Category Archives: Theatre

Theatre Review: The Bespoke Overcoat

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Pacific Resident Theatre presents The Bespoke Overcoat. Written by Wolf Mankowitz. Directed by Marilyn Fox and Dana Jackson.

Fender (Harry Herman) is a poor Jewish clerk working in a cold clothing warehouse. He wears an old coat that is falling apart. He asks his boss, Ranting (Bruce Nozick), to let him purchase a coat from the warehouse and pay in installments. Ranting refuses and tells Fender that he would never be able to pay the coat. Fender then decides to ask his Jewish friend Morry (Robert Lesser), who is a tailor, to make him a bespoke overcoat. They agree on the cost and Morry starts working on the overcoat. Unfortunately, Ranting fires Fender after 43 years of service. Fender tells Morry to cancel the order for the overcoat as he no longer has money to pay for it. Feeling sorry for Fender, Morry agrees to finish the overcoat.

Before Morry can finish the overcoat, Fender dies of cold. When Morry comes back from the funeral, he finds Fender’s ghost sitting on his bed. The ghost tells Morry that he wants to go to Ranting’s warehouse at night and take a sheepskin overcoat as payment for all the years of service. They leave and enter the warehouse.

Wolf Mankowitz adapted the play from Nikolai Gogol‘s The Overcoat, a short story written in 1842 and set in St. Petersburg, the capital of Russia at the time. Mankowitz adapts the story to the impoverished East End of London, a neighborhood where many Jews worked in the clothing industry. In the play, a simple necessity becomes a symbol of the hardships of the poor. The overcoat, an essential item to survive the cold weather, represents the struggles and the dreams of those living in precarious conditions. Fender succumbs to the weather and dies without a new overcoat.

Directors Marilyn Fox and Dana Jackson recreate in great detail the grittiness and scarcity of the living conditions portrayed in the script. The extraordinary acting also projects the simplicity of the story, but also the depth of the characters. Herman is excellent as Fender. He explores poignantly the misery and the humble dreams of an old man at the twilight of his life, suffering the indignities of the working class. Lesser as Morry is exceptional as well, capturing the friendship and the regrets represented in his character.

Both Herman and Lesser transport the audience to a time of adversity for the Jewish community in London. The Jews living in London when Mankowitz wrote the script were still facing blatant and inconspicuous antisemitism by the British society, even when the Jews were contributing to the advancement of England’s culture and economy. Fender coming back to life to take a coat from Ranting’s business is a symbol of the right to demand a fair deal in life, whether by the Jews or the working class in general.

The story seems simple, but it contains a deep meaning when the historical context is taken into account. Ranting represents more than just an abusive boss. Fender represents more than just an old clerk. And Morry represents more than just a friend. Fox and Jackson stage a production that brings forward the humanity and hope of the characters and the resilience of a whole community living under adverse conditions in uncertain times.

The Bespoke Overcoat

Pacific Resident Theatre
703 Venice Blvd.
Venice, CA 90291

Opening: 8pm Saturday, March 9, 2024
Schedule: 8pm Thursdays – Saturdays; 3pm Sundays
Closing: June 2, 2024

Tickets: pacificresidenttheatre.org

Playwright: Wolf Mankowitz. Directors: Marilyn Fox and Dana Jackson. Presented by Pacific Resident Theatre. Cast: Harry Herman, Robert Lesser, Bruce Nozick, and Tobias Echeverria. Creative team: Rich Rose (Scenic Design), Leigh Allen (Lighting Design), Audrey Eisner (Costume Design), Chris Moscatiello (Sound Design), Doug Prazak (Prop Design), Jody Fasanella (Assistant Director), Teak Piegdon-Brainin (Stage Manager).

Theatre Review: The Witness Room

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The Whitefire Theatre presents the World Premiere of The Witness Room. Written by Pedro Antonio Garcia. Directed by Bryan Rasmussen.

Four NYPD officers, Eli Torres (Dave Baez), Terrence Sampson (Moe Irvin), TJ Moretti (Louie Liberti), and Kevin Brennan (Mitch Rosander), are accused of fabricating evidence to arrest and convict a Puerto Rican man. Defending the cops is Prosecutor Andrea Volpi (Tricia Small), who is intimately familiar with the four cops and their shady record in the police force.

