Tag Archives: Comedy

Theatre Review: Holy Waters

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The Hollywood Fringe Festival is in full swing and this time we are reviewing Holy Waters, written by Eleanor Vigneault and directed by Augusta Mariano.

A daughter (Eleanor Vigneault) is on the phone getting fired when she receives the surprising visit of her mom (Anita Barone). With no job, no boyfriend, and only a toy as a companion, the daughter doesn’t seem to have much of a future. The mom decides to take her daughter on a road trip and figure out their relationship along the way, with the help of some whisky, of course.

Vigneault explores the complexities of a mother-daughter relationship and the hardships of a household with limited income that pushes the tolerance of the family members to the limit. As they travel together, the contrasts and similarities between the two become more evident, for better or worse.

Vigneault and Barone excel in their roles in this heartfelt and exceptionally hilarious play. The seriousness of their fragility and religious undertones is offset by the continuous comedic lines that they deliver so naturally. Director Augusta Mariano uses of the limited space creatively. Even though is a small stage, Mariano moves the action around, using every inch of the available space.

The writing, directing, and acting make Holy Waters a rare find this festival season. It’s a snippet of the talent working creatively in intimate theatres; a showcase of the potential in the thriving LA theatre scene.

Holy Waters

Actors Company (The Little Theater)

916 N. Formosa Ave.

Los Angeles, CA 90046

Opening: Sunday 6/4 @ 4pm
Friday 6/9 @ 8:30pm
Saturday 6/10 @ 12:30pm & 11:30pm
Closing: Sunday 6/11 @ 6:30pm

Tickets: hollywoodfringe.org/projects/9929

Written by Eleanor Vigneault. Directed by Augusta Mariano. Starring Anita Barone and Eleanor Vigneault. Creative team: Stage Manager Maddy Glave, Sound Design Jeremy Robinson, Set Design Mike Mariano, Board Op Ezra Fisher.

 

Holy Waters poster
A scene from Holy Waters
A scene from Holy Waters

Theatre Review: Starmites

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

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

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

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

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

Starmites

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

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

Tickets: openfist.org

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

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

Theatre Review: Under the Skin

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The West Coast premiere of Under the Skin is presented by International City Theatre. Written by Michael Hollinger. Produced and directed by caryn desai [sic].

Suddenly, your absent father shows up at the door and asks for your kidney. Would you give it to him? Under the Skin delves into organ donation and the hilarious and difficult relationship between Raina (Allison Blaize) and her father Lou (Tony Abatemarco), who never attended any of her birthday parties when she was a kid. During his days as a player, Lou started an alternate family with Marlene (Tanya Alexander), who gave birth to his son Jarrell (Julian Smith). 

Things get more complicated when Raina meets Jarrell and the two start a conversation. Secrets are revealed and relationships may not be what they seem to be. In the meantime, Lou’s kidney failure continue to progress and time is running out to save his life.

Michael Hollinger‘s writting is a combination of tragedy and comedy that is engaging and leaves the audience in a state of wonder as the scenes move forward. The health deterioration Lou experiences later in life forces him to face his own failures as a father and husband. At the same time, this character shows the complexities of life experiences and the power of human connections, whether filial or romantic. The character of Raina shows the lifelong impressions experienced in childhood and the emotional scars left as a result of bad parenting. All of these textures of human interactions are displayed in this play brilliantly.

Director caryn desai [sic] unifies love, compassion, and the power of blood in a cohesive and entertaining manner, building up the intrigue and disbelief throughout the play. Desai manages to lighten up the seriousness of organ donation and add a touch of comedy to the ordeal of waiting for a donor while attempting to fix broken relationships. 

Under the Skin is a delightful story of redemption, love, and forgiveness. It is a story of rich characters and their unusual reactions when they get second chances in life.    

Under the Skin

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

Performances: April 28-May 14
• Thursdays at 8 p.m.: May 4, May 11
• Fridays at 8 p.m.: April 28 (Opening Night), May 5, May 12
• Saturdays at 8 p.m.: April 29, May 6, May 13
• Sundays at 2 p.m.: April 30, May 7, May 14

Tickets: ictlongbeach.org

Written by Michael Hollinger. Directed by caryn desai. Starring Tony Abatemarco, Tanya Alexander, Allison Blaize, and Julian Smith. Produced by caryn desai [sic]. Presented by International City Theatre.

