Tag Archives: Chance Theater

Musical Review: Jane Austen’s Emma, The Musical

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A heartfelt musical story of romance during Regency England is in full display at the Chance Theater in Anaheim.

In this production directed by Casey Long, Emma Woodhouse (Mandy Foster) embodies the woman who enjoys being the matchmaker of other people while neglecting her own romantic needs. In a period known as Regency England, the role of women was limited to that of an obedient housewife prepared to satisfy her husband’s needs. The educational and professional opportunities for women were few and with that, their economical prospects were dictated by the men around them. Screenwriter Jane Austen was one of the very few women who excelled in writing, a field dominated by men at the time.

Drawing from her own experiences, Austen created characters that exhibited the virtues and defects of the people around her. A keen observer of people’s behaviours, Austen’s Emma is a case study of England’s gentry and their attitudes towards the lower classes.

As much as Emma is a musical, the play infers the elitist vision of the landowners during the Regency period. The most obvious contrast of classes is the relationship between Emma and Harriet Smith (Sadie Alexander). According to Emma, Harriet is a sweet but unsophisticated girl that needs an urgent makeover. The relationship is imbalanced, as Emma is the dominant figure. Emma is tutoring Harriet to become an attractive match to a fine gentleman. The tutelage, however, turns into a contentious issue between Emma and her friend George Knightley (Jeff Lowe), another member of the English gentry. As Harriet falls in love with Robert Martin (Luc Clopton), she is encouraged by Emma to reject his marriage proposal for considering him below Harriet’s level, proving that Emma’s influence on Harriet, although good-intentioned, gets in the way of Harriet and Martin’s feelings and happiness. This leads to an argument between Emma and George, risking the possibility of a romantic relationship between them.

Casey Long presents a lively and engaging production that explores the different layers inferred in the text and subtext of Austen’s superlative script. Something that Long translates effectively is the palpitating romantic aura of the story through the interactions among the characters. Although Emma exhibits the negative characteristics of a spoiled and flawed woman of the upper class, she experiences a transformation that makes her mature into a more tolerable person, accepting the reality and variety of the people surrounding her privileged environment.

The play is, after all, a touching story to warm the audience’s hearts in a musical setting. Something worth mentioning is that Long’s production relies mainly on the direction, music, and exceptional performance of the cast. The set design is minimalist, making the actor’s performances the center of attention. The music, directed by Lex Leigh, is an exceptional element that brings out the romance and playfulness of Austen’s witty writing.

The synergy created by the voices of Foster, Lowe, and Alexander intensify the emotional rollercoaster of their respective characters, adding that special touch to this production. “This is How Love Feels” interpreted by Foster and “Emma” interpreted by baritone Lowe exemplify the awakening of the main character’s feelings for each other; the essence of their existence.

Foster is the main engine of this musical, and she delivers a rich character that navigates the strict expectations of a patriarchal society. But she also exhibits splashes of rebellion and freedom, aspirational states of countless people living in England at the time, especially women. Likewise, Alexander does a fantastic job as Harriet, a character that due to her level in classist England, has limited exposure to the experience and sophistication necessary to be more independent, thus making her more susceptible to Emma’s manipulation.

Emma is an example of the relevant impact of Jane Austen as a writer and as an iconic agent of change. It would be fair to say that Austen was influenced by the seismic changes taking place around the world during her lifetime, such as the French Revolution and the American Revolution, events that gave birth to a new concept of freedom and justice. The subtlety of Austen’s radical ideas is present in her writings, but one must be able to read between lines to really find and enjoy the call for action. This particular staging of Jane Austen’s Emma, The Musical is a celebration of the extraordinary life and the novelty of ideas of a female writer who exalted the resilience and ingenuity of Regency women.

Jane Austen’s Emma, The Musical

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

Opening Night: Saturday, December 7 at 8 p.m.
Performances: November 29 – December 22, 2024
Wednesdays at 7:45 p.m., Thursdays at 7:45 p.m. Fridays at 8 p.m., Saturdays at 3 p.m. and 8 p.m. & Sundays at 3 p.m.

Tickets: chancetheater.com

Book, Lyrics, and Music by Paul Gordon. Based on the novel by Jane Austen. Directed by Casey Long. Music Direction by Lex Leigh. Show Producers: In Memory of Mary Kay Fyda-Mar (Executive Producer). Samuel & Tammy Tang (Associate Producer). Bette & Wylie Aitken (Executive Season Producer). The Family of Mary Kay Fyda-Mar (Associate Season Producer).

Cast: Mandy Foster as Emma Woodhouse, Jeff Lowe as George Knightley, Sadie Alexander as Harriet Smith, Glenn Koppel as Mr. Woodhouse, Deva Marie Gregory as Miss Bates, Davide Costa as Mr. Elton, Cynthia Espinoza as Mrs. Elton, Blake Rhiner as Frank Churchill, Sierra Jimenez as Jane Fairfax, Luc Clopton as Robert Martin, Jonathon Lamer as Mr. Weston, and Elisabeth Hunter as Mrs. Weston.

