Author Archive: Glamour

2026 OC THEATRE GUILD AWARDS

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Chance Theater, Curtis Theatre, and Costa Mesa Playhouse Among Top Honorees 

Orange County’s vibrant theater scene took center stage on Monday night at the 5th Annual OC Theatre Guild Awards octheatreguild.org, held at the Samueli Theater at Segerstrom Center for the Arts. Artists, designers, and companies from across the county were recognized for their creativity, dedication, and artistic excellence.

This year, the Guild recognized outstanding work across 22 categories, including four gender-neutral acting categories, with two recipients honored in each by design. A rare tie in both Leading and Supporting Performance in a Play led to three winners receiving awards in each of those categories. In total, 28 awards were presented throughout the evening.

Chance Theater had a strong showing, earning 19 awards for plays and musicals. What the Constitution Means to Me earned Outstanding Production of a Play, while Tick, Tick… Boom! captured Outstanding Production of a Musical. Spring Awakening earned the most of the evening, taking home seven awards, including Outstanding Ensemble in a Musical, choreography, music direction, lighting, sound, and fight direction.

Curtis Theatre earned four awards in total. One for the musical Beautiful: The Carole King Musical in collaboration with Southgate Productions and three for the play August: Osage County in collaboration with STAGES theatre.

Costa Mesa Playhouse earned Outstanding Ensemble in a Play for Sweat, highlighting the theater’s continued excellence in collaborative storytelling.

The ceremony was directed by Amanda DeMaio, with Kim Le returning as musical director and pianist, and Nicholas Thurkettle serving as announcer. Katie Chidester and Kristin Coyne served as OCTG Theatre Awards Program Managers.

2026 OC Theatre Guild Award recipients are:

Outstanding Production of a Play
What the Constitution Means to Me – Chance Theater

Outstanding Production of a Musical
Tick, Tick… Boom! – Chance Theater

Outstanding Ensemble in a Play
Sweat – Costa Mesa Playhouse

Outstanding Ensemble in a Musical
Spring Awakening – Chance Theater

Outstanding Leading Performance in a Play

  • Aubrey Saverino – What the Constitution Means to Me, Chance Theater

  • Rose London – August: Osage County, STAGEStheatre & Curtis Theatre

  • Stacy Castiglione – August: Osage County, STAGEStheatre & Curtis Theatre

Outstanding Leading Performance in a Musical

  • Corydon Melgoza – Spring Awakening, Chance Theater

  • Danielle Heaton – Beautiful: The Carole King Musical, Curtis Theatre & Southgate Productions

Outstanding Supporting Performance in a Play

  • Albert Park – The Chinese Lady, Chance Theater

  • Frank Bishop – Sweat, Costa Mesa Playhouse

  • Juliet Fischer – Such Small Hands, Chance Theater

Outstanding Supporting Performance in a Musical

  • Lena Ceja – Tick, Tick… Boom!, Chance Theater

  • Mario Houle – Tick, Tick… Boom!, Chance Theater

Outstanding Direction of a Play
Katie Chidester – What the Constitution Means to Me, Chance Theater

Outstanding Direction of a Musical
Jocelyn A. Brown – Spring Awakening, Chance Theater

Outstanding Choreography
Niko Montelibano – Tick, Tick… Boom!, Chance Theater

Outstanding Music Direction
Robyn Manion – Spring Awakening, Chance Theater

Outstanding Costume Design
Haven Hanson – Cinderella, JStage Irvine

Outstanding Lighting Design
Jacqueline Malenke – Spring Awakening, Chance Theater

Outstanding Scenic Design
Ganymede Projects – Such Small Hands, Chance Theater

Outstanding Sound Design
Lia Weed – Spring Awakening, Chance Theater

Outstanding Projection Design
Matthew McCray – Such Small Hands, Chance Theater

Outstanding Properties Design
Amanda DeMaio – August: Osage County, STAGEStheatre & Curtis Theatre

Outstanding Fight Direction
Martin Noyes – Spring Awakening, Chance Theater

Outstanding Wig Design
Cynthia Wilson – Cinderella, JStage Irvine

Outstanding Makeup Design
Sean Arnold – Into the Woods, Alchemy Theatre Company

Outstanding Playwriting (Original Work)
Adam Szymkowicz – Such Small Hands, Chance Theater

Theatre Review: EXIT THE KING

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It could be an ecological alarm, or a chronicle of the despotic ways of the Nicolae Ceaușescus of the world, but at the end, Exit the King feels like an intimate reflection of the intriguing process of death.

It’s official. The King (Henri Lubatti) is going to die soon. Very soon, By the end of the play, his second wife (Joy DeMichelle) announces it so cold-heartedly. His second wife (Erika Soto), prone to partying and drinking, is devastated. The doctor (Ralph Cole Jr) knows of the King’s fate, and has no hesitation in telling him the truth. The King is not only dying, he is also losing grip on his kingdom. Nobody follows his orders, not even Alexa. His guard (Lynn Robert Berg) and servant (KT Vogt) are a reflection of the decaying kingdom.

