Category Archives: Musical Theatre

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

It’s The Beatles! It’s Christmas! It’s Open Fist Theatre Company’s ‘BOTH: A Hard Day’s Silent Night’

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It’s The Beatles! It’s Christmas! It’s Open Fist
Theatre Company’s ‘BOTH: A Hard Day’s Silent Night’

Charity concert benefits Heart Of LA
 

WHAT:
It’s The Beatles! It’s the Christmas story! It’s BOTH! Celebrate the holidays with Both: A Hard Day’s Silent Night, Open Fist Theatre Company’s annual holiday charity concert spectacular. A rockin’ choir and a swinging live band spread peace and joy, telling the Christmas story through effervescent Gospel arrangements of Beatles songs. Proceeds benefit Heart of Los Angeles (HOLA), giving underserved kids an equal chance to succeed through a comprehensive array of after-school academic, arts, athletics and wellness programs.

WHO:
• Gospel Arrangements by Jason Paige
• Music Direction by Chris Wabich
• Choreography by Eboni Nichols
• Conceived by Mark Wilson

WHEN:
Seven performances Dec. 18 through Dec. 22::
• Wednesday, Dec. 18 at 8 p.m.
• Thursday, Dec. 19 at 8 p.m.
• Friday, Dec. 20 at 8 p.m.
• Saturday, Dec. 21 at 4 p.m. and 8 p.m.
• Sunday, Dec. 22 at 3 p.m. and 7 p.m.

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

TICKETS:
$30
A portion of the proceeds will be donated to Heart of Los Angeles (HOLA), giving underserved kids an equal chance to succeed through a comprehensive array of after-school academic, arts, athletics and wellness programs: www.heartofla.org

VIDEO:
Click here to watch members of the BOTH choir sing “We Can Work It Out”

HOW:
www.openfist.org
(323) 882-6912

Musical Review: Final Girl: The Musical

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It’s a musical, but it’s also a solo show. Callie Ott tells her personal story blending horror, music, and comedy. If you like movies like “Scream” or “Scary Movie”, then this is for you.

Ott endured and survived abuse. Twice. In her solo show, she explains the reasons behind her selection of partners and how those relationships ended up in abuse. Throughout the show, some rhetorical questions come to mind. Are red flags obvious at the beginning of a relationship? Is it BDSM or abuse? Why would someone fall into bad relationships twice?

To navigate the account of her personal story, Ott comes up with a character that adds most of the comedy, a friendly and nosy 911 operator. Both women will try to encourage each other to survive and break the cycle of abuse.

Ott is also a singer, so her solo contains hip-hop and pop music. The most striking aspect of her show is the change of tone. While the beginning is scary and funny, the show evolves into something much darker. Abuse and mental issues are serious problems and Ott makes sure to treat them with the attention they deserve.

As a storyteller, Ott is on her way to leave a mark in the comedy circuit. Fringe and the Hollywood Independent Theater Festival are excellent training grounds to improve a performer’s skills and Ott is using both platforms to put her name out there and gain traction. Thursday’s show was a one time performance for the Hollywood Independent Theater Festival, so stay tuned for more of Callie Ott’s productions.

Final Girl: The Musical

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

Nov. 14 at 8:30 p.m.

Written and performed by Callie Ott. Directed by Tyler Hansen. Songs arranged by Tony Gonzalez. Tracks produced by Rob Zaleski. Produced by Gustavo Stebner. In association with Combined Artform/Theater Asylum.

MILLION DOLLAR QUARTET at The New Vic Theatre in Santa Barbara

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ENSEMBLE THEATRE COMPANY 

Presents the Second Production of its 46th Season,

The Tony® Award-nominated musical,

MILLION DOLLAR QUARTET

 Book by Colin Escott & Floyd Mutrux

Original Concept and Direction by Floyd Mutrux

Inspired by Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins

Musical Direction by David Lamoureux

Directed by Brian McDonald

 Limited Engagement begins Thursday, December 5 

at The New Vic Theatre in Santa Barbara!

 

November 14, 2024…Santa Barbara, Calif… There’s “Gonna Be A Whole Lotta Shakin’ Goin’ On” as Ensemble Theatre Company of Santa Barbara (ETC), Santa Barbara’s only professional theatre company and a member of the League of Resident Theatres (LORT), brings to its subscribers and audiences the second production of its 2024/2025 season. The Tony® Award-nominated musical, MILLION DOLLAR QUARTET,book by Colin Escott & Floyd Mutrux, original concept and direction by Floyd Mutrux, was inspired by Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins.  ETC’s production will be directed by Brian McDonald and under the musical direction of David Lamoureux. MILLION DOLLAR QUARTET will perform from Thursday, December 5 through Sunday, December 22, 2024 (with a press opening on Saturday, December 7 at 8:00pm) at The New Vic Theatre, 33 W. Victoria Street.

