Author Archive: Glamour

Chalk Repertory Theatre & Ensemble Studio Theatre/LA Present World Premiere Companion Productions PANG SPA & TWO STOP

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Chalk Repertory Theatre & Ensemble Studio Theatre/LA

Present
World Premiere Companion Productions
PANG SPA & TWO STOP

Written by David Johann Kim

Community collaboration centered around themes related to the 1992 L.A. Uprising Presented during AAPI Heritage Month at Atwater Village Theatre

Details for Calendar Listings

Two Stop & Pang Spa

WHAT: TWO STOP
On the verge of the ’92 LA Uprising. A Korean market. A murder scene. A store owner and a neighborhood teenage girl face off. When her wild card mother arrives, secrets from the past explode in this tiny store. History and histories go head-to-head as LA starts to burn. Together they reach back decades and across the globe through war, strife, love and life, finding connection and even hope…but will it be enough?

WHO:
• Written by David Johann Kim
• Directed by Tracey A. Leigh
• Starring Suzen Baraka, JuneSoo Ham, and Iyanna Lott
• Presented by EST/LA, Tracey A. Leigh, Artistic Director

WHEN:
Previews: May 2 – May 3
Performances: May 4 – June 9
• Thursdays at 8 p.m.: May 2 (preview); May 9; May 16; May 23; May 30; June 6
• Fridays at 8 p.m.: May 3 (preview); May 10; May 17 (Hapa Night); May 24; May 31; June 7
• Saturdays at 8 p.m.: May 4 (opening); May 11; May 18; May 25; June 1; June 8
• Sundays at 3 p.m.: May 5; May 12; May 19; June 2
• Sundays at 7 p.m.: May 26 (AAPI Day); June 9

HOW:
– https://www.estlosangeles.org/

– https://www.facebook.com/EnsembleStudioTheatreLA/
– https://www.instagram.com/estlosangeles/
– https://twitter.com/EST_LA
– https://www.youtube.com/@estlosangeles9117/videos

WHAT: PANG SPA

Daniel Pang returns home to LA’s Koreatown stepping into an unexpected life. Twenty years after the LA Uprising, the family business is gone, his brother is gone, and his parents are disappearing with dementia. As Daniel juggles his parents’ care and idiosyncratic neighbors a flinty young army vet arrives on a mission forcing him to confront his past. Pang Spa is a Los Angeles, K-town dramedy celebrating family, memory and identity through a journey of healing.

WHO:
• Written by David Johann Kim
• Directed by Reena Dutt
• Starring Christopher Callen, Ben Carroll, Hahn Cho, Edward Hong, Jasmine Kimiko, Dian Kobayashi
• Presented by Chalk Repertory Theatre, Amy Ellenberger, Artistic Producing Director

WHEN:
Previews: May 16 – May 18
Performances: May 19 – June 9
• Thursdays at 8 p.m.: May 16 (preview); May 23; May 30; June 6
• Fridays at 8 p.m.: May 17 (Hapa Night); May 24; May 31; June 7
• Saturdays at 8 p.m.: May 18 (preview): May 25; June 1; June 8
• Sunday at 6 p.m.: May 19 (opening)

• Sundays at 2 p.m.: May 26 (AAPI Day); June 9

• Sunday at 7 p.m.: June 2

• Monday at 8 p.m.:  June 3

HOW:
– https://www.chalkrep.com/
– https://www.facebook.com/chalkrep
– https://www.instagram.com/chalkrep/

SPECIAL DOUBLE-FEATURE PERFORMANCE DAYS:
For those who would like to attend both PANG SPA and TWO STOP on one day, there is a discount of $25 per performance on either Sunday, May 26, June 2, or June 9, use Code 2spa at checkout.

WHERE:
Atwater Village Theatre
3269 Casitas Ave
Los Angeles, CA 90039
• FREE parking in the ATX (Atwater Crossing) lot one block south of the theater.

TICKET PRICES:

●     $35

●     Previews: $25

●     Students, Veterans, Seniors $25

OTHER:
Appropriate for ages 12+

#  #  #

LOS ANGELES (April 1, 2024) Los Angeles theater survives and thrives on community collaboration now more than ever. In conjunction with AAPI Heritage Month, Chalk Repertory Theatre will present the world premiere of PANG SPA directed by Reena Dutt in collaboration with EST/LA’s world premiere production of TWO STOP directed by Tracey A. Leigh. Penned by David Johann Kim, these two world premieres are companion pieces centered around themes related to the 1992 L.A. Uprising. Both plays will be presented during AAPI Heritage Month between May 2 and June 9, 2024, at Atwater Village Theatre. This collaboration is a part of Center Theatre Group’s L.A. Artist Residency program, a division of the new CTG:Forward initiative.

“In the wake of George Floyd’s murder, it was clear to me that TWO STOP not only had characters I’d never seen before onstage, but as a story of transformation, it would be perfect for EST/LA’s first full production since the pandemic,” explained TWO STOP director Tracey A. Leigh. “I’m constantly surprised by TWO STOP’s immediacy; the writing is superb – the play crackles with intensity while being grounded in the deep humanity of each character. I am so excited to share our production alongside Chalk Rep’s production of David Johann Kim’s other multi-award-winning play, PANG SPA.”

TWO STOP takes place on the verge of the ’92 L.A. Uprising. A Korean market. A murder scene. A store owner and a neighborhood teenage girl face off. When her wild card mother arrives, secrets from the past explode in this tiny store. History and histories go head-to-head as L.A. starts to burn. Together they reach back decades and across the globe through war, strife and love, finding connection and even hope.

In PANG SPA, Daniel Pang returns home to L.A.’s Koreatown stepping into an unexpected life. Twenty years after the L.A. Uprising, the family business is gone, his brother is gone, and his parents are disappearing with dementia. As Daniel juggles his parents’ care and idiosyncratic neighbors a flinty young army vet arrives on a mission forcing him to confront his past. PANG SPA is a Los Angeles, K-town dramedy celebrating family, memory and identity through a journey of healing.

“1992 was a defining year for Angelinos. It’s a part of our history that illustrates camaraderie as well as conflict across communities. What PANG SPA does is acknowledge the repercussions of those choices, and bring the aftermath to light through a complex, compelling, and often funny slice of life.” said PANG SPA director Reena Dutt.

In the Korean American community, the 1992 Los Angeles Uprising is remembered as Sai-i-gu (April 29 in Korean). Also known as the 1992 Los Angeles Riots or the 1992 Rodney King Riots, the L.A. Uprising was a major outbreak of violence, looting and arson that began on April 29, 1992. The L.A. Uprising was a response to two events: the acquittal of four white L.A. policemen on all but one charge connected to the severe beating of Rodney King, an African American motorist in March of 1991; and the fatal shooting of African American teenager Latasha Harlins by Korean convenience shop owner Soon Ja Du thirteen days after the beating of Rodney King. Korean Americans suffered extremely high economic losses as 2,300 Korean American businesses were looted or burned and suffered over $400 million in property damages. During the L.A. Uprising, Korean Americans received very little aid or protection from police authorities due to disparities in social status and language barriers.

TWO STOP stars Suzen Baraka, JuneSoo Ham, and Iyanna Lott.

The creative team for TWO STOP includes Ashley Weaver, Stage Manager; Maria Hong, Costume Design; Justin Huen, Set Design; Xinyuan Li, Light Design; Austin Quan, Sound and Video Design; and Chuma Gault, Video Effects Design.

PANG SPA stars Christopher Callen, Ben Carroll, Hahn Cho, Edward Hong, Jasmine Kimiko, and Dian Kobayashi.

The creative team for PANG SPA includes Roella Dellosa, Stage Manager; Maria Hong, Costume Design; Justin Huen, Set Design; Xinyuan Li, Light Design; and Austin Quan, Sound Design.

