Author Archive: Glamour

Theatre Review: Come Get Maggie

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Rogue Machine presents the world premiere of Come Get Maggie. Written by Diane Frolov. Lyrics by Diane Frolov and Susan Justin. Music by Susan Justin. Directed by Michael Pressman.

 

Somewhere in the 30s, there was a girl who dreamed of the stars and the possibilities of alien life. That girl grew up to be a physicist in the 50s, defying the expectations of society at the time. That girl is Maggie (Melanie Neilan), whose parents, Mrs. Wyberry (Melissa Jobe) and Mr. Wyberry (Bruce Nozick), expect her to get married and live a suburban and conservative life. From there, things get more complicated for Maggie. Her research in physics is used to invent the H bomb, something she opposes. Disappointed, she quits physics and gives in to her parents’ wishes.

 

Maggie marries Hugh (Chase Ramsey), who doesn’t disclose he is a widow with two kids. He also has a nosy aunt, Auntie Ruthie (Jacquelin Lorraine Schofield, Rapunzel Alone, A Great Wilderness) who disapproves of Maggie. After moving in with Hugh, Maggie is introduced to the Mother Militia, a group of housewives with issues of their own. 

 

Hugh wants Maggie to be a traditional good wife. One that stays home cooking and taking care of the kids, and just like Paul in the Paul Lynde Show, he expects Maggie to have his martini ready when he gets home. But there is an incident that turns things upside down. Maggie gets kidnapped by aliens commanded by Varex (Dennis Renard, Three Tables). 

 

This musical looks back in time to an era when “America was standing at the summit of the world”, as stated by British Prime Minister Winston Churchill. At the time, America was fully involved in a nascent space industry—the set is reminiscent of the space movies and cartoons of the era. The 1950s were also considered by many the golden age of America, a post-WWII society that experienced an accelerated growth both in population and accumulation of wealth. Diane Frolov snaps pictures of the Fertility Valleys and their typical lifestyle, where everything looked perfectly manicured and in order. But Frolov also touches on what was happening underneath that apparent perfect world, the marginalization of certain sectors of society, such as women and members of the LGBT community. Women had little opportunities for career advancement and cross dressing could mean a career suicide for any man who dared to do it.             

 

This space romance musical has fabulous singers and the actors deliver comedy and kinetics that keep the audience engaged and entertained. Even though this is the first musical produced by the team, this first try is a good start to expand their repertory offerings. 

 

The cast: Melanie Neilan, Melissa Jobe, Bruce Nozick, Philip Casnoff, Dennis Renard, Chase Ramsey, Eddie Vona, Jacqueline Lorraine Schofield, Beth Egan, Nicole Ledoux, Sarah Hinrichsen, and Alan Trinca.    

 

Come Get Maggie

Written by Diane Frolov. Directed by Michael Pressman. Music by Susan Justin. Lyrics by Diane Frolov and Susan Justin. Produced by: John Perrin Flynn (A Rogue Machine Production).

 

Rogue Machine (in the Matrix Theatre)

7657 Melrose Ave, Los Angeles, CA 90046

(Street parking)

 

Opening: 8pm on Saturday, February 11, 2023

8pm Fridays, Saturdays, Mondays, 3pm Sundays

Closing: March 26, 2023

 

Tickets: roguemachinetheatre.org

 

Creative team: Stephanie Kerley Schwartz (Set Design), Ric Zimmerman (Lighting Design), Chris Moscatiello (Sound Design), Dana Rebecca Woods (Costume Design), Albin Konopka (Music Supervisor and incidental music), Michele Do (Music Director), Brooke Wendle (Choreographer), Nicholas Santiago (Video Design), Glenn Michael Baker (Assistant Set Design & Props Head).

 

 

Come Get Maggie poster
A scene from Come Get Maggie
A scene from Come Get Maggie
A scene from Come Get Maggie

Theatre Review: Much Ado About Nothing

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A Noise Within presents Much Ado About Nothing. Written by William Shakespeare. Directed by Guillermo Cienfuegos.

Much Ado About Nothing is an English Renaissance comedy by the Elizabethan playwright William Shakespeare. It was written in 1598, ten years after the defeat of the Spanish Armada and one year before the construction of the Globe Theatre.

This version of the play takes place in the same region mentioned in Shakespeare’s original play, the city of Messina in Sicily, but set during WWII after the island’s liberation from the fascists by the US troops. This is a brilliant detail to make this story more relatable. Director Guillermo Cienfuegos, The Beautiful People, even allowed the actors to keep the diversity of their Queens, Texas, and Appalachia accents to better connect with the American audience.

The play has two stories about two couples, Claudio (Stanley Andrew Jackson, Animal Farm) and Hero (Alexandra Hellquist, On The Other Hand, We’re Happy), and the story of Benedick (Joshua Bitton) and Beatrice (Erika Soto, Metamorphoses).

