CerritosInk

Christopher O'Riley and Matt Haimovitz January 18, 2012

2012-01-20T19:19:00.000-08:00

Shuffle.Play.Listen: a Revelation at Cerritos

By Glen Creason

I never dreamed I would hear a concert at the Performing Arts Center that would juxtapose Hitchcock movie scores, good jazz fusion, esoteric avant garde classical compositions and the sounds of 21^st Century indie pop. Not only did the program mix such disparate elements there was much more and all done with great musical skill and even touches of wry humor. The choices were iconoclastic and the pairing of the cello and piano were so marvelously mastered by Christopher O’Riley and Matt Haimovitz that one tended to forget the wildly different wellsprings and just focus on the notes as they flew from the stage in seemingly every form known to the human ear. O’Riley may be best known as radio host for the excellent “From the Top” that focuses on young classical musicians but his mastery of the piano coupled with an encyclopedic knowledge of musical composition makes him a perfect role model and a very polished performer.

On this night in the big hall, Matt Haimovitz played so powerfully it was fortunate that O’Reilly is so gifted on his own instrument or he could have been overwhelmed. Instead the two men raised each other to heights needed to accomplish such an action packed program. Much of the credit must go the thoughtful arrangements that gave both players a distinct place in this heady musical stew. The evening began with the demanding theme from the film “the Red Violin” by John Corigliano translated into a solo cello piece, followed by the haunting prelude to the film Vertigo by the great film composer Bernard Herrmann and punctuated by “Pyramid Song” from contemporary group Radiohead. It just made you think of the old Monty Python theme “and now for something completely different.” Such odd mixes continued with great effect as O’Reilly and Haimovitz drew musical water from four separate wells. There were the modern classical pieces; brisk and lyrical dances by Stravinsky, sweet fairy tales in song by Janacek, a decidedly rambunctious, folk inspired Slovakian theme from Martinu and Opus 11 by Webern, stark and full of dissonant jagged edges.

Some in the audience may have come just to hear the playing of songs by their favorite contemporary pop groups and they were treated to amazing translations of Blond Redhead (Misery is a Butterfly), more Radiohead (Arpeggi), a rocking “Empty Room” and “In the Backseat” by Arcade Fire and the Cocteau Twins “Fotzepolitic” which was made to sing with the harmony of cello and piano. While rock sometimes does not translate at all in the concert hall these two artists seem to understand the genre and play it serious cool for all concerned. There was more, and different even from Webern and Arcade Fire. Jon Hassell’s “Last Night the Moon Came and Dropped Its Clothes on the Street” was a highlight but the finishing trio of Shuffle.Play.Listen’s expansive and grand “Scene d’amour” from Vertigo, jazz guitarist John McLaughlin’s “Dance of the Maya” with its luscious thick slices of cello-tones and an encore of Astor Piazzolla’s “Le Grand Tango” just let out all of the stops.

River North Dance Chicago January 13, 2012

2012-01-14T22:10:00.000-08:00

River North Dance Chicago: a Discourse in Perfection

By Glen Creason

I really need the “Better Than Great: A Plentitudinous Compendium of Wallopingly Fresh Superlatives” to do justice to the dance performance of “River North Dance Chicago” at the Performing Arts Center last weekend. There was a large crowd for the rather esoteric art of dance and they were treated to an eye-misting beautiful cast of 13 dancers who performed brilliant choreography, amidst astoundingly eclectic and memorable sounds with fall-to-your-knees lighting and costumes that lived up to all of that and more. Kudos are in order for artistic director Frank Chaves who must rehearse these young dancers into almost clarified perfection. Not only is the program packed with seven sensational pieces, it demands many extended segments involving the entire company moving in crisp harmony that takes your breath away but never seems to tire the young performers.

The dancers got the audience up on the edge of their seats at the starting gate of “Evolution of a Dream” with the lyrical introduction building into the driving beat of the Eurhythmics “Sweet Dreams” which seemed to inspire a high-energy synchronicity that just sent endorphin-impulses throughout the entire hall. The plain velour costumes were spot-on for a work focusing on a blend of dance clubs and modern dance. Dancer Ahmad Simmons provided a counter-point to the ensemble dominated first segment with “Beat.” His graceful and expressive solo was a lesson in graceful control and anatomy. The lighting here as throughout the entire performance was essential in creating a memorable scene. “Sentir em Nos” was something completely different with an operatic sounding Portuguese song danced by the couple whose precise partner work demanded that they never actually separate from one another. Michael Gross was a standout here and throughout. Appropriately “Even for Us” was the most romantic piece on a program filled with passion and love. A four-part tribute to the music of Miles Davis finished the first half and it was nothing but a home run, touching all the bases with grace and classic style.

The second half broke in a different direction but once more with the industrial-techno pure percussion throb of “Le Tambours du Bronx” (a Cerritos show once upon a time) in “The Train.” The performance moved toward absolutely explosive energy and joyous movement with a solo within the piece by Hanna Brictson that defied superlatives. When the drumming ceased there were more than a few open mouths in the audience whispering to no one in particular “wow.” This was followed by the sweetly lyrical and gentle duet of “Fixe” with its whimsical score and ingenious eco-camouflage costumes. The grand finale was an absolute feast of grand classical Cuban dance music. With brilliantly colored and designed costumes the company moved with more of balletic style but with such sensual delight that the entire six songs were an intoxicating concoction of dance nectar. The music was cleverly mixed between the vintage smoothness of Morton Gould’s Orchestra and Percy Faith spiced by the passionately earthy vocals of Carlos Puebla and Omara Portuondo. The dancers superbly executed choreography to this “Habaneras, the Music of Cuba” was dreamy, evocative, bountiful and very beautiful. If the director Chavez dedicated this piece to his father he has done him a great honor.

Ellsies 2011

2011-12-29T17:21:00.000-08:00

Ellsies 2011

By Glen Creason

It is downright miraculous that in this sickly economy the Cerritos Center for the Performing Arts continues to be one of the finest theaters in America without lowering standards or abandoning their lofty goals of bringing culture to Southern California. In a world where half the population is staring down at tiny devices clutched in their mitts or sitting at home trying to make something out of cable TV, the great hall on Center drive continues to give folks reasons to come out of their electronic caves and see the world of the performing arts. For years we have heard jokes about the auto square and now YesCerritos! but this Performing Arts Center is not only the pride of the small city with big ambitions but a proven role model for other venues in the West. This operation from top to bottom is something to be very proud of in many ways.

While I have been coming to the center and marveling at the shows for almost two full decades I honestly never tire of feeling gratitude for the people who make that place a world-class theater. Since I come in at ground level I am met first by the best box office I have ever seen in my horrifyingly many moons. The bosses are Nate Chavez and Cristopher Larocco who seem to get great attitudes out of every single representative which just makes the first impression for visitors one of love at first sight. Once I had a program with all their names and I would name them all if I could but if I ever hit the lottery I will buy each one a car like Oprah. It is a deck full of aces. Inside you have the many dark-blazered hospitality staff who make you feel right at home and directors like Tony Erdelji smoothing any rough edges and crossing the t’s in comfortable. House manager Alan Strickland does his job so well you hardly know he is there until you need something, then he is always there. The same can be said about the strong presence of Vince Roldan, security that never intrudes but is right where you need him.

Again, this year more than any other I noticed how seamless the operation behind the scenes works, especially the technical crew who just get better and better each year. The names are Tom Hamilton, James King, Rogan Girard, Jack Hayback, John Palmer, and Jeff Thielke who should be lauded in the programs but they are too busy making sure everything is perfect. I haven’t seen the hall vary much from that standard all year. All of this is overseen by Dianne Cheney who has taken the helm and kept a straight course of excellence that has been steered by her great predecessors. Lastly, I would know nothing of any of this without the gentle guidance and steel-trap like intelligence of publicist/press liaison Lori Levine-Yonan. Thank You a thousand times Lori!

Without further ado here are the Ellsies for 2011:

E-Dance: Sean Curran Company- a memorable, indelible evening of modern dance lead by director Curran who began with the powerful “Aria/Apology” and finished with “Left Exit” that said so much with movement that even words cannot express.

E-Indy: Round Mountain- An amazingly fresh and creative group comprised of the brothers Rothschild who played an array of instruments from around the world and sang witty and insightful songs they composed. They were a perfect example of the depth of the Sierra Room shows.

E-word: Garrison Keilor- Despite recovering from a frightening stroke Maestro Keilor commanded the Cerritos stage and told his stories, sang songs and recited poetry that all seemed even more poignant due to his dance with the grim reaper in the previous months.

E-favorite sons: On Ensemble- this group may center their sound on taiko drumming and classical training of instruments from the old country but their songs and sound are a unique fusion with modern music that really works. A spellbinding show before an appreciative crowd cemented the lads as local favorites who should be invited back every season.

E-musical: Spamalot- a traveling troupe delivered the sensation of recent Broadway spam-smash to the big hall and brought Monty Python to living color with songs and silliness including a terrific “Always Look on the Bright Side of Life.” Steve McCoy as King Arthur was exceptional without exception.

E-Classical: Sejong Soloists- It’s really saying something when a group of young musicians beat out the likes of Andre Watts but the young all-star ensemble gave the best classical concert of the year that was elevated to the top spot by the powerful but nuanced piano playing of the elegant and experienced Orli Shahan.

E-Classic-rock: Pink Floyd Experience- While it was not the boys from 1970’s and it was not David Gilmour pouring out his psychedelic guitar solos but it was a clever cover of the famed “Animals” album done on the typically extravagant Pink Floyd scale by a band totally up to the task, especially guitarist Tom Quinn who made us believe the 70’s were alive despite the audience’s lack of big hair and terrible fashion.

E-Comedy: Louis Anderson- on the bill with Paul Rodriquez, Louis stole this show with his droll, dry-wit and stories of his colorful childhood in Minnesota. His set completing bit on aging was as funny and on-point as any heard in the hall’s history.

E-Hall of Fame: Brian Wilson- Over the years the Performing Arts Center has had some giants of entertainment who can genuinely be called genius and placed in the music hall of fame. Such was the case for the former driving force in the great Beach Boys who also created a pretty cool concert with an excellent band that recreated the totally bitchen Brian Wilson sound.

E-World Music: Yamato- Cerritos seems to have become a taiko drumming hot spot and we are glad they fill the great hall with this amazing feast of percussion. This season we were blessed with a visit from Yamato from the mother country where the big drums first boomed. This young and spectacularly expressive troupe of men and women made the Performing Arts Center throb with exciting and superbly harmonic drumming.

E-Old but Gold- Chubby Checker-Truly an inspiration for those with snow on the roof and notches on the belt Chubby Checker made history by just walking out on stage after fifty years twisting and totally rocked the place. His powerhouse band, “the Wildcats” made all of the many in the audience twist again like we did last summer (in 1960).

E-Classical Performance- Ray Chen violin- Chen appeared with gifted pianist Julio Elizade who was no slouch himself but the young violinist’s inspired playing of J.S. Bach’s “Chaconne from Partita in d minor” was a triumphant concert in itself and was just one of six incredibly beautiful pieces in a superb concert.

E-Charm and Musicianship- Marvin Hamlisch- If you just think of Marvin Hamslisch as the guy who provided the ragtime theme for the classic movie “the Sting” you have missed some wonderful music. The charming and erudite Hamlisch dazzled a matinee crowd with his compositions and piano mastery ranging from films like “The Way We Were” to the overflowing evergreen score of “A Chorus Line” while telling fascinating stories of his journey from a humble beginnings to being one of the rare individuals to win an Oscar, an Emmy, a Tony and a Grammy.

E-New Faces- the Backbeats- While the backbeats were the curtain raisers for excellent headliner “the Street-Corner Symphony” you just could not be excited by such a superb idea and group drawn from local music schools. Performing on the television show “Sing Out,” the eight-member “Backbeats” pumped new blood into the entire idea of a Capella harmony used on contemporary compositions. The results were wonderful for one of the best show of the year.

E-Show of the Year: Keb Mo-Actually the gentleman from Compton won both the highly contested show of the year and the holiday show of the year without a struggle. He just has it all: poise, polish, great songs, an expressive blues voice and one hell of a great hand on the guitar. While he mixed materials his ballads, especially “We Don’t Need It” was simply out of this world good.

E-Performance of the Year- Perla Batalla- When dealing with a talent this big you have to use a big word and I would say Perla Batalla is polyphiloprogenitive. The big word means prolifically talented and inventive which would accurately describe her development over the years to an intelligent and gifted singer who can turn a pretty good song into a masterpiece. Such was the case with her reading of “Love Is Everything” which was resplendently brilliant in voice, passion and nuance. If you were there you will never forget it, I know I won’t.

Lastly, thanks to Brian Hews and the staff at the Los Cerritos Community News who sometimes put my words onto the page so that great music and theater at the Center has a second life.

Canadian Tenors December 14, 2011

2011-12-17T15:03:00.000-08:00

Canadian Tenors Fly South to Cerritos for the Holidays

By Glen Creason

The hall was full, the holiday cheer was high and the young and handsome Canadian Tenors strode onto a stage crowded with a full orchestra and more red and green that you would find at any local shopping center (make that centre.) You could hardly ask for more if you are into Christmas and want to hear some of the old classics sung by veteran professionals with big voices. Still, one year I wanted a car and got a lame parka jacket and another time I wanted a violin and got catcher’s equipment. You may have your heart set on one thing and get something altogether different from Santa.

There have been several manifestations of this Yule extravaganza in the past including the impossible to top Three Irish Tenors, the Irish Tenors, the Celtic Tenors, Three Mo’ Tenors and now these young gentlemen from up North. All of the shows had the holiday music in common but varied in voice and repertoire. Let it be said that the likes of Ronan Tynan and Finbar Wright of the Three Irish Tenors don’t come along too often so to compare young singers in their twenties with these heavyweights is not a fair fight. However, the Canadians certainly had a huge following and the reception from the crowd was enthusiastic to say the least.

These Canadian Tenors had polish and charm but are not really all operatic tenors and only half of the group really possessed that bouncing off the back wall of the hall vocal potency. Certainly Remigio Pereira could be Rodolfo in La Boheme and Victor Micallef could handle Verdi without a struggle. Clifton Murray and Fraser Walters are both engaging and very romantic crooners but only baritone-tenors like Michael Buble or Bing Crosby are tenors. While these two young men were charming and elicited sighs from the lady-audience they were not geared for the opera hall. There were some of the old chestnuts done with four-part panache including “O Come O Come Emmanuel,” “God Rest Ye Merry Gentlemen,” “What Child Is This,” “O Holy Night” and the encore of “Silent Night” that were all sung with passion and reverence. There were impressive operatic readings of “Panis Angelicus” by Pereira and “the Lord’s Prayer” by Micallef and concert hall send-up of “Forever Young” by Murray and the lovely “Winter Song” by Walters. Special guests made the season show bright including beautiful Kelly LeVesque for an ensemble joined “the Prayer” and remarkable Justin Hines who sang the moving “Say What You Will.”

While the show had some problems in the first half with uneven sound and a couple of choices that strayed from the holiday theme they pulled the fat out of the fire in the second half with some very fine moments. In particular a soaring “On Earth As It Is In Heaven” from Ennio Morricone’s “the Mission” and an amazingly fitting “Hallelujah” from Canadian national treasure Leonard Cohen. The following two finishing Christmas evergreens just put a nice sheen on the fine second half and left the big audience heading home hoping those packages from Amazon arrived in time.

Keb Mo December 7, 2011

2011-12-10T17:15:00.001-08:00

Keb Mo: Home for the Holidays at Cerritos

By Glen Creason

The first time Keb Mo visited Cerritos as a warm-up act he demonstrated talent so impressive it was evident that he would return for greater glory. That night he seemed to be a torchbearer of true Southern Blues music with an authentic gutbucket growl and a virtuoso touch on the slide guitar. He has returned several times since, growing in stature with each visit and is now in a small handful of Southern California musicians who are at the top of their game. I would go further and say he is the best local artist we have around these parts, surpassing the guys in Los Lobos and greats like Dave Alvin. Keb Mo has evolved from a blues messenger to a singer of poignant ballads and new-Blues that expose young people to that great tradition while winning a wider audience with his poetic lyrics and superb guitar skills.

It was truly home for the holidays at Cerritos with his Mom in the house and an enthusiastic crowd reacting joyfully to almost two dozen gems he performed with style and a cool that was only broken by passionate readings of some touching ballads.

There were the undulating blues beauties like “Loola Loo,” “Whole Enchilada,” “Shave Yo’ Legs,” “Soon As I Get Paid” and “Dangerous Mood” that had sections rocking in time across the big hall. The man is always in command and his crisp guitar work seems to flow effortlessly from a number of instruments ranging from picking a flattop to an electric resophonic guitar to a steel-bodied beauty that sings with the bottle neck playing.

He has expanded his scope away from the traditional Blues with darker tales, now telling his own very optimistic hybrid of songs that strum heartstrings and ring very true to the times. Truly exceptional song-writing and performing were showcased in beauties like “Every Morning,” “Stand Up and Be Strong,” “I’ll Be Your Water,” “the Door Is Always Open” and the deeply moving “We Don’t Need It” that was an anthem worthy of the worst and best of 2011.

There was also plenty of just plain funky fun stuff like “Government Cheese,” “I See Love” “Suitcase” and the extended, high-voltage jam of “Gimme What You Got” that even separated some fans from their seats and set the hall to dancing. Keb Mo’s band is excellent in support of his guitar wizardry; equally terrific were Vail Johnson on bass, Jeff Paris on mandolin, Michael Hicks on organ, soulful Kevin So on keyboards and Les Falconer whose drum work was right on the mark.

