Author Archive: Glamour

Theatre Review: Misalliance

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A Noise Within presents Misalliance to close out its 2023-2024 “Balancing Act” season. Written by George Bernard Shaw. Directed by Guillermo Cienfuegos. Geoff Elliot and Julia Rodriguez-Elliott are the producing artistic directors.

What can women do in Edwardian England to defy conventions? In the case of Hypatia (Erika Soto), she aggressively chases down the man she likes and rejects marriage proposals. As for Lina (Trisha Miller), she flies a plane and also rejects marriage proposals left and right. In George Bernard Shaw‘s world, these two characters symbolize the beginning of the new female image taking shape in the post-Victorian England, a stark contrast to the passiveness and intellectual inferiority expected from women in previous periods.

To recreate the Art Nouveau interior design from the Edwardian period, designer Angela Balogh Calin used an impressive glass wall and a massive painting to simulate an expansive background garden. Calin’s artisan skills are evident in the multiple details around the set. The walls, the floor, and the furniture décor they all exhibit organic shapes and floral motifs that give off an air of sophistication to the ample stage.

Bear in mind that Misalliance is a wordy play with long monologues. Shaw used some of the characters as an audience for his social and political views. In a few scenes, some characters just sit passively, listening to the other characters go on and on with their monologues. Fortunately, these scenes lead to some of the finest comedy lines in the history of theatre. This play is a masterful combination of inventive dialogue and physical comedy. One of the benefits of having a fine director like Guillermo Cienfuegos is that he allows his superb cast to let loose and bring their craft to another level. The performances of Josey Montana McCoy as the intellectually superior but physically inferior Bentley and Joshua Bitton as the socialist Baker are as hilarious and entertaining as they can be. Add to this the skills of Peter Van Norden, Deborah Strang, and Frederick Stuart and you have the human capital to stage a magnificent production to bring alive the fun madness of Shaw’s study on class, gender, and generation.

Soto, always a lively performer, unlocks that irresistible sense of hysteria that explodes at the first opportunity. She delivers consistent performances and is building up an impressive resume, participating in some of the most iconic productions of ANW.

The Misalliance billboard shows a picture of Trisha Miller as Lina Szczepanowska, which is indeed, the central character in the play. With her commanding stage presence, Miller embodies the perfect Lina, a willful and determined woman with no time for superfluous romanticism. Even though Lina only appears in the second act, it is immediately obvious that this character is the one that turns things upside down. She defies norms and is an inspiration not only to Hypatia but to the male characters as well. Lina is a fearless woman who pushes the limits. With her free spirit, she challenges conventions and is a sneak peek of the things to come for the place of women in society. With this play, Miller adds another stellar performance to her brilliant career at ANW.

Misalliance is another big win for A Noise Within, a company committed to stage relevant and majestic productions, setting a high standard of quality to the theatre scene.

Misalliance

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

Performances May 18 – June 9
• Wednesday at 7:30 p.m.: May 15 ONLY (Preview)
• Thursdays at 7:30 p.m.: May 23, May 30, June 6 (dark May 16)
• Fridays at 8 p.m.: May 17 (Preview); May 24*; May 31*; June 7*
• Saturdays at 2 p.m.: May 25; June 1; June 8 (no matinee on May 18)
• Saturdays at 8 p.m.: May 18 (Opening Night); May 25; June 1; (No 8 p.m. performance on June 8)
• Sundays at 2 p.m.: May 12 (Preview); May 19; May 26*; June 2; June 9
*Post–performance conversations with the artists take place every Friday (except the preview) and on Sunday, May 26.
A student matinee will take place on Thursday, May 16 at 10:30 a.m. Interested educators should email education@anoisewithin.org.

Tickets: anoisewithin.org

Written by George Bernard Shaw. Directed by Guillermo Cienfuegos. Geoff Elliot and Julia Rodriguez-Elliott, producing artistic directors.

