Naturally 7 Set To Perform At CaltechLive!

 

Naturally 7

CaltechLive! presents Naturally 7 on Friday, June 24, at 8 p.m. PDT, outdoors on Beckman Mall, the grassy area in front of Beckman Auditorium on the Caltech campus, as part of the 2022 performance series. 

The Boston Globe has said about Naturally 7, “To call them an a cappella group would be a gross understatement.” Naturally 7 is more than a tightly orchestrated collection of great singers. The members transform their voices into actual human instruments, effortlessly producing music of any genre. Naturally 7 coined the phrase “vocal play” to describe what they do. 

This performance marks just the second live performance on the Caltech campus since the start of the pandemic in March 2020. Tickets are $30 general admission, with a family incentive that includes $10 tickets for youths with the purchase of a $30 adult admission. Tickets can be purchased online events.caltech.edu or by calling the Caltech Ticket Office at (626) 395-4652 Tuesday through Friday, 9:30 a.m. to 2 p.m. PDT.

In describing the legacy of the group that he founded, Roger Thomas says, “To me, we’re a band that has thrived on the cutting edge of vocal group genre. Our aim has always been to leap far beyond what any audience would ever expect from seven voices. But as high as ‘entertainment’ is on our list, we still feel that our biggest offering is music that uplifts and changes lives. With these two ingredients, we have made it our goal to bring back the forgotten golden age of vocal groups. We just want to continue carrying the banner of musical excellence for generations to come.”

Michael Alexander, Caltech’s director of public programming says, “I couldn’t be more thrilled about celebrating Caltech’s return to in-person programming and serving our broad audience than with our upcoming presentation of Naturally 7. The first time we presented them, people were coming to me at intermission and asking when we will be bringing them back.”

“This will be a party, and parties include dancing,” Alexander says, “so I am looking forward to seeing families up on their feet for a very good time. And I challenge the children in our audience to identify all the instruments coming out of the voices of these seven incredible artists.” 

The sonic mastery by Naturally 7 was on full display in a series of unforgettable performances on The World’s Best TV show, which premiered on CBS immediately following Super Bowl LIII. Hosted by comedian and Carpool Karaoke collaborator James Corden, Naturally 7 reigned supreme as the world’s “Best Group,” and cemented its singular status among the planet’s musical elite. 

Their more than 20-year career includes three world tours—nearly 500 shows—performing with the likes of the incomparable Michael Bublé, a shared billing with global phenomenon Coldplay, which included a sold-out show at the Barclays Center in New York City and owned the spotlight in a pair of national Cheerios commercials.

In addition to Bublé, Naturally 7 has shared the stage with Stevie Wonder, Diana Ross, Quincy Jones, Sarah Connor, Lionel Richie, Ludacris, The Roots, and more. Counted among their

world-famous fans are former President Barack Obama, Will.I.Am., Ellen DeGeneres, Craig Ferguson, Bill and Melinda Gates, Jay Leno, Alan Titchmarsh, Mo’Nique, Jools Holland, and Arsenio Hall, along with countless others.

Caltech COVID-19 outdoor event policy 

Caltech requires that all guests show proof of full vaccination and booster, along with a government-issued ID before accessing Beckman Mall.  Children under 5, who are not yet eligible for vaccination, will be able to access Beckman Mall with an adult having shown proof of vaccination. Mask usage is at the discretion of each guest. 

Consistent with the Institute's vaccination policy for all students and employees, all attendees at events on campus must be able to provide proof of their fully vaccinated and boosted status, if they are eligible for a booster dose or more than 30 days post becoming eligible; or have proof of a negative viral test result from within 72 hours prior to the event. Acceptable viral tests include a PCR test or a proctored antigen test.  

Please note that these health and safety measures are subject to change, at Caltech's discretion and based on evolving health and safety guidance and conditions. We will continue to work closely with Pasadena, L.A. County, and state of California officials to support the health and well-being of all members of the Caltech community and guests. 

CaltechLive! Calendar listing for Naturally 7

 

Date:                 Friday, June 24, 2022, at 8 p.m. PDT 

Location:          Beckman Mall, (enter at 332 South Michigan Avenue, Pasadena, CA, 91106) 

Tickets:            General In-Person Admission—$45

                          Family Tickets—Adult $30; Youth $10 (6-18 years)

*Must purchase at least one adult ($45) ticket to

accompany up to four youth tickets.

** At this time, children under 5 who are not yet eligible

for vaccination are not permitted inside Beckman Auditorium

 

Tickets can be purchased online at events.caltech.edu or

by calling the Caltech Ticket Office at (626) 395-4652

Tuesday to Friday, 9:30 a.m. to 1 p.m. PDT.

 

More info:        Events.Caltech.Edu

 

Questions:        Contact the Caltech Ticket Office via email at events@caltech.edu or

                           leave a message at (626) 395-4652.

                           Please allow 48 hours for a response.

Vassal Benford's First Single Is The "Melody Man"

LAS VEGAS (23 May 2022): With more than 57 platinum records to his credit working with a galaxy of stars in various music genres, over $150 million in movie box office receipts, and management duties for boxing champion Manny Pacquiao and the estate of fabled blues icon B.B. King, megaproducer Vassal Benford is returning to his roots determined to conquer jazz just like everything else he’s conquered throughout his unparalleled multimedia career. The songwriter-keyboardist is determined to breathe fresh energy and creativity into contemporary jazz, beginning with his first single, “Melody Man,” which goes for playlist adds on Monday (May 23) issued on The Benford Jazz Label.  

