Christopher Hayden, left, sold the first painting of the exhibit to Sean Sullivan, associate publisher of Good Housekeeping magazine. Photo courtesy of Christopher Hayden.

Some of Christopher Hayden's works are seen on display at the AFP Galleries in New York City. Photo courtesy of Christopher Hayden.

There was always that question in the back of his head of whether he could make a living as an artist.

Christopher Hayden, a 28-year-old junior marketing major, sat on his couch with his dog’s head resting in his lap; his iconic piece hanging on the wall above him, with the flecks diamond dust twinkling in the sunlight.

“I really, honestly never expected to do art. I always liked it, I always did it as a hobby … it was fun,” said Hayden.

“Even after the first print I ever sold … even then, it didn’t dawn on me that I could make a career out of it.”

Hayden had just returned from New York, where he had an opening for his series “Baby with Gun” Nov. 5, in the AFP galleries of the renowned Fuller building — where seasoned, internationally acclaimed artists have showcased their work in past exhibits.

The artwork is an untitled series of graffiti, silkscreen paintings depicting an infant holding a gun.

The infant, shown in a graphic, bold color against a dark background, appears to be smiling as its chubby hand clutches the gun.

His favorite piece in this series is an infant painted black on black, flocked with diamond dust, which said he doesn’t plan to sell anytime soon.

Hayden said the paintings were conceptualized in an argument he had with a friend about nature versus nurture.

“I think one of my friends made an off comment about how having guns in the house breeds violence,” he said.

Originally from Ohio, Hayden said he grew up with guns in the house and learned how to “shoot it and clean it and load it” at a young age.

The other paintings in his baby series include a baby with a cross, and an obese baby with the markings indicating preparation for plastic surgery, which will be shown in upcoming galleries.

The paintings were created as social commentary on violence, religion and beauty.

Hayden had purposefully left the paintings untitled.

“I didn’t want any bias with it … I always ask people what they think of it, because I like hearing the stories that they come up with,” he said.

Hayden said he even signed his name on the back of the paintings, in order to avoid distractions from the art.

“I created this with a very specific intention, and that was to get people to think … it’s like a Rorschach test, people make up their own stories,” he said.

Hayden worked with silk-screener Alexander Heinrici, who had worked with Andy Warhol.

Hayden created the paintings in his apartment and sent them to Heinrici in New York for the silkscreening process. The entire process took a month to complete.

Considered an emerging artist, Hayden has already made a name for himself in St. Louis and New York, even though he has never formally studied art in school.

He sold the first painting one month after the paint had dried.

“It was happenstance of how I fell into art in the first place,” he said, “I’ve always loved to do it, but I had the mother telling me … ‘how’re you going to feed your family?’”

Hayden instead opted for a degree in business, always doing art as a side project.

“I sold a few pieces, had marginal success, but not enough to live off of and support myself,” he said.

This year, his career started to take off.

Hayden said the transition between life as a student and his life as an artist was difficult.

“This semester has been pretty difficult for me because how intense the art has been and how intense school has been,” he said. “I feel like I’m spinning a lot of plates right now.”

Hayden had his first show in St. Louis, in the Lococo Fine Art gallery in June. The most recent gallery show was in the AFP galleries in New York.

“I’m starting to see now that I can do it, but I’m so close to getting that bachelor’s that I might as well just do it,” Hayden said.

Before the exhibit opened, he sold two paintings – one to a criminal lawyer and another to Sean Sullivan, associate publisher of Good Housekeeping magazine.

During the show, he sold another painting to an art collector. Each piece sold for $6,000.

“I’ve never imagined this,” Hayden said. “These are selling for as much as my car is worth.”

Robert Lococo, an art dealer and owner of art publishing company, Lococo Fine Arts, works with well-established artists in renowned galleries. He is also a dealer for the Andy Warhol Foundation.

Lococo’s inventory includes works by Andy Warhol, William S. Burroughs and Alex Katz.

Hayden’s works are also in his inventory.

Lococo had commissioned Hayden to do a series in January entitled “Made in America” – a print series of gangsters, such as Al Capone – done in a Lichtenstein-Warhol like style.

“It’s pretty amazing, quite frankly, that Chris got this show in New York,” Lococo said. “It’s difficult to find young emerging artists, and Chris is the exception with us here at Lococo.”

