Musical Theatre West’s Memphis | Theatre Review

Hello!

I have been a season subscriber to Musical Theatre West for a few years, and have almost always been pleased with their offerings. But, I was a little nonplussed when I saw that Memphis was on the schedule for the 2016-2017 season. Maybe it was because the other three shows in the season are all solid classic musicals, and this one seemed like the odd man out. Anyway, I saw it this past weekend and it turned out to be awesome!

Musical Theatre West has been around since 1952, when they started out as the Whittier Civic Light Opera. Their productions evolved over time, and they went from being an all-volunteer operation to producing full seasons, currently under the capable leadership and vision of Executive Director/produce Paul Garman. Their big shows are hosted by the Carpenter Performing Arts Center at Cal State Long Beach, which is a lovely venue with plenty of conveniently located parking (by the way, the price for parking went up to $7 this year). The theater still has only has two restrooms for 1000 people, in case you were wondering...

Memphis has been around for more than a decade, and it played on Broadway from 2009 to 2012, where it earned four Tony Awards, including Best Musical for 2010. The plotline is kind of based on the story of Dewey Philips, a white DJ from Memphis who was a pioneer in bringing “black” music to “white” audiences back in the 1950s. You might think that there would be lots of recycled 50s rock in this show, but surprisingly all of the major numbers are originals and they fit in well with the period that is being portrayed. Credit for this goes to David Bryan (music and lyrics) and Joe Di Pietro (book and lyrics), who put together a passel of really catchy tunes.

The plot follows the careers of Huey (a DJ and promoter) and Felicia (a singer who is on her way to the top). They enter into a mixed race relationship, with all of the accompanying tension and drama that would be expected of this type of union in the 1950s. These themes from Memphis still feel relevant, as all of these tensions are still here today, which is a shame because you think we would have learned a few things in the past 60 years.

This story is told by a cast that is mostly new to MTW, but that does not mean they are not experienced. In fact, I would have to say that Memphis features the best singing and dancing that I have seen in a show from this company. Michael Monroe Goodman (Huey) and Krystle Simmons (Felicia) both have powerful voices, and their acting was above par too. The writers also included secondary characters that were generally likeable, including Delray, Felicia’s brother (Michael A. Sheppard), Huey’s racist mom, Gladys (Julia Cardia), the station’s janitor, Bobby (Jay Donnell), and the station’s boss, Mr. Simmons (James Campbell).

The ensemble also turned in a solid performance, and they were amazing dancers who made good use of Edgar Godineaux’s choreography. Though this is the first time I had seen this show, it was immediately obvious what an important role the ensemble plays, as they do quite a lot of the singing and dancing. Their men’s costumes were not exactly inspired, but Karen St. Pierre did a wonderful job of outfitting the women, as their dresses were awesome.

Visuals for Memphis were very nice. Stephen Gifford’s sets included a pair of building pillars on the side, a bandstand that could be hidden away in the back, and a series of roll-on platforms that included a DJ booth and a bar (among other things). This was a minimalist way to present the stage, but it worked very well and everything was properly visible thanks to Eric Larson’s lighting design. Also, there were cool video elements that were included, but I am not going to spoil the effects if you happen to decide to see the show in person.

The sound was also very good. There was a small onstage band under the supervision of musical director Darryl Archibald. Unfortunately the musicians were not credited in the program, and I have no idea if they were union or not. The sound engineering was also pretty good, and with so many strong singers on stage it must have really kept the sound guys on their toes.

All of this came together well for solid performance. Musical Theatre West did well and Memphis is a worthy show with fine production values and a well-chosen cast. If you have the chance you should get out and see it before it is gone, but leave the little kids at home with a sitter. This is a long show and they will be squirming in their seats a long time before the final curtain falls (it clocks in at 2 ½ hours), not to mention a few decidedly mature scenes that you may have to awkwardly explain to them on the drive home.

If you want to see Memphis at The Carpenter Center you had better hurry as it closes this weekend. There are not many tickets left, so grab them while you can. And, be sure to check out tickets for the remaining three shows of this season: Evita, Carousel, and Mary Poppins. These are all classics, and you can’t beat the value!

Mahalo!

Review of West Side Story from Musical Theatre West

Hello!

I have been a season subscriber to Musical Theatre West for a few years, and have almost always been pleased with their offerings. So, I was thrilled when I saw that the classic West Side Story was on the schedule for the 2015-2016 season. I saw it this past weekend and it was pretty good!

Musical Theatre West has been around since 1952, when it started out as the Whittier Civic Light Opera. Their productions evolved over time, and they went from being an all-volunteer operation to producing full seasons, currently under the capable leadership and vision of Executive Director/produce Paul Garman. Their big shows are hosted by the Carpenter Performing Arts Center at Cal State Long Beach, which is a lovely venue with plenty of conveniently located parking. And only two bathrooms...

