Tag Archives: Acting

Theatre Review: Pueblo Espíritu

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Pueblo Espíritu is presented by Latino Theater Company. Created by Organización Secreta Teatro from Rocío Carrillo’s original idea. Directed by Rocío Carrillo.

Pueblo Espíritu is some kind of A Midsummer’s Night Dream, Mexican style. Deep in the forest, five characters try to survive the Covid pandemic. Distrusting each other, they need to find a way to work together and fight for their lives.

In order to imagine a brighter future, they need to look back and learn from their ancestors. In a world of images, sounds, and rituals, the characters start to reconnect with their natural surroundings. During that process, their animalistic instincts are heightened and the tribal structure starts to shape the relationships among each other. Even though the characters in Pueblo Espíritu live in modern times, their transformation is a vision to the lifestyle of pre-Hispanic Mesoamerican civilizations. 

Rocío Carrillo takes elements from the Chichimeca peoples to recreate the rituals and mythical figures seen in the play. This production relies on music, colors, kinetics, and lighting to tell the story, as there is no dialogue. The result is an enthralling and emotional journey that enraptures the audience from beginning to end. The modulation of intensities throughout the play is a visual language that is rarely seen in theatre. It’s poetic, mysterious, and open to interpretations. In that sense, the relationship with the audience becomes dynamic, never static.

Pueblo Espíritu is a reference to the values that have been lost in the frenetic pace of today’s world. It is a ritual of life and death, an exorcism to clean the soul. It’s an invitation to go back to the basics, to open up our hearts and minds to Mother Earth. In the words of Michael Cretu, it is the return to yourself, the return to innocence. It is a mystic and cathartic experience worth trying.       

Pueblo Espíritu

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

May 3 – May 14

  • Wednesday, May 3 at 8 p.m. (opening night)
  • Thursday, May 4 at 8 p.m.
  • Friday, May 5 at 8 p.m.
  • Saturday, May 6 at 8 p.m.
  • Sunday, May 7 at 4 p.m.

Tickets: latinotheaterco.org

Original idea by Rocío Carrillo. Cast: Beatriz Cabrera, Alejandro Joan Carmarena, Brisei Guerrero, Stefanie Izquierdo, Ernesto Lecuona, Mercedes Olea and Jonathan Ramos. Directed by Rocío Carrillo.

Pueblo Espíritu poster
An image from Pueblo Espíritu
An image from Pueblo Espíritu

Theatre Review: The Laramie Project

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The Laramie Project is presented by The Group Rep. Written by Moises Kaufman, Ms. Leigh Fondakowski, and the Tectonic Theater Project. Directed by Kathleen Delaney. Produced by Bill Fitzhugh and Danica Waitley.

The Laramie Project is a production in the form of documentary theatre, based on the more than 200 interviews that Kaufman, Fondakowski, and members of the Tectonic Theater Project conducted after the tragic death of Matthew Shepard in 1998.

Shepard was a gay student at the University of Wyoming, located in Laramie, Wyoming. On the night of October 6, 1998, Shepard left the Fireside Lounge with Aaron McKinney and Russell Henderson. McKinney and Henderson took Shepard to a rural area where they beat, tortured, and tied him to a fence and left him to die in near-freezing temperatures. Eighteen hours later, still alive and in a coma, Shepard was found by cyclist Aaron Kreifels. Shepard died six days after the attack on October 12, 1998. He was 21 years old.

This play is a collection of statements from the people that knew Shepard and his attackers, McKinney and Henderson. The interviews pick up the diversity of opinions from the community of Laramie. While some people denounced the attack and demanded justice, others believed that Shepard deserved the ordeal because of his homosexuality. Some of those beliefs were heavily influenced by religion, which played an important role in the life of this relatively small community.

The Laramie Project is in itself a social study that reveals how education, religion, and job opportunities may affect the attitudes towards the LGBT community. The characters demonstrate the contradiction of rural and conservative America. There is the bartender who liked Matthew and didn’t care about his sexual preferences. The doctor, who felt sorry for both the victim and the perpetrator when he treated both of them the same day at the same hospital. Then, there are the religious leaders. Some of them demanding justice for Shepard, some demanding leniency for McKinney and Henderson.

