Author Archive: Glamour

Film Review: Godzilla Minus One

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Godzilla Minus One. Written and directed by Takashi Yamazaki. Produced by Minami Ichikawa, Shūji Abe, Kenji Yamada, Kazuaki Kishida, Gō Abe, and Keiichirō Moriya.

The 37th film in the franchise delivers a mutated Godzilla as a result of the radioactive sea spray contamination during Operation Crossroads at Bikini Atoll. The story is set in 1945, a tragic year in Japan’s history.

Kōichi Shikishima (Ryunosuke Kamiki) seems to have failed his duty as a kamikaze pilot, bringing shame to his name. Due to shock and fear, he is also unable to shoot Godzilla when the monster attacks his garrison on Odo Island. The only survivors of the attack are Shikishima and Tachibana (Munetaka Aoki), a lead mechanic who blames Shikishima for failing to shoot Godzilla.

Returning back home, Shikishima finds out that his parents were killed during the bombing of Tokyo—massive air raids known as Operation Meetinghouse. He finds a girl, Noriko Ōishi (Minami Hamabe), who also lost her parents during the raids, and an orphan baby named Akiko, rescued by Noriko. Trying to rebuild his life, he decides to take care of them and live as a family.

As Godzilla continues his devastating path towards Japan, Shikishima finds a job as a minesweeper and his crew is commissioned by the Japanese government to stop Godzilla before the kaiju reaches the mainland.

The film includes two relevant elements. For one, its social and historical commentary. The story unfolds during WWII, few months before the detonation of the atomic bombs over Hiroshima and Nagasaki. The scene where Shikishima returns home captures the extensive damage by the Operation Meetinghouse raids. Napalm-carrying bombs were dropped over Tokyo, causing between 83,000 to 97,000 deaths and more than a million people left homeless due to the destruction of over 260,000 buildings. In the film, Shikishima, Noriko, and Akiko suffered the death of their parents. Noriko and Akiko were also left homeless. Shikishima rebuilding his house gives a sense of back to normality, a feature that might reference the Japanese efforts to rebuild the country’s infrastructure and its social fabric.

The other element is the visual effects. Godzilla Minus One is the Japanese style to create epic monster movies. 610 VFX shots, of which 100 were water shots, were created by a group of 35 artists, supervised by Screenwriter/Director Takashi Yamazaki and VFX Director Kiyoko Shibuya. The fluidity of movement, the eyes and body details, the destruction of Ginza, and the explosions are such a technical achievement that the film has received an Academy nomination for Best Visual Effects.

Another significant aspect of the film are the themes of guilt, redemption, and love, all of them universal attributes that connect strongly with the audience. The navigation of Shikishima through rejection, loss, and heroism, makes him a compelling character that gives him a human factor impossible to resist.

The question left in the air is: What lurks below Sagami Bay?

Godzilla Minus One

Written and directed by Takashi Yamazaki. Visual effects by Takashi Yamazaki and Kiyoko Shibuya. Produced by Minami Ichikawa, Shūji Abe, Kenji Yamada, Kazuaki Kishida, Gō Abe, and Keiichirō Moriya. Cast: Ryunosuke Kamiki. Minami Hamabe. Yuki Yamada. Munetaka Aoki. Hidetaka Yoshioka. Sakura Ando. Kuranosuke Sasaki.

Cinematography by Kōzō Shibasaki. Edited by Ryūji Miyajima. Music by Naoki Satō. Production companies: Toho Studios and Robot Communications. Distributed by Toho.

Theatre Review: A Winter’s Tale

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The Winter’s Tale is presented by Antaeus Theatre Company. Written by William Shakespeare. Directed by Elizabeth Swain.

With a minimalistic set, this staging The Winter’s Tale relies on the extraordinary skills of the thespians. Director Elizabeth Swain uses attractive costumes and the talent of her actors to present a story written in the 1600s. The themes, however, resonate with today’s audience in a moving and powerful way. Jealousy, based on facts or hypotheticals, is still a constant in our society, sometimes with deathly consequences.

