Category Archives: Theatre

Theatre Review: The Spy Who Went Into Rehab

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The Spy Who Went Into Rehab is presented by Pacific Resident Theatre. Written by Gregg Ostrin. Directed by Cyndy Fujikawa.

Simon Cross (Satiar Pourvasei) is sent to the most challenging mission to date: Cure his addiction to women, gambling, drinking, and killing the most dangerous criminals. Will he be able to survive the grueling therapy at the rehab center?

Under the strict guidance of therapist Stella (Jill Renner), Simon will go through a radical transformation. At the rehab center, Simon will interact with other addicts that will teach him a lesson on sensitivity and empathy. There is Gary (Stuart W. Howard), Yvonne (Rachel Townsend), and Pixie (Alondra Andrade). Insensitive to their feelings, Simon’s macho attitude triggers the trauma on these three addicts, a signal that he needs an urgent intervention to change his toxic masculinity.

Playwright Gregg Ostrin has created a mesmerizing and relatable play that gives a new look at the typical spy character that has been so popular in movies and TV. One of the most interesting features of this play is not only Simon’s transformation through his interaction with the other characters, but also how he is able to help the other addicts to overcome their fears and achieve a positive transformation for themselves.

Pourvasei’s performance is one of a kind. His nonchalant demeanor and clueless notion of his negative behavior at the beginning of the play heightens the comedic aspect of his character. Overall, the dialogue and physical comedy delivered by the rest of the cast combine perfectly to treat the audience to an exhilarating performance. Director Cyndy Fujikawa is able to translate the text effectively into an energetic visual experience that highlights the comedy and the intriguing aspects of the story. Fujikawa also acts in this production as Z, the person behind the organization that sends Simon to special missions.

The story and the plot get the audience invested in the characters. Will Simon manage to complete his therapy? Is he still relevant, or is he just a toxic relic from the past? Is therapy working for the other addicts? And how about Stella, the therapist?

The play has comedy, suspense, addiction, a Mexican standoff, and a surprise visit of Simon’s nemesis, Lazarus (with a cat). The question is, who will save the world if Simon retires?

The Spy Who Went Into Rehab

Pacific Resident Theatre
703 Venice Blvd.
Venice, CA 90291

Opening: 8pm on Friday, June 7, 2024
Schedule: 8pm Fridays, Saturdays; 3pm Sundays
Closing: July 7, 2024
Written by Gregg Ostrin. Directed by Cyndy Fujikawa.
Cast: Satiar Pourvasei, Jill Renner, Stuart W. Howard, Rachel Townsend, Alondra Andrade, and Cyndy Fujikawa.
Creative team: Michael Franco (Lighting Design), Jason Culp (Sound Design), Rachel Townsend (Choreography).

Theatre Review: Nora and Jim

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Nora and Jim is presented by The Irish Sea, in association with the Contemporary Irish Arts Center, Los Angeles (CIACLA) with ongoing guidance and support from Kevin Cronin and Dublin Theatre Productions. Written by Nora Connolly. Directed by Ronan Wilmot. Musical accompaniment by Dermot Kiernan. Produced by Marcus Fox.

As a prelude to Bloomsday, Playwright Nora Connolly and Director Ronan Wilmot present Nora and Jim, a poignant and lyrical play relating the intense and often troubling relationship between celebrated Irish writer James Joyce (Johnny O’Callaghan) and his muse and wife Nora Barnacle (Lisa Dobbyn).

The play is narrated by both characters, mainly by Nora. It’s a recollection of their continuous travels through London, Paris, Zurich, Pula, Trieste, and Rome. It’s an entertaining depiction of Joyce’s struggles as a writer and his sexual obsession with Nora. Analyzing his writings, the sexual undertones of his work relates to his understanding of human nature. For Joyce, the imagination and sexual instinct are two of the most powerful driving forces in life.

Joyce’s genial writings, however, were met with scrutiny and he struggled to secure a fixed income. Two kids and health issues made it even more difficult for the couple to be financially stable. In addition, Joyce spent the little money they had on alcohol, stressing Nora’s frustrations with him.

