Tag Archives: Acting

Theatre Review: (Un)Documents

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Latino Theater Company presents the West Coast premiere of (Un)Documents. Written and performed by Jesús I. Valles. Directed by Rudy Ramirez.

How did you handle it? That was the question people asked Jesús I. Valles and his family after the deportation of his brother. Valles’ biographical play centers on the life at the border between Ciudad Juárez and El Paso Texas. An area where some Mexicans cross the border on a daily basis to work in the US and cross back to Mexico at the end of the day. If done with a green card or American citizenship, the crossing will be through the international bridge, if not, there’s the Río Bravo (Rio Grande), a river that is a dividing line between US and Mexico, where many cross it daily, hoping not be detected by the Border Patrol. 

Valles tells the story that portrays the struggles, the hopes, and the disruption of the family nucleus caused by the deportation of a family member. The other topics in the play are the assimilation into the American culture seen through the eyes of a child and what it means to be an American for a person with two cultural identities. It is those identities that seem to be uncomfortable and conflictive to some Latino Border Patrol agents. As described by Valles, some of the most demeaning and intimidating agents are the ones that look like him.   

Despite the emotional toll on the family due to the deportation, their resilience and coming to terms with reality allowed them to continue to do what they know best, to work hard and endure the absence with a positive attitude. And this where the story travels. It is a mirror of the lives of many in the US, a price to pay for the American dream. Under these circumstances, the citizenship ceremony becomes a bitter sweet experience, a sense of belonging to the land of the free and a sense of loss for the loved ones who can’t be there.

(Un)Documents is a story of immigration, immigration reform, endurance, the shaping of an identity, specially an LGBTQ one, and the unity of the family members regardless of the physical divisions that separate them.

Valles delivers a fierce and powerful performance with humor, emotion, and a lyricism unique to poets who are able to turn pain into art to express the spectrum of the human experience.

(Un)Documents

Written and performed by Jesús I. Valles. Directed by Rudy Ramirez. Presented by Latino Theater Company. Creative team: Projection Designer Elizabeth Barrett. Production Stage Manager Henry “Heno” Fernandez. 

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

Performances: October 14 – November 20:
Thursdays at 8 p.m.: Nov. 3, Nov. 10, Nov. 17
Fridays at 8 p.m.: Oct. 14 (Opening), Nov. 4, Nov. 11, Nov. 18
Saturdays at 8 p.m.: Nov. 5, Nov. 12, Nov. 19
Sundays at 4 p.m.: Nov. 6, Nov. 13, Nov. 20

Tickets: www.latinotheaterco.org     

(Un)Documents poster
A scene from (Un)Documents
A scene from (Un)Documents
A scene from (Un)Documents

Theatre Review: Farragut North

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The revival of Farragut North is presented by Foursome Productions. Written by Beau Willimon. Directed by Peter Allas. Produced by Michael Donovan and Peter Allas.

Stephen Bellamy (Chris King Wong) is a 25-year-old press secretary working on a campaign with veteran manager Paul Zara (Michael Rubenstone). There is also a young assistant, Ben (K.J. Powell), who has his own aspirations and is working really hard to impress Paul and Stephen. A 19-year-old intern, Molly (Camryn Hamm), is helping in the campaign as well. Traveling to cover the race is Ida Horowitz (Amy Motta), a reporter for the NY Times and LA Times reporter Frank (David-Edward Reyes).

The campaign group is confident on winning the race. However, the apparent tightness of the group is disrupted when Stephen gets a call from Tom Duffy (Jack Esformes, God of Carnage), the opponent’s seasoned operative, with an attractive offer to change sides. Will Stephen choose loyalty to his boss, or the opportunity to get closer to the White House?

Playwright Beau Willimon worked for the campaigns of Sen. Chuck Schumer, Sen. Hillary Clinton, Sen. Bill Bradley and Gov. Howard Dean. These experiences allowed him to get a closer look at the things that politicians and their operatives do to win the races. Farragut North is an accurate depiction of the sex, loyalties, betrayals, revenges, and everything in between that make up a political campaign.    

The play also shows the role of the media in the political campaigns and poses an interesting question: How close should reporters get to the candidates to inform without loosing their neutrality? Again and again, a negative note on a candidate can mean the end of a race and even a career.  

The waiter (David-Edward Reyes) at the restaurant can be seen as portraying the working class, the ones that struggle on a daily basis to create a better life. The ones that still hope that a politician will change things for the better. The conversation at the restaurant between Stephen and the waiter shows perfectly that there are two kinds of people in this world, the ones who deliver political speeches and the ones who listen to those speeches.