If anything positive came out of this incident, is the fact that some members of the LGBT community had the opportunity to express themselves and claim their rightful place in society. Other consequences of The Laramie Project is the influence of this play in other documentary mediums such as film and reality TV. The play has been staged in more than 300 productions around the world and had a very successful Off-Broadway run. The writers and directors continue to inspire conversations and drive changes in minds, hearts, and legislation around the world for generations to come. The writing shows the initial shock experienced by the people of Laramie after learning about the attack. But it also shows the disturbing shift of opinions once the religious conservatism kicked in, sympathizing with the attackers and approving of their heinous act.

Director Kathleen Delaney uses a large production of 11 fine actors to play several roles, all portraying the wide variety of points of view related to this case. Delaney blocks her actors to create a continuous sense of movement that reflects the frenetic pace of the events, specially the media coverage of the critical days that preceded Shepard’s death and the controversial trial that followed.

The play also feels like a time of introspection. A time to reflect on what went terrible wrong and what actions to take to avoid the recurrence of such a barbaric act. The continuous staging of this production is a symbolic candlelight vigil to honor Shepard’s memory and the values and convictions he represented.

The Laramie Project

The Group Rep at the Lonny Chapman Theatre – First floor
10900 Burbank Blvd
N. Hollywood, CA 91601

April 14 – May 21
Fridays and Saturdays at 8PM, Sundays at 2PM
After the Matinee Talkback with cast and staff 4/23 & 4/30.

Tickets: thegrouprep.com

Written by Moises Kaufman, Ms. Leigh Fondakowski, and The Tectonic Theater Project. Directed by Kathleen Delaney. Produced by Bill Fitzhugh and Danica Waitley. Cast: Landon Beatty, Paul Cady, Roslyn Cohn, Julie Davis, Marc Antonio Pritchett. Stephen Rockwell, Jackie Shearn, Margaret Rose Staedler, Cathy Diane Tomlin, Amelia Vargas and Kay Vermeil. Creative team: Mareli Mitchel-Shields (Set Designer), Tor Brown (Lighting/Projection Designer), Michael Mullen (Costume Designer), and Marc Antonio Pritchett (Sound Designer).

The Laramie Project poster
A scene from The Laramie Project
A scene from The Laramie Project

Theatre Review: Michaela’s Fluent Aphasia

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As part of the MFA Dramatic Writing Year 3 New Works Festival, the USC School of Dramatic Arts presents Michaela’s Fluent Aphasia. Written by Christina Carrafiell. Directed by John DeMita.

Michaela (Maddy Curry, BA Theatre, Acting Em., Junior) has a brain tumor and is about to get a surgery that will be performed by her doctor boyfriend Will (Micha Schnider, BA Theatre, Acting Em., Sophomore). The day of the surgery, Michaela sees Julia (Lexi Minetree, BA Theatre/BA Public Relations, Junior) suffering some sort of asthma or anxiety attack. From there, the story becomes the journey of Michaela’s recovery from a condition called fluent aphasia, caused by the brain surgery to remove the tumor. Another character of the story is Theo (Ben Crane, BA Theatre, Acting Em., First Year), Julia’s boyfriend, a sculptor and speech therapist.

Flashbacks introduce the conflict in the story. In an instant of female intuition, or distrust, Julia senses a potential romance between Theo and Michaela. This worsens when Theo becomes Michaela’s speech therapist. Despite the situation, Michaela and Julia become close friends, finding common ground in their interests of music and poetry. Julia is a musician and Michaela likes to write poetry.

Christina Carrafiell gives her female characters the backgrounds that explain their distinguishing traits, specially their penchant for dependency. In the case of Michaela, there are revelations that question even the legality of the relationship between her and Will. It is probably that mutual inclination to depend on others that take the relationship between Julia and Michaela to another level. In the extremely challenging journey to recovery, Michaela will learn not only to speak coherently again, but also to search deep in her heart where the real love is. In the play’s resolution, Julia will need to make a critical decision. Michaela is in the right path to recover from the brain damage, but will she be left heart broken?

Director John DeMita explores the script using language, poetry, music, and romance to bring Carrafiell’s vision to life. It is a production presented in an entertaining and dynamic form. The flashbacks present details that are crucial to understand the dynamic relationships between the characters. The four actors show their potential, delivering nuanced and convincing performances. The USC School of Dramatic Arts continues to show its commitment to prepare students to succeed in the entertainment industry, connecting students with real audiences and industry professionals.