A victorious army commander, Don “The Prince” Pedro (Frederick Stuart) is received by Leonato (Tony Pasqualini, A Great Wilderness), Governor of Messina. Don Pedro brings along two of his soldier friends, Claudio and Benedick. Claudio immediately falls in love with Leonato’s daughter, Hero. Meanwhile, Benedick, a bit loud and a bit arrogant, is disliked by Beatrice, Leonato’s niece. In the background, we see John (Rafael Goldstein, Metamorphoses, Animal Farm), Don Pedro’s half-brother, with a disengaged look. With this scene alone, Cienfuegos shows most of the exposition and the character’s conflicts—the love, the tension, and the resentment.

As the story goes, Claudio is trying to marry Hero, while Benedick and Beatrice continue with their verbal jousts despite being deeply in love with each other. The roadblock for Claudio and Hero’s happiness is John’s jealousy and dark disposition. With help from Borachio (Michael Uribes, Detained, Three Tables), John will devise a ploy to stain Hero’s reputation. For Benedick and Beatrice, the impediment is their pride and their fear to vulnerability. However, Don Pedro, Claudio, and Leonato come up with a plan to make Benedick declare his love for Beatrice. Likewise, Hero and her two servants, Margaret (Jeanne Syquia, Hamlet) and Ursula (Nick Petroccione) prepare their own scheme to trick Beatrice into opening up her heart to Benedick.

This production is so impressive that even the secondary characters are delightfully comedic. Dogberry (Wesley Mann), Verges (Rafael Goldstein), and the other two watchmen (Alejandro Hernandez) and (Arely Vianet) contribute memorable dialogue and physical comedy.

A director worth his salt pays careful attention to all of the moving parts of a play. Cienfuegos does it like no other. He curated the elements of Shakespeare’s dramatic structure in a playful and entertaining way scene after scene. Claudio’s rejection of Hero, the transition from dislike to love between Benedick and Beatrice, and the resolution are all cleverly displayed with powerful acting and creative staging to generate an impressive production in only five weeks.

The selection of the technical aspects are worth noting. Lighting Designer Ken Booth, Metamorphoses, Animal Farm, paints the stage with amazing hues and intensities that are a pleasure to watch. The scene where Hero is posing as a sculpture surrounds the stage with a special mysticism, something of a religious experience. The WWII costumes (Christine Cover Ferro, Costume Designer), the beautiful set (Angela Balogh Calin, Scenic Designer, Animal Farm), and the amazing music by the very active and experienced Chris Moscatiello, Sound Designer, Salvage, This Wonderful Life, On The Other Hand, We’re Happy, Wakings!, The Beautiful People, A Great Wilderness, Fam And Yam and The Dumb Waiter) add an exquisite sensory experience to this production. The music includes a tarantella, swing, and 40s hits to give a nostalgic and innovative feel to this updated version.

Erika Soto is a tour de force, delivering a masterpiece of a performance to embody the witty and independent Beatrice. Soto’s convincing stage presence is ideal to portray a woman who has a mind of her own and defies the expectations placed upon women in Elizabethan society. In addition, Soto and Bitton’s chemistry create an irresistible romanticism that energizes the reinvention of a classic love story.

Endearing, playful, and romantic, Cienfuego’s take on Much Ado About Nothing is a gratifying theatre experience not to be missed.

Much Ado About Nothing

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

Performances February 11–March 12
• Thursdays at 7:30 p.m.: March 9 ONLY
• Fridays at 8 p.m.: Feb. 17**; Feb. 24**; March 3**; March 10**
• Saturdays at 2 p.m.: Feb. 18; Feb. 25; March 4; March 11
• Saturdays at 8 p.m.: Feb. 11 (Opening Night); Feb. 18; Feb. 25; March 4; March 11
• Sundays at 2 p.m.: Feb. 19**; Feb. 26; March 5; March 12

Tickets: anoisewithin.org

Written by William Shakespeare. Directed by Guillermo Cienfuegos. Starring Joshua Bitton, Rafael Goldstein, Alexandra Hellquist, Alejandro Hernandez, Stanley Andrew Jackson III, Wes Mann, Tony Pasqualini, Nick Petroccione, Erika Soto, Fredrick Stuart, Jeanne Syquia, Randy Thompson, Michael Uribes, and Arely Vianet. Presented by A Noise Within, Geoff Elliot and Julia Rodriguez-Elliott, producing artistic directors.

The creative team includes scenic designer Angela Balogh Calin; lighting designer Ken Booth; composer and sound designer Christopher Moscatiello; costume designer Christine Cover Ferro; wig and make up designer Tony Valdés; properties designer Stephen Taylor; choreographer Joyce Guy; text coach Susan Wilder; and dramaturg Miranda Johnson-Haddad. The production stage manager is Chloe Willey.

Much Ado About Nothing poster
A scene from Much Ado About Nothing
A scene from Much Ado About Nothing
A scene from Much Ado About Nothing

Theatre Review: Harold and Maude

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Harold and Maude is presented by The Group Rep. Written by Collin Higgins. Directed by Larry Eisenberg. Produced by Lloyd Pedersen.

