Tag Archives: Santa Monica

Theatre Review: LIMONADE TOUS LES JOURS: A PARIS LOVE STORY

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With Paris in the background, an older American man and a young Parisian woman try to find the meaning of true love amid wine, music, and a few bubbles. And don’t forget the waiter, a sort of bohemian dreamcatcher philosophizing about life and love, cigarette in hand.

Yaya (Nicolet Anton) is sitting in a cafe when Andrew (David E. Frank) shows up. They spend the following minutes talking about why they should not fall in love with each other. Age gap, different expectations, etc. But Cupid doesn’t understand any of that, especially in Paris. Soon after her performance in a cabaret, Yaya and Andrew spend the night together. Was it a mistake, a fling, or finally that main, true love they’ve been looking for? It seems that French lemonade can cast a spell on you despite a conscious resistance. Both characters talk about their past, their failed relationships, and the kind of life they can expect if they were to live together.

The dialogue is primarily a discourse about romance vs reality in the realm of love. What does it take to find true love, and what do you do once you find it? Limonade is a poetic reflection on that search and the adventure that is to step out into the unknown.  What goes through the mind of a man who is in the twilight of his life? What are the expectations of a woman at the beginning of her adult life? What happens when those two life stages meet?

For this play, Charles L. Mee uses a story that despite its simplicity, has a profound meaning, as it covers the three main experiences in life: Birth, love, and death. It is the poetry and the simplicity that make this story stand out. With the vivacity of Yaya, the willingness of Andrew to explore second chances, and the flamboyance of the Waiter/Dancer/Madame Josephine (a versatile Cruz St. James), the characters express the beauty of the human experience, missteps and all. One interesting detail is Mee’s use of the dialogue to voice his opinion on the American image from the perspective of people from other countries, in this case, the French. But the text is also an expression of the willingness of Americans to open up their minds to experience and learn from other perspectives. At the end, Andrew is transformed and moved by the deep connection with Yaya, a relationship that allowed him to learn more about women and about himself.

The direction by Frédérique Michel translates the text into a sensual display of music and movement. The blocking makes great use of the space, placing the actors and set props around the stage to create three-dimensionality to the scenes. The only thing that downgrades the set is the static digital projection, a device used in many productions nowadays. Most of the productions could get rid of it and still create the visual impact necessary to tell the story. Just a personal opinion. The costumes add a French flair to the scenes; they’re classic and vanguardist. As for the musical numbers, the three actors show their fine vocal aptitudes. Their range and texture add emotional expression to the French songs and enhance the sexiness of the story, just listen to the suggestive “Les Sucettes”.

If you’re up to some romance and exquisite French connection, this is your play. It’s lyrical and thoughtful, a breadth of fresh air in a world of chaos.

LIMONADE TOUS LES JOURS: A PARIS LOVE STORY

Bergamot Station Arts Center
2525 Michigan Ave. T1
Santa Monica, CA 90404

Link: citygarage.org

Performances: May 22th Jun 28, 2026. Fridays and Saturdays at 8 PM. Sundays at 4 PM.

Written by Charles L. Mee. Directed by Frédérique Michel. Produced by Charles A. Duncombe.

Cast: Nicolet Anton, David E. Frank, Cruz St. James.

Creative team: Set, Lighting, Audio design: Charles A. Duncombe. Costume Design: Josephine Poinsot. Video/Projections: Anthony Sannazzaro. Assistant Director: Ralph Radebaugh. Photos, Graphics: Paul Rubenstein.

 

Theatre Review: GRANGEVILLE

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What does it take to amend a broken relationship? Is that even possible? in Grangeville, Samuel D. Hunter delves into the internal turmoil of two half-brothers who are trying to reconnect, despite the complicated past that brings back painful memories.

