Author Archive: Glamour

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.

Red Carpet Report: EXES Premiere at the Fine Arts Theatre Beverly Hills

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Movie: EXES

Director: Matt Cohen

Synopsis:  When a pair of divorced FBI Agents are ambushed in a violent, third-world country, they must race against time to survive, clear their name, and find out who set them up — all without killing each other first. 

Red carpet photos of the premiere of Exes at the Fine Arts Theatre Beverly Hills. The premiere took place on Monday 15, 2026.

 

Actor/Director Matt Cohen. Photo by Glamgical

EXES cast. Photo by Glamgical

Actress Briana Buckmaster. Photo by Glamgical

Writer Lee Ehlers and daughter Hannah. Photo by Glamgical

Actress Felicia Day. Photo by Glamgical

Actor Matt Cohen, son Macklin, and wife Mandy Musgrave. Photo by Glamgical

Producer Sharon Lane. Photo by Glamgical

Director Nader Ajib. Photo by Glamgical

Jason Klein. Photo by Glamgical

Actor Marl Sheppard and wife Sarah Louise Fudge. Photo by Glamgical

Musician Cara. Photo by Glamgical

Actor Matt Cohen, son Macklin, and actor Mark Sheppard. Photo by Glamgical

Fashion Designer Lindsay Hearts. Photo by Glamgical

Fashion Designer Lindsay Hearts. Photo by Glamgical

Actors Brittany Underwood, Robert Palmer Watkins, and Robert Adamson. Photo by Glamgical

Jennifer Michele De Winter. Photo by Glamgical

Actress Reese Alzona. Photo by Glamgical

Actor Adam Fergus and wife actress Hayley Erin. Photo by Glamgical

Actor/Producer Sean Michael Arthur. Photo by Glamgical

Musician Orlando Kallen. Photo by Glamgical

Photo by Glamgical

Cody Christian. Photo by Glamgical

Stylist Rachel Lockwood. Photo by Glamgical

Actor Mark Pellegrino. Photo by Glamgical

Actress Alejandra Melgoza. Photo by Glamgical

Actor Lucas Lockwood. Photo by Glamgical

Actor Lucas Lockwood and wife stylist Rachel Lockwood. Photo by Glamgical

Actress Katarina Van Derham. Photo by Glamgical

Actress Katarina Van Derham. Photo by Glamgical

Actor Michael Evans Behling. Photo by Glamgical

Actor Kristian Ventura. Photo by Glamgical

Actress Jade Marx. Photo by Glamgical

Actor Andrew Liner. Photo by Glamgical

Fringe Review: JESUS LIVE!

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Last Sunday was a special day. It was the second coming of Jesus. In Hollywood, right on Melrose Ave. Did you miss it? Don’t worry, you still have two more chances. But how was it? Was it indeed a religious experience? Well…

Jesus (JD Mata) came down to Earth to deconstruct the image people have built around his persona over the years. God (Evan McNamara) joined him for an honest and revealing conversation. There was music, too. The party got some traction and soon enough, Mary Magdalene (Alexandra Fragoso) showed up. According to Pope Gregory, she was a prostitute. But on Sunday night, she dressed up rather conservatively; no fishnets, no six-inch fluorescent heels. Was she really a woman of dubious reputation back in Magdala? What kind of relationship did she have with Jesus? Dirty minds have come up with different versions over the years. But don’t pay attention to fake news. Hear it directly from her; she’s eager to explain.

One of the Three Wise Men (Jack Little) also joined the conversation. How did they find infant Jesus? Was it a star? Polaris, a comet? The Wise Man will tell you, with music, of course. but the explanations wouldn’t be complete without God and Satan telling their side of the story. They also have some sense of rhythm. By the way, what’s up with the image of Jesus, tall, blonde, blue-eyed, like an Italian model on the cover of a fashion magazine? Are we missing something here?

What if everything they told you about these biblical characters is not exactly accurate? Is God really, really good? Is Satan really, really bad? And don’t get me started with the death toll. It’s revolving, never-ending. Team God vs Team Satan. Why is God in white but Satan in red?