David Johann Kim (playwright) fell hard for dramaturgy when working on new plays with powerhouse dramaturgs, Mame Hunt (at Berkeley Rep) and Morgan Jenness (NYSF’s New Works Now Festival and NY Theatre Workshops Dartmouth retreat) as an actor. Mabou Mines Ruth Malaczech asked David to be part of the writers’ group when she was devising A Drop in the Ocean in residence at NYTW. Les Waters selected David to be part of the devising team for their Joint Stock-style production, Act 3 Sc 2 of Life at UC San Diego. Kim holds an MFA from UC San Diego and is a member of The Dramatists Guild, EST/LA’s Playwrights Unit, Chalk Rep’s Writers group, Playwrights ThinkTank and cofounder of EST/LA’s Ignite Project. His play PANG SPA was a semifinalist for the 2018 O’Neill National Playwrights Conference, Ashland New Play Festival and Bay Area Playwrights Festival and the final round of Dennis and Victoria Ross Foundation Playwrights Program. Both of his plays PANG SPA and TWO STOP were awarded the Los Angeles New Play Project Grant in November 2022.

Tracey A. Leigh (TWO STOP director and EST/LA artistic director) is an Obie Award and NAACP Theatre Award-winning actor. She has an extensive career in theatre-making and new work development. She has appeared on stages throughout the U.S. and internationally, including a Broadway National Tour and performances Off-Broadway at New York Theatre Workshop, Primary Stages, Signature Theatre, Soho Rep, P.S. 122 and La Mama Experimental Theatre Club; regionally at San Francisco’s American Conservatory Theatre, Milwaukee Repertory Theatre, the Guthrie Theatre, The National Theatre in Washington DC, The Denver Center, Indiana Repertory Theatre, Arizona Theatre Company and ACT in Seattle; and at Southern California’s South Coast Repertory Theatre, The Old Globe Theatre, The La Jolla Playhouse, San Diego Repertory Theatre, Boston Court Pasadena, Sacred Fools, Echo Theater Company, Lower Depth Theatre and Rubicon Theatre Company.

A member of Ensemble Studio Theatre Los Angeles since 2011, Tracey became Associate Artistic Director in 2012, then served as Co-Artistic Director with Gates McFadden from 2013-2014. During that time, she produced and directed numerous projects and festivals for the company while working at USC as a dramaturg for second year MFA playwrights. After stepping away from the company for several years, she became Artistic Director in 2021. Tracey continues to work as an actor, recently appearing in the co-production of American Son at Ensemble Theatre Company Santa Barbara/The English Theatre of Frankfurt and the Playwright’s Arena/LGBT Center co-production of THREE, an adaptation of Anton Chekov’s Three Sisters. She is also a proud member of Artistic Directors of Color Alliance, Greater Los Angeles.

Reena Dutt (PANG SPA director) is dedicated to new and reimagined texts that catapult polarizing conversations through unexpected stories with the bodies, voices and life experiences of the underheard. Her Broadway debut was on The Collaboration at MTC as Assistant Director to Kwame Kwei-Armah of the Young Vic in London, and she most recently assisted Leigh Silverman on Merry Me at NYTW. Upcoming: An Experiment with an Airpump (CalArts), Pang Spa (World Premiere, Chalk Rep), Galileo’s Daughter (WAM). New York: Columbia University, Playwrights Realm, A.R.T. West Coast: UC Riverside, Artists at Play, Coeurage Ensemble, UC Riverside, Greenway Court Theatre, East West Players, Sacred Fools. Script Development Highlights: The Public, Boston Court, Playwrights Realm. Assistant/Associate Director: MTC, NYTW, The Public, The Fountain Theatre, Geffen Playhouse. Theatre Fellowships: Drama League NY Directing Fellow, LCT Directors Lab, Directors Lab West.

Reena is also a film director and producer having screened films at over 80 festivals worldwide including Sundance, LAFF, Outfest, Frameline, Cucalorous, NBCUniversal, BET, PBS/Latino and HBO. Reena was the first South Asian Community Liaison at the Ford Amphitheatre in Los Angeles and served on the board of Theatre of NOTE. She produced panel discussion connecting 99-seat theater to large theatre houses in the LA area at the Hollywood Fringe Festival and acted as an Associate Producer for Directors Lab West/Connects during the pandemic. Theatre Fellowships: Drama League NY Directing Fellow, LCT Directors Lab, Directors Lab West. Film Fellowships: Project Involve at Film Independent, SFFilm, and Trans Atlantic Partners with the Goethe Institut (Berlin). More Info: reenadutt.com

TWO STOP runs May 2 (opens May 4) through June 9, with performances taking place on Thursdays, Fridays and Saturdays at 8 p.m. and Sundays at 3 p.m. on May 5, 12, 19 and June 2; and Sundays at 7 p.m. on May 26 and June 9. There is a Hapa Night performance on May 17, and an AAPI Day celebration performance on May 26. To purchase tickets and for more information please visit  https://www.estlosangeles.org/.

PANG SPA runs May 16 (opens May 19) through June 9, with performances taking place on Thursdays, Fridays and Saturdays at 8 p.m.; Sundays at 2 p.m. on May 26 and June 9; and Sunday at 6 p.m. on May 19 and Sunday at 7pm on June 2. There is a Hapa Night performance on May 17, and an AAPI Day celebration performance on May 26. To purchase tickets and for more information please visit https://www.chalkrep.com/.

General admission to all performances are $35, with $25 tickets available to seniors, veterans, and students. There are three special double-feature performance days for those who would like to attend both PANG SPA and TWO STOP on one day with a discount of $25 per performance on either Sunday, May 26, June 2, or June 9, by using Code 2spa at checkout.  Atwater Village Theatre is located at 3269 Casitas Ave in Los Angeles, CA 90039. Parking is free in the ATX (Atwater Crossing) parking lot one block south of the theater.

David Johann Kim, Chalk Rep, and EST/LA are proud recipients of the Los Angeles New Play Project award. The world premiere productions of PANG SPA and TWO STOP are funded in part with the support of this grant. LANPP is a newly established grant program, launching in 2021, that helps support original work presented on small and mid-size stages in Los Angeles. In addition to LANPP, Chalk Rep and EST/LA are recipients of the Venturous Theater Fund grant, a fund of Tides Foundation, for each production. Both companies are grateful for the continued support of the Los Angeles County Arts Commission and its Organizational Grant Program. Without the generous support of these grants and individual donors, the productions of PANG SPA and TWO STOP would not be possible.

Chalk Repertory Theatre is a non-profit performing arts company with a 16-year tradition of revealing the spaces and stories of Los Angeles in all its beautiful, complex diversity. The company was founded on principles of equity, diversity, and inclusion, anti-racist practices, and identity-conscious casting. It is dedicated to making Los Angeles theatre expansive, inclusive, non-traditional and rule breaking while partnering with a variety of spaces as intimate as a living room and as public as an iconic landmark. Founded in 2008 by five graduates of the MFA Theatre program at the University of California, San Diego, Chalk Rep has become a leader in site-specific theatre garnering awards and partnering with iconic institutions such as L.A.’s Natural History Museum, the Page Museum, the William Andrews Clark Library, Saint John’s Episcopal Cathedral, Columbia Memorial Space Center, and Hollywood Forever Cemetery. In addition to play productions, Chalk Rep fosters artist development and community through its Writer’s Group, FLASH Festival, and a salon series called Open Circle.

