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ARROYO VOLUME 4 ~ NUMBER 10

M O N T H LY

10 FALL ARTS 10 THE MAN BEHIND THE CURTAIN Center Theatre Group’s Managing Director Charles Dillingham steers a steady course through rough economic times. –By Brenda Rees

17 A NOISE WITHIN PREPARES FOR ITS PASADENA DEBUT The Glendale-based classical theater company raises funds for a move to a new, larger venue in East Pasadena. –By Lyle James Slack

48 EAST MEETS WEST Lifelong New Yorker Christopher Mount brings a global sensibility to his new role as executive director of the Pasadena Museum of California Art. –By Bettijane Levine

41 THE ART OF WAR The Norton Simon Museum nods to the election season with a show of trenchant propaganda posters from the last century’s world wars. PLUS: A rare Vermeer comes to Pasadena. –By Carl Kozlowski

44 THE GREAT RACE Paul Mullin’s new play, “The Sequence,” takes audiences along on the thrilling dash to be the first scientific researcher to map the human genome. –By Jana Monji

50 OLDE ENGLAND IN THE NEW WORLD Gerard Colcord’s Wright House imported Northern European elegance to San Marino in 1938. –By Bret Parsons

DEPARTMENTS 7 FESTIVITIES L.A. Opera’s opening weekend celebration, “Vanities” opening night at the Pasadena Playhouse, Vox Femina’s welcome-home party

8 THE ART OF SCIENCE Caltech nanoscientist Julia Greer is named one of technology’s top innovators under the age of 35.

53 THE LIST “Maverick Art” at the Autry, ASID’s Home & Kitchen Tour, Charles Darwin at the Huntington and more

56 KITCHEN CONFESSIONS Whether your color of choice is red or green, autumn apples make a fine addition to your pantry. ABOUT THE COVER: Photo by Ryan Miller/Capture Imaging

ARROYO ~ OCTOBER 2008 ~ 5

EDITOR’S NOTE

In the 1939 film “The Wizard of Oz,” the sorcerer in question urged visitors entering his domain to “pay no attention to the man behind the curtain.” What a loss that would have been for them. And what a loss it would be for lovers of the arts if they never looked behind the curtain to see who’s pulling the strings of culture in this town. After all, you get what you pull strings for. So we greet the fall arts season with Brenda Rees' profile of Pasadena’s Charles Dillingham, the veteran managing director of the Center Theatre Group who helps keep the lights on at the Music Center’s regional theaters, considered among the country’s most important. Lyle James Slack looks at what fate has in store for A Noise Within — and for us — as Glendale’s classical theater company works behind the scenes to bankroll a move to new, larger quarters in East Pasadena. Bettijane Levine gets to know a newcomer to the local arts scene: the Pasadena Museum of California Art’s new executive director, Christopher Mount, whose CV includes a stint as an architecture and design curator at New York’s Museum of Modern Art. Also on the subject of design, we reintroduce an important mid-century Southern California architect, whose name rarely comes up in ardent conversations about designers of the period. And yet, Gerard Colcord’s traditional homes typically command from $5 million to $10 million today from aficionados of his interpretations of a wide array of styles, from Country French to Hollywood Regency to Spanish Hacienda. Real estate and design expert Bret Parsons delved into Colcord’s legacy for his new book from Angel City Press: “Colcord — Home.” We’ve excerpted a chapter examining one of the society architect’s contributions to the blue-ribbon landscape of Arroyo-land: Wright House, the majestic “Stockbroker Tudor” estate built in San Marino in 1938. — Irene Lacher

ARROYO MONTHLY EDITOR IN CHIEF Irene Lacher PRODUCTION MANAGER Yvonne Guerrero ART DIRECTOR Joel Vendette • JUNIOR DESIGNER Alex Prompongsatorn WEB DESIGNER Maricela Estrada VP OF FINANCE Michael Nagami • HUMAN RESOURCES MANAGER Andrea Baker STAFF WRITER Carl Kozlowski CONTRIBUTORS Karen Apostolina, Jenine Baines, Leslie Bilderback, Michael Burr, Michael Cervin, André Coleman, Steve Coulter, Caroline Cushing, Mandalit del Barco, Noela Hueso, Bettijane Levine, Brenda Rees, Arlene Schindler, Kirk Silsbee, John Sollenberger COPY EDITOR John Seeley PHOTOGRAPHERS Johnny Buzzerio, C.M. Hardt ADVERTISING DIRECTOR Dina Stegon ACCOUNT EXECUTIVES Fred Bankston, Dana Bonner, Hilary Chen, Elizabeth Guzman, Leslie Lamm, Rochelle Reiff, Cynthia Wagner ADVERTISING DESIGNERS Maricela Estrada, Carla Marroquin BUSINESS MANAGER Angela Wang ACCOUNTING Archie Iskaq, Tracy Lowe, Ginger Wang OFFICE ASSISTANT Emma Luna PUBLISHER Jon Guynn

CONTACT US ADVERTISING dinas@pasadenaweekly.com • EDITORIAL editor@arroyomonthly.com PHONE (626) 584-1500 • FAX (626) 795-0149 MAILING ADDRESS 50 S. De Lacey Ave., Ste. 200, Pasadena, CA 91105 www.ArroyoMonthly.com ©2008 Southland Publishing, Inc. All rights reserved.

6 ~ OCTOBER 2008 ~ ARROYO

FESTIVITIES

Plácido Domingo, Los Angeles Opera's Eli and Edythe Broad General Director, has bet the company's future on a strategy aimed at linking arms with Hollywood to attract 21st-century audiences. And at the opening weekend celebration for the 20082009 season, the company mounted back-to-back productions of classic and new operas directed by a trifecta of movie-industry giants: William Friedkin and Woody Allen, in his first opera gig, directed Puccini's trilogy of works known as “Il Trittico,” on Sept. 5, while David Cronenberg made his opera debut the next day, when the company unveiled its newly commissioned “The Fly,” com3

posed by Howard Shore and directed by Cronenberg, based on his 1987 science-fiction film. At Saturday's gala dinner on the Music Center Plaza, opera board President and Pasadena resident Carol Henry welcomed 530 guests who'd paid $1,500 a plate and more to celebrate the company. They dined on the Patina Group's filet of beef and danced around arches etched in neon with the weekend's operas' titles, in a setting inspired by an Italian town square. Guests included Walter and Donna Conn of San Marino and Pasadena's Milan and Milena Panic, who helped underwrite “Il Trittico.”

1. Alyce Williamson and Kay Ingalls 2. William Friedkin, Plácido Domingo and Woody Allen 3. Carol and Warner Henry Photos by Steve Cohn 1 1

Vox Femina Los Angeles, a women's choral

Cast and supporters of Pasadena Playhouse's pro-

ensemble that performs music by female com-

duction of “Vanities: A New Musical” celebrated the

posers, celebrated its recent tour of Mexico at a

Aug. 29 opening with two cocktail receptions.

Sept. 6 party at the Altadena home of patrons

Artistic Director Sheldon Epps hosted a pre-

Harlan Boll and Doug Brown. Vox Femina

performance gathering at the Makineni Library and

member Donna Burroughs co-hosted the gath-

Donor Lounge, where he introduced “Vanities'” cre-

ering of 100 members and supporters, including

ative and Broadway-producing team – Jack

actresses Channing Chase (“Mad

Heifner, who wrote the book; director Judith Ivey;

Men”), Alison Arngrim (“Little

Dan Knechtges, who did the musical

House on the Prairie”), Dee

staging; and Broadway producer Sue

Wallace (“E.T.: The Extra

Frost. Greg Stone and Lilah Stangeland

Terrestrial”) and Kate Linder (“The

were among the board members who

Young and the Restless”).

attended. Donors at the event included

The ensemble, led by Iris

Cynthia Bennett, Blake Lindsley and

Levine, thanked donors who

Stephen Nemeth, Patsy Austin and

helped underwrite the trip with a

Deidre Schumann.

photo tour of concerts in Mexico

Spotted in the opening-night audience

City, Tepotzotlán, San Miguel de

were “Desperate Housewives” showrunner

Allende and Guadalajara. Members

Marc Cherry; original Off Broadway “Vanities” cast

also performed selections from the

members Jane Galloway and Susan Merson; Barry

multiculti tour, which included

Mann and Cynthia Weil, the married composer/lyri-

Quaker hymns and “Alarcon

cist team behind the playhouse's musical “Mask”;

2. The “Vanities” cast takes a bow. From left: Lauren Kennedy, Anneliese van der Pol and Sarah Stiles

Madrigals” by Mexican/American poet

and Paul Lazarus, director of “The New 90210” and

Photos by Louella Boquiren Allen

Francisco X. Alarcon.

the recent production of “Of Mice and Men.”

1. Channing Chase, Dr. Iris Levine and Alison Arngrim standing before VOX Femina

Pasadena Museum of California Art, where board member Kathy Arntzen Roat and

2. Performing in Tepotzotlán Cathedral

Junkyard Dog Productions, the show's Broadway producers, hosted the festivities.

3. Vox on stage with Girls Choir from Santa Julia Orphanage in San Miguel de Allende

1. Jack Heifner and composer/lyricist David Kirshenbaum

After the show, cast, crew and supporters celebrated on the roof of the

“Vanities” begins its Broadway run on Feb. 2, 2009 at an as-yet-undesignated Shubert theater. ARROYO ~ OCTOBER 2008 ~ 7

THE ART OF SCIENCE

It’s the Little Things That Count CALTECH NANOSCIENTIST JULIA GREER IS NAMED ONE OF TECHNOLOGY'S TOP INNOVATORS UNDER THE AGE OF 35. BY STEVE COULTER

JULIA GREER WAS ALWAYS GOOD AT MATH AND SCIENCE. BOTH HER PARENTS ARE ENGINEERS, AND AT A VERY EARLY AGE, SHE DEMONSTRATED A SHARED APPRECIATION FOR RESEARCH AND DISCOVERY. SO IT CAME AS NO SURPRISE TO HER FAMILY WHEN SHE BEGAN SERIOUSLY PURSUING A SCIENTIFIC CAREER PATH IN HIGH SCHOOL. The problem was her English. “I was born in Russia, and I nearly graduated high school in Moscow, but we moved to the States in the middle of my senior year,” Greer said. “I transferred to Penfield High School in Rochester, New York. I struggled a bit with the language, but I did manage to get into the Massachusetts Institute of Technology somehow.” Greer earned her undergraduate degree in chemical engineering from MIT and then moved to the West Coast, where she earned a Ph.D. in materials science and engineering from Stanford University. She is currently an assistant professor of materials science in Caltech’s Division of Engineering and Applied Science. Technology Review magazine recently recognized Greer as one of the top innovators under the age of 35 for her work on nanoscale materials. A panel of expert judges, along with the editorial staff of the prestigious MIT publication, selected her for the annual honor known simply in scientific circles as “TR35.” Technology Review magazine began creating lists of the top 100 young innovators in

metals. Through such testing, scientists like Greer have discovered that com-

1999 but pared it down to the top 35 under age 35 in 2005. Previous recipients of

mon materials may exhibit very different properties when their dimensions are

the honor include PayPal co-founder Max Levchin and Google co-founders Larry

drastically reduced. As the substances shrink, Greer and her research group

Page and Sergey Brin.

examine any changes in their structure and function. Their discoveries may help

“It means a lot to me to be chosen for many reasons, the main one being that I got to meet some of the most amazing young innovators at the awards conference, people I have always dreamed of meeting,” Greer said. On a more practical note (remember, she is a scientist), Greer also admits that

doctors administer drugs to patients with fewer side effects. “The doctors are starting to try using nanoparticles as vehicles to deliver medications to the patients,” Greer said. “That way, the drug can stay inside of the nanoparticle as it travels through the body without all the horrible side effects of having the

being recognized as a member of TR35 will go a long way toward helping her get

drug interact with the blood and making the patient feel nauseated. All this research is

tenure, a process that she says can be “pretty stressful.” But let’s not get too far

still in relatively young phases of development, but we are well on our way.”

ahead of ourselves here; she is only 32, after all. Other members of Greer’s TR35 class include an assistant professor from Rice University who developed anti-piracy microchips, an engineer who is designing high-performance electric cars and the inventor of Twitter, a popular

Speaking of being on one’s way, what exactly does an assistant professor do to celebrate being named one of the TR35? For Greer, the choice was simple: She planned a trip to New Zealand with a brief stopover in Australia…for a work conference. “The real celebration will be at [Technology Review’s] ‘Emerging Technologies

mobile blogging service. So how does Greer’s work with materials 1/100,000th

Conference’ at MIT,” she said. “That’s when we get to meet with each other and

the thickness of a human hair compare?

really interact.”