The play has numerous references to Joyce’s writings. As they moved around, he continued to write and look for publishers willing to accept his radical views on religion and politics, especially his criticism of Catholicism and British colonialism. Working in a bank and as a teacher, he finished writing Dubliners, Stephen Hero, Ulysses, and Exiles. All of this while experiencing a declining health and dealing with the mental instability of his daughter Lucia. Other challenges included living through the two most devastating wars of the 20th century, WWI and WWII.

On June 6th, The Glendale Room was the stage for Nora and Jim; it’s a small space that makes it feel even more intimate, like a private and exclusive performance. A touch of class to the production is the background music by Dermot Kiernan, playing a selection of traditional Irish pieces from the era.

Featuring an exciting all-Irish team, this production offers poetry and comedy in a sophisticated theatre experience not to be missed. It’s a moving performance to celebrate one of the greatest writers of the 20th century. James and Nora’s legacy continue to inspire people from all over the world. It’s a story of romance, eroticism, radicalism, and more importantly, a reflection of the human experience.

Nora and Jim

Performances at The Glendale Room
The Glendale Room – 127 Artsakh Avenue, Glendale 91206
WHEN: June 6th, 7th, 8th,13th, 14th, 15th @ 8:00PM

Tickets: eventbrite.com/e/nora-and-jim-tickets

Performances at The Hollywood Fringe Festival
The Broadwater Studio -1078 Lillian Way, Los Angeles, CA 90038
WHEN: June 9th @12:30pm
June 16th @ 2:00pm (*special Bloomsday performance)
June 17th @ 9:30pm

Tickets: hollywoodfringe.org/projects

Written by Nora Connolly. Directed by Ronan Wilmot. Musical accompaniment Dermot Kiernan. Produced by Marcus Fox. Presented by The Irish Sea, in association with the Contemporary Irish Arts Center, Los Angeles (CIACLA) with ongoing guidance and support from Kevin Cronin and Dublin Theatre Productions.

Cast: Lisa Dobbyn and Johnny O’Callaghan.

Theatre Review: The Sandwich Ministry

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Skylight Theatre Company presents The Sandwich Ministry. Written by Miranda Rose Hall. Directed by Katie Lindsay. Produced by Gary Grossman and Armando Huipe for Skylight Theatre Company.

When Claudia (Maha Chehlaoui) tells the story of the widow that put into the temple treasury the two small copper coins she had, Hannah (Jordan Hull) loses her patience, and an argument ensues. Caught in the middle is Joyce (Jayne Taini), a close friend of both Claudia and Hannah. The three women gather to make sandwiches for the neighbors that have been displaced by the storm that flooded the town.

Claudia is the wife of the church’s minister. Joyce has been attending the same church for a long time and has known Claudia for years. Hannah, on the other hand, has not been attending the ministry for quite some time. As the three women prepare the sandwiches, the tension is evident between Claudia and Hannah. The exposition reveals that the two of them were once very close friends, but their relationship started to fall apart as Claudia became more distant.

As they gather for the sandwich ministry, their respective backgrounds are disclosed. The play delves into the complexities of human relationships and how hard it is to fix them. Playwright Miranda Rose Hall uses the church and a storm as the environment to explore the possibilities of a hopeful reconciliation.

The script is extraordinary, the story and the plot create rich characters that explore themes of friendship, faith, and the importance of mutual support in times of crisis. The direction by Katie Lindsay captures effectively the relationship dynamics of three women whose lives and faith are succumbing to the disappointments of unrealized dreams.

The performances are moving, capturing the essence of the text. The three thespians excel in portraying the sense of community and the urgent need for human connections.

The Sandwich Ministry

Skylight Theatre
1816 1⁄2 North Vermont Ave.
Los Angeles, CA. 90027

Opening: 8:30pm Saturday, June 1, 2024
Schedule: 8:30pm Fridays and Saturdays, 3:00pm Sundays, 7:30pm Mondays
(no performances on Mondays, June 3 & 10)
Closing: July 7, 2024

Tickets: skylighttheatre.org

Written by Miranda Rose Hall. Directed by Katie Lindsay. Produced by Gary Grossman and Armando Huipe for Skylight Theatre Company.