The casting continues to be a decisive factor for Antaeus Theatre Company to create masterful productions. Actor Adam J. Smith portrays Leontes with passion and a convincing transformation into a man consumed by his inner demons. In a similar manner, he also morphs smoothly into the repented husband, father, and friend that is so eagerly looking for redemption. Ann Noble A Bella Incarceration, as Paulina, is also extraordinary. Strong and funny, she portrays the character that is not afraid to face an enraged Leontes. She speaks her mind, and fiercely opposes Leontes mistreatment of Hermione (Kaci Hamilton).

The combination of experienced actors with younger ones add a balance to the production that introduces Shakespeare to new audiences. The younger actors such as Peter Mendoza (Florizel/Lord I), Shannon Lee Clair (Emilia/Perdita), and Conlan Ledwith (Lord II/Shepherd’s son: Nathan Woodworth) blend effectively with the experienced actors JD Cullum (Autolycus/Lord III), Paul Eiding (Archidamus/Jailer/Old Shepherd), and Geoffrey Wade (Camillo/Mariner). 

This staging captures the festive scene of the play combining dance, music, and singing. It adds kinetics and shows the musical skills of the actors, blending brilliantly with the somber aspects of the story. 

Swain’s production features prominently the two themes that make this play a powerful and moving story: Jealousy with its lugubrious mood in the first three acts and redemption with a jovial tone in the last two acts. Bringing Hermione back to life is a poignant element used by Shakespeare to talk to the audience at an intimate level. Although impossible, resurrection has been a human desire since the very beginning. Steven Spielberg used it too in A.I. Artificial Intelligence. In The Winter’s Tale, at least for a moment, the impossible becomes possible.

The Winter’s Tale

Antaeus Theatre Company
Kiki & David Gindler Performing Arts Center
110 East Broadway
Glendale, CA 91205
(between N. Brand Blvd. and Artsakh Ave.)

February 4 – March 11, 2024

Tickets: antaeus.org

Written by William Shakespeare. Directed by Elizabeth Swain.

Cast: Shannon Lee Clair, JD Cullum, Paul Eiding, Kaci Hamilton, Sabrina J. Liu, Brian Kim McCormick, Peter Mendoza, Ned Mochel, Ann Noble, Catia Ojeda, Claire Simba, Adam J. Smith, Geoffrey Wade, and Conlan Ledwith.

Scenic Designer: Frederica Nascimento. Costume Designer: Carolyn Mazuca. Lighting Designer: Vickie J. Scott. Sound Designer: Jeff Gardner. Choreographer: Annie Yee. Props Designer: Aaron Lyons. Composer: Donna Cribari. Production Stage Manager: Karen Osborne. Assistant Director/Production Dramaturg: Kaite Brandt. Assistant Stage Manager: Casey Collaso.

 

A Winter’s Tale poster
A scene from A Winter’s Tale
A scene from A Winter’s Tale

Theatre Review: Arrowhead

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The World Premiere production of Arrowhead is presented by IAMA Theatre Company. Written by Catya McMullen. Directed by Jenna Worsham. Produced by Quinn O’Connor and co-produced by Katharine Means for IAMA Theatre Company. 

Gen (Amielynn Abellera) has a problem: She got drunk, had sex with a guy, and got pregnant. But she’s a lesbian. Well, she decides to abort. It is during this time that Gen and a group of friends get together. Everything looks relatively normal until Levi (Nate Smith) and his friend Brody (Adrián González, Celestial Events, Kiss of the Spider Woman) arrive.

It doesn’t take long for some drama to unfold and turn things upside down. Gen and Levi had a romantic relationship in the past and seeing each other again complicates things even further, as Gen is currently dating Lily (Kathleen Littlefield). Maggie (Kacie Rogers, Celestial Events) is straight. Well, kind of. Cam (Lindsay Coryne) is lesbian and sees the group of friends as family. Stacy (Stefanie Black) is Levi’s sister and develops a special relationship with Brody.

Playwright Catya McMullen creates a world where a reunion of friends unveils the complications of love, sex, and identity. Taking from her own experiences, McMullen gives each character a world of possibilities. Identities, labels, and the struggles to cope with feelings, specially after a breakup, are explored in this play. It is a comedy that presents different points of view of some controversial issues around queerness and feminism.

One of the most valuable aspects of Arrowhead is that the seriousness of the topics exposed in the play are actually presented as a delightful comedy. The writing offers dialogue that gives the actors plenty of opportunities to shine. With the excellent direction of Jenna Worsham, the script is turned into a web of comedic situations that deliver entertainment on every scene.

