Tag Archives: Theatre

4th Annual Orange County Theatre Guild Awards

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In a lively and exciting event on Apr 28, 2025, the 4th Annual OC Theatre Guild Awards celebrated the best of local theatre at the Samueli Theater at Segerstrom Center for the Arts in Costa Mesa, California.

Performers and creative teams gathered to honor the outstanding achievements of the passionate community of theatre makers in Orange County California. A red carpet, live performances, and an enthusiastic audience energized this memorable evening.

Chance Theatre took 11 wins followed by The Wayward Artist with seven wins. Below is the complete list of winners:

Outstanding Production of a Play

The Motherf**ker With The Hat, The Wayward Artist

Outstanding Production of a Musical

Jane Austen’s Emma, The Musical, Chance Theater

Outstanding Direction of a Play (two recipients due to a rare tie)

Michael Martinez Hamilton, The Motherf**ker With The Hat, The Wayward Artist

Katie Chidester, Tiny Beautiful Things, Chance Theater

Outstanding Direction of a Musical

Casey Long, Jane Austen’s Emma, The Musical, Chance Theater

Outstanding Ensemble of a Play

The Motherf**ker With The Hat, The Wayward Artist

Outstanding Ensemble of a Musical

Jane Austen’s Emma, The Musical, Chance Theater

Outstanding Lead Performance in Play (two recipients)

D.X. Machina, The Motherf**ker With The Hat, The Wayward Artist

Aubrey Saverino, Tiny Beautiful Things, Chance Theater

Outstanding Lead Performance in a Musical (two recipients)

Naomi Groleau, All Shook Up, Yorba Linda Spotlight Players

Jocelyn A. Brown, Sweeney Todd: The Demon Barber of Fleet Street, Chance Theater

Outstanding Supporting Performance in a Play (two recipients)

Oscar Emmanuel Fabela, The Motherf**ker With The Hat, The Wayward Artist

Will Martella, Gloria, Chance Theater

Outstanding Supporting Performance in a Musical (two recipients)

Sadie Alexander, Jane Austen’s Emma, The Musical, Chance Theater

Jeff Lowe, Jane Austen’s Emma, The Musical, Chance Theater

Outstanding Music Direction

Patrick Copeland, Once, Curtis Theatre

Outstanding Choreography

Jennifer Kornswiet, The 25th Annual Putnam County Spelling Bee, The Wayward Artist

Outstanding Scenic Design

Kristin Campbell Coyne, Tiny Beautiful Things, Chance Theater

Outstanding Costume Design

Marci Alberti, The Motherf**ker With The Hat, The Wayward Artist

Outstanding Lighting Design

Kris Kataoka, Once, Curtis Theatre

Outstanding Sound Design

Thor Fay, Once, Curtis Theatre

Outstanding Projection Design

Victoria Serra, 33 Variations, Costa Mesa Playhouse

Outstanding Fight Direction

Martin Noyes, Alma, Chance Theater

Outstanding Puppet Design

Sarah Leonard, Into The Woods, JStage Irvine

Outstanding Wig & Hair Design

Jeff Weeks, A Doll’s House, Part 2, STAGESTheatre

Outstanding Properties Design

Jim Lowe & Kelsey Lowe, Puffs, Alchemy Theatre Company

Theatre Review: To Each Their Own

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Somewhere in Ohio, five characters depict the painful decay of the working class in the Midwest, one drink at a time.

According to the Economic Policy Institute, the Midwest has endured years of slow wage growth, slow job growth, public-sector employment shortfalls, and declines in unionization. These factors have contributed to the decline of the Industrial Heartland,  a once powerful and aspirational region with plenty of job opportunities for the working class. 

With that grim background, To Each Their Own tells the story of a trio of miscreants that plot a series of bank robberies in an attempt to make money and leave behind a life void of purpose. Playwright Travis Williams has a sharp ability to paint with a high degree of detail the struggles and yearnings of the people left behind, the forgotten ones. The script is written in the Midwestern Gothic genre, bringing to the stage an engrossing story with interesting twists and turns.

