LA Stage Alliance announced the 2008 Ovation Award Nominees this week. Congrats to all. I’m lucky to be included a category of such amazingly talented designers. I’m honored. Congrats to my fellow nominees. Thank you for being such an important part of Los Angeles story telling. It’s a hard job. I’m grateful for you.

COSTUME DESIGN

Ann Closs-Farley
NORMAN’S ARK
John Anson Ford Theatre and DuHirst Music (US) Ltd.

Marcy Froehlich
BUS STOP
Rubicon Theatre Company

Marcy Froehlich
PICASSO AT THE LAPIN AGILE
Rubicon Theatre Company

Shon Le Blanc
YOU CAN’T TAKE IT WITH YOU
Rubicon Theatre Company

Sharell Martin and Ambra Wakefield
JEKYLL & HYDE
FCLO Music Theatre

Paul Tazewell
RAY CHARLES LIVE – A NEW MUSICAL
Pasadena Playhouse

Naomi Yoshida
PIPPIN
East West Players
COSTUME DESIGN – INTIMATE THEATRE

Stephanie Kerley-Schwartz & Lauren Tyler
COMPLEAT FEMALE STAGE BEAUTY
Rogue Machine; Produced by John Perrin Flynn and Matthew Elkins

Gelareh Khalioun
AND NEITHER HAVE I WINGS TO FLY
Road Theatre Company

Scott A. Lane
PEST CONTROL – THE MUSICAL
Open at the Top Productions and Canum Entertainment

Shon Le Blanc
THE MILK TRAIN DOESN’T STOP HERE ANYMORE
Fountain Theatre; Produced by Ben Bradley and Diana Gibson

Nalia Sanders
THE PIANO LESSON
The Hayworth, Stagewalkers Productions and 444 Productions

A. Jeffrey Shoenberg
1776
Actors Co-op/Crossley Theatre

A. Jeffrey Shoenberg
TONIGHT AT 8:30 – PART II: COME THE WILD
The Antaeus Company

Keythe is starting his fall voice over classes.

Hi,

Hope this note finds you well.

All summer folks have been asking me when I’m going to start teaching classes again, and I finally have an answer for you. September 15.

I’m going to be offering my Intro to Animation and Games class on six Monday nights (Sept 15- Oct 20) from 7-10pm, and my Creating ¡Kick Ass! Characters class on Wednesdays (Sept 17- Oct 22) at the same time. I keep class size to ten actors each, because smaller classes mean more chances to work, and because the studio won’t hold any more than that. So, let me know ASAP if you are interested in studying with me this fall.

Keythe Farley
kickassvo@sbcglobal.net
310-590-7234

¡Kick Ass! Voice Over Class Info

About Keythe

Keythe is a voice director who has directed five seasons of the RUGRATS television series, and both seasons of AS TOLD BY GINGER for Nickelodeon. He is currently casting and directing voices for video games including TRANSFORMERS, GOD OF WAR (1, 2 and PSP), RESISTANCE: RETRIBUTION, AREA 51, SYPHON FILTER: LOGAN’S SHADOW and GHOST RECON 2 among others. Keythe is also the co-author of the Off Broadway hit “Bat Boy: The Musical.” Keythe has appeared as voice talent on AAHHH!!! REAL MONSTERS, RUGRATS, and in commercials for IBM, Toyota, Caesar’s Palace and National Geographic among others.

Intro to Voice Over for Animation and Games

A six-week intro to working in cartoons and games. Keythe works with you to assess your vocal range and personal style, and then gives you the tools to create characters that you can repeat consistently.

Week One- Keythe will spend some time getting to know what your long-term goals are, as well as what you hope to get out of the class, and then you will go into the booth and Keythe will lead you through an interview process with characters you create as you go. This will give him an idea of what your range and style are, and will help him choose characters for you to work on for the remainder of the class.

Week Two- During this class you’ll receive a packet with three characters personally selected for you. You’ll learn how to break down a script so that you are communicating the story clearly, and you’ll begin working with these characters developing sincere emotional states that are informed by the stakes present in the material.

Weeks Three and Four- More single character work. Keythe will work intensively with you to develop your ability to nail the material in two takes while deepening your states and stakes.

Week Five- Introduce scene work. You’ll begin working with other actors in the class on scenes from animated series and games.

Week Six- Depending on the interest of the class, you will either continue with scene work, or Keythe will invite you to present a showcase of your characters in action—a three to five minute presentation that you will write yourself.

Cost of the class is $425. A $200 deposit will hold your place in class and the balance is due on the first night. Send checks, payable to Keythe Farley to:

Kick Ass Voice Over
11936 Weddington St. #26
Valley Village, CA 91607

Creating ¡Kick Ass! Characters

This intensive is for students who have completed the Intro class, or similar studies with another teacher, and who are ready to develop a stable of clear, repeatable characters in order to create a demo or expand their repertoire. At the end of this six-week intensive, you will have created at least twenty original characters.

