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00lunedì 17 luglio 2006 15.42
They look great [1secr]





Ellen DeGeneres Portia de Rossi Tracy Warbin and Noah Wyle **EXCLUSIVE** Ellen DeGeneres Portia de Rossi and Gina Phillips Host a Charity Event to Help Launch a Self-Sustaining FXB Village in Uganda Chateau Marmont Hollywood California United ...

00mercoledì 19 luglio 2006 17.10
00domenica 23 luglio 2006 10.11
Goodbye, Dr. Carter; hello, Dali
From Los Angeles Times

By playing the surrealist in the comedy 'Lobster Alice' at his home stage, Noah Wyle picks up his post-'ER' career.

By Diane Haithman, Times Staff Writer

COUNT four red plastic lobsters — three on the floor, one on a table. Human beings sharing space with the scattered sea creatures speak of giant eyeballs, jellyfish and squirrels. Also curious: on one wall, there is a clock that runs counterclockwise. The "11" is where the "1" should be; 2 is 10 and 10 is 2. The face of the clock features the White Rabbit from "Alice in Wonderland."

"The mechanism is actually running backward. If you look at the clock in a mirror, it is telling time the right way," says Daniel Henning, artistic director of the Blank Theatre Company. "The way we look at things is just a little twisted." The clock will not be part of the set during the show, but will be hung backstage to keep the actors in an off-kilter frame of mind.

Rest and pic under the cut

Given the quirks of the setting, it seems no more out of place than anything else to see actor Noah Wyle, best known for his longtime role as Dr. John Carter on NBC's "ER," cavorting barefoot, throwing prima-donna fits in a heavy Spanish accent and prodding fellow actor Nicholas Brendon with his gold-handled cane.

The actor most associated with the gritty realism of the emergency room is rehearsing a role that seems exactly the opposite: flamboyant artist Salvador Dali in Kira Obolensky's surreal comedy play "Lobster Alice." The Blank Theatre production opens Saturday at the 2nd Stage Theatre in Hollywood.

Wyle has held the title of artistic producer of the company for nine years — a catchall title that has mainly involved fundraising and publicity, but also has called for partnering with Henning on some artistic choices, including the selection of "Lobster Alice." He moved into a leadership role in 1997 by donating the money for Henning to acquire the 2nd Stage Theatre business, and secured a $160,000 donation in 1998 from Novartis, the company that produces Maalox, used to upgrade the lighting system, seats and such.

Wyle first appeared with the Blank Theatre in 1991 — pre-"ER" — in David Mamet's "Sexual Perversity in Chicago." "That was a terrible production, but it gave me a home base from which to operate," he says, with affection.

"It's a funny little story," Henning says of his first contact with the actor. Wyle's name, he says, had been submitted for consideration for one of the roles, but the Blank held auditions and Wyle didn't come in. "We were seeing some great people — Matthew Perry being one of them — but we didn't find what we were looking for."

But Wyle, he continues, "had met our director at some party months before that and had written his number down on a napkin. And he went into some old jacket in the back of his closet and found this napkin. He walked in, and at 19 years old I knew, I knew he was going to be a star. The fact that he was 10 years too young to play this role made absolutely no difference to me."

Although his TV-doctor rounds precluded much performing, Wyle continued to work with the Blank, taking on wide-ranging roles in the company's workshop series and becoming involved in the theater's Young Playwright's program, which nurtures plays by writers 19 and younger. In fact, since "Sexual Perversity," the only Blank production in which Wyle has appeared was 2000's "The Why," which originated in the Young Playwright's Program and made it to the main stage.

In recent years, Wyle has preferred to stay mostly behind the scenes. But last year, he left "ER" after 11 seasons, the last remaining member of the original cast, which included George Clooney, Anthony Edwards, Julianna Margulies and Eriq La Salle. And now — older, wiser and a good deal richer — he is returning to his roots, so to speak.

Wyle's "ER" fame perhaps could have opened doors to Broadway or the country's more celebrated regional theaters — or, locally, to the Ahmanson, the Mark Taper Forum or the Geffen Playhouse — instead of leading back to a 53-seat venue in Hollywood, earning — in this case — $7 per show .

But Wyle says: "There's something about sticking with the horse that got me here. It just seemed natural that after the 'ER' chapter of my life was closed, I would go back to my touchstone, back to the gym, and kind of build up that foundation all over again.

"Plus, I love our theater, I love our space, the intimacy. If a production is good, it's something that just these few people get to enjoy. And if it's bad — well, you're only falling on your face in front of 53 people."

