Tag Archives: Theatre

Theatre Review: Home Front

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The West Coast premiere of Home Front is presented by The Victory Theatre Center. The play is by Tony® Award-winning playwright Warren Leight. The director is Maria Gobetti.

As the US soldiers come back victorious from World War II, a new world of justice and equality is in the horizon. But as Lt. James Aurelius Walker (C.J. Lindsey) and Annie Overton (Austin Highsmith Garces) will soon find out, institutions and some sectors of society are not catching up with the times. Specially when it comes to accepting an interracial marriage. 

The story depicted in Home Front is set in the 1940s, a time when segregation was rampant, specially in the South. In an effort to project a more inclusive image, the government decided to try something unusual at the time. The Navy—one of the most fervent bastions of segregation—started a controversial program to train African Americans as officers. The first group was known as the Golden Thirteen, 13 Black enlistees that were subjected to mistreatment and ridicule by their White superiors and peers. The training program was more of a publicity strategy to show the world that America could be the gold standard for democracy and equality. Our protagonist, Lt. James Walker, is a fictional member of the Golden Thirteen.    

The night James and Annie meet, the country is in full celebration of the victory over the Axis powers. The future looks bright and hopeful. Their consequent romantic relationship  however, unveils that America is still a victim of its past, a legacy that has turned its institutions and citizens into a voracious current that destroys everything on its path, one life at a time. And yet, in the middle of that maelstrom, we find people with a kind heart that are willing to give a hand to those in need. Edward Glimmer (Jonathan Slavin), is the injured veteran neighbor who does everything he can to reassure Annie and help James in a time when he needed it the most.

The story is an exploration not only of racism but also of discrimination. James suffers racism for being Black. But Edward is equally mistreated, even by James, for being gay. Annie, a white woman, is the unfortunate collateral victim of institutional racism and the frustration that comes with it. She is punished by her employer for marrying a Black man and she is on the receiving end when James releases his growing frustrations, all while raising their baby girl.

Interracial marriages were so unusual at the time that Annie confides to Edward that after looking at her baby girl, who has James’ Black features, a White lady asked Annie if she was raped. Those pernicious attitudes were also inflicted on Black veterans. While visiting his relatives in the South, James gets arrested and charged for an incident where he fired his gun. This situation, a clear example of institutional racism, will deliver a blow to the relationship between James and Annie. Even Edward’s noble intentions will fuel James’ bitterness, taking a tremendous tall on his emotional and mental state.

The three actors offer majestic performances. Jonathan Slavin does a phenomenal job as the understanding and charming neighbor who is always there in the most challenging times to offer his help, even willing to sacrifice his dignity for the people he loves. He feels at home delivering humor-relief lines that brighten the dark matter of the material. Austin Highsmith Garces is a fascinating and experienced actress that gives us a convincing portrayal of an unprejudiced woman willing to take risks. Her performance shows the nuances of a woman who is trying to navigate the challenging territories of love, motherhood, and broken dreams. C.J. Lindsey goes deep into the psychological state of a man who is constantly subjected to the systematic racism that degrades his worth as a human being. His acting skills are at full display when he externalizes his internal demons. The explosion of an implosion, a devastating image of utter defeat. The fine direction of Maria Gobetti is palpable in the powerful scenes where the palette of emotions create a gripping and relatable theatre experience.               

Warren Leight fictionalizes documented historical events and transports the audience to a dangerous and euphoric world where high hopes and ideals get a reality check. The play is a window to a critical past that captures in unnerving detail the pungency of racism. It is a cautionary tale that shows how things would look like if we continue to move backwards. But it is also an ode to those who, against all odds, continue to fight, continue to believe. 

Home Front

Written by Warren Leight. Directed by Maria Gobetti. Starring Austin Highsmith Garces, C.J. Lindsey, and Jonathan Slavin. Produced by Tom Ormeny, Maria Gobetti, and Evan Bartoletti. Presented by The Victory Theatre Center. Creative team: Set designer Evan Bartoletti, lighting designer Benedict Conran, sound designer Noah Andrade, video designer Jermaine Alexander, costume designer Carin Jacobs, dramaturg Gail Bryson, graphic designer Jennifer Logan, and photographer Tim Sullens. The stage manager is Cody Hathcock.

