Author Archive: Glamour

Theatre Review: MRS. WARREN’S PROFESSION

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George Bernard Shaw wrote Mrs. Warren’s Profession in 1893. Originally banned in England, the play opened on Oct 30, 1905 in New York. Some critics called it “illuminated gangrene”. The following day, on Oct 31, the producer and players were arrested for obscenity. Fortunately, no one got arrested on Thursday, Oct 15, 2026.
Vivie (Nell Murphy) is an educated young woman living in England. She graduated from Cambridge in Mathematics. Her posh education and lifestyle have been paid for by her mother, Mrs. Warren (Cyndy Fujikawa). What Vivie doesn’t know is that her mom’s money comes from running multiple brothels across Europe. How will Vivie react when she finds out about the origins of that money?
To complicate things a bit more, Mrs. Warren tries to hook up Vivie with Mr. Praed (Stuart W. Howard), an architect. Vivie, however, is romantically involved with Frank (Will Rothhaar), a penniless guy with not much of a future. His father is the local reverend, Samuel (Richard Eden), who might be Vivie’s father, making Vivie and Frank half-siblings. But that’s not it, Crofts (Geoffrey Wade), Mrs. Warren’s business partner in the prostitution trade, is also interested in Vivie.
With that conflict structure, Shaw pictures the challenges and professional prospects of women in Victorian England. Growing up poor, Mrs. Warren explains that prostitution was her option to attain financial independence. For Vivie, this becomes a dilemma. How can she support her mom’s business if that entails exploiting other young women like herself? In this play, Shaw uses a powerful device: Irony. Mrs. Warren escaped the oppression of poverty by getting into prostitution, which in turn, oppresses other women. Vivie benefitted from that vicious circle; she received a college education and enjoyed a comfortable lifestyle. Although supportive once her mom justifies her profession, Vivie now has to deal with her own moral principles. Her final decision will determine the future of her relationship with Mrs. Warren.
Director Michael Rothhaar remains truthful to Shaw’s realism by allowing the cast to emphasize the motivations of the characters. This highlights the dynamic relationships and re-creates the challenges and attitudes of the era. The play has seven characters, but the main focus is the conflictive relationship between mother and daughter. They are the epicenter of the action, and their relationship affects the way they interact with the people around them. As a play that is centered more in character development than plot, Shaw directs our attention to the characters exteriorizing their internal conflicts when uncomfortable truths are revealed.
The cast is pivotal to explore the intricacies of this play. All of the actors bring truth to their characters, giving the audience an opportunity to choose where to place their sympathies. Can we side with Mrs. Warren? Is Vivie’s attitude towards her mom justified? Why does Mrs. Warren continue to be involved in the prostitution business? Fujikawa and Murphy have a commanding stage presence. Their interaction is a superlative demonstration of emotion and spontaneity that creates tension to build up the conflict, a master class of talent here. The male actors are also fantastic, adding a great deal of flavor to the scenes with their portrayal of ambition, weakness, and hypocrisy.
With this play, Shaw tried to describe the “New Woman” concept that was spreading across England and the US at the time. By doing so, he was also introducing his socialist ideas, which up to this day, still generate strong reactions. As the play continues to speak to audiences around the world, Pacific Resident Theatre excels in presenting the fight for equality with a renewed energy, balancing out the depiction of realism and symbolism effectively.
Mrs. Warren’s Profession
Pacific Resident Theatre
707 Venice Blvd.
Venice, CA 90291
Opening at 8pm on Saturday, September 19, 2026
Schedule: 8pm Thurs, Fri; 3pm & 8pm Sat; 3pm Sundays through October 25
(check website for exceptions)
Closing: November 15, 2026
Playwright: George Bernard Shaw. Director: Michael Rothhaar. Executive Producer: Marilyn Fox. Presented by Pacific Resident Theatre.
Cast: Richard Eden, Cyndy Fujikawa, Brad Greenquist, Geoffrey Wade, Stuart W. Howard, Nell Murphy, and Will Rothhaar.
Creative team: Taubert Nadalini (Set Design), Shon LeBlanc (Costume Design), Michael Franco (Lighting Design).

RJ MITTE: In Memoriam

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In a pleasant night in Beverly Hills on September 30th 2026, the Fine Arts Theatre hosted a lively red carpet for a special screening of “Talking to Strangers”, a moving film starring RJ Mitte and Lin Yin. Mitte plays a lonely young man with cerebral palsy who discovers a new world of possibilities when he befriends a vibrant co-worker with a devastating secret. Mitte walked the red carpet, posed for pictures, and talked about the film after the screening for a Q&A session.

His playful interaction with director Johnny Severin and producer Sofia Masson made it an entertaining occasion. They talked about the challenges and rewards of filming the movie in such a short time. Mitte’s personality was magnetic. He had that special spark to captivate audiences on and off-screen. A force of nature, Mitte had an active life not only as an actor but as an advocate as well. He was active in some of the SAG-AFTRA initiatives for performers with disabilities and he was president of the Mitte Foundation, a non-profit focused on investing in organizations and programs that improve the quality of life of those within the city of Austin and the Central Texas area.

