Guys & Dolls, A Musical

EARLY BIRD
TICKETS ON SALE
Altadena Music Theatre will be back this October for theatre in the park at Farnsworth! We have been preparing all year to bring a classic comedy to the stage that we all know and love. The goal? To laugh with our neighbors in community while enjoying a top tier production in our own backyard.

TICKETS NOW ON SALE!

For TWO WEEKS only we will have an EARLY BIRD ticket discount of 30% off. This will be the largest discount we will offer for the entire run of our production. Getting your ticket early helps us financially prepare for this show. So buy early and SAVE while supporting your local arts non-profit.

PURCHASE TICKETS NOW: eventbrite.com/cc/guys-dolls

SEE YOU AT THE THEATRE!

GREASE IS THE WORD… 22nd ANNUAL BROADWAY IN THE PARK!

TUSTIN AREA COUNCIL FOR FINE ARTS (TACFA)

announce Recording Artist MARY DESMOND as “Sandy” 

& HAYDEN KHARRAZI as “Danny” starring in

GREASE 

Book, Music and Lyrics by Jim Jacobs & Warren Casey

Directed by Barry Pearl

Choreography by Becca Sweitzer

Musical Direction by Michael Sobie

Opens: Tuesday, August 6 at 7:45pm                                                   

 Closes: Saturday, August 10, 2024

 PEPPERTREE PARK, 

230 W First Street, Tustin, CA.

 Tickets start from $15  

Tickets can be purchased online at www.tacfa.org

Prices subject to change.

‘Happy Fall: A Queer Stunt Spectacular’

Cast announced for Rogue Artists Ensembles
joyful, exuberant Happy Fall: A Queer Stunt Spectacular
at Los Angeles LGBT Centers Renberg Theatre

LOS ANGELES (July 9, 2024) — Romance, stunts… and puppets. Rogue Artists Ensemble, celebrated for creating original, immersive, multi-dimensional experiences known as “hyper-theater,” has announced details for its summer co-production with the Los Angeles LGBT Center and Contemporary American Theater Festival. The world premiere of Rogue Artists Ensemble’s Happy Fall: A Queer Stunt Spectacular, written by Lisa Sanaye Dring and conceived and directed by Sean Cawelti, will premiere August 17 at the Los Angeles LGBT Center’s Renberg Theatre in the Lily Tomlin/Jane Wagner Cultural Arts Center, where performances will continue through September 8. Four preview performances are set for August 10, August 11, August 15 and August 16.

David Ellard, Kurt Kanazawa and Amir Levi star in a story about the professional and romantic rise and fall of two queer, closeted stuntmen in the Hollywood world of faux masculinity. Placing the intoxication of film trickery and its toll on the body and psyche center stage through life-size and miniature puppetry, live video, cinematic illusions and heart-pumping physical acts, this exuberant production is a joyful tribute to the resiliency of the LGBTQIA+ community. Based on true-life stories and direct testimonies, Happy Fall illuminates issues of racial and cultural identity in the industry and uncovers the real price of a love story, unmasking the importance — and danger — of being true to oneself. Rounding out the cast are ensemble members Lucas Brahme, Carlos R. Chavez, Gabriel Croom, Kelsey Kato, Maia Luer, Candy Pain, Tiana RandallQuant and Jerry Zou.

“As a lover of cinema and how movies are made, I’ve had a life-long fascination with stunt shows,” says Cawelti. “Their mix of humor, strong men and audience participation was a formative theatrical ingredient in my youth, perhaps one that also titillated my dormant queerness. As a young kid, I used to create mini stunt shows with special effects and puppets and tell wild stories. For me, the daring fearlessness of the stunt performer is akin to what it felt like when I was navigating coming out and understanding my own authenticity. This play has truly been a labor of love and is a very personal piece to me.”

As part of the play’s development, Cawelti interviewed over a dozen stunt performers, several closeted, who shared intimate stories about the challenges they faced in an industry that few know much about. The play has had readings sponsored by the City of West Hollywood and the City of Culver City among others, and was recently workshopped at the Skirball Cultural Center.

Coinciding with the production and sure to expand the experience, Advocate & Gochis Galleries, home to the visual arts at the Lily Tomlin/Jane Wagner Cultural Arts Center, will present a visual and mixed media art exhibit titled “Take/Action: Stunts, Spectacle and Queer History in Hollywood.” This exhibit examines the role of the action star through a distinctly queer lens, featuring interpretations of Hollywood and a look at the history of stunts by LGBTQIA+ artists. The gallery will open 45 minutes before each performance and will feature unique interactive photo opportunities, allowing you to place yourself in the movies.

Happy Fall features original music by composer Adrien Prevost, choreography by Cody Brunelle-Potter and fight direction by professional stunt performer Celina Lee Surniak, who also acts as intimacy director. The scenic design is by Keith Mitchell, and Cawelti; the latter also designs video alongside associate video designer Sam Lopez. Other members of the creative team include costume designer Andrew Jordan, lighting designer Soran Schwartz, sound designer Glenn Schuster, properties designer Lily Bartenstein, who also contributes additional scenic design, and pyrotechnician Eric Elias. Puppetry design is by Jack Pullman and Adrian Rose Leonard, with additional design and fabrication by Morgan RebaneGreg Ballora and Kelsey Kato. Casting is by Jordan Bass, CSACamella Coopilton is the production manager, Matthew Richter is technical director, and Deena Tovar is the stage manager. The producer is Zach Davidson.