 

The stage adaptation of this 70s cult movie brings back the dorky young man and the eccentric octogenarian, united by a strange fascination for funerals. Harold (Landon Beatty) is an awkward young man who doesn’t have much purpose in life other than scare people with his pranks, including killing himself. His Mom, Mrs. Chasen (Susan Priver), tries to set him up with computer dates, hoping to get him married and settle down. But Harold does not agree with his mom’s plans, so he does what he does best, scare the hell out of the potential girlfriends with his sinister pranks. Sylvie Gazel (Kat Kemmet) and Nancy Mersch (Jessica Kent) run away at the first scare. Sunshine Dore (Gina Yates), on the other hand, proves to be too much of a melodramatic actress for both Harold and Mrs. Chasen. Witnessing all the drama unfolding is the family’s maid, Marie (Lareen Faye), who starts to get used to all the chaos in the house.

 

In the midst of Harold’s unhappiness, Maude (Clara Rodriguez) shows up at a funeral officiated by Father Finnegan (Lloyd Pedersen). Harold is also present, attracted by his morbid fascination of strangers’ funerals. That first connection leaves an impression on both Harold and Maude. From that point on, the characters’ backgrounds start to take shape along with their mutual attraction. Time, however, will be a determining factor in the consummation of their love, specially when Inspector Bernard (JC Gafford) and Sergeant Doppel (Steve Shaw) show up at Maude’s door.

 

Maude’s motivations, from rescuing a seal (Fox Carney) to saving a tree from the city’s pollution, are reflections of her life. An experience lived to the fullest, happiness and loss included. An experience too valuable to let it expire without passing it on to a new generation. Beyond the romantic characteristic of their relationship, their love is a bridge between two generations—the dusk of a rich existence and the dawn of an existential dilemma. Will Maude be more influential than Dr. Matthews (Fox Carney) to Harold’s search of meaning in life?

 

Director Larry Eisenberg gives new life to this story written more than fifty years ago. His work with the actors elevates the play to another level. The combination of dark humor and philosophical questioning is masterfully displayed on stage both in dialogue and action. Just like the story itself, the presence of young and experienced thespians is a poignant revitalization of the controversial topic of age-gap relationships. The use of projectors is an inventive way to recreate some of the most memorable scenes in the movie.

 

Harold and Maude is a pleasantly hilarious and moving play that features amazing talent on the legendary Lonny Chapman Theatre, home to the Group Rep, celebrating their 50th anniversary.

 

Harold and Maude

 

Lonny Chapman Theatre – Main Stage (1st Floor)

10900 Boulevard, North Hollywood 91601

Wheelchair Accessible. Free Street Parking

 

February 10 – March 19, 2023

Friday & Saturday Evenings at 8:00 pm, Sunday Matinees at 2:00 pm

Talkbacks after Sunday Matinees Feb 19 & March 5

 

Tickets: www.thegrouprep.com/

 

The Group Rep cast features the talents of Landon Beatty (Performs February 10, 18, 19, 24, 25, 26, March 10, 11, 12), Fox Carney, Lareen Faye, JC Gafford, Kat Kemmet, Jessica Kent, John Ledley (Performs February 11, 12, 17, March 3, 4, 5, 17, 18, 19), Lloyd Pedersen, Susan Priver, Clara Rodriguez (Performs February 10, 18, 19, 24, 25, 26, March 10, 11, 12), Steve Shaw, Janet Wood (Performs February 11, 12, 17, March 3, 4, 5, 17, 18, 19), and Gina Yates. Douglas Gabrielle (Father Finnegan U/S). The roles of Harold and Maude are double cast. Landon Beatty and Clara Rodriguez will perform together. John Ledley and Janet Wood will perform together.

 

The production team includes Mareli Mitchel-Shields (Set Design), Douglas Gabrielle (Lighting Design), Angela M. Eads (Costume Design), Christian Ackerman (Videographer), Patrick Burke (Puppet Design), Judi Lewin (Wigs/Hair/Make-up), Steve Shaw (Sound Design), Doug Haverty (Graphic Design).

 

 

 

 

Harold and Maude poster
A scene from Harold and Maude
A scene from Harold and Maude
A scene from Harold and Maude

Theatre Review: Not/Now

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Write Act Repertory presents the world premiere of Not/Now, written by Darrin Yalacki. Directed by Amanda Blake Davis. Produced by Anne Mesa and John Lant. 

In a perfect world, friends communicate via text to prepare an engagement party for one of their own, and all is fun and happiness. Except when there’s a little mistake in the text message. That’s the story of Not/Now, a play where a group of friends from Chicago expose their most intimate details, mostly about their failures and frustrations, in a chaotic and hilarious reunion.

A welcome-back party to celebrate the engagement of attention-seeker Goldie (Karen Baughn), who left Chicago to try a career in showbiz in Los Angeles, becomes a messy confusion when Rafael (Oscar Ramirez) misreads a text message explaining that Goldie is no longer engaged, as her fiancé broke up with her in an embarrassing manner. Baker (James Singleton), Tamela (Rachel Lemos), and Vanessa (Lindsay Seim) are the other friends who try to offer some kind of support to Goldie. As the night progresses and under the influence of a few drinks, the support turns sour when underlying issues among the friends are revealed and finger-pointing goes back and forth. 

The play touches on themes of sexuality, lost opportunities, the unhappiness of unrealized expectations, and the crushing feeling of being left behind. These topics play very well with the audience as they are relatable issues that transcend race, cultures, and genders. Darrin Yalacki develops interesting backgrounds to each of the characters, offering plenty of surprises to keep the story moving forward and the audience engaged.  

