A Transcriber’s Tale. Written by Joanna Parson. Directed by Aimee Todoroff. Produced by Michael Blaha of Fringe Management and Lee Costello. Music Direction by Drew Wutke.
From Connecticut to the Big Apple, Joanna Parson arrived to fulfill her New York dreams. But like everyone else, she needed money to survive. That’s when she found a job as a transcriber. This type of job requires listening to video or audio recordings and turning it into text. News, fashion, TV shows, good news, bad news, and everything in between needed to be transcribed. Being in the front line of information was great, except for a caveat. Salary raises were basically non-existent.
Back in 2001, transcribing, performing at comedy clubs, writing music, auditioning for musicals, and dating an interesting guy named Justin sounded amazing for Joanna. Until 9/11 happened. This event changed many people’s perceptions and made them re-evaluate their lives, especially for the ones living in New York. One of them was Justin, who decided to move to Minneapolis. The whole ordeal took a toll on Joanna, who found a new companionship: Whisky. No, not a dog or a cat, but the liquor. From there on, it was a journey of self-discovery.
A Transcriber’s Tale is a minimalist show, the main ingredients are Joanna’s ability as a storyteller and her musical skills. Joanna’s story is a testament of the chaotic environment of the late 1990s and early 2000s during the dotcom bubble and its disastrous burst. In addition to that, living the 9/11 experience transcribing the local, national, and international turmoil that ensued, was an experience like no other. At the end of the day, Joanna had to decide what to do with her life. Did New York make her thrive, or was she consumed by the big city lights? Music, comedy, and a transcriber job tells the story.
A Transcriber’s Tale
The Broadwater (Black Box)
6322 Santa Monica Blvd.
Los Angeles, CA 90038
Written and performed by Joanna Parson. Directed by Aimee Todoroff. Produced by Michael Blaha of Fringe Management and Lee Costello. Music Direction by Drew Wutke.
Ruskin Group Theatre presents A View from the Bridge. Written by Arthur Miller. Directed by Mike Reilly. Produced by John Ruskin and Michael Myers.
The political turmoil that proceeded WWII, the abolition of the monarchy, the early establishment of the republic, and an Italian economy in ruins, fomented a massive immigration of Italians to the US during the 1950s. More than 600,000 Italian immigrants, many of them from the impoverished south, entered the United States, mainly through the ports of New York. For some dockyard owners, this meant cheap labor, as some of these immigrants had to work as longshoremen to pay the human traffickers that brought them to the US illegally. These immigrants usually stayed in the homes of fellow Italians, whether family members or people from their own native villages, creating thriving Italian communities where they supported each other.
Arthur Miller used these conditions as the background for his critically acclaimed play A view from the Bridge. The story is narrated by Alfieri (Sal Viscuso), raised in Italy and now working as an American lawyer. Eddie (Ray Abruzzo) lives with his wife Beatrice (Kim Chase) and his orphaned niece Catherine (Aurora Leonard). The three leave in an Italian community in Brooklyn, New York, where Eddie works on the docks. Beatrice is a housewife and 17-year-old Catherine goes to school. Soon after, Beatrice’s young cousins Marco (Jesse Janzen) and Rodolpho (Brandon Lill) arrive from Italy, fleeing poverty and the lack of job opportunities in Sicily. In the case of Marco, he is coming to the the US to send money to his wife, who is caring for their sick child. Both Marco and Rodolpho come to the US illegally. Catherine and Rodolpho fall in love, causing Eddie’s rage, as he has developed a secret sexual desire for Catherine. From there, everything goes downhill.
This play captures two critical societal changes in America during the post war booms. One is the number of women entering the workforce after WWII, shifting the power balance and the family dynamics, where the masculine figure was no longer the only financial support in the household. By finding a job as a stenographer, Catherine represents that new reality, somehow challenging Eddie’s position as the only provider for the family. He initially objects to the idea, but is ultimately persuaded by Beatrice to allow Catherine to accept the job.
The second change observed in the play is the image of the new man, more sensitive and less rigid, represented by Rodolpho, a guy who is outgoing, likes to sing, and dresses with a sense of fashion, characteristics that were considered more feminine at the time, but which captured Catherine’s attention since the very beginning. That “new man” challenged the traditional image of the alpha male and triggered Eddie’s jealousy to the point of trying to convince Catherine that Rodolpho was gay, not suitable for her. In reality, Eddie is sensing that he is a symbol of failing masculinity, losing interest in his wife, and being consumed by his inappropriate attraction to his niece. He is resisting the change of times and refuses to accept that his figure is being replaced by a new generation of men, represented by Marco, but specially by Rodolpho.
