Author Archive: Glamour

Theatre Review: RICHARD III

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With all of his charm and criminal bent, Richard III is back on stage, breaking all hell loose, this time in 70s England.

Richard (Ann Noble) is determined to get to the throne, eliminating all obstacles on the way, even if they happen to be his own relatives. Leaving a trail of blood behind, Richard seals his own fate, tearing a whole nation apart in the process. His list of crimes keep growing as the story unfolds.

Richard conspires to pit his two brothers against each other, eventually killing his brother George (Randolph Thompson), causing his other brother King Edward IV (Neill Fleming) to die of despair. Despite having murdered her father-in-law and husband, Richard also seduces Lady Anne (Erika Soto). In addition, Richard kidnaps and kills his two nephews Prince Edward (Micah Lanfer) and Richard, Duke of York (Brendan Burgos) to clear his way to the English crown. But once in the throne, Henry Richmond, Earl of Richmond (Wesley Guimarães) prepares to invade England and claim the crown.

With plenty of material to work with, Director Guillermo Cienfuegos navigates this play with striking chiaroscuro visuals that reflect the criminal and violent nature of the main character, Richard III. The lighting contrasts heighten the conspiracies and murders instigated by Richard and his goons. Proving once again his directorial skills, Cienfuegos takes Shakespeare’s centuries-old script and turns it into a contemporary and relatable experience, showing that human nature doesn’t change much over time.

The characters in this production exhibit the fears, insecurities, anger, ruthless ambition, and the continuous rumination of revenge, characteristics that have dominated the political arena since the beginning of times. The cast and director achieve a thrilling action on stage, each scene building up the tension for the grand finale, which jolted some people from their seats.

Special kudos to Noble for layering up Richard with humor and damnation, a fascinating duality to energize and polarize this controversial historical figure. Noble adds another electrifying performance to her resume, proving her to take on challenging roles both in classical and contemporary works.

The creative team builds a dynamic stage where the dramatic lighting takes center stage, and the rest of the elements contribute to a lesser extent to keep the action moving forward. It is the lighting that transforms the stage into a cinematic experience, enhancing the transitions and highlighting Richard’s moral debacle and internal anguish.

The discovery of Richard III’s skeleton in 2012 and the revision of historians’ opinion on his character and actions have kept his aura of mystery alive, including his actual physical appearance. Shakespeare’s take on Richard was not based on direct observation, as the king had been dead for more than 100 years. As Dramaturg Dr. Miranda Johnson–Haddad explains for this production, Shakespeare wrote the play based on the writings of three historians, Edward Hall, Raphael Holinshed, and Thomas More, all of whom had their own agendas. As Richard III’s legacy continues to be revised, one thing is for sure, kings and politicians never stop to amaze. They’re just an amusing menagerie of political animals; a sustainable source of comedy and drama for years to come.

A Noise Within proves once again its standing as a leader in exceptional theatre productions in Southern California. The ample stage, lighting system, and remarkable performers and directors allow this theatre to stage plays that are visually striking and thematically relevant

Richard III

A Noise Within
3352 E Foothill Blvd.
Pasadena, CA 91107

Tickets: anoisewithin.org

Performances Feb. 14 – March 8:
• Thursdays, Fridays and Saturdays at 7: 30 p.m. / Saturdays and Sundays at 2 p.m.

• Written by William Shakespeare
• Directed by Guillermo Cienfuegos

• Starring Lynn Robert Berg, Lesley Fera, Neill Fleming, Samuel Garnett, Wesley Guimarães, Veralyn Jones, Trisha Miller, Alex Neher, Ann Noble, Tony Pasqualini, Erika Soto, Randolph Thompson.
• Featuring Brendan Burgos, Vic Crusaos, Dominick Jaramillo, Micah Lanfer, Sean Umeda.

• Presented by A Noise Within, Geoff Elliot and Julia Rodriguez-Elliott, producing artistic directors

Creative team: scenic designer Angela Balogh Calin; lighting designer Ken Booth; sound designer Christopher Moscatiello; projections designer Nick Santiago; costume designer Christine Cover Ferro; wig and makeup designer Tony Valdés; and properties designer Stephen Taylor. Jonathan Rider is fight choreographer, Andrea Odinov is dialect coach, and Dr. Miranda Johnson–Haddad is the dramaturg. Sami Hansen is the production stage manager, assisted by Hope Matthews.

