Tag Archives: Atwater Village Theatre

Theatre Review: The Very Best People

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With a mesmerizing set design by Christopher Scott Murillo, The Very Best People opened up on Sunday at the Atwater Village Theatre.

More than anything else, John Lavelle‘s play is a comedy, a really good one. The exteriorized violence depicted in some of the scenes is hilarious rather than tragic. To match the violence, there is blood. Lots of blood. Dripping blood, broken noses, lodged bullets, and a squirt of ranch dressing are elements that exteriorize the extreme nature of the characters and the anger buildup taking over their lives.

Jak (Bryan Langlitz), owner of Angelina’s Irish Pub, is preparing a plan to take down the Deep State. Joining his insurrection is Joey (James Luster), a friend who is also influenced by the QAnon movement. They’re avid fans of Lara Amanda (Margaux Susi), a TV host that propagates a conservative agenda through her show. Joey has a huge crush on Lara Amanda. So intense is his infatuation that he tends to lock the pub’s doors and fantasize about her, charming the cobra while eating spicy chicken wings. Yes, a strange fetishism for a thirtysomething still living with his mom.

If that’s not bizarre enough, Joey also has a disturbing attraction for Chris’ wife. Chris, a childhood friend of both Jak and Joey, is a NYPD detective who got shot under mysterious circumstances and is now fighting for his life. Two other characters that add tension to the story are Jak’s stepsister Fanny (Andria Kozica) and her obedient boyfriend Brian (Adrián González), an ex-con who is friends with Jak, Joey, and Chris. Fanny is a nurse and is the anti-racist and anti-far right member who keeps everyone in check to guarantee the sanity in the group, although she’s unable to stop Brian from kidnapping Patrick (Seth Leighton Hale), an action instigated by Jak and Joey.

The play shows White men feeling under siege and on the verge of losing their minds due to an influx of radical information. Lavelle takes a clear stance against racism and ultraconservatism, making the premise a one-sided exploration of the current political and social environment. In that sense, The Very Best People is less neutral than plays like Human Error, which explores both sides of the spectrum without taking sides. Lavelle’s point is that men, in this case White men, exhibit an animalistic nature in their behaviour, which oftentimes leads to extreme violence and sexual predation (Joey actually howls like a wolf, or a coyote, depending on who you ask). But the play seems to ask us not to take matters so seriously, even violence can be funny, within a proscenium and using fake blood, of course.

The events that unraveled on January 6, 2021 continue to generate an intense debate on the social and political arenas. The Very Best People is one more piece of the vast legacy of opinions unleashed after the Capitol riot. The play is visceral and fascinatingly executed by this talented group of actors. Director Melissa Coleman-Reed achieves an impressive and highly kinetic production, using all of the elements at her disposal masterfully to serve the story. The fights, the shootings, and the tourniquette may be hard to watch, and you might think twice before using ranch dressing ever again, but the cast and production team make it a one-of-a-kind theatre experience not to be missed.

The Very Best People

Atwater Village Theatre
3269 Casitas Ave, Los Angeles CA

September 29 – October 27, 2024

Thursdays-Saturdays: 8pm (no Thursday, October 17 performance)
Sundays: 2:00pm

Tickets: iamatheatre.com

Written by John Lavelle. Directed by Melissa Coleman-Reed. Quinn O’Connor, Associate Producer.

Cast: Adrián González, Andria Kozica, Bryan Langlitz, James Luster, Margaux Susi, and Seth Leighton Hale.

Creative team: Jordan Bass (Casting Director), Erin Bednarz (Sound Designer), Nicole Bernardini (Properties Designer), Benedict Conran (Lighting Designer), Roella Dellosa (Production Stage Manager), Zander Eckhouse (Video Designer), Samantha Jones (Costume Designer), Lauren Lovett (Dialect Coach), Christopher Scott Murillo (Set Designer), Zachary Phaneuf (Technical Director), and Celina Lee Surniak (Intimacy and Fight Director).

