Author Archive: Glamour

Theatre Review: Corktown ’39

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Intriguing and visceral, Corktown ’39 portrays the risks of comingling political activism and personal feelings.

The Anglo-Norman invasion of Ireland in 1169 started a centuries-long history of oppression and revolts between England and Ireland, a fight that led to the formation of a handful of resistance groups, including the Fenian Brotherhood, the Irish Republican Brotherhood, Clan na Gael, and the Irish Republican Army (IRA). These resistance groups have launched several operations to inflict damage to English assets in an attempt to pressure for the end of the British rule in Ireland.

John Fazakerley fictionalizes one of the most radical ideas of Clan na Gael, the American-based Irish organization supporting the independence of Ireland. The year is 1939 and the leader of the Clan, Joe McGarrity (Peter Van Norden) along with Chief of Staff of the IRA Sean Russell (JD Cullum) set up a risky plan to kill England’s King George VI during his visit to the US. The planning takes place in Corktown, an Irish enclave in West Philadelphia.

To carry out the plan, the Clan and the IRA hire the services of Martin Connor (Jeff Lorch), a sniper who fought in Spain during the brutal civil war. Having lost her fiancée in the bombing of Guernica, Martin is willing to continue taking risks in life. This time, he accepts the mission of assassinating the King of England. The plan is relatively simple. Take a position, shoot the king, run to the alley, and escape in a car driven by Tim Flynn (Thomas Vincent Kelly), a supporter of the cause, but indiscreet at times.

Everything seems in place, except that Martin falls in love with Tim’s former girlfriend Kaitlin “Kate” Keating (Ann Noble), who is the daughter of Mike Keating (Ron Bottitta), the Clan member hosting Martin. Kate is tough and dedicated to the Irish cause, but you can’t rule the heart, and sure enough, she falls for Martin. The problem is that Kate is also pursued by the abrasive Sean, who is striking a deal with Mike for the leadership of the Irish resistance. To add more tension, Joe and Sean start to clash heads about the tactics of the resistance, especially when it is discovered that Sean might be seeking the help of the German Nazis.

Fazakerley’s dialogue is witty and fast-pace. He also builds up the conflict in a way that changes the dynamics of the relationships unexpectedly, bringing in the element of surprise to the gripping story. To match the extraordinary dialogue, the work of Director Steven Robman with his actors and creative team is a fine job of craftsmanship. The talent of the thespians is evident; they work the humor and the moral conflicts to explore their characters in depth.

Cullum is fantastic, his physicality and quirky personality capture the fire of a man devoted to the cause, but also the dangerous ambition of a leader who starts to show an uncontrollable hunger for power and self-promotion. Noble continues to deliver memorable performances. She shows the strength of a cold and dedicated soldier, but also the agony of succumbing to the heart. Her ability to delve into the vulnerabilities of the human experience is exceptional. The last scene is one of a kind.

It’s always refreshing to see new faces. In this case, Rogue Machine presents Tommy McCabe as Francis, son of Mike Keating. McCabe is a USC graduate, evidencing the institution’s commitment to prepare excellent actors through their School of Dramatic Arts.

The lighting and special effects are paired up with a detailed scenic and costume design to bring back the atmosphere of the time, filling up every inch of the stage with objects and designs typical of the 1930s.

The significance and relatability of this story is worth mentioning. The characters in the play were not fully aware of what was coming. New leaders with ambiguous agendas were taking the world stage by storm, sending mixed messages. Some people read through the lines and foresaw the calamities to come, some didn’t. The characters of Corktown ’39 are a microcosmos of the explosive realities that were about to unleash the most devastating war in human history, WWII. With his clever pen, Fazakerley questions whether the end justifies the means. A relevant concern in the Irish search for independence, and a valid question about the multiple other cases currently in development around the world.

Corktown ’39

ROGUE MACHINE (in the Matrix Theatre)
7657 Melrose Ave, Los Angeles, CA 90046
(street parking)

Opening: 8pm on Saturday, April 12, 2025
Schedule: 8pm Fridays, Saturdays, Mondays; 2pm Sundays
(no performance on Monday April 14, 21, and May 12)
Closing: May 25, 2025

Tickets: roguemachinetheatre.org

Written by John Fazakerley
Directed by Steve Robman
Produced by John Perrin Flynn, Athena Saxon
A Rogue Machine Production

Cast: Ron Bottitta as Mike Keating. JD Cullum as Sean Russell. Thomas Vincent Kelly as Tim Flynn. Jeff Lorch as Martin Connor. Tommy McCabe as Francis. Ann Noble as Kaitlin “Kate” Keating. Peter Van Norden as Joe McGarrity.

Creative team: Mark Mendelson (Scenic Design), Dan Weingarten (Lighting Design), Chris Moscatiello (Sound Design), Kate Bergh (Costume Design), Ned Mochel (Violence Design), Megan Trapani (Prop Design), Grant Gerrard (Technical Director), Lauren Lovett (Dialect Coach), Victoria Hoffman (Casting).

Alicia Carroll Recipient of Playwriting Commission

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IAMA THEATRE COMPANY NAMES 
ALICIA CARROLL AS 2025 RECIPIENT OF 
SHONDA RHIMES-SPONSORED 
UNSUNG VOICES PLAYWRITING COMMISSION

 

LOS ANGELES, CA (26 March 2025) — IAMA Theatre Company, committed to cultivating new voices and creating new, boundary-pushing work, has selected Alicia Carroll as the 2025 recipient of the Los Angeles-based theatre company’s The Rhimes Unsung Voices Playwriting Commission, sponsored by IAMA Patron of the Arts Shonda Rhimes (“Grey’s Anatomy,” “Scandal,” “”Bridgerton”). Now in its eighth year, The Rhimes Unsung Voices Playwriting Commission was created to nurture emerging playwriting talent with an emphasis on cultural inclusion and fresh creativity in theatre. This commission supports a writer from an underrepresented community, who has been minimally professionally produced, but not had a commercial, Off-Broadway, or Broadway production of their work.

“We are so honored to continue to support thrilling new voices such as Alicia’s;  it’s especially meaningful to support a writer who began her journey with us in our Emerging Playwrights Lab,” said IAMA Artistic Director Stefanie Black, “Alicia has been a valued member of the IAMA community and we are delighted to be able to continue our collaboration with her in this way. We can’t wait to see what she writes next.”

 

Alicia Carroll was a member of IAMA’s 2020-21 Emerging Playwrights Lab, an artistic home for early-career and emerging Los Angeles-based playwrights. Previous works written in the IAMA Emerging Playwrights Lab have seen various runs at theatres across the nation including the 2024 run of Max Wolf Freidlich’s JOB.