Playwright Pedro Antonio Garcia offers a glimpse of how the justice system works when police misconduct is involved. The code of silence does not apply to the mafia only, specially if planting evidence is in the mix. The immaculate image of justice in textbooks collides with reality in The Witness Room. The four cops searched for evidence, but what if the evidence is not found? Tampering seems to be the easy way to go. Except if a dedicated and inquisitive defense attorney finds inconsistencies in the cops’ testimonies.

One by one, the cops testify in court. And one by one, they start to break under pressure.  This is one of the highlights of Garcia’s writing. He worked as a criminal defense attorney and has plenty of material to work with. His play puts a human face to the usual unbreakable figure of authority that a cop projects in our culture. The four cops and the prosecutor are friends, colleagues, and brothers in arms, but they also have flaws and limitations that can jeopardize the integrity of the American justice system.

The play also shows the complicity of the judges to ignore blatant police misconduct, as if convicting corrupt officers would undermine the trust of the public in the authorities. In this case, the judge is willing to go along with the prosecutor’s strategy to save the cops’ positions, ignoring the defendant’s right to a fair trial.

Even though people know the occasional irregularities of the police actions, few people know the backroom deals happening in the courts in any given day. Whether those deals are a detriment to the justice system or an efficient way to clear the backlog of cases on file, that would be a personal opinion. What The Witness Room does is that it presents technical and little known details while bringing the police officers’ perspective to the regular citizen’s level. Much of what is seen in the play is happening in real life on a daily basis. Profiling, racism, corruption, and even cases of depression among police officers are common instances that may trigger aversion or sympathy, depending on who you ask.

The actors deliver gripping performances that convey the conflicting relationship between good and evil and the urgency to cover the basic necessities of life. Director Bryan Rasmussen creates a dynamic staging to marry action and dialogue, keeping the characters on the verge of total collapse. It’s a riveting production with engaging elements of conflict, emotion, and entertainment. Maybe we will have a different perception when we read the phrase “to protect and to serve”.

The Witness Room

The Whitefire Theatre
13500 Ventura Blvd. Sherman Oaks, California.

8 performances only. The play opens Saturday March 23, 8pm and will continue every Saturday night from March 30 through April 27, 2024, at 8pm.

Tickets: whitefiretheatre.com

Written by Pedro Antonio Garcia. Directed by Bryan Rasmussen. Cast: Tricia Small (Salem) as the Prosecutor and Moe Irvin (Ahsoka: Star Wars), Dave Baez (Greenleaf, Dexter), Louie Liberti (ER) and Mitch Rosander (Two Broke Girls) as officers of the NYPD.

Creative team: Set designer Jeff Rack, lighting designer Derrick McDaniel, sound designer Mitch Rosander, costume designer Laura Tiefer, graphic designer Michele King, fight choreographer Bonzai Vitali and casting director Victoria Hoffman.

Theatre Review: A Froggy Becomes

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The World Premiere of A Froggy Becomes is presented by Open Fist Theatre Company. Written by Becky Wahlstrom. Directed by Pat Towne. Produced by Martha Demson.

Bumpy Diggs (Sandra Kate Burck, A Midsummer Night’s Dream) needs to complete her middle school project, but she can’t find anyone to help her with the assignment. She is somehow dating her classmate Pat (Kyle Tomlin), but she also develops a crush on her classmate Allen (Tom Sys), who is dating Karen (Kyra Grace). Bumpy’s father is a violent ogre (Peter Breitmayer) who spends the day drinking and smoking. And her mother (Johanna McKay) is having an affair with a priest, Father Angelo (Michael Lanahan). Yes, a lot of drama in the life of such a young girl.

Playwright Becky Wahlstrom incorporates elements of magical realism to symbolize the perspective of a girl going through the challenging years of puberty. Some of the fantastical elements are visual, like the large puppet in the form of an ogre. Some are psychological. Fantasies that only happen in Bumpy’s head, like her idealistic love for Allen or the idea that she and her mother could pursue a happier life with Father Angelo. Maybe the blending of fantasy and reality is a survival strategy for someone like Bumpy, a girl coming from a dysfunctional family.

Navigating through puberty proves to be exciting, frightening, and painful. Wahlstrom presents a character dealing with a teenager’s rite of passage: First love, first kiss, the pressure of school assignments, and the ups and downs of romantic relationships, including the dreadful heartbreak. How can Bumpy survive this rollercoaster of emotions? Maybe Madonna’s music can help a little bit. After all, this is the 80s, colorful clothes and all.