Musical Review: ONCE

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Broken hearts and the possibility of second chances linger in the air in Once, a musical poem to Dublin and its struggling buskers.

Dealing with heartbreaks due to losing his mom and breaking up with his girlfriend, Guy (Morgan Hollingsworth) holds on to his fading dreams by playing music in the streets of Dublin. Girl (Emma Laird) listens to his music and gets hooked. As both are in desperate need of human connection, music becomes the spark that links their hearts. But John Carney avoids predictability. Even though the characters develop feelings for each other, destiny has other plans.

Guy’s girlfriend moved to New York and has a new man in her life. Girl has a daughter living with her in Dublin, and a husband in the Czech Republic. But music is powerful, and the mutual appreciation of this art form starts to shape a strong bond between Guy and Girl. Despite the lack of physical contact between them, their music and lyrics awaken the mythical and compelling Irish Romance.

In this subtle imprint of passion in Carney’s writing, Director James Michael McHale, Hollingsworth, and Laird are able to display the fire of love in a subdued manner, never over sentimental, but always magnetic and magic, in a raw manifestation of basic human need. Hollingsworth and Laird effectively capture the characters’ loneliness and their search for a second chance in life.

Hollingsworth has the ability to create that mesmerizing aura reserved for actors who can also sing, displaying the rich spectrum of emotions and hardships of Dublin buskers. He has enough feeling to move the audience with his voice, like a modern day medieval troubadour. Laird also shows her musical talents as the Czech pianist-singer who starts to fall for her soulmate, one song at a time, in a silent heartache. She’s fascinating in “If You Want Me”, crafting a sensual and atmospheric melody that illustrates the deep sensibility of her character.

The secondary characters offer a significant contribution to the success of this production as well. Will Huse as Billy and Mike Bradecich as Bank Manager are highlights that bring the comedic relief to balance out the gritty aspects of the story. These characters make the production more dynamic by adding a great dose of quirkiness to the action and dialogue.

The somber background of the city is synthesized by the desaturated colors of the set and the low key lighting used throughout most of the play. McHale does a great job resembling the mood board of the movie, which had a documentary-style look that was part of the raw, realistic appeal of the story.

The movie captivated audiences worldwide a few years ago with the simple but honest depiction of love and music. Likewise, McHale infuses ONCE with charm and wit, honoring this authentic poem to Dublin and the extraordinary power of music. The selection of each member of the cast elevates the value of this musical; all of the performers can really sing and play instruments. The timing for comedy of the supporting cast and the dramatic skills of Hollingsworth and Laird add a new dimension to the script. With this production, The Chance Theater continues to show its place as a premiere stage for vibrant and appealing live performances, a true paradise for theatre lovers.

ONCE

Book by Enda Walsh
Music & Lyrics by Glen Hansard & Markéta Irglová
Based on the Movie Written & Directed by John Carney
Directed & Choreographed by James Michael McHale
Music Directed by Lex Leigh

Tickets: chancetheater.com

Cast: Morgan Hollingsworth plays Guy, Emma Laird plays Girl, Will Huse plays Billy, Leota Rhodes plays Reza and Ex-Gf, Jennifer Richardson plays Baruska, Mike Bradecich plays Bank Manager, Lex Leigh plays Da, Austin Ledger plays Svec, Jonah Meyer plays Andrej, and Joseph Dailey plays Eamon and Emcee.

Creative team: scenic designer Bradley Kaye, costume designer Sara Egger, lighting designer Jacqueline Malenke, sound designer and engineer James Markoski, projection designer Nick Santiago.

January 23 – March 1, 2026
Thursdays at 7:30PM, Fridays at 8PM, Saturdays at 3PM & 8PM, and Sundays at 3PM
Chance Theater @ Bette Aiken theater arts Center
5522 E. La Palma Ave.
Anaheim, CA 92807
 
 

Theatre Review: LIFELINE

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In Lifeline, playwright Robert Axelrod develops a story that explores the challenges within alternative lifestyles. The challenge for Axelrod is to navigate between content and form to give enough depth to the subject matter.