The production is made possible by the generosity of the Venturous Theater Fund, a fund of Tides FoundationNational Endowment for the ArtsJim Henson FoundationCity of West HollywoodCity of Culver CityNational Performance Network Creation & Development FundPerenchio FoundationSkirball Cultural Center; and the LA New Play Project. Stunt equipment is provided in part by Action Factory, a one-stop action resource company providing equipment sales, rentals, and services to the entertainment industry. Audio and visual equipment are provided in part by Q-SYS. Truss was provided by Killswitch Inc., an ETCP-certified rigging company that specializes in staging supervision, production rigging and gear rental for the greater Los Angeles area. Decking provided by Accurate Staging, specializing in design and stage fabrication for every component in entertainment, production and touring, since 2001. Happy Fall’s cameras are powered by Blackmagic Design one of the world’s leading innovators and manufacturers of creative video technology.

Rogue Artists Ensemble creates “hyper-theater”: original, immersive, multi-dimensional experiences that celebrate the complexity and diversity of Los Angeles. Since 2004, Rogue has differentiated itself through its dedication to creating original work responsive to the stories of its community, and by its commitment to creating design-forward theater incorporating puppetry and multimedia.

The Los Angeles LGBT Center’s cultural arts department curates and produces an annual calendar of events at the Lily Tomlin/Jane Wagner Cultural Arts Center, home to the Renberg Theatre, Davidson/Valentini Theatre, and Advocate & Gochis Galleries. By engaging visual and performing arts to celebrate our community’s stories, Cultural Arts creates moments of joy where LGBTQ+ people gather and thrive.

The Contemporary American Theater Festival in Shepherdstown, West Virginia was named one of the top theater festivals in the world by both The New York Times and American Theatre, and is shaping the future of American theater. Each summer, the Festival produces bold, new plays that spotlight daring and diverse stories in a truly fearless fashion.

Performances of Happy Fall: A Queer Stunt Spectacular take place August 17 through Sept. 8 on ThursdaysFridays and Saturdays at 8 p.m. and Sundays at 3 p.m. Four preview performances take place on Saturday, Aug. 10 at 8 p.m., Sunday, Aug. 11 at 3 p.m., Thursday, Aug. 15 at 8 p.m.; and Friday, Aug. 16 at 8 p.m. A pay-what-you-can understudy performance will take place Sunday, Aug. 25 at 7 p.m.

Special events include: an Asian American and Native Hawaiian/Pacific Islander Affinity event on SundayAug. 18, with a “Golden Hour” reception before the performance (2:15 p.m. start time); a pre-show reception (7:15 p.m.) and post-performance discussion hosted by the LA Guild of Puppetry on ThursdayAug. 22; an interactive stunt demonstration with stunt coordinator Celina Lee Surniak following the 3 p.m. performance on Sunday, Aug. 25; a pre-show (7 p.m.) stunt puppetmaking workshop at the Advocate & Gochis Galleries on ThursdayAug. 29; a pre-show (7:15 p.m.) “Meet-the-Artists celebration at the Advocate & Gochis Galleries on Friday, Aug. 30, to uplift the visual artists whose work is on display at the “Take/Action: Stunts, Spectacle and Queer History” exhibit; a pre-performance blessing from the Los Angeles chapter of the Sisters of Perpetual Indulgence followed by a post-show discussion on the history of drag on Saturday Aug. 31; a post-performance Rogue Artists Ensemble VIP Fundraiser celebrating 20 years of groundbreaking new work in Los Angeles on Sunday, Sept. 1 (ticketed event/separate admission; information at rogueartists.org); a post-performance conversation with Happy Fall composer Adrien Provost on Saturday, Sept. 7; and, finally, an Action Star DressUp event on Sunday, Sept. 8 — come dressed as your own action star and join Rogue Artists for a special fashion runway with prizes for selected winners.

WHAT:
Romance, stunts… and puppets. Rogue Artists Ensemble, celebrated for creating original, immersive, multi-dimensional experiences known as “hyper-theater,” presents Happy Fall: A Queer Stunt Spectacular in a co-production with the Los Angeles LGBT Center and Contemporary American Theater. Following the professional and romantic rise and fall of two queer, closeted stuntmen in the Hollywood world of faux masculinity, this world premiere play places the intoxication of film trickery and its toll on the body and psyche center stage through life-size and miniature puppetry, live video, cinematic illusions and heart-pumping physical acts. Based on true-life stories and direct testimonies, this exuberant production is a joyful tribute to the resiliency of the LGBTQIA+ community. Happy Fall illuminates issues of racial and cultural identity in the industry and uncovers the real price of a love story, unmasking the importance — and danger — of being true to oneself. Coinciding with the production and sure to expand the experience, the Los Angeles LGBT Center’s Advocate & Gochis Galleries presents a visual and mixed media art exhibit titled “Take/Action: Stunts, Spectacle and Queer History in Hollywood.”