The play is an excellent picture of human interaction—scathing, cruel, but deeply compassionate at the end. Despite some actors stumbling a bit over the dialogue, the cast delivered a fantastic performance to a sold-out show on Sunday. James Singleton as Baker and Mason Eaglin as Jack offer outstanding performances as the openly gay friend and the ambiguous stripper respectively. Something interesting to point out is that director Amanda Blake Davis and actor Oscar Ramirez both trained in Second City, a fact that is evident in the directing and acting of both professionals. 

The lighting by Zad Potter illuminates the stage in a warm orange/yellowish hue throughout the play, almost like a Mark Rothko’s painting. Details always make a difference. 

Production team: Scenic Designer Laura Lineback, House Manger and Boom Operator Jonathan Harrison, Cop Costumer Rashon Wilson.       

Not/Now

Write Act Repertory @ the Brickhouse Theatre
10950 Peach Grove Street, North Hollywood, CA 91601

Written by Darrin Yalacki. Directed by Amanda Blake Davis. Produced with Anne Mesa, John Lant & Darrin Yalacki. Featuring Karen Baughn, Mason Eaglin, Rachel Lemos, Oscar Ramirez, Lindsay Seim & James Singleton.

Opening: February 4, 2023. Closing: March 5, 2023

Saturdays 8:00 p.m.
Sundays 3:00 p.m.

Tickets: www.simpletix.com/e/not-now-tickets-122901

 

Not/Now poster
Not/Now
A scene from Not/Now
Not/Now. Lindsay Seim, Oscar Ramirez, Rachel Lemos, Mason Eaglin, Karen Baughn, and James Singleton.
A scene from Not/Now
Not/Now. Lindsay Seim, Karen Baughn, Oscar Ramirez, Rachel Lemos, and James Singleton.

Theatre Review: Ride the Cyclone

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Chance Theatre presents the California premiere of Ride the Cyclone, directed by Jocelyn A. Brown. Book, Music, and Lyrics by Jacob Richmond and Brooke Maxwell.

Six teenagers find themselves in a mythical purgatory after they die riding a roller coaster called Cyclone. The mystic element of the afterlife adds a powerful message to the story. Much like the recent Guillermo Del Toro’s Pinocchio, the characters of Ride the Cyclone have to make decisions in the afterlife that will reflect either their selfishness or their selflessness.

At the purgatory, the teenagers meet The Amazing Karnak (Robert Foran), a mechanical fortune-telling machine that will end its life when a rat called Virgil eats up the electrical cable that powers the machine. Karnak will make the kids play a game in which only one of them can win the grand prize: Going back to life.

Ocean (Haley Wolff), Mischa (Jared Machado), Noel (Wyatt Hatfield), Ricky (Jaylen Baham), Constance (Rose Pell), and Jane Doe (Em Flosi) each perform a unique musical number that reveals their personalities.

The exposition of the characters’ traits shows the wide range of emotions typical of the teenage years. Rage, insecurities, sexual awakening, regrets, and dreams are expressed cleverly in each of the musical numbers and dialogue. Noel’s performance is a cabaret-style piece that adds a touch of raw sensuality to the atmosphere, with decadent shades of red light.

Jane Doe, the only unidentified person in the accident, delivers a dark and eerily beautiful number with an operatic voice that blends smoothly with the mystical premise of the play.

The book is an extraordinary work by Jacob Richmond and Brooke Maxwell. The characters are well-developed and allow the actors to deliver emotional and meaty performances. Director Jocelyn A. Brown uses the stage efficiently, giving the actors plenty of space to shine and deliver a visually striking exhibition of kinetics. The technical elements are first-class: Lighting Design (Masako Tobaru), Costume Design (Bradley Allen Lock), Scenic Design (Antonio Beach and Bradley Kaye).

Ride the Cyclone is an amusing show with energetic music and moving performances by young and talented thespians, live from the afterlife.

Ride the Cyclone

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

Performances: February 4 – February 26, 2023; Thursdays at 7:30 p.m., Fridays at 8 p.m., Saturdays at 3 p.m. & 8 p.m., Sundays at 3 p.m. 

Tickets: www.chancetheater.com 

 

Ride the Cyclone poster
Ride The Cyclone
A scene from Ride the Cyclone
Ride the Cyclone. Em Flosi, Wyatt Hatfield, Jaylen Baham, Haley Wolff, Jared Machado, Rose Pell, and Robert Foran.
A scene from Ride the Cyclone
Ride the Cyclone. Jaylen Baham, Jared Machado, Rose Pell, Wyatt Hatfield, Haley Wolff, Em Flosi, and Robert Foran.
A scene from Ride the Cyclone
Ride the Cyclone. Rose Pell, Jared Machado, Jaylen Baham, and Em Flosi.

Theatre Review: Do You Feel Anger

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Circle X Theatre Company presents the West Coast premiere of Do You Feel Anger? Written by Mara Nelson–Greenberg. Directed by Halena Kays.

