Author Archive: Glamour

Theatre Review: The Very Best People

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With a mesmerizing set design by Christopher Scott Murillo, The Very Best People opened up on Sunday at the Atwater Village Theatre.

More than anything else, John Lavelle‘s play is a comedy, a really good one. The exteriorized violence depicted in some of the scenes is hilarious rather than tragic. To match the violence, there is blood. Lots of blood. Dripping blood, broken noses, lodged bullets, and a squirt of ranch dressing are elements that exteriorize the extreme nature of the characters and the anger buildup taking over their lives.

Jak (Bryan Langlitz), owner of Angelina’s Irish Pub, is preparing a plan to take down the Deep State. Joining his insurrection is Joey (James Luster), a friend who is also influenced by the QAnon movement. They’re avid fans of Lara Amanda (Margaux Susi), a TV host that propagates a conservative agenda through her show. Joey has a huge crush on Lara Amanda. So intense is his infatuation that he tends to lock the pub’s doors and fantasize about her, charming the cobra while eating spicy chicken wings. Yes, a strange fetishism for a thirtysomething still living with his mom.

If that’s not bizarre enough, Joey also has a disturbing attraction for Chris’ wife. Chris, a childhood friend of both Jak and Joey, is a NYPD detective who got shot under mysterious circumstances and is now fighting for his life. Two other characters that add tension to the story are Jak’s stepsister Fanny (Andria Kozica) and her obedient boyfriend Brian (Adrián González), an ex-con who is friends with Jak, Joey, and Chris. Fanny is a nurse and is the anti-racist and anti-far right member who keeps everyone in check to guarantee the sanity in the group, although she’s unable to stop Brian from kidnapping Patrick (Seth Leighton Hale), an action instigated by Jak and Joey.

The play shows White men feeling under siege and on the verge of losing their minds due to an influx of radical information. Lavelle takes a clear stance against racism and ultraconservatism, making the premise a one-sided exploration of the current political and social environment. In that sense, The Very Best People is less neutral than plays like Human Error, which explores both sides of the spectrum without taking sides. Lavelle’s point is that men, in this case White men, exhibit an animalistic nature in their behaviour, which oftentimes leads to extreme violence and sexual predation (Joey actually howls like a wolf, or a coyote, depending on who you ask). But the play seems to ask us not to take matters so seriously, even violence can be funny, within a proscenium and using fake blood, of course.

The events that unraveled on January 6, 2021 continue to generate an intense debate on the social and political arenas. The Very Best People is one more piece of the vast legacy of opinions unleashed after the Capitol riot. The play is visceral and fascinatingly executed by this talented group of actors. Director Melissa Coleman-Reed achieves an impressive and highly kinetic production, using all of the elements at her disposal masterfully to serve the story. The fights, the shootings, and the tourniquette may be hard to watch, and you might think twice before using ranch dressing ever again, but the cast and production team make it a one-of-a-kind theatre experience not to be missed.

The Very Best People

Atwater Village Theatre
3269 Casitas Ave, Los Angeles CA

September 29 – October 27, 2024

Thursdays-Saturdays: 8pm (no Thursday, October 17 performance)
Sundays: 2:00pm

Tickets: iamatheatre.com

Written by John Lavelle. Directed by Melissa Coleman-Reed. Quinn O’Connor, Associate Producer.

Cast: Adrián González, Andria Kozica, Bryan Langlitz, James Luster, Margaux Susi, and Seth Leighton Hale.

Creative team: Jordan Bass (Casting Director), Erin Bednarz (Sound Designer), Nicole Bernardini (Properties Designer), Benedict Conran (Lighting Designer), Roella Dellosa (Production Stage Manager), Zander Eckhouse (Video Designer), Samantha Jones (Costume Designer), Lauren Lovett (Dialect Coach), Christopher Scott Murillo (Set Designer), Zachary Phaneuf (Technical Director), and Celina Lee Surniak (Intimacy and Fight Director).

Theatre Review: Gloria

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In the gripping world of Gloria, the apparent superfluous relationships at a Manhattan magazine office reveal the deep existential crisis of the employees, and in one particular case, the disturbing mental issues of one of the lifers at the company.