Lococo attended the opening and said that Hayden’s work was well-received with 100 people in attendance.
Lococo said Hayden was nervous before the opening. He reassured Hayden and told him to “just be yourself.”

“Whoever they are, they’re going to accept you,” he said, “because you are the creator, you get to play God – until you go home to visit your parents,” Lococo said, laughing.

Overall, Hayden sold 18 of the 33 original paintings, keeping eight back for himself.

His next exhibition will be at the Bohemian Gallery in Kansas City, scheduled to take place at the end of November.

The exhibition, “Sins and Sinners,” is a dual show where Hayden’s work will be displayed alongside late novelist and painter, William S. Burroughs’ paintings, “The Seven Deadly Sins.”

Hayden is also scheduled to have an exhibition in Uruguay.

Hayden said he had done the L.A. Art Walk in August, and would like to do more exhibitions in California.

During the Art Walk, Hayden displayed two paintings. Since no one knew who he was, he said it was an opportunity to linger around and hear the comments people made about his art.

“If your whole purpose of art is to convey a message, to know that message was received … that was the most important thing to me, I didn’t care if they bought it or not, I just want to hear what people thought,” he said.

Hayden does not consider the baby series his masterpiece.

“I think it’s still yet to come,” he said, “as long as I’m creating, I’ll be happy.”

Picture the “Karate Kid,” but replace the karate gi with a Spandex leotard and the Japanese headband with wrestling headgear, and you’re on target.

The similarly named Los Angeles band Louden Swain’s new album, “A Brand New Hurt,” wrestles with the same idea.

And though it has significantly fewer 1980s workout montages (I counted exactly zero), Louden Swain does offer inspiration.

But exactly what they are trying to get across is lost in the vague, and at times, ineffectual lyrics.

In “Election Day” the band makes such non-essential observations as, “What will anger do? When the wish comes true, in theory.”

In trying to figure out Louden Swain’s message, the work you’d have to do deciphering their cryptic references wouldn’t be worth the payoff.

The musicality of the songs, however, is somewhat redeeming. In arguably their best track on the album, “Alright,” the pitch and musical composition change, adding a soulfulness to the song.

The first album track, “Better,” tells us that just because we were accidentally conceived and subsequently raised in a violent home, things can get better, “Cause better’s what you got.”

“What you need you already possess, Grasshopper,” which is probably what the song really means.

“Better” sounds new and fun—the snare drum trots along to stammering guitar chords and gives the song a slow, but upbeat tempo.

The chorus comes in at about 30 seconds and reveals an older rock sound from the early to mid-90’s.

In fact, most of the songs on “A Brand New Hurt” are upbeat, and the simple rhymes embedded in their lyrics make the songs easy to sing, and almost catchy.

If you love the squeaky guitar crooning of Jack Johnson, then check out “Medicated.” For the Blues Traveler fan, there’s “Poptart Heart,” and you will hear a little Green Day in “Downtown Letdown.”

The apparent differences between tracks could be that the band has a diverse group of influences.

Another reason could be that after eight years of playing Hollywood’s more lukewarm spots, Louden Swain is left with a pathological attempt at wide appeal.

It takes real sacrifice to create a true and unique musical identity amongst all the white noise of Los Angeles bands.

I don’t think Louden Swain has made that sacrifice, despite being among the lineup of groups that has been around for almost a decade.

“A Brand New Hurt” is good for a couple of things—it would be a great album to work out to, whether or not you like to wear spandex and headgear.

Also, if you’d like to hopelessly confuse friends with which ‘90s rock band you’ve got in the stereo, this CD is perfect.

Best of all, on hard days or long car rides, the happy vibe and honest attempt at good music, might be just the thing that makes you feel good.

Who cares about a message anyway?

The Almost group shot. Photo Credit: Avi Yashaya / Contributing Reporter

At face value, The Almost is primarily a side project of Underoath drummer Aaron Gillespie. While some side projects tend to take a very self-indulgent path, often leaving fans alienated in hot pursuit of artistic crossover credibility, something about this band just fits. You certainly can’t blame Aaron for wanting to step away from the drum kit of a fierce metal-core band, albeit a hugely successful one that defined modern Christian rock, in favor of showcasing his multi-instrumental talents and melodic tendencies.

