Theatre Review: Rent

Chance Theater presents the Pulitzer Prize winning musical Rent. Book, Music, and Lyrics by Jonathan Larson. Directed by Matthew McCray. Music directed by Lex Leigh. Choreographed by Mo Goodfellow.

One of the most iconic stories to reflect the lives of struggling artists, Rent adds another dramatic layer when some of the characters have to survive in a big metropolis like New York while grappling with HIV at the same time. Without a doubt, this is a moving musical that continues to inspire audiences every single time. For anyone who has seen the progression of the disease from HIV to AIDS and the devastating consequences, Rent is a significant portrayal of the hardships and the uncertainty of the heartbreaking ordeal, specially in the early waves of the epidemic.

The inability to predict for sure if HIV will progress to AIDS is like a ticking bomb that may go off at any time, taking a physical and mental toll on those with the disease and their loved ones. Jonathan Larson observed those challenges and imagined a universe where a very diverse group of people comes together to build a community to fight the AIDS stigma and find love along the way. Within that amalgam of personalities, a special character with HIV, Angel (Adam Leiva), irradiates kindness and the ability to teach and share love, even after his death of AIDS. He navigates the adversities with a positive attitude until the very last moment.

Some of the topics in the play are discrimination, poverty, living the moment, survival mechanisms, the sense of community, drug addiction, and the inability of the characters to stop it. For Roger (Gavin Cole), Mimi’s (Lena Ceja) heroin addiction and an HIV condition prolongs the agony of an impending disaster. Roger knows that falling for Mimi means that, at one point, he will be left alone once again—his former girlfriend committed suicide after learning that she was HIV positive and had infected Roger.

But beyond her addiction, Mimi has depth. Perhaps as a consequence of her HIV condition and accepting her fate, she encourages Roger to forget about his anticipatory anxiety and live the moment without worrying about the past or the future. No religion, no heavens, no hell, only us.

There are fifteen characters in Director Matthew McCray‘s production, each one with their own story and motivations. There is Roger’s roommate, Mark (Luc Clopton), a filmmaker who was dumped by his girlfriend. Together with Roger, Mark struggle to stay warm in their cold apartment. We also see Joanne (Frankie Ripley), a lesbian lawyer, Maureen (Lily Targett), a bisexual performer and Joanne’s girlfriend, Tom (JoeJoe McKinney), a gay anarchist with AIDS and Angel’s partner, and Benjamin (Christopher D. Baker), Mark and Roger’s landlord. All of the characters have important roles and a story to tell. They all contribute to build a cohesive community and bond even more after Angel’s death. But it is Roger the center of attention. His depressive state at the beginning, his initial resistance to a new relationship with Mimi, and his willingness to open up his heart make it the most transformative character of the play. Throughout the story, Roger is silent, loud, visible, invisible. He is myth, life, death, tragedy, hope. He is America. He touches the bottom and rises like a phoenix. At the end, he still believes in love.

Scenic Designer Joe Holbrook captures the grittiness and the underground vibes of the script in a fascinating manner. The colors and textures create a contrast that reflect the spirit of the story. The color palette of the lighting (Zach Moore, Lighting Designer) is also an element to highlight. Reds, whites, ambers, purples, and blues are all used masterfully to evoke emotions and intensities, as if dancing rhythmically to the palpitations of the characters. McCray had a talented group of artisans and performers to honor and elevate the legacy of Larson in the always difficult world of musicals. This particular production of Rent shows that a talented director can make a revival as fresh and exciting as the original one.

The story is raw, passionate, energetic, and a testament of the powerful effect of human connections. It’s a picture of the rough and excruciating road to the entertainment industry. It is also a homage to the ones that lost the battle, to the ones that are still trying, to the ones that never ever give up. 