Billy Threadgold‘s script is thoughtful, controversial, defiant, but never boring. The cast will keep you entertained and engaged, whether you believe in the Holly Scriptures or you don’t give a continental damn, just make sure you like comedy and pop songs.

So, let your prejudices at the door and come with an open mind. This show might turn your world upside-down, but at least you hear it directly from the protagonists. Who would’ve thought that blasphemy could be so much fun?

Jesus Live!

Stephanie Feury Studio
5636 Melrose Ave,
Los Angeles, CA 90038

June 14 @ 5:30 PM
June 19 @ 8:00 PM
June 25 @ 8:00 PM

Tickets: hollywoodfringe.org/projects/14404

Written and executive produced by Billy Threadgold

Directed by John Coppola

Cast: JD Mata, Alexandra Fragoso, Evan McNamara, Jack Little

Creative team: Matthew Quinn, consulting producer. David Carbonara, Composer. Bertha Rodriguez, Casting/Marketing. Ron Barnett, Music Director. Spencer Frankeberger, Tech Operator. Michelle Vasquez, stage manager. Jenna Morris, Costume.

Theatre Review: ROMEO AND JULIET

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With glowing green and golden fireflies flying around the ravine, the romantic tragedy of Romeo and Juliet is transferred from Verona of the Late Middle Ages to New York during the Gilded Age, making the story more relatable to a contemporary audience.

Despite a car alarm threatening to ruin the actors’ dialogue at the beginning of the play, the scenes continued without major disruption. Co-directed by Willow Geer and Ellen Geer, the classic tale of forever love is now set in 1885. New York is bustling with activity and new fortunes are being built with the expansion of industry and transportation. Unprecedented changes in America are happening at an incredible pace, giving people hope for a brighter future. The Gilded Age is synonymous of wealth, mansions, and names like Rockefeller, Vanderbilt, and Carnegie. It’s during this period that Romeo (Asher Hagler) meets Juliet (Quinnlyn Scheppner). They fall in love and their future looks bright. But what do the stars have to say?

One great thing about Will Geer Theatricum Botanicum is that it keeps the theatrical experience vibrantly analog. No digital displays, just lights, music, minimal props, and the talent of the cast. With the natural ravine as the background, even the sound of nature is highly appreciated. With this setting, what gives away the Gilded Age period is the costumes. Designer A Jeffrey Schoenberg presents elaborate costumes that reveal the elegance and status of the new riches. But the costumes also depict the personality of the characters. The red suit of Tybalt, for example, shows his ambition and aggressive tendencies, an element that stands out and plays with the concept of color psychology. The ladies, of course, are dressed in their best silks, brocades, and ruffles, displaying a rich palette of fabrics and colors.

The selection of a different period than the original is an attempt to correlate the opportunities for American society during the Gilded Age and the imbalances of society’s structure that left many people behind. The endless opportunities were not for everyone. Although the progress was extensive, the characters are still stuck in old beliefs and social norms. For Callahan (Ethan Haslam), keeping a high social status is imperative. That’s the reason he demands Juliet to marry Paris (Tomas Francois), a wealthy man that would elevate the Callahans’ prestige. But love is love and Juliet has other plans, in cahoots with Friar Lawrence (Max Lawrence).

The blocking is exceptional, allowing the actors to make great use of the big stage and platforms. Breaking the fourth wall is also an effective engagement device, as so is the actors walking and seating close to the audience. The fighting scenes add realism and movement to the story and heighten the tension among the characters. With all of these kinetics, Willow and Ellen Geer creates a space to nurture the humor and drama of this classical tragedy.

The cast is a mixture of experienced and upcoming talent. Ellen Geer as Nurse is fantastic. Sweet and spicy, she teases about female anatomy and male attractiveness, much to the amusement and shyness of a young and naive Juliet. Geer does it remarkably well, playing her character as the messenger between Romeo and Juliet, but also as the unfortunate prey of old traditions, unable to champion the drives and priorities of a new generation. Rhett Curry as Mercutio is excellent as well. He gets into the character with a hypermasculinity tendency that leads to tragic consequences. Great dialogue and action. As for the protagonists, Hagler and Scheppner are two young actors navigating the exciting and challenging rhythm of Shakespeare’s iambic pentameter. These young actors are on the right path to master the demanding job. It’s always exciting to see up-and-coming talent taking one of Shakespeare’s script and making it their own, metamorphosing and revitalizing iconic characters written more than 400 years ago. Their performances exude the innocence and illusion of an entire generation who truly believes that love conquers all. Kudos for their brave performances.