Theatre Review: Arrowhead

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The World Premiere production of Arrowhead is presented by IAMA Theatre Company. Written by Catya McMullen. Directed by Jenna Worsham. Produced by Quinn O’Connor and co-produced by Katharine Means for IAMA Theatre Company. 

Gen (Amielynn Abellera) has a problem: She got drunk, had sex with a guy, and got pregnant. But she’s a lesbian. Well, she decides to abort. It is during this time that Gen and a group of friends get together. Everything looks relatively normal until Levi (Nate Smith) and his friend Brody (Adrián González, Celestial Events, Kiss of the Spider Woman) arrive.

It doesn’t take long for some drama to unfold and turn things upside down. Gen and Levi had a romantic relationship in the past and seeing each other again complicates things even further, as Gen is currently dating Lily (Kathleen Littlefield). Maggie (Kacie Rogers, Celestial Events) is straight. Well, kind of. Cam (Lindsay Coryne) is lesbian and sees the group of friends as family. Stacy (Stefanie Black) is Levi’s sister and develops a special relationship with Brody.

Playwright Catya McMullen creates a world where a reunion of friends unveils the complications of love, sex, and identity. Taking from her own experiences, McMullen gives each character a world of possibilities. Identities, labels, and the struggles to cope with feelings, specially after a breakup, are explored in this play. It is a comedy that presents different points of view of some controversial issues around queerness and feminism.

One of the most valuable aspects of Arrowhead is that the seriousness of the topics exposed in the play are actually presented as a delightful comedy. The writing offers dialogue that gives the actors plenty of opportunities to shine. With the excellent direction of Jenna Worsham, the script is turned into a web of comedic situations that deliver entertainment on every scene.

Each character has a background that reflects the experiences of most of the people in the audience. The play is a journey of self discovery. A leap into the unknown. But you’re not alone—the characters are your co-pilots. They may not have all the answers to your questions, but they make you laugh all the way till the end. Lindsay Coryne, specially, delivers a phenomenal performance. We hope she/him gets nominated for an award this year; it’s a performance to be remembered.  

The attention to detail is always a reflection of the professionalism of the director, and for Arrowhead, Worsham uses the set design, lighting, and special effects as a menagerie of creative elements to enhance the comedic mood of the play. 

A love letter to queerness, Arrowhead is a play that grabs your attention and inspires to ask questions about identity, sex, love, and friendship. With humor, surprises, and a cat lady, what else can you ask for?

Arrowhead

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: Feb. 8 – March 4
• Thursdays at 8 p.m. Feb. 8 ONLY (Opening Night)
• Fridays at 8 p.m.: Feb. 16; Feb. 23; March 1
• Saturdays at 8 p.m.: Feb. 17; Feb. 24; March 2
• Sundays at 2 p.m.: Feb. 18; Feb. 25; March 3
• Mondays at 8 p.m.: Feb. 19; Feb. 26; March 4 (dark Feb. 12)

Tickets: iamatheatre.com

Written by Catya McMullen. Directed by Jenna Worsham. Starring Amielynn Abellera, Stefanie Black, Lindsay Coryne, Adrián González, Kathleen Littlefield, Kacie Rogers, Nate Smith. Produced by Quinn O’Connor and co-produced by Katharine Means for IAMA Theatre Company. Presented by IAMA Theatre Company, Stefanie Black, artistic director. Creative team: Scenic designer Carolyn Mraz; sound designer Eliza Vedar; associate lighting designer/programmer Erica Ammerman; costume designer Danae Iris McQueen; properties designer Nicole Bernardini; intimacy director Celina Surniak; and casting director Jordan Bass. Rosalind Bevan is associate director; Daniel Cyzpinski is the technical director; and Zaira Paredes–Villegas is the production stage manager alongside assistant stage manager Isabella Gomez and wardrobe supervisor Athena Saxon.

