Tag Archives: Theatre

Theatre Review: Can’t Live Without ‘Em

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The Group Rep presents the World Premiere of Can’t Live Without ‘Em. Written by Lee Redmond. Directed by Mareli Mitchel-Shields. Produced by Brent Beerman for The Group Rep.

Thomas Axelrod (Bert Emmett, Animal Farm, Motel 66) is in some kind of trouble. He suffered a stroke and is now in a coma. But he is still able to hear. His ex-wife Maureen (Cynthia Payo, Room Service), rushes to the hospital to be with him. So is his current wife Sharon (Daisy Staedler, The Laramie Project). And his previous unknown mistress Chrissy (Jazz Strong). A horny Dr. Payne (Paul Anthony Kelly) is the physician that tries to bring Thomas back to a normal life.

After a brief scare of an incoming nuclear attack, the flickering red lights were nothing more than just a technical glitch, cleverly addressed by Emmett during the performance and candidly addressed by the staff during the intermission. Suddenly, we had a second chance in life.

Back to the story. The play is brilliantly written by Lee Redmond. Emmett plays Thomas as his consciousness, a playful blend of psycho-narration and interior monologue. As Thomas is unable to move, all he can do is listen and reflect on his actions, virtues and vices included. Maureen is the character that tries to hold all the pieces together in the face of adversity. Payo delivers a terrific performance portraying the quirky Maureen: Loud, clueless, and on the verge of a nervous breakdown.

A very peculiar motif in Act II is the palm trees all over the place. In the context of the story, palm trees seem to symbolize femininity, endurance, and peace. Three characteristics that convey Thomas’ life.

He has surrounded himself with women, loving and playing them at the same time. And now, in a helpless situation, he has no other option but to hear what they have to say. That includes dating other men to explore their sexuality, taking back their femininity. As an extra punishment for his philandering, he also has to listen to chatty Tammy (Jessica Kent, Harold and Maude, Room Service, Motel 66), his nurse at the long term care facility.

Physically, he needs endurance to survive his stroke. Unable to move, he can only hear his surroundings and worry about the fate of the women in his life. And, of course, the fate of his unborn child.

And lastly, achieving peace as the life cycle is about to end. Thomas and the three women have to decide if this will be an achievable goal. The interactions among the women will be a factor to determine the resolution.

The witty dialogue keeps the audience engaged and invested in the characters. Although the pacing of the second act started to feel a bit slow, the action picked up by the end in a frenetic display of physical comedy. Director Mareli Mitchel-Shields uses the skillful talent of her cast to create rich and three-dimensional characters that are effectively framed by a carefully-curated stage design. The World Premiere of  Can’t Live Without ‘Em is another fine example of the successful Writers Workshop at the Lonny Chapman Theatre, inspiring and nurturing talent to keep live theatre alive for years to come.

Can’t Live Without ‘Em

Lonny Chapman Theatre – Upstairs Stage
10900 Burbank Blvd., North Hollywood 91601

April 11, 2024 – May 12, 2024

Thursdays and Sundays at 7: 00 PM

Saturdays at 4:00 PM

Tickets: thegrouprep.com

Written by Lee Redmond. Directed by Mareli Mitchel-Shields. Produced by Brent Beerman for The Group Rep.

Cast: Bert Emmett (Thomas Axelrod), Paul Anthony Kelly (Dr. Payne), Jessica Kent (Tammy), Holly Seidcheck (U/S Chrissy White performs May 2, 4 & 5), Cynthia Payo (Maureen Axelrod), Danny Salay (U/S Dr. Payne performs April 25, 27, & 28), Daisy Staedler (Sharon Axelrod) and Jazz Strong (Chrissy White).

Creative Team: Set Design Mitchel-Shields/Redmond, Lighting Design Frank McKown, Graphic Design Doug Haverty, Assistant Director/Stage Manager Casey Murray, John Ledley (Tech Operator), Online Marketing Kristin Stancato, Social Media Denise Downer and Jackie Shearn, Promotional Video and Photography Doug Engalla.

Theatre Review: King Hedley II

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A Noise Within presents King Hedley II. Written by August Wilson. Directed by Gregg T. Daniel. Produced by Artistic Directors Julia Rodriguez-Elliott and Geoff Elliott. A Noise Within’s 2023-24 Season is presented by the S. Mark Taper Foundation.

Pittsburgh, 1985. King (Aaron Jennings) has been released from prison and is trying to provide for his mom Ruby (Veralyn Jones, Hamlet) and his wife Tonya (Kacie Rogers, Celestial Events, Arrowhead). Is America willing to give him a second chance? But he’s a Black man from a distressed neighborhood. And now with a criminal record, it might be too much to ask. Trying to survive, he pairs up with his friend Mister (Christian Henley) to sell refrigerators of dubious origin. With an entrepreneurial spirit and a little bit of luck, they plan to save up enough money to start a video store business. Great idea. Especially if the robbery goes as planned. But that’s not all, Tonya wants to abort King’s baby. And don’t forget Elmore (Ben Cain), a gambler with the swagger of a playboy, and a little secret.