Oh yes, there were some holiday tunes mixed in with the ballads and blues that made the Christmas tree on stage make sense. “Jingle Bell Jamboree” was the best in the Christmas tree lot but “We Call It Christmas,” a loosely interpreted “Jingle Bells” and “the Christmas Song” sung for his dear Mom made the season bright indeed. While Keb Mo only played a portion of his music in the Yule spirit he did follow the poignant line of the show opener “the more you give, the more you receive.” He gave another superb show and received a standing ovation that he humbly accepted with the full band.

Dido and Aeneas November 13, 2011

2011-11-14T16:48:00.000-08:00

Tamora Pellikka

Dido and Aeneas:

Natural Opera in Pasadena

By Glen Creason

It is amazing how the Celestial Opera Company of Pasadena can produce an expansive show in such an intimate setting while still staying right to the essence of the original work of art. In the case of my Sunday matinee visit the featured work was the 17^th century English opera “Dido and Aeneas” by Henry Purcell which left out no small details in a really impressive hour of Baroque music and marvelous singing. “Dido” would fit right in with today’s cinematic leanings toward ancient myth and a dash of the occult. The story revolves around Dido, the Queen of Carthage’s ill-fated romance with the Trojan hero Aeneas as described in book four of Virgil’s Aeneid. The poor lovers are doomed as an evil sorceress and her witch cohorts bewitch Aeneas’ tricking him into leaving the queen behind to take a sea voyage that will mean his end both romantically and mortally. It is surprising that Steven Spielberg hasn't optioned this one already.

Despite the fact that the opera is decidedly tragic it keeps to a lively plot that is revealed with fine arias and memorable characters, aided by a traditional Greek chorus that advances the plot and provides counter-point to the chicanery of the sorceress and her minions. At the center of this production is the glorious singing of Tamora Pellikka, a luminescent mezzo-soprano with voice enough for grand halls but here using the intimacy of the un-amplified wood interior of this small hall to make her first aria “Ah Belinda” shimmer with passion and longing. Several other singers were outstanding in the production including Kristen Speck as the confidante Belinda, the youthful but solid Glenn Fernandez as Aeneas and a truly wicked Jessica Mamey as the Sorceress. Also, amidst the gloom Britta Sterling brought some levity to the music as the Sailor who happily sings “Come Away Fellow Sailors.” All three witches filled their deliciously dark roles well including Allison Coop, Marcela Pan and Jessica Anne Pierce who dreamily dances while Dido’s dreams die.

Still, the power of this particular opera hinges on the difficult and profoundly sad final aria “When I Am Laid” which Ms. Pellikka made into a deeply moving lament that required subtlety and command of voice close to perfection. She was more than up to the task and when Aeneas returns to say farewell and finds her lifeless form the audience has forgotten that they are in a hall in Pasadena, instead grieving for the bewitched and now bereft young man and his lost love, gone forever. This aria sung by such a talented young mezzo-soprano must be considered one of the most moving in all of opera. The venue was small and simple but this production fully dressed and true to the three-century-old tragedy, made Purcell’s masterpiece come to life in living color. Bravo Celestial Opera Company, once again.

The Backbeats with Street Corner Symphony November 5, 2011

2011-11-07T11:47:00.000-08:00

Backbeats and Street Corner Symphony at Cerritos: A Million Glorious Notes

                                                               By Glen Creason

      Last weekend the Performing Arts Center demonstrated a musical epiphany and what looks to be a nice trend in popular music. Two young groups brought a cappella glory to the big hall, demonstrating the amazing capabilities of the human voice when used in harmony with others. It was also refreshing to see an exuberant, young audience bouncing all over the hall and greeting the groups with joyful explosions of admiration. It seems vocal music is making a big comeback and Cerritos is on the cutting edge! Both groups spring from the television show “Sing Off” which unlike some other televised exercises in humiliation encourages old-fashioned, (become new) vocal harmony.
     The headliners were the “Street Corner Symphony”; six young men from all over the Southeastern U.S. who sing a cappella jewels of popular songs from all over the musical map. The astounding vocal percussionist Dave Baumgartner who seems to defy the human limits of lungs and vocal chords joined them. They certainly had youth appeal, singing stuff from “the Black Crows,” “Radiohead” and “Coldplay,” with tight harmonies and soaring solos that featured each of the six voices. What was amusing to we old ones were their nostalgic journeys to such ancient music as “Everybody Wants to Rule the World” by Tears for Fears and way back to a crisp medley of Beatles songs: “Eleanor Rigby,” “Help,” and “Hey Jude.” This was all very good natured, including a segment where they allowed the crowd to shout suggestions that elicited impromptu versions of Queen’s “Bohemian Rhapsody” and Journey’s “Don’t Stop Believin’” Yet, showing they are not too hip the group busted out some sweet barbershop harmonies, a little soulful R&B, a rocking Creedence Clearwater “Down On the Corner” and even a perfect reading of the folk song “Shenandoah” that would have pleased anybody of any age. When they encored the old chestnut “Drift Away” with the show opening Backbeats they had the big hall in the palms of their thirty hands.
      The electrifying, twenty-something “Backbeats” opened the show and made theirs a truly tough act to follow. With charm, energy and tons of vocal talent the four man, four woman crew made pop music new in their stylish interpretations of pretty modern sounds. Joanna Jones was excellent but every singer in this ensemble is polished and possessing plenty of voice and performing instincts. Even as they were “limited” to less than a dozen songs they seemed more than ready to sing all night. They sang Michael Jackson’s “You Make Me Feel So Young, “ Lady Gaga’s “Born This Way” Adele’s “Turning Tables” and even way, way back to a very impressive reading of Fleetwood Mac’s “Landslide.” Not only can these kids sing beautifully but their passion for the art of harmony and abundant stage confidence made for some very fine musical moments including a rousing final kick of Stevie Wonder masterpieces: “Superstition,” Signed, Sealed, Delivered,” and “Living for the City” that left the crowd roaring for more. Possibly, the Center could bring the Backbeats back soon, maybe for Sierra Nights.

Marvin Hamlisch October 30, 2011

2011-10-31T11:17:00.001-07:00

Marvin Hamlisch: Warm Here…Warms Hall

By Glen Creason

Marvin Hamlisch, the multi-award winning composer, conductor and maestro of the piano left the frigid, airport tarmac of New York City on Saturday to land in balmy Cerritos where the thermometer rested above 80 degrees for his Sunday matinee at the Performing Arts Center. This turned out to be a great move for both Hamlisch and music lovers on the left coast as his concert charmed with wit and uplifted with melodies and songs he has written or just loves to play. The show included the excellent Broadway vocalist Gary Mauer who added just the right touch to some truly great songs, eliciting a couple of standing ovations mid-concert. Hamlisch combined stories of his career that began with the 6 year old wunderkind getting accepted to the Juilliard School after playing “Good Night Irene" in his admission test in several keys. His sixteen years of study at the famed NYC school of music are evident in his skills at the huge Steinway where he could take the simplest melody, like “happy birthday” and turn it into a Beethoven symphony (this really happened.) Not only does Hamlisch have tremendous command of his instrument, he has marvelous taste in popular music, including many of his own wonderful compositions.

At Cerritos, he played the familiar and the obscure which all sounded terrific coming from that grand piano that figured into some comedy in the second half of the show. The lilting and beautiful theme from a forgotten film called “the Swimmer” was a case in point of a melody that lingers while the images in the movie do not. His medley of “songs that only four people know” was really fine, adding a thousand more fans of “If You Remember Me” from the remake of “the Champ.” Of course, Hamlisch has been involved in some of the biggest hits ever including “Nobody Does It Better,” “the Way We Were,” “One” and “What I Did for Love” from “A Chorus Line” and the music from the classic film “The Sting” which hit the spot for nostalgia. He also chose well from the treasure chest of Broadway playing stirring versions of "Someone to Watch Over Me,” “Bewitched, Bothered and Bewildered,” and “Send in the Clowns” that flowed from his piano like silk and satin. Gary Mauer sang gorgeous renditions of Richard Rodgers “This Can’t Be Love,” and “Some Enchanted Evening,” along with “Bring Him Home” from “Les Miserables” and “Music of the Night” from “Phantom of the Opera” that brought the delighted audience out of their seats.

Marvin Hamlisch has genuine class and he needed little more than that grand piano to make a fine show. Yet, he allowed the audience to participate in a giving suggestions which ended in the stage crew lead by Alma turning the instrument completely around to give the “other” side of the hall a look at his fingers on the keyboard. The show had a generosity and warmth that maybe came from Hamlisch’s gratitude for our gorgeous Fall afternoon but everyone was happy. His astounding treatment of the most memorable Chorus Line tunes and a sweet encore was a microcosm of the concert with music filling the big hall from back to front and from the balcony to the boxes.

Ballroom With a Twist October 22, 2011

2011-10-23T18:12:00.000-07:00

Ballroom with a Twist: straight up good

By Glen Creason

It was guilty pleasure weekend at the Performing Arts Center as “Dancing With the Stars” met “American Idol” at the Performing Arts Center without anyone getting sent home or being unhappy. In truth, everyone was a winner, especially the audience who seemed to love every note and step of the gazillion notes/steps show. While I have many guilty pleasures in my DVR queue I have never watched either show so this was like sending a vegan to judge a barbecue contest. Yet, as a man who avoided cotillion like the bird flu and only sings to irritate my daughter I was completely won over by this charming and classy entertainment that danced right up to the edge of glamorous excess and laughed, showing perfect teeth. The show is book ended by DWS headliners Alec Mazo and Edyta Sliwinska for the dancing and AI finalists Gina Glocksen and David Hernandez who performed perfectly without a misstep or false note. However, there are many stars in this show, they being the dazzlingly attractive and sexy-elegant dancers who follow the direction of choreographer Louis Van Amstel. The dancers are so good- looking and fit they not only are a great ad for ballroom dancing they do cause reviewers to avoid their own reflection in the intermission mirrors. A trip to Walmart post-show was necessary to reset my self-image compass.

“Ballroom with a Twist” is expertly paced and does not allow for a dull moment as over thirty songs were used as inspiration for the energetic yet elegant dancing. This included the compositions of Burt Bacharach, George Gershwin, Count Basie, Sara Bareilles and Mark Cohn along with show tunes and plenty of Brazilian flair in the second half of the show. Standout moments for the singers in the first half were a duet of “Without Love” from “Hairspray,” “Gravity” by Gina Glocksen and “Walking in Memphis” by David Hernandez. Without even a hint of irony I would say the “Girls Gone Wild” dancing number rated very high among the half dozen really terrific ensemble numbers.

The second half had a decidedly Latin flavor with songs and dance from Brazil, Mexico, Cuba and Spain spicing up the proceedings. Variety is the soul of this show which covered techno, Broadway, salsa, samba, swing and tango all in a couple of hours. A soaring “the Prayer” bounced right into a wild “Bahia” and Alec and Edyta showed how tango to Spanish guitar can be art. There was a fun and funny dance lesson that had a thousand people giddily out of their seats and grooving all at once with arms waving and huge smiles on their faces. A romantic duet between David and Gina (Cuando Se Quieres?) while surrounded by swooning lovers warmed the hall in body and heart but it was the a high energy finale that included “Guantanemara,” “Chan Chan” and some wild jitterbugging that threw a cherry on top of this Sunday treat. While I still might not vote on AI or DWS I do give “Ballroom With a Twist” a solid two left feet up for both dance and song.

Anthony Rapp and Adam Pascal October 15, 2011

2011-10-16T19:12:00.000-07:00

Anthony Rapp and Adam Pascal Pay the Rent at Cerritos

By Glen Creason

There was only one thing wrong with the show put together by Broadway stars Anthony Rapp and Adam Pascal at the Performing Arts Center on Saturday evening: there weren’t enough people in the audience. It wasn’t that the crowd needed company since they were as enthusiastic as any in hall history and exploded joyfully at any number of opening notes to the many songs sung on this night. While Rapp and Pascal are well known on the Great White Way for their roles in the original production of the multi-Tony award winning show “Rent” they may not carry the same cache out west, especially out southeast LA County.

Yet, both young men demonstrated talent and passion to spare, singing with such conviction and confidence that the two dozen numbers they performed kept the audience ecstatically happy for over two solid hours. While their styles are completely different they both possess wonderful voices and tremendously polished stage presences. Adam Pascal opened the show with an acerbic wit and a powerhouse voice that ranged from baritone to strong tenor to falsetto with dramatic effect. He sang from Broadway and Pop but managed to pay homage to the composers without copying the songs exactly. Case in point was Elton John’s “Rocket Man,” and Peter Gabriel’s poignant “Solsbury Hill” along with show music gems “I Don’t Care Much” from Cabaret, “What I Did for Love” from A Chorus Line, Steven Sondheim’s “Not a Day Goes By,” “I Feel You Joanna” from Sweeney Todd and a jazzy arrangement of “Maria” from West Side Story. He also sang some very nice original material including “Turn the Lights On” which he accompanied with himself on stick-bass and a memorable send up of his “A Single Drop of You.” Finally there was a rather unusual tribute to Ronnie James Dio which allowed Pascal to use every molecule of his very strong pipes.

While Anthony Rapp seems diametrically opposite in his cool, laid-back attitude the voice and stage confidence gained on Broadway were just the same as his concert-mate. Rapp elicited wild response from the RENT-heads in the mezzanine with his every move but for the most part he had the talent to match the adoration. His set was much more romantic and emotional but contained the similar components of Broadway and Pop. He did splendid versions of “Creep” by Radiohead, “Losing My Religion” by REM and a velvety “Chasing Cars” by Snow Patrol along with show tune “The Origin of Love” from Hedwig and the Angry Itch. There were also his original material “Then Again” and “Now I Know.” given a nice sheen by his sweet voice. Very powerful moments came in songs he dedicated to his late Mother “Visits to You” and “Without You” that had hankies mopping tears and mascara all over the hall. Still the many RENT-heads were hoping for and got a handful of the many great songs from that fine musical. “Living in America” just whet the appetites which were further satisfied by encores including “One Song Glory” and “There’s Only Us” and “Seasons of Love” that pretty much sent the audience into a spirited standing ovation.

Yamato October 8, 2011

2011-10-09T20:49:00.000-07:00

Yamato Takes Cerritos to Another Drum Level

By Glen Creason

Happily, Saturday night was time for Taiko again in Cerritos, the Japanese art form that is one of the most invigorating methods of creating music found on the planet. The music is played almost exclusively with substantial and expertly crafted wooden drums of various sizes from small to just awesomely huge. The actual instruments date back almost three thousand years and have been used for everything from court music to encouragement to battle for troops in feudal times. I could go on giving the names of the various sizes of drums and the other instruments that compliment this style of music but this is one of those experiences that when you are sitting in an audience you feel it right through your body with an exhilaration that is rare in a concert hall. Yamato, a group from

Japan

founded in the 90’s visited the Performing Arts Center on this early fall weekend and took Taiko or Wadaiko to just another level. This young and electrifyingly energetic drumming juggernaut had all the cylinders firing at maximum rpm for two seemingly short hours that defied human stamina and stretched the art of percussion to the limit.

There was no messing around as the opening number “Akatsuki” featured ten drums and an equal number of busy musicians raising pulses with flying arms that became blurs below sweetly smiling faces. They used several kinds of sticks to strike the skins stretched over these drums ranging from what appear to be drumsticks to thin, flat unfinished boards to long kendo swords that are all wielded with precision and incredible harmony with the other nine or ten drummers playing along with them. Through the following four more pieces; the women and men of Yamato played to extremely demanding levels without faltering or even looking fatigued. They played in counter-point to each other but never seemed to be competing but only driving each other to higher heights. In “Muga Muchu” the huge drum created tones that shook the back walls of the theater but the following number used kotos and six smaller drums to reach nuances of Japanese classical traditions.

Yamato played standing over drums, standing in front of drums, sitting with legs wrapped around drums and even carrying them by straps that they used to manipulate sound in ways that a stationary object could not do. The group opened the second half of the performance with “Ucho-ten” that gave notice that there was to be no let-up of energy with one of the rare solos was undertaken by the amazing lead drummer (founder and director: Masa Ogawa) who true to the ensemble nature of the show is not singled out in the program. All eleven members truly were excellent in performance and really appealing in their obvious joy at playing this music. Japanese harps were used in one piece along with cymbals that were rung with some whimsical effect in a game of catch with musical notes. The seriousness of the art that must require rigorous training and rehearsal was always tempered by a playfulness that showed the passion the group has for Taiko. The finale, “Gamushara” and an encore were just pure, joyful, free-form celebrations with the audience joining in giddy, rhythmic clapping and foot stomping followed by a completely organic and well deserved standing ovation.

Viver Brazil September 24, 2011

2011-09-25T21:08:00.000-07:00

Viver Brazil Brings Culture, Capoeira, and Dance to Cerritos

By Glen Creason

The Cerritos Center for the Performing Arts just happens to be the perfect place for dance performances from all over the world. It is such good fortune for locals that we can learn about other cultures in such a stimulating way with the music and choreography of places as exotic and far flung as all the continents on planet earth, excepting possibly Antarctica. On a rather energized Saturday the group Viver Brazil visited, not from South America but Los Angeles where the troupe formed in 1997 to show this amazing Brazilian dance culture to the rest of America. This is an uncompromising show with live music, non-stop singing and spirited choreography put together by a husband and wife team of Linda Yudin and Luiz Badaro. The six pieces performed were unique unto themselves but are all based on centuries old traditions of Brazilian folklore and religion.

