Tag Archives: Comedy

Theatre Review: Four Top

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In a mostly linear style, except for scene 3, Playwright Michael B. Kaplan presents the romantic lives of five characters who are charming, insecure, and can’t seem to figure out the meaning of life.

If you like romantic movies and dating shows, then seeing Four Top should be in your to-do-list. Brian (Jack Menzies) and Liz (Jackie Shearn) engage in an intense hookup, meet puke included, only to break up the same day. A year later, Brian has moved on and is in a relationship with Megan (Rosie Byrne), whose work husband is Tony (Luke Rampersad). Tony is now dating Liz. Brian is suspicious about the platonic relationship between Megan and Tony. Megan doesn’t know about Brian’s hook up with Liz a year prior. The four meet for food and drinks, but insecurities, jealousy, and the feeling of missed connections make the two couples rethink their respective relationships. While this is happening, the server (Cassidy LeClair), an aspiring writer, introduces her own story to the audience. The server is a motif throughout the play, interacting with the couples and instigating discord among them to amuse her creative bent as a writer.

The couples navigate their love lives going back and forth, hooking up, breaking up, and just trying to find themselves while experiencing the thrill of romance and the challenges of adulthood. Nihilism? Could be. Projection? Maybe. Alternate reality? It’s possible. Therapy might help. But it’s expensive. Just be careful with the ferret. 

The play analyzes the ups and downs of romantic relationships and the desperate search for deeper and more meaningful connections. To translate those engaging themes on stage, Director Kathleen R. Delaney adds sexiness and physical comedy to the production, adding dynamism to the story and pushing the characters out of their comfort zone for an effective comedy effect. Her five actors are engaging and they all deliver their lines with excellent timing, highlighting the cleverness and hilarity of the script. 

Love always triggers an interesting conversation. If you add heartbreaks and comedy, then you have a winning combination. This play’s production is not extravagant, but it’s probably that simplicity that makes Four Top a hit with the audience. The only drawback is that it feels too short. But, hey, with a younger audience’s attention span, shorter might be better.    

Four Top

Lonny Chapman Theatre – Upstairs Stage (Second Floor)
10900 Burbank Blvd. North Hollywood, CA 91601

October 17 – November 17, 2024
Thursdays at 7pm, Saturdays at 4pm and Sundays at 7pm
“After the Show Talkbacks with cast, author and staff” Sundays 10/20 and 10/27

Tickets: thegrouprep.com

Written by Michael B. Kaplan. Directed by Kathleen R. Delaney. Produced by Denise Downer.

Cast: Rosie Byrne (Megan), Cassidy LeClair (Server), Jack Menzies (Brian), Luke Rampersad (Tony) and Jackie Shearn (Liz).

Creative team: Daisy Staedler (Set Designer), Nick Foran (Lighting & Sound Designer), Clara Rodríguez (Scenic Painter), Caleb Aaron (Assistant to the Director), Karla Menjivar (Stage Manager).

Film Review: eVil Sublet

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Don’t mind the ghosts and the previous killings. How can you resist the allure of a cheap apartment in East Village (eVil) in New York? Oh, and it comes with a garden. Creepy faces appear behind you, and strange voices can be heard around the apartment in this scary film with a zesty touch of comedy. Allan Piper presents a unique story filmed in the apartment he used to live in, so the set is an actual apartment in New York. The story has the classical elements of horror movies: A pretty good scare with dark humor in the mix.

Alex (Jennifer Leigh Houston) and Ben (Charley Tucker) are looking for an apartment in New York. For $2000, they find one in East Village. But as it’s usually said, the devil is in the details. The previous tenants suffered tragic deaths. Can Alex and Ben survive the evil spirits haunting the apartment? The suspense builds up throughout the movie and the characters are thrown into an exhilarating race against time to beat the evil forces possessing the apartment. Also appearing in the film are Pat Dwyer, Stephen Mosher, Michele Ammon, Patrick Wang, and the always fascinating Sally Struthers.

The story is not only about horror. Piper uses this film as a social commentary about the housing crisis raging America and the pervasive ageism in the workplace as well. The movie is ultimately an entertaining production with good old horror and suspense, with great visuals to complement the fine acting and sharp script. It is a fun film to watch this Halloween season to awaken your fears of darkness and evil spirits.

Below is the interview with Writer/Director Allan Piper, Jennifer Leigh Houston, and a question for Sally Struthers.

Allan Piper

Glamgical: You wore a lot of hats in this movie. How did you organize your schedule?

Allan Piper: I was lucky to have the help of a ton of people on eVil Sublet — most of all producers Jennifer Leigh Houston (who’s also the star and my wife), Chris Pearson, and Beth Ann Mastromarino. But for most scenes I was a crew of one. This wasn’t so much for budget (although it definitely helped with that) as it was because we were filming right after covid lock-down, and it was important to keep the number of people on set to a minimum. 