Content. Lifeline presents critical aspects of life. Suicide, gender identity, grief, and class are some of the background stories of the characters. Suicide, in particular, is what the group is trying to avoid. As the characters go through an intensive training to be prepared to answer the calls in a suicide prevention hotline, their personal scars are exposed and the real challenges begin.

Two of the characters, Jen and Patti, are particularly invested in the prevention hotline. The revelation of the connection between the two of them is what gives this story an additional layer of raw emotional pain that moves the audience to tears. Both Brittany Visser as Jen, and Amy Tolsky as Patti, express the searing pain of loss and the strange beauty of compassion when there’s nothing else to do.

In addition to the core of the story, the play also offers a calibration of the current state of things in terms of advances and regressions for the LGBTQ individuals, whether those challenges are internal or external, as discrimination not only comes from the outside but sometimes even from within the community as well.

Axelrod excels in his treatment of delicate and disturbing subjects. The content is profound and moving. But the form lacks organic growth to stress the conflict more convincingly.

The storylines seem to face the limitations set by mainstream media: Political correctness. At the end, Lifeline solves the conflicts quickly without much compromise, making the subject matter feel lighter, although this might be a time-constraint issue—elaborating more extensively in the conflicts presented by the characters might’ve made the play way longer.

Ken Sawyer shows his directorial skills, showing how to captivate the audience effectively. The seating arrangement allows some of the audience to be closer to the actors and the blocking makes the story feel intimate and absorbing. The lighting adds a subtly ambiance, surrounding the actors and the guitar player-singer (Lou Roy) with a warm halo to bring out the emotional elements of the material.

Axelrod exposes the criticality of that moment when a bad decision in life meets the bravery of those volunteers who dedicate their time and energy to save the day in a race against time.

The Road Theatre, located in The NoHo Senior Arts Colony,
10747 Magnolia Blvd.
North Hollywood, CA 91601

Opens: Friday, January 23 at 8pm (Press Opening)
Runs: Friday, January 23 – Sunday, March 1, 2026
Performances are Fridays & Saturdays at 8pm; Sundays at 2pm

Tickets: ci.ovationtix.com

LIFELINE
Written by Robert Axelrod
Directed by Ken Sawyer
Produced by Danna Hyams and Taylor Gilbert

Cast: Brittany Visser as “Jen,” Tommy Dickie as “Drew,” Amy Tolsky as “Patti,” Clifton J. Adams as “Kai, Naomi Rubin as “Sarah Beth” and Xoë Sazzle as “Maya.” Musicians for LIFELINE are Joh Chase and Lou Roy.

Creative team: Scenic Design by Desma Murphy; Lighting Design by Matthew Richter; Projection Design by Nicholas Santiago; Sound Design by Ken Sawyer; Costume Design by Mary Jane Miller; Properties Design by Aaron Lyons. Original Music by Joh Chase. The Production Stage Manager is Maurie Gonzalez.

Theatre Review: One Man, Two Guvnors

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Led by a sensational Kasey Mahaffy, One Man, Two Guvnors brings the fun with a flamboyant display of physical comedy, witty dialogue, and an evocative touch of retro style.

Francis Henshall (Kasey Mahaffy) gets lucky enough to land two jobs the same day. But that also means that he has two bosses, Rachel Crabbe (Christie Coran) and Stanley Stubbers (Ty Aldridge), so he needs to be careful not to mix things up. Francis tends to forget things and get easily distracted, especially thinking about food. The first half of the story is his pursuit of food, the second half is his pursuit of his love interest, Dolly (Trisha Miller).

As a subplot, a local wealthy mobster, Charlie “the Duck” Clench (Henri Lubatti) wants to marry his daughter, ingénue Pauline Clench (Cassandra Marie Murphy) to Rachel Crabbe, who is in a male disguise as her murdered twin brother Roscoe. But Pauline is in love with Alan Dangle (Paul David Story), an overdramatic amateur actor who, facing the impossibility of his relationship with Pauline, wanders the streets as a dude in distress, with a Shakespearean flair, of course.

