Tag Archives: Theatre

Theatre Review: Last Summer at Bluefish Cove

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The Fountain Theatre presents a revival of Last Summer at Bluefish Cove. Written by Jane Chambers. Directed by Hannah Wolf. Produced by The Fountain Theatre.

With a naturalistic and beautiful scenic design by accomplished designer Desma Murphy, The Fountain Theatre celebrates the 40th anniversary of Last Summer at Bluefish Cove at the parking lot next to the theatre. In a unique setup, this production is staged outdoors with headphones to listen to the actors, the music, and the sound effects.

It’s 1974 and Lil (Ann Sonneville) is fishing at Bluefish Cove, a remote community where queer women spend their summers together. Suddenly, Eva (Lindsay LaVanchy), a straight woman who just separated from her husband, arrives in town unaware of the lesbian nature of the community. After a brief interaction, Eva declares that she has rented one of the properties. Lil immediately feels attracted to Eva. Later at a party, Eva gets into an argument with hot-headed Donna (Stephanie Pardi), who is dating Sue (Stasha Surdyke). After learning that the women at the community are lesbians, Eva feels out of place. However, Lil’s mesmerizing personality awakens something new in Eva, something that will change their lives forever. Rae (Ellen D. Williams), Rita (Tamika Katon-Donegal), and swing (Allison Husko) are also part of the close circle of friends staying at Bluefish Cove.

The fascinating script by Jane Chambers presents meaty characters that defy the traditional and limited depiction of queer women in mainstream media. The women in the play exude fascinating layers of strengths, insecurities, and charming characteristics that brings them closer to the audience’s own experiences. One of the characters that excels in the portrayal of true friendship and caring personality is Annie (Noelle Messier), Lil’s best friend. Annie is seating next to Lil when Kitty (Sarah Scott Davis), a gynecologist turned feminist author, delivers some devastating news to Lil.

Kitty, by the way, is a character that somehow reflects the positions of lesbian groups like the Radicalesbians and The Furies Collective, which were a response to the exclusion of lesbians by feminist organizations in the 1970s. At the time, some feminists excluded lesbians from their agendas and labeled them as the “Lavender Menace”, a homophobic term first used by Betty Friedan, president of the National Organization of Women (NOW).

LaVanchy and Sonneville deliver stellar performances portraying the transition from initial resistance to ultimate surrender to their feelings, a contrasting and irresistible situation that creates remarkable drama and magnetic romanticism. Of course, the superb acting and the outstanding success of this staging is a manifestation of the fine direction by Hannah Wolf, who worked from an external approach for this project. The results show what happens when a director pays careful attention to details and creates a poignant and touching production that enhances the already captivating script.   

But this play has even more substance than just a sentimental story. It captures the little known safe heavens where lesbians have retreated for support and reaffirmation of their values. It is also a snapshot of the challenging post-Stonewall times when the LGBT communities were fighting for equality in a society that persistently excluded them from their agendas. These stories need to be told to really comprehend the diversity of the human condition and, hopefully, serve as a channel for mutual respect and understanding. 

Last Summer at Bluefish Cove

Outdoor Stage
The Fountain Theatre
5060 Fountain Ave.
Los Angeles CA 90029
(Fountain at Normandie)

Performances: June 17 – Aug. 27
• Fridays at 7 p.m.: June 23, 30; July 7, 14, 21, 28; Aug. 4, 11, 18, 25
• Saturdays at 7 p.m.: June 17 (opening), 24; July 1, 8, 15, 22, 29; 12, 19, 26 (dark Aug. 5)
• Sundays at 7 p.m.: June 25; July 2, 9, 16, 23, 30; 13, 20, 27 (dark Aug. 6)
• Mondays at 7 p.m.: June 26; July 3, 10, 17, 24, 31; Aug. 7, 14, 21

Tickets: fountaintheatre.com

Written by Jane Chambers. Directed by Hannah Wolf. Starring Sarah Scott Davis, Allison Husko, Tamika Katon–Donegal, Lindsay LaVanchy, Noelle Messier, Stephanie Pardi, Ann Sonneville, Stasha Surdyke, Ellen D. Williams. Produced by The Fountain Theatre. Creative team: Scenic designer Desma Murphy; lighting designer R. S. Buck, sound designer Andrea Allmond, costume designer Halei Parker, prop master Rebecca Carr and intimacy director Savanah Knechel. The production stage manager is Chloe Willey, and Gina DeLuca is assistant stage manager.

Las Summer at Bluefish Cove poster
A scene from Last Summer at Bluefish Cove
A scene from Last Summer at Bluefish Cove

Theatre Review: Into the Breeches!

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International City Theatre presents Into the Breeches! Written by George Brant. Directed by Brian Shnipper. Produced by caryn desai [sic].

As WWII is raging overseas, Long Beach’s Oberon Playhouse has decided to cancel the 1942 season’s opener, Shakespeare’s Henry IV and Henry V, also known as the Henriad. Since the men are fighting in the front, there are no male actors to play the parts. However, Maggie (Meghan Andrews), the director’s wife, is confident that her and a group of inexperienced female performers can save the day. Singing to the tune of “Amapola”, the ladies of Long Beach come together to prepare a show that will be either a fantastic success or a humiliating failure (with tomatoes included).