August Wilson‘s piercing writing comes to life in Director Gregg T. Daniel‘s exhilarating version of King Hedley II. The play is a snapshot of the African American experience in Pittsburgh during the 80s, a time when the city lost more than 200,000 steel and manufacturing jobs. Wilson’s characters face the searing degradation of Pittsburgh’s quality of life. But they also symbolize the punishing discrimination endured by African Americans on a larger scale. King, in particular, reveals that he was convicted by an all-White jury that immediately perceived him as a threat, negatively affecting the outcome of his trial. As that status quo is still a contentious issue in America, Wilson’s writings continue to be relevant today. Still echoing. Still moving.

In a survival of the fittest atmosphere, King, Mister, and Elmore are forced to find ways to survive being Black, unemployed, and carrying the stigma of previous criminal convictions. Add to that a high unemployment rate and you have a pressure cooker situation ready to explode. However, Wilson leaves enough room for hope, not only in the symbols, such as the plant and King’s unborn baby, but also in the humor. The humor is as important in the play as much as the drama. It’s like music, made of sound and silence, creating a rhythm impossible to resist. The fantastic cast capture the cadence of the play, pulling the audience into their world; it’s an alluring and inspiring experience, cathartic and with a sense of urgency.

Jennings does a phenomenal job portraying the anger and frustrations of a whole generation of disenfranchised Black males facing an oppressive system. His performance is fierce, absorbing, a tour de force.

Gerald C. Rivers, The Merry Wives of Windsor, Trouble the Water, as Stool Pigeon, mesmerizes portraying the wise and prophetic neighbor. His language blends magically the Christian beliefs and the African spirituality of the Black community, displaying his skills as a Master West African Drummer.

The lighting is another critical element to convey the atmosphere and the psychological state of the characters. Lighting designer Brandon Baruch paints the feelings of the characters with yellow, brown, and red, an effective depiction of the urban decay and danger experienced during the 80s. Together with the striking scene design by Efren Delgadillo Jr., the production team delivers an outstanding setting to frame the grittiness of the story.

Another fascinating element is the music by sound designer Jeff Gardner. The music both as a transition and as a background reflects the tension of the subject matter; it’s gripping and sensual with a flair of film noir, bringing memories of the soundtracks of the TV series The Untouchables and the film Chinatown.

A Noise Within offers another valuable production, honoring one of the best playwrights of the 20th century. August Wilson’s King Hedley II is a powerful play that resonates loud and clear in today’s fragmented society. The six thespians deliver an electrifying poiesis that turns Wilson’s poetry into a memorable performance. It’s an excellent example of what happens when you put together a skilled director, a talented group of actors, and a remarkable script.

King Hedley II

A Noise Within
3352 E Foothill Blvd.
Pasadena, CA 91107

Performances April 6 – April 28
• Thursdays at 7:30 p.m.: April 11*; April 25 (dark April 18)
• Fridays at 8 p.m.: April 12**; April 19**; April 26**
• Saturdays at 2 p.m.: April 13; April 20, April 27 (no matinee on April 6)
• Saturdays at 8 p.m.: April 6 (Opening Night); April 13; April 20 (no 8 p.m. performance on April 27)
• Sundays at 2 p.m.: April 14**; April 21, April 28

*The performance on Thursday, April 11 is “Black Out Night,” an opportunity for an audience self-identifying as Black to experience the performance together; tickets include a post-show reception; non-Black-identifying patrons are welcome to attend, or to select a different performance.
**Post-performance conversations with the artists take place every Friday (except the preview) and on Sunday, April 14

In addition to the above dates, four student matinees will take place on weekday mornings (April 10, April 17, April 18 and April 24) at 10:30 a.m. Interested educators should email education@anoisewithin.org.

Tickets: anoisewithin.org

Written by August Wilson. Directed by Gregg T. Daniel. Produced by Artistic Directors Julia Rodriguez-Elliott and Geoff Elliott. Cast: Ben Cain, Christian Henley, Aaron Jennings, Veralyn Jones, Gerald C. Rivers, Kacie Rogers.

Creative team: Scenic designer Efren Delgadillo Jr; lighting designer Brandon Baruch; sound designer Jeff Gardner; costume designer Mylette Nora; wig and makeup designer Shelia Dorn; properties designer Stephen Taylor; and dramaturg Dr. Miranda Johnson–Haddad. The production stage manager is Taylor Anne Cullen, with Arielle Hightower assisting. The producing sponsors are Dick and Sally Roberts.