 

“There is no greater gift for a writer than the time and resources they need to create,” shared Carroll. “I’m so thankful for the opportunity to work on a new piece with the guidance and support of the IAMA team.”

 

Alicia Carroll is a playwright and TV writer hailing from Philadelphia and the District of Columbia, Maryland and Virginia area (DMV). Her writing credits include “Pitch Perfect: Bumper in Berlin” (Peacock), “The Watchful Eye” (Freeform), “Zoey’s Extraordinary Playlist” (NBC) and Crooked Media’s comedic live show and podcast, “Lovett Or Leave It.” She has participated in several fellowships and labs across mediums as a writer, including Film Independent’s Project Involve Fellowship, Women In Film: Insight Fellowship, IAMA Theatre Company’s Emerging Playwrights Lab, ESTLA’s Ignite Lab, The Workshop Theater’s Winter Rewrite Intensive, and The Orchard Project’s Greenhouse Lab. When she’s not writing, Carroll teaches TV writing online at Story Brain Academy, Writing Workshops, The Writing Pad and Sundance Collab. She also works with Expand The Canon, bringing classics by underrepresented playwrights to the forefront. 

 

Past recipients of The Rhimes Unsung Voices Playwriting Commission include IAMA Ensemble Member Brian Otaño; playwright and activist Geraldine Inoa; Iranian-American playwright Sanaz Toosi, who went on to receive a Pulitzer Prize; Obie-winning performer/playwright Ryan J. Haddad; Emmy-nominated writer, director and producer Larry Powell; celebrated actor, director and playwright June Carryl; and Chinese-Canadian playwright, TV writer, screenwriter Chloé Hung. In 2016, IAMA became a recipient of The Rhimes Foundation, led by legendary television producer and screenwriter, Shonda Rhimes. In turn, Rhimes, a frequent IAMA audience member and supporter, was named IAMA’s inaugural Patron of the Arts in 2017, committing funds for the commission as well as other important support for IAMA’s mission and programming through The Rhimes Foundation. The Rhimes Foundation was established in 2016 to support arts, education and activism, with a focus on promoting cultural inclusion and fighting inequality.

 

ABOUT IAMA THEATRE COMPANY
Founded in 2007, IAMA Theatre Company is a Los Angeles-based ensemble of artists committed to cultivating new voices, creating new works that push boundaries and take risks, and fostering an inclusive community that inspires a new generation of theatermakers and audiences. Designated by Playbill as “one of 20 regional houses every theater lover must know,” “an LA intimate theater gem” by KCRW, and a “creative force on the local theatre scene” by the Los Angeles Times, the award-winning company is dedicated to developing and producing new plays and musicals by emerging and established playwrights, including over 30 world, West Coast and Los Angeles premieres. This season’s Broadway productions that first started at IAMA include Max Wolf Friedlich’s JOB and Leslye Headland’s Cult of Love. The backbone of the company, IAMA’s Ensemble Members have been featured in numerous critically acclaimed TV shows and films as well as a vast array of theatre and live performances on and Off-Broadway, across the country, and around the world. IAMA is invested in challenging audiences with authentic experiences that reflect the complex modern world.

 

ABOUT RHIMES UNSUNG VOICES COMMISSION & THE RHIMES FOUNDATION
Sponsored and inspired by groundbreaking producer and writer Shonda Rhimes, and The Rhimes Foundation, The Rhimes Unsung Voices Playwriting Commission supports a writer from an underrepresented community who has been minimally professionally produced but not had a commercial, Off-Broadway, or Broadway production of their work. Writers who are actively pursuing a career in the theatre are strongly considered.

The Rhimes Foundation was established in 2016 by writer/producer Shonda Rhimes and her family. The foundation was created to support arts, education, and activism with a focus on promoting cultural inclusion, fighting for equality, and standing up against bigotry of any kind.

ADANZA, Show Me Your Dreams: A Mash-Up of Breakdance, Circus, Ballet, and Musical Theatre

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With an experimental feel to it, Adanza: Show Me Your Dreams is a combination of circus and musical theatre, with special effects and video projections to tell a story.

Two characters (Bella Hamm and Alex Honorato) meet each other, fall in love, get married, and have a baby. As traveling artists, however, they start to drift away from each other. What comes next is a journey throughout the world, visiting exotic places, each one becoming a musical number with different artistic expressions that include dance, ballet, circus, and even bubbles with special effects, the latter created by Joseph (Jilbér) Ferri in a display of shapes, lights, and a sweet smell of bubble gum that fills the air. Have you ever heard of surface tension & elasticity, Marangoni effect, etc.? Don’t look it up, just come and see it with your own eyes, it’s much more fun in a live show.

While Gonsalo Bboy Chalo performs the break dance acrobatics on the floor, Aerialist Sharyn Scott performs some stunning acrobatics in the air on the aerial hoop, adding an impressive circus element to the show.

This is an innovative concept, where the dialogue is kept at a minimum and most of the story is told by musical numbers, relying mainly on music and movement. The troupe is composed of artists from America, Brazil, Venezuela, Colombia, Vietnam, Peru, France, Spain, and New Zealand.

Adanza; Show Me your Dreams is an artistic endeavor conceived by Brooke Ferri and Jilbér Ferri. Brooke is an attorney, producer, songwriter, writer, and musician. Jilbér is a singer, songwriter, guitarist, bubble performer (yes, there’s a profession called bubble performer, one that defies the laws of physics, somehow), and dancer.

Adanza has a short run, so catch it before it’s gone. If circus and musical theatre are down your alley, then this is your show. And if you’re lucky enough, you might even catch a bubble and a plane.

ADANZA: Show Me Your Dreams

Eastwood Performing Arts Center
1089 N. Oxford Avenue
Los Angeles CA 90029

March 28 – April 5, 2025:
• Fridays at 7 p.m.: March 28, April 4
• Saturdays at 3 p.m.: March 29, April 5
• Saturdays at 7 p.m.: March 29, April 5
• Sunday at 2 p.m.: March 30
• Sunday at 6 p.m.: March 30

Tickets: adanzamusical.com

Written and Directed by Brooke Ferri and Joseph (Jilbér) Ferri.

Starring Joseph (Jilbér) Ferri, Bella Hamm, Alex Honorato; and Features Cristina Malakhai, Elizabeth Kate Hernandez, Jorchual Gregory Vargas, Melissa Carvajal, Sage Buchalter, Tate Navarro, Tristan Nguyen, Sharyn Scott, Gonsalo Bboy Chalo, and Christopher Yates.

Choreographed by Melissa Carvajal and Vicki Liv.

Music Composed and Written by Brooke Ferri and Jilbér Ferri.

Cellist Jennifer Novak Chun.

Musical Review: Drat! The Cat!