Each character has a background that reflects the experiences of most of the people in the audience. The play is a journey of self discovery. A leap into the unknown. But you’re not alone—the characters are your co-pilots. They may not have all the answers to your questions, but they make you laugh all the way till the end. Lindsay Coryne, specially, delivers a phenomenal performance. We hope she/him gets nominated for an award this year; it’s a performance to be remembered.  

The attention to detail is always a reflection of the professionalism of the director, and for Arrowhead, Worsham uses the set design, lighting, and special effects as a menagerie of creative elements to enhance the comedic mood of the play. 

A love letter to queerness, Arrowhead is a play that grabs your attention and inspires to ask questions about identity, sex, love, and friendship. With humor, surprises, and a cat lady, what else can you ask for?

Arrowhead

Atwater Village Theatre
3269 Casitas Ave
Los Angeles, CA 90039
• FREE parking in the ATX (Atwater Crossing) lot one block south of the theater. 

Performances: Feb. 8 – March 4
• Thursdays at 8 p.m. Feb. 8 ONLY (Opening Night)
• Fridays at 8 p.m.: Feb. 16; Feb. 23; March 1
• Saturdays at 8 p.m.: Feb. 17; Feb. 24; March 2
• Sundays at 2 p.m.: Feb. 18; Feb. 25; March 3
• Mondays at 8 p.m.: Feb. 19; Feb. 26; March 4 (dark Feb. 12)

Tickets: iamatheatre.com

Written by Catya McMullen. Directed by Jenna Worsham. Starring Amielynn Abellera, Stefanie Black, Lindsay Coryne, Adrián González, Kathleen Littlefield, Kacie Rogers, Nate Smith. Produced by Quinn O’Connor and co-produced by Katharine Means for IAMA Theatre Company. Presented by IAMA Theatre Company, Stefanie Black, artistic director. Creative team: Scenic designer Carolyn Mraz; sound designer Eliza Vedar; associate lighting designer/programmer Erica Ammerman; costume designer Danae Iris McQueen; properties designer Nicole Bernardini; intimacy director Celina Surniak; and casting director Jordan Bass. Rosalind Bevan is associate director; Daniel Cyzpinski is the technical director; and Zaira Paredes–Villegas is the production stage manager alongside assistant stage manager Isabella Gomez and wardrobe supervisor Athena Saxon.

Arrowhead poster
A scene from Arrowhead
A scene from Arrowhead

Theatre Review: A Permanent Image

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Pacific Resident Theatre presents A Permanent Image. Written by Samuel D. Hunter. Directed by Andrew Wayman.

Viola, Idaho. December, 2011. Bo (Scott Jackson) and Ally (Dalia Vosylius) visit their mom Carol (Terry Davis), after the passing of their dad Martin (Phil Cass). Nothing seems that unusual, except that Martin died of suicide. Oh, and that Carol painted the house with brushstrokes of white paint, including the furniture.

As the recriminations intensify, the family dynamics start to unveil the complexities of their lives. Education, negligence, and the despair of feeling left behind all play a role in the way the characters treat each other.

The busy schedules of Bo and Ally have prevented them from visiting their parents more often, taking a toll on Martin and Carol’s emotional state. It is the lack of formal education what seems to push Martin and Carol to get involved in some esoteric beliefs about cosmology. That philosophy leads them to some extreme views about life and death. It is now time for Bo and Ally to either accept or reject Carol’s decision about her own choices following Martin’s death.

Director Andrew Wayman uses the exposition of the character’s lives to convey the dramatic consequences of growing apart as a family and the psychological scars left by that fracture. In A Permanent Image, Samuel D. Hunter explores the effects of isolation and the efforts of family members to reconnect with each other. It is, however, the topic of voluntary euthanasia that raises the most ethical and philosophical questions. If life has no more value for someone, should that person be allowed to commit suicide with some assistance?

The four actors portray the vulnerabilities and resilience necessary to trigger deep and emotive reactions from the audience. Throughout the play, they build up the tension for that very last scene. It’s intimate. It’s emotional. It’s powerful.