Theatre Review: Could I Have This Dance?

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Could I Have This Dance? is presented by The Group Rep. Written by Doug Haverty. Directed by Kathleen R. Delaney. Produced by Brent Beerman for The Group Rep.

Could I Have This Dance? was developed at The Group Rep and premiered at The Colony in 1991. Since then, it has traveled the world. And now, more than 30 years later, it is produced for the first time at The Group Rep’s stage The Lonny Chapman Theatre.

Monica (Anna Connelly) runs Grapevine, a successful public relations company. She is dating Colin (Andy Shephard), a famous photographer who goes on assignments around the world. Monica’s sister is Amanda (Anica Petrovic), who is dating Errol (Sean Babcock, Motel 66), a much younger man. Monica and Amanda live with their parents Hank (Lloyd Pedersen, Harold and Maude, Morning’s at Seven, Motel 66) and Jeanette (Clara Rodriguez, Harold and Maude, Motel 66). Jeanette has Huntington’s disease, a rare and inherited condition that involves psychiatric, cognitive, and movement disorders (Jeanette has repetitive movements as if dancing).

The rhythm of the play with its tensions and resolutions creates a rich story with characters facing their strengths and insecurities in the face of uncertainty. Monica is a character with a profoundly human bent. She embodies an image of success and self-determination, but one of risk as well. Getting pregnant is like playing Russian roulette, risking the possibility of passing on the gene of Huntington’s disease to a child. However, the human factor is always present. The yearning of motherhood is almost impossible to resist. And risking it all, Monica decides to go all the way.

All of the characters go through a transformative experience, but Monica is perhaps the character that mirrors more closely the dramatic transformation of Jeanette. The diagnosis became a turning point for Jeanette, forcing her to face a whole new reality. For Monica, her biological clock keeps ticking, urging her to take drastic decisions that transform her expectations and commitments.

The script is brilliant and the six actors nail the dialogue and the action. Connelly and Petrovic are excellent, delivering a fascinating bantering between the two sisters and stressing the fears and hopes of a family dealing with a challenging situation. Shephard and Babcock also show their fine performance skills, contributing with their sharp comedic timing, much to the audience’s delight. These four actors are cleverly paired up with Pedersen and Rodriguez, two experienced stage actors that continue to deliver stellar performances on The Group Rep’s productions.

Director Kathleen R. Delaney brings alive the exhilarating rhythm of the play, creating a compelling blend of comedy and drama. Her work with the actors capture the poignancy of Doug Haverty‘s writing in a way that makes the audience get emotionally invested with the characters. And to add more value to this production, the beautiful set resembles the original 1991 staging at The Colony. Also, the costumes are a wayback machine to the 80s. These are details that show the level of commitment of the creative team and offer an attractive production to the audience.

Could I Have This Dance? is an extraordinary play with outstanding performances, a true gem in the theatre scene. It doesn’t fall into the trap of clichéd sentimentalism. Rather, it explores with humor and wit the beauty of human connections and the unbreakable bond of a family dedicated to care for one of their own.

Could I Have This Dance?

The Lonny Chapman Theatre – Main Stage

10900 Burbank Blvd.,

North Hollywood 91601

March 29 – May 5, 2024. Fridays & Saturdays 8pm. Sunday Matinees 2pm.
Sunday Talkbacks with the cast and staff March 31 and April 7, after the matinees.

Tickets: thegrouprep.com

Written by Doug Haverty. Directed by Kathleen R. Delaney. Produced by Brent Beerman for The Group Rep.

Cast: Sean Babcock, Anna Connelly, Anica Petrovic, Lloyd Pedersen, Clara Rodriguez, and Andy Shephard.

Creative team: Set Designer Kathi Chaplar, Lighting Designer Frank McKown, Costume Designer Shon LeBlanc, Sound Designer Nick Foran.

Theatre Review: The Bespoke Overcoat

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Pacific Resident Theatre presents The Bespoke Overcoat. Written by Wolf Mankowitz. Directed by Marilyn Fox and Dana Jackson.

Fender (Harry Herman) is a poor Jewish clerk working in a cold clothing warehouse. He wears an old coat that is falling apart. He asks his boss, Ranting (Bruce Nozick), to let him purchase a coat from the warehouse and pay in installments. Ranting refuses and tells Fender that he would never be able to pay the coat. Fender then decides to ask his Jewish friend Morry (Robert Lesser), who is a tailor, to make him a bespoke overcoat. They agree on the cost and Morry starts working on the overcoat. Unfortunately, Ranting fires Fender after 43 years of service. Fender tells Morry to cancel the order for the overcoat as he no longer has money to pay for it. Feeling sorry for Fender, Morry agrees to finish the overcoat.

