The Echo Theater Company presents the world premiere of A Bella Incarceration. Conceived, written, directed, and performed by Ann Noble. Produced by Chris Fields and Kelly Beech for the Echo Theater Company.
An enclosure representing a jail cell, an inmate uniform, and a pink clown nose is all it takes to tell the story of Bella (Ann Noble), a woman who has been incarcerated for an act of civil disobedience. Once in jail, she asks why people commit rebellious acts to stand up to injustice and abuse. To understand the motivations, Bella has imaginary conversations with women she admires. She talks to journalist Nellie Bly and anarchists Dorothy Day and Emma Goldman.
The fact that Bella is a clown makes sense for the kind of material covered in the story. Clowns have an anarchic spirit, are funny, and in some instances, they display a contradictory sadness that is impossible to resist. Bella goes through all of those emotions and experiences before, during, and probably after her incarceration.
In real life, Ann Noble is also a prison chaplain. Her own stories combined with the ones of those serving time in prison are the basis of the play. The confinement, loneliness, and psychological traumas can break you, make you stronger, or a combination of the two. A Bella Incarceration leaves room for the audience to imagine what was the end of the story. Noble provides some of the details, but the resolution is an audience’s exercise. The play is somehow a soliloquy and a narrative to explore and validate Bella’s motivations and actions. The play is deep, funny, and an opportunity to shed light on the marginalized and disenfranchised.
A Bella Incarceration
Echo Theater Company Atwater Village Theatre 3269 Casitas Ave Los Angeles, CA 90039
Performances: July 25 – Aug. 22: • Tuesdays at 8 p.m.: Aug. 8, Aug. 15, Aug. 22
Conceived, written, directed, and performed by Ann Noble. Production Design by Ann Loud. Presented by TheEcho Theater Company, Chris Fields artistic director.
Chance Theater presents the Pulitzer Prize winning musical Rent. Book, Music, and Lyrics by Jonathan Larson. Directed by Matthew McCray. Music directed by Lex Leigh. Choreographed by Mo Goodfellow.
One of the most iconic stories to reflect the lives of struggling artists, Rent adds another dramatic layer when some of the characters have to survive in a big metropolis like New York while grappling with HIV at the same time. Without a doubt, this is a moving musical that continues to inspire audiences every single time. For anyone who has seen the progression of the disease from HIV to AIDS and the devastating consequences, Rent is a significant portrayal of the hardships and the uncertainty of the heartbreaking ordeal, specially in the early waves of the epidemic.
The inability to predict for sure if HIV will progress to AIDS is like a ticking bomb that may go off at any time, taking a physical and mental toll on those with the disease and their loved ones. Jonathan Larson observed those challenges and imagined a universe where a very diverse group of people comes together to build a community to fight the AIDS stigma and find love along the way. Within that amalgam of personalities, a special character with HIV, Angel (Adam Leiva), irradiates kindness and the ability to teach and share love, even after his death of AIDS. He navigates the adversities with a positive attitude until the very last moment.
Some of the topics in the play are discrimination, poverty, living the moment, survival mechanisms, the sense of community, drug addiction, and the inability of the characters to stop it. For Roger (Gavin Cole), Mimi’s (Lena Ceja) heroin addiction and an HIV condition prolongs the agony of an impending disaster. Roger knows that falling for Mimi means that, at one point, he will be left alone once again—his former girlfriend committed suicide after learning that she was HIV positive and had infected Roger.
But beyond her addiction, Mimi has depth. Perhaps as a consequence of her HIV condition and accepting her fate, she encourages Roger to forget about his anticipatory anxiety and live the moment without worrying about the past or the future. No religion, no heavens, no hell, only us.
There are fifteen characters in Director Matthew McCray‘s production, each one with their own story and motivations. There is Roger’s roommate, Mark (Luc Clopton), a filmmaker who was dumped by his girlfriend. Together with Roger, Mark struggle to stay warm in their cold apartment. We also see Joanne (Frankie Ripley), a lesbian lawyer, Maureen (Lily Targett), a bisexual performer and Joanne’s girlfriend, Tom (JoeJoe McKinney), a gay anarchist with AIDS and Angel’s partner, and Benjamin (Christopher D. Baker), Mark and Roger’s landlord. All of the characters have important roles and a story to tell. They all contribute to build a cohesive community and bond even more after Angel’s death. But it is Roger the center of attention. His depressive state at the beginning, his initial resistance to a new relationship with Mimi, and his willingness to open up his heart make it the most transformative character of the play. Throughout the story, Roger is silent, loud, visible, invisible. He is myth, life, death, tragedy, hope. He is America. He touches the bottom and rises like a phoenix. At the end, he still believes in love.