A Permanent Image

Pacific Resident Theatre
703 Venice Blvd.
Venice, CA 90291

Opened December 2, 2023
Closing: February 25, 2024
Schedule:
Saturday, 2/10 – 8 pm
Sunday, 2/11 – 3 pm
Saturday, 2/17 – 3 pm
Sunday, 2/18 – 3 pm
Saturday, 2/24 – 8 pm
Sunday, 2/25 – 3 pm

Tickets: pacificresidenttheatre.org

Playwright: Samuel D. Hunter. Director: Andrew Weyman. Assistant Director: Susan Wilder. Presented by Pacific Resident Theatre. Cast: Phil Cass (Martin), Terry Davis (Carol), Scott Jackson (Bo), and Dalia Vosylius (Ally). Creative team: Michael Franco (Lighting Design), Andrew Weyman (Scenic Design), Susan Wilder (Costume Design), Keith Stevenson (Sound Design), and James Morris (Projection Design).

A scene from A Permanent Image
A scene from A Permanent Image
A scene from A Permanent Image

Theatre Review: TINY LITTLE TOWN, a new musical

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TINY LITTLE TOWN, a new musical is presented by Theatre Movement Bazaar. Book by Richard Alger and Tina Kronis. Lyrics by Richard Alger. Music composition by Wes Myers. Adapted from The Inspector General By Nikolai Gogol. Direction and Choreography by Tina Kronis. Produced by Theatre Movement Bazaar. Associate Producer Justin Okin.

Major Rasmussen (Kasper Svendsen) has a tiny little problem. A General Inspector has been sent from Washington to audit the city and its officials. Will the Inspector find out about the rampant corruption going on in this American tiny little town? After all, it’s the 70. Yes, the same period of the Watergate scandal during Nixon’s presidency. Major Rasmussen has also taken a few bribes here and there, and now he needs to find a way to cover up his corruption and that of his city officials.

With little time to clean up his record, the Major has no other choice but to do what he does best: Bribe. The only problem is that he ends up bribing the wrong person. As the story unfolds, the city officials and some of the citizens are duped into the trickeries of Konner (Nikhil Pai), the mysterious visitor they take as the Inspector. With a Rico Suave swagger, Konner even manages to impress Anna Rasmussen (Paula Rebelo, Do You Feel Anger), the Major’s wife, and Maria Rasmussen (Ishika Muchhal), the Major’s daughter. As a captivating subplot, Konner’s assistant, Joseph (Nick Apostolina), and Rasmussen’s secretary, Jackie (Prisca Kim), start to develop a romantic relationship in the middle of all the chaos. Due to their shenanigans, the citizens and officials of this town will be forced to face the consequences of their actions, creating the situations that make this play a timeless study of crooked characters with a comedic bent.

The play is a musical that uses physical comedy to keep the action fast-paced and interesting. The direction and choreography by Tina Kronis is a phenomenal display of craftsmanship. The musical numbers are highly kinetic, combining music and comedy perfectly. The commedia dell’arte style in the performances, the set design, and the Eastern European music, make it feel like a topsy-turvy dream, an exaggerated and alluring image of our reality. And that’s the beauty of physical theatre; it’s an artistic and deviant vision of the world around us.

Theatre Movement Bazaar achieves an outstanding theatrical version of the satirical play written by Nikolai Gogol in 1836. One of the many great elements of this staging is the casting. Actors that can sing, dance, and deliver excellent comedy at the same time are not easy to find. Richard Alger and Tina Kronis have put together an extraordinary production that will be a successful hit without a doubt. It’s a gem. Right in the heart of Hollywood.

TINY LITTLE TOWN, a new musical

The Broadwater Theatre Main Stage
1078 Lillian Way
Los Angeles, CA 90038

Feb 1 – 18, Thurs – Sat @ 7:30pm, Sat and Sun @ 2:30pm

Tickets: theatremovementbazaar.ludus.com

Book by Richard Alger and Tina Kronis. Lyrics by Richard Alger. Music composition by Wes Myers. Adapted from The Inspector General By Nikola Gogol. Direction and Choreography by Tina Kronis. Produced by Theatre Movement Bazaar. Associate Producer Justin Okin. Cast: Nick Apostolina, Joey Aquino, Mark Doerr, Prisca Kim, Ishika Muchhal, Jesse Myers, Isaiah Noriega, Lamont Oakley, Nikhil Pai, Paula Rebelo, Kasper Svendsen, and Eddie Vona. Creative team: Aaron Francis (Technical Director), John Zalewski (Sound Design), Lechetti Design (Scenic Design), Aaron Francis and Johnny Montage (Lighting Design), Anna Kupershmidt (Production Stage Manager), Ellen McCartney (Costume Designer) Yuanyuan Liang (Assistant Costume Designer). 

