Tag Archives: Theatre

Theatre Review: A Midsummer Night’s Dream

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A Noise Within presents A Midsummer Night’s Dream. Written by William Shakespeare. Directed by Julia Rodriguez-Elliott and Geoff Elliott. Produced by Geoff Elliott and Julia Rodriguez-Elliott.

In a Burtonesque style, A Noise Within delivers a fascinating production of A Midsummer Night’s Dream, transporting the audience to a whimsical dream of fantasy, music, and magical powers. The dark mood used throughout the play adds to the mystic nature of the story and highlights the intriguing side of the characters.

The visuals achieved in this production demonstrate the technical abilities of the creatives involved. Frederica Nascimento (Scenic Designer) and Ken Booth (Lighting Designer) create a mysterious and dreamy atmosphere that brings out the carnivalesque attribute of the story. There are plenty of grays and blacks with splashes of yellows, reds, greens, and blues to convey the fantastical underworld of the fairies. To complement the visuals, costume designer Angela Balogh Calin; wig and makeup designer Tony Valdés; and properties designer Stephen Taylor all contribute to the overall mythical look of the enchanted fairyland.

The two quirky characters that have some of the funniest lines in the story are Puck and Bottom, played masterfully by Kasey Mahaffy and Frederick Stuart, respectively. The two thespians continue to shine in A Noise Within’s productions, delivering captivating and passionate performances consistently. Mahaffy is a natural playing the mischievous Puck, blending humor with oddity to the audience’s delight. Stuart does the same with his character of Bottom, always eccentric, always overdramatic.

Also gleaming on stage are the four lovers: Jeanne Syquia as Helena, Rafael Goldstein as Demetrius, Erika Soto as Hermia, and Riley Shanahan as Lysander, all of them contribute a great deal of humor to the play with their dialogue and physical comedy. Likewise, Zach Kenney and Trisha Miller show off their subliminal histrionic skills. They double up as Theseus and Hippolyta and Oberon and Titania, manifesting A Noise Within’s commitment to bring the best performers for their classical theatre productions. 

Directors Julia Rodriguez-Elliott and Geoff Elliott show their tasteful creativity by giving a distinctive Gothic and German Expressionism style to their rendition of A Midsummer Night’s Dream. The monumentalism of the opening scene with the big gray wall and the black costumes is a striking and very different take on Shakespeare’s play. Metropolis and Blade Runner 2049 come to mind when observing the brutalist, dark, and contrasting features of the scenic and lighting design. The dimensions of the stage and the seating arrangement contribute to make it an immersive experience. Don’t miss the opportunity to enjoy theatre at its best. Allow yourself to unplug from reality and fall into a deep dream of kings, queens, and fairies. It’s a magical journey to the underworld, in a land far, far away.   

A Midsummer Night’s Dream

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

Performances Oct. 14 – Nov. 12

Tickets and schedule: anoisewithin.org

Written by William Shakespeare. Directed by Julia Rodriguez-Elliott and Geoff Elliott. Starring Greta Donnelly, Rafael Goldstein, Rachel Han, Zach Kenney, Kasey Mahaffy, Ed F. Martin, Trisha Miller, Hakop Mkhsian, Alex Morris, Brendan Mulligan, Cassandra Marie Murphy, Riley Shanahan, Lauren Sosa, Erika Soto, Frederick Stuart, Jeanne Syquia, Erick Valenzuela. Presented by A Noise Within, Geoff Elliot and Julia Rodriguez-Elliott, producing artistic directors. Creative Team: Scenic designer Frederica Nascimento; lighting designer Ken Booth; composer and sound designer Robert Oriol; costume designer Angela Balogh Calin; wig and makeup designer Tony Valdés; properties designer Stephen Taylor; and dramaturg Dr. Miranda Johnson–Haddad. The production stage manager is Angela Sonner, with Talya Camras assisting.

A Midsummer Night's Dream poster
An image from A Midsummer Night's Dream
An image from A Midsummer Night's Dream
An image from A Midsummer Night's Dream

Theatre Review: Fear of Heights

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The West Coast premiere of Fear of Heights is presented by Odyssey Theatre Ensemble. Written and performed by Kevin Flynn. Directed by Tim Byron Owen. Executive Producers Peter Farrelly and Bobby Farrelly. Produced in association with Georganne Aldrich Heller/Irish Theatre Film Productions and The Sarah Fulton Group. Produced for Odyssey Theatre Ensemble by Beth Hogan.

The iconic picture Lunch atop a Skyscraper is what triggers Kevin Flynn‘s memories of his Irish immigrant family. The solo show is a story of struggles and new opportunities, a sort of American Dream 101. Flynn’s family came from Ireland looking for a better life. They settled in New York where the men found jobs as ironworkers, a job that required working on the construction of skyscrapers. Bear in mind that safety precautions were minimal at the beginning of the 20th century. Some ironworkers lost their lives due to falls from high altitudes. Kevin Flynn was supposed to follow the steps of his father and uncles and become an ironworker. But something got in the way: His fear of heights.