Chris King Wong excels as Stephen Bellamy, a character with a variety of conflicting nuances. Stephen portrays the ambition, the power, the arrogance, the dreams, and the willingness to sacrifice everything for a political career, even if that means to shatter his own life on the way to the top.

Peter Allas‘ excellent direction allows the cast to shine and deliver an outstanding performance that reflects the competitive, pungent, and oftentimes brutal world of politics.   

Farragut North

Written by Beau Willimon. Directed by Peter Allas. Starring Chris King Wong, Camryn Hamm, Jack Esformes, Amy Motta, K.J. Powell, David-Edward Reyes, and Michael Rubenstone. Produced by Michael Donovan and Peter Allas. Presented by Foursome Productions. Creative team: Casting by Michael Donovan C.S.A. and Richie Ferris C.S.A., Costume Design by Mylette Nora, Lighting Design by Matt Richter, Sound Design/Graphics by Eric David Tippett, Property Design by Jenine McDonald, Set and Video Design by Peter Allas, and Stage Manager Steve Wilson.

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

Performances: Oct. 14 – Nov. 5
Thursdays at 8 p.m.: Oct. 27; Nov. 3
Fridays at 8 p.m.: Oct. 14 (Opening Night); Oct. 28; Nov. 4
Saturdays at 3 p.m.: Oct. 29; Nov. 5
Saturdays at 8 p.m.: Oct. 29; Nov. 5

Tickets: www.onstage411.com/farragutn

Farragut North poster
A scene from Farragut North
A scene from Farragut North
A scene from Farragut North

Theatre Review: Driver’s Seat

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Driver’s Seat is written and performed by Ellie Brelis. Directed by Emily Mikolitch.

Ellie Brelis introduces us to a condition called Obsessive Compulsive Disorder (OCD), something she had to live with since early childhood. This situation led her to find ways to navigate life and relationships. If the transition to adulthood is difficult to most people, adding OCD to the equation makes it even more complicated.

The play is a journey through some of the toughest episodes in Ellie’s life. She needed constant validation in order to endure the darkest moments she experienced. But some of that validation just didn’t happen. Finding refuge in a relationship seems like a natural thing to do. In her case, however, the breakup of that relationship caused more damage than anything else. If on top of that your grandfather dies of Covid amid a world pandemic, you get the picture.

Those devastating events triggered a really bad case of OCD that brought up thoughts of suicide. When she reached out for help, she was taken to a psychiatric hospital. In the middle of that environment,  she found a true friendship that understood her situation and helped her survive her ordeal.

After her hospital stay, Ellie was treated with Exposure and Response Prevention (ERP) therapy in order to overcome her fears. 

One of Ellie’s greatest fears is to drive, so she kept putting off her driver’s license exam. For a person with OCD, driving can become a real nightmare, the constant fear of killing someone is a frightening idea that they can’t get out of their minds.

In addition to the already delicate position of someone with OCD, coming out as queer in a still conservative society can add to the anxiety to a young and vulnerable person.      

Driver’s Seat is a play where despite the topics depicted, the protagonist still finds room for humor. And in humor, as is often the case, we can find validation to endure and survive, and in the case of Ellie, to thrive and shine. 

Ellie Brelis is an example of strength and courage that is touching and contagious. Her personal story of tribulations and survival needs to be told. It’s a story that will hopefully reach the audience who, just like her, might also need hope and validation.

Director Emily Mikolitch is a young director who put together an interesting solo show that has emotion and humor to keep the audience engaged. The script and performance make great use of the multicolor light, the crisp white wardrobe, projections, sound, and music, making this play a cathartic experience that allows the energy to flow back and forth between a brave thespian and an involved audience.

Driver’s Seat

Written and performed by Ellie Brelis. Directed by Emily Mikolitch. Produced by Misha Riley. Creative team: Gavan Wyrick (Lighting Design), Gabriella Gilman (Costume Design), Charlie Glaudini (Sound Design), Nick Wass (Projection Design), Michelle Hanzelova (Graphic Design), Roella Dellosa (Stage Manager). 

Theatre 68 Arts Complex, Emerson Theatre
5112 Lankershim Blvd., North Hollywood, CA

Opening at 8pm on Saturday, October 22
Schedule: 8pm Fridays and Saturdays, 3pm Sundays
Closing: Sunday, November 13, 2022

Tickets: www.Onstage411.com/DriversSeat  

Driver's Seat poster
A scene from Driver's Seat
A scene from Driver's Seat
A scene from Driver's Seat

Theatre Review: Lend Me A Tenor

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Lend Me A Tenor is presented by International City Theatre. Written by Ken Ludwig. Directed by Todd Nielsen.

