Category Archives: Theatre

MY LITTLE PHOBIA

Posted on by

Los Angeles, CA. May 9, 2024. In this world premiere production, Emily Markoe presents “My Little Phobia,” a comedic exploration of her deepest fear (vomit…gross, sorry!). “My Little Phobia,” directed by Julie Pearson, opens at the Hollywood Fringe Festival with performances on June 8th, 19th and 27th at the Broadwater Studio.

Emily wrote a comedy show that’s not about vomit. How could it be? She has emetophobia, the extreme and debilitating fear of vomit! Watch Emily perform her totally normal comedy show while things start going off the rails. Visited by an array of characters including her deranged meditation guru, a demanding Titanic victim, and of course her childhood therapist, Dr. My Little Pony®, Emily tries to keep things under control. But, as it turns out, Emily doesn’t have control over anything: not her show, not her audience, and perhaps most alarming: not even herself.

In this unique production, Emily brings her blend of humor and vulnerability to the stage as she navigates the downs and ups of living with emetophobia. Director Julie Pearson (The Boxcar Adults, The Girls on the Bus) says, “Any of us anxious folks can relate to the uncomfortable weirdness of having to exist in a body, and creating this show has been a fun, thought-provoking journey through neuroses of all kinds.” From hilarious anecdotes to existential crises, My Little Phobia asks how far you would go to avoid the things you fear.

WHAT: Theater Performance: “My Little Phobia.“

DESCRIPTION: Emily Markoe wrote a comedy show about cleaning her childhood bedroom. Her show is not about vomit — how could it be? She has emetophobia, the extreme and debilitating fear of vomit. Watch Emily perform her show without any interruptions from anxiety-producing characters, stories of recovered memories, or obsessive-compulsive rituals getting in the way. And there definitely won’t be a visit from her childhood therapist, Dr. My Little Pony®. Emily stopped seeing her years ago! Everything’s normal here.

Please note: vomiting at this show is strictly forbidden.

WHO: Presented and Performed by: Emily Markoe. Directed by: Julie Pearson

WHERE: The Broadwater Studio, 1078 Lillian Way

WHEN:
Saturday, June 8, 2024 @ 4:30PM – Preview
Wednesday, June 19, 2024 @ 11PM
Thursday, June 27, 2024 @ 9:30PM

Running Time: 50min
TICKETS: $12 – hollywoodfringe.org/projects/10438
Recommended admission age: 16+

Photo by Zack Arch Photography

HOLMES & WATSON

Posted on by

LAGUNA PLAYHOUSE PRESENTS THE FINAL PRODUCTION

OF OUR 2023-2024 SEASON…

HOLMES & WATSON

Written by Jeffrey Hatcher

Directed by David Ellenstein

 

THE “WHODUNIT” GUESSING GAME BEGINS

WEDNESDAY, MAY 29 AT THE LAGUNA PLAYHOUSE!

 

“Tight and clever and full of suspense!” – Arizona Daily Star

  

May 6, 2024…Laguna Beach, CA…LAGUNA PLAYHOUSE presents HOLMES & WATSON, written by Jeffrey Hatcher and directed by Laguna Playhouse artistic director David Ellenstein. HOLMES & WATSON will begin previews on Wednesday, May 29 (with a press opening on Sunday, June 2 at 5:30pm) and run through Sunday, June 16 at the Laguna Playhouse, 606 Laguna Canyon Dr. in Laguna Beach.
 
Prepare yourself for a fast-paced, thrilling, suspenseful story that will keep you guessing until its final moments. In this worthwhile addition to the Sherlock Holmes canon, there are more twists and turns than a rollercoaster! The legendary Sherlock Holmes is dead. Or so it is assumed. When a telegram arrives informing his loyal companion Dr. Watson that there are three men who each claim to be Holmes, it’s left up to the famous sidekick to take on the case and try to discover if one of the mad men is actually the real Sherlock Holmes.  
 
Comments David Ellenstein, “Some years back, I had a great time directing Jeffrey Hatcher’s Holmes & Watson. It is a thrilling mystery that keeps you guessing right up until the last moment. It was as exhilarating for those of us that worked on the production as it was for the audience that experienced it and overwhelmingly cheered for the wild ride that they had. Years later, audiences that saw that show still tell me what a great time they had.          
 
Before I directed this play, I was not a huge Sherlock Holmes enthusiast, but the play led me to read the Conan Doyle source material and I gained a new understanding for the lasting appeal of the detective. These stories are extremely well written. I became captivated by the detail and specificity of the character and literary style. I became a Sherlock fan. There is a reason Mr. Holmes endures through all sorts of adaptations and across time. 
 
Jeffrey Hatcher is such an accomplished and skillful playwright. His specialty is exactly this genre – so this play bristles with intrigue, humor and verve. It truly captures the Holmesian style and mystery. The idea of a new production of Holmes & Watson at Laguna Playhouse fills me with eager anticipation. I am so excited by the exemplary cast we have assembled and the amazing design plans that will lift this play to its full potential. I believe Laguna Playhouse audiences are going to have a great time with this one.”

