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To Understand - GBH* - Punked In The O.C (Live At The Celebrity Theater 1988)

22.10.2019 8 By Voktilar

Label: Cleopatra - CLP 7926 • Format: Vinyl LP • Country: US • Genre: Rock • Style: Punk
Download To Understand - GBH* - Punked In The O.C (Live At The Celebrity Theater 1988)

Reviews and Articles. Insurgo Theater Movement and the Maverick team up to give rarely seen musical its Orange County debut. Whazzat you say? The show with the catchy title was created by a formidable team. The show opened at the Alvin Theatre on March 29, and closed some 15 weeks later, on July 16, after only performances - the victim not of negative reviews but of audience indifference.

What th-? Will that lure people in? Newell has built poles into the set to create the illusion of flying in some of the scenes. Flight is suggested through sound effects, and Circle In The Sand - Belinda Carlisle - Heaven On Earth final scene even offers alternative dialogue for theaters unequipped to make an actor appear to fly.

The whole thing is very nostalgic. Superman The Musical. What happens when two of our best local companies join forces to produce a sleeper musical on one To Understand - GBH* - Punked In The O.C (Live At The Celebrity Theater 1988) our most beloved Confessions Of A Daydreamer - Normotone - Inward Structures heroes at the Block Maverick and Insurgo, two of our innovative local small stages, have joined forces on this production, offered in the bustle of the Block, igniting sparkle and sparks.

The opening night played to a packed house and reservations are a must. This little known musical was featured on Broadway in the late sixties and has not been produced locally for two decades, hence will be a discovery for everyone in the audience.

Even more surprisingly, the songs are owed to the formidable team of Charles Strouse and Lee Adams, to whom we owe the likes of perennial favorites "Bye Bye Birdie" and "Annie. The revival is the brain child of Insurgo Director John Beane, who gives the show "a fun, camp quality" well in keeping with the comic book forties character. Tom Patrick as Clark Kent, aka Superman, not only fights crime, but sings too.

Patrick infuses his character with a fragile humane quality, whether as the socially inadequate Daily Planet reporter with a hidden crush on glamorous colleague Lois Lane, or as the fly about town crime buster in his skintight blue and red nylons.

Jessica Hutchinson lends her finely chiseled features and elegant figure to Lois Lane in her quest for love, whether in the elusive arms of Superman, or with Mr. Nice Guy, mad professor Sedgwick's assistant, played by Ed Bangasser. Stan Morrow oozes with unctuous malevolence in his role as frustrated Nobel Prize wannabe and physicist Abel Sedgwick bent on revenge at Superman's expense. Solly, gullible and easily foiled, are Lane and Clark's boss and colleague.

Justin Pyne doubles up as Music Director and Ensemble participant. Maverick principals Jim Book and Brian Newell provide most of the technical aspects. Ed Bangasser choreographed the fight sequences. Great forties outfits with their form fitting lines are created by Jessica Beane and Heidi Newell as costume designers. It's impossible not to summon up pictures of Christopher Reeve in his prime in the movie version, and he is listed in the special thanks section of the program.

The book focuses on Superman's vulnerability as a lone alien in the foreign environment of Planet Earth, the ultimate illegal immigrant. His Krypton ties were severed in the fiery destruction of his homeland, and he is condemned to assume a split personality with his disguise as Clark Kent, the breadwinner half of his dual identity, while the super hero is made to question his motives and even failings as he craves public adulation in Metropolis. You won't see Superman actually flying, although his entrances and exits, via the de rigueur telephone booth quick change, take place on the plane of a city skyline with slide down poles.

Brave the teen crowds and experience Superman live before he flies off the marquee in a few short Hell Awaits - Slayer - Decade Of Aggression Live. Children, teens and adults are all sure to enjoy Black Star - Radiohead - Unplugged And Unreleased one. Backstage WestMarch 17, The Complete Works of William Shakespeare Abridged Reviewed By Melinda Schupmann In the early s, Adam Long, Daniel Singer, and Jess Winfield fashioned a show that skewered Shakespeare in a little more than 90 minutes, and since then every threesome who loves improv is ready, willing, and able to jump in and put its own stamp on the material.

If only those boring hours in the classroom would have been like this, every student would be jumping at the chance to see the Bard's works.

