and David Roussève – to set works on Lula Washington’s Dance Theatre on June 8. The evening will also include choreographies by Washington and her daughter, Tamica Washington-Miller (associate director of Lula Washington Dance Theatre).

The Lula Washington Dance Theatre program for June 8 includes Kyle Abraham’s Hallowed (music by Bertha Gober and Cleo Kennedy), Rennie Harris’s Reign (music by James “JT” Wilconson), David Roussève’s Enough? (music by Aretha Franklin), Lula Washington’s Open Your Eyes, a suite to Earth Wind & Fire, and Tamica Washington-Miller’s There is Always Tomorrow (music by Marcus Lamar Miller).

A stalwart powerhouse in the dance community, Washington, who grew up in Watts, is not content to rest on her laurels.  No passive observer, for Washington, who founded the dance company in 1980, there’s always something new to learn and explore.

That’s because to hear her tell it - there is “something about dance”. For her, there is something internally and viscerally rewarding about truly moving an audience.

Lula Washington Dance Theatre
Photo by Sol Washington

She got the chance to “move” the movie-going audience when she was selected to choreograph the ritual movement and created body language for the indigenous people, Na'vi, in James Cameron's hit film, Avatar.  It’s an achievement she relishes because she was able to employ many of her own dancers in the film.

To Washington and her husband, Erwin Washington’s credit, the Lula Washington Dance Theatre has risen to become one of the most admired African-American contemporary dance companies in the West – known for powerful, high-energy dancing, unique choreography, and exceptional educational residencies.

The Company is comprised of young, athletic dancers, many of whom were groomed in Washington’s inner city dance studio. While she encourages her dancers to be excellent performers, an activist in her own right, she also emphasizes the importance of being leaders in their communities.

Believing in the universality of dance, over the years Washington, 68, has exerted a great deal of influence both domestically and internationally.

Her dance theater has expanded its global reach, performing in 150 U.S. cities, as well as tours in Germany, Russia, China, and Israel.

Lula Washington

I recently caught up with the lively and always engaging Washington to talk about her career, the dance theater and the company’s upcoming performance at the Ford Theater.

DD: Let's talk about what the audience will see on June 8.

LW:  The audience will see a range of choreography from five articulate choreographers, all of whom are African American. It’s a rare opportunity to see something like this.

DD: You and Erwin, the company’s co-founder and executive director, will be recognized this summer for your impact on dance in Los Angeles and beyond. You will receive the Dance/USA Champion Award at this year’s conference. What was your initial thought when you heard you were being recognized?

LW: I guess my initial thought was, ‘I didn’t believe it’ because we’re getting an award from an organization that I didn't think was paying attention to what we were doing or value what we were doing. Then I was assured that everyone chimed in and said why it was real. I didn't think they were focusing on companies of color.  We are looking forward to it. A champion award – it’s ok for me to say what I said.  Sometimes you stand by yourself when you’re saying something. You have to be willing to do that. Over the 38 years, we tried to make a difference in our community.  I was thinking who else in the community should get this. I couldn’t think of anyone, so I said, yes, us.

DD: Why did you feel that way?

LW: Because dance deals with all kinds of issues. But in the hierarchy of dance, it’s always ballet. Funding has always been ballet. When you look at companies too good to fail, it’s always ballet. Traditionally Dance USA has been about ballet. That has gotten the bulk of recognition although over the years they have included some minority companies. There are not a lot of minority companies that are part of Dance USA. They are trying to make a difference.

DD: What is it like to work with your husband?

LW: It’s special because he always likes to be in the background. I tell him to stop staying on the sideline. One hundred percent of the success is because of him. He’s excited as well. I couldn’t accept this award without him being part of it.

DD: Is it hard to work with a partner/hubby every day?

LW: We fight all the time because we're both vested in the organization. We fight about directions we should go in and what jobs we should take. It’s about one person trying to get their viewpoint across. We do performance art all the time. Some view it as yelling and screaming. This is our process. This is how it goes. He has always been here for this organization and a protector of the organization.  We go to development conferences together. Sometimes we take my road, sometimes his road and now, sometimes a third person – my daughter, Tamica.  We’re here for 38 years later.  We own our own building. It was $1.3 million. The building is paid for. Hard work and dedication has put us where we are.

