Theatre Review: The Importance of Being Earnest

Posted on October 23, 2024October 23, 2024 by Glamour

Oscar Wilde‘s The Importance of Being Earnest is a captivating comedy and a clever social commentary. Bunburying around town, John (Alex Barlas) and Algernon (Jay Lee) use a fictitious name, Earnest, to hide their real identities in an attempt to avoid social responsibilities. But falling in love is complicated, and fake identities just make things worse.

The characters reflect Victorian England, a transformative period when the upper class saw their status challenged by the expansion of education and the possibility of a revolution. In that respect, Director Gigi Bermingham turns the stage into a faithful representation of the English aristocracy and the pressing issues afflicting them. The actors nail their roles and create a delightful expression of tea time with the characteristic wit of British comedy.

Lee and Barlas are a terrific duo that add depth and dynamism to their characters. Barlas as the gentle aristocrat John Worthing and Lee as the charming dandy Algernon Moncrieff. Their female counterparts, Jules Willcox as Gwendolen Fairfax and Alessandra Mañón as Cecily Cardew infuse vivacity to their charming and bitchy frenmity. The supporting cast also do a great job capturing the conflicting social norms prevalent during Wilde’s life. Bo Foxworth plays Rev. Canon Chasuble, a man who tries to uphold British morality while suppressing his own romantic feelings for Miss Prism (Julia Fletcher). And to satirize Victorian society even more, Wilde uses Lady Bracknell as the figure that represents the selfishness of the upper class. Anne Gee Byrd plays the role with hilarious wickedness, an attribute that complements the heart of the play and Wilde’s biting animosity towards a vain and conservative society.

The sumptuous costumes and creative set design are in themselves an attraction to enjoy. The tailored Victorian dresses and the elegant suits add an air of sophistication to the production that match perfectly with the decoration of the set design. The china sets reveal the attention to detail, a characteristic of real professionals.

With attractive visual elements, a group of extraordinary actors, and excellent direction, this production honors the conflicting feelings of a playwright who defied conventions and advocated for free will in a time when doing so would result in ostracism and the loss of freedom.

The Importance of Being Earnest

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

Oct 13, 2024 – Nov 18, 2024

Tickets: antaeus.org

Written by Oscar Wilde. Directed by Gigi Bermingham.

Cast: Alex Barlas, Anne Gee Byrd, Julia Fletcher, Bo Foxworth, Jay Lee, Alessandra Mañón, Jules Willcox, and Michael Yapujian.

Creative team: Scenic Designer Angela Balogh Calin. Lighting Designer Ken Booth. Properties Designer John McElveney. Dialect Coach Paul Wagar. Production Dramaturg Rachel Berney Needleman. Costume Designer Julie Keen. Sound Designer Salvador C Zamora. Intimacy Director Jen Albert. Production Stage Manager Talya Camras. Assistant Stage Manager Casey Collaso.

Theatre Review: Nora

Posted on April 30, 2024April 30, 2024 by Glamour

Antaeus Theatre Company presents Nora, a stage version of Henrik Ibsen’s A Doll’s House by Ingmar Bergman. Written by Henrik Ibsen. Directed by Cameron Watson.

In the midst of a crisis, Nora (Jocelyn Towne) has many things to worry about. What if her husband Torvald Helmer (Brian Tichnell) finds out about the source of the money they used to get him back to health? Will she relent to Nils Krogstad’s (Michael Kirby) blackmail attempts? Will she be able to help her friend Mrs. Linde (Mildred Marie Langford)? What if Nora just leaves?

To reflect Henrik Ibsen‘s controversial text and layered characters, Director Cameron Watson stages a captivating play with an excellent attention to detail. The acting, costumes, lighting, music/sound, and scenic design interweave to enthrall the audience in this fascinating production. When these elements are in sync, the theatre experience is enriching and memorable.

The acting. Towne digs deep into the complexities and challenges of this character created in the late 1800s, a time when women had limited financial opportunities and were expected to conform to a traditional role as obedient wives. Towne’s performance delves convincingly into the unhappiness and isolation of the protagonist and delivers with conviction Nora’s determination to end her imprisonment and gain her freedom.

