Category Archives: Theatre

Theatre Review: How It’s Gon’ Be

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The Echo Theatre Company presents the West Coast Premiere of How It’s Gon’ Be. Written by JuCoby Johnson. Directed by Ahmed Best. Troy Leigh–Anne Johnson and Sam Morelos are associate producers, and Chris Fields and Kelly Beech produce for the Echo Theater Company.

An absent father will always cause some disruption in a man’s development. In JuCoby Johnson‘s How It’s Gon’ Be, the absenteeism causes anger and insecurity in the main character, Jahann (Donté Ashon Green). But it also leads to a close and special relationship with his mother Angela (Karla Mosley). Facing the challenging years of adolescence, Jahann is forced to re-evaluate his worth, his future, and his dynamic relationships, including the one with his father. 

As a young man, Jahann values his relationship with Rashad (Michael Howard–Dossett) and Terry (Durran Moreau), his best friends. And it is specially important his relationship with Lady (Nona Parker Johnson), his childhood crush. The conflict appears when Jahann’s father Kenny (Sedale Threatt Jr.) comes back from his service in the military. Kenny is constantly called for service and is gone for months without calling home, creating doubts and anger to both Angela and Jahann. This time around, Jahann is not willing to hold back his resentment towards Kenny. This triggers an emotional display of rebellion and recriminations that puts at risk the stability of the family and forces the characters to dig deep inside to see if there’s any love left for each other.

The script contains poetry that gives the story a creative element to convey the feelings of the characters in a lyrical dance of words and silence. It’s through poetry that Jahann navigates his own pain and explores his feelings to find the truth. Director Ahmed Best utilizes sublime lighting and sound effects to express the internal turmoil of the characters. The transitions and the colors transmit the lyricism of the script in a meaningful gallery of visual elements.

Through the plot and subplots, the characters fight, dream, and discover who they really are, exposing their vulnerabilities and their ability to communicate their true feelings. Rashad and Terry need to determine once and for all their relationship. Angela has to decide whether she will continue to support Kenny’s career in the military, with the sacrifices that come with it. Jahann reaches a point where he needs to define his relationship with Lady, and even more challenging, his relationship with his continuously absent father. 

How It’s Gon’ Be is a poetic and engaging coming-of-age story that highlights the challenges of entering manhood for a Black artist. The script, the acting, and the directing all come together to offer a moving play that explores the outcomes when love and art are combined to answer our most pressing existential issues.

How It’s Gon’ Be 

Echo Theater Company
Atwater Village Theatre
3269 Casitas Ave
Los Angeles, CA 90039

Performances: Sept. 16 – Oct. 23
• Fridays at 8 p.m.: Sept. 29, Oct. 6, Oct. 13, Oct. 20
• Saturdays at 8 p.m.: Sept. 16 (opening night), Sept. 30, Oct. 7, Oct. 14, Oct. 21
• Sundays at 4 p.m.: Oct. 1, Oct. 8, Oct. 15, Oct. 22
• Mondays at 8 p.m.: Oct. 2, Oct. 9, Oct. 16, Oct. 23

Tickets: echotheatercompany.com

Written by JuCoby Johnson. Directed by Ahmed Best. Troy Leigh–Anne Johnson and Sam Morelos are associate producers, and Chris Fields and Kelly Beech produce for the Echo Theater Company. Starring Donté Ashon Green, Michael Howard–Dossett, Nona Parker Johnson, Durran Moreau, Karla Mosley, and Sedale Threatt Jr. Creative team: Scenic designer Amanda Knehans; lighting designer Justin Huen; sound designer Alysha Grace Bermudez; co-costume designers Ann Closs-Farley and Sophia Grose; graphics designer Christopher Komuro; and casting director Tal Fox. 

     

How It's Gon' Be poster
A scene from How It's Gon' Be
A scene from How It's Gon' Be
A scene from How It's Gon' Be

Theatre Review: Motel 66

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The Group Rep presents MOTEL 66. Written by Sal Valletta, Gina Yates, Denise Downer, Bill, Fitzhugh, Fox Carney, Doug Haverty, Paul Elliot, and Clara Rodriguez. Directed by Linda Alznauer, Van Boudreaux, Todd Andrew Ball, Larry Eisenberg, Helen O’Brien, Bruce Kimmel, Brent Beerman, and Leota Rhodes. Produced for The Group Rep by Brent Beerman.

During the Dust Bowl that devastated the Great Plains in the 1930s, Route 66 was the salvation for many families that took the historic highway to move west in their search for jobs and a better life. Route 66 goes from Chicago to Santa Monica, California, with many sites and landscapes along the way. MOTEL 66 is a production of 8 different one-acts that honor the fascinating and moving stories of the owners and guests of the quirky motels found along the celebrated route. Each short play takes place in a different motel and a different city. In such a spectrum of experiences, the topics and characters are as varied as one can imagine.

Poolside Therapy shows a couple (Diane Linder and Brad Kahn) in desperate need to spice up their relationship. One of the other guests (Tack Sappington) offers his expertise to make the couple feel attracted to each other again, using an unconventional method to achieve that goal. Written by Sal Valletta. Directed by Linda Alznauer.

One More Night is a moving and funny story of a grieving cowboy (Mark Stancato) and his unexpected change of plans after meeting a whip-smart young girl (talented newcomer Bailey Warner) and her mom (Julie Davis). Written by Gina Yates. Directed by Van Boudreaux.