Flynn’s life has been a roller-coaster ever since he decided to try a different career path outside of the ironwork industry. From soccer player to TV host, his career took off and placed him on top of the entertainment industry. Hollywood parties with celebrities, fame, money, travel to exotic locations, and a successful standup comedy career made everything look amazing for the hardworking entertainer. But life is always full of surprises, and some of them are not always the most pleasant ones. Those experiences have been pivotal to shape Flynn’s resilience to navigate life successfully.

The show is not only funny, it is also deep, specially when it connects the hard work with the family values and the love for the new country demonstrated by his family. The risks that many people have taken to provide for their families is well represented in Fear of Heights. Flynn’s Irish experience in America is a typical image of the price many immigrants have paid to succeed in the land of opportunities. It has been a life of great sacrifices, but even greater satisfactions.

Fear of Heights

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

October 12 – October 29
• Thursdays at 8 p.m.: Oct. 12, Oct. 19, Oct. 26
• Fridays at 8 p.m.: Oct. 20. Oct. 27
• Saturdays at 8 p.m.: Oct. 21, Oct. 28
• Sundays at 4 p.m.: Oct. 22, Oct. 29

Tickets: odysseytheatre.com

Written and performed by Kevin Flynn. Directed by Tim Byron Owen. Executive Producers Peter Farrelly and Bobby Farrelly. Produced in association with Georganne Aldrich Heller/Irish Theatre Film Productions and The Sarah Fulton Group. Produced for Odyssey Theatre Ensemble by Beth Hogan. Presented by the Odyssey Theatre Ensemble, Ron Sossi Artistic Director. 

Fear of Heights poster
An image of Fear of Heights
An image of Fear of Heights

Theatre Review: The Travelers

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Latino Theater Company and San Francisco’s Magic Theatre present the L.A. premiere of The Travelers. Written by Luis Alfaro. Directed by Sean San José, based on original direction by Catherine Castellanos. Produced by Latino Theater Company in association with the Magic Theatre and Campo Santo.

Money is tight at the monastery and the Carthusian monks need to figure out a way to survive. In addition to this precarious scenario, the is a hint of rebellion among the monks against the direction of Brother Santo (Sean San José). To complicate things even more, a mysterious man (Juan Amador) is left injured at the doorsteps of the monastery. Now the monks have to tend to him and find out who he really is.

Reality and fantasy are turned into poetry in Luis Alfaro‘s play. His understanding of farm work and religion allows him to create three-dimensional characters that breathe and palpitate the textures of the life in the fields and the consecrated life in a religious order. The Brothers, the product of the fields, were abandoned at an early age by their parents, leaving them at the monastery to keep them away from the hardships of farming. For these kids, the Carthusian Order became a refuge, a home, a second chance in life. In exchange, they needed to offer themselves to God in silence and prayer, separated from the world. However, the austere environment makes the Brothers wonder what life would be beyond their secluded compound.

Even though there are no Carthusian monasteries in California—the only one in the US is in Vermont— the story is an allegory of the monastic experience through the eyes of farm workers from the Central Valley in California. The play shows the goals of the Order of the Carthusians: Intimacy with God through solitude, community, and the liturgy. But the story also shows the doubts the Brothers have about their devotion. Their insecurities, pain, and earthy temptations (they drink and cuss) lead them to achieve a transformation that will define their future and the fate of the monastery.

To turn the poetry of Alfaro’s text into a theatrical experience, Director Sean San José uses stunning visuals—scenery, lighting, background music, and video projections. All of these elements capture and elevate the soul of the story in an emotive fashion. The contemplative nature of the Carthusian way motivates the characters to find the truth deep inside their hearts. And it is that mysterious man, transformed as Brother Juan, the one that leads the way to find their true vocation with surprising results.

The Travelers is a moving play that connects the fruits of the fields with the Catholic faith and shapes them into a poetic vision that feels both ethereal and intensely human.

The Travelers

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

Performances: Sept. 23 – Oct. 15
• Thursdays at 8 p.m.: Oct. 5; Oct. 12
• Fridays at 8 p.m.: Oct. 6; Oct. 13
• Saturdays at 8 p.m.: Sept. 23 (opening night); Oct. 7; Oct. 14
• Sundays at 4 p.m.: Oct. 8; Oct. 15

Tickets: latinotheaterco.org

Written by Luis Alfaro. Directed by Sean San José, based on original direction by Catherine Castellanos. Starring Juan Amador, Daniel Duque–Estrada, Guillermo Yiyo Ornelas, Sean San José, Kinan Valdez, Ogie Zulueta. Produced by Latino Theater Company in association with the Magic Theatre and Campo Santo. Creative Team: Scenic designer Tanya Orellana; lighting designer gg Torres; sound designer Christopher Sauceda; video designer Joan Osato; costume designer Jojo Siu; and movement director Patricia Ong. The stage manager is Lauren Quan.

