Author Archive: Glamour

Short Film Review: SURPRISE!

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Somewhere in Surprise, AZ, Nancy and Brian Silverstein are expecting their first child, a boy, Joey. After a while, they have another child, a girl, Lisa.

Life goes as usual until Lisa starts to develop a dislike of the color pink and long hair. That’s the sign of something much bigger. How will the Silversteins handle the situation when they notice that Lisa is better at baseball than Joey?

The story delves into the concerns of parents who find out that their kids turn out to be something different than expected. It’s an exploration of a soul-searching journey into acceptance and support. How do parents nurture their kids regardless of their personal choices? The message comes out clearly, and with basic equipment, the film has an indie and heartfelt spirit.

Written, directed, edited, and executive produced by Nicole Picard, Surprise! has received some significant accolades such as the California Indies Film Festival Best LGBTQ Short Film, 2021, the Vegas Short Film Festival Nicole Picard, Best Actress and Best Comedy Short, 2022. Gaining momentum, this indie short film will continue its run in the festival circuit.

Surprise!

Writer/Director Nicole Picard, Associate Producer Paula Achter and Executive Producer Nicole Picard.

Cast: Nicole Picard, David Edelstien, Jason McCrite, Abigail Thompson, and Laura Walker. Also, Logan Laurel, Jake Getman, Melody Parra, Piper Major, Cat Healy, Kelly McDevitt, Cassie Carpenter, Willow Hunt, Georgia Arnold, Liv Schachter, Ellen Burr, Paula Achter, and Melodee Piper.

Creative Team: Theme Song Nancy Luca, Script Consultant Nicky Zarchen, Director’s Assistant Laura Walker.

Dana Solimando on Directing Mean Girls – The Musical

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Mean Girls – The Musical, directed by Dana Solimando, opened up last week at La Mirada Theatre for the Performing Arts. The Plastics, The Outcasts, and those memorable high school years are on full display, not to mention the salacious rivalry between the naive Cady Heron and the narcissist Regina George.

Dana Solimando is a performer, choreographer, and director. As a performer, she has been featured in Broadway shows such as Cats, Swing! and Peter Pan among others. And now, as a director, she is bringing the spirit of Mean Girls back to life at La Mirada Theatre. We talked to Dana about the show and its important message to the younger generations. Below is our interview with this multifaceted artist.

What was your reaction when you first saw Mean Girls back in 2004?

When Mean Girls came out in 2004, I had just had my son, so I was deep in new mom mode…I remember just thinking it was hilarious. My stepdaughter, who was about 8, was completely obsessed with it. Watching it now, with my kids in their 20’s and after having lived through their high school years, it feels very different. I still love the humor, but now I really see the layers- the complexity of those relationships and the very real pressures behind it all.

How was your own personal experience in high school?

Between sixth and ninth grade, I hadn’t quite grown into myself yet… I was very awkward and gangly. My High School experience was the mid 80’s and could have been right out of a John Hughes movie. It was New York state packed with girls with huge hair and Italian’s driving Iroc Z-28’s. I also had my very own Mean Girls experience…my best friend that I grew up with developed much faster than me… in the 8th grade, she looked like she was in her mid 20’s.  She was getting hit on by older boys and grown men, while I looked like a Gelfling from the movie The Dark Crystal. Dealing with her own challenges of fitting in, she gravitated toward new found friends and popularity. I remember very distinctly her ignoring me in the hallways at school. She had been my best friend since kindergarten and I just couldn’t understand it. It felt so traumatic at the time. Everything feels so heightened, when you are in high school. I remember crying a lot that summer. The relationship eventually healed, and we are still close friends to this day, but that summer definitely left an impression.  I ultimately found my place in high school as a more art focused student, and over time gained a level of social visibility. Experiencing such contrasting dynamics gave me a unique perspective on different groups and how they interact.

Tina Fey is a staple in American comedy. How does it feel to work on her material?

It’s an honor…Tina Fey is legendary. She and I are the same age, so her references hit home. Watching Mean Girls and her work over the years, it always felt really relatable- like we were exposed to the same Gen X source material.

With so much emphasis on mental health nowadays, what is the most relevant message of Mean Girls?
Mean Girls has always been relevant, but the story resonates now more now than ever.

It captures the pressures of social identity during adolescence, which has only intensified with social media. I love how the new version dives deeper into the negative effects social media has on our children.

