Theatre Review: Inappropriate!

Inappropriate! is produced by NEO Ensemble Theatre, playing during the Hollywood Fringe Festival. Written by Rom Watson, Maura Swanson, Beth Polsky, Laura Huntt Foti, and E. M. Forster. Directed by Michael Caldwell and Rachel Winfree.

Welcome to a play in the form of comedy show with clever hints of political commentary and sexual innuendos. The play is a series of seven short stories from five writers. Curb Your Urges introduces us to a game show with naughty temptations. The Sub is a solo performance from a substitute teacher. First Date…well, bring your gas mask. The Last Reading deals with Genghis Khan and his disturbing pursuit of women (a divalicious actress is in the reading!). The Pharmacy is a public display of private health issues. Bible Study is another solo performance of a religious woman. Maybe not that religious. The cherry on top is Howard’s End, a eulogy in memory of Howard, a story where the ensemble put all their stuff on the stage for the audience to enjoy.

Inappropriate! is a perfect combination of new and experienced talent, all wrapped in hilarious and irreverent 1 hour show not to be missed.

Inappropriate!

The Three Clubs

1123 Vine St,

Los Angeles, CA 90038

Ticketshollywoodfringe.org/projects/9747

Playwrights: Michael Caldwell, Laura Huntt Foti, Beth Polsky, David St. James, Maura Swanson, Rom Watson and Rachel Winfree.

Featured actors: Michael Caldwell, Ewan Chung, Alex DeRita, Jessica Dowdeswell, AnnaLisa Erickson, Dee Freeman, Debra Kay Lee, Alexis C. Martino, Beth Nintzel, David St. James, Rachael Sizgorich, Jerry Weil and Rachel Winfree…plus special surprises from monologist Maura Swanson.

 

Theatre Review: Holy Waters

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

Ticketshollywoodfringe.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.

 

Theatre Review: The Bottoming Process

IAMA Theatre Company and the Los Angeles LGBT Center present the world premiere of The Bottoming Process, a dark comedy developed in IAMA’s Under 30 Playwrights’ Lab. Written by Nicholas Pilapil. Directed by Rodney To. Co-produced by IAMA Theatre Company and the Los Angeles LGBT Center.

Milo (George Salazar) is insecure about going out on a date with John (Rick Cosnett). But they do have something in common: They’re both writers. John is a famous and successful writer and Milo writes on Twitter without any book published yet. The temptation wins over Milo’s initial hesitation and they end up going on a date. They fall in love. What can go wrong?

Milo is working-class. John is wealthy. Milo is Filipino. John is White. What seems like a typical stereotype story, turns into a deep analysis of power structure and interracial relationships seen from a gay perspective, a dynamic not often portrayed on mass media. The meet-cute story at the beginning gives way to a much complex web of insecurities and misconceptions. The possibilities and impossibilities of a successful love tale are still contingent to a legacy of racism, cultural appropriation, and distrust, even between two willing and loving participants. But at the encouragement of Milo’s Korean friend Rosie (Julia Cho), “let him colonize your native lands”, Milo decides to give it a try. 

Milo’s entrance to John’s life seems idyllic at first. Milo moves in to John’s posh residence in the hills. John also introduces Milo to his friends, and more importantly, to his agent Charlie (Anisha Adusumilli). Everything seems to go well, so well that Milo signs a book deal. The successful launch of Milo’s book, however, is received with some resistance from John. The problem is that Milo continues to write about his negative views on White power structure and John takes offense on the subject. As John gets older and is in need of a new book, Charlie encourages him to write a more personal story that could make it a successful book to sell; she stills needs the agent’s money. In the meantime, John starts to flirt with another guy (Ty Molbak) at a cafe. John’s new book might seal the fate of his relationship with Milo.

Nicholas Pilapil‘s writting is a subtle mixture of lyricism and playful comedy with a punch. The lines are not just hilarious, they also reflect a unique Asian perspective and that of other immigrants as well. To be clear, The Bottoming Process is a play that can trigger heated arguments. It is, after all, a very personal take on the conversation about racial inequalities and whiteness as an aspirational state in America. The introspective last scene appears to tells us that the concept of colonization seems to be latent in our insecurities and expectations as we relate to others, whether that concept is real or imaginary.              