Benford was sixteen when legendary jazz pianist Ramsey Lewis recorded the song the teenager wrote about his first crush, “Michelle,” which went number one. Two years later, jazz bassist Stanley Clarke produced the second song Benford wrote, a tune that was a cowrite with Grammy winner Jeremy Lubbock, which became another number one hit for Lewis and his duet partner, the illustrious jazz singer Nancy Wilson.

As the years rolled by, the hits kept coming as Benford’s projects topped the charts in multiple genres for superstars DJ Diplo, Toni Braxton, NAS, Flo Rida, Queen Latifah, Mariah Carey, Rick Ross, Deborah Cox, Sheryl Crow, U2, Jade, Bobby Brown, New Edition, Lil’ Kim, Patti LaBelle, Faith Evans, Chanté Moore, Oleta Adams, Lisa Stansfield, Tramaine Hawkins, and The Fine Young Cannibals among others.

In recent years, Benford was drawn back “home,” jazz and instrumental R&B, which sparked collaborations with Grammy-winning guitarist Norman Brown and eight-time Grammy-nominated saxophonist Gerald Albright. Both artists are among the luminaries who will appear on Benford’s debut album, “My Favorite Moments,” which is slated to drop next February. But first, Benford wants to introduce listeners to the imaginative collection with a single or two, the first of which is “Melody Man.”

“Melody Man” is an apropos title as Benford pours layers of cascading piano melodies amidst lavish guitar and keyboard harmonies, intricately textured percussion, and multicultural rhythms. One of the unique allures of the single is that the innovative track sounds unlike anything in the music space yet it's invitingly familiar and infectious.

“I wanted to create a song that everybody could remember that also made you feel as if you were watching me in concert. It was intentional the way I wrote this song. The inspiration around it was making a feel-good song for everybody to dance to or to listen to several times in order to ‘hear’ all of the elements in the track. I felt as if the world needed this kind of global music at this time,” said Benford, who changed the structure of the complex drum track multiple times during the mixing process with Billboard chart-topper Greg Manning.

“The reason we changed the drum track is that there are so many different elements to ‘Melody Man.’ It has a Latin feel, an African feel, a pop feel as well an R&B feel. There are so many distinct phases of music that are entailed in the song itself. The final product turned out exactly the way we wanted by changing the drums four separate times while in the mix.”

Decades ago, music industry titan Clive Davis gave Benford his own joint venture record label and today, Benford is partnered with blockbuster film producer Mark Canton. Together, they achieved box office success with 2019’s “After” and “After We Collided” released the following year. Composing music scores for movies such as "The Running Man" (Arnold Schwarzenegger), "New Jack City," "Class Act" (Kid ‘n Play), "The Associate" (Whoopi Goldberg), “The Smell of Success” (Billy Bob Thornton) and “Stay Cool” (Winona Ryder) is what fueled Benford’s interest in the motion picture business. He broke color barriers by becoming the first African American to score an animated feature, 2012’s “The Swan Princess.” On the small screen, Benford has crafted music for shows including "Melrose Place," "Beverly Hills, 90210" and "Fame L.A."

Benford produced a 2016 tribute concert to Michael Jackson that headlined The Jacksons, Aerosmith, Ne-Yo, Rick Ross, and Christina Milian that was hosted by Magic Johnson at which the multihyphenate showbiz magnate who was born and raised in Detroit and now splits his time between Las Vegas and Newport Beach, Calif., conducted a 30-piece orchestra. With his sights presently set on jazz, expect Benford to change things up in ways only this remarkable visionary can.  

'PRETTY WOMAN: The Musical,' Coming To Dolby Theatre

PRETTY WOMAN: The Musical, set in 1980s Hollywood, will celebrate its Los Angeles premiere in Hollywood at the Dolby Theatre from June 15 to July 3, 2022, it was announced by Broadway in Hollywood. 

"This THREE-time Audience Choice Award-winning musical is “a big, happy, wonderful, record-breaking hit!” -WABC Radio. 

PRETTY WOMAN: The Musical will play Tuesdays through Fridays at 8pm, Saturdays at 2pm & 8pm, and Sundays at 1pm & 6:30pm. Tickets start at $39 and are available for purchase online at www.BroadwayInHollywood.com or www.Ticketmaster.com. Tickets may also be purchased by phone at 800-982-2782 or at the Dolby Theatre Box office located at 6801 Hollywood Boulevard. For added convenience, tickets may also be purchased at the Hollywood Pantages Theatre box office located at 6233 Hollywood Boulevard. For current box office hours, visit www.BroadwayInHollywood.com. PRETTY WOMAN: The Musical is recommended for ages 13 and up. All patrons must have a ticket, regardless of age. Performance run time is 2 hours and 30 minutes including intermission. 

The tour will also play in Costa Mesa at Segerstrom Center for the Performing Arts from July 5 – July 17, 2022. 

PRETTY WOMAN: THE MUSICAL, based on one of Hollywood’s most beloved romantic stories of all time, is now on tour! Starring Broadway superstar and Tony Award®-nominee Adam Pascal as Edward Lewis and rising star Olivia Valli as the charming and charismatic Vivian Ward, PRETTY WOMAN: THE MUSICAL springs to life with a powerhouse creative team led by two-time Tony Award®-winning director and choreographer Jerry Mitchell (Hairspray, Kinky Boots, Legally Blonde). 