Coming up with a plan to convince Board President Ellsworth Snow (Nicholas Hormann) of the feasibility of the show, Maggie recruits newcomers Grace (Emilie Doering), June (Brooke Olivia Gatto), costumer Ida Green (Sydney A. Mason), Snow’s wife, Winifred (Holly Jeanne), and stage manager Stuart Lasker (Lee James). Maggie then pairs them up with the experienced diva Celeste Fielding (Leslie Stevens), who is eager to play Prince Hal. But due to a disagreement with Maggie, Celeste brings out her diva attitude and quits, putting the whole project at risk.

When Snow finds out that Ida, who is Black, and Stuart, who is gay, will be performing, he becomes extremely anxious about the possibility of a backlash from the conservative sectors. He finally accepts Maggie’s plan with one condition: Celeste must come back to the show!

Playwright George Brant relies on the women’s anguish and worries about their husband’s fate to tell a story of hope and liberation during a time when women’s expectations were limited to staying home as obedient housewives. The ladies experience a paradoxical feeling of constant worry, but at the same time, they also undergo a period of self-realization. The possibility of portraying the central roles in Shakespeare’s plays, gives a new meaning to their lives. Director Brian Shnipper uses those emotions as a metaphor of the establishment of a modern liberal order in which women entered the workforce in droves in the 1940s. With a creative scenic design, appealing costumes, and compelling performances from his actors, Shnipper stages a lighthearted play that captures the beginning of a new era in American history.

Into the Breeches! features drama, conflict, and humor in a visually appealing and enjoyable production that brings memories of a crucial time which changed the course of history for America and the rest of the world.

Into the Breeches!

International City Theatre
Long Beach Convention & Entertainment Center
330 East Seaside Way
Long Beach, CA 90802

Performances: June 9 – June 25
• Thursdays at 8 p.m.: June 22
• Fridays at 8 p.m.: June 9 (Opening Night), June 23
• Saturdays at 8 p.m.: June 24
• Sundays at 2 p.m.: June 25

Tickets: ictlongbeach.org

Written by George Brant. Directed by Brian Shnipper. Starring Meghan Andrews, Emilie Doering, Brooke Olivia Gatto, Nicholas Hormann, Lee James, Holly Jeanne, Sydney A. Mason, and Leslie Stevens. Produced by caryn desai [sic]. Presented by International City Theatre. Creative team: Set designer Tim Mueller, lighting designer Donna Ruzika, costume designer Kim DeShazo, sound designer Dave Mickey and prop designer Patty Briles. Casting is by Michael Donovan, CSA and Richie Ferris, CSA.

 

Into the Breeches! poster
A scene from Into the Breeches!
A scene from Into the Breeches!

Theatre Review: Back Porch

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Bluestem Productions presents the world premiere of Back Porch. Written by Eric Anderson. Directed by Kelie McIver. Produced by David Willis and Kelie McIver.

While the Columbia Pictures movie Picnic was being filmed in a small Kansas town in 1955, another love story was emerging simultaneously. 18-year-old Gary (Isaac W. Jay) is at a stage in his life where he needs to figure out his future, as his sleeping town starts to feel too small for his dreams. And just like in Picnic, an attractive guy arrives in town to shake things up. Bill Holman (Jordan Morgan) is a part of the cast filming Picnic. He works as William Holden’s stunt double. Almost immediately, an attraction starts to develop between Gary and Bill. It is, however, Kansas in 1955.

The other characters are Gary’s widowed father, Barney Opat (Karl Maschek), Gary’s 13-year-old brother, Del Wayne (Cody Lemmon), the Opats’ bachelor boarder, singing teacher Myron Uhrig (Eric Zak), and their neighbor, Millard Goff (Jonathan Fishman, Daddy Issues). Despite their initial excitement for having the Hollywood stars in town, soon puts to test their conservative views. The relationship between Gary and Bill also unveils the limited opportunities the small town has to offer to its residents.

Both Jay and Morgan do a great job getting into their characters to show the nuances of a young and uncertain romance in the midst of a judgmental environment. Although the first half of the play feels a bit slow, the second part picks up steam and keeps the audience engaged. A story within a story, the play is a snippet of an era considered a time of affluence, community, and unity, but also a time in which Americans had little patience with divergent views, including attitudes towards same-sex relationships. Back Porch is, in the words of Director Kelie McIver, a love letter to William Inge, the writter of Picnic and a closeted playwright and novelist who fell into a deep depression and died of suicide in 1973.

Back Porch

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

June 2 – July 9:
• Fridays at 8 p.m.: June 2 (opening night); June 16; June 23; June 30; July 7
• Saturdays at 8 p.m.: June 17; June 24; July 1; July 8
• Sundays at 4 p.m.: June 18; June 25; July 2; July 9

Tickets: onstage411.com

Written by Eric Anderson. Directed by Kelie McIver. Starring Jonathan Fishman, Isaac W. Jay, Cody Lemmon, Karl Maschek, Jordan Morgan, Eric Zak. Produced by David Willis and Kelie McIver. Presented by Bluestem Productions. Creative team: Set designer Kenny Klimak, lighting designer Carol Doehring, sound designer Cinthia Nava, costume designer Molly Martin, hair designer Judi Lewin, stunt/fight choreographer Brett Elliott and intimacy director Amanda Rose Villarreal. The stage manager is Margaret Magula.

Back Porch poster
A scene from Back Porch
A scene from Back Porch

Theatre Review: Macbeth

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Will Geer Theatricum Botanicum kicks off its 50th anniversary with the tragedy play Macbeth. Written by William Shakespeare. Directed by Ellen Geer.

Macbeth, is it just a dream? Is Macbeth the witches’ dream? Are the witches Macbeth’s dream? Could the witches be an externalization of Macbeth’s character? Or, maybe even Lady Macbeth