PETER PAN AND TINKER BELL: A PIRATE’S CHRISTMAS at the Scherr Forum Theatre in Thousand Oaks!

PETER PAN AND TINKER BELL: 

A PIRATE’S CHRISTMAS 

Written by Kris Lythgoe

Directed by Bonnie Lythgoe

 

OPENS: FRIDAY, DECEMBER 13 at 7:00pm (press opening) and runs through 

SUNDAY, DECEMBER 29 at 4:00pm

 

Performances are Thursdays & Fridays at 7:00pm; 

Saturdays at 2:00pm & 7:00pm; 

Sundays at 12:00pm & 4:00pm

 

There will be an added performance on Friday, December 27 at 2:00pm

 

BANK OF AMERICA PERFORMING ARTS CENTER – 

SCHERR FORUM THEATRE

2100 Thousand Oaks Blvd, in Thousand Oaks

Tickets range from $39.50 – $59.50

For tickets, please call (805) 449-2787

 

For theatre information, call (805) 449-ARTS (2787) or visit bapacthousandoaks.com.   

Buy tickets online at www.ticketmaster.com or www.5startheatricals.com.  

Student, Senior and Group discounts are available.

ROBBIN, FROM THE HOOD at The Road Theatre

ROAD THEATRE COMPANY 

announces three performances for 

the deaf and hard of hearing communities 

added to the First Production of its 2024-2025 Season!

The World Premiere of 

ROBBIN, FROM THE HOOD

Written by Marlow Wyatt

Directed by Chuma Gault
Produced by Danna Hyams, Taylor Gilbert and Cherish Monique Duke

Previews:  Tuesday, October 8; Wednesday, October 9 & 

Thursday, October 10 at 8pm 

 

Opens: Friday, October 11 at 8pm (Press Opening) 

Runs: Friday, October 11 – Sunday, November 17, 2024

Performances are Fridays & Saturdays at 8pm; Sundays at 2pm

 

The Road will be adding three captioned performances for the deaf and hard of hearing communities on Friday, October 25 at 8pm; Saturday, November 2 at 8pm; and Sunday, November 10 at 2pm.

 

The Road Theatre, located in The NoHo Senior Arts Colony, 

10747 Magnolia Blvd. in North Hollywood.

 

Tickets: $39.00 (General Admission) 

$25.00 (/Seniors)

$17.00 (Students)

$15.00 (Previews)

 

Tickets available online at:

ww.roadtheatre.org or call 818-761-8838.

Theatre Review: Clarkston

In his exploration of characters in isolated areas, Playwright Samuel D. Hunter photographs the meeting of two young men at a critical time in their lives. Using a minimalist set design, Director Chris Fields centers the attention on the psychological and emotional state of the three characters that inhabit Hunter’s world.

Jake (Michael Sturgis) is trying to reach the West Coast to see the Pacific. Instead, he gets stranded in Clarkston, Washington. He finds a job at the local Costco, working the night shift with Chris (Sean Luc Rogers). The exposition reveals two individuals who are trying to overcome their fears, facing the darkest periods in their lives. Jake has been diagnosed with a debilitating disease that will end up killing him in a few years. Chris, fatherless, is coping with Trisha (Tasha Ames), his meth-addicted mother. Very much to the style of The Wrestler, Trisha is trying to stay clean to rebuild her relationship with Chris. She gets a job at Denny’s, and despite Chris’ distrust, she keeps looking after him. At work, Chris and Jake develop a romantic relationship. Little by little, Chris and Trisha appear to start rebuilding their mother-son connection. The stars seem to be aligning. But the apparent stability gives way to the real fragility of the characters.

Hunter lightens up the somber topics depicted in the play with humor when least expected. This device is used very effectively by Sturgis, who also showed his excellent comedic skills in Crabs in a Bucket. The three actors elevate the tension and despair of their respective characters with convincing performances. Ames continues to build her resume playing troubled and eccentric characters. This time, she embodies Trisha as a woman with the strength to better herself, only to succumb to her demons once again, jeopardizing her already precarious relationship with her son. As for Rogers, he aces the portrayal of a man who is permanently damaged by a broken family. His character takes center stage, as he is pushed to the limits, having to choose between Jake and Trisha, ultimately having to choose his own destiny.