Playwright Richard Bean places the story in 1963 in Brighton, England, the same city where more than 1,000 Mods and Rockers initiated a famous fight a year later, in 1964. For One Man, Two Guvnors, Bean uses the city as a bustling background for the hectic action of the play. To complement the tone of the story, Bean brings back the atmosphere of the swinging 60s with a live band that uses a variety of instruments, including a washboard.

Of course, a 60s story can’t be complete without dazzling costumes. Costume designer Garry Lennon and wig/make up designer Tony Valdés contribute with their talents to enhance the story and characters with a combination of Mod dresses for the ladies and slick-dressed attire for the gents. Even the set design (Frederica Nascimento) and lighting design (Ken Booth) make a striking statement about the geometric and fun patterns of that period.

Directors Julia Rodriguez–Elliott and Geoff Elliott capture the slapstick quality of the script with vaudeville-like kinetics that turn into a visual spectacle of humorous madness that keeps the audience fully engaged. Talking about the audience, the fourth wall disappears at times to make the play more interactive, catching the audience off-guard in a playful exchange of jokes and actions.

The cast is a stellar combination of resident and temporary actors. They all do a splendid job in bringing the comedy and movement to new heights. Mahaffy, as the leading actor, continues his ascending career showing his superb skills as one of the best in the industry. His timing and quirkiness are a perfect match for these energetic and unconventional characters. He keeps getting the opportunity, and he continues to shine.

With so much talent on display, this is for sure one of the best plays staged this year. It won’t be a surprise if A Noise Within adds more accolades to their long list of awards with this extraordinary production.

One Man, Two Guvnors

A Noise Within
3352 E Foothill Blvd.
Pasadena, CA 91107

Performances Sept. 6 – Sept. 28:
• Thursdays, Fridays and Saturdays at 7: 30 p.m. / Saturdays and Sundays at 2 p.m. (no Saturday matinee on Sept. 6)

Tickets: anoisewithin.org

• Written by Richard Bean
• Adapted from The Servant of Two Masters by Carlo Goldoni
• Original songs by Gary Olding
• Directed by Julia Rodriguez–Elliott and Geoff Elliott
• Music director Rod Bagheri
• Presented by A Noise Within, Julia Rodriguez-Elliott and Geoff Elliott, producing artistic directors

Cast: Ty Aldridge, Lynn Robert Berg, Christie Coran, Luis Kelly–Duarte, Henri Lubatti, Evan Lugo, Kasey Mahaffy, Josey Montana McCoy, Trisha Miller, Cassandra Marie Murphy, Paul David Story.

Creative team: Scenic designer Frederica Nascimento; lighting designer Ken Booth; projection designer Nicholas Santiago; sound designer Jeff Gardner; costume designer Garry Lennon; wig and make up designer Tony Valdés; properties designer Stephen Taylor; fight choreographer Kenneth R. Merckx, Jr.; dialect coach Andrea Odinov; and dramaturg Miranda Johnson-Haddad. The production stage manager is Angela Sonner, assisted by Hope Matthews.

Theatre Review: Goldfish

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Playwright John Kolvenbach combines college, love, and addiction to build an endearing story that shows the conflicting nature of human connections.

Albert (Neo Barnes) is about to start college, but he needs to ensure his dad Leo (Will Kane) doesn’t spend the tuition money on gambling. They’re African Americans from a poor neighborhood. Once in college, Leo meets Lucy (Jillian Lee Garner), a White privileged girl whose mother Margaret (Lynne Mannino) is an alcoholic. Albert and Lucy fall in love with each other.

Eventually, Albert’s tuition is delayed due to Leo spending it on the tracks. To make things worse, Margaret doesn’t approve of the relationship between Albert and Lucy. Margaret doubts Albert can support Lucy, just like her husband couldn’t support the family.

Despite Albert’s tuition problems and the opposition of her mom, Lucy stands by his side, expecting him to rise to the occasion. But Albert worries about his dad losing the battle against his gambling addiction. Feeling defeated, Albert returns home and thinks about giving up, leaving college and Lucy behind.

A distinctive feature of the Noisy Nest is the rectangular stage with the audience seating on both sides inside the stage. This layout allows the audience to experience the play in an intimate setting, really close to the actors, so close that we could even smell Garner’s perfume as she walked by.

