Author Archive: Glamour

Musical Review: It’s a Bird… It’s a Plane… It’s Superman!

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Dr. Abner Sedgwick (Cooper McAdoo) has lost the Nobel Prize award 10 times. As revenge against the scientific community, he teams up with Max Mencken (Harry White), a columnist for the Daily Planet. Before they destroy the world with a powerful ray, Superman (Elliot White) has to stop them. Meanwhile, Clark Kent is disappointed that Lois Lane (Emily Jones) pays no attention to him, as she’s infatuated with Superman. Only Sydney Carlton (Jaley Hoyt), Max’s secretary, sees Kent’s possibilities.

This musical has all of the elements to make it a great comedy show. It’s a campy story with characters that bring humor in every scene. With a retro look, the costumes and set designs bring back the memories of the original comic book. However, this Superman is the funny version of the super hero, with all of his weaknesses and strengths.

The Machiavellian tactics used by Dr. Abner Sedgwick to discredit Superman unleash the comedic situations that lead to the final crisis. Superman has to save Metropolis and Lois Lane using his superpowers to defeat Sedgwick and his accomplices.

Even though the first production of this musical didn’t do well on Broadway back in 1966, the silliness of the story and characters make it a great comedy with plenty of entertainment value. For this staging, Directors Harry White and Raphael Berglas hit all the right notes to create a lively performance and give this production a halo of true independent theatre. They bring back the relics of the Cold War to highlight the tension between good and evil and lead the story to its resolution. 

The musical numbers with live music and the comedy create an entertaining show to keep the mysticism of Superman alive. Check out the interview below with the creators of this production:

Superman continues to be a popular superhero. What’s so appealing about this character?

In a world often driven by self-interest and transactional kindness, Superman shines as a beacon of pure, selfless heroism. His unwavering commitment to doing good for its own sake, without seeking reward or recognition, captivates hearts and inspires the soul. With a moral compass forged in truth and justice, and an unyielding desire to protect humanity, Superman embodies the timeless ideal of hope and altruism, reminding us all of the extraordinary power of selfless virtue.

Tell us about the show. How did you put together the musical numbers?

The music in this show is so catchy! We want the melodies and the music at the forefront. The score was written by one of the all time great musical theatre writing teams, Strouse and Adams, and when you’re working with the genius they imbued into the score you don’t have to do much. We also are leaning into the musical comedy aspect of the numbers. This is first and foremost a stage comedy after all, and that’s what makes this take on Superman different than the rest.

What are the main differences between the Superman of the movies versus the Superman of the musical?

That’s an interesting question, because the writers of the musical are the same writers of the first Superman movie, David Newman and Robert Benton. Through certain scenes and songs I think the musical really gives you a deeper look at Superman’s vulnerabilities. There is no kryptonite in the musical, so the bad guys have to fight Superman in a different way. There’s a lot more psychological warfare in the musical.

What are the technical challenges of combining singing and dancing in a musical?

The hardest part of putting together a musical is making sure the singing and dancing has a purpose. Sometimes when you see a musical the singing or dancing comes out of nowhere and can feel unmotivated, leaving the audience feeling disconnected from the story. We tried very hard to make sure that when a character is singing or dancing, it’s because there’s no other way they can express what they’re feeling in that moment.

What are the voice ranges the audience will hear in this musical?

This is golden age musical theatre, so you will hear every voice type! From basses all the way up to sopranos we’ve pretty much got it covered. The style of the music ranges from old Sinatra sounding jazz songs all the way to 50s rock.

How about casting? How did you find the actors?

Finding the right actors is a really difficult process. We have a really reliable group of talented performers in our repertoire at Foster Cat Productions, so we chose who was best for each role from within our ensemble.

How much time did you have to prepare this show, from concept to production?

We’ve been thinking about this show for about a year and a half! We only started rehearsing officially in June, but we had our very first reading in early 2024.

Do you think the LA theatre scene gets enough press?

The LA theatre scene only seems to get press when major Hollywood talent is involved. This is sometimes unfortunate because doing theatre in LA used to be a big way for actors to get discovered in this town. That has sort of diminished over the years, and I certainly wish more people showed interest in the LA theatre scene. But I also think there is some responsibility on the artists to put their hearts into crafting real theatre and not just purely creating showcases for themselves. It’s a complex situation, but as long as there are actors in this town there will be good theatre worthy of press.