Creative team: Set designer Timothy Mueller, lighting designer Donna Ruzika, costume designer Kim DeShazo, sound designer Dave Mickey, and prop designer Patty Briles. Casting is by Michael Donovan, CSA and Richie Ferris, CSA. The production stage manager is John Freeland, Jr.

 

Under the Skin poster
A scene from Under the Skin
A scene from Under the Skin
A scene from Under the Skin

Theatre Review: The Pilot Who Crashed the Party

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The world premiere of The Pilot Who Crashed the Party is presented by Public Works Improvisational Theatre Foundation in association with Paul Sand Projects. Written and directed by Tony Award winning actor and Second City alum Paul Sand. Produced by Amanda Weier.

Sally (Jacqueline Wright) is celebrating her 50th birthday in her house up in the mountains in a stormy night when a small plane crashes into her house. The pilot (Sol Mason) manages to enter the house, but does not remember who he is, puzzling the party guests. The night then becomes a mystery when everyone tries to figure out the party crasher. The partygoers are Laura (Claudia Ferri), Ilo (Francis C. Edemobi), (Debra Lane), Daniel (Lee Boek), and the evening’s musicians (Yennie Lam on violin and Chris Rorrer on cello).

After consulting a medical book as a quick reference, the guests decide not to let the pilot sleep so he doesn’t fall into a coma. One by one, they take turns to keep him awake.  They all seem to like the pilot, except Daniel, who thinks the pilot is an intruder with bad intentions. When it’s Sally’s turn to care for the pilot, things heat up and take a new direction. 

Even though the play’s pacing in the first act feels a bit slow at times, it’s Jacqueline Wright’s sassy and hilarious performance that drives a great deal of the play’s action and comedy. Her voice and body language are a combination of classic Hollywood with femme fatale, a suitable complement to the mysterious feel of the play.

The second act is where the action really happens. Sally’s relationship with the mysterious pilot and the way Daniel snaps trigger the most memorable scenes of the play. The lighting and projections (lighting designer Azra King-Abadi, projection designer Fritz Davis) add striking elements to the action throughout the play. Paul Sand presents a story with overtones of mystery and passion with a sense of wonder. It’s up to the audience to deduce the ending. 

The Pilot Who Crashed the Party

Broadwater Theatre Main Stage
6320 Santa Monica Blvd.
Los Angeles, CA 90038

April 8 – May 7:
• Fridays at 8 p.m.: April 14, April 21, April 28, May 5
• Saturdays at 8 p.m.: April 8 (Opening), April 15, April 22, April 29, May 6
• Sundays at 3 p.m.: April 16, April 23, April 30, May 7

Tickets: www.onstage411.com/Pilot

Written and Directed by Paul Sand. Starring Marcia Lynn Anthony, Lee Boek, Francis C. Edemobi, Claudia Ferri, Debra Lane, Sol Mason, Jacqueline Wright. Musicians: Yennie Lam (violin) and Chris Rorrer (cello). Produced by Amanda Weier. Presented by Public Works Improvisational Theatre Foundation in association with Paul Sand Projects. The creative team includes scenic designer Jeff G. Rack; costume designer Linda Muggeridge; lighting designer Azra King-Abadi; sound designer Shoshana Kuttner; and projection designer Fritz Davis. The assistant director is Alex Hogy, and the production stage manager is Anna Kupershmidt.

 

 

The Pilot Who Crashed the Party poster
A scene from The Pilot Who Crashed the Party
A scene from The Pilot Who Crashed the Party
A scene from The Pilot Who Crashed the Party

Theatre Review: The Lifespan of a Fact

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The Fountain Theatre presents the West Coast premiere of the Broadway hit play, The Lifespan of a Fact, written by Jeremy Kareken, David Murrell, and Gordon Farrell. Directed by Simon Levy.

What is fake news? Where do journalists draw a line between facts and a good story? In The Lifespan of a Fact, Jim Fingal (Jonah Robinson) is a young intern who has to fact check the essay written by famous author John D’Agata (Ron Bottitta, Wakings!). The essay is the the story of a young men who jumped to his death from a building in Las Vegas. The editor, Emily Penrose (Inger Tudor) needs to have the essay ready for publishing within a few days. 