Ensemble Studio Theatre Los Angeles (EST/LA) is a company of artists who collaborate to develop original, bold, risk-taking theatre. Through the telling of diverse stories, we challenge our artists and our audiences to meet the moment; to see the world through a new lens and explore our shared humanity. As an incubator for dynamic and audacious new theatre, EST/LA provides a space where artists across all aspects of identity, perspective, and experience feel safe to create daring work that shakes people up. As a company, EST/LA is dedicated to the discovery and development of new voices while continuing to support our member artists. We encourage all of our theatre makers to practice openness and curiosity; to wrestle with the things that make us uncomfortable; to delve into complex issues; to challenge the status quo by questioning assumptions; and to lift up those who’ve been traditionally marginalized as a result of those assumptions. It is long overdue for our membership to accurately reflect the city in which we live and create. Ensuring that the broader LA community sees itself represented in our work and in who we are is essential for meaningful and transformational engagement — with both our audiences and each other as artists. Embracing the enormous variety of human experience is imperative not only for the creation of impactful theatre, but for the future of EST/LA.

Rubicon Theatre Company of Ventura Launches New Special Event Series VENTURA LIVE! Music, Laughter and Magic

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Rubicon Theatre Company of Ventura

Launches New Special Event Series

VENTURA LIVE! 

Music, Laughter and Magic

Featuring One-Night and Short-Run Concerts, Jam Sessions, New Play Readings, Magic Nights, Comedy, and Much More

 

12 Events! May 11 – June 15 at Rubicon Theatre in Ventura!

 

April 22, 2024 (Ventura, CA) – Rubicon Theatre Company, celebrating its 25th Anniversary Season this year, announces the launch of its exciting new special event series, “VENTURA LIVE! Music, Laughter and Magic,” featuring one-night and short-run concerts, jam sessions, new play readings, magic nights, comedy, and much more. The series runs from May 11 – June 15, 2024. From a reading of a new rock-and-roll musical to a side-splitting comedy and soulful tributes, this diverse series promises to dazzle and delight audiences of all ages and tastes. All events will take place at Rubicon’s home, The Karyn Jackson Theatre in Ventura’s Downtown Cultural District, 1006 E. Main Street. For tickets, go to www.rubicontheatre.org or call (805) 667-2900.

 

“We are thrilled to launch our new series ‘VENTURA LIVE!’ an exciting milestone for us,” says KARYL LYNN BURNS, Producing Artistic Director of Rubicon Theatre Company. 

 

“The ideas came from a desire to make the theatre more of a community hub,” continues Burns, “and to welcome new audiences to our venue.” 

 

“Our goal is to produce and present events between our mainstage theatrical productions and on off-nights at the theatre,” continues Burns, “and to expand our offerings with a diverse range of live entertainment that will bring more music, joy and laughter to audiences of all ages at a affordable price. (Most events are between $20 and $40, with some free.) With such a diverse lineup of talent and entertainment, VENTURA LIVE! has something for everyone to enjoy.” 

Event Series Lineup:

Saturday, May 11 @ 7 pm

MAKE YOUR OWN KIND OF MUSIC

An Evening Celebrating the 60s’ & 70s’ Most Iconic Women in Music 

Tickets: $39.50

 
HEATHER YOUMANS (Dark of the Moon), an all-star band, and musical guests from “The Voice,” “American Idol,” and “Dancing with the Stars,” as well as impressive film and stage credits, celebrate the songs and stories of Carole King, Tina Turner, Aretha Franklin, Olivia Newton-John, Stevie Nicks and more!

 

Sunday, May 12 @ 3 pm (Mother’s Day)

FROM BROOKLYN TO BROADWAY

Tony and Emmy Award-Winner Lillias White in Concert

Tickets: $39.50

 
Star of 16 Broadway shows including The Life, Fela! and Hadestown, LILLIAS WHITE returns to the Rubicon stage where she wowed audiences in the Drama Desk Award-winning musical The Best is Yet to Come to perform some of Broadway’s best-loved songs.

 

Friday, May 17 @ 7 pm & Saturday, May 18 @ 2 pm 

THE FOLK LEGACY TRIO IN CONCERT

Lifetime Grammy Winners Play and Sing Folk Favorites

Tickets: $69.50 | $89.50 for VIP Seats with Post-Show Reception with the Artists with (by popular demand) Irish stew, breads, cheeses and stout. (Friday Performance Only)

 

Member of the Banjo Hall of Fame GEORGE GROVE and RICK DOUGHERTY (both Lifetime Grammy Winners with The Kingston Trio) and JERRY SIGGINS (The Diamonds) perform folk favorites. The Trio brings dynamic vocals and instrumental arrangements to songs from The Weavers, Peter, Paul and Mary, Gordon Lightfoot, Tom Paxton, Simon & Garfunkel and others.

 

Monday, May 20 @ 7 pm w/Talkback Following

SOMEBODY TO LOVE

Reading of a New Rock-and-Roll Musical in Development

Written by ROBERT STERNIN and PRUDENCE FRASER (“The Nanny”/Off-Broadway)

Directed by SEAN DANIELS 

Musical Direction by BRETT RYBACK 

Musical Supervision by DILLON KONDOR 

 
This rock-and-roll musical is about four friends who meet freshman year of college and vow to be there for each other always. A story about the choices we make, the triumphs, the failures, and the one thing that matters most Free (Subject to Availability. Tickets must be picked up by 6:45 p.m.)

Sunday, May 26 @ 6:30 pm

Be the Revolution presents

PALOMINO NIGHTS

Country and Rhythm Revue

A Benefit for Theatre and Advocacy Education Programs in the Community

Tickets: $25 at door | $20 in advance

 

Embark on a musical journey as a thrilling group of bands and artists including BEAU RED, MARK MASSON (Shaky Feelin’), THE VAN ALLEN TWINS, and JAY PONTI, pay homage to icons such as Willie Nelson, Patsy Cline, Merle Haggard, and the Allman Brothers.

 

Thursday, May 30 @ 7 pm

MARLEY’S GHOST

Tickets: $39.50

Composed of Singer/Multi-Instrumentalists: DAN WHEETMAN, JON WILCOX, MIKE PHELAN, ED LITTLEFIELD JR., JERRY FLETCHER AND BOB NICHOLS

 

A night with Marley’s Ghost transcends genres and generations, with an eclectic, rollicking set featuring Honky Tonk, Texas Swing, Folk, Country, Swampy Blues and ballads invoking the great crooners of years past. More than three decades from that initial spark, they’re still playing together with the same passion, purpose and chemistry that inspired them early on.

 

Friday, May 31 @ 7 pm

STARS OF TOMORROW

Directed by Joseph Fuqua and Miriam Arichea

Musical Direction by Miriam Arichea

Choreography by Jesse Graham

Tickets $39.50

A Benefit for Rubicon’s Education and Outreach Programs

Sponsored by Dr. Jeanne P. Adams, Anonymous, Barbara Meister and the Jack Oakie and Victoria Horne Oakie Charitable Foundation

 

This benefit concert features outstanding talented young artists from Rubicon’s Education and Outreach programs and alumni in an all-star evening of song and dance.

Saturday, June 1 @ 7 pm

JERRY ROCHA COMEDY HOUR: CANCER CULTURE

Tickets: $25 at door | $20 in advance

 

Known for appearances on Netflix, Conan, Comedy Central, and Last Comic Standing, powerhouse comedian Rocha shares the power of laughter to bring light to the darkest of times.

 

Sunday, June 2 @ 7 pm

IN LOVE WITH A WONDERFUL GUY

Golden Globe Award-Winner Amanda McBroom in Concert

Tickets: $39.50 | $55 includes VIP After-Party with food, birthday cake, wines and “George’s Socks” (a whiskey flight) 

 

Golden Globe Award-Winner AMANDA McBROOM (“The Rose”) sings about love in its many forms in celebration of Rubicon Company Member (and her husband) George Ball’s big birthday!

Musical Director: MICHELE BROURMAN 

LARRY TUTTLE on Bass

 

Tuesday, June 4 @ 7 pm

TREVOR AND SYLVIE SING JAMES AND JONI 

The Music of James Taylor and Joni Mitchell

Sponsored by Nancy and Richard Francis

Tickets: $29.50

 

Known for The Lonesome Traveler (at Rubicon and Off-Broadway), Liberty Valance and numerous other Rubicon shows, this dynamic husband and wife duo TREVOR WHEETMAN and SYLVIE DAVIDSON bring their soulful sounds and instrumental prowess to songs from James Taylor and Joni Mitchell.