Forever Friends is a story of two friends (Melissa Lugo and Cierra Lundy) whose strained relationship may or may not have a second chance after years of neglect. Written by Denise Downer. Directed by Todd Andrew Ball.

No Room at the Motel keeps us wondering who the real father is in this hilarious and intriguing story. Chad (Joe Clabby, Room Service) and a pregnant Mary (the always funny Jessica Kent, Harold and Maude, Room Service) engage in a heated argument about accommodation plans. They find the motel manager (Larry Eisenberg) to be a weirdo who doesn’t care about keeping his rooms clean. They also run into Chad’s friend (Sean Babcock), who keeps reminding Chad of his times with women of dubious reputation. Who exactly got Mary pregnant? Written by Bill Fitzhugh. Directed by Larry Eisenberg.

Immaculate Perception is a story of a miraculous sexless pregnancy. At least that’s what Mariah (Sasha Kartman) says. As illogical as it sounds, she tries to convince Sam (Lloyd Pedersen), who is a doctor, about her immaculate pregnancy. As they continue to argue, the continuation of someone’s life through a newborn starts to seem a possibility, even for Sam. Written by Fox Carney. Directed by Helen O’Brien.

Eureka Escorter reveals the oddity of opportunities in the job market. In urgent need as an impoverished recent widower, Miles (Bert Emmett, Animal Farm) takes a job as a driver/rent-a-gent type of gig. He is instructed by Wendolyn (Kathy Diane Tomlin), the lady running the agency, to act as normal as possible in the presence of customers. His first assignment is with Sara (Clara Rodriguez). His first drive will prove to be a wild ride. Written by Doug Haverty. Directed by Bruce Kimmel.

Saving Garbage is a meeting between short-fused motel operator Grace (Cynthia Bryant) and Jimmy (Miguel Lee), the young man who’s been taking the food leftovers from the trash bin at night. A surprising conversation exposes the compelling circumstances of their respective lives. Written by Paul Elliott. Directed by Brent Beerman.

In Quapaw, Oklahoma Betty (a delightful Bonnie Snyder, Room Service) is excited to meet her online friend Magda (Lareen Faye, Harold and Maude), who has promised Betty to make her a child again with the use of magic, despite the concerns of her daughter Deborah (Pascal Gigon) and the incredulity of her son-in-law Stan (Danny Salay). A whimsical story with a not-so-happy ending. Written by Clara Rodriguez. Directed by Leota Rhodes.

Embarking on a spiritual journey of self realization, the characters discover the power of human connection and the possibilities of new beginnings, despite the twists and turns of life. MOTEL 66 is a road trip to a world where humans greif, hope, and believe in miracles, one destination at a time. Always searching, always on the move. 

MOTEL 66

The Group Rep at the Lonny Chapman Theatre
10900 Burbank Blvd
N. Hollywood, CA 91601

September 21 through October 22

Saturdays at 4 PM

Thursdays and Sundays at 7 PM.

Tickets: thegrouprep.com/show/motel-66-2023

Written by Sal Valletta, Gina Yates, Denise Downer, Bill, Fitzhugh, Fox Carney, Doug Haverty, Paul Elliot, and Clara Rodriguez. Directed by Linda Alznauer, Van Boudreaux, Todd Andrew Ball, Larry Eisenberg, Helen O’Brien, Bruce Kimmel, Brent Beerman, and Leota Rhodes. Produced for The Group Rep by Brent Beerman. Cast: Diane Linder, Brad Kahn, Tack Sappington, Julie Davis, Mark Stancato, Bailey Warner, Melissa Lugo, Cierra Lundy, Sean Babcock, Joe Clabby, Cathy Diane Tomlin, Larry Eisenberg, Dawn Halloran, Doug Haverty, Jessica Kent, Kat Kemmet, Anica Petrovic, Sasha Kartman, Lloyd Pedersen, Bert Emmett, Lee Grober, Clara Rodriguez, Cynthia Bryant, Miguel Lee, Lareen Faye, Pascale Gigon, Danny Salay, and Bonnie Snyder. Creative team: Mareli Mitchel-Shields (Dramaturg), Nick Foran (Lights & Sound Design),and Doug Haverty (Graphic Designer).

MOTEL 66 poster
A scene from MOTEL 66
A scene from MOTEL 66
A scene from MOTEL 66
A scene from MOTEL 66

Theatre Review: Freud on Cocaine

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The world premiere of Freud on Cocaine is presented by the Whitefire Theatre. Written and directed by Howard Skora.

Scarface, get out of the way, here comes Freud! Most people associate Sigmund Freud with psychoanalysis, but not everyone knows about his little dirty secret: His addiction to cocaine. Howard Skora exposes without reservation some of the most shocking details about Freud’s use of cocaine and the consequences on his professional practice and private life.

Sigmund Freud (Jonathan Slavin, Home Front) falls in love with Martha Bernays (Sara Maraffino), but he is broke and Martha’s mother (Sigute Miller) does not approve of him, “he’s not a doctor doctor” she tells Martha. Against all odds, Freud and Martha get married, and like in all great stories, addiction becomes a bond too strong to resist. Soon, Martha and even her mom start using cocaine. Depression? Hysteria? Pain? Addiction to other drugs? No problem, cocaine cures it all. 