Do You Feel Anger?, written in the absurdist style, is set in a debt collection agency. Sofia (Paula Rebelo) is hired as an empathy coach by the agency. Her job is to instill a sense of empathy in the employees through a series of exercises, using words to describe their own feelings and those of the people they call to collect a debt. Jon, the boss (Casey Smith), is as insensitive as the rest of the employees. Almost immediately, Jon’s comments reveal the sexist environment of the workplace when he asks Sofia to wear a dress instead of pants. When Sofia asks him if he knows what a woman’s period is, he has to call his assistant to figure it out. This becomes one of the funniest scenes, as he is both amused and disgusted when the assistant explains it to him.

The employees are Eva (a phenomenal Tasha Ames, Theatre Review: Hooded or Being Black for Dummies), Jordan (Napoleon Tavale), Howie (Rich Liccardo), and Janie (Charlotte Gulezian), who went missing mysteriously after she went to the restroom one day. A recurrent issue in the office is Eva’s claim about getting mugged in the cafeteria repeatedly, an incident that Jon asserts he’s investigating. 

In her first private conversation with Sofia, Eva confides that, as a deterrent, she needs to have a boyfriend at all times to keep Jordan and Howie away from her. So urgent is her boyfriend strategy, that she doesn’t even remember the names of the guys she dates. Sofia reassures Eva and starts to bond with her in what appears to be a nurturing relationship that will boost Eva’s self-confidence. 

Jordan and Howie, on the other hand, prove to be a tough case of misogyny and bad behavior. This will push Sofia’s patience to the limit, so much that she will end up spending a great deal of time coaching and pretending to side with them to understand their point of view. Her strategy then turns into some kind of reverse psychology. But as their interactions become more intense, the question now is: Who is using reverse psychology on whom?  

Sofia also finds out that her dad has a second family. As she tries to teach the employees at the agency about empathy, Sofia fails to show that feeling towards her own mom (Rose Portillo), who is struggling to cope with her failed marriage. 

Following the absurdist style of the play, one of Eva’s ex-boyfriend (Bob Clendenin), an old man in a wheelchair, shows up and threatens to blow up the office.

Under pressure from Jon to complete the training, Sofia finds herself juggling different personalities with challenging needs. Sofia’s bonding with Howie and Jordan start to shift the play in a new direction, mainly at Eva’s expense. Sofia’s own success as an empathy coach might be jeopardized by how close she gets to her subjects. The relationship of Sofia with the rest of the characters highlights the premise of whether the feelings of some people should matter more than those of others.  

Even though the situations and dialogue might feel cliché, the absurdist nature of the play calls for exaggerated elements to make it work as a comedy. The direction and the excellent performances of the actors keep the audiences amused and entertained as a continuum throughout the play.

Special mention to lighting designer Stephen Azua, who delivers an outstanding job with the vibrant and subtle changes both during transitions and within the scenes. 

The rest of the creative team includes scenic designer François-Pierre Couture; sound designer Jesse Mandapat; and costume designer Dianne K. Graebner. Properties design is by Kat Haan, with specialty props by Richard Maher. The assistant director is Lee Hannah Conrads and the production stage manager is Roella Dellosa.  

Do You Feel Anger?

Written by Mara Nelson–Greenberg. Directed by Halena Kays. Starring Tasha Ames, Charlotte Gulezian, Rich Liccardo, Rose Portillo, Paula Rebelo, Casey Smith, and Napoleon Tavale. Featuring cameo appearances by Bob Clendenin (Jan.19-Jan. 22); William Salyers (Jan. 26-Jan. 29); John Getz (Feb. 2-Feb. 5); Jan Munroe (Feb. 9-Feb. 12); Tony Amendola (Feb. 16-Feb. 19); and Silas Weir Mitchell (Feb. 23-Feb. 25). (Please note that the guest performer rotation is subject to change; updates can be found at www.circlextheatre.org.) Produced by Jen Kays, Kat Haan and Timothy Wright. Presented by Circle X Theatre Company.

Circle X Theater Company
Atwater Village Theatre
3269 Casitas Ave
Los Angeles, CA 90039

PARKING:
FREE in the Atwater Crossing (AXT) lot one block south of the theater.

Performances: Jan. 21-Feb. 25, 2023:
• Thursday at 8 p.m.: Jan. 26; Feb. 2; Feb. 9; Feb. 16; Feb. 23
• Fridays at 8 p.m.: Jan. 27; Feb. 3; Feb. 10; Feb. 17; Feb. 24
• Saturdays at 8 p.m.: Jan. 21 (opening night); Jan. 28; Feb. 4; Feb. 11; Feb. 18; Feb. 25
• Sundays at 2 p.m.: Jan. 22; Jan. 29; Feb.5; Feb. 12; Feb. 19

Tickets: www.circlextheatre.org

Do You Feel Anger poster
A scene from Do You Feel Anger
A scene from Do You Feel Anger
A scene from Do You Feel Anger

Theatre Review: Twelve O’Clock Tales with Ava Gardner

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The world premiere of Twelve O’Clock Tales with Ava Gardner is hosted by The Whitefire Theatre. The solo play was written by Alessandra Assaf and Michael Lorre. The director is Michael A. Shepperd.

