Author Archive: Glamour

Theatre Review: Tiny Beautiful Things

Posted on by

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

Posted on by

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

Posted on by

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

Posted on by

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

Posted on by

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

Posted on by

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?

Posted on by

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.

Theatre Review: The Bespoke Overcoat

Posted on by

Pacific Resident Theatre presents The Bespoke Overcoat. Written by Wolf Mankowitz. Directed by Marilyn Fox and Dana Jackson.

Fender (Harry Herman) is a poor Jewish clerk working in a cold clothing warehouse. He wears an old coat that is falling apart. He asks his boss, Ranting (Bruce Nozick), to let him purchase a coat from the warehouse and pay in installments. Ranting refuses and tells Fender that he would never be able to pay the coat. Fender then decides to ask his Jewish friend Morry (Robert Lesser), who is a tailor, to make him a bespoke overcoat. They agree on the cost and Morry starts working on the overcoat. Unfortunately, Ranting fires Fender after 43 years of service. Fender tells Morry to cancel the order for the overcoat as he no longer has money to pay for it. Feeling sorry for Fender, Morry agrees to finish the overcoat.

Before Morry can finish the overcoat, Fender dies of cold. When Morry comes back from the funeral, he finds Fender’s ghost sitting on his bed. The ghost tells Morry that he wants to go to Ranting’s warehouse at night and take a sheepskin overcoat as payment for all the years of service. They leave and enter the warehouse.

Wolf Mankowitz adapted the play from Nikolai Gogol‘s The Overcoat, a short story written in 1842 and set in St. Petersburg, the capital of Russia at the time. Mankowitz adapts the story to the impoverished East End of London, a neighborhood where many Jews worked in the clothing industry. In the play, a simple necessity becomes a symbol of the hardships of the poor. The overcoat, an essential item to survive the cold weather, represents the struggles and the dreams of those living in precarious conditions. Fender succumbs to the weather and dies without a new overcoat.

Directors Marilyn Fox and Dana Jackson recreate in great detail the grittiness and scarcity of the living conditions portrayed in the script. The extraordinary acting also projects the simplicity of the story, but also the depth of the characters. Herman is excellent as Fender. He explores poignantly the misery and the humble dreams of an old man at the twilight of his life, suffering the indignities of the working class. Lesser as Morry is exceptional as well, capturing the friendship and the regrets represented in his character.

Both Herman and Lesser transport the audience to a time of adversity for the Jewish community in London. The Jews living in London when Mankowitz wrote the script were still facing blatant and inconspicuous antisemitism by the British society, even when the Jews were contributing to the advancement of England’s culture and economy. Fender coming back to life to take a coat from Ranting’s business is a symbol of the right to demand a fair deal in life, whether by the Jews or the working class in general.

The story seems simple, but it contains a deep meaning when the historical context is taken into account. Ranting represents more than just an abusive boss. Fender represents more than just an old clerk. And Morry represents more than just a friend. Fox and Jackson stage a production that brings forward the humanity and hope of the characters and the resilience of a whole community living under adverse conditions in uncertain times.

The Bespoke Overcoat

Pacific Resident Theatre
703 Venice Blvd.
Venice, CA 90291

Opening: 8pm Saturday, March 9, 2024
Schedule: 8pm Thursdays – Saturdays; 3pm Sundays
Closing: June 2, 2024

Tickets: pacificresidenttheatre.org

Playwright: Wolf Mankowitz. Directors: Marilyn Fox and Dana Jackson. Presented by Pacific Resident Theatre. Cast: Harry Herman, Robert Lesser, Bruce Nozick, and Tobias Echeverria. Creative team: Rich Rose (Scenic Design), Leigh Allen (Lighting Design), Audrey Eisner (Costume Design), Chris Moscatiello (Sound Design), Doug Prazak (Prop Design), Jody Fasanella (Assistant Director), Teak Piegdon-Brainin (Stage Manager).

Theatre Review: The Witness Room

Posted on by

The Whitefire Theatre presents the World Premiere of The Witness Room. Written by Pedro Antonio Garcia. Directed by Bryan Rasmussen.

Four NYPD officers, Eli Torres (Dave Baez), Terrence Sampson (Moe Irvin), TJ Moretti (Louie Liberti), and Kevin Brennan (Mitch Rosander), are accused of fabricating evidence to arrest and convict a Puerto Rican man. Defending the cops is Prosecutor Andrea Volpi (Tricia Small), who is intimately familiar with the four cops and their shady record in the police force.

Playwright Pedro Antonio Garcia offers a glimpse of how the justice system works when police misconduct is involved. The code of silence does not apply to the mafia only, specially if planting evidence is in the mix. The immaculate image of justice in textbooks collides with reality in The Witness Room. The four cops searched for evidence, but what if the evidence is not found? Tampering seems to be the easy way to go. Except if a dedicated and inquisitive defense attorney finds inconsistencies in the cops’ testimonies.

One by one, the cops testify in court. And one by one, they start to break under pressure.  This is one of the highlights of Garcia’s writing. He worked as a criminal defense attorney and has plenty of material to work with. His play puts a human face to the usual unbreakable figure of authority that a cop projects in our culture. The four cops and the prosecutor are friends, colleagues, and brothers in arms, but they also have flaws and limitations that can jeopardize the integrity of the American justice system.

