Why the touring casts in L.A.?

I agree with Charles McNulty’s review of “Spring Awakening” [“Harmonic Hormones,” Nov. 1]. Although I found the book a tedious cliche, I also admit to being considerably north of its teen demographic! As for the acting -- well, yes, the acting -- not usually the reason one goes to see a musical, and it is a national tour, after all, not the original company (more on that in a moment), but I thought they got the job done, more or less. In all other ways, it worked: music, choreography, lighting, overall enthusiasm.

As for touring companies: I’ve lived in L.A. since 1979, see a lot of theater here (though almost as much the past decade in London and a bit in New York), and have been struck -- not happily -- by this fact. When a New York play goes to London, it takes its cast; when a West End play goes to New York, it (usually) takes its original cast. But L.A. gets the national touring companies, as if we’re Des Moines. Again and again . . . and again.

Granted that there is a lot of theater talent in this country, but there is a still a hierarchy to it. I’d like to see a Stoppard or an Albee or a McPherson play with the original cast -- without traveling east six or 10 hours. I am not hopeful.

Ron Di Costanzo

Santa Monica