Black Bastard

“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

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

Ticketslatinotheaterco.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. AdlerAlexis Camins, Mark DoerrAngelita EsperanzaKennedy KabasaresMyra Cris OcenarJill RemezGiselle “G TongiMark 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

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+)

Odyssey adds 3 p.m. matinee for ‘Stalin’s Master Class’

Already extended through June 2, Odyssey announces
added 3 p.m. matinee for 
Stalins Master Class on June 1
 

WHAT:
Due to demand, Odyssey Theatre Ensemble has added an extra matinee performance, at 3 p.m. on SaturdayJune 1, to closing weekend of Stalins Master Class, the company’s hit production of a wildly comic, music-filled drama by British playwright David Pownall. Politics collide with art when “Father of the People” Joseph Stalin and Soviet cultural minister Andrei Zhdanov summon composers Sergei Prokofiev and Dmitri Shostakovich to the Kremlin for a vodka-fueled “music lesson.” Can artistic expression be forced to conform to political ideology?

STAGE RAW TOP 10… RECOMMENDED” — Stage Raw

INTELLECTUALLY DELICIOUS” — Broadway World

THOUGHT PROVOKING… A SUPERB ENSEMBLE CAST.” —Splash Magazines

THE ACTING IS SUPERB” — People’s World

EXTREMELY TIMELY” — Hollywood Progressive

ENTERTAINING” — Glamgical

MAGNETIC” — The Hollywood Times

COMPELLINGINTRIGUING” — LA Theatrix

A FIRST-RATE CAST” — Larchmont Chronic

DELIVERS” — The Tvolution

WHO:
• Written by David Pownall
• Directed by Ron Sossi
• Music Direction by Nisha Sue Arunasalam
• Starring John KaytonRandy LowellJan Munroe, Ilia Volok
• Produced by Beth Hogan
• Presented by the Odyssey Theatre EnsembleRon Sossi Artistic Director, in association with Isabel and Harvey Kibel

WHEN:
Remaining performances:
• Fridays at 8 p.m. (wine nights**): May 24 and May 31
• Saturday at 3 p.m.: June 1 ONLY
• Saturdays at 8 p.m.: May 25 and June 1
• Sundays at 2 p.m.: May 26 and June 2
*There will be a post-performance discussion on Wednesday, May 15
**Wine Night Fridays: Enjoy complimentary wine and snacks following all Friday night performances.

WHERE:
Odyssey Theatre
2055 S. Sepulveda Blvd.
Los Angeles CA 90025

TICKET PRICES:
• Wednesday, Saturdays and Sundays: $20$40
• Fridays: Pay-What-You-Can (reservations open online and at the door starting at 5:30 p.m.)

HOW:
OdysseyTheatre.com
(310) 477-2055 ext. 2

Grape Culture

GRAPE CULTURE

Unmasking the Ugly Truth!

In a tragicomedy unveiling grape culture, comedian and internet sensation Toni Nagy joins forces with performance artist Sarah Buckner. Together, they expose the insidious dominance without consent, peeling away the predatory programming suffocating society. Through comedy, dance, film, storytelling, and clowning, they thrust audiences into a raw exploration of trauma. Integral to the narrative are evocative songs that propel the story forward, weaving together moments of introspection and revelation. Rejecting rationalization, they assert that feeling, not thinking, is the path to healing. With irreverent humor, they unveil the unsettling reality: grape culture isn’t just a part of our culture, it is our culture, challenging viewers to confront uncomfortable truths.

“In this show, we’re not just discussing isolated tragedies; we’re delving into the pervasive nature of rape culture—a phenomenon that affects us all,” asserts Toni. “Many assume it’s an issue that doesn’t directly touch them, but this production exposes how deeply ingrained rapey consciousness permeates society. We’re not here to assign blame but to unveil the power dynamics enabling rape culture’s persistence. Society accepts discussing most crimes openly, yet mentioning ‘rape’ often silences rooms. Victims face discomfort, distrust, and blame when they speak out, while perpetrators are also burdened by silence. By avoiding direct conversation, we perpetuate secrecy and hinder healing. Sweeping rape culture under the rug or relying on high-profile arrests won’t suffice. To heal collectively, we must openly confront rape culture from all angles. This show challenges us all to participate in the dialogue and acknowledges that we’re all part of the solution. Pun intended!”