Glamgical: Tell us about the technical aspects of the movie. What camera did you use? What kind of lenses? How about lighting?

Allan Piper: I primarily used the Panasonic GH5. I used a few lenses, but I particularly relied on the Meike 12mm T2.2 Wide Angle lens. It’s good for shooting in low light. A wide angle lens is practical for shooting in the confined spaces of a New York apartment, but it also creates a subtle distortion of space that is good for making an environment feel haunted.

I went for high contrast lighting because it is beautiful and spooky, and also true to the actual apartment where Jen and I lived. That apartment seemed to have an unnatural resistance to light. We used to walk around with flashlights in the middle of the day when all the lights were on.

Glamgical: Horror is a very popular genre. Why do you think people are so attracted to it?

Allan Piper: When the world is scary, people look to make-believe scares for catharsis. The first real boom in horror movies came in the 1930s amid the Great Depression and the rise of fascism in Europe. Cold War nuclear fears spawned the 1950s monster movie boom. During the social unrest of the Vietnam era, the great horror movies of the late 60s and early 70s were born. Our country has been through a lot in the last few years, so I’m not surprised we are again looking to scary movies to help us process it. I certainly am.

Glamgical: Is the set your actual apartment?

Allan Piper: Yes, we filmed eVil Sublet in our actual apartment. The movie was inspired by real strange occurrences that happened in that apartment. Doors would open and close on their own. Lights would go on and off. Jen repeatedly felt a cold hand touching her in the dark. She was often awakened by weird cries in the night, and once a voice screaming “MOVE!” In her ear. Not long after filming, we finally did move.

We managed to record some unexplained phenomena and edit them into the movie.

Glamgical: You make some important social commentaries on the movie. How is the housing crisis, discrimination, and racism shaping America today?

Allan Piper: Chris and I conceived of eVil Sublet more than a decade ago, when the idea that someone would choose to live in a haunted apartment just to save on rent seemed uniquely New Yorky. But now I think all Americans can relate to being forced to endure extreme conditions to keep an affordable roof over their heads. America’s affordable housing crisis is what makes the movie’s premise believable.

And this is also a movie about evil, and there’s nothing more evil or destructive in our society than racism and misogyny — which, in eVil Sublet, turn out to be as great a danger as anything supernatural.

Politics is a big part of my life. I was a filmmaker for both the 2012 Obama campaign and the 2016 Clinton campaign. I was the supervising politics producer for NowThis throughout the Trump years, and I’m now the head of content for Inequality Media, the nonprofit co-founded by former Labor Secretary Robert Reich.

Glamgical: How did you find your actors?

Allan Piper: I wanted to work with people I love. I’m blessed to have talented friends, and for the most part, Chris and I created the roles around them.

We created the lead role of Alex for Jen. There are not enough multi-layered roles for women (particularly women out of their 20s and 30s). We wanted her to be funny, strong, sexy, and scary, and to play the full gamut of emotions from joy to terror.

Pat Dwyer (Ned) and Stephen Mosher (Lorne) were the subjects of my last movie, the documentary Married and Counting. In 2010 and 2011 (back when same-sex marriage was considered controversial), they traveled the country to get married in every state that would let them, and they entrusted me to tell their love story. Having seen how electric they are on-screen together, I was eager to put them there again. This is their first time on-screen together as actors.

I’ve admired Sally Struthers (Reena) all my life. We met her socially at a party at Pat and Stephen’s and became good friends. It turned out that doing a horror movie was on her bucket list. I was thrilled to get to work with her. Reena is a different sort of role than you’d expect to see Sally play, and that’s all I’ll say about Reena.

Glamgical: What challenges did you encounter while filming this movie?

Allan Piper: We were filming the first scene on March 7, 2020 — the day New York declared a state of emergency due to covid. We shut everything down, lost deposits, lost airfare, and put things on hold for over a year.

Since Jen and I lived together on the set, SAG gave us permission for me to film her with no one else while the rest of production was shut down. We ended up adding new scenes of Alex alone in the apartment, some of which are now my favorite scenes in the movie. Since I play the Great Manfredo, we also filmed the Alex/Manfredo scenes together with no one behind the camera.

Production resumed in September 2021. Beth was our covid safety coordinator. She made sure there were no infections on our set. 

Glamgical: Do you think it is more difficult today to find financing for film projects?

Allan Piper: Indie film is always hard to finance. I can’t say whether it’s easier or harder than when I made my first feature, Starving Artists in the ’90s.

eVil Sublet was partly financed with the offer that crowd-funders would have their faces turned into ghosts in the shadows and corners of the apartment. More than 200 ghostified faces are hidden throughout the movie. There are 13 in the trailer alone. Having hundreds of hidden faces makes the movie scarier. Viewers will jump in the middle of a scene when they realize there’s been a face peering out of the shadows the whole time.