The Victory Theatre Centre
3326 W Victory Blvd
Burbank, CA 91505

Performances: Jan. 13 – Feb. 12
• Fridays at 8 p.m.: Jan. 20; Jan. 27; Feb. 3; Feb. 10
• Saturdays at 8 p.m.: Jan. 21; Jan. 28; Feb. 4; Feb. 11
• Sundays at 4 p.m.: Jan. 22; Jan. 29; Feb. 5; Feb. 12

Tickets: www.thevictorytheatrecenter.org

 

Home Front poster
A scene from Home Front
A scene from Home Front
A scene from Home Front

Theatre Review: Anatomy of Gray

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Anatomy of Gray is presented by Open Fist Theatre Company. Written by Jim Leonard. Directed by Ben Martin. Set in Gray, Indiana in the late 19th century.

After the death of her father, 15-year-old June (Rebekah Paugam) asks God to send a healer so the people of Gray don’t have to suffer the loss of a loved one ever again. Almost as a miraculous answer to her prayers and in the midst of a twister, a man falls from the sky and lands on the small town of Gray, Indiana. That man happens to be Dr. Galen P. Gray (Jeremy Guskin). In reality, his hot air balloon gets caught up in the tornado and Dr. Gray survives the fall with no injuries.

As he gets acquainted with the residents of the small town, Dr. Gray starts to treat and cure their ailments, much to the distrust of the town’s preacher, Pastor Phineas Wingfield (Alexander Wells, A Midsummer Night’s Dream, The Romantics). Belva Collins (Beth Robbins), Crutch Collins (James Fowler, A Midsummer Night’s Dream), Tiny Wingfield (Lane Allison, In the Next Room, or the vibrator play), and Maggie (Debba Rofheart, A Midsummer Night’s Dream) all are treated by Dr. Gray at one point. For 19th-century America, curing a disease relies heavily on praying, as religion played a central role in rural 19th-century America. Dr. Gray’s knowledge of medicine becomes a clash between science and religion despite the benefits to the population. Curiously enough, soda pop saves the life of Homer (Alex Hogy), one of the young inhabitants of Gray. 

Building up the tension is June’s sexual awakening and her infatuation with Dr. Gray. To complicate things, Dr. Gray starts to develop feelings for June’s mom, Rebekah (Martha Demson), who is pregnant.

Eventually, some of the residents of Gray start to show marks in their bodies. Some of them fall sick and soon they start to die. Blaming Dr. Gray (who is Jewish) for their ailments, the outbreak unleashes an antisemitic outburst that leads Dr. Gray to run away. Amid the chaos, Dr. Gray, June, Rebekah, and Pastor Wingfield will be forced to make tough decisions in order to survive.

Playwright Jim Leonard presents the reactions of people when faced with extraordinary challenges. Taking into account the lack of scientific knowledge of particular diseases back in the 19th century, an outbreak would be considered a punish from God or the malevolent action of a perceived enemy. Historical episodes with similar characteristics are the Black Death in the Middle Ages, the AIDS epidemic in the 80s, and even the Covid pandemic. In that sense, Anatomy of Gray is a relatable play that delves into the conspiracy theories in lieu of sound scientific explanations.

This is also a coming-of-age story where a 15-year-old girl is finding her place in the world in the middle of a personal tragedy. Her relationships with the opposite sex, her insecurities, and her wishes to explore the world far beyond her small town are topics as contemporary as they were in the 1800s.

Ben Martin‘s direction achieves a compelling and dynamic play, translating the poignancy of the script effectively with humor and a maze of emotions to engage the audience.

Creative team: Scenic designer Jan Munroe, lighting designer Gavan Wyrick, sound designer Marc Antonio Pritchett, costume designer Mylette Nora, scenic artist Stephanie Crothers, and prop masters Bruce Dickinson and Ina Shumaker. The production stage manager is John Dimitri.

Anatomy of Gray

Written by Jim Leonard. Directed by Ben Martin. Starring Lane Allison, Rosie Byrne, Martha Demson, James Fowler, Jeremy Guskin, Alex Hogy, Erica Mae McNeal, Rebekah Paugam, Alina Phelan, Beth Robbins, Debba Rofheart, and Alexander Wells. Presented by Open Fist Theatre Company, Martha Demson, artistic director.

Atwater Village Theatre
3269 Casitas Ave
Los Angeles, CA 90039
FREE parking in the ATX (Atwater Crossing) lot one block south of the theater.