 

The Travelers poster
A scene from The Travelers
A scene from The Travelers
A scene from The Travelers

Theatre Review: Dream Big

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As part of the initial lineup of the Hollywood Independent Theater Festival (HITFEST), Oh, Sally Productions presented Dream Big. Written by Elizabeth J. Musgrave. Directed by John Coppola. Produced by Frank Forte.

Rumor has it that American Gigolo and Midnight Cowboy had a baby. Its name? Dream Big. But the story doesn’t unfold in Los Angeles or New York, rather, it all happens in Music City, the one and only Nashville, Tennessee. Chasing his dream of becoming a country music star, Ryan (Garrett Louis) takes a job as a male escort. The only problem is that he is broke, his car is acting up, his angry roadies Slade (Michael Moret) and Troy (Andres Rey Solorzano) are coming after him, and his ex is demanding child support money for their 5 or 6-year-old son—Ryan can’t remember his exact age.

Meanwhile, Laura (Mandy Denaux), a lonely middle-aged woman, is in her apartment, packing and giving her properties away. When her sister Courtney (Laura Marlowe) comes to visit, she thinks that Laura is moving to another place, unaware of her real intentions.  Courtney encourages Laura to have some fun and get a date. After thinking about it, Laura decides to give it a try. She calls an escort. Not exactly what she expects, Ryan is the cowboy-gigolo hybrid that comes to fulfill her ultimate fantasy, as disturbing as it might be.

The visit turns into a long night, where past experiences reveal the awkwardness of their personalities and the dreams they’re chasing. Laura’s exposition reveals the buildup of emotional pain as a result of negative past experiences that have led her to a sad and lonely existence. In the case of Ryan, his self-esteem motivates him to keep dreaming of bigger things, even if he has to resort to pulling tricks to survive and his dream seems more like an unattainable horizon. Their ultimate goals seem too opposite from each other, and yet, the two souls meet, as if destiny had a plan for an everlasting connection.

What seems just like a comedy, turns into a revelation of mental health issues and loneliness that take a tremendous toll on Laura, stressing the importance of looking for early signs of trouble. Elizabeth Musgrave‘s script blends comedy and conflict to deliver a play that is highly entertaining. The characters have depth that delve into the dreams of many, but also into the issues of many more. The direction by John Coppola unifies the main topics of the script, translating effectively the chimeras and afflictions of the characters, engaging the audience to get emotionally invested in the story.

Dream Big

The Hudson Theatres

6539 Santa Monica Blvd.

Los Angeles, 90038

Presented on 26 September 2023. Stay tuned for more upcoming dates.

Link to other HITFEST productions: https://hitfest.stagey.net/

Written by Elizabeth Musgrave. Directed by John Coppola. Produced by Frank Forte. Cast: Mandy Denaux, Garrett Louis, Laura Marlowe, Michael Moret, and Andres Rey Solorzano. Creative team: Melissa Dunkelberger (Production Designer), Pam Noles (Technical Director).

Dream Big poster
A scene from Dream Big
A scene from Dream Big
A scene from Dream Big

Theatre Review: How It’s Gon’ Be

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The Echo Theatre Company presents the West Coast Premiere of How It’s Gon’ Be. Written by JuCoby Johnson. Directed by Ahmed Best. Troy Leigh–Anne Johnson and Sam Morelos are associate producers, and Chris Fields and Kelly Beech produce for the Echo Theater Company.

An absent father will always cause some disruption in a man’s development. In JuCoby Johnson‘s How It’s Gon’ Be, the absenteeism causes anger and insecurity in the main character, Jahann (Donté Ashon Green). But it also leads to a close and special relationship with his mother Angela (Karla Mosley). Facing the challenging years of adolescence, Jahann is forced to re-evaluate his worth, his future, and his dynamic relationships, including the one with his father. 

As a young man, Jahann values his relationship with Rashad (Michael Howard–Dossett) and Terry (Durran Moreau), his best friends. And it is specially important his relationship with Lady (Nona Parker Johnson), his childhood crush. The conflict appears when Jahann’s father Kenny (Sedale Threatt Jr.) comes back from his service in the military. Kenny is constantly called for service and is gone for months without calling home, creating doubts and anger to both Angela and Jahann. This time around, Jahann is not willing to hold back his resentment towards Kenny. This triggers an emotional display of rebellion and recriminations that puts at risk the stability of the family and forces the characters to dig deep inside to see if there’s any love left for each other.