DD: Have you actually thought about the impact you have made on dance in Los Angeles?

LW: I don’t pay attention to that. I don’t want to step back and look. I know what we’ve done for homeless kids who wanted to dance. I know about the donations we give and the free rehearsal space we give to emerging choreographers. Whenever I go to see something, I see 10 of the people we trained. I don't’ want to look back – I want to keep going forward.

DD: This performance is taking place in recognition of the 2018 Dance/USA Annual Conference, the country’s broadest gathering of dance professionals, from June 6-9 in Los Angeles.  How far in advance do you start preparing?

LW:  I start preparing in February because everybody’s schedule is different. Guest choreographer’s schedules are different. Some are in and out of town. You have to start early.  We workshop the stuff we’re going to do. Then we have to bring in guest artists. Sometimes we have to fly people in for rehearsals. The reliability of dancers here in Los Angeles is unreal. They could get a video at any moment. They could get $1200-$1300  compared to our little stipend.

DD: How do you set yourself apart in a conference that includes such a large group of dance professionals?

LW: By being who I am. I know my self-worth and value. It doesn’t matter to me. Bella Lewitzky told me when she saw some of my work, “Don’t pay attention to anyone else. Focus on your voice and your art.”  I’m respectful of everyone. We are all individuals.

DD: Talk about how you and your daughter, Tamica Washington-Miller, work together.  How does it play out?  Does she share your vision for the dance theater?
 
LW: We fight. She has her viewpoints. She joins the conversation. She doesn’t want to be rude or disrespectful, but I told her she has to stand up for her rights. She’s next generation so she has to have those opportunities. There is lots of yelling and screaming. But it’s creative yelling and screaming.

DD: How did/do you keep the dance theater’s doors open in Los Angeles?

LW:  Erwin [Washington] writes grants. He’s been very successful. We were able to pay our dancers through a grant so that we could help to subsidize them. The grant came from the California Arts Council.  Tamika has also made relationships with several high schools.  Our whole dance company got a chance to participate in Avatar to assist me on the set.

DD:  Which one of your dances do you consider your baby?

LW: No, I don’t get into that. I love them all the same.

DD: Dance is more than dancing.  What else can dance accomplish?

LW: Dance accomplishes the ability to present history and culture and stories about the community through movement. It’s spiritual and healing. You can look at a hand gesture and be brought to tears. Whole lives can be changed. You can only see it one time that way. The next time you see it – there is always something different.

DD: You have received numerous awards, including a National Endowment for the Arts choreography fellowship, the California Dance Educators Award of Excellence and a Woman of the Year Award from the California State Legislature.  Are awards important?  What do they mean?

LW:  Awards are important because it shows you have made achievements. You would like them to turn into real cash, though – so you can keep your organization going.

Lula Washington

DD: Why is dance important?

LW: Because it helps people to express their feelings and emotions. It helps the mind and creates a freedom and joy. If you don’t have movement, you’d never feel that. We all come into life moving. Our heart is moving. Dancing builds self-esteem. It’s a way of communicating.

DD: You started dancing at 22, which some thought was too old. What do you tell your older students?

LW: You’re never too old if that’s what you want to do. If you still want to – just start.

DD: How has your approach to dance changed since the beginning?

LW: It has changed because I want to be able to have more money to create and present works the way I want them to be seen. If I have a mountain in a piece, then I want a mountain on stage. All things cost money. It would be nice to have a waterfall on the stage. It would be nice to be able to have funds to create your ideal environment. You gotta have financial support so you can have sound, music, light, and computers.  It would be nice to create a dance with technology.

DD: When not dancing, what are you doing?

LW: There is no time to relax when you run a dance company. We might go to a movie or play or hear some music, but usually, we are unconsciously working. At home, we're talking about stuff we have to do.

DD: Tell me about the International Association of Blacks in Dance.

LW: We just celebrated our 30th anniversary. The organization was started by Joan Myers Brown. She started it because she was tired of going places where people of color were never addressed. We wanted to learn from each other and share ideas. In January (2017) we had over 900 participants from as far away as Canada and New Zealand. We produced four nights of dance. I’m a founding member of the organization. I felt isolated here on the west coast. Every time we wrote a grant we didn’t get it. This kept happening. We needed to move forward.