Before Morry can finish the overcoat, Fender dies of cold. When Morry comes back from the funeral, he finds Fender’s ghost sitting on his bed. The ghost tells Morry that he wants to go to Ranting’s warehouse at night and take a sheepskin overcoat as payment for all the years of service. They leave and enter the warehouse.

Wolf Mankowitz adapted the play from Nikolai Gogol‘s The Overcoat, a short story written in 1842 and set in St. Petersburg, the capital of Russia at the time. Mankowitz adapts the story to the impoverished East End of London, a neighborhood where many Jews worked in the clothing industry. In the play, a simple necessity becomes a symbol of the hardships of the poor. The overcoat, an essential item to survive the cold weather, represents the struggles and the dreams of those living in precarious conditions. Fender succumbs to the weather and dies without a new overcoat.

Directors Marilyn Fox and Dana Jackson recreate in great detail the grittiness and scarcity of the living conditions portrayed in the script. The extraordinary acting also projects the simplicity of the story, but also the depth of the characters. Herman is excellent as Fender. He explores poignantly the misery and the humble dreams of an old man at the twilight of his life, suffering the indignities of the working class. Lesser as Morry is exceptional as well, capturing the friendship and the regrets represented in his character.

Both Herman and Lesser transport the audience to a time of adversity for the Jewish community in London. The Jews living in London when Mankowitz wrote the script were still facing blatant and inconspicuous antisemitism by the British society, even when the Jews were contributing to the advancement of England’s culture and economy. Fender coming back to life to take a coat from Ranting’s business is a symbol of the right to demand a fair deal in life, whether by the Jews or the working class in general.

The story seems simple, but it contains a deep meaning when the historical context is taken into account. Ranting represents more than just an abusive boss. Fender represents more than just an old clerk. And Morry represents more than just a friend. Fox and Jackson stage a production that brings forward the humanity and hope of the characters and the resilience of a whole community living under adverse conditions in uncertain times.

The Bespoke Overcoat

Pacific Resident Theatre
703 Venice Blvd.
Venice, CA 90291

Opening: 8pm Saturday, March 9, 2024
Schedule: 8pm Thursdays – Saturdays; 3pm Sundays
Closing: June 2, 2024

Tickets: pacificresidenttheatre.org

Playwright: Wolf Mankowitz. Directors: Marilyn Fox and Dana Jackson. Presented by Pacific Resident Theatre. Cast: Harry Herman, Robert Lesser, Bruce Nozick, and Tobias Echeverria. Creative team: Rich Rose (Scenic Design), Leigh Allen (Lighting Design), Audrey Eisner (Costume Design), Chris Moscatiello (Sound Design), Doug Prazak (Prop Design), Jody Fasanella (Assistant Director), Teak Piegdon-Brainin (Stage Manager).

Theatre Review: The Witness Room

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The Whitefire Theatre presents the World Premiere of The Witness Room. Written by Pedro Antonio Garcia. Directed by Bryan Rasmussen.

Four NYPD officers, Eli Torres (Dave Baez), Terrence Sampson (Moe Irvin), TJ Moretti (Louie Liberti), and Kevin Brennan (Mitch Rosander), are accused of fabricating evidence to arrest and convict a Puerto Rican man. Defending the cops is Prosecutor Andrea Volpi (Tricia Small), who is intimately familiar with the four cops and their shady record in the police force.

Playwright Pedro Antonio Garcia offers a glimpse of how the justice system works when police misconduct is involved. The code of silence does not apply to the mafia only, specially if planting evidence is in the mix. The immaculate image of justice in textbooks collides with reality in The Witness Room. The four cops searched for evidence, but what if the evidence is not found? Tampering seems to be the easy way to go. Except if a dedicated and inquisitive defense attorney finds inconsistencies in the cops’ testimonies.

One by one, the cops testify in court. And one by one, they start to break under pressure.  This is one of the highlights of Garcia’s writing. He worked as a criminal defense attorney and has plenty of material to work with. His play puts a human face to the usual unbreakable figure of authority that a cop projects in our culture. The four cops and the prosecutor are friends, colleagues, and brothers in arms, but they also have flaws and limitations that can jeopardize the integrity of the American justice system.

The play also shows the complicity of the judges to ignore blatant police misconduct, as if convicting corrupt officers would undermine the trust of the public in the authorities. In this case, the judge is willing to go along with the prosecutor’s strategy to save the cops’ positions, ignoring the defendant’s right to a fair trial.