West Side Story is one of the heavy hitters in the musical world, and the original 1957 Broadway show was inspired by William Shakespeare’s Romeo and Juliet. The original show was nominated for six Tony Awards and spawned the incredible successful 1961 movie of the same name (which won ten Academy Awards) starring Natalie Wood, Rita Moreno, Richard Beymer, and Russ Tamblyn (the latter two of Twin Peaks fame). This musical was so popular due to the music of Leonard Bernstein and lyrics from Stephen Sondheim, not to mention the groundbreaking choreography by Jerome Robbins.

In case you have been hidden under a rock for the past 60 years, the plot is nearly a direct lift from Romeo and Juliet, with a cast of anxious punk kids, hot women, harried cops, and an old fat guy. There are themes of love, racial tension, and death, and they all come together in a wonderful fashion. The musical was a head of its time, and the racial themes must have been controversial at the time, though they are no less pertinent today.

West Side Story has such a long history that nearly everybody is familiar with it, so effectively producing it is no small chore. Musical Theatre West rose to the challenge, and put all of the pieces together in a convincing manner thanks to the decision to use the Robbins’ original choreography. I have a few problems with the lyrics and the story in general (Maria sure jumps in the sack with Tony pretty quick after he kills her brother), but that is the way it was written…

Visually, the sets were good, with cool central piece that served as the drug store, front stoop, and Maria’s house, and Jean Yves Tessier’s lighting was fantastic. The costumes were mostly period correct and the women’s hair looked great, but the guys’ hair did not even come close. Need to break out the Brylcreem, fellas.

The sound was very good. There was a 30-piece orchestra (very big for a MTW production) under the supervision of musical director David Lamoureaux. Unfortunately the musicians were uncredited in the program, and I have no idea if they were union or not. The sound engineering was pretty good, thought the vocals were sometimes drowned out by the orchestra.

So, the basic foundation was solid, and its success depends on the cast, and the performers (mostly non-equity) mostly delivered solid performances. Ashley Marie earned the role of Maria, her voice was beautiful, and she had good timing and could dance very well. Her love interest, Tony, was played by Michael Spaziani who is a wonderful dancer and looks good with his shirt off, but had a little too much trouble staying in tune when singing.

The other main characters, Riff and Bernardo, were portrayed by Tyler Matthew Burk and Cooper Howell. They both did well, and honestly I think either one of them would have done a better job than Spaziani did with the role of Tony. Lauren Boyd stole the show as Anita, as her acting, singing, and dancing skills gave her marvelous stage presence.

The ensemble turned in a solid performance, and they were very good dancers, and they made good use of Robbin’s choreography. Though I have seen this show a few times, I had not noticed before what an important role they play, as they do quite a bit of singing and dancing.

All of this came together well for solid (though not brilliant), performance. Musical Theatre West did well and West Side Story is a classic show with fine production values and a good cast. If you have the chance you should get out and see it before it is gone, but leave the little kids at home with a sitter. This is a long show and they will be squirming in their seats a long time before the final curtain falls (it clocks in at 2 ½ hours), not to mention a few decidedly mature scenes that you will have to awkwardly explain to them on the drive home.

If you want to see it at The Carpenter Center you had better hurry as West Side Story is closing on February. There are not many tickets left (this has been MTW’s all-time best seller), so grab them while you can. And, be sure to check out tickets for the last two shows of this season: Sister Act and Dirty Rotten Scoundrels. Also, now is the time to start thinking about next year’s season, which will include Memphis, Evita, Carousel, and Mary Poppins. You can’t beat the value!

Mahalo!

Review of Musical Theatre West’s Les Miserables

Hello!

I have been a season subscriber to Musical Theatre West for a few years, and have almost always been impressed with what they have been able to put together for their fans. So, I was beside myself when I saw that Les Miserables, one of the most popular musicals of all time, was on the schedule for the 2014-2015 season. I had the chance to see it this time around and came away a little underwhelmed, unfortunately.

Musical Theatre West has been around since 1952, when it started out as the Whittier Civic Light Opera. Their productions evolved over time, and they went from being an all-volunteer operation to producing full seasons, currently under the capable leadership and vision of Executive Director/produce Paul Garman. Their big shows are hosted by the Carpenter Performing Arts Center at Cal State Long Beach, which is a lovely venue with plenty of conveniently located parking. And only two bathrooms...

Les Miserables is based on the 1862 Victor Hugo historical novel from 1862, and it is set in the early 19th century France, up until the 1835 June Rebellion in Paris. It is a heavy read, but it is a fascinating book that spends most of its text discussing French History. It is worth the effort to thumb through it.

The musical version was introduced in France in 1980, with the original Broadway run from 1987 to 1993. Since then it has had two Broadway revivals and numerous national tours, but very few local theatre companies have staged this show. Musical Theatre West certainly gave it a good shot, after 20 years of trying to get rights to the show.

I will skip the storyline, as you are probably familiar enough with it by now, but it is a tragic story of love, politics, and death.

It is probably best to start with the cast, and they landed a really big name, Davis Gaines (Phantom of the Opera on Broadway), to play Inspector Javert. He was joined by Michael Hunsaker at Jean Valjean, Madison Parks as the grown-up Cosette, Devin Archer as Marius, and Emily Martin as Eponine. Stand-out performances came from Norman Large as Thenardier and Ruth Williamson as his wife. There was a huge cast, with over 30 actors in the production.

