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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 Demson, Board 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

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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 Thursday, April 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 Sunday, April 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.

Tickets: anoisewithin.org

Written by August Wilson. Directed by Gregg T. Daniel. Produced by Artistic Directors Julia Rodriguez-Elliott and Geoff Elliott. Cast: Ben Cain, Christian Henley, Aaron Jennings, Veralyn Jones, Gerald C. Rivers, Kacie 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 Dr. Miranda Johnson–Haddad. The production stage manager is Taylor Anne Cullen, with Arielle Hightower assisting. The producing sponsors are Dick and Sally Roberts.

Theatre Review: Babe

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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 Jaramillo. Chris Fields and Kelly Beech produce for the Echo Theater Company.

Babe

Written by Jessica Goldberg. Directed by Chris Fields. Starring Wylie Anderson, Julie Dretzin and Sal Viscuso. Presented by The Echo Theater Company, Chris 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

Babe poster
A scene from Babe
A scene from Babe
A scene from Babe

Theatre Review: Everybody

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Everybody is presented by Antaeus Theatre Company. The play is written by Branden Jacobs-Jenkins and directed by Jennifer Chang.

God (Cherish Monique Duke) is disappointed and now humans have to prepare a presentation to show her what they did with their lives once Death (Anne Gee Byrd) shows up to take them with her. In this instance, Death chooses Everybody (Nicole Erb) to start putting her presentation together as she’s next in line. As she’s not quite ready to die and panic settles in, Everybody asks the people around to go with her as a companion to her journey with Death. Friendship (Lisa Sanaye Dring) seems sympathetic at first, but once Everybody asks her to go with her, Friendship refuses and leaves. Next comes Cousin (Antonio Jaramillo) who also encourages Everybody, but also leaves when asked to go with her. Kinship (Gerard Joseph) does the same thing. The three of them encourage Everybody, but she starts to realize that her journey with Death to face God will be a lonely one. Even Stuff (Harry Groener), representing all material things, decides to leave Everybody and move on to somebody else.

The play shows that life becomes a collection of relationships and material things and what we do with them during our lifetime. As the end is near, Everybody sees a Little Girl (Dawn Didawick), probably a reference to her younger self, as some people who have experienced near-death experiences have recalled flashbacks of happy times. 

Playwright Branden Jacobs-Jenkins, echoing Carl Jung’s ideas, covers some concepts that have intrigued many people throughout history: Collective unconscious, archetype, what happens when we die? The idea that humans will be held liable for their actions in a last judgement is a concept in many cultures around world, even among cultures with no apparent connection with each other, an accurate reference in the title of this play, Everybody.      

At the end, Beauty, Senses, Strength, and Mind leave Everybody alone. Out of characters to ask and time running out, Everybody then turns to Love (Alberto Isaac) and begs him to go with her. Love finally agrees, but in exchange, she must show him her humbleness to gain his trust.

The direction by Jennifer Chang is excellent. The blocking of the actors and the display of conflict and emotions make it a very entertaining theatre experience. The script is an example of how to combine philosophical themes with witty characters that are engaging and thoughtful at the same time. For opening night, Nicole Erb offered a very brave and extraordinary performance playing Everybody. The lighting (Bryan Ealey, lighting designer), sound effects (Salvador Zamora, sound designer), and projections (Yi-Chien Lee, projection designer) created a mystic ambiance that highlighted the intriguing and fascinating topics of life and death. 

Everybody

Written by Branden Jacobs-Jenkins. Directed Jennifer Chang. Starring Anne Gee Byrd, Dawn Didawick, Lisa Sanaye Dring, Cherish Monique Duke, Nicole Erb, Harry Groener, Alberto Isaac, Antonio Jaramillo, and Gerard Joseph. Presented by Antaeus Theatre Company.

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

Performances: September 16 – October 17

Thursdays at 8 p.m.: Oct. 6 and Oct. 13 ONLY
Fridays at 8 p.m.: Sept. 16 (Opening), Sept. 23, Sept. 30, Oct. 7, Oct. 14
Saturdays at 2 p.m.: Sept. 24, Oct. 1, Oct. 8, Oct. 15 (no matinee on Sept. 17)
Saturdays at 8 p.m.: Sept. 17, Sept. 24, Oct. 1, Oct. 8, Oct. 15
Sundays at 2 p.m.: Sept. 18, Sept. 25, Oct. 2, Oct. 9, Oct. 16
Mondays at 8 p.m.: Sept. 26, Oct. 3, Oct. 10. Oct. 17 (dark Sept. 19)

Tickets: antaeus.org

Everybody poster
A scene from Everybody
A scene from Everybody
A scene from Everybody
A scene from Everybody

Theatre Review: The Secret World of Archy & Mehitabel

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The Secret World of Archy & Mehitabel is a stage adaptation by Dan Gilvezan. The play is based on the columns of New York Evening Sun journalist Don Marquis (July 29, 1878 – December 29, 1937). Directed by Moosie Drier.

