Monthly Archives: July 2012

Dressing Marilyn Monroe

This August marks 50 years since Marilyn Monroe’s death and the whole world will be talking about as well as holding a special memorial for her in Los Angeles.

To celebrate his most famous client, costume designer, William Travilla has written a book, Dressing Marilyn: How a Hollywood Icon Was Styled,  focusing on the striking dresses that he designed for Marilyn, including “coverage” on his e William Travillaarly work on the thriller, Don’t Bother to Knock and the gorgeous pink dress in which Marilyn sang “Diamonds Are a Girl’s Best Friend” to the legendary white dress from The Seven Year Itch, which arguably contributed to the collapse of Marilyn’s marriage to Joe DiMaggio.
Featuring Travilla’s original sketches, rare costume test shots, dress patterns, photographs of Marilyn wearing the dresses, plus exclusive and never-before-seen extracts from interviews with Travilla, this book offers a fresh insight into the golden age of Hollywood.
Dressing Marilyn
How a Hollywood Icon Was Styled by William Travilla
written by Andrew Hansford
ISBN: 9781557838469, $29.99, 192 pages, Hardcover, Applause Books, U.S. rights only
Author posts and images beyond what’s found in the book on publisher’s blog:
About the Author
Andrew Hansford has been involved in fashion for many years, having worked as a model and established his own business in the beauty industry. However, his life changed dramatically in 2007 when, after a phone call from a friend, a box of dresses designed by William Travilla for the screen legend Marilyn Monroe arrived on his doorstep. Since then, Andrew has worked with the Travilla Estate to help Travilla regain the renown he deserves. Andrew now manages Travilla’s archive and has been responsible for six exhibitions showcasing Travilla’s stunning work.

Blue Man Group Debuts Smokin’ Hot, Mind Blowin’ New Show

Electrifying music, sensational technology, a captivating nightly procession and its signature interactive, audience experiences, Blue Man Group opens inside Monte Carlo Resort and Casino Wednesday, Oct. 10 until April 30, 2013.

The creative forces of Blue Man Group have been working for two years to propel their indescribable celebration of art, technology and music to a whole new level at the Monte Carlo casino floor with a dazzling procession of musical joy and luminescence, which can best be described as an energetic percussive parade designed by a mad scientist. The surging, intoxicating beat will fill the casino as Blue Man Group launches a Percussipede, a musical centipede of percussion instruments, musicians, robots and puppets co-created with world-renowned 3-D designer Michael Curry.  Each day, 45 minutes prior to the first show, a Blue Man groove will weave and shake its way through the casino; a musical celebration that will lure and entice unsuspecting visitors into the magical, imaginative world that is Blue Man Group.

“With the new show, we really wanted to have fun, take risks and do something different, by connecting with audiences before they even set foot in the theatre” said Chris Wink and Phil Stanton, co-founders of Blue Man Group. “We’re the only show that combines robots and inventive technology with comedy and inspiring theatrics. It’s an over-the-top experience, that I don’t think you can find anywhere else on the Strip.”

Audience members will be enveloped in a one-of-a-kind, colorful and interactive experience  includes the introduction of an assembly-line robot and a sassy humanoid Showbot, as well as an exploration of the human brain. During one of the show’s most electrifying moments, a giant Brain Drum is played, illuminating a neurological pathway high above the crowd.  The audience will also experience the joy of a set of giant Smoke Drums that emit mystical, ethereal smoke rings out into the world and a Neuronulum, a newly crafted pipe-instrument worn by the Blue Men which provides musical and visual pulses of energy across a theatre-wide neural landscape.

Individual and group tickets are now on sale for performances from Wednesday, Oct. 10, 2012 through April 30, 2013. Standard prices are VIP Backstage Experience – $215, Category A: Premium View – $127, Category B: Poncho Standard View – $105, Category C: Standard View – $105 and Category D: Obstructed View – $59 (taxes and service fees apply).  Special rates are available for groups of 10 or more by calling 702.697.1655. Blue Man Group dinner and VIP packages, military and children’s pricing are also available. For more information or to purchase tickets, visit the Blue Man Group Box Office, any MGM Resorts International Box Office,  or call 1.800.blueman.