What are the challenges and rewards of producing theatre in LA?

The challenge of producing theatre in LA is that it’s not known as a theatre town. Obviously this is Hollywood and the focus is on the screen. However, so many people working in Hollywood started in theatre and have a deep love for theatre. Here in LA we’ve had a lot of big Hollywood talent randomly find their way into our theatre because of the work we choose to do, and that can’t happen anywhere else in the world. We’ve been very thankful for our audiences.

Foster Cat Productions is more than just a name. Tell us about the work you do with the cats.

We got our name from our love of fostering cats and kittens. The members of our company are dedicated to animal welfare! We partner with Best Friends Animal Society occasionally to raise money and awareness for stray cats and dogs throughout the greater LA area. Our artistic team has fostered over 30 cats and kittens and counting!

 
It’s a Bird… It’s a Plane… It’s Superman!

The Broadwater
1076 Lillian Way
Los Angeles, CA 90038

Fri, Aug 01 – Sun, Aug 10
Fri and Sat 8pm
Sunday 3pm

Tickets: onstage411.com/newsite/boxoffice

Music by Charles Strouse
Lyrics by Lee Adams
Book by David Newman and Robert Benton
(Based Upon the Comic Strip “SUPERMAN”)

Directed by Harry White and Raphael Berglas.

Cast: Elliot White, Emily Jones, Harry White, Cooper McAdoo, Jaley Hoyt, Julia McCammon, Troy Barboza, Will Fulginiti, Jena Ziomek, and Raphael Berglas.

Band: Ron Barnett in piano and Randy Fox in drums.

Creative team: Kim Iosue (Stager Manager), Matthew Steward (Lighting/Sound Design).

Musical Review: The Fantasticks

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There is some kind of magic, some kind of dark matter, not seen, but ever present, in the script and music of The Fantasticks, a musical with a story and characters that keep traveling across generations. Ruskin Group Theatre brings back the enchantment and humor of this pastoral image of America.

With Danny Bernardo‘s endearing voice, the character El Gallo sings “Try to Remember”, opening up a story that shows the naive vision of love and the harsh realities of life. Based on writer/director Scott Miller’s analysis, the story of The Fantasticks is an evolution of Aucassin and Nicolette, a medieval chantefable from the 12th or 13th century. It contains universal themes that connect with the audience in perplexing ways. The show has been staged multiple times around the world with impressive success.

In Elina de Santos‘ production, the characters capture the illusions of the young and the stubbornness of the old, with the complex layers of El Gallo, the mysterious and alluring bandido. De Santos builds a universe of innocence, trickery, and mythical search for happiness. Her characters experience the profound transformation implied in the script, aligning the characters to serve the story and complete the cycle. She does that without sacrificing the comical element in this musical. The humor and oddity is mainly projected by Michael Redfield as Mortimer and John Wuchte as Henry. These two extraordinary actors mesmerize and engage with their performance, adding a topsy-turvy and exciting vibe to the story.

As for El Gallo, Bernardo plays his character with an attractive aura of mystery, temptation, and wicked wisdom that reminds us of the duality of good and evil, a concept that dates back to the beginning of human history. The innocence, of course, relies on Pollono as Luisa, and Hemingway as Matt. With all of their youth in full display, they execute a lively performance that translates the dreams and the naiveness implied in their roles. They have more experience to gain, but they’re on their way to new heights.

De Santos uses her creativity to highlight the figures of speech that give depth to the story. The moonlight, hiding the shortcomings, and the sun, exposing them, are devices used effectively to transmit the message clearly. De Santos also excels in building the myth of Luisa and Matt. She progresses the scenes to show their longings for something more than the immediate environment in which they live, eager to explore the world laid out before their eyes. The transformation experienced through their growth and wisdom achieved through their travels and pain, is cleverly displayed in the last scenes. It’s implicit in the play, sometimes it is necessary to get hurt to unlock true love. Both Luisa and Matt get to understand this passage of life, and just like in Aucassin and Nicolette, their love only grows stronger as they are apart from each other.

