Author Archive: Glamour

Fringe Review: Hold Me Down

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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

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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

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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.

Interview with Roger Q. Mason about their play Night Cities

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Acclaimed Black Filipinx playwright and Kilroys List honoree Roger Q. Mason will receive an industry reading of Night Cities, a new play about Queer civil rights activist Bayard Rustin, as part of the Not a Moment, But a Movement Festival presented by Center Theatre Group In collaboration with The Fire This Time Festival and Watts Village Theater Company. The reading, directed by Nancy Keystone, will take place on Sunday, June 23 at 7pm at the Kirk Douglas Theatre (9820 Washington Blvd, Culver City, CA 90232) in Los Angeles. Tickets ($15) are available for advance purchase at www.centertheatregroup.org.

Below is an interview with Roger Q. Mason.

Are you approaching Night Cities from a fictionalized or documentary perspective?

This is a work of poetic expressionism extracted from fact, but aimed at getting to a deeper emotional truth about young Bayard Rustin’s struggles with personal desire versus public duty.

The Cold War was raging during Bayard Rustin’s life. How do you think that affected his activist vision?

In the 1930s, the Communist Party supported Civil Rights work, particularly centering on labor reform. World War II found a shift in interest within the Party, less focus on activism and resistance within the US, particularly military desegregation – a focus of Bayard’s in the 1940s.  He left the Communist Party around 1941. Our dramaturg, Dylan Southard, opined in rehearsal that, “The Cold War and the fear of Communists provided another obstacle for Rustin because his dissidents could always tie him to Communism, even if he had dropped it years ago. Much of the fear around homosexuality was tied to Communism and the idea that Communists could blackmail people like Rustin, threatening to out them.”

Rustin traveled to India to learn about Ghandi’s non-violent resistance. Do you think Rustin’s pacific activism in America achieved the same impact as Ghandi’s in India?

It is difficult to directly compare Ghandi’s tear down of the British Empire in India with Rustin’s various efforts to provide labor reform, civil rights, and later desegregation (and its legal ramifications) in the United States. However, in the play, we allude to the notion that Gandhi’s vision of nonviolent protest provided strong reinforcements to Rustin’s pacifist ideals – he was certainly a possibility model for him. Later on, he became a master strategist of logistical and social coordination for protests. I think his experiences in the theatre, and the coordination that producing a show entails, had a significant impact on his work in the movement. Those rallies were indeed a show!

He also traveled to Africa, where he met with leaders of the independent movement. What lessons do think he learned during those travels?

In the play, we feature a quote from his time in Africa, wherein he praises the cultural and robust civic infrastructure that various African countries possessed. This information was suppressed to favor the superiority of the white West. I am sure this information fortified Rustin, particularly later when organizing Black America around finding the bounty they are due in America.

How important was jazz music for a young Rusting living in America?

Rustin was a devotee of gospel and spiritual music. There are recordings of him performing such genres.  In the 1930s, he was hanging out at Cafe Society in downtown New York and living in Harlem in the early 1940s, so jazz was an inevitable part of his life.

For your research, did you talk to surviving people that were part of Rustin’s life?

When building a new play, I reserve conversations with surviving persons for later in the process so that my own narrative impulses are articulated first before they are influenced and amended by survivors’ lived experiences.  However, those points of view are essential, and I look forward to talking with folks in the next iteration of the piece.

Rustin was arrested for having sex with other men. How do you think that incident shaped or reinforced his activism?

Rustin was arrested quite a few times for sex with men, and it is something that marked his visibility within the Civil Rights Movement for the remainder of his career.  It is easy to draw a line between Rustin’s queerness and his activism, but the facts are a bit more complicated than that.  It is this tension between private life and public duty that inspired my play.

Being gay and a civil rights activist was dangerous back then. Is it still dangerous today?

It is just as dangerous, if not more, because certain leaders have emboldened our dissidents to feel that they are above the law and beyond reproach.

