Author Archive: Glamour

Theatre Review: The Importance of Being Earnest

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Oscar Wilde‘s The Importance of Being Earnest is a captivating comedy and a clever social commentary. Bunburying around town, John (Alex Barlas) and Algernon (Jay Lee) use a fictitious name, Earnest, to hide their real identities in an attempt to avoid social responsibilities. But falling in love is complicated, and fake identities just make things worse.

The characters reflect Victorian England, a transformative period when the upper class saw their status challenged by the expansion of education and the possibility of a revolution. In that respect, Director Gigi Bermingham turns the stage into a faithful representation of the English aristocracy and the pressing issues afflicting them. The actors nail their roles and create a delightful expression of tea time with the characteristic wit of British comedy.

Lee and Barlas are a terrific duo that add depth and dynamism to their characters. Barlas as the gentle aristocrat John Worthing and Lee as the charming dandy Algernon Moncrieff. Their female counterparts, Jules Willcox as Gwendolen Fairfax and Alessandra Mañón as Cecily Cardew infuse vivacity to their charming and bitchy frenmity. The supporting cast also do a great job capturing the conflicting social norms prevalent during Wilde’s life. Bo Foxworth plays Rev. Canon Chasuble, a man who tries to uphold British morality while suppressing his own romantic feelings for Miss Prism (Julia Fletcher). And to satirize Victorian society even more, Wilde uses Lady Bracknell as the figure that represents the selfishness of the upper class. Anne Gee Byrd plays the role with hilarious wickedness, an attribute that complements the heart of the play and Wilde’s biting animosity towards a vain and conservative society.

The sumptuous costumes and creative set design are in themselves an attraction to enjoy. The tailored Victorian dresses and the elegant suits add an air of sophistication to the production that match perfectly with the decoration of the set design. The china sets reveal the attention to detail, a characteristic of real professionals.

With attractive visual elements, a group of extraordinary actors, and excellent direction, this production honors the conflicting feelings of a playwright who defied conventions and advocated for free will in a time when doing so would result in ostracism and the loss of freedom.

The Importance of Being Earnest

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

Oct 13, 2024 – Nov 18, 2024

Tickets: antaeus.org

Written by Oscar Wilde. Directed by Gigi Bermingham.

Cast: Alex Barlas, Anne Gee Byrd, Julia Fletcher, Bo Foxworth, Jay Lee, Alessandra Mañón, Jules Willcox, and Michael Yapujian.

Creative team: Scenic Designer Angela Balogh Calin. Lighting Designer Ken Booth. Properties Designer John McElveney. Dialect Coach Paul Wagar. Production Dramaturg Rachel Berney Needleman. Costume Designer Julie Keen. Sound Designer Salvador C Zamora. Intimacy Director Jen Albert. Production Stage Manager Talya Camras. Assistant Stage Manager Casey Collaso.

Musical Review: ¡Pasaje!

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In a Hallmark or La Rosa de Guadalupe style, ¡Pasaje! brings a story of identity and self-discovery to the stage. Playwright J Quiroz sets the characters and story in South El Monte.

18-year-old Andy (Seth Keller) was raised by his single mom Angela (Sandra Dar) in Flagstaff, Arizona. Angela has never told him anything about his father. Believing they’re White, Andy decides to find out who his father is. Finding a letter and an address, Andy ends up in South El Monte, California, where he comes across a series of peculiar characters that help him find and embrace his newfound relatives and identity, once the family secrets are revealed.

The musical deals with topics of race, identity, and culture assimilation. Marcelina (Ixchel Valiente), Andy’s love interest, explains the discrimination she experienced when trying to become a ballerina. Hustlers Uno (Karol Avila) and Dos (Daniel Moises) pull tricks on people to survive, although their surprising goals are revealed at the end. Don Miguel (Joshua Duron) turns out to be the piece that links Andy to his past.

¡Pasaje! is a developmental work, so it’s a musical that still needs some work. The imagery, the costumes, and some of the attitudes exhibited by the Hustlers and Huicho (Noah Peralta) come off as trite and derogatory, especially for an educated Latino or Hispanic audience—the play also mentions the controversy around which term is the accurate one.

The musical might divide opinions in its current form. For a non-Latino audience, we’ll use Latino for simplicity, the production might seem like a light comedy with a happy ending. For a Latino audience, however, the story might be just another production with the never-ending stereotypes, although with some positive depictions: Angela is a lawyer, Marcelina doesn’t give up, and the Hustlers are not simple thugs.

Director Benjamin Perez works with what he has available and tries to present a positive message. Again, this is a developmental work, so is expected to have some flaws. The tense situations have a quick resolution without much conflict, like when Huicho and Freddy (Maximiliano Garcia) are arrested. Such scenes require more elaboration to get the audience invested in the characters and their perils. According to the information provided, the musical is on its way to Broadway. With this in mind, it is understood that J Quiroz will go back to the drawing board and rework the details. The intention is honest, and bringing South El Monte to Broadway would be a phenomenal achievement, so depicting a relegated community in a more developed manner will be far more meaningful and have a greater impact for sure.

¡Pasaje!