As a parent, I saw firsthand how that constant access and comparison affected my kids’ mental health. High school is already emotionally complex, and now those dynamics are amplified and follow students everywhere. The message of Mean Girls is that we are all human, we all have insecurities, get hurt, and sometimes end up hurting others. No one is perfect. I love that the show encourages and celebrates uniqueness, but also has a message of forgiveness at the end.

You are also the choreographer. Did that make it easier to work with the cast?

Yes and no. With tight timelines, it can be really effective to divide and conquer between a director and choreographer, and I’ve really valued those collaborations. At the same time, I’ve found that when I’m guiding both elements, it allows for a particularly cohesive creative process. I can connect the storytelling and movement from the beginning, which helps everything feel unified when working with the cast. That said, I also really value collaboration within that structure…I worked closely with my associate director/choreographer Rodrigo Varandas on this project, who helped me develop and refine ideas in the room, so it still feels like a shared creative process while maintaining a clear, cohesive vision.

Being a director means that you have to wear many hats. What’s the most rewarding part of your job?

Hands down the most rewarding part of the job is when you start to see the actors connect to their characters and really fly- when they begin to take ownership of their roles and the work starts to take on a life of its own. There’s a point in the process where you realize it’s no longer yours. It doesn’t belong to you in that same way anymore…which is a great thing. You have to allow the production to evolve beyond your direct influence. And that moment, when everything starts coming together and the piece breathes on its own, is incredibly exciting and deeply rewarding.

When did you find out you wanted to be a director?

Funny story…many years ago, right after performing in Swing! on Broadway and on tour, I was hired to perform in a regional premiere and assist the choreographer. A few days before rehearsals started, there was an issue with the creative team and I was asked to take over the project. Then, just a few months later, it happened again on the national tour of Jesus Christ Superstar. I was brought on as the assistant choreographer, and the night before rehearsals began, I was told the choreographer had to leave due to a family emergency. The producer asked if I could step in. I said yes…then immediately realized just how big the job really was!

Those two experiences launched my career earlier than I ever expected. Over time, the shift into directing really grew out of how I approach choreography. I’ve always rooted movement in storytelling-I can’t create steps until I know what I’m trying to say. Eventually, I realized I wasn’t just thinking about choreography anymore I was thinking about the entire piece…the characters, the arc, the world of the show. That’s when it clicked that I was drawn to directing

For musicals, do you prefer to work with “triple threats”?

Yes-absolutely. Ideally, I love working with triple threats. When actors have an awareness of how to use their body, voice, and storytelling instincts all together, it brings a real efficiency to the work, especially in musical theatre. That said, not every role requires the same skill set, and sometimes casting an actor who is strongest in performance and character work is exactly the right choice for the piece. For me, it’s always about assembling the right combination of artists to serve the story best.

Any message you would like to share with the audience that will be attending the performance of Mean Girls?

Yes! Come for the laughs, but don’t be surprised if you also see a little bit of yourself up there. The show is fun and wildly entertaining… and then it reminds you that we’re all a little messy, vulnerable, and completely human.

Mean Girls – The Musical
La Mirada Theatre for the Performing Arts
14900 La Mirada Boulevard
La Mirada, CA 90638
Tickets and information: lamiradatheatre.com

Theatre Review: THE BAPTIST WITCHES OF SHELBYVILLE

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Portraying a blend of the ideological remnants of the Jim Crow Laws and current socioeconomic conditions of the Black Belt, The Baptist Witches of Shelbyville tells the story of five generations of women living under the same roof; weed, booze, and dark secrets included.

Lucinda (Mamie Gummer) comes to Shelbyville to visit her family for a July 4th holiday. A great vacation with even greater surprises. Her grandma (Juliana Liscio) is bedridden with dementia. Her sister Birdie (Julie Shavers) is dating a felon who went to prison accused of murder. Kitty (Ashley Ward) disapproves of the relationship because the man is black. Mama Moon (Gigi Bermingham) is a devoted Christian who shoots rats in the middle of the night and tries to keep the family’s sanity, in the name of Jesus. Lottie (Angelie Simone) has premonitory dreams, usually leading to someone in the family getting pregnant.

In this play, Shavers examines the challenges of regions that have been left behind. Birdie works in a factory that seems to be the culprit of her lung medical condition. The story also delves into the issues of mental health and the failures of the healthcare system, specially for underprivileged Americans. 