Glamgical: How important is the festival circuit for independent films like eVil Sublet?

Allan Piper: Film festivals are one of my favorite parts of the process. The people I’ve met and the movies I’ve seen at festivals have shaped my career. On the festival circuit in the ’90s with my first movie, Starving Artists, I met Phil Leirness, the 2nd unit director on eVil Sublet and Jerome Courshon, whose company Lion Heart Distribution is eVil Sublet’s distributor.

With eVil Sublet wanted to premiere at the Coney Island Film Festival (and did) because Coney Island is such a big part of the movie. That was followed by Grossmann Fantastic Fest in Slovenia, HorrOrigins Film Fest, Haunted House FearFest, Another Hole in the Head, the New York City Horror Film Festival, the DC Independent Film Festival, and Independent Film Festival Boston. We won a total of 10 awards at these festivals.

Glamgical: As a film director, what is the most rewarding part of your job?

Allan Piper: I strategically loaded this movie with people, places, and things I love, so the most rewarding part was working with those people in those places. Thanks to Wonder Wheel Park’s Vourderis family, we got to film inside the historic Spook-a-Rama and on the Wonder Wheel! We got to have a musical number where Jen sings with award-winning cabaret star Leanne Borghesi! Nothing makes me happier than sharing the things I love with other people.

Jennifer Leigh Houston

Glamgical: What do you like the most about your character?

Jennifer Leigh Houston: I like that she’s brave.  Above all else, she’s brave. Much braver than I am.  I also like that, just like me, she’s a problem solver and goes headlong into fixing whatever is going wrong even if it means she may be in mortal danger. 

Glamgical: There is horror, comedy, and sexiness in this movie. How did you prepare for all of that?

Jennifer Leigh Houston: Hopefully, if I’m livin’ my life right, I’m ALWAYS prepared for all of that.  No, seriously, I prepared a lot. I made sure my body was in (ok) shape for all the running I was being asked to do, I tried to have my look right, and I did my homework on the script. I wanted to make the actual filming aspect as easy as possible by being really prepared when I got on set. And also, let’s be honest, the script was literally written for me and my ex, Charley Tucker to star in. I’ve known Charley for over 20 years, and we’re really comfortable around each other. Allan knew that when he wrote it for us, and hopefully, we easily gave Allan what he was after with the relationship. When the pandemic hit the month we started shooting, all of my good intentions about the way I was to look all went to hell in a handbasket. Continuity was a bitch, and some of it simply had to be reshot later because we simply didn’t look the same after lock down.  Thank god that for the majority of the film, I’m supposed to be a disheveled mess. Because I was. 

Glamgical: What do you think is the main message to the audience through your character?

Jennifer Leigh Houston: My message to the audience is twofold: always listen to your gut, and don’t ever let anyone else’s ideas about life and what IS and ISN’T possible sway you from what you know to be true.  

Glamgical: What is the main housing crisis in New York right now?

Jennifer Leigh Houston: Wow, well, that’s a complicated topic. Greedy landlords, for one thing, and I don’t know what we’re supposed to do about that, superimposed upon an ever-growing homeless population.  My heart breaks for folks that have their heart set on coming to live in NYC but ultimately being relegated to the way outer fringes because that’s all they can afford.  And usually with more roommates splitting the rent than is desirable.  

Glamgical: Is media doing enough to portray the LGBT community in a positive light?

Jennifer Leigh Houston: I think we’re getting there. But I still think it has to be less remarkable, ya know?  I mean, I think it’s important to keep peppering our stories with LGBTQIA folks throughout. Constantly.   And not every story that contains an LGBTQIA character has to be a huge drama. That is NOT to say that we don’t still need coming out stories and transition stories, and civil rights stories, because we haven’t fully arrived at equality.  Not by a long shot! But just like our movie, there are lots of queer folks in it, but this isn’t a movie about being gay, or bi.  It’s a story about people trying to live their lives, and unravel a very scary mystery. And as it turns out, they just happen to be queer.  I think we could use a lot more of that kind of representation. 

Glamgical: In a recent interview for Variety, Isabella Rossellini mentioned that Hollywood abandoned her in her 40s. How can actors—especially actresses—fight back against ageism?

Jennifer Leigh Houston: Well, the first order of business is having writers keep writing stories which include, or revolve around older women. I mean, let’s be honest, we can go on talk shows, or TikTok, or whatever, and bitch and moan about how invisible we feel and how underrepresented we seem, but until writers are willing to write stories for us, there’s not a damn thing we can do. I don’t know how to convince younger people who think that just because we’re older, we have no value. And to be honest, I think that type of ageism is really an American thing.  We’re seriously ageist here. 

