Among the principal cast is Elijah Ahmad Lewis, who stars as the Scarecrow; a role that carries deep personal significance. The Wiz was the first musical Lewis ever performed in, playing the Scarecrow in a school production, an experience he credits with sparking his love for musical theatre. Decades later, he returns to the character with the perspective of a seasoned performer whose career spans Broadway, national tours, television, and music.

This anniversary production, which runs through Jan. 25, infuses the classic story with contemporary movement and sound, blending ballet, jazz, and modern pop while honoring the show’s roots in Black culture and musical tradition.

Under the direction of Schele Williams and with choreography by JaQuel Knight, the production offers a reimagined Oz that feels both celebratory and urgent, while preserving the heart of the original.

Ahead of the Costa Mesa engagement, Lewis spoke with Backstage about revisiting the role that shaped his early artistic path, the physical and emotional demands of portraying the Scarecrow, and what audiences in Southern California can expect from this landmark revival.

What excited you most about taking on the role of Scarecrow in The Wiz?

What really excited me about playing the Scarecrow is that it feels like a full-circle moment for me. The Wiz was the first show I ever did at school, and I actually played the Scarecrow back then, too. That role and that production are what made me fall in love with musical theatre, so coming back to it now feels very special.

How do you personally approach this character? 

The Scarecrow was a character I really had to discover. Because these characters are fictional, you have to bring something of yourself to the role. He’s often portrayed as foolish or aloof, but I wanted to give him more dignity — highlighting that his first thoughts and gut instincts were actually right all along. And in this production, let’s not forget, he’s a scientist. In bringing this reimagined teenage version of the Scarecrow to life, I focused on grounding him in real, human cues that ultimately reveal he had his brain the entire time, while also paying homage to and incorporating small details inspired by those who came before me.

How physically demanding is playing the Scarecrow, and what has rehearsals been like?

The role of the Scarecrow is extremely physically demanding. We had five weeks to prepare for the tour, working on a six-day schedule from 10 a.m. to around 6 or 6:30 p.m., with one hour for lunch and one day off each week. After that, we entered a two-week technical process, during which all the elements — costumes, makeup, wigs, microphones, lighting, props, and the set — came together. This role requires full-body engagement, and performing it takes a great deal of effort, as well as consistent maintenance and conditioning to sustain eight shows a week.

You’ve worked with some of the biggest names in music: SZA, Usher, Ariana Grande, Madonna. How does that musical background influence the way you perform onstage in a show like The Wiz?

All forms of entertainment are a collaboration and share many of the same demands and technical skills. Working and performing alongside other artists — whether on stage or in different mediums — is very similar to theatre in that you’re always telling a story and transferring emotion to an audience. The discipline of musical theatre, in particular, translates seamlessly across all areas of entertainment, from consistency and storytelling to collaboration and technical precision.

What’s one moment in the Wiz rehearsal room that made you think, “Yeah… this is something special”?

Understanding that this production marks the 50th anniversary of The Wiz— a show that is deeply rooted in and belongs to Black culture — felt monumental to me. It’s a piece of history that I truly wanted to be a part of. The show is grand and deeply important to our community, having shaped so much of our cultural history and entertainment legacy. Generations have connected to it through shared stories and lived experiences. In the rehearsal room, hearing the harmonies we created and discovering new layers together confirmed that we were on the right path in honoring this celebration, and it made me even more excited to share it across North America once again.

What are you most excited about bringing this show to Southern California/Orange County audiences? 

What excites me most is sharing the pure joy this show brings. There’s an undeniable happiness that radiates off the stage. Theatre allows audiences to escape for two and a half hours and be fully immersed in an experience that makes you feel. This production, in particular, lifts you and sends you back into the world energized — telling the story through our lens while spreading a powerful message about being enough, and about finding peace and confidence in who you are and what you bring to the table. 

What has been your favorite moment of the tour so far? 

My favorite part of touring this show is going to the stage door, and seeing how inspired the kids are — hearing them excitedly talk about what they saw, what they heard, and how it made them feel. I also love seeing multiple generations of families come together, sharing their own memories of The Wiz while experiencing this new version together. Those moments really show the impact and longevity of the show, and how it transforms lives.

You’re also releasing new music with your album “Energy and Love.” How does your music intersect with your theatrical performances?

Sustaining an eight-show week is definitely not for the weary, lol. Building that kind of stamina and endurance on stage night after night really strengthens your “engine,” and it translates directly to being able to give more as a recording artist.

If someone is coming to The Wiz expecting the classic Wizard of Oz story, what do you hope surprises them the most about this production?

I always like to say: come with an open heart. This 50th Anniversary production is a reimagined celebration of the classic we love. The wonderful thing about The Wiz is that every iteration over the past 50 years has spoken to its own decade, yet the heart of the story has always remained the same. I encourage audiences to come with an open heart and embrace this new version of something we’ve all loved for so many years.

You’ve had an impressive journey across Broadway, national tours, television, and music. Looking back, what advice would you give to your younger self just starting out?

I would tell my younger self: you are enough. Stay the course, remember that your gifts and talents were given to you to exercise to their fullest, and never dim them for someone else’s comfort.

Elijah Ahmad Lewis, who stars as the Scarecrow

THE WIZ

Segerstrom Center for the Arts – Segerstrom Hall, 600 Town Center Drive, Costa Mesa, CA 92626

Run Dates: January 13–25, 2026

More info: scfta.org

The post Elijah Ahmad Lewis Brings ‘The Wiz’ to Costa Mesa in a Full-Circle Moment appeared first on Backstage Socal.

Most New Year’s Eve plans involve crowds, chaos, and staying up far later than anyone actually wants to. Rita Rudner has a better idea.

The legendary comedian and Dana Point resident returns to Laguna Playhouse on Wednesday, December 31 at 7 p.m. with Yearly Departed, her sparkling, early-evening New Year’s Eve celebration that delivers comedy, live music, champagne, and a festive countdown, all wrapped up in time to be home before midnight. 

The evening begins with a musical set from the Molly Bergman Band, followed by a full stand-up performance from Rudner, whose razor-sharp wit and timeless charm have made her one of comedy’s most enduring stars.

Guests will enjoy a champagne toast, desserts, and an East Coast–style countdown as the ball drops in Times Square at 9 p.m., making it the perfect celebration for those who want to ring in 2026 in style without sacrificing sleep. 

I chatted with Rudner to talk about her favorite way to celebrate the New Year, her deep ties to Laguna Playhouse, and why comedy rooted in everyday life never goes out of style.

You’re celebrating New Year’s Eve at Laguna Playhouse again this year. Tell me about the show.

Rita Rudner:

It’s my very, very favorite way to celebrate New Year’s Eve. We celebrate with New York City, on East Coast time. The show starts at 7 p.m., and by about 8:30, everyone goes out for champagne, little sandwiches, chocolates, all the important things, and then they put on their New Year’s Eve gear.

There’s a big screen, and we celebrate when the ball drops in Times Square. That’s our New Year, 9 p.m. Then there’s live music, dancing if you want, and after that, everyone goes home. You can have what you want to drink, what you want to eat, watch fireworks, and you don’t have to be out on the streets. It’s perfect.

This year’s show is called Yearly Departed. How did that title come about?

Rudner:

It gets harder every year to think of a new title. We’ve exhausted so many of them; one year it was Home by 10. This year, Martin came downstairs while I was having breakfast, threw his arms up and said, “Yearly Departed.” I said, “Yes.” And that was it.

You’re a Dana Point local. How does it feel to bring such a personal, festive show so close to home?

Rudner:

Traveling doesn’t get any easier. I’ve just been to Florida and Phoenix doing shows, and even when it’s close, you’re still at the airport, still dealing with delays and missing tires on planes.

Driving instead of flying is very special. That’s actually why I loved my long residency in Las Vegas, the audience flew to see me, and I drove to the show.

You always make Laguna Playhouse feel so cozy, like a living room.

Rudner:

It is like a living room. I’ve done plays there, stand-up there, and my daughter’s band plays there. It’s our local hang.

I see familiar faces everywhere; the library ladies, restaurant neighbors. Someone once knocked on the window while I was eating dinner and mouthed, “I’m coming New Year’s Eve.” It feels like a reunion every year.

You’re often described as a “timeless” comedian, which is rare. What do you think makes your comedy timeless?

Rudner:

I talk about things that happen to me every day: relationships, frustrations, technology, things everyone deals with. And I only use jokes that work 100% of the time.

