Author Archive: Glamour

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).

Musical Review: It’s a Bird… It’s a Plane… It’s Superman!

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Dr. Abner Sedgwick (Cooper McAdoo) has lost the Nobel Prize award 10 times. As revenge against the scientific community, he teams up with Max Mencken (Harry White), a columnist for the Daily Planet. Before they destroy the world with a powerful ray, Superman (Elliot White) has to stop them. Meanwhile, Clark Kent is disappointed that Lois Lane (Emily Jones) pays no attention to him, as she’s infatuated with Superman. Only Sydney Carlton (Jaley Hoyt), Max’s secretary, sees Kent’s possibilities.

This musical has all of the elements to make it a great comedy show. It’s a campy story with characters that bring humor in every scene. With a retro look, the costumes and set designs bring back the memories of the original comic book. However, this Superman is the funny version of the super hero, with all of his weaknesses and strengths.

The Machiavellian tactics used by Dr. Abner Sedgwick to discredit Superman unleash the comedic situations that lead to the final crisis. Superman has to save Metropolis and Lois Lane using his superpowers to defeat Sedgwick and his accomplices.

Even though the first production of this musical didn’t do well on Broadway back in 1966, the silliness of the story and characters make it a great comedy with plenty of entertainment value. For this staging, Directors Harry White and Raphael Berglas hit all the right notes to create a lively performance and give this production a halo of true independent theatre. They bring back the relics of the Cold War to highlight the tension between good and evil and lead the story to its resolution. 

The musical numbers with live music and the comedy create an entertaining show to keep the mysticism of Superman alive. Check out the interview below with the creators of this production:

Superman continues to be a popular superhero. What’s so appealing about this character?

In a world often driven by self-interest and transactional kindness, Superman shines as a beacon of pure, selfless heroism. His unwavering commitment to doing good for its own sake, without seeking reward or recognition, captivates hearts and inspires the soul. With a moral compass forged in truth and justice, and an unyielding desire to protect humanity, Superman embodies the timeless ideal of hope and altruism, reminding us all of the extraordinary power of selfless virtue.

Tell us about the show. How did you put together the musical numbers?

The music in this show is so catchy! We want the melodies and the music at the forefront. The score was written by one of the all time great musical theatre writing teams, Strouse and Adams, and when you’re working with the genius they imbued into the score you don’t have to do much. We also are leaning into the musical comedy aspect of the numbers. This is first and foremost a stage comedy after all, and that’s what makes this take on Superman different than the rest.

What are the main differences between the Superman of the movies versus the Superman of the musical?

That’s an interesting question, because the writers of the musical are the same writers of the first Superman movie, David Newman and Robert Benton. Through certain scenes and songs I think the musical really gives you a deeper look at Superman’s vulnerabilities. There is no kryptonite in the musical, so the bad guys have to fight Superman in a different way. There’s a lot more psychological warfare in the musical.

What are the technical challenges of combining singing and dancing in a musical?

The hardest part of putting together a musical is making sure the singing and dancing has a purpose. Sometimes when you see a musical the singing or dancing comes out of nowhere and can feel unmotivated, leaving the audience feeling disconnected from the story. We tried very hard to make sure that when a character is singing or dancing, it’s because there’s no other way they can express what they’re feeling in that moment.

What are the voice ranges the audience will hear in this musical?

This is golden age musical theatre, so you will hear every voice type! From basses all the way up to sopranos we’ve pretty much got it covered. The style of the music ranges from old Sinatra sounding jazz songs all the way to 50s rock.

How about casting? How did you find the actors?

Finding the right actors is a really difficult process. We have a really reliable group of talented performers in our repertoire at Foster Cat Productions, so we chose who was best for each role from within our ensemble.

How much time did you have to prepare this show, from concept to production?

We’ve been thinking about this show for about a year and a half! We only started rehearsing officially in June, but we had our very first reading in early 2024.

Do you think the LA theatre scene gets enough press?

The LA theatre scene only seems to get press when major Hollywood talent is involved. This is sometimes unfortunate because doing theatre in LA used to be a big way for actors to get discovered in this town. That has sort of diminished over the years, and I certainly wish more people showed interest in the LA theatre scene. But I also think there is some responsibility on the artists to put their hearts into crafting real theatre and not just purely creating showcases for themselves. It’s a complex situation, but as long as there are actors in this town there will be good theatre worthy of press.