Scenic Designer Joe Holbrook captures the grittiness and the underground vibes of the script in a fascinating manner. The colors and textures create a contrast that reflect the spirit of the story. The color palette of the lighting (Zach Moore, Lighting Designer) is also an element to highlight. Reds, whites, ambers, purples, and blues are all used masterfully to evoke emotions and intensities, as if dancing rhythmically to the palpitations of the characters. McCray had a talented group of artisans and performers to honor and elevate the legacy of Larson in the always difficult world of musicals. This particular production of Rent shows that a talented director can make a revival as fresh and exciting as the original one.
The story is raw, passionate, energetic, and a testament of the powerful effect of human connections. It’s a picture of the rough and excruciating road to the entertainment industry. It is also a homage to the ones that lost the battle, to the ones that are still trying, to the ones that never ever give up.
Rent
Chance Theater Bette Aitken Theater Arts Center 5522 E La Palma Ave. Anaheim, CA 92807
Book, Music, & Lyrics by Jonathan Larson. Directed by Matthew McCray. Music directed by Lex Leigh. Choreographed by Mo Goodfellow. Executive Producers Linda and Tod White. Season Producers Bette & Wylie Aitken. Associate Producers Rachelle Menaker & Eddie Schuller. Associate Producer Laurie Smits Staude. Associate Season Producers Family of Mary Kay Fyda-Mar. Cast: Luc Clopton, Gavin Cole, Lena Ceja, JoeJoe McKinney, Adam Leiva, Lily Targett, Frankie Ripley, Christopher D. Baker, Jack Thomas Aitken, Micah K. Blanks, Ayani Dorsey, Autumn Kirkpatrick, Patrick McCormick, Mikey Miro, and Gemma Pedersen. Creative team: Lighting Designer Joe Holbrook, Costume Designer Bradley Allen Lock, Projection Designer Nick Santiago, Lighting Designer Zach Moore, and Sound Designer Dave Mickey.
The Echo Theater Company presents the World Premiere of Crabs in a Bucket. Written by Bernardo Cubría. Directed by Alana Dietze. Produced by Chris Fields and Kelly Beech.
The play starts with Amargo (Xochitl Romero) and Pootz (Anna LaMadrid) contemplating the misery of their lives as two aging crabs in a bucket. From there, the conversation turns to memories of better times and the pathetic state of their current situation, a downward spiral of apathy and hopelessness. With the arrival of Beb (Jordan Hull), a younger and more positive crab, the bitterness reaches another level. Things get even more insane when Mamon (Michael Sturgis) falls back into the bucket after getting out and enjoying the outside for a while. It is now time to re-evaluate their current existence and see if real change is a possibility or just a deceptive chimera.
The play has a universal appeal that allows the story to travel. The subjugation of our lives to deeply ingrained feelings of inferiority can lead us to sabotage ourselves when opportunities come knocking. Even worse, that mentality can lead us to bitter not only our lives, but also the lives of the people around us, whether they’re colleagues, friends, or family members. In the case of Amargo, she once was the joker of the group until life passed her by and her hopes and expectations didn’t materialize. As part of her inner circle, she makes sure Pootz doesn’t go any further than the interior of the bucket, pulling her back if Pootz tries to reach the top to get out.
The surprising character is Mamon, who got out, but ends up falling back into the bucket. This could be interpreted perhaps as a case of insecurity. Mamon got out and enjoyed higher levels in life, but felt inferior, incapable, or thought that he didn’t deserve any success in life. This crab mentality infused with Social Constructionism rules the lives of the crabs in the bucket. What might be seen as an exclusive characteristic of a particular racial group, the reality is that this crab mentality exists in many different groups. The world of entertainment could be an example of such behavior. The success of others sabotages our own success, making us feel bitter, frustrated, and left behind. A perfect recipe to rip the happiness out of our lives. In the play, however, Beb brings the opposite. Her naiveness makes her believe that it is still possible to escape the bucket if they help each other.