The Cleveland Opera is expecting an unforgettable night with Pagliacci, performed by famous Italian opera tenor Tito Merelli (Michael Scott Harris, Singing Revolution, The Musical). Henry Sounders (Barry Pearl), the Cleveland Grand Opera’s general manager, his assistant Max (Nick Tubbs, Marry Me a Little), and his daughter Maggie (Bella Hicks, Singing Revolution, The Musical) are all nervously waiting for Tito’s arrival at the hotel suite. Max’s job is to ensure Tito’s needs are met in a timely manner, but mainly, his job is to keep the booze and the women away from Tito as he’s a notorious drinker and womanizer.

When Tito arrives with his temperamental wife Maria (Jade Santana), Sounders leaves the suite, but Maggie stays behind and hides in the bedroom closet, expecting to get Tito’s autograph. When Maria finds Maggie hiding, she gets furious, assuming that Maggie is one of Tito’s lovers. Maria then writes a goodbye note to Tito and leaves the suite. As Tito is with Max in the other room, he doesn’t notice when Maria leaves. Eventually, Tito finds Maria’s note and panics, thinking that Maria has left him forever. As the tranquilizers and the booze kick in, Tito falls into a deep sleep. Later, when Max tries to get him ready to go to the performance, he is unable to wake him up, mistakenly thinking that Tito has committed suicide. Everything then is turned upside down, forcing Saunders to come up with a last minute plan to save his own skin. A plan that might give Max the opportunity of a lifetime. Max will take the place of Tito in the opera Pagliacci. What can go wrong?

The other characters in the play are Diana (Kailyn Leilani), the seductive soprano who tries to get her way with Tito. Julia (Holly Jeanne), the Chairwoman of the Cleveland Opera Guild, also a fan of Tito. The Bellhop (Matt Curtin, Rapunzel Alone), another Tito’s fan who is always trying to get Tito’s autograph and picture.

Max is an interesting character. He starts by showing his insecurities as a simple assistant who dreams of becoming a star singer. His brief interaction with Tito proved to spark his dreams to a higher level. Above all, the play shows the power of music. For Tito, music is a way of life. For Max, is a dream, a latent desire to express himself. The opportunity to show his talent in such an important event may not happen again. This is Max’s only chance in life to defeat his insecurities, despite the dishonesty of impersonating Tito to cheat the audience. It is Max willing to jump into the unknown what saves the day. 

It is also a story of second chances in life, mainly in terms of relationships. Maria and Tito, experiencing ups and downs in their marriage have to decide whether or not to try it again. For Maggie, it is Max’s impressive performance in Pagliacci what makes him even more attractive as a potential husband.           

Lend Me A Tenor is a sophisticated play that delights the audience for its comedy and constant action. Both Michael Scott Harris and Nick Tubbs show their excellent singing skills. The whole cast delivers a top-level performance from beginning to end. The scenic design with all of its details (scenic designer JR Norman Luker), the high key lighting (lighting designer Donna Ruzika), and the costume design (costume designer Kim DeShazo) provide outstanding and appealing elements to the stage. 

Director Todd Nielsen achieves an exciting production with the talented cast and creative team behind this comedy. The blocking allows the actors to deliver a highly kinetic performance that adds dynamism and physical comedy to the story. The last scene is a testament of Nielsen’s creativity. Producer caryn desai [sic] continues to show her exquisite taste for the most engaging productions to entertain the audiences of Los Angeles. Lend Me A Tenor is without a doubt one of the best productions of the year.       

Lend Me A Tenor

Written by Ken Ludwig. Directed by Todd Nielsen. Starring Matt Curtin, Michael Scott Harris, Bella Hicks, Holly Jeanne, Kailyn Leilani, Barry Pearl, Jade Santana, and Nick Tubbs. Produced by caryn desai [sic]. Presented by International City Theatre.

Creative team: Scenic designer JR Norman Luker, lighting designer Donna Ruzika, costume designer Kim DeShazo, sound designer Dave Mickey, prop designer Patty Briles, and hair and wigs designer Anthony Gagliardi. Casting is by Michael Donovan, CSA and Richie Ferris, CSA. The production stage manager is Donna Parsons.

INTERNATIONAL CITY THEATRE
Long Beach Convention & Entertainment Center
330 East Seaside Way
Long Beach, CA 90802

Performances: Oct. 21 – Nov. 6
Thursdays at 8 p.m.: Oct. 27, Nov. 3
Fridays at 8 p.m.: Oct. 21 (Opening Night), Oct. 28, Nov.4
Saturdays at 8 p.m.: Oct. 22, Oct. 29, Nov. 5
Sundays at 2 p.m.: Oct. 23, Oct. 30, Nov. 6

Tickets: ictlongbeach.org

Lend Me A Tenor poster
A scene from Lend Me A Tenor
A scene from Lend Me A Tenor
A scene from Lend Me A Tenor
A scene from Lend Me A Tenor

Theatre Review: The Elaborate Entrance of Chad Deity

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Chance Theater presents the Orange County premiere of The Elaborate Entrance of Chad Deity, a dramatic comedy about the professional wrestling world. The play written by Kristoffer Diaz was one of the final nominees for the Pulitzer Prize for Drama and received numerous “Best Play” Awards. Directed by Jeremy Aluma. Now playing at the Chance Theater in Anaheim, CA.