Cast: Maha Chehlaoui, Jordan Hull, Jayne Taini.

Creative team: Carolyn Mraz (Scenic Design), R.S Buck (Lighting Design), Hope Kozielski (Assistant Lighting Design), Mylette Nora (Costume Design), Noel Nichols (Sound Design),
Benjamin Rawls (Technical Director), Victoria Hoffman (Casting), Cedes Sifuentes (Production Manager).

Theatre Review: The Winter’s Tale

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Will Geer Theatricum Botanicum presents A Winter’s Tale. Written by William Shakespeare. Directed by Ellen Geer.

Rage takes over Leontes (Aaron Hendry) and all hell breaks loose in this story of jealousy and redemption. Director Ellen Geer presents a fine ensemble to extract the humor and drama of the script and delivers an engaging rendition of Shakespeare’s psychological and romantic play.

One of the highlights of this production is Sophia Dawson‘s performance as Perdita. The role suits her well and she looks comfortable on stage. She projects convincingly the innocence and playful spirit of her character. Her speech and movements add magnetism to the iconic heroine. Visually speaking, Dawson has an astonishing resemblance to Edmund Leighton’s My Fair Lady, a romanticized depiction of a young woman from the Middle Ages.

Aaron Hendry offers an excellent performance as King Leontes, showing the dramatic transformation from an enraged husband consumed by jealousy to a repentant man consumed by sadness and regrets. Willow Geer as Hermione, explores the nuances of tragedy in a display of utter despair, reflecting the time when women had little choices to protect themselves against abuse and defamation.

The comedic relief comes mainly from Autolycus (Gerald C. Rivers), a pickpocket, Old Shepherd (Earnestine Phillips), and Clown (Daniel Ramirez), three actors with excellent timing. The comedy turns things around and the play takes a lighter tone, leading to the unexpected resolution of the story.

As usual, Geer stages this production with period costumes, making the play more appealing to the audience. The music and the dances keep things exciting and add kinetics to the performances. This Modern American staging of Shakespeare offers a sophisticated version of the drama and comedy of the text. It’s entertaining and visually exuberant.

Keep in mind that it’s an open stage surrounded by nature, so bring warm clothes; it can get chilly at night.

A Winter’s Tale

Will Geer Theatricum Botanicum
1419 N. Topanga Canyon Blvd.
Topanga CA
(midway between Pacific Coast Highway and the Ventura freeway).
Exit the 101 at Topanga Canyon Blvd. South to access Theatricum from the Valley.

June 1–September 30 (see website for full schedule)

Tickets: theatricum.com

Written by William Shakespeare. Directed by Ellen Geer. Presented by Will Geer Theatricum Botanicum.

Cast: Aaron Hendry, Willow Geer, Max Lawrence, Sophia Dawson, Earnestine Phillips, Christian Jordan Smith, Gerald C. Rivers, Daniel Ramirez, Aubrey Sage, Liza Rash, Tim Halligan, Michelle Jasso, Melora Marshall, Franc Ross, Andy Stokan, Kevin Rauch, Timothy Willard, Aralyn Wilson, and Julius Geer-Polin.

Creative team: Composer and musical arranger Marshall McDaniel; costume designer A Jeffrey Schoenberg; lighting designer Zach Moore; sound designer Grant Escandón; prop master Ian Geatz; and wardrobe supervisor Beth Eslick. The assistant director is Sara Carpenter and the production stage manager is Karen Osborne, who is assisted by Sky Wahl.

A Transcriber’s Tale

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A TRANSCRIBER’S TALE  

A Seriocomic Solo Show with Music by Joanna Parson

Prepare to embark on a rollercoaster ride through the tumultuous world of mass media and the resilient spirit of New York City in “Transcriber’s Tale,” a seriocomic solo show with music, written by Joanna Parson with developmental help from director Aimee Todoroff opens at the Broadwater Black Box on June 10, 2024.

Blending humor with poignant drama, “Transcriber’s Tale” delves into Joanna’s experiences as a transcriber amidst the chaos of ’90s New York, through the seismic events of 9/11. With seven captivating songs seamlessly woven into the narrative, Joanna accompanies herself on stage, ensuring a dynamic and engaging performance.