The Bottoming Process

Los Angeles LGBT Center’s Lily Tomlin/Jane Wagner Cultural Arts Center
Renberg Theatre
1125 N McCadden Place
Los Angeles, CA 90038

Performances: May 18 – June 12
• Thursday at 8 p.m.: May 18 ONLY (Opening Night)
• Fridays at 8 p.m.: June 2, June 9
• Saturdays at 8 p.m.: June 3, June 10
• Sundays at 2 p.m.: June 4, June 11
• Mondays at 8 p.m.: June 5, June 12 (dark May 29)

Ticketswww.iamatheatre.com

Written by Nicholas Pilapil. Directed by Rodney To. Starring George Salazar, Rick CosnettAnisha Adusumilli, Julia Cho, and Ty Molbak. A co-production of IAMA Theatre Company and the Los Angeles LGBT Center. Creative team: Scenic designer Christopher Scott Murillo; lighting designer Josh Epstein; sound designer Jeff Gardner; projections designer Nicholas Santiago; costume designer Elena Flores; properties designers Michael O’Hara and Rye Mandel; intimacy director Carly DW Bones; and casting director Jordan Bass. IAMA ensemble member Adrián González is associate director. Tiffany Moon is lead producer, Katharine Means is co-producer, Patricia Sutherland is the production manager, and Lars McCuen Van is the production stage manager.

Theatre Review: Battlesong of Boudica

Battlesong of Boudica is presented by The School of Night. Written and directed by Christopher William Johnson. 

Year 61 AD in Britannia. A revenge battle is about to tremble the feared and powerful Imperial Roman army. After the death of the wealthy Icenian king Prasutagus (Daniel Adomian), who named his two daughters and the Roman emperor as co-heir to his kingdom, the Romans ignored his will and took over his possessions. When the Roman procurator Decianus (Brad C. Light) shows up at the kings’s estate to take inventory, he ordered to flog Prasutagus’s widow Boudica (Jen Albert) and sexually assaulted his two daughters, Brenda (Allegra Rodriguez Shivers) and Kerma (Lucy Schmidt). 

That mistreatment triggers Boudica’s thirst for revenge. She decides to train her daughters for war and incites the Celtic tribes to revolt against the formidable Roman army. Historical details about this event are mentioned in Book 14 of The Annals, a history of the Roman Empire from the years AD 14-68 by Roman historian and senator Tacitus.

As Boudica and her troops continue the destruction of the Roman settlements Camulodunum, Londinium, and Verulamium, the Roman general Paulinus (Christopher  Neiman), in a military campaign against the druids in the island of Mona, decides to regroup the 14th Legion and fight Boudica’s army in an epic an bloody battle.

Battlesong of Boudica depicts some of the war elements employed at the time. Boudica invokes the Icenic war goddess Andraste, releasing a hare as a divination technique. The play also shows the dances used by the Icenic warriors to boost their morale. Writer and director Christopher William Johnson uses chants, dances, spoken verse, and energetic action to depict the intensity of the violent battles carried out during the Imperial Rome. Some of the themes presented are colonialism, sexism, revolution, and multiculturalism, topics that continue to be relevant today.

Actress Jen Albert is the co-founder of The School of Night and an award-winning fight choreographer. She delivers a passionate and intense performance, portraying the painful and epic life of Boudica, one of the most iconic female figures in war history. Christopher Neiman also excels at his portrayal of the vicious and fearless Roman general Paulinus, carrying the weight of the unstoppable march of the most powerful empire of the time.

Battlesong of Boudica is a unique and primal saga with highly energetic stage fights that entertain all the way till the end. Be prepare for a night of exciting action and strong emotions in this moving Celtic heroic achievement. 

 Battlesong of Boudica

The Hudson Backstage 

6539 Santa Monica Blvd
Los Angeles, CA 90038

Sunday at 7 p.m.: April 9 (Opening)

Sundays at 3 p.m.: April 16, April 23, April 30

Monday at 8 p.m.: April 10 Pay-What-You-Can

Fridays at 8 p.m.: April 14, April 21, April 28

Saturdays at 8 p.m.: April 15, April 22, April 29

Tickets: https://school-of-night.ticketleap.com/battlesong-of-boudica/get-there/

Written, Directed, Production Design by Christopher William Johnson • Fights Choreographed and Produced by Jen Albert • Starring Daniel Adomian, Jen Albert, Tom Block, Colin A Borden, Payton Cella, Sara Gorsky, Brad C. Light, Chloe Madriaga, Chrisopher Neiman, Tristan Rewald, Lacey Rosewall, Lucy Schmidt, Allegra Rodriguez Shivers, Jack TenBarge, Jesse James Thomas, Frank Tirimacco, Dan Wingard • Presented by The School of Night. The creative team for Battlesong of Boudica includes lighting designer Aiden de Jong, Linda Muggeridge is costume designer, Ryan Beveridge is the composer and sound designer. Kate Coleman is the dance choreographer and Andrew Leman is the graphic designer. The stage manager is Michelle Elizabeth Vasquez.