The stage is actually a ring, referee included (Matt Takahashi).

Growing up as a wrestling fan in New York, Macedonio Guerra (Rudy Solis III) eventually becomes what is known as a “jobber”, a wrestler that gets paid to loose against the wrestling superstars. His job consists of doing the heavy lifting: Making the superstar wrestlers look good every time they fight against him. Macedonio goes through the motions without complaining; he just does his job the best he can to satisfy his boss, Everett K. Olson (James Michael McHale), the CEO of the wrestling organization called The Wrestling.

The superstar of the organization is Chad Deity (Londale Theus Jr.), a wrestler with an elaborate entrance to the ring. Chad has a lot of charisma and is a fan’s favorite, but he is a bad wrestler. To preserve Chad’s stardom, Macedonio allows Chad to defeat him every single time, an arrangement that continues to bring considerable profits to Everett and his organization.

Besides Chad Deity, some of the other wrestlers are Bad Guy, Billy Heartland, and Old Glory (all played by Aaron McGee). Everett uses these wrestlers to provoke a reaction in the audience. The reactions, positive or negative, are always good for business.

Things change quite a bit when Macedonio meets Vigneshwar Paduar (RJ Navarra Balde II), an Indian American with a playboy attitude who owns a few businesses. Macedonio sees that Vigneshwar’s colorful personality can be an asset to the wrestling world and introduces him to Everett.

Even though Everett is reluctant at first, he decides to give Vigneshwar a chance. It is when trying to come up with a name and personality for Vigneshwar that Everett reveals his stereotypes, cultural insensibility, and straight out racism. He uses those elements to elevate what he considers American most inspirational values, usually at the expense of the non-white immigrant experience. Macedonio and Vigneshwar soon realize that they are both used by Everett to create an imaginary enemy in the collective consciousness of the wrestling fans. An enemy that needs to be defeated by the American values impersonated by Old Glory, Billy Heartland, and specially the champion, Chad Deity. And just like that, Macedonio becomes Che Chavez Castro (with a big sombrero) and Vigneshwar becomes The Fundamentalist (with a big turban). In light of the disrespect to their racial and cultural backgrounds, Vigneshwar decides to take a stand and challenge the status quo. Macedonio has now two choices: To follow Vigneshwar’s steps, or continue perpetuating the status quo.

Kristoffer Diaz offers a fascinating look at the professional world of American wrestling. A world that despite its theatricality, gives us a glimpse of American society stance on race, power, and politics. Jeremy Aluma‘s direction and interpretation of the play pull the audience into the story from the very beginning. In addition, the stage, the lighting, the sound design, and the outstanding performances of the cast all contribute to make this production a very enjoyable and entertaining theatre experience not to be missed.

The Elaborate Entrance of Chad Deity

Written by Kristopher Diaz. Directed by Jeremy Aluma. Cast: Rudy Solis III, Londale Theus Jr., James Michael McHale, RJ Navarra Balde II, Aaron McGee, and Matt Takahashi. Creative team: Scenic designer Fred Kinney, fight director Martin Noyes, projection designer Nick Santiago, lighting designer Kara Ramlow, costume designer Bradley Allen Lock, sound designer Marc Antonio Pritchett, stage manager Kaylee Mesa, and dramaturg Joseph Galizia. Executive Producers: Sophie & Larry Cripe. Associate Producers: Susan Bowman & Freddie Greenfield, Rachelle Menaker & Eddie Schuller, and Laurie Smits Staude. Producers for the entire 2022 Season: Bette & Wylie Aitken. Season’s associate producers: The Family of Mary Kay Fyda-Mar.

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

Performances: October 1 -October 23, 2022
Fridays at 8 p.m., Saturdays at 3 p.m. & 8 p.m., Sundays at 3 p.m.

Tickets: www.chancetheater.com

 

The Elaborate Entrance of Chad Deity poster
A scene from The Elaborate Entrance of Chad Deity
A scene from The Elaborate Entrance of Chad Deity
A scene from The Elaborate Entrance of Chad Deity

Theatre Review: To the Bone

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To the Bone is presented by Open Fist Theatre Company. Written and directed by Catherine Butterfield. The story is set in Boston in 2013.

