Tag Archives: Theatre

Theatre Review: A Midsummer Night’s Dream (Open Fist)

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William Shakespeare’s A Midsummer Night’s Dream is revisited by director/choreographer James Fowler. This time, Open Fist Theatre Company‘s production is set in Athens, Georgia, circa 1855.

It’s the eve of the Civil War in the Black Belt and the cotton plantation is bursting with activity. That’s the scenario where Fowler’s reinterpretation of A Midsummer Night’s Dream takes place. The Antebellum South becomes the mystic forest where a group of slaves are the fairies and mechanicals, able to love, bewitch, and dream.

It is in that context that a relationship between Shakespeare’s European folklore and the traditions of the African slaves from the South can be perceived. Shakespeare’s fairies are invisible to humans just as Black slaves are practically invisible to their White owners. Also, the Greek theourgia (benevolent magic in the form of Oberon) is very similar to the combination of religion, magic, and witchcraft practiced by the Isangoma (an African healer popular in the slave communities). Just like the mechanicals in Athens Greece were laborers putting up a show for the royals, the Black mechanicals in Athens Georgia are also laborers preparing a play for the White owners of the plantation. The distinction of classes is evident in both renditions of the play.

Shakespeare’s deep understanding of the human condition makes it possible to overlay his plays on different eras. In this case, the story set in the South matches the circumstances and gives a new meaning to the characters, plots, and symbols of A Midsummer Night’s Dream. Fowler did an excellent job in keeping the original script intact but changing the traditional expectations of the racial composition of the characters.

The excellent cast makes this production a true gem in the theatre scene. Michael A. Shepperd shows his phenomenal comedic skills playing the attention-seeker Bottom. Ann Marie Wilding is delightful playing a hopelessly devoted Helena. Sandra Kate Burck with her voice and physical comedy makes the audience laugh left and right playing Hermia. The mischievous Puck is played by a versatile Monazia Smith (In the Next Room, or the vibrator play). Phillip C. Curry shows off his polished experience playing Oberon; he is one of those actors whose voice makes him an imposing figure on stage.

The lighting (Gavan Wyrick, Lighting Design,(God of Carnage) was a fascinating palette of purples, teals, greens, blues, and pinks. Mylette Nora (Costume Design, In the Next Room, or the vibrator play) created an accurate depiction of the period. Jan Munroe (Scenic Design) and Stephanie Crothers (Scenic Artist) also contributed to re-create a dreamy and pastoral stage with the murals, paintings, and use of natural elements.

Despite the comedic nature of the play, the history of slavery in America makes this story an opportunity to reflect on how much we have advanced in terms of equality and how much our perceptions on race have changed or remained the same. The abolition of slavery—referenced in this production as British Abolitionist Peter Quince (Debba Rofheart)—is a painful remainder of the sufferings many people had to endure to give birth to a new nation. Midsummer is a play of symbols and Fowler added one more that is powerful and still triggers many emotions. Puck turns her back and shows the flogging marks. Are those open wounds, or are they scars? Is America moving backwards, in rehab, or fully recovered?

A Midsummer Night’s Dream

Written by William Shakespeare. Directed by James Fowler. An Open Fist Theatre Company production. Martha Demson, artistic director. Actors performing on opening night: Devon Armstrong, Malik Bailey, Bryan Bertone, Sandra Kate Burck, Phillip C. Curry, Erica Mae Mcneal, Heather Mitchell, Debba Rofheart, Ash Saunders, Michael A. Shepperd, Monazia Smith, Azeem Vecchio, Alexander Wells, Ann Marie Wilding, Dylan Wittrock, and Syanne Green.

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: July 2 – August 13
Fridays at 8 p.m.:  July 8, July 15, July 22, July 29, Aug. 5, Aug. 12
Saturdays at 8 p.m.: July 2 (Opening Night), July 9, July 16, July 23, July 30, Aug. 6, Aug. 13
Sundays at 7 p.m.: July 3, July 10, July 17, July 24, July 31, Aug. 7

Tickets: www.openfist.org

Theatre Review: The Beautiful People

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Rogue Machine presents the world premiere of The Beautiful People, a play written by Tim Venable and directed by Guillermo Cienfuegos.

A sleepover takes a sinister turn in the basement of a typical American house. The story is set in the 90s, a period where hate, frustration, and a mental health crisis started to take shape and became a pressure cooker ready to explode.