WHO: Starring: Toni Nagy and Sarah Buckner. Produced by Fringe Management.

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

WHEN:

Monday June 17 2024, 6:30 PM

Friday June 21 2024, 9:00 PM

Wednesday June 26 2024, 9:30 PM

Saturday June 29 2024, 5:00 PM

Sunday June 30 2024, 12:30 PM

ADMISSION PRICE: $ 15.00

TICKET LINK:  The Hollywood Fringe Festival – grape culture

Appropriate for ages 16+
Running time: 60 minutes

Nora and Jim

WHAT: Theater Performance: NORA AND JIM

DESCRIPTION: “Nora and Jim” by Nora Connolly delves into the passionate romance between James Joyce and Nora Barnacle. Set in 1904, it chronicles their daring elopement from Dublin, embarking on a journey that shaped literary history. Dermot Kiernan, graces the stage with traditional Irish melodies, evoking the era’s ambiance. His live piano performances punctuate pivotal moments. From the opening number to the final monologue, Kiernan’s music enhances the emotional depth of the narrative, making “Nora and Jim” an unforgettable exploration of love, longing, and literary genius.

WHO: Written by Nora Connolly. Directed by Ronan Wilmot. Starring Lisa Dobbyn and Johnny O’Callaghan. Special Musical Guest Dermot Kiernan. 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.

WHERE: The Glendale Room – 127 Artsakh Avenue, Glendale 91206

WHEN: June 6th,7th, 8th,13th, 14th, 15th @ 8:00PM

TICKETS: $25.00 Home | NoraAnd Jim

Admission:18+. The show runs 55 minutes.

Magic for Animals

WHAT: MAGIC FOR ANIMALS

DESCRIPTION: Magician Blends Artistry and Activism to Redefine the Magic Experience. In a vibrant fusion of magic, activism, and entertainment, Liz Toonkel presents “Magic For Animals,” a groundbreaking theatrical experience captivating audiences with humor, wit, and social commentary. As a queer female magician and animal rights activist, Toonkel offers a fresh perspective. The show challenges traditional magic norms, exploring human autonomy, consent, and animal rights. Through seamless tricks and storytelling, it prompts reflection on our relationships with animals and each other. Drawing on Jewish values and feminist art, “Magic For Animals” sparks dialogue on social justice and change.

WHO: Written and performed by Liz Toonkel

WHERE: Los Angeles LGBT Center (Davidson / Valentini Theatre) 1125 North McCadden Place, Los Angeles, CA

PERFORMANCES:

Saturday, June 8, 2024, 9:30 PM

Thursday, June 13, 2024, 8:00 PM

Saturday, June 22, 2024, 5:00 PM

Friday, June 28, 2024, 10:30 PM

Sunday, June 30, 2024, 3:30 PM

TICKET PRICE: $15.00

TICKET LINKThe Hollywood Fringe Festival – magic for animals

Ages 14+. Show runs 60 minutes.

Echo Theater Company’s Theater Truck

 

 

 

NEWS RELEASE

Echo Theater Company’s Theater Truck comes to
Ladera Park with family-friendly ‘Much Ado About Nothing

 

WHAT:
All the magic of Shakespeare in under one hour. Bring a basket and a blanket and enjoy a free, family friendly, 40-minute version of Shakespeare’s screwball comedy, Much Ado About Nothing, courtesy of Echo Theater Company’s THTR TRUK.

WHO:
• Written by William Shakespeare
• Directed by Robert Lee Hart and Sky Paley
• Presented by The Echo Theater Company

WHEN:
• Saturday, June 1 at 5 p.m.

• Sunday, June 2 at 5 p.m.
• Saturday, June 8 at 5 p.m.
• Sunday, June 9 at 5 p.m.

WHERE:
Ladera Park Amphitheatre
4777 W. 62nd Street
Windsor Hills, CA 90056

ADMISSION
FREE

HOW
• www.echotheatercompany.com
• For more information and latest updates follow @thtrtruk on instagram.

