Three Tables is a play written and directed by celebrated playwright Murray Mednick, who has been writing for theatre for the last sixty years.

The play shows two waiters, Sol (Richard Sabine) and Joe (John Fantasia) occupying a table while attending to the other two tables. The conversation between Sol and Joe reveals their concerns of another hate wave and the search of an explanation of Jewish history and beliefs, as they seem to be descendants of Holocaust survivors.

In the other table three actors are conversing about a play they are rehearsing. There is a tension conversation between Rodger (Michael Uribes, Theatre Review: Detained) and Christen (Laura Liguori). The other actor sitting with them is Mike (Corey Rieger), who suggests to imagine a well and use it as a concept for the play they are rehearsing. Rodger shows some vulnerabilities such as having an uncontrollable nervousness that disappears once he is on stage. Christen shows a tendency to express her sexuality publicly much to Rodger’s discomfort.

Three other actors Don (Dennis Renard), Casey (Eric Stanton Betts), and Margie (Raquel Cain) show up and seat on the other table where they seem to comment on a play they are rehearsing. At one point, Margie moves in coordination with Christen’s movements.

The actors deliver lines that express deep concepts related to love, sex, fears, history, and the meaning of life. Since Murray Mednick is a poet, his writing style is very lyrical, it’s a poem, a very powerful one. Poets use emotions, sensitivity, and imagination to write about history, values, ideas, but also to protect life against threats and stand up to dictators. In Three Tables, Mednick references history, in this case the Holocaust, to imply that the danger is not over, it is still there, lingering in the shadows. The sound design and original music by John Zalewski is excellent in conveying the latent sense of danger. The constant sound in the background that is heard throughout the play builds up the tension. The noises of riots and the knock on the door, all announce trouble. The lighting design by Azra King-Abadi Theatre Review: TEA combines intensities and colors to add a dynamic element to the message of the play.

Three Tables is a dramatic combination of words, lighting, colors, sound, and music that turn the stage into a poetic space in the form of theatre.

Three Tables

Written and Directed by Murray Mednick, produced by Racquel Lehrman, Theatre Planners, presented by Padua Playwrights

Zephyr Theatre
7456 Melrose Ave.
Los Angeles, CA 90046

Performances: April 23 – May 22:
Fridays at 8 p.m.: April 22 (Preview), April 29, May 6, May 13, May 20
Saturdays at 8 p.m.: April 23 (Opening Night), April 30, May 7, May 14, May 21
Sundays at 3 p.m.: April 24, May 1, May 8, May 15, May 22

Tickets: https://www.onstage411.com/newsite/show/play_info.asp?show_id=6177

TEA is a play that has been in production for the last 40 years. Written by Velina Hasu Houston, the story is a photograph of the lives of Japanese women that married American soldiers during the American occupation of Japan.

Adjusting to the American way of life proved to be a challenge for the five women portrayed in this play. It wasn’t just moving to America, it was moving to rural Kansas in the late ’60s, not exactly the most welcoming environment for Asians, specially the ones coming from Japan. This was the time and place where they had to face not just racism but also the consequent isolation that comes with it.

After Himiko (Tomoko Karina) kills her husband and commits suicide, the other four wives come together to clean her house and perform a tea ceremony. It is then that the individual stories and personalities of these women are revealed in great detail. An arrogant Atsuko (Hua Lee) thinks that because she is married to a Japanese American, she is better than the rest, Chizuye Juarez (Elaine Ackles) married a Mexican American and is the most assimilated of the group, Teruko (Olivia Cordell) married a white man, and Setsuko (Hiroko Imai) married an African American. The challenges to assimilate to America included things such as falling off the bed because is inches above ground level, learning how to use an American style toilette, learning how to drive a car into an automatic car wash, etc. Aside from those nuisances, the most disturbing side of the experience was Americans’ attitudes toward these Japanese wives. They were seen as a trophy to the triumph over Japan, some sort of second class citizens that were not welcomed, as they represented the enemy.

Under those circumstances, the tea ceremony was a connection to Japan to these women, even if the American assimilation meant to shed their Japanese identities. Meeting over tea was a way to pick up their pieces and honor the memory of Himiko, whose real struggles both in Japan and America are revealed during the meeting. The five actresses portray the point of view of the wives, husbands, and kids of these interracial marriages.  