Tickets also are available for performances at The Venetian® through Sunday, Sept. 30, 2012.  For tickets or show information, call 1.800.blueman or visit Fans can also keep up with the latest Blue Man Group Las Vegas news and events via Facebook at or Twitter at

The AAA Four Diamond Monte Carlo offers guests unpretentious luxury at affordable prices. The resort features 2,992 deluxe rooms and suites, including the exclusive HOTEL32 located on the resort’s top floor; a lush pool area with a lazy river, wave pool and cascading waterfalls; more than 24,000 square feet of meeting and conference space, and a relaxing spa and salon. Monte Carlo is home to the award-winning French cuisine of Andre’s, and an array of restaurants, bars and lounges including The Pub at Monte Carlo, BRAND Steakhouse and Diablo’s Cantina. Monte Carlo is a wholly owned subsidiary of MGM Resorts International (NYSE: MGM). For more information and reservations, visit or call toll free at 888.529.4828 or find us on Facebook and Twitter



Not having visited in almost a decade, POB is now gracing the Koch Theatre, formerly the New York State Theatre at Lincoln Center, for a few weeks this summer season with The Lincoln Center Summer Festival, 2012.
I was lucky to catch a performance of Giselle Saturday night on Bastille Day.  Here are my impressions:  subtlety reigned supreme in this glorious poetic offering.  The company and its illustrious institutions have been with us since the beginning of the 1600’s, so all the elements of costume, set design, mime, story telling, acting prowess, and the dances themselves conveyed a refined, coherent philosophy of elegance, taste, and precision that is rarely seen in a ballet performance anywhere.
POB offers acting that is naturalistic, the mime understated, humanistic; no grand gestures that belie a disconnect between the dancer and his inner life–a reality that is easy, true and believable.  Historically, that the French took mime to a high order is something you would naturally look for, as well as for the perfect rendering of costumes that blend authenticity with the necessities of movement; seen in the color and shapes of the peasant skirts, and the rich garb for the Duke, and his daughter.
The poetic manner of telling the story of Giselle is for the sagacious audience, and tends to highlight the beauty of the elements of love and forgiveness, as well as the darker shades of deception and death. The dancers seem to dance inside the story so the outer elements of dance and the technical qualities of movement are somewhat sublimated to the message at hand.  The result is that the audience is coaxed into the narrative and emotional passion of the ballet instead of watching a mere dance performance. So not only is Giselle, the ballet, ethereal in its delicate and complex grave scenes with the Wilis in Act 11,  but it also captures a magical suspension of disbelief.  Everything suddenly grows larger and larger, and afterwards one is reminded, like Balanchine once pronounced, that ballet is women–here amended, simply and delightfully, that ballet is French–we seem to forget.
The corps was no doubt the best I’ve ever seen.  Beautifully costumed, precise, fluid, and extremely musical. Their arms, head tilts, body positions, and hands all moved in one sumptuous, spectacular unit.  What a group!  Intelligent and aware, all seemed to be similar height and proportions adding to the illusion of oneness of spirit; the audience gasped at their blending beauty as Wilis.
The musical tempi in the overture and throughout was unapologetically slow, requiring attentiveness from the dancers. So when the orchestra played the adagio in the Grand Pas De Duex in Act 11, for example, the dancers were allowed to show a deep loving passion through their movements, unhurried by choreography, thereby inviting the audience to look and feel the gravity of Albrecht’s and Giselle’s love and ethereal connection. The dancing was not athletic necessarily, but rather soft and passionate in its artistic direction.
Details, details, details!  Everywhere the finer points appealed to the adult intelligence. Some may feel that Act 1 didn’t have as much impact because of its subtle nature, and this may be true the further you sit in the auditorium. That coupled with the nature of Act 1 could make it too quiet for some–Act 1 lacking dance and mostly exposition. But the story is a gradual build to beauty and revelation, and one must be patient.  Isabelle Ciarovola’s mad scene didn’t especially bring tears, but she made up for it in Act 11 as gauzy spirit. One is reminded that ballet should not be about circus and bombast only, but serves best when more complex meanings are revealed.
This Giselle was intimate, refined, and never telegraphed its intentions. It was more like a well- structured, profound poem of beauty.  Albrecht, Giselle, and Myrtha, all new to me, were very connected to their characters. Hilarion was perhaps an exception, not registering genuine grief at Giselle’s death, and relying more on mime.  Also, he wasn’t as angry and forbidding as a spurned lover could be, as he appeared more neutral.  Giselle was young and childlike at first, then transformed into the airy, otherworldly character with great finesse.  Her return to the grave at morning light, after deep forgiveness, was especially moving as Albrecht awakens from his palpable dream.
This is company that must be seen and experienced. They will perform other contemporary pieces from Maurice Bejart and Pina Bausch throughout the month.
Giselle                        Isabelle Ciaravola
Albrecht                      Karl Paquette
Hilarion                       Audric Bezard
Myrtha                        Marie-Agnes Gillot

