Thanks to BroadwayWorld.com, you can get an insider look at the wacky world of Monty Python’s Spamalot, courtesy of longtime cast member Rick Holmes, who cracks up audiences “knightly” as the French Taunter (among others). In these exclusive videos, Rick takes you behind-the-scenes at the ridiculously funny musical, now playing in Los Angeles for the first time!
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Spamalot VLog 1 |
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Spamalot VLog 2 |
Hear audience reaction from the opening night of SPAMALOT! From Kevin Nealon to Samm Levine, Scott Hamilton to JoAnne Worley - everyone is RAVING about SPAMALOT!
Join in on the fun, now at the Ahmanson Theatre through September 6th!!
Patrick Varon is a Donor Advisor for Center Theatre Group’s Development Department.
My primary function for Center Theatre Group is that of a Donor Advisor. Falling under the Development Department, I work with a talented and dedicated staff of fundraisers (actors, entertainers, filmmakers and even a kindergarten teacher!). Our mission is to raise the money necessary to maintain the size and scope of CTG’s vital education and outreach programming. Giving to CTG not only funds important programs, but it also entitles patrons to exciting theater benefits and exclusive donor privileges.
Naturally, in the face of today’s grim economic realities, asking for donations is no easy task. A recent report from the Giving USA Foundation asserts that charitable giving fell last year by the largest percentage in five decades! In spite of that fact, CTG audiences gave anyway. Markets were down, pensions were cut and jobs were lost, yet our patrons gave.
An opportunity arose for the production of ‘Oleanna‘ (Mark Taper Forum, June 6 - July 12). As it turned out, director Doug Hughes’ assistant in New York was unable to come to Los Angeles for the remainder of rehearsals through opening night. It was my time to give and without hesitation, I accepted. Soon I found myself pulling double-duty assisting on a show while still raising money for the theatre. What occurred to me was that the purpose of this show, like that of all our other shows, is to give our audiences a quality theatrical experience they desired.
I look back and realize now that I stood in the middle of a transaction that few may ever see or experience firsthand. I had actively participated in the sacred chain of symbiotic generosity within this theatre and its audience. All were giving out of a spirit of goodwill and for the benefit of others. Patrons gave to me because they believed in CTG, I gave to the show because I was inspired to contribute and the show gave back to the audience a fine theatrical experience. We all believed in each other and we all believed in CTG.
Bailey Pennick is Center Theatre Group’s Press Intern for Summer 2009. She is majoring in English at UC Berkeley.
Our experiences with musical theatre are personal. We pull for our favorite characters and lament when the curtain finally comes down after the last bows, but the one thing that sticks with us as we walk out of those large double doors are the songs. As we get into our cars (or walk down the stairs to the subway) it’s hard to shake a song that has entrenched its emotion, lyrics, and melody into our heads. Whether it is simply catchy or exceedingly grand, a musical number that touches you cannot be forgotten.
If you would allow me to (semi) channel “High Fidelity” for a moment, here are my all-time “top three” Broadway musical numbers to date:
“Somewhere” - “West Side Story” by Leonard Bernstein and Stephen Sondheim. Performed by characters Maria and Tony
This song is musical perfection. The rising energy and sweeping use of the string section create a whirlwind of emotion that only Leonard Bernstein can produce. This heart-breaking musical score starkly contrasted with beautiful lyrics that embody all of the hope and love that Maria and Tony have for each other immediately allows the audience to relate to the character’s forbidden love and what a struggle it would be to truly obtain freedom. Another aspect of this song that sets it apart from all musical numbers is the fact that it is so short; at less than two minutes long, the overflow of emotion pouring out of “Somewhere” showcases its brilliance. There is no fanfare, no dancers or fireworks, just two beautiful voices in a perfect moment. In the same musical number we can experience their feeling of undying hope and the inevitable hopelessness for their love.
Other noteworthy numbers in “West Side Story”: “Something’s Coming” (Tony), “Tonight” (Tony, Maria, Ensemble), “Maria” (Tony)
“And I Am Telling You I’m Not Going” - “Dreamgirls” by Henry Krieger and Tom Eyen. Performed by the character Effie White
What makes this song so outstanding is that it is a love song (or more specifically a torch song), but it clearly focuses more on the empowerment of the singer. Effie stands as a woman alone; without her friends/former backup singers or her lover, and this song proves that she does not need them. Starting with just Effie’s trembling voice, the vulnerable lyrics coming out of her mouth transform into a powerful statement of self confidence and righteousness with the entire orchestra behind her: “Tear down the mountains, / Yell, scream and shout. /You can say what you want, /I’m not walkin’ out.” The amount of power behind her words as she is being left by everyone she knows is admirable and completely unforgettable in this musical.
