Tag Archives: North Hollywood

Theatre Review: Four Top

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In a mostly linear style, except for scene 3, Playwright Michael B. Kaplan presents the romantic lives of five characters who are charming, insecure, and can’t seem to figure out the meaning of life.

If you like romantic movies and dating shows, then seeing Four Top should be in your to-do-list. Brian (Jack Menzies) and Liz (Jackie Shearn) engage in an intense hookup, meet puke included, only to break up the same day. A year later, Brian has moved on and is in a relationship with Megan (Rosie Byrne), whose work husband is Tony (Luke Rampersad). Tony is now dating Liz. Brian is suspicious about the platonic relationship between Megan and Tony. Megan doesn’t know about Brian’s hook up with Liz a year prior. The four meet for food and drinks, but insecurities, jealousy, and the feeling of missed connections make the two couples rethink their respective relationships. While this is happening, the server (Cassidy LeClair), an aspiring writer, introduces her own story to the audience. The server is a motif throughout the play, interacting with the couples and instigating discord among them to amuse her creative bent as a writer.

The couples navigate their love lives going back and forth, hooking up, breaking up, and just trying to find themselves while experiencing the thrill of romance and the challenges of adulthood. Nihilism? Could be. Projection? Maybe. Alternate reality? It’s possible. Therapy might help. But it’s expensive. Just be careful with the ferret. 

The play analyzes the ups and downs of romantic relationships and the desperate search for deeper and more meaningful connections. To translate those engaging themes on stage, Director Kathleen R. Delaney adds sexiness and physical comedy to the production, adding dynamism to the story and pushing the characters out of their comfort zone for an effective comedy effect. Her five actors are engaging and they all deliver their lines with excellent timing, highlighting the cleverness and hilarity of the script. 

Love always triggers an interesting conversation. If you add heartbreaks and comedy, then you have a winning combination. This play’s production is not extravagant, but it’s probably that simplicity that makes Four Top a hit with the audience. The only drawback is that it feels too short. But, hey, with a younger audience’s attention span, shorter might be better.    

Four Top

Lonny Chapman Theatre – Upstairs Stage (Second Floor)
10900 Burbank Blvd. North Hollywood, CA 91601

October 17 – November 17, 2024
Thursdays at 7pm, Saturdays at 4pm and Sundays at 7pm
“After the Show Talkbacks with cast, author and staff” Sundays 10/20 and 10/27

Tickets: thegrouprep.com

Written by Michael B. Kaplan. Directed by Kathleen R. Delaney. Produced by Denise Downer.

Cast: Rosie Byrne (Megan), Cassidy LeClair (Server), Jack Menzies (Brian), Luke Rampersad (Tony) and Jackie Shearn (Liz).

Creative team: Daisy Staedler (Set Designer), Nick Foran (Lighting & Sound Designer), Clara Rodríguez (Scenic Painter), Caleb Aaron (Assistant to the Director), Karla Menjivar (Stage Manager).

Musical Review: The Orphans’ Revenge

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All Alice White (Jessica Kent) wants is to find a good man to marry. Instead, she gets a creepy marriage proposal from Victor Van Rooper (Joseph Eastburn), a saloon owner with a questionable reputation, who offers to save the orphanage if Alice takes his offer.

The revival of this musical, originally produced by the Rep Group more than 40 years ago, is an excitingly crafted production with a creative way to allow audience participation. The story, which might seem like a devastating drama, turns into an epic melodrama where even death is fun to watch.

Orphans in dire need, a saloon troupe lead by a villain, and even a preacher are some of the odd characters that turn Alice’s world upside down. There’s also a character that appears to be the hero, Jack (Tack Sappington), who has the money to save the orphanage. But just as Alice contemplates the possibility of a happy life with him, Jack loses the money to a card game with Victor, and after a few drinks, falls prey to the evil ways of seductive vixen Carlotta (Kristin Towers Rowles), a performer with the troupe. The next morning, broke and regretful for betraying Alice, Jack becomes a pathetic image of utter defeat, with a blistering hangover, to add insult to injury. A hero no more. Virtuous Alice is then left to the whims of sinister Victor, with the risk of losing the orphanage as well.

At this point, the story becomes a race against time. Will Rose (Janet Wood), Victor’s companion, feel pity for Alice? Can half-hero Jack become a full hero? Maybe Uncle Ned (Brad Kahn) can help. To move the story along and bring the saloon feel to the stage, the musical numbers add a whimsical tone to the play. The actors get a chance to shine with their voices and dance moves. Likewise, Director Stan Mazin gets creative with the special effects. The snow might give you chills, the beer might get you thirsty, and watch out for the incoming train. Also pay attention to Uncle Ned’s speed, you blink and you might miss him. 

