Category Archives: Theatre

Theatre Review: Four Top

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In a mostly linear style, except for scene 3, Playwright Michael B. Kaplan presents the romantic lives of five characters who are charming, insecure, and can’t seem to figure out the meaning of life.

If you like romantic movies and dating shows, then seeing Four Top should be in your to-do-list. Brian (Jack Menzies) and Liz (Jackie Shearn) engage in an intense hookup, meet puke included, only to break up the same day. A year later, Brian has moved on and is in a relationship with Megan (Rosie Byrne), whose work husband is Tony (Luke Rampersad). Tony is now dating Liz. Brian is suspicious about the platonic relationship between Megan and Tony. Megan doesn’t know about Brian’s hook up with Liz a year prior. The four meet for food and drinks, but insecurities, jealousy, and the feeling of missed connections make the two couples rethink their respective relationships. While this is happening, the server (Cassidy LeClair), an aspiring writer, introduces her own story to the audience. The server is a motif throughout the play, interacting with the couples and instigating discord among them to amuse her creative bent as a writer.

The couples navigate their love lives going back and forth, hooking up, breaking up, and just trying to find themselves while experiencing the thrill of romance and the challenges of adulthood. Nihilism? Could be. Projection? Maybe. Alternate reality? It’s possible. Therapy might help. But it’s expensive. Just be careful with the ferret. 

The play analyzes the ups and downs of romantic relationships and the desperate search for deeper and more meaningful connections. To translate those engaging themes on stage, Director Kathleen R. Delaney adds sexiness and physical comedy to the production, adding dynamism to the story and pushing the characters out of their comfort zone for an effective comedy effect. Her five actors are engaging and they all deliver their lines with excellent timing, highlighting the cleverness and hilarity of the script. 

Love always triggers an interesting conversation. If you add heartbreaks and comedy, then you have a winning combination. This play’s production is not extravagant, but it’s probably that simplicity that makes Four Top a hit with the audience. The only drawback is that it feels too short. But, hey, with a younger audience’s attention span, shorter might be better.    

Four Top

Lonny Chapman Theatre – Upstairs Stage (Second Floor)
10900 Burbank Blvd. North Hollywood, CA 91601

October 17 – November 17, 2024
Thursdays at 7pm, Saturdays at 4pm and Sundays at 7pm
“After the Show Talkbacks with cast, author and staff” Sundays 10/20 and 10/27

Tickets: thegrouprep.com

Written by Michael B. Kaplan. Directed by Kathleen R. Delaney. Produced by Denise Downer.

Cast: Rosie Byrne (Megan), Cassidy LeClair (Server), Jack Menzies (Brian), Luke Rampersad (Tony) and Jackie Shearn (Liz).

Creative team: Daisy Staedler (Set Designer), Nick Foran (Lighting & Sound Designer), Clara Rodríguez (Scenic Painter), Caleb Aaron (Assistant to the Director), Karla Menjivar (Stage Manager).

Theatre Review: The Importance of Being Earnest

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Oscar Wilde‘s The Importance of Being Earnest is a captivating comedy and a clever social commentary. Bunburying around town, John (Alex Barlas) and Algernon (Jay Lee) use a fictitious name, Earnest, to hide their real identities in an attempt to avoid social responsibilities. But falling in love is complicated, and fake identities just make things worse.

The characters reflect Victorian England, a transformative period when the upper class saw their status challenged by the expansion of education and the possibility of a revolution. In that respect, Director Gigi Bermingham turns the stage into a faithful representation of the English aristocracy and the pressing issues afflicting them. The actors nail their roles and create a delightful expression of tea time with the characteristic wit of British comedy.

Lee and Barlas are a terrific duo that add depth and dynamism to their characters. Barlas as the gentle aristocrat John Worthing and Lee as the charming dandy Algernon Moncrieff. Their female counterparts, Jules Willcox as Gwendolen Fairfax and Alessandra Mañón as Cecily Cardew infuse vivacity to their charming and bitchy frenmity. The supporting cast also do a great job capturing the conflicting social norms prevalent during Wilde’s life. Bo Foxworth plays Rev. Canon Chasuble, a man who tries to uphold British morality while suppressing his own romantic feelings for Miss Prism (Julia Fletcher). And to satirize Victorian society even more, Wilde uses Lady Bracknell as the figure that represents the selfishness of the upper class. Anne Gee Byrd plays the role with hilarious wickedness, an attribute that complements the heart of the play and Wilde’s biting animosity towards a vain and conservative society.