I stay away from politics because it changes too fast. By the time you craft the perfect joke, it’s already outdated. I want my comedy to unite people, not divide them.

Technology, though? That’s forever. Passwords, QR codes, AI assistants calling you the wrong name, everyone relates to that. You lose your phone and your whole life is gone. It used to be you just couldn’t call your friend. 

You’ve worked creatively with your husband, Martin, for decades. What’s the secret to surviving both marriage and collaboration?

Rudner:

That’s how we met: he produced comedy shows, hired me, and I slept with him. So there were no surprises.

We’ve always worked together. Even early on, we had a gorgeous penthouse in Australia. We rented a typewriter and tried to write a movie script together. That’s just who we are.

We respect each other. If he says something’s not funny, I listen. If I feel strongly, I push back. Nothing’s written in stone.

You’ve accomplished so much in your life, from writing books, to film, to standup. Do you ever think, “I’m good,” or are you always thinking about what’s next?

Rudner:

I still love stand-up. We’ve also been developing a project with my friend, who is a very very funny drag queen, Bianca Del Rio, who’s incredibly funny, and we have a project we want to work on together. He’s in New York right now, but when he gets back in January, we’ll see where that goes together. There are so many ways to get work out into the world now. We might do something on YouTube too. 

Are you active on social media?

Rudner:

No. That’s not my thing, I don’t really do it. I do Facebook, mostly because Martin knows which buttons to push. If I really wanted to learn, I would learn, but my audience already knows me. I am doing a late night show in January, so we’ll see what happens with that. But I just don’t want to have to post everything. I just want to eat my food. I don’t want to celebrate it. 

If I wanted to I would, but I love that I haven’t been doing it, and it hasn’t made much of a difference. 

As you look ahead to the New Year, what excites you most?

Rudner:

My daughter. She works very hard, and I want success for her. Her band is opening for me on New Year’s Eve, and she has showcases coming up. Watching her create and put her work out into the world excites me.

______________________________________________________________

Yearly Departed: A New Year’s Eve with Rita Rudner

When: Wednesday, December 31
Show begins at 7:00 p.m.
East Coast ball drop and New Year’s celebration at 9:00 p.m.

Where:
Laguna Playhouse, 606 Laguna Canyon Road, Laguna Beach

More info: lagunaplayhouse.com

The post Rita Rudner’s New Year’s Eve at Laguna Playhouse: Big Laughs, Champagne, Home by 10 appeared first on Backstage Socal.

Nearly five decades after Silk Degrees made him a household name, Boz Scaggs is still finding new ways to keep the groove alive. 

The Grammy-winning singer, songwriter and guitarist will bring his Rhythm Review tour to Segerstrom Hall in Costa Mesa on Oct. 24, promising a night of classic hits and fresh takes on the songs that defined an era.

A former bandmate of Steve Miller, Scaggs helped shape the sound of the 1970s with a blend of rock, soul and blues that produced enduring tracks like “Lido Shuffle” and “Lowdown.” 

His influence stretched beyond his own career, paving the way for future acts including Toto. Fans can expect both the nostalgia of his signature songs and the artistry of the musicians who share the stage with him.

From jamming with legends to reliving the magic of Silk Degrees, Scaggs gave the lowdown (pun intended) before his Segerstrom concert.

Your album Silk Degrees is still a touchstone nearly 50 years later. If you could go back to the sessions for that record, what’s one moment you’d relive?

Scaggs: The first evening David Paich and I got together to write a song. It turned out to be “Lowdown” and started a chain of events.

You’ve collaborated with so many legendary names. Who surprised you the most in the studio with their creativity?

Scaggs: Marcus Miller in the making of the album “Other Roads”. He was just getting into synth work and we could see his genius as a creator vividly unfolding in arrangements and as a pure musician.

How has the meaning of a song like “Lowdown” or “We’re All Alone” changed for you personally over time?

Scaggs: Great question. It can be said that in the creative process, the subconscious  is at work sometimes more than one might imagine, and that as time and life unfold the imagery can be seen as prophetic and more personal than we might imagine. “Lowdown” was revelatory for me. “We’re All Alone” was to become something of a wonder as a the years of performing it rolled out. I love some of the imagery it presented and the way it affected some listeners. I didn’t see it when I composed it.

If you could invite three artists from any era to join you on stage for the perfect jam session, who would they be and why? 

Scaggs: Oh lord! This is a tough one. That’s a question I might have jumped on at a younger age when I was a more adventuresome guitarist. Now I’d have to say my interactive music is with my friend, Seth Asarnow, the pianist I collaborated with making my current album, “Detour” in which we pull a song out of the air and see what happens.

When fans come to see Rhythm Review, what do you hope they take away from the night beyond just hearing the hits? 

Scaggs: The brilliant musicians who give me the wide ranging repertoire we’ll be performing.

“Lido Shuffle” and “Lowdown” get crowds on their feet every time. Do you still get the same energy rush performing them as you did in the ’70s? 

Scaggs: It’s different each time we play it.  They’re good songs in that respect. There’s room to feel our way through its parts and get a buzz with each unique setting and audience.

When people look back on your music years from now, what do you hope they feel when they hear your songs?

Scaggs: I get, you know, a thrill when I hear and connect to a song or an artist I dig. It can be transcendent. And I know that thing they hit on, really moves them as well. So it’s a great feeling when you hit on something that moves you, and even better when you can reproduce it, and even better when you can pass that on to others. 

Boz Scaggs Rhythm Review

WHERE: Segerstrom Concert Hall, Segerstrom Center for the Arts, 600 Town Center Dr, Costa Mesa, CA 92626

WHEN: 8 p.m. Friday, Oct. 24

MORE INFO: https://www.scfta.org/events/2025/boz-scaggs

The post Still Shufflin’: Boz Scaggs Talks Hits, Jams and Staying Timeless appeared first on Backstage Socal.

As the sun sets over SeaWorld San Diego, the aquarium park transforms into a chilling playground for its 5th annual Howl-O-Scream.  

Fog creeps across pathways, sinister laughter echoes in the distance, and haunted houses lure the brave inside now through Nov. 1. 

Visitors can also enjoy rollercoasters, themed cocktails flowing at six immersive bars, the “Monster Stomp” musical, and those in the know can uncover five hidden speakeasies tucked throughout the mazes. 

At the helm of this spooky spectacle is SeaWorld’s Vice President of Entertainment Kira Lang, who oversees the creative strategy and execution behind Howl-O-Scream.

From designing haunted houses to orchestrating scare zones, Lang and her team craft an experience that’s equal parts terrifying and fun. We had a Q&A to get a peek behind the screams.  

Q: What makes this year’s Howl-O-Scream unique from past events? 

This marks our fifth year of fear, and we’ve taken everything we’ve learned from past seasons to make 2025 the most thrilling yet. Whether you’re a longtime fan or a first-time guest, you’ll find more to scream about than ever before: expanded scare zones, additional hidden speakeasies, extra themed bars, and an upgraded menu packed with hauntingly good bites and drinks.

Q: How do you decide which themes make the cut each year? Do you lean more on trends, guest feedback, or your team’s imagination?

We evaluate based on guest feedback and imagination. All houses and scare zones are designed by our Entertainment and Theming teams. We work as a team to come up with concepts for each of the above. Once a house concept and storyline are designed, the team creates and designs character profiles and staging for each role, we will work with our costume shop on designs and make-up artists on their final looks.

The vile vignettes this year are based on pathway characters and scare zones from previous years that quickly became guest favorites. We saw guests really enjoy the engagement of the characters and this year we wanted to feature them in a unique way. 

Q: What’s something most people don’t realize about the planning and detail that goes into building a scare zone?

Designing a scare zone is like choreographing a living nightmare—it’s incredibly strategic. Every path, prop, and shadow is placed with purpose, creating hidden pockets where scare actors can appear from unexpected angles. The goal is to keep guests guessing at every turn, because the best scare is always the one you never see coming.

Q: For a first-time visitor, what’s the can’t-miss part of Howl-O-Scream?

This is San Diego’s largest Halloween nighttime event. It’s a big party! The atmosphere is fun, it is high energy and the best part is that this event can be the entire evening. There are so many offerings that it takes a few hours or more to get through all the haunted houses, scare zones, coasters in the dark, vile vignettes, musical performance and live entertainment, plus food and drink stations throughout. 

Q: Do you design with repeat visitors in mind so there’s always something fresh to scream about?