Performances:Nov. 19, 2022 – Jan. 21, 2023
Fridays at 8 p.m.: Dec. 2; Dec. 9; Dec. 16; Jan 6; Jan 13; Jan 20 (dark Nov. 25; Dec. 23; Dec. 30)
Saturdays at 8 p.m.: Nov. 19 (Opening Night); Nov. 26; Dec. 3. Dec. 10; Dec. 17; Jan 7; Jan 14; Jan 21 (dark Dec. 24; Dec. 31)
Sundays at 3 p.m.: Nov. 27; Dec. 4. Dec. 11; Dec. 18; Jan 8; Jan 15 (dark Dec. 18; Dec. 25; Jan. 1)

Tickets: openfist.org

Anatomy of Gray poster
A scene from Anatomy of Gray
A scene from Anatomy of Gray
A scene from Anatomy of Gray

Theatre Review: Smile

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IAMA Theatre Company presents the world premiere of Smile, written by Melissa Jane Osborne and directed by Michelle Bossy. The story is set in 1992, a year called “Year of the Woman”.

In the opening scene, 17-year-old Rachel Olivera (Isabella Feliciana) is talking to Helen (Andria Kozica, Theatre Review: Celestial Events), the school’s counselor. Rachel reacted to her classmates harassment and the physical altercation is jeopardizing her future education. Helen feels a special connection to Rachel and decides to help her out. When Helen’s husband, Matt (John Lavelle), finds out about the help Helen is providing to Rachel, he looses his mind and underlying issues related to a tragic past start to reappear, threatening to break apart their marriage.

Rachel is a character dealing with coming of age in a society that defines her worth based on race, gender, and social status. Her story portrays that of many young women who receive a constant influx of mixed messages from their peers and society at large. In Rachel’s case, her situation at an emotional level gets even more complicated with the indecisive actions of Joey (Alex Fox), the teenage neighbor who shows interest in her but falls victim of the rumors surrounding Rachel’s altercation at school.   

The dialogue in Melissa Jane Osborne‘s script shows the apparent disconnection due to the age gap between Rachel and Helen, a reference to two generations, two social classes, and two races that despite their differences, still find common grounds to influence each other in a positive way.  

Another aspect highlighted masterfully in the play, both in the script and in Michelle Bossy‘s direction, is the emotional pain of past tragic events and the dormant traumas that will continue to come back unexpectedly. Helen and Matt’s actions show that their traumas have permeated their marriage and their relationships with the people around them, even unconsciously.    

Smile tells the story of missed educational opportunities, but even more painfully, it tells the story of missed human connections. Rachel and Helen are ready to connect, but the world around them is not, a reflection of a society that is still trying to keep up with the times.

Smile

Written by Melissa Jane Osborne. Directed by Michelle Bossy. Starring Isabella Feliciana, Ronit Kathuria (Alex Fox on opening night), Andria Kozica, and John Lavelle. Presented by IAMA Theatre Company, Stefanie Black, artistic director. Creative team: scenic designer Yuri Okahana-Benson; lighting designer Dan Weingarten; sound designer Erin Bednarz; projections designer Sean Cawelti; costume designer Vicki Conrad; properties designer Heath Harper; and casting director Jordan Bass. IAMA ensemble member Anna LaMadrid is associate director and dramaturg. Grant Gerrard is the production manager and Kimberly Sanchez Garrido is the stage manager. Tiffany Moon and Kat Kim produce for IAMA Theatre Company.

Atwater Village Theatre
3269 Casitas Ave
Los Angeles, CA 90039
FREE parking in the ATX (Atwater Crossing) lot one block south of the theater.

Performances: November 12 – December 5
Fridays at 8 p.m.: Nov. 18; Dec. 2; (dark Nov. 25)
Saturdays at 8 p.m.: Nov. 12 (opening night); Nov. 19; Nov. 26; Dec. 3
Sundays at 3 p.m.: Nov. 20; Nov. 27; Dec. 4
Mondays at 8 p.m.: Nov. 21; Nov. 28; Dec. 5

Tickets: iamatheatre.com

 

Smile poster
A scene from Smile
A scene from Smile
A scene from Smile

Theatre Review: Broken Story

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White Horse Theater Company in association with 134 West presents Broken Story. Written by Cyndy A. Marion. Directed by Tamara Ruppart.

