Interview with Dr. Paul J. Zak (aka “Dr. Love” from “The Bachelor”), David Ihrig, and Eloise Coopersmith

Irvine Theater Company and Dr. Paul J. Zak (aka “Dr. Love” from “The Bachelor”) have teamed up to create a wholly unique theatrical experience this summer for lovers, those in search of love, and fans of all things cheesy (like Hallmark movies). Utilizing Zak’s cutting edge Tuesday App, attendees can test their compatibility with other theatergoers in attendance and find a real connection. Welcome to the world of My (unauthorized) Hallmark Movie Musical and “Dr. Love’s Rom-Com Experience”. 

Below is the interview with Dr. Paul J. Zak, David Ihrig, and Eloise Coopersmith.

Dr. Paul J. Zak

What need that wasn’t addressed motivated you to create the Tuesday App?
Most of my professional life has focused on developing knowledge and technologies so that people can live longer, happier, and healthier lives. Tuesday is the result of this 30 years of effort.

Your body of work includes different disciplines like neuroeconomics, neuromanagement, and neuromarketing. How can they all help an individual to achieve success and happiness?
Happiness depends on the choices we make. Tuesday identifies the choices and activities that provide the most value neurologically to people and thereby guides them to be happier. This is true for individuals, patients, customers, and employees and businesses that focus on creating extraordinary experiences are extraordinarily profitable.

What role do neurotransmitters dopamine and oxytocin play in reaching a state of immersion?
Immersion–the brain’s valuation network for social-emotional experiences–is primarily driven by the actions of dopamine and oxytocin. Dopamine binding to the brain’s prefrontal cortex keeps us present, while oxytocin captures the emotional resonance of an experience. Tuesday measures the electrical activity these neurochemicals induce in the nervous system second by second so people can see what truly creates value for them.

Technology was supposed to make it easier for humans to connect with each other.    Instead, we see an alarming increase of isolation due to excessive internet use. What failed? And how can we make it fun again to interact with other people?
This is the key question! With hybrid work, fear of infection, and smaller families we are losing the ability to get together, have fun and socialize. This is where entertainment, including plays and movies, comes in. Immersion is always higher when there are more people involved–we laugh more watching a movie in a theater with others than watching at home. My hope is that the Tuesday app will show users objectively how important it is to have enjoyable experiences with others, to form new connections and friends, and even to fall in love. Human thriving requires that we spend time with, and connect to, others.

David Ihrig

What did you find attractive about My (unauthorized) Hallmark Movie Musical?
Well, I was looking for a show that explored themes of love and relationships with the specific intent of using Paul Zak’s technology, and Eloise’s charming musical that deals with themes of love and empowerment was a perfect fit. I knew from experience that using Paul’s Tuesday app was great fun for people, because it often provides surprising personal insights–the brain never lies! We want to offer audiences a new expanded experience that goes beyond the curtain call. We are going to be using prompt stations around the light-hearted content of the show so people can observe their own unfiltered reactions in real time through the Tuesday app.

And what truly attracted me to Eloise’s play was an observation she shared from her previous performances. She noticed that people didn’t want to leave at the end of her show. People would sort of linger in the lobby. And I thought, well heck, this is exactly how we can give them what they want. “Dr. Love’s Rom-Com Experience” will spark conversations and enhance the sense of community that already exists from having just watched a show together.

Years ago, I learned from my neuroscience community about the pitfalls of self-reporting. I have since found Paul’s technology to be a great teaching tool because the brain never lies. For example, during scene study classes, I would ask my acting students why they had a certain reaction. And they would earnestly answer me, with what I now know were confabulations. In other words, they made up explanations in retrospect. The reality is that we have many, many brain processes working all the time that are outside of our awareness and we simply do not have the capability of consciously knowing why we behaved in one way or another. So, the more fruitful approach to self-discovery is to guide people through specific experiences while monitoring brain activity and read the brain’s response in relation to chosen prompts.

Tell us more about the Irvine Theater Company and its immersive theatrical experiences.
Irvine Theater Company was primarily founded as a hub to practice a brain-based approach to the dramatic arts. We believe that our new attention-based methods will do for ITC in Irvine what Stanislavski’s system did for the Moscow Art Theater. Stanislavski’s productions became popular because his methods created a new style of live performance, which was prompted by advances in the technology of his day. For him, it was advances in lighting that allowed for smaller indoor performances which arguably led to the shift to realism in theater. I see an evolving genre of live performance in response to today’s evolving technology. This evolution has already begun, and the industry is currently taking baby steps. But in my opinion, the industry can’t fully embrace the potential of today’s technology in storytelling until they embrace new mental models. ITC’s attention-based models put us in the position to be leaders in creating tomorrow’s entertainment. Our goal is to build the Theater of Tomorrow at the Great Park in Irvine and use our methodologies and today’s advanced technology to develop productions that will enhance the audience’s experience.