The change of time period is an intelligent way to keep Shakespeare relevant. Technology changes, but human behavior stays the same. Setting the play during the Gilded Age is a symbolic reference to the rapid and chaotic changes we see today. New fortunes are being created , but the question remains, who will advance and who will be left behind? Ellen and Willow Geer see these connections, and the Gilded Age is perceived as a time where opportunities came along, but only for a few. Romeo and Juliet represent that bridge, a hopeful new beginning, a break from the past. What are the realities behind the shiny, gilded mansions?

Romeo and Juliet

Will Geer Theatricum Botanicum
1419 N. Topanga Canyon Blvd.
Topanga CA 90290
(midway between Pacific Coast Highway and the Ventura freeway)

June 6–Sept. 26

Tickets and show times: theatricum.com

Written by William Shakespeare. Co-directed by Ellen Geer and Willow Geer.

Cast: Asher Hagler, Quinnlyn Scheppner, David Benne, Billy Walker, Jesse Corwin, Rhett Curry, Tomas Francois, Jason Hayes, Ethan Haslam, Brooke Heatley, Michelle Jasso, Max Lawrence, Shane McDermott, Michelle Merring, Christopher Miles, Elijah Reyes, Ethan Ricks, Franc Ross, Jon Sprik and Ellen Geer. Taking on a variety of smaller roles are Cole Dechant, Asher Edwards, Kiley Fallon, Estrella Garcia–Starr, Abbs Stoiber and Elliott Grey–Wilson.

Creative team: Fight choreographer Cavin (CR) Mohrhardt, costume designer A Jeffrey Schoenberg, lighting designer Geoff Barton, sound designer Irene Silbert, properties master Shoshanna Green and wardrobe supervisor Beth Eslick. The assistant director is Natalia Jofre and the production stage manager is Karen Osborne, assisted by Amayah Watson. Sophie Edwards is production assistant.

Hollywood Fringe Review: WHAT SURVIVES

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Five separate stories reflect the contrasting positions of Americans in today’s socio political environment. From unity to division, What Survives is an answer to crackdown on immigration by the current administration.

10-year-old Isabella has been abducted by ICE from her elementary school. Her Cuban-American father Eduardo (Randy Gonzalez) confronts Calvin (Steve Fite), the White school’s principal. Isabella is nowhere to be found and Eduardo demands answers. One of the highlights of the tense exchange is the revelation by Calvin that the federal funding is contingent on the school’s cooperation with ICE. Although rare, there have been some documented cases where ICE agents have detained minors and have sent them to detention facilities. This is a consequence of the revocation of Sensitive Locations Memorandum, which excluded schools, hospitals, and places of worship from immigration enforcement. The scene describes the frustration and the powerlessness—or complicit attitude—of the principal. You decide.

The play is presented in vignettes that explore the modern-day immigration experience in the U.S. and the reaction of Americans to some of the most extreme federal policies. The scenes delve into the full adoption of AI, the citizen’s concerns of such technology, the concerns of two veterans about the future amid the widespread tolerance of racism, and one case in which a trans woman is going to through a forced detransition, an example of the country’s movement towards conservatism.

The most striking depiction of the acute division of the country is the couple arguing about Trump’s administration policies on immigration. Julie (Rachael Meyers), who is White, is married to Gabriel (Greg Mathis Jr.), who is Black. Gabriel supports Trump’s immigration enforcement while Julie disapproves of it. The argument heats up and more things are revealed about the shifting perceptions of what America is and what it should be.

