Tag Archives: Hollywood

Theatre Review: Lavender Men

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Playwrights’ Arena and Skylight Theatre Company present the world premiere of Lavender Men. Written by Roger Q. Mason and directed by Lovell Holder.

In Roger Q. Mason’s Lavender Men, history is rewritten to include the LGBT community, largely ignored in the US history books. This play is a fantasia about a gay Abraham Lincoln (Pete Ploszek) and the people around him. The character Taffeta (Roger Q. Mason) invades Abraham Lincoln’s personal space to give history a spin.  

The rumors about Abraham Lincoln’s sexuality play a central role in Lavender Men as much as his relationship with his wife, Mary Todd Lincoln (Roger Q. Mason). By some historians’ accounts, although never really proven, Lincoln had romantic relationships with Joshua Fry Speed and Captain David Derickson, often sleeping with them in the same bed—this was a common practice in those days though without any sexual overtones. In Mason’s script however, Lincoln has a sexual relationship with Elmer Ellsworth (Alex Esola), a soldier and Lincoln’s law apprentice.

That relationship ignites Mary Todd’s jealousy and, at the same time, her envy as she is overweight and feels powerless before the passionate bond between her husband and his apprentice. This disconnection between President Lincoln and his wife in the play also reflects the apparent discord between both figures in real life. Mary Todd was wealthy, educated, refined, and her family owned slaves. Abraham Lincoln, on the other hand, grew up in a farm, self-educated, and disliked slavery, not to mention his lack of skills on the dance floor.

In real life, Mary Todd’s misery was due to the death of her children and the assassination of Abraham Lincoln before her eyes. She had episodes of depression, not fully understood at the time. In the play, Mary’s misery stems from the lack of attention from Abraham Lincoln towards her and his relationship with Elmer. 

In the meantime, Taffeta continues to be amused by the vibrant relationship by Abraham and Elmer, but also revealing the insecurities and struggles of the undeserved communities the play represents. Taffeta also fights back the apparent innocuous reasoning of those who excluded the people of color and queer from the history books: “There is some beauty being lost in a sea of nothing”.   

Mason’s writing is able to connect overweight, queer, and people of color with such fluidity within the story that they all become a coherent and powerful testament of the resilience of those underserved communities who are not willing to be silenced anymore. This is why Lavender Men, a smart, funny, and engaging play resonates in this era where society is trying to make amends for past mistakes. 

In addition to the performances of the three thespians and the excellent direction of Lovell Holder, the artisans working on this production deserve a special recognition. Dan Weingarten (Lighting Design) displays an impressive and elaborate collection of colors, intensities, and textures in such a way that the lighting itself becomes a character throughout the story. Sound Designer is Erin Bednarz, Scenic Designer is Stephen Gifford, Costume Designer is Wendell Carmichael, Original Music by David Gonzalez, Choreography by Jobel Medina, Properties Design by Michael O’Hara, Casting by Raul Clayton Staggs, and the Production Manager is Cedes Sifuentes.  

Lavender Men

Presented by Playwrights’ Arena and Skylight Theatre Company.

Playwright: Roger Q. Mason. Director: Lovell Holder. Producers: Gary Grossman and Jon Lawrence Rivera. Associate Producers: Tyree Marshall and Michael Kearns. 

Skylight Theatre

1816 1⁄2 North Vermont

Los Angeles, CA 90027

Opening at 8:30 pm on Saturday, August 6
Schedule: Saturday 8:30 pm, Sunday 3 pm, Monday 7:30 pm
Closing: Sunday September 4, 2022

Tickets: LavenderMenPlayLA.com

Lavender Men poster
A scene from Lavender Men
A scene from Lavender Men
A scene from Lavender Men

Theatre Review: If I Forget

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The Fountain Theatre presents the Los Angeles premiere of If I Forget written by Steven Levenson and directed by Seinfeld actor and Tony-Award winner Jason Alexander.

Michael Fischer (Leo Marks) is being sued for writing a book deemed antisemitic and his tenure as a professor is on hold, putting a strain on his finances. His sister Holly Fischer (Valerie Perri) continues with her drinking and self medicating habits, not to mention the secret her husband Howard Kilberg (Jerry Weil) is hiding from her. And then there’s Sharon Fischer (Samantha Klein), Michael and Holly’s sister who is falling for a guy that might not be the best option for her. All of this while the siblings are trying to figure out how to take care of their ailing father Lou Fischer (Matt Gottlieb).