The play also shows the complicity of the judges to ignore blatant police misconduct, as if convicting corrupt officers would undermine the trust of the public in the authorities. In this case, the judge is willing to go along with the prosecutor’s strategy to save the cops’ positions, ignoring the defendant’s right to a fair trial.

Even though people know the occasional irregularities of the police actions, few people know the backroom deals happening in the courts in any given day. Whether those deals are a detriment to the justice system or an efficient way to clear the backlog of cases on file, that would be a personal opinion. What The Witness Room does is that it presents technical and little known details while bringing the police officers’ perspective to the regular citizen’s level. Much of what is seen in the play is happening in real life on a daily basis. Profiling, racism, corruption, and even cases of depression among police officers are common instances that may trigger aversion or sympathy, depending on who you ask.

The actors deliver gripping performances that convey the conflicting relationship between good and evil and the urgency to cover the basic necessities of life. Director Bryan Rasmussen creates a dynamic staging to marry action and dialogue, keeping the characters on the verge of total collapse. It’s a riveting production with engaging elements of conflict, emotion, and entertainment. Maybe we will have a different perception when we read the phrase “to protect and to serve”.

The Witness Room

The Whitefire Theatre
13500 Ventura Blvd. Sherman Oaks, California.

8 performances only. The play opens Saturday March 23, 8pm and will continue every Saturday night from March 30 through April 27, 2024, at 8pm.

Tickets: whitefiretheatre.com

Written by Pedro Antonio Garcia. Directed by Bryan Rasmussen. Cast: Tricia Small (Salem) as the Prosecutor and Moe Irvin (Ahsoka: Star Wars), Dave Baez (Greenleaf, Dexter), Louie Liberti (ER) and Mitch Rosander (Two Broke Girls) as officers of the NYPD.

Creative team: Set designer Jeff Rack, lighting designer Derrick McDaniel, sound designer Mitch Rosander, costume designer Laura Tiefer, graphic designer Michele King, fight choreographer Bonzai Vitali and casting director Victoria Hoffman.

Theatre Review: A Froggy Becomes

Posted on by

The World Premiere of A Froggy Becomes is presented by Open Fist Theatre Company. Written by Becky Wahlstrom. Directed by Pat Towne. Produced by Martha Demson.

Bumpy Diggs (Sandra Kate Burck, A Midsummer Night’s Dream) needs to complete her middle school project, but she can’t find anyone to help her with the assignment. She is somehow dating her classmate Pat (Kyle Tomlin), but she also develops a crush on her classmate Allen (Tom Sys), who is dating Karen (Kyra Grace). Bumpy’s father is a violent ogre (Peter Breitmayer) who spends the day drinking and smoking. And her mother (Johanna McKay) is having an affair with a priest, Father Angelo (Michael Lanahan). Yes, a lot of drama in the life of such a young girl.

Playwright Becky Wahlstrom incorporates elements of magical realism to symbolize the perspective of a girl going through the challenging years of puberty. Some of the fantastical elements are visual, like the large puppet in the form of an ogre. Some are psychological. Fantasies that only happen in Bumpy’s head, like her idealistic love for Allen or the idea that she and her mother could pursue a happier life with Father Angelo. Maybe the blending of fantasy and reality is a survival strategy for someone like Bumpy, a girl coming from a dysfunctional family.

Navigating through puberty proves to be exciting, frightening, and painful. Wahlstrom presents a character dealing with a teenager’s rite of passage: First love, first kiss, the pressure of school assignments, and the ups and downs of romantic relationships, including the dreadful heartbreak. How can Bumpy survive this rollercoaster of emotions? Maybe Madonna’s music can help a little bit. After all, this is the 80s, colorful clothes and all.

Director Pat Towne focuses on the performances of the actors and highlights the comedic aspects of the script, creating a play with a minimalistic set design and strong performances. Sandra Kate Burck does a fantastic job, carrying most of the play on her shoulders. She has excellent comedic timing and delivers a convincing performance throughout the play. The ogre adds much of the magical realism to the play, stressing both the comedy and the uneasiness of the story.

The play features the transition between the naiveness of childhood and the brutality of life, including intrafamily violence. Broken dreams seem to welcome Bumpy into adulthood, but also open up her eyes into the possibilities beyond the horizon, exploring adventure, growth, and new beginnings. Not bad for a story that starts with a simple seventh grade project, an ogre in underwear, a horny priest, and a self-determined teenage girl.

A Froggy Becomes

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

Performances: March 9–April 13
• Fridays at 8 p.m.: March 15; March 22; March 29; April 5; April 12
• Saturdays at 8 p.m.: March 9 (Opening Night); March 16; March 23; March 30; April 6;
April 13
• Sundays at 7 p.m.: March 10; March 17; March 24; March 31; April 7

Tickets: openfist.org

Written by Becky Wahlstrom. Directed by Pat Towne. Starring Deandra Bernardo, Peter Breitmayer, Sandra Kate Burck, Kyra Grace, Jeremy Guskin, Ana Id, Carmella Jenkins, Michael Lanahan, Johanna McKay, Bradley Sharper, Tom Sys, Kyle Tomlin. Presented by Open Fist Theatre Company, Martha Demson, artistic director. Creative team: Scenic designer Jan Munroe, costume designer Mylette Nora, lighting designer Matt Richter, sound designer Marc Antonio Pritchett, prop masters Bruce Dickinson and Ina Shumaker, and puppet designer Joe Seely. The production stage manager is John Dimitri, and the assistant director is CJ Merriman.