 

ABOUT THE CREATIVE TEAM AND CAST 

 

DAVID ELLENSTEIN (Director) Born into a theatrical family, David Ellenstein has been working in professional theatre for the better part of five decades. In May 2023, he was named Artistic Director of Laguna Playhouse, after filling the role in an interim capacity since September 2023. In addition, he has been the Artistic Director of North Coast Repertory Theatre in Solana Beach, CA since 2003.  At Laguna Playhouse, credits include directing A Shayna Maidel, The Angel Next Door, Chapatti, Alexandros and playing “Einstein” in Picasso at The Lapin Agile. Other directorial credits include The Chosen at Paper Mill Playhouse; Halpern and Johnson and Sonia Flew at Coconut Grove Playhouse; The Glass Menagerie, Rocket City and Honky Tonk Angels at Alabama Shakespeare Festival; His Royal Hipness at 59E59 in NYC; and Long Day’s Journey into Night at Renaissance Theatre. As Artistic Director at North Coast Repertory Theatre in Solana Beach since 2003, over 60 Directorial credits including Way Down River, The Tempest, A Moon for the Misbegotten, The Outsider and The Homecoming. His career includes acting credits of playing the title roles in Hamlet at LA Theatre Center and LA Rep; Richard III at California Shakespeare Festival; Tevye in Fiddler on the Roof at Moonlight Stage; Jonathan in Sight Unseen, Max in Laughter on the 23rd Floor and Matt in Talley’s Folly at North Coast Rep as well as over three dozen film and television episodes.

 

JEFFREY HATCHER (Playwright) His Broadway credits include: Never Gonna Dance (book). Off-Broadway credits include: Three Viewings and A Picasso at Manhattan Theatre Club; The Government Inspector at Red Bull Theater; Scotland Road and The Turn of the Screw at Primary Stages; Lucky Duck (book w/ Bill Russell) at the New Victory Theater; Tuesdays With Morrie (w/ Mitch Albom) at the Minetta Lane Theatre; Murder By Poe, The Turn of the Screw, and A Connecticut Yankee At King Arthur’s Court at the Acting Company; Ten Chimneys at Peccadillo Theater Company; Neddy at American Place; and Fellow Travelers at Manhattan Punchline. Other theatre credits include: Compleat Female Stage Beauty, Mrs. Mannerly, Murderers, Mercy Of A Storm, Smash, Armadale, Korczak’s Children, Work Song (w/ Eric Simonson), To Fool The Eye, Sherlock Holmes And The Suicide Club, Jeffrey Hatcher’s Hamlet, The Scarecrow And His Servant, Dr. Jekyll And Mr. Hyde, The Critic, Holmes And Watson, and others at the Guthrie, the Old Globe, Yale Rep, the Geffen, Seattle Rep, Huntington Theatre Company, the Shakespeare Theatre, Cincinnati Playhouse, Cleveland Playhouse, South Coast Rep, Arizona Theatre Company, San Jose Rep, the Empty Space, Indiana Rep, Children’s Theatre Company, History Theatre, Madison Rep, Intiman Theatre, Illusion Theater, Denver Center, Oregon Shakespeare Festival, Alabama Shakespeare Festival, Milwaukee Rep, Repertory Theatre of St. Louis, Actors Theatre of Louisville, Philadelphia Theatre Company, Asolo Repertory Theatre, City Theater, Studio Arena, and dozens more in the US and abroad. FILM/TV: “Stage Beauty,” “Casanova,” “The Duchess,” “Mr. Holmes,” “The Good Liar,” “Columbo,” “Murder at the Cannes Film Festival,” and “The Mentalist.” GRANTS/AWARDS: NEA, TCG, Lila Wallace Fund, Rosenthal New Play Prize, Frankel Award, Charles MacArthur Fellowship Award, McKnight Foundation, Jerome Foundation, Barrymore Award (Best New Play), and the 2013 Ivey Lifetime Achievement Award. 

 

The cast of HOLMES & WATSON features (in alphabetical order): Richard Baird (The Rainmaker at Laguna Playhouse) as “Watson,” Matt Koenig (Cabaret at La Mirada Theatre) as “Holmes #2,” Matthew Floyd Miller (Sleuth at Ensemble Theatre Company) as “Holmes #1,” Nicholas Mongiardo-Cooper (Oliver at 5-Star Theatricals) as “Dr. Evans,” Mike Peebler (Hamlet at Theatricum Botanicum) as “Orderly/Moriarty/Inspector,” Alice Sherman (Amadeus at North Coast Repertory) as “The Matron/The Woman,” and Christopher M.  Williams (Tartuffe at Laguna Playhouse) as “Holmes #3.”

                                                                                                                                              

The design team for HOLMES & WATSON is as follows: scenic design by Stephen Gifford; costume design by Kate Bergh; lighting design by Jared A. Sayeg; sound design by Ian Scot; props design by Kevin Williams; hair and wig design by Peter Herman.  Casting is by Michael Donovan Casting; Michael Donovan, CSA & Richie Ferris, CSA.  The Production Stage Manager is Vernon Willet.                                    

 

ABOUT THE SCHEDULE AND PRICING

HOLMES & WATSON will preview on Wednesday, May 29 at 7:30pm; Thursday, May 30 at 2:00pm & 7:30pm; Friday, May 31 at 7:30pm; Saturday, June 1 at 2:00pm & 7:30pm; (with a press opening on Sunday, June 2 at 5:30pm) and run through Sunday, June 16, 2024 at the Laguna Playhouse, 606 Laguna Canyon Dr. in Laguna Beach.