The script contains poetry that gives the story a creative element to convey the feelings of the characters in a lyrical dance of words and silence. It’s through poetry that Jahann navigates his own pain and explores his feelings to find the truth. Director Ahmed Best utilizes sublime lighting and sound effects to express the internal turmoil of the characters. The transitions and the colors transmit the lyricism of the script in a meaningful gallery of visual elements.

Through the plot and subplots, the characters fight, dream, and discover who they really are, exposing their vulnerabilities and their ability to communicate their true feelings. Rashad and Terry need to determine once and for all their relationship. Angela has to decide whether she will continue to support Kenny’s career in the military, with the sacrifices that come with it. Jahann reaches a point where he needs to define his relationship with Lady, and even more challenging, his relationship with his continuously absent father. 

How It’s Gon’ Be is a poetic and engaging coming-of-age story that highlights the challenges of entering manhood for a Black artist. The script, the acting, and the directing all come together to offer a moving play that explores the outcomes when love and art are combined to answer our most pressing existential issues.

How It’s Gon’ Be 

Echo Theater Company
Atwater Village Theatre
3269 Casitas Ave
Los Angeles, CA 90039

Performances: Sept. 16 – Oct. 23
• Fridays at 8 p.m.: Sept. 29, Oct. 6, Oct. 13, Oct. 20
• Saturdays at 8 p.m.: Sept. 16 (opening night), Sept. 30, Oct. 7, Oct. 14, Oct. 21
• Sundays at 4 p.m.: Oct. 1, Oct. 8, Oct. 15, Oct. 22
• Mondays at 8 p.m.: Oct. 2, Oct. 9, Oct. 16, Oct. 23

Tickets: echotheatercompany.com

Written by JuCoby Johnson. Directed by Ahmed Best. Troy Leigh–Anne Johnson and Sam Morelos are associate producers, and Chris Fields and Kelly Beech produce for the Echo Theater Company. Starring Donté Ashon Green, Michael Howard–Dossett, Nona Parker Johnson, Durran Moreau, Karla Mosley, and Sedale Threatt Jr. Creative team: Scenic designer Amanda Knehans; lighting designer Justin Huen; sound designer Alysha Grace Bermudez; co-costume designers Ann Closs-Farley and Sophia Grose; graphics designer Christopher Komuro; and casting director Tal Fox. 

     

How It's Gon' Be poster
A scene from How It's Gon' Be
A scene from How It's Gon' Be
A scene from How It's Gon' Be

Theatre Review: Motel 66

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The Group Rep presents MOTEL 66. Written by Sal Valletta, Gina Yates, Denise Downer, Bill, Fitzhugh, Fox Carney, Doug Haverty, Paul Elliot, and Clara Rodriguez. Directed by Linda Alznauer, Van Boudreaux, Todd Andrew Ball, Larry Eisenberg, Helen O’Brien, Bruce Kimmel, Brent Beerman, and Leota Rhodes. Produced for The Group Rep by Brent Beerman.

During the Dust Bowl that devastated the Great Plains in the 1930s, Route 66 was the salvation for many families that took the historic highway to move west in their search for jobs and a better life. Route 66 goes from Chicago to Santa Monica, California, with many sites and landscapes along the way. MOTEL 66 is a production of 8 different one-acts that honor the fascinating and moving stories of the owners and guests of the quirky motels found along the celebrated route. Each short play takes place in a different motel and a different city. In such a spectrum of experiences, the topics and characters are as varied as one can imagine.

Poolside Therapy shows a couple (Diane Linder and Brad Kahn) in desperate need to spice up their relationship. One of the other guests (Tack Sappington) offers his expertise to make the couple feel attracted to each other again, using an unconventional method to achieve that goal. Written by Sal Valletta. Directed by Linda Alznauer.

One More Night is a moving and funny story of a grieving cowboy (Mark Stancato) and his unexpected change of plans after meeting a whip-smart young girl (talented newcomer Bailey Warner) and her mom (Julie Davis). Written by Gina Yates. Directed by Van Boudreaux.

Forever Friends is a story of two friends (Melissa Lugo and Cierra Lundy) whose strained relationship may or may not have a second chance after years of neglect. Written by Denise Downer. Directed by Todd Andrew Ball.

No Room at the Motel keeps us wondering who the real father is in this hilarious and intriguing story. Chad (Joe Clabby, Room Service) and a pregnant Mary (the always funny Jessica Kent, Harold and Maude, Room Service) engage in a heated argument about accommodation plans. They find the motel manager (Larry Eisenberg) to be a weirdo who doesn’t care about keeping his rooms clean. They also run into Chad’s friend (Sean Babcock), who keeps reminding Chad of his times with women of dubious reputation. Who exactly got Mary pregnant? Written by Bill Fitzhugh. Directed by Larry Eisenberg.

Immaculate Perception is a story of a miraculous sexless pregnancy. At least that’s what Mariah (Sasha Kartman) says. As illogical as it sounds, she tries to convince Sam (Lloyd Pedersen), who is a doctor, about her immaculate pregnancy. As they continue to argue, the continuation of someone’s life through a newborn starts to seem a possibility, even for Sam. Written by Fox Carney. Directed by Helen O’Brien.

