Tag Archives: Acting

Theatre Review: Ride the Cyclone

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Chance Theatre presents the California premiere of Ride the Cyclone, directed by Jocelyn A. Brown. Book, Music, and Lyrics by Jacob Richmond and Brooke Maxwell.

Six teenagers find themselves in a mythical purgatory after they die riding a roller coaster called Cyclone. The mystic element of the afterlife adds a powerful message to the story. Much like the recent Guillermo Del Toro’s Pinocchio, the characters of Ride the Cyclone have to make decisions in the afterlife that will reflect either their selfishness or their selflessness.

At the purgatory, the teenagers meet The Amazing Karnak (Robert Foran), a mechanical fortune-telling machine that will end its life when a rat called Virgil eats up the electrical cable that powers the machine. Karnak will make the kids play a game in which only one of them can win the grand prize: Going back to life.

Ocean (Haley Wolff), Mischa (Jared Machado), Noel (Wyatt Hatfield), Ricky (Jaylen Baham), Constance (Rose Pell), and Jane Doe (Em Flosi) each perform a unique musical number that reveals their personalities.

The exposition of the characters’ traits shows the wide range of emotions typical of the teenage years. Rage, insecurities, sexual awakening, regrets, and dreams are expressed cleverly in each of the musical numbers and dialogue. Noel’s performance is a cabaret-style piece that adds a touch of raw sensuality to the atmosphere, with decadent shades of red light.

Jane Doe, the only unidentified person in the accident, delivers a dark and eerily beautiful number with an operatic voice that blends smoothly with the mystical premise of the play.

The book is an extraordinary work by Jacob Richmond and Brooke Maxwell. The characters are well-developed and allow the actors to deliver emotional and meaty performances. Director Jocelyn A. Brown uses the stage efficiently, giving the actors plenty of space to shine and deliver a visually striking exhibition of kinetics. The technical elements are first-class: Lighting Design (Masako Tobaru), Costume Design (Bradley Allen Lock), Scenic Design (Antonio Beach and Bradley Kaye).

Ride the Cyclone is an amusing show with energetic music and moving performances by young and talented thespians, live from the afterlife.

Ride the Cyclone

Chance Theater @ Bette Aitken theater arts Center on the Cripe Stage, 5522 E. La Palma Ave., Anaheim, CA 92807

Performances: February 4 – February 26, 2023; Thursdays at 7:30 p.m., Fridays at 8 p.m., Saturdays at 3 p.m. & 8 p.m., Sundays at 3 p.m. 

Tickets: www.chancetheater.com 

 

Ride the Cyclone poster
Ride The Cyclone
A scene from Ride the Cyclone
Ride the Cyclone. Em Flosi, Wyatt Hatfield, Jaylen Baham, Haley Wolff, Jared Machado, Rose Pell, and Robert Foran.
A scene from Ride the Cyclone
Ride the Cyclone. Jaylen Baham, Jared Machado, Rose Pell, Wyatt Hatfield, Haley Wolff, Em Flosi, and Robert Foran.
A scene from Ride the Cyclone
Ride the Cyclone. Rose Pell, Jared Machado, Jaylen Baham, and Em Flosi.

Theatre Review: Do You Feel Anger

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Circle X Theatre Company presents the West Coast premiere of Do You Feel Anger? Written by Mara Nelson–Greenberg. Directed by Halena Kays.

Do You Feel Anger?, written in the absurdist style, is set in a debt collection agency. Sofia (Paula Rebelo) is hired as an empathy coach by the agency. Her job is to instill a sense of empathy in the employees through a series of exercises, using words to describe their own feelings and those of the people they call to collect a debt. Jon, the boss (Casey Smith), is as insensitive as the rest of the employees. Almost immediately, Jon’s comments reveal the sexist environment of the workplace when he asks Sofia to wear a dress instead of pants. When Sofia asks him if he knows what a woman’s period is, he has to call his assistant to figure it out. This becomes one of the funniest scenes, as he is both amused and disgusted when the assistant explains it to him.

The employees are Eva (a phenomenal Tasha Ames, Theatre Review: Hooded or Being Black for Dummies), Jordan (Napoleon Tavale), Howie (Rich Liccardo), and Janie (Charlotte Gulezian), who went missing mysteriously after she went to the restroom one day. A recurrent issue in the office is Eva’s claim about getting mugged in the cafeteria repeatedly, an incident that Jon asserts he’s investigating. 

