When Palisadian Dana Torrey submitted a painting of the Pacific Palisades coastline to Gladstone’s as a possible menu cover design, he believed that diners might enjoy his artwork briefly before perusing the restaurant’s fare. However, managers at Gladstone’s had loftier plans for his beautiful landscape painting, and when they decided to remodel the back room they asked him if he could expand his menu design into a mural. Soon, Torrey was diligently working on a plan for such a large-scale painting, which now covers the upper portion of the north and south walls in the back room at Gladstone’s. He began with his original painting, altered the vertical image to a horizontal and expanded its magnitude before creating giant sketches that would serve as his guide for the final painting. ‘I had pretty much the whole thing planned out before I started,’ Torrey said. ‘The real work started before the painting, not during the process itself.’ Still, despite his thorough preparation, painting was no easy task. To avoid any discord with customers, Torrey began painting at night, when the restaurant was closed. He started with his sketch, wash and blocking, but it quickly became apparent that nighttime did not provide enough good light, which was crucial for the realization of his vision. ‘I told them that I just couldn’t work at night. I need the daylight to see how it’s going to look,’ Torrey said. Since Gladstone’s wished to keep the back room open for business, Torrey’s only option was to paint, carefully, around patrons. Fortunately, Torrey had chosen acrylic paint as his medium, so diners would not have to deal with any pungent smells during their meal. Still, Torrey’s biggest obstacle was not the customers, but rather the height of the mural, which is located about 12 feet from the floor on the upper walls, and extends another eight to 10 feet, just below the ceiling. The only way to paint it was from a ladder. ‘I would climb the ladder 200 times a day and that was my limit,’ Torrey said. ‘After that I was done, physically done.’ That many climbs kept Torrey painting between two and four hours daily, over a course of several weeks. Midway through completion, a buildup of floor wax began to form on the bottom of the ladder, unbeknownst to Torrey. Then one afternoon, while perched on one of the highest rungs, the ladder began to slip. Torrey had just enough time to scream, ‘Get out of the way!’ to his two daughters, who were on the floor below him, before he and his ladder came crashing to the ground, breaking a chair and a table in the process. Torrey landed between two rungs, on his feet, brush and palette still in hand. ‘The thing just shot out from under me,’ Torrey said. ‘Nothing else happened, but it scared the heck out of me.’ The following week Torrey purchased non-skid padding for the floor and ropes to secure the ladder to the wall before continuing his work on the mural. ‘For the next week I was pretty nervous,’ he said. Still, painting at Gladstone’s was a job Torrey thoroughly enjoyed, especially his commute. ‘It was the first time I’ve had a job where I could drive five minutes and be at work,’ Torrey said. ‘I appreciated that a lot.’ Torrey began his career at the University of Vermont Teaching Hospital, where he worked with cadavers, creating medical illustrations. In 1982, he moved to Los Angeles to broaden his creative skills, and began studying commercial art at Art Center in Pasadena. He soon landed a job as a cityscape backdrop painter for Hollywood movie studios. He also worked as an art director for several feature films, painted the King Kong exhibit mural at Universal tours and animated a video game based on ‘The Simpsons.’ Tired of illustrating and painting the ideas of others, Torrey took the next step in his career, choosing to pursue his own creative interests. Soon he was painting stunning landscapes and portraits all around Los Angeles. He even painted two angels for the ‘A Community of Angels’ project several years ago. One was displayed at LAX and the other at City Hall. He painted former Los Angeles Mayor Richard Riordan’s official portrait, but the city lost it after Riordan left office. ‘If anyone knows where it is, let me know,’ said Torrey, whose other portrait of Riordan is on display at the Richard Riordan Central Library downtown. He also has paintings on display at the Getty House, the mayor’s official residence. ‘Now I’m doing what I want, but I do miss the artist camaraderie of a film set where all these artists were working together,’ Torrey said. This time around, though, at Gladstone’s, Torrey had the good fortune to work with two budding artists, his daughters Jes, 8 and Liz, 5 who not only kept him company, but helped him paint. Liz assisted with the wash, and Jes with the blocking. Their likenesses appear in the mural, on the south wall, sitting on a park bench overlooking the ocean, alongside the likeness of their grandfather, Richard Riordan, owner of Gladstone’s restaurant. Torrey’s favorite part of the painting, in addition to his family member’s images, are the personal items he painted near them, including bicycles and helmets the same colors as his daughters’ favorites. ‘As long as the paintings last,’ Torrey said, ‘they have a memory of their childhood.’ The rest of the mural features a beautiful panorama of Pacific Palisades. To create his realistic landscape, Torrey visited and photographed the coastline frequently, focusing on the dramatic interplay of light, shadow and haze on an environment that is constantly changing. ‘Impressionism is about going to the place and painting the feeling of that place,’ said Torrey, whose mural certainly captures the essence of the region.

