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  • gilwilson 3:06 PM on December 30, 2020 Permalink | Reply  

    “Steel Magnolias” By Robert Harling 

    Steel Magnolias

    By: Robert Harling

    Performed by: Frances Fisher, Shannon Holt, Amy Pietz, Brittany Snow, Jocelyn Towne, Josh Clark, Jeanie Hackett

    Length: 1 hr and 51 mins

    Published January 13th 2016 by L.A. Theatre Works

    (first published January 1st 1988)

    I normally don’t re-read a book or play. Every so often I may re-visit a classic just to see how it (or I) has aged. Some of the time I pick up something new or intriguing that I missed before, especially if it is one of those classics we HAD to read in school, I missed a lot in those because most of the time I faked it or skimmed over it.

    I’m not sure if I would call this play a classic yet, but maybe it is, but I saw the movie (different ending than the play, fyi) and read the play back in college. I saw this on my list of plays I had made for myself to look over and kept passing over it, because, well, I thought I had got what I was going to get out of it already. I found out that was not the case. In the past I had really just taken it in as an ensemble cast and just thought this was a bunch of women in the south and how their lives were interlinked. It is that but really there is more.

    Having a son that has Type 1 diabetes, this time around I really focused in on the character of Shelby. I also have worked in a number of years now since first reading this play and the focus of the radio Shelby brings into the salon grabbed my attention. I soon put together how the two were related.

    The author of this play actually wrote the play after the death of his sister due to complications of diabetes while she gave birth. I found that early in the play when Shelby brings in the radio she is relatively healthy and fine, the radio works fine. Later as she decides to have a baby even though there are risks for a diabetic the radio kinda fades in and out. Finally the radio goes out. (stopping here due to spoilers). So with that all in mind this play came from a different angle to hit me emotionally that I wasn’t expecting.

    In summary; go ahead and re-read those stories, you never know how it will affect you the second or third time around.

    By the way, this was yet another great performance/production from L.A. Theatre Works. They really do put you right into the audience.

    Publisher’s Summary

    Within the walls of Truvy’s beauty shop are six women whose lives increasingly hinge on the existence of one another. Together, they absorb the passing seasons, just like the weathered wooden structure of the salon “home” that they share.

    An L.A. Theatre Works full-cast production, starring Frances Fisher, Jeanie Hackett, Shannon Holt, Amy Pietz, Brittany Snow, and Jocelyn Towne. Additional voices by Josh Clark. Directed by Jessica Kubzansky and recorded before an audience by L.A. Theatre Works.

    ©1987 Robert Harling (P)2015 L.A. Theatre Works

     
  • gilwilson 5:10 PM on December 29, 2020 Permalink | Reply  

    “Please Continue” By Frank Basloe 

    “Please Continue”

    By Frank Basloe

    Performed by: Tara Lynne Barr, Will Brittain, Jake Green, Taj Jegaraj, Rob Morrow, James Scully, Mark Jude Sullivan, Matthew Wolf

    Length: 1 hr and 53 mins

    Published April 4th 2019 by L.A. Theatre Works

    Well, it looks like I’m going to be closing out 2020 with a bunch of plays. Not a bad way to end a bad year. This time around it is “Please Continue” by Frank Basloe. This play tells the tale of psychologist Stanley Milgram’s studies/experiments on obedience in the 60s.

    The gist of the studies/experiments is that a student is told to administer an electric shock to a student when a wrong answer is given. The shocks become more powerful as more wrong answers are given. With the test subject screaming in pain in the next room, the actual test subject is told to, “Please Continue” if they hesitate on giving the next shock. These experiments really do expose a lot about the human psyche.

    This play also weaves in the story of Francis, a grad student assigned to Milgram who was involved in a gang rape of a 14 year old girl at his previous college. Francis was not named in the hearing on that case but he knows he took part. As he is conducting the experiments for Milgram his guilt is triggered and comes to the surface. He seeks out the advice from a local clergy who convinces Francis to seek out atonement not forgiveness. That is the big hole in this performance. We never really find out what that atonement is or whether it was the right advice.