The four actors offer a compelling and hilarious performance that exalt the brilliant script. The ingenuity of both the writing (Bernardo Cubría, Revenge Porn or The Story of a Body) and the direction (Alana Dietze) creates a combination that delivers a play that feels relatable and devastatingly human.
Crabs in a Bucket
Echo Theater Company Atwater Village Theatre 3269 Casitas Ave Los Angeles, CA 90039
Performances: July 15 – August 21 • Fridays at 8 p.m.: July 21, July 28, Aug. 4, Aug. 11, Aug. 18 • Saturdays at 8 p.m.: July 15 (opening night), July 22, July 29, Aug. 5, Aug. 12, Aug. 19 • Sundays at 4 p.m.: July 23, July 30, Aug. 6, Aug. 13, Aug. 20 • Mondays at 8 p.m.: July 24, July 31, Aug. 7, Aug. 14, Aug. 21
Written by Bernardo Cubría. Directed by Alana Dietze. Starring Jordan Hull, Anna LaMadrid, Xochitl Romero, Michael Sturgis. Presented by TheEcho Theater Company, Chris Fields artistic director. Creative team: Scenic designer Amanda Knehans; lighting designer Azra King–Abadi; sound designer Jeff Gardner; costume designer Lou Cranch; composer Arian Saleh; fight choreographer Ahmed Best; movement coach Tristan Waldron; and clowning consultant Julia Davis. The production stage manager is Irene Lee and Troy Leigh–Anne Johnson is associate producer.
Theatre West presents Garden of Alla. Written and performed by Romy Nordlinger. Directed by Lorca Peress. Produced by Anne Leyden and Benjamin Scuglia (Behind the Bar Productions) in association with Theatre West and Georganne Aldrich Heller.
Considered a trailblazer, Alla Nazimova left her mark in Hollywood as a performer of humble beginnings. She rose to fame as an actress, made tons of money, and lost most of it along the way. Romy Nordlinger created this solo show to feature one of the most enigmatic figures to ever act in Hollywood. Nordlinger starts by narrating Nazimova’s difficult beginnings during the last period of the Imperial Russia. Her dad was an abusive alcoholic who once broke her arm and subjected Nazimova and her mom to constant verbal and physical abuse. After her parents divorced, her dad forbade Nazimova to ever mention her mom again, traumatizing her for life. After living for a while in foster homes, she fell upon hard times and had to resort to prostitution to survive. Fleeing antisemitism and pogroms, Nazimova left for America, where she became a successful theatre actress.
When she moved to Hollywood, she became one of the highest paid actresses, allowing her to live a flamboyant lifestyle. She purchased a piece of land that became known as the Garden of Alla, a place where the party never ended. During the Prohibition era, alcohol was readily available at Garden of Alla, not to mention all the drugs that came after. The biggest Hollywood stars of the time partied hard in the lush fields of the mansion, some of them even lived there, preceding the Chateau Marmont’s model.
Salacious stories of sexual debauchery and unrestricted consumption of drugs and alcohol sometimes overmined a characteristic of the Garden of Alla. This place was considered a safe heaven for Lavender Hollywood at a time when the LGBT communities had no public support and being outed meant the end of someone’s career. Marlene Dietrich, Greta Garbo, Rudolph Valentino, and Nazimova’s closeted husband, Charles Bryant, were all part of the Garden’s scene where they enjoyed sexual liberation, a luxury not permitted in the conservative American society of the time.
It was her marriage to Bryant that devastated Nazimova’s career. When the press published the convoluted case of their marriage, her career took a nosedive and she could not regained the stardom she once had. She went back to theatre and participated in small roles on the screen, but it was clear that her career was pretty much over. That’s the story presented by Nordlinger, who uses background video to show some of the images of the iconic Sapphic Hollywood star. A sensational performer of the characters created by Henrik Ibsen, August Strindberg, Anton Chekhov, and Pearl Buck, she also became a muse for talented playwrights such as Tennessee Williams and Eugene O’Neill. Garden of Alla is a piece of history that pays tribute to one of the most admired stage and screen actresses of the time, a genuine effort to rescue Alla Nazimova’s legacy from oblivion.