Taking even a closer look, the story explores the internal mechanisms of perennial racism in the South. The man Birdie is dating is Black, out of prison, and an overall idea of danger and distrust for Kitty. Although it seems stereotypical, the recurrent mention of negative connotations attributed to this racial group is a reminder of the persistent image entrenched in American society.

Through the characters, Shavers exemplifies the challenges of the Southern region. Poverty, regardless of racial composition, is persistent, curtailing a positive forecast for future generations. Low educational attainment for the working class and a tendency to rely on one’s Christian faith instead to navigate life, a common staple of the Bible Belt, is also a recurring theme in the story.

Although the delivery feels at times inorganic, causing some of the jokes to land flat, the overall production is an entertaining experience. The dialogue is sharp and the comedy is a creative way to lift up the spirit of the dark subject matter instilled in the core of the play.

Director Daniel O’Brien uses the limited space effectively, adding movement to the play with the use of props and blocking, including the fight scene. These elements provide physical comedy and three dimensions to the brilliant script.

After 18 years of running the Whitefire Theatre, Artistic Director Bryan Rasmussen continues to show his good taste in finding engaging productions, bringing significant value to the local scene. Having produced over 500 shows and more than 50 world premieres, not to mention surviving the brutal pandemic, Rasmussen has been a force of nature, promoting and nurturing the pool of talent that make up the resilient theatre community of Los Angeles. 

The Baptist Witches of Shelbyville

Whitefire Theatre
13500 Ventura Blvd.
Sherman Oaks, CA 91423

Tickets: whitefire.stagey.net/projects

Opening: Saturday, March 28, 2026
Schedule: 8pm on March 28, April 3, 4, 11, 17, 18, 25
Closing: April 25, 2026 

Written by Julie Shavers. Directed by Daniel O’Brien. Produced by Black Rocking Chair.

Cast: Gigi Bermingham, Mamie Gummer, Julie Shavers, Angelie Simone, and Ashley Ward.

Creative team: Sound and Video Design by David Zuckerman, Lighting Design by Derek McDaniel, Production Design by Carmen Ziller, Original Music by Cameron Clarke, and Fight Choreography by Ned Mochel.

Theatre Review: DEATH OF A SALESMAN

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The American Dream, an aspirational state captured in the Declaration of Independence, gets a reality check in Arthur Miller‘s Death of a Salesman. In a superlative performance, A Noise Within delivers a moving and powerful production to remember.

Willy Loman (Geoff Elliott) has to travel 700 miles to try to make a sale. Empty-handed and exhausted, he comes back home to his supporting wife Linda (Deborah Strang) and his two sons Biff (David Kepner) and Happy (Ian Littleworth), who don’t seem to understand the depression of a defeated man on the brink of a mental breakdown. Biff feels he has lost his North Star, unsure whether to stay in New York or move West. Happy encourages him to start a business together selling sporting goods.

Willy’s only friend is his neighbor Charley (Bert Emmett), who lends him money on a regular basis. Charley’s son Bernard (Kasey Mahaffy) is now a successful lawyer. Bernard and Biff went to school together. Bernard made it to the top, Biff drifted away after failing math in high school despite a promising football career, unable to get into college.

Old, tired, and with a troubling mental instability, Willy tries to negotiate with his boss Howard (Michael Uribes) a local position in New York to avoid the long sale trips. He even asks for less money. Instead, Howard fires Willy on the spot, dismissing Willy’s 34 years of service. Depressed, hopeless, and with memories tormenting him, Willy is pushed to the limit.

Even though Arthur Miller wrote Death of a Salesman in 1949, almost 80 years ago, he saw something in the system, implying that the American Dream wasn’t for everyone. Willy is not just a human character, it’s a representation of the failed ethos of America’s aspiration to be the land of opportunities for all. Director Julia Rodriguez–Elliott ensures to capture the very essence of the symbolic representation of the play. It’s a masterful example of how to lead a story to an emotional and captivating finale, reverberating the message in a powerful and meaningful way. The result is an audience rooting for Willy and feeling the pain of his broken dreams. We get it, Willy’s failures have seeped through to reach our current generations; the American Dream looks like the horizon, it’s there, but out of reach.

Elliott is magnificent in this role. He embodies the nuances of a character whose life is moving towards a dead-end street. The last stretch of his life is a blend of reality and flashes of the past, talking to his deceased brother Ben (David Nevell). It’s a meaty role, a challenge that only actors of Elliot’s caliber can pull off. He offers a vivid representation of utter defeat, holding on to the hope of reconnecting with his son.