Born in 1909, Playwright Eugène Ionesco grew up in a picturesque French village full of bloom and light. This landscape contrasted dramatically with the grimness and brutality of WWI, WWII, the Holocaust, and other tragic events of the first half of the 20th century To highlight that contrast and absurdity cleverly, Director Michael Michetti utilizes a clowning format that blends tragedy and comedy, two elements that bring out the eccentricities of the characters and the symbols they represent.

Each of the actors in this production make great use of physical comedy. This is a group of experienced actors that nail every beat. Lubatti, as the lead actor, is simply extraordinary. His ability to portray comedic arrogance, goofiness, and how he exteriorizes his inner transformation is one of a kind. Soto continues to add to her already impressive collection of great performances at A Noise Within. Her timing and physical comedy skills are at full display here, showing off the kind of talent that comes out of USC. The contribution of  DeMichelle, Cole Jr., Vogt, and Berg to the comedy and flamboyance of their characters defines the success of this production.

The clowning artifice implemented by Michetti in this production exemplifies the effective duality of the clown. The initial comedy that offers buffoonery and apparent superficiality progresses to a deeper philosophical tone; one that invites the audience to confront the reality that the end of life is an inevitable force of nature, whether we are royals or simple peasants. The King, with all of the power he once flaunted, is forced to face an abrupt change, both in terms of physical power and spiritual awakening. Within those depths, Ionesco delves into rebirth, transmigration, immutability, and the eternality of the Self.

The play, with its absurdity and symbology, is paired craftily with an austere and gloomy scenic design by Tesshi Nakagawa. The medieval and gothic design offers a dramatic contrast with the impressive lighting by Jared A. Sayeg. The visual representation of Bardo is striking; artistry that you can only experience in person. The costume design and makeup by Angela Balogh Calin and Tony Valdés respectively add a quirky touch to the playfulness and oddity of the characters.

Losing one’s kingdom might be hard, but facing death might be even harder, especially if your ex-wife and doctor keep reminding you of that. Despite the support and sexiness of his second wife, the King has to make some choices, sooner rather than later, as he doesn’t have much time. Will the crumbling world beneath his feet teach this arrogant King a lesson?

Exit the King

A Noise Within
3352 E Foothill Blvd.
Pasadena, CA 91107

Performances May 9 – May 31:
• Thursdays, Fridays and Saturdays at 7: 30 p.m. / Saturdays and Sundays at 2 p.m. (no Saturday matinee on May 9)

Tickets: anoisewithin.org

• Written by Eugène Ionesco
• Translated by Donald Watson
• Directed by Michael Michetti
• Starring Lynn Robert Berg, Ralph Cole Jr., Joy DeMichelle, Henri Lubatti, Erika Soto, KT Vogt
• Presented by A Noise Within, Geoff Elliott and Julia Rodriguez-Elliott, producing artistic directors

Creative team: Clowning consultant Matt Walker; scenic designer Tesshi Nakagawa; costume designer Angela Balogh Calin; lighting designer Jared A. Sayeg; sound designer Jeff Gardner; wig and makeup designer Tony Valdés; properties designer Stephen Taylor; and dramaturg Miranda Johnson-Haddad. The assistant director is Marco Rivera, and the production stage manager is Hope Matthews, assisted by Morgan McDonald.

Theatre Review: STUCK

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With so much talk about mental health nowadays, a story like Stuck couldn’t be more timely. Playwright Jessica Goldberg captures the boredom, hopelessness, and lives left behind in small town America.

Lula (Mary-Clare Bone) and Margaritah (Michaela Leon) are close friends working a dead-end job at a video store in Middletown. Without much of a future before their eyes, all they can do is play games, drink beer, and smoke some colitas. Margaritah was married and had a baby called Olive, but her husband left them for someone else. Lula is single and on a dry spell. But suddenly, the stillness of their lives seem to change.

A strange guy comes into the video store, looking for a particular movie. His name is Jorge (Sebastian Senatore). He’s from Argentina, a peronista and a player. He invites Margaritah to go out on a date. She accepts and they end up having sex. Lula, in turn, hooks up with Charlie (Joshua Loren), the dad of one of her classmates. Just to paint a grimmer picture to Lula’s life, she also has an alcoholic mother (Stephanie Schultz) who refuses to go out; all she does is drink and watch TV. Unable to address the underlying issues affecting their lives, Margaritah and Lula are heading into a spiral of desperate actions to turn their lives around.

The play has some absurdist characteristics, like the peronista character Jorge, with the violent and revolutionary fame associated with them. and the little people that Margaritah and Lula claim to live inside them, people that have become evil according to Margaritah. These elements expand on the core themes of the story, exposing the lingering danger and mental health issues affecting the environment in which the characters live. Goldberg’s writing is exceptional in creating layers and connecting them cleverly.

The richness of the writing is translated into action effectively by the sharp direction of Amanda Bird. Her use of acting, lighting, stage design, and blocking is a titillating dramatization of the serious problems decimating our communities today: Depression, addiction, lack of opportunities, and mental health issues.

