Author Archive: Glamour

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

Theatre Review: Lavender Men

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Playwrights’ Arena and Skylight Theatre Company present the world premiere of Lavender Men. Written by Roger Q. Mason and directed by Lovell Holder.

In Roger Q. Mason’s Lavender Men, history is rewritten to include the LGBT community, largely ignored in the US history books. This play is a fantasia about a gay Abraham Lincoln (Pete Ploszek) and the people around him. The character Taffeta (Roger Q. Mason) invades Abraham Lincoln’s personal space to give history a spin.  

The rumors about Abraham Lincoln’s sexuality play a central role in Lavender Men as much as his relationship with his wife, Mary Todd Lincoln (Roger Q. Mason). By some historians’ accounts, although never really proven, Lincoln had romantic relationships with Joshua Fry Speed and Captain David Derickson, often sleeping with them in the same bed—this was a common practice in those days though without any sexual overtones. In Mason’s script however, Lincoln has a sexual relationship with Elmer Ellsworth (Alex Esola), a soldier and Lincoln’s law apprentice.

That relationship ignites Mary Todd’s jealousy and, at the same time, her envy as she is overweight and feels powerless before the passionate bond between her husband and his apprentice. This disconnection between President Lincoln and his wife in the play also reflects the apparent discord between both figures in real life. Mary Todd was wealthy, educated, refined, and her family owned slaves. Abraham Lincoln, on the other hand, grew up in a farm, self-educated, and disliked slavery, not to mention his lack of skills on the dance floor.

In real life, Mary Todd’s misery was due to the death of her children and the assassination of Abraham Lincoln before her eyes. She had episodes of depression, not fully understood at the time. In the play, Mary’s misery stems from the lack of attention from Abraham Lincoln towards her and his relationship with Elmer. 

In the meantime, Taffeta continues to be amused by the vibrant relationship by Abraham and Elmer, but also revealing the insecurities and struggles of the undeserved communities the play represents. Taffeta also fights back the apparent innocuous reasoning of those who excluded the people of color and queer from the history books: “There is some beauty being lost in a sea of nothing”.   

Mason’s writing is able to connect overweight, queer, and people of color with such fluidity within the story that they all become a coherent and powerful testament of the resilience of those underserved communities who are not willing to be silenced anymore. This is why Lavender Men, a smart, funny, and engaging play resonates in this era where society is trying to make amends for past mistakes. 

In addition to the performances of the three thespians and the excellent direction of Lovell Holder, the artisans working on this production deserve a special recognition. Dan Weingarten (Lighting Design) displays an impressive and elaborate collection of colors, intensities, and textures in such a way that the lighting itself becomes a character throughout the story. Sound Designer is Erin Bednarz, Scenic Designer is Stephen Gifford, Costume Designer is Wendell Carmichael, Original Music by David Gonzalez, Choreography by Jobel Medina, Properties Design by Michael O’Hara, Casting by Raul Clayton Staggs, and the Production Manager is Cedes Sifuentes.  

Lavender Men

Presented by Playwrights’ Arena and Skylight Theatre Company.

Playwright: Roger Q. Mason. Director: Lovell Holder. Producers: Gary Grossman and Jon Lawrence Rivera. Associate Producers: Tyree Marshall and Michael Kearns. 

Skylight Theatre

1816 1⁄2 North Vermont

Los Angeles, CA 90027

Opening at 8:30 pm on Saturday, August 6
Schedule: Saturday 8:30 pm, Sunday 3 pm, Monday 7:30 pm
Closing: Sunday September 4, 2022

Tickets: LavenderMenPlayLA.com

Lavender Men poster
A scene from Lavender Men
A scene from Lavender Men
A scene from Lavender Men

Theatre Review: If I Forget

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The Fountain Theatre presents the Los Angeles premiere of If I Forget written by Steven Levenson and directed by Seinfeld actor and Tony-Award winner Jason Alexander.

Michael Fischer (Leo Marks) is being sued for writing a book deemed antisemitic and his tenure as a professor is on hold, putting a strain on his finances. His sister Holly Fischer (Valerie Perri) continues with her drinking and self medicating habits, not to mention the secret her husband Howard Kilberg (Jerry Weil) is hiding from her. And then there’s Sharon Fischer (Samantha Klein), Michael and Holly’s sister who is falling for a guy that might not be the best option for her. All of this while the siblings are trying to figure out how to take care of their ailing father Lou Fischer (Matt Gottlieb).