Eureka Escorter reveals the oddity of opportunities in the job market. In urgent need as an impoverished recent widower, Miles (Bert Emmett, Animal Farm) takes a job as a driver/rent-a-gent type of gig. He is instructed by Wendolyn (Kathy Diane Tomlin), the lady running the agency, to act as normal as possible in the presence of customers. His first assignment is with Sara (Clara Rodriguez). His first drive will prove to be a wild ride. Written by Doug Haverty. Directed by Bruce Kimmel.

Saving Garbage is a meeting between short-fused motel operator Grace (Cynthia Bryant) and Jimmy (Miguel Lee), the young man who’s been taking the food leftovers from the trash bin at night. A surprising conversation exposes the compelling circumstances of their respective lives. Written by Paul Elliott. Directed by Brent Beerman.

In Quapaw, Oklahoma Betty (a delightful Bonnie Snyder, Room Service) is excited to meet her online friend Magda (Lareen Faye, Harold and Maude), who has promised Betty to make her a child again with the use of magic, despite the concerns of her daughter Deborah (Pascal Gigon) and the incredulity of her son-in-law Stan (Danny Salay). A whimsical story with a not-so-happy ending. Written by Clara Rodriguez. Directed by Leota Rhodes.

Embarking on a spiritual journey of self realization, the characters discover the power of human connection and the possibilities of new beginnings, despite the twists and turns of life. MOTEL 66 is a road trip to a world where humans greif, hope, and believe in miracles, one destination at a time. Always searching, always on the move. 

MOTEL 66

The Group Rep at the Lonny Chapman Theatre
10900 Burbank Blvd
N. Hollywood, CA 91601

September 21 through October 22

Saturdays at 4 PM

Thursdays and Sundays at 7 PM.

Tickets: thegrouprep.com/show/motel-66-2023

Written by Sal Valletta, Gina Yates, Denise Downer, Bill, Fitzhugh, Fox Carney, Doug Haverty, Paul Elliot, and Clara Rodriguez. Directed by Linda Alznauer, Van Boudreaux, Todd Andrew Ball, Larry Eisenberg, Helen O’Brien, Bruce Kimmel, Brent Beerman, and Leota Rhodes. Produced for The Group Rep by Brent Beerman. Cast: Diane Linder, Brad Kahn, Tack Sappington, Julie Davis, Mark Stancato, Bailey Warner, Melissa Lugo, Cierra Lundy, Sean Babcock, Joe Clabby, Cathy Diane Tomlin, Larry Eisenberg, Dawn Halloran, Doug Haverty, Jessica Kent, Kat Kemmet, Anica Petrovic, Sasha Kartman, Lloyd Pedersen, Bert Emmett, Lee Grober, Clara Rodriguez, Cynthia Bryant, Miguel Lee, Lareen Faye, Pascale Gigon, Danny Salay, and Bonnie Snyder. Creative team: Mareli Mitchel-Shields (Dramaturg), Nick Foran (Lights & Sound Design),and Doug Haverty (Graphic Designer).

MOTEL 66 poster
A scene from MOTEL 66
A scene from MOTEL 66
A scene from MOTEL 66
A scene from MOTEL 66

Theatre Review: Freud on Cocaine

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The world premiere of Freud on Cocaine is presented by the Whitefire Theatre. Written and directed by Howard Skora.

Scarface, get out of the way, here comes Freud! Most people associate Sigmund Freud with psychoanalysis, but not everyone knows about his little dirty secret: His addiction to cocaine. Howard Skora exposes without reservation some of the most shocking details about Freud’s use of cocaine and the consequences on his professional practice and private life.

Sigmund Freud (Jonathan Slavin, Home Front) falls in love with Martha Bernays (Sara Maraffino), but he is broke and Martha’s mother (Sigute Miller) does not approve of him, “he’s not a doctor doctor” she tells Martha. Against all odds, Freud and Martha get married, and like in all great stories, addiction becomes a bond too strong to resist. Soon, Martha and even her mom start using cocaine. Depression? Hysteria? Pain? Addiction to other drugs? No problem, cocaine cures it all. 

Freud saw cocaine as a panacea to treat and cure different ailments. When his patient Emma Eckstein (Amy Smallman–Winston) tells him about her hysteria and her proclivity to flying solo, Freud thinks there’s a nasogenital connection and starts prescribing cocaine, getting her hooked to the Devil’s dandruff. Even for his best friend Ernst von Fleischl-Marxow (Aaron LaPlante), Freud has some cocaine to spare to help him cope with pain and his addiction to morphine. 