 

Performances are Wednesdays through Fridays at 7:30pm; Saturdays at 2:00pm & 7:30pm; Sundays at 1:00pm & 5:30pm. There will be added performances on Thursday, May 30 at 2:00pm; Thursday, June 6 at 2:00pm & Tuesday, June 11 at 7:30pm. There will be no performance on Sunday, June 16 at 5:30pm. There will be a post-show talkback following the Friday, June 7 performance.                   

 

Tickets range from $45 – $84 and can be purchased online at www.lagunaplayhouse.com or by calling (949) 497-2787. Group discounts are available by calling 949-497-2787 ext.229.  Prices subject to change.                                                                                                                                                      

The box office is open Tuesdays – Sundays: 12pm to 4pm; Mondays open 2 hours prior to show time and until 15 minutes after curtain.  Open until showtime on all performance days.

For more information on all shows and programming visit www.lagunaplayhouse.com.  LAGUNA PLAYHOUSE is located at 606 Laguna Canyon Road in Laguna Beach.   

 

 

Founded in 1920, the historic Laguna Playhouse (David Ellenstein, Artistic Director/Bill Kerlin, Managing Director) is one of the oldest continuously-operating not-for-profit theatres on the West Coast and is proud to be an active participant in the celebrated Laguna Beach arts community. From classic plays and musical comedies to the current off-Broadway smash, cutting edge and traditional music exhibitions, dance festivals and stand-up comedy performances, Laguna Playhouse brings the magical experience of the performing arts direct to over 80,000 patrons each season.

 

Laguna Playhouse educational programming includes year-round classes, productions by and for children and teens (Youth Theatre) and is one of the few companies in the region that offer a curriculum-based professional theatre-touring program, TheatreReach, which aligns with the California State Standards for literature, history and performing arts curriculum.      

 

Laguna Playhouse has been recognized in for the past five years as one of Orange County Register’s “Best of OC” in the category of Live Theatre. The Laguna Playhouse has featured many talented performers on stage, including Ed Asner, Leslie Caron, Hershey Felder, Harrison Ford, Melanie Griffith, Val Kilmer, Gregory Harrison, Dan Lauria, Hal Linden, Wendie Malick, Rita Rudner, Peter Strauss, Jobeth Williams, Joely Fisher, Charles Shaughnessy, French Stewart, Loretta Swit, and Bette Davis.

 

Learn What’s Going On at www.lagunaplayhouse.com.

Ugly Lies The Bone

Posted on by

UGLY LIES THE BONE

Comes to life at the Hollywood Fringe Festival.

Los Angeles, CA. May 7, 2024. Grim Abbey Productions proudly presents Lindsey Ferrentino’s drama, “Ugly Lies the Bone,” at this year’s Hollywood Fringe Festival. Directed by award-winner Lulenoxx and featuring a talented and diverse cast, this production will captivate audiences with its exploration of resilience, love and the human spirit. Opens June 8th for six performances at McCadden Place Theatre.

The play deals with the life of Jess, a soldier returning home from her third tour in Afghanistan, scarred both physically and emotionally by the horrors of war. With severe burns from an IED explosion and PTSD from the trauma she experienced at war, Jess embarks on a journey of rehabilitation and self-discovery. Through the innovative use of Virtual Reality therapy, she navigates the challenges of her new reality, confronting the changes in her hometown and reconnecting with loved ones who struggle to understand her pain.

“Ugly Lies the Bone” is a poignant exploration of deep emotions and dark themes, infused with moments of comedy and hope. Jess’s journey is one of resilience and determination, as she confronts her anger and sarcasm to embrace the possibility of a new life. The play sheds light on the complexities of disability and the ways in which individuals and communities navigate unfamiliar terrain.

The moment Gabrielle Archambault encountered Ferrentino’s powerful script, she was compelled to bring it to life on stage. “ This piece is perfect for anyone who has ever felt lost, in pain, or like no one around them can understand the turmoil they are going through,” she exclaims, “We hope to share this piece and empower those who are struggling with physical or emotional pain to seek help and guidance, through Jess’s story, we aim to inspire hope and resilience, reminding audiences that no matter the obstacles they face, there is a way forward.”

WHO: Presented by: Grim Abbey Productions Directed by: Lulenoxx Cast includes: Gabrielle Archambault, Sheer Aviram, Carver Folkes, Suni M!, and Hans Heilmann.

WHERE: MCCADDEN PLACE THEATRE – 1157 N. McCadden Place, Hollywood, CA 90038.

WHEN:
Sunday, June 08, 3:30 PM
Saturday, June 15, 6:30 PM
Saturday, June 22, 11:30 AM
Sunday, June 23, 8:30 PM
Friday, June 28, 8:00 PM
Sunday, June 30, 2:30 PM

TICKET PRICE: $15 – The Hollywood Fringe Festival – ugly lies the bone

Admission age: 16+ / Running time: 90 minutes.