Creative team: Masako Tobaru and James Markoski as Production Designers, Bruce Goodrich as Costume Designer, with Gwen Sloan as Associate Costume Designer, Jordan Jones as Stage Manager, Laurie Smits Staude as Dramaturg, Wyn Moreno as Dialect Coach, James Markoski as Audio Engineer, and Carina Leland as Assistant Stage Manager.

Theatre Review: Gloria

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In the gripping world of Gloria, the apparent superfluous relationships at a Manhattan magazine office reveal the deep existential crisis of the employees, and in one particular case, the disturbing mental issues of one of the lifers at the company.

Dean (Will Martella) shows up to work late with a hangover, telling Ani (Emma Laird) about the pathetic house warming party organized the night before by Gloria (Branda Lock), who just bought an apartment after working for years at the company. Only four people showed up to the party, a testament of how detached and lonely her life has become.

Minutes later, Kendra (Audrey Forman) arrives at the office, also late, but with a glamourous flair and an outfit that seems ready to take the catwalk by storm. She engages in a heated argument with Dean about the inexorable march of time and the dreadful possibility of becoming a lifer at the office. The argument is loud, so loud that Lorin (Erik Scilley), a fact-checker, comes in and tells them to tone it down, as he is trying to concentrate on the article about the life of a singer who just died of an overdose.

The fact that Lorin also experiences a mental and emotional meltdown due to the exhaustion and miserability of a fact-checker position tells us that life at the office as editorial assistants seems more like a dead-end street, with no more free coffee, by the way. All of this mayhem unravels while Miles (Johnathan Middleton), the new intern, sits at his desk pretending to have his headphones on. He is mainly used to bringing snacks to everyone.

Act I ends with a surprise. Act II is all about life after the event that ended Act I. Branden Jacobs-Jenkins‘ phenomenal script is based on his own experience working at The New Yorker magazine. Jacobs-Jenkins explores what happens when the idealistic hopes of new grads meet the realities of a structured job and the cut-throat culture of a demanding industry such as journalism. The exciting expectation of a book deal as a successful writer becomes nothing else but a broken dream due to the stealing of ideas in a world where the person in power gets to own the story. The text has humor, drama, and a great deal of real-world experience that makes it relatable to the audience.

Director Marya Mazor translates the text into action brilliantly. Her extraordinary work with the actors is evident. The cast deliver a fascinating performance. The meltdowns and the physical comedy are all well-choreographed and executed, with the actors moving around in a visually accurate office and coffee shop set, an indication of Mazor’s extraordinary attention to detail. Equally stunning is Mazor’s choice of costumes, particularly for Kendra, whose outfits reflect her ambitious inclinations.

It is refreshing to see upcoming actors for this production. Audrey Forman, a USC graduate, has an imposing presence on stage, delivering her lines fluently and getting into character with confidence. The same for the rest of the actors, each one nailing the script and movements, creating a dynamic presentation to depict the frustrations and hopelessness of the characters, with an engaging sense of comedy. Branda Lock, Emma Laird, Will Martella, and Johnathan Middleton play multiple roles.

The cast and the production team’s dedication take the audience to a dramatic and hilarious journey not to be missed. It’s another amazing staging added to the successful 2024 season of Chance Theater.

Gloria

Chance Theater @ Bette Aitken theater arts Center on the Cripe Stage

5522 E. La Palma Ave., Anaheim, CA 92807

September 27- October 20, 2024

Fridays at 7 p.m. (only Sep 29) and 8 p.m., Saturdays at 3 p.m. and 8 p.m. & Sundays at 3 p.m.

Tickets: chancetheater.com

Written by Branden Jacobs-Jenkins. Directed by Marya Mazor. Linda & Tod White, Executive Producers. Bette & Wylie Aitken, Executive Season Producers. Laurie Smits Staude, Associate Producer. Family of Mary Kay Fyda-Mar, Associate Season Producers.

Cast: Branda Lock as Gloria/Nan. Emma Laird as Ani/Sasha/Callie. Audrey Forman as Kendra. Will Martella as Dean/Devin. Johnathan Middleton as Miles/Shawn/Rashaad. Erik Scilley as Lorin.

Creative team: Christopher Scott Murillo, Scenic Designer. Adriana Lámbarri, Costume Designer. Andrea Heilman, Lighting Designer. Jordan Jones, Stage Manager. Jocelyn L. Buckner. Martin Noyes, Fight Director.

Gloria: Interview With Director Marya Mazor And actress Branda Lock

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Chance Theater will be presenting the OC premiere of Gloria by Branden Jacobs-Jenkins. The play opens on October 5, 2024 at the Bette Aitken theater arts Center in Anaheim. Below is the interview with Director Marya Mazor and actress Branda Lock.

Marya Mazor

Glamgical: How did you get attached to direct Gloria?

Marya: I had been a fan of Branden Jacobs-Jenkins work for a number of years; I had seen his plays An Octoroon and Appropriate (twice). So, when Oanh Nguyen, Artistic Director of Chance Theater, reached out to me about Gloria, I jumped at the opportunity to work on one of his plays, especially one that I was already a fan of! This is my ninth production at The Chance, and I am    always thrilled to have the opportunity to return because it is truly a uniquely engaged audience and artistic community!