    That lack of finality in the story really left me hanging in the story and pretty much ruined the entire play for me. Something was just missing. The performance and production were high quality, it’s just that the story was missing something, some closure. Otherwise it was pretty interesting to hear the outcome of the original experiments where other humans were prone to keep administering the punishment no matter how guilty they started to feel. I think this could have been explored more and just leave out Francis’ story. At one point in the play there is the statement where the men of Yale would of course keep punishing their fellow students, because they are self-centered seekers of power. (I paraphrased, but that’s the gist of it.) So was it human nature or just the nature of certain humans attracted to the idea of becoming a “Yale Man”?

    Publisher’s Summary

    Based on the true story of renowned social psychologist Stanley Milgram, Please Continue recounts the infamous obedience experiments at Yale in the 1960s. In that study, participants were asked to administer strong electric shocks to a subject who gave the wrong answer to a question, not knowing that the shocks were fake, and they were the real subject of the study. The play examines how the experiments gave insight into the nature of authoritarianism and individual morality.

    Includes an interview about science and ethics with Mary Helen Immordino-Yang, a Professor of Education at the Rossier School of Education, a Professor of Psychology at the Brain and Creativity Institute, and a member of the Neuroscience Graduate Program Faculty at the University of Southern California.

    Please Continue is part of L.A. Theatre Works’ Relativity Series featuring science-themed plays. Major funding for the Relativity Series is provided by the Alfred P. Sloan Foundation, bridging science and the arts in the modern world.

    Directed by Rosalind Ayres.

    An L.A. Theatre Works full cast performance featuring:

    Tara Lynne Barr as Margaret Hopson

    Will Brittain as James Sanders

    Jake Green as Saul Dashoff

    Taj Jegaraj as Harold Burden

    Rob Morrow as Reverend William Sloane Coffin, Jr.

    James Scully as Mitchell Halverson III

    Mark Jude Sullivan as Francis Dunleavy

    Matthew Wolf as Dr. Stanley Milgram

    Sound Effects Artist: Jeff Gardner. Script Supervisor, Nikki Hyde. Music Supervisor, Ronn Lipkin. Associate Artistic Director, Anna Lyse Erikson. Recording Engineer, Sound Designer and Editor, Erick Cifuentes. Mixed by Mark Holden for The Invisible Studios, West Hollywood.

    Recorded at The Invisible Studios, West Hollywood.

    ©2019 L.A. Theatre Works (P)2019 L.A. Theatre Works

     
  • gilwilson 3:19 PM on December 22, 2020 Permalink | Reply  

    “Of One Blood” by Andrew White 

    “Of One Blood”

    by Andrew White

    Narrated by: David Schwimmer, Lee Arenberg, John Cothran Jr., Judyann Elder, Arye Gross, Valerie Landsburg, Macon McCalman

    Length: 1 hr and 23 mins

    Published November 1st 2009 by L.A. Theatre Works

    So what is the difference between today’s civil rights movement and the civil rights movement of the 60s? I think the best answer is that today we are just tired of it. Years have gone by, voices have shouted, been shouted down and even silenced through violence but has anything really been done? Yes and No. At least now we don’t have separate water fountains, bus seats and schools, so yeah progress has been made. Has it been enough? I grew up in the south and know firsthand that up until the mid 80s racism was still the norm (that’s when I moved to the midwest U.S. and can’t provide the firsthand experience for what goes on now).

    I have lived throughout the south during the 70s and 80s (Montgomery, AL, Yazoo City, MS, Meridian, MS, et. al.) In Yazoo City, MS in the early 80s they still had seperate school buses for blacks and whites. Same pickup location same dropoff location, just different races allowed. I found this out by accidentally getting on the “black” bus my first day. One guy said I was on the wrong bus, but not in a threatening manner, but once I arrived at the school and was the white boy on the black bus, I was shunned by nearly all whites at that school from then on. In Montgomery, AL a black student (friend of mine) was called “boy” and physically abused by a science teacher, when we brought this up to the principal, he simply said he was sure we were mistaken. When my black friend left the principal told me that I should keep my northern attitude back up north while attending Jefferson Davis High School. We held a protest only a few kids showed up but it got nowhere. So yeah the civil rights movement of the 60s did great in the north but the south stays the same.

