Author Archive: Glamour

Theatre Review: Desert Stories for Lost Girls

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Latino Theater Company partners with Native Voices at the Autry to present the world premiere of Desert Stories for Lost Girls, a play about identity, family, and colonialism over generations. Written by Lily Rushing and directed by Sylvia Cervantes Blush.

Carrie (Katie Anvil Rich) arrives to take care of her grandma Rosa (Carolyn Dunn), who suffers dementia. Uncle Edgar (Tom Allard), who was caring for Rosa, leaves and lets Carrie take over. Rosa tells Carrie things that don’t make much sense, at least not to Carrie. When Carrie sleeps, a series of characters show up in her dreams. There’s the conquistador (Glenn Stanton), Plácida (Samantha Bowling), Josefa (Brenda Banda), a younger Rosa (Rainbow Dickerson) and her husband Joe (Glenn Stanton).

The characters in Carrie’s dreams are allegories to her own Genízaro ancestors. Genízaro was a term used to refer to the Apache, Comanche, Kiowa, Navajo, Pawnee, and Ute Natives taken as prisoners by the Spaniards. These prisoners were enslaved in Spanish households, abused physically and sexually, taught Spanish, and forced to convert to Catholicism. 

After spending some more time with her grandma Rosa and some additional conversation with Uncle Edgar, Carrie realizes that Rosa is trying to tell her the story of her ancestors. It’s through her dreams that Carrie starts to put everything together and starts to learn the history of her family and her own identity. When Rosa opens up her suitcase, she’s opening up her memories. The dolls passed on to Carrie become a history lesson, a way so many Natives have taught their young ones of their values and heritage; the spiritual quest of truth. 

The conflicting relationship between Plácida and Nicholas Jacinto, the travel of Rosa and Joe, the references to Santo Tomás, and even Carrie’s lighter skin color is the manifestation of the ethnogenesis of the Genízaros and the failed transculturalization of the Natives that the Spaniards tried to achieve. The bones, the walking, the dolls, the oral history, and the spirits, became a testament of the resilience and the fight to keep their identity alive generation after generation. 

A pivotal character that shows the resilience of the Genízaros is Plácida. She had her son when she was 11 or 13 years old. When she was removed from the settlement, she had to walk 20 miles everyday to see her son.          

One highlight of this play is that it shows the Native’s perspective rather than a European narrative. This is the other side of the story. One that is rarely seen or heard in the media. These are the words of the people that lost most of their lands and whose lives were disturbed by the aggressive expansion of the European colonists. This is a story about loss, but it is also a story of resilience and hope, a reminder of the fascinating history of one part the Southwest and its culture that refuses to be silenced.

Playwright Lily Rushing and director Sylvia Cervantes Blush accomplish a magical theatrical experience. The script, in its prose and verse, expresses the history and beliefs of the Genízaros in a lyrical way, accentuated by the poetic visuals of scenic/props designer Christopher Scott Murillo and lighting/projection designers Derek Christiansen and Ruby O’Brien. A powerful play, made by powerful voices.

Desert Stories for Lost Girls

Written by Lily Rushing (Genízaro). Directed by Sylvia Cervantes Blush. Starring Tom Allard (Loyal Shawnee), Brenda Banda, Samantha Bowling (Cherokee), Rainbow Dickerson (Rappahannock, Thai, European descent), Carolyn Dunn (Cherokee, Mvskoke Creek, French Creole, and Tunica/Choctaw Biloxi descent), Katie Anvil Rich (Cherokee, Chickasaw), and Glenn Stanton (Cherokee). Dramaturg: Courtney Elkin Mohler (Santa Barbara Chumash). Sound designer: Mia Glenn-Schuster. Costume designer: Lorna Bowen (Muscogee Creek, Seminole, Cherokee). Produced by Latino Theater Company in association with Native Voices at the Autry.

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

Limited 3-week run
Performances:September 30 – October 16
Thursdays at 8 p.m.: Oct. 6, Oct. 13
Fridays at 8 p.m.: Sept. 30 (Opening Night), Oct. 7, Oct. 14
Saturdays at 8 p.m.: Oct. 1, Oct. 8, Oct. 15
Sundays at 4 p.m.: Oct. 2, Oct. 9, Oct. 16

Tickets: latinotheaterco.org

Desert Stories for Lost Girls poster
A scene from Desert Stories for Lost Girls
A scene from Desert Stories for Lost Girls
A scene from Desert Stories for Lost Girls

Theatre Review: The Romantics

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The City of West Hollywood and Classical Theatre Lab presented The Romantics, a play written by Edmond Rostand and directed by Suzanne Hunt (due to a last minute event, Suzanne replaced Maaren Edvard for the role of Pasquinette) in the last performance.

The Romantics is a play that satirizes Romeo and Juliet. Percinet (Johnny Austen) is madly in love with Sylvette (Maegan McConnell). Percinet’s father, Bergamin (Alexander Wells), is in cahoots with Pasquinette (Suzanne Hunt), Sylvette’s mother. Bergamin and Pasquinette believe that by faking a feud between the two families and separating Sylvette from Percinet, their kids will love each other even more and will finally marry once they get back together. To accomplish this, Bergamin hires the services of Straforel (Carlo Figlio) and his notary assistant (Katie McKewin), professional rogues that will stage Sylvette’s failed abduction attempt. The plan is to make Percinet look like a romantic hero by fighting Straforel and the notary to rescue Sylvette. Things, however, get a little bit out of hand after that.

Although the play references Romeo and Juliet and the medieval concept of courtly love, Rostand also contrasts all that youthful romance with the sense of emptiness experienced by Percinet when he is faced with the realities of life, a naturalistic approach popular in Rostand’s time.