We can see some hints of traditional Japanese theatre, specifically Nō, throughout this western contemporary play. The mask, the spirit of Himiko, the kimonos, the singing, and perhaps even the stairs working as the bridge are beautiful elements of Japan and its legendary theatre that has enriched the culture and lives of people in Japan and all over the world. The work of lighting designer Azra King-Abadi is extraordinary. The contrast in lighting reinforces the dramatic lives of these five women; the use of blues, reds, and oranges mirror the conflicts and emotions experienced by the characters. The costume design by Maggie Dick is also excellent as it offers a glimpse to the ’60s fashion in America and the meaningful monochromatic Japanese kimonos. The music and sound design by Dean Harada highlight the suspense and drama of the various stages of the characters’ lives both in Japan and America, making the audience more involved in the story. 

TEA   

Written by Velina Hasu Houston, directed by Rebecca Wear, produced by Gabe Figueroa, and presented by Hero Theatre, artistic director Elisa Bocanegra.   

Hero Theatre, company-in-residence at the
Rosenthal Theater
Inner-City Arts
720 Kohler Street
Los Angeles, CA 90021

Performances: April 23 – May 15
• Thursdays at 8 p.m.: April 21 (Preview), April 28, May 5, May 12
• Fridays at 8 p.m.: April 22 (Preview), April 29, May 6, May 13
• Saturdays at 8 p.m.: April 23 (Opening Night), April 30, May 7, May 14
• Sundays at 2 p.m.: April 24, May 1, May 8, May 15
• Sundays at 7 p.m.: May 1, May 8, May 15 (dark April 24)

Tickets: http://www.herotheatre.org/tea.html              

Norway, circa 1894. Nora has returned home, 15 years later after leaving behind her husband and children to start a new life as a free woman.

In A Doll’s House, Part 2, playwright Lucas Hnath continues the story of Nora Helmer (Jennifer Shelton) and her relationships with husband Torvald Helmer (Scott Roberts), nanny Anne Marie (Eileen T’Kaye), and daughter Emmy (Nicolette Ellis).

In Henrik Ibsen’s original ending of his play A Doll’s House back in 1879, Nora slammed the door, leaving behind her house, husband, and kids to embark in a self-discovery journey as a free woman, with no money and nowhere to go. As expected, Ibsen’s play caused a great deal of controversy at the time, as a woman’s role was limited to being a good wife and a nurturing mother. It has been said that Nora’s slamming of the door was heard all around the world, triggering a feminist movement never seen before. Lucas Hnath’s play adds more substance to the story by introducing new elements such as Tovard’s decision not to file a divorce after Nora’s departure, nanny Anne Marie’s point of view, and daughter Emmy’s life as a grown up and soon-to-be wife.

A Doll’s House, Part 2 tells us that Nora became a successful author, writing about women’s rights. She was able to buy a house with her own money and explore relationships with various men. All of her achievements are now being challenged by a judge that sees her feminist standpoint as unacceptable and wants her to retract from all of her writings. Since Nora uses a pseudonym to write, the judge threatens with exposing her real identity so people find out that she is indeed a still married woman making contracts for her writings without her husband’s consent, a crime punishable with jail time in those days. This is how Nora finds out that Torvald never filed for divorce, as only the husband could grant a divorce back then. Nora now has to return home to convince Torvald to dissolve their marriage and avoid prosecution.

Why did Torvald never file for divorce? What is nanny Anne Marie’s opinion on having to raise the three kids without Nora around? What does Emmy have to say about Nora’s absence? Did Nora make the right decision leaving her family behind to pursue her freedom? The play does not answer the latter explicitly. Rather, it presents the facts and consequences of such an impactful decision, showing what each of the characters think based on how they lived through that experience. From Anne Marie’s loud “Fuck you, Nora”, to Emmy’s mordacious “I know nothing about marriage, you left. But I know about absence”, the insults show the negative effects of Nora’s departure on the lives of these two characters. On the other hand, Nora’s only choice at the time would have been to stay and fake a perfect existence, living in misery and sacrificing her own dreams and goals just to fit social conventions. Sounds familiar? For Torvald, Nora’s departure wasn’t only a blow to his ego, it was also a punch to his heart, as the play paints him as a human being with a wide spectrum of feelings rather than just a one-dimensional caricature of a macho. It is now time for Nora to face the people she left behind and try to strike a deal, tempting Anne Marie with a better life and expecting Emmy to change her destiny to avoid the same misery she went through as a married woman. Will Anne Marie and Emmy side with Nora? Will Torvald grant Nora’s freedom once and for all? 