Cast: Joshua Bitton, Dan Lin, Josey Montana McCoy, Trisha Miller, Riley Shanahan, Erika Soto, Deborah Strang, Frederick Stuart, Peter Van Norden.

Creative team: Scenic designer Angela Balogh Calin; lighting designer Ken Booth; composer and sound designer Christopher Moscatiello; costume designer Christine Cover Ferro; wig and make up designer Tony Valdés; properties designer Stephen Taylor; dialect coach Andrea Odinov; and dramaturg Miranda Johnson-Haddad. The assistant director is Rachel Berney–Needleman. The production stage manager is Angela Sonner, assisted by Hope Matthews.

Theatre Review: Going Mad: Alice in Hollywoodland

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Odyssey Theatre Ensemble and Los Angeles City College Theatre Academy present Going Mad: Alice in Hollywoodland. Written by Richard Alger. Directed by Tina Kronis. Produced for Odyssey Theatre Ensemble by Beth Hogan.

The topsy-turvy world of Alice in Wonderland is re-imagined by Playwright Richard Alger. This time, Wonderland is the backlot of a Hollywood studio. Alice (Norene Flowers) is about to start principal photography of her project when Virginia (Victoria Davidoff), the studio executive, decides that the beginning of the script needs to be changed. Encouraged by Whitey Lepus (Cristian Venegas), a desperate Alice enters a door that leads her to the underworld, a place of strange characters that are supposed to help her navigate the treacherous environment of the studio system.

This production showcases the talent from the Los Angeles City College Theatre Academy, a full-time professional training conservatory for actors, technicians and costumers. Some of the actors have participated in other professional productions and this is evident in their performances. They deliver their lines fluidly and their movements show the excellence of their training.

There was a bit of a hiccup at the beginning of the show and the music was a bit too loud to hear the actors in the first scene. However, things got better as the actors warmed up. Scene by scene the actors got into the rhythm of the play and started to show off their potential. Flowers is the star of the show and she delivers an exceptional and consistent performance throughout the play. Davidoff and Venegas were also excellent in their characterizations. Four of the actors that also show great confidence and theatrical skills are Tony Gonzalez as Humphry, delivering a convincing monologue, Cara Schell Sandefur as Blanche, Alex Bravo as Tuttle Lloyd/Max, and Elizabeth Mackessy as Chessie.

Director Tina Kronis makes this play highly kinetic. There is plenty of dancing and singing with a modern feel and a homage to old Hollywood. The blocking, with special effects included, adds a visual element that translates the surrealism of the script into moving images. A similar approach was observed in TINY LITTLE TOWN, a new musical, also produced by Theatre Movement Bazaar, a musical that also blended comedy with energetic movement.

Although this play features college actors, their performances and the production in general is a well-developed endeavor that shows the level of commitment from the producers, the playwright, the director, and of course, the future thespians. It is also an example of the productive training received at the Los Angeles City College Theatre Academy, an institution preparing theatre artists since 1929.

Going Mad: Alice in Hollywoodland

Odyssey Theatre
2055 S. Sepulveda Blvd.
Los Angeles CA 90025

May 16 – May 25, 2024
• Thursdays at 8 p.m.: May 16 and May 23
• Fridays at 8 p.m.: May 17 and May 24
• Saturdays at 8 p.m.: May 18 and May 25

Tickets: odysseytheatre.com

Written by Richard Alger and directed by Tina Kronis, co-founders of Theatre Movement Bazaar. Produced for Odyssey Theatre Ensemble by Beth Hogan. Presented by the Odyssey Theatre Ensemble, Ron Sossi Artistic Director, and Los Angeles City College Theatre Academy.

Cast: Emma Baker, Alex Bravo, Victoria Davidoff, Norene Flowers, Delfin Gamboa, Tony Gonzalez, Tracy Chapman Kamenga, Kal Karnchananasej, Adam Lopatka, Elizabeth Mackessy, Manuel Marin, Cara Schell Sandefur, Art Sandoval, Markel Sealy, Lucas Sheppe, Cristian Venegas, and Sam Sooin Yang.