Freud saw cocaine as a panacea to treat and cure different ailments. When his patient Emma Eckstein (Amy Smallman–Winston) tells him about her hysteria and her proclivity to flying solo, Freud thinks there’s a nasogenital connection and starts prescribing cocaine, getting her hooked to the Devil’s dandruff. Even for his best friend Ernst von Fleischl-Marxow (Aaron LaPlante), Freud has some cocaine to spare to help him cope with pain and his addiction to morphine. 

Of course, Freud needed a supplier for his extensive use of cocaine. And what a better drug dealer than Emmanuel Merck (Barry Brisco) from Merck Pharmaceuticals. In exchange of hyping the miraculous benefits of cocaine, Merck provided an endless supply of the powder to Freud. More product, more prescriptions to his patients. And more product available for personal use. But as usual, too much of a good thing it’s just an illusion.

Skora exposes the life of a man who became hugely successful in his profession, but whose relentless motivation to prove his worth lead him to sacrifice his personal life. Freud on Cocaine is a fabric of different textures. It shows the power of love, the effects on guilt, the continuous search of empirical and scientific evidence, but at the end of the day, it shows that Freud was a human being with virtues and shortcomings, just like everyone else. But the main strength of this play is the superb dialogue. It’s an endless stream of comedy from beginning to end. Instead of treating the subject matter as a sea of tears and sorrows, Skora uses his characters as conduits to deliver some of the funniest lines in the contemporary theatre scene. As sinister as it might sound, drugs and comedy relate pretty well with the audience. Personal experiences? Maybe. Make sure you don’t miss this gem. You won’t regret.           

Freud on Cocaine

Whitefire Theatre
13500 Ventura Blvd.
Sherman Oaks, CA 91423

Sept. 8 – Nov. 4
• Friday at 8 p.m.: Sept. 8 ONLY (opening night)
• Saturdays at 8 p.m.: Sept. 23; Sept. 30; Oct. 7; Oct. 14; Oct. 28; Nov. 4 (dark Oct. 21)

Tickets: whitefiretheatre.com

Written and Directed by Howard Skora. Starring Jonathan Slavin, Barry Brisco, Aaron LaPlante, Mitch Rosander, Sara Maraffino, Sigute Miller, Amy Smallman–Winston. Presented by the Whitefire Theatre, Bryan Rasmussen, producing artistic director. Creative team: Scenic designer Dusti Cunningham, costume designer Michael Mullen, and video designer John Knowles.

 

Freud on Cocaine poster
A scene from Freud on Cocaine
A scene from Freud on Cocaine
A scene from Freud on Cocaine

Theatre Review: Room Service

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Room Service is presented by The Group Rep. Written by John Murray and Allen Boretz. Directed by Mareli Mitchel-Shields. Produced by Kathleen R. Delaney for The Group Rep.

it’s 1937 in New York and Joseph Gribble (Tommy Jacobs) tells theatre producer Gordon Miller (Will Maizel) that he needs to pay a $1,200 bill for his stay at the White Way Hotel, or else, he will be evicted from the hotel together with his troupe of actors. To complicate things, Leo Davis (Timothy Willard), the young playwright of Godspeed, comes to New York to join them and get an advance. Unbeknownst to Davis, Miller is broke without a financial backer to produce his play.

Room Service is a script with plenty of punch lines and physical comedy to allow the actors to shine. Mareli Mitchel-Shields directs an ambitious production with a stellar cast that gives new life to a screwball comedy from the Art Deco era. Each character is a building block to achieve conflict and comedy to create chaotic situations with witty dialogue and fast paced action. Joe Eastburn is a terrific actor with an imposing stage presence. He combines perfectly the eccentricity and hilarity of Gregory Wagner, the supervising director of the White Way Hotel.

The meet cute scene between Leo and Hilda Manney (Jessica Kent, Harold and Maude) is also a highlight in the play, bringing whimsiness and romanticism to one of the subplots of the story. As time runs out for Miller and his group to come up with the money to pay the hotel bill and produce the play, the tension builds up and forces the troupe to devise creative and delusional solutions.

Chris Winfield (Set Design) does a remarkable job recreating the Art Deco style of the 1930s, taking us back to the slapstick comedies of the Golden Age of Hollywood. As a treat, there are characters that sing during the intermissions, adding a special touch to this production.

Room Service delivers a hilarious and dynamic story with exceptional acting, costumes, and scene design to continue The Group Rep’s 50th anniversary celebration.

Room Service

Lonny Chapman Theatre – Main Stage (First Floor)
10900 Burbank Blvd., North Hollywood 91601

September 8 – October 15, 2023
Fridays and Saturdays at 8:00pm. Sundays at 2:00pm.

Tickets: thegrouprep.com

Written by John Murray and Allen Boretz. Directed by Mareli Mitchel-Shields. Produced by Kathleen R. Delaney for The Group Rep. Cast: Fox Carney, Joe Clabby, Joseph Eastburn, Tommy Jacobs, Jessica Kent, Sam Logan, Will Maizel, Matthew McLaughlin, Jackie Shearn, Bonnie Snyder, Axel Truitt, Sal Valletta, Grant Velarde, Timothy Willard, and Chris Winfield. Creative team: Chris Winfield (Set Design), Frank McKown (Lighting Design), Aylah Robinson (Costume Design), Reid Woodbury, Jr. (Sound Design), and Paul Cady (Music Director).

Room Service poster
A scene from Room Service
A scene from Room Service
A scene from Room Service

Theatre Review: Blood at the Root

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Open Fist Theatre Company presents Blood at the Root. Written by Dominique Morisseau. Directed by Michael A. Shepperd. Co-artistic directors Martha Demson, James Fowler and Amanda Weier produce for Open Fist Theatre Company.