The opening piece with dancers in pure white was a celebration of the tradition of the Great Spirit. This dance to Orixas was the connection to their own cultures by slaves brought from Africa which they integrated into Brazilian life. With five percussionists providing a textured and rhythmic beat the ten dancers turned the stage into fascinating tableaux of color and movement. The second piece turned to the broadest exploration of the “Great Chain of Life” that saw synchronicity punctuated by breakout solos in an extremely intricate and demanding style of modern dance. Remarkable throughout was the robust singing of Katia Moraes, providing a narrative that rose above even the thundering drums of five tireless drummers. Ms. Moraes is a vocal powerhouse who seems ready to sing at full throttle all night long.

The second half was even more engaging with the initial piece “identity” trying to connect the artists on stage with the people in the audience. It also included a finish with a flourish, an extremely physical mixture of dance and gymnastics based on capoeira (a mixture of martial arts, dance and sports training) by Leandro DaSilva that left the audience agog and caused a sigh or two from ladies in attendance. “In Motion” was the highlight of the entire show with the dancers turned loose for some full out expression on a canvas “painted” with sound and motion of another Brazilian martial arts called Samba de Roda spiced by contemporary West African and Brazilian dance moves. One of the most compelling parts of the entire performance is that the dancers really work hard and are not afraid to show sweat which demonstrates the passion of the dance. There was plenty of perspiration and plenty of passion. There was just a small break with a charming duet between Katia Moraes and Vania Amaral comparing Rio and Bahia that good-naturedly called out each region that then blended into a wild finale celebrating Carnaval. Here the dancers used the tradition of blocos afro or parading in groups to show community and affection for the society. In dazzling costume and dancing that seemingly defied bodily limits the Viver Brazilians seemed as fresh and strong as in the opening number while warming the big hall with a particular Brazilian glow.

Ray Chen Violin with Julio Elizade piano

2011-09-17T17:13:00.000-07:00

Ray Chen Violin at Cerritos: Youth, Passion and Genius

By Glen Creason

Sometimes an artist is just so great in performance it is both inspiring and humbling. Such inspiration came in abundance at a mid-week concert at the Performing Arts Center and the humility came when an observer tried to do justice to this superb concert by young violinist Ray Chen. Chen was just amazing on every level imaginable for this demanding and expansive show, joining with pianist Julio Elizade for one of the finer Cerritos evenings of classical music in recent memory. The technical skill and command of the stage were obvious from the opening strains of the first brilliant notes of Giuseppe Tartini’s “Sonata in g minor” tripping from the delicate passages of the opening movement to the dramatic and physically demanding “Allegro assai-Andante assai” at the finish. Chen stood like a matador, smiling dreamily while his hands caressed the instrument seeming to enjoy the music as much as the many admirers in the audience who watched in awe. “Sonata in A Major” by Cesar Franck was next ranging from melancholy to elation with an increased participation by Elizade’s piano producing a crisp interplay between the two principals. Chen took themes from the first three movements of the sonata and repeated them in a grand journey of the “Allegro poco mosso” which focused on the violin once again. Insouciant young Ray Chen never seemed to break a sweat, despite his dabbing at his forehead occasionally rather elegantly with a handkerchief.

A short intermission was followed by one of the greatest and most challenging violin works in existence, J.S. Bach’s “Chaconne from Partita in d minor” composed of four dances with their rapidly repeated themes and a truly grand finale of the “ciaccona” which was beautifully accomplished by Chen with such dazzling ease it boggled the audience who actually gasped at some of the technique. Several audience members, delighted by the performance shouted bravo while taking leave of their seats at its spirited conclusion. While such a demanding piece might sap any violinist, Chen seemed to gain strength and confidence, launching into the highly romantic pair of jewels by Henryk Wieniawski, “Legende, Opus 17” and “Variations on the Original Theme, Opus 15” which utilized all the technical skills of the young maestro. At this point Chen had played an hour on stage without looking at a sheet of music. Kind of like standing in front of an audience and reciting the first one hundred and fifty pages of “Moby Dick” without glancing at the book. Beyond the dazzle of the instrumental pyrotechnics was a soulful and emotional performance that mesmerized the house. The cheering audience asked for more and despite appearing to have given everything he had Chen just brought out two encores, one a gorgeous Gluck melody and a final Wieniawski “Caprice in A Minor” that finished off a glorious evening in perfect style and more shouts of “bravo!” One final note was the fine work as page turner for the briskly paced concert by our own Daniel Penland, sometimes seen in the Performing Arts Box Office but on this night, elegantly attired and sitting with the great artists on stage helping the music to flow into the great hall.

The Ultimate Doo-Wop Show September 10, 2011

2011-09-11T17:38:00.000-07:00

Doo-Wop at Cerritos: a Sound Whose Time Has Come

By Glen Creason

Pop music has as many sub-genres as Carter had pills but Doo-Wop may be the most ignored by the young who turn to stuff that musically can’t hold a candle to the pristine harmonies of the fellas on the street corner. Yet, at Cerritos I sat behind two young women who seemed to have gotten the message and were having as great a time as the packed house-full of folks who remember when twitter was a lyric in “When the Red Red Robin Come Bob Bob Bobbin Along” The girls and a few thousand others liked the evening enough to stand and cheer and do plenty of chair dancing that did not endanger sacroiliacs in the assembled Boomers. These Doo-Wop resurrection concerts walk a thin line between nostalgia and neuralgia of the aged but there is nothing like hearing the great old songs live, if they are done right. “The Ultimate Doo-Wop Show” happily fired on almost all cylinders and the few notes that maybe didn’t reach vinyl records heights were easily forgiven in the glow of the number of great ones on display.

This show was dominated by the excellent Seymour Potts with the Contours who lit up the auditorium with high voltage R&B including their memorable hit “Do You Love Me” (Now That I Can Dance) along with a fiery send-up of “Shout” that was pure adrenalin. “The Contours” are originals who can still bring it with hot sauce on the sounds too. While this show closing gallop sent everyone to their cars happy there was plenty of other fine music throughout. A neo-doo-wop group, “the Royals” from San Diego were perfect in their tight harmonies, even singing the now highly ironic “Teenager in Love” to a crowd that last saw the teen years about half a century ago. There was Joe Jones, the original lead singer of the Pentagons holding steady on “To Be Loved” that stirred some old romance cells. Paul and Paula came out and looked good, bringing memories of 1963 with “Hey Paula” that might have sounded great coming out of the vibrasonic in your 62 Nomad while cruising up Bellflower Blvd. The Volumes were classic, choreographed flash with their old hit “I Love You” that demonstrated the emotional appeal of this style of music when sung by four guys becoming one voice. The first half was then closed by the Vibrations who really put electricity into the hall with “Hang on Sloopy,” “Peanut Butter” and a terrific “Watusi” that got me to tap my pen on program.

The second half was more exciting and satisfying sounds from the days when pop music was about harmony and fine voices. “The Olympics” picked up the pace with “Big Boy Pete,” “the Hully Gully” and “My Baby Loves the Western Movies” which sent some old cruisers swinging their air lassoes in the audience. The best voice heard on the night was without a doubt Kathy Young who seems to have been sipping from the fountain of Ponce de Leon and when she crooned “A Thousand Stars” it sounded just as sweet as it did coming from your car radio back in the day. As the penultimate thrill of the evening the Doo-Wop royalty “the Spaniels” came in silver suits and silky voices to give a masters class on how to sing in harmony, especially on the song that has been called the anthem of the genre “Goodnight Sweetheart” which set the huge crowd to swaying happily in Doo-Wop joy.

Brian Wilson August 27, 2011

2011-08-28T15:23:00.000-07:00

Brian Wilson Makes Summer Sweeter at Cerritos

By Glen Creason

“And the way the kids talk so cool is an out of sight thing
And the number one radio station makes the town really swing yeah
Salt Lake City we’ll be coming soon”

It might seem funny to quote this verse and then go on to rave about the great songwriter who wrote it but such is the case of the unique Brian Wilson. Mostly known as the driving force behind the Southern California native son heroes “the Beach Boys,” Wilson is a bona fide genius at composing and arranging popular music. His work stretches from the early surf-sound gems of the 60’s to recent triumphs in the 21^st century including the improbable re-working of Gershwin tunes. An exuberant full-house of Wilson fans awaited him on Saturday night at the Performing Arts Center and they were not disappointed despite giving the man a standing ovation at the first few bars of “California Girls” that was the curtain raiser at Cerritos. Odd, quirky, original, and mostly just amazingly talented, Brian Wilson lead a ten-man band that presented the song signposts of Boomer-youth in a hall where many in the crowd were twenty-something’s who have just recently “discovered” the endless Summer of Wilson-groove.

For the white-goatee set there were the songs that were just like a drive up PCH in a convertible when you weren’t ashamed to go shirtless and had plenty of hair hanging in an inverted wave across your tanned forehead. It felt great to hear “Dance, Dance, Dance,” “Catch a Wave,” “Little Deuce Coupe,” “In My Room,” “Don’t Worry Baby,” and the now ironic “When I Grow Up to Be a Man” that featured that fantastic Beach Boys vocal harmony and driving sunny beat. Only the achingly nostalgic and corny “Surfer Girl” seemed to slow the band’s accelerator but even lesser lights like “Wendy” or “Drive In” or yes, “Salt Lake City” sounded very sweet in these arrangements. While Wilson sometimes sits at his keyboard with arms down at his side or waving unpredictably to the sounds it is very much his talent that makes this all sound so great, with precise harmony coming from everywhere on stage and a tapestry of composition that meshes all the threads perfectly. A perfect example of the power of the sound was the first-half closing kick of the rousing “Darlin’,” “Let’s Do It Again,” and a wild “I Get Around” that made me actually feel young again.

The second half mixed the surprisingly fine Gershwin medley with Wilson originals including George’s “Summertime,” “They Can’t Take That Away from Me,” “I Got Rhythm” and the fine “Nothing But Love” alongside the hymn-like “Add Some Music” a perfect “Sail on Sailor” and one of Brian’s favorite old ones “The Little Girl That I Once Knew.” The band just got better as the show progressed, especially the twin talents on keyboards/vibes/vocals in Scott Bennett and Darian Sahanaja and terrific work from saxophonist Paul Mertens and percussionist Nelson Braggs. Yet, the lynchpin of the entire sound is the falsetto singing and guitar playing Jeff Foskett who was a tower of strength. More Beach Boy beauties flowed including “Sloop John B,” “Wouldn’t It Be Nice, “ “God Only Knows” the recent winner “Heroes and Villains” and a rip-snorting “Good Vibrations.” Everyone stood and danced or thought about dancing in the glow. The following encores belied a man near 70 but Wilson drove this adoring audience to heights that only a master can reach.

Chubby Checker August 14, 2011

2011-08-14T21:52:00.000-07:00

Chubby Checker Twisted and Terrific at Cerritos

By Glen Creason

Back in the day my little sister was quite the socialite when my family moved to Orange County for several strange years. As a third grader she was a stylish trendsetter with her RCA Victor portable record player and one single, sensational record that sped on the turntable at 45 r.p.m.s. That same disc became the center of action at THE social event of the year “a Twist Party.” Every kid in her class attended and gyrated to a sweaty fare thee well at Chubby Checker’s hit record of 1960. When parents came to collect the young hipsters they might have been ordered to get down to Wallach’s Music City and put down the $1 to buy a copy. Since that day, Chubby Checker’s song has been played at least a trillion times on top-40 radio and in homes across the globe. Recently, a poll listed the humble tune as the favorite pop single of all-time. But that was 1960 and even with my math skills that makes it 51 years old and the singer something beyond those years. The question was “can Chubby still twist?”

Surprise number one was seeing the old twister looking so healthy and fit, even wearing skinny jeans believe it or not. Second surprise is that he can still sing, moreover, he can still rock pretty darn good. The show was so stimulating that many of the Boomers present felt compelled to get up on the stage and you guessed it, twist. Chubby Checker is a seasoned pro and he did what has always made him an enduring and endearing figure in pop: he sang one good song after another without as much as a heartbeat in between. They came in breathless succession: “Good Lovin’,” “Little Bitty Pretty One,” “Pony Time,” “Limbo Rock,” and “I Heard It Through the Grapevine” all evergreens from pop history along with nice imitations of other masters like Fats Domino (“I’m Walking and Blueberry Hill) and even Elvis (“Stuck on You”). Yet the crowd came to twist and Chubby sang all of those songs including “Twisting U.S.A., “Let’s Twist Again,” “Twist It Up” and the very grand finale of “the Twist” that saw many come dangerously close to a chiropractic visit in the near future. This was a good natured and energetic show with “the Wildcats” accompanying with strong rhythm and blues backing, even with a couple of guitarists that probably never saw a turntable, let alone the one with the .45 spindle. Also there was a generous amount of audience participation including one woman of the Boomer vintage whose “hucklebuck” brought the house down. The audience loved it and gave the man two standing O’s at the conclusion.

The afternoon concert was opened by comedian Scott Wood who was very funny for just the right amount of time, working clean and clever throughout. Danny and the Juniors performed some pretty frisky Doo Wop as the curtain raising act including some real classics from the Rock and Roll vault like “Rock and Roll Is Here to Stay,” “Pony Express,” and the classic “At the Hop” that made some memories stir in many a chair at the Center.

Louis Anderson with Paul Rodriguez July 29, 2011

2011-07-30T16:38:00.000-07:00

Louis Anderson and Paul Rodriguez:

a very full night of comedy at Cerritos

By Glen Creason

A strange thing happened to the delightful comedy concert at the Performing Arts Center on Friday night that was steaming full speed ahead toward four stars. Louis Anderson’s understated droll stories had won over the mostly mature house and at the intermission there were a couple of thousand happy Cerritos visitors, smiling from ear to ear. What could go wrong with the same group, having a drink or two in the twenty minutes between sets and the headliner, local favorite Paul Rodriguez taking the stage. No problem, no problem at all…for the first hour and fifteen minutes as Rodriguez kept it clean and down the middle at a dizzying pace, bouncing from one topic to another like a man with pure caffeine pumping through his veins. One had to wonder with the rapid pace of jokes and the changes of subject just how long could the comedian keep this up. The answer was for a long, long, long time.

The first hour was classic Paul Rodriguez, the veteran stand-up with extensive knowledge in keeping a crowd laughing at absurdist vignettes ranging from crossing the blurred border back to a Latino America to tales of religions, strange Winter sports, his Mother’s blue chip stamp collecting and his ideas on family/kids/relationships with women. All funny, all delivered briskly, spraying memories all around the hall which seemed to be with him. When the energy started to lag he returned to the story of the bicycle he longed for as a kid and his Father’s refusal to take him to Western Auto to purchase the object of his dreams. The last time Rodriguez visited the Center he told this tale and gave goose bumps since it signified the sacrifices an immigrant family would make to please a child raised without much but love under the Christmas tree in Compton. But, this time the story had a different ending that turned it from heartwarming to cynical and elicited a sigh of disappointment where there was a dabbing of eyes before.

At some point Paul Rodriguez grew restless at the responses and sometimes the monologue wavered from hilarious stand-up to petulant, self-conscious nervous talking. As the clock approached the three hour mark for the audience Rodriguez seemed to be frustrated that they were more quizzical than jolly and he just kept talking as they shifted in their seats. As the old Henny Youngman joke went “he reminded me of a Chinese comic “On Too Long.” Too bad because Rodriguez is in a very small group of the very best comics in America and deserves the stardom he has paid big dues for but on this night he just stayed too long at the Fair.

Louis Anderson, on the other hand, was pure butter and totally captivated the crowd with his low-key style and droll stories about his colorful home life in Minnesota, especially his hoarder Mom and “loud Dad.” He turned ordinary experience at the airports and security measures into laugh out loud moments of joy. He does spend a lot of time on his weight and love of food but it all works since he is only making fun of himself in the end. His finishing kick on aging which involved interplay with audience members was a delightful bit of storytelling and insight into the human condition. In forty-five minutes Louis Anderson gave the Cerritos audience their money’s worth in laughter. The following two hours were gravy, so to speak.

Don McLean July 23, 2011

2011-07-25T11:02:00.000-07:00

Don McLean at Cerritos as American as American Pie

By Glen Creason

One of the most inspired YouTube videos in memory is the truly fantastic civic pride exhibition by Grand Rapids, Michigan. An entire town is choreographed while lip sinking the anthem “American Pie” as they showcase a city dissed by Newsweek magazine. You won’t find an example of American strength more emblematic and full of spirit than this one. http://www.youtube.com/watch?v=ZPjjZCO67WI It is no surprise that the town used this long and textured song to exhibit what is great about America because it has become one of the most beloved tunes of all time despite getting played on top-40 radio a zillion times. Now, there is hearing it on the radio with its familiar refrain and then there is the live version which was heard at the Performing Arts Center on Saturday night where the entire full house is singing along in full-voice chorus after heart-warming chorus. Certainly a visit by Don McLean, a dean of songwriting and a singer of great renown is fortunate for us in these parts since he has made enough money to retire and sit up by the radio towers that broadcast his classic each day.