The class begins with an in-depth approach to creating memorable and durable characters that suit your personal strengths as a performer. Each following week, you will create five original characters and present them to the class. Keythe will work with you to hone the characters so that they are tailored both to your natural strengths and to the needs of the industry at large, and will provide scripts from animated series and video games that suit the characters you have created. The final class is a 2-3 minute presentation of your personal stable of characters.

Cost of the class is $425. A $200 deposit will hold your place in class and the balance is due on the first night. Send checks, payable to Keythe Farley to:

Kick Ass Voice Over
11936 Weddington St. #26
Valley Village, CA 91607

Hope to see you in class.

All the Best,
Keythe Farley
kickassvo@sbcglobal.net
310-590-7234

2006/ Pageant of the 4 Seasons, a 99 Only Modern Something
visit orpheancircus.com for extensive 99 Cent Only Show info.
Costumes by Ann Closs-Farley and her fabulous West Coast Design Posse

Review: it must be said that the star of the show is again the outrageously whimsical Garland Award-winning costuming by Ann Closs-Farley and her crew, resplendent with bathmat corsets, overskirts fashioned from laundry baskets, dangling votive candleholder earrings, and tablecloth gowns accessorized by tap-on closet lights. This year’s chapter of 99-Cent goofiness should be another sell-out, a new Los Angeles holiday tradition certainly worth celebrating.



“Don’t try to make sense of Ken Roht’s holiday spectaculars. Just let the images wash over you as he conjures abstract dance dramas in costumes brilliantly assembled from items at 99 Cents Only Stores.”



Ken Roht’s annual 99¢ Only shows suggest a demented blend of low-budget Ziegfeld Follies, an earth-bound Cirque du Soleil and the kind of performance neighborhood kids put on in somebody’s garage…



A team of Los Angeles’ most creative designers to whip up western glamour out of pool toys, plastic tablecloths, kitchen utensils and anything else that can be found on a shelf at the 99Cent Only Stores!!



BOOTLEG THEATRE & GANG OF TWO
AN ORPHEAN CIRCUS PRODUCTION
WRITTEN, DIRECTED AND CHOREOGRAPHED BY: Ken Rhot
MUSIC BY: Marc Jackson, O-Lan Jones, Curtis Heard & Ken Roht
VOCAL ARRANGEMENTS BY: Curtis Heard
COSTUME DESIGN: Ann Closs-Farley w/Anthony Garcia, Barbara Lempel, Robert Prior, Kirk Wilson, Steve Roche, Audrey Eisner, Cynthia Herteg, Suzanne Scott, Andy Dobson, Mark Crowell, Miguel Montalvo, and many many more….
SET DESIGN: Karen Steward
LIGHTING DESIGN: John Eckert
VIDEO DESIGN: Jeremiah Thies w/ Jeff Teeter
SOUND DESIGN: Adam Phelan
MUSIC DIRECTOR: Graham Jackson
STAGE MANAGER: Russell Boast
PRODUCER: Jessica Hanna
CAST: Greg Ainsworth, Don Allen, Sissy Boyd, Joe Fria, Deonne Geib, Shannon Ggem, Jessica Hanna, Jamison John Hebert, Graham Jackson, Angela Kang, Kristen–Lee Kelly, Jennifer Li, Ruby McCollister, Brandon Roht, Cody Roht, Ian Rotundo, Raul Clayton Staggs, Ryan Templeton, Jessica Vanrossem, Lola Ward, Will Watkins and Jabez Zuniga

Best of 99 Cent Only Dance Extravaganzas



“I’ve become a 99¢ Only Stores junkie. My morning trip coincides with my first corner cup of coffee. I shuffle cup in hand, bed-haired and crusty eyed, down each aisle, not looking for the bargain, necessarily, but looking for the opportunities. My best and worst moment happened right there in the store when I decided that all of this stuff needed to decorate a holiday dance show of mine.
So, for weeks I had to finish my coffee before embarking on my explorations of the store so that I could have both hands free to fit plastic baskets on my head, marvel at the many design possibilities of a 99¢ bra, bounce every item that just might return to me from the floor (some didn’t… I had to buy them… only a dollar!) and calculate just how many pleated skirts could be extracted from one vinyl, floral table cloth. My god, it’s endless.
“I called the 99¢ Only Stores headquarters in the City of Commerce and they received their new disciple with open arms. I was given a grand golf cart tour of their giant warehouse, bulging with a billion do-dads. I was ushered past the door to door salespeople attempting to unload another 5000 light bulbs and was gifted with a bounty of 99¢ Only shirts, thousands of 99¢ Only stickers, three hundred dollars worth of 99¢ Only money, two huge ‘Coming Soon’ banners and a 99¢ Only beach ball… with all their blessings to make a fabulous holiday show. And that’s what we’ve done.”