Mazin combines the creative elements effectively to present an appealing musical that is fun and lively. The cast is an amalgam of seasoned performers and newcomers. Once again, Joseph Eastburn graces the stage with his magnificent performance. He is a thespian with rich qualities and a valuable asset for the Group Rep. His comedy verging on sinisterness and vice versa is something you need to experience live to fully appreciate it. Also impressive is the sizzling Kristin Towers Rowles in her role of Carlotta Valdez, a Spaniard femme fatale who endangers the happiness of the hero and heroine. 

Mazin also introduces new faces: The orphans Arden Shia, Scarlett Strauss, Jackson Bethel, and Hannah Sun offer solid performances; a new generation of thespians in the making. Experiencing this musical with its melodramatic style is like going back in time to the 1800s, when this type of theatre was so popular. It is refreshing to see the Group Rep’s efforts to revive one of their most successful productions in their 50-year history.    

The Orphans’ Revenge

Lonny Chapman Theatre – Main Stage
10900 Burbank Blvd., North Hollywood 91601

October 4 — November 10, 2024
Fridays and Saturdays at 8:00pm; Sunday Matinees at 2:00pm

Tickets: thegrouprep.com

Book by Suzanne Buhrer and Gene Casey. Music by Gene Casey, Suzanne Buhrer and Jan Casey. Directed by Stan Mazin. Music direction by Andy Howe. Produced for The Group Rep by Linda Alznauer.

Cast: Sean Babcock, Jackson Bethel, George Bufford, Joseph Eastburn, Lareen Faye, Brad Kahn, Jessica Kent, Hisato Masuyama, Casey Murray, Tack Sappington, Rob Schaumann,
Kyra Schwartz, Arden Shia, Suzan Solomon, Abigail Stewart, Melissa Strauss, Scarlett Strauss, Hannah Sun, Kristin Towers Rowles, and Janet Wood.

Creative team: Mareli Mitchel-Shields (Set Design), Shon LeBlanc (Costume Design), Frank McKown (Lighting Design), Nick Foran (Sound Design).

Theatre Review: Murder After Hours (The Hollow)

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Agatha Christie‘s adaptation of Murder After Hours (The Hollow) is mostly a psychological thriller with instances of physical comedy. The exposition builds up the dynamic relationships and the suspense starts to take over at the end of Act One. The time is 1951 in the garden room of Sir Henry Angkatell’s house, The Hollow, near London.

Henry (John Combs) is married to Lucy (Dani Thompson). She has invited some of her relatives to visit for the weekend. Also invited is Dr. John Christow (an extraordinary Jason Culp), a dedicated doctor with a charming demeanor to seduce women. Despite his fame as a playboy, Dr. Cristow is married to Gerda (Roslyn Cohn), a rather dull woman whose relentless effort to please him creates a monotonous relationship. During Act One, Dr. Cristow becomes the center of attention. He is married to Gerda, but is also the love interest of Henrietta (Meghan Lewis). He is also romantically involved with the Angkatells’ neighbor, Veronica Craye (Gina Yates), an actress and a diva. The relationship between Dr. Cristow and Henrietta bothers Edward (Joe Clabby), who is in love with Henrietta. In turn, that bothers Midge (Rebecca Del Sesto), who is in love with Edward. At the end of Act One, there’s a murder and the Scotland Yard gets involved. Inspector Colquhoun (Chris Winfield) and Detective Sergeant Penny (Patrick Anthony) take on the job to solve the mystery.

If Dr. Cristow is the center of attention in Act One, Gerda becomes the most intriguing figure in Act Two. Cohn delivers a solid performance as a dedicated wife in Act One, but turns things around in Act Two, especially at the end, when her personality casts a darker tone to the play. When she cries, there are tears involved, no dry tears here; a true professional actress. Director Jules Aaron has assembled a fantastic cast with experienced actors and newcomers to infuse new life to a story written in 1946. The acting is excellent, both main and secondary characters are convincing. Even though it feels that the story is moving at a slow pace—it’s just the way the story was written—the actors deliver a convincing performance to keep things moving forward.

Set design. Checked. It’s full of details and the background paintings add an airy and garden-like feel to the stage. The costumes also deserve a special mention. The designs, colors, and textures are reminiscent of the golden age of Hollywood, shoes and hair styles included. And we can’t forget the music. It really feels like we’re watching an old suspense movie from the 40s. All of the hard work put into this production is evident in every artistic element displayed on stage.

The Group Rep has been alternating period pieces with contemporary stories, balancing an attractive theatre offer to the local scene. Murder After Hours (The Hollow) is another delightful production to add to their catalog.

Murder After Hours (The Hollow)

Lonny Chapman Theatre – Main Stage
10900 Burbank Blvd., North Hollywood 91601

August 2 – September 8

Fridays and Saturdays at 8:00pm, Sundays at 2:00pm,

Tickets:  thegrouprep.com

Written by Agatha Christie. Directed by Jules Aaron. Produced by Cynthia Payo.

