Author Archive: Glamour

Theatre Review: Broken Story

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White Horse Theater Company in association with 134 West presents Broken Story. Written by Cyndy A. Marion. Directed by Tamara Ruppart.

It’s the late 90s in Los Angeles and Jess (Lindsay Danielle Gitter), a journalist from the New York Today, flew from New York to investigate the murder of Jane Hartman (Lynn Adrianna Freedman), a novelist and daughter of a mobster. Jane was a close friend of Johnny Klein, a construction mogul whose wife, Helen Klein, disappeared mysteriously in 1971.

In Los Angeles, Jess meets Kip Watson (David Hunter Jr.), Jane’s manager, and Darby (Liana Aráuz, Theatre Review: Detained), a socialite and Jane’s best friend. As these characters interact with each other, Jess’ imagination blends with reality in a space where Jane appears occasionally, telling Jess her complicated relationships with Kip, Darby, and the Kleins.

Jess herself, has a story to tell. She grew up rich in New York and since an early age she has been oddly interested in the lives of Johnny and Helen Klein and the life of Jane Hartman. Jess is also in a romantic relationship with Eddie (Rod Sweitzer), her Editor at the New York Today. Jane’s tragic death—a single shot in the back of the head—will reveal unexpected news to Jess that will alter her life forever.

The combination of reality and imagination offers an interesting interaction among the characters in a stage where the lighting (Katelan Braymer, lighting designer) plays an important role. The light changes set the mood and serve as smooth transitions between scenes, highlighting the mystery, the emotions, and the supernatural aspect of the story. 

Director Tamara Ruppart delivers an entertaining play where the kinetics, the dynamic relationships among the characters, and the creative elements all work together to portray Jess’ enigmatic world of reality and imagination.                  

Broken Story

Written by Cyndy A. Marion. Directed by Tamara Ruppart. Cast: Lindsay Danielle Gitter, Lynn Adrianna Freedman, David Hunter Jr., Liana Aráuz, and Rod Sweitzer. Executive Producer Vanessa R. Bombardieri. Co-Producer Susan Lambert Hatem (134 West). Creative team: Scenic designer Andis Gjoni, Lighting Designer Katelan Braymer, Costume Designer Derek Nye Lockwood, Sound Designer Andy Evan Cohen, Incidental Music Joe Gianono, Projection Polaroid Photography Gail Thacker, Dramaturg Linda S. Nelson, and Stage Manager Hannah Raymond.

The Sherry Theatre
11052 Magnolia Boulevard
North Hollywood, CA  91601

Fri, Nov 04 – Sun, Nov 27, 2022
Fri, Sat 8pm
Sun, 7pm

Tickets: www.whitehorsetheater.com/broken-story

Broken Story poster
A scene from Broken Story
A scene from Broken Story
A scene from Broken Story

Theatre Review: Warrior Queen Anahit the Brave

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Imagine Theatre presents the world premiere of Warrior Queen Anahit the Brave, written and directed by Armina LaManna.

Anahit (Ani Marderosian), a peasant girl, is drawing water with her two friends Nairi (Christianne Holly Santiago) and Maral (Sophia Vitello) when Prince Vachagan (Nathan Mohebbi) walks by with his friend Arman (Kyle Caldwell). As Prince Vachagan starts to flirt with Anahit, she tells him to learn to work with his hands if he wants to court her. The Prince then promises he will learn to weave rugs to show her that his intentions are serious. He learns to weave and marries Anahit, taking the throne. But their happiness is disrupted with the news that men keep disappearing throughout the kingdom. The antagonist in the story is the demon Apep (Alistair McKenzie, Theatre Review: The Merry Wives of Windsor, Theatre Review: Trouble the Water), the villain responsible of the mysterious disappearances. Queen Anahit and King Vachagan are now faced with the necessity of making critical decisions that will determine the fate of the kingdom and rescue the men that have been kidnapped to return them to their families.

The play is based on Ghazaros Aghayan’s 1881 fable “Anahit”. It is a classical tale of good versus evil, geared towards a young audience. Keeping children’s attention is a monumental challenge nowadays, but this production succeeds in entertaining the kids throughout the whole play. The costumes, the traditional dances, the humor, and the music (Apep is a rapper too), grabs the young audience’s attention and the interactive nature of the play makes it even more engaging. There are also sword fights and technical elements that contribute to the success of the play. The scenic and projection designer Tom Buderwitz and lighting designer Josh Epstein create a visual palette that is a boost to the senses and build up the crescendo of the story.

