Author Archive: Glamour

Theatre Review: THE MEOWING NUNS

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Nuns just wanna have fun. But in the Middle Ages, that wasn’t supposed to be an option. Shackleton Theatrics brings to the stage a story that has been surrounded by mystery throughout centuries. The medieval event took place in a French covenant, where nuns started to meow, causing complaints and concerns from the surrounding communities. 

The British Journal of Psychiatry lists some instances of sociogenic illness across different places and centuries. The root cause of many of these cases is the isolation and extreme conditions in which the subjects are expected to live. The strict lifestyle imposed in some religious orders have caused the outburst of strange behaviors. Although not enough details exist of the meowing nuns, this case has sparked rumors that the meowing was a manifestation of satanic possession. Playwright Park Lytle, however, has his own interpretation. 

Director Hunter Mahmoud Abal sets the tone of the play from the beginning. The atmosphere is dark, mysterious, and the chanting adds an air of mysticism to the space. What comes next is an exploration into the system of beliefs deeply entrenched in the Middle Ages. 

Only three nuns remain in the covenant. Sister Sara (Savannah Coyne), Sister Adrienne (Eva Claire Hendricks), and Sister Genevieve (Alexandra Tejada) pray, dance, and meow loudly around the figure of the late Mother Vivienne (Josephine Nunez). Is this just fun, or demonic possession? To find out, Count Giraud (Christopher Martin) sends Father Raoul (Christopher Martin) and Brother Thomas (Karo Dzghalian) to the covenant.

During their trip, both men experience revelations and Father Raoul sets the forest on fire. Lytle uses symbols like the wolf and the sheep to imply the relationship between the church/state and subjects, and to a larger degree, the past and current dynamics between men and women. Lytle’s take on this historical event revolves around the imposition of will by men over women, whether by means of diplomacy or straight out violence. It comes down to the fact that despots don’t need to explain their tyrannical ways.

Abal’s direction blends effectively the mysticism of the script with dark and surreal visuals. This is matched with outstanding performances. Zeusso is simply magnetic. He displays the viciousness, coldness, and troubledness required to make his character a controversial figure in the story. The cast demonstrates their conviction, upping the game with their convincing performances.

This production is a unique experience. It’s a great example of how artists create something meaningful and provocative with limited resources. This is independent theatre  done with passion and determination. Once you have the talent, everything else falls into place on its own. This is a medieval story with modern undertones, treated with an edgy infusion of great acting and creative visuals. Should we use the term off-Hollywood for this kind of independent gems?

The Meowing Nuns

The Whitmore Theatre
1106 Magnolia Blvd.
North Hollywood, CA 91601

March 6-7, 13-14 at 8:00 PM.
March 8 at 2:00 PM

Tickets: shackletontheatrics.com

Written by Park Lytle
Directed by Hunter Mahmoud Abal
Produced by Park Lytle, presented by Shackleton Theatrics

Cast: Karo Dzghalian, Savannah Coyne, Eva Claire Hendricks, Alexandra Tejada, David Zeusso, Christopher Martin, and Josephine Nunez.

Creative team: Stage Manager Abbs Stoiber, Production Manager Sam Millette, Scenic Designer Grace Hlavacek, Costume Designer Ashley Kae Snyder, Lighting Designer W. Alejandro Melendez, and Sound Designer Jonathan Flikkie.

Theatre Review: THE PRICE

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In a staging that recreates the lives of four characters in the late 1960s, Elina de Santos honors the fascinating world of Arthur Miller, one of the greatest playwrights of the last century.

In the attic of a Manhattan Brownstone, Victor Franz (Scott Jackson), a police sergeant near retirement, waits for Gregory Solomon (Richard Fancy), an antique dealer who will appraise the furniture left behind by Victor’s father. Esther (Dana Dewes), Victor’s wife, is getting anxious about the prospects of their lives after retirement. The most controversial figure in the story is Walter (Jason Huber), Victor’s brother. They haven’t seen each other in nearly 20 years. Gregory sets the price, Victor takes the deal, Esther thinks the price is too low, and Walter shows up to reveal unknown facts about their father.

For such an extensive dialogue-driven play, the four actors deliver powerful performances that extract the core of Artur Miller‘s exploration on personal sacrifice and missed opportunities. Jackson conveys the insecurities of a character that is facing a leap into the unknown as he prepares to retire with no specific goal in mind. He plays his character with conviction and exteriorizes his conflictive state of mind, especially after learning from Walter that their father wasn’t all that broke after all.

Fancy is also fantastic as the octogenarian Solomon, a thoughtful and charismatic man who is good at valuing antiques, but even better at valuing life. Fancy’s pacing, delivering, and speech make his character thoughtful and likeable, a sort of performer jiggling wisdom and diplomacy with a hint of sorrow after a tragic experience in his life.

Huber as the distant and troubled brother delivers a relevant performance as well. His character creates tension, and heightens the complexities of familial relationships and the challenges of overcoming resentments that have dragged on for several years. Similarly, Dewes creates a memorable Esther, expressing the frustrations of a wife who perceives her husband as an indecisive man who sees his life slipping away, pulling her along to an uncertain future. Dewes does a great job transforming the initial resentment into a supportive stance, siding with Victor, showing that after all, their bond is unbreakable.