    To this day I shed a few tears and get lumps in my throat when I hear of all this still going on. This play I knew was gonna be sad, but it should be. In this play the author mixes some poetic moments with historical moments to create what really should be an eye opener. The three civil rights workers, James Chaney, Andrew Goodman, and Michael Schwerner (2 Jews and a Black) weren’t rabble rousers, they were only talking with people and gathering evidence about a church burning. The folks in Mississippi simply saw anyone who worked with blacks and blacks themselves as creatures not worth living. There were numerous people that could have helped and saved these 3 young mens lives, instead the south is gonna south. This play not just covers their historical deaths, but also seeks to show them as simple human beings just wanting to stop the senseless violence in a non-violent way.

    I really think this play should be added as part of middle school or at least high school curriculum. The lessons learned are needed today, probably more so.

    There isn’t one person today that can say racism is dead. All you have to do is drive through the south or heck, even in the midwest we have idiots waving their confederate flags, knowing full well how racist that flag is. That flag represents a sect that wanted blacks to remain slaves and never be treated as human beings. That flag also represents a country that lost a war. That is not the only similarity shared with the Nazi flag.

    I heard a black comedian once say that the confederate flag is very useful, it tells him what businesses or homes not to enter.

    I will once again highly recommend this L.A. Theatre works production of this play. The actors make this reality even more real.

    Publisher’s Summary

    Of One Blood is a poignant and disturbing play about the infamous murder of three civil rights workers – James Chaney, Andrew Goodman, and Michael Schwerner – in Mississippi in 1964.

    ©2009 L.A. Theatre Works (P)2009 L.A. Theatre Works

     
  • gilwilson 4:51 PM on December 18, 2020 Permalink | Reply  

    “Moving Bodies” By Arthur Giron 

    Moving Bodies
    By: Arthur Giron
    Narrated by: Alfred Molina, Mark Harelik, Jenny O’Hara, Kathryn Hahn
    Length: 1 hr and 57 mins
    Published February 1st 2008 by LA Theatre Works

    Yes I’m still on my reading plays kick/play research. This one intrigued me first because the actor Alfred Molina (Doc Ock from the Spider-Man movie). I love his work and will pretty much stop all I’m doing to watch a movie with him. Seeing he is cast as the lead role in this was what locked in this play in my sites. The second thing is that it involves science and physics. I have a secret passion for physics while never practicing I love the concepts and that all answers can be arrived at through physics. Yes all, but I don’t have time to explain that right now.

    So being another LA Theatre Works production was the third factor which cemented that this play was one I had to hear in audiobook form. Once again LATW have the perfect production/performance and with the cast in this one, definitely worth absorbing. If you’ve never read one of my reviews of a LATW production, the casts are always great, the sound production is so perfect that if you close your eyes you are placed right smack dab in the middle of the live performance. My advice to you, never turn down a LATW production.

    So about this play. This play follows the life of Nobel Prize winner, Richard Feynman. Feynman was instrumental in the creation of the atomic bomb and was the witness for the space shuttle Challenger disaster investigation. In fact Feynman was the one to actually discover and demonstrate that the O-rings were the culprit in the explosion.

    Through out the play we discover many interesting aspects of Feynman’s life, such as his dad was an amateur scientist and is the one that led Richard Feynman and his sister to become scientists. There are several humorous moments in the play that make a play about science a bit easier for those to follow who aren’t necessarily nerdy about science. In fact Richard Fineman was well-known to be a practical joker. I’m pretty sure that can also be attributed to his father.

    After the bombs were dropped on Hiroshima and Nagasaki, Feynman regretted that he was responsible for so many deaths and this affected his life in many ways. This play explores all that and more. Arthur Giron captured a life worth learning about and more in a mere 2 hours.

    Publisher’s Summary
    Moving Bodies is a chronicle of the brilliant life of Nobel Prize-winning scientist Richard Feynman. From his role in the development of the atomic bomb to his controversial testimony at the investigation of the Challenger disaster, Feynman casts a long shadow across the worlds of physics and mathematics. Through playwright Arthur Giron’s eyes, we see how Feynman became one of the most important scientists of our time.