One of the things that’s exciting about horror and sci fi films is their willingness to push boundaries, and we’re seeing them do that now in creating better roles for grown-up women, as we’re seeing with Michelle Yeoh and Jamie Lee Curtis in Everything Everywhere All At Once, Curtis in the latest Halloween series, Heather Graham and Barbara Crampton in Suitable Flesh, and Crampton in Jakob’s Wife.

(Side note, Amy Schumer wrote the most fantastic skit about it being an actress’s “last fuckable day” with Tina Fey, Julia Louis-Dreyfus, and Patricia Arquette. https://vimeo.com/509440429

When I saw this, I laughed first, then cried a little because I knew it was true.)

Glamgical: How was your experience working with Allan and Sally?

Jennifer Leigh Houston: Well, I knew what working with Allan was going to be like, as he has directed my music videos and my online cake show, Jen’s Shut Your Cake Hole, and I had worked with him on his last feature documentary Married and Counting, so I knew we worked well together, and I knew what he expected of me. 

But I had never worked with Sally before, and although I was a bit nervous to work with this absolute ICON, she was so generous and lovely to work with that I literally cried when she wrapped because I didn’t want our scenes together to be over. (I also hacked up our first take together because she made me laugh so hard I couldn’t keep it together)  I certainly hope it won’t be the last time. I really hope so.

Sally Struthers

Glamgical: This is your full-length horror debut. How did you like the experience?

Sally Struthers: I’d rather be part of the scaring than be scared. Horror films frighten the poop out of me. And they stay with me. They’re like a side-of-the-road accident. You can’t look away.

I was thrilled that I got to be in this movie because when you’re a septuagenarian and you look back at your career and you say, ‘Is there anything I haven’t done that I would really like to do?’ being in a horror film, like Jamie Lee Curtis, was on my list. 

eVil Sublet is equal parts creepy and hilarious. And it never lets up.

eVil Sublet

Story by Chris Pearson & Allan Piper. Written Directed, Shot, and Cut by Allan Piper. Produced by Jennifer Leigh Houston, Beth Ann Mastromarino, Chris Pearson, and Allan Piper.

Theatre Review: Don’t Dress for Dinner

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With splashes of commedia de’llarte—minus the masks—the cast delivers a tasty dinner made up of jealousy and mistaken identities.

Bernard (Brian Robert Burns) expects her wife Jacqueline (Kim Morgan Dean) to leave their house to visit her mother for the weekend. What Bernard really wants is to spend time with his mistress Suzanne (Katy Tang). Bernard also invites his friend Robert (Brandon J. Pierce) to spend the weekend with him and hires the services of the cook Suzette (Veronica Dunne). His plans, however, get derailed when Jacqueline answers the phone and finds out about both the cook and Robert’s visit. As Jacqueline and Robert are also having an affair, she decides to cancel the visit to her mother. That decision turns things upside down, creating a pressure cooker ready to explode.

An excellent Kim Morgan Dean delivers an astonishing performance as the jealous and cheating wife. She adds a hint of rage and animosity that make her character look like a protagonist and antagonist at the same time, all within the realm of comedy. Director Christopher M. Williams has the luxury of working with a superb cast that turns the characters into a menagerie of panicking individuals on the verge of a nervous breakdown. Brian Robert Burns, Katy Tang (Marry Me a Little), Brandon J. Pierce, Veronica Dunne, and Jared Van Heel all shine bright and loud on stage thanks to their commanding comedy skills. At one point, Pierce delivers a long and fast line without tripping at all; a testament of his speech qualities.

Framing the excellent qualities of the thespians, Williams uses a sophisticated set design to convey a French farmhouse. The high key lighting is a classic for these kinds of stories and is used effectively in this production. Also worth mentioning is the sexy and sophisticated costumes that serve the story and the traits of the characters.

The blocking allows the actors to navigate the stage in a way that highlights the intense physical comedy demanded for this story. This is a play that requires elevated skills in speech and action, making this production a highly dynamic performance that explores themes of infidelity, equality, and broken and amended relationships.

The fine visual details, the extraordinary script, the talented cast, and the creative direction make this production a real treat for the theatre lovers out there. It’s a gem within a gem. The Laguna Playhouse is celebrating its 104th anniversary. Its website lists the long list of productions staged in this iconic theatre, from the 1902s up to now, a very significant legacy in California’s rich theatre history.

Don’t Dress for Dinner

Laguna Playhouse

606 Laguna Canyon Rd.

Laguna Beach, CA

Runs: Sunday, September 8 – Sunday, September 22, 2024

Opening: Sunday Sep 8 at 5:30pm.

Wednesdays at 7:30pm; Thursdays at 2:00pm and 7:30pm; Fridays at 7:30pm;
Saturdays at 2:00pm & 7:30pm; Sundays at 1:00pm & 5:30pm.

There will be no performance on Sunday, September 8 at 1:00pm or Sunday, September 22 at 5:30pm.