We strive to provide a fun and entertaining haunt event, each year we have a mix of returning fan-favorites, while also bringing in new elements, whether it be new additions to houses, or brand-new scare zones.

Q: We hear there are hidden speakeasies tucked inside some of the haunted houses. Without giving away too much, can you share how guests might stumble upon these secret spots? 

Yes, new this year, every haunted house has a unique speakeasy, themed to the house. The password is shared on Instagram the weekend of the event. Guests should also look for an orange projected skull image on a door and an Ambassador nearby to whisper the password to. 

Q: Do you have a favorite hidden detail or Easter egg inside the houses or scare zones that most people miss?

Alien 64 

Q: For guests who really want to maximize their Howl-O-Scream experience, what insider tips would you share; like the best times to visit, can’t-miss paths, or special add-ons?

Catch the opening “SCARemony” to set the mood, then head straight toward the back of the park while most visitors linger near the entrance. Working your way forward means shorter lines and more scares with less waiting. Another pro move: ride the coasters in the dark early, before the crowds shift from haunted houses to thrill rides. It’s the perfect way to pack in every scream-worthy moment.

Q: Which haunted house or scare zone is your personal favorite this year, and why?

My pick for the scariest house has to be Simon’s Slaughterhouse—it never fails to deliver heart-pounding moments. For scare zones, I’m especially excited about Overgrowth, a brand-new addition for 2025. It’s designed like an eerie greenhouse, and our performers wear ghillie suits that blend seamlessly into the foliage, creating the perfect jump-scare. And for entertainment, you can’t miss Monster Stomp—a high-energy mash-up of music and dance that’s an absolute 10 out of 10.

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CHECK OUT Backstage SoCal’s Instagram and TikTok for behind-the-screams coverage, interviews with “Monster Stomp” musical actors and actresses, and more!

Sea World’s “Howl-O-Scream” 

When: Sept. 12-Nov. 1, 2025

Where: SeaWorld San Diego 

More info: seaworld.com 

The post Unlocking the Screams: Inside SeaWorld’s 5th Annual Howl-O-Scream appeared first on Backstage Socal.

What if Juliet never picked up the dagger? 

That’s the playful premise behind & Juliet, the hit Broadway musical making its Segerstrom Center for the Arts debut in Costa Mesa Sept. 9–21, 2025. 

From the Emmy-winning writer of Schitt’s Creek and featuring the chart-topping hits of Grammy-winning songwriter Max Martin, this high-energy comedy reimagines Shakespeare’s heroine ditching her tragic ending for a bold new beginning.

With a soundtrack packed with pop favorites like “Baby One More Time,” “Roar,” “Since U Been Gone,” and “Can’t Stop the Feeling!,” & Juliet is a fun jukebox musical mixed with historical and hysterical pop culture references. 

Directed by Luke Sheppard and choreographed by Emmy Award-winner Jennifer Weber, the musical continues to break box office records from London’s West End to Broadway and beyond.

Taking on the role of Anne Hathaway—yes, Shakespeare’s real-life wife—is Broadway star Teal Wicks. Known for her powerhouse performances as Elphaba in Wicked, Mary Barrie in Finding Neverland, and Lady in The Cher Show, Wicks now brings wit, warmth, and a modern twist to Shakespeare’s partner-in-crime. 

A UC Irvine alum, she’s especially thrilled to return to Orange County for this run.

Backstage SoCal caught up with Teal to chat about coming full circle at UCI, why Anne Hathaway’s voice feels so fresh, and the moments in & Juliet that spark the biggest energy shifts in the audience.

Q: As a UCI graduate, what does it mean to you to bring this musical to Orange County?

Teal Wicks:
It’s so exciting, really fun, and it feels very full circle. I loved my time at UCI and in Orange County. As a drama major, that’s where I was truly discovering my voice as an artist. It laid the foundation for so much of my career. The training I received there is something I’ve been building on for the past 20 years as a professional actor, which is wild to say!

UC Irvine also has this incredible program called the New York Satellite Program, which I did twice. We spent four to six weeks in New York taking classes, auditioning, and seeing as many shows as possible. I always loved the idea of New York, but living there during that program made me really fall in love with the city. It showed me I could handle it, and it gave me the confidence that I could actually pursue this dream. So UCI was very much the launchpad for the career I’ve been fortunate to have.

And now, bringing & Juliet to Orange County feels extra full circle because, when I was in college, we did a production of Romeo and Juliet with music. I was part of a girl group trio that sang in the background for a lot of the big scenes. So here I am again, back in Orange County, doing another musical inspired by Romeo and Juliet. It’s such a funny, special connection, and really, really fun.

Q: Anne Hathaway gets to be Shakespeare’s witty, opinionated partner-in-crime. What do you love most about how she’s written in this story?

Teal Wicks:
What I love most is that Anne is written as a mature woman. She’s a wife and a mother, yet she still gets to have such a strong voice and so much fun. David West Read, our writer, really gave a lot of freedom to these characters. He created space for us as actors to interpret, to play, and to bring as much of ourselves into them as possible. That’s such a gift.

I also love how playful Anne is. So often when characters in their middle age are written, they can come across as stuffy or overly serious. But that’s not real life. I know 90-year-olds who are silly, playful, and still have that youthful spirit alive in them. That’s exactly what Anne embodies: a woman who embraces her joy and humor, even as she carries the wisdom of her life experience.

And then there’s her dynamic with Will. It’s not perfect; they’re in a stage of life where they’re both in very different places emotionally and physically. In the play, they’re on a journey to rediscover each other. Not by trying to go back to who they were when they were young, and not by trying to reinvent themselves into something they’re not, but by meeting each other where they are now. They embrace who they are in this moment, and in doing so, they find a way to keep their relationship alive.

Q: What’s your favorite moment on stage in this musical where you feel the audience’s energy shift the most?

Teal Wicks:
There are a few, but I’ll give you two.

The first is in Act One, when we introduce the character of May. Up until that point, the audience is following along with characters they already know from Shakespeare’s canon; it feels like we’re still inside Romeo and Juliet. But then Anne Hathaway decides we need someone new in this play, and May enters. May is non-binary, and the show simply celebrates May as they are. There’s no big explanation needed, and it’s a beautiful moment.

You can feel the audience shift when May arrives. Even if someone doesn’t fully understand them at first, by the end of the show they do, and they love May. For non-binary audience members, it can be especially powerful. We’ve had people at the stage door share that May was pivotal for them, sometimes the very first time they felt truly represented onstage. That makes the moment incredibly special.

The second is in Act Two, when I sing That’s the Way It Is with Juliet. Up until then, Anne has been more of a storyteller, pushing the plot forward and guiding the audience. But in this song, she lets her walls down and opens up about marriage and relationships. It’s her most vulnerable moment, and it shifts the tone of the show.

Yes, & Juliet is a comedy, but here we dive into something very real: mature love, the challenges of it, the realities of what it means to stay together. It’s not just about young, star-crossed lovers anymore; it’s about love in all its complexity. You can feel the audience lean in during that moment, and it’s so fulfilling to share that with them.

Q: What do you hope your audience will bring home with them after seeing & Juliet?

Teal Wicks:
I hope they leave with love and passion for theater itself, because & Juliet is also a love letter to theater and the power of shared stories. Theater is such a special, ancient space where stage and audience come together, and I hope people walk away reminded of that magic.

I also hope they leave with full hearts; feeling empowered to forge their own story. It’s never too late to take control of your own narrative, to decide who you are, and to shape the life you want to live. If audiences carry that with them, along with joy from the music and the comedy, then we’ve done something really meaningful.

_______________________

& Juliet 

Dates: September 9 – 21, 2025
Location: Segerstrom Hall, 600 Town Center Drive, Costa Mesa, CA 92626

Tickets: Starting at $44.07

Online: scfta.org

The post From UCI to Broadway: Actress Returns to OC with Broadway’s Hottest Musical ‘& Juliet’ appeared first on Backstage Socal.

Led by Principal Pops Conductor Enrico Lopez-Yañez, the retro-powered celebration of the ’70s promises Bee Gees falsettos, Donna Summer divadom, and enough “I Will Survive” energy to fuel a dance floor all night.

Joining Lopez-Yañez will be powerhouse vocalists Maiya Sykes and Ty Taylor, and the 

symphony swelling behind them. The night will present disco reimagined on a symphonic scale. 

For Lopez-Yañez, it’s also personal. The son of a ’70s music fan, he grew up surrounded by these anthems, and now he’s putting them center stage in a way that connects generations. 

