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Theatre Review: A Midsummer Night’s Dream

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Theatricum Botanicum presents William Shakespeare’s A Midsummer Night’s Dream, directed by Melora Marshall.

This is one of Shakespeare’s most famous plays. It’s magical, it’s full of symbols, and involves one of the most enigmatic aspects of the human experience: Dreams. The fact that the story is set around Athens and the characters interact in the woods, allows the audience to take their imagination to fascinating places. Emotions, reality, and fantasy intertwine in a mythological world of kings, queens, fairies, and humans.

Marshall’s adaptation keeps the magical world alive with a great choice of cast, costumes (Beth Eslick, Costumer), and music (Marshall McDaniel, Musical Director, Musical Compositions).

The switching of genders plays very well with the intrinsic ambiguity of some of the characters. Oberon, is played by Tiffany Coty, who delivers a powerful rendering of the King of the Fairies. Fiona Dorn plays Lysander, who is in love with Hermia (Anais Morgan).

The following actors deliver extraordinary performances. Bottom is played by the fantastic Jonathan Blandino (The Merry Wives of Windsor). Helena is played by Olivia Michael, an actress to watch. Emoria Weidner playing Quince is excellent in every scene. Christopher Glenn Gilstrap is a natural playing the mythical Puck.

The Theatricum Botanicum is an idyllic place for this story. Much like in the photographic lingo of frame within a frame, the play and stage become a forest within a forest. The many isles both in the seating section as well as in the sides and background of the proscenium, enlarge the stage to make it almost like a 360-degree scenario, a real treat for the audience. Add the makeup, the costumes, the music, the phenomenal performances, and the excellent direction and you get a memorable theatre experience.

A Midsummer Night’s Dream

Written by William Shakespeare. Directed by Melora Marshall. Presented by Will Geer’s Theatricum Botanicum.

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

Performances: June 12–October 1

For tickets and schedule: https://theatricum.com/

Theatre Review: The Merry Wives of Windsor

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Will Geer’s Theatricum Botanicum starts its 2022 season with William Shakespeare’s The Merry Wives of Windsor, directed by Theatricum artistic director Ellen Geer.

This adaptation takes the story to the 1950s in Small-Town America. Falstaff (Jeff Wiesen) devises a plan to seduce Mrs. Ford (Emily Bridges) and Mrs. Page (Willow Geer), the wives of two important Windsor’s merchants, to extract money out of them. When the wives find out that Falstaff sent them identical love letters, they now devise a plan to take revenge and teach him a lesson.

The other story line in the play is the situation of Anne Page (Alexandra Kunin), a girl whose father, Mr. Page (Bill Haller), wants her to marry Slender (Ethan Haslam). Her mother wants her to marry Dr. Caius (Cavin (CR) Mohrhardt), a French doctor with a short fuse. Anne, however, wants to marry Fenton (Charles Lin).

Depending on the director and actors, this play can be a fertile ground for comedic scenes. Director Ellen Greer makes great use of the stage, allowing actors to come and go in all directions. These kinetics create a more engaged audience throughout the play.

The actors that draw much of the attention are Jeff Wiesen as the opportunistic Falstaff, Jonathan Blandino as jealous Ford, Melora Marshall as witty Quickly, Willow Geer as Mrs. Page, and Emily Bridges as Mrs. Ford. Their vibrant performances and comedic timing keep the story entertaining and add dynamism to this old tale written more than 400 years ago.

The picture depicted in this adaptation is that of a classic white picket fence, a nostalgic scene where everything looks perfect in America. However, as in Shakespeare’s times, there’s also an issue of division of classes, a subject subtly described in the script. Falstaff’s followers Bardolph (Kenneth Montley), Pistol (Aleksander Ristic), and Nym (Joseph Darby) can be a representation of the working class with not much aspirations in life. The Fords and the Pages can be seen as the upper class, living a comfortable life. Also, Anne Page is a character that represents the condition of women of the time, she has no voice on who she really loves. Despite this reality, Shakespeare gives them the power to take control and make sure things go their way. Mrs. Ford and Mrs. Page don’t get fooled and give Falstaff a lesson. Anne Page gets Fenton, the man she wants.