To close the cycle, El Gallo leads the ensemble to sing “Try to Remember”, an invitation to go back to our childhood, to the excitement of our idealistic dreams, a return to innocence. The audience accepted the invitation.

The Fantasticks

Ruskin Group Theatre
3000 Airport Avenue
Santa Monica, CA 90405

July 18, 2025 – August 24, 2025
8pm on Fridays, Saturdays; 2pm Sundays

Tickets: ruskingrouptheatre.com

Book and lyrics by Tom Jones
Music by Harvey Schmidt
Directed by Elina de Santos
Musical Direction by Michael Redfield
Presented by Ruskin Group Theatre

Cast: Michael D. Cohen as Bellomy, Danny Bernardo as Narrator/El Gallo, Rhett Hemingway as Matt, Kiel Kennedy as Hucklebee, Sophie Pollono as Luisa, Michael Redfield as Mortimer, Raven Scott as Mute, John Wuchte as Henry, Silas Shultz as Understudy/Matt.

Creative team: Bruce Goodrich (Scenic Design), Michael Redfield (Sound Design/Music Director), Matt Richter (Lighting Design), Jennifer Oundjian (Choreographer), Erik Hall (Co-choreographer), Victoria Hoffman (Casting), John Ruskin (Artistic Director/Producer), Michael Myers (Producing Artistic Director), Nicole Millar (Production Stage Manager).

Theatre Review: The Opposite of Love

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In a display of intense emotions and desperate search for human connection, The Opposite of Love delivers a tantalizing story of the path to recovery, with a twist.

Eloise (Ashley Griffin) hires gigolo Will (Evan Strand) in an attempt to get over a past sexual abuse experience. The plan is simple, Will is going to have sex with Eloise a couple of times, she is going to pay him for his services, and the transaction will be done. They live in New York. She is wealthy. He is working-class. She is book smart. He is streetwise. At first, their differences seem stark, but as the story unfolds, it is obvious that their needs are pretty much similar.

In the cinema world, movies like American Gigolo and Pretty Woman depict prostitutes in two different lights, the former more realistic, the latter more romanticized. The Opposite of Love seems to fall in between, but it has a more realistic tone in the sense that it explores a deeper need of human connection in more relatable circumstances. One of the reasons why this production works so well is Melora Marshall‘s superb direction. She shows her extraordinary ability to understand the sadness, loneliness, and misery written in the script. Breaking down the layers and depths of the characters, she then guides her actors to deliver a touching display of raw emotions that flow back and forth between Eloise and Will, in a cathartic journey of sensual healing. Seeing two dissimilar and damaged characters getting closer and closer is like witnessing a train that will take them either to paradise or to an impending wreck.

Once the trust is built—some pizza and a few hundred bucks later—Eloise opens up about her traumas and needs. Lonely and inexperienced, she appears to start falling for Will. In turn, Will sees the opportunity to have some steady income coming his way while helping Eloise discover sex in a positive environment. Although the transaction seems to be going well for both, there is something growing inside of them that will change the course of their relationship.

Griffin explores issues of gender and social class. She explores the isolation and emotional detachment caused by sexual abuse. She takes her characters to a place where they lower their guards and feel their tears, unlocking the possibilities of sexual liberation, leaving a trace of bodily fluids and traumas behind. Griffin and Marshall create a stage where the audience see the facial and body expression of Eloise and Will, but more astonishingly is their ability to make the audience feel so palpably their emotional scars as well.

The story is enhanced by the background music, a selection that echoes Eloise’s sexual exploration and awakening. Just like the music, Eloise’s costumes contribute to tell her story. They show her transformation: First impression, confidence, and power. As far as character development, Eloise can be empowering, or an open question, depending on one’s take on life. The ending shows Eloise either as liberated or as an even more damaged person.

The blocking at the last scene could be perceived in different ways. Once the twist of the story is exposed, it leaves an aftertaste that deviates from the political correctness depicted in the media nowadays. Will’s posture in relation to Eloise’s is an image that exemplifies the power structure in our society. Can you tell?