The lighting, created by Bird, creates depth and atmosphere, in cadence with the story and the characters. Any theatre student and professional designer should look at this production to see how to use your lights to create atmosphere and transitions as an aid in your storytelling. 

Also worth noting is the use of music. In one of the scenes between Lula and Charlie, Willie Nelson’s “Angel Flying Too Close to the Ground” is played in the background. Subtle, but so powerful. Once you make the connection, the song has so much meaning, if you understand the lyrics and the connection to this story. The use of dirt, spread all over the stage, is also a symbolic and meaningful element, essential to the title and context of the play.

The acting, of course, is what brings the text alive. Schultz, as the alcoholic mom, exposes in visceral scenes the hopelessness of her character, ensuring the transmigration of her utter defeat to her daughter. Loren does his part as the cold and calculating older womanizer who sees the opportunity to take advantage of a woman as young as his daughter. Bird makes the smart decision of pairing up experienced thespians like Loren and Schultz with emerging talent as Bone, Leon, and Senatore. These three young actors show their commitment and dedication to the craft. They’re a new generation cutting their teeth in meaty and challenging plays like this one. Leon’s performance is brave and convincing, dissecting the complex layers of her character, showing her devastating journey to the bottom of the barrel.

By the way, as young as they are, Bone and Leon are the founders of Opia Theatre Company, a collective of playwrights, actors, and designers. They’re co-producers of this play. Amanda Bird, Founder and Artistic Director, along with Lynne Mannino, Co-Founder and Director of Development, are the creative forces behind The Nest, a nonprofit theater company and artist resource in Los Angeles, providing education, outreach, and resources to the artistic community.

Stuck is a poignant and relevant story. It’s thoughtful and fun at the same time. It has that raw and intimate feel that leaves a lasting impression. Make sure to check it out before it’s gone.  

STUCK

Noisy Nest
148 S. Doheny Dr
Beverly Hills, 90211

Performance Dates: 05/08 – 05/23 at 8:00pm. (Thursdays-Saturdays).
Understudy performances: 05/15, 05/21

Tickets: thenestla.org/stuck

Written by: Jessica Goldberg
Directed by: Amanda Bird
Produced by: Opia Theatre Company, The Nest.

Cast: Mary-Clare Bone, Michaela Leon, Joshua Loren, Sebastian Senatore, Stephanie Schultz, Understudies: Olivia Garrity, Jemma Williamson, Devin Reeve, Tomas Francois, Rin Olsson.

Creative team: Set Design – Amanda Bird & Ashley Murray, Lead Builder – Ashley Murray, Sound Design – Jacob Rubino, Wardrobe + Prop Master – Amanda Bird, Intimacy Choreographer – Holly Hubbel, Graphic Design – Mary-Clare Bone, Stage Manager – Norah Triebitz.

Theatre Review: CLARA VS. INFINITY

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Does the universe have a limit, or is it a mass of stuff expanding in perpetuity? If you divide the circumference of a circle by its diameter, what do you get? Welcome to Pi and the world of irrational numbers. Welcome to Clara vs. Infinity.

With her mom’s credit card and some heartaches in her pocket, Clara takes a leap into the unknown, traveling by herself from Boston to Washington DC to compete in a Pi Recitation Bee. Coping with the complicated relationship with her father and his eventual suicide, Clara embarks on a bus trip to Washington with the intention to win the 10k prize to the person who can recite the most numbers of Pi. After all, she can recite more than 500. But would that be enough to win? Furthermore, can she do it without her mom finding out about the risky trip?

Similar to a road movie, the story involves a journey that is both physical and emotional. Sneaking out of the house, Clara pushes the limits, risking her own safety to help her overworked mom. The trip allows Clara to discover her weaknesses and strengths. The trip then becomes a personal development endeavor. Even though she is only a 12-year-old girl, the experience forces Clara to grow and come in contact with the world that is beyond her home.

Talking to his students, a Harvard Business School professor once said “look at the numbers, they will talk to you”. On a deeply personal level, the numbers also talk to Clara. As she reflects on the wonders of the universe, the numbers help her explore the concept of infinity. As curiosity and sadness sets in, the numbers become her companion to understand the world around her and make sense of her own life.

Meeting creepy, quirky, and friendly characters along the way, the trip turns into a passage of life, a transformation, and a deeper connection to her mom, and movingly enough, to her deceased dad.

It’s a deep, compelling, and intelligent script. Playwright Zack Rocklin-Waltch understands the concept of myth in a way that clicks with the audience brilliantly. It’s an examination of grief, self-discovery, and coming to terms with our own shortcomings. As painful as it might be, however, the whole ordeal turns into a worthwhile experience. I could’ve missed the pain, but I’d have had to miss the dance, as Garth Brooks sings in “The Dance”.

The script is paired with a superb direction by Jamie Gallo. Her actors are free to search deep into the motivations of the characters to find their inner truth. The blocking and the music are captivating. Gallo’s attention to detail is also evident in the set design (Kate Schaaf). And how about the costume design (Olivia Dakin)? It’s one of the first things you notice when the play is about to start. All of these details show how much love you put into a production. Kudos to the producers Bianca Akbiyik and Marie Bland for putting this play together so professionally.