Glamgical: What do you think is so unique about Branden Jacobs-Jenkins as a playwright?

Marya: Branden Jacobs-Jenkins is a very close observer of human behavior, as well as of dynamics of race and class. He captures how our individual actions embody broader societal structures    in ways that we are often unaware of. And his razor sharp wit prompts us to reflect on our own actions deeply, pushing us to recognize the impact of our behavior on those around us.

Glamgical: What are the challenges and the rewards of working on a play like Gloria?

Marya: Gloria is an ensemble piece, and it has really been pure joy to work on it with such a talented, engaged cast and a top notch design team. One of the challenges we have found is that there are some major shifts in tone that occur throughout the play quite suddenly; so figuring out the balance of that, and how to navigate those shifts, has been a significant part of the process. There are also structural challenges in terms of how we shift locations quickly in an intimate venue. I find the complexity of the character dynamics, and the issues the play evokes, profoundly engaging. The most rewarding aspect is watching an audience enter the story and respond on an emotional level – that “ahah” reaction I am always looking to achieve.

Glamgical: How involved were you in the casting process?

Marya: I am always very involved in casting. For this process, we had the privilege of working with a top-notch casting director, Lindsay Brooks – she brought in a lot of extremely talented folks, so it was really difficult to make the casting decisions since we had such fabulous choices. I worked closely with Artistic Director Oanh Nguyen in the final casting process. I am thrilled to be working with six terrific actors who are new collaborators for me: Branda Lock, Emma Laird, Audrey Forman, Erik Scilley, Will Martella, and Johnathan Middleton. They make me laugh every day!

Glamgical: Is the microcosmos of a corporate office a reflection of society at large?

Marya: Yes! Whether or not you work in an office, I think you can relate to being in a pressure cooker environment in which societal structures and expectations of achievement pit colleagues against one another – whether it is in a corporate office, a parents’ association, or an academic faculty, there are patterns of behavior and underlying social systems, including dynamics of gender, race, and class, that persist. As a colleague in one professional environment once told me “it’s Game of Thrones!” Unfortunately, human nature persists no matter the environment, so it’s up to us to decide if we will succumb to our baser instincts or choose to fight that dynamic and try to treat others with genuine decency and respect. Personally, I like to believe that making the latter decision pays off in the long run in the respect one gains from one’s peers.

Glamgical: As a director, how do you achieve the unification of the creative elements in a theatre production?

Marya: Much of directing is about building trust, rather than competition, among the teams I collaborate with. Theatre is such a collaborative art form – the designers literally have no product without each other, without the actors, without the producing team – it only works when we all work together. So, I think really trying to respect the vision of each collaborator, while also noting where the elements may not be in synch, ultimately gets the show where it needs to go. My motto is, “it’s about the work” – so it can’t be about any one person’s ego, but about serving what we all think serves the story in this particular time and place. I am so lucky on this show to be collaborating with Christopher Scott Murillo, Adriana Lombardi, Andrea Heilman, and Erik Backus, and the top notch production team at The Chance who make it all possible.

Glamgical: You have worked in theatre and film. What are the freedoms and limitations of each medium?

Marya: In film, every shot needs to be planned carefully in advance in order to make the production cost effective. That can be both limiting and freeing. In theatre, there is more opportunity to iterate with the actors, and discover new aspects of the play together. The iterative process in film happens later – once the film has been shot and you try different cuts out on various audiences and stakeholders.

Glamgical: What is your opinion of the current state of theatre in Los Angeles and Orange County?

Marya: Many changes that have made producing live theatre more expensive, just as audiences have shifted their habits. At the same time, positive changes to the field have come about, especially an expansion to more inclusive programming. The economics of the theatre have been challenging for a long time, but there are so many incredibly creative, inventive people making excellent work, that I believe the theatre field can continue to rebound and bring in new audiences while still serving those who have traditionally been theatre lovers. It’s a big tent! I think artists will always be driven to make art; and there will always be audiences that want to share live experiences.

Branda Lock

Glamgical: What was your reaction the first time you read Gloria?

Branda: I was very surprised and shocked because of the big plot twist at the end of Act I. I also was immediately struck by how brilliant the script is with such crisp dialogue, a very cleverly crafted plot and characters, and some deeply provocative themes. I’m a big fan of Branden Jacobs-Jenkins work.

Glamgical: Tell us about your experience auditioning for Gloria.

Branda: Funnily enough, this was actually my first audition I did after several months because of a promotion I received from my 9-5 job this year. I was nervous because I felt so rusty but the amazing staff, volunteers, and production team at Chance Theater were so professional and friendly they really made me feel as at ease as possible and the whole audition and callback process seemed to go so smoothly from my perspective.

Glamgical: What are the main characteristics of your character in the play?

Branda: I get to play two characters in this production, Gloria and Nan (Nancy). I would say the main characteristics of Gloria are that she is lonely and isolated but a very hard worker even though she is a little awkward. Nan is also a hard worker but more socially adept and quite pragmatic and clever.