What kind of classes and workshops are provided at Irvine Theater?
As you might imagine, we teach a brain-based approach to the dramatic arts. The models we use were developed in collaboration with a team of neuroscientists at UCI. These new ideas are quite simple, but they turn the conventional wisdom surrounding acting on its head, and look at a practical approach for today’s actors based on contemporary knowledge from the cognitive sciences. My new book is The Actor’s Algorithm–Seven Brain-Based Steps to Embody Character. And we will offer classes this Fall to teach our system of character embodiment.

Something really exciting is the 10-minute Play Festival. Who can submit their work and what are the dates of the festival?
I love your excitement. Irvine is home to 330,000 residents. We have a highly educated population that appreciates culture. We have prolific theater departments in our high schools and colleges and our graduates have no professional outlets in which to ply their crafts.

ITC’s 10-minute play festival seeks to provide an outlet for local dramatic artists. The plan is to hold the first festival in the summer of 2025.

Of course, ITC will put our own spin on the standard festival model. One of the benefits of our brain-based methodology is it provides an efficient method for writers. The plan is to gather all participating artists together four weeks prior to the performance, teach a workshop in brain-based story development, and then see what these brain-based teams come up with afterwards. Perhaps we should also have a traditional category and then compare the two creative processes?

Eloise Coopersmith

What is so special about romantic movies?
Last year, 80 million viewers watched a Hallmark Christmas movie, according to Forbes.com. I can’t be alone in saying these movies make you feel happy, safe, and hopeful that the world is a better place. What’s not to love?

How did you develop the idea for My (unauthorized) Hallmark Movie Musical?
During COVID I worked my other job as Residential Real Estate Appraiser- I was inspecting many houses and homeowners would ask me, “ Why aren’t you dead?” I took their trauma home with me. One day. I turned on the television. Truthfully, until then I had never seen a Hallmark movie. I became obsessed (these movies are positive and predictable and make you feel good) so I started to write my own Hallmark movie about an essential worker reigniting her romantic flame while crafting her own Hallmark Movie. She’s an inveterate Hallmark Channel viewer, battling pandemic burnout with dark chocolate, red wine, and a craving for uplifting escapism. Writing this show got me through some dark times. My mission is to spread positivity and make others feel good. My production company rented Chance Theater, cast actors, rehearsed over Zoom and shot for 6 days. We opened in Los Angeles in December 2021 to rave reviews, took the show to Edinburgh the next year (where everyone LOVED the rom-com magic), and spent last year touring in upstate New York and Virginia, finishing with 6 weeks in San Francisco (The city by the Bay said, “Hurray”!).

How did you connect with Dr. Zak?
The producer of the event, David Ihrig at the Irvine Theater Company is the brainchild for this collaboration. My show is a one-woman show with 8 actors through the magic of multimedia and David’s theater loves technology. When I read the description of Paul Zak’s Tuesday App – “Track and compare what you love so you can do more of those things and less of the stuff that brings you down” – I was excited to connect!

Is it easier to find love using technology?
That is what we will find out. Per David Ihrig- the brain doesn’t lie. So, we will all come face to face with others and with our true selves. I like to think we are re-inventing the meet-cute! (“Meet-cute” = two characters in a film or television show have an amusing or charming first encounter that leads to the development of a romantic relationship.) We will see….

Romance and music, that sounds like a winning combination, How much fun will the audience have when they come to the show?
How much fun? More fun than a bodega cat on a tuna truck! More fun than belting ‘Singing in the Rain’ during a downpour! More fun … so much fun you will want to come back and play again and again. It’s a magical journey, and who can’t use more magic in their life.

“My (unauthorized) Hallmark Movie Musical” and Dr. Love’s Rom-Com Experience

“My (unauthorized) Hallmark Movie Musical” and Dr. Love’s Rom-Com
WHAT: “My (unauthorized) Hallmark Movie Musical” and Dr. Love’s Rom-Com Experience
A Rom-Com Experience you will never forget! Whether you’re looking to spice up your date night, find that special someone, or you’re just a fan of everything romantic and cheesy… love is in the air at Irvine Theater Company. The delightful new show, “My (unauthorized) Hallmark Movie Musical” will fill your heart with joy and “Dr. Love’s Rom-Com Experience” will provide a unique blend of mingling, games, and a chance to use the cutting-edge Tuesday app (developed by Dr. Paul J. Zak, aka “Dr. Love” from “The Bachelor”) to test your compatibility with others. This one-of-a-kind event is only available at Irvine Theater Company, so get your tickets now!
WHEN: July 26 – August 10, 2024
Fridays at 7:30 p.m., Saturdays at 2:30 p.m. and 7:30 p.m.
FULL EVENT RUNNING TIME: 2 hours, 30 minutes
WHERE: Canvas, 17332 Von Karman Avenue #115, Irvine, CA 92614.
TICKETS: $35-$60
MORE INFOwww.IrvineTheater.com or ‭(949) 422-6896‬

“The Male Intellect: An Oxymoron?” and “Woody Sings: The Musical Legacy of Woody Guthrie”

LAGUNA PLAYHOUSE announces

Two Very Special Events this June!