-Ken Rhot (Writer, Director, and Choreographer 99 Cent Only Shows)

Route 99: Orange Star Dinner Show
For the 4th year in a row Ken Roht, surrealist impresario, returns to the Evidence Room with a new 99 Cent Only musical! Once again Ken creates a brand new musical extravaganza of plastic and fun. This time setting the festivities in a Wyoming dinner theater. Come on down and enjoy Orange Star’s hospitality and delicious home cookin’. Again, John Ballinger is co-composer (with Roht) and arranger. Ann Closs-Farley and Keith Mitchell are back to head a team of Los Angeles’ most creative designers to whip up western glamour out of pool toys, plastic tablecloths, kitchen utensils and anything else that can be found on a shelf at the 99Cent Only Stores!! This year’s talented cast includes returnees from 99Cents Shows past and new players to add spice to what we’re serving up.
Come see Michael Bonnabel, Sissy Boyd, Alex Brown, Tad Conoghour, Patty Cornell, Shannon Hart Cleary, Ann Closs Farley, Joe Fria, Liz Guilliams, Jamie Hebert, Graham Jackson, Colleen Kane, Angela Kang, Beth Mack, Laural Meade, Jennifer Moyse, Ian Rotundo, Don Oscar Smith, Kat Meyer Smith, Raul Staggs, Ryan Templeton, Kirk Wilson, Jabez Zuniga and Michael Dunn as Orange Star.

Peace Squad Goes 99, The Greatest 99¢ Only Story Ever Told…EVER!
Fun for the whole family until the Bogeymen take over.
Then, anything can happen in the Hall of Hollow Mirrors!

Splendor: A 99 Only Stores Wonderama
“How to describe Ken Roht’s new dance/design extravaganza, “Splendor: A 99 Cents Only Stores Wonderama”? Well, if Busby Berkeley had dropped acid while watching “The Powerpuff Girls” … or if Howard Crabtree and Pina Bausch staged a discount retail trade show … or if Cirque du Soleil and the Smurfs staged an avant-garde “Nutcracker” at a strip mall…”

When Swan Lake premiered in 1877, it lasted 33 performances. Satie’s Parade was nearly booed off the stage in 1917–and patrons who didn’t walk out hurled things at the musicians. Charles Ludlam and Charles Busch spent the first years of their careers watching theatres evacuate whenever their outrageous/courageous works debuted. For L.A.’s own resident auteur Ken Roht, opening a new show is met with a different response: His cast heaves things at the audience before anyone has a chance to retaliate. Watching this expanded second-annual holiday all-singing, all-dancing visual carnival–featuring a unique cast of 30 wearing costumes and carrying props created exclusively with items from 99-Cent Only stores–is akin to experiencing a living hallucination. Luckily the chimeras crowding Roht’s delightfully demented mind are interpreted by some of the most talented counterculture artisans in L.A. and vicinity, a dream assemblage ready to try anything their mentor asks them to do. This is because Roht creates without concern for any pre-established rules, this year incorporating a narrative history of the 99-Cent Only Stores’ achievements with a wonderfully bizarre Flash Gordon-like storyline concerning the androgynous Golden Boy, whose worship provokes battles between the Frenchies and the Crusties fought with oven mitts and plastic dip trays. Notable amid the uniformly gifted cast, Kirk Wilson offers an effete, snarling Ming the Merciless, tooling around in a tinseled golf cart, and Don Oscar Smith is Q, a huckster who recites a recurring barrage of details chronicling the chain store’s phenomenal success, augmented by a few ultra-cool Blues Brothers moves. Ann Closs-Farley wins hearts as a fiery Latin showgirl, tossing an unending supply of hard candy to the crowd, as does Beth Mack as a 99-Cent Only junkie resorting to a 12-step group in her moment of consumer crisis. Fourteen-year-old Chris Ibenhard makes an auspicious L.A. stage debut as the endearing Golden Boy, hitting the rafters with a final bluesy solo that belies both his age and his stature. Featuring original music by John Ballinger, inventive scenic design by Keith Mitchell featuring Sun detergent boxes as its anchor, and unbelievably fanciful costumes by Closs-Farley, Barbara Lempel, and Anthony Garcia that are themselves works of folk art, Splendor is like a Cirque du Soleil spectacular on a $500 budget. Does all this suggest that one day Roht could be up there alongside Tchaikovsky, Satie, and the others? You bet. As were those other groundbreaking geniuses, Roht is a poetic madman–and Angelenos get to take this annual one-of-a-kind Fellini-meets Dr. Seuss holiday journey right along with him.