From her humble origins in Grabtown to the glamorous life of Hollywood, Ava Gardner (Alessandra Assaf) became an icon of beauty and fast life in a career than spanned more than forty years. Twelve O’Clock Tales with Ava Gardner is a homage to the extraordinary life of one of the most alluring stars in the history of cinema.

The play is an insightful compilation of events in the life of an actress/singer who struggle to find her place in the industry. From her rural life in North Carolina, her relationship with her family, and the three marriages and the romantic relationships in between, Assaf presents the complicated personality of a woman who defied stereotypes with her strong will, but also her insecurities and vulnerabilities.

Assaf’s play gives details about what could have been going through Gardner’s mind at the time of each of her marriages and relationships with the people around her. Her marriage to Frank Sinatra and the scandalous incidents during their time together, proved that she could be independent, even helping Sinatra to resurface from a fading career. The play also delves into her abusive relationship with George C. Scott and how Sinatra had to help her out during one of Scott’s violent episodes. Gardner’s friendship with other actresses and their bonding shows how they leaned on each other to navigate the misogynistic attitudes in Hollywood at the time.

Through dialogue and blocking, Assaf, Lorre, and Shepperd offer an entertaining and witty piece that brings memories and spicy details of the iconic life of one of the greatest stars of the golden age of Hollywood, when MGM was one of the Big 5 and Louis B. Mayer was at the helm. The play is a window to the star system and the positive and negative consequences that came with it.

Twelve O’Clock Tales with Ava Gardner

Written by Alessandra Assaf and Michael Lorre. Directed by Michael A. Shepperd. Starring Alessandra Assaf as Ava Gardner. Creative team: Stage Managed by Mitch Rosander Dramaturg: Gregory Gunter. Set, Props, Costumes: Irmgard Quint. Lights: Derrick McDaniel. Sound: Jin Tor Brown. Wig Stylist: Sheila Dorn.

Whitefire Theatre
13500 Ventura Blvd.
Sherman Oaks, CA 91423

PARKING:
• Metered parking on and just south of Ventura Blvd. (off on Sundays)
• 2-hour parking available in residential neighborhoods (before 6 p.m. only)
• Unrestricted parking available on Moorpark St. and on the west side of Dixie Canyon Ave.

January 15 – March 5:
Sundays at 2 p.m.: 22; Jan. 29; Feb. 5; Feb. 12; Feb. 19; Feb. 26; March 5

Tickets: https://www.whitefiretheatre.com/

Twelve O'Clock Tales with Ava Gardner poster
Twelve O’Clock Tales with Ava Gardner
A scene from Twelve O'Clock Tales with Ava Gardner
Twelve O’Clock Tales with Ava Gardner. Alessandra Assaf.
A scene from Twelve O'Clock Tales with Ava Gardner
Twelve O’Clock Tales with Ava Gardner. Alessandra Assaf.
A scene from Twelve O'Clock Tales with Ava Gardner
Twelve O’Clock Tales with Ava Gardner. Alessandra Assaf.

Theatre Review: Home Front

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The West Coast premiere of Home Front is presented by The Victory Theatre Center. The play is by Tony® Award-winning playwright Warren Leight. The director is Maria Gobetti.

As the US soldiers come back victorious from World War II, a new world of justice and equality is in the horizon. But as Lt. James Aurelius Walker (C.J. Lindsey) and Annie Overton (Austin Highsmith Garces) will soon find out, institutions and some sectors of society are not catching up with the times. Specially when it comes to accepting an interracial marriage. 

The story depicted in Home Front is set in the 1940s, a time when segregation was rampant, specially in the South. In an effort to project a more inclusive image, the government decided to try something unusual at the time. The Navy—one of the most fervent bastions of segregation—started a controversial program to train African Americans as officers. The first group was known as the Golden Thirteen, 13 Black enlistees that were subjected to mistreatment and ridicule by their White superiors and peers. The training program was more of a publicity strategy to show the world that America could be the gold standard for democracy and equality. Our protagonist, Lt. James Walker, is a fictional member of the Golden Thirteen.    

The night James and Annie meet, the country is in full celebration of the victory over the Axis powers. The future looks bright and hopeful. Their consequent romantic relationship  however, unveils that America is still a victim of its past, a legacy that has turned its institutions and citizens into a voracious current that destroys everything on its path, one life at a time. And yet, in the middle of that maelstrom, we find people with a kind heart that are willing to give a hand to those in need. Edward Glimmer (Jonathan Slavin), is the injured veteran neighbor who does everything he can to reassure Annie and help James in a time when he needed it the most.

The story is an exploration not only of racism but also of discrimination. James suffers racism for being Black. But Edward is equally mistreated, even by James, for being gay. Annie, a white woman, is the unfortunate collateral victim of institutional racism and the frustration that comes with it. She is punished by her employer for marrying a Black man and she is on the receiving end when James releases his growing frustrations, all while raising their baby girl.

