For The Record on KTLA!

We were happy to have Allie from KTLA at Rockwell Table & Stage recently to preview our newest show, For The Record: Boogie Nights. We had such a fun time giving KTLA a sneak peek of some of the performances as they dined. Here are some videos from their morning news live coverage…

For the Record: Boogie Nights – A Preview Performance

For the Record: Boogie Nights – Best of My Love

For the Record: Boogie Nights – Reenacting the Hot Tub Scene

Get your tickets here for all upcoming For The Record: Boogie Nights shows!

What You’re Doing This Week: June 4

For the Record: Paul Thomas Anderson — Music From Boogie Nights Barre

1714 N Vermont Ave

Los Angeles, CA 90027

(323) 661-6163

9:00 PM

The hip little Los Feliz hideaway Barre features daily performances in a cabaret setting. This is your chance to see Broadway stars, up and comers and ensemble acts up close. One of the featured performances they host regularly is something they call For the Record, where they bring a director’s soundtrack to life in a theatrical performance. There are multiple dates for the Boogie Nights performances, so check their online schedule for tickets. Songs performed include “Sister Christian,” “Afternoon Delight,” “Brand New Key,” “Jesse’s Girl,” “Wise Up,” “One,” “Boogie Shoes,” “God Only Knows,” “Aint No Stoppin’ Us Now” and more. The performers move about the room, bringing the show to you table side. Dinner is also served. If you are wondeing about the food you should know they are part of Vermont Kitchen & Bar. Sounds like a perfect night out!


via CBS Los Angeles

[Eastside Eye] For the Record: Los Feliz’s Movie Music Revue

Kill Bill, Volume 1 - Ginifer King

Describing Show at Barre: For the Record’s unique concept is easy. Performers sing-dance-and-recreate music and scenes from contemporary movies, all while roaming throughout the snugly packed audience at the Vermont restaurant’s bar, using every part of the space as a stage. “It’s a live, 360 degree theatrical concert experience,” says Los Feliz’s Shane Scheel, For the Record’s co-creator, producer and director.

What’s difficult is conveying the show’s immediacy, the performers’ tangible connection with audiences and how the concert manages to keep engaging those audiences with its sheer talent factor.

For over a year, the 40-member company—many from Broadway and ongoing television roles—has cycled through a series of original productions based on well-known film directors’ work.

Beginning with Quentin Tarantino’s films via Tarantino In Concert, the show has brought to life memorable movie moments, such as the “Elephant Love Song” medley from Baz Luhrmann’s Moulin Rouge, in the intimate setting.

In June, For the Record will present the music and dynamic scenes from the films of director/screenwriter Paul Thomas Anderson, well regarded for Boogie Nights, a film filled with late 1970s disco faves and early 1980s pop hits. Scheel, along with his collaborator Christopher Lloyd Bratten, select songs after watching the films and listening to a director’s various soundtracks choices.

“We weave our story together through music first,” he said.

For the Record: Paul Thomas Anderson will also have music from Magnolia (many by singer/songwriter Aimee Mann) and There Will Be Blood (original score by Jonny Greenwood).

Also in June, the space will be reconfigured and renamed Rockwell, unifying the Vermont restaurant and bar (once Sarno’s Bakery) and the indoor/outdoor Rockwell which faces the alley parallel to Vermont Avenue. The menu will be revamped too. What will stay the same are the energetic performances and creative song arrangements.

Scheel said he predicts the reconfigured space will add new ways to stage the spirited song-and-dance numbers. There have always been unexpected entrances and exits during the show. Because the performers are using wireless microphones, they travel unencumbered, even outside and up into the tree visible through the bar’s picture window.

Upcoming are new productions featuring music from the films of Martin Scorsese and Tim Burton. And during the holiday season, holiday tunes from John Hughes’ crowd-pleasing films will get the For the Record creative mash-up.

For tickets:


via Los Feliz Ledger.




Movie buff heading to Palm Springs for a little rest and relaxation? Check out “For The Record”, a unique live concert series at the Ace Hotel that musically celebrates the work of prolific directors like Quentin Tarantino, the Coen Brothers, and John Hughes.

