Category Archives: Musical Theatre

Musical Review: Honky Tonk Angels

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It feels as if Ted Swindley wanted to switch careers, from a celebrated playwright to an experimental DJ. Honky Tonk Angels seems like a list of catchy country songs, but not much dramatic substance in between.

Angela (Alexandra Melrose) is a housewife from Waxahachie, TX. She is married to a beer truck driver and they have six kids. She wants to sing and feel more appreciated, so she leaves for Nashville to follow her dreams. Sue Ellen (Shelly Regner) is from Texas, but she is now living in Los Angeles. She is tired of her job and her boss’ constant harassment. She loves country music, so she also leaves for Nashville. Darlene (Darcy Rose Byrnes) lives in West Virginia. A daughter of a coal miner, she lost her mom to a virus. To leave the depression behind, Darlene heads to Nashville.

Traveling by bus on their way to Nashville, the three gals strike a conversation and become best friends. They decide to become a singing trio called Honky Tonk Angeles. They start singing at The Honky Tonk Heaven in Nashville and become a hit.

Despite the talented creative team that staged this musical at the Laguna Playhouse, the script lacks depth and conflict to feel for the characters. Their backgrounds are interesting and could’ve been more meaty, but Swindley decided to go the easy route and write lackluster dialogue just to fill in the blank spaces between songs. He is an excellent and experienced playwright, not to mention his extensive knowledge on country music, but this play is just a plain collection of popular country songs.

That’s our opinion on the dramatic aspect of this musical. The production, however, is something else. It’s a spectacular display of light and color that connects with the audience. Director David Ellenstein and his team put on a display of excellent live music and fabulous fashion. With eye-catching sparkling boots, the lively trio break the fourth wall and engage the audience, singing and dancing all along. The whole show then turns into an interactive and entertaining spectacle. 

With Honky Tonk Angels, Swindley attempts to honor country music, showing the lives of the working class embedded in some of the songs like “Ode to Billy Joe”. Yes, you heard that right, the White working class who have also faced poverty and struggles in depressed areas. But the essence of the story gets lost in the vapid dialogue that seems to be written for a theme park show rather than the theatre.   

Honky Tonk Angels

Laguna Playhouse
606 Laguna Canyon Rd.
Laguna Beach, CA 92651

Sunday, August 3 – Sunday, August 17, 2025
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, August 3 at 1:00pm or Sunday, August 17 at 5:30pm.

Tickets: lagunaplayhouse.com

Written by Ted Swindley
Choreography by Jill Gorrie
Musical Direction by John Massey
Direction by David Ellenstein

Cast: Darcy Rose Byrnes (Darlene), Alexandra Melrose (Angela), Shelly Regner (Sue Ellen), Angelica Roque, Understudy (Darlene, Angela and Sue Ellen).

Creative team: Scenic design by Stephen Gifford; costume design by Dianne Graebner; lighting design by Jared A. Sayeg; sound design by Jesse Worley; props design by Kevin Williams; hair & wigs design by Peter Herman. The Production Stage Manager is Natalie Figaredo.

Musicians: Chris Dierl (Acoustic and Electric Bass), Thomas Dohner (Acoustic and Electric Guitar, Banjo), David Finch (Fiddle, Mandolin), Robert Marino (Drums), and Robert Scarano (Lap Steel, Acoustic Guitar).

Musical Review: It’s a Bird… It’s a Plane… It’s Superman!

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Dr. Abner Sedgwick (Cooper McAdoo) has lost the Nobel Prize award 10 times. As revenge against the scientific community, he teams up with Max Mencken (Harry White), a columnist for the Daily Planet. Before they destroy the world with a powerful ray, Superman (Elliot White) has to stop them. Meanwhile, Clark Kent is disappointed that Lois Lane (Emily Jones) pays no attention to him, as she’s infatuated with Superman. Only Sydney Carlton (Jaley Hoyt), Max’s secretary, sees Kent’s possibilities.

This musical has all of the elements to make it a great comedy show. It’s a campy story with characters that bring humor in every scene. With a retro look, the costumes and set designs bring back the memories of the original comic book. However, this Superman is the funny version of the super hero, with all of his weaknesses and strengths.

The Machiavellian tactics used by Dr. Abner Sedgwick to discredit Superman unleash the comedic situations that lead to the final crisis. Superman has to save Metropolis and Lois Lane using his superpowers to defeat Sedgwick and his accomplices.

Even though the first production of this musical didn’t do well on Broadway back in 1966, the silliness of the story and characters make it a great comedy with plenty of entertainment value. For this staging, Directors Harry White and Raphael Berglas hit all the right notes to create a lively performance and give this production a halo of true independent theatre. They bring back the relics of the Cold War to highlight the tension between good and evil and lead the story to its resolution. 

The musical numbers with live music and the comedy create an entertaining show to keep the mysticism of Superman alive. Check out the interview below with the creators of this production:

Superman continues to be a popular superhero. What’s so appealing about this character?

In a world often driven by self-interest and transactional kindness, Superman shines as a beacon of pure, selfless heroism. His unwavering commitment to doing good for its own sake, without seeking reward or recognition, captivates hearts and inspires the soul. With a moral compass forged in truth and justice, and an unyielding desire to protect humanity, Superman embodies the timeless ideal of hope and altruism, reminding us all of the extraordinary power of selfless virtue.