Garden of Alla
Theatre West 3333 Cahuenga Blvd. West Los Angeles, CA 90068 (across the street from Universal CityWalk, between Barham and Lankershim)
July 7 – July 23 • Fridays at 8 p.m.: July 7, July 14, July 21 • Saturdays at 8 p.m.: July 15*, July 22 • Sundays at 2 p.m.: July 16, July 23 *Screenings of Nazimova’s “Salomé” (1923) and “Camille” (1921) follow the performances on Saturday, July 8 and Saturday, July 15 respectively (included in the ticket price; separate admission $5).
Written and Performed by Romy Nordlinger. Directed by Lorca Peress. Video Design by Adam Jesse Burns. Score and Sound Design by Nick T. Moore. Produced by Anne Leyden and Benjamin Scuglia (Behind the Bar Productions) in association with Theatre West and Georganne Aldrich Heller. Presented by Theatre West.
Garden of AllaGarden of Alla. Romy Nordlinger. Photo by David Wayne Fox.Garden of Alla. Romy Nordlinger. Photo by Garry Kluger.Garden of Alla. Romy Nordlinger. Photo by David Wayne Fox.
Antaeus Theatre Company presents The Tempest. Written by William Shakespeare. Directed by Nike Doukas.
Nike Doukas‘ staging of The Tempest brings forward the romance and the musicality of what is thought to be the last play Shakespeare wrote alone. The cadence of the Bard of Avon’s writing is exalted in this production through the music numbers, some energetic, some balladic, just like an iambic pentameter.
Themes of witchcraft, colonialism, romance, and forgiveness come together to explore past, present, and future in a story that relates the tragedies and candidness of human relationships. By the time The Tempest was written, the Europeans were expanding the colonization of different parts of the world. Prospero (Peter Van Norden), Ariel (Elinor Gunn), Caliban (JD Cullum), and to some extend Sycorax, seem to symbolize the relationship between the European settlers and the natives of the lands being colonized.
Caliban’s mother, Sycorax, is presented as a powerful witch from Algiers. She was brought to the island and abandoned by a group of sailors when she was pregnant with Caliban. Analyzing the figures and symbols in The Tempest, the fact that she is a silent character, only referenced indirectly, might be an indication that Shakespeare tried to represent her as the figure of silenced and enslaved native women. As for Caliban, he is portrayed as a symbol of incivility. In this production, he has a hippie and disheveled appearance. The mutual dislike between Caliban and Prospero seems like a faithful representation of the tense relationship between natives and their European colonizers.
But Shakespeare goes beyond a simple caricature of these figures. If Prospero represents the colonizers, he is also a contradictory character. He dislikes Sycorax for being a witch using her supernatural powers for negative purposes, like enslaving the native inhabitants of the island, and yet, Prospero also enslaves Ariel and Caliban and uses them for his revengeful plan against his brother Antonio (Bernard K. Addison), effectively displaying a mirror image of Sycorax.
Prospero’s plan to regain his dukedom includes using his magical powers to cause a tempest when his brother is navigating the island’s waters, trapping Antonio and his entourage in the island. Eventually, however, the pure love experienced by Prospero’s daughter Miranda (Anja Racić) and Alonso’s (Adrian LaTourelle) son Ferdinand (Peter Mendoza) opens up Prospero’s eyes. It allows him to see beyond his own anger and revengeful frame of mind to give way to forgiveness. The romantic relationship between Miranda and Fernando implies Prospero’s idealistic hope in future generations, specially in view of his own demise. Prospero’s renouncing his magic might also be a hint of Shakespeare’s farewell to the theatre. The final release of Ariel could represent different things that are open to discussion. Is it a symbol of European regrets? Is it Shakespeare’s intrinsic sense of justice? Would it be that Shakespeare was foreseeing the future independence of European colonies?
Doukas highlights romance and forgiveness, two of the main topics in the play. Her approach offers magical landscapes of live music and sound effects that bring the island’s sweet airs to the stage, creating a rhythmic and delightful theatrical production with irresistible performances by the talented cast.
The Tempest
Kiki & David Gindler Performing Arts Center 110 East Broadway Glendale, CA 91205 (between N. Brand Blvd. and Artsakh Ave.)