The music (Marshall McDaniel, Music Director) (Peter Alsop, New Lyrics) and the costumes (Tracy Wahl, Costume Designer) create the perfect match to the 1950s setting.

The Merry Wives of Windsor is a perfect occasion to enjoy William Shakespeare in the magical grounds of Will Geer’s Theatricum Botanicum.

The Merry Wives of Windsor

Written by William Shakespeare. Directed by Ellen Greer.

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

Tickets and dates: https://theatricum.com/

Theatre Review: The Legend of Georgia McBride

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International City Theatre presents The Legend of Georgia McBride, written by Matthew Lopez and directed by Jamie Torcellini.

There is a place in Panama City, Florida called Cleo’s Lounge where Casey (Taubert Nadalini), impersonates Elvis Presley but is struggling to draw enough audience to sustain his act and the bar. Eddie (Tom Trudgeon), the bar owner, just replaced Casey”s act with a drag queen show led by Miss Tracey Mills (Jeff Sumner) and Rexy (Donzell Lewis). Meanwhile, Jo, Casey’s wife (Karese Frizell), just told him that she’s pregnant. To make things worse, the landlord of the apartment where Casey and Jo live, Jason (Donzell Lewis) just told them that if they don’t come up with the rent money, they’ll be kicked out. In that desperate circumstance, Casey needs to find a creative way to survive.

With no more choices, Casey quits his Elvis act and starts bar tending, but the money is not enough.  Despite arriving together, Rexy has a disagreement with Miss Tracey and decides to leave the show. With an incomplete act, Eddie and Miss Tracey force Casey to dress up and join the drag queen performance. Much to everyone’s surprise, Casey’s act becomes a hit and the crowd keeps coming back for more. With plenty of money rolling in, Casey is able to pay rent, utilities, and save enough money for the baby on the way, not to mention that the show saves Cleo’s Lounge from closing down. The only problem is that Casey decides to hide the true source of his income from his wife.

The story reveals a few things about the life of the drag queen performers and the insecurities of the people around them, even their honest supporters. Casey does not seem to care dressing up as a woman for his show; however, he still has doubts about the reaction of his wife. By doing so, he shows that he is a supporter of the drag community, but only in secret. This is true in today’s society, where many are still insecure about displaying their support to the LGBTQIA community in public.

Another aspect described in the play is the violence against the non-heterosexual individuals. Once back in the sow, Rexy recounts a violent experience in Houston, where two guys beat him up so badly that needed stitches in his head. Rexy puts it this way: “Drag ain’t a hobby, baby. Drag ain’t a night job. Drag is a protest. Drag is a raised fist inside a sequined glove. Drag is a lot of things, baby, but drag is not for sissies”. Theatre, after all, is a reflection of society at large and a powerful platform to protest.

As for the performances, Miss Tracey’s, Rexy’s, and Georgia’s costumes (Kim DeShazo, costume designer) are spectacular, a mirror of the uplifting tone of the play. Nadalini  has an engaging charisma and excellent voice that that is both emotional and exciting, matching the overall play’s message: A rainbow of positive energy.

The Legend of Georgia McBride

Written by Matthew Lopez. Directed by Jamie Torcellini. Starring Karese Frizell, Donzell Lewis, Taubert Nadalini, Jeff Sumner, Tom Trudgeon. Produced by caryn desai [sic]. Presented by International City Theatre.

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

Performances: June 10 – June 26
Thursdays at 8 p.m.: June 16, June 23
Fridays at 8 p.m.: June 10 (Opening Night), June 17, June 24
Saturdays at 8 p.m.: June 11, June 18, June 25
Sundays at 2 p.m.: June 12, June 19, June 26

Tickets: https://ictlongbeach.org/

 

Theatre Review: André & Dorine

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The Latino Theatre Company presents André & Dorine, a Spain’s Kulunka Teatro production. This play is directed by Iñaki Rikarte.

In film school, they tell you that a good story that connects with the audience is the one you can tell without words, just action. This concept is translated to the stage in André & Dorine, a touching story about an old couple dealing with the devastating effects of Alzheimer’s disease.