With splashes of experimental theatre, What Survives takes a clear position on the current state of affairs and the angst and extremism lurking beneath our feet. Meyers uses Isabella as a connective tissue to link the lives and experiences of individuals who are trying to make sense, if any, of the turmoil around them. The noises of fireworks in the background during the veterans’ scene (Shereen Khan, Homie Doroodian) seems symbolic, representing the increasingly loud noise in the background of our lives.

And the rockets’ red glareThe bombs bursting in airGave proof through the nightThat our flag was still there

Is the noise that we hear proof that our flag is still there? You might agree or disagree with what you see and hear in this play, but Mayer will shake you up and make you analyze not only what’s out there, but maybe even more importantly, what’s inside of you. There is a lot of depth into the stories in this play; they’re glimpses of Meyers’ skills as a storyteller, performer, and director. And that’s the great thing about Fringe. It allows all of these creatives to sharpen, experiment, and exhibit the things they’re capable of in a less restrictive environment. Just make sure to get the heck out of the theatre as soon as the show ends. This is Fringe, and Fringe moves fast.

What Survives

The Broadwater (Second Stage)
6320 Santa Monica Blvd.
Los Angeles, CA 90038

Saturday, June 6 at 9 :00pm
Thursday, June 11 at 8 :00pm
Sunday, June 14 at 12 :30pm
Thursday, June 18 at 11 :00pm
Friday, June 26 at 10 :00pm

Tickets: hollywoodfringe.org/projects/14386

Written and Directed by Rachael Meyers

Cast: Carolyn Mignini as Alice, Lydia Tinsley as Willow, Randy Gonzalez as Eduardo, Steve Fite as Calvin, Rachael Meyers as Julie, Greg Mathis Jr. as Gabriel, Shereen Khan as Masoumeh, Homie Doroodian as Naser, Sarahbeth Zohrehvand as Kat, and Shariffe Rahming as Lucas.

Creative team: Costume Design by Mylette Nora, original music by composer Dan Burdman, and props and graphic design by Kristen Maloney. Angelica Estevez will serve as stage manager, and Robert Zambrano as assistant stage manager.

Musical Review: ANASTASIA

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With a sizzling production, Director and Choreographer Parker Esse brings to La Mirada Theatre the turbulent rise of the Bolsheviks and the tragic fall of the Russian Imperial family, one song at a time.

It was at the beginning of 1917 when the Romanovs were placed under house arrest by the Bolsheviks. A few months later on 17 July, the Imperial family was killed by an execution squad. The musical Anastasia is based on the rumors that circulated at the time about the possible escape of the 17-year-old Grand Duchess Anastasia Nikolaevna of Russia.

Right before leaving for Paris, Empress Maria (mezzo-soprano Suzanna Guzmán) gives her young granddaughter Anastasia (Elayne Cowden) a music box as a gift. Anastasia stays with her parents and siblings to continue her imperial life in Russia. Years later, however, the revolutionaries storm the palace with violence and capture the Romanovs. As the Bolsheviks start to take control of the country, the rumors of Anastasia escaping the execution of her family start to circulate. Taking advantage of the situation, two con men in Saint Petersburg, Dmitry (Dillon Klena) and Vlad Popov (Peyton Crim) set up a plan to take money from Empress Maria by presenting her a girl impersonating her granddaughter Anastasia. While they audition different girls for the scheme, a street sweeper shows up. Her name is Anya (Lena Ceja), who doesn’t fully remember her childhood due to amnesia. There is something special about this girl, so Dimitry and Vlad decide to take her in, train her in imperial manners and hope for the best. From there, the story takes the three characters to Paris; it’s a  journey with many unknowns and far less certainty.

There are several things that elevate this production. For one, the use of professional ballet dancers. Anton Harrison LaMon stands out as Prince Siegfried in Swan Lake. His posture, flexibility, and strength reveal his professional training in ballet, a dancer that adds a touch of fantasy to the story. These kinds of details show Esse’s ability to add value to a show of this magnitude. The use of props is also a visual asset to this musical. The train scene is highly kinetic with minimal prop movement. The background projection does the trick. Although projectors can be a hit or miss, most of the images used in this production are used effectively to create a three-dimensional space. Together with the columns, the projections add depth, simulating grand and sumptuous interiors.