Arrowhead poster
A scene from Arrowhead
A scene from Arrowhead

Theatre Review: How It’s Gon’ Be

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The Echo Theatre Company presents the West Coast Premiere of How It’s Gon’ Be. Written by JuCoby Johnson. Directed by Ahmed Best. Troy Leigh–Anne Johnson and Sam Morelos are associate producers, and Chris Fields and Kelly Beech produce for the Echo Theater Company.

An absent father will always cause some disruption in a man’s development. In JuCoby Johnson‘s How It’s Gon’ Be, the absenteeism causes anger and insecurity in the main character, Jahann (Donté Ashon Green). But it also leads to a close and special relationship with his mother Angela (Karla Mosley). Facing the challenging years of adolescence, Jahann is forced to re-evaluate his worth, his future, and his dynamic relationships, including the one with his father. 

As a young man, Jahann values his relationship with Rashad (Michael Howard–Dossett) and Terry (Durran Moreau), his best friends. And it is specially important his relationship with Lady (Nona Parker Johnson), his childhood crush. The conflict appears when Jahann’s father Kenny (Sedale Threatt Jr.) comes back from his service in the military. Kenny is constantly called for service and is gone for months without calling home, creating doubts and anger to both Angela and Jahann. This time around, Jahann is not willing to hold back his resentment towards Kenny. This triggers an emotional display of rebellion and recriminations that puts at risk the stability of the family and forces the characters to dig deep inside to see if there’s any love left for each other.

The script contains poetry that gives the story a creative element to convey the feelings of the characters in a lyrical dance of words and silence. It’s through poetry that Jahann navigates his own pain and explores his feelings to find the truth. Director Ahmed Best utilizes sublime lighting and sound effects to express the internal turmoil of the characters. The transitions and the colors transmit the lyricism of the script in a meaningful gallery of visual elements.

Through the plot and subplots, the characters fight, dream, and discover who they really are, exposing their vulnerabilities and their ability to communicate their true feelings. Rashad and Terry need to determine once and for all their relationship. Angela has to decide whether she will continue to support Kenny’s career in the military, with the sacrifices that come with it. Jahann reaches a point where he needs to define his relationship with Lady, and even more challenging, his relationship with his continuously absent father. 

How It’s Gon’ Be is a poetic and engaging coming-of-age story that highlights the challenges of entering manhood for a Black artist. The script, the acting, and the directing all come together to offer a moving play that explores the outcomes when love and art are combined to answer our most pressing existential issues.

How It’s Gon’ Be 

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

Performances: Sept. 16 – Oct. 23
• Fridays at 8 p.m.: Sept. 29, Oct. 6, Oct. 13, Oct. 20
• Saturdays at 8 p.m.: Sept. 16 (opening night), Sept. 30, Oct. 7, Oct. 14, Oct. 21
• Sundays at 4 p.m.: Oct. 1, Oct. 8, Oct. 15, Oct. 22
• Mondays at 8 p.m.: Oct. 2, Oct. 9, Oct. 16, Oct. 23

Tickets: echotheatercompany.com

Written by JuCoby Johnson. Directed by Ahmed Best. Troy Leigh–Anne Johnson and Sam Morelos are associate producers, and Chris Fields and Kelly Beech produce for the Echo Theater Company. Starring Donté Ashon Green, Michael Howard–Dossett, Nona Parker Johnson, Durran Moreau, Karla Mosley, and Sedale Threatt Jr. Creative team: Scenic designer Amanda Knehans; lighting designer Justin Huen; sound designer Alysha Grace Bermudez; co-costume designers Ann Closs-Farley and Sophia Grose; graphics designer Christopher Komuro; and casting director Tal Fox. 