 

THE MALE INTELLECT: AN OXYMORON?

&

WOODY SINGS: 

THE MUSICAL LEGACY OF WOODY GUTHRIE

 

June 10, 2024…Laguna Beach, Calif… LAGUNA PLAYHOUSE is thrilled to announce two very special events coming up later this June!  Robert Dubac’s critically acclaimed, hilarious and insightful, THE MALE INTELLECT: AN OXYMORON? and an evening of music from the legendary American songwriter Woody Guthrie, WOODY SINGS: THE MUSICAL LEGACY OF WOODY GUTHRIE starring award-winning actor/singer David M. Lutken and his band of talented multi-instrumentalists. Both shows will perform beginning the week of June 26 at the Laguna Playhouse, 606 Laguna Canyon Drive in Laguna Beach.  

 

THE MALE INTELLECT: AN OXYMORON?

June 26 – 27, 2024

$41 – $51

 

Robert Dubac’s THE MALE INTELLECT: AN OXYMORON? is an international comedic phenomenon. Described by The New York Times as “Hilarious…a one man tour de force!” – it is hands down one of the funniest solo shows you will ever see.

Men and women from eighteen to eighty laugh non-stop as Robert Dubac embarks on a quest to answer the age old question, “What do women want?” With a shrug of his shoulders or a crook of his neck, he seamlessly transforms himself into five hysterical boneheads who offer sidesplitting advice on how to best straddle the gender gap – all while drinking a beer.

Hailed by critics and audiences alike: “THE MALE INTELLECT: AN OXYMORON? is a rare thing; a clever combination of theater and stand-up comedy that is laugh-out-loud funny, provocative and insightful all at once. There are two types of people who should rush and see it – men and women!” – The Providence Journal                                                              

WOODY SINGS:

THE MUSICAL LEGACY OF WOODY GUTHRIE

June 29 – 30, 2024

$41 – $51

Join us for a joyous, inspirational tribute to the Oklahoma troubadour that the Rock and Roll Hall of Fame calls “the original folk hero.” Award-winning actor/singer David M. Lutken and his band of talented multi-instrumentalists share the depth and breadth of Woody’s musical legacy: satire, wanderlust, heroism, heartache, activism and organizing – stirring ballads and energetic foot-stompers, songs he wrote, songs that inspired him, and songs from artists that Guthrie’s words, music and spirit continue to inspire. “This Land Is Your Land”, “Pastures of Plenty,” “Bound for Glory,” “Union Maid,” “Pretty Boy Floyd,” “Roll on, Columbia,” and many, many more. Come sing along!

   

ABOUT THE SCHEDULE AND PRICING

THE MALE INTELLECT: AN OXYMORON?

Wednesday, June 26 & Thursday, June 27 at 7:30pm

$41 – $51

 

WOODY SINGS: 

THE MUSICAL LEGACY OF WOODY GUTHRIE

Saturday, June 29 at 2:00pm & 7:30pm; 

Sunday, June 30 at 1:00pm

$41 – $51

 

Tickets can be purchased online at www.lagunaplayhouse.com or by calling (949) 497-2787. Group discounts are available by calling 949-497-2787 ext.229.  Prices subject to change.                                                                                                                                                      

The box office is open Tuesdays – Sundays: 12pm to 4pm; Mondays open 2 hours prior to show time and until 15 minutes after curtain.  Open until showtime on all performance days.

For more information on all shows and programming visit www.lagunaplayhouse.com.  LAGUNA PLAYHOUSE is located at 606 Laguna Canyon Road in Laguna Beach. 

IMPACT ANAHEIM  Giving Day

Chance Website Header.png

FOR IMMEDIATE RELEASE

Chance Theater is proud to participate in the

impACT Anaheim  Giving Day

driving creativity and community for an inspiring future!

ANAHEIM, CA: Anaheim’s official resident theater company is thrilled to announce its participation in the impACT Anaheim Giving Day, a community-wide event dedicated to supporting local nonprofits and their impactful initiatives. As one of Anaheim’s premier cultural institutions, we are committed to enriching the community through the transformative power of live theater.