The Fischers are a Jewish family with diverse opinions on what it means to be a Jew in America, an identity issue specially for the second and third generation American Jews. While Lou was a soldier who helped liberate the prisoners from the Dachau concentration camp and finds Michael’s suggestion to forget about the Holocaust very offensive, Michael is an atheist with more liberal views.

Michael is married to Ellen Manning (Síle Bermingham), a non-Jewish woman who tries to bring some kind of order to the chaotic relationship of the three siblings. Michael and Ellen’s daughter, Abby Fischer (Caribay Franke), is in a trip to Israel to connect with her roots. This trip however, turns into a nightmare for Abby and her parents.

The play is also an examination of the relationship between Jews and other races and the political activism in which the Jews are involved. There are conversations about African Americans, Palestinians, and the misconception of calling any Latino a Mexican. The fact that Michael is married to a gentile is an example of the trend in American Jews to experience interracial marriages without any concerns about the dilution of the Jewish race. Also, Michael’s writings about the Jewish diaspora in America and its active participation in the political scene is a reflection of the reaffirmation or rupture of the community to Israel. Michael’s suggestion to forget about the Holocaust can be seen either as blatant antisemitism or a survival strategy in a world that can turn against Jews on a whim. The contrasting political affiliations of the members of the family prove how diverse the American Jews have become and how connected or disconnected they feel to the motherland. Holly and Howard’s son, Joey Oren (Jacob Zelonky), represents either the confusion or the indifference to take a stance on these issues.

This story goes beyond the Jewish experience. Their story is that of many other immigrant communities as well. This is where this play resonates far beyond synagogues and Shabbat ceremonies. The issues, concerns, fights, hopes, and the love for one’s culture and family is a universal human experience. Levenson was able to write a brilliant story that travels. It’s a mirror reflecting the condition of many people connected or disconnected to their own cultures and the conflicting emotions that this entails. The play is outrageously funny and deeply moving, a topic that will trigger many conversations and self evaluations.

The direction by veteran actor/director Jason Alexander is fantastic. The blocking allows actors to use the space effectively and emphasizes the drama of the play. The decision to have Caribay Franke dancing her story is a unique touch to the production that adds visual poetry to the physical theatre.

The cast lead by an excellent Leo Marks is a real treat for the audience. Their lines were delivered with so much punch that this play will stand out for its intensely hilarious dialogue. The writing, direction, and acting make this play a true gem not to be missed.

If I Forget

Written by Steven Levenson. Directed by Jason Alexander. Starring Síle Bermingham, Caribay Franke, Matt Gottlieb, Samantha Klein, Leo Marks, Valerie Perri, Jerry Weil, and Jacob Zelonky. Presented by The Fountain Theatre.

Creative team: Scenic designer Sarah Krainin, lighting designer Donny Jackson, sound designer Cricket S. Myers, costume designer A Jeffrey Schoenberg, and prop master Katelyn M. Lopez. Assistant director Allison Bibicoff. Production stage manager Shawna Voragen. Assistant stage manager Lexie Seacrest. Simon Levy produces and James Bennett associate produces for the Fountain Theatre. Barbara Herman is executive producer.

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

Fridays at 8 p.m.: July 29. Aug. 5, Aug. 12, Aug. 19, Aug. 26, Sept. 2, Sept. 9
Saturdays at 8 p.m.: July 23 (Opening), July 30, Aug. 6, Aug. 20, Aug. 27, Sept. 3, Sept. 10 9 (dark Aug. 13)
Sundays at 2 p.m.: July 24, July 31, Aug. 7, Aug. 21, Aug. 28, Sept. 4 (dark Aug. 14)
Mondays at 8 p.m.: Aug. 1, Aug. 8, Aug. 15, Aug. 22, Aug. 29 (dark July 25. Sept. 5)

Tickets: fountaintheatre.com/

 

A scene from If I Forget
A scene from If I Forget
A scene from If I Forget
If I Forget poster

Theatre Review: Trouble the Water

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Will Geer’s Theatricum Botanicum presents the world premiere of Trouble the Water, freely adapted by Ellen Geer from the 2019 award-winning historical novel by Rebecca Dwight Bruff. The play is lead and directed by Gerald C. Rivers.