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There’s a cat lady in the play. No, not that kind of lady. This one likes to steal diamonds for fun. To make it worse, the cop who is supposed to catch her, falls head over heels for her. He’s the softie and she’s the tough cookie. It’s so bad that he ends up handcuffed, not the other way around. Not a good thing for the New York Police Department.

It seems as if the play was brought to this side of the country by a turtle. Sixty years later, Drat! The Cat! has finally arrived on the West Coast. The original play premiered on Broadway in 1965. It starred Lesley Ann Warren and Elliot Gould, who was married to Barbara Streisand at the time. And now, The Group Rep is staging this fun musical at the Lonny Chapman Theatre for a one month run.

This new production features two sensational rising stars: Sydney DeMaria as Alice Van Guilder, the audacious catgirl, and Alec Reusch as Bob Purefoy, the naive cop falling madly in love. With a fantastic supporting cast, an excellent band directed by Gerald Sternbach, and a dynamic choreography by Cheryl Baxter, Director Bruce Kimmel stages a vibrant performance that infuses new life to this hidden gem. 

Encouraged by his dying father (Lloyd Pedersen), police officer Bob Purefoy is tasked with finding the thief who has been stealing the diamonds of New York’s high society in the 1890s. Bob is committed to finding the burglar. But he is no match to the cunning Alice, a woman ahead of her time. She wants to be a career woman and get diamonds in her own way, without the help of any man. To achieve that and hide her identity, she uses a catgirl costume, striking at posh events and stealing the diamonds without leaving traces behind. When visiting Alice’s parents to arrange the police operation to find and capture the diamond burglar, Bob meets Alice, unaware that she is the burglar. As they talk, she touches him, and it becomes love at first touch. Poor Bob is hooked and his tribulations begin.   

One of the best decisions by The Group Rep is the casting of the protagonists. The mischievous characteristics of Alice Van Guilder are vivaciously played by DeMaria, who acts with such naturality that her leading performance shapes the narrative of the play and heightens the audience engagement, something that only truly committed thespians can do. DeMaria’s soprano voice, movement, and acting makes this catgirl a rich and exciting character to watch. She shows off her captivating voice in “Wild and Reckless” and “I Like Him”, her two solo music numbers. 

As for Reusch, a tenor, he’s fascinating with his rendition of “She Touched Me”, the song made famous by Barbara Streisand. Reusch is excellent at portraying Bob Purefoy’s conflicting spirit, fighting the dichotomy between law enforcement and uncontrollable infatuation. His awkwardness and naiveness make his character highly likeable and relatable. Reusch and DeMaria develop a convincing chemistry on stage, adding an aura of romanticism and playfulness.       

The connection with the play is not new to Kimmel. In 1997, he produced a new version of the play’s score and he interacted with Playwright Ira Levin and Composer Milton Schafer. Unfortunately, Levin and Schafer are no longer around to see this new production. But this is a special commitment by Kimmel, and he is now able to stage the play at the Lonny Chapman Theatre.

To enhance the production even more, Costume Designer Shon Le Blanc uses an impressive array of period costumes that offer an attractive visual element that shows the careful attention to detail, which is always a demonstration of the level of commitment by the production team.

This is a rare opportunity to see the talent of Ira Levin as a musicals writer. Combined with the fine musical taste of Milton Schafer, Drat! The Cat! is a fantastic display of dance, comedy, and music.        

Drat! The Cat!

The Group Rep Theatre
10900 Burbank Blvd.
North Hollywood 91601

March 21 through April 27
Fridays and Saturdays at 8pm. Sundays at 2pm

Tickets: thegrouprep.com

Book & Lyrics by Ira Levin. Music by Milton Schafer. Directed by Bruce Kimmel. Musical Director Gerald Sternbach. Produced by Koushik Chattopadhyay for The Group Rep.

Cast: Ben Anderson (Patrolman & Ensemble), April Audia (Kate Purefoy), Riley Croman (Ensemble), Sydney DeMaria (Alice Van Guilder), Lareen Faye (Ensemble), Amy Goldring (Ensemble), Lee Grober (Mayor), Doug Haverty (Pincer), Angie Lin (Ensemble), Constance Mellors (Matilda Van Guilder), Hisato Masuyama (Butler & Ensemble), Savanna Mortenson (Maid/Ensemble), Maxwell Oliver (Ensemble), Lloyd Pedersen (Lucius Van Guilder & Roger), Alec Reusch (Bob Purefoy), Rob Schaumann (Mallet), Melissa Strauss (Dowager & Ensemble), Nicole Slatin (Ensemble) and Steve Young (Judge & Ensemble).

Theatre Review: One Jewish Boy

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Sandra Bullock holds Brendan Fraser as soon as she sees two Black young men walking close to them in the 2004 film Crash. A similar scene takes place in One Jewish Boy, where an insidious distrust starts to shape the lives of two Londoners. They meet, fall in love, get married, and have a baby. Jesse (Zeke Goodman) is Jewish with White looks. Alex (Sharae Foxie) is mixed with Black looks. Can they survive the internal and external racism?

While living in London, Jesse is brutally attacked, leaving him with emotional and psychological scars difficult to heal. As Alex tries to help him recover his self-confidence, Jesse seems to implode to the point of becoming dysfunctional. What makes Stephen Laughton‘s story more complex is the exploration of the conditioning imposed on the two characters by the structural discrimination and negative views on diversity of the English society, often magnified and incited by the political parties.

The play exposes the popular idea of Jews enjoying a privileged life, sitting on piles of money, disconnected from the daily struggles of the less privileged sectors of society. It’s not a new perception, of course. It’s a revolving idea recycled time after time. In One Jewish Boy, Laughton presents the latest sentiment around the world. The physical aggression Jesse experiences is similar to the attacks suffered by the supporters of the Tel Aviv Maccabi soccer team in Amsterdam in November 2024. The names and places might change, but the entrenched hate feels the same.

The other interesting aspect of the play is the diversity of Jewish views on race, politics, religion, and even the emotional connection to Israel. In the diaspora, identity and allegiance might shift, closer or further away from the motherland, either as a reinforcement of the Jewish identity or a dismissal of the autochthonous myth. Jesse feels connected to his Jewish culture, but not so much to the state of Israel. Either way, he is targeted by society and even by the person who is supposed to love him. He is beaten up by strangers and slapped by his own wife.

That’s Jesse. But there’s also Alex. As a mixed-race woman with Black looks, she knows one or two things about struggles. She relates to Jesse’s insecurities, but refuses to see herself as a victim. She exhibits an attitude hardened by the tragic history of discrimination against Blacks. It is at this point where the two have to make a decision. Their marriage and the future of their baby are at stake. Laughton shows that even the best intentions have to overcome prejudice.

