Theatre Review: The Ghee Ghee Pik

The Group Rep presents the World Premiere of The Ghee Ghee Pik. Written by Suzy London. Directed by Kathleen R. Delaney. Produced for The Group Rep by Lloyd Pedersen and Sam Logan.

Can artificial intelligence enhance human brains? Playwright Suzy London creates a fictionalized dystopian scenario where neuronal implantation effects go beyond the medical applications. Although the play is fiction, it is based on a true story; one that exposes the tremendous medical benefits of neurotechnology, but also the negative consequences both legal and ethical if the business side collapses.

Margaret Kelly (Mandy Fason) suffers seizures that affect her functionality. She agrees to participate in a trial by the upstart NeuroView. The company would provide a brain-computer interface to her doctors—Dr. Kenilworth (Jason Madera) and Dr. Atchison (Stevie Stern)—to implant it in her brain so she can manage her epilepsy and improve her quality of life. The device is implanted and her condition changes radically. Not only are her seizures gone but she also develops other traits that enhance her mental capacities. The implanted device starts to create its own language. Margaret gets so attached to this device that she even gives it a name: Genie.

Margaret feels so empowered by her improved condition that she even changes her name to Pegeen. Another recipient of a similar device is Trevor (Davino Buzzotta), who was involved in a car accident and ended up in a wheelchair and slurred speech. His condition also improves dramatically after the implant; he is now able to walk again and speak clearly.

But not everything is great. Margaret starts to mistreat her mom Barbara (Diana Angelina). Margaret’s attitude also affects her relationship with her husband Joel (Doug Haverty). It seems that Genie has become an entity of its own, influencing and modifying Margaret’s personality.

One interesting detail about the story is that while Margaret experiences effervescent feelings of well-being, Trevor experiences a new-found hypersexuality. Those aspects have occurred in real life with patients, according to Frederic Gilbert, who teaches philosophy at the University of Tasmania.

London and Director Kathleen R. Delaney depict in detail the ethical, philosophical, and legal aspects involved in neurotechnology. For example, what happens when the manufacturer of the device folds? There are intellectual property issues with implanted AI devices to address. To whom do they belong, to the patient or the manufacturer? In the play, NeuroView files for bankruptcy. With the help of attorney Kendrick Gold (Kevin Michael Moran), Margaret and Trevor file a class action lawsuit in an attempt to keep their devices. Otherwise, the devices would be removed from their brains, setting them back to a life of suffering.

From a philosophical standpoint, would implanting AI into humans enhance or deteriorate self-awareness? Some patients in real life have stated that they’re not able to recognize themselves anymore, as if AI made a dramatic change to their identities. In Margaret’s case, her seizures stopped, but her personality changed to the point where she couldn’t relate to her loved ones anymore. She developed such an intense emotional attachment to her device that she couldn’t picture her life without it.

London and Delaney offer a sublime and riveting production that presents the possibilities and the dangers of a nascent technology that can turn into a blessing or a curse, given the still many gray areas to resolve. In one particular scene, an image is projected onto the wall that captures vividly the intensity of the subject matter. With emotional background music, we see the close-up of a face with an expressive eye. Is it wonder or terror?

As far as acting, Fason delivers an intense and moving depiction of the spectrum of emotions involved in such a complex scenario. Her performance is infused with the ecstatic feel of hope and the soul-draining sense of loss. It’s gripping and impactful.

Adding artificial intelligence—with its capacity to learn on its own—to the 86-100 billion neurons and approximately 100 trillion connections that make up a human brain, could mean that we are witnessing not just another wave of innovation, but a new era of human history.

The Ghee Ghee Pik

Lonny Chapman Theatre – Upstairs Stage
10900 Burbank Blvd., North Hollywood 91601

6/13/2024 – 7/14/2024 (check link below for full schedule)

Ticketsthegrouprep.com

Written by Suzy London. Directed by Kathleen R. Delaney. Produced for The Group Rep by Lloyd Pedersen and Sam Logan.

Cast: Diana Angelina, Davino Buzzotta, Mandy Fason, Doug Haverty, Cierra Lundy, Jason Madera, Kevin Michael Moran, Helen O’Brien, Stevie Stern, and Cathy Diane Tomlin.

Creative Team: John Ledley (Stage Manager), Mareli Mitchel-Shields (Set Designer), Nick Foran (Lighting Design), Doug Haverty (Graphic Design/Projections), Dan O’Connell (Sound Design & Effects), and Mikaela Padilla (Sound Consultant).

Antaeus Announces Leadership Transition

Antaeus Announces Leadership Transition: Bill Brochtrup Steps Down, Nike Doukas Named New Artistic Director

GLENDALE, Calif. (June 28, 2024) — Antaeus Theatre Company is pleased to announce that Nike Doukas, a long-time company member, will be the new artistic director. Doukas will assume the role on September 4, succeeding current artistic director and company member Bill Brochtrup.