A scene from TINY LITTLE TOWN, a new musical
A scene from TINY LITTLE TOWN, a new musical
A scene from TINY LITTLE TOWN, a new musical

Theatre Review: Twelve Angry Jurors

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The Group Rep presents Twelve Angry Jurors. Adapted by Sherman L. Sergel based on the Emmy-winning television movie by Reginald Rose. Directed by Tom Lazarus. Produced for The Group Rep by Stevie Stern.

Playwright Sherman L. Sergel takes us to a jury room in a hot summer late afternoon. The year is 1958 and a teenager has been accused of murdering his father. It’s now up to the jurors to return a guilty or not guilty verdict.

In this intriguing drama, the race of the kid is not revealed. Since the teleplay first aired in the 50s, people have speculated that the teenager was Black or Puerto Rican. In Tom Lazarus‘ staging, all we learn is that the kid was living in the slums. The fascinating aspect of the play is how the attitudes of the jurors reflect the diversity of society. Some of the jurors come from privileged backgrounds while others come from disadvantaged communities.

In the original teleplay and later in the movie, the 12 jurors, were all White males. For The Group Rep‘s production, director Lazarus and producer Stevie Stern decided to make the race and gender of the jurors more diverse. Whether that is a reflection of the status quo or not of the American justice system, it’s up for debate. It is perhaps, Lazarus and Stern’s way to protest the systematic discrimination in the history of the selection and conducting of the jury duty process.

The two witnesses in the play, the man and the woman that provide testimony against the kid, become characters on their own right. Their testimony is either upheld or disputed during the jurors’ deliberation. The apparent initial agreement on a guilty verdict is questioned by Juror # 8 (Neil Thompson). His refusal to accept the majority’s decision leads to a closer look at the witnesses’ account of the events surrounding the murder. On the other hand, Juror # 3 (Mark Stancato) becomes the bully, the bigot. Two opposites that more than just characters, are the reflection of people’s attitudes towards the most underprivileged members of society.   

In addition to the excellent dialogue, the diverse cast—which includes women, African Americans, and immigrants—are a mirror of American society. The heat depicted in the play becomes a pressure cooker, an uncomfortable environment to test the patience and the concentration needed to decide whether a person deserves the death penalty or not.

Thompson and Stancato offer compelling performances as the dichotomy of society. Thompson as Juror # 8 delivers a credible representation of the ideals of justice and democracy embodied in the American Dream and the Constitution. As for Stancato, he excels as the representation of the oppressive system and disengaged observer of social marginalization. The blocking allows for a dynamic performance of the 12 jurors, which move around the table to show their expressions and state of minds. 

Race and gender give this production a progressive take on the always gripping theme of jury deliberation, an environment where bigotry and prejudice can jeopardize the fairness of the justice system.

Twelve Angry Jurors

The Group Rep
10900 Burbank Blvd
N. Hollywood, CA 91601

January 26 — March 3, 2024.

Fridays and Saturdays at 8pm, Sundays at 2pm.

Tickets: thegrouprep.com

Adapted by Sherman L. Sergel, based on the Emmy-winning television movie
by Reginald Rose, directed by Tom Lazarus and produced for The Group Rep by Stevie Stern. Cast: Linda Alznauer (Juror 4), Jane Bonem (Guard), Paul Cady (Juror 2), Belinda Howell (Juror 10), Stephanie Keefer (Juror 11), Stan Mazin (Juror 9), Bob McCollum (Judge), Richard Reich (Juror 7), Mark Stancato (Juror 3), Melissa Strauss (Juror 1), Neil Thompson (Juror 8), Cathy Diane Tomlin (Juror 6), Mouchette van Helsdingen (Juror 12), Tamir Yardenne (Juror 5) and Tilly Ye (Juror 6 – Feb. 16 – 18). Creative team: Tom Lazarus (Set Design), Chris Winfield (Set Construction), Frank McKown (Lighting Design), Shon LeBlanc (Costume Design), Steve Shaw (Sound Design), and Kristin Stancato (Stage Manager).