Backstage SoCal caught up with him to talk about his earliest disco memories, the thrill of conducting to an audience on their feet, and why this show is the perfect first taste of symphony life.

Q: You’ve said your father was a huge fan of ’70s music and that this show is like the soundtrack of your childhood. What are some of your earliest memories of hearing disco at home?

Enrico Lopez-Yañez: Whenever my dad was home, we had music of the ‘70s playing around the house and on the radio. One of my favorite memories with this music though, comes from my mom who used to exercise every morning to the Richard Simmons workout videos. Every time the song “Celebration” by Kool & the Gang would come on, my sister would run into her room to join her in dancing and singing along, “Yahoo!”.

Q: What’s it like translating iconic disco beats and grooves into a full symphony orchestra experience?

Lopez-Yañez: Disco music is one of the best genres to hear with orchestra because so many of the original songs used strings and brass sections from conception. This means not only does the live orchestra add authenticity to the experience, it allows us to expand upon the original songs in a unique way that amplifies the energy and creativity of these songs and that the audience has never heard before!

Q: From Donna Summer to the Bee Gees, Gloria Gaynor to KC and the Sunshine Band — how did you decide which artists and songs to highlight in the program?

Lopez-Yañez: The goal in this show was to, of course, cover all the greatest hits and legends of the ‘70s. It was definitely hard to cut down on the hundreds of incredible songs we had to choose from, so this show is packed with medleys to make sure you get to hear some of your favorites as well as all the high-energy hits to get folks up on their feet dancing!

Q: You’re joined by Maiya Sykes and Ty Taylor, two incredible singers with powerhouse resumes. What do they bring to the stage that really lights up these disco classics?

Lopez-Yañez: These two superstar vocalists have appeared on stage, television, and film alongside the biggest acts in the world and bring all of that star power and energy to every show we do. They are two of the most energetic and vocally talented performers I have worked with and they constantly blow me away by how they are able to bring these classics to life with new vibrancy each time.

Q: This concert is billed as fun for all ages. What do you hope kids and younger audiences—maybe hearing disco for the first time—take away from the experience?

Lopez-Yañez: I think what younger audiences will be surprised by is how fun and engaging this music is, but also just how many songs they’ve likely heard before. The songs in this show are still ever present in our daily life whether you hear them when you go out to the store, attend a wedding, or scroll TikTok. The hits from the ‘70s have stood the test of time and are still just as in to dance to now as they ever were!

Q: What’s the most fun part for you personally when you conduct a disco program like this? Do you ever catch yourself dancing a little while conducting?

Lopez-Yañez: Since these are all arrangements I wrote myself, I love looking out at the audience getting up on their feet, dancing, and having a great time. I definitely catch myself dancing along and have been known to bust a move or two on stage during these concerts as well!

Q: For people who might be new to Pacific Symphony Pops concerts, why is this the perfect “gateway” performance to come experience what you do?

Lopez-Yañez: This show is simply pure fun. If you’ve never experienced an orchestra live, this is the perfect opportunity to hear and watch an incredibly lively show all about singing, dancing and soaking in the incredible hits featuring one of the greatest orchestras in the country!

Q: If you could invite one disco legend—past or present—to join you onstage for this concert, who would it be and why?

Lopez-Yañez: I would love to have worked with Donna Summer! As the Queen of Disco, she was such an iconic figure and had so many incredible hits. Thankfully we do incorporate an amazing Donna Summer medley into the show and Maiya brings down the house, so we get pretty close!

More info: Pacific Symphony’s SummerFest 2025 is presented by City of Hope Orange County. “Disco Fever—Let’s Dance!” takes place on August 23 at 8 p.m. with tickets ranging from $44-$160. For more information or to purchase tickets, call (714) 755-5799, or visit www.PacificSymphony.org. 

The post Staying Alive with Symphony Style: Enrico Lopez-Yañez on Bringing Disco Fever to Irvine appeared first on Backstage Socal.

Kicking off the OC Parks 2025 Summer Concert Series on June 19 at Mile Square Regional Park in Fountain Valley, the beloved Los Angeles-born collective brings their infectious energy, genre-hopping rhythms, and socially conscious soul to the stage in what promises to be a summer kickoff celebration.

And this year, there’s even more to dance about: Ozomatli is celebrating 30 years of blending music with movement, both literal and political.

The milestone year is being marked by their newly launched “30 Revolutions” Nationwide Tour, which kicked off on May 30 in Boulder, CO and will span the country through the end of August.

Stops include major cities like Los Angeles (June 14 at Grand Performances), New York City (Aug. 12 at SONY Hall), Chicago (Aug. 23 at Park West), and Austin (Aug. 30 at Antone’s). In true Ozo spirit, the band is donating $1 from every ticket to mental health services for music industry professionals through Sweet Relief and Backline.

“Celebrating 30 years of music, madness, and familia? That’s not just a milestone — that’s badass,” says saxophonist/vocalist Ulises Bella. “Through all the chaos in the world, one thing hasn’t changed: Ozomatli brings the vibes that bring people together.”

We caught up with founding member Raul Pacheco ahead of their SoCal homecoming to talk about three decades of making noise, staying united, and what fans can expect from this milestone moment at OC Parks.

Three decades deep! Ozomatli was born out of community activism and organizing in L.A. How have those roots continued to shape your identity as a band, both on and off stage?
Raul:
Our first show was at a labor protest and that spirit to lend our support to causes we agree on is still there. Right now we support the immigrant communities in California and all over the country and we support anti-ice protesters. Music brings people together and we are here for it. 

What’s been the secret to keeping the spirit of the band alive and thriving after 30 years?
Raul:
We each love music so much and do our best to respect each other. We share our profits equally and try to make room for everyone’s voice and creativity. Over time we have learned to listen better and support each other as people, not just bandmates.

From street protests to the Grammys to global tours, you’ve played just about everywhere. Do you have a favorite moment that still cracks you up or blows your mind?
Raul:
Playing for 25,000 people in Mongolia was wild. We were like, how did we end up here. Jamming with Stevie Wonder at Grand Performances is another one, we backed him up a little and he jammed with us on our final song.

This year’s OC Parks concert kicks off summer with you guys at Mile Square Park. What can SoCal fans expect from your live show? Any surprises to mark your 30th?
Raul:
Music, movement and community. We are playing songs old and new. We hope to create a safe and loving space for all in attendance to connect and enjoy each other.

Looking back, is there a particular moment, song, or collaboration that felt like a turning point for the band?
Raul:
“Cumbia De Los Muertos” helped define our sound in the early days. It showed how all these different influences could live in one song.

As you hit this milestone year, what message do you hope fans old and new take away from the Ozomatli journey?
Raul:
That you can create joy while standing up for what matters. That community and culture are worth celebrating and protecting. We hope people feel seen and heard in the music. Whether you have been with us since the beginning or just found us, we are grateful you are part of the journey.

Lastly, if you could go back and give one piece of advice to the band in year one, what would it be?
Raul:
Document more. Take the pictures. Write things down. But also, trust the process. Keep playing with heart. Keep showing up for each other. It is going to be a ride, and it is going to be worth it.

For more info, visit: https://www.ocparks.com/news/oc-parks-presents-2025-summer-concert-series-and-sunset-cinema-film-series

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Swirling, sipping, and savoring took center stage Memorial Day weekend as the Newport Beach Wine & Spirits Festival returned for its 20th year, drawing food and beverage enthusiasts to the scenic Balboa Bay Resort.

The three-day celebration, held May 23-25, featured a series of elegant events, including a Friday night wine pairing dinner, Saturday’s Grand Tasting, and a breezy Sunday brunch—all set against sweeping views of Newport Harbor.

Organized at one of Southern California’s most picturesque waterfront resorts, the annual festival brought together a wide array of premium purveyors. Guests sampled exceptional wines from producers such as Veuve Clicquot and Chambers & Chambers, alongside artisanal spirits including Empress Gin and WhistlePig whiskey.

Attendees strolled through the resort’s bayfront promenade, tasting sea-to-table dishes from local chefs and engaging in conversations with distillers, winemakers, and culinary artisans. This year’s Grand Tasting featured live music, lively energy, and a celebratory atmosphere that spilled onto the wraparound patio of A+O Restaurant | Bar.

Beyond the pours and plates, the festival served a greater purpose. A portion of proceeds benefited the Balboa Bay Club Scholarship Fund, which supports the educational goals of local students.