Christina Carrafiell is a British-American playwright. Her first play, A Fragile Lift, was performed to sell-out audiences at the Chelsea Theatre in London when she was just 17. It was then selected for a run at the Edinburgh Fringe Festival, with Scottish newspapers calling it “original” and “impressive” (The Scotsman). Christina continued writing as an undergrad at Yale, where she was featured in Zack Calhoon’s celebrated ‘people you should know‘ blog. She then won a scholarship to do an MFA in Playwriting at USC School of Dramatic Arts, where she is currently in her third and final year. Her TV script Surfer Girl reached the quarter finals of the 2021 WeScreenplay TV Writing Competition.

Michaela’s Fluent Aphasia

McClintock Theatre
1010 W Jefferson Blvd (University of Southern California)
Los Angeles, CA 90089
Dates:
Thursday, April 20, at 7:30 p.m.
Saturday, April 22, at 8 p.m.
Tuesday, April 25, at 7:30 p.m
Written by Christina Carrafiell. Directed by John DeMita. Starring Ben Crane, Maddy Curry, Lexi Minetree, and Micah Schneider. Creative team: Scenic Design by Takeshi Kata and Maya Channer ( BFA Design, Sophomore), Costume Design by Juliet Black (BFA Design, Sophomore), Lighting and Projection Design by G. Austin Allen, Sound Design by Alma Reyes-Thomas, Stage Manager Yaesol Jeong, Technical Director Dominic Vacca (BFA Technical Direction, Senior).

Theatre Review: Battlesong of Boudica

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Battlesong of Boudica is presented by The School of Night. Written and directed by Christopher William Johnson. 

Year 61 AD in Britannia. A revenge battle is about to tremble the feared and powerful Imperial Roman army. After the death of the wealthy Icenian king Prasutagus (Daniel Adomian), who named his two daughters and the Roman emperor as co-heir to his kingdom, the Romans ignored his will and took over his possessions. When the Roman procurator Decianus (Brad C. Light) shows up at the kings’s estate to take inventory, he ordered to flog Prasutagus’s widow Boudica (Jen Albert) and sexually assaulted his two daughters, Brenda (Allegra Rodriguez Shivers) and Kerma (Lucy Schmidt). 

That mistreatment triggers Boudica’s thirst for revenge. She decides to train her daughters for war and incites the Celtic tribes to revolt against the formidable Roman army. Historical details about this event are mentioned in Book 14 of The Annals, a history of the Roman Empire from the years AD 14-68 by Roman historian and senator Tacitus.

As Boudica and her troops continue the destruction of the Roman settlements Camulodunum, Londinium, and Verulamium, the Roman general Paulinus (Christopher  Neiman), in a military campaign against the druids in the island of Mona, decides to regroup the 14th Legion and fight Boudica’s army in an epic an bloody battle.

Battlesong of Boudica depicts some of the war elements employed at the time. Boudica invokes the Icenic war goddess Andraste, releasing a hare as a divination technique. The play also shows the dances used by the Icenic warriors to boost their morale. Writer and director Christopher William Johnson uses chants, dances, spoken verse, and energetic action to depict the intensity of the violent battles carried out during the Imperial Rome. Some of the themes presented are colonialism, sexism, revolution, and multiculturalism, topics that continue to be relevant today.

Actress Jen Albert is the co-founder of The School of Night and an award-winning fight choreographer. She delivers a passionate and intense performance, portraying the painful and epic life of Boudica, one of the most iconic female figures in war history. Christopher Neiman also excels at his portrayal of the vicious and fearless Roman general Paulinus, carrying the weight of the unstoppable march of the most powerful empire of the time.

Battlesong of Boudica is a unique and primal saga with highly energetic stage fights that entertain all the way till the end. Be prepare for a night of exciting action and strong emotions in this moving Celtic heroic achievement. 

 Battlesong of Boudica

The Hudson Backstage 

6539 Santa Monica Blvd
Los Angeles, CA 90038

Sunday at 7 p.m.: April 9 (Opening)