Tell us about the show. How did you put together the musical numbers?

The music in this show is so catchy! We want the melodies and the music at the forefront. The score was written by one of the all time great musical theatre writing teams, Strouse and Adams, and when you’re working with the genius they imbued into the score you don’t have to do much. We also are leaning into the musical comedy aspect of the numbers. This is first and foremost a stage comedy after all, and that’s what makes this take on Superman different than the rest.

What are the main differences between the Superman of the movies versus the Superman of the musical?

That’s an interesting question, because the writers of the musical are the same writers of the first Superman movie, David Newman and Robert Benton. Through certain scenes and songs I think the musical really gives you a deeper look at Superman’s vulnerabilities. There is no kryptonite in the musical, so the bad guys have to fight Superman in a different way. There’s a lot more psychological warfare in the musical.

What are the technical challenges of combining singing and dancing in a musical?

The hardest part of putting together a musical is making sure the singing and dancing has a purpose. Sometimes when you see a musical the singing or dancing comes out of nowhere and can feel unmotivated, leaving the audience feeling disconnected from the story. We tried very hard to make sure that when a character is singing or dancing, it’s because there’s no other way they can express what they’re feeling in that moment.

What are the voice ranges the audience will hear in this musical?

This is golden age musical theatre, so you will hear every voice type! From basses all the way up to sopranos we’ve pretty much got it covered. The style of the music ranges from old Sinatra sounding jazz songs all the way to 50s rock.

How about casting? How did you find the actors?

Finding the right actors is a really difficult process. We have a really reliable group of talented performers in our repertoire at Foster Cat Productions, so we chose who was best for each role from within our ensemble.

How much time did you have to prepare this show, from concept to production?

We’ve been thinking about this show for about a year and a half! We only started rehearsing officially in June, but we had our very first reading in early 2024.

Do you think the LA theatre scene gets enough press?

The LA theatre scene only seems to get press when major Hollywood talent is involved. This is sometimes unfortunate because doing theatre in LA used to be a big way for actors to get discovered in this town. That has sort of diminished over the years, and I certainly wish more people showed interest in the LA theatre scene. But I also think there is some responsibility on the artists to put their hearts into crafting real theatre and not just purely creating showcases for themselves. It’s a complex situation, but as long as there are actors in this town there will be good theatre worthy of press.

What are the challenges and rewards of producing theatre in LA?

The challenge of producing theatre in LA is that it’s not known as a theatre town. Obviously this is Hollywood and the focus is on the screen. However, so many people working in Hollywood started in theatre and have a deep love for theatre. Here in LA we’ve had a lot of big Hollywood talent randomly find their way into our theatre because of the work we choose to do, and that can’t happen anywhere else in the world. We’ve been very thankful for our audiences.

Foster Cat Productions is more than just a name. Tell us about the work you do with the cats.

We got our name from our love of fostering cats and kittens. The members of our company are dedicated to animal welfare! We partner with Best Friends Animal Society occasionally to raise money and awareness for stray cats and dogs throughout the greater LA area. Our artistic team has fostered over 30 cats and kittens and counting!

 
It’s a Bird… It’s a Plane… It’s Superman!

The Broadwater
1076 Lillian Way
Los Angeles, CA 90038

Fri, Aug 01 – Sun, Aug 10
Fri and Sat 8pm
Sunday 3pm

Tickets: onstage411.com/newsite/boxoffice

Music by Charles Strouse
Lyrics by Lee Adams
Book by David Newman and Robert Benton
(Based Upon the Comic Strip “SUPERMAN”)

Directed by Harry White and Raphael Berglas.

Cast: Elliot White, Emily Jones, Harry White, Cooper McAdoo, Jaley Hoyt, Julia McCammon, Troy Barboza, Will Fulginiti, Jena Ziomek, and Raphael Berglas.

Band: Ron Barnett in piano and Randy Fox in drums.

Creative team: Kim Iosue (Stager Manager), Matthew Steward (Lighting/Sound Design).

Musical Review: The Fantasticks

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There is some kind of magic, some kind of dark matter, not seen, but ever present, in the script and music of The Fantasticks, a musical with a story and characters that keep traveling across generations. Ruskin Group Theatre brings back the enchantment and humor of this pastoral image of America.

With Danny Bernardo‘s endearing voice, the character El Gallo sings “Try to Remember”, opening up a story that shows the naive vision of love and the harsh realities of life. Based on writer/director Scott Miller’s analysis, the story of The Fantasticks is an evolution of Aucassin and Nicolette, a medieval chantefable from the 12th or 13th century. It contains universal themes that connect with the audience in perplexing ways. The show has been staged multiple times around the world with impressive success.

In Elina de Santos‘ production, the characters capture the illusions of the young and the stubbornness of the old, with the complex layers of El Gallo, the mysterious and alluring bandido. De Santos builds a universe of innocence, trickery, and mythical search for happiness. Her characters experience the profound transformation implied in the script, aligning the characters to serve the story and complete the cycle. She does that without sacrificing the comical element in this musical. The humor and oddity is mainly projected by Michael Redfield as Mortimer and John Wuchte as Henry. These two extraordinary actors mesmerize and engage with their performance, adding a topsy-turvy and exciting vibe to the story.

