Theatre Review: The Laramie Project

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.

Ticketsthegrouprep.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).

Theatre Review: Kiss of the Spider Woman

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 WednesdayApril 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 DrMiranda JohnsonHaddad; 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.

Theatre Review: Come Get Maggie

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).

 

 

Theatre Review: Not/Now

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.

Ticketswww.simpletix.com/e/not-now-tickets-122901

 

Theatre Review: Ride the Cyclone

Chance Theatre presents the California premiere of Ride the Cyclone, directed by Jocelyn A. Brown. Book, Music, and Lyrics by Jacob Richmond and Brooke Maxwell.

Six teenagers find themselves in a mythical purgatory after they die riding a roller coaster called Cyclone. The mystic element of the afterlife adds a powerful message to the story. Much like the recent Guillermo Del Toro’s Pinocchio, the characters of Ride the Cyclone have to make decisions in the afterlife that will reflect either their selfishness or their selflessness.

At the purgatory, the teenagers meet The Amazing Karnak (Robert Foran), a mechanical fortune-telling machine that will end its life when a rat called Virgil eats up the electrical cable that powers the machine. Karnak will make the kids play a game in which only one of them can win the grand prize: Going back to life.

Ocean (Haley Wolff), Mischa (Jared Machado), Noel (Wyatt Hatfield), Ricky (Jaylen Baham), Constance (Rose Pell), and Jane Doe (Em Flosi) each perform a unique musical number that reveals their personalities.

The exposition of the characters’ traits shows the wide range of emotions typical of the teenage years. Rage, insecurities, sexual awakening, regrets, and dreams are expressed cleverly in each of the musical numbers and dialogue. Noel’s performance is a cabaret-style piece that adds a touch of raw sensuality to the atmosphere, with decadent shades of red light.

Jane Doe, the only unidentified person in the accident, delivers a dark and eerily beautiful number with an operatic voice that blends smoothly with the mystical premise of the play.

The book is an extraordinary work by Jacob Richmond and Brooke Maxwell. The characters are well-developed and allow the actors to deliver emotional and meaty performances. Director Jocelyn A. Brown uses the stage efficiently, giving the actors plenty of space to shine and deliver a visually striking exhibition of kinetics. The technical elements are first-class: Lighting Design (Masako Tobaru), Costume Design (Bradley Allen Lock), Scenic Design (Antonio Beach and Bradley Kaye).

Ride the Cyclone is an amusing show with energetic music and moving performances by young and talented thespians, live from the afterlife.

Ride the Cyclone

Chance Theater @ Bette Aitken theater arts Center on the Cripe Stage, 5522 E. La Palma Ave., Anaheim, CA 92807

Performances: February 4 – February 26, 2023; Thursdays at 7:30 p.m., Fridays at 8 p.m., Saturdays at 3 p.m. & 8 p.m., Sundays at 3 p.m. 

Tickets: www.chancetheater.com 

 

Theatre Review: Home Front

The West Coast premiere of Home Front is presented by The Victory Theatre Center. The play is by Tony® Award-winning playwright Warren Leight. The director is Maria Gobetti.

As the US soldiers come back victorious from World War II, a new world of justice and equality is in the horizon. But as Lt. James Aurelius Walker (C.J. Lindsey) and Annie Overton (Austin Highsmith Garces) will soon find out, institutions and some sectors of society are not catching up with the times. Specially when it comes to accepting an interracial marriage. 

The story depicted in Home Front is set in the 1940s, a time when segregation was rampant, specially in the South. In an effort to project a more inclusive image, the government decided to try something unusual at the time. The Navy—one of the most fervent bastions of segregation—started a controversial program to train African Americans as officers. The first group was known as the Golden Thirteen, 13 Black enlistees that were subjected to mistreatment and ridicule by their White superiors and peers. The training program was more of a publicity strategy to show the world that America could be the gold standard for democracy and equality. Our protagonist, Lt. James Walker, is a fictional member of the Golden Thirteen.    

The night James and Annie meet, the country is in full celebration of the victory over the Axis powers. The future looks bright and hopeful. Their consequent romantic relationship  however, unveils that America is still a victim of its past, a legacy that has turned its institutions and citizens into a voracious current that destroys everything on its path, one life at a time. And yet, in the middle of that maelstrom, we find people with a kind heart that are willing to give a hand to those in need. Edward Glimmer (Jonathan Slavin), is the injured veteran neighbor who does everything he can to reassure Annie and help James in a time when he needed it the most.

