In his second primetime press conference in just 9 weeks in office,
President BARRACK OBAMA was at once an economics professor, motivator,
father-figure, diplomat and even cruise director as he outlined his
struggles with the worst economic crisis in our lifetimes. 

He opened the session with a rather uneven statement on the administration’s actions to date to stem the economic downturn, reading from a teleprompter that seemed misplaced.  OBAMA, even when reading text from a screen usually seems more genuine, but it appeared the placement of the teleprompter might have been off a bit, as the president was not looking into Americas eyes as he recited the significant steps taken thus far to stem the recession.

It wasn’t until he moved to field questions from the White House press corps, that the President hit his stride.  He was methodical, smart, responsive, and in
charge.  Time and again reporters, many of them new faces in the East
Room, tried to knock OBAMA off course, but without exception they were
deftly put in their place by a President that was clearly, and is clearly,
on his game.  OBAMA responded directly and succinctly to every challenge
put forth.  There was no dodging; there was no avoiding; and each time
there was the President with the intellectual answer for every challenge
brought forth.  For those who like politics, it was riveting theater, with
a command performance by the thespian-in-chief.

How far we've come since the tightrope days of the BUSH administration,
when you would watch one of these for the slip and fall moment, or the
flash of anger, or the outright comedy.  President BUSH quit granting press conferences for a while because of his dismal performance in this setting.  But this is a president of substance, dealing with immensely difficult issues.   He reminded us of this fact more than once, not as an excuse, but in an effort to keep us in the loop, to bring everyone up to speed on his progress, and reassure the American people that he is working to fix the mess in which we find ourselves.

Each time a journalist tried to trip him up, he had the spot-on reply.
When queried why he wasn't asking for more sacrifice from us, he rejected
the premise, first that his administration wasn't demanding accountability
from those receiving the huge amounts of bailout money, and further
refuted the notion that the American people themselves were not
sacrificing, a fact unquestionably not lost on ordinary citizens who might
have been watching.  It was an attempt by MSNBC'S CHUCK TODD to call the
President on the carpet, and it was TODD who got swept away.  OBAMA, in a
Reasoned calm, and sensible response, made TODD look like the guy who was
out of touch.

When CHIP REID of CBS tried to challenge the President's pending budget
using words from Republican critics-"the most irresponsible budget
in American history"-OBAMA didn't shy away from responding to his critics, and pointing out it was they who handed him this financial mess in the first place.

And in the serve, volley, match point of the press conference, CNN'S ED HENRY
tried to hit a winner against the President on his handling of the AIG bonuses,
twice calling him out for his response time to the scandal. 

“But on AIG, why did you wait — why did you wait days to come out and express that outrage? It seems like the action is coming out of New York and the attorney general's office. It took you days to come public with Secretary Geithner and say, look, we're outraged. Why did it take so long?”

OBAMA cut him off, politely, and firmly responded to the challenge, "It took us a couple of days because I like to know what I'm talking about  before I speak." 

It was a smack down, though probably not intended as such by the President.  It evoked some nervous laughter in the room, as the brash reporter just recently named to be the chief White House reporter for the eye network was shown his place.  Again the President moved on, unscathed, leaving another reporter looking desperate and defeated.

The idea that the press corps was playing tough, or trying to, after
sitting idly by for 8 years as GEORGE W.BUSH fumbled and foibled through
countless issues, the combination of which has brought this mess upon the
new administration, should have been enough for OBAMA to flash some
outrage.  But he dutifully took wave after wave, skillfully deflecting all of them,
emerging even more the man in charge, the steady hand at the wheel.

And it was this stewardship, the ship's captain imagery to which he
returned to close the event.  In response to a question on Middle East
peace negotiations, President OBAMA was humorous, yet deadly serious at
the same time.  STEPHAN COLLISON of AFP asked him about the goal of advancing peace between Israel and the Palestinians, particularly with the new administration in Israel and its lukewarm attitudes towards conciliation.  OBAMA replied, "It’s not easier than it was, (comedic pause), but I think it’s just as necessary.”