Glamgical: As an actress working in Los Angeles, is the environment in Gloria similar to the environment in showbiz?

Branda: I wish I could say they are vastly different but the more I get to know the world of this play the more similarities I can see between the editorial world and showbiz – in particular both industries’ quickness to commodify certain experiences, especially traumatic experiences, regardless of the cost to people’s humanity.

Glamgical: You started your acting career in Washington D.C. How was the transition from Washington to the LA scene?

Branda: It was quite difficult, not just because I moved so far away from my family and friends back east but because Washington D.C and Los Angeles are two very different types of entertainment towns. I have always focused my acting and directing ambitions towards the stage and D.C. has a very large stage theatre presence whereas Los Angeles is obviously more of a film and television city. But once I started finding the good “gem” theatres in Los Angeles and the surrounding areas I quickly started making friends and building up my theatre family here.

Glamgical: Who are the major influences in your acting career?

Branda: The biggest influences are my theatre teachers and professors from school of course, as well as a couple directors who I’ve had the good fortune to work with and become friends with over the years. Technique wise: Stanislavski, Checkhov, Adler, Boleslavsky, Laban, Bogart. Actors I admire: Emma Thompson, Viola Davis, Mary Louise Parker, Alan Rickman, Gregory Peck, Judi Dench, Chiwetel Ejofor, Robin Wright, Anthony Hopkins, Florence Pugh, Mark Rylance, Katherine Hepburn, Billy Crudup, Glenn Close, Lupita Nyong’o, Maggie Smith, Tom Hanks, Emily Blunt, Jimmy Stewart, Oprah, Frances McDormand, Alan Alda, Shirley McClain, John Tuturro, Julie Andrews, Robin Williams, Cate Blanchett, I could go on and on. Also the plays I happen to be reading or movies or TV shows I happen to be watching or are in the collective consciousness at any given time definitely influence me.

Glamgical: What is the most exciting part of working in theatre in LA?

Branda: All the amazing access to all the culture and art that comes with living in one of the biggest entertainment cities in the world! There is not a day that goes by in this city and the surrounding areas that you can’t find a play, or music concert, or screening, or gallery, or opera, or poetry reading, or ballet, or symphony, or interactive piece to go and see or be a part of which is just amazing to me.

Theatre Review: Sweeney Todd, The Demon Barber of Fleet Street

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Chance Theater presents Sweeney Todd, The Demon Barber of Fleet Street. Book by Hugh Wheeler. Music and lyrics by Stephen Sondheim. Based on an adaptation by Christopher Bond. Directed by James Michael McHale. Music direction by Lex Leigh. Produced by Rachelle Menaker and Eddie Schuller.

Director James Michael McHale keeps the thriller and dark elements in this new production of Sweeny Todd. The scenic design by Fred Kinney and Mio Okada honors the grittiness and thriller vibes of the story. The stage features an industrial and dystopian design that reflects the cannibalistic and aggressive tendencies of the characters. Adding to the atmosphere is the excellent lighting design by Jacqueline Malenke. The lighting serves as an effective character to convey the lingering danger of Sweeny Todd’s hunger for revenge.

Another characteristic of this production is the costume design by Gwen Sloan. Gothic and Victorian, the costumes depict the roughness of London life back in the 1800s. The costumes match the vampiric bent of Sweeny and the inhabitants of the city in their lust for blood, consciously or unconsciously.

Sweeney Todd (Winston Peacock) and Judge Turpin (Justin Ryan) bring the animalistic attributes of the protagonist and antagonist. Both of them excel in their portrayal of corruption and maddening thirst for revenge. Ryan’s operatic voice adds a Machiavellian tone to Judge Turpin’s personality. This plays very well in the song “Joanna (Mea Culpa)”, where Turpin’s sexual attraction to Joanna is revealed.

Then there is Mrs. Lovett. Jocelyn A. Brown delivers a superlative performance with her fascinating devilish humor that adds a touch of comedy and tragedy to the play. Despite the roughness of the character, Brown is able to infuse Mrs. Lovett with the vulnerability of a woman that falls hard for an unrequited love.

McHale’s production is long, about three hours, but the acting, music, and the other creative elements make the time go fast. The attention to detail is extraordinary and the cast delivers a memorable performance. McHale highlights the romance, danger, and tragedy in a way that keeps the audience engaged the whole time.

This is a story of life, death, and revenge. McHale is able to unify all of the dramatic and creative elements at the end to accentuate that powerful dramatic tool called irony. The phantasmagoric aspect of the story is well executed, giving that aura of mysticism to the resolution, transporting the characters to that space where life and death converge.

By the way, don’t miss the pool of blood on the stage when you exit, it gives a touch of realism to the experience, almost like witnessing a crime scene.