In an interview with the American Academy of Neurology, Mitte described some of the challenges of growing up with cerebral palsy, including the verbal harassment and physical bullying inflicted by other children. In 2014, he joined forces with Shriners Hospitals for Children as a spokesperson for their “Cut The Bull” campaign, aimed at encouraging schools and communities to stand up against bullying.

An accomplished actor and motivational figure in the entertainment community, Mitte is regarded as one of the most influential advocates in the industry. We stand together to honor and celebrate his life and legacy.

Roy Frank “RJ” Mitte III, a true star that will shine forever in the Hollywood firmament.

Musical Review: LES MISÉRABLES

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Director Doug Kreeger delivers a stunning rendition of the 1832 June Rebellion, with Richard Bermudez shining as the charismatic protagonist of a timeless story.

There is a hint of change in the air, stemming from the hope of progress and reform. Paris 1832. A call for social justice taking shape. Hunger, poverty, and the rejection of the monarchy. Fertile grounds for a rebellion. After 19 years of imprisonment, Jean Valjean (Richard Bermudez) is ready to start a new life, but he finds rejection and more struggles. Enter his savior, Bishop of Digne (Richard B. Rosales), who takes him under his wing and helps him get on his feet. There is also love in the story. Unconditional love, unrequited love, romantic love. Fantine (Emma Hunton) succumbs to despair, but before she dies, Valjean promises to take care of her daughter Cosette (Danica Coscino/Jena Allen) and rescue her from the abusive couple who are paid to raise her. A young revolutionary named Marius (Jefflorenz Garrido) falls for Cosette, but his life is in danger as the rebellion intensifies. As France falls into turmoil, who will win, who will pay the price?

Right from the beginning, the musical number “At the End of the Day” feels as grandiose as the stage itself. The sound reverberates in the Kavli Theatre as a prelude of the magic that is about to take over the ample space. The main voices are tenor Richard Bermudez, basso profundo Payton Crim, as Javert—amazing in “Stars”, soprano Jena Allen, and tenor Jefflorenz Garrido. Not only can these thespians sing, they’re also magnificent actors who can interpret a wide range of emotions to bring the characters alive. Much of the weight leans on Bermudez, a commanding presence who infuses his character with rich vocal and acting tonalities. He also did a memorable performance as Gleb Vaganov in Anastasia at La Mirada Theatre earlier this year ANASTASIA . One of his many abilities, fully displayed in Les Misérables, is to involve the audience in his raw emotions, creating that biological resonance between the stage and the seats. His interpretation of “Bring Him Home” is profound.

The supporting characters are pivotal to add color and spice. Emma Hunton, a staple in the local burlesque and musicals circuit, delivers a fantastic Fantine. She displays vulnerability and despair, but also a soothing transition for Valjean during resolution. One of the elements that add greatness to this play is the comedy. Francesca Barletta and Joey Richter as Madame Thenardier and Thenardier respectively, are la crème de la crème when it comes to sharp dialogue and physical comedy. Their rendition of “Master of the House” is one for the ages. Their characterization with the costumes and makeup is absurd and quirky; a dissonant force that adds charm and humor to balance out the grim tone of the story.

The costumes, an expression of the Romantic Era, show the contrast between the upper and lower classes. Bonnets and aprons are accurate representations of the daily garments used by the working class. The dresses worn by Cosette reflect the romanticism permeating art, music, and poetry during this era. The dresses were the personification of the Romantic medieval heroine. But the fashion in Les Misérables is also a motif of the Romantic Movement that inspired the political idealism, the yearning of freedom and rebellion, concepts that lead to the fight for social justice. On that note, look at Valjean’s costume colors when he joins the fighters: Red, blue, and white, the same symbolism in Eugène Delacroix’s painting Liberty Leading the People, the addition of the tricolors to protest against the plain white color representing the monarchy.

Another subtle symbol is the barricade at the end of the play. It’s in the form of a pyramid. A base of despair, with suffering victims, and a peak of hope, with the waving red flag, a symbol of revolution and freedom. It’s an excellent composition with a powerful meaning.

One can imagine the intensity of the preproduction to bring alive the world of Les Misérables. Director Doug Kreeger, who also directed a fascinating version of Guys & Dolls Guys and Dolls at the fondly-remembered Altadena Music Theatre, builds a magical universe where the core themes of the play are masterfully displayed to grab the audience’s attention. The tridimensionality achieved here is kinetic and alluring. Together with the virtuosity of Anthony Lucca as the Music Director and the rich sound design by Jonathan A. Burke, the play becomes an explosion of music and movement that comes at you full speed, faster than the sound of guilt. It’s a short run, so make sure to catch it before it’s gone.       

Les Misérables has been translated into more than 20 languages and performed in over forty countries. With this staging of Les Misérables, 5 Star Theatricals has put together one of the best productions of the year. It’s a short run, so make sure to catch it before it’s gone. It’s a gem.

LES MISÉRABLES

Bank of America Performing Arts Center – Kavli Theatre
2100 Thousand Oaks Blvd.
Thousand Oaks, CA 91362
 
October 9 at 7:30pm (press opening) and runs through Sunday, October 18, 2026

Tickets: 5startheatricals.com

Concept, Book & Original French Lyrics by Alain Boubil. Book & Music Claude-Michel Schönberg. Lyrics by Herbert Kretzmer. Based on the Novel by Victor Hugo. Musical Direction by Anthony Lucca. Direction & Musical Staging by Doug Kreeger.