     

How It's Gon' Be poster
A scene from How It's Gon' Be
A scene from How It's Gon' Be
A scene from How It's Gon' Be

Theatre Review: Blood at the Root

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Open Fist Theatre Company presents Blood at the Root. Written by Dominique Morisseau. Directed by Michael A. Shepperd. Co-artistic directors Martha Demson, James Fowler and Amanda Weier produce for Open Fist Theatre Company.

Dominique Morisseau based her play on the true story of the “Jena Six”, a 2006 incident in Jena, Louisiana. Blood at the Root shows how volatile interracial relationships can be and how intolerance can quickly escalate into physical violence. In a hot autumn day, Raylynn (Nychelle Hawk)is at her high school and decides to sit under an oak tree in an area reserved for White students. The next day, 3 nooses are hanging from that same tree. Those actions trigger a series of events including beatings, arrests, and criminal charges. The way the school and the justice system reacted to these actions ignited the already fraught relationship between the White and Black communities.

The tense environment is specially challenging to three of the characters. Raylynn feels attracted to Colin (Jeremy Reiter ll), a White student who gets beat up by Raylynn’s brother DeAndre (Nicholas Heard). Raylynn is now at a crossroads. She wants to keep a good relationship with Colin, who has confided to her that he is gay, but she also needs to ask him to drop the charges against DeAndre so he doesn’t get sentenced. It is also hard for Colin to show compassion towards Raylynn when he has been a victim of discrimination for being gay.

For Raylynn’s friend, Asha (Caroline Rose), she is confused as what to do. She is White, but when her parents divorced, she went to live with her dad and new wife, a Black woman. Asha found happiness with her Black cousins and feels so much at home with them that she calls herself Black. However, her “Blackness” is put to test when she is asked by Raylynn to support the Black students’ protests after the nooses incident.

The complexity of experiences and identity growing up in a divided society is also exemplified in the characters of Toria (Grace Soens) and Justin (Azeem Vecchio, A Midsummer Night’s Dream). Justin is the Editor-in-Chief of the school’s newspaper. He is Black, but refuses to take sides with his fellow Black students in the protests. On the other hand, Toria is one of the reporters. She is White and is eager to seek racial justice through her journalism. Toria and Justin butt heads when it comes to take sides. Justin’s case is interesting in the sense that it takes a toll on a person’s identity growing up in a racist environment. When incidents of racism happen, would you stay silent to avoid confrontation with the other party? Or would you stand up to racists, even if that aggravates friends or acquaintances?

Asha is challenged by Raylynn. Justin is challenged by Toria. Colin is challenged by Raylynn. The community is challenged by intolerance. The play delves into history, but history repeats itself. And here we are, with a story that seems taken not from the past but from the present. 

Michael A. Shepperd creates a stunning and dramatic production with choreography, music, and endearing performances that explore the intricacies of intolerance, racism, friendship, and justice. Scenic designer Joel Daavid and lighting designer Gavan Wyrick add an impressive effect to the scenery, creating visually stunning elements to heighten the conflict, the danger, and the drama depicted in the script. This is a high-caliber staging that moves, inspires, and makes us think of how much progress we have achieved in our search for justice and tolerance. 

Blood at the Root

Atwater Village Theatre
3269 Casitas Ave
Los Angeles, CA 90039
FREE parking in the ATX (Atwater Crossing) lot one block south of the theater.

Sept. 9 – Oct. 28
Fridays at 8 p.m.: Sept. 22; Sept. 29; Oct. 6; Oct. 13; Oct. 20; Oct. 27
Saturdays at 8 p.m.: Sept. 9 (Opening Night); Sept. 16; Sept. 23; Sept. 30; Oct. 14; Oct. 21; Oct. 28 (dark Oct. 7)
Sundays at 3 p.m.: Sept. 17; Oct. 1; Oct. 15 (no matinees on Sept. 10; Sept. 24; Oct. 8; Oct. 22
Sundays at 7 p.m.: Sept. 24; Oct. 8; Oct. 22 (no evening performances on Sept. 17; Oct. 1; Oct. 15)
Monday at 8 p.m.: Oct. 9 ONLY

