Tag Archives: Los Angeles

Theatre Review: Do You Feel Anger

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Circle X Theatre Company presents the West Coast premiere of Do You Feel Anger? Written by Mara Nelson–Greenberg. Directed by Halena Kays.

Do You Feel Anger?, written in the absurdist style, is set in a debt collection agency. Sofia (Paula Rebelo) is hired as an empathy coach by the agency. Her job is to instill a sense of empathy in the employees through a series of exercises, using words to describe their own feelings and those of the people they call to collect a debt. Jon, the boss (Casey Smith), is as insensitive as the rest of the employees. Almost immediately, Jon’s comments reveal the sexist environment of the workplace when he asks Sofia to wear a dress instead of pants. When Sofia asks him if he knows what a woman’s period is, he has to call his assistant to figure it out. This becomes one of the funniest scenes, as he is both amused and disgusted when the assistant explains it to him.

The employees are Eva (a phenomenal Tasha Ames, Theatre Review: Hooded or Being Black for Dummies), Jordan (Napoleon Tavale), Howie (Rich Liccardo), and Janie (Charlotte Gulezian), who went missing mysteriously after she went to the restroom one day. A recurrent issue in the office is Eva’s claim about getting mugged in the cafeteria repeatedly, an incident that Jon asserts he’s investigating. 

In her first private conversation with Sofia, Eva confides that, as a deterrent, she needs to have a boyfriend at all times to keep Jordan and Howie away from her. So urgent is her boyfriend strategy, that she doesn’t even remember the names of the guys she dates. Sofia reassures Eva and starts to bond with her in what appears to be a nurturing relationship that will boost Eva’s self-confidence. 

Jordan and Howie, on the other hand, prove to be a tough case of misogyny and bad behavior. This will push Sofia’s patience to the limit, so much that she will end up spending a great deal of time coaching and pretending to side with them to understand their point of view. Her strategy then turns into some kind of reverse psychology. But as their interactions become more intense, the question now is: Who is using reverse psychology on whom?  

Sofia also finds out that her dad has a second family. As she tries to teach the employees at the agency about empathy, Sofia fails to show that feeling towards her own mom (Rose Portillo), who is struggling to cope with her failed marriage. 

Following the absurdist style of the play, one of Eva’s ex-boyfriend (Bob Clendenin), an old man in a wheelchair, shows up and threatens to blow up the office.

Under pressure from Jon to complete the training, Sofia finds herself juggling different personalities with challenging needs. Sofia’s bonding with Howie and Jordan start to shift the play in a new direction, mainly at Eva’s expense. Sofia’s own success as an empathy coach might be jeopardized by how close she gets to her subjects. The relationship of Sofia with the rest of the characters highlights the premise of whether the feelings of some people should matter more than those of others.  

Even though the situations and dialogue might feel cliché, the absurdist nature of the play calls for exaggerated elements to make it work as a comedy. The direction and the excellent performances of the actors keep the audiences amused and entertained as a continuum throughout the play.

Special mention to lighting designer Stephen Azua, who delivers an outstanding job with the vibrant and subtle changes both during transitions and within the scenes. 

The rest of the creative team includes scenic designer François-Pierre Couture; sound designer Jesse Mandapat; and costume designer Dianne K. Graebner. Properties design is by Kat Haan, with specialty props by Richard Maher. The assistant director is Lee Hannah Conrads and the production stage manager is Roella Dellosa.  

Do You Feel Anger?

Written by Mara Nelson–Greenberg. Directed by Halena Kays. Starring Tasha Ames, Charlotte Gulezian, Rich Liccardo, Rose Portillo, Paula Rebelo, Casey Smith, and Napoleon Tavale. Featuring cameo appearances by Bob Clendenin (Jan.19-Jan. 22); William Salyers (Jan. 26-Jan. 29); John Getz (Feb. 2-Feb. 5); Jan Munroe (Feb. 9-Feb. 12); Tony Amendola (Feb. 16-Feb. 19); and Silas Weir Mitchell (Feb. 23-Feb. 25). (Please note that the guest performer rotation is subject to change; updates can be found at www.circlextheatre.org.) Produced by Jen Kays, Kat Haan and Timothy Wright. Presented by Circle X Theatre Company.