There’s humor, violence, hope, and despair, elements that make the characters appealing and relatable. Doug (William Wilson) and Benny (James Lemire) co-own a bar in a small town in Ohio. Doug has drinking issues; Benny is not the sharpest tool in the shed. But they’re each other’s support system, and so they go, even planning a series of successful bank heists that keep bringing some money. They work for a mysterious man who knows the bank’s employees schedules and the police movements. Guts and precision is all they need to rob and get away with the money without getting caught. 

Enter Bailey (Tabitha Trosen). Doug’s old flame, Bailey also takes part in the robberies. Everything looks fine until Bailey finds out that the mysterious man they’re working for takes 70% of the loot. Ambitious and determined, she tries to convince Doug and Benny to cut the middle man and work on their own. Why take 30 when they can take 100%?

The past keeps haunting the characters and the story starts to take a darker tone. Abuse, alcoholism, and drug addiction are some of the factors that have shaped their lives and the intense need to look for something better. They’re not only escaping the police; they’re also escaping their past.

The grittiness of the script is successfully translated by Director Brooklyn Sample into a stunning visual collage of low lighting and somber colors, framed by an extraordinary set design that heightens the dangerous and murky lives of the outlaws. Even though it is a small space, the production team put together an attractive stage that makes the story engrossing and captivating. 

The two characters in the second act, Billy (Jason Madera) and Irving (Travis Williams), are examples of fascinating supporting characters that contribute to expand the story and emphasize the oddity of opposing polarities, humor and violence. 

As the protagonist, Wilson gives his character that appealing sense of damaged goods. He is a man shaped by fear and guilt, driven by the ambition of becoming somebody, fighting the dreadful notion of being nobody in a land of broken dreams.

To Each Their Own is raw and aggressive, a faithful portrait of the harsh realities of unstable characters with limited opportunities. It’s a dark and poetic landscape of isolation and resilience, a fuzzy dream of a better life with the yearnings of going back to one’s roots. This play is a powerful and moving story that reflects contemporary issues affecting our fractured society. It’s a rare finding, don’t miss the opportunity to experience up close the witty talent of these dedicated artists.        

To Each Their Own

Atwater Village Theatre
3269 Casitas Ave.
Los Angeles, CA 90039

Opening Night: April 17, 2025 – 8:00 p.m.

Performances: April 18, 19, 25, 26, 8 p.m., April 27 – 6:00 p.m.

Final Weekend: May 2, 3, 8:00 p.m. and May 4, 2025 –  6:00 p.m.

Tickets: artcrush.la

Written by Travis Williams. Directed by Brooklyn Sample. Produced by Blind Toe Productions and Erin Coleman.

Starring: Jason Madera, James Lemire, Tabitha Trosen, Travis Williams, and William Wilson.

Creative team: Stage Manager Jade Santana, Lighting Designer Luke Moyer, Set Designer Thomas Brown, Sound Designer Carlos Flood.

Theatre Review: The Seagull

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Director Bruce Katzman‘s staging of this classic play offers comedy and intrigue, framed by an impressive naturalistic scenic design.

The Seagull is a play where Anton Chekhov uses spoken and unspoken language to convey the intricate emotional layers of the characters living by the lake. The words and the silences combine to create tension and express the complicated relationships of Treplev (Parker Sack) with the people around him. The beauty of the lake casts a spell on the people who live around it, bringing both romanticism and tragedy.

In Katzman’s production, the characters are surrounded by an eye-catching scenic design that represents the lake and the woods of Chekhov’s magical place. The blue and green hues used by Carlo Maghirang capture the vividness of nature and the intensity of the feelings experienced by the characters.

Katzman honors the comedic aspect of the play. There is plenty of drama, but the production highlights the humorous characteristics of Chekov’s writing. The excellent performance of Carlos Carrasco as Shamrayev, is an example of Katzman’s commitment to present Chekov’s intention to write a comedy rather than a drama. The result is a balanced production that adds dynamism to the characters and the situations portrayed on stage.

The music and sound effects by Clare Marie Nemanich also contribute to the attraction of this staging. Lukas Jann as Yakov and Hannah May Howard as Maid make great use of the sound effects playing their respective instruments, adding an air of mysticism to the scene.