Transcriber’s Tale” is a testament to resilience, humor, and the power of storytelling. Audiences can expect to be entertained, moved, and inspired to reclaim their voices in an increasingly noisy world.

WHO: Written by: Joanna Parson; Produced by Michael Blaha of Fringe Management and Lee Castello, Directed by Aimee Todoroff, Music Direction by Drew Wutke.

WHERE: The Broadwater (Black Box) 6322 Santa Monica Blvd., Los Angeles, CA

WHEN:

Monday June 10 2024, 6:30 PM

Sunday June 16 2024, 8:00 PM

Friday June 21 2024, 10:30 PM

Wednesday June 26 2024, 8:00 PM

Saturday June 29 2024, 3:00 PM

Show runs 60 minutes; Admission: 12+

TICKET: $15 –  https://www.hollywoodfringe.org/projects/10852?tab=tickets

“This show is a love letter to New York,” Joanna explains. “It’s about secondhand trauma and the importance of navigating the relentless media landscape with discernment. I want to entertain my audience while inspiring them to critically examine today’s toxic media environment and reconnect with their own voices and communities.”

Originally conceived in 2012, Joanna’s vision for “Transcriber’s Tale” faced skepticism about its ability to address the sensitive topic of 9/11. However, it wasn’t until the global upheaval of the Coronavirus pandemic that audiences began to resonate with Joanna’s mission. “I thought I had something to say about transcribing around 9/11 and its relationship to secondhand trauma,” Joanna reflects. “But it wasn’t until after the world endured the second biggest traumatic event of my lifetime that people truly understood the relevance and urgency of this story.”

You Can’t Take It With You

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YOU CAN’T TAKE IT WITH YOU

Running May 31 through July 7 on the Main Stage (First Floor) of the Lonny Chapman Theatre, 10900 Burbank Blvd., in North Hollywood 91601.

YOU CAN’T TAKE IT WITH YOU May 31 – July 7, 2024

Friday and Saturday at 8pm.  Sunday at 2pm. Talkbacks with cast staff 6/2 and 6/9.

Running time:  Approximately 2 hours.  There will be one 10 minute intermission in the middle of Act 2 included in the overall running time.

Friday, May 31 at 8pm – Opening Night w/reception to follow

Saturday, June 1 at 8pm

Sunday, June 2 at 2pm (Talkback w/cast & staff)

Friday, June 7 at 8pm

Saturday, June 8 at 2pm

Sunday, June 9 at 2pm (Talkback w/cast & staff)

Friday, June 14 at 8pm

Saturday, June 15 at 8pm

Sunday, June 16 at 2pm (Father’s Day)

Friday, June 21 at 8pm

Saturday, June 22 at 8pm

Sunday, June 23 at 2pm

Friday, June 28 at 8pm

Saturday, June 29 at 8pm 

Sunday, June 30 at 2pm

Friday, July 5 at 8pm (Fourth of July Weekend)

Saturday, July 6 at 8pm

Sunday, July 7 at 2pm (Show closes)

Audio Theater Recording of Journey’s End

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NEWS RELEASE

Audio theater recording of riveting World War I drama
‘Journey’s End’ now available from L.A. Theatre Works 

LOS ANGELES (May 22, 2024) — The newest audio theater recording from L.A. Theatre Works is a powerful rendition of Journey’s End, the groundbreaking 1928 World War I drama by R.C. Sherriff. Adapted and directed by Martin Jarvis OBE and featuring an all-British cast of distinguished actors, Journey’s End is now available for digital download for $4.99 at latw.org.

Set in 1918 near the end of the war, Journey’s End charts the overpowering tension and claustrophobia in the British trenches over the course of four days, as a group of officers await an expected German attack. Based on Sherriff’s personal experience, the play is considered to be one of the best examples in modern dramatic literature of the true horror and tragedy of war.