They also put together a very good orchestra, with almost 20 musicians in the pit. Andrew Bryan was the musical director, and he did a great job of bringing Schonberg’s music to life. As always, it is disappointing to see that the musicians got no credit in the program. Shameful.

Cliff Simon’s sets were very good were very good, but Paul Black’s lighting was spectacular and really helped to set the mood of the show. Karen St. Pierre’s costumes were authentic, and nothing seemed out of place.

All of these elements set everything up for a very good production, but it really fell flat in real life, and for a lot of reasons. Maybe they should have called it “Meh Miserables.”

For starters, the show itself is a bit iffy (sorry, fans), and if everything is not done perfectly it is really a slog. It comes in at a running time of over 3 hours, and it is all singing and no dialogue. The chorus was not up to the complicated lyrics, and their timing and emphasis was off, which made it seem even longer

The sound was, quite simply, terrible. With that many singers and actors on stage, there are a lot of microphones to keep track of, and there were numerous times when microphones were not turned on when they were supposed to be. This was a major distraction, not to mention a killer of the storyline if the audience was not familiar with the show. Also, the sound was way too loud at times, and after 3 hours it can really wear you down. Keep in mind that I mostly review rock shows, so I am intimately familiar with what too loud is.

Les Miserables was just a bit too grand of a show for Musical Theatre West to pull off, and it was one of their very few mis-steps in a long history of putting on excellent shows. The show has closed, so you missed out this time around. Or maybe not. Anyway, it is time to start thinking about tickets for the last show of this season, Singin’ in the Rain, which will be playing from July 10th through 26th. Also, now is the time to make plans for next year’s season, which will include My Fair Lady, West Side Story, Dirty Rotten Scoundrels and Sister Act. You can’t beat the value!

Mahalo!

Musical Theatre West 2015-2016 Season at the Carpenter Center in Long Beach, California

Aloha!

If you regularly read my blog you may have seen how much I loved the Musical Theatre West shows I have been to this year. I just renewed my season tickets for the 2015-2016 season, and from what they have on tap it looks like it will be another great season!

Musical Theatre West has been around since 1952, when it started out as the Whittier Civic Light Opera. Their productions evolved over time, and they went from being an all-volunteer operation to producing full seasons. They now perform at the Richard and Karen Carpenter Performing Arts Center at Cal State Long Beach, which is a lovely venue with plenty of conveniently located parking.

So far, this season’s shows have been fantastic and their casts, choreography, costumes, sets and music were all top shelf. It is great to have the opportunity to see quality entertainment this close to home (and avoid the hassles of heading to Hollywood).

Musical Theatre West surveyed their fans to see what kind of shows they wanted to see, and as a result the 2015-2016 season consists of four neat shows, two classics and two modern. These include:

∙ My Fair Lady

∙ West Side Story

∙ Dirty Rotten Scoundrels

∙ Sister Act

In the past, single tickets have been available from as low as $20, and season tickets from under $100. Parking is only $5 in the university parking lot, but be careful when you leave because the university police take events like this as an opportunity to issue traffic citations like there is no tomorrow.

You can check out ticket and venue details at www.musical.org

Mahalo!

Review: NY Gilbert and Sullivan Players’ H.M.S. Pinafore at the Carpenter Center in Long Beach, CA

Greetings!

When thinking about musical theatre, it is a shame that modern audiences are not more familiar with the works of Gilbert and Sullivan. Fortunately, the New York Gilbert & Sullivan Players keep the legacy alive, as they take their shows to the stage in the Big Apple, as well as around the US. I recently had the pleasure of seeing their production of H.M.S. Pinafore at the Carpenter Center in Long Beach, California.

This location was a great choice as the Richard and Karen Carpenter Performing Arts Center at Cal State Long Beach is a lovely venue with plenty of conveniently located parking. Each of the 1000 seats has a good view of the stage (without being too far away) and the acoustics are very good.

The New York Gilbert & Sullivan Players have been around since 1974 (or 1975, depending where you look), when the group was founded by a group of alumni from the Barnard College Gilbert & Sullivan Society at Columbia University. One of these folks was their biggest proponent, Albert Bergeret, Founder and Artistic Director/General Manager. Besides their full productions, they also conduct many outreach performances to student in NYC schools.

H.M.S. Pinafore was Gilbert & Sullivan’s first international hit, and it ran for around 600 performances in its first London run in 1878. It was so successful that this talented duo was ripped off by numerous copies of the show that sprang up in the Empire and in the United States. With their clever lyrics and biting satire, the show is the story of two young lovers, Ralph Rackstraw and the captain’s daughter, Josephine, who kept apart by society until a convenient role reversal brings them together in a most improbable ending. There are a few other romantic plotlines bizarre plot turns, making it complicated enough that I am not even going to try to fit it all into a 800-word review…

The overall themes of class inequality, overbearing nationalism, and foolish are still relevant, and they are presented with Gilbert’s inimitable linguistic genius and Sullivan’s knack for writing addictive melodies.