The acting of the leading actors leaves room for improvement. It feels as if Cece Kelly as Nina and Parker Sack as Treplev only scratch the surface. Although they offer good performances, they don’t reach the depths of their characters. Both Nina and Treplev are complex characters with layers of ambitions and traumas that could be explored more intensely in this production to broaden the dramatic effect of the story. Both Kelly and Sack seem to have the skills to achieve greater heights. The supporting actors with more experience leveled up the play. Sasha Alexander as Arkadina and James Tupper as Trigorin delivered solid performances, playing their characters convincingly and adding the necessary tension for an effective striking impact to move the story forward.

Overall, Katzman presents a visually exuberant production of a play that shows Chekov’s keen observation of human nature and the volatility of humans when pushed to the limits. As a traveling doctor through the Russian territory, Chekov saw first hand the sublimity and misery of the human condition. His experiences are ingrained in his writing. Katzman captures the nuances of the human behavior witnessed by Chekov and infuses an interesting combination of drama and humor to express the verbal and silent symbols present in the story.

The Seagull

Odyssey Theatre
2055 S. Sepulveda Blvd.
Los Angeles, CA 90025

Jan 18 – Feb 9 2025

Thursdays @ 8 p.m. / Fridays @ 8 p.m. / Saturdays @ 8 p.m. / Sundays @ 2 p.m.

Tickets: odysseytheatre.com/tickets/

Written by Anton Chekhov. Directed by Bruce Katzman. Produced by James Tupper and Carolyn Crotty.

Cast: Sasha Alexander as Arkadina. James Tupper as Trigorin. Cece Kelly as Nina. Parker Sack as Treplev. Carlos Carrasco as Shamrayev. Carolyn Crotty as Polina. Brianna Bryan as Masha. Will Dixon as Dorn. Joe Hulser as Sorin. Matthew Hartley as Medvedenko. Lukas Jann as Yakov. Hannah May Howard as Maid.

Creative team: Nicole Ohara Production Manager. John Levey Additional Casting. Roella Dellosa Stage Manager. Carlo Maghirang Scenic Designer. W. Alejandro Melendez Lighting Designer. Eva Zapata Costume Designer. Clare Marie Nemanich Sound Designer. Dana Schwartz Props Designer.

Theatre Review: A View from the Bridge

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Surrounded by the danger and somberness of Red Hook, Arthur Miller created a gripping drama, relating the hardships of working-class Italian immigrants and the tragic consequences of a forbidden love.

The tight community of Italian immigrants serves as the background for one of the most iconic plays in American theatre. Eddie (Richard Baird), a longshoreman, lives with his wife Beatrice (Margot White) and his orphaned 17-year-old niece Catherine (Marie Zolezzi). Eddie is going through a middle age crisis, exacerbated by the bedroom issues with his wife and the disturbing sexual attraction towards his niece. As a good Italian man, he welcomes Beatrice’s cousins Marco (Lowell Byers) and Rodolpho (Coby Rogers). But the flirting between Catherine and Rodolpho triggers Eddie’s rage, building tension and conflict by the day.

Alfieri (Frank Corrado), a lawyer serving as a narrator in the play, tries to convince Eddie to get Catherine out of his mind and bless her relationship with Rodolpho. Eddie, however, is reaching the point of no return, his eyes like tunnels, lost in his madness. A presage of an unstoppable tragedy.

The illusions of the first love, the honorability within a tight community, and the hopes of a new life in America are shattered by Eddie’s perception of a challenge to his authority and his inability to control his emotions. The characters soon find out that these issues will become a hindrance to their happiness and a rupture of their mutual trust.

On stage, the cast and the experienced direction of David Ellenstein create a pulsating staging that keeps the audience on the edge of their seats. Ellenstein builds up the suspense scene after scene, invigorating the action to reach a dynamic and captivating climax. The actors explore the layers of emotions and conflicts that make this play such a rich ground on themes of sexuality, migrants experience, and the complexities of human relations.