The sumptuous costumes and creative set design are in themselves an attraction to enjoy. The tailored Victorian dresses and the elegant suits add an air of sophistication to the production that match perfectly with the decoration of the set design. The china sets reveal the attention to detail, a characteristic of real professionals.

With attractive visual elements, a group of extraordinary actors, and excellent direction, this production honors the conflicting feelings of a playwright who defied conventions and advocated for free will in a time when doing so would result in ostracism and the loss of freedom.

The Importance of Being Earnest

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

Oct 13, 2024 – Nov 18, 2024

Tickets: antaeus.org

Written by Oscar Wilde. Directed by Gigi Bermingham.

Cast: Alex Barlas, Anne Gee Byrd, Julia Fletcher, Bo Foxworth, Jay Lee, Alessandra Mañón, Jules Willcox, and Michael Yapujian.

Creative team: Scenic Designer Angela Balogh Calin. Lighting Designer Ken Booth. Properties Designer John McElveney. Dialect Coach Paul Wagar. Production Dramaturg Rachel Berney Needleman. Costume Designer Julie Keen. Sound Designer Salvador C Zamora. Intimacy Director Jen Albert. Production Stage Manager Talya Camras. Assistant Stage Manager Casey Collaso.

Theatre Review: Heading Into Night

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Boxing and unboxing your brain, one memory at a time. Daniel Passer delves into the onset of dementia using the figure of a clown.

With music, projections, and pantomime, Passer symbolizes the disruptive changes in a person’s brain when the sense of time and space start to fade. There are repetitive behaviours, memories that come and go in a matter of seconds, and the usual risks associated with mental decline. For God’s sake, don’t forget the popcorn in the microwave!

Synapse loss leads to hoarding, sleep disturbance, and withdrawal into a world of confusion and fantasy. And yet, there is joy in that world. The forgetness of misery, the hopeful sympathy of the people around, the realization that is time to go, with flashes of childhood and loved ones. The memories are still there, just disorganized. Heading Into Night is a visit to that mysterious space, it’s a journey to the final destination, bumping into objects, humanizing the demise.

Inspired by the Hogeweyk model of dementia care villages in some countries, Passer explores the intersection between clowning and dementia. As irrational as it might sound, clowning is about repetition, a common behaviour of people living with dementia, thus the connection. But it’s also a confirmation that, sometimes, humor comes from a place of pain. Despite the challenges, Passer validates the sense of joy triggered by the cherished memories that come back in sporadic moments of lucidity. In the Hogeweyk model, the patients enjoy a more compassionate care in a community that emphasizes a more independent lifestyle, while keeping them safe in the hands of relatives and professional caregivers.

Passer and Director Beth F. Milles communicate the intricacies of a devastating medical condition with cleverness, removing the stigmatization associated with dementia and allowing the audience to see the character as a human being rather than an obstacle.

The play is abstract with little words. It’s a unique style to tell a story, relying mainly in Passer’s ability for pantomime and the emotional atmosphere provided by the music and the projections. In that sense, this production feels more like a silent film. There is poignancy in the simplicity when talent and conviction express a serious subject matter with comedy and the musicality of movement.

Heading Into Night

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

Performances: Oct. 5 – Nov. 17

Wednesdays at 8 p.m.: Oct. 16 and Nov. 6 ONLY
Fridays at 8 p.m.: Oct. 18, Oct. 25; Nov. 1, Nov. 8, Nov. 15
Saturdays at 8 p.m.: Oct. 5 (opening), Oct. 19, Oct. 26; Nov. 2, Nov.  9, Nov. 16
Sundays at 2 p.m.: Oct. 6, Oct. 20, Oct. 27; Nov. 3, Nov. 10, Nov. 17

Tickets: odysseytheatre.com

Devised by Beth F. Milles and Daniel Passer. Directed by Beth F. Milles. Produced for the Odyssey by Beth Hogan. Presented by the Odyssey Theatre Ensemble. Ron Sossi, Artistic Director.

Cast:  Daniel Passer, Peter Mark, and German Schauss.

