Tag Archives: Theatre

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

 

Marry Me a Little

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Marry Me a Little is a musical featuring songs by acclaimed songwriter Stephen Sondheim. It was conceived and developed by Craig Lucas and Norman René, directed by Kari Hayter, and the musical direction is by Diane King Vann.

Two strangers, played by Katy Tang and Nick Tubbs, live in the same building, although they’ve never met before. However, both spend their time fantasizing about pretty much the same things: Life and love. This is a story about love and loneliness that can go straight to our hearts as most of us can relate to these characters, with their hopes, dreams, and that universal pursue of love and meaning to our existence.

Soprano Katy Tang is a graduate of the Herb Alpert School of Music, UCLA and further training at the Ecole Normale de Musique de Paris, Alfred Cortot, a conservatoire in France. Her voice delivers an elegant texture to Sondheim’s lyrics that keeps the audience longing for more. Singing Marry Me a Little from the beautifully staged balcony in a dim light and her shadow on the wall was a sublime moment that added some delicate romanticism to this musical.

Nick Tubbs is an experienced actor who was a production singer onboard Princess Cruises and has experience playing a variety of characters in different stage productions. His voice has the vibe of a classic crooner with a modern twist. His vocal dynamics are a great match to Sondheim’s pieces to portray the playfulness and romance of this hopeful although lonely character.

The musical direction is by Diane King Vann, a masterful pianist with extensive training in both classical piano and musical theatre. The musical is directed by Kari Hayter, a director based in Southern California. She has been nominated for the LA Stage Alliance Ovation Award and for the Los Angeles Drama Critics Circle Award.

Details:

Marry Me a Little
playing at the International City Theatre
330 East Seaside Way
Long Beach, CA 90802
Performance through Feb 27, 2022
Thursday – Saturdays at 8 PM
Sundays at 2 PM

Get your tickets here:

https://ictlongbeach.org/

Singing Revolution, The Musical

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On January 29, 2022, Hollywood witnessed the world premiere of Singing Revolution, an extraordinary musical created by director Tony Spinosa and playwright James Bearhart. The play captures the events that took place during the movement know as Singing Revolution in the late ’80s in Estonia, a chaotic time that preceded the collapse of the Soviet Union.

Taavi Tamm (James Everts) is an Estonian student who will become one of the leaders of the Estonian resistance. He falls deeply in love with Sofia Solokov (Bella Hicks), daughter of Nikolai Solokov (Michael Scott Harris), a Soviet officer living in Estonia to oversee the Soviet propaganda and involved in the disappearance of some Estonian civilians. Similarly, Taavi’s teacher Leena Rebane (Krista Feallock) falls in love with Viktor Kuznetsov (Lucas Alifano), a Russian professor also living in Estonia. After Taavi’s father strange disappearance, a threat of having his mom disappear as well, and the possibility of loosing Sofia, Taavi is forced to choose between staying true to his believes or surrender under the weight of the Soviet repression.

There are several elements that make this musical worth experiencing. First, there’s the music. The live orchestra adds extra adrenaline to the performance of the actors and energizes the audience to the beat of fantastic European pop.

Then, there’s the lyrics that express the hopes, fears, convictions, and sometimes even the doubts of both sides of the story. Anyone old enough to remember the events of that period either by having lived in the Soviet Union at the time or by watching the reports on TV as they unfolded, will revisit the memories and feelings of those turbulent times through the lyrics. The combination of pop singers like James Everts and opera singers like Michael Scott Harris makes the contrast of the story even more appealing.

The choreography also combines skillfully elements of ballet in some of the numbers that render a delicate picture of strength and gracefulness that truly elevate the musical numbers. It’s always a treat to see dancers in musical theatre with ballet training on display.

The lighting is another element that accentuates the dramatic contrast of the story. The blue and red tones, sometimes even used at the same time, become characters in their own right: Freedom and oppression, hope and danger, past and future, the Soviet Union and Estonia.

The scenic design, including the lighting, the Estonian architecture, the costumes, and the special effects, add extraordinary value to the show. This is a musical that took Tony Spinosa a few years to put together and plenty of research of the actual events, not only here in the US, but also in Estonia where he spent time talking to some of the leaders of the Singing Revolution that are still alive today.

It is great to see theatre coming back to life after a very challenging and long pandemic, and it is even better to see exceptional productions with dedicated and talented people gracing our local stages.

Singing Revolution, The Musical
The Broadwater Theatre, Main Stage
6320 Santa Monica Blvd.
Los Angeles, CA 90038

Theatre Review: Salvage

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Playwright Tim Alderson grew up in Central California, working in the fields that belonged to his family. This influenced his taste in country music, specially what is called the Bakersfield sound, a blend of country and rock music. It’s no surprise that his first musical play, Salvage, pays tribute to this style.

Preacher (David Atkinson) spends most of his time drinking at a bar owned by Johnson (Leonard Earl Howze), playing his guitar and watching the world go by, one drink at a time. This sort of ritual is disrupted when Harley (Sam O’Byrne) shows up unexpectedly on his way to pawn his guitar. Once Harley reveals his admiration to this bar as his music hero Floyd Whitaker died there, he tries to strike a conversation with Preacher. The conversation turns sour, as Preacher is in no mood to revive the underlying issues of his grumpiness, issues that have been haunting him for years.

When Harley’s wife Destiny (Natalie Llerena) goes to the bar looking for him, an even more intriguing conversation develops among Preacher, Johnson, Harley, and Destiny, unveiling secrets that will change the course of the story and will define each character’s lives.

The libretto is an excellent work by Tim Anderson. The way the plot is intertwined with the music allows the characters to get into song seamlessly, making the music a powerful element to capture the main themes of this play: The giving up of one’s dreams, the encouragement, the hope, and the redemption. The voices of singers David, Sam, and Natalie are a very special touch to this musical production, each one providing a wide range of textures and styles. Leonard delivers his lines with a deep voice and extraordinary projection on stage, with a masterful command of dynamics.

Director Damian D. Lewis, a Juilliard School graduate, put together an excellent mixture of cast, lighting, and custom design, all working together to create an intimate experience that will resonate in the audience’s minds as the themes of this play are a reflection of our own lives.

Salvage is currently playing at The Hudson Theatres in Hollywood, CA.
Sep 09 2021 – Nov 14 2021