“R.C. Sherriff was one of Britain’s great playwrights, and Journey’s End is one of the greatest war plays,” says Jarvis. “It may be set during World War I, but it’s clearly about the experience of war for all time, any time. About a group of soldiers in a horrific situation and how they deal with it, revealing every aspect of human nature including fear, huge courage, crippling cowardice, heroism and, maybe most important, humor. The play is surprisingly funny. The characters are British, but they could be Ukrainian, Palestinian, Israeli. It’s universal.”

Jack Cutmore–Scott stars as the young Captain Stanhope, doing his best to hold it together for his men. When the even younger Lieutenant Raleigh (Josh Cole), a former childhood friend of Stanhope’s, joins the company, he finds the older boy he used to worship changed almost beyond recognition. Also in the cast are James Callis, Tobias Echeverria, Adam Godley, Ian Ogilvy, Darren Richardson, Simon Templeman and Matthew Wolf.

When the play premiered at London’s Apollo Theatre in 1928, it starred a very young Laurence Olivier as Stanhope. In 2017, it was adapted into a film starring Sam Claflin.

L.A. Theatre Works stands apart in its approach to making great theater widely accessible and affordable, bringing audio recordings of plays into homes and classrooms of millions of theater lovers, teachers and students each year. The company’s syndicated audio theater series broadcasts weekly on public radio stations across the U.S. (locally, in Southern California, on KPFK 90.7 FM); can be downloaded as a podcast via Apple Podcasts, NPR One, or wherever you get your podcasts; and can be streamed on demand at latw.org. The L.A. Theatre Works catalog of nearly 600 recorded plays is the largest archive of its kind in the world. AudioFile magazine calls L.A. Theatre Works productions “the gold standard for fine audio theater recordings.”

To download a digital copy of Journey’s End, go to latw.org.

Black Bastard

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“BLACK BASTARD”

Takes Audiences on a Poetic, Comedic Odyssey of Identity

A humorous, heartfelt solo performance set in 1990s Houston. Playing over ten characters, Gentry explores themes of identity, masculinity, and self-discovery through a coming-of-age tale filled with nostalgic references and artful techniques.

WHO: Written and Performed by Jon Joseph Gentry. Directed by Shinelle Azoroh.

WHERE: Stephanie Feury Studio Theatre (5636 Melrose Ave, Los Angeles, CA 90038)

PERFORMANCES
June 6th at 7pm
June 19th at 8:30pm
June 30th at 4pm

TICKETS: $20 at https://www.hollywoodfringe.org/projects/7367.
Ages 18+, 55 minutes.

Theatre Review: Mix-Mix: The Filipino Adventures of a German Jewish Boy

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Latino Theater Company and Playwrights’ Arena present epic Mix-Mix: The Filipino Adventures of a German Jewish Boy. Written by Boni B. Alvarez. Directed by Jon Lawrence Rivera. Lead producer Olga Garay–English. Produced by Latino Theater Company and Playwrights’ Arena.

Thanks to the generosity of president Manuel L. Quezon, 1,300 European Jews entered the Philippines as refugees during WWII. By issuing Proclamation No. 173 on August 21, 1937, President Quezon encouraged Filipinos to welcome the refugees and instructed government officials to assist them.

Mix-Mix: The Filipino Adventures of a German Jewish Boy tells the story of Rudolph “Rudy” J. Preiss (Casey J. Adler), one of the German Jew refugees that lived in the Philippines. As one of those ironies of life, the Preiss family escapes the Nazi persecution in Germany only to find another persecution in the Philippines, this time in the hands of the brutal Japanese army. Along with his father Isaac (Mark Doerr), his mother Lena (Jill Remez, Deathtrap), and others, Rudy had to run to the mountains and hide from the Japanese.

The story is told from the perspective of a young Rudy and his two Filipino friends Zar (Alexis Camins) and Mousie (Angelita Esperanza), all around the same age. In the middle of the jungle and surviving bombardments, the three kids symbolize the union of the Jewish and Filipino cultures.

To depict the walking through the mountains, Playwright Boni B. Alvarez and Director Jon Lawrence Rivera used dance movements. To depict Mousie’s frustration after the death of her mother Dorna (Myra Cris Ocenar), a choreographed martial arts sequence ensues between Mousie and her father Ramil (Kennedy Kabasares). Other creative elements used to tell the story are projection for the flashbacks and lighting effects for the rain and the bombardments.

