Monday, March 30, 2009
Sam - 11 months old
Wednesday, March 25, 2009
A Good Supporting Player
Successfully shifting away from red meat can be as easy as increasing fruits and vegetables in the diet, said Elisabetta Politi of the Duke Diet and Fitness Center in Durham, N.C.
"I'm not saying everybody should turn into vegetarians," Politi said. "Meat should be a supporting actor on the plate, not the main character."
Monday, March 23, 2009
Basking in Suburbanity (Is that a word?)

I just got back from rollerblading. In my neighborhood. As in, I sat on my front doorstep, laced up my blades and cruised!
Wednesday, March 18, 2009
TexaCaliEspañYorker
Sunday, March 15, 2009
Nesting
Wednesday, March 11, 2009
Home.
Monday, March 09, 2009
Awesome Closing Weekend
Friday, March 06, 2009
Closing Weekend of "Our Leading Lady"

Wednesday, March 04, 2009
Tuesday, March 03, 2009
Feeling Honored, Flattered, Loved and PUMPED!!!
Monday, March 02, 2009
More Good Press!

Local theater livens up with a ‘Leading Lady’

Thursday, February 26, 2009 5:54 PM PST
Other than the assassination, the play was quite humorous.
By Mary Scott, Peninsula News
With the observation of Abraham Lincoln’s birthday past us, how timely it is to premiere a comedy about his death. Yes. I said comedy. And it’s a good one.
The Neighborhood Playhouse opened the West Coast premiere of Charles Busch’s new comedy “Our Leading Lady.” Busch is the brain behind “Psycho Beach Party.” The comedy is less about Lincoln’s assassination or the Civil War (both serve as a backdrop) and more about the outrageous goings-on behind the scenes of the acting troupe that was on stage performing “Our American Cousin” the night Lincoln was assassinated.
Actress Gillian Doyle returns to the South Bay to take on the role of the queen diva, a femme trailblazer in mid-19th century theater, Laura Keene. The real Keene, not only a popular British actress at the time but also a reputed theater manager, was leading the Ford Theatre’s cast of “Our American Cousin.” The president was not the only one assassinated that night. Keene’s career never recovered.
In Busch’s fanciful version, Keene is trying to take over the theater. Her plans are to have Mr. Ford hand over the management of his theater to her. Afterward, she will oust the resident company and replace them with New York actors. But she must keep this a secret — something hard to do in the theater! In the meantime, she must deal the assorted personalities in the cast all the while maintaining her ego.
When Laura learns that the president will attend the final performance, she concludes his presence will benefit her plan. When he cancels, she shames him into coming.
“Our Leading Lady” is not your run-of-mill situation comedy; it is reminiscent of the great classic Greek comedy where tragedy is still comedy if it ends on a high note. Besides some poignant dramatic moments, “Our Leading Lady” is full of humor, trysts, backstabbings — goes well with a shooting — egos, divas, all that you’d expect from a troupe of actors high on whiskey and themselves.
The playhouse cast of nine is made up of hardened stage veterans. Doyle, already mentioned, is brilliant, poised. I saw her several years ago in a Long Beach production of “My Boy Jack” as (Mrs. Kipling). Loved her performance then, love her performance now.
The graceful Doyle is paired with a spitfire, Kathleen Taylor, as Verbena de Chamblay (say that with a loud Southern accent!). Miss de Chamblay, the wife of Gavin de Chamblay, a closet homosexual, is the Southern belle and sympathizer of the Ford The-a-tre. An exhausting character, Taylor holds up quite well to her counterpart and is by far my favorite performance of the show.
“Our Leading Lady” is better suited for the community’s adult theatergoers, not that there’s anything too randy about the show. But given its historical content and subtle and some not-so-subtle adult humor, the younger set may not appreciate it. So leave them home.
Joining Doyle and Taylor in the cast are: Tracy Ahern as Clementine Smith; Rita Hull as Maude Bentley; James Jaeger as W.J. Ferguson; Michael Prohaska as Major Hopwood; Michael Tatlock as Gavin de Chamblay; Carla Valentine as Madame Wu-Chan; and Robert Youngs as Harry Hawk. Brady Schwind directs.
Performances of “Our Leading Lady” are: Feb. 26 at 7:30 p.m., Feb. 27 at 8 p.m., Feb. 28 at 2 and 8 p.m., March 4 and 5 at 7:30 p.m., March 6 and 7 at 8 p.m., and March 8 at 2 and 7:30 p.m. Neighborhood Playhouse is located at 415 Paseo del Mar in Palos Verdes Estates. Reserved tickets cost $22 to $34 and are available by calling (310) 378-9353 or online at www.neighborhoodplayhouse.net.
Friday, February 27, 2009
Review for "Our Leading Lady"


