Category Archives: Theatre

Fringe Review: JESUS LIVE!

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Last Sunday was a special day. It was the second coming of Jesus. In Hollywood, right on Melrose Ave. Did you miss it? Don’t worry, you still have two more chances. But how was it? Was it indeed a religious experience? Well…

Jesus (JD Mata) came down to Earth to deconstruct the image people have built around his persona over the years. God (Evan McNamara) joined him for an honest and revealing conversation. There was music, too. The party got some traction and soon enough, Mary Magdalene (Alexandra Fragoso) showed up. According to Pope Gregory, she was a prostitute. But on Sunday night, she dressed up rather conservatively; no fishnets, no six-inch fluorescent heels. Was she really a woman of dubious reputation back in Magdala? What kind of relationship did she have with Jesus? Dirty minds have come up with different versions over the years. But don’t pay attention to fake news. Hear it directly from her; she’s eager to explain.

One of the Three Wise Men (Jack Little) also joined the conversation. How did they find infant Jesus? Was it a star? Polaris, a comet? The Wise Man will tell you, with music, of course. but the explanations wouldn’t be complete without God and Satan telling their side of the story. They also have some sense of rhythm. By the way, what’s up with the image of Jesus, tall, blonde, blue-eyed, like an Italian model on the cover of a fashion magazine? Are we missing something here?

What if everything they told you about these biblical characters is not exactly accurate? Is God really, really good? Is Satan really, really bad? And don’t get me started with the death toll. It’s revolving, never-ending. Team God vs Team Satan. Why is God in white but Satan in red?

Billy Threadgold‘s script is thoughtful, controversial, defiant, but never boring. The cast will keep you entertained and engaged, whether you believe in the Holly Scriptures or you don’t give a continental damn, just make sure you like comedy and pop songs.

So, let your prejudices at the door and come with an open mind. This show might turn your world upside-down, but at least you hear it directly from the protagonists. Who would’ve thought that blasphemy could be so much fun?

Jesus Live!

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

June 14 @ 5:30 PM
June 19 @ 8:00 PM
June 25 @ 8:00 PM

Tickets: hollywoodfringe.org/projects/14404

Written and executive produced by Billy Threadgold

Directed by John Coppola

Cast: JD Mata, Alexandra Fragoso, Evan McNamara, Jack Little

Creative team: Matthew Quinn, consulting producer. David Carbonara, Composer. Bertha Rodriguez, Casting/Marketing. Ron Barnett, Music Director. Spencer Frankeberger, Tech Operator. Michelle Vasquez, stage manager. Jenna Morris, Costume.

Theatre Review: ROMEO AND JULIET

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With glowing green and golden fireflies flying around the ravine, the romantic tragedy of Romeo and Juliet is transferred from Verona of the Late Middle Ages to New York during the Gilded Age, making the story more relatable to a contemporary audience.

Despite a car alarm threatening to ruin the actors’ dialogue at the beginning of the play, the scenes continued without major disruption. Co-directed by Willow Geer and Ellen Geer, the classic tale of forever love is now set in 1885. New York is bustling with activity and new fortunes are being built with the expansion of industry and transportation. Unprecedented changes in America are happening at an incredible pace, giving people hope for a brighter future. The Gilded Age is synonymous of wealth, mansions, and names like Rockefeller, Vanderbilt, and Carnegie. It’s during this period that Romeo (Asher Hagler) meets Juliet (Quinnlyn Scheppner). They fall in love and their future looks bright. But what do the stars have to say?

One great thing about Will Geer Theatricum Botanicum is that it keeps the theatrical experience vibrantly analog. No digital displays, just lights, music, minimal props, and the talent of the cast. With the natural ravine as the background, even the sound of nature is highly appreciated. With this setting, what gives away the Gilded Age period is the costumes. Designer A Jeffrey Schoenberg presents elaborate costumes that reveal the elegance and status of the new riches. But the costumes also depict the personality of the characters. The red suit of Tybalt, for example, shows his ambition and aggressive tendencies, an element that stands out and plays with the concept of color psychology. The ladies, of course, are dressed in their best silks, brocades, and ruffles, displaying a rich palette of fabrics and colors.

The selection of a different period than the original is an attempt to correlate the opportunities for American society during the Gilded Age and the imbalances of society’s structure that left many people behind. The endless opportunities were not for everyone. Although the progress was extensive, the characters are still stuck in old beliefs and social norms. For Callahan (Ethan Haslam), keeping a high social status is imperative. That’s the reason he demands Juliet to marry Paris (Tomas Francois), a wealthy man that would elevate the Callahans’ prestige. But love is love and Juliet has other plans, in cahoots with Friar Lawrence (Max Lawrence).

The blocking is exceptional, allowing the actors to make great use of the big stage and platforms. Breaking the fourth wall is also an effective engagement device, as so is the actors walking and seating close to the audience. The fighting scenes add realism and movement to the story and heighten the tension among the characters. With all of these kinetics, Willow and Ellen Geer creates a space to nurture the humor and drama of this classical tragedy.