DD: Did you have a Plan B in case dance didn’t work out?

LW:  No, because I always knew dance was going to work out. Now, I tell people to have a Plan A, B and C.   I worked at a hospital, I was an inhalation therapist. I hated that. And because I hated that, I honed my teaching skills. I’m glad I did.

The Ford Theatres presents Lula Washington Dance Theatre (LWDT) on Friday, June 8 at 8:30pm, as part of its IGNITE @ the FORD! series. Ford Theatres, 2580 Cahuenga Blvd E, Los Angeles; www.fordtheatres.org/calendar/lula-washington-dance-theatre





McQueen's 'Widows' Hits Theaters November 2018





WIDOWS
Release: November 16, 2018
Director: Steve McQueen
Producers: Iain Canning, Emile Sherman, Steve McQueen, Arnon Milchan
Screenplay by: Gillian Flynn & Steve McQueen based on “Widows” by Lynda La Plante

Cast: Viola Davis, Michelle Rodriguez, Elizabeth Debicki, Cynthia Erivo, Colin Farrell, Brian Tyree Henry, Daniel Kaluuya, Garret Dillahunt, Carrie Coon, Jacki Weaver, Jon Bernthal, Manuel Garcia-Rulfo with Robert Duvall and Liam Neeson

From Academy Award®-winning director Steve McQueen ("12 Years a Slave") and co-writer and bestselling author Gillian Flynn ("Gone Girl") comes a blistering, modern-day thriller set against the backdrop of crime, passion, and corruption. "Widows" is the story of four women with nothing in common except a debt left behind by their dead husbands' criminal activities. Set in contemporary Chicago, amid a time of turmoil, tensions build when Veronica (Oscar® winner Viola Davis), Alice (Elizabeth Debicki), Linda (Michelle Rodriguez) and Belle (Cynthia Erivo) take their fate into their own hands and conspire to forge a future on their own terms. "Widows" also stars Liam Neeson, Colin Farrell, Robert Duvall, Daniel Kaluuya, Lukas Haas and Brian Tyree Henry.



Sunday, June 3, 2018

The Color Purple Reigns At Hollywood Pantages


By Darlene Donloe

When Alice Walker’s The Color Purple came out in book form, in 1982, it quickly became a best seller. It won the 1983 Pulitzer Prize for Fiction and the National Book Award for Fiction.

When the book became a movie, helmed by Steven Spielberg and starring Whoopi Goldberg, Oprah Winfrey, Adolf Caesar, Danny Glover and Margaret Avery, it was controversial, yet applauded, garnering 11 Academy Award nominations – walking away with none.

When the book and movie were adapted into a Broadway musical, it was heralded once again.

After three decades the play, which is set in Georgia between 1909 and 1949, continues to be an audience favorite with its heartbreaking, emotional – yet triumphant story accompanied by a thumping soundtrack.

The excitement for this production continues with the first North American tour of the 2016 Tony Award®-winning (Best Musical Revival) Broadway revival of The Color Purple, which recently arrived at the Hollywood Pantages Theatre in Hollywood.

Adapted for the stage by Tony-and Pulitzer-winner Marsha Norman with music and lyrics by Brenda Russell, Allee Willis, and Stephen Bray, this latest incarnation is full of heart and loaded with talent.  

Three members of the cast of the 2016 Broadway revival, including Adrianna Hicks (Aladdin - Broadway, Sister Act - Germany) as Celie, Carla R. Stewart (Ghost – National Tour, Rent - Regional) as Shug Avery and Carrie Compere (Holler If You Hear MeShrek the Musical – National Tour) as Sofia lead the company.
  
Carla R. Stewart as Shug Avery in the touring production of The Color Purple. 
(Matthew Murphy)


The Color Purple, which has a Grammy-nominated score, is a moving, sentimental saga about poor, black women from the Deep South finding their inner strength. One of those women is a teen named Celie who is abused in every imaginable by her husband, Mister, who has a thing for a loose woman named Shug Avery.