Creative team: Costume designer Márion Talán de la Rosa; lighting designer Jackson Funke; projection designer Gabrieal Griego; video designer (Amazing Race segment) Wei-Fang Chang; aerial designer and rigger Bianca Sapetto; sound designer (additional sound) Christopher Moscatiello; production coordinator Jenine MacDonald; technical consultant Pierre Clavel; and graphics designer Luba Lukova. The assistant directors are Taylor Bazos and Samantha Occhino, and the stage manager is Katie Chabot.

Musical Review: Guys and Dolls

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Nathan Detroit (Justin Anthony Long) needs money to set up the biggest craps game in New York City, so he turns to fellow gambler Sky Masterson (James Byous). But Sky falls for religious missionary Sarah Brown (Elizabeth Eden). Adding to Nathan’s misfortunes, Adelaide (Margaret Spirito), his girlfriend of 14 years, demands marriage and kids. With the cops closing in on him and his gang of gamblers, the clock is ticking for Nathan to come up with the money and save the day.

Despite a delay due to a technical glitch with the lighting system at the beginning of Act II, the cast deliver an outstanding rendition of the beloved musical that has had a successful run around the world since its opening in 1950. Music Director Chris Wade leads a fantastic band that energizes the music numbers; the “Guys and Dolls (Reprise) at the end of Act II is an eye-catching display of dance and music. For the signature 11 o’clock number “Sit Down, You’re Rockin’ The Boat”, the music sets the tone for a captivating performance by Nicely Nicely (Jalen Friday), showing off his singing and dancing skills.

The customs by Michael Mullen also contribute to the overall feel of the play, bright and dark colors for the guys, and fancy dresses for the dolls. The costumes capture the elegance of the 1920 and 1930s, years that defined a glitzy and glamorous time in fashion.

The chemistry among the actors playing the four main characters is paramount to the success of this musical, as their interactions are the main focus of the story. In that sense, the connection between Sky and Sarah, played by James Byous and Elizabeth Eden is evident from the beginning. Their meeting sets off a moral question and sparks a romance that will change the course of things. Throughout the play, Byous and Eden build up the emotions and conflicting differences between them to create a dynamic relationship that draws the audience into the story. Similarly, the relationship between Nathan and Adelaide, played by Justin Anthony Long and Margaret Spirito, creates conflict and unleashes a series of comedic situations depicting the faithful devotion of the female character and the usual hesitation of the male character. Spirito thrives on her role. Her voice and comedic skills create a delightful character; Her performance is magnetic and memorable.

Director Doug Kreeger revives this musical with a colorful display of costumes, lighting, and excellent acting. The pacing and the music make it a dynamic staging that brings back the hustle and bustle of the underworld during the prohibition era in NYC.

The incipient adventure of Altadena Music Theatre into musicals continues with another well-developed staging of a classic production, showing their commitment to bring successful and meaningful musicals to the local theatre scene. Led by its Founder and Artistic Director Sarah Azcarate, Director Oliver Azcarate, Music Director Chris Wade, and Choreographer Melissa Schade, Altadena Music Theatre is a 501(c)(3) non-profit dedicated to live musical theatre, arts advocacy, and developmental youth programs.

Guys and Dolls

Altadena Music Theatre at the Charles Farnsworth Amphitheater
568 E Mount Curve Ave
Altadena, CA 91001

October 10 – 20, 2024

Thursday – Sunday at 7:00 PM

Tickets: https://www.eventbrite.com/o/altadena-music-theatre-50505137413

Based on the story and characters of Damon Runyon. Book by Jo Swerling and Abe Burrows. Music and Lyrics by Frank Loesser. Directed by Doug Kreeger. Choreographed by Nico O’Connor. Music direction by Chris Wade. Produced by Sarah Azcarate.

Cast: James Byous, Elizabeth Eden, Justin Anthony Long, Margaret Spirito, Jalen Friday, Robert Manion, Scott Van Tuyl, Brian Drummy, Cesario Perez, Will Kohlschrieber, Benita Scheckel, Zach Macdonald, Scarlet Sheppard, Abby Loucks, Kasey Hentz, Courtney Macmillan, Leonel Ayala, Sage Cabos, Andrew Pantazis, Jacob Rushing.

Creative team: Lighting and sound director JC Lara. Sound engineer Brian Celestino. Lighting designer Billie Oleyar. Costumer Michael Mullen. Set designer Andrew Hull. Prop master Darcy Hull. Hair and wing design Carter Thomas. Fight director Gabrielle Perrea. Intimacy coordinator Alexa Lowery.