Armina LaManna and Ani Marderosian are able to catch the attention of a young audience and to deliver a positive and reaffirming message to young girls, all of this while bringing some of the history of Armenia to the American Armenian diaspora of Los Angeles.

Warrior Queen Anahit the Brave

Written and Directed by Armina LaManna. Original Music by Shahen Hagobian. Puppet Design and Fabrication by Douglas Wright. Starring Kyle Caldwell, Ani Marderosian, Alistair McKenzie, Nathan Mohebbi, Christianne Holly Santiago, Sophia Vitello. Presented by Imagine Theatre. Creative team: Master puppet designer and fabricator Douglas Wright; scenic and projection designer Tom Buderwitz; lighting designer Josh Epstein; sound designer Joseph “Sloe” Slawinski; costume designer Dianne K. Graebner; and properties designer Jenine MacDonald. The musical director is Elizabeth Curtin, and the production stage manager is Elna Kordjian. Produced by Laura Hill and Gabrieal Griego.

Colony Theatre
555 N 3rd St.
Burbank CA 91502
(in Burbank Town Center)

November 5 – November 18
Opening: Saturday, November 5 at 7 p.m.
Friday, November 11 at 7 p.m.
Saturday, November 12 at 7 p.m.
Sunday, November 13 at 4 p.m.
Friday, November 18 at 7 p.m.

Tickets: imaginetheatreca.org

Warrior Queen Anahit the Brave poster
A scene from Warrior Queen Anahit the Brave
A scene from Warrior Queen Anahit the Brave
A scene from Warrior Queen Anahit the Brave

Theatre Review: Fam And Yam and The Dumb Waiter

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Pacific Resident Theatre presents Edward Albee’s Fam and Yam, directed by Marilyn Fox and Harold Pinter’s The Dumb Waiter, directed by Marilyn Fox and Elina de Santos. Edward Albee was American, Harold Pinter was British. Pinter was awarded the Nobel Prize in Literature in 2005. Edward Albee received Pulitzer and Tony Awards for five of his plays.

Both plays Fam And Yam and The Dumb Waiter were first produced in 1960, a tumultuous time in which the US and England were still processing the consequences of World II, the Korean War, the crushing of the Hungarian revolt, the Cold War, the Suez crisis, and, in the case of England, the decolonization movements in Asia and Africa. The two plays are examples of the movement called theatre of the absurd.

Albee‘s Fam and Yam is a traditional play where famous playwright Fam (Brad Greenquist, Theatre Review: Guess Who’s Coming to Dinner) is interviewed by Yam (Jason Downs), also a playwright who is not famous. The conversation starts by Yam praising Fam for his apartment, his paintings, and the views from his window. As Fam continues to drink, Yam switches the conversation and starts to lambaste the theatre industry; pretty much no one is spared in his tirade—theatre owners, producers, unions, critics, the pinheads, etc. The play is an early example of Albee’s wit and his aggressive, anti-social stance. For this production, the creative team used high key lighting, appealing and fashionable 60s costumes, and painting on the wall that become alive at the end.     

Pinter‘s The Dumb Waiter is a darker play where two hitmen, Ben (Anthony Foux) and Gus (Jason Downs) are waiting in a claustrophobic room for their victim. The absurdity of the story is exemplified by the box of matches thrown under the door and the food orders in the dumb waiter (the elevator which delivers food) that keep coming. As part of the angry young men group, Pinter’s writings contain elements of violence, volatility, and uncertainty. His plays have moments of dialogue but also moments of silence. As in music, silence is as critical as sound to create a masterpiece.

Pinter was an intuitive writer that was a keen observer of human behavior. The Dumb Waiter is a play with implied violence, characters with not much background stories, suffocating environment (Ben and Gus are in a dark, windowless room), and a sense of latent danger. These elements with loose ends draw the audience into the story and allow them to become part of the action by letting them come up with their own conclusions.

This is a great opportunity to see two plays by two of the most influential playwrights of the 20th century. Their writings are witty, insightful, and poetic. Add to this treat the powerful and superb performances of Brad Greenquist, Anthony Foux, and Jason Downs  and you have a unique and unforgettable experience not to be missed.