As for the star of the show, Ceja shines as Anastasia. She is charismatic and full of energy with a versatile vocal range. She also shows a keen ability to convey the various emotional states of the scenes, making her character feel relatable in the mythic world of Anastasia. Likewise, Klena and Crim give their characters the necessary quirkiness to complement the humor and romance of the story. Groundlings-trained Sarah Wolter as Countess Lily is phenomenal as well. Wolter and Crim  show a great deal of chemistry on stage, spicing up their scenes together when rekindling their romance. Richard Bermudez as Gleb Vaganov blends exceptionally well in the story. This character has replaced Rasputin from the 1997 animated film. This creative decision by the creators of the musical adds a political undertone to the context. Ramirez embodies the loyal instrument of the state, but also the heart of a man in love, leading the story to an inflection point.

The music, of course, is crucial to create a great show, and Musical Director Ryan O’Connell takes the audience to a captivating landscape, where folk Russian music and powerful pop numbers capture the history and romance of the transitional period. The numbers in the Neva Club, the ballet, and the palace are examples of a music infused by classical and popular elements, a powerful combination by Stephen Flaherty and Lynn Ahrens, who had the freedom to experiment with more textures that they did when they worked under the studio system for 20th Century Fox. The result is practically a whole new musical work, except for a few songs from the animated film. The costumes also help to tell the story. They’re appealing and spectacular. It’s a journey from the opulent Romanov dynasty style—with Eastern, military, and European royal silhouettes—to the festive and famous La Garçonne style of the roaring twenties in Paris. All of these elements together with the lighting design offer a vibrant and compelling story. All of that put together in three weeks by a dedicated team of creatives. Another win for La Mirada Theatre, a spacious and lively theatre offering spectacular productions to the local scene.

ANASTASIA

La Mirada Theatre for the Performing Arts
14900 La Mirada Blvd.
La Mirada, CA 90638

Saturday, June 6 at 8 pm (Press Opening) through Sunday, June 28 at 6:30 pm.

Tickets: lamiradatheatre.com

Book by TERRENCE McNALLY. Music by STEPHEN FLAHERTY. Lyrics by LYNN AHRENS. Inspired by the Twentieth Century Fox Motion Picture, by special arrangement with Buena Vista Theatrical. From the Play by MARCELLE MAURETTE as adapted by GUY BOLTON.

Musical Direction by RYAN O’CONNELL
Direction and Choreography by PARKER ESSE

Cast: Lena Ceja, Dillon Klena, Peyton Crim, Richard Bermudez, Sarah Wolter, Suzanna Guzmán, Annabelle Bergold, and Elayne Cowden. The Ensemble will feature Sofia Aniceto, Tucker Knowlton Boyes, Wes Dameron, Lauren Decierdo, Michael Deni, Christopher Ho, Anton Harrison LaMon, Tayler Mettra, Shanon Mari Mills, Natalie Palmgren, Rasha Willes-Samaha, Kyle Vaughn, and Toni Elizabeth White. The Swings will be Michael Laverde and Sabrina Marielle.

Creative team: Lighting Design by Jennifer Edwards; Sound Design by Josh Bessom; Projections Design by Aaron Rhyne; Costume Coordinator is Adam Ramirez; Hair/Wig Design by Kaitlin Yagen; Properties Supervisor by Kevin Williams. The Casting Director is Julia Flores. The Production Stage Manager is Julian Olive.

Theatre Review: LIMONADE TOUS LES JOURS: A PARIS LOVE STORY

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With Paris in the background, an older American man and a young Parisian woman try to find the meaning of true love amid wine, music, and a few bubbles. And don’t forget the waiter, a sort of bohemian dreamcatcher philosophizing about life and love, cigarette in hand.

Yaya (Nicolet Anton) is sitting in a cafe when Andrew (David E. Frank) shows up. They spend the following minutes talking about why they should not fall in love with each other. Age gap, different expectations, etc. But Cupid doesn’t understand any of that, especially in Paris. Soon after her performance in a cabaret, Yaya and Andrew spend the night together. Was it a mistake, a fling, or finally that main, true love they’ve been looking for? It seems that French lemonade can cast a spell on you despite a conscious resistance. Both characters talk about their past, their failed relationships, and the kind of life they can expect if they were to live together.