One of her most notable achievements is the creation of the SEMentor, a

I guess you don’t become a top innovator unless you keep your eye on the

mechanical testing instrument that combines an electron microscope with a

prize. Still, I wonder if she took a nanosecond to bask in the glow of her achieve-

device that measures the hardness of nanoscale materials like gold and other

ment. I hope so, because this is no small accomplishment. AM

8 ~ OCTOBER 2008 ~ ARROYO

ARROYO ~ OCTOBER 2008 ~ 9

THEATER

THE MAN BEHIND THE CURTAIN

AS THE KEEPER OF THE FLAME – AND THE PURSE – AT L.A.’S CENTER THEATRE GROUP, MANAGING DIRECTOR CHARLES DILLINGHAM STEERS A STEADY COURSE THROUGH ROUGH ECONOMIC TIMES. “THERE ARE A LOT OF PEOPLE PASSIONATE ABOUT THEATER,” HE SAYS. “WE WILL SURVIVE ANYTHING.” BY BRENDA REES | PHOTOS BY RYAN MILLER/CAPTURE IMAGING

CHARLES DILLINGHAM REMEMBERS A TIME IN THE THEATER MANY MOONS AGO WHEN “THERE WAS NO SUCH THING AS XEROX MACHINES. WE USED CARBON PAPER AND MIMEOGRAPH MACHINES.” HE LAUGHS. “PEOPLE HEAR THAT TODAY AND ARE STUNNED. ‘HOW DID YOU GET ANYTHING DONE?’ THEY SAY. BUT WE MANAGED. WE DID WHAT IT TOOK TO MAKE IT HAPPEN.” Now 65, Dillingham, the managing director of the Center Theatre Group (CTG) and Pasadena resident doesn’t get his hands dirty anymore, at least not with carbon paper. But he’s still ensconced on the front lines of the theater world, a place he fell in love with as a boy in Texas. And despite the bleak economic forecasts that could spell tough times ahead for arts institutions, Dillingham says he’s optimistic about the future of the nonprofit CTG — which consists of the Music Center’s newly remodeled Mark Taper Forum, the 1,800-seat Ahmanson Theatre and the 6-year-old Kirk Douglas Theatre in Culver City — where he has been an integral part of the offstage action for 17 years. “We find that in times of recession, our audiences don’t shrink,” says the stately, white-haired Dillingham. He adds that advanced sales for fall are “very healthy,” although he declines to release the numbers. “People continue to come to the theater because, compared to other expenses, it’s relatively low,” he continues. Theatergoers are “passionate about the art form, and if they are going to cut back, they are going to do it on big items, like a $3,000 trip to Hawaii. They may still have that $3,000 in the bank, so they don’t feel quite so pinched when someone suggests, ‘Hey, let’s see the new Taper. Let’s go to the theater tonight.’” Indeed, the “new” Taper is currently the crown jewel of CTG’s development strategy. And as the out-of-the-spotlight leader who handles the financial and operational aspects of the three venues, Dillingham has been busy overseeing the landmark venue’s first major renovation, a $30 million undertaking that took a little less than a year to complete. The Welton Becket–designed building had been plodding along with a piecemeal electrical system, a claustrophobic main lobby and inadequate restroom facilities — only six women’s stalls to serve the 745-seat theater, numbers that created legendary long lines at intermission. The renovation was set in motion by a $5 million gift from patron Brindell Roberts Gottlieb, in honor of her late husband, Milton (the two attended the Taper on a second date), followed by a $4.9 million allocation from the L.A. County Board of Supervisors. With a third of the money in place, bonds were issued for the Music Center to bankroll the project, while CTG continued fundraising. According to Dillingham, that “wasn’t enormously difficult because it was a very attractive project. People instinctively knew that a 41-year-old building needed to be renovated. It was the infrastructure of the building that was sorely needed and where most of the money went.” —CONTINUED ON PAGE 13

10 ~ OCTOBER 2008 ~ ARROYO

ARROYO ~ OCTOBER 2008 ~ 11

THEATER

THE MAN BEHIND THE CURTAIN

10 ~ OCTOBER 2008 ~ ARROYO

ARROYO ~ OCTOBER 2008 ~ 11

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THEATER

“PEOPLE WONDER IF THEATER WILL SURVIVE IN OUR HIGH-TECH SOCIETY OR UNSTABLE ECONOMY, BUT I’M NOT WORRIED.”

Photo: Mark Taper Forum by Craig Schwartz

—CONTINUED FROM PAGE 11

Observers have mostly praised the renovation. Linda Dishman of the Los Angeles Conservancy called the new Taper design “remarkably clever and elegant.” But Los Angeles Times architecture writer Christopher Hawthorne questioned the choices for the subterranean lobby, supported by columns sporting mirrored tiles, sniffing that it was “decorated in a style that might be called Disco Revival.” Critics notwithstanding, Dillingham says he’s confident that the polished Taper will delight established audiences — CTG’s three theaters had 50,000 subscribers last season — while enticing new theatergoers. “I believe audiences are expanding, not exponentially, but they are expanding,” he says, crediting high schools with helping to create new audiences. “High school drama programs have expanded in recent years, and so a lot of people get involved as actors, technicians or participants and get hooked.” Dillingham pursues audience development in other ways as well: CTG has been investigating how to market its three theaters, and a 2005 branding study “resulted in a new logo and a decision to position CTG as a principal image rather than as each individual theater.” The organization is also reaching out to tech-savvy young people by improving its website and online advertising and connecting with them by email to market upcoming shows. It’s even employing some retro technology: thank-you phone calls to new visitors. Of course, CTG has also tried to attract younger audiences with its programming, such as the Ahmanson’s 2006 production of “The Black Rider: The Casting of the Magic Bullets,” an avant-garde musical collaboration among songwriter Tom Waits, writer William S. Burroughs and director Robert Wilson. The edgy show left many theatergoers scratching their heads and others walking out before the final curtain. “We did the Tom Waits piece because we knew it would appeal to young people, and it did,” says Dillingham, the father of college student Samantha, 21, and Jonathan, 25, who works on an English-language newspaper in Saigon, Vietnam. But ticket sales sharply declined after the run’s halfway mark. While he acknowledges that the production wasn’t financially successful, Dillingham maintains that it still gave CTG valuable exposure. “Many young people who had never been to one of our theaters came down to see that show and discovered us for the first time,” he says. —CONTINUED ON PAGE 15

A LOOK AT THE MARK TAPER FORUM RENOVATION THE NEO-CLASSICAL MARK TAPER FORUM, WHICH OPENED IN 1967, is the smallest of Music Center architect Welton Becket’s designs for the location. Its circular shape has been described as a cake, a drum and even a carousel. Metaphors aside, historical conservationists hail the landmark structure as one of Los Angeles’ signature buildings – with clean graceful lines and modern details. The theater reopened in September after a $30 million renovation, offering patrons roomier, more comfortable seating, while giving backstage production folk and cast members a state-of-the art facility. The L.A. architecture firms Rios Clementi Hale Studios and Harley Ellis Devereaux teamed up on the task of balancing the building’s historical landmark restrictions with 21st century needs. Construction, which took nearly a year, was completed just in time for the fall season. Some renovation highlights: • Jacques Overhoff’s 378-foot concrete mural relief on the building’s exterior was cleaned. • The main lobby was doubled in size, and its floor elevated to the same level as the plaza. A new decorative terrazzo floor was poured, and additional lighting showcases the lobby’s original abalone-shell wall. A polished stainless-steel beverage rail was installed near the decorative wall. • Restrooms have moved to a subterranean level. Once only six stalls, the women’s room now boasts 16 and a circular hand-washing station in the center, constructed with black Saint Laurent marble from France and tall oval mirrors. • Patrons can relax at either end of the 1,350square-foot lower lobby on large golden curved banquettes and adjacent seating, surrounded by mirrored walls and display cases. Guests can use a sleek staircase or take the new elevator between levels. • Inside the auditorium, there’s larger and more comfortable seating with increased leg room; new carpeting and handrails were installed as well as zebrawood wall paneling and a walnut-trimmed ceiling. • Accessibility for patrons with disabilities was improved, with a handicapped restroom on the second level and a new elevator, plus new designated wheelchair locations in the auditorium. • Behind-the-scenes upgrades include a powerful air-conditioning system, an advanced electrical system and a more accessible lighting grid and catwalk. Stage doors were enlarged and backstage areas were expanded. New ceiling panels and baffles now enhance on- and off-stage acoustics. New dressing rooms, hair and makeup studios and an expanded wardrobe room were added, as well as backstage workrooms. ARROYO ~ OCTOBER 2008 ~ 13

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THEATER

Photo: “The Black Rider” by Craig Schwartz

—CONTINUED FROM PAGE 13

Now, with the Taper ready for business again, observers are watching to see whether this renowned launching pad for new plays (the Tony Award and Pulitzer Prize winners “Angels in America” and “The Kentucky Cycle” broke ground here) will continue to make theater history. After founding artistic director Gordon Davidson retired three years ago, his successor, Michael Ritchie, shifted the focus away from play development, promptly disbanding the Taper’s labs for Asian, Latino, black and disabled writers. CTG now relies heavily on familiar names, such as playwright David Mamet, and well-known companies for its new material and mounts proven productions and revivals. Still, Ritchie hasn’t abandoned Davidson’s spotlight on cultural diversity. The Taper’s 2008-09 season offers two productions by Latino creators – Octavio Solis’ “Lydia” and “Palestine, New Mexico,” a new play by Culture Clash (its fifth project commissioned by CTG). Also upcoming are two musicals (“Pippin,” a co-production with Deaf West Theatre, and the U.S. premiere of Alfred Uhry’s “Parade”), a classic drama (Chekhov’s “Uncle Vanya”) and a dark comedy (Martin McDonough’s Tony-nominated “The Lieutenant of Inishmore”). “Some of [what we choose to produce] comes down to a question of availability of a particular group or artist,” says Dillingham of Ritchie’s artistic choices. Dillingham’s domain is to weigh the financial costs. “It’s all a balancing act,” he says. “If we have X play that’s very expensive, we’ll need to find Y play that is less expensive. That’s my concern. We always think going in [to the season that] we have a good balance – both artistically and financially – and then when we come out, we find out whether we did or not.” He laughs. “One of the interesting things about this business is that you never know until the audience tells you.” Productions can be a gamble, but a company’s success hinges on a good balance between the managing and artistic leadership, its left brain and right brain. Despite their different functions, Ritchie finds Dillingham unusually sensitive to creative concerns. “When we’re talking about producing shows, Charles looks at the show first, then the budget and says, ‘How can we produce this well?’” says Ritchie. “Most managing directors would look at the budget first and then the show and say, ‘We cannot produce this.’ That, in a nutshell, is the difference between the possibility of a great success and the guarantee of failure.” As for Dillingham, he says he enjoys facilitiating Ritchie’s vision. “It’s always challenging and exciting to work with the best of the best,” he says. “My job is to organize the resources of the company and support what Michael wants to accomplish.” Dillingham has been under the sway of theater since his childhood. When he was growing up in Houston, his parents subscribed to the highly esteemed Alley Theatre and regularly brought him and his brothers to shows. “I never wanted to be on the stage, but I always wanted to be part of that experience because it was – and is – so exciting and alive,” he says. Dillingham has helmed some of the world’s most prestigious arts institutions. After attending Yale as an undergrad and earning an M.F.A. at the Yale School of Drama, he moved to San Francisco, where he served as general manager of the American Conservatory Theatre. He went on to run the cutting-

Scenes from CTG’s controversial avant-garde musical, “The Black Rider.”