The NYGASP brought all of this to Long Beach for one lonely matinee, which seems like a lot of work for a single show. They brought the full cast, the crew, a 25-piece unamplified orchestra, and an impressive set of sets and backdrops. They were faithful to the music of the show, and the book was modified a bit to bring some local flavor to the production, as well as to bring the orchestra and Mr. Bergeret (the musical director too, it seems) into the stage action.

Visually, Pinafore is an attractive show. There is only one set, but it is a fairly detailed replica of a ship’s deck, complete with rigging and huge masts, so it must be a bear to drag around and set up. The lighting was classy and brought the scenes to life, courtesy of designs by Benjamin Weill. For the most part, the cast was not amplified, but there must have been some sort of microphones set up near the back of the stage, as the volume of the vocals varied quite a bit as the cast moved back and forth. They might want to work on this a bit.

The costumes were also well done, without going over the top. The sailors’ (tars, as the would say) and officer’s uniforms seemed period correct, as far as I would know; the ladies’ gowns were also very pretty, with more than enough bustles to go around.

The cast embraced the spirit of Gilbert & Sullivan perfectly. They are all capable singers and dancers, but that is not really what this show is about – the acting comes first. They have great comedic timing, and are able to spit out the uber-complicated lyrics with no missed cues. The leads all gave satadnout performances, and the players included David Auxier as Captain Corcoran, Kate Bass as Josephine, Daniel Greenwood and Ralph Rackstraw, James mills as Sir Joseph Porter, and Angela Christine Smith as Little Buttercup. All of them are very experienced with the Players, and some have actually appears in all 13 G&S operas. Impressive!

If there was anything that brought me down about the NY Gilbert & Sullivan Players’ production of H.M.S. Pinafore, it was that the auditorium was only 2/3 full, and there were not many young folks in the crowd. Where are the new fans going to come from? If you have not seen one of these shows before, take the time to check one out the next time one comes up in your area – it will definitely be worth your time!

Mahalo!

Review: Musical Theatre West’s South Pacific at the Carpenter Center in Long Beach, California

Hola!

I have been a season subscriber to Musical Theatre West for a few years, and have almost always been pleased with their offerings. So, I was thrilled when I saw that South Pacific (one of my favorite musicals) was on the schedule for the 2014-2015 season. I saw it this past weekend as was not disappointed!

Musical Theatre West has been around since 1952, when it started out as the Whittier Civic Light Opera. Their productions evolved over time, and they went from being an all-volunteer operation to producing full seasons, currently under the capable leadership and vision of Executive Director/produce Paul Garman. Their big shows are hosted by the Carpenter Performing Arts Center at Cal State Long Beach, which is a lovely venue with plenty of conveniently located parking. And only two bathrooms...

South Pacific is one of the heavy hitters in the musical world, and the original 1949 stage show was based on James A. Michener’s Pulitzer Prize winning novel, “Tales of the South Pacific.” The original show won 10 Tony awards and spawned the incredible successful 1958 movie of the same name starring Mitzi Gaynor and Rossano Brazzi. Undeniably this musical is so awesome thanks to the music of Richard Rodger and lyrics from Oscar Hammerstein II.

In case you have been hidden under a rock for the past 65 years, the plot is straight out of World War II with a cast of rowdy Seabees, hot nurses, harried officers, stereotypical natives, and rich expatriates. There are themes of love, racial tension, and death, and they all come together in a wonder fashion. The musical was a head of its time, and the racial themes must have been controversial at the time, though no less pertinent today.

South Pacific has such a long history and loyal following that effectively producing it is no small chore. Musical Theatre West rose to the challenge, and put all of the pieces together in a convincing manner thanks to the able direction and choreography of Joe Langworth.

Visually, the sets were good enough, with a just few too many elements taken care of by canvas, but Paul Black’s lighting was fantastic. The costumes were mostly period correct (I’m not too sure if they wore bikinis in WWII), and it is not too hard to come up with old military uniforms.

The sound was very good. There was a 28-piece orchestra (very big for a MTW production) under the supervision of musical director Dennis Castellano. Unfortunately the musicians were uncredited in the program, and I have no idea if they were union or not. The sound engineering was better than usual with no glaring errors other than the ear-splitting volume of Bloody Mary and too much reverb on the quieter numbers.

So, the basic foundation was solid, and though this is a well-written show its success depends on the cast, and the performers (mostly equity) all delivered solid performances. Alessa Neeck earned the role of Nellie Forbush and her voice was beautiful but her timing was off right from the start. Her love interest, Emile De Beque, was played by Christopher Carl who has voice galore, and who has been performing this role for years in various venues. .

The the other set of lovers, Lietenant Cable and Liat, were portrayed by Patrick Cummings and Cailan Rose. Cummings has a strong stage presence and looks fabulous with his shirt off, and Rose had the grace that was needed to play a character with almost no lines. Jodi Kimuar did a respectable job with Bloody Mary, though the racial stereotype of the character makes me cringe every time I see the show. My favorite character was Spencer Rowe’s Luther Billis, as there is nothing funnier than a macho guy in drag!