What is the most important legacy of Rustin’s work that has inspired your own work?

Rustin presents the complex, multivalent, intersectional civil rights leader that we need as a guiding light now.

How did you get involved with Not a Moment, but a Movement Festival?

My champion, hero and constant friend Cezar Williams collaborated with Los Angeles theatre legends Tyrone Davis and Bruce Lemon to bring me into the Festival – and the rest is history.

What can people take away from Night Cities?

We all need to embrace the complexity and contradictions of our desires.  How do we balance who we are for others with our private selves?  And how do we live honestly and fully along the way.  That’s the only way we’ll truly be free.

Fringe Review: The Connie Converse Universe

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The Connie Converse Universe. Starring Hope Levy. Produced by Zipperbug Music. Directed by Tom Lavagnino.

One day in August 1974, Connie Converse packed her belongings and disappeared. Up to this day, no one knows what happened to her. Connie was considered the first person to be labeled singer/songwriter. She performed for close friends during the early 1950s. Her exceptional talent as a singer/songwriter however, did not reach the popularity she wanted.

Hope Levy pays tribute to Connie in her Fringe production The Connie Converse Universe, performing some of Connie’s most iconic songs. The main value of this production is remembering the implicit messages of Connie’s music. Levy elaborates on the possibilities that contributed to Connie’s disappearance.

Connie performed in 1954 on The Morning Show with Walter Cronkite, her only known public appearance. Despite her talent as a singer/songwriter, she seemed to be ahead of her time, not to mention her activism against racism and being considered a communist agent for her writings in the Journal for Conflict Resolution, where she worked as a writer and managing editor. These factors might have contributed to her lack of popular appeal back then.

Hope Levy is a folk and pop singer/songwriter, aligning with Connie’s musical artistry. Levy’s voice fits her folksy style, and has an evocative and rich texture that integrates smoothly with the introspective nature of Connie’s lyrics.

The Connie Converse Universe is insightful; it’s a documentary and a homage to an artist who deserved more attention in her lifetime. Fortunately, fellow artists like Levy continue to keep Connie’s legacy alive, introducing her poetry and music to new generations. The audience reacted enthusiastically to Levy’s outstanding performance, giving her a well-deserved ovation.

The Connie Converse Universe

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

Sunday June 23 @11am

Friday June 28th @5:30pm

Sunday June 30th @12:30pm

Tickets: hollywoodfringe.org/projects/10248

Starring Hope Levy. Produced by Zipperbug Music. Directed by Tom Lavagnino.

Music Review: Interview with Tom Ciurczak

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Tom Ciurczak’s music combines different styles, but the main ingredients are Heartland and Americana Rock. His music is nostalgic, fun, and romantic, reflecting the hardships of everyday life, with a hint of rebellion, of course.

The son of a professional musician at the Military Academy of West Point, Tom learned to appreciate diverse music styles that he ended up incorporating into his albums. Tom will be releasing his latest album titled I Ain’t Ever Growing Up: Volume II on June 14, 2024. This album is a follow-up to his previous collection titled I Ain’t Ever Growing Up: Volume I.

Tom Ciurczak and his band will be playing at The Mint on Saturday Jun 22, 2024 and at the Whiskey A GoGo on Aug 15, 2024.

Below is our interview with Tom Ciurczak:

Some of your songs have a nostalgic vibe. What is the decade that most influenced your musical style?

Definitely, the 1970s and early 80s! To me, that was the era of the Singer Songwriter (Bruce Springsteen, Jackson Browne, Eagles etc.), as well as Prog Rock (Genesis, Yes, Jethro Tull). I was a huge fan of both genres and you can find both incorporated in my songwriting from both a musical and lyrical perspective.

What experiences in life have inspired your lyrics?