edge Brooklyn Academy of Music Theatre Company as managing director. He later crossed the East River to Manhattan, where he spent eight years as general manager and later executive director of American Ballet Theatre, during a fertile period that included tours of Paris and Japan, 75 new productions and 10 television productions. Mikhail Baryshnikov was the artistic director at the time. “I was always a ballet fan, but I didn’t know that much about it,” Dillingham says. “When I got the job at ABT, I went to the library for days and did a lot of reading. I wanted to learn about the art form, the history, the repertory, everything I could.” His diligence earned him the role of global impresario. He became president and CEO of the Entertainment Corporation USA, an international production and management company in New York, which presented the Bolshoi Ballet, Bolshoi Opera, Kirov Ballet, Kirov Opera and the Royal Ballet at the Metropolitan Opera House and on national tours. Dillingham now delves into the Southern California arts community with the same fervor that led him to the top of the dance world. Married to Greater Los Angeles Zoo Association executive Susan Clines, he serves on the Board of Directors for the advocacy organization Arts for L.A. Previously, he formerly sat on the board of Theatre L.A. and on theater-advisory panels at the California Arts Council and the National Endowment for the Arts. Unlike the typical Angeleno, he sees more plays than movies – “about 50 a year, not counting our own productions. The Pasadena Playhouse and Boston Court have done some amazing things.” All of this reinforces his optimism about the fate of the Muses in Los Angeles. “People wonder if theater will survive in our high-tech society or unstable economy, but I’m not worried,” he says. “If you go to Greece, you can stand in the theater of Dionysus, where the art form was literally born, and that theater is still there. Theater has survived God knows how many recessions: In England once, they closed all the theaters for 12 years. Survival? I’m not worried about it at all.” AM ARROYO ~ OCTOBER 2008 ~ 15

16 ~ OCTOBER 2008 ~ ARROYO

THEATER

A Noise Within Prepares for its Pasadena Debut THE GLENDALE-BASED CLASSICAL THEATER COMPANY RAISES FUNDS FOR A MOVE TO A NEW, LARGER VENUE IN EAST PASADENA. BY LYLE JAMES SLACK

THE HAND OF FATE HAS PLAYED A STARRING ROLE IN MANY OF THE STAGE DRAMAS A NOISE WITHIN HAS PRODUCED OVER THE YEARS, BUT THE GLENDALEBASED CLASSICAL THEATER COMPANY WASN’T EXPECTING IT TO FIGURE IN ITS OWN TRUE STORY. YET WHEN THE COMPANY WAS SCOUTING A SITE FOR A NEW THEATER THREE YEARS AGO, FATE SEEMED TO STEP IN IN THE FORM OF PASADENA DEVELOPERS DAVID WORRELL AND JEFF ALLEN. Unbeknownst to the company, Worrell and Allen were finishing the first phase of a large mixed-use development on the site of the old Stuart Pharmaceuticals company near Sierra Madre Villa Avenue and Foothill Boulevard – and trying to decide what form phase II should take. At the time, A Noise Within’s administrative staff was considering a real estate project of its own – namely, renovating an older space in Pasadena into a theater. “A friend of ours happened to know David Worrell and asked him, just as a favor, to look at the building and tell us what he thought,” recalls Julia Rodriguez-Elliott, the company’s co-artistic director. Worrell did have a look and helped company organizers realize that reconfiguring the space as a theater was probably unrealistic. “But a few hours later,” RodriguezElliott says, “David phoned to say he’d been thinking, and that maybe we’d like to have a look at the old Stuart building.” Rodriguez-Elliott and Geoff Elliott, her husband and co-artistic director, visited the site and liked what they saw – especially the building’s classic architecture, close proximity to the 210 freeway and the nearby Metrolink station, which could provide both mass transit access and parking patrons. After a meeting with Pasadena Mayor Bill Bogaard, a deal was struck in which Worrell and Allen’s company, SMV Technology Partners, would donate a chunk of the Stuart building and land to the nonprofit theater and help the city finance area street improvements. In return, the city agreed to allow SMV to build 212 apartments on the site. “Not only is A Noise Within a stellar theater company,” Bogaard says, “but its outreach to young people is a tremendous resource for the city.” Los Angeles architect John Berry was hired to design the new theater, and now A Noise Within is planning to break ground this winter. The grand opening is slated for the spring of 2010. “AlAll things considered, the project really went through very quickly,” says Rodriguez-Elliott, a lively, petite woman with a flair for theatrical dress. —CONTINUED ON PAGE 19 ARROYO ~ OCTOBER 2008 ~ 17

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18 ~ OCTOBER 2008 ~ ARROYO

CASH for DIAMONDS

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THEATER

A NOISE WITHIN’S 2008-2009 SEASON HAMLET by William Shakespeare Directed by Michael Michetti Sep. 20 — Dec. 7 THE RAINMAKER by N. Richard Nash Directed by Andrew Traister Oct. 4 — Dec. 6 CHARLES DICKENS’ OLIVER TWIST by Neil Bartlett Directed by Julia Rodriguez-Elliott and Geoff Elliott Nov. 1 — Dec. 14 WAITING FOR GODOT by Samuel Beckett Directed by Andrew Traister Jan. 15 — 25, 2009 THE TAMING OF THE SHREW by William Shakespeare Directed by Geoff Elliott Feb. 28 — May 17, 2009 GHOSTS by Henrik Ibsen Directed by Michael Murray March 14 — May 9, 2009 THE REHEARSAL by Jean Anouilh Directed by Julia Rodriguez-Elliott April 11 — May 24, 2009

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The Stuart building, designed and built in 1958 by Edward Durrell Stone, is a landmark mid-century modern structure, whose elongated facade and highceilinged grand foyer are reminiscent in a modest way of his design for the Kennedy Center in Washington, D.C. Berry’s design meshes beautifully with Stone’s long lines, textile-block façade and reflecting pools. The 35,000 squarefoot theater complex will include an intimate, 350-seat thrust main stage, a fly loft for sophisticated sets, administrative offices, costume shop, scenery shop, classrooms, rehearsal spaces, dressing rooms and a generous lobby. “Hot water, showers,” Elliott says with a laugh. “All the luxuries of life we have not known for the last 16 years.” Indeed, it’s quite a distance from the first production the co-founders staged 17 years ago in downtown Glendale’s old Masonic Temple. Elliott had graduated the year before from San Francisco’s American Conservatory Theater and arrived in L.A. “with stars in my eyes” to find talent agents promising film and TV work. They made good on their word, landing him a recurring role on an Adam West cop comedy TV series, “The Last Precinct.” “And then I found out I did not like it,” the Kentucky native says in his bourbonsoaked baritone, “did not like any part of it. It was so vacuous, I just hated it.” By this time, Rodriguez-Elliott, a year behind her husband at ACT, had finished her degree and joined him in L.A. So the Elliotts decided to go from the ridiculous to the sublime, from TV comedy to their own production of “Hamlet” — “just probably the greatest, most difficult play to perform ever written,” as Elliott puts it drily. He would play the melancholy Prince of Denmark and his wife would be Ophelia. All they needed was a place to perform. Again, as luck would have it, a friend knew local developers — Robert and Dennis DiPietro, owners of the vacant Masonic Temple. Recalls Elliott, “Robert and Dennis basically said, ‘Look, the place is standing empty. If you guys don’t burn it down, you can use it.’ And that was the beginning of a long relationship – and a great friendship – with these two wonderful men. Our good fortune is that they’ve never been quite sure what to do with this building.”

When they announced their “Hamlet,” the general reaction was less than tepid. “It’s theater, you’re in L.A. and it’s the classics – you are so dead on arrival,” Rodriguez-Elliott says. And yet, so many highly trained actors turned up at casting sessions that the couple decided to mount a second production and run it simultaneously. They chose “The Way of the World,” a Restoration drama by Congreve, who also wasn’t exactly known for his TVQ. “Listen,” Julia says with a laugh, “people came! It was miraculous. And the L.A. Times covered us, which was also miraculous, and a couple of other little papers came.” Productions of Ibsen, Beckett, O’Neill, Shaw, Pirandello, Ionesco, Feydeau, Tennessee Williams, Arthur Miller and scores of others followed over the past decade and a half. A Noise Within (the name comes from an often-used Shakespearean stage direction) now produces at least six plays each season in rotating repertory. It boasts a resident company of 19 actors with degrees from some of the most prestigious theater schools in the country, including Julliard, Yale and ACT. It also has an extensive educational outreach program, performing before an average of 10,000 students in 22 school districts each season. A Noise Within is “expert in its understanding of Shakespeare,” said Variety’s Terry Morgan, and its productions by other playwrights over the years have received far more raves than raspberries as well. The new Pasadena theater is designed to keep the growing company on its path by doubling its main stage audience capacity and the number of students it can serve, and by increasing the company’s “artistic flexibility” and programming options. More than half the $16.3 million construction budget has been raised quietly from major foundations – including the Ahmanson, Parsons and Weingart – and from the theater’s trustees. “And now we’re beginning to reach out to our individual donors,” says Andrea Van de Kamp, chair emeritus of the Music Center, who’s spearheading the public campaign. The Elliotts say they’re optimistic about reaching their fundraising goals despite the economic downturn. “You know, people can pledge over a certain period of time,” Rodriguez-Elliott says, “so I think that can be helpful — they can think beyond this rough patch that we’re hitting right now.” AM ARROYO ~ OCTOBER 2008 ~ 19

ARROYO

HOME&DESIGN

Akeena Solar is one of the largest national installers of residential and commercial solar power systems in the United States, installing throughout California, Colorado, New York, New Jersey and Connecticut since 2001. Solar power is a clean renewable resource, and the greenest way to save money while increasing home value and protecting the environment. With over 2000 installations, Akeena’s goal is to install the best possible systems and remain a proven leader in the design and integration of solar power systems. As a revolutionary leader in the industry, Akeena exclusively offers Andalay, the next generation in solar power systems, that features innovative framing and electrical design that brings solar power systems into the twenty-first century. Andalay integrates racking, wiring, and grounding for top reliability and performance. With a team of highly trained engineers and installers, Akeena meets NABCEP Certification, and is an active member in the SEIA and many other Solar Organizations. (805) 497-1044 Arcadia Landscape Design Inc. is a full service design/build company. Arcadia’s Design and construction staff will work with you from concept through project completion. Arcadia specializes in outdoor kitchens and BBQ’S, fireplaces, swimming pools, water features, custom patios and balconies and all forms of masonry, stone and concrete work. And, of course, Arcadia is a full service landscape company, installing all planting material, irrigation and drainage systems, lighting, outdoor sound systems and fountains. Arcadia also installs artificial turf and putting greens. arcadialandscapedesign.com Arcadia Pool Construction Your swimming pool should be a work of Art. We have the experience and expertise to create what you can only imagine. Arcadia Pool Construction 20 ~ OCTOBER 2008 ~ ARROYO 20 ~ OCTOBER 2008 ~ ARROYO

specializes in the latest state-of-the-art pool equipment, custom masonry, and building materials designed to add beauty to your home and lifestyle. Give us a call at (626) 4478181 or visit www.arcadiapoolz.com to create your perfect haven of relaxation. The Art Castle turns the ordinary into the extraordinary with faux finishes, murals, and decorative painting. Whether you want a Tuscan look in your kitchen, faux wood-graining in the den, or a Lord of the Rings mural in the children’s bedroom, no faux finishing project is too large or too small. The Art Castle has been bringing faux finishes and murals into clients’ homes for ten years. What makes The Art Castle unique is its owner. Ricky Alvarez received his formal training in Fine Arts. His acute artist’s eye enables him to refine design concepts, recommend concepts that are more creative, and then flawlessly implement them. www.theartcastle.com Carousel Floors This family-owned, 38-year-old company provides a superb selection along with remarkable service. For hardwood, select from all the top names, including Appalachian Hardwood Floors, pre-finished or finished by expert craftsman. For linoleum, Marmoleum is a natural, eco-friendly, stylish flooring with multiple patterns. Carousel is a Mohawk Color Center, carrying Fabrica, Karastan, Masland and Schumacher to name a few. Free consultations; designers welcome. Open 10 a.m. to 5 p.m. Monday through Friday; 10 a.m. to 4 p.m. Sat.; or by appointment. 676 E. Green St., Pasadena. Call (626) 795-8085. Craypo’s Pool & Spas We have been in the swimming pool business for more than 16 years. We understand all phases of construction and maintenance. We also understand that

