Tag Archives: LGBTQIA

Theatre Review: Hair

Posted on by

Altadena Music Theatre presents Hair. Book by Gerome Ragni and James Rado. Music by Galt MacDermot. Director Oliver Azcarate. Producer Sarah Azcarate. 

The flower children are back on stage, this time at the Altadena Music Theatre. This revival, sans the nudity, offers an outstanding choreography and killer musical numbers that bring back memories of a turbulent but hopeful era in American history.

The literary concepts of the Beat Generation eventually merged with the hippie counterculture movement and led to sexual freedom and drug experimentation. Looking for the meaning of life and in opposition to the brutality of war, the generation of the late 60s turned to eastern philosophy, incorporating Hindu and Buddhist beliefs into their lifestyles. Their peace and love values still reverberate today. Did their counterculture movement have a permanent effect on modern society? Or, was it just an ephemeral utopia?

Hair, which opened off-Broadway a few months after the Summer of Love in 1967, offered a controversial way to experience theatre, depicting drug use, nudity, and a defying anti-war message.

The Altadena Music Theatre’s production captures the same powerful message of love, freedom, and experimentation that defined a society dissatisfied with the conservatism of the era and the discouraging news from the American front in Vietnam. The Tribe, lead by Claude (Daniel Hartman), Berger (Steve Mazurek), and Sheila (Sarah Azcarate) believe to be tuned in to the Age of Aquarius, experiencing a higher state of consciousness. This, of course, with the aid of drugs like LSD and marihuana. Director Oliver Azcarate recreates the effects of psychedelics in a sensuous choreography and soft lighting for a dramatic effect. The choreography, by the way, is a relevant element in Hair. Melissa Schade‘s expressive choreography paired up with Chris Wade‘s fantastic music direction is a combination that delivers a fluid, energetic, and captivating performance. Sexuality is also an important feature in Hair. It is a defiance and a symbol of acceptance and experimentation, a common practice in the hippie communes. Azcarate also uses choreography and lighting to depict what togetherness meant for the hippies.

The extraordinary acting of secondary characters like Margaret Meade (Michael Mullen) and Woof (Cruz St. James, Cabaret) add to the overall quirkiness of the play. This staging highlights prominently Claude’s mixed emotions. He has to make a decision. There are only two options: Either to relent to the pressure and go to Vietnam or stick to the Tribe’s firm opposition to the war. The consequences of his choice are portrayed poignantly, extracting the spirit of the play in a powerful manner.

This is an exceptional group of talented actors, singers, and dancers that engage the audience in a magical night under the stars in the historic Charles S. Farnsworth Park.

Hair

Charles Farnsworth Amphitheater

568 Mount Curve Ave. E

Altadena, CA 91001

September 14-24th, 2023 Thurs – Sun

SHOWTIME: 8:00 PM

​Special Pre-Show Experience @ 7:30PM

Tickets: altadenamusictheatre.com/hair2023

Book by Gerome Ragni and James Rado. Music by Galt MacDermot. Producer Sarah Azcarate. Director Oliver Azcarate. Choreographer Melissa Schade. Music Direction Chris Wade. 

Hair poster
Image of Daniel Hartman.
Hair
An image from Hair
Hair

Theatre Review: Garden of Alla

Posted on by

Theatre West presents Garden of Alla. Written and performed by Romy Nordlinger. Directed by Lorca Peress. Produced by Anne Leyden and Benjamin Scuglia (Behind the Bar Productions) in association with Theatre West and Georganne Aldrich Heller.

Considered a trailblazer, Alla Nazimova left her mark in Hollywood as a performer of humble beginnings. She rose to fame as an actress, made tons of money, and lost most of it along the way. Romy Nordlinger created this solo show to feature one of the most enigmatic figures to ever act in Hollywood. Nordlinger starts by narrating Nazimova’s difficult beginnings during the last period of the Imperial Russia. Her dad was an abusive alcoholic who once broke her arm and subjected Nazimova and her mom to constant verbal and physical abuse. After her parents divorced, her dad forbade Nazimova to ever mention her mom again, traumatizing her for life. After living for a while in foster homes, she fell upon hard times and had to resort to prostitution to survive. Fleeing antisemitism and pogroms, Nazimova left for America, where she became a successful theatre actress.