Rent

Chance Theater
Bette Aitken Theater Arts Center
5522 E La Palma Ave.
Anaheim, CA 92807

Dates: — 

Ticketschancetheater.com

Book, Music, & Lyrics by Jonathan Larson. Directed by Matthew McCray. Music directed by Lex Leigh. Choreographed by Mo Goodfellow. Executive Producers Linda and Tod White. Season Producers Bette & Wylie Aitken. Associate Producers Rachelle Menaker & Eddie Schuller. Associate Producer Laurie Smits Staude. Associate Season Producers Family of Mary Kay Fyda-Mar. Cast: Luc Clopton, Gavin Cole, Lena Ceja, JoeJoe McKinney, Adam Leiva, Lily Targett, Frankie Ripley, Christopher D. Baker, Jack Thomas Aitken, Micah K. Blanks, Ayani Dorsey, Autumn Kirkpatrick, Patrick McCormick, Mikey Miro, and Gemma Pedersen. Creative team: Lighting Designer Joe Holbrook, Costume Designer Bradley Allen Lock, Projection Designer Nick Santiago, Lighting Designer Zach Moore, and Sound Designer Dave Mickey
 
      

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: 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: Warrior Queen Anahit the Brave

Imagine Theatre presents the world premiere of Warrior Queen Anahit the Brave, written and directed by Armina LaManna.

Anahit (Ani Marderosian), a peasant girl, is drawing water with her two friends Nairi (Christianne Holly Santiago) and Maral (Sophia Vitello) when Prince Vachagan (Nathan Mohebbi) walks by with his friend Arman (Kyle Caldwell). As Prince Vachagan starts to flirt with Anahit, she tells him to learn to work with his hands if he wants to court her. The Prince then promises he will learn to weave rugs to show her that his intentions are serious. He learns to weave and marries Anahit, taking the throne. But their happiness is disrupted with the news that men keep disappearing throughout the kingdom. The antagonist in the story is the demon Apep (Alistair McKenzie, Theatre Review: The Merry Wives of WindsorTheatre Review: Trouble the Water), the villain responsible of the mysterious disappearances. Queen Anahit and King Vachagan are now faced with the necessity of making critical decisions that will determine the fate of the kingdom and rescue the men that have been kidnapped to return them to their families.

The play is based on Ghazaros Aghayan’s 1881 fable “Anahit”. It is a classical tale of good versus evil, geared towards a young audience. Keeping children’s attention is a monumental challenge nowadays, but this production succeeds in entertaining the kids throughout the whole play. The costumes, the traditional dances, the humor, and the music (Apep is a rapper too), grabs the young audience’s attention and the interactive nature of the play makes it even more engaging. There are also sword fights and technical elements that contribute to the success of the play. The scenic and projection designer Tom Buderwitz and lighting designer Josh Epstein create a visual palette that is a boost to the senses and build up the crescendo of the story.

Armina LaManna and Ani Marderosian are able to catch the attention of a young audience and to deliver a positive and reaffirming message to young girls, all of this while bringing some of the history of Armenia to the American Armenian diaspora of Los Angeles.

Warrior Queen Anahit the Brave

Written and Directed by Armina LaManna. Original Music by Shahen Hagobian. Puppet Design and Fabrication by Douglas Wright. Starring Kyle CaldwellAni MarderosianAlistair McKenzieNathan MohebbiChristianne Holly SantiagoSophia Vitello. Presented by Imagine Theatre. Creative team: Master puppet designer and fabricator Douglas Wright; scenic and projection designer Tom Buderwitz; lighting designer Josh Epstein; sound designer Joseph Sloe” Slawinski; costume designer Dianne K. Graebner; and properties designer Jenine MacDonald. The musical director is Elizabeth Curtin, and the production stage manager is Elna Kordjian. Produced by Laura Hill and Gabrieal Griego.

Colony Theatre
555 N 3rd St.
Burbank CA 91502
(in Burbank Town Center)

November 5 – November 18
Opening: Saturday, November 5 at 7 p.m.
Friday, November 11 at 7 p.m.
Saturday, November 12 at 7 p.m.
Sunday, November 13 at 4 p.m.
Friday, November 18 at 7 p.m.

Tickets: imaginetheatreca.org