Arnie (Tim Cummings) lives in The Netherlands. Jerry (Jeff LeBeau) still lives in Grangeville, Idaho, in his mom’s trailer home. After years of silence, Jerry connects with Arnie to let him know about the imminent death of their mom, who is sick in the hospital and medical bills piling up. Navigating through their mom’s debts, they also navigate their traumatic past and the attempts to reconstruct their relationship. Even though their mother is not seen or heard in the play, she is omnipresent in the characters’ lives in such a way that her influence has shaped the way they see the world, impacting their relationships with other people.

To highlight the emotions of the play, Director John Perrin Flynn uses a mostly black set design to concentrate the attention on the two characters. The walls on the background have an irregular texture, like broken pieces from a shattered rock; it’s a subtle comparison to the shattered relationship between the two characters. The lighting also plays an important role, it’s directional, focusing on the characters, heightening their state of mind with an impactful dramatic effect. Hunter’s dialogue is superlative in the voices of Cummings and LeBeau, carrying most of the play with limited physical action. Their nuanced performances add a rich texture to the themes of the play. Both actors are able to lead the audience to a world of vulnerabilities that unveil the consequences of untreated or denied mental and emotional trauma. Flynn shows his ability to interpret Hunter’s text and subtext, creating a space where raw emotions unearth, fight, and try to rectify the aftermath of a neglectful and abusive upbringing. It’s a sophisticated production with solid performances and excellent direction.

The play is an exploration of how humans react to abuse. Jerry was abused by his mother and father. Jerry, in turn, abused Arnie. He not only exerted physical abuse on Arnie, but also denied Arnie the opportunity to attend a prestigious college. The abuse was also a reaction to Arnie being gay in a small and conservative town as Grangeville, Idaho. Although not directly disclosed in this play’s dialogue, Hunter has written in the past about conservative Christianity and its negative views on homosexuality. An example is A Great Wilderness, where a gay conversion therapist in a Christian retreat, also placed in Idaho, takes one last client before retirement. Even though these stories are placed in Idaho, they reflect the Christian views at large and the root cause of violence and discrimination against individuals of the LGBT community.

An interesting device used in this play is the two actors doubling as Stacey, Jerry’s wife, and Bram, Arnie’s husband. The doubling seems to serve as a projection of the deep-rooted traumas afflicting the two half-brothers, and how the emotional scars of their upbringing have affected the way they relate to their respective partners. It’s a reflection on how difficult it’s to let go of the past. As underlying residues, hidden but latent, resentment and repressed pain don’t go away, despite time and physical distance. Arnie and Jerry try to work things through, but continue to hit a wall, exhausting almost all chances of a reconciliation. Even therapy can’t seem to help Jerry restitute the damage he’s caused to Arnie. In this case, Hunter uses Jerry as an analogy of deep transformation. Jerry is a character addressing his issues, willing to pick up the pieces left behind by his reckless behavior.

One interesting detail is the mention of dioramas in the story. This came as one of Hunter’s experiences visiting The Netherlands. He went to a museum and saw the exhibit of Tracey Snelling, an artist born in Oakland. The dioramas are miniature or life-size representations of different scenarios. Some of these dioramas are used in movie sets to represent locations or landscapes. In the case of Shelling, her dioramas are miniature representations of American places, like gas stations and such. These crafted miniature scenes clicked with Hunter and motivated him to keep writing Grangeville, as he had set it aside, not entirely sure what direction the play should take. In this play, the dioramas are representations of the journey to discover the purpose and direction to get to the final destination. They’re also a representation of America, it’s people, places, and attitudes. Curiously enough, the set of the trailer home looks like a diorama; it’s like a representation of their past and the meaningful change transforming Arnie and Jerry’s lives.

The play doesn’t answer questions or take a strict stand on the issues depicted, it simply presents the circumstances of two characters that are struggling to come to terms with their realities. As usual, Hunter doesn’t deliver a verdict. He closes the curtain with an open question, allowing the audience to decide for themselves. Some people might hate it, some people might love it. But this is an intelligent way of making theatre, presenting life as it is and opening up the conversation.