Robert Smalls (Terrence Wayne, Jr.) was called “Trouble” because his mother told him that he was born in a day full of trouble. His mother, Lydia Polite (Earnestine Phillips The Merry Wives of Windsor), was a slave in the house of Jane (Robyn Cohen) and Henry (Alistair McKenzie The Merry Wives of Windsor) McKee. Henry treated Robert more leniently than the rest of his slaves, at times creating doubts on Jane about the possibility of Robert being Henry’s son. As slaves were constantly raped by their White owners, Jane had her reasons to believe in that possibility.

The social conditioning instilled in the enslaved people was so pervasive that Lydia asked Henry to send Robert to Charleston so he could be exposed to tougher conditions as a slave. Lydia was concerned that Robert would grow up as a “spoiled” slave without experiencing the hardships of his fellow Black slaves.

The play also deals with conditions that were parallel to slavery at the time. As Jane wrote her journal, she questioned her own position as a faithful and submissive wife, willing to bear children to fulfill her husband’s desires. Despite her comfortable life as the wife of a prosperous White man, Jane experienced the social oppression imposed on women during that era.

The move to Charleston proved to be an opportunity to Robert to get the inspiration needed to embark on the opportunity of his life—to be free and fight for the freedom of his people. Even though Robert was still owned by Henry, he managed to buy the freedom of his first wife, Hanna Jones (Tiffany Coty, A Midsummer Night’s Dream). During this time, he was influenced by the growing dissident voices coming from the Union states, including abolitionist Frederick Douglass. Robert worked in the ships of Charleston Harbor, an experience that proved pivotal in his escape on board of the confederate ship CSS Planter to the Union territory.

Bear in mind that some of the details and characters of this play are fictional. Robert’s life has been hidden in mystery for decades. Author Rebecca Dwight Bruff has written this story to focus the attention on the documented facts surrounding Robert Smalls’ accomplishments. His escape piloting the CSS Planter, his service in the US Army and  Navy, and his service in the state legislature and five terms in the US Congress are all well documented in the history of the United States. Bruff’s intention is to show the extraordinary contributions of this American hero.

Gerald C. Rivers’ direction is outstanding (Rivers also plays Robert Smalls in his later years). The amazing cast as well as the excellent use of the stage creates an engaging theatre experience. Saturday’s opening night was a full house, so there were great expectations for this play. The dedicated actors and creative team did not disappoint. This play has exhilarating action, specially the escape sequence where the tension escalates very quickly and the sense of danger creates a fast-paced scenario. Gerald C. Rivers, Terrence Wayne, Jr., Earnestine Phillips, Alistair McKenzie, and Robyn Cohen are a testament to the magnificent craft of the actors in the LA theatre scene. These five thespians lead an extraordinary cast that includes Justin Blanchard, Ethan Haslam The Merry Wives of Windsor, Rodrick Jean-Charles, Michelle Merring, Clarence Powell, Franc Ross, Fallon Heaslip, Joelle Lewis, Susan Stangl, Elliott Grey Wilson, and Sage Michael Stone. The ensemble includes Michaela Molden The Merry Wives of Windsor, Matthew Clair, Danezion Mills, Frank Krueger, Emerson Haller, Joseph Darby, Eden Lederer, Tariq Mieres, Kenneth Montley, Venice Mountain-Zona, and Monique Thompson.

Lighting Designer Hayden Kirschbaum, Sound Designer Marshall McDaniel, and Costume Designer Yuanyuan Liang added realistic elements to the play that enhanced the dramatic effects of the production.

This play is a great opportunity to revisit the facts that made the US what it is today. As uncomfortable as some episodes of history might be, the formidable actions of great people both Black and White continue to inspire and reaffirm the commitment to live in a civil society. Bruff, Geer, and Rivers show us that it can be a reality rather than a chimera. On opening night, the audience seemed to agree.