Cast: Richard Bermudez as “Jean Valjean,” Peyton Crim as “Javert,” Emma Hunton as “Fantine,” Maile Masako Brady as “Eponine,” Joey Richter as “Thenardier,” Francesca Barletta as “Madame Thenardier,” Jena Allen as “Cosette,” Jefflorenz Garrido as “Marius,” Julian Comeau as “Enjolras,” Santiago  Rodriguez as “Gavroche,” Danica Coscino as “Young Cosette,” Brodie Clevenger as “Young Eponine,” and Richard B. Rosales as “The Bishop of Digne.”

Creative team: Lighting Design by Brandon Baruch; Sound Design by Jonathan A. Burke; Costume Coordination by Gale Garon; Hair/Wig Design by Luis Martinez; Prop Design by Alex Choate.

Theatre Review: SAINT MEGAN

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With electrifying performances by Rachel Sorsa and Caitlin Zambito, Saint Megan is a window into the delusional devotion of a religious and utopian society.

What is one of the most effective ways to radicalize an individual? Enter the world of Westboro Baptist Church, a religious group that proselytizes its extremist views on homosexuality and punishment using picketing and social media. Living in a self-sustained bubble, the leaders do not allow their followers to contact the outside world. Well, kind of. By allowing their members to use social media to disseminate their doctrine, the influence ends up going both ways, as the character Megan (Caitlin Zambito) shows in the play.

Playwright Joy Gregory bases her play in the true story of Megan Phelps-Roper, who was born into the Westboro Baptist Church’s faith. To understand the group’s extremism, Gregory shows the modern roots of its theology. Back in the 1700s, during the Evangelical Revival movement in England, Ann Lee founded the Shakers, one of the spin-offs that aimed to reform Protestantism. After leaving England, Ann Lee and her followers settled down in Albany, NY, creating multiple Shaker villages over time. Ann Lee’s life by the way, is depicted in The Testament of Ann Lee, a film released last year. Ann Lee spread the belief that she was the personification of God. The Shakers are almost extinct, with only three known active members.

Even though the Shakers and the Westboro Baptist Church are two different groups, their lifestyles and views on sexuality are similar. The Shakers live in isolation, the Westboro Baptists live in their compounds, also isolated from the outside world, except during their picketing activities and the contact with outsiders when using social media. The Shakers had multiple female leaders, believing in gender equality. The Westboro Baptists used to allow women to be leaders, but starting in 2011, only male leaders run the Church. Women, however, are allowed to participate in picketing and social media outreach.

Gregory presents the daily lives of a group of Westboro Baptists women who spend their time picketing, making dancing videos, and the most dangerous of all activities: spreading their message on social media, opening up the door for potential exchange of ideas with the world. It’s precisely that exchange that allows Megan to see beyond the oppressive walls of the Westboro church, resetting her beliefs and changing her life forever.

The play shows the instability of extremist organizations. Ruled with an iron fist, these groups instill fear in their followers, but that management style also provokes resentment and the search for a way out. Trapped in the Westboro’s suffocating world, Shirley Phelps (Rachel Sorsa) serves as a member of the church’s legal team, only to be demoted as a consequence of her failure to defend the church in a legal proceeding. Still loyal to the church, however, she stays and continues to uphold the church’s strict regulations imposed on its members. But the psychological and emotional damage created by chronic isolation is too pervasive to ignore. Soon enough, the family dynamics and the relationship with the church start to crack.

Gregory analyzes the relationship between zealotry and tolerance. She does a fine job exploring the manifestations of hate and love. The characters of Megan and Chad (Zack Rocklin-Waltch) personify the power of human connection and the deconstruction of deep-rooted misconceptions. The world of Saint Megan is a call for action; it’s an invitation to speak with civility while navigating difficult conversations. Who knows? The results could be surprising and transformative.

Director Lina Patel demonstrates her ability to work with her actors to find the truth of their actions. She also adds vibrancy to the play with the blocking. With the occasional downstage position of the characters, Patel uses the spatial power with dynamism, bringing pivotal scenes closer to the audience. Zambito continues to build her extraordinary collection of captivating characters. Her convincing performance as Megan is evidence of her commitment to embody feelings that enrich the character and the story. Sorsa offers an engaging character as a heartless woman who ends up succumbing to the vulnerabilities of the human condition. This fine staging is another example of Rogue Machine’s perseverance to bring thought-provoking stories. Under the artistic direction of Guillermo Cienfuegos, this powerhouse theatre goes above and beyond to elevate the local art scene. With the challenging environment most theatres are facing now, specially the shrinking budgets, productions like Saint Megan are much appreciated.