One of Nora’s statements was that through her writings, she wanted to inspire women to experience freedom so in the future they wouldn’t have to be in a state of submission. Fast forward to 2022 and that statement lingers in the air as a rhetoric question: Are women really free at this time in history?

As for the technical aspects of the play, the lighting design by Donny Jackson is creatively striking, ranging from dramatic, to high key, to low key at times, used masterfully for such a big and airy stage with a very high ceiling. Scenic designer Yuri Okahana-Benson worked with a very basic design, a table, a few chairs, and a big door frame, a perfect setting where the script and the actors are the main focal point. Director Trevor Biship-Gillespie makes great use of the space, blocking the actors to move around the big, circular stage, placing Nora downstage center when delivering some of her most important statements.

A Doll’s House, Part 2 is a remarkable realistic play that will start a conversation for sure, just as the original did more than 140 years ago, with humor, emotion, and conflict in the mix.

The International City Theatre is an ample and elegant place that will make your attendance a pleasurable and special one.

A Doll’s House, Part 2

INTERNATIONAL CITY THEATRE
Long Beach Performing Arts Center
330 East Seaside Way
Long Beach, CA 90802

Performances April 15 – May 1

Wednesday at 8 p.m.: April 13 ONLY (preview)
Thursdays at 8 p.m.: April 14 (preview), April 21, April 28
Fridays at 8 p.m.: April 15 (Opening Night), April 22, April 29
Saturdays at 8 p.m.: April 16, April 23, April 30
Sundays at 2 p.m.: April 17, April 24, May 1

For tickets: https://tix6.centerstageticketing.com/sites/internationalcity/event-details.php?e=726

Rapunzel Alone was commissioned three years ago, right before Covid took the world by storm. As it turned out, the pandemic accentuated the already crisis of isolation among kids and teenagers due to the tendency to be so attached to electronic devices and social media.

Rapunzel Alone is set during WWII when thousands of kids from main cities in England were sent to the countryside to save them from the German bombings. These kids were hosted by families that took care of them until the end of the war. Some kids adapted well to the new environments in farms, while others became miserable, as many of them had never even seen any animal farm in their lives. Some were even exploited as farm workers, laboring for long hours without much things to do to keep them entertained.

In the case of the protagonist, Lettie (Tara Alise Cox), she was sent by train to an isolated farm with a single woman with no kids called Miss Pearce (Jacquelin Lorraine Schofield). The new environment took Lettie by surprise. The smells, the animals, the isolation of the farm, and the strictness of Miss Pearce made a negative first impression on Lettie. To add another nuance to her life, Lettie had to feed Gertrude (handled by puppeteer Matt Curtin), a grumpy goose who likes to chase her around with the occasional bite here and there. As the story unfolds, we learn that Lettie can neither read nor write. It seems that one of the subtexts of the play is some kind of Lettie’s learning disability, as Miss Pearce tried unsuccessfully to teach her to read and write. Miss Pearce then decided to write Lettie’s letters to her parents, not always verbatim as dictated by Lettie. Things start to take a turn when Lettie meets Conrad (William Leon), the mail kid who thinks Miss Pearce is a witch. Conrad’s attitude towards Miss Pearce is influenced by his parents’ own bias. It is in one of their meetings that Conrad compares Lettie to Rapunzel, thinking that Miss Pearce is keeping Lettie confined in the farm for malicious purposes, setting off Lettie to become more defiant to Miss Pearce. This triggers Lettie’s temptation to leave the farm and go back to London by herself.

The play is a magnificent story of how humans deal with adverse situations and the extend of people’s reactions when faced with biased and negative interactions, a topic as current today as it was more than 80 years ago. More surprising is the similitude between the feeling of isolation of those kids that were sent to the countryside and the isolation of today’s children, not due to a war but due to the connection to the internet and the subsequent paradoxical disconnection from the world around them. Playwright Mike Kenny, who also serves as the narrator, was able to re-create a WWII story and make Rapunzel Alone as fresh as any contemporary story dealing with today’s issues. The delicate relationship between Lettie and Gertrude, the unique circumstances of Miss Pearce, the turbulent times depicted in the story, and the resolution among all of the characters make this play an outstanding piece, as exciting and relevant as the original Rapunzel fairytale.

The technical aspects take this play to another level. Directors Debbie Devine and Jesús Castaños-Chima added a special visual element by working with talented video designer Matthew G. Hill. The projections on the three walls of the proscenium representing London, warplanes, and the farm itself make the imaginary scenes more appealing and aesthetic. Adding a puppeteer handling a goose make the play even more technically challenging, something theatre enthusiasts definitely appreciate. To add something extra, there are Spanish subtitles projected on the wall for the Spanish-speaking audiences.