Musicians: Keys, Bandmaster Chris Wade. Violin Erin Tompkins. Sax/Clarinet/Flute Jordan Guzman. Trombone Rebecca Buringrud. Bass Holly Barber. Keys Genie Cheng. Keys swing Bella Suot. Winds swing Daziel Rodriguez. Trombone swing Carlo Bonelli. Trumpet Andrew Rodman.

Theatre Review: The Very Best People

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With a mesmerizing set design by Christopher Scott Murillo, The Very Best People opened up on Sunday at the Atwater Village Theatre.

More than anything else, John Lavelle‘s play is a comedy, a really good one. The exteriorized violence depicted in some of the scenes is hilarious rather than tragic. To match the violence, there is blood. Lots of blood. Dripping blood, broken noses, lodged bullets, and a squirt of ranch dressing are elements that exteriorize the extreme nature of the characters and the anger buildup taking over their lives.

Jak (Bryan Langlitz), owner of Angelina’s Irish Pub, is preparing a plan to take down the Deep State. Joining his insurrection is Joey (James Luster), a friend who is also influenced by the QAnon movement. They’re avid fans of Lara Amanda (Margaux Susi), a TV host that propagates a conservative agenda through her show. Joey has a huge crush on Lara Amanda. So intense is his infatuation that he tends to lock the pub’s doors and fantasize about her, charming the cobra while eating spicy chicken wings. Yes, a strange fetishism for a thirtysomething still living with his mom.

If that’s not bizarre enough, Joey also has a disturbing attraction for Chris’ wife. Chris, a childhood friend of both Jak and Joey, is a NYPD detective who got shot under mysterious circumstances and is now fighting for his life. Two other characters that add tension to the story are Jak’s stepsister Fanny (Andria Kozica) and her obedient boyfriend Brian (Adrián González), an ex-con who is friends with Jak, Joey, and Chris. Fanny is a nurse and is the anti-racist and anti-far right member who keeps everyone in check to guarantee the sanity in the group, although she’s unable to stop Brian from kidnapping Patrick (Seth Leighton Hale), an action instigated by Jak and Joey.

The play shows White men feeling under siege and on the verge of losing their minds due to an influx of radical information. Lavelle takes a clear stance against racism and ultraconservatism, making the premise a one-sided exploration of the current political and social environment. In that sense, The Very Best People is less neutral than plays like Human Error, which explores both sides of the spectrum without taking sides. Lavelle’s point is that men, in this case White men, exhibit an animalistic nature in their behaviour, which oftentimes leads to extreme violence and sexual predation (Joey actually howls like a wolf, or a coyote, depending on who you ask). But the play seems to ask us not to take matters so seriously, even violence can be funny, within a proscenium and using fake blood, of course.

The events that unraveled on January 6, 2021 continue to generate an intense debate on the social and political arenas. The Very Best People is one more piece of the vast legacy of opinions unleashed after the Capitol riot. The play is visceral and fascinatingly executed by this talented group of actors. Director Melissa Coleman-Reed achieves an impressive and highly kinetic production, using all of the elements at her disposal masterfully to serve the story. The fights, the shootings, and the tourniquette may be hard to watch, and you might think twice before using ranch dressing ever again, but the cast and production team make it a one-of-a-kind theatre experience not to be missed.

The Very Best People

Atwater Village Theatre
3269 Casitas Ave, Los Angeles CA

September 29 – October 27, 2024

Thursdays-Saturdays: 8pm (no Thursday, October 17 performance)
Sundays: 2:00pm

Tickets: iamatheatre.com

Written by John Lavelle. Directed by Melissa Coleman-Reed. Quinn O’Connor, Associate Producer.

Cast: Adrián González, Andria Kozica, Bryan Langlitz, James Luster, Margaux Susi, and Seth Leighton Hale.

Creative team: Jordan Bass (Casting Director), Erin Bednarz (Sound Designer), Nicole Bernardini (Properties Designer), Benedict Conran (Lighting Designer), Roella Dellosa (Production Stage Manager), Zander Eckhouse (Video Designer), Samantha Jones (Costume Designer), Lauren Lovett (Dialect Coach), Christopher Scott Murillo (Set Designer), Zachary Phaneuf (Technical Director), and Celina Lee Surniak (Intimacy and Fight Director).