Yet, McLean is an entertainer to the bone and he doesn’t like to rest on his laurels so there he was in the old hometown offering up way more than just American Pie while steaming full speed through over twenty of his repertoire. It is an impressive treasure chest of songs including the gems “Vincent,” “Winterwood,” “Castles in the Air” and “And I Love Her So” that will certainly stand the test of time. He also mixed in marvelous material from his many albums that kept the pulse thumping including a Buddy Holly medley (“Well Alright,” “Wishin’,” and “Peggy Sue Got Married”) along with Roy Orbison’s magnificent “Cryin” that stirred the gray cells of the mostly Boomer crowd. McLean also chose some fine songs that may not have charted, especially the poignant “Homeless Brother,” and “Jay Gould’s Daughter” that had a contemporary message that hit home. There was also 21st century stuff many had not heard like “Run Diana Run” about media obsession with celebrities and the light hearted “Fashion Victim” that varied the flow of serious songs.

In case one might forget that this man is a fine musician he played the heck out of the old Reverend Gary Davis’ “I’ve Got the Keys to the Kingdom” and rocked it country and western style on “Living on Tulsa Time.” While the man is not close to the singer who caressed these ballads forty years ago, I can’t run to first base too fast anymore either. The band that backs Don McLean is understated but excellent, especially Vip Vipperson on lead guitar and Tony Migliore on the 88’s. The evening was also a family affair when son Wyatt came out to sing a couple of folk tunes while demonstrating the best voice heard all evening with a beguiling shyness that just added to the concert’s charm. In the end, however, it was the anthem “American Pie” sung by the giddy audience that made the evening memorable. Just like Grand Rapids, Cerritos sounds pretty good singing in harmony.

Perla Batalla with Karen Hammack May 11, 2011

2011-05-13T11:34:00.000-07:00

Perla Batalla with Karen Hammack: Sweet Sierra Night

By Glen Creason

It is sage advice to live every day like it was your last and in turn write every review like it was your last. If this is to be my swan song then the Perla Batalla concert on a Sierra Night was the perfect way to finish with a flourish. Ms. Batalla is in a small handful of the best singers on earth and to have her at Cerritos was a coup in itself but to have the privilege of getting to hear her test out brand new material for a full house proved to be one of the very best shows here in a long, long time. Co-star Karen Hammack on piano could have faded to gray next to such talent but instead her solos were breathtaking, Technicolor voyages that just lifted the vocals to places you can’t reach alone. There were other delightful surprises and stories from the stage on this night that raised the performance to dizzying heights.

La Batalla came right out and bravely tested her voice with a surprising, show-opening “Amazing Grace” that morphed from hymn to gospel rouser. As was the pattern for most of the night the next song was a complete change-up with the restrained and gorgeous “Lazy Afternoon” followed by a “Crazy Love” that made you forget Van Morrison. Two gold-plated Leonard Cohen compositions; “Suzanne” and “Dance Me to the Ends of Love” followed familiar ground where Batalla seems to own a franchise. The lovely old Irving Berlin masterpiece “What’ll I Do” caused hankies to be drawn forth and the exotic “Nature Boy” once again celebrated love that was the sweet, central theme of the show. The first half ended with the sensual and evocative “To Love Somebody” that practically made me want to go have a smoke afterwards.

The second half was full of fun surprises and a millennium star diamond musical moment at the Cerritos Center. There was a trinity of beauties from the great American songbook including the especially poignant to the singer “A Nightingale Sang in Berkeley Square,” along with “the Very Thought of You” and “the Nearness of You” that are perfectly suited to the wide-ranging vocal capacity of Perla Batalla and piano melodies that Karen Hammack turned into satin and gold. In the past one would have to say that the signature song of this artist was most certainly “Cu Cu Ru Paloma” and that would be hard to deny on this night, as her stunning rendition was deeply emotional and riveting while drawing a passionate response from fans.

As a perfect break in the deep emotion there was some family fun when Perla sang “Las Mananitas” to her sister-in-law and then turned the mike over to her very talented comedy writer-actor brother Rick Batalla who sang an impromptu birthday love song to his wife that brought the house down and most importantly greatly pleased the missus. The fairly giddy Perla then returned to the Leonard Cohen treasure chest for a goose-bump raising “Bird on the Wire” that closed with a Minnie Riperton note.

As a music lover since my Mom took me to Wallach’s Music City to buy the new Righteous Brother platter way back I have long searched for that song that puts a listener in a “happy place” and makes an album precious. That one song that drives you to be standing in line at the record store the morning that disc is released. Those kinds of songs and live performances are few and far between. When Perla Batalla told the audience they were going to perform a piece she had only found weeks ago you might wonder if there might be some rough edges on such a song. Instead the ladies took the entire room into that “other place” and it was quickly evident that one of those precious gems was found. The song, “Love Is Everything” took an entire room to a place where time stands still and the heart beats one thump at a time. Nothing but music and love can make this kind of miracle. I was still catching my breath and mouthing the words “wow” but the crowd exhaled, then cheered and Perla and Karen gave them encores of “Round Midnight” with guest artist Chris Conner sounding decidedly Mingus-esque on a wonderful bass and a finale of “Gracias a la Vida” featuring guitarist Gilberto Gonzalez playing percussion.

If this was my last show, at least I can go off to paradise humming “Love Is Everything” which on this night described the time and place perfectly.

Mothers Day Four Years On

2011-05-07T10:42:00.000-07:00

From the eulogy for my Mom April 2007

"When I was a little boy I had the good fortune of taking a trip with my Mom to the Coronado Hotel in San Diego. The stars were all aligned perfectly and it was just the two of us. There in family lore is the story of how I sailed my little hound’s-tooth matching cap from Robinson’s Department store into the bay during a harbor cruise. The trip is golden in memory. Early on it became apparent that I had a hearty breakfast appetite that Mom satisfied by ordering me adult sized servings of flapjacks, Denver omelettes, and bacon, the food of joy. When we checked out the staff knew us as a Mother and son who fed the squirrel, Nutty Jimmy out on the lawn and ate the big breakfasts on china plates. As we dawdled at the front desk, a staff member mentioned my status in the dining room and she took my hand tenderly and said “yes, he’s good boy!” It was then I realized what I enjoyed for the rest of my sixty years with her, that she loved me. Nothing ever came close to being that valuable for me. For all the stupid, insensitive, coarse and selfish acts I have committed, for the hundreds of times the raw old world bruised me to the bone I could hold to those words and remember the softness of her voice calling me “sweetie” even when I was as sour as lemon rinds."

Robert Kapilow What Makes it Great Appalachian Spring

2011-05-06T15:40:00.000-07:00

Rob Kapilow on Copland’s “Appalachian Spring”: Simply Terrific

By Glen Creason

Any review of one of Rob Kapilow’s amazingly instructive concerts has to be comprised of three parts. The first part deals with the wonderful teaching abilities of Kapilow, the second is what makes the subject music great and lastly the playing of the actual piece by the assembled musicians. On this Wednesday night at the Performing Arts Center Kapilow chose the evergreen composition “Appalachian Spring” by the great American composer Aaron Copland and was assisted by 13 members of the Pacific Symphony. Kapilow often asks the question to the audience “got it?” and most certainly the enthusiastic crowd at this show totally seemed to get it and then some.

Kapilow has an easy charm and breezy teaching manner that comes at you at 78 r.p.m. but his warmth and love for the music makes classical music as fun as a popcorn movie on a rainy day. In this case, as the Lakers folded at Staples, we the lucky folks of Cerritos were instructed, thrilled and moved to a tear or two unlike the downcast basketball fans outside in the real world. It also helped that Kapilow chose the much beloved “Appalachian Spring” which never gets old and when touched by this master-teachers hand becomes even more special and wonderful. It was explained that Copland wrote the piece for a ballet created by the great Martha Graham and wished to make it “seemingly simple but only seemingly simple.” Certainly the melody of “Simple Gifts” that appears and reappears in the piece is from the Shaker hymn written in 1834 by a church elder. The Shakers believed that simple was beautiful all on its own and what Copland does with just this chord and an old melody is exhilarating. It was also good enough to gain the composer the Pulitzer Prize for composition in 1944. Despite the fact that Copland had never been to Appalachia and wasn’t even sure of the title of the piece until Ms. Graham named it before the premiere he wanted to portray the pioneer American spirit in this rustic musical landscape. Copeland was interested in the essence of this idea and not the reality so what comes out of the piece is a great optimism based on this pure simplicity. Even though Aaron Copeland was a very reserved and dignified soul a close friend described him as “he never stopped being a child.”

At Cerritos, Kapilow worked hard, harder than some Laker big men and showed the intricacies of this seemingly simple composition. At one point he had over one thousand audience members “air conducting” the one chord that begins the ballet. As he has done over 180 times for classical compositions Kapilow took it apart, piece by piece and then puts it back together to a lovely whole. After the teacher shows the audience how each component is cleverly constructed and how true genius takes risks to reach these heights of greatness the entire auditorium is salivating to hear the piece played. This was one of those shows where folks were anxious to get back into their seats for the second half so they could hear the “Appalachian Spring” in whole cloth after Kapilow explained how it was constructed. The thirteen members of the Pacific Symphony did not fumble the ball and played inspired after getting their appetites whetted for the Copeland. With superb performances by the flautist and first violin along with every single other member of the ensemble Copeland’s great work never sounded so good. Bravo, maestros!

Pacifico Dance Company April 30, 2011

2011-05-02T18:58:00.000-07:00

Pacifico Dance Company Dazzles Cerritos

By Glen Creason

I don’t think in my near two decades of covering shows at the Performing Arts Center I have seen a show to surpass the spectacular Pacifico Dance Company extravaganza on Saturday night for color, costumes, history and enthusiasm from both sides of the stage. Maybe the mighty Moiseyev of Russia stands up there with Pacifico but this is a group that locals should be very proud of in their incredibly textured and dazzlingly beautiful programs. To add further amazement is the fact that Pacifico is based here in Los Angeles and draws much of their talent locally while recreating dance and folk traditions of Mexico. This is not corny Mexican hat dance at Olvera street show but a serious and stately recreation of sometimes century’s old traditions. Also the show lovingly mixes modern dance with folk traditions and with countless gorgeous costumes there is never a dull moment in the near two hours of performance.

The Cerritos concert was divided into six parts that reflected different regions and traditions of the mother country including a sextet of musicians who further enflamed the large crowd to shouts and copious whistles. As an aside, I was amused by the rather accurate bird whistles and recreated skyrockets that seemed to burst up in the concourse along with shouts of “Si Senor! during the Jalisco part of the program.

The initial segment was pure modern dance called “Mictlan” that was inspired by Aztec mythology expressing the cycles of life by dancers who were in aquamarine body suits. If you thought the show might be all in this vein it changed quickly enough in “Tropico y Calido Chiapas” with the head rocking celebratory courtship dances by beautiful ladies in dresses so full of color you could hardly take it all in the ten minutes of the piece. The first half closed with the long and spirited “Danzas y Chilenas Costenas” inspired by Oaxaco and Guererro with a mix of flamenco, African rhythms and folk music from northern Mexico. The opening with dancing demons and a heavy tap dancing was dreamlike, bordering on scary.

The second half had much more, starting with the centuries old “La Danza de Quetzales” from Puebla with the men wearing huge pinwheel headdresses in tribute to the Quetzal bird from Indian mythology and the women in dresses that looked like it took a year to make. This was followed by “Zafra en Tamaulipas” giving a nod to the sugar cane harvest done in peasant attire which were inventive and beautiful. The musicians played Spanish influenced folk music from the Northeast of Mexico and the Cerritos crowd roared in approval. I hate to say the best was last but most certainly the electricity surged in “Viva Jalisco” that might have been the most familiar but also the highest energy. The sextet gave way to a full mariachi ensemble and the cowboy costumes were changed even during the set. The finale with all the women in gorgeous dresses swirling and the hombres in full mariachi mufti made for a very memorable grand finale after the “baile de sombrero” that may be familiar to all in SoCal but to see a dozen couples on stage all doing it in crisp harmony was thrilling indeed. Si Senor! Indeed.

Sejong Soloists with Orli Shaham April 22, 2011

2011-04-23T17:20:00.000-07:00

Sejong Soloists with Orli Shaham at Cerritos: the Future and Seasons Are Bright

By Glen Creason

After much classical Sturm and Drang this season at the Cerritos Center for the Performing Arts the Sejong Soloists came to town and provided the hall with genuine happiness in the form of Felix Mendelsshon, Michael Haydn and the suddenly Cerritos star Astor Piazzola. It is amazing that so much young talent could be assembled on one stage but these soloists put an honest-to-goodness all-star team to work and their youthful enthusiasm mixed with superior talent make for some very beautiful music. These musicians hail from all over the globe and together they speak the same sweet language of classical music. If only the people of this messed up planet could operate like these young artists and work together in harmony we could listen to Mendellshon and Piazzola instead of watching battles in the streets. Most of these young men and women are the cream of the crop from schools like Julliard but their egos seemed not to show on this night as they worked together delightfully.

The fourteen-member troupe filled the hall with joy from the first note of Michael Haydn’s “Notturno in F Major” that got the audience upright in their seats and ready for more. Despite being in his more famous brother’s shadow Michael Haydn’s work is wonderful and influential on later composers such as the great Mozart. This piece was cake in the hands of Sejong, producing a bright and energetic tone throughout. The second part of the program featured the demanding and somewhat eccentric “Four Seasons” of Astor Piazzola that was divided between four excellent soloists. The violinists: Adam Barnett-Hart, Ji In Yang, Emilie-Anne Gendron and Ana Park were uniquely wonderful, reflecting not so much the change of seasons but the emotions of the people of Piazzola’s native Buenos Aires. To hear the four parts done as a suite was fascinating since they seemed to fit together perfectly despite the fact that the composer wrote them as separate entities. With the four soloists shining in each segment it seemed this might be hard to beat but there was a very special second half ahead.

The audience needed a little breather after Piazzola’s intricate Seasons but the concert just got better and better. When pianist Orli Shahan put her slender fingers to the big Steinway worries seemed to melt away and the audience was transported to the Romantic period where the true genius Felix Mendelssohn wrote this “concerto in d minor for violin, piano and string orchestra” back when he was barely a teenager! This is not to short the superb work of violinist Daniel Cho who matched Ms. Shahan’s perfect playing and this sweet synergy made for some marvelously stirring moments. It was not the back and forth that this piece could be but a cooperation that elevated the music to blessed heights. Orli Shahan is in a handful of the best pianists heard in this hall’s history and it would be very nice to see her back on this stage some night in a recital. As it was she was very humble and thankful to play with this fine young group who demonstrated over and over again that the future is bright for serious music around the world. The rather refined and well turned out crowd said their farewells to the Sejong Soloists with a long and strong standing ovation.

Pink Floyd Experience April 2, 2011

2011-04-03T16:10:00.000-07:00

Pink Floyd Experience: Very Close to the Real Animal

By Glen Creason

Cover bands may always be the source of hipster and hater ire since they are not the original of whoever they cover. Even if that “whoever” is dead and gone or refuses to perform the popular music there are always those who hold their breath waiting for the return of their heroes. In some cases that will be a long wait and often the actual hearing the music performed live is the greatest compliment to the artists who are not willing or able to do the same anymore. So, there will always be skepticism about such groups and the Cerritos Center for the Performing Arts is an apt venue for such concerts where groups have covered the Beatles, Led Zeppelin, Frank Sinatra and in some shape or form Creedence Clearwater, the Temptations, the Kingston Trio and even Mark Twain. They may have not been the originals but they were certainly entertaining. On Saturday night one of the more challenging covers in hall history took a flying leap at the huge and complicated feat of a Pink Floyd concert which actually turned out to be great fun and certainly a compliment to the greats who created these songs.

The key to the success of “the Pink Floyd Experience” who performed a dozen gems from the 1970’s songbook was the fact that these guys are terrific musicians who really seem to worship the tunes they brought back to live life. On this night it was a spirited send-up of “Animals,” the strangely appropriate concept album of 1977 and some greatest hits that were presented in a colorful river of sound accompanied by an old-fashioned psychedelic light show and multi-media extravaganza that took you back to the carefree days of your misspent youth. Considering the current struggles between labor and big capital the album Animals makes perfect sense but most in the Cerritos crowd seems to be focusing on the lush organ platform, the huge baselines, a truly exceptional drummer, the occasional wild sax outer voyages and at the center the wondrous guitar solos once played by the incomparable David Gilmour.

Actually it is fair to say the Gilmour may be incomparable but the playing of Tom Quinn of “the experience” was absolutely astounding and created a Pink Floyd reality that made the show all about music and not memory. Quinn is the star here but the others in this band are excellent: John Cox on keyboards, Gus Beaudoin on a really big bass, Howard Pattow on difficult vocals, young Jesse Malloy on saxophone and John Staten, one of the best drummers heard in this hall in any show. The technical folks made the hall a changing, multi-colored phantasmagoria but the music was just a full, flowing river of sound, curving around the hall and sometimes raging to high points that made you completely forget what year it was and who was playing what. There was also a gigantic, inflated pig floating above the sometimes mind-boggled crowd that punctuated the three Pigs songs of the Animals set. There was more treats in the second half including “Money,” “Run Like Hell,” “Comfortably Numb,” “Brain Damage,” and even a brick from “the Wall.” All in all, the “ Pink Floyd Experience” did Roger Waters, David Gilmour, Richard Wright, Nick Mason and even Syd Barrett proud.

Andre Watts March 23, 2011

2011-03-24T17:21:00.000-07:00

Andre Watts in Command at Cerritos

By Glen Creason

I am not worthy to review the scintillating concert performed by the great pianist Andre Watts last week at the Center. It really was a “you had to be there” kind of an evening because the performance had a truly transcendent quality that defies the human word. Also Watts is simply a genius whose abilities exceed the grasp of mere mortals like me. There were layers of meaning and such abundance of musical texture to the concert that it would take a professor of composition to come close to doing the whole performance justice. Well, maybe a few humble words on such magnificent work will catch some of the light shone from Watt's beacon on that night.