Fingal, a Harvard graduate, is overtly meticulous and starts to find a handful of inaccuracies in D’Agata’s essay. What happens next is a series of hilarious situations that show Fingal’s obsession with minute details and D’Agata’s tendency to twist the facts to fit his rhythm. 

The play focuses on the competitive world of journalism, where the accuracy of information might be a suggestion and not the rule. Penrose expresses the pressure from investors, advertisers, and the diminishing readership in general as a determining factor to approve stories on her magazine. Penrose and D’Agata are characters that capture the complicated relationship between the interests of the owners of the media and the ethics of a journalist.

In the play, D’Agata’s essay is a metaphor of spin and cherry picking, tactics used to make the story more appealing. In a larger context, those tactics are used by governments and corporations to influence public opinion and advance their own interests. In a society where freedom of speech is paramount, the information relayed to the public can be easily manipulated to deceive or serve particular agendas. Rafael Correa, the former president of Ecuador, once said: “Since the invention of the printing press, the freedom of the press is dictated by the will of the owner of the printing press”. The characters in the play portray that conflictive triangle of freedom of speech, media business interests, and journalism as an elemental tenet of truth.

The Lifespan of a Fact is a captivating play that makes us take a closer look at the avalanche of information to which we are exposed. Media interests, personal opinions, personal experiences, and ethics are all displayed on stage in an entertaining and thought-provoking theatrical experience.               

The Lifespan of a Fact

The Fountain Theatre
5060 Fountain Ave.
Los Angeles CA 90029
(Fountain at Normandie)

Performances: February 18 – April 2
• Fridays at 8 p.m.: March 3; March 10; March 17; March 24; March 31
• Saturdays at 8 p.m.: Feb. 18 (opening); March 4; March 11; March 18; March 25; April 1
• Sundays at 2 p.m.: March 5; March 12; March 19; March 26; April 2
• Mondays at 8 p.m.: March 6; March 20; March 27 (dark March 13)

Tickets: fountaintheatre.com

Written by Jeremy Kareken, David Murrell, and Gordon Farrell. Based on the book by John D’Agata and Jim Fingal. Directed by Simon Levy. Starring Ron Bottitta, Jonah Robinson, and Inger Tudor. Presented by The Fountain Theatre.

The creative team includes scenic designer Joel Daavid, lighting designer Alison Brummer, sound designer Marc Antonio Pritchett, costume designer Michael Mullen, video designer Nicholas Santiago and properties designer Joyce Hutter. The production stage manager is Hannah Raymond. Stephen Sachs and James Bennett produce for the Fountain Theatre.

 

The Lifespan of a Fact poster
A scene from The Lifespan of a Fact
A scene from The Lifespan of a Fact
A scene from The Lifespan of a Fact

Theatre Review: LOVE…or Best Offer

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The Group Rep presents the world premiere of LOVE…or Best Offer, written by Phil
Olson, winner of the Robert J. Pickering Award for Playwriting Excellence. Director: Doug Engalla. Producer: Aly York.

If online dating is already challenging, imagine dating at an older age, when divorces, kids, and emotional scars have taken a toll on our lives. Despite all of that, the protagonists in LOVE…or Best Offer make looking for love an exciting game worth trying.

The characters show the insecurities that older people face when trying to start a romantic relationship all over again in a digital world. In addition, trying to replace someone else while dealing with grown-up kids might be more complicated than expected.

The play takes us on an emotional trip to the lives of Cheryl (Stephanie Colet) and Stan (Doug Haverty) and their respective friends Lori (Kathleen Delaney) and Dave (Marc Antonio Pritchett). Stan, a millionaire, needs to find someone who won’t go after his money. Cheryl wants a stable guy who is not a weirdo, like a serial killer or a foot fetish aficionado.

Once Lori and Dave set them up for an online session, Cheryl and Stan start a series of Zoom meetings that will test their willingness to lower their guards and give themselves another chance at love. Their challenge will be to overcome insecurities, misunderstandings, and the fear of vulnerability that comes with falling in love. 

The play is well written with great character development. Phil Olson adds elements that make the play more dynamic by including characters that inflict stress to the protagonists, like Cheryl’s son and Stan’s ex-wife. Those characters are never seen, only referenced, but they contribute conflict and resolution to the story. The four actors have an amusing sense of comedy that is infectious and engage the audience from beginning to end, a perfect gift for the month of love.  