The Boss (Bill Chott) is perplexed when he sees a cockroach typing a letter on his typewriter one early morning. The cockroach Archy (Dan Gilvezan) was actually a poet in a previous life. Archy writes about his adventures and misfortunes reincarnating as a cockroach, an insect disliked by many. The Boss finds these letters very often when he arrives to his office. Archy also writes about his interactions with other animals and, having the soul of a poet, he asks them some rather philosophical questions about their perspectives in life.

Archy asks a mayfly (Kelly Stables) if she is ever sad or bitter, as she will only live for a day. She responds that her life is so short that she wouldn’t have time for those negatives feelings. Archy also talks to a combative South American tarantula (Richard Horvitz) who gets into a fight with a rat (Kelly Stables). The tarantula wears a military beret with a red star, a hint to the Che Guevara and other revolutionaries who engaged in bloody civil wars. The tarantula and the rat end up killing each other, also a symbol of the usual consequences on both sides in a war.

One of the most endearing characters Archy talks about is Mehitabel (Carolyn Hennesy) the cat. She claims that she was Cleopatra in her previous life, but she keeps changing the characters every time and she doesn’t even remember who Mark Antony was. Mehitabel tells her personal story as a privileged cat living with a rich human couple. Unfortunately for her, the couple decided to bring a dog into their home. After a fight with the dog, Mehitabel was kicked out and she found herself alone in New York City. What she had to do to survive is the content of a great deal of Archy’s letters to The Boss.

All of the animals described in the letters show traits and experiences that are meaningful and offer an opportunity to reflect on the importance of the unity of humans and nature. The Boss is having some marriage issues and is stressed out at work. He eventually realizes that maybe Archy is trying to talk to him at a more personal level through these letters; if only he pays attention and listens.

This play is staged in an intimate theatre that adds to the charm of this story. The dialogue is utterly funny with plenty of action. Although reflecting Don Marquis’ time, the material feels so contemporary that the audience will relate to the endearing characters of this fantastic tale. Extraordinary direction by Moosie Drier and mesmerizing performances by all five actors. The live piano music is performed by Dan West, giving a special old-school vibe to the play.

The Secret World of Archy & Mehitabel

Adapted for the stage by Dan Gilvezan from the “The Sun Dial” columns by Don Marquis. Directed by Moosie Drier. Starring Bill Chott, Dan Gilvezan, Carolyn Hennesy, Richard Horvitz, and Kelly Stables. Produced by Joselle Celine.

Creative team includes scenic designer Jeff G. Rack and lighting, sound and projections designer Nick Foran.

Whitefire Theatre
13500 Ventura Blvd.
Sherman Oaks, CA 91423

September 10 – October 15
Saturday at 3 p.m.: Sept. 17 ONLY
Saturdays at 8 p.m.: Sept. 10, Sept. 17, Sept. 24, Oct. 1, Oct. 8, Oct. 15

Tickets: whitefiretheatre.com

The Secret World of Archy and Mehitabel poster
A scene from The Secret World of Archy & Mehitabel
A scene from The Secret World of Archy & Mehitabel
A scene from The Secret World of Archy & Mehitabel
A scene from The Secret World of Archy & Mehitabel

Theatre Review: Ghosts

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Odyssey Theatre Ensemble presents Richard Eyre‘s adaptation of Ghosts, written by Henrik Ibsen. The play is directed by Bart DeLorenzo. The setting is somewhere in Norway in 1882. 

Widow Helene Alving (Pamela J. Gray) is about to face additional challenges in her life. Once her son Oswald Alving (Alex Barlas) is back from Paris, he starts having feelings for the house maid, Regina Engstrand (Viva Hassis Gentes). Regina, however, has her own challenges. Her father, Jacob Engstrand (J.Stephen Brantley [sic]), is trying to convince her to come live with him when he opens up a hostel for seamen. In reality, he implies that this place would be a brothel. Regina dislikes the idea to live with Jacob, preferring to dream of a life with Oswald in Paris—even learning a few words and phrases in French.

As Reverend Manders (Barry Del Sherman) comes to visit Helene, a few things are revealed. Manders finds some of the books Helene has been reading. Some are about systems of oppression and others are about women’s rights. This concerns Manders as they live in a conservative community in the countryside. There is also the fact that Helene once run to Manders to tell him she was in love with him, willing to leave her husband behind. Manders rejected her and she went back to her husband. Helene then sent Oswald to Paris and he became a painter.