Director Pat Towne focuses on the performances of the actors and highlights the comedic aspects of the script, creating a play with a minimalistic set design and strong performances. Sandra Kate Burck does a fantastic job, carrying most of the play on her shoulders. She has excellent comedic timing and delivers a convincing performance throughout the play. The ogre adds much of the magical realism to the play, stressing both the comedy and the uneasiness of the story.

The play features the transition between the naiveness of childhood and the brutality of life, including intrafamily violence. Broken dreams seem to welcome Bumpy into adulthood, but also open up her eyes into the possibilities beyond the horizon, exploring adventure, growth, and new beginnings. Not bad for a story that starts with a simple seventh grade project, an ogre in underwear, a horny priest, and a self-determined teenage girl.

A Froggy Becomes

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

Performances: March 9–April 13
• Fridays at 8 p.m.: March 15; March 22; March 29; April 5; April 12
• Saturdays at 8 p.m.: March 9 (Opening Night); March 16; March 23; March 30; April 6;
April 13
• Sundays at 7 p.m.: March 10; March 17; March 24; March 31; April 7

Tickets: openfist.org

Written by Becky Wahlstrom. Directed by Pat Towne. Starring Deandra Bernardo, Peter Breitmayer, Sandra Kate Burck, Kyra Grace, Jeremy Guskin, Ana Id, Carmella Jenkins, Michael Lanahan, Johanna McKay, Bradley Sharper, Tom Sys, Kyle Tomlin. Presented by Open Fist Theatre Company, Martha Demson, artistic director. Creative team: Scenic designer Jan Munroe, costume designer Mylette Nora, lighting designer Matt Richter, sound designer Marc Antonio Pritchett, prop masters Bruce Dickinson and Ina Shumaker, and puppet designer Joe Seely. The production stage manager is John Dimitri, and the assistant director is CJ Merriman.

Theatre Review: A Winter’s Tale

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The Winter’s Tale is presented by Antaeus Theatre Company. Written by William Shakespeare. Directed by Elizabeth Swain.

With a minimalistic set, this staging The Winter’s Tale relies on the extraordinary skills of the thespians. Director Elizabeth Swain uses attractive costumes and the talent of her actors to present a story written in the 1600s. The themes, however, resonate with today’s audience in a moving and powerful way. Jealousy, based on facts or hypotheticals, is still a constant in our society, sometimes with deathly consequences.

The casting continues to be a decisive factor for Antaeus Theatre Company to create masterful productions. Actor Adam J. Smith portrays Leontes with passion and a convincing transformation into a man consumed by his inner demons. In a similar manner, he also morphs smoothly into the repented husband, father, and friend that is so eagerly looking for redemption. Ann Noble A Bella Incarceration, as Paulina, is also extraordinary. Strong and funny, she portrays the character that is not afraid to face an enraged Leontes. She speaks her mind, and fiercely opposes Leontes mistreatment of Hermione (Kaci Hamilton).

The combination of experienced actors with younger ones add a balance to the production that introduces Shakespeare to new audiences. The younger actors such as Peter Mendoza (Florizel/Lord I), Shannon Lee Clair (Emilia/Perdita), and Conlan Ledwith (Lord II/Shepherd’s son: Nathan Woodworth) blend effectively with the experienced actors JD Cullum (Autolycus/Lord III), Paul Eiding (Archidamus/Jailer/Old Shepherd), and Geoffrey Wade (Camillo/Mariner). 

This staging captures the festive scene of the play combining dance, music, and singing. It adds kinetics and shows the musical skills of the actors, blending brilliantly with the somber aspects of the story. 

Swain’s production features prominently the two themes that make this play a powerful and moving story: Jealousy with its lugubrious mood in the first three acts and redemption with a jovial tone in the last two acts. Bringing Hermione back to life is a poignant element used by Shakespeare to talk to the audience at an intimate level. Although impossible, resurrection has been a human desire since the very beginning. Steven Spielberg used it too in A.I. Artificial Intelligence. In The Winter’s Tale, at least for a moment, the impossible becomes possible.

The Winter’s Tale

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

February 4 – March 11, 2024

Tickets: antaeus.org

Written by William Shakespeare. Directed by Elizabeth Swain.

