Theatre Review: Las Diosas Subterráneas

Latino Theater Company presents Las Diosas Subterráneas, created by Mexico City’s interdisciplinary and experimental ensemble Organización Secreta Teatro. Directed by Rocío Carrillo.

Greek Mythology and Mexican reality converge in Las Diosas Subterráneas. The tale of Demeter, Persephone, and Hades blends with the disturbing reality of the disappeared women in Mexico. Organización Secreta Teatro (Pueblo Espíritu), under the direction of Rocío Carrillo, brings to the stage the character Luz García, a young woman representing the countless cases of women kidnapped, abused, and killed in one of the darkest episodes of recent Mexican history. According to the Mexican Institute of Human Rights and Democracy, the number of disappearances of women, girls, and teenagers has tripled in the last six years. In many of those cases, families have to live with the demoralizing anxiety of not knowing the fate of their daughters, wives, sisters, etc.

The play delves into the cases where tips, whether from authorities or anonymous, have led some families to organize groups to dig remote areas, hoping to find the remains of the women that have been abducted and killed. In one of the scenes, a father is faced with the pressing urgency to keep searching for her daughter while still having to provide for the rest of the family. Yes, the search efforts take time, and for poor families, this could mean having to stop working, adding more pressure to the already distressed economy of the household.

Machismo, sex trafficking, drug trade, and inaction from the authorities are some of the factors that contribute to the elevated number of unresolved cases. But the play goes even further than that. It presents the relationship between the traditional attitudes toward women and the final destination of these female victims. The allegory to the witch-hunt is a vivid representation of how women are still seen in the eyes of a machista society—women themselves incite their abduction, rape, and killing, just for wearing revealing clothes, a flirty demeanor, or just for being perceived as a threat to men’s authority.

Through the intricate blend of mythology, colors, dance, and drama, the actors portray the desperation and the pain inflicted on the most vulnerable sectors of society. It also reflects these families clinging on to a ray of hope, as slim as it might be, to find their women alive.

Las Diosas Subterráneas presents these facts with a sense of urgency. Indifference is becoming a part of the problem. While society keeps going on with their lives, there are thousands of families still searching. Still digging. Still crying. “Vivas se las llevaron, vivas las queremos!” They took them alive, we want them back alive! 

Las Diosas Subterráneas

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

Saturday, May 13 at 8 p.m.

Sunday, May 14 at 4 p.m.

Director Rocío Carrillo. Created collectively by ensemble members Beatriz Cabrera, Alejandro Joan CarmarenaBrisei GuerreroStefanie IzquierdoErnesto Lecuona, Mercedes Olea and Jonathan Ramos from original ideas by Rocío Carrillo.

Theatre Review: Whittier Boulevard

The World Premiere of Whittier Boulevard is presented by Latino Theater Company. Created by Evelina Fernández, Sal López, Geoffrey Rivas, Lucy Rodriguez, and Jose Luis Valenzuela. Directed by Jose Luis Valenzuela.

In a futuristic world, four characters face the predatory policies of a repressive government that deems elderly people a nuance to society. In a controversial action called the Age of Relief Protocol, law enforcement agencies are delegated the responsibility to detain any unmarried person over the age of 75. This discriminatory policy triggers social unrest and the birth of a mysterious insurgent called “Ramone”.

Due to an anonymous tip, Officer Roger Dimas (Geoffrey Rivas, Celestial Events) visits the residency of faded Chicana star Veronica Del Rio (Evelina Fernández, Sleep with the Angels), who is about to turn 75. Roger is greeted by Pilar (Lucy Rodriguez), Veronica’s nurse. Soon, they’re joined by Pablo (Sal López), a senior neighbor and a poet who is in love with Veronica. Roger explains that even though he must enforce the law, he is also troubled by the injustice of the Age of Relief Protocol. As he expresses his admiration for Veronica Del Rio, he also reveals a secret that would get him arrested and prosecuted. The four characters then need to come up with a plan to save both Veronica and Roger from the draconian policies of the totalitarian government.