Dominique Morisseau based her play on the true story of the “Jena Six”, a 2006 incident in Jena, Louisiana. Blood at the Root shows how volatile interracial relationships can be and how intolerance can quickly escalate into physical violence. In a hot autumn day, Raylynn (Nychelle Hawk)is at her high school and decides to sit under an oak tree in an area reserved for White students. The next day, 3 nooses are hanging from that same tree. Those actions trigger a series of events including beatings, arrests, and criminal charges. The way the school and the justice system reacted to these actions ignited the already fraught relationship between the White and Black communities.

The tense environment is specially challenging to three of the characters. Raylynn feels attracted to Colin (Jeremy Reiter ll), a White student who gets beat up by Raylynn’s brother DeAndre (Nicholas Heard). Raylynn is now at a crossroads. She wants to keep a good relationship with Colin, who has confided to her that he is gay, but she also needs to ask him to drop the charges against DeAndre so he doesn’t get sentenced. It is also hard for Colin to show compassion towards Raylynn when he has been a victim of discrimination for being gay.

For Raylynn’s friend, Asha (Caroline Rose), she is confused as what to do. She is White, but when her parents divorced, she went to live with her dad and new wife, a Black woman. Asha found happiness with her Black cousins and feels so much at home with them that she calls herself Black. However, her “Blackness” is put to test when she is asked by Raylynn to support the Black students’ protests after the nooses incident.

The complexity of experiences and identity growing up in a divided society is also exemplified in the characters of Toria (Grace Soens) and Justin (Azeem Vecchio, A Midsummer Night’s Dream). Justin is the Editor-in-Chief of the school’s newspaper. He is Black, but refuses to take sides with his fellow Black students in the protests. On the other hand, Toria is one of the reporters. She is White and is eager to seek racial justice through her journalism. Toria and Justin butt heads when it comes to take sides. Justin’s case is interesting in the sense that it takes a toll on a person’s identity growing up in a racist environment. When incidents of racism happen, would you stay silent to avoid confrontation with the other party? Or would you stand up to racists, even if that aggravates friends or acquaintances?

Asha is challenged by Raylynn. Justin is challenged by Toria. Colin is challenged by Raylynn. The community is challenged by intolerance. The play delves into history, but history repeats itself. And here we are, with a story that seems taken not from the past but from the present. 

Michael A. Shepperd creates a stunning and dramatic production with choreography, music, and endearing performances that explore the intricacies of intolerance, racism, friendship, and justice. Scenic designer Joel Daavid and lighting designer Gavan Wyrick add an impressive effect to the scenery, creating visually stunning elements to heighten the conflict, the danger, and the drama depicted in the script. This is a high-caliber staging that moves, inspires, and makes us think of how much progress we have achieved in our search for justice and tolerance. 

Blood at the Root

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

Sept. 9 – Oct. 28
Fridays at 8 p.m.: Sept. 22; Sept. 29; Oct. 6; Oct. 13; Oct. 20; Oct. 27
Saturdays at 8 p.m.: Sept. 9 (Opening Night); Sept. 16; Sept. 23; Sept. 30; Oct. 14; Oct. 21; Oct. 28 (dark Oct. 7)
Sundays at 3 p.m.: Sept. 17; Oct. 1; Oct. 15 (no matinees on Sept. 10; Sept. 24; Oct. 8; Oct. 22
Sundays at 7 p.m.: Sept. 24; Oct. 8; Oct. 22 (no evening performances on Sept. 17; Oct. 1; Oct. 15)
Monday at 8 p.m.: Oct. 9 ONLY

Tickets: openfist.org

Written by Dominique Morisseau. Directed by Michael A. Shepperd. Starring Malik Bailey, Deandra Bernardo, Emma Bruno, Nychelle Hawk, Nicholas Heard, Jeremy Reiter II, Caroline Rose, Jack David Sharpe, Grace Soens, Amber Tiara, and Azeem Vecchio. Presented by Open Fist Theatre Company, Martha Demson, artistic director. Creative team: Scenic designer Joel Daavid; lighting designer Gavan Wyrick; sound designer Marc Antonio Pritchett; costume designer Mylette Nora; and chorographer Yusuf Nasir, promises a visually and emotionally immersive experience. The assistant director is Debba Rofheart, and the production stage manager is John Dimitri. Co-artistic directors Martha Demson, James Fowler and Amanda Weier produce for Open Fist Theatre Company.

 

Blood at the Root poster
A scene from Blood at the Root
A scene from Blood at the Root
A scene from Blood at the Root
A scene from Blood at the Root

Theatre Review: Walking in Space

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Theatre West presents the world premiere of Walking in Space. Written by Garry Michael Kluger. Directed by Arden Teresa Lewis. Meg Lin produces for Theatre West.

Is drug addiction a moral failure or a brain disease? A debatable topic for sure. Current scientific studies are underway to have a better understanding of the brain circuits involved in rewards, stress, and self-control, and the environmental factors—family, school, and neighborhood—that might lead or predispose a person to addiction. In Walking in Space, playwright Garry Michael Kluger goes back to 1972 and takes from his own family history to present a story, part real, part fiction, where the collateral damage of addiction weighs on four siblings who are left alone to deal with their mom’s abuse of Placidyl, a sedative-hypnotic medication prescribed to treat insomnia.