Taking place on June 5th, impACT Anaheim Giving Day provides an opportunity for individuals and businesses to unite in support of causes that resonate with them. Known for its commitment to artistic excellence, education, and community engagement, our theater invites supporters to join in this collective effort to make a positive difference in Anaheim and beyond.

By contributing on impACT Anaheim Giving Day, donors play a vital role in sustaining our mission-driven programs and initiatives. These contributions will help us continue to:

Provide Accessible Youth Theater Programs: Our Speak Up programs are a significant part of our educational outreach, designed to give voice to various community members.

Veterans Speak Up offers veterans a platform to share their stories, promoting social healing and deeper community understanding. Participants can record meaningful conversations, and collaborate with theater artists.

Spectrum Speak Up is a free summer theater camp for teens on the Autism Spectrum, focusing on acting, writing, directing, and team-building. This program helps participants find their unique voice and talent, culminating in an original show.

Engage with the Community: Through post-show talkbacks, outreach initiatives, and partnerships with local organizations, we foster meaningful connections and dialogue both on and off the stage.

Support Emerging Artists: By offering mentorship opportunities, collaborative projects, and professional development initiatives, we nurture a vibrant and diverse artistic ecosystem.

Produce Innovative Theatrical Productions: Our upcoming summer musical production is “Sweeney Todd, the Demon Barber of Fleet Street,” directed by James Michael McHale. This thrilling musical masterpiece will captivate audiences with its gripping narrative, intense score, and stellar performances, running from July 20 to August 11, 2024.

“Alma”: This powerful play explores the bond between a mother and daughter as they navigate the complexities of the American Dream. With a litany of amazing reviews and recommendations, this sold out extended production touched the hearts of our community and has stirred numerous patrons to reflect on the society that want to contribute to.

OTR Series: Our On The Radar series showcases new and groundbreaking works, providing a platform for emerging voices in the theater community, including Dustin H. Chinn, the Chance’s 2024 Resident Playwright. Past Resident Playwrights include Keiko Green, Exal Iraheta, B.J. Tindal, Krista Knight, Jessica Huang, Joanna Garner, Ted Malawer, Jenny Connell Davis, Lauren Yee, Nick Jones, Marshall Pailet, Zayd Dohrn, and Adam Szymkowicz.

How to Participate:

To learn more about our participation in impACT Anaheim Giving Day and how to make a donation, visit the Chance Theater Giving Day page. As we navigate the challenges posed by the ongoing pandemic, community support becomes more crucial than ever. By participating in impACT Anaheim Giving Day and contributing to our theater, individuals can directly impact the cultural landscape of Anaheim and contribute to the resilience and vitality of the arts.

The Spy Who Went Into Rehab

WHAT“The Spy Who Went Into Rehab”

Playwright: Gregg Ostrin
Director: Cyndy Fujikawa
Presented by Pacific Resident Theatre

Graphic SPY.pngDESCRIPTION: What happens when a James Bond-like spy gets sent to rehab because of his drinking, gambling, womanizing and anger issues? A comedic look at how an outdated male relic who still embodies toxic masculinity learns to think differently, courtesy of a colorful group of “woke,” self-aware recovering addicts. His journey to enlightenment gets derailed, however, when his archenemy shows up for a final confrontation.

WHERE: Pacific Resident Theatre

703 Venice Blvd.
Venice, CA 90291
Street parking or small free lot in back: https://pacificresidenttheatre.org/18272-2/

WHEN:

Opening: 8pm on Friday, June 7, 2024
Schedule: 8pm Fridays, Saturdays; 3pm Sundays
Closing: July 7, 2024

HOW: Reservations online: https://pacificresidenttheatre.org/

Phone: (310) 822-8392

HOW MUCH: Tickets $35

55+ Discount $25; Student Discount $12;
$12 Student rush offered at door.

Facebook: PacificResidentTheatre / X: @PacificResThtr / Instagram: @pacificresidenttheatre

Wendy’s Peter Pan Brings Neverland to Life at Theatricum


NEWS RELEASE

 ‘Wendys Peter Pan’ brings

Neverland to life at Theatricum

WHAT:
Calling all young-at-heart: Will Geer Theatricum Botanicum has transformed its uniquely beautiful outdoor amphitheater into the imaginary isle of Neverland for a magical production of Wendy’s Peter Pan.