The Romantics was staged at the Kings Road Park in West Hollywood with a basic setup. This production was a nostalgic look at how theatre was performed long ago: Natural light, period costumes, and live music, relying mostly on the talent of dedicated actors to keep the audience engaged (McConnell delivers a delightful performance as the vivacious Sylvette). The music was a special touch to the presentation as is based on an 18th Century story but with contemporary music. McConnell, Austen, and Donald Wayne (he plays the gardener Blaise) showed their convincing singing skills in the three musical numbers.

The Romantics was a pleasant production that featured the dedication of the Classical Theatre Lab, an ensemble of theatre artists exploring classical theatre, literature, and  performance. They also develop contemporary works inspired by the classics. These artists perform in different public spaces throughout the year to promote a love of classical theatre. This is the link to their website: https://www.classicaltheatrelab.org/    

The Romantics

Written by Edmund Rostand. Directed by Suzanne Hunt. Presented by The City of West Hollywood & Classical Theatre Lab. Cast: Johnny Austen, Maaren Edvard, Suzanne Hunt, Carlo Figlio, Maegan McConnell, Katie McKewin, Donald Wayne, and Alexander Wells. Production team: Suzanne Hunt and Alexander Wells (Producers), Katie McKewin (Assistant Director/Movement Choreographer) and Garth Pillsbury (Photographer). Costumes from the American Academy of Dramatic Arts.

Kings Road Park,                                                                                                                1000 N. Kings Road, West Hollywood 90069

The play was performed in September 2022. 

Links to West Hollywood’s Arts Division:

weho.org/arts

@wehoarts

@wehocity

 

A scene from The Romantics
The Romantics. Donald Wayne, Johnny Austen, Katie McKewin, Carlo Figlio, Alexander Wells, Maegan McConnell, Maaren Edvard.
A scene from The Romantics
The Romantics. Johnny Austen, Maegan McConnell, Carlo Figlio, Katie McKewin.
The Romantics poster
The Romantics
A scene from The Romantics
The Romantics. Maegan McConnell and Johnny Austen.

Theatre Review: A Great Wilderness

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Rogue Machine presents A Great Wilderness, written by Samuel D. Hunter and directed by Elina de Santos.

Walt (John Perrin Flynn) has spent his life in a retreat in the wilderness, counseling young men who are sent to his retreat to get cured of their homosexuality. The idea is that through a faith-based approach—prayers, Bible readings, and counseling—these men will change and go back to a heterosexual lifestyle. Walt is getting old with early signs of dementia or Alzheimer’s and his ex-wife Abby (Rachel Sorsa), concern about his well-being, wants to send him to Shady Gardens, a retirement home. When Abby and her other ex-husband, Tim (Tony Pasqualini) come to the retreat to visit, they found out that Walt has taken one last youngster, Daniel (Jeffrey Delfin), for his gay conversion therapy. Daniel, however, decides to go out for a walk by himself and goes missing.

Tim, who used to be a counselor in the retreat, goes out to look for Daniel. As time goes by, Walt calls Janet (Tania Verafield), a park ranger, to help in the search. Eventually, Eunice (Jacquelin Lorraine Schofield, Rapunzel Alone), Daniel’s mom, is notified of the situation. When she arrives, she feels guilty for sending Daniel to the retreat. Janet organizes a group of people to extend the search. A helicopter is added to the search mission. Hours pass and still no news of Daniel. A fire breaks out in the forest and the drama intensifies as Janet finds Daniel’s jacket with blood stains. 

Playwright Samuel D. Hunter shows the gay conversion therapy from the eyes of a Christian group that believes in the effectiveness of such practice. But once the characters reveal their struggles and past experiences, the effects of trying to change someone’s attraction to their own sex become more disturbing and less convincing. The play does not try to tell who’s right or wrong, that’s up to the audience, but the facts are laid out for the pendulum to go either way and not to hyperfocus on just one side of the story. The sincerity and the tragic consequences of conservative beliefs that make up a portion of the cultural and religious fabric of America are explored in this story and are perfectly reflected on Walt’s own existential crisis.

Director Elina de Santos‘ interpretation of Walt and Tim’s relationship can make an interesting conversation. Tim is one of the founders of the retreat and is also Abby’s ex-husband. Walt was also married to Abby at one point. Walt and Tim being both counselors of conversion therapy opens up a series of questions that make this play even more intriguing. 

Set Designer Bruce Goodrich, Sound Designer Chris Moscatiello, and Lighting Designer Vicki J. Scott do an excellent job recreating the retreat and the ambiance; the set is full of details and the background sounds of the forest make the story come closer to the audience.           

A Great Wilderness is an accurate reflection of the complexities faced by conservative America, where the interpretation of Christian values might offer more questions that answers.          

A Great Wilderness

Written by Samuel D. Hunter. Directed by Elina de Santos. Cast: Jeffrey Delfin, John Perrin Flynn, Tony Pasqualini, Jacquelin Lorraine Schofield, Rachel Sorsa, and Tania Verafield. Creative team: Bruce Goodrich (Set Design), Chris Moscatiello (Sound Design), Elizabeth A. Cox (Costume Design), Vicki J. Scott (Lighting Design), Anna Khaja (Shady Gardens Spokesperson/Voice). Produced by: Guillermo Cienfuegos, and Rebecca Larsen (A Rogue Machine Production).