When Neil Baker was tossing around possible titles for his recently published book of photographic impressions of Provincetown, he thought, “Stop and Smell the Light.” “Too corny,’ his wife said. He agreed, but in choosing “The Quality of Light,” Baker kept his eye on the sunrises and sunsets that shape the light on this tiny spit of land at the tip of Cape Cod. Geography plays a large role in reflecting the light as the town is tucked between Cape Cod Bay and Massachusetts Bay. For almost 14 years Neil, his wife Gail and their daughter Maisy have rented a house on the beach in Provincetown, an excursion they initiated when friends introduced them to the resort town. Neil grew up in Newton, a suburb of Boston, and was familiar with East Coast beaches, the tufted sand dunes and long, shallow tides. “It’s a navigable place to be,” Neil says, explaining that when the family is there, not in Pacific Palisades, they get around on foot or by bicycle. “When you’re walking down the street early in the morning, not only are you seeing and feeling things, but you’re smelling things.” Baker’s large-format photos reflect this slowed pace that lends itself to quiet observation and attention to the subtle changes of the seasons. Observed from a distance, the photos could be watercolors, washed in an endless spectrum of gray and green, with the unexpected colors of manmade objects caught by the lens. Baker still uses the Nikon 8200 manually operated zoom he bought almost 40 years ago. He says that the zoom captures the detail he was looking for, but the size and weight of the lens outlived two Nikon camera bodies. ‘This lens enables me to look through the aperture and frame the picture in the way I want. When it’s printed, 4×6, and it represents what I want, I’m happy.’ Baker confesses to being a Luddite when it comes to technology. He owns a basic cell phone without the camera, so he eschews all electronic manipulation of photos as well. He has the film negatives scanned in high definition and put on a CD. ‘When I need a large print, I can do it. I’ve gone as large as 30×40 for posters of my prints, and some of these shots cry for large format.’ Although Baker has no immediate plans to continue his chronicle of Provincetown, he has begun to think about observing his own community more closely. ‘Life goes by pretty quickly,’ he says. ‘Even on my street Oracle Place, where there is a wonderful view and deer on the street. I’m now thinking about how wonderful it is to live here or in Santa Monica and I should take my bike and do the same thing I’ve done on our summer vacation.’ Baker studied economics in college, but says that he always wanted to work with his father, which is what he did, and ended up working in the same industry. He designs automated plants for factories that do electroplating. He moved to Los Angeles 20 years ago and relocated to Pacific Palisades in 1990, the year he and his wife, Gail Strickland’an actress with many Google listings’were married. ‘For years I have been taking pictures. The wall along the hallway to our master bedroom is lined with them,’ Baker says, adding that a gallery in Provincetown exhibited works from the current collection in mid-August. Now trying to catch up after a month away, Baker looks forward to next summer in Provincetown. ‘Where we live is a quiet, lovely, isolated place,’ he says. ‘It’s that calm I love.’ Baker will be talking about and signing ‘The Quality of Light’ on Thursday, September 6 at 7:30 p.m. at Village Books on Swarthmore.

Londoners seeking distraction from the grim aftermath of World War II enthusiastically embraced Sandy Wilson’s frothy, infectiously entertaining show, ‘The Boy Friend,’ which ran for more than five years on the London stage. These days, some of us distract ourselves with heightened TV melodramas situated in hospitals or the haunts of the super-attenuated wannabe models. But there is a very lively audience for musical revivals: witness the recent success of ‘Anything Goes,’ ‘On Your Toes,’ and even ‘The Drowsy Chaperone,’ which revived a mythical old musical. These joyous musicals are guilelessly victorious in packing in audiences. Theatre Palisades made a wise choice by staging ‘The Boy Friend’ for this summer’s musical. While the limited cast lends itself well to the size and capability of Pierson Playhouse, each actor shoulders demanding performance expectations as singer, dancer and actor. ‘The Boy Friend,’ written in 1953, is a comical pastiche of the 1920’s shows’a golden age for Broadway musicals, many of which remain anchored in our memories through songs such as ‘When I’m Calling You’ from ‘Rose Marie,’ or ‘Tea For Two’ from ‘No, No, Nanette.’ Despite the wildest romantic plot possible, the set, costumes and score lure us into enjoying every bit of the ride. The situation is simple’lovely, fun-loving young ladies, eager young men; love abounds, but only after the disappointment and heartbreak of love thwarted. The scene is set in the south of France, simply and effectively designed by Gene Smith, who has created a score of sets for Theatre Palisades. Along with his talents, those of costume designer Joyce Gale Smith cannot be praised enough. The flappers dressed in a rainbow of pastel chemises, or flattering two-piece bathing attire evoke their privileged station in life. And the costumes for the dressy ball are spectacular, from the black- and-white satin suits for Pierrot and Pierette, to Marie Antoinette’s ensemble with headdress. The plot turns on Polly (Meredith M. Sweeney) and Tony (Drew Fitzsimmons), who find one another in the most preposterous circumstances. If being together were based on their singing and dancing alone, soulmates they’d be. They are aptly supported by a talented corps of girls and guys, with particular attention to Maisie (Sarah Mahoney), whose flirtatious seduction is irresistible, particularly to her sweetheart Bobby (Joshua Ziel). Their Charleston is, what the 1920s were all about. Speaking of seduction, for Lord Brockhurst (Bill Quade) hope burns eternal, and what a spin he takes with the fun-loving Dulcie (Amy Coles). The show, in three acts, moves along on the musical talents of pianist Anouich NeVart and her trio: Reed Phantom, saxophone and clarinet, and Dan Blum, drums. From the sing-along three-quarter time waltzes to the eight-count Charleston, this versatile orchestra maintains the upbeat pace this play deserves. Choreographer Victoria Miller matches talent with skill. Nicole Paolini (Nancy) and Allan Penales (Pierre) step out of their chorus roles into a tango that shows where their real passion lies. And Polly and Tony pay homage to Rogers and Astaire in tap shoes. ‘The Boy Friend’ continues Friday and Saturday nights at 8 p.m. and Sundays at 2 p.m. through October 14 at Pierson Playhouse, 941 Temescal Canyon Rd. For tickets ($16 to $22) contact (310) 454-1970.