Sweeney Todd, The Demon Barber of Fleet Street

Chance Theater @ Bette Aitken theater arts Center on the Cripe Stage
5522 E. La Palma Ave.
Anaheim, CA 92807
Performances: July 12 – August 11, 2024
Thursdays 7:30pm, Fridays 8 pm, Saturdays at 3 and 8 pm, & Sundays at 3 pm and 7 pm only for July 14)
Book by Hugh Wheeler. Music and lyrics by Stephen Sondheim. Based on an adaptation by Christopher Bond. Directed by James Michael McHale. Music direction by Lex Leigh. Choreography by Mo Goodfellow.
Cast: Winston Peacock, Jocelyn A. Brown, Naya Ramsey-Clarke, Dylan August, Justin Ryan, Adam Leiva, Abel Miramontes, Emmanuel Madera, and Laura M. Hathaway.
Creative team: Scenic design by Fred Kinney and Mio Okada. Costume design by Gwen Sloan. Lighting design by Jacqueline Malenke. Sound design by Lia Weed. Projection design by Nick Santiago. Produced by Rachelle Menaker and Eddie Schuller. Bette & Wyllie Aitken are Executive Season Producers. Sophie & Larry Cripe are Associate Producers. Family of Mary Kay Fyda-Mar are Associate Season Producers.

 

Theatre Review: Fancy Nancy, The Musical

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Chance Theater presents Fancy Nancy, The Musical. Book & lyrics by Susan DiLallo. Music by Danny Abosch. Music direction by Robyn Manion. Based on the popular “Fancy Nancy” books by Jane O’Connor and illustrated by Robin Preiss Glasser. Based on original staging by Kelly Todd. Directed by Laura M. Hathaway.

The most fancy Francophile (that’s fancy for a person who loves everything French) is back in Anaheim at the Chance Theater. Joining Nancy (Jillian Batt) on stage are her friends Bree (Juliet Parker), Lionel (Matt Takahashi), Rhonda (Fiona Burrows), Wanda (Alyssa Corella), and of course, her favorite doll Marabelle Lavinia Chandelier. Overseeing the little rascals is Nancy’s mom, Mrs. Clancy (Katelyn Spurgin).

Nancy and Bree get excited about the upcoming school dance titled “Deep Sea Dances”, in which they wish to play the main character of the dance, a fancy mermaid. However, the role goes to another girl. When that girl gets injured and is unable to play the role, Nancy hopes to be the replacement. What happens next will challenge her sense of true friendship, and with the help of her mom, Nancy will learn an important life lesson.

The musical has been played at the Chance Theater since 2015. For the 2024 performance, Director Laura M. Hathaway uses a colorful stage design to highlight Nancy’s fancy world. The lyrics by Susan DiLallo and the music by Danny Abosch set a playful and energetic tone, infusing fun and movement to the play with the catchy songs and the amusing dances. The energy on stage is contagious and the audience—both kids and adults—ends up singing and dancing to the tunes.

The musical is based on the book Fancy Nancy and the Mermaid Ballet, one in a series of books about Nancy. The play captures the fantastical world of the six-year-old and her friends. It’s a fun and simple story with a heartfelt message at the center, an ideal excuse to get out of the house and bring the kids to the theatre to experience a live performance of one the most famous and loved characters in recent history.

Fancy Nancy, The Musical

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

Performances: May 24 – June 9, 2024

Fridays 7 p.m (only May 24), Saturdays at 11 a.m., 1 p.m., 4 p.m., and 6 p.m. & Sundays at 1 p.m., 4 p.m., and 6 p.m.

Tickets: chancetheater.com

Book & lyrics by Susan DiLallo. Music by Danny Abosch. Directed by Laura M. Hathaway. Music direction by Robyn Manion. Based on the popular “Fancy Nancy‘ books by Jane O’Connor and illustrated by Robin Preiss Glasser. Based on original staging by Kelly Todd. Executive Season Producers: Bette & Wylie Aitken. Associate Season Producers: The Family of Mary Kay Fyda-Mar.

Cast: Jillian Batt/Kristin Cortines (Nancy), Juliet Parker/Zoe Godfrey-Grinage (Bree), Fiona Burrows/Cecily Dowd (Rhonda), Alyssa Corella/Claire Manson (Wanda), Matt Takahashi/Elijah Douglas (Lionel), Katelyn Spurgin/Haley Katherine (Mrs. Clancy).

Creative team: Scenic Designer: Megan Hill. Costume Designer: Christina Marie Perez. Lighting Designer: Masako Tobaru. Stage Manager: Ben Green.

Theatre Review: Alma

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Chance Theater presents the Orange County premiere of Alma. Written by Benjamin Benne. Directed by Sara Guerrero. Produced by Steven & Louise Koch.

For most of the people, a knock on the door is nothing to worry about; it could be the neighbor or a salesperson. For Alma (Marta Portillo) and her daughter Angel (Heather Lee Echeverria), however, it could mean the dreadful time to say goodbye.

Director Sara Guerrero uses the small stage to bring the audience closer to the emotions of the characters. Together with Portillo and Echeverria, Guerrero translates the humor and drama of the script into an intimate display of courage, fear, and unconditional love.

In Alma, Playwright Benjamin Benne explores the dynamics of mother-daughter relationships, politics, and the American Dream. The character of Alma is the face of countless immigrants pursuing a dream that sounds great on paper but is evasive in practice. In her particular case, Alma is more invested in creating a dream for her daughter; a dream of opportunities and a better life. In the undocumented immigrants narrative, Benne emphasizes the human factor, the sacrificial love of a mother. Due to the fear of deportation, Alma and Angel are pushed to the limits, taking a toll on their emotional and mental health.