When she moved to Hollywood, she became one of the highest paid actresses, allowing her to live a flamboyant lifestyle. She purchased a piece of land that became known as the Garden of Alla, a place where the party never ended. During the Prohibition era, alcohol was readily available at Garden of Alla, not to mention all the drugs that came after. The biggest Hollywood stars of the time partied hard in the lush fields of the mansion, some of them even lived there, preceding the Chateau Marmont’s model.

Salacious stories of sexual debauchery and unrestricted consumption of drugs and alcohol sometimes overmined a characteristic of the Garden of Alla. This place was considered a safe heaven for Lavender Hollywood at a time when the LGBT communities had no public support and being outed meant the end of someone’s career. Marlene Dietrich, Greta Garbo, Rudolph Valentino, and Nazimova’s closeted husband, Charles Bryant, were all part of the Garden’s scene where they enjoyed sexual liberation, a luxury not permitted in the conservative American society of the time.

It was her marriage to Bryant that devastated Nazimova’s career. When the press published the convoluted case of their marriage, her career took a nosedive and she could not regained the stardom she once had. She went back to theatre and participated in small roles on the screen, but it was clear that her career was pretty much over. That’s the story presented by Nordlinger, who uses background video to show some of the images of the iconic Sapphic Hollywood star. A sensational performer of the characters created by Henrik Ibsen, August Strindberg, Anton Chekhov, and Pearl Buck, she also became a muse for talented playwrights such as Tennessee Williams and Eugene O’Neill. Garden of Alla is a piece of history that pays tribute to one of the most admired stage and screen actresses of the time, a genuine effort to rescue Alla Nazimova’s legacy from oblivion.

Garden of Alla

Theatre West
3333 Cahuenga Blvd. West
Los Angeles, CA 90068
(across the street from Universal CityWalk, between Barham and Lankershim)

July 7 – July 23
• Fridays at 8 p.m.: July 7, July 14, July 21
• Saturdays at 8 p.m.: July 15*, July 22
• Sundays at 2 p.m.: July 16, July 23
*Screenings of Nazimova’s “Salomé” (1923) and “Camille” (1921) follow the performances on Saturday, July 8 and Saturday, July 15 respectively (included in the ticket price; separate admission $5).

Tickets: theatrewest.org

Written and Performed by Romy Nordlinger. Directed by Lorca Peress. Video Design by Adam Jesse Burns. Score and Sound Design by Nick T. Moore. Produced by Anne Leyden and Benjamin Scuglia (Behind the Bar Productions) in association with Theatre West and Georganne Aldrich Heller. Presented by Theatre West.

Garden of Alla poster
Garden of Alla
A scene from the Garden of Alla
Garden of Alla. Romy Nordlinger. Photo by David Wayne Fox.
A scene from the Garden of Alla
Garden of Alla. Romy Nordlinger. Photo by Garry Kluger.
A scene from the Garden of Alla
Garden of Alla. Romy Nordlinger. Photo by David Wayne Fox.

Theatre Review: Cherry

Posted on by

Cherry is playing as a part of the Hollywood Fringe Festival. Co-written by Sarah Carroll and Nadia Townsend.

Sarah Carroll‘s obsession with Katy Perry started when she was a 13-year-old growing up in Australia. Sarah was watching MTV when “I Kissed A Girl” came on and an infatuation took hold of Sarah’s awkward teenage years. As her body and personality was developing, Sarah related to Perry’s music at a very personal level. Getting into Katy Perry’s fans forum was a way for Sarah to get closer to her idol and receive important information on Perry’s touring schedule, specially the Australian dates.

Cherry is not only a tribute to Katy Perry. It’s also a lens through which a very dedicated fan tells her personal story and the challenges she faced growing up. Topics about body image, insecurities, relationships, family, and the preparation for adult life are all packed into this funny and entertaining solo show. It’s an interactive show with catchy tunes and the reflection of a whole generation.