What are the challenges and rewards of producing theatre in LA?

The challenge of producing theatre in LA is that it’s not known as a theatre town. Obviously this is Hollywood and the focus is on the screen. However, so many people working in Hollywood started in theatre and have a deep love for theatre. Here in LA we’ve had a lot of big Hollywood talent randomly find their way into our theatre because of the work we choose to do, and that can’t happen anywhere else in the world. We’ve been very thankful for our audiences.

Foster Cat Productions is more than just a name. Tell us about the work you do with the cats.

We got our name from our love of fostering cats and kittens. The members of our company are dedicated to animal welfare! We partner with Best Friends Animal Society occasionally to raise money and awareness for stray cats and dogs throughout the greater LA area. Our artistic team has fostered over 30 cats and kittens and counting!

 
It’s a Bird… It’s a Plane… It’s Superman!

The Broadwater
1076 Lillian Way
Los Angeles, CA 90038

Fri, Aug 01 – Sun, Aug 10
Fri and Sat 8pm
Sunday 3pm

Tickets: onstage411.com/newsite/boxoffice

Music by Charles Strouse
Lyrics by Lee Adams
Book by David Newman and Robert Benton
(Based Upon the Comic Strip “SUPERMAN”)

Directed by Harry White and Raphael Berglas.

Cast: Elliot White, Emily Jones, Harry White, Cooper McAdoo, Jaley Hoyt, Julia McCammon, Troy Barboza, Will Fulginiti, Jena Ziomek, and Raphael Berglas.

Band: Ron Barnett in piano and Randy Fox in drums.

Creative team: Kim Iosue (Stager Manager), Matthew Steward (Lighting/Sound Design).

Musical Review: The Fantasticks

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There is some kind of magic, some kind of dark matter, not seen, but ever present, in the script and music of The Fantasticks, a musical with a story and characters that keep traveling across generations. Ruskin Group Theatre brings back the enchantment and humor of this pastoral image of America.

With Danny Bernardo‘s endearing voice, the character El Gallo sings “Try to Remember”, opening up a story that shows the naive vision of love and the harsh realities of life. Based on writer/director Scott Miller’s analysis, the story of The Fantasticks is an evolution of Aucassin and Nicolette, a medieval chantefable from the 12th or 13th century. It contains universal themes that connect with the audience in perplexing ways. The show has been staged multiple times around the world with impressive success.

In Elina de Santos‘ production, the characters capture the illusions of the young and the stubbornness of the old, with the complex layers of El Gallo, the mysterious and alluring bandido. De Santos builds a universe of innocence, trickery, and mythical search for happiness. Her characters experience the profound transformation implied in the script, aligning the characters to serve the story and complete the cycle. She does that without sacrificing the comical element in this musical. The humor and oddity is mainly projected by Michael Redfield as Mortimer and John Wuchte as Henry. These two extraordinary actors mesmerize and engage with their performance, adding a topsy-turvy and exciting vibe to the story.

As for El Gallo, Bernardo plays his character with an attractive aura of mystery, temptation, and wicked wisdom that reminds us of the duality of good and evil, a concept that dates back to the beginning of human history. The innocence, of course, relies on Pollono as Luisa, and Hemingway as Matt. With all of their youth in full display, they execute a lively performance that translates the dreams and the naiveness implied in their roles. They have more experience to gain, but they’re on their way to new heights.

De Santos uses her creativity to highlight the figures of speech that give depth to the story. The moonlight, hiding the shortcomings, and the sun, exposing them, are devices used effectively to transmit the message clearly. De Santos also excels in building the myth of Luisa and Matt. She progresses the scenes to show their longings for something more than the immediate environment in which they live, eager to explore the world laid out before their eyes. The transformation experienced through their growth and wisdom achieved through their travels and pain, is cleverly displayed in the last scenes. It’s implicit in the play, sometimes it is necessary to get hurt to unlock true love. Both Luisa and Matt get to understand this passage of life, and just like in Aucassin and Nicolette, their love only grows stronger as they are apart from each other.

To close the cycle, El Gallo leads the ensemble to sing “Try to Remember”, an invitation to go back to our childhood, to the excitement of our idealistic dreams, a return to innocence. The audience accepted the invitation.