The story is an exploration not only of racism but also of discrimination. James suffers racism for being Black. But Edward is equally mistreated, even by James, for being gay. Annie, a white woman, is the unfortunate collateral victim of institutional racism and the frustration that comes with it. She is punished by her employer for marrying a Black man and she is on the receiving end when James releases his growing frustrations, all while raising their baby girl.

Interracial marriages were so unusual at the time that Annie confides to Edward that after looking at her baby girl, who has James’ Black features, a White lady asked Annie if she was raped. Those pernicious attitudes were also inflicted on Black veterans. While visiting his relatives in the South, James gets arrested and charged for an incident where he fired his gun. This situation, a clear example of institutional racism, will deliver a blow to the relationship between James and Annie. Even Edward’s noble intentions will fuel James’ bitterness, taking a tremendous tall on his emotional and mental state.

The three actors offer majestic performances. Jonathan Slavin does a phenomenal job as the understanding and charming neighbor who is always there in the most challenging times to offer his help, even willing to sacrifice his dignity for the people he loves. He feels at home delivering humor-relief lines that brighten the dark matter of the material. Austin Highsmith Garces is a fascinating and experienced actress that gives us a convincing portrayal of an unprejudiced woman willing to take risks. Her performance shows the nuances of a woman who is trying to navigate the challenging territories of love, motherhood, and broken dreams. C.J. Lindsey goes deep into the psychological state of a man who is constantly subjected to the systematic racism that degrades his worth as a human being. His acting skills are at full display when he externalizes his internal demons. The explosion of an implosion, a devastating image of utter defeat. The fine direction of Maria Gobetti is palpable in the powerful scenes where the palette of emotions create a gripping and relatable theatre experience.               

Warren Leight fictionalizes documented historical events and transports the audience to a dangerous and euphoric world where high hopes and ideals get a reality check. The play is a window to a critical past that captures in unnerving detail the pungency of racism. It is a cautionary tale that shows how things would look like if we continue to move backwards. But it is also an ode to those who, against all odds, continue to fight, continue to believe. 

Home Front

Written by Warren Leight. Directed by Maria Gobetti. Starring Austin Highsmith GarcesC.J. Lindsey, and Jonathan Slavin. Produced by Tom OrmenyMaria Gobetti, and Evan Bartoletti. Presented by The Victory Theatre Center. Creative team: Set designer Evan Bartoletti, lighting designer Benedict Conran, sound designer Noah Andrade, video designer Jermaine Alexander, costume designer Carin Jacobs, dramaturg Gail Bryson, graphic designer Jennifer Logan, and photographer Tim Sullens. The stage manager is Cody Hathcock.

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

Performances: Jan. 13 – Feb. 12
• Fridays at 8 p.m.: Jan. 20; Jan. 27; Feb. 3; Feb. 10
• Saturdays at 8 p.m.: Jan. 21; Jan. 28; Feb. 4; Feb. 11
• Sundays at 4 p.m.: Jan. 22; Jan. 29; Feb. 5; Feb. 12

Tickets: www.thevictorytheatrecenter.org

 

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

Theatre Review: (Un)Documents

Latino Theater Company presents the West Coast premiere of (Un)Documents. Written and performed by Jesús I. Valles. Directed by Rudy Ramirez.

How did you handle it? That was the question people asked Jesús I. Valles and his family after the deportation of his brother. Valles’ biographical play centers on the life at the border between Ciudad Juárez and El Paso Texas. An area where some Mexicans cross the border on a daily basis to work in the US and cross back to Mexico at the end of the day. If done with a green card or American citizenship, the crossing will be through the international bridge, if not, there’s the Río Bravo (Rio Grande), a river that is a dividing line between US and Mexico, where many cross it daily, hoping not be detected by the Border Patrol. 

Valles tells the story that portrays the struggles, the hopes, and the disruption of the family nucleus caused by the deportation of a family member. The other topics in the play are the assimilation into the American culture seen through the eyes of a child and what it means to be an American for a person with two cultural identities. It is those identities that seem to be uncomfortable and conflictive to some Latino Border Patrol agents. As described by Valles, some of the most demeaning and intimidating agents are the ones that look like him.   

Despite the emotional toll on the family due to the deportation, their resilience and coming to terms with reality allowed them to continue to do what they know best, to work hard and endure the absence with a positive attitude. And this where the story travels. It is a mirror of the lives of many in the US, a price to pay for the American dream. Under these circumstances, the citizenship ceremony becomes a bitter sweet experience, a sense of belonging to the land of the free and a sense of loss for the loved ones who can’t be there.