Sisters Kelly Moran (Tisha Terrasini Banker) and Maureen Dugan (Amanda Weier) are getting ready to receive the visit of Geneva (Alice Kors), Kelly’s daughter she gave up for adoption. Geneva arrives with her college roommate Darcy (Kacey Mayeda), a filmmaker student who is documenting with her camera the whole story. Kelly’s teenage son, Sean (Jack David Sharpe), on the other hand, is not that excited about the reunion. Geneva’s visit becomes a tense interaction once Kelly reveals that the reason to contact Geneva after all this years is to have her donate liquid marrow for Sean, who needs the transplant due to his cancer. Geneva believes Kelly only wants to save her son and is not really interested in re-establishing the bond with her. Sean’s rude attitude towards Geneva makes things worse and soon Geneva and Kelly got into a heated exchange, calling each other a whore. Geneva storms out with Darcy, much to Maureen’s disappointment.

The reunion unveils the underlying issues surrounding the lives of all the parties involved. The hard-partying times during high school somehow sealed the fates of Kelly and Maureen; two lives of unrealized dreams and broken relationships. The death of his father and the cancer diagnosis has taken a toll on Sean’s physical, mental, and emotional health, straining his relationship with Kelly. Geneva’s failed expectations of a positive reconnection with her biological family and her relationship with her adoptive mother is also exposed.

For Geneva, the initial meeting with Kelly and Sean does more than just triggering emotional pain; it also moves her. After the meeting, she started to research what a bone marrow donation entails, a sign of her willingness to help save a human being, specially one of her own. Having been adopted by wealthy parents, however, has had a negative effect on some of her attitudes towards other people, as described so honestly by her friend Darcy.

The relationship between Kelly and Sean is a volatile interaction of hurtful words and even physical abuse, but after all, is Kelly’s love for her son what drives much of this story.

Peppered with sharp humor and emotional scenes, Catherine Butterfield’s script keeps the story moving forward with a surprising ending. The thespians’ performances keep the story engaging and entertaining. Tisha Terrasini Banker does a phenomenal job as the foul-mouthed mother who will fight till the end and do whatever it takes to save her son, despite the curveballs thrown at her. Yes, baseball has something to do with this story.

To the Bone

Written and Directed by Catherine Butterfield. Starring Tisha Terrasini Banker, Alice Kors, Kacey Mayeda, Jack David Sharpe, and Amanda Weier. Presented by Open Fist Theatre Company, Martha Demson, artistic director. Creative team: scenic designer Jan Munroe, lighting designer Gavan Wyrick, sound designer Marc Antonio Pritchett, costume designer Mylette Nora, prop masters Bruce Dickinson and Ina Shumaker, and scenic painter Stephanie Crothers. The production stage manager is Jennifer Palumbo.

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:Oct. 1 – Nov. 5:
Fridays at 8 p.m.: Oct. 14; Oct. 21; Oct 28; Nov. 4
Saturday at 2 p.m.: Oct. 29 ONLY
Saturdays at 8 p.m.: Oct. 1 (Opening Night); Oct. 8; Oct. 15; Oct. 22; Nov. 5 (dark Oct. 29)
Sundays at 2 p.m.: Oct. 23 and Oct. 30 ONLY
Sundays at 7 p.m.: Oct. 2; Oct. 9; Oct. 16 ONLY

Tickets: http://www.openfist.org/

To the Bone poster
A scene from To the Bone
A scene from To the Bone
A scene from To the Bone

Theatre Review: Desert Stories for Lost Girls

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Latino Theater Company partners with Native Voices at the Autry to present the world premiere of Desert Stories for Lost Girls, a play about identity, family, and colonialism over generations. Written by Lily Rushing and directed by Sylvia Cervantes Blush.

Carrie (Katie Anvil Rich) arrives to take care of her grandma Rosa (Carolyn Dunn), who suffers dementia. Uncle Edgar (Tom Allard), who was caring for Rosa, leaves and lets Carrie take over. Rosa tells Carrie things that don’t make much sense, at least not to Carrie. When Carrie sleeps, a series of characters show up in her dreams. There’s the conquistador (Glenn Stanton), Plácida (Samantha Bowling), Josefa (Brenda Banda), a younger Rosa (Rainbow Dickerson) and her husband Joe (Glenn Stanton).

The characters in Carrie’s dreams are allegories to her own Genízaro ancestors. Genízaro was a term used to refer to the Apache, Comanche, Kiowa, Navajo, Pawnee, and Ute Natives taken as prisoners by the Spaniards. These prisoners were enslaved in Spanish households, abused physically and sexually, taught Spanish, and forced to convert to Catholicism. 