ROGUE MACHINE (in the Matrix Theatre)
7657 Melrose Ave, Los Angeles, CA 90046

Opening 8pm on Saturday, September 24
Schedule: 8pm Fridays, Saturdays, Mondays; 3pm Sundays
Added performance on Thursday, October 20
(No performance October 10)
Closing: October 31, 2022

Tickets: roguemachinetheatre

 

A scene from A Great Wilderness
A Great Wilderness. Jacquelin Lorraine Schofield and Rachel Sorsa.
A scene from A Great Wilderness
A Great Wilderness. Tony Pasqualini and John Perrin Flynn.
A scene from A Great Wilderness
A Great Wilderness. John Perrin Flynn and Jeffrey Delfin.
A Great Wilderness poster
A Great Wilderness

Revenge Porn or The Story of a Body

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Ammunition Theatre Company presents Carla Ching’s new play Revenge Porn or The Story of a Body. Directed by Bernardo Cubría. 

Kat Chan (Tina Huang, Theatre Review: Celestial Events) finds out that her nude pictures were published online without her consent by her ex-husband of 22 years Mac (Nelson Lee) who not only published the pictures, but also tagged all the people they know. Trying to put her reputation together again, Kat now has to face the challenge of deciding whether to hold a grudge or forgive the person she once loved.

The posting of the pictures exposes not only Kat’s body but also the background stories of each of the characters more affected by it and the reactions to the situation. Kat is currently with Elliot (Christopher Larkin), a younger guy who is understanding and supportive. Kat and Mac’s daughter, Nice (Kahyun Kim) is a girl with her own body image insecurities and who is trying to figure out what kind of relationship she has with her father. Betty (Jeanne Sakata), Kat’s mom, is also concerned about her friends seeing Kat’s pictures, exacerbating the already difficult relationship between the two. JJ (Roland Ruiz) is Nice’s classmate who is in love with her and tries to boost her self-esteem. JJ’s own sister had her pictures published without her consent. Mac’s mom, Mia (Jeanne Sakata) is a journalist who is infuriated by her own son doing such a despicable thing. Mia supports Kat and demands Mac to apologize and fix his mistake. Kat then decides to do something unexpected to claim her own body and her own narrative.

Carla Ching wrote the play to represent how painful revenge porn can be on the victims. It would be easier to focus on that. But she takes a step further. She also explores the other side of the story. What could motivate someone to damage the reputation and the relationships of a loved one? In this case, Mac’s actions are a result of his own emotional pain and the sense of loss triggered by his separation from Kat and his strained relationship with his own daughter. This story also highlights how easy is destroy someone’s reputation (both victim’s and perpetrator’s) with the click of a button. In a society so influenced and obsessed with social media, Revenge Porn or The Story of a Body couldn’t be more contemporary. What should be the extend of the ostracism caused by the cancel culture? Should a perpetrator receive a second chance in life? Ching addresses these issues insightfully as open questions. One interesting aspect of the play is how the exposition of the characters was done. Each character delivers a monologue to express their own point of view.

Director Bernardo Cubría translates the rhythm of the script with plenty of action, keeping the humor and drama alive at all times. The lighting (Azra King-Abadi, lighting design, Theatre Review: Apartment Living) and the projections (Yuki Izumihara, projection design) are artistic elements that symbolize the state of mind of the characters and the emotional journey of the protagonists.  

The cast is diverse and is lead by an excellent Tina Huang, who delivers a dramatic and emotional performance that shows the pain and the healing in today’s very public and invasive technological society.

Revenge Porn or The Story of a Body

Written by Carla Ching. Directed by Bernardo Cubría. Cast: Tina Huang, Kahyun Kim, Christopher Larkin, Nelson Lee, Roland Ruiz, and Jeanne Sakata. Producers: Julie Bersani, Karla Mosley, and Brandon Scott. Presented by Ammunition Theatre Company. 

The Pico
10508 W. Pico Blvd.
Los Angeles, CA 90064

Opening: 8pm on Friday, September 23, 2022 with reception to follow.
Schedule: 8pm Thursdays – Saturdays, 2pm Saturdays, 7pm on Sundays
Closing: October 9, 2022 

Tickets: https://www.ammunitiontheatre.com/

Revenge Porn or The Story of a Body poster
A scene from Revenge Porn or The Story of a Body
A scene from Revenge Porn or The Story of a Body
A scene from Revenge Porn or The Story of a Body

Theatre Review: Babe

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Babe is presented by The Echo Theater Company, directed by Chris Fields, and written by Jessica Goldberg.

When a young Kaitlin (Wylie Anderson) goes for an interview to work for A&R genius Gus (Sal Viscuso), she finds a culture where bad behavior is still tolerated and complacency is a common occurrence. Kaitlin gets the job, but soon she realizes that the mastermind behind the biggest acts signed by the record label might be more the work of Abigail (Julie Dretzin), Gus’s assistant.

Kaitlin has been inspired by her singer idol Kat Wonders (also played by Wylie Anderson). On paper, Kat was discovered by Gus, but as the story unfolds, it is revealed that Abigail help developed Kat and other artists  into superstars. In a conversation with Abigail and intrigued by Kat’s death, Kaitlin perceives that maybe Abigail had romantic relationships with Gus and Kat in the past. Kaitlin also complaints about Gus’s insensitive behavior and questions Abigail for allowing Gus to get all the credits for the success of the label’s artists while relegating her to a lesser position.

Abigail  then becomes the main character in the play. Her relationship with Gus both professional and personal sheds light on the dynamics between these two characters. Abigail tolerated the abusive behaviors she witnessed in the music industry as a rite of passage without questioning the legality of it. She also helped Gus to develop and polish the acts the label had signed while he got all the credits and the biggest paycheck. In return, Gus gave Abigail the men, women, and drugs she wanted while securing her position in the label. Regardless of their silent agreement, everything changed after Gus fell out of favor with his boss and Abigail is offered the opportunity of a lifetime. It’s up to Abigail now to make an important decision in a critical time in her life.