Brochtrup, a member of Antaeus since 2005 and part of its artistic leadership since 2012, has been instrumental in the company’s success. Under his leadership, Antaeus has produced critically-acclaimed seasons featuring works by Shakespeare, Chekhov, Shaw, Ibsen, Brecht, Pinter, and Churchill, as well as American classics by Miller, Williams, Inge, Hellman, Kaufman & Hart, Childress, and Jacobs-Jenkins. His tenure also saw new adaptations of Sophocles and Wright, new plays developed in the Antaeus Playwrights Lab, and three seasons of original audio plays, which earned a 2022 Ambie Award nomination for Best Fiction Podcast. Additionally, Brochtrup helped lead the company’s $3 million capital campaign, culminating in the move to the Kiki & David Gindler Performing Arts Center in 2017.

Reflecting on his time at Antaeus, Brochtrup said, “When I started doing community theater plays in Tacoma as a 12-year-old, the thing I loved most was the community of artists coming together to tell a great story. Antaeus has offered me the chance to continue living that dream. It has been a real honor to lead Antaeus through steady growth for over a dozen years — both artistic and financial. Nike is the perfect person to lead Antaeus to the next level. She has exquisite artistic taste, a commitment to the Company’s vision, and the tenacity and know-how to get the job done.”

Doukas brings a wealth of experience to her new position. She began her professional theater career in the Bay Area, earning her MFA and serving as a company member at the American Conservatory Theatre. Most of her professional life has been based in Los Angeles; she has appeared in 20 productions and countless workshops and readings at the South Coast Repertory Theatre, and has performed at The Mark Taper Forum, The Old Globe, The Pasadena Playhouse, and Shakespeare Festival LA. Her other theater credits include the Berkeley Repertory Theatre, Berkeley Shakespeare Festival, ACT (Seattle), Shakespeare Santa Cruz, The Jewel Theatre, and Pittsburgh’s PICT Classical Theatre and Kinetic Theatre. Doukas is a 2012 Lunt-Fontanne Fellowship recipient. Her Los Angeles directorial debut with Harold Pinter’s The Hothouse at Antaeus garnered 10 Ovation Award nominations and four LA Drama Critic Circle awards. Other directing credits include The Tempest at Antaeus, and productions at A Noise Within, The Ensemble Theatre (Santa Barbara), North Coast Rep (San Diego), The Jewel (Santa Cruz), and Playwright’s Arena (Los Angeles), and PICT Classical Theatre.

Expressing her excitement about the new role, Doukas said, “I am looking forward to this transition in Antaeus with great pleasure and a deep sense of responsibility. I plan to build and expand on what makes Antaeus special: world class actors making classical theater come to life in an intimate space. I plan to continue with Bill’s work; inspiring, surprising and delighting our audiences.”

Board chair Evie DiCiaccio expressed gratitude for Brochtrup’s contributions, saying, “We are deeply grateful for Bill’s tremendous contributions to Antaeus during his tenure. His leadership has firmly established Antaeus as a creative cornerstone in Los Angeles, and we are delighted that he will remain an active member of our ensemble. We are equally thrilled to welcome Nike as our new artistic director. Her cohesive vision, unwavering passion for Antaeus, and exceptional artistic sensibility will guide us as we continue to grow and thrive.”

Antaeus is an actor-driven theater company dedicated to exploring and producing timeless works, grounded in a passion for the classics. The company illuminates diverse human experiences through performance, training, and outreach, believing in the transformative power of live theater.

For more information about the Antaeus Theatre Company, visit www.antaeus.org.

 

German Films supports foreign theatrical releases of German films

German Films supports foreign theatrical releases of German films with 306,000 Euro

In the second meeting of 2024, German Films „Distribution Support” awards committee decided to support 45 foreign theatrical releases of German films. In total 306,000 Euro were allocated.

The committee decided to support the following films:

AFIRE in Sweden (Distributor: Njutafilms, World Sales: The Match Factory, Theatrical Release: July 12, 2024, Grant: 6,000 €)
BLIND AT HEART in the Netherlands (Distributor: Cherry Pickers, World Sales: The Match Factory, Theatrical Release: July 25, 2024, Grant: 8,000 €)
CHANTAL AND THE MAGIC KINGDOM in Hungary (Distributor: InterCom, World Sales: Picture Tree International, Theatrical Release: August 29, 2024, Grant: 7,000 €)
CUCKOO in Switzerland (Distributor: Praesens-Film, World Sales: Weltkino, Theatrical Release: August 8, 2024, Grant: 4,000 €)
DYING in Switzerland (Distributor: Filmcoopi, World Sales: Match Factory, Theatrical Release: May 30, 2024, Grant: 11,000 €)
DYING in Romania (Distributor: Freealize, World Sales: The Match Factory, Theatrical Release: October 11, 2024, Grant: 3,000 €)
DYING in Norway (Distributor: Selmer Media, World Sales: The Match Factory, Theatrical Release: October 18, 2024, Grant: 9,000 €)
DYING in France (Distributor: Bodega Films, World Sales: The Match Factory, Theatrical Release: September 11, 2024, Loan: 20,000 €)
ELAHA in North Macedonia (Distributor: Cutaway, World Sales: Pluto Film, Theatrical Release: October 10, 2024, Grant: 3,000 €)
ELLI AND THE GHOSTLY GHOST TRAIN in Switzerland (Distributor: Praesens-Film, World Sales: Wild Bunch, Theatrical Release: June 27, 2024, Grant: 8,000 €)
EMPTY NETS in Australia (Distributor: Green Frog Production, World Sales: Pluto Film, Theatrical Release: September 1, 2024, Grant: 3,000 €)
ETERNAL YOU in Austria (Distributor: Filmdelights, World Sales: Dogwoof, Theatrical Release: September 6, 2024, Grant: 4,500 €)
ETERNAL YOU in UK and Ireland (Distributor: Dogwoof, World Sales: Dogwoof, Theatrical Release: June 28, 2024, Grant: 10,500 €)
EVERYTHING’S FIFTY FIFTY in Switzerland (Distributor: DCM Film Distribution, World Sales: Picture Tree International, Theatrical Release: August 29, 2024, Grant: 8,000 €)
FÜHRER AND SEDUCER in Switzerland (Distributor: Elite Film AG, World Sales: Beta Film, Theatrical Release: August 22, 2024, Grant: 11,000 €)
FÜHRER AND SEDUCER in Sweden (Distributor: Noble Entertainment, World Sales: Beta Film, Theatrical Release:  September 6, 2024, Grant: 7,000 €)
FÜHRER AND SEDUCER in Denmark (Distributor: Mis. Label Aalborg, World Sales: Beta Film, Theatrical Release: September 19, 2024, Grant: 7,000 €)
FÜHRER AND SEDUCER in Norway (Distributor: Star Media Entertainment, World Sales: Beta Film, Theatrical Release: October 11, 2024, Grant: 5,000 €)
FÜHRER AND SEDUCER in Czech Republic (Distributor: DonArt Production, World Sales: Beta Film, Theatrical Release: October 20, 2024, Grant: 4,000 €)
FÜHRER AND SEDUCER in Spain (Distributor: A Contracorriente Films, World Sales: Beta Film, Theatrical Release: December 5, 2024, Grant: 12,000 €)
FALLING INTO PLACE in Spain (Distributor: Syldavia Cinema, World Sales: Telepool / Global Screen, Theatrical Release: July 19, 2024, Grant: 10,000 €)
GIANTS OF LA MANCHA in Greece (Distributor: Rodebud.21, World Sales: Studio 100, Theatrical Release: July 4, 2024, Grant: 5,000 €)
GIRL YOU KNOW IT’S TRUE in Hungary (Distributor: Vertigo Media, World Sales: Voltage Pictures, Theatrical Release:  May 23, 2024, Grant: 8,000 €)
GONDOLA in Spain (Distributor: Reverso Films, World Sales: Coccinelle Film Sales, Theatrical Release: Novemver 22, 2024, Grant: 3,000 €)
HOLLYWOODGATE in UK and Ireland (Distributor: Curzon Film World, World Sales: Cinephil, Theatrical Release: August 16, 2024, Grant: 10,000 €)
IVO in Austria (Distributor: Filmcasino & Polyfilm, World Sales: Loco Films, Theatrical Release: June 21, 2024, Grant: 2,500 €)
LUCY WANTED in Croatia (Distributor: Radar, World Sales: The Playmaker Munich, Theatrical Release: September 12, 2024, Grant: 4,500 €)
LUCY WANTED in Serbia (Distributor: Cinefest, World Sales: The Playmaker Munich, Theatrical Release: August 29, 2024, Grant: 3,000 €)
MUSIC in the United States and Canada (Distributor: The Cinema Guild, World Sales: Shellac, Theatrical Release: June 28, 2024, Grant: 3,000 €)
ONE LAST EVENING in Poland (Distributor: Aurora Films, World Sales: Beta Cinema, Theatrical Release: May 24, 2024, Grant: 6,000 €)
SUN AND CONCRETE in Estonia, Latvia and Lithuania (Distributor: Unlimited Media, World Sales: Moonrise Pictures, Theatrical Release: August 30, 2024, Grant: 8,000 €)
SCHOOL OF MAGICAL ANIMALS 2 in Israel (Distributor: Red Cape Distribution, World Sales: Global Screen, Theatrical Release: September 5, 2024, Grant: 10,000 €)
SISI & I in the United States (Distributor: Film Movement, World Sales: The Match Factory, Theatrical Release: July 12, 2024, Grant: 5,000 €)
SCORCHED EARTH in Greece (Distributor: Danaos Films, World Sales: The Match Factory, Theatrical Release: August 8, 2024, Grant: 3,000 €)
THE CHAOS SISTERS FEAT. PENGUIN PAUL in Estonia (Distributor: Unlimited Media, World Sales: The Playmaker Munich, Theatrical Release: August 9, 2024, Grant: 4,000 €)
THE CHAOS SISTERS FEAT. PENGUIN PAUL in Latvia (Distributor: Unlimited Media, World Sales: The Playmaker Munich, Theatrical Release: August 9, 2024, Grant: 4,000 €)
THE CHAOS SISTERS FEAT. PENGUIN PAUL in Lithuania (Distributor: Unlimited Media, World Sales: The Playmaker Munich, Theatrical Release: October 11, 2024, Grant: 4,000 €)
THE UNIVERSAL THEORY in Romania (Distributor: Contactory Studio / Cay Films, World Sales: Charades, Theatrical Release: October 4, 2024, Grant: 3,000 €)
TWO TO ONE in France (Distributor: KMBO, World Sales: The Playmaker Munich, Theatrical Release: September 4, 2024, Grant: 13,000 €)
TWO TO ONE in Greece (Distributor: Rodebud.21, World Sales: The Playmaker Munich, Theatrical Release: July 25 ,2024, Grant: 3,000 €)
TWO TO ONE in Austria (Distributor: Filmladen Filmverleih, World Sales: The Playmaker Munich, Theatrical Release: July 25, 2024, Grant: 6,000 €)
TWO TO ONE in Switzerland (Distributor: Filmcoopi, World Sales: The Playmaker Munich, Theatrical Release: July 25, 2024, Grant: 9,000 €)
WILD HEART – RIDE TO FREEDOM in Poland (Distributor: Bomba Film, World Sales: Sola Media, Theatrical Release: September 27, 2024, Grant: 9,000 €)
WOW! MESSAGE FROM OUTER SPACE in Poland (Distributor: Vivarto, World Sales: Playmaker Munich, Theatrical Release: Novemver 8, 2024, Grant: 8,000 €)
WEEKENDREBELS in Japan (Distributor: SDP, World Sales: Picture Tree International, Theatrical Release: Novemver 15, 2024, Grant: 11,000 €)