ABOUT THE PRODUCTION TEAM:

Gabrielle Archambault (Producer) is drawn to projects surrounding trauma recovery. A female, queer, actress, producer, and writer, she is passionate about telling stories that help people feel that they are not alone in difficult experiences, and that they can get through to the other side. With a degree focus in Musical Theatre and practical experience as a filmmaker, she is looking forward to getting back to her roots and hitting the stage again. Film and TV experience include supporting roles in the feature film No Tears in Hell and the new tv show Second Chances. As a writer she is currently pitching several features and a pilot based off the book Amish Vampires in Space. ga

Lulenoxx (Director (they/them)) is a queer, non-binary screenwriter, director and creator. As a theater maker, they have over 10 years of directing, writing and devising experience at the professional and educational level, with a focus in new work, especially opera. Lulenoxx is a member of the She-Collective and is an Alumni of Lincoln Center’s Director’s Lab. Lulenoxx is also an award winning filmmaker, winning CineStory Foundation’s 2024 LGBTQIA+ Scholarship, PANO’s Marilyn Horowitz Screenwriting Award (2nd Prize) and has received development opportunities and fellowships from Stowe Story Labs and Athena Film Festival’s Writers Lab (Finalist for the Chinonye Chukwu Emerging Writer Award). Their primary goal as a storyteller is to tell the truth, in whatever form it manifests. They are currenting working on their first feature film, Pairs to the Floor, with Unseen Films Oregon.

Instagram: @ grimabbeyproductions

###

CALENDAR LISTING INFORMATION

May 2023

WHAT: Theater Play: “Ugly Lies the Bone” by Lindsey Ferrentino

DESCRIPTION: The play deals with the life of Jess, a soldier returning home from her third tour in Afghanistan, scarred both physically and emotionally by the horrors of war. With severe burns from an IED explosion and PTSD from the trauma she experienced at war, Jess embarks on a journey of rehabilitation and self-discovery. Through the innovative use of Virtual Reality therapy, she navigates the challenges of her new reality, confronting the changes in her hometown and reconnecting with loved ones who struggle to understand her pain.

WHERE: MCCADDEN PLACE THEATRE – 1157 N. McCadden Place, Hollywood, CA 90038

WHO: Presented by: Grim Abbey Productions Directed by: Lulenoxx Cast includes: Gabrielle Archambault, Sheer Aviram, Carver Folkes, Suni M!, and Hans Heilmann.

WHEN:
Sunday, June 08, 3:30 PM
Saturday, June 15, 6:30 PM
Saturday, June 22, 11:30 AM
Sunday, June 23, 8:30 PM
Friday, June 28, 8:00 PM
Sunday, June 30, 2:30 PM

TICKET PRICE: $15 – The Hollywood Fringe Festival – ugly lies the bone

Admission age: 16+

Running time: 90 minutes

Theatre Review: Ghost Waltz

Posted on by

Latino Theater Company presents the world premiere of Ghost Waltz. Written by Oliver Mayer. Directed by Alberto Barboza. Music directed by Alberto López. Produced by Latino Theater Company.

Attesting to the revival of magical realism, Playwright Oliver Mayer incorporates this genre into Ghost Waltz, a sublime play that imagines the traveling life of one the greatest Mexican composers of the 19th century, Juventino Rosas (Quetzal Guerrero), in his meteoric ascend to international success.

Of humble origins, Rosas was an Otomí born in 1868. He started playing music at an early age and was able to join the Mexico City National Conservatory. Eventually, he traveled to the US, playing in cities such as New Orleans and Chicago. In the play, Rosas is invited to the Conservatory by Professor Zeiss (Cástulo Guerra). Rosas’ father is played by Eduardo Robledo.

In Mayer’s story, Rosas meets soprano Ángela Peralta (Nathalie Peña–Comas) at the Conservatory, falling madly in love with her. In real life, Peralta, known as The Mexican Nightingale, was also a Mexican native who reached international recognition as an opera singer. Known in Italy as angelica di voce e di nome, meaning angelic by voice and by name, she performed in the prestigious La Scala in Milan and formed her own touring opera company. The achievements of Rosas and Peralta in the play highlight the success of these two figures of humble origins in the Mexican elite of the 19th century, dominated by Europeans and people of European ancestry.

But the rejection experienced by Rosas from Peralta is also a symbol of the conflictive relationship between Mexicans and their indigenous past. Peralta wears white makeup and a white dress to symbolize the effort to mask her native identity, avoiding the tragic destiny of the natives in Mexico, a life of invisibility.

Another relevant character is Scott Joplin (Ric’key Pageot), also known as the King of Rag. In the fictionalized world of Ghost Waltz, Joplin and Rosas meet in New Orleans and Rosas has a romantic relationship with Joplin’s companion, Bethena (Ariel Brown). The relationship between Rosas and Joplin implies the search of an identity through music. Rosas’ compositions gave Mexico an identity in the sophisticated and elitist world of waltz, a music inspired by German Romanticism.

Joplin started experimenting with different rhythms to achieve an African American musical identity that could be danceable but sophisticated at the same time, something like waltz. According to Marcello Piras, a distinguished music history professor, Joplin was inspired by Rosas in his search for that Black identity.

The Creole clairvoyant Marie Leveau (Monte Escalante) is the link to both cultures. Voodoo, a combination of religion, myth, practice and superstition, has an important influence in music. Both Rosas and Joplin found inspiration in the mystic Caribbean rhythms. Joplin in New Orleans and Rosas in Cuba and the many Cuban musicians that worked in Mexico at the time. These layers of connections and subtexts show Mayer’s creativity and sophistication as a playwright.

Guerrero, a classical-trained violinist, infuses his character with the sensibility of a talented artist and the determination of a man who refuses to give up pursuing his dreams. Peña–Comas shows the reason her career is ascending in the international scene. She has performed in the most prestigious stages around the world. Her captivating voice is an elegant touch to the production and adds depth to the performance. Pageot, a musician who has played with major acts internationally, demonstrates his extensive musical experience and plays his character with the ambition of a young artist eager to leave a mark.