Of course, Freud needed a supplier for his extensive use of cocaine. And what a better drug dealer than Emmanuel Merck (Barry Brisco) from Merck Pharmaceuticals. In exchange of hyping the miraculous benefits of cocaine, Merck provided an endless supply of the powder to Freud. More product, more prescriptions to his patients. And more product available for personal use. But as usual, too much of a good thing it’s just an illusion.

Skora exposes the life of a man who became hugely successful in his profession, but whose relentless motivation to prove his worth lead him to sacrifice his personal life. Freud on Cocaine is a fabric of different textures. It shows the power of love, the effects on guilt, the continuous search of empirical and scientific evidence, but at the end of the day, it shows that Freud was a human being with virtues and shortcomings, just like everyone else. But the main strength of this play is the superb dialogue. It’s an endless stream of comedy from beginning to end. Instead of treating the subject matter as a sea of tears and sorrows, Skora uses his characters as conduits to deliver some of the funniest lines in the contemporary theatre scene. As sinister as it might sound, drugs and comedy relate pretty well with the audience. Personal experiences? Maybe. Make sure you don’t miss this gem. You won’t regret.           

Freud on Cocaine

Whitefire Theatre
13500 Ventura Blvd.
Sherman Oaks, CA 91423

Sept. 8 – Nov. 4
• Friday at 8 p.m.: Sept. 8 ONLY (opening night)
• Saturdays at 8 p.m.: Sept. 23; Sept. 30; Oct. 7; Oct. 14; Oct. 28; Nov. 4 (dark Oct. 21)

Tickets: whitefiretheatre.com

Written and Directed by Howard Skora. Starring Jonathan Slavin, Barry Brisco, Aaron LaPlante, Mitch Rosander, Sara Maraffino, Sigute Miller, Amy Smallman–Winston. Presented by the Whitefire Theatre, Bryan Rasmussen, producing artistic director. Creative team: Scenic designer Dusti Cunningham, costume designer Michael Mullen, and video designer John Knowles.

 

Freud on Cocaine poster
A scene from Freud on Cocaine
A scene from Freud on Cocaine
A scene from Freud on Cocaine

Theatre Review: Room Service

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Room Service is presented by The Group Rep. Written by John Murray and Allen Boretz. Directed by Mareli Mitchel-Shields. Produced by Kathleen R. Delaney for The Group Rep.

it’s 1937 in New York and Joseph Gribble (Tommy Jacobs) tells theatre producer Gordon Miller (Will Maizel) that he needs to pay a $1,200 bill for his stay at the White Way Hotel, or else, he will be evicted from the hotel together with his troupe of actors. To complicate things, Leo Davis (Timothy Willard), the young playwright of Godspeed, comes to New York to join them and get an advance. Unbeknownst to Davis, Miller is broke without a financial backer to produce his play.

Room Service is a script with plenty of punch lines and physical comedy to allow the actors to shine. Mareli Mitchel-Shields directs an ambitious production with a stellar cast that gives new life to a screwball comedy from the Art Deco era. Each character is a building block to achieve conflict and comedy to create chaotic situations with witty dialogue and fast paced action. Joe Eastburn is a terrific actor with an imposing stage presence. He combines perfectly the eccentricity and hilarity of Gregory Wagner, the supervising director of the White Way Hotel.

The meet cute scene between Leo and Hilda Manney (Jessica Kent, Harold and Maude) is also a highlight in the play, bringing whimsiness and romanticism to one of the subplots of the story. As time runs out for Miller and his group to come up with the money to pay the hotel bill and produce the play, the tension builds up and forces the troupe to devise creative and delusional solutions.

Chris Winfield (Set Design) does a remarkable job recreating the Art Deco style of the 1930s, taking us back to the slapstick comedies of the Golden Age of Hollywood. As a treat, there are characters that sing during the intermissions, adding a special touch to this production.

Room Service delivers a hilarious and dynamic story with exceptional acting, costumes, and scene design to continue The Group Rep’s 50th anniversary celebration.

Room Service

Lonny Chapman Theatre – Main Stage (First Floor)
10900 Burbank Blvd., North Hollywood 91601

September 8 – October 15, 2023
Fridays and Saturdays at 8:00pm. Sundays at 2:00pm.

Tickets: thegrouprep.com

Written by John Murray and Allen Boretz. Directed by Mareli Mitchel-Shields. Produced by Kathleen R. Delaney for The Group Rep. Cast: Fox Carney, Joe Clabby, Joseph Eastburn, Tommy Jacobs, Jessica Kent, Sam Logan, Will Maizel, Matthew McLaughlin, Jackie Shearn, Bonnie Snyder, Axel Truitt, Sal Valletta, Grant Velarde, Timothy Willard, and Chris Winfield. Creative team: Chris Winfield (Set Design), Frank McKown (Lighting Design), Aylah Robinson (Costume Design), Reid Woodbury, Jr. (Sound Design), and Paul Cady (Music Director).

