What a great week it’s been with so many large-scale shows featuring incredible scores now on our local stages! Let’s start with the new production of Carmen, a co-production of LA Opera, Houston Grand Opera and Detroit Opera onstage at the Dorothy Chandler Pavilion through November 7. Composed by Georges Bizet and sung in French with English subtitles, the production is drenched in eye-catching Spanish Gothic splendor, created by its director/scenic designer Thaddeus Strassberger, an American, Italian and Cherokee Nation citizen who works as an opera director and scenic, costume, lighting and video designer in over fifteen countries around the world.
The production opens the inaugural season of Domingo Hindoyan as Music Director with one of the world’s most iconic scores, featuring soaring Tunisian-Canadian mezzo-soprano Rinab Chaieb in the title role. Her sass and ability to switch emotions authentically from moment to moment imbues the entire production with the necessary push me-pull you tale of the desirable, defiantly driven woman who values her freedom above all else. And yet, Carmen thinks nothing of charming a soldier to escape a spot of trouble – never imagining that he would abandon his childhood sweetheart Micaëla (Kathleen O’Mara) and desert his post to pursue her.
That soldier is Don José, fully brought to life by Joshua Guerrero who falls hopelessly in love with the alluring, yet dangerous Carmen, for she only desires a man when he rejects her, pushing him away when he declares his undying love for her. His overwhelming obsession with her turns Don José into a jealous lover whose passion turns dark and deadly when Carmen begins a new relationship with the bullfighter Escamillo (tall and gloriously handsome Liam James Karai) who performs the opera’s famous aria the “Toreador Song” (also known as the “Toreador March” or “March of the Toreadors”) describing the excitement of the bullring, the cheers of the crowd, and the glorious danger of the toreador’s profession. But no romantic trio ever ends well… especially when obsession and the need for possession collide.
Along with the remarkably talented ensemble who morph from townspeople to flashy, red-caped toreadors, smugglers and tavern hostesses thanks to costume designer Mattie Ullrich and choreography by castanet playing flamenco dancer Antonio Najarro, lighting designer Pablo Santiago and projections designer Greg Emetaz bring the moody atmosphere of each scene into glorious splendor onstage. Visit laopera.org for tickets and planning your visit to the Dorothy Chandler Pavilion at The Music Center.
The Who’s Tommy was first released as a studio concept album in May 1969, written and conceived as a rock opera – the first major commercial and cultural release to tell a complete, unified narrative across an entire rock record. It was adapted into a 1975 feature film directed by Kurt Russell and a Broadway musical in 1993 which won Tony Awards for original score and choreography that changed the course of music history. And now it’s back at the Hollywood Pantages Theatre in a dazzling all-new national touring company production that feels more relevant than ever, thanks to Tony Award-winning composer Pete Townshend and Tony Award-winning original director Des McAnuff who find powerful resonance reexamining this classic story for today.
Myth and spectacle combine in this fresh reinvention that includes the unforgettable anthems “I’m Free,” “See Me, Feel Me,” “Sensation” and “Pinball Wizard.” Filled with incredible 3D projections designed by Peter Nigrini, colorful lighting design by Amanda Zieve, multi-level scenic design by David Korins that features many rectangular doors and the important standing mirror, and sound design by Gareth Owen, all of which dazzle your senses and add impressive depth to every scene. And Sarafina Bush’s overly dark costume design allows Flanagan, dressed in white or donning a bright yellow jacket as Tommy, to stand out from the crowd.
Blessed with an incredibly talented cast, starring charismatic Collin Matthew Flanagan as Tommy, Mia Bergstrom as Mrs. Walker, Zach Fogel as Captain Walker, Peyton Cassity as Uncle Ernie, Kyle McFalls as Cousin Kevin, and Audrey Fisher as Tommy’s ultimate fan Sally Simpson, the production is perfect for fans of The Who’s music, classic rock, incredible projections, and high-energy production enthusiasts. The only shortcoming is Kris Lyons’ lackluster performance as the Acid Queen; a role forever linked to rock icon Tina Turner whose energy and performance flair absolutely made the role her own in the1975 feature film.
The rock opera follows Tommy who was born a normal boy during World War II. But when his formerly-declared-dead father returns unexpectedly and shoots his rival, which the young Tommy witnesses, his parents tell him “You did not see anything. You did not hear anything.” Taking their advice to heart, Tommy loses his sight and power of speech, becoming lost in the universe – endlessly and obsessively staring into a mirror where he often sees a reflection of his younger self (Mari Grossman) into which he blends. But Tommy’s innate knack for pinball catapults him from reticent adolescent to celebrity savior with adoring fans who want to be just like him. But when Tommy’s senses return and he decides he wants to be like everyone else, how will his adoring fans react?
The Who’s Tommy has a runtime of 1 hour and 40 minutes with no intermission, and includes depictions of bullying, substance abuse, and scenes of war. With loud music, non-firing prop guns, multiple gunshot sound effects, theatrical haze, strobe, flashing and laser lighting effects, the production is recommended for ages 16 and up, with children under 5 not admitted. Performances continue at the Hollywood Pantages Theatre though November 15. For tickets and more information, visit broadwayinhollywood.com/events/detail/the-whos-tommy
Meredith Willson’s six-time, Tony Award-winning musical comedy The Music Man follows fast-talking traveling salesman Harold Hill as he cons the people of River City, Iowa, into buying instruments and uniforms for a boys’ band he vows to organize – despite the fact that he doesn’t know a trombone from a treble clef. His plans to skip town with the cash get derailed when he falls for Marian, the town’s librarian who transforms him into a respectable citizen by curtain’s fall. Featuring songs such as the crowd-pleasing “Seventy-Six Trombones,” “Trouble,” “‘Til There Was You,” “Pickalittle” and “Gary, Indiana,” along with the production’s incredible technical wizardry on all levels, The Music Manis a family-friendly story to be shared with every generation – and the national touring company production onstage at the Ahmanson Theatre through November 8, impeccably directed by Matt Lenz with music direction by Thomas Fosnocht and choreography by Joshua Bergasse, brilliantly honors the incredible score, iconic characters and energetic dancing so much a part of this classic musical.
At the performance I attended, Brayden Schilling, making his national tour debut, filled in for Elliott Andrews as Harold Hill. He carried the show with magnificent soprano Elizabeth D’aiuto as Marian, and their blossoming romance was a joy to watch. Other standouts include Savannah Stevenson as Marian’s caring Irish mother, Mrs. Paroo; spunky Dylan Patterson as her shy son Winthrop, who leads the town in Act One’s finale, “The Wells Fargo Wagon” after gaining self-confidence thanks to studying with Harold Hill; Patrick Blashill as the malapropism-prone Mayor Shinn; Emmanuelle Zeesman as his wife, Eulalie; Madison Sheward as their “Ye Gods” daughter, Zaneeta; Charles Antenen as her boyfriend, Tommy Djilas; Paul Urriola as Harold’s protective friend Marcellus Washburn; charming Addie Jaymes as piano student Amaryllis; and the barbershop quartet who harmonize with great skill during duets with Marian and Eulalie’s ladies. The traveling salesmen also shine during the show’s rousing opening “Rock Island” as they bounce in unison to the train’s rhythm as it heads to River City on July 3, 1912. Leading them is Mikael Mattsson as anvil salesman Charlie Cowell, determined to stop Professor Harold Hill’s swindling – without realizing his target is sitting among them listening to clues on how to take advantage of the town!
Run time is2 hours 30 minutes, including one intermission. The production is recommended for ages 6 and up and contains loud musical instruments. For more information and tickets, visit centertheatregroup.org.