Sierra Madre Playhouse
87 W Sierra Madre Blvd
Sierra Madre, CA 91024

October 4, 2024 – November 3, 2024

Tickets: sierramadreplayhouse.org

Written by J Quiroz. Music by Asdru Sierra. Directed by Benjamin Perez. Music director is Greg Porée.

Cast: Itzel Ximena Gonzalez, Lisa Rodriguez, Andrew M. Garcia, Sandra Dar, Ixchel Valiente, Seth Keller, Joshua Duron, Maximiliano Garcia, Daniel Moises, Karol Avila, Luzma Ortiz, Pablo Milla, and Noah Peralta.

Creative team: Choreographer is Tania Possick. Costume Designer is Diana Gomez. Set Designer is Tiffany Anguiano. Lighting Designer is Grace Berry. Script Doctor is Alex Luu. Vocal Director is Rae Shrum.

Band: Greg Porée (guitar), Joey Navarro (keys), Adan Alonso (bass).

Theatre Review: Heading Into Night

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Boxing and unboxing your brain, one memory at a time. Daniel Passer delves into the onset of dementia using the figure of a clown.

With music, projections, and pantomime, Passer symbolizes the disruptive changes in a person’s brain when the sense of time and space start to fade. There are repetitive behaviours, memories that come and go in a matter of seconds, and the usual risks associated with mental decline. For God’s sake, don’t forget the popcorn in the microwave!

Synapse loss leads to hoarding, sleep disturbance, and withdrawal into a world of confusion and fantasy. And yet, there is joy in that world. The forgetness of misery, the hopeful sympathy of the people around, the realization that is time to go, with flashes of childhood and loved ones. The memories are still there, just disorganized. Heading Into Night is a visit to that mysterious space, it’s a journey to the final destination, bumping into objects, humanizing the demise.

Inspired by the Hogeweyk model of dementia care villages in some countries, Passer explores the intersection between clowning and dementia. As irrational as it might sound, clowning is about repetition, a common behaviour of people living with dementia, thus the connection. But it’s also a confirmation that, sometimes, humor comes from a place of pain. Despite the challenges, Passer validates the sense of joy triggered by the cherished memories that come back in sporadic moments of lucidity. In the Hogeweyk model, the patients enjoy a more compassionate care in a community that emphasizes a more independent lifestyle, while keeping them safe in the hands of relatives and professional caregivers.

Passer and Director Beth F. Milles communicate the intricacies of a devastating medical condition with cleverness, removing the stigmatization associated with dementia and allowing the audience to see the character as a human being rather than an obstacle.

The play is abstract with little words. It’s a unique style to tell a story, relying mainly in Passer’s ability for pantomime and the emotional atmosphere provided by the music and the projections. In that sense, this production feels more like a silent film. There is poignancy in the simplicity when talent and conviction express a serious subject matter with comedy and the musicality of movement.

Heading Into Night

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

Performances: Oct. 5 – Nov. 17

Wednesdays at 8 p.m.: Oct. 16 and Nov. 6 ONLY
Fridays at 8 p.m.: Oct. 18, Oct. 25; Nov. 1, Nov. 8, Nov. 15
Saturdays at 8 p.m.: Oct. 5 (opening), Oct. 19, Oct. 26; Nov. 2, Nov.  9, Nov. 16
Sundays at 2 p.m.: Oct. 6, Oct. 20, Oct. 27; Nov. 3, Nov. 10, Nov. 17

Tickets: odysseytheatre.com

Devised by Beth F. Milles and Daniel Passer. Directed by Beth F. Milles. Produced for the Odyssey by Beth Hogan. Presented by the Odyssey Theatre Ensemble. Ron Sossi, Artistic Director.

Cast:  Daniel Passer, Peter Mark, and German Schauss.

Creative team: Costume designer Márion Talán de la Rosa; lighting designer Jackson Funke; projection designer Gabrieal Griego; video designer (Amazing Race segment) Wei-Fang Chang; aerial designer and rigger Bianca Sapetto; sound designer (additional sound) Christopher Moscatiello; production coordinator Jenine MacDonald; technical consultant Pierre Clavel; and graphics designer Luba Lukova. The assistant directors are Taylor Bazos and Samantha Occhino, and the stage manager is Katie Chabot.

Musical Review: The Orphans’ Revenge

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All Alice White (Jessica Kent) wants is to find a good man to marry. Instead, she gets a creepy marriage proposal from Victor Van Rooper (Joseph Eastburn), a saloon owner with a questionable reputation, who offers to save the orphanage if Alice takes his offer.

The revival of this musical, originally produced by the Rep Group more than 40 years ago, is an excitingly crafted production with a creative way to allow audience participation. The story, which might seem like a devastating drama, turns into an epic melodrama where even death is fun to watch.

Orphans in dire need, a saloon troupe lead by a villain, and even a preacher are some of the odd characters that turn Alice’s world upside down. There’s also a character that appears to be the hero, Jack (Tack Sappington), who has the money to save the orphanage. But just as Alice contemplates the possibility of a happy life with him, Jack loses the money to a card game with Victor, and after a few drinks, falls prey to the evil ways of seductive vixen Carlotta (Kristin Towers Rowles), a performer with the troupe. The next morning, broke and regretful for betraying Alice, Jack becomes a pathetic image of utter defeat, with a blistering hangover, to add insult to injury. A hero no more. Virtuous Alice is then left to the whims of sinister Victor, with the risk of losing the orphanage as well.