After her husband passed away, Helene set up an orphanage in his memory. Jacob works as a carpenter and Manders handles the legal matters of the institution. Manders suggests Helene not to insure the orphanage as that would imply her lack of faith in God’s protection. Later, the orphanage catches fire and burns down.

The character’s dynamic relationships and motivations are influenced by events that occurred years earlier. Helene’s feelings for Manders, Helene’s husband dissolute lifestyle, and the relationship between Jacob and her wife Johanna—this character is only referenced and never seen in the play—all happen years ago. 

Ibsen created strong female characters in his plays. Much like Nora in A Doll’s House and Hedda in Hedda Gabler, Helene in Ghosts is also a troubled woman who has to figure out how to survive the humiliation of her husband’s infidelities with other women and either leave or stay with him to meet the community standards as an obedient housewife and a dedicated mother.     

Regina is one of the most intriguing characters in this play. Regina is seen flirting with Manders when he arrives to visit Helene. It is also implied that Jacob molested Regina earlier in her life. Regina flirting with Manders could be a result of her abuse by Jacob, a way to test Manders’ integrity as a man of God, or a way for her to open up a possibility if everything else fails for her.  

Talking to Manders, Helene admits that she sent Oswald to Paris to protect him from the negative influence of his father and that she built the orphanage as a screen to hide the licentious life of her husband. Helene also discloses Oswald and Regina who they really are and the impossibility of their relationship. The devastating fate of Oswald is also revealed and both Helen and Regina find themselves at a crossroad, forced to make difficult decisions that will define their lives forever. When the orphanage was destroyed by the fire, it was also a symbol that the truth was finally exposed and the ghosts of the past were coming back to haunt them all.

Ghosts is about the conservatism of the late 1800s, the traditional roles of women, the discussion of venereal diseases, prostitution, incest, and euthanasia, highly controversial issues at the time Ghosts was published. In fact, the play was banned in Europe for several years and thrashed merciless by the critics when it was finally allowed to be staged in theaters.

As for DeLorenzo’s production, the choice of cast is an excellent opportunity to pair up experienced thespians with upcoming ones. Pamela J. Gray and Barry Del Sherman offer exceptional performance, carrying most of the weight of the material. J.Stephen Brantley delivers a terrific performance as an unnerving and opportunistic Jacob. Viva Hassis Gentes and new comer Alex Barlas are two fine young actors giving their performances the intensity and vulnerability necessary to portray Ibsen’s complex characters.

The lighting (Christine Ferriter, lighting designer) is a phenomenal element that helps the director tell the story. Both the lighting and sound effects/music (John Zalewski, sound designer) add a dramatic effect to the transitions and pivotal scenes and create a dark and Gothic ambiance to the set (Frederica Nascimento, scenic designer).

Ghosts is an intense experience; the lighting, the music, the scenic design, and the powerful performances create a latent sense of tragedy, featuring topics that are still controversial and relevant in today’s society.            

Ghosts

Written by Henrik Ibsen. Adapted to the stage by British director Richard Eyre. Directed by Bart DeLorenzo. Starring: Alex Barlas, J.Stephen Brantley [sic], Barry Del Sherman, Viva Hassis Gentes, and Pamela J. Gray. Presented by Odyssey Theatre Ensemble. Ron Sossi, Artistic Director. 

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


Performances: September 10 – October 23
Fridays at 8 p.m.: Oct. 7, Oct. 14* and Oct. 21 (dark Sept. 16, Sept. 23, Sept. 30)
Saturdays at 8 p.m.: Sept. 10 (Opening Night), Sept. 17, Sept. 24, Oct. 1, Oct. 8, Oct. 15, Oct. 22
Sundays at 4 p.m.: Sept. 18, Sept. 25, Oct. 2, Oct. 9**, Oct. 16, Oct. 23 (dark Sept. 11)
Mondays at 8 p.m.: Sept. 19**, Sept. 26, Oct. 3, Oct. 10, Oct. 17 (dark Sept. 12)
*Wine Nights on Friday, Sept. 9 and Friday, Oct. 14: enjoy complimentary wine and snacks and after the show.
**Post-performance discussions with the artists on Monday, Sept. 19 and Sunday, Oct. 9

Tickets: www.OdysseyTheatre.com

Ghosts poster
A scene from Ghosts
A scene from Ghosts
A scene from Ghosts

Theatre Review: Animal Farm

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A Noise Within presents Peter Hall’s musical adaptation of George Orwell’s Animal Farm. Music by Richard Peaslee and lyrics by Adrian Mitchell. Directed by Julia Rodriguez–Elliott.

