Theatre Review: Driver’s Seat

Posted on October 26, 2022October 27, 2022 by Glamour

Driver’s Seat is written and performed by Ellie Brelis. Directed by Emily Mikolitch.

Ellie Brelis introduces us to a condition called Obsessive Compulsive Disorder (OCD), something she had to live with since early childhood. This situation led her to find ways to navigate life and relationships. If the transition to adulthood is difficult to most people, adding OCD to the equation makes it even more complicated.

The play is a journey through some of the toughest episodes in Ellie’s life. She needed constant validation in order to endure the darkest moments she experienced. But some of that validation just didn’t happen. Finding refuge in a relationship seems like a natural thing to do. In her case, however, the breakup of that relationship caused more damage than anything else. If on top of that your grandfather dies of Covid amid a world pandemic, you get the picture.

Those devastating events triggered a really bad case of OCD that brought up thoughts of suicide. When she reached out for help, she was taken to a psychiatric hospital. In the middle of that environment, she found a true friendship that understood her situation and helped her survive her ordeal.

After her hospital stay, Ellie was treated with Exposure and Response Prevention (ERP) therapy in order to overcome her fears.

One of Ellie’s greatest fears is to drive, so she kept putting off her driver’s license exam. For a person with OCD, driving can become a real nightmare, the constant fear of killing someone is a frightening idea that they can’t get out of their minds.

In addition to the already delicate position of someone with OCD, coming out as queer in a still conservative society can add to the anxiety to a young and vulnerable person.

Driver’s Seat is a play where despite the topics depicted, the protagonist still finds room for humor. And in humor, as is often the case, we can find validation to endure and survive, and in the case of Ellie, to thrive and shine.

Ellie Brelis is an example of strength and courage that is touching and contagious. Her personal story of tribulations and survival needs to be told. It’s a story that will hopefully reach the audience who, just like her, might also need hope and validation.

Director Emily Mikolitch is a young director who put together an interesting solo show that has emotion and humor to keep the audience engaged. The script and performance make great use of the multicolor light, the crisp white wardrobe, projections, sound, and music, making this play a cathartic experience that allows the energy to flow back and forth between a brave thespian and an involved audience.

Driver’s Seat

Written and performed by Ellie Brelis. Directed by Emily Mikolitch. Produced by Misha Riley. Creative team: Gavan Wyrick (Lighting Design), Gabriella Gilman (Costume Design), Charlie Glaudini (Sound Design), Nick Wass (Projection Design), Michelle Hanzelova (Graphic Design), Roella Dellosa (Stage Manager).

Theatre 68 Arts Complex, Emerson Theatre
5112 Lankershim Blvd., North Hollywood, CA

Opening at 8pm on Saturday, October 22
Schedule: 8pm Fridays and Saturdays, 3pm Sundays
Closing: Sunday, November 13, 2022

Tickets: www.Onstage411.com/DriversSeat

Theatre Review: Lend Me A Tenor

Posted on October 26, 2022October 26, 2022 by Glamour

Lend Me A Tenor is presented by International City Theatre. Written by Ken Ludwig. Directed by Todd Nielsen.

The Cleveland Opera is expecting an unforgettable night with Pagliacci, performed by famous Italian opera tenor Tito Merelli (Michael Scott Harris, Singing Revolution, The Musical). Henry Sounders (Barry Pearl), the Cleveland Grand Opera’s general manager, his assistant Max (Nick Tubbs, Marry Me a Little), and his daughter Maggie (Bella Hicks, Singing Revolution, The Musical) are all nervously waiting for Tito’s arrival at the hotel suite. Max’s job is to ensure Tito’s needs are met in a timely manner, but mainly, his job is to keep the booze and the women away from Tito as he’s a notorious drinker and womanizer.

When Tito arrives with his temperamental wife Maria (Jade Santana), Sounders leaves the suite, but Maggie stays behind and hides in the bedroom closet, expecting to get Tito’s autograph. When Maria finds Maggie hiding, she gets furious, assuming that Maggie is one of Tito’s lovers. Maria then writes a goodbye note to Tito and leaves the suite. As Tito is with Max in the other room, he doesn’t notice when Maria leaves. Eventually, Tito finds Maria’s note and panics, thinking that Maria has left him forever. As the tranquilizers and the booze kick in, Tito falls into a deep sleep. Later, when Max tries to get him ready to go to the performance, he is unable to wake him up, mistakenly thinking that Tito has committed suicide. Everything then is turned upside down, forcing Saunders to come up with a last minute plan to save his own skin. A plan that might give Max the opportunity of a lifetime. Max will take the place of Tito in the opera Pagliacci. What can go wrong?

The other characters in the play are Diana (Kailyn Leilani), the seductive soprano who tries to get her way with Tito. Julia (Holly Jeanne), the Chairwoman of the Cleveland Opera Guild, also a fan of Tito. The Bellhop (Matt Curtin, Rapunzel Alone), another Tito’s fan who is always trying to get Tito’s autograph and picture.

Max is an interesting character. He starts by showing his insecurities as a simple assistant who dreams of becoming a star singer. His brief interaction with Tito proved to spark his dreams to a higher level. Above all, the play shows the power of music. For Tito, music is a way of life. For Max, is a dream, a latent desire to express himself. The opportunity to show his talent in such an important event may not happen again. This is Max’s only chance in life to defeat his insecurities, despite the dishonesty of impersonating Tito to cheat the audience. It is Max willing to jump into the unknown what saves the day.