Saint Megan

Rogue Machine (at the Matrix Theatre)
7657 Melrose Ave.
Los Angeles, CA 90046
Opening: 8pm on Saturday, October 10
Schedule: 8pm Fridays, Saturdays, Mondays; 2pm Sundays
(no performance on Monday, October 12 or Saturday, October 31)
Closing: November 22, 2026
Written by Joy Gregory. Directed by Lina Patel. Produced by Justin Okin and Betsy Zajko. Associate Producer: Emily Jerez.
Cast: Shannon Lee Clair (Amy/Theresa/Shaker Woman); Meg Cain (Grace Phelps); Rachel Sorsa (Shirley Phelps); Cordelia Leigh (Bekah Phelps); Caitlin Zambito (Megan Phelps); Zack Rocklin-Waltch (Chad).
Creative team: Amanda Knehans (Scenic Design), Azra King-Abadi (Lighting Design), Christopher Moscatiello (Sound Design), Christine Cover Ferro (Costume Design), Grant Gerrard (Technical Director), Emmy Frevele (Movement Director and Choreographer), Victoria Hoffman (Casting), Justin Okin and Betsy Zajko (Producers), Emily Jerez (Associate Producer), Kila Kitu (Conversation Series Producer).

Theatre Review: OUTSIDE MULLINGAR

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Outside Mullingar delves into recognizable Irish themes while keeping a universal touch that travels across different demographics.

It could be Ériu, the Great Famine, intergenerational stewardship, or a combination of all of them, but Irish people are strongly connected to their land. For Tony Reilly (Armin Shimerman), the farm needs to stay with someone who can work and love the land in the traditional way, the Irish way. The problem is, his son Anthony Reilly (Michael Kirby) doesn’t seem to have what it takes to care for the farm once Anthony is gone.

Older and single, Anthony seems destined for a different trajectory, at least in the eyes of his father. It doesn’t help the fact that their land doesn’t have an exit to the road—Tony lost it to a debt with his neighbor, now in possession of the daughter Rosemary (Liza Seneca), who is also single. Anthony and Rosemary’s parents are old, so what will be of them and their respective farms once their parents are no longer around?

John Patrick Shanley uses the character Tony as an evocative stance in Irish memory. Tony’s concerns about the farm’s future are so intense that he is willing to sell it to his relatives in America instead of giving it to his own son. To understand this concept, we need to remember the turmoil that characterized Irish history in the late 19th century. The potato blight, hunger, the British land system, cruel evictions, and agrarian agitation resulted in the passing of the 1923 Land Act, which reinforced the claims of the Irish people to their land. For Tony, the farm is history; it represents the sacrality of the soil in the context of Irish identity.

But the play goes beyond the concept of land. It touches on family dynamics and the universal theme of love, which brings lightness and comedy to the play, allowing the characters to interact playfully with each other. Anthony’s ridiculous claim at the end of the play, although surprising and confusing, is used cleverly by Director Matthew Leavitt and the actors to create an amusing dose of comedy to close the play.

The four actors are delightful. Shimerman and Muldoon have been performing this play for quite some time, nailing their performance with ease. Seneca and Kirby offer a refreshing take on the couple who surrender gracefully to destiny. Leavitt’s direction is also a highlight in this production. The subtle positioning of the actors around the stage gives prominence to the text in critical moments where the dialogue requires special attention. The stage design (Mark Mendelson), lighting design (Justin Huen), and sound design by the quintessential Christopher Moscatiello create a naturalistic vibe that goes well with the script and the general concept of the play.

This is a play where family legacies and silent longings merge to create a world in which the characters will have to either resist or give in to the forces of nature.

Outside Mullingar

Sierra Madre Playhouse
87 West Sierra Madre Boulevard
Sierra Madre, CA 91024

October 2-25, 2026

Tickets: sierramadreplayhouse.org

Written by John Patrick Shanley. Directed by Matthew Leavitt. Presented by Sierra Madre Playhouse in conjunction with The 6th Act.

Cast: Armin Shimerman (Tony Reilly), Kitty Swink (Aoife Muldoon), Liza Seneca (Rosemary Muldoon), Michael Kirby (Anthony Reilly).

Creative team: Costume Design: Caitlin Cisek, Stage Manager: Brian Semel, Scenic Designer: Mark Mendelson, Lighting Design: Justin Huen, Sound Design: Christopher Moscatiello, Property Master/Set Dressing: Megan Trapani, Dialect Coach: Keri Safran.

 

OUTSIDE MULLINGAR, Interview with Lead Actress Liza Seneca

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Outside Mullingar, written by John Patrick Shanley, opens on 02 Oct 2026 at Sierra Madre Playhouse. The witty comedy features Liza Seneca as Rosemary Muldoon, an Irish farmer with one last chance at love.

Liza is an accomplished actress with experience in theatre, film, and TV. She is also the Co-Artistic Director of The 6th Act Theatre Company, an endeavor which motto is Fresh Takes on Timeless Stories.  Below is our interview with Liza.

  Tell us about your first impression when you read Outside Mullingar. What attracted you most to this play?
I was first introduced to this play about a decade ago in New York in the brilliant acting coach Larry Moss’ master class. An actor I admire very much had asked me to work on the last scene of the play with him for Larry’s class. I instantly fell in love with the characters and the play and had wanted to do a full production of it since that time. I have long loved Shanley’s writing and this is my very favorite of his plays, because it’s Shanley at his most lyrical, his most romantic. The themes of love, longing, parent/child relationships are timeless and universal.