Now two decades strong, the Newport Beach Wine & Spirits Festival has secured its place as a signature Memorial Day weekend tradition—blending sun, sophistication, and seaside spirit.

For more highlights and behind-the-scenes moments, the festival’s video coverage features exclusive interviews with participating vendors and a look at the vibrant community that brings this event to life each year.

For more info, visit: https://balboabayresort.com/event/newport-beach-wine-festival/

The post 2025 Newport Beach Wine & Spirits Festival: Grand Tastings, Harbor Views, and 20 Years of Flavor appeared first on Backstage Socal.

The winner takes it all — and this week, that winner is Orange County.

The feel-good musical phenomenon Mamma Mia! returns to Southern California as part of its 25th Anniversary North American Tour, landing at Segerstrom Center for the Arts in Costa Mesa May 13–18. 

The sun-soaked musical set in a Greek island paradise, features anthems by the Swedish pop group ABBA. 

For Christine Sherrill, who stars as the show’s beloved matriarch Donna Sheridan, the role is both a diva dream and an endurance challenge.

“Donna is 100% diva because she is modern and real. She’s a 10 on the diva scale,” Sherrill shares. “The ‘Donnathon’ is what we call the 20 minutes of the second act in which I perform three songs and three scenes without leaving the stage. It requires more endurance than Kate and about the same amount of energy and endurance as Norma. Best of all, Donna is fiercely independent and determined.”

Since the musical’s debut in London in 1999 and its Broadway premiere in 2001, Mamma Mia! has become a global hit, with more than 70 million people worldwide experiencing the show live, and over $7 billion grossed across 50 productions in 16 languages. 

The story — told through ABBA’s timeless catalog — has inspired two smash-hit movies and continues to bring generations of fans together for a night of love, laughs, and platform shoes.

“My favorite part is connecting with the audience,” Sherrill says. “There are different parts of Donna that appeal to different audience members. I honor her humor, regret and fortitude and hope I’m in turn honoring someone special in the audience.”

Behind the scenes, the cast has built a tight-knit, celebratory family — something that became especially clear to Sherrill during the tour’s Mother’s Day performance.

“I received so much love from the cast. Flowers, gifts, my favorite coffee and favorite whiskey, of course,” she says. “I felt like a queen receiving so many heartfelt words and cards. I am so supported on and offstage by this incredibly talented company. It wouldn’t be possible to do this job without their love.”

While Sherrill is no stranger to grittier screen roles — including FBI: Most Wanted and Red Dead Redemption — she says musical theater is where her heart lives.

“I’ll say the stage has always been easier for me,” she explains. “The energy the audience gives fuels my performance and sometimes can inform new choices. Audiences make me a better actor.”

And what should Southern California audiences expect when the lights come up on Skopelos Island?

“They can expect to escape the real world for the beauty and joy on the island,” she says. “Best of all, they can expect to be surrounded by their neighbors up on their feet singing and dancing by the end.”

According to Sherrill, there’s no mystery to what makes Mamma Mia! such a feel-good, multi-generational favorite — just a little ABBA magic and a lot of heart.

“First and foremost, the score. It’s been so rewarding on this particular tour to see three generations of women enjoying the show together,” she says. “The secret ABBA ingredient is magic to me. We have patrons who grew up with it, those who listened to it with their parents, and a new generation that discovered it through social media sound bites.

“Secondly, the story of finding strength in friendship. So many folks at the stage door comment on how touching the relationship between The Dynamos is to them and how it reminds them of the goodness friends bring.”

And if Christine Sherrill ever headlined her own jukebox musical?

“It would be called Next to Norma and would be a score by Brandi Carlile,” she says.

Until then, one can find her center stage — belting her heart out and leading one of the most feel-good parties on any stage.

‘MAMMA MIA!‘

Segerstrom Center for the Arts – Segerstrom Hall

600 Town Center Drive Costa Mesa, CA 92626

May 13 – 18, 2025

Tickets start at $55.37

scfta.org

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Twenty-five years ago, a scrappy, emotionally raw band out of Utah lit a fire in the post-hardcore world—and it never went out. Now, The Used are celebrating their milestone 25th anniversary in a way that’s as loud, personal, and unapologetically creative as ever.

This week, the beloved four-piece returns to Los Angeles to play three nights at The Wiltern—May 8, 10, and 11—performing their first three albums in full: The Used (2002), In Love and Death (2004), and Lies for the Liars (2007). 

These aren’t just concerts—they’re immersive fan experiences. Each night is a nostalgic, high-energy deep dive into the songs that defined a generation of emo and alternative rock fans, from the anthemic cries of “Taste of Ink” to the haunting melodies of “All That I’ve Got.”

To mark the occasion, the band has also released limited edition vinyls with reimagined cover art by renowned artists including Alex Pardee, Craola, and Cam Rackam—visual reinterpretations that breathe new life into three albums already etched into the hearts of so many fans. Explore the Reimagined Artwork →

But The Used aren’t stopping at the stage.

On May 9, between shows, the band is hosting a free one-day-only art show and pop-up experience at Secret Walls in LA (12pm–8pm). Open to all fans, the event will showcase the reimagined album artwork in gallery form, rare memorabilia from the band’s two-decade journey, exclusive merch, and a completely free signing and meet-and-greet. 

As founder and bassist Jeph Howard reflects in our conversation, this 25-year legacy isn’t just about music—it’s about connection, evolution, and staying true to who you are. Read on for a candid look into the band’s past, present, and future.

Q: You’ve said this band has become something bigger than yourselves. What do you think The Used means to fans today versus circa 2002?

Jeph:
I feel like in the band, we’ve had ups and downs, and we’ve had member changes, but our core being has always done the same thing. We’re just a bunch of friends, you know? God, I’ve known Bert for 30 years, probably, you know what I mean?

And we have friends that come out to shows—like, we just played Salt Lake. I wasn’t born there, but technically that’s where the band started. That’s where everyone else was born. The band itself is from there. And so, going back and seeing all the people we grew up with—and they’re all doing awesome stuff too—but having them come out… we had old techs come out too that are lifelong friends, that live in Salt Lake, that got to just be part of our family again.

And that’s kind of what I’m getting at: when we tour, we tour as a family. So everybody in the crew, everybody in the band, everybody that’s out there with us is part of this family. Each person we rely on equally. Our merch guy is just as important as our lighting guy, who’s just as important as our sound guy or tour manager or stage manager—every single person is important and part of the family. They all do their job to make the show what it is.

We try to bring that vibe through with our fans too. The same kind of thing—like, we care. We’re not just playing these shows because we’re trying to get rich or something stupid—because, you know, that’s never gonna happen. We’re doing it because we actually care, and we actually want to play shows, and we actually like sharing and being a family unit.

Q: There’s this new wave of emo pop-punk resurgence happening, but The Used never really left the scene. What are your thoughts on this new wave of the genre? 

Jeph:
Yeah, it’s cool. It’s okay to pass the torch, but it’s also okay to help out bands that are trying to get somewhere—trying to change and bring something new.

Being in The Used, we never really set out to be the biggest band in the world. We just set out to do something and inspire, and be different, and bring change—however that is. And that’s still what we’re doing. We haven’t stopped. We’re still touring. Currently on tour still. It’s been 25 years, and we don’t really have any way of slowing down or stopping.

And like you were saying, there are a bunch of new bands that are coming up that are trying it. And there’s room, you know? I don’t know why everyone gets so scared about it. There’s room for everyone to win. We can all win. We can all help each other up, and we can all stand up and be a part of something. There’s nothing to be scared or jealous about.

Sure, some bands come out of nowhere and get really big. And some bands are incredible and they don’t get big. It’s all part of the whole. But like I said, there’s room for everyone to win, as long as we help each other.

Q: Is there a track that hits differently now for you than it did over 20 years ago—lyrically or sonically?

Jeph:
I mean, this whole year we’re playing these three records back-to-back, three nights in a row. And it’s cool to revisit because we did it before in 2015 or 2016 or something, and it was incredible then. But now we’ve added Lies for the Liars, so it’s a pre-record one. What’s so cool about this is, it’s an experience.

Each night we play has a little different vibe. Plus, there’s a video that plays that brings that nostalgia. There’s some other stuff going on on stage—I don’t want to ruin too much. You could probably see it online if you really wanted to. But yeah, there’s some fun stuff. It’s definitely a vibe for each show.

What’s really cool about it, like you said—sonically and lyrically—it’s cool to revisit all these songs again. Some songs we don’t ever get to play because of how touring works. You don’t get that much time, and everyone wants to hear their favorite song. So we try to play as many favorites as we can, but we miss out on some songs.