Director Alberto Barboza extracts the spirit of the text and offers a magnificent production with an amazing score, talented performers, and impressive set design, all in coordination to express the magic of the short and fascinating lives of three characters that left a permanent impression in the world of music.

Juventino Rosas died of spinal myelitis in Cuba in 1894 at the age of 26.  Ángela Peralta died of yellow fever in Mazatlán in 1883 at the age of 38. Scott Joplin died of syphilic dementia in 1917 in New York City at the age of 48. In real life, Rosas played for Peralta during her last national tour. As a peculiar note, their remains are both resting in Mexico City’s Rotunda of Illustrious Men.

Ghost Waltz

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

Performances: May 4–June 2
• Thursdays at 8 p.m.: May 9; May 16; May 23; May 30
• Fridays at 8 p.m.: May 10; May 17; May 24; May 31
• Saturdays at 8 p.m.: May 4 (opening); May 11; May 18; May 25; June 1
• Sundays at 4 p.m.: May 12; May 19; May 26; June 2

Tickets: latinotheaterco.org

Written by Oliver Mayer. Directed by Alberto Barboza. Music directed by Alberto López. Produced by Latino Theater Company.

Cast: Ariel Brown, Monte Escalante, Cástulo Guerra, Quetzal Guerrero, Ric’key Pageot, Nathalie Peña–Comas, and Eduardo Robledo.

Creative team: Production designers Cameron Jaye Mock and Emily Anne McDonald (set, costumes and projections), lighting designer John A. Garofalo, and sound designer Nathan Davis. The assistant director is Giovanni Ortega. Production stage manager Yaesol Jeong is assisted by Gina DeLuca.

Theatre Review: H*tler’s Tasters

Posted on by

Rogue Machine Introduces L.A.’s First Run of H*tler’s Tasters. Written by Michelle Kholos Brooks. Directed by Sarah Norris. Produced by Guillermo Cienfuegos and Lexi Sloan.
A Rogue Machine Production.

Based on Margot Wölk‘s account, H*tler’s Tasters is the little-known story of the girls used by Hitler to taste his food. Afraid to be poisoned, he recruited young girls of good German stock to try the same food he was about to eat. During a time of famine in Germany, eating three times a day wasn’t that bad after all. But at what cost?

Hilda (Olivia Gill), Anna (Ali Axelrad), and Liesel (Paige Simunovich) are inside a room waiting for the food to arrive. To fight boredom, they take selfies, sing, and talk about the guards. For Playwright Michelle Kholos Brooks, the use of cell phones is a way to make these characters feel more present.

Hitler was vegetarian, so the girls didn’t eat meat, an apparent benefit for their weight control. Brooks incorporates other elements to connect the characters to their function. For many women, their relationship with food is complicated, especially for the younger crowd. Food is a basic impulse, but due to the relationship with weight control and consequently with their looks, it becomes emotional. For the characters in Brooks’ story, eating vegetables with rice and pasta is not only a devoted service to the Reich but also a benefit to their health. But again, that relationship is complicated, so the girls also crave meat.

The stress is not only related to the fact that one meal could be the last one. There are many more things in the story that reflect German society during the Third Reich. Anna for example, talks about her relationship with a Jewish family, something with which Hilda takes issue. As a result of the divisive environment and the narrative of a superior Aryan race imprinted in the Nuremberg Race Law, a relationship with a Jew was seen as a betrayal. According to the Nazis, those relationships were suspicious. That created a web of informants that turned people in to the Gestapo for questioning, torture, imprisonment, and maybe even death. In the play, Anna’s fate becomes an open question.

Even though there are very little historical details about the real life tasters, Brooks gives a face to those girls. They each have a unique background and personality. Hilda is the daughter of an officer and she is the staunchest supporter of the Reich. Anna was used by a soldier for sex and to be recruited as a taster. Liesel has a relative that moved to Pittsburgh and tells her about American movies. And then there’s Margot (Caitlin Zambito), a girl who thinks she was recruited to work as a typist. She’s upbeat and replaces Anna. All of the characters show their admiration to Hitler and even fantasize about a relationship with him. Eventually, however, reality sets in.

The acting is on point. The actresses do a great job delivering their lines convincingly. Zambito gives a shot at another interesting role (she also did a fantastic job in The Thin Place) and creates a character with hopes and joyfulness typical of a young girl that ends up succumbing to the institutionalization of her mind and body.

With talented actresses and an intriguing subject matter, Director Sarah Norris delivers an entertaining production that blends drama, music, and comedy. The choice of stage goes well with the subject as well. It’s intimate and claustrophobic, reflecting the nerve-wracking ambient in which the girls wait for the next meal that could be the last one, every single time.

H*tler’s Tasters

Rogue Machine (Upstairs at the Henry Murray Stage in the Matrix Theatre)
7657 Melrose Ave, Los Angeles, CA 90046

April 27, 2024 – June 3, 2024

8pm Fridays, Mondays; 5pm Saturdays; 7pm Sundays
(no performances on Monday, April 29, May 13)

Tickets: roguemachinetheatre.org

Written by Michelle Kholos Brooks. Directed by Sarah Norris. Produced by Guillermo Cienfuegos and Lexi Sloan.
A Rogue Machine Production.

Cast: Ali Axelrad (Anna), Olivia Gill (Hilda), Paige Simunovich (Liesel), Caitlin Zambito
(Margot).