June 30 – July 30: • Fridays at 8 p.m.: June 30, July 7, July 14, July 21, July 28 • Saturdays at 2 p.m & 8 p.m.: July 8, July 15, July 22, July 29 (no matinees on July 1, July 29) • Sundays at 2 p.m.: July 9, July 16, July 23, July 30 • Mondays at 8 p.m.: July 10, July 17, July 24
Written by William Shakespeare. Directed Nike Doukas. Starring Bernard K. Addison, John Allee, JD Cullum, Elinor Gunn, John Harvey, Adrian LaTourelle, Saundra McClain, Peter Mendoza, Erin Pineda, Anja Racić, and Peter Van Norden. Musicians: John Allee on piano, JD Cullum on guitar, and John Harvey on percussion. Presented by Antaeus Theatre Company. Creative team: Original music composed by John Ballinger. Sound and Foley effects designed by JeffGardner. Scenic designer Angela Balogh Calin, costume designer Julie Keen-Leavenworth, lighting designer Vickie Scott and properties designer Shen Heckel.
Will Geer Theatricum Botanicum presents Queen Margaret’s Version of Shakespeare’s War of the Roses. Written by William Shakespeare. Compiled, edited, and directed by Ellen Geer.
Will Geer Theatricum Botanicum‘s artistic director Ellen Geer compiled Shakespeare’s best-known history plays—Henry VI Parts I, II and III, and Richard III—into a new edit of War of the Roses.
This play pays special attention to the women of the British court, Margaret of Anjou, (Melora Marshall), Dame Eleanor/Queen Elizabeth (both portrayed by Willow Geer), the Duchess of York (Cynthia Kania), and Lady Anne (Claire Simba). These women are a reflection of the tragedies and insatiable ambition for power that characterized the brutal period known as the War of the Roses, spanning from 1455 to 1487.
This historical drama is a fascinating tale of intrigue, murder, and epic battles that fragmented the relationships between the monarchy and the nobility of England. The rivalry between the Lancaster and Plantagenet dynasties created new problems and opportunities. For one, the use of violence as a political tool became a common tactic to eliminate rivals, specially among the nobles and wealthy barons. It also created a phenomenon known as bastard feudalism, a way for those wealthy landowners to access the throne without having a direct royal bloodline, like in the case of Richard III (Jon Sprik).
The story is a parade of dubious characters. One of them is Lord Suffolk (Jon Sprik), a powerful figure who exercised the power behind the throne by taking advantage of a weak royal like Henry VI (Emoria Weidner). It was Suffolk who convinced Henry VI to marry Margaret of Anjou (Melora Marshall). Lord Suffolk and Queen Margaret were lovers and manipulated Henry VI at will. Their extramarital affair was so intense that Margaret carried around his severed head when Suffolk was captured and beheaded by an angry mob. In this play, Geer features Queen Margaret conspicuously, just like Shakespeare does in his History plays. Marshall, as usual, is impressive. She convincingly portrays a manipulative, intelligent, and courageous queen consort that controls the mentally unstable Henry VI, even leading an army and personally executing the powerful Duke of York (Max Lawrence), who was also vying for the throne of England.
As the battles and conspiracies continue with riveting performances by experienced and new actors, one thespian deserves special attention: Jon Sprik. His depiction of Richard III is a superb display of passion and technique. Not only his physical appearance and movements are exceptional—Richard III had scoliosis according to a study of his bones—but his speech is also sublime. His performance remind us of Dustin Hoffman in Midnight Cowboy, the kind of character actor that crosses the fine line between fiction and reality with ease to leave a powerful and everlasting impression on the stage.
This special production is an example of Ellen Geer’s fabulous skills as a director. The meticulous attention to detail and the performances of her actors show her love and dedication for theatre.
Even though the story is based on past developments, the same virtues and shortcomings affect the relationships between government officials, political adversaries, and their constituents today. The lighting casts a red hue on the scene where a mob chases down Richard III at the end of the play; it’s the red of the pool of blood upon which the kingdom of England was built. It’s the red of danger when despotic rulers abuse their power and commit crimes against humanity. Almost like a prophecy, Shakespeare’s writings continue to reflect the state of the world in which we live.