There are also, he acknowledges, practical reasons for going back on the boards at this time — both for the company and for himself.

The Blank, riding high on the success of last year's long-running production of Amy and David Sedaris' "The Book of Liz," as well as Henning's critically acclaimed staging of Michael John LaChiusa's "The Wild Party," is, according to Henning, angling to become "the legitimate regional theater in Hollywood," moving up from a 53-seat theater to a 499-seat space and operating under a League of Resident Theatres contract. A star turn onstage could help the theater toward that goal.

Ready to roll

IT also might inject new life into the career of the 35-year-old Wyle. "The idea is hopefully to build on the momentum the company has coming off of last season and to polish up my luck a little bit," he says.

"When 'ER' ended, I sort of figured there would be a fallow period — I really wanted to dedicate a lot of time to my family, to my kids, and so the last couple of months have just been about that. And then this came along right when I was ready to scratch that creative itch again."

During a Sunday rehearsal at a Woodland Hills dance studio, Wyle does, indeed, seem to be dancing his way through the very physical role — poking, pontificating, posing. Two weeks into the process, fellow cast member Brendon — doing his first play and loving it — is still struggling with his lines. But Wyle's script is nowhere in sight. "He has a photographic memory — it's not normal," says Brendon, known to TV audiences as Xander Harris on the series "Buffy the Vampire Slayer." Actually, the bare feet do not represent an affectation of Dali's, but rather an actor's quirk of Wyle's. "I like to rehearse barefoot," he says. "It makes me feel grounded."

Wyle is also looking forward to adding Dali's signature waxed mustache. "I think that will change a lot about how I speak and whatnot," he says.

Despite its apparent oddities, the play is based in reality. In 1946, surrealist Dali spent six weeks at Walt Disney Studios, commissioned to create "Destino," a short animated film. The play is a speculation on what might have transpired between Dali and the animator assigned to work with him — portrayed by Brendon. The fantasy also blends in elements of "Alice in Wonderland" through the character of studio secretary Alice Horowitz (Dorie Barton). The four-member cast also includes Michael Grant Terry.

"Destino" was never completed by the artist, but nearly a half-century later, Roy E. Disney — Walt's nephew — brought in animators to finish the work. The seven-minute film was nominated for an Academy Award in 2004, but lost to the Australian offering "Harvie Krumpet."

Like "Destino," Wyle was a work in progress when he took the role of Dr. Carter. He began, he says, as a relatively unknown 22-year-old "living in an apartment with a cat and a dog, driving a sky-blue, 1988 Dodge Shadow with dents in it. And I stepped off the freight train 12 years later with two kids, a ranch, a ton of animals and more money than I ever thought I'd make. How did I get here? That takes a certain amount of quiet and soul-searching, just to put that in perspective."

His success has also had a profound effect on his role with the Blank Theatre Company — leading him to approach his involvement with calculated care.

"I never wanted to do anything that could be perceived as a vanity project," he asserts. "I didn't want it to feel like I was funding a theater company so I could work when I wanted to.

"In this play, Salvador Dali isn't really the lead," Wyle continues. "He's certainly the most colorful character, but the others really have to carry the play."

Wyle also says he never plans to carry the company with his checkbook, although he acknowledges that he helps fill in any funding gaps at the end of each year.

"I think when I sit down and ask CAA or ICM or William Morris or Brillstein-Grey to make a donation, it's easier for them to make it because I'm the one asking for it. But it's not a burden that I've had to shoulder alone," Wyle says. "We've had ongoing grants from both the city and the state. We adopted a subscription season about four years ago so that we're able to garner a little bit of a nest egg at the beginning of the season that goes into the production fund."

In the past, Wyle has declared an interest in moving from his TV career into film, but is philosophical about the fact that his movie career has not taken off the way "ER" colleague Clooney's has. "The fixation on wanting to do movies instead of TV is really a schedule-oriented decision. I made a vow that I won't be gone for 80-hour weeks on a soundstage, nine months of the year," says Wyle, who with his wife, Tracy, have a 3 1/2 -year-old son Owen and 9-month-old daughter, Auden, named for the poet. "I think ambition plays a large part of it too," he adds. "I have real push-pull feelings about ambition. I need to pull back, to reassess, to reinvent, to put some distance between that period of my life and the next."

But, at least in the foreseeable future, there will probably not be too much distance between Noah Wyle and John Carter in the audience's mind, and the actor is OK with that.