For this production, Director Chris Fields uses a minimalist set, enough for two characters; the focal point being the internal conflicts and the dynamic relationship between Jesse and Alex. Both actors delve into the great expectations of happiness and the disenchantment caused by unsurmountable differences. They both excel in the exhibition of human fragility and the isolation caused by deep-rooted misconceptions.

This play is timely and provocative. It is a picture of our times and another take on the preconceptions of race and privilege. Laughton generates a heated conversation on what happens when you scratch the fabric of society and discover the beauty and ugliness of human relationships. In the end, the question remains. In a racist environment, who is the winner and who is the loser?

One Jewish Boy

Echo Theater Company
Atwater Village Theatre
3269 Casitas Ave
Los Angeles, CA 90039

March 19 through April 28
• Previews: March 19–March 21: Wednesday, Thursday and Friday at 8 p.m.
• Performances: March 22–April 28: Fridays and Mondays at 8 p.m. / Saturdays at 7 p.m. / Sundays at 4 p.m. plus three Thursdays at 8 p.m.: April 10, April 17, April 24

Tickets: echotheatercompany.com

Written by Stephen Laughton. Directed by Chris Fields. Presented by The Echo Theater Company, Chris Fields artistic director.

Cast: Sharae Foxie and Zeke Goodman.

Creative team: Scenic designer Justin Huen, lighting and sound designer Matthew Richter, and costume designer Dianne K Graebner. The assistant director is Natalya Nielsen and the production stage manager is Bianca Rickheim. Chris Fields, Kelly Beech, Marie Bland and Hilary Oglesby produce for the Echo Theater Company.

Odyssey Theatre founding artistic director Ron Sossi passes away at 85

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Odyssey Theatre founding artistic director
Ron Sossi passes away at 85

LOS ANGELES (March 22, 2025) — We at the Odyssey Theatre Ensemble are heartbroken to announce that founding artistic director Ron Sossi passed away on Wednesday, March 19, at the age of 85.

Born on November 22, 1939 in Detroit, Ron graduated from the University of Michigan with a degree in writing for theater and television before moving to L.A. to attend UCLA film school. There, he supported himself as a wedding photographer and water filter salesman while earning his M.F.A. In addition to writing, Ron was an actor and a singer. He traveled to Korea, Japan and Guam, courtesy of the USO, with a college production of Carousel, where he met fellow student and co-star Bonnie Franklin, and the two were briefly married, from 1967 until 1970. After winning the Samuel Goldwyn Award for screenwriting at UCLA, Ron was hired as a program executive at ABC, where he oversaw productions of shows including Bewitched, The Flying Nun and Love American Style, among others.

In 1969, frustrated and bored by his work in the television industry, Ron founded the Odyssey Theatre in a former storefront church on the seedy end of Hollywood Boulevard. With the raucous sounds of the porn theater next door seeping through, the Odyssey opened its inaugural productions of A Man’s A Man by Bertolt Brecht, The Serpent by Jean Claude van Italie, The Threepenny Opera by Brecht and Kurt Weill, and The Bacchae by Euripides. Long runs of these four plays sealed Ron’s reputation as a maverick with critics and audiences alike. In 1973, he moved the Odyssey to a larger venue in West Los Angeles on the corner of Bundy and Ohio where, starting out with one 99-seat performance space, he gradually expanded it into a three-theater complex. Critically acclaimed, award-winning productions included Peer Gynt, Woyzeck, White Marriage, The Adolf Hitler Show, The Chicago Conspiracy Trial, Nightclub Cantana, Tracers, Mary Barnes, Master Class, Edmond, Rapmaster Ronnie, McCarthy, Idioglossia (later to become the Oscar nominated movie Nell), and Steven Berkoff’s Kvetch—the Odyssey’s longest running show at eight years. During the company’s 16-year tenure in that space, Ron produced and directed two thirds of the Bertolt Brecht canon, including Baal (in which he also starred in the title role), The Caucasian Chalk Circle, Mother Courage and Brechtfest 1 and 2. When the building was sold in 1989, Ron moved the Odyssey to its current home on Sepulveda Boulevard, a city-owned warehouse formerly used to manufacture gas tanks. The new Odyssey opened its doors in 1990 with his production of Faith Healer.

Throughout the theater’s 56-year history, Ron remained dedicated to presenting edgy, risk-taking live theater experiences, including an eclectic mix of new work and boldly re-envisioned classics. He was always particularly drawn to work by German and Eastern European playwrights, as well as to plays exploring metaphysical and spiritual subject matter — part of a lifelong devotion that included studying and practicing Siddha Yoga, Hinduism, Sufism, Tibetian Buddhism, The Gurdjieff Work and, most recently, Bhakti Yoga and Advaita Vedanta. In 2001, Ron created KOAN, a resident ensemble dedicated to the regular creation of unique, devised works. (In Zen Buddhism, a Koan is a paradoxical anecdote or riddle used to demonstrate the inadequacy of logical reasoning and to provoke enlightenment.) Ron’s KOAN productions included The Faust Projekt, Kafka Thing and Buddha’s Big Nite!, as well as Sliding Into Hades, which received the LA Weekly Award for “Best Production of the Year” and Theater in the Dark, an LA Weekly “Best Production” award nominee. More recent productions included a revival of The Serpent for the Odyssey’s 50th anniversary; Wakings, an evening of short “mind excursions” exploring some of the many states of human awareness; and Elephant Shavings, subtitled “a lazy person’s guide to enlightenment,” which he also wrote.

At the helm of the Odyssey for 56 continuous years, Ron was the recipient of numerous awards, including the LA Weekly Career Achievement Award. He was twice honored with the Los Angeles Drama Critics Circle prestigious Margaret Harford Award for “demonstrating a continual willingness to experiment provocatively in the process of theater,” as well as with the circle’s Ron Link Award for “consistent quality of direction.” According to a 1982 Los Angeles Times article by Lawrence Christon, “When the Los Angeles Drama Critics Circle debated Ron’s merit as this year’s recipient of the Margaret Harford Award—they decided he deserved it—two adjectives that cropped up in discussion were ‘exasperating’ and ‘incorrigible.’” Christon went on to note that Ron “wished they had put ‘incorrigible’ on the award.”

Ron is survived by his wife, Séverine Larue, and by his sister, Nancy Foley.

In accordance with his instructions, no service or ceremony will be held. It was Ron’s wish that the ongoing vibrancy of the theater he built would serve as his only memorial. The Odyssey’s curtain will continue to rise, and every future performance will be a testament to Ron Sossi’s enduring legacy.