Please be aware that all release dates are subject to change.

Applications for the next sitting of the awards committee meeting can be submitted up until September 16, 2024.

The “Distribution Support” funding program was launched in 2005 and supports the theatrical release of German films abroad. Subsidies are awarded for additional measures over and above the release campaign which had already been planned by the foreign distributors. The support up to a maximum of 50,000 Euros is allocated in the form of a conditionally repayable loan. Funding of up to 15,000 Euros can also be allocated as a Grant.

The guidelines and the application form for “Distribution Support” can be downloaded here.

Fringe Review: Magic for Animals

Magic for Animals. Written and performed by Liz Toonkel.

The stage is set for some amazing magic tricks. Liz Toonkel delivers a show where magic is the catharsis for broken human relationships and broken human-animal relationships. By the way, no animals were hurt during the show. That’s expected, as Liz is an animals’ rights activist.

With audience participation, the show becomes more interactive and dynamic. The participation is mainly to establish an important message: Animals suffer, and the meat and luxury goods industries couldn’t care less about animal welfare. Liz is straight forward about it and her show revolves around it.

Another compelling fact is Liz’s story about broken human relationships with a best friend and a school crush. Film school and a few years later, she experienced even more human connections struggles. It is then that magic became a tool to transform those negative aspects in her life to positive outcomes; holding a grudge was no longer an option.

Magic for Animals has plenty of positive theatrical elements to make this show a great hit. Her costume, magic tricks, audience engagement, animal rights advocacy, and a general positive message. If she works more on the pacing, the show will be even more attractive. Mixing comedy and magic is always a winning combination.

Magic for Animals

Los Angeles LGBT Center
Davidson / Valentini Theatre
1125 North McCadden Place
Los Angeles, CA 90038

Friday Jun 28 2024 @ 10:30 PM

Sunday Jun 30 2024 @ 3:30 PM

Ticketshollywoodfringe.org/projects/10508

Written and performed by Liz Toonkel.

Fringe Review: Brainwashed

Brainwashed. Written and performed by Alina Konon. Directed by Nathan Mohebbi.

Alina Konon explains the hardships of living under a communist and totalitarian government using humor and clowning in her solo show Brainwashed.

Born in Belarus, she grew up with scarce resources and limited freedom, always under the spell of the radiation fallout from the Chernobyl disaster. Her childhood was influenced by Lenin and the fear of persecution. Friends and family members’ arrests and beatings were a constant reminder of the dangers of dissent. Until she moved to the land of the free, America.

Alina uses elements of clowning in her show and plenty of audience participation to keep the engagement alive. This combination creates a highly energetic performance and the audience becomes a part of the show.

Fringe is an excellent platform for actors and comedians to polish off their storytelling techniques. Performers like Alina make great use of the stage working with minimal props, concentrating mainly in their ability to tell a story with humor and engagement.

Alina is ceative and entertaing, and she’s not shy about mixing her comedic skills with her vulnerabilities to add a human touch to her performance. And let’s not forget her flash lesson on Eastern European cooking. Soup, anyone?

Brainwashed

Actors Company (The Little Theatre)
916 N. Formosa Ave.
Los Angeles, Ca 90046

Thursday June 27 2024, 5:30 PM

Saturday June 29 2024, 10:00 PM

Ticketshollywoodfringe.org/projects/10475

Written and performed by Alina Konon. Directed by Nathan Mohebbi.