Hunter sends his characters in a deep soul search. They need to find their real identity. Through their interactions with each other, they’re looking for a human connection; they’re isolated geographically and emotionally. They want to escape from their past, finding themselves trapped in the present with an uncertain future.

That’s the beauty of Hunter’ writings. He brings attention to people living far away from metropolitan areas. People with hopes, demons, and broken dreams, trying to escape the anonymity of their isolation. Fields and his cast give depth to the characters and achieve a relatable and moving production that relies mainly on the exceptional skills of the three actors.

Clarkston

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

Performances: Sept. 14 – Oct. 21
• Fridays at 8 p.m.: Sept. 20, Sept. 27; Oct. 4, Oct. 11, Oct. 18
• Saturdays at 8 p.m.: Sept. 14 (Opening Night), Sept. 21, Sept. 28; Oct. 5, Oct. 12, Oct. 19
• Sundays at 2 p.m.: Sept.  22, Sept. 29; Oct. 6, Oct. 13, Oct. 20
• Mondays at 8 p.m.: Sept. 23, Sept. 30; Oct. 7, Oct. 14, Oct. 21

Ticketsechotheatercompany.com

Written by Samuel D. Hunter. Directed by Chris Fields. Presented by The Echo Theater Company, Chris Fields artistic director. Chris FieldsKelly Beech and Marie Bland produce for the Echo Theater Company.

Starring Tasha AmesSean Luc RogersMichael Sturgis.

Creative team: Scenic designer Amanda Knehans, lighting designer Matthew Richter, sound designer Alysha Grace Bermudez, and costume designer Dianne K Graebner. The production stage manager is Lisa Toudic.

Theatre Review: The Skin of Our Teeth

The Skin of Our Teeth, an abstract play with hints of impressionism, is back on stage, this time at A Noise Within.

The three act play is an attempt to illustrate the complex and oftentimes turbulent history of humankind. Playwright Thornton Wilder used figures of speech to convey the spectrum of the human condition and the resilience to survive in the face of disaster, covering thousand of years of history. Obviously, this is a challenging task for a theatre director. To translate Wilder’s concepts, Directors Julia RodriguezElliott and Geoff Elliott use lighting, visual effects, and background projections to frame the brilliant performances of Ann Noble, Trisha Miller, and Frederick Stuart, who facilitate the understanding of the philosophical elements of the play.

Wilder wrote the script in 1942, when the world was witnessing the horrors of WWII. Probably as a premonition of what lay ahead, Wilder wrote a play about the necessity to rely on each other to survive a disaster of epic magnitude. The three main events mentioned in the play are a new ice age, a great flood, and a devastating war. By the way, the casualties of WWII were 70-85 million, a catastrophic war, indeed. The Antrobus family, however, is able to survive each disaster, an allegory to the indestructible spirit of humans, especially the family, the fundamental block of society.

The text references three of the most influential philosophers in history: Plato, Aristotle, and Spinoza, a way to convey the idea that their teachings would help humans navigate the treacherous paths in life. This element is used breaking character and addressing the audience directly to bring down the fourth wall. Wilder didn’t use this for a comical effect only, he also implied that the survival of the human species depends on our ability to take personal responsibility, thus transferring rhetorically the action of the play onto the audience.

The excellent acting of Ann Noble as Sabina, Frederick Stuart as Mr. Antrobus, and Trisha Miller as Mrs. Antrobus make the deep philosophical ideas more digestible to the audience. They balance the dramatic tone of the play with a touch of comedy to lighten up the subject matter. In the third act, Christian Henley, amazing in King Hedley II, delivers a powerful and moving performance as a war survivor and resented son. Henley and Stuart offer a touching scene that captures the essence of the play during the resolution.

The ideas imprinted in the play are as relevant as they were 82 years ago. Whether we agree or disagree with Wilder’s points of view, the truth is that human history continues its turbulent path—economical crises, Covid, and more wars included. An analysis of The Skin of Our Teeth is a window to the building blocks of civilization, the wonders of the human experience, and the innate grit to survive adversity.