Brought to the stage by lead producer Paula Wagner, PRETTY WOMAN: THE MUSICAL features an original score by Grammy® winner Bryan Adams and Jim Vallance (“Summer of ’69”, “Heaven”), and a book by the movie’s legendary director Garry Marshall and screenwriter J. F. Lawton. PRETTY WOMAN: THE MUSICAL will lift your spirits and light up your heart. “If you love the movie, you’ll love the musical!” (BuzzFeed News).

Featured in the musical are Roy Orbison and Bill Dee’s international smash hit song “Oh, Pretty Woman.” Produced by New Regency Productions, Pretty Woman the film was an international smash hit when it was released in 1990. Now, 30 years later, PRETTY WOMAN: THE MUSICAL is “Big romance and big fun!” (Broadway.com). “Irresistible! A romantic fantasy. A contemporary fairy tale” says The Hollywood Reporter. PRETTY WOMAN: THE MUSICAL delivers on all the iconic moments you remember. Get ready to experience this dazzlingly theatrical take on a love story for the ages. 

Are you ready to fall in love again? 

For more information, visit https://prettywomanthemusical.com/

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BROADWAY IN HOLLYWOOD HEALTH & SAFETY POLICIES

Broadway in Hollywood asks our audiences to join us in providing the safest space possible for patrons, cast, crew, and staff. Our COVID-19 policy requires all ticketholders to wear masks. 

Masks are required for all ticketholders, regardless of vaccination status. Masks must be worn at all times, except while eating or drinking in designated areas. 

This policy is in effect for all performances until further notice and will be re-assessed on an ongoing basis. Proof of vaccination is not required at this time. This policy is subject to change at any time. Prior to your performance, please check for our current policy updates here: www.BroadwayInHollywood.com/SafeandClean. 

LOS ANGELES LISTINGS INFORMATION

Dates:                                   JUNE 15 – JULY 3, 2022

Theatre:                               DOLBY THEATRE

                                             6801 Hollywood Blvd | Los Angeles, CA 90028

Performance Schedule:     Tuesday - Friday at 8pm

                                             Saturday at 2 pm & 8 pm

                                             Sunday at 1 pm & 6:30 pm

 

Individual Tickets:             Individual tickets start at $39

                                            Ticket prices are subject to change without notice.

           

Parental Advisory:             Children ages 13 and up.

                                            All patrons must have a ticket, regardless of age.

 

Runtime:                             2 hours and 30 minutes including intermission

 

Tickets:                               Online:           BroadwayInHollywood.com or Ticketmaster.com

                                             Phone:           1-800-982-2787

                                             In-Person:      Dolby Theatre Box Office or Hollywood Pantages Theatre

                                                                   Box Office

                                                                   Visit the website for current box office hours.

COSTA MESA LISTINGS INFORMATION

 

Dates:                                   JULY 5 to JULY 17, 2022

 

Theatre:                                SEGERSTROM CENTER FOR THE ARTS

                                              60 Town Center Drive | Costa Mesa, CA 92626

 

Performance Schedule:      Tuesday - Friday at 7:30 pm

                                              Saturday at 2 pm & 7:30 pm

                                              Sunday at 1 pm & 6:30 pm

 

Individual Tickets:               Individual tickets start at $28

                                              Ticket prices are subject to change without notice.

Tickets:                                 Online:           www.SCFTA.Org

                                               Phone:           1-714-556-2787

Brian Culbertson Ready To 'Step Into Love'

The three-phase arc of a longtime relationship serves as the muse of R&B-jazz hitmaker Brian Culbertson’s trilogy of instrumental albums that he wrote, produced, and performed with creative input from the 800-plus members of his Hang Club. Recently, the third disc in the series, a collection of hopeful songs titled “The Trilogy, Part 3: White,” dropped on the BCM Entertainment label. It’s Culbertson’s 25th album that to date has launched nearly forty singles to shoot to number one on the Billboard chart.

Culbertson composed the thirty songs that populate the three albums thematically along what he describes as the three-part arc of a long-term relationship: the hot and steamy “falling in love” phase, the rocky middle when perhaps they even break up for a bit, and the couple reunites to live “happily ever after” phase. The first album in the series, the sensual and romantic “Part 1: Red” was released last October, and the second set, the melancholy “Part 2: Blue” streeted in January. “Part 3: White” is slightly more diverse stylistically with the uplifting urban grooves, nuanced contemporary jazz and shimmering pop songs fostering feelings of hope as the relationship thrives and endures.

All three albums in “The Trilogy” were crafted with input from the Hang Club, a tiered membership program via Patreon that Culbertson formed in 2020 tied to the weekly Friday night show that he streams live on YouTube. Hang Club members were granted exclusive behind-the-scenes access into every aspect of Culbertson’s creative process: from songwriting, arranging, recording, producing, and mixing.

The first single released from “Part 3: White” for airplay is “Step Into Love,” a sultry mid-tempo call-and-response track featuring Culbertson’s signature piano melodies engaged with Patches Stewart’s soulful muted trumpet explorations, a song that has already been added into Culbertson’s live repertoire.

“I knew it would translate live because the song has real guitar, real bass, a lot of percussions. I had (drummer) Chris Miskel lay a simple groove down and it really turned out nice on stage,” said Culbertson, who has concert dates booked through November to support the album series.