Dean (Will Martella) shows up to work late with a hangover, telling Ani (Emma Laird) about the pathetic house warming party organized the night before by Gloria (Branda Lock), who just bought an apartment after working for years at the company. Only four people showed up to the party, a testament of how detached and lonely her life has become.

Minutes later, Kendra (Audrey Forman) arrives at the office, also late, but with a glamourous flair and an outfit that seems ready to take the catwalk by storm. She engages in a heated argument with Dean about the inexorable march of time and the dreadful possibility of becoming a lifer at the office. The argument is loud, so loud that Lorin (Erik Scilley), a fact-checker, comes in and tells them to tone it down, as he is trying to concentrate on the article about the life of a singer who just died of an overdose.

The fact that Lorin also experiences a mental and emotional meltdown due to the exhaustion and miserability of a fact-checker position tells us that life at the office as editorial assistants seems more like a dead-end street, with no more free coffee, by the way. All of this mayhem unravels while Miles (Johnathan Middleton), the new intern, sits at his desk pretending to have his headphones on. He is mainly used to bringing snacks to everyone.

Act I ends with a surprise. Act II is all about life after the event that ended Act I. Branden Jacobs-Jenkins‘ phenomenal script is based on his own experience working at The New Yorker magazine. Jacobs-Jenkins explores what happens when the idealistic hopes of new grads meet the realities of a structured job and the cut-throat culture of a demanding industry such as journalism. The exciting expectation of a book deal as a successful writer becomes nothing else but a broken dream due to the stealing of ideas in a world where the person in power gets to own the story. The text has humor, drama, and a great deal of real-world experience that makes it relatable to the audience.

Director Marya Mazor translates the text into action brilliantly. Her extraordinary work with the actors is evident. The cast deliver a fascinating performance. The meltdowns and the physical comedy are all well-choreographed and executed, with the actors moving around in a visually accurate office and coffee shop set, an indication of Mazor’s extraordinary attention to detail. Equally stunning is Mazor’s choice of costumes, particularly for Kendra, whose outfits reflect her ambitious inclinations.

It is refreshing to see upcoming actors for this production. Audrey Forman, a USC graduate, has an imposing presence on stage, delivering her lines fluently and getting into character with confidence. The same for the rest of the actors, each one nailing the script and movements, creating a dynamic presentation to depict the frustrations and hopelessness of the characters, with an engaging sense of comedy. Branda Lock, Emma Laird, Will Martella, and Johnathan Middleton play multiple roles.

The cast and the production team’s dedication take the audience to a dramatic and hilarious journey not to be missed. It’s another amazing staging added to the successful 2024 season of Chance Theater.

Gloria

Chance Theater @ Bette Aitken theater arts Center on the Cripe Stage

5522 E. La Palma Ave., Anaheim, CA 92807

September 27- October 20, 2024

Fridays at 7 p.m. (only Sep 29) and 8 p.m., Saturdays at 3 p.m. and 8 p.m. & Sundays at 3 p.m.

Tickets: chancetheater.com

Written by Branden Jacobs-Jenkins. Directed by Marya Mazor. Linda & Tod White, Executive Producers. Bette & Wylie Aitken, Executive Season Producers. Laurie Smits Staude, Associate Producer. Family of Mary Kay Fyda-Mar, Associate Season Producers.

Cast: Branda Lock as Gloria/Nan. Emma Laird as Ani/Sasha/Callie. Audrey Forman as Kendra. Will Martella as Dean/Devin. Johnathan Middleton as Miles/Shawn/Rashaad. Erik Scilley as Lorin.

Creative team: Christopher Scott Murillo, Scenic Designer. Adriana Lámbarri, Costume Designer. Andrea Heilman, Lighting Designer. Jordan Jones, Stage Manager. Jocelyn L. Buckner. Martin Noyes, Fight Director.

Theatre Review: Luzmi

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After the death of her mother Luna, Luzmi (Stephanie Hoston) decides to make a trip to her native Colombia—a country she left as a kid—to connect with her roots, visiting her Tia Alma (Bibiana Navas). Upon her arrival, she interacts with multiple people who show her a face of a country she didn’t know: An indigenous population fighting poverty, struggling with identity, and suffering the rapid loss of their megadiverse land due to aggressive deforestation. 