As for El Gallo, Bernardo plays his character with an attractive aura of mystery, temptation, and wicked wisdom that reminds us of the duality of good and evil, a concept that dates back to the beginning of human history. The innocence, of course, relies on Pollono as Luisa, and Hemingway as Matt. With all of their youth in full display, they execute a lively performance that translates the dreams and the naiveness implied in their roles. They have more experience to gain, but they’re on their way to new heights.

De Santos uses her creativity to highlight the figures of speech that give depth to the story. The moonlight, hiding the shortcomings, and the sun, exposing them, are devices used effectively to transmit the message clearly. De Santos also excels in building the myth of Luisa and Matt. She progresses the scenes to show their longings for something more than the immediate environment in which they live, eager to explore the world laid out before their eyes. The transformation experienced through their growth and wisdom achieved through their travels and pain, is cleverly displayed in the last scenes. It’s implicit in the play, sometimes it is necessary to get hurt to unlock true love. Both Luisa and Matt get to understand this passage of life, and just like in Aucassin and Nicolette, their love only grows stronger as they are apart from each other.

To close the cycle, El Gallo leads the ensemble to sing “Try to Remember”, an invitation to go back to our childhood, to the excitement of our idealistic dreams, a return to innocence. The audience accepted the invitation.

The Fantasticks

Ruskin Group Theatre
3000 Airport Avenue
Santa Monica, CA 90405

July 18, 2025 – August 24, 2025
8pm on Fridays, Saturdays; 2pm Sundays

Tickets: ruskingrouptheatre.com

Book and lyrics by Tom Jones
Music by Harvey Schmidt
Directed by Elina de Santos
Musical Direction by Michael Redfield
Presented by Ruskin Group Theatre

Cast: Michael D. Cohen as Bellomy, Danny Bernardo as Narrator/El Gallo, Rhett Hemingway as Matt, Kiel Kennedy as Hucklebee, Sophie Pollono as Luisa, Michael Redfield as Mortimer, Raven Scott as Mute, John Wuchte as Henry, Silas Shultz as Understudy/Matt.

Creative team: Bruce Goodrich (Scenic Design), Michael Redfield (Sound Design/Music Director), Matt Richter (Lighting Design), Jennifer Oundjian (Choreographer), Erik Hall (Co-choreographer), Victoria Hoffman (Casting), John Ruskin (Artistic Director/Producer), Michael Myers (Producing Artistic Director), Nicole Millar (Production Stage Manager).

Dance Theatre Review: Gatsby Redux

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Walking through the manicured landscapes of the Greystone Mansion, Mixed eMotion Theatrix recreates the extravagance and class struggles depicted in The Great Gatsby, F. Scott Fitzgerald‘s famous novel published in 1925, exactly 100 years ago.

Since this is a dance performance with no dialogue, the audience should be familiar with the novel or the films, otherwise, the scenes won’t make sense. This is a brief description of the story:

Nick relocates to New York to work as a bond salesman. He rents a bungalow next to the mansion owned by Gatsby, a mysterious millionaire who throws extravagant parties. Gatsby is in love with Nick’s cousin, Daisy, but she is married to Tom, a white supremacist millionaire. Tom has an affair with Myrtle, a woman married to George, a mechanic. In the story, Nick lives in the wealthy neighborhood of West Egg, where he is trying to fit. George and Myrtle live in the poor neighborhood of East Egg.

I hope my three readers get the condensed version of the story. Likewise, Gatsby Redux is a short version of the novel. Due to the changing of locations from scene to scene, the whole story has to be shortened. The Greystone is also a large state, so it takes time to go from one location to the next. Part of the experience is to walk around and enjoy the breathtaking architecture and green areas this mansion has to offer, so every scene is set in a different area of the house.

One of the most spectacular numbers is where Goddess (Jaqueline Hinton) and company start the lavish soirée in the opening ceremony, a dazzling flow of dance and movement.

With a combination of dance styles such as Ballet, Jazz, Modern, and burlesque, this production offers a sizzling display of sexiness and kinetic storytelling. At times, the dancers are right next to you, making this staging a truly immersive experience. With the skills of the dancers and experience of the creative team, Gatsby Redux achieves to convey the complicated nature of human relationships depicted in the novel. Even a dog in the audience reacted when Tom (Andrii Strelkivskyi) slapped Myrtle (Sarah Wines)—the canine was on a leash, fortunately.

In this production, the audience helps to move the story forward, literally. With spectacular city views as a background, the change of scenes becomes a shared experience between performers and audience, adding an air of complicity to the ambiance.

Colorful birds, playful geckos, and other creatures hiding behind the lush vegetation of the Greystone Mansion observe from a distance the exciting recreation of the roaring 20s, an era that offered both great hopes of the American Dream and a reality check of the insidious effects of class struggle.

Gatsby Redux

Greystone Mansion
905 Loma Vista Drive
Beverly Hills, CA 90210

June 5 – June 14, 2025 @ 7:00 PM
Thursday, June 5; Friday, June 6; Saturday, June 7; Sunday, June 8; Wednesday, June 11 (special “Pride Night” performance); Thursday, June 12; Friday, June 13 & Saturday, June 14, both inside and outside of the historic Greystone Mansion.