"I reconciled that for myself a long time ago," Wyle says, with a wry laugh. "I used to say: 'Maybe I should have left after five years, like George, maybe I should have left after three, like Sherri Stringfield.' But then I looked around and I said: I love Alan Alda. I love James Garner and Peter Falk and all these guys who have done a lot of work but are by and large associated with a particular role."

Wyle says he has a hankering to do more theater, but not necessarily bigger theater. And, of course, movies — when they fit into his family lifestyle. Says Wyle, "I'll always be eternally grateful to 'ER' for granting me the financial security to exercise that kind of freedom of choice."

00mercoledì 26 luglio 2006 06.40
Noah as Salvador Dalì [SM=g27828]

00lunedì 31 luglio 2006 08.09
An excellent review and a funnt pic [SM=g27828]

An oddly satisfying 'Lobster'
Noah Wylie plays the great Salvador Dali as matchmaker in this screwball comedy.

By Charles McNulty, Times Staff Writer

Only history could be so surreal: In 1946, Salvador Dali spent six weeks at Walt Disney Studios hanging out with a young animator working on "Alice in Wonderland." Enticed by this tantalizing footnote in the artist's biography, playwright Kira Obolensky invents a theatrical dream world in which the man who famously envisioned melting clocks helps (in his signature boundary-blurring way) a reluctant couple melt into each other.

Not surprisingly, "Lobster Alice," which opened Saturday at the Blank Theatre Company's 2nd Stage Theatre with actor Noah Wyle transforming himself into the flamboyantly self-dramatizing painter, is an invitation for the most delightful visual whimsy. Treated as a hallucinatory screwball comedy by Blank artistic director Daniel Henning, the production opens a portal to a wonderland that, like a Dali canvas, grows more troubling as its deranged details come into view.

Admittedly, the thimbleful of story doesn't stretch very far. And the moral (yes, there's one of those) seems quaint to the point of trifling. Yet style-wise the piece is inspired.

The three leads turn in nearly pitch-perfect performances that conjure a particular 1940s Hollywood universe. Finch (Nicholas Brendon) is prepared to sacrifice everything to the corporate boss, including a personal life. He wants to make genial movies American families can brainlessly adore, even when he's working on something as reality-skewing as Lewis Carroll's classic.

Alice (Dorie Barton, in snazzy period outfits that would have made Carol Lombard jealous) is his office assistant. She's too smart for the job but sticks around out of a slow-budding affection she hopes will eventually blossom into something more meaningful.

Enter the mustachioed great man, an artiste not above commercial dabbling as long as he doesn't have to satisfy anything but his own whims. Opposed to blockage of any kind (creative, erotic or plain old intestinal), he works to liberate the office energy, loosening Finch's grip on conventionality, releasing the animal inside of Alice and routinely checking in on everyone's personal (and I mean personal!) business.

It's not long before Finch, doodling day and night at his desk, breaks out in a cold sweat as the characters from "Alice in Wonderland" take on qualities of Dali's sinister influence. (Brendon's portrayal brings to mind Matthew Broderick quaking on amphetamines.) And while Alice's introduction to the limitless carnal possibilities of the bohemian world springs her long hair from its stylish snood, it's evident from the slightly zonked look in Barton's eyes that the adventures are taking a toll.

Wyle, acting in a madcap reverie that his old character on "ER" would have found grounds for the psych ward, memorably illustrates a personality more topsy-turvy than any Disney could imagine. Not only is the low register of his European playboy accent perfect, but his uninhibited eccentricity is tactfully calibrated to never upstage what's really at stake: the would-be lovers' return to a romantically heightened normality.

Kudos to Henning's design team for creating such a fluid realm of theatrical fantasy. There's so much to praise in Robert Prior's magical sets and costumes, but the white couch that allows entry to another dimension of anthropomorphic existence is a stroke of silly genius.

When Thorton (Michael Grant Terry), Alice's former beau who was killed in the war, arrives from some hidden hole in the sofa to shed light on her back story, who would ever expect he'd be followed by an array of creatures, crustacean and otherwise, whose cuteness only intensifies their borderline psychotic menace.

If only the play's dramatic vision were as integrated as its pictorial possibilities.

But Henning's fluid production vividly makes Obolensky's point that as nice a place as the subconscious is to visit, you wouldn't necessarily want to live there.