Trouble the Water

Freely Adapted by Ellen Geer from the novel by Rebecca Dwight Bruff, Directed by Gerald C. Rivers. Performing the Spirituals a cappella is the Street Corner Renaissance.

Will Geer’s Theatricum Botanicum
1419 N. Topanga Canyon Blvd.
Topanga CA 90290
(midway between Pacific Coast Highway and the Ventura Freeway)

Performances: July 23– October 2:
Saturday, July 23 at 7:30 p.m.
Sunday, July 31 at 3:30 p.m.
Friday, Aug. 5 at 7:30 p.m.
Sunday, Aug. 14 at 7:30 p.m.
Saturday, Aug. 20 at 7:30 p.m.
Friday, Aug. 26 at 7:30 p.m.
Sunday, Sept. 4 at 3:30 p.m.
Sunday, Sept. 11 at 7:30 p.m.
Friday, Sept. 16 at 7:30 p.m.
Saturday, Sept. 24 at 7:30 p.m.
Sunday, Oct. 2 at 7:30 p.m.

Tickets: theatricum.com

Theatre Review: A Midsummer Night’s Dream (Open Fist)

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William Shakespeare’s A Midsummer Night’s Dream is revisited by director/choreographer James Fowler. This time, Open Fist Theatre Company‘s production is set in Athens, Georgia, circa 1855.

It’s the eve of the Civil War in the Black Belt and the cotton plantation is bursting with activity. That’s the scenario where Fowler’s reinterpretation of A Midsummer Night’s Dream takes place. The Antebellum South becomes the mystic forest where a group of slaves are the fairies and mechanicals, able to love, bewitch, and dream.

It is in that context that a relationship between Shakespeare’s European folklore and the traditions of the African slaves from the South can be perceived. Shakespeare’s fairies are invisible to humans just as Black slaves are practically invisible to their White owners. Also, the Greek theourgia (benevolent magic in the form of Oberon) is very similar to the combination of religion, magic, and witchcraft practiced by the Isangoma (an African healer popular in the slave communities). Just like the mechanicals in Athens Greece were laborers putting up a show for the royals, the Black mechanicals in Athens Georgia are also laborers preparing a play for the White owners of the plantation. The distinction of classes is evident in both renditions of the play.

Shakespeare’s deep understanding of the human condition makes it possible to overlay his plays on different eras. In this case, the story set in the South matches the circumstances and gives a new meaning to the characters, plots, and symbols of A Midsummer Night’s Dream. Fowler did an excellent job in keeping the original script intact but changing the traditional expectations of the racial composition of the characters.

The excellent cast makes this production a true gem in the theatre scene. Michael A. Shepperd shows his phenomenal comedic skills playing the attention-seeker Bottom. Ann Marie Wilding is delightful playing a hopelessly devoted Helena. Sandra Kate Burck with her voice and physical comedy makes the audience laugh left and right playing Hermia. The mischievous Puck is played by a versatile Monazia Smith (In the Next Room, or the vibrator play). Phillip C. Curry shows off his polished experience playing Oberon; he is one of those actors whose voice makes him an imposing figure on stage.

The lighting (Gavan Wyrick, Lighting Design,(God of Carnage) was a fascinating palette of purples, teals, greens, blues, and pinks. Mylette Nora (Costume Design, In the Next Room, or the vibrator play) created an accurate depiction of the period. Jan Munroe (Scenic Design) and Stephanie Crothers (Scenic Artist) also contributed to re-create a dreamy and pastoral stage with the murals, paintings, and use of natural elements.

Despite the comedic nature of the play, the history of slavery in America makes this story an opportunity to reflect on how much we have advanced in terms of equality and how much our perceptions on race have changed or remained the same. The abolition of slavery—referenced in this production as British Abolitionist Peter Quince (Debba Rofheart)—is a painful remainder of the sufferings many people had to endure to give birth to a new nation. Midsummer is a play of symbols and Fowler added one more that is powerful and still triggers many emotions. Puck turns her back and shows the flogging marks. Are those open wounds, or are they scars? Is America moving backwards, in rehab, or fully recovered?