The ensemble turned in a solid performance, and they were very good dancers, and they made good use of Langworth’s choreography. Though I have seen this show many times, I had not noticed that aside from a few major numbers, the chorus has relatively little vocal work.

All of this came together well for very solid performance. Musical Theatre West has outdone itself and South Pacific is a classic show with fine production values and a good cast, and a little something for everyone. If you have the chance you should get out and see it before it is gone, but leave the little kids at home with a sitter. This is a long show and they will be squirming in their seats a long time before the final curtain falls (it clocks in at almost 3 hours), not to mention a few adult themes that you will have to awkwardly explain to on the drive home.

If you want to see it you had better hurry as South Pacific is closing on March 1. There are still a few tickets left, so grab them while you can. And, be sure to check out tickets for the last two shows of this season: Les Miserables and Singin’ in the Rain. Also, now is the time to start thinking about next years season, which will include My Fair Lady, West Side Story, Dirty Rotten Scoundrels and a surprise, which has not been announced but I think you will like this very recent musical. You can’t beat the value!

Mahalo!

Review of Musical Theatre West’s Big Fish at the Carpenter Center

Aloha!

As part of their 62nd season, Musical Theatre West included Big Fish -- a show I had never heard of. This stage musical is based on a 2003 movie that is based on a 1998 novel by Daniel Wallace. I was also unaware of the movie, which is surprising as Tim Burton directed it, Danny Elfman wrote the music, and it starred Ewan McGregor (one of my favorite actors). The musical (with new music) ran on Broadway for three months in 2013, and then went dark. Though it is not my favorite musical that I have seen in recent years, none of it was MTW’s fault.

Musical Theatre West has been around since 1952, when it started out as the Whittier Civic Light Opera. Their productions evolved over time, and they went from being an all-volunteer operation to producing full seasons, currently under the capable leadership and vision of Executive Director/Producer Paul Garman. Their big shows are staged at the Richard and Karen Carpenter Performing Arts Center at Cal State Long Beach, which is a lovely venue with plenty of conveniently located parking.

Big Fish is a classic story of son that does not understand his father, but eventually comes to appreciate what their relationship is all about as his father passes on and he begins to raise his own son. It is set in the south and follows the life and adventures of the father, Edward Bloom (Jeff Skowron), as seen through his own fanciful thoughts. The book for this show was written by John August, the same fellow that did the screenplay for the film adaptation. The original music and lyrics came from Andrew Lippa, who did a marvelous job with The Addams Family Broadway show.

Paul Garman was the champion for getting this show to Musical Theatre West, as he fell in love with it when he saw it during the musical’s tune-up in Chicago prior to its Broadway debut. MTW is the first company to perform Big Fish off Broadway, and they took the gamble of buying the original sets and costumes. This means that there is nothing to complain about there, as Julian Crouch’s scenic design and William Ivey Long’s costumes are fabulous.

The cast were up to the standards of these elements too, as Skowron did a bang-up job of portraying the elder Bloom though all stages of the character’s life – it must have been an exhausting role to play. Rebecca Johnson played his wife, Sandra, Andrew Huber was his son, Will, and Kristina Miller took the role of Will’s wife, Josephine. The leads were all strong, and well placed for their roles. The backing cast was also very good with standout performances by Molly Garner as the witch, Timothy Hughes as Karl the giant, and Gabriel Kalomas as Amos. The ensemble did a fine job as they filled in during the multiple changes in scenery.

The pit orchestra, under the direction of Matthew Smedal, was completely hidden by the stage elements, so I had no idea who was down there, but they certainly brought the show to life. Lippa’s score was pleasant to listen to, but there were not any tunes that got stuck in my head, let alone that I can remember a few weeks later. This is not a terribly good thing.

Technically, everything went well during the show, with clear sound from Brian Hsieh, and exciting lighting effects from Phil Monat. Larry Carpenter’s direction was logical with no awkwardness to the action on stage, which was helped along by the fun choreography from Peggy Hickey.

With all of this good stuff going on, it became pretty obvious that the show itself is pretty weak. As I said, the music is not memorable, but the story is fairly tired too. The age-old story of family love and conflict was not reworked in any earth-shattering manner, and the progression was predictable with no surprises. I can see why the show did not last very long on Broadway.

One last gripe before I wrap this up and that is that all of the performers deserve recognition in the program, not just the folks on stage. The musicians received no credit, and that is just wrong. It does not take up that much space in the program, and what if their parents come to see the show?

Big Fish closed earlier this month, but do not worry, there are still plenty of great musicals to see at the Carpenter Center before next summer! Musical Theatre West’s 2014-2015 season has three shows left: South Pacific, Les Miserables and Singin’ in the Rain. These are all solid shows and MTW always delivers the goods, so they are must-sees. It is not to late to load up on tickets for them, so check out their website at musical.org for details about tickets and packages.

Mahalo!

Success Story: Long Beach Guitar Repair to the Rescue

Aloha!

I have written before about how happy I am to have Long Beach Guitar Repair nearby, and they recently came to my rescue once again.