One interesting exposition of the story is the different backgrounds of Abigail and Kaitlin. Abigail’s dad was a carpenter and her mom was a housewife. Kaitlin’s mom is a lawyer and her dad is a science teacher. Her dad’s actions however, is one of the reasons Kaitlin is specially sensitive about sexual harassment.

Jessica Goldberg’s play shows the older generations’ point of views that permeated the workplace behaviors that hurt so many people along the way. It also shows Generation Z trying to change things for the better and how the power of music can influence people to take action. But the play goes further than that. It explores the challenges of changing or modifying upper and middle manager’s old behaviors and even the victim’s own stupor that leads to inaction either by complacency or indoctrination. Change, as shown in one of the scenes, can mean different things to different people.

Wylie Anderson’s performance showed the transition of Kaitlin’s position in the record label. She was timid and a bit insecure during the interview, then frustrated by Gus’s harassment, and finally, empowered to stand up against abuse and demand changes within the organization. Julie Dretzin did an excellent job portraying the passive and troubled assistant that faces the challenges of an older generation of women and the opportunities that could open up for the new ones. Sal Viscuso offered the funniest lines as the vocal and abusive A&R legend that ultimately had to face his own demise.

The creative team includes scenic designer Amanda Knehans; lighting designer Hayden Kirschbaum; sound designer Alysha Grace Bermudez; and costume designer Elena Flores. The assistant director is Elana Luo, the associate producer is Elliot Davis, and the production stage manager is Danielle Jaramillo. Chris Fields and Kelly Beech produce for the Echo Theater Company.

Babe

Written by Jessica Goldberg. Directed by Chris Fields. Starring Wylie Anderson, Julie Dretzin and Sal Viscuso. Presented by The Echo Theater Company, Chris Fields artistic director.

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

Performances: Sept. 17–Oct.24
Fridays at 8 p.m.: Sept. 23; Sept. 30; Oct. 7; Oct. 14; Oct. 21
Saturdays at 8 p.m.: Sept. 17 (opening night); Sept. 24; Oct. 1; Oct. 8; Oct. 15; Oct. 22
Sundays at 4 p.m.: Sept. 25; Oct. 2; Oct. 9; Oct. 16; Oct. 23
Mondays at 8 p.m.: Sept. 26; Oct. 3; Oct. 10; Oct. 17; Oct. 24

Tickets: www.EchoTheaterCompany.com

Babe poster
A scene from Babe
A scene from Babe
A scene from Babe

Theatre Review: Everybody

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Everybody is presented by Antaeus Theatre Company. The play is written by Branden Jacobs-Jenkins and directed by Jennifer Chang.

God (Cherish Monique Duke) is disappointed and now humans have to prepare a presentation to show her what they did with their lives once Death (Anne Gee Byrd) shows up to take them with her. In this instance, Death chooses Everybody (Nicole Erb) to start putting her presentation together as she’s next in line. As she’s not quite ready to die and panic settles in, Everybody asks the people around to go with her as a companion to her journey with Death. Friendship (Lisa Sanaye Dring) seems sympathetic at first, but once Everybody asks her to go with her, Friendship refuses and leaves. Next comes Cousin (Antonio Jaramillo) who also encourages Everybody, but also leaves when asked to go with her. Kinship (Gerard Joseph) does the same thing. The three of them encourage Everybody, but she starts to realize that her journey with Death to face God will be a lonely one. Even Stuff (Harry Groener), representing all material things, decides to leave Everybody and move on to somebody else.

The play shows that life becomes a collection of relationships and material things and what we do with them during our lifetime. As the end is near, Everybody sees a Little Girl (Dawn Didawick), probably a reference to her younger self, as some people who have experienced near-death experiences have recalled flashbacks of happy times. 

Playwright Branden Jacobs-Jenkins, echoing Carl Jung’s ideas, covers some concepts that have intrigued many people throughout history: Collective unconscious, archetype, what happens when we die? The idea that humans will be held liable for their actions in a last judgement is a concept in many cultures around world, even among cultures with no apparent connection with each other, an accurate reference in the title of this play, Everybody.      

At the end, Beauty, Senses, Strength, and Mind leave Everybody alone. Out of characters to ask and time running out, Everybody then turns to Love (Alberto Isaac) and begs him to go with her. Love finally agrees, but in exchange, she must show him her humbleness to gain his trust.

The direction by Jennifer Chang is excellent. The blocking of the actors and the display of conflict and emotions make it a very entertaining theatre experience. The script is an example of how to combine philosophical themes with witty characters that are engaging and thoughtful at the same time. For opening night, Nicole Erb offered a very brave and extraordinary performance playing Everybody. The lighting (Bryan Ealey, lighting designer), sound effects (Salvador Zamora, sound designer), and projections (Yi-Chien Lee, projection designer) created a mystic ambiance that highlighted the intriguing and fascinating topics of life and death. 

Everybody

Written by Branden Jacobs-Jenkins. Directed Jennifer Chang. Starring Anne Gee Byrd, Dawn Didawick, Lisa Sanaye Dring, Cherish Monique Duke, Nicole Erb, Harry Groener, Alberto Isaac, Antonio Jaramillo, and Gerard Joseph. Presented by Antaeus Theatre Company.

Kiki & David Gindler Performing Arts Center
110 East Broadway
Glendale, CA 91205
(between N. Brand Blvd. and Artsakh Ave.)