Queen Margaret’s Version of Shakespeare’s War of the Roses
Will Geer Theatricum Botanicum 1419 N. Topanga Canyon Blvd. Topanga CA 90290 (midway between Pacific Coast Highway and the Ventura Freeway)
Written by William Shakespeare. Compiled, edited, and directed by Ellen Geer. Presented by Will Geer Theatricum Botanicum. Cast: Melora Marshall, Willow Geer, Cynthia Kania,Claire Simba, Roman Guastaferro, Emoria Weidner, Franc Ross, MaxLawrence, Jon Sprik, Tim Halligan, Gerald C.Rivers, Christopher Wallinger, Charlie Burg; Sara Carpenter; Ben Church; Rhett Curry; Cole Dechant, Emelie Dechant, Julius Geer-Polin, Dylan Greer, Colin Guthrie, Emerson Haller, Christopher Wei Fu Hernandez, Michael Kendrick, Andrew Klein, Tariq Mieres, Nations, Daniel Ramirez, Quinlynn Scheppner, Anthony Soliz, Sky Wahl, Aralyn Wilson, and Elliott Gray Wilson. Creative team: Lighting designer Zach Moore, sound designer Charles Glaudini, costume designer Shon LeBlanc, and prop master Ian Geatz. Original music is composed by Marshall McDaniel. The production stage manager is Kim Cameron.
The Group Rep presents Morning’s at Seven. Written by Paul Osborn. Directed by Doug Engalla. Produced by Alyson York for the Group Rep.
A dreamy backyard with plenty of trees and grass frames this comedy set in 1928. Cora (Milda Dacys) is married to Theodore (Neil Thompson). For the last forty years, they’ve been living with Aaronetta (Dawn Halloran), a single woman who is Cora’s sister. Cora and Aaronetta’s sister, Ida (Barbara Brownell) lives next door. Both houses are connected by the backyard. Ida is married to Carl (Lloyd Pedersen, Harold and Maude), who suffers sporadic mental spells that make him wonder who he really is and where he stands in life. Ida and Carl have a son, Homer (Jeff Dinnell), who’s still reluctant to propose to Myrtle (Bridget Murray), his fiancée of twelve years. Added to the mix is Esther (Belinda Howell), who is married to David (Stan Mazin) a highly educated and snobbish man.
Carl’s spells are a major concern to the family. He tends to disappear, wondering around the neighborhood. Even more concerning is the fact that Homer is coming home to introduce Myrtle to the family. Making things worse, Cora wants to live with Theodore alone, with Aaronetta out of the picture. She wants to move to a house Carl had reserved for Homer, right when Homer finally proposes to Myrtle and is ready to start a family.
The play is a way back machine that shows how human interactions haven’t changed much. Distrust, jealousy, dreams, yearnings, etc. remain the same. That is the clue that makes this story so compelling. It shows simpler times, but with characters whose attributes travel across generations. Although he wrote it as a light comedy, Paul Osborn, who had an M.A. in psychology and whose father was a Baptist minister, created deeper characters that are dealing with midlife and later-life crises, questioning and searching for the central motivating aims in life while their freedom seems hopelessly elusive.
The scenic design (Mareli Mitchel-Shields) and graphics (Doug Haverty) look cozy and leafy, a perfect frame for the endearing characters and unraveling drama.
Morning’s at Seven
Lonny Chapman Theatre – Main Stage (First Floor) 10900 Burbank Blvd., North Hollywood 91601
June 9 – July 16, 2023 Fridays and Saturdays at 8:00 pm; Sundays at 2:00 pm No Performances Weekend of June 16, 17 and 18.
Written by Paul Osborn. Directed by Doug Engalla. Produced by Alyson York for the Group Rep. Cast: Barbara Brownell, Milda Dacys, Jeff Dinnell, Dawn Halloran, Belinda Howell, Stan Mazin, Bridget Murray, Lloyd Pedersen, and Neil Thompson. Creative team: Mareli Mitchel-Shields (Set Design), Robbie Myles (Lighting Design), Michael Mullen (Costume Design), J.C. Gafford (Sound Design), and Doug Haverty (Graphic Design), and Anica Pertovic (Hair and Make-up Design).
Cherry is playing as a part of the Hollywood Fringe Festival. Co-written by Sarah Carroll and Nadia Townsend.