Sarah is a talented actress with a great taste to tell a story. Her passion is evident all through the show; she offers a vivacious, funny, and relatable performance till the very end. Cherry is an excellent find this Fringe season, full of bubblegum and cotton candy energy.

Cherry

Asylum @ Thymele Arts (Kansas Room)

5481 Santa Monica Blvd.

Los Angeles, CA 90029

June 4th, 2023 – June 24th, 2023.
Saturday June 24 2023, 10:15 PM

Tickets: hollywoodfringe.org/projects/9782

Sarah Carroll (Co-writer, performer, and producer). Nadia Townsend (Co-writer and dramaturg). Marissa Saroca (Sound Designer). Mollie Webb (Production Manager).

 

Cherry poster
A scene from Cherry
A scene from Cherry

Theatre Review: Last Summer at Bluefish Cove

Posted on by

The Fountain Theatre presents a revival of Last Summer at Bluefish Cove. Written by Jane Chambers. Directed by Hannah Wolf. Produced by The Fountain Theatre.

With a naturalistic and beautiful scenic design by accomplished designer Desma Murphy, The Fountain Theatre celebrates the 40th anniversary of Last Summer at Bluefish Cove at the parking lot next to the theatre. In a unique setup, this production is staged outdoors with headphones to listen to the actors, the music, and the sound effects.

It’s 1974 and Lil (Ann Sonneville) is fishing at Bluefish Cove, a remote community where queer women spend their summers together. Suddenly, Eva (Lindsay LaVanchy), a straight woman who just separated from her husband, arrives in town unaware of the lesbian nature of the community. After a brief interaction, Eva declares that she has rented one of the properties. Lil immediately feels attracted to Eva. Later at a party, Eva gets into an argument with hot-headed Donna (Stephanie Pardi), who is dating Sue (Stasha Surdyke). After learning that the women at the community are lesbians, Eva feels out of place. However, Lil’s mesmerizing personality awakens something new in Eva, something that will change their lives forever. Rae (Ellen D. Williams), Rita (Tamika Katon-Donegal), and swing (Allison Husko) are also part of the close circle of friends staying at Bluefish Cove.

The fascinating script by Jane Chambers presents meaty characters that defy the traditional and limited depiction of queer women in mainstream media. The women in the play exude fascinating layers of strengths, insecurities, and charming characteristics that brings them closer to the audience’s own experiences. One of the characters that excels in the portrayal of true friendship and caring personality is Annie (Noelle Messier), Lil’s best friend. Annie is seating next to Lil when Kitty (Sarah Scott Davis), a gynecologist turned feminist author, delivers some devastating news to Lil.

Kitty, by the way, is a character that somehow reflects the positions of lesbian groups like the Radicalesbians and The Furies Collective, which were a response to the exclusion of lesbians by feminist organizations in the 1970s. At the time, some feminists excluded lesbians from their agendas and labeled them as the “Lavender Menace”, a homophobic term first used by Betty Friedan, president of the National Organization of Women (NOW).

LaVanchy and Sonneville deliver stellar performances portraying the transition from initial resistance to ultimate surrender to their feelings, a contrasting and irresistible situation that creates remarkable drama and magnetic romanticism. Of course, the superb acting and the outstanding success of this staging is a manifestation of the fine direction by Hannah Wolf, who worked from an external approach for this project. The results show what happens when a director pays careful attention to details and creates a poignant and touching production that enhances the already captivating script.   

But this play has even more substance than just a sentimental story. It captures the little known safe heavens where lesbians have retreated for support and reaffirmation of their values. It is also a snapshot of the challenging post-Stonewall times when the LGBT communities were fighting for equality in a society that persistently excluded them from their agendas. These stories need to be told to really comprehend the diversity of the human condition and, hopefully, serve as a channel for mutual respect and understanding. 