Tichnell also offers a convincing performance. He depicts Torvald as the seemingly loving and caring husband who ends up showing his selfishness by disregarding his wife’s needs as a human being. Kirby, Langford, and Smith all excel in their performances as well. They bring depth to the story, creating the conflict and the support to heighten the drama of the story. Watson has an exceptional group of actors to explore the nuances of Ibsen’s characters and the society in which they live.

The creative elements. Lighting Designer Jared A. Sayeg uses blue, a cold color, not only as a reflection of Norway’s weather but also as a symbol of the coldness of the Helmer’s marriage. The stark lighting used as transitions serves as a dramatic visualization of the conflicted lives of the characters and the tension that is building up.

Scenic Director Tesshi Nakagawa continues with the blue tones in the walls to complement the lighting. The windows create dramatic lighting effects and serve as a voyeuristic sight into the Helmer’s marriage.

The costumes by Terri A. Lewis transports us back to the 19th century. To match the overall design, Nora is also in blue. The colors of the costumes of the other characters also hint to their personalities. Krogstad, for example, is dressed in dark colors that depict the danger he represents to Nora.

The sound by Jeff Gardner and the score by Ellen Mandel translates the dramatic states of the characters’ lives, including the apparent peace and the uneasiness they are experiencing. In particular, the sound effect at the end resonates as loudly as Nora’s bold decision. These details by the production team are an expression of the richness of Ibsen’s universe.

The blocking adds dynamism to the play. The placement of the couch, bed, and dinning table allows the actors to use the stage fluidly. The dance, choreographed by classically-trained Jean Michelle Sayeg, shows one more time the level of details to make this production attractive and entertaining.

This play has been influential throughout history. It continues to start a conversation, to look back in time to see if things have changed or still need to change. One thing is for sure. When a troupe of talented artists recreate this play, regardless of the status quo, magic happens and the premise of the story reverberates with as much strength as the slamming of the door.

Nora

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

Apr 26, 2024 – May 26, 2024

Tickets: https://antaeus.org/show-details/nora

A Stage Version of Henrik Ibsen’s A Doll’s House by Ingmar Bergman. Translated and Adapted by Frederick J. Marker and Lise-Lone Marker. Directed by Cameron Watson. Artistic Director Bill Brochtrup. Producing Executive Director Ana Rose O’Halloran.

Cast: NILS KROGSTAD: Michael Kirby. MRS. LINDE: Mildred Marie Langford. DOCTOR RANK: Peter James Smith. TORVALD HELMER: Brian Tichnell. NORA: Jocelyn Towne.

Creative team: Scenic Director Tesshi Nakagawa. Lighting Designer Jared A. Sayeg. Costume Designer Terri A. Lewis. Lighting Designer Jared A. Sayeg. Sound Designer Jeff Gardner. Props Designer Aaron Lyons. Intimacy Director Carly DW Bones. Choreographer Jean Michelle Sayeg. Composer Ellen Mandel. Production Stage Manager Talya Camras. Assistant Director Max Tel. Technical Director Adam Meyer. Assistant Stage Manager Casey Collaso.

Theatre Review: A Winter’s Tale

Posted on February 15, 2024February 15, 2024 by Glamour

The Winter’s Tale is presented by Antaeus Theatre Company. Written by William Shakespeare. Directed by Elizabeth Swain.

With a minimalistic set, this staging The Winter’s Tale relies on the extraordinary skills of the thespians. Director Elizabeth Swain uses attractive costumes and the talent of her actors to present a story written in the 1600s. The themes, however, resonate with today’s audience in a moving and powerful way. Jealousy, based on facts or hypotheticals, is still a constant in our society, sometimes with deathly consequences.

The casting continues to be a decisive factor for Antaeus Theatre Company to create masterful productions. Actor Adam J. Smith portrays Leontes with passion and a convincing transformation into a man consumed by his inner demons. In a similar manner, he also morphs smoothly into the repented husband, father, and friend that is so eagerly looking for redemption. Ann Noble A Bella Incarceration, as Paulina, is also extraordinary. Strong and funny, she portrays the character that is not afraid to face an enraged Leontes. She speaks her mind, and fiercely opposes Leontes mistreatment of Hermione (Kaci Hamilton).