Previews: Thursday, December 5 at 7:30pm & Friday, December 6 at 8:00pm

Opens: Saturday, December 7 at 8:00pm (Press Opening)

Runs: Thursday, December 5 – Sunday, December 22, 2024

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

 Added performances on Tuesday, December 10 at 7:30pm, Saturday, December 14 at 3pm, Wednesday, December 18 at 2pm and Saturday, December 21 at 3:00pm.

 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 

A COWBOY LULLABY at Rubicon Theatre of Ventura

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Rubicon Theatre of Ventura

Kicks off the Company’s 2024/2025 “Dare to Dream” Season

with the World Premiere Theatrical Concert 

A COWBOY LULLABY

December 4 – 22, 2024  

From James O’Neil and Dan Wheetman, the Drama Desk and Tony Nominated Creators of Lonesome Traveler and It Ain’t Nothin’ But the Blues

 

November 14, 2024 (Ventura, CA) – Rubicon Theatre, Ventura County’s leading not-for-profit professional theatre company, committed to entertaining, engaging and enriching the community through live performance, announces the World Premiere of A COWBOY LULLABY, an original theatrical concert about the truths, myths, lies and legends of the American West, and the poetry of characters with dreams as vast as the open range. This unique production kicks off Rubicon’s 2024/2025 “Dare to Dream” Season and runs from December 4 to December 22, 2024, at Rubicon’s Karyn Jackson Theatre in Ventura’s Downtown Cultural District, 1006 E. Main Street.

A COWBOY LULLABY | World Premiere Theatrical Concert
Dec. 4 – 22, 2024  (Low-Priced Previews Dec. 4 – 6/Press Opening Dec. 7)
Perf. Schedule: Wed. at 2 and 7 p.m., Thurs. at 7 p.m., Fri. at 7 p.m., Sat. at 2 and 7 p.m., Sun at 2 p.m.
Prices: $35 – $94.50 including a $5 processing fee. Discounts for Subscribers, Students, Military and Equity
Tickets: (805) 667-2900 www.rubicontheatre.org
Written by James O’Neil and Dan Wheetman
Directed by James O’Neil
Musical Director and Arrangements by Dan Wheetman

The Karyn Jackson Theatre, located at 1006 E. Main Street, Ventura, CA 93001. 

RAPUNZEL AND HER HOLIDAY WISH at Laguna Playhouse

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RAPUNZEL AND HER HOLIDAY WISH

Written by Kris Lythgoe
Produced by Lythgoe Family Productions

Directed by Becky Lythgoe

Supervising Director Bonnie Lythgoe

Musical Direction by Andy Street

Choreography by Becca Sweitzer

Laguna Playhouse presents Lythgoe Family Productions ninth “Panto at the Playhouse” with Darcy Rose Byrnes as “Rapunzel,” L.J. Benet as “Prince Sebastian,” and Larry Saperstein as “Simple Simon,” joining the previously announced Sally Struthers (“All In The Family”)  as “Madame Gothel,” in the world premiere of RAPUNZEL AND HER HOLIDAY WISH, produced by Lythgoe Family Productions, written by Kris Lythgoe, directed by Becky Lythgoe, supervising director Bonnie Lythgoe, choreography by Becca Sweitzer and musical direction by Andy Street.  RAPUNZEL AND HER HOLIDAY WISH will begin performances on Saturday, December 7; (with a press opening on Sunday, December 8 at 5:30 pm); and runs through Sunday, December 29 at the Laguna Playhouse, 606 Laguna Canyon Road in Laguna Beach.  

 Prepare for a spellbinding journey as Rapunzel tries to escape from her tower and the wicked Madame Gothel with the help of Prince Sebastian of Newport Beach, all the while learning her true identity and making her way to the Kingdom of Laguna for the Festival of Lights. Get set for Laguna’s favorite holiday event, filled with laughter, pop music from Taylor Swift to Stevie Wonder and of course snow! 

 

Preview: Saturday, December 7 at 7:00pm

 Opens: Sunday, December 8 at 5:30pm

 Runs: Saturday, December 7 – Sunday, December 29, 2024

 Performances will be Wednesdays at 6:00pm; Thursdays & Fridays at 7:00pm; Saturdays & Sundays at 12:00pm & 4:00pm (Saturday, December 21 will perform at 11:00am; 3:00pm & 7:00pm).  

There will no performances on Weds., Dec. 25 or Friday, Dec. 27 at 7:00pm.        

There will be added performances on Monday, December 23 at 12:00 pm & 4:00pm; Thursday, December 26 at 3:00PM & Friday, December 27 at 12:00 pm & 4:00pm.

LAGUNA PLAYHOUSE

606 Laguna Canyon Rd. in Laguna Beach, CA

Tickets range from $44 – $84 (for adult tickets); 

$37 – $69 (for children 2 – 14) 

There is a $50 “Golden Ticket” add-on option for a special onstage sing-along experience during the performance and a gift bag with special surprises!  

Tickets can be purchased online at www.lagunaplayhouse.com or by calling (949) 497-ARTS (2787). Group discounts are available by calling 949-497-2787 ext. 229.  Prices subject to change.

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