— Travis Michael Holder
99¢ Only Store
Press Review

The 99¢ Only Store World of Bargain Entertainment Dance Extravaganza

When Ken Roht looks at Mylar thong underwear, he sees an exotic headdress. In Roht’s mind, an inexpensive bucket can become a hat augmented by colorful feather-duster plumes (a bargain at 99¢ apiece). For the award-winning choreographer, the 99¢ Only Store is a treasure-trove of mundane objects with endless possibilities—even toilet brushes can become whimsical puppets. Roht is a self-described “99¢ Only Store junkie” who now wants to take his obsession public. The result is The 99¢ Only Store World of Bargain Entertainment Dance Extravaganza, a new work conceived, choreographed and directed by Roht. With a cast of nearly 30, the performance focuses on joy, excess and American consumerism. Although conspicuous consumption is one of the underlying themes, this isn’t a show about corporate bad guys. Roht says that Bargain Entertainment in no way mocks the 99¢ Only Store chain: The company is co-sponsoring the piece. Bargain Entertainment features dance vignettes showcasing the pleasures of abundance—99¢ Only—style. In addition to movement pieces, the performance features music, puppets, spoken-word excerpts from corporate reports and actors riding around the stage on shopping carts. The music is by John Ballinger, with an additional song—”99¢ Only Rap”—by John Zalewski and Erik Patterson. O-Lan Jones and Laural Meade are among the musical performers, and dance artists include Sissy Boyd, Tamar Fortgang and Scarlett Rouge. Aside from a few foundation garments, all of the costumes created by Ann Closs-Farley, Rebecca Heron, Robert Prior and Kirk Wilson are made from products sold at 99¢ Only Stores; likewise with Keith Mitchell’s set design. Playwright Peter Nieves has supplied some additional text. Asked whether Bargain Entertainment is a seasonal performance, Roht says, “It’s a holiday show, but there’s nothing Christmas-y about it,” adding, “It’s more like a peace rally. There’s even a dancer named Peace [Harambe].”…

— Sandra Ross

2007 Santa Monica Arts Festival / Re:Fashion Workshop
Workshops — hands-on art for all ages (such as creating wearable fashions using recycled materials, led by critically acclaimed costumer Ann-Closs Farley)







Santa Monica Arts Festival 2008
This year’s Art Workshops focus on creating fantastic works using recycled and re-purposed materials. Families have an opportunity to create fabulous new fashions from recycled newspapers at the re:Fashion Workshop, Season 2 with award winning costume designer Ann Closs-Farley and then strut their earth friendly fashion down the re:Fashion Catwalk with a special appearance by Sweet P from Project Runway.





MOCA Family DAY
SUNDAY, FEBRUARY 4, 1–3:30pm
moca grand avenue
What fabulous wearable sculptures can you create
with a grab bag of unusual materials? Get inspired
by the incredible innovations in Skin + Bones and
high-energy costume designer Ann Closs-Farley.



Flow My Tears The Policeman Said
Evidence Room Theater, Los Angeles



Ann Closs-Farley has done homage to that by using a 1940s flair in a lot of the costuming, especially for Heather Hart and the Narrator. However, they’ve also fallen back on the standard big-shouldered, leather trench coats to remind the audience that we’re dealing with a Nazi-like bureaucracy (note to future productions: we get it).
Flow My Tears, the Policeman Said
Written by Philip K. Dick
Adapted by Linda Hartinian
Directed by Bart DeLorenzo
Cast: Dorie Barton (Heather Hart), Lauren Campedelli (Ruth Rae), Tara Chocol (Alys Buckman), Finn Curtin (Mr. McNulty), Liz Davies (Kathy Nelson), Mark Engelhardt (Herb Maime), Tom Fitzpatrick (PKD), Joe Fria (Jason Taverner), Wendy Johnson (Marilyn Mason), Collene Kane (Mary Anne Dominic), Tony Maggio (Felix Buckman)
Scenic Design: Sibyl Wickersheimer
Costume Design: Ann Closs-Farley
Lighting Design: Adam H. Greene
Sound Design: John Zalewski
Video Artist: Adam Soch
Running time: approximately 2 hours, 15 minutes (including a 10 minute intermission)
The Evidence Room, 2220 Beverly Blvd., LA, CA 90057
Hollywood Burning
Evidence Room, Los Angeles



HOLLYWOOD BURNING: Ann Closs-Farley’s costumes have authentic humor.
Playwright/Director: Michael Sargent
Cast: Tom Fitzpatrick (Kenneth Angry), Charlie Santore (LA Joe), Liz Davies (Nita), Jamison Haase (Puck)
Set Design: Jason Adams & Erik Hanson
Lighting Design: Anne Militello & Lisa D. Kitz
Costume Design: Ann Closs-Farley
Running Time: 90 minutes, no intermission
The Evidence Room, 2220 Beverly Blvd., Los Angeles

EDDIE LEGS, Lillian Theater



gorgeous costumes -backstage west





CRINGE, Evidence Room



Bonnie Black (Costume Designer)
(818) 599-6107

Suzanne Scott (Costume Designer)
(818) 720-7193

Vanessa Porter (Costume Designer)
661-713-4297
____
Kharen Zuenert (Costume Designer)
(323)252-8249

Cynthia Herteg (Costume Designer)
(310) 430- 5137

Andy Dobson (Designer)
541-908-5139

Shannon Kennedy (Costume Designer)
(310) 309- 7387
euphrates47@yahoo.com

Tom Blasco (Puppet Designer)
(407) 719-7102
puppetsonhand.com

John Burton (Craftsman)
(323) 871-1193 #314

Sybil Wickersheimer (Set Designer)
sawgirl.com
(310) 927-3277

I am costuming!