The Fischers are a Jewish family with diverse opinions on what it means to be a Jew in America, an identity issue specially for the second and third generation American Jews. While Lou was a soldier who helped liberate the prisoners from the Dachau concentration camp and finds Michael’s suggestion to forget about the Holocaust very offensive, Michael is an atheist with more liberal views.

Michael is married to Ellen Manning (Síle Bermingham), a non-Jewish woman who tries to bring some kind of order to the chaotic relationship of the three siblings. Michael and Ellen’s daughter, Abby Fischer (Caribay Franke), is in a trip to Israel to connect with her roots. This trip however, turns into a nightmare for Abby and her parents.

The play is also an examination of the relationship between Jews and other races and the political activism in which the Jews are involved. There are conversations about African Americans, Palestinians, and the misconception of calling any Latino a Mexican. The fact that Michael is married to a gentile is an example of the trend in American Jews to experience interracial marriages without any concerns about the dilution of the Jewish race. Also, Michael’s writings about the Jewish diaspora in America and its active participation in the political scene is a reflection of the reaffirmation or rupture of the community to Israel. Michael’s suggestion to forget about the Holocaust can be seen either as blatant antisemitism or a survival strategy in a world that can turn against Jews on a whim. The contrasting political affiliations of the members of the family prove how diverse the American Jews have become and how connected or disconnected they feel to the motherland. Holly and Howard’s son, Joey Oren (Jacob Zelonky), represents either the confusion or the indifference to take a stance on these issues.

This story goes beyond the Jewish experience. Their story is that of many other immigrant communities as well. This is where this play resonates far beyond synagogues and Shabbat ceremonies. The issues, concerns, fights, hopes, and the love for one’s culture and family is a universal human experience. Levenson was able to write a brilliant story that travels. It’s a mirror reflecting the condition of many people connected or disconnected to their own cultures and the conflicting emotions that this entails. The play is outrageously funny and deeply moving, a topic that will trigger many conversations and self evaluations.

The direction by veteran actor/director Jason Alexander is fantastic. The blocking allows actors to use the space effectively and emphasizes the drama of the play. The decision to have Caribay Franke dancing her story is a unique touch to the production that adds visual poetry to the physical theatre.

The cast lead by an excellent Leo Marks is a real treat for the audience. Their lines were delivered with so much punch that this play will stand out for its intensely hilarious dialogue. The writing, direction, and acting make this play a true gem not to be missed.

If I Forget

Written by Steven Levenson. Directed by Jason Alexander. Starring Síle Bermingham, Caribay Franke, Matt Gottlieb, Samantha Klein, Leo Marks, Valerie Perri, Jerry Weil, and Jacob Zelonky. Presented by The Fountain Theatre.

Creative team: Scenic designer Sarah Krainin, lighting designer Donny Jackson, sound designer Cricket S. Myers, costume designer A Jeffrey Schoenberg, and prop master Katelyn M. Lopez. Assistant director Allison Bibicoff. Production stage manager Shawna Voragen. Assistant stage manager Lexie Seacrest. Simon Levy produces and James Bennett associate produces for the Fountain Theatre. Barbara Herman is executive producer.

The Fountain Theatre
5060 Fountain Ave.
Los Angeles CA 90029
(Fountain at Normandie)

Fridays at 8 p.m.: July 29. Aug. 5, Aug. 12, Aug. 19, Aug. 26, Sept. 2, Sept. 9
Saturdays at 8 p.m.: July 23 (Opening), July 30, Aug. 6, Aug. 20, Aug. 27, Sept. 3, Sept. 10 9 (dark Aug. 13)
Sundays at 2 p.m.: July 24, July 31, Aug. 7, Aug. 21, Aug. 28, Sept. 4 (dark Aug. 14)
Mondays at 8 p.m.: Aug. 1, Aug. 8, Aug. 15, Aug. 22, Aug. 29 (dark July 25. Sept. 5)

Tickets: fountaintheatre.com/

 

A scene from If I Forget
A scene from If I Forget
A scene from If I Forget
If I Forget poster

Theatre Review: Trouble the Water

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Will Geer’s Theatricum Botanicum presents the world premiere of Trouble the Water, freely adapted by Ellen Geer from the 2019 award-winning historical novel by Rebecca Dwight Bruff. The play is lead and directed by Gerald C. Rivers.