The Skin of Our Teeth

A Noise Within
3352 E Foothill Blvd.
Pasadena, CA 91107

Performances Sept. 7 – Sept. 29
• Thursdays at 7:30 p.m.: Sept. 19, Sept. 26 (dark Sept. 12)
• Fridays at 7:30 p.m.: Sept. 20*, Sept. 27*
• Saturdays at 2 p.m.: Sept. 14, Sept. 21, Sept. 28 (no matinee on Sept. 7)
• Saturdays at 7:30 p.m.: Sept. 7 (Opening Night); Sept. 21, Sept. 28
• Sundays at 2 p.m.: Sept. 15*, Sept. 22, Sept. 29
*Post–performance conversations with the artists take place every Friday (except the preview) and on Sunday, Sept. 15.
**A one-hour INsiders Discussion Group will take place prior to the matinee on Sunday, Sept. 8 beginning at 12:30 p.m.

Student matinees are scheduled on select weekdays at 10:30 a.m. Interested educators should email education@anoisewithin.org.

Written by Thornton Wilder. Directed by Julia RodriguezElliott and Geoff Elliott. Presented by A Noise Within, Geoff Elliot and Julia Rodriguez-Elliott, producing artistic directors

Starring Christian HenleyMildred Marie LangfordKasey MahaffyTrisha MillerCassandra Marie MurphyAnn NobleFrederick Stuart.
Ensemble: Anthony AduStella BullockJulia ChavezJacob CherryYannick HaynesAmber LiekhusVeronica McFarlaneDavid A. RangelLandon M. RobinsonMicah SchneiderMaya Sta. Ana.

Creative team: Scenic designer Frederica Nascimento; lighting designer Ken Booth; composer and sound designer Robert Oriol; costume designer Garry Lennon; wig and make up designer Tony Valdés; and dramaturg Miranda Johnson-Haddad. The production stage manager is Angela Sonner, assisted by Hope Matthews.

First Live Theater Awards Ceremony

Orange Curtain Review and LA Theatre Bites
announce first live theater awards ceremony

NEWPORT BEACH, Calif. (September 13, 2024) — Orange Curtain Review and LA Theatre Bites, sister outlets covering, respectively, the Orange County and Los Angeles theater scenes, have announced a live awards ceremony honoring excellence in both counties. The OCR/LA Theatre Bites Awards will take place on Tuesday, Oct. 1 at the Newport Theatre Arts Center beginning at 7 p.m.

According to theater reviewer Patrick Chavis, who edits both sites, “The hope is to bring notice to smaller companies that may not have the funding or notoriety enjoyed by larger organizations, but are putting out solid work every year. Our sites are dedicated to supporting intimate theater, as well as community theater and local creatives. We are grateful to the Newport Theatre Arts Center, a 90-seat theater that has been active in Newport Beach since 1979, for sponsoring our first event.”

A list of Orange Curtain Review nominees can be found on the website at theorangecurtainrev.com, and a list of LA Theatre Bites nominees is available at latheatrebites.com.

The ceremony will be hosted by reviewer Matthew Robinson. Entertainment will be provided by the Manny Barajas Fusion Band and singer Sarah O’Brien. The festivities will be livestreamed on Instagram at @Latheatrebites1 and will be available for viewing afterwards at both websites.

Tickets are $50The Newport Theatre Arts Center is located at 2501 Cliff Dr., Newport BeachCA 92663. To request more information and to purchase tickets, email latheatrebites@yahoo.com.

Dracula: A Comedy of Terrors at The New Vic

ENSEMBLE THEATRE COMPANY 

Presents the First Production of its 46th Season,

THE HILARIOUS COMEDY WITH BITE, THE FANGTASTIC OFF-BROADWAY SMASH HIT…

DRACULA:

A COMEDY OF TERRORS

 Written by Gordon Greenberg & Steve Rosen

Directed by Jamie Torcellini

 

Performances begin Thursday, October 10 

at The New Vic Theatre in Santa Barbara!

 

Previews: Thursday, October 10 at 7:30pm & Friday, October 11 at 8:00pm

Opens: Saturday, October 12 at 8:00pm (Press Opening)

Runs: Thursday, October 10 – Sunday, October 27, 2024

 

Performances are Wednesdays and Thursdays at 7:30pm, Fridays and Saturdays at 8:00pm, and Sundays at 2:00pm.