Grangeville

Ruskin Group Theatre
2800 Airport Avenue
Santa Monica, CA 90405
(ample free parking)

Opening at 8pm on Friday, May 29, 2026
Schedule: 8pm Fridays, Saturdays; 2pm Sundays. No performance on June 5, 12; July 3, 5. Added performances at 8pm on Mondays June 8, 15
Closing July 12, 2026

Tickets: ruskingrouptheatre.com

Written by: Samuel D. Hunter. Directed by: John Perrin Flynn. Produced by: John Ruskin, Michael R. Myers, Nicole Millar. Presented by: Ruskin Group Theatre.

Cast: Tim Cummings as Arnie, Jeff LeBeau as Jerry.

Creative team: Stephanie Kerley Schwartz (Scenic and Costume Design), Dan Weingarten (Lighting Design), Keith Stevenson (Sound Design), Jan Bryant & Dan Speaker (Stunt/Fight Coordination), Nicole Millar, Stephanie Kerley Schwartz & Ryan Wilson (Props), Nicole Millar (Production Stage Manager).

Theatre Review: An Extraordinary Ordinary Man

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The Ruskin Group Theatre Co. presents An Extraordinary Ordinary Man. Written and performed by John Colella. Directed by Michael Matthews. Produced by Michael R. Myers and John Ruskin.

When trying to build a new life in another country, immigrants usually are faced with a critical decision: Do they follow their dreams, or do they work in whatever job is available to support their families?

“Be anything but a baker”. That was John Colella‘s (Blue) father advice. He wanted his son to follow his dreams instead of spending his entire life in the family business. As John took his father’s advice by heart, he embarked on a journey of discovery, finding the stage his true calling. With humor, memories of relatives, and the positive influence of his father, Colella achieves an emotional and timeless play not to be missed.

With childhood anecdotes of growing up in an Italian family, Colella infuses his solo play with the unconditional love his father showed to everyone around him. The vivid memories of his father’s sacrifices to sustain his family and the encouragement to do better in life became Colella’s inspiration to pursue his dreams.

In his poignant play, Colella links his childhood experiences, the Italian food surrounding him, and his father figure to create an inspiring and emotive story of the dynamics of a family pursuing the American Dream. It’s a story of building a strong family, with ups and downs, but a family with an everlasting bond.

The play conveys that constant fear of loosing what has been constructed with so much effort. An anxiety that becomes almost disturbing as we age. As Colella sees his relatives going through physical ailments, he starts to experience his own health conditions. It’s a strange feeling, almost like a ticking. It’s perhaps the prelude to our own mortality.

An Extraordinary Ordinary Man is a story that connects with the audience organically. The magic of Colella’s writing is that is relatable. It’s personal. It’s powerful. Colella takes us to that deeply private space that is sacred; a place full of endearing memories. It’s a rite of passage, an unavoidable experience that, in a group, feels cathartic. As the cycle comes to an end, the phrase “grief is nothing else but love with no place to go” becomes an eloquent explanation of the myriad of feelings that rush in after the passing of a loved one. An outstanding play. A gifted thespian.

An Extraordinary Ordinary Man

Ruskin Group Theatre
3000 Airport Avenue, Santa Monica, CA 90405
 
Opening: 8pm January 13, 2024

Schedule: 8pm Jan. 20, 27, and Feb. 2, 10, 17, 2024

Running in tandem after Paul Linke’s 5pm performances of “It’s Only a Show!”
Closing: Feb. 17, 2024.

Tickets: ruskingrouptheatre.com

Written and performed by John Colella. Directed by Michael Matthews. Produced by Michael R. Myers and John Ruskin. Creative team: Ed Salas (Lighting and Sound Design).

An Extraordinary Ordinary Man poster
An Extraordinary Ordinary Man

Theatre Review: A View from the Bridge

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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.      

A View from the Bridge

Ruskin Group Theatre
3000 Airport Avenue
Santa Monica, CA 90405
 
Aug 18 – Oct 8, 2023
Fridays and Saturdays at 8 PM. Sundays at 2 PM.
 
 
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).
 
