Any time a theatre presents a Cole Porter musical, expectations run high. After all, we’re dealing with a giant of the American musical theatre. Porter is one of the most iconic and sophisticated composer/lyricists in Broadway history. A Cole Porter show borders on being almost bulletproof in the hands of a skilled director with a vision, and a talented cast committed to seeing that the vision is fulfilled.

The Pasadena Playhouse launched its 2014/2015 season with an inspired production of “Kiss Me, Kate”, brilliantly directed by Playhouse Artistic Director Sheldon Epps, and a cast of seventeen wonderful singers, dancers and actors. More about the production in a moment

Prior to the curtain going up the Playhouse audience was treated to a gala-like atmosphere where a special honor was awarded to Miss Diahann Carroll for her years of support and commitment to the Wells Fargo Theatrical Diversity Project. She was a true trailblazing actor and performer. She was the first African- American actor to have her own TV series, “Julia”. The beautiful, ageless and stunning looking 79 year-old actress, singer, and performer didn’t disappoint when she graciously accepted the award and made a few remarks to the audience.

Another additional treat for the opening night attendees was the introduction of the “original Kate” of “Kiss Me, Kate” (1948), the lovely 99 and half years-young, star of Broadway and Hollywood, Miss Patricia Morison. And seated next to her was the elegant and vibrant “Kate” of the USA touring company (1949), Ms. Anne Jeffreys. Both legends received a thunderous ovation. Also spotted congratulating the two actors were Jane Kaczmarek, French Stewart and Sharon Lawrence representing the “younger generation” of actors.

The 2014 Pasadena Playhouse production of “Kiss Me, Kate” is a loving homage to the trailblazing African-American touring troupes of the early 20th century, who brought the work of Shakespeare not just to New York City, but to theatres all over the country. Famous actors such as Paul Robeson, Ira Aldridge, Jane White and Hattie McDaniel brought “literal color” to the great classical roles, opening up doors for others who would follow.

In Sheldon Epps’ 2014 version, the musical begins to the strains of a sultry, haunting Saxophone solo wafting over the audience as the ensemble company led by Hattie (Jenelle Lynn Randall) of dancers, singers and actors slowly begin to appear on stage in the prelude number “Another Op’nin, Another Show”, which quickly turns into fast-paced energetic dance number that sets up the audience for the high-octane numbers that follow.

For anyone not familiar with the story just think of combining Shakespeare’s “Taming of the Shrew” with Cole Porter’s music and lyrics and you have “Kiss Me, Kate” If your still not on board, it’s the story of actors Fred and Lilli (Wayne Brady and Merle Dandridge respectively), who were once a married couple but are now divorced and starring in a musical version of Shakespeare’s “Taming of the Shrew” in Baltimore.

All of the principal supporting actors in the production portray two characters both onstage and backstage as is traditional in a show that is performed as a play within a play. Dandridge is not only beautiful, she has the voice to match.. Her poignant solo “So in Love” is a real heart-breaker. Brady is a handsome, solid leading man, with a smooth baritone and the cockiness worthy of Petruchio’s through the ages. Their “Wunderbar” duet number is cleverly staged, affording the two stars to banter and needle each other while performing on stage where they must stay in character. It’s a delightful scene.

Assisting Brady and Dandridge are principal cast members Lois/Bianca (Joanna A. Jones) in a series of scene stealing numbers: “Why Can’t You Behave?” with Bill/Lucentio (Terrance Spencer), “Tom, Dick, or Harry” with Jay Donnell as Hortensio, Eric B. Anthony as Gemmio and Spencer again and “Always True to You in My Fashion”, the latter being a sensational show-stopping 11 O’Clock Spot number performed with sass and impeccable timing by Jones.

The stage fairly drips with sexuality in the sexy “Too Darn Hot” number performed by Paul (Rogelio Douglas Jr.) and the ensemble led by Hattie (Jenelle Lynn Randall). Other Porter classics include “From This Moment On” performed by General Howell (Pat Towne) and Lilli. There are always the comedy relief performers in musicals, and this terrific production is no exception. Playing the two wise-guy/bag men enforcers are David Kirk Grant (the tall one) and Brad Blaisdell (the short one). Their “Brush Up Your Shakespeare” number, is cleverly and hilariously staged, and is always an anticipated crowd pleaser. This production has so many creative and inventive directorial touches by director Epps one may lose track of the count., but never the enjoyment.

It was a wise decision to have a live orchestra for this splendid production. There is really no alternative when performing Cole Porter music other than a live orchestra in the pit to accompany the singers. It shows class and respect for the audience and is money well spent. Music Director Rahn Coleman and choreography by Jeffrey Polk are audience-pleasingly first rate.