Tickets: beverlyhills.org/1327/Gatsby-Redux

Mixed eMotion Theatrix creative team: Janet Roston, Artistic Director/Choreographer. Ryan Bergmann, Executive Director. Joe LaRue, Producer. Sarah Mullis, Marketing Director. Kate Coleman, Associate Choreographer. Mixed eMotion Theatrix.

Dancers: Tiffany Wolff (Daisy Buchanan), Timothy Lewis (Jay Gatsby), Andrii Strelkivskyi (Tom Buchanan), Sarah Wines (Myrtle Wilson), Donny Collinson (Nick Carraway), Alana Gregory (Jordan Baker), Natalie Oga (Catherine, Ensemble), Jaqueline Hinton (Goddess, Ensemble), Melissa Barrow (Ensemble), Nick Young (Ensemble), Deven Fuller (Nick/Tom Swing).

ADANZA, Show Me Your Dreams: A Mash-Up of Breakdance, Circus, Ballet, and Musical Theatre

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With an experimental feel to it, Adanza: Show Me Your Dreams is a combination of circus and musical theatre, with special effects and video projections to tell a story.

Two characters (Bella Hamm and Alex Honorato) meet each other, fall in love, get married, and have a baby. As traveling artists, however, they start to drift away from each other. What comes next is a journey throughout the world, visiting exotic places, each one becoming a musical number with different artistic expressions that include dance, ballet, circus, and even bubbles with special effects, the latter created by Joseph (Jilbér) Ferri in a display of shapes, lights, and a sweet smell of bubble gum that fills the air. Have you ever heard of surface tension & elasticity, Marangoni effect, etc.? Don’t look it up, just come and see it with your own eyes, it’s much more fun in a live show.

While Gonsalo Bboy Chalo performs the break dance acrobatics on the floor, Aerialist Sharyn Scott performs some stunning acrobatics in the air on the aerial hoop, adding an impressive circus element to the show.

This is an innovative concept, where the dialogue is kept at a minimum and most of the story is told by musical numbers, relying mainly on music and movement. The troupe is composed of artists from America, Brazil, Venezuela, Colombia, Vietnam, Peru, France, Spain, and New Zealand.

Adanza; Show Me your Dreams is an artistic endeavor conceived by Brooke Ferri and Jilbér Ferri. Brooke is an attorney, producer, songwriter, writer, and musician. Jilbér is a singer, songwriter, guitarist, bubble performer (yes, there’s a profession called bubble performer, one that defies the laws of physics, somehow), and dancer.

Adanza has a short run, so catch it before it’s gone. If circus and musical theatre are down your alley, then this is your show. And if you’re lucky enough, you might even catch a bubble and a plane.

ADANZA: Show Me Your Dreams

Eastwood Performing Arts Center
1089 N. Oxford Avenue
Los Angeles CA 90029

March 28 – April 5, 2025:
• Fridays at 7 p.m.: March 28, April 4
• Saturdays at 3 p.m.: March 29, April 5
• Saturdays at 7 p.m.: March 29, April 5
• Sunday at 2 p.m.: March 30
• Sunday at 6 p.m.: March 30

Tickets: adanzamusical.com

Written and Directed by Brooke Ferri and Joseph (Jilbér) Ferri.

Starring Joseph (Jilbér) Ferri, Bella Hamm, Alex Honorato; and Features Cristina Malakhai, Elizabeth Kate Hernandez, Jorchual Gregory Vargas, Melissa Carvajal, Sage Buchalter, Tate Navarro, Tristan Nguyen, Sharyn Scott, Gonsalo Bboy Chalo, and Christopher Yates.

Choreographed by Melissa Carvajal and Vicki Liv.

Music Composed and Written by Brooke Ferri and Jilbér Ferri.

Cellist Jennifer Novak Chun.

Musical Review: Drat! The Cat!

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There’s a cat lady in the play. No, not that kind of lady. This one likes to steal diamonds for fun. To make it worse, the cop who is supposed to catch her, falls head over heels for her. He’s the softie and she’s the tough cookie. It’s so bad that he ends up handcuffed, not the other way around. Not a good thing for the New York Police Department.

It seems as if the play was brought to this side of the country by a turtle. Sixty years later, Drat! The Cat! has finally arrived on the West Coast. The original play premiered on Broadway in 1965. It starred Lesley Ann Warren and Elliot Gould, who was married to Barbara Streisand at the time. And now, The Group Rep is staging this fun musical at the Lonny Chapman Theatre for a one month run.

This new production features two sensational rising stars: Sydney DeMaria as Alice Van Guilder, the audacious catgirl, and Alec Reusch as Bob Purefoy, the naive cop falling madly in love. With a fantastic supporting cast, an excellent band directed by Gerald Sternbach, and a dynamic choreography by Cheryl Baxter, Director Bruce Kimmel stages a vibrant performance that infuses new life to this hidden gem. 

Encouraged by his dying father (Lloyd Pedersen), police officer Bob Purefoy is tasked with finding the thief who has been stealing the diamonds of New York’s high society in the 1890s. Bob is committed to finding the burglar. But he is no match to the cunning Alice, a woman ahead of her time. She wants to be a career woman and get diamonds in her own way, without the help of any man. To achieve that and hide her identity, she uses a catgirl costume, striking at posh events and stealing the diamonds without leaving traces behind. When visiting Alice’s parents to arrange the police operation to find and capture the diamond burglar, Bob meets Alice, unaware that she is the burglar. As they talk, she touches him, and it becomes love at first touch. Poor Bob is hooked and his tribulations begin.   