Cast: Patrick Anthony (Sergeant Penny), Joe Clabby (Edward Angkatell), Roslyn Cohn (Gerda Cristow), John Combs (Sir Henry
Angkatell), Jason Culp (John Cristow), Megan Deford (Doris), Rebecca Del Sesto (Midge Harvey), Meghan Lewis (Henrietta Angkatell), Michael Robb (Gudgeon), Dani
Thompson (Lady Lucy Angkatell), Chris Winfield (Inspector Colquhoun) and Gina Yates (Veronica Craye).

Creative team: Chris Winfield (Set Design), Shon Le Blanc (Costume Design), Frank McKown (Lighting Design), Nick Foran (Sound Design & Effects), Linda Brennan (Dialect Coach), Judi Lewin (Make-up/Hair Design), Patrick Gallagher (Prop Master), John Ledley (Stage Manager), Doug Haverty (Graphics).

Theatre Review: The Ghee Ghee Pik

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The Group Rep presents the World Premiere of The Ghee Ghee Pik. Written by Suzy London. Directed by Kathleen R. Delaney. Produced for The Group Rep by Lloyd Pedersen and Sam Logan.

Can artificial intelligence enhance human brains? Playwright Suzy London creates a fictionalized dystopian scenario where neuronal implantation effects go beyond the medical applications. Although the play is fiction, it is based on a true story; one that exposes the tremendous medical benefits of neurotechnology, but also the negative consequences both legal and ethical if the business side collapses.

Margaret Kelly (Mandy Fason) suffers seizures that affect her functionality. She agrees to participate in a trial by the upstart NeuroView. The company would provide a brain-computer interface to her doctors—Dr. Kenilworth (Jason Madera) and Dr. Atchison (Stevie Stern)—to implant it in her brain so she can manage her epilepsy and improve her quality of life. The device is implanted and her condition changes radically. Not only are her seizures gone but she also develops other traits that enhance her mental capacities. The implanted device starts to create its own language. Margaret gets so attached to this device that she even gives it a name: Genie.

Margaret feels so empowered by her improved condition that she even changes her name to Pegeen. Another recipient of a similar device is Trevor (Davino Buzzotta), who was involved in a car accident and ended up in a wheelchair and slurred speech. His condition also improves dramatically after the implant; he is now able to walk again and speak clearly.

But not everything is great. Margaret starts to mistreat her mom Barbara (Diana Angelina). Margaret’s attitude also affects her relationship with her husband Joel (Doug Haverty). It seems that Genie has become an entity of its own, influencing and modifying Margaret’s personality.

One interesting detail about the story is that while Margaret experiences effervescent feelings of well-being, Trevor experiences a new-found hypersexuality. Those aspects have occurred in real life with patients, according to Frederic Gilbert, who teaches philosophy at the University of Tasmania.

London and Director Kathleen R. Delaney depict in detail the ethical, philosophical, and legal aspects involved in neurotechnology. For example, what happens when the manufacturer of the device folds? There are intellectual property issues with implanted AI devices to address. To whom do they belong, to the patient or the manufacturer? In the play, NeuroView files for bankruptcy. With the help of attorney Kendrick Gold (Kevin Michael Moran), Margaret and Trevor file a class action lawsuit in an attempt to keep their devices. Otherwise, the devices would be removed from their brains, setting them back to a life of suffering.

From a philosophical standpoint, would implanting AI into humans enhance or deteriorate self-awareness? Some patients in real life have stated that they’re not able to recognize themselves anymore, as if AI made a dramatic change to their identities. In Margaret’s case, her seizures stopped, but her personality changed to the point where she couldn’t relate to her loved ones anymore. She developed such an intense emotional attachment to her device that she couldn’t picture her life without it.

London and Delaney offer a sublime and riveting production that presents the possibilities and the dangers of a nascent technology that can turn into a blessing or a curse, given the still many gray areas to resolve. In one particular scene, an image is projected onto the wall that captures vividly the intensity of the subject matter. With emotional background music, we see the close-up of a face with an expressive eye. Is it wonder or terror?

As far as acting, Fason delivers an intense and moving depiction of the spectrum of emotions involved in such a complex scenario. Her performance is infused with the ecstatic feel of hope and the soul-draining sense of loss. It’s gripping and impactful.

Adding artificial intelligence—with its capacity to learn on its own—to the 86-100 billion neurons and approximately 100 trillion connections that make up a human brain, could mean that we are witnessing not just another wave of innovation, but a new era of human history.

The Ghee Ghee Pik

Lonny Chapman Theatre – Upstairs Stage
10900 Burbank Blvd., North Hollywood 91601

6/13/2024 – 7/14/2024 (check link below for full schedule)

Tickets: thegrouprep.com

Written by Suzy London. Directed by Kathleen R. Delaney. Produced for The Group Rep by Lloyd Pedersen and Sam Logan.

Cast: Diana Angelina, Davino Buzzotta, Mandy Fason, Doug Haverty, Cierra Lundy, Jason Madera, Kevin Michael Moran, Helen O’Brien, Stevie Stern, and Cathy Diane Tomlin.