The technical credits are always strong at the Playhouse. Scenic Designer John Iacovelli’s dressing rooms set on movable wagons makes the set changes a piece of cake. The handsome costumes for the men, and the sexy-looking costumes for the ladies designed by David K. Mickelsen make for a visual feast. Lighting by Jared A. Sayeg and sound by Jon Gottlieb also complement this dazzling production. It’s an impressive and auspicious production to begin the 2014/2015 Playhouse Season, and one that should not be missed.

“Kiss Me, Kate” runs through October 12, 2014.

By Pamela Price
It was a nonstop desert birthday for one of America’ s classic fitness personalities and “cover girls” from the 1980s, Shari Belafonte. This multi talented woman modeled for magazines from Vogue to Vanity Fair during her career, portrayed Julie Gillette on ABC’s series “Hotel” and hasn’t taken a break, it seems until she decided to turn 60 years old. It all happened in Palm Springs, starting Sept 19th at Gallery 446 in Palm Springs, with a string of high-energy art gallery openings, lunches and brunches; Laurie Weitz, Shari’s gal pal called it a “nonstop birthday.” Celebrating with family and friends, literally from morning to night highlighted by her famous father Harry Belafonte, calypso legend, actor, activist and winner of Emmys, Grammy and more brought the spotlight on this marvelous father daughter success story.

At Gallery 446 Dimitri Halkidis, the gallery’s gregarious owner was dashing around-the-clock meeting and greeting a galaxy of guests who stopped chatting only briefly to grab an egg roll or two from platters filled delicacies catered by Wangs. Shari’s photographs filled the gallery, off beat, hilarious, and unpredictable, they reflected her unpredictable sense of humor and nonstop energy.

That was confirmed by guests Chris Bennet of Renegade Entertainment Co., Tony Turk of Turk Entertainment in West Hollywood and beauty experts Andrew P. Young and David E. Yerks of the David Andrew Salon in Palm Springs ( one in a daunting kilt).

Shari’s paintings, several from her Havana period are also on exhibit at Cello’s An American Bistro in Cathedral City.

The next morning, Sept. 20th this moveable feast resumed at the nostalgic Purple Room in Palm Springs. Among the 100 or so guests were Greg Purdy, now in command of the Palm Springs Aerial Tramway’s public relations after years of putting the Palm Springs Follies on the world map of entertainment, Alan and JoAnn Horwitz, ardent supporters of the desert’s art scene and Larry and Laurie Weitz, who brought their love of art, modernism, and creativity to the desert from Malibu. Laurie, the desert’s delightful social butterfly and art curator said Shari’s most recent exhibit “ was a blend of celebrity, charity and art that put a smile on Palm Springs. Her newest exhibit “Give Me Your Goofiest” a collection of photographs from celebrities, such as Suzanne Sommers to artfully posed dogs was installed especially for the birthday crowd at Gallery 446. You can still catch Shari’s spirit by stopping by Gallery 446 in Palm Springs. Grace Robbins, authors hit the nail on the head when she commented, “You might say

Shari’s birthday parties were a work of art from to start to finish!”

Pam Price also contributes to  www.forbes.com/sites/pamprice/

Sometimes it’s difficult to label a play in the traditional manner: Is it a drama, a comedy, is it both, or is it a mystery? In the case of the World Premiere production ”Marjorie Prime”, now on stage at the Mark Taper Forum, it’s a safe bet to say that it’s a little bit all of the aforementioned.

Written by young (37), seasoned, award-winning playwright Jordan Harrison, and directed by Obie winner Les Waters, “Marjorie Prime” is an outside-the-box creative and enigmatic story- premise whose time has come. And, it all takes place in less than 100 minutes.

What takes place on the stage of the Taper is playwright Harrison’s thought provoking “Marjorie Prime” drama of the future. It’s the sort of story that is right up director Les Waters’ alley, and one that writer Rod Serling would, most assuredly endorse. Despite all of the electronics and gadgetry in our tech-heavy society, human stories are still the most engaging and interesting.

The play asks questions about the difference between a life lived and a life remembered in this, at times, very poignant drama. Everyone’s life is filled with laughter and tears. And Harrison hasn’t left out any of the irony or the comedy in Marjorie’s story. It’s how we juggle and accept or reject life’s events that makes one’s journey so compelling and interesting.