Dorine is a cello player who eventually forgets how to play the instrument. André is a writer that still uses a typewriter. With the passing of time, they go through the motions of a typical married life, annoying each other with little actions here and there. Their son takes Dorine to the doctor and that’s when the Alzheimer’s diagnosis is revealed.  At first, André refuses to accept the diagnosis, but as time goes by, reality takes over. This turning point will put to the test the strength of their relationship and will uncover whether or not their love for each other is still holding together their marriage.

The play shows the difficulties, the sadness, and the frustrations of the people affected by the disease and those around them. As her condition deteriorates, Dorine becomes increasingly dependent on André’s help even for the most basic personal care. This new reality triggers André’s memories of happier times when they first met and their son was born. Those memories unlock the intrinsic value of their relationship and give André the drive to keep going despite the challenges ahead.

The use of masks (Garbiñe Insausti, masks) in this production is an ode to the Greek, Roman, Japanese, and other ancient theatrical performances where masks have played an important role in portraying the wide range of human emotions. They add a unique dramatic effect to the story and the performances.

The excellent direction of Iñaki Rikarte shows his mastery at working with movement, music (Yayo Cáceres, composer), lighting (Carlos Samaniego “Sama”, lighting design), and set design (Laura Gómez, set designer) to deliver the compelling message of the story.

The play presents the cycle of life with all of the sadness and happiness that come with it. The end of one love story and the beginning of a new one. The demise of one life and the birth of a new one. A cycle that repeats itself, again and again, as a perpetual movement. The poignant story and the emotional performances of José Dault, Garbiñe Insausti, and Edu Cárcamo touched many hearts and moved the audience to tears.

André & Dorine

Written by El José Dault, Garbiñe Insausti, Iñaki Rikarte, Edu Cárcamo, and Rolando San Martín. Music by Yayo Cáceres. Directed by Iñaki Rikarte. Starring Edu Cárcamo, José Dault, and Garbiñe Insausti. Produced by Kulunka Teatro. Presented by The Latino Theater Company.

The Los Angeles Theatre Center
514 S. Spring Street
Los Angeles CA 90013

Performances: June 8 – June 19:
Wednesdays at 8 p.m.: June 8 and June 15
Thursdays at 8 p.m.: June 9 and June 16
Fridays at 8 p.m.: June 10 and June 17
Saturdays at 8 p.m.: June 11 and June 18
Sundays at 4 p.m.: June 12 and June 19

Tickets: https://www.latinotheaterco.org/

Theatre Review: Guess Who’s Coming to Dinner

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Ruskin Group Theatre presents Guess Who’s Coming to Dinner, a stage adaptation of the 1967 film of the same title. The Adapter/Playwright is Todd Kreidler and the Director is Lita Gaithers Owens. 

Joanna Drayton (Mary Pumper) is marrying Dr. John Prentice (Vincent Washington) and she wants to introduce him to her parents Christina Drayton (Lee Garlington) and Matt Drayton (Brad Greenquist). Joanna is white and John is black. A simple situation, but a controversial one back in the 60s. The rest of the characters include Hilary St. George (Mouchette van Helsdingen), Monsignor Ryan (Paul Denk), Matilda “Tillie” Binks (Vickilyn Reynolds), John Prentice Sr. (Dan Martin), and Mary Prentice (Renn Woods).

The events that preceded the original screenplay by William Rose were the Freedom Riders, March on Washington, Freedom Summer, Bloody Sunday, the assassination of Malcolm X, among many others, all of which came to be known as the Civil Rights Movement.

Matt is a newspaper editor with liberal views, supporting equal rights. Christina’s point of view is very similar. However, when their daughter Joanna is the one marrying a black man, their apparent progressiveness is put to the test. The play examines not only the relationships among the characters of different race but also the granularity of intrafamilial relationships.

The initial shock shown by Joanna’s parents posed an interesting question: Are Joanna’s parents intrinsically racist despite their public stance on inclusiveness, or are they genuinely concern about the prospects of their daughter’s marriage in a racist society? What about John’s parents? They also have their own doubts about their son marrying a white woman. Are their concerns justified?

Tillie, the Draytons’ black housekeeper, also questions John’s real motivations to marry Joanna. Tillie, however, has some details about Matt that can change John’s perceptions about his future in-laws. In a sense, Tillie is a character that sees beyond the obvious and senses the reality of the situation. She is somehow the reflection of America, having seen the worst but also the signs of a brighter life ahead.