After spending some more time with her grandma Rosa and some additional conversation with Uncle Edgar, Carrie realizes that Rosa is trying to tell her the story of her ancestors. It’s through her dreams that Carrie starts to put everything together and starts to learn the history of her family and her own identity. When Rosa opens up her suitcase, she’s opening up her memories. The dolls passed on to Carrie become a history lesson, a way so many Natives have taught their young ones of their values and heritage; the spiritual quest of truth. 

The conflicting relationship between Plácida and Nicholas Jacinto, the travel of Rosa and Joe, the references to Santo Tomás, and even Carrie’s lighter skin color is the manifestation of the ethnogenesis of the Genízaros and the failed transculturalization of the Natives that the Spaniards tried to achieve. The bones, the walking, the dolls, the oral history, and the spirits, became a testament of the resilience and the fight to keep their identity alive generation after generation. 

A pivotal character that shows the resilience of the Genízaros is Plácida. She had her son when she was 11 or 13 years old. When she was removed from the settlement, she had to walk 20 miles everyday to see her son.          

One highlight of this play is that it shows the Native’s perspective rather than a European narrative. This is the other side of the story. One that is rarely seen or heard in the media. These are the words of the people that lost most of their lands and whose lives were disturbed by the aggressive expansion of the European colonists. This is a story about loss, but it is also a story of resilience and hope, a reminder of the fascinating history of one part the Southwest and its culture that refuses to be silenced.

Playwright Lily Rushing and director Sylvia Cervantes Blush accomplish a magical theatrical experience. The script, in its prose and verse, expresses the history and beliefs of the Genízaros in a lyrical way, accentuated by the poetic visuals of scenic/props designer Christopher Scott Murillo and lighting/projection designers Derek Christiansen and Ruby O’Brien. A powerful play, made by powerful voices.

Desert Stories for Lost Girls

Written by Lily Rushing (Genízaro). Directed by Sylvia Cervantes Blush. Starring Tom Allard (Loyal Shawnee), Brenda Banda, Samantha Bowling (Cherokee), Rainbow Dickerson (Rappahannock, Thai, European descent), Carolyn Dunn (Cherokee, Mvskoke Creek, French Creole, and Tunica/Choctaw Biloxi descent), Katie Anvil Rich (Cherokee, Chickasaw), and Glenn Stanton (Cherokee). Dramaturg: Courtney Elkin Mohler (Santa Barbara Chumash). Sound designer: Mia Glenn-Schuster. Costume designer: Lorna Bowen (Muscogee Creek, Seminole, Cherokee). Produced by Latino Theater Company in association with Native Voices at the Autry.

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

Limited 3-week run
Performances:September 30 – October 16
Thursdays at 8 p.m.: Oct. 6, Oct. 13
Fridays at 8 p.m.: Sept. 30 (Opening Night), Oct. 7, Oct. 14
Saturdays at 8 p.m.: Oct. 1, Oct. 8, Oct. 15
Sundays at 4 p.m.: Oct. 2, Oct. 9, Oct. 16

Tickets: latinotheaterco.org

Desert Stories for Lost Girls poster
A scene from Desert Stories for Lost Girls
A scene from Desert Stories for Lost Girls
A scene from Desert Stories for Lost Girls

Theatre Review: The Romantics

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The City of West Hollywood and Classical Theatre Lab presented The Romantics, a play written by Edmond Rostand and directed by Suzanne Hunt (due to a last minute event, Suzanne replaced Maaren Edvard for the role of Pasquinette) in the last performance.

The Romantics is a play that satirizes Romeo and Juliet. Percinet (Johnny Austen) is madly in love with Sylvette (Maegan McConnell). Percinet’s father, Bergamin (Alexander Wells), is in cahoots with Pasquinette (Suzanne Hunt), Sylvette’s mother. Bergamin and Pasquinette believe that by faking a feud between the two families and separating Sylvette from Percinet, their kids will love each other even more and will finally marry once they get back together. To accomplish this, Bergamin hires the services of Straforel (Carlo Figlio) and his notary assistant (Katie McKewin), professional rogues that will stage Sylvette’s failed abduction attempt. The plan is to make Percinet look like a romantic hero by fighting Straforel and the notary to rescue Sylvette. Things, however, get a little bit out of hand after that.

Although the play references Romeo and Juliet and the medieval concept of courtly love, Rostand also contrasts all that youthful romance with the sense of emptiness experienced by Percinet when he is faced with the realities of life, a naturalistic approach popular in Rostand’s time.

The Romantics was staged at the Kings Road Park in West Hollywood with a basic setup. This production was a nostalgic look at how theatre was performed long ago: Natural light, period costumes, and live music, relying mostly on the talent of dedicated actors to keep the audience engaged (McConnell delivers a delightful performance as the vivacious Sylvette). The music was a special touch to the presentation as is based on an 18th Century story but with contemporary music. McConnell, Austen, and Donald Wayne (he plays the gardener Blaise) showed their convincing singing skills in the three musical numbers.