Sarah Carroll‘s obsession with Katy Perry started when she was a 13-year-old growing up in Australia. Sarah was watching MTV when “I Kissed A Girl” came on and an infatuation took hold of Sarah’s awkward teenage years. As her body and personality was developing, Sarah related to Perry’s music at a very personal level. Getting into Katy Perry’s fans forum was a way for Sarah to get closer to her idol and receive important information on Perry’s touring schedule, specially the Australian dates.
Cherry is not only a tribute to Katy Perry. It’s also a lens through which a very dedicated fan tells her personal story and the challenges she faced growing up. Topics about body image, insecurities, relationships, family, and the preparation for adult life are all packed into this funny and entertaining solo show. It’s an interactive show with catchy tunes and the reflection of a whole generation.
Sarah is a talented actress with a great taste to tell a story. Her passion is evident all through the show; she offers a vivacious, funny, and relatable performance till the very end. Cherry is an excellent find this Fringe season, full of bubblegum and cotton candy energy.
Cherry
Asylum @ Thymele Arts (Kansas Room)
5481 Santa Monica Blvd.
Los Angeles, CA 90029
June 4th, 2023 – June 24th, 2023. Saturday June 24 2023, 10:15 PM
The Fountain Theatre presents a revival of Last Summer at Bluefish Cove. Written by Jane Chambers. Directed by Hannah Wolf. Produced by The Fountain Theatre.
With a naturalistic and beautiful scenic design by accomplished designer Desma Murphy, The Fountain Theatre celebrates the 40th anniversary of Last Summer at BluefishCove at the parking lot next to the theatre. In a unique setup, this production is staged outdoors with headphones to listen to the actors, the music, and the sound effects.
It’s 1974 and Lil (Ann Sonneville) is fishing at Bluefish Cove, a remote community where queer women spend their summers together. Suddenly, Eva (Lindsay LaVanchy), a straight woman who just separated from her husband, arrives in town unaware of the lesbian nature of the community. After a brief interaction, Eva declares that she has rented one of the properties. Lil immediately feels attracted to Eva. Later at a party, Eva gets into an argument with hot-headed Donna (Stephanie Pardi), who is dating Sue (Stasha Surdyke). After learning that the women at the community are lesbians, Eva feels out of place. However, Lil’s mesmerizing personality awakens something new in Eva, something that will change their lives forever. Rae (Ellen D. Williams), Rita (Tamika Katon-Donegal), and swing (Allison Husko) are also part of the close circle of friends staying at Bluefish Cove.
The fascinating script by Jane Chambers presents meaty characters that defy the traditional and limited depiction of queer women in mainstream media. The women in the play exude fascinating layers of strengths, insecurities, and charming characteristics that brings them closer to the audience’s own experiences. One of the characters that excels in the portrayal of true friendship and caring personality is Annie (Noelle Messier), Lil’s best friend. Annie is seating next to Lil when Kitty (Sarah Scott Davis), a gynecologist turned feminist author, delivers some devastating news to Lil.
Kitty, by the way, is a character that somehow reflects the positions of lesbian groups like the Radicalesbians and The Furies Collective, which were a response to the exclusion of lesbians by feminist organizations in the 1970s. At the time, some feminists excluded lesbians from their agendas and labeled them as the “Lavender Menace”, a homophobic term first used by Betty Friedan, president of the National Organization of Women (NOW).
LaVanchy and Sonneville deliver stellar performances portraying the transition from initial resistance to ultimate surrender to their feelings, a contrasting and irresistible situation that creates remarkable drama and magnetic romanticism. Of course, the superb acting and the outstanding success of this staging is a manifestation of the fine direction by Hannah Wolf, who worked from an external approach for this project. The results show what happens when a director pays careful attention to details and creates a poignant and touching production that enhances the already captivating script.
But this play has even more substance than just a sentimental story. It captures the little known safe heavens where lesbians have retreated for support and reaffirmation of their values. It is also a snapshot of the challenging post-Stonewall times when the LGBT communities were fighting for equality in a society that persistently excluded them from their agendas. These stories need to be told to really comprehend the diversity of the human condition and, hopefully, serve as a channel for mutual respect and understanding.