Rudy tells stories to his Filipino friends to recount his life back in Germany, his life in the Philippines as a chaperone to movie star Paloma Palma (Giselle “G” Tongi), and his dream of becoming an engineer in America attending MIT.

The performances feel a bit overacted at times, but in general, the play is entertaining and has moving moments that reveal how humans need each other to survive. Rudy and his friends become adults under extreme circumstances, and telling stories to each other is one of the ways to keep their sanity and innocence intact. One of the highlights of the play is the Jewish and Catholic prayers and their comforting effect when everything else seems lost. In general, the pacing of the play and the comedy keep the audience engaged till the end.

As a side note, the real Rudy left Germany at age 9 and left the Philippines at age 19 to study at MIT in the US. His parents stayed in the Philippines for 30 years.

The Los Angeles Theatre Center
514 S. Spring Street
Los Angeles CA 90013

Performances: May 18–June 16
• Thursdays at 8 p.m.: May 30; June 6; June 13
• Fridays at 8 p.m.: May 24; May 31; June 7; June 14
• Saturdays at 8 p.m.: May 18 (opening); May 25; June 1; June 8; June 15
• Sundays at 4 p.m.: May 26; June 2; June 9; June 16

Tickets: latinotheaterco.org

Written by Boni B. Alvarez. Directed by Jon Lawrence Rivera. Lead producer Olga Garay–English. Produced by Latino Theater Company and Playwrights’ Arena.

Cast: Casey J. Adler, Alexis Camins, Mark Doerr, Angelita Esperanza, Kennedy Kabasares, Myra Cris Ocenar, Jill Remez, Giselle “G” Tongi, Mark McClain Wilson.

Creative team: Choreography by Reggie Lee and fight choreography by Alvin Catacutan. The scenic designer is Christopher Scott Murillo; lighting design is by Azra King-Abadi; sound design is by Jesse Mandapat; video design is by Nick Santiago; costume design is by Mylette Nora; and the prop master is Lily Bartenstein. The stage management team includes production stage manager Letitia Chang, assistant stage manager Sam Pribyl and wardrobe assistant Manee Leija.

Psycho Beach Party

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WHAT: Psycho Beach Party

Written by Charles Busch
Directed by Tom DeTrinis and Ryan Bergmann
Produced by Brett Aune and Steven Luff
Associate Producers:  Brian Nesbitt and Sami Klein
Presented by HorseChart Theatre Company

DESCRIPTION: Surf’s up and murder’s afoot, as Psycho Beach Party mashes up ’50s psychodramas and ’60s surfer flicks into a truly madcap comedy. Think Gidget meets Mommie Dearest, meets John Waters! It’s 1962 and teenage tomboy Chicklet Forrest desperately wants to be a part of the surfer crowd on Malibu Beach. One thing getting in her way, however, is her unfortunate tendency towards multiple personalities, including a dim checkout girl, an elderly radio talk show hostess, a male model named Steve, and the accounting firm of Edelman and Edelman. And her most dangerous alter ego — sexually voracious vixen Ann Bowman — has nothing less than world domination on her mind! Mischief, madness and the passionate pursuit of the perfect wave (and the perfect man) come crashing over the heads of the audience as beach blankets and Hitchcockian psychological suspense thrillers are tossed around in this rollicking, zany comedy.

WHERE: Matrix Theatre

7657 Melrose Ave, Los Angeles, CA 90046
(Street parking)
WHEN: Previews 7pm on 6/12, 6/13
The show starts at 7pm but the fun starts at 6pm!
Opening: 7pm Friday, June 14, 2024
Schedule: 7pm Thursdays – Sundays
(added performance on Monday, July 1; no performance on Thursday, July 4).
Closing: Sunday, July 7, 2024

HOW: Reservations https://horsechart.ludus.com

More information: (323) 496-3390

HOW MUCH: Previews $30

General Seating: $45
Seniors: $35
Pay-What-You-Can: June 20, July 1 ($10+)