 

Added performances on Tuesday, October 15 at 7:30pm, Saturday, October 19 at 3pm, Wednesday, October 23 at 2pm, and Saturday, October 26 at 3:00pm.

 

Ticket Prices range from $25 – $94

 

All Patrons 35 and under are always $35. Student tickets are $25. Prices subject to change.

 

Ensemble Theatre Company at The New Vic
33 W. Victoria Street in Santa Barbara 

‘FIDDLER ON THE ROOF’ at LA MIRADA THEATRE FOR THE PERFORMING ARTS

LA MIRADA THEATRE FOR THE PERFORMING ARTS 

& McCOY RIGBY ENTERTAINMENT 

are thrilled to announce Full Casting for its upcoming production of

Tony Award winner JASON ALEXANDER starring as “Tevye” in 

FIDDLER ON THE ROOF

Book by JOSEPH STEIN
Music by JERRY BOCK

Lyrics by SHELDON HARNICK

Original Broadway production directed and choreographed 

by JEROME ROBBINS

Originally produced on the New York stage by HAROLD PRINCE

Musical Direction by ALBY POTTS

Choreography by LEE MARTINO

Direction by LONNY PRICE

 

 

OPENS: Saturday, November 9 at 8 pm (Press Opening)

and runs through Sunday, November 13 at 6:30 pm

 

PREVIEWS: Friday, November 8 at 8 pm & Saturday, November 9 at 2 pm

 

PERFORMANCES: Thursdays at 7:30 pm; Fridays at 8 pm; 

Saturdays at 2 pm & 8 pm; Sundays at 1:30 pm & 6:30 pm

 

There is no performance on Sunday, November 10 at 6:30 pm. The regular Thursday performance on November 28 (Thanksgiving) has been moved to Wednesday, November 27.

 

There will be an Open-Captioned performance on Saturday, November 23 

at 2:00 pm.  

 

Talkbacks with the cast and creative team will be on Thursday, November 14 at 7:30 pm and Wednesday, November 27 at 7:30 pm.    

 

LA MIRADA THEATRE FOR THE PERFORMING ARTS

14900 La Mirada Blvd. in La Mirada, CA 90638.  

Arrive Early to Find Best Parking — It’s Free!

Tickets range from $34 – $109 (prices subject to change).

50% off student tickets are available in select sections. 

 

Children under 3 will not be admitted into the theatre.

 

For tickets, please call (562) 944-9801 or (714) 994-6310 or buy online at LaMiradaTheatre.com.  Group and military discounts are available.

Hollywood Independent Theatre Festival

Hollywood, CA. September 12, 2024.  Combined Artform’s Hollywood Independent Theater Festival (HITFEST) returns this October at the Stephanie Feury Studio Theater. HITFEST is an industry-driven festival concept from the company that brought Los Angeles the “Hollywood Encore Producers’ Award” and “Pick of the Fringe,” featuring the top shows from the Hollywood Fringe Festival.

HITFEST will present at least two shows each night, running on various Mondays through Thursdays. These evenings are optimal for showcasing work to the Hollywood entertainment industry, presenters, venues, and other organizations scouting for programming and talent. Additionally, audiences can enjoy top performances and save money by purchasing passes for multiple shows.

The inaugural year of HITFEST brought top shows and industry bookers together, resulting in sold-out crowds and new paid bookings for performing artists. It was a huge success, and we are thrilled to be returning. Plans are also underway to include a wider variety of shows, with new performances introduced throughout the year, offering an ever-changing selection for audiences and presenters alike.

Ticket prices will range from $25 to $35, with discounts available for senior citizens, students, and SAG-AFTRA and WGA members. Show passes offering discounts for multi-show packs will also be available. See below for a listing of participating venues and shows.

Industry professionals interested in attending or with specific questions about the productions, please contact Matthew Quinn at mquinn@combinedartform.com.

Hollywood Independent Theater Festival lineup for October 2024.

WHATThe Connie Converse Universe Starring Hope Levy

In this 55-minute acoustic-biographical cabaret, audiences are invited to explore the songs, life, and enduring mystery of Connie Converse, a pioneering female folk singer-songwriter. Hope Levy stars as the song messenger, bringing Connie’s music to life while sharing their unique connection. Perfect for all audiences who appreciate folk music and biographical storytelling.