Robert Smalls (Terrence Wayne, Jr.) was called “Trouble” because his mother told him that he was born in a day full of trouble. His mother, Lydia Polite (Earnestine Phillips The Merry Wives of Windsor), was a slave in the house of Jane (Robyn Cohen) and Henry (Alistair McKenzie The Merry Wives of Windsor) McKee. Henry treated Robert more leniently than the rest of his slaves, at times creating doubts on Jane about the possibility of Robert being Henry’s son. As slaves were constantly raped by their White owners, Jane had her reasons to believe in that possibility.

The social conditioning instilled in the enslaved people was so pervasive that Lydia asked Henry to send Robert to Charleston so he could be exposed to tougher conditions as a slave. Lydia was concerned that Robert would grow up as a “spoiled” slave without experiencing the hardships of his fellow Black slaves.

The play also deals with conditions that were parallel to slavery at the time. As Jane wrote her journal, she questioned her own position as a faithful and submissive wife, willing to bear children to fulfill her husband’s desires. Despite her comfortable life as the wife of a prosperous White man, Jane experienced the social oppression imposed on women during that era.

The move to Charleston proved to be an opportunity to Robert to get the inspiration needed to embark on the opportunity of his life—to be free and fight for the freedom of his people. Even though Robert was still owned by Henry, he managed to buy the freedom of his first wife, Hanna Jones (Tiffany Coty, A Midsummer Night’s Dream). During this time, he was influenced by the growing dissident voices coming from the Union states, including abolitionist Frederick Douglass. Robert worked in the ships of Charleston Harbor, an experience that proved pivotal in his escape on board of the confederate ship CSS Planter to the Union territory.

Bear in mind that some of the details and characters of this play are fictional. Robert’s life has been hidden in mystery for decades. Author Rebecca Dwight Bruff has written this story to focus the attention on the documented facts surrounding Robert Smalls’ accomplishments. His escape piloting the CSS Planter, his service in the US Army and  Navy, and his service in the state legislature and five terms in the US Congress are all well documented in the history of the United States. Bruff’s intention is to show the extraordinary contributions of this American hero.

Gerald C. Rivers’ direction is outstanding (Rivers also plays Robert Smalls in his later years). The amazing cast as well as the excellent use of the stage creates an engaging theatre experience. Saturday’s opening night was a full house, so there were great expectations for this play. The dedicated actors and creative team did not disappoint. This play has exhilarating action, specially the escape sequence where the tension escalates very quickly and the sense of danger creates a fast-paced scenario. Gerald C. Rivers, Terrence Wayne, Jr., Earnestine Phillips, Alistair McKenzie, and Robyn Cohen are a testament to the magnificent craft of the actors in the LA theatre scene. These five thespians lead an extraordinary cast that includes Justin Blanchard, Ethan Haslam The Merry Wives of Windsor, Rodrick Jean-Charles, Michelle Merring, Clarence Powell, Franc Ross, Fallon Heaslip, Joelle Lewis, Susan Stangl, Elliott Grey Wilson, and Sage Michael Stone. The ensemble includes Michaela Molden The Merry Wives of Windsor, Matthew Clair, Danezion Mills, Frank Krueger, Emerson Haller, Joseph Darby, Eden Lederer, Tariq Mieres, Kenneth Montley, Venice Mountain-Zona, and Monique Thompson.

Lighting Designer Hayden Kirschbaum, Sound Designer Marshall McDaniel, and Costume Designer Yuanyuan Liang added realistic elements to the play that enhanced the dramatic effects of the production.

This play is a great opportunity to revisit the facts that made the US what it is today. As uncomfortable as some episodes of history might be, the formidable actions of great people both Black and White continue to inspire and reaffirm the commitment to live in a civil society. Bruff, Geer, and Rivers show us that it can be a reality rather than a chimera. On opening night, the audience seemed to agree.

Trouble the Water

Freely Adapted by Ellen Geer from the novel by Rebecca Dwight Bruff, Directed by Gerald C. Rivers. Performing the Spirituals a cappella is the Street Corner Renaissance.