It’s the late 90s in Los Angeles and Jess (Lindsay Danielle Gitter), a journalist from the New York Today, flew from New York to investigate the murder of Jane Hartman (Lynn Adrianna Freedman), a novelist and daughter of a mobster. Jane was a close friend of Johnny Klein, a construction mogul whose wife, Helen Klein, disappeared mysteriously in 1971.

In Los Angeles, Jess meets Kip Watson (David Hunter Jr.), Jane’s manager, and Darby (Liana Aráuz, Theatre Review: Detained), a socialite and Jane’s best friend. As these characters interact with each other, Jess’ imagination blends with reality in a space where Jane appears occasionally, telling Jess her complicated relationships with Kip, Darby, and the Kleins.

Jess herself, has a story to tell. She grew up rich in New York and since an early age she has been oddly interested in the lives of Johnny and Helen Klein and the life of Jane Hartman. Jess is also in a romantic relationship with Eddie (Rod Sweitzer), her Editor at the New York Today. Jane’s tragic death—a single shot in the back of the head—will reveal unexpected news to Jess that will alter her life forever.

The combination of reality and imagination offers an interesting interaction among the characters in a stage where the lighting (Katelan Braymer, lighting designer) plays an important role. The light changes set the mood and serve as smooth transitions between scenes, highlighting the mystery, the emotions, and the supernatural aspect of the story. 

Director Tamara Ruppart delivers an entertaining play where the kinetics, the dynamic relationships among the characters, and the creative elements all work together to portray Jess’ enigmatic world of reality and imagination.                  

Broken Story

Written by Cyndy A. Marion. Directed by Tamara Ruppart. Cast: Lindsay Danielle Gitter, Lynn Adrianna Freedman, David Hunter Jr., Liana Aráuz, and Rod Sweitzer. Executive Producer Vanessa R. Bombardieri. Co-Producer Susan Lambert Hatem (134 West). Creative team: Scenic designer Andis Gjoni, Lighting Designer Katelan Braymer, Costume Designer Derek Nye Lockwood, Sound Designer Andy Evan Cohen, Incidental Music Joe Gianono, Projection Polaroid Photography Gail Thacker, Dramaturg Linda S. Nelson, and Stage Manager Hannah Raymond.

The Sherry Theatre
11052 Magnolia Boulevard
North Hollywood, CA  91601

Fri, Nov 04 – Sun, Nov 27, 2022
Fri, Sat 8pm
Sun, 7pm

Tickets: www.whitehorsetheater.com/broken-story

Broken Story poster
A scene from Broken Story
A scene from Broken Story
A scene from Broken Story

Theatre Review: Warrior Queen Anahit the Brave

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Imagine Theatre presents the world premiere of Warrior Queen Anahit the Brave, written and directed by Armina LaManna.

Anahit (Ani Marderosian), a peasant girl, is drawing water with her two friends Nairi (Christianne Holly Santiago) and Maral (Sophia Vitello) when Prince Vachagan (Nathan Mohebbi) walks by with his friend Arman (Kyle Caldwell). As Prince Vachagan starts to flirt with Anahit, she tells him to learn to work with his hands if he wants to court her. The Prince then promises he will learn to weave rugs to show her that his intentions are serious. He learns to weave and marries Anahit, taking the throne. But their happiness is disrupted with the news that men keep disappearing throughout the kingdom. The antagonist in the story is the demon Apep (Alistair McKenzie, Theatre Review: The Merry Wives of Windsor, Theatre Review: Trouble the Water), the villain responsible of the mysterious disappearances. Queen Anahit and King Vachagan are now faced with the necessity of making critical decisions that will determine the fate of the kingdom and rescue the men that have been kidnapped to return them to their families.

The play is based on Ghazaros Aghayan’s 1881 fable “Anahit”. It is a classical tale of good versus evil, geared towards a young audience. Keeping children’s attention is a monumental challenge nowadays, but this production succeeds in entertaining the kids throughout the whole play. The costumes, the traditional dances, the humor, and the music (Apep is a rapper too), grabs the young audience’s attention and the interactive nature of the play makes it even more engaging. There are also sword fights and technical elements that contribute to the success of the play. The scenic and projection designer Tom Buderwitz and lighting designer Josh Epstein create a visual palette that is a boost to the senses and build up the crescendo of the story.