Creative team: Joe McClean and Dane Bowman (Scenic & Lighting Design), Ashleigh Poteat (Costume Design), Christine Cover Ferro (Costume coordinator), Chris Moscatiello (Sound consultant), Carsen Joenk (Sound Design), Ashlee Wasmund (Choreographer), Emmy Frevele (Choreography for Rogue Machine).

“PURE CINEMA”

Posted on by

TWO HOLLYWOOD LEGENDS. ONE PSYCHO MEETING

“PURE CINEMA”

TWO HOLLYWOOD LEGENDS. ONE PSYCHO MEETING.

Los Angeles, CA. May 2, 2024. David Neipris’s ‘Pure Cinema’ explores the intriguing and unexpected dynamic between Alfred Hitchcock and Mel Brooks. It’s 1977 and Hitchcock is in the twilight of his career when he invites Brooks to discuss the younger director’s idea for a new comedy. But what unfolds is the creation of ‘High Anxiety,’ a film that satirizes Hitchcock himself. Not a project The Master of Suspense finds particularly beneficial at this pivotal moment in his life. Loosely based on the lunch meetings between two Hollywood legends, Pure Cinema explores their search for accountability, forgiveness, and tolerable hard boiled eggs. Opens as part of the Hollywood Fringe Festival at the Broadwater Black Box, June 8th.

“Money and accolades are certainly desirable, maybe even achieving a masterpiece or two if we’re that fortunate. But our legacies are ultimately shaped by our conduct towards others,” Neipris said. “Failing in our humanity has the potential to overshadow a lifetime of achievements. So this play looks at how two vastly different Hollywood icons confront their major missteps and deepest fears. We’re juxtaposing the unique voices of Hitchcock and Brooks, as well as their creative inclinations and markedly different attitudes towards women, both in their personal lives and on set.”

WHO: Featuring Bill Chott, Aaron Caponigro, and Lindsay Seim; Written by David Neipris; Directed by Matt Ritchey; Produced by Matthew Quinn of Combined Artform.

WHERE: Broadwater Black Box | 6322 Santa Monica Blvd, Los Angeles, CA 90038

PERFORMANCE DAYS
Saturday June 8, 11:00 am – PREVIEW
Friday June 14, 10:00 pm
Friday June 21, 5:00 pm
Saturday June 22, 7:00 pm
Thursday June 27, 6:30 pm

TICKETS: $15 – tinyurl.com/purecinemahff

Admission 13+; Running time | 90 minutes.

ABOUT THE PRODUCTION
David Neipris (Writer) David started as an actor, graduating from NYU’s Experimental Theater Wing and performing on and off Broadway. He brought his play Big Wyoming, starring Michael Stuhlbarg, to The New York Stage and Film Festival. Strange Gods was a Finalist for The Princess Grace Award. Other work, including April Escapes and Glass Eye, was developed at The New Group, The Cherry Lane Theater, Naked Angeles, Hourglass Group, and New Jersey Rep. Previously workshopped at Electric Lodge, Pure Cinema is David’s first Hollywood Fringe show.

Matt Ritchey (Director) Writer and Director of ANGEL’S FLIGHT (2016 Hollywood Fringe Best Cabaret/Variety Winner) and BLACKBOXING (2019 Hollywood Fringe Best Cabaret/Variety Winner) returns to the Fringe to direct.

Matthew Quinn (Producer) ​has been involved in theater production and venue management for over 25 years in San Francisco and Los Angeles. He created Combined Artform, as a production company in 1998 with Producer Bertha Rodriguez and has produced, co-produced, presented, booked and promoted hundreds of shows. He has been an active player with the Hollywood Fringe Festival since its onset in 2010

as an advisor, venue manager, producer, and a scout for the Soho Playhouse, New York City.

Bill Chott (Actor) is a Broadway Award winner for playing Fred Mertz in I Love Lucy Live at the Greenway Court. This is Bill’s second Fringe show, having performed in Escape From Godot, the award-winning immersive piece. Chott can currently be seen in Dahmer: Monster on Netflix as the Milwaukee police commissioner. He is best known as “Mr. Laritate” on Disney’s Wizards of Waverly Place and played “Thomas” in the Farrelly Brothers film The Ringer.

Aaron Caponigro (Actor) is a Chicago native and has been acting and improvising since the turn of the century. He is a mainstage ensemble member at ComedySportz LA where he also coaches its high school league and he performs regularly at the Pack Theater. He’s a real big fan of ice cream.

Lindsey Seim (Actress) is a Nebraska native, recognized for her roles in prominent productions like James Wan’s Insidious: Chapter 2 and Darren Lynn Bousman’s St. Agatha, has made a mark as an actress, writer, and producer. She notably starred alongside Tim Heidecker on Adult Swim’s Decker and voiced Claire in Netflix’s acclaimed series Lupin. Seim received an L.A. Stage Alliance Ovation Award nomination for her role in Salsa Saved the Girls and won a Hollywood Fringe Festival Producer’s Award for the original comedy Spirit Wheel. Honored as a Distinguished Alumnus of the University of Nebraska-Lincoln’s Johnny Carson School of Theatre and Film, she also enjoys crafting MadLibs for Penguin Random House.