Performances: September 16 – October 17

Thursdays at 8 p.m.: Oct. 6 and Oct. 13 ONLY
Fridays at 8 p.m.: Sept. 16 (Opening), Sept. 23, Sept. 30, Oct. 7, Oct. 14
Saturdays at 2 p.m.: Sept. 24, Oct. 1, Oct. 8, Oct. 15 (no matinee on Sept. 17)
Saturdays at 8 p.m.: Sept. 17, Sept. 24, Oct. 1, Oct. 8, Oct. 15
Sundays at 2 p.m.: Sept. 18, Sept. 25, Oct. 2, Oct. 9, Oct. 16
Mondays at 8 p.m.: Sept. 26, Oct. 3, Oct. 10. Oct. 17 (dark Sept. 19)

Tickets: antaeus.org

Everybody poster
A scene from Everybody
A scene from Everybody
A scene from Everybody
A scene from Everybody

Theatre Review: The Secret World of Archy & Mehitabel

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The Secret World of Archy & Mehitabel is a stage adaptation by Dan Gilvezan. The play is based on the columns of New York Evening Sun journalist Don Marquis (July 29, 1878 – December 29, 1937). Directed by Moosie Drier.

The Boss (Bill Chott) is perplexed when he sees a cockroach typing a letter on his typewriter one early morning. The cockroach Archy (Dan Gilvezan) was actually a poet in a previous life. Archy writes about his adventures and misfortunes reincarnating as a cockroach, an insect disliked by many. The Boss finds these letters very often when he arrives to his office. Archy also writes about his interactions with other animals and, having the soul of a poet, he asks them some rather philosophical questions about their perspectives in life.

Archy asks a mayfly (Kelly Stables) if she is ever sad or bitter, as she will only live for a day. She responds that her life is so short that she wouldn’t have time for those negatives feelings. Archy also talks to a combative South American tarantula (Richard Horvitz) who gets into a fight with a rat (Kelly Stables). The tarantula wears a military beret with a red star, a hint to the Che Guevara and other revolutionaries who engaged in bloody civil wars. The tarantula and the rat end up killing each other, also a symbol of the usual consequences on both sides in a war.

One of the most endearing characters Archy talks about is Mehitabel (Carolyn Hennesy) the cat. She claims that she was Cleopatra in her previous life, but she keeps changing the characters every time and she doesn’t even remember who Mark Antony was. Mehitabel tells her personal story as a privileged cat living with a rich human couple. Unfortunately for her, the couple decided to bring a dog into their home. After a fight with the dog, Mehitabel was kicked out and she found herself alone in New York City. What she had to do to survive is the content of a great deal of Archy’s letters to The Boss.

All of the animals described in the letters show traits and experiences that are meaningful and offer an opportunity to reflect on the importance of the unity of humans and nature. The Boss is having some marriage issues and is stressed out at work. He eventually realizes that maybe Archy is trying to talk to him at a more personal level through these letters; if only he pays attention and listens.

This play is staged in an intimate theatre that adds to the charm of this story. The dialogue is utterly funny with plenty of action. Although reflecting Don Marquis’ time, the material feels so contemporary that the audience will relate to the endearing characters of this fantastic tale. Extraordinary direction by Moosie Drier and mesmerizing performances by all five actors. The live piano music is performed by Dan West, giving a special old-school vibe to the play.

The Secret World of Archy & Mehitabel

Adapted for the stage by Dan Gilvezan from the “The Sun Dial” columns by Don Marquis. Directed by Moosie Drier. Starring Bill Chott, Dan Gilvezan, Carolyn Hennesy, Richard Horvitz, and Kelly Stables. Produced by Joselle Celine.

Creative team includes scenic designer Jeff G. Rack and lighting, sound and projections designer Nick Foran.

Whitefire Theatre
13500 Ventura Blvd.
Sherman Oaks, CA 91423

September 10 – October 15
Saturday at 3 p.m.: Sept. 17 ONLY
Saturdays at 8 p.m.: Sept. 10, Sept. 17, Sept. 24, Oct. 1, Oct. 8, Oct. 15

Tickets: whitefiretheatre.com

The Secret World of Archy and Mehitabel poster
A scene from The Secret World of Archy & Mehitabel
A scene from The Secret World of Archy & Mehitabel
A scene from The Secret World of Archy & Mehitabel
A scene from The Secret World of Archy & Mehitabel

Theatre Review: Ghosts

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Odyssey Theatre Ensemble presents Richard Eyre‘s adaptation of Ghosts, written by Henrik Ibsen. The play is directed by Bart DeLorenzo. The setting is somewhere in Norway in 1882. 

Widow Helene Alving (Pamela J. Gray) is about to face additional challenges in her life. Once her son Oswald Alving (Alex Barlas) is back from Paris, he starts having feelings for the house maid, Regina Engstrand (Viva Hassis Gentes). Regina, however, has her own challenges. Her father, Jacob Engstrand (J.Stephen Brantley [sic]), is trying to convince her to come live with him when he opens up a hostel for seamen. In reality, he implies that this place would be a brothel. Regina dislikes the idea to live with Jacob, preferring to dream of a life with Oswald in Paris—even learning a few words and phrases in French.

As Reverend Manders (Barry Del Sherman) comes to visit Helene, a few things are revealed. Manders finds some of the books Helene has been reading. Some are about systems of oppression and others are about women’s rights. This concerns Manders as they live in a conservative community in the countryside. There is also the fact that Helene once run to Manders to tell him she was in love with him, willing to leave her husband behind. Manders rejected her and she went back to her husband. Helene then sent Oswald to Paris and he became a painter.

After her husband passed away, Helene set up an orphanage in his memory. Jacob works as a carpenter and Manders handles the legal matters of the institution. Manders suggests Helene not to insure the orphanage as that would imply her lack of faith in God’s protection. Later, the orphanage catches fire and burns down.

The character’s dynamic relationships and motivations are influenced by events that occurred years earlier. Helene’s feelings for Manders, Helene’s husband dissolute lifestyle, and the relationship between Jacob and her wife Johanna—this character is only referenced and never seen in the play—all happen years ago. 