At this point, the story becomes a race against time. Will Rose (Janet Wood), Victor’s companion, feel pity for Alice? Can half-hero Jack become a full hero? Maybe Uncle Ned (Brad Kahn) can help. To move the story along and bring the saloon feel to the stage, the musical numbers add a whimsical tone to the play. The actors get a chance to shine with their voices and dance moves. Likewise, Director Stan Mazin gets creative with the special effects. The snow might give you chills, the beer might get you thirsty, and watch out for the incoming train. Also pay attention to Uncle Ned’s speed, you blink and you might miss him. 

Mazin combines the creative elements effectively to present an appealing musical that is fun and lively. The cast is an amalgam of seasoned performers and newcomers. Once again, Joseph Eastburn graces the stage with his magnificent performance. He is a thespian with rich qualities and a valuable asset for the Group Rep. His comedy verging on sinisterness and vice versa is something you need to experience live to fully appreciate it. Also impressive is the sizzling Kristin Towers Rowles in her role of Carlotta Valdez, a Spaniard femme fatale who endangers the happiness of the hero and heroine. 

Mazin also introduces new faces: The orphans Arden Shia, Scarlett Strauss, Jackson Bethel, and Hannah Sun offer solid performances; a new generation of thespians in the making. Experiencing this musical with its melodramatic style is like going back in time to the 1800s, when this type of theatre was so popular. It is refreshing to see the Group Rep’s efforts to revive one of their most successful productions in their 50-year history.    

The Orphans’ Revenge

Lonny Chapman Theatre – Main Stage
10900 Burbank Blvd., North Hollywood 91601

October 4 — November 10, 2024
Fridays and Saturdays at 8:00pm; Sunday Matinees at 2:00pm

Tickets: thegrouprep.com

Book by Suzanne Buhrer and Gene Casey. Music by Gene Casey, Suzanne Buhrer and Jan Casey. Directed by Stan Mazin. Music direction by Andy Howe. Produced for The Group Rep by Linda Alznauer.

Cast: Sean Babcock, Jackson Bethel, George Bufford, Joseph Eastburn, Lareen Faye, Brad Kahn, Jessica Kent, Hisato Masuyama, Casey Murray, Tack Sappington, Rob Schaumann,
Kyra Schwartz, Arden Shia, Suzan Solomon, Abigail Stewart, Melissa Strauss, Scarlett Strauss, Hannah Sun, Kristin Towers Rowles, and Janet Wood.

Creative team: Mareli Mitchel-Shields (Set Design), Shon LeBlanc (Costume Design), Frank McKown (Lighting Design), Nick Foran (Sound Design).

Musical Review: Guys and Dolls

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Nathan Detroit (Justin Anthony Long) needs money to set up the biggest craps game in New York City, so he turns to fellow gambler Sky Masterson (James Byous). But Sky falls for religious missionary Sarah Brown (Elizabeth Eden). Adding to Nathan’s misfortunes, Adelaide (Margaret Spirito), his girlfriend of 14 years, demands marriage and kids. With the cops closing in on him and his gang of gamblers, the clock is ticking for Nathan to come up with the money and save the day.

Despite a delay due to a technical glitch with the lighting system at the beginning of Act II, the cast deliver an outstanding rendition of the beloved musical that has had a successful run around the world since its opening in 1950. Music Director Chris Wade leads a fantastic band that energizes the music numbers; the “Guys and Dolls (Reprise) at the end of Act II is an eye-catching display of dance and music. For the signature 11 o’clock number “Sit Down, You’re Rockin’ The Boat”, the music sets the tone for a captivating performance by Nicely Nicely (Jalen Friday), showing off his singing and dancing skills.

The customs by Michael Mullen also contribute to the overall feel of the play, bright and dark colors for the guys, and fancy dresses for the dolls. The costumes capture the elegance of the 1920 and 1930s, years that defined a glitzy and glamorous time in fashion.

The chemistry among the actors playing the four main characters is paramount to the success of this musical, as their interactions are the main focus of the story. In that sense, the connection between Sky and Sarah, played by James Byous and Elizabeth Eden is evident from the beginning. Their meeting sets off a moral question and sparks a romance that will change the course of things. Throughout the play, Byous and Eden build up the emotions and conflicting differences between them to create a dynamic relationship that draws the audience into the story. Similarly, the relationship between Nathan and Adelaide, played by Justin Anthony Long and Margaret Spirito, creates conflict and unleashes a series of comedic situations depicting the faithful devotion of the female character and the usual hesitation of the male character. Spirito thrives on her role. Her voice and comedic skills create a delightful character; Her performance is magnetic and memorable.

Director Doug Kreeger revives this musical with a colorful display of costumes, lighting, and excellent acting. The pacing and the music make it a dynamic staging that brings back the hustle and bustle of the underworld during the prohibition era in NYC.