The Opposite of Love

Hudson Backstage Theatre
6539 Santa Monica Blvd
Los Angeles, CA 90038

Fri, Jul 25 – Sun, Aug 31
Thu, Fri, Sat 7:30pm
Sun 4pm

Tickets: onstage411.com/newsite/show/play

Written by
Ashley Griffin

Directed by
Melora Marshall

Produced by

Neil Gooding Productions

Cast: Ashley Griffin & Evan Strand

Creative team: Celina Lee Surniak (Intimacy Director), Omar Madkour (Lighting Designer), Marshall McDaniel (Composer/Sound Designer), You Chen Zhang (Co-Scenic Designer), Joyce Hong (Co-Scenic Designer), Sage Barrie (Costume Designer).

Theatre Review: Gaslight

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With an outstanding performance by Jaxon Duff Gwillim as Jack Manningham, Gaslight brings comedy and a bit of thriller to the stage.

Jack and Bella Manningham (Tania Getty) live in London. The year is 1880. They have two servants, Nancy (Miranda Wynne) and Elizabeth (Rita Obermeyer). Jack flirts with Nancy as a plan to drive Bella insane and get her money. Additionally, Jack is also trying to find the jewels from Alice Barlow, a wealthy lady who lived in the apartment above and was murdered years ago. The murderer was never found.

Jack disappears at night without telling Bella where he’s going. Mysteriously, Bella hears steps in the apartment above, which is now unoccupied. The gaslight also dims minutes after Jack leaves the house and brightens right before he comes back. All of that and Jack’s constant belittlement are taking its toll on Bella to the point of making her feel as though she’s losing her mind. Jack’s plan is working…if he could only find those damn jewels. Meanwhile, Bella receives the visit of detective Rough (Stuart W. Howard), who worked on the case of the lady murdered in the apartment above.

The play as a whole works fine, but the thriller aspect seems to be missing in Act One and Act Two Scene 1. It shows pretty much in Act Two Scene 2, when Jack returns home, notices his desk drawers have been forced open, and faces Bella to reveal his true self. It is in this scene that Gwillim brings out convincingly the violent and dangerous side of his character. The thriller element then fills the stage and Jack’s aggressive outburst puts Bella in a vulnerable position that makes for great suspenseful action. It is at this point that Director Michael Rothhaar puts all the elements together to capture the darker tone of the play. The characters become alive and thrive in the face of danger.

The lighting by Michael Franco is clever and cast an amber tone to match the dramatic themes of the play. The same goes for the scenic design and the costumes by Taubert Nadalini and Shon LeBlanc respectively.

The audience keeps reacting positively to the staging of this play that originated the term gaslighting, so widely used in the romantic—or not so romantically—relationships nowadays. The play combines comedy and thriller, which might be the clue to the continuous production, including podcasting, of this play. It was written in 1938 by a playwright whose life was marked by tragedy: a disfigured face due to a car accident and the death of his mother by suicide. As usual, from a place of pain, artists create great works of art.

Gaslight

Pacific Resident Theatre
705 1/2 Venice Blvd.
Venice, CA 90291

Opening: June 21, 2025
8pm Thursdays – Saturdays; 3pm Sundays
(no performances July 17–25; 3pm matinees added on August 2, and 5)
Closing: August 10, 2025

Tickets: pacificresidenttheatre.org

Playwright: Patrick Hamilton
Director: Michael Rothhaar
Executive Producer: Marilyn Fox
Presented by Pacific Resident Theatre

Cast: Tania Getty as Mrs. Manningham, Jaxon Duff Gwillim as Mr. Manningham, Stuart W. Howard as Rough, Rita Obermeyer as Elizabeth, and Miranda Wynne as Nancy.

Creative team: Taubert Nadalini (Scenic Design), Michael Franco (Lighting Design), Claire German (Sound Design), Shon LeBlanc (Costume Design), Cybelle Kachler (Stage Manager).

Theatre Review: Nice Girl

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She attended Radcliffe (technically, Harvard). She had a brilliant future in front of her. She had the world at her feet. Just like Marlon Brandon said On The Waterfront, she could’ve been a contender, she could’ve been somebody. Instead, Jo (Anaïs Fairweather) is now 37, still lives with her mom, works as a secretary, has no boyfriend, and sometimes she looks like a schlump.