A Midsummer Night’s Dream

Written by William Shakespeare. Directed by James Fowler. An Open Fist Theatre Company production. Martha Demson, artistic director. Actors performing on opening night: Devon Armstrong, Malik Bailey, Bryan Bertone, Sandra Kate Burck, Phillip C. Curry, Erica Mae Mcneal, Heather Mitchell, Debba Rofheart, Ash Saunders, Michael A. Shepperd, Monazia Smith, Azeem Vecchio, Alexander Wells, Ann Marie Wilding, Dylan Wittrock, and Syanne Green.

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: July 2 – August 13
Fridays at 8 p.m.:  July 8, July 15, July 22, July 29, Aug. 5, Aug. 12
Saturdays at 8 p.m.: July 2 (Opening Night), July 9, July 16, July 23, July 30, Aug. 6, Aug. 13
Sundays at 7 p.m.: July 3, July 10, July 17, July 24, July 31, Aug. 7

Tickets: www.openfist.org

Theatre Review: The Beautiful People

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Rogue Machine presents the world premiere of The Beautiful People, a play written by Tim Venable and directed by Guillermo Cienfuegos.

A sleepover takes a sinister turn in the basement of a typical American house. The story is set in the 90s, a period where hate, frustration, and a mental health crisis started to take shape and became a pressure cooker ready to explode.

E (Alexander Neher) hosts the sleepover, where he manipulates, humiliates, and comforts an insecure, depressed, and angry D (Justin Preston). Venable’s play is an exploration of where the new wave of violence started and where we are now. The continuous reference to pop icons is an accurate depiction of some of the root causes of the extreme acts of violence committed by some disillusioned youngsters who have no further expectations of a better life. The references to incels and the devastation caused by social rejection also paints a grim picture of the other factors that are building up in the hearts and minds of the new generation of Americans.

Much has been said about gun control, but that alone will not fix the underlying issues of isolation, loneliness, and mental issues experienced in America. The play digs deep into those elements that are pushing a great number of people to the limit. The intricate web of cause and effect is explored in Venable’s writing, where only two characters project the many issues affecting American society at large. The exposition of the characters’ backgrounds and frustrations poses an uncomfortable question that lingers in the air: Have mass shooters failed society, or has society failed them?

The brave performances of Neher and Preston are a testament of the dedication to their craft; Neher is brilliant as the cold bully and Preston is a tour de force as the vulnerable teenager, imploring compassion, but ready to commit great damage. David Mauer (Production Design) does a great job with the set and lighting to represent not only the basement of a house, but also what is happening underneath American society.

The Beautiful People is a pungent and radical play that will get you out of your comfort zone and place you in the character’s world. A world where survival of the fittest is the only way. The topics presented might make the skin crawl, but the play offers an opportunity to start a conversation that could prevent a tragedy that might be around the corner.

The Beautiful People

Written by Tim Venable. Directed by Guillermo Cienfuegos. Starring Alex Neher and Justin Preston. Produced by John Flynn, Rebecca Larsen (A Rogue Machine Production).

Rogue Machine 
7657 Melrose Ave, Los Angeles, CA 90462

For tickets: https://www.roguemachinetheatre.net/

Theatre Review: Cassandra

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ThurZday
ADA MARINELLI
SOFÍA BRAGAR
HANNAH HOWZDY
HEIDI STARRELLE
Director Kelly McMahon

Cassandra is a Hollywood Fringe production that combines Greek mythology and rock ‘n roll. The story and direction is by Kelly McMahon. The book is by Anthea Carns. The Stage Manager is Heidi Starrelle. The music is by Patti Smith.

In the story, Princess Cassandra (ThurZday) is the daughter of King Priam and Queen Hecuba. The place is the legendary city of Troy. Ada Marinelli plays the roles of the Fate Clotho, who spins the Thread of Life and Hecuba, the Queen of Troy. Hannah Howzdy plays the roles of Fate Atropos, who cuts the Thread of Life and Clytemnestra, the Queen of Sparta. Sofía Bragar plays the Fate Lachesis, who measures the Thread of Life and Athena, the Goddess of War. RJ Dawson plays Apollo, God of the Sun, who is in love with Cassandra.

This play follows the life of Cassandra as she goes from love to rejection by Apollo, her experience as a prophetess, her pain to see the fall of her beloved city of Troy, her rape by Ajax and her subsequent avenge by Athena, and her final fate.