James and the Giant Peach
Lewis Family Playhouse
October 18-November 1, 2008

When young James accidentally spills a bag of powerful magic by an old peach tree near the home of his mean aunts, the most wonderful thing happens and he and his new friends - Centipede, Earthworm, Grasshopper, Ladybird and Spider - take an incredible journey to New York City. Join them as they tell the story of their amazing adventure inside the giant peach! (Ages 5+)

Tickets: General: $16.50
Senior: $14.50
Youth: $13.50

October 18-November 1, 2008
Saturdays at 1:00 pm & 4:00 pm
Sunday at 1:00 pm
Lewis Family Playhouse
12505 Cultural Center Drive
Rancho Cucamonga, CA 91739
Phone: 909-477-2775
Fax: 909-477-2774

AROUND THE WORLD IN 80 DAYS, Directed by Bart De’Lorenzo
CLEVELAND PLAYHOUSE/ www.clevelandplayhouse.com
AROUND THE WORLD IN 80 DAYS adapted by Mark Brown
JAN 9 - FEB 1, 2009 • DRURY THEATRE
The Cleveland Play House
8500 Euclid Avenue
Cleveland, OH 44106
p: 216-795-7000
f: 216-795-7005

Hold on to your seats for the original Amazing Race! In one of the greatest adventure stories of all time, Phileas Fogg accepts an outrageous wager that puts his fortune and life at risk. It’s 1872, and the fearless adventurer and his resourceful valet brave stampeding elephants, raging typhoons, runaway trains, and more as they attempt to circle the globe in an unheard-of 80 days. Danger and romance abound in this whirlwind adventure, based on the beloved novel by Jules Verne.

Tickets start at $43.00

Dressed to the 99s

By Diane Haithman
November 29, 2005

A day with costume designer Ann Closs-Farley lends new meaning to the phrase “holiday shopping.”

Closs-Farley has worked with just about every small theater in town. But when the holidays roll around, ruffly muffin cups and coffee filters, clear packing tape, plastic fruit, rubber rafts, paper tablecloths and shower accessories are just a few of her favorite things.

For the last four seasons, Closs-Farley, 34, has designed the costumes for the “99 Cents Only Holiday Extravaganza” at the Evidence Room, affectionately known to company members as “The 99.”

For the most part, all costumes for the show are created with items from the 99 Cents Only Stores, a chain of enticing shopping palaces in which any item, no matter how fabulous, can be yours for less than a dollar.

Growing up on a farm in Arizona, Closs-Farley was No. 9 in a family of 14 children. “I had no identity whatsoever,” she recalls. “We used to have a count-off when I was a kid: ‘One?’ ‘Here.’ ‘Two?’ ‘Here.’ ‘Three?’ ‘Here’

“Growing up with seven other sisters, I always chopped up my clothes and made them new because there was no way

Ken Roht, who writes, directs and choreographs the show, says the idea for the family-oriented musicals was conceived during strolls through the 99 Cents Only aisles, sipping his morning coffee. “I wanted to do a holiday show, but I didn’t want to make a conventional one. I saw plastic bowls and plates and plungers; I just kept seeing such theatrical possibility.”

At the 99 Cents Only Store at Sunset Boulevard and Maltman Avenue in Silver Lake, Closs-Farley sees it too – although she moves so fast through the 99 Cents Only aisles it’s hard to imagine how she manages to focus. Her shopping motto: “If you can’t get it in 20 minutes, you should probably leave.”

Closs-Farley is embarking on one of the many budget shopping sprees for this year’s show, a western extravaganza called “Route 99: The Orange Star Dinner Show,” opening Saturday at the Evidence Room theater, near downtown Los Angeles.

This will be the first 99 Cents show to have both regular seating ($15) and an admission that includes dinner ($25), prepared beforehand by Michael Dunn, who plays Orange Star – not only a carrot-topped lovely but right handy ‘round the kitchen too. In real life, Dunn is a chef and one of the show’s producers.

Closs-Farley – a 2004 Drama Critics Circle Award winner who has distinguished herself as costume designer for productions at the Actors’ Gang Theatre, Long Beach Opera, the Coronet Theater and others – could probably control a heftier costume budget elsewhere. She is, after all, the creator of the costume for Miss New Mexico, Petrola Da Border, for the 2005 “Best in Drag” AIDS fundraiser at the Wilshire Ebell Theater.