A lovely dessert oasis, Ace Hotel Palm Springs boasts a super-chill vibe along with pet-friendly amenities and eco-friendly design. Relax by the pool while noshing on an organic meal from King’s Highway—the exclusive artisanal in-hotel restaurant—or sip a specialty cocktail from the Amigo Room as you’re soaking up the sun.

Break out your best Uma Thurman/John Travolta dance moves and groove along to familiar songs sung and performed by professional film, television, and Broadway talent. Conceived and directed by Shane Scheel and Christopher Lloyd Bratten, “For The Record” takes audience members on a magical ride through some of their favorite flicks.

Can’t imagine a trip to Palm Springs without a Swedish massage or botanical facial? Book a room at the Ace Hotel and score 15% off the room rate, two tickets to the exciting show and $25 off any Feel Good Spa treatment. The 24-hour gym includes wellness classes like yoga and water aerobics. Don’t miss “For The Record”, a show described by the Los Angeles Times as “searingly visceral… the movies sing!”

Via 10Best.

For the Record: Review of a Coen Brothers Musical

One of the charges often leveled at Dudeism is that the concept of a religion based on a movie is necessarily ludicrous. Well, that’s just like, their opinion man. An opinion, mind you, which is based on the ludicrous idea that the more traditional something is, the more profound it must be.

Surely this is an idea that has been under attack for the last 100 years. Culture evolves and reinterprets itself constantly. And it is in this reinterpreting that culture is, er, cultivated– not via a fascist allegiance to static forms. What is that, some kind of yogurt? It increases the chances of conception.

That’s the way the whole durn human comedy perpetuates itself: Religious scholarship in the 20th century showed that virtually everything in Judeo-Christianity originated from the Zoroastrians and the Egyptians. And after that, the philosophical Postmodern movement helped show how pretty much everything else we held dear was also built on filched content and borrowed assumptions. Aitz chaim he, Dude. The tree of life is a burning bush.

Of course, this should come as no surprise to anyone under 20 years old, that is to say, babysat by the Internet. The implicit “replay culture” of the ‘Net has disassembled and reinterpreted content in ways that both honor old ideas and provide new ways of thinking about things. And while this is especially evident in music via sampling and remixes, it has also long been crucial to the works of filmmakers like Quentin Tarantino and our beloved Coen Brothers. What is The Big Lebowski, after all, but a two-hour mash-up of the whole durn human comedy?

Certainly all forms of art have been subject to remixes and mashups and mulitlayered parodies. But theater? Well, Dude, we just don’t know. The average person doesn’t get to watch much theater these days. Luckily for this author, the other night he got to experience  a particularly far out piece of mashed up musical theater which really tied the room together, in the every sense of the word. And it was unlike anything he’d ever seen before.

For the Record is a production currently hosted at a small bar/restaurant in Los Angeles which takes a totally novel approach: Take live performances of songs from the soundtracks of all of a particular director’s films and weave them together with riffs on scenes from the films, into what amounts to a retrospective of an entire body of work. Uni-verses, if you will.

The effect is not unlike being transported into one of the dream sequences from The Big Lebowski, especially since the actor-singers interact so exuberantly with the audience as they dance and sing and act their way around the bar, and oftentimes upon the bar itself (hold your oat sodas close to your chest as they mambo along the marble).

Starting with songs from O Brother, Where Art Thou, then meandering through Fargo, True Grit, Miller’s Crossing, Intolerable Cruelty, A Serious Man, The Hudsucker Proxy, it finally arrives at the moment we’d all been waiting for: The Big Lebowski. Already nominated by one of our Dudespaper writers as a candidate for a musical, it indeed turned out to be a fucking far out experience.

One of the best things about the show is that the producers made sure not to hew too closely to the original script, reinventing certain scenes and choosing unusual characters to perform certain songs (knockout Jackie Seiden’s rendition of Elvis Costello’s “My Mood Swings” as Bunny Lebowski was particularly noteworthy) or performing songs in a totally different style (An R&B version of “The Man in Me” sung by Rogelio Douglas Jr. provided everyone in the room, oh, what a wonderful feeling).