The cast offer a deeply moving and enthralling performance that leaves a lasting impression. Kaylani Gaudart as Clara and Nikki McKenzie as mom are simply magnetic. Audrey Forman, seen before in Gloria at the Chance Theater, continues to deliver exciting performances, and this time she excels again as the wife with an internal disappointment that is affecting her life with her husband (Seth Gunawardena). Nina Romero, trained in Second City, is fantastic as well; her characterization adds a lot of flavor to the play. The whole cast is phenomenal; true artists creating moving poetry on stage.

Clara vs. Infinity is a deeply moving gem. Just like in the surrounding stores, it’s a rare find, so make sure not to miss it. One more weekend, your last chance.

Clara vs. Infinity

Zephyr Theatre
7456 Melrose Ave.
Los Angeles, CA 90046

April 10 – 26
Fridays 8 PM. Saturdays 3:30 PM and 8 PM. Sundays 2 PM.

Tickets: eightballtheatre.org/events

Written by Zack Rocklin-Waltch. Director: Jamie Gallo. Producers: Bianca Akbiyik & Marie Bland. Dramaturg: Sun Jin.

Cast: Kaylani Gaudart, Luke Dimyan, Collette McCurdy, Alex Nimrod, Audrey Forman, Kameron Brown, Nina Romeo, Seth Gunawardena, Quaz Degraft, Nikki McKenzie, and Matthew Bridges.

Creative team: Scenic Designer: Kate Schaaf, Costume Designer: Olivia Dakin, Lighting Designer: Cristo Montañez, Sound Designer: Konner Syed, Prop Designer: Dominique Jakowec, Composer: Julia Moss, Projection Designer: MC Macadar, Hair & Makeup Artist: Olivia Forman.

Musical Review: MEAN GIRLS – THE MUSICAL

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With a spectacular display of dance, singing, and scenic design, Director Dana Solimando delivers a vibrant production to revive the super-size drama at North Shore High School, including Regina’s bubble butt. 
 
First things first. If you watched the movie, the cast of this musical might look a bit older than high schoolers, but that might only be a matter of perception. Once the music hits the stage, the suspension of disbelief is automatically triggered, and the fine performances will take over your senses. 
 
As you might recall, high school is an exciting journey into adulthood, full of discoveries and dreadful experiences. Regina George (Adrianna Ross Lyons), of course, makes it even more challenging. With her larger-than-life personality, she triggers admiration, fear, or resentment, or a combination of the three, just ask Gretchen Wieners (Sarah-Anne Martinez) and Karen Smith (Grace Fluharty). The trio known as The Plastics are full of surprises, and soon enough, naive Cady Heron (Katie Roche) falls under their spell. 
 
In 2004, the movie Mean Girls became an instant hit. Its creator, Tina Fey, trained in The Second City in Chicago, nailed it when she described the drama that unfolds in high school. No surprise here; the story is a relatable narrative that continues to speak directly to the audience. With such a legacy in their hands, the directors of the musical have the challenge to translate the magic of the story into a spectacle, bringing together a group of singers, dancers, and actors, not to mention the critical aspect of live music. 
 
Solimando delivers on every single one of those areas. The singers. All of the main characters excel in their interpretations. Lyons as Regina, is simply fantastic. With her refined belting technique, she embodies a real queen bee, perfect for her character. Impressive and magnetic. The dancers. Individually and as a group, the cast put on a great show. The kinetics bring a lively rendition of the musical numbers. The big stage allows for ample room to move chairs and tables around, giving the cast a chance to tap, breakdance, and show the different dancing styles to energize the show. 
 
As for acting, they all give their best. It’s worth noting that Solimando gives Gavin Leahy enough room to explore his character as Damian Hubbard. His range is wider here than in the movie, and that’s a great thing, as Leahy has superb acting skills. Both Roche and Lyons are phenomenal triple threats. Lyons as the aggressive, entitled, and controlling evil Plastic. Roche shows her experience as a performer in musicals. Her transformation from naive to Plastic blends organically, delivering a convincing display of talent. 
 
There is only one instance that breaks the consistency. When Cady gets drunk and talks to Aaron (Eric Myrick), she starts with a slurred speech, then suddenly changes to a normal speech, then back to slurred. This threw off the scene a bit, although the overall scene came out funny with a great musical number in between. 
 
The scenic design by Stephen Gifford and the costume coordination by Adam Ramirez deserve special mention. Along with the lighting design by Steven Young and projections design by David Murakami, the creative team frames the stage with fascinating visuals that elevate the value of the production. Add the live music directed by Anthony Zediker and you get the whole package. The projections have a comics look and that work very well with the teenage theme of the story. In other instances, the projections look sparkling vivid, full of color, becoming a character on their own. In other productions, the use of projections diminishes the visuals, looking cheap as a lazy way to replace a creative scene design. Not here, the projections are artistic and well-integrated into the story, adding quality and vibrance to the scenes. 
 