In the play, seniors are arrested and taken down Whittier Boulevard. This boulevard has been for Chicanos a symbol of their culture, commerce, and lifestyle. It has also been a banner of their activism and resistance in the face of systemic racism and segregation. It’s been a place for cruising and lowriding, but also for historical demonstrations such as the Chicano Moratorium and the Chicano Blowouts. Organizations like M.E.Ch.A and UMAS have used Whittier Boulevard for political activism, and the art collective ASCO used it for artistic expression. It was in Whittier Boulevard during the Chicano Moratorium that artist, author, and educator Harry Gamboa Jr. was anointed editor of the political and arts magazine Regeneración by activist and journalist Francisca Flores. In the play, however, seniors are taken to Whittier Boulevard for more sinister reasons.

The tribulations of Roger and Veronica are a reflection of the struggles that have become a contentious aspect of many in the Latino community. The label “Latino” has been carried as a badge of honor for generations. Latino, an identification that brings a sense of pride. Latino, a label that carries a mark of exclusion and discrimination, a stark difference between first world and third world. As for the character of Veronica, it has a veiled reference to the Dreamers. Her real identity, revealed in extreme and pressing circumstances, give a sense of urgency. As theatre reflects life, Veronica carries the weight of innumerable individuals, lost and saved in political activism with partial results.

A poet, an angel, an officer, and a star in full decline, all trying to save each other. This is the story of generations that lost, won, failed, and succeeded. But the main highlight is their resilience and the willingness to keep on fighting.

Director Jose Luis Valenzuela achieves a fascinating play with notes of Chicano Noir, Latinx Futurism, magic realism, and a cunning infusion of glamour from the Golden Age of Mexican Cinema. The result is a visually stunning production with special emphasis on lighting and projections (lighting designer Pablo Santiago; projection designers Yee Eun Nam and Yuki Izumihara), bathing the characters with a nostalgic vision that honors those that sacrificed their lives for the ones that followed.

Whittier Boulevard

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

Performances: April 29 – May 28
• Thursdays at 8 p.m.: May 11; May 18; May 25
• Fridays at 8 p.m.: May 12; May 19; May 26
• Saturdays at 8 p.m.: April 29 (Opening); May 13; May 20; May 27
• Sundays at 4 p.m.: May 14; May 21; May 28
• Monday at 8 p.m.: May 15 ONLY

Tickets: latinotheaterco.org

Created by Evelina FernándezSal LópezGeoffrey RivasLucy Rodriguez, and José Luis Valenzuela. Directed by Jose Luis Valenzuela. Starring Evelina FernándezSal LópezGeoffrey Rivas, and Lucy Rodriguez. Produced by Latino Theater Company. Creative team: Original music and sound design by Robert Revell; choreography by Urbanie Lucero; scenic designer François-Pierre Couture; lighting designer Pablo Santiago; projection designers Yee Eun Nam and Yuki Izumihara; and costume designer Naila Aladdin Sanders. The production managers are Nathan Edelman and May Fei.

Theatre Review: Pueblo Espíritu

Pueblo Espíritu is presented by Latino Theater Company. Created by Organización Secreta Teatro from Rocío Carrillo’s original idea. Directed by Rocío Carrillo.

Pueblo Espíritu is some kind of A Midsummer’s Night Dream, Mexican style. Deep in the forest, five characters try to survive the Covid pandemic. Distrusting each other, they need to find a way to work together and fight for their lives.

In order to imagine a brighter future, they need to look back and learn from their ancestors. In a world of images, sounds, and rituals, the characters start to reconnect with their natural surroundings. During that process, their animalistic instincts are heightened and the tribal structure starts to shape the relationships among each other. Even though the characters in Pueblo Espíritu live in modern times, their transformation is a vision to the lifestyle of pre-Hispanic Mesoamerican civilizations. 

Rocío Carrillo takes elements from the Chichimeca peoples to recreate the rituals and mythical figures seen in the play. This production relies on music, colors, kinetics, and lighting to tell the story, as there is no dialogue. The result is an enthralling and emotional journey that enraptures the audience from beginning to end. The modulation of intensities throughout the play is a visual language that is rarely seen in theatre. It’s poetic, mysterious, and open to interpretations. In that sense, the relationship with the audience becomes dynamic, never static.