And, moving on from there, OBAMA had his finest moments, describing his
persistence, and then relating in back to the economic actions that were
the main focus of this news conference.  In a summation that would make
any trial lawyer proud, the President related back to his talking points
on the efforts he is making to pull the American people up from this
demise.  He even reminded us that he might make some mistakes along the
way; what a change from the last 8 years!  And finally, in the grand
flourish of the evening, the President crafted an imagery of a cruise
ship.  "…this is a big ocean liner. It's not a speedboat. It doesn't turn around immediately. But we're in a better, better place because of the decisions that we made."

Amazing.  We are mired in a near depression, yet the President is taking
us on a cruise.  I can feel the warm Hawaiian breezes, wafting over the
deck.  RAHM EMANUEL was feeling them too, as the camera showed an
ebullient Chief of Staff, no doubt in awe as he witnessed an inspiring,
thoughtful, near perfect performance from the Captain-in-Chief.

When is the luau, Mr. President?  We are ready to go, hula skirts and leis
at the ready, so long as you are charting the course.

Mahalo!

After a campaign style tour of stops in Orange County and Los Angles, President OBAMA held a town hall style gathering at the Miguel Contreras Learning Center with Governor ARNOLD SCHWARZENEGGER and Mayor
VILLARAIGOSA. The President was here to talk serious business about the economy and housing, launching a website: makinghomeaffordable.gov-aimed at jump starting the dismal real estate market in California.

At times it seemed the President was warming up for his appearance later that evening with JAY LENO:

"Thank you so much. it is good to be here. It is good to be here. Although I was hoping that the Governor was going to take a little longer on his remarks, because I was standing outside soaking in some rays. Nothing like California weather. "

ON the burgeoning AIG scandal, President OBAMA remarked:

"We can't allow what happened at AIG to ever happen again in this country. I know -- I know a lot of people are outraged about this. I'm outraged, too. The idea that some of the very people who drove our economy into the ground could accept bonuses with one hand while they're taking taxpayer money withthe other goes against our most basic sense of what's fair and what's right. I'm committed, as President, to ensuring that we have the tools to prevent the kinds of abuses that sent AIG spiraling in the first place so we never again put our financial system at that kind of risk, and we're not held hostage by companies that are 'too big to fail.'"

After some further announcements, including $2.4 billion for the development of electrical vehicles and $145 million for foreclosure relief for homeowners in trouble with their mortgages, the President took questions from the audience.

"Okay. All right. This is the fun part of the program. Everybody have a seat. This is the fun part of the program. Now, first of all, we haven't pre-screened anybody. So if you don't like me, go ahead and just say, you know, you're
a bum -- that's okay. Hold on, hold on one second. Just hold on. Just a couple of rules. First of all, we're going to go girl, boy, girl, boy -- I'm not going to be able to get to every question, so, people, raise your hands; I'll try to get as many as possible, we'll try to go around the room."

Are you kidding me. This country might be in a financial mess, the likes of which we may have never seen before, but how much of a relief is it to have a human being, a regular guy, a thinker, and a man of integrity and capability at the helm.

I think we will be just fine...

Combining the classical elements of Balanchine and the modern fusion of jazz, swing and hip hop, the Los Angeles Ballet kicked off its 3rd season Saturday night with a thoroughly entertaining performance at the Redondo Beach Performing Arts Center.  Additional performances will be held Saturday March 14th and Sunday March 15th at the Broad Stage, downtown, and on Saturday March 21st at the Alex Theater in Glendale.

GEORGE BALANCHINE, born in St. Petersburg, Russia in 1904 is thought to be the father of American ballet, having co-founded the New York City Ballet, and serving as it’s balletmaster for many years.  One of his first works, for the Ballet Russes in 1929 was “The Prodigal Son”, a retelling of the bible parable. 