For me personally, a song that’s always been a top favorite from the first three records is Pieces Mended. It’s always been up there. Musically, the way that song is sewn together is very interesting—and very fun for me.

Also, we’re playing a song that—depending on how you heard Lies for the Liars—you may or may not know. It was a B-side. If you bought the album on iTunes back in the day, it came with it. But if you didn’t, it’s not even on Spotify. That’s how deep of a B-side it is. You have to find it through, I think, a B-sides record. I’m pretty sure it was on that—or somewhere else.

But the song’s called Pain. We used to play it live a lot too, actually, which is funny. But we’ve brought it back, and it’s been so much fun for me to revisit.

Q: What’s it like revisiting your early songs on this tour?

Jeph:
What’s really cool about it is, sonically and lyrically, it’s fun to revisit all these songs again. Some of them we never get to play because of how touring works—you don’t get that much time, and everyone wants to hear their favorite song. So we try to play as many favorites as we can, but we miss out on some.

For me personally, a song that’s always been a top favorite from the first three records is Pieces Mended. The way that song is sewn together is really interesting and fun for me to play.

We’re also playing a B-side from Lies for the Liars called Pain. Depending on how you heard that record—if you bought it on iTunes back in the day, it came with it—but if you didn’t, it’s not even on Spotify. You have to find it through a B-sides release. We used to play it live a lot, which is funny, but now we’re bringing it back, and it’s been so much fun to revisit.

Q: If 2002 Jeph could time travel to these shows now, what do you think he’d say?

Jeph:
So, me talking to my old self? I’d slap myself a couple of times and tell myself to stop stressing. I’ve battled anxiety my whole life. I’m kind of an introvert. I’m talking more now because I’ve overcome a lot, but I’ve always been that way. I’m an only child—I used to just hide out.

Touring, living on a bus, and suddenly having “brothers” really helped me on that journey. The old me was a lot more afraid—not of anything scary—just regular life.

Q: What’s the one feeling that still hasn’t changed when you walk on stage?

Jeph:
“Don’t f— up.” [Laughs] We all feel that. The first five minutes are the most intense because they set the tone for the entire show.

We mess around on stage a lot. We have microphones that only we can hear, so we joke around, tease each other, and if someone messes up, we laugh about it. The minor mess-ups stick with us, but only the big ones are really noticeable.

But those first five minutes—if something major goes wrong, it can get in your head, which is the worst. I’ve learned that it’s like riding a bike: if you focus too much on little stuff, you crash. I need to take a breath, get my head in the game, and then the rest of the show is smooth.

Q: That’s amazing. After 25 years, you still get butterflies?

Jeph:
Oh yeah, those never go away. And sometimes they’re good to have. But after those first five minutes, it becomes a hangout. The nerves go away, and it’s just fun.

Q: I saw a comment on your Instagram—someone said they just discovered one of your songs for the first time. That’s got to be wild.

Jeph:
Yeah, I wonder what song it was. It’s really interesting, though. At our shows, you can definitely see multiple generations in the crowd. We’re lucky that we connect on so many levels through different experiences.

Q: So this tour is for the day-one fans and the newbies. What’s your favorite way to spot a longtime fan in the crowd?

Jeph:
Honestly, the Lies for the Liars shows. You can spot the old-school fans that come for the first record. Then there’s that second wave of fans who come for the second record. Some fans overlap, but Lies has more deep cuts. Only The Bird and the Worm was really big on the radio, so the rest of that album connects more with second- or third-wave fans.

But my favorite are the fans who know our record Artwork. That’s one of my favorite Used records. It got leaked six or seven months early, so the label didn’t push it—we didn’t get radio play. So it’s kind of underground. But it’s definitely my favorite.

Q: Let’s talk about the reimagined art show. How did that idea come about?

Jeph:
We wanted to do something really special, especially in what kind of feels like a second hometown. I lived in California for around ten years, and Burt did too. I still live here. Some of the artists live here as well.

Alex Pardee, Cam Rackam, and Craola—all the artists who reimagined the first three albums—they’re all coming in. They’ve set up a full art show with pieces based on the albums, and even some items that were part of those eras. I’m trying to be vague because I don’t know exactly what they’re using—I haven’t seen the final setup yet—but I know what they pulled from our storage unit, so I’m excited to see it.

Q: Can you share one item you’re excited for fans to see?

Jeph:
I don’t know exactly what they’re using, but I gave them some masks from Lies for the Liars. The person on the album cover? That’s a real person wearing one of those masks. All the characters in the booklet are real physical masks—they’re expensive, from this horror prop company. One of them is actually in the Punk Rock Museum in Vegas.

I also gave Cam all the laminates from every single Used show we’ve ever played. And I had a hat from The Taste of Ink music video—I gave them that too. I used to have the jacket from All That I’ve Got, but I lost it. I was holding on to it, and it just disappeared. That would’ve been great to have.

Q: Isn’t it crazy that those items are now part of music history?

Jeph:
It’s wild. Twenty-five years is a long time to do anything. But we’ve just kept our heads down and pushed forward. It’s been a really fun ride, and I’m excited about what’s next.

Q: What do you want fans to know about the shows, the tour, or the art exhibit?

Jeph:
I know some people just want to see one or two records, but honestly, this is one big show split into three days. Seeing it all together is the full experience. If you’re a big Used fan, it’s worth coming to all three. I know life happens, and tickets can be expensive, but if you can swing it, it’s worth it.

Just know that we appreciate every single fan. We appreciate the vibe, the energy, the support. We love meeting people. That’s why we do meet and greets almost every day. We care—a lot.

____________________________________________________________

For more info, visit: https://theused.net/

The post 25 Years of The Used: A Conversation with Jeph Howard appeared first on Backstage Socal.

The Academy of Country Music Awards will celebrate six decades of country hits with a high-energy night of superstar performances and once-in-a-lifetime collaborations. The milestone show will stream live exclusively on Prime Video and the Amazon Music channel on Twitch on Thursday, May 8, at 8 p.m. EDT / 7 p.m. CDT / 5 p.m. PDT from the Ford Center at The Star in Frisco, Texas.

Sixteen-time ACM Award winner Reba McEntire returns as host of the milestone celebration, which opens with a showstopping, 12-minute “Songs of the Decades” medley. The performance will feature ACM Song of the Year winners from the past 60 years, brought to life by a star-studded lineup including Clint Black, Dan + Shay, Wynonna Judd, LeAnn Rimes, Sugarland and McEntire herself.

The 60th ACM Awards will also feature can’t-miss collaborations from some of music’s most iconic voices, including:

• Backstreet Boys and Rascal Flatts
• Brooks & Dunn and Cody Johnson
• Jelly Roll and Shaboozey
• Megan Moroney, the 2024 ACM New Female Artist of the Year

Previously announced performers include Alan Jackson, Chris Stapleton, Blake Shelton, Kelsea Ballerini, Lainey Wilson, Miranda Lambert, and New Artist of the Year winners Ella Langley and Zach Top.

Produced by Dick Clark Productions, the Emmy-nominated awards show promises a nonstop celebration filled with exclusive performances, genre-crossing pairings and surprises from country’s past, present and future.

The ACM Awards made history in 2022 as the first major awards show to exclusively livestream. A limited number of tickets to the 60th anniversary event are available through SeatGeek.

Executive producers for the show include Raj Kapoor, Patrick Menton, Damon Whiteside, Jay Penske, Barry Adelman, and consulting producer John Saade for Amazon MGM Studios.

The 60th ACM Awards are presented by Carnival Cruise Line, with additional support from Realtor.com, Boot Barn, Mountain Valley Spring Water, and dozens of national sponsors.

Fans can follow along with the conversation using #ACMawards and sign up for updates via the ACM A-List at ACMcountry.com.

The post Reba McEntire to Host 60th ACM Awards Featuring Star-Studded Duets and Decades-Spanning Tribute appeared first on Backstage Socal.

The Orange County-based vocalist — also a licensed jet pilot, psychologist, best-selling author and arts advocate — collaborated with seven-time Grammy-nominated arranger Chris Walden to produce the lush, orchestral album recorded at Hollywood’s legendary EastWest Studios.

Whitmore said the inspiration for the project stemmed from both data and devotion.

“I noticed that on Spotify and Apple Music my highest streaming numbers were for romantic, love songs,” she said. “So it was inevitable that the next album would be devoted to this genre.”