 

Theatre Review: The Pilot Who Crashed the Party

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 AnthonyLee BoekFrancis C. EdemobiClaudia FerriDebra LaneSol MasonJacqueline 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.

 

 

Burlesque Review: CLUELESQUE

CLUELESQUE is produced by Cherry Poppins, playing at Tramp Stamp Granny’s.

Who killed Whorchid Fairchild? That’s what the audience will have to figure out in this immersive and highly entertaining burlesque show. Every Wednesday, the group of picturesque characters present themselves and give details of their relationship with Whorchid. As the story builds up, the audience needs to connect the dots and decide who, where, and with what object Whorchid might’ve been killed.

The sensational artists enchant the audience with their charming and dazzling musical numbers, setting the stage on fire with their seductive voices and sexy moves. The energetic ensemble delivers a constant mixture of humor, music, dance, and mystery in an immersive journey of decadent allure, one song at a time.

Every character has a story to tell and every character becomes a suspect, one way or another, in the puzzling murder of Whorchid Fairchild. A creative storyline keeps things entertaining all the way till the end. The spectacular costumes, makeup, and dances add an enigmatic touch to the characters, turning this production into a sultry fantasy of color, music, and action.

From the creative minds of Alli Miller and Sarah Haworth, CLUELESQUE is a musical theatre show not to be missed. This is mystery and sexiness at Tramp Stamp Granny’s, right in the heart of Hollywood, The Entertainment Capital of the World.

CLUELESQUE

Tramp Stamp Granny’s
1638 North Cahuenga Boulevard
Los Angeles, CA, 90028

Wednesdays
Doors and Preshow 7PM, Show 8PM

Tickets: eventbrite.com/e/cluelesque

**Must show proof of Covid Vaccination at the door
General Admission: $45.00 + 2 Drink minimum

Socials@cherrypoppinsla @trampstampgrannys

Cast: Broadsworth the Butler (Alli Miller-Fisher), Yvulva the Maid (Meredith Lim), Bar Chef (Lauren Avon), Whorchid (Heath Butler), Mizz White (Emma Hunton), Penelope Peacock (Carly Jibson), Mister Mustard (Matthew Scott Montgomery), Professor Plumbalina (Shanera Denae’), Mr. Gimby Green (Everjohn Feliciano), and Scarlet O’Harlet (K.C. Lindley).

Producers: Alli Miller-Fisher, Sarah Haworth-Hodges, Chadd McMillan, Mia Von Criss. Written by: Alli Miller-Fisher. Directed by: Alli Miller-Fisher, Chadd McMillan, Sarah Haworth-Hodges. Choreographed by: Alli Miller-Fisher, Sarah Wines, Lauren Avon, Camal Pugh, Jen Udgen. Musical Director: Laura Wiley. Vocal Director: Emma Hunton.

Theatre Review: Happy Birthday McKenna

The world premiere of Happy Birthday McKenna opened up on March 3 at the Hudson Backstage Theatre. Written and directed by Steve Silverman. Produced by Steve Silverman and Kathleen O’Grady.

Family is an essential building block of society. Family is the place to instill values that will last forever. Family is a powerful nucleus that determines the development of individuals and the way they will function in the world. And then there is McKenna’s family, a hodgepodge of secrets, insecurities, and bad relationships. 

The play starts with Ray (Michael Dempsey) and Carolyn (Heather L. Tyler) getting everything ready for the 3 year old surprise birthday party for Carolyn’s niece, McKenna, a mischievous girl that has already caused some physical harm to a few family members. Arriving to the party are Carolyn’s siblings, Tommy (Ben Holtzmuller) and his husband Parker (Colbert Alembert), Deb (Tracey Rooney), Ed (Ryan Woods) and his girlfriend Julie (Stakiah Lynn Washington), and Martin (Karl T. Wright) with his second wife Lucille (Sara Ballantine). Martin was married to Barbara, the sibling’s mom. Barbara passed away and is buried in Chicago and now Tommy wants to take her remains with him to Santa Barbara. Tommy’s intentions trigger a series of recriminations among the siblings and Martin, requiring Irene’s (Mari Weiss) urgent intervention.