WHO:
• Adapted from J.M. Barrie’s 1904 play by Ellen Geer
• Directed by Ellen Geer
• Presented by Will Geer Theatricum Botanicum

WHEN:
Performances: June 22 – October 4
• Saturday, June 22 at 7:30 p.m.
• Saturday, June 29 at 7:30 p.m.
• Saturday, July 6 at 7:30 p.m.
• Sunday, July 14 at 7:30 p.m.
• Sunday, July 21 at 8 p.m.
• Friday, July 26 at 7:30 p.m. * **
• Friday, Aug. 9 at 7:30 p.m.
• Sunday, Aug. 18 at 7:30 p.m.
• Sunday, Aug. 25 at 7:30 p.m.
• Sunday, Sept. 1 at 7:30 p.m.
• Sunday, Sept. 8 at 7:30 p.m.
• Saturday, Sept. 14 at 7:30 p.m.
• Saturday, Sept. 21 at 7:30 p.m.
• Saturday, Sept. 28 at 7:30 p.m.
• Friday, Oct. 4 at 7:30 p.m.
*Prologue (pre-show discussion): FridayJuly 26 from 6:30 p.m.–7 p.m.
**Pay-What-You-Will performanceFriday, July 26

WHERE:
Will Geer Theatricum Botanicum
1419 N. Topanga Canyon Blvd.
Topanga CA 90290
(midway between PCH in Santa Monica Canyon and the 101 in the San Fernando Valley)
Topanga Canyon Blvd is currently closed between the theater and PCHto access Theatricum from the Valley, exit the 101 at Topanga Canyon Blvd. South.

TICKET PRICES:
• Adults: $48 (lower tier); $30 (upper tier); $60 (premium seating)
• Seniors (65+), Students, Military Veterans, Teachers, AEA Members: $35/$20
• Children (5-15): $15
• Children 4 and under: Free
• Friday night, July 26: Pay-What-You-Will (cash only at the door)

OTHER:
• The outdoor amphitheater at Will Geer Theatricum Botanicum is terraced into the hillside of the rustic canyon. Audience members are advised to dress casually (warmly for evenings) and bring cushions for bench seating.
• Patrons are welcome to arrive early to picnic in the gardens before performances.

PHOTOS:
Click here to download photos of Theatricum’s one-of-a-kind outdoor setting in the heart of Topanga Canyon.

HOW:
theatricum.com
(310) 455-3723

CASA FUEGO World Premiere Play

CASA FUEGO

World Premiere Play

Los Angeles, CA. May 15, 2024. A Handmade Mansion, sheltering a First Generation Latinx/e Family – filled with Clairvoyance, Expectations, and a Violent Incandescence that has been in brew for centuries. Will a Visitor from the Past – the Root of all their Heightened Conditioning – Spark more Turmoil? Or, can they Extinguish their Turbulent Ways for Good? “Casa Fuego” opens Saturday, June 8 at the McCadden Theatre Place as part of the Hollywood Fringe Festival.

The narrative revolves around Vergara and Salma, sisters whose turbulent relationship drives the plot. As they gear up for a double date with Ruben and Gabriel, tensions simmer fueled by their contrasting personalities. Vergara’s carefree spirit contrasts with Salma’s soulful nature, causing them to drift apart despite their familial bond.

Meanwhile, their parents, Guzman and Flori, along with detached brother Esteban, worsen the family discord. Conflicts escalate during the evening, with Flori’s clairvoyance hinting at danger. Armed with this knowledge, the sisters brace for the peril of their date. However, a divine intervention disrupts fate as a visitor from their past arrives to mend their bonds. Through this transformative experience, they discover the power of unconditional love, breaking down barriers. CASA FUEGO blends drama, comedy, and mysticism, delving into family dynamics.

“CASA FUEGO is being brought to life because it’s deemed vital. Within the Latinx Culture, there are entrenched cycles that perpetuate harmful patterns affecting everyone involved. These include domestic violence, both physical and verbal, as well as the sexualization of inherited neuroses. Additionally, there’s a pervasive fear of the unknown stemming from historical and personal traumas, impacting both physical and mental health,” exclaimsAmaya Navaro. “However, amidst these challenges, there’s also immense beauty to celebrate within the culture. Customs marked by grace and selflessness, manners that convey love and respect, and a work ethic coupled with clairvoyance capable of monumental achievements. With these aspects in mind, the CASA FUEGO Cast/Crew are enthusiastic about sharing this story with the world.”

WHO: Presented by: Krystal Anaís Amaya Navarro. Directed by: Krystal Anaís Amaya Navarro. Cast: Aleta Soron, Krystal Anaís Amaya Navarro, German Anselmo, Derlin Moncada.

WHERE: McCadden Theater. 1157 N McCadden Pl, Los Angeles, CA 90038.