Armina LaManna and Ani Marderosian are able to catch the attention of a young audience and to deliver a positive and reaffirming message to young girls, all of this while bringing some of the history of Armenia to the American Armenian diaspora of Los Angeles.

Warrior Queen Anahit the Brave

Written and Directed by Armina LaManna. Original Music by Shahen Hagobian. Puppet Design and Fabrication by Douglas Wright. Starring Kyle Caldwell, Ani Marderosian, Alistair McKenzie, Nathan Mohebbi, Christianne Holly Santiago, Sophia Vitello. Presented by Imagine Theatre. Creative team: Master puppet designer and fabricator Douglas Wright; scenic and projection designer Tom Buderwitz; lighting designer Josh Epstein; sound designer Joseph “Sloe” Slawinski; costume designer Dianne K. Graebner; and properties designer Jenine MacDonald. The musical director is Elizabeth Curtin, and the production stage manager is Elna Kordjian. Produced by Laura Hill and Gabrieal Griego.

Colony Theatre
555 N 3rd St.
Burbank CA 91502
(in Burbank Town Center)

November 5 – November 18
Opening: Saturday, November 5 at 7 p.m.
Friday, November 11 at 7 p.m.
Saturday, November 12 at 7 p.m.
Sunday, November 13 at 4 p.m.
Friday, November 18 at 7 p.m.

Tickets: imaginetheatreca.org

Warrior Queen Anahit the Brave poster
A scene from Warrior Queen Anahit the Brave
A scene from Warrior Queen Anahit the Brave
A scene from Warrior Queen Anahit the Brave

Theatre Review: Fam And Yam and The Dumb Waiter

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Pacific Resident Theatre presents Edward Albee’s Fam and Yam, directed by Marilyn Fox and Harold Pinter’s The Dumb Waiter, directed by Marilyn Fox and Elina de Santos. Edward Albee was American, Harold Pinter was British. Pinter was awarded the Nobel Prize in Literature in 2005. Edward Albee received Pulitzer and Tony Awards for five of his plays.

Both plays Fam And Yam and The Dumb Waiter were first produced in 1960, a tumultuous time in which the US and England were still processing the consequences of World II, the Korean War, the crushing of the Hungarian revolt, the Cold War, the Suez crisis, and, in the case of England, the decolonization movements in Asia and Africa. The two plays are examples of the movement called theatre of the absurd.

Albee‘s Fam and Yam is a traditional play where famous playwright Fam (Brad Greenquist, Theatre Review: Guess Who’s Coming to Dinner) is interviewed by Yam (Jason Downs), also a playwright who is not famous. The conversation starts by Yam praising Fam for his apartment, his paintings, and the views from his window. As Fam continues to drink, Yam switches the conversation and starts to lambaste the theatre industry; pretty much no one is spared in his tirade—theatre owners, producers, unions, critics, the pinheads, etc. The play is an early example of Albee’s wit and his aggressive, anti-social stance. For this production, the creative team used high key lighting, appealing and fashionable 60s costumes, and painting on the wall that become alive at the end.     

Pinter‘s The Dumb Waiter is a darker play where two hitmen, Ben (Anthony Foux) and Gus (Jason Downs) are waiting in a claustrophobic room for their victim. The absurdity of the story is exemplified by the box of matches thrown under the door and the food orders in the dumb waiter (the elevator which delivers food) that keep coming. As part of the angry young men group, Pinter’s writings contain elements of violence, volatility, and uncertainty. His plays have moments of dialogue but also moments of silence. As in music, silence is as critical as sound to create a masterpiece.

Pinter was an intuitive writer that was a keen observer of human behavior. The Dumb Waiter is a play with implied violence, characters with not much background stories, suffocating environment (Ben and Gus are in a dark, windowless room), and a sense of latent danger. These elements with loose ends draw the audience into the story and allow them to become part of the action by letting them come up with their own conclusions.

This is a great opportunity to see two plays by two of the most influential playwrights of the 20th century. Their writings are witty, insightful, and poetic. Add to this treat the powerful and superb performances of Brad Greenquist, Anthony Foux, and Jason Downs  and you have a unique and unforgettable experience not to be missed.