But there’s no escaping destiny: No. 9 had to move on to “The 99.” Daughters Violet, 5, and Ruby, 3, offer costume critiques, and her husband, Keythe Farley, co-writer of the musical “Bat Boy,” performed in the early “99 Cents Only” shows and remains unfailingly supportive. “We met as dance partners in a musical in Japan. How weird is that?” Closs-Farley says.

For the first couple of years, Closs-Farley designed and made all the costumes herself and also appeared in the show. But last year’s mega-production included 56 actors and more that 280 costume pieces, so Closs-Farley and Roht gave basic guidelines and $50 each to nine of Closs-Farley’s designer friends and told them to “go play.” This year, with 20 actors and about 45 costume pieces, there is an ever-growing list of designers, including 7-year-old Isabelle Adams, who will get some guidance from her artist mom. The costume budget has been in the $1,000 range, and the average budget for an outfit is $10 to $15.

As she charges through the parking lot, Closs-Farley observes that each 99 Cents Only Store has its own character. The one at Sunset and Maltman is “pretty relaxed, but it has everything – I always find golden goods there, and the Normandie store. The one in Pasadena, off Colorado? Wow.”

Only the wigs are purchased elsewhere, from ersatz-hair maven Eun Ja “Ellen” You at Hollywood Wig on Hollywood Boulevard, who has supported Closs-Farley’s wig habit for more than a decade and remains unfazed by the requests for hairpieces in electric blue and traffic-cone orange.

But right now, it’s the 99 Cents Only Store, and green is the color as Closs-Farley races through the immaculate aisles for materials for the costume for Green Clover – named, like several other characters, after the shapes of those Styrofoam-textured mini-marshmallows in Lucky Charms cereal.

“What we use most is tablecloths and all the plastic goods,” she says, busily collecting contact paper, zip ties, swim goggles and hula skirts. “Silverware becomes corsets or fans; straws can become corsets because they are nice and sturdy. We use a lot of dust mops, Hula Hoop skirts

The tablecloths serve as fabric for dresses, shirts and pants. Along the way Closs-Farley has learned that sweat destroys the paper and plastic items, so now the clothing is lined with clear packing tape – not exactly breathable, but durable.

It usually takes about eight hours to “build” a costume. But the next afternoon, at her studio in borrowed space on the second floor of Immanuel Presbyterian Church on Wilshire Boulevard, Closs-Farley proudly announces that it took her only three hours to turn burly actor Jabez Zuniga into the dainty, breathless Green Clover – oh-so-feminine except for the husky, hairy legs peeking out from beneath his skirt.

Green Christmas tree balls and tiny green stars decorate the dress, trimmed with muffin cup ruffles, pipe cleaners and colorful tufts from the grass skirts purchased the day before.

Jabez also wears a candy necklace, and curls of green ribbon decorate the fluffy green Afro, courtesy of Hollywood Wig. A green felt game table cover becomes a fashionable Las Vegas-themed cape. To finish off the outfit, Closs-Farley kneels to cover Jabez’s black-and-white sneakers with green plastic tape.

“It’s the best Christmas fun – it’s like Christmas morning,” Closs-Farley says. “When the curtain goes up, kids go crazy. It’s like a wonderland.”

Observes Greg Reiner, managing director of the Actors’ Gang: “She’s a genius. She knows how to take a 99 Cents Only Stores budget and make it look like a million bucks.”

Corporate leaders of 99 Cents Only Stores, which has 227 stores in four states, are enthusiastic sponsors, donating goods and even arranging to have one of their delivery trucks outside the Evidence Room during performances as a free billboard.

“The first year, we thought they were pulling our chain,” says Chief Executive Eric Schiffer, who dislikes his title because, at 99 Cents Only Stores, “the customer is really the CEO.” “But we played along, and they were for real. We’re happy to keep doing it – I don’t know of another public company that has a relationship like this. Last year they had a 99 Cent Rap, rapping about ramen noodles and tinfoil

But he expressed some disappointment that that 99 Cents Only Stores food will not be used for the dinner. “That would be even funnier.”

*

‘99 Cents Only Holiday Extravaganza’

Where: Evidence Room, 2220 Beverly Blvd., Los Angeles

When: Opens Saturday; 8 p.m. Thursdays through Sundays

Ends: Dec. 18

Price: $15, show only; $25, show plus dinner

Contact: (213) 381-7118

Sunday June 22nd I am hosting a craft table making brooches for the J. Paul Getty museum’s Family Festival Day around the Maria Sibylla Exhibit.



Family Festival
Sunday, June 22, 2008
10:00 a.m.–6:00 p.m.
Delve into the adventures, discoveries, and creativity of Maria Sibylla Merian and her two daughters in this day of family fun. Explore the musical traditions of Suriname, enjoy stories about insects and the rain forest, and discover the fauna and flora that surround us. Admire the flowers and butterflies in Maria Sibylla Merian & Daughters: Women of Art and Science, then use your own creativity to craft a flutterbug crown, floral brooch, postcard, or frame.