Circle X 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: Jan. 21-Feb. 25, 2023:
• Thursday at 8 p.m.: Jan. 26; Feb. 2; Feb. 9; Feb. 16; Feb. 23
• Fridays at 8 p.m.: Jan. 27; Feb. 3; Feb. 10; Feb. 17; Feb. 24
• Saturdays at 8 p.m.: Jan. 21 (opening night); Jan. 28; Feb. 4; Feb. 11; Feb. 18; Feb. 25
• Sundays at 2 p.m.: Jan. 22; Jan. 29; Feb.5; Feb. 12; Feb. 19

Tickets: www.circlextheatre.org

Do You Feel Anger poster
A scene from Do You Feel Anger
A scene from Do You Feel Anger
A scene from Do You Feel Anger

Theatre Review: Anatomy of Gray

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Anatomy of Gray is presented by Open Fist Theatre Company. Written by Jim Leonard. Directed by Ben Martin. Set in Gray, Indiana in the late 19th century.

After the death of her father, 15-year-old June (Rebekah Paugam) asks God to send a healer so the people of Gray don’t have to suffer the loss of a loved one ever again. Almost as a miraculous answer to her prayers and in the midst of a twister, a man falls from the sky and lands on the small town of Gray, Indiana. That man happens to be Dr. Galen P. Gray (Jeremy Guskin). In reality, his hot air balloon gets caught up in the tornado and Dr. Gray survives the fall with no injuries.

As he gets acquainted with the residents of the small town, Dr. Gray starts to treat and cure their ailments, much to the distrust of the town’s preacher, Pastor Phineas Wingfield (Alexander Wells, A Midsummer Night’s Dream, The Romantics). Belva Collins (Beth Robbins), Crutch Collins (James Fowler, A Midsummer Night’s Dream), Tiny Wingfield (Lane Allison, In the Next Room, or the vibrator play), and Maggie (Debba Rofheart, A Midsummer Night’s Dream) all are treated by Dr. Gray at one point. For 19th-century America, curing a disease relies heavily on praying, as religion played a central role in rural 19th-century America. Dr. Gray’s knowledge of medicine becomes a clash between science and religion despite the benefits to the population. Curiously enough, soda pop saves the life of Homer (Alex Hogy), one of the young inhabitants of Gray. 

Building up the tension is June’s sexual awakening and her infatuation with Dr. Gray. To complicate things, Dr. Gray starts to develop feelings for June’s mom, Rebekah (Martha Demson), who is pregnant.

Eventually, some of the residents of Gray start to show marks in their bodies. Some of them fall sick and soon they start to die. Blaming Dr. Gray (who is Jewish) for their ailments, the outbreak unleashes an antisemitic outburst that leads Dr. Gray to run away. Amid the chaos, Dr. Gray, June, Rebekah, and Pastor Wingfield will be forced to make tough decisions in order to survive.

Playwright Jim Leonard presents the reactions of people when faced with extraordinary challenges. Taking into account the lack of scientific knowledge of particular diseases back in the 19th century, an outbreak would be considered a punish from God or the malevolent action of a perceived enemy. Historical episodes with similar characteristics are the Black Death in the Middle Ages, the AIDS epidemic in the 80s, and even the Covid pandemic. In that sense, Anatomy of Gray is a relatable play that delves into the conspiracy theories in lieu of sound scientific explanations.

This is also a coming-of-age story where a 15-year-old girl is finding her place in the world in the middle of a personal tragedy. Her relationships with the opposite sex, her insecurities, and her wishes to explore the world far beyond her small town are topics as contemporary as they were in the 1800s.

Ben Martin‘s direction achieves a compelling and dynamic play, translating the poignancy of the script effectively with humor and a maze of emotions to engage the audience.