There will be a post-show talkback following the Friday, September 13 performance.

Tickets: lagunaplayhouse.com

Written by Marc Camoletti. Adapted by Robin Hawdon. Directed by Christopher M. Williams.

Cast: Brian Robert Burns as “Bernard,” Kim Morgan Dean as “Jacqueline,” Veronica Dunne as “Suzette,” Brandon J. Pierce as “Robert,” Katy Tang as “Suzanne,” and Jared Van Heel as “George.”

Creative team: Scenic design by Marty Burnett; costume design by Elisa Benzoni; lighting design by Matthew Novotny; sound design by Chris Luessman; props design by Kevin Williams.  Additional casting by Michael Donovan Casting, Michael Donovan, CSA & Richie Ferris, CSA. The Production Stage Manager is Vernon Willet.

Fringe Review: Magic for Animals

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Magic for Animals. Written and performed by Liz Toonkel.

The stage is set for some amazing magic tricks. Liz Toonkel delivers a show where magic is the catharsis for broken human relationships and broken human-animal relationships. By the way, no animals were hurt during the show. That’s expected, as Liz is an animals’ rights activist.

With audience participation, the show becomes more interactive and dynamic. The participation is mainly to establish an important message: Animals suffer, and the meat and luxury goods industries couldn’t care less about animal welfare. Liz is straight forward about it and her show revolves around it.

Another compelling fact is Liz’s story about broken human relationships with a best friend and a school crush. Film school and a few years later, she experienced even more human connections struggles. It is then that magic became a tool to transform those negative aspects in her life to positive outcomes; holding a grudge was no longer an option.

Magic for Animals has plenty of positive theatrical elements to make this show a great hit. Her costume, magic tricks, audience engagement, animal rights advocacy, and a general positive message. If she works more on the pacing, the show will be even more attractive. Mixing comedy and magic is always a winning combination.

Magic for Animals

Los Angeles LGBT Center
Davidson / Valentini Theatre
1125 North McCadden Place
Los Angeles, CA 90038

Friday Jun 28 2024 @ 10:30 PM

Sunday Jun 30 2024 @ 3:30 PM

Tickets: hollywoodfringe.org/projects/10508

Written and performed by Liz Toonkel.

Theatre Review: The Outsider

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The Los Angeles premiere of The Outsider is presented by International City Theatre. Written by Paul Slade Smith. Directed by Brian Shnipper. Produced by caryn desai [sic].

Ned Newley (Stephen Rockwell) is afraid of public speaking, and his poll numbers are really bad. Even his chief of staff, Dave Riley (Nikhil Pai), thinks that Newley is destined for failure. However, political consultant Arthur Vance (Jonathan Bray) sees something special about Newley that might click with the voters. For that reason, Vance suggests that Newley should run for governor. Not only that, Vance also suggests that the bubbly but inept temp, Louise Peakes (Susan Huckle), should run for lieutenant governor. All she needs is some color-coded cards so she can answer the reporter’s questions.

Playwright Paul Slade Smith sees a trend in current politics, not only in America but in other countries as well, and writes an accurate description of the machinations of the political system to attract popular votes. By looking insecure or even ignorant, the character Newley appears to come to the voters’ level, less intellectual, more average-person type. And, how about Louise Peakes? Clueless and inept, she connects with the public almost instantly. These two characters represent the characteristics that people want from their elected officials nowadays.

The play goes beyond simple comedy. Analyzing what’s seen on stage, a question lingers in the air. What is democracy and who gets to define it? Both characters Newley and Peaks might not be the most prepared candidates to run the government, but what if they are exactly what the people want? In the end, who really runs the government?

The set is one single room, the Governor’s office, but is full of details and it looks stately. The comedy is always there, scene after scene. Susan Huckle steals the show with her hilarious interpretation of a character in a constant state of confusion and cluelessness.

In this election year, The Outsider fits perfectly in the collective consciousness. Its themes and characters feel familiar and are a vivid representation of the trickeries used by the political system to gain popular support for whatever interests the candidates and their respective teams are promoting.

The political animals observed in The Outsider are either oblivious of the current state of things or genuinely interested in satisfying people’s needs. Whatever the case, The message is the same: There will always be someone manipulating the threads of power from the shadows, for better or worse.

The direction by Brian Shnipper is a great example of how to utilize the space to create fluidity, leaving enough room for physicality to give that additional punch to the comedic situations. Even though the whole play happens in one single room, Shnipper makes sure the brilliant cast and the amusing comedy keep the audience entertained.