E (Alexander Neher) hosts the sleepover, where he manipulates, humiliates, and comforts an insecure, depressed, and angry D (Justin Preston). Venable’s play is an exploration of where the new wave of violence started and where we are now. The continuous reference to pop icons is an accurate depiction of some of the root causes of the extreme acts of violence committed by some disillusioned youngsters who have no further expectations of a better life. The references to incels and the devastation caused by social rejection also paints a grim picture of the other factors that are building up in the hearts and minds of the new generation of Americans.

Much has been said about gun control, but that alone will not fix the underlying issues of isolation, loneliness, and mental issues experienced in America. The play digs deep into those elements that are pushing a great number of people to the limit. The intricate web of cause and effect is explored in Venable’s writing, where only two characters project the many issues affecting American society at large. The exposition of the characters’ backgrounds and frustrations poses an uncomfortable question that lingers in the air: Have mass shooters failed society, or has society failed them?

The brave performances of Neher and Preston are a testament of the dedication to their craft; Neher is brilliant as the cold bully and Preston is a tour de force as the vulnerable teenager, imploring compassion, but ready to commit great damage. David Mauer (Production Design) does a great job with the set and lighting to represent not only the basement of a house, but also what is happening underneath American society.

The Beautiful People is a pungent and radical play that will get you out of your comfort zone and place you in the character’s world. A world where survival of the fittest is the only way. The topics presented might make the skin crawl, but the play offers an opportunity to start a conversation that could prevent a tragedy that might be around the corner.

The Beautiful People

Written by Tim Venable. Directed by Guillermo Cienfuegos. Starring Alex Neher and Justin Preston. Produced by John Flynn, Rebecca Larsen (A Rogue Machine Production).

Rogue Machine 
7657 Melrose Ave, Los Angeles, CA 90462

For tickets: https://www.roguemachinetheatre.net/

Theatre Review: The West Side Waltz

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Will Geer’s Theatricum Botanicum presents the revival of the original play commissioned in 1981. The playwright is Academy Award-winning writer Ernest Thompson and the director is Mary Jo DuPrey.

The story is placed in a New York’s Upper West Side apartment building. Margaret Mary Elderdice (Ellen Geer) is an aging pianist who lives alone and likes to play music with her younger neighbor Cara Varnum (Melora Marshall, The Merry Wives of Windsor), a violinist who, despite her best efforts, plays out of tune at times. The two neighbors are visited occasionally by the building’s super Serge America (Miguel Perez), an immigrant with an affable attitude. Margaret decides to hire a much younger Robin Bird (Willow Geer, The Merry Wives of Windsor ) as a companion, creating some friction with Cara, who wanted to be Margaret’s companion.

As time goes by, Robin reveals that she was married for 7 years, but her husband left her for someone else. She is also an aspiring actress that needs to practice her audition skills. It’s in Margaret’s apartment that the three women fight, laugh, and grow closer together. Three generations with similar and dissimilar views on life, but somehow connected by the same need, the need of human connection.

The story is placed in 1985, when the AIDS epidemic was ravaging the world, specially the gay community. It’s in those circumstances that Robin’s worst fears are exposed. At the same time, Margaret’s ability to walk declines one day at a time. Cara reveals that her beloved cat has died. Margaret reveals the loss of her brother during the Spanish flu. The pain, the memories, and New York’s cold weather, makes Margaret’s apartment a refuge, and the music becomes the medicine to soothe the soul.

With Robin’s surprising engagement to boyfriend Glen Darson (Charles Lin, The Merry Wives of Windsor), and Serge’s surprising firing as the building’s super, Margaret and Cara have to make a decision as what they will do as two lonely women in the twilight of their lives.

Marshall’s performance as a naive and witty Cara is extraordinary. Ellen Geer shows her fantastic skills in this season as both an excellent director (The Merry Wives of Windsor) and a passionate performer. The stage, music, and lighting create a warmth and homely background to depict the center of this drama.

The West Side Waltz

Written by Ernest Thompson. Directed by Mary Jo DuPrey. Presented by Will Geer’s Theatricum Botanicum. Starring Ellen Geer, Willow Geer, Melora Marshall, Charles Lin, and Miguel Pérez.