As for the story and dialogue, they appear simple, but they have a relatable essence, connecting with the audience at a raw and personal level. Goldfish delves into the core of society, the sacred space where our first impression of the world takes shape. Families can build or destroy. Sometimes kids can be a disappointment, but what happens when it’s the other way around? Kolvenbach shows both the fragility and strengths of the family members when they try to mend what’s been destroyed. What does it take to start over again? Are second chances possible, even for disadvantaged individuals? Is love enough of an engine to keep us going?

Director Amanda Bird extracts the power of human connection from the dialogue to create moving scenes that reinforce the importance of family in our development and how far some humans will go to take care of their own. The blocking makes great use of the intimate and unique space.

This production is still in the previews stage. The actual performances start on Sep the 12th. For what we saw in one of the previews, the writing, direction, and acting are creating an intimate and engaging play that adds a special touch to the theatre offerings this season.

Goldfish

Noisy Nest
148 S. Doheny Drive
Beverly Hills CA 90211

Previews: September 5th – 7th, 2025
Friday, Saturday performances 8pm
Sunday Matinee 2pm

Performances: September 12th – 28th, 2025
Friday, Saturday performances 8pm
Sunday Matinee 2pm

Tickets: thenestla.org/goldfish

Written by John Kolvenbach
Directed by Amanda Bird
Produced by The Nest

Cast: Neo Barnes, Jillian Lee Garner, Will Kane, Lynne Mannino, Enrike Llamas, Avery Bebon, Joshua Loren, and Paige Clark.

Creative team: Stage Manager – Katrina Zbegner. Set Design – Amanda Bird. Light Design – Isa Perez-Flores. Sound Design – Amanda Bird. Wardrobe + Prop Master – Amanda Bird. Production Manager – Lynne Mannino. Special Effects Design – Amanda Bird.

Theatre Review: Unsweet Perdition

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Delving into horror and science fiction, Unsweet Perdition explores the substance of reality in an experimental form.

Astrid Kelvin (Grace Nix) is the new hire at the Danbury Hydroelectric Power and Treatment facility, where she meets a string of eccentric co-workers and characters. Similar to Alice in Wonderland, Astrid enters a rabbit hole, a space so strange that even the facility becomes sentient. In that allegorical environment, she has to ask herself: Is this soluble? Am I soluble? Where Am I? 

Playwright Evan Spreen‘s play uses literary elements of the New Weird, an evolution of genres such as science fiction, fantasy, and horror. In Unsweet Perdition, spiritual awakening, filtration of pain, and dissolving memories are represented in numbers, items, and stories told by the characters. 

If you are not familiar with SCP Foundation, House of Leaves, or Annihilation, you’re missing out. They’re a whole separate universe with a considerable following. Spreen adds a special piece to the growing body of work of New Weird artists. He has created symbols to reflect realities in a poetic expression of otherworldliness. Highlighting the suspense and endearing memories depicted in the play, the music is an engaging character that deepens the connection between the characters and their experiences. Another factor to consider is the amazing performances of the actors, bringing alive the weirdness and quirkiness of the characters. 

Due to the abstract nature of the genre, the play is geared towards a niche audience, but within that commercial limitation, the play is a well-crafted example of experimental theatre. It’s evocative and surreal, just like a dream aimed to enlighten us.     

Unsweet Perdition

The Madnani Theater
6760 Lexington Ave
Los Angeles, CA 90038

Thursday August 28 2025, 8:30 PM

Written & Directed by Evan Spreen
Produced by Michelle Belmont

Cast: Grace Nix, Sean James, Jeremy D. Thompson, Michelle Belmont, Naomi Melville, and Athena Reddy.

Music by Ian Sutherland. Lighting by Jeremy D. Thompson. Assistant Director Justine Lang. Graphic Designer Dan Mathis.

2025 CINECON Classic Film Festival

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THE 2025 CINECON 61 CLASSIC FILM FESTIVAL

Honoring the artists that have made the movie industry a world of dreams and magic, the 2025 CINECON will take place Aug 29 through Sep 1 at The Writer’s Guild Theater in Beverly Hills. Known for showing rare and unique works in the 35mm format, the festival features films of the silent and early sound era. CINECON offers an excellent opportunity for film enthusiasts to see in person some of the living stars of the silver screen and honor the memory of the ones who left an indelible record in the film industry.