Creative Team: John Ledley (Stage Manager), Mareli Mitchel-Shields (Set Designer), Nick Foran (Lighting Design), Doug Haverty (Graphic Design/Projections), Dan O’Connell (Sound Design & Effects), and Mikaela Padilla (Sound Consultant).

Theatre Review: Can’t Live Without ‘Em

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The Group Rep presents the World Premiere of Can’t Live Without ‘Em. Written by Lee Redmond. Directed by Mareli Mitchel-Shields. Produced by Brent Beerman for The Group Rep.

Thomas Axelrod (Bert Emmett, Animal Farm, Motel 66) is in some kind of trouble. He suffered a stroke and is now in a coma. But he is still able to hear. His ex-wife Maureen (Cynthia Payo, Room Service), rushes to the hospital to be with him. So is his current wife Sharon (Daisy Staedler, The Laramie Project). And his previous unknown mistress Chrissy (Jazz Strong). A horny Dr. Payne (Paul Anthony Kelly) is the physician that tries to bring Thomas back to a normal life.

After a brief scare of an incoming nuclear attack, the flickering red lights were nothing more than just a technical glitch, cleverly addressed by Emmett during the performance and candidly addressed by the staff during the intermission. Suddenly, we had a second chance in life.

Back to the story. The play is brilliantly written by Lee Redmond. Emmett plays Thomas as his consciousness, a playful blend of psycho-narration and interior monologue. As Thomas is unable to move, all he can do is listen and reflect on his actions, virtues and vices included. Maureen is the character that tries to hold all the pieces together in the face of adversity. Payo delivers a terrific performance portraying the quirky Maureen: Loud, clueless, and on the verge of a nervous breakdown.

A very peculiar motif in Act II is the palm trees all over the place. In the context of the story, palm trees seem to symbolize femininity, endurance, and peace. Three characteristics that convey Thomas’ life.

He has surrounded himself with women, loving and playing them at the same time. And now, in a helpless situation, he has no other option but to hear what they have to say. That includes dating other men to explore their sexuality, taking back their femininity. As an extra punishment for his philandering, he also has to listen to chatty Tammy (Jessica Kent, Harold and Maude, Room Service, Motel 66), his nurse at the long term care facility.

Physically, he needs endurance to survive his stroke. Unable to move, he can only hear his surroundings and worry about the fate of the women in his life. And, of course, the fate of his unborn child.

And lastly, achieving peace as the life cycle is about to end. Thomas and the three women have to decide if this will be an achievable goal. The interactions among the women will be a factor to determine the resolution.

The witty dialogue keeps the audience engaged and invested in the characters. Although the pacing of the second act started to feel a bit slow, the action picked up by the end in a frenetic display of physical comedy. Director Mareli Mitchel-Shields uses the skillful talent of her cast to create rich and three-dimensional characters that are effectively framed by a carefully-curated stage design. The World Premiere of  Can’t Live Without ‘Em is another fine example of the successful Writers Workshop at the Lonny Chapman Theatre, inspiring and nurturing talent to keep live theatre alive for years to come.

Can’t Live Without ‘Em

Lonny Chapman Theatre – Upstairs Stage
10900 Burbank Blvd., North Hollywood 91601

April 11, 2024 – May 12, 2024

Thursdays and Sundays at 7: 00 PM

Saturdays at 4:00 PM

Tickets: thegrouprep.com

Written by Lee Redmond. Directed by Mareli Mitchel-Shields. Produced by Brent Beerman for The Group Rep.

Cast: Bert Emmett (Thomas Axelrod), Paul Anthony Kelly (Dr. Payne), Jessica Kent (Tammy), Holly Seidcheck (U/S Chrissy White performs May 2, 4 & 5), Cynthia Payo (Maureen Axelrod), Danny Salay (U/S Dr. Payne performs April 25, 27, & 28), Daisy Staedler (Sharon Axelrod) and Jazz Strong (Chrissy White).

Creative Team: Set Design Mitchel-Shields/Redmond, Lighting Design Frank McKown, Graphic Design Doug Haverty, Assistant Director/Stage Manager Casey Murray, John Ledley (Tech Operator), Online Marketing Kristin Stancato, Social Media Denise Downer and Jackie Shearn, Promotional Video and Photography Doug Engalla.

Theatre Review: Could I Have This Dance?

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Could I Have This Dance? is presented by The Group Rep. Written by Doug Haverty. Directed by Kathleen R. Delaney. Produced by Brent Beerman for The Group Rep.

Could I Have This Dance? was developed at The Group Rep and premiered at The Colony in 1991. Since then, it has traveled the world. And now, more than 30 years later, it is produced for the first time at The Group Rep’s stage The Lonny Chapman Theatre.

Monica (Anna Connelly) runs Grapevine, a successful public relations company. She is dating Colin (Andy Shephard), a famous photographer who goes on assignments around the world. Monica’s sister is Amanda (Anica Petrovic), who is dating Errol (Sean Babcock, Motel 66), a much younger man. Monica and Amanda live with their parents Hank (Lloyd Pedersen, Harold and Maude, Morning’s at Seven, Motel 66) and Jeanette (Clara Rodriguez, Harold and Maude, Motel 66). Jeanette has Huntington’s disease, a rare and inherited condition that involves psychiatric, cognitive, and movement disorders (Jeanette has repetitive movements as if dancing).