 

Twelve Angry Jurors poster
A scene from Twelve Angry Jurors
A scene from Twelve Angry Jurors

Theatre Review: An Extraordinary Ordinary Man

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The Ruskin Group Theatre Co. presents An Extraordinary Ordinary Man. Written and performed by John Colella. Directed by Michael Matthews. Produced by Michael R. Myers and John Ruskin.

When trying to build a new life in another country, immigrants usually are faced with a critical decision: Do they follow their dreams, or do they work in whatever job is available to support their families?

“Be anything but a baker”. That was John Colella‘s (Blue) father advice. He wanted his son to follow his dreams instead of spending his entire life in the family business. As John took his father’s advice by heart, he embarked on a journey of discovery, finding the stage his true calling. With humor, memories of relatives, and the positive influence of his father, Colella achieves an emotional and timeless play not to be missed.

With childhood anecdotes of growing up in an Italian family, Colella infuses his solo play with the unconditional love his father showed to everyone around him. The vivid memories of his father’s sacrifices to sustain his family and the encouragement to do better in life became Colella’s inspiration to pursue his dreams.

In his poignant play, Colella links his childhood experiences, the Italian food surrounding him, and his father figure to create an inspiring and emotive story of the dynamics of a family pursuing the American Dream. It’s a story of building a strong family, with ups and downs, but a family with an everlasting bond.

The play conveys that constant fear of loosing what has been constructed with so much effort. An anxiety that becomes almost disturbing as we age. As Colella sees his relatives going through physical ailments, he starts to experience his own health conditions. It’s a strange feeling, almost like a ticking. It’s perhaps the prelude to our own mortality.

An Extraordinary Ordinary Man is a story that connects with the audience organically. The magic of Colella’s writing is that is relatable. It’s personal. It’s powerful. Colella takes us to that deeply private space that is sacred; a place full of endearing memories. It’s a rite of passage, an unavoidable experience that, in a group, feels cathartic. As the cycle comes to an end, the phrase “grief is nothing else but love with no place to go” becomes an eloquent explanation of the myriad of feelings that rush in after the passing of a loved one. An outstanding play. A gifted thespian.

An Extraordinary Ordinary Man

Ruskin Group Theatre
3000 Airport Avenue, Santa Monica, CA 90405
 
Opening: 8pm January 13, 2024

Schedule: 8pm Jan. 20, 27, and Feb. 2, 10, 17, 2024

Running in tandem after Paul Linke’s 5pm performances of “It’s Only a Show!”
Closing: Feb. 17, 2024.

Tickets: ruskingrouptheatre.com

Written and performed by John Colella. Directed by Michael Matthews. Produced by Michael R. Myers and John Ruskin. Creative team: Ed Salas (Lighting and Sound Design).

An Extraordinary Ordinary Man poster
An Extraordinary Ordinary Man

Film Review: Yoshiki: Under the Sky

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Yoshiki: Under the Sky is directed by Yoshiki. Produced by Sid Ganis, Mark Ritchie, Doug Kluthe, and Aaron Latham-James.

Featuring the skyline of Los Angeles, Yoshiki: Under the Sky is a film that explores the intimate relationship between personal pain and music. International musician Yoshiki shares the way he was able to channel his personal tragedies into art in the form of music.

The film is a music documentary with the collaboration of other world-renowned stars: Sarah Brightman, Jane Zhang, Scorpions, SixTONES, Nicole Scherzinger, St. Vincent, Sugizo, Hyde, Lindsey Stirling, and The Chainsmokers.

Yoshiki shows his skills as a composer, pianist, guitarist, and drummer. The duo with The Chainsmokers’ drummer Matt McGuire is truly epic. Yoshiki’s talent allows him to blend effortlessly with different styles of music. He can easily create rock, pop, or classical music. And now, he does his directorial debut, performing some of his most famous songs with a wide variety of artists.

The cinematography by Ken Whales, Michael Pessah, and Rachel Bickert enhances the inspirational message of the film. It’s a poetic combination of light and color, as stunning as the music itself. The visuals intertwined with music become a lyrical element to elevate the value of this production.

