Author Archive: Glamour

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

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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

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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 a 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)

Theatre Review: The Ghee Ghee Pik

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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)

Tickets: thegrouprep.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

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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

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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

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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

Tickets: hollywoodfringe.org/projects/10508

Written and performed by Liz Toonkel.

Fringe Review: Brainwashed

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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

Tickets: hollywoodfringe.org/projects/10475

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

Fringe Review: A Transcriber’s Tale

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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

Tickets: hollywoodfringe.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’

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IAMA Theatre Company names Brian Otaño as 2024 recipient of
Shonda Rhimes–sponsored ‘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.