Fam And Yam and The Dumb Waiter

Fam And Yam. Written by Edward Albee and directed by Marilyn Fox. The Dumb Waiter. Written by Harold Pinter and directed by Marilyn Fox and Elina de Santos. Cast: Brad Greenquist, Anthony Foux, and Jason Downs. Creative team: William Wilday (Scenic Design), Matt Richter (Lighting Design), Audrey Eisner (Costume Design), Christopher Moscatiello (Sound Design), Teak Piegdon (Stage Manager), Myrna Gawryn (Set Change Movement), and Michael Rothhaar (Consultant). 

Pacific Resident Theatre
705 1⁄2 Venice Blvd.
Venice, CA 90291
Street parking or small lot in back.

September 24 – November 20
8pm Thursdays – Saturdays, 3pm Sundays
Closing: November 20, 2022 (no performance November 19)

Tickets: https://pacificresidenttheatre.org/albee-pinter

A scene from The Dumb Waiter
A scene from Fam And Yam
Fam And Yam and The Dumb Waiter

Theatre Review: Daddy Issues

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Daddy Issues is presented by Charles Blondeau. Written and directed by David Goldyn.

Donald Moskowitz (James Seifert), a struggling actor, is trying to land a commercial for cat food. His homophobic father, Sid Moskowitz (Jonathan Fishman), comes to visit and tries to convince Donald to work for him at his company, Metal Balls, and quit acting. Sid also insists that he would like Donald to give him a grandson, despite the fact that Donald is gay. Out of desperation, Donald lies to his dad and tells him that he secretly had a son with his non-Jewish girlfriend, Mary Ellen, ten years ago. Ecstatic, Sid tells the news to the rest of the family.

Donald’s mom Marion Moskowitz (Pamela Shaw) and his grandmother, Grandma Moskowitz (Sherry Michaels), come to visit Donald to hear the news directly from him. Grandma even promises to double Donald’s inheritance as a gift for giving her a grandson. Donald agrees to bring over his son in a few days so he can meet his Jewish family. Where will Donald find a fake son and a fake ex-girlfriend in such a short period of time to please his family and get the inheritance?

Donald’s best friends Henrietta Hudson (Noa Lev–Ari) and drag queen-by-night Levi Krauss (Josh Nadler), both compete with each other to play the role of Donald’s ex-girlfriend, Mary Ellen. The neighbor downstairs, Johnny Walker (Solly Werner), becomes the “hired” ten-year-old son, and his mom (Hannah Battersby) ends up as one of the third Mary Ellens, a situation that gets Donald tangled up in a web of lies with no apparent solution.

This play is a comedy with references to the Jewish culture and the contrast of traditional values versus progressive lifestyles, a fact represented in the relationship between Donald and his father Sid. But mainly, the play highlights the importance of the family in the Jewish culture and the immense happiness that grandchildren bring to the grandparents.

Daddy Issues is a hilarious play with an 80’s flair set in Hell’s Kitchen, New York, NY. The cast is a brilliant mix of experienced and new talent that makes the audience laugh from beginning to end, a true gem in the heart of Hollywood.

Daddy Issues

Written and Directed by David Goldyn. Starring Hannah Battersby, Jonathan Fishman, Noa Lev–Ari, Sherry Michaels, Josh Nadler, James Seifert, Pamela Shaw, Solly Werner. Presented by Charles Blondeau. Creative team: Set designer Rody Villegas, lighting designer Katelan Braymer, costume designer Antonio Consuegra and graphic designer Phil Fab. The production stage manager is Jesse Fiene.

Dorie Theatre @ The Complex
6476 Santa Monica Blvd
Hollywood, CA 90038
(between Cole and Wilcox)

Performances: October 14–November 13
Fridays at 8 p.m.: Oct. 14 (Opening Night); Nov. 4; Nov. 11
Saturdays at 8 p.m.: Nov. 5; Nov. 12
Sundays at 5 p.m.: Nov. 6; Nov. 13

Tickets: daddyissuestheplay.com

Daddy Issues poster
A scene from Daddy Issues
A scene from Daddy Issues
A scene from Daddy Issues

Theatre Review: (Un)Documents

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Latino Theater Company presents the West Coast premiere of (Un)Documents. Written and performed by Jesús I. Valles. Directed by Rudy Ramirez.

How did you handle it? That was the question people asked Jesús I. Valles and his family after the deportation of his brother. Valles’ biographical play centers on the life at the border between Ciudad Juárez and El Paso Texas. An area where some Mexicans cross the border on a daily basis to work in the US and cross back to Mexico at the end of the day. If done with a green card or American citizenship, the crossing will be through the international bridge, if not, there’s the Río Bravo (Rio Grande), a river that is a dividing line between US and Mexico, where many cross it daily, hoping not be detected by the Border Patrol. 