George Orwell was a leftist who participated in the Spanish Civil War in the 1930s, joining the POUM (Partido Obrero de Unificación Marxista), one of the factions supporting the Republican government. The influence of Stalin on the Republicans in Spain lead Orwell to write against the deceiving and repressive regime of Stalin. Animal Farm is an allegoric play where characters and different sectors of the Soviet Union are represented.

The story pierces the power veil and allows us to see the formation of a political class that not only controlled the lives of millions within the Soviet Union but also the lives of many more around the world.

The animals are neglected by Mr. Jones (Bert Emmett), the owner of the farm, so the animals start a revolt to take control and improve their living conditions. Once Mr. Jones is gone, the animals make plans to change things for the better. However, as time goes by, the pigs seize all the power. The pigs are Squealer (Trisha Miller), Minimus (Cassandra Marie Murphy), Old Major (Geoff Elliott), Snowball (Stanley Andrew Jackson), and their leader Napoleon (Rafael Goldstein). The pigs are the ones who eat well, learn how to write and read, and give the orders. The animals who do all the hard work are Boxer (Geoff Elliott) the workhorse, Clover (Deborah Strang) the carthorse, Benjamin (Jeremy Rabb) the donkey, and Muriel (Philicia Saunders) the goat. The rest of the animals are Mollie (Nicole Javier) a vain horse, the lazy Cat (Sedale Threatt Jr.), Moses (Cassandra Marie Murphy) a raven who likes to talk but doesn’t work, and the Puppy Dogs (Cassandra Marie Murphy and Nicole Javier) trained by Napoleon to become ruthless killing machines. Mr. Pilkington (Sedale Threatt Jr.) is a local gentleman farmer.

Even though the pig Old Major wants to establish a fair system where all the animals are equal, Napoleon changes the words of some of the 7 commandments to fit his personal gains. He changes one of the commandments from “All animals are equal” to “All animals are equal, but some are more equal than others.” At the beginning, there are debates to talk about projects and common goals and all animals participate. In these meetings, the two leaders, Napoleon and Snowball, soon start to disagree on major ideas. As Napoleon starts to gather more power, Snowball is pushed to the side and he mysteriously disappears.

Meanwhile, the rest of the animals are forced to work harder to build a windmill with the promise that the project will bring prosperity to all. Napoleon however, doesn’t keep his word; the windmill takes longer to complete and is eventually destroyed by a neighboring farmer. As all of this is happening, the animals are overworked, hungry, and unable to complaint. Napoleon dissolves the debates with the excuse that they are no longer needed since everyone needs to trust his leadership. The pigs start to arrest, incriminate, and execute the dissenting animals. Eventually, the initial happiness gives way to pessimism, passiveness, duplicity, and hopelessness. The beloved old Boxer, despite all the misery of the working animals, decides to keep his loyalty to Napoleon, hoping to see better days ahead. “Napoleon is always right” and “I will work harder” were two phrases he kept on saying again and again.     

Since the play is an allegory, the characters represent some of the most influential characters in modern history. After the death of Vladimir Lenin, Joseph Stalin become the leader of the Soviet Union. Napoleon is a representation of this repressive leader. Boxer the workhorse represents the working class, the ones that get indoctrinated with false promises of a better life. Clover the carthorse is the feminine side of the working class. Mollie the horse is the bourgeoisie class. Moses, the raven who talks about the “Sugarcandy Mountain” where all animals go when they die, depicts the Russian Orthodox Church. The Puppies/Dogs represent Stalin’s secret police.

Snowball, the boar that was a part of the pigs leaders, is a character representing Leon Trotsky. As with Napoleon in Animal Farm, there was a power struggle and only one was going to prevail. In Animal Farm, Snowball was chased out of the farm by Napoleon’s dogs. In real life, Trotsky was banned from the Soviet Union by Stalin. After living as an uncomfortable guest in Turkey, France, and Norway, Trotsky finally settled down in Mexico in 1937 in the house of painters Frida Kahlo and Diego Rivera. But Stalin wanted him dead. On May 24th, 1940, leftist muralist David Alfaro Siqueiros (who, like Orwell, fought with the Republicans in Spain) and a group of men carried out an attack on Trotsky’s residence using automatic firearms. Trotsky and his wife hid and survived, but the message was clear: his days were counted. On August 20th, 1940, Trotsky was attacked with an ice axe by Ramón Mercader, a Spanish agent working for Stalin’s NKVD forces (this secret forces personified by the Puppies/Dogs in the play). Trotsky suffered a brain injury and died the following day. Stalin’s goal was finally achieved.  