It was completely appropriate that this was an all-Lizst program since that composer has risen and fallen and risen again on the fingers of great artists. Once upon a mid-19^th century time Franz Lizst was considered a genius and almost a saint, evidenced by the actual term Lizstomania that peaked around 1842 but remained strong for over a century. Then the circling buzzards of criticism had to pick at the legacy of this towering figure but his compositions speak for themselves when played by the right hands. In the hands of Andre Watts the Lizst legacy is shining bright but it is only an artist with his intelligence coupled with vastly superior technical skill and a passionate belief in the music that can properly showcase such demanding material.

Andre Watts did not waste any time in the full ninety-plus minutes with lesser material but went right for the biggest challenges and greatest rewards. He warmed with “Concert Etude No. 3, Un Sospiro” which was a country mile from the “sigh” in the title, roaring up and down the big Steinway piano, dynamically filling the hall while crossing his hands on the keyboard and sending arpeggios winging to the back wall of the Center. Hungarian Rhapsody No. 3 in B-flat major” was rhythmic and complex with flavors of the folk music inspirations drawn from gypsy czardas that so influenced Lizst. The “Sonata in b minor” was, as close to the Romantic tradition we know with tones that ranged from glowering menace to delicate beauty. These pieces took tremendous physical power, endurance and amazing control, ranging from hugely dramatic to very delicate expressions.

After a short intermission Watts gave a us more of the great variety in Lizst’ piano compositions, ranging from the modernistic tonal ambiguity of “Bagatelle Ohne Tonart” to the mournful “La Lugubre Gondola” to the troubled angst of “Schlafos, Frage and Antwort.” “Transcendental Etude No. 10 in f minor” may be the hardest to describe because it was just a musical decathlon of technical demands and range of emotion. The final pieces on the program were from “the Six Grand Etudes After Paganini” which are transcriptions of violin compositions that were wonderfully lyrical and then just filled with pyrotechnics that took the listener to the melodic edge. These are some of the most demanding pieces in all of piano literature but Watts just commanded the keyboard in every shade of expression and thrilled the audience to an honest to goodness ecstasy. He was summoned out for a romantic encore, more Liszt and more raving, standing ovations for a job done better than it can ever be described.

On Ensemble March 12, 2011

2011-03-14T12:58:00.000-07:00

On Ensemble: Triumphant Return to Cerritos

By Glen Creason

The On Ensemble once more renewed the mutual admiration society they have developed in Cerritos on Saturday evening. The Ensemble says they love the great hall with its enthusiastic audiences and the feeling seems to be totally mutual judging by the standing ovation that punctuated the conclusion of this concert. This, the third show they have done at the Performing Arts Center was the best yet, despite the young men raising the bar so high at their last show and causing some anticipation about this years festival of taiko drumming and hard to define totally cool music. Being the nice young men that they are they brought their parents along this time but what aces in the hole these folks were on this night. There were other surprises including the superb multi-percussion master Patrick Graham from Montreal, flute Master Kaoru Watanabe by way of NYC and the exquisite dancing of Chieko Kojima. The On Ensemble just to remind the local fans are Masato Baba, Shoji Kameda, Kelvin Underwood and Kristofer Bergstrom.

There was just a touch of bittersweet to the concert since so much of this fine music is inspired by recently devastated Japan but the On Ensemble took the courage of that land and people right into their performance and the results were inspiring. Of course, the heart and soul of the On Ensemble are these traditional Japanese instruments made modern which was evidenced in the show opening “Little Man” with the flute intro and exhilarating taiko drumming of five becoming one vibrating force. This is a visceral and powerful sound that just blasts the capillaries open providing a sensual, joyful and expansive sound that opens up the heart and mind. That high current energy level remained for the next two hours. “Strikes 13” was an amazing combination of the most unusual instrumental pairings from taiko to flute to whirligig to Jews harp. Patrick Graham put on a virtual clinic of sounds you can coax out of two opposing substances. “Yamasong” featured a long drum soundscape followed by pounding percussive crescendos, tuvan throat singing and wonderful sounds from a kind of koto. When Mom and Dad came on stage it seemed nice until they played and totally ripped up the big hall on “7even” that featured a deep and evocative sax solo by Russel Baba and some masterful drumming by Jeanne Mercer that demonstrated the boys are great and those apples don’t fall far from the trees. “Full Circle” was more of the same terrific ensemble work but this time it including plenty of visual appeal with actual acrobatics and dance by the performers including a very spry father Baba.

You could hardly start up again after intermission better than the utterly enchanting piece that commenced the second half with Chieko Kojima dancing a mysterious and haunting number accented by flute and taiko. Once again On Ensemble reached outward toward new horizons with Patrick Graham’s “Brilla” which expanded consciousness via turntable scratching, percussion on half-full pop bottles, throat singing, flute and taiko. Shoji Watanabe’s flute solo with the beautiful dancing of Miss Kojima was just breathtaking and begged the question why this music is not more in the public ear? Lastly, in tribute to the Mother Country the group performed “After the Rain” which offered a very palpable hope and renewal. The crowd responded with raving cheers and kept the boys on stage for more and more.

Spamalot March 6, 2011

2011-03-07T16:13:00.000-08:00

Spamalot at Cerritos: Plenty to Like a Lot

By Glen Creason

Once upon a time folks thought contemporary British humor just did not strike Yankee funny bones. Known for dry and quirky dialogue set in surrealistic situations comedy from England took a while to take hold in the colonies. By the mid twentieth century the Goon show with Peter Sellers or the “Carry-On” films that found their way across the big pond and made inroads to America. Then, in the late 1960’s a unique slant of such levity hit the US airwaves in the form of “Monty Python’s Flying Circus” that took absurd situations and made them into memorably hilarious skits. To this day, an entire generation of Americans may shout lines like “you were lucky!” from Python episodes at random to express their feelings. The catch phrase was “and now for something completely different” which can sum up the Monty Python experience quite well since they are completely different in a very good way.

Since there have been a number of successful Monty Python films it seems almost logical in the illogical Python world that there would be a theater musical morphing out of all this silliness and finally “Spamalot” hit the boards in 2004. Written by Python great Eric Idle and borrowing from the film “Monty Python and the Holy Grail” this broadly painted comedy sort of examines the Arthurian legend. That is if you believe King Arthur trotted about on foot with a “footman” making horse hoof sounds with halved coconuts and Sir Lancelot was a gay dandy and the Lady of the Lake is glamorous but self-absorbed vamp. Audiences have believed it however and “Spamalot” swamped the Tony awards six years ago and won best musical by landslide.

At Cerritos the Phoenix Entertainment production did justice to the Broadway original bringing unbridled silliness to brilliant color that sparkled with a live orchestra, humorous sets and very strong cast. Steve McCoy as King Arthur handled his demanding part with great skill, never making the regent whiny or truly pathetic despite the terribly daunting obstacles put in his way including clueless knights of the round table, insulting Frenchmen, tall tree-people, the dreaded Knights that say Ni! and one very fierce rabbit. Caroline Bowman was perfect in voice and comedic timing as the Lady of the Lake singing like a chanteuse and delivering lines that gained huge laughs. Adam Grabau was particularly wonderful in four roles including a taunting Frenchman and the ruggedly gay Lancelot. Glenn Giron as long suffering servant Patsy and John Garry as the fey Prince Herbert also stood out in this laugh crowded forest. The entire ensemble worked beautifully together since much of the fun here is in the crisply timed dialogue of absurdity juxtaposed against logical arguments, peppered by the vernacular. There are also moments of improvisation and even some tailoring to local tastes as when the Lady of Lake performs with the Laker Girls in scene six. Moreover, the music is actually memorable, taken right from some Python bits. “Always Look on the Light Side of Life” is almost anthem-like and “Find Your Grail” has a melody worth whistling between horselaughs.

Manuel Barrueco Friday February 25, 2011

2011-02-26T17:09:00.000-08:00

Manuel Barrueco and Cuartero Latinoamericano

Bring Class to Cerritos

By Glen Creason

The concert “Sounds of the Americas” at the Performing Arts Center was a perfect example of the great value of this theater to all of Southern California. While not packing the house, Manuel Barrueco and the Cuartero Latinoamericano performed a wonderfully challenging and uncompromising concert of compositions done by Latin American composers rarely heard in the southland. The choices came from all parts of
Central and South America and represented contemporary classical music from the 20^th and 21^st century, polished with plenty of verve and spirited playing. With one exception, Barrueco put himself within the group and essentially played as part of the whole making the Cuartero a Quintero. This shows the devotion of maestro Barrueco to the music since he is one of the most accomplished classical guitarists performing. Then again, the Cuartero plays at the highest level and he is in great company. The enthusiastic crowd of aficionados present certainly appreciated the effort and lusty shouts of bravo met the conclusion of this evening of fine music.

At Cerritos the show encompassed a large part of terra Latino including Barrueco’s native Cuba, Argentina, Mexico, Uruguay, and even that North American region known as Michigan. The program began with the sweetly lyrical and decidedly romantic “Las Presencias No. 6, Jeromita Linares” by Argentine Carlos Guastavino. With the guitarist leading the way the piece almost sounded like film music, full of a wistful sentimental quality but probably the most classical sounding on the program. This may have lulled the audience into a dreamy state but that was shaken loose by the rather avant-garde “Bay of Pigs” by Michigander Michael Daugherty, that was filled with tension and drama. At times there was more plucking of the violins, viola and cello than bowing but the overall effect was arresting especially in the pulsating “anthem” that completed the three pieces. “Metro Chabanaco” from Mexican Javier Alvarez was performed just by the string quartet in a driving and energetic tempo, reflecting the busy train station that inspired the piece.

The second half of the concert opened with Barrueco’s solo playing of the exquisite “Danza Lucumi” by Cuban émigré Ernesto Lecuona. While much of the program was daring and edgy this delicate and joyful dance was just like a warm, tropical gust of melody. “Boliviana” by the Uruguayan Miguel de Aguila was once more extremely evocative, much like good film music, beginning with the dark “returning home under the rain” and finishing with the bright “and the sun came out.” Lastly, were a set of compositions by the brilliant Argentinean composer Astor Piazzolla called “tango sensations” then “milonga del Angel” and Muerte del Angel which expanded the tango and the listeners musical experience. This was music to ponder, not to dance to. The audience thought very well of the Piazzolla by standing and shouting bravos which drew the five gentlemen out for an encore that unfortunately was not announced from the stage but was beautifully done.

Garrison Keillor February 6, 2011

2011-02-07T20:42:00.001-08:00

Garrison Keillor Charms Cerritos

By Glen Creason

Locals were lucky once again to sit at the red running shoed feet of the master storyteller Garrison Keillor at the Performing Arts Center over the weekend. Anyone who has ever held a microphone in front of a group of any size must bow down to this wonderful humorist, who in my humble opinion is the foremost public speaker in the land. Even the awesome Bill Cosby doesn’t have Keillor’s versatility who sang, told stories and recited great poetry in this superb two hour banquet of the spoken word. After struggling with some health issues a couple of years ago that threatened his performance schedules Keillor is back and better than ever, this time with musical accompaniment ala the Prairie Home Companion radio show he invented and made hugely popular. Not just any accompanists but the excellent Robin and Linda Williams whose talent stood tall even next to the towering Maestro Keillor.

There are so many reasons to love this man’s show from the sincere humility that peppers his droll stories to the ad libbing that on this afternoon included two absolutely brilliant recitation send-ups of Cerritos without once mentioning the Auto Square. Hurray!! Sometimes Keillor was a bass provider in a folk trio; sometimes an actual baritone singer and several times he followed the path of Rex Harrison and sort of talk-sung which in French is called a diseur. God only knows if Garrison Keillor has some hard and fast play list but on this afternoon he rambled and crooned and charmed a delighted packed house that chose this national treasure over even the Super Bowl.

The first bit of humor was a recitation about Atheists which covered the bases and took no sides despite Keillor’s longtime relationship with the Episcopalian and Lutheran churches. Along with the crisp reading of “Hello Stranger” by Robin and Linda he won over the happy crowd with “the Cerritos Song” that I wish I had on my Ipod. He told long stories like ones about his family trip west where they forgot him in a North Dakota filling station and a shorter one about simply counting your blessings. He knocked off a bit of Guy Noir Private Eye battling Joey Robitussin and spun a long and delicious tale of growing up in Minnesota with a landscape rich with aunts. All the while the Williams’ rang out wonderful stuff, with some old gospel classics like “Jordan,” “Turn Your Radio On,” “I’ll Be Satisfied” and “When I Put Out to Sea” along with contemporary beauties like Iris Dement’s “Our Town.”

When Robin and Linda were not singing sweet harmonies they were laughing with the rest of the delighted audience at more stories including the hilarious differences between the world of raising a child forty years ago and the world of raising a child now which Keillor can surely testify to since he has a son 42 years old and a daughter who is 14. Yet, not everything in the show is completely light-hearted, since the man is a great student of great poetry which he recited with ease, grasping lines from Tennyson like we might recite a line from a Four Tops song. As host of the terrific “Writers Almanac” on Public Radio, Keillor is a man of great intellect who has put it to work entertaining and edifying the American public for four decades. In the intimacy of the Performing Arts Center he just came to real-life much to the delight of this adoring crowd.

A Chorus Line January 30, 2011

2011-01-30T19:28:00.000-08:00

A Chorus Line: New
Meaning After thirty-five years

By Glen Creason

The musical, a Chorus Line could hardly have more lofty credentials than its nine Tony’s, a Pulitzer and glorious run on Broadway that was longer than any American production. If you think for a minute about the competition those facts are absolutely staggering. The story of nineteen dancers auditioning for a part in a play is a musical within a musical that thrives in revivals and small productions precisely because it is all about the people that play these roles: actors and actresses who are anxious to prove themselves in front of the footlights. These are not all wide-eyed kids who want a taste but a mixture of veterans who cling to their fading dreams, damaged artists who find refuge in dance and innocents who see only the adventure of show business in front of them. New productions like the NETworks version done at the Performing Arts Center are privileged to choose very talented actors and dancers from the deep pool of hopefuls that mirror the musical itself.

A Chorus Line is blessed by several memorable, “whistle it to your car after the show” songs that anchor the short but emotion packed two hours of the performance. “One” is an anthem in the American Musical songbook and “What I Did for Love” is an evergreen that works as well today as it did back in 1975 when the show debuted in the Big Apple. It is amazing that a Chorus Line does succeed when you ponder what the world was like in 1975, before digital, before social media, before instant electronic access to everything and before it was ok to even mention your sexual orientation. The beauty of this touring edition of a “Chorus Line” is the reminder of its ground-breaking examination of artists “coming out” and the price they paid for living the lifestyle. In light of the excellent “it gets better” campaign of today to end bullying of gay kids, this show is way ahead of its time. Several of the most powerful moments in the show involve the struggle for these dancers to be themselves in the real world and express their feelings on stage.

The Cerritos Show had many fine qualities and tops among them were actors who made blood pump through the roles written for artists a generation ago. Ryan Steer as Zach, the director carried the afternoon with a commanding performance that allowed the audience to respect his dilemma of being the one to make choices while staying sensitive to the dancers. Ironically the character (Cassie) who is supposed to have been a failure as an actress is played by Rylun Juliano who turned in the finest acting job of this show during her powerhouse moments in “the Music and the Mirror.” Again, Gaspare Di Blasi, as Paul brought out the hankies in the audience in his self-effacing confessions of suffering because of his homosexuality. Gina Duci as Diana was a triple threat in acting her segment about “Nothing” and a beautiful lead on “What I Did for Love” along with strong dancing throughout. Also Suzanna Dupree was edgy but sympathetic as the veteran Sheila who has something to prove but is not easily lead.

There was lots more to like including Jessi Trauth as Val, the naughty but pragmatic dancer who is hearing the clock tick; Hardy Weaver as the odd but totally charming youngster and David Grindrod as Mark who brought some humor to the narrative. The dancing was superb and many who had fewer lines stood out in the choreography including excellent Netaniel Bellaishe as Larry, Mickey Junior-Ayer as Richie, Eric Mann as Mike, Justin Clynes as Greg, Julia Freyer as Judy and Erica Cenci as Bebe. The production seemed to be nicely funded as evidenced by the rather spectacular costuming of the finale which saw the ensemble on stage in glittering gold which was a nice send-off for a very good show.

Robert Kapilow: What Makes It Great? The Music of Stephen Sondheim

2011-01-24T18:14:00.000-08:00

“Robert Kapilow: Clear
Thinking About Mixed Sondheim
Feelings”

"What I want most of all, By Glen Creason

Time flies when you are learning while being entertained and Robert Kapilow’s series “What Makes It Great” in its thirteenth year at the Cerritos Center for Performing Arts! Thirteen years of stellar programs and sterling insight into the magic of musical creation ranging across some genre lines from the giants of classical to the greats of more popular forms. In the case of this show on a Wednesday evening, the subject was the modern musical maestro Stephen Sondheim where Kapilow, an accomplished composer and conductor himself dissected then put four gems back into whole piece as performed by three very talented Broadway savvy singers.

Kapilow said it and it is hard to deny that Sondheim stands high above his contemporaries for memorable compositions and risk taking shows that have left an indelible mark on this wonderful American art form. Not since Richard Rogers and Oscar Hammerstein has the musical stage had such a treasure of songs as have flowed from the pen of Sondheim. It is a tribute to Kapilow’s skills that he is able to demonstrate this great genius by using just a few songs out of the hundreds that date back to “A Funny Thing Happened to on the Way to the Forum” in 1962 to “Road Show” in 2009. This Kapilow master class was probably inspired by the fascinating, recently published memoir “Finishing the Hat” that was explained with piano and voice on this night.