At the epicenter of this memorable production is Richard Bair. His portrayal of Eddie is electrifying. Baird excels in exteriorizing the agony and devastation of a man who is about to violate the sacrosanct omertà, destroying everything and everyone around him, blinded by his uncontrollable passion. Baird goes all in, achieving a triumphant presentation, elating an audience absorbed by his riveting performance.

The lighting with the blue hues and the brownish tones of the set design highlight the intensity and roughness of life on the waterfront, an accurate depiction of the hardships of immigrants and their efforts to survive in New York in the 1950s.

This production succeeds in capturing the emotional distress of a character falling prey to his own demons, risking his reputation, his family, and his place in the world.

A View from the Bridge

Laguna Playhouse
606 Laguna Canyon Rd. Laguna Beach, CA

Runs: Sunday, November 3 – Sunday, November 17, 2024
Wednesdays at 7:30pm; Thursdays at 2:00pm and 7:30pm; Fridays at 7:30pm;
Saturdays at 2:00pm & 7:30pm; Sundays at 1:00pm & 5:30pm.
There will be no performance on Sunday, November 3 at 1:00pm or Sunday,
November 17 at 5:30pm.
There will be a post-show talkback following the Friday, November 8
performance.

Tickets: lagunaplayhouse.com

Written by Arthur Miller. Directed by David Ellenstein.

Cast: Richard Baird, Lowell Byers, Frank Corrado, Steve Froehlich, Coby Rogers, Matthew Salazar-Thompson, Margot White, and Marie Zolezzi.

Creative team: Scenic design by Marty Burnett; lighting design by Matthew Novotny; sound design by Ian Scot; costume design by Elisa Benzoni; hair and wigs design by Peter Herman; props design by Kevin Williams; fight coordinator is Christopher M. Williams. The Production Stage Manager is Vernon Willet.

Theatre Review: Human Error

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The first scene is the portent of what’s coming for Madelyn (Kristen Vaganos) and Sameer (Kapil Talwalkar). Trying IVF to get pregnant, they learn of a mix-up at Dr. Hoskins’ clinic. Their embryo was inadvertently implanted into another woman’s uterus. Dr. Hoskins (Andrew Hawtrey) apologizes, but he’s punched in the face.

Madelyn and Sameer have no other choice but to establish a relationship with the couple that received their embryo. Enter Heather (Lauren Burns) and Jim (Kiel Kennedy). They agree to carry Madelyn and Sameer’s fetus and give the baby to them once it is born. But there is a problem. Madelyn and Sameer are blue, progressive, pro-choice, and racially diverse. Heather and Jim, on the other hand, are red, conservative, pro-life, and White. Can both couples forge a relationship for nine months being so different?

There might be some clichés here and there, but the comedy is exceptional. Kennedy shines in his portrayal of the firearms-loving tough guy, Ohio State fan, and successful business owner. His presence and voice project confidently the stern demeanor of a typical conservative individual. The five actors deliver a light and effective comedy that helps bring forward some pressing issues in today’s divided society. In a time when politicians are asking Americans to tone it down, this play couldn’t be more timely.

The schism between red and blue—referring to the conservative Republicans and the progressive Democrats—is a contentious element that ends up bringing together both couples. The human error at the clinic, forces these individuals to see each other eye to eye. Human error leads to human connection. Former Spanish Prime Minister Felipe Gonzales once said that nothing replaces a meeting in person. We have the opportunity to listen, and even understand the other position.

Playwright Eric Pfeffinger uses the red and blue stances to prove that right or wrong is in the eye of the beholder. Despite their differences, connecting in person allowed both couples to know each other at a deeper level.

Director Joshua Bitton translates the core of the play into a comedic and thoughtful expression of divergent ideas, leading up to the questioning of our own beliefs. The play exposes the diversity of America and gives the audience the chance to explore the validity of the other person’s perspective. Pro-choice, pro-life, what do they even mean?

Human Error

ROGUE MACHINE (in the Matrix Theatre)
7657 Melrose Ave, Los Angeles, CA 90046
(Street parking)

Opening: 8pm on Saturday, August 10, 2024
Schedule: 8pm Fridays, Saturdays; 3pm Sundays
Closing: September 1, 2024

Tickets: roguemachinetheatre

Written by Eric Pfeffinger. Directed by Joshua Bitton. Produced by: Guillermo Cienfuegos. A Rogue Machine Production. Age recommendation 13+.