Cast: Shannon Lee Clair, JD Cullum, Paul Eiding, Kaci Hamilton, Sabrina J. Liu, Brian Kim McCormick, Peter Mendoza, Ned Mochel, Ann Noble, Catia Ojeda, Claire Simba, Adam J. Smith, Geoffrey Wade, and Conlan Ledwith.

Scenic Designer: Frederica Nascimento. Costume Designer: Carolyn Mazuca. Lighting Designer: Vickie J. Scott. Sound Designer: Jeff Gardner. Choreographer: Annie Yee. Props Designer: Aaron Lyons. Composer: Donna Cribari. Production Stage Manager: Karen Osborne. Assistant Director/Production Dramaturg: Kaite Brandt. Assistant Stage Manager: Casey Collaso.

 

A Winter’s Tale poster
A scene from A Winter’s Tale
A scene from A Winter’s Tale

Theatre Review: Arrowhead

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The World Premiere production of Arrowhead is presented by IAMA Theatre Company. Written by Catya McMullen. Directed by Jenna Worsham. Produced by Quinn O’Connor and co-produced by Katharine Means for IAMA Theatre Company. 

Gen (Amielynn Abellera) has a problem: She got drunk, had sex with a guy, and got pregnant. But she’s a lesbian. Well, she decides to abort. It is during this time that Gen and a group of friends get together. Everything looks relatively normal until Levi (Nate Smith) and his friend Brody (Adrián González, Celestial Events, Kiss of the Spider Woman) arrive.

It doesn’t take long for some drama to unfold and turn things upside down. Gen and Levi had a romantic relationship in the past and seeing each other again complicates things even further, as Gen is currently dating Lily (Kathleen Littlefield). Maggie (Kacie Rogers, Celestial Events) is straight. Well, kind of. Cam (Lindsay Coryne) is lesbian and sees the group of friends as family. Stacy (Stefanie Black) is Levi’s sister and develops a special relationship with Brody.

Playwright Catya McMullen creates a world where a reunion of friends unveils the complications of love, sex, and identity. Taking from her own experiences, McMullen gives each character a world of possibilities. Identities, labels, and the struggles to cope with feelings, specially after a breakup, are explored in this play. It is a comedy that presents different points of view of some controversial issues around queerness and feminism.

One of the most valuable aspects of Arrowhead is that the seriousness of the topics exposed in the play are actually presented as a delightful comedy. The writing offers dialogue that gives the actors plenty of opportunities to shine. With the excellent direction of Jenna Worsham, the script is turned into a web of comedic situations that deliver entertainment on every scene.

Each character has a background that reflects the experiences of most of the people in the audience. The play is a journey of self discovery. A leap into the unknown. But you’re not alone—the characters are your co-pilots. They may not have all the answers to your questions, but they make you laugh all the way till the end. Lindsay Coryne, specially, delivers a phenomenal performance. We hope she/him gets nominated for an award this year; it’s a performance to be remembered.  

The attention to detail is always a reflection of the professionalism of the director, and for Arrowhead, Worsham uses the set design, lighting, and special effects as a menagerie of creative elements to enhance the comedic mood of the play. 

A love letter to queerness, Arrowhead is a play that grabs your attention and inspires to ask questions about identity, sex, love, and friendship. With humor, surprises, and a cat lady, what else can you ask for?

Arrowhead

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

Performances: Feb. 8 – March 4
• Thursdays at 8 p.m. Feb. 8 ONLY (Opening Night)
• Fridays at 8 p.m.: Feb. 16; Feb. 23; March 1
• Saturdays at 8 p.m.: Feb. 17; Feb. 24; March 2
• Sundays at 2 p.m.: Feb. 18; Feb. 25; March 3
• Mondays at 8 p.m.: Feb. 19; Feb. 26; March 4 (dark Feb. 12)

Tickets: iamatheatre.com

Written by Catya McMullen. Directed by Jenna Worsham. Starring Amielynn Abellera, Stefanie Black, Lindsay Coryne, Adrián González, Kathleen Littlefield, Kacie Rogers, Nate Smith. Produced by Quinn O’Connor and co-produced by Katharine Means for IAMA Theatre Company. Presented by IAMA Theatre Company, Stefanie Black, artistic director. Creative team: Scenic designer Carolyn Mraz; sound designer Eliza Vedar; associate lighting designer/programmer Erica Ammerman; costume designer Danae Iris McQueen; properties designer Nicole Bernardini; intimacy director Celina Surniak; and casting director Jordan Bass. Rosalind Bevan is associate director; Daniel Cyzpinski is the technical director; and Zaira Paredes–Villegas is the production stage manager alongside assistant stage manager Isabella Gomez and wardrobe supervisor Athena Saxon.