Theatre Review: Misalliance

A Noise Within presents Misalliance to close out its 2023-2024 “Balancing Act” season. Written by George Bernard Shaw. Directed by Guillermo Cienfuegos. Geoff Elliot and Julia Rodriguez-Elliott are the producing artistic directors.

What can women do in Edwardian England to defy conventions? In the case of Hypatia (Erika Soto), she aggressively chases down the man she likes and rejects marriage proposals. As for Lina (Trisha Miller), she flies a plane and also rejects marriage proposals left and right. In George Bernard Shaw‘s world, these two characters symbolize the beginning of the new female image taking shape in the post-Victorian England, a stark contrast to the passiveness and intellectual inferiority expected from women in previous periods.

To recreate the Art Nouveau interior design from the Edwardian period, designer Angela Balogh Calin used an impressive glass wall and a massive painting to simulate an expansive background garden. Calin’s artisan skills are evident in the multiple details around the set. The walls, the floor, and the furniture décor they all exhibit organic shapes and floral motifs that give off an air of sophistication to the ample stage.

Bear in mind that Misalliance is a wordy play with long monologues. Shaw used some of the characters as an audience for his social and political views. In a few scenes, some characters just sit passively, listening to the other characters go on and on with their monologues. Fortunately, these scenes lead to some of the finest comedy lines in the history of theatre. This play is a masterful combination of inventive dialogue and physical comedy. One of the benefits of having a fine director like Guillermo Cienfuegos is that he allows his superb cast to let loose and bring their craft to another level. The performances of Josey Montana McCoy as the intellectually superior but physically inferior Bentley and Joshua Bitton as the socialist Baker are as hilarious and entertaining as they can be. Add to this the skills of Peter Van Norden, Deborah Strang, and Frederick Stuart and you have the human capital to stage a magnificent production to bring alive the fun madness of Shaw’s study on class, gender, and generation.

Soto, always a lively performer, unlocks that irresistible sense of hysteria that explodes at the first opportunity. She delivers consistent performances and is building up an impressive resume, participating in some of the most iconic productions of ANW.

The Misalliance billboard shows a picture of Trisha Miller as Lina Szczepanowska, which is indeed, the central character in the play. With her commanding stage presence, Miller embodies the perfect Lina, a willful and determined woman with no time for superfluous romanticism. Even though Lina only appears in the second act, it is immediately obvious that this character is the one that turns things upside down. She defies norms and is an inspiration not only to Hypatia but to the male characters as well. Lina is a fearless woman who pushes the limits. With her free spirit, she challenges conventions and is a sneak peek of the things to come for the place of women in society. With this play, Miller adds another stellar performance to her brilliant career at ANW.

Misalliance is another big win for A Noise Within, a company committed to stage relevant and majestic productions, setting a high standard of quality to the theatre scene.

Misalliance

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

Performances May 18 – June 9
• Wednesday at 7:30 p.m.: May 15 ONLY (Preview)
• Thursdays at 7:30 p.m.: May 23, May 30, June 6 (dark May 16)
• Fridays at 8 p.m.: May 17 (Preview); May 24*; May 31*; June 7*
• Saturdays at 2 p.m.: May 25; June 1; June 8 (no matinee on May 18)
• Saturdays at 8 p.m.: May 18 (Opening Night); May 25; June 1; (No 8 p.m. performance on June 8)
• Sundays at 2 p.m.: May 12 (Preview); May 19; May 26*; June 2; June 9
*Post–performance conversations with the artists take place every Friday (except the preview) and on Sunday, May 26.
A student matinee will take place on Thursday, May 16 at 10:30 a.m. Interested educators should email education@anoisewithin.org.

Ticketsanoisewithin.org

Written by George Bernard Shaw. Directed by Guillermo Cienfuegos. Geoff Elliot and Julia Rodriguez-Elliott, producing artistic directors.

Cast: Joshua BittonDan LinJosey Montana McCoyTrisha MillerRiley ShanahanErika SotoDeborah StrangFrederick StuartPeter Van Norden.