Sundays at 3 p.m.: April 16, April 23, April 30

Monday at 8 p.m.: April 10 Pay-What-You-Can

Fridays at 8 p.m.: April 14, April 21, April 28

Saturdays at 8 p.m.: April 15, April 22, April 29

Tickets: https://school-of-night.ticketleap.com/battlesong-of-boudica/get-there/

Written, Directed, Production Design by Christopher William Johnson • Fights Choreographed and Produced by Jen Albert • Starring Daniel Adomian, Jen Albert, Tom Block, Colin A Borden, Payton Cella, Sara Gorsky, Brad C. Light, Chloe Madriaga, Chrisopher Neiman, Tristan Rewald, Lacey Rosewall, Lucy Schmidt, Allegra Rodriguez Shivers, Jack TenBarge, Jesse James Thomas, Frank Tirimacco, Dan Wingard • Presented by The School of Night. The creative team for Battlesong of Boudica includes lighting designer Aiden de Jong, Linda Muggeridge is costume designer, Ryan Beveridge is the composer and sound designer. Kate Coleman is the dance choreographer and Andrew Leman is the graphic designer. The stage manager is Michelle Elizabeth Vasquez.

 

Theatre Review: The Pilot Who Crashed the Party

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The world premiere of The Pilot Who Crashed the Party is presented by Public Works Improvisational Theatre Foundation in association with Paul Sand Projects. Written and directed by Tony Award winning actor and Second City alum Paul Sand. Produced by Amanda Weier.

Sally (Jacqueline Wright) is celebrating her 50th birthday in her house up in the mountains in a stormy night when a small plane crashes into her house. The pilot (Sol Mason) manages to enter the house, but does not remember who he is, puzzling the party guests. The night then becomes a mystery when everyone tries to figure out the party crasher. The partygoers are Laura (Claudia Ferri), Ilo (Francis C. Edemobi), (Debra Lane), Daniel (Lee Boek), and the evening’s musicians (Yennie Lam on violin and Chris Rorrer on cello).

After consulting a medical book as a quick reference, the guests decide not to let the pilot sleep so he doesn’t fall into a coma. One by one, they take turns to keep him awake.  They all seem to like the pilot, except Daniel, who thinks the pilot is an intruder with bad intentions. When it’s Sally’s turn to care for the pilot, things heat up and take a new direction. 

Even though the play’s pacing in the first act feels a bit slow at times, it’s Jacqueline Wright’s sassy and hilarious performance that drives a great deal of the play’s action and comedy. Her voice and body language are a combination of classic Hollywood with femme fatale, a suitable complement to the mysterious feel of the play.

The second act is where the action really happens. Sally’s relationship with the mysterious pilot and the way Daniel snaps trigger the most memorable scenes of the play. The lighting and projections (lighting designer Azra King-Abadi, projection designer Fritz Davis) add striking elements to the action throughout the play. Paul Sand presents a story with overtones of mystery and passion with a sense of wonder. It’s up to the audience to deduce the ending. 

The Pilot Who Crashed the Party

Broadwater Theatre Main Stage
6320 Santa Monica Blvd.
Los Angeles, CA 90038

April 8 – May 7:
• Fridays at 8 p.m.: April 14, April 21, April 28, May 5
• Saturdays at 8 p.m.: April 8 (Opening), April 15, April 22, April 29, May 6
• Sundays at 3 p.m.: April 16, April 23, April 30, May 7

Tickets: www.onstage411.com/Pilot

Written and Directed by Paul Sand. Starring Marcia Lynn Anthony, Lee Boek, Francis C. Edemobi, Claudia Ferri, Debra Lane, Sol Mason, Jacqueline Wright. Musicians: Yennie Lam (violin) and Chris Rorrer (cello). Produced by Amanda Weier. Presented by Public Works Improvisational Theatre Foundation in association with Paul Sand Projects. The creative team includes scenic designer Jeff G. Rack; costume designer Linda Muggeridge; lighting designer Azra King-Abadi; sound designer Shoshana Kuttner; and projection designer Fritz Davis. The assistant director is Alex Hogy, and the production stage manager is Anna Kupershmidt.

 

 

The Pilot Who Crashed the Party poster
A scene from The Pilot Who Crashed the Party
A scene from The Pilot Who Crashed the Party
A scene from The Pilot Who Crashed the Party

Theatre Review: Blue

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The World Premiere of Blue is presented by Rogue Machine. Written by June Carryl. Directed by Michael Matthews. Produced by Sara Fenton, Kila Kitu, Mildred Langford, Tarina Pouncy, and Betsy Zajko. A Rogue Machine Production.

As some police officers were seen participating in the events in the Capitol on January 6, 2021, writer June Carryl asks if there is a link between those events and some instances of police brutality. In Blue, police sergeant Sully (John Colella), who is White, is facing criminal charges in the killing of a Black veteran who was stopped for expired tags. Interrogating Sully about the incident is detective Parker (Julanne Chidi Hill), who is Black. We soon find out that they’ve known each other for a long time, but the initial friendly interaction starts to take a turn for the worst.