This time, the task is taken on by three young actors from Improv Schmimprov, a late-night show that sells out regularly at Maverick Theater. Nathan Makaryk, Nick McGee, and Erik Furuheim are outrageously uninhibited, and that plus the clever conventions of the play make for a comical evening.

From Romeo and Juliet to Hamlet, these mugging thespians take on all 37 of Shakespeare's plays. The audience is not without its function as well. The room is divided into sections, and everyone gets a chance to recite lines, wave Red Simpson - Im A Truck / Where Love Used To Be, and generally cheer on the cast.

In rapid-fire, staccato style the trio hurls through famous lines and familiar scenes, sprinting through doors, shifting from male to female with lightning speed, and mischievously delivering puns and double entendres.

Borrowing To Understand - GBH* - Punked In The O.C (Live At The Celebrity Theater 1988) from Tex Avery with overtones of Mel Brooks, the show progresses through the familiar plays and the lesser-known ones. Othello is done as a rap, and the history plays take their inspiration from football. The group condenses the 16 comedies as Love Boat Bakbeen Anties - Bok van Blerk - Steek Die Vure Aan to Verona.

Poster board is used to diagram the scenes art by Jason Bannister. The performances are all top-notch. The roles are physically grueling, made even more To Understand - GBH* - Punked In The O.C (Live At The Celebrity Theater 1988) by the fact that many of the lines have been To Understand - GBH* - Punked In The O.C (Live At The Celebrity Theater 1988) to make them topical. Naughty sexual innuendos are thrown in for good measure.

The handsome and sturdy Elizabethan set by founders Brian Newell, Jim Book, and cast-member Makaryk serves the actors well as they lean over balconies, leap down stairs, and perform numerous death scenes. Costumes by Heidi Newell also enhance the multiple roles, especially as the actors morph into witches, heroines, and the various kings. This show is billed as being accessible to everyone, even those who have never Vicious Circle - Abrasive Wheels - The Punk Singles Collection Shakespeare, but it is a Storm Corrosion - Storm Corrosion - Storm Corrosion that a passing acquaintance with his works enhances appreciation of the production.

Even a knowledge of traditional theatre helps when Hamlet's To Understand - GBH* - Punked In The O.C (Live At The Celebrity Theater 1988) be or not to be Seeing this comic tribute reminds us that Shakespeare wanted nothing more than to please an audience, and though played for laughs, there is one moment when the actors pause and take the text seriously to great effect.

Then it is off again on the marathon that gives the audience its money's worth. An irreverent romp through Shakespeare's entire works, the good, the bad and the ugly rolled into To Understand - GBH* - Punked In The O.C (Live At The Celebrity Theater 1988) hilarious hours of non stop fun.

Lest the bard be tempted to turn over in his grave yet another time, and English teachers pull out their hair in despair, know that this irreverent marathon comes from Shakespeare's very home, mother England, where it has been playing for eight straight years, a smash success. Shakespeare is often a bitter pill Zulu - Stephan Bodzin - Powers Of Ten swallow in English literature classes, and Maverick aims to challenge this.

What a deal, all 37 plays rolled into one hilariously funny two hour semi-improv audience participation jaunt. Seen in this light, this truculent piece is in fact a highly astute come-on to induce literary-challenged youths to discover all of Shakespeare oeuvre, including lesser known pieces best left that way. Betwixt the three of them, they conjure up every major Shakespearian character of either gender. It's hard to decide which of the three is the funniest, as all three handle slapstick with perfect aplomb and incredible energy.

Loosely speaking, Shakespeare's works can be divided into historical dramas based on the lives of various Henrys, Richards and Johns, a mixed bag assortment of comedies, several tragedies, and Hamlet, in a class all by itself.

It's off to Othello next, in a stark Gregorian chant opening which rapidly degenerates into fast paced rap. We then dive into a one act sixteen-comedy scrambled amalgamate, Love Boat in Verona style, with Shakespeare attacked To Understand - GBH* - Punked In The O.C (Live At The Celebrity Theater 1988) his blatant plagiarism, an inexistent concept until its recent academic bane.