The Romantics was a pleasant production that featured the dedication of the Classical Theatre Lab, an ensemble of theatre artists exploring classical theatre, literature, and  performance. They also develop contemporary works inspired by the classics. These artists perform in different public spaces throughout the year to promote a love of classical theatre. This is the link to their website: https://www.classicaltheatrelab.org/    

The Romantics

Written by Edmund Rostand. Directed by Suzanne Hunt. Presented by The City of West Hollywood & Classical Theatre Lab. Cast: Johnny Austen, Maaren Edvard, Suzanne Hunt, Carlo Figlio, Maegan McConnell, Katie McKewin, Donald Wayne, and Alexander Wells. Production team: Suzanne Hunt and Alexander Wells (Producers), Katie McKewin (Assistant Director/Movement Choreographer) and Garth Pillsbury (Photographer). Costumes from the American Academy of Dramatic Arts.

Kings Road Park,                                                                                                                1000 N. Kings Road, West Hollywood 90069

The play was performed in September 2022. 

Links to West Hollywood’s Arts Division:

weho.org/arts

@wehoarts

@wehocity

 

A scene from The Romantics
The Romantics. Donald Wayne, Johnny Austen, Katie McKewin, Carlo Figlio, Alexander Wells, Maegan McConnell, Maaren Edvard.
A scene from The Romantics
The Romantics. Johnny Austen, Maegan McConnell, Carlo Figlio, Katie McKewin.
The Romantics poster
The Romantics
A scene from The Romantics
The Romantics. Maegan McConnell and Johnny Austen.

Theatre Review: A Great Wilderness

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Rogue Machine presents A Great Wilderness, written by Samuel D. Hunter and directed by Elina de Santos.

Walt (John Perrin Flynn) has spent his life in a retreat in the wilderness, counseling young men who are sent to his retreat to get cured of their homosexuality. The idea is that through a faith-based approach—prayers, Bible readings, and counseling—these men will change and go back to a heterosexual lifestyle. Walt is getting old with early signs of dementia or Alzheimer’s and his ex-wife Abby (Rachel Sorsa), concern about his well-being, wants to send him to Shady Gardens, a retirement home. When Abby and her other ex-husband, Tim (Tony Pasqualini) come to the retreat to visit, they found out that Walt has taken one last youngster, Daniel (Jeffrey Delfin), for his gay conversion therapy. Daniel, however, decides to go out for a walk by himself and goes missing.

Tim, who used to be a counselor in the retreat, goes out to look for Daniel. As time goes by, Walt calls Janet (Tania Verafield), a park ranger, to help in the search. Eventually, Eunice (Jacquelin Lorraine Schofield, Rapunzel Alone), Daniel’s mom, is notified of the situation. When she arrives, she feels guilty for sending Daniel to the retreat. Janet organizes a group of people to extend the search. A helicopter is added to the search mission. Hours pass and still no news of Daniel. A fire breaks out in the forest and the drama intensifies as Janet finds Daniel’s jacket with blood stains. 

Playwright Samuel D. Hunter shows the gay conversion therapy from the eyes of a Christian group that believes in the effectiveness of such practice. But once the characters reveal their struggles and past experiences, the effects of trying to change someone’s attraction to their own sex become more disturbing and less convincing. The play does not try to tell who’s right or wrong, that’s up to the audience, but the facts are laid out for the pendulum to go either way and not to hyperfocus on just one side of the story. The sincerity and the tragic consequences of conservative beliefs that make up a portion of the cultural and religious fabric of America are explored in this story and are perfectly reflected on Walt’s own existential crisis.

Director Elina de Santos‘ interpretation of Walt and Tim’s relationship can make an interesting conversation. Tim is one of the founders of the retreat and is also Abby’s ex-husband. Walt was also married to Abby at one point. Walt and Tim being both counselors of conversion therapy opens up a series of questions that make this play even more intriguing. 

Set Designer Bruce Goodrich, Sound Designer Chris Moscatiello, and Lighting Designer Vicki J. Scott do an excellent job recreating the retreat and the ambiance; the set is full of details and the background sounds of the forest make the story come closer to the audience.           

A Great Wilderness is an accurate reflection of the complexities faced by conservative America, where the interpretation of Christian values might offer more questions that answers.          

A Great Wilderness

Written by Samuel D. Hunter. Directed by Elina de Santos. Cast: Jeffrey Delfin, John Perrin Flynn, Tony Pasqualini, Jacquelin Lorraine Schofield, Rachel Sorsa, and Tania Verafield. Creative team: Bruce Goodrich (Set Design), Chris Moscatiello (Sound Design), Elizabeth A. Cox (Costume Design), Vicki J. Scott (Lighting Design), Anna Khaja (Shady Gardens Spokesperson/Voice). Produced by: Guillermo Cienfuegos, and Rebecca Larsen (A Rogue Machine Production).