    Includes a bonus feature with Ralph Leighton, the co-author of Richard Feynman’s “Surely You’re Joking, Mister Feynman!”, a best-selling collection of autobiographical stories and reminiscences.

    An L.A. Theatre Works full-cast performance featuring Emily Bergl, Jessica Chastain, Jill Gascoine, Matthew Gaydos, Harry Groener, Arye Gross, Kathryn Hahn, Mark Harelick, Katharine Leonard, Mary McGowan, Alec Medlock, Alfred Molina, Jenny O’Hara, Raphael Sbarge, Joe Spano and John Vickery.

    Moving Bodies is part of L.A. Theatre Works’ Relativity Series featuring science-themed plays. Major funding for the Relativity Series is provided by the Alfred P. Sloan Foundation to enhance public understanding of science and technology in the modern world.

    ©2008 L.A. Theatre Works (P)2008 L.A. Theatre Works

     
  • gilwilson 3:36 PM on December 15, 2020 Permalink | Reply  

    “Puffs the Play: or 7 Increasingly Eventful Years At A Certain School of Magic and Magic” by Matt Cox 

    “Puffs the Play: or 7 Increasingly Eventful Years At A Certain School of Magic and Magic”

    by Matt Cox

    Publisher : Independently published (December 10, 2018)

    Paperback : 132 pages

    I’m still reading a bunch of plays for “reasons.” But this play I’m reading for another reason. That reason is; a couple of years ago our local college/community theatre performed this play. I wanted to be in the play but I was just simply too old to be in the cast. The play doesn’t require the young to play the parts, but in order to be consistent it is good for the director to keep the cast within the same age range. They are all playing kids from ages 10-18 years old. So I didn’t pass the audition. I wonder if it was because I wouldn’t shave my Van Dyke beard. My son got a part in the show, so I was happy and went to all 4 performances.

    So this play is what happened to the other kids at that famous school for wizards and magic. The Puffs. The student’s who were going for third place or nothing (out of 4) Basically this was like the “Breakfast Club” but nerdier, more pitiful at times, and waaaaayyyyy funnier. The one thing I completely enjoyed about this play is the allowance for or rather demand for improv moments. I love Improv and love watching it done right. The actor I saw play the character of Zach Smith was so funny. Each performance he had a different improv for his big improv moment. One of the nights he managed to sum up the last 2 years worth of performances at the college/community theatre into one story that just had me rolling.

    If you are a fan of those Harry Potter books, please do yourself a favor and either read this script or go find a performance of this play. The inside jokes are worth the price of admission alone. Matt Cox is a fan of the wizarding series and especially a fan of the 90s. This comes to fruition in this play that is chock full of fun, pop-culture references that is sure to keep any audience entertained. The copy I read and the one I saw performed had some language that may restrict where the play is performed, however, I understand Matt Cox has written a younger version of the play in order to make it safe for all ages.

    Matt Cox not only has written a funny pop-culture play, but he creates characters that drag you into the story more so than J.K. Rowling. When reading the original books, there were times I would just say these kids are stupid. But in Matt Cox’s play I was involved. I wanted to know what they were doing at all times, especially the 3 main characters; Oliver, Megan, and Wayne. In fact throughout the play there were times when I had tears in my eyes from laughter and I was thankful because a scene or 2 later there would be tears from sadness and I didn’t want to seem like a crybaby.

    My experience after watching 4 performances and now reading this play is one I will cherish. I was moved several times between laughing out loud to drying the tears from sadness. After talking with the cast of this show (besides my son, there were many in the cast I am friends with) I found the same happened to them, in fact to this day the cast cherish their time in “Puffs.” The only other time I have seen such bonding in a play was a 2 week run of “Godspell.” The cast became the closest of friends from there after same as with “Puffs.” So,yeah, “Puffs” has a bit of a religious experience to it.

    Thank You Matt Cox for such a great emotional rollercoaster!!!