Theatre Review: Gloria

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In the gripping world of Gloria, the apparent superfluous relationships at a Manhattan magazine office reveal the deep existential crisis of the employees, and in one particular case, the disturbing mental issues of one of the lifers at the company.

Dean (Will Martella) shows up to work late with a hangover, telling Ani (Emma Laird) about the pathetic house warming party organized the night before by Gloria (Branda Lock), who just bought an apartment after working for years at the company. Only four people showed up to the party, a testament of how detached and lonely her life has become.

Minutes later, Kendra (Audrey Forman) arrives at the office, also late, but with a glamourous flair and an outfit that seems ready to take the catwalk by storm. She engages in a heated argument with Dean about the inexorable march of time and the dreadful possibility of becoming a lifer at the office. The argument is loud, so loud that Lorin (Erik Scilley), a fact-checker, comes in and tells them to tone it down, as he is trying to concentrate on the article about the life of a singer who just died of an overdose.

The fact that Lorin also experiences a mental and emotional meltdown due to the exhaustion and miserability of a fact-checker position tells us that life at the office as editorial assistants seems more like a dead-end street, with no more free coffee, by the way. All of this mayhem unravels while Miles (Johnathan Middleton), the new intern, sits at his desk pretending to have his headphones on. He is mainly used to bringing snacks to everyone.

Act I ends with a surprise. Act II is all about life after the event that ended Act I. Branden Jacobs-Jenkins‘ phenomenal script is based on his own experience working at The New Yorker magazine. Jacobs-Jenkins explores what happens when the idealistic hopes of new grads meet the realities of a structured job and the cut-throat culture of a demanding industry such as journalism. The exciting expectation of a book deal as a successful writer becomes nothing else but a broken dream due to the stealing of ideas in a world where the person in power gets to own the story. The text has humor, drama, and a great deal of real-world experience that makes it relatable to the audience.

Director Marya Mazor translates the text into action brilliantly. Her extraordinary work with the actors is evident. The cast deliver a fascinating performance. The meltdowns and the physical comedy are all well-choreographed and executed, with the actors moving around in a visually accurate office and coffee shop set, an indication of Mazor’s extraordinary attention to detail. Equally stunning is Mazor’s choice of costumes, particularly for Kendra, whose outfits reflect her ambitious inclinations.

It is refreshing to see upcoming actors for this production. Audrey Forman, a USC graduate, has an imposing presence on stage, delivering her lines fluently and getting into character with confidence. The same for the rest of the actors, each one nailing the script and movements, creating a dynamic presentation to depict the frustrations and hopelessness of the characters, with an engaging sense of comedy. Branda Lock, Emma Laird, Will Martella, and Johnathan Middleton play multiple roles.

The cast and the production team’s dedication take the audience to a dramatic and hilarious journey not to be missed. It’s another amazing staging added to the successful 2024 season of Chance Theater.

Gloria

Chance Theater @ Bette Aitken theater arts Center on the Cripe Stage

5522 E. La Palma Ave., Anaheim, CA 92807

September 27- October 20, 2024

Fridays at 7 p.m. (only Sep 29) and 8 p.m., Saturdays at 3 p.m. and 8 p.m. & Sundays at 3 p.m.

Tickets: chancetheater.com

Written by Branden Jacobs-Jenkins. Directed by Marya Mazor. Linda & Tod White, Executive Producers. Bette & Wylie Aitken, Executive Season Producers. Laurie Smits Staude, Associate Producer. Family of Mary Kay Fyda-Mar, Associate Season Producers.

Cast: Branda Lock as Gloria/Nan. Emma Laird as Ani/Sasha/Callie. Audrey Forman as Kendra. Will Martella as Dean/Devin. Johnathan Middleton as Miles/Shawn/Rashaad. Erik Scilley as Lorin.

Creative team: Christopher Scott Murillo, Scenic Designer. Adriana Lámbarri, Costume Designer. Andrea Heilman, Lighting Designer. Jordan Jones, Stage Manager. Jocelyn L. Buckner. Martin Noyes, Fight Director.

Theatre Review: Luzmi

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After the death of her mother Luna, Luzmi (Stephanie Hoston) decides to make a trip to her native Colombia—a country she left as a kid—to connect with her roots, visiting her Tia Alma (Bibiana Navas). Upon her arrival, she interacts with multiple people who show her a face of a country she didn’t know: An indigenous population fighting poverty, struggling with identity, and suffering the rapid loss of their megadiverse land due to aggressive deforestation. 