Last Summer at Bluefish Cove

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

Performances: June 17 – Aug. 27
• Fridays at 7 p.m.: June 23, 30; July 7, 14, 21, 28; Aug. 4, 11, 18, 25
• Saturdays at 7 p.m.: June 17 (opening), 24; July 1, 8, 15, 22, 29; 12, 19, 26 (dark Aug. 5)
• Sundays at 7 p.m.: June 25; July 2, 9, 16, 23, 30; 13, 20, 27 (dark Aug. 6)
• Mondays at 7 p.m.: June 26; July 3, 10, 17, 24, 31; Aug. 7, 14, 21

Tickets: fountaintheatre.com

Written by Jane Chambers. Directed by Hannah Wolf. Starring Sarah Scott Davis, Allison Husko, Tamika Katon–Donegal, Lindsay LaVanchy, Noelle Messier, Stephanie Pardi, Ann Sonneville, Stasha Surdyke, Ellen D. Williams. Produced by The Fountain Theatre. Creative team: Scenic designer Desma Murphy; lighting designer R. S. Buck, sound designer Andrea Allmond, costume designer Halei Parker, prop master Rebecca Carr and intimacy director Savanah Knechel. The production stage manager is Chloe Willey, and Gina DeLuca is assistant stage manager.

Las Summer at Bluefish Cove poster
A scene from Last Summer at Bluefish Cove
A scene from Last Summer at Bluefish Cove

Theatre Review: Back Porch

Posted on by

Bluestem Productions presents the world premiere of Back Porch. Written by Eric Anderson. Directed by Kelie McIver. Produced by David Willis and Kelie McIver.

While the Columbia Pictures movie Picnic was being filmed in a small Kansas town in 1955, another love story was emerging simultaneously. 18-year-old Gary (Isaac W. Jay) is at a stage in his life where he needs to figure out his future, as his sleeping town starts to feel too small for his dreams. And just like in Picnic, an attractive guy arrives in town to shake things up. Bill Holman (Jordan Morgan) is a part of the cast filming Picnic. He works as William Holden’s stunt double. Almost immediately, an attraction starts to develop between Gary and Bill. It is, however, Kansas in 1955.

The other characters are Gary’s widowed father, Barney Opat (Karl Maschek), Gary’s 13-year-old brother, Del Wayne (Cody Lemmon), the Opats’ bachelor boarder, singing teacher Myron Uhrig (Eric Zak), and their neighbor, Millard Goff (Jonathan Fishman, Daddy Issues). Despite their initial excitement for having the Hollywood stars in town, soon puts to test their conservative views. The relationship between Gary and Bill also unveils the limited opportunities the small town has to offer to its residents.

Both Jay and Morgan do a great job getting into their characters to show the nuances of a young and uncertain romance in the midst of a judgmental environment. Although the first half of the play feels a bit slow, the second part picks up steam and keeps the audience engaged. A story within a story, the play is a snippet of an era considered a time of affluence, community, and unity, but also a time in which Americans had little patience with divergent views, including attitudes towards same-sex relationships. Back Porch is, in the words of Director Kelie McIver, a love letter to William Inge, the writter of Picnic and a closeted playwright and novelist who fell into a deep depression and died of suicide in 1973.

Back Porch

The Victory Theatre Center
3326 W Victory Blvd
Burbank, CA 91505

June 2 – July 9:
• Fridays at 8 p.m.: June 2 (opening night); June 16; June 23; June 30; July 7
• Saturdays at 8 p.m.: June 17; June 24; July 1; July 8
• Sundays at 4 p.m.: June 18; June 25; July 2; July 9

Tickets: onstage411.com

Written by Eric Anderson. Directed by Kelie McIver. Starring Jonathan Fishman, Isaac W. Jay, Cody Lemmon, Karl Maschek, Jordan Morgan, Eric Zak. Produced by David Willis and Kelie McIver. Presented by Bluestem Productions. Creative team: Set designer Kenny Klimak, lighting designer Carol Doehring, sound designer Cinthia Nava, costume designer Molly Martin, hair designer Judi Lewin, stunt/fight choreographer Brett Elliott and intimacy director Amanda Rose Villarreal. The stage manager is Margaret Magula.