 

Thursday – Sunday, June 6 – 9 

FOREVER MOTOWN

Direct from New York – The Original Cast

Perf. Schedule: Thursday, June 6 at 7pm, Friday, June 7 (2 and 7pm), Saturday, June 8 (2 and 7pm), and Sunday, June 9 at 2pm 

Tickets: $64.50 (Sides) – $74.50 (Center)

 

Audiences are in for a treat as they enjoy their favorite hit songs from the Motown legends, performed by nine all-star performers. The talented group includes Motown legend G.C. CAMERON, former lead singer of The Temptations and The Spinners, and member of the Rock & Roll Hall of Fame. Joining him is TRACI ROBINSON-GREEN, former lead singer of The Marvelettes, and star of Sophisticated Ladies on Broadway!                                                                                
 

Saturday, June 15 @ 7 pm – Sunday, June 16 @ 2 pm

JOHN CARNEY IN CARNEYMAGIC 

A Show about Secrets, Mentors and the Beauty of a Perfect Illusion

Tickets: $49.50 | $20 for those 18 and under

 

Regarded by his peers as one of the top sleight-of-hand performers in the world, Carney has won more awards from Hollywood’s Magic Castle than anyone in their history.
 
—###—

 

The VENTURA LIVE! Series is produced by ANTHONY M. COLOMBO and JULIA DONLON for Rubicon, and JAY PONTI for Be the Revolution. 

 

To purchase tickets online, or for more information about VENTURA LIVE!, visit www.rubicontheatre.org.Tickets are also available by phone at 805.667.2900, or may be purchased in-person at Rubicon Theatre Company’s home, The Karyn Jackson Theatre, located at 1006 E. Main Street, Ventura, CA  93001 (Laurel entrance). Guest Services is open from Noon to 6:00 p.m. Tuesdays through Saturdays.  

 

—###—

 

About Rubicon Theatre Company 

Rubicon Theatre has been described as “the rising star of the Southern California cultural constellation.” The not-for-profit professional regional theatre company has reached more than 540,000 attendees and more than 53,000 students. Rubicon serves area residents and visitors with innovative productions of classic and contemporary plays, as well as a wide array of educational programs and events. Acclaimed by critics and industry professionals, the company has received the L.A. Drama Critics Margaret Harford Special Award for “Sustained Excellence,” Drama Desk Awards for the Off-Broadway productions of The Best is Yet to Come and Daddy Long Legs and has won more than 20 Ovation Awards from the L.A. Stage Alliance. 

 

Just prior to the pandemic, Rubicon transferred three shows to New York (Wiesenthal – Outer Critics Circle and Drama Desk Award nominations; Lonesome Traveler – Outer Critics Circle and Drama Desk Award nominations; and Daddy Long Legs (Drama Desk Award). Rubicon has welcomed a steady stream of high-profile actors and directors to the stage, including BRUNO and ODISEO BICHIR, ALISON BRIE, SUSAN CLARK, DANA DELANY, CONCHATA FERRELL, BONNIE FRANKLIN, HAROLD GOULD, JOEL GREY, LARRY HAGMAN, BILL IRWIN, STACY KEACH, JACK LEMMON, AMANDA McBROOM, TED NEELEY, LAUREN PATTEN, PAUL PROVENZA, LINDA PURL, RONDI REED, JOHN RITTER, JOE SPANO, BRUCE WEITZ, LILLIAS WHITE and others. Company members are GEORGE BALL, JOSEPH FUQUA, JOE SPANO and JENNY SULLIVAN. 

Based in Ventura’s Downtown Cultural District, just blocks from the Pacific Ocean, Rubicon resides in a 185-seat historic church built in the 1920s. In this renovated historic landmark, audience members are never further than 10 rows from the stage on the main floor.

 

True to the company’s name and the vision of artistic directors KARYL LYNN BURNS and JAMES O’NEIL, Rubicon has created an environment where commitment and risk are encouraged, and where artists are nurtured and respected. As a result, the company has gained a reputation for producing invigorating interpretations of the classics and for supporting the development of new works. Rubicon presents at least one World Premiere each season, as well as readings of works-in-progress. 

 

Deeply rooted in the region it serves, Rubicon offers extensive outreach programs, including daytime matinees for high school students, after-school and weekend programs for at-risk youth, and summer musical theatre, drama, and technical theatre camps. 

 

A board of directors of prominent social and civic leaders governs Rubicon under the leadership of President DOUG HALTER and Honorary Chair Rosa Lee Measures. The company is also supported by an advisory group of regional ambassadors and a volunteer auxiliary.

 

Rubicon Theatre Companys is located in The Karyn Jackson Theatre at 1006 E. Main Street in Ventura’s Downtown Cultural District. 

 

For more information about Rubicon Theatre Company, or to purchase tickets, call (805) 667-2900 or go to www.rubicontheatre.org. 

Ensemble Theatre Company Announces  its 2024-2025 “Legends and Legacies” Season of Shows

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Ensemble Theatre Company Announces 

its 2024-2025 “Legends and Legacies” Season of Shows 

 

Dracula: A Comedy of Terrors

Million Dollar Quartet

Hamlet

Hershey Felder as George Gershwin Alone

Justice

 

April 1, 2024… Santa Barbara, Calif. –– Ensemble Theatre Company of Santa Barbara (ETC), Santa Barbara’s only professional theatre company and a member of the League of Resident Theatres (LORT), announces its 2024-2025 season: “Legends and Legacies.” Featuring an electrifying lineup of timeless classics and contemporary masterpieces sure to captivate audiences!  Opening with the recent Off-Broadway hit comedy, Dracula: A Comedy of Terrors, followed by a celebration of four musical legends in, Million Dollar Quartet. In February, one of the most iconic tales of all time, written 425 years ago by William Shakespeare, Hamlet will hit the stage of The New Vic with a modern feel. Spring will have the incomparable Hershey Felder performing his amazing show about one of America’s greatest composers, George Gershwin, in George Gershwin Alone. And, ETC’s 46th season will close with Justice, about the first female justices appointed to the highest court in our nation.

 

“In planning the 46th season, I was inspired by the idea of legends and legacies, and I found myself contemplating the hallmarks that make a legend or legendary tale,” said Scott DeVine, ETC’s executive director. “Certainly, some legendary tales involve such profound imagination that you wonder how someone came up with the idea.  But it’s the individual legends that stood out to me, as many of them never realized the impact they would have on the world in their own lifetimes. My hope for this season is that audiences will experience these stories and consider the mark they will leave on their own families, community, and world. As a theater community, we have an obligation to tell new stories of inspiration, while keeping timeless classics alive for future generations.  For ETC, I believe our legacy will center around our ability to continue bringing high-quality theater to Santa Barbara that entertains long-time theater lovers while attracting new theater goers who will discover their own passion for this four-thousand-year-old art form while experiencing one of these legendary tales.”

 

ETC’s 2024-25 season begins with the recent Off-Broadway hit, Dracula: A Comedy of Terrors by Gordon Greenberg and Steve Rosen. Ever wondered what would happen if you took Bram Stoker’s legendary vampire tale and put in into a blender with the comedic influences of Mel Brooks, and Monty Python? That’s just what happens in this lightning-fast, laugh-out-loud 90-minute quick-change magical romp. Dracula: A Comedy of Terrors runs October 10 – 27, 2024.