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your yard is an extension of yourself and we will treat your project with the dedication and attention to detail you deserve. Call our office, (626) 355-6145, to make an appointment. We look forward to making your backyard your own private oasis! Carson-Magness Landscapes, Inc. From the overall exterior design vision through the engineering, city permits and construction, this talented team makes a name for itself with its handcrafted, hands-on detailed approach. Complete exterior design services include beautiful plantings, decks, outdoor kitchens, swimming pools, and structures, such as pergolas, loggias, pool house with bar and bath, and even outdoor furnishings! In the spirit of being commissioned to create a piece of artwork, Melissa Carson and Barry Magness bring their rich and varied backgrounds in painting, sculpture, horticulture, water design and lighting to each one-of-a-kind projects. Barry specializes in the lusty organic with original water features of metal, glass, wood and fire. The clean, understated elegance of Melissa’s artistic studies reflect her brilliantly layered foliage, flowers and trees for the deepest and most subtle impact. A strong focus on the details includes a compassionate philosophy with special emphasis on sustainability in design and materials. Together they create the most extraordinary masterpieces of mystery and romance. Barry Magness and Melissa Carson were selected as designer advisors at the 2006 Pasadena Showcase House of the Arts. For more information call (818) 241-2128, or visit www.carson-magness.com Cynthia Bennett and Associates This celebrated designer and general contractor, along with her staff of 11 designers, architects and project managers, have created some of the most beautiful spaces in the San Gabriel Valley. The term “Full Service” does not give them enough credit. They will take any project from concept, plans, lighting and construction through furnishings and accessories, using the best materials and an exacting eye for detail. The design and build focus of Cynthia Bennett’s team is the iconic Southern California lifestyle of light, open spaces, accessible patios, garden areas, and kitchen great rooms. Using modern Green Design products and techniques, this 28-year-old design firm provides clients with unsurpassed service and quality. 501 Fair Oaks Ave., South Pasadena. (626) 799-9701.

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Crystal Clear Pool & Spa, Inc. Craftsmanship is a Skill...Since 1995 this family owned business specializes in high-end one of a kind custom swimming pool design and construction. Kevin Bauer, owner, has the interests of each customer in mind throughout the entire design and construction process. We go to great lengths to make sure we understand exactly what you want. Our commitment to quality is evident in the craftsmanship of our work. We want our customers to feel comfortable. Contact us today for more information 626-446-0592. Let us build your backyard dreams. Day of Design With Terri Julio “My mission is to offer more people an opportunity to consult with a professional designer and afford them a service that fits into their budget.” Those words capture Terri Julio’s practical and thoughtful approach to her profession. A full day of design consultation (six hours for one flat fee) is a great way to begin any project. The job will run smoothly and — most importantly — Terri will help you avoid costly mistakes. Terri’s philosophy also extends to “putting the client’s wants first.” She simply guides those desires to a beautiful conclusion. Call (626) 447-5370. Euro-Chic Living, Inc. is a family owned interior design company specializing in creating custom upholstered sofas, sectionals, chairs, ottomans, chaise lounges, andheadboards; as well as in providing a full range of interior design services for the modern home. With over 10 years of experience in furniture and interior design, our company prides itself on making durable, quality products. With hundreds of possible sofa styles and dimensions, thousands of fabrics and a variety of cushion fills, your sofa, sectional or chair can be made to fit your unique style, taste and budget. Euro-Chic Living, Inc. offers a full range of services, including window treatments, color selection, decorating, space planning and design, wall treatments, lighting and home staging. Our interior designers will be happy to answer all your questions and help you pick out the perfect solution to match your and your family’s lifestyle. Are you ready to live your life the Euro-Chic way? Visit our showroom at 762 E. Colorado Blvd. in Old Pasadena or call us at 626-796-1660.

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Ferguson Bath & Kitchen Make sure to visit the Ferguson showroom, which has been serving Pasadena for 15 years. Let Ferguson showroom staff Sarah and Antaya help you with your appliances, sinks, faucets, tools, accessories, environmentally safe tankless water heaters, and commercial and residential lighting needs. Ferguson Pasadena is your one-stop shop from underground to finish. Ferguson Pasadena is small, but flexible. Visit us at 157 Vista Ave. or at www.ferguson.com or call (626) 795-9551. Gerald Sowell Interior Design is a full-service residential interior design company that has been working throughout the Los Angeles Basin for the last 30 years. We specialize in traditional and transitional interiors, defying trends and giving each client’s home a fresh new look perfect for family and entertaining. (323) 461-2271 Garden View Landscaping, Nursery, Pools Specializing in landscaping, nurseries and pools, Garden View Inc. can take you from a design idea or concept to a fully finished, detailoriented garden. Garden View & their clientele are recipients of 60 awards from the California Landscape Contractors Association. Complete & integrated outdoor construction, nursery & maintenance. The intent of the company is to provide high-quality interrelated outdoor services. The synergy between having their own designer/project managers, in-house crews, their own large nursery, and being a licensed pool builder — coupled with Mark’s almost daily job $75 charge the second visits — provides for efficiency, competitive pricing, qualityafter & schedule control. (626) 303-4043 revision

Garocco, Inc. Pool and Landscapes With over three generations of experience, the Sewell family has been designing, building and remodeling custom pools and landscapes totaling over 5000 projects. This can assure you the job will be done on budget and in a timely manner. Gary Sewell Jr., aka Gar, President of Garocco, Inc., is an award-winning designer and lead developer of all projects. Gar believes there are three key elements to client satisfaction. First and foremost is communication from design to completion. Second, all projects are guaranteed to be completed on time. Finally, all new pools are serviced for the first year, free, to ensure your complete satisfaction. Additionally, we offer a cash rebate of up to $1000.00 for your old pool equipment when you upgrade to our new ecoEquipment, put—CONTINUED ON PAGE 28

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ting cash in your pocket. Utilizing our 100% financing OAC, your monthly payment can actually be LESS than you would be SAVING in energy costs. For more information regarding Garocco, Inc. and our services, please visit or call 866.GAROCCO. Kitchen Tune-Up is one-stop shopping if you’re looking to change your kitchen a little or a lot. A Tune-Up is a process in which we refurbish existing wood cabinets to look as close to new as possible. We also offer refacing, custom cabinets, bathroom vanities and cabinets as well as home entertainment centers and closets. We have a wide selection of the —CONTINUED ON PAGE 31

Faux Finishes • Color Consulting • Murals

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most popular countertops, including Livingstone, Corian, Caesarstone and Silestone. If you like your existing layout but want some changes, we can add pullout drawers, spice cabinets and roll-out trash drawers, even that island you’ve been dreaming about. We can help change your kitchen and bath as simply or dramatically as you like and have in-house designers who can help transform your vision into reality. So if your kitchen’s in need of a Tune-Up or it’s time for new cabinets or a remodel we can help you every step of the way. We are Steve and Megan Morelock. We are Kitchen Tune-Up. Please call for a complimentary consultation at (626) 533-4402. Nott and Associates is the “Design/Build” father-and-son team of Tom and Jeffrey Nott. This family team specializes in custom homes in Pasadena and the greater Los Angeles region. Tom Nott received his Bachelor of Architecture at the University of Southern California, and since then has worked on major projects throughout Southern California. His work spans decades and includes projects for the 1984 Los Angeles Olympics, the L.A. Subway and countless commercial parks. Jeff began working in the field at age 12, attended UCLA and UCSB and has worked with many well known designers in Beverly Hills and Bel-Air, building custom homes. Together for 30 years, they have completed over 130 projects in South Pasadena alone. Nott and Associates provides complete design through construction services, caring for your vision and appreciating your budget. Visit www.NOTTASSOCIATES.com or call (626) 403-0844. Plumbridge Custom Cabinets Kitchen cabinets that blend traditional charm with the functional requirements of modern life are the hallmark of Plumbridge Custom Cabinets. Plumbridge is a “full service” cabinet shop. This means they take care of all your cabinet needs, from design to installation. Bill Buck is the owner, and with over 30 years of experience, he knows that a great kitchen starts with a great design. Bill personally meets and works with you to design your perfect kitchen. They hand-build every cabinet in their shop in Duarte, using the finest materials. Bill makes sure it all goes together “picture perfect.” Call (626) 256-9337 or vist www.plumbridgecabinets.com —CONTINUED ON PAGE 33

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FERGUSON BATH & KITCHEN GALLERY IS YOUR ONE STOP SHOP - FROM UNDERGROUND TO FINISH Ferguson Bath & Kitchen serving Pasadena and surrounding communities for over 15 years takes pride in providing our customers with a huge selection of quality lines that include Kohler, Kallista and Rohl.

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Prime Building Materials is a family owned business that has been serving the Southern California building industry for over 20 years with pride and traditional values. Our experienced and knowledgeable staff work with homeowners, developers, landscape contractors, general contractors, designers and architects alike to achieve your exact goals, dreams and beyond. Our huge supply yard features acres of building materials for all phases of building and home improvement, with a specialty showroom featuring a host of interior and exterior products. From formal residential landscapes and masonry to large, track home developments, Prime Building Materials can provide all the materials to create the perfect living environment. 5 locations to serve you. Call us at (626) 284-2222 for a free consultation or estimate on your next project. Senior Helpers knows ‘there’s no place like home’. We provide professional caregivers to assist seniors and others with the activities of daily living. This quality care gives you peace of mind and enables your loved one to maintain their independence at home. We meet your specific needs from 3-24 hours/day. Caregivers perform light housekeeping, laundry, meals, bathing & dressing assistance, personal hygiene care, transportation, Alzheimer’s & dementia care. (626) 446-8000

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ART, ANTIQU ES & JEWELRY Come visit José Vera Fine Art & Antiques and peruse their collection of unique architectural pieces (check out the gargoyles, fountains and infamous “Eagle” of Eagle Rock), their vast art collection and services including custom ironwork and custom framing! Currently, they are displaying their Hispanic Heritage Month exhibit featuring the art of Joe Bravo, Irene Carranza, Sergio Hernandez and Xilomen Rios (until October 5th). Coming up next, José Vera is pleased to present a California Plein Air exhibit featuring artwork by Jose De Juan, Trish Kertes, Chuck Kovacic, James Osorio, David Spurlin and Margaret Haase, from Saturday, October 11th to Sunday, November 2nd. The opening reception is

Saturday, October 11th from 6:00 p.m. to 9:00 p.m. (NELA Second Saturday ArtWalk Night). 2012 Colorado Blvd., Los Angeles (Eagle Rock). Call (323) 258-5050 or visit www.joseveragallery.com Tirage Gallery- Located in the heart of Pasadena’s art and antique district, Tirage Gallery features one of the largest selections of plain air paintings & representational fine art in the Western states. With more than sixty nationally recognized artists in scheduled themed exhibitions, Tirage Gallery offers an extensive variety of oil paintings, pastels, and watercolors of landscapes, urban impressionism, still life’s, interiors, and figurative imagery along with

You Can Dream It... We Can Make It...

sculpture and commissioned portraiture. As a full-service gallery, Tirage is a specialist in corporate collections, site specific artwork, and a provider of fine art for film and television projects. Tirage Gallery was a curator and sponsor of the recent nationally acclaimed Contemporary Masters, Artistic EdenÇ exhibition at the Pasadena Museum of History. Tirage Gallery also provides custom framing and fine art restoration. One West California Blvd., Pasadena, (626) 405-1020, www.tirageart.com G.H. Wilke began in 1929 when watchmaker Gilbert H. Wilke purchased a jewelry store in the farming community of Arlington Heights, Illinois during the Great Depression. Moving successfully through subsequent decades and uprooting to CA in 1946, Gil kept his eyes on his goals. Satisfying customers, being part of the community and behaving with professional integrity were his hallmarks since the inception of his business. Tracy R. Wilke and Dario Pirozko are now guiding G.H. Wilke & Co. into further realms of custom design, estate, and antique jewelry and an eclectic blend of contemporary styles. Our customers just call us “my candy store.” 612 W. Las Tunas Drive, San Gabriel, 91776, (626) 284-9444