The rhythm of the play with its tensions and resolutions creates a rich story with characters facing their strengths and insecurities in the face of uncertainty. Monica is a character with a profoundly human bent. She embodies an image of success and self-determination, but one of risk as well. Getting pregnant is like playing Russian roulette, risking the possibility of passing on the gene of Huntington’s disease to a child. However, the human factor is always present. The yearning of motherhood is almost impossible to resist. And risking it all, Monica decides to go all the way.

All of the characters go through a transformative experience, but Monica is perhaps the character that mirrors more closely the dramatic transformation of Jeanette. The diagnosis became a turning point for Jeanette, forcing her to face a whole new reality. For Monica, her biological clock keeps ticking, urging her to take drastic decisions that transform her expectations and commitments.

The script is brilliant and the six actors nail the dialogue and the action. Connelly and Petrovic are excellent, delivering a fascinating bantering between the two sisters and stressing the fears and hopes of a family dealing with a challenging situation. Shephard and Babcock also show their fine performance skills, contributing with their sharp comedic timing, much to the audience’s delight. These four actors are cleverly paired up with Pedersen and Rodriguez, two experienced stage actors that continue to deliver stellar performances on The Group Rep’s productions.

Director Kathleen R. Delaney brings alive the exhilarating rhythm of the play, creating a compelling blend of comedy and drama. Her work with the actors capture the poignancy of Doug Haverty‘s writing in a way that makes the audience get emotionally invested with the characters. And to add more value to this production, the beautiful set resembles the original 1991 staging at The Colony. Also, the costumes are a wayback machine to the 80s. These are details that show the level of commitment of the creative team and offer an attractive production to the audience.

Could I Have This Dance? is an extraordinary play with outstanding performances, a true gem in the theatre scene. It doesn’t fall into the trap of clichéd sentimentalism. Rather, it explores with humor and wit the beauty of human connections and the unbreakable bond of a family dedicated to care for one of their own.

Could I Have This Dance?

The Lonny Chapman Theatre – Main Stage

10900 Burbank Blvd.,

North Hollywood 91601

March 29 – May 5, 2024. Fridays & Saturdays 8pm. Sunday Matinees 2pm.
Sunday Talkbacks with the cast and staff March 31 and April 7, after the matinees.

Tickets: thegrouprep.com

Written by Doug Haverty. Directed by Kathleen R. Delaney. Produced by Brent Beerman for The Group Rep.

Cast: Sean Babcock, Anna Connelly, Anica Petrovic, Lloyd Pedersen, Clara Rodriguez, and Andy Shephard.

Creative team: Set Designer Kathi Chaplar, Lighting Designer Frank McKown, Costume Designer Shon LeBlanc, Sound Designer Nick Foran.

Theatre Review: Twelve Angry Jurors

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The Group Rep presents Twelve Angry Jurors. Adapted by Sherman L. Sergel based on the Emmy-winning television movie by Reginald Rose. Directed by Tom Lazarus. Produced for The Group Rep by Stevie Stern.

Playwright Sherman L. Sergel takes us to a jury room in a hot summer late afternoon. The year is 1958 and a teenager has been accused of murdering his father. It’s now up to the jurors to return a guilty or not guilty verdict.

In this intriguing drama, the race of the kid is not revealed. Since the teleplay first aired in the 50s, people have speculated that the teenager was Black or Puerto Rican. In Tom Lazarus‘ staging, all we learn is that the kid was living in the slums. The fascinating aspect of the play is how the attitudes of the jurors reflect the diversity of society. Some of the jurors come from privileged backgrounds while others come from disadvantaged communities.

In the original teleplay and later in the movie, the 12 jurors, were all White males. For The Group Rep‘s production, director Lazarus and producer Stevie Stern decided to make the race and gender of the jurors more diverse. Whether that is a reflection of the status quo or not of the American justice system, it’s up for debate. It is perhaps, Lazarus and Stern’s way to protest the systematic discrimination in the history of the selection and conducting of the jury duty process.

The two witnesses in the play, the man and the woman that provide testimony against the kid, become characters on their own right. Their testimony is either upheld or disputed during the jurors’ deliberation. The apparent initial agreement on a guilty verdict is questioned by Juror # 8 (Neil Thompson). His refusal to accept the majority’s decision leads to a closer look at the witnesses’ account of the events surrounding the murder. On the other hand, Juror # 3 (Mark Stancato) becomes the bully, the bigot. Two opposites that more than just characters, are the reflection of people’s attitudes towards the most underprivileged members of society.   