The occasional fun Jo enjoys is going out with her mom Francine (Susan Peahl) for a movie and some ice cream. Jo seems wrapped up in a mental stupor, standing still while life passes by at the speed of light. The monotony of her existence is sucking her spirit into oblivion, one day at a time. But there’s hope. Jo starts to hang out with her co-worker Sherry (Bailey Humiston), a firecracker who motivates Jo to go out and fix herself.

There’s also Donny (Jeff Lorch), the butcher who asks Jo to go to their high school reunion together. He even gifts Jo some fresh beef cuts, courtesy of the house. Flirting and steak sound like an irresistible combination to fill up an empty life and an empty stomach. But, is it too good to be true?

Right when the universe is aligning for Jo, Melissa Ross introduces a powerful element in creative writing: Irony. By this time, the audience is already hooked, rooting for the protagonist. Ross develops her characters to make them feel relatable. Jo wants to escape, longing for a spark to set her life in motion. This triggers emotions, feelings, and memories, transforming Jo into an entity of strength and vulnerability that make her disarmingly appealing.

The supporting characters take a life of their own, longing for a better life, and just like Jo, suffering the dreadful feeling of being left behind. Peahl, Humiston, and Lorch are fantastic; they capture the entrapments of apparent stability and the exciting new opportunities opening up for Jo. What fascinates about Ross’ writing is her ability to create those suspension periods; the three supporting characters will either unlock Jo’s happiness or shatter her life once and for all.

Attuned with the excellent writing and the exceptional direction of Ann Bronston, Fairweather’s performance is simply magnetic. Her transformation leads the audience to a journey of passive acceptance of her fate to the active search of possibilities, mainly triggered by the chance of love. She takes her character to that crossroad where there’s only one turn, left or right, ultimate realization or utter misery.

Making the most of the stage, Bronston matches the action with a unique lighting and great 80s fashion. The blocking adds dynamism that pairs up well with the sharp dialogue, making this a thrilling production that translates faithfully the essence of the story. Do not miss the opportunity to experience the enchanting trinity of script, acting, and directing. It will make you think, cry, and laugh. It’s theatre at its best, another big win for the creative minds of Rogue Machine Production.

Nice Girl

Rogue Machine Theatre (Upstairs at the Henry Murray Stage in the Matrix Theatre)
7657 Melrose Ave,
Los Angeles, CA 90046

Opening: 5pm on Saturday, June 7, 2025
Schedule: 8pm Fridays, Mondays; 5pm Saturdays, Sundays
(no performances on June 9, 13, 14, and July 4)
Closing: July 20, 2025

Tickets: roguemachinetheatre.org

Written by Melissa Ross
Directed by Ann Bronston
Producers: Lexi Sloan, Guillermo Cienfuegos, Athena Saxon
Associate Producer: Chisom Okoye
A Rogue Machine Production

Cast: Anaïs Fairweather as Jo. Bailey Humiston as Sherry. Jeff Lorch as Donny. Susan Peahl as Francine.

Creative team: Rachel Frost (Assistant director), Barbara Kallir (Scenic and Lighting Design), Christopher Moscatiello (Sound Design), Christine Cover Ferro (Costume Design), Lauren Lovett (Dialect Coach), Grant Gerrard (Technical director), Victoria Hoffman (Casting), Rachel Manheimer (Production Stage Manager).

The Los Angeles Jewish Film Festival

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The red carpet gala at the Saban Theater in Beverly Hills opened up The Los Angeles Film Festival, celebrating the power of film to express the extensive Jewish experience throughout the world.

The red carpet featured some of the stars of the films that will screen during the festival. Glamgical had the opportunity to interview two of the actors of “Midas Man”, Jay Leno and Jonah Lees. The film is a tribute to Brian Epstein, manager of The Beatles. Leno plays TV host Ed Sullivan and Lees plays John Lennon.

We also interviewed the Vice Major of Beverly Hills, John A. Mirisch, who delivered a moving message to the audience, stressing the importance of supporting the Jewish community in times of need.

We also talked briefly with the creators of “Guns & Moses”, a film that will open up in theaters on July 18 across the America. Writer and Director Salvador Litvak and Writer Nina Litvak encouraged our viewers to support this film, which depicts a Rabbi who decides to fight back when his community gets attacked.