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Green Street and its adjoining side streets of DeLacey, Fair Oaks and Raymond offer everything from top-notch bridal gowns and wedding décor at Mary Lin’s Bridal Boutique to creative hairstylists eager to give you the latest and greatest ‘dos at Tangles Salon. Those looking for fine fashion can also choose among the must have clothing, shoes, jewelry and accessories for the woman who wants to look classy and stylish but not to be a slave to trendy fads at Flutter. Once you’re done with all that shopping and walking, there’s some terrific places to unwind as well. The popular Daily Grind chain of coffee shops is now open at the corner of Green and DeLacey, offering some much-needed competition to the longtime caffeine outposts like Starbucks and the Coffee Bean. If coffee is not your thing, stop by Bird Pick on Delacey to enjoy warm and friendly service, tea education, a pure tea bar, various tea accessories and a

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ART & DESIGN

The Art of War THE NORTON SIMON MUSEUM NODS TO THE ELECTION SEASON WITH A SHOW OF PROPAGANDA POSTERS EXHORTING AMERICA TO SUPPORT WAR EFFORTS OF THE LAST CENTURY. BY CARL KOZLOWSKI

SOME OF THE IMAGES WERE SHOCKING: A MAN STANDS WITH A HOOD OVER HIS HEAD, AWAITING THE NAZI GUNSHOTS THAT WILL KILL HIM. SOME WERE HEARTWARMING: A FAMILY GATHERS AROUND THE THANKSGIVING DINNER TABLE. SOME WERE STIRRING: THE ICONIC PORTRAIT OF UNCLE SAM POINTING HIS FINGER AT THE VIEWER AND

United We Win, 1943 Alexander Liberman Poster, 22 1/8 x 28 in. Norton Simon Museum

SAYING “I WANT YOU FOR THE U.S. ARMY.” But regardless of their approach, the intent of U.S. propaganda posters during World Wars I and II was the same — to rally the hearts and minds of all Americans around supporting their country in fighting the biggest wars the planet had ever experienced. Whether promoting civilian rationing, labor projects or outright enlistment in the armed services, the thousands of works commissioned by the U.S. Office of War Information formed an impressive body of artwork with a message. Pasadena’s Norton Simon Museum is bringing 33 of the boldest and brightest posters back into the public eye with its current exhibit, “The Art Of War: American Posters from World War I and World War II,” which runs through Jan. 26, 2009. The propaganda posters culled from the museum’s extensive permanent collection of 530, which were donated in 1952 by Pasadena sisters Helen and Edith Robinson, represent a broad range of images, says assistant curator Leah Lehmbeck. The show is intended to transport visitors back to an era in which artists worked in tandem with the government, in contrast to these more adversarial times. “This was a homegrown effort in that the artists themselves gathered in New York City during WWI and said ‘We want to help you,’ then went to D.C. and said, ‘What can we do?’ It was a very unified front because the war had a very clear goal,” says Lehmbeck. “They were so effective at this that the government in World War II tried to emulate how they worked [by having a central authority assign artists to projects without causing rancor]. It didn’t work — because the government tried to split the effort down the middle, using advertising guys and real artists, and they were at odds with each other. And eventually, because it lost its effectiveness over time, the Office of War Information eventually disbanded.” —CONTINUED ON PAGE 42 ARROYO ~ OCTOBER 2008 ~ 41

ART & DESIGN

Ours...to Fight for—Freedom from Want, 1943 Norman Rockwell Poster, 20 1/4 x 28 in. Norton Simon Museum

Belgium Fights On, c. 1942 R. Sturbelle Poster, 18 5/8 x 24 7/8 in. Norton Simon Museum

—CONTINUED FROM PAGE 41

Remarkably, Lehmbeck notes that the artists involved in the staggering effort, led in 1917 by the Society of Illustrators’ president, Charles Dana Gibson, volunteered their time. And as the war effort grew, many works came from amateur artists who had entered their pieces into government contests. A couple of interesting historical tidbits: • The iconic image of Uncle Sam was created by James Montgomery Flagg, yet he was often accused of stealing the idea of Sam’s pointing fingers from British recruitment posters. “Flagg said ‘Everything’s up for grabs’ and wouldn’t say where his ideas came from,” says Lehmbeck. “He was the first to portray Uncle Sam as an elder statesman, and aggressive.” • Norman Rockwell took a decidedly different approach in his own wartime works for the government. Working squarely in the framework of his traditional small-town Americana themes, he first created the aforementioned Thanksgiving dinner portrait as part of a series of posters based on President Franklin D. Roosevelt’s speech about the Four Freedoms: freedom from want, freedom from fear, freedom of religion and freedom of speech. Despite Rockwell’s growing reputation, the Office of War Information refused his work because it deemed him a mere illustrator, unworthy of the advertising men on the project. “On the way home, Rockwell saw the Saturday Evening Post and showed them his ideas. They said ‘Stop everything. You’re doing these for us,’” Rehmbeck says. “He started doing the paintings there in the 1940s, and that took his career to a whole other level.” Perhaps most striking among Lehmbeck’s selections is a poster featuring a black-and-white photograph of a black man and a white man, both working together in a metals plant under the slogan “United We Win.” Coming a full 42 ~ OCTOBER 2008 ~ ARROYO

“This World Cannot Exist Half Slave and Half Free”—Fight for Freedom!, 1942 John Philip Falter Poster, 14 1/4 x 20 in. Norton Simon Museum

two decades before the landmark 1964 Civil Rights Act, the poster by Alexander Liberman (who later rose to the powerful post of Condé Nast editorial director) conveys an immediate sense of optimism about race relations. “In an ideal world, the government was trying to encourage everyone to get along, period,” Lehmbeck says. “But this was one way to get more production, end of story. It’s hard to get too hopeful about this, because there haven’t been studies on how these posters were received at the time.” The exhibition — organized into four themes: production, conservation, economic sacrifice and general patriotism — doesn’t shy away from some of the more controversial works. Consider one featuring Mussolini, Hitler and Japanese dictator Tojo’s faces on bowling pins, “making them pinheads and saying that we’ll knock them out,” the curator says. Another one says, “Your metal helps fight the Japs.” “They were made that way because they were designed to make us go to war. The language is a broader example of demonizing a group and shows how language and visual images are used,” says Lehmbeck. “It’s like the language controversies over the novel ‘Huck Finn’ being [taught] in schools – do you hide it or show it but think critically of it? If you learn to think critically, that’s the way to decipher truth from propaganda.” The exhibition also includes a few special screenings of wartime propaganda films, including a series of Disney animated shorts and a feature film starring Claudette Colbert titled “Since You Went Away.” That 1943 film includes images of propaganda posters in its tale of sacrifices Americans made in wartime. At a time when the nation is once again held in the grip of conflict, “The Art of War” offers a window onto the country’s mindset during past wars. Visitors can mull over the messages and consider the nation and times they

A RARE VERMEER COMES TO PASADENA “The Art of War” isn’t the only hot exhibit the Norton Simon Museum is offering this fall. Starting in November, the museum will feature a two-month-long exhibition of “A Lady Writing,” one of only 35 known paintings by the 17thcentury Dutch Master Johannes Vermeer. The acquisition came about through an art-trading program linking the Norton Simon to the National Gallery in Washington, D.C. The two institutions entered into an agreement two years ago to lend each other important pieces from their collections. The Norton Simon acted first, sending Rembrandt’s “Portrait of a Young Boy” to the National Gallery for three months last year. Now the National Gallery is reciprocating with the traveling Vermeer. The circa-1665 painting is typical of the artist’s work: a diminutive piece featuring a woman performing an everyday task in a tranquil setting. The Norton Simon’s chief curator, Carol Togneri, says the painting is “tiny” at 17 3/4 by 15 3/4 inches but, she notes, the contribution it makes to her galleries is huge. Vermeer’s works are rarely exhibited individually. Also unusual was the Norton Simon board’s agreement to lend one of its own treasures, in the Rembrandt-Vermeer trade. “Vermeers are very rare, but they’re extremely popular because they’re so engaging,” Togneri says. “There was one very large Vermeer exhibition at the Hague in Holland and also at a couple of other U.S. venues a couple years back, and it was wildly received, with people lining up around the buildings to see the very few paintings he left behind. We’re hoping to draw people from across the West, because there just aren’t any others available on the West Coast.” “A Lady Writing” will be on display from Nov. 7 through Feb. 2, 2009.

live in – drawing a bracing lesson for this wartime election year. “We don’t see the printing of [blatant] propaganda anymore,” Lehmbeck says. “Maybe we are more savvy, or maybe we get it in different ways.” AM “The Art of War: American Posters from World War I and World War II” runs through Jan. 26, 2009, at the Norton Simon Museum. The museum is open from noon to 6 p.m. on Mondays, Wednesdays, Thursdays and weekends. Friday hours are noon to 9 p.m., and the museum is closed on Mondays. Admission costs $8 for adults and $4 for seniors; admission is free for members, students with I.D. and visitors 18 and under. The Norton Simon is located at 411 W. Colorado Blvd., Pasadena. Call (626) 449-6840 or visit www.nortonsimon.org. ARROYO ~ OCTOBER 2008 ~ 43

THEATER

The Great Race

PAUL MULLIN’S NEW PLAY, “THE SEQUENCE,” TAKES AUDIENCES ALONG ON THE THRILLING DASH TO BE THE FIRST SCIENTIFIC RESEARCHER TO MAP THE HUMAN GENOME. BY JANA MONJI

WHAT MAY HAVE BEEN ONE OF THE GREATEST RACES IN

The

Sequence

HUMAN HISTORY — WITH COMPETITORS IN CHINA, FRANCE, GERMANY, JAPAN, THE UNITED KINGDOM AND THE UNITED STATES — WASN’T FAST. IT DIDN’T WHIZ BY AT THE SPEED OF LIGHT, NOR EVEN WITH THE RAPID PINGING OF A TEENAGER’S TEXT-MESSAGE FEST. IT TOOK A

known as shotgun sequencing, Venter was racing to be the first to map the human genome, so that he could BUT WHAT A FINISH LINE. THE GOAL WAS NOTHING LESS control a database of genomic data By Paul Mullin and collect a fee for access. That outDirected by John Langs World Premiere THAN A HISTORIC MILESTONE IN SCIENTIFIC DISCOVERY: raged groups involved with the HGP, Oct 11- Nov 9, 2008 who redoubled their efforts to ensure MAPPING THE HUMAN GENOME. the findings would be freely available. So who won? In 1990, both Such dramas in the world of science don’t often cross over to the world of Collins and Venter joined President Clinton in announcing the mapping of the the arts, whose denizens consider much that goes on in laboratories a little dry. human genome. But Venter’s victory was ultimately hollow. He was pressured But as Paul Mullin demonstrates in his new play, “The Sequence,” the Human into sharing his data and credit with the HGP’s international consortium. And Genome Project (HGP), as the international research effort was known, when he failed to collect royalties on the data, Celera fired him in 2002. involved “true, live people who are amazingly wild and arrogant, deeply flawed Theater audiences might not associate such scientific endeavors with human beings,” the playwright says. The three-person drama has its world prestage fare, but the story’s grounding in fact actually amps up the dramatic miere at Pasadena’s Boston Court on Oct. 11. tension, says Mullin, 40. “What scientists do in the 20th and 21st centuries has “The Sequence” recounts a classic tortoise-and-hare rivalry but adds a deeper impact on our culture than ever before. [Scientific endeavors can] some unexpected twists and turns. And making art that imitates life can have really be a life-and-death matter that affect all of us.” some unusual consequences: Take the April 2005 reading at Virginia’s George Mullin isn’t himself a scientist, but he is the son of two: His father was a Mason University, where one of the scientists portrayed onstage sauntered in physicist and his mother, a biologist. Raised in Maryland, Mullin dropped out to hear how his theatrical doppelganger was doing. of the University of Maryland, which he’d entered on an acting scholarship. The guest was Francis Collins, whom you might call the tortoise in this He moved to New York in 1988 to pursue acting, but in 1990, he settled in race. The slow-and-steady Collins led the HGP as the director of the National Seattle because “it was really exploding as an alternative theater town.” Human Genome Research Institute of the National Institute of Health, a post Mullin had already begun writing plays about a wide range of subjects, he left in August. As the Seattle-based playwright recalls, “He shows up a little from the “Beowulf ” character Grendel to a 1942 painting by Jacob Lawrence bit late. The only seats left are in the front row — in front of the actor who was titled “Pool Parlor.” Twenty-five of his plays have been performed Off playing Francis Collins.” Collins, who was face-to-face with his stage self, “was Broadway and at regional theaters around the country. Five earlier producvery gracious after the play and agreed to sit onstage for the talkback.” tions have been staged in Los Angeles, including “Louis Slotin Sonata,” which As a government scientist, Collins was committed to allowing the worldwon an L.A. Drama Critics Award after its 1999 premiere by the Circle X wide scientific community free access to the project’s genomic discoveries in Theatre Company. The play examined the story of an experimental physicist order to advance research on the connection between genes and disease. His at the Los Alamos National Laboratory, famous for its role in the developcompetitor was former NIH biologist Craig Venter, who’d founded the forment of the atomic bomb. In 1946, Slotin inadvertently exposed himself to a profit research company Celera Genomics. Using a controversial technique fatal dose of radiation and died nine days later. Mullin’s play, which imagines