McMahon’s adaptation of this classic tale re-tells the story of Cassandra from a feminine perspective. The most famous authors who depict Cassandra in their writings were all male: Homer, Virgil, Aeschylus, Euripides, and Hyginus.

Even though McMahon follows the classical story line, the inclusion of Patti Smith’s songs gives this production an impactful and feminist take on this enigmatic character. The selected songs are paired up with a corresponding scene of the play. We hear “Dancing Barefoot” when introducing Cassandra, “Upright Come” with Clotho’s lesson, “Cash” with Lachesis’ lesson, “Trespasses” with Atropo’s lesson, “Ask The Angels” with the prophecy about Helen, “Dead City” with the prophecy about that Horse, “Death Singing” with the prophecy about Clytemnestra’s plans, and “Dream of Life” with the Comfort interlude with Apollo. The addition of ancient Greek music with lyre such as “Europa” and “The Discord of Eris” puts a magic touch to the ambiance.

Cassandra features dancing, singing, and a form of laterna magica to display on the walls some of the facts mentioned in the story. ThurZday, Bragar, Howzdy, and Marinelli deliver a compelling performance to give a new voice to these Trojan women from ancient Greece.

Cassandra

Book by Anthea Carns. Songs by Patti Smith. Story and Direction by Kelly McMahon. Cast: ThurZday, RJ Dawson, Ada Marinelli, Sofía Bragar, and Hannah Howzdy.

Studio/Stage

520 N. Western Ave.

Los Angeles, CA 90004

For tickets and dates: https://www.hollywoodfringe.org/projects/7512?tab=details

Theatre Review: A Midsummer Night’s Dream

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Theatricum Botanicum presents William Shakespeare’s A Midsummer Night’s Dream, directed by Melora Marshall.

This is one of Shakespeare’s most famous plays. It’s magical, it’s full of symbols, and involves one of the most enigmatic aspects of the human experience: Dreams. The fact that the story is set around Athens and the characters interact in the woods, allows the audience to take their imagination to fascinating places. Emotions, reality, and fantasy intertwine in a mythological world of kings, queens, fairies, and humans.

Marshall’s adaptation keeps the magical world alive with a great choice of cast, costumes (Beth Eslick, Costumer), and music (Marshall McDaniel, Musical Director, Musical Compositions).

The switching of genders plays very well with the intrinsic ambiguity of some of the characters. Oberon, is played by Tiffany Coty, who delivers a powerful rendering of the King of the Fairies. Fiona Dorn plays Lysander, who is in love with Hermia (Anais Morgan).

The following actors deliver extraordinary performances. Bottom is played by the fantastic Jonathan Blandino (The Merry Wives of Windsor). Helena is played by Olivia Michael, an actress to watch. Emoria Weidner playing Quince is excellent in every scene. Christopher Glenn Gilstrap is a natural playing the mythical Puck.

The Theatricum Botanicum is an idyllic place for this story. Much like in the photographic lingo of frame within a frame, the play and stage become a forest within a forest. The many isles both in the seating section as well as in the sides and background of the proscenium, enlarge the stage to make it almost like a 360-degree scenario, a real treat for the audience. Add the makeup, the costumes, the music, the phenomenal performances, and the excellent direction and you get a memorable theatre experience.

A Midsummer Night’s Dream

Written by William Shakespeare. Directed by Melora Marshall. Presented by Will Geer’s Theatricum Botanicum.

Will Geer’s Theatricum Botanicum
1419 N. Topanga Canyon Blvd.
Topanga CA 90290
(midway between Pacific Coast Highway and the Ventura Freeway)

Performances: June 12–October 1

For tickets and schedule: https://theatricum.com/

Theatre Review: The Legend of Georgia McBride

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International City Theatre presents The Legend of Georgia McBride, written by Matthew Lopez and directed by Jamie Torcellini.