LOVE…or Best Offer

The Group Rep at the Lonny Chapman Theatre – Second floor
10900 Burbank Blvd
N. Hollywood, CA 91601

Free street parking. The Upstairs is not handicapped
accessible.

February 18 – March 19, 2023

Saturdays at 4:00
pm.  Sundays at 7:00 pm. Talkback Saturdays after matinees Feb 18 and Feb 25.

Tickets: thegrouprep.com

Written by Phil Olson. Director: Doug Engalla. Producer: Aly York. Starring: Doug Haverty, Stephanie Colet, Kathleen Delaney, and Marc Antonio Pritchett.

 

LOVE...or Best Offer poster
A scene from LOVE...or Best Offer
A scene from LOVE...or Best Offer
A scene from LOVE...or Best Offer

Theatre Review: Come Get Maggie

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Rogue Machine presents the world premiere of Come Get Maggie. Written by Diane Frolov. Lyrics by Diane Frolov and Susan Justin. Music by Susan Justin. Directed by Michael Pressman.

 

Somewhere in the 30s, there was a girl who dreamed of the stars and the possibilities of alien life. That girl grew up to be a physicist in the 50s, defying the expectations of society at the time. That girl is Maggie (Melanie Neilan), whose parents, Mrs. Wyberry (Melissa Jobe) and Mr. Wyberry (Bruce Nozick), expect her to get married and live a suburban and conservative life. From there, things get more complicated for Maggie. Her research in physics is used to invent the H bomb, something she opposes. Disappointed, she quits physics and gives in to her parents’ wishes.

 

Maggie marries Hugh (Chase Ramsey), who doesn’t disclose he is a widow with two kids. He also has a nosy aunt, Auntie Ruthie (Jacquelin Lorraine Schofield, Rapunzel Alone, A Great Wilderness) who disapproves of Maggie. After moving in with Hugh, Maggie is introduced to the Mother Militia, a group of housewives with issues of their own. 

 

Hugh wants Maggie to be a traditional good wife. One that stays home cooking and taking care of the kids, and just like Paul in the Paul Lynde Show, he expects Maggie to have his martini ready when he gets home. But there is an incident that turns things upside down. Maggie gets kidnapped by aliens commanded by Varex (Dennis Renard, Three Tables). 

 

This musical looks back in time to an era when “America was standing at the summit of the world”, as stated by British Prime Minister Winston Churchill. At the time, America was fully involved in a nascent space industry—the set is reminiscent of the space movies and cartoons of the era. The 1950s were also considered by many the golden age of America, a post-WWII society that experienced an accelerated growth both in population and accumulation of wealth. Diane Frolov snaps pictures of the Fertility Valleys and their typical lifestyle, where everything looked perfectly manicured and in order. But Frolov also touches on what was happening underneath that apparent perfect world, the marginalization of certain sectors of society, such as women and members of the LGBT community. Women had little opportunities for career advancement and cross dressing could mean a career suicide for any man who dared to do it.             

 

This space romance musical has fabulous singers and the actors deliver comedy and kinetics that keep the audience engaged and entertained. Even though this is the first musical produced by the team, this first try is a good start to expand their repertory offerings. 

 

The cast: Melanie Neilan, Melissa Jobe, Bruce Nozick, Philip Casnoff, Dennis Renard, Chase Ramsey, Eddie Vona, Jacqueline Lorraine Schofield, Beth Egan, Nicole Ledoux, Sarah Hinrichsen, and Alan Trinca.    

 

Come Get Maggie

Written by Diane Frolov. Directed by Michael Pressman. Music by Susan Justin. Lyrics by Diane Frolov and Susan Justin. Produced by: John Perrin Flynn (A Rogue Machine Production).

 

Rogue Machine (in the Matrix Theatre)

7657 Melrose Ave, Los Angeles, CA 90046

(Street parking)

 

Opening: 8pm on Saturday, February 11, 2023

8pm Fridays, Saturdays, Mondays, 3pm Sundays

Closing: March 26, 2023

 

Tickets: roguemachinetheatre.org

 

Creative team: Stephanie Kerley Schwartz (Set Design), Ric Zimmerman (Lighting Design), Chris Moscatiello (Sound Design), Dana Rebecca Woods (Costume Design), Albin Konopka (Music Supervisor and incidental music), Michele Do (Music Director), Brooke Wendle (Choreographer), Nicholas Santiago (Video Design), Glenn Michael Baker (Assistant Set Design & Props Head).