Ibsen created strong female characters in his plays. Much like Nora in A Doll’s House and Hedda in Hedda Gabler, Helene in Ghosts is also a troubled woman who has to figure out how to survive the humiliation of her husband’s infidelities with other women and either leave or stay with him to meet the community standards as an obedient housewife and a dedicated mother.     

Regina is one of the most intriguing characters in this play. Regina is seen flirting with Manders when he arrives to visit Helene. It is also implied that Jacob molested Regina earlier in her life. Regina flirting with Manders could be a result of her abuse by Jacob, a way to test Manders’ integrity as a man of God, or a way for her to open up a possibility if everything else fails for her.  

Talking to Manders, Helene admits that she sent Oswald to Paris to protect him from the negative influence of his father and that she built the orphanage as a screen to hide the licentious life of her husband. Helene also discloses Oswald and Regina who they really are and the impossibility of their relationship. The devastating fate of Oswald is also revealed and both Helen and Regina find themselves at a crossroad, forced to make difficult decisions that will define their lives forever. When the orphanage was destroyed by the fire, it was also a symbol that the truth was finally exposed and the ghosts of the past were coming back to haunt them all.

Ghosts is about the conservatism of the late 1800s, the traditional roles of women, the discussion of venereal diseases, prostitution, incest, and euthanasia, highly controversial issues at the time Ghosts was published. In fact, the play was banned in Europe for several years and thrashed merciless by the critics when it was finally allowed to be staged in theaters.

As for DeLorenzo’s production, the choice of cast is an excellent opportunity to pair up experienced thespians with upcoming ones. Pamela J. Gray and Barry Del Sherman offer exceptional performance, carrying most of the weight of the material. J.Stephen Brantley delivers a terrific performance as an unnerving and opportunistic Jacob. Viva Hassis Gentes and new comer Alex Barlas are two fine young actors giving their performances the intensity and vulnerability necessary to portray Ibsen’s complex characters.

The lighting (Christine Ferriter, lighting designer) is a phenomenal element that helps the director tell the story. Both the lighting and sound effects/music (John Zalewski, sound designer) add a dramatic effect to the transitions and pivotal scenes and create a dark and Gothic ambiance to the set (Frederica Nascimento, scenic designer).

Ghosts is an intense experience; the lighting, the music, the scenic design, and the powerful performances create a latent sense of tragedy, featuring topics that are still controversial and relevant in today’s society.            

Ghosts

Written by Henrik Ibsen. Adapted to the stage by British director Richard Eyre. Directed by Bart DeLorenzo. Starring: Alex Barlas, J.Stephen Brantley [sic], Barry Del Sherman, Viva Hassis Gentes, and Pamela J. Gray. Presented by Odyssey Theatre Ensemble. Ron Sossi, Artistic Director. 

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


Performances: September 10 – October 23
Fridays at 8 p.m.: Oct. 7, Oct. 14* and Oct. 21 (dark Sept. 16, Sept. 23, Sept. 30)
Saturdays at 8 p.m.: Sept. 10 (Opening Night), Sept. 17, Sept. 24, Oct. 1, Oct. 8, Oct. 15, Oct. 22
Sundays at 4 p.m.: Sept. 18, Sept. 25, Oct. 2, Oct. 9**, Oct. 16, Oct. 23 (dark Sept. 11)
Mondays at 8 p.m.: Sept. 19**, Sept. 26, Oct. 3, Oct. 10, Oct. 17 (dark Sept. 12)
*Wine Nights on Friday, Sept. 9 and Friday, Oct. 14: enjoy complimentary wine and snacks and after the show.
**Post-performance discussions with the artists on Monday, Sept. 19 and Sunday, Oct. 9

Tickets: www.OdysseyTheatre.com

Ghosts poster
A scene from Ghosts
A scene from Ghosts
A scene from Ghosts

Theatre Review: Animal Farm

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A Noise Within presents Peter Hall’s musical adaptation of George Orwell’s Animal Farm. Music by Richard Peaslee and lyrics by Adrian Mitchell. Directed by Julia Rodriguez–Elliott.

George Orwell was a leftist who participated in the Spanish Civil War in the 1930s, joining the POUM (Partido Obrero de Unificación Marxista), one of the factions supporting the Republican government. The influence of Stalin on the Republicans in Spain lead Orwell to write against the deceiving and repressive regime of Stalin. Animal Farm is an allegoric play where characters and different sectors of the Soviet Union are represented.

The story pierces the power veil and allows us to see the formation of a political class that not only controlled the lives of millions within the Soviet Union but also the lives of many more around the world.

The animals are neglected by Mr. Jones (Bert Emmett), the owner of the farm, so the animals start a revolt to take control and improve their living conditions. Once Mr. Jones is gone, the animals make plans to change things for the better. However, as time goes by, the pigs seize all the power. The pigs are Squealer (Trisha Miller), Minimus (Cassandra Marie Murphy), Old Major (Geoff Elliott), Snowball (Stanley Andrew Jackson), and their leader Napoleon (Rafael Goldstein). The pigs are the ones who eat well, learn how to write and read, and give the orders. The animals who do all the hard work are Boxer (Geoff Elliott) the workhorse, Clover (Deborah Strang) the carthorse, Benjamin (Jeremy Rabb) the donkey, and Muriel (Philicia Saunders) the goat. The rest of the animals are Mollie (Nicole Javier) a vain horse, the lazy Cat (Sedale Threatt Jr.), Moses (Cassandra Marie Murphy) a raven who likes to talk but doesn’t work, and the Puppy Dogs (Cassandra Marie Murphy and Nicole Javier) trained by Napoleon to become ruthless killing machines. Mr. Pilkington (Sedale Threatt Jr.) is a local gentleman farmer.