Fam And Yam and The Dumb Waiter

Fam And Yam. Written by Edward Albee and directed by Marilyn Fox. The Dumb Waiter. Written by Harold Pinter and directed by Marilyn Fox and Elina de Santos. Cast: Brad Greenquist, Anthony Foux, and Jason Downs. Creative team: William Wilday (Scenic Design), Matt Richter (Lighting Design), Audrey Eisner (Costume Design), Christopher Moscatiello (Sound Design), Teak Piegdon (Stage Manager), Myrna Gawryn (Set Change Movement), and Michael Rothhaar (Consultant). 

Pacific Resident Theatre
705 1⁄2 Venice Blvd.
Venice, CA 90291
Street parking or small lot in back.

September 24 – November 20
8pm Thursdays – Saturdays, 3pm Sundays
Closing: November 20, 2022 (no performance November 19)

Tickets: https://pacificresidenttheatre.org/albee-pinter

A scene from The Dumb Waiter
A scene from Fam And Yam
Fam And Yam and The Dumb Waiter

Theatre Review: Daddy Issues

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Daddy Issues is presented by Charles Blondeau. Written and directed by David Goldyn.

Donald Moskowitz (James Seifert), a struggling actor, is trying to land a commercial for cat food. His homophobic father, Sid Moskowitz (Jonathan Fishman), comes to visit and tries to convince Donald to work for him at his company, Metal Balls, and quit acting. Sid also insists that he would like Donald to give him a grandson, despite the fact that Donald is gay. Out of desperation, Donald lies to his dad and tells him that he secretly had a son with his non-Jewish girlfriend, Mary Ellen, ten years ago. Ecstatic, Sid tells the news to the rest of the family.

Donald’s mom Marion Moskowitz (Pamela Shaw) and his grandmother, Grandma Moskowitz (Sherry Michaels), come to visit Donald to hear the news directly from him. Grandma even promises to double Donald’s inheritance as a gift for giving her a grandson. Donald agrees to bring over his son in a few days so he can meet his Jewish family. Where will Donald find a fake son and a fake ex-girlfriend in such a short period of time to please his family and get the inheritance?

Donald’s best friends Henrietta Hudson (Noa Lev–Ari) and drag queen-by-night Levi Krauss (Josh Nadler), both compete with each other to play the role of Donald’s ex-girlfriend, Mary Ellen. The neighbor downstairs, Johnny Walker (Solly Werner), becomes the “hired” ten-year-old son, and his mom (Hannah Battersby) ends up as one of the third Mary Ellens, a situation that gets Donald tangled up in a web of lies with no apparent solution.

This play is a comedy with references to the Jewish culture and the contrast of traditional values versus progressive lifestyles, a fact represented in the relationship between Donald and his father Sid. But mainly, the play highlights the importance of the family in the Jewish culture and the immense happiness that grandchildren bring to the grandparents.

Daddy Issues is a hilarious play with an 80’s flair set in Hell’s Kitchen, New York, NY. The cast is a brilliant mix of experienced and new talent that makes the audience laugh from beginning to end, a true gem in the heart of Hollywood.

Daddy Issues

Written and Directed by David Goldyn. Starring Hannah Battersby, Jonathan Fishman, Noa Lev–Ari, Sherry Michaels, Josh Nadler, James Seifert, Pamela Shaw, Solly Werner. Presented by Charles Blondeau. Creative team: Set designer Rody Villegas, lighting designer Katelan Braymer, costume designer Antonio Consuegra and graphic designer Phil Fab. The production stage manager is Jesse Fiene.

Dorie Theatre @ The Complex
6476 Santa Monica Blvd
Hollywood, CA 90038
(between Cole and Wilcox)

Performances: October 14–November 13
Fridays at 8 p.m.: Oct. 14 (Opening Night); Nov. 4; Nov. 11
Saturdays at 8 p.m.: Nov. 5; Nov. 12
Sundays at 5 p.m.: Nov. 6; Nov. 13

Tickets: daddyissuestheplay.com

Daddy Issues poster
A scene from Daddy Issues
A scene from Daddy Issues
A scene from Daddy Issues

Theatre Review: (Un)Documents

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Latino Theater Company presents the West Coast premiere of (Un)Documents. Written and performed by Jesús I. Valles. Directed by Rudy Ramirez.