In the story, Lori (Liv Denevi), a 17-year-old, is in charge of taking care of her mom Francine (Kathie Barnes), a divorcée who has become addicted to barbiturates. To check on their mom after a fall, the other three siblings come to visit. The oldest is Patti (Mary Elisabeth Somers), a young woman who is trying to keep her professional and love life afloat while still looking after her mom and younger siblings. Next in line is Kirby (Cecil Jennings), a recent grad who is at risk of losing his new job due to his mom’s addiction. There is also Matthew (Hogan Mason), a college sophomore who has a special connection with Francine and is the one that talks her into going to the hospital to treat her addiction problem. Also in the picture is Dr. Jerome Collar (David Mingrino), the family physician who comes up with the recovery plan. And lastly, there’s Keith (Andrew Cereghino), a medical resident who is trying to convince Patti to stay together once and for all.

Even though it deals with harsh realities, the play presents the thorny issue of addiction with a good dose of humor. Director Arden Teresa Lewis allows the characters to explore their most vulnerable spots and find places to build up the strength to thrive under negative circumstances. In this case, humor, as light as it might seem at times, is a critical mechanism to survive.

Through Francine’s exposition, we learn that her upbringing was a difficult one, forced to grow up very early to become a housewife. A different era, a different mindset. It is here where the environments play a decisive role in predisposing someone to a life of addiction. For Francine, drugs became an escape from her world of limited possibilities. Again and again, escape seems to be a determining factor to fall into the downward spiral of addiction. In Kluger’s own words, “it’s always the same, no matter the drugs”. The underlying issues are always the same.

As more families face the daunting challenges of drug addiction, Kluger tells us that it is OK to feel tired, frustrated, emotionally drained, and hopeless. As the characters show, whether an intervention is successful or not, sometimes family members feel guilty, leading them to think that they’re not doing enough to save the loved one. And that is one of the most valuable takeaways from Walking in Space: It is OK to feel that way. It is part of the recovery and healing process. Patience and sacrifice are just part of the game.   

The result of Kluger and Lewis’ work with the actors is an entertaining and touching production that gives a sense of hope for whoever is dealing with similar issues. No matter how difficult the situation might be, there’s always something positive that comes out of such a dark place. In the case of the four siblings, the ordeal they been put through makes them grow more united and builds their strengths to face life as adults. Their interdependency creates an unbreakable bond that transcends their mom’s addiction. They know that they have each other’s back, no matter the issue, no matter the distance. At the end, “it was just us.” 

Walking in Space

Theatre West
3333 Cahuenga Blvd. West
Los Angeles, CA 90068
(across the street from Universal CityWalk, between Barham and Lankershim)

September 8 – October 8:
• Fridays at 8 p.m.: Sept. 8, Sept. 15, Sept. 22, Sept. 29*; Oct. 6
• Saturdays at 8 p.m.: Sept. 16, Sept. 23, Sept. 30; Oct. 7
• Sundays at 2 p.m.: , Sept. 17, Sept. 24, Oct. 1**; Oct. 8
*ASL interpreted performance on Friday, Sept. 29 at 8 p.m.
**Sensory-friendly performance on Sunday, Oct. 1 at 2 p.m.

Tickets: theatrewest.org

Written by Garry Michael Kluger. Directed by Arden Teresa Lewis. Starring Kathie Barnes, Andrew Cereghino, Liv Denevi, Cecil Jennings, Hogan Mason, David Mingrino, and Mary Elisabeth Somers. Presented by Theatre West. Creative team: Scenic designer Ernest McDaniel and lighting designer Malcolm Wilson. In addition to directing, Lewis takes on costume design. The assistant director is Amelia Vargas and the production stage manager is Dillon Mount. Meg Lin produces for Theatre West. Walking in Space is supported by the L.A. County Department of Arts and Culture as part of Creative Recovery L.A., an initiative funded by the American Rescue Plan.

 

              

Walking in Space poster
A scene from Walking in Space
A scene from Walking in Space
A scene from Walking in Space
A scene from Walking in Space

Theatre Review: A Slight Ache

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A Slight Ache is presented by Dance On Productions in association with Linda Toliver and Gary Guidinger. Written by Harold Pinter. Directed by Jack Heller.

An apparent peaceful morning is disrupted by a wasp and a match seller. Flora (Susan Priver, Harold and Maude) is sitting with her husband Edward (Henry Olek) when a wasp decides to approach their table while they’re breakfasting in the garden. The dynamics of their relationship becomes more evident as they try to figure out how to get rid of the insect. But Edward’s biggest concern is not the wasp. Rather, it’s the disconcerting presence of an old match seller (Shelly Kurtz) who has been loitering by the gate of their home for days. Flora and Edward decide to invite the man into their home to find out who he really is.

One of most iconic elements of this play is the speechless nature of the match seller. He doesn’t utter a single world during the whole play. Yet, like in music, in Harold Pinter‘s plays, silence is as important as dialogue. In this absurdist piece, the match seller reflects not a character, but an image, an inner fear or an aspirational idea of a man, depending on who you ask. For Edward, the match seller is the unstoppable marching of time, the reflection of what Edward will become in just a few more years. Edward knows that his body is deteriorating, turning him into a frail remnant of what he once was. He is holding on for dear life to what he believes will sustain him through the dreadful ageing process, his mental capacities, as if detaching his mind from his decaying body. Edward went from writing about “the Belgian Congo” to a more philosophical and contemplative topic; he’s now writing an essay on “space and time”. This is probably a symbol of inwardness, an unconscious attempt to find the meaning of life at the last stages of his existence. 