Other noteworthy numbers in “Dreamgirls”: “One Night Only” (Effie and Company), “Family” (Effie, C.C., Jimmy, Lorrell, Deena, Curtis)
“See Me, Feel Me/ Listening to You” - “The Who’s Tommy” by The Who (Pete Townshend and Des McAnuff). Performed by characters Tommy and Ensemble.
As any good musical knows, a powerful finale is the only way to go and “The Who’s Tommy” is no exception. As a boy who not only reached maturity, but also gained back his ability to see, hear, and speak, Tommy cries out to the audience (the world) to pay attention to him: To see him! Feel him! Touch him! Hear him! He has been reborn and he is ready to live his life among people he can finally interact with. This intense emotional release comes in the form of “Listening to You” the second half of this final number. The audience can experience the power that Tommy had over his followers as they repeat the same lyrics over and over. The unison is haunting: “From you I get opinions. / From you I get the story.” This complete control that Tommy has over the ensemble is mesmerizing. As a listener, you get trapped in the lyrics being repeated until suddenly you become part of the mob that expects answers from Tommy. There is a feeling of uneasiness as the show ends because Tommy’s life is clearly not over, instead it’s just beginning. The fact that this song can make you question about what happens to Tommy after the curtains come down and the house lights come up is very powerful, just as Pete intended.
Other noteworthy numbers in “The Who’s Tommy”: “What About the Boy” (Captain Walker and Mrs. Walker), Pinball Wizard (Local Lads, Cousin Kevin, Ensemble), “I’m Free” (Tommy).
Blogmaster question:
What are your all-time three favorite musical numbers?
Mike Sablone is CTG’s Literary Associate, starting left fielder and third-string shortstop for Dark Monday, the CTG softball team.
We start, Saturday morning, with 6 brand new plays by 6 playwrights. We then pack ten incredibly talented actors into a room and ask them to take part in cold readings of all 6 over the next 2 days. Sound thrilling?
If you said yes, let me tell you more. Each year Resident Dramaturg/Literary Manager Pier Carlo Talenti and I coordinate CTG’s Writers’ Workshop. We ask 6 to 9 local playwrights and tell them that we’d like to give them space and support to work on a new play over the next 9 months.
The first step is a weekend Salon. Each playwright decides on a topic she’d like to write about. She then interviews 2 experts on that topic, in an attempt just to get the creative juices flowing. By the end of the weekend our brains are stuffed.
From there we meet once a month and listen to scenes from 3 of the playwrights. Then we spend a few minutes giving feedback and answering questions the writer might have about her pages.
Six or so months later, Bonnie Grisan, our Associate Casting Director, gathers together a company of actors to read the scripts over the weekend-no matter where they are in the process. There is no rehearsal, no director.
And it’s one of the most thrilling weekends of the year. The scope of the new work is impressive–the actors are making fearless choices, speaking languages they don’t normally speak, playing across gender, across race, singing songs that haven’t been written yet, and in general finding the heart at the center of each piece.
For anyone who thinks that new work isn’t being supported in Los Angeles, I have terrible news for you. You are completely wrong. Watching these plays over the weekend is just the tip of the iceberg. It’s enlightening to see just how much work is being written. And it’s a shame to just use the word “work.” No one is saying it isn’t difficult, but it’s more than that. More importantly, it’s art. And the breadth of it is inspiring.
I’d like to personally recognize our 6 writers that I had the privilege of working with over the last nine months. These are incredible artists and incredible people. May you all have the pleasure of working with them very soon.
Mickey Birnbaum
Michael John Garces
Donald Jolly
Evangeline Ordaz
Matt Pelfrey
Adriana Sevan
Catch exclusive interviews with SPAMALOT star John O’Hurley and co-creator
John Du Prez about the Tony Award-winning musical kicking off the Ahmanson Theatre’s 2009-2010 season. Beginning July 7, this hilarious, irreverent and fun-filled romp based on the film “Monty Python and the Holy Grail” fulfills your need for flying cows, killer rabbits, and dancing knights!
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