Theatre Review: Parents in Chains

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Scott DeVine, ETC’s Artistic Director, announces that the actors had only one day to rehearse. And that’s why at the beginning, the play feels like a stage reading. But when you have such a pool of talented and experienced actors, magic happens and the day is saved. 

In Parents in Chains, the typical concerns of any given parent become atypical, leading to a menagerie of feelings disrupting the peace and sanity of the six parents whose 17-year-old daughters are on a trip to San Francisco. As the teenagers are ready to come back to Los Angeles, an unusual hurricane is approaching, endangering their well-being and triggering their parents’ deepest fears.

While their daughters are away in San Francisco, the parents’ backgrounds are revealed. Muriel (Melora Hardin) and Rick (Matt Walsh) are going through a rough patch in their marriage, even thinking about a divorce. Mark (Pete Gardner) is a widow, having lost his wife five years ago. Winona (Sharon Lawrence) is still digesting the painful experience of her husband divorcing her. Diane (Jorja Fox) and Connor (Thomas Sadoski) are married, but a secret between Diane and Winona’s ex-husband threatens to stain their marriage.

So, how do parents of a certain age (Hollywood’s code name for people over 40) communicate when their kids are in danger? Texting, of course, typos included. As the text chain becomes more intense, their personalities, strengths, and vulnerabilities become more obvious. Who gives the green light for their daughters to either hit the road or stay at a hotel instead? Who takes control of the text chain? Who keeps their cool and who loses it?

The outstanding script by Jay Martel—who has won Emmy, Peabody, Writers Guild of America, and American Comedy awards as a writer—is a clever description of the parental anxiety of losing one’s kids, not in a storm, but in that dreadful time when they move away from home to start college, far from their parents’ watchful care. These six parents in the play are forced to face the inevitable, seeing their kids grow up, ready to start the adventure called life, on their own. 

Texting-wise, however, these six parents are awful. Connor, especially, is a disaster. Driving and texting is not his thing at all, and his typos heighten Muriel’s anxiety, sending her into panic mode. In Martel’s witty writing, the revelations of the parents’ personalities and secrets are intertwined with political and social commentaries. Topics of race, sex, and the pressure of success show the turmoil of today’s American society. Martel also exposes the tectonic shift in human connection. Paradoxically, the immediacy of connection through technology has led to an emotionally-disconnected society, increasing the sinking feeling of isolation that threatens to break apart friendships and even families.

For this production, Director Andy Fickman utilizes the extraordinary skills of his actors to deliver the chaos and comedy of the script. The scenic and lighting designs are kept at a minimum, focusing on the superb comedic talents of the actors, each one with a stellar list of stage, film, and TV credits. Fickman’s successful formula for this production is pretty simple. Put a group of great actors on stage with a remarkable script and they’ll work their magic to make it a vivid and exciting theatrical experience. Do not miss this one; it’s a rare opportunity to see all of these amazing thespians together on stage.         

Parents in Chains

Ensemble Theatre Company at The New Vic
33 W. Victoria Street
Santa Barbara, CA 93101

Runs: Wednesday, March 12 – Sunday, March 30, 2025
Performances are Wednesdays at 2:00pm & 7:30pm, Thursdays at
7:30pm, Fridays at 8:00pm, Saturdays at 3:00pm & 8:00pm, Sundays at
2:00pm. There will be added performances on Tuesday, March 18 &
Tuesday, March 25 at 7:30pm.

Tickets: etcsb.org

Written by Jay Martel. Directed by Andy Fickman. Produced by J. Todd Harris.

March 12-16 Cast: Jorja Fox, Pete Gardner, Melora Hardin, Sharon Lawrence, Thomas Sadoski, and Matt Walsh.
March 18-23 Cast: Melora Hardin, Gildart Jackson, Sharon Lawrence, Joshua Malina, Gina Torres, James Urbaniak.
March 25-30 Cast: John Ross Bowie, Rob Huebel, Sharon Lawrence, Loni Love, Jane Lynch, James Urbaniak.

Creative team: Lighting Design by Michael Rathbun; Sound and Projection Design
by Ben Crop; Casting by Michael Donovan Casting, CSA, Michael Donovan & Richie Ferris.

Theatre Review: These Shining Lives

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A newspaper ad dated November 10, 1918 claimed the following about radium, a  radioactive element used back then in some beauty products: “The tiniest particle of Radium throws off a continuous stream of Energy Rays. An energy never diminishing, never ceasing, day or night, year in, year out. A force a million times more powerful than any other known. Rays of Radium, in fact, energize and revivify any living matter with which they come in contact. They are accepted by the human system as harmoniously as is sunlight by the plant”.

However, in the case of the four female workers employed at the Radium Dial Company back in 1922, radium proved to be a source of ailments that lead to a life of debilitating pain and cancer. Marie Curie, who along with her husband Pierre Curie discovered radium, said this about the toxic element: “There is absolutely no means of destroying the substance once it enters the human body”. Not even with the aspirins prescribed by the doctors who treated those women.

The protagonist is Catherine (Abigail Stewart), a young woman who is excited about her new job at Radium Dial Company. The job consists of painting the markings of the clocks with a mixture of glue, water, green paint, and radium powder, which glows in the dark. It’s an easy job, pays well, and has a great time with her co-workers Pearl (Allison Schlicher), Frances (Shannon Woo), and the bubbly and sharp-tongued Charlotte (Jessica Woehler).

Catherine feels great about contributing to the family income, raising two kids, and having a supportive husband. But there’s a caveat. The women at the factory don’t use any protective barrier when handling the radium, and they are even instructed to point the tips of the brushes with their lips, ingesting, in fact, large amounts of the highly toxic radioactive material.

As expected, their health starts to deteriorate. First is the indelible glowing of their skin. Then it’s the pain in the arms, legs, jaw, and the teeth. Then uncertainty builds up. Then panic sets in. Meanwhile, all the company doctor (Michael Kachingwe) prescribes is aspirin. In cahoots with Mr. Reed (John Colella), the company’s supervisor, the doctor keeps the women in the dark about the known toxicity of radium.

The proximity of the stage allows the audience to appreciate the range of complex emotions displayed by the characters, brilliantly played by the exceptional cast. Stewart immerses herself into her character with intensity, going to dark places, reaching the bottom, where hope is no longer an option. Declining physically and emotionally, the anguish increases knowing that she will leave behind her two young kids and her devastated husband Tom (Isaac Jay), a WWI veteran struggling to cope with the idea of losing the woman who gave him back his faith in God after seeing the horrors of war.

Director Thom Babbes proves to be a crafty director, able to extract the essence of Melanie Marnich‘s script and set up powerful scenes to move the audience. The blocking and the superlative work with his actors shows a director that knows how to blend the vulnerabilities and strengths of the characters to deliver an inspiring story that set a precedent in the history of American worker’s rights.