Cast: Lauren Burns as Heather. Andrew Hawtrey as Dr. Hoskins. Kiel Kennedy as Jim. Kapil Talwalkar as Sameer. Kristen Vaganos as Madelyn.

Creative team: James Morris (Scenic Design), Rachel Manheimer (Lighting Design), Chris Moscatiello (Sound Design), Christine Cover Ferro (Costume Design).

Theatre Review: The Substance of Fire

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Ruskin Group Theatre presents The Substance of Fire. Written by Jon Robin Baitz. Directed by Mike Reilly. Produced by John Ruskin and Michael R. Myers.

Isaac Geldhart (Rob Morrow) has a problem. His company is collapsing and he is having a hard time relating to his children. Aaron (Emmitt Butler), Sarah (Fiona Dorn), and Martin (Barret T. Lewis) get together to take over the company and try to convince Isaac that the business strategy needs to change to put the company back in the black. Isaac, however, refuses to relent and the relationship with his children continues to deteriorate. The brilliant text by Jon Robin Baitz reveals the complexities of family dynamics and the challenging corporate landscape in the face of a generational shift.

Isaac seems unable to communicate his experiences as a Holocaust survivor to his children in a way that resonates with them. As they grew up in America in a free society, they seem unable to relate with the struggles of the previous Jewish generations. Isaac thinks that his children are unwilling to fight for their beliefs. This shows the disconnect between both generations, adding more strains to their relationship.

Morrow’s portrayal of a Holocaust survivor is convincing and compelling. He shows the intricate web of emotions of a man who reinvented himself despite the hardships of tragedy. Morrow conveys, with passion and wit, Isaac’s fierce mental state, but also the darkness of his decline.

In the second act, Isaac faces another set of challenges. He is older and more isolated. As he starts to unlock memories, they become more painful, accentuated by his loneliness. But there is a slight ray of hope. The psychiatric social worker who is sent to evaluate his mental capacities may spark some fire into his life. Marge Hackett (Marcia Cross) interacts, argues, and empathizes with Isaac, revealing surprising details along the way. Cross delivers a memorable performance, portraying a possibility, a second chance in life, pushing, pulling, like an enigma. Cross and Morrow display an extraordinary chemistry on set that translates into a superb performance, dissecting the underlying emotions, hopes, and devastating loneliness of both characters.

Director Mike Reilly captures in vivid detail the essence of the play. With a stellar cast and a brilliant text, Reilly structures a poignant production that presents the challenging realities of a character that refuses to let go of the past, and characters that expose the emotional scars of secrets and insecurities. Will the characters be able to reignite the substance of fire?

The Substance of Fire

Ruskin Group Theatre
3000 Airport Avenue
Santa Monica, CA 90405
Opening July 12, 2024
Closing September 1, 2024
8pm Fridays and Saturdays, 2pm on Sundays
Written by Jon Robin Baitz. Directed by Mike Reilly. Produced by John Ruskin and Michael R. Myers. Presented by Ruskin Group Theatre.
Cast: Rob Morrow, Marcia Cross, Emmitt Butler, Fiona Dorn, and Barret T. Lewis.
Creative team: Ryan Wilson (Scenic Design), Edward Salas (Lighting and Sound Design), Michael Mullen (Costume Design).

Fringe Review: Grape Culture

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Grape Culture. Written by Toni Nagy and Sarah Buckner. Produced by Mike Blaha of Fringe Management and Lee Costello.

One of the reasons theatre has survived for more than 2,000 years is the fact that this artistic expression reflects society in all of its beauty and ugliness. In Grape Culture, performers Toni Nagy and Sarah Buckner take the audience out of their comfort zone to explore the struggles of coping with rape in a society that stills puts the blame on the victims.

From sexual remarks to a little girl to harassment in the workplace, this play conveys the uncomfortable situations faced by many women as a result of society’s objectification and ownership of the female body. In some instances, the non-consensual ownership of the body is exercised in medical settings, like when sedated women are used to practice gynecological procedures by medical students.