A View from the Bridge poster
A scene from A View from the Bridge
A scene from A View from the Bridge
A scene from A View from the Bridge

Theatre Review: Picasso at the Lapin Agile

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Ruskin Group Theatre presents Picasso at the Lapin Agile. Written by Steve Martin. Directed by Amelia Mulkey. Produced by John Ruskin and Michael R. Myers.

Despite the torrential rain, Picasso at the Lapin Agile opened on Friday at the Ruskin Group Theatre to a full house. Steve Martin‘s story is set in 1904 at the Parisian cabaret Lapin Agile, a famous spot for some of the most influential people at the time. Two of the frequent patrons were Pablo Picasso (Isaac J. Cruz) and Albert Einstein (Ryan Stiffelman). The play revolves around the processes the artist and the scientist used to generate their brilliant ideas.

In 1904 a young Einstein was already writing a book about special relativity, a subject not quite well understood, even by scientists. During that period, Picasso was also a regular at the Lapin Agile and he was about to produce Les Demoiselles d’Avignon, a controversial masterpiece of Cubism that de-idealized the Renaissance’s tradition of the human figure. Both of them were broke and not very well known yet, but they were on the verge of transforming the fields of art and science in an extraordinary manner.

Both young men were working on trying to explain space and time like no one else had done it before. Einstein’s theory of relativity unified space and time as one entity. Picasso’s Cubism presented subjects from different perspectives at once, giving the illusion of a broken glass and achieving to project the subjects in a wider context. In that extraordinary effort, Einstein and Picasso developed similar processes to explain the same concept. They sketched images in their heads to visualize different sources of information to put them together and render their respective theories, making the world around people less static and more kinetic.

Picasso at the Lapin Agile is a fascinating look at the time when these two geniuses would meet to exchange ideas, oftentimes perplexing their audiences with their observations, and in the case of Picasso, with his womanizing tendencies. In the play, Picasso is seen with two of his lovers, Suzanne (Ashley Barrett) and Germaine (Amy Motta, Farragut North), who is also the girlfriend of the bartender, Freddy (J. Teddy Garces). The other characters are Gaston (Fred Deni), a French gentleman, Sagot (Jack Merrill), Picasso’s art dealer, Charles Dabernow Schmendiman (Hudson Long), an inventor, and a visitor from the future (Jackson Glenn), an Elvis Presley with fancy shoes.

The scene observing the starry sky is a clever reference to Einstein’s concept of cosmology. The lighting effects (Edward Salas, Lighting and Sound Design) were an excellent touch to this production. The set and costumes (Ryan Wilson, Scenic Design, Michael Mullen, Costume Design) were also phenomenal visual elements, rich in details to represent the Parisian atmosphere of the period.

Picasso at the Lapin Agile is an appreciation of the value and the contributions of art and science in our society. Amelia Mulkey‘s direction captures the essence of the dialogue and the space: The desire of a new generation to break from the past and explore new possibilities based on revolutionary ideas. The staging transports the audience to a bustling place where colorful characters debated about life, love, and the hopes of a better future.

Picasso at the Lapin Agile
Written by: Steve Martin. Directed by: Amelia Mulkey. Produced by: John Ruskin and Michael R. Myers. Presented by: Ruskin Group Theatre. Starring: Ashley Barrett, Isaac J. Cruz, Fred Deni, J. Teddy Garces, Jackson Glenn, Hudson Long, Jack Merrill, Amy Motta, and Ryan Stiffelman.

Ruskin Group Theatre
3000 Airport Avenue
Santa Monica, CA 90405
(Ample free parking)

Opening: 8pm on Friday, February 24 with reception to follow
Schedule: 8pm Fridays and Saturdays, 2pm on Sundays
Closing: April 2, 2023

Creative Team: Ryan Wilson (Scenic Design), Edward Salas (Lighting and Sound Design), Michael Mullen (Costume Design), Paul Ruddy (Casting), Nicole Millar (Production Stage Manager).