This rendition of Mean Girls is spectacular with quality all around. It’s a big win for Solimando and La Mirada Theatre, and we hope they receive awards this year for this production. Don’t miss this musical, you won’t regret it. 
 
Mean Girls – The Musical 
 
La Mirada Theatre for the Performing Arts 
14900 La Mirada Blvd. 
La Mirada, CA 90638 
 
Tickets: lamiradatheatre.com 
 
Book by Tina Fey. Music by Jeff Richmond. Lyrics by Nell Benjamin. Musical Direction by Anthony Zediker. Directed and Choreographed by Dana Solimando. 
 
Cast: Katie Roche, Adrianna Rose Lyons, Sarah-Anne Martinez, Grace Fluharty, McKenna Michael, Gavin Leahy, Eric Myrick, Shailen Patel Braun, Daryl C. Brown, Daniel Dawson, and Gwen Hollander. The Ensemble will feature (in alphabetical order) Sabrina Astengo, Alyssa Anne Austin, Eugene Boyd, Augusto Guardado, Brandon Halvorsen, Emmy J. Lane, Jenna Luck, Keturah McIntyre, Caroline Moulios, Barbara Ann Reed, Eric Renna, and Clayton Michael Walker.  The Swings will be Kevin Corte and Bailey Renee Miller. 
 
Creative team: Scenic Design by Stephen Gifford; Lighting Design by Steven Young; Sound Design by Josh Bessom; Projections Design by David Murakami; Costume Coordinator is Adam Ramirez; Hair/Wig Design by Kaitlin Yagen; Properties Design by Kevin Williams. 

Short Film Review: SURPRISE!

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Somewhere in Surprise, AZ, Nancy and Brian Silverstein are expecting their first child, a boy, Joey. After a while, they have another child, a girl, Lisa.

Life goes as usual until Lisa starts to develop a dislike of the color pink and long hair. That’s the sign of something much bigger. How will the Silversteins handle the situation when they notice that Lisa is better at baseball than Joey?

The story delves into the concerns of parents who find out that their kids turn out to be something different than expected. It’s an exploration of a soul-searching journey into acceptance and support. How do parents nurture their kids regardless of their personal choices? The message comes out clearly, and with basic equipment, the film has an indie and heartfelt spirit.

Written, directed, edited, and executive produced by Nicole Picard, Surprise! has received some significant accolades such as the California Indies Film Festival Best LGBTQ Short Film, 2021, the Vegas Short Film Festival Nicole Picard, Best Actress and Best Comedy Short, 2022. Gaining momentum, this indie short film will continue its run in the festival circuit.

Surprise!

Writer/Director Nicole Picard, Associate Producer Paula Achter and Executive Producer Nicole Picard.

Cast: Nicole Picard, David Edelstien, Jason McCrite, Abigail Thompson, and Laura Walker. Also, Logan Laurel, Jake Getman, Melody Parra, Piper Major, Cat Healy, Kelly McDevitt, Cassie Carpenter, Willow Hunt, Georgia Arnold, Liv Schacht, Ellen Burr, Paula Achter, Melodee Piper, and Sheila Korsi.

Creative Team: Theme Song Nancy Luca, Script Consultant Nicky Zarchen, Director’s Assistant Laura Walker.

Dana Solimando on Directing Mean Girls – The Musical

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Mean Girls – The Musical, directed by Dana Solimando, opened up last week at La Mirada Theatre for the Performing Arts. The Plastics, The Outcasts, and those memorable high school years are on full display, not to mention the salacious rivalry between the naive Cady Heron and the narcissist Regina George.

Dana Solimando is a performer, choreographer, and director. As a performer, she has been featured in Broadway shows such as Cats, Swing! and Peter Pan among others. And now, as a director, she is bringing the spirit of Mean Girls back to life at La Mirada Theatre. We talked to Dana about the show and its important message to the younger generations. Below is our interview with this multifaceted artist.

What was your reaction when you first saw Mean Girls back in 2004?

When Mean Girls came out in 2004, I had just had my son, so I was deep in new mom mode…I remember just thinking it was hilarious. My stepdaughter, who was about 8, was completely obsessed with it. Watching it now, with my kids in their 20’s and after having lived through their high school years, it feels very different. I still love the humor, but now I really see the layers- the complexity of those relationships and the very real pressures behind it all.

How was your own personal experience in high school?

Between sixth and ninth grade, I hadn’t quite grown into myself yet… I was very awkward and gangly. My High School experience was the mid 80’s and could have been right out of a John Hughes movie. It was New York state packed with girls with huge hair and Italian’s driving Iroc Z-28’s. I also had my very own Mean Girls experience…my best friend that I grew up with developed much faster than me… in the 8th grade, she looked like she was in her mid 20’s.  She was getting hit on by older boys and grown men, while I looked like a Gelfling from the movie The Dark Crystal. Dealing with her own challenges of fitting in, she gravitated toward new found friends and popularity. I remember very distinctly her ignoring me in the hallways at school. She had been my best friend since kindergarten and I just couldn’t understand it. It felt so traumatic at the time. Everything feels so heightened, when you are in high school. I remember crying a lot that summer. The relationship eventually healed, and we are still close friends to this day, but that summer definitely left an impression.  I ultimately found my place in high school as a more art focused student, and over time gained a level of social visibility. Experiencing such contrasting dynamics gave me a unique perspective on different groups and how they interact.