The stage serves as a platform to emphasize the fact that women own their bodies, and only them can use and manage them as they please. Whether is sex or medical procedures, the woman should be in control to avoid sexual abuse, even in relationships with sexual partners. The key is consent.

Even though the show presents the traumas generated by rape, one positive element is finding the way to heal. For Nagy and Buckner, this can be achieved by somatics and sharing the experiences with the audience to break the cycle of complicit silence. Grape Culture is an effort to dig deep and find the root cause of the toxic attitudes that promote and celebrate abuse.

One of the messages that comes across is that when women expose their bodies, it is not a permit to use them for exploitation, it might be just a way to regain ownership and the narrative about their bodies and womanhood.

For this radical, funny, and entertaining show, Nagy and Buckner use tap, modern dance, film, comedy, and storytelling to represent the challenges of being a woman and the opportunities to heal and find peace. The material might be uneasy for some, but shows like this one present an opportunity to start a meaningful and empathetic conversation.

Grape Culture

Broadwater (Second Stage)
6320 Santa Monica Blvd.
Los Angeles, CA 90038

Dates:

Monday June 17 2024, 6:30 PM

Friday June 21 2024, 9:00 PM

Wednesday June 26 2024, 9:30 PM

Saturday June 29 2024, 5:00 PM

Sunday June 30 2024, 12:30 PM

Tickets: hollywoodfringe.org/projects/10853

Written and performed by Toni Nagy and Sarah Buckner. Produced by Mike Blaha of Fringe Management and Lee Costello.

Theatre Review: The Spy Who Went Into Rehab

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The Spy Who Went Into Rehab is presented by Pacific Resident Theatre. Written by Gregg Ostrin. Directed by Cyndy Fujikawa.

Simon Cross (Satiar Pourvasei) is sent to the most challenging mission to date: Cure his addiction to women, gambling, drinking, and killing the most dangerous criminals. Will he be able to survive the grueling therapy at the rehab center?

Under the strict guidance of therapist Stella (Jill Renner), Simon will go through a radical transformation. At the rehab center, Simon will interact with other addicts that will teach him a lesson on sensitivity and empathy. There is Gary (Stuart W. Howard), Yvonne (Rachel Townsend), and Pixie (Alondra Andrade). Insensitive to their feelings, Simon’s macho attitude triggers the trauma on these three addicts, a signal that he needs an urgent intervention to change his toxic masculinity.

Playwright Gregg Ostrin has created a mesmerizing and relatable play that gives a new look at the typical spy character that has been so popular in movies and TV. One of the most interesting features of this play is not only Simon’s transformation through his interaction with the other characters, but also how he is able to help the other addicts to overcome their fears and achieve a positive transformation for themselves.

Pourvasei’s performance is one of a kind. His nonchalant demeanor and clueless notion of his negative behavior at the beginning of the play heightens the comedic aspect of his character. Overall, the dialogue and physical comedy delivered by the rest of the cast combine perfectly to treat the audience to an exhilarating performance. Director Cyndy Fujikawa is able to translate the text effectively into an energetic visual experience that highlights the comedy and the intriguing aspects of the story. Fujikawa also acts in this production as Z, the person behind the organization that sends Simon to special missions.

The story and the plot get the audience invested in the characters. Will Simon manage to complete his therapy? Is he still relevant, or is he just a toxic relic from the past? Is therapy working for the other addicts? And how about Stella, the therapist?

The play has comedy, suspense, addiction, a Mexican standoff, and a surprise visit of Simon’s nemesis, Lazarus (with a cat). The question is, who will save the world if Simon retires?

The Spy Who Went Into Rehab

Pacific Resident Theatre
703 Venice Blvd.
Venice, CA 90291

Opening: 8pm on Friday, June 7, 2024
Schedule: 8pm Fridays, Saturdays; 3pm Sundays
Closing: July 7, 2024
Written by Gregg Ostrin. Directed by Cyndy Fujikawa.
Cast: Satiar Pourvasei, Jill Renner, Stuart W. Howard, Rachel Townsend, Alondra Andrade, and Cyndy Fujikawa.
Creative team: Michael Franco (Lighting Design), Jason Culp (Sound Design), Rachel Townsend (Choreography).