The cast is a mixture of experienced and upcoming talent. Ellen Geer as Nurse is fantastic. Sweet and spicy, she teases about female anatomy and male attractiveness, much to the amusement and shyness of a young and naive Juliet. Geer does it remarkably well, playing her character as the messenger between Romeo and Juliet, but also as the unfortunate prey of old traditions, unable to champion the drives and priorities of a new generation. Rhett Curry as Mercutio is excellent as well. He gets into the character with a hypermasculinity tendency that leads to tragic consequences. Great dialogue and action. As for the protagonists, Hagler and Scheppner are two young actors navigating the exciting and challenging rhythm of Shakespeare’s iambic pentameter. These young actors are on the right path to master the demanding job. It’s always exciting to see up-and-coming talent taking one of Shakespeare’s script and making it their own, metamorphosing and revitalizing iconic characters written more than 400 years ago. Their performances exude the innocence and illusion of an entire generation who truly believes that love conquers all. Kudos for their brave performances.

The change of time period is an intelligent way to keep Shakespeare relevant. Technology changes, but human behavior stays the same. Setting the play during the Gilded Age is a symbolic reference to the rapid and chaotic changes we see today. New fortunes are being created , but the question remains, who will advance and who will be left behind? Ellen and Willow Geer see these connections, and the Gilded Age is perceived as a time where opportunities came along, but only for a few. Romeo and Juliet represent that bridge, a hopeful new beginning, a break from the past. What are the realities behind the shiny, gilded mansions?

Romeo and Juliet

Will Geer Theatricum Botanicum
1419 N. Topanga Canyon Blvd.
Topanga CA 90290
(midway between Pacific Coast Highway and the Ventura freeway)

June 6–Sept. 26

Tickets and show times: theatricum.com

Written by William Shakespeare. Co-directed by Ellen Geer and Willow Geer.

Cast: Asher Hagler, Quinnlyn Scheppner, David Benne, Billy Walker, Jesse Corwin, Rhett Curry, Tomas Francois, Jason Hayes, Ethan Haslam, Brooke Heatley, Michelle Jasso, Max Lawrence, Shane McDermott, Michelle Merring, Christopher Miles, Elijah Reyes, Ethan Ricks, Franc Ross, Jon Sprik and Ellen Geer. Taking on a variety of smaller roles are Cole Dechant, Asher Edwards, Kiley Fallon, Estrella Garcia–Starr, Abbs Stoiber and Elliott Grey–Wilson.

Creative team: Fight choreographer Cavin (CR) Mohrhardt, costume designer A Jeffrey Schoenberg, lighting designer Geoff Barton, sound designer Irene Silbert, properties master Shoshanna Green and wardrobe supervisor Beth Eslick. The assistant director is Natalia Jofre and the production stage manager is Karen Osborne, assisted by Amayah Watson. Sophie Edwards is production assistant.

Hollywood Fringe Review: WHAT SURVIVES

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Five separate stories reflect the contrasting positions of Americans in today’s socio political environment. From unity to division, What Survives is an answer to crackdown on immigration by the current administration.

10-year-old Isabella has been abducted by ICE from her elementary school. Her Cuban-American father Eduardo (Randy Gonzalez) confronts Calvin (Steve Fite), the White school’s principal. Isabella is nowhere to be found and Eduardo demands answers. One of the highlights of the tense exchange is the revelation by Calvin that the federal funding is contingent on the school’s cooperation with ICE. Although rare, there have been some documented cases where ICE agents have detained minors and have sent them to detention facilities. This is a consequence of the revocation of Sensitive Locations Memorandum, which excluded schools, hospitals, and places of worship from immigration enforcement. The scene describes the frustration and the powerlessness—or complicit attitude—of the principal. You decide.

The play is presented in vignettes that explore the modern-day immigration experience in the U.S. and the reaction of Americans to some of the most extreme federal policies. The scenes delve into the full adoption of AI, the citizen’s concerns of such technology, the concerns of two veterans about the future amid the widespread tolerance of racism, and one case in which a trans woman is going to through a forced detransition, an example of the country’s movement towards conservatism.

The most striking depiction of the acute division of the country is the couple arguing about Trump’s administration policies on immigration. Julie (Rachael Meyers), who is White, is married to Gabriel (Greg Mathis Jr.), who is Black. Gabriel supports Trump’s immigration enforcement while Julie disapproves of it. The argument heats up and more things are revealed about the shifting perceptions of what America is and what it should be.

With splashes of experimental theatre, What Survives takes a clear position on the current state of affairs and the angst and extremism lurking beneath our feet. Meyers uses Isabella as a connective tissue to link the lives and experiences of individuals who are trying to make sense, if any, of the turmoil around them. The noises of fireworks in the background during the veterans’ scene (Shereen Khan, Homie Doroodian) seems symbolic, representing the increasingly loud noise in the background of our lives.

And the rockets’ red glareThe bombs bursting in airGave proof through the nightThat our flag was still there

Is the noise that we hear proof that our flag is still there? You might agree or disagree with what you see and hear in this play, but Mayer will shake you up and make you analyze not only what’s out there, but maybe even more importantly, what’s inside of you. There is a lot of depth into the stories in this play; they’re glimpses of Meyers’ skills as a storyteller, performer, and director. And that’s the great thing about Fringe. It allows all of these creatives to sharpen, experiment, and exhibit the things they’re capable of in a less restrictive environment. Just make sure to get the heck out of the theatre as soon as the show ends. This is Fringe, and Fringe moves fast.