The combination of experienced actors with younger ones add a balance to the production that introduces Shakespeare to new audiences. The younger actors such as Peter Mendoza (Florizel/Lord I), Shannon Lee Clair (Emilia/Perdita), and Conlan Ledwith (Lord II/Shepherd’s son: Nathan Woodworth) blend effectively with the experienced actors JD Cullum (Autolycus/Lord III), Paul Eiding (Archidamus/Jailer/Old Shepherd), and Geoffrey Wade (Camillo/Mariner).

This staging captures the festive scene of the play combining dance, music, and singing. It adds kinetics and shows the musical skills of the actors, blending brilliantly with the somber aspects of the story.

Swain’s production features prominently the two themes that make this play a powerful and moving story: Jealousy with its lugubrious mood in the first three acts and redemption with a jovial tone in the last two acts. Bringing Hermione back to life is a poignant element used by Shakespeare to talk to the audience at an intimate level. Although impossible, resurrection has been a human desire since the very beginning. Steven Spielberg used it too in A.I. Artificial Intelligence. In The Winter’s Tale, at least for a moment, the impossible becomes possible.

The Winter’s Tale

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

February 4 – March 11, 2024

Tickets: antaeus.org

Written by William Shakespeare. Directed by Elizabeth Swain.

Cast: Shannon Lee Clair, JD Cullum, Paul Eiding, Kaci Hamilton, Sabrina J. Liu, Brian Kim McCormick, Peter Mendoza, Ned Mochel, Ann Noble, Catia Ojeda, Claire Simba, Adam J. Smith, Geoffrey Wade, and Conlan Ledwith.

Scenic Designer: Frederica Nascimento. Costume Designer: Carolyn Mazuca. Lighting Designer: Vickie J. Scott. Sound Designer: Jeff Gardner. Choreographer: Annie Yee. Props Designer: Aaron Lyons. Composer: Donna Cribari. Production Stage Manager: Karen Osborne. Assistant Director/Production Dramaturg: Kaite Brandt. Assistant Stage Manager: Casey Collaso.

Theatre Review: The Tempest

Posted on July 5, 2023July 5, 2023 by Glamour

Antaeus Theatre Company presents The Tempest. Written by William Shakespeare. Directed by Nike Doukas.

Nike Doukas‘ staging of The Tempest brings forward the romance and the musicality of what is thought to be the last play Shakespeare wrote alone. The cadence of the Bard of Avon’s writing is exalted in this production through the music numbers, some energetic, some balladic, just like an iambic pentameter.

Themes of witchcraft, colonialism, romance, and forgiveness come together to explore past, present, and future in a story that relates the tragedies and candidness of human relationships. By the time The Tempest was written, the Europeans were expanding the colonization of different parts of the world. Prospero (Peter Van Norden), Ariel (Elinor Gunn), Caliban (JD Cullum), and to some extend Sycorax, seem to symbolize the relationship between the European settlers and the natives of the lands being colonized.

Caliban’s mother, Sycorax, is presented as a powerful witch from Algiers. She was brought to the island and abandoned by a group of sailors when she was pregnant with Caliban. Analyzing the figures and symbols in The Tempest, the fact that she is a silent character, only referenced indirectly, might be an indication that Shakespeare tried to represent her as the figure of silenced and enslaved native women. As for Caliban, he is portrayed as a symbol of incivility. In this production, he has a hippie and disheveled appearance. The mutual dislike between Caliban and Prospero seems like a faithful representation of the tense relationship between natives and their European colonizers.

But Shakespeare goes beyond a simple caricature of these figures. If Prospero represents the colonizers, he is also a contradictory character. He dislikes Sycorax for being a witch using her supernatural powers for negative purposes, like enslaving the native inhabitants of the island, and yet, Prospero also enslaves Ariel and Caliban and uses them for his revengeful plan against his brother Antonio (Bernard K. Addison), effectively displaying a mirror image of Sycorax.