Tommy’s goal becomes a conflicting element that drives much of the play. His intentions will not only exhume their mom, but also the secrets that will have a profound effect on the lives of the other siblings. All of that in a party for a 3 year old girl who is not even present. McKenna’s parents, Ed and Julie, decided to leave her with Julie’s mom.  

Revelation after revelation, the story becomes a hilarious melange of buried secrets, family bonds, and failed relationships, all while the characters experience the inexorable passage of time. The dark comedy nature of the script and the brilliant performances of the actors create a fascinating collage of conflict, emotion, and entertainment. This is an example of Steve Silverman’s capacity to deliver an extraordinary theatre experience. His skills as a writer and director are evident in the rich characterization achieved in this remarkable play.

Happy Birthday McKenna

Hudson Backstage Theatre
6539 Santa Monica Blvd
Los Angeles, CA  90038
Valet Parking
 

Fri, Mar 03 – Sun, Mar 26
Fri, Sat 8pm
Sun 7pm

Ticketshbmtheplay.com 

Written and directed by Steve Silverman. Produced by Steve Silverman and Kathleen. O’Grady. Cast: Colbert Alembert, Sara Ballantine, Michael Dempsey, Ben Holtzmuller, Vanessa Marshall (“Irene” – 3/24, 3/25, 3/26), Tanya Perez (“Irene” – 3/17, 3/18, 3/19), Sigi Ravet (”Deb” – 3/17 – 3/26), Tracey Rooney (“Deb” – 3/2 – 3/11), Faith Salie (“Irene” – 3/10, 3/11), Heather L. Tyler, Stakiah Lynn Washington, Marie Weiss (“Irene” – 3/2, 3/3, 3/4, 3/5), Dylan Wittrock (“Tommy” – 3/17 – 3/26), Ryan Woods, and Karl T. Wright. Stephanie Alecia Rose, Assistant Director. Victoria Hoffman, Casting Director. 

 

Theatre Review: Twelve O’Clock Tales with Ava Gardner

The world premiere of Twelve O’Clock Tales with Ava Gardner is hosted by The Whitefire Theatre. The solo play was written by Alessandra Assaf and Michael Lorre. The director is Michael A. Shepperd.

From her humble origins in Grabtown to the glamorous life of Hollywood, Ava Gardner (Alessandra Assaf) became an icon of beauty and fast life in a career than spanned more than forty years. Twelve O’Clock Tales with Ava Gardner is a homage to the extraordinary life of one of the most alluring stars in the history of cinema.

The play is an insightful compilation of events in the life of an actress/singer who struggle to find her place in the industry. From her rural life in North Carolina, her relationship with her family, and the three marriages and the romantic relationships in between, Assaf presents the complicated personality of a woman who defied stereotypes with her strong will, but also her insecurities and vulnerabilities.

Assaf’s play gives details about what could have been going through Gardner’s mind at the time of each of her marriages and relationships with the people around her. Her marriage to Frank Sinatra and the scandalous incidents during their time together, proved that she could be independent, even helping Sinatra to resurface from a fading career. The play also delves into her abusive relationship with George C. Scott and how Sinatra had to help her out during one of Scott’s violent episodes. Gardner’s friendship with other actresses and their bonding shows how they leaned on each other to navigate the misogynistic attitudes in Hollywood at the time.

Through dialogue and blocking, Assaf, Lorre, and Shepperd offer an entertaining and witty piece that brings memories and spicy details of the iconic life of one of the greatest stars of the golden age of Hollywood, when MGM was one of the Big 5 and Louis B. Mayer was at the helm. The play is a window to the star system and the positive and negative consequences that came with it.

Twelve O’Clock Tales with Ava Gardner

Written by Alessandra Assaf and Michael Lorre. Directed by Michael A. Shepperd. Starring Alessandra Assaf as Ava Gardner. Creative team: Stage Managed by Mitch Rosander Dramaturg: Gregory Gunter. Set, Props, Costumes: Irmgard Quint. Lights: Derrick McDaniel. Sound: Jin Tor Brown. Wig Stylist: Sheila Dorn.

