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The Other Coast

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The-Other-Coast                                                                                                               I had the pleasure, no strike that. I had the honor to share an experience titled The Swell Show at Club Barre at Vermont, in Los Feliz. Simply put, The Swell Show is delicious, magical perfection starring Cortes Alexander (of The Tonics, and Liza's at the Palace). Upon arriving at the venue, which is well known for its warm and wonderful staff, fine menu choices and generous drinks, it became clear that the word was out: Cortes Alexander was finally performing on his own. This show was far too long in the making, and judging by the who’s who in the packed audience, I was not alone in that assessment. For the record, every person in the room (including the staff) stood and cheered at the end of the evening, for a length of time that was both remarkable and well deserved.

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The-Other-Coast              Last Summer at Bluefish Cove, by Jane Chambers, deals with themes of love, self-discovery and loss that are as unique in this play, as they are universal in life. The production currently running at The Stella Adler Theater and produced by The LA Women’s Theatre Project, is one that handles its subject with grace. In reading director Dee Jae Cox’s program notes about the production, she refers to it as both timeless and as a lesbian story. I will agree that the story is timeless, but to call it a lesbian story simply because it’s principal characters are lesbian, does the play a grave disservice. The piece is a slice of life with a point of view to be sure, but it is even-handed, never preachy and it is universal. In the hands of a lesser director Bluefish Cove might be the last piece of “lesbian theatre” you’d ever want to see. This mostly insightful production will have you wanting more.

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The-Other-Coast                                                                                    A few years ago (okay many years ago), I had the honor of working with and getting to know some people from a place called The Annoyance Theatre in Chicago. I thought that particular group of quick-witted, warp speed moving, pop culture devouring, political skewering people was among the most brilliant comic writers/performers I could ever know. It turns out that I was right, and the rest of the world has not only gotten to know many of those people by name, but we welcome a good number of them into our living rooms via the dozens of television shows and movies they appear in regularly. Others of this company are on stages across America. I am proud to call many of them friends to this day.

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I'm told that Katie’s Corner (currently running at the Celebration Theatre in West Hollywood) was partially inspired by footage of Katherine Hepburn preparing to do an interview on "The Dick Cavett Show." In the actual 2 minute clip which I have seen, Miss Hepburn had the carpet critiqued, the tables changed and stage hands scurrying in a way you would never expect to see teamsters scurry. Hepburn even offered to lend her own capable hands to the tasks she herself was setting out. The essence of the great Katherine Hepburn’s qualities in that clip: unflinching candor, humor, poise and a willingness to simply “get to it,” all live within Alexandra Billings and her character-creation of Katie.

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Still Daisy After All These Years is at its heart, a vanity show. It’s one person telling you about their own life, because they think they’re just so darned interesting, clever or talented you will want to know all about them in intimate detail. For me, and anyone not related to the performer, this kind of show usually falls flat. Generally, the person doing the telling isn’t nearly as interesting, clever or talented as their mother told them. Listen up and take note world – Daisy Eagan is as interesting, clever and talented as her mother told her – and then some.

 

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