WHEN:

Saturday, June 8th at 1:30PM
Saturday, June 22nd at 4:30PM
Saturday, June 29th at 8:30PM

TICKET PRICE: 15$ https://www.hollywoodfringe.org/projects/10879?tab=tickets

Admission Age: 15+. Running time: 90 minutes

Governor Newsom Urged to Reverse Arts Funding Cuts

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NEWS RELEASE

 Arts advocates launch campaign urging Governor Newsom to reverse arts funding cuts proposed in May revise

Newsom’s draconian 58% cuts to critical arts programming to have catastrophic consequences on creative industry that supports 847,688 jobs

Rural communities and communities of color to be most impacted

CALIFORNIA (May 15, 2024) — On Friday, May 10, 2024, Governor Gavin Newsom presented his May Revision proposal for the 2024-25 State Budget. With a remaining $27.6 billion dollar deficit in the current year, the arts were among the hardest hit in Newsom’s proposed spending cuts. The May Revise proposes fully cutting the state’s innovative Performing Arts Equitable Payroll Fund ($12.5 million), plus a reduction of 38% in state grant funding for small arts nonprofits through the California Arts Council (CAC).

“In total, we’re looking at budget cuts upwards of 58% that will decimate California’s small nonprofit arts organizations and industry workers reliant on this funding,” said Julie Baker, CEO, CA Arts Advocates. “While we understand that every agency and sector must play their part to balance the budget, the cuts to arts and culture are massively disproportionate. We had hoped we were long past the days when the arts were the first to be cut and undervalued. The state’s recent investments recognized the creative industry’s essential service for bolstering the economic and social health of local communities, especially as an industry still very much in post-pandemic recovery.”

Since 2020, a broad coalition of arts and culture workers, entertainment unions, producers, nonprofits, live entertainment venues, music  film, tv, and movie theater representatives have worked together on public policies and resources to ensure the recovery and sustainability of the creative industries. However, while some parts of the arts and culture ecosystem have recovered from the impact of COVID, many have not, most notably the nonprofit performing arts. The sweep of the $12.5 million intended for the Performing Arts Equitable Payroll Fund, a groundbreaking program that supports live arts workers at smaller, nonprofit companies, was approved just a few years ago with a strong, bipartisan vote from the Legislature. This policy innovation remains critical to stabilizing the performing arts workforce. The Governor’s cut erases five years of building a legislative solution to address the deleterious impacts of both rising labor and operational costs and the pandemic on California’s small performing arts organizations.

“Over the past four years, our small performing arts nonprofits have suffered severe losses. During this time, our coalition urged the Legislature to act or risk decimating the live arts sector. The stakes today remain high: artists make up one of the most vulnerable populations in California and their jobs are crucial to preserve the State’s creative workforce. Last September, pilot funding for the Performing Arts Equitable Payroll Fund (EPF) was welcomed as a strategy to restore sustainability. Though $12.5M won’t balance the state budget, it will save the EPF and many arts workers’ livelihoods,” says Martha DemsonBoard President of Theatre Producers of Southern California.

Currently, Arts & Culture production drives 8% of California’s economy, producing over $290 billion in direct impact and supporting 847,688 jobs; it also drives 7.3% of state tax revenues.  Meanwhile, the California Arts Council is already functioning at a cut-level and the performing arts community is facing unprecedented challenges.

“The state’s commitment to the arts through modest investments deliver outsized impacts for California and must be protected to ensure a future that integrates arts and culture into solving civic issues, fostering social cohesion, revitalizing neighborhoods and ensuring access to the tools of creative expression and innovation for all,” says Al Vincent Jr., Executive Director, Actors’ Equity Association. “When people go to see live arts events, they generate economic activity – everything from spending on dinner and drinks to parking and childcare. When there is less arts funding, there is less economic activity in small cities and towns across the state. California has a chance to be a leader that prioritizes the arts and artists, not just when times are easy, but when times are hard. As the budget process proceeds, we look forward to engaging the Newsom Administration and the Legislature to restore this critical funding for the arts.”

In total, the Governor’s proposed $10 million cut to the California Arts Council’s budget for Local Assistance Funding represents a greater than 38% reduction to the $26 million allocation level at which it has been stalled for the past seven years. The highpoint of support for the California Arts Council’s programming was at $30.7 million in the 2000-2001 budget, which in today’s dollars counting for inflation would be $54.7 million. Since 2018-19, general fund support has plateaued at $26 million – just .67 cents per California resident.  At this level, California ranks 36th in the nation in per capita arts spending. In contrast, Florida spends almost $2.00 per resident. The $10 million cut to this program would position California at 45th in the nation in local arts assistance funding, just above Kentucky, Kansas and Georgia.

“It is unthinkable that California would fall to 45th in the nation when it comes to funding for the arts, trailing behind Alabama and Florida. The California Arts Council’s budget is already too small to meet the needs of this state with close to 850,000 workers employed in the arts and culture industry alone. In the 2023 grant cycle, roughly 54% of applicants were denied due to a lack of available funding. If this program is cut further, this will have a devastating impact on the field, especially in rural communities and communities of color,” says Jennifer Laine, Board President, CA Arts Advocates and Executive Director of the San Benito County Arts Council.