I tell everyone that all my stories of robbing banks, getting thrown in jail, and  gun play are all in my past. And while every song is rooted in a real life event or place, I do take on quite a bit of literary license when I write a song.  I have a number of goals when I write a song. I’m looking both to incorporate lyrical and musical hooks to capture the listeners ear. But I also like to tell a story with my songs to engage the deeper listener. For me, writing good story often requires adding a bit of fiction to the “real life” component, to make it a good and interesting one.  So, I want to make it clear, while some of the stuff in my songs are true, the parts about robbing liquor stores and banks was all made up.

Who are the members of your band?

I am so lucky to have so many super talented musicians in my band with me, they really have made all the songs on the album come to life, and we’ve been able to put together a very entertaining stage show with them:

I’m on lead vocals and rhythm guitar.

Mellisa Robin sings all harmonies and background vocals

Phil Stein plays bass and also sings harmony vocals

Chris McKinney is our keyboard player

Ken Harrill is our lead guitarist

Sean Derksen is our Drummer.

Tell us about I Ain’t Ever Growing Up: Volume II. How long did it take you to get this album done?

Actually, I recorded 16 songs in 2022 and it was originally intended to be all one album, but we thought it might be too much to absorb all at once, so we split it into Volume I and Volume II with 8 songs each.  We released Volume I in July 2023 and Volume II this June 14th. The recording, mixing, and mastering typically is a 6 month process from start to finish. But that is just the beginning as there is a tremendous amount of planning afterward on how you plan to market the music. It definitely takes a team to put together all the aspects of making and distributing a new album, I really need to give special credit to my engineering and production team of Stephen Haaker and Brett Grossman.  We have worked together on all my records and the final results are in big part to all their efforts as well.  In the end, I’m really super proud of all of these recordings.  They cover a lot of diverse styles, which I believe we executed beautifully.. I don’t think there is a filler cut on either album. Volume I got great reviews and I think Volume II is equally as good if not better.

 Where did you record this album?

We recorded the Album at “Perfect Sound Studio’s” in Frogtown CA. It’s a great place to record.  I also recorded my first Album “Call Me Ishmael” and my Christmas EP “California Christmas Tales” there. The studio is run by Sean Kellett and he does a phenomenal job. I can’t recommend this studio highly enough for anyone looking for a great place to record.

 The music industry has changed considerably over the years. How do record labels help the artist nowadays?

That’s a good question. In the past, the record labels financed, developed, and marketed artists. For new artists just starting out, it was always the dream to be signed by a major label, as it was very difficult to make it in the music industry without having a label behind you. But, like so many other industries, the Music Industry has changed with regard to how music gets recorded and consumed. The ability to make a record and distribute it has become simpler and easier. And it has given rise to many independent artists and boutique labels. But this has created different types of challenges to overcome, as the market is now flooded with new music, making it more difficult to standout above the crowd and be heard. Artists still need to be funded, developed, guided, and promoted for stand out in today’s music world. That requires both money and expertise and that’s the value that I believe that labels can still offer. But it’s no longer the ultimate goal, as many artists are trying to do it on their own, because now they can, where in the past that path was blocked to them.

How do you promote your music?

I use a multi-prong approach.  I promote to US and European Radio using “Powderfinger Promotions” in MA and “Music Promotions” in CO. I Promote via various streaming sites utilizing “Playlisters”. My PR company is “the B Company” and we work together on putting together magazine, blog, and performance  reviews. And of course I have been performing with my 6pc band across Southern California to promote all of our new material.

Do you perform in festivals?

I’m waiting for an offer.

What do you think is the current state of Americana/Heartland Rock?

I think there are so many great artists that fall into this category from Bruce Springsteen, John Mellencamp, Steve Earle, Jason Isbell, John Hiatt etc. They are all still releasing new material and selling out shows where ever they play. So, I think it’s still very much alive and well. These artists are all such great storytellers with their lyrics, and it is an aspect of my music that I make a strong effort in. There are many elements in the Americana/Heartland Rock music genre that speaks to me and consequently a lot of my songs and music reflect it as well.

What’s your touring schedule for the next few months?