WHO:
• Written by Lisa Sanaye Dring
• Conceived and Directed by Sean Cawelti
• Co-Produced by Rogue Artists Ensemble, Los Angeles LGBT Center and Contemporary American Theater Festival.

WHEN:
Previews Aug. 10, Aug. 11, Aug. 15, Aug. 16
Performances Aug. 17–Sept. 8

• Thursdays at 8 p.m.: Aug. 15 (preview), Aug. 22, Aug. 29, Sept. 5
• Fridays at 8 p.m.: Aug. 16 (preview), Aug. 23, Aug. 30, Sept. 6
• Saturdays at 8 p.m.: Aug. 10 (preview), Aug. 17 (Opening Night), Aug. 31, Sept. 7 (dark Aug. 24)
• Sundays at 3 p.m.: Aug. 11 and Aug. 18 (previews), Aug. 25; Sept. 1; Sept. 8
• Sunday at 7 p.m.: Aug. 25 ONLY

Special events:
• Sunday, Aug. 18: an Asian American and Native Hawaiian/Pacific Islander Affinity event with a “Golden Hour” reception prior to the performance (beginning at 2:15 p.m.).
• Thursday, Aug. 22: pre-show reception (7:15 p.m.) and post-performance discussion, hosted by the LA Guild of Puppetry.
• Sunday, Aug. 25: an interactive stunt demonstration with stunt coordinator Celina Lee Surniak follows the performance.
• ThursdayAug. 29: a pre-show stunt puppetmaking workshop (7 p.m.) at the Advocate & Gochis Galleries; create your own puppet and learn how to get involved in the puppetry community.
• Friday, Aug. 30: a pre-show “Meet-the-Artists celebration (7:15 p.m.) at the Advocate & Gochis Galleries, to uplift the visual artists whose work is on display at the “Take/Action: Stunts, Spectacle and Queer History” exhibit.
• Saturday, Aug. 31: a pre-show blessing from the Los Angeles chapter of the Sisters of Perpetual Indulgence, and a post-show discussion on the history of drag. Come dressed to express and join in the fun!
• Sunday, Sept. 1: post-performance Rogue Artists Ensemble VIP Fundraiser celebrating 20 years of groundbreaking new work in Los Angeles (ticketed event/separate admission; information at rogueartists.org)
• Saturday, Sept. 7: a post-performance conversation with Happy Fall composer Adrien Provost.
• Sunday, Sept. 8: an Action Star DressUp event; come dressed as your own action star and join Rogue Artists for a special fashion runway with prizes for selected winners.

WHERE:
Renberg Theatre
Los Angeles LGBT Center
The Village at Ed Gould Plaza
1125 N McCadden Place
Los Angeles, CA 90038

TICKETS:
$39-$69

HOW:
bit.ly/happyfall24

‘Music at the Odyssey’ presents ‘Music of Motown’

Image

Music at the Odyssey’ presents
Music of Motown’ on Saturday, Aug. 10

WHAT:
Odyssey Theatre Ensemble’s ‘Music at the Odyssey’ series, curated, directed and emceed by bass player John Snow, celebrates the Music of Motown with a roster of sensational vocalists backed by a live, four-piece band. Featured performers include GRAMMY®-nominated vocalist, pianist, music director and arranger Tehillah AlphonsoKenton Chen, seen on NBC’s Perfect Harmony and HBO’s Room 104; singer-songwriter Malia Civetz, who has been championed by Ryan Seacrest and Taylor Swift; actor-singer Bella Hicks, whose credits include national tours of Waitress, Beehive and Rudolph the Musical; and gospel/jazz pianist, singer, arranger and songwriter Princeton Parker, The band includes Nathan Heldman on piano and keys, Mike Cottone on trumpet, Greg Webster on drums and music director John Snow on bass.

WHEN:
Saturday, Aug. 10 at 8.p.m.

WHERE:
Odyssey Theatre
2055 S. Sepulveda Blvd.
Los Angeles CA 90025

PARKING:
Free in the on-site parking lot

TICKETS:
$30

HOW:
www.OdysseyTheatre.com
(310) 477-2055 ext. 2 or

‘Forever Flamenco’ returns to the Fountain Theatre



Forever Flamenco returns to the Fountain Theatre
with four sizzling performances in August 

LOS ANGELES (July 11, 2024) — The summer just got even hotter! The Fountain Theatre’s beloved Forever Flamenco series returns, paying homage to series founder Deborah Culver Lawlor with four blow-out performances in August.

Dubbed the “Fountain Theatre’s godmother of flamenco” by the Los Angeles Times, Lawler, who passed away last year at the age of 83, curated the series for over 30 years, producing hundreds of authentic Spanish flamenco performances at the Fountain’s intimate, 80-seat venue. “Flamenco comes out of the life of a gypsy,” she once said in an interview. “It’s an extremely difficult dance form that requires years to get into your body.”

Forever Flamenco regulars will recognize their favorite performers, many of whom were first introduced to the Fountain stage by Lawlor, as well as some exciting new faces. Four scorching performances are set for Saturday, Aug. 3; Saturday, Aug. 10; Saturday, Aug. 17; and Friday, Aug. 23. All performances begin at 8 p.m.; details below. Olé!