While he recorded practically the entirety of their first album, “Southern Weather,” himself, the band that commanded the stage at the Wiltern had a chemistry not often seen in most “for touring purposes only” acts. This at-ease nature that lets The Almost gel so well is most likely the result of the experience behind the creation of their new album, “Monster Monster.” Guitarist Jay Vilardi described the process as, “more of a collaborative group effort. Aaron would send us tracks to work with over the Internet and we first got together in the studio, which actually worked to our advantage.”

Their live show at the aptly named Wiltern Theater (on Wilshire and Western) also displayed a passion that was very tangible. The aggressive set packed in material from their growing catalogue that managed to come off as both heavy and melodic, which certainly has to do with the band’s broad spectrum of influences.

“Right now we are listening to everything from Kings of Leon to Necrophagist to Reliant K. I mean we love heavy stuff, but its just exciting to hear these bands doing new things,” Vilardi said.

Their progress is apparent on stage as well. Aaron looks comfortable stepping up as frontman and he’s got the charisma to back the band’s rambunctious sound. Their previous tour was, “a sold-out run with Paramore, but this tour is going very well because its bringing us to a crowd that understands us more,” Vilardi said.

During the short but sweet set, the band paid homage to Johnny Cash and kept the crowd furiously excited, providing the perfect juxtaposition between headliner The Used’s heartbroken parade of brutal angst. They proved very well that there can be accessibility and a good time to be had in a genre to often associated with doom and gloom.

Although the future is never certain for a band whose frontman splits double duty, The Almost are a creative outlet worth investing in. In 2010, they will be playing Soundwave, an Australian festival renowned worldwide by fans of the heavy, bringing their signature flavor of post-hardcore with a dash of southern rock to the masses.

“It’s important to maintain a balance between Aaron’s personal life as well,” Vilardi said, although having open musical expression in two successful projects can’t sting too bad.

Photo Courtesy of Jonnae Thompson

Jonnae Thompson doesn’t exactly fit the profile of a professional standup comedian. She’s young. She’s a woman. And she’s an English major.

Thompson, 22, got her start as a professional comedian a year ago, and now is performing regularly at comedy clubs, such as the Comedy Store on Sunset – where some of the biggest names of comedy have performed, such as Richard Pryor and Eddie Murphy.

Being in the industry dominated by males, Thompson found that she stands out.

“I’m typically the only woman, a lot of times the only person my age. Sometimes the only African American person there,” she said.

Thompson said getting into standup was not intentional. It wasn’t something that she had even considered until she saw a flyer for the Jimmy Kimmel college competition on campus.

“I might be a funny girl, but I could never get in front of an audience and make people laugh,” she said.

A friend persuaded Thompson to enter the competition. Thompson was hesitant at first, but said that the woman in charge of signing people up sealed the deal for her.

The woman said there was a lack of female representation, said Thompson, “and anytime you tell me something like that, I’m probably going to do it.”

Thompson entered the competition, not really knowing what to expect.

“I thought it was going to be something like improv, or we’re going to play games, or something like that,” she said.

Hours before the competition that day, she found out she had to prepare a three-minute set.

“Three minutes didn’t sound hard to me … but once I saw what three minutes of standup really would look like, I thought maybe this isn’t really the time to try to test this out,” said Thompson.

When she arrived for the competition, she still didn’t have a set prepared.

“I thought, ‘I’m going to wing it, I’m just going to wing it’,” she said.

Drawing from her everyday life, she talked about church and going to the gym.

She ended placing as the runner-up, and her performance drew the attention of the host of the competition, Vargus Mason.

They kept in contact over the next few months, until last summer, when he offered to get her into a show.

“I thought he was saying he could get me some free tickets,” said Thompson.

Mason instead had invited Thompson to perform a six-minute set at the Comedy Store.

“I was like, I don’t think he realizes I’m not serious, I don’t do comedy,” she said.

Once Thompson took to the stage and performed, she knew she belonged in comedy.

“I knew at that point that was what I’m supposed to be doing … I really think the biggest thing was the connection with the audience,” said Thompson.

Thompson went from performing once a month to performing at least twice a week.

Balancing school life and her professional life is difficult for Thompson,

“Sometimes I’m out until 3 a.m. doing shows, I have to squeeze in school and homework,” she said.