There was a neat 1990 cherryburst Gibson Les Paul Standard that I found and it was available at a good price. There are all kinds of blemishes on it, but it is honest playwear, which is not too troubling. But, there was a headstock repair that had been performed before. This is usually not a big deal, but this one had been repaired amateurishly, and though it was sturdy there was excess glue everywhere and it was a complete mess.

It eventually made its way over to the shop, and Chris said that he could make it a lot better. He worked on it for a week or two, with a call in the middle asking if I wanted the original style tuners back on. I like Grovers, but Les Pauls just look right with green tulip deluxe tuners, so I gave the ok. It turns out a few of the screws were broken, so it looks like it was the right choice...

When it came back I was very happy with the results—he got all of the excess goo off, and the repaired area is now smooth as silk. I wish it photographed better, but trust me, it is worlds better.

Chris got the work done under my budget (including nice set up and a little fret work), and I am pleased as punch; I would not hesitate to take any of my instruments there. Everybody there (Chris, Brian and Guillermo) have tons of experience, and they are friendly too!

Long Beach Guitar Repair is located at 2930 East 7th Street in Long Beach, and they are open Tuesday through Saturday from 10 AM to 6 PM. Check out their website at longbeachguitarrepair.com or give them a call at 562-621-9000. Say “hi” for me!

Mahalo!

Recap of the 2nd Annual Guitar Center Musician’s Expo at the Long Beach Convention Center

Aloha!

On Saturday, March 29, 2014 there was an event at the Long Beach Convention Center that should have been of interest for Southern California musicians. The 2nd annual Guitar Center Musician’s Expo was an opportunity for us common folks to see a lot of the new gear that was introduced at the Winter NAMM show in Anaheim.

Guitar Center is the big daddy of music retailers, and I admire that they are trying new things despite the crushing debt they are staggering under and their general lack of direction. Through their relationships with their suppliers and vendors, they were able to feature equipment from 100 vendors, including Ernie Ball, Shure, Zildjian, Fender, QSC, Orange, Yamaha, Pioneer, American DJ and more. There were company representatives on hand to answer questions, and the equipment was out for the unwashed masses to touch and use. Most musicians are not able to go to NAMM, and I know they enjoy seeing and playing gear that is not even at dealers yet.

Besides the gear there were performances from bands and artists, including Rome, Dug Pinnick and GIlby Clarke, as well as artist and DJ workshops and plenty of demos. Highlights for me were getting to see some old friends and having the opportunity to play with the new QSC TouchMix and the new series of Yamaha MG series mixers.

There was equipment on sale at great prices, though it was hard to tell what was for sale and what wasn’t, and many of the vendors were not clear about what the actual sales process was. Also, there was almost no advertising for this event, and postcards mailed out to their local customers would have been a good idea.

Supposedly there were free tickets available at the local Guitar Centers, but none of them had any so I had to pay $5 to get in, as well as parking at the convention center. Considering that they were selling stuff it should have been free.

These minor gripes aside, I had a good time and appreciate that Guitar Center is able to hold this event right in my backyard, and I hope they can keep up the tradition.

I hope to see you there next year!

Mahalo!

Review of Candye Kane Live at Harvelles in Long Beach, California

Aloha!

After following her music for years, I finally had the opportunity to check out Candye Kane live at Harvelle’s in Long Beach, California on Friday December 13, 2013. If you have not been to Harvelle’s before, it is a satellite location of the 80 year-old Santa Monica institution, and it opened in 2011. You will find this dark and cozy blues den in the basement of the Congregation Ale House on the Long Beach Promenade.

Candye Kane is a legend in her own right, with a truly amazing life story, and she is a heroic blues performer who has appeared on stages all over the world despite significant health challenges over the past few years. Her personal successes and challenges have surely contributed to her convincingly soulful voice. She was joined onstage by Laura Chavez on guitar, Kennan Shaw on bass and Kurt Kalker behind the drum kit.

On this evening, Candye got the 9:30 time slot, right after a party featuring White Boy James (which is quite an experience; you will have to ask me about it sometime). There was a $10 cover and 2-drink minimum, but nobody seemed to be enforcing the drink requirement. They loaded onstage in record time and kicked-off right on time with no fuss and a minimal soundcheck. They are professionals, you know.

And I was blown away by their performance! Her band is tight, and Laura Chavez has the most amazing chops, definitely ranking her among the best guitarists I have ever seen live – right up there with all of the rock and roll gods that I grew up with. The backline of Shaw and Kalker were dead-nuts on, and provided the foundation that any good band has to have.

Candye’s voice was great, and she played two sets peppered with songs from the dozen+ solo albums she has cut over the years, with the mix more heavily weighted with material from Superhero, Coming out Swinging and Sister Vagabond. Oh yes, and she even threw in a few Christmas-themed songs and provided plenty of banter throughout. She took time between sets to greet her fans and sign autographs, so that she got no break at all – she is the hardest working woman in show business.

It turns out that Friday the 13th was not unlucky for me, and I had a great time! I cannot stress enough that you have to see her live show, so please check out her Facebook page to get the latest tour dates, and for more info seek out her website at http://www.candyekane.com -- you will be glad you did!