Rapunzel Alone is a compelling story that makes sure that challenging times as the separation of families during WWII and the instances of racism and isolation do not sink into oblivion. But the play goes beyond that. It gives hope that despite our differences, we could learn from the mistakes of the past and move forward to a better life, co-existing peacefully, even if history repeats itself.

Rapunzel Alone 

April 9 – May 1:
• Saturdays at 3 p.m.: April 16, April 23, April 30 (no matinee on April 9)
• Saturdays at 7:30 p.m.: April 9, April 16, April 23, April 30
• Sundays at 3 p.m.: April 10, April 24, May 1 (dark April 17)

24th Street Theatre
1117 West 24th Street
Los Angeles, CA 90007-1725

Written and narrated by Mike Kenny. Directed by Debbie Devine and Jesús Castaños-Chima. Starring Tara Alise Cox, Matt Curtin, William Leon, and Jacquelin Lorraine Schofield. Produced by Jennie Mcinnis.

Tickets: https://www.24thstreet.org/

A Death-Defying Escape is the personal story of Judy Carter, a magician turned comedian with a vast experience in the industry. This play it’s a journey that takes you into some pretty dark places, where life inflicts physical and emotional pain without discriminating age, race, or religion. It’s in those places where Judy learned how to cope with reality, using magic and comedy not only as a way to escape, but also as a way to connect with her loved ones.

Being a child with a severe speech impediment, having a sister with cerebral palsy, and having a father with drinking issues, taught Judy at a very early age that she needed to find a way to improve her situation and that of her beloved sister Marsha. If you add to the story the fact that being a lesbian was a scandal back in the day, then you have a perfect recipe for a storm. The beauty of this play is that Judy finds a very entertaining way to tell her story using the same elements she used to escape her reality, magic and comedy. From her early days at the family home, her days at the Magic Castle, to her experiences coming out and finding love, Judy delivers punch line after punch line that shows you that life can be fun even in the most adverse circumstances.

The script is a reflection of Judy’s experience performing on stage. Her perfect balance of magic, comedy, and storytelling, makes this a true gem of a play. Even when she reveals her lowest points in life, the lighting and background noises are carefully crafted to really make an impact. Yes, it s is a memorable play that will trigger a conversation on so many issues.

Joining Judy on stage are excellent actors Lyndsi LaRose (playing Mom and Samantha) and Kevin Scott Allen (playing Father, Grandma, and Assistant). The three of them deliver a magnificent performance where the script and their acting skills take over the stage, no fancy props needed.

A Death-Defying Escape is a play not to be missed. It might take you out of your comfort zone, it might show you the dark side of life, but it will move you, and it will inspire you to dream and to connect with the most important things in life.

A Death-Defying Escape

Written by Judy Carter, directed by Lee Costello, presented by Comedy Workshop Productions

Hudson Guild Theater
6539 Santa Monica Blvd,
Los Angeles, CA 90038

Performances: April 2 – May 15:
• Saturdays at 8 p.m.: March 26 (Preview), April 2 (Opening), April 9, April 16, April 23. April 30, May 7, May 14
• Sundays at 3 p.m.: March 27 (Preview), April 3, April 10, April 17, April 24, May 1, May 8, May 15

Tickets: https://deathdefyingescape.com/

Working Barn Productions presents the West Coast premiere of A Public Reading of an Unproduced Screenplay About the Death of Walt Disney.

Walt Disney, as a creator and business man, was a controversial figure. His legacy, however, continues up to this day. What playwright Lucas Hnath tries to do here is give Walt Disney a human dimension that gets him closer to simple mortals like all of us. The play is written as a screenplay-within-a play, which works effectively to present Walt Disney as a storyteller worth turning his own life into a movie, directing his own narrative.

The audience is presented with a megalomaniac Walt Disney (Kevin Ashworth), in constant conflict with his brother Roy (Thomas Piper), who tries to bring Walt to his senses, with little success. There is so much contention between the two brothers that things get physical at some point. Of course, the conflict is not only with his brother, Walt also starts to butt heads with Disney’s board, his daughter Diane (Brittney Bertier), and Diane’s husband Ron (Cory Washington). Yes, the screenplay is all about Walt, whether he’s right or not. All of the scenes in this screenplay touch on the controversies during his lifetime: Employees and their demand for better pay, his expectations about continuing his legacy through Diane’s kids, his obsession with building a city instead of just a park, his conflict with his wife, his distrust toward his brother Roy, and ultimately, his extropian ideas about cryonics and the future.