Sully and Parker’s husband were police partners, something that holds its own secrets and becomes crucial in the way Sully and Parker think of each other. Sully was also one of the cops seen participating in the Capitol riot on January 2021. A picture of his involvement in that incident is now being used to determine his bias towards the killing of the Black veteran. Once Parker asks more questions about the events that led to the shooting of the veteran, Sully discloses more details that start to reveal his real motivations and perhaps even his predisposition for violence and racism. 

The interaction between Sully and Parker is somehow a metaphor of the relationship between Blacks and Whites in America in a larger scale, friendly at times, but distrustful and sometimes even violent in other instances. One thing that stands out in Blue is the fact that negative emotions seem to be always close to the surface in a latent state, ready to explode at the first provocation. In the case of the two characters, their apparent close and friendly relationship didn’t erase the resentment that has existed for hundreds of years between both races.

Sully sees himself as a patriot, betrayed by society for upholding the law as a citizen and police officer. Parker sees herself as a victim of a system that still treats her as a second class citizen. Carryl’s script is sharp and painful, but as close to reality as it can be. Colella and Hill’s visceral performances will trigger strong emotions that, despite their vicious nature, feel cathartic at the end. Director Michael Matthews achieves of all of this with just a light, a table, and two chairs. The set is arranged as an interrogation room; it is a closed and suffocating space, “like a pressure cooker” in the words of Matthews. Blue is an unfiltered view of what lies under the surface of apparent civilized relationships. It is an impactful image that needs to be analyzed on our path to mutual understanding.  

Blue

ROGUE MACHINE (The Henry Murray Stage upstairs at the Matrix Theatre)
7657 Melrose Ave, Los Angeles, CA 90046. Street parking

Opening at 8pm on Friday, April 7, 2023
Schedule: 8pm Fridays, Saturdays, Mondays, 3pm Sundays
Closing: May 14, 2023

Tickets: roguemachinetheatre.org

Written by June Carryl. Directed by Michael Matthews. Cast: John Colella and Julanne Chidi Hill. Produced by Sara Fenton, Kila Kitu, Mildred Langford, Tarina Pouncy, and Betsy Zajko. A Rogue Machine Production. Creative team: Joe McClean and Dane Bowman (Production Design), Chris Moscatiello (Sound Design).

Blue poster
A scene from Blue
A scene from Blue
A scene from Blue

Theatre Review: Kiss of the Spider Woman

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A Noise Within presents the adaptation of Kiss of the Spider Woman. Written by Manuel Puig. Translated by Allan Baker. Directed by Michael Michetti.

Whether in Lecumberri or Villa Devoto prison, the real people that suffered the state racism by the dictatorships in Latin America are well represented in Kiss of the Spider Woman. 

Molina (Ed F. Martin), a gay man accused of corruption of minors, shares a prison cell with Valentin (Adrián González), a Marxist political prisoner. Molina spends the time retelling film noir classics and impersonating their female protagonists. Despite his machismo, Valentin listens to Molina attentively.   

Set during the height of Argentina’s military regime, Molina and Valentin are symbols of duality, oppression/liberation, masculine/feminine, public/intimate. They challenge the state’s intention to own and control people’s minds and bodies through intimidation. During the play, we hear background noises of torture. Outside, the brutality of the Argentinian repressive regime. Inside, the freedom to dream and live new experiences.

Valentin changes throughout the story, from a world of ideals to change the world to the cruel reality of life in a prison cell, torture and depression included. As Valentin starts to loose hope under those circumstances of extreme desolation, raw emotions bring his defense barriers down, exposing his deepest fears: The fear to fail, the fear to die, the fear to love. Once liberated, Molina becomes the protagonist, in real life, of one of the heroines of his movies, an ultimate expression of sacrificial love.

Martin and González are extraordinary in portraying the frustrations and hopes of a whole generation that the characters represent. They bring to the stage rich and complex textures of psychological and emotional endurance and transformations, taking the audience to uncharted territories with humor, wit, and sensuality. Director Michael Michetti shows his brilliant directorial skills using a simple but effective scenic and lighting design (scenic designer Tesshi Nakagawa; lighting designer Jared A. Sayeg), allowing the dialogue to drive most of the play. A voice-over is used for the additional characters and to relate Molina and Valentin’s fate. 