A hilarious highlight was Ginnifer King’s delightfully demented version of Tammy, set against a backdrop of Marty the Landlord’s dance cycle. Of course Anderson Davis’ Dude and Jason Paige’s Walter were also fantastic – though their talent shone more brightly in numbers from other Coen movies, along with Steve Mazurek, who appeared as both the Stranger and Donny. The three were especially good as the trio in the O Brother Where Art Thou portion of the show. Milena Govich’s Maude was also stunning, though it was her wildly sexy turn in Hudsucker Proxy’s Habanera that blew back the collective hair of the audience. Finally, Danielle Truitt performed the most outrageously laughworthy number of the night, Fargo’s “Do You Know the Way to San Jose” as a totally inebriated Dion Warwick-hits-rock-bottom type character.

It’s a bit hard to convey just how disarmingly different this approach to theater seems to be. Part rock concert, part dinner theater, part psychedelic dream sequence and all fun as hell. Moreover, ingenious producers Shane Scheel and Christopher Lloyd Bratten have also performed the same treatment on the oeuvres of Quentin Tarantino, Baz Luhrmann and John Hughes. Next up? Paul Thomas Anderson. But since the Coen Brothers show is only playing for a few more weeks, you’ll have to hurry to get tickets. Every night sells out, so don’t take er too easy, Dude.

For more information or to get tickets, click here.

For a few off the cuff videos of the performance visit this video album. Be aware that my poor camera skills and random shooting is not representative of the whole. The best parts were too good to watch through a video camera.


Via The Dudespaper.

Celebrate songs of silver screen

“For The Record,” the Los Angeles-based live concert series that brings the movies to life as never seen before, will kick off a yearlong limited engagement at the Ace Hotel in Palm Springs on March 28 and 29 with “For the Record: Baz Luhrmann.”

Showcasing signature songs and moments from “Shakespeare’s Romeo + Juliet”, “Strictly Ballroom” and “Moulin Rouge”, the playlist includes hit songs such as “Lovefool”, “Kissing You”, “When Doves Cry”, “Love Is In the Air”, “Time After Time”, “Come What May”, “Your Song”, “Roxanne”, “Children of the Revolution”, “Rhythm of the Night” and many more, representatives said.

Critics are describing the series as “A night of entertainment doesn’t get better than this,” The Insider; and “This is truly a must-see this season, and I have to say this was the best theatrical experience I had all year. And I can’t wait to go again,” Frontiers Magazine.

The cast includes Ginifer King (“Struck by Lightning,” Broadway’s “Gypsy” and “Steel Magnolias”), Arielle Jacobs (Broadway’s “In the Heights”), Anderson Davis (Broadway’s “South Pacific” and “Les Miserables”), Jackie Seiden (“New Year’s Eve”, “Jack and Jill” and Broadway’s “Hairspray”), Mike Motroni, Steve Mazurek (TNT’s “Hawthorne”), Jason Paige, lead singer for “Blood Sweat and Tears” and Margaret M. Spirito.

According to representatives, the series conceived and directed by Shane Scheel and Christopher Lloyd Bratten is a “one-of-a-kind event that celebrates songs and moments from the body of work by a featured director.”

Showcasing a talented troop of performers that includes a rotating ensemble of film, television, record and Broadway talent coming together to present a unique fusion of music, theatre, and film, guests will be entertained by the lively and bold productions from sets, costumes and makeup to the outstanding range of performers, representatives said.

Additional performances at the Ace Hotel are “For The Record: Tarantino,” June 13 and 14; “For The Record: Coen Brothers,” Sept. 12 and 13; and “For The Record: John Hughes,” Dec. 12 and 13.

The Ace Hotel Palm Springs features a laid-back atmosphere that embraces natural and organic design, representatives said, along with creative amenities such as outdoor massages, a stargazing deck and a very deep pool.

Nights happen at the Ace Hotel, with DJs spinning the hottest sounds, artist showcases by independent record labels and some of the best redesigned roadside diner fare and fresh-squeezed drinks served into the late hours at King’s Highway and the Amigo Room.

Unpretentious rooms with all the basics and large suites with vintage furniture and outdoor hearths provide the comforts of stellar accommodations in a casual setting that perfectly mirrors the relaxed lifestyle of the “playground to the stars,” as Palm Springs is known.

The hotel’s inclusive “RECORD” package for guests booking rooms on performance nights includes 15% off the rate, two tickets to the show and $25 off any Feel Good Spa treatment.

Performances are at 8 p.m. and individual tickets are available for $20 for anyone 21 years of age or older.