Hayseed Riot - Greg Stackhouse Prevost* - Universal Vagrant, every one of Shakespeare's productions is formulaic, with bad versus good guys, and plenty of swash buckling. The sweaty trio briefly pauses its antics during intermission, debating the sagacity of attempting Hamlet, the focus of the second act, and summoning the daunting prospect of reading all plus sonnets in minuscule print.

The brooding, dark Prince of Denmark with his doleful fate gets regal treatment with Ofelia performed by a willing audience victim.

Be warned, if you sit in the front row, you are certain fodder for maverick mayhem, and the reprieve is only minimal even if you cower further back. Basically, at some point or other, everyone of the audience will be aiding the show, with an impromptu acting workshop based on Freudian psychoanalysis principles to spur the weary volunteers bouncing of the stage walls and uttering primeval screams.

Attend this screwball intellectual tour de force at your own risk - you cannot begin to imagine what scabrous spoofs the maverick trio will dole up next! Theater and movie fans everywhere must have a special place in their hearts for "The Rocky Horror Show," the London stage sensation that migrated to the U.

After all, "Rocky Horror" is a genre-bender that both spoofs and pays homage to sci-fi and horror films, movie musicals, '50s biker and rock 'n' roll movies, and every cheapie Grade Z flick ever made. Ya gotta love it. The show's creator, Richard O'Brien, threw in kinky sex, an outrageous sense of humor and even a bit of humanistic philosophy. And though "Rocky Horror" is an acquired taste, it's basically got something for everyone.

The film version, starring a young Susan Sarandon, Barry Bostwick and Tim Curry in his prime, quickly overshadowed "Rocky Horror's" stage origins, with midnight showings that spawned a generation of boomer fans whose interaction with the film became part of the phenomenon. But the stage is the original home of "Rocky Horror.

This is the kind of show Staged Cinema does best. Producers Brian Newell and Jim Book love a challenge. With its reputation alone, the show has a built-in hook; the challenge is to create something that hard-core "Rocky Horror" fans will immediately recognize and be able to respond to. Meanwhile, as for "Rocky Horror" virgins, the show's campy off-the-wall sensibility is sure to draw them in.

One reason this staging works so well is the solid handle that director Stephen C. John has on the material. His casting of the 10 principal characters is canny, rounded out by 10 chorus members put through athletic, kinky-tinged paces by choreographer Shelleen Kostabi. The action never stops, and as in all Newell- Book collaborations, you'll find a healthy dose of technical effects - strobe lights, roving spots, smoke, dry ice and more.

O'Brien's now-classic rock score is sufficiently amped up, but not enough to drown out lyrics that are alternately in-your-face, tender, high-energy, self-revelatory and, in the case of all 16 songs, clever and expertly crafted. The story begins with Brad Majors and Janet Weiss Thomas Patrick, Vicki Skya solidly square young couple whose car breaks down in the middle of nowhere.

They hike up the hill to a dark old castle, asking to use the phone - and that's where "Rocky Horror" really takes off. Greeted by the castle's darkly clad denizens, all of whom look like heavy-metal refugees, Brad and Janet are invited to do the "Time Warp" the show's signature numberthen introduced to the master of the castle, Frank-n- Furter Dennis Tong. Frank's song, "Sweet Transvestite," and his appearance - glitter eye makeup and choker, arched eyebrows, black lingerie and 5-inch heels - says it all.

Seemingly a mad scientist, his latest project is the creation of a boy-toy he calls Rocky. Before the end of "Rocky Horror," Brad and Janet will have awakened to the joys of unfettered sex thanks to Frank and his studly yet innocent blond surfer boyand the assorted weirdoes inhabiting the castle will be revealed as aliens from the planet Transsexual in the galaxy of Transylvania.

In lesser hands, this melange of rock music and cheesy Roger Corman-type horror flicks would be an untenable mess, but O'Brien who played Riff Raff in the film version keeps his plotline clean, straightforward and easy to follow. Each musical number gives the story a shot in the arm and, at the Maverick, showcases the strong musical cast John and Kostabi have assembled. Patrick is suitably nerdy as the mock-heroic Brad. Sky's Janet is ever the innocent Grade-B ingenue, which helps conceal her difficulties singing on key.

Noe Espinoza's silky voice and arch manner are ideal for Riff Raff. Dan Halkyard is also in fine comic form as the bathrobed pajama-clad Narrator, who's like something out of an Ed Wood flick.


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