In her first private conversation with Sofia, Eva confides that, as a deterrent, she needs to have a boyfriend at all times to keep Jordan and Howie away from her. So urgent is her boyfriend strategy, that she doesn’t even remember the names of the guys she dates. Sofia reassures Eva and starts to bond with her in what appears to be a nurturing relationship that will boost Eva’s self-confidence. 

Jordan and Howie, on the other hand, prove to be a tough case of misogyny and bad behavior. This will push Sofia’s patience to the limit, so much that she will end up spending a great deal of time coaching and pretending to side with them to understand their point of view. Her strategy then turns into some kind of reverse psychology. But as their interactions become more intense, the question now is: Who is using reverse psychology on whom?  

Sofia also finds out that her dad has a second family. As she tries to teach the employees at the agency about empathy, Sofia fails to show that feeling towards her own mom (Rose Portillo), who is struggling to cope with her failed marriage. 

Following the absurdist style of the play, one of Eva’s ex-boyfriend (Bob Clendenin), an old man in a wheelchair, shows up and threatens to blow up the office.

Under pressure from Jon to complete the training, Sofia finds herself juggling different personalities with challenging needs. Sofia’s bonding with Howie and Jordan start to shift the play in a new direction, mainly at Eva’s expense. Sofia’s own success as an empathy coach might be jeopardized by how close she gets to her subjects. The relationship of Sofia with the rest of the characters highlights the premise of whether the feelings of some people should matter more than those of others.  

Even though the situations and dialogue might feel cliché, the absurdist nature of the play calls for exaggerated elements to make it work as a comedy. The direction and the excellent performances of the actors keep the audiences amused and entertained as a continuum throughout the play.

Special mention to lighting designer Stephen Azua, who delivers an outstanding job with the vibrant and subtle changes both during transitions and within the scenes. 

The rest of the creative team includes scenic designer François-Pierre Couture; sound designer Jesse Mandapat; and costume designer Dianne K. Graebner. Properties design is by Kat Haan, with specialty props by Richard Maher. The assistant director is Lee Hannah Conrads and the production stage manager is Roella Dellosa.  

Do You Feel Anger?

Written by Mara Nelson–Greenberg. Directed by Halena Kays. Starring Tasha Ames, Charlotte Gulezian, Rich Liccardo, Rose Portillo, Paula Rebelo, Casey Smith, and Napoleon Tavale. Featuring cameo appearances by Bob Clendenin (Jan.19-Jan. 22); William Salyers (Jan. 26-Jan. 29); John Getz (Feb. 2-Feb. 5); Jan Munroe (Feb. 9-Feb. 12); Tony Amendola (Feb. 16-Feb. 19); and Silas Weir Mitchell (Feb. 23-Feb. 25). (Please note that the guest performer rotation is subject to change; updates can be found at www.circlextheatre.org.) Produced by Jen Kays, Kat Haan and Timothy Wright. Presented by Circle X Theatre Company.

Circle X 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: Jan. 21-Feb. 25, 2023:
• Thursday at 8 p.m.: Jan. 26; Feb. 2; Feb. 9; Feb. 16; Feb. 23
• Fridays at 8 p.m.: Jan. 27; Feb. 3; Feb. 10; Feb. 17; Feb. 24
• Saturdays at 8 p.m.: Jan. 21 (opening night); Jan. 28; Feb. 4; Feb. 11; Feb. 18; Feb. 25
• Sundays at 2 p.m.: Jan. 22; Jan. 29; Feb.5; Feb. 12; Feb. 19

Tickets: www.circlextheatre.org

Do You Feel Anger poster
A scene from Do You Feel Anger
A scene from Do You Feel Anger
A scene from Do You Feel Anger

Theatre Review: Twelve O’Clock Tales with Ava Gardner

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The world premiere of Twelve O’Clock Tales with Ava Gardner is hosted by The Whitefire Theatre. The solo play was written by Alessandra Assaf and Michael Lorre. The director is Michael A. Shepperd.

From her humble origins in Grabtown to the glamorous life of Hollywood, Ava Gardner (Alessandra Assaf) became an icon of beauty and fast life in a career than spanned more than forty years. Twelve O’Clock Tales with Ava Gardner is a homage to the extraordinary life of one of the most alluring stars in the history of cinema.

The play is an insightful compilation of events in the life of an actress/singer who struggle to find her place in the industry. From her rural life in North Carolina, her relationship with her family, and the three marriages and the romantic relationships in between, Assaf presents the complicated personality of a woman who defied stereotypes with her strong will, but also her insecurities and vulnerabilities.