Will Geer’s Theatricum Botanicum
1419 N. Topanga Canyon Blvd.
Topanga CA 90290
(midway between Pacific Coast Highway and the Ventura Freeway)

For tickets and dates: https://theatricum.com/

Theatre Review: Cassandra

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ThurZday
ADA MARINELLI
SOFÍA BRAGAR
HANNAH HOWZDY
HEIDI STARRELLE
Director Kelly McMahon

Cassandra is a Hollywood Fringe production that combines Greek mythology and rock ‘n roll. The story and direction is by Kelly McMahon. The book is by Anthea Carns. The Stage Manager is Heidi Starrelle. The music is by Patti Smith.

In the story, Princess Cassandra (ThurZday) is the daughter of King Priam and Queen Hecuba. The place is the legendary city of Troy. Ada Marinelli plays the roles of the Fate Clotho, who spins the Thread of Life and Hecuba, the Queen of Troy. Hannah Howzdy plays the roles of Fate Atropos, who cuts the Thread of Life and Clytemnestra, the Queen of Sparta. Sofía Bragar plays the Fate Lachesis, who measures the Thread of Life and Athena, the Goddess of War. RJ Dawson plays Apollo, God of the Sun, who is in love with Cassandra.

This play follows the life of Cassandra as she goes from love to rejection by Apollo, her experience as a prophetess, her pain to see the fall of her beloved city of Troy, her rape by Ajax and her subsequent avenge by Athena, and her final fate.

McMahon’s adaptation of this classic tale re-tells the story of Cassandra from a feminine perspective. The most famous authors who depict Cassandra in their writings were all male: Homer, Virgil, Aeschylus, Euripides, and Hyginus.

Even though McMahon follows the classical story line, the inclusion of Patti Smith’s songs gives this production an impactful and feminist take on this enigmatic character. The selected songs are paired up with a corresponding scene of the play. We hear “Dancing Barefoot” when introducing Cassandra, “Upright Come” with Clotho’s lesson, “Cash” with Lachesis’ lesson, “Trespasses” with Atropo’s lesson, “Ask The Angels” with the prophecy about Helen, “Dead City” with the prophecy about that Horse, “Death Singing” with the prophecy about Clytemnestra’s plans, and “Dream of Life” with the Comfort interlude with Apollo. The addition of ancient Greek music with lyre such as “Europa” and “The Discord of Eris” puts a magic touch to the ambiance.

Cassandra features dancing, singing, and a form of laterna magica to display on the walls some of the facts mentioned in the story. ThurZday, Bragar, Howzdy, and Marinelli deliver a compelling performance to give a new voice to these Trojan women from ancient Greece.

Cassandra

Book by Anthea Carns. Songs by Patti Smith. Story and Direction by Kelly McMahon. Cast: ThurZday, RJ Dawson, Ada Marinelli, Sofía Bragar, and Hannah Howzdy.

Studio/Stage

520 N. Western Ave.

Los Angeles, CA 90004

For tickets and dates: https://www.hollywoodfringe.org/projects/7512?tab=details

Theatre Review: A Midsummer Night’s Dream

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Theatricum Botanicum presents William Shakespeare’s A Midsummer Night’s Dream, directed by Melora Marshall.

This is one of Shakespeare’s most famous plays. It’s magical, it’s full of symbols, and involves one of the most enigmatic aspects of the human experience: Dreams. The fact that the story is set around Athens and the characters interact in the woods, allows the audience to take their imagination to fascinating places. Emotions, reality, and fantasy intertwine in a mythological world of kings, queens, fairies, and humans.

Marshall’s adaptation keeps the magical world alive with a great choice of cast, costumes (Beth Eslick, Costumer), and music (Marshall McDaniel, Musical Director, Musical Compositions).

The switching of genders plays very well with the intrinsic ambiguity of some of the characters. Oberon, is played by Tiffany Coty, who delivers a powerful rendering of the King of the Fairies. Fiona Dorn plays Lysander, who is in love with Hermia (Anais Morgan).

The following actors deliver extraordinary performances. Bottom is played by the fantastic Jonathan Blandino (The Merry Wives of Windsor). Helena is played by Olivia Michael, an actress to watch. Emoria Weidner playing Quince is excellent in every scene. Christopher Glenn Gilstrap is a natural playing the mythical Puck.