The Outsider

International City Theatre in the Beverly O’Neill Theatre
Long Beach Convention & Entertainment Center
330 East Seaside Way
Long Beach, CA 90802

Performances: June 14 – June 30
• Thursdays at 7:30 p.m.: June 20, June 27
• Fridays at 7:30 p.m.: June 14 (Opening Night), June 21, June 28
• Saturdays at 7:30 p.m.: June 22, June 29
• Sundays at 2 p.m.: June 23, June 30

Tickets: ictlongbeach.org

Written by Paul Slade Smith. Directed by Brian Shnipper. Produced by caryn desai [sic]. Presented by International City Theatre.

Cast: Thomas Anawalt, Jonathan Bray, Susan Huckle, Nikhil Pai, Taylor Popoola, Stephen Rockwell, Natalie Storrs.

Creative team: Set designer John Patrick, lighting designer Crystal R. Shomph, costume designer Claire Fraser, sound designer Dave Mickey, and prop designer Patty Briles. Casting is by Michael Donovan, CSA, and Richie Ferris, CSA. The stage manager is Pat Loeb.

Theatre Review: The Spy Who Went Into Rehab

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The Spy Who Went Into Rehab is presented by Pacific Resident Theatre. Written by Gregg Ostrin. Directed by Cyndy Fujikawa.

Simon Cross (Satiar Pourvasei) is sent to the most challenging mission to date: Cure his addiction to women, gambling, drinking, and killing the most dangerous criminals. Will he be able to survive the grueling therapy at the rehab center?

Under the strict guidance of therapist Stella (Jill Renner), Simon will go through a radical transformation. At the rehab center, Simon will interact with other addicts that will teach him a lesson on sensitivity and empathy. There is Gary (Stuart W. Howard), Yvonne (Rachel Townsend), and Pixie (Alondra Andrade). Insensitive to their feelings, Simon’s macho attitude triggers the trauma on these three addicts, a signal that he needs an urgent intervention to change his toxic masculinity.

Playwright Gregg Ostrin has created a mesmerizing and relatable play that gives a new look at the typical spy character that has been so popular in movies and TV. One of the most interesting features of this play is not only Simon’s transformation through his interaction with the other characters, but also how he is able to help the other addicts to overcome their fears and achieve a positive transformation for themselves.

Pourvasei’s performance is one of a kind. His nonchalant demeanor and clueless notion of his negative behavior at the beginning of the play heightens the comedic aspect of his character. Overall, the dialogue and physical comedy delivered by the rest of the cast combine perfectly to treat the audience to an exhilarating performance. Director Cyndy Fujikawa is able to translate the text effectively into an energetic visual experience that highlights the comedy and the intriguing aspects of the story. Fujikawa also acts in this production as Z, the person behind the organization that sends Simon to special missions.

The story and the plot get the audience invested in the characters. Will Simon manage to complete his therapy? Is he still relevant, or is he just a toxic relic from the past? Is therapy working for the other addicts? And how about Stella, the therapist?

The play has comedy, suspense, addiction, a Mexican standoff, and a surprise visit of Simon’s nemesis, Lazarus (with a cat). The question is, who will save the world if Simon retires?

The Spy Who Went Into Rehab

Pacific Resident Theatre
703 Venice Blvd.
Venice, CA 90291

Opening: 8pm on Friday, June 7, 2024
Schedule: 8pm Fridays, Saturdays; 3pm Sundays
Closing: July 7, 2024
Written by Gregg Ostrin. Directed by Cyndy Fujikawa.
Cast: Satiar Pourvasei, Jill Renner, Stuart W. Howard, Rachel Townsend, Alondra Andrade, and Cyndy Fujikawa.
Creative team: Michael Franco (Lighting Design), Jason Culp (Sound Design), Rachel Townsend (Choreography).

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: TINY LITTLE TOWN, a new musical

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TINY LITTLE TOWN, a new musical is presented by Theatre Movement Bazaar. Book by Richard Alger and Tina Kronis. Lyrics by Richard Alger. Music composition by Wes Myers. Adapted from The Inspector General By Nikolai Gogol. Direction and Choreography by Tina Kronis. Produced by Theatre Movement Bazaar. Associate Producer Justin Okin.

Major Rasmussen (Kasper Svendsen) has a tiny little problem. A General Inspector has been sent from Washington to audit the city and its officials. Will the Inspector find out about the rampant corruption going on in this American tiny little town? After all, it’s the 70. Yes, the same period of the Watergate scandal during Nixon’s presidency. Major Rasmussen has also taken a few bribes here and there, and now he needs to find a way to cover up his corruption and that of his city officials.

With little time to clean up his record, the Major has no other choice but to do what he does best: Bribe. The only problem is that he ends up bribing the wrong person. As the story unfolds, the city officials and some of the citizens are duped into the trickeries of Konner (Nikhil Pai), the mysterious visitor they take as the Inspector. With a Rico Suave swagger, Konner even manages to impress Anna Rasmussen (Paula Rebelo, Do You Feel Anger), the Major’s wife, and Maria Rasmussen (Ishika Muchhal), the Major’s daughter. As a captivating subplot, Konner’s assistant, Joseph (Nick Apostolina), and Rasmussen’s secretary, Jackie (Prisca Kim), start to develop a romantic relationship in the middle of all the chaos. Due to their shenanigans, the citizens and officials of this town will be forced to face the consequences of their actions, creating the situations that make this play a timeless study of crooked characters with a comedic bent.