What Survives

The Broadwater (Second Stage)
6320 Santa Monica Blvd.
Los Angeles, CA 90038

Saturday, June 6 at 9 :00pm
Thursday, June 11 at 8 :00pm
Sunday, June 14 at 12 :30pm
Thursday, June 18 at 11 :00pm
Friday, June 26 at 10 :00pm

Tickets: hollywoodfringe.org/projects/14386

Written and Directed by Rachael Meyers

Cast: Carolyn Mignini as Alice, Lydia Tinsley as Willow, Randy Gonzalez as Eduardo, Steve Fite as Calvin, Rachael Meyers as Julie, Greg Mathis Jr. as Gabriel, Shereen Khan as Masoumeh, Homie Doroodian as Naser, Sarahbeth Zohrehvand as Kat, and Shariffe Rahming as Lucas.

Creative team: Costume Design by Mylette Nora, original music by composer Dan Burdman, and props and graphic design by Kristen Maloney. Angelica Estevez will serve as stage manager, and Robert Zambrano as assistant stage manager.

Theatre Review: LIMONADE TOUS LES JOURS: A PARIS LOVE STORY

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With Paris in the background, an older American man and a young Parisian woman try to find the meaning of true love amid wine, music, and a few bubbles. And don’t forget the waiter, a sort of bohemian dreamcatcher philosophizing about life and love, cigarette in hand.

Yaya (Nicolet Anton) is sitting in a cafe when Andrew (David E. Frank) shows up. They spend the following minutes talking about why they should not fall in love with each other. Age gap, different expectations, etc. But Cupid doesn’t understand any of that, especially in Paris. Soon after her performance in a cabaret, Yaya and Andrew spend the night together. Was it a mistake, a fling, or finally that main, true love they’ve been looking for? It seems that French lemonade can cast a spell on you despite a conscious resistance. Both characters talk about their past, their failed relationships, and the kind of life they can expect if they were to live together.

The dialogue is primarily a discourse about romance vs reality in the realm of love. What does it take to find true love, and what do you do once you find it? Limonade is a poetic reflection on that search and the adventure that is to step out into the unknown.  What goes through the mind of a man who is in the twilight of his life? What are the expectations of a woman at the beginning of her adult life? What happens when those two life stages meet?

For this play, Charles L. Mee uses a story that despite its simplicity, has a profound meaning, as it covers the three main experiences in life: Birth, love, and death. It is the poetry and the simplicity that make this story stand out. With the vivacity of Yaya, the willingness of Andrew to explore second chances, and the flamboyance of the Waiter/Dancer/Madame Josephine (a versatile Cruz St. James), the characters express the beauty of the human experience, missteps and all. One interesting detail is Mee’s use of the dialogue to voice his opinion on the American image from the perspective of people from other countries, in this case, the French. But the text is also an expression of the willingness of Americans to open up their minds to experience and learn from other perspectives. At the end, Andrew is transformed and moved by the deep connection with Yaya, a relationship that allowed him to learn more about women and about himself.

The direction by Frédérique Michel translates the text into a sensual display of music and movement. The blocking makes great use of the space, placing the actors and set props around the stage to create three-dimensionality to the scenes. The only thing that downgrades the set is the static digital projection, a device used in many productions nowadays. Most of the productions could get rid of it and still create the visual impact necessary to tell the story. Just a personal opinion. The costumes add a French flair to the scenes; they’re classic and vanguardist. As for the musical numbers, the three actors show their fine vocal aptitudes. Their range and texture add emotional expression to the French songs and enhance the sexiness of the story, just listen to the suggestive “Les Sucettes”.

If you’re up to some romance and exquisite French connection, this is your play. It’s lyrical and thoughtful, a breadth of fresh air in a world of chaos.

LIMONADE TOUS LES JOURS: A PARIS LOVE STORY

Bergamot Station Arts Center
2525 Michigan Ave. T1
Santa Monica, CA 90404

Link: citygarage.org

Performances: May 22th Jun 28, 2026. Fridays and Saturdays at 8 PM. Sundays at 4 PM.

Written by Charles L. Mee. Directed by Frédérique Michel. Produced by Charles A. Duncombe.

Cast: Nicolet Anton, David E. Frank, Cruz St. James.

Creative team: Set, Lighting, Audio design: Charles A. Duncombe. Costume Design: Josephine Poinsot. Video/Projections: Anthony Sannazzaro. Assistant Director: Ralph Radebaugh. Photos, Graphics: Paul Rubenstein.

 

Theatre Review: GRANGEVILLE

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What does it take to amend a broken relationship? Is that even possible? in Grangeville, Samuel D. Hunter delves into the internal turmoil of two half-brothers who are trying to reconnect, despite the complicated past that brings back painful memories.

Arnie (Tim Cummings) lives in The Netherlands. Jerry (Jeff LeBeau) still lives in Grangeville, Idaho, in his mom’s trailer home. After years of silence, Jerry connects with Arnie to let him know about the imminent death of their mom, who is sick in the hospital and medical bills piling up. Navigating through their mom’s debts, they also navigate their traumatic past and the attempts to reconstruct their relationship. Even though their mother is not seen or heard in the play, she is omnipresent in the characters’ lives in such a way that her influence has shaped the way they see the world, impacting their relationships with other people.