Theatre Review: Mix-Mix: The Filipino Adventures of a German Jewish Boy

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Latino Theater Company and Playwrights’ Arena present epic Mix-Mix: The Filipino Adventures of a German Jewish Boy. Written by Boni B. Alvarez. Directed by Jon Lawrence Rivera. Lead producer Olga Garay–English. Produced by Latino Theater Company and Playwrights’ Arena.

Thanks to the generosity of president Manuel L. Quezon, 1,300 European Jews entered the Philippines as refugees during WWII. By issuing Proclamation No. 173 on August 21, 1937, President Quezon encouraged Filipinos to welcome the refugees and instructed government officials to assist them.

Mix-Mix: The Filipino Adventures of a German Jewish Boy tells the story of Rudolph “Rudy” J. Preiss (Casey J. Adler), one of the German Jew refugees that lived in the Philippines. As one of those ironies of life, the Preiss family escapes the Nazi persecution in Germany only to find another persecution in the Philippines, this time in the hands of the brutal Japanese army. Along with his father Isaac (Mark Doerr), his mother Lena (Jill Remez, Deathtrap), and others, Rudy had to run to the mountains and hide from the Japanese.

The story is told from the perspective of a young Rudy and his two Filipino friends Zar (Alexis Camins) and Mousie (Angelita Esperanza), all around the same age. In the middle of the jungle and surviving bombardments, the three kids symbolize the union of the Jewish and Filipino cultures.

To depict the walking through the mountains, Playwright Boni B. Alvarez and Director Jon Lawrence Rivera used dance movements. To depict Mousie’s frustration after the death of her mother Dorna (Myra Cris Ocenar), a choreographed martial arts sequence ensues between Mousie and her father Ramil (Kennedy Kabasares). Other creative elements used to tell the story are projection for the flashbacks and lighting effects for the rain and the bombardments.

Rudy tells stories to his Filipino friends to recount his life back in Germany, his life in the Philippines as a chaperone to movie star Paloma Palma (Giselle “G” Tongi), and his dream of becoming an engineer in America attending MIT.

The performances feel a bit overacted at times, but in general, the play is entertaining and has moving moments that reveal how humans need each other to survive. Rudy and his friends become adults under extreme circumstances, and telling stories to each other is one of the ways to keep their sanity and innocence intact. One of the highlights of the play is the Jewish and Catholic prayers and their comforting effect when everything else seems lost. In general, the pacing of the play and the comedy keep the audience engaged till the end.

As a side note, the real Rudy left Germany at age 9 and left the Philippines at age 19 to study at MIT in the US. His parents stayed in the Philippines for 30 years.

The Los Angeles Theatre Center
514 S. Spring Street
Los Angeles CA 90013

Performances: May 18–June 16
• Thursdays at 8 p.m.: May 30; June 6; June 13
• Fridays at 8 p.m.: May 24; May 31; June 7; June 14
• Saturdays at 8 p.m.: May 18 (opening); May 25; June 1; June 8; June 15
• Sundays at 4 p.m.: May 26; June 2; June 9; June 16

Tickets: latinotheaterco.org

Written by Boni B. Alvarez. Directed by Jon Lawrence Rivera. Lead producer Olga Garay–English. Produced by Latino Theater Company and Playwrights’ Arena.

Cast: Casey J. Adler, Alexis Camins, Mark Doerr, Angelita Esperanza, Kennedy Kabasares, Myra Cris Ocenar, Jill Remez, Giselle “G” Tongi, Mark McClain Wilson.

Creative team: Choreography by Reggie Lee and fight choreography by Alvin Catacutan. The scenic designer is Christopher Scott Murillo; lighting design is by Azra King-Abadi; sound design is by Jesse Mandapat; video design is by Nick Santiago; costume design is by Mylette Nora; and the prop master is Lily Bartenstein. The stage management team includes production stage manager Letitia Chang, assistant stage manager Sam Pribyl and wardrobe assistant Manee Leija.