Playwright Diana Burbano incorporates elements of magical realism to symbolize the hopes, challenges, and rich culture of those communities whose existence has been constantly endangered by the vicious march of imperialism. Burbano blends poetically the idyllic past, the painful present, and the uncertain future of Colombia’s biodiversity. Expressing that marvelous realism on stage, Director Elisa Bocanegra uses puppetry, costumes, and phantasmagorical characters to represent the natives’ beliefs and some of the fauna found in Colombia. The most significant one is el colibrí (hummingbird), quynza, majestic bird, messenger of the universe. It’s a metaphor representing the land and the hope of a better future.  

The shaman and the ritual spreading Luna’s ashes further accentuates the beauty and mysticism of Colombia’s indigenous culture. The play contains multiple references to the Colombian landscape, not only of its luxuriant vegetation but its diverse human presence as well. The characters represent or reference El Choco, Guajira, Magütá, Nariño, and more. Luzmi is a vivid recount of Burbano and Bocanegra’s trip to Colombia to research for Nuestro Planeta, HERO Theatre and HERO Multimedia‘s initiative on environmental justice issues in Latin American countries.

One of the characters in the story is Claudia (Helena Betancourt), who used to work for the government and is now desperate to make money, even if that means to throw her own people under the bus. At one point, she says “I’m not a villain, I’m poor”, reflecting the great lengths some people are willing to go just to survive under those pressing circumstances. Another subplot is the romance between Luzmi and Carlos (Peter Mendoza, The Tempest). This relationship is not just to soften the subject matter; it’s also a symbol of the connection taking shape between Luzmi and her native land, a crucial step to discover her roots and find the healing, physical and spiritual, she desperately needs.      

For this production, Bocanegra uses minimal set props, the focus is mainly in the story. The more elaborate elements are the costumes and the puppets. The acting needs improvement, as it seems amateurish and rushed at times. A little bit of tweaks here and there could elevate the acting to match the excellence of the script; the talent is already there.

Luzmi brings attention to the fact that the delicate relationship between humans and nature is hanging by a thread. In one of the scenes of the climax, Luzmi, El Profe, and Carlos form a common front to challenge the deforesters. Will the three of them emerge victorious, or will their attempt be just another Macondo?             

Luzmi

The Rosenthal Theater at Inner-City Arts
720 Kohler Street, Los Angeles, CA 90021

October 3rd to October 27th

Tickets: herotheatre.org

Written by Diana Burbano. Devised and directed by Elisa Bocanegra. 

Cast: Helena Betancourt, Stephanie Hoston, Julián Juaquín, Emanuel Loarca, Peter Mendoza, Bibiana Navas, Adrian Quinonez, and Carla Valentine.

Creative team: Maggie Dick (Costume Design), Willow Edge (Sound Design), Marvin Hidalgo (Costume Assistant), Jesus Hurtado (Scenic and Projections Design), Andrés
Felipe Jiménez (Cinematographer), Alejandro Montoya (Composer & Colombian Music
Consultation), Osiris Galvez Paredes (Props Design), Beth Peterson (Puppet Design), and Gabe Rodriguez (Lighting Design).

Hollywood Independent Theater Festival

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Hollywood Independent Theater Festival

Unveils Fall 2024 Lineup

LOS ANGELES, CA. — Combined Artform/ Theater Asylum’s Hollywood Independent Theater Festival (HITFEST) has announced its upcoming lineup of musical productions at the Stephanie Feury Studio Theater, located in the Larchmont district, from October 2024 through November 2024. HITFEST showcases the best of festival theater to Los Angeles audiences and industry professionals through select weekday performances, with new shows added monthly. The festival offers year-round opportunities to experience top-tier productions.