Assaf’s play gives details about what could have been going through Gardner’s mind at the time of each of her marriages and relationships with the people around her. Her marriage to Frank Sinatra and the scandalous incidents during their time together, proved that she could be independent, even helping Sinatra to resurface from a fading career. The play also delves into her abusive relationship with George C. Scott and how Sinatra had to help her out during one of Scott’s violent episodes. Gardner’s friendship with other actresses and their bonding shows how they leaned on each other to navigate the misogynistic attitudes in Hollywood at the time.

Through dialogue and blocking, Assaf, Lorre, and Shepperd offer an entertaining and witty piece that brings memories and spicy details of the iconic life of one of the greatest stars of the golden age of Hollywood, when MGM was one of the Big 5 and Louis B. Mayer was at the helm. The play is a window to the star system and the positive and negative consequences that came with it.

Twelve O’Clock Tales with Ava Gardner

Written by Alessandra Assaf and Michael Lorre. Directed by Michael A. Shepperd. Starring Alessandra Assaf as Ava Gardner. Creative team: Stage Managed by Mitch Rosander Dramaturg: Gregory Gunter. Set, Props, Costumes: Irmgard Quint. Lights: Derrick McDaniel. Sound: Jin Tor Brown. Wig Stylist: Sheila Dorn.

Whitefire Theatre
13500 Ventura Blvd.
Sherman Oaks, CA 91423

PARKING:
• Metered parking on and just south of Ventura Blvd. (off on Sundays)
• 2-hour parking available in residential neighborhoods (before 6 p.m. only)
• Unrestricted parking available on Moorpark St. and on the west side of Dixie Canyon Ave.

January 15 – March 5:
Sundays at 2 p.m.: 22; Jan. 29; Feb. 5; Feb. 12; Feb. 19; Feb. 26; March 5

Tickets: https://www.whitefiretheatre.com/

Twelve O'Clock Tales with Ava Gardner poster
Twelve O’Clock Tales with Ava Gardner
A scene from Twelve O'Clock Tales with Ava Gardner
Twelve O’Clock Tales with Ava Gardner. Alessandra Assaf.
A scene from Twelve O'Clock Tales with Ava Gardner
Twelve O’Clock Tales with Ava Gardner. Alessandra Assaf.
A scene from Twelve O'Clock Tales with Ava Gardner
Twelve O’Clock Tales with Ava Gardner. Alessandra Assaf.

Theatre Review: Home Front

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The West Coast premiere of Home Front is presented by The Victory Theatre Center. The play is by Tony® Award-winning playwright Warren Leight. The director is Maria Gobetti.

As the US soldiers come back victorious from World War II, a new world of justice and equality is in the horizon. But as Lt. James Aurelius Walker (C.J. Lindsey) and Annie Overton (Austin Highsmith Garces) will soon find out, institutions and some sectors of society are not catching up with the times. Specially when it comes to accepting an interracial marriage. 

The story depicted in Home Front is set in the 1940s, a time when segregation was rampant, specially in the South. In an effort to project a more inclusive image, the government decided to try something unusual at the time. The Navy—one of the most fervent bastions of segregation—started a controversial program to train African Americans as officers. The first group was known as the Golden Thirteen, 13 Black enlistees that were subjected to mistreatment and ridicule by their White superiors and peers. The training program was more of a publicity strategy to show the world that America could be the gold standard for democracy and equality. Our protagonist, Lt. James Walker, is a fictional member of the Golden Thirteen.    

The night James and Annie meet, the country is in full celebration of the victory over the Axis powers. The future looks bright and hopeful. Their consequent romantic relationship  however, unveils that America is still a victim of its past, a legacy that has turned its institutions and citizens into a voracious current that destroys everything on its path, one life at a time. And yet, in the middle of that maelstrom, we find people with a kind heart that are willing to give a hand to those in need. Edward Glimmer (Jonathan Slavin), is the injured veteran neighbor who does everything he can to reassure Annie and help James in a time when he needed it the most.

The story is an exploration not only of racism but also of discrimination. James suffers racism for being Black. But Edward is equally mistreated, even by James, for being gay. Annie, a white woman, is the unfortunate collateral victim of institutional racism and the frustration that comes with it. She is punished by her employer for marrying a Black man and she is on the receiving end when James releases his growing frustrations, all while raising their baby girl.

Interracial marriages were so unusual at the time that Annie confides to Edward that after looking at her baby girl, who has James’ Black features, a White lady asked Annie if she was raped. Those pernicious attitudes were also inflicted on Black veterans. While visiting his relatives in the South, James gets arrested and charged for an incident where he fired his gun. This situation, a clear example of institutional racism, will deliver a blow to the relationship between James and Annie. Even Edward’s noble intentions will fuel James’ bitterness, taking a tremendous tall on his emotional and mental state.