Tickets: www.ruskingrouptheatre.com

 

Picasso at the Lapin Agile poster
Picasso at the Lapin Agile
A scene from Picasso at the Lapin Agile
Picasso at the Lapin Agile. J Teddy Garces, Amy Motta, Jackson Glenn.
A scene from Picasso at the Lapin Agile
Picasso at the Lapin Agile. Cast.
A scene from Picasso at the Lapin Agile
Picasso at the Lapin Agile. Ryan Stiffelman and Isaac J Cruz.

Theatre Review: Guess Who’s Coming to Dinner

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Ruskin Group Theatre presents Guess Who’s Coming to Dinner, a stage adaptation of the 1967 film of the same title. The Adapter/Playwright is Todd Kreidler and the Director is Lita Gaithers Owens. 

Joanna Drayton (Mary Pumper) is marrying Dr. John Prentice (Vincent Washington) and she wants to introduce him to her parents Christina Drayton (Lee Garlington) and Matt Drayton (Brad Greenquist). Joanna is white and John is black. A simple situation, but a controversial one back in the 60s. The rest of the characters include Hilary St. George (Mouchette van Helsdingen), Monsignor Ryan (Paul Denk), Matilda “Tillie” Binks (Vickilyn Reynolds), John Prentice Sr. (Dan Martin), and Mary Prentice (Renn Woods).

The events that preceded the original screenplay by William Rose were the Freedom Riders, March on Washington, Freedom Summer, Bloody Sunday, the assassination of Malcolm X, among many others, all of which came to be known as the Civil Rights Movement.

Matt is a newspaper editor with liberal views, supporting equal rights. Christina’s point of view is very similar. However, when their daughter Joanna is the one marrying a black man, their apparent progressiveness is put to the test. The play examines not only the relationships among the characters of different race but also the granularity of intrafamilial relationships.

The initial shock shown by Joanna’s parents posed an interesting question: Are Joanna’s parents intrinsically racist despite their public stance on inclusiveness, or are they genuinely concern about the prospects of their daughter’s marriage in a racist society? What about John’s parents? They also have their own doubts about their son marrying a white woman. Are their concerns justified?

Tillie, the Draytons’ black housekeeper, also questions John’s real motivations to marry Joanna. Tillie, however, has some details about Matt that can change John’s perceptions about his future in-laws. In a sense, Tillie is a character that sees beyond the obvious and senses the reality of the situation. She is somehow the reflection of America, having seen the worst but also the signs of a brighter life ahead.

The dialogue of the characters show the prejudice that stems from fear, fear of utopian expectations, fear of whatever pains lie ahead. As it turned out, Martin Luther King Jr., an idealistic leader, was assassinated in 1968, a year after the story depicted in Guess Who’s Coming to Dinner. 

Todd Kreidler’s play features the insecurities and concerns prevailing in America in the 60s, elements so persistent today that the story still reflects the current state of affairs. At the same time, Guess Who’s Coming to Dinner is also a story that allows us to dream of a new world brewing in the heart of America.

The stage of the Ruskin Group Theatre is so intimate that the actor’s expressions can be felt vividly by the audience, a great opportunity for such experienced actors like Brad Greenquist and Lee Garlington to show their skills. The voice projection of Dan Martin certainly added some excitement to the play; he has an imposing stage presence. This production features excellent scenic design (John Iacovelli) and lighting design (Edward Salas). The costume design (Michael Mullen) is extraordinary, Mary Pumper looks like a fashion icon of the 60s. The audience was certainly delighted with the performances and the production of this funny and moving stage adaptation.

Guess Who’s Coming to Dinner

Written by Todd Kreidler – based on the screenplay by William Rose, directed by Lita Gaithers Owens, produced by John Ruskin and Michael R. Myers, presented by Ruskin Group Theatre.
Ruskin Group Theatre
3000 Airport Avenue
Santa Monica, CA 90405
(Ample free parking)
Schedule: 8pm Fridays and Saturdays; 2pm Sundays
(No performances on June 5, 17, 18)
Closing:  Sunday, July 17, 2022