Two important aspects portrayed in the play are the accumulation of wealth by the ruling party by controlling the means of production and the indoctrination of the masses to have them under control. Nobel laureate Octavio Paz said in an interview in 1977: “The greatest criminal in the 20th century is the state, specially in those countries where the state owns the means of production and the ideology, and by owning the means of production and the ideology, the state owns the work product and the souls.”

The portrayal of a turbulent period that happened decades ago somehow feels contemporaneous. The tactics seem to be the same. Authoritarian regimes control the flow of information using media, religion, and access to education. It is much easier to control an uneducated population than an educated one. In the play, Squealer is used to instill in the uneducated animals the idea that their lives are much better under Napoleon’s leadership, even if they are overworked and hungry.

As for the actors, Geoff Elliot offers a tremendous performance doubling up as the idealistic Old Major and the hopeful Boxer that is willing to sacrifice his well-being to keep a dream alive, but ultimately succumbing to his tragic fate. Rafael Goldstein stands out as the cold and calculating leader that manipulates the people around him for his own benefit. Trisha Miller and Cassandra Marie Murphy deliver a phenomenal depiction of the heartless enforcers and supporters of the new authoritarian regime. Jeremy Rabb offers a compelling personification of a devastating transition from a funny character to a pessimist and passive observer of the corruption around him.

The dystopian costumes, wigs, make up, and masks (Angela Balogh Calin, scenic and costume designer, Tony Valdés, wig and make up designer, Dillon Nelson, mask artisan) contribute to give each character their unique personality. They also highlight the sinister change of status of the pigs from farm animals to despotic leaders in military uniforms. The lighting effects (Ken Booth, lighting designer) are a powerful component. The colors and the intensities play very well with the scenic design, the music numbers, and the tense story itself. Rodriguez-Elliot delivers an impressive production with plenty of kinetics that make great use of the stage, including the actors coming in and out of the aisles. Her directorial skills are a testament of the excellence in theatre in Los Angeles.      

How easy it is to go from freedom to tyranny? Animal Farm exposes the fragility of political systems and the dangers associated with government transitions, even when the leaders of the change promise the moon and the stars. Change after all, can be deceiving. As Tancredi Falconeri stated in the Italian novel Il Gattopardo “If we want everything to stay as it is, everything has to change”.

Animal Farm

Adapted for the stage by Peter Hall from the novel by George Orwell. Music by Richard Peaslee. Lyrics by Adrian Mitchell. Directed by Julia Rodriguez–Elliott. Musical Direction by Rod Bagheri. Starring Geoff Elliott, Bert Emmett, Rafael Goldstein, Stanley Andrew Jackson III, Nicole Javier, Trisha Miller, Cassandra Marie Murphy, Jeremy Rabb, Philicia Saunders, Deborah Strang, Sedale Threatt Jr. Presented by A Noise Within, Geoff Elliott and Julia Rodriguez-Elliott, producing artistic directors.

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

Thursdays at 7:30 p.m.: Sept. 29 ONLY
• Fridays at 8 p.m.: Sept. 9**, Sept. 16**, Sept. 23**, Sept. 30
• Saturdays at 2 p.m.: Sept. 10, Sept. 17, Sept. 24, Oct. 1 (no matinee on Sept. 3)
• Saturdays at 8 p.m.: Sept. 3 (Opening Night), Sept. 10, Sept. 17, Sept. 24, Oct. 1
• Sundays at 2 p.m.: Sept. 4, Sept. 11**, Sept. 18, Sept. 25, Oct. 2
*Pre-performance symposium with noted scholar at 6:45 p.m. prior to the preview on August 31 (included in ticket price)
**Post-performance conversations with the artists on Fridays, Sept. 9; Sept.16; Sept. 23; and Sept. 30, and on Sunday, Sept. 11 (included in ticket price)

An INsiders Discussion Group will be held on Tuesday, Sept. 13, from 6 p.m.–8 p.m. on Zoom ($38 per individual or $45 per household).

There will be 10 student matinees at 10:30 a.m. on Tuesday, Sept. 6; Wednesday, Sept. 7; Tuesday, Sept. 13; Wednesday, Sept. 14; Thursday, Sept. 15; Tuesday, Sept. 20; Wednesday, Sept. 21; Thursday, Sept. 22; Tuesday, Sept. 27; and Wednesday, Sept. 28. Interested educators should email education@anoisewithin.org.