What special characteristic does John Patrick Shanley capture about Ireland in this play?
He absolutely nails Irish humor which can be very dark, but deeply hilarious.

On the surface, Outside Mullingar looks like a light romantic comedy. But the dialogue exposes deeper themes such as traditions, love of the land, depression, suicide attempts, etc. How did you prepare yourself to portray all of those elements?
Great writing contains comedy that comes from dramatic moments and vice versa. The better the script, the better chance an actor has at portraying a multidimensional, complex person (which all of us humans are). Shanley’s script is a true gift to an actor in that he has given each character such a rich journey to go on. Rosemary is a character I immediately felt in my whole being, it’s one of those things I have learned not to question, to just be thankful for, and to remind myself to stay open to discoveries along the way.

How does an Irish story like Outside Mullingar relate to the American experience?
Though the play is set in Ireland, the themes are truly universal. Anyone who has ever been a child or a parent (which is all of us), anyone who has ever felt longing, been in love will find something that resonates.

What’s the most challenging aspect of the production of this play?
The truth is that the most challenging aspect of this or any production right now is simply getting people to come to the theater. Theaters all over the country are feeling it. There are so many factors: economics, an increasingly screen-driven culture, still processing Covid, you name it. It is a core belief of mine that theater needs more support and that it is a vital art form that can change lives.

Tell us about your acting education. You trained in The Groundlings, Antaeus Theatre Co., etc. How is it to navigate between drama and comedy?
You evolve as an actor because you evolve as a person and I am constantly learning. Though I do have training and though I do have certain ways I approach working, I am always learning from the people I work with and by exploring roles I haven’t worked on before. I love doing both comedy and drama and I think the best writing has both.

Is LA still a relevant place for actors?
I think LA is and will always be a relevant place for actors. Yes, the business is changing, the landscape shifting, but that has always been true. Whenever I personally get anxious about where the business is headed, I remind myself that radio plays and silent films were once the norm and now we couldn’t imagine our lives without television. Actors are inherently good at adapting and I genuinely believe we will always need performers. The mediums may continue to change, but I believe in the power of artists.

For actors, how competitive is the LA theatre scene compared to film and TV?
I think film and tv is more competitive, especially now because self-taping has really leveled the playing field, but there are also more roles available. As theater budgets continue to shrink, we are seeing more small cast plays than ever before so there is less work for theater actors than there used to be. That said, LA is one hundred percent a theater town filled with so many extraordinary actors who make excellent theater. It is definitely out there for anyone who is serious about it.

You have experience in Film, TV, and Theatre. Which one is your favorite and why?
I love them for different reasons. I enjoy the subtlety of film and television work and the fact that you have a product that you can continue to revisit and that will have a much broader reach. I love theater for the opposite reason – there is such magic in the fact that you have to be in the room to experience it and it’s ephemeral. I also love being able to tell the whole story in each performance and experience the total arc of the character each time. And I think more than anything we need communal experiences right now.

You co-founded The 6th Act with Matthew Leavitt. What are the mission and goals of this company?
Our mission statement is: To keep both the vitally important tradition of classical theatre alive, while also giving life to new plays, striving to make both accessible and exciting to modern audiences. We aim to create experiences that are equal parts enrichment and entertainment, to produce shows that will appeal equally to die-hard Shakespeareans as well as to those who seek a more modern style. We stage shows that offer fresh takes on timeless stories and new stories with timeless themes. We work passionately and tirelessly to build a creative community that fosters artistic risk, intelligence and inclusivity.

 

OUTSIDE MULLINGAR

Friday, October 2, 8:00 pm (Opening Night)

Sunday, October 25, 4:00 pm (Closing Night)

For tickets and more information, visit: sierramadreplayhouse.org

Theatre Review: ENEMY OF THE PEOPLE

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To align Henrik Ibsen’s work with today’s state of affairs, Bart DeLorenzo places the characters in 2026 America, a period characterized by effervescent frustrations that seem to be fertile grounds for a revolution.

With references to the recent pandemic, DeLorenzo adapts this play to examine the elaboration of truth and fake news. When Dr. Tom Stockmann (Jay Paulson) gets the report that the water of  the thriving town’s springs is contaminated with bacteria, he decides to expose the dangers and ask for a makeover of the springs to fix the issue. But there is a problem. His brother, Peter Stockmann (Jason McBeth), is the town’s mayor. Peter opposes the idea of the makeover, as the springs would have to shut down for a long time, wiping out the town’s main source of income. As a consequence, the renovation project would raise the taxes, a painful measurement for the residents. Peter demands Tom not to publish the report to avoid the town’s economic collapse. Tom firmly responds that he will publish the report. Peter threatens that there will be dire consequences for Tom and his family.

The conflict between the two brothers is a metaphor of what we see quite often, now maximized by social media and the endless influx of information. What is true and what is not? Peter asks Tom to alter the report to make it look less of a crisis and more of a minor issue easy to resolve without shutting down the springs. Even the newspaper editor (DeJuan Christopher) that first decided to help Tom publish the report, is now on Peter’s side, unwilling to ignite the mayor’s fury. Ibsen uses these characters to pierce the veil into the complex relationship between the state and the media. In most cases, the government has a Press Office. This department meets with the media asking to put a spin to the information published by the media outlets. That spin is an elegant way to ask the media to bend to the government’s control of information, much like the control exercised by the CEOs of corporations, who decide how to present the data during the quarterly reports and their conversations with the investors. Are they hiding something? Go figure.