To find out more about the festival and the times and places of the screenings, please visit lajfilmfest.org

Theatre Review: Strife

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With riveting performances by Franc Ross and Gerald C. Rivers, Ellen and Willow Geer give Strife a renewed sense of urgency, adapting the play to the 1890s in Pennsylvania, but reflecting some of the concerns of today’s job conditions.

From the trade guilds of ancient Rome to their transformation into Labor Unions as we know them today, these associations have tried to achieve economic and social justice by balancing the employer-employee relationship through group bargaining. Social activist John Galsworthy explored the tensions derived from intransigent positions by the two sides in the gripping story of the American Steel Corporation, led by its Chairman John Anthony (Franc Ross) and the Worker’s Committee, led by David Roberts (Gerald C. Rivers).

While the leaders of both sides refuse to give in, the families of the workers suffer the consequences. There is hunger and frustration, and the stakes are so high that the leaderships of Anthony and Roberts run the risk of coming to an end. Galsworthy’s writing is so relevant that his play still resonates today. It might be that the stubbornness of extreme positions have negative effects in more than just labor relations. Wars, trade disputes, and revolutions are clear examples of collateral damage suffered by innocent people at the mercy of leaders unwilling to compromise.

With the turmoil depicted and the dialogue, the cast have an excellent opportunity to shine. Ellen and Willow Geer do a fantastic job exploring the different layers of sensitivities displayed by the characters. Inflexibility, ambivalence, and desperation are embedded in the writing, and the actors make the best of it. If there were a Theatre Hall of Fame in Los Angeles, Ross and Rivers would certainly be inducted. They trigger your suspension of disbelief as soon as they hit the stage. Their portrayal of John Anthony and David Roberts is powerful and moving. They encapsulate the delusion of power and the desolation of its denouement.

The female characters add a significant weight and counterweight to the play. Annie Roberts (Earnestine Phillips) portrays the victim who pays the highest price of the prolonged strike. Enid Underwood (Emily Bridges) changes positions as a result of the unyielding stance of both sides of the conflict. Madge Thomas (Annie Reznik) embodies the frustration and powerlessness of the striking side; she’s a character who is protective and tries to mediate, only to see Roberts’ unwillingness to compromise and the indifference of Enid Underwood to the workers’ needs.

In this particular play, Galsworthy shares a similar style with George Bernard Shaw. To express their social commentary, both writers use long monologues, using dialogue as a tool to critique class divisions and the struggles of the poor. One distinctive detail in Strife, is that Galsworthy features Anthony and Roberts as opposites, one rich, one poor, but as the story unfolds, both end up as equals in their ambition to win the battle. The 180 degrees of separation eventually become 360 degrees of connection. Those nuances make this play timeless, resonating with the audience as any contemporary story would do.

The direction and the acting give a mesmerizing new life to Strife, a play that reflected the struggles of the working class during the early stages of the Industrial Revolution, but whose universal themes continue to echo the clamor for economic justice and fair balance in labor relations.

Strife

Will Geer Theatricum Botanicum
1419 N. Topanga Canyon Blvd.
Topanga CA 90290

Performances: June 21 – October 4

Tickets and schedule: theatricum.com

Written by John Galsworthy
Directed by Ellen Geer and Willow Geer
Presented by Will Geer Theatricum Botanicum

Cast: Franc Ross, Alan Blumenfeld, Ted Dane, Roman Guastaferro, Adam Mondschein, Andy Stokan, Gerald C. Rivers, Tom Allard, Hunter James, Cavin (CR) Mohrhardt, Rebecca Oca–Nussbaum, Sam Cowan, Brian Wallace, Emily Bridges, Clarissa Park, Earnestine Phillips, Annie Reznik, Aubrey Sage, Susan Stangl, Damon Rutledge, Marcus Andrews, Luke Bolle, Julius Geer–Polin, Mo Gordon, Danielle McPhaul, Kevin Rauch, Andrew Rodriguez, David Salper, Georgiana Swanson, Aralyn Wilson, Eliott Gray Wilson, Gabe Worstell, and Sammie Zenoz.

Theatre Review: Motel 66

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The Group Rep continues the road trip called Motel 66. This time, seven short plays explore the trepidations and hilarity of the human condition.