Tickets: www.anoisewithin.org

Animal Farm poster
A scene from Animal Farm
A scene from Animal Farm
A scene from Animal Farm
A scene from Animal Farm

Theatre Review: Lavender Men

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Playwrights’ Arena and Skylight Theatre Company present the world premiere of Lavender Men. Written by Roger Q. Mason and directed by Lovell Holder.

In Roger Q. Mason’s Lavender Men, history is rewritten to include the LGBT community, largely ignored in the US history books. This play is a fantasia about a gay Abraham Lincoln (Pete Ploszek) and the people around him. The character Taffeta (Roger Q. Mason) invades Abraham Lincoln’s personal space to give history a spin.  

The rumors about Abraham Lincoln’s sexuality play a central role in Lavender Men as much as his relationship with his wife, Mary Todd Lincoln (Roger Q. Mason). By some historians’ accounts, although never really proven, Lincoln had romantic relationships with Joshua Fry Speed and Captain David Derickson, often sleeping with them in the same bed—this was a common practice in those days though without any sexual overtones. In Mason’s script however, Lincoln has a sexual relationship with Elmer Ellsworth (Alex Esola), a soldier and Lincoln’s law apprentice.

That relationship ignites Mary Todd’s jealousy and, at the same time, her envy as she is overweight and feels powerless before the passionate bond between her husband and his apprentice. This disconnection between President Lincoln and his wife in the play also reflects the apparent discord between both figures in real life. Mary Todd was wealthy, educated, refined, and her family owned slaves. Abraham Lincoln, on the other hand, grew up in a farm, self-educated, and disliked slavery, not to mention his lack of skills on the dance floor.

In real life, Mary Todd’s misery was due to the death of her children and the assassination of Abraham Lincoln before her eyes. She had episodes of depression, not fully understood at the time. In the play, Mary’s misery stems from the lack of attention from Abraham Lincoln towards her and his relationship with Elmer. 

In the meantime, Taffeta continues to be amused by the vibrant relationship by Abraham and Elmer, but also revealing the insecurities and struggles of the undeserved communities the play represents. Taffeta also fights back the apparent innocuous reasoning of those who excluded the people of color and queer from the history books: “There is some beauty being lost in a sea of nothing”.   

Mason’s writing is able to connect overweight, queer, and people of color with such fluidity within the story that they all become a coherent and powerful testament of the resilience of those underserved communities who are not willing to be silenced anymore. This is why Lavender Men, a smart, funny, and engaging play resonates in this era where society is trying to make amends for past mistakes. 

In addition to the performances of the three thespians and the excellent direction of Lovell Holder, the artisans working on this production deserve a special recognition. Dan Weingarten (Lighting Design) displays an impressive and elaborate collection of colors, intensities, and textures in such a way that the lighting itself becomes a character throughout the story. Sound Designer is Erin Bednarz, Scenic Designer is Stephen Gifford, Costume Designer is Wendell Carmichael, Original Music by David Gonzalez, Choreography by Jobel Medina, Properties Design by Michael O’Hara, Casting by Raul Clayton Staggs, and the Production Manager is Cedes Sifuentes.  

Lavender Men

Presented by Playwrights’ Arena and Skylight Theatre Company.

Playwright: Roger Q. Mason. Director: Lovell Holder. Producers: Gary Grossman and Jon Lawrence Rivera. Associate Producers: Tyree Marshall and Michael Kearns. 

Skylight Theatre

1816 1⁄2 North Vermont

Los Angeles, CA 90027

Opening at 8:30 pm on Saturday, August 6
Schedule: Saturday 8:30 pm, Sunday 3 pm, Monday 7:30 pm
Closing: Sunday September 4, 2022

Tickets: LavenderMenPlayLA.com

Lavender Men poster
A scene from Lavender Men
A scene from Lavender Men
A scene from Lavender Men

Theatre Review: If I Forget

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The Fountain Theatre presents the Los Angeles premiere of If I Forget written by Steven Levenson and directed by Seinfeld actor and Tony-Award winner Jason Alexander.

Michael Fischer (Leo Marks) is being sued for writing a book deemed antisemitic and his tenure as a professor is on hold, putting a strain on his finances. His sister Holly Fischer (Valerie Perri) continues with her drinking and self medicating habits, not to mention the secret her husband Howard Kilberg (Jerry Weil) is hiding from her. And then there’s Sharon Fischer (Samantha Klein), Michael and Holly’s sister who is falling for a guy that might not be the best option for her. All of this while the siblings are trying to figure out how to take care of their ailing father Lou Fischer (Matt Gottlieb).