The incipient adventure of Altadena Music Theatre into musicals continues with another well-developed staging of a classic production, showing their commitment to bring successful and meaningful musicals to the local theatre scene. Led by its Founder and Artistic Director Sarah Azcarate, Director Oliver Azcarate, Music Director Chris Wade, and Choreographer Melissa Schade, Altadena Music Theatre is a 501(c)(3) non-profit dedicated to live musical theatre, arts advocacy, and developmental youth programs.

Guys and Dolls

Altadena Music Theatre at the Charles Farnsworth Amphitheater
568 E Mount Curve Ave
Altadena, CA 91001

October 10 – 20, 2024

Thursday – Sunday at 7:00 PM

Tickets: https://www.eventbrite.com/o/altadena-music-theatre-50505137413

Based on the story and characters of Damon Runyon. Book by Jo Swerling and Abe Burrows. Music and Lyrics by Frank Loesser. Directed by Doug Kreeger. Choreographed by Nico O’Connor. Music direction by Chris Wade. Produced by Sarah Azcarate.

Cast: James Byous, Elizabeth Eden, Justin Anthony Long, Margaret Spirito, Jalen Friday, Robert Manion, Scott Van Tuyl, Brian Drummy, Cesario Perez, Will Kohlschrieber, Benita Scheckel, Zach Macdonald, Scarlet Sheppard, Abby Loucks, Kasey Hentz, Courtney Macmillan, Leonel Ayala, Sage Cabos, Andrew Pantazis, Jacob Rushing.

Creative team: Lighting and sound director JC Lara. Sound engineer Brian Celestino. Lighting designer Billie Oleyar. Costumer Michael Mullen. Set designer Andrew Hull. Prop master Darcy Hull. Hair and wing design Carter Thomas. Fight director Gabrielle Perrea. Intimacy coordinator Alexa Lowery.

Musicians: Keys, Bandmaster Chris Wade. Violin Erin Tompkins. Sax/Clarinet/Flute Jordan Guzman. Trombone Rebecca Buringrud. Bass Holly Barber. Keys Genie Cheng. Keys swing Bella Suot. Winds swing Daziel Rodriguez. Trombone swing Carlo Bonelli. Trumpet Andrew Rodman.

‘The Children’ Takes the Stage at The Wayward Artist

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The Children Takes the Stage at The Wayward Artist

In the aftermath of a nuclear disaster three friends come together

 

SANTA ANA, CA, October 8, 2024 – The Wayward Artist, Santa Ana’s own ensemble theatre company, will present The Children from November 8th through the 17th at its exclusive theater venue at the Grand Central Art Center in Downtown Santa Ana, 125 N. Broadway #E.

 

The Children, by Lucy Kirkwood, is a thought-provoking play that  delves into the complexities of accountability, guilt, morality, and human actions. Set in the aftermath of a nuclear disaster, the story centers on two retired nuclear physicists, Hazel and Robin, who have isolated themselves in a remote cottage on the British coast. Their quiet life is disrupted when Rose, a former colleague, arrives, forcing them to confront the unresolved issues of their past and an uncertain future. As the play unfolds in real-time over the course of 90 intense minutes, they grapple with the ethical implications of their choices—both personal and professional—and how those decisions shape not only their own lives but the future of humanity itself.

 

“As we explore The Children, we’re reminded of the delicate balance between personal responsibility and the collective good,” said Director Craig Tyrl. “This play is not just about the consequences of the past but the decisions we make now, and how they ripple through the lives of those around us. It’s a haunting and powerful reflection on the choices we face in an uncertain world.”

 

CAST:

Juliet Schulein as Rose

Shelly Day as Hazel

Kelly Franett as Robin

WHERE:

The Wayward Artist

Grand Central Art Center

125 N. Broadway

Santa Ana, CA 92701

WHEN:

Friday November 8 at 7:30pm

Saturday November 9 at 7:30pm

Sunday November 10 at 2:00pm

Thursday November 14 at 7:30pm

Friday November 15 at 7:30pm

Saturday November 16 at 7:30pm

Sunday November 17 at 2:00pm

TICKETS:

https://www.thewaywardartist.org/children

ABOUT THE WAYWARD ARTIST:

The work of The Wayward Artist is edgy and unafraid to push the envelope of politeness, political correctness, and propriety. It doesn’t shy away from adult content, language and mature subject matter. It’s about innovation and re-invention and, wherever possible, delight in showing audiences a mirror to challenge pride, prejudices, and point-of-view. Its mission is to be the home for wayward artists – the lost, the naked, the vulnerable and to produce wayward works of a professional quality – works that are new, edgy and reimagined.