Choosing the final tracklist, however, took time.

“We went through at least a hundred songs before we settled on the song list for this one,” she said.

The album opens with “A Time For Love,” a sweeping ballad originally featured in the 1966 film An American Dream. Released as a single on Valentine’s Day, the song was Whitmore’s personal choice to introduce the record.

“I fell in love with this song when I heard it on the soundtrack from an old movie,” she said. “The lyrics celebrate the exhilaration of new love, but listen carefully and you’ll also hear heartfelt reminiscences of lost loves from days gone by.”

Working alongside Walden, whose past collaborators include Paul McCartney and Barbra Streisand, was a highlight of the creative process.

“What a joy it is to work with Chris,” Whitmore said. “He writes the most gorgeous arrangements and orchestrations. He conducts the orchestra, and he is exceptionally kind and considerate. He knows everything about the music business.”

The album includes timeless standards by Cole Porter, George and Ira Gershwin, Irving Berlin and more — a musical canon Whitmore has been connected to since childhood.

“My grandfather played first violin on the soundtrack of The Wizard of Oz and spent 20 years at MGM,” she said. “When other kids were watching cartoons on Saturday mornings, I was watching old Judy Garland movies. By the time I was 10, I knew the words to all the songs she used to sing.”

Though she didn’t pursue a full-time singing career until 2014, Whitmore says the dream had been waiting in the wings for decades.

“I had wanted a singing career when I was very young, but family responsibilities got in the way,” she said. “I’m so grateful that after so many career changes, at last I’m doing what I always dreamed of. With perseverance and stamina, fairy tales can come true.”

A longtime supporter of the arts, Whitmore serves on the boards of the Pacific Symphony, Pacific Jazz Orchestra, and BackhausDance. She’s also a supporter of Pasadena Playhouse. Her experience behind the scenes informs her appreciation for the stage.

“Having worked behind the scenes, I understand it takes many people to create an evening of entertainment,” she said. “Whenever I perform, I always take the time to thank everyone.”

As for what she hopes listeners feel when they press play?

“These songs were written between World War I, the Great Depression, and the end of World War II. Our great American composers understood that in hard times, people need music that can inspire, uplift, motivate and comfort them,” she said. “That’s what I hope this album does.”

Let’s Fall In Love is available on all major streaming platforms.

The post From Jet Pilot to Jazz Vocalist: Judy Whitmore Soars with New Album ‘Let’s Fall In Love’ appeared first on Backstage Socal.

Perched above the shimmering Dana Point coastline, Lantern’s Edge at Laguna Cliffs Marriott offers more than just breathtaking views. By day, the restaurant boasts panoramic vistas of the harbor and ocean. By night, it transforms into a cozy, elegant retreat, where the ambiance rivals the natural beauty outside.

Helmed by Chef de Cuisine Kristine Davis, formerly of the Ritz-Carlton Laguna Niguel, Lido House, and Miami Beach Edition, Lantern’s Edge delivers a menu that masterfully blends Mediterranean and California classics. Davis, drawing inspiration from her Filipino heritage, infuses subtle yet striking flavors into her creations.

“I sneak in a lot of Filipino flavors in there, which are very subtle, but the various seasonings are hints of where I come from,” said Davis, whose culinary artistry is evident in every dish.

The restaurant’s outdoor patio, complete with heat lamps, fire pits, and weekend live music, invites diners to linger under the stars. Inside, the coastal-chic dining room features large windows that frame the ocean views, a full bar, a sleek fish tank, and a mix of formal tables and plush lounge seating, creating a setting that is both sophisticated and inviting.

A Menu to Savor

Lantern’s Edge offers a menu filled with dishes that delight both the palate and the senses. The culinary journey begins with standout appetizers such as the Dynamite Oysters, available hot or Rockefeller style, and the Burrata Dip, featuring peach Meyer jam, walnut crumble, and sourdough toast.

Among the entrees, the Grilled Maitake shines as a hidden gem. The smoked whipped feta, Fresno vinaigrette, and bonito flakes complement the earthy mushrooms, making it a dish that’s as unique as it is flavorful. The Branzino, served with guajillo piperade, celeriac soubise, and confit leek, balances delicate textures with bold flavors. For pasta lovers, the Seafood Orecchiette impresses with house-made charcoal-infused pasta, prawns, scallops, clams, and calamari in a lobster bisque base.

To complement the culinary offerings, Lantern’s Edge presents a thoughtfully curated cocktail menu. Highlights include the Pinkies Up, a refreshing mix of Casa Dragones Blanco Tequila, Lo-Fi Amaro, lime juice, pamplemousse liqueur, grapefruit soda, and agave. For those who enjoy a smoky kick, the Smoke n’ Spice blends Del Maguey Vida Mezcal, ginger syrup, lemon juice, chile liqueur, orange bitters, blackberries, and fresh jalapeño. The tropical Cliff Diver offers a blend of Myer’s Dark Rum, coconut cream, pineapple juice, nutmeg, orange, and cherry, evoking coastal vibes in every sip. For a unique twist on a classic, the Banana Vardier pairs WhistlePig Bourbon with Amaro, Giffard Banane du Brésil liqueur, and Amontillado sherry for a rich, complex flavor profile.

Dessert at Lantern’s Edge is not to be missed. The Ube Sans Rival, a gluten-free twist on a traditional Filipino treat, is as light as it is delectable, offering a sweet, satisfying end to a memorable meal.

A Coastal Haven

Lantern’s Edge embodies the best of Dana Point’s laid-back luxury. Whether you’re sipping a cocktail by the fire pit or indulging in Chef Davis’ culinary creations, this restaurant is a destination in itself. With its mix of exceptional cuisine, stunning views, and warm hospitality, Lantern’s Edge promises a memorable dining experience.

Lantern’s Edge

Laguna Cliffs Marriott Resort & Spa

Address: 25135 Park Lantern, Dana Point, CA 92629

Website: https://www.marriott.com/en-us/hotels/snadp-laguna-cliffs-marriott-resort-and-spa/dining/

The post Lantern’s Edge: Dana Point’s Coastal Dining Gem appeared first on Backstage Socal.

With a voice as warm and rich as a crackling fire, Grammy-winning vocalist Joss Stone is set to light up the season as she joins the Pacific Symphony Pops for a festive celebration on Dec. 20 and 21.

The concerts, conducted by Principal Pops Conductor Enrico Lopez-Yáñez, will feature selections from Stone’s holiday album, Merry Christmas, Love, alongside seasonal classics and her signature hits.

The concerts will take place at the Renée and Henry Segerstrom Concert Hall in Costa Mesa, featuring the orchestra’s collaboration with Pacific Chorale. From timeless carols to reimagined holiday favorites, the evening promises to capture the magic of the season.

Stone, widely regarded as one of the finest voices of her generation, first gained fame at 16 with her debut album, The Soul Sessions, which showcased her deep connection to soul and R&B. 

Since then, she has released nine studio albums, sold more than 15 million copies worldwide, and collaborated with music legends like Stevie Wonder, Mick Jagger, and James Brown. 

Known for her dynamic live performances and powerful vocals, Stone’s music blends heartfelt emotion with an undeniable warmth—qualities that make her an ideal performer for the holidays.

Following her anticipated performances, Stone took time to discuss her career, her creative process, and the magic of holiday music. Here’s what she had to say in a candid Q&A:

The Soul Sessions introduced you as a 16-year-old powerhouse. When you revisit those songs now, do they feel different to you after two decades of life and music?

Joss Stone: They do, I think they have felt different throughout my life. When I first came across those songs I was really in a different space. I had so much life to live in front of me and I also feel like I was more emotional than I am now.

I’m more balanced now, and I remember people saying to me “how can you sing these songs? How can you feel these emotions when you’re only 16?” I remember being completely irritated by that question because I was so emotional and I was feeling it so deeply. I was a hormonal teenager and I was on the edge of tears pretty much all the time. Now I sing the song, and I have more life experience and have experienced love, a lack of love, angst, and so many different emotions.

But I’m way more balanced and more jaded now than I was at 16. Then, it was really fresh and really raw and everything felt so extreme to me, whereas now, it’s not. Now, I go into the moment where I’m singing the songs and then I come right back out and I’m fine. It’s a completely different relationship with those songs now, I have more control.

How do you make the holiday classics uniquely “Joss Stone” while keeping their essence intact?