For details, visit

Via Liane M. Roth, Valley Life Editor


Anyone who has seen the For The Record series – which takes a famous film director’s repertoire and melds selections from the movies’ soundtracks and snippets from his films in a cohesive manner – knows something rare is being achieved.

And while the company continues to thrill Los Angeles audiences with its For The Record: Baz Lurhmann show, which continues its run at its home on 1714 N Vermont Avenue through the end of the month, along with performances on March 28 and 29 at the ACE Hotel and Swim Club in Palm Springs.

But Show at Barre has bigger plans on its horizons. On March 14, it performed For The Record -Tarantino in Concert at the 2,300 seat Long Center for the Performing Arts in Austin, Texas as part of the South by Southwest (SXSW) Festival, with a cast including Tracie Thoms, Annelies van der Pol, Ginifer King, Darryl Semira, and Von Smith.

Meanwhile, its breakout hit For The Record: John Hughes, which featured TV and Broadway star Barrett Foa, is looking for a New York City venue; and in May, the Los Angeles show will move to a much larger space at Vermont, with shows planned to salute Martin Scorsese, Paul Thomas Anderson, Tim Burton, and Cameron Crowe.

The entire enterprise began when artistic director Shane Scheel and music supervisor Christopher Lloyd Bratten, who worked together on L.A.’s Upright Cabaret, were offered a residency at Vermont. “The owners wanted to create a show that used the same artists,” says Scheel. “And we wanted to go in a different direction from what did before. We thought ‘What if we cover a great album?’ which we took to ‘What about a soundtrack?’ And then Tarantino came up because of Pulp Fiction and his other movies.”

“We always want to make sure we’re paying homage to works but we don’t want to imitate or parody,” says Bratten. “A show like the Baz Luhrman one writes itself, since his movies are essentially musical. The format and artistic element is obvious. But when we decided to do the Coen Brothers, we had to ask ‘What’s the overarching theme? How do we put these disparate elements into one show?’ It was interesting to see how these pieces fit together. Part of the show’s purpose is to educate audiences of the repertoire of the artists. They know the directors, they know the songs, but they don’t always put them together.”

With the location in the heart of Hollywood, the company has gotten positive reactions from celebrities, particularly the directors they’ve honored. “Baz’s reaction was caught on tape. It can be found on You Tube telling how much he loved the show,” Scheel says. “Tarantino showed up unannounced, took pictures, and did tequila shots with us till 4 am.”

“That was the night I feel like we were making some sort of waves,” says Bratten. “These directors have great taste in music and how it informs their films. They enjoy their own material examined in a way they haven’t seen before. When you watch a film, a soundtrack supports a film. What we do, is to have the film support the soundtrack. The soundtrack becomes the main event. The film snippets are nostalgia.”

The Palm Springs performance will be very different than the one seen in Los Angeles, says Scheel. “We’re going to enhance what we usually do with video. It will still be an immersive experience, just amplified. We’ve been given a gift and have to figure out how to paint these pictures and tell this story and turn it on its ear.”

FOR THE RECORD: Baz Luhrmann Edition Live Cabaret at The ACE, Palm Springs,
March 28 & 29 at 8 pm in the Commune. Event is 21+
760.325.9900 /

Via The Bottom Line Magazine.

‘For the Record’ returns to Ace Hotel with Baz Luhrmann films’ music

Ginifer King and Derek Klena perform at Barre restaurant in Los Angeles. / Photos courtesy of EDA Publicity

Music plays a lead role in so many films, yet rarely sees the spotlight.

Not so in the “For the Record” concert series. The Los Angeles production coming to the Ace Hotel and Swim Club in Palm Springs this week exalts the film soundtrack in an unconventional way.

The latest show takes on director Baz Luhrmann’s “Red Curtain Trilogy” — “Romeo + Juliet,” “Strictly Ballroom” and “Moulin Rouge.” A talented cast that includes Broadway alumni and television actors perform the films’ music in the roles of main characters.

“To hear Juliet sing ‘Lovefool’ and to hear Romeo sing ‘To You I Bestow’ and ‘You and Me,’” says co-creator Christopher Lloyd Bratten, “all of a sudden these songs take on a whole new meaning.”

It’s not a staging of the films. In fact, the term “musical theater” knits Bratten’s brows.