Room Service poster
A scene from Room Service
A scene from Room Service
A scene from Room Service

Theatre Review: Blood at the Root

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Open Fist Theatre Company presents Blood at the Root. Written by Dominique Morisseau. Directed by Michael A. Shepperd. Co-artistic directors Martha Demson, James Fowler and Amanda Weier produce for Open Fist Theatre Company.

Dominique Morisseau based her play on the true story of the “Jena Six”, a 2006 incident in Jena, Louisiana. Blood at the Root shows how volatile interracial relationships can be and how intolerance can quickly escalate into physical violence. In a hot autumn day, Raylynn (Nychelle Hawk)is at her high school and decides to sit under an oak tree in an area reserved for White students. The next day, 3 nooses are hanging from that same tree. Those actions trigger a series of events including beatings, arrests, and criminal charges. The way the school and the justice system reacted to these actions ignited the already fraught relationship between the White and Black communities.

The tense environment is specially challenging to three of the characters. Raylynn feels attracted to Colin (Jeremy Reiter ll), a White student who gets beat up by Raylynn’s brother DeAndre (Nicholas Heard). Raylynn is now at a crossroads. She wants to keep a good relationship with Colin, who has confided to her that he is gay, but she also needs to ask him to drop the charges against DeAndre so he doesn’t get sentenced. It is also hard for Colin to show compassion towards Raylynn when he has been a victim of discrimination for being gay.

For Raylynn’s friend, Asha (Caroline Rose), she is confused as what to do. She is White, but when her parents divorced, she went to live with her dad and new wife, a Black woman. Asha found happiness with her Black cousins and feels so much at home with them that she calls herself Black. However, her “Blackness” is put to test when she is asked by Raylynn to support the Black students’ protests after the nooses incident.

The complexity of experiences and identity growing up in a divided society is also exemplified in the characters of Toria (Grace Soens) and Justin (Azeem Vecchio, A Midsummer Night’s Dream). Justin is the Editor-in-Chief of the school’s newspaper. He is Black, but refuses to take sides with his fellow Black students in the protests. On the other hand, Toria is one of the reporters. She is White and is eager to seek racial justice through her journalism. Toria and Justin butt heads when it comes to take sides. Justin’s case is interesting in the sense that it takes a toll on a person’s identity growing up in a racist environment. When incidents of racism happen, would you stay silent to avoid confrontation with the other party? Or would you stand up to racists, even if that aggravates friends or acquaintances?

Asha is challenged by Raylynn. Justin is challenged by Toria. Colin is challenged by Raylynn. The community is challenged by intolerance. The play delves into history, but history repeats itself. And here we are, with a story that seems taken not from the past but from the present. 

Michael A. Shepperd creates a stunning and dramatic production with choreography, music, and endearing performances that explore the intricacies of intolerance, racism, friendship, and justice. Scenic designer Joel Daavid and lighting designer Gavan Wyrick add an impressive effect to the scenery, creating visually stunning elements to heighten the conflict, the danger, and the drama depicted in the script. This is a high-caliber staging that moves, inspires, and makes us think of how much progress we have achieved in our search for justice and tolerance. 

Blood at the Root

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

Sept. 9 – Oct. 28
Fridays at 8 p.m.: Sept. 22; Sept. 29; Oct. 6; Oct. 13; Oct. 20; Oct. 27
Saturdays at 8 p.m.: Sept. 9 (Opening Night); Sept. 16; Sept. 23; Sept. 30; Oct. 14; Oct. 21; Oct. 28 (dark Oct. 7)
Sundays at 3 p.m.: Sept. 17; Oct. 1; Oct. 15 (no matinees on Sept. 10; Sept. 24; Oct. 8; Oct. 22
Sundays at 7 p.m.: Sept. 24; Oct. 8; Oct. 22 (no evening performances on Sept. 17; Oct. 1; Oct. 15)
Monday at 8 p.m.: Oct. 9 ONLY

Tickets: openfist.org

Written by Dominique Morisseau. Directed by Michael A. Shepperd. Starring Malik Bailey, Deandra Bernardo, Emma Bruno, Nychelle Hawk, Nicholas Heard, Jeremy Reiter II, Caroline Rose, Jack David Sharpe, Grace Soens, Amber Tiara, and Azeem Vecchio. Presented by Open Fist Theatre Company, Martha Demson, artistic director. Creative team: Scenic designer Joel Daavid; lighting designer Gavan Wyrick; sound designer Marc Antonio Pritchett; costume designer Mylette Nora; and chorographer Yusuf Nasir, promises a visually and emotionally immersive experience. The assistant director is Debba Rofheart, and the production stage manager is John Dimitri. Co-artistic directors Martha Demson, James Fowler and Amanda Weier produce for Open Fist Theatre Company.