'Lobster Alice'

Where: 2nd Stage Theatre, 6500 Santa Monica Blvd., Hollywood

When: 8 p.m. Thursdays through Saturdays, 3 and 7 p.m. Sundays

Ends: Sept. 3

Price: $22 to $28

Contact: (323) 661-9827

Running time: 1 hour, 30 minutes

00martedì 1 agosto 2006 12.49
Delightful 'Lobster Alice' showcases Dali's surreal stint with Disney
By Jeff Favre

Can you imagine a collaboration between Walt Disney, the icon of family-friendly fare, and Spain's Salvador Dali, the eccentric surrealist artist whose work was filled with wild and erotic images?

Well, it happened. In 1946, Disney commissioned Dali to help animate a short. It was for a compilation film, which was never finished. Dali's time in the Burbank studio amounted to only a few seconds of footage and dozens of storyboards.

It's easy to see why this mostly forgotten historical tidbit inspired Kira Obolensky to write "Lobster Alice," which debuted in Minneapolis in 1999.

Given how inventive and charming Obolensky's play is, it's curious that it took this long for the Los Angeles premiere. On the positive side, it couldn't be in better hands than those of the Blank Theatre Company, which during the past year has been on a critical and commercial roll with productions including "The Book of Liz" and "A Hole in the Dark."

"Lobster Alice" is a wonderful mishmash of a gentle office romance blanketed by a fascinating, dreamlike world. Both contrasting elements are humorous and enjoyable throughout the 100-minute piece.

And it's hard to imagine that "Lobster Alice" has ever had a director as sharp as Daniel Henning and a trio of performances this good, led by the wonderfully ridiculous Noah Wyle, who spent 12 years on the NBC series "ER."

Wyle, sporting a sharply curled moustache, portrays Dali, who changes the lives of Mr. Finch (Nicholas Brendon from "Buffy the Vampire Slayer") and his assistant, Alice (Dorie Barton).

The conservative, uptight Mr. Finch is a Disney animator working on the film "Alice in Wonderland." Like her cartoon counterpart, the real Alice longs for adventure and experimentation. Mr. Finch and Alice clearly have romantic feelings for each other but his shyness and events in her past have kept them apart.

Their routine is interrupted by the egotistical and wild Dali, much to the delight of Alice and the dismay of Mr. Finch. A brilliant touch that encapsulates Dali's personality comes when he first arrives. He adds two straight lines to a finished storyboard from "Alice in Wonderland," and then signs his name to the entire drawing.

Dali's presence has startling effects on Mr. Finch and Alice, as well as on the entire play, which gradually moves toward a hallucinatory world.

Obolensky's script is ratcheted up several notches by Henning and his cast, who give the perfect pacing and tone to each moment, from the slow, subtle introduction of Mr. Finch and Alice, to the intense and delirious scene when Dali finally describes the idea for his animation.

This is a Wyle you've probably never seen. His over-the-top accent, bug-eyed stares, sweeping gestures and nonstop energy would likely have pleased the real Dali.

Wyle is the ideal opposite for Brendon, who as Mr. Finch is a bundle of nerves. Brendon stammers, moves with constant caution and explodes in fits of rage or fear, with comical results.

Not to be outdone, Barton completely inhabits Alice. Her longing stares and mischievous smiles are enticing. And she expertly plays off of her co-stars' divergent performances, dominating Brendon and succumbing to Wyle.

The set and costumes, both designed by Robert Prior, are visual treats. Barton sports several snappy dresses, including a beautiful black gown. And Wyle looks every bit the Spanish artist in his flowing cape.

The office set, though simple, contains several surprise elements that add to the play's surrealism.

An interesting side note is that in 2003, animators returned to Dali's work for Disney and finished the seven-minute film, "Destino." After "Lobster Alice," you'll never be able to see "Destino" or "Alice in Wonderland" again without thinking of this play.

And that's a good thing.

Jeff Favre is a freelance entertainment writer based in Los Angeles

00mercoledì 2 agosto 2006 10.20
Another hilarious pic [SM=g27828]

00venerdì 4 agosto 2006 07.38
Blank Ambition
‘Lobster Alice’ proves Daniel Henning’s company could grow with new Hollywood


With clubs and restaurants popping up in the middle of Hollywood every week, isn’t it time that a home-grown, fully professional theater company opened in the neighborhood?

Sure, touring musicals play the huge Pantages Theatre. And Hollywood has a cluster of little theater companies that operate under Actors’ Equity’s 99-Seat Theater Plan – which requires only token payments to performers. Most of these tiny venues are on Santa Monica Boulevard, about seven blocks south of the Pantages. Tourists and other casual visitors to the neighborhood aren’t likely to notice them.