This year, CINECON will treat the attendees with the presence of actress Juliet Mills, actress, singer, and dancer Ann-Margret, and actress, singer, and model Mamie Van Doren. Also, the festival will host a Book Signing Event for actress Nancy Kwan and photos with this year’s honorees and past honoree singer, actor, and author Pat Boone. In addition, there will be a special tribute to the iconic Silent Film Actress Myrtle Gonzalez, who pioneered the participation of Latinos in the movie industry.

For tickets, schedules, and general information: cinecon.org

Cinecon 61 attendees will experience a variety of classic film programs throughout the weekend. The rarely screened opening film “New Movietone Follies of 1930” will kick off the festivities on Friday. There will also be many early silent and sound films presented along with a variety of Special Programs including the Cinecon fan-favorite retrospective “Kinecon,” which features rare moments from live television captured on film before the advent of videotape.

Celebrity Arrival Times Prior to Screenings

Location: The Writers Guild Theater – 135 S Doheny Dr, Beverly Hills, CA 90211

Friday, Aug 29 @ 3:00 PM: Juliet Mills / THE RARE BREED

Saturday, Aug 30 @ 2:00 PM: Ann-Margret / THE PLEASURE SEEKERS

Sunday,  Aug 31 @ 3:30 PM: Mamie Van Doren / GUNS GIRLS AND GANGSTERS

Additional Highlights:

Saturday, August 30 @ 12:00 PM: Nancy Kwan Book Signing

Saturday, August 30 @ 2:30 PM: MIDNIGHT SERENADE / Introduction by Holly Foster Wells (Peggy Lee’s Granddaughter)

Sunday, August 31 @ 10:30 AM: THE BRIDE OF FRANKENSTEIN / 90th Anniversary Celebration with Julian David Stone

Sunday, August 31 @ 2:30 PM: Laurel & Hardy / New Restorations

Sunday, August 31 @ 8:20 PM: THE SHOWDOWN / Honoring Myrtle Gonzalez (One of the first Mexican-American movie stars). Silent film with live musical accompaniment.

Theatre Review: Wine in the Wilderness

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The killing of an African American teenager by an off-duty White police officer caused some riots in Harlem that left a total of 1 person dead, 144 people injured, and 519 people arrested in 1964. Some businesses are looted as well. The action in Wine in the Wilderness takes place during the last day of the riots.

The turmoil of the riots is the background for Alice Childress‘ exploration of African American identity. Bill Jameson (Max Lawrence) is trying to define the essence of the African American woman in three paintings. So far, he has painted two of them, a little girl that represents innocence, and an attractive adult woman that represents divinity. He just needs to find the third model to represent the downfall, the messed-up chick, as he calls her.

Bill is a college-educated artist. So are his friends Cynthia (Sydney A. Mason) and Sonny-Man (Kameron J. Brown). A friend of theirs, Oldtimer (Alex Morris) comes into Bill’s apartment trying to hide some of the loot he grabbed during the unrest. Oldtimer seems to be a drunk and far less educated than Bill and his friends.

To Bill’s surprise, Cynthia and Sonny-Man call him to let him know that they have found the messed-up chick he is looking for to complete his third painting. That woman is Tomorrow “Tommy” Marie (LeShay Tomlinson Boyce), who is not college-educated and whose house has been burned down in the riots. She is unaware of Bill’s intention to find the messed-up woman for his painting.

Childress then goes on to convey the idea that the Black Arts Movement left some people behind, in this case female and the uneducated. As important as the movement was, some of the artists that led the tendency turned it into an elitist group that perpetuated the sexism and classism that was already permeating the social fabric of America. The fact that Bill, Cynthia, and Sonny-Man haven’t even bothered to know Oldtimer’s real name, is an indication of their condescending attitude towards the less educated members of society. In that sense, Tomorrow and Oldtimer are the two characters that represent the people left behind by the movement. At the same time, they are the image of resistance and humanity, virtues that allowed the African American community to survive in the face of adversity.