DECADE FOR THE WINNERS TO REACH THE FINISH LINE —

44 ~ OCTOBER 2008 ~ ARROYO

the scientist’s physical and emotional torment during those final days, was read by invitation to scientists at Los Alamos (who mostly hated it) and at the Nuclear Age Peace Foundation in Santa Barbara, where they gave it a standing ovation. But a mixed review in 2001 from the New York Times — which said that “as a historical episode suitable for dramatizing, you can’t do much better” but also sniffed that there was “something show-offy and distracting about it” — doomed its future. Mullin regards the Los Alamos reading “as one of the most exciting, nervewracking events of my life. A lot of scientists were really angry at me.” The play includes a scene where Joseph Mengele compares the Nazis’ Final Solution to the explosion of one atomic bomb. “They found it really offensive.” Scientists from generations that followed Slotin’s unleashed a storm of criticism until “a kindly old man stood up and said, ‘I was there. I knew Louis Slotin and I think he would have liked this play.’ I had some doubts about the legitimacy of my work, but hearing from that old man, it made me feel a lot better about the play.” His current play, “The Sequence,” was commissioned by the Alfred P. Sloan Foundation in collaboration with New York’s Ensemble Studio Theatre in 2002. The Boston Court production will be directed by Los Angeles-based John Langs, who directed “Louis Slotin Sonata” in Seattle. “Paul’s writing is an extraordinary

mix of intellectual stimulation and good human story telling,” Langs says. “He really brings it together and somehow I feel smarter after I leave the theater.” With his latest endeavor, Mullin has discovered that writing about living people can be double-edged. “That night when I knew Francis Collins was coming to the meeting was perhaps more nerve-wracking than Los Alamos, “ Mullin says but adds, “I get to meet some of the coolest people on earth.” The genome pioneers may be among Time Magazine’s 100 most influential people on earth, but Mullin seeks to humanize them and portray them to audiences as people they can relate to. “All of us do what we do to get even, to get laid, to get famous,” he says. His scientists aren’t “objective persons who only do what they do for the great good of humanity. Scientists can be vicious, political, Machiavellian, arrogant and blind to their own faults—like characters from Shakespeare.” AM “The Sequence” begins previews Oct. 2, opens Oct. 11 and runs through Nov. 9. Performances are held at 8 p.m. Thursday through Saturday and at 2 p.m. on Sunday. Tickets cost $17 for previews, $32 for regular performances and $27 for seniors and students. Boston Court is located at 70 N. Mentor Ave., Pasadena. For tickets, visit www.bostoncourt.com or call (626) 683-6883. ARROYO ~ OCTOBER 2008 ~ 45

THEATER

The Great Race

PAUL MULLIN’S NEW PLAY, “THE SEQUENCE,” TAKES AUDIENCES ALONG ON THE THRILLING DASH TO BE THE FIRST SCIENTIFIC RESEARCHER TO MAP THE HUMAN GENOME. BY JANA MONJI

WHAT MAY HAVE BEEN ONE OF THE GREATEST RACES IN

The

Sequence

DECADE FOR THE WINNERS TO REACH THE FINISH LINE —

44 ~ OCTOBER 2008 ~ ARROYO

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Back by popular demand, Montecito Fine Arts College of Design is pleased to announce the re-opening of Montecito Fine Arts Children’s Center in Arcadia. The MFA Children’s Center offers classes in ceramics, creative development, digital manga, drawing multi-media, Japanese anime and painting for children aged between 4-12. The courses offered at the center follow structured sequential programs where the children learn the skills necessary to gradually transition to more advanced portfolio programs at our main campus in Monrovia. For more information, contact 877 DO DESIGN or visit us at 524 S. First Ave., Arcadia, CA 91006.

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Accendo Learning Center offers a variety of classes in preparation for high school math courses, as well as preparation for the SAT. Accendo’s highly qualified Math teacher has proven to be

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1832 E. Washington Blvd., Pasadena 626.798.5900

ART & DESIGN

East Meets West LIFELONG NEW YORKER CHRISTOPHER MOUNT BRINGS A GLOBAL SENSIBILITY TO HIS NEW ROLE AS EXECUTIVE DIRECTOR OF THE PASADENA MUSEUM OF CALIFORNIA ART. BY BETTIJANE LEVINE

CHRISTOPHER MOUNT, A LIFELONG NEW YORKER, SWITCHED COASTS IN AUGUST TO HEAD PASADENA’S YOUNGEST MUSEUM AND THE ONLY ONE DEVOTED TO CALIFORNIA ART AND DESIGN. RECENTLY NAMED EXECUTIVE DIRECTOR OF THE 6-YEAR-OLD PASADENA MUSEUM OF CALIFORNIA ART, MOUNT BRINGS A BOYISH BUOYANCY AND A STELLAR RESUMÉ FROM MANHATTAN, WHERE HE WAS A CURATOR OF ARCHITECTURE AND DESIGN AT THE MUSEUM OF MODERN ART FOR 14 YEARS. FOR FIVE YEARS AFTER THAT, HE WAS DIRECTOR OF EXHIBITIONS AND PUBLIC PROGRAMS AT PARSONS THE NEW SCHOOL FOR DESIGN, WHERE HE CURATED WELL-RECEIVED SHOWS AND OVERSAW THE SCHOOL’S EXPANSION, INCLUDING THE OPENING OF ITS SHEILA C. JOHNSON DESIGN CENTER AND ANNA-MARIE KELLEN GALLERY. Reed Halladay, chairman of PMCA’s Board of Directors, says the museum interviewed “a lot of very, very well-qualified candidates” before choosing Mount. “This is an extremely critical time in our museum’s history,” he says. “We are just coming out of our infancy. We needed someone with high energy, curiosity and a great personality to take us where we want to go. Christopher has those qualities, along with tremendous skills, background, experience and indepth knowledge. And he’s just a fun person to be around. “We think he has the vision to elevate quality, conceive new kinds of exhibitions and, of course, raise funds. He’ll be building on the successes of our fine founding director, Wesley Jessup, who’s now at the Boise Museum of Art. We can’t wait to see what Christopher does.” Mount, 45, taught the history of 20th-century art and design at Parsons, penned several books and numerous articles on the subject, served as editor-inchief of I.D. magazine and conceived and led a series of symposia featuring such icons as Frank Gehry, Chuck Close, Donna Karan and Michael Graves. Despite the cavalcade of serious credentials, Mount is not without what the New York Times has called a “whimsical” side. For a 2005 interview with the newspaper, he sported a Day-Glo orange Jack Spade bag and set his cell phone ring to sound like a rooster crowing. Mount explained that he’d married a month earlier, and the ring tone was an homage to a honeymoon in Bali, where he and his wife awoke each morning to a rooster’s song. (The couple now has a 4-year-old son.) On a recent sunbaked morning in Pasadena, only two weeks into his new gig, Mount appeared more restrained: He wore a blue dress shirt, gray suit and tousled blond hair trimmed just a few notches short of flowing. He was full of the typical transplant’s enthusiasm for his newly adopted state — its topography, quality of light and rich cultural mix. But in Mount’s case, those joys are filtered through a sensibility influenced by global art and design. And his assessment of California’s once and future place in that pantheon is cheering. 48 ~ OCTOBER 2008 ~ ARROYO

What lured you to California?

I was born, raised, educated (at Columbia University) and had always worked in New York. It was time for a change. I’d become familiar with L.A. — my wife is from here — and I’d watched and admired PMCA from 3,000 miles away, almost from its inception. When I saw that the directorship was open, I thought, what an incredibly interesting job this could be! But isn’t New York still the world center of art and design?

No, that’s not really true any more. California is in ascension. Can you explain?

Much of the best American art, design and architecture comes from here. We have 13 of the best schools in the country. New York has nothing like that. When people refer to good schools in the East, they mean places like RISDE (Rhode Island School of Design) and others, all of which are in the Northeast but not in New York. Young artists who come to these California schools tend to stay and work in this state. This is also a place that’s still affordable to live in, unlike New York, which is impossibly expensive for artists. And though it may sound clichéd, California is still a place where people come to explore and experiment, trying new ideas, techniques and technology. Just look at what’s happened out here in the last few years with curators. So many have moved to California: Michael Govan at LACMA, Annie Philbin at the Hammer, Jeremy Strick at MOCA, to name just a few. And look at all the architects working here: Frank Gehry, Michael Maltin, Thom Mayne, for starters. Design is flourishing here, too, maybe more than on the East Coast — young talents like Yves Behar in San Francisco; corporations like BMW, Apple and Nissan who have design studios out here. New York is about the business of art; California is about creating the art. Is California art distinguishable in any way? Is there a discernible difference between art made here and in, say, New York or Europe?

Who comes to mind immediately is someone like David Hockney, who is so identified with California — the swimming pools, the sun, the light. Or Ed Ruscha, maybe. Or people like Cathy Opie who photograph this city and its scenes. The art is not necessarily different, although certainly the light is different. You do see brighter colors and other visual cues, but you can’t make gen-

eralizations. There is no “California School,” except in historical painting, where you have the plein air and the impressionists and the beautiful light. Any changes ahead for PMCA’s California Design Biennial?

We’ll do it differently. In the past, it’s been more of a competition. We’re going to make it more of a curatorial activity, assemble a group of curatorial advisors to help us take a deep look at what’s really happening here in fashion, furniture, movie titles — all areas of California design. PMCA’s mission seems very broad: to present this state’s historical art, contemporary art, architecture, crafts and all manner of design. Do you plan to shift the emphasis to any particular area?

No, I think we’re going to do it all, only better. We may do more architecture, but we will still do historical painting and contemporary art and design – and what I like to call visual culture.

“

Can you define visual culture?

It’s part art, part design, sometimes not quite either. It’s artists reflecting on currents in the culture. The recent Pete Millar show was a good example: cartoon drawings about drag racing. It was a perfect complement to the Kori Newkirk show that ran with it. Newkirk is a local artist who does wall installations made of hair pomade and sculptures made of beads traditionally used in African American hairstyles. Both reflect a sense of time and place, visual representations of contemporary culture.

NEW YORK IS ABOUT THE BUSINESS OF ART; CALIFORNIA IS ABOUT CREATING THE ART.

”

Those shows were the work of your predecessor. Can you tell us any of your own ideas for future shows or emerging artists you’d like to exhibit?

I’ve only been here two weeks. I’ll get back to you on that. When will we see the results of your work here?

Not for a year. Museums plan exhibitions far in advance.

AM ARROYO ~ OCTOBER 2008 ~ 49

ART & DESIGN

East Meets West LIFELONG NEW YORKER CHRISTOPHER MOUNT BRINGS A GLOBAL SENSIBILITY TO HIS NEW ROLE AS EXECUTIVE DIRECTOR OF THE PASADENA MUSEUM OF CALIFORNIA ART. BY BETTIJANE LEVINE

What lured you to California?

No, that’s not really true any more. California is in ascension. Can you explain?

No, I think we’re going to do it all, only better. We may do more architecture, but we will still do historical painting and contemporary art and design – and what I like to call visual culture.

“

Can you define visual culture?