The devastation from personal loss has been a constant in Yoshiki’s life, and somehow, his lyrics create some sort of magic that talks to his fans all over the world. Yoshiki’s music is an evidence that some of the most beautiful art comes from a place of pain. One touching moment of the film is the message Yoshiki shares with a Japanese fan whose wife is terminally ill. It’s heartbreaking, but it’s also an example of how music can be uplifting, even when we go through difficult experiences. And that’s exactly how certain music becomes the soundtrack of one’s life.

The closing of the film couldn’t be more sublime. Voices from around the world join Yoshiki’s interpretation of “Endless Rain”, a song that reflects the spirit of the film. It penetrates your skin, going straight to your heart. It’s a poem to the healing power of music, transcending the pain, no matter how deep it might be.

Yoshiki: Under the Sky

Directed by Yoshiki. Produced by Sid Ganis, Mark Ritchie, Doug Kluthe, and Aaron Latham-James. Starring Yoshiki, Sarah Brightman, Jane Zhang, Scorpions, SixTONES, Nicole Scherzinger, St. Vincent, Sugizo, Hyde, Lindsey Stirling, and The Chainsmokers. Cinematography by Ken Whales, Michael Pessah, and Rachel Bickert. Edited by Spencer Lee, Takashi Uchida, David Swift, Merritt Lear, Jim Yukich, Claire Didier, Imran Virani, and Bryan Roberts. Music by Yoshiki.

Production company: A List Media Entertainment.

Distributed by: Abramorama.

Yoshiki: Under the Sky poster

Musical Review: Scissorhands: A Musical Tribute

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Scissorhands: A Musical Tribute is presented by Bradley Bredeweg, Kelley Parker, and Mad World Inventions. Written by Bradley Bredeweg and Kate Pazakis. Directed by Bradley Bredeweg. Produced by Bradley Bredeweg, Lance Bass, and Kelley Parker.

Gothic and mystic, Edward Scissorhands is a romantic story of isolation and acceptance by the brilliant mind of Tim Burton. And now, this fascinating tale is revamped in Scissorhands: A Musical Tribute. Featuring a killer score, this musical includes “Trouble” and “Shallow” to make it more contemporaneous and revive the drama and the romance of the original film. This proves to be a smart move by the producers, as the songs create a special connection with the audience.

As for the performances, Emma Hunton (The Nightlesque Before Grinchmas, Exorcistic The Rock Musical, CLUELESQUE) continues to show her magnetic skills both as an actress and singer. She has been steadily performing in some of the most exciting musicals and burlesque shows in town. For the role of Peg, she creates an endearing character as the loving and accepting mother of Scissorhands (Jordan Kai Burnett). One of the actors that brings some of the funniest lines in the show is Ryan O’Connor as Helen/Bill/Host. His timing delivers comedy at its best, bringing lots of laughs and demonstrating that excellent music and comedy are a winning combination for a successful show. The cast put together for this production achieve a very positive reaction from the audience due to their comedy and singing skills, creating an energetic vibe all around.

The visuals, as in the movie, are an important factor to capture the enigmatic and dark world of Scissorhands. In this musical, the lighting (Darren Langer) and scenic design (James Connelly) recreate the German Expressionism that is typical in Burton’s productions. The shadows and contrast highlight the gothic elements of the story and mix well with the pastel colors of some of the characters’ costumes (Benjamin Holtrop, costume designer). The background projections and the special effects add a special and creative touch to this production, a homage to some of the most iconic scenes in the original film.

Do not miss the opportunity to take a look at the fantastic and endearing world of Scissorhands. There’s romance, comedy, and vibrant live music that make this musical a world-class production.

Scissorhands: A Musical Tribute

Cast: Jordan Kai Burnett, Carly Casey, Alex Ellis, Dionne Gipson, Carson Higgins, Emma Hunton, John Krause, Natalie Masini, and Ryan O’Connor.