The most durable and critically acclaimed of these companies, the Blank Theatre, is developing a plan to grow into higher-profile quarters on Hollywood Boulevard. Artistic director Daniel Henning wants to convert one of the street’s decaying cinemas – he’s not sure which one – into a 500-seat theater. Meanwhile, the Blank would keep its current 53-seat venue – known as the 2nd Stage even before its Blank days – as the Blank’s second stage.

“Hollywood is the one place where people from all over Los Angeles go for entertainment,” Henning notes. “It’s a no-brainer” that the entertainment menu should include theater, beyond the for-profit imports offered by the Pantages.

The attempted renovation of the former Doolittle Theatre as the Ricardo Montalbán Theatre, near the Pantages, has been a largely dormant dud, as have efforts to program tours at the mammoth Kodak Theatre, farther west. But those venues are too large for Henning’s purposes. The midsize scale he has in mind would preserve a sense of intimacy, even as it enlarges the group’s production values and payroll.

The Blank is the logical company to fill the role of Hollywood’s resident theater. It has operated in the neighborhood for 16 years, and 2005 was its best year. With 172 performances, the hilarious The Book of Liz became the Blank’s longest-running hit, eventually moving off the 99-Seat Plan to an Equity contract. Meanwhile, The Wild Party, staged by Henning across the street at the slightly larger Hudson Theatre, picked up a slew of honors.

Both of these, as well as Henning’s current rendition of Kira Obolensky’s Lobster Alice, are apt indications of how his taste coincides with the new Hollywood’s at its hippest. Lobster Alice is even set in greater “Hollywood” (actually, Burbank). A speculation about what might have happened when Walt Disney briefly employed Salvador Dali in 1946, it examines the intersection of two different kinds of dream machines – and whimsically illustrates how a free-flowing imagination can unshackle repressed personalities.

It’s a crackling production, replete with sharply hewn performances. Nicholas Brendon plays the Disney animator assigned to the Dali project even as he also works on Disney’s Alice in Wonderland. Dorie Barton portrays the animator’s restless assistant Alice, who’s an inspiration to both her boss and Dali. In alternately seducing and bellowing tones, former ER star Noah Wyle (who’s also the Blank’s “artistic producer” and sometime benefactor) has a field day as Dali. His celebrity should generate extra business at the box office.
Still, there are moments when the play’s surreal special effects might be even more compelling in larger quarters, or in a theater where patrons don’t have to cross the stage to get to the bathroom.

The Blank won’t expand without a lot of help. Wyle’s onstage presence and offstage contributions can’t do it all. It will take a generous effort by a wide variety of people, not only from Hollywood the neighborhood but also from Hollywood the industry.

Let’s not forget that many of the people who make money from that industry began their careers in the theater. Most people already think of “Hollywood” as greedy and short-sighted. A failure to support the growth of a professional theater company in the heart of Hollywood would confirm everyone’s worst expectations.

Lobster Alice
By Laura Hitchcock

Tis the voice of the lobster, I heard him declare,
You have baked me too brown, I must sugar my hair.
from Alice in Wonderland by Lewis Carroll

Here are a few of the headlines: Salvador Dali, Madcap Artist;
Making Sense of No Sense; Putting the 'F' back in Art -- Finch
I love your country. ---Dali

Dali and Disney, what a perfect fit! They thought so.

In 1946 Walt Disney commissioned Spanish avant-garde artist Salvador Dali to create an animation based on one of his songs. Dali spent six months in Hollywood and playwright Kira Obolensky has taken a leaf from his surreal book in imagining the sub-text in this sparkling production at The Blank Theatre Company in Hollywood.

Dali is the only historic character in the play and is played by Noah Wyle who looks amazingly like him, slim, moustachioed, with an aptitude for recreating Dali's manic wide-eyed stare. He alternates flaming artistic temperament with a gentle astuteness towards the fictional John Finch (Nicholas Brendan), an assiduous animator and company man, and a cooing wooing of his bright delicious secretary Alice Horowitz (Dorie Barton), who relishes the world only when it's interesting.
Barton opens the play and her mobile expressions and vivacity set a comic tone that is its keynote. She also sets the period when she tells a phone caller that she went to a party where the typical question was "What's a pretty girl like you doing with a job?" and laughs as she recalls the first thing she did after the party was light up a cigarette. She had a date with her boss, John Finch, which so terrified him that he has pretended to be engaged ever since. He apologizes for behaving like an animal. When she tells him he was a mouse, Finche defensively retorts "A mouse is an animal!"