Arrowhead poster
A scene from Arrowhead
A scene from Arrowhead

Theatre Review: A Permanent Image

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Pacific Resident Theatre presents A Permanent Image. Written by Samuel D. Hunter. Directed by Andrew Wayman.

Viola, Idaho. December, 2011. Bo (Scott Jackson) and Ally (Dalia Vosylius) visit their mom Carol (Terry Davis), after the passing of their dad Martin (Phil Cass). Nothing seems that unusual, except that Martin died of suicide. Oh, and that Carol painted the house with brushstrokes of white paint, including the furniture.

As the recriminations intensify, the family dynamics start to unveil the complexities of their lives. Education, negligence, and the despair of feeling left behind all play a role in the way the characters treat each other.

The busy schedules of Bo and Ally have prevented them from visiting their parents more often, taking a toll on Martin and Carol’s emotional state. It is the lack of formal education what seems to push Martin and Carol to get involved in some esoteric beliefs about cosmology. That philosophy leads them to some extreme views about life and death. It is now time for Bo and Ally to either accept or reject Carol’s decision about her own choices following Martin’s death.

Director Andrew Wayman uses the exposition of the character’s lives to convey the dramatic consequences of growing apart as a family and the psychological scars left by that fracture. In A Permanent Image, Samuel D. Hunter explores the effects of isolation and the efforts of family members to reconnect with each other. It is, however, the topic of voluntary euthanasia that raises the most ethical and philosophical questions. If life has no more value for someone, should that person be allowed to commit suicide with some assistance?

The four actors portray the vulnerabilities and resilience necessary to trigger deep and emotive reactions from the audience. Throughout the play, they build up the tension for that very last scene. It’s intimate. It’s emotional. It’s powerful.

A Permanent Image

Pacific Resident Theatre
703 Venice Blvd.
Venice, CA 90291

Opened December 2, 2023
Closing: February 25, 2024
Schedule:
Saturday, 2/10 – 8 pm
Sunday, 2/11 – 3 pm
Saturday, 2/17 – 3 pm
Sunday, 2/18 – 3 pm
Saturday, 2/24 – 8 pm
Sunday, 2/25 – 3 pm

Tickets: pacificresidenttheatre.org

Playwright: Samuel D. Hunter. Director: Andrew Weyman. Assistant Director: Susan Wilder. Presented by Pacific Resident Theatre. Cast: Phil Cass (Martin), Terry Davis (Carol), Scott Jackson (Bo), and Dalia Vosylius (Ally). Creative team: Michael Franco (Lighting Design), Andrew Weyman (Scenic Design), Susan Wilder (Costume Design), Keith Stevenson (Sound Design), and James Morris (Projection Design).

A scene from A Permanent Image
A scene from A Permanent Image
A scene from A Permanent Image

Theatre Review: TINY LITTLE TOWN, a new musical

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TINY LITTLE TOWN, a new musical is presented by Theatre Movement Bazaar. Book by Richard Alger and Tina Kronis. Lyrics by Richard Alger. Music composition by Wes Myers. Adapted from The Inspector General By Nikolai Gogol. Direction and Choreography by Tina Kronis. Produced by Theatre Movement Bazaar. Associate Producer Justin Okin.

Major Rasmussen (Kasper Svendsen) has a tiny little problem. A General Inspector has been sent from Washington to audit the city and its officials. Will the Inspector find out about the rampant corruption going on in this American tiny little town? After all, it’s the 70. Yes, the same period of the Watergate scandal during Nixon’s presidency. Major Rasmussen has also taken a few bribes here and there, and now he needs to find a way to cover up his corruption and that of his city officials.

With little time to clean up his record, the Major has no other choice but to do what he does best: Bribe. The only problem is that he ends up bribing the wrong person. As the story unfolds, the city officials and some of the citizens are duped into the trickeries of Konner (Nikhil Pai), the mysterious visitor they take as the Inspector. With a Rico Suave swagger, Konner even manages to impress Anna Rasmussen (Paula Rebelo, Do You Feel Anger), the Major’s wife, and Maria Rasmussen (Ishika Muchhal), the Major’s daughter. As a captivating subplot, Konner’s assistant, Joseph (Nick Apostolina), and Rasmussen’s secretary, Jackie (Prisca Kim), start to develop a romantic relationship in the middle of all the chaos. Due to their shenanigans, the citizens and officials of this town will be forced to face the consequences of their actions, creating the situations that make this play a timeless study of crooked characters with a comedic bent.