Valles tells the story that portrays the struggles, the hopes, and the disruption of the family nucleus caused by the deportation of a family member. The other topics in the play are the assimilation into the American culture seen through the eyes of a child and what it means to be an American for a person with two cultural identities. It is those identities that seem to be uncomfortable and conflictive to some Latino Border Patrol agents. As described by Valles, some of the most demeaning and intimidating agents are the ones that look like him.   

Despite the emotional toll on the family due to the deportation, their resilience and coming to terms with reality allowed them to continue to do what they know best, to work hard and endure the absence with a positive attitude. And this where the story travels. It is a mirror of the lives of many in the US, a price to pay for the American dream. Under these circumstances, the citizenship ceremony becomes a bitter sweet experience, a sense of belonging to the land of the free and a sense of loss for the loved ones who can’t be there.

(Un)Documents is a story of immigration, immigration reform, endurance, the shaping of an identity, specially an LGBTQ one, and the unity of the family members regardless of the physical divisions that separate them.

Valles delivers a fierce and powerful performance with humor, emotion, and a lyricism unique to poets who are able to turn pain into art to express the spectrum of the human experience.

(Un)Documents

Written and performed by Jesús I. Valles. Directed by Rudy Ramirez. Presented by Latino Theater Company. Creative team: Projection Designer Elizabeth Barrett. Production Stage Manager Henry “Heno” Fernandez. 

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

Performances: October 14 – November 20:
Thursdays at 8 p.m.: Nov. 3, Nov. 10, Nov. 17
Fridays at 8 p.m.: Oct. 14 (Opening), Nov. 4, Nov. 11, Nov. 18
Saturdays at 8 p.m.: Nov. 5, Nov. 12, Nov. 19
Sundays at 4 p.m.: Nov. 6, Nov. 13, Nov. 20

Tickets: www.latinotheaterco.org     

(Un)Documents poster
A scene from (Un)Documents
A scene from (Un)Documents
A scene from (Un)Documents

Theatre Review: Farragut North

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The revival of Farragut North is presented by Foursome Productions. Written by Beau Willimon. Directed by Peter Allas. Produced by Michael Donovan and Peter Allas.

Stephen Bellamy (Chris King Wong) is a 25-year-old press secretary working on a campaign with veteran manager Paul Zara (Michael Rubenstone). There is also a young assistant, Ben (K.J. Powell), who has his own aspirations and is working really hard to impress Paul and Stephen. A 19-year-old intern, Molly (Camryn Hamm), is helping in the campaign as well. Traveling to cover the race is Ida Horowitz (Amy Motta), a reporter for the NY Times and LA Times reporter Frank (David-Edward Reyes).

The campaign group is confident on winning the race. However, the apparent tightness of the group is disrupted when Stephen gets a call from Tom Duffy (Jack Esformes, God of Carnage), the opponent’s seasoned operative, with an attractive offer to change sides. Will Stephen choose loyalty to his boss, or the opportunity to get closer to the White House?

Playwright Beau Willimon worked for the campaigns of Sen. Chuck Schumer, Sen. Hillary Clinton, Sen. Bill Bradley and Gov. Howard Dean. These experiences allowed him to get a closer look at the things that politicians and their operatives do to win the races. Farragut North is an accurate depiction of the sex, loyalties, betrayals, revenges, and everything in between that make up a political campaign.    

The play also shows the role of the media in the political campaigns and poses an interesting question: How close should reporters get to the candidates to inform without loosing their neutrality? Again and again, a negative note on a candidate can mean the end of a race and even a career.  

The waiter (David-Edward Reyes) at the restaurant can be seen as portraying the working class, the ones that struggle on a daily basis to create a better life. The ones that still hope that a politician will change things for the better. The conversation at the restaurant between Stephen and the waiter shows perfectly that there are two kinds of people in this world, the ones who deliver political speeches and the ones who listen to those speeches.

Chris King Wong excels as Stephen Bellamy, a character with a variety of conflicting nuances. Stephen portrays the ambition, the power, the arrogance, the dreams, and the willingness to sacrifice everything for a political career, even if that means to shatter his own life on the way to the top.