Flora sees the match seller as the man Edward could have been. In Pinter’s style, the speechless man is used as an instrument to allow the exposition of the other characters. In one of the scenes, Flora tells the match seller of the time she was raped. She also tries to explore the possibilities of the match seller as a companion, expressing her sexual frustrations and implying the lack of sexual activity with Edward. These are examples of Pinter’s use of the absurd to portray not just characters, but concepts that reflected the lives of the English society in a time of rapid changes, specially the representation of classes when England was recuperating from the difficult economic misfortunes of previous decades. 

One of the highlights of Jack Heller‘s production is the collaboration with his actors to work from an internal approach, exploring the richly psychological aspects of this brilliant play. The actors dig deep into the fears, desires, and frustrations of the characters to bring a refreshing new look at one of Pinter’s earlier plays, one that delves into the often complex relationships among mind, body, and society at large. Even though Pinter wrote A Slight Ache in 1958 at a specific period in England, the fears of becoming irrelevant and the painful process of aging are topics that are timeless and universal.

In addition to the excellent acting and directing, the scenic design (Jeff G. Rack) and costumes (Michael Mullen) combine in great detail the past and the present. Flora and Edward sport a refined look in their privileged 50s home setting while the match seller wears clothes that remind us of the very familiar sight in our streets nowadays. A clever commentary on classes back in Pinter’s England and a contrast that persists in our America today.

A Slight Ache

A visiting production at the
Odyssey Theatre
2055 S. Sepulveda Blvd.
Los Angeles CA 90025 

Performances: August 26 – October 1
• Thursdays at 8 p.m.: Sept. 14; Sept. 21; Sept. 28
• Fridays at 8 p.m.: Sept. 8; Sept. 15; Sept. 22; Sept. 29
• Saturdays at 8 p.m.: Aug. 26 (opening); Sept. 9; Sept. 16; Sept. 23; Sept. 30
• Sundays at 2 p.m.: Sept. 10; Sept. 17; Sept. 24; Oct. 1

Tickets: odysseytheatre.com

Written by Harold Pinter. Directed by Jack Heller. Starring Shelly Kurtz, Henry Olek, Susan Priver. Presented by Dance On Productions in association with Linda Toliver and Gary Guidinger. Creative team: Scenic designer Jeff G. Rack, lighting designer Ellen Monocroussos, sound designer Christopher Moscatiello, costume designer Michael Mullen and graphic designer Kiff Scholl. The production stage manager is Sarah Dawn Lowry.

A Slight Ache poster
A scene from A Slight Ache
A scene from A Slight Ache
A scene from A Slight Ache

Theatre Review: Exit Wounds

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International City Theatre presents the world premiere of Exit Wounds. Written by Wendy Graf. Directed by caryn desai [sic]. Produced by caryn desai [sic].

Linda Sadowski (Suanne Spoke) saw her family disintegrate as a consequence of a heinous crime committed by one of her sons. Rejection by the general public, death threats, and a devastating sense of guilt torn the family apart. The husband and the son left, leaving Linda with deep emotional and psychological scars to handle by herself. Over the years, Linda becomes a hoarder, living in a depressive and disorganized place, a manifestation of Linda’s internal devastation.

25 years later, her surviving son Matt (Michael Polak), finally shows up to visit her. He informs her that his dad passed away last year. He also tells her that he has a daughter and a son she hasn’t met yet. Linda informs Matt that she had breast cancer. The fact that they didn’t know about each other’s lives shows how disconnected they have been living from each other all these years. However, Matt know needs Linda more than ever. His son Danny (Hayden Kharrazi) is showing a disturbing behavior that seems too similar to the one exhibited by Linda’s deceased son. Her intervention is critical, as it can prevent the same tragedy that shattered their lives 25 years ago.

In Wendy Graf‘s Exit Wounds, the fascination with guns and missing the early signs of internal conflicts can lead to catastrophe. The eeriness of this play is the familiarity of the story. Again and again, we see it and hear it in the news. Another day, another tragedy, another missed sign of trouble. Graf dissects the emotional and psychological effects of a mass shooting tragedy from the point of view of the family’s perpetrator, not the victims. As controversial as this might sound, the reality is that such tragedies also leave a perpetual scar on the relatives of the perpetrator, a fact not covered by the media usually. In Exit Wounds, it’s up to the audience to sympathize or demonize the family in question. Were the parents careless? Were they aware of the signs? Do they deserve the suffering? Should we feel pity for them? One interesting question is: What can institutions like schools and courts do to help concerned parents with their troubled kids?

Director caryn desai [sic] creates a space with great attention to detail that feels dark and congested, externalizing Linda’s interior mess. Desai leads her three actors to build up the tension as the story unfolds. The initial comedic spin of the characters gives way to a much somber subject matter, leading to an emotional and moving display of guilt and sorrow, with a ray of hope at the end of the tunnel. Exit Wounds is a story that presents three generations that are trying to find redemption from a tragic past. It’s also timely, touching, and a meaningful conversation starter to find solutions for an urgent matter.