Alma crossed the desert and was already pregnant when she arrived in the US. As the only provider, she takes menial jobs to secure food and shelter for Angel. Alma’s dream is to send Angel to UC Davis to become a veterinarian. Trying to achieve that goal is a point of nurturing and contention between them, something that could break their relationship and change the course of their lives.

Alma is a mother with the usual worries. She needs to work hard to provide for both of them. In addition, she is also concerned about Angel’s future. To Alma, a degree from UC Davis is the key to unlock a world of opportunities and she is determined to ensure that Angel stays on track to achieve that goal. What stands on the way is her condition as an undocumented immigrant. Her potential deportation could throw everything off, a devastating end to her sacrifices.

Angel is in that phase where she is derailing to explore other things in life besides school and homework. Angel takes in her surroundings and questions the validity of authority. Not just the authority imposed by her mom, but the one imposed by society as well. For Angel, her mom’s immigration status and the possibility of getting separated is taking over her life, a fact that is influencing her decisions.

Alma has different layers. One of them is about broken dreams. This is linked to a political commentary.  As controversial as it was back then, former president Barack Obama was seen by many immigrants as a hope, an opportunity to regularize their immigration status. However, by the end of his term, he was called by some activists Deporter-In-Chief due to the millions deported during his administration. On the other hand, President Donald Trump‘s tough stance on immigration sent shock among immigrants for the fear of massive deportations. Alma delves into the fact that a president, whether Democrat or Republican, could mean hope or fear. Oftentimes, it is just another broken dream.

What exactly is the American Dream? Is it money, a college degree, a house, a green card? Who has the right to achieve that dream? The play does not answer those questions. What Alma does is to bring forward issues that are relevant in the immigration narrative. For the approximately 10.5 million undocumented immigrants living in the US, family separation is a real fear. This play explores what that means and how it affects the daily lives of those living in the shadows of legality.

Alma opens up another conversation: Is all that sacrifice worth it if families are separated?

Alma

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

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Fridays at 8 p.m., Saturdays at 3 p.m. & 8 p.m., Sundays at 3 p.m.

Tickets: chancetheater.com

Written by Benjamin Benne. Directed by Sara Guerrero. Produced by Steven & Louise Koch.

Cast: Marta Portillo and Heather Lee Echeverria.

Creative team: Scenic designer Christopher Scott Murillo, costume designer Jeanette Godoy, lighting designer Kara Ramlow, sound designer Melanie Falcón, stage manager
Cynthia C. Espinoza, and dramaturg Karli Jean Lonnquist. Bette & Wylie Aitken are Executive Season Producers for the entire 2024 schedule. Laurie Smits Staude is Associate Producer, and The Family of Mary Kay Fyda-Mar is this year’s Associate Season Producers.

Theatre Review: Tiny Beautiful Things

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Tiny Beautiful Things is presented by Chance Theater. Based on the book by Cheryl
Strayed. Adapted for the stage by Nia Vardalos. Co-conceived by Marshall Heyman, Thomas Kail, and Nia Vardalos. Directed by Katie Chidester.

Tiny Beautiful Things is a collage of stories that reflect the challenges and misfortunes in life. Due to the nature of the story, the kinetics are kept at a minimum. This play is mostly an emotional roller coaster. The main ingredients are the details of private lives and the urgent need of enlightening advice. With an excellent stage design, Director Katie Chidester relies on the power of the script and her actors’ skills to keep the audience engaged and entertained. Since the amount of Sugar’s readers is pretty extensive, three actors, Jonathon Lamer, Jennifer Richardson, and Sam Mistry, play the roles of different readers.

When Sugar (Aubrey Saverino, Matinicus: The Story of Abigail Burgess) reads the stories posted on her column, she starts to unlock her own private and painful past experiences. At that point, Sugar joins her readers’ journey on the search for answers, empathy, and healing. She revisits her own past experiences to advise and comfort her audience with honesty, finding her own catharsis in the way. The stories posted on Sugar’s column deal with love, loss, anxiety, sex, faith, etc. It’s like the wild west on steroids. The challenge for Sugar is to figure out how she can contribute to solve some extraordinary complex issues. Married with two children and a rather complicated past, Sugar finds out that her column could be an open book for both her readers and herself. All behind the anonymity of a pen name.

Sexual abuse is another topic highlighted in the play. For Sugar, the sexual abuse stories some readers share with her start to clear the path to her own healing. A victim of sexual abuse herself, Sugar opens up about her own demons and the strategy to cope with the trauma, an extraordinary quest to find the much needed internal peace to sooth her soul.

Some of the experiences shared in Sugar’s column are deeply sorrowful; they are the manifestation of the searing pain of open wounds that refuse to heal. One of the most moving cases is that of Living Dead Dad (played by Lamer), a man whose 22-year-old son was killed by a drunk driver. The private hell of this father seems to be too much to take. The grief is taking over his existence to a point where he no longer enjoys the company of the good and supportive people around him. Having lost her mother to cancer when Sugar was 22, she relates to the pain of this man.