Interesting enters with a capital "I" in the person of the dashing devilish Dali, predictably unconventional, who drives Finch to expostulate"This is an animation studio! We do not, can not behave like artists here!" Later the playwright gives Finch a defense of animators as artists that doesn't impress Dali as much as it hopefully will the audience.

This is really Finch's coming of age story as he flails between the two Big Ds in his life. Paradoxically he's animating Lewis Carroll's Alice in Wonderland without any sense of wonder. Even Walt notices. He finally succumbs to his attraction for Alice who is having a whirl, not only through her acquaintance with Dali and his friends, but with the ghost of her late lover Thorton. She even gets it on with an octopus.

If Dali's purpose is to shake the office up, he succeeds in making Finch appreciate Dali's elastic thought. Finch realizes what Dali is after is to ""put two things together in such a way as to change both forever" whether this refers to elements in his paintings or relationships between his co-workers.

The amazing thing about Obolensky's play, with an assist from Robert Prior's Dali-esque murals, is that when they are revealed, much of Dali's work makes perfect sense. That malformed clock which represents Western Man's melancholy obsession with time, the telephone that sits on top of a woman's head instead of a hat, female body parts assuming individual importance in their own right.

Daniel Henning's direction takes its cue from that "Madcap" headline without becoming manic. He leads John Finch, played with stolid lunacy by Nicholas Brendon, off the straight and narrow down this particular rabbit hole, with bright careful attention to Obolensky's themes and darts. Robert Prior's costumes are the kind of vivid costumes Dali wore for every day. Jaymi Lee Smith provided a versatile lighting design, complemented by Disney-esque music in Warren Davis's sound design.

Obolensky's flair for humor and her playfully surreal duel between Art and Commerce overcome occasional predictable moments. It's a comedy funnier than most of what the Disney machine strove for with a nod to one of the 20th century's most unique artists. "What do you do when you are awake?" Dali wonders of those who live robot-ized lives. That's the crux of Wonderland.


Click to enlarge [SM=g27828]
00domenica 6 agosto 2006 11.05
Lobster Alice
August 03, 2006
By Dany Margolies

Curiouser and curiouser, we think, as this Lobster's tale begins to take shape. But it ultimately boils down to a satisfying love story between a woman who seeks the interesting and a man who seeks safety. Helping propel the story down a figurative rabbit hole are Kira Obolensky's delectable script, Daniel Henning's lively stylish direction, the whimsical design, and a well-cast quadrille of actors who fully live their characters for us.

In 1946, reportedly, Salvador Dalí worked at Disney Studios for six weeks, designing panels used to animate a song, the whole to be turned into a (very) short film. Obolensky mines the incident, giving us six consecutive Monday mornings in the office of Mr. Finch, who is an animator on Alice in Wonderland, and his secretary, Alice. There has already been unsatisfying frisson between these two, but Dalí's arrival turns up the heat.

Nicholas Brendon plays Finch, growing in intensity: disbelief, frustration, agonizing jealousy. Noah Wyle is Dalí, making the well-known real-life figure as fervid as history and rumor tell us he was. Brendon and Wyle are cartoonish, yes, but in the best ways: vibrating with energy, colorful, zanily exaggerated. As Alice, Dorie Barton adds even more layers to the style of the piece; her work beautifully captures the 1940s cadences, while a very tangible longing soothes any cloying—even clawing—elements that type of character might engender. Michael Grant Terry too briefly appears—out of a couch—as Alice's former beau.

It wouldn't look like Disney, or Dalí, or a vivid melding of both, without the expert hands of art designer Robert Prior, lighting designer Jaymi Lee Smith, and hair and makeup designer Judi Lewin. The production is not absolutely perfect. On opening night, voices (particularly Brendon's and Wyle's) occasionally dropped below audibility, and the set was still settling in. But the artistry in every element of stagecraft is so richly rendered here, it will be remembered as a rare delicacy on the platter of local theatre.