The Funny Thing About Men

Mandy Williams invites you into her home to share humorous insights on domestic life and the inner thoughts of women. This musical comedy, featuring all-original songs, offers a light-hearted exploration of the dynamics between women and men, guaranteed to leave audiences laughing. Perfect for female audiences.

WHERE: Stephanie Feury Studio Theater – 5636 Melrose Ave., Los Angeles 90038

WHEN:  October 16, 2024

7:00 PM The Connie Converse Universe;

8:30 PM The Funny Thing About Men

TICKET PRICE: $25.00 per show.

Discount, $40 for both shows.

TICKET LINKHollywood Independent Theater Festival – HITFEST (stagey.net)

www.hitfesthollywood.com
@hitfesthollywood
#HITFEST

Theatre Review: Don’t Dress for Dinner

With splashes of commedia de’llarte—minus the masks—the cast delivers a tasty dinner made up of jealousy and mistaken identities.

Bernard (Brian Robert Burns) expects her wife Jacqueline (Kim Morgan Dean) to leave their house to visit her mother for the weekend. What Bernard really wants is to spend time with his mistress Suzanne (Katy Tang). Bernard also invites his friend Robert (Brandon J. Pierce) to spend the weekend with him and hires the services of the cook Suzette (Veronica Dunne). His plans, however, get derailed when Jacqueline answers the phone and finds out about both the cook and Robert’s visit. As Jacqueline and Robert are also having an affair, she decides to cancel the visit to her mother. That decision turns things upside down, creating a pressure cooker ready to explode.

An excellent Kim Morgan Dean delivers an astonishing performance as the jealous and cheating wife. She adds a hint of rage and animosity that make her character look like a protagonist and antagonist at the same time, all within the realm of comedy. Director Christopher M. Williams has the luxury of working with a superb cast that turns the characters into a menagerie of panicking individuals on the verge of a nervous breakdown. Brian Robert Burns, Katy Tang (Marry Me a Little), Brandon J. Pierce, Veronica Dunne, and Jared Van Heel all shine bright and loud on stage thanks to their commanding comedy skills. At one point, Pierce delivers a long and fast line without tripping at all; a testament of his speech qualities.

Framing the excellent qualities of the thespians, Williams uses a sophisticated set design to convey a French farmhouse. The high key lighting is a classic for these kinds of stories and is used effectively in this production. Also worth mentioning is the sexy and sophisticated costumes that serve the story and the traits of the characters.

The blocking allows the actors to navigate the stage in a way that highlights the intense physical comedy demanded for this story. This is a play that requires elevated skills in speech and action, making this production a highly dynamic performance that explores themes of infidelity, equality, and broken and amended relationships.

The fine visual details, the extraordinary script, the talented cast, and the creative direction make this production a real treat for the theatre lovers out there. It’s a gem within a gem. The Laguna Playhouse is celebrating its 104th anniversary. Its website lists the long list of productions staged in this iconic theatre, from the 1902s up to now, a very significant legacy in California’s rich theatre history.

Don’t Dress for Dinner

Laguna Playhouse

606 Laguna Canyon Rd.

Laguna Beach, CA

Runs: Sunday, September 8 – Sunday, September 22, 2024

Opening: Sunday Sep 8 at 5:30pm.

Wednesdays at 7:30pm; Thursdays at 2:00pm and 7:30pm; Fridays at 7:30pm;
Saturdays at 2:00pm & 7:30pm; Sundays at 1:00pm & 5:30pm.

There will be no performance on Sunday, September 8 at 1:00pm or Sunday, September 22 at 5:30pm.

There will be a post-show talkback following the Friday, September 13 performance.

Ticketslagunaplayhouse.com

Written by Marc Camoletti. Adapted by Robin Hawdon. Directed by Christopher M. Williams.

Cast: Brian Robert Burns as “Bernard,” Kim Morgan Dean as “Jacqueline,” Veronica Dunne as “Suzette,” Brandon J. Pierce as “Robert,” Katy Tang as “Suzanne,” and Jared Van Heel as “George.”