Prospero’s plan to regain his dukedom includes using his magical powers to cause a tempest when his brother is navigating the island’s waters, trapping Antonio and his entourage in the island. Eventually, however, the pure love experienced by Prospero’s daughter Miranda (Anja Racić) and Alonso’s (Adrian LaTourelle) son Ferdinand (Peter Mendoza) opens up Prospero’s eyes. It allows him to see beyond his own anger and revengeful frame of mind to give way to forgiveness. The romantic relationship between Miranda and Fernando implies Prospero’s idealistic hope in future generations, specially in view of his own demise. Prospero’s renouncing his magic might also be a hint of Shakespeare’s farewell to the theatre. The final release of Ariel could represent different things that are open to discussion. Is it a symbol of European regrets? Is it Shakespeare’s intrinsic sense of justice? Would it be that Shakespeare was foreseeing the future independence of European colonies?

Doukas highlights romance and forgiveness, two of the main topics in the play. Her approach offers magical landscapes of live music and sound effects that bring the island’s sweet airs to the stage, creating a rhythmic and delightful theatrical production with irresistible performances by the talented cast.

The Tempest

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

June 30 – July 30:
• Fridays at 8 p.m.: June 30, July 7, July 14, July 21, July 28
• Saturdays at 2 p.m & 8 p.m.: July 8, July 15, July 22, July 29 (no matinees on July 1, July 29)
• Sundays at 2 p.m.: July 9, July 16, July 23, July 30
• Mondays at 8 p.m.: July 10, July 17, July 24

Tickets: antaeus.org

Written by William Shakespeare. Directed Nike Doukas. Starring Bernard K. Addison, John Allee, JD Cullum, Elinor Gunn, John Harvey, Adrian LaTourelle, Saundra McClain, Peter Mendoza, Erin Pineda, Anja Racić, and Peter Van Norden. Musicians: John Allee on piano, JD Cullum on guitar, and John Harvey on percussion. Presented by Antaeus Theatre Company. Creative team: Original music composed by John Ballinger. Sound and Foley effects designed by Jeff Gardner. Scenic designer Angela Balogh Calin, costume designer Julie Keen-Leavenworth, lighting designer Vickie Scott and properties designer Shen Heckel.

Theatre Review: Love and Information

Posted on March 5, 2023March 5, 2023 by Glamour

Antaeus Theatre Company presents Love and Information. Written by Caryl Churchill. Directed by Emily Chase.

Love and Information is like a social media session, lots of information to digest at once. However, that might’ve been Churchill’s intention when she wrote the play, to express the difficulty of processing the avalanche of information to which our brains get exposed in modern days.

This is a fragmented play in which all actors play different characters in different scenes. Churchill’s play is a mosaic of human experiences, relationships with other humans, and our relationship with technology. Within that mayhem, we see multiple short scenes where characters misinterpret information, connect with others, and get lost in virtual worlds. Another topic in the play is memory. The endearing memories of family moments, remembering relatives, places, and events. But also the lack of memory, due to dementia, Alzheimer’s, or both, and the devastating effects on the loved ones.

The play also shows the intrinsic need of human connection despite the advances in technology. There is a scene where an older woman is telling a story to two young children. That scene shows one of the most ancient forms known to humans to share and pass along wisdom and information from generation to generation: Storytelling. The situations depicted in the scenes are references to the various aspects of the human experience since the very beginning, our relationship with the universe, the need of intimacy, and the search for love.

The cyan shades (Frederica Nascimento, scenic design) give a dreamy and mystic aura to the set and the projections (Ly Eisenstein, projection design) are used creatively to represent the modern use of screens as communication devices and to show the frenetic processing of information within our brains.

The eight actors deliver outstanding performances using movement and dialogue to enhance the meaning of the play. And of course, the brilliant direction by Emily Chase, whose cast choices and organization of the scenes and blocking achieve a powerful and emotional performance.

Love and Information

Written by Caryl Churchill. Directed Emily Chase. Starring John Apicella, Anne Gee Byrd Everybody, Darius De La Cruz, Kwana Martinez, Kevin Matsumoto, Erin Pineda, Lloyd Roberson II Hamlet, and Zoe Yale. Presented by Antaeus Theatre Company.