Pueblo Espíritu is a reference to the values that have been lost in the frenetic pace of today’s world. It is a ritual of life and death, an exorcism to clean the soul. It’s an invitation to go back to the basics, to open up our hearts and minds to Mother Earth. In the words of Michael Cretu, it is the return to yourself, the return to innocence. It is a mystic and cathartic experience worth trying.       

Pueblo Espíritu

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

May 3 – May 14

  • Wednesday, May 3 at 8 p.m. (opening night)
  • Thursday, May 4 at 8 p.m.
  • Friday, May 5 at 8 p.m.
  • Saturday, May 6 at 8 p.m.
  • Sunday, May 7 at 4 p.m.

Tickets: latinotheaterco.org

Original idea by Rocío Carrillo. Cast: Beatriz Cabrera, Alejandro Joan CarmarenaBrisei GuerreroStefanie IzquierdoErnesto Lecuona, Mercedes Olea and Jonathan Ramos. Directed by Rocío Carrillo.

Theatre Review: Michaela’s Fluent Aphasia

As part of the MFA Dramatic Writing Year 3 New Works Festival, the USC School of Dramatic Arts presents Michaela’s Fluent Aphasia. Written by Christina Carrafiell. Directed by John DeMita.

Michaela (Maddy Curry, BA Theatre, Acting Em., Junior) has a brain tumor and is about to get a surgery that will be performed by her doctor boyfriend Will (Micha Schnider, BA Theatre, Acting Em., Sophomore). The day of the surgery, Michaela sees Julia (Lexi Minetree, BA Theatre/BA Public Relations, Junior) suffering some sort of asthma or anxiety attack. From there, the story becomes the journey of Michaela’s recovery from a condition called fluent aphasia, caused by the brain surgery to remove the tumor. Another character of the story is Theo (Ben Crane, BA Theatre, Acting Em., First Year), Julia’s boyfriend, a sculptor and speech therapist.

Flashbacks introduce the conflict in the story. In an instant of female intuition, or distrust, Julia senses a potential romance between Theo and Michaela. This worsens when Theo becomes Michaela’s speech therapist. Despite the situation, Michaela and Julia become close friends, finding common ground in their interests of music and poetry. Julia is a musician and Michaela likes to write poetry.

Christina Carrafiell gives her female characters the backgrounds that explain their distinguishing traits, specially their penchant for dependency. In the case of Michaela, there are revelations that question even the legality of the relationship between her and Will. It is probably that mutual inclination to depend on others that take the relationship between Julia and Michaela to another level. In the extremely challenging journey to recovery, Michaela will learn not only to speak coherently again, but also to search deep in her heart where the real love is. In the play’s resolution, Julia will need to make a critical decision. Michaela is in the right path to recover from the brain damage, but will she be left heart broken?

Director John DeMita explores the script using language, poetry, music, and romance to bring Carrafiell’s vision to life. It is a production presented in an entertaining and dynamic form. The flashbacks present details that are crucial to understand the dynamic relationships between the characters. The four actors show their potential, delivering nuanced and convincing performances. The USC School of Dramatic Arts continues to show its commitment to prepare students to succeed in the entertainment industry, connecting students with real audiences and industry professionals.

Christina Carrafiell is a British-American playwright. Her first play, A Fragile Lift, was performed to sell-out audiences at the Chelsea Theatre in London when she was just 17. It was then selected for a run at the Edinburgh Fringe Festival, with Scottish newspapers calling it “original” and “impressive” (The Scotsman). Christina continued writing as an undergrad at Yale, where she was featured in Zack Calhoon’s celebrated ‘people you should know‘ blog. She then won a scholarship to do an MFA in Playwriting at USC School of Dramatic Arts, where she is currently in her third and final year. Her TV script Surfer Girl reached the quarter finals of the 2021 WeScreenplay TV Writing Competition.