Creative team: Scenic designer Angela Balogh Calin; lighting designer Ken Booth; composer and sound designer Christopher Moscatiello; costume designer Christine Cover Ferro; wig and make up designer Tony Valdés; properties designer Stephen Taylor; dialect coach Andrea Odinov; and dramaturg Miranda Johnson-Haddad. The assistant director is Rachel BerneyNeedleman. The production stage manager is Angela Sonner, assisted by Hope Matthews.

Theatre Review: Going Mad: Alice in Hollywoodland

Odyssey Theatre Ensemble and Los Angeles City College Theatre Academy present Going Mad: Alice in Hollywoodland. Written by Richard Alger. Directed by Tina Kronis. Produced for Odyssey Theatre Ensemble by Beth Hogan.

The topsy-turvy world of Alice in Wonderland is re-imagined by Playwright Richard Alger. This time, Wonderland is the backlot of a Hollywood studio. Alice (Norene Flowers) is about to start principal photography of her project when Virginia (Victoria Davidoff), the studio executive, decides that the beginning of the script needs to be changed. Encouraged by Whitey Lepus (Cristian Venegas), a desperate Alice enters a door that leads her to the underworld, a place of strange characters that are supposed to help her navigate the treacherous environment of the studio system.

This production showcases the talent from the Los Angeles City College Theatre Academy, a full-time professional training conservatory for actors, technicians and costumers. Some of the actors have participated in other professional productions and this is evident in their performances. They deliver their lines fluidly and their movements show the excellence of their training.

There was a bit of a hiccup at the beginning of the show and the music was a bit too loud to hear the actors in the first scene. However, things got better as the actors warmed up. Scene by scene the actors got into the rhythm of the play and started to show off their potential. Flowers is the star of the show and she delivers an exceptional and consistent performance throughout the play. Davidoff and Venegas were also excellent in their characterizations. Four of the actors that also show great confidence and theatrical skills are Tony Gonzalez as Humphry, delivering a convincing monologue, Cara Schell Sandefur as Blanche, Alex Bravo as Tuttle Lloyd/Max, and Elizabeth Mackessy as Chessie.

Director Tina Kronis makes this play highly kinetic. There is plenty of dancing and singing with a modern feel and a homage to old Hollywood. The blocking, with special effects included, adds a visual element that translates the surrealism of the script into moving images. A similar approach was observed in TINY LITTLE TOWN, a new musical, also produced by Theatre Movement Bazaar, a musical that also blended comedy with energetic movement.

Although this play features college actors, their performances and the production in general is a well-developed endeavor that shows the level of commitment from the producers, the playwright, the director, and of course, the future thespians. It is also an example of the productive training received at the Los Angeles City College Theatre Academy, an institution preparing theatre artists since 1929.

Going MadAlice in Hollywoodland

Odyssey Theatre
2055 S. Sepulveda Blvd.
Los Angeles CA 90025

May 16 – May 25, 2024
• Thursdays at 8 p.m.: May 16 and May 23
• Fridays at 8 p.m.: May 17 and May 24
• Saturdays at 8 p.m.: May 18 and May 25

Ticketsodysseytheatre.com

Written by Richard Alger and directed by Tina Kronis, co-founders of Theatre Movement BazaarProduced for Odyssey Theatre Ensemble by Beth Hogan. Presented by the Odyssey Theatre EnsembleRon Sossi Artistic Director, and Los Angeles City College Theatre Academy.

Cast: Emma Baker, Alex Bravo, Victoria Davidoff, Norene Flowers, Delfin Gamboa, Tony Gonzalez, Tracy Chapman Kamenga, Kal Karnchananasej, Adam Lopatka, Elizabeth Mackessy, Manuel Marin, Cara Schell Sandefur, Art Sandoval, Markel Sealy, Lucas Sheppe, Cristian Venegas, and Sam Sooin Yang.

Creative team: Set Design by Maureen Weiss, Light Design John A. Garofalo, Costume Design Luz Stehelin, Sound Design Rebecca Kessin, Tina Kronis, Richard Alger, Assistant Costume Design Raquel Muñoz & Johnny Hagan, Stage Manager Jasmine White, Assistant Stage Manager Chris Avedis, and Prop Master Tim Christian.