Creative team: Set Design by Maureen Weiss, Light Design John A. Garofalo, Costume Design Luz Stehelin, Sound Design Rebecca Kessin, Tina Kronis, Richard Alger, Assistant Costume Design Raquel Muñoz & Johnny Hagan, Stage Manager Jasmine White, Assistant Stage Manager Chris Avedis, and Prop Master Tim Christian.

The Last Five Years

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Sierra Madre Playhouse Presents
Jason Robert Brown’s Acclaimed Musical
The Last Five Years

 Captivating Love Story Explores Complex Dynamics of a Relationship through the Lens of Time

May 17 – June 16, 2024

WHAT:

Sierra Madre Playhouse Presents
The Last Five Year
Book/Music/Lyrics by Jason Robert Brown

 PRODUCTION TEAM:

Director/Set/Props: Josh Shaw

Music Director/Piano: Joshua Foy

Costume Design: Hailey Springer

Lighting Design: Grace Berry

Stage Manager: Bri Westad

Assistant Stage Manager: Carolyn Wasson

Substitute Stage Manager: Colton Bassett

CAST (double cast)

Cathy: Margaret Berkowitz

Cathy: Jackie Bonsignore

Jamie: Jayde Mitchell

Jamie: Bryan Mittelstadt

WHEN:

Friday, May 17, 8:00 PM – With Ensemble

Saturday, May 18, 4:00 PM – With Live Piano

Saturday, May 18, 8:00 PM – With Live Piano

Sunday, May 19, 2:00 PM – With Live Piano

Friday, May 24, 8:00 PM – With Ensemble

Saturday, May 25, 4:00 PM – With Ensemble

Saturday, May 25,8:00 PM – With Ensemble

Sunday, May 26, 2:00 PM – With Live Piano

Friday, May 31, 8:00 PM – With Ensemble

Saturday, June 1, 4:00 PM – With Live Piano

Saturday, June 1, 8:00 PM – With Live Piano

Sunday, June 2, 2:00 PM – With Live Piano

Friday, June 7, 8:00 PM – With Live Piano

Saturday, June 8, 4:00 PM – With Live Piano

Saturday, June 8, 8:00 PM – With Ensemble

Sunday, June 9, 2:00 PM – With Live Piano

Friday, June 14, 2024, 8:00 PM – With Live Piano

Saturday, June 15, 4:00 PM – With Live Piano

Saturday, June 15, 8:00 PM – With Live Piano

Sunday, June 16, 2:00 PM – With Live Piano

WHERE:

Sierra Madre Playhouse
87 West Sierra Madre Boulevard
Sierra Madre, CA 91024

 RUN TIME:

Approximately 90 minutes with no intermission.

 TICKETS & INFORMATION:

Tickets are $12 – $45

626.355.4318

www.sierramadreplayhouse.org

Fancy Nancy, The Musical

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Chance Theater is bringing fantabulous back with…

Fancy Nancy, The Musical

The wildly popular musical adaptation of the best-selling book series is back for the 7th time!

WHAT: Fancy Nancy, The Musical

This TYA favorite returns to the Chance for the seventh time. Bring the family and watch as Fancy Nancy and her friends Bree, Rhonda, Wanda, and Lionel get ready to perform in their very first show, “Deep Sea Dances.” Nancy is positive, that’s fancy for 100 percent sure, that she and Bree will be picked to be mermaids. When another girl wins the coveted role of the mermaid, Nancy is stuck playing a dreary, dull tree. Can Nancy bring fancy flair to her role, even though it isn’t the one she wanted?

WHEN:

Previews: May 24-26, 2024; Friday 7 p.m., Saturday at 4 p.m. & 6 p.m., Sunday at 1 p.m. & 4 p.m.