The dialogue of the characters show the prejudice that stems from fear, fear of utopian expectations, fear of whatever pains lie ahead. As it turned out, Martin Luther King Jr., an idealistic leader, was assassinated in 1968, a year after the story depicted in Guess Who’s Coming to Dinner. 

Todd Kreidler’s play features the insecurities and concerns prevailing in America in the 60s, elements so persistent today that the story still reflects the current state of affairs. At the same time, Guess Who’s Coming to Dinner is also a story that allows us to dream of a new world brewing in the heart of America.

The stage of the Ruskin Group Theatre is so intimate that the actor’s expressions can be felt vividly by the audience, a great opportunity for such experienced actors like Brad Greenquist and Lee Garlington to show their skills. The voice projection of Dan Martin certainly added some excitement to the play; he has an imposing stage presence. This production features excellent scenic design (John Iacovelli) and lighting design (Edward Salas). The costume design (Michael Mullen) is extraordinary, Mary Pumper looks like a fashion icon of the 60s. The audience was certainly delighted with the performances and the production of this funny and moving stage adaptation.

Guess Who’s Coming to Dinner

Written by Todd Kreidler – based on the screenplay by William Rose, directed by Lita Gaithers Owens, produced by John Ruskin and Michael R. Myers, presented by Ruskin Group Theatre.
Ruskin Group Theatre
3000 Airport Avenue
Santa Monica, CA 90405
(Ample free parking)
Schedule: 8pm Fridays and Saturdays; 2pm Sundays
(No performances on June 5, 17, 18)
Closing:  Sunday, July 17, 2022

Theatre Review: Sleep with the Angels

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Sleep with the Angels is a Latino Theater Company production. The playwright is Evelina Fernández and the director is José Luis Valenzuela, who is also the LTC artistic director.

Juana (Esperanza América) is hired by Molly (Elia Saldana) to work as a nanny. Juana’s job is to take care of Molly’s kids, 13-year old Alex (Saul Nieto) and his older teen sister Cindy (Victoria Tamez). Molly’s estranged husband, John (Randy Vasquez), comes back home occasionally to check on the kids. Molly’s mom is Rose (Tina D’Marco) and the family gardener is Pablo (Eduardo Roman), who recommended Juana for the job.

This play contains elements of magical realism, a literary form featured in some of the most memorable works by Latin American writers like García Márquez, Rulfo, Allende, Garro, Pietri, and many others. In Fernandez’ script, she uses this element to emphasize the value and contribution of the Latino culture to the US landscape. Juana just arrived from Mexico, bringing some superpowers that touch the lives of the people around her. Her faith in saints and teas is the solution to mostly everything, finding lost jewelry, curing hiccups, taming big mouths, and making your love interest fall for you. The wind also adds to the magic of the story, as Juana explains: “The wind brought me here”. Using Mexican folklore as part of that magical realism, Juana represents the efforts, sacrifices, and hopes of many immigrants who have come to the US in search of a better life.

The play also delves into the challenges of the LGBT community in its search for acceptance. Alex finds himself at an intersection of choosing his own ways or following the expectations of society and his father. Alex connects with Juana almost instantly, as she has her own story to tell.

Cindy experiences an important transformation as a teenager with anger issues. With the help of Juana, Cindy is able to re-connect with her own heritage and funnel her angst into positive energy that lets her see her own worth.

Molly, the busy attorney trying to make partners at the law firm, is an excellent character who represents something not seen very often in media: Chicanas and their lives and struggles. Molly, at the end of the day, has to be the one making the most important choices for the family.

At a turning point in the story, Molly and Juana, two brave women from both sides of the border, have to make decisions that will change their lives forever, as painful as they might be.

The presence of the guitarist (Robert Revell) as a spectral character throughout the play and linked to Juana as revealed at the end, adds a special touch to the story. The music becomes a character on its own (music by Robert Revell and lyrics by Evelina Fernández and Esperanza América).

The stage of The Los Angeles Theatre Center is pretty spectacular, ample with high ceilings. This allowed for an impressive display of dramatic lighting and special effects (Emily Anne MacDonald & Cameron Jaye Mock, Scenic, Costume, Lighting & Projection Design). The sound effects (John Zalewski, sound design) also created an atmosphere that enhanced the emotional aspects of the story.