The actors deliver an exciting performance, bringing to life the pungent and profound words embedded in the script. Lawrence and Morris start the action with vitality. Their playful interaction sets the tone of the story and heightens the conflicting perspectives of the characters’ perceptions on African American identity.

Gerald C. Rivers shows his other artistic talent, this time as a director. He displays the nuances captured by Childress’ script about the Black Arts Movement and the attempt to understand the core of the African American experience through the arts. Rivers does a fantastic job with Boyce, challenging preconceived ideas and empowering the image of the African American woman as a critical element of society.

This production is not only informative; it’s entertaining. It’s also an invitation to compare the past against the present and analyze what replaced the Black Arts Movement. By doing so, we can reflect on how much advancement has been achieved since the writing of this play, and what else needs to be done to transform society through the arts.

Wine in the Wilderness

Will Geer Theatricum Botanicum
1419 N. Topanga Canyon Blvd.
Topanga CA 90290

Performances: Aug. 9 – Oct. 12 (see website for full schedule)

Tickets: theatricum.com

• Written by Alice Childress
• Directed by Gerald C. Rivers
• Presented by Will Geer Theatricum Botanicum

Starring LeShay Tomlinson Boyce, Kameron J. Brown, Max Lawrence, Sydney A. Mason, Alex Morris.

Creative team: Wine in the Wilderness features original paintings by Zach Bones. The costume designer is Beth Eslick, with lighting designed by Hayden Kirschbaum and sound by Lucas Fehring. Shoshanna Green is the prop master. Lena Ford serves as assistant director and dramaturg. The production stage manager is Lacey Szerlip, assisted by Alex Penner.

Theatre Review: The Heidi Chronicles

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Wendy Wasserstein presents a realistic picture of feminism without the rigid perspective often depicted in the media, for better or worse.

Heidi (Amy Earhart) is a baby boomer. She’s also a feminist, joining the activism from the 1960s during Eugene McCarthy’s presidential campaign of ’68. McCarthy opposes the US involvement in the Vietnam war. Concurrently, a women’s liberation movement demanding equal pay and birth control rights is taking place. Professionally, Heidi wants to become an art historian.

Heidi joins a group of women that support each other in their pursuit of female liberation. The play follows the lives of these women through the decades. Wasserstein treats feminism without a Manichaean angle. Rather, she explores the subject matter trying to grasp the gray areas of life, when things like jobs, marriages, and society start to modify ideals. 

The play shows Heidi’s relationship with two men that become important influences in her life. Peter (Hudson Long), a gay doctor, becomes her close friend and supporter, “If we can’t marry, let’s be great friends” they tell each other. Scoop (Alex Scyocurka) an editor who tends to grade everything, becomes her lover and a kind of a subject in her study of male complexities. 

Heidi’s female friends become successful in their careers, some of them working within the male establishment to change the system. But the strength of that hope gets diluted with the passing of time, as they settle down in their careers, get married, and have children. Meanwhile, Heidi stays single and childless, working as an art historian and exploring different romantic relationships.

Director Brent Beerman and the main actors, Earhart, Long, and Scyocurka show Wasserstein’s point of view of looking at feminism as aspirational in the concept state, but a constant struggle as an achievement in real life. Earhart exposes Heidi’s underlying strengths and vulnerabilities. The same applies to Long as Peter and Scyocurka as Scoop. Beerman makes sure to have his three actors highlight the insecurities of the characters and the evasive pursuit of happiness. Costumer Shon LeBlanc does a fantastic job recreating the costumes of the 60s, 70s, and 80s.

The script itself references historical figures of the art, political, and literary worlds. The language and humor are intellectual, limiting a wider reach, feeling more like a niche piece. Regardless, this play is relevant and a reminder that activism is a long run rather than a sprint, with mixed results in the end.     

The Heidi Chronicles

The Group Rep Theatre (Main Stage)
10900 Burbank Blvd.
North Hollywood, CA 91601

July 25 – August 31, 2025
Fridays and Saturdays 8pm; Sundays 2pm

Tickets: thegrouprep.com

Written by Wendy Wasserstein
Directed by Brent Beerman
Produced by Melissa Strauss for The Group Rep.