The play is blocked with a minimalist set design and lighting, with most of the action coming from the script itself. Lucas Hnath’s writing and Peter Richard’s direction keeps the dynamics of story moving forward at an exciting pace. The humor, the conflict, and the sadness of Walt’s demise is so engaging that the 75 minutes duration of the play feels so much shorter.  The egocentric personality of Walt Disney, but also his extensive legacy, draws the audience into a fascinating journey to the epicenter of the magic kingdom, the happiest place on earth, if only we wouldn’t have to die so soon.

A Public Reading of an Unproduced Screenplay About the Death of Walt Disney

Written by Lucas Hnath

Directed by Peter Richards

Produced by Racquel Lehrman, Theatre Planners

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

Performances: March 26 – May 1:
• Fridays at 8 p.m.: April 1, April 8, April 15, April 22, April 29
• Saturdays at 8 p.m.: March 26 (Opening Night), April 2, April 9, April 16, April 23, April 30
• Sundays at 2 p.m.: March 27, April 3, April 10, April 17, April 24, May 1

For tickets: https://www.onstage411.com/newsite/show/play_info.asp?show_id=6109

In Hooded or Being Black for Dummies, the fear of being arrested is a latent remainder of the pervasive view on race, no matter the social and economic status of a person of color.

Marquis (Jalen K. Stewart) is a black adopted child whose parents are white and live in a posh neighborhood identified in the play as Achievement Heights. Marquis attends a private school and his best friends are Fielder (Ezekiel Goodman) and Hunter (Vincent Doud), two white kids with unique views and family issues. In an incident where the three of them were trespassing, Marquis is the one who gets arrested and taken to the police station. When Marquis’ mom Debra (Tasha Ames), who is also a lawyer, gets to the station and confronts Officer Borzoi (Robert Hart) to set her son free, she sees Tru (Brent Grimes), a black kid who is also detained. After learning of Tru’s situation, she feels compelled to defend him and demands Officer Borzoi to let him go as well. She then takes Tru home so Marquis can have a black friend to teach him more of the black lifestyle.

As both start talking about their respective situation and their points of view, it becomes clear to Tru that because of Marquis’ white upbringing, he lacks of a black identity. They exchange opinions, and while Marquis is influenced by Nietzsche, Tru is influenced by 2Pac. It is here where the story turns even more intense, as Tru gets to meet Marquis friends Hunter and Fielder, not to mention their love interests Prairie (Tasha Ames), Meadow (Clare Margaret Donovan), and Clementine (Betsy Stewart, on Sunday’s performance, it was played by McKenna Slone), all of them with their own ideas on privilege and race. It is now Tru’s job to teach the boys how to get the girls.

Tru’s manual on how to be black is intended for Marquis to read, but instead, it lands on the hands of Hunter, who takes the material very seriously, so much that now he becomes a black kid trapped on a white body, much to Meadow’s confusion and amusement. The whole transformation is a hilarious representation of what many call cultural appropriation. In this play, however, the transformation ends in tragedy.

The play explores issues related to privilege, social disadvantage, racial identity, pop culture, love in the teenage years, and the good intentions of people wanting to understand their fellow human beings, no matter on what side they happen to be. Playwright Tearrance Arvelle Chisholm shows his stellar writing skills in dealing with deep subject matter, all while making things humorous and thoughtful. The direction of Ahmed Best makes it easy to translate the text and subtext into engaging actions that convey the powerful message of the story. This play is a highly entertaining gem not to be missed. The casting is a group of very talented actors with performances that will make you think, laugh, and appreciate the excellence of the local LA theatre scene.

Hooded or Being Black for Dummies

Atwater Village Theatre

3269 Casitas Ave, Los Angeles, CA 90039

March 12 – April 18, 2022

Tickets: https://www.echotheatercompany.com/hooded-or-being-black-for-dummies/

Apartment Living at the Skylight Theatre is a play that shows how the pandemic changed people’s lives and the challenges of the “stay at home” mandate.

Cassandra (Charrell Mack) and Alex (Gabriel Leyva) live together in an apartment and are about to get married, but soon realized that their goals might not be aligned. Dixon (Andrew Russel) works at a store and lives in an apartment with his mom Easter (Gigette Reyes), who is a nurse at a hospital. Mayisha (Geri-Nikole Love) is Cassandra’s friend and they’re in constant contact via video calls. As the pandemic intensifies, all of the characters’ endurance and relationships are stretched to the limits.