There is a place in Panama City, Florida called Cleo’s Lounge where Casey (Taubert Nadalini), impersonates Elvis Presley but is struggling to draw enough audience to sustain his act and the bar. Eddie (Tom Trudgeon), the bar owner, just replaced Casey”s act with a drag queen show led by Miss Tracey Mills (Jeff Sumner) and Rexy (Donzell Lewis). Meanwhile, Jo, Casey’s wife (Karese Frizell), just told him that she’s pregnant. To make things worse, the landlord of the apartment where Casey and Jo live, Jason (Donzell Lewis) just told them that if they don’t come up with the rent money, they’ll be kicked out. In that desperate circumstance, Casey needs to find a creative way to survive.

With no more choices, Casey quits his Elvis act and starts bar tending, but the money is not enough.  Despite arriving together, Rexy has a disagreement with Miss Tracey and decides to leave the show. With an incomplete act, Eddie and Miss Tracey force Casey to dress up and join the drag queen performance. Much to everyone’s surprise, Casey’s act becomes a hit and the crowd keeps coming back for more. With plenty of money rolling in, Casey is able to pay rent, utilities, and save enough money for the baby on the way, not to mention that the show saves Cleo’s Lounge from closing down. The only problem is that Casey decides to hide the true source of his income from his wife.

The story reveals a few things about the life of the drag queen performers and the insecurities of the people around them, even their honest supporters. Casey does not seem to care dressing up as a woman for his show; however, he still has doubts about the reaction of his wife. By doing so, he shows that he is a supporter of the drag community, but only in secret. This is true in today’s society, where many are still insecure about displaying their support to the LGBTQIA community in public.

Another aspect described in the play is the violence against the non-heterosexual individuals. Once back in the sow, Rexy recounts a violent experience in Houston, where two guys beat him up so badly that needed stitches in his head. Rexy puts it this way: “Drag ain’t a hobby, baby. Drag ain’t a night job. Drag is a protest. Drag is a raised fist inside a sequined glove. Drag is a lot of things, baby, but drag is not for sissies”. Theatre, after all, is a reflection of society at large and a powerful platform to protest.

As for the performances, Miss Tracey’s, Rexy’s, and Georgia’s costumes (Kim DeShazo, costume designer) are spectacular, a mirror of the uplifting tone of the play. Nadalini  has an engaging charisma and excellent voice that that is both emotional and exciting, matching the overall play’s message: A rainbow of positive energy.

The Legend of Georgia McBride

Written by Matthew Lopez. Directed by Jamie Torcellini. Starring Karese Frizell, Donzell Lewis, Taubert Nadalini, Jeff Sumner, Tom Trudgeon. Produced by caryn desai [sic]. Presented by International City Theatre.

INTERNATIONAL CITY THEATRE
Long Beach Performing Arts Center
330 East Seaside Way
Long Beach, CA 90802

Performances: June 10 – June 26
Thursdays at 8 p.m.: June 16, June 23
Fridays at 8 p.m.: June 10 (Opening Night), June 17, June 24
Saturdays at 8 p.m.: June 11, June 18, June 25
Sundays at 2 p.m.: June 12, June 19, June 26

Tickets: https://ictlongbeach.org/

 

Theatre Review: André & Dorine

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The Latino Theatre Company presents André & Dorine, a Spain’s Kulunka Teatro production. This play is directed by Iñaki Rikarte.

In film school, they tell you that a good story that connects with the audience is the one you can tell without words, just action. This concept is translated to the stage in André & Dorine, a touching story about an old couple dealing with the devastating effects of Alzheimer’s disease.

Dorine is a cello player who eventually forgets how to play the instrument. André is a writer that still uses a typewriter. With the passing of time, they go through the motions of a typical married life, annoying each other with little actions here and there. Their son takes Dorine to the doctor and that’s when the Alzheimer’s diagnosis is revealed.  At first, André refuses to accept the diagnosis, but as time goes by, reality takes over. This turning point will put to the test the strength of their relationship and will uncover whether or not their love for each other is still holding together their marriage.

The play shows the difficulties, the sadness, and the frustrations of the people affected by the disease and those around them. As her condition deteriorates, Dorine becomes increasingly dependent on André’s help even for the most basic personal care. This new reality triggers André’s memories of happier times when they first met and their son was born. Those memories unlock the intrinsic value of their relationship and give André the drive to keep going despite the challenges ahead.