Tickets: openfist.org

Written by Dominique Morisseau. Directed by Michael A. Shepperd. Starring Malik Bailey, Deandra Bernardo, Emma Bruno, Nychelle Hawk, Nicholas Heard, Jeremy Reiter II, Caroline Rose, Jack David Sharpe, Grace Soens, Amber Tiara, and Azeem Vecchio. Presented by Open Fist Theatre Company, Martha Demson, artistic director. Creative team: Scenic designer Joel Daavid; lighting designer Gavan Wyrick; sound designer Marc Antonio Pritchett; costume designer Mylette Nora; and chorographer Yusuf Nasir, promises a visually and emotionally immersive experience. The assistant director is Debba Rofheart, and the production stage manager is John Dimitri. Co-artistic directors Martha Demson, James Fowler and Amanda Weier produce for Open Fist Theatre Company.

 

Blood at the Root poster
A scene from Blood at the Root
A scene from Blood at the Root
A scene from Blood at the Root
A scene from Blood at the Root

Theatre Review: Crabs in a Bucket

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The Echo Theater Company presents the World Premiere of Crabs in a Bucket. Written by Bernardo Cubría. Directed by Alana Dietze. Produced by Chris Fields and Kelly Beech.

The play starts with Amargo (Xochitl Romero) and Pootz (Anna LaMadrid) contemplating the misery of their lives as two aging crabs in a bucket. From there, the conversation turns to memories of better times and the pathetic state of their current situation, a downward spiral of apathy and hopelessness. With the arrival of Beb (Jordan Hull), a younger and more positive crab, the bitterness reaches another level. Things get even more insane when Mamon (Michael Sturgis) falls back into the bucket after getting out and enjoying the outside for a while. It is now time to re-evaluate their current existence and see if real change is a possibility or just a deceptive chimera.

The play has a universal appeal that allows the story to travel. The subjugation of our lives to deeply ingrained feelings of inferiority can lead us to sabotage ourselves when opportunities come knocking. Even worse, that mentality can lead us to bitter not only our lives, but also the lives of the people around us, whether they’re colleagues, friends, or family members. In the case of Amargo, she once was the joker of the group until life passed her by and her hopes and expectations didn’t materialize. As part of her inner circle, she makes sure Pootz doesn’t go any further than the interior of the bucket, pulling her back if Pootz tries to reach the top to get out.

The surprising character is Mamon, who got out, but ends up falling back into the bucket. This could be interpreted perhaps as a case of insecurity. Mamon got out and enjoyed higher levels in life, but felt inferior, incapable, or thought that he didn’t deserve any success in life. This crab mentality infused with Social Constructionism rules the lives of the crabs in the bucket. What might be seen as an exclusive characteristic of a particular racial group, the reality is that this crab mentality exists in many different groups. The world of entertainment could be an example of such behavior. The success of others sabotages our own success, making us feel bitter, frustrated, and left behind. A perfect recipe to rip the happiness out of our lives. In the play, however, Beb brings the opposite. Her naiveness makes her believe that it is still possible to escape the bucket if they help each other.

The four actors offer a compelling and hilarious performance that exalt the brilliant script. The ingenuity of both the writing (Bernardo Cubría, Revenge Porn or The Story of a Body) and the direction (Alana Dietze) creates a combination that delivers a play that feels relatable and devastatingly human.