The play is a musical that uses physical comedy to keep the action fast-paced and interesting. The direction and choreography by Tina Kronis is a phenomenal display of craftsmanship. The musical numbers are highly kinetic, combining music and comedy perfectly. The commedia dell’arte style in the performances, the set design, and the Eastern European music, make it feel like a topsy-turvy dream, an exaggerated and alluring image of our reality. And that’s the beauty of physical theatre; it’s an artistic and deviant vision of the world around us.

Theatre Movement Bazaar achieves an outstanding theatrical version of the satirical play written by Nikolai Gogol in 1836. One of the many great elements of this staging is the casting. Actors that can sing, dance, and deliver excellent comedy at the same time are not easy to find. Richard Alger and Tina Kronis have put together an extraordinary production that will be a successful hit without a doubt. It’s a gem. Right in the heart of Hollywood.

TINY LITTLE TOWN, a new musical

The Broadwater Theatre Main Stage
1078 Lillian Way
Los Angeles, CA 90038

Feb 1 – 18, Thurs – Sat @ 7:30pm, Sat and Sun @ 2:30pm

Tickets: theatremovementbazaar.ludus.com

Book by Richard Alger and Tina Kronis. Lyrics by Richard Alger. Music composition by Wes Myers. Adapted from The Inspector General By Nikola Gogol. Direction and Choreography by Tina Kronis. Produced by Theatre Movement Bazaar. Associate Producer Justin Okin. Cast: Nick Apostolina, Joey Aquino, Mark Doerr, Prisca Kim, Ishika Muchhal, Jesse Myers, Isaiah Noriega, Lamont Oakley, Nikhil Pai, Paula Rebelo, Kasper Svendsen, and Eddie Vona. Creative team: Aaron Francis (Technical Director), John Zalewski (Sound Design), Lechetti Design (Scenic Design), Aaron Francis and Johnny Montage (Lighting Design), Anna Kupershmidt (Production Stage Manager), Ellen McCartney (Costume Designer) Yuanyuan Liang (Assistant Costume Designer). 

A scene from TINY LITTLE TOWN, a new musical
A scene from TINY LITTLE TOWN, a new musical
A scene from TINY LITTLE TOWN, a new musical

Film Review: American Fiction

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American Fiction is directed by Cord Jefferson. Screenplay by Cord Jefferson, based on Erasure, by Percival Everett. Produced by Ben LeClair, Nikos Karamigios, Cord Jefferson, and Jermaine Johnson.

For Thelonious “Monk” Ellison (Jeffrey Wright), a writer living in Los Angeles, it’s just another day. Another fight. Even though he is capable of writing about the Greeks, the publishing industry refuses to accept his point of view about subjects considered exclusive to White people. Being labeled a Black writer rather than just a writer starts to take a toll on Monk, specially at his middle age phase.

To complicate things further, he goes back to his hometown in Boston and finds his mother Agnes (Leslie Uggams) experiencing the early stages of Alzheimer’s. While in Boston, Monk tries to reconnect with his sister Lisa (Tracee Ellis Ross)—a gynecologist who takes care of their mom—but she dies suddenly, leaving him with the responsibility to care for Agnes. His brother Cliff (Sterling K. Brown), a plastic surgeon in Tucson, only visits once in a while and is not reliable.

Writer/Director Cord Jefferson uses comedy and stereotypes to explore the nuances of American society’s expectations of Black artists. Monk seems trapped in that perpetual realm where Black artists try to express and propose new ideas about pretty much any subject, only to find out that they are expected to continue the narrative of oppression and underdevelopment that White audiences like so much. And that’s exactly what Monk decides to do, give the readers what they want and play the game, with unexpected consequences.

American Fiction presents the two faces of the story. For one, White audiences are eager to read about the Black experience, but only if that experience involves poverty, oppression, violence, and harsh upbringing. Anything outside of that context is off-limits. The film is also a symbol of the frustrations of Black writers when they are not taken seriously if they try to explore topics that are not related to their past struggles of racism and mistreatment, two themes that been exploited persistently by mainstream media for decades in a form of detrimental cultural appropriation.

An amazing play titled Hooded or Being Black for Dummies by Tearrance Arvelle Chisholm comes to mind when we talk about appropriation. In the play, the protagonist writes a manual for a fellow Black man about how to be Black. The manual, however, falls into the hands of a White man, who starts to speak and behave like a Black person, signifying the appropriation of the Black experience. Likewise, the White audiences in American Fiction seem to be in a relentless pursuit of Black stories, an attitude to show empathy and imply a new era of equality, whether real or imaginary. This can either be a true new beginning, or the perpetuation of a pervasive entrenchment of inequality.