Performances: May 24 – June 9, 2024

Fridays 7 p.m (only May 24), Saturdays at 11 a.m., 1 p.m., 4 p.m., and 6 p.m. & Sundays at 1 p.m., 4 p.m., and 6 p.m.

RUNNING TIME: 1 hour, 10 minutes

WHERE: Chance Theater @ Bette Aitken theater arts Center on the Cripe Stage

5522 E. La Palma Ave., Anaheim, CA 92807

TICKETS: $31-35

MORE INFO: www.ChanceTheater.com or call (888) 455-4212

Late Sunday Afternoon, Early Sunday Evening

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LATE SUNDAY AFTERNOON, EARLY SUNDAY EVENING
It’s Scary Giving Birth to One’s Life, Isn’t It?

Hollywood, California, May 16, 2024.Vee Kumari unveils her passion project “Late Sunday Afternoon, Early Sunday Evening” written by Jean Lenox Toddie, a heartfelt and poignant one-act play at Hollywood Fringe Festival 2024. Set against the backdrop of a Boston home, this captivating production stars Vee Kumari alongside the talented Sanchita Malikin a tale that delves deep into the complexities of life, love, and legacy. Opens at the Hobgoblin Playhouse, June 6th.

Padma, portrayed by Vee Kumari, roams the corridors of her home, grappling with the profound question of fulfillment in her twilight years. Haunted by memories of past lives filled with excitement, she stands at a crossroads, pondering the essence of her existence and the relationships defining it. Alongside her strong-willed granddaughter, Libby, Padma embarks on a journey of self-discovery and revelation, where three idealistic characters intertwine in a narrative transcending generations. “Late Sunday Afternoon, Early Sunday Evening” invites women to explore the boundless possibilities of their second act in life. It’s a mesmerizing tale of coming-of-age, infused with a twist that will captivate audiences.

In a parallel world to Padma’s, Vee Kumari discovers resonance and inspiration in this evocative tale, channeling her own passion into the character and storyline. With an intimate understanding of the themes of longing, self-realization, and the bonds between generations, Kumari delivers a performance that is as soul-stirring as it is profound. “This story is near and dear to my heart,” she says. “It speaks to the universal experience of seeking fulfillment and daring to chase our dreams, no matter our age or stage in life. I believe audiences, particularly empty-nesters, elders, and adult grandchildren, will find solace and inspiration in Padma’s journey. It is a very human story with self-doubt, courage, and kindness about how we each discover our ever-changing places in the world.”

WHERE: The Hobgoblin Playhouse, 6440Santa Monica Boulevard, Los Angeles, California 90038, 323 591-4849

PERFORMANCE DATES
Thursday June 6, 2024, 9pm – Preview
Thursday June 20, 2024, 6:30pm
Monday June 24, 2024, 8:30pm
Friday June 28, 2024, 10pm
Saturday June 29, 2024, 12pm

Running time: 55 minutes

TICKET PRICE: $15.00 –https://www.hollywoodfringe.org/projects/10684?tab=tickets
Admission age: 12+

The Sandwich Ministry

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41st Season Starts with New Voices & New Plays
Slices of Americana in the 21st Century
Skylight Logo Black (1).png
Skylight Theatre Company Kicks Off Their 41st Season with
 “The Sandwich Ministry”
A new play by Miranda Rose Hall / Directed by Katie Lindsay
Opening at 8:30pm on Saturday, June 1st with reception to follow
8:30pm Fridays & Saturdays, 3:00pm Sundays, 7:30pm Mondays through July 7, 2024
(no performances on Mondays, June 3 & 10)
 
Skylight Theatre, 1816 ½ North Vermont, Los Angeles, CA 90027

EVENT DETAILS FOR CALENDAR: Run-time is approximately 75 minutes (no intermission)

Sandwich Ministry Social Media (2).jpgWhat: “The Sandwich Ministry”

Written by Miranda Rose Hall
Directed by Katie Lindsay
Produced by Gary Grossman and Armando Huipe for Skylight Theatre Company

Recommended for age 13 +

Cast: Maha Chehlaoui, Jordan Hull, Jayne Taini.