NEW YORK IS ABOUT THE BUSINESS OF ART; CALIFORNIA IS ABOUT CREATING THE ART.

”

Those shows were the work of your predecessor. Can you tell us any of your own ideas for future shows or emerging artists you’d like to exhibit?

I’ve only been here two weeks. I’ll get back to you on that. When will we see the results of your work here?

Not for a year. Museums plan exhibitions far in advance.

AM ARROYO ~ OCTOBER 2008 ~ 49

DESIGN

This page: The façade of Wright House beguiles all who drive or walk by. Current owners Mary Ann and George Leal have entertained thousands of guests over the course of 35 years of thoughtful stewardship.

Olde England in the New World

Opposite top: To the left of the living room Tudorarch fireplace is a secret door panel, which hides the organ pipes. The floor-to-ceiling window on the right features strips of lead randomly placed to simulate window repairs made over centuries. The ceiling is 20 feet high. Opposite bottom: The Wrights often gave recitals on the his-and-her grand pianos flanking the living room entrance doors. The organ in the balcony was later donated to Ambassador College.

GERARD COLCORD’S WRIGHT HOUSE IMPORTED NORTHERN EUROPEAN ELEGANCE TO SAN MARINO IN 1938. BY BRET PARSONS

Before the Second World War, affluent Americans frequently turned to England for style and respectability, and during the 1920s, “Stockbroker Tudor,” as it was commonly known among newly minted millionaires and their architects, was all the rage. Colcord had designed several dozen Tudors by 1938, and when investment advisor and music professor Dr. Douglas Wright, Jr., called about his two large adjoining parcels in a well-manicured neighborhood in San Marino, next to railroad magnate Henry E. Huntington’s 120-acre estate, Colcord was at his best. Wright House is one of Colcord’s most exquisitely detailed English residences, extraordinary inside and out. The living room is probably the finest interior space he ever designed. It is also the only one with a choir balcony. Dr. and Mrs. Wright often gave recitals there, playing duets on “his-and-her” grand pianos or giving individual performances on the pipe organ. The house bears signature features associated with 15th-century English manor houses and residences commissioned by the “middling sort,” the emerging merchant and professional class in England. The half-timbered and cement-plaster panels simulate the appearance of a timber frame building with “wattle-and-daub” construction. A mixture of clay, sand and straw, called “daub,” was applied between the timbers, or “wattles.” The curved diagonal braces are authentic to the period. Colcord used masonry veneer on the onestory wing, and on the second floor as well. This section projects over the ground floor to suggest it was added at a later date. For variety and interest, the leaded-glass windows are of differing sizes and patterns. The decorative “bargeboard” (boards fastened to the projecting gables of a roof to give them strength and protection from the elements) and finial on the gable end of the roof are typical of the Tudor period. A flat clay-tile roof would have been used in England because of the danger from fires. Wood shingles were commonly used in Southern California since they require a much lighter roof framing system and wood was more plentiful. The engaged double chimneystack simulates chimneys that were crafted in the 15th century. Inside, the elaborate wood-truss framing in the living room is based upon typical roof framing found in late-medieval halls and churches. While the framing members used on the exterior are cosmetic, the framing system in the living room is structurally sound. The Tudor moldings, the knee braces, hammer post and arch brace are elegant replications of period woodwork. The Gothic-arch doorway framing plank doors and the Gothic-arch windows in the entry hall reinforce the historical appearance of a great hall. The choir 50 ~ OCTOBER 2008 ~ ARROYO

THE WRIGHT HOUSE BY THE NUMBERS 1937 Commissioned by Ruth L. & Dr. Douglas Wright, Jr. 1943 Granted to Ruth L. Wright 1960 Granted to Jane C. Allen

balcony above the entrance simulates the appearance of a gallery in a church or a space for musicians to entertain guests in the hall of a residence. The irregular panes of glass were designed to imply ancient stained-glass windows that had been patched over the ages. At the far end of the room is a fireplace with a simple Tudor arch. The carved paneling surround serves as a portal for the organ music and disguises a secret panel that accesses the organ pipes. Many of the original furnishings, including hanging lanterns, sideboard and the flagon are typical of the period, and the settee is a good reproduction of a late-17th-century William and Mary piece. “It was love at first sight when I saw the house,” says current resident Mary Ann Leal, who, with her husband George, raised two children here and entertained numerous friends and groups in the home. The Leals found the property in near-original condition. The only substantive change they have made since moving in more than 30 years ago is a careful update of the kitchen. AM

1967 Granted to Jane C. & Robert Moffatt Allen 1972 Granted to Julian B. & Stephen E. Fife 1976 Granted to Kathleen & Edward J. Templeman 1976 Granted to Mary T. & George D. Leal

4,376 square feet; 29,699-square-foot lot

4 bedrooms, 5 bathrooms

1937 building permit valuation, $33,444; land cost, $9,000

Builder: unknown Reprinted with permission from “Colcord – Home” (Angel City Press; September 2008), by Bret Parsons. Available from Vroman’s Bookstore, call (626) 449-5320, or at www.vromansbookstore.com.

1938 Photography: Maynard L. Parker ARROYO ~ OCTOBER 2008 ~ 51

DESIGN

Olde England in the New World

GERARD COLCORD’S WRIGHT HOUSE IMPORTED NORTHERN EUROPEAN ELEGANCE TO SAN MARINO IN 1938. BY BRET PARSONS

THE WRIGHT HOUSE BY THE NUMBERS 1937 Commissioned by Ruth L. & Dr. Douglas Wright, Jr. 1943 Granted to Ruth L. Wright 1960 Granted to Jane C. Allen

1967 Granted to Jane C. & Robert Moffatt Allen 1972 Granted to Julian B. & Stephen E. Fife 1976 Granted to Kathleen & Edward J. Templeman 1976 Granted to Mary T. & George D. Leal

4,376 square feet; 29,699-square-foot lot

4 bedrooms, 5 bathrooms

1937 building permit valuation, $33,444; land cost, $9,000

1938 Photography: Maynard L. Parker ARROYO ~ OCTOBER 2008 ~ 51

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THE

LIST COMPILED BY JOHN SOLLENBERGER

A HIGHLY SELECTIVE PREVIEW OF UPCOMING EVENTS

CELEBRATING THE DEAD AT FOLK

AND THE

TREE

MARENGO COLLECTION

Oct. 4 — A reception from 2 to 6 p.m. kicks off the Folk Tree and the Marengo Collection’s 25th annual Day of the Dead Altars and Ephemera Exhibition, which runs through Nov. 2 at both locations. “Dia de los Muertos,” or “Day of the Dead,” on Nov. 1 is a Mexican holiday honorAndrew Phipps, ing the dead through ritualized worship, practiced in Mexico since at "El Senor del Noche least 1800 BC. The Folk Tree has invited a large number of area artists to assemble altars for people or events significant to them. Exhibition media include polymer clay and gourd art, painted ceramics, an interactive altar where visitors are encouraged to write their own messages and tributes, jewelry and more. In addition, a Sequoyah School Spanish class led by teacher Michelle Milner contributes a group altar. The Folk Tree is located at 217 S. Fair Oaks Ave., Pasadena. Call (626) 795-8733 or visit www.folktree.com. The Marengo Collection is located at 494 S. Marengo Ave., Pasadena. Call (626) 793-4828.

“MAVERICK ART” AND BLACK-TIE GALA AT THE AUTRY Oct. 4 — The Autry National Center hosts two big events: First, the “Maverick Art” exhibition’s opening reception runs from 10 a.m. to 2 p.m. In this show, some 50 artists go beyond traditional “cowboys and Indians” images to expand the boundaries of Western art. “Maverick Art” showcases work done after 1990, mostly from the Autry’s permanent collection, exploring such contemporary themes as freeway culture and the atomic bomb. The exhibition continues through Jan. 4, 2009. Later that evening, the “Feather and Stone” gala celebrates cultural diversity, Native American heritage and the West’s beautiful regalia. The event, which supports various Native American–related programs at the Autry, is held in conjunction with the center’s Voices of Native America Initiative. The evening includes a cocktail reception under the stars, silent and live auctions, an elegant sit-down dinner and musical entertainment. The reception and silent auction start at 6 p.m.; the live auction and dinner at 8 p.m. Tickets cost $1,000 per person. Sponsorships start at $10,000. The Autry National Center is located at 4700 Western Heritage Way, Griffith Park. Call (323) 667-2000 or visit www.autrynationalcenter.org.

AN EXHIBITION ON EVOLUTION AT THE HUNTINGTON LIBRARY Oct. 4 — Charles Darwin may be best known for his theory of evolution, but his work with plants also played an important role in his intellectual life. The Huntington Library presents “Darwin’s Garden: An Evolutionary Adventure,” a look at botanical influences on his ideas and ways in which his research contributed to the understanding of plants and life in general. The exhibition features more than 60 objects, including rare books and manuscripts, prints from the New York Botanical Garden’s collection and loans from private sources. The Huntington is the only traveling stop for the exhibition, which originated in New York. “Darwin’s Garden” marks the 200th anniversary of Darwin’s birth and the 150th anniversary of his book, “The Origin of Species.” The exhibition continues through Jan. 5, 2009. The Huntington Library, Art Collections and Botanical Gardens is located at 1151 Oxford Rd., San Marino. Call (626) 405-2100 or visit www.huntington.org.

Mary Clark Camargo, “Frida”

FAMILY FUN AND HISTORY CONNECT AT THE SOUTHWEST MUSEUM Oct 4 — StoryTime at 1:30 p.m. features two whimsical tales about desert creatures: “Don’t Ever Cross that Road! An Armadillo Story” and “Desert Night Shift: A Pack Rat Story” by Conrad J. Storad. Oct. 11 — NELAart Second Saturday Gallery Night features works by Connie Rohman, available for purchase from 7 to 10 p.m. Mexican chocolate and pan dulce will be served. Oct. 12 — “Let’s Make History” at 1 p.m. shows how to decorate a pony, with a lesson on how horses changed life for the Plains Indians. Oct 18 — “Kit and Kaboodle” teaches adults and kids ages 8 and up about ways Native Americans used gourds, and guests can decorate a gourd of their own. Kits cost $14.99. Oct. 25 — “A View from the Braun: Southwest Museum Lecture Series” presents “Capturing California’s Romantic Past: The Watercolor Works of Eva Scott Fenyes,” a lecture by Kim Walters, director of the Braun Research Library. Walters discusses how Fenyes was encouraged by her friend Charles F. Lummis to create more than 300 paintings of historic California adobes from 1898 to 1930. For some historic adobes, her paintings are the only known documentation. The lecture starts at 1 p.m. The Southwest Museum of the American Indian is located at 234 Museum Drive, Los Angeles. Call (323) 221-2164 or visit www.autrynationalcenter.org.

HOME TOUR SPOTLIGHTS LANDMARK DISTRICT Oct. 5 — The Garfield Heights Neighborhood Association hosts its self-guided 2008 Home Tour from noon to 5 p.m., featuring a wide variety of homes in Pasadena’s second-oldest landmark district. The homes, designed by Pasadena’s leading architects, represent the Victorian, Arts and Crafts and Spanish Colonial styles. Garfield Heights is located one mile north of the 210 freeway, north of Mountain Street between Los Robles and Marengo avenues. Tickets cost $12 purchased in advance or $15 the day of the event. The tour is free for children 10 and under. Proceeds support neighborhood improvement projects. The GLAD building is located at 2222 Laverna Ave., Eagle Rock. To purchase tickets, call (626) 388-2174 or visit www.garfieldheights.org. —CONTINUED ON PAGE 55 ARROYO ~ OCTOBER 2008 ~ 53

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THE

LIST

A HIGHLY SELECTIVE PREVIEW OF UPCOMING EVENTS

—CONTINUED FROM PAGE 53

PASADENA ASID HOME & KITCHEN TOUR RETURNS Oct. 5 — The American Society of Interior Designers, Pasadena Chapter’s 22nd annual Home & Kitchen Tour features six diverse homes in Altadena, Pasadena, San Marino and Glendale. Styles include contemporary, traditional, green, mid-century modern, Spanish bungalow, 1960s ranch, Spanish Mission hacienda, colonial and cutting-edge. Participating ASID and Allied ASID member designers include Cynthia Bennett of Cynthia Bennett & Associates, Judy Kenyon-Burness of Judy KenyonBurness Interior Design, Marlene Oliphant of Marlene Oliphant Designs, Mario Saverino of MK and Company Interior Design and Decoration, Melinda Schmidt of Fremdling Design Group, LLC, and Kristina Urbanas Spencer of Setting the Stage Interior Design. The self-guided tour runs from 9:30 a.m. to 5:30 p.m. Tickets cost $30 in advance and $35 the day of the tour. Tour and drawing tickets are available at Anthony’s Art & Frames, 2466 Huntington Drive, San Marino. Call (800) 237-2634 for tickets or more information or visit www.asidpasadena.org.