Michaela’s Fluent Aphasia

McClintock Theatre
1010 W Jefferson Blvd (University of Southern California)
Los Angeles, CA 90089
Dates:
Thursday, April 20, at 7:30 p.m.
Saturday, April 22, at 8 p.m.
Tuesday, April 25, at 7:30 p.m
Written by Christina Carrafiell. Directed by John DeMita. Starring Ben Crane, Maddy Curry, Lexi Minetree, and Micah Schneider. Creative team: Scenic Design by Takeshi Kata and Maya Channer ( BFA Design, Sophomore), Costume Design by Juliet Black (BFA Design, Sophomore), Lighting and Projection Design by G. Austin Allen, Sound Design by Alma Reyes-Thomas, Stage Manager Yaesol Jeong, Technical Director Dominic Vacca (BFA Technical Direction, Senior).

Theatre Review: Blue

The World Premiere of Blue is presented by Rogue Machine. Written by June Carryl. Directed by Michael Matthews. Produced by Sara Fenton, Kila Kitu, Mildred Langford, Tarina Pouncy, and Betsy Zajko. A Rogue Machine Production.

As some police officers were seen participating in the events in the Capitol on January 6, 2021, writer June Carryl asks if there is a link between those events and some instances of police brutality. In Blue, police sergeant Sully (John Colella), who is White, is facing criminal charges in the killing of a Black veteran who was stopped for expired tags. Interrogating Sully about the incident is detective Parker (Julanne Chidi Hill), who is Black. We soon find out that they’ve known each other for a long time, but the initial friendly interaction starts to take a turn for the worst.

Sully and Parker’s husband were police partners, something that holds its own secrets and becomes crucial in the way Sully and Parker think of each other. Sully was also one of the cops seen participating in the Capitol riot on January 2021. A picture of his involvement in that incident is now being used to determine his bias towards the killing of the Black veteran. Once Parker asks more questions about the events that led to the shooting of the veteran, Sully discloses more details that start to reveal his real motivations and perhaps even his predisposition for violence and racism. 

The interaction between Sully and Parker is somehow a metaphor of the relationship between Blacks and Whites in America in a larger scale, friendly at times, but distrustful and sometimes even violent in other instances. One thing that stands out in Blue is the fact that negative emotions seem to be always close to the surface in a latent state, ready to explode at the first provocation. In the case of the two characters, their apparent close and friendly relationship didn’t erase the resentment that has existed for hundreds of years between both races.

Sully sees himself as a patriot, betrayed by society for upholding the law as a citizen and police officer. Parker sees herself as a victim of a system that still treats her as a second class citizen. Carryl’s script is sharp and painful, but as close to reality as it can be. Colella and Hill’s visceral performances will trigger strong emotions that, despite their vicious nature, feel cathartic at the end. Director Michael Matthews achieves of all of this with just a light, a table, and two chairs. The set is arranged as an interrogation room; it is a closed and suffocating space, “like a pressure cooker” in the words of Matthews. Blue is an unfiltered view of what lies under the surface of apparent civilized relationships. It is an impactful image that needs to be analyzed on our path to mutual understanding.  

Blue

ROGUE MACHINE (The Henry Murray Stage upstairs at the Matrix Theatre)
7657 Melrose Ave, Los Angeles, CA 90046. Street parking

Opening at 8pm on Friday, April 7, 2023
Schedule: 8pm Fridays, Saturdays, Mondays, 3pm Sundays
Closing: May 14, 2023

Tickets: roguemachinetheatre.org

Written by June Carryl. Directed by Michael Matthews. Cast: John Colella and Julanne Chidi Hill. Produced by Sara Fenton, Kila Kitu, Mildred Langford, Tarina Pouncy, and Betsy Zajko. A Rogue Machine Production. Creative team: Joe McClean and Dane Bowman (Production Design), Chris Moscatiello (Sound Design).

Theatre Review: Picnic

Odyssey Theatre Ensemble presents a revival of Picnic, a play written by Pulitzer Prize winner William Inge. Directed by multiple award winner John Farmanesh–Bocca. Produced by Beth Hogan in association with Isabel and Harvey Kibel.

John Farmanesh-Bocca set his version of William Inge‘s Picnic a little bit later than the original play. He transfers the story to the 1960s, at the beginning of America’s involvement in Vietnam. This period exemplified the dreams and frustrations that run deep in a country still healing from the consequences of World War II. Within this environment, we find Madge Owens (Mattie Harris Lowe), who is in a relationship with wealthy Alan Seymour (Ahkei Togun). Madge, however, finds herself dissatisfied, yearning for more. It is in that setting of rural communities of necessity that the rest of the characters interact and listen to each other’s problems and aspirations.