The story in short, is set in motion by Marjorie (a wonderfully wry Lois Smith) a clever woman who at age 85 finds her memory is failing. She is living out her days at an assisted living facility where she is frequently visited by her anxious daughter Tess (Lisa Emery) and her kind, easygoing son-in-law, Jon (Frank Wood). With the urging of Jon and the facility and despite Tess’ misgivings, a mysterious young man, Walter (Jeff Ward), joins the group with the hope that he can help reverse Marjorie’s decline. Through an ingenious series of shifting realities, Walter’s nature is revealed, and the family’s memories gently unfold into a cathartic meditation on life and loss, and the desire to keep our dearly departed with us.

There is no test to be given at the end of the play, but Harrison and Waters definitely challenge the audience to be patient; stay engaged and focused on the story in order to fully appreciate the magic that is taking place in front of them by these four talented actors. The splendidly executed ensemble paints a portrait of a future society we may all be destined to confront one day like it or not. So, pay attention and discover the relevancy of what’s being said on the stage. It may come in handy.

The Taper’s technical credits are always first rate and this production is no exception. Director Waters leads a creative team that includes: Set Designer Mimi Lien who provides a spare, monochromatic and functional stage, along with Lighting Designer Lap Chi Chu’s mood-inducing lighting that meets the look required for the assisted living requirement.

“Marjorie Prime” may not be everyone’s cup of tea, but if one goes with the flow and vision of the director and the ideas behind the playwright’s imagination, it can be an intriguing, provocative, and interesting evening in the theatre. The production runs through October 19, 2014.

A former television reporter for an Anchorage, Alaska CBS News affiliate is for once making headlines instead of reading them announcing her resignation Sunday evening by saying live on air: “Fuck it, I quit.”

Charlo Greene’s unexpected sign-off came seconds after she finished playing her audience a report concerning the Alaska Cannabis Club — an organization that aims to establish connections between medical marijuana cardholders and suppliers in the Last Frontier State, where patients have been able to legally possess, use and grow small amounts of weed with a valid doctor’s prescription since the passing of a ballot measure in 1998.

Greene was beginning to debrief KTVA viewers about the report during Sunday’s program when she changed course and instead announced a previously unreported affiliation she has with the Cannabis Club — and then just as quickly quit live in the midst of the broadcast.

“Now everything you’ve heard is why I, the actual owner of the Alaska Cannabis Club, will be dedicating all of my energy toward fighting for freedom and fairness, which begins with legalizing marijuana here in Alaska,” she said. “And as for this job, well, not that I have a choice but, fuck it, I quit.”

Greene soon after told the Alaska Dispatch News that KTVA was unaware of her role with the Cannabis Club or her plans to part ways with the network, and an NBC News-affiliate has sinceconfirmed that state records show the organization is owned by Charlene Egbe — Greene’s legal name. KTVA apologized after the incident on Facebook “for the inappropriate language” and said Greene, who had been quite clear about quitting, has been terminated.

“If I offended anyone, I apologize,” Greene told ADN, “but I’m not sorry for the choice that I made.”

As footage of the incident began to circulate around the web, the Alaska Cannabis Club’s social media accounts soon directed followers to a video featuring the now-former news anchor further explaining her reasoning for resigning.

“Nearly a century of marijuana prohibition and stigma has stained America, the land of the free and the home of the brave. But we have a chance to start taking back the right,” Greene says in the clip.

“Advocating for freedom and fairness should be everyone’s duty. I’m making it my life work to uphold what America stands for truly: life, liberty and the pursuit of happiness — ideals that now need to be defended,” Greene continues. “But I can’t do this alone. I need you in the very least to start the conversation. Talk to a friend, a mother, a co-worker, brother, anyone. Just share your own ‘My Marijuana’ story. Show them that we smokers are responsible, contributing members to society.”

“Changing one heart and mind at a time is the only way to legalize marijuana and bask in lady liberty’s glory,” Greene says before formally offering her endorsement of Ballot Measure 2— a law up for vote on November 4 that, if successful, will allow adults in Alaska to possess, grow and sell weed without requiring a medical script as currently state rules specify.

“The proposed initiative will take marijuana sales out of the underground market and put them in legitimate, taxpaying businesses,” Tim Hinterberger, a sponsor of the bill and a developmental biology professor at the University of Alaska,previously told the Huffington Post. “Replacing marijuana prohibition with a system of taxation and sensible regulation will bolster Alaska’s economy by creating jobs and generating revenue for the state.”

If Alaskans vote ‘yes’ on Ballot 2 — an effort that Greene says is a“a vote for liberty, freedom and fairness” — then the state will become the third in the US after Colorado and Washington to allow adults to legally purchase and possess restricted amounts of marijuana for recreational purposes. Federally speaking, however, pot sale and cultivation remains illegal.