The Fantasticks

Ruskin Group Theatre
3000 Airport Avenue
Santa Monica, CA 90405

July 18, 2025 – August 24, 2025
8pm on Fridays, Saturdays; 2pm Sundays

Tickets: ruskingrouptheatre.com

Book and lyrics by Tom Jones
Music by Harvey Schmidt
Directed by Elina de Santos
Musical Direction by Michael Redfield
Presented by Ruskin Group Theatre

Cast: Michael D. Cohen as Bellomy, Danny Bernardo as Narrator/El Gallo, Rhett Hemingway as Matt, Kiel Kennedy as Hucklebee, Sophie Pollono as Luisa, Michael Redfield as Mortimer, Raven Scott as Mute, John Wuchte as Henry, Silas Shultz as Understudy/Matt.

Creative team: Bruce Goodrich (Scenic Design), Michael Redfield (Sound Design/Music Director), Matt Richter (Lighting Design), Jennifer Oundjian (Choreographer), Erik Hall (Co-choreographer), Victoria Hoffman (Casting), John Ruskin (Artistic Director/Producer), Michael Myers (Producing Artistic Director), Nicole Millar (Production Stage Manager).

Theatre Review: The Opposite of Love

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In a display of intense emotions and desperate search for human connection, The Opposite of Love delivers a tantalizing story of the path to recovery, with a twist.

Eloise (Ashley Griffin) hires gigolo Will (Evan Strand) in an attempt to get over a past sexual abuse experience. The plan is simple, Will is going to have sex with Eloise a couple of times, she is going to pay him for his services, and the transaction will be done. They live in New York. She is wealthy. He is working-class. She is book smart. He is streetwise. At first, their differences seem stark, but as the story unfolds, it is obvious that their needs are pretty much similar.

In the cinema world, movies like American Gigolo and Pretty Woman depict prostitutes in two different lights, the former more realistic, the latter more romanticized. The Opposite of Love seems to fall in between, but it has a more realistic tone in the sense that it explores a deeper need of human connection in more relatable circumstances. One of the reasons why this production works so well is Melora Marshall‘s superb direction. She shows her extraordinary ability to understand the sadness, loneliness, and misery written in the script. Breaking down the layers and depths of the characters, she then guides her actors to deliver a touching display of raw emotions that flow back and forth between Eloise and Will, in a cathartic journey of sensual healing. Seeing two dissimilar and damaged characters getting closer and closer is like witnessing a train that will take them either to paradise or to an impending wreck.

Once the trust is built—some pizza and a few hundred bucks later—Eloise opens up about her traumas and needs. Lonely and inexperienced, she appears to start falling for Will. In turn, Will sees the opportunity to have some steady income coming his way while helping Eloise discover sex in a positive environment. Although the transaction seems to be going well for both, there is something growing inside of them that will change the course of their relationship.

Griffin explores issues of gender and social class. She explores the isolation and emotional detachment caused by sexual abuse. She takes her characters to a place where they lower their guards and feel their tears, unlocking the possibilities of sexual liberation, leaving a trace of bodily fluids and traumas behind. Griffin and Marshall create a stage where the audience see the facial and body expression of Eloise and Will, but more astonishingly is their ability to make the audience feel so palpably their emotional scars as well.

The story is enhanced by the background music, a selection that echoes Eloise’s sexual exploration and awakening. Just like the music, Eloise’s costumes contribute to tell her story. They show her transformation: First impression, confidence, and power. As far as character development, Eloise can be empowering, or an open question, depending on one’s take on life. The ending shows Eloise either as liberated or as an even more damaged person.

The blocking at the last scene could be perceived in different ways. Once the twist of the story is exposed, it leaves an aftertaste that deviates from the political correctness depicted in the media nowadays. Will’s posture in relation to Eloise’s is an image that exemplifies the power structure in our society. Can you tell?

The Opposite of Love

Hudson Backstage Theatre
6539 Santa Monica Blvd
Los Angeles, CA 90038

Fri, Jul 25 – Sun, Aug 31
Thu, Fri, Sat 7:30pm
Sun 4pm

Tickets: onstage411.com/newsite/show/play

Written by
Ashley Griffin

Directed by
Melora Marshall

Produced by

Neil Gooding Productions

Cast: Ashley Griffin & Evan Strand

Creative team: Celina Lee Surniak (Intimacy Director), Omar Madkour (Lighting Designer), Marshall McDaniel (Composer/Sound Designer), You Chen Zhang (Co-Scenic Designer), Joyce Hong (Co-Scenic Designer), Sage Barrie (Costume Designer).