 

Next, the Tony® Award-nominated musical, Million Dollar Quartet, by Colin Escott and Floyd Mutrux. Step back in time to December 4, 1956 for one of the greatest jam sessions ever recorded when a twist of fate brought together four music icons: Elvis Presley, Johnny Cash, Jerry Lee Lewis, and Carl Perkins. Experience the magic of their impromptu jam session as they redefine rock ‘n’ roll history, featuring an incredible score of rock ‘n’ roll, gospel, R&B and country hits, performed live onstage by world-class actor/musicians. Showcasing hit songs including “Blue Suede Shoes,” “Walk the Line,” “Great Balls of Fire,” “Folsom Prison Blues,” “Whole Lotta Shakin’ Goin’ On,” “Hound Dog,” and more. Million Dollar Quartet runs December 5 – 22, 2024.

The most famous thriller ever written is given a visceral, frightening, and moving new modern dress production when it hits the stage of The New Vic in February. ETC’s modern production of the timeless classic, Hamlet, will reinvent Shakespeare’s tragedy for the 21st century, drawing new resonance from this 425-year-old play’s investigation of family, madness, murder, and forgiveness. Young Hamlet returns home from university to find his father dead, his inheritance stolen, and his mother remarried to his uncle. When the ghost of his father returns from the grave and pressures his son into a mission of revenge, Hamlet jump starts a chain of events that will redefine his relationship to his parents, his mortality, his nation, and himself.  Hamlet runs February, 6 – 23, 2025.                                                                                                                                                   

 

ETC welcomes the incomparable Hershey Felder as George Gershwin Alone in April. The story of America’s great composer who, with the groundbreaking “Rhapsody in Blue,” made a “Lady out of Jazz.” The show incorporates the composer’s best-known songs from “The Man I Love” and “Someone to Watch Over Me”, through the hits of An American In Paris and Porgy and Bess, to a complete performance of “Rhapsody In Blue”. George Gershwin was born in 1898 to Russian-Jewish immigrant parents in Brooklyn. Together, he and his brother, Ira, wrote standards such as “The Man I Love,” “Someone to Watch Over Me,” “Embraceable You,” “Fascinating Rhythm,” “I Got Rhythm,” “‘S Wonderful” and “They Can’t Take That Away from Me.” His groundbreaking opera, Porgy and Bess, is now considered an American classic. All told, George Gershwin wrote more than 1,000 songs for the stage and screen as well as works for the opera house and the symphony orchestra. In 1937, Gershwin died of an undiagnosed brain tumor at the age of 38, never knowing how famous and beloved he and his work would become. George Gershwin Alone runs April 3 – 20, 2025.

 

The 46th season concludes with the Southern California premiere of Justice, by Lauren Gunderson. Justice explores the first women on the U.S. Supreme Court – Sandra Day O’Connor, Ruth Bader Ginsburg, and Sonia Sotomayor – at the height of their power. Following the fraught confirmation process of Justice Sotomayor, we uncover the true sisterhood of these three iconic Americans as they inspire, challenge, and usher in the next generation of changemakers and trailblazers in American jurisprudence, while fighting private battles of their own. They confront and comfort each other about equal justice under the law, legal strategy, civic responsibility, as well as husbands, motherhood, kids, dreams, and sorrows, all while setting a new course for our country and the world. Justice runs June 5 – 22, 2025.

 

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Subscription renewals to ETC’s 2024-25 “Legends and Legacies” Season will go on sale on Wednesday, April 10 and new subscriptions will go on sale Wednesday, May 15 by calling the Box Office at 805-965-5400 or online at etcsb.org. All shows will perform at The New Vic, 33 W. Victoria Street in Santa Barbara. Five-play season ticket prices range from $190.00 – $435.00.

 

Single tickets will go on sale August 1, 2024 and will range from $40 – $94, with discounts available for seniors. Student tickets are available for only $25 each, and tickets for patrons 35-and-under are just $35 (subscription price is $165.00). Single tickets are available through the ETC box office at (805) 965-5400, or online at etcsb.org. For group sales information, please call (805) 965-5400.  

 

The Box Office is open Tuesday–Saturday 1pm–5pm and one hour prior to all performances. Plays, artists, dates and prices subject to change. 

 

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Ensemble Theatre Company, a member of the League of Resident Theatres (LORT), is Santa Barbara’s sole professional Equity theater company. ETC is committed to producing the highest professional quality theater in Santa Barbara, employing accomplished professional actors and stage managers.ETC has been home to several world, American and West Coast premieres and has received recognition and accolades throughout its enduring history, Including being recognized in an Equity theater company by the Actors’ Equity Association, the labor union for American actors and state managers. As the sole professional Equity theatre company in Santa Barbara, ETC brings a wide range of accomplished theatrical professionals to the region. For more information, visit our website at etcsb.org.

Theatre Review: Tiny Beautiful Things

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Tiny Beautiful Things is presented by Chance Theater. Based on the book by Cheryl
Strayed. Adapted for the stage by Nia Vardalos. Co-conceived by Marshall Heyman, Thomas Kail, and Nia Vardalos. Directed by Katie Chidester.

Tiny Beautiful Things is a collage of stories that reflect the challenges and misfortunes in life. Due to the nature of the story, the kinetics are kept at a minimum. This play is mostly an emotional roller coaster. The main ingredients are the details of private lives and the urgent need of enlightening advice. With an excellent stage design, Director Katie Chidester relies on the power of the script and her actors’ skills to keep the audience engaged and entertained. Since the amount of Sugar’s readers is pretty extensive, three actors, Jonathon Lamer, Jennifer Richardson, and Sam Mistry, play the roles of different readers.

When Sugar (Aubrey Saverino, Matinicus: The Story of Abigail Burgess) reads the stories posted on her column, she starts to unlock her own private and painful past experiences. At that point, Sugar joins her readers’ journey on the search for answers, empathy, and healing. She revisits her own past experiences to advise and comfort her audience with honesty, finding her own catharsis in the way. The stories posted on Sugar’s column deal with love, loss, anxiety, sex, faith, etc. It’s like the wild west on steroids. The challenge for Sugar is to figure out how she can contribute to solve some extraordinary complex issues. Married with two children and a rather complicated past, Sugar finds out that her column could be an open book for both her readers and herself. All behind the anonymity of a pen name.

Sexual abuse is another topic highlighted in the play. For Sugar, the sexual abuse stories some readers share with her start to clear the path to her own healing. A victim of sexual abuse herself, Sugar opens up about her own demons and the strategy to cope with the trauma, an extraordinary quest to find the much needed internal peace to sooth her soul.

Some of the experiences shared in Sugar’s column are deeply sorrowful; they are the manifestation of the searing pain of open wounds that refuse to heal. One of the most moving cases is that of Living Dead Dad (played by Lamer), a man whose 22-year-old son was killed by a drunk driver. The private hell of this father seems to be too much to take. The grief is taking over his existence to a point where he no longer enjoys the company of the good and supportive people around him. Having lost her mother to cancer when Sugar was 22, she relates to the pain of this man.

This is the climax of the emotional journey of the play. Saverino and Lamer delve deep into a place of pain and desolation. Captivating the audience, both actors embody the essence of the characters and the heart of the story. It’s a scene where they capture the healing language of everlasting love through the shared experience of loss. It exemplifies Sugar’s transformative journey as a writer and the transformative journey of her readers as a result of her empathy and encouragement.

Visually, the set design concentrates on one color: Orange. In fine arts, orange symbolizes warmth, optimism, and freedom. Widely used in autumn, this color reminds us of the coziness spirit of the season. The stage—Sugar’s home—feels cozy and warm, like a safe place to pour out one’s heart. Similarly, her readers see Sugar’s advice as a fountain of optimism, a key ingredient she uses to reassure her readers that everything will be fine despite their difficulties. And as a result of their mutual nurturing and validation, together they try to achieve the freedom they need to move on with their lives.

This stage adaptation extracts the most moving and disturbing details of the inspirational life of Cheryl Strayed, whose struggles with drugs, the loss of her mother at an early age, and sexual abuse are an inspiration to search deep inside to find the strength to heal and overcome adversities.