The Fischers are a Jewish family with diverse opinions on what it means to be a Jew in America, an identity issue specially for the second and third generation American Jews. While Lou was a soldier who helped liberate the prisoners from the Dachau concentration camp and finds Michael’s suggestion to forget about the Holocaust very offensive, Michael is an atheist with more liberal views.

Michael is married to Ellen Manning (Síle Bermingham), a non-Jewish woman who tries to bring some kind of order to the chaotic relationship of the three siblings. Michael and Ellen’s daughter, Abby Fischer (Caribay Franke), is in a trip to Israel to connect with her roots. This trip however, turns into a nightmare for Abby and her parents.

The play is also an examination of the relationship between Jews and other races and the political activism in which the Jews are involved. There are conversations about African Americans, Palestinians, and the misconception of calling any Latino a Mexican. The fact that Michael is married to a gentile is an example of the trend in American Jews to experience interracial marriages without any concerns about the dilution of the Jewish race. Also, Michael’s writings about the Jewish diaspora in America and its active participation in the political scene is a reflection of the reaffirmation or rupture of the community to Israel. Michael’s suggestion to forget about the Holocaust can be seen either as blatant antisemitism or a survival strategy in a world that can turn against Jews on a whim. The contrasting political affiliations of the members of the family prove how diverse the American Jews have become and how connected or disconnected they feel to the motherland. Holly and Howard’s son, Joey Oren (Jacob Zelonky), represents either the confusion or the indifference to take a stance on these issues.

This story goes beyond the Jewish experience. Their story is that of many other immigrant communities as well. This is where this play resonates far beyond synagogues and Shabbat ceremonies. The issues, concerns, fights, hopes, and the love for one’s culture and family is a universal human experience. Levenson was able to write a brilliant story that travels. It’s a mirror reflecting the condition of many people connected or disconnected to their own cultures and the conflicting emotions that this entails. The play is outrageously funny and deeply moving, a topic that will trigger many conversations and self evaluations.

The direction by veteran actor/director Jason Alexander is fantastic. The blocking allows actors to use the space effectively and emphasizes the drama of the play. The decision to have Caribay Franke dancing her story is a unique touch to the production that adds visual poetry to the physical theatre.

The cast lead by an excellent Leo Marks is a real treat for the audience. Their lines were delivered with so much punch that this play will stand out for its intensely hilarious dialogue. The writing, direction, and acting make this play a true gem not to be missed.

If I Forget

Written by Steven Levenson. Directed by Jason Alexander. Starring Síle Bermingham, Caribay Franke, Matt Gottlieb, Samantha Klein, Leo Marks, Valerie Perri, Jerry Weil, and Jacob Zelonky. Presented by The Fountain Theatre.

Creative team: Scenic designer Sarah Krainin, lighting designer Donny Jackson, sound designer Cricket S. Myers, costume designer A Jeffrey Schoenberg, and prop master Katelyn M. Lopez. Assistant director Allison Bibicoff. Production stage manager Shawna Voragen. Assistant stage manager Lexie Seacrest. Simon Levy produces and James Bennett associate produces for the Fountain Theatre. Barbara Herman is executive producer.

The Fountain Theatre
5060 Fountain Ave.
Los Angeles CA 90029
(Fountain at Normandie)

Fridays at 8 p.m.: July 29. Aug. 5, Aug. 12, Aug. 19, Aug. 26, Sept. 2, Sept. 9
Saturdays at 8 p.m.: July 23 (Opening), July 30, Aug. 6, Aug. 20, Aug. 27, Sept. 3, Sept. 10 9 (dark Aug. 13)
Sundays at 2 p.m.: July 24, July 31, Aug. 7, Aug. 21, Aug. 28, Sept. 4 (dark Aug. 14)
Mondays at 8 p.m.: Aug. 1, Aug. 8, Aug. 15, Aug. 22, Aug. 29 (dark July 25. Sept. 5)

Tickets: fountaintheatre.com/

 

A scene from If I Forget
A scene from If I Forget
A scene from If I Forget
If I Forget poster

Theatre Review: Trouble the Water

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Will Geer’s Theatricum Botanicum presents the world premiere of Trouble the Water, freely adapted by Ellen Geer from the 2019 award-winning historical novel by Rebecca Dwight Bruff. The play is lead and directed by Gerald C. Rivers.

Robert Smalls (Terrence Wayne, Jr.) was called “Trouble” because his mother told him that he was born in a day full of trouble. His mother, Lydia Polite (Earnestine Phillips The Merry Wives of Windsor), was a slave in the house of Jane (Robyn Cohen) and Henry (Alistair McKenzie The Merry Wives of Windsor) McKee. Henry treated Robert more leniently than the rest of his slaves, at times creating doubts on Jane about the possibility of Robert being Henry’s son. As slaves were constantly raped by their White owners, Jane had her reasons to believe in that possibility.