Exit Wounds

INTERNATIONAL CITY THEATRE
Long Beach Convention & Entertainment Center
330 East Seaside Way
Long Beach, CA 90802

Performances: August 25 – September 10
• Thursdays at 8 p.m.: Aug. 31, Sept. 7
• Fridays at 8 p.m.: Aug. 25 (Opening Night), Sept. 1, Sept. 8
• Saturdays at 8 p.m.: Sept. 2, Sept. 9
• Sundays at 2 p.m.: Sept. 3, Sept. 10

Tickets: ictlongbeach.org

Written by Wendy Graf. Directed by caryn desai [sic]. Starring Hayden Kharrazi, Michael Polak and Suanne Spoke. Produced by caryn desai [sic]. Presented by International City Theatre. Creative team:  set designer Yuri Okahana-Benson, lighting designer Donna Ruzika, costume designer Kim DeShazo, sound designer Dave Mickey and prop designer Patty Briles. Casting is by Michael Donovan, CSA and Richie Ferris, CSA. The production stage manager is Letitia Chang.

Exit Wounds poster
A scene from Exit Wounds
A scene from Exit Wounds
A scene from Exit Wounds

Theatre Review: Heroes of the Fourth Turning

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Rogue Machine presents the Southern California premiere of Heroes of the Fourth Turning. Written by Will Arbery. Directed by Guillermo Cienfuegos. Produced by Justin Okin and John Perrin Flynn.

Playwright Will Arbery explores deep and philosophical questions in a play with intense dialogue and honest points of view that might diverge from the politically correct message of the mainstream media. The characters in the play show some existential crises that expose their vulnerabilities and lead them to question their positions and commitments as conservative White Catholics. Will they reinforce their positions, or will they try to merge with a world that is leaning more towards inclusion and acceptance?

In Heroes of the Fourth Turning, four young conservatives gather to celebrate Gina (Roxanne Hart), the new president of their Catholic college. Justin (Stephen Tyler Howell) appears self-confident at first. However, by the end of the play, is evident that he is as confused and afraid as the rest. He believes in the Benedict Option, in the safety of seclusion to avoid temptations. He seems more resolute to stay within his bubble of conservatism, contrary to Kevin (Samuel Garnett), who is exploring the possibility of moving to New York to face the temptations of an urban setting to test his commitment to his faith, although one temptation he hasn’t been able to resist is alcohol.

For Emily (Emily James), living with a painful disease is a form of perpetual sacrifice, The Eucharist, the presentation of Christ’s sacrifice on the cross. Maybe something worthy can come out of that pain. Like many artists may agree, beautiful art can be created out of sheer misery. The pain has made her more empathetic for sure, but it has taken a toll on her faith and perception of life. A breaking point seems to be building up.

Teresa (Evangeline Edwards), a fan of Steve Bannon and supporter of Donald Trump, is a determined and hardcore conservative who proclaims that a war is around the corner and White Catholics need to be ready to fight, instilling fear to an already ambivalent Kevin. In her eyes, is a war instigated by liberals to demonize and destroy White America. She is a firm believer of the controversial Fourth Turning, a Strauss-Howe generational theory with four mood eras, or turnings: High, Awakening, Unraveling, and Crisis. Teresa might be perceived as just a racist conservative pundit, but through her lines, she is pursuing something else: “You call us racist, we’ll call you racist. You call us white, we’ll call you black…But you stop doing that,…we’ll stop too.” What she proposes is a forum to exchange opinions, “a republic of ideas,” something more Hegelian: Thesis, antithesis, and synthesis. Maybe with a little bit of cocaine on the side.

Gina on the other hand, lies somewhere in the middle. As time went by, she has changed positions and is now a moderate conservative. She regrets supporting Pat Buchanan in the past and despises Donald Trump. She is considered a leader to the four young conservatives meeting tonight, but clashes with Teresa, who is left surprised and confused with Gina’s moderate conservatism.

Guillermo Cienfuegos continues to deliver impactful productions in his successful directorial endeavors. In Heroes of the Fourth Turning, he turns a script with heavy dialogue into a funny, entertaining, and highly engaging play with a fantastic selection of actors that achieve masterly performances. The five thespians create characters with actions, reactions, and vulnerabilities that bring to life the cleverness and depth of Arbery’s writting.   

Whether the characters’ intentions are to create another AFA or a new Orania, that is an open question. But what’s interesting here is that the characters argue and debate, weakening and strengthening their faith. Mainly, it’s a story where White Catholics express their concerns and explore the strategies for their future to ensure their survival. It’s a safe place to nurture their common values while attempting to elevate their consciousness and love to greater heights. Maybe, at the end, they’ll all be able to reach the summit and be united as one. For everything that rises must converge. 

Heroes of the Fourth Turning

ROGUE MACHINE (in the Matrix Theatre)
7657 Melrose Ave, Los Angeles, CA 90046
(Street parking)

Opening: 8pm on Saturday, August 19, 2023
Schedule: 8pm Fridays, Saturdays, Mondays, 3pm Sundays
Closing: October 2, 2023

Tickets: https://www.roguemachinetheatre.org/

Written by Will Arbery. Directed by Guillermo Cienfuegos. Cast: Roxanne Hart, Evangeline Edwards, Samuel Garnett, Stephen Tyler Howell, and Emily James. Creative team: Stephanie Kerley Schwartz (Scenic Design), Dan Weingarten (Lighting Design), Chris Moscatiello (Sound Design), Christine Cover Ferro (Costume Design), John Perrin Flynn (Dramaturg), Victoria Hoffman (Casting Director). Produced by: Justin Okin, John Perrin Flynn. A Rogue Machine Production.