Upcoming Shows:

  • The Connie Converse Universe Starring Hope Levy
    When: Nov. 16 at 7 p.m.
    In this 55-minute acoustic biographical cabaret, audiences will explore the life and enduring mystery of Connie Converse, a pioneering female folk singer-songwriter who vanished in August 1974. Her music, rediscovered in 2009, captivates a new generation. Hope Levy stars as the song messenger, reviving Converse’s music and sharing their unique connection. Suitable for all audiences.
  • The Funny Thing About Men starring Mandy Williams
    When: Nov. 16 at 8:30 p.m.
    British-born playwright Mandy Williams invites audiences into her home for humorous insights on domestic life and the inner thoughts of women. Through a comedic lens, the play poignantly examines modern relationships, capturing the fun, faith, and frailty of life and love. Williams utilizes song, dance, roller skates, and the occasional ukulele solo to bring her hilarious observations to life.
  • Sonnets From Suburbia starring Penny Peyser
    When: Nov. 14 at 7 p.m.
    Adapted from her two award-winning collections of sonnets, Peyser offers a quirky and hilarious take on modern life through an Elizabethan lens. With her trusty ukulele, she shakes up Shakespeare in this engaging performance.
  • Final Girl: The Musical starring Callie Ott
    When: Nov. 14 at 8:30 p.m.
    In this gripping tale, Callie must confront an abusive relationship and defeat her killer boyfriend. With the help of a 911 operator and her knowledge of horror films, she fights to break the cycle of abuse and become the final girl standing. Inspired by true events.

Matthew V. Quinn, festival director, emphasizes the advantages of weekday performances: “This schedule is ideal for showcasing talent to the Hollywood entertainment industry and organizations looking for new programming. Plus, audiences can enjoy top-tier performances while saving money with multi-show passes.”

Ticket Information:Hollywood Independent Theater Festival – HITFEST.

Tickets are priced at $25 per show, with a discount of $40 available for attending both shows on the same night.

Venue: Stephanie Feury Studio Theater, 5636 Melrose Ave., Los Angeles, CA 90038.

All Oct./Nov. performances will be held at this venue.

Social Media:
Website: www.hitfesthollywood.com
Instagram: @hitfesthollywood
Hashtag: #HITFEST

‘The Girl Who Made the Milky Way’ at The Colony Theatre

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World premiere, family–friendly ‘The Girl Who Made
the Milky Way’ is based on Khoisan myth

BURBANK, Calif. (September 30, 2024) — Imagine Theatre in partnership with The Colony Theatre presents a world premiere, family-friendly theatrical experience inspired by a Khoisan myth. An original commission by Imagine Theatre, The Girl Who Made the Milky Way is written by acclaimed playwright June Carryl and directed by Imagine artistic director Armina LaManna. Five public performances will empower girls and transfix boys ages five and up from November 9 through November 17 at Burbank’s Colony Theatre. Nine additional weekday matinees are available for school field trips November 12 through November 22.

The Khoisan, an ancient ethnic group with a long and intriguing history, are believed to be the oldest human inhabitants of southern Africa. In the play, a young girl, Little Sister (Stakiah Lynn Washington), evolves from struggling with her place and duties among her people to embracing her uniqueness, voice, courage, and identity. Supported by a cast of archetypal characters in the form of animals, trees, mountains and spirits (Jamela Asha, Edward Hong, Max Lawrence, Carter Michael and Makha Mthembu), Little Sister braves the dangers of the African savanna and confronts the unfair expectations the world has of her because she is a girl. Not only does she help find her father by creating the stars of the night skies, but she also discovers her true self.

WHAT:
Imagine Theatre in partnership with The Colony Theatre presents The Girl Who Made the Milky Way, a world premiere, family-friendly theatrical experience inspired by a Khoisan myth. The Khoisan, an ancient ethnic group with a long and intriguing history, are believed to be the oldest human inhabitants of southern Africa. In the play, a young girl, Little Sister, evolves from struggling with her place and duties among her people to embracing her uniqueness, voice, courage and identity. Supported by a cast of archetypal characters in the form of animals, trees and mountains in the African savanna, Little Sister braves the dangers of her land and confronts the unfair expectations the world has of her because she is a girl. Not only does she help find her father by creating the stars of the night skies, but she also discovers her true self.