WHEN:
All performances at 8 p.m.

• SaturdayAug. 3: “Amor”, artistic direction by Reyes Barrios
Dancers: Yaelisa and Rocio Carrera
Singer/Dancer: Reyes Barrios
Singer: Antonio de Jerez
Guitarist: Antonio Triana
Violin: David Morales Boroff

• SaturdayAug. 10: “Camino, Caminas artistic direction by Timo Nuñez
Dancer: Timo Nuñez
Singer/Dancer: Clare Rodriguez
Singer: Pepele Mendez
Guitarist: José Tanaka

• SaturdayAug. 17: “Casta Flamenca artistic direction by Lakshmi Basile
Dancer: Lakshmi Basile “La Chimi
Dancer: Cristina Moguel
Dancer: Briseyda Zarate
Guitarist: José Tanaka
Singer: Pepele Mendez

• FridayAug. 23: “Caminos Flamencos” artistic direction by Yaelisa
Dancers: YaelisaVanessa Albalos and Alexandra Rozo
Guitarist: Jason Mcguire
Singer: Felix de Lola

WHERE:
The Fountain Theatre
5060 Fountain Ave.
Los Angeles CA 90029
(Fountain at Normandie)

TICKETS:
• VIP seating (first two rows): $50
• Regular seating: $40
• Senior: $35
• Student: $25

PARKING:
• Secure, on-site parking: $5
• Street parking available in the neighborhood north of Fountain Ave.
• No parking after 6 p.m. on Mariposa or Alexandria Avenues south of Fountain Ave.
• Allow extra time to find street parking; make sure to read all parking signs

HOW:
FountainTheatre.com
(323) 663-1525

Odyssey Theatre Presents ‘Thresholds of Invention’




Odyssey TheatreThresholds of Invention
performance series presents 108 Stitches

One performance only: Saturday, Aug. 3


WHAT:
Odyssey Theatre Ensemble
’s Thresholds of Invention series of first looks at pieces-in-progress by prominent L.A. visionaries presents 108 Stitcheswritten and performed by Ernie Silva. Silva unveils his latest solo project, a wonderfully seriocomic story about a father who struggles with his own sordid past in America’s pastime as his young son now decides to play the game we all know and love. Directed by Mary Joan Negro and featuring original music composed by Lucas Tamaren.

WHO:
• Written and Performed by Ernie Silva
• Directed by Mary Joan Negro
• Music composed by Lucas Tamaren
• Series curator: Tony Abatemarco
• Produced for the Odyssey by Beth Hogan and Tony Abatemarco

WHEN:
One performance only:
• 
Saturday, Aug. 3 at 8 p.m.

WHERE:
Odyssey Theatre
2055 S. Sepulveda Blvd.
Los Angeles CA 90025

PARKING:
FREE in the on-site parking lot

TICKETS:
$25

HOW:
www.OdysseyTheatre.com
(310) 477-2055 ext. 2

German Productions and Co-Productions in Venice

A diverse selection of German productions and co-productions in Venice

 

The 81st Venice International Film Festival, organised by the Biennale di Venezia, will take place this year on the Lido di Venezia from August 28 to September 7, 2024. A total of 17 German productions and co-productions will be shown in various sections, and additional projects will be presented in the Venice Production Bridge. German Films will also be hosting a panel entitled ‘Getting the Money Abroad’ about XR.

On Tuesday, July 23, 2024, the President of the Biennale, Pietrangelo Buttafuoco, and the Artistic Director of the Venice Film Festival, Alberto Barbera, announced the line-up of this year’s Festival. Now in its 81st edition, the Venice Film Festival remains true to its values and aims to raise the awareness of international cinema and promote it in all its forms as art, entertainment and industry in a spirit of freedom and dialogue.

RIEFENSTAHL (Vincent Productions) by Andres Veiel will be screened in the Out of Competition section. The German documentary film portrays the director, who always tried after the Second World War to deny her ideological closeness to the Nazi regime. Leni Riefenstahl only allowed one portrayal of her biography: her own. The estate of one of the most controversial women of the 20th century tells a different story.

The Orizzonti – Extra competition section will open with SEPTEMBER 5 (BerghausWöbke Filmproduktion, Constantin Film, Edgar Reitz Filmproduktion) by Tim Fehlbaum. The drama revolves around the sports team of the US broadcaster ABC, who suddenly have to switch in the middle of the night during the 1972 Summer Olympics in Munich from reporting on sports to live coverage of the Israeli athletes being taken hostage. The story focuses on Geoff, a young and ambitious producer, who wants to prove himself to his boss, the legendary TV director Roone Arledge. SHAHED (Arthood Film) by Nader Saeivar will also be shown in the section. The film is about Tarlan, who witnesses the murder of her friend Rana by her husband, an important figure in the government. When the police refuse to investigate the case, Tarlan decides to go public, putting her own family and herself in grave danger. The third German production in this section is GECENİN KIYISI (EDGE OF NIGHT) (MFP) by Türker Süer about two Turkish brothers who have to come to terms with their own convictions in a country during a period of political unrest.