Fringe Review: A Transcriber’s Tale

A Transcriber’s Tale. Written by Joanna Parson. Directed by Aimee Todoroff. Produced by Michael Blaha of Fringe Management and Lee Costello. Music Direction by Drew Wutke.

From Connecticut to the Big Apple, Joanna Parson arrived to fulfill her New York dreams. But like everyone else, she needed money to survive. That’s when she found a job as a transcriber. This type of job requires listening to video or audio recordings and turning it into text. News, fashion, TV shows, good news, bad news, and everything in between needed to be transcribed. Being in the front line of information was great, except for a caveat. Salary raises were basically non-existent.

Back in 2001, transcribing, performing at comedy clubs, writing music, auditioning for musicals, and dating an interesting guy named Justin sounded amazing for Joanna. Until 9/11 happened. This event changed many people’s perceptions and made them re-evaluate their lives, especially for the ones living in New York. One of them was Justin, who decided to move to Minneapolis. The whole ordeal took a toll on Joanna, who found a new companionship: Whisky. No, not a dog or a cat, but the liquor. From there on, it was a journey of self-discovery.

A Transcriber’s Tale is a minimalist show, the main ingredients are Joanna’s ability as a storyteller and her musical skills. Joanna’s story is a testament of the chaotic environment of the late 1990s and early 2000s during the dotcom bubble and its disastrous burst. In addition to that, living the 9/11 experience transcribing the local, national, and international turmoil that ensued, was an experience like no other. At the end of the day, Joanna had to decide what to do with her life. Did New York make her thrive, or was she consumed by the big city lights? Music, comedy, and a transcriber job tells the story.

A Transcriber’s Tale

The Broadwater (Black Box)
6322 Santa Monica Blvd.
Los Angeles, CA 90038

Wednesday June 26 2024, 8:00 PM

Saturday June 29 2024, 3:00 PM

Ticketshollywoodfringe.org/projects/10852

Written and performed by Joanna Parson. Directed by Aimee Todoroff. Produced by Michael Blaha of Fringe Management and Lee Costello. Music Direction by Drew Wutke.

Brian Otaño named recipiemt of IAMA’s Shonda Rhimes-sponsored ‘Unsung Voices Playwriting Commission’

IAMA Theatre Company names Brian Otaño as 2024 recipient of
Shonda Rhimessponsored ‘Unsung Voices Playwriting Commission
 

LOS ANGELES (June 25, 2024) — IAMA Theatre Company has selected ensemble member Brian Otaño as the 2024 recipient of the company’s Rhimes Unsung Voices Playwriting Commission, sponsored by award-winning writer and producer Shonda Rhimes (Grey’s Anatomy, Scandal, Inventing Anna).

Now in its seventh year, the annual Rhimes commission was created to help grow and nourish budding playwrights and artists with an emphasis on cultural inclusion, and to showcase fresh, creative, thought-provoking work. The commission helps foster long-lasting relationships with the diverse voices that IAMA is committed to developing; by incorporating the talent and inspiration of IAMA’s acting ensemble into the development of writers and their work, IAMA continues to create a dynamic family of artists.

Past recipients include Brooklyn-based playwright and activist Geraldine Inoa; Iranian-American playwright Sanaz Toosi, who went on to receive a Pulitzer Prize; Obie-winning performer/playwright Ryan J. Haddad; Emmy-nominated writer, director and producer Larry Powell; celebrated actor, director and playwright Jule Carryl; and Chinese-Canadian playwright, TV writer, screenwriter Chloé Hung. Otaño is the first IAMA ensemble member to be honored with the award.

“We’re so lucky to be able to extend this opportunity to a writer from our ensemble for the first time,” says IAMA artistic director Stefanie Black. We’ve been invested in Brian’s work for years, helping early on to develop his ambitious Dooley Street Trilogy. We can’t wait to see what he’s been dreaming up next that we can build from the ground up together.”

A Brooklyn-born playwright and screenwriter, Otaño’s full-length plays include Dolores Slayborne: A Grand Guignol Drag Fantasia (Atlantic Theater Company Launch Commission), Under Normal Circumstances (UCSB), The Dust (2019 MCC Theater PlayLab), Tara, Zero Feet Away (Roundabout Underground Series) and The Dooley Street Trilogy. In television, Otaño developed numerous projects and served as writer-producer for The Horror of Dolores Roach while under a two-year overall deal with Amazon Studios. Other TV credits include Goosebumps: Gravesend (Disney+, upcoming) and the first season of Cruel Summer (Hulu). Otaño is a two-time alumnus of National Hispanic Media Coalition Writers Program, as well as Echo Playwrights Lab, CTG LA Writers Workshop, Geffen Playhouse Writers Room, Ars Nova Playgroup and Page 73’s Interstate 73 Writers Group. He is the recipient of the New Dramatists Van Lier Fellowship and the New York Theater Workshop 2050 Fellowship. He currently lives in LA, where he is an IAMA Theatre Company member playwright and a participant in the Rogue Machine Playwrights Roundtable. Otaño is represented by William Morris Endeavor, Grandview Management and Jackoway Austen et al.