Creative team: Scenic designer Jan Munroe, lighting designer Gavan Wyrick, sound designer Marc Antonio Pritchett, costume designer Mylette Nora, scenic artist Stephanie Crothers, and prop masters Bruce Dickinson and Ina Shumaker. The production stage manager is John Dimitri.

Anatomy of Gray

Written by Jim Leonard. Directed by Ben Martin. Starring Lane Allison, Rosie Byrne, Martha Demson, James Fowler, Jeremy Guskin, Alex Hogy, Erica Mae McNeal, Rebekah Paugam, Alina Phelan, Beth Robbins, Debba Rofheart, and Alexander Wells. Presented by Open Fist Theatre Company, Martha Demson, artistic director.

Atwater Village Theatre
3269 Casitas Ave
Los Angeles, CA 90039
FREE parking in the ATX (Atwater Crossing) lot one block south of the theater.

Performances:Nov. 19, 2022 – Jan. 21, 2023
Fridays at 8 p.m.: Dec. 2; Dec. 9; Dec. 16; Jan 6; Jan 13; Jan 20 (dark Nov. 25; Dec. 23; Dec. 30)
Saturdays at 8 p.m.: Nov. 19 (Opening Night); Nov. 26; Dec. 3. Dec. 10; Dec. 17; Jan 7; Jan 14; Jan 21 (dark Dec. 24; Dec. 31)
Sundays at 3 p.m.: Nov. 27; Dec. 4. Dec. 11; Dec. 18; Jan 8; Jan 15 (dark Dec. 18; Dec. 25; Jan. 1)

Tickets: openfist.org

Anatomy of Gray poster
A scene from Anatomy of Gray
A scene from Anatomy of Gray
A scene from Anatomy of Gray

Theatre Review: Smile

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IAMA Theatre Company presents the world premiere of Smile, written by Melissa Jane Osborne and directed by Michelle Bossy. The story is set in 1992, a year called “Year of the Woman”.

In the opening scene, 17-year-old Rachel Olivera (Isabella Feliciana) is talking to Helen (Andria Kozica, Theatre Review: Celestial Events), the school’s counselor. Rachel reacted to her classmates harassment and the physical altercation is jeopardizing her future education. Helen feels a special connection to Rachel and decides to help her out. When Helen’s husband, Matt (John Lavelle), finds out about the help Helen is providing to Rachel, he looses his mind and underlying issues related to a tragic past start to reappear, threatening to break apart their marriage.

Rachel is a character dealing with coming of age in a society that defines her worth based on race, gender, and social status. Her story portrays that of many young women who receive a constant influx of mixed messages from their peers and society at large. In Rachel’s case, her situation at an emotional level gets even more complicated with the indecisive actions of Joey (Alex Fox), the teenage neighbor who shows interest in her but falls victim of the rumors surrounding Rachel’s altercation at school.   

The dialogue in Melissa Jane Osborne‘s script shows the apparent disconnection due to the age gap between Rachel and Helen, a reference to two generations, two social classes, and two races that despite their differences, still find common grounds to influence each other in a positive way.  

Another aspect highlighted masterfully in the play, both in the script and in Michelle Bossy‘s direction, is the emotional pain of past tragic events and the dormant traumas that will continue to come back unexpectedly. Helen and Matt’s actions show that their traumas have permeated their marriage and their relationships with the people around them, even unconsciously.    

Smile tells the story of missed educational opportunities, but even more painfully, it tells the story of missed human connections. Rachel and Helen are ready to connect, but the world around them is not, a reflection of a society that is still trying to keep up with the times.

Smile

Written by Melissa Jane Osborne. Directed by Michelle Bossy. Starring Isabella Feliciana, Ronit Kathuria (Alex Fox on opening night), Andria Kozica, and John Lavelle. Presented by IAMA Theatre Company, Stefanie Black, artistic director. Creative team: scenic designer Yuri Okahana-Benson; lighting designer Dan Weingarten; sound designer Erin Bednarz; projections designer Sean Cawelti; costume designer Vicki Conrad; properties designer Heath Harper; and casting director Jordan Bass. IAMA ensemble member Anna LaMadrid is associate director and dramaturg. Grant Gerrard is the production manager and Kimberly Sanchez Garrido is the stage manager. Tiffany Moon and Kat Kim produce for IAMA Theatre Company.