Even though people know the occasional irregularities of the police actions, few people know the backroom deals happening in the courts in any given day. Whether those deals are a detriment to the justice system or an efficient way to clear the backlog of cases on file, that would be a personal opinion. What The Witness Room does is that it presents technical and little known details while bringing the police officers’ perspective to the regular citizen’s level. Much of what is seen in the play is happening in real life on a daily basis. Profiling, racism, corruption, and even cases of depression among police officers are common instances that may trigger aversion or sympathy, depending on who you ask.

The actors deliver gripping performances that convey the conflicting relationship between good and evil and the urgency to cover the basic necessities of life. Director Bryan Rasmussen creates a dynamic staging to marry action and dialogue, keeping the characters on the verge of total collapse. It’s a riveting production with engaging elements of conflict, emotion, and entertainment. Maybe we will have a different perception when we read the phrase “to protect and to serve”.

The Witness Room

The Whitefire Theatre
13500 Ventura Blvd. Sherman Oaks, California.

8 performances only. The play opens Saturday March 23, 8pm and will continue every Saturday night from March 30 through April 27, 2024, at 8pm.

Tickets: whitefiretheatre.com

Written by Pedro Antonio Garcia. Directed by Bryan Rasmussen. Cast: Tricia Small (Salem) as the Prosecutor and Moe Irvin (Ahsoka: Star Wars), Dave Baez (Greenleaf, Dexter), Louie Liberti (ER) and Mitch Rosander (Two Broke Girls) as officers of the NYPD.

Creative team: Set designer Jeff Rack, lighting designer Derrick McDaniel, sound designer Mitch Rosander, costume designer Laura Tiefer, graphic designer Michele King, fight choreographer Bonzai Vitali and casting director Victoria Hoffman.

Theatre Review: A Froggy Becomes

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The World Premiere of A Froggy Becomes is presented by Open Fist Theatre Company. Written by Becky Wahlstrom. Directed by Pat Towne. Produced by Martha Demson.

Bumpy Diggs (Sandra Kate Burck, A Midsummer Night’s Dream) needs to complete her middle school project, but she can’t find anyone to help her with the assignment. She is somehow dating her classmate Pat (Kyle Tomlin), but she also develops a crush on her classmate Allen (Tom Sys), who is dating Karen (Kyra Grace). Bumpy’s father is a violent ogre (Peter Breitmayer) who spends the day drinking and smoking. And her mother (Johanna McKay) is having an affair with a priest, Father Angelo (Michael Lanahan). Yes, a lot of drama in the life of such a young girl.

Playwright Becky Wahlstrom incorporates elements of magical realism to symbolize the perspective of a girl going through the challenging years of puberty. Some of the fantastical elements are visual, like the large puppet in the form of an ogre. Some are psychological. Fantasies that only happen in Bumpy’s head, like her idealistic love for Allen or the idea that she and her mother could pursue a happier life with Father Angelo. Maybe the blending of fantasy and reality is a survival strategy for someone like Bumpy, a girl coming from a dysfunctional family.

Navigating through puberty proves to be exciting, frightening, and painful. Wahlstrom presents a character dealing with a teenager’s rite of passage: First love, first kiss, the pressure of school assignments, and the ups and downs of romantic relationships, including the dreadful heartbreak. How can Bumpy survive this rollercoaster of emotions? Maybe Madonna’s music can help a little bit. After all, this is the 80s, colorful clothes and all.

Director Pat Towne focuses on the performances of the actors and highlights the comedic aspects of the script, creating a play with a minimalistic set design and strong performances. Sandra Kate Burck does a fantastic job, carrying most of the play on her shoulders. She has excellent comedic timing and delivers a convincing performance throughout the play. The ogre adds much of the magical realism to the play, stressing both the comedy and the uneasiness of the story.

The play features the transition between the naiveness of childhood and the brutality of life, including intrafamily violence. Broken dreams seem to welcome Bumpy into adulthood, but also open up her eyes into the possibilities beyond the horizon, exploring adventure, growth, and new beginnings. Not bad for a story that starts with a simple seventh grade project, an ogre in underwear, a horny priest, and a self-determined teenage girl.

A Froggy Becomes

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: March 9–April 13
• Fridays at 8 p.m.: March 15; March 22; March 29; April 5; April 12
• Saturdays at 8 p.m.: March 9 (Opening Night); March 16; March 23; March 30; April 6;
April 13
• Sundays at 7 p.m.: March 10; March 17; March 24; March 31; April 7

Tickets: openfist.org

Written by Becky Wahlstrom. Directed by Pat Towne. Starring Deandra Bernardo, Peter Breitmayer, Sandra Kate Burck, Kyra Grace, Jeremy Guskin, Ana Id, Carmella Jenkins, Michael Lanahan, Johanna McKay, Bradley Sharper, Tom Sys, Kyle Tomlin. Presented by Open Fist Theatre Company, Martha Demson, artistic director. Creative team: Scenic designer Jan Munroe, costume designer Mylette Nora, lighting designer Matt Richter, sound designer Marc Antonio Pritchett, prop masters Bruce Dickinson and Ina Shumaker, and puppet designer Joe Seely. The production stage manager is John Dimitri, and the assistant director is CJ Merriman.