Description: A small town. A once in a century storm. Three women gather to supply food for neighbors who’ve been displaced from their homes by floods. As they contend with the damage of the storm, they learn that what brings them together threatens to tear them apart. Is their friendship strong enough to make it through the night? Funding for this production is provided by Yale’s Binger Center for New Theatre.

Where:

Skylight Theatre
1816 ½ North Vermont Ave.
Los Angeles, CA. 90027

When: Previews May 25, 26, 31

Opening: 8:30pm Saturday, June 1, 2024
Schedule: 8:30pm Fridays and Saturdays, 3:00pm Sundays, 7:30pm Mondays
(no performances on Mondays, June 3 & 10)
Closing: July 7, 2024

How: Reservations: (213) 761-7061or online at www.skylighttheatre.org

How Much: Previews $15 +

Opening night tickets on August 26: $48 +
Regular: $20 – $42
Students: $20
Seniors: $35
To access a limited amount of Pay-What-You-Can tickets to any performance, use a code ACCESS. Advance sale only
Facebook: SkylightTheatreCompany
Twitter: @SkylightThtr
Instagram: SkylightTheatre

Unsavory Fellow

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WHAT: “Unsavory Fellow”
Created and Performed by Nick James
Produced by John Ruskin and Michael R. Myers in association with Beck Bennion and Jess Faulstich.

DESCRIPTION: Rich with dark comedy and stark reality, Nick James struts the path of most
resistance as would any man whose ambitions are as grand as they are delusional. The story of a clown with Hollywood-sized dreams, this show offers glimpses into the heart and soul of a man driven by an insatiable hunger for success. It’s a celebration of the human experience, as we are reminded of the power of perseverance, the importance of authenticity, and the beauty of chasing our own dreams.

WHEN:
Opening: Friday, May 17, 2024
Schedule: 8pm Fridays; 4pm and 8pm on Saturdays
Closing: May 25, 2024

WHERE:
Ruskin Group Theatre
3000 Airport Avenue
Santa Monica, CA 90405 (Ample free parking)

HOW:
For reservations https://www.ruskingrouptheatre.com/ or call (310) 397-3244

HOW MUCH: $30
(Seniors/Students/Guild $5 off ticket price)
Groups of 6 or more discounted by $5

Twitter: @ruskingroupthtr
Instagram: @ruskingroupthtr

L.A. Theatre Works celebrates 50 years

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NEWS RELEASE

L.A. Theatre Works celebrates 50 years of making
waves, honors Marcy Carsey at gala event

SANTA MONICA (May 15, 2024) — L.A. Theatre Works celebrates its 50th anniversary at Santa Monica’s The Eli and Edythe Broad Stage  / Santa Monica College Performing Arts Center on June 2 with a gala event honoring award-winning television producer, civic engagement advocate and longtime L.A. Theatre Works supporter Marcy Carsey. The festivities will include a reception, formal dinner and an exciting program featuring remembrances by L.A. Theatre Works veterans including Ed Begley, Jr., Hector Elizondo, Susan Sullivan, Karen Malina White, JoBeth Williams and more.

“Marcy Carsey may be best known for producing television favorites like The Cosby Show, A Different World, Roseanne, Grace Under Fire, 3rd Rock from the Sun and That ’70s Show, but she is also an outstanding public citizen who has made a tremendous contribution to the arts, to arts education, and to the public policy sector,” says L.A. Theatre Works producing director Susan A. Loewenberg, who will be honored alongside Carsey at the event. “Her Carsey School for Public Policy at the University of New Hampshire is known for its graduate programs, research, policy education and civic engagement work focused on improving equality and sustainability in communities. Although she’s garnered many awards over the years, this is the first time Marcy will be honored at a gala event like this one.”