The dialogue is primarily a discourse about romance vs reality in the realm of love. What does it take to find true love, and what do you do once you find it? Limonade is a poetic reflection on that search and the adventure that is to step out into the unknown.  What goes through the mind of a man who is in the twilight of his life? What are the expectations of a woman at the beginning of her adult life? What happens when those two life stages meet?

For this play, Charles L. Mee uses a story that despite its simplicity, has a profound meaning, as it covers the three main experiences in life: Birth, love, and death. It is the poetry and the simplicity that make this story stand out. With the vivacity of Yaya, the willingness of Andrew to explore second chances, and the flamboyance of the Waiter/Dancer/Madame Josephine (a versatile Cruz St. James), the characters express the beauty of the human experience, missteps and all. One interesting detail is Mee’s use of the dialogue to voice his opinion on the American image from the perspective of people from other countries, in this case, the French. But the text is also an expression of the willingness of Americans to open up their minds to experience and learn from other perspectives. At the end, Andrew is transformed and moved by the deep connection with Yaya, a relationship that allowed him to learn more about women and about himself.

The direction by Frédérique Michel translates the text into a sensual display of music and movement. The blocking makes great use of the space, placing the actors and set props around the stage to create three-dimensionality to the scenes. The only thing that downgrades the set is the static digital projection, a device used in many productions nowadays. Most of the productions could get rid of it and still create the visual impact necessary to tell the story. Just a personal opinion. The costumes add a French flair to the scenes; they’re classic and vanguardist. As for the musical numbers, the three actors show their fine vocal aptitudes. Their range and texture add emotional expression to the French songs and enhance the sexiness of the story, just listen to the suggestive “Les Sucettes”.

If you’re up to some romance and exquisite French connection, this is your play. It’s lyrical and thoughtful, a breadth of fresh air in a world of chaos.

LIMONADE TOUS LES JOURS: A PARIS LOVE STORY

Bergamot Station Arts Center
2525 Michigan Ave. T1
Santa Monica, CA 90404

Link: citygarage.org

Performances: May 22th Jun 28, 2026. Fridays and Saturdays at 8 PM. Sundays at 4 PM.

Written by Charles L. Mee. Directed by Frédérique Michel. Produced by Charles A. Duncombe.

Cast: Nicolet Anton, David E. Frank, Cruz St. James.

Creative team: Set, Lighting, Audio design: Charles A. Duncombe. Costume Design: Josephine Poinsot. Video/Projections: Anthony Sannazzaro. Assistant Director: Ralph Radebaugh. Photos, Graphics: Paul Rubenstein.

 

Theatre Review: GRANGEVILLE

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What does it take to amend a broken relationship? Is that even possible? in Grangeville, Samuel D. Hunter delves into the internal turmoil of two half-brothers who are trying to reconnect, despite the complicated past that brings back painful memories.

Arnie (Tim Cummings) lives in The Netherlands. Jerry (Jeff LeBeau) still lives in Grangeville, Idaho, in his mom’s trailer home. After years of silence, Jerry connects with Arnie to let him know about the imminent death of their mom, who is sick in the hospital and medical bills piling up. Navigating through their mom’s debts, they also navigate their traumatic past and the attempts to reconstruct their relationship. Even though their mother is not seen or heard in the play, she is omnipresent in the characters’ lives in such a way that her influence has shaped the way they see the world, impacting their relationships with other people.

To highlight the emotions of the play, Director John Perrin Flynn uses a mostly black set design to concentrate the attention on the two characters. The walls on the background have an irregular texture, like broken pieces from a shattered rock; it’s a subtle comparison to the shattered relationship between the two characters. The lighting also plays an important role, it’s directional, focusing on the characters, heightening their state of mind with an impactful dramatic effect. Hunter’s dialogue is superlative in the voices of Cummings and LeBeau, carrying most of the play with limited physical action. Their nuanced performances add a rich texture to the themes of the play. Both actors are able to lead the audience to a world of vulnerabilities that unveil the consequences of untreated or denied mental and emotional trauma. Flynn shows his ability to interpret Hunter’s text and subtext, creating a space where raw emotions unearth, fight, and try to rectify the aftermath of a neglectful and abusive upbringing. It’s a sophisticated production with solid performances and excellent direction.