The social conditioning instilled in the enslaved people was so pervasive that Lydia asked Henry to send Robert to Charleston so he could be exposed to tougher conditions as a slave. Lydia was concerned that Robert would grow up as a “spoiled” slave without experiencing the hardships of his fellow Black slaves.

The play also deals with conditions that were parallel to slavery at the time. As Jane wrote her journal, she questioned her own position as a faithful and submissive wife, willing to bear children to fulfill her husband’s desires. Despite her comfortable life as the wife of a prosperous White man, Jane experienced the social oppression imposed on women during that era.

The move to Charleston proved to be an opportunity to Robert to get the inspiration needed to embark on the opportunity of his life—to be free and fight for the freedom of his people. Even though Robert was still owned by Henry, he managed to buy the freedom of his first wife, Hanna Jones (Tiffany Coty, A Midsummer Night’s Dream). During this time, he was influenced by the growing dissident voices coming from the Union states, including abolitionist Frederick Douglass. Robert worked in the ships of Charleston Harbor, an experience that proved pivotal in his escape on board of the confederate ship CSS Planter to the Union territory.

Bear in mind that some of the details and characters of this play are fictional. Robert’s life has been hidden in mystery for decades. Author Rebecca Dwight Bruff has written this story to focus the attention on the documented facts surrounding Robert Smalls’ accomplishments. His escape piloting the CSS Planter, his service in the US Army and  Navy, and his service in the state legislature and five terms in the US Congress are all well documented in the history of the United States. Bruff’s intention is to show the extraordinary contributions of this American hero.

Gerald C. Rivers’ direction is outstanding (Rivers also plays Robert Smalls in his later years). The amazing cast as well as the excellent use of the stage creates an engaging theatre experience. Saturday’s opening night was a full house, so there were great expectations for this play. The dedicated actors and creative team did not disappoint. This play has exhilarating action, specially the escape sequence where the tension escalates very quickly and the sense of danger creates a fast-paced scenario. Gerald C. Rivers, Terrence Wayne, Jr., Earnestine Phillips, Alistair McKenzie, and Robyn Cohen are a testament to the magnificent craft of the actors in the LA theatre scene. These five thespians lead an extraordinary cast that includes Justin Blanchard, Ethan Haslam The Merry Wives of Windsor, Rodrick Jean-Charles, Michelle Merring, Clarence Powell, Franc Ross, Fallon Heaslip, Joelle Lewis, Susan Stangl, Elliott Grey Wilson, and Sage Michael Stone. The ensemble includes Michaela Molden The Merry Wives of Windsor, Matthew Clair, Danezion Mills, Frank Krueger, Emerson Haller, Joseph Darby, Eden Lederer, Tariq Mieres, Kenneth Montley, Venice Mountain-Zona, and Monique Thompson.

Lighting Designer Hayden Kirschbaum, Sound Designer Marshall McDaniel, and Costume Designer Yuanyuan Liang added realistic elements to the play that enhanced the dramatic effects of the production.

This play is a great opportunity to revisit the facts that made the US what it is today. As uncomfortable as some episodes of history might be, the formidable actions of great people both Black and White continue to inspire and reaffirm the commitment to live in a civil society. Bruff, Geer, and Rivers show us that it can be a reality rather than a chimera. On opening night, the audience seemed to agree.

Trouble the Water

Freely Adapted by Ellen Geer from the novel by Rebecca Dwight Bruff, Directed by Gerald C. Rivers. Performing the Spirituals a cappella is the Street Corner Renaissance.

Will Geer’s Theatricum Botanicum
1419 N. Topanga Canyon Blvd.
Topanga CA 90290
(midway between Pacific Coast Highway and the Ventura Freeway)

Performances: July 23– October 2:
Saturday, July 23 at 7:30 p.m.
Sunday, July 31 at 3:30 p.m.
Friday, Aug. 5 at 7:30 p.m.
Sunday, Aug. 14 at 7:30 p.m.
Saturday, Aug. 20 at 7:30 p.m.
Friday, Aug. 26 at 7:30 p.m.
Sunday, Sept. 4 at 3:30 p.m.
Sunday, Sept. 11 at 7:30 p.m.
Friday, Sept. 16 at 7:30 p.m.
Saturday, Sept. 24 at 7:30 p.m.
Sunday, Oct. 2 at 7:30 p.m.

Tickets: theatricum.com