Two other German productions will be screened in OrrizontiHAPPY HOLIDAYS (Red Balloon Film) by Scandar Copti deals with the story of Palestinian woman Fifi, whose double life is revealed after a car accident in Jerusalem. The episodically involved stories show other characters in the Jewish-Arab cosmos also having to decide between truth, family and ideology. QUIET LIFE (Senator Film) by Alexandros Avranas centres on Sergei and Natalia, two political asylum seekers who have fled to Sweden with their two daughters Katja and Alina with the hope of starting a new, happy life. These hopes are dashed when their application is rejected.

The independent sidebar of Giornate Degli Autori will see the director Shahab Fotouhi presenting BOOMERANG (New Matter Films), a sociological snapshot of modern Tehran based on different fates, including a man in crisis, a marriage falling apart, and a couple of teenagers falling in love in public.

A total of 63 projects from 25 countries will be presented at Venice Immersive this year. The section is entirely devoted to immersive art and immersive media and includes all types of creative XR expression. Germany will be represented by the production BELOW DECK (TÒ SU) by Martina Mahlknecht and Martin Prinoth, which can be seen in Biennale College Cinema – Immersive – Out Of Competition. The VR theatre play combines documentary and fictional means to be able to have a look behind the luxurious façade of a cruise ship.

German Films will also host a panel for the programme on Venice Immersive Island (Lazzaretto Vecchio). Together with Medienboard Berlin-Brandenburg, MOIN Film Fund Hamburg Schleswig-Holstein, Mitteldeutsche Medienförderung, FFF Bayern and Film- und Medienstiftung NRW, German Films will be addressing the subject of ‘Getting the Money Abroad: Opportunities and Challenges of International Coproductions With Germany in XR’ on Sunday, 1 September from 4:30 – 5:30 pm.

The German writer-director Julia von Heinz (TREASURE) will serve as a member of the International Competition’s jury. Chaired by Isabelle Huppert and together with seven other members, the Mostra jury will decide, among other things, on the winner of the Golden Lion.

Other German filmmakers will also be in various sections in Venice with international productions, including Albrecht Schuch who is in the acting ensemble of the Austrio-German production PEACOCK by Bernhard Wenger in Settimana Della Critica.

 

An overview of all of the German productions and co-productions in Venice:

Competition
HARVEST by Athina Rachel Tsangari (GB/DE/GR/FR/US, MFP)
MARIA by Pablo Larraín (IT/GB/CL/DE, Komplizen Film)

Out Of Competition – Non Fiction
RIEFENSTAHL by Andres Veiel (Vincent Productions)

Out Of Competition – Series
FAMILIER SOM VORES (FAMILIES LIKE OURS) by Thomas Vinterberg (DN/FR/SE/CZ/BL/NO/DE, Zentropa Berlin)

Orrizonti Extra
SEPTEMBER 5 by Tim Fehlbaum (DE/US, BerghausWöbke Filmproduktion, Constantin Film, ERF Edgar Reitz Filmproduktion)
GECENİN KIYISI (EDGE OF NIGHT) by Türker Süer (DE/TR, MFP)
SHAHED (THE WITNESS) by Nader Saeivar (DE/AT, Arthood Film)

Orrizonti
HAPPY HOLIDAYS by Scandar Copti (DE/PS/FR/IT/QA, Red Balloon Film)
QUIET LIFE by Alexandros Avranas (DE/FR/EE/SE/GR/FI, Senator Film Produktion)

Venice Classics
FROM DARKNESS TO LIGHT by Michael Lurie, Eric Friedler (AU/DE)
LES FLOCONS D’OR (GOLDFLOCKEN) by Werner Schroeter (DE/FR, Janus Film und Fernsehen)

Venice Immersive – In Competition
SYMBIOSIS/\DYSBIOSIS: SENTIENCE by Tosca Terán, Brendan Lehman, Andrei Gravelle, Sven Steffens (CA/DE/CL, The Mycelial Network)

Biennale College Cinema – Immersive – Out Of Competition
BELOW DECK by Martina Mahlknecht, Martin Prinoth (DE/IT, TÒ SU)
DUCHAMPIANA by Lilian Hess (FR/DE, mYndstorm productions)

Giornate Degli Autori
BOOMERANG by Shahab Fotouhi (DE/IR, New Matter Films)
SANATORIUM UNDER THE SIGN OF THE HOURGLASS by Quay Brothers (GB/DE/PL, MFP)

Settimana Della Critica
PEACOCK (PFAU) by Bernhard Wenger (AT/DE, Cala Film)

 

VENICE PRODUCTION BRIDGE

Gap Financing Market
Fiction

NO GOOD MEN by Shahrbanoo Sadat (DE/FR/NO/DN, Adomeit Film, Amerikafilm)

Immersive
BODY/MEMORY by Stefano Casertano (DE/IT, Daring House)
LALALABYRINTH (WT) by Pedro Harres (Reynard Films)
RESONANZ by David Adler and Ioulia Isserlis (DE/DN, Anotherworld VR)

Biennale College Cinema – Immersive Projects
EDIFICE by Andreea Ion Cojocaru (DE/US, Numena)

Final Cut
Docu-Fiction

ANCESTRAL VISIONS OF THE FUTURE by Lemohang Jeremiah Mosese (FR/DE/LS)

Theatre Review: Sweeney Todd, The Demon Barber of Fleet Street

Chance Theater presents Sweeney Todd, The Demon Barber of Fleet Street. Book by Hugh Wheeler. Music and lyrics by Stephen Sondheim. Based on an adaptation by Christopher Bond. Directed by James Michael McHale. Music direction by Lex Leigh. Produced by Rachelle Menaker and Eddie Schuller.