The beauty of any Kapilow show is his empathy for the composers and insight into the process of creating the structures of musical art. On this evening he started with the most well-known of all Sondheim songs “Send in the Clowns” from “A Little Night Music” which is full of a sort of trademark longing and lack of resolution. Kapilow shows how the song is antithetical to the standard approach seen in almost all previous musical song writing. The quote from the poet W.H. Auden sums up the genius accomplishments of such songs as “clear thinking about mixed feelings.” After explanations the song was performed exquisitely by soprano Sally Wilfert whereupon you could have heard a tiny pin drop in the big hall.

The second song was “Finishing the Hat” from “Sunday in the Park with George” that won Sondheim a Pulitzer. Once again we find subtlety and ambiguity that put edges of emotion on the lyrics. Another wonderful singer Michael Winther put a shine on this twenty-six year old lovely by just singing it as written. “Too Many Mornings” from “Follies” is an absolute heartbreaker as the lady Sally longs for “what might have been” and even “the selective memory of nostalgia” cannot bring back to life. The final piano punctuation by Kapilow after Miss Wilfert’s silken solo sent serious goose bumps from the orchestra to the back row.

The last song showed the versatility of Sondheim with a light-hearted romp from “Company” called “Getting Married Today” that while comedic was packed with wisdom. Cerritos’ own Erin McNally was outstanding in adding a second soprano to this brilliant and brisk trio, providing a true show stopping moment to an already terrific evening. Adding icing to a fully delicious slice of musical cake the encore softened hearts one last time with “You Are Not Alone” from “Into the Woods” which forced hankies out in tribute to Sondheim’s power to move his audiences.

Sean Curran Company January 14, 2011

2011-01-16T12:08:00.000-08:00

Sean Curran Dance at Cerritos

By Glen Creason

It always energizes all my senses to witness the thought provoking art form of dance which without a single word can create great philosophical ponderings in the audience. At its best dance can go places mere words or even music cannot enter and the results of great choreography can be something that can take you a long, thoughtful way. Cerritos is very fortunate to have a perfect venue for modern dance and the good taste in the front offices to choose the best of the best in the form. There is yet to be a single dud in the dance shows in the big hall and most have ranked at the top of great performances on Center drive.
A small but erudite crowd at the Performing Arts Center witnessed dance-plus at the performance of the Sean Curran Company on Friday evening as the dancer/choreographer/artistic director Curran used spoken word and eclectic but perfectly chosen music to create three distinctly different but equally fascinating works. The first, “Aria/Apology” juxtaposed a lilting musical line by George Friedrich Handel with matter of fact admissions of terrible acts recorded on the “Apology Line,” a sort of telephone confessional maintained in 1980’s New York by conceptual artist Alan Bridge. Murder, rape, bigotry, betrayal, incest and shame blast from speakers as the five dancers, clad in plain underclothes moved in synchronicity between the baroque sweetness of Handel and the modern horror in the confessions. It was humans at their best moving next to humans at their worst.
Curran could have quit right there and had a good show but part two, “Social Discourse” was also amazing using a more stark costume design and the beautifully melodic music from the album “The Eraser” by Thom Yorke of Radiohead. This was simply a case of two art forms enhancing each other in an artistically symbiotic performance. The dancing seems to stretch the genre out literally to yoga asanas much more so than traditional ballet forms. The six dancers formed into pairs and then groups of three of forming one unit which spoke to the lyrics of yearning for a true understanding of a new global society and the need to work in some kind of harmony.
The final piece, the West Coast premiere of “Left Exit” was the most provocative of the evening featuring nine dancers representing the great religions of the world and punctuated by spoken word commentary by professor Cornel West of Princeton University from the documentary “Examined Life” by Astra Taylor and the music of John Cage. Every dancer was beautiful but my personal favorites were Elizabeth Coker Giron and David Gonsier who balanced grace with an athleticism that made the piece sing. Curran himself comes out for a pithy solo which distills a discussion on the need for or absence of religion in modern life. This debate on God and atheism or plain lack of interest in spirituality is brought to flesh and blood life in Curran’s work. This was not relaxing movement in space but challenging and highly stimulating stuff that shone from the Cerritos stage in a memorable winter’s evening.

Round Mountain January 12, 2011

2011-01-16T12:05:00.000-08:00

Round Mountain Towers at Sierra Nights

By Glen Creason

The word unique has well-defined limits. Unique means exactly that and on a Wednesday evening at the always sweet Sierra Nights concert the locals were able to experience musical uniqueness in its closest definition with the amazing Round Mountain. The series is the brainchild of the tasteful Michael Wolf and you would have to search the purple mountains majesty and all the fruited plains to find a group to equal the truly unparalleled brothers-Rothschild who comprise this duo. Both seem to be born musicians whose broad experience has exposed them to a wide variety of musical traditions and instruments. To find on one stage twelve exotic instruments would be astounding but when several are played at once while vocals are being harmonized is just another league of musical ability. Then there are the instruments that include Scottish bagpipes, Bulgarian gaida, a trumpet, acoustic guitar, dobro, accordion, Turkish saz and ney (lutes), flamenco box drum, djembe, bouzouki, mandolin and of course the West African harp, the kora. Brother Char blows a mean horn with one hand while playing the accordion with the other and brother Robby plays sometimes three drums while strumming the harp and telling stories. Mind you, it is not just that they play these instruments but they do it exceedingly well and change on the fly as they go and very often play two or three at once while singing rather complex and emotional lyrics to the songs they have written.

Ah yes, the songs and the singing are special too. Not always right exactly on key or perfect pitch but beautiful and deep in the telling. Yet only off key in the way Lucinda Williams sings the blues or Joanna Newsome croons her lovely stuff. In moments Round Mountain can sound very Simon and Garfunkel and I mean that in the highest sort of compliment but at others they can get way over into Tom Waits territory. The show is all over the place in genre with bluesy romps like the Mississippi Fred McDowell “Keep Your Lamps Trimmed and Burning” to the Cuban deliciousness of “Tula” to a caffeinated paean to coffee to a blasting bagpipe melody that filled the hall with Hibernian happiness. Still the best of the memorable night were the heartfelt and unashamedly sentimental songs Round Mountain has written for their wives and children or the sadness of parting from the hearts that love them. “Burn It Down,” “Candle in the Willow Tree” and “I Won’t Lose Sight of You” were more poetry than some of the verses on the page when sung in a tight harmony by these young men.

Having the good fortune to sit next the lad’s parents I understand something of the education the kids received since Mom knew every nuance and could sing like a delta blues mama. The folks lead the cheers but the rest of the full house needed little encouragement for the two talented brothers from Santa Fe New Mexico.

2010-12-30T16:42:00.001-08:00

Ellsie Awards 2010

by Glen Creason

The sputtering economy has demanded belt-tightening at almost every level of society, especially in my household but the heartbeat of culture still beats vibrantly at the dear Cerritos Center for the Performing Arts. After eighteen years of checking out shows at the great hall I find each and every season to be different and wonderful in its own way. This year was no different despite shorter seasons and a few less shows attended by this reviewer. As a matter of fact, 2010 held a few of the very best shows and performances I have enjoyed in my lengthy tenure at the Community News.
Some things stay sweetly the same as in the world’s greatest publicist/ press liaison Lori Levine-Yonan who seems to anticipate like a clairvoyant while producing spots for the ink-stained wretches such as myself. There are also old friends who seem never to age such as India Holloway, Tony Erdelji and the dapper house manager Alan Strickland. Once again I found a box office staff overseen by ever-vigilant Nate Chavez and Cristopher Laroco that is nothing short of an all-star team of helpful and personable young people like Daniel Penland and Carla Madrid. The technical crews absolutely outdid themselves in this year, transforming the Center stage into all manner of moods and sets from grand opera to a mining camp. The names remain the same but the magic just gets better with practice by Tom Hamilton, James King and Jeff Thielke along with helpers who make it look easy while it most certainly is not.
As the winds of change have blown through the center the ascendance of Diane Cheney to director is great news since that insures the integrity and future of the hall will be top drawer in every way. As an admirer of the attitude and intelligence of the box office operation I am anxious to see this same spirit energizing the highest levels at the CCPA. It IS the best theater in Southern California without a doubt. I also tip my battered Dodger cap to the Community News who managed to bat an impressive average of submission to printing of my opinions. Thank You all!
Without further ado, the 2010 Ellsies:
E-Folk-Blues: January 15. Keb Mo and Susan Werner proved to be a doubly potent shot of musical talent and power. Keb Mo on his own can fill the hall up with a joyful noise but Werner put this one over the top with multi-instrumental expertise and rich vocal accompaniment.
E-Dance: February 6. Lula Washington Dance Theater. The Center has become one of the top venues for dance in the West and this amazing troupe was the best of the best in this year, especially Tamika Washington Miller, the assistant director who is so hands on she performed the most memorable dancing of the night including key segments of the expansive “Ode to the Sixties” that was brimming with color, fluid movement and great music.
E-World: February 21. The Chieftains. You just cannot go wrong going to see and hear the Chieftains who keep changing their shape but staying true to the Irish core. The fantastic dancing Pilatske brothers are worth the price of admission alone but this show featured the great Ry Cooder playing with the band on the memorable “Cancion Mixteca.”
E-Classical Combination: February 28 Sarah Chang and Andrew Von Oeyen. Exuding class and magnificent command of the violin and piano they created one of the most delightful afternoons of the year including a dazzling performance of the contemporary composer Christopher Theofanida’s “Fantasy.”
E-Youth Be Served: March 15. Vienna Boys Choir captivated an enthusiastic crowd of chorale music lovers with one winner after another including the surprising and exquisitely beautiful Leonard Cohen song “Hallelujah.”
E-Roots: April 3. Beausoleil. The is no cooler sight or sound than this American national treasure of a band playing down home Cajun music. Michael Doucet is an icon that leads by having giant talent evidenced in the playing of “Alligator Purse” that transformed Cerritos into the big Easy on this spring night.
E-Swing a ding ding: May 1. John Pizzarelli. The incredibly versatile crooner-guitarist worked Sinatra-like magic at one of the best shows of the year. Drawing from the chairman’s repertoire the big band swung the night away but it was the little known “It’s Sunday” that really took this concert to the top.
E-Orchestra: October 30. Moscow State Orchestra with Jennifer Koh violin. Under the baton of the energetic Pavel Kogan the big and powerful Moscow State Orchestra really expanded the hall musically. Ms. Koh was simply magnificent playing Max Bruch’s “Violin Concerto No. 1 in g minor” especially on the “allegro energetico” that was energetic and more. Moreover, one of the real heart pounding moments in all of the Cerritos history was the final movement of Moussgorky’s “Pictures at an Exhibition” when the Muscovites opened the doors of the “great gate of Kiev," bringing tears of joy to concert-goers eyes.
E-Charm: November 7. Bobby Vinton. Singing hits that first hit the airwaves when I was a little nipper the old crooner charmed the full house with an act he has polished or Polished for five decades. When he shouted “Ho Ho!” to the crowd it actually worked like a tonic.
E-Yule: December 3. Tomaseen Foley’s Celtic Christmas. The warm and wonderful Irish Christmas show featured the ancient craft of storytelling highlighted by excellent folk music. “The Christmas Parcel” shone like a beautiful ornament when juxtaposed against the work of three fine musicians and one terrific dancer.
E-Performance of the Year: John Williams. The great guitarist presented a near perfect concert showcasing several great Latin-American composers but surprisingly the biggest gem in a jewel-box full of them was the African artist Francis Bebey’s “O Bia” that in its simplicity and beauty was unforgettable.
E-Show of the Year. Kris Kristofferson. If you thought old Kris was just an actor who dabbles you should have seen this deeply affecting show filled with great songwriting and soul shaking singing. In a night that passed far too quickly his “the Circle from Here to Forever” written to his children provided an unforgettable moment in the annals of the great hall.
Lastly: 2010 proved to be the best year in my life. When most people struggled through the challenges of a hard time I was fortunate enough to accomplish my life’s ambition and publish “Los Angeles in Maps” for Rizzolli International. Since this seems to be the only time it will be mentioned in this paper I urge you to seek it out and give it a read. Check out http://www.laobserved.com/archive/2010/12/la_observed_on_kcrw_holid.php or give a listen to http://www.kcrw.com/etc/programs/lo/lo101220holiday_books or watch on vimeo http://vimeo.com/16570845

Celtic Tenors December 8, 2010

2010-12-18T13:28:00.000-08:00

The Celtic Tenors Holiday Shows Cerritos an Irish Good Time

By Glen Creason

Continuing a green Christmas season the Celtic Tenors visited the Performing Arts Center at midweek and brought two dozen old chestnuts, some of them holiday themed to an enthusiastic crowd who did some performing themselves. From the beginning it might have been confusing since Cerritos has hosted “the Three Irish Tenors” in the past that is a cousin to this group, the purported progenitor of the two. While these gents were most certainly not Finbar Wright, John McDermott, Anthony Kearns, Karl Scully or Ronan Tynan they have been doing quite well as themselves: Matthew Gilsenan, James Nelson, and Daryl Simpson. All are decidedly Celtic and fine tenors in their own right. The program is also very close to the annual Irish Christmas shows with some added pop song slants not before heard here. This was all gloriously couched in a festively decorated stage filled with the large and polished Cerritos Center Orchestra that filled the hall with Yule spirit.

The Celtic Tenors most certainly offered up a banquet of the Irish repertoire with half a dozen being directly related to the season. Christmas cheer was sprinkled all over “Away in a Manger, “ “Ave Maria,” a majestic “O Holy Night” “Silent Night,” and the delicate “Mille Cherubini” that fairly shimmered. They covered the truly Irish with “Spanish Lady/ Mairies Wedding, ” the peppy “Finnegan’s Wake,” likewise “Phil the Fluters Ball,” the beautiful “Fields of Athenry” and an evening highlight of a breathtaking a cappella version of “Danny Boy,” the ultimate evergreen. There were also the big hall showstopper vocals of the popular variety like “You Raise Me Up,” “Anthem” from the musical “Chess” with its Abba intonations, the great Roy Orbison ballad “A Love So Beautiful,” and the encore of a soaring “Time to Say Goodbye.” All of these were spiced in the mix with unusual inclusions such as the Latin “Gaudete,” a fine “Nella Fantasia” composed by Ennio Morricone, Bob Dylan’s “You Aint Going Nowhere” and the old aria “Nessun Dorma” which was sung by the assembled audience with not too bad of harmony. It might not test the tonsils too sing “ah ah ah ah ah ah ah ahh!” but this crowd gave it full voice.

While this show is not as melodramatic as the “Three Irish…” it does have charm and pluck with good humor and a folksy appeal. Matthew Gilsenan has all the voice you could ever need and captured some musical peaks while both Nelson and Simpson did well in their parts and shone on harmonies, especially on the exquisite “Danny Boy.” This is a less formal and nicely paced concert, one that seemed to fulfill the expectations of the Irish loving audience who stood for standing ovations after several old favorites. There were generous helpings of music and that glorious orchestra keeping the spirits high along with even a few steps of Irish dancing to remind us of the place where the Celtic tenors will set up their Christmas trees this year.

Tomaseen Foley's Celtic Christmas December 1, 2010

2010-12-03T13:19:00.000-08:00

A Celtic Christmas at Cerritos

By Glen Creason

Billed as “a Celtic Christmas” this show could have been anything from a belted out “Buala Bas” (Jingle Bells in Gaelic) sung with a brogue to Michael Flatley influenced, arms at the sides headbanded hoofing. Thankfully it was nothing of the sort but so much more. Since many of my favorite yuletide times were experienced in an Irish household I was hoping for some of that good cheer to jump-start the holidays in the right direction. Of course there was only talk about Irish coffee to create the proper mood but it wasn’t necessary to enjoy this sweet and gentle performance of old-fashioned storytelling punctuated by excellent Celtic folk music and some spirited dance. It does take some gumption to take five people on a bare stage and create a landscape with just words and sounds but Tomaseen Foley and his talented musical accompanists filled up the entire, great hall with warmth and good cheer. The current of Christmas was achieved early and when young Marcus Donnelly put his dancing shoes to the planks on stage the energy surged joyfully. The leisurely pace and perfectly mixed offerings just glowed like a good party at a rambling house in the land of the forty shades.
Foley is a master-storyteller and his tale “the Christmas Parcel” was at the center of this show, unfolding from his charming gift of Irish gab over the entire two-hour show.
It is a quaint but evergreen tale of a widow’s sadness parted by the largesse of neighbors in the parish of Teampall, a Ghleanntain in the West of Ireland. Even if you see the glimmering generosity and selflessness of the simple farm folk coming from the first phrases of the tale the ending will give you a lump in your throat the size of a pint of Guinness. Tomaseen does not rush it but sits on a plain lacquered stool out front and spins the story as interludes. The words draw you in but the music both stimulates and keeps you wanting to get back to the plotline.
Yet, these are exceptional musicians, not just space between paragraphs. Marianne Knight is a marvel with a heavenly soprano that sounds like the great singer Kate Rusby and mastery over several instruments. Every tune she touched was sweet including “the Kerry Christmas Carol,” “The Wexford Carol” and “Ned of the Hill” that transfixed the hall. William Coulter solos sparingly but his skill with the acoustic guitar is superb. The folk songs of this show stood tall with the buttressing of his work and the rare solos he did perform were transcendent. Brian Bigley on Uilleann pipes, whistle and flute had to be very good to stand with Knight and Coulter but he was in perfect harmony and quality with the band. Bigley and Ms. Knight also stood up and danced in one of the show’s most delightful segments, rattling the hasps with young Marcus Donnelly in breathtaking synchronicity. Still, the star of the show is Tomaseen Foley’s ancient skill at storytelling that demonstrated the human voice telling a good story is better than any electronic in the world. The ensemble finished the cozy evening with “oiche chiuin” or “Silent Night” as we have heard it for decades but the wild appreciation from the Cerritos faithful was anything but silent.