Palisades Branch Library is seeking volunteers for the Grandparents and Books (GAB) program, which pairs adult volunteers with children to encourage the love of reading. Sharing stories with children can improve their reading skills, enrich their imaginations and help them develop a life-long love of reading. The program is intergenerational,’ says Gail Kim, the children’s librarian at the Palisades Branch. ‘It connects people of all different ages, shapes and sizes. ‘In this mobile society, many children don’t live near their biological grandparents,’ Kim continues. ‘And that’s the beauty of this program. We bring the generations together. There’s a historical connection. We also encourage our ‘grandparents’ to bring something in that’s outside of the book experience and share it with the children. Something that’s dear to them, just as a biological grandparent might do. It’s an opportunity to expose some of these children to something they might not have seen before.’ Almost daily, a library grandparent can be found reading aloud from a picture book, or telling stories with puppets. Sometimes, she or he might be listening to a child read and helping with pronunciation and vocabulary, and many times a special connection is made between a reader and child. To become a new GAB volunteer, participants (adults 21 and older) should be willing to make a six-month, two-hour (or more) per week commitment and attend three training sessions that will teach engaging read-aloud techniques and more. Two workshops are required at a specified branch, and the third workshop, which occurs only after completion of the first two, will be at the branch where the volunteer will be reading. The two-session training on the Westside will be Thursdays, October 4 and 11 from 10 a.m. to 1 p.m at the Mar Vista Branch, 12006 Venice Blvd. The GAB program has become a model for other reading programs throughout the world and has a very high volunteer retention rate. Many participants have been involved since the program began in 1995. For more information contact Gail Kim at (310) 459-2754 or visit www.lapl.org/about/gab.html.

Peruvian Singer Noel Brings Salsoul to Stage

By BARRY BLITZER Post Columnist There was a sell-out crowd last Thursday evening at the Skirball Center, and no wonder, the attraction was Cecilia Noel & the Wild Clams. While not exactly a household name in the Palisades, Noel has been called the Latin Tina Turner and has arguably been compared to the legendary icon Janis Joplin. A native of Peru, vocalist Noel and her 16-piece band played a torrid selection of sambas, rumbas and mambos, some with familiar melodies like ‘El Cumbanchero,’ ‘Carlito’s Way’ and ‘Tu Condena.’ As she subsequently explained, they were all part of her interpretive Afro-Latino/Motor City creation known as ‘Salsoul.’ If you’re turned on to percussion–in this case the infectious rhythm of bongos, congas and timbales, as played by percussionists Ricky Rodriguez, Handark Lozano and Cesar Chavez’the Skirball was a dream come true. You couldn’t help but get up and dance, along with the hundreds of other spectators. For that matter, who could resist the three enticing young singers and dancers on stage in addition to the ear-splitting shouts and erotic gyrations of Cecilia No’l in person? Approaching the show’s finale, she joined in an up-tempo duet with her Australian husband, guitarist Colin Hay of ‘Men at Work’ fame (a mega-hit from the 80s). All of which brings up a negative comment: As entertaining and exciting as the show was, there was a dire need for a slow ballad or two that would give both the audience and performers time for a breather–or to coin a phrase: ‘Less is more.’ Still and all, we’re indebted to the Skirball for presenting Noel & The Wild Clams. Let’s hope they’ll be back next summer. There’s no excuse for missing them. Call (310) 440-4500 for pertinent info. Labor Day weekend is looming and what better way for jazz buffs to celebrate than by heading south for ‘The Sweet & Hot Music Festival’ at the LAX Marriott Hotel. Performing artists include ace trumpeter Jack Sheldon & his Concert Band and the fabulous if seldom-heard guitarist Howard Alden. Not to forget the singer/raconteur Ernie Andrews along with the ever-popular vocalist from years gone by, the legendary Herb Jeffries. For reservations call the Jazz Festival office (310) 461-5570. Finally, a sincere reminder to keep listening to jazz station KJAZZ, 88.1 on your FM dial. Also be advised that this is the first ‘All That Jazz’ column that didn’t mention The Jazz Bakery in Culver City. There’s nothing like will power.