Theatre Review: King Hedley II

A Noise Within presents King Hedley II. Written by August Wilson. Directed by Gregg T. Daniel. Produced by Artistic Directors Julia Rodriguez-Elliott and Geoff Elliott. A Noise Within’s 2023-24 Season is presented by the S. Mark Taper Foundation.

Pittsburgh, 1985. King (Aaron Jennings) has been released from prison and is trying to provide for his mom Ruby (Veralyn Jones, Hamlet) and his wife Tonya (Kacie Rogers, Celestial Events, Arrowhead). Is America willing to give him a second chance? But he’s a Black man from a distressed neighborhood. And now with a criminal record, it might be too much to ask. Trying to survive, he pairs up with his friend Mister (Christian Henley) to sell refrigerators of dubious origin. With an entrepreneurial spirit and a little bit of luck, they plan to save up enough money to start a video store business. Great idea. Especially if the robbery goes as planned. But that’s not all, Tonya wants to abort King’s baby. And don’t forget Elmore (Ben Cain), a gambler with the swagger of a playboy, and a little secret.

August Wilson‘s piercing writing comes to life in Director Gregg T. Daniel‘s exhilarating version of King Hedley II. The play is a snapshot of the African American experience in Pittsburgh during the 80s, a time when the city lost more than 200,000 steel and manufacturing jobs. Wilson’s characters face the searing degradation of Pittsburgh’s quality of life. But they also symbolize the punishing discrimination endured by African Americans on a larger scale. King, in particular, reveals that he was convicted by an all-White jury that immediately perceived him as a threat, negatively affecting the outcome of his trial. As that status quo is still a contentious issue in America, Wilson’s writings continue to be relevant today. Still echoing. Still moving.

In a survival of the fittest atmosphere, King, Mister, and Elmore are forced to find ways to survive being Black, unemployed, and carrying the stigma of previous criminal convictions. Add to that a high unemployment rate and you have a pressure cooker situation ready to explode. However, Wilson leaves enough room for hope, not only in the symbols, such as the plant and King’s unborn baby, but also in the humor. The humor is as important in the play as much as the drama. It’s like music, made of sound and silence, creating a rhythm impossible to resist. The fantastic cast capture the cadence of the play, pulling the audience into their world; it’s an alluring and inspiring experience, cathartic and with a sense of urgency.

Jennings does a phenomenal job portraying the anger and frustrations of a whole generation of disenfranchised Black males facing an oppressive system. His performance is fierce, absorbing, a tour de force.

Gerald C. Rivers, The Merry Wives of Windsor, Trouble the Water, as Stool Pigeon, mesmerizes portraying the wise and prophetic neighbor. His language blends magically the Christian beliefs and the African spirituality of the Black community, displaying his skills as a Master West African Drummer.

The lighting is another critical element to convey the atmosphere and the psychological state of the characters. Lighting designer Brandon Baruch paints the feelings of the characters with yellow, brown, and red, an effective depiction of the urban decay and danger experienced during the 80s. Together with the striking scene design by Efren Delgadillo Jr., the production team delivers an outstanding setting to frame the grittiness of the story.

Another fascinating element is the music by sound designer Jeff Gardner. The music both as a transition and as a background reflects the tension of the subject matter; it’s gripping and sensual with a flair of film noir, bringing memories of the soundtracks of the TV series The Untouchables and the film Chinatown.

A Noise Within offers another valuable production, honoring one of the best playwrights of the 20th century. August Wilson’s King Hedley II is a powerful play that resonates loud and clear in today’s fragmented society. The six thespians deliver an electrifying poiesis that turns Wilson’s poetry into a memorable performance. It’s an excellent example of what happens when you put together a skilled director, a talented group of actors, and a remarkable script.

King Hedley II

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

Performances April 6 – April 28
• Thursdays at 7:30 p.m.: April 11*; April 25 (dark April 18)
• Fridays at 8 p.m.: April 12**; April 19**; April 26**
• Saturdays at 2 p.m.: April 13; April 20, April 27 (no matinee on April 6)
• Saturdays at 8 p.m.: April 6 (Opening Night); April 13; April 20 (no 8 p.m. performance on April 27)
• Sundays at 2 p.m.: April 14**; April 21, April 28

*The performance on ThursdayApril 11 is “Black Out Night,” an opportunity for an audience self-identifying as Black to experience the performance together; tickets include a post-show reception; non-Black-identifying patrons are welcome to attend, or to select a different performance.
**Post-performance conversations with the artists take place every Friday (except the preview) and on SundayApril 14

In addition to the above dates, four student matinees will take place on weekday mornings (April 10, April 17, April 18 and April 24) at 10:30 a.m. Interested educators should email education@anoisewithin.org.