     
  • gilwilson 2:35 PM on December 14, 2020 Permalink | Reply  

    “Mizlansky/Zilinsky” By Jon Robin Baitz 

    “Mizlansky/Zilinsky”
    By Jon Robin Baitz
    Performed by: Nathan Lane, Paul Sand, Grant Shaud, Rob Morrow, Julie Kavner, Richard Masur, Harry Shearer, Kurtwood Smith, Robert Walden
    Length: 1 hr and 46 mins
    Produced by L.A. Theatre Works
    Release date: 05-07-08

    This time around in my play research, I’m looking for something a little light-hearted. Going to my reliable source for play productions I look at L.A. Theatre Works for something. LATW always comes through with some great plays with stellar casts and outsanding production that puts you right smack dab in the middle of the audience. So, knowing, this will be a play I want to hear I start looking. (I’m still reading a couple of plays in book form, so I needed something to fill those downtimes.)

    The first thing that grabs me with this production is the cast. Two of the members of the cast are regular voice actors on “The Simpsons,” Julie Kavner and Harry Shearer, I already love Nathan Lane and Rob Morrow, so I think immediately this will be fun. And fun it is…actually fun is a bit of an understatement.

    Nathan Lane plays Davis Mizlansky a Hollywood producer trying to avoid the IRS. He’s now in the business of selling tax shelters in the form of Bible stories on tape. When a big Oklahoma money man, Horton De Vries, played by Kurtwood Smith (Red Forman from “That 70s Show”) has some potential buyers things get interesting, especially since Horton seems to be an anti-semite unknowingly working with the Mizlansky/Zilansky jewish duo.

    That being the meat of the story in my opinion the funniest bits are between Davis and his assistant. Some funny stuff there. Check this out. Now if I can find a stage to perform this I think more laughs can be found.

    Publisher’s Summary
    Italian shoes, a house in the hills, a gift for stretching the truth, and a petulant assistant to pick the scallions out of his Szechuan noodles – Hollywood producer Davis Mizlansky has it all. But he’s about to lose it to the IRS unless he can pull off one more deal. A stellar cast performs this hilarious send-up of modern-day Hollywood.
    ©2007 L.A. Theatre Works (P)2007 L.A. Theatre Works

     
  • gilwilson 3:35 PM on December 9, 2020 Permalink | Reply  

    “Fake” By Eric Simonson 

    “Fake”
    By: Eric Simonson
    Narrated by: Francis Guinan, Kate Arrington, Coburn Goss, Alan Wilder, Larry Yando
    Length: 2 hrs and 5 mins
    Published June 1st 2010 by LA Theatre Works

    I have been looking into several plays lately (for reasons yet to be discussed) and having know the quality works put out by L.A. Theatre Works, I’ve been diving into several of their productions. This is one of the them and I’ll let you know the acting and audio production is superb as always. This manner not only gets me familiar with plays it also lets me know how talented individuals have translated these plays.

    I’m not looking for any specific type of play, just wanting to know more of what’s out there. My reviews here are a bit short, since I am just looking for a summary for now, some plays have stood out and I have a bit more to say, so just bear with these performance reviews, and know there’s a reason to my madness. I’m still reading and listening to regular prose books/audiobooks, so they’ll be interspersed with the other reviews. (eventually)

    This play discusses the events that led to the debunking of “The Piltdown Man” In 1912, archaeologists in Piltdown, England discovered a skull purported to be from a creature providing the missing link between man and ape. In 1953, the Piltdown skull was debunked as fake. Simonson spends the play time to try to figure why and whether well known author Sir Arthur Conan Doyle was involved.

    Intermingled with discussions of politics and religion the answer is never really discovered. However, listening to this performance the audience does get the chance to wax philosophic. Entertaining and even thought provoking this looks like it may be a fun play to produce. I’m putting this toward the top of my list.

    Publisher’s Summary

    Oscar-winning and Tony-nominated writer and director Eric Simonson explores the most famous archeological hoax in history. Alternating between 1914 and 1953, journalists and scientists set out to uncover who planted the Piltdown Man skull. Everyone’s a suspect, including legendary Sherlock Holmes author Sir Arthur Conan Doyle.

    An L.A. Theatre Works full-cast performance featuring Kate Arrington, Coburn Goss, Francis Guinan, Alan Wilder and Larry Yando.

    Fake is part of L.A. Theatre Works’ Relativity Series featuring science-themed plays. Major funding for the Relativity Series is provided by the Alfred P. Sloan Foundation to enhance public understanding of science and technology in the modern world.