Heroes of the Fourth Turning poster
An image of Heroes of the Fourth Turning
An image of Heroes of the Fourth Turning

Theatre Review: A View from the Bridge

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Ruskin Group Theatre presents A View from the Bridge. Written by Arthur Miller. Directed by Mike Reilly. Produced by John Ruskin and Michael Myers.

The political turmoil that proceeded WWII, the abolition of the monarchy, the early establishment of the republic, and an Italian economy in ruins, fomented a massive immigration of Italians to the US during the 1950s. More than 600,000 Italian immigrants, many of them from the impoverished south, entered the United States, mainly through the ports of New York. For some dockyard owners, this meant cheap labor, as some of these immigrants had to work as longshoremen to pay the human traffickers that brought them to the US illegally. These immigrants usually stayed in the homes of fellow Italians, whether family members or people from their own native villages, creating thriving Italian communities where they supported each other.

Arthur Miller used these conditions as the background for his critically acclaimed play A view from the Bridge. The story is narrated by Alfieri (Sal Viscuso), raised in Italy and now working as an American lawyer. Eddie (Ray Abruzzo) lives with his wife Beatrice (Kim Chase) and his orphaned niece Catherine (Aurora Leonard). The three leave in an Italian community in Brooklyn, New York, where Eddie works on the docks. Beatrice is a housewife and 17-year-old Catherine goes to school. Soon after, Beatrice’s young cousins Marco (Jesse Janzen) and Rodolpho (Brandon Lill) arrive from Italy, fleeing poverty and the lack of job opportunities in Sicily. In the case of Marco, he is coming to the the US to send money to his wife, who is caring for their sick child. Both Marco and Rodolpho come to the US illegally. Catherine and Rodolpho fall in love, causing Eddie’s rage, as he has developed a secret sexual desire for Catherine. From there, everything goes downhill.  

This play captures two critical societal changes in America during the post war booms. One is the number of women entering the workforce after WWII, shifting the power balance and the family dynamics, where the masculine figure was no longer the only financial support in the household. By finding a job as a stenographer, Catherine represents that new reality, somehow challenging Eddie’s position as the only provider for the family. He initially objects to the idea, but is ultimately persuaded by Beatrice to allow Catherine to accept the job. 

The second change observed in the play is the image of the new man, more sensitive and less rigid, represented by Rodolpho, a guy who is outgoing, likes to sing, and dresses with a sense of fashion, characteristics that were considered more feminine at the time, but which captured Catherine’s attention since the very beginning. That “new man” challenged the traditional image of the alpha male and triggered Eddie’s jealousy to the point of trying to convince Catherine that Rodolpho was gay, not suitable for her. In reality, Eddie is sensing that he is a symbol of failing masculinity, losing interest in his wife, and being consumed by his inappropriate attraction to his niece. He is resisting the change of times and refuses to accept that his figure is being replaced by a new generation of men, represented by Marco, but specially by Rodolpho. 

As for the Alfieri, he tries to be the voice of reason, advising Eddie to change his ways. However, Alfieri knows that Eddie is beyond the point of no return, like a train going at full speed, about to cause a wreck, but unable to stop it.

Mike Reilly pays attention to fine details to make this production a memorable staging of such an iconic play. The blocking divides the stage in two sections, the family’s house in one and the streets and Alfieri’s office in the other, making the scenic design and the lighting more versatile. Four creative elements contribute to immerse the audience into the story. The chiaroscuro lighting by Edward Salas recreates the unnerving danger of both the streets and the main character, as if warning the audience of an impending tragedy. Salas also does the sound design, using a background music that is perfect for the film noir nature of the play. The scenic design by Stephanie Kerley Schwartz also adds to the overall feel of the story, creating a dramatic contrast in textures and colors. Michael Mullen‘s costumes offer details of the lives and traits of each character, demonstrating the attention to details of the director.    

The selection of actors is another reason to see this production. Abruzzo’s projection on stage is commanding and magnetic. The transition from protective father figure to a man fully consumed in his own tragedy is a performance to be remembered. Chase, Leonard, Lill, Janzen, and Viscuso, all turn Miller’s characters into vivid representations of the symbols and concepts that the playwright wanted to portray in this masterpiece. The outstanding ovation at the end of the play is a reflection of their moving performances. This production elevates the significance and poignancy of Arthur Miller, one of the greatest playwrights of the 20th century.      

A View from the Bridge

Ruskin Group Theatre
3000 Airport Avenue
Santa Monica, CA 90405
 
Aug 18 – Oct 8, 2023
Fridays and Saturdays at 8 PM. Sundays at 2 PM.
 
 
Written by Arthur Miller. Directed by Mike Reilley. Starring: Ray Abruzzo, Kim Chase, Aurora Leonard, Brandon Lill, Jesse Janzen, Sal Viscuso, Kevin Alain, Jamie Daniels, Aaron Marshall, Nicole Millar, and Jeff Prater. Produced by John Ruskin and Michael Myers. Presented by Ruskin Group Theatre. Creative team: Stephanie Kerley Schwartz (Scenic Design), Edward Salas (Lighting and Sound Design), Michael Mullen (Costume Design), Mary Unruh (Dialect & Speech Coach), Paul Ruddy (Casting), and Nicole Millar (Stage Manager).
 
A View from the Bridge poster
A scene from A View from the Bridge
A scene from A View from the Bridge
A scene from A View from the Bridge