Theatre Review: A Winter’s Tale

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The Winter’s Tale is presented by Antaeus Theatre Company. Written by William Shakespeare. Directed by Elizabeth Swain.

With a minimalistic set, this staging The Winter’s Tale relies on the extraordinary skills of the thespians. Director Elizabeth Swain uses attractive costumes and the talent of her actors to present a story written in the 1600s. The themes, however, resonate with today’s audience in a moving and powerful way. Jealousy, based on facts or hypotheticals, is still a constant in our society, sometimes with deathly consequences.

The casting continues to be a decisive factor for Antaeus Theatre Company to create masterful productions. Actor Adam J. Smith portrays Leontes with passion and a convincing transformation into a man consumed by his inner demons. In a similar manner, he also morphs smoothly into the repented husband, father, and friend that is so eagerly looking for redemption. Ann Noble A Bella Incarceration, as Paulina, is also extraordinary. Strong and funny, she portrays the character that is not afraid to face an enraged Leontes. She speaks her mind, and fiercely opposes Leontes mistreatment of Hermione (Kaci Hamilton).

The combination of experienced actors with younger ones add a balance to the production that introduces Shakespeare to new audiences. The younger actors such as Peter Mendoza (Florizel/Lord I), Shannon Lee Clair (Emilia/Perdita), and Conlan Ledwith (Lord II/Shepherd’s son: Nathan Woodworth) blend effectively with the experienced actors JD Cullum (Autolycus/Lord III), Paul Eiding (Archidamus/Jailer/Old Shepherd), and Geoffrey Wade (Camillo/Mariner). 

This staging captures the festive scene of the play combining dance, music, and singing. It adds kinetics and shows the musical skills of the actors, blending brilliantly with the somber aspects of the story. 

Swain’s production features prominently the two themes that make this play a powerful and moving story: Jealousy with its lugubrious mood in the first three acts and redemption with a jovial tone in the last two acts. Bringing Hermione back to life is a poignant element used by Shakespeare to talk to the audience at an intimate level. Although impossible, resurrection has been a human desire since the very beginning. Steven Spielberg used it too in A.I. Artificial Intelligence. In The Winter’s Tale, at least for a moment, the impossible becomes possible.

The Winter’s Tale

Antaeus Theatre Company
Kiki & David Gindler Performing Arts Center
110 East Broadway
Glendale, CA 91205
(between N. Brand Blvd. and Artsakh Ave.)

February 4 – March 11, 2024

Tickets: antaeus.org

Written by William Shakespeare. Directed by Elizabeth Swain.

Cast: Shannon Lee Clair, JD Cullum, Paul Eiding, Kaci Hamilton, Sabrina J. Liu, Brian Kim McCormick, Peter Mendoza, Ned Mochel, Ann Noble, Catia Ojeda, Claire Simba, Adam J. Smith, Geoffrey Wade, and Conlan Ledwith.

Scenic Designer: Frederica Nascimento. Costume Designer: Carolyn Mazuca. Lighting Designer: Vickie J. Scott. Sound Designer: Jeff Gardner. Choreographer: Annie Yee. Props Designer: Aaron Lyons. Composer: Donna Cribari. Production Stage Manager: Karen Osborne. Assistant Director/Production Dramaturg: Kaite Brandt. Assistant Stage Manager: Casey Collaso.

 

A Winter’s Tale poster
A scene from A Winter’s Tale
A scene from A Winter’s Tale

Theatre Review: Arrowhead

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The World Premiere production of Arrowhead is presented by IAMA Theatre Company. Written by Catya McMullen. Directed by Jenna Worsham. Produced by Quinn O’Connor and co-produced by Katharine Means for IAMA Theatre Company. 

Gen (Amielynn Abellera) has a problem: She got drunk, had sex with a guy, and got pregnant. But she’s a lesbian. Well, she decides to abort. It is during this time that Gen and a group of friends get together. Everything looks relatively normal until Levi (Nate Smith) and his friend Brody (Adrián González, Celestial Events, Kiss of the Spider Woman) arrive.

It doesn’t take long for some drama to unfold and turn things upside down. Gen and Levi had a romantic relationship in the past and seeing each other again complicates things even further, as Gen is currently dating Lily (Kathleen Littlefield). Maggie (Kacie Rogers, Celestial Events) is straight. Well, kind of. Cam (Lindsay Coryne) is lesbian and sees the group of friends as family. Stacy (Stefanie Black) is Levi’s sister and develops a special relationship with Brody.