Atwater Village Theatre
3269 Casitas Ave
Los Angeles, CA 90039
FREE parking in the ATX (Atwater Crossing) lot one block south of the theater.

Performances: November 12 – December 5
Fridays at 8 p.m.: Nov. 18; Dec. 2; (dark Nov. 25)
Saturdays at 8 p.m.: Nov. 12 (opening night); Nov. 19; Nov. 26; Dec. 3
Sundays at 3 p.m.: Nov. 20; Nov. 27; Dec. 4
Mondays at 8 p.m.: Nov. 21; Nov. 28; Dec. 5

Tickets: iamatheatre.com

 

Smile poster
A scene from Smile
A scene from Smile
A scene from Smile

Theatre Review: Broken Story

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White Horse Theater Company in association with 134 West presents Broken Story. Written by Cyndy A. Marion. Directed by Tamara Ruppart.

It’s the late 90s in Los Angeles and Jess (Lindsay Danielle Gitter), a journalist from the New York Today, flew from New York to investigate the murder of Jane Hartman (Lynn Adrianna Freedman), a novelist and daughter of a mobster. Jane was a close friend of Johnny Klein, a construction mogul whose wife, Helen Klein, disappeared mysteriously in 1971.

In Los Angeles, Jess meets Kip Watson (David Hunter Jr.), Jane’s manager, and Darby (Liana Aráuz, Theatre Review: Detained), a socialite and Jane’s best friend. As these characters interact with each other, Jess’ imagination blends with reality in a space where Jane appears occasionally, telling Jess her complicated relationships with Kip, Darby, and the Kleins.

Jess herself, has a story to tell. She grew up rich in New York and since an early age she has been oddly interested in the lives of Johnny and Helen Klein and the life of Jane Hartman. Jess is also in a romantic relationship with Eddie (Rod Sweitzer), her Editor at the New York Today. Jane’s tragic death—a single shot in the back of the head—will reveal unexpected news to Jess that will alter her life forever.

The combination of reality and imagination offers an interesting interaction among the characters in a stage where the lighting (Katelan Braymer, lighting designer) plays an important role. The light changes set the mood and serve as smooth transitions between scenes, highlighting the mystery, the emotions, and the supernatural aspect of the story. 

Director Tamara Ruppart delivers an entertaining play where the kinetics, the dynamic relationships among the characters, and the creative elements all work together to portray Jess’ enigmatic world of reality and imagination.                  

Broken Story

Written by Cyndy A. Marion. Directed by Tamara Ruppart. Cast: Lindsay Danielle Gitter, Lynn Adrianna Freedman, David Hunter Jr., Liana Aráuz, and Rod Sweitzer. Executive Producer Vanessa R. Bombardieri. Co-Producer Susan Lambert Hatem (134 West). Creative team: Scenic designer Andis Gjoni, Lighting Designer Katelan Braymer, Costume Designer Derek Nye Lockwood, Sound Designer Andy Evan Cohen, Incidental Music Joe Gianono, Projection Polaroid Photography Gail Thacker, Dramaturg Linda S. Nelson, and Stage Manager Hannah Raymond.

The Sherry Theatre
11052 Magnolia Boulevard
North Hollywood, CA  91601

Fri, Nov 04 – Sun, Nov 27, 2022
Fri, Sat 8pm
Sun, 7pm

Tickets: www.whitehorsetheater.com/broken-story

Broken Story poster
A scene from Broken Story
A scene from Broken Story
A scene from Broken Story

Theatre Review: (Un)Documents

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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     

(Un)Documents poster
A scene from (Un)Documents
A scene from (Un)Documents
A scene from (Un)Documents

Theatre Review: To the Bone

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To the Bone is presented by Open Fist Theatre Company. Written and directed by Catherine Butterfield. The story is set in Boston in 2013.