Back Porch poster
A scene from Back Porch
A scene from Back Porch

Theatre Review: The Bottoming Process

Posted on by

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)

Tickets: www.iamatheatre.com

Written by Nicholas Pilapil. Directed by Rodney To. Starring George Salazar, Rick Cosnett, Anisha 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.

The Bottoming Process poster
A scene from The Bottoming Process
A scene from The Bottoming Process
A scene from The Bottoming Process

Theatre Review: The Laramie Project

Posted on by

The Laramie Project is presented by The Group Rep. Written by Moises Kaufman, Ms. Leigh Fondakowski, and the Tectonic Theater Project. Directed by Kathleen Delaney. Produced by Bill Fitzhugh and Danica Waitley.

The Laramie Project is a production in the form of documentary theatre, based on the more than 200 interviews that Kaufman, Fondakowski, and members of the Tectonic Theater Project conducted after the tragic death of Matthew Shepard in 1998.

Shepard was a gay student at the University of Wyoming, located in Laramie, Wyoming. On the night of October 6, 1998, Shepard left the Fireside Lounge with Aaron McKinney and Russell Henderson. McKinney and Henderson took Shepard to a rural area where they beat, tortured, and tied him to a fence and left him to die in near-freezing temperatures. Eighteen hours later, still alive and in a coma, Shepard was found by cyclist Aaron Kreifels. Shepard died six days after the attack on October 12, 1998. He was 21 years old.

This play is a collection of statements from the people that knew Shepard and his attackers, McKinney and Henderson. The interviews pick up the diversity of opinions from the community of Laramie. While some people denounced the attack and demanded justice, others believed that Shepard deserved the ordeal because of his homosexuality. Some of those beliefs were heavily influenced by religion, which played an important role in the life of this relatively small community.

The Laramie Project is in itself a social study that reveals how education, religion, and job opportunities may affect the attitudes towards the LGBT community. The characters demonstrate the contradiction of rural and conservative America. There is the bartender who liked Matthew and didn’t care about his sexual preferences. The doctor, who felt sorry for both the victim and the perpetrator when he treated both of them the same day at the same hospital. Then, there are the religious leaders. Some of them demanding justice for Shepard, some demanding leniency for McKinney and Henderson.

If anything positive came out of this incident, is the fact that some members of the LGBT community had the opportunity to express themselves and claim their rightful place in society. Other consequences of The Laramie Project is the influence of this play in other documentary mediums such as film and reality TV. The play has been staged in more than 300 productions around the world and had a very successful Off-Broadway run. The writers and directors continue to inspire conversations and drive changes in minds, hearts, and legislation around the world for generations to come. The writing shows the initial shock experienced by the people of Laramie after learning about the attack. But it also shows the disturbing shift of opinions once the religious conservatism kicked in, sympathizing with the attackers and approving of their heinous act.

Director Kathleen Delaney uses a large production of 11 fine actors to play several roles, all portraying the wide variety of points of view related to this case. Delaney blocks her actors to create a continuous sense of movement that reflects the frenetic pace of the events, specially the media coverage of the critical days that preceded Shepard’s death and the controversial trial that followed.

The play also feels like a time of introspection. A time to reflect on what went terrible wrong and what actions to take to avoid the recurrence of such a barbaric act. The continuous staging of this production is a symbolic candlelight vigil to honor Shepard’s memory and the values and convictions he represented.

The Laramie Project

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

April 14 – May 21
Fridays and Saturdays at 8PM, Sundays at 2PM
After the Matinee Talkback with cast and staff 4/23 & 4/30.

Tickets: thegrouprep.com

Written by Moises Kaufman, Ms. Leigh Fondakowski, and The Tectonic Theater Project. Directed by Kathleen Delaney. Produced by Bill Fitzhugh and Danica Waitley. Cast: Landon Beatty, Paul Cady, Roslyn Cohn, Julie Davis, Marc Antonio Pritchett. Stephen Rockwell, Jackie Shearn, Margaret Rose Staedler, Cathy Diane Tomlin, Amelia Vargas and Kay Vermeil. Creative team: Mareli Mitchel-Shields (Set Designer), Tor Brown (Lighting/Projection Designer), Michael Mullen (Costume Designer), and Marc Antonio Pritchett (Sound Designer).