Will Geer’s Theatricum Botanicum
1419 N. Topanga Canyon Blvd.
Topanga CA 90290
(midway between Pacific Coast Highway and the Ventura Freeway)

Performances: July 23– October 2:
Saturday, July 23 at 7:30 p.m.
Sunday, July 31 at 3:30 p.m.
Friday, Aug. 5 at 7:30 p.m.
Sunday, Aug. 14 at 7:30 p.m.
Saturday, Aug. 20 at 7:30 p.m.
Friday, Aug. 26 at 7:30 p.m.
Sunday, Sept. 4 at 3:30 p.m.
Sunday, Sept. 11 at 7:30 p.m.
Friday, Sept. 16 at 7:30 p.m.
Saturday, Sept. 24 at 7:30 p.m.
Sunday, Oct. 2 at 7:30 p.m.

Tickets: theatricum.com

Theatre Review: A Midsummer Night’s Dream (Open Fist)

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William Shakespeare’s A Midsummer Night’s Dream is revisited by director/choreographer James Fowler. This time, Open Fist Theatre Company‘s production is set in Athens, Georgia, circa 1855.

It’s the eve of the Civil War in the Black Belt and the cotton plantation is bursting with activity. That’s the scenario where Fowler’s reinterpretation of A Midsummer Night’s Dream takes place. The Antebellum South becomes the mystic forest where a group of slaves are the fairies and mechanicals, able to love, bewitch, and dream.

It is in that context that a relationship between Shakespeare’s European folklore and the traditions of the African slaves from the South can be perceived. Shakespeare’s fairies are invisible to humans just as Black slaves are practically invisible to their White owners. Also, the Greek theourgia (benevolent magic in the form of Oberon) is very similar to the combination of religion, magic, and witchcraft practiced by the Isangoma (an African healer popular in the slave communities). Just like the mechanicals in Athens Greece were laborers putting up a show for the royals, the Black mechanicals in Athens Georgia are also laborers preparing a play for the White owners of the plantation. The distinction of classes is evident in both renditions of the play.

Shakespeare’s deep understanding of the human condition makes it possible to overlay his plays on different eras. In this case, the story set in the South matches the circumstances and gives a new meaning to the characters, plots, and symbols of A Midsummer Night’s Dream. Fowler did an excellent job in keeping the original script intact but changing the traditional expectations of the racial composition of the characters.

The excellent cast makes this production a true gem in the theatre scene. Michael A. Shepperd shows his phenomenal comedic skills playing the attention-seeker Bottom. Ann Marie Wilding is delightful playing a hopelessly devoted Helena. Sandra Kate Burck with her voice and physical comedy makes the audience laugh left and right playing Hermia. The mischievous Puck is played by a versatile Monazia Smith (In the Next Room, or the vibrator play). Phillip C. Curry shows off his polished experience playing Oberon; he is one of those actors whose voice makes him an imposing figure on stage.

The lighting (Gavan Wyrick, Lighting Design,(God of Carnage) was a fascinating palette of purples, teals, greens, blues, and pinks. Mylette Nora (Costume Design, In the Next Room, or the vibrator play) created an accurate depiction of the period. Jan Munroe (Scenic Design) and Stephanie Crothers (Scenic Artist) also contributed to re-create a dreamy and pastoral stage with the murals, paintings, and use of natural elements.

Despite the comedic nature of the play, the history of slavery in America makes this story an opportunity to reflect on how much we have advanced in terms of equality and how much our perceptions on race have changed or remained the same. The abolition of slavery—referenced in this production as British Abolitionist Peter Quince (Debba Rofheart)—is a painful remainder of the sufferings many people had to endure to give birth to a new nation. Midsummer is a play of symbols and Fowler added one more that is powerful and still triggers many emotions. Puck turns her back and shows the flogging marks. Are those open wounds, or are they scars? Is America moving backwards, in rehab, or fully recovered?

A Midsummer Night’s Dream

Written by William Shakespeare. Directed by James Fowler. An Open Fist Theatre Company production. Martha Demson, artistic director. Actors performing on opening night: Devon Armstrong, Malik Bailey, Bryan Bertone, Sandra Kate Burck, Phillip C. Curry, Erica Mae Mcneal, Heather Mitchell, Debba Rofheart, Ash Saunders, Michael A. Shepperd, Monazia Smith, Azeem Vecchio, Alexander Wells, Ann Marie Wilding, Dylan Wittrock, and Syanne Green.