Sisters Kelly Moran (Tisha Terrasini Banker) and Maureen Dugan (Amanda Weier) are getting ready to receive the visit of Geneva (Alice Kors), Kelly’s daughter she gave up for adoption. Geneva arrives with her college roommate Darcy (Kacey Mayeda), a filmmaker student who is documenting with her camera the whole story. Kelly’s teenage son, Sean (Jack David Sharpe), on the other hand, is not that excited about the reunion. Geneva’s visit becomes a tense interaction once Kelly reveals that the reason to contact Geneva after all this years is to have her donate liquid marrow for Sean, who needs the transplant due to his cancer. Geneva believes Kelly only wants to save her son and is not really interested in re-establishing the bond with her. Sean’s rude attitude towards Geneva makes things worse and soon Geneva and Kelly got into a heated exchange, calling each other a whore. Geneva storms out with Darcy, much to Maureen’s disappointment.

The reunion unveils the underlying issues surrounding the lives of all the parties involved. The hard-partying times during high school somehow sealed the fates of Kelly and Maureen; two lives of unrealized dreams and broken relationships. The death of his father and the cancer diagnosis has taken a toll on Sean’s physical, mental, and emotional health, straining his relationship with Kelly. Geneva’s failed expectations of a positive reconnection with her biological family and her relationship with her adoptive mother is also exposed.

For Geneva, the initial meeting with Kelly and Sean does more than just triggering emotional pain; it also moves her. After the meeting, she started to research what a bone marrow donation entails, a sign of her willingness to help save a human being, specially one of her own. Having been adopted by wealthy parents, however, has had a negative effect on some of her attitudes towards other people, as described so honestly by her friend Darcy.

The relationship between Kelly and Sean is a volatile interaction of hurtful words and even physical abuse, but after all, is Kelly’s love for her son what drives much of this story.

Peppered with sharp humor and emotional scenes, Catherine Butterfield’s script keeps the story moving forward with a surprising ending. The thespians’ performances keep the story engaging and entertaining. Tisha Terrasini Banker does a phenomenal job as the foul-mouthed mother who will fight till the end and do whatever it takes to save her son, despite the curveballs thrown at her. Yes, baseball has something to do with this story.

To the Bone

Written and Directed by Catherine Butterfield. Starring Tisha Terrasini Banker, Alice Kors, Kacey Mayeda, Jack David Sharpe, and Amanda Weier. Presented by Open Fist Theatre Company, Martha Demson, artistic director. Creative team: scenic designer Jan Munroe, lighting designer Gavan Wyrick, sound designer Marc Antonio Pritchett, costume designer Mylette Nora, prop masters Bruce Dickinson and Ina Shumaker, and scenic painter Stephanie Crothers. The production stage manager is Jennifer Palumbo.

Atwater Village Theatre
3269 Casitas Ave
Los Angeles, CA 90039
Free parking in the ATX (Atwater Crossing) lot one block south of the theater.

Performances:Oct. 1 – Nov. 5:
Fridays at 8 p.m.: Oct. 14; Oct. 21; Oct 28; Nov. 4
Saturday at 2 p.m.: Oct. 29 ONLY
Saturdays at 8 p.m.: Oct. 1 (Opening Night); Oct. 8; Oct. 15; Oct. 22; Nov. 5 (dark Oct. 29)
Sundays at 2 p.m.: Oct. 23 and Oct. 30 ONLY
Sundays at 7 p.m.: Oct. 2; Oct. 9; Oct. 16 ONLY

Tickets: http://www.openfist.org/

To the Bone poster
A scene from To the Bone
A scene from To the Bone
A scene from To the Bone

Theatre Review: Desert Stories for Lost Girls

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Latino Theater Company partners with Native Voices at the Autry to present the world premiere of Desert Stories for Lost Girls, a play about identity, family, and colonialism over generations. Written by Lily Rushing and directed by Sylvia Cervantes Blush.