It is also a story of second chances in life, mainly in terms of relationships. Maria and Tito, experiencing ups and downs in their marriage have to decide whether or not to try it again. For Maggie, it is Max’s impressive performance in Pagliacci what makes him even more attractive as a potential husband.

Lend Me A Tenor is a sophisticated play that delights the audience for its comedy and constant action. Both Michael Scott Harris and Nick Tubbs show their excellent singing skills. The whole cast delivers a top-level performance from beginning to end. The scenic design with all of its details (scenic designer JR Norman Luker), the high key lighting (lighting designer Donna Ruzika), and the costume design (costume designer Kim DeShazo) provide outstanding and appealing elements to the stage.

Director Todd Nielsen achieves an exciting production with the talented cast and creative team behind this comedy. The blocking allows the actors to deliver a highly kinetic performance that adds dynamism and physical comedy to the story. The last scene is a testament of Nielsen’s creativity. Producer caryn desai [sic] continues to show her exquisite taste for the most engaging productions to entertain the audiences of Los Angeles. Lend Me A Tenor is without a doubt one of the best productions of the year.

Lend Me A Tenor

Written by Ken Ludwig. Directed by Todd Nielsen. Starring Matt Curtin, Michael Scott Harris, Bella Hicks, Holly Jeanne, Kailyn Leilani, Barry Pearl, Jade Santana, and Nick Tubbs. Produced by caryn desai [sic]. Presented by International City Theatre.

Creative team: Scenic designer JR Norman Luker, lighting designer Donna Ruzika, costume designer Kim DeShazo, sound designer Dave Mickey, prop designer Patty Briles, and hair and wigs designer Anthony Gagliardi. Casting is by Michael Donovan, CSA and Richie Ferris, CSA. The production stage manager is Donna Parsons.

INTERNATIONAL CITY THEATRE
Long Beach Convention & Entertainment Center
330 East Seaside Way
Long Beach, CA 90802

Performances: Oct. 21 – Nov. 6
Thursdays at 8 p.m.: Oct. 27, Nov. 3
Fridays at 8 p.m.: Oct. 21 (Opening Night), Oct. 28, Nov.4
Saturdays at 8 p.m.: Oct. 22, Oct. 29, Nov. 5
Sundays at 2 p.m.: Oct. 23, Oct. 30, Nov. 6

Tickets: ictlongbeach.org

Theatre Review: The Secret World of Archy & Mehitabel

Posted on September 12, 2022September 12, 2022 by Glamour

The Secret World of Archy & Mehitabel is a stage adaptation by Dan Gilvezan. The play is based on the columns of New York Evening Sun journalist Don Marquis (July 29, 1878 – December 29, 1937). Directed by Moosie Drier.

The Boss (Bill Chott) is perplexed when he sees a cockroach typing a letter on his typewriter one early morning. The cockroach Archy (Dan Gilvezan) was actually a poet in a previous life. Archy writes about his adventures and misfortunes reincarnating as a cockroach, an insect disliked by many. The Boss finds these letters very often when he arrives to his office. Archy also writes about his interactions with other animals and, having the soul of a poet, he asks them some rather philosophical questions about their perspectives in life.

Archy asks a mayfly (Kelly Stables) if she is ever sad or bitter, as she will only live for a day. She responds that her life is so short that she wouldn’t have time for those negatives feelings. Archy also talks to a combative South American tarantula (Richard Horvitz) who gets into a fight with a rat (Kelly Stables). The tarantula wears a military beret with a red star, a hint to the Che Guevara and other revolutionaries who engaged in bloody civil wars. The tarantula and the rat end up killing each other, also a symbol of the usual consequences on both sides in a war.

One of the most endearing characters Archy talks about is Mehitabel (Carolyn Hennesy) the cat. She claims that she was Cleopatra in her previous life, but she keeps changing the characters every time and she doesn’t even remember who Mark Antony was. Mehitabel tells her personal story as a privileged cat living with a rich human couple. Unfortunately for her, the couple decided to bring a dog into their home. After a fight with the dog, Mehitabel was kicked out and she found herself alone in New York City. What she had to do to survive is the content of a great deal of Archy’s letters to The Boss.

All of the animals described in the letters show traits and experiences that are meaningful and offer an opportunity to reflect on the importance of the unity of humans and nature. The Boss is having some marriage issues and is stressed out at work. He eventually realizes that maybe Archy is trying to talk to him at a more personal level through these letters; if only he pays attention and listens.

This play is staged in an intimate theatre that adds to the charm of this story. The dialogue is utterly funny with plenty of action. Although reflecting Don Marquis’ time, the material feels so contemporary that the audience will relate to the endearing characters of this fantastic tale. Extraordinary direction by Moosie Drier and mesmerizing performances by all five actors. The live piano music is performed by Dan West, giving a special old-school vibe to the play.

The Secret World of Archy & Mehitabel

Adapted for the stage by Dan Gilvezan from the “The Sun Dial” columns by Don Marquis. Directed by Moosie Drier. Starring Bill Chott, Dan Gilvezan, Carolyn Hennesy, Richard Horvitz, and Kelly Stables. Produced by Joselle Celine.

Creative team includes scenic designer Jeff G. Rack and lighting, sound and projections designer Nick Foran.

Whitefire Theatre
13500 Ventura Blvd.
Sherman Oaks, CA 91423

September 10 – October 15
Saturday at 3 p.m.: Sept. 17 ONLY
Saturdays at 8 p.m.: Sept. 10, Sept. 17, Sept. 24, Oct. 1, Oct. 8, Oct. 15

Tickets: whitefiretheatre.com