THE CIVIL TWILIGHT at the Broadwater Studio Theatre

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Plays With People Productions
in association with the Road Theatre Company
present the World Premiere of
THE CIVIL TWILIGHT
Written by Shem Bitterman
Directed by Ann Hearn Tobolowsky
Limited Engagement begins Friday, October 18
at the Broadwater Studio Theatre in Los Angeles

September 3, 2024…Los Angeles, CA…Plays With People Productions in association with the
Road Theatre Company present a world premiere play, THE CIVIL TWILIGHT, written by
Shem Bitterman, directed by Ann Hearn Tobolowsky (Mercury, Through the Eye of A Needle)
and starring Taylor Gilbert and Andrew Elvis Miller. THE CIVIL TWILIGHT will preview
on Wednesday, October 16 & Thursday, October 17 at 8pm; will open on Friday, October 18
at 8pm and run through Sunday, November 24 at the Broadwater Studio Theatre, 1076 Lillian
Way in Los Angeles.
A twisty thriller that takes place over a single night during a once in a century storm, THE
CIVIL TWILIGHT tells the story of what happens when a popular a.m. radio personality
winds up trapped in a motel room in the Midwest with his biggest fan.

Opens: Friday, October 18 at 8pm
Runs: Friday, October 18 – Sunday, November 24, 2024
Fridays at 8pm; Saturdays at 8pm; Sundays at 3pm.
Previews: Wednesday, October 16 &
Thursday, October 17 at 8pm
The Broadwater Studio Theatre
1076 Lillian Way., Los Angeles, CA
Tickets: $45.00
Previews: $20.00
Seniors: $25
Students: 20.00
For tickets – theciviltwilight.ludus.com or email
ctbroadwaterstudio@gmail.com for more information.

ENCUENTRO 2024 We Are Here: PRESENTE! at LATC

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Image
‘Encuentro 2024:
We Are Here – Presente!’

19 theater companies from 12 cities across 8 states and Puerto Rico in residence at the multi-venue The Los Angeles Theatre Center, with performances running simultaneously in six different spaces over the course of three weeks.

October 24 through November 10
Find the complete performance schedule here.

(Schedule subject to change: check back for updates.)

The Los Angeles Theatre Center
514 S Spring St.
Los Angeles, CA 90013

Thursday Oct. 24
• 8 p.m.: Theater 1: The Red Rose (Pregones/Puerto Rican Traveling Theater, Bronx, NY)
• 8 p.m.: Theater 2: A Girl Grows Wings (Latino Theater Company, Los Angeles, developed and devised by Organización Secreta Teatro, Ciudad de México, MX)
• 8 p.m.: Theater 3: Whittier Boulevard (Latino Theater Company, Los Angeles)
• 8 p.m.: Theater 4: The Delicate Tears of the Waning Moon (Water People Theater, Chicago, IL)
• 8 p.m.: Theater 5: CABAREX 2: RevoLUZiones (ProyectoTEATRO, Austin, TX)
• 8 p.m.: Theater 6: ODD MAN OUT (Pitchblack Immersive, New York, NY)

Friday, Oct. 25
• 5 p.m.: Theater 4: Memorabilia (La Vuelta Ensemble, Chicago, IL)
• 5 p.m.: Theater 5: Your Healing is Killing Me (Cara Mía Theater Company, Dallas, TX)
• 8 p.m.:Theater 1: The Red Rose (Pregones/Puerto Rican Traveling Theater, Bronx, NY)
• 8 p.m.: Theater 2: Blanco Temblor (Teatro Público, San Juan, PR)
• 8 p.m.: Theater 3: Whittier Boulevard (Latino Theater Company, Los Angeles)
• 8 p.m.: Theater 4: Stone Heart (Camino23 Collective, San Diego, CA)
• 8 p.m.: Theater 5: Ayotzinapa (Grupo de Teatro SINERGIA, Los Angeles, CA)

Saturday, Oct. 26
• 2 p.m.: Theater 2: A Girl Grows Wings (Latino Theater Company, Los Angeles, developed and devised by Organización Secreta Teatro, Ciudad de México, MX)
• 2 p.m.: Theater 4: La Vida es Sueño (Bilingual Foundation of the Arts, Los Angeles, CA)
• 2 p.m.: Theater 5: Quarter Rican (Gabriel Diego Hernández, Jersey City, NJ)
• 4 p.m.: Theater 1: Interview with a Mexican (Su Teatro, Denver, CO)
• 4 p.m.: Theater 3: Yamel Cucuy (Glass Half Full, Austin, TX)
• 5 p.m.:Theater 4: Stone Heart (Camino23 Collective, San Diego, CA)
• 5 p.m.: Theater 5: Your Healing is Killing Me (Cara Mía Theater Company, Dallas, TX)
• 8 p.m.: Theater 1: Interview with a Mexican (Su Teatro, Denver, CO)
• 8 p.m.: Theater 2: Blanco Temblor (Teatro Público, San Juan, PR)
• 8 p.m.: Theater 3: The 22+ Weddings of Hugo Multiple (GALA Hispanic Theatre, Washington, DC)
• 8 p.m.: Theater 4: Memorabilia (La Vuelta Ensemble, Chicago, IL)
• 8 p.m.: Theater 5: CABAREX 2: RevoLUZiones (ProyectoTEATRO, Austin, TX)
• 8 p.m.: Theater 6: ODD MAN OUT (Pitchblack Immersive, New York, NY)