Besides performing at comedy clubs, Thompson also is the producer of “Tickle Me Tuesdays” – the free comedy show held at the Pub once a month.
There she works with student and professional comedians, such as Ron G.

Ron G. has known Thompson for about two years, he said.

“I remember when she had 10 minutes of material, now look at her,” he said.

Ron G. is also a clean comic, and said that Thompson is necessary to the stage.

“I don’t think there are a lot of clean females in the game,” said Ron G. “She’s going to be great. I’m proud of her and excited for what lies ahead of her and her career.”

Thompson produces the show in collaboration with Student Protection and Campus Entertainment (SPACE), as well as hosting the event.

Thompson said she wanted to bring student and professional comedians together to perform on campus, and give student comedians the opportunity to network with some of the professionals in the industry.

“I had a vision to bring a comedy night here, and we hadn’t really had anything like that,” she said.

Most importantly, said Thompson, is to bring laughter to students.

With the stress of school and dorm life, Thompson said it’s important to provide something that will relieve some of the stress from their everyday lives.

“The biggest thing was to have something. Laughter is, I really believe, is the best forms of medicine. I know this sounds cliché, but it’s so therapeutic. I just know it is,” she said.

The next show for “Tickle Me Tuedays” is Nov. 10, 7 to 10 p.m. at the Pub. For more information about additional dates check out http://www.facebook.com/group.php?gid=62811380361.

Benjamin Purvis, the protagonist in Gentlemen Broncos, is a home-schooled 17-year-old raised in Utah by his mother. When Benjamin finds out his idol, sci-fi legend Dr. Ronald Chevalier, will be teaching a writers camp, he packs up his best manuscript, Yeast Lords: The Bronco Years, and sets out to fulfill his dream.

On the bus, Benjamin, who has no friends, begins socializing with two other misfits—Tabatha and Lonnie. Both are very weird, and neither treats Benjamin very well. Instead of being likable, they quickly become annoying.

Once at camp, Benjamin attends the speech given by Dr. Ronald Chevalier, ingeniously played by Jemaine Clement (Flight of the Conchords), who is the highlight of the film with his perfectly deadpan performance. Chevalier views his students as untalented and often scoffs at their amateurism. His serious, self-important delivery is hilarious in itself. Combine that with some wacky lecture of how to create sci-fi character names, and you get the most hilarious moments of the film.

Unfortunately, we are abruptly taken away from the comical camp scenes and are instead transported back to Benjamin’s boring life in Utah.

A fundamental problem of Gentlemen Broncos lies in Benjamin not being a character the audience roots for. I think part of this results from Benjamin being such a pushover. Benjamin is a pretty pathetic person who shows little emotion, and he doesn’t provide any laughs either.

Throughout the film, entire sequences from Benjamin’s book are played out onscreen. These scenes do nothing to progress the film forward and fail to provide either humor or excitement. Moreover, they are completely and utterly disturbing. Once again, it’s hard to root for, or even like, a protagonist who writes such unsettling stories.

It was really disappointing to see the amount of gross-out moments Gentlemen Broncos had. In one scene, instead of capitalizing on the talented Mike White’s dry humor, we see a snake defecate all over him.

Another time we see Benjamin vomit in a trashcan before starting a conversation with Tabatha while chunks of vomit are still on his face. They then proceed to make out.

Both scenes succeed in being excessively gross, but neither is the slightest bit funny.

The most interesting character in the film is by far Dr. Ronald Chevalier, who constantly wears a Bluetooth headset he never uses. Though he is presented as the film’s antagonist, I would not have minded if the entire movie was about him. At the very least, he could have been incorporated in more screen time.

Though Chevalier is Gentlemen Bronco’s saving grace, even he couldn’t save a script that had so many inherent flaws.
It’s always a shame to see a brilliant performance, talented cast, or gifted set of writers go to waste. Sadly, this film wasted all three.

“Cardinal Sin, the latest intergalactic [villain] will be appearing during a concert where just coincidently we’re playing,” Urungus said. “The human race will be able to enjoy the show and fight for their own survival.”

Gwar will be performing at the Sunset House of Blues on Monday, Nov. 16 at 8:00 p.m..

“Its not just a rock show that you can enjoy its almost like a civic duty,” Urungus said. “We’re going to need to get everyone down there or there’s a good chance that cardinal sin can take over and that wouldn’t be very fun.”