Originally conceived as a tool to provide a voice for unheard and under-served communities including incarcerated adults, L.A. Theatre Works was known as “Artists in Prison” when it was founded by Loewenberg and several colleagues in 1974. In the 1980s, the company changed its name and began producing highly theatrical and new works from the U.S. and abroad, introducing Los Angeles to writers such as Steven Berkoff, Jon Robin Baitz, Milton Sanchez Scott, John Steppling, John Godber, Franz Xavier Kroetz, Peter Handke and Timberlake Wertenbaker. During this period, the organization received numerous Los Angeles Drama Critics Circle and “Best Production” awards, was in on the first round of Kennedy Center grants for new work, was chosen to participate in the Olympic Arts Festival, toured Murray Mednick’s The Coyote Cycle to Yugoslavia, and sent two plays on to New York. The establishment of L.A. Classic Theatre Works in 1987 led to the audio recording of Sinclair Lewis’ Babbitt, and subsequently to The Play’s The Thing live-in-performance radio theater series, which had its first season in 1989. For the past 12 years, L.A. Theatre Works has produced and recorded at UCLA’s James Bridges Theater in addition to recording plays in-studio at The Invisible Studios in West Hollywood. Among the dozens of illustrious actors who have performed and recorded with LATW are original L.A. Classic Theatre Works members Ed Begley Jr., Richard Dreyfuss, Hector Elizondo, Harry Hamlin, Helen Hunt, Amy Irving, Stacy Keach, John Lithgow, Marsha Mason, JoBeth Williams, Michael York and the late Edward Asner and Julie Harris.

“Although we’ve been around for five decades, L.A. Theatre Works took a leap in the mid-80s in how we bring great theater to audiences everywhere,” Loewenberg says. “While the technology behind how we get theater to millions of global audience members keeps changing, the one constant continues to be great dramatic content. L.A. Theatre Works has an unwavering commitment to presenting and producing the highest quality, most exciting and meaningful plays of yesterday, today and tomorrow with stellar casts.”

L.A. Theatre Works stands apart in its approach to making great theater widely accessible and affordable, bringing an immersive theater experience to a diverse audience of over eight million people each year through a range of programs including a live performance series; national touring; its national weekly radio series entitled “L.A. Theatre Works”; podcasts and online streaming; databases for higher education; audio publishing (available through retail partners and the LATW website); and through its national Setting the Stage for Learning educational program. The L.A. Theatre Works catalog of over 600 recorded plays, which  includes classics, modern masterpieces, and contemporary and original works, is the largest archive of its kind in the world.

Beginning June 1 and coinciding with its 50th anniversary celebration, L.A. Theatre Works will launch direct to consumer audio streaming on the Muvi platform. Listeners from around the globe will be able to access 70 audio plays via a monthly subscription with more titles added over time.

For more information about L.A. Theatre Works, go to www.latw.org.

Governor Newsom Urged to Reverse Arts Funding Cuts

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Image
NEWS RELEASE

 Arts advocates launch campaign urging Governor Newsom to reverse arts funding cuts proposed in May revise

Newsom’s draconian 58% cuts to critical arts programming to have catastrophic consequences on creative industry that supports 847,688 jobs

Rural communities and communities of color to be most impacted

CALIFORNIA (May 15, 2024) — On Friday, May 10, 2024, Governor Gavin Newsom presented his May Revision proposal for the 2024-25 State Budget. With a remaining $27.6 billion dollar deficit in the current year, the arts were among the hardest hit in Newsom’s proposed spending cuts. The May Revise proposes fully cutting the state’s innovative Performing Arts Equitable Payroll Fund ($12.5 million), plus a reduction of 38% in state grant funding for small arts nonprofits through the California Arts Council (CAC).