DeLorenzo keeps the tension alive throughout the scenes, sticking faithfully to Ibsen’s text and undertext. To fully understand the play, one must be familiar with Ibsen’s life and sociopolitical views. Ibsen belonged to the old money of the time, a wealthy family, with many members being considered successful industrialists. Some of the members held public office as well. These facts gave Ibsen an opportunity to dissect the upper class in great detail. Much to what happened to his own father, Ibsen depicts Tom as a man who loses his privileged position in society.

In the political spectrum, Ibsen was an anarchist. He was sympathetic to the Paris Commune during the late 1800s. This successful revolt ended quickly, with thousands of deaths and prison sentences; an example of the violent suffocation by the state when its authority is challenged. As supportive as he was, Ibsen also expressed his disillusionment with the movement, indicating that it wasn’t anarchist enough. That statement reflects Ibsen’s strong beliefs of a stateless society. This school of thought is reflected in Enemy of the People, a play where the main character is eager to expose the corruption of the city officials, even at the expense of his economic and social position. DeLorenzo’s fine direction captures efficiently the hardships of Tom’s decisions by having Tom’s wife, Kate (Cara Mitsuko), throw a convincing fit about not wanting to go back to poverty and losing the family’s privileged status just for Tom’s convictions. If Tom will cause the ruin of his family and the town he lives in, is it worth the trouble? After all, is Tom’s resolve real altruism, or self-serving bias?

The best acting comes from Jason McBeth playing the cold, manipulative, and selfish Peter. He’s an archetype of the political figure. No names need to be mentioned; the list is way too long. The set design is chic, mid-century vibes, perhaps? The lighting is subtle but meaningful, especially during Tom’s final conversation with his father-in-law (Dennis Dun). A chiaroscuro technique that depicts the isolation and dark presage of what’s coming for Tom.

Can the libertarian/anarchist ideas in the play shake up the conformism and lethargy of our contemporary society? Would the media be willing to disseminate these ideas?

Enemy of the People

Odyssey Theatre
2055 S. Sepulveda Blvd.
Los Angeles, CA 90025

Performances: Aug. 22–Sept. 27: Fridays and Saturdays at 8 p.m. / Sundays at 3 p.m. / Wednesday, Sept. 16 at 8 p.m.

Tickets: odysseytheatre.com

Written by Henrik Ibsen. Adapted and Directed by Bart DeLorenzo. Produced by Beth Hogan. Supported, in part, by Isabel and Harvey Kibel. Presented by Odyssey Theatre Ensemble, Beth Hogan, artistic director.

Starring Lauren Campedelli, DeJuan Christopher, Dennis Dun, Clay Hollander, Jason McBeth, Cara Mitsuko, Jay Paulson.

Creative team: Scenic and costume designer Frederica Nascimento, lighting designer W. Alejandro Melendez and sound designer Jonathan Flikkie. The stage manager is Katie Chabot.

Musical Review: ALANIS MORISSETTE’S JAGGED LITTLE PILL: THE MUSICAL

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Director Matthew McCray delves into the gritty corners of Alanis Morissette’s successful album Jagged Little Pill, an iconic reflection on pain and anger that marked the 90s generation.

The Healy family has a problem. They tend to hide who they really are. Steve (Allen Everman) is a workaholic, clocking in up to 60 hours per week. He does it to provide for his family, though. But he has a problem. He’s addicted to hardcore pornography. Mary Jane (Jocelyn A. Brown) is a dedicated housewife, caring for her two teenage kids. But she has a problem. She’s addicted to painkillers, including fentanyl. She gets her candies from both the pharmacy and the sordid back-alley pusher. Frankie (Doshima Iyorlu) is bisexual and her parents don’t even know it. She makes out with Jo (Sol Joun) and Phoenix (Jaymes Macabale), but falls in love with Phoenix, who is not entirely sure about his feelings for Frankie, leaving Jo heartbroken. Meanwhile, Nick (Jeremy Vance) gets accepted into Harvard, making Steve and Mary Jane the proudest parents in town. But Nick witnesses the abuse of his friend Bella (Alexandra Kuebler), troubling him for not preventing the rape. Steve, Mary Jane, and Nick are White. Frankie is adopted and she is Black. They live in Connecticut. You get the picture.

McCray highlights the dark undertones of Cody Diablo‘s book. The themes represent many of the everyday issues affecting families today. Cody’s main focus, however, seems to be Bella’s rape. The most dramatic and unsettling scenes are the ones portraying this act. The reason might be Morissette’s own experience as a victim of abuse. Much of the aftermath feelings of that experience are reflected in her 1995 album, with raw lyrics that resonated with many of her fans around the world and continue to appeal to new generations. The other theme that brings plenty of attention is Mary Jane’s addiction. As accurate as it is in real life, fentanyl addiction often starts with a medical-approved prescription of the opioid, usually as a pain management treatment.