The three actors offer majestic performances. Jonathan Slavin does a phenomenal job as the understanding and charming neighbor who is always there in the most challenging times to offer his help, even willing to sacrifice his dignity for the people he loves. He feels at home delivering humor-relief lines that brighten the dark matter of the material. Austin Highsmith Garces is a fascinating and experienced actress that gives us a convincing portrayal of an unprejudiced woman willing to take risks. Her performance shows the nuances of a woman who is trying to navigate the challenging territories of love, motherhood, and broken dreams. C.J. Lindsey goes deep into the psychological state of a man who is constantly subjected to the systematic racism that degrades his worth as a human being. His acting skills are at full display when he externalizes his internal demons. The explosion of an implosion, a devastating image of utter defeat. The fine direction of Maria Gobetti is palpable in the powerful scenes where the palette of emotions create a gripping and relatable theatre experience.               

Warren Leight fictionalizes documented historical events and transports the audience to a dangerous and euphoric world where high hopes and ideals get a reality check. The play is a window to a critical past that captures in unnerving detail the pungency of racism. It is a cautionary tale that shows how things would look like if we continue to move backwards. But it is also an ode to those who, against all odds, continue to fight, continue to believe. 

Home Front

Written by Warren Leight. Directed by Maria Gobetti. Starring Austin Highsmith Garces, C.J. Lindsey, and Jonathan Slavin. Produced by Tom Ormeny, Maria Gobetti, and Evan Bartoletti. Presented by The Victory Theatre Center. Creative team: Set designer Evan Bartoletti, lighting designer Benedict Conran, sound designer Noah Andrade, video designer Jermaine Alexander, costume designer Carin Jacobs, dramaturg Gail Bryson, graphic designer Jennifer Logan, and photographer Tim Sullens. The stage manager is Cody Hathcock.

The Victory Theatre Centre
3326 W Victory Blvd
Burbank, CA 91505

Performances: Jan. 13 – Feb. 12
• Fridays at 8 p.m.: Jan. 20; Jan. 27; Feb. 3; Feb. 10
• Saturdays at 8 p.m.: Jan. 21; Jan. 28; Feb. 4; Feb. 11
• Sundays at 4 p.m.: Jan. 22; Jan. 29; Feb. 5; Feb. 12

Tickets: www.thevictorytheatrecenter.org

 

Home Front poster
A scene from Home Front
A scene from Home Front
A scene from Home Front

Theatre Review: Anatomy of Gray

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Anatomy of Gray is presented by Open Fist Theatre Company. Written by Jim Leonard. Directed by Ben Martin. Set in Gray, Indiana in the late 19th century.

After the death of her father, 15-year-old June (Rebekah Paugam) asks God to send a healer so the people of Gray don’t have to suffer the loss of a loved one ever again. Almost as a miraculous answer to her prayers and in the midst of a twister, a man falls from the sky and lands on the small town of Gray, Indiana. That man happens to be Dr. Galen P. Gray (Jeremy Guskin). In reality, his hot air balloon gets caught up in the tornado and Dr. Gray survives the fall with no injuries.

As he gets acquainted with the residents of the small town, Dr. Gray starts to treat and cure their ailments, much to the distrust of the town’s preacher, Pastor Phineas Wingfield (Alexander Wells, A Midsummer Night’s Dream, The Romantics). Belva Collins (Beth Robbins), Crutch Collins (James Fowler, A Midsummer Night’s Dream), Tiny Wingfield (Lane Allison, In the Next Room, or the vibrator play), and Maggie (Debba Rofheart, A Midsummer Night’s Dream) all are treated by Dr. Gray at one point. For 19th-century America, curing a disease relies heavily on praying, as religion played a central role in rural 19th-century America. Dr. Gray’s knowledge of medicine becomes a clash between science and religion despite the benefits to the population. Curiously enough, soda pop saves the life of Homer (Alex Hogy), one of the young inhabitants of Gray. 

Building up the tension is June’s sexual awakening and her infatuation with Dr. Gray. To complicate things, Dr. Gray starts to develop feelings for June’s mom, Rebekah (Martha Demson), who is pregnant.

Eventually, some of the residents of Gray start to show marks in their bodies. Some of them fall sick and soon they start to die. Blaming Dr. Gray (who is Jewish) for their ailments, the outbreak unleashes an antisemitic outburst that leads Dr. Gray to run away. Amid the chaos, Dr. Gray, June, Rebekah, and Pastor Wingfield will be forced to make tough decisions in order to survive.