As for the Alfieri, he tries to be the voice of reason, advising Eddie to change his ways. However, Alfieri knows that Eddie is beyond the point of no return, like a train going at full speed, about to cause a wreck, but unable to stop it.
Mike Reilly pays attention to fine details to make this production a memorable staging of such an iconic play. The blocking divides the stage in two sections, the family’s house in one and the streets and Alfieri’s office in the other, making the scenic design and the lighting more versatile. Four creative elements contribute to immerse the audience into the story. The chiaroscuro lighting by Edward Salas recreates the unnerving danger of both the streets and the main character, as if warning the audience of an impending tragedy. Salas also does the sound design, using a background music that is perfect for the film noir nature of the play. The scenic design by Stephanie Kerley Schwartz also adds to the overall feel of the story, creating a dramatic contrast in textures and colors. Michael Mullen‘s costumes offer details of the lives and traits of each character, demonstrating the attention to details of the director.
The selection of actors is another reason to see this production. Abruzzo’s projection on stage is commanding and magnetic. The transition from protective father figure to a man fully consumed in his own tragedy is a performance to be remembered. Chase, Leonard, Lill, Janzen, and Viscuso, all turn Miller’s characters into vivid representations of the symbols and concepts that the playwright wanted to portray in this masterpiece. The outstanding ovation at the end of the play is a reflection of their moving performances. This production elevates the significance and poignancy of Arthur Miller, one of the greatest playwrights of the 20th century.
Written by Arthur Miller. Directed by Mike Reilley. Starring: Ray Abruzzo, Kim Chase, Aurora Leonard, Brandon Lill, Jesse Janzen, Sal Viscuso, Kevin Alain, Jamie Daniels, Aaron Marshall, Nicole Millar, and Jeff Prater. Produced by John Ruskin and Michael Myers. Presented by Ruskin Group Theatre. Creative team: Stephanie Kerley Schwartz (Scenic Design), Edward Salas (Lighting and Sound Design), Michael Mullen (Costume Design), Mary Unruh (Dialect & Speech Coach), Paul Ruddy (Casting), and Nicole Millar (Stage Manager).
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
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.
Let Me In is produced by DSE Productions and Theatre Planners. Written and directed by Brynn Thayer.
Red Casey (Rachael Meyers) is desperate trying to get Bobby Hawk (Bryan McKinley) out of the room to attend a funeral. That’s when veteran NYPD cop Hamilton Steele III (Jorge Garcia) shows up to investigate the commotion. From there, the characters start exposing facets of their lives and personalities that turn out quite surprising at the end.
Playwright and Director Brynn Thayer sets the story in New York, a metropolis like many other that can accentuate the overwhelming effects of loneliness, depression, and anxiety, some of the feelings that are shaping the lives of the three characters. Bobby just lost his fiancée in a tragic car accident. That same day, she decided to cancel the wedding. To complicate things, he has been having an affair with Red for quite some time, triggering a sense of guilt on both of them in unexpected ways. As they explore their feelings, they start to question the validity of their relationship.
Hamilton seems to be the person that brings some kind of stability to the situation. He is decided to do something significant one day before his retirement. His personality gains the trust of Bobby and Red so much that they decide to attend Bobby’s fiancée funeral, leaving Hamilton to watch over the apartment.
The story is a dark comedy that touches upon several topics such as isolation, loss, guilt, and the urgent need of human connection. However, the play also compels to identify the signs of depression and its underlying core issues to avoid devastating consequences.
Thayer selected three experienced actors that bring a superb performance that makes this play a pleasure to watch. Their timing and chemistry create a dynamic story that navigates fluently between comedy and tragedy. The set design (Joel Daavid, Set Designer) shows the careful attention to detail placed on this production; the objects, the textures, and the balcony give a vibrant touch to the story.
Let Me In
Theatre 68 Arts Complex – The Rosalie 5112 Lankershim Blvd. North Hollywood, CA 91601
Written and Directed by Brynn Thayer. Starring Jorge Garcia, Bryan McKinley, and Rachael Meyers. Produced by Misha Riley for Theatre Planners. Presented by DSE Productions.
Performances: Feb. 25–April 2 • Saturdays at 8 p.m.: Feb. 25 (Opening); March 18; March 25; April 1 • Sundays at 2 p.m. and 7 p.m.: March 19; March 26; April 2
Creative team for Let Me In includes scenic designer Joel Daavid, lighting designer Gavan Wyrick, sound designer Joseph “Sloe” Slawinski and costume designer Mylette Nora. The production stage manager is Angelica Estevez.