The themes are dark, but the music and the dancing are energetic and entertaining. McCray’s production improves the script to a higher level. Somehow, Cody’s book feels more like a commercial initiative than an artistic undertaking. McCray, on the other hand, focuses on the somber aspects of the story and creates an edgy and authentic presentation. This is when you notice that a director is worth his salt. Taking a script that might look dull or problematic and turning it into something worth watching is a skill that only a few possess. Music-wise, the three-piece band, directed by Lex Leigh, delivers an intimate and pure interpretation of the memorable songs. The band consists of drums (Jorge Zuniga), guitar (Curtis Humphrey), and Leigh himself on keyboard. Visually speaking, the props are minimal. By having a basic and creative scene design, the concentration is in the emotional effect of the dialogue and music. With their tenor register, Joun steals the show with their raw and passionate performance. They’re able to transform the lyrics into a deeply emotional experience that connects the music with the character. Their interpretation of “You Oughta Know” is one of the best numbers of the musical. McCray does an extraordinary job putting all of these elements together, making the performances work for the story.

As opposed to the controversy surrounding the Broadway production, Chance Theater honors the diversity depicted in the musical, delivering an organic and inclusive environment that propels the show into higher gears. On a personal note, it is a pleasure to see Mary and Michael Lysik acting as Associate Producers. They have sponsored multiple artists and are now supporting Chance Theater in this extraordinary endeavor. With this energetic pool of talent, Chance Theater has another production that will re-energize the powerful and meaningful artistry of Alanis Morissette.

Alanis Morissette’s Jagged Little Pill: The Musical

Chance Theater @ Bette Aitken theater arts Center on the Cripe Stage
5522 E. La Palma Ave.
Anaheim, CA 92807

Jul 18 through Aug 9, 2026
Thursdays at 7:30pm, Fridays at 8PM, Saturdays at 3PM & 8PM, and Sundays at 3PM

Tickets: chancetheater.com

Lyrics by Alanis Morissette, music by Alanis Morissette & Glen Ballard, book by Diablo Cody, directed by Matthew McCray, with music direction by Lex Leigh and choreography by Mo Goodfellow.

Cast: Jocelyn A. Brown plays Mary Jane Healy, Allen Everman plays Steve Healy, Doshima Iyorlu plays Frankie Healy, Jeremy Vance plays Nick Healy, Sol Joun plays Jo, Alexandra Kuebler plays Bella, Jaymes Macabale plays Phoenix, Ishan Panjabi plays Andrew, and Hallie Snowday, Ryan Smith, Autumn Kirkpatrick, Daisy Tye, Eric Dobson, and Kylie Young.

Creative team: scenic designer Joe Holbrook and costume designer Bradley Allen Lock, lighting designer Jacqueline Malenke, sound designer Hunter Moody, projection designer Nick Santiago, stage manager Jordan Jones, dramaturg Jocelyn L. Buckner, casting director Lindsay Brooks, and assistant directors Kennedy Kemmerer and Aaron Lipp.

Theatre Review: THE GREAT CLOWN BANK SHOW

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Labeled as an immersive circus experience, The Great Clown Bank Show blends clown, mime, opera, dance, and circus. The production is lavish and ambitious, with some dark humor and a social commentary in the mix.

In essence, the show is an artistic response to the greed of the one percenters. The play tells the story of a family who made it to the top of the financial system. Hank Jacobs uses different devices to express the trickeries of the ultra rich to become even richer while screwing everyone else. And what gets you closer to money than a bank? So, there you go, the Greedy family starts a bank. The deal? You give them a dollar and the bank will pay you 0.003 cents as interest. The bank? They get 30% of a dollar as profit by investing that money. And that’s how they become richer and richer. While the Greedy family create an empire, they go about life, getting married, having kids, getting heartbroken, and even getting arrested.

The show is labeled as an immersive experience. You are welcomed by circus characters that make you feel the fun vibe you are about to see. The Ringmaster (Hank Jacobs) starts by telling the arrival of Gus Greedy (Davis Barber) in America from the Old Country. Once in America, Gus has to figure out how to make it big. After several options, he decides that a bank will do the trick. But first, he has to get married. So he meets Glenda (Clara York) and proposes. Soon enough they have kids, and that’s how the family starts to grow to create a true empire. The more bloodsuckers, the better.

The whole story is told in a choreographed style whose principal characteristic is clowning. Not the traditional clown, it’s more like a vaudeville style. It’s very physical, with music thrown in. Before there was film and TV, there was vaudeville, traveling artists who sang, danced, and used comedy to entertain  audiences around the country. The beauty of this show is the analog experience. There is minimal technology here; this is a show with music, mime, dance, and clowning. This show is unique, it’s a bit out of the ordinary. For all of the movement on stage, the blocking is excellent, making it highly energetic.

The customs are great, the kinetics are great, and the story is great. The results of the elements put together, however, are mixed. Some of the jokes fall flat despite the energy and commitment of the actors. Some spark is missing, which is unfortunate, given the production value of the show. But generally speaking, the show is worth watching for the artistry and the energetic spirit of the story and the characters. One of the scenes that capture the oddity of this play is when Greta Garrotte Greedy (Elle Engelman) is delivering her babies with the help, or helplessness, of the creepy-looking gynecologist (Bethany Koulias). That’s the kind of whimsicality that Jacobs has created to denounce the greediness of the financial system.