Playwright Jim Leonard presents the reactions of people when faced with extraordinary challenges. Taking into account the lack of scientific knowledge of particular diseases back in the 19th century, an outbreak would be considered a punish from God or the malevolent action of a perceived enemy. Historical episodes with similar characteristics are the Black Death in the Middle Ages, the AIDS epidemic in the 80s, and even the Covid pandemic. In that sense, Anatomy of Gray is a relatable play that delves into the conspiracy theories in lieu of sound scientific explanations.

This is also a coming-of-age story where a 15-year-old girl is finding her place in the world in the middle of a personal tragedy. Her relationships with the opposite sex, her insecurities, and her wishes to explore the world far beyond her small town are topics as contemporary as they were in the 1800s.

Ben Martin‘s direction achieves a compelling and dynamic play, translating the poignancy of the script effectively with humor and a maze of emotions to engage the audience.

Creative team: Scenic designer Jan Munroe, lighting designer Gavan Wyrick, sound designer Marc Antonio Pritchett, costume designer Mylette Nora, scenic artist Stephanie Crothers, and prop masters Bruce Dickinson and Ina Shumaker. The production stage manager is John Dimitri.

Anatomy of Gray

Written by Jim Leonard. Directed by Ben Martin. Starring Lane Allison, Rosie Byrne, Martha Demson, James Fowler, Jeremy Guskin, Alex Hogy, Erica Mae McNeal, Rebekah Paugam, Alina Phelan, Beth Robbins, Debba Rofheart, and Alexander Wells. Presented by Open Fist Theatre Company, Martha Demson, 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:Nov. 19, 2022 – Jan. 21, 2023
Fridays at 8 p.m.: Dec. 2; Dec. 9; Dec. 16; Jan 6; Jan 13; Jan 20 (dark Nov. 25; Dec. 23; Dec. 30)
Saturdays at 8 p.m.: Nov. 19 (Opening Night); Nov. 26; Dec. 3. Dec. 10; Dec. 17; Jan 7; Jan 14; Jan 21 (dark Dec. 24; Dec. 31)
Sundays at 3 p.m.: Nov. 27; Dec. 4. Dec. 11; Dec. 18; Jan 8; Jan 15 (dark Dec. 18; Dec. 25; Jan. 1)

Tickets: openfist.org

Anatomy of Gray poster
A scene from Anatomy of Gray
A scene from Anatomy of Gray
A scene from Anatomy of Gray

Theatre Review: Smile

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IAMA Theatre Company presents the world premiere of Smile, written by Melissa Jane Osborne and directed by Michelle Bossy. The story is set in 1992, a year called “Year of the Woman”.

In the opening scene, 17-year-old Rachel Olivera (Isabella Feliciana) is talking to Helen (Andria Kozica, Theatre Review: Celestial Events), the school’s counselor. Rachel reacted to her classmates harassment and the physical altercation is jeopardizing her future education. Helen feels a special connection to Rachel and decides to help her out. When Helen’s husband, Matt (John Lavelle), finds out about the help Helen is providing to Rachel, he looses his mind and underlying issues related to a tragic past start to reappear, threatening to break apart their marriage.

Rachel is a character dealing with coming of age in a society that defines her worth based on race, gender, and social status. Her story portrays that of many young women who receive a constant influx of mixed messages from their peers and society at large. In Rachel’s case, her situation at an emotional level gets even more complicated with the indecisive actions of Joey (Alex Fox), the teenage neighbor who shows interest in her but falls victim of the rumors surrounding Rachel’s altercation at school.   

The dialogue in Melissa Jane Osborne‘s script shows the apparent disconnection due to the age gap between Rachel and Helen, a reference to two generations, two social classes, and two races that despite their differences, still find common grounds to influence each other in a positive way.  

Another aspect highlighted masterfully in the play, both in the script and in Michelle Bossy‘s direction, is the emotional pain of past tragic events and the dormant traumas that will continue to come back unexpectedly. Helen and Matt’s actions show that their traumas have permeated their marriage and their relationships with the people around them, even unconsciously.    

Smile tells the story of missed educational opportunities, but even more painfully, it tells the story of missed human connections. Rachel and Helen are ready to connect, but the world around them is not, a reflection of a society that is still trying to keep up with the times.