Robert Cray Band November 13, 2010

2010-11-14T21:54:00.001-08:00

A Cerritos Evening with Robert Cray

By Glen Creason

The last time the Robert Cray band visited Cerritos back in 2008 they took some paint off the walls with stirring blues music centered on Cray’s powerhouse guitar. The Robert Cray band is a tight and economical group without weaknesses including the barefoot bass man Richard Cousins, the big drumming platform of Tony Braunagel and the rich organ of Jim Pugh who looks like your accountant but plays in the spirit of Jimmy Smith. Of course, this is the Robert Cray band and it is that young man who raises the bar with his sizzling Stratocaster and understated vocals which croon, rather than shout the blues. However, Cray is the man keeping the genre healthy and the blues fans happy, as was evidenced on Saturday night at the Performing Arts Center.
The big hall is ideal for this kind of guitar centered sound and indeed when Buddy Guy visited just a few years back he made the crowd sweat just watching him play. The venue has proven to be perfect for the genre as in the shows of Buddy Guy, Keb Mo, Gatemouth Brown or even Delbert McClinton but it seems like the artist really needs to attack the music and offer it up raw and at full speed.
Certainly in this show Cray had many a head bobbing and lower lips being bitten as the hungry for blues crowd ate up the stinging solos and amazing fingering-pyrotechnics put on display by this master of the electric guitar. The only really bad thing about the same crowd was the inability of some to recognize that the audience should come to hear the artist play and not to shout inebriated banalities at the stage. All of this can affect a sections concentration on the music streaming from the strat on stage instead of the bellowing buffoon in the seats.
Robert Cray did not seem to be distracted however, and fired up some of his good numbers like “Phone Booth,” “Anytime” and the throbbing “Some Pain Some Shame” which all placed the lyric in a background to the stinging, pungent guitar licks flowing from Cray’s ax. There were other well known tunes such as “No Chicken in the Kitchen” and “Smoking Gun” which got a few folks up in their seats a bit but the energy never boiled over as it did back in 2008. Jim Pugh’s organ was a little bit too much in the background but did surface on “Bad Influence” and “I Can’t Fail” yet the sound strayed a degree to fuzzy in the middle portions which is unusual at this hall. This was a show that took a while to get up to speed for some reason. Robert Cray kept playing and singing without changing course and his vocals were their best on the self-deprecating “Right Next Door” and encores that gave each band member a time to shine, especially the amped up guitar of the leader on “That’s What Keeps Me Rocking” that seemed to finally get the hall in fourth gear.

Bobby Vinton November 7, 2010

2010-11-07T21:19:00.000-08:00

Bobby Vinton at Cerritos: Ho Ho!

By Glen Creason

OK, I admit it that I was a Bobby Vinton fan way back when and really have never tired of the early sixties soft-stuff like “Blue Velvet ,” “Roses Are Red,” and “Lonely Soldier.” In the decade he was actually the king of number one hits and was liberally represented on every juke box in America. His place in American Pop is certainly cemented as a “sentimental balladeer” but I did not know what he had done since those salad days. Turns out he spent many years entertaining and honing the craft in places like Las Vegas and Branson, Missouri where I almost never venture but the big hall at Cerritos was packed with veteran music lovers who seemed to be excited about the “Polish Prince’s” visit.
He came ready for action, packing a twelve piece band with a fine horn section and some key family members who softened the edges around the famous buttery voice. Like many veterans of this genre he knows how to win over an audience which he did right from the start with a healthy payout of the golden coin of Pop hits ranging from his own evergreens like “Blue on Blue,” “Roses Are Red,” and “Lonely Soldier” along with some others borrowed from like voiced stars including “Sealed With a Kiss,” “There I’ve Said it Again,” a stirring “Crying” and “I Only Have Eyes for You” that were well suited to the still fairly intact Vinton voice. Part of his charming shtick is his Polish roots and after most songs, including several polkas he would shout “Ho Ho!” that incited the adoring crowd each time, especially in his frequent forays into the audience where he shook hands and thrust the mike into the enthusiastic but musically limited vocalists in the seats. He also surprised those of us who were novice Vinton concertgoers by playing a pretty fine saxophone, clarinet and trumpet in tunes as challenging as Gershwin’s “Rhapsody in Blue.” He’s actually quite an amazing musician!
The man works very hard and performed over thirty songs, many of those with everything he had that left the old pro breathless but still telling jokes and marching into the crowd for love. The second half was even older material, dating back to when he was a teenager playing in his father’s big band or backing up for early rock and rollers on the sax. His home state of Pennsylvania was well represented in “Pennsylvania 65000” and the “Pennsylvania Polka” while show music also rang out in “Sunrise Sunset,” “If I Loved You,” and even a medley from “Phantom.” Of course “Blue Velvet” had to be sung for the diddly-umpteenth times since it has been on the radio for almost fifty years! Almost all the music was very good and the singing was fine for such a well-used instrument but like the really crafty entertainers Vinton used his place at center stage to create some memorable moments. He sent a microphone into the balcony to give a well seasoned groom a chance to sing the “Anniversary Waltz” to his bride of 49 years and observed the upcoming holiday by showing respect for the veterans in the audience, asking them to stand up and receive thanks from the full house. One by one the men of WW II, Korea, Vietnam, the Gulf and Iraq rose to their feet slowly and a bit sheepishly. Even an old former hippie like me got goose bumps.

Moscow State Orchestra October 29, 2010

2010-10-30T17:30:00.001-07:00

The Moscow State Orchestra Fills Cerritos Center

By Glen Creason

Just on size and might of sound the Moscow State Orchestra is quite impressive.
Visiting the Performing Arts Center on Friday night with violinist Jennifer Koh, the Muscovites literally filled the great hall with sweet Romantic sound as the vigorous conductor Pavel Kogan roused them to stirring heights. In their 65th year the orchestra specializes in classic Russian composers going back to Shostakovich and Prokofiev among others. This is a large orchestra with a full string section including two harps and enough power to propel the building into sonic super space. Theirs is a traditional approach but not without contemporary nuances.
It was a romantic evening including several 19th century composers who exemplify the era and its lush presentations of grand themes. At Cerritos they opened with the beautiful “Capriccio Italien, Opus 45” by Tchaikovsky that I was forced to enjoy on the wide screen TV outside the cloak room because of not one but four mishaps on the not very romantic Santa Ana freeway. With its folksy rhythm and dance-like passages the piece actually makes it hard to sit still, even in the presence of an orchestra that wears white gloves. The next piece ventured next door to Russia with the German composer Max Bruch and his “Violin concerto No. 1 in g minor” which was masterfully played by soloist Jennifer Koh. They sent the right artist for the composition here, which demands great virtuosity and stamina. The prelude is so sweet, so romantic and such a setup for the fiery concluding “adagio” and “allegro energico” that allowed Koh to stretch her talents to the limit. The orchestra kept up which wasn’t easy and when the concerto concluded the rather dazed audience stood in appreciation.
The second half was dedicated to Mussogorsky’s “Pictures at an Exhibition” which can be a warhorse in the wrong hands but not with this orchestra. The work is inspired by a posthumous art exhibition by the composer’s painter friend Victor Gartman where the music takes us from painting to painting while describing the works in sound. The effect is mesmerizing when done well and the Moscow State orchestra was up to the task with plenty of flair to spare. There was the mournful feel of a troubadour singing before the walls of “the Old Castle,” the rumble of an ancient cart in “Bydlo” the sweet stroll through “the Tuileries” and the manic rush of “the hut on fowl’s legs” but when it came to the “Great Gate of Kiev” Cerritos got to hear just how much power an orchestra can muster in five minutes of music. It was utterly magnificent and worth an entire concert just to walk through that gate. This was not unnoticed by the very enthusiastic audience that once again was on their feet where they stayed until Maestro Kogan returned for two encores: a comparatively lilting “Humoresque” by Dvorak and the final, unidentified one, possibly another Tchaikovsky, full of bombast and thunderous crescendos.

John Williams, Guitar October 20, 2010

2010-10-22T21:02:00.000-07:00

John Williams, Guitar at Cerritos Center

By Glen Creason

In a flawless and unforgettable ninety minutes, the great guitarist John Williams took the Performing Arts Center on a journey to some unexplored musical lands along with the occasional familiar gemlike compositions in a concert as close to perfect as you might find. The rather rare opportunity to hear classical guitar is a joy, especially at the acoustically generous Cerritos hall which Williams seemed to embrace like it was his own home. After so many popular performers it is remarkable to just see an artist do so much with just his two hands, an acoustic instrument and of course a marvelous musical mind. Elegantly underdressed and supremely confident he mixed a few cogent remarks with incredibly expressive playing that captivated the astute audience. In truth, I feel almost unworthy to describe the performance since the technical aspects of his fingering are beyond my grasp but that seems precisely what he stands for in his shows since he expressed disdain for over-analysis of the works he plays. There is nothing between his hands and the instrument and a lovely current passes from man to guitar in every expression available to the instrument.
This program on this night was drawn almost purely from Latin America and so much of the material is not heard often enough but Williams’ playing made the composers shine. The first half featured the Brazilian Heitor Villa-Lobos and his Five Preludes which despite the five starts and no stops offered the most familiar of all the pieces played. “No. 1 in e minor” was superbly lyrical and energetic, followed by the more wistful and even somber numbers 3 and 4. The final finger of the five was an exceedingly challenging “No. 5 in D major” that Williams turned into a dazzling tour de force. The dramatic “El Cameron Negro” by Cuban Leo Brower was absolutely enchanting with deep rich shades like a journey into the unknown, finished by the sweet “balada de la doncella enamorada” that lingered like fine chocolate on the palate.
The second half had more wonders, begun by the amazing “O Bia,” an African tune written by Francis Bebey at mid-century in a style called makossa dance rhythm which actually caused feet to tap in time across the hall. A stunningly beautiful tribute to Bebey called “Hello Francis” was preceded by Williams’ own composition “From a Bird” that was inspired by the song of a feathered friend in his native Australia. Like contented birds the crowd was eating out of Williams hand and his playing of the Paraguayan master Agustin Barrios-Mangore ranged from the Baroque-majestic “La Catedral” to some lovely waltzes including “Vals No. 4” that required every bit of the John Williams mastery of the guitar. His encore, the delicate and utterly delicious “Como Llora Un Estrella” by Venezuelan Antonio Carillo only served to drive the adoring crowd into a well-deserved standing ovation that expressed their fervent hope that Cerritos might coax the guitar maestro back again.

Cirque Mechanics Boom Town October 13, 2010

2010-10-16T15:35:00.000-07:00

Cirque Mechanics Build a Show at Cerritos

By Glen Creason

After several visits to Cirque du Soleil and other spin-offs of the animal-less circuses that proliferated in the 80’s and 90’s I kind of had my fill of the grand-scale whimsy of these performances. The multi-colored lighting, the noodling mood music, the aerial daredevilry, the oddball clowns and the obtuse presentation began to blur a bit. It’s not that they weren’t incredible and enjoyable for all ages but they ceased to enchant me as they did when I first took my kid back in the day. My whimsy-meter was on empty.
However, the unique splinter of the Cirque themes called Cirque Mechanics took over the Cerritos Center for the Performing Arts at midweek and pretty much removed unnecessary whimsy and replaced it with down home acrobatics. All this amongst a backdrop that is as relatively plain as the 1860’s gold mining camp they call Boom Town in this show. It’s not really a redneck circus or some bowl of corny camp as you might suspect from the lobby cards. Instead the review presents a mixture of clowning, exuberant acrobatics and some amazing machinery that gives the tricks an extra dimension. The troupe is smaller and the sets simpler but the ability and charm of the performers pans out as pure gold in this show. There are three main components to the show and they are evenly spread out over the ninety-minute experience that is lots of fun for those on both sides of the footlights. There are stunts that involve juggling and balancing tricks that raise pulses including one heady segment by Tex Redinger that involved drawers and corn liquor jugs stacked four high. Charlotte Greenblatt balanced on four raised lozenges with strength that would be admired in any weight room and also performed as a ballerina on a raised platform. Elena Day was the clown in residence and several of her routines brought genuine horselaughs and added much needed comic relief after spine-tingling acrobatics. She also ventured into the crowd and took a poor unsuspecting civilian up on stage used him as a prop, albeit good-naturedly. Those same acrobatics formed the core of the show and were absolutely wonderful throughout. The really great ingredient to the carefree aerial hi-jinks was the obvious joy of the performers including Timber Brown, Wes Hatfield, Andre Nurse, Kerren McKenna and Lindsey Orton-Hines who literally and figuratively made it look easy. I can assure you it was not when you consider some of these maneuvers took place twenty or thirty feet above the stage and without any safety apparatus in sight. They bounded repeatedly off of trampolines centered on ore carts, climbed ropes to the ceiling using mostly their feet and swung with precision near the top of the stage. The highlight of the acrobatics was the duel wonders of an upside down bicycle control of a moving trapeze that swung young ladies out over the orchestra seats where the crowd stared upward with mouths agape.

The Color Purple October 8, 2010

2010-10-09T13:59:00.000-07:00

Seeing “the Color Purple” at Cerritos

By Glen Creason

Even after reviewing several Operas in the past year it was a stretch to imagine a feel-good musical that features a plot involving misogyny, infidelity, incest, spousal abuse, racism and murder. Other hit musicals we have seen feature murdering barbers, promiscuous cats, killer carnival barkers and drunken juvenile delinquents so all things are possible on that stage. Back to this weekends visiting musical of “the Color Purple” at the Performing Arts Centers which genuinely lightened hearts and pleased theater goers with a long and textured musical look at the Alice Walker’s Pulitzer Prize winning novel that became the academy award winning movie back in 1985. Plot details may be hazy since twenty-five years have passed since seeing the movie but the characters as portrayed by Whoopi Goldberg, Danny Glover, Oprah Winfrey and Margaret Avery linger in memory. The story, set in the early 1900’s, follows a forlorn young African-American woman who is abused by her father, separated from her children, sent off to a cruel farmer neighbor and parted from her beloved sister while being forced to care for an entire household as if she were a servant. Her saving grace is the visit of the elegant and worldly Shug Avery, a cabaret singer who befriends the despairing young woman. While Celie endures all manner of heartache she manages to rise above the hardships of life in the South during these days of shameful prejudice.
This production by Phoenix Entertainment is fully realized up to the standards of the originals with extremely clever moving sets, expert lighting, dazzling costumes, energetic choreography and a live orchestra to accompany the wonderfully strong singing throughout the almost three hour performance. It’s a very challenging show for the star who in this case is the totally up to it and then some Dayna Jarae Dantzler as the battered and battle tested Celie. Ms. Dantzler is on stage for most of the show and is called upon to act and sing an unbelievable amount of lines and music that she does with aplomb, saving plenty of emotion for the final sweet scene of reunification. Although this truly is a team effort with excellence from the entire cast there are several shining lights to guide the rest. Pam Trotter as Sofia, the talking-back role model for the women is a solid gold scene-stealer and Taprena Augustine is wonderful as the delicately demanding role of Shug Avery who is the heart of the show. Traci Allen is perfect as the wholly good sister Nettie who can really sing. Edward C. Smith as “Albert” or “Mister” or the farmer/husband is perfectly glowering and believable in his late in life change, while Lee Edward Colston II as Harpo and Allison Semmes as Squeak filled their roles up to the brim. The music is fine throughout but several numbers rose above the rest. “Hell No!” by Pam Trotter was the first half highlight along with the sweet “Too Beautiful for Words” by Taprena Augustine who also joined the company in the gutbucket delights of “Push Da Button.” “The Color Purple” which holds the meaning of the entire show might be the one the audience hums on the way to their cars but the real showstopper was Celie’s finale of “I’m Here” that was pure, uplifting anthem.