Playwright Diana Burbano incorporates elements of magical realism to symbolize the hopes, challenges, and rich culture of those communities whose existence has been constantly endangered by the vicious march of imperialism. Burbano blends poetically the idyllic past, the painful present, and the uncertain future of Colombia’s biodiversity. Expressing that marvelous realism on stage, Director Elisa Bocanegra uses puppetry, costumes, and phantasmagorical characters to represent the natives’ beliefs and some of the fauna found in Colombia. The most significant one is el colibrí (hummingbird), quynza, majestic bird, messenger of the universe. It’s a metaphor representing the land and the hope of a better future.  

The shaman and the ritual spreading Luna’s ashes further accentuates the beauty and mysticism of Colombia’s indigenous culture. The play contains multiple references to the Colombian landscape, not only of its luxuriant vegetation but its diverse human presence as well. The characters represent or reference El Choco, Guajira, Magütá, Nariño, and more. Luzmi is a vivid recount of Burbano and Bocanegra’s trip to Colombia to research for Nuestro Planeta, HERO Theatre and HERO Multimedia‘s initiative on environmental justice issues in Latin American countries.

One of the characters in the story is Claudia (Helena Betancourt), who used to work for the government and is now desperate to make money, even if that means to throw her own people under the bus. At one point, she says “I’m not a villain, I’m poor”, reflecting the great lengths some people are willing to go just to survive under those pressing circumstances. Another subplot is the romance between Luzmi and Carlos (Peter Mendoza, The Tempest). This relationship is not just to soften the subject matter; it’s also a symbol of the connection taking shape between Luzmi and her native land, a crucial step to discover her roots and find the healing, physical and spiritual, she desperately needs.      

For this production, Bocanegra uses minimal set props, the focus is mainly in the story. The more elaborate elements are the costumes and the puppets. The acting needs improvement, as it seems amateurish and rushed at times. A little bit of tweaks here and there could elevate the acting to match the excellence of the script; the talent is already there.

Luzmi brings attention to the fact that the delicate relationship between humans and nature is hanging by a thread. In one of the scenes of the climax, Luzmi, El Profe, and Carlos form a common front to challenge the deforesters. Will the three of them emerge victorious, or will their attempt be just another Macondo?             

Luzmi

The Rosenthal Theater at Inner-City Arts
720 Kohler Street, Los Angeles, CA 90021

October 3rd to October 27th

Tickets: herotheatre.org

Written by Diana Burbano. Devised and directed by Elisa Bocanegra. 

Cast: Helena Betancourt, Stephanie Hoston, Julián Juaquín, Emanuel Loarca, Peter Mendoza, Bibiana Navas, Adrian Quinonez, and Carla Valentine.

Creative team: Maggie Dick (Costume Design), Willow Edge (Sound Design), Marvin Hidalgo (Costume Assistant), Jesus Hurtado (Scenic and Projections Design), Andrés
Felipe Jiménez (Cinematographer), Alejandro Montoya (Composer & Colombian Music
Consultation), Osiris Galvez Paredes (Props Design), Beth Peterson (Puppet Design), and Gabe Rodriguez (Lighting Design).

DRACULA: A COMEDY OF TERRORS at The New Vic

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DRACULA: A COMEDY OF TERRORS

Written by Gordon Greenberg & Steve Rosen

Directed by Jamie Torcellini

 

Previews: Wednesday, October 9 (special “Community Pay-What-You-Can” added performance), Thursday, October 10 at 7:30pm & Friday, October 11 at 8:00pm

Opens: Saturday, October 12 at 8:00pm (Press Opening)

Runs: Wednesday, October 9 – Sunday, October 27, 2024

 

Performances are Wednesdays and Thursdays at 7:30pm, Fridays and Saturdays at 8:00pm, and Sundays at 2:00pm.

 

Added performances on Tuesday, October 15 at 7:30pm, Saturday, October 19 at 3pm, Wednesday, October 23 at 2pm, and Saturday, October 26 at 3:00pm.

 

A special “Pride Night” celebration performance with specialty drinks will perform on Thursday, October 24 at 7:30pm.

 

Ticket Prices range from $25 – $94

 

All Patrons 35 and under are always $35. Student tickets are $25. Prices subject to change.