Peter Allas‘ excellent direction allows the cast to shine and deliver an outstanding performance that reflects the competitive, pungent, and oftentimes brutal world of politics.   

Farragut North

Written by Beau Willimon. Directed by Peter Allas. Starring Chris King Wong, Camryn Hamm, Jack Esformes, Amy Motta, K.J. Powell, David-Edward Reyes, and Michael Rubenstone. Produced by Michael Donovan and Peter Allas. Presented by Foursome Productions. Creative team: Casting by Michael Donovan C.S.A. and Richie Ferris C.S.A., Costume Design by Mylette Nora, Lighting Design by Matt Richter, Sound Design/Graphics by Eric David Tippett, Property Design by Jenine McDonald, Set and Video Design by Peter Allas, and Stage Manager Steve Wilson.

Theatre 68 Arts Complex – The Rosalie
5112 Lankershim Blvd.
North Hollywood, CA 91601

Performances: Oct. 14 – Nov. 5
Thursdays at 8 p.m.: Oct. 27; Nov. 3
Fridays at 8 p.m.: Oct. 14 (Opening Night); Oct. 28; Nov. 4
Saturdays at 3 p.m.: Oct. 29; Nov. 5
Saturdays at 8 p.m.: Oct. 29; Nov. 5

Tickets: www.onstage411.com/farragutn

Farragut North poster
A scene from Farragut North
A scene from Farragut North
A scene from Farragut North

Theatre Review: Driver’s Seat

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Driver’s Seat is written and performed by Ellie Brelis. Directed by Emily Mikolitch.

Ellie Brelis introduces us to a condition called Obsessive Compulsive Disorder (OCD), something she had to live with since early childhood. This situation led her to find ways to navigate life and relationships. If the transition to adulthood is difficult to most people, adding OCD to the equation makes it even more complicated.

The play is a journey through some of the toughest episodes in Ellie’s life. She needed constant validation in order to endure the darkest moments she experienced. But some of that validation just didn’t happen. Finding refuge in a relationship seems like a natural thing to do. In her case, however, the breakup of that relationship caused more damage than anything else. If on top of that your grandfather dies of Covid amid a world pandemic, you get the picture.

Those devastating events triggered a really bad case of OCD that brought up thoughts of suicide. When she reached out for help, she was taken to a psychiatric hospital. In the middle of that environment,  she found a true friendship that understood her situation and helped her survive her ordeal.

After her hospital stay, Ellie was treated with Exposure and Response Prevention (ERP) therapy in order to overcome her fears. 

One of Ellie’s greatest fears is to drive, so she kept putting off her driver’s license exam. For a person with OCD, driving can become a real nightmare, the constant fear of killing someone is a frightening idea that they can’t get out of their minds.

In addition to the already delicate position of someone with OCD, coming out as queer in a still conservative society can add to the anxiety to a young and vulnerable person.      

Driver’s Seat is a play where despite the topics depicted, the protagonist still finds room for humor. And in humor, as is often the case, we can find validation to endure and survive, and in the case of Ellie, to thrive and shine. 

Ellie Brelis is an example of strength and courage that is touching and contagious. Her personal story of tribulations and survival needs to be told. It’s a story that will hopefully reach the audience who, just like her, might also need hope and validation.

Director Emily Mikolitch is a young director who put together an interesting solo show that has emotion and humor to keep the audience engaged. The script and performance make great use of the multicolor light, the crisp white wardrobe, projections, sound, and music, making this play a cathartic experience that allows the energy to flow back and forth between a brave thespian and an involved audience.

Driver’s Seat

Written and performed by Ellie Brelis. Directed by Emily Mikolitch. Produced by Misha Riley. Creative team: Gavan Wyrick (Lighting Design), Gabriella Gilman (Costume Design), Charlie Glaudini (Sound Design), Nick Wass (Projection Design), Michelle Hanzelova (Graphic Design), Roella Dellosa (Stage Manager). 

Theatre 68 Arts Complex, Emerson Theatre
5112 Lankershim Blvd., North Hollywood, CA

Opening at 8pm on Saturday, October 22
Schedule: 8pm Fridays and Saturdays, 3pm Sundays
Closing: Sunday, November 13, 2022

Tickets: www.Onstage411.com/DriversSeat  

Driver's Seat poster
A scene from Driver's Seat
A scene from Driver's Seat
A scene from Driver's Seat