Kris Kristofferson September 25, 2010

2010-09-27T11:16:00.000-07:00

Maestro Kris Kristofferson at Cerritos

By Glen Creason

A visit from the exalted Kris Kristofferson to the Cerritos Center for the Performing Arts is most certainly a cause for celebration. For those who love the lyrics and appreciate a classic song there are few in the land that can satisfy like this septuagenarian singer songwriter. Kristofferson possesses the rare combination of musical composition genius along with a poet’s sensibility and his songs will be listened to in decades to come with an increasing appreciation for his place in American music. Despite spending much of his career acting in motion pictures Kristofferson has put his brilliant mind to music and has created a repertoire that sets a standard for coming writers. While he may have been branded one of the country music outlaws once upon a time he is actually an honors graduate from the esteemed Pomona College and a Rhodes scholar who put his talents into songwriting.
On Saturday at Cerritos the man with the aged-bourbon voice simply demonstrated the greatness of his art by standing before the full house with an acoustic guitar, blues harp and thirty wise and wonderful songs. That voice, aged and mellowed by some full living just seems to fit the material even more than when he made his initial mark in the 70’s. While the evening began with “Shipwrecked in the 80’s” it most certainly was timeless in its messages and a very full two hours in length. It was surprising even to the assembled fans to hear so much of his memorable material. Many of these songs were made famous by other great singers like Janis Joplin, Willy Nelson, Johnny Cash or Waylon Jennings but they sound the very best coming from the master himself. As a matter of fact the most moving moments in several heart aching ballads were when that husky baritone caressed the lower registers, shimmering as they went. At Saturday’s show he gave us his trademark ballads of lost love like “Bobby McGee,” “Loving Her Was Easier,” “Jody and the Kid,” and “Darby’s Castle” that made you remember your own bittersweet romantic regrets. There were his C&W tinged confessionals like “Help Me Make it Through the Night,” “Kiss the World Goodbye,” “the Law is For Protection of the People,” Sunday Morning Coming Down” and the eerie “Beat the Devil” that sounded so fine coming from those well-toned pipes. Songs that told stories abounded including “Casey’s Last Ride.” “Johnny Lobo,” “Billy Dee,” and Duvalier’s Dream” alongside the stunningly powerful “Song for Layla Al-Attar and Los Olivadios.” Still, the show is not all regret and remorse evidenced by “Here Comes That Rainbow Again” and four incredibly moving songs about family that were particularly shining jewels on this nights. “Daddy’s Song,” “Thank You for a Life” “Moment of Forever” and the tear inducing “the Circle from Here to Forever” that he dedicated to his children could have carried the two-hour show on their lonesome. The concert at Cerritos lacked any pretension and the material was set forward in a manner focusing on the song’s meanings that allowed the rapt house to savor the full meaning these great songs. That was more than enough.

Bill Cosby May 16, 2010

2010-05-17T18:54:00.000-07:00

Bill Cosby Closes Cerritos Season with Class

By Glen Creason

It sort of came to me in the middle of Bill Cosby’s matinee of relaxed and hilarious storytelling that he is probably the first humor-philosopher since Will Rogers charmed a nation back in the mid 1930’s. I think after decades of honing his craft the title is appropriate for this gentleman, even though he would probably laugh at the description. The Emcee for the show rightfully called Doctor Cosby a national treasure and I certainly would not disagree. As a matter of fact I would put the man in a very small group of those entertainers that have genuinely made an indelible mark on the American character. “The Cos” as he calls himself can take any real-life situation and create insight along with horse-laughs of delight from the masses of fans that follow his every word. At a packed Performing Arts Center his show was unusually condensed but as delightful as any I have heard in his many visits to Cerritos. He seems to be ready to continue for at least a couple more decades. In between his monologues he bantered with audience members including one clueless soul who seemed to think this was therapy. Still Cosby did not chastise her despite many surrounding glares and sighs from less generous souls.
This show was originally slated for September of 2009 but an eye problem kept him from honoring that date but this welcomed visit made for a sweet dessert at the finish of the feast of the arts that the 2009-2010 series presented. If you took an outline of this performance it would read
• Couldn’t make September date because “I’m Old”
• The Eye Clinic and geriatric patients there.
• Medical tests in general
• The colonoscopy.
• Why “suck” should never be an insult.
• Getting a kid through college.
While these topics have potential you just have to imagine how a genius storyteller could turn such mundane stuff into epic tales of struggle between husband and wife, parent and child and nurse and patient. Cosby’s otherworldly physical comedy and ability to create mock dialogue are the stuff of legend but he seems not to be slowing down one bit in the wit department. How many people can get away with saying about one's own daughter that “I don’t like her much” and describing his own bowel activity as if it were the eruption on Mt. Vesuvius without seeming crass or insensitive or calloused? In fact the routines Cosby adapts involving children going off to college and returning home are full of famial truth but tempered by great affection. This show merely contains Doctor Cosby dressed in his Temple University sweat suit and a table containing a bottle of water and box of tissues in front of some potted plants. He sits on a chair draped with his trademark “Hello Friend” sweater but that is where the decoration ends. The rest is just Cos hanging out with his pals and regaling them with the story of his life, one that never ceases to amuse and amaze us all. What makes it all so appealing is that he never places himself above the audience but mostly puts us all together, right where we belong. As he pointedly said in mid-show “we are all the same fools.”

John Pizzarelli Frank Sinatra Songbook May 1, 2010

2010-05-03T21:50:00.001-07:00

John Pizzarelli Does the Sinatra Songbook at Cerritos

By Glen Creason

Sometimes it seems there are as many Sinatra wannabees as there are Elvis impersonators and all of them must know that there was only one chairman and adulation is fine but beware the possible expectation explosions in Old Blue Eyes tributes. In fact there have been a few Sinatra-ites at the Center including the legend himself (1993) and his own flesh and blood a few times. While Frank was not at his peak in his latter years (and who is) he was the genuine Hoboken, New Jersey article. The rest better be damn good when it comes to holding up the great singer’s banner and waving it in concert. So we come to John Pizzarelli, the affable and music encyclopedically knowledgeable guitarist-singer who performed such a Sinatra tribute at the Center on Sunday afternoon. He did so in front of a decent crowd of some folks who probably saw the original a few times. Careful, John!

Pizzarelli navigated this minefield with intelligence, delightful wit, musical aplomb and a fine, middle range baritone that complimented the song writers and became another sweet instrument in the arrangements he chose to represent the repertoire at this terrific show. That is not to leave out the stunningly beautiful seven string guitar accompaniment Pizzarelli flavors each tune with in this Sinatra send-up. That guitar never trampled on the full sound of a sixteen piece orchestra that included the quartet that normally plays with the band leader in smaller venues. An easy-going tone was struck from the first notes of “Come Fly With Me” and continued for a swinging first half of great songs and perfect arrangements that were not of the warhorse variety. In between extremely smart patter and instructive introductions Pizzarelli completely charmed the audience while polishing gems like “Just the Way You Look Tonight,” “I’ve Got You Under My Skin,” “the Lady is a Tramp,” “They Can’t Take That Away from Me” and “I Can’t Get Started.” Pizzarelli makes you understand the greatness of Harold Arlen, Johnny Mercer, Cole Porter, and others in the Great American Songbook by playing the songs as written and not trying to American Idol anything. His choice and performance of “I Don’t Know Why I Love You But I Do” was unusual and unusually beautiful in emotion and execution.

The second half was more of the great stuff including some pretty solid Sinatra-only songs that Pizzarelli was able to make good on with his low key vocals and fine guitar work. The saloon songs like “One More for the Road,” “Ring a Ding Ding” and Quincy Jones swinging arrangement of “In the Wee Small Hours of the Morning” were purely wonderful but “Witchcraft,” Nice and Easy Does It” “I’ve Got the World on a String” swung sweetly. Again, the lesser known piece stood out, this time “It’s Sunday” that completely mesmerized the appreciative audience. Pizzarelli knows how to entertain and there were no slow moments, even in ballads. Maybe the easy wit can be attributed to his role as host on a radio jazz show but when the big band finished with “Last Dance” and an encore of “I Get a Kick Out of You” everyone got up and told the performer they would love to see him back in Cerritos real soon.

Beausoleil Avec Michael Doucet April 2, 2010

2010-04-03T15:49:00.000-07:00

Louisiana Roots Run Deep at Cerritos

By Glen Creason

Normally I wouldn’t criticize great artists like Michael Doucet but I have to say that he is far too humble. Monsieur Doucet of the great Cajun group Beausoleil opened a really fine show at the Performing Arts Center on Friday and really had no business taking that position at said concert. No one should ever follow Doucet since he is impossible to top and although the show closing “Hot 8 Brass Band” pumped up the volume and the energy as high as their brass could take it, they were trying to fill shoes as big as the bayous of Louisiana. The show ended with the “Hot 8” doing what they do best which is sort of high stepping at the front of a parade or funeral in New Orleans. On this less baleful occasion they snaked through the Cerritos audience and into the lobby of the Center while blasting “When the Saints Go Marchin’ In.” However, I must sadly report that it was a letdown. It’s not that the “Hot 8 Brass Band” went quietly or failed to please many in the hard-core crowd with colorful readings of favorites such as “Sweet Georgia Brown,” “Bon Marie,” “Going to Mardi Gras,” “Feet Don’t Fail Me Now” and a doleful “St. James Infirmary.” They did all of that with plenty of gumption. It’s just that they should have opened the show and allowed the living legend to finish it. In this world turned upside down, Beausoleil Avec Michael Doucet opened the show with some delicious old-time Cajun twin fiddle roots with the man and Mitch Reed making you feel like you were down in southern Louisiana near Lafayette, where it all started. There are few sights in all of popular American music as intrinsically joyful to witness as Doucet’s dreamy face and swaying baldhead as he coaxes honey out of his fiddle creating the irresistible rhythms of down-home Cajun music. Just watching him play and tell stories in his salt-of-the-earth way is worth the price of admission. Then there is the superb band standing with him including brother David on guitar, the aforementioned Mitch Reed on bass, little keg of accordion dynamite Jimmy Breaux and the twin percussion delights of Billy Ware and Tommy Alesi. Everything they touched turned to gold especially “Marie,” “Little Darling,” and the Cajun National Anthem that goes by the common name of “Jolie Blonde.” The show highlight was most certainly “Alligator Purse” from the current CD but there were many other delicacies that don’t translate too well into English but went by titles like “the woman who liked to play cards…” “Those that are jealous,” “Oh What a Life with Money and No Wife,” “the Onions Are For Sale,” and in the original “Le Chanson de Theogenes Dubois.” It is not often locals can hear this genuine article and when the band finished their dozen tunes the audience stood and begged for more but the split concert constraints forced the band to hold to the dozen and leave the crowd wanting much more. Maybe next time Beausoleil will just take both ends of the show and give the rest of the show to the faithful, hungry for these rare and succulent Louisiana treats.

Tex Beneke Orchestra March 21, 2010

2010-03-22T12:15:00.000-07:00

Tex Beneke Orchestra Swings Again at Cerritos

By Glen Creason

With any big band concert hereabouts you have to judge the show by the “murmur factor.” That is when the bandleader announces the tune and the rumble of recognition rolls through the audience. On the Sunday matinee of the Tex Beneke Orchestra at the Performing Arts Center that murmur factor was heard often, sometimes even progressing into some off-key singing that came forth when the memories flooded from the stage. Of course, any of these recreations of the great music of the 1930s and 1940s travel on a tightrope between nostalgia and cruise ship mediocrity but the evergreen music can never be underestimated.
At Cerritos, the concert was pretty much divided into five parts and the whole was anchored by the really fine fifteen piece orchestra that most certainly could play everything from swing to ballad and never did they hit a sour note. The horn section, always at the core of big band was excellent and since Ted Beneke’s band was a branch off the Glenn Miller ensemble the trombones were essential and wonderful. The band got help from three proficient singers and a well-known quartet who brought the murmurs out when they opened up the old treasure chests of song, polishing up over two dozen gems in all.
Ageless and energetic Mary Lou Metzger opened the show and sang “Someone to Watch Over Me,” “I Got Rhythm,” after raising the curtain with the appropriate “When Everything That’s Old Is New Again.” The first big murmur came with “Moonlight Serenade,” a song that they will most certainly love five hundred years from now if the planet is still together then. The crowd, drawn from the early Boomers and before couldn’t get enough of the good old ones, including “I Got a Gal in Kalamazoo” and “Pennsylvania 6-500” that they joyfully participated in with creaky but enthusiastic sing-a-longs. “The Modernaires” hit the stage and kept the classics rolling with “Don’t Sit Under the Apple Tree,” “Elmer’s Tune,” “Moonlight Cocktail” “At Last,” Chattanooga Choo Choo and “Perfidia” before the orchestra finished the first half with a rousing “American Patrol.
The second half was more of yesterday, this time with the help of pert Polly Podewell who belted out “Sing Me a Swing Song,” “Our Love Is Here to Stay” and helped the band through the wonders of “Tuxedo Junction” and the all-time evergreen “In the Mood.” The rest of the afternoon fell to Mister Buddy Greco, who at 83 seems to be just getting started. His voice may not be what it once was but his fingers on the keyboard must have been dipped in Ponce De Leon’s fountain of youth. This portion was a departure from the big band feel but the audience ate it up. Greco had the benefit of a truly grand piano and his readings of “Around the World,” the gorgeous “It Might Be You” and the show closing “McArthur Park” were beyond amazing. Throughout the sound of the orchestra was full and strong but not loud enough to oppress the ears, even of those who have heard a note or two million along the decades.

Vienna Boys Choir March 14, 2010

2010-03-15T10:48:00.000-07:00

Vienna Boys Choir better than advertised at Cerritos

By Glen Creason

You would have to go a long way to find better bloodlines than the five hundred year old “Wiener Sangerknaben” or as they are known on this side of the great pond “the Vienna Boys Choir.” Just picture that Franz Schubert and Papa Hayden were members of this august ensemble to get some perspective. Than again, they have performed on every continent except maybe Antarctica. The word boys in the title should not make anyone believe this is a green, unpolished unit since the dedication, talent and rigorous discipline needed to perform as they do is beyond what any who teach kids would believe possible. To translate it all into American, these guys are just totally awesome! I had to say they were better than advertised since there is no need beyond posting a notice that the choir is coming and the place will sell out as it was at the Performing Arts Center for this Sunday matinee. These fans go back to the 78 rpm playing mahogany consoles and many sang-along, although not anywhere as well as the lads. There is an old-fashioned feel to the show as the director Florian Schwartz wore the tuxedo with long tails and the boys were attired in their trademark sailor suits. This is one of four touring choirs, this one the Mozart choir which celebrates a genius who figures heavily in the history of the group.
At Cerritos the program was full of delights including classic arrangements of the masters including “Jubilemus” by Couperin, “Come ye sons of art and strike the viol” by Henry Purcell, J.S. Bach’s “Jesu, Joy of Man’s Desiring” and several wonderful songs from Mozart’s “The Magic Flute.” “V’Amo di core” was most interesting as it consisted of three melodies sung separately by twelve voices while the boys walked in patterns around the stage. This maneuver is the musical equivalent of patting your head while rubbing circles on your stomach. The first half ended with four more playful pieces “Der Floh,” “Gaudete,” the lovely “Widerspruch” by Shubert and a lilting waltz by Johann Strauss “Leichtes Blut.” The second half was drawn from all over the world, beginning with three perfect tunes from Austria with a snappy accordion accompaniment. The third in the set featured a yodel that actually drew audience participation. Two songs from America were demanding and unusual including a piece written by Geronimo and a work song that required precision percussion supplied with twenty-five pair of feet. Two more gems were a sweet love song from Korea “Arirang” and the song for peace from Israel “Shalom aleichem.” Yet, a last minute inclusion of the Leonard Cohen masterpiece “Hallelujah” was cause for a heartfelt standing ovation all up and down the large auditorium. The rewarding afternoon ended with, appropriately an Austrian finish with a Strauss polka and waltzes and even a tasty encore of “Chattanooga Choo Choo” that gave the boys a lot of pleasure along with the roaring crowd.

Sarah Chang and Andrew Von Oeyen February 28, 2010

2010-02-28T21:57:00.000-08:00

A Perfect Pairing: Sarah Chang and Andrew Von Oeyen at Cerritos

By Glen Creason

You had to anticipate something special on Sunday at the Performing Arts Center, seeing the placed packed to the rafters a full twenty minutes before curtain, producing a buzz normally associated with pop music. This anxiously awaited concert by violinist Sarah Chang and pianist Andrew Von Oeyen had a lot going for it including the extremely talented duo, the enticing program filled with intriguing compositions from Johannes Brahms and the underrated Cesar Frank with a dash of the contemporary in a work by a promising young composer named Christopher Theofanidis. Without a lot of fanfare the two artists strode confidently to the stage and began a marvelous afternoon of music. Sarah Chang is beautiful and her playing is intense and animated but you could close your eyes and still be carried away by this dynamic violinist. It was also impossible to overlook the masterful playing of Andrew Von Oeyen who literally caused swoons from the audience in some of the romantic passages. Both of these artists began learning their instruments at the age of five years and even if they have not broken into their thirties they are veterans of music.
The curtain-raising “Scherzo” by Brahms was short and very sweet with the vigorous give and take between the two young artists creating color in the piece. Throughout the performance Chang exuded passion, dropping her arms and holding the violin in place with her neck and chin then taking a bold paraph with the bow to emphasize certain moments in the pieces. Occasionally her feet seemed to be off the floor all at once but more often it was something to close to a dance amidst the notes that flew from her Guarnari violin. The second Brahms composition “Sonata No. 3 in d minor, Opus 108 came in four distinctly different movements that ranged from the synchronicity of the pair in the opening “Allegro” to the heart-tugging “ Adagio,” to the fiery exchanges in the “Presto agitato.” The enthusiastic crowd applauded between movements but it seemed somehow perfectly fine since the broadly smiling artists seemed to be enjoying every note.
The second half was equally amazing with the fresh and wonderfully engaging contemporary piece “Fantasy” written by Christopher Theofanidis, inspired by his infant daughter but it was much more than a lullaby. This fantasy brought forth piano notes cascading across the hall, juxtaposed against the flowing violin line which met at a most delicate and satisfying finish. The music was just way too interesting to cause any drowsiness. The lynchpin portion of the concert; Cesar Frank’s “Sonata for Violin and Piano” was in turns contemplative, then boldly dramatic with fevered interplay between the violin and piano and at last beautifully filled with yearning that was made palpable in the talented hands of Chang and Von Oeyen. Without even a hint at becoming cloying Chang’s playing just took your breath away at times. After a rousing standing ovation the pair came forth for an encore of Edward Elgar’s “Salut d’amour” that seemed perfect to finish off a wonderful afternoon of music.