Director James Michael McHale keeps the thriller and dark elements in this new production of Sweeny Todd. The scenic design by Fred Kinney and Mio Okada honors the grittiness and thriller vibes of the story. The stage features an industrial and dystopian design that reflects the cannibalistic and aggressive tendencies of the characters. Adding to the atmosphere is the excellent lighting design by Jacqueline Malenke. The lighting serves as an effective character to convey the lingering danger of Sweeny Todd’s hunger for revenge.

Another characteristic of this production is the costume design by Gwen Sloan. Gothic and Victorian, the costumes depict the roughness of London life back in the 1800s. The costumes match the vampiric bent of Sweeny and the inhabitants of the city in their lust for blood, consciously or unconsciously.

Sweeney Todd (Winston Peacock) and Judge Turpin (Justin Ryan) bring the animalistic attributes of the protagonist and antagonist. Both of them excel in their portrayal of corruption and maddening thirst for revenge. Ryan’s operatic voice adds a Machiavellian tone to Judge Turpin’s personality. This plays very well in the song “Joanna (Mea Culpa)”, where Turpin’s sexual attraction to Joanna is revealed.

Then there is Mrs. Lovett. Jocelyn A. Brown delivers a superlative performance with her fascinating devilish humor that adds a touch of comedy and tragedy to the play. Despite the roughness of the character, Brown is able to infuse Mrs. Lovett with the vulnerability of a woman that falls hard for an unrequited love.

McHale’s production is long, about three hours, but the acting, music, and the other creative elements make the time go fast. The attention to detail is extraordinary and the cast delivers a memorable performance. McHale highlights the romance, danger, and tragedy in a way that keeps the audience engaged the whole time.

This is a story of life, death, and revenge. McHale is able to unify all of the dramatic and creative elements at the end to accentuate that powerful dramatic tool called irony. The phantasmagoric aspect of the story is well executed, giving that aura of mysticism to the resolution, transporting the characters to that space where life and death converge.

By the way, don’t miss the pool of blood on the stage when you exit, it gives a touch of realism to the experience, almost like witnessing a crime scene.

Sweeney Todd, The Demon Barber of Fleet Street

Chance Theater @ Bette Aitken theater arts Center on the Cripe Stage
5522 E. La Palma Ave.
Anaheim, CA 92807
Performances: July 12 – August 11, 2024
Thursdays 7:30pm, Fridays 8 pm, Saturdays at 3 and 8 pm, & Sundays at 3 pm and 7 pm only for July 14)
Book by Hugh Wheeler. Music and lyrics by Stephen Sondheim. Based on an adaptation by Christopher Bond. Directed by James Michael McHale. Music direction by Lex Leigh. Choreography by Mo Goodfellow.
Cast: Winston Peacock, Jocelyn A. Brown, Naya Ramsey-Clarke, Dylan August, Justin Ryan, Adam Leiva, Abel Miramontes, Emmanuel Madera, and Laura M. Hathaway.
Creative team: Scenic design by Fred Kinney and Mio Okada. Costume design by Gwen Sloan. Lighting design by Jacqueline Malenke. Sound design by Lia Weed. Projection design by Nick Santiago. Produced by Rachelle Menaker and Eddie Schuller. Bette & Wyllie Aitken are Executive Season Producers. Sophie & Larry Cripe are Associate Producers. Family of Mary Kay Fyda-Mar are Associate Season Producers.

 

Theatre Review: The Substance of Fire

Ruskin Group Theatre presents The Substance of Fire. Written by Jon Robin Baitz. Directed by Mike Reilly. Produced by John Ruskin and Michael R. Myers.

Isaac Geldhart (Rob Morrow) has a problem. His company is collapsing and he is having a hard time relating to his children. Aaron (Emmitt Butler), Sarah (Fiona Dorn), and Martin (Barret T. Lewis) get together to take over the company and try to convince Isaac that the business strategy needs to change to put the company back in the black. Isaac, however, refuses to relent and the relationship with his children continues to deteriorate. The brilliant text by Jon Robin Baitz reveals the complexities of family dynamics and the challenging corporate landscape in the face of a generational shift.

Isaac seems unable to communicate his experiences as a Holocaust survivor to his children in a way that resonates with them. As they grew up in America in a free society, they seem unable to relate with the struggles of the previous Jewish generations. Isaac thinks that his children are unwilling to fight for their beliefs. This shows the disconnect between both generations, adding more strains to their relationship.

Morrow’s portrayal of a Holocaust survivor is convincing and compelling. He shows the intricate web of emotions of a man who reinvented himself despite the hardships of tragedy. Morrow conveys, with passion and wit, Isaac’s fierce mental state, but also the darkness of his decline.