“In total, we’re looking at budget cuts upwards of 58% that will decimate California’s small nonprofit arts organizations and industry workers reliant on this funding,” said Julie Baker, CEO, CA Arts Advocates. “While we understand that every agency and sector must play their part to balance the budget, the cuts to arts and culture are massively disproportionate. We had hoped we were long past the days when the arts were the first to be cut and undervalued. The state’s recent investments recognized the creative industry’s essential service for bolstering the economic and social health of local communities, especially as an industry still very much in post-pandemic recovery.”

Since 2020, a broad coalition of arts and culture workers, entertainment unions, producers, nonprofits, live entertainment venues, music  film, tv, and movie theater representatives have worked together on public policies and resources to ensure the recovery and sustainability of the creative industries. However, while some parts of the arts and culture ecosystem have recovered from the impact of COVID, many have not, most notably the nonprofit performing arts. The sweep of the $12.5 million intended for the Performing Arts Equitable Payroll Fund, a groundbreaking program that supports live arts workers at smaller, nonprofit companies, was approved just a few years ago with a strong, bipartisan vote from the Legislature. This policy innovation remains critical to stabilizing the performing arts workforce. The Governor’s cut erases five years of building a legislative solution to address the deleterious impacts of both rising labor and operational costs and the pandemic on California’s small performing arts organizations.

“Over the past four years, our small performing arts nonprofits have suffered severe losses. During this time, our coalition urged the Legislature to act or risk decimating the live arts sector. The stakes today remain high: artists make up one of the most vulnerable populations in California and their jobs are crucial to preserve the State’s creative workforce. Last September, pilot funding for the Performing Arts Equitable Payroll Fund (EPF) was welcomed as a strategy to restore sustainability. Though $12.5M won’t balance the state budget, it will save the EPF and many arts workers’ livelihoods,” says Martha Demson, Board President of Theatre Producers of Southern California.

Currently, Arts & Culture production drives 8% of California’s economy, producing over $290 billion in direct impact and supporting 847,688 jobs; it also drives 7.3% of state tax revenues.  Meanwhile, the California Arts Council is already functioning at a cut-level and the performing arts community is facing unprecedented challenges.

“The state’s commitment to the arts through modest investments deliver outsized impacts for California and must be protected to ensure a future that integrates arts and culture into solving civic issues, fostering social cohesion, revitalizing neighborhoods and ensuring access to the tools of creative expression and innovation for all,” says Al Vincent Jr., Executive Director, Actors’ Equity Association. “When people go to see live arts events, they generate economic activity – everything from spending on dinner and drinks to parking and childcare. When there is less arts funding, there is less economic activity in small cities and towns across the state. California has a chance to be a leader that prioritizes the arts and artists, not just when times are easy, but when times are hard. As the budget process proceeds, we look forward to engaging the Newsom Administration and the Legislature to restore this critical funding for the arts.”

In total, the Governor’s proposed $10 million cut to the California Arts Council’s budget for Local Assistance Funding represents a greater than 38% reduction to the $26 million allocation level at which it has been stalled for the past seven years. The highpoint of support for the California Arts Council’s programming was at $30.7 million in the 2000-2001 budget, which in today’s dollars counting for inflation would be $54.7 million. Since 2018-19, general fund support has plateaued at $26 million – just .67 cents per California resident.  At this level, California ranks 36th in the nation in per capita arts spending. In contrast, Florida spends almost $2.00 per resident. The $10 million cut to this program would position California at 45th in the nation in local arts assistance funding, just above Kentucky, Kansas and Georgia.

“It is unthinkable that California would fall to 45th in the nation when it comes to funding for the arts, trailing behind Alabama and Florida. The California Arts Council’s budget is already too small to meet the needs of this state with close to 850,000 workers employed in the arts and culture industry alone. In the 2023 grant cycle, roughly 54% of applicants were denied due to a lack of available funding. If this program is cut further, this will have a devastating impact on the field, especially in rural communities and communities of color,” says Jennifer Laine, Board President, CA Arts Advocates and Executive Director of the San Benito County Arts Council.