Long Beach Guitar Repair – Long Beach, California

Aloha!

I was profoundly disappointed when World of Strings closed down after 50 years in the business. It was the only good repair shop in town, and they could work on any stringed instrument. Plus, their staff was the best, both friendly and knowledgeable and willing to give informed information and opinions. ,

Fortunately for us locals, the void was not there for long, as last month four of their former employees joined up and opened their own repair shop just east of the old World of Strings location. If you ever frequented the old store, you will instantly recognize these folks and feel right at home. They are Brian Stewart, Chris Baird, and Guillermo Rios. Pam Spangler also came over and is running her violin and bow repair business out of this location.

There is not anybody else in town that you would want to trust your prized instruments to. Spangler worked at World of Strings for over three decades and teaches at Long Beach City College, Rios is a top-shelf flamenco guitarist, Baird was the guitar tech for Korn for more than ten years, and Stewart has been working in the business for almost 30 years (the last 14 at World of Strings). For what it’s worth, my wife thinks that Brian is cute and Chris has pretty eyes.

These guys have worked on my guitars and cello for years, and I would trust them to do any of my repairs, from set-ups to refrets or customization. They have made numerous unplayable Les Pauls work the way they should and helped make one of my semi-hollowbody guitars into the best instrument I have ever played.

They also sell strings and accessories, and they are stocking Ruben Flores and Almansa classical and flamenco acoustic guitars. Also, they have a nice selection of electric guitars and basses that they have built, and I am sure if you want to pick one up they will make you a fair deal for one.

All of this is good, but their experience really pays off for customers that are not really sure what they are looking for. If you have a kid that wants to get into playing the guitar, stop in and they will give you sound advice and will keep you from buying the wrong guitar that either costs too much, or that could be a piece of junk that will discourage the learning process. When you break the headstock off your dad’s old guitar, after you stop crying, loosen the strings and take it in. They have seen it all before and they will reassure you that it can be fixed well, and it will probably not cost as much as you think it will. This kind of stuff is priceless, my friends!

When I stopped in the other day to drop off a cheap-o Martin, it appeared that things are going well, as they all had instruments on their benches and their spirits were good. Their new shop is laid out well, and it is in a better neighborhood – heck, I even found a parking spot out front! Parking was a real bear at the old shop…

Long Beach Guitar Repair is located at 2930 East 7th Street in Long Beach, and they are open Tuesday through Saturday from 10 AM to 6 PM. For more details about their business, check out their website at longbeachguitarrepair.com or search out their page on Facebook. Or, if you are social media-impaired you can call 562-621-9000. You will be glad that you did!

Mahalo!

World of Strings, 1962 to 2013

Hello

This week I heard of the not unexpected demise of my favorite local music shop, Long Beach’s World of Strings. I have been patronizing this establishment since the 1970s, when my mom would take me there to get my cello worked on.

This has been one of my favorite local haunts ever since, and in recent years I had nothing but great experiences with the multitude of guitars that I took in there for repairs or set-up. Greg, Brian, Chris and Pharaoh always did me right, and I appreciate their luthier skills as well as their humor and friendship.

World of Strings opened up in 1962 on 7th Street in Long Beach, moved across the street in 1970 and was there until the day it closed. Of course they sold strings, but there was a lot more to their inventory. They carried guitars and amplifiers, but they also had a nice inventory of violins, violas, cellos and basses, as well as mandolins, ukuleles, dulcimers and more. They were a Marquis Martin guitar dealer and service center, and carried a lot of the major brands, which says something about a small store in a bad neighborhood.

The neighborhood and the dismal parking situation certainly did not help business, and combining the fiscal downturn a few years back with another insurmountable problem, I guess they could just no longer make a go of it. Now that World of Strings and Whittaker Music are gone, there really are not any good music stores left in Long Beach. The next best choice for classical instruments and service is going to be Morey’s Music in Lakewood, and if you are looking for guitars and accessories I guess you will have to head to the nearest Sam Ash or Guitar Center.

RIP, World of Strings, I will miss you guys.

Save The Date: First-ever Guitar Center Musician’s Expo at Long Beach Convention Center

Aloha!

On Saturday, April 6, 2013 there will be an event at the Long Beach Convention Center that should be of interest for Southern California musicians. The Guitar Center Musician’s Expo is an opportunity for us common folks to see a lot of the new gear that was introduced at the Winter NAMM show in Anaheim.

Guitar Center is the big daddy of music retailers, and I admire that they are trying new thing despite the crushing debt they are staggering under. Through their relationships with their suppliers and vendors, they will be featuring equipment from over 60 manufacturers, including Martin, Fender, Casio, Roland, DW, Bose, Pioneer and more. There will be company representatives on hand to answer questions, and the equipment will be out for the unwashed masses to touch and use. Most musicians are not able to go to NAMM, and I know they would like to see and play stuff gear that is not even at dealers yet.