Tiny Beautiful Things

Chance Theater @ Bette Aitken Theater Arts Center on the Cripe Stage
5522 E. La Palma Ave., Anaheim, CA 92807

Performances: April 13th – 28th, 2024; Fridays at 8 p.m., Saturdays at 3 p.m. & 8 p.m., Sundays at 3 p.m.

Tickets: chancetheater.com

Based on the book by Cheryl Strayed. Adapted for the stage by Nia Vardalos. Co-conceived by Marshall Heyman, Thomas Kail, and Nia Vardalos. Directed by Katie Chidester. Laurie Smits Staude is the Executive Producer for this production. Bette & Wylie Aitken are Executive Season Producers for the entire 2024 schedule. Susan Bowman & Freddie Greenfield and Linda Maggard are Associate Producers, and The Family of Mary Kay Fyda-Mar is this year’s Associate Season Producers.

Cast: Aubrey Saverino, Jonathon Lamer, Jennifer Richardson, and Sam Mistry.

Creative Team: Scenic designer Kristin Campbell Coyne, costume designer Gwen Sloan, lighting designer Jordan “LJ” Curiel, sound designer Darryl B. Hovis, stage manager Bebe Herrera, and dramaturg Jocelyn L. Buckner.

Theatre Review: Stalin’s Master Class

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Stalin’s Master Class is presented by the Odyssey Theatre Ensemble, Ron Sossi Artistic Director, in association with Isabel and Harvey Kibel. Written by David Pownall. Directed by Ron Sossi. Produced by Beth Hogan.

Although the meeting depicted by playwright David Pownall didn’t actually happen, the characters and some of the events mentioned were real. During Stalin’s regime, the so-called Zhdanov Doctrine was used as a mechanism to align all artists to the Politburo’s propaganda.

In 1948, the Soviet Communist Party held the Moscow Composers’ Conference, where six of the leading composers, including Prokofiev and Shostakovich, were censored for being considered formalistic, undemocratic, and their music labeled as a cacophony. In Stalin’s Master Class, Pownall imagines what transpired in a meeting before the 1948 Conference.

Concerned that Soviet music is not patriotic enough, Joseph Stalin (Ilia Volok) and Soviet cultural minister Andrei Zhdanov (John Kayton) summon composers Sergei Prokofiev (Jan Munroe) and Dmitri Shostakovich (Randy Lowell) to the Kremlin.

Stalin decides to introduce socialist realism into Soviet music and tries to teach the two composers a lesson on patriotism, Marxism ideology, and the idyllic image of Georgian pastoral life. Exasperated by their lack of commitment, Stalin instills fear on the two musicians, forcing them to compose a cantata that fits the triumphant spirit of the Soviet proletariat.

Displaying anti-cosmopolitan attitudes as a way to keep any western influences at bay, Stalin despises jazz and other genres popular in the 1940s. After a few glasses of vodka, the psychological and physical abuse starts to take effect. Prokofiev and Shostakovich relent to Stalin and Zhdanov’s requests.

In a production that feels a bit static at the beginning, the action starts to build up right before the intermission. The play is mainly psychological, but Director Ron Sossi manages to turn the script into an entertaining spectacle of music and humor, especially when the four characters try to put their minds together to compose the emblematic cantata intended to inspire an entire generation of faithful communist subjects.

The play delves into the mind of one of the most enigmatic figures in the political scene of recent times. From his poor upbringing to the madness of power, Pownall explores Stalin as a political figure and a human being at the edge of implosion, a characterization captured brilliantly in the last scene.

The music is fantastic and so is the scenic design with its 1940s vibe. The humor helps to move the story forward and it is an excellent contribution to the characters, but then the main theme of the play takes over: A troubled sense of regret and the tragic loss of liberties that marked one of the most tumultuous periods of the 20th century.

Stalin’s Master Class

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

Tickets: odysseytheatre.com

Performances: April 13 – May 26
• Wednesdays at 8 p.m.: April 17* and May 15* ONLY
• Fridays at 8 p.m. (wine nights): April 19**, April 26* **; May 3**, May 10**, May17**, May 24**
• Saturdays at 8 p.m.: April 13 (Opening Night), April 20, April 27; May 4, May 11, May 18, May 25
• Sundays at 2 p.m.: April 21, April 28; May 5*, May 12, May 19, May 26
*Post-performance discussions on Wednesday, April 17; Friday, April 26; Wednesday, May 15; Sunday, May 5
**Wine Night Fridays: Enjoy complimentary wine and snacks following all Friday night performances.

Written by David Pownall. Directed by Ron Sossi. Music Direction by Nisha Sue Arunasalam. Starring John Kayton, Randy Lowell, Jan Munroe, Ilia Volok. Produced by Beth Hogan. Presented by the Odyssey Theatre Ensemble, Ron Sossi Artistic Director, in association with Isabel and Harvey Kibel.

Creative team: Scenic designer Pete Hickock; lighting designer Jackson Funke; sound designer Christopher Moscatiello; costume designer Mylette Nora; props designer Jenine MacDonald; and graphics designer Luba Lukova. The stage manager is Jennifer Palumbo.

Theatre Review: Can’t Live Without ‘Em

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The Group Rep presents the World Premiere of Can’t Live Without ‘Em. Written by Lee Redmond. Directed by Mareli Mitchel-Shields. Produced by Brent Beerman for The Group Rep.

Thomas Axelrod (Bert Emmett, Animal Farm, Motel 66) is in some kind of trouble. He suffered a stroke and is now in a coma. But he is still able to hear. His ex-wife Maureen (Cynthia Payo, Room Service), rushes to the hospital to be with him. So is his current wife Sharon (Daisy Staedler, The Laramie Project). And his previous unknown mistress Chrissy (Jazz Strong). A horny Dr. Payne (Paul Anthony Kelly) is the physician that tries to bring Thomas back to a normal life.

After a brief scare of an incoming nuclear attack, the flickering red lights were nothing more than just a technical glitch, cleverly addressed by Emmett during the performance and candidly addressed by the staff during the intermission. Suddenly, we had a second chance in life.

Back to the story. The play is brilliantly written by Lee Redmond. Emmett plays Thomas as his consciousness, a playful blend of psycho-narration and interior monologue. As Thomas is unable to move, all he can do is listen and reflect on his actions, virtues and vices included. Maureen is the character that tries to hold all the pieces together in the face of adversity. Payo delivers a terrific performance portraying the quirky Maureen: Loud, clueless, and on the verge of a nervous breakdown.

A very peculiar motif in Act II is the palm trees all over the place. In the context of the story, palm trees seem to symbolize femininity, endurance, and peace. Three characteristics that convey Thomas’ life.

He has surrounded himself with women, loving and playing them at the same time. And now, in a helpless situation, he has no other option but to hear what they have to say. That includes dating other men to explore their sexuality, taking back their femininity. As an extra punishment for his philandering, he also has to listen to chatty Tammy (Jessica Kent, Harold and Maude, Room Service, Motel 66), his nurse at the long term care facility.

Physically, he needs endurance to survive his stroke. Unable to move, he can only hear his surroundings and worry about the fate of the women in his life. And, of course, the fate of his unborn child.

And lastly, achieving peace as the life cycle is about to end. Thomas and the three women have to decide if this will be an achievable goal. The interactions among the women will be a factor to determine the resolution.

The witty dialogue keeps the audience engaged and invested in the characters. Although the pacing of the second act started to feel a bit slow, the action picked up by the end in a frenetic display of physical comedy. Director Mareli Mitchel-Shields uses the skillful talent of her cast to create rich and three-dimensional characters that are effectively framed by a carefully-curated stage design. The World Premiere of  Can’t Live Without ‘Em is another fine example of the successful Writers Workshop at the Lonny Chapman Theatre, inspiring and nurturing talent to keep live theatre alive for years to come.