This play is deep and complex. The upbeat beginning changes to a much darker tone. From there, the exploration of defeat makes way to the resilience of the human spirit, and a poetic ending wraps the rollercoaster of emotions that make this play a poignant and meaningful experience. Fortunately, Babbes and his cast prove to be a pool of skillful professionals that capture in detail the daunting aspects of the ordeal and the fearlessness of the women and their supporters in their fight for justice. This phenomenal production of These Shining Lives is a theatrical gem not to be missed.

These Shining Lives

Actors Co-op’s Crossley Theatre

1760 N. Gower Street

Hollywood, CA 90028

Located on the campus of First Presbyterian Church of Hollywood.

FREE PARKING: On Carlos in the church parking lot with Actors Co-op Parking Signage across from the theatre/church campus.

February 21 – March 30

Friday and Saturday Evenings at 7:30 pm

Sunday Matinees at 2:30 pm

Additional Saturday Matinees March 1 & March 15 at 2:30 pm

Tickets: actorsco-op.org

Written by Melanie Marnich, directed by Thom Babbes and produced by Crystal Yvonne
Jackson.

Cast: John Colella , Isaac Jay, Michael Kachingwe, Allison Schlicher, Abigail Stewart, Jessica Woehler, and Shannon Woo.

Creative team: Julia Hibner (Stage Manager), Kevin Williams (Property Designer), David Marling (Sound Design), A. Jeffrey Schoenberg (Costume Designer), Derrick McDaniel (Lighting Designer), Joel Daavid (Set Designer/Set Construction), Judi Lewin (Wig/Makeup Designer), and Nikki Alday (Assistant Stage Manager).

OCTG Theatre Awards Unveils List of Nominees

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OCTG Theatre Awards Unveils List of Nominees

Productions of “Jane Austen’s Emma, the Musical,” “The 25th Annual Putnam County Spelling Bee,” “The Mother F*cker with the Hat,” and “Sweeney Todd” Lead the Pack.

March 5, 2025 – Anaheim, California

On Saturday, February 22, 2025, during the OC Theatre Guild’s membership meeting, the nominees for the fourth annual OCTG Theatre Awards were officially announced. The awards ceremony, where winners will be revealed, is scheduled for the evening of Monday, April 28, 2025, at the Samueli Theater at Segerstrom Center for the Arts in Costa Mesa. Directed by Guild Board Secretary Shinshin Yuder Tsai, this year’s show continues the tradition of celebrating the vibrant and diverse achievements of the theatre community. Tickets will be available at www.octheatreguild.org/octg-awards on March 10, 2025.

Awards Coordinator and Guild Vice-President Kristin Campbell Coyne remarked, “The OCTG Theatre Awards program continues to grow in incredible ways. This year, we’ve seen 121 nominations across 21 categories, with 46 productions submitted for adjudication. The gender-neutral performance categories maintain double the nominees and two winners each.” Twenty organizations participated, with 62 voters from various theatre disciplines determining the results. All votes were audited by accounting firm Numbers South West Inc to ensure accuracy.

This year’s nominees highlight standout productions. Leading the nominations is Chance Theater, recognized for “Jane Austen’s Emma, the Musical,” “Sweeney Todd,” and “Alma.” The Wayward Artist also earned multiple nominations for “The 25th Annual Putnam County Spelling Bee” and “The Mother F*cker with the Hat.” Curtis Theatre garnered several nominations for “Once” and “Emilie: La Marquise du Châtelet Defends Her Life,” which was co-produced with Begins and Ends with ‘A’ Productions. Other companies, including Costa Mesa Playhouse, Yorba Linda Spotlight Players, The Larking House, and J Stage, also showcased their creative excellence with celebrated works.

A detailed list of nominees is included below and can also be found on the Guild’s website.

The OC Theatre Guild launched its awards program in 2020 to celebrate excellence in Orange County theatre. “Every year our volunteer voters see so much incredible work, each season is really a labor of love by them,” said Awards Coordinator and Guild Board Member Katie Chidester. “Between annual applications, training, and numerous production assignments, they put a tremendous amount of work in because they believe in creativity and talent in our region.”

To submit a show for adjudication or apply to become a voter for next year’s OCTG Theatre Awards, visit www.octheatreguild.org/octg-awards.

OC Theatre Guild was founded in 2015 and officially organized in 2019 as a not-for-profit 501(c)3 to serve Orange County’s vital artistic community with a mission to nurture, support, and promote live theatre in greater Orange County. That stated goal is supported by the long-held beliefs of the guild’s founders and leaders that theatre and the performing arts are an essential part of what creates a healthy, passionate, and multicultural society that enriches communities while providing opportunities for personal growth and fulfillment. Through the last several years, the guild has made a commitment to answer the question “What can we do together that we can’t do on our own?”

Since OCTG’s inception, the following individuals and organizations have provided support: Segerstrom Center for the Arts, Amanda DeMaio, CA Relief Program, Capital Group Foundation, Charitable Ventures of OC, Tod White, Craig Tyrl, Matthew Takahashi, Zaradich Law, Facebook, The Walt Disney Company Foundation, Orange County Dept. of Education, The Blackbaud Giving Fund, Amazon, Aja Bell, Jocelyn Buckner, Kristin Cambpell, Sharyn Case, Patrick Chavis, Katherine Chidester, Wendy Colon, Maddi Deckard, Eric Eberwein, Barney Evans, Andrea Freeman, Rob Greenfield, Glenn Griffin, Sara M. Guerrero, Dana Hammer, Laura Hathaway, Michael Hornyak, Tim Hume, Aleksandr Iakovlev, Elizabeth Jouvenat, Scott A. Keister, Tommie Kozlov, Andrea G. La Vela, Rose London, Patrick Mannion, Jill Cary Martin, Candyce Marto-Maedel, Neil Middleton, Michelle Miller-Day, Desiree Nguyen, Cindy ODell, Stephen Peeler, Crystal Phillips, Cheryl Prevor, Christopher Reilly, Gene Rogers, Amber Scott, April Skinner, Chris Sumpter, Richard Stein, Nicolas Thiery, Nicholas Thurkettle, Zeffy Foundation, Debra Wondercheck, Jordan R. Young, Patricia Zantos, Amanda Zarr, and David Zelhart.