 

Ensemble Theatre Company at The New Vic
33 W. Victoria Street in Santa Barbara 

Hollywood Independent Theater Festival

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Hollywood Independent Theater Festival

Unveils Fall 2024 Lineup

LOS ANGELES, CA. — Combined Artform/ Theater Asylum’s Hollywood Independent Theater Festival (HITFEST) has announced its upcoming lineup of musical productions at the Stephanie Feury Studio Theater, located in the Larchmont district, from October 2024 through November 2024. HITFEST showcases the best of festival theater to Los Angeles audiences and industry professionals through select weekday performances, with new shows added monthly. The festival offers year-round opportunities to experience top-tier productions.

Upcoming Shows:

  • The Connie Converse Universe Starring Hope Levy
    When: Nov. 16 at 7 p.m.
    In this 55-minute acoustic biographical cabaret, audiences will explore the life and enduring mystery of Connie Converse, a pioneering female folk singer-songwriter who vanished in August 1974. Her music, rediscovered in 2009, captivates a new generation. Hope Levy stars as the song messenger, reviving Converse’s music and sharing their unique connection. Suitable for all audiences.
  • The Funny Thing About Men starring Mandy Williams
    When: Nov. 16 at 8:30 p.m.
    British-born playwright Mandy Williams invites audiences into her home for humorous insights on domestic life and the inner thoughts of women. Through a comedic lens, the play poignantly examines modern relationships, capturing the fun, faith, and frailty of life and love. Williams utilizes song, dance, roller skates, and the occasional ukulele solo to bring her hilarious observations to life.
  • Sonnets From Suburbia starring Penny Peyser
    When: Nov. 14 at 7 p.m.
    Adapted from her two award-winning collections of sonnets, Peyser offers a quirky and hilarious take on modern life through an Elizabethan lens. With her trusty ukulele, she shakes up Shakespeare in this engaging performance.
  • Final Girl: The Musical starring Callie Ott
    When: Nov. 14 at 8:30 p.m.
    In this gripping tale, Callie must confront an abusive relationship and defeat her killer boyfriend. With the help of a 911 operator and her knowledge of horror films, she fights to break the cycle of abuse and become the final girl standing. Inspired by true events.

Matthew V. Quinn, festival director, emphasizes the advantages of weekday performances: “This schedule is ideal for showcasing talent to the Hollywood entertainment industry and organizations looking for new programming. Plus, audiences can enjoy top-tier performances while saving money with multi-show passes.”

Ticket Information:Hollywood Independent Theater Festival – HITFEST.

Tickets are priced at $25 per show, with a discount of $40 available for attending both shows on the same night.

Venue: Stephanie Feury Studio Theater, 5636 Melrose Ave., Los Angeles, CA 90038.

All Oct./Nov. performances will be held at this venue.

Social Media:
Website: www.hitfesthollywood.com
Instagram: @hitfesthollywood
Hashtag: #HITFEST

‘The Girl Who Made the Milky Way’ at The Colony Theatre

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World premiere, family–friendly ‘The Girl Who Made
the Milky Way’ is based on Khoisan myth

BURBANK, Calif. (September 30, 2024) — Imagine Theatre in partnership with The Colony Theatre presents a world premiere, family-friendly theatrical experience inspired by a Khoisan myth. An original commission by Imagine Theatre, The Girl Who Made the Milky Way is written by acclaimed playwright June Carryl and directed by Imagine artistic director Armina LaManna. Five public performances will empower girls and transfix boys ages five and up from November 9 through November 17 at Burbank’s Colony Theatre. Nine additional weekday matinees are available for school field trips November 12 through November 22.

The Khoisan, an ancient ethnic group with a long and intriguing history, are believed to be the oldest human inhabitants of southern Africa. In the play, a young girl, Little Sister (Stakiah Lynn Washington), evolves from struggling with her place and duties among her people to embracing her uniqueness, voice, courage, and identity. Supported by a cast of archetypal characters in the form of animals, trees, mountains and spirits (Jamela Asha, Edward Hong, Max Lawrence, Carter Michael and Makha Mthembu), Little Sister braves the dangers of the African savanna and confronts the unfair expectations the world has of her because she is a girl. Not only does she help find her father by creating the stars of the night skies, but she also discovers her true self.