We are going to be local during the summer, as some of my band members have prior commitments that don’t allow us to stray to far from home base.  We will be at  “the Whiskey A GoGo” on August 15th and we’re really excited about playing there.  I may have some announcements coming for July in Orange County soon as well.

I Ain’t Ever Growing Up: Volume II is available on all streaming platforms, including SoundCloud, Spotify, Youtube, Amazon, Apple Music. Physical CDs are available on the artist’s official website, Bandcamp.

Social media: Facebook, X (formerly known as Twitter), and Instagram.

The Tom Ciurczak Band performing at The Mint

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The Southland’s Tom Ciurczak Band Returns to The Mint on Double Bill with Legendary Singer-Songwriter T. Bear

The Tom Ciurczak Band is inspired by the rock stylings of Bruce Springsteen, Tom Petty, Warren Zevon. They return to The Mint with a new album of original songs, sharing the stage with renowned keyboardist T. Bear for a night of rockin’ fun & celebration.

What: New Release party for The Tom Ciurczak Band, led by SoCal based singer songwriter Tom Ciurczak, with performances by T. Bear. Celebrating a new album: I Ain’t Ever Growin’ Up, Vol. II

When: Saturday, June 22. Doors open at 7:00 PM

Where: The Mint (TheMintLA.com)
6010 W. Pico Blvd
Los Angeles, CA 90035

Who: SoCal based singer songwriter Tom Ciurczak, and band members Ken Harrill, Phil Stein, Chris McKinney, Sean Derksen, and Melissa Robin. Plus, T. Bear. Visit https://tomciurczak.com/ for music & biography.

Tickets: https://themintla.com/listing/t-bear-tom-ciurczak-ladies-sing-the-blues/

Reservations available for dining at booths & tables.

La Mirada Theatre for the Performing Arts Celebrates America this Fourth of July

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LA MIRADA THEATRE FOR THE PERFORMING ARTS 

invites you to Celebrate America and an early Fourth of July with a

GEORGE M. COHAN WEEKEND CELEBRATION!

BROADWAY’S ORIGINAL “YANKEE DOODLE BOY!”

 

SATURDAY, JUNE 29 & SUNDAY, JUNE 30 at the LA MIRADA LIBRARY &

LA MIRADA THEATRE FOR THE PERFORMING ARTS!

 

JOEL GREY & MORE BROADWAY TALENTS PAY TRIBUTE!

 

June 17, 2024…La Mirada, CA…LA MIRADA THEATRE FOR THE PERFORMING ARTS invites you and your entire family to join us in celebrating America, the Fourth of July and the legendary original “Yankee Doodle Boy,” Broadway composer George M. Cohan, with La Mirada Theatre’s “George M. Cohan Weekend Celebration!”  

 

57 Cohan songs in two days!  We begin on Saturday, June 29 at 2 pm at the La Mirada Library, 13800 La Mirada Blvd., with “George M. Cohan: Life and Music,” a free concert and book signing of the first book written about Mr. Cohan in over 50 years, Yankee Doodle Dandy by Elizabeth Craft.  Along with the book signing, Ms. Craft will delightfully illustrate Mr. Cohan’s dynamic life and legacy, highlighted by thrilling live musical performances by several extraordinary Broadway performers, belting out his most popular hits – “Give My Regards to Broadway,” “Grand Old Flag,” “Harrigan” – and some rarely heard gems!

 

At 8 pm, La Mirada Theatre for the Performing Arts will present “Mr. Broadway: The George M. Cohan Celebration,” a dazzling one-night-only song-fest designed with more performances by Broadway stars including L.A.’s longest running Phantom of the Opera, Davis Gaines, Olivier Award-winning and Broadway actress Lesli Margherita (Matilda), Tony Award-winner John Rubinstein (Broadway’s Pippin), David Engel, Anastasia Barzee (Miss Saigon), Robert Creighton (Cagney), Mary Gordon Murray, Lara Teeter (On Your Toes) & Elizabeth Teeter (Beetlejuice), Sara King, and many more, singing never-before-heard world premiere Cohan songs along with the legendary hits by this one-of-a-kind talent.  