Tina Fey is a staple in American comedy. How does it feel to work on her material?

It’s an honor…Tina Fey is legendary. She and I are the same age, so her references hit home. Watching Mean Girls and her work over the years, it always felt really relatable- like we were exposed to the same Gen X source material.

With so much emphasis on mental health nowadays, what is the most relevant message of Mean Girls?
Mean Girls has always been relevant, but the story resonates now more now than ever.

It captures the pressures of social identity during adolescence, which has only intensified with social media. I love how the new version dives deeper into the negative effects social media has on our children.

As a parent, I saw firsthand how that constant access and comparison affected my kids’ mental health. High school is already emotionally complex, and now those dynamics are amplified and follow students everywhere. The message of Mean Girls is that we are all human, we all have insecurities, get hurt, and sometimes end up hurting others. No one is perfect. I love that the show encourages and celebrates uniqueness, but also has a message of forgiveness at the end.

You are also the choreographer. Did that make it easier to work with the cast?

Yes and no. With tight timelines, it can be really effective to divide and conquer between a director and choreographer, and I’ve really valued those collaborations. At the same time, I’ve found that when I’m guiding both elements, it allows for a particularly cohesive creative process. I can connect the storytelling and movement from the beginning, which helps everything feel unified when working with the cast. That said, I also really value collaboration within that structure…I worked closely with my associate director/choreographer Rodrigo Varandas on this project, who helped me develop and refine ideas in the room, so it still feels like a shared creative process while maintaining a clear, cohesive vision.

Being a director means that you have to wear many hats. What’s the most rewarding part of your job?

Hands down the most rewarding part of the job is when you start to see the actors connect to their characters and really fly- when they begin to take ownership of their roles and the work starts to take on a life of its own. There’s a point in the process where you realize it’s no longer yours. It doesn’t belong to you in that same way anymore…which is a great thing. You have to allow the production to evolve beyond your direct influence. And that moment, when everything starts coming together and the piece breathes on its own, is incredibly exciting and deeply rewarding.

When did you find out you wanted to be a director?

Funny story…many years ago, right after performing in Swing! on Broadway and on tour, I was hired to perform in a regional premiere and assist the choreographer. A few days before rehearsals started, there was an issue with the creative team and I was asked to take over the project. Then, just a few months later, it happened again on the national tour of Jesus Christ Superstar. I was brought on as the assistant choreographer, and the night before rehearsals began, I was told the choreographer had to leave due to a family emergency. The producer asked if I could step in. I said yes…then immediately realized just how big the job really was!

Those two experiences launched my career earlier than I ever expected. Over time, the shift into directing really grew out of how I approach choreography. I’ve always rooted movement in storytelling-I can’t create steps until I know what I’m trying to say. Eventually, I realized I wasn’t just thinking about choreography anymore I was thinking about the entire piece…the characters, the arc, the world of the show. That’s when it clicked that I was drawn to directing

For musicals, do you prefer to work with “triple threats”?

Yes-absolutely. Ideally, I love working with triple threats. When actors have an awareness of how to use their body, voice, and storytelling instincts all together, it brings a real efficiency to the work, especially in musical theatre. That said, not every role requires the same skill set, and sometimes casting an actor who is strongest in performance and character work is exactly the right choice for the piece. For me, it’s always about assembling the right combination of artists to serve the story best.

Any message you would like to share with the audience that will be attending the performance of Mean Girls?

Yes! Come for the laughs, but don’t be surprised if you also see a little bit of yourself up there. The show is fun and wildly entertaining… and then it reminds you that we’re all a little messy, vulnerable, and completely human.

Mean Girls – The Musical
La Mirada Theatre for the Performing Arts
14900 La Mirada Boulevard
La Mirada, CA 90638
Tickets and information: lamiradatheatre.com

Theatre Review: THE BAPTIST WITCHES OF SHELBYVILLE

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Portraying a blend of the ideological remnants of the Jim Crow Laws and current socioeconomic conditions of the Black Belt, The Baptist Witches of Shelbyville tells the story of five generations of women living under the same roof; weed, booze, and dark secrets included.

Lucinda (Mamie Gummer) comes to Shelbyville to visit her family for a July 4th holiday. A great vacation with even greater surprises. Her grandma (Juliana Liscio) is bedridden with dementia. Her sister Birdie (Julie Shavers) is dating a felon who went to prison accused of murder. Kitty (Ashley Ward) disapproves of the relationship because the man is black. Mama Moon (Gigi Bermingham) is a devoted Christian who shoots rats in the middle of the night and tries to keep the family’s sanity, in the name of Jesus. Lottie (Angelie Simone) has premonitory dreams, usually leading to someone in the family getting pregnant.