To highlight the emotions of the play, Director John Perrin Flynn uses a mostly black set design to concentrate the attention on the two characters. The walls on the background have an irregular texture, like broken pieces from a shattered rock; it’s a subtle comparison to the shattered relationship between the two characters. The lighting also plays an important role, it’s directional, focusing on the characters, heightening their state of mind with an impactful dramatic effect. Hunter’s dialogue is superlative in the voices of Cummings and LeBeau, carrying most of the play with limited physical action. Their nuanced performances add a rich texture to the themes of the play. Both actors are able to lead the audience to a world of vulnerabilities that unveil the consequences of untreated or denied mental and emotional trauma. Flynn shows his ability to interpret Hunter’s text and subtext, creating a space where raw emotions unearth, fight, and try to rectify the aftermath of a neglectful and abusive upbringing. It’s a sophisticated production with solid performances and excellent direction.

The play is an exploration of how humans react to abuse. Jerry was abused by his mother and father. Jerry, in turn, abused Arnie. He not only exerted physical abuse on Arnie, but also denied Arnie the opportunity to attend a prestigious college. The abuse was also a reaction to Arnie being gay in a small and conservative town as Grangeville, Idaho. Although not directly disclosed in this play’s dialogue, Hunter has written in the past about conservative Christianity and its negative views on homosexuality. An example is A Great Wilderness, where a gay conversion therapist in a Christian retreat, also placed in Idaho, takes one last client before retirement. Even though these stories are placed in Idaho, they reflect the Christian views at large and the root cause of violence and discrimination against individuals of the LGBT community.

An interesting device used in this play is the two actors doubling as Stacey, Jerry’s wife, and Bram, Arnie’s husband. The doubling seems to serve as a projection of the deep-rooted traumas afflicting the two half-brothers, and how the emotional scars of their upbringing have affected the way they relate to their respective partners. It’s a reflection on how difficult it’s to let go of the past. As underlying residues, hidden but latent, resentment and repressed pain don’t go away, despite time and physical distance. Arnie and Jerry try to work things through, but continue to hit a wall, exhausting almost all chances of a reconciliation. Even therapy can’t seem to help Jerry restitute the damage he’s caused to Arnie. In this case, Hunter uses Jerry as an analogy of deep transformation. Jerry is a character addressing his issues, willing to pick up the pieces left behind by his reckless behavior.

One interesting detail is the mention of dioramas in the story. This came as one of Hunter’s experiences visiting The Netherlands. He went to a museum and saw the exhibit of Tracey Snelling, an artist born in Oakland. The dioramas are miniature or life-size representations of different scenarios. Some of these dioramas are used in movie sets to represent locations or landscapes. In the case of Shelling, her dioramas are miniature representations of American places, like gas stations and such. These crafted miniature scenes clicked with Hunter and motivated him to keep writing Grangeville, as he had set it aside, not entirely sure what direction the play should take. In this play, the dioramas are representations of the journey to discover the purpose and direction to get to the final destination. They’re also a representation of America, it’s people, places, and attitudes. Curiously enough, the set of the trailer home looks like a diorama; it’s like a representation of their past and the meaningful change transforming Arnie and Jerry’s lives.

The play doesn’t answer questions or take a strict stand on the issues depicted, it simply presents the circumstances of two characters that are struggling to come to terms with their realities. As usual, Hunter doesn’t deliver a verdict. He closes the curtain with an open question, allowing the audience to decide for themselves. Some people might hate it, some people might love it. But this is an intelligent way of making theatre, presenting life as it is and opening up the conversation.

Grangeville

Ruskin Group Theatre
2800 Airport Avenue
Santa Monica, CA 90405
(ample free parking)

Opening at 8pm on Friday, May 29, 2026
Schedule: 8pm Fridays, Saturdays; 2pm Sundays. No performance on June 5, 12; July 3, 5. Added performances at 8pm on Mondays June 8, 15
Closing July 12, 2026

Tickets: ruskingrouptheatre.com

Written by: Samuel D. Hunter. Directed by: John Perrin Flynn. Produced by: John Ruskin, Michael R. Myers, Nicole Millar. Presented by: Ruskin Group Theatre.

Cast: Tim Cummings as Arnie, Jeff LeBeau as Jerry.

Creative team: Stephanie Kerley Schwartz (Scenic and Costume Design), Dan Weingarten (Lighting Design), Keith Stevenson (Sound Design), Jan Bryant & Dan Speaker (Stunt/Fight Coordination), Nicole Millar, Stephanie Kerley Schwartz & Ryan Wilson (Props), Nicole Millar (Production Stage Manager).

Theatre Review: A TIME TO KILL

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In appearance, A Time to Kill seems to reinforce the White savior concept. Despite that element in the narrative, it’s a realistic picture of the prevalent racial power dynamics in the justice system. The time and place of the story help us understand why a White lawyer is necessary to save a Black man’s fate.

1984, Clanton, Mississippi. Tonya Hailey, a ten-year-old Black girl, is savagely raped, tortured, and beaten by Pete Willard (Troy Whitaker) and Billy Ray Cobb (Adam Mattson), two White neo-Confederates driving around town in a pickup truck. The two men are arrested, and after their bond hearing, they’re both gunned down by Carl Lee Hailey (Sherrick O’Quinn), Tonya’s father. With limited economic resources, Carl asks Jake Brigance (Hudson Long), a young White attorney, to represent him in his murder case. After a deep discount, Jake takes the case.