Smile

Written by Melissa Jane Osborne. Directed by Michelle Bossy. Starring Isabella Feliciana, Ronit Kathuria (Alex Fox on opening night), Andria Kozica, and John Lavelle. Presented by IAMA Theatre Company, Stefanie Black, artistic director. Creative team: scenic designer Yuri Okahana-Benson; lighting designer Dan Weingarten; sound designer Erin Bednarz; projections designer Sean Cawelti; costume designer Vicki Conrad; properties designer Heath Harper; and casting director Jordan Bass. IAMA ensemble member Anna LaMadrid is associate director and dramaturg. Grant Gerrard is the production manager and Kimberly Sanchez Garrido is the stage manager. Tiffany Moon and Kat Kim produce for IAMA Theatre Company.

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: November 12 – December 5
Fridays at 8 p.m.: Nov. 18; Dec. 2; (dark Nov. 25)
Saturdays at 8 p.m.: Nov. 12 (opening night); Nov. 19; Nov. 26; Dec. 3
Sundays at 3 p.m.: Nov. 20; Nov. 27; Dec. 4
Mondays at 8 p.m.: Nov. 21; Nov. 28; Dec. 5

Tickets: iamatheatre.com

 

Smile poster
A scene from Smile
A scene from Smile
A scene from Smile

Theatre Review: Broken Story

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White Horse Theater Company in association with 134 West presents Broken Story. Written by Cyndy A. Marion. Directed by Tamara Ruppart.

It’s the late 90s in Los Angeles and Jess (Lindsay Danielle Gitter), a journalist from the New York Today, flew from New York to investigate the murder of Jane Hartman (Lynn Adrianna Freedman), a novelist and daughter of a mobster. Jane was a close friend of Johnny Klein, a construction mogul whose wife, Helen Klein, disappeared mysteriously in 1971.

In Los Angeles, Jess meets Kip Watson (David Hunter Jr.), Jane’s manager, and Darby (Liana Aráuz, Theatre Review: Detained), a socialite and Jane’s best friend. As these characters interact with each other, Jess’ imagination blends with reality in a space where Jane appears occasionally, telling Jess her complicated relationships with Kip, Darby, and the Kleins.

Jess herself, has a story to tell. She grew up rich in New York and since an early age she has been oddly interested in the lives of Johnny and Helen Klein and the life of Jane Hartman. Jess is also in a romantic relationship with Eddie (Rod Sweitzer), her Editor at the New York Today. Jane’s tragic death—a single shot in the back of the head—will reveal unexpected news to Jess that will alter her life forever.

The combination of reality and imagination offers an interesting interaction among the characters in a stage where the lighting (Katelan Braymer, lighting designer) plays an important role. The light changes set the mood and serve as smooth transitions between scenes, highlighting the mystery, the emotions, and the supernatural aspect of the story. 

Director Tamara Ruppart delivers an entertaining play where the kinetics, the dynamic relationships among the characters, and the creative elements all work together to portray Jess’ enigmatic world of reality and imagination.                  

Broken Story

Written by Cyndy A. Marion. Directed by Tamara Ruppart. Cast: Lindsay Danielle Gitter, Lynn Adrianna Freedman, David Hunter Jr., Liana Aráuz, and Rod Sweitzer. Executive Producer Vanessa R. Bombardieri. Co-Producer Susan Lambert Hatem (134 West). Creative team: Scenic designer Andis Gjoni, Lighting Designer Katelan Braymer, Costume Designer Derek Nye Lockwood, Sound Designer Andy Evan Cohen, Incidental Music Joe Gianono, Projection Polaroid Photography Gail Thacker, Dramaturg Linda S. Nelson, and Stage Manager Hannah Raymond.

The Sherry Theatre
11052 Magnolia Boulevard
North Hollywood, CA  91601

Fri, Nov 04 – Sun, Nov 27, 2022
Fri, Sat 8pm
Sun, 7pm

Tickets: www.whitehorsetheater.com/broken-story

Broken Story poster
A scene from Broken Story
A scene from Broken Story
A scene from Broken Story

Theatre Review: Warrior Queen Anahit the Brave

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Imagine Theatre presents the world premiere of Warrior Queen Anahit the Brave, written and directed by Armina LaManna.

Anahit (Ani Marderosian), a peasant girl, is drawing water with her two friends Nairi (Christianne Holly Santiago) and Maral (Sophia Vitello) when Prince Vachagan (Nathan Mohebbi) walks by with his friend Arman (Kyle Caldwell). As Prince Vachagan starts to flirt with Anahit, she tells him to learn to work with his hands if he wants to court her. The Prince then promises he will learn to weave rugs to show her that his intentions are serious. He learns to weave and marries Anahit, taking the throne. But their happiness is disrupted with the news that men keep disappearing throughout the kingdom. The antagonist in the story is the demon Apep (Alistair McKenzie, Theatre Review: The Merry Wives of Windsor, Theatre Review: Trouble the Water), the villain responsible of the mysterious disappearances. Queen Anahit and King Vachagan are now faced with the necessity of making critical decisions that will determine the fate of the kingdom and rescue the men that have been kidnapped to return them to their families.