Sunday, Oct. 27
• 2 p.m.: Theater 1: La Golondrina (Repertorio Español/Tantai Teatro PR, New York, NY)
• 2 p.m.: Theater 3: Yamel Cucuy (Glass Half Full, Austin, TX)
• 4 p.m.: Theater 2: Antigona 3.0 (Borderlands Theater Company, Tuscon, AZ)
• 4 p.m.: Theater 4: The Delicate Tears of the Waning Moon (Water People Theater, Chicago, IL)
• 4 p.m.: Theater 5: Quarter Rican (Gabriel Diego Hernández, Jersey City, NJ)
• 5:30 p.m.: Theater 1: La Golondrina (Repertorio Españo/Tantai Teatro PR, New York, NY)
• 5:30 p.m.: Theater 3: The 22+ Weddings of Hugo Multiple (GALA Hispanic Theatre, Washington, DC)
• 7 p.m.: Theater 2: Antigona 3.0 (Borderlands Theater Company, Tuscon, AZ)
• 7 p.m.: Theater 4: La Vida es Sueño (Bilingual Foundation of the Arts, Los Angeles, CA)
• 7 p.m.: Theater 5: Ayotzinapa (Grupo de Teatro SINERGIA, Los Angeles, CA)

Thursday. Oct. 31
• 5 p.m. Theater 4: Stone Heart (Camino23 Collective, San Diego, CA)
• 5 p.m. Theater 5: Ayotzinapa (Grupo de Teatro SINERGIA, Los Angeles, CA)
• 8 p.m.: Theater 1: Interview with a Mexican (Su Teatro, Denver, CO)
• 8 p.m.: Theater 2: Antigona 3.0 (Borderlands Theater Company, Tuscon, AZ)
• 8 p.m.: Theater 3: The 22+ Weddings of Hugo Multiple (GALA Hispanic Theatre, Washington, DC)
• 8 p.m.: Theater 4: La Vida es Sueño (Bilingual Foundation of the Arts, Los Angeles, CA)
• 8 p.m.: Theater 5: Your Healing is Killing Me (Cara Mía Theater Company, Dallas, TX)

Friday, Nov. 1
• 5 p.m. Theater 4: The Delicate Tears of the Waning Moon (Water People Theater, Chicago, IL)
• 5 p.m. Theater 5: CABAREX 2: RevoLUZiones (ProyectoTEATRO, Austin, TX)
• 8 p.m.: Theater 1: La Golondrina (Repertorio Español/Tantai Teatro PR, New York, NY)
• 8 p.m.: Theater 2: Antigona 3.0 (Borderlands Theater Company, Tuscon, AZ)
• 8 p.m.: Theater 3: The 22+ Weddings of Hugo Multiple (GALA Hispanic Theatre, Washington, DC)
• 8 p.m.: Theater 4: Memorabilia (La Vuelta Ensemble, Chicago, IL)
• 8 p.m.: Theater 5: Quarter Rican (Gabriel Diego Hernández, Jersey City, NJ)
• 8 p.m.: Theater 6: ODD MAN OUT (Pitchblack Immersive, New York, NY)

Saturday, Nov. 2 (Dia de Los Muertos)
• 2 p.m.: Theater 1: La Golondrina (Repertorio Español/Tantai Teatro PR, New York, NY)
• 2 p.m.: Theater 3: Whittier Boulevard (Latino Theater Company, Los Angeles)
• 4 p.m.: Theater 2: Blanco Temblor (Teatro Público, San Juan, PR)
• 4 p.m.: Theater 4: Memorabilia (La Vuelta Ensemble, Chicago, IL)
• 4 p.m.: Theater 5: CABAREX 2: RevoLUZiones (ProyectoTEATRO, Austin, TX)
• 5 p.m.:Theater 1: La Golondrina (Repertorio Español/Tantai Teatro PR, New York, NY)
• 5 p.m.: Theater 3: Yamel Cucuy (Glass Half Full, Austin, TX)
• 8 p.m.: Theater 1: Interview with a Mexican (Su Teatro, Denver, CO)
• 8 p.m.: Theater 2: A Girl Grows Wings (Latino Theater Company, Los Angeles, developed and devised by Organización Secreta Teatro, Ciudad de México, MX)
• 8 p.m.: Theater 4: La Vida es Sueño (Bilingual Foundation of the Arts, Los Angeles, CA)
• 8 p.m.: Theater 5: Your Healing is Killing Me (Cara Mía Theater Company, Dallas, TX)

Sunday, Nov. 3
• 2 p.m.: Theater 2: A Girl Grows Wings (Latino Theater Company, Los Angeles, developed and devised by Organización Secreta Teatro, Ciudad de México, MX)
• 2 p.m.: Theater 4: The Delicate Tears of the Waning Moon (Water People Theater, Chicago, IL)
• 2 p.m.: Theater 5: Ayotzinapa (Grupo de Teatro SINERGIA, Los Angeles, CA)
• 4 p.m.: Theater 1: The Red Rose (Pregones/Puerto Rican Traveling Theater, Bronx, NY)
• 4 p.m.: Theater 3: Yamel Cucuy (Glass Half Full, Austin, TX)
• 4 p.m.: Theater 6: ODD MAN OUT (Pitchblack Immersive, New York, NY)
• 5:30 p.m.:Theater 2: Blanco Temblor (Teatro Público, San Juan, PR)
• 5:30 p.m.:Theater 4: Stone Heart (Camino23 Collective, San Diego, CA)
• 5:30 p.m.: Theater 5: Quarter Rican (Gabriel Diego Hernández, Jersey City, NJ)
• 7 p.m.: Theater 1: The Red Rose (Pregones/Puerto Rican Traveling Theater, Bronx, NY)
• 7 p.m.: Theater 3: Whittier Boulevard (Latino Theater Company, Los Angeles)