The repertory company of Ford’s Theatre have decidedly mixed reactions to the presence of Keene (Gillian Doyle) amongst them. Southern belle Verbena De Chamblay (Kathleen Taylor), a self-described “actress of great accomplishment” is none too pleased about being “cruelly reduced to being a supporting player” during Keene’s two-week stay. Others are concerned that the stage star plans to take over their company and bring in her own New York City troupe of actors. Still, no one can dispute that having an actress of Keene’s renown will be good for business.
Vebena is married to the very “theatrical” (i.e. gay as a goose) Gavin De Chamblay (Michael Tatlock) who has his eye on W.J. Ferguson (James Jaeger), the comely younger backstage worker and understudy. (“I’ll coach you privately on Sunday,” Gavin offers W.J. entirely with ulterior motive. “I shall keep you there late and be a strict taskmaster,” he promises his protegé.) Maude Bentley (Rita Hull) is an elderly company member whose husband and she once “played in log cabins with handmade candles stuck into large potatoes for lights.” Harry Hawke (Robert Youngs) is a dashing young leading man with alcohol on his breath and the guts to tell Laura Keene that she’s “a great, big, shiny, sugar-glazed ham” to her face. Clementine Smith (Tracy Ahern) is a booze-swilling former child star whose “reflection in the gin bottle tells me my ingénue days are fast coming to an end.” Accompanying Laura is her devoted servant Madame Wu-Chan (Carla Valentine), whose name (and dialog like “See Tow Chee Chee Poo Ma Tow”) would seem to indicate someone born in China were it not for her darker-than-average skin tone. One might assume this to be an example of alternative casting were it not for Clementine’s matter-of-fact “You’re a Negro lady, aren’t you?” Yes, even we were fooled there for a while, so it’s no wonder that everyone at Ford’s Theatre assumes that the escaped slave is an honest-to-goodness “Oriental.”
As Our Leading Lady begins, Laura Keene is rehearsing Act One, Scene One, “once again, please, from the tippy top.” Harry and Gavin have only just said their first lines when Laura interrupts them, complaining, “The two of you have managed within seconds to completely eviscerate this play. As an actress-manager and visiting star, I shall not lower my standards to fit those of a provincial stock company!” Clearly with Keene around, the road to tonight’s performance will be a rocky one for the Ford’s Theatre company of actors, though at least President Lincoln is coming to brighten their spirits.
Not that Laura Keene is without a heart. Her previous performances of Our American Cousin have inspired “cripples” to send her “countless letters.” “Yes, CRIPPLES, who trudge torturously into the theater on CANES,” she declares with a combination of pride and false humility. She’s compassionate to her costars as well, telling Verbena that “there is nothing wrong with being a supporting character woman. One’s value in a repertory company is only increased by a thickening waist and softened jaw line.” The ungrateful Verbena has the nerve to declare that “everyone knows (Laura Keene) was spawned only several inches higher than the gutter.”
Lines like the above give some idea of the particular brand of comic genius that is Charles Busch. Famed for his theatrical movie spoofs in which he transforms himself into the glamorous leading lady (Shanghai Moon, Die, Mommie Die!, Psycho Beach Party, Red Scare On Sunset, etc.), Busch here allows an actor of the biologically female persuasion to portray real-life stage star Laura Keene. Kate Mulgrew originated the role in New York to considerable praise, and Doyle is sure to garner equally fine notices for her performance in the West Coast premiere, directed with considerable panache by Brady Schwind.
Doyle, looking gorgeous in her period brunette wig and hoop skirts, captures all the elegance and hauteur of a legendary stage star, and has the razor-sharp comic timing to milk the most out of every one of Busch’s laugh lines. Every bit her equal is Valentine as Madame Wu-Chan, throwing political correctness to the wind with her pseudo-Chinese-accented speech and deliberately clichéd “Oriental” subservience. Valentine’s subtle transformation from Asian to authentic African-American is particularly well-played. The two actresses mesh perfectly, whether playing scenes for laughs or, in a sudden switch to the dramatic following the assassination, discovering more about each other in half an hour than they had in all their years together.
The supporting cast deliver gems of just-over-the-top-enough performances, from Youngs’ amusing take on the stalwart “leading man,” to Taylor’s feisty faded Southern belle, to Hull’s comically aging character actress. Ahern is a hoot as the perennially tipsy ex-child actress and Michael Prohaska does solid work as Major Hopwood, who investigates the troupe following the assassination. Stealing every scene they’re in are Tatlock (swishing and flouncing with the best and gayest of them all) and Jaeger (all sweet innocence as Gavin’s apparently willing pupil).
The tonal shift in the first half of the second act bothered some New York critics. Though one does suddenly feel that one is watching a different play, the scenes between Keene and Wu-Chan (especially as brought to life by Doyle and Valentine) are so well-played, and somehow still connected to the broader characters they’ve painted in the first act, that I didn’t particularly mind the change of mood. In any case, soon enough, the other actors are back on stage and things return to their previous brand of Busch hilarity.
The Neighborhood Playhouse’s venue (Palos Verdes Estates’ The Neighborhood Church) proves as perfect a setting for Our Leading Lady as it did for Jason Robert Brown’s Parade. Scenic designer Vali Tirsoaga has transformed the 1927 Mediterranean-style church into an 19th Century theater, surrounding the stage with precisely the assortment of props and scenery that Ford’s Theatre would have accumulated. Lighting by Ric Zimmerman and John Stirling’s sound design are both first-rate. Jane Greenwood’s original New York designs, with additional costume design by Diana Mann, are elegant and pitch-perfect for the period. Michael Aldapa gets an “A” for his wigs as well.
In Our Leading Lady, Charles Busch has created one of his most memorable leading ladies. He’s also given us a colorful glimpse of theater life back in the mid-1800s, and even taught a bit of a history lesson. The end result is a thoroughly delightful and unexpected new play being given a sparkling West Coast Premiere well worth a drive to beautiful Palos Verdes Estates. (And the ocean view from just outside the theater is included in the price of admission.)
Neighborhood Playhouse, 415 Paseo Del Mar, Palos Verdes Estates. Through March 8. Wednesdays, Thursdays, and Sundays at 7:30. Fridays and Saturdays at 8:00. Sundays at 2:00 Reservations: www.neighborhoodplayhouse.net
--Steven Stanley
February 22, 2009
Thursday, February 26, 2009
Great Visit With Mom
Wednesday, February 25, 2009
Smurfette is my muse....
For reals, people! Am I not giving Smurfette a run for her money?Tuesday, February 24, 2009
Review in 'Variety'

Monday, February 23, 2009
PHEW!!!
Tuesday, February 17, 2009
The Starshine Report turns 3 !!!
Friday, February 13, 2009
Happy Valentine's Day!