Creative team: Scenic design by Marty Burnett; costume design by Elisa Benzoni; lighting design by Matthew Novotny; sound design by Chris Luessman; props design by Kevin Williams.  Additional casting by Michael Donovan Casting, Michael Donovan, CSA & Richie Ferris, CSA. The Production Stage Manager is Vernon Willet.

Gloria: Interview With Director Marya Mazor And actress Branda Lock

Chance Theater will be presenting the OC premiere of Gloria by Branden Jacobs-Jenkins. The play opens on October 5, 2024 at the Bette Aitken theater arts Center in Anaheim. Below is the interview with Director Marya Mazor and actress Branda Lock.

Marya Mazor

Glamgical: How did you get attached to direct Gloria?

Marya: I had been a fan of Branden Jacobs-Jenkins work for a number of years; I had seen his plays An Octoroon and Appropriate (twice). So, when Oanh Nguyen, Artistic Director of Chance Theater, reached out to me about Gloria, I jumped at the opportunity to work on one of his plays, especially one that I was already a fan of! This is my ninth production at The Chance, and I am    always thrilled to have the opportunity to return because it is truly a uniquely engaged audience and artistic community!

Glamgical: What do you think is so unique about Branden Jacobs-Jenkins as a playwright?

Marya: Branden Jacobs-Jenkins is a very close observer of human behavior, as well as of dynamics of race and class. He captures how our individual actions embody broader societal structures    in ways that we are often unaware of. And his razor sharp wit prompts us to reflect on our own actions deeply, pushing us to recognize the impact of our behavior on those around us.

Glamgical: What are the challenges and the rewards of working on a play like Gloria?

Marya: Gloria is an ensemble piece, and it has really been pure joy to work on it with such a talented, engaged cast and a top notch design team. One of the challenges we have found is that there are some major shifts in tone that occur throughout the play quite suddenly; so figuring out the balance of that, and how to navigate those shifts, has been a significant part of the process. There are also structural challenges in terms of how we shift locations quickly in an intimate venue. I find the complexity of the character dynamics, and the issues the play evokes, profoundly engaging. The most rewarding aspect is watching an audience enter the story and respond on an emotional level – that “ahah” reaction I am always looking to achieve.

Glamgical: How involved were you in the casting process?

Marya: I am always very involved in casting. For this process, we had the privilege of working with a top-notch casting director, Lindsay Brooks – she brought in a lot of extremely talented folks, so it was really difficult to make the casting decisions since we had such fabulous choices. I worked closely with Artistic Director Oanh Nguyen in the final casting process. I am thrilled to be working with six terrific actors who are new collaborators for me: Branda Lock, Emma Laird, Audrey Forman, Erik Scilley, Will Martella, and Johnathan Middleton. They make me laugh every day!

Glamgical: Is the microcosmos of a corporate office a reflection of society at large?

Marya: Yes! Whether or not you work in an office, I think you can relate to being in a pressure cooker environment in which societal structures and expectations of achievement pit colleagues against one another – whether it is in a corporate office, a parents’ association, or an academic faculty, there are patterns of behavior and underlying social systems, including dynamics of gender, race, and class, that persist. As a colleague in one professional environment once told me “it’s Game of Thrones!” Unfortunately, human nature persists no matter the environment, so it’s up to us to decide if we will succumb to our baser instincts or choose to fight that dynamic and try to treat others with genuine decency and respect. Personally, I like to believe that making the latter decision pays off in the long run in the respect one gains from one’s peers.

Glamgical: As a director, how do you achieve the unification of the creative elements in a theatre production?

Marya: Much of directing is about building trust, rather than competition, among the teams I collaborate with. Theatre is such a collaborative art form – the designers literally have no product without each other, without the actors, without the producing team – it only works when we all work together. So, I think really trying to respect the vision of each collaborator, while also noting where the elements may not be in synch, ultimately gets the show where it needs to go. My motto is, “it’s about the work” – so it can’t be about any one person’s ego, but about serving what we all think serves the story in this particular time and place. I am so lucky on this show to be collaborating with Christopher Scott Murillo, Adriana Lombardi, Andrea Heilman, and Erik Backus, and the top notch production team at The Chance who make it all possible.