The play is based on Ghazaros Aghayan’s 1881 fable “Anahit”. It is a classical tale of good versus evil, geared towards a young audience. Keeping children’s attention is a monumental challenge nowadays, but this production succeeds in entertaining the kids throughout the whole play. The costumes, the traditional dances, the humor, and the music (Apep is a rapper too), grabs the young audience’s attention and the interactive nature of the play makes it even more engaging. There are also sword fights and technical elements that contribute to the success of the play. The scenic and projection designer Tom Buderwitz and lighting designer Josh Epstein create a visual palette that is a boost to the senses and build up the crescendo of the story.

Armina LaManna and Ani Marderosian are able to catch the attention of a young audience and to deliver a positive and reaffirming message to young girls, all of this while bringing some of the history of Armenia to the American Armenian diaspora of Los Angeles.

Warrior Queen Anahit the Brave

Written and Directed by Armina LaManna. Original Music by Shahen Hagobian. Puppet Design and Fabrication by Douglas Wright. Starring Kyle Caldwell, Ani Marderosian, Alistair McKenzie, Nathan Mohebbi, Christianne Holly Santiago, Sophia Vitello. Presented by Imagine Theatre. Creative team: Master puppet designer and fabricator Douglas Wright; scenic and projection designer Tom Buderwitz; lighting designer Josh Epstein; sound designer Joseph “Sloe” Slawinski; costume designer Dianne K. Graebner; and properties designer Jenine MacDonald. The musical director is Elizabeth Curtin, and the production stage manager is Elna Kordjian. Produced by Laura Hill and Gabrieal Griego.

Colony Theatre
555 N 3rd St.
Burbank CA 91502
(in Burbank Town Center)

November 5 – November 18
Opening: Saturday, November 5 at 7 p.m.
Friday, November 11 at 7 p.m.
Saturday, November 12 at 7 p.m.
Sunday, November 13 at 4 p.m.
Friday, November 18 at 7 p.m.

Tickets: imaginetheatreca.org

Warrior Queen Anahit the Brave poster
A scene from Warrior Queen Anahit the Brave
A scene from Warrior Queen Anahit the Brave
A scene from Warrior Queen Anahit the Brave

Theatre Review: Fam And Yam and The Dumb Waiter

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Pacific Resident Theatre presents Edward Albee’s Fam and Yam, directed by Marilyn Fox and Harold Pinter’s The Dumb Waiter, directed by Marilyn Fox and Elina de Santos. Edward Albee was American, Harold Pinter was British. Pinter was awarded the Nobel Prize in Literature in 2005. Edward Albee received Pulitzer and Tony Awards for five of his plays.

Both plays Fam And Yam and The Dumb Waiter were first produced in 1960, a tumultuous time in which the US and England were still processing the consequences of World II, the Korean War, the crushing of the Hungarian revolt, the Cold War, the Suez crisis, and, in the case of England, the decolonization movements in Asia and Africa. The two plays are examples of the movement called theatre of the absurd.

Albee‘s Fam and Yam is a traditional play where famous playwright Fam (Brad Greenquist, Theatre Review: Guess Who’s Coming to Dinner) is interviewed by Yam (Jason Downs), also a playwright who is not famous. The conversation starts by Yam praising Fam for his apartment, his paintings, and the views from his window. As Fam continues to drink, Yam switches the conversation and starts to lambaste the theatre industry; pretty much no one is spared in his tirade—theatre owners, producers, unions, critics, the pinheads, etc. The play is an early example of Albee’s wit and his aggressive, anti-social stance. For this production, the creative team used high key lighting, appealing and fashionable 60s costumes, and painting on the wall that become alive at the end.     

Pinter‘s The Dumb Waiter is a darker play where two hitmen, Ben (Anthony Foux) and Gus (Jason Downs) are waiting in a claustrophobic room for their victim. The absurdity of the story is exemplified by the box of matches thrown under the door and the food orders in the dumb waiter (the elevator which delivers food) that keep coming. As part of the angry young men group, Pinter’s writings contain elements of violence, volatility, and uncertainty. His plays have moments of dialogue but also moments of silence. As in music, silence is as critical as sound to create a masterpiece.