The Bourbon Room
6356 Hollywood Boulevard
Los Angeles, CA, 90028

Upcoming shows:

Jan 6, 07:00 pm | 10:00 pm
Jan 7, 02:00 pm
Jan 11, 07:30 pm
Jan 12, 07:00 pm | 10:00 pm
Jan 14, 02:00 pm

Tickets: scissorhandsmusical.com/tickets

Written by Bradley Bredeweg and Kate Pazakis. Directed by Bradley Bredeweg. Produced by Bradley Bredeweg, Lance Bass, and Kelley Parker. Co-produced by Chadd McMillan, Jeff Wickline and Josh Robers. Creative team: Musical Direction by Gregory Nabours. Choreography by SaraAnne Fahey. Costume Design by Benjamin Holtrop. Production Design by James Connelly. Lighting Design by Darren Langer.

A scene from Scissorhands: A Musical Tribute
A scene from Scissorhands: A Musical Tribute
A scene from Scissorhands: A Musical Tribute

Film Review: Air

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Air is directed by Ben Affleck. Written by Alex Convery. Produced by David Ellison, Jesse Sisgold, Jon Weinbach, Ben Affleck, Matt Damon, Madison Ainley, Jeff Robinov, Peter Guber, and Jason Michael Berman.

In the world of basketball clothing, Adidas and Converse were two of the hotter brands back in 1984. Converse, in particular, meant basketball. Nike, on the other hand, was considered a brand for joggers. What Adidas and Converse had is that they appealed to rappers and Black people in general, two influential sectors in the basketball scene.

Air is a movie that captures the period when Phil Knight (Ben Affleck) and his team wanted to change the status quo and turn Nike around to start appealing to the basketball fans. At the center of this exciting times was Michael Jordan (Damian Delano Young), the young player seen as the potential biggest star in the history of basketball. For Knight and his team, signing Michael Jordan was a bold and expensive move that would allow Nike to become the hottest sports brand in existence.

Air centers around the extraordinary effort by Sonny Vaccaro (Matt Damon), Nike’s basketball talent scout, to convince Jordan to sign with Nike over its competitors Adidas and Converse. It is during the pitch meeting that Vaccaro delivers an emotional and inspiring speech that serves as the pivotal moment in the story. The pitch is so moving that Jordan’s parents, Deloris (Viola Davis) and James (Julius Tennon), see their dreams reflected in those words.

The film features a stellar cast that can make it a serious contender in the race to the Oscars. As an actor, director, and producer, Affleck shows his versatility and experience as an artist. It’s no surprise that he is one of the most active entertainers in the industry, having received several awards and nominations. His screen magnetism is evident throughout the film, and the same goes to the rest of the main actors. Damon’s portrayal of Vaccaro, in particular, is both convincing and inspiring. His performance carries a lot of the weight of this film. It won’t be a surprise if he gets another Academy nomination.

The soundtrack, compiled by Affleck and Music Supervisor Andrea von Foerster, is a fascinating collection of some of the most popular 80s songs. “Money for Nothing”, “Ain’t Nobody”, “My Adidas”, and “Born in the U.S.A.”—with a brief explanation about its meaning—are some of the titles included in the film that become a special touch to enhance the compelling message of the story.

The story of Nike as a corporation is not just a story about a successful conglomerate. It features the special relationship between corporations and the stars that make sports the exciting arena that inspires and, at times, make some dreams come true. The film shows Michael Jordan as a sports star born in the basketball court, but also a financial star born in Nike’s corporate office. Air Jordan brought in $162 million the first year. Michael Jordan makes approximately $400 million a year in passive income. Deloris Jordan made made that relationship very clear in the film: “A shoe is just a shoe until someone steps into it”.

Air

Directed by by Ben Affleck. Written by Alex Convery. Produced by David Ellison, Jesse Sisgold, Jon Weinbach, Ben Affleck, Matt Damon, Madison Ainley, Jeff Robinov, Peter Guber, and Jason Michael Berman.

Production companies: Amazon Studios, Skydance Sports, Artists Equity, and Mandalay Pictures.

Distributed by: Amazon Studios (United States) and Warner Bros. Pictures (International).

Starring: Matt Damon, Ben Affleck, Jason Bateman, Marlon Wayans, Chris Messina, Chris Tucker, and Viola Davis.

Creative team: Cinematography by Robert Richardson. Edited by William Goldenberg. Music by Andrea von Foerster.

Air poster
Air. Photo courtesy of Amazon/MGM Studios.