This exhibition charts the artistic and scientific explorations of German artist Maria Sibylla Merian (1647–1717) and her daughters Johanna Helena and Dorothea Maria. Enterprising and adventurous, these women raised the artistic standards of natural history illustration and helped transform the field of entomology, the study of insects. The exhibition presents books, prints, and watercolors by Merian and her contemporaries and features one of the greatest illustrated natural history books of all time, The Insects of Suriname.

Read more about Merian’s life and work below, or explore highlights of the exhibition in the exhibition slideshow at the museum.

From about 1450, European artists increasingly took inspiration from nature, studying the details of insects, animals, flowers, and plants. Maria Sibylla Merian enriched this tradition.

The creator of this drawing, Georg Flegel, had a lasting impact on still life painting in Frankfurt, Merian’s native city. Flegel portrayed crawling insects, especially wasps and beetles, with convincing naturalism. In this watercolor, the meticulously rendered hornet is proportionally larger than the ornamental flowers.

Maria Sibylla Merian was born in 1647 in Frankfurt, Germany, into a middle-class family of publishers and artists. Her father, Matthäus Merian the Elder, published some of the most influential natural history texts of the 1600s.

Merian’s stepfather, Jakob Marrel, had been trained by the artist and art dealer Georg Flegel (see image above). He introduced the young Merian to the art of miniature flower painting against her mother’s will. Merian learned how to draw, mix paints, paint in watercolor, and make prints alongside Marrel’s male pupils.

Merian’s interest in insects was stimulated by the practice of silkworm breeding that was introduced by Frankfurt’s silk trade. She began to observe caterpillars, moths, and butterflies, and by the age of 13 she had already observed the metamorphosis of a silkworm—a discovery that pre-dated published accounts by almost ten years.

Merian made this watercolor of a pomegranate plant emerging from the ground when she was not yet 20. She uniquely conveyed the passage of time by contrasting ripe fruit on the branches with the overripe fruit on the ground.

Merian married her stepfather’s favorite pupil, Johann Andreas Graff (German, 1636–1701), at the age of 18 and later moved with him to his native Nuremberg. There, she instructed the daughters of respected citizens in embroidery and painting.

Merian ingeniously combined her backgrounds in publishing and flower painting to produce The New Book of Flowers, a plate from which is shown here. Comprised of three volumes, each with twelve plates of engravings, this book of flowers, wreaths, nosegays, and bouquets served as a model book for artists, embroiderers on silk, and cabinetmakers. With this function in mind, Merian portrayed each flower in this plate distinctly, without overlap.

Merian’s flower books were heavily used and often damaged, and surviving, intact copies such as the one on view in this exhibition are exceedingly rare.

While in Nuremberg, Merian wrote the first volume of her two-volume book Caterpillars, Their Wondrous Transformation and Peculiar Nourishment from Flowers (or simply The Caterpillar Book). Merian depicted moths and butterflies in various stages of metamorphosis, the process by which they transform from egg to caterpillar to adult. Each image was organized around a single plant and was accompanied by a text in which Merian described the colors, forms, and timing of each stage of transformation. By including the caterpillars’ food sources in her natural history illustrations, Merian brought a more ecological approach to the study of metamorphosis.

Merian’s work helped to disprove the common belief that insects reproduced by spontaneous generation from decaying matter such as old meat or rotten fruit, and her aesthetic sensitivity raised the standards of scientific illustration.

This study for The Caterpillar Book shows the caterpillar of the bright-line brown-eye moth on its host plant, the common plantain. The caterpillar is hard to find, as its vivid green color is perfectly camouflaged on the plantain’s flowers.

By 1686 Merian had left her husband and moved with her two daughters and elderly mother to a religious community north of Amsterdam, The Netherlands. While living in this community, Merian pursued her research as a reflection of God’s handiwork.

In 1691, after the financial collapse of the religious community, Merian and her daughters moved to Amsterdam, the center of world trade and the third largest city in Europe. Johanna Helena and Dorothea Maria learned their mother’s art. The three women set up a studio together, painting plants, birds, and insects and making works of art based on the most compelling images in The Caterpillar Book.

Johanna Helena also developed her own career as a flower painter. This watercolor presents a highly accurate rendering of a magnificent species of fritillary. Like Johanna Helena’s other portraits of flowers, it has a monumental presence that almost fills the sheet. The blossoms that encircle the stalk impart a sculptural quality that enhances the drawing’s illusionism.

Merian’s artistic and scientific interests outgrew Amsterdam’s supply of exotic plants and animals. In 1699, after selling most of her belongings, she set sail for the Dutch colony of Suriname with her younger daughter, Dorothea Maria. Maria Sibylla was 52, Dorothea Maria 21.