And the 2012 99-Seat Producers Transitional Committee Members are…

photo courtesy of the LA Stage Times

On Tuesday, July 10, at a meeting of Los Angeles 99-seat theater producers, a motion was passed to elect a 14-member 99 Seat Producers’ League Transitional Committee. The election was completed on July 27, and the votes tallied on July 28.  Many of us – theatre producers and independent producers – myself (Gia) included – were asked to vote for the best candidates from a list of self-entered individuals.  Surprisingly, at first, some of these people did not want to put themselves on the list.  It’s a quite bit of responsibility.  Especially for busy producers.  But the LA Theatre community got vocal and our best candidates stepped up.

Congratulations everyone!


Jenny Byrd, Brimmer Street Theatre Company

Gregory Crafts, Theatre Unleashed
Rick Culbertson, independent producer
Martha Demson, Open Fist Theatre Company
David Elzer, Demand Productions
John Flynn, Rogue Machine
Gedaly Guberek, Coeurage Theatre Company
Michael Kricfalusi, Celebration Theatre
David Mack, Watts Village Theater Company
JJ Mayes, Sacred Fools Theater Company
Matt McCray, Son of Semele Ensemble
Oanh Nguyen, Chance Theater
Michael Seel, Theatre @ Boston Court
Tim Wright, Circle X Theatre Company

The 99 Seat Producer Transitional Committee will consist of up to 14 professional producers in the 99-seat arena who will meet with producer representatives of the large and mid-sized theaters to form an exploratory committee. This exploratory committee will recommend by-laws and best practices to the entire body of professional theatereproducers for adoption and creation of a Greater Los Angeles Producers’ League, to be approved by the producing community at large.

It is understood that within a Producers’ League that includes theaters of all sizes, there would still be groups to address the specific needs of segments of the community (such as the 99 seat theaters). In addition, if the transitional committee determines that a League which includes larger theaters is not workable, the transitional committee has the ability to recommend the creation of a Producers’ League that is exclusively for 99-seat producers.

More Food Truck News: LA’s Roy Choi Mexico-Korean BBQ

The New York Times Magazine stopped by this week and asked Gia On The Move to talk about – of all things – a Los Angeles food Truck.  We are only happy to oblige given that Angeleno’s can’t get enough of super tasty and sometimes even gourmet mobile meals on a budget.

SAM SIFTON (NYT) has this to say about Roi Choi’s Mexico Korean BBQ fusion craze:

Roy Choi is the dharma bum of the Los Angeles food scene, a Zen lunatic bard of the city’s immigrant streets. He is a founder of Kogi BBQ, which used food trucks to introduce the city to Mexican mash-up cuisine, and the creative force behind a handful of Los Angeles restaurants that celebrate various iterations of big-flavor cooking at the intersection of skater, stoner, lowrider and Korean college-kid desire.

Choi cooks poems, and they taste of Los Angeles.