In this play, Shavers examines the challenges of regions that have been left behind. Birdie works in a factory that seems to be the culprit of her lung medical condition. The story also delves into the issues of mental health and the failures of the healthcare system, specially for underprivileged Americans. 

Taking even a closer look, the story explores the internal mechanisms of perennial racism in the South. The man Birdie is dating is Black, out of prison, and an overall idea of danger and distrust for Kitty. Although it seems stereotypical, the recurrent mention of negative connotations attributed to this racial group is a reminder of the persistent image entrenched in American society.

Through the characters, Shavers exemplifies the challenges of the Southern region. Poverty, regardless of racial composition, is persistent, curtailing a positive forecast for future generations. Low educational attainment for the working class and a tendency to rely on one’s Christian faith instead to navigate life, a common staple of the Bible Belt, is also a recurring theme in the story.

Although the delivery feels at times inorganic, causing some of the jokes to land flat, the overall production is an entertaining experience. The dialogue is sharp and the comedy is a creative way to lift up the spirit of the dark subject matter instilled in the core of the play.

Director Daniel O’Brien uses the limited space effectively, adding movement to the play with the use of props and blocking, including the fight scene. These elements provide physical comedy and three dimensions to the brilliant script.

After 18 years of running the Whitefire Theatre, Artistic Director Bryan Rasmussen continues to show his good taste in finding engaging productions, bringing significant value to the local scene. Having produced over 500 shows and more than 50 world premieres, not to mention surviving the brutal pandemic, Rasmussen has been a force of nature, promoting and nurturing the pool of talent that make up the resilient theatre community of Los Angeles. 

The Baptist Witches of Shelbyville

Whitefire Theatre
13500 Ventura Blvd.
Sherman Oaks, CA 91423

Tickets: whitefire.stagey.net/projects

Opening: Saturday, March 28, 2026
Schedule: 8pm on March 28, April 3, 4, 11, 17, 18, 25
Closing: April 25, 2026 

Written by Julie Shavers. Directed by Daniel O’Brien. Produced by Black Rocking Chair.

Cast: Gigi Bermingham, Mamie Gummer, Julie Shavers, Angelie Simone, and Ashley Ward.

Creative team: Sound and Video Design by David Zuckerman, Lighting Design by Derek McDaniel, Production Design by Carmen Ziller, Original Music by Cameron Clarke, and Fight Choreography by Ned Mochel.

Theatre Review: DEATH OF A SALESMAN

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The American Dream, an aspirational state captured in the Declaration of Independence, gets a reality check in Arthur Miller‘s Death of a Salesman. In a superlative performance, A Noise Within delivers a moving and powerful production to remember.

Willy Loman (Geoff Elliott) has to travel 700 miles to try to make a sale. Empty-handed and exhausted, he comes back home to his supporting wife Linda (Deborah Strang) and his two sons Biff (David Kepner) and Happy (Ian Littleworth), who don’t seem to understand the depression of a defeated man on the brink of a mental breakdown. Biff feels he has lost his North Star, unsure whether to stay in New York or move West. Happy encourages him to start a business together selling sporting goods.

Willy’s only friend is his neighbor Charley (Bert Emmett), who lends him money on a regular basis. Charley’s son Bernard (Kasey Mahaffy) is now a successful lawyer. Bernard and Biff went to school together. Bernard made it to the top, Biff drifted away after failing math in high school despite a promising football career, unable to get into college.

Old, tired, and with a troubling mental instability, Willy tries to negotiate with his boss Howard (Michael Uribes) a local position in New York to avoid the long sale trips. He even asks for less money. Instead, Howard fires Willy on the spot, dismissing Willy’s 34 years of service. Depressed, hopeless, and with memories tormenting him, Willy is pushed to the limit.

Even though Arthur Miller wrote Death of a Salesman in 1949, almost 80 years ago, he saw something in the system, implying that the American Dream wasn’t for everyone. Willy is not just a human character, it’s a representation of the failed ethos of America’s aspiration to be the land of opportunities for all. Director Julia Rodriguez–Elliott ensures to capture the very essence of the symbolic representation of the play. It’s a masterful example of how to lead a story to an emotional and captivating finale, reverberating the message in a powerful and meaningful way. The result is an audience rooting for Willy and feeling the pain of his broken dreams. We get it, Willy’s failures have seeped through to reach our current generations; the American Dream looks like the horizon, it’s there, but out of reach.

Elliott is magnificent in this role. He embodies the nuances of a character whose life is moving towards a dead-end street. The last stretch of his life is a blend of reality and flashes of the past, talking to his deceased brother Ben (David Nevell). It’s a meaty role, a challenge that only actors of Elliot’s caliber can pull off. He offers a vivid representation of utter defeat, holding on to the hope of reconnecting with his son.