(Un)Documents is a story of immigration, immigration reform, endurance, the shaping of an identity, specially an LGBTQ one, and the unity of the family members regardless of the physical divisions that separate them.

Valles delivers a fierce and powerful performance with humor, emotion, and a lyricism unique to poets who are able to turn pain into art to express the spectrum of the human experience.

(Un)Documents

Written and performed by Jesús I. Valles. Directed by Rudy Ramirez. Presented by Latino Theater Company. Creative team: Projection Designer Elizabeth Barrett. Production Stage Manager Henry “Heno” Fernandez

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

Performances: October 14 – November 20:
Thursdays at 8 p.m.: Nov. 3, Nov. 10, Nov. 17
Fridays at 8 p.m.: Oct. 14 (Opening), Nov. 4, Nov. 11, Nov. 18
Saturdays at 8 p.m.: Nov. 5, Nov. 12, Nov. 19
Sundays at 4 p.m.: Nov. 6, Nov. 13, Nov. 20

Tickets: www.latinotheaterco.org     

Theatre Review: A Great Wilderness

Rogue Machine presents A Great Wilderness, written by Samuel D. Hunter and directed by Elina de Santos.

Walt (John Perrin Flynn) has spent his life in a retreat in the wilderness, counseling young men who are sent to his retreat to get cured of their homosexuality. The idea is that through a faith-based approach—prayers, Bible readings, and counseling—these men will change and go back to a heterosexual lifestyle. Walt is getting old with early signs of dementia or Alzheimer’s and his ex-wife Abby (Rachel Sorsa), concern about his well-being, wants to send him to Shady Gardens, a retirement home. When Abby and her other ex-husband, Tim (Tony Pasqualini) come to the retreat to visit, they found out that Walt has taken one last youngster, Daniel (Jeffrey Delfin), for his gay conversion therapy. Daniel, however, decides to go out for a walk by himself and goes missing.

Tim, who used to be a counselor in the retreat, goes out to look for Daniel. As time goes by, Walt calls Janet (Tania Verafield), a park ranger, to help in the search. Eventually, Eunice (Jacquelin Lorraine SchofieldRapunzel Alone), Daniel’s mom, is notified of the situation. When she arrives, she feels guilty for sending Daniel to the retreat. Janet organizes a group of people to extend the search. A helicopter is added to the search mission. Hours pass and still no news of Daniel. A fire breaks out in the forest and the drama intensifies as Janet finds Daniel’s jacket with blood stains. 

Playwright Samuel D. Hunter shows the gay conversion therapy from the eyes of a Christian group that believes in the effectiveness of such practice. But once the characters reveal their struggles and past experiences, the effects of trying to change someone’s attraction to their own sex become more disturbing and less convincing. The play does not try to tell who’s right or wrong, that’s up to the audience, but the facts are laid out for the pendulum to go either way and not to hyperfocus on just one side of the story. The sincerity and the tragic consequences of conservative beliefs that make up a portion of the cultural and religious fabric of America are explored in this story and are perfectly reflected on Walt’s own existential crisis.

Director Elina de Santos‘ interpretation of Walt and Tim’s relationship can make an interesting conversation. Tim is one of the founders of the retreat and is also Abby’s ex-husband. Walt was also married to Abby at one point. Walt and Tim being both counselors of conversion therapy opens up a series of questions that make this play even more intriguing. 

Set Designer Bruce Goodrich, Sound Designer Chris Moscatiello, and Lighting Designer Vicki J. Scott do an excellent job recreating the retreat and the ambiance; the set is full of details and the background sounds of the forest make the story come closer to the audience.           

A Great Wilderness is an accurate reflection of the complexities faced by conservative America, where the interpretation of Christian values might offer more questions that answers.          

A Great Wilderness

Written by Samuel D. Hunter. Directed by Elina de Santos. Cast: Jeffrey Delfin, John Perrin Flynn, Tony Pasqualini, Jacquelin Lorraine Schofield, Rachel Sorsa, and Tania Verafield. Creative team: Bruce Goodrich (Set Design), Chris Moscatiello (Sound Design), Elizabeth A. Cox (Costume Design), Vicki J. Scott (Lighting Design), Anna Khaja (Shady Gardens Spokesperson/Voice). Produced by: Guillermo Cienfuegos, and Rebecca Larsen (A Rogue Machine Production).