IAMA has been dedicated to developing new plays and musicals by emerging and established playwrights since 2007. Rhimes, a frequent IAMA audience member, came on board in March 2017 as the company’s first-ever “Patron of the Arts,” committing funds for the commission as well as tangible support for IAMA’s mission and operations through her Rhimes Foundation. The Rhimes Foundation was established in 2016 to support arts, education and activism with a focus on promoting cultural inclusion and fighting inequality.

Fringe Review: Hold Me Down

Jackie Yangyuen presents Hold Me Down. Produced by Cooper Edgren.

Bad experiences in life can have tragic consequences for some people. For Jackie Yangyuen, however, traumatic events led her to unleash her creativity. In Hold Me Down, she finds a safe place to express and share her own narrative.

A mother with gambling issues and a supportive, but distant father, exacerbated Jackie’s struggles. Furthermore, she developed mental health issues that just added more pressure to the already critical situation. Fortunately, Jackie found avenues to channel the pain towards a positive outcome. Music was one of those avenues. The other one was more of a surprise: BDSM.

Rope play became a healing paradox, one that only people that have experienced the world of BDSM can understand. Submission and pain, as degrading as they can sound, are powerful elements to unlock freedom. Obviously, BDSM is more than Fifty Shades of Grey; the practice, in Jackie’s case ropes and suspension, can heighten the senses to an orgasmic level, liberating insecurities and traumas, deepening the Dom-Sub relationship. The adrenaline of pain can be powerful and healing.

Getting professional help and having a supportive BDSM partner were essential to stop Jackie’s darker intentions. Hold Me Down delivers a critical message of hope, compassion, and self-acceptance. For Jackie, finding an artistic expression to process and overcome her struggles was pivotal. She is busy working on several projects, so her mind is occupied with creative endeavors. For sure, we will hear more from her in the near future.

Her play contains reference to sexual abuse, gambling, and mental health issues, all presented with tact and in an engaging manner. Jackie also debunks some taboos about BDSM and the dynamics among its practitioners, something that always triggers interesting conversations. Jackie uses pop music, lighting, and comedy to lighten up the darker side of her story, but they’re also elements that signify that there will always be a light at the end of the tunnel.

Hold Me Down

Asylum @ Stephanie Feury Studio Theatre
5636 Melrose Ave.
Los Angeles, CA 90038

Fri June 28, 9:00 PM – NEWLY ADDED!

Sun June 30, 2:30 PM

Tickets: https://www.hollywoodfringe.org/projects/10490

Written and performed by Jackie Yangyuen.

Producer: Cooper Edgren. Music Director: Paul Kirz Jr. Movement Director: Shyamala Moorty. Script Director: D’Lo. Set Designer: Mario Aguirre. Costume Designer: Sam O’Neul.

Theatre Review: Psycho Beach Party

HorseChart Theatre presents Psycho Beach Party. Written by Charles Busch. Directed by Tom DeTrinis and Ryan Bergmann. Produced by Brett Aune and Steven Luff.

Teenage tomboy Chicklet Forrest (Drew Droege) wants to join the surfer crowd on Malibu Beach, but her multiple personalities become a concern. Her alter egos are a checkout girl, an elderly radio talk show hostess, a male model named Steve, the accounting firm of Edelman and Edelman, and the most dangerous one—sexually voracious vixen Ann Bowman.

In her quest to learn from the master surfer Kanaka (Karen Maruyama), Chicklet meets an array of peculiar characters. Yo-Yo (Adrián González) and Provolone (Daniel Montgomery) are friends who grow closer and closer until…well, you have to see it. Also in the crowd are diva extraordinaire Bettina (Chase Rosenberg/Roz Hernandez), Swing (Michael P. McDonald), Swing (Harrison Meloeny), Marvel Ann (Pete Zias), and Starcat (Thomas Hobson). Supporting Chicklet in good and bad times is her best friend Berdine (Daniele Gaither). And, of course, don’t forget about Chicklet’s mom, the stern Mrs. Forrest (Sam Pancake).

The play is fun, silly, and upbeat. Playwright Charles Busch wrote Psycho Beach Party in 1987, so the play is somehow anti-establishment. The 80s were especially tough for the LGBT community in America. The Family Protection Act tried to ban the federal funding to any organization accepting a gay lifestyle as an alternative. The Act was defeated, but it was endorsed by Ronald Reagan. Paul Cameron published bogus studies trying to prove that gay people have more tendencies to commit murder, child molestations, and the intentional spreading of diseases. The U.S Department of Defense discharged around 17,000 gay soldiers, stating that homosexuality was incompatible with military service. Pat Buchanan said that AIDS was nature’s revenge on gay men. In 1986, the U.S. Supreme Court’s 5-4 decision in Bowers v. Hardwick held that state anti-sodomy statutes were constitutional. There were many more to mention, but the point is that Busch used this play to push back against the anti-gay sentiment of the time. As the fight continues, Psycho Beach Party is still relevant in reaffirming the pride of the LGBT community.