Interracial marriages were so unusual at the time that Annie confides to Edward that after looking at her baby girl, who has James’ Black features, a White lady asked Annie if she was raped. Those pernicious attitudes were also inflicted on Black veterans. While visiting his relatives in the South, James gets arrested and charged for an incident where he fired his gun. This situation, a clear example of institutional racism, will deliver a blow to the relationship between James and Annie. Even Edward’s noble intentions will fuel James’ bitterness, taking a tremendous tall on his emotional and mental state.

The three actors offer majestic performances. Jonathan Slavin does a phenomenal job as the understanding and charming neighbor who is always there in the most challenging times to offer his help, even willing to sacrifice his dignity for the people he loves. He feels at home delivering humor-relief lines that brighten the dark matter of the material. Austin Highsmith Garces is a fascinating and experienced actress that gives us a convincing portrayal of an unprejudiced woman willing to take risks. Her performance shows the nuances of a woman who is trying to navigate the challenging territories of love, motherhood, and broken dreams. C.J. Lindsey goes deep into the psychological state of a man who is constantly subjected to the systematic racism that degrades his worth as a human being. His acting skills are at full display when he externalizes his internal demons. The explosion of an implosion, a devastating image of utter defeat. The fine direction of Maria Gobetti is palpable in the powerful scenes where the palette of emotions create a gripping and relatable theatre experience.               

Warren Leight fictionalizes documented historical events and transports the audience to a dangerous and euphoric world where high hopes and ideals get a reality check. The play is a window to a critical past that captures in unnerving detail the pungency of racism. It is a cautionary tale that shows how things would look like if we continue to move backwards. But it is also an ode to those who, against all odds, continue to fight, continue to believe. 

Home Front

Written by Warren Leight. Directed by Maria Gobetti. Starring Austin Highsmith Garces, C.J. Lindsey, and Jonathan Slavin. Produced by Tom Ormeny, Maria Gobetti, and Evan Bartoletti. Presented by The Victory Theatre Center. Creative team: Set designer Evan Bartoletti, lighting designer Benedict Conran, sound designer Noah Andrade, video designer Jermaine Alexander, costume designer Carin Jacobs, dramaturg Gail Bryson, graphic designer Jennifer Logan, and photographer Tim Sullens. The stage manager is Cody Hathcock.

The Victory Theatre Centre
3326 W Victory Blvd
Burbank, CA 91505

Performances: Jan. 13 – Feb. 12
• Fridays at 8 p.m.: Jan. 20; Jan. 27; Feb. 3; Feb. 10
• Saturdays at 8 p.m.: Jan. 21; Jan. 28; Feb. 4; Feb. 11
• Sundays at 4 p.m.: Jan. 22; Jan. 29; Feb. 5; Feb. 12

Tickets: www.thevictorytheatrecenter.org

 

Home Front poster
A scene from Home Front
A scene from Home Front
A scene from Home Front

Theatre Review: Anatomy of Gray

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Anatomy of Gray is presented by Open Fist Theatre Company. Written by Jim Leonard. Directed by Ben Martin. Set in Gray, Indiana in the late 19th century.

After the death of her father, 15-year-old June (Rebekah Paugam) asks God to send a healer so the people of Gray don’t have to suffer the loss of a loved one ever again. Almost as a miraculous answer to her prayers and in the midst of a twister, a man falls from the sky and lands on the small town of Gray, Indiana. That man happens to be Dr. Galen P. Gray (Jeremy Guskin). In reality, his hot air balloon gets caught up in the tornado and Dr. Gray survives the fall with no injuries.

As he gets acquainted with the residents of the small town, Dr. Gray starts to treat and cure their ailments, much to the distrust of the town’s preacher, Pastor Phineas Wingfield (Alexander Wells, A Midsummer Night’s Dream, The Romantics). Belva Collins (Beth Robbins), Crutch Collins (James Fowler, A Midsummer Night’s Dream), Tiny Wingfield (Lane Allison, In the Next Room, or the vibrator play), and Maggie (Debba Rofheart, A Midsummer Night’s Dream) all are treated by Dr. Gray at one point. For 19th-century America, curing a disease relies heavily on praying, as religion played a central role in rural 19th-century America. Dr. Gray’s knowledge of medicine becomes a clash between science and religion despite the benefits to the population. Curiously enough, soda pop saves the life of Homer (Alex Hogy), one of the young inhabitants of Gray. 

Building up the tension is June’s sexual awakening and her infatuation with Dr. Gray. To complicate things, Dr. Gray starts to develop feelings for June’s mom, Rebekah (Martha Demson), who is pregnant.

Eventually, some of the residents of Gray start to show marks in their bodies. Some of them fall sick and soon they start to die. Blaming Dr. Gray (who is Jewish) for their ailments, the outbreak unleashes an antisemitic outburst that leads Dr. Gray to run away. Amid the chaos, Dr. Gray, June, Rebekah, and Pastor Wingfield will be forced to make tough decisions in order to survive.

Playwright Jim Leonard presents the reactions of people when faced with extraordinary challenges. Taking into account the lack of scientific knowledge of particular diseases back in the 19th century, an outbreak would be considered a punish from God or the malevolent action of a perceived enemy. Historical episodes with similar characteristics are the Black Death in the Middle Ages, the AIDS epidemic in the 80s, and even the Covid pandemic. In that sense, Anatomy of Gray is a relatable play that delves into the conspiracy theories in lieu of sound scientific explanations.