This is the climax of the emotional journey of the play. Saverino and Lamer delve deep into a place of pain and desolation. Captivating the audience, both actors embody the essence of the characters and the heart of the story. It’s a scene where they capture the healing language of everlasting love through the shared experience of loss. It exemplifies Sugar’s transformative journey as a writer and the transformative journey of her readers as a result of her empathy and encouragement.

Visually, the set design concentrates on one color: Orange. In fine arts, orange symbolizes warmth, optimism, and freedom. Widely used in autumn, this color reminds us of the coziness spirit of the season. The stage—Sugar’s home—feels cozy and warm, like a safe place to pour out one’s heart. Similarly, her readers see Sugar’s advice as a fountain of optimism, a key ingredient she uses to reassure her readers that everything will be fine despite their difficulties. And as a result of their mutual nurturing and validation, together they try to achieve the freedom they need to move on with their lives.

This stage adaptation extracts the most moving and disturbing details of the inspirational life of Cheryl Strayed, whose struggles with drugs, the loss of her mother at an early age, and sexual abuse are an inspiration to search deep inside to find the strength to heal and overcome adversities.

Tiny Beautiful Things

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

Performances: April 13th – 28th, 2024; Fridays at 8 p.m., Saturdays at 3 p.m. & 8 p.m., Sundays at 3 p.m.

Tickets: chancetheater.com

Based on the book by Cheryl Strayed. Adapted for the stage by Nia Vardalos. Co-conceived by Marshall Heyman, Thomas Kail, and Nia Vardalos. Directed by Katie Chidester. Laurie Smits Staude is the Executive Producer for this production. Bette & Wylie Aitken are Executive Season Producers for the entire 2024 schedule. Susan Bowman & Freddie Greenfield and Linda Maggard are Associate Producers, and The Family of Mary Kay Fyda-Mar is this year’s Associate Season Producers.

Cast: Aubrey Saverino, Jonathon Lamer, Jennifer Richardson, and Sam Mistry.

Creative Team: Scenic designer Kristin Campbell Coyne, costume designer Gwen Sloan, lighting designer Jordan “LJ” Curiel, sound designer Darryl B. Hovis, stage manager Bebe Herrera, and dramaturg Jocelyn L. Buckner.

Theatre Review: Rent

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Chance Theater presents the Pulitzer Prize winning musical Rent. Book, Music, and Lyrics by Jonathan Larson. Directed by Matthew McCray. Music directed by Lex Leigh. Choreographed by Mo Goodfellow.

One of the most iconic stories to reflect the lives of struggling artists, Rent adds another dramatic layer when some of the characters have to survive in a big metropolis like New York while grappling with HIV at the same time. Without a doubt, this is a moving musical that continues to inspire audiences every single time. For anyone who has seen the progression of the disease from HIV to AIDS and the devastating consequences, Rent is a significant portrayal of the hardships and the uncertainty of the heartbreaking ordeal, specially in the early waves of the epidemic.

The inability to predict for sure if HIV will progress to AIDS is like a ticking bomb that may go off at any time, taking a physical and mental toll on those with the disease and their loved ones. Jonathan Larson observed those challenges and imagined a universe where a very diverse group of people comes together to build a community to fight the AIDS stigma and find love along the way. Within that amalgam of personalities, a special character with HIV, Angel (Adam Leiva), irradiates kindness and the ability to teach and share love, even after his death of AIDS. He navigates the adversities with a positive attitude until the very last moment.

Some of the topics in the play are discrimination, poverty, living the moment, survival mechanisms, the sense of community, drug addiction, and the inability of the characters to stop it. For Roger (Gavin Cole), Mimi’s (Lena Ceja) heroin addiction and an HIV condition prolongs the agony of an impending disaster. Roger knows that falling for Mimi means that, at one point, he will be left alone once again—his former girlfriend committed suicide after learning that she was HIV positive and had infected Roger.

But beyond her addiction, Mimi has depth. Perhaps as a consequence of her HIV condition and accepting her fate, she encourages Roger to forget about his anticipatory anxiety and live the moment without worrying about the past or the future. No religion, no heavens, no hell, only us.

There are fifteen characters in Director Matthew McCray‘s production, each one with their own story and motivations. There is Roger’s roommate, Mark (Luc Clopton), a filmmaker who was dumped by his girlfriend. Together with Roger, Mark struggle to stay warm in their cold apartment. We also see Joanne (Frankie Ripley), a lesbian lawyer, Maureen (Lily Targett), a bisexual performer and Joanne’s girlfriend, Tom (JoeJoe McKinney), a gay anarchist with AIDS and Angel’s partner, and Benjamin (Christopher D. Baker), Mark and Roger’s landlord. All of the characters have important roles and a story to tell. They all contribute to build a cohesive community and bond even more after Angel’s death. But it is Roger the center of attention. His depressive state at the beginning, his initial resistance to a new relationship with Mimi, and his willingness to open up his heart make it the most transformative character of the play. Throughout the story, Roger is silent, loud, visible, invisible. He is myth, life, death, tragedy, hope. He is America. He touches the bottom and rises like a phoenix. At the end, he still believes in love.