As he has throughout “The Trilogy,” Culbertson performed the majority of the instruments on “Part 3: White” himself, playing piano, vocals, keyboards, Fender Rhodes, Wurlitzer, Hammond B3 Organ, Clavinet, Moogs, guitar, bass, drums, percussion, cello, trumpet and trombone amongst other instruments. Guitarists Paul Jackson Jr., Michael Thompson, Isaiah Sharkey, and Gerey Johnson, bassist Maurice Fitzgerald, trumpeter-flugelhornist Michael Stever, and vocalist Micaela Haley also appear on the album. 

Something different for Culbertson on “Part 3: White” is “Dance With Me Tonight,” which opens with a clubby pulsating beat before breaking into a festive salsa rhythm lavishly decorated with layers of percussion, horns, and breathy flute accents by Althea Rene.

“I kept hearing more and more stuff in my head on ‘Dance With Me Tonight’ so I just kept adding it. The last piece of the puzzle that I added was Althea on that rhythmic flute-vocal thing that she did. As a producer, I go where the song takes me. I’ve never had a song that was asking for all that (instrumentation) before. This one asked for it. I’m not going to say no so I just did it. It’s a fun song. I threw the kitchen sink in on that one,” laughs Culbertson, who will be hosting the ninth annual Napa Valley Jazz Getaway in California Wine Country from June 8-11, the sold-out festival that he founded, curates, and headlines. 

Culbertson voraciously explores and incorporates innovative sounds and technology into his recordings, which is heard in the lush sonic design he architected for “Part 3: White.”

“One of the new palettes that I tapped into on this particular album is analog synthesis where there’s a whole slew of new instruments that have recently been put on the market that are in essence a nod to the late 1970s/early eighties analog synthesizers with modern technology implemented. What that means is I use a lot of these new sounds that add serious warmth and this human feel to a synthesizer that modern digital synthesis doesn’t have. For instance, there is a song on the album called ‘Sandcastles.’ There is a part after the first verse, this big swell of a pad like a big ocean current. If you really listen to it, it’s this massive, huge sound and there are weird little inconsistencies in each note. That only happens with really analog circuitry. With digital, it’s too perfect. These synthesized sounds become like a real instrument, like a piano, like a saxophone. These were some new sounds that I was exploring on the whole album,” said Culbertson, who has begun work on a bonus fourth disc comprised of alternate versions, different mixes, and several live tracks from “The Trilogy” for his first box set that is slated for release later this year.

As “White” arrives, Culbertson hopes people will listen to all three parts of “The Trilogy” as a whole, one project as opposed to three individual albums.

“Hearing the three albums in a row provides the context. All the songs on ‘Red’ were clearly about passion and love. ‘Blue’ is melancholy and sad songs, breakup songs, and ‘losing people’ songs. Once you get to part three, ‘White’ is all about songs that have an uplifting feel to them. Emotionally, they all feel similar even though they are stylistically broad,” said Culbertson whose own long-term relationship, his marriage, will celebrate a milestone 25th anniversary in October. 

For more information about “The Trilogy” and Culbertson’s concert dates, please visit http://www.brianculbertson.com.

“The Trilogy, Part 3: White” contains the following songs:

“Prelude”

“Stars”

“Step Into Love”

“Dance With Me Tonight”

“Just You & Me”

“Sandcastles”

“My Promise To You”

“Conversations”

“Summer Hideaway”

“Love Everlasting”

“You Are My Everything”

'A Strange Loop' Grabs 11 Tony Nominations

The Pulitzer Prize-winning Broadway show A Strange Loop, the story of a Black queer writer, who is writing a musical about a Black queer writer writing a musical about a …, has received 11 Tony nominations and is leading the pack. 

Below are reactions from some of those nominated for Michael R. Jackson’s historic show.

A STRANGE LOOP has been nominated for 11 Tony Awards, including:

Best Book of a Musical, Michael R. Jackson

Best Original Score, Michael R. Jackson

Best Performance by an Actor in a Leading Role, Jaquel Spivey

Best Performance by an Actor in a Featured Role in a Musical, John-Andrew Morrison

Best Performance by an Actress in a Featured Role in a Musical, L Morgan Lee

Best Scenic Design of a Musical, Arnulfo Maldonado

Best Lighting Design of a Musical, Jen Schriever

Best Sound Design of a Musical, Drew Levy

Best Direction of a Musical, Stephen Brackett

Best Orchestrations, Charlie Rosen

Best Musical

 

REACTIONS:

 

STEPHEN BRACKETT, Director – A Strange Loop

“My partner and I were watching, and he broke out into tears and then I got a phone call from my mom, I answered, and she asked me for tech support help. I love everything about this show and I am so honored to be nominated.” 

JAQUEL SPIVEY, Best Actor – A Strange Loop

"This type of stuff doesn't happen for folks like me. Or so I thought. Until today..... I've put the possibility of even a Tony nomination out of my mind because I never believed it was possible for a person like me. I thought I had to be skinny, I thought I had to be masculine, I thought I had to be from a wealthy family, and I thought I had to be "Perfect." Turns out all I needed to be was Jaquel and that feels good as hell right now." 

L MORGAN LEE, Featured Actress – A Strange Loop

“My mind isn't processing that this is real. I can't stop crying. To specifically be a Trans actress in the company of these incredible women that I respect and have enjoyed for many years...This nomination is SO much bigger than me. I hope someone will see this moment and feel like they can go on. No matter what the world, or school, or people tell them they are "supposed" to be, how they are "supposed" to sound...that they will keep striving to love and embrace the fullest version of who they ARE. That they can safely find breath in choosing truth. That they will keep studying and working and dreaming the biggest dreams. I'm so full of gratitude this morning that I'm likely to burst! But first, an iced coffee and I'll probably watch The View.” 