LIST OF THIS YEAR’S NOMINEES

Outstanding Production of a Play

  • Alma, Chance Theater

  • The Children, The Wayward Artist

  • Other Desert Cities, Newport Theatre Arts Center

  • The Mother F*cker with the Hat, The Wayward Artist

  • Tiny Beautiful Things, Chance Theater

 

Outstanding Production of a Musical

  • Jane Austen’s Emma, the Musical, Chance Theater

  • Once, Curtis Theatre

  • All Shook Up, Yorba Linda Spotlight Players

  • The 25th Annual Putnam County Spelling Bee, The Wayward Artist

  • Sweeney Todd, Chance Theater

 

Outstanding Direction of a Play

  • Amanda Hallman, Emilie: La Marquise du Châtelet Defends Her Life, Curtis Theatre and Begins and Ends with ‘A’ Productions

  • Craig Tyrl, The Children, The Wayward Artist

  • Katie Chidester, Tiny Beautiful Things, Chance Theater

  • Michael Martinez Hamilton, The Mother F*cker with the Hat, The Wayward Artist

  • Sara Guerrero, Alma, Chance Theater

 

Outstanding Direction of a Musical

  • Casey Long, Jane Austen’s Emma, the Musical, Chance Theater

  • Charna Lopez, All Shook Up, Yorba Linda Spotlight Players

  • James Michael McHale, Sweeney Todd, Chance Theater

  • Jonathan Infante, Once, Curtis Theatre

  • Sydney Raquel, The 25th Annual Putnam County Spelling Bee, The Wayward Artist

 

Outstanding Leading Performance in a Play

  • Aubrey Saverino (Sugar), Tiny Beautiful Things, Chance Theater

  • Bobby D. Lux (Lenny), Rumors, Westminster Community Playhouse

  • D.X. Machina (Jackie), The Mother F*cker with the Hat, The Wayward Artist

  • Heather Lee Echeverria (Angel), Alma, Chance Theater

  • Juliet Fischer (Rose), The Children, The Wayward Artist

  • Kalinda Gray (Emilie), Emilie: La Marquise du Châtelet Defends Her Life, Curtis Theatre and Begins and Ends with ‘A’ Productions

  • Marta Portillo (Alma), Alma, Chance Theater

  • Michelle Pedersen (Catherine Givings), In the Next Room (or The Vibrator Play), Costa Mesa Playhouse

  • Rose London (Katherine Brandt), 33 Variations, Costa Mesa Playhouse

  • Ruben Matos (Ralph D.), The Mother F*cker with the Hat, The Wayward Artist

 

Outstanding Leading Performance in a Musical

  • Claire Manson (Cinderella), Into the Woods, Jstage

  • Emma Laird (Girl), Once, Curtis Theatre

  • Jenna Luck (Olive Ostrovsky), The 25th Annual Putnam County Spelling Bee, The Wayward Artist

  • Jocelyn A. Brown (Mrs. Lovett), Sweeney Todd, Chance Theater

  • Laura Hart (Mrs. Lovett), Sweeney Todd, Cabrillo Playhouse

  • Mallory Kerwin (Paulette), Legally Blonde, No Square Theatre

  • Mandy Foster (Emma Woodhouse), Jane Austen’s Emma, the Musical, Chance Theater

  • Micah Nicholson (William Barfee), The 25th Annual Putnam County Spelling Bee, The Wayward Artist

  • Naomi Groleau (Natalie/Ed), All Shook Up, Yorba Linda Spotlight Players

  • Tom Avery (Hedwig), Hedwig and the Angry Inch, Chance Theater

 

Outstanding Supporting Performance in a Play

  • Branda Lock (Gloria/Nan), Gloria, Chance Theater

  • Erik Scilley (Lorin), Gloria, Chance Theater

  • Griffin Glenn (Mike Clark), 33 Variations, Costa Mesa Playhouse

  • Jonathon Lamer (Letter Writer #1), Tiny Beautiful Things, Chance Theater

  • Marta Portillo (Victoria), The Mother F*cker with the Hat, The Wayward Artist

  • Neil Switzer (Ernie), Rumors, Westminster Community Playhouse

  • Oscar Emmanuel Fabela (Cousin Julio), The Mother F*cker with the Hat, The Wayward Artist

  • Peter Hilton (Tilden), Buried Child, Costa Mesa Playhouse

  • Psalms Salazar (Veronica), The Mother F*cker with the Hat, The Wayward Artist

  • Will Martella (Dean/Devin), Gloria, Chance Theater

 

Outstanding Supporting Performance in a Musical

  • Angel Correa (Vice Principal Douglas Panch), The 25th Annual Putnam County Spelling Bee, The Wayward Artist

  • Blake Rhiner (Frank Churchill), Jane Austen’s Emma, the Musical, Chance Theater

  • Carolyn Lupin (Rona Lisa Peretti), The 25th Annual Putnam County Spelling Bee, The Wayward Artist

  • Clayton Michael Walker (Leaf Coneybear), The 25th Annual Putnam County Spelling Bee, The Wayward Artist

  • Cynthia C. Espinoza (Mrs. Elton), Jane Austen’s Emma, the Musical, Chance Theater

  • Haven Hanson (Lumiere), Beauty and the Beast,  Jstage

  • Jeff Lowe (George Knightley), Jane Austen’s Emma, the Musical, Chance Theater

  • Laura M. Hathaway (Beggar Woman), Sweeney Todd, Chance Theater

  • Luc Clopton (Robert Martin), Jane Austen’s Emma, the Musical, Chance Theater

  • Sadie Alexander (Harriet Smith), Jane Austen’s Emma, the Musical, Chance Theater

 

Outstanding Ensemble in a Play

  • Other Desert Cities, Newport Theatre Arts Center

  • Gloria, Chance Theater

  • The Mother F*cker with the Hat, The Wayward Artist

  • Rumors, Westminster Community Playhouse

  • 33 Variations, Costa Mesa Playhouse

 

Outstanding Ensemble in a Musical

  • Jane Austen’s Emma, the Musical, Chance Theater

  • Once, Curtis Theatre

  • All Shook Up, Yorba Linda Spotlight Players

  • The 25th Annual Putnam County Spelling Bee, The Wayward Artist

  • Sweeney Todd, Chance Theater

 

Outstanding Costume Design

  • Bruce Goodrich, Jane Austen’s Emma, the Musical, Chance Theater

  • Christopher Aceves, The 25th Annual Putnam County Spelling Bee, The Wayward Artist

  • Haven Hanson, Beauty and the Beast,  Jstage

  • Marci Alberti, The Mother F*cker with the Hat, The Wayward Artist

  • Tom Phillips & Larry Watts, In the Next Room (or The Vibrator Play), Costa Mesa Playhouse

 

Outstanding Lighting Design

  • Axiom Cutler, The 25th Annual Putnam County Spelling Bee, The Wayward Artist

  • Heather Harless, Emilie: La Marquise du Châtelet Defends Her Life, Curtis Theatre and Begins and Ends With ‘A’ Productions