Ticketsanoisewithin.org

Written by August Wilson. Directed by Gregg T. Daniel. Produced by Artistic Directors Julia Rodriguez-Elliott and Geoff Elliott. Cast: Ben CainChristian HenleyAaron JenningsVeralyn Jones, Gerald C. RiversKacie Rogers.

Creative team: Scenic designer Efren Delgadillo Jr; lighting designer Brandon Baruch; sound designer Jeff Gardner; costume designer Mylette Nora; wig and makeup designer Shelia Dorn; properties designer Stephen Taylor; and dramaturg DrMiranda JohnsonHaddad. The production stage manager is Taylor Anne Cullen, with Arielle Hightower assisting. The producing sponsors are Dick and Sally Roberts.

Theatre Review: Babe

Babe is presented by The Echo Theater Company, directed by Chris Fields, and written by Jessica Goldberg.

When a young Kaitlin (Wylie Anderson) goes for an interview to work for A&R genius Gus (Sal Viscuso), she finds a culture where bad behavior is still tolerated and complacency is a common occurrence. Kaitlin gets the job, but soon she realizes that the mastermind behind the biggest acts signed by the record label might be more the work of Abigail (Julie Dretzin), Gus’s assistant.

Kaitlin has been inspired by her singer idol Kat Wonders (also played by Wylie Anderson). On paper, Kat was discovered by Gus, but as the story unfolds, it is revealed that Abigail help developed Kat and other artists  into superstars. In a conversation with Abigail and intrigued by Kat’s death, Kaitlin perceives that maybe Abigail had romantic relationships with Gus and Kat in the past. Kaitlin also complaints about Gus’s insensitive behavior and questions Abigail for allowing Gus to get all the credits for the success of the label’s artists while relegating her to a lesser position.

Abigail  then becomes the main character in the play. Her relationship with Gus both professional and personal sheds light on the dynamics between these two characters. Abigail tolerated the abusive behaviors she witnessed in the music industry as a rite of passage without questioning the legality of it. She also helped Gus to develop and polish the acts the label had signed while he got all the credits and the biggest paycheck. In return, Gus gave Abigail the men, women, and drugs she wanted while securing her position in the label. Regardless of their silent agreement, everything changed after Gus fell out of favor with his boss and Abigail is offered the opportunity of a lifetime. It’s up to Abigail now to make an important decision in a critical time in her life.

One interesting exposition of the story is the different backgrounds of Abigail and Kaitlin. Abigail’s dad was a carpenter and her mom was a housewife. Kaitlin’s mom is a lawyer and her dad is a science teacher. Her dad’s actions however, is one of the reasons Kaitlin is specially sensitive about sexual harassment.

Jessica Goldberg’s play shows the older generations’ point of views that permeated the workplace behaviors that hurt so many people along the way. It also shows Generation Z trying to change things for the better and how the power of music can influence people to take action. But the play goes further than that. It explores the challenges of changing or modifying upper and middle manager’s old behaviors and even the victim’s own stupor that leads to inaction either by complacency or indoctrination. Change, as shown in one of the scenes, can mean different things to different people.

Wylie Anderson’s performance showed the transition of Kaitlin’s position in the record label. She was timid and a bit insecure during the interview, then frustrated by Gus’s harassment, and finally, empowered to stand up against abuse and demand changes within the organization. Julie Dretzin did an excellent job portraying the passive and troubled assistant that faces the challenges of an older generation of women and the opportunities that could open up for the new ones. Sal Viscuso offered the funniest lines as the vocal and abusive A&R legend that ultimately had to face his own demise.

The creative team includes scenic designer Amanda Knehans; lighting designer Hayden Kirschbaum; sound designer Alysha Grace Bermudez; and costume designer Elena Flores. The assistant director is Elana Luo, the associate producer is Elliot Davis, and the production stage manager is Danielle JaramilloChris Fields and Kelly Beech produce for the Echo Theater Company.

Babe

Written by Jessica Goldberg. Directed by Chris Fields. Starring Wylie AndersonJulie Dretzin and Sal Viscuso. Presented by The Echo Theater CompanyChris Fields artistic director.

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

Performances: Sept. 17–Oct.24
Fridays at 8 p.m.: Sept. 23; Sept. 30; Oct. 7; Oct. 14; Oct. 21
Saturdays at 8 p.m.: Sept. 17 (opening night); Sept. 24; Oct. 1; Oct. 8; Oct. 15; Oct. 22
Sundays at 4 p.m.: Sept. 25; Oct. 2; Oct. 9; Oct. 16; Oct. 23
Mondays at 8 p.m.: Sept. 26; Oct. 3; Oct. 10; Oct. 17; Oct. 24

Tickets: www.EchoTheaterCompany.com