The supporting cast add excellence to this staging. As usual, Mahaffy delivers a quirky and entertaining character, peppering the play with some comedic relief to counter the tragic nature of the play. The whole cast turns into a cohesive presentation that makes justice to this masterpiece. Strang’s performance is touching as the devoted companion who offers reassurance and loyalty, defending Willy’s dignity to the very last moment. Likewise, Littleworth and Kepner give their characters depth, showing the difficulties of trying to reconnect with a delusional father. Elliot and Kepner give us a heartwarming scene that highlights a silent pain haunting Willy for a long time.

The lighting by Ken Booth turns the stage into an emotional canvas, illuminating both the characters and the impressive scenic design by Frederica Nascimento. These artistic elements show the attention to detail and the dedication of A Noise Within to offer an exceptional visual experience.

Do yourself a favor and witness what artistic excellence is all about. That’s the beauty of live theatre, no cell phones, no cameras, just the now and the enduring vision of long-lasting memories.

Death of a Salesman

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

Performances March 28 – April 19:
• Thursdays, Fridays and Saturdays at 7: 30 p.m. / Saturdays and Sundays at 2 p.m. (no Saturday matinee on March 28)

Tickets: anoisewithin.org

Written by Arthur Miller. Directed by Julia Rodriguez–Elliott. Presented by A Noise Within, Geoff Elliot and Julia Rodriguez-Elliott, producing artistic directors.

Starring Jacob Cherry, Geoff Elliott, Bert Emmett, Rachel K. Han, David Kepner, Ian Littleworth, Kasey Mahaffy, Cassandra Marie Murphy, David Nevell, Dominique Razón, Deborah Strang, Michael Uribes.

Creative team: Scenic designer Frederica Nascimento; costume designer Angela Balogh Calin; lighting designer Ken Booth; sound designer and composer Robert Oriol; wig and make up designer Tony Valdés; properties designer Stephen Taylor; fight choreographer Kenneth R. Merckx, Jr.; dialect coach Andrea Odinov; intimacy coordinator Sasha Smith; and dramaturg Miranda Johnson-Haddad. The production stage manager is Angela Sonner, assisted by Samantha Millette.

Theatre Review: SEX, LIES, AND HAROLD PINTER

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This production features two plays, Party Time and The Lover. With their experience and fine acting skills, Susan Priver and Ron Bottitta steal the show.

Harold Pinter had the ability to describe the world with quirky characters in surreal and absurd environments. One example of this is Party Time, where the characters exhibit total indifference to the outside world while exalting the comfort of a private health club. The setting is an exclusive party by members of London’s high society. Their disregard to the street protests indicates how they see the world around them and the privilege of their social status.

The interaction that underlines the moral debacle of this group is the arguments between Terry (Paul Marius) and his wife Dusty (Michelle Ghatan). Terry berates Dusty when she raises her concerns about her brother Jimmy (John Coady), who seems to be one of the protestors. Pinter does not fully explain what is happening outside in the streets, but it seems that there is some kind of anarchy going around.

For this play, the acting looks a bit flat, there are some instances where the cast tried to spark some interest, but for the most part, it fell short. With the variety of characters and unusual sociopolitical undertones, this staging can stress the implied tension and menace in the text more significantly.

Priver and Bottitta, on the other hand, delivered a fantastic performance, exploring the nuances of a couple that engage in extramarital affairs with full consent, at least, apparently. Richard is seen leaving his house while asking Sarah if her lover is coming home to spend time with her. As time goes by, however, Richard seems conflicted about Sarah’s romantic liaisons. Despite this concern, the characters build up the sexual tension, raising the temperature in every scene.

And if the affairs alone make the situation look risqué, the bongos and leather jacket make whole cheating feel transgressive. As soon as Richard strikes the bongos, Sarah goes into trance, like a cobra swaying at the sound of an enchanting flute. The sexual response is sensual and funny, spicing up the resolution of the play. Director Jack Heller uses the blocking to heighten the comedic effect. He moves the actors around to create kinetics, livening up the story and the characters; a masterful use of space and movement. If you add Priver and Bottitta’s stage experience, you get a delightful spectacle to honor the whimsicality of Pinter’s writing.

Sex, Lies, and Harold Pinter
Party Time and The Lover

A Visiting Production at the
Odyssey Theatre
2055 S. Sepulveda Blvd.
Los Angeles CA 90025

March 20 – April 26
Fridays and Saturdays at 8 p.m. / Sundays at 3 p.m.