The set design and the costumes fit the intentional campiness of the story. The lighting is mostly high key, reflecting the upbeat tone of the play. The acting is superb, stressing the comedic nature of the script. The co-direction by Tom DeTrinis and Ryan Bergmann is excellent, the blocking and the use of space allow the actors to move freely, with enough room for physical comedy.

Psycho Beach Party is a crazy dream, a fantasy, and a menagerie of eccentric characters that celebrate the pride of the LGBT community and the diversity of society.

Psycho Beach Party

Matrix Theatre
7657 Melrose Ave
Los Angeles, CA 90046

Opening: 7pm Friday, June 14, 2024
Schedule: 7pm Thursdays – Sundays
(added performance on Monday, July 1; no performance on Thursday, July 4).
Closing: Sunday, July 7, 2024
Written by Charles Busch. Directed by Tom DeTrinis and Ryan Bergmann. Produced by Brett Aune and Steven Luff. Associate Producers: Brian Nesbitt and Sami Klein.
Cast: Adrián González, Chase Rosenberg, Daniel Montgomery, Daniele Gaither, Drew Droege, Harrison Meloeny, Karen Maruyama, Michael P. McDonald, Pete Zias, Sam Pancake, Thomas Hobson, Roz Hernandez.
Creative team: Yuri Okahana-Benson, Nicole Bernardini (Scenic Design), Nicole Bernardini (Scenic Painting and Properties), RS Buck (Lighting Design), Andrea “Slim” Allmond
Composer/Sound Design), Alexis Carrie (Costume Design), Jenni Gilbert (Wigs).

Interview with Dr. Paul J. Zak (aka “Dr. Love” from “The Bachelor”), David Ihrig, and Eloise Coopersmith

Irvine Theater Company and Dr. Paul J. Zak (aka “Dr. Love” from “The Bachelor”) have teamed up to create a wholly unique theatrical experience this summer for lovers, those in search of love, and fans of all things cheesy (like Hallmark movies). Utilizing Zak’s cutting edge Tuesday App, attendees can test their compatibility with other theatergoers in attendance and find a real connection. Welcome to the world of My (unauthorized) Hallmark Movie Musical and “Dr. Love’s Rom-Com Experience”. 

Below is the interview with Dr. Paul J. Zak, David Ihrig, and Eloise Coopersmith.

Dr. Paul J. Zak

What need that wasn’t addressed motivated you to create the Tuesday App?
Most of my professional life has focused on developing knowledge and technologies so that people can live longer, happier, and healthier lives. Tuesday is the result of this 30 years of effort.

Your body of work includes different disciplines like neuroeconomics, neuromanagement, and neuromarketing. How can they all help an individual to achieve success and happiness?
Happiness depends on the choices we make. Tuesday identifies the choices and activities that provide the most value neurologically to people and thereby guides them to be happier. This is true for individuals, patients, customers, and employees and businesses that focus on creating extraordinary experiences are extraordinarily profitable.

What role do neurotransmitters dopamine and oxytocin play in reaching a state of immersion?
Immersion–the brain’s valuation network for social-emotional experiences–is primarily driven by the actions of dopamine and oxytocin. Dopamine binding to the brain’s prefrontal cortex keeps us present, while oxytocin captures the emotional resonance of an experience. Tuesday measures the electrical activity these neurochemicals induce in the nervous system second by second so people can see what truly creates value for them.

Technology was supposed to make it easier for humans to connect with each other.    Instead, we see an alarming increase of isolation due to excessive internet use. What failed? And how can we make it fun again to interact with other people?
This is the key question! With hybrid work, fear of infection, and smaller families we are losing the ability to get together, have fun and socialize. This is where entertainment, including plays and movies, comes in. Immersion is always higher when there are more people involved–we laugh more watching a movie in a theater with others than watching at home. My hope is that the Tuesday app will show users objectively how important it is to have enjoyable experiences with others, to form new connections and friends, and even to fall in love. Human thriving requires that we spend time with, and connect to, others.

David Ihrig

What did you find attractive about My (unauthorized) Hallmark Movie Musical?
Well, I was looking for a show that explored themes of love and relationships with the specific intent of using Paul Zak’s technology, and Eloise’s charming musical that deals with themes of love and empowerment was a perfect fit. I knew from experience that using Paul’s Tuesday app was great fun for people, because it often provides surprising personal insights–the brain never lies! We want to offer audiences a new expanded experience that goes beyond the curtain call. We are going to be using prompt stations around the light-hearted content of the show so people can observe their own unfiltered reactions in real time through the Tuesday app.

And what truly attracted me to Eloise’s play was an observation she shared from her previous performances. She noticed that people didn’t want to leave at the end of her show. People would sort of linger in the lobby. And I thought, well heck, this is exactly how we can give them what they want. “Dr. Love’s Rom-Com Experience” will spark conversations and enhance the sense of community that already exists from having just watched a show together.