Glamgical: You have worked in theatre and film. What are the freedoms and limitations of each medium?

Marya: In film, every shot needs to be planned carefully in advance in order to make the production cost effective. That can be both limiting and freeing. In theatre, there is more opportunity to iterate with the actors, and discover new aspects of the play together. The iterative process in film happens later – once the film has been shot and you try different cuts out on various audiences and stakeholders.

Glamgical: What is your opinion of the current state of theatre in Los Angeles and Orange County?

Marya: Many changes that have made producing live theatre more expensive, just as audiences have shifted their habits. At the same time, positive changes to the field have come about, especially an expansion to more inclusive programming. The economics of the theatre have been challenging for a long time, but there are so many incredibly creative, inventive people making excellent work, that I believe the theatre field can continue to rebound and bring in new audiences while still serving those who have traditionally been theatre lovers. It’s a big tent! I think artists will always be driven to make art; and there will always be audiences that want to share live experiences.

Branda Lock

Glamgical: What was your reaction the first time you read Gloria?

Branda: I was very surprised and shocked because of the big plot twist at the end of Act I. I also was immediately struck by how brilliant the script is with such crisp dialogue, a very cleverly crafted plot and characters, and some deeply provocative themes. I’m a big fan of Branden Jacobs-Jenkins work.

Glamgical: Tell us about your experience auditioning for Gloria.

Branda: Funnily enough, this was actually my first audition I did after several months because of a promotion I received from my 9-5 job this year. I was nervous because I felt so rusty but the amazing staff, volunteers, and production team at Chance Theater were so professional and friendly they really made me feel as at ease as possible and the whole audition and callback process seemed to go so smoothly from my perspective.

Glamgical: What are the main characteristics of your character in the play?

Branda: I get to play two characters in this production, Gloria and Nan (Nancy). I would say the main characteristics of Gloria are that she is lonely and isolated but a very hard worker even though she is a little awkward. Nan is also a hard worker but more socially adept and quite pragmatic and clever.

Glamgical: As an actress working in Los Angeles, is the environment in Gloria similar to the environment in showbiz?

Branda: I wish I could say they are vastly different but the more I get to know the world of this play the more similarities I can see between the editorial world and showbiz – in particular both industries’ quickness to commodify certain experiences, especially traumatic experiences, regardless of the cost to people’s humanity.

Glamgical: You started your acting career in Washington D.C. How was the transition from Washington to the LA scene?

Branda: It was quite difficult, not just because I moved so far away from my family and friends back east but because Washington D.C and Los Angeles are two very different types of entertainment towns. I have always focused my acting and directing ambitions towards the stage and D.C. has a very large stage theatre presence whereas Los Angeles is obviously more of a film and television city. But once I started finding the good “gem” theatres in Los Angeles and the surrounding areas I quickly started making friends and building up my theatre family here.

Glamgical: Who are the major influences in your acting career?

Branda: The biggest influences are my theatre teachers and professors from school of course, as well as a couple directors who I’ve had the good fortune to work with and become friends with over the years. Technique wise: Stanislavski, Checkhov, Adler, Boleslavsky, Laban, Bogart. Actors I admire: Emma Thompson, Viola Davis, Mary Louise Parker, Alan Rickman, Gregory Peck, Judi Dench, Chiwetel Ejofor, Robin Wright, Anthony Hopkins, Florence Pugh, Mark Rylance, Katherine Hepburn, Billy Crudup, Glenn Close, Lupita Nyong’o, Maggie Smith, Tom Hanks, Emily Blunt, Jimmy Stewart, Oprah, Frances McDormand, Alan Alda, Shirley McClain, John Tuturro, Julie Andrews, Robin Williams, Cate Blanchett, I could go on and on. Also the plays I happen to be reading or movies or TV shows I happen to be watching or are in the collective consciousness at any given time definitely influence me.

Glamgical: What is the most exciting part of working in theatre in LA?

Branda: All the amazing access to all the culture and art that comes with living in one of the biggest entertainment cities in the world! There is not a day that goes by in this city and the surrounding areas that you can’t find a play, or music concert, or screening, or gallery, or opera, or poetry reading, or ballet, or symphony, or interactive piece to go and see or be a part of which is just amazing to me.