How did you handle it? That was the question people asked Jesús I. Valles and his family after the deportation of his brother. Valles’ biographical play centers on the life at the border between Ciudad Juárez and El Paso Texas. An area where some Mexicans cross the border on a daily basis to work in the US and cross back to Mexico at the end of the day. If done with a green card or American citizenship, the crossing will be through the international bridge, if not, there’s the Río Bravo (Rio Grande), a river that is a dividing line between US and Mexico, where many cross it daily, hoping not be detected by the Border Patrol. 

Valles tells the story that portrays the struggles, the hopes, and the disruption of the family nucleus caused by the deportation of a family member. The other topics in the play are the assimilation into the American culture seen through the eyes of a child and what it means to be an American for a person with two cultural identities. It is those identities that seem to be uncomfortable and conflictive to some Latino Border Patrol agents. As described by Valles, some of the most demeaning and intimidating agents are the ones that look like him.   

Despite the emotional toll on the family due to the deportation, their resilience and coming to terms with reality allowed them to continue to do what they know best, to work hard and endure the absence with a positive attitude. And this where the story travels. It is a mirror of the lives of many in the US, a price to pay for the American dream. Under these circumstances, the citizenship ceremony becomes a bitter sweet experience, a sense of belonging to the land of the free and a sense of loss for the loved ones who can’t be there.

(Un)Documents is a story of immigration, immigration reform, endurance, the shaping of an identity, specially an LGBTQ one, and the unity of the family members regardless of the physical divisions that separate them.

Valles delivers a fierce and powerful performance with humor, emotion, and a lyricism unique to poets who are able to turn pain into art to express the spectrum of the human experience.

(Un)Documents

Written and performed by Jesús I. Valles. Directed by Rudy Ramirez. Presented by Latino Theater Company. Creative team: Projection Designer Elizabeth Barrett. Production Stage Manager Henry “Heno” Fernandez. 

The Los Angeles Theatre Center
514 S. Spring Street
Los Angeles CA 90013

Performances: October 14 – November 20:
Thursdays at 8 p.m.: Nov. 3, Nov. 10, Nov. 17
Fridays at 8 p.m.: Oct. 14 (Opening), Nov. 4, Nov. 11, Nov. 18
Saturdays at 8 p.m.: Nov. 5, Nov. 12, Nov. 19
Sundays at 4 p.m.: Nov. 6, Nov. 13, Nov. 20

Tickets: www.latinotheaterco.org     

(Un)Documents poster
A scene from (Un)Documents
A scene from (Un)Documents
A scene from (Un)Documents

Theatre Review: Farragut North

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The revival of Farragut North is presented by Foursome Productions. Written by Beau Willimon. Directed by Peter Allas. Produced by Michael Donovan and Peter Allas.

Stephen Bellamy (Chris King Wong) is a 25-year-old press secretary working on a campaign with veteran manager Paul Zara (Michael Rubenstone). There is also a young assistant, Ben (K.J. Powell), who has his own aspirations and is working really hard to impress Paul and Stephen. A 19-year-old intern, Molly (Camryn Hamm), is helping in the campaign as well. Traveling to cover the race is Ida Horowitz (Amy Motta), a reporter for the NY Times and LA Times reporter Frank (David-Edward Reyes).

The campaign group is confident on winning the race. However, the apparent tightness of the group is disrupted when Stephen gets a call from Tom Duffy (Jack Esformes, God of Carnage), the opponent’s seasoned operative, with an attractive offer to change sides. Will Stephen choose loyalty to his boss, or the opportunity to get closer to the White House?

Playwright Beau Willimon worked for the campaigns of Sen. Chuck Schumer, Sen. Hillary Clinton, Sen. Bill Bradley and Gov. Howard Dean. These experiences allowed him to get a closer look at the things that politicians and their operatives do to win the races. Farragut North is an accurate depiction of the sex, loyalties, betrayals, revenges, and everything in between that make up a political campaign.    

The play also shows the role of the media in the political campaigns and poses an interesting question: How close should reporters get to the candidates to inform without loosing their neutrality? Again and again, a negative note on a candidate can mean the end of a race and even a career.  

The waiter (David-Edward Reyes) at the restaurant can be seen as portraying the working class, the ones that struggle on a daily basis to create a better life. The ones that still hope that a politician will change things for the better. The conversation at the restaurant between Stephen and the waiter shows perfectly that there are two kinds of people in this world, the ones who deliver political speeches and the ones who listen to those speeches.

Chris King Wong excels as Stephen Bellamy, a character with a variety of conflicting nuances. Stephen portrays the ambition, the power, the arrogance, the dreams, and the willingness to sacrifice everything for a political career, even if that means to shatter his own life on the way to the top.