The Theatricum Botanicum is an idyllic place for this story. Much like in the photographic lingo of frame within a frame, the play and stage become a forest within a forest. The many isles both in the seating section as well as in the sides and background of the proscenium, enlarge the stage to make it almost like a 360-degree scenario, a real treat for the audience. Add the makeup, the costumes, the music, the phenomenal performances, and the excellent direction and you get a memorable theatre experience.

A Midsummer Night’s Dream

Written by William Shakespeare. Directed by Melora Marshall. Presented by Will Geer’s Theatricum Botanicum.

Will Geer’s Theatricum Botanicum
1419 N. Topanga Canyon Blvd.
Topanga CA 90290
(midway between Pacific Coast Highway and the Ventura Freeway)

Performances: June 12–October 1

For tickets and schedule: https://theatricum.com/

Theatre Review: The Merry Wives of Windsor

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Will Geer’s Theatricum Botanicum starts its 2022 season with William Shakespeare’s The Merry Wives of Windsor, directed by Theatricum artistic director Ellen Geer.

This adaptation takes the story to the 1950s in Small-Town America. Falstaff (Jeff Wiesen) devises a plan to seduce Mrs. Ford (Emily Bridges) and Mrs. Page (Willow Geer), the wives of two important Windsor’s merchants, to extract money out of them. When the wives find out that Falstaff sent them identical love letters, they now devise a plan to take revenge and teach him a lesson.

The other story line in the play is the situation of Anne Page (Alexandra Kunin), a girl whose father, Mr. Page (Bill Haller), wants her to marry Slender (Ethan Haslam). Her mother wants her to marry Dr. Caius (Cavin (CR) Mohrhardt), a French doctor with a short fuse. Anne, however, wants to marry Fenton (Charles Lin).

Depending on the director and actors, this play can be a fertile ground for comedic scenes. Director Ellen Greer makes great use of the stage, allowing actors to come and go in all directions. These kinetics create a more engaged audience throughout the play.

The actors that draw much of the attention are Jeff Wiesen as the opportunistic Falstaff, Jonathan Blandino as jealous Ford, Melora Marshall as witty Quickly, Willow Geer as Mrs. Page, and Emily Bridges as Mrs. Ford. Their vibrant performances and comedic timing keep the story entertaining and add dynamism to this old tale written more than 400 years ago.

The picture depicted in this adaptation is that of a classic white picket fence, a nostalgic scene where everything looks perfect in America. However, as in Shakespeare’s times, there’s also an issue of division of classes, a subject subtly described in the script. Falstaff’s followers Bardolph (Kenneth Montley), Pistol (Aleksander Ristic), and Nym (Joseph Darby) can be a representation of the working class with not much aspirations in life. The Fords and the Pages can be seen as the upper class, living a comfortable life. Also, Anne Page is a character that represents the condition of women of the time, she has no voice on who she really loves. Despite this reality, Shakespeare gives them the power to take control and make sure things go their way. Mrs. Ford and Mrs. Page don’t get fooled and give Falstaff a lesson. Anne Page gets Fenton, the man she wants.

The music (Marshall McDaniel, Music Director) (Peter Alsop, New Lyrics) and the costumes (Tracy Wahl, Costume Designer) create the perfect match to the 1950s setting.

The Merry Wives of Windsor is a perfect occasion to enjoy William Shakespeare in the magical grounds of Will Geer’s Theatricum Botanicum.

The Merry Wives of Windsor

Written by William Shakespeare. Directed by Ellen Greer.

Will Geer’s Theatricum Botanicum
1419 N. Topanga Canyon Blvd.
Topanga CA 90290
(midway between Pacific Coast Highway and the Ventura Freeway)

Tickets and dates: https://theatricum.com/

Theatre Review: The Legend of Georgia McBride

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International City Theatre presents The Legend of Georgia McBride, written by Matthew Lopez and directed by Jamie Torcellini.

There is a place in Panama City, Florida called Cleo’s Lounge where Casey (Taubert Nadalini), impersonates Elvis Presley but is struggling to draw enough audience to sustain his act and the bar. Eddie (Tom Trudgeon), the bar owner, just replaced Casey”s act with a drag queen show led by Miss Tracey Mills (Jeff Sumner) and Rexy (Donzell Lewis). Meanwhile, Jo, Casey’s wife (Karese Frizell), just told him that she’s pregnant. To make things worse, the landlord of the apartment where Casey and Jo live, Jason (Donzell Lewis) just told them that if they don’t come up with the rent money, they’ll be kicked out. In that desperate circumstance, Casey needs to find a creative way to survive.