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: July 2 – August 13
Fridays at 8 p.m.:  July 8, July 15, July 22, July 29, Aug. 5, Aug. 12
Saturdays at 8 p.m.: July 2 (Opening Night), July 9, July 16, July 23, July 30, Aug. 6, Aug. 13
Sundays at 7 p.m.: July 3, July 10, July 17, July 24, July 31, Aug. 7

Tickets: www.openfist.org

Theatre Review: The Beautiful People

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Rogue Machine presents the world premiere of The Beautiful People, a play written by Tim Venable and directed by Guillermo Cienfuegos.

A sleepover takes a sinister turn in the basement of a typical American house. The story is set in the 90s, a period where hate, frustration, and a mental health crisis started to take shape and became a pressure cooker ready to explode.

E (Alexander Neher) hosts the sleepover, where he manipulates, humiliates, and comforts an insecure, depressed, and angry D (Justin Preston). Venable’s play is an exploration of where the new wave of violence started and where we are now. The continuous reference to pop icons is an accurate depiction of some of the root causes of the extreme acts of violence committed by some disillusioned youngsters who have no further expectations of a better life. The references to incels and the devastation caused by social rejection also paints a grim picture of the other factors that are building up in the hearts and minds of the new generation of Americans.

Much has been said about gun control, but that alone will not fix the underlying issues of isolation, loneliness, and mental issues experienced in America. The play digs deep into those elements that are pushing a great number of people to the limit. The intricate web of cause and effect is explored in Venable’s writing, where only two characters project the many issues affecting American society at large. The exposition of the characters’ backgrounds and frustrations poses an uncomfortable question that lingers in the air: Have mass shooters failed society, or has society failed them?

The brave performances of Neher and Preston are a testament of the dedication to their craft; Neher is brilliant as the cold bully and Preston is a tour de force as the vulnerable teenager, imploring compassion, but ready to commit great damage. David Mauer (Production Design) does a great job with the set and lighting to represent not only the basement of a house, but also what is happening underneath American society.

The Beautiful People is a pungent and radical play that will get you out of your comfort zone and place you in the character’s world. A world where survival of the fittest is the only way. The topics presented might make the skin crawl, but the play offers an opportunity to start a conversation that could prevent a tragedy that might be around the corner.

The Beautiful People

Written by Tim Venable. Directed by Guillermo Cienfuegos. Starring Alex Neher and Justin Preston. Produced by John Flynn, Rebecca Larsen (A Rogue Machine Production).

Rogue Machine 
7657 Melrose Ave, Los Angeles, CA 90462

For tickets: https://www.roguemachinetheatre.net/

Theatre Review: The West Side Waltz

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Will Geer’s Theatricum Botanicum presents the revival of the original play commissioned in 1981. The playwright is Academy Award-winning writer Ernest Thompson and the director is Mary Jo DuPrey.

The story is placed in a New York’s Upper West Side apartment building. Margaret Mary Elderdice (Ellen Geer) is an aging pianist who lives alone and likes to play music with her younger neighbor Cara Varnum (Melora Marshall, The Merry Wives of Windsor), a violinist who, despite her best efforts, plays out of tune at times. The two neighbors are visited occasionally by the building’s super Serge America (Miguel Perez), an immigrant with an affable attitude. Margaret decides to hire a much younger Robin Bird (Willow Geer, The Merry Wives of Windsor ) as a companion, creating some friction with Cara, who wanted to be Margaret’s companion.

As time goes by, Robin reveals that she was married for 7 years, but her husband left her for someone else. She is also an aspiring actress that needs to practice her audition skills. It’s in Margaret’s apartment that the three women fight, laugh, and grow closer together. Three generations with similar and dissimilar views on life, but somehow connected by the same need, the need of human connection.

The story is placed in 1985, when the AIDS epidemic was ravaging the world, specially the gay community. It’s in those circumstances that Robin’s worst fears are exposed. At the same time, Margaret’s ability to walk declines one day at a time. Cara reveals that her beloved cat has died. Margaret reveals the loss of her brother during the Spanish flu. The pain, the memories, and New York’s cold weather, makes Margaret’s apartment a refuge, and the music becomes the medicine to soothe the soul.

With Robin’s surprising engagement to boyfriend Glen Darson (Charles Lin, The Merry Wives of Windsor), and Serge’s surprising firing as the building’s super, Margaret and Cara have to make a decision as what they will do as two lonely women in the twilight of their lives.