One of the best decisions by The Group Rep is the casting of the protagonists. The mischievous characteristics of Alice Van Guilder are vivaciously played by DeMaria, who acts with such naturality that her leading performance shapes the narrative of the play and heightens the audience engagement, something that only truly committed thespians can do. DeMaria’s soprano voice, movement, and acting makes this catgirl a rich and exciting character to watch. She shows off her captivating voice in “Wild and Reckless” and “I Like Him”, her two solo music numbers. 

As for Reusch, a tenor, he’s fascinating with his rendition of “She Touched Me”, the song made famous by Barbara Streisand. Reusch is excellent at portraying Bob Purefoy’s conflicting spirit, fighting the dichotomy between law enforcement and uncontrollable infatuation. His awkwardness and naiveness make his character highly likeable and relatable. Reusch and DeMaria develop a convincing chemistry on stage, adding an aura of romanticism and playfulness.       

The connection with the play is not new to Kimmel. In 1997, he produced a new version of the play’s score and he interacted with Playwright Ira Levin and Composer Milton Schafer. Unfortunately, Levin and Schafer are no longer around to see this new production. But this is a special commitment by Kimmel, and he is now able to stage the play at the Lonny Chapman Theatre.

To enhance the production even more, Costume Designer Shon Le Blanc uses an impressive array of period costumes that offer an attractive visual element that shows the careful attention to detail, which is always a demonstration of the level of commitment by the production team.

This is a rare opportunity to see the talent of Ira Levin as a musicals writer. Combined with the fine musical taste of Milton Schafer, Drat! The Cat! is a fantastic display of dance, comedy, and music.        

Drat! The Cat!

The Group Rep Theatre
10900 Burbank Blvd.
North Hollywood 91601

March 21 through April 27
Fridays and Saturdays at 8pm. Sundays at 2pm

Tickets: thegrouprep.com

Book & Lyrics by Ira Levin. Music by Milton Schafer. Directed by Bruce Kimmel. Musical Director Gerald Sternbach. Produced by Koushik Chattopadhyay for The Group Rep.

Cast: Ben Anderson (Patrolman & Ensemble), April Audia (Kate Purefoy), Riley Croman (Ensemble), Sydney DeMaria (Alice Van Guilder), Lareen Faye (Ensemble), Amy Goldring (Ensemble), Lee Grober (Mayor), Doug Haverty (Pincer), Angie Lin (Ensemble), Constance Mellors (Matilda Van Guilder), Hisato Masuyama (Butler & Ensemble), Savanna Mortenson (Maid/Ensemble), Maxwell Oliver (Ensemble), Lloyd Pedersen (Lucius Van Guilder & Roger), Alec Reusch (Bob Purefoy), Rob Schaumann (Mallet), Melissa Strauss (Dowager & Ensemble), Nicole Slatin (Ensemble) and Steve Young (Judge & Ensemble).

Musical Review: Bat Boy: The Musical

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A boy with pointy ears and fangs found in a cave, a seductive mother mourning her kids, and a disturbing case of sexual abuse by a colony of bats. Hey, the story comes from a supermarket tabloid, what can you expect?

If that’s not bizarre enough, the story has been turned into a musical. But do not expect a production with the vampiric and Gothic looks of Tim Burton’s style. Director Pat Towne chooses a more vanilla approach to present the story. The color palette leans more towards the pastel tones, moving away from the dark colors usually associated with horror or mystery themes. The choices in this case bring out the comedic aspect of the play. The hilarity is present even in the most dramatic scenes.

Ron (Isaac Council), Rick (Ethan Remez–Cott), and Ruthie (Sandra Kate Burck) are exploring a cave when they find Bat Boy (Ben Raanan), hiding in the shadows. Bat Boy bites Ruthie, who is taken to the hospital. Meanwhile, Ron and Rick take Bat Boy to Dr. Parker (Scott Mosenson), the local veterinarian. Moved by compassion, Meredith (Robyn Roth), Dr. Parker’s wife, takes Bat Boy under her wing and teaches him English, how to dress, and how to behave politely. She also gives him a name: Edgar. As for Shelley (Bethany Koulias), Dr. Parker’s teenage daughter, she feels disgusted by Edgar’s appearance and screams. But just like King Kong, Beauty and the Beast, and The Shape of Water, the pretty girl and the monster fall in love with each other. Shelley and Edgar let sexual instincts take over, without realizing the tragedies that lie ahead.

Even though the story might not be that compelling—all it’s a fantastical tale—the director and his actors make sure to deliver a visceral comedy with hints of humanism and compassion. At the end, the production proves to be a decadent display of dark humor, presenting themes of religion, discrimination, and ferality in humans.

The musical numbers lighten the darkness of the topics depicted in the play. The music is rather poppy, something similar to Michael Jackson’s “Thriller”, a pop song mocking the horror genre. In Bat Boy: The Musical, not only the horror genre is mocked, religion and society at large are also targeted.

For example, the gathering for the revival, a celebration to renew Christian devotion, is an opportunity for the residents of the small town to practice some good Christian heart and accept Edgar without any fear, ending his punishing ostracism. Encouraged by the benevolent Reverend Hightower (Chima Rok), the residents seem to finally accept Edgar into the community.