JOHN-ANDREW MORRISON, Featured Actor – A Strange Loop

“I was trying to pretend like I wasn’t going to watch and something forced me out of bed and in front of the TV. I'm in shock but I’m thrilled. I’m thrilled for our show, and for all the folks that got nominated. It’s been a journey and I’m so very proud of us. I don’t know what to do with myself and my phone is going nuts. I keep telling myself to breathe and remember where my feet are. This is amazing. I want a latte.” 

BARBARA WHITMAN, Producer – A Strange Loop

“When I first heard Michael R. Jackson’s work, I knew I was hearing an exciting and important new voice in American Musical Theatre. I was taken on a trip that was funny, insightful, wild, and challenging – and I wanted to share this story that I had yet to see on a Broadway stage. I am so grateful to be able to work with the most talented creators, actors, and designers who have come together to tell this game-changing story eight times a week.”

JENNIFER SCHRIEVER, Lighting Design – A Strange Loop

“I’m sobbing in the Delta Sky Club near Terminal A in Boston Logan, where I'm flying back to NYC for 24 hours to see my 5-year-old son on my day of Tech in Cambridge. I don’t know how to express how emotional it was to be sitting here as so many deserving artists, and my dear friends, got recognized for their amazing work, and then I realized, THIS PARTY IS GOING TO BE INSANE!” 

ARNULFO MALDONADO, Scenic Design – A Strange Loop

"I am beyond thrilled and humbled by this nomination. I couldn't be more proud of our Strange Loop family -- over the moon, I am a part of this big, black, and queer-ass American Broadway show!" 

CHARLIE ROSEN, Orchestrations – A Strange Loop

“I’m THRILLED to be nominated for my collaboration with the genius Michael R. Jackson on this project. It is truly an honor to contribute to this show and music which shares its truth honestly and without compromise. It will be a standout moment in my mind and heart for the rest of my musical life. 

The 75th Annual Tony Award Awards will take place on Sunday, June 12th at Radio City Music Hall in New York City. The celebration can be viewed LIVE at 8-11PM ET/5-8PM PT on the CBS Television Network, and streaming live and on-demand on Paramount+. The Tony Awards press release is attached for details.

'Tambo & Bones': A Thesis on Race in America

   

W. Tré  Davis and Tyler Fauntleroy are 'Tambo & Bones'  

© 2022 Craig Schwartz Photography

By Darlene Donloe 

One of the characters in Dave Harris’ latest show, Tambo & Bones, declares that what is being presented on stage is a “thesis on race in America.” 

From some people’s perspective, that’s exactly what it is, while some others, of a different hue, could get lost in the presentation. 

It’s hard to define Tambo & Bones, currently playing at the Kirk Douglas Theatre in Culver City. It’s a lot of things, to a lot of different people. 

It’s part minstrel show, underground rap concert, and a commentary on race in America, all wrapped up in a theatrical production that allows the audience to decide for itself what is being presented on stage.  

The show opens with Tambo (W. Tré  Davis) and Bones (Tyler Fauntleroy) apparently trapped in a minstrel show. Both men are down on their luck.

Tambo seems content to just sleep the day away under a “fake ass tree,” under a “fake as sun.”

Bones, on the other hand, wants desperately to get out of the cycle of poverty by doing minor acts of entertainment – and then imploring the audience to give him a quarter for the performance.  

When things don’t go their way – they blame, who else, the playwright for writing them into a minstrel show in the first place.

“You had the possibility to dream up any world you could have and the extent of your imagination was to put us in a minstrel show?”  

Their goal is to get enough quarters and dollars to get out of the show.

It’s mad hard to feel like a real person when you're trapped in a minstrel show.

So, they run into the audience, bring him (a dummy) up on stage and pull him apart – only to find he is full of quarters.

They are on their way.

Their escape plan: get out, get bank, get even.

(l-r) Tyler Fauntleroy and W. Tré  Davis are 'Tambo & Bones'

 © 2022 Craig Schwartz Photography

The 90-minute, three-act show has been described as a rags-to-riches hip-hop odyssey, where Tambo & Bones roasts America’s racist past, wrestles America’s racist present, and explores America’s post-racial future—where what’s at stake, for those deemed less-than-human, is the fate of humanity itself.

After lifting themselves from the minstrel show, the two find themselves headlining a full-on hip-hop show complete with thumpin' music, fabulous kicks, low-riding pants, gold chains, and a flashy grill. That’s when Tambo takes the opportunity to remind America of the racist wrongs it has allowed to happen, while Bones believes the best revenge is to make that chedda, get out and live the American dream.

Unfortunately, due to the sound system, a lot of the rap’s dialogue was lost. But those who know – know! 

W. Tré  Davis and Tyler Fauntleroy literally bring Harris’ words to life. The chemistry between the two is what makes this show work. 

This isn’t an easy show to watch or to hear. The word “nigga” is freely flung about in a predominantly white audience. At times you could feel the uneasiness of those in attendance as white people didn’t know whether it was suitable to laugh at some of the clearly-inappropriate-for-mixed-audiences dialogue. It’s clear that one of the show’s goals is to alienate segments of the audience. 