With no more choices, Casey quits his Elvis act and starts bar tending, but the money is not enough.  Despite arriving together, Rexy has a disagreement with Miss Tracey and decides to leave the show. With an incomplete act, Eddie and Miss Tracey force Casey to dress up and join the drag queen performance. Much to everyone’s surprise, Casey’s act becomes a hit and the crowd keeps coming back for more. With plenty of money rolling in, Casey is able to pay rent, utilities, and save enough money for the baby on the way, not to mention that the show saves Cleo’s Lounge from closing down. The only problem is that Casey decides to hide the true source of his income from his wife.

The story reveals a few things about the life of the drag queen performers and the insecurities of the people around them, even their honest supporters. Casey does not seem to care dressing up as a woman for his show; however, he still has doubts about the reaction of his wife. By doing so, he shows that he is a supporter of the drag community, but only in secret. This is true in today’s society, where many are still insecure about displaying their support to the LGBTQIA community in public.

Another aspect described in the play is the violence against the non-heterosexual individuals. Once back in the sow, Rexy recounts a violent experience in Houston, where two guys beat him up so badly that needed stitches in his head. Rexy puts it this way: “Drag ain’t a hobby, baby. Drag ain’t a night job. Drag is a protest. Drag is a raised fist inside a sequined glove. Drag is a lot of things, baby, but drag is not for sissies”. Theatre, after all, is a reflection of society at large and a powerful platform to protest.

As for the performances, Miss Tracey’s, Rexy’s, and Georgia’s costumes (Kim DeShazo, costume designer) are spectacular, a mirror of the uplifting tone of the play. Nadalini  has an engaging charisma and excellent voice that that is both emotional and exciting, matching the overall play’s message: A rainbow of positive energy.

The Legend of Georgia McBride

Written by Matthew Lopez. Directed by Jamie Torcellini. Starring Karese Frizell, Donzell Lewis, Taubert Nadalini, Jeff Sumner, Tom Trudgeon. Produced by caryn desai [sic]. Presented by International City Theatre.

INTERNATIONAL CITY THEATRE
Long Beach Performing Arts Center
330 East Seaside Way
Long Beach, CA 90802

Performances: June 10 – June 26
Thursdays at 8 p.m.: June 16, June 23
Fridays at 8 p.m.: June 10 (Opening Night), June 17, June 24
Saturdays at 8 p.m.: June 11, June 18, June 25
Sundays at 2 p.m.: June 12, June 19, June 26

Tickets: https://ictlongbeach.org/

 

Theatre Review: André & Dorine

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The Latino Theatre Company presents André & Dorine, a Spain’s Kulunka Teatro production. This play is directed by Iñaki Rikarte.

In film school, they tell you that a good story that connects with the audience is the one you can tell without words, just action. This concept is translated to the stage in André & Dorine, a touching story about an old couple dealing with the devastating effects of Alzheimer’s disease.

Dorine is a cello player who eventually forgets how to play the instrument. André is a writer that still uses a typewriter. With the passing of time, they go through the motions of a typical married life, annoying each other with little actions here and there. Their son takes Dorine to the doctor and that’s when the Alzheimer’s diagnosis is revealed.  At first, André refuses to accept the diagnosis, but as time goes by, reality takes over. This turning point will put to the test the strength of their relationship and will uncover whether or not their love for each other is still holding together their marriage.

The play shows the difficulties, the sadness, and the frustrations of the people affected by the disease and those around them. As her condition deteriorates, Dorine becomes increasingly dependent on André’s help even for the most basic personal care. This new reality triggers André’s memories of happier times when they first met and their son was born. Those memories unlock the intrinsic value of their relationship and give André the drive to keep going despite the challenges ahead.

The use of masks (Garbiñe Insausti, masks) in this production is an ode to the Greek, Roman, Japanese, and other ancient theatrical performances where masks have played an important role in portraying the wide range of human emotions. They add a unique dramatic effect to the story and the performances.

The excellent direction of Iñaki Rikarte shows his mastery at working with movement, music (Yayo Cáceres, composer), lighting (Carlos Samaniego “Sama”, lighting design), and set design (Laura Gómez, set designer) to deliver the compelling message of the story.

