Author Archive: Glamour

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.

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).