On Riding Shotgun, a blog he maintains, Choi occasionally publishes recipes and rants. These combine the epic optimism of Kerouac with the misery and mysticism of hip-hop. “I talk to animals and kids. I feed adults,” he wrote in April, in a brief essay about whether he, the pre-eminent slinger of short-rib tacos in Los Angeles, ought to be eating meat, whether he ought to be cooking at all and, if so, for whom. “Time to switch. Talk to adults. Feed animals and kids.”

The post set off something of a stir in Los Angeles and its sister cities across the country. “Roy Choi Goes Vegetarian,” reported The New Yorker in a headline. “Is this the end of Roy Choi as we know him?” asked The Huffington Post. “Most assuredly, yes.”

Not really. “It was just a diary entry,” he said over beer-can chicken and glazed ribs at A-Frame, his converted IHOP in Culver City, shrugging as if to recall the Jay-Z lyric: “Just my thoughts.” He had been thinking about the Los Angeles riots, 20 years ago this spring, and about what had changed and not changed between blacks and Koreans in the years since, about Jamie Oliver’s attempts to bring his “Food Revolution” into the Los Angeles public schools, about the conflict of cooking for studio executives instead of for the people. The post came out of all that, he said.

Kogi at MOCA

“Animals be talking to me,” he wrote. “I got Jah turning my purpose into one long dreadlock. One long beanstalk.”

But then he went back to work, making his art. He has many outlets for it. In addition to the Kogi trucks and A-Frame, Choi offers elaborate rice-bowl cooking at Chego, in Culver City, and odes to the flavors and lifestyle of Jamaica at Sunny Spot, in Venice. He offers cheeseburgers to honor the Korean stands that sell them in South-Central and roast lamb with flavors to recall both Kingston and Seoul.

This week’s recipe would not be out of place at any of his restaurants. It is for carne asada — marinated, grilled beef, a classic of Mexican and Southwestern cuisine.

Choi’s carne asada might raise eyebrows in Puebla and Laredo alike. There is mirin in the marinade and a lot of garlic. But there is purity to its expression of Los Angeles, where culinary diversity often moves quickly from flirtation to vigorous coupling. Grilled, then folded into a warm tortilla with a flash of grilled scallions or pico de gallo, this carne asada manages even in Brooklyn to evoke dinner on a sagging porch in Venice Beach with friends or on a picnic table in Griffith Park, a patio in Cheviot Hills, a hilltop garden in Silver Lake, anywhere music plays below eucalyptus trees as the sun falls soft to the sea.

The process of making it would hardly tax a first-time barbecue cook. You char up some jalapeños, throw them in a blender with the rest of the ingredients, then slap the result on the skirt steak. You could start the recipe in the morning and cook that night, or you could start it right now and be eating in a little more than an hour. The admonition to let the meat sit in the marinade overnight is the stuff of fussiness. If you are hungry, get cooking. You can always paint on some extra marinade after you’ve grilled the meat.

Once you’ve cooked the steak and put it aside to rest, grill a bunch of corn tortillas soft and smoky, then pile them into a dish towel to keep warm on the table. For a vegetal contrast to the meat, slash a pile of scallions with olive oil, sprinkle them with salt and pepper, then grill them tender next to the tortillas. Squirt these with lime and serve as a side dish, along with pico de gallo — here made slightly Asian with the addition of a tablespoon of fermented bean-paste sauce.

“Rub a dub dub over anything you want,” Choi wrote on Riding Shotgun. “Even each other.”

You can read more by clicking the link here: Link to article:

National Flag Ties for the Olympics

The 2012 Olympic games in London are here, and if you are feeling a bit patriotic or just want to get into the spirit of the games, Vineyard Vines has launched a new National Flag Tie Collection.  And of course, you may be routing for your home country this week, but just in case you change your mind, there are also iconic images from other countries such as Germany, Italy, Ireland, Jamaica, Canada, France, Great Britain the USA and more, each tie respectively, enabling you to proudly show off your Olympic spirit from 9 to 5! Made in the USA, each tie retails for $75,(

Where will you be for the opening ceremony?  Give us a shout! Comment here or Send in your Olympic photos.  We’d love to share them on GOTM LA.