American Fiction is based on Erasure, the 2001 novel by Percival Everett. Jefferson’s adaptation includes the subplots of Erasure: Sexual identity, family, professional jealousy, and ultimate surrender to the devouring forces of the American readership. One of the most poignant aspects of the film is how Jefferson tied together the various subplots of the story to reach a cohesive denouement without preaching what’s right or wrong. Rather, he allows the audience to come out with their own conclusions, opening the door for further discussions on the subject matter.

The film is also a technical treat, the cinematography by Cristina Dunlap plays well with the lighting intensities both in the interior shots as well as the exterior ones, highlighting the humorous and dramatic feel of the scenes. The score by Laura Karpman is a vibrant combination of bossa nova and jazz that gives a distinct mood to the entire film.

American Fiction

Directed by Cord Jefferson. Screenplay by Cord Jefferson. Based on Erasure by Percival Everett. Produced by Ben LeClair, Nikos Karamigios, Cord Jefferson, and Jermaine Johnson. Executive producers: Rian Johnson, Ram Bergman, Percival Everett, Michael Bowes.

Production companies: Orion Pictures, MRC Film, T-Street Productions, and 3 Arts Entertainment.

Distributed by Amazon MGM Studios.

Starring Jeffrey Wright, Tracee Ellis Ross, Issa Rae, Sterling K. Brown, John Ortiz, Erika Alexander, Leslie Uggams, Adam Brody, Keith David, Okieriete Onaodowan, Myra Lucretia Taylor, Raymond Anthony Thomas, Miriam Shor, J.C. MacKenzie, Patrick Fischler, and Michael Cyril Creighton.

Creative team: Cinematographer Cristina Dunlap. Edited by Hilda Rasula. Music by Laura Karpman.

 

Jeffrey Wright image
A scene from American Fiction
A scene from American Fiction

Theatre Review: Deathtrap

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International City Theatre presents Deathtrap. Written by Ira Levin. Directed by Jamie Torcellini. Produced by caryn desai [sic].

Mystery and humor are combined to create a play with plenty of twists and turns to keep the audience wondering who will be killed next. Since the beginning, Sidney Bruhl (Geoffrey Lower) gives off a strange vibe, an uncomfortable sense of danger and violence. With a devilish sense of humor, that is. His wife Myra (Jill Remez) seems to perceive the same tension in the air. When Clifford Anderson (Coby Rogers), Sidney’s previous student, shows up with the script of what Sydney thinks would be a Broadway hit, things turn upside down and the real danger starts to emerge. 

Playwright Ira Levin also wrote Rosemary’s Baby, a horror novel turned into a famous film in the late 60s. Even tough Deathtrap combines mystery and humor that makes it lighter than Rosemary’s Baby, the play has some pretty intense moments. Lower, Rogers, and Remez do a fantastic job bringing out the violence and humor of the script to make the audience feel on edge in a fun and scary way. 

The writing is excellent; it keeps the sense of wonder all the way through. The direction by Jamie Torricelli, The Legend of Georgia McBride, is on point, with a great use of the space and presenting an amazing scenic (Fred Kinney), music (Dave Mickey), and lighting (Crystal R. Shomph) design to reinforce the mystery of the story. This is a unique opportunity to experience what Dr. Julia Wilkins calls “relief theory”, the phenomenon of getting scared with laughter. It’s the perfect show for this Halloween season.

Deathtrap

International City Theatre
Long Beach Convention & Entertainment Center
330 East Seaside Way
Long Beach, CA 90802

Performances: Oct. 20 – Nov. 5
• Thursdays at 8 p.m.: Oct. 26, Nov. 2
• Fridays at 8 p.m.: Oct. 20 (Opening Night), Oct. 27, Nov. 3
• Saturdays at 8 p.m.: Oct. 28, Nov. 4
• Sundays at 2 p.m.: Oct. 29, Nov. 5

Tickets: ictlongbeach.org

Written by Ira Levin Directed by Jamie Torcellini. Starring Michelle Holmes, Geoffrey Lower, Jill Remez, Coby Rogers, and Patrick Vest. Produced by caryn desai [sic]. Presented by International City Theatre. Creative team: Set designer Fred Kinney, lighting designer Crystal R. Shomph, costume designer Kim DeShazo, sound designer Dave Mickey and prop designers Patty and Gordon Briles. Casting is by Michael Donovan, CSA and Richie Ferris, CSA. The production stage manager is Donna R. Parsons.

Deathtrap poster
A scene from Deathtrap
A scene from Deathtrap
A scene from Deathtrap