Valenzuela’s direction had the actors move in and out of the stage in different directions, offering dynamic performances. The blocking of the telenovela scene was specially creative; the actors upstage and downstage center delivered one of the most hilarious moments in the play, much to the delight of the audience.

Sleep with the Angels is a powerful story that presents harsh realities to reminds us of the challenges of the American dream and the paradox of the immigration system. The play also features some of the cultural contributions of immigrants to this vast tapestry called the United States of America.

Sleep with the Angels

Written by Evelina Fernández, directed by José Luis Valenzuela. Starring Esperanza America, Tina D’Marco, Saul Nieto, Robert Revell, Eduardo Roman, Elia Saldana, Victoria Tamez, Randy Vasquez. Produced by Latino Theater Company

The Los Angeles Theatre Center
514 S. Spring Street
Los Angeles CA 90013

Performances: May 27 – June 26
Thursdays at 8 p.m.: June 2, June 9, June 16, June 23
Fridays at 8 p.m.: May 27 (Opening), June 3, June 10, June 17, June 24
Saturdays at 8 p.m.: May 28, June 4, June 11, June 18, June 25
Sundays at 4 p.m.: May 29, June 5, June 12, June 19, June 26

Tickets: https://www.latinotheaterco.org/sleep-with-the-angels

Theatre Review: Untitled Baby Play

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Thursday May 26, 2022 was the world premiere of Untitled Baby Play, written by Nina Braddock and directed by Katie Lindsay.

The play tells the story of a group of friends that are organizing a baby shower for a mutual friend called Libby. The email communication going back and forth among the friends becomes a fertile ground for conflict and comedy. Penny (a hilarious Sonal Shah, Celestial Events) decides to become the organizer of the party, but she’s constantly butting heads with Meredith (Laila Ayad). Eden (Sarah Utterback) and Gillian (Courtney Sauls) decide not to get too involved, trying to keep the peace. Natalia (Anna Rose Hopkins) gets some inspiration from ‘What to Expect When You’re Expecting” while trying to make it as an actress. Meanwhile, Clara (Jenny Soo) is a busy new mom who tries to keep up with the group.

The baby shower becomes more than just a party to celebrate a mutual friend, it becomes an event to reflect on the choices around motherhood, careers, relationships, and life itself. Penny is a married doctor and is using shots to become pregnant. Meredith is also married and a consultant, trying to avoid pregnancy. Natalia is an actress who seems to have conflicts with her mom. Eden is a journalist, following the case of a woman accused of killing a baby. Gillian is a teacher with a disabled mom. Both Eden and Gillian are ambivalent about motherhood. Clara is a software engineer, worried about her son not being able to sit straight.

Untitled Baby Play elaborates on what pregnancy means in life. Is motherhood a way to calibrate success in life? How about social pressure? Even though Gillian doesn’t want kids, she is also afraid of feeling left behind if she ends up with no kids in her life. Meredith also expresses her concerns of regretting not having kids and being alone later in life.

Eden, afraid she will never be able to experience pregnancy, asks Clara what labor feels like. Downstage center in high key lighting, Clara delivers an emotional, moving, and poetic depiction on the worries, pains, and joys of feeling and seeing her baby for the very first time.

Set designer Cindy Lin creates a stage with interesting details, a poster of Strangers on a Train on Eden’s wall, the book Words with Wings on Gillian’s bookshelf, the image of Jesus on Clara’s wall, etc. Lighting designer Dan Weingarten used illumination to match the pastel color palettes on the walls of each character, bringing out their unique personalities.

With its brilliant writing, directing, and performances, Untitled Baby Play delivers a poignant, funny, and thoughtful look at friendship, motherhood, and life.

Untitled Baby Play

Written by Nina Braddock, directed by Katie Lindsay
Starring Laila Ayad, Anna Rose Hopkins, Courtney Sauls, Sonal Shah, Jenny Soo, Sarah Utterback
Presented by IAMA Theatre Company, Stefanie Black, artistic director

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

Performances: May 26 – June 27
• Thursday at 8 p.m.: May 26 ONLY (Opening Night)
• Fridays at 8 p.m.: May 27, June 3, June 10, June 17, June 24
• Saturdays at 8 p.m.: May 28, June 4, June 11, June 18, June 25
• Sundays at 3 p.m.: May 29, June 5, June 12, June 19, June 26
• Mondays at 8 p.m.: June 6, June 13, June 20, June 27 (dark May 30)

Tickets: https://www.iamatheatre.com/untitled-baby-play

 

Theatre Review: Hamlet

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The Antaeus Theatre Company brings a new version of Hamlet, playing at the Kiki & David Gindler Performing Arts Center in Glendale, CA. The play is directed by Elizabeth Swain.