The sweet spot is to read the lines and those in between. There is a message for everyone – although it is and isn’t presented in black and white. 

WORD TO THE WISE: If you are white, save yourself!

DO NOT USE THE WORD UNDER ANY CIRCUMSTANCE!

This show isn't for everybody - and yet, it's for everybody! 

The end of the show is when the harsh realness is unmasked.

In the third act, Tambo & Bones present two white robots meant to represent what’s left of white people.  Tim Kopacz and Alexander Neher are brilliant as robots. Kudos on their performances. 

When they begin to malfunction, Bones’ real emotions are revealed, he can’t handle them, and something unexpected happens. 

The audience is denied a “bow” at the end of the show. To understand why go see Tambo & Bones. 

Tambo & Bones, directed by Taylor Reynolds and written by Dave Harris, stars W. Tré Davis, Tyler Fauntleroy, Tim Kopacz, and Alexander Neher. 

The show is a co-production with Playwrights Horizons. 

The creative team includes Stephanie Osin Cohen (scenic designer), Dominique Fawn Hill (costume designer), Amith Chandrashaker (lighting designer), Mextly Couzin (lighting designer), Mikhail Fiksel (sound design), Justin Ellington (original music), and J. David Brimmer (fight director). 

Tambo & Bones, Kirk Douglas Theatre, 9820 Washington Blvd., Culver City; 8 p.m., Tues.-Fri.; 2 and 8 p.m. Saturday and 1 and 6:30 p.m. Sunday through May 29, 2022; $30; (213) 628-2772. 

On the DONLOE SCALE: D (don’t bother), O (oh, no), N (needs work), L (likable), O (oh, yeah), and E (excellent), Tambo & Bones gets an O (oh, yeah)

Entertainment and Sports Figures Attend The George Lopez Celebrity Golf Classic's Gifting Lounge

  

By Darlene Donloe

For the last 15 years, comedian/actor George Lopez has been teeing off to raise money for his golf charity.

On Monday, May 2, 2022, a perfect day for playing on the links, he continued his charitable efforts by hosting The 15th Annual George Lopez Celebrity Golf Classic at one of Toluca Lake's prestigious golf clubs, with proceeds benefiting the George Lopez Foundation.  http://www.georgelopezfoundation.org

VIP Sponsor The Marijuana Factory with George Lopez

Once again, Doris Bergman brought the heat as she hosted the event’s Fifth Annual “Gratitude Lounge” co-hosted by Sway® Premium Audio, Twisted Silver, and Robosen®.

Doris Bergman

This is a high-profile, invitation-only event boasting participants like Alysha Del Valle, Amaury Nolasco, Andy Vargas, Andy Garcia, Bailey Chase, Ben Baller, Billy Magnussen, Brian Krause, Celine Pelofi, Chris Spencer, Christopher Judge, Debbe Dunning, Derrex Brady, DL Hughley, Dondre Whitfield, Edward James Olmos, Emilio Rivera, Eric Martsolf, Eugenia Kuzmina, Galen Gering, and Gary Valentine.

Kim Estes and Twisted Silver's Debra Mitchell

Norm Nixon with Bearded Sailor

Joe Pesci (l) and The Marijuana Factory

Roland Martin and Milena LA

Norm Nixon and Milena LA

Chris Spencer with Cannabolish

Other celebs in attendance include Jack Wagner, Jackie Flynn, Joe Mantegna, Kelly Sheehan, Kendall Schmidt, Kim Estes, Kyle Lowder, Lee Trevino, Mark Rolston, Matt Cedeno, Michael Irby, Mike Phillips, Lisa Vidal, Neil Giraldo, Norman Nixon, Oscar De La Hoya, Patrika Darbo, Phillip Boyd, Richard Karn, Roland Martin, Ryan McPartlin, Salli Richardson-Whitfield, Sarah Hyland, Steven Michael Quezada, Sugar Ray Leonard, Wells Adams, William Wilson, Wilmer Valderama, Joe Pesci, Don Cheadle, Cedric The Entertainer and more.

Sugar Ray Leonard with VIP Sponsor Art Lewin Bespoke

VIP Sponsor The Bearded Sailor with Andy Garcia

Presenting Sponsor Sway Audio with Joe Mantegna

 
Presenting Sponsor Robosen®.with Caroline Rhea

Celebrities, athletes, and other entertainment vets were feted with free luxury swag featuring fashion for him and her, including bespoke tuxedos and suits, beauty, skin & hair care, cannabis topical & edible products, exotic chocolate, jewelry, soy candles, grooming must-haves, electronics, organic Tequila, gourmet sweets and more. 

Both veteran vendors and new vendors lavished attendees with envious gifts.

Twisted Silver

Twisted Silver

Longtime crowd favorites in attendance included Twisted Silver, Art Lewin Bespoke, and Milena LA.

Milena Popovich of Milena LA

Other vendors on hand included Olita Skin Care; The Bearded Sailor; Robosen®, Sway Audio; Movo®; Nukka Razors; Arrowhead Water; Cannabolish; Fresh Wave Works; The Marijuana Factory; Sub Zero Ice Cream; Dulce Vida Organic Tequila; Gyber Pizza Oven; Actual Veggies; Aloha; Alter Eco Foods; Arrowhead Water; Bala; Boost Oxygen; Kings Brewing Co.; Brownie Brittle; Cask & Kettle; Chef’s Life; Chipz Happen; ChocXo; Crispy Green; Eastern Standard Provisions; Essentia Water; Field Trip Foods; Food Huggers; Frunutta; Green Peach; Happy Grub; Herbion Humanitea; Jackson’s Chips; Liquid Death; Live P.S. Skincare; Mariner Flat Breads; Nukka; Nutri Care; NuvoMed; Pickle Power; Portland Pet Food; Potent Kitchen; Rain; Raw Gear; Raws; Simply Gum; Smart Sweets; Sow Good; SUJA; Tampico; Tosi; True Made Foods; Unisoy Jerky; Whisp’s Cheese Snacks; Wish Garden Herbs; UP2U; Feel Good Super Foods.