The jungles of South America were teeming with live specimens, which Merian studied for her most important publication, The Metamorphosis of the Insects of Suriname (known as The Insects of Suriname). Merian’s experiences in the city of Paramaribo are expressed in her accounts of vibrant butterflies, voracious caterpillars and ants, exotic fruits and vegetables, menacing reptiles, and treacherous explorations into the jungle. Her observations about the local climate, the use of plants and animals, and the Dutch colonists’ treatment of slaves provide some of the earliest accounts of life in Suriname.

In the text that accompanied this image, Merian gave an indication of the conditions under which she worked in Suriname: “When I painted, [wasps] flew before my eyes and hummed around my head. Near my paint-box they built a nest of mud.” One of these bothersome wasps appears here, flying decoratively under the arch of the red bract.

In 1701, poor health and Suriname’s hot and humid climate forced Merian to return to Amsterdam. Her daughter Dorothea Maria probably assisted in making preparatory watercolors for The Insects of Suriname, and an unidentified Amerindian woman who accompanied them home likely provided details about Surinamese plants and animals. The book, published in 1705, was sold in three different versions, including a deluxe version with hand-colored transfer prints that retained the vivid naturalism of Merian’s preparatory watercolors.

Spreading the Merian Name

Maria Sibylla Merian died in 1717. Near the time of her death, her watercolors were purchased for Czar Peter the Great of Russia. Shortly thereafter, Dorothea published a third volume of The Caterpillar Book with 50 more of her mother’s observations and an appendix on insects observed by Johanna Helena, who had moved to Suriname in 1711.

Around 1718 Dorothea moved to Saint Petersburg, where she continued to work as an artist. To ensure the circulation of her mother’s work, she sold the plates of The Insects of Suriname to a Dutch publisher, who reissued the book in 1719 with 12 additional plates. Thanks to her daughters’ continued diligence, Merian left a lasting mark on entomology.

Maria Sibylla Merian & Daughters: Women of Art and Science has been organized by the J. Paul Getty Museum and the Museum Het Rembrandthuis. The exhibition was supported by the Netherlands Culture Fund of the Ministry of Foreign Affairs and the Ministry of Education, Culture and Science.

Cruise News
Home > Cruise News > Toy Story Goes Musical on the Disney Wonder

April 22, 2008

Toy Story Goes Musical on the Disney Wonder
A theater full of journalists, travel agents and local school children attended the debut of a new musical based on the movie “Toy Story” onboard Disney Cruise Line’s Wonder last week, while the ship was docked in Port Canaveral.

“Toy Story-The Musical” has replaced “Hercules The Muse-ical” in Disney Wonder’s stage show lineup, joining the “Golden Mickeys” and the award-winning “Disney Dreams” on three-night sailings. Four-night sailings will also include a variety performance or movie in Walt Disney Theatre.

John Lasseter, director and one of the writers of the animated film “Toy Story,” was on hand to introduce the show and share his thoughts on the movie turned musical. “Now these characters will stay alive long beyond the boundary of the movie,” said Lasseter, standing on the side of the stage dressed in a Hawaiian shirt with little pictures of Buzz and Woody scattered about it. “I’m so excited to have them brought to life again.”

Disney’s Creative Entertainment division began work on adapting the Academy Award-nominated film in 2005. While the show retains the humor and heart of this rivals-turned-friends story, several elements had to change in order to convey the tale as a theatrical production. The 15-person creative team designed costumes (complete with slick plastic looking hair for Woody and Bo Peep), oversized toy set pieces, projections (one taken from the original film) plus a whole new musical score to transport theatergoers into Buzz and Woody’s world.

The result is life-sized toy characters — a few of which are articulated puppets with inflatable bodies like the 4-foot-wide piggybank, Hamm, and the tall tyrannosaurus, Rex. Both were designed to collapse and store compactly in the ship’s limited storage space. The oversized set pieces, from a giant Binford toolbox and wagon-wheel toy chest to a large box of Crayola Crayons tipped on its side, give the audience a “toy’s eye” perspective of a child’s room.

As for the musical part of the show, key parts of the story are conveyed through songs created by GrooveLily, a husband and wife composer-lyricist team. In fact, one song in particular helped convince the once skeptical Lasseter that the story could be successfully turned into a musical. “At first I was concerned — could we capture the personality of the characters?” Then Executive Vice President of Disney Creative Entertainment Anne Hamburger played one of GrooveLily’s songs for him, “That’s Why We’re Here” — a catchy tune about life as a toy — and, Lasseter says, “it blew me away.”

And of course, what would Toy Story be without Woody and Buzz? By nature, “buddy” pictures like “Toy Story” have characters that are as opposite as possible — Shrek and Donkey, Lilo and Stitch — and this musical’s costumes reflect that. Costume Designer Ann Closs-Farley did a brilliant job creating the floppy, rag-doll, sewn-looking Woody and contrasting that with the plastic ball and joint design that makes Buzz stand tall, chest out. The effect, along with great casting, is these guys look like Woody and Buzz come to life.

Stay tuned for a full-length Cruise Critic feature about “Toy Story-The Musical.”

Next Page »