JS: I think to sing the song, respect the song, respect the melody, respect the lyrics, respect where it came from and how traditional and beautiful it is, and do not mess with it. I have no interest in ad-libbing a Christmas song so much that it loses its melody.

A great song is a great song. I try my very best to get out of the way and just become part of it. I’m lucky to become a part of it so I shouldn’t ruin it at the same time. It’s a very important thing to me.

How does it feel to perform holiday classics with a full orchestra and the Pacific Chorale?

JS: I’m very excited about that because it’s not something that I get to do often. The feeling of having every single person up there playing together as a unit, it’s absolutely magic the way that music can do that.

Not only are they feeling something in one movement, but we are able to give that feeling to the audience. I honestly think that if we experience true magic in life, music is that, and an orchestra turns it up.

Recording Merry Christmas, Love must have been a special experience. What’s your all-time favorite Christmas song, and does it make it into the setlist for these performances?

JS: My all-time favorite Christmas song is hard to choose. It was amazing recording the Christmas record, especially since I was pregnant with my son, Shack. So that made it obviously hard to sing, but it was magical that I was having a boy and it was Christmas time.

I was sort of making jokes to the musicians that I was gonna call him Jesus. Of course I wasn’t, but it was very Christmasy and had very wholesome family vibes to have that moment with him and was very special. One of my favorite Christmas songs is not one I am going to sing at the show, but it’s called “Fairytale of New York” by The Pogues. I think that’s wonderful.

I also love the Stevie Wonder track that we covered, “What Christmas Means To Me.” That is a great tune and really fun. “In The Bleak Midwinter” is also one of my favorites. It’s very somber and beautiful.

I’ve known that song since I was very young and I tell a little story about it in the show. It’s just stunning, and there’s a lot of beautiful Christmas songs out there. “Silent Night” is also a classic. I sing “Silent Night” to my kids to help them go to sleep and it’s a beautiful song as well.

Looking back at The Soul Sessions and now at 20 Years of Soul, how would you describe your evolution as an artist over the years?

JS: I think I just got to know my craft and have explored a lot of different sounds from across the world. I’ve come to realize that there’s so much out there, and the connection that music provides for people is way bigger than just one certain style and one certain sound.

I have definitely really enjoyed the whole whole journey and I think it’s been interesting. When I began, I was very focused and one track minded. I liked soul music and only soul music when I was younger, and did not mess with anything else really.

I was just like soul music, soul music, soul music, do not give me anything else. Now, I feel like there’s so much more, and soul is in every style. If you mean it, it’s present. And I love that.

Have you ever connected with fans or communities during your charitable efforts with the Joss Stone Foundation in a way that profoundly impacted your music?

JS: Yes, absolutely. With the Joss Stone Foundation, we try to do lots of charity efforts throughout the year. When I did my world tour, we visited every country in the world and had three jobs.

Job number one was to play the gig, job number two was to visit a charity, and job number three was to make a musical collaboration. When I visited the charities, I felt very confident that I met the kindest people that walked this planet.

That definitely inspires not just music, but who you are, how you think, how you talk, your opinions, how open-minded you are, and how much grace you give people. It inspires you as a whole. When that happens, of course your music is gonna change, and of course your lyrics are going to change because that’s who you are. And when you’re writing the song, you’re going to put your opinion in it.

So it’s kind of obvious how that domino effect works. When you really start to think about it, it makes total sense that it would affect a lyric that you write and if it didn’t, you’d have to be walking around with a blindfold on.

You’ve seamlessly explored soul, reggae, pop, and now Christmas classics. What’s a genre you haven’t yet tackled but would love to dive into someday?

JS: I don’t know if there is one now. I’m sure there’s one, but if there is I’m unaware of it. With the amount of collaborations that I did around the world, I’m sure there is a genre that I’m unaware of. I have touched on every genre I know so far.

When I say I’ve touched on, it just means I’ve sang on one of those tunes. Even throat singing in Mongolia. It’s so interesting, now that I’m thinking about it, I haven’t done heavy metal. I think that’s probably the only genre I haven’t done.

As far as properly exploring genres, there’s loads that I haven’t really truly explored and have only touched upon. I’ll try anything.

Your recent anniversary tour celebrates your career and your fans. How do you hope your music has impacted their lives over the years?

JS: It was so nice doing that tour because I realized, as I was going through the songs and talking to the audience, just how much we have been through together. My fans are not just people that like my music who are separate from me. These fans are almost like family, even if I don’t know them.

Some of them I really do know and I’ve seen them and spoken to them since I was a little girl. That’s a small chunk of them, but then the people that I haven’t had a chance to talk to they’ve been at my shows and we have sort of collaborated together over the years. Especially now with social media, I actually get to truly collaborate with the fans.

The fans have made the artwork for the album, and there was a fan that made the artwork for my last single “Loving You.” There was a record that I did that was a remix album that was also made by the fans, so it’s a real true collaboration and we have been through so much. The fact that I started when I was 16 and now I’m 37, it has also been 20 years for them too.

My fans have been with me mostly since the beginning, or at least 10 years, so we’ve gone through so much in that time. When I talk about relationships that have worked out or haven’t worked out and having children, they’re all they were there.

It’s like having parallel lives and we have walked together. I didn’t actually know or foresee that, and I only really noticed it when I did the 20 year celebration. That’s when I noticed that we are not alone. I do not feel alone when I’m playing life and I feel like I’m with my people.

Joss Stone with Pacific Symphony Pops

When: Dec. 20-21, 2024
Where: Renée and Henry Segerstrom Concert Hall, Costa Mesa, Calif.
Tickets: $50-$193
Website: www.PacificSymphony.org

The post A Conversation with Joss Stone: Holiday Spirit, Soulful Music, and Life in Harmony appeared first on Backstage Socal.

Irvine just got a lot tastier. On Tuesday, October 15th, Galpão Gaucho Brazilian Steakhouse officially opened its doors with a ribbon-cutting event that was as grand as the flavors it serves. 

The event was a true celebration of Brazilian tradition and mouthwatering cuisine, with guests treated to tantalizing slices of the steakhouse’s famed offerings. From beautifully grilled meats to golden bites of indulgence, this opening was just a teaser of the feast awaiting Orange County diners.

Guests mingled around a stunning display of charcuterie, sipped on fine wines and cocktails, and savored each bite of the various meats. 

The real showstopper? The iconic 24-karat golden steak, a must-see luxurious dish. This steak isn’t just grilled to perfection; it’s wrapped in edible gold, offering a luxurious twist to your meal without any extra cost. It’s served sizzling on a Himalayan salt block, and sliced with a golden knife. 

But this was only a sneak peek. Now, foodies and curious newcomers alike can experience the full rodizio spread, with big chops ready to be sliced right at their table by skilled gauchos.

A Taste of Brazil in Irvine

The Irvine location is Galpão Gaucho’s eighth in the U.S. and continues the restaurant’s legacy of delivering an authentic Brazilian dining experience. Inspired by the traditional meals of the Brazilian cowboys, or gauchos, this family-owned gem offers an all-you-can-enjoy rodizio experience featuring 18 expertly grilled meats. 

Beef, chicken, pork, lamb, and seafood— the restaurant is a carnivore’s dream, complemented by a gourmet salad bar with over 45 delicious items, including various fruits and cheeses. 

Flipping the Card

The steakhouse’s signature Picanha cut—offering buttery, tender slices of sirloin—is a must-try. The bacon-wrapped filet mignon and chicken were also delicious. Seafood fans can dive into juicy shrimp and grilled salmon. 

There’s even caramelized pineapple for a sweet, smoky surprise – it tasted almost like a fresh apple pie. The unlimited meats, salads, and sides come with a simple flip of a card. Turn it green for more meats to arrive tableside or flip it red to take a breather and enjoy each savory bite.

Welcome to the Neighborhood, Galpão Gaucho

Located at 1830 Main St, near John Wayne Airport, the new Irvine restaurant blends rustic charm with modern sophistication. Warm wood accents, stone details, and cozy corners create an inviting atmosphere.

The lively atmosphere features a full bar with signature cocktails and wines (and large TV streaming sports games), a private dining room perfect for special events, and an expansive main space that can seat up to 350 guests.

Whether one is looking to indulge in an epic feast of Brazilian meats or want to sip on a Caipirinha and enjoy a casual bite, Galpão Gaucho is ready to serve. Their hours offer plenty of opportunities to experience their traditional dishes, with weekday lunch and dinner, plus weekend feasting.

For more details, visit https://galpaogauchousa.com/locations/irvine-ca/

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