Besides the gear there will also be artist and DJ workshops with a pretty fine line-up that includes Chad Wackerman, Allan Holdsworth, Jimmy Haslip, Mix Master Mike, Derek Sherinian, Stephen Perkins, Tony Franklin (my hero!), Rob Wasserman, DJ Qbert, and more. There will also be free group clinics, including group Recording Made Easy classes, guitar lessons and ukulele lessons. This might be kind of cool for the kids.

Rumor has it that there will also be a few notable instruments from Guitar Center’s collection on hand, including Eric Clapton’s "Blackie" Fender Stratocaster guitar and Gibson ES-335 as well as Stevie Ray Vaughan's "Lenny" Fender Stratocaster guitar. You probably will not get to touch these, though…

As I said earlier, the Guitar Center Musician’s Expo will be at the Long Beach Convention Center on Saturday, April 6, 2013. The show will be open from 10AM to 5PM, and admission is $5 if you buy your tickets from a local Guitar Center, or $10 at the door. Complete details should be available at guitarcenter.com

I hope to see you there!

Mahalo!

Musical Theatre West 2012-2013 Season

Hello!

I love going to the show, and though I already have tickets for the 2012-2013 Pantages season, after I saw what Musical Theatre had on tap, I had subscribe to their season too.

Musical Theatre West has been around since 1952, when it started out as the Whittier Civic Light Opera. Their productions evolved over time, and they went from being an all-volunteer operation to producing full seasons. They now perform the Richard and Karen Carpenter Performing Arts Center at Cal State Long Beach, which is a lovely venue with plenty of conveniently located parking.

I have attended their shows before and their cast, choreography, costumes, sets and music are always up to snuff. It is great to have the opportunity to see quality entertainment this close to home (and avoid the hassles of heading to Hollywood).

The Musical Theatre West 2012-2013 season consists of four oldies but goodies, and if your musical theatre experience is limited, this would be a great way to get some experience with genre. The season includes:

∙42nd Street

∙A Chorus Line

∙Oklahoma

∙Sunset Blvd.

Single tickets are available from as low as $20, and season tickets can be had for under $100. Parking is only $5 in the university parking lot, but be careful when you leave because the university police take events like this to be an opportunity to issue traffic citations like there is no tomorrow.

You can check out ticket and venue details at www.musical.org

Mahalo!

Long Beach BuskerFest Tonight!

Buenos dias, amigos!

If you are looking for some good times (for free!) tonight, you should head to downtown Long Beach for BuskerFest 2011.

This is the third time around for BuskerFest, which will be held on three stake-bed truck stages near 1st Street and Linden. These unplugged shows will kick off at 5:00PM with the Pawnshop Kings, Jay Buchanan and Korey Dane playing on the different stages. After this, the competition starts and eleven (I think) groups will perform 30 minute sets to compete for the $2500 recording session prize.

Don’t forget to vote for my personal favorite, Goodfellas…

After the competition, headline acts are Everest and Matt Vasquez will play shows from around 8:45PM. The streets will be closed so there will be plenty of dancing room, and it should be a friendly crowd.

There are plenty of great places to eat downtown, there is plenty of parking (or you can take the Blue Line), so why not grab your friends and head out for some good time?

You can find the full schedule of bands, a map and other details at summerandmusic.com

Mahalo!

Long Beach Antique Flea Market and Swap Meet

Good day!

I would like to fill you in on one of the gems of the greater Los Angeles Area: the Long Beach Antique Flea Market and Swap Meet.

The Long Beach Antique Flea Market and swap meet is held the third Sunday of each month (and 5th, if there is one) at Veterans Memorial Stadium in Long Beach. It has over 800 dealers spread over 20 acres of the parking lot.

Most swap meets these days are endless rows of brand new crap that you can buy from Harbor Freight, or are filled with new tacky furniture, clothing and “art”. The Long Beach meet has almost none of these things.

One of the stipulations for sellers is that there can be no new merchandise, which means there is plenty of ripe old stuff to dig through. There is everything from 1960s dinette sets to antique swords and everything in between.

And yes, there are musical instruments scattered amongst the millions of other things you will find out there. The last time I was out there I saw oodles of Spanish guitars, saxophones, clarinets, flutes, violins, trumpets, trombones, drums and even some Fender and Gibson electric guitars. It is definitely worth a walk through if you are in the neighborhood.

But, I have found that the real joy is getting a space and selling your own stuff there. I helped out a friend who was selling his parents’ estate and it was a real blast. If you price your stuff reasonably you can sell it all. The hardcore buyers come out for the first few hours and there are some frenzied sales, and then the rest of the day is more laid back, with plenty of people watching opportunities.

And getting a space is reasonably priced, with spots costing between $65 and $85. Plus, the organizers are the nicest bunch of people to deal with.

If you want to go, it is open from 5:30AM to 3:00PM. Admission is $10 if you want to get in early (between 5:30AM to 6:30AM) or $5 from 6:30AM to 3:00PM. If you get the online discount coupons, they are only good after 8:00AM. Oh yeah, admission for kids under 12 and parking are both FREE! You can get all of the details for buying or selling at http://www.longbeachantiquemarket.com/

Mahalo!