Peter Allas‘ excellent direction allows the cast to shine and deliver an outstanding performance that reflects the competitive, pungent, and oftentimes brutal world of politics.   

Farragut North

Written by Beau Willimon. Directed by Peter Allas. Starring Chris King Wong, Camryn Hamm, Jack Esformes, Amy Motta, K.J. Powell, David-Edward Reyes, and Michael Rubenstone. Produced by Michael Donovan and Peter Allas. Presented by Foursome Productions. Creative team: Casting by Michael Donovan C.S.A. and Richie Ferris C.S.A., Costume Design by Mylette Nora, Lighting Design by Matt Richter, Sound Design/Graphics by Eric David Tippett, Property Design by Jenine McDonald, Set and Video Design by Peter Allas, and Stage Manager Steve Wilson.

Theatre 68 Arts Complex – The Rosalie
5112 Lankershim Blvd.
North Hollywood, CA 91601

Performances: Oct. 14 – Nov. 5
Thursdays at 8 p.m.: Oct. 27; Nov. 3
Fridays at 8 p.m.: Oct. 14 (Opening Night); Oct. 28; Nov. 4
Saturdays at 3 p.m.: Oct. 29; Nov. 5
Saturdays at 8 p.m.: Oct. 29; Nov. 5

Tickets: www.onstage411.com/farragutn

Farragut North poster
A scene from Farragut North
A scene from Farragut North
A scene from Farragut North

Theatre Review: Driver’s Seat

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Driver’s Seat is written and performed by Ellie Brelis. Directed by Emily Mikolitch.

Ellie Brelis introduces us to a condition called Obsessive Compulsive Disorder (OCD), something she had to live with since early childhood. This situation led her to find ways to navigate life and relationships. If the transition to adulthood is difficult to most people, adding OCD to the equation makes it even more complicated.

The play is a journey through some of the toughest episodes in Ellie’s life. She needed constant validation in order to endure the darkest moments she experienced. But some of that validation just didn’t happen. Finding refuge in a relationship seems like a natural thing to do. In her case, however, the breakup of that relationship caused more damage than anything else. If on top of that your grandfather dies of Covid amid a world pandemic, you get the picture.

Those devastating events triggered a really bad case of OCD that brought up thoughts of suicide. When she reached out for help, she was taken to a psychiatric hospital. In the middle of that environment,  she found a true friendship that understood her situation and helped her survive her ordeal.

After her hospital stay, Ellie was treated with Exposure and Response Prevention (ERP) therapy in order to overcome her fears. 

One of Ellie’s greatest fears is to drive, so she kept putting off her driver’s license exam. For a person with OCD, driving can become a real nightmare, the constant fear of killing someone is a frightening idea that they can’t get out of their minds.

In addition to the already delicate position of someone with OCD, coming out as queer in a still conservative society can add to the anxiety to a young and vulnerable person.      

Driver’s Seat is a play where despite the topics depicted, the protagonist still finds room for humor. And in humor, as is often the case, we can find validation to endure and survive, and in the case of Ellie, to thrive and shine. 

Ellie Brelis is an example of strength and courage that is touching and contagious. Her personal story of tribulations and survival needs to be told. It’s a story that will hopefully reach the audience who, just like her, might also need hope and validation.

Director Emily Mikolitch is a young director who put together an interesting solo show that has emotion and humor to keep the audience engaged. The script and performance make great use of the multicolor light, the crisp white wardrobe, projections, sound, and music, making this play a cathartic experience that allows the energy to flow back and forth between a brave thespian and an involved audience.

Driver’s Seat

Written and performed by Ellie Brelis. Directed by Emily Mikolitch. Produced by Misha Riley. Creative team: Gavan Wyrick (Lighting Design), Gabriella Gilman (Costume Design), Charlie Glaudini (Sound Design), Nick Wass (Projection Design), Michelle Hanzelova (Graphic Design), Roella Dellosa (Stage Manager). 

Theatre 68 Arts Complex, Emerson Theatre
5112 Lankershim Blvd., North Hollywood, CA

Opening at 8pm on Saturday, October 22
Schedule: 8pm Fridays and Saturdays, 3pm Sundays
Closing: Sunday, November 13, 2022

Tickets: www.Onstage411.com/DriversSeat  

Driver's Seat poster
A scene from Driver's Seat
A scene from Driver's Seat
A scene from Driver's Seat

Theatre Review: Lend Me A Tenor

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Lend Me A Tenor is presented by International City Theatre. Written by Ken Ludwig. Directed by Todd Nielsen.