As it usually happens on a road trip, peculiar characters are found along the way, some carrying heavy weights of fear and regrets, while others just try to make the most out of life. Each of the seven plays is set in some of the cities connected by the famous Route 66, the stretch of highway going from Chicago, Illinois to Santa Monica, California.

The cities depicted in the plays are Flagstaff, Amarillo, Winslow, Hackberry, Wildorado, Barstow, and Albuquerque. The situations are varied and place the characters in challenging existential crises, forcing them to face the realities of life. As the plays show, the human experience is full of drama and humor, and that makes great entertainment for live theatre. Seven writers, seven directors, seven plays, and 19 actors make up this stretch of the road.

Four of the plays tackle dramatic situations. 45 Minutes And Counting, written by Julie Davis and directed by Lisa McGee-Mann deals with compassion and desperation to avoid a mistake that could ruin a marriage. Futures Passed, written by Fox Carney and directed by Todd Andrew Ball features the talents of April Audia and Anica Petrovic; both actresses excel in this strange interaction of two characters that share something special in life. This play is one of the highlights of the show. Wildorado written by Mimi Kmet and directed by Amy Shaughnessy is a trending story about abortion and abortion rights, exploring the tough and devastating decisions that have to be taken. Reunion, written by Kathi Chaplar and directed by Helen O’Brien presents the case of two characters’ reunion, years after a relationship went south. Success, failure, regrets; it’s all there. Still lingering. Still painful.

The three comedies presented are Forget Me Not, written by Denise Downer and directed by Barbara Brownell. A forgetful husband and a forgiving wife take a vacation. How about leaving your wife behind at a gas station in the middle of nowhere? This play features the exceptional Michael Mullen. Unfortunately, his character is too minor and he can’t show his talent. The Tour Guide, written by Phil Olson and directed by Doug Engalla. A 31-year-old takes a trip with his parents, who want him to grow up and move out of their home. He has a blog with no subscribers and no revenue (somehow it rings a bell). To get him out of the house, the parents set up a lie that, at the end, might not be a lie at all—well, it’s open to interpretation. What a creative and fun show. And lastly, Baby Day, written by Brent Beerman and directed by Lee Redmond. Three fans of comics interact with each other. Comic Con, costumes, and bodily fluids create this microcosmos of resistance to adulthood. Another fun situation to entertain your road trip.

The Group Rep is building a valuable collection of stories, connecting cities and characters in a string of plays that serve as an opportunity for creatives to expose their talents and giving the audience a chance to see multiple stories in one production.

Motel 66

Upstairs at The Group Rep Theatre
10900 Burbank Blvd.
North Hollywood, CA 91601

June 5 – July 13, 2025

Thursdays at 7:00pm
Saturdays at 4:00pm
Sundays at 7:00pm

Tickets: thegrouprep.com

Cast: Ben Anderson, April Audia, Brent Beerman, Stephanie Colet, David Downs, Lee Grober, Jessica Kent, Angie Lin, Sam Logan, Melissa Lugo, Savannah Mortensen, Michael Mullen, Judy Nazemetz,  Seong Park, Lloyd Pedersen, Anica Petrovic, Ramona Reeves, Danny Salay, Rachel Speth, Neil Thompson, Troy Whitaker, and Sylvie Wiley.

Theatre Review: Peril in the Alps

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With his peculiar mustache and walk, Hercule Poirot (Omri Schein) solves another difficult case, this time in an exotic location up in the Swiss Alps.

Bella, the twin sister of Captain Hastings’ wife, gets kidnapped. At the same time, a new wealthy client reaches out to Poirot to help solve the strange abduction of her husband. Coincidently, the husband was seen with a woman that looks very much like Bella, right before his disappearance. Are both cases connected?

Playwright and Director Steven Dietz uses characterization, especially costumes and personal traits, as tools to deliver bombastic performances and excellent humor. The central character being Poirot, of course. It is not an easy task to repeat the successful portrayal of Poirot by David Suchet, who played the character for 14 years in Britain’s Channel 3 TV show. Schein, however, brings a fresh take on the Belgian detective. His accent and mannerisms seduce the audience in a way that only talented thespians are able to do.