‘The Winter’s Tale’ & ‘A Midsummer Night’s Dream’

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WHAT:
Celebrated for lively, expansive productions by William Shakespeare that fill the outdoor stage and spill over into the surrounding woods, Will Geer Theatricum Botanicum opens its 2024 summer repertory season with two productions by the Bard. The Winter’s Tale is a sweeping romance of passion and forgiveness. A Midsummer Night’s Dream –– an audience favorite year after year — is Shakespeare’s most entertaining and beguiling comedy. There’s no better way to watch Shakespeare come alive than by spending a summer afternoon or evening at Theatricum’s spectacular amphitheater, carved into a rustic hillside in Topanga.

WHEN:
♦ The Winter’s Tale
Performances: June 1–September 30:
• Saturday, June 1 at 7:30 p.m.
• Saturday, June 8 at 7:30 p.m.
• Saturday, June 15 at 7:30 p.m.
• Sunday, June 23 at 7:30 p.m.
• Sunday, June 30 at 7:30 p.m.
• Sunday, July 7 at 7:30 p.m.
• Sunday, July 14 at 3:30 p.m.
• Friday, July 19 at 7:30 p.m.
• Sunday, July 28 at 7:30 p.m.
• Friday, Aug, 2 at 7:30 p.m.
• Saturday, Aug, 10 at 7:30 p.m.*
• Friday, Aug. 16 at 7:30 p.m.
• Saturday, Aug, 24 at 3:30 p.m.
• Saturday, Sept. 7 at 3:30 p.m.
• Sunday, Sept. 15 at 3:30 p.m.
• Monday, Sept. 30 at 7:30 p.m.
Prologue (pre-show discussion):Saturday, Aug. 10 from 6:30 p.m.–7 p.m.

♦ A Midsummer Night’s Dream
Performances: June 2–September 23:
• Sunday, June 2 at 3:30 p.m.
• Sunday, June 9 at 3:30 p.m.
• Sunday, June 16 at 3:30 p.m.
• Sunday, June 23 at 3:30 p.m.
• Sunday, June 30 at 3:30 p.m.
• Sunday, July 7 at 3:30 p.m.
• Thursday, Aug. 1 at 7:30 p.m.
• Thursday, Aug. 8 at 7:30 p.m.
• Thursday, Aug. 15 at 7:30 p.m.
• Thursday, Aug. 29 at 7:30 p.m.*
• Monday, Sept. 2 at 7 p.m.
• Sunday, Sept. 8 at 3:30 p.m.
• Monday, Sept. 23 at 7:30 p.m.
*Prologue (pre-show discussion):Thursday, Aug. 29 from 6:30 p.m.–7 p.m.

WHERE:
Will Geer Theatricum Botanicum
1419 N. Topanga Canyon Blvd.
Topanga CA 90290
(midway between Pacific Coast Highway and the Ventura freeway)*
*Please note: Topanga Canyon Blvd is currently closed between the theater and PCH; until further notice, exit the 101 at Topanga Canyon Blvd. South to access Theatricum from the Valley.

TICKET PRICES:
• Adults: $48 (lower tier); $30 (upper tier); $60 (premium seating)
• Seniors (65+), Students, Military Veterans, Teachers, AEA Members: $35/$20
• Children (5-15): $15
• Children 4 and under: Free
• The Winter’s Tale on Friday, July 19 and Monday, Sept. 30: Pay-What-You-Will
• A Midsummer Night’s Dream on Monday, Sept. 23: Pay-What-You-Will
(Pay What You Will ticketing, funded by the City of Los Angeles Department of Cultural Affairs, is available online the week of the performance or pay cash at the door.)

HOW:
theatricum.com
(310) 455-3723