The supporting cast add excellence to this staging. As usual, Mahaffy delivers a quirky and entertaining character, peppering the play with some comedic relief to counter the tragic nature of the play. The whole cast turns into a cohesive presentation that makes justice to this masterpiece. Strang’s performance is touching as the devoted companion who offers reassurance and loyalty, defending Willy’s dignity to the very last moment. Likewise, Littleworth and Kepner give their characters depth, showing the difficulties of trying to reconnect with a delusional father. Elliot and Kepner give us a heartwarming scene that highlights a silent pain haunting Willy for a long time.

The lighting by Ken Booth turns the stage into an emotional canvas, illuminating both the characters and the impressive scenic design by Frederica Nascimento. These artistic elements show the attention to detail and the dedication of A Noise Within to offer an exceptional visual experience.

Do yourself a favor and witness what artistic excellence is all about. That’s the beauty of live theatre, no cell phones, no cameras, just the now and the enduring vision of long-lasting memories.

Death of a Salesman

A Noise Within
3352 E Foothill Blvd.
Pasadena, CA 91107

Performances March 28 – April 19:
• Thursdays, Fridays and Saturdays at 7: 30 p.m. / Saturdays and Sundays at 2 p.m. (no Saturday matinee on March 28)

Tickets: anoisewithin.org

Written by Arthur Miller. Directed by Julia Rodriguez–Elliott. Presented by A Noise Within, Geoff Elliot and Julia Rodriguez-Elliott, producing artistic directors.

Starring Jacob Cherry, Geoff Elliott, Bert Emmett, Rachel K. Han, David Kepner, Ian Littleworth, Kasey Mahaffy, Cassandra Marie Murphy, David Nevell, Dominique Razón, Deborah Strang, Michael Uribes.

Creative team: Scenic designer Frederica Nascimento; costume designer Angela Balogh Calin; lighting designer Ken Booth; sound designer and composer Robert Oriol; wig and make up designer Tony Valdés; properties designer Stephen Taylor; fight choreographer Kenneth R. Merckx, Jr.; dialect coach Andrea Odinov; intimacy coordinator Sasha Smith; and dramaturg Miranda Johnson-Haddad. The production stage manager is Angela Sonner, assisted by Samantha Millette.

Theatre Review: SEX, LIES, AND HAROLD PINTER

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This production features two plays, Party Time and The Lover. With their experience and fine acting skills, Susan Priver and Ron Bottitta steal the show.

Harold Pinter had the ability to describe the world with quirky characters in surreal and absurd environments. One example of this is Party Time, where the characters exhibit total indifference to the outside world while exalting the comfort of a private health club. The setting is an exclusive party by members of London’s high society. Their disregard to the street protests indicates how they see the world around them and the privilege of their social status.

The interaction that underlines the moral debacle of this group is the arguments between Terry (Paul Marius) and his wife Dusty (Michelle Ghatan). Terry berates Dusty when she raises her concerns about her brother Jimmy (John Coady), who seems to be one of the protestors. Pinter does not fully explain what is happening outside in the streets, but it seems that there is some kind of anarchy going around.

For this play, the acting looks a bit flat, there are some instances where the cast tried to spark some interest, but for the most part, it fell short. With the variety of characters and unusual sociopolitical undertones, this staging can stress the implied tension and menace in the text more significantly.

Priver and Bottitta, on the other hand, delivered a fantastic performance, exploring the nuances of a couple that engage in extramarital affairs with full consent, at least, apparently. Richard is seen leaving his house while asking Sarah if her lover is coming home to spend time with her. As time goes by, however, Richard seems conflicted about Sarah’s romantic liaisons. Despite this concern, the characters build up the sexual tension, raising the temperature in every scene.

And if the affairs alone make the situation look risqué, the bongos and leather jacket make whole cheating feel transgressive. As soon as Richard strikes the bongos, Sarah goes into trance, like a cobra swaying at the sound of an enchanting flute. The sexual response is sensual and funny, spicing up the resolution of the play. Director Jack Heller uses the blocking to heighten the comedic effect. He moves the actors around to create kinetics, livening up the story and the characters; a masterful use of space and movement. If you add Priver and Bottitta’s stage experience, you get a delightful spectacle to honor the whimsicality of Pinter’s writing.

Sex, Lies, and Harold Pinter
Party Time and The Lover

A Visiting Production at the
Odyssey Theatre
2055 S. Sepulveda Blvd.
Los Angeles CA 90025

March 20 – April 26
Fridays and Saturdays at 8 p.m. / Sundays at 3 p.m.

Tickets: odysseytheatre.com

Written by Harold Pinter. Directed by Jack Heller. Produced by Brian Foyster and Christina Hart. Presented as a Visiting Production at the Odyssey Theatre.
Starring Ron Bottitta, John Coady, Larry Eisenberg, Michelle Ghatan, Brenda James, Isaac W. Jay, Paul Marius, Michelle McGregor, Christopher Louis Parker, Susan Priver, Mouchette Van Helsdingen.

Creative team: Scenic designer Joel Daavid, lighting designer Gavan Wyrick, sound designer Christopher Moscatiello, costume designer Shon LeBlanc, and properties designer Sofia Alejandra Gonzalez. The stage manager is Valeria Ruuva.