Thursday Nov. 7
• 5 p.m.: Theater 4: La Vida es Sueño (Bilingual Foundation of the Arts, Los Angeles, CA)
• 5 p.m.: Theater 5: Your Healing is Killing Me (Cara Mía Theater Company, Dallas, TX)
• 8 p.m. Theater 1: Carlota: Alhajero de Secretos (Teatro Alebrijes, San Jose, CA)
• 8 p.m. Theater 2: Blanco Temblor (Teatro Público, San Juan, PR)
• 8 p.m. Theater 3:Yamel Cucuy (Glass Half Full, Austin, TX)
• 8 p.m. Theater 4: Stone Heart (Camino23 Collective, San Diego, CA)
• 8 p.m. Theater 5:Ayotzinapa (Grupo de Teatro SINERGIA, Los Angeles, CA)

Friday, Nov. 8
• 6 p.m. Theater 1: Interview with a Mexican (Su Teatro, Denver, CO)
• 6 p.m. Theater 4: Memorabilia (La Vuelta Ensemble, Chicago, IL)
• 6 p.m. Theater 5: Quarter Rican (Gabriel Diego Hernández, Jersey City, NJ)
• 8 p.m. Theater 2: Blanco Temblor (Teatro Público, San Juan, PR)
• 8 p.m. Theater 3: Yamel Cucuy (Glass Half Full, Austin, TX)
• 8:30 p.m. Theater 1: Carlota: Alhajero de Secretos (Teatro Alebrijes, San Jose, CA)
• 8:30 p.m. Theater 4: The Delicate Tears of the Waning Moon (Water People Theater, Chicago, IL)
• 8:30 p.m. Theater 5: CABAREX 2: RevoLUZiones (ProyectoTEATRO, Austin, TX)

Saturday, Nov. 9
• 2 p.m.: Theater 2: Antigona 3.0 (Borderlands Theater Company, Tuscon, AZ)
• 2 p.m.: Theater 4: Memorabilia (La Vuelta Ensemble, Chicago, IL)
• 2 p.m.: Theater 5: Your Healing is Killing Me (Cara Mía Theater Company, Dallas, TX)
• 4 p.m.: Theater 1: The Red Rose (Pregones/Puerto Rican Traveling Theater, Bronx, NY)
• 4 p.m.: Theater 3: The 22+ Weddings of Hugo Multiple (GALA Hispanic Theatre, Washington, DC)
• 5 p.m.:Theater 2: Antigona 3.0 (Borderlands Theater Company, Tuscon, AZ)
• 5 p.m.: Theater 4: The Delicate Tears of the Waning Moon (Water People Theater, Chicago, IL)
• 5 p.m.: Theater 5: CABAREX 2: RevoLUZiones (ProyectoTEATRO, Austin, TX)
• 8 p.m.: Theater 1: The Red Rose (Pregones/Puerto Rican Traveling Theater, Bronx, NY)
• 8 p.m.: Theater 2: A Girl Grows Wings (Latino Theater Company, Los Angeles, developed and devised by Organización Secreta Teatro, Ciudad de México, MX)
• 8 p.m.: Theater 3: Whittier Boulevard (Latino Theater Company, Los Angeles)
• 8 p.m.: Theater 4: Stone Heart (Camino23 Collective, San Diego, CA)
• 8 p.m.: Theater 5: Quarter Rican (Gabriel Diego Hernández, Jersey City, NJ)
• 8 p.m.: Theater 6: ODD MAN OUT (Pitchblack Immersive, New York, NY)

Sunday, Nov. 10
• 2 p.m.: Theater 1: Carlota: Alhajero de Secretos (Teatro Alebrijes, San Jose, CA)
• 2 p.m.: Theater 3: The 22+ Weddings of Hugo Multiple (GALA Hispanic Theatre, Washington, DC)
• 4 p.m.: Theater 2: A Girl Grows Wings (Latino Theater Company, Los Angeles, developed and devised by Organización Secreta Teatro, Ciudad de México, MX)
• 4 p.m.: Theater 4: La Vida es Sueño (Bilingual Foundation of the Arts, Los Angeles, CA)
• 4 p.m.: Theater 5: Ayotzinapa (Grupo de Teatro SINERGIA, Los Angeles, CA)
• 6 p.m.: Theater 1: Interview with a Mexican (Su Teatro, Denver, CO)
• 6 p.m.: Theater 3: Whittier Boulevard (Latino Theater Company, Los Angeles)
• 6 p.m.: Theater 6: ODD MAN OUT (Pitchblack Immersive, New York, NY)

FOUR TOP at Lonny Chapman Theatre

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A World Premiere Comedy
FOUR TOP
October 17 – November 17, 2024
Thursdays at 7pm, Saturdays at 4pm & Sundays 7pm. Running time: 90 mins., no
intermission
“After the Show Talkbacks with cast, author & staff” Sundays 10/20 & 10/27
Lonny Chapman Theatre – Upstairs Stage (Second Floor)
10900 Burbank Blvd. North Hollywood 91601

The Group Rep is proud to present the world premiere of Michael B. Kaplan’s new comedy FOUR TOP, directed by Kathleen R. Delaney and produced by Denise Downer.