Also, enjoy the first public showing of 45 Minutes From Broadway, his famous 1906 smash, starring the incomparable Tammy Grimes and directed & choreographed by Gower Champion (Hello, Dolly), shot for TV in 1959!   Plus, Broadway legend Joel Grey (Tony-nominee for playing Cohan in George M!), will appear via video, offering his insights on playing Cohan in a very specially taped piece – created exclusively for our La Mirada audience.

 

On Sunday, June 30, join us again at La Mirada Theatre as the celebration continues with the spectacular “Paragon Ragtime Orchestra!”  At 1 pm, there will be a pre-concert presentation by Elizabeth Craft, based on her brand-new book, Yankee Doodle Dandy, featuring colofrufl projections and new and different live musical performances.

 

At 2pm, the Paragon Ragtime Orchestra will perform their acclaimed “Born on the Fourth of July” concert, playing Cohan’s original orchestrations – LIVE!

 

At 4pm, there will be a post-show “bonus” talkback with more delightful performances (including theatrical and world premieres!) sung by Davis Gaines, John Rubinstein, Mary Gordon Murray, and Robert Creighton (whose Cagney musical is set to open in New York).

 

On both Saturday and Sunday, arrive at the theatre early to enjoy an expansive exhibit of vintage Cohan posters, sheet music, photos, films, and more from the biggest collection of “Cohan” memorabilia in the United States (courtesy of local L.A. resident David Collins)!

 

Finally, patrons on Sunday will be gifted a FREE private-issue commemorative CD of hits and exclusive first-time-ever recordings of tuneful numbers by the composer of Broadway’s longest-running showtunes.

 

It’s truly an unforgettable weekend celebrating a true American patriot and the Father of the American Musical Comedy, George M. Cohan, only at your La Mirada Theatre for the Performing Arts, 14900 La Mirada Blvd in La Mirada.  

                                                         

ABOUT THE SCHEDULE AND PRICING

SATURDAY, JUNE 29

 

2pm: “GEORGE M. COHAN: LIFE AND MUSIC” – FREE Concert & Book Signing at the La Mirada Library, 13800 La Mirada Blvd. in La Mirada

 

8pm: “MR. BROADWAY: THE GEORGE M. COHAN CELEBRATION” – Exclusive Movie Screening, Live performances with Davis Gaines, Lesli Margherita, John Rubinstein & other Broadway Stars, and so much more – ONLY $5 FOR ALL TICKETS!

 

SUNDAY, JUNE 30

PARAGON RAGTIME ORCHESTRA concert with pre-show and post-show guest speakers.

 

1 pm – Pre-Show Lecture with writer Elizabeth T. Craft

2 pm – PARAGON RAGTIME ORCHESTRA performs “BORN ON THE FOURTH 

OF JULY: The Broadway Music of George M. Cohan.”  Tickets: $10 – $27. (Prices subject to change).

 

4 PM – Post-Show Talk-back including the presentation of three theatrical premiere Cohan songs, with Davis Gaines, Robert Creighton, John Rubinstein and Mary Gordon Murray.

 

Also, an expansive exhibit of vintage Cohan posters, sheet music, photos, and more will be on display in our lobby!

 

Tap along with patriotic pride to “Mr. Broadway’s” flag-waving classics, “Yankee Doodle Dandy” & “You’re a Grand Old Flag,” and many more.  Theatrical world premieres of unheard Cohan songs, plus pre- and post-show concerts and a FREE CD included!  Our last George M. Cohan Celebration was a sell-out, so don’t wait!