In the second act, Isaac faces another set of challenges. He is older and more isolated. As he starts to unlock memories, they become more painful, accentuated by his loneliness. But there is a slight ray of hope. The psychiatric social worker who is sent to evaluate his mental capacities may spark some fire into his life. Marge Hackett (Marcia Cross) interacts, argues, and empathizes with Isaac, revealing surprising details along the way. Cross delivers a memorable performance, portraying a possibility, a second chance in life, pushing, pulling, like an enigma. Cross and Morrow display an extraordinary chemistry on set that translates into a superb performance, dissecting the underlying emotions, hopes, and devastating loneliness of both characters.

Director Mike Reilly captures in vivid detail the essence of the play. With a stellar cast and a brilliant text, Reilly structures a poignant production that presents the challenging realities of a character that refuses to let go of the past, and characters that expose the emotional scars of secrets and insecurities. Will the characters be able to reignite the substance of fire?

The Substance of Fire

Ruskin Group Theatre
3000 Airport Avenue
Santa Monica, CA 90405
Opening July 12, 2024
Closing September 1, 2024
8pm Fridays and Saturdays, 2pm on Sundays
Written by Jon Robin Baitz. Directed by Mike Reilly. Produced by John Ruskin and Michael R. Myers. Presented by Ruskin Group Theatre.
Cast: Rob Morrow, Marcia Cross, Emmitt Butler, Fiona Dorn, and Barret T. Lewis.
Creative team: Ryan Wilson (Scenic Design), Edward Salas (Lighting and Sound Design), Michael Mullen (Costume Design).

David Dean Bottrell Returns to Rogue Machine

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NEWS RELEASE

David Dean Bottrell Returns to Rogue Machine for a Limited Run in
“Dear Mr. Bottrell, I Cannot Possibly Accept This”
&
“The Death of Me Yet”
Opening July 10, 2024 with reception to follow
Running in Rep through July 21, 2024
Recommended for ages 16+

Rogue Machine at the Matrix Theatre, 7657 Melrose Ave, Los Angeles, CA 90046

Los Angeles, CA (June 30, 2024) – Laughter takes center stage at Rogue Machine in July as renowned writer and performer David Dean Bottrell returns with the Los Angeles premiere of his latest/greatest production, “Dear Mr. Bottrell, I Cannot Possibly Accept This,” which will be playing in rep with encore performances of The Death of Me Yet. Known for his wit and attributes as an engaging storyteller, Bottrell’s return engagement promises to bring delight to audiences during these memorable comedic performances.

“Bottrell’s storytelling is a mesmerizing journey, unveiling subtleties and deep humor even in the darkest moments. Brings brilliance to the boards” – Broadway World

1080x1080.jpgBuckle up for two fast-moving, compelling performances as Bottrell (Frasier, Modern Family) shares a set of, unfortunately, true stories in “Dear Mr. Bottrell, I Cannot Possibly Accept This,” about life’s traumatic turning points which include tales of ill-advised singing lessons, over-enthusiastic weight loss, and trying to keep one’s sister out of prison. In The Death of Me Yet, he presents an uplifting evening about biting the dust. David examines the topic of mortality with a refreshing blend of humor and warmth. Through his anecdotes about potluck funerals, encounters with chatty EMS personnel, and an exploration of unconventional burial options, he recounts his personal experiences with “the big “D” in a life-affirming storytelling theatrical event.

For “Dear Mr. Bottrell, I Cannot Possibly Accept This,” Bottrell explains that, “after receiving a letter from a highly revered producer, I realized that I’d become part of a huge, embarrassing misunderstanding that could never be corrected. There was absolutely no way to fix it, but out of that weird incident this new show emerged about painful, hilarious, scary and wonderful moments in life when you realize that there’s no going back. The road has forked and now it’s up to us to move forward and invest in whatever this new path is going to be!”

Bottrell continues, “The Death of Me Yet is about something much bigger, I honestly think it came into being because of the pandemic. “We were all trapped in some form of isolation, and constantly being warned about how much danger we were in and to stay away from each other. It gave me a lot of time to think about how I want to spend my time from now on. I kind of think that all of my shows are about the search for honesty, even when it’s embarrassing or reveals me to be the unprepared clod that I am.”

“RAW & UNFILTERED… If you have never had the privilege of seeing David Dean Bottrell tell a story, caution: you may need to bring an extra pair of pants.” – Metrosource Magazine 

David Dean Bottrell is an actor/storyteller/writer whose first solo show, David Dean Bottrell Makes Love, had a sold-out run at Rogue Machine in 2011 (LA TIMES – “Hysterical. Well-structured writing … deeply consoling”). Nominated for Best Spoken Word Show (Broadway World Awards) and recipient of a Best Solo Theatre Performance Award (Stage Scene LA), David’s additional credits include numerous stage appearances in sketch comedy and storytelling shows at NYC’s Joe’s Pub, Dixon Place, Comedy Central Stage, and Acme Comedy Theatre. TV credits include the 2023 reboot of Frasier, Modern Family, Law & Order SVU, Blacklist, NCIS, Criminal Minds, Mad Men, Justified, True Blood, Castle, Bones, Ugly Betty, Days of Our Lives, and Boston Legal. He wrote the screenplay for Searchlight Pictures hit comedy Kingdom Come.