ROGUE MACHINE (in the Matrix Theatre)
7657 Melrose Ave, Los Angeles, CA 90046

Opening 8pm on Saturday, September 24
Schedule: 8pm Fridays, Saturdays, Mondays; 3pm Sundays
Added performance on Thursday, October 20
(No performance October 10)
Closing: October 31, 2022

Tickets: roguemachinetheatre

 

Theatre Review: Babe

Babe is presented by The Echo Theater Company, directed by Chris Fields, and written by Jessica Goldberg.

When a young Kaitlin (Wylie Anderson) goes for an interview to work for A&R genius Gus (Sal Viscuso), she finds a culture where bad behavior is still tolerated and complacency is a common occurrence. Kaitlin gets the job, but soon she realizes that the mastermind behind the biggest acts signed by the record label might be more the work of Abigail (Julie Dretzin), Gus’s assistant.

Kaitlin has been inspired by her singer idol Kat Wonders (also played by Wylie Anderson). On paper, Kat was discovered by Gus, but as the story unfolds, it is revealed that Abigail help developed Kat and other artists  into superstars. In a conversation with Abigail and intrigued by Kat’s death, Kaitlin perceives that maybe Abigail had romantic relationships with Gus and Kat in the past. Kaitlin also complaints about Gus’s insensitive behavior and questions Abigail for allowing Gus to get all the credits for the success of the label’s artists while relegating her to a lesser position.

Abigail  then becomes the main character in the play. Her relationship with Gus both professional and personal sheds light on the dynamics between these two characters. Abigail tolerated the abusive behaviors she witnessed in the music industry as a rite of passage without questioning the legality of it. She also helped Gus to develop and polish the acts the label had signed while he got all the credits and the biggest paycheck. In return, Gus gave Abigail the men, women, and drugs she wanted while securing her position in the label. Regardless of their silent agreement, everything changed after Gus fell out of favor with his boss and Abigail is offered the opportunity of a lifetime. It’s up to Abigail now to make an important decision in a critical time in her life.

One interesting exposition of the story is the different backgrounds of Abigail and Kaitlin. Abigail’s dad was a carpenter and her mom was a housewife. Kaitlin’s mom is a lawyer and her dad is a science teacher. Her dad’s actions however, is one of the reasons Kaitlin is specially sensitive about sexual harassment.

Jessica Goldberg’s play shows the older generations’ point of views that permeated the workplace behaviors that hurt so many people along the way. It also shows Generation Z trying to change things for the better and how the power of music can influence people to take action. But the play goes further than that. It explores the challenges of changing or modifying upper and middle manager’s old behaviors and even the victim’s own stupor that leads to inaction either by complacency or indoctrination. Change, as shown in one of the scenes, can mean different things to different people.

Wylie Anderson’s performance showed the transition of Kaitlin’s position in the record label. She was timid and a bit insecure during the interview, then frustrated by Gus’s harassment, and finally, empowered to stand up against abuse and demand changes within the organization. Julie Dretzin did an excellent job portraying the passive and troubled assistant that faces the challenges of an older generation of women and the opportunities that could open up for the new ones. Sal Viscuso offered the funniest lines as the vocal and abusive A&R legend that ultimately had to face his own demise.

The creative team includes scenic designer Amanda Knehans; lighting designer Hayden Kirschbaum; sound designer Alysha Grace Bermudez; and costume designer Elena Flores. The assistant director is Elana Luo, the associate producer is Elliot Davis, and the production stage manager is Danielle JaramilloChris Fields and Kelly Beech produce for the Echo Theater Company.

Babe

Written by Jessica Goldberg. Directed by Chris Fields. Starring Wylie AndersonJulie Dretzin and Sal Viscuso. Presented by The Echo Theater CompanyChris Fields artistic director.

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

Performances: Sept. 17–Oct.24
Fridays at 8 p.m.: Sept. 23; Sept. 30; Oct. 7; Oct. 14; Oct. 21
Saturdays at 8 p.m.: Sept. 17 (opening night); Sept. 24; Oct. 1; Oct. 8; Oct. 15; Oct. 22
Sundays at 4 p.m.: Sept. 25; Oct. 2; Oct. 9; Oct. 16; Oct. 23
Mondays at 8 p.m.: Sept. 26; Oct. 3; Oct. 10; Oct. 17; Oct. 24

Tickets: www.EchoTheaterCompany.com