A sudden disruption occurs when the attractive drifter and Alan’s friend Hal Carter (Monti Washington) arrives in town, charming the women with his looks and demeanor. Caught in the middle of emotions, Madge also falls for him. Hal’s condition as an underdog is even more compelling to Madge, who is so smitten with him that she contemplates the possibility of leaving behind her family and breaking up with Alan to run away with Hal. 

Another character representing rural America and the aspirations of a better life is Madge’s younger sister, Millie (Symphony Canady), who has artistic inclinations and wants to try new opportunities in New York. Also in the picture is Rosemary Sydney (a fantastic Sydney A. Mason). She’s a schoolteacher who’s desperate to get married and finds storekeeper Howard Bevan (Derrick Parker) her perfect match, specially after a night of drinking and dancing.

The rest of the characters are Madge and Millie’s mother, Flo Owens (Yolanda Snowball), neighbor Mrs. Helen Potts (Rosemary Thomas), Bomber (Rogelio Douglas III), Rosemary’s fellow schoolteachers Irma Kronkite (Erika L. Holmes) and Christine Schoenwalder (Caitlin O’Grady).

The play contains hints of romance, humor, sexual awakening, and historical significance. The characters’ traits are a rich tapestry of the American experience. The characters could be Black, White, Latinos, or Asians and still resonate with the same impact. 

Picnic is a sublime painting of the American heartland, a meaningful play with a ray of hope in the face of emptiness. The direction and the cast give a refreshing and meaningful rendition to William Inge’s exceptional script; a story set in a small Kansas town on a Labor Day picnic that says so much of what America was and what it has become, for better or worse.   

Picnic

Odyssey Theatre
2055 S. Sepulveda Blvd.
Los Angeles CA 90025

Performances: March 25 – May 28
• Wednesdays at 8 p.m.: May 10*, May 17 ONLY
• Fridays at 8 p.m.: April 28**, May 19**, May 26 ONLY
• Saturdays at 8 p.m.: March 25 (Opening), April 1, April 8, April 15, April 22, April 29, May 6, May 13, May 20, May 27
• Sundays at 2 p.m.: April 2, April 9, April 16, April 23, April 30, May 7, May 14, May 21, May 28
• Mondays at 8 p.m.: April 17*, April 24, May 8 ONLY
*Post-performance discussions on Monday, April 17 and Wednesday, May 10
**Wine Nights on Friday, April 28 and Friday, May 19 complimentary wine and snacks and after the show.

Tickets: odysseytheatre.com

Written by William Inge. Directed by John Farmanesh-Bocca. Starring Symphony Canady, Rogelio Douglas III, Mattie Harris Lowe, Erika Holmes, Sydney A. Mason, Caitlin O’Grady, Derrick Parker, Yolanda Snowball, Rosemary Thomas, Ahkei Togun, and Monti Washington. Produced by Beth Hogan for the Odyssey Theatre Ensemble in association with Isabel and Harvey Kibel. Presented by the Odyssey Theatre Ensemble, Ron Sossi Artistic Director.

Creative team includes set designer Frederica Nascimento, lighting designer Chu-Hsuan Chang and costume designer Mylette Nora. Farmanesh-Bocca co-designs sound with Jeff Gardner and (posthumously) Adam Phelan, and co-choreographs alongside Briana Price. The stage manager is Terrance Stewart.

 

Theatre Review: The Thin Place

The Echo Theater Company presents the California Premiere of The Thin Place. Written by Lucas Hnath. Directed by Abigail Deser. Produced by Chris Fields and Chelsea Spirito.

Eerie experiences continue to happen to Hilda (Caitlin Zambito). First, it was the death of her grandma, then it was the sudden disappearance of her mom. Adding more mystery to her life, Hilda befriends the enigmatic Linda (Janet Greaves), a psychic who seem to be the link between this world and the afterlife.

As Hilda continues to ponder possible clues to her mom’s whereabouts, Linda’s source of income and the powerful connections she has achieved as a psychic become more intriguing and build up the suspense of the story. 