WHO:
• Written by June Carryl
• Directed by Armina LaManna
• Starring Jamela Asha, Edward Hong, Max Lawrence, Carter Michael, Makha Mthembu, Stakiah Lynn Washington
• Produced by Gabrieal Griego and Armina LaManna.
• Presented by Imagine Theatre and The Colony Theatre

WHEN:
Five public performances: Nov. 9 – Nov. 17:
• Saturday at 2 p.m.: Nov. 16
• Saturdays at 7 p.m.: Nov. 9 and Nov. 16
• Sundays at 4 p.m.: Nov. 10 and Nov. 17

Nine student matinees: Nov. 12 – Nov. 22:
• Tuesdays at 10 a.m.: Nov. 12 and Nov. 19
• Wednesday at 9 a.m.: Nov. 20
• Wednesday at 10 a.m.: Nov. 13
• Wednesday at 12 p.m. (noon).: Nov. 20
• Thursdays at 10 a.m.: Nov. 14 and Nov. .21
• Fridays at 10 a.m.: Nov 15 and Nov. 22

WHERE:
The Colony Theatre
555 N 3rd St.
Burbank CA 91502
(in Burbank Town Center)

PARKING:
Free in the attached Burbank Town Center parking structure

TICKET PRICES:
• Public Performances (except Nov. 9): Adults: $30 / Ages 5-12: $20
• Opening Night (Nov. 9 ): Adults: $50 / Ages 5-12: $30 (includes a post-performance reception)
Group rates available for parties of 10 or more
• Student matinees: $10 (interested educators should email smat@imaginetheatreca.org)

OTHER:
Children under 5 not admitted.

HOW:
(818) 649-9474 or imaginetheatreca.org

Theatre Review: Demolition

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Marcy (Terry Davis) needs to remodel her house, so she hires Chuck (Brian Letscher), a smart and successful contractor. Chuck sends his employee Doug (Keith Stevenson) to do the job. Doug is training Paul (Ryan Foust), Chuck’s son. Paul is about to graduate from high school to go to college to study filmmaking. Everything looks normal, except that Paul has a secret that threatens to ruin his future.

Doug and Chuck know each other from their high school days. Doug also knows Chuck’s wife June (Tracie Lockwood). As a matter of fact, Doug and June were dating in high school. Chuck’s jealousy and distrust is not apparent, but it’s a latent issue, building up as a pressure cooker about to explode. Doug’s dubious business practices and sleazy behavior with his female customers adds tension to the already delicate situation. In the meantime, Paul gets in trouble at school. Marihuana is found in his locker, and he is being blackmailed by a girl in his class. 

Trying to fix Paul’s situation, Doug and June arrange for Paul to talk to Mr. France (Tony Pasqualini), the school’s principal who likes to drink and appears to smoke weed as well. Playwright Matthew Letscher uses the relationship between Doug and Paul as a symbol of role models that have a profound influence in a young person’s life. Paul, and to some extent June, see Doug as a reliable source of advice in times of need.

The relationship among the characters is an example of missed opportunities and how the past can’t be buried in its totality. Whatever pieces are left, they will continue to influence our decisions later in life. For better or worse, is Doug the one who pays the highest price. He has to pick up—figurative and physically—the shattered pieces of the damaged relationships among the characters. Demolition does not refer to physical destruction only.

Not only is the text superb, the direction by Max Mayer is also remarkable. He gives the actors plenty of room to explore and exteriorize the nuances demanded of each character. All of this without loosing the exceptional touch of comedy, present throughout the play, and exceptionally executed by all of the six actors. The set suffers some serious abuse. Kudos to Mayer and his set designer, Jay Tyson, for the amazing job on that department.

Doug, a blue-collar worker, left behind and willing to sacrifice his own interests for the benefit of others, is the centerpiece of the play. The inception and execution of this character leave the audience rooting for him. You know there’s something especial in front of you with that kind of empathic reaction. This is another win for Pacific Resident Theatre under the artistic direction of Marilyn Fox, who continues to demonstrate her great taste in selecting productions that become an instant hit with the audience.    

Demolition

Pacific Resident Theatre
703 Venice Blvd.
Venice, CA 90291
Street parking or small free lot in back: pacificresidenttheatre.org

Opening: 8pm Saturday, September 7, 2024
Schedule: 8pm Thursdays – Saturdays; 3pm Sundays
Closing: October 13, 2024 

Tickets: app.arts-people.com/index.php?ticketing=prtve

Written by Matthew Letscher. Directed by Max Mayer. Presented by Pacific Resident Theatre.

Cast: Terry Davis, Tracie Lockwood, Ryan Foust, Brian Letscher, Tony Pasqualini, Keith Stevenson, Melissa Bales, Samantha Sloyan.

Creative team: Jay Tyson (Scenic Design), Leigh Allen (Lighting Design), Chris Moscatiello (Sound Design), Audrey Eisner (Costume Design), Teak Piegdon-Brainin (Stage Manager).