The band got their start 25 years ago. Urungus and his intergalactic overlord friends had all been hanging around each other for a long time and ultimately there wasn’t anything left they hadn’t experience.

“We’ve done just about everything that brothers can do together,” he said. “We got drunk, we discovered drugs, we waged war and we had sex; not with each other at least that I know of. It seemed that getting a heavy metal band together was an appropriate thing to do. It befitted our nature: loud, heavy and metal.”

As much fun as Gwar has had together, they are glad to be back on Earth. It may not have always been their favorite planet but now Urungus said they love it.

“My favorite place to play in the entire universe is Skumdoggia,” he said. “Unfortunately the intergalactic robot has conquered [the] land and has turned it into fuzzy dumpling land. Earth is our favorite place to play now. After all earth is one of the only places in the galaxy where you can find crack cocaine.”

Urungus said he does not doubt the survival of humans because he will work hard to save them.

“I take my job very seriously,” he said. “There are not a lot of intergalactic rock gods hanging around and I want the human race to know I’m not going to let you down. Come out to the show and fight for the survival for the human race and get a copy of our new album. Prepare to worship the mighty Gwar.”Gwar show brings intergalactic metal

Eva Mendez and Nicholas Cage star in the movie Bad Lieutenant. Courtesy of Getty Images

Nicolas Cage, Eva Mendes, Jennifer Coolidge and Director Werner Herzog attended the press junket for the new movie “Bad Lieutenant: Port of Call New Orleans”. The press junket was held at the Four Seasons Hotel in Beverly Hills on Nov. 5 at 10 a.m.

As reporters piled in the room with excitement and questions ready to fire, I patiently sat and waited nervously as the time felt as if it was slowly ticking by.

As I sat pondering which questions I should ask first, I heard shuffling and footsteps coming from outside. I looked up, and a gorgeous Eva Mendes with her million dollar smile beamed at me from across the room. Her hair was held up neatly in a bun and her skin was glowing. She was wearing a beautifully tailored grey shift dress with capsleeves, a la Victoria Beckham style.

Next, was the man of the hour, Nicolas Cage. He seemed annoyed and rushing to get in. I noticed a large bandage on his left thumb and a giant sparkling yellow diamond wedding ring on his right fourth finger. His hair was still in the same style as it was in the movie, “Bad Lieutenant”. It was long and slicked back.

Jennifer Coolidge (who played Stifler’s mom in “American Pie”) was also wearing a grey shift dress and had her hair up in a bun as well. She seemed a tad shy but every statement she made, made the whole room erupt with laughter.

Director Werner Herzog had a serious look but later I noticed, displayed great enthusiasm as he explained to us about the filming of “Bad Lieutenant.”

After seeing the movie a few days earlier, I had many questions in mind to ask them. I have comprised some of the most intriguing questions and responses for you:

Q: Why did you choose New Orleans to film the movie? (Nicolas Cage)

A: It’s a potent city with different energies. There’s a lot of different people there like French, English and African. There’s a lot of magic in the city. I’ve filmed movies before there and I have a few homes there too. I wanted to go back and confront it. I was up for the challenge.

Q: Can you explain the iguana scene? What was the significance of that? (Werner Herzog)

A: There was no particular significance of the iguana. I want to keep things unexpected in the movie, like a surprise.

Q: How did you feel during the filming? (Nicolas Cage)

A: I felt in the zone. I came in unprepared. I thank Werner for giving me the chance to let loose and do my thing.

Q: Did you rehearse before you started filming? (Nicolas Cage)

A: I didn’t rehearse because I wanted everything to be fresh and unscripted. Usually, my best takes are my first two takes.

Q: Was it difficult to play a dark character like Frankie? (Eva Mendes)

A: I’m a survivor and she’s (Frankie) a survivor. Frankie is an extreme version of me, so it was easy to relate to. I’ve never judged her for the choices she made.

Q: What was the meaning of the fish in the cup scene? (Werner Herzog)

A: The fish in the cup was used to demonstrate how alone and sad the young victim was. The only friend it had was this pathetic little fish in a cup. The notebook next to the fish was significant. I used that because it gave the victim a life. That there was more than just a murder with DNA samples and things like that. It gave a life to it.