The cast consists of Ramón de Ocampo (Hamlet), Gregg T. Daniel (Claudius/Ghost), Veralyn Jones (Gertrude), Peter Van Norden (Polonius/Gravedigger), Jeanne Syquia (Ophelia/Osric), Michael Kirby (Laertes/Player Queen), Adam J. Smith (Horatio), Sally Hughes (Guildenstern/Voltemand/Reynaldo/Fortinbras), Lloyd Roberson II (Rosencrantz/Barnardo/Player 3&4/Priest/Courtier), and Joel Swetow (Marcellus/First Player/Captain).   

One of the challenges of playing Hamlet is the necessity of portraying his theatricality and inwardness throughout the play. A great deal of knowledge and details of the epoch, not disclosed in the play’s text, is of utmost importance to understand Hamlet’s life and deliver his dialogues accurately. For example, the famous “To be or not to be“ monologue seems to be the result of the leccio, meditatio, and questio, a common scholastic methodology taught in the universities of the time, suggesting that Hamlet was a university student. Ramón De Ocampo seems to be aware of those characteristics when delivering the monologues during his stellar performance. His movements as well as his expressions, both facial and vocal, project the intricacies of Hamlet’s tribulations, doubts, and madness. De Ocampo’s charisma portraying Hamlet is a result of his extensive experience playing Shakespeare’s characters, some of the most challenging in theatre history. 

Also exceptional is the performance of Peter Van Norden, portraying Polonius and the Gravedigger. He contributed to some of the most hilarious passages of the play.  

Swain’s take on Shakespeare’s masterpiece presents a modification to the costumes and characters’ genders. The costumes combine the Renaissance with the contemporary. Also, the original male characters Guildenstern and Fortinbras are played by actress Sally Hughes. These changes are intended to introduce a classic story from the 16th-17th century to a contemporary audience.  

For this production, there was no suggestion of the Freudian Oedipus complex hypothesis. This version advocates for a more typical son-mother relationship with no sexual overtones. 

The lighting (Jared A. Sayeg, Lighting Designer) offers some crucial ambiance to the play. The Ghost is bathed with a bluish hue that adds mystery and coldness to this pivotal character. The warm, white, and other times directional light contributes to tell the story, magnifying the characters and the diversity of their states of mind. The sound (Cricket Myers, Sound Designer) is also a key factor to create the dramatic effect of the story and the characters. Since the beginning, the sound of thunders set the mood of the play. The eerie voice of the Ghost, the actor’s voice projection in some of the most dramatic scenes keep the play even more interesting and the audience more engaged. The mise-en-scène (Stephen Gifford, Scenic Designer) with the dark floor and columns also add to the dramatic effect, as a latent prelude of tragedies to come. Complementing the production are Costume Designer Dianne K. Graebner, Props Designer Shen Heckel, Violence Designer Ned Mochel and Choreographer Liz Lamura (excellent teamwork to create those sword fighting scenes).

Hamlet, a Renaissance play, continues to intrigue and amuse scholars, producers, directors, actors, and audiences all over the world. Directors like Elizabeth Swain contribute to the richness of the story by adding new insights and interpretations to this timeless masterpiece that feels as new and exciting as it did more than 400 years ago. 