    ©2010 L.A. Theatre Works (P)2010 L.A. Theatre Works

     
  • gilwilson 3:44 PM on December 8, 2020 Permalink | Reply  

    “Dinah Was” by Oliver Goldstick 

    Dinah Was
    by Oliver Goldstick
    Length: 1 hr and 43 mins
    Published January 1st 2003 by LA Theatre Works

    Whenever I listen to an audiobook that is a biography or autobiography of a musician I always end up getting perturbed when they talk about a song or the writing of a song and I cannot hear that song immediately. I think audiobooks in particular should at least have a clip of that song in the audio recording. But it rarely happens, and thus I have to stop where I am in the story and seek out that song. It helps the story to make sense. I once read a book about Bruce Springsteen’s music with my phone and a blue tooth speaker handy just so I could hear each song being discussed. It was pure heaven.

    That being said, you don’t have to worry about this audio production of the play, “Dinah Was” by Oliver Goldstick. First of all it’s another L.A. Theatre Works production so the production and acting is all superb. The role of Dinah Washington in this production is played by Yvette Freeman. Ms. Freemen does an awesome job singing the songs and all in the right place, in otherwords where I would normally have to stop and go find the song.

    So now you just have to sit back and listen to a beautiful performance about the life of “The Queen of the Blues,” Dinah Washington. I love the scene in the opening of the play where she is booked to play a Las Vegas hotel but being black she is not allowed into the hotel proper. I hate that our society was once that bad, I would like to say we are getting better and from then to now improvements have been made in our society, but we still need work.

    This play condenses the short life of Dinah Washington and her influence on the music biz. If nothing else the music is delicious. Go and consume this production from LATW, it will be worth it.

    Publisher’s Summary
    In a white fur coat, ‘The Queen of the Blues’ sits on her luggage outside a Las Vegas hotel. It’s 1959—the legendary star can’t enter the hotel without a white escort. So Dinah Washington, in her inimitable style, takes a long pull from her flask and starts kicking up a fuss. Yvette Freeman reprises her OBIE Award-winning performance in this passionate play by Oliver Goldstick that reminds us “What a Difference a Day Makes”. Features songs made famous by Dinah Washington and performed in the play by Yvette Freeman.
    Original orchestrations and arrangements by Jason Robert Brown; performed by Lanny Hartley on piano, Leroy Ball on bass, and Washington Rucker on drums.
    Includes a conversation with playwright Oliver Goldstick.
    Recorded before a live audience at the Skirball Cultural Center, Los Angeles in May of 2002.
    Directed by Gordon Hunt
    Paul Eiding as Spinelli/Sam Greenblatt
    Yvette Freeman as Dinah Washington
    Adriane Lenox as Maye/Mama Jones/Violet
    Bud Leslie as Frick/Rollie
    Darryl Reed as Boss/Chase Adams/DJ

     
  • gilwilson 4:21 PM on December 7, 2020 Permalink | Reply  

    “Are You Now or Have You Ever Been?” By Eric Bentley 

    Are You Now or Have You Ever Been?
    By: Eric Bentley
    Narrated by: René Auberjonois, Edward Asner, Bonnie Bedelia, Richard Dreyfuss, James Earl Jones, James Whitmore, Michael York
    Length: 1 hr and 27 mins
    Published January 25th 2016 by L.A. Theatre Works (first published 1972)

    Politics. Am I right? Who needs ’em. I’ve always hated political anythings. As we have found here in the last part of the year 2020, politics can make enemies out of good people. That’s pretty much what is told in this story. Back during the red scar of the mid 50s people were reporting their neighbors for stuff that may or may not have had anything to do with communism, but it didn’t matter the government was on the scent and would not break off the hunt.

    The worst of this was seen in the treatment of Hollywood. Many folks in the biz never recovered from this witch hunt and careers were ended. This play focuses specifically on the Hollywood aspect of the red scare. Just name names an you will be off the government’s list, but that means that you may turn others against you.

