Tag Archives: Chance Theater

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.

Theatre Review: The Elaborate Entrance of Chad Deity

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

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

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

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

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

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

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

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

The Elaborate Entrance of Chad Deity

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

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

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

Tickets: www.chancetheater.com

 

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