The last scene in the play is a poetic picture. As Molina walks away to his freedom, the walls of the prison cell start to drift away from Valentin, who stays behind, alone. It is the beginning of a painful physical separation, but the seal of an everlasting spiritual connection.

Kiss of the Spider Woman

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

Performances April 1–April 23
• Thursdays at 7:30 p.m.: April 6, April 13; April 20
• Fridays at 8 p.m.: April 7**, April 14**; April 21**
• Saturdays at 2 p.m.: April 8, April 15; April 22 (no matinee on April 1)
• Saturdays at 8 p.m.: April 1 (Opening Night); April 8***, April 15; April 22
• Sundays at 2 p.m.: April 2; April 9**, April 16; April 23

**Post-performance conversations with the artists every Friday and on Sunday, April 9.
***Join the Trans Chorus of Los Angeles for a performance of pieces inspired by Kiss of the Spider Woman before the 8 p.m. show on Saturday, April 8.
An INsiders Discussion Group will be held on Tuesday, April 18, from 6 p.m.–8 p.m. on Zoom ($38 per individual or $45 per household).
There will be one student matinee at 10:30 a.m. on Wednesday, April 19. Interested educators should email education@anoisewithin.org.

Tickets: www.anoisewithin.org

Adult content: recommended for mature audiences ages 18 and up.

Adapted for the stage by Manuel Puig from his novel “El beso de la mujer araña”. Translated from the Spanish by Allan Baker. Directed by Michael Michetti. Starring Adrián González and Ed F. Martin. Presented by A Noise Within, Geoff Elliott and Julia Rodriguez-Elliott, producing artistic directors.

Creative team: The A Noise Within production will feature an original, tango-inspired score by composer Alex Mansour. Scenic designer Tesshi Nakagawa; lighting designer Jared A. Sayeg; sound designer Robert Oriol; costume designer Carolyn Mazuca; properties designer Stephen Taylor; dramaturg Dr. Miranda Johnson–Haddad; intimacy director Carly DW Bones; and casting director Victoria Hoffman. The assistant stage manager is Karin Naono, and the production stage manager is Lucy Houlihan.

A scene from Kiss of the Spider Woman
Kiss of the Spider Woman. Ed F. Martin and Adrián González. Photo by Craig Schwartz.
A scene from Kiss of the Spider Woman
Kiss of the Spider Woman. Ed F. Martin and Adrián González. Photo by Craig Schwartz.
A scene from Kiss of the Spider Woman
Kiss of the Spider Woman. Ed F. Martin and Adrián González. Photo by Craig Schwartz.
Kiss of the Spider Woman poster
Kiss of the Spider Woman

Theatre Review: Picnic

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Odyssey Theatre Ensemble presents a revival of Picnic, a play written by Pulitzer Prize winner William Inge. Directed by multiple award winner John Farmanesh–Bocca. Produced by Beth Hogan in association with Isabel and Harvey Kibel.

John Farmanesh-Bocca set his version of William Inge‘s Picnic a little bit later than the original play. He transfers the story to the 1960s, at the beginning of America’s involvement in Vietnam. This period exemplified the dreams and frustrations that run deep in a country still healing from the consequences of World War II. Within this environment, we find Madge Owens (Mattie Harris Lowe), who is in a relationship with wealthy Alan Seymour (Ahkei Togun). Madge, however, finds herself dissatisfied, yearning for more. It is in that setting of rural communities of necessity that the rest of the characters interact and listen to each other’s problems and aspirations.

A sudden disruption occurs when the attractive drifter and Alan’s friend Hal Carter (Monti Washington) arrives in town, charming the women with his looks and demeanor. Caught in the middle of emotions, Madge also falls for him. Hal’s condition as an underdog is even more compelling to Madge, who is so smitten with him that she contemplates the possibility of leaving behind her family and breaking up with Alan to run away with Hal. 

Another character representing rural America and the aspirations of a better life is Madge’s younger sister, Millie (Symphony Canady), who has artistic inclinations and wants to try new opportunities in New York. Also in the picture is Rosemary Sydney (a fantastic Sydney A. Mason). She’s a schoolteacher who’s desperate to get married and finds storekeeper Howard Bevan (Derrick Parker) her perfect match, specially after a night of drinking and dancing.