Tickets: odysseytheatre.com

Written by Harold Pinter. Directed by Jack Heller. Produced by Brian Foyster and Christina Hart. Presented as a Visiting Production at the Odyssey Theatre.
Starring Ron Bottitta, John Coady, Larry Eisenberg, Michelle Ghatan, Brenda James, Isaac W. Jay, Paul Marius, Michelle McGregor, Christopher Louis Parker, Susan Priver, Mouchette Van Helsdingen.

Creative team: Scenic designer Joel Daavid, lighting designer Gavan Wyrick, sound designer Christopher Moscatiello, costume designer Shon LeBlanc, and properties designer Sofia Alejandra Gonzalez. The stage manager is Valeria Ruuva.

Country Report: THE SODA CRACKERS, a homage to the Bakersfield sound.

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A hot night at the Rustic Rail Saloon in Bakersfield seems to be the perfect occasion to enjoy the music of The Soda Crackers, a local band of musicians with the Bakersfield sound in their DNA. Locals and visitors from places as far as Orange County had a blast keeping the dance floor busy and the drinks flowing at the iconic penny bar.

The Soda Crackers is a band with a nostalgic sound and upbeat rhythm that combines the music of a bygone era and the contemporary tunes of what country music is today. With a strong repertoire of covers and original songs, the band is doing the rounds all over California, getting their name out there and gaining new fans wherever they perform. Make sure to check them out on social media and live in a town near you. 

Below is the interview with Zane Adamo, Lead Vocalist.

Could you please introduce your band members and the instruments they play?

Zane Adamo, 32 from Bakersfield, CA – lead vocals, fiddle, and rhythm guitar Cooper Adamo, 27 from Bakersfield, CA – lead fiddle 

Chuy Holguin, 35 from Santa Ana, CA – Stand-Up Bass 

Ben Mathiews, 27 from Camarillo, CA – Pedal Steel Guitar 

Ben McCarthy, 35 from Ramona, CA – Lead Guitar 

James Miller, 33 from Fullerton, CA – Drums 

What kind of music did you listen to growing up? 

I grew up listening to the music I play, Bakersfield Sound & Western Swing. The first song I ever learned on fiddle was Deep In The Heart of Texas! 

What motivated you to get into country music? 

It’s always been music I’ve played and listened to. My parents would play Merle, Buck, Bob Wills, George Strait, and all the greats in the car and in the house growing up. 

What country music subgenres do you mix in your sound? 

In terms of subgenres, we take our main inspiration from The Bakersfield Sound & Western Swing in our sound. We try to capture that 40s-60s sound/attitude/look from that golden era of Country Music. 

How would you describe the Bakersfield country music scene of today?

Bakersfield’s country music scene is going strong as of today. I don’t know of another town in California that has such a strong country music scene as Bakersfield has today. There are lots of bands and artists here in town that are playing Country Music but not many people in town are playing the really early stuff that was coming out in the 40s & 50s. There’s also a small group of people in town writing/creating original country music, we just recently came out with our debut album that features 5 originals from current & former band members, but mostly what you’ll find here is Country Music cover bands. I think it’s very important to have both these original artists and cover bands playing the local circuit around town. I feel like we fall somewhere in the middle of that. 

You guys played at the Rustic Rail Saloon last Saturday. What’s so special about these honky-tonk places?

I personally don’t consider the Rustic Rail a honky tonk mainly because you can’t go there on any given weekend and expect country music. A Honky Tonk should have country music and that’s it. The Rustic Rail is definitely an all genres venue plus it has TVs and I don’t think any honky tonks should have TVs, sports bars have TVs! The Rustic Rail definitely is one of my favorite spots in town because it has a real dance floor & it’s a no-frills spot in Oildale. At the heart of what we do is dancing music. We play country music that wants you to get out of your seat and dance. 

Who writes your original songs? 

At the moment, I have written a few of our originals and our lead guitar player Ben McCarthy has written a few as well. We take a more democratic approach about writing. If someone’s written something and wants to bring it to rehearsal, we’ll all try to jam on it and see how it goes. It usually needs to be a pretty formed idea/song before we dedicate some time to it at rehearsals. 

What’s the craziest story you have experienced while touring? 