 

 

Come Get Maggie poster
A scene from Come Get Maggie
A scene from Come Get Maggie
A scene from Come Get Maggie

Theatre Review: Harold and Maude

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Harold and Maude is presented by The Group Rep. Written by Collin Higgins. Directed by Larry Eisenberg. Produced by Lloyd Pedersen.

 

The stage adaptation of this 70s cult movie brings back the dorky young man and the eccentric octogenarian, united by a strange fascination for funerals. Harold (Landon Beatty) is an awkward young man who doesn’t have much purpose in life other than scare people with his pranks, including killing himself. His Mom, Mrs. Chasen (Susan Priver), tries to set him up with computer dates, hoping to get him married and settle down. But Harold does not agree with his mom’s plans, so he does what he does best, scare the hell out of the potential girlfriends with his sinister pranks. Sylvie Gazel (Kat Kemmet) and Nancy Mersch (Jessica Kent) run away at the first scare. Sunshine Dore (Gina Yates), on the other hand, proves to be too much of a melodramatic actress for both Harold and Mrs. Chasen. Witnessing all the drama unfolding is the family’s maid, Marie (Lareen Faye), who starts to get used to all the chaos in the house.

 

In the midst of Harold’s unhappiness, Maude (Clara Rodriguez) shows up at a funeral officiated by Father Finnegan (Lloyd Pedersen). Harold is also present, attracted by his morbid fascination of strangers’ funerals. That first connection leaves an impression on both Harold and Maude. From that point on, the characters’ backgrounds start to take shape along with their mutual attraction. Time, however, will be a determining factor in the consummation of their love, specially when Inspector Bernard (JC Gafford) and Sergeant Doppel (Steve Shaw) show up at Maude’s door.

 

Maude’s motivations, from rescuing a seal (Fox Carney) to saving a tree from the city’s pollution, are reflections of her life. An experience lived to the fullest, happiness and loss included. An experience too valuable to let it expire without passing it on to a new generation. Beyond the romantic characteristic of their relationship, their love is a bridge between two generations—the dusk of a rich existence and the dawn of an existential dilemma. Will Maude be more influential than Dr. Matthews (Fox Carney) to Harold’s search of meaning in life?

 

Director Larry Eisenberg gives new life to this story written more than fifty years ago. His work with the actors elevates the play to another level. The combination of dark humor and philosophical questioning is masterfully displayed on stage both in dialogue and action. Just like the story itself, the presence of young and experienced thespians is a poignant revitalization of the controversial topic of age-gap relationships. The use of projectors is an inventive way to recreate some of the most memorable scenes in the movie.

 

Harold and Maude is a pleasantly hilarious and moving play that features amazing talent on the legendary Lonny Chapman Theatre, home to the Group Rep, celebrating their 50th anniversary.

 

Harold and Maude

 

Lonny Chapman Theatre – Main Stage (1st Floor)

10900 Boulevard, North Hollywood 91601

Wheelchair Accessible. Free Street Parking

 

February 10 – March 19, 2023

Friday & Saturday Evenings at 8:00 pm, Sunday Matinees at 2:00 pm

Talkbacks after Sunday Matinees Feb 19 & March 5

 

Tickets: www.thegrouprep.com/

 

The Group Rep cast features the talents of Landon Beatty (Performs February 10, 18, 19, 24, 25, 26, March 10, 11, 12), Fox Carney, Lareen Faye, JC Gafford, Kat Kemmet, Jessica Kent, John Ledley (Performs February 11, 12, 17, March 3, 4, 5, 17, 18, 19), Lloyd Pedersen, Susan Priver, Clara Rodriguez (Performs February 10, 18, 19, 24, 25, 26, March 10, 11, 12), Steve Shaw, Janet Wood (Performs February 11, 12, 17, March 3, 4, 5, 17, 18, 19), and Gina Yates. Douglas Gabrielle (Father Finnegan U/S). The roles of Harold and Maude are double cast. Landon Beatty and Clara Rodriguez will perform together. John Ledley and Janet Wood will perform together.