FOUR TOP is a relationship comedy about the sometimes confused, sometimes desperate and sometimes farcical search for love and meaning, and the realization that it is better to have loved and lost than never to have been bitten by a ferret at your ex’s engagement party.

The cast features the talents of Rosie Byrne (Megan), Cassidy LeClair (Server), Jack Menzies (Brian), Luke Rampersad (Tony) and Jackie Shearn (Liz).

FOUR TOP runs October 17th through November 17th , Thursdays at 7:00pm, Saturdays at 4pm, and Sundays at 7pm. Running time: 90 minutes. No intermission. General Admission: $30. Seniors & Students with ID: $25. Parties 10+: $20. Purchase Tickets: thegrouprep.com Reservations & Information: 818-763-5990. Free street and early bird parking for several cars in the lot to the left of the venue.

Sierra Madre Playhouse Receives Largest Grant in Its History

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Sierra Madre Playhouse

Receives Largest Grant in Its History,

a $450,000 General Operating Support Grant from

the Perenchio Foundation

(Sierra Madre, CA, October 9, 2024) The historic Sierra Madre Playhouse, an intimate performing arts center noted for its eclectic programming, is proud to announce that it is the recipient of 2024 General Operating Support Grant from the Perenchio Foundation. The $450,000 grant is the largest in Sierra Madre Playhouse’s history.

 

Perenchio Foundation’s General Operating Support Grants provide flexible funding to Los Angeles County arts organizations to bolster operational resilience. With a commitment for multiple years, these grants aim to help arts organizations address immediate needs, strengthen infrastructure, plan from a place of greater confidence and stability, and build capacity for a long-term future in the region.

 

“Sierra Madre Playhouse is deeply honored and incredibly grateful to receive this extraordinary support from the Perenchio Foundation,” said Matthew Cook, Sierra Madre Playhouse’s Artistic and Executive Director. “This transformative grant will be instrumental in enabling us to build a sustainable infrastructure, allowing us to increase our capacity to serve our community with an expected 162 performances next year. The generous support from the Perenchio Foundation marks a pivotal moment for the Sierra Madre Playhouse, enabling us to expand our team and enhance our operational capabilities, laying a solid foundation for our future. This investment is a testament to the foundation’s belief in Sierra Madre Playhouse’s mission and its role in enriching the region’s cultural landscape.”

 

Perenchio Foundation Chief Executive Officer Stephania Ramirez said, “We are proud to invest in organizations that have been pillars in their communities for years, offering high-quality, meaningful arts experiences that help move their craft forward. This multi-year support will help them to plan strategically and sustain their vital work in Los Angeles County.”

 

The Perenchio Foundation is a private foundation established by the late A. Jerrold “Jerry” Perenchio. The Perenchio Foundation believes that arts play an essential role in building more equitable, culturally vibrant, and inclusive communities, and is guided by a commitment to create a positive, lasting impact in the Los Angeles region through the arts. Learn more at www.perenchiofoundation.org.

 

Sierra Madre Playhouse, a vibrant Southern California cultural hub with a rich history spanning a century, energizes audiences and the community with distinctive theatrical productions and captivating live performances. Hailed as a “jewel” (Pasadena Weekly) and “a landmark theater” (ABC7 Los Angeles), the performing arts center has garnered tremendous accolades for its varied repertoire and thought-provoking education and outreach programs curated with social impact in mind. As one of San Gabriel Valley’s only performing arts center presenting a broad spectrum of performance genres, including theater, music, dance, film, comedy, and family-friendly productions featuring eminent local and national professional artists, the treasured artistic beacon draws audiences from across the Southland.

 

The intimate 99-seat Sierra Madre Playhouse offers an up-close and personal connection to performances that resonate deeply, earning multiple Ovation Awards, NAACP Awards, and LA Times Critics’ Choice honors. Retaining its distinctive movie theater façade and instantly recognizable marquee, the structure has undergone numerous transformations since opening in 1910, from furniture emporium to silent movie theatre to the artistic institution that now stands as a vibrant embodiment of the region’s rich cultural legacy. The Sierra Madre Playhouse fosters creativity that aspires to bridge divides and spark dialogue, all while celebrating the rich tapestry of the American experience and the enduring pursuit of shared understanding.

 

For information on the Sierra Madre Playhouse, please call 626.355.4318 or visit www.sierramadreplayhouse.org. Sierra Madre Playhouse is located at 87 West Sierra Madre Boulevard, Sierra Madre, CA 91024.