L.A. is Berning

Sandra Bernhard discusses the burning topics: Governor Palin, being angry and the 20-year anniversary performance of her hit one-woman show.

BY JACKIE BEAT

Full disclosure: I love Sandra Bernhard! I always have and I suspect I always will. When the movie Without You I’m Nothing opened in 1990 at The Beverly Center, I was there every single night for a week. It has now been 20 years since Sandra first toured with the stunning stage show that eventually became that fearless film (the climax—featuring an American flag-draped Bernhard, singing “Little Red Corvette” in nothing but a postage stamp-sized g-string and hooker heels—is simultaneously hilarious and heartbreaking). I spoke to her recently via telephone as I nervously prepared for an election results get-together at my home.

JACKIE BEAT: It’s been two decades since Without You I'm Nothing; have things gotten better or worse?

SANDRA BERNHARD: I think some things in culture and obviously in politics have gotten more challenging, but the world keeps spinning and we keep evolving.

Why is this particular show still important for people to see?

Because it’s a seminal piece of work from me, a landmark in my evolution as a performer. It’s kind of fun to see where I was then and I where I am now.

I’ve read many comments online describing you as "angry" and...

Who said that? In a review? The Washington Post said, “No one does angry funnier than Sandra,” but I take that as a compliment!

No, not reviewers—anonymous comments left scattered about some of your online reviews.

Who cares what they have to say? Did they even come to my show? It really doesn’t take much to scare people these days. We’ve all been cowering in the corner, victims of governmental abuse. If people are scared of my anger, that’s good. Yay!

They say anger is simply a form of fear. What scares the hell out of you?

People not having the balls to stand up and be serious and angry. If people are just out abusing each other in an angry way that’s not good, but anger comes from a great deep concern as to where we’re going as a race.

What are your thoughts on the current state of entertainment such as The Hills and reality TV?

I think all these shows have begot Sarah Palin. If anyone wonders why she was accepted with open arms along with her total lack of intellectual concerns, this is why.

Your comments about the Alaskan governor have outraged many. Any regrets?

What I said was, basically, that what she implies with her no abortion rights—even in the case of incest or rape—is both sexist and racist because it affects people in the inner city, people who are on the fringes financially. And if someone is so concerned with keeping a baby then why aren’t they more concerned with keeping peace and not sending that kid off to war?

Hate to do it, but would you like to weigh-in regarding Madonna’s current marriage woes?

It’s all very interesting. It’s the 20th anniversary of Without You I’m Nothing, Speed the Plow is back and she’s getting divorced again! I run into her and I see her. I hope she finds some real happiness and peace.

Tell our readers the best way to spend the last $20 in their pocket.

I think, you know, give some of it to someone on the street, to someone who is homeless—at least half of it. Then go to the beach, buy yourself a taco and watch the sunset.

Sandra Bernhard: Without You I’m Nothing plays the Orpheum Theatre Fri., Nov. 21 at 8 p.m. For tickets call 877/677-4386 or visit ticketmaster.com.

LIMITED RUN

West Side Story

This ’50s classic about two feuding street gangs and impermissible love takes to the Hudson stage for four weeks. Hudson Backstage Theatre. Opens Fri. Nov. 21. Fri.-Sat. 8 p.m., Sun. 2 and 7 p.m. $34.99. 323/960-7712; plays411.com/westsidestory

Young Angry Women in Low Rise Jeans and High Class Issues

Shamelessly plow headfirst into challenging contemporary definitions of sexism, feminism, homophobia and gender roles. Hudson Theater. Closes Nov. 22. Fri.-Sat. 8 p.m., Sun. 7 p.m. $25. 323/960-5774; angryyoungwomen.net

Kidnapped by Craigslist

Explore the carnival-esque, cult-like phenomenon that is Craigslist in this unique new comedy, bound to inspire a new trend. Elephant Lab Theatre. Opens Sat., Nov. 22. (Fri.-Sat. 8 p.m., Sun. 7 p.m.) $15. 323/860-8786; thespyants.com

I Love My Wife

Set in the ’70s and unfolding Christmas Eve, two married couples contemplate a ménage-à-quatre; hilarity ensues. Brentwood Theatre. Opens Tue., Dec. 2. (Tue.-Fri. 8 p.m., Sat. 2 and 8 p.m., Sun. 2 and 7 p.m.) $63-78. 213/365-3500; ticketmaster.com

Homo Must

America’s Next Top Bottom

The theatrical reality series gives 10 ass-piring men an opportunity to prove that they can make it in the high-stress, high-stakes world of bottoming. Follow the transformation of men into potentially fierce bottoms as they face weekly tests and challenges that determine who can make the cut. Celebration Theatre. Now through Sat., Nov. 22. 10:30 p.m. $10. 323/957-1884; celebrationtheatre.com

ON STAGE

The Rainmaker

A Noise Within, through Dec. 6
****

Sometimes a production is so perfectly rendered that to review is to simply string together all those too infrequently employed superlatives. N. Richard Nash's script built around a drought—one outdoors, one personal—isn't a sweeping tale, and Andrew J. Traister's direction is perfectly attuned to the scale of the piece. Bridget Flanery couldn't be better as Lizzie, the sensible young woman resigning herself to spinsterhood while her family tries to marry her off. Mitchell Edmonds is at the top of his game as Lizzie's good-natured, level-headed father, while the adorable Ross Hellwig and considerably rougher Steve Weingartner work well as her brothers. In the eponymous role of Starbuck, Bo Foxworth avoids the histrionic pitfalls of the role and triumphs. As File, the local lawman who can't express his feelings for Lizzie, Scott Roberts is utterly endearing. Even the minor role of the Sheriff is a gem in the hands of Leonard Kelly-Young. The technical elements are no less impressive (set and lights by James P. Taylor, costumes by Julie Keen), and the unexpected element of David O.'s original music is icing on a very satisfying cake. —WENZEL JONES

Spring Awakening

Ahmanson Theatre, through Dec. 7
***1/2

Each of the past few generations gets its celebration of self-absorbed adolescent angst, often set to a highly marketable rock score, and this is certainly a worthy entry in the genre. Duncan Sheik's music is, if not hummable, at least quite appealing while you're listening to it, and the gifted cast sings it gloriously. Michael Mayer's staging of the piece is masterful and there's a life and energy to it that cannot be denied. The exceptional student Melchior (the ridiculously attractive Kyle Riabko) and his budding love for the beautiful, if sexually ignorant, Wendla (Christy Altomare) anchor the story, and are supported by fine work on the part of Blake Bashoff as Melchior's libido-obsessed and scholastically hindered friend. There is a nod to a gay story line when Henschen (Andy Mientus) makes a play for the aspiring priest Ernst (Ben Moss), but it's never really developed. I don't know that I really understood the tormented, somewhat vogue-y choreography (Bill T. Jones), and all the hand mikes popping out of costumes got a bit precious, but it's a powerhouse production that gives you lots to discuss on the way home. —W.J.