However, a jealous Dr. Parker turns the residents against Edgar, blaming him for the death of Ruthie. In a strange form of “baby envy”, Dr. Parker can’t stand the fact that his wife Meredith is now paying more attention to Edgar. In a fit of rage, Dr. Parker kills Ruthie with a lethal injection, blaming Edgar’s biting as the cause of her death. Long story short, the Christian revival turns into a fight, a renewed call to kill Edgar, and the killing of Rick by Dr. Parker. Yes, two and counting for him. Adding bizarreness to the scene is the dramatic, almost orgasmic mourning of Rick and Ruthie’s mom, Mrs. Taylor (Rebecca Larsen), who demands the immediate killing of Edgar. Revival of Christian values? Not so much. It’s so chaotic that even the Reverend takes flight, but not without his lectern.

The set. Minimalist. The attention here is the excellent acting and the sensationalist story. The lighting. The contrast and the hues add mood and intensity to the story, highlighting the emotional state of the characters. The special effects show the creativity of the team to impact the comedy of the play. Even the gang bang by the bats is hilarious.

Towne brings the absurdity of Weekly World News to the stage in mesmerizing fashion. His cast and creative team achieve a one-of-a-kind production, with excellent live music to energize the ambiance in every musical number. This musical is a testament that even tragedies can be highly entertaining. Add bats and fangs to the mixture and you have a hybrid of Batman and Dracula. And that’s a proven win.

Bat Boy: The Musical

Atwater Village Theatre
3269 Casitas Ave
Los Angeles, CA 90039
• FREE parking in the ATX (Atwater Crossing) lot one block south of the theater.

• Performances: March 1 through April 6:
• Click here to view the performance schedule, which varies throughout the run.

Tickets: openfist.org

Book by Keythe Farley and Brian Flemming. Music and Lyrics by Laurence O’Keefe. Directed by Pat Towne. Amanda Weier and Christian Lebano co-produce for Open Fist Theatre Company. Presented by Open Fist Theatre Company, Martha Demson, artistic director.

Cast: Ben Raanan, Sandra Kate Burck, Isaac Council, Hutchins Foster, Carmella Jenkins, Bethany Koulias, Michael Lanahan, Rebecca Larsen, Amir Levi, Scott Mosenson, Ethan Remez–Cott,  Ziare Rene, Beth Robbins, Chima Rok, Robyn Roth and Grace Soens.

Creative team: Scenic designer Brad Bentz; lighting designer Brandon Baruch; sound designer Christopher Moscatiello and mixer Alex Hix; costume designer Michael Mullen; and graphic designer D. Morris. The production stage manager is John Dimitri.

THE BAND:
Mike Flick – Bass
Jim Miller -Drums
Sean Paxton – Keyboards
Kevin Tiernan – Guitar

Theatre Review: Tick, Tick… BOOM!

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When to quit? When to keep fighting? Luc Clopton shines as Jon, the struggling artist pursuing a career in musical theatre in Jonathan Larson‘s Tick, Tick… BOOM!

Director H. Adam Harris has a script and three actors to create a full production. Throughout the play, he demonstrates a special talent to make his actors radiate the excitement of big dreams and the unnerving desperation of unrealized success. The three actors show their mastery in singing, dancing, and acting, delivering a dazzling performance to remember.

Clopton digs deep into Jon’s insecurities, making the audience feel the anguish of a latent failure that would shatter his dreams into pieces. As music and singing are instruments to express and amplify the hopes and insecurities of the human race, Clopton hits all the notes to display the conflicting emotions inside an artist who feels his success so close, but so far at the same time. As for Lena Ceja as Susan and Mario Houle as Michael, their performances exhibit the richness of Larson’s skills to elevate the main character, giving him the encouragement and the challenges needed to develop the drama and get the audience emotionally invested. Ceja is exceptionally lively, adding dynamism to her character. An actress ready to take a protagonist role on stage.

Harris succeeds in building the crescendo to reach the pivotal scenes where Susan tells Jon she’s leaving and Michael reveals he’s dying. Those circumstances push Jon to the limit and forces him to make a decision. This is a master class on getting the audience drawn into the story and invested in the characters. By the time Jon sings “Why”, the audience is already fully immersed in Jon’s struggles, rooting for him. A consolidation of the great work of writer, director, and actor.

Much of the success of this production is the direction. Harris connects all the elements to create a seamless flow, giving the three characters the necessary richness to form a solid case to make them interesting and likable.

The play is moving for a variety of reasons. The story travels. People feel easily identified with the characters. Jon is happy pursuing his dreams, but the elusive success keeps haunting him so much that he’s on the brink of giving up. Susan is a supporting girlfriend, but she’s also getting older and wants to settle down. Although Michael gives up his acting dreams, he is a great friend to Jon, always there for him to help him and encourage him to keep fighting. But as it happens often, life can be a cruel irony. Theatre reflecting life.

Although the themes of fighting for a dream and losing someone dear make this story highly relatable, it’s Harris’ direction what ensures that the artistic elements are finely calibrated to capture the emotions, anxieties, and hopes of the characters, mirroring the captivating integration of song and story as written so effectively in Larson’s poignant script. This production is another example of the Chance Theater’s commitment to bring meaningful and exceptional stories to the stage.