 

The production team includes Mareli Mitchel-Shields (Set Design), Douglas Gabrielle (Lighting Design), Angela M. Eads (Costume Design), Christian Ackerman (Videographer), Patrick Burke (Puppet Design), Judi Lewin (Wigs/Hair/Make-up), Steve Shaw (Sound Design), Doug Haverty (Graphic Design).

 

 

 

 

Harold and Maude poster
A scene from Harold and Maude
A scene from Harold and Maude
A scene from Harold and Maude

Theatre Review: Do You Feel Anger

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Circle X Theatre Company presents the West Coast premiere of Do You Feel Anger? Written by Mara Nelson–Greenberg. Directed by Halena Kays.

Do You Feel Anger?, written in the absurdist style, is set in a debt collection agency. Sofia (Paula Rebelo) is hired as an empathy coach by the agency. Her job is to instill a sense of empathy in the employees through a series of exercises, using words to describe their own feelings and those of the people they call to collect a debt. Jon, the boss (Casey Smith), is as insensitive as the rest of the employees. Almost immediately, Jon’s comments reveal the sexist environment of the workplace when he asks Sofia to wear a dress instead of pants. When Sofia asks him if he knows what a woman’s period is, he has to call his assistant to figure it out. This becomes one of the funniest scenes, as he is both amused and disgusted when the assistant explains it to him.

The employees are Eva (a phenomenal Tasha Ames, Theatre Review: Hooded or Being Black for Dummies), Jordan (Napoleon Tavale), Howie (Rich Liccardo), and Janie (Charlotte Gulezian), who went missing mysteriously after she went to the restroom one day. A recurrent issue in the office is Eva’s claim about getting mugged in the cafeteria repeatedly, an incident that Jon asserts he’s investigating. 

In her first private conversation with Sofia, Eva confides that, as a deterrent, she needs to have a boyfriend at all times to keep Jordan and Howie away from her. So urgent is her boyfriend strategy, that she doesn’t even remember the names of the guys she dates. Sofia reassures Eva and starts to bond with her in what appears to be a nurturing relationship that will boost Eva’s self-confidence. 

Jordan and Howie, on the other hand, prove to be a tough case of misogyny and bad behavior. This will push Sofia’s patience to the limit, so much that she will end up spending a great deal of time coaching and pretending to side with them to understand their point of view. Her strategy then turns into some kind of reverse psychology. But as their interactions become more intense, the question now is: Who is using reverse psychology on whom?  

Sofia also finds out that her dad has a second family. As she tries to teach the employees at the agency about empathy, Sofia fails to show that feeling towards her own mom (Rose Portillo), who is struggling to cope with her failed marriage. 

Following the absurdist style of the play, one of Eva’s ex-boyfriend (Bob Clendenin), an old man in a wheelchair, shows up and threatens to blow up the office.

Under pressure from Jon to complete the training, Sofia finds herself juggling different personalities with challenging needs. Sofia’s bonding with Howie and Jordan start to shift the play in a new direction, mainly at Eva’s expense. Sofia’s own success as an empathy coach might be jeopardized by how close she gets to her subjects. The relationship of Sofia with the rest of the characters highlights the premise of whether the feelings of some people should matter more than those of others.  

Even though the situations and dialogue might feel cliché, the absurdist nature of the play calls for exaggerated elements to make it work as a comedy. The direction and the excellent performances of the actors keep the audiences amused and entertained as a continuum throughout the play.

Special mention to lighting designer Stephen Azua, who delivers an outstanding job with the vibrant and subtle changes both during transitions and within the scenes. 

The rest of the creative team includes scenic designer François-Pierre Couture; sound designer Jesse Mandapat; and costume designer Dianne K. Graebner. Properties design is by Kat Haan, with specialty props by Richard Maher. The assistant director is Lee Hannah Conrads and the production stage manager is Roella Dellosa.  

Do You Feel Anger?

Written by Mara Nelson–Greenberg. Directed by Halena Kays. Starring Tasha Ames, Charlotte Gulezian, Rich Liccardo, Rose Portillo, Paula Rebelo, Casey Smith, and Napoleon Tavale. Featuring cameo appearances by Bob Clendenin (Jan.19-Jan. 22); William Salyers (Jan. 26-Jan. 29); John Getz (Feb. 2-Feb. 5); Jan Munroe (Feb. 9-Feb. 12); Tony Amendola (Feb. 16-Feb. 19); and Silas Weir Mitchell (Feb. 23-Feb. 25). (Please note that the guest performer rotation is subject to change; updates can be found at www.circlextheatre.org.) Produced by Jen Kays, Kat Haan and Timothy Wright. Presented by Circle X Theatre Company.