Can’t Live Without ‘Em

Lonny Chapman Theatre – Upstairs Stage
10900 Burbank Blvd., North Hollywood 91601

April 11, 2024 – May 12, 2024

Thursdays and Sundays at 7: 00 PM

Saturdays at 4:00 PM

Tickets: thegrouprep.com

Written by Lee Redmond. Directed by Mareli Mitchel-Shields. Produced by Brent Beerman for The Group Rep.

Cast: Bert Emmett (Thomas Axelrod), Paul Anthony Kelly (Dr. Payne), Jessica Kent (Tammy), Holly Seidcheck (U/S Chrissy White performs May 2, 4 & 5), Cynthia Payo (Maureen Axelrod), Danny Salay (U/S Dr. Payne performs April 25, 27, & 28), Daisy Staedler (Sharon Axelrod) and Jazz Strong (Chrissy White).

Creative Team: Set Design Mitchel-Shields/Redmond, Lighting Design Frank McKown, Graphic Design Doug Haverty, Assistant Director/Stage Manager Casey Murray, John Ledley (Tech Operator), Online Marketing Kristin Stancato, Social Media Denise Downer and Jackie Shearn, Promotional Video and Photography Doug Engalla.

Theatre Review: King Hedley II

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A Noise Within presents King Hedley II. Written by August Wilson. Directed by Gregg T. Daniel. Produced by Artistic Directors Julia Rodriguez-Elliott and Geoff Elliott. A Noise Within’s 2023-24 Season is presented by the S. Mark Taper Foundation.

Pittsburgh, 1985. King (Aaron Jennings) has been released from prison and is trying to provide for his mom Ruby (Veralyn Jones, Hamlet) and his wife Tonya (Kacie Rogers, Celestial Events, Arrowhead). Is America willing to give him a second chance? But he’s a Black man from a distressed neighborhood. And now with a criminal record, it might be too much to ask. Trying to survive, he pairs up with his friend Mister (Christian Henley) to sell refrigerators of dubious origin. With an entrepreneurial spirit and a little bit of luck, they plan to save up enough money to start a video store business. Great idea. Especially if the robbery goes as planned. But that’s not all, Tonya wants to abort King’s baby. And don’t forget Elmore (Ben Cain), a gambler with the swagger of a playboy, and a little secret.

August Wilson‘s piercing writing comes to life in Director Gregg T. Daniel‘s exhilarating version of King Hedley II. The play is a snapshot of the African American experience in Pittsburgh during the 80s, a time when the city lost more than 200,000 steel and manufacturing jobs. Wilson’s characters face the searing degradation of Pittsburgh’s quality of life. But they also symbolize the punishing discrimination endured by African Americans on a larger scale. King, in particular, reveals that he was convicted by an all-White jury that immediately perceived him as a threat, negatively affecting the outcome of his trial. As that status quo is still a contentious issue in America, Wilson’s writings continue to be relevant today. Still echoing. Still moving.

In a survival of the fittest atmosphere, King, Mister, and Elmore are forced to find ways to survive being Black, unemployed, and carrying the stigma of previous criminal convictions. Add to that a high unemployment rate and you have a pressure cooker situation ready to explode. However, Wilson leaves enough room for hope, not only in the symbols, such as the plant and King’s unborn baby, but also in the humor. The humor is as important in the play as much as the drama. It’s like music, made of sound and silence, creating a rhythm impossible to resist. The fantastic cast capture the cadence of the play, pulling the audience into their world; it’s an alluring and inspiring experience, cathartic and with a sense of urgency.

Jennings does a phenomenal job portraying the anger and frustrations of a whole generation of disenfranchised Black males facing an oppressive system. His performance is fierce, absorbing, a tour de force.

Gerald C. Rivers, The Merry Wives of Windsor, Trouble the Water, as Stool Pigeon, mesmerizes portraying the wise and prophetic neighbor. His language blends magically the Christian beliefs and the African spirituality of the Black community, displaying his skills as a Master West African Drummer.

The lighting is another critical element to convey the atmosphere and the psychological state of the characters. Lighting designer Brandon Baruch paints the feelings of the characters with yellow, brown, and red, an effective depiction of the urban decay and danger experienced during the 80s. Together with the striking scene design by Efren Delgadillo Jr., the production team delivers an outstanding setting to frame the grittiness of the story.

Another fascinating element is the music by sound designer Jeff Gardner. The music both as a transition and as a background reflects the tension of the subject matter; it’s gripping and sensual with a flair of film noir, bringing memories of the soundtracks of the TV series The Untouchables and the film Chinatown.

A Noise Within offers another valuable production, honoring one of the best playwrights of the 20th century. August Wilson’s King Hedley II is a powerful play that resonates loud and clear in today’s fragmented society. The six thespians deliver an electrifying poiesis that turns Wilson’s poetry into a memorable performance. It’s an excellent example of what happens when you put together a skilled director, a talented group of actors, and a remarkable script.

King Hedley II

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

Performances April 6 – April 28
• Thursdays at 7:30 p.m.: April 11*; April 25 (dark April 18)
• Fridays at 8 p.m.: April 12**; April 19**; April 26**
• Saturdays at 2 p.m.: April 13; April 20, April 27 (no matinee on April 6)
• Saturdays at 8 p.m.: April 6 (Opening Night); April 13; April 20 (no 8 p.m. performance on April 27)
• Sundays at 2 p.m.: April 14**; April 21, April 28

*The performance on Thursday, April 11 is “Black Out Night,” an opportunity for an audience self-identifying as Black to experience the performance together; tickets include a post-show reception; non-Black-identifying patrons are welcome to attend, or to select a different performance.
**Post-performance conversations with the artists take place every Friday (except the preview) and on Sunday, April 14

In addition to the above dates, four student matinees will take place on weekday mornings (April 10, April 17, April 18 and April 24) at 10:30 a.m. Interested educators should email education@anoisewithin.org.

Tickets: anoisewithin.org

Written by August Wilson. Directed by Gregg T. Daniel. Produced by Artistic Directors Julia Rodriguez-Elliott and Geoff Elliott. Cast: Ben Cain, Christian Henley, Aaron Jennings, Veralyn Jones, Gerald C. Rivers, Kacie Rogers.

Creative team: Scenic designer Efren Delgadillo Jr; lighting designer Brandon Baruch; sound designer Jeff Gardner; costume designer Mylette Nora; wig and makeup designer Shelia Dorn; properties designer Stephen Taylor; and dramaturg Dr. Miranda Johnson–Haddad. The production stage manager is Taylor Anne Cullen, with Arielle Hightower assisting. The producing sponsors are Dick and Sally Roberts.

Theatre Review: Twelfth Night

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Twelfth Night is presented by Actors Co-Op. Written by William Shakespeare. Directed by Michael T. Kachingwe. Produced by Lorinda Hawkins Smith.

This production transfers the story from the Balkans to the South Pacific. It is also set in a recent past. This departure from the original setting gives the story a fresh look at Shakespeare’s themes of romance and European affairs. As expected, the costumes and the music reflect the change of place and culture.

The new setting allows Director Michael T. Kachingwe to give the characters in this production a historical context in relation to the location where the story takes place. The characters of Antonio and Sea Captain (Ben Kientz) have the look of pirates, outcasts that navigated the islands of the South Pacific in the past. Duke Orsino (Antwon Mason Jr.) and Maria (Britny Horton) have the looks of natives from the islands. Viola/Cesario (Mary Leeholland), on the other hand, has a European look, a hint to the European influence on those lands. This staging, however, does not seem to be a political statement on the history of the islands. After all, Twelfth Night is mainly a story with romance and comedy at the center, and Kachingwe keeps it that way. As for the sexual fluidity implied in the play, Kachingwe expresses this concept not only in the characters of Viola and Cesario but also in Feste, a male character played by a female actress, Chloe Babbes.