The play is a musical that uses physical comedy to keep the action fast-paced and interesting. The direction and choreography by Tina Kronis is a phenomenal display of craftsmanship. The musical numbers are highly kinetic, combining music and comedy perfectly. The commedia dell’arte style in the performances, the set design, and the Eastern European music, make it feel like a topsy-turvy dream, an exaggerated and alluring image of our reality. And that’s the beauty of physical theatre; it’s an artistic and deviant vision of the world around us.

Theatre Movement Bazaar achieves an outstanding theatrical version of the satirical play written by Nikolai Gogol in 1836. One of the many great elements of this staging is the casting. Actors that can sing, dance, and deliver excellent comedy at the same time are not easy to find. Richard Alger and Tina Kronis have put together an extraordinary production that will be a successful hit without a doubt. It’s a gem. Right in the heart of Hollywood.

TINY LITTLE TOWN, a new musical

The Broadwater Theatre Main Stage
1078 Lillian Way
Los Angeles, CA 90038

Feb 1 – 18, Thurs – Sat @ 7:30pm, Sat and Sun @ 2:30pm

Tickets: theatremovementbazaar.ludus.com

Book by Richard Alger and Tina Kronis. Lyrics by Richard Alger. Music composition by Wes Myers. Adapted from The Inspector General By Nikola Gogol. Direction and Choreography by Tina Kronis. Produced by Theatre Movement Bazaar. Associate Producer Justin Okin. Cast: Nick Apostolina, Joey Aquino, Mark Doerr, Prisca Kim, Ishika Muchhal, Jesse Myers, Isaiah Noriega, Lamont Oakley, Nikhil Pai, Paula Rebelo, Kasper Svendsen, and Eddie Vona. Creative team: Aaron Francis (Technical Director), John Zalewski (Sound Design), Lechetti Design (Scenic Design), Aaron Francis and Johnny Montage (Lighting Design), Anna Kupershmidt (Production Stage Manager), Ellen McCartney (Costume Designer) Yuanyuan Liang (Assistant Costume Designer). 

A scene from TINY LITTLE TOWN, a new musical
A scene from TINY LITTLE TOWN, a new musical
A scene from TINY LITTLE TOWN, a new musical

Theatre Review: Twelve Angry Jurors

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The Group Rep presents Twelve Angry Jurors. Adapted by Sherman L. Sergel based on the Emmy-winning television movie by Reginald Rose. Directed by Tom Lazarus. Produced for The Group Rep by Stevie Stern.

Playwright Sherman L. Sergel takes us to a jury room in a hot summer late afternoon. The year is 1958 and a teenager has been accused of murdering his father. It’s now up to the jurors to return a guilty or not guilty verdict.

In this intriguing drama, the race of the kid is not revealed. Since the teleplay first aired in the 50s, people have speculated that the teenager was Black or Puerto Rican. In Tom Lazarus‘ staging, all we learn is that the kid was living in the slums. The fascinating aspect of the play is how the attitudes of the jurors reflect the diversity of society. Some of the jurors come from privileged backgrounds while others come from disadvantaged communities.

In the original teleplay and later in the movie, the 12 jurors, were all White males. For The Group Rep‘s production, director Lazarus and producer Stevie Stern decided to make the race and gender of the jurors more diverse. Whether that is a reflection of the status quo or not of the American justice system, it’s up for debate. It is perhaps, Lazarus and Stern’s way to protest the systematic discrimination in the history of the selection and conducting of the jury duty process.

The two witnesses in the play, the man and the woman that provide testimony against the kid, become characters on their own right. Their testimony is either upheld or disputed during the jurors’ deliberation. The apparent initial agreement on a guilty verdict is questioned by Juror # 8 (Neil Thompson). His refusal to accept the majority’s decision leads to a closer look at the witnesses’ account of the events surrounding the murder. On the other hand, Juror # 3 (Mark Stancato) becomes the bully, the bigot. Two opposites that more than just characters, are the reflection of people’s attitudes towards the most underprivileged members of society.   