Tick, Tick… BOOM!

CHANCE THEATER
Bette Aitken theater arts Center on the Cripe Stage
5522 E La Palma Ave
Anaheim, CA 92807

Opening Night: Saturday, February 1 at 8 p.m.
Performances: January 24 – February 23, 2025
Fridays at 8 p.m., Saturdays at 3 p.m. and 8 p.m. & Sundays at 3 p.m.

Tickets: chancetheater.com

Book, Music & Lyrics by Jonathan Larson
Script Consultation by David Auburn
Vocal Arrangements and Orchestrations by Stephen Oremus

Direction by H. Adam Harris, with music direction by Lex Leigh and choreography by Niko
Montelibano
Executive Producers are Susan Bowman & Freddie Greenfield and Steven & Louise Koch

Cast: Luc Clopton as Jon. Lena Ceja as Susan. Mario Houle as Michael.

Creative team: Scenic Designers Fred Kinney and Mio Okada. Costume Designer Bruce Goodrich. Lighting Designer Jacqueline Malenke. Sound Designer Hunter Moody. Stage Manager Jordan Jones. Dramaturg and Assistant Director Jane Broderson. Sound Engineer James Markoski.  Assistant Director Aaron Lipp. Intimacy Coordinator Shinshin Yuder Tsai.

Musical Review: Jane Austen’s Emma, The Musical

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A heartfelt musical story of romance during Regency England is in full display at the Chance Theater in Anaheim.

In this production directed by Casey Long, Emma Woodhouse (Mandy Foster) embodies the woman who enjoys being the matchmaker of other people while neglecting her own romantic needs. In a period known as Regency England, the role of women was limited to that of an obedient housewife prepared to satisfy her husband’s needs. The educational and professional opportunities for women were few and with that, their economical prospects were dictated by the men around them. Screenwriter Jane Austen was one of the very few women who excelled in writing, a field dominated by men at the time.

Drawing from her own experiences, Austen created characters that exhibited the virtues and defects of the people around her. A keen observer of people’s behaviours, Austen’s Emma is a case study of England’s gentry and their attitudes towards the lower classes.

As much as Emma is a musical, the play infers the elitist vision of the landowners during the Regency period. The most obvious contrast of classes is the relationship between Emma and Harriet Smith (Sadie Alexander). According to Emma, Harriet is a sweet but unsophisticated girl that needs an urgent makeover. The relationship is imbalanced, as Emma is the dominant figure. Emma is tutoring Harriet to become an attractive match to a fine gentleman. The tutelage, however, turns into a contentious issue between Emma and her friend George Knightley (Jeff Lowe), another member of the English gentry. As Harriet falls in love with Robert Martin (Luc Clopton), she is encouraged by Emma to reject his marriage proposal for considering him below Harriet’s level, proving that Emma’s influence on Harriet, although good-intentioned, gets in the way of Harriet and Martin’s feelings and happiness. This leads to an argument between Emma and George, risking the possibility of a romantic relationship between them.

Casey Long presents a lively and engaging production that explores the different layers inferred in the text and subtext of Austen’s superlative script. Something that Long translates effectively is the palpitating romantic aura of the story through the interactions among the characters. Although Emma exhibits the negative characteristics of a spoiled and flawed woman of the upper class, she experiences a transformation that makes her mature into a more tolerable person, accepting the reality and variety of the people surrounding her privileged environment.

The play is, after all, a touching story to warm the audience’s hearts in a musical setting. Something worth mentioning is that Long’s production relies mainly on the direction, music, and exceptional performance of the cast. The set design is minimalist, making the actor’s performances the center of attention. The music, directed by Lex Leigh, is an exceptional element that brings out the romance and playfulness of Austen’s witty writing.

The synergy created by the voices of Foster, Lowe, and Alexander intensify the emotional rollercoaster of their respective characters, adding that special touch to this production. “This is How Love Feels” interpreted by Foster and “Emma” interpreted by baritone Lowe exemplify the awakening of the main character’s feelings for each other; the essence of their existence.

Foster is the main engine of this musical, and she delivers a rich character that navigates the strict expectations of a patriarchal society. But she also exhibits splashes of rebellion and freedom, aspirational states of countless people living in England at the time, especially women. Likewise, Alexander does a fantastic job as Harriet, a character that due to her level in classist England, has limited exposure to the experience and sophistication necessary to be more independent, thus making her more susceptible to Emma’s manipulation.

Emma is an example of the relevant impact of Jane Austen as a writer and as an iconic agent of change. It would be fair to say that Austen was influenced by the seismic changes taking place around the world during her lifetime, such as the French Revolution and the American Revolution, events that gave birth to a new concept of freedom and justice. The subtlety of Austen’s radical ideas is present in her writings, but one must be able to read between lines to really find and enjoy the call for action. This particular staging of Jane Austen’s Emma, The Musical is a celebration of the extraordinary life and the novelty of ideas of a female writer who exalted the resilience and ingenuity of Regency women.

Jane Austen’s Emma, The Musical

Chance Theater @ Bette Aitken theater arts Center
5522 E. La Palma Ave.
Anaheim, CA  92807

Opening Night: Saturday, December 7 at 8 p.m.
Performances: November 29 – December 22, 2024
Wednesdays at 7:45 p.m., Thursdays at 7:45 p.m. Fridays at 8 p.m., Saturdays at 3 p.m. and 8 p.m. & Sundays at 3 p.m.