Presented by the Blank Theatre Company at 2nd Stage Theatre, 6500 Santa Monica Blvd., Hollywood. Thu.-Sat. 8 p.m., Sun. 3 & 7 p.m. Jul. 29-Sep. 3. (323) 661-9827. www.theblank.com.
00lunedì 14 agosto 2006 11.57
I have enough of small pics!
NOah, Auden e Owen! [1secr]

[IMG]http://img.photobucket.com/albums/v661/Raffyx/Noah%20pics/Noah%20and%20family/2006081416290863.jpg[/IMG] [IMG]http://img.photobucket.com/albums/v661/Raffyx/Noah%20pics/Noah%20and%20family/2006081416290587.jpg[/IMG] [IMG]http://img.photobucket.com/albums/v661/Raffyx/Noah%20pics/Noah%20and%20family/2006081416290372.jpg[/IMG]

[Modificato da Raffy75 14/08/2006 11.59]

00venerdì 18 agosto 2006 11.17

Actor Noah Wyle goes shopping in Malibu with his two kids. He wasn't able to shop for very long though, because the kids just wanted to play on the toys outside the store.

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Actor Noah Wyle spends the day with his family shopping at IKEA in Burbank, California.

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[Modificato da Raffy75 18/08/2006 11.18]

00domenica 20 agosto 2006 21.14
At the Theatre

Why would Noah Wyle follow up TV megahit ER with a $7-a-week stage role at a tiny theatre in the crummy end of Hollywood? For the chance to play a part he’d probably never get cast in on screen – madcap eccentric Salvadore Dali.

Noah has an absolute ball cutting loose in the play based on Dali’s short stint working for Disney’s animation department in 1946. But while Wyle’s Dali is fun to watch, the play is as surreal as the artist himself and the drama suffers amid all the weird theatrics. Even more surreal was the fact that patrons had to walk across the stage to get to the bathroom. Strange, but enjoyable and fun ‘till the end.

2ND Stage Theatre, 6500 Santa Monica Blvd, Hollywood ( 323) 661 9827

00lunedì 21 agosto 2006 12.41
Thanks to Lutka and celebrity city for these....






00mercoledì 23 agosto 2006 08.18
Little cute Auden: she's a mini Noah [1secr]



[Modificato da Raffy75 23/08/2006 8.20]

00mercoledì 23 agosto 2006 10.57
comunque....she's like her mother [1ami]
00mercoledì 23 agosto 2006 10.59
Te sbagli [1amo]




[Modificato da Raffy75 23/08/2006 11.02]

00mercoledì 23 agosto 2006 11.10
ah vabbè se me la metti sul piano di prove incofutabili...chiedo venia [2cia] [3amo]
00mercoledì 23 agosto 2006 11.13
Sfotti, sfotti [SM=g27828] [1inch]
E comunque visto che Tracy looks like Noah....you're right too [3amo]

P.S. Valenet is KO [1dorm]
00mercoledì 23 agosto 2006 11.35

Scritto da: Raffy75 23/08/2006 11.13
Sfotti, sfotti [SM=g27828] [1inch]
E comunque visto che Tracy looks like Noah....you're right too [3amo]

P.S. Valenet is KO [1dorm]

lo so.
oh per chiedere come si dice "assomigliare" ho girato tutto il customer service di Lottomatica, ma oggi tu mi hai dato la s econda lezione [1wow][1cia]
00mercoledì 23 agosto 2006 11.40
E devi vedere quanto c'ho messo io e quante figurelle in giro per il web [SM=g27824]

[Modificato da Raffy75 23/08/2006 11.41]

00martedì 29 agosto 2006 15.53
I could die....

Noah last night at the Blank 16th Gala

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00venerdì 1 settembre 2006 18.30
Two new pics from "Lobster Alice":



Another little reviews

At the Theatre

Why would Noah Wyle follow up TV megahit ER with a $7-a-week stage role at a tiny theatre in the crummy end of Hollywood? For the chance to play a part he’d probably never get cast in on screen – madcap eccentric Salvadore Dali.

Noah has an absolute ball cutting loose in the play based on Dali’s short stint working for Disney’s animation department in 1946. But while Wyle’s Dali is fun to watch, the play is as surreal as the artist himself and the drama suffers amid all the weird theatrics. Even more surreal was the fact that patrons had to walk across the stage to get to the bathroom. Strange, but enjoyable and fun ‘till the end.

2ND Stage Theatre, 6500 Santa Monica Blvd, Hollywood ( 323) 661 9827

Reviews by (lucky people) who watched "Lobster Alice"


Broad comedy in a 50 seat theatre is no easy feat, but the expert cast and production of ‘Lobster Alice’, the psychological comedy at The Blank Theatre Company’s 2nd Stage Theatre in Hollywood accomplishes it fantastically.