Rogue Machine is the only company to receive the Los Angeles Drama Critics Circle Award for “Best Season” three times (2023, 2016, 2011). Additionally, they won the Ovation Award for “Best Season” (2017) and in the last 9 years the company has won three Ovation Awards and four LADCC awards for “Outstanding Production of the Year.” Rogue Machine produces new plays, primarily by Los Angeles based playwrights, and important contemporary plays not yet seen in Los Angeles. Nine of their productions have been published by Samuel French, Dramatists Play Service or Broadway Play Publishing, and six of the productions have had subsequent stagings at significant theatres, including Off Broadway, major regional houses and the Donmar Warehouse in London. Four world premieres, Razorback, Small Engine Repair, Lone-Anon, and One Night in Miami… were made into feature films, and playwright Kemp Powers was nominated for an Academy Award. In recognition of its artistic achievement, administrative strength, development of new work and other significant contributions to the field of professional theatre in the United States, Rogue Machine is supported by the Shubert Foundation, The Ralph M. Parsons Foundation, The David Lee Foundation, The City and County of Los Angeles, The Ahmanson Foundation, and The Richenthal Foundation. RMT is a recipient of the American Theatre Wing’s 2014 National Theatre Company Grant.

David Dean Bottrell Returns in Rep at 8pm Wednesday, July 10 and runs through July 21, 2024. Check website for performance schedule. Rogue Machine, in the Matrix Theatre located at 7657 Melrose Ave., Los Angeles, CA 90046. Tickets are $45 (Seniors $35, Students $25). Reservations: https://www.roguemachinetheatre.org/ or for more information 855-585-5185.

Schedule:

Wednesday, July 10 at 8 pm (Opening) “Dear Mr. Bottrell, I Cannot Possibly Accept This”
Friday, July 12 at 9:30 pm (Late Show) “Dear Mr. Bottrell, I Cannot Possibly Accept This”
Saturday, July 13 at 3 pm (Matinee) “Dear Mr. Bottrell, I Cannot Possibly Accept This”
Sunday, July 14 at 3 pm (Matinee) The Death of Me Yet
Monday, July 15 at 8 pm The Death of Me Yet
Wednesday, July 17 at 8 pm The Death of Me Yet
Friday, July 19 at 9:30 pm (Late Show) “Dear Mr. Bottrell, I Cannot Possibly Accept This”
Saturday, July 20 at 3 pm (Matinee) “Dear Mr. Bottrell, I Cannot Possibly Accept This”
Sunday, July 21 at 3 pm (Matinee) “Dear Mr. Bottrell, I Cannot Possibly Accept This”
Twitter: @RogueMachineLA (https://twitter.com/RogueMachineLA)
Instagram: @RogueMachineTheatre (https://www.instagram.com/roguemachinetheatre/)

EVENT DETAILS FOR CALENDAR: Run time is approximately 80 minutes (no intermission)

WHAT“David Dean Bottrell Returns in Rep with:

“Dear Mr. Bottrell, I Cannot Possibly Accept This” and
“The Death of Me Yet”
Written and performed by David Dean Bottrell
Produced by Jennifer Sorenson
A Rogue Machine Production
Recommended for ages 16+

DESCRIPTION: Buckle up for these two fast-moving, compelling performances as David Dean Bottrell (Frasier, Modern Family) shares a set of, unfortunately, true stories in “Dear Mr. Bottrell, I Cannot Possibly Accept This,” about life’s traumatic turning points which include tales of ill-advised singing lessons, over-enthusiastic weight loss, and trying to keep one’s sister out of prison. In The Death of Me Yet, he presents an uplifting evening about biting the dust. David examines the topic of mortality with a refreshing blend of humor and warmth. Through his anecdotes about potluck funerals, encounters with chatty EMS personnel, and an exploration of unconventional burial options, he recounts his personal experiences with “the big “D” in a life-affirming storytelling theatrical event.

WHERE: Rogue Machine (in the Matrix Theatre)
7657 Melrose Ave, Los Angeles, CA 90046
(Street parking)

WHEN: Opening at 8pm on July 10, 2024

Wednesday, July 10 at 8 pm (Opening) “Dear Mr. Bottrell, I Cannot Possibly Accept This”
Friday, July 12 at 9:30 pm (Late Show) “Dear Mr. Bottrell, I Cannot Possibly Accept This”
Saturday, July 13 at 3 pm (Matinee) “Dear Mr. Bottrell, I Cannot Possibly Accept This”
Sunday, July 14 at 3 pm (Matinee) The Death of Me Yet
Monday, July 15 at 8 pm The Death of Me Yet
Wednesday, July 17 at 8 pm The Death of Me Yet
Friday, July 19 at 9:30 pm (Late Show) “Dear Mr. Bottrell, I Cannot Possibly Accept This”
Saturday, July 20 at 3 pm (Matinee) “Dear Mr. Bottrell, I Cannot Possibly Accept This”
Sunday, July 21 at 3 pm (Matinee) “Dear Mr. Bottrell, I Cannot Possibly Accept This”

Closing: July 21, 2024

HOW: For reservations call 855-585-5185 or https://www.roguemachinetheatre.org/

HOW MUCH: Previews $45

Tickets are $45 (Seniors $35; Students $25)