WHAT:
Imagine Theatre in partnership with The Colony Theatre presents The Girl Who Made the Milky Way, a world premiere, family-friendly theatrical experience inspired by a Khoisan myth. The Khoisan, an ancient ethnic group with a long and intriguing history, are believed to be the oldest human inhabitants of southern Africa. In the play, a young girl, Little Sister, evolves from struggling with her place and duties among her people to embracing her uniqueness, voice, courage and identity. Supported by a cast of archetypal characters in the form of animals, trees and mountains in the African savanna, Little Sister braves the dangers of her land and confronts the unfair expectations the world has of her because she is a girl. Not only does she help find her father by creating the stars of the night skies, but she also discovers her true self.

WHO:
• Written by June Carryl
• Directed by Armina LaManna
• Starring Jamela Asha, Edward Hong, Max Lawrence, Carter Michael, Makha Mthembu, Stakiah Lynn Washington
• Produced by Gabrieal Griego and Armina LaManna.
• Presented by Imagine Theatre and The Colony Theatre

WHEN:
Five public performances: Nov. 9 – Nov. 17:
• Saturday at 2 p.m.: Nov. 16
• Saturdays at 7 p.m.: Nov. 9 and Nov. 16
• Sundays at 4 p.m.: Nov. 10 and Nov. 17

Nine student matinees: Nov. 12 – Nov. 22:
• Tuesdays at 10 a.m.: Nov. 12 and Nov. 19
• Wednesday at 9 a.m.: Nov. 20
• Wednesday at 10 a.m.: Nov. 13
• Wednesday at 12 p.m. (noon).: Nov. 20
• Thursdays at 10 a.m.: Nov. 14 and Nov. .21
• Fridays at 10 a.m.: Nov 15 and Nov. 22

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

PARKING:
Free in the attached Burbank Town Center parking structure

TICKET PRICES:
• Public Performances (except Nov. 9): Adults: $30 / Ages 5-12: $20
• Opening Night (Nov. 9 ): Adults: $50 / Ages 5-12: $30 (includes a post-performance reception)
Group rates available for parties of 10 or more
• Student matinees: $10 (interested educators should email smat@imaginetheatreca.org)

OTHER:
Children under 5 not admitted.

HOW:
(818) 649-9474 or imaginetheatreca.org

Theatre Review: Demolition

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Marcy (Terry Davis) needs to remodel her house, so she hires Chuck (Brian Letscher), a smart and successful contractor. Chuck sends his employee Doug (Keith Stevenson) to do the job. Doug is training Paul (Ryan Foust), Chuck’s son. Paul is about to graduate from high school to go to college to study filmmaking. Everything looks normal, except that Paul has a secret that threatens to ruin his future.

Doug and Chuck know each other from their high school days. Doug also knows Chuck’s wife June (Tracie Lockwood). As a matter of fact, Doug and June were dating in high school. Chuck’s jealousy and distrust is not apparent, but it’s a latent issue, building up as a pressure cooker about to explode. Doug’s dubious business practices and sleazy behavior with his female customers adds tension to the already delicate situation. In the meantime, Paul gets in trouble at school. Marihuana is found in his locker, and he is being blackmailed by a girl in his class. 

Trying to fix Paul’s situation, Doug and June arrange for Paul to talk to Mr. France (Tony Pasqualini), the school’s principal who likes to drink and appears to smoke weed as well. Playwright Matthew Letscher uses the relationship between Doug and Paul as a symbol of role models that have a profound influence in a young person’s life. Paul, and to some extent June, see Doug as a reliable source of advice in times of need.

The relationship among the characters is an example of missed opportunities and how the past can’t be buried in its totality. Whatever pieces are left, they will continue to influence our decisions later in life. For better or worse, is Doug the one who pays the highest price. He has to pick up—figurative and physically—the shattered pieces of the damaged relationships among the characters. Demolition does not refer to physical destruction only.

Not only is the text superb, the direction by Max Mayer is also remarkable. He gives the actors plenty of room to explore and exteriorize the nuances demanded of each character. All of this without loosing the exceptional touch of comedy, present throughout the play, and exceptionally executed by all of the six actors. The set suffers some serious abuse. Kudos to Mayer and his set designer, Jay Tyson, for the amazing job on that department.