Tickets: chancetheater.com

Book, Lyrics, and Music by Paul Gordon. Based on the novel by Jane Austen. Directed by Casey Long. Music Direction by Lex Leigh. Show Producers: In Memory of Mary Kay Fyda-Mar (Executive Producer). Samuel & Tammy Tang (Associate Producer). Bette & Wylie Aitken (Executive Season Producer). The Family of Mary Kay Fyda-Mar (Associate Season Producer).

Cast: Mandy Foster as Emma Woodhouse, Jeff Lowe as George Knightley, Sadie Alexander as Harriet Smith, Glenn Koppel as Mr. Woodhouse, Deva Marie Gregory as Miss Bates, Davide Costa as Mr. Elton, Cynthia Espinoza as Mrs. Elton, Blake Rhiner as Frank Churchill, Sierra Jimenez as Jane Fairfax, Luc Clopton as Robert Martin, Jonathon Lamer as Mr. Weston, and Elisabeth Hunter as Mrs. Weston.

Creative team: Masako Tobaru and James Markoski as Production Designers, Bruce Goodrich as Costume Designer, with Gwen Sloan as Associate Costume Designer, Jordan Jones as Stage Manager, Laurie Smits Staude as Dramaturg, Wyn Moreno as Dialect Coach, James Markoski as Audio Engineer, and Carina Leland as Assistant Stage Manager.

Gay Men’s Chorus of Los Angeles’ Holiday Concert at the historic Saban Theatre

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Gay Men’s Chorus of Los Angeles’
Holiday Concert
SUGARPLUM FAIRIES
is ONLY 3 weeks away
Featuring beloved classic melodies
on December 14 & 15 
at the historic Saban Theatre
Tickets are available at www.GMCLA.org!
LOS ANGELES, CA (November 21, 2024) – The Gay Men’s Chorus of Los Angeles (GMCLA) lights up its 2024-2025 mainstage with SUGARPLUM FAIRIES in just three weeks! The nearly 200 member Chorus begins its 46th season of performances on December 14 and 15 at the historic Saban Theatre in Beverly Hills (8440 Wilshire Boulevard) in a program of song and dance conducted by Music Director & Conductor Ernest H. Harrison. Tickets are now on sale at www.GMCLA.org/SugarPlumFairies.
“GMCLA’s Holiday show always makes the Top Twenty LA Holiday Events List, and this year’s candy-coated edition will be no exception!” shared Executive Director & Producer Lou Spisto. “The Sugar Plum Fairy will come to life in a very special show filled with sweet holiday treats and pure fantasy. Our Fairy has summoned the Chorus to put on a show filled with candy coated hits and joyful confections that will bring us together, and we won’t stop until we’ve taken everyone to a world of ‘Pure Imagination’ with a tribute to the iconic music of the Wonka Films.”
Upcoming GMCLA Season 46 Schedule
RHINESTONE COWBOYS | March 22 & 23, 2025 
  DANCING QUEENS | June 21 & 22, 2025 
All concerts will take place at the Saban Theatre in Beverly Hills. The GMCLA Season 46 three-concert subscription packages are $365 and are now on sale at www.GMCLA.org.
Gay Men’s Chorus of Los Angeles (GMCLA) 
GAY MEN’S CHORUS OF LOS ANGELES, under the leadership of Executive Director & Producer Lou Spisto and Music Director & Conductor Ernest H. Harrison, is in its 46th year of music and service. GMCLA continues to garner acclaim for artistic excellence while remaining deeply rooted in service to the Los Angeles community and beyond by promoting civil rights, tolerance, and acceptance through music. Founded in 1979 during the emergence of the gay rights movement, GMCLA spreads its message of love and acceptance with concerts across the globe and has raised its collective voice in the movement toward equality, social justice, the fight against the AIDS crisis, the fight for marriage equality, and all those seeking to find their own voice. GMCLA’s free community concert program has provided access to concerts to tens of thousands over the decades, and its research-based education programs have served over 90,000 young people throughout the Los Angeles region. In December 2023, GMCLA brought its beloved holiday concert to the Saban Theatre with Hooray for Holidays and returned in March 2024 with the pop-explosion We Love Boy Bands! In June 2024, GMCLA’s celebrated the Pride month with the Season 45 Finale, SOLID GOLD: Aretha, Dionne, & Whitney, at Pasadena Civic Auditorium. In recent years, GMCLA has performed at Carnegie Hall and the Hollywood Bowl (with Hugh Jackman). Reaching global audiences, a GMCLA appearance at the 2020 Film Independent Spirit Awards has gained more than 7 million online views. During the pandemic, GMCLA presented virtual concerts, special events, and school programs, reaching thousands of new and longtime fans. From Los Angeles and Ireland to Brazil and New Zealand, GMCLA’s streaming concerts were incredibly well received. Critics have proclaimed the Chorus “inspired” and “expressive, innovative and utterly moving,” and hailed GMCLA for presenting “meaningful entertainment.”
For more information about GMCLA visit:
www.GMCLA.org
Instagram: @GayMensChorusLA     TikTok: @GMCLA     Facebook: @GayMensChorusLA