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

PARKING:
FREE in the Atwater Crossing (AXT) lot one block south of the theater.

Performances: Jan. 21-Feb. 25, 2023:
• Thursday at 8 p.m.: Jan. 26; Feb. 2; Feb. 9; Feb. 16; Feb. 23
• Fridays at 8 p.m.: Jan. 27; Feb. 3; Feb. 10; Feb. 17; Feb. 24
• Saturdays at 8 p.m.: Jan. 21 (opening night); Jan. 28; Feb. 4; Feb. 11; Feb. 18; Feb. 25
• Sundays at 2 p.m.: Jan. 22; Jan. 29; Feb.5; Feb. 12; Feb. 19

Tickets: www.circlextheatre.org

Do You Feel Anger poster
A scene from Do You Feel Anger
A scene from Do You Feel Anger
A scene from Do You Feel Anger

Theatre Review: Daddy Issues

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Daddy Issues is presented by Charles Blondeau. Written and directed by David Goldyn.

Donald Moskowitz (James Seifert), a struggling actor, is trying to land a commercial for cat food. His homophobic father, Sid Moskowitz (Jonathan Fishman), comes to visit and tries to convince Donald to work for him at his company, Metal Balls, and quit acting. Sid also insists that he would like Donald to give him a grandson, despite the fact that Donald is gay. Out of desperation, Donald lies to his dad and tells him that he secretly had a son with his non-Jewish girlfriend, Mary Ellen, ten years ago. Ecstatic, Sid tells the news to the rest of the family.

Donald’s mom Marion Moskowitz (Pamela Shaw) and his grandmother, Grandma Moskowitz (Sherry Michaels), come to visit Donald to hear the news directly from him. Grandma even promises to double Donald’s inheritance as a gift for giving her a grandson. Donald agrees to bring over his son in a few days so he can meet his Jewish family. Where will Donald find a fake son and a fake ex-girlfriend in such a short period of time to please his family and get the inheritance?

Donald’s best friends Henrietta Hudson (Noa Lev–Ari) and drag queen-by-night Levi Krauss (Josh Nadler), both compete with each other to play the role of Donald’s ex-girlfriend, Mary Ellen. The neighbor downstairs, Johnny Walker (Solly Werner), becomes the “hired” ten-year-old son, and his mom (Hannah Battersby) ends up as one of the third Mary Ellens, a situation that gets Donald tangled up in a web of lies with no apparent solution.

This play is a comedy with references to the Jewish culture and the contrast of traditional values versus progressive lifestyles, a fact represented in the relationship between Donald and his father Sid. But mainly, the play highlights the importance of the family in the Jewish culture and the immense happiness that grandchildren bring to the grandparents.

Daddy Issues is a hilarious play with an 80’s flair set in Hell’s Kitchen, New York, NY. The cast is a brilliant mix of experienced and new talent that makes the audience laugh from beginning to end, a true gem in the heart of Hollywood.

Daddy Issues

Written and Directed by David Goldyn. Starring Hannah Battersby, Jonathan Fishman, Noa Lev–Ari, Sherry Michaels, Josh Nadler, James Seifert, Pamela Shaw, Solly Werner. Presented by Charles Blondeau. Creative team: Set designer Rody Villegas, lighting designer Katelan Braymer, costume designer Antonio Consuegra and graphic designer Phil Fab. The production stage manager is Jesse Fiene.

Dorie Theatre @ The Complex
6476 Santa Monica Blvd
Hollywood, CA 90038
(between Cole and Wilcox)

Performances: October 14–November 13
Fridays at 8 p.m.: Oct. 14 (Opening Night); Nov. 4; Nov. 11
Saturdays at 8 p.m.: Nov. 5; Nov. 12
Sundays at 5 p.m.: Nov. 6; Nov. 13

Tickets: daddyissuestheplay.com

Daddy Issues poster
A scene from Daddy Issues
A scene from Daddy Issues
A scene from Daddy Issues