Q: What are some of the influences that helped you develop the personality of your character Terrence? (Nicolas Cage)

A: I created Terrence. The limping because of the bad back is from Richard the Third. I like to be completely into my character. I put my whole body into it. In Australia, they still use cocaine to clear sinuses. While I was there, I went to my doctor to have him clear my sinuses. He gave me this cocaine solution and I snorted it. I started taking notes on the dripping down your throat and the bitter taste. I took notes on the effects. I also came out of independent films. I used what I learned from that to use in my bigger films. Nobody noticed, but I used scenes from “Vampires Kisses” in “Face Off.”

Q: How did you decide to cast Xhibit? (Werner Herzog)

A: I just knew instantly. It’s a question of texture again; to compliment the texture.

Q: Are you worried that as you’re getting older? Do you feel there are less roles for women in Hollywood who are getting older? (Eva Mendes and Jennifer Coolidge)

A: I’m looking forward to taking more flawed characters. I want conflict. I hope there’s more colorful characters I can play. (Eva Mendes)

A: I feel there’s not as much offers. I also get a lot of depressing role offers too. The other day was really depressing. Someone wanted to cast me in a movie called “Scary Lady”. (Jennifer Coolidge)

Q: How were you cast in the movie? (Jennifer Coolidge)

A: I have a house in New Orleans and I heard there was a casting for the movie. So I went down there and I auditioned. I guess when it’s yours, it’s yours. I feel so grateful and lucky.

Bad Lieutenant: Port of Call New Orleans opens November 20, 2009.

“I follow what I’ve seen other people do as far as giving insight into what we are and we’re doing to,” said vocalist and blogger Chris Harris. “It’s cool being on the road and going to these different places and trying to experience what’s unique about them and that’s the experience we’re really excited about. Personally I’m becoming more comfortable with the [blogging] process and it will eventually work for us because it will be honest and sincere and it will be a true reflection of who we are and that can’t be anything but positive.”

The blog is a place of reflection and representation for Like Trains and Taxis. The band decided it was the right choice to reflect their personality.

“It is an extension of ourselves and expression of ourselves,” Harris said. “You can do a video and throw it on the blog. You’re doing [it] because you want to do it and want to share; it’s not an obligation. It can be and should be an expression of each of us as individuals: who we are and what we’re like as a group.”

Beginning in November 2007, Harris along with guitarist Owen Susman and drummer Mike Del Priore began Like Trains and Taxis in New Brunswick, New Jersey. Soon after they began doing short weekend tours where they would drive to nearby states in there mid 90’s Honda station wagon.

“[It was] the three of us and we crammed all our stuff in there, including luggage,” Harris said. “We were proud of ourselves to being able to pack in the small car.”

Harris said in his opinion Like Trains and Taxis could be considered indie soul.

“The soul aspect really comes from my singing and indie symbolizes lots of things,” he said. “Not just sound but to a certain degree it suggests (to) take it as (independent of it’s) roots. Whatever you think soul music is, we like to think that we’re an extension of that modern concept.”

Starting November 1, Like Trains and Taxis began a three-week long tour that would take them all over the country. They upgraded from their Honda to a minivan. Harris said although the tour is exciting, driving all over the country is daunting.

“To think about the whole land mass of the country, you’re pretty much doing that loop,” he said. “You’re going down to New Orleans and you go all the way across and your in California and you’re riding up the Pacific Ocean to get to Washington and you’re crossing through the Dakotas to get to Minnesota and then back up to Chicago.”

This tour has been centered on forming relationships, honesty and interaction. The band has been staying with friends and other people who have offered their couches. It has given them the opportunity to see different cities from a resident’s perspective.

“If you’re lucky, you get the opportunity to hang out with someone who knows the area and create a deeper relationship to the place with that person. We’ve been hanging out with people and playing well. The main thing is being able to interact with people in the area,” Hams said.

Like Trains and Taxis will be performing on November 11 at 10 p.m. at Molly Malones. Their show brings a true and sincere love for their music, Harris said.

“We do our best to let the passion that we have for our music and the passion that exists in our come through uninhibited,” he said. “I like to become the people in the song. To deliver it back to the place that I was when I wrote it, all the emotions, thoughts that exist in the moment for the audience. Our music tends to groove too, people can dance and have a good time,” Ham said.

Not only is Like Trains and Taxis performing at Molly Malones, they have also released a digital EP. You can find out more about their music at www.liketrainsandtaxis.com and see their blog at http://liketrainsandtaxis.blogspot.com/.