Thresholds of Invention

Posted on by


NEWS RELEASE
FOR IMMEDIATE RELEASE
April 29, 2024

Odyssey Theatre’s ‘Thresholds of Invention’
performance series presents
‘In Some Dark Valley:
The Testimony of Reverend Brand’

One performance only: May 5 at 5 p.m.
WHAT:
Odyssey Theatre Ensemble’s Thresholds of Invention series of first looks at pieces-in-progress by prominent L.A. visionaries presents In Some Dark Valley: The Testimony of Reverend Brand, written and performed by Robert Bailey. One moonlit night, Reverend Brand, a fiery 19th century circuit preacher, emerges from the shadowy mountains of Appalachia and our collective history to weave a tale of religious fervor set against a landscape scarred by war, poverty and disease… a story that also shines a light on rare moments of tender and resilient redemption. Embodying multiple characters while also singing gorgeous traditional songs handed down through generations of Southerners, Bailey grapples with the inevitable clash between an unyielding vision of moral rectitude and the tragic personal destruction it leaves in its wake, transporting the audience to a land and era that is haunting and illuminating in its relevance to today.

WHO:
• Written and Performed by Robert Bailey
• Series curator: Tony Abatemarco
• Produced for the Odyssey by Beth Hogan and Tony Abatemarco

WHEN:
One performance only:
• Sunday, May 5 at 5 p.m.

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

PARKING:
FREE in the on-site parking lot

TICKETS:
$25

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

The Godmother

Posted on by

WHAT: Theater Performance: “The Godmother,” Inspired by the life of Griselda Blanco.

DESCRIPTION:  Melina Farahani, the dynamic British-Persian actress, storms onto the Hollywood Fringe scene with her electrifying solo performance, “The Godmother.” Inspired by the notorious life of Griselda Blanco, this gripping drama explores the blurred lines between villainy and heroism, love and morality. In a tale of power, sacrifice, and the indomitable bond between mother and son, Farahani brings to life the complexities of Griselda Blanco’s world, challenging audiences to question their perceptions and delve into the depths of human nature.

WHEN:
Saturday, June 8, 9:15 pm
Sunday, June 16, 4:45 pm
Friday, June 28, 8:00 pm

Show runs 30 minutes.

WHERE: Stephanie Feury Studio Theatre, 5636 Melrose Avenue, Los Angeles, CA

TICKETS: $15 The Hollywood Fringe Festival – the godmother
(Admission age: 16+); Show runs 30 minutes.

WHO: Melina Farahani (Writer/Performer/Producer) Farahani is a British-Persian actress, dancer, social media Figure, based in L.A. is a current student The Stella Adler Art Of Acting conservatory in L.A. Her previous Training includes Sylvia Young theatre School London, London Academy of Music & Dramatic Art and she is a member of the National Youth Theatre London.

Theatre Review: The Body’s Midnight

Posted on by

IAMA and Boston Court present the world premiere of The Body’s Midnight. Written by Tira Palmquist. Directed by Jessica Kubzansky. Produced by Quinn O’Connor and Katharine Means.

Anne (Keliher Walsh) is taking a road trip with her husband David (Jonathan Nichols–Navarro) to experience the wonders of America’s landscapes. Their final destination is St. Paul, Minnesota, where their daughter Katie (Sonal Shah, Celestial Events, Untitled Baby Play) and son-in-law Wolf (Ryan W. Garcia, Celestial Events) are expecting their first baby.

The road trip becomes a transition between their apparent normal life and their new reality after Anne’s diagnosis (from the plaque in the brain scans, it seems to be dementia and/or Alzheimer’s). Anne refuses to tell Katie about her diagnosis, but David thinks differently. Anne’s life is about to change radically. What will she do? What will they do?

Playwright Tira Palmquist uses characteristics of magical realism to tell the story and to convey the transition from the conscious experience of a healthy brain to the surreal space of a damaged brain. A recurrent element to show Anne’s cognitive decline is her inability to remember words. Palmquist includes peculiar characters during the road trip to encourage Anne and prepare her for what’s coming. The motivation to take the trip is to admire America’s iconic parks before they’re gone. For Anne and David, it is also a trip to cherish their relationship before Anne’s memory is gone.

To capture the majesty of the landscape, Director Jessica Kubzansky utilizes video projections and a naturalistic set design with green and yellow tones. To express the brain and memories, she uses blues and purples, colors that usually convey a sense of serenity, introspection, and higher consciousness.

The exposition of the characters contains light comedy and seems to show a rather normal life. Scene after scene, however, the story starts to take a different turn. That’s when the audience begins to feel for the characters. Anne faces the scare of the diagnosis and frustration settles in as her condition worsens over time. David values the time he spends with his wife, but is aware of the dreadful time when Anne won’t be able to remember her loved ones anymore.

Palmquist links the themes of the play poetically. Nature, despite its ancient glory, seems temporary, just like the human brain and its memories. The sunset of a person’s existence is followed by the sunrise of a new one, renewing the perennial cycle of life.

The Body’s Midnight

Boston Court Pasadena
70 N Mentor Ave.
Pasadena, CA 91106

Performances: April 27-May 26
• Thursdays at 8 p.m.: May 23 ONLY
• Fridays at 8 p.m.: May 3; May 10; May 17; May 24
• Saturdays at 8 p.m.: April 27 (opening); May 4; May 11; May 18; May 25
• Sundays at 2 p.m.: May 5; May 12; May 19; May 26
• Mondays at 8 p.m.: May 6 and May 20 ONLY

Tickets: bostoncourtpasadena.org

Written by Tira Palmquist. Directed by Jessica Kubzansky. The IAMA team includes season producer Quinn O’Connor and co-producer Katharine Means.