 

Blood at the Root poster
A scene from Blood at the Root
A scene from Blood at the Root
A scene from Blood at the Root
A scene from Blood at the Root

Theatre Review: Walking in Space

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Theatre West presents the world premiere of Walking in Space. Written by Garry Michael Kluger. Directed by Arden Teresa Lewis. Meg Lin produces for Theatre West.

Is drug addiction a moral failure or a brain disease? A debatable topic for sure. Current scientific studies are underway to have a better understanding of the brain circuits involved in rewards, stress, and self-control, and the environmental factors—family, school, and neighborhood—that might lead or predispose a person to addiction. In Walking in Space, playwright Garry Michael Kluger goes back to 1972 and takes from his own family history to present a story, part real, part fiction, where the collateral damage of addiction weighs on four siblings who are left alone to deal with their mom’s abuse of Placidyl, a sedative-hypnotic medication prescribed to treat insomnia.

In the story, Lori (Liv Denevi), a 17-year-old, is in charge of taking care of her mom Francine (Kathie Barnes), a divorcée who has become addicted to barbiturates. To check on their mom after a fall, the other three siblings come to visit. The oldest is Patti (Mary Elisabeth Somers), a young woman who is trying to keep her professional and love life afloat while still looking after her mom and younger siblings. Next in line is Kirby (Cecil Jennings), a recent grad who is at risk of losing his new job due to his mom’s addiction. There is also Matthew (Hogan Mason), a college sophomore who has a special connection with Francine and is the one that talks her into going to the hospital to treat her addiction problem. Also in the picture is Dr. Jerome Collar (David Mingrino), the family physician who comes up with the recovery plan. And lastly, there’s Keith (Andrew Cereghino), a medical resident who is trying to convince Patti to stay together once and for all.

Even though it deals with harsh realities, the play presents the thorny issue of addiction with a good dose of humor. Director Arden Teresa Lewis allows the characters to explore their most vulnerable spots and find places to build up the strength to thrive under negative circumstances. In this case, humor, as light as it might seem at times, is a critical mechanism to survive.

Through Francine’s exposition, we learn that her upbringing was a difficult one, forced to grow up very early to become a housewife. A different era, a different mindset. It is here where the environments play a decisive role in predisposing someone to a life of addiction. For Francine, drugs became an escape from her world of limited possibilities. Again and again, escape seems to be a determining factor to fall into the downward spiral of addiction. In Kluger’s own words, “it’s always the same, no matter the drugs”. The underlying issues are always the same.

As more families face the daunting challenges of drug addiction, Kluger tells us that it is OK to feel tired, frustrated, emotionally drained, and hopeless. As the characters show, whether an intervention is successful or not, sometimes family members feel guilty, leading them to think that they’re not doing enough to save the loved one. And that is one of the most valuable takeaways from Walking in Space: It is OK to feel that way. It is part of the recovery and healing process. Patience and sacrifice are just part of the game.   

The result of Kluger and Lewis’ work with the actors is an entertaining and touching production that gives a sense of hope for whoever is dealing with similar issues. No matter how difficult the situation might be, there’s always something positive that comes out of such a dark place. In the case of the four siblings, the ordeal they been put through makes them grow more united and builds their strengths to face life as adults. Their interdependency creates an unbreakable bond that transcends their mom’s addiction. They know that they have each other’s back, no matter the issue, no matter the distance. At the end, “it was just us.” 

Walking in Space

Theatre West
3333 Cahuenga Blvd. West
Los Angeles, CA 90068
(across the street from Universal CityWalk, between Barham and Lankershim)

September 8 – October 8:
• Fridays at 8 p.m.: Sept. 8, Sept. 15, Sept. 22, Sept. 29*; Oct. 6
• Saturdays at 8 p.m.: Sept. 16, Sept. 23, Sept. 30; Oct. 7
• Sundays at 2 p.m.: , Sept. 17, Sept. 24, Oct. 1**; Oct. 8
*ASL interpreted performance on Friday, Sept. 29 at 8 p.m.
**Sensory-friendly performance on Sunday, Oct. 1 at 2 p.m.

Tickets: theatrewest.org

Written by Garry Michael Kluger. Directed by Arden Teresa Lewis. Starring Kathie Barnes, Andrew Cereghino, Liv Denevi, Cecil Jennings, Hogan Mason, David Mingrino, and Mary Elisabeth Somers. Presented by Theatre West. Creative team: Scenic designer Ernest McDaniel and lighting designer Malcolm Wilson. In addition to directing, Lewis takes on costume design. The assistant director is Amelia Vargas and the production stage manager is Dillon Mount. Meg Lin produces for Theatre West. Walking in Space is supported by the L.A. County Department of Arts and Culture as part of Creative Recovery L.A., an initiative funded by the American Rescue Plan.

 

              

Walking in Space poster
A scene from Walking in Space
A scene from Walking in Space
A scene from Walking in Space
A scene from Walking in Space