Lucas Hnath (A Doll’s House, Part 2, A Public Reading of an Unproduced Screenplay About the Death of Walt Disney) continues to write exceptional stories with outstanding female voices. Hilda has shades of fragility, determination, and curiosity that lead her to take a leap into the unknown. The dynamic relationship between Hilda and Linda permeates the story with a sense of wonder all the way till the end.

Hnath includes two additional characters, Jerry (Justin Huen) and Sylvia (Corbett Tuck) that question and validate Linda and Hilda’s motivations and circumstances. These two characters appear almost out of the blue, but become pivotal accessories to move the story forward and shape the contradictions of Linda’s personality.

Director Abigail Deser worked with the actors for two months and achieved extraordinary results. Her work captures the play’s mysticism vividly, bringing the audience closer to the fine line between light and darkness, the place where the material world meets the supernatural realm. To enhance the unnerving nature of the play, Deser and scenic designer Amanda Knehans use innovative lighting (lighting design by Matt Richter, Hayden Kirschbaum) and sound (sound design by Alysha Grace Bermudez) to add an aura of mystery and esotericism to the stage.        

Hnath’s play is a gem. It’s a mystical journey to a region known as The Thin Place, a space where our senses of wonder, bliss, and silent euphoria are awaken. As Hilda and Linda reveal in the play, this space, real or imaginary, emanates from the noble desire to stay in touch with the loved ones we have lost, if only we hear the message with the third eye.  

The Thin Place

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

PARKING:
FREE in the Atwater Crossing (AXT) lot one block south of the theater

Performances: March 18 – April 24
• Fridays at 8 p.m.: March 24, March 31, April 7, April 14, April 21
• Saturdays at 8 p.m.: March 18 (opening night), March 25, April 1, April 8, April 15, April 22
Sundays at 4 p.m.: March 26, April 2, April 9, April 16, April 23
• Mondays at 8 p.m.: March 27, April 3, April 10, April 17, April 24

Tickets: echotheatercompany.com

Written by Lucas Hnath. Directed by Abigail Dreser. Starring Janet Greaves, Justin Huen, Corbett Tuck, Caitlin Zambito. Presented by The Echo Theater Company, Chris Fields artistic director. Creative team: Scenic design by Abigail Deser and Amanda Knehans, lighting design by Matt Richter, sound design by Alysha Grace Bermudez and costume design by Dianne K Graebner. The associate producer is Chelsea Spirito, and the production stage manager is Irene Lee. Chris Fields and Kelly Beech produce for the Echo Theater Company.

Theatre Review: La Egoista

Skylight Theatre Company Presents the West Coast Premiere of La Egoista. Written by Erlina Ortiz. Directed by Dr. Daphnie Sicre. Produced by Gary Grossman for Skylight Theatre Company. Associate Producer is Tyree Marshall.

Almost like a sinister coincidence, La Egoista opened up a few days before the tragic event in Germany. Of course, the comparisons will be inevitable and they might trigger strong reactions both positive and negative to the story. But the main focus on Erlina Ortiz‘s play is the challenging balance of following one’s dreams and finding the time to take care of a family member in need.

Josefina (Lys Perez) is a rising stand-up comic, always on the move, trying to book more gigs. Her sister Betsaida (Chanel Castañeda) suffers from a debilitating medical condition that requires spending time at the hospital. One of the conflicts of their relationship is the fact that Betsaida is a Jehova’s Witness. Josefina left the religion and the house to pursue her own dreams while her mom was sick, something that comes up as they argue about family responsibilities. The passing of their mom and Betsaida’s condition become stressful experiences that can either strengthen or weaken their relationship.   

Dr. Sicre delivers a creative and less passive play that turns experimental at times, allowing the audience to participate and become more invested in the characters and story. On Friday, this worked out as a hilarious scene in itself. Another interesting aspect of the play is the set (Scenic Design: Stephen Gifford), the downstage is the stage where Josefina performs, while the center upstage becomes the hospital and the sisters’ house. The puppets (Puppet Design: Christine Papalexis) are turned into characters in various scenes and serve as comedic elements as well. The cross-cutting scene highlights the contrasting personalities and realities of Josefina and Betsaida, a hint of the inevitable drifting away from each other.