The Price is an exploration of sacrifice and an attempt to mend broken relationships. Finely directed by de Santos, this production displays the conflicts and motivations of the characters in a manner that feels contemporary and real. Her stage directions and her work with Rich Rose to recreate the attic full of furniture makes this production a visually rich experience for the audience, and keeps the engagement continuous with the humor and excellent performances by the cast. This is another outstanding production under the leadership of Pacific Resident Theatre‘s Artistic Director Marilyn Fox, who demonstrates, once again, her great taste in choosing meaningful and prestigious works for the LA theatre scene.

The Price

Pacific Resident Theatre
703 Venice Blvd.
Venice, CA 90291

Opening at 8pm Saturday, February 28, 2026
Schedule: 8pm Thursdays – Saturdays; 3pm Sundays
Added 3pm matinee on Saturday March 14; no performance on Friday, March 27, April 3.
Closing: Sunday, April 12.

Tickets: pacificresidenttheatre.org

Playwright: Arthur Miller
Director: Elina de Santos
Executive Producer: Marilyn Fox
Associate Producers: Rita Obermeyer, Jody Fasanella
Presented by Pacific Resident Theatre

Cast: Dana Dewes (as Esther Franz); Richard Fancy (as Gregory Solomon), Jason Huber (as Walter Franz); Scott Jackson (as Victor Franz).

Creative team: TEAM: Rich Rose (Scenic Design), Leigh Allen (Lighting Design), Chris Moscatiello (Sound Design), Keilani Gleave (Costume Design), Kenzie Caulfield (Props Supervisor), Pietro Saibene (Production Coordinator), Ben Wendel (Stage Manager).

Theatre Review: HONOUR

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A devoted wife versus a younger woman. Which one will a middle-age man choose? In Honour, Playwright Joanna Murray-Smith delves into the stillness of a marriage and the thrills of a second wind, where characters question love, passion, and the realities of 32 years of marriage.

George (Matthew Letscher) has a stable life. He has a wife (Marcia Cross), a daughter (Jude Elizabeth Mayer), and a brilliant career. It seems that he has what he needs. But is that what he wants? The person who triggers this question is Claudia (Ariana Afradi), a journalist who is interviewing George about his admired writing works. He is an experienced intellectual, ready for a change. She is a young journalist, ready for a ride. And when the heat starts to build up, you soon get a fire.

Letscher makes his character despicable, but funny at the same time, which makes it likable despite the circumstances. He has the ability to navigate with ease between the respectable head of a household and the excited child with a new toy, willing to throw everything out the window for the exhilaration of a new romance. Letscher makes you wonder whether you are a villain or a hero for wanting and executing a change. Who hasn’t felt the urge of taking one last chance in life, even if that means betrayal in one way?

Cross delivers another powerful performance as the wife who takes the blow, but finds the way to adapt and stand tall, showing an inner strength that represents a lesson for the much younger Claudia. Throughout the scenes, Cross excels exteriorizing Honor’s transition from victimhood to freedom, showing her experience and dedication to her craft.

Ariana Afradi as the ambitious Claudia and Jude Elizabeth Mayer as the daughter that becomes the collateral damage also shine in this production. They both deliver energetic and credible performances that complement the complex nature of the play. Their characters fight and attempt to change the status quo, with mixed results; new generations, same old conflicts. Throughout the play, Claudia’s background is a bit of a mystery, Murray-Smith does not fully disclose what her real motivations are. it becomes an open question, leaving the audience to make assumptions about her past experiences. 

One of the reasons why this play resonates so well is that the characters express raw emotions with honesty without filters, resulting in a relatable experience. With lighting, a minimalist set design, and excellent blocking, Director Max Mayer creates the necessary fluidity to display the characters’ transformation that reflect their inner turmoil, a state of fear, betrayal, excitement, and disillusion. 

With an excellent production, Ruskin Group Theatre opens up their new artistic hub; you will notice the smell of new carpet as soon as you enter the theatre. This space will host live theatre, music performances, spoken word, visual arts, and the now famous acting training program. It’s a fantastic complex that offers a new destination to all art lovers in Southern California.

Honour

Ruskin Group Theatre
2800 Airport Avenue
Santa Monica, CA 90405

Opening at 8pm on Saturday, February 14
Schedule: 8pm Thursdays – Saturdays; 2pm Sundays
Closing March 22, 2026

Tickets: ruskingrouptheatre.com

Written by: Joanna Murray-Smith
Directed by: Max Mayer
Produced by: John Ruskin and Michael R. Myers
Presented by: Ruskin Group Theatre

Cast: Marcia Cross as Honor, Matthew Letscher as George, Jude Elizabeth Mayer as Sophie, and Ariana Afradi as Claudia.

Creative team: Stephanie Kerley Schwartz (Scenic Design), Edward Salas (Lighting and Sound Design), Michael Mullen (Costume Design).

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.