In addition to the excellent dialogue, the diverse cast—which includes women, African Americans, and immigrants—are a mirror of American society. The heat depicted in the play becomes a pressure cooker, an uncomfortable environment to test the patience and the concentration needed to decide whether a person deserves the death penalty or not.

Thompson and Stancato offer compelling performances as the dichotomy of society. Thompson as Juror # 8 delivers a credible representation of the ideals of justice and democracy embodied in the American Dream and the Constitution. As for Stancato, he excels as the representation of the oppressive system and disengaged observer of social marginalization. The blocking allows for a dynamic performance of the 12 jurors, which move around the table to show their expressions and state of minds. 

Race and gender give this production a progressive take on the always gripping theme of jury deliberation, an environment where bigotry and prejudice can jeopardize the fairness of the justice system.

Twelve Angry Jurors

The Group Rep
10900 Burbank Blvd
N. Hollywood, CA 91601

January 26 — March 3, 2024.

Fridays and Saturdays at 8pm, Sundays at 2pm.

Tickets: thegrouprep.com

Adapted by Sherman L. Sergel, based on the Emmy-winning television movie
by Reginald Rose, directed by Tom Lazarus and produced for The Group Rep by Stevie Stern. Cast: Linda Alznauer (Juror 4), Jane Bonem (Guard), Paul Cady (Juror 2), Belinda Howell (Juror 10), Stephanie Keefer (Juror 11), Stan Mazin (Juror 9), Bob McCollum (Judge), Richard Reich (Juror 7), Mark Stancato (Juror 3), Melissa Strauss (Juror 1), Neil Thompson (Juror 8), Cathy Diane Tomlin (Juror 6), Mouchette van Helsdingen (Juror 12), Tamir Yardenne (Juror 5) and Tilly Ye (Juror 6 – Feb. 16 – 18). Creative team: Tom Lazarus (Set Design), Chris Winfield (Set Construction), Frank McKown (Lighting Design), Shon LeBlanc (Costume Design), Steve Shaw (Sound Design), and Kristin Stancato (Stage Manager).

 

Twelve Angry Jurors poster
A scene from Twelve Angry Jurors
A scene from Twelve Angry Jurors

Theatre Review: An Extraordinary Ordinary Man

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The Ruskin Group Theatre Co. presents An Extraordinary Ordinary Man. Written and performed by John Colella. Directed by Michael Matthews. Produced by Michael R. Myers and John Ruskin.

When trying to build a new life in another country, immigrants usually are faced with a critical decision: Do they follow their dreams, or do they work in whatever job is available to support their families?

“Be anything but a baker”. That was John Colella‘s (Blue) father advice. He wanted his son to follow his dreams instead of spending his entire life in the family business. As John took his father’s advice by heart, he embarked on a journey of discovery, finding the stage his true calling. With humor, memories of relatives, and the positive influence of his father, Colella achieves an emotional and timeless play not to be missed.

With childhood anecdotes of growing up in an Italian family, Colella infuses his solo play with the unconditional love his father showed to everyone around him. The vivid memories of his father’s sacrifices to sustain his family and the encouragement to do better in life became Colella’s inspiration to pursue his dreams.

In his poignant play, Colella links his childhood experiences, the Italian food surrounding him, and his father figure to create an inspiring and emotive story of the dynamics of a family pursuing the American Dream. It’s a story of building a strong family, with ups and downs, but a family with an everlasting bond.

The play conveys that constant fear of loosing what has been constructed with so much effort. An anxiety that becomes almost disturbing as we age. As Colella sees his relatives going through physical ailments, he starts to experience his own health conditions. It’s a strange feeling, almost like a ticking. It’s perhaps the prelude to our own mortality.

An Extraordinary Ordinary Man is a story that connects with the audience organically. The magic of Colella’s writing is that is relatable. It’s personal. It’s powerful. Colella takes us to that deeply private space that is sacred; a place full of endearing memories. It’s a rite of passage, an unavoidable experience that, in a group, feels cathartic. As the cycle comes to an end, the phrase “grief is nothing else but love with no place to go” becomes an eloquent explanation of the myriad of feelings that rush in after the passing of a loved one. An outstanding play. A gifted thespian.

An Extraordinary Ordinary Man

Ruskin Group Theatre
3000 Airport Avenue, Santa Monica, CA 90405
 
Opening: 8pm January 13, 2024

Schedule: 8pm Jan. 20, 27, and Feb. 2, 10, 17, 2024

Running in tandem after Paul Linke’s 5pm performances of “It’s Only a Show!”
Closing: Feb. 17, 2024.