The play is an exploration of how humans react to abuse. Jerry was abused by his mother and father. Jerry, in turn, abused Arnie. He not only exerted physical abuse on Arnie, but also denied Arnie the opportunity to attend a prestigious college. The abuse was also a reaction to Arnie being gay in a small and conservative town as Grangeville, Idaho. Although not directly disclosed in this play’s dialogue, Hunter has written in the past about conservative Christianity and its negative views on homosexuality. An example is A Great Wilderness, where a gay conversion therapist in a Christian retreat, also placed in Idaho, takes one last client before retirement. Even though these stories are placed in Idaho, they reflect the Christian views at large and the root cause of violence and discrimination against individuals of the LGBT community.

An interesting device used in this play is the two actors doubling as Stacey, Jerry’s wife, and Bram, Arnie’s husband. The doubling seems to serve as a projection of the deep-rooted traumas afflicting the two half-brothers, and how the emotional scars of their upbringing have affected the way they relate to their respective partners. It’s a reflection on how difficult it’s to let go of the past. As underlying residues, hidden but latent, resentment and repressed pain don’t go away, despite time and physical distance. Arnie and Jerry try to work things through, but continue to hit a wall, exhausting almost all chances of a reconciliation. Even therapy can’t seem to help Jerry restitute the damage he’s caused to Arnie. In this case, Hunter uses Jerry as an analogy of deep transformation. Jerry is a character addressing his issues, willing to pick up the pieces left behind by his reckless behavior.

One interesting detail is the mention of dioramas in the story. This came as one of Hunter’s experiences visiting The Netherlands. He went to a museum and saw the exhibit of Tracey Snelling, an artist born in Oakland. The dioramas are miniature or life-size representations of different scenarios. Some of these dioramas are used in movie sets to represent locations or landscapes. In the case of Shelling, her dioramas are miniature representations of American places, like gas stations and such. These crafted miniature scenes clicked with Hunter and motivated him to keep writing Grangeville, as he had set it aside, not entirely sure what direction the play should take. In this play, the dioramas are representations of the journey to discover the purpose and direction to get to the final destination. They’re also a representation of America, it’s people, places, and attitudes. Curiously enough, the set of the trailer home looks like a diorama; it’s like a representation of their past and the meaningful change transforming Arnie and Jerry’s lives.

The play doesn’t answer questions or take a strict stand on the issues depicted, it simply presents the circumstances of two characters that are struggling to come to terms with their realities. As usual, Hunter doesn’t deliver a verdict. He closes the curtain with an open question, allowing the audience to decide for themselves. Some people might hate it, some people might love it. But this is an intelligent way of making theatre, presenting life as it is and opening up the conversation.

Grangeville

Ruskin Group Theatre
2800 Airport Avenue
Santa Monica, CA 90405
(ample free parking)

Opening at 8pm on Friday, May 29, 2026
Schedule: 8pm Fridays, Saturdays; 2pm Sundays. No performance on June 5, 12; July 3, 5. Added performances at 8pm on Mondays June 8, 15
Closing July 12, 2026

Tickets: ruskingrouptheatre.com

Written by: Samuel D. Hunter. Directed by: John Perrin Flynn. Produced by: John Ruskin, Michael R. Myers, Nicole Millar. Presented by: Ruskin Group Theatre.

Cast: Tim Cummings as Arnie, Jeff LeBeau as Jerry.

Creative team: Stephanie Kerley Schwartz (Scenic and Costume Design), Dan Weingarten (Lighting Design), Keith Stevenson (Sound Design), Jan Bryant & Dan Speaker (Stunt/Fight Coordination), Nicole Millar, Stephanie Kerley Schwartz & Ryan Wilson (Props), Nicole Millar (Production Stage Manager).