The character of Josefina drives most of the story and Perez shows her comedic and dramatic skills on every scene, delivering a touching portrayal of hope in the face of uncertainty.

La Egoista

Skylight Theatre
1816 1⁄2 North Vermont Ave.
Los Angeles, CA. 90027

March 4 – April 9

Opening: 8:30pm Saturday, March 4, 2023
Schedule: 8:30pm Fridays, Saturdays, 3:00pm Sundays, 7:30pm Mondays
(No performance on Monday, March 6)
Closing: April 9, 2023

Tickets: skylighttix.org

Written by Erlina Ortiz. Directed by Dr. Daphnie Sicre. Produced by Gary Grossman for Skylight Theatre Company. Associate Producer: Tyree Marshall. Cast: Chanel Castañeda and Lys Perez.

Scenic Design: Stephen Gifford. Lighting Design: Karyn Lawrence. Costume Design: Mylette Nora. Sound Design: Cristian Amigo. Prop Design: Michael O’Hara. Puppet Design: Christine Papalexis.

 

Theatre Review: The Lifespan of a Fact

The Fountain Theatre presents the West Coast premiere of the Broadway hit play, The Lifespan of a Fact, written by Jeremy Kareken, David Murrell, and Gordon Farrell. Directed by Simon Levy.

What is fake news? Where do journalists draw a line between facts and a good story? In The Lifespan of a Fact, Jim Fingal (Jonah Robinson) is a young intern who has to fact check the essay written by famous author John D’Agata (Ron Bottitta, Wakings!). The essay is the the story of a young men who jumped to his death from a building in Las Vegas. The editor, Emily Penrose (Inger Tudor) needs to have the essay ready for publishing within a few days. 

Fingal, a Harvard graduate, is overtly meticulous and starts to find a handful of inaccuracies in D’Agata’s essay. What happens next is a series of hilarious situations that show Fingal’s obsession with minute details and D’Agata’s tendency to twist the facts to fit his rhythm. 

The play focuses on the competitive world of journalism, where the accuracy of information might be a suggestion and not the rule. Penrose expresses the pressure from investors, advertisers, and the diminishing readership in general as a determining factor to approve stories on her magazine. Penrose and D’Agata are characters that capture the complicated relationship between the interests of the owners of the media and the ethics of a journalist.

In the play, D’Agata’s essay is a metaphor of spin and cherry picking, tactics used to make the story more appealing. In a larger context, those tactics are used by governments and corporations to influence public opinion and advance their own interests. In a society where freedom of speech is paramount, the information relayed to the public can be easily manipulated to deceive or serve particular agendas. Rafael Correa, the former president of Ecuador, once said: “Since the invention of the printing press, the freedom of the press is dictated by the will of the owner of the printing press”. The characters in the play portray that conflictive triangle of freedom of speech, media business interests, and journalism as an elemental tenet of truth.

The Lifespan of a Fact is a captivating play that makes us take a closer look at the avalanche of information to which we are exposed. Media interests, personal opinions, personal experiences, and ethics are all displayed on stage in an entertaining and thought-provoking theatrical experience.               

The Lifespan of a Fact

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

Performances: February 18 – April 2
• Fridays at 8 p.m.: March 3; March 10; March 17; March 24; March 31
• Saturdays at 8 p.m.: Feb. 18 (opening); March 4; March 11; March 18; March 25; April 1
• Sundays at 2 p.m.: March 5; March 12; March 19; March 26; April 2
• Mondays at 8 p.m.: March 6; March 20; March 27 (dark March 13)

Tickets: fountaintheatre.com

Written by Jeremy KarekenDavid Murrell, and Gordon Farrell. Based on the book by John D’Agata and Jim Fingal. Directed by Simon Levy. Starring Ron BottittaJonah Robinson, and Inger Tudor. Presented by The Fountain Theatre.

The creative team includes scenic designer Joel Daavid, lighting designer Alison Brummer, sound designer Marc Antonio Pritchett, costume designer Michael Mullen, video designer Nicholas Santiago and properties designer Joyce Hutter. The production stage manager is Hannah RaymondStephen Sachs and James Bennett produce for the Fountain Theatre.

 

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).