With artisan set backdrops and elaborate costumes, the tale of the invincible son, who leaves home, muscles and ego bulging, against the will of his father, only to return a defeated and humbled man, was told emotionally through the remarkable dancing of EDDY TOVAR, and his leading lady, MELISSA BARAK.

TOVAR sets out to conquer the world, with the dutiful allegiance of ALEXANDER FORCK and PETER SNOW, his Servants.  They stumble upon the Drinking Companions, a ragtag posse of troublemakers, who at first lure the Prodigal Son into their fraternal ways, to drink and dance like a pack of hyenas on the open plains. 

Melissa Barak

Enter the Siren, played by MELISSA BARAK.  She teases and turns away the advances of the Son, then teases some more, until the two sinewy, nimble bodies are locked in embrace across the stage, in the air, upon whatever surface with which they collide, including the Drinking Companions.  When it is all over, the two, and their coterie enjoy a feast of food and wine, before it all comes to an uneasy end.

photo by: Reed Hutchinson

The Companions, the Servants, and the fickle Siren clean the Son dry.  Plucking his garb, sapping his energy, even snatching the chain from around his neck, as they off with his jugs of liquids and leave him for dead, lost and alone.  The image is stark, and the dancing punctuated.

The Son somehow stumbles home, crawling, pulling himself along the cold sleek stage, until he is rejoined with his father, and sisters.  At long last, hoisted into the fathers arms, the Son curls up, frail and fetal, to complete the tale. 

MELISSA BARAK is triumphant, superior and insolent, yet alluring, innocent and attractive.  She was on point for much of her time onstage, making my bone spurs cringe in sympathy pain. 

The Drinking Companions were like a Cirque troupe, providing welcome comic relief to the dramatic pairing of TOVAR and BARAK.

photo by: Reed Hutchinson

But it is EDDY TOVAR who dominates this first presentation.  He is compact, with powerful legs, and chiseled abdomen.  He transmits such bravura as he sets off on his journey, and pitiful submission as he escapes into the sheltering embrace of his “I told you so” father.  Bravo!

The second act of the presentation was a world premiere, “An American Camelot” choreographed by JENNIFER BACKHAUS to the music of ELLA FITZGERALD, COUNT BASIE, EARTHA KITT and DEAN MARTIN.  DEAN MARTIN? Now this is ballet that I can get behind.

photo by: Reed Hutchinson

It was more like jazz dance and tumbling runs, with debonair gents and party clad ladies in their respective black and white shirt and tie and pastel cocktail dresses making running passes across the stage, almost too quick to catch.  The stage was a blur of color and form, floating about to a perky upbeat soundtrack.  Precocious KELLY ANN SLOAN and lanky ANDREW BRADER stood out as the leads, but there was so much movement and motion it was hard to stay with any one dancer.  They came at you fast.  Too fast.  It was charming.  And then it was done.

Corina Gill & Andrew Brader

GEORGE BALANCHINE’S traditional “Stravinsky Violin Concerto” closed the night with Act 3.  BALANCHINE and STAVINSKY were friends, and as was told to the audience before the start of the program by LA Ballet co-director COLLEN NEARY, this ballet was written to parody the times the two gentleman would meet at The Russian Tea Room to imbibe vodka and borscht.

Four dances featured Los Angeles Ballet ’s local stars, PETER SNOW, ANDREW BRADER, MELISSA BARAK and CORINA GILL.  First, they were each nicely showcased amidst 4 backup dancers, allowing them to put forth their individual skills.  Then they were paired up in arias to display the chemistry and poetic beauty as twosomes, only to end the show amidst the entire cast for one last hurrah.

If you like dance, or if you have never been to the ballet, the Los Angeles Ballet has a fantastic program just for you.  See it, while you can.

For more information on the ballet, or future performances, go to losangelesballet.org or call 310.998.7782.

KATHY GRIFFIN was immortalized as the 321st star in Palm Springs Walk of Stars on Saturday. On hand to honor the comedienne and "D"-list actress were her mother, sans winebox, CAROL CHANNING, SUZANNE SOMERS and BARRY MANILOW.