Pinter was an intuitive writer that was a keen observer of human behavior. The Dumb Waiter is a play with implied violence, characters with not much background stories, suffocating environment (Ben and Gus are in a dark, windowless room), and a sense of latent danger. These elements with loose ends draw the audience into the story and allow them to become part of the action by letting them come up with their own conclusions.

This is a great opportunity to see two plays by two of the most influential playwrights of the 20th century. Their writings are witty, insightful, and poetic. Add to this treat the powerful and superb performances of Brad Greenquist, Anthony Foux, and Jason Downs  and you have a unique and unforgettable experience not to be missed.

Fam And Yam and The Dumb Waiter

Fam And Yam. Written by Edward Albee and directed by Marilyn Fox. The Dumb Waiter. Written by Harold Pinter and directed by Marilyn Fox and Elina de Santos. Cast: Brad Greenquist, Anthony Foux, and Jason Downs. Creative team: William Wilday (Scenic Design), Matt Richter (Lighting Design), Audrey Eisner (Costume Design), Christopher Moscatiello (Sound Design), Teak Piegdon (Stage Manager), Myrna Gawryn (Set Change Movement), and Michael Rothhaar (Consultant). 

Pacific Resident Theatre
705 1⁄2 Venice Blvd.
Venice, CA 90291
Street parking or small lot in back.

September 24 – November 20
8pm Thursdays – Saturdays, 3pm Sundays
Closing: November 20, 2022 (no performance November 19)

Tickets: https://pacificresidenttheatre.org/albee-pinter

A scene from The Dumb Waiter
A scene from Fam And Yam
Fam And Yam and The Dumb Waiter

Theatre Review: Daddy Issues

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Daddy Issues is presented by Charles Blondeau. Written and directed by David Goldyn.

Donald Moskowitz (James Seifert), a struggling actor, is trying to land a commercial for cat food. His homophobic father, Sid Moskowitz (Jonathan Fishman), comes to visit and tries to convince Donald to work for him at his company, Metal Balls, and quit acting. Sid also insists that he would like Donald to give him a grandson, despite the fact that Donald is gay. Out of desperation, Donald lies to his dad and tells him that he secretly had a son with his non-Jewish girlfriend, Mary Ellen, ten years ago. Ecstatic, Sid tells the news to the rest of the family.

Donald’s mom Marion Moskowitz (Pamela Shaw) and his grandmother, Grandma Moskowitz (Sherry Michaels), come to visit Donald to hear the news directly from him. Grandma even promises to double Donald’s inheritance as a gift for giving her a grandson. Donald agrees to bring over his son in a few days so he can meet his Jewish family. Where will Donald find a fake son and a fake ex-girlfriend in such a short period of time to please his family and get the inheritance?

Donald’s best friends Henrietta Hudson (Noa Lev–Ari) and drag queen-by-night Levi Krauss (Josh Nadler), both compete with each other to play the role of Donald’s ex-girlfriend, Mary Ellen. The neighbor downstairs, Johnny Walker (Solly Werner), becomes the “hired” ten-year-old son, and his mom (Hannah Battersby) ends up as one of the third Mary Ellens, a situation that gets Donald tangled up in a web of lies with no apparent solution.

This play is a comedy with references to the Jewish culture and the contrast of traditional values versus progressive lifestyles, a fact represented in the relationship between Donald and his father Sid. But mainly, the play highlights the importance of the family in the Jewish culture and the immense happiness that grandchildren bring to the grandparents.

Daddy Issues is a hilarious play with an 80’s flair set in Hell’s Kitchen, New York, NY. The cast is a brilliant mix of experienced and new talent that makes the audience laugh from beginning to end, a true gem in the heart of Hollywood.

Daddy Issues

Written and Directed by David Goldyn. Starring Hannah Battersby, Jonathan Fishman, Noa Lev–Ari, Sherry Michaels, Josh Nadler, James Seifert, Pamela Shaw, Solly Werner. Presented by Charles Blondeau. Creative team: Set designer Rody Villegas, lighting designer Katelan Braymer, costume designer Antonio Consuegra and graphic designer Phil Fab. The production stage manager is Jesse Fiene.

Dorie Theatre @ The Complex
6476 Santa Monica Blvd
Hollywood, CA 90038
(between Cole and Wilcox)

Performances: October 14–November 13
Fridays at 8 p.m.: Oct. 14 (Opening Night); Nov. 4; Nov. 11
Saturdays at 8 p.m.: Nov. 5; Nov. 12
Sundays at 5 p.m.: Nov. 6; Nov. 13

Tickets: daddyissuestheplay.com

Daddy Issues poster
A scene from Daddy Issues
A scene from Daddy Issues
A scene from Daddy Issues