Valerie Larsen as Captain Hastings delivers an outstanding performance as well. Her pose and overall characterization add a new approach to the loyal sidekick. Larsen exhibits the oddity and smartness of the character effortlessly, catapulting the essentiality of Hastings in the story arc.

Dietz’s ambitious production is also boosted by the impressive scenic, lighting, and costume design by Marty Burnett, Matthew Novotny, and Elisa Benzoni respectively. These elements highlight the farcical and comical nature of the play, turning the stage into an amusing visual spectacle.

At the end of some of the TV episodes, Poirot would recap through flashbacks how the mysteries unfold and how he solves them. In theatre, this would take more resources, so to solve it, Dietz uses puppetry to convey the summary of events; a clever device to deliver a creative comedy effect.

With fast-paced blocking and exceptional acting, Peril in the Alps honors the quirky characters and fascinating mysterious worlds of Agatha Christie, one of the most successful and revered writers of mysteries of the last century.

Peril in the Alps

Laguna Playhouse
606 Laguna Canyon Rd.
Laguna Beach, CA 92651

Sunday, June 15 – Sunday, June 29, 2025

Wednesdays at 7:30pm; Thursdays at 2:00pm and 7:30pm; Fridays at
7:30pm; Saturdays at 2:00pm & 7:30pm; Sundays at 1:00pm & 5:30pm.
There will be no performance on Sunday, June 15 at 1:00pm or Sunday, June
29 at 5:30pm.

Tickets: lagunaplayhouse.com

Written and Directed by Steven Dietz
Based in part on “Poirot Investigates” by Agatha Christie

Cast: Gabbie Adner as “Woman Two,” Valerie Larsen as “Captain Hastings,” Brian Mackey as “Man Two,” Omri Schein as “Hercule Poirot,” Amanda Sitton as “Woman One,” and Christopher M. Williams as “Man One.”

Creative team: Scenic design by Marty Burnett; costume design by Elisa Benzoni; lighting design by Matthew Novotny; composer and sound design by Rob Witmer; props design by Rai Feltmann; hair & wigs design by Peter Herman. The Production Stage Manager is Vernon Willet.

Fringe Review: Dolores

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Three abortions, a trail of failed relationships, and a black eye. Dolores (Davonna Dehay) is in real trouble, so she turns to her sister Sandra (DeeDee Woche) for help. 

Playwright Edward Allan Baker provides a picture of working-class families and the roots of violence. It starts in childhood and continues through adulthood. Violence against animals is a premonition of violence against partners. How to push back? 

Dolores and Sandra represent the consequences of psychological and physical abuse. They both suffer in silence, normalize violence, and seem to accept their misery as the only option. But there’s a limit, and Dolores shows what happens when someone is pushed into a dead-end street. 

Dolores is peppered with humor, but sometimes the jokes land flat, a result of both their misplacement in the dialogue and the delivery. For the most part, however, Dehay and Woche do a great job portraying the two broken characters, especially Dehay, who has a more extensive theatrical experience. Woche is doing her theatrical debut, and this play presents a positive challenge. This is the right way to cut one’s teeth, playing roles with complex emotional layers. 

Director Stephanie Feury shows her experience at the helm, highlighting the emotional charge each character is carrying, and excels in building up the tension, leading up to the surprising climax of the story. The set design also adds to the vibe of the environment, a nice touch to the staging of this play.

This is another solid production with a committed cast and a creative director that are effective in translating the grittiness of the story and the desperate need of family support to survive the cycle of domestic abuse. 

Dolores

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

Sunday June 8 2025, 4:30 PM
Thursday June 12 2025, 7:00 PM
Monday June 16 2025, 8:30 PM
Friday June 20 2025, 7:00 PM
Monday June 23 2025, 5:30 PM
Saturday June 28 2025, 11:30 AM
Sunday June 29 2025, 2:30 PM

Tickets: https://www.hollywoodfringe.org/projects/12036?tab=tickets

Written by Edward Allan Baker. Directed by Stephanie Feury. Produced by Davonna Dehay. Co-Produced by DeeDee Woche. 

Cast: Davonna Dehay and DeeDee Woche.

Creative team: Stage Manager: Spencer Frankeberger. Set Construction: Matthew Brown. Costume Design: Nora Wilde. Publicity: Bertha Rodriguez.