ROGUE MACHINE (in the Matrix Theatre)
7657 Melrose Ave, Los Angeles, CA 90046

Opening 8pm on Saturday, September 24
Schedule: 8pm Fridays, Saturdays, Mondays; 3pm Sundays
Added performance on Thursday, October 20
(No performance October 10)
Closing: October 31, 2022

Tickets: roguemachinetheatre

 

A scene from A Great Wilderness
A Great Wilderness. Jacquelin Lorraine Schofield and Rachel Sorsa.
A scene from A Great Wilderness
A Great Wilderness. Tony Pasqualini and John Perrin Flynn.
A scene from A Great Wilderness
A Great Wilderness. John Perrin Flynn and Jeffrey Delfin.
A Great Wilderness poster
A Great Wilderness

Revenge Porn or The Story of a Body

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Ammunition Theatre Company presents Carla Ching’s new play Revenge Porn or The Story of a Body. Directed by Bernardo Cubría. 

Kat Chan (Tina Huang, Theatre Review: Celestial Events) finds out that her nude pictures were published online without her consent by her ex-husband of 22 years Mac (Nelson Lee) who not only published the pictures, but also tagged all the people they know. Trying to put her reputation together again, Kat now has to face the challenge of deciding whether to hold a grudge or forgive the person she once loved.

The posting of the pictures exposes not only Kat’s body but also the background stories of each of the characters more affected by it and the reactions to the situation. Kat is currently with Elliot (Christopher Larkin), a younger guy who is understanding and supportive. Kat and Mac’s daughter, Nice (Kahyun Kim) is a girl with her own body image insecurities and who is trying to figure out what kind of relationship she has with her father. Betty (Jeanne Sakata), Kat’s mom, is also concerned about her friends seeing Kat’s pictures, exacerbating the already difficult relationship between the two. JJ (Roland Ruiz) is Nice’s classmate who is in love with her and tries to boost her self-esteem. JJ’s own sister had her pictures published without her consent. Mac’s mom, Mia (Jeanne Sakata) is a journalist who is infuriated by her own son doing such a despicable thing. Mia supports Kat and demands Mac to apologize and fix his mistake. Kat then decides to do something unexpected to claim her own body and her own narrative.

Carla Ching wrote the play to represent how painful revenge porn can be on the victims. It would be easier to focus on that. But she takes a step further. She also explores the other side of the story. What could motivate someone to damage the reputation and the relationships of a loved one? In this case, Mac’s actions are a result of his own emotional pain and the sense of loss triggered by his separation from Kat and his strained relationship with his own daughter. This story also highlights how easy is destroy someone’s reputation (both victim’s and perpetrator’s) with the click of a button. In a society so influenced and obsessed with social media, Revenge Porn or The Story of a Body couldn’t be more contemporary. What should be the extend of the ostracism caused by the cancel culture? Should a perpetrator receive a second chance in life? Ching addresses these issues insightfully as open questions. One interesting aspect of the play is how the exposition of the characters was done. Each character delivers a monologue to express their own point of view.

Director Bernardo Cubría translates the rhythm of the script with plenty of action, keeping the humor and drama alive at all times. The lighting (Azra King-Abadi, lighting design, Theatre Review: Apartment Living) and the projections (Yuki Izumihara, projection design) are artistic elements that symbolize the state of mind of the characters and the emotional journey of the protagonists.  

The cast is diverse and is lead by an excellent Tina Huang, who delivers a dramatic and emotional performance that shows the pain and the healing in today’s very public and invasive technological society.

Revenge Porn or The Story of a Body

Written by Carla Ching. Directed by Bernardo Cubría. Cast: Tina Huang, Kahyun Kim, Christopher Larkin, Nelson Lee, Roland Ruiz, and Jeanne Sakata. Producers: Julie Bersani, Karla Mosley, and Brandon Scott. Presented by Ammunition Theatre Company. 

The Pico
10508 W. Pico Blvd.
Los Angeles, CA 90064

Opening: 8pm on Friday, September 23, 2022 with reception to follow.
Schedule: 8pm Thursdays – Saturdays, 2pm Saturdays, 7pm on Sundays
Closing: October 9, 2022 

Tickets: https://www.ammunitiontheatre.com/

Revenge Porn or The Story of a Body poster
A scene from Revenge Porn or The Story of a Body
A scene from Revenge Porn or The Story of a Body
A scene from Revenge Porn or The Story of a Body