Randall Arney, Artistic Director of the Geffen Playhouse, kicks off their 20th season with the raucous, rowdy, often hilarious rip-off of Shakespeare’s “Much Ado About Nothing,” written by Rolin Jones, with music and lyrics by Green Day’s Billie Joe Armstrong.
Randall Arney, Artistic Director of the Geffen Playhouse, kicks off their 20th season with the raucous, rowdy, often hilarious rip-off of Shakespeare’s “Much Ado About Nothing,” written by Rolin Jones, with music and lyrics by Green Day’s Billie Joe Armstrong.
When Jones began working on the show with director Jackson Gay the project was not a labor of love. The inspiration was the fact that there was a slot open at Yale Repertory Theatre for a Shakespeare comedy, and even though the two of them were not big Shakespeare comedy fans they decided to give it a try.
While writing, Jones listened to early Beatles songs since they put him in a good mood. In the process of writing to their music it dawned on him that they fit in with the plot he was working on. Jones was also working on the film adaptation for “American Idiot” and decided to ask Armstrong to write some songs for “These Paper Bullets.” To his surprise Armstrong agreed.
“I’d say I need this and two days later on my laptop there would be a song Billie had written,” he said. “And he played the drums, bass guitar, lead guitar and he had sung the backup and lead vocals– all at his house…”
Their collaboration resulted in a madcap take-off of the Bard‘s “Much Ado About Nothing,” now set in London in 1964. “The Quatros” represent the Fab Four and their lead guitarist, Ben (Justin Kirk) takes on the persona of Shakespeare’s Benedict. He has broken up with his fashion designing gal pal, Bea (Nicole Parker) and their love has turned to total dislike until their friends trick them into thinking that each one still loved the other—and they fall for it.
The other sub plot deals with Claude (Damon Daunno), a Quatro, who has fallen for the ditzy, drug addled supermodel Higgy (kind of likeTwiggy) played by Ariana Venturi.
In keeping with the spirit of the ‘60s, the playwright throws in tabloid scandals, mod fashion wear and TV interviews using people in the audience who add to the spontaneous fun. It is obvious that this cast is having a blast and the audience is too.
The blending of the mod with actual Shakespearean dialogue is also ingenious. It wouldn’t hurt to brush up your Shakespeare before you go. Google the plot, if you are unfamiliar with the original “Much Ado About Nothing” storyline.
I had a little difficulty at first since the mix of old and new speech patterns threw me off a bit, but once I got into the spirit of the spoof I realized how clever this rowdy rip off really was.
“These Paper Bullets” runs through Oct. 18 at the Geffen Playhouse, 10886 Le Conte Ave. in Westwood. For tickets and information go to geffenplayhouse.com or 310-208-5454.
‘Cinderella’
The musical version of “Cinderella” delighted audiences of all ages when it opened at the Ahmanson Theatre early in the new year. This was followed by the live-action Disney film “Cinderella,” now available on Blu-ray and DVD.
And the good news is, this beloved fairytale princess will be back in Los Angeles in October when St. Petersberg’s world-renowned Mariinsky Ballet and Orchestra (formerly the Kirov Ballet) opens the 12th season of Glorya Kaufman Presents Dance at the Music Center with the Southern California premiere of Alexi Ratmansky’s “Cinderella.“ There will be five performances only, Oct. 8-11.
“Cinderella,” first performed in March 2002, catapulted the choreographer onto the world stage. In his ballet, Ratmansky took a fresh look at the classic story, imbuing his work with vibrant choreography, feisty humor and a glamorous 1930s twist. He combined the grand spectacle of ballet from Soviet Russia with innovative choreography that has a contemporary edge, presenting audiences with endearing characters and a sense of sophistication.
In his ballet Cinderella is portrayed as a lonely dreamer and her stepmother is depicted as a vicious, tantrum-prone social climber. The choreography builds to a pas de deux of aching beauty and tenderness between Cinderella and her prince. The performances are enhanced by spectacular sets and costumes that portray the glamour of a modern 20th century world..
Tickets for the Mariinsky Ballet and Orchestra’s production of “Cinderella” start at $34 and are available at the Dorothy Chandler Box Office at 135 North Grand Ave., downtown L.A. or by calling 213-972-0711 and online at musiccenter.org/Cinderella. : Ticket holders can get a behind-the-scenes perspective by joining Glorya Kaufman at the Music Center for DANCETALKS featuring a discussion one hour before curtain.
Performance times are: Thursday and Friday, Oct. 8-9 at 7:30 p.m., Saturday, Oct. 10 at 2 p.m. and 7:30 p.m., and Sunday, Oct.11 at 2 p.m.