Doug, a blue-collar worker, left behind and willing to sacrifice his own interests for the benefit of others, is the centerpiece of the play. The inception and execution of this character leave the audience rooting for him. You know there’s something especial in front of you with that kind of empathic reaction. This is another win for Pacific Resident Theatre under the artistic direction of Marilyn Fox, who continues to demonstrate her great taste in selecting productions that become an instant hit with the audience.    

Demolition

Pacific Resident Theatre
703 Venice Blvd.
Venice, CA 90291
Street parking or small free lot in back: pacificresidenttheatre.org

Opening: 8pm Saturday, September 7, 2024
Schedule: 8pm Thursdays – Saturdays; 3pm Sundays
Closing: October 13, 2024 

Tickets: app.arts-people.com/index.php?ticketing=prtve

Written by Matthew Letscher. Directed by Max Mayer. Presented by Pacific Resident Theatre.

Cast: Terry Davis, Tracie Lockwood, Ryan Foust, Brian Letscher, Tony Pasqualini, Keith Stevenson, Melissa Bales, Samantha Sloyan.

Creative team: Jay Tyson (Scenic Design), Leigh Allen (Lighting Design), Chris Moscatiello (Sound Design), Audrey Eisner (Costume Design), Teak Piegdon-Brainin (Stage Manager).

Theatre Review: Red Light Winter

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Manhattan residents Matt (Ryan Lisman) and Davis (Trent Culkin) go on a trip to Amsterdam. Davis hires the services of Christina (Natalie Valentine), a prostitute, who claims to be French. In a rare form of ménage à trois, their sexual encounters reveal the emptiness of their lives and the desperate search for human connection.

In the first scene, Matt tries to commit suicide with his belt. He fails miserably and the act seems rather comical. Davis brings Christina to the room to introduce her to Matt. Davis is a bully and is constantly making fun of Matt’s medical condition involving his intestines. As a successful editor at a publishing company, Davis exudes an air of superiority, always putting down whoever is close to him. Before introducing her to Matt, Davis has sex with Christina. She gets infatuated with Davis right away, but agrees to spend time with Matt.

Once Davis leaves the room, Christina has sex with an insecure and dorky Matt. Just like his suicide attempt, the sex with Christina is quick and funny. He falls asleep instantly (like, instantly) after orgasming. Christina then gets out of the room, leaving her red dress behind. Matt wakes up and holds the red dress in his arms, showing his infatuation with Christina.

The second act shows Matt in his apartment, back in New York. He continues to be in touch with Davis. Surprisingly, Christina knocks on the door. She is looking for Davis. She reveals her true identity and confides her devastating secret to Matt, who is still infatuated with her.

Playwright Adam Rapp references different authors in the script. The one that stands out is Henry Miller. Matt, who is a playwright, is writing a play using roman à clef, a genre in which Miller wrote The Rosy Crucifixion, a trilogy documenting a period of his life. In the same literary genre, Matt is writing about his life. He includes characters depicting himself, Davis, and Christina.

Billy Ray Brewton‘s direction is extraordinary. He makes sure his actors exteriorize the complications of dynamic relationships and the unrequited love Matt and Christina experience in that unhealthy love triangle. The blocking, lighting, and props set the characters’ traits and the atmosphere of the story.

This is a character-driven play and the three actors are up to the task. Culkin creates a cold and arrogant character that leaves a trail of damage as he interacts with the people around him. Valentine is exceptional as well. She gives Christina the emotional fragility to search for a connection in the wrong places with the wrong people, suffering dire consequences as a victim of the circumstances. Lisman offers a magnetic performance. He infuses his character with a frustrating inability to connect with a woman, exhibiting shyness, vulnerability, and a weird fetishism for Christina’s red dress. He plays a hopeless and pathetic Matt in such a way that the audience care and feel for his pain. All he gets from Christina, his impossible love, is a “you’re very sweet” compliment, a potential-relationship-killer phrase.

Beneath the humor of Rapp’s brilliant script, is a riveting story of three individuals experiencing the isolation and desolation of their souls, a powerful exposition of contemporary society’s emotional emptiness.

Red Light Winter

Broadwater Black Box
6322 Santa Monica Blvd., Los Angeles, CA 90038 – September 20-22 & 27-29, Fri./Sat. at 7:30pm, Sun. at 2:30pm

The Zephyr Theatre
7456 Melrose Ave, Los Angeles, CA 90046 – October 3-6 & 10-13, Thur./Fri./Sat. at 7:30pm, Sun. at 2:30pm

Tickets: events.humanitix.com/adam-rapp-s-red-light-winter

Written by Adam Rapp. Directed by Billy Ray Brewton. Produced by Catharsis Theatre Collective.