In addition to the excellent dialogue, the diverse cast—which includes women, African Americans, and immigrants—are a mirror of American society. The heat depicted in the play becomes a pressure cooker, an uncomfortable environment to test the patience and the concentration needed to decide whether a person deserves the death penalty or not.

Thompson and Stancato offer compelling performances as the dichotomy of society. Thompson as Juror # 8 delivers a credible representation of the ideals of justice and democracy embodied in the American Dream and the Constitution. As for Stancato, he excels as the representation of the oppressive system and disengaged observer of social marginalization. The blocking allows for a dynamic performance of the 12 jurors, which move around the table to show their expressions and state of minds. 

Race and gender give this production a progressive take on the always gripping theme of jury deliberation, an environment where bigotry and prejudice can jeopardize the fairness of the justice system.

Twelve Angry Jurors

The Group Rep
10900 Burbank Blvd
N. Hollywood, CA 91601

January 26 — March 3, 2024.

Fridays and Saturdays at 8pm, Sundays at 2pm.

Tickets: thegrouprep.com

Adapted by Sherman L. Sergel, based on the Emmy-winning television movie
by Reginald Rose, directed by Tom Lazarus and produced for The Group Rep by Stevie Stern. Cast: Linda Alznauer (Juror 4), Jane Bonem (Guard), Paul Cady (Juror 2), Belinda Howell (Juror 10), Stephanie Keefer (Juror 11), Stan Mazin (Juror 9), Bob McCollum (Judge), Richard Reich (Juror 7), Mark Stancato (Juror 3), Melissa Strauss (Juror 1), Neil Thompson (Juror 8), Cathy Diane Tomlin (Juror 6), Mouchette van Helsdingen (Juror 12), Tamir Yardenne (Juror 5) and Tilly Ye (Juror 6 – Feb. 16 – 18). Creative team: Tom Lazarus (Set Design), Chris Winfield (Set Construction), Frank McKown (Lighting Design), Shon LeBlanc (Costume Design), Steve Shaw (Sound Design), and Kristin Stancato (Stage Manager).

 

Twelve Angry Jurors poster
A scene from Twelve Angry Jurors
A scene from Twelve Angry Jurors

Theatre Review: Motel 66

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The Group Rep presents MOTEL 66. Written by Sal Valletta, Gina Yates, Denise Downer, Bill, Fitzhugh, Fox Carney, Doug Haverty, Paul Elliot, and Clara Rodriguez. Directed by Linda Alznauer, Van Boudreaux, Todd Andrew Ball, Larry Eisenberg, Helen O’Brien, Bruce Kimmel, Brent Beerman, and Leota Rhodes. Produced for The Group Rep by Brent Beerman.

During the Dust Bowl that devastated the Great Plains in the 1930s, Route 66 was the salvation for many families that took the historic highway to move west in their search for jobs and a better life. Route 66 goes from Chicago to Santa Monica, California, with many sites and landscapes along the way. MOTEL 66 is a production of 8 different one-acts that honor the fascinating and moving stories of the owners and guests of the quirky motels found along the celebrated route. Each short play takes place in a different motel and a different city. In such a spectrum of experiences, the topics and characters are as varied as one can imagine.

Poolside Therapy shows a couple (Diane Linder and Brad Kahn) in desperate need to spice up their relationship. One of the other guests (Tack Sappington) offers his expertise to make the couple feel attracted to each other again, using an unconventional method to achieve that goal. Written by Sal Valletta. Directed by Linda Alznauer.

One More Night is a moving and funny story of a grieving cowboy (Mark Stancato) and his unexpected change of plans after meeting a whip-smart young girl (talented newcomer Bailey Warner) and her mom (Julie Davis). Written by Gina Yates. Directed by Van Boudreaux.

Forever Friends is a story of two friends (Melissa Lugo and Cierra Lundy) whose strained relationship may or may not have a second chance after years of neglect. Written by Denise Downer. Directed by Todd Andrew Ball.

No Room at the Motel keeps us wondering who the real father is in this hilarious and intriguing story. Chad (Joe Clabby, Room Service) and a pregnant Mary (the always funny Jessica Kent, Harold and Maude, Room Service) engage in a heated argument about accommodation plans. They find the motel manager (Larry Eisenberg) to be a weirdo who doesn’t care about keeping his rooms clean. They also run into Chad’s friend (Sean Babcock), who keeps reminding Chad of his times with women of dubious reputation. Who exactly got Mary pregnant? Written by Bill Fitzhugh. Directed by Larry Eisenberg.

Immaculate Perception is a story of a miraculous sexless pregnancy. At least that’s what Mariah (Sasha Kartman) says. As illogical as it sounds, she tries to convince Sam (Lloyd Pedersen), who is a doctor, about her immaculate pregnancy. As they continue to argue, the continuation of someone’s life through a newborn starts to seem a possibility, even for Sam. Written by Fox Carney. Directed by Helen O’Brien.