The Laramie Project poster
A scene from The Laramie Project
A scene from The Laramie Project

Theatre Review: Kiss of the Spider Woman

Posted on by

A Noise Within presents the adaptation of Kiss of the Spider Woman. Written by Manuel Puig. Translated by Allan Baker. Directed by Michael Michetti.

Whether in Lecumberri or Villa Devoto prison, the real people that suffered the state racism by the dictatorships in Latin America are well represented in Kiss of the Spider Woman. 

Molina (Ed F. Martin), a gay man accused of corruption of minors, shares a prison cell with Valentin (Adrián González), a Marxist political prisoner. Molina spends the time retelling film noir classics and impersonating their female protagonists. Despite his machismo, Valentin listens to Molina attentively.   

Set during the height of Argentina’s military regime, Molina and Valentin are symbols of duality, oppression/liberation, masculine/feminine, public/intimate. They challenge the state’s intention to own and control people’s minds and bodies through intimidation. During the play, we hear background noises of torture. Outside, the brutality of the Argentinian repressive regime. Inside, the freedom to dream and live new experiences.

Valentin changes throughout the story, from a world of ideals to change the world to the cruel reality of life in a prison cell, torture and depression included. As Valentin starts to loose hope under those circumstances of extreme desolation, raw emotions bring his defense barriers down, exposing his deepest fears: The fear to fail, the fear to die, the fear to love. Once liberated, Molina becomes the protagonist, in real life, of one of the heroines of his movies, an ultimate expression of sacrificial love.

Martin and González are extraordinary in portraying the frustrations and hopes of a whole generation that the characters represent. They bring to the stage rich and complex textures of psychological and emotional endurance and transformations, taking the audience to uncharted territories with humor, wit, and sensuality. Director Michael Michetti shows his brilliant directorial skills using a simple but effective scenic and lighting design (scenic designer Tesshi Nakagawa; lighting designer Jared A. Sayeg), allowing the dialogue to drive most of the play. A voice-over is used for the additional characters and to relate Molina and Valentin’s fate. 

The last scene in the play is a poetic picture. As Molina walks away to his freedom, the walls of the prison cell start to drift away from Valentin, who stays behind, alone. It is the beginning of a painful physical separation, but the seal of an everlasting spiritual connection.

Kiss of the Spider Woman

A Noise Within
3352 E Foothill Blvd.
Pasadena, CA 91107

Performances April 1–April 23
• Thursdays at 7:30 p.m.: April 6, April 13; April 20
• Fridays at 8 p.m.: April 7**, April 14**; April 21**
• Saturdays at 2 p.m.: April 8, April 15; April 22 (no matinee on April 1)
• Saturdays at 8 p.m.: April 1 (Opening Night); April 8***, April 15; April 22
• Sundays at 2 p.m.: April 2; April 9**, April 16; April 23

**Post-performance conversations with the artists every Friday and on Sunday, April 9.
***Join the Trans Chorus of Los Angeles for a performance of pieces inspired by Kiss of the Spider Woman before the 8 p.m. show on Saturday, April 8.
An INsiders Discussion Group will be held on Tuesday, April 18, from 6 p.m.–8 p.m. on Zoom ($38 per individual or $45 per household).
There will be one student matinee at 10:30 a.m. on Wednesday, April 19. Interested educators should email education@anoisewithin.org.

Tickets: www.anoisewithin.org

Adult content: recommended for mature audiences ages 18 and up.

Adapted for the stage by Manuel Puig from his novel “El beso de la mujer araña”. Translated from the Spanish by Allan Baker. Directed by Michael Michetti. Starring Adrián González and Ed F. Martin. Presented by A Noise Within, Geoff Elliott and Julia Rodriguez-Elliott, producing artistic directors.