    I would like to think in this day and age that a person simply curious about how communism runs or doesn’t run would be safe to seek out that info. But alas, we have not learned our lesson and at the mere mention of anything social (social medicine, social healthcare, social education, social security) the screaming words of the other side calling another side communist still happens today. I’m not sure why or how but religion and politics are the two subjects / fields that you have to believe like everyone else or be prepared to have your head on a pike. I would also like to say give this play a listen / watch / read and learn, but humanity never learns.

    On the positive side, the performances in this L.A. Theatre works production are once again stellar. Ed Asner steals the show for me he just makes the performance real. As usual with LATW productions the production quality is superb. So, at least enjoy a brief and entertaining history lesson. It may not change the world, but we can always hope.

    Publisher’s Summary

    In the mid-1950s, the House Un-American Activities Committee began investigating the communist influence in the entertainment industry. This searing docudrama from actual transcripts of the hearings reveals how decent people were persuaded to name names – and the steep price paid by those who refused.

    An L.A. Theatre Works full-cast performance featuring: René Auberjonois, Edward Asner, Bonnie Bedelia, Jack Coleman, Bud Cort, Richard Dreyfuss, Hector Elizondo, Robert Foxworth, Harry Hamlin, James Earl Jones, Richard Masur, Franklyn Seales, Joe Spano, James Whitmore, Michael York, and Harris Yulin.

    ©1999 Eric Bentley (P)1997 L.A. Theatre Works

     
  • gilwilson 3:01 PM on December 2, 2020 Permalink | Reply  

    And the Sun Stood Still By Dava Sobel 

    And the Sun Stood Still

    By: Dava Sobel

    Narrated by: Robert Foxworth, John Vickery, Kate Steele, Michael Kirby, Gregory Harrison

    Length: 1 hr and 50 mins

    Audiobook, Dramatization with full cast

    Published June 16th 2015 by LA Theatre Works

    Science! It seems to have the answer to everything. But how do those answers get discovered? Sometimes a discovery is made an voila! all is understood. Sometimes however a discovery is made and current science cannot support so the new discovery meets with some resistance. What’s even worse is when science goes against religion. Then not only is there resistance, but possible punishment for trying to make the religious folk wrong. More so in Copernicus’ day than now, but every so often one finds that religion is the biggest hurtle to get over to promote fact.

    This play brings to life the time when Copernicus discovered that the Earth is not the center of the Universe. Copernicus was hesitant to publis because of religion and even a little self-doubt. Rheticus comes in from Germany and pushes Copernicus to publish because the world needs to know. This play is about that struggle.

    This production is produced/published by L.A. Theatre Works and once again LATW delivers. As always the production values puts you smack dab in the middle of a production and you feel as if you were sitting in the center of the theatre for this production. The sound effects and music are perfect, but what makes this even more believable is the calibre of actors. As with every LATW production the actors bring their all to make this production come to life in an audiobook form.

    Publisher’s Summary

    Dava Sobel’s thoughtful play brings to life the story of Nicolaus Copernicus, the Renaissance astronomer, and mathematician who proposed the heliocentric model of the universe in which the Sun stands at the center. Plagued by self-doubt and threatened by religious censure, Copernicus resisted the publication of his work until just before his death in 1543. The play follows Copernicus in those final years as he works to complete his research with the help of Georg Rheticus, a young disciple from Wittenberg, Germany.

    Includes a conversation with playwright Dava Sobel, author of A More Perfect Heaven: How Copernicus Revolutionized the Cosmos.

    Recorded at The Invisible Studios, West Hollywood in February, 2015.

    And the Sun Stood Still is part of L.A. Theatre Works’ Relativity Series of science-themed plays. Lead funding for the Relativity Series is provided by the Alfred P. Sloan Foundation, bridging science and the arts in the modern world.

    Directed by Rosalind Ayres

    Producing Director Susan Albert Loewenberg

    Robert Foxworth as Copernicus

    Gregory Harrison as Giese

    Michael Kirby as Rheticus

    Kate Steele as Anna

    John Vickery as Bishop Dantsicus

    Associate Producers: Anna Lyse Erikson, Myke Weiskopf.

    Recording Engineer, Sound Designer, Mixer: Mark Holden for The Invisible Studios, West Hollywood.

    Editor: Wes Dewberry

    ©2015 L.A. Theatre Works (P)2015 L.A. Theatre Works

     
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