  • Kara Ramlow, Alma, Chance Theater

  • Kris Kataoka, Once, Curtis Theatre

  • Masako Tobaru, Jane Austen’s Emma, the Musical, Chance Theater

 

Outstanding Scenic Design

  • Christopher Scott Murillo, Alma, Chance Theater

  • Jon Gaw, Once, Curtis Theatre

  • Kristin Campbell Coyne, Tiny Beautiful Things, Chance Theater

  • Michael Serna, Killer Joe, Costa Mesa Playhouse

  • Teddy Pagee, The 25th Annual Putnam County Spelling Bee, The Wayward Artist

 

Outstanding Sound Design

  • Eric Backus, Gloria, Chance Theater

  • James Markoski, Jane Austen’s Emma, the Musical, Chance Theater

  • Lia Weed, Sweeney Todd, Chance Theater

  • Melanie Falcón, Alma, Chance Theater

  • Thor Fay, Once, Curtis Theatre

 

Outstanding Choreography

  • Charna Lopez, All Shook Up, Yorba Linda Spotlight Players

  • Jennifer Kornswiet, The 25th Annual Putnam County Spelling Bee, The Wayward Artist

  • Kelsie Blackwell, Once, Curtis Theatre

  • Mo Goodfellow, Sweeney Todd, Chance Theater

  • Sabrina Harper, Alice by Heart, No Square Theatre

 

Outstanding Music Direction

  • Christopher W. Smith, All Shook Up, Yorba Linda Spotlight Players

  • Jennifer Schniepp, The 25th Annual Putnam County Spelling Bee, The Wayward Artist

  • Lex Leigh, Jane Austen’s Emma, the Musical, Chance Theater

  • Lex Leigh, Sweeney Todd, Chance Theater

  • Patrick Copeland, Once, Curtis Theatre

 

Outstanding Projection Design

  • Jonathan Infante, Emilie: La Marquise du Châtelet Defends Her Life, Curtis Theatre and Begins and Ends With ‘A’ Productions

  • Kristin Campbell Coyne and James Markoski, Jane Austen’s Emma, the Musical, Chance Theater

  • Nick Santiago, Hedwig and the Angry Inch, Chance Theater

  • Nick Santiago, Sweeney Todd, Chance Theater

  • Victoria Serra, 33 Variations, Costa Mesa Playhouse

 

Outstanding Prop Design

  • Amanda Hallman and Colin Lawrence, Emilie: La Marquise du Châtelet Defends Her Life, Curtis Theatre and Begins and Ends With ‘A’ Productions, Properties Designer

  • Bebe Herrera, Sweeney Todd, Chance Theater, Props Director

  • Bonnie-Lyn Montano, The Mother F*cker with the Hat, The Wayward Artist, Properties Designer

  • Jim Lowe & Kelsey Lowe, Puffs, Alchemy Theatre Company, Props Master

  • Joe Lauderdale, The Children, The Wayward Artist, Properties Designer

 

Outstanding Fight Direction

  • David Rodriguez, Killer Joe, Costa Mesa Playhouse, Fight Director

  • Martin Noyes, Alma, Chance Theater, Fight Director

  • Matthew M. Hayashi, Abyss, The Larking House, Fight Director

 

Outstanding Wig/Hair Design

  • Adriana Rodriguez Burciaga, A Midsummer Night’s Dream, The Larking House, Hair Designer

  • Cliff Senior, In the Next Room (or The Vibrator Play), Costa Mesa Playhouse, Wig Designer

  • Jeff Weeks, A Doll’s House, Part 2, STAGEStheatre, Wig and Hair Designer

 

Notable Outstanding Achievement

  • Adriana Rodriguez Burciaga, A Midsummer Night’s Dream, The Larking House, Makeup Designer

  • Craig Holland, Birdbrain, The Wayward Artist, Playwright

  • Eric Eberwein, Peace Be With You, The Wayward Artist, Playwright

  • Genevieve Kauper, Abyss, The Larking House, Makeup Designer

  • Sarah Leonard, Into the Woods,  Jstage, Puppet Designer

‘One Jewish Boy’ at Atwater Village Theatre

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West Coast premiere of ‘One Jewish Boy’ will
open Echo Theater Company’s 2025 season

LOS ANGELES (February 10, 2025) — Navigating any relationship is difficult enough. What happens when you factor in politics and rising prejudice? Echo Theater Company presents the West Coast premiere of One Jewish Boy by British playwright Stephen Laughton, a biting, bittersweet story of two young people in love confronted with the world’s unpredictable cruelty. Echo artistic director Chris Fields directs the six-week run at Atwater Village Theatre (replacing the previously announced production of Flight). Performances take place March 22 through April 28, with three Pay-What-You-Want previews are set for March 19, March 20 and March 21.

A love story set over a decade, One Jewish Boy stars Zeke Goodman, last seen at the Echo in Hooded, or Being Black for Dummies, as Jesse, a nice Jewish boy from North London. Jesse falls hopelessly for Alex, a young woman of mixed race played by Sharae Foxie, whose credits include the Sundance award-winning crime comedy I Don’t Feel at Home in This World Anymore. The love between Jesse and Alex is real, pure and absolute — but Jesse has never been able to shake off the memory of a traumatic event that changed him forever. Can the fear of hatred be worse than the hate itself?

“These two people are crazy for each other, but their relationship is threatened by internalized hate,” says Fields. “How do you stay in love in a world that is thrusting its malevolence at us? The theme of this play is how to hold on to love.”

WHAT:
Echo Theater Company presents the West Coast premiere of One Jewish Boy, a funny, biting, bittersweet story about two young people in love who are faced with the world’s unpredictable cruelty. Jesse, a nice Jewish boy from North London, falls hopelessly for Alex, a young woman of mixed race. Navigating any relationship is difficult enough. What happens when you factor in politics and rising prejudices?

WHO:
• Written by Stephen Laughton
• Directed by Chris Fields
• Starring Sharae Foxie and Zeke Goodman
• Presented by The Echo Theater Company, Chris Fields artistic director

WHEN:
March 19 through April 28
• Previews: March 19–March 21: Wednesday, Thursday and Friday at 8 p.m.
• Performances: March 22–April 28: Fridays and Mondays at 8 p.m. / Saturdays at 7 p.m. / Sundays at 4 p.m. plus three Thursdays at 8 p.m.: April 10, April 17, April 24

WHERE:
Echo Theater Company
Atwater Village Theatre
3269 Casitas Ave
Los Angeles, CA 90039

PARKING:
FREE in the Atwater Crossing (AXT) lot one block south of the theater.

TICKET PRICES:
• Fridays, Saturdays and Sundays: $38
• Thursdays: $20
• Mondays and Previews: Pay–What–You–Want

HOW:
www.EchoTheaterCompany.com
(747) 350-8066