Despite some of the shortcomings, this play/musical is a clear example of the hard work and dedication of this group of artists that take the bold action of combining musical works like burlesque and opera with circus and mime to shape the direction of the story. If you’re up to some surprises and magic, this show will fit your curiosity.

The Great Clown Bank Show

Atwater Village Theatre
3269 Casitas Ave
Los Angeles, CA 90039

July 3 – Aug. 1, 2026

Tickets: https://www.openfist.org/

Written and Directed by Hank Jacobs. Music Direction by Robby Good. Choreography by Raquis Petree. Circus Music composed by Stephen Jacobs. Original Songs composed by Michael Messer. Lyrics by Hank Jacobs and Michael Messer. Immersive Experience Design by DJ Handcrank. Presented by Open Fist Theatre Company, Martha Demson, artistic director.

Cast: Tambrie Allsup, Davis Barber, Kevin M. Brennan, Amiée Conn, Elle Engelman, Matthew Goodrich, Hank Jacobs, Carmella Jenkins, Torrin Kelly, Bethany Koulias, Avery Shannon Lynch, Clara York. Featuring aerialist Avery Lynch and a different guest circus performer every week.

Creative team: Lighting by Matthew Richter, costumes by Benny Lee Harris Lumpkins Jr., and clown apparatus and props by Anna Kraus. Circus art and graphics are by Kris Kish, D. Morris and Ian Pitts. The production stage manager is John Dimitri, assisted by Ashleigh Gilfort. Jeremy D. Thompson produces for Open Fist Theatre Company; Kelsey Kusinitz is associate producer. The Great Clown Bank Show is made possible in part by the generous support of Drew Thaler.

Fringe Review: THE MEN WHO DREW THE UNIVERSE

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Starting out as an assistant bringing everyone’s coffee, Stan Lee (Leif Gantvoort) soon became a force of nature in the comics world. In this entertaining play, Writer/Director Joshua Chamberlain brings the story of the incredible partnership between Lee and Jack Kirby (Bryan McKinley) to create some of the most iconic superheroes that took the world by storm.

Together with Joe Simon (Alex Vaughan) Jack Kirby created Captain America at Timely Comics—later called Marvel. It’s during this time that Stan Lee gets hired. An avid learner with big ideas, Lee convinces Kirby and Simon to let him help them draw and write, eventually becoming a great staff writer. Everything works fine until Martin Goodman (Cliff Weissman), the owner of Timely Comics, finds out that Kirby and Simon are planning to leave for rival company National Comics—later called DC Comics. Suspicious that Lee is the one who told Goodman about their secret plan to leave for National, their relationship starts to break apart. Despite all of this, Kirby and Lee reunite at Atlas, the company that became Marvel. They continue to work together for years to come, creating comics loved by faithful fans around the world. but the question remains: Who had a bigger ego?

It wasn’t just Lee and Kirby. It was also Simon, Steve Ditko (Reid Emmons), and even Sheldon Feinberg, the CEO of Cadence Industries, the conglomerate that owned Marvel at one point and also made the Spiderman Children’s Chewable Vitamins. They all created and advertised the comics to a whole new level, generating incredible profits, well, the companies, not so much the artists, who often complained about low pay. Regardless of the how much they got paid, the play is a picture of the inner workings of the comics industry, which comes down to art and business. But the picture wouldn’t be complete without the wives. Roz (Kristina Miller-Weston) was a great support for Kirby, even fighting with Lee about Kirby’s pay. As for Lee, his wife Joan (Elle Shaheen) was always there for him, shine or rain, for almost 70 years.

Even though the accounts vary depending on who you ask, Chamberlain pieces together information about the conflictive relationship between these two talented artists. The result is an engaging and informational timeline of the lives and creative output of the people that worked tirelessly at the comics industry. From the original medium of drawings and text of the 1930s to today’s medium of movies, The Men Who Drew the Universe examines what it takes to make it in America. Long hours, missed birthdays, strained relationships, a relentless desire to reach new heights, and a lot of patience sounds like a good plan to succeed. But is that enough?

Using minimal set props, the main attraction is the fine acting. Gantvoort and McKinley are brilliant as Lee and Kirby respectively, and the supporting cast are fantastic, turning this production into one the best plays of the Fringe Festival. It was a short run, only three performances, but we hope the production team stages it again; it’s a remarkable play with clever writing and solid performances.

The Men Who Drew the Universe

The Broadwater (Main Stage)
1076 Lillian Way
Los Angeles, CA 90038

Monday, June 22 at 9:30 :30pm

Tickets: hollywoodfringe.org/projects/13406

Written and Directed by Joshua Chamberlain

Cast: Kristina Miller-Weston, Leif Gantvoort, Bryan McKinley, Cliff Weissman, Elle Shaheen, Alex Vaughan, and Reid Emmons.

Creative team: Kristina Miller-Weston, Producer. Robert Zambrano, Production Stage Manager.