Playwright Catya McMullen creates a world where a reunion of friends unveils the complications of love, sex, and identity. Taking from her own experiences, McMullen gives each character a world of possibilities. Identities, labels, and the struggles to cope with feelings, specially after a breakup, are explored in this play. It is a comedy that presents different points of view of some controversial issues around queerness and feminism.

One of the most valuable aspects of Arrowhead is that the seriousness of the topics exposed in the play are actually presented as a delightful comedy. The writing offers dialogue that gives the actors plenty of opportunities to shine. With the excellent direction of Jenna Worsham, the script is turned into a web of comedic situations that deliver entertainment on every scene.

Each character has a background that reflects the experiences of most of the people in the audience. The play is a journey of self discovery. A leap into the unknown. But you’re not alone—the characters are your co-pilots. They may not have all the answers to your questions, but they make you laugh all the way till the end. Lindsay Coryne, specially, delivers a phenomenal performance. We hope she/him gets nominated for an award this year; it’s a performance to be remembered.  

The attention to detail is always a reflection of the professionalism of the director, and for Arrowhead, Worsham uses the set design, lighting, and special effects as a menagerie of creative elements to enhance the comedic mood of the play. 

A love letter to queerness, Arrowhead is a play that grabs your attention and inspires to ask questions about identity, sex, love, and friendship. With humor, surprises, and a cat lady, what else can you ask for?

Arrowhead

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: Feb. 8 – March 4
• Thursdays at 8 p.m. Feb. 8 ONLY (Opening Night)
• Fridays at 8 p.m.: Feb. 16; Feb. 23; March 1
• Saturdays at 8 p.m.: Feb. 17; Feb. 24; March 2
• Sundays at 2 p.m.: Feb. 18; Feb. 25; March 3
• Mondays at 8 p.m.: Feb. 19; Feb. 26; March 4 (dark Feb. 12)

Tickets: iamatheatre.com

Written by Catya McMullen. Directed by Jenna Worsham. Starring Amielynn Abellera, Stefanie Black, Lindsay Coryne, Adrián González, Kathleen Littlefield, Kacie Rogers, Nate Smith. Produced by Quinn O’Connor and co-produced by Katharine Means for IAMA Theatre Company. Presented by IAMA Theatre Company, Stefanie Black, artistic director. Creative team: Scenic designer Carolyn Mraz; sound designer Eliza Vedar; associate lighting designer/programmer Erica Ammerman; costume designer Danae Iris McQueen; properties designer Nicole Bernardini; intimacy director Celina Surniak; and casting director Jordan Bass. Rosalind Bevan is associate director; Daniel Cyzpinski is the technical director; and Zaira Paredes–Villegas is the production stage manager alongside assistant stage manager Isabella Gomez and wardrobe supervisor Athena Saxon.

Arrowhead poster
A scene from Arrowhead
A scene from Arrowhead

Theatre Review: A Permanent Image

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Pacific Resident Theatre presents A Permanent Image. Written by Samuel D. Hunter. Directed by Andrew Wayman.

Viola, Idaho. December, 2011. Bo (Scott Jackson) and Ally (Dalia Vosylius) visit their mom Carol (Terry Davis), after the passing of their dad Martin (Phil Cass). Nothing seems that unusual, except that Martin died of suicide. Oh, and that Carol painted the house with brushstrokes of white paint, including the furniture.

As the recriminations intensify, the family dynamics start to unveil the complexities of their lives. Education, negligence, and the despair of feeling left behind all play a role in the way the characters treat each other.

The busy schedules of Bo and Ally have prevented them from visiting their parents more often, taking a toll on Martin and Carol’s emotional state. It is the lack of formal education what seems to push Martin and Carol to get involved in some esoteric beliefs about cosmology. That philosophy leads them to some extreme views about life and death. It is now time for Bo and Ally to either accept or reject Carol’s decision about her own choices following Martin’s death.

Director Andrew Wayman uses the exposition of the character’s lives to convey the dramatic consequences of growing apart as a family and the psychological scars left by that fracture. In A Permanent Image, Samuel D. Hunter explores the effects of isolation and the efforts of family members to reconnect with each other. It is, however, the topic of voluntary euthanasia that raises the most ethical and philosophical questions. If life has no more value for someone, should that person be allowed to commit suicide with some assistance?

The four actors portray the vulnerabilities and resilience necessary to trigger deep and emotive reactions from the audience. Throughout the play, they build up the tension for that very last scene. It’s intimate. It’s emotional. It’s powerful.