Eureka Escorter reveals the oddity of opportunities in the job market. In urgent need as an impoverished recent widower, Miles (Bert Emmett, Animal Farm) takes a job as a driver/rent-a-gent type of gig. He is instructed by Wendolyn (Kathy Diane Tomlin), the lady running the agency, to act as normal as possible in the presence of customers. His first assignment is with Sara (Clara Rodriguez). His first drive will prove to be a wild ride. Written by Doug Haverty. Directed by Bruce Kimmel.

Saving Garbage is a meeting between short-fused motel operator Grace (Cynthia Bryant) and Jimmy (Miguel Lee), the young man who’s been taking the food leftovers from the trash bin at night. A surprising conversation exposes the compelling circumstances of their respective lives. Written by Paul Elliott. Directed by Brent Beerman.

In Quapaw, Oklahoma Betty (a delightful Bonnie Snyder, Room Service) is excited to meet her online friend Magda (Lareen Faye, Harold and Maude), who has promised Betty to make her a child again with the use of magic, despite the concerns of her daughter Deborah (Pascal Gigon) and the incredulity of her son-in-law Stan (Danny Salay). A whimsical story with a not-so-happy ending. Written by Clara Rodriguez. Directed by Leota Rhodes.

Embarking on a spiritual journey of self realization, the characters discover the power of human connection and the possibilities of new beginnings, despite the twists and turns of life. MOTEL 66 is a road trip to a world where humans greif, hope, and believe in miracles, one destination at a time. Always searching, always on the move. 

MOTEL 66

The Group Rep at the Lonny Chapman Theatre
10900 Burbank Blvd
N. Hollywood, CA 91601

September 21 through October 22

Saturdays at 4 PM

Thursdays and Sundays at 7 PM.

Tickets: thegrouprep.com/show/motel-66-2023

Written by Sal Valletta, Gina Yates, Denise Downer, Bill, Fitzhugh, Fox Carney, Doug Haverty, Paul Elliot, and Clara Rodriguez. Directed by Linda Alznauer, Van Boudreaux, Todd Andrew Ball, Larry Eisenberg, Helen O’Brien, Bruce Kimmel, Brent Beerman, and Leota Rhodes. Produced for The Group Rep by Brent Beerman. Cast: Diane Linder, Brad Kahn, Tack Sappington, Julie Davis, Mark Stancato, Bailey Warner, Melissa Lugo, Cierra Lundy, Sean Babcock, Joe Clabby, Cathy Diane Tomlin, Larry Eisenberg, Dawn Halloran, Doug Haverty, Jessica Kent, Kat Kemmet, Anica Petrovic, Sasha Kartman, Lloyd Pedersen, Bert Emmett, Lee Grober, Clara Rodriguez, Cynthia Bryant, Miguel Lee, Lareen Faye, Pascale Gigon, Danny Salay, and Bonnie Snyder. Creative team: Mareli Mitchel-Shields (Dramaturg), Nick Foran (Lights & Sound Design),and Doug Haverty (Graphic Designer).

MOTEL 66 poster
A scene from MOTEL 66
A scene from MOTEL 66
A scene from MOTEL 66
A scene from MOTEL 66

Theatre Review: Room Service

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Room Service is presented by The Group Rep. Written by John Murray and Allen Boretz. Directed by Mareli Mitchel-Shields. Produced by Kathleen R. Delaney for The Group Rep.

it’s 1937 in New York and Joseph Gribble (Tommy Jacobs) tells theatre producer Gordon Miller (Will Maizel) that he needs to pay a $1,200 bill for his stay at the White Way Hotel, or else, he will be evicted from the hotel together with his troupe of actors. To complicate things, Leo Davis (Timothy Willard), the young playwright of Godspeed, comes to New York to join them and get an advance. Unbeknownst to Davis, Miller is broke without a financial backer to produce his play.

Room Service is a script with plenty of punch lines and physical comedy to allow the actors to shine. Mareli Mitchel-Shields directs an ambitious production with a stellar cast that gives new life to a screwball comedy from the Art Deco era. Each character is a building block to achieve conflict and comedy to create chaotic situations with witty dialogue and fast paced action. Joe Eastburn is a terrific actor with an imposing stage presence. He combines perfectly the eccentricity and hilarity of Gregory Wagner, the supervising director of the White Way Hotel.

The meet cute scene between Leo and Hilda Manney (Jessica Kent, Harold and Maude) is also a highlight in the play, bringing whimsiness and romanticism to one of the subplots of the story. As time runs out for Miller and his group to come up with the money to pay the hotel bill and produce the play, the tension builds up and forces the troupe to devise creative and delusional solutions.

Chris Winfield (Set Design) does a remarkable job recreating the Art Deco style of the 1930s, taking us back to the slapstick comedies of the Golden Age of Hollywood. As a treat, there are characters that sing during the intermissions, adding a special touch to this production.

Room Service delivers a hilarious and dynamic story with exceptional acting, costumes, and scene design to continue The Group Rep’s 50th anniversary celebration.