The Cleveland Opera is expecting an unforgettable night with Pagliacci, performed by famous Italian opera tenor Tito Merelli (Michael Scott Harris, Singing Revolution, The Musical). Henry Sounders (Barry Pearl), the Cleveland Grand Opera’s general manager, his assistant Max (Nick Tubbs, Marry Me a Little), and his daughter Maggie (Bella Hicks, Singing Revolution, The Musical) are all nervously waiting for Tito’s arrival at the hotel suite. Max’s job is to ensure Tito’s needs are met in a timely manner, but mainly, his job is to keep the booze and the women away from Tito as he’s a notorious drinker and womanizer.

When Tito arrives with his temperamental wife Maria (Jade Santana), Sounders leaves the suite, but Maggie stays behind and hides in the bedroom closet, expecting to get Tito’s autograph. When Maria finds Maggie hiding, she gets furious, assuming that Maggie is one of Tito’s lovers. Maria then writes a goodbye note to Tito and leaves the suite. As Tito is with Max in the other room, he doesn’t notice when Maria leaves. Eventually, Tito finds Maria’s note and panics, thinking that Maria has left him forever. As the tranquilizers and the booze kick in, Tito falls into a deep sleep. Later, when Max tries to get him ready to go to the performance, he is unable to wake him up, mistakenly thinking that Tito has committed suicide. Everything then is turned upside down, forcing Saunders to come up with a last minute plan to save his own skin. A plan that might give Max the opportunity of a lifetime. Max will take the place of Tito in the opera Pagliacci. What can go wrong?

The other characters in the play are Diana (Kailyn Leilani), the seductive soprano who tries to get her way with Tito. Julia (Holly Jeanne), the Chairwoman of the Cleveland Opera Guild, also a fan of Tito. The Bellhop (Matt Curtin, Rapunzel Alone), another Tito’s fan who is always trying to get Tito’s autograph and picture.

Max is an interesting character. He starts by showing his insecurities as a simple assistant who dreams of becoming a star singer. His brief interaction with Tito proved to spark his dreams to a higher level. Above all, the play shows the power of music. For Tito, music is a way of life. For Max, is a dream, a latent desire to express himself. The opportunity to show his talent in such an important event may not happen again. This is Max’s only chance in life to defeat his insecurities, despite the dishonesty of impersonating Tito to cheat the audience. It is Max willing to jump into the unknown what saves the day. 

It is also a story of second chances in life, mainly in terms of relationships. Maria and Tito, experiencing ups and downs in their marriage have to decide whether or not to try it again. For Maggie, it is Max’s impressive performance in Pagliacci what makes him even more attractive as a potential husband.           

Lend Me A Tenor is a sophisticated play that delights the audience for its comedy and constant action. Both Michael Scott Harris and Nick Tubbs show their excellent singing skills. The whole cast delivers a top-level performance from beginning to end. The scenic design with all of its details (scenic designer JR Norman Luker), the high key lighting (lighting designer Donna Ruzika), and the costume design (costume designer Kim DeShazo) provide outstanding and appealing elements to the stage. 

Director Todd Nielsen achieves an exciting production with the talented cast and creative team behind this comedy. The blocking allows the actors to deliver a highly kinetic performance that adds dynamism and physical comedy to the story. The last scene is a testament of Nielsen’s creativity. Producer caryn desai [sic] continues to show her exquisite taste for the most engaging productions to entertain the audiences of Los Angeles. Lend Me A Tenor is without a doubt one of the best productions of the year.       

Lend Me A Tenor

Written by Ken Ludwig. Directed by Todd Nielsen. Starring Matt Curtin, Michael Scott Harris, Bella Hicks, Holly Jeanne, Kailyn Leilani, Barry Pearl, Jade Santana, and Nick Tubbs. Produced by caryn desai [sic]. Presented by International City Theatre.

Creative team: Scenic designer JR Norman Luker, lighting designer Donna Ruzika, costume designer Kim DeShazo, sound designer Dave Mickey, prop designer Patty Briles, and hair and wigs designer Anthony Gagliardi. Casting is by Michael Donovan, CSA and Richie Ferris, CSA. The production stage manager is Donna Parsons.