Crabs in a Bucket

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

Performances: July 15 – August 21
• Fridays at 8 p.m.: July 21, July 28, Aug. 4, Aug. 11, Aug. 18
• Saturdays at 8 p.m.: July 15 (opening night), July 22, July 29, Aug. 5, Aug. 12, Aug. 19
• Sundays at 4 p.m.: July 23, July 30, Aug. 6, Aug. 13, Aug. 20
• Mondays at 8 p.m.: July 24, July 31, Aug. 7, Aug. 14, Aug. 21

Tickets: echotheatercompany.com

Written by Bernardo Cubría. Directed by Alana Dietze. Starring Jordan Hull, Anna LaMadrid, Xochitl Romero, Michael Sturgis. Presented by The Echo Theater Company, Chris Fields artistic director. Creative team: Scenic designer Amanda Knehans; lighting designer Azra King–Abadi; sound designer Jeff Gardner; costume designer Lou Cranch; composer Arian Saleh; fight choreographer Ahmed Best; movement coach Tristan Waldron; and clowning consultant Julia Davis. The production stage manager is Irene Lee and Troy Leigh–Anne Johnson is associate producer.

 

Crabs in a Bucket poster
A scene from Crabs in a Bucket
A scene from Crabs in a Bucket

Theatre Review: Starmites

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Starmites is presented by Open Fist Theatre Company. Music and lyrics by Barry Keating. Book by Stuart Ross and Barry Keating. Directed by Scott Peterman. Music direction by Jan Roper.

A shy Eleanor (Talia Gloster) is usually immersed in her world of comic books, but her mom (Cat Davis) is concerned about Eleanor’s obsession with her comics. In her fantasies, however, Eleanor becomes the superhero that can save the entire galaxy with the help of Space Punk (Bradley Sharper), the Starmites (Rieves Bowers, Alex Hogy and Jasper Wong), and lizard man Trinkulus (Brendan Mulally). Their mission is to fight the evil forces of Shak Graa (Brendan Mulally) and The Banshees (Elle Engelman, Lindsey Moore Ford, Sarah Martellaro and Sophie Oda), led by Diva (Cat Davis).

All Eleanor and her friends have to do is go to the forest, find Shak Graa and The Banshees, fight them, win, and save the entire galaxy. Simple, but when love and jealousy get in the way…

Scott Peterman selected a young group of actors and paired them up with Cat Davis, a fantastic singer, actress, and comedian. The result is a fun and energetic performance for this revival of the Tony-nominated sci-fi fantasy musical. The excellent music is performed live by a three-piece band, directed by Jan Roper. Peterman’s expereince as a show and content director for world-class acts such as the Smashing Pumpkins and Bon Jovi is evident in this carefully curated visual explosion of music and kinetics. The visuals really add to the whole experience. The colors, graphics, and costumes contribute to the nostalgic and extravagant look of the comics from the 80s.

Starmites is a simple story where the dances, music, and cutting edge performance technology take center stage to offer a fun experience to delight the audience in a family-friendly musical.

Starmites

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: June 2–July 8
• Fridays at 8 p.m.: June 2 (opening); June 16; June 23; June 30; July 7 (dark June 9)
• Saturdays at 3 p.m.: June 24
• Saturdays at 8 p.m.: June 10; June 17; July 1; July 8 (no evening performance June 24)
• Sundays at 3 p.m.: June 18; June 25; July 2 (no matinee June 4 or June 11)
• Sundays at 7 p.m.: June 11

Tickets: openfist.org

Music and Lyrics by Barry Keating. Book by Stuart Ross and Barry Keating. Directed by Scott Peterman. Music Direction by Jan Roper. Choreography by Becca Sweitzer. Fight Choreography by Jacob Grigolia–Rosenbaum. Starring Rieves Bowers, Cat Davis, Elle Engelman, Lindsey Moore Ford, Talia Gloster, Alex Hogy, Sarah Martellaro, Brendan Mulally, Sophie Oda, Jack David Sharpe, Bradley Sharper, and Jasper Wong. Presented by Open Fist Theatre Company, Martha Demson, artistic director. Creative team: Scenic and projection design by Scott Peterman and Linda Strawberry, lighting design by Gavan Wyrick, and costume design by Linda Muggeridge. The production stage manager is John Dimitri.

Starmites poster
A scene from Starmites
A scene from Starmites
A scene from Starmites

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: 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