                                                

Tickets can be purchased at La Mirada Theatre’s website www.LaMiradaTheatre.com or by calling the La Mirada Theatre Box Office at (562) 944-9801 or (714) 994-6310.  Group and military discounts are available.  LA MIRADA THEATRE FOR THE PERFORMING ARTS is located at 14900 La Mirada Boulevard in La Mirada, near the intersection of Rosecrans Avenue where the 91 and 5 freeways meet.  Parking is FREE.

Dido of Idaho

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WHAT:
The Echo Theater Company presents Dido of Idaho, a very dark comedy about the lengths to which a woman might go for the love of a good man. Nora, a lovelorn baroque musicologist with a drinking problem, is head-over-heels for Michael, an English professor. Unfortunately, this particular good man has already been claimed by Crystal, a former Miss Idaho with a penchant for home manicures. When the extramarital hijinks go brutally awry, Nora flees to the Rocky Mountains to seek comfort from her estranged mother, Julie, and Julie’s new partner, Esther. In her desperate bid to find compassion, Nora risks losing the only family she’s ever had — maybe forever.

WHO:
• Written by Abby Rosebrock
• Directed by Abigail Dreser
• Starring Alana Dietz, Julie Dretzin, Nicole Duport, Joby Earle, Elissa Middleton
• Presented by The Echo Theater Company, Chris Fields artistic director

WHEN:
Previews: July 17, July 18, July 19
Performances: July 20 – August 26
• Wednesday at 8 p.m.: July 17 ONLY (preview)
• Thursday at 8 p.m.: July 18 ONLY (preview)
• Fridays at 8 p.m.: July 19 (preview), July 26, Aug. 2, Aug. 9, Aug. 16, Aug. 23
• Saturdays at 8 p.m.: July 20 (opening night), July 27, Aug. 3, Aug. 10, Aug. 17, Aug. 24
• Sundays at 4 p.m.: July 21, July 28, Aug. 4, Aug. 11, Aug. 18, Aug. 25
• Mondays at 8 p.m.: July 22, July 29, Aug. 5, Aug. 12, Aug. 19, Aug. 26

WHERE:
Echo Theater Company
Atwater Village Theatre
3269 Casitas Ave
Los Angeles, CA 90039

PARKING:
FREE in the Atwater Crossing (AXT) lot one block south of the theater

TICKET PRICES:
Fridays/Saturdays/Sundays: $34
Mondays: Pay–What–You–Want
Previews: Pay–What–You–Want

HOW:
www.EchoTheaterCompany.com
(747) 350-8066

21 German productions and co-productions in Karlovy Vary’s mix of genres and themes

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Karlovy Vary International Film Festival

The line-up for the Karlovy Vary International Film Festival (KVIFF) has been announced – and it promises to be an exciting programme. The 58th edition will take place this year from 28 June to 6 July in the Czech spa town. A total of 21 German productions and co-productions can be seen in various sections of the programme.

“The official selection of the 58th KVIFF offers a unique epicentre of genres and themes that move contemporary cinema,” says Karel Och, Artistic Director of the KVIFF, when describing this year’s programme. 15 of the 32 films in the official selection are debuts, plus several other world premieres.

In the main Crystal Globe Competition, 12 films will be competing for the Crystal Globe this year, including the German production XOFTEX (Arden Film) by Noaz Deshe – a drama shot with real-life asylum seekers and  inspired by real stories. The film follows the Palestinian-Syrian teenager Nasser who is waiting with his brother in a Greek refugee camp for a decision on their asylum application.

A German production is also screening in the Proxima Competition section. The drama THE ALIENATED (FORTIS FEM FILM) by Anja Kreis revolves around mysterious events in a city where a woman claims to be carrying the Antichrist in her belly. Also screening in this section are the two German co-productions HICBIR SEY YERINDE DEGIL(NOTHING IN ITS PLACE) (Flaneur Films) by Burak Çevik and LAPILLI (Berlin University of the Arts) by Paula Ďurinová.