Helping Jake on this legal challenge are Lucien Wilbanks (Michael C. Mahon), a disbarred drunk lawyer, and Ellen Roark (Anica Petrovic), a smart law student who develops a romantic interest in a faithfully married Jake. Lucien suggests using insanity as the basis for his defense. The prosecutor is Rufus Buckley (Mark Stancato), an ambitious District Attorney who hopes to further his political career by winning this case. Presiding this case is Judge Omar Noose (Neil Thompson). As the Ku Klux Klan closes in on Jake to intimidate him and the more resourceful NAACP tries to take over the defense, the loyalty and trust between Carl and Jake is challenged. With his freedom and life on the line, Carl now has to decide whether to stick with Jake or allow the NAACP to represent him.

Despite some inaccuracies of the legal procedures depicted, John Grisham gives A Time to Kill all the necessary ingredients to make it a compelling story. Tom Lazarus executes the play in a riveting depiction of reversals and fights against time. The stage adaptation by Rupert Holmes doesn’t include some of the characters and events mentioned in the book, but the play keeps the hectic and exciting pace of Grisham’s writing. The success of the play, of course, relies on the interpretation of the director. Lazarus keeps the emotions flowing with the twists and turns of a plot which centers around the mutual trust developed between the main characters. With dynamic blocking and solid performances, Lazarus gives this play that sense of urgency and empathy that keeps the audience rooting for the characters. Stancato shines as the aggressive DA. He adds relentless ambition and even charm to his character, a unique duality to his interpretation. O’Quinn depicts the desperation and criticality of a man whose fate hangs by a thread in incredible circumstances. He’s another USC graduate making the rounds in the local theatre scene. As for Long, he carries the story with the conviction of a lawyer facing physical danger and professional risk. He goes to that place where his character experiences vulnerability and the mythic transformation that will determine his utter failure or pivotal success. As a supporting role, Holmes delivers a remarkable performance, expressing the pain and susceptibility of a broken mother and wife in a precarious situation. Her presence and fine acting skills add a magnetic touch to this production. Overall, the cast and the direction energize the play, making it relevant and exciting to watch. It’s a story of survival. It’s a story of power dynamics. And it’s also a story of change.

As a trained attorney and writer, Grisham knows how to play with motivations and emotions, bending the actual legal procedures at times to advance a story, but always with the aim to entertain a wide audience. A defense strategy looking for a non-guilty decision based on insanity would send the defendant to a mental institution, most likely for life. Regardless, Grisham is one of most prolific and successful writers, having sold over 300 million copies of his books. His experience gives him a unique perspective about the legal and not so legal activities that happen in the courtrooms. Raised in Mississippi, he has also seen first hand the complex realities of racial tension and the outcomes of a biased justice system, but also the possibilities and opportunities of a change. In this respect, Lazarus’ production pictures those nuances in an eloquent and entertaining manner. Long nails the compelling closing argument, inviting the jury to challenge their perception on humanity and race, as if invoking a wind of change.

This is a special opportunity for the audience to experience Grisham with excellent casting and direction. It’s a vivid representation of what goes down in the South from the perspective of an insider. Celebrating their 53rd anniversary, The Group Rep and Producer Stevie Stern honor a celebrated author with an appealing production that explores the depths of human brutality and the extraordinary efforts to uphold the law above all.

A Time to Kill

The Group Rep Theatre – Main Stage (First Floor)
10900 Burbank Blvd.
North Hollywood 91601

May 22 – June 28, 2026
Fridays and Saturdays at 8:00pm; Sundays at 2:00pm

Tickets: thegrouprep.com

Adapted for the stage by award-winning playwright Rupert Holmes. Directed by Tom Lazarus. Produced for the Group Rep by Stevie Stern.

Cast: Patrick Anthony, Reed Michael Campbell, Dominic Ryan Gabriel, Jennifer C. Holmes, Hudson Long, Michael C. Mahon, Adam Mattson, Rosney Mauger, Sherrick O’Quinn, Anica Petrovic, James Lawrence Powell, Steve Rozic, Mark Stancato, Neil Thompson, Sandra Tucker, Troy Whitaker, and Steve Young.

Creative team: Tom Lazarus (Set Design), Noemi Barrera (Lighting Design), Shon LeBlanc (Costume Design), Avi Kipper (Sound Design), Alex Salkin (Property Master), Doug Haverty (Graphic Design), Lee Redmond (Set Build Foreman).

Theatre Review: SANCTUARY CITY

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Taking from her own experiences as an immigrant, Martyna Majok‘s play exposes two characters in the immigration experience: The winners and losers, and the profound feelings in between.

B (Spike Pulice) is in high school. Both him and his mom are undocumented. His classmate G (Vicky Yvonne) is also undocumented, but gains citizenship through her mom. Due to the body marks left by the physical abuse of her mom’s boyfriend, G has to miss several days of school. To escape the abuse, G stays at B’s apartment occasionally. Afraid of getting arrested and deported, B’s mom decides to go back to her home country, asking B if he wants to go with her, or stay behind by himself.

Set in the early 2000s, right after the 9/11 terrorist attacks, B and G live in Newark, New Jersey, a city that has experienced a dramatic racial shift over the past 70 years. During that period, the White population shrank from 82% to 22%. The African American population grew from 17% to 48% during the same period. Even though there are not specific numbers for Latino residents during the 1950s, city census records showed that a small number of Latinos were living in Newark at the time. In contrast, the census from 2020 shows that the Latino or Hispanic population grew exponentially to around 36%, the majority of them from Puerto Rico, Ecuador, and Dominican Republic. These figures are significant to have a better picture of the city’s racial composition, although Majok does not disclose the race of the characters.