ANYTHING GOES AT “THE AMERICAN SONG BOOK” CABARET Oct. 12 — Music by the country’s songwriting greats, like Cole Porter or Rodgers and Hammerstein, never goes out of style. And in “A Musical Night on the Town: The American Song Book,” the husband-and-wife team of soprano Karen Benjamin and composer/KUSC-FM (91.5) host Alan Chapman will perform some of the best at the Pasadena Senior Center. The one-night cabaret benefiting the senior center will include a light supper from the Kitchen for Exploring Foods as well as wine and coffee service. The event starts at 6 p.m. Tickets cost $125. The Pasadena Senior Center is located at 85 E. Holly St., Old Pasadena. For reservations, call (626) 685-6724 or visit www.pasadenaseniorcenter.org.

A REFUGEE CAMP COMES TO GRIFFITH PARK Oct. 22 – 27 — Médecins Sans Frontières (Doctors Without Borders), the international, independent humanitarian aid organization, brings “A Refugee Camp in the Heart of the City,” to Griffith Park. The interactive exhibit dramatizes what life is like in a refugee camp for thousands of refugees worldwide. MSF workers guide the public through the 8,000square-foot exhibit, designed to accommodate 40-to60–minute tours by 800 to 1,200 visitors per day. At the exhibit’s end, visitors can read stories about war refugees’ experiences in Chad, Chechnya, Colombia, Iraq, southern Sudan and Thailand. Photos by worldrenowned photojournalists will also be on display. Exhibit hours are 9 a.m. to 5:30 p.m. Call (800) 490-0773 or visit www.doctorswithoutborders.org.

A GUIDE TO AN EXHIBITIONIST Oct. 24, 25 and 26 — The Heidi Dukler Collage Dance Theatre presents “A Guide to an Exhibitionist” at the Armory Center for the Arts. The interdisciplinary performance features dancers Jessica Emmanuel, Marissa Labog, Eva Wilder and Rawbzilla. The performance includes an interactive “self-portrait,” calling on audience members to engage their “secret selves” in conversation with a wired dancer via a microphone, camera and headset. In addition, two tango dancers share a pedestal in an illicit dance of “live sculpture,” and a plexiglass box traps a dancer held in the viewer’s gaze. Collage Dance Theatre borrows

themes from public and historic places, including the Ambassador Hotel, the Herald-Examiner building, a laundromat, the Los Angeles River and others. The performance is choreographed and directed by Heidi Duckler and written and conceived by Merridawn Duckler, with set and light design by Christopher Kuhl and projections and sound design by Jeff Teeter. Tickets cost $25. Performances followed by a wine reception begin at 7 and 9 p.m. Friday and Saturday and at 5 and 7 p.m. Sunday. The Armory Center for the Arts is located at 145 N. Raymond Ave., Pasadena. For tickets, visit www.collagedancetheatre.org.

STAGED READING BENEFITS THEATER, SCIENCE COMPLEX Oct. 25 — Highland Hall parents and performers present a staged reading of James R. Winker’s adaptation of “The Canterbury Tales” to benefit the new Highland Hall Waldorf School’s Performing Arts Theatre and Science Complex. The play is a humorous adaptation of Chaucer’s classic story, originally staged in 1984 at the Mark Taper Forum. The reading at the Rudolph Steiner Community Center Theatre features original cast member Bruce Davison as well as Amy Brenneman, Elizabeth Perkins, Saul Rubinek, Bruce Weitz, Fred Goss and Jim Ortlieb. Tickets cost $125 for premium seating, $75 for reserved seating. The event starts with cocktails and hors d’oeuvres at 7:30 p.m., and the performance begins at 8:15 p.m. The Rudolph Steiner Community Center Theatre is located at 110 Martin Alley, Pasadena. Call (818) 349-1394, ext. 223, or email jdres@highlandhall.org.

CELEBRATE HALLOWEEN SAFELY AT KIDSPACE Oct. 25 and 26 — Kidspace Children’s Museum helps parents and their little pumpkins celebrate the season with its annual Pumpkin Festival from 9:30 a.m. to 5:30 p.m. The weekend includes children’s costume parades, face decorating and a pumpkin patch. In addition, guests can sing and dance to live performances by Egg, Ellen & Matt; the Hollow Trees; the Twinkle Time Show; and the Radio Disney AM-1110 Road Crew. Also on hand are a petting zoo, pony rides, carnival games, seasonal crafts, a book fair for parents and picnic treats. Admission is free, as are many of the events. Kidspace Children’s Museum is located at 480 N. Arroyo Blvd., Pasadena. Call (626) 449-9144 or visit www.kidspacemuseum.org.

TRAVELING THE SILK ROAD AT PACIFIC ASIA MUSEUM Ongoing — “Journeys: The Silk Road,” a new interactive space at Pacific Asia Museum, offers a hands-on, interactive experience for visitors of all ages, illuminating how the ancient route between Asia and Europe became a path for exchanging ideas as well as goods. The multi-sensory exhibit features “Traveler’s Alcoves,” each featuring a different traveler such as a Buddhist monk, a spice trader or a silk-maker. It also includes Silk Road–inspired clothing, scents of different spices and samples of jade, gold and silk to touch. The Pacific Asia Museum is located at 46 N. Los Robles Ave., Pasadena. Call (626) 449-2742. AM ARROYO ~ OCTOBER 2008 ~ 55

KITCHEN CONFESSIONS

Autumn Apples WHETHER YOU LIKE YOURS RED OR GREEN, THE FRUIT OF FALL MAKES A FINE ADDITION TO YOUR PANTRY. BY LESLIE BILDERBACK

Somewhere in America, a brisk autumn breeze rustles through the changing leaves, but not here. In Los Angeles, it still looks and feels like July. The temperatures won’t start dropping until Halloween, much to the chagrin of

That apple is so acerbic I feel the need

our kids, who will be forced by their over-protective parents to cover up

to apply a coat of Chapstick before I

their costumes with jackets.

apples didn’t improve when I grew up.

take a bite. And my relationship with Forced to bob for them at a college frat party, I spent the remainder of the

The only real autumnal thing about October in L.A. is the produce coming into the market. It may not look very different in the big supermarkets, but if you have

evening with soggy bangs, drippy mascara and no date. When I was a culinary student, my chef told me never to cook with a red apple;

become one of the millions of farmers market devotees, you’ll recognize fall by the

he said that red apples are softer, they fall apart when heated and they’re only good

flood of apples. You may not think of apples as a special treat, but just one taste of

for applesauce. Being a model student, I took the lesson to heart. Years later, working

a real local, peak-season apple and you’ll be hooked.

as a pastry chef, my boss caught me peeling green apples for a pie and proceeded to

I have not always been an apple fan. For starters, apples terrified me as a kid. First,

read me the riot act. “Never use green apples for baking! Always red! Jeez! Don’t you

there was Snow White’s poison apple (which, frankly, looked delicious, making it all the

know anything, stupid?” said he. (I might have imagined that last part.) He disputed

more evil). Then there was the razor-blade-in-an-apple scare that swept my neighbor-

the claim that reds fall apart and said he preferred their color and texture.

hood when I was in third grade. Of course, now I know that there was never any such

I have since learned that in Europe, where my old instructor came from, the tex-

case reported, and it was just an urban myth. But that news came a little late. I should

tures of red and green apples differ more than they do here, and the red really do fall

have known. Any house giving out apples instead of candy would certainly have been

apart more easily in heat. But here, the big apple growers are mainly producing apples

on our radar and been egged more than once. But the paranoia is ingrained, and I still

for lunch boxes, and they all have pretty much the same texture. Therefore, my rec-

pore over my kid’s Halloween candy every year, ostensibly looking for any tainted treats.

ommendation is to cook with the apple you most enjoy eating out of your hand.

(What I am really doing is looking for Butterfingers, which are my favorite.) Dislike of the apple also stemmed from the fact that my mother preferred the tart Granny Smith variety, which I considered a step down from sucking a lemon. 56 ~ OCTOBER 2008 ~ ARROYO

Despite my own now rather broad experience with apples, there are aficionados out there who disagree with my assessment. Seasoned bakers have their own apple —CONTINUED ON PAGE 58

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KITCHEN CONFESSIONS

—CONTINUED FROM PAGE 56

preferences, and they can at times be quite militant about it. But I have finally come to terms with the apple, and so I just smile and nod. After all, I’m a big girl now and can use whatever apple I want. AM Bilderback is a South Pasadena resident, a certified master chef and baker and the author of five volumes in Alpha Publishing’s “ The Complete Idiot’s Guide to...” series — “...Snack Cakes” (June 2008); “...Good Food from the Good Book” (March 2008), “...Spices and Herbs” (Dec. 2007); “...Comfort Food” ( Sept. 2007); and “...Success as a Chef” (Feb. 2007). A former executive chef of the California School of Culinary Arts, Bilderback teaches her techniques online at www.culinarymasterclass.com.

FROM FIVE COURSE SIT-DOWN DINNERS TO BABY SHOWERS AND EVERY EVENT IN BETWEEN.

WALDORF SALAD

KITCHEN ROYAL INTERNATIONAL CATERING COMPANY is your full service catering solution helping you to celebrate the great events in your life. Our extensive international menus include Authentic Italian, French, Middle Eastern, Indian, Mexican & Asian Cuisines. A full service beverage host or cash bar is available.

NIKKI C’s

pasadena

FOR INFORMATION CALL (626) 825-1200 steak

pasta

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The creation of this classic luncheon dish is well documented. Named for the super-deluxe WaldorfAstoria Hotel in New York City, it was not the brainstorm of the chef, but of the maitre d’hôtel, Oscar Tschirky. The original version, which dates back to the 1890s, used only apples, celery and mayonnaise. Nuts and grapes began appearing in recipes in the 1920s. Waldorf Salad makes the perfect fruity accompaniment to burgers and sandwiches, or it can become a meal with the addition of two cups of cooked chicken breast, cooled and cubed. Ingredients (Serves 4) 2 apples (your choice), diced skin-on 4 stalks celery, diced 1 cup walnuts, toasted and chopped

lunch

dinner

daily

470 s. rosemead bl. pasadena • 626-792-7437 • nikkics.com

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1 cup green or red seedless grapes, halved 1 cup mayonnaise (see recipe below)

Directions In a large bowl, combine the apples, celery, walnuts and grapes. Toss with mayonnaise to coat, and serve chilled.

CLASSIC MAYONNAISE There is nothing better than homemade mayo. This technique is easier than you think, and once you master it, you can create some fabulous dressings and dips with the addition of just a few more ingredients, such as roasted garlic cloves for aioli. Don’t be alarmed by the appearance of a raw egg yolk in this recipe. Raw yolks are necessary and have been used for centuries to create emulsified dressings. If your eggs are chilled and your hands, equipment and kitchen are clean, there is no danger of food poisoning. (The majority of salmonella cases are caused by unwashed fruit, not raw eggs or meat.) Ingredients (Makes 21/2 cups mayonnaise) 1 egg yolk 2 teaspoons lemon juice 1 teaspoon water 1/2 teaspoon dry mustard

1 cup canola oil pinch of kosher salt pinch of white pepper

Directions Combine yolk, lemon juice, water and mustard in a large bowl and whisk together until foamy. Slowly drizzle in oil while continuously whisking. (Place bowl on a wet towel to keep it from spinning.) Add salt and pepper to taste and a little more lemon juice, if necessary. Keep refrigerated.

This recipe is an excerpt from Alpha Publishing’s “Complete Idiot’s Guide to Sensational Salads” by Leslie Bilderback, which will be published in March 2009.