Talking about Babbes, her comedic and musical talents are engaging and add a playful and mischievous tone to the play. Along with Babbes, William Viriato is the other actor with a sensational sense of comedy. He does a fantastic personification of Malvolio, triggering the loudest laughs with his inventiveness and physical comedy, connecting with the audience immediately.

One thing to point out is that in the original script, Viola and Sebastian (Victor H. Rodriguez) are twins and look alike. In this production, however, Leeholland and Rodriguez do not necessarily look alike. This could be intentional, as this version of the play is modern rather than classical. This could or could not be noticed by the audience, depending on their familiarity with Twelfth Night.

This version highlights the comedy and musicality of the play. Except for the text, the costumes, setting, and music, give this staging a contemporaneous feel to Shakespeare’s story. This production feels closer to Antaeus‘ production of The Tempest, a version that also highlighted the musical aspect of the play.

Kachingwe’s production is a valuable rendition of a classical story with a twist more attuned to our times. It also serves as an opportunity to showcase a diverse group of talent that refreshes the theatre scene. At the same time, the major themes of the script are kept. intact. The love, the loyalty, the melancholy, and mainly the comedy are at the heart of this performance. Co-Op‘s offers another excellent play to explore new possibilities using one of the best comedies written by William Shakespeare.

Twelfth Night

Actors Co-Op’s David Schall Theatre

1760 N. Gower Street, Hollywood 90028

On the campus of First Presbyterian Church of Hollywood

April 5 – May 12, 2024

Friday and Saturday Evenings at 7:30 pm

Sunday Matinees at 2:30 pm

Additional Saturday Matinees April 13th & May 4th at 2:30 pm

Tickets: actorsco-op.org

Written by William Shakespeare. Directed by Michael T. Kachingwe. Produced by Lorinda Hawkins Smith.

Cast: Chloe Babbes, Freedom (U/S), Gavin Michael Harris, Britny Horton, Isaac W. Jay, Ben Kientz, Howard Leder, Mary Leeholland, Antwon Mason Jr., Nneka, Victor H. Rodriguez, Kevin Shewey, William Viriato, and Jessica Woehler.

Creative team: Scenic designer Hanalei Vasquez, costume designer Kelly Tsan, lighting designer Jesse Rodriguez, sound designer Thulani Kachingwe, hair and makeup designer Shelia Dorn, stage manager Kassy Menke, assistant stage manager Emmett Lee Merritt, choreographer Royce Correa, and set construction by Chris Winfield.

Music Review: Emaginario

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Emaginario (Ethan Margolis) performed on Wednesday 27 Mar 2024 at Sam First Jazz Club in Los Angeles, bringing his vibrant sound to the stage. Having spent time in Andalusia Spain, his jazz is influenced by the Romani culture and flamenco music, incorporating also the enigmatic sounds of Delta blues.

An accomplished world performer, Emaginario is joined on stage by a group of extraordinary musicians: Katisse Buckingham on sax and flute, Deron Johnson on piano, Luca Alemanno on bass, Chris Wabich on drums, and Munyungo Jackson on percussions. The unique blend of musical styles creates a rich and exuberant sonic landscape with an irresistible beat. The introspective lyrics are deep and poetic, adding an enigmatic aura to Ethan’s bluesy cantaor style.

Ethan’s guitar sounds nostalgic and romantic, with hints of the Caribbean, Spain, and a reflection of his Americana roots. Emaginario’s albums include Soleángeles, Arsa 100, En Madrid, Speakeasy Session, and Sonikete Blues. His new album is set for release on July 12, 2024.

You can find more about Emaginario’s eclectic music in the links below:

https://www.emaginario.com/

https://www.facebook.com/emaginariomusic

https://www.instagram.com/emaginariomusic/

The Fool by Emaginario video: https://www.youtube.com/watch?v=xJ7saOkAyXs

 Listen to tunes from Emaginario’s 2023 Album: Songs of Mind: https://promo.theorchard.com/QkgKor0sD66cUf5Hh7Xc?skin=light 

Theatre Review: Could I Have This Dance?

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Could I Have This Dance? is presented by The Group Rep. Written by Doug Haverty. Directed by Kathleen R. Delaney. Produced by Brent Beerman for The Group Rep.

Could I Have This Dance? was developed at The Group Rep and premiered at The Colony in 1991. Since then, it has traveled the world. And now, more than 30 years later, it is produced for the first time at The Group Rep’s stage The Lonny Chapman Theatre.

Monica (Anna Connelly) runs Grapevine, a successful public relations company. She is dating Colin (Andy Shephard), a famous photographer who goes on assignments around the world. Monica’s sister is Amanda (Anica Petrovic), who is dating Errol (Sean Babcock, Motel 66), a much younger man. Monica and Amanda live with their parents Hank (Lloyd Pedersen, Harold and Maude, Morning’s at Seven, Motel 66) and Jeanette (Clara Rodriguez, Harold and Maude, Motel 66). Jeanette has Huntington’s disease, a rare and inherited condition that involves psychiatric, cognitive, and movement disorders (Jeanette has repetitive movements as if dancing).

The rhythm of the play with its tensions and resolutions creates a rich story with characters facing their strengths and insecurities in the face of uncertainty. Monica is a character with a profoundly human bent. She embodies an image of success and self-determination, but one of risk as well. Getting pregnant is like playing Russian roulette, risking the possibility of passing on the gene of Huntington’s disease to a child. However, the human factor is always present. The yearning of motherhood is almost impossible to resist. And risking it all, Monica decides to go all the way.

All of the characters go through a transformative experience, but Monica is perhaps the character that mirrors more closely the dramatic transformation of Jeanette. The diagnosis became a turning point for Jeanette, forcing her to face a whole new reality. For Monica, her biological clock keeps ticking, urging her to take drastic decisions that transform her expectations and commitments.

The script is brilliant and the six actors nail the dialogue and the action. Connelly and Petrovic are excellent, delivering a fascinating bantering between the two sisters and stressing the fears and hopes of a family dealing with a challenging situation. Shephard and Babcock also show their fine performance skills, contributing with their sharp comedic timing, much to the audience’s delight. These four actors are cleverly paired up with Pedersen and Rodriguez, two experienced stage actors that continue to deliver stellar performances on The Group Rep’s productions.

Director Kathleen R. Delaney brings alive the exhilarating rhythm of the play, creating a compelling blend of comedy and drama. Her work with the actors capture the poignancy of Doug Haverty‘s writing in a way that makes the audience get emotionally invested with the characters. And to add more value to this production, the beautiful set resembles the original 1991 staging at The Colony. Also, the costumes are a wayback machine to the 80s. These are details that show the level of commitment of the creative team and offer an attractive production to the audience.

Could I Have This Dance? is an extraordinary play with outstanding performances, a true gem in the theatre scene. It doesn’t fall into the trap of clichéd sentimentalism. Rather, it explores with humor and wit the beauty of human connections and the unbreakable bond of a family dedicated to care for one of their own.

Could I Have This Dance?

The Lonny Chapman Theatre – Main Stage

10900 Burbank Blvd.,

North Hollywood 91601

March 29 – May 5, 2024. Fridays & Saturdays 8pm. Sunday Matinees 2pm.
Sunday Talkbacks with the cast and staff March 31 and April 7, after the matinees.

Tickets: thegrouprep.com

Written by Doug Haverty. Directed by Kathleen R. Delaney. Produced by Brent Beerman for The Group Rep.

Cast: Sean Babcock, Anna Connelly, Anica Petrovic, Lloyd Pedersen, Clara Rodriguez, and Andy Shephard.

Creative team: Set Designer Kathi Chaplar, Lighting Designer Frank McKown, Costume Designer Shon LeBlanc, Sound Designer Nick Foran.