Navigating the anti-immigrant paranoia unleashed after 9/11 and the challenges of their personal lives, B and G grow closer together. They support each other in their darkest times. They even come up with a plan to get B his papers. What seems like an unbreakable bond, however, changes drastically once G gets her citizenship and decides to go to college in Boston on a scholarship. While B tries to stay in school, he also has to work to make ends meet. Time and distance do their thing, and feeling left behind, B explores other options, until he is forced to make a final decision.

Director Oánh Nguyễn keeps the incredible kinetics of the first part of the play, micro scenes where the actors keep moving around in a pretty much empty stage. The pacing builds up the tension, and one can imagine the intense work needed to remember all the scenes with the blocking and dialogue involved. It’s an extraordinary display of coordination and memory. During the second part, the pacing subsides and the play takes a more traditional approach. This creates a space that frames the resonance of the message. At this point, Henry (Jonathan Keyes) is introduced, creating new layers to the story, adding hope, stress, and pushing the main character over the edge.

The three actors shine in this play. Portraying such a delicate subject matter in a meaningful way, takes commitment and skills. The actors gravitate effortlessly towards the complex feelings of fear, fulfillment of dreams, and the cruelty of hard decisions. Pulice and Yvonne build up the emotional connection between the characters one scene at a time in the first part. This creates a more dramatic effect during the second part, making their fallout more painful. Keyes, in turn, is fantastic as the third wheel, a sophisticated character that might change B’s destiny. They’re a cohesive cast that make the characters credible and interesting.

With his extensive directorial experience, Nguyễn achieves a phenomenal production. The blocking and the work with his actors align fluidly with Majok’s rawness depiction of lives holding on to the American Dream. This staging is gripping and moving. It’s confrontational and conversational. You might fight it or come to terms with it, but the play represents the hopes, fears, and broken dreams of entire generations.

Talking about his great-grandfather’s migration from Ireland to America, Conan O’Brien said that sometimes it takes an entire lifetime just to get things started for the next generation to succeed. Sanctuary City shows that first generation, struggling to achieve that success. Some people make it, some people don’t. The winner takes it all, the loser has to fall, as the song goes. Will B achieve his dream, or will he get lost in the shadows?

Sanctuary City

Chance Theater @ Bette Aitken theater arts Center on the Fyda-Mar Stage
5522 E. La Palma Ave.
Anaheim, CA 92807

May 9 through May 31, 2026
Fridays at 8PM, Saturdays at 3PM & 8PM, and Sundays at 3PM

Tickets: chancetheater.com

Written by Martyna Majok
Directed by Oánh Nguyễn

Cast: Spike Pulice as B, Vicky Yvonne as G, and Jonathan Keyes as Henry.

Creative team: Scenic & Costume Designers – Mio Okada-Nunez and Fred Kinney, Lighting & Sound Designer – Andrew Hungerford, Stage Manager – Jordyn Nieblas-Galvan, Dramaturg – Jasmine Sunoo-Flanders, Assistant Director, Intimacy Coordinator, & Casting Director – Shinshin Yuder Tsai.

Theatre Review: EXIT THE KING

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It could be an ecological alarm, or a chronicle of the despotic ways of the Nicolae Ceaușescus of the world, but at the end, Exit the King feels like an intimate reflection of the intriguing process of death.

It’s official. The King (Henri Lubatti) is going to die soon. Very soon, By the end of the play, his second wife (Joy DeMichelle) announces it so cold-heartedly. His second wife (Erika Soto), prone to partying and drinking, is devastated. The doctor (Ralph Cole Jr) knows of the King’s fate, and has no hesitation in telling him the truth. The King is not only dying, he is also losing grip on his kingdom. Nobody follows his orders, not even Alexa. His guard (Lynn Robert Berg) and servant (KT Vogt) are a reflection of the decaying kingdom.

Born in 1909, Playwright Eugène Ionesco grew up in a picturesque French village full of bloom and light. This landscape contrasted dramatically with the grimness and brutality of WWI, WWII, the Holocaust, and other tragic events of the first half of the 20th century To highlight that contrast and absurdity cleverly, Director Michael Michetti utilizes a clowning format that blends tragedy and comedy, two elements that bring out the eccentricities of the characters and the symbols they represent.

Each of the actors in this production make great use of physical comedy. This is a group of experienced actors that nail every beat. Lubatti, as the lead actor, is simply extraordinary. His ability to portray comedic arrogance, goofiness, and how he exteriorizes his inner transformation is one of a kind. Soto continues to add to her already impressive collection of great performances at A Noise Within. Her timing and physical comedy skills are at full display here, showing off the kind of talent that comes out of USC. The contribution of  DeMichelle, Cole Jr., Vogt, and Berg to the comedy and flamboyance of their characters defines the success of this production.

The clowning artifice implemented by Michetti in this production exemplifies the effective duality of the clown. The initial comedy that offers buffoonery and apparent superficiality progresses to a deeper philosophical tone; one that invites the audience to confront the reality that the end of life is an inevitable force of nature, whether we are royals or simple peasants. The King, with all of the power he once flaunted, is forced to face an abrupt change, both in terms of physical power and spiritual awakening. Within those depths, Ionesco delves into rebirth, transmigration, immutability, and the eternality of the Self.