Years ago, I learned from my neuroscience community about the pitfalls of self-reporting. I have since found Paul’s technology to be a great teaching tool because the brain never lies. For example, during scene study classes, I would ask my acting students why they had a certain reaction. And they would earnestly answer me, with what I now know were confabulations. In other words, they made up explanations in retrospect. The reality is that we have many, many brain processes working all the time that are outside of our awareness and we simply do not have the capability of consciously knowing why we behaved in one way or another. So, the more fruitful approach to self-discovery is to guide people through specific experiences while monitoring brain activity and read the brain’s response in relation to chosen prompts.

Tell us more about the Irvine Theater Company and its immersive theatrical experiences.
Irvine Theater Company was primarily founded as a hub to practice a brain-based approach to the dramatic arts. We believe that our new attention-based methods will do for ITC in Irvine what Stanislavski’s system did for the Moscow Art Theater. Stanislavski’s productions became popular because his methods created a new style of live performance, which was prompted by advances in the technology of his day. For him, it was advances in lighting that allowed for smaller indoor performances which arguably led to the shift to realism in theater. I see an evolving genre of live performance in response to today’s evolving technology. This evolution has already begun, and the industry is currently taking baby steps. But in my opinion, the industry can’t fully embrace the potential of today’s technology in storytelling until they embrace new mental models. ITC’s attention-based models put us in the position to be leaders in creating tomorrow’s entertainment. Our goal is to build the Theater of Tomorrow at the Great Park in Irvine and use our methodologies and today’s advanced technology to develop productions that will enhance the audience’s experience.

What kind of classes and workshops are provided at Irvine Theater?
As you might imagine, we teach a brain-based approach to the dramatic arts. The models we use were developed in collaboration with a team of neuroscientists at UCI. These new ideas are quite simple, but they turn the conventional wisdom surrounding acting on its head, and look at a practical approach for today’s actors based on contemporary knowledge from the cognitive sciences. My new book is The Actor’s Algorithm–Seven Brain-Based Steps to Embody Character. And we will offer classes this Fall to teach our system of character embodiment.

Something really exciting is the 10-minute Play Festival. Who can submit their work and what are the dates of the festival?
I love your excitement. Irvine is home to 330,000 residents. We have a highly educated population that appreciates culture. We have prolific theater departments in our high schools and colleges and our graduates have no professional outlets in which to ply their crafts.

ITC’s 10-minute play festival seeks to provide an outlet for local dramatic artists. The plan is to hold the first festival in the summer of 2025.

Of course, ITC will put our own spin on the standard festival model. One of the benefits of our brain-based methodology is it provides an efficient method for writers. The plan is to gather all participating artists together four weeks prior to the performance, teach a workshop in brain-based story development, and then see what these brain-based teams come up with afterwards. Perhaps we should also have a traditional category and then compare the two creative processes?

Eloise Coopersmith

What is so special about romantic movies?
Last year, 80 million viewers watched a Hallmark Christmas movie, according to Forbes.com. I can’t be alone in saying these movies make you feel happy, safe, and hopeful that the world is a better place. What’s not to love?

How did you develop the idea for My (unauthorized) Hallmark Movie Musical?
During COVID I worked my other job as Residential Real Estate Appraiser- I was inspecting many houses and homeowners would ask me, “ Why aren’t you dead?” I took their trauma home with me. One day. I turned on the television. Truthfully, until then I had never seen a Hallmark movie. I became obsessed (these movies are positive and predictable and make you feel good) so I started to write my own Hallmark movie about an essential worker reigniting her romantic flame while crafting her own Hallmark Movie. She’s an inveterate Hallmark Channel viewer, battling pandemic burnout with dark chocolate, red wine, and a craving for uplifting escapism. Writing this show got me through some dark times. My mission is to spread positivity and make others feel good. My production company rented Chance Theater, cast actors, rehearsed over Zoom and shot for 6 days. We opened in Los Angeles in December 2021 to rave reviews, took the show to Edinburgh the next year (where everyone LOVED the rom-com magic), and spent last year touring in upstate New York and Virginia, finishing with 6 weeks in San Francisco (The city by the Bay said, “Hurray”!).

How did you connect with Dr. Zak?
The producer of the event, David Ihrig at the Irvine Theater Company is the brainchild for this collaboration. My show is a one-woman show with 8 actors through the magic of multimedia and David’s theater loves technology. When I read the description of Paul Zak’s Tuesday App – “Track and compare what you love so you can do more of those things and less of the stuff that brings you down” – I was excited to connect!

Is it easier to find love using technology?
That is what we will find out. Per David Ihrig- the brain doesn’t lie. So, we will all come face to face with others and with our true selves. I like to think we are re-inventing the meet-cute! (“Meet-cute” = two characters in a film or television show have an amusing or charming first encounter that leads to the development of a romantic relationship.) We will see….

Romance and music, that sounds like a winning combination, How much fun will the audience have when they come to the show?
How much fun? More fun than a bodega cat on a tuna truck! More fun than belting ‘Singing in the Rain’ during a downpour! More fun … so much fun you will want to come back and play again and again. It’s a magical journey, and who can’t use more magic in their life.