Scenic Designer Joe Holbrook captures the grittiness and the underground vibes of the script in a fascinating manner. The colors and textures create a contrast that reflect the spirit of the story. The color palette of the lighting (Zach Moore, Lighting Designer) is also an element to highlight. Reds, whites, ambers, purples, and blues are all used masterfully to evoke emotions and intensities, as if dancing rhythmically to the palpitations of the characters. McCray had a talented group of artisans and performers to honor and elevate the legacy of Larson in the always difficult world of musicals. This particular production of Rent shows that a talented director can make a revival as fresh and exciting as the original one.

The story is raw, passionate, energetic, and a testament of the powerful effect of human connections. It’s a picture of the rough and excruciating road to the entertainment industry. It is also a homage to the ones that lost the battle, to the ones that are still trying, to the ones that never ever give up. 

Rent

Chance Theater
Bette Aitken Theater Arts Center
5522 E La Palma Ave.
Anaheim, CA 92807

Dates: — 

Tickets: chancetheater.com

Book, Music, & Lyrics by Jonathan Larson. Directed by Matthew McCray. Music directed by Lex Leigh. Choreographed by Mo Goodfellow. Executive Producers Linda and Tod White. Season Producers Bette & Wylie Aitken. Associate Producers Rachelle Menaker & Eddie Schuller. Associate Producer Laurie Smits Staude. Associate Season Producers Family of Mary Kay Fyda-Mar. Cast: Luc Clopton, Gavin Cole, Lena Ceja, JoeJoe McKinney, Adam Leiva, Lily Targett, Frankie Ripley, Christopher D. Baker, Jack Thomas Aitken, Micah K. Blanks, Ayani Dorsey, Autumn Kirkpatrick, Patrick McCormick, Mikey Miro, and Gemma Pedersen. Creative team: Lighting Designer Joe Holbrook, Costume Designer Bradley Allen Lock, Projection Designer Nick Santiago, Lighting Designer Zach Moore, and Sound Designer Dave Mickey. 
 
      
Rent poster
A scene from Rent
A scene from Rent

Theatre Review: Matinicus: The Story of Abigail Burgess

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Chance Theater presents the World Premiere of Matinicus: The Story of Abigail Burgess. Written by Jenny Connell Davis. Directed by Katie Chidester. Produced by Rachelle Menaker & Eddie Schuller.

When Abigail Burgess (Aubrey Saverino) arrives at Matinicus with her father Samuel and the rest of the family to work on the lighthouse, she realizes that boredom and isolation will be her companion for a very long time. In addition, as Matinicus Rock Light is a windswept and treeless rock surrounded by water, supplies must be brought in from the mainland at intervals in order to survive for months.  

At one point, a group of sailors stop at Matinicus to rest and eat. They stay for a while with Abigail’s family. When they leave, Samuel realizes that the sailors consumed most of the family’s food supplies. The ship that was scheduled to bring in more supplies to the family does not show up for its September delivery. Samuel has no other choice but to leave the family behind to buy food and oil for the lighthouse in order to survive the approaching winter. Before leaving, Samuel puts Abigail in charge of the lighthouse and the family. Right after he leaves, a storm approaches and now Abigail has to find a way to save the family from a deadly natural disaster.

Playwright Jenny Connell Davis includes details to show the internal conflicts of a family that faces the unknown in an isolated environment. The character of Abigail shows her own internal conflicts, facing the challenges of growing up in a small place as Matinicus with limited opportunities and much more responsibilities.

Actress Aubrey Saverino and Director Katie Chidester deliver a fascinating production, aided with excellent lighting and sound effects, that builds up the emotions in a crescendo that is engaging and entertaining. Saverino is an experienced thespian that skillfully navigates the nuances of a rich character, gestating the emblematic figure of a real-life hero. Her deliverance captures the lifestyles, frustrations, and ultimately, the hopes of a bygone era.          

Matinicus: The Story of Abigail Burgess

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

May 13 – June 4, 2023; Fridays at 8 p.m., Saturdays at 3 p.m. & 8 p.m., Sundays at 3 p.m.

Tickets: chancetheater.com

Written by Jenny Connell Davis. Directed by Katie Chidester. Starring Aubrey Saverino. Rachelle Menaker & Eddie Schuller are Executive Producers for this production. Bette & Wylie Aitken are producers for the entire 2023 Season and The Family of Mary Kay Fyda-Mar are this season’s associate producers. Creative team: Cris Quick, Scenic, Lighting, and Costume Designer. Oscar Garcia, Sound Designer. Jordan Jones, Stage Manager. Jenny Jacobs, Dramaturg. Bebe Herrera, Props Master.

 

Matinicus poster
A scene from Matinicus
Matinicus
A scene from Matinicus

Theatre Review: Ride the Cyclone

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

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

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

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

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

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

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

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

Ride the Cyclone

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

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

Tickets: www.chancetheater.com 

 

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