Is this situation kind of like when a person says "Beetlejuice" three times, in order to make the rascally wraith appear?
We're just asking, because the situation doesn't seem all that different. Our argument: When you add a famous artist's music to your play -- say like the Shakespeare Center of Los Angeles has done with Lyle Lovett and "Much Ado About Nothing" -- it really is only a matter of time before the artist himself appears on stage (an artist who is completely handsome and charming and high-of-hair, we'll add, and not in any way like a certain disheveled fictional ghost).
(Oh, and Mr. Lovett? Us starting out with "Beetlejuice" there was a total compliment. Of course, you get that, seeing as how you starred in "The Player," a film rife with dark mischief and bad deeds and ghosts of a different sort.)
Mr. Lovett will indeed be gracing the Shakespearean love-a-thon starting on Friday, Dec. 10 at the Kirk Douglas in Culver City. Helen Hunt and Tom Irwin are in it, and David Ogden Stiers, and it is set in a California vineyard. Nice and nice and wine. We mean nice.
As mentioned, Mr. Lovett's beautiful alt-country tuneage is providing the soundtrack on stage. The previews are running Dec. 1-11, but note this production is nearly as short as a song; the last show is Sunday, Dec. 19.
Now, we're off to say "Lyle Lovett" three times. Oh, look at that; "She's Already Made Up Her Mind" just came on shuffle. It totally works.