A Permanent Image

Pacific Resident Theatre
703 Venice Blvd.
Venice, CA 90291

Opened December 2, 2023
Closing: February 25, 2024
Schedule:
Saturday, 2/10 – 8 pm
Sunday, 2/11 – 3 pm
Saturday, 2/17 – 3 pm
Sunday, 2/18 – 3 pm
Saturday, 2/24 – 8 pm
Sunday, 2/25 – 3 pm

Tickets: pacificresidenttheatre.org

Playwright: Samuel D. Hunter. Director: Andrew Weyman. Assistant Director: Susan Wilder. Presented by Pacific Resident Theatre. Cast: Phil Cass (Martin), Terry Davis (Carol), Scott Jackson (Bo), and Dalia Vosylius (Ally). Creative team: Michael Franco (Lighting Design), Andrew Weyman (Scenic Design), Susan Wilder (Costume Design), Keith Stevenson (Sound Design), and James Morris (Projection Design).

A scene from A Permanent Image
A scene from A Permanent Image
A scene from A Permanent Image

Theatre Review: TINY LITTLE TOWN, a new musical

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TINY LITTLE TOWN, a new musical is presented by Theatre Movement Bazaar. Book by Richard Alger and Tina Kronis. Lyrics by Richard Alger. Music composition by Wes Myers. Adapted from The Inspector General By Nikolai Gogol. Direction and Choreography by Tina Kronis. Produced by Theatre Movement Bazaar. Associate Producer Justin Okin.

Major Rasmussen (Kasper Svendsen) has a tiny little problem. A General Inspector has been sent from Washington to audit the city and its officials. Will the Inspector find out about the rampant corruption going on in this American tiny little town? After all, it’s the 70. Yes, the same period of the Watergate scandal during Nixon’s presidency. Major Rasmussen has also taken a few bribes here and there, and now he needs to find a way to cover up his corruption and that of his city officials.

With little time to clean up his record, the Major has no other choice but to do what he does best: Bribe. The only problem is that he ends up bribing the wrong person. As the story unfolds, the city officials and some of the citizens are duped into the trickeries of Konner (Nikhil Pai), the mysterious visitor they take as the Inspector. With a Rico Suave swagger, Konner even manages to impress Anna Rasmussen (Paula Rebelo, Do You Feel Anger), the Major’s wife, and Maria Rasmussen (Ishika Muchhal), the Major’s daughter. As a captivating subplot, Konner’s assistant, Joseph (Nick Apostolina), and Rasmussen’s secretary, Jackie (Prisca Kim), start to develop a romantic relationship in the middle of all the chaos. Due to their shenanigans, the citizens and officials of this town will be forced to face the consequences of their actions, creating the situations that make this play a timeless study of crooked characters with a comedic bent.

The play is a musical that uses physical comedy to keep the action fast-paced and interesting. The direction and choreography by Tina Kronis is a phenomenal display of craftsmanship. The musical numbers are highly kinetic, combining music and comedy perfectly. The commedia dell’arte style in the performances, the set design, and the Eastern European music, make it feel like a topsy-turvy dream, an exaggerated and alluring image of our reality. And that’s the beauty of physical theatre; it’s an artistic and deviant vision of the world around us.

Theatre Movement Bazaar achieves an outstanding theatrical version of the satirical play written by Nikolai Gogol in 1836. One of the many great elements of this staging is the casting. Actors that can sing, dance, and deliver excellent comedy at the same time are not easy to find. Richard Alger and Tina Kronis have put together an extraordinary production that will be a successful hit without a doubt. It’s a gem. Right in the heart of Hollywood.

TINY LITTLE TOWN, a new musical

The Broadwater Theatre Main Stage
1078 Lillian Way
Los Angeles, CA 90038

Feb 1 – 18, Thurs – Sat @ 7:30pm, Sat and Sun @ 2:30pm

Tickets: theatremovementbazaar.ludus.com

Book by Richard Alger and Tina Kronis. Lyrics by Richard Alger. Music composition by Wes Myers. Adapted from The Inspector General By Nikola Gogol. Direction and Choreography by Tina Kronis. Produced by Theatre Movement Bazaar. Associate Producer Justin Okin. Cast: Nick Apostolina, Joey Aquino, Mark Doerr, Prisca Kim, Ishika Muchhal, Jesse Myers, Isaiah Noriega, Lamont Oakley, Nikhil Pai, Paula Rebelo, Kasper Svendsen, and Eddie Vona. Creative team: Aaron Francis (Technical Director), John Zalewski (Sound Design), Lechetti Design (Scenic Design), Aaron Francis and Johnny Montage (Lighting Design), Anna Kupershmidt (Production Stage Manager), Ellen McCartney (Costume Designer) Yuanyuan Liang (Assistant Costume Designer). 

A scene from TINY LITTLE TOWN, a new musical
A scene from TINY LITTLE TOWN, a new musical
A scene from TINY LITTLE TOWN, a new musical