Rob West with Sub Zero Ice Cream

Olita Skin Care

Cannabolish

Frunutta

Robosen®

Arrowhead

The Marijuana Factory

Sway Audio

Kings Brewing Co. Owner Jeremiah Cooper and his wife, Doreen

The Ultimate DJ – Mr. Craig Scime, kept the music bumpin'.  Pink’s Hot Dogs served up its classic footlongs.

The mission of The George Lopez Foundation is to create positive, permanent change for underprivileged children, adults, and military families confronting challenges in education and health, as well as to increase community awareness about kidney disease and organ donation.  georgelopezfoundation.org

 

 

 

 

 

Who's Afraid of Virginia Woolf?: A Review

 

(l-r) Zachary Quinto and Calista Flockhart

By Darlene Donloe 

Elizabeth Taylor and Richard Burton famously played the volatile, but surprisingly loving George and Martha in the classic film, “Who’s Afraid of Virginia Woolf?" 

It’s hard to imagine any other actors doing justice to the roles, but Zachary Quinto and Calista Flockhart, currently starring in The Geffen Playhouse version of the comedy/drama, give it a valiant effort.  

Quinto’s George is a brow-beaten, unambitious husband while Flockhart’s Martha is a boozy, often unkind, frustrated, shrewish wife.

Both Quinto and Flockhart are exceptional in their roles and bring fresh nuance to Albee’s material.

Here’s the story. George and Martha, the American theater’s most notoriously dysfunctional couple, have invited the young and naive Nick and Honey over for drinks. What begins as harmless patter escalates to outright marital warfare, with the provincial newcomers caught in the crossfire.

It all takes place circa 1962, in the living room of a house on the campus of a small New England college. 

This marks the 60th anniversary of the hilarious and harrowing Who’s Afraid of Virginia Woolf? one of Edward Albee’s most famous and most vicious masterpieces. 

(l-r) Graham Phillips and Aimee Carrero

Albee’s tome, through biting dialogue, examines the complexities of the marriage of a middle-aged couple, Martha and George. Late one evening, after a university faculty party, they receive an unwitting younger couple, Nick and Honey, as guests, and draw them into their bitter and frustrated relationship. 

This is a no-holds-barred, in-your-face show. It raises uneasy questions and peels back some intimate marital layers that should be handled behind closed doors and especially not in front of a young married couple that you’ve just met.

At times this show is brutal and tragic. For instance, at one point during the show, George and Martha pay tribute to their son on his 21st birthday. In an act of cruelness, George tells Martha that their son has died in a car crash.  When she demands to see the telegram announcing this news, he claims he has eaten it. George sings a song, “Who’s Afraid of the Virginia Woolf,” as the curtain on Act 11 falls. 

The audience is left wondering if, indeed, there actually is a child or if the kid is coming from George and Martha’s imagination.

It’s all too sad! 

(l-r) Graham Phillips, Aimee Carrero, Zachary Quinto, and Calista Flockhart

Martha’s diabolical tendencies are evidenced in her quote: “George, who is out somewhere there in the dark, who is good to me - whom I revile, who can keep learning the games we play as quickly as I can change them.”  

This quote tells you everything you need to know about Martha. 

Director Gordon Greenberg has assembled an impressive cast. Quinto and Flockhart fit like a hand and glove. They play off of each other in a very familiar way – that works well on the stage. Aimee Carrero and Graham Phillips play the young couple that comes to visit George and Martha at 2 a.m. after a faculty meeting at the college Martha’s father helms. Carrero’s “Honey” is hilarious as a naïve, or not so naïve drunk. Phillips’ “Nick” plays it straight as the husband and the new employee at the college of which Martha’s father is the president. He’s also caught the eye of Martha, who, every chance she gets, openly flirts with him – even in front of her husband.

Quinto’s comedic timing and delivery are brilliant.  His almost shuffle-like saunter around the apartment rings true as does his angst for his wife and his wife’s father.  Flockhart’s emotionally out-of-control Martha speaks to what’s going on in her life.

But that’s not all. Her husband has disappointed her on several levels including not giving her a child and not rising in the ranks of the college.  He’s a professional failure, and both are dissatisfied with his lack of ambition for their own reasons.

This version of Albee’s “Woolf” is a winner! 

Edward Albee’s Who’s Afraid of Virginia Woolf?, directed by Gordon Greenberg, stars Calista Flockhart, Zachary Quinto, Aimee Carrero, and Graham Phillips. 

Wilson Chin’s scenic design is delicious and a legitimate part of the cast, as is Alejo Vietti’s costume design, Lindsay Jones’ original music, and sound design, and Elizabeth Harper’s lighting design. 

On the DONLOE SCALE: (D) don’t bother, (O) oh, no!, (N) needs work, (L) likable, (O) Oh, yeah, and (E) excellent, Who’s Afraid of Virginia Woolf? gets an E (excellent). 