Carrie (Katie Anvil Rich) arrives to take care of her grandma Rosa (Carolyn Dunn), who suffers dementia. Uncle Edgar (Tom Allard), who was caring for Rosa, leaves and lets Carrie take over. Rosa tells Carrie things that don’t make much sense, at least not to Carrie. When Carrie sleeps, a series of characters show up in her dreams. There’s the conquistador (Glenn Stanton), Plácida (Samantha Bowling), Josefa (Brenda Banda), a younger Rosa (Rainbow Dickerson) and her husband Joe (Glenn Stanton).

The characters in Carrie’s dreams are allegories to her own Genízaro ancestors. Genízaro was a term used to refer to the Apache, Comanche, Kiowa, Navajo, Pawnee, and Ute Natives taken as prisoners by the Spaniards. These prisoners were enslaved in Spanish households, abused physically and sexually, taught Spanish, and forced to convert to Catholicism. 

After spending some more time with her grandma Rosa and some additional conversation with Uncle Edgar, Carrie realizes that Rosa is trying to tell her the story of her ancestors. It’s through her dreams that Carrie starts to put everything together and starts to learn the history of her family and her own identity. When Rosa opens up her suitcase, she’s opening up her memories. The dolls passed on to Carrie become a history lesson, a way so many Natives have taught their young ones of their values and heritage; the spiritual quest of truth. 

The conflicting relationship between Plácida and Nicholas Jacinto, the travel of Rosa and Joe, the references to Santo Tomás, and even Carrie’s lighter skin color is the manifestation of the ethnogenesis of the Genízaros and the failed transculturalization of the Natives that the Spaniards tried to achieve. The bones, the walking, the dolls, the oral history, and the spirits, became a testament of the resilience and the fight to keep their identity alive generation after generation. 

A pivotal character that shows the resilience of the Genízaros is Plácida. She had her son when she was 11 or 13 years old. When she was removed from the settlement, she had to walk 20 miles everyday to see her son.          

One highlight of this play is that it shows the Native’s perspective rather than a European narrative. This is the other side of the story. One that is rarely seen or heard in the media. These are the words of the people that lost most of their lands and whose lives were disturbed by the aggressive expansion of the European colonists. This is a story about loss, but it is also a story of resilience and hope, a reminder of the fascinating history of one part the Southwest and its culture that refuses to be silenced.

Playwright Lily Rushing and director Sylvia Cervantes Blush accomplish a magical theatrical experience. The script, in its prose and verse, expresses the history and beliefs of the Genízaros in a lyrical way, accentuated by the poetic visuals of scenic/props designer Christopher Scott Murillo and lighting/projection designers Derek Christiansen and Ruby O’Brien. A powerful play, made by powerful voices.

Desert Stories for Lost Girls

Written by Lily Rushing (Genízaro). Directed by Sylvia Cervantes Blush. Starring Tom Allard (Loyal Shawnee), Brenda Banda, Samantha Bowling (Cherokee), Rainbow Dickerson (Rappahannock, Thai, European descent), Carolyn Dunn (Cherokee, Mvskoke Creek, French Creole, and Tunica/Choctaw Biloxi descent), Katie Anvil Rich (Cherokee, Chickasaw), and Glenn Stanton (Cherokee). Dramaturg: Courtney Elkin Mohler (Santa Barbara Chumash). Sound designer: Mia Glenn-Schuster. Costume designer: Lorna Bowen (Muscogee Creek, Seminole, Cherokee). Produced by Latino Theater Company in association with Native Voices at the Autry.

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

Limited 3-week run
Performances:September 30 – October 16
Thursdays at 8 p.m.: Oct. 6, Oct. 13
Fridays at 8 p.m.: Sept. 30 (Opening Night), Oct. 7, Oct. 14
Saturdays at 8 p.m.: Oct. 1, Oct. 8, Oct. 15
Sundays at 4 p.m.: Oct. 2, Oct. 9, Oct. 16

Tickets: latinotheaterco.org

Desert Stories for Lost Girls poster
A scene from Desert Stories for Lost Girls
A scene from Desert Stories for Lost Girls
A scene from Desert Stories for Lost Girls

Theatre Review: The Romantics

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The City of West Hollywood and Classical Theatre Lab presented The Romantics, a play written by Edmond Rostand and directed by Suzanne Hunt (due to a last minute event, Suzanne replaced Maaren Edvard for the role of Pasquinette) in the last performance.