Hamlet

Written by William Shakespeare
Directed Elizabeth Swain
Starring Gregg T. Daniel, Ramón de Ocampo, Sally Hughes, Veralyn Jones, Michael Kirby, Lloyd Roberson II, Adam J. Smith, Joel Swetow, Jeanne Syquia, Peter Van Norden
Sponsored in part by Rosemary A. Hernandez
Presented by Antaeus Theatre Company

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

PARKING:
First 90 minutes free, then $2 per hour in Glendale Marketplace garage located at 120 S. Artsakh Ave. (between Broadway and Harvard)

Fridays at 8 p.m.: May 20 (Opening), May 27, June 3, June 10, June 17
Saturdays at 2 p.m.: May 28, June 4, June 11, June 18 (no matinee on Saturday, May 21)
Saturdays at 8 p.m.: May 21, May 28, June 4, June 11, June 18
Sundays at 2 p.m.: May 15 (preview), May 22, May 29, June 5, June 12, June 19
Mondays at 8 p.m.: June 6, June 13, June 20 (dark May 23 and May 30)

Tickets: https://antaeus.org/productions/hamlet/

Theatre Review: Metamorphoses

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Mary Zimmerman‘s Metamorphoses opened Saturday May 14 at the A Noise Within stage in Pasadena. This production is directed by Julia Rodriguez-Elliott. The original Metamorphoses, written by Roman poet Ovid, dates back to the year 8 AD. The poem has inspired countless of influential figures such as Boccaccio, Chaucer, Shakespeare, and Cervantes to name a few.

The moment you step into the theatre, you can sense the lavish production you are about to experience. The stage, the pool, and the lighting set the mood for this epic story. For such a literary work and relevant production, Dr. Miranda Johnson-Haddad consulted as a dramaturg.

The play starts with the concept of Cosmogony, presenting Zeus, Woman by the Water, and Scientist, all of them describing the beginning of humans and the chaos of the universe. What follows is a series of Greek myths, but with a contemporaneity that feels fresh. The story captures the various passages of the human experience, represented by deities and humans alike. Special attention is stressed on the metamorphoses, or transformations, of the characters involved.

In a way, the play presents the idea that no matter what time in history they live in, humans have always had the same ambitions, feelings, passions, and desires. As the concept of eternal life is introduced by Silenus, Midas also embodies a duality seen in many humans, in this case, greed but also the unconditional love of a father for his daughter. After his wish of turning everything he touches into gold is granted by Bacchus, Midas accidentally touches his own daughter, turning her into a statue of gold. Bacchus then tells him that the only way to reverse his action is to find a mystic pool far away that will restore his daughter back to normal. Midas is willing to give up his possessions and start his journey in search of the mystic pool.

A constant in human life is the search for love, characterized by the vignette of Vertumnus and Pomona. As Vertumnus tries unsuccessfully to get Pomona’s attention, he disguises in different costumes to avoid showing himself. In one of his attempts, he tells Pomona the story of Mirrha, who punished by Aphrodite, is cursed with falling in love with her own father, King Cyniras. Overwhelmed by her lust, Mirrha devises a plan to consummate her forbidden passion. The climax of this story within a story, framed by dramatic lighting, sound, water, and excellent acting, creates one of the most intense scenes of the play.

A touching story in the play is when a poor couple, Baucis and Philemon, receive Zeus and Hermes in heir humble house with a feast. As a result, they are granted a wish. Baucis and Philemon only ask for one thing: To die together to avoid the pain of mourning each other. Unconditional, endless love, a continuum in history, poetically portrayed in Metamorphoses.

Many other characters and scenarios are depicted, all showing the dedication of the creative team behind this production. Director Julia Rodriguez Elliott re-creates fantastic worlds such as oceans, rivers, the underworld, voyages, and journeys. She is able to convey the idea that humans’ yearnings, behaviors, and experiences haven’t changed much since the beginning of time. That’s one of the reasons why the audience connects so well with this play, the characters are a reflection of ourselves, one way or another.

As for the actors, the play is a physical demanding production, working around water has many challenges, walking around slippery surfaces without loosing concentration, shits of water temperature over the course of the play, etc., but the cast delivers powerful performances, touching the audience’s fibers with drama, tragedy, and humor. The lighting (Ken Booth, Lighting Designer) became a character on its own, wrapping the actors in stunning hues of reds, blues, greens, and yellows, and combined with water (Françoise-Pierre Couture, Scenic Design) and sound effects (Robert Oriol, Sound Design), created memorable artistic images, perfect for such an epic play.