Running time: Three (3) hours, including two 10-minute intermissions. 

"Who’s Afraid of Virginia Woolf?," Gil Cates Theater at Geffen Playhouse, 10886 Le Conte Avenue, Los Angeles, CA, 7:30 p.m. Tuesday-Friday, 1 and 7 p.m. Saturday and 1 and 7 p.m. Sunday through May 22, 2022; $30-$149; 310 208-2028, www.geffenplayhouse.org 

Not recommended to those under the age of 14. Children under 6 years of age will not be admitted. 

Proof of vaccination and masks are required – additional policy details can be found at https://www.geffenplayhouse.org/plan/reopening/.

 

'Hadestown,' At Ahmanson, Is A Helluva Musical

By Darlene Donloe 

There is a reason why Hadestown won eight 2019 Tony Awards® including Best New Musical.

It’s the music, the acting, the choreography, the lyrics, the direction, the lighting, the sound, the set design, the script, and the costumes.  

If I left anything out, it’s for that reason, too. 

For all of those reasons and more, this is one of the best musicals ever to grace Broadway or the Ahmanson Theatre in Los Angeles. 

When these various elements are firing on all cylinders, it makes for a tremendously enjoyable night of theater. 

Believe the hype! This play, a reimaging of the ancient Greek myth of Orpheus and Eurydice amid a funky score, is a must, must-see!! 

This is a totally-engrossing show about good and evil, love and fear, destruction and redemption. 

There’s a lot going on in this musical by Anais Mitchell (music, book, and lyrics) and developed with director Rachel Chavki.  They deliver something unquestionably timely and seductively entertaining.

Hadestown is a helluva show. 

It’s too much fun. It’s a nonstop, thrilling ride through a dark world.  The dialogue is crisp, poignant, and smart, and the acting is terrific and on point.

The heart and rhythm of the show are infectious.  

Hadestown follows two intertwining love stories — that of young dreamers Orpheus and Eurydice, and that of King Hades and his wife Persephone.

Performance after performance the temperature continues to rise in this show, whether it’s the principal performers or the ensemble cast. There is no weak link to be found in this show. 

The audience is invited on a hell-raising journey to the underworld and back.

In the musical, Eurydice, effectively played by Morgan Siobhan Green, is perpetually hungry and struggling as she roams the world. 

Eurydice is subjected to some wear and tear by the Fates (Belén Moyano, Bex Odorisio, and Shea Renne) until starving and exhausted, she falls into the pit of Hades (Kevyn Morrow), King of the Underworld. 

Orpheus (Nicholas Barasch), her lovestruck suitor, who wants to marry Eurydice, is determined to bring her back from the clutches of Hades.

Anais Mitchell’s music and lyrics are hypnotic, and her melodies are captivating. Hadestown delivers in so many ways.

Director Rachel Chavkin keeps the rhythm of the show at a good pace. She makes good use of the entire, massive stage. Her use of a spinning floor for some of the dance movements is sensational and worth a standing ovation.

Hadestown has been transformed into a genre-defying musical that blends modern American folk music with New Orleans-inspired jazz to reimagine a sweeping ancient tale. 

Levi Kreis kicks off the show with a standout performance as Hermes, the storyteller/narrator who takes the audience on a slow, seductive excursion. 

Every principal performer is a standout including Nicholas Barasch (Orpheus), Morgan Siobhan Green (Eurydice), Kimberly Marable (Persephone), Kevyn Morrow (Hades), and Kreis.

The Fates are killin it. Their role is to determine the destinies of mortals, measuring their lifespans and apportioning their suffering. Their harmonies are insane. They include Belen Moyano, Bex Odorisio, and Shea Renne. 

The workers' chorus is spectacular in voice and in choreography. They literally steal the show, delivering show-stopping songs and choreography. It’s mesmerizing. Kudos to Lindsey Hailes, Chibueze Ihuoma, Will Mann, Sydney Parra, and Jamari Johnson Williams.

The Swings for the touring production include Tyla Collier, Ian Coulter-Buford, Alex Lugo, Eddie Noel Rodríguez, and J. Antonio Rodriguez.

The on-stage band is tight. 

Not to be outdone is the lighting and set design, both of which are characters unto themselves and are instrumental in bringing the play to life.

David Neumann’s choreography is exceptional and absorbing. He put his foot in it, – which, for the uninitiated, means he did an exceptional job. 

The acclaimed new musical is by celebrated singer-songwriter and Tony Award® winner Anaïs Mitchell and developed with innovative director and Tony Award® winner Rachel Chavkin. “Hadestown” marks the first time in over a decade that a woman has been the solo author of a musical: writing the music, lyrics, and book, and is the fourth time in Broadway history a woman has accomplished this creative feat. 

Hadestown won the 2020 Grammy® Award for Best Musical Theater Album and has been honored with four Drama Desk Awards, six Outer Critics Circle Awards, including Outstanding New Broadway Musical, and the Drama League Award for Outstanding Production of a Musical.

Hadestown, Ahmanson Theatre, 135 N. Grand Ave., 8 p.m., Tues.-Friday; 2 and 8 p.m. Saturday; 1 and 6:30 p.m. Sunday; tickets are $35. For information: (213) 972-4400.

Hadestown will also perform at Segerstrom Center for the Arts, 600 Town Center Drive, Cosa Mesa CA 92626, from August 9 to 21. Information at SCFTA.org 

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