The rest of the characters are Madge and Millie’s mother, Flo Owens (Yolanda Snowball), neighbor Mrs. Helen Potts (Rosemary Thomas), Bomber (Rogelio Douglas III), Rosemary’s fellow schoolteachers Irma Kronkite (Erika L. Holmes) and Christine Schoenwalder (Caitlin O’Grady).

The play contains hints of romance, humor, sexual awakening, and historical significance. The characters’ traits are a rich tapestry of the American experience. The characters could be Black, White, Latinos, or Asians and still resonate with the same impact. 

Picnic is a sublime painting of the American heartland, a meaningful play with a ray of hope in the face of emptiness. The direction and the cast give a refreshing and meaningful rendition to William Inge’s exceptional script; a story set in a small Kansas town on a Labor Day picnic that says so much of what America was and what it has become, for better or worse.   

Picnic

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

Performances: March 25 – May 28
• Wednesdays at 8 p.m.: May 10*, May 17 ONLY
• Fridays at 8 p.m.: April 28**, May 19**, May 26 ONLY
• Saturdays at 8 p.m.: March 25 (Opening), April 1, April 8, April 15, April 22, April 29, May 6, May 13, May 20, May 27
• Sundays at 2 p.m.: April 2, April 9, April 16, April 23, April 30, May 7, May 14, May 21, May 28
• Mondays at 8 p.m.: April 17*, April 24, May 8 ONLY
*Post-performance discussions on Monday, April 17 and Wednesday, May 10
**Wine Nights on Friday, April 28 and Friday, May 19 complimentary wine and snacks and after the show.

Tickets: odysseytheatre.com

Written by William Inge. Directed by John Farmanesh-Bocca. Starring Symphony Canady, Rogelio Douglas III, Mattie Harris Lowe, Erika Holmes, Sydney A. Mason, Caitlin O’Grady, Derrick Parker, Yolanda Snowball, Rosemary Thomas, Ahkei Togun, and Monti Washington. Produced by Beth Hogan for the Odyssey Theatre Ensemble in association with Isabel and Harvey Kibel. Presented by the Odyssey Theatre Ensemble, Ron Sossi Artistic Director.

Creative team includes set designer Frederica Nascimento, lighting designer Chu-Hsuan Chang and costume designer Mylette Nora. Farmanesh-Bocca co-designs sound with Jeff Gardner and (posthumously) Adam Phelan, and co-choreographs alongside Briana Price. The stage manager is Terrance Stewart.

 

Picnic poster
Picnic
A scene from Picnic
Picnic. Sydney A. Mason and Derrick Parker. Photo by Jenny Graham.
A scene from Picnic
Picnic. Monti Washington and Mattie Harris Lowe. Photo by Jenny Graham.
A scene from Picnic
Picnic. Ahkei Togun, Monti Washington, Symphony Canady, and Rosemary Thomas. Photo by Jenny Graham.

Theatre Review: The Thin Place

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The Echo Theater Company presents the California Premiere of The Thin Place. Written by Lucas Hnath. Directed by Abigail Deser. Produced by Chris Fields and Chelsea Spirito.

Eerie experiences continue to happen to Hilda (Caitlin Zambito). First, it was the death of her grandma, then it was the sudden disappearance of her mom. Adding more mystery to her life, Hilda befriends the enigmatic Linda (Janet Greaves), a psychic who seem to be the link between this world and the afterlife.

As Hilda continues to ponder possible clues to her mom’s whereabouts, Linda’s source of income and the powerful connections she has achieved as a psychic become more intriguing and build up the suspense of the story. 

Lucas Hnath (A Doll’s House, Part 2, A Public Reading of an Unproduced Screenplay About the Death of Walt Disney) continues to write exceptional stories with outstanding female voices. Hilda has shades of fragility, determination, and curiosity that lead her to take a leap into the unknown. The dynamic relationship between Hilda and Linda permeates the story with a sense of wonder all the way till the end.

Hnath includes two additional characters, Jerry (Justin Huen) and Sylvia (Corbett Tuck) that question and validate Linda and Hilda’s motivations and circumstances. These two characters appear almost out of the blue, but become pivotal accessories to move the story forward and shape the contradictions of Linda’s personality.