INTERNATIONAL CITY THEATRE
Long Beach Convention & Entertainment Center
330 East Seaside Way
Long Beach, CA 90802

Performances: Oct. 21 – Nov. 6
Thursdays at 8 p.m.: Oct. 27, Nov. 3
Fridays at 8 p.m.: Oct. 21 (Opening Night), Oct. 28, Nov.4
Saturdays at 8 p.m.: Oct. 22, Oct. 29, Nov. 5
Sundays at 2 p.m.: Oct. 23, Oct. 30, Nov. 6

Tickets: ictlongbeach.org

Lend Me A Tenor poster
A scene from Lend Me A Tenor
A scene from Lend Me A Tenor
A scene from Lend Me A Tenor
A scene from Lend Me A Tenor

Theatre Review: The Elaborate Entrance of Chad Deity

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Chance Theater presents the Orange County premiere of The Elaborate Entrance of Chad Deity, a dramatic comedy about the professional wrestling world. The play written by Kristoffer Diaz was one of the final nominees for the Pulitzer Prize for Drama and received numerous “Best Play” Awards. Directed by Jeremy Aluma. Now playing at the Chance Theater in Anaheim, CA.

The stage is actually a ring, referee included (Matt Takahashi).

Growing up as a wrestling fan in New York, Macedonio Guerra (Rudy Solis III) eventually becomes what is known as a “jobber”, a wrestler that gets paid to loose against the wrestling superstars. His job consists of doing the heavy lifting: Making the superstar wrestlers look good every time they fight against him. Macedonio goes through the motions without complaining; he just does his job the best he can to satisfy his boss, Everett K. Olson (James Michael McHale), the CEO of the wrestling organization called The Wrestling.

The superstar of the organization is Chad Deity (Londale Theus Jr.), a wrestler with an elaborate entrance to the ring. Chad has a lot of charisma and is a fan’s favorite, but he is a bad wrestler. To preserve Chad’s stardom, Macedonio allows Chad to defeat him every single time, an arrangement that continues to bring considerable profits to Everett and his organization.

Besides Chad Deity, some of the other wrestlers are Bad Guy, Billy Heartland, and Old Glory (all played by Aaron McGee). Everett uses these wrestlers to provoke a reaction in the audience. The reactions, positive or negative, are always good for business.

Things change quite a bit when Macedonio meets Vigneshwar Paduar (RJ Navarra Balde II), an Indian American with a playboy attitude who owns a few businesses. Macedonio sees that Vigneshwar’s colorful personality can be an asset to the wrestling world and introduces him to Everett.

Even though Everett is reluctant at first, he decides to give Vigneshwar a chance. It is when trying to come up with a name and personality for Vigneshwar that Everett reveals his stereotypes, cultural insensibility, and straight out racism. He uses those elements to elevate what he considers American most inspirational values, usually at the expense of the non-white immigrant experience. Macedonio and Vigneshwar soon realize that they are both used by Everett to create an imaginary enemy in the collective consciousness of the wrestling fans. An enemy that needs to be defeated by the American values impersonated by Old Glory, Billy Heartland, and specially the champion, Chad Deity. And just like that, Macedonio becomes Che Chavez Castro (with a big sombrero) and Vigneshwar becomes The Fundamentalist (with a big turban). In light of the disrespect to their racial and cultural backgrounds, Vigneshwar decides to take a stand and challenge the status quo. Macedonio has now two choices: To follow Vigneshwar’s steps, or continue perpetuating the status quo.

Kristoffer Diaz offers a fascinating look at the professional world of American wrestling. A world that despite its theatricality, gives us a glimpse of American society stance on race, power, and politics. Jeremy Aluma‘s direction and interpretation of the play pull the audience into the story from the very beginning. In addition, the stage, the lighting, the sound design, and the outstanding performances of the cast all contribute to make this production a very enjoyable and entertaining theatre experience not to be missed.

The Elaborate Entrance of Chad Deity

Written by Kristopher Diaz. Directed by Jeremy Aluma. Cast: Rudy Solis III, Londale Theus Jr., James Michael McHale, RJ Navarra Balde II, Aaron McGee, and Matt Takahashi. Creative team: Scenic designer Fred Kinney, fight director Martin Noyes, projection designer Nick Santiago, lighting designer Kara Ramlow, costume designer Bradley Allen Lock, sound designer Marc Antonio Pritchett, stage manager Kaylee Mesa, and dramaturg Joseph Galizia. Executive Producers: Sophie & Larry Cripe. Associate Producers: Susan Bowman & Freddie Greenfield, Rachelle Menaker & Eddie Schuller, and Laurie Smits Staude. Producers for the entire 2022 Season: Bette & Wylie Aitken. Season’s associate producers: The Family of Mary Kay Fyda-Mar.