Cast: Trent Culkin, Ryan Lisman, and Natalie Valentine.

JASON ALEXANDER to Play “Jesus” in REEFER MADNESS  THE MUSICAL

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KRISTEN BELL, CHRISTIAN CAMPBELL, ALAN CUMMING, ANDY FICKMAN, 

KEVIN MURPHY, AMERICA OLIVO and DAN STUDNEY 

ARE THRILLED TO WELCOME “SEINFELD” STAR & TONY AWARD WINNER

JASON ALEXANDER

TO THE ROLE OF “JESUS” ON

SATURDAY, OCTOBER 5 at 8:00pm

IN THEIR CRITICALLY ACCLAIMED, SMASH-HIT PRODUCTION OF

REEFER MADNESS 

THE MUSICAL

Book by Kevin Murphy & Dan Studney

Lyrics by Kevin Murphy    Music by Dan Studney

Musical Direction by David Lamoureux

Direction and Choreography by Spencer Liff

 

THE “MADNESS” MUST CLOSE 

SUNDAY, OCTOBER 6 at the Whitley Theatre in Hollywood!

REEFER MADNESS THE MUSICAL

Book by Kevin Murphy & Dan Studney

Lyrics by Kevin Murphy

Music by Dan Studney

Musical Direction by David Lamoureux

Direction and Choreography by Spencer Liff

 

EXTENDED through SUNDAY, OCTOBER 6, 2024

 

JASON ALEXANDER (“Seinfeld”) will play the role of “Jesus” on 

Saturday, October 5 at 8:00pm.

 

PERFORMANCES: Thursdays, Fridays & Saturdays at 8pm; Sundays at 2pm.

 

There will be added performance on Sunday, October 6 at 7pm.

 

Arrive up to 2 hours early to enjoy food and libations in the theatre adjacent “Victory Garden” restaurant and also enjoy a post-show live music in “The Reefer Den.” (Select performances).

 

The Historic Whitley Theatre

6555 Hollywood Blvd., Hollywood, CA  

 

Ticket Prices: $39 – $175 (with limited premium seats available)

Prices subject to change; Special group rates available for parties of 8 or more.  

 

For tickets – visit www.reefermadness.com

A VIEW FROM THE BRIDGE at LAGUNA PLAYHOUSE

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LAGUNA PLAYHOUSE PRESENTS A TRANSFER PRODUCTION

FROM NORTH COAST REPERTORY, 

THEIR CRITICALLY ACCLAIMED PRODUCTION OF 

A VIEW FROM THE BRIDGE

Written by Arthur Miller

Directed by David Ellenstein

 

LIMITED ENGAGEMENT BEGINS WEDNESDAY, OCTOBER 30

AT THE LAGUNA PLAYHOUSE IN LAGUNA BEACH

 

 “Vivid Characters and Intense Drama…A Masterful Display of Storytelling making it a Timeless Classic in American Theatre.”

– The Guardian

Previews: Wednesday, October 30 at 7:30pm; 

Thursday, October 31 at 2:00pm & 7:30pm; 

Friday, November 1 at 7:30pm;

Saturday, November 2 at 2:00pm & 7:30pm

 

Opens: Sunday, November 3 at 5:30pm (Press Opening)

Runs: Sunday, November 3 – Sunday, November 17, 2024

 

Wednesdays at 7:30pm; Thursdays at 2:00pm and 7:30pm; Fridays at 7:30pm; Saturdays at 2:00pm & 7:30pm; Sundays at 1:00pm & 5:30pm.

 

There will be no performance on Sunday, November 3 at 1:00pm or Sunday, November 17 at 5:30pm. 

 

There will be a post-show talkback following the Friday, November 8 performance.           

                                                                                

LAGUNA PLAYHOUSE

606 Laguna Canyon Rd. in Laguna Beach, CA 

 

Tickets: $51.00 – $100.00 (Prices subject to change)

 

For tickets – visit www.lagunaplayhouse.com or call 949-497-2787