Director Abigail Deser worked with the actors for two months and achieved extraordinary results. Her work captures the play’s mysticism vividly, bringing the audience closer to the fine line between light and darkness, the place where the material world meets the supernatural realm. To enhance the unnerving nature of the play, Deser and scenic designer Amanda Knehans use innovative lighting (lighting design by Matt Richter, Hayden Kirschbaum) and sound (sound design by Alysha Grace Bermudez) to add an aura of mystery and esotericism to the stage.        

Hnath’s play is a gem. It’s a mystical journey to a region known as The Thin Place, a space where our senses of wonder, bliss, and silent euphoria are awaken. As Hilda and Linda reveal in the play, this space, real or imaginary, emanates from the noble desire to stay in touch with the loved ones we have lost, if only we hear the message with the third eye.  

The Thin Place

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

PARKING:
FREE in the Atwater Crossing (AXT) lot one block south of the theater

Performances: March 18 – April 24
• Fridays at 8 p.m.: March 24, March 31, April 7, April 14, April 21
• Saturdays at 8 p.m.: March 18 (opening night), March 25, April 1, April 8, April 15, April 22
• Sundays at 4 p.m.: March 26, April 2, April 9, April 16, April 23
• Mondays at 8 p.m.: March 27, April 3, April 10, April 17, April 24

Tickets: echotheatercompany.com

Written by Lucas Hnath. Directed by Abigail Dreser. Starring Janet Greaves, Justin Huen, Corbett Tuck, Caitlin Zambito. Presented by The Echo Theater Company, Chris Fields artistic director. Creative team: Scenic design by Abigail Deser and Amanda Knehans, lighting design by Matt Richter, sound design by Alysha Grace Bermudez and costume design by Dianne K Graebner. The associate producer is Chelsea Spirito, and the production stage manager is Irene Lee. Chris Fields and Kelly Beech produce for the Echo Theater Company.

The Thin Place poster
A scene from The Thin Place
A scene from The Thin Place
A scene from The Thin Place

Theatre Review: Let Me In

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Let Me In is produced by DSE Productions and Theatre Planners. Written and directed by Brynn Thayer.

Red Casey (Rachael Meyers) is desperate trying to get Bobby Hawk (Bryan McKinley) out of the room to attend a funeral. That’s when veteran NYPD cop Hamilton Steele III (Jorge Garcia) shows up to investigate the commotion. From there, the characters start exposing facets of their lives and personalities that turn out quite surprising at the end. 

Playwright and Director Brynn Thayer sets the story in New York, a metropolis like many other that can accentuate the overwhelming effects of loneliness, depression, and anxiety, some of the feelings that are shaping the lives of the three characters. Bobby just lost his fiancée in a tragic car accident. That same day, she decided to cancel the wedding. To complicate things, he has been having an affair with Red for quite some time, triggering a sense of guilt on both of them in unexpected ways. As they explore their feelings, they start to question the validity of their relationship. 

Hamilton seems to be the person that brings some kind of stability to the situation. He is decided to do something significant one day before his retirement. His personality gains the trust of Bobby and Red so much that they decide to attend Bobby’s fiancée funeral, leaving Hamilton to watch over the apartment.  

The story is a dark comedy that touches upon several topics such as isolation, loss, guilt, and the urgent need of human connection. However, the play also compels to identify the signs of depression and its underlying core issues to avoid devastating consequences.

Thayer selected three experienced actors that bring a superb performance that makes this play a pleasure to watch. Their timing and chemistry create a dynamic story that navigates fluently between comedy and tragedy. The set design (Joel Daavid, Set Designer) shows the careful attention to detail placed on this production; the objects, the textures, and the balcony give a vibrant touch to the story.

Let Me In

Theatre 68 Arts Complex – The Rosalie
5112 Lankershim Blvd.
North Hollywood, CA 91601

Written and Directed by Brynn Thayer. Starring Jorge Garcia, Bryan McKinley, and Rachael Meyers. Produced by Misha Riley for Theatre Planners. Presented by DSE Productions.

Performances: Feb. 25–April 2
• Saturdays at 8 p.m.: Feb. 25 (Opening); March 18; March 25; April 1
• Sundays at 2 p.m. and 7 p.m.: March 19; March 26; April 2

Tickets: www.theatre68artscomplex.com

Creative team for Let Me In includes scenic designer Joel Daavid, lighting designer Gavan Wyrick, sound designer Joseph “Sloe” Slawinski and costume designer Mylette Nora. The production stage manager is Angelica Estevez.

 

 

Let Me In poster
A scene from Let Me In
A scene from Let Me In
A scene from Let Me In