The films ARCHITECTON (ma.ja.de.) by Victor Kossakovsky, DIRECT ACTION (CASKFILMS) by Guillaume Cailleau, Ben Russell and DYING  (Port au Prince, Schwarzweiss Filmproduktion, Senator Film Produktion) by Matthias Glasner, some of  them award-winners from this year’s Berlinale, will be shown in the Horizon section.

THE GARDEN CADENCES (Flaneur Films) by Dane Komljen will be screened in the Imagina section. The documentary film is about Jone. She is one of the Mollies, the queer-feminist collective that lived in a caravan park at Berlin’s Ostkreuz for a decade. THE GARDEN CADENCES traces her last summer before she was evicted. The second majority German production in this section is BEAUTIFUL DEAD WOMAN by Jan Soldat. The experimental short film reorganises female death scenes from 300 episodes of the “Ein Fall für zwei” TV series.

Another short film is programmed in the Pragueshorts at KVIFF section. The four-minute animated film DORMOUSE by Julia Ocker is about the eponymous animal and its sleepy vice. A STUDY IN EMPATHY (North Ship Film) by Hilke Rönnfeldt – already known for being selected to many  festivals – will be screened in Karlovy Vary in the EFP programme Future Frames: Generation Next Of European Cinema.

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

CRYSTAL GLOBE COMPETITION
XOFTEX by Noaz Deshe (DE/FR, Arden Film)

PROXIMA COMPETITION
THE ALIENATED (VERTRIEBENE) by Anja Kreis (DE/MD/FR, FORTIS FEM FILM)
HICBIR SEY YERINDE DEGIL (NOTHING IN ITS PLACE) by Burak Çevik (TR/DE/KR, Flaneur Films)
LAPILLI by Paula Ďurinová (SK/DE, Universität der Künste Berlin)

HORIZONS
ARCHITECTON by Victor Kossakovsky (DE/FR, Ma.ja.de.)
DIRECT ACTION by Guillaume Cailleau, Ben Russell (DE/FR, CASKFILMS)
SLEEP WITH YOUR EYES OPEN (DORMIR DE OLHOS ABERTOS) by Nele Wohlatz (BRA/ARG/TWN/DE, Blinkerfilm)
MY FAVOURITE CAKE (KEYKE MAHBOOBE MAN) by Maryam Moghaddam, Behtash Sanaeeha (IR/FR/SWE/DE, Watchmen Productions)
PEPE by Nelson Carlos De Los Santos Arias (DOM/NAM/DE/FR, Pandora Film Produktion)
DYING (STERBEN) by Matthias Glasner (Port au Prince, Schwarzweiss Filmproduktion, Senator Film Produktion)

MAGINA
THE GARDEN CADENCES by Dane Komljen (Flaneur Films)
OF OTHER TOMORROWS NEVER KNOWN by Natasha Tontey (ID/DE)
BEAUTIFUL DEAD WOMAN (DIE SCHÖNE TOTE) by Jan Soldat (DE/AT)
UNDR by Kamal Aljafari (PS/DE)

OUT OF THE PAST
PARIS, TEXAS by Wim Wenders (DE/FR/UK, Road Movies)

PRAGUESHORTS AT KVIFF
DORMOUSE (SIEBENSCHLÄFER) by Julia Ocker

THE WISH TO BE A RED INDIAN: KAFKA AND CINEMA
CLASS RELATIONS (KLASSENVERHÄLTNISSE) by Jean-Marie Straub, Danièle Huillet (DE/FR, Janus Film und Fernsehen)
THE CASTLE (DAS SCHLOSS) by Rudolf Noelte (Rudolf Noelte Filmproduktion, Alfa Film)
THE TRIAL by Orson Welles (FR/IT/DE, Hisa-Film)
METAMORPHOSIS (DIE VERWANDLUNG) by Jan Nemec

FUTURE FRAMES: GENERATION NEXT OF EUROPEAN CINEMA
A STUDY IN EMPATHY (EINE STUDIE IN EMPATHIE) by Hilke Rönnfeldt (DE/DK, North Ship Film)