This is also a coming-of-age story where a 15-year-old girl is finding her place in the world in the middle of a personal tragedy. Her relationships with the opposite sex, her insecurities, and her wishes to explore the world far beyond her small town are topics as contemporary as they were in the 1800s.

Ben Martin‘s direction achieves a compelling and dynamic play, translating the poignancy of the script effectively with humor and a maze of emotions to engage the audience.

Creative team: Scenic designer Jan Munroe, lighting designer Gavan Wyrick, sound designer Marc Antonio Pritchett, costume designer Mylette Nora, scenic artist Stephanie Crothers, and prop masters Bruce Dickinson and Ina Shumaker. The production stage manager is John Dimitri.

Anatomy of Gray

Written by Jim Leonard. Directed by Ben Martin. Starring Lane Allison, Rosie Byrne, Martha Demson, James Fowler, Jeremy Guskin, Alex Hogy, Erica Mae McNeal, Rebekah Paugam, Alina Phelan, Beth Robbins, Debba Rofheart, and Alexander Wells. Presented by Open Fist Theatre Company, Martha Demson, artistic director.

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:Nov. 19, 2022 – Jan. 21, 2023
Fridays at 8 p.m.: Dec. 2; Dec. 9; Dec. 16; Jan 6; Jan 13; Jan 20 (dark Nov. 25; Dec. 23; Dec. 30)
Saturdays at 8 p.m.: Nov. 19 (Opening Night); Nov. 26; Dec. 3. Dec. 10; Dec. 17; Jan 7; Jan 14; Jan 21 (dark Dec. 24; Dec. 31)
Sundays at 3 p.m.: Nov. 27; Dec. 4. Dec. 11; Dec. 18; Jan 8; Jan 15 (dark Dec. 18; Dec. 25; Jan. 1)

Tickets: openfist.org

Anatomy of Gray poster
A scene from Anatomy of Gray
A scene from Anatomy of Gray
A scene from Anatomy of Gray

Theatre Review: Smile

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IAMA Theatre Company presents the world premiere of Smile, written by Melissa Jane Osborne and directed by Michelle Bossy. The story is set in 1992, a year called “Year of the Woman”.

In the opening scene, 17-year-old Rachel Olivera (Isabella Feliciana) is talking to Helen (Andria Kozica, Theatre Review: Celestial Events), the school’s counselor. Rachel reacted to her classmates harassment and the physical altercation is jeopardizing her future education. Helen feels a special connection to Rachel and decides to help her out. When Helen’s husband, Matt (John Lavelle), finds out about the help Helen is providing to Rachel, he looses his mind and underlying issues related to a tragic past start to reappear, threatening to break apart their marriage.

Rachel is a character dealing with coming of age in a society that defines her worth based on race, gender, and social status. Her story portrays that of many young women who receive a constant influx of mixed messages from their peers and society at large. In Rachel’s case, her situation at an emotional level gets even more complicated with the indecisive actions of Joey (Alex Fox), the teenage neighbor who shows interest in her but falls victim of the rumors surrounding Rachel’s altercation at school.   

The dialogue in Melissa Jane Osborne‘s script shows the apparent disconnection due to the age gap between Rachel and Helen, a reference to two generations, two social classes, and two races that despite their differences, still find common grounds to influence each other in a positive way.  

Another aspect highlighted masterfully in the play, both in the script and in Michelle Bossy‘s direction, is the emotional pain of past tragic events and the dormant traumas that will continue to come back unexpectedly. Helen and Matt’s actions show that their traumas have permeated their marriage and their relationships with the people around them, even unconsciously.    

Smile tells the story of missed educational opportunities, but even more painfully, it tells the story of missed human connections. Rachel and Helen are ready to connect, but the world around them is not, a reflection of a society that is still trying to keep up with the times.

Smile

Written by Melissa Jane Osborne. Directed by Michelle Bossy. Starring Isabella Feliciana, Ronit Kathuria (Alex Fox on opening night), Andria Kozica, and John Lavelle. Presented by IAMA Theatre Company, Stefanie Black, artistic director. Creative team: scenic designer Yuri Okahana-Benson; lighting designer Dan Weingarten; sound designer Erin Bednarz; projections designer Sean Cawelti; costume designer Vicki Conrad; properties designer Heath Harper; and casting director Jordan Bass. IAMA ensemble member Anna LaMadrid is associate director and dramaturg. Grant Gerrard is the production manager and Kimberly Sanchez Garrido is the stage manager. Tiffany Moon and Kat Kim produce for IAMA Theatre Company.

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: November 12 – December 5
Fridays at 8 p.m.: Nov. 18; Dec. 2; (dark Nov. 25)
Saturdays at 8 p.m.: Nov. 12 (opening night); Nov. 19; Nov. 26; Dec. 3
Sundays at 3 p.m.: Nov. 20; Nov. 27; Dec. 4
Mondays at 8 p.m.: Nov. 21; Nov. 28; Dec. 5

Tickets: iamatheatre.com

 

Smile poster
A scene from Smile
A scene from Smile
A scene from Smile