Tag Archives: The Zephyr Theatre

Theatre Review: CLARA VS. INFINITY

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Does the universe have a limit, or is it a mass of stuff expanding in perpetuity? If you divide the circumference of a circle by its diameter, what do you get? Welcome to Pi and the world of irrational numbers. Welcome to Clara vs. Infinity.

With her mom’s credit card and some heartaches in her pocket, Clara takes a leap into the unknown, traveling by herself from Boston to Washington DC to compete in a Pi Recitation Bee. Coping with the complicated relationship with her father and his eventual suicide, Clara embarks on a bus trip to Washington with the intention to win the 10k prize to the person who can recite the most numbers of Pi. After all, she can recite more than 500. But would that be enough to win? Furthermore, can she do it without her mom finding out about the risky trip?

Similar to a road movie, the story involves a journey that is both physical and emotional. Sneaking out of the house, Clara pushes the limits, risking her own safety to help her overworked mom. The trip allows Clara to discover her weaknesses and strengths. The trip then becomes a personal development endeavor. Even though she is only a 12-year-old girl, the experience forces Clara to grow and come in contact with the world that is beyond her home.

Talking to his students, a Harvard Business School professor once said “look at the numbers, they will talk to you”. On a deeply personal level, the numbers also talk to Clara. As she reflects on the wonders of the universe, the numbers help her explore the concept of infinity. As curiosity and sadness sets in, the numbers become her companion to understand the world around her and make sense of her own life.

Meeting creepy, quirky, and friendly characters along the way, the trip turns into a passage of life, a transformation, and a deeper connection to her mom, and movingly enough, to her deceased dad.

It’s a deep, compelling, and intelligent script. Playwright Zack Rocklin-Waltch understands the concept of myth in a way that clicks with the audience brilliantly. It’s an examination of grief, self-discovery, and coming to terms with our own shortcomings. As painful as it might be, however, the whole ordeal turns into a worthwhile experience. I could’ve missed the pain, but I’d have had to miss the dance, as Garth Brooks sings in “The Dance”.

The script is paired with a superb direction by Jamie Gallo. Her actors are free to search deep into the motivations of the characters to find their inner truth. The blocking and the music are captivating. Gallo’s attention to detail is also evident in the set design (Kate Schaaf). And how about the costume design (Olivia Dakin)? It’s one of the first things you notice when the play is about to start. All of these details show how much love you put into a production. Kudos to the producers Bianca Akbiyik and Marie Bland for putting this play together so professionally.

The cast offer a deeply moving and enthralling performance that leaves a lasting impression. Kaylani Gaudart as Clara and Nikki McKenzie as mom are simply magnetic. Audrey Forman, seen before in Gloria at the Chance Theater, continues to deliver exciting performances, and this time she excels again as the wife with an internal disappointment that is affecting her life with her husband (Seth Gunawardena). Nina Romero, trained in Second City, is fantastic as well; her characterization adds a lot of flavor to the play. The whole cast is phenomenal; true artists creating moving poetry on stage.

Clara vs. Infinity is a deeply moving gem. Just like in the surrounding stores, it’s a rare find, so make sure not to miss it. One more weekend, your last chance.

Clara vs. Infinity

Zephyr Theatre
7456 Melrose Ave.
Los Angeles, CA 90046

April 10 – 26
Fridays 8 PM. Saturdays 3:30 PM and 8 PM. Sundays 2 PM.

Tickets: eightballtheatre.org/events

Written by Zack Rocklin-Waltch. Director: Jamie Gallo. Producers: Bianca Akbiyik & Marie Bland. Dramaturg: Sun Jin.

Cast: Kaylani Gaudart, Luke Dimyan, Collette McCurdy, Alex Nimrod, Audrey Forman, Kameron Brown, Nina Romeo, Seth Gunawardena, Quaz Degraft, Nikki McKenzie, and Matthew Bridges.

Creative team: Scenic Designer: Kate Schaaf, Costume Designer: Olivia Dakin, Lighting Designer: Cristo Montañez, Sound Designer: Konner Syed, Prop Designer: Dominique Jakowec, Composer: Julia Moss, Projection Designer: MC Macadar, Hair & Makeup Artist: Olivia Forman.

Theatre Review: Red Light Winter

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Manhattan residents Matt (Ryan Lisman) and Davis (Trent Culkin) go on a trip to Amsterdam. Davis hires the services of Christina (Natalie Valentine), a prostitute, who claims to be French. In a rare form of ménage à trois, their sexual encounters reveal the emptiness of their lives and the desperate search for human connection.

In the first scene, Matt tries to commit suicide with his belt. He fails miserably and the act seems rather comical. Davis brings Christina to the room to introduce her to Matt. Davis is a bully and is constantly making fun of Matt’s medical condition involving his intestines. As a successful editor at a publishing company, Davis exudes an air of superiority, always putting down whoever is close to him. Before introducing her to Matt, Davis has sex with Christina. She gets infatuated with Davis right away, but agrees to spend time with Matt.

Once Davis leaves the room, Christina has sex with an insecure and dorky Matt. Just like his suicide attempt, the sex with Christina is quick and funny. He falls asleep instantly (like, instantly) after orgasming. Christina then gets out of the room, leaving her red dress behind. Matt wakes up and holds the red dress in his arms, showing his infatuation with Christina.

The second act shows Matt in his apartment, back in New York. He continues to be in touch with Davis. Surprisingly, Christina knocks on the door. She is looking for Davis. She reveals her true identity and confides her devastating secret to Matt, who is still infatuated with her.

Playwright Adam Rapp references different authors in the script. The one that stands out is Henry Miller. Matt, who is a playwright, is writing a play using roman à clef, a genre in which Miller wrote The Rosy Crucifixion, a trilogy documenting a period of his life. In the same literary genre, Matt is writing about his life. He includes characters depicting himself, Davis, and Christina.

Billy Ray Brewton‘s direction is extraordinary. He makes sure his actors exteriorize the complications of dynamic relationships and the unrequited love Matt and Christina experience in that unhealthy love triangle. The blocking, lighting, and props set the characters’ traits and the atmosphere of the story.

This is a character-driven play and the three actors are up to the task. Culkin creates a cold and arrogant character that leaves a trail of damage as he interacts with the people around him. Valentine is exceptional as well. She gives Christina the emotional fragility to search for a connection in the wrong places with the wrong people, suffering dire consequences as a victim of the circumstances. Lisman offers a magnetic performance. He infuses his character with a frustrating inability to connect with a woman, exhibiting shyness, vulnerability, and a weird fetishism for Christina’s red dress. He plays a hopeless and pathetic Matt in such a way that the audience care and feel for his pain. All he gets from Christina, his impossible love, is a “you’re very sweet” compliment, a potential-relationship-killer phrase.

Beneath the humor of Rapp’s brilliant script, is a riveting story of three individuals experiencing the isolation and desolation of their souls, a powerful exposition of contemporary society’s emotional emptiness.

Red Light Winter

Broadwater Black Box
6322 Santa Monica Blvd., Los Angeles, CA 90038 – September 20-22 & 27-29, Fri./Sat. at 7:30pm, Sun. at 2:30pm

The Zephyr Theatre
7456 Melrose Ave, Los Angeles, CA 90046 – October 3-6 & 10-13, Thur./Fri./Sat. at 7:30pm, Sun. at 2:30pm

Tickets: events.humanitix.com/adam-rapp-s-red-light-winter

Written by Adam Rapp. Directed by Billy Ray Brewton. Produced by Catharsis Theatre Collective.

Cast: Trent Culkin, Ryan Lisman, and Natalie Valentine.