Set in a Walt Disney Studios production office in 1946, Salvador Dali arrives to help an animate animator and his secretary Alice develop ‘Alice In Wonderland’, Things quickly become curiouser and curiouser as the creative process clashes with the limits of reality. It’s a madcap mind ****.

Things are kept perfectly on edge under the expert direction of Daniel Henning. The fine ensemble cast shines brightly.
Noah Wyle gives a performance of such depth and passion with expert comic timing one wonders how this much talent hasn’t been unearthed before (or if it has we weren’t looking.) His salvador Dali exudes charm, intellect, passion, charisma, sexuality & comedy integrally.
Dorie Barton’s Alice is hungry for life, her spunky quizzativeness is at one moment innocence, the next seductress. She’s a delight to watch.

Going on for Nicholas Brendon (Buffy, The Vampire Slayer), Eddie Mills is milk toast personified. Reminiscent of Matthew Broderick or Jack Lemmon being drug through hell, kicking and screaming, to the depraved world that’s Dali’s Wonderland.

A hoot and a holler, ‘Lobster Alice’ is L.A.’s best kept secret. Let’s get the word out.



Tonight I finally caught a performance of Lobster Alice put on by The Blank Theatre Company. While I thought the entire cast was fantastic, the standout for me was Noah Wyle as Salvador Dali, a performance I would characterize as "charismatic insane". Watching him was like watching an acting class. He was big, but very precise in all of his movements. He took command of the stage, but gave a lot to his fellow cast members. And the accent and facial expressions just killed me.

As for the play itself... It's hard to comment on a especially surreal work in an already organic/non-formulaic medium... Most of the little things that I would have liked to have seen tightened were so I'll just say that play depended on the strength of the actors to carry it, and the cast didn't disappoint at all.

On an interesting not, the 2nd Stage Theater is the first place I've been to where the audience had to walk through the set to get to the restroom


From Nick Brendon's audioblog

So, yeah, so the play was pretty fantastic... you know, except for Noah Wyle. No, I'm joking, I'm joking. I say that because sometimes Noah calls to check my blogs, and I figured I should ... well, I should just talk not nice about him. But he's the greatest guy in the world.

He's so great, actually, that I was emceeing an event for The Blank Theatre Company here, where I'm doing the play, and Noah? Well, he bought me. I auctioned myself off to be a slave for a day, and Noah paid a thousand dollars for my wares. You know, and to be quite honest with you, I was hoping to go for $10,000. But that's my ego talking. Anywho, I think Noah has got some stuff in mind and rest assured that I will call and audioblog everything that he has in mind for me. I'm sure it's a long, long list. He's got me for 13 hours. Captive for 13 hours. And he mentioned something about handcuffs and carrots -- I'm not really quite sure what that means.

So that's that. It was just a fantastic experience doing the play and it's going to be sad tonight! I'm going to have to say bye to my character, and move onto something else. We're hoping to maybe do it somewhere else. Maybe overseas, or New York or San Diego or somewhere, because we had a fantastically beautiful time.

And I hope you guys are all doing well. I have to go shower because we're actually taping. They're doing the making of Destino, which is basically what our play is based on. It was an animated short, created by Dali and the animator played by me -- but I didn't really animate it, because it was back in 1946. It was up for an Oscar in 2004, and ... Disney's releasing it, and they're doing the making of Destino.

Disney is coming to the stage today, to film myself; Dorie Barton, who plays Alice; and Noah, in our play. So we are going to be a part of that beautiful project. I think that's really kind of cool.

[Modificato da Raffy75 01/09/2006 18.35]

00giovedì 7 settembre 2006 18.10






00lunedì 18 settembre 2006 16.03
New cute paparazzi pics of Noah and family [1secr]

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00martedì 19 settembre 2006 20.22

USA - Archbishop Desmond Tutu Honored by "Artists For A New South Africa"
American actors Noah Wyle and CCH Pounder arrive at the gala fundraiser "Tutu - One Amazing Night of Celebration" honoring Archbishop Desmond Tutu by Artists For A New South Africa (ANSA), held at the Beverly Wilshire Hotel.

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From Silly at ERforum


00mercoledì 20 settembre 2006 09.00

00giovedì 21 settembre 2006 22.32
00venerdì 29 settembre 2006 08.35
Librarian Promo Pics










[Modificato da Raffy75 30/09/2006 12.50]

00martedì 3 ottobre 2006 22.34

Trailer: enjoy it :)

You can download it here.

00mercoledì 11 ottobre 2006 10.45
Californians clips
Some clips of cute and funny Noah :P

You can dowloand them here and here

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