No, I didn’t score tickets to Hamilton last weekend, as several listeners and readers inquired. But I’m continuing to conscientiously enter the lottery for the $10 giveaways, and I did receive an email that a ticket on stubhub was available, for $495.
As I comment on public radio 97.5 KBU, and select websites everywhere, I didn’t bite. Instead for my theatre experience, I calculated that for just a few dollars more I could go to Dublin to take in an attraction or two at the Abby Theatre,
I do note that upcoming there is a production of Ulysses, which is being hailed as a “brilliantly adapted vibrant version of James Joyce’s classic.” Tickets start at 13 euro ($15).
As for last weekend, we did get to Hollywood for an engaging, stage event, in a new venue in the hills off the 101 freeway. (which we note was backing up when we exited at Highland.)
There after making a sharp is the welcoming, Ford Theatres., recently reimagined by architect, Brenda Levin, at a cost of $66 million to a generous county. Is it a coincidence a plaza there was named after the former supervisor Zev Yaroslavsky?
Despite its steep site cut into a verdant hillside, well lit, wide stairways and large elevators make the open air 1,200 seat theatre very accessible. Particularly appreciated are scattered plazas for picnicking., where with packed-in eatables you can also bring in wine or beer. Of course, also at the Ford for feasting before performances are inviting, if pricey, food concessions.
Also welcomed in the auditorium is the theatrical lighting and audio visual systems. No longer heard in the background is the obnoxious 101 freeway. Though a disappointment has to be the seating, which for some reason is not staggered, even just a few inches to the sides, improving sight lines, especially if the persons in front of you are six footers.
It did make viewing the evening’s program a challenge, as was the double bill itself. But if you also welcome the creative and experimental, the program had its rewards. Well deserved credit goes to the Ford, partnering as it has with the Music Center in support of the emerging performing arts. It is effort such as theirs that makes L.A. a cultural haven.
The program featured the Jacob Jonas dance company’s world premier of Pile On, and, yes, it opened with a pile on, not unlike occurs in a baseball game when a player hits a walk off homer, and his teammates bury him in bodies at home plate.
Only at the Ford it was more graceful, as were the individual break-dancing and gymnastics, as if a warmup to a Paul Taylor performance. Nonelessless, it was given a standing ovation. One senses this early experiment will in time morph into a more compelling piece.
This feeling also followed a visual and sound performance by Tim Hecker with Kara Lis Coverdale, and though dazzled by digital compositions, I found the program more noise than music. A lot of smoke, but no fire.