One of the main highlights of the story is the tremendous risks essential workers take to keep things running, oftentimes sacrificing their own safety, as in the case of Dixon’s mom Easter. The characters are forced to live together with others in small spaces for long periods of time, dealing with a disease in loneliness in a hospital where visits are not allowed, and probably one of the most scary sides of the pandemic, having enough time to question our own feelings, priorities, relationships, and face our own demons.

The play takes us on a roller coaster of emotions where dynamic relationships are tested through assumptions, race, love, the uncertainty of a pandemic with no end on sight, and riots in the background to heighten the racial tensions in today’s society. Cassandra questions and is questioned on her relationships with Alex and Mayisha. Dixon faces the new realities and questions his own priorities. A snapshot of the craziness of the pandemic can be reflected on the conversation Cassandra holds with the White Lady (Rachel Sorsa), where assumptions can take the right or the wrong direction, but at the end, it shows a more positive and unexpected result, bringing people together, bonding by the collective hope that better days lie ahead. As Easter assured Cassandra, “Everything will be OK”.

Details:

Apartment Living

Skylight Theatre

1816 1/2 N. Vermont Ave.

Los Angeles, CA 90027

Mar 12 – April 24

Playwright: Boni B. Alvarez

Director: Jon Lawrence Rivera

Tickets: https://ci.ovationtix.com/34914/production/1106744

Saturday Mar 5, 2022 was the world premiere of Celestial Events, a play written, directed, and performed by the IAMA Theatre Company at the Actors Company LA in Hollywood.

The sky has always amazed humans since the beginning of times, and Celestial Events reminds us that, from our perspective, the universe can influence our lives one way or another, specially if Mercury is in retrograde.

In this case, 12 Angelenos with apparently separate lives, are indeed related in different ways, all of this, in the eve of a meteor shower. Joy (Kacie Rogers) has written a thesis, part astronomy, part astrology, and her professor Ralph (Jamie Wollrab) although skeptic at first, becomes intrigued once he starts to read it. As the meteor shower approaches, we are introduced to the rest of the characters, all showing different kinds of conflicts in their lives, but all having a counterpart that serves as encouragement to overcome their fears, insecurities, and resentments. We see people trapped in an elevator, breast pumps, a mother turning into a Goth, a father in a motorcycle, a couple flying in a helicopter to celebrate their divorce to each other, doctors showing human emotions, etc. All in 1 hour and 20 minutes approximately, with creative lighting and chic wardrobe.

As the stories of each of the characters unfold, it’s clear that the meteor shower is a poetic metaphor to something humans have been searching for most of their lives: the meaning of life and the meaning of love. As Gina (Adriana Santos) declares in a poignant moment looking up to the sky as the meteor shower starts to light up the sky, we are light, dust, and magic.

Celestial Events
March 5 – March 14

Written by Deborah S. Craig, Christian Durso, Anna Rose Hopkins, John Lavelle, and Adriana Santos.
Co-Directed by Tom Amandes and Adrian Gonzalez
Starring: Alex Alcheh, Ryan W. Garcia, Tina Huang, Bailey Humiston, Andria Kozica, Melissa Jane Osborne, Kacie Rogers, Adriana Santos, Sonal Shah, Lexi Sloan, Margaux Susi, Jamie Wollrab

Actors Company LA
916 N Formosa Ave.
Los Angeles, CA 90046

Tickets: https://iamatheatre.secure.force.com/ticket/#/events/a0O2I00000V3F75UAF

Celestial Events, Now playing

Relationship Killers is a short film that looks into the struggles of a couple once their initial infatuation is over.

The tension between Bravien (Assia Lau’ren) and her partner Bedegraine (Lexsy McKowen) creates many hilarious moments throughout the film. The humor is boosted by the flamboyant personality of the psychoanalyst assistant Too (E. Talley II), who soon will be found doing another job. What is supposed to be a regular therapy session, takes an unexpected turn, specially for the psychoanalyst (Jerry G. Angelo).

This the first installment of the universe called Lethal Ladies, so stay tuned, as there’s more to come. The film was premiered at The Golden State Film Festival at the TCL Chinese Theatres in Hollywood, CA on Feb 26, 2022.

Relationship Killers
Written and directed by Noah A. Waters III
Starring: Assia Lau’ren, Lexsy McKowen, E. Talley II, Jerry G. Angelo, Janet Lopez, and Kadrolsha Ona Carole.