“It’s immersive; there’s no fourth wall,” he said, trying to put the show into words, though most people tell him they’ve never seen anything like it.

“The music comes first; the stories are sort of there to help give the music context.”

When actors Jackie Seiden (Juliet) and Michael Motroni (Harold Zidler in “Moulin Rouge”) are charged with describing what it is, they take turns saying what it isn’t.

Performers Darryl Semira (left) and Michael Motroni as characters from “Moulin Rouge.”

“It’s not a jukebox musical,” she says.

“It’s not dinner theater,” he adds. “It’s edgy; it’s raw.”

“They’ve just turned it upside-down.”

“It’s not cabaret.”

“Right,” she says. “It’s a hybrid of all these things.”

Five nights a week at Barre restaurant in L.A.’s Los Feliz district, actors spend as much time on two small stages as they do in the smaller spaces between packed tables and on bar tops. They sing, dance and steal a swig or two from audience members’ drinks.

Bratten and co-creator Shane Scheel brought “For the Record: John Hughes” to the Ace in December. Staged poolside, the show took on a new energy.

“I think the show lends itself to any space,” said Seiden, who played Molly Ringwald in the Hughes show. “Whatever space we’re given, we’ll always utilize every corner.”

The rotating casts keeps the show dynamic, cast members said. Most nights Peter Porte performs as Christian in “Moulin Rouge,” he doesn’t know who he’ll play opposite.

“Before I would be very interested in who I was going to be going on with that day,” he said. “Now I literally show up and I’m like, who is my Satine today? Who am I falling in love with tonight?”

The four-piece band, on the other hand, is the same each night. It plays live accompaniment for all of the songs, including “Kissing You,” “Time After Time” and “Your Song.”

Luhrmann attended the show last April and called it an out-of-body experience — and “(expletive) awesome.”

But Bratten promises it’s not just for movie buffs.

“We have people who come to these shows who have never even heard of the director and never seen the movies and still enjoy themselves,” he said.


Palm Springs: A night at Ace Hotel with Baz Luhrmann (sort of)

Ginifer King performs in "For the Record: Baz Luhrmann" at the Ace Hotel in Palm Springs next week. (Ace Hotel Palm Springs / March 22, 2012)

Director Baz Luhrmann’s movies come to life in “For the Record,” a live cabaret-type show that’s a fusion of film, music and theater. Ace Hotel in Palm Springs will host this production next week and offers a special hotel rate for those who stay overnight.

The deal: The For the Record package takes 15% off room prices and includes two tickets to the show and a $25 spa credit. Use the promo code “Record” when making a reservation online or by phone.

Actress Ginifer King of “Gypsy” and seven others perform songs from “Romeo and Juliet,” “Strictly Ballroom” and “Moulin Rouge.” Upcoming performances are to feature the films of Quentin Tarantino on June 13 and 14, the Coen brothers on Sept. 12 and 13, and John Hughes on Dec. 12 and 13.

When: The offer is good Wednesday and Thursday night.

Tested: I found availability for a room with two double beds for the discounted rate of $177 (instead of $209) plus tax and fees. The room comes with two tickets to the show ($20 each) plus the spa credit.

Info: Ace Hotel in Palm Springs, (760) 325-9900

Via Los Angeles Times.

Show at Barre’s For the Record Does Tarantino, Luhrmann, Hughes

If you’re a movielover in Los Angeles, you probably know about the spectacular For the Record concert series that’s become Show at Barre’s signature. But for everyone else, the series had its breakout moment (where else) at SXSW 2012, when it presented the World Theatrical Debut of  Tarantino In Concert at Austin’s Long Center for the Performing Arts last week.

The series gives some of the greatest soundtracks in all of cinema a full theatrical treatment, combined (at Barre) with an old fashioned cabaret dining and drinks experience.  In the past, Show at Barre in Los Angeles has performed Sincerely John Hughes and the Tarantino show. Right now, they’re celebrating the Moulin Rouge and Romeo + Juliet director’s soundtracks with For the Record: Baz Luhrmann (a show they recently extended!).

Here’s the promo for the Tarantino show:

And because one video just isn’t enough to illustrate the profound awesomeness of Show at Barre, here’s a clip from the Luhrmann concert:

Via Midnite Ticket.