Tickets: ruskingrouptheatre.com

Written and performed by John Colella. Directed by Michael Matthews. Produced by Michael R. Myers and John Ruskin. Creative team: Ed Salas (Lighting and Sound Design).

An Extraordinary Ordinary Man poster
An Extraordinary Ordinary Man

Theatre Review: Lewis and Tolkien

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The World Premiere of Lewis and Tolkien is presented by the award-winning Actors Co-op Theatre Company in association with MWO Productions. Written and directed by Dean Batali. Produced for Actors Co-op by Marc Whitmore, Lori Berg, and Rob Loos.

In Lewis and Tolkien, Playwright and Director Dean Batali explores the dynamics of the close relationship between C.S. Lewis (Phil Crowley) and J.R.R. Tolkien (Michael Beattie), two of the most influential fantasy writers of the 20th century. But the play also delves into the issues that made them grow apart over the years.

The arrival of fellow writer Charles Williams to the Inklings group didn’t sit well with Tolkien. He thought that Williams was replacing his special friendship with Lewis. Even after William’s death, the relationship between Tolkien and Lewis was never the same again. Straining their relationship even more, Tolkien didn’t show any kind of empathy when Lewis’ wife, Joy Davidman, passed away. A devout Catholic, Tolkien didn’t approved of their marriage. He believed that they were living in sin, as Davidman was still married to her first husband when she started the relationship with Lewis. 

Batali, however, focuses his writing in the probability of seeing the two writers trying to make amends to their strained relationship later in life. Batali pierces the artistic veil and takes a look at the creative process of both writers and their mutual encouragement that boosted their imagination when they experienced the dreadful writer’s block stage. The Lord of the Rings and The Chronicles of Narnia are masterpieces that awakened the imagination of avid readers around the globe. But those fantastical stories went far beyond that, they also inspired people to turn fantasy into reality to achieve their dreams. The character of Veronica (Bianca Akbiyik), the barmaid at the Eagle and
Child Pub, is the eyes of the audience, a curious young woman familiar with The Lord of The Rings but who has yet to discover The Chronicles of Narnia—let’s not forget that the play is set in 1963. Veronica is a symbol of the writer’s followers that have been influenced by the myth and the powerful messages of the worlds depicted in those books.

Batali resisted the temptation to incur in over sentimentalism, rather, he explores the deep philosophical and spiritual dynamics in the relationship between Lewis and Tolkien. They do express their emotions, but the main focus of their conversation is the mutual support to keep exploring, questioning, and reassuring their religious beliefs and creativity, in an attempt to make their respective writings more meaningful and impactful.

The play implies that the writings left behind echo some kind of regrets from both writers, mainly for the lack of mutual support when they needed it the most. And that is one of the deepest messages of the play: Make amends before it’s too late.

The set design is excellent, full of details to take the audience back to the Rabbit Room, right in the middle of Oxford. It was in that room where Lewis and Tolkien’s writings reached new heights, stimulating each other with debate, humor, intelligence, and sometimes, with pints of beer.

Lewis and Tolkien

Actor Co-op Theatre Company at Crossley Theatre

1760 N. Gower St., on the campus of the First Presbyterian Church of Hollywood

Hollywood, CA 90028

October 27 – December 3, 2023 *No Show Friday, November 24*
Fridays and Saturdays at 7:30 pm (New Time!)
Sundays at 2:30 pm
Additional Saturday Matinees at 2:30 pm: Nov. 4, Nov. 25 and Dec. 2.

Tickets: www.actorsco-op.org

Written and directed by Dean Batali. Cast: Phil Crowley as C.S Lewis, Michael Beattie as
J.R.R. Tolkien and Bianca Akbiyik as Veronica. Creative team: Joel Daavid (Set Designer), Martha Carter (Lighting Designer), Chris Moscatiello (Sound Designer), Vicki Conrad (Costume Designer), Colleen Darling (Stage Manager) and Beth Batali (Assistant Stage Manager). Produced for Actors Co-op by Marc Whitmore, Lori Berg and Rob Loos.

Lewis and Tolkien poster
A scene from Lewis and Tolkien
A scene from Lewis and Tolkien
A scene from Lewis and Tolkien