The play, with its absurdity and symbology, is paired craftily with an austere and gloomy scenic design by Tesshi Nakagawa. The medieval and gothic design offers a dramatic contrast with the impressive lighting by Jared A. Sayeg. The visual representation of Bardo is striking; artistry that you can only experience in person. The costume design and makeup by Angela Balogh Calin and Tony Valdés respectively add a quirky touch to the playfulness and oddity of the characters.

Losing one’s kingdom might be hard, but facing death might be even harder, especially if your ex-wife and doctor keep reminding you of that. Despite the support and sexiness of his second wife, the King has to make some choices, sooner rather than later, as he doesn’t have much time. Will the crumbling world beneath his feet teach this arrogant King a lesson?

Exit the King

A Noise Within
3352 E Foothill Blvd.
Pasadena, CA 91107

Performances May 9 – May 31:
• Thursdays, Fridays and Saturdays at 7: 30 p.m. / Saturdays and Sundays at 2 p.m. (no Saturday matinee on May 9)

Tickets: anoisewithin.org

• Written by Eugène Ionesco
• Translated by Donald Watson
• Directed by Michael Michetti
• Starring Lynn Robert Berg, Ralph Cole Jr., Joy DeMichelle, Henri Lubatti, Erika Soto, KT Vogt
• Presented by A Noise Within, Geoff Elliott and Julia Rodriguez-Elliott, producing artistic directors

Creative team: Clowning consultant Matt Walker; scenic designer Tesshi Nakagawa; costume designer Angela Balogh Calin; lighting designer Jared A. Sayeg; sound designer Jeff Gardner; wig and makeup designer Tony Valdés; properties designer Stephen Taylor; and dramaturg Miranda Johnson-Haddad. The assistant director is Marco Rivera, and the production stage manager is Hope Matthews, assisted by Morgan McDonald.

Theatre Review: STUCK

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With so much talk about mental health nowadays, a story like Stuck couldn’t be more timely. Playwright Jessica Goldberg captures the boredom, hopelessness, and lives left behind in small town America.

Lula (Mary-Clare Bone) and Margaritah (Michaela Leon) are close friends working a dead-end job at a video store in Middletown. Without much of a future before their eyes, all they can do is play games, drink beer, and smoke some colitas. Margaritah was married and had a baby called Olive, but her husband left them for someone else. Lula is single and on a dry spell. But suddenly, the stillness of their lives seem to change.

A strange guy comes into the video store, looking for a particular movie. His name is Jorge (Sebastian Senatore). He’s from Argentina, a peronista and a player. He invites Margaritah to go out on a date. She accepts and they end up having sex. Lula, in turn, hooks up with Charlie (Joshua Loren), the dad of one of her classmates. Just to paint a grimmer picture to Lula’s life, she also has an alcoholic mother (Stephanie Schultz) who refuses to go out; all she does is drink and watch TV. Unable to address the underlying issues affecting their lives, Margaritah and Lula are heading into a spiral of desperate actions to turn their lives around.

The play has some absurdist characteristics, like the peronista character Jorge, with the violent and revolutionary fame associated with them. and the little people that Margaritah and Lula claim to live inside them, people that have become evil according to Margaritah. These elements expand on the core themes of the story, exposing the lingering danger and mental health issues affecting the environment in which the characters live. Goldberg’s writing is exceptional in creating layers and connecting them cleverly.

The richness of the writing is translated into action effectively by the sharp direction of Amanda Bird. Her use of acting, lighting, stage design, and blocking is a titillating dramatization of the serious problems decimating our communities today: Depression, addiction, lack of opportunities, and mental health issues.

The lighting, created by Bird, creates depth and atmosphere, in cadence with the story and the characters. Any theatre student and professional designer should look at this production to see how to use your lights to create atmosphere and transitions as an aid in your storytelling. 

Also worth noting is the use of music. In one of the scenes between Lula and Charlie, Willie Nelson’s “Angel Flying Too Close to the Ground” is played in the background. Subtle, but so powerful. Once you make the connection, the song has so much meaning, if you understand the lyrics and the connection to this story. The use of dirt, spread all over the stage, is also a symbolic and meaningful element, essential to the title and context of the play.

The acting, of course, is what brings the text alive. Schultz, as the alcoholic mom, exposes in visceral scenes the hopelessness of her character, ensuring the transmigration of her utter defeat to her daughter. Loren does his part as the cold and calculating older womanizer who sees the opportunity to take advantage of a woman as young as his daughter. Bird makes the smart decision of pairing up experienced thespians like Loren and Schultz with emerging talent as Bone, Leon, and Senatore. These three young actors show their commitment and dedication to the craft. They’re a new generation cutting their teeth in meaty and challenging plays like this one. Leon’s performance is brave and convincing, dissecting the complex layers of her character, showing her devastating journey to the bottom of the barrel.

By the way, as young as they are, Bone and Leon are the founders of Opia Theatre Company, a collective of playwrights, actors, and designers. They’re co-producers of this play. Amanda Bird, Founder and Artistic Director, along with Lynne Mannino, Co-Founder and Director of Development, are the creative forces behind The Nest, a nonprofit theater company and artist resource in Los Angeles, providing education, outreach, and resources to the artistic community.