Creative team: The A Noise Within production will feature an original, tango-inspired score by composer Alex Mansour. Scenic designer Tesshi Nakagawa; lighting designer Jared A. Sayeg; sound designer Robert Oriol; costume designer Carolyn Mazuca; properties designer Stephen Taylor; dramaturg Dr. Miranda Johnson–Haddad; intimacy director Carly DW Bones; and casting director Victoria Hoffman. The assistant stage manager is Karin Naono, and the production stage manager is Lucy Houlihan.

A scene from Kiss of the Spider Woman
Kiss of the Spider Woman. Ed F. Martin and Adrián González. Photo by Craig Schwartz.
A scene from Kiss of the Spider Woman
Kiss of the Spider Woman. Ed F. Martin and Adrián González. Photo by Craig Schwartz.
A scene from Kiss of the Spider Woman
Kiss of the Spider Woman. Ed F. Martin and Adrián González. Photo by Craig Schwartz.
Kiss of the Spider Woman poster
Kiss of the Spider Woman

Theatre Review: Come Get Maggie

Posted on by

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: Not/Now

Posted on by

Write Act Repertory presents the world premiere of Not/Now, written by Darrin Yalacki. Directed by Amanda Blake Davis. Produced by Anne Mesa and John Lant. 

In a perfect world, friends communicate via text to prepare an engagement party for one of their own, and all is fun and happiness. Except when there’s a little mistake in the text message. That’s the story of Not/Now, a play where a group of friends from Chicago expose their most intimate details, mostly about their failures and frustrations, in a chaotic and hilarious reunion.

A welcome-back party to celebrate the engagement of attention-seeker Goldie (Karen Baughn), who left Chicago to try a career in showbiz in Los Angeles, becomes a messy confusion when Rafael (Oscar Ramirez) misreads a text message explaining that Goldie is no longer engaged, as her fiancé broke up with her in an embarrassing manner. Baker (James Singleton), Tamela (Rachel Lemos), and Vanessa (Lindsay Seim) are the other friends who try to offer some kind of support to Goldie. As the night progresses and under the influence of a few drinks, the support turns sour when underlying issues among the friends are revealed and finger-pointing goes back and forth. 

The play touches on themes of sexuality, lost opportunities, the unhappiness of unrealized expectations, and the crushing feeling of being left behind. These topics play very well with the audience as they are relatable issues that transcend race, cultures, and genders. Darrin Yalacki develops interesting backgrounds to each of the characters, offering plenty of surprises to keep the story moving forward and the audience engaged.  

The play is an excellent picture of human interaction—scathing, cruel, but deeply compassionate at the end. Despite some actors stumbling a bit over the dialogue, the cast delivered a fantastic performance to a sold-out show on Sunday. James Singleton as Baker and Mason Eaglin as Jack offer outstanding performances as the openly gay friend and the ambiguous stripper respectively. Something interesting to point out is that director Amanda Blake Davis and actor Oscar Ramirez both trained in Second City, a fact that is evident in the directing and acting of both professionals. 

The lighting by Zad Potter illuminates the stage in a warm orange/yellowish hue throughout the play, almost like a Mark Rothko’s painting. Details always make a difference. 

Production team: Scenic Designer Laura Lineback, House Manger and Boom Operator Jonathan Harrison, Cop Costumer Rashon Wilson.       

Not/Now

Write Act Repertory @ the Brickhouse Theatre
10950 Peach Grove Street, North Hollywood, CA 91601

Written by Darrin Yalacki. Directed by Amanda Blake Davis. Produced with Anne Mesa, John Lant & Darrin Yalacki. Featuring Karen Baughn, Mason Eaglin, Rachel Lemos, Oscar Ramirez, Lindsay Seim & James Singleton.

Opening: February 4, 2023. Closing: March 5, 2023

Saturdays 8:00 p.m.
Sundays 3:00 p.m.

Tickets: www.simpletix.com/e/not-now-tickets-122901

 

Not/Now poster
Not/Now
A scene from Not/Now
Not/Now. Lindsay Seim, Oscar Ramirez, Rachel Lemos, Mason Eaglin, Karen Baughn, and James Singleton.
A scene from Not/Now
Not/Now. Lindsay Seim, Karen Baughn, Oscar Ramirez, Rachel Lemos, and James Singleton.