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

Performances: October 1 -October 23, 2022
Fridays at 8 p.m., Saturdays at 3 p.m. & 8 p.m., Sundays at 3 p.m.

Tickets: www.chancetheater.com

 

The Elaborate Entrance of Chad Deity poster
A scene from The Elaborate Entrance of Chad Deity
A scene from The Elaborate Entrance of Chad Deity
A scene from The Elaborate Entrance of Chad Deity

Theatre Review: To the Bone

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To the Bone is presented by Open Fist Theatre Company. Written and directed by Catherine Butterfield. The story is set in Boston in 2013.

Sisters Kelly Moran (Tisha Terrasini Banker) and Maureen Dugan (Amanda Weier) are getting ready to receive the visit of Geneva (Alice Kors), Kelly’s daughter she gave up for adoption. Geneva arrives with her college roommate Darcy (Kacey Mayeda), a filmmaker student who is documenting with her camera the whole story. Kelly’s teenage son, Sean (Jack David Sharpe), on the other hand, is not that excited about the reunion. Geneva’s visit becomes a tense interaction once Kelly reveals that the reason to contact Geneva after all this years is to have her donate liquid marrow for Sean, who needs the transplant due to his cancer. Geneva believes Kelly only wants to save her son and is not really interested in re-establishing the bond with her. Sean’s rude attitude towards Geneva makes things worse and soon Geneva and Kelly got into a heated exchange, calling each other a whore. Geneva storms out with Darcy, much to Maureen’s disappointment.

The reunion unveils the underlying issues surrounding the lives of all the parties involved. The hard-partying times during high school somehow sealed the fates of Kelly and Maureen; two lives of unrealized dreams and broken relationships. The death of his father and the cancer diagnosis has taken a toll on Sean’s physical, mental, and emotional health, straining his relationship with Kelly. Geneva’s failed expectations of a positive reconnection with her biological family and her relationship with her adoptive mother is also exposed.

For Geneva, the initial meeting with Kelly and Sean does more than just triggering emotional pain; it also moves her. After the meeting, she started to research what a bone marrow donation entails, a sign of her willingness to help save a human being, specially one of her own. Having been adopted by wealthy parents, however, has had a negative effect on some of her attitudes towards other people, as described so honestly by her friend Darcy.

The relationship between Kelly and Sean is a volatile interaction of hurtful words and even physical abuse, but after all, is Kelly’s love for her son what drives much of this story.

Peppered with sharp humor and emotional scenes, Catherine Butterfield’s script keeps the story moving forward with a surprising ending. The thespians’ performances keep the story engaging and entertaining. Tisha Terrasini Banker does a phenomenal job as the foul-mouthed mother who will fight till the end and do whatever it takes to save her son, despite the curveballs thrown at her. Yes, baseball has something to do with this story.

To the Bone

Written and Directed by Catherine Butterfield. Starring Tisha Terrasini Banker, Alice Kors, Kacey Mayeda, Jack David Sharpe, and Amanda Weier. Presented by Open Fist Theatre Company, Martha Demson, artistic director. Creative team: scenic designer Jan Munroe, lighting designer Gavan Wyrick, sound designer Marc Antonio Pritchett, costume designer Mylette Nora, prop masters Bruce Dickinson and Ina Shumaker, and scenic painter Stephanie Crothers. The production stage manager is Jennifer Palumbo.

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:Oct. 1 – Nov. 5:
Fridays at 8 p.m.: Oct. 14; Oct. 21; Oct 28; Nov. 4
Saturday at 2 p.m.: Oct. 29 ONLY
Saturdays at 8 p.m.: Oct. 1 (Opening Night); Oct. 8; Oct. 15; Oct. 22; Nov. 5 (dark Oct. 29)
Sundays at 2 p.m.: Oct. 23 and Oct. 30 ONLY
Sundays at 7 p.m.: Oct. 2; Oct. 9; Oct. 16 ONLY

Tickets: http://www.openfist.org/

To the Bone poster
A scene from To the Bone
A scene from To the Bone
A scene from To the Bone