Room Service

Lonny Chapman Theatre – Main Stage (First Floor)
10900 Burbank Blvd., North Hollywood 91601

September 8 – October 15, 2023
Fridays and Saturdays at 8:00pm. Sundays at 2:00pm.

Tickets: thegrouprep.com

Written by John Murray and Allen Boretz. Directed by Mareli Mitchel-Shields. Produced by Kathleen R. Delaney for The Group Rep. Cast: Fox Carney, Joe Clabby, Joseph Eastburn, Tommy Jacobs, Jessica Kent, Sam Logan, Will Maizel, Matthew McLaughlin, Jackie Shearn, Bonnie Snyder, Axel Truitt, Sal Valletta, Grant Velarde, Timothy Willard, and Chris Winfield. Creative team: Chris Winfield (Set Design), Frank McKown (Lighting Design), Aylah Robinson (Costume Design), Reid Woodbury, Jr. (Sound Design), and Paul Cady (Music Director).

Room Service poster
A scene from Room Service
A scene from Room Service
A scene from Room Service

Theatre Review: The Laramie Project

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The Laramie Project is presented by The Group Rep. Written by Moises Kaufman, Ms. Leigh Fondakowski, and the Tectonic Theater Project. Directed by Kathleen Delaney. Produced by Bill Fitzhugh and Danica Waitley.

The Laramie Project is a production in the form of documentary theatre, based on the more than 200 interviews that Kaufman, Fondakowski, and members of the Tectonic Theater Project conducted after the tragic death of Matthew Shepard in 1998.

Shepard was a gay student at the University of Wyoming, located in Laramie, Wyoming. On the night of October 6, 1998, Shepard left the Fireside Lounge with Aaron McKinney and Russell Henderson. McKinney and Henderson took Shepard to a rural area where they beat, tortured, and tied him to a fence and left him to die in near-freezing temperatures. Eighteen hours later, still alive and in a coma, Shepard was found by cyclist Aaron Kreifels. Shepard died six days after the attack on October 12, 1998. He was 21 years old.

This play is a collection of statements from the people that knew Shepard and his attackers, McKinney and Henderson. The interviews pick up the diversity of opinions from the community of Laramie. While some people denounced the attack and demanded justice, others believed that Shepard deserved the ordeal because of his homosexuality. Some of those beliefs were heavily influenced by religion, which played an important role in the life of this relatively small community.

The Laramie Project is in itself a social study that reveals how education, religion, and job opportunities may affect the attitudes towards the LGBT community. The characters demonstrate the contradiction of rural and conservative America. There is the bartender who liked Matthew and didn’t care about his sexual preferences. The doctor, who felt sorry for both the victim and the perpetrator when he treated both of them the same day at the same hospital. Then, there are the religious leaders. Some of them demanding justice for Shepard, some demanding leniency for McKinney and Henderson.

If anything positive came out of this incident, is the fact that some members of the LGBT community had the opportunity to express themselves and claim their rightful place in society. Other consequences of The Laramie Project is the influence of this play in other documentary mediums such as film and reality TV. The play has been staged in more than 300 productions around the world and had a very successful Off-Broadway run. The writers and directors continue to inspire conversations and drive changes in minds, hearts, and legislation around the world for generations to come. The writing shows the initial shock experienced by the people of Laramie after learning about the attack. But it also shows the disturbing shift of opinions once the religious conservatism kicked in, sympathizing with the attackers and approving of their heinous act.

Director Kathleen Delaney uses a large production of 11 fine actors to play several roles, all portraying the wide variety of points of view related to this case. Delaney blocks her actors to create a continuous sense of movement that reflects the frenetic pace of the events, specially the media coverage of the critical days that preceded Shepard’s death and the controversial trial that followed.

The play also feels like a time of introspection. A time to reflect on what went terrible wrong and what actions to take to avoid the recurrence of such a barbaric act. The continuous staging of this production is a symbolic candlelight vigil to honor Shepard’s memory and the values and convictions he represented.

The Laramie Project

The Group Rep at the Lonny Chapman Theatre – First floor
10900 Burbank Blvd
N. Hollywood, CA 91601

April 14 – May 21
Fridays and Saturdays at 8PM, Sundays at 2PM
After the Matinee Talkback with cast and staff 4/23 & 4/30.

Tickets: thegrouprep.com

Written by Moises Kaufman, Ms. Leigh Fondakowski, and The Tectonic Theater Project. Directed by Kathleen Delaney. Produced by Bill Fitzhugh and Danica Waitley. Cast: Landon Beatty, Paul Cady, Roslyn Cohn, Julie Davis, Marc Antonio Pritchett. Stephen Rockwell, Jackie Shearn, Margaret Rose Staedler, Cathy Diane Tomlin, Amelia Vargas and Kay Vermeil. Creative team: Mareli Mitchel-Shields (Set Designer), Tor Brown (Lighting/Projection Designer), Michael Mullen (Costume Designer), and Marc Antonio Pritchett (Sound Designer).

The Laramie Project poster
A scene from The Laramie Project
A scene from The Laramie Project