Even though the pig Old Major wants to establish a fair system where all the animals are equal, Napoleon changes the words of some of the 7 commandments to fit his personal gains. He changes one of the commandments from “All animals are equal” to “All animals are equal, but some are more equal than others.” At the beginning, there are debates to talk about projects and common goals and all animals participate. In these meetings, the two leaders, Napoleon and Snowball, soon start to disagree on major ideas. As Napoleon starts to gather more power, Snowball is pushed to the side and he mysteriously disappears.

Meanwhile, the rest of the animals are forced to work harder to build a windmill with the promise that the project will bring prosperity to all. Napoleon however, doesn’t keep his word; the windmill takes longer to complete and is eventually destroyed by a neighboring farmer. As all of this is happening, the animals are overworked, hungry, and unable to complaint. Napoleon dissolves the debates with the excuse that they are no longer needed since everyone needs to trust his leadership. The pigs start to arrest, incriminate, and execute the dissenting animals. Eventually, the initial happiness gives way to pessimism, passiveness, duplicity, and hopelessness. The beloved old Boxer, despite all the misery of the working animals, decides to keep his loyalty to Napoleon, hoping to see better days ahead. “Napoleon is always right” and “I will work harder” were two phrases he kept on saying again and again.     

Since the play is an allegory, the characters represent some of the most influential characters in modern history. After the death of Vladimir Lenin, Joseph Stalin become the leader of the Soviet Union. Napoleon is a representation of this repressive leader. Boxer the workhorse represents the working class, the ones that get indoctrinated with false promises of a better life. Clover the carthorse is the feminine side of the working class. Mollie the horse is the bourgeoisie class. Moses, the raven who talks about the “Sugarcandy Mountain” where all animals go when they die, depicts the Russian Orthodox Church. The Puppies/Dogs represent Stalin’s secret police.

Snowball, the boar that was a part of the pigs leaders, is a character representing Leon Trotsky. As with Napoleon in Animal Farm, there was a power struggle and only one was going to prevail. In Animal Farm, Snowball was chased out of the farm by Napoleon’s dogs. In real life, Trotsky was banned from the Soviet Union by Stalin. After living as an uncomfortable guest in Turkey, France, and Norway, Trotsky finally settled down in Mexico in 1937 in the house of painters Frida Kahlo and Diego Rivera. But Stalin wanted him dead. On May 24th, 1940, leftist muralist David Alfaro Siqueiros (who, like Orwell, fought with the Republicans in Spain) and a group of men carried out an attack on Trotsky’s residence using automatic firearms. Trotsky and his wife hid and survived, but the message was clear: his days were counted. On August 20th, 1940, Trotsky was attacked with an ice axe by Ramón Mercader, a Spanish agent working for Stalin’s NKVD forces (this secret forces personified by the Puppies/Dogs in the play). Trotsky suffered a brain injury and died the following day. Stalin’s goal was finally achieved.  

Two important aspects portrayed in the play are the accumulation of wealth by the ruling party by controlling the means of production and the indoctrination of the masses to have them under control. Nobel laureate Octavio Paz said in an interview in 1977: “The greatest criminal in the 20th century is the state, specially in those countries where the state owns the means of production and the ideology, and by owning the means of production and the ideology, the state owns the work product and the souls.”

The portrayal of a turbulent period that happened decades ago somehow feels contemporaneous. The tactics seem to be the same. Authoritarian regimes control the flow of information using media, religion, and access to education. It is much easier to control an uneducated population than an educated one. In the play, Squealer is used to instill in the uneducated animals the idea that their lives are much better under Napoleon’s leadership, even if they are overworked and hungry.

As for the actors, Geoff Elliot offers a tremendous performance doubling up as the idealistic Old Major and the hopeful Boxer that is willing to sacrifice his well-being to keep a dream alive, but ultimately succumbing to his tragic fate. Rafael Goldstein stands out as the cold and calculating leader that manipulates the people around him for his own benefit. Trisha Miller and Cassandra Marie Murphy deliver a phenomenal depiction of the heartless enforcers and supporters of the new authoritarian regime. Jeremy Rabb offers a compelling personification of a devastating transition from a funny character to a pessimist and passive observer of the corruption around him.

The dystopian costumes, wigs, make up, and masks (Angela Balogh Calin, scenic and costume designer, Tony Valdés, wig and make up designer, Dillon Nelson, mask artisan) contribute to give each character their unique personality. They also highlight the sinister change of status of the pigs from farm animals to despotic leaders in military uniforms. The lighting effects (Ken Booth, lighting designer) are a powerful component. The colors and the intensities play very well with the scenic design, the music numbers, and the tense story itself. Rodriguez-Elliot delivers an impressive production with plenty of kinetics that make great use of the stage, including the actors coming in and out of the aisles. Her directorial skills are a testament of the excellence in theatre in Los Angeles.      

How easy it is to go from freedom to tyranny? Animal Farm exposes the fragility of political systems and the dangers associated with government transitions, even when the leaders of the change promise the moon and the stars. Change after all, can be deceiving. As Tancredi Falconeri stated in the Italian novel Il Gattopardo “If we want everything to stay as it is, everything has to change”.

Animal Farm

Adapted for the stage by Peter Hall from the novel by George Orwell. Music by Richard Peaslee. Lyrics by Adrian Mitchell. Directed by Julia Rodriguez–Elliott. Musical Direction by Rod Bagheri. Starring Geoff Elliott, Bert Emmett, Rafael Goldstein, Stanley Andrew Jackson III, Nicole Javier, Trisha Miller, Cassandra Marie Murphy, Jeremy Rabb, Philicia Saunders, Deborah Strang, Sedale Threatt Jr. Presented by A Noise Within, Geoff Elliott and Julia Rodriguez-Elliott, producing artistic directors.