Cast: Kathi Chaplar (Debbie, Jill, Lisa), Amy Earhart (Heidi), Amy Goldring (April, Betsy, Becky), Hudson Long (Peter), Michelle McGregor (Molly, Fran, Clara, Denise), Maxwell Oliver (Chris, Mark, TV Attendant, Waiter, Ray), Alex Scyocurka (Scoop), and Amy Shaughnessy (Susan).

Creative team: Brent Beerman (Director/Properties Design), Melissa Strauss (Producer/Alternate Stage Manager), Kathi Chaplar (Set Design), Robbie
Miles (Lighting Design), Shon LeBlanc (Costume Design), Krys Fehervari (Wig Design), John Harvey (Sound Design).

Musical Review: Honky Tonk Angels

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It feels as if Ted Swindley wanted to switch careers, from a celebrated playwright to an experimental DJ. Honky Tonk Angels seems like a list of catchy country songs, but not much dramatic substance in between.

Angela (Alexandra Melrose) is a housewife from Waxahachie, TX. She is married to a beer truck driver and they have six kids. She wants to sing and feel more appreciated, so she leaves for Nashville to follow her dreams. Sue Ellen (Shelly Regner) is from Texas, but she is now living in Los Angeles. She is tired of her job and her boss’ constant harassment. She loves country music, so she also leaves for Nashville. Darlene (Darcy Rose Byrnes) lives in West Virginia. A daughter of a coal miner, she lost her mom to a virus. To leave the depression behind, Darlene heads to Nashville.

Traveling by bus on their way to Nashville, the three gals strike a conversation and become best friends. They decide to become a singing trio called Honky Tonk Angeles. They start singing at The Honky Tonk Heaven in Nashville and become a hit.

Despite the talented creative team that staged this musical at the Laguna Playhouse, the script lacks depth and conflict to feel for the characters. Their backgrounds are interesting and could’ve been more meaty, but Swindley decided to go the easy route and write lackluster dialogue just to fill in the blank spaces between songs. He is an excellent and experienced playwright, not to mention his extensive knowledge on country music, but this play is just a plain collection of popular country songs.

That’s our opinion on the dramatic aspect of this musical. The production, however, is something else. It’s a spectacular display of light and color that connects with the audience. Director David Ellenstein and his team put on a display of excellent live music and fabulous fashion. With eye-catching sparkling boots, the lively trio break the fourth wall and engage the audience, singing and dancing all along. The whole show then turns into an interactive and entertaining spectacle. 

With Honky Tonk Angels, Swindley attempts to honor country music, showing the lives of the working class embedded in some of the songs like “Ode to Billy Joe”. Yes, you heard that right, the White working class who have also faced poverty and struggles in depressed areas. But the essence of the story gets lost in the vapid dialogue that seems to be written for a theme park show rather than the theatre.   

Honky Tonk Angels

Laguna Playhouse
606 Laguna Canyon Rd.
Laguna Beach, CA 92651

Sunday, August 3 – Sunday, August 17, 2025
Wednesdays at 7:30pm; Thursdays at 2:00pm and 7:30pm; Fridays at
7:30pm; Saturdays at 2:00pm & 7:30pm; Sundays at 1:00pm & 5:30pm.
There will be no performance on Sunday, August 3 at 1:00pm or Sunday, August 17 at 5:30pm.

Tickets: lagunaplayhouse.com

Written by Ted Swindley
Choreography by Jill Gorrie
Musical Direction by John Massey
Direction by David Ellenstein

Cast: Darcy Rose Byrnes (Darlene), Alexandra Melrose (Angela), Shelly Regner (Sue Ellen), Angelica Roque, Understudy (Darlene, Angela and Sue Ellen).

Creative team: Scenic design by Stephen Gifford; costume design by Dianne Graebner; lighting design by Jared A. Sayeg; sound design by Jesse Worley; props design by Kevin Williams; hair & wigs design by Peter Herman. The Production Stage Manager is Natalie Figaredo.

Musicians: Chris Dierl (Acoustic and Electric Bass), Thomas Dohner (Acoustic and Electric Guitar, Banjo), David Finch (Fiddle, Mandolin), Robert Marino (Drums), and Robert Scarano (Lap Steel, Acoustic Guitar).