The use of masks (Garbiñe Insausti, masks) in this production is an ode to the Greek, Roman, Japanese, and other ancient theatrical performances where masks have played an important role in portraying the wide range of human emotions. They add a unique dramatic effect to the story and the performances.

The excellent direction of Iñaki Rikarte shows his mastery at working with movement, music (Yayo Cáceres, composer), lighting (Carlos Samaniego “Sama”, lighting design), and set design (Laura Gómez, set designer) to deliver the compelling message of the story.

The play presents the cycle of life with all of the sadness and happiness that come with it. The end of one love story and the beginning of a new one. The demise of one life and the birth of a new one. A cycle that repeats itself, again and again, as a perpetual movement. The poignant story and the emotional performances of José Dault, Garbiñe Insausti, and Edu Cárcamo touched many hearts and moved the audience to tears.

André & Dorine

Written by El José Dault, Garbiñe Insausti, Iñaki Rikarte, Edu Cárcamo, and Rolando San Martín. Music by Yayo Cáceres. Directed by Iñaki Rikarte. Starring Edu Cárcamo, José Dault, and Garbiñe Insausti. Produced by Kulunka Teatro. Presented by The Latino Theater Company.

The Los Angeles Theatre Center
514 S. Spring Street
Los Angeles CA 90013

Performances: June 8 – June 19:
Wednesdays at 8 p.m.: June 8 and June 15
Thursdays at 8 p.m.: June 9 and June 16
Fridays at 8 p.m.: June 10 and June 17
Saturdays at 8 p.m.: June 11 and June 18
Sundays at 4 p.m.: June 12 and June 19

Tickets: https://www.latinotheaterco.org/

Singing Revolution, The Musical

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On January 29, 2022, Hollywood witnessed the world premiere of Singing Revolution, an extraordinary musical created by director Tony Spinosa and playwright James Bearhart. The play captures the events that took place during the movement know as Singing Revolution in the late ’80s in Estonia, a chaotic time that preceded the collapse of the Soviet Union.

Taavi Tamm (James Everts) is an Estonian student who will become one of the leaders of the Estonian resistance. He falls deeply in love with Sofia Solokov (Bella Hicks), daughter of Nikolai Solokov (Michael Scott Harris), a Soviet officer living in Estonia to oversee the Soviet propaganda and involved in the disappearance of some Estonian civilians. Similarly, Taavi’s teacher Leena Rebane (Krista Feallock) falls in love with Viktor Kuznetsov (Lucas Alifano), a Russian professor also living in Estonia. After Taavi’s father strange disappearance, a threat of having his mom disappear as well, and the possibility of loosing Sofia, Taavi is forced to choose between staying true to his believes or surrender under the weight of the Soviet repression.

There are several elements that make this musical worth experiencing. First, there’s the music. The live orchestra adds extra adrenaline to the performance of the actors and energizes the audience to the beat of fantastic European pop.

Then, there’s the lyrics that express the hopes, fears, convictions, and sometimes even the doubts of both sides of the story. Anyone old enough to remember the events of that period either by having lived in the Soviet Union at the time or by watching the reports on TV as they unfolded, will revisit the memories and feelings of those turbulent times through the lyrics. The combination of pop singers like James Everts and opera singers like Michael Scott Harris makes the contrast of the story even more appealing.

The choreography also combines skillfully elements of ballet in some of the numbers that render a delicate picture of strength and gracefulness that truly elevate the musical numbers. It’s always a treat to see dancers in musical theatre with ballet training on display.

The lighting is another element that accentuates the dramatic contrast of the story. The blue and red tones, sometimes even used at the same time, become characters in their own right: Freedom and oppression, hope and danger, past and future, the Soviet Union and Estonia.

The scenic design, including the lighting, the Estonian architecture, the costumes, and the special effects, add extraordinary value to the show. This is a musical that took Tony Spinosa a few years to put together and plenty of research of the actual events, not only here in the US, but also in Estonia where he spent time talking to some of the leaders of the Singing Revolution that are still alive today.

It is great to see theatre coming back to life after a very challenging and long pandemic, and it is even better to see exceptional productions with dedicated and talented people gracing our local stages.

Singing Revolution, The Musical
The Broadwater Theatre, Main Stage
6320 Santa Monica Blvd.
Los Angeles, CA 90038