Starring Ryan W. Garcia, Jonathan Nichols-Navarro, Sonal Shah, Keliher Walsh

Presented by IAMA Theatre Company, Stefanie Black, artistic director and Boston Court Pasadena, Jessica Kubzansky, artistic director.

Creative team: Scenic designer Nicholas Ponting; lighting designer Benedict Conran; sound designer John Zalewski; video and projections designer David Murakami and associate projections designer Sam Clevenger; costume designer Mylette Nora; properties designer Cindy Campos; intimacy director Carly DW Bones; and dramaturg Adrian Centeno. IAMA ensemble member Anisha Adusumilli is associate director. Jasmine Kalra is the production manager, Jesse Soto is the technical director and Jasmine Leung is the production stage manager.

Theatre Review: Nora

Posted on by

Antaeus Theatre Company presents Nora, a stage version of Henrik Ibsen’s A Doll’s House by Ingmar Bergman. Written by Henrik Ibsen. Directed by Cameron Watson.

In the midst of a crisis, Nora (Jocelyn Towne) has many things to worry about. What if her husband Torvald Helmer (Brian Tichnell) finds out about the source of the money they used to get him back to health? Will she relent to Nils Krogstad’s (Michael Kirby) blackmail attempts? Will she be able to help her friend Mrs. Linde (Mildred Marie Langford)? What if Nora just leaves?

To reflect Henrik Ibsen‘s controversial text and layered characters, Director Cameron Watson stages a captivating play with an excellent attention to detail. The acting, costumes, lighting, music/sound, and scenic design interweave to enthrall the audience in this fascinating production. When these elements are in sync, the theatre experience is enriching and memorable.

The acting. Towne digs deep into the complexities and challenges of this character created in the late 1800s, a time when women had limited financial opportunities and were expected to conform to a traditional role as obedient wives. Towne’s performance delves convincingly into the unhappiness and isolation of the protagonist and delivers with conviction Nora’s determination to end her imprisonment and gain her freedom.

Tichnell also offers a convincing performance. He depicts Torvald as the seemingly loving and caring husband who ends up showing his selfishness by disregarding his wife’s needs as a human being. Kirby, Langford, and Smith all excel in their performances as well. They bring depth to the story, creating the conflict and the support to heighten the drama of the story. Watson has an exceptional group of actors to explore the nuances of Ibsen’s characters and the society in which they live.

The creative elements. Lighting Designer Jared A. Sayeg uses blue, a cold color, not only as a reflection of Norway’s weather but also as a symbol of the coldness of the Helmer’s marriage. The stark lighting used as transitions serves as a dramatic visualization of the conflicted lives of the characters and the tension that is building up.

Scenic Director Tesshi Nakagawa continues with the blue tones in the walls to complement the lighting. The windows create dramatic lighting effects and serve as a voyeuristic sight into the Helmer’s marriage.

The costumes by Terri A. Lewis transports us back to the 19th century. To match the overall design, Nora is also in blue. The colors of the costumes of the other characters also hint to their personalities. Krogstad, for example, is dressed in dark colors that depict the danger he represents to Nora.

The sound by Jeff Gardner and the score by Ellen Mandel translates the dramatic states of the characters’ lives, including the apparent peace and the uneasiness they are experiencing. In particular, the sound effect at the end resonates as loudly as Nora’s bold decision. These details by the production team are an expression of the richness of Ibsen’s universe.

The blocking adds dynamism to the play. The placement of the couch, bed, and dinning table allows the actors to use the stage fluidly. The dance, choreographed by classically-trained Jean Michelle Sayeg, shows one more time the level of details to make this production attractive and entertaining.

This play has been influential throughout history. It continues to start a conversation, to look back in time to see if things have changed or still need to change. One thing is for sure. When a troupe of talented artists recreate this play, regardless of the status quo, magic happens and the premise of the story reverberates with as much strength as the slamming of the door.

Nora

Antaeus Theatre Company
Kiki & David Gindler Performing Arts Center
110 East Broadway
Glendale, CA 91205
(between N. Brand Blvd. and Artsakh Ave.)

Apr 26, 2024 – May 26, 2024

Tickets: https://antaeus.org/show-details/nora

A Stage Version of Henrik Ibsen’s A Doll’s House by Ingmar Bergman. Translated and Adapted by Frederick J. Marker and Lise-Lone Marker. Directed by Cameron Watson. Artistic Director Bill Brochtrup. Producing Executive Director Ana Rose O’Halloran.

Cast: NILS KROGSTAD: Michael Kirby. MRS. LINDE: Mildred Marie Langford. DOCTOR RANK: Peter James Smith. TORVALD HELMER: Brian Tichnell. NORA: Jocelyn Towne.

Creative team: Scenic Director Tesshi Nakagawa. Lighting Designer Jared A. Sayeg. Costume Designer Terri A. Lewis. Lighting Designer Jared A. Sayeg. Sound Designer Jeff Gardner. Props Designer Aaron Lyons. Intimacy Director Carly DW Bones. Choreographer Jean Michelle Sayeg. Composer Ellen Mandel. Production Stage Manager Talya Camras. Assistant Director Max Tel. Technical Director Adam Meyer. Assistant Stage Manager Casey Collaso.