Theatre Review: Alma

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Chance Theater presents the Orange County premiere of Alma. Written by Benjamin Benne. Directed by Sara Guerrero. Produced by Steven & Louise Koch.

For most of the people, a knock on the door is nothing to worry about; it could be the neighbor or a salesperson. For Alma (Marta Portillo) and her daughter Angel (Heather Lee Echeverria), however, it could mean the dreadful time to say goodbye.

Director Sara Guerrero uses the small stage to bring the audience closer to the emotions of the characters. Together with Portillo and Echeverria, Guerrero translates the humor and drama of the script into an intimate display of courage, fear, and unconditional love.

In Alma, Playwright Benjamin Benne explores the dynamics of mother-daughter relationships, politics, and the American Dream. The character of Alma is the face of countless immigrants pursuing a dream that sounds great on paper but is evasive in practice. In her particular case, Alma is more invested in creating a dream for her daughter; a dream of opportunities and a better life. In the undocumented immigrants narrative, Benne emphasizes the human factor, the sacrificial love of a mother. Due to the fear of deportation, Alma and Angel are pushed to the limits, taking a toll on their emotional and mental health.

Alma crossed the desert and was already pregnant when she arrived in the US. As the only provider, she takes menial jobs to secure food and shelter for Angel. Alma’s dream is to send Angel to UC Davis to become a veterinarian. Trying to achieve that goal is a point of nurturing and contention between them, something that could break their relationship and change the course of their lives.

Alma is a mother with the usual worries. She needs to work hard to provide for both of them. In addition, she is also concerned about Angel’s future. To Alma, a degree from UC Davis is the key to unlock a world of opportunities and she is determined to ensure that Angel stays on track to achieve that goal. What stands on the way is her condition as an undocumented immigrant. Her potential deportation could throw everything off, a devastating end to her sacrifices.

Angel is in that phase where she is derailing to explore other things in life besides school and homework. Angel takes in her surroundings and questions the validity of authority. Not just the authority imposed by her mom, but the one imposed by society as well. For Angel, her mom’s immigration status and the possibility of getting separated is taking over her life, a fact that is influencing her decisions.

Alma has different layers. One of them is about broken dreams. This is linked to a political commentary.  As controversial as it was back then, former president Barack Obama was seen by many immigrants as a hope, an opportunity to regularize their immigration status. However, by the end of his term, he was called by some activists Deporter-In-Chief due to the millions deported during his administration. On the other hand, President Donald Trump‘s tough stance on immigration sent shock among immigrants for the fear of massive deportations. Alma delves into the fact that a president, whether Democrat or Republican, could mean hope or fear. Oftentimes, it is just another broken dream.

What exactly is the American Dream? Is it money, a college degree, a house, a green card? Who has the right to achieve that dream? The play does not answer those questions. What Alma does is to bring forward issues that are relevant in the immigration narrative. For the approximately 10.5 million undocumented immigrants living in the US, family separation is a real fear. This play explores what that means and how it affects the daily lives of those living in the shadows of legality.

Alma opens up another conversation: Is all that sacrifice worth it if families are separated?

Alma

Chance Theater @ Bette Aitken Theater Arts Center on the Fyda-Mar Stage
5522 E. La Palma Ave.,
Anaheim, CA 92807

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Fridays at 8 p.m., Saturdays at 3 p.m. & 8 p.m., Sundays at 3 p.m.

Tickets: chancetheater.com

Written by Benjamin Benne. Directed by Sara Guerrero. Produced by Steven & Louise Koch.

Cast: Marta Portillo and Heather Lee Echeverria.

Creative team: Scenic designer Christopher Scott Murillo, costume designer Jeanette Godoy, lighting designer Kara Ramlow, sound designer Melanie Falcón, stage manager
Cynthia C. Espinoza, and dramaturg Karli Jean Lonnquist. Bette & Wylie Aitken are Executive Season Producers for the entire 2024 schedule. Laurie Smits Staude is Associate Producer, and The Family of Mary Kay Fyda-Mar is this year’s Associate Season Producers.