The play presents the cycle of life with all of the sadness and happiness that come with it. The end of one love story and the beginning of a new one. The demise of one life and the birth of a new one. A cycle that repeats itself, again and again, as a perpetual movement. The poignant story and the emotional performances of José Dault, Garbiñe Insausti, and Edu Cárcamo touched many hearts and moved the audience to tears.

André & Dorine

Written by El José Dault, Garbiñe Insausti, Iñaki Rikarte, Edu Cárcamo, and Rolando San Martín. Music by Yayo Cáceres. Directed by Iñaki Rikarte. Starring Edu Cárcamo, José Dault, and Garbiñe Insausti. Produced by Kulunka Teatro. Presented by The Latino Theater Company.

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

Performances: June 8 – June 19:
Wednesdays at 8 p.m.: June 8 and June 15
Thursdays at 8 p.m.: June 9 and June 16
Fridays at 8 p.m.: June 10 and June 17
Saturdays at 8 p.m.: June 11 and June 18
Sundays at 4 p.m.: June 12 and June 19

Tickets: https://www.latinotheaterco.org/

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

Theatre Review: Untitled Baby Play

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Thursday May 26, 2022 was the world premiere of Untitled Baby Play, written by Nina Braddock and directed by Katie Lindsay.

The play tells the story of a group of friends that are organizing a baby shower for a mutual friend called Libby. The email communication going back and forth among the friends becomes a fertile ground for conflict and comedy. Penny (a hilarious Sonal Shah, Celestial Events) decides to become the organizer of the party, but she’s constantly butting heads with Meredith (Laila Ayad). Eden (Sarah Utterback) and Gillian (Courtney Sauls) decide not to get too involved, trying to keep the peace. Natalia (Anna Rose Hopkins) gets some inspiration from ‘What to Expect When You’re Expecting” while trying to make it as an actress. Meanwhile, Clara (Jenny Soo) is a busy new mom who tries to keep up with the group.

The baby shower becomes more than just a party to celebrate a mutual friend, it becomes an event to reflect on the choices around motherhood, careers, relationships, and life itself. Penny is a married doctor and is using shots to become pregnant. Meredith is also married and a consultant, trying to avoid pregnancy. Natalia is an actress who seems to have conflicts with her mom. Eden is a journalist, following the case of a woman accused of killing a baby. Gillian is a teacher with a disabled mom. Both Eden and Gillian are ambivalent about motherhood. Clara is a software engineer, worried about her son not being able to sit straight.

Untitled Baby Play elaborates on what pregnancy means in life. Is motherhood a way to calibrate success in life? How about social pressure? Even though Gillian doesn’t want kids, she is also afraid of feeling left behind if she ends up with no kids in her life. Meredith also expresses her concerns of regretting not having kids and being alone later in life.

Eden, afraid she will never be able to experience pregnancy, asks Clara what labor feels like. Downstage center in high key lighting, Clara delivers an emotional, moving, and poetic depiction on the worries, pains, and joys of feeling and seeing her baby for the very first time.

Set designer Cindy Lin creates a stage with interesting details, a poster of Strangers on a Train on Eden’s wall, the book Words with Wings on Gillian’s bookshelf, the image of Jesus on Clara’s wall, etc. Lighting designer Dan Weingarten used illumination to match the pastel color palettes on the walls of each character, bringing out their unique personalities.

With its brilliant writing, directing, and performances, Untitled Baby Play delivers a poignant, funny, and thoughtful look at friendship, motherhood, and life.

Untitled Baby Play

Written by Nina Braddock, directed by Katie Lindsay
Starring Laila Ayad, Anna Rose Hopkins, Courtney Sauls, Sonal Shah, Jenny Soo, Sarah Utterback
Presented by IAMA Theatre Company, Stefanie Black, 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: May 26 – June 27
• Thursday at 8 p.m.: May 26 ONLY (Opening Night)
• Fridays at 8 p.m.: May 27, June 3, June 10, June 17, June 24
• Saturdays at 8 p.m.: May 28, June 4, June 11, June 18, June 25
• Sundays at 3 p.m.: May 29, June 5, June 12, June 19, June 26
• Mondays at 8 p.m.: June 6, June 13, June 20, June 27 (dark May 30)

Tickets: https://www.iamatheatre.com/untitled-baby-play