Marshall’s performance as a naive and witty Cara is extraordinary. Ellen Geer shows her fantastic skills in this season as both an excellent director (The Merry Wives of Windsor) and a passionate performer. The stage, music, and lighting create a warmth and homely background to depict the center of this drama.

The West Side Waltz

Written by Ernest Thompson. Directed by Mary Jo DuPrey. Presented by Will Geer’s Theatricum Botanicum. Starring Ellen Geer, Willow Geer, Melora Marshall, Charles Lin, and Miguel Pérez.

Will Geer’s Theatricum Botanicum
1419 N. Topanga Canyon Blvd.
Topanga CA 90290
(midway between Pacific Coast Highway and the Ventura Freeway)

For tickets and dates: https://theatricum.com/

Theatre Review: Cassandra

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ThurZday
ADA MARINELLI
SOFÍA BRAGAR
HANNAH HOWZDY
HEIDI STARRELLE
Director Kelly McMahon

Cassandra is a Hollywood Fringe production that combines Greek mythology and rock ‘n roll. The story and direction is by Kelly McMahon. The book is by Anthea Carns. The Stage Manager is Heidi Starrelle. The music is by Patti Smith.

In the story, Princess Cassandra (ThurZday) is the daughter of King Priam and Queen Hecuba. The place is the legendary city of Troy. Ada Marinelli plays the roles of the Fate Clotho, who spins the Thread of Life and Hecuba, the Queen of Troy. Hannah Howzdy plays the roles of Fate Atropos, who cuts the Thread of Life and Clytemnestra, the Queen of Sparta. Sofía Bragar plays the Fate Lachesis, who measures the Thread of Life and Athena, the Goddess of War. RJ Dawson plays Apollo, God of the Sun, who is in love with Cassandra.

This play follows the life of Cassandra as she goes from love to rejection by Apollo, her experience as a prophetess, her pain to see the fall of her beloved city of Troy, her rape by Ajax and her subsequent avenge by Athena, and her final fate.

McMahon’s adaptation of this classic tale re-tells the story of Cassandra from a feminine perspective. The most famous authors who depict Cassandra in their writings were all male: Homer, Virgil, Aeschylus, Euripides, and Hyginus.

Even though McMahon follows the classical story line, the inclusion of Patti Smith’s songs gives this production an impactful and feminist take on this enigmatic character. The selected songs are paired up with a corresponding scene of the play. We hear “Dancing Barefoot” when introducing Cassandra, “Upright Come” with Clotho’s lesson, “Cash” with Lachesis’ lesson, “Trespasses” with Atropo’s lesson, “Ask The Angels” with the prophecy about Helen, “Dead City” with the prophecy about that Horse, “Death Singing” with the prophecy about Clytemnestra’s plans, and “Dream of Life” with the Comfort interlude with Apollo. The addition of ancient Greek music with lyre such as “Europa” and “The Discord of Eris” puts a magic touch to the ambiance.

Cassandra features dancing, singing, and a form of laterna magica to display on the walls some of the facts mentioned in the story. ThurZday, Bragar, Howzdy, and Marinelli deliver a compelling performance to give a new voice to these Trojan women from ancient Greece.

Cassandra

Book by Anthea Carns. Songs by Patti Smith. Story and Direction by Kelly McMahon. Cast: ThurZday, RJ Dawson, Ada Marinelli, Sofía Bragar, and Hannah Howzdy.

Studio/Stage

520 N. Western Ave.

Los Angeles, CA 90004

For tickets and dates: https://www.hollywoodfringe.org/projects/7512?tab=details

Theatre Review: A Midsummer Night’s Dream

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Theatricum Botanicum presents William Shakespeare’s A Midsummer Night’s Dream, directed by Melora Marshall.

This is one of Shakespeare’s most famous plays. It’s magical, it’s full of symbols, and involves one of the most enigmatic aspects of the human experience: Dreams. The fact that the story is set around Athens and the characters interact in the woods, allows the audience to take their imagination to fascinating places. Emotions, reality, and fantasy intertwine in a mythological world of kings, queens, fairies, and humans.

Marshall’s adaptation keeps the magical world alive with a great choice of cast, costumes (Beth Eslick, Costumer), and music (Marshall McDaniel, Musical Director, Musical Compositions).