Probably the craziest thing we’ve done is try to rescue some lost merch on the side of HWY 101 in Santa Barbara. A few of our truckers hats flew out of a box in my truck and I doubled back and pulled off on the side of the highway to pick them up because there was a lot of money lying out there on the side of the road! It turned out that only one hat flew out, the rest were safe and sound inside the truck bed! The craziest drive we’ve ever done as a band was from LA to Lake Havasu. We left LA at about midnight and didn’t get to our Airbnb until 5am (AZ time) then we had to be backstage at 9:30am that same morning for our 10am show! We probably got a maximum of 3 hours of sleep that night. 

How many hours do you practice to be in musical shape? 

I practice just about everyday. I usually work on my singing and guitar playing just because I need to constantly practice that in order to stay sharp. The band rehearses about once every two months as a group but sometimes we’ll jam with whoever wants to during down time on our tours & runs. 

Country music is once again a leading force in the American music scene. Do you think Bakersfield is capitalizing on that renaissance? 

I think the city of Bakersfield is missing the boat on this renaissance of Country Music nationally. My hometown has always had a problem accepting and celebrating its rich musical past, present, and future. Back in the day, you could go dancing in town 7 nights a week at a dozen or so spots in town. Now there are no honky tonks left in town and the historic ones are all long gone. We also used to have about a half dozen or so Dance Halls in Bakersfield and now we only have one left. We do have an amazing Bakersfield Sound exhibit here at the Kern County Museum but I feel like that should be only the tip of the iceberg. I think the city has been dropping the ball for decades on this. 

Do you see a resurgence of the Bakersfield sound? 

I see the Bakersfield Sound as a moment in time or an era of music created by musicians who were descendants from the Dust Bowl Migration. It was a cultural moment here in the central valley and also LA in the 40s-60s that really left its mark. I don’t think you will see that again and there was only one true era & generation of the Bakersfield Sound. What we try to do as a band is to recreate that era and that moment where Bakersfield was dancing and twangin’ all night long to dance to country music. We’re not trying to reinvent the wheel. I do think you could definitely point to a resurgence in live music here in town. Compared to most cities we’ve played in, Bakersfield is a great place to start out as a band or artist. If the people here like you, they will follow you and support you like no other and there are plenty of places to play around town to get started. 

Popularized in 1973 by Buck Owens and in 1988 by his duo with Dwight Yoakam, “Streets of Bakersfield”, is now an anthem. You were born here. What’s the spirit of the streets of Bakersfield?

I think the “spirit” of the Streets of Bakersfield is one of optimism. I think these streets have so much potential and I believe the people of this city are wanting the city to embrace its history and make this town become a “music” town again. If you go to places like Tulsa, Memphis, Nashville, & Austin you can feel the music woven into the town’s identity and I believe that Bakersfield is primed and ready to join that list. 

Bakersfield is surrounded by fields. What’s the connection between country music and agriculture?

So much of our town’s identity is wrapped up in the two main industries of Kern County; Oil and Ag. It’s been well documented that many if not most of the famous Bakersfield Sound musicians families or themselves worked the fields out here in the Central Valley at some point and that hard work creates very tough and determined people. When you work in the oil fields or picking cotton, you are doing some of the toughest work out there and you better believe those people wanted to have some fun at the end of the day and one of the best ways to do that was to play some music and dance! I think that’s the reason why the “Sound” sounds like no other! 

Any message for your fans? 

Thank you so much to everyone who comes to our shows. We do not take it lightly when we travel across the US and tell people we’re from Bakersfield. It means a whole lot to us to be a band from Bakersfield, we have a responsibility to showcase our town’s music as best we can. We promise to always make you proud and make the greats like Buck, Wynn, Merle, Bonnie, Billy, Red, and all the rest proud each and every show.

Social Media: 

Instagram @thesodacrackers

YouTube youtube.com/@thesodacrackers

Theatre Review: THE MEOWING NUNS

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

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

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

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

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

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

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

The Meowing Nuns

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

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

Tickets: shackletontheatrics.com

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

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

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

Theatre Review: THE PRICE

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

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

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

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

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

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

The Price

Pacific Resident Theatre
703 Venice Blvd.
Venice, CA 90291

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

Tickets: pacificresidenttheatre.org

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

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

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

Theatre Review: HONOUR

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

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

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

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

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

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

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

Honour

Ruskin Group Theatre
2800 Airport Avenue
Santa Monica, CA 90405

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

Tickets: ruskingrouptheatre.com

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

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

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

Theatre Review: RICHARD III

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

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

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

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

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

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

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

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

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

Richard III

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

Tickets: anoisewithin.org

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

• Written by William Shakespeare
• Directed by Guillermo Cienfuegos

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

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

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