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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

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