The switching of genders plays very well with the intrinsic ambiguity of some of the characters. Oberon, is played by Tiffany Coty, who delivers a powerful rendering of the King of the Fairies. Fiona Dorn plays Lysander, who is in love with Hermia (Anais Morgan).

The following actors deliver extraordinary performances. Bottom is played by the fantastic Jonathan Blandino (The Merry Wives of Windsor). Helena is played by Olivia Michael, an actress to watch. Emoria Weidner playing Quince is excellent in every scene. Christopher Glenn Gilstrap is a natural playing the mythical Puck.

The Theatricum Botanicum is an idyllic place for this story. Much like in the photographic lingo of frame within a frame, the play and stage become a forest within a forest. The many isles both in the seating section as well as in the sides and background of the proscenium, enlarge the stage to make it almost like a 360-degree scenario, a real treat for the audience. Add the makeup, the costumes, the music, the phenomenal performances, and the excellent direction and you get a memorable theatre experience.

A Midsummer Night’s Dream

Written by William Shakespeare. Directed by Melora Marshall. Presented by Will Geer’s Theatricum Botanicum.

Will Geer’s Theatricum Botanicum
1419 N. Topanga Canyon Blvd.
Topanga CA 90290
(midway between Pacific Coast Highway and the Ventura Freeway)

Performances: June 12–October 1

For tickets and schedule: https://theatricum.com/

Theatre Review: The Merry Wives of Windsor

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Will Geer’s Theatricum Botanicum starts its 2022 season with William Shakespeare’s The Merry Wives of Windsor, directed by Theatricum artistic director Ellen Geer.

This adaptation takes the story to the 1950s in Small-Town America. Falstaff (Jeff Wiesen) devises a plan to seduce Mrs. Ford (Emily Bridges) and Mrs. Page (Willow Geer), the wives of two important Windsor’s merchants, to extract money out of them. When the wives find out that Falstaff sent them identical love letters, they now devise a plan to take revenge and teach him a lesson.

The other story line in the play is the situation of Anne Page (Alexandra Kunin), a girl whose father, Mr. Page (Bill Haller), wants her to marry Slender (Ethan Haslam). Her mother wants her to marry Dr. Caius (Cavin (CR) Mohrhardt), a French doctor with a short fuse. Anne, however, wants to marry Fenton (Charles Lin).

Depending on the director and actors, this play can be a fertile ground for comedic scenes. Director Ellen Greer makes great use of the stage, allowing actors to come and go in all directions. These kinetics create a more engaged audience throughout the play.

The actors that draw much of the attention are Jeff Wiesen as the opportunistic Falstaff, Jonathan Blandino as jealous Ford, Melora Marshall as witty Quickly, Willow Geer as Mrs. Page, and Emily Bridges as Mrs. Ford. Their vibrant performances and comedic timing keep the story entertaining and add dynamism to this old tale written more than 400 years ago.

The picture depicted in this adaptation is that of a classic white picket fence, a nostalgic scene where everything looks perfect in America. However, as in Shakespeare’s times, there’s also an issue of division of classes, a subject subtly described in the script. Falstaff’s followers Bardolph (Kenneth Montley), Pistol (Aleksander Ristic), and Nym (Joseph Darby) can be a representation of the working class with not much aspirations in life. The Fords and the Pages can be seen as the upper class, living a comfortable life. Also, Anne Page is a character that represents the condition of women of the time, she has no voice on who she really loves. Despite this reality, Shakespeare gives them the power to take control and make sure things go their way. Mrs. Ford and Mrs. Page don’t get fooled and give Falstaff a lesson. Anne Page gets Fenton, the man she wants.

The music (Marshall McDaniel, Music Director) (Peter Alsop, New Lyrics) and the costumes (Tracy Wahl, Costume Designer) create the perfect match to the 1950s setting.

The Merry Wives of Windsor is a perfect occasion to enjoy William Shakespeare in the magical grounds of Will Geer’s Theatricum Botanicum.

The Merry Wives of Windsor

Written by William Shakespeare. Directed by Ellen Greer.

Will Geer’s Theatricum Botanicum
1419 N. Topanga Canyon Blvd.
Topanga CA 90290
(midway between Pacific Coast Highway and the Ventura Freeway)

Tickets and dates: https://theatricum.com/