David Garver and Tanna Frederick in "Just 45 Minutes from Broadway" Photo courtesy of Lori De Waal

Forty-five minutes from Broadway and a thousand miles from earth, the Isaac family is anything but normal. Hendry Jaglom’s new play is about a family of actors struggling to survive in the world. Vivian and George Isaac’s two daughters, Betsy and Pandora (a.k.a Panda) live on opposite ends of the world. Betsy never liked the life of the theater. Resenting never having had a “normal” childhood, she left as soon as she could, taking her place among the civilians. Pandora adversely eats, sleeps and breathes the theater so much that it has been the cause of many unhappy relationships and her inability to function in the world. “Just 45 Minutes from Broadway” begins when Betsy brings her fiancé home to meet her family. Emotions fly and truths are told when the two worlds collide.

The Rainbow Theatre Company comes to the Edgemar Center for the Arts in Santa Monica. The space is captivating; a black box stage is converted in to a quaint suburban home. The stage, with all its intricacies and dimensions, is enough to entertain an audience. The production elements create a cinematic quality through skillful lighting and scenic design.

A touching story to say the least, the play on a whole was warm and fuzzy. Certain elements, however, which drive a story to greater heights, seemed lacking or not present at all. A love story develops between Pandora and Betsy’s fiancé. Without much development, their passion seems to appear out of nowhere, leaving the audience wondering if they couldn’t decide how to develop this affair.

Pandora, the artistic and sensitive lover of the theater, is meant to represent the raw emotion that binds us to art, yet the majority of her time on stage seemed to be spent in juvenile tantrums or frantic tears. All this coming from a character who has supposedly just turned 30.

Diane Salinger (Vivien), however, was a delight. When Salinger was on the stage, grace and ease seemed to radiate from her body. Every movement and tone of voice was soft, comforting and beautiful. I would return simply to see her again.

“Just 45 minutes from Broadway” is playing at the Edgemar Center for the Arts through Dec. 20th. A good chuckle and a sentimental moment, you decide if it’s worth the $25 ticket, and I’ll be seeing you at the theater. Ticket reservations can be made by calling (310) 392-7327 or by visiting www.edgemarcenter.org.

Avi Lerner, actor Nicholas Cage and guest attend the Bad Lieutenant Port of Call New Orleans Dinner held at Cipriani during the 66th Venice Film Festival on September 3, 2009 in Venice, Italy. Photo courtesy of Francois Durand / Getty Images

If you’re looking for an action based thriller, then you will be sadly let down. Instead, “Bad Lieutenant: Port of Call New Orleans” is a dark film with humor. Academy Award-nominated German film director, Werner Herzog, creates a story of the struggle of personal demons that many people can connect to.

The film stars Academy Award winner Nicolas Cage as Terrence McDonaugh, a New Orleans police lieutenant who is losing himself to a battle with drug addictions to cocaine and prescription medication. Cage heads toward a downward spiral as he tries to hunt down the killers of five Senegalese illegals that were murdered in a drug hit. Alvin “Xzibit” Joiner plays Big Fate, a possible source to the killings and supplier to the murdered victims.

Cage shows his soft and vulnerable side when trying to satisfy his prostitute girlfriend Frankie Donnenfield, played by Eva Mendes. The glamorous Mendes seems to live day to day surrounded by cocaine addiction and waiting for her next “client.”

When Cage hits rock bottom from all the drugs, the murder case, his girlfriend and an alarming amount of money he owes to his bookie, the story takes a turn for the better and unexpectedly ends up becoming a fairy tale.

Cage’s over-the-top performance is wild and comedic. The roaming iguana, “shoot him again” and lucky crack pipe scene bring relief and humor.
The movie immerses the audience into Cage’s life and captures the very moments where we all can feel his pain, weakness, anger and frustrations. You cannot help but feel pity for his life.

Bad Lieutenant was filmed in New Orleans during the aftermath of Hurricane Katrina. According to director Werner Herzog, “New Orleans was the fertile ground to stage a film noir, or rather a new form of film noir where evil was not just the most natural occurrence. It was the bliss of evil which pervades everything in this film.”

Bad Lieutenant: Port of Call New Orleans opens on Nov. 20, 2009.