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

Performances: March 3 – April 3
• Fridays at 8 p.m.: March 3 (Opening), March 10, March 17, March 24, March 31
• Saturdays at 2 p.m.: March 11, March 18, March 25, April 1 (no matinee on March 4)
• Saturdays at 8 p.m.: March 4, March 11, March 18, March 25, April 1
• Sundays at 2 p.m.: Feb. 26 (preview), March 5, March 12, March 19, March 26, April 2
• Mondays at 8 p.m.: March 13, March 20, March 27, April 3 (dark March 6)

Tickets: antaeus.org

Creative team: Scenic designer Frederica Nascimento, costume designer Angela Balogh Calin, lighting designer Christine Ferriter, sound designer John Zalewski, projection designer Ly Eisenstein, and properties designer Katie Iannitello. Carly DW Bones is the intimacy director, Kaite Brandt is the assistant director, Jess Osorio is the assistant stage manager, and Karen Osborne is the production stage manager.

Theatre Review: Everybody

Posted on September 19, 2022September 19, 2022 by Glamour

Everybody is presented by Antaeus Theatre Company. The play is written by Branden Jacobs-Jenkins and directed by Jennifer Chang.

God (Cherish Monique Duke) is disappointed and now humans have to prepare a presentation to show her what they did with their lives once Death (Anne Gee Byrd) shows up to take them with her. In this instance, Death chooses Everybody (Nicole Erb) to start putting her presentation together as she’s next in line. As she’s not quite ready to die and panic settles in, Everybody asks the people around to go with her as a companion to her journey with Death. Friendship (Lisa Sanaye Dring) seems sympathetic at first, but once Everybody asks her to go with her, Friendship refuses and leaves. Next comes Cousin (Antonio Jaramillo) who also encourages Everybody, but also leaves when asked to go with her. Kinship (Gerard Joseph) does the same thing. The three of them encourage Everybody, but she starts to realize that her journey with Death to face God will be a lonely one. Even Stuff (Harry Groener), representing all material things, decides to leave Everybody and move on to somebody else.

The play shows that life becomes a collection of relationships and material things and what we do with them during our lifetime. As the end is near, Everybody sees a Little Girl (Dawn Didawick), probably a reference to her younger self, as some people who have experienced near-death experiences have recalled flashbacks of happy times.

Playwright Branden Jacobs-Jenkins, echoing Carl Jung’s ideas, covers some concepts that have intrigued many people throughout history: Collective unconscious, archetype, what happens when we die? The idea that humans will be held liable for their actions in a last judgement is a concept in many cultures around world, even among cultures with no apparent connection with each other, an accurate reference in the title of this play, Everybody.

At the end, Beauty, Senses, Strength, and Mind leave Everybody alone. Out of characters to ask and time running out, Everybody then turns to Love (Alberto Isaac) and begs him to go with her. Love finally agrees, but in exchange, she must show him her humbleness to gain his trust.

The direction by Jennifer Chang is excellent. The blocking of the actors and the display of conflict and emotions make it a very entertaining theatre experience. The script is an example of how to combine philosophical themes with witty characters that are engaging and thoughtful at the same time. For opening night, Nicole Erb offered a very brave and extraordinary performance playing Everybody. The lighting (Bryan Ealey, lighting designer), sound effects (Salvador Zamora, sound designer), and projections (Yi-Chien Lee, projection designer) created a mystic ambiance that highlighted the intriguing and fascinating topics of life and death.

Everybody

Written by Branden Jacobs-Jenkins. Directed Jennifer Chang. Starring Anne Gee Byrd, Dawn Didawick, Lisa Sanaye Dring, Cherish Monique Duke, Nicole Erb, Harry Groener, Alberto Isaac, Antonio Jaramillo, and Gerard Joseph. Presented by Antaeus Theatre Company.

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

Performances: September 16 – October 17

Thursdays at 8 p.m.: Oct. 6 and Oct. 13 ONLY
Fridays at 8 p.m.: Sept. 16 (Opening), Sept. 23, Sept. 30, Oct. 7, Oct. 14
Saturdays at 2 p.m.: Sept. 24, Oct. 1, Oct. 8, Oct. 15 (no matinee on Sept. 17)
Saturdays at 8 p.m.: Sept. 17, Sept. 24, Oct. 1, Oct. 8, Oct. 15
Sundays at 2 p.m.: Sept. 18, Sept. 25, Oct. 2, Oct. 9, Oct. 16
Mondays at 8 p.m.: Sept. 26, Oct. 3, Oct. 10. Oct. 17 (dark Sept. 19)

Tickets: antaeus.org