Last Summer at Bluefish Cove
Outdoor Stage The Fountain Theatre 5060 Fountain Ave. Los Angeles CA 90029 (Fountain at Normandie)
Performances: June 17 – Aug. 27 • Fridays at 7 p.m.: June 23, 30; July 7, 14, 21, 28; Aug. 4, 11, 18, 25 • Saturdays at 7 p.m.: June 17 (opening), 24; July 1, 8, 15, 22, 29; 12, 19, 26 (dark Aug. 5) • Sundays at 7 p.m.: June 25; July 2, 9, 16, 23, 30; 13, 20, 27 (dark Aug. 6) • Mondays at 7 p.m.: June 26; July 3, 10, 17, 24, 31; Aug. 7, 14, 21
Written by Jane Chambers. Directed by Hannah Wolf. Starring Sarah Scott Davis, Allison Husko, Tamika Katon–Donegal, Lindsay LaVanchy, Noelle Messier, Stephanie Pardi, Ann Sonneville, Stasha Surdyke, Ellen D. Williams. Produced by The Fountain Theatre. Creative team: Scenic designer Desma Murphy; lighting designer R. S. Buck, sound designer Andrea Allmond, costume designer Halei Parker, prop master Rebecca Carr and intimacy director Savanah Knechel. The production stage manager is Chloe Willey, and Gina DeLuca is assistant stage manager.
International City Theatre presents Into the Breeches! Written by George Brant. Directed by Brian Shnipper. Produced by caryn desai [sic].
As WWII is raging overseas, Long Beach’s Oberon Playhouse has decided to cancel the 1942 season’s opener, Shakespeare’s Henry IV and Henry V, also known as the Henriad. Since the men are fighting in the front, there are no male actors to play the parts. However, Maggie (Meghan Andrews), the director’s wife, is confident that her and a group of inexperienced female performers can save the day. Singing to the tune of “Amapola”, the ladies of Long Beach come together to prepare a show that will be either a fantastic success or a humiliating failure (with tomatoes included).
Coming up with a plan to convince Board President Ellsworth Snow (Nicholas Hormann) of the feasibility of the show, Maggie recruits newcomers Grace (Emilie Doering), June (Brooke Olivia Gatto), costumer Ida Green (Sydney A. Mason), Snow’s wife, Winifred (Holly Jeanne), and stage manager Stuart Lasker (Lee James). Maggie then pairs them up with the experienced diva Celeste Fielding (Leslie Stevens), who is eager to play Prince Hal. But due to a disagreement with Maggie, Celeste brings out her diva attitude and quits, putting the whole project at risk.
When Snow finds out that Ida, who is Black, and Stuart, who is gay, will be performing, he becomes extremely anxious about the possibility of a backlash from the conservative sectors. He finally accepts Maggie’s plan with one condition: Celeste must come back to the show!
Playwright George Brant relies on the women’s anguish and worries about their husband’s fate to tell a story of hope and liberation during a time when women’s expectations were limited to staying home as obedient housewives. The ladies experience a paradoxical feeling of constant worry, but at the same time, they also undergo a period of self-realization. The possibility of portraying the central roles in Shakespeare’s plays, gives a new meaning to their lives. Director Brian Shnipper uses those emotions as a metaphor of the establishment of a modern liberal order in which women entered the workforce in droves in the 1940s. With a creative scenic design, appealing costumes, and compelling performances from his actors, Shnipper stages a lighthearted play that captures the beginning of a new era in American history.
Into the Breeches! features drama, conflict, and humor in a visually appealing and enjoyable production that brings memories of a crucial time which changed the course of history for America and the rest of the world.
Into the Breeches!
International City Theatre Long Beach Convention & Entertainment Center 330 East Seaside Way Long Beach, CA 90802
Performances: June 9 – June 25 • Thursdays at 8 p.m.: June 22 • Fridays at 8 p.m.: June 9 (Opening Night), June 23 • Saturdays at 8 p.m.: June 24 • Sundays at 2 p.m.: June 25
Written by George Brant. Directed by Brian Shnipper. Starring Meghan Andrews, Emilie Doering, Brooke Olivia Gatto, Nicholas Hormann, Lee James, Holly Jeanne, Sydney A. Mason, and Leslie Stevens. Produced by caryn desai [sic]. Presented by International City Theatre. Creative team: Set designer Tim Mueller, 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.