Stuck is a poignant and relevant story. It’s thoughtful and fun at the same time. It has that raw and intimate feel that leaves a lasting impression. Make sure to check it out before it’s gone.  

STUCK

Noisy Nest
148 S. Doheny Dr
Beverly Hills, 90211

Performance Dates: 05/08 – 05/23 at 8:00pm. (Thursdays-Saturdays).
Understudy performances: 05/15, 05/21

Tickets: thenestla.org/stuck

Written by: Jessica Goldberg
Directed by: Amanda Bird
Produced by: Opia Theatre Company, The Nest.

Cast: Mary-Clare Bone, Michaela Leon, Joshua Loren, Sebastian Senatore, Stephanie Schultz, Understudies: Olivia Garrity, Jemma Williamson, Devin Reeve, Tomas Francois, Rin Olsson.

Creative team: Set Design – Amanda Bird & Ashley Murray, Lead Builder – Ashley Murray, Sound Design – Jacob Rubino, Wardrobe + Prop Master – Amanda Bird, Intimacy Choreographer – Holly Hubbel, Graphic Design – Mary-Clare Bone, Stage Manager – Norah Triebitz.

Theatre Review: CLARA VS. INFINITY

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Does the universe have a limit, or is it a mass of stuff expanding in perpetuity? If you divide the circumference of a circle by its diameter, what do you get? Welcome to Pi and the world of irrational numbers. Welcome to Clara vs. Infinity.

With her mom’s credit card and some heartaches in her pocket, Clara takes a leap into the unknown, traveling by herself from Boston to Washington DC to compete in a Pi Recitation Bee. Coping with the complicated relationship with her father and his eventual suicide, Clara embarks on a bus trip to Washington with the intention to win the 10k prize to the person who can recite the most numbers of Pi. After all, she can recite more than 500. But would that be enough to win? Furthermore, can she do it without her mom finding out about the risky trip?

Similar to a road movie, the story involves a journey that is both physical and emotional. Sneaking out of the house, Clara pushes the limits, risking her own safety to help her overworked mom. The trip allows Clara to discover her weaknesses and strengths. The trip then becomes a personal development endeavor. Even though she is only a 12-year-old girl, the experience forces Clara to grow and come in contact with the world that is beyond her home.

Talking to his students, a Harvard Business School professor once said “look at the numbers, they will talk to you”. On a deeply personal level, the numbers also talk to Clara. As she reflects on the wonders of the universe, the numbers help her explore the concept of infinity. As curiosity and sadness sets in, the numbers become her companion to understand the world around her and make sense of her own life.

Meeting creepy, quirky, and friendly characters along the way, the trip turns into a passage of life, a transformation, and a deeper connection to her mom, and movingly enough, to her deceased dad.

It’s a deep, compelling, and intelligent script. Playwright Zack Rocklin-Waltch understands the concept of myth in a way that clicks with the audience brilliantly. It’s an examination of grief, self-discovery, and coming to terms with our own shortcomings. As painful as it might be, however, the whole ordeal turns into a worthwhile experience. I could’ve missed the pain, but I’d have had to miss the dance, as Garth Brooks sings in “The Dance”.

The script is paired with a superb direction by Jamie Gallo. Her actors are free to search deep into the motivations of the characters to find their inner truth. The blocking and the music are captivating. Gallo’s attention to detail is also evident in the set design (Kate Schaaf). And how about the costume design (Olivia Dakin)? It’s one of the first things you notice when the play is about to start. All of these details show how much love you put into a production. Kudos to the producers Bianca Akbiyik and Marie Bland for putting this play together so professionally.

The cast offer a deeply moving and enthralling performance that leaves a lasting impression. Kaylani Gaudart as Clara and Nikki McKenzie as mom are simply magnetic. Audrey Forman, seen before in Gloria at the Chance Theater, continues to deliver exciting performances, and this time she excels again as the wife with an internal disappointment that is affecting her life with her husband (Seth Gunawardena). Nina Romero, trained in Second City, is fantastic as well; her characterization adds a lot of flavor to the play. The whole cast is phenomenal; true artists creating moving poetry on stage.

Clara vs. Infinity is a deeply moving gem. Just like in the surrounding stores, it’s a rare find, so make sure not to miss it. One more weekend, your last chance.

Clara vs. Infinity

Zephyr Theatre
7456 Melrose Ave.
Los Angeles, CA 90046

April 10 – 26
Fridays 8 PM. Saturdays 3:30 PM and 8 PM. Sundays 2 PM.

Tickets: eightballtheatre.org/events

Written by Zack Rocklin-Waltch. Director: Jamie Gallo. Producers: Bianca Akbiyik & Marie Bland. Dramaturg: Sun Jin.

Cast: Kaylani Gaudart, Luke Dimyan, Collette McCurdy, Alex Nimrod, Audrey Forman, Kameron Brown, Nina Romeo, Seth Gunawardena, Quaz Degraft, Nikki McKenzie, and Matthew Bridges.

Creative team: Scenic Designer: Kate Schaaf, Costume Designer: Olivia Dakin, Lighting Designer: Cristo Montañez, Sound Designer: Konner Syed, Prop Designer: Dominique Jakowec, Composer: Julia Moss, Projection Designer: MC Macadar, Hair & Makeup Artist: Olivia Forman.