When Walker’s book first came out, the domestic tension between Celie and Mister and the perceived lesbian relationship between Celie and Shug Avery was met with some resistance and some controversy.  It was thought the black community and, in particular, the black church would denounce the book and the film. Instead, the book won a Pulitzer Prize for fiction and the film became a box office hit.

In the beginning, Celie, the play’s central character, is an oppressed 14-year-old girl, whose only bright light in the world is her sister, Nettie. After being subjected to years of abuse and unconscionable servitude, and after losing her sister Nettie, Celie experiences an awakening that allows her to finally unearth her voice.

N’Jameh Camara (Nettie), Bianca Horn (Ensemble/Church Lady), Angela Birchett (Ensemble/Church Lady)
and Brit West (Ensemble/Church Lady) in 'The Color Purple.' (Matthew Murphy)

Celie is played by Adrianna Hicks and Nettie is played by N’Jameh Camara, whose voices soar throughout the theater.

The voices emanating from the supporting cast are all equally impressive.

Shug Avery’s (Carla R Stewart) Push The Button and Sofia’s (Carrie Compere) Hell No!, are show-stopping numbers that gets the audience swinging, swaying and rocking.

By the time the musical is about to end, the audience has been taken on an emotional roller coaster ride. They’ve laughed, they’ve cried and they’ve cheered as they’ve watched Celie become her own woman exhibiting strength internally and externally.

Through songs like Too Beautiful for Words, The Color Purple and I’m Here, Celie walks her solitary journey toward freedom and love, specifically her affection for Shug Avery.

Brenda Russell, Allee Willis, and Stephen Bray’s music is, indeed, one of the characters.  It moves the story forward. One of those moments is when Sofia (Carrie Compere) and Harpo (J. Daughtry) sing the spicy and naughty Any Little Thing while deciding to rekindle their relationship.

Compere and Daughtry are both a breath of fresh air.  Compere convincingly plays the no-nonsense, ain’t-taken-nuttin-from-no-man Sofia. Daughtry is just the right amount of henpecked.

The set design is creative and sparse. There’s a wall of chairs as a backdrop, propped on a fractured wooden wall.

John Doyle’s direction is intricate, yet fluid and simplistic.  Armed with only chairs as props, the cast is forced to bring the characters to life without the crutch of furniture or actual props.  Doyle has the cast moving chairs, quite frequently to signify a scene change, an emotional change, as well as a change in a moment in time.  It works in many ways – with the actors moving about the stage with precision.

The one thing missing from this incarnation is the lack of guttural, spiritual undertones heard in other Purple productions.

Tony Award®-winning director and scenic designer John Doyle (Sweeney Todd, Company) recreates his award-winning work for the national tour, alongside costumes by Ann Hould-Ward, lighting by Jane Cox, sound by Dan Moses Schreier and wig & hair design by Charles G. LaPointe.

The Color Purple stars Adriana Hicks (Celie), Carla R. Stewart (Shug Avery), Carrie Compere (Sofia), Gavin Gregory (Mister) and N’Jameh Camara (Harpo).  The cast also includes Darnell Abraham (Adam), Amar Atkins (Guard), Kyle E. Baird (Bobby/Buster), Angela Birchett (Church Lady), Jared Dixon (Grady), Erica Durham (Squeak), Bianca Horn (Church Lady), Gabrielle Reid (Olivia), C.E. Smith (Preacher/Ol’ Mister), Clyde Voce (Swing), Nyla Watson (Swing), J.D. Webster (Pa), Brit West (Church Lady), Nikisha Williams (Swing) and Michael Wordly (Swing).

On the DONLOE SCALE: D (don’t bother), O (oh, no), N (needs work), L (likable), O (oh, yeah) and E (excellent), The Color Purple gets an O (oh, yeah).

The Color Purple moves down the road to the Segerstrom Hall in Costa Mesa, where it will hold court June 19-24.

The Color Purple, 8 p.m. Tues-Fri, 2 and 8 p.m. Sat, 1 and 6:30 p.m. Sun. through June 17; tickets start at $35; Hollywood Pantages Theatre, 6233 Hollywood Blvd., Los Angeles; www.HollywoodPantages.com/LoveNeverDies www.Ticketmaster.com, (800) 982 2787.

Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa, June 19-24,
Tickets: Start at $29, Information: (714) 556-2787 or www.SCFTA.org