Whitefire Theatre
13500 Ventura Blvd.
Sherman Oaks, CA 91423

PARKING:
• Metered parking on and just south of Ventura Blvd. (off on Sundays)
• 2-hour parking available in residential neighborhoods (before 6 p.m. only)
• Unrestricted parking available on Moorpark St. and on the west side of Dixie Canyon Ave.

January 15 – March 5:
Sundays at 2 p.m.: 22; Jan. 29; Feb. 5; Feb. 12; Feb. 19; Feb. 26; March 5

Tickets: https://www.whitefiretheatre.com/

Theatre Review: Daddy Issues

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 LevAri) 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 BattersbyJonathan FishmanNoa LevAriSherry MichaelsJosh NadlerJames SeifertPamela ShawSolly 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

Revenge Porn or The Story of a Body

Ammunition Theatre Company presents Carla Ching’s new play Revenge Porn or The Story of a Body. Directed by Bernardo Cubría. 

Kat Chan (Tina Huang, Theatre Review: Celestial Events) finds out that her nude pictures were published online without her consent by her ex-husband of 22 years Mac (Nelson Lee) who not only published the pictures, but also tagged all the people they know. Trying to put her reputation together again, Kat now has to face the challenge of deciding whether to hold a grudge or forgive the person she once loved.

The posting of the pictures exposes not only Kat’s body but also the background stories of each of the characters more affected by it and the reactions to the situation. Kat is currently with Elliot (Christopher Larkin), a younger guy who is understanding and supportive. Kat and Mac’s daughter, Nice (Kahyun Kim) is a girl with her own body image insecurities and who is trying to figure out what kind of relationship she has with her father. Betty (Jeanne Sakata), Kat’s mom, is also concerned about her friends seeing Kat’s pictures, exacerbating the already difficult relationship between the two. JJ (Roland Ruiz) is Nice’s classmate who is in love with her and tries to boost her self-esteem. JJ’s own sister had her pictures published without her consent. Mac’s mom, Mia (Jeanne Sakata) is a journalist who is infuriated by her own son doing such a despicable thing. Mia supports Kat and demands Mac to apologize and fix his mistake. Kat then decides to do something unexpected to claim her own body and her own narrative.

Carla Ching wrote the play to represent how painful revenge porn can be on the victims. It would be easier to focus on that. But she takes a step further. She also explores the other side of the story. What could motivate someone to damage the reputation and the relationships of a loved one? In this case, Mac’s actions are a result of his own emotional pain and the sense of loss triggered by his separation from Kat and his strained relationship with his own daughter. This story also highlights how easy is destroy someone’s reputation (both victim’s and perpetrator’s) with the click of a button. In a society so influenced and obsessed with social media, Revenge Porn or The Story of a Body couldn’t be more contemporary. What should be the extend of the ostracism caused by the cancel culture? Should a perpetrator receive a second chance in life? Ching addresses these issues insightfully as open questions. One interesting aspect of the play is how the exposition of the characters was done. Each character delivers a monologue to express their own point of view.

Director Bernardo Cubría translates the rhythm of the script with plenty of action, keeping the humor and drama alive at all times. The lighting (Azra King-Abadi, lighting design, Theatre Review: Apartment Living) and the projections (Yuki Izumihara, projection design) are artistic elements that symbolize the state of mind of the characters and the emotional journey of the protagonists.  

The cast is diverse and is lead by an excellent Tina Huang, who delivers a dramatic and emotional performance that shows the pain and the healing in today’s very public and invasive technological society.

Revenge Porn or The Story of a Body

Written by Carla Ching. Directed by Bernardo Cubría. Cast: Tina Huang, Kahyun Kim, Christopher Larkin, Nelson Lee, Roland Ruiz, and Jeanne Sakata. Producers: Julie Bersani, Karla Mosley, and Brandon Scott. Presented by Ammunition Theatre Company

The Pico
10508 W. Pico Blvd.
Los Angeles, CA 90064

Opening: 8pm on Friday, September 23, 2022 with reception to follow.
Schedule: 8pm Thursdays – Saturdays, 2pm Saturdays, 7pm on Sundays
Closing: October 9, 2022 

Tickets: https://www.ammunitiontheatre.com/