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

Thursdays at 7:30 p.m.: Sept. 29 ONLY
• Fridays at 8 p.m.: Sept. 9**, Sept. 16**, Sept. 23**, Sept. 30
• Saturdays at 2 p.m.: Sept. 10, Sept. 17, Sept. 24, Oct. 1 (no matinee on Sept. 3)
• Saturdays at 8 p.m.: Sept. 3 (Opening Night), Sept. 10, Sept. 17, Sept. 24, Oct. 1
• Sundays at 2 p.m.: Sept. 4, Sept. 11**, Sept. 18, Sept. 25, Oct. 2
*Pre-performance symposium with noted scholar at 6:45 p.m. prior to the preview on August 31 (included in ticket price)
**Post-performance conversations with the artists on Fridays, Sept. 9; Sept.16; Sept. 23; and Sept. 30, and on Sunday, Sept. 11 (included in ticket price)

An INsiders Discussion Group will be held on Tuesday, Sept. 13, from 6 p.m.–8 p.m. on Zoom ($38 per individual or $45 per household).

There will be 10 student matinees at 10:30 a.m. on Tuesday, Sept. 6; Wednesday, Sept. 7; Tuesday, Sept. 13; Wednesday, Sept. 14; Thursday, Sept. 15; Tuesday, Sept. 20; Wednesday, Sept. 21; Thursday, Sept. 22; Tuesday, Sept. 27; and Wednesday, Sept. 28. Interested educators should email education@anoisewithin.org.

Tickets: www.anoisewithin.org

Animal Farm poster
A scene from Animal Farm
A scene from Animal Farm
A scene from Animal Farm
A scene from Animal Farm

Theatre Review: Valley Song

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Valley Song is presented by International City Theatre and directed and produced by caryn desai [sic]. The playwright is Athol Fugard.

The story develops in the South African region known as the Karoo, a vast semi-desert with sparse vegetation and wildlife and a few isolated farms. The protagonist, Abraam Jonkers (Michael A. Shepperd, A Midsummer Night’s Dream), lives in a small pumpkin farm with her granddaughter Veronica (Belle Guillory). They are considered coloured, a term used to refer to people of mixed ancestry. Despite not being the owner of the farm, Abraam is proud of his life—farming and attending church services. Living under the system of the apartheid, he has been conditioned to limit his goals and dreams to the farm, working for the White owner.

The beginning of the play shows a relative peaceful life in the farm. Abraam works the land while Veronica tends to the house. It is when conflict appears in the story that their lives turn upside down. Veronica has a talent for singing. She sings in the house and church. However, she has bigger dreams. She is planning on leaving the farm and try her luck in Johannesburg as a singer. When Abraam finds out, he is reluctant to the idea and is determined to prevent Veronica from following her dreams. Abraam’s concerns reveal the aspirations and final fate of Veronica’s mother. 

Abraam’s opposition to Veronica’s dreams is a consequence of how the system of segregation inflicted many negative ideas to the people of South Africa. For one, it instilled the idea of a superior race to the Whites, giving them access to better education, ownership of land, better jobs, and the control of the country. On the other hand, it suppressed the goals and dreams of a better life to most of the Black people, forcing them to a life of poor education, low-paying jobs, living conditions without basic services like running water, and violent police repression that turned deathly in many cases. For Abraam, the further he can go in life is the perimeter of the farm. Any aspiration of something better is nonexistent. When he finds out that a White man wants to buy the farm he has been working on for the last 40 years, Abraam’s only wish is to beg the White man to let him stay and continue to work on the land. He even intends to ask the White man to let Veronica work for him cleaning his house. But Veronica has other plans.

This is a fascinating story that resumes many of the ongoing issues of South Africa. Abraam represents the old generation of Black South Africans growing up in a segregated society. A generation that finds it difficult to let go of the past, conditioned to live perpetually in servitude. Veronica represents the newer generation of Blacks that feel empowered to dream of a better life. The Author, played also by Michael A. Shepperd, is the playwright himself, Athol Fugard. This character is a representation of those that dreamed and fought to overthrow the policy of apartheid and change the minds and hearts of South Africans to build a more inclusive society.

One of the characteristics of Abraam and The Author is their love for the Karoo, the land where they live and work. Throughout the play, there are references to the strong connection to that land and the farming of it as a generational way of life. The stage design (Yuri Okahana-Benson, set designer and Crystal R. Shomph, lighting designer) shows the colors and elements of the distinctive landscape of the Karoo.    

Fugard is one of the artists that defied the systemic racism of South Africa during the apartheid era. He has been writing about his experiences in multiple of his plays and has received multiple awards worldwide including an Oscar in 2006 for Tsotsi, adapted from his novel of the same title and the Lifetime Achievement in the Theatre Tony Award in 2011. 

Valley Song is a play that allows us to experience the textures of a society that is trying to break away from the past in hopes of building a country where justice and equality prevail despite the many challenges still pending today. Any resemblance to America?    

The creative team includes set designer Yuri Okahana-Benson, lighting designer Crystal R. Shomph, 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 Sarah Dawn Lowry.

Valley Song

Written by Athol Fugard. Directed and Produced by caryn desai [sic]. Starring Belle Guillory and Michael A. Shepperd. Presented by International City Theatre.

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

Thursdays at 8 p.m.: Sept. 1, Sept. 8
Fridays at 8 p.m.: Aug. 26 (Opening Night), Sept. 2, Sept. 9
Saturdays at 8 p.m.: Aug. 27, Sept. 3, Sept. 10
Sundays at 2 p.m.: Aug. 28, Sept. 4, Sept. 11

Tickets: ictlongbeach.org

Valley Song Poster
A scene from Valley Song
A scene from Valley Song
A scene from Valley Song