Metamorphoses

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

Written by Mary Zimmerman
Based on the myths of Ovid, from the translation by David R. Slavit
Directed by Julia Rodriguez-Elliott
Starring DeJuan Christopher, Geoff Elliott, Rafael Goldstein, Nicole Javier, Kasey Mahaffy, Sydney A. Mason, Trisha Miller, Cassandra Marie Murphy, Erika Soto
Presented by A Noise Within, Geoff Elliot and Julia Rodriguez-Elliott, producing artistic directors

Performances May 14–June 5:
Wednesday at 7:30 p.m.: May 11 ONLY (Preview)*
Thursdays at 7:30 p.m.: May 12 (Preview), May 26, June 2 (dark May 19)
Fridays at 8 p.m.: May 13 (Preview), May 20**, May 27**, June 3**
Saturdays at 2 p.m.: May 21, May 28; June 4
Saturdays at 8 p.m.: May 14 (Opening Night), May 21, May 28; June 4
Sundays at 2 p.m.: May 8 (Preview), May 15, May 22**, May 29; June 5
*Pre-performance symposium with noted scholar at 6:45 p.m. on May 11 (included in ticket price)
**Post-performance conversations with the artists on May 20, May 22, May 27, June 3 (included in ticket price)

In addition, there will be six student matinees at 10:30 a.m. on Wednesday, May 11; Tuesday, May 17; Wednesday, May 18; Thursday, May 19, Tuesday, May 24 and Wednesday, May 25. Interested educators should email education@anoisewithin.org.

For tickets: https://www.anoisewithin.org/play/metamorphoses/

Theatre Review: God of Carnage

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Kids Benjamin and Henry got into a fight at school. Benjamin attacked Henry with a stick, injuring Henry’s teeth. Henry’s parents decide to invite Benjamin’s parents to their house to work thing out in a civilized manner. That was the idea, but…

That’s the premise of God of Carnage, a hilarious play where parents behave more like kids than adults. Michael Novak (Matthew Downs) and his wife Veronica Novak (Lisa LoCicero), Henry’s parents, invite Alan Raleigh (Jack Esformes) and his wife Annette Raleigh (Leilani Smith), Benjamin’s parents, to have a conversation about the incident with their kids and find a zone of possible agreement to clear things up. What seems to be a normal conversation with manners, turns into a train wreck, fueled by glasses (and bottles) of rum. Veronica and Michael insist in painting Henry as a victim of the savagery of Benjamin, only to be reminded by Annette and Alan that Benjamin might have acted in self-defense. The whole finger-pointing conversation was constantly interrupted by Alan’s tendency to answer his cell phone to tend to business.

As the conversation continues, the jobs and personalities of the four parents are revealed. Alan is the lawyer of a pharmaceutical company involved in a legal battle due to the dangerous side effects of its marketed medicine, which is the same medicine used by Michael’s mom. Michael sells hardware and was fed up with Henry’s hamster, so he released it into the street, with little possibilities to survive on its own. Veronica is a photographer and an art lover and her attitude has undertones of cultural appropriation and racism. Annette seems to be the most civilized of the four, until the effects of alcohol kick in. It turns out that rum brings the best and the worst of each of the characters, setting off recriminations in all directions, at times unveiling cracks in the relationships of both marriages, with tulips, cell phones, and pieces of art caught in the middle. 

With God of Carnage, writer Yasmina Reza and director Peter Allas are able to achieve the three fundamental concepts of theatre: Conflict, emotion, and entertainment. The story is a string of situations that lead to hilarious and intense exchanges among the characters that make this play highly enjoyable. The stage direction is excellent. The actors make great use of the stage, adding dynamics to the story.

Lighting Designer Gavan Wyrick and Scenic Designer Tyler Scrivner have created a space with rich details, adding a warm ambiance to the story, perfect for a homely setting. The lighting is a subtle play of hues and intensities that bring up the comedic nature of the play and space.

God of Carnage is a masterful combination of writing, directing, and technical elements that make a delightful night of great theatre in Los Angeles.

God of Carnage

Written by Yasmina Reza, Translated by Christopher Hampton, Directed by Peter Allas, Produced by Racquel Lehrman, Theatre Planners, Presented by Foursome Productions

A Visiting Production at the
Odyssey Theatre
2055 S. Sepulveda Blvd.
Los Angeles CA 90025

Tickets: https://www.onstage411.com/newsite/show/play_info.asp?show_id=6184