The Romantics is a play that satirizes Romeo and Juliet. Percinet (Johnny Austen) is madly in love with Sylvette (Maegan McConnell). Percinet’s father, Bergamin (Alexander Wells), is in cahoots with Pasquinette (Suzanne Hunt), Sylvette’s mother. Bergamin and Pasquinette believe that by faking a feud between the two families and separating Sylvette from Percinet, their kids will love each other even more and will finally marry once they get back together. To accomplish this, Bergamin hires the services of Straforel (Carlo Figlio) and his notary assistant (Katie McKewin), professional rogues that will stage Sylvette’s failed abduction attempt. The plan is to make Percinet look like a romantic hero by fighting Straforel and the notary to rescue Sylvette. Things, however, get a little bit out of hand after that.

Although the play references Romeo and Juliet and the medieval concept of courtly love, Rostand also contrasts all that youthful romance with the sense of emptiness experienced by Percinet when he is faced with the realities of life, a naturalistic approach popular in Rostand’s time.

The Romantics was staged at the Kings Road Park in West Hollywood with a basic setup. This production was a nostalgic look at how theatre was performed long ago: Natural light, period costumes, and live music, relying mostly on the talent of dedicated actors to keep the audience engaged (McConnell delivers a delightful performance as the vivacious Sylvette). The music was a special touch to the presentation as is based on an 18th Century story but with contemporary music. McConnell, Austen, and Donald Wayne (he plays the gardener Blaise) showed their convincing singing skills in the three musical numbers.

The Romantics was a pleasant production that featured the dedication of the Classical Theatre Lab, an ensemble of theatre artists exploring classical theatre, literature, and  performance. They also develop contemporary works inspired by the classics. These artists perform in different public spaces throughout the year to promote a love of classical theatre. This is the link to their website: https://www.classicaltheatrelab.org/    

The Romantics

Written by Edmund Rostand. Directed by Suzanne Hunt. Presented by The City of West Hollywood & Classical Theatre Lab. Cast: Johnny Austen, Maaren Edvard, Suzanne Hunt, Carlo Figlio, Maegan McConnell, Katie McKewin, Donald Wayne, and Alexander Wells. Production team: Suzanne Hunt and Alexander Wells (Producers), Katie McKewin (Assistant Director/Movement Choreographer) and Garth Pillsbury (Photographer). Costumes from the American Academy of Dramatic Arts.

Kings Road Park,                                                                                                                1000 N. Kings Road, West Hollywood 90069

The play was performed in September 2022. 

Links to West Hollywood’s Arts Division:

weho.org/arts

@wehoarts

@wehocity

 

A scene from The Romantics
The Romantics. Donald Wayne, Johnny Austen, Katie McKewin, Carlo Figlio, Alexander Wells, Maegan McConnell, Maaren Edvard.
A scene from The Romantics
The Romantics. Johnny Austen, Maegan McConnell, Carlo Figlio, Katie McKewin.
The Romantics poster
The Romantics
A scene from The Romantics
The Romantics. Maegan McConnell and Johnny Austen.

Theatre Review: A Great Wilderness

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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 Schofield, Rapunzel 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

 

A scene from A Great Wilderness
A Great Wilderness. Jacquelin Lorraine Schofield and Rachel Sorsa.
A scene from A Great Wilderness
A Great Wilderness. Tony Pasqualini and John Perrin Flynn.
A scene from A Great Wilderness
A Great Wilderness. John Perrin Flynn and Jeffrey Delfin.
A Great Wilderness poster
A Great Wilderness

Revenge Porn or The Story of a Body

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

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

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

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

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

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

Revenge Porn or The Story of a Body

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

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

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

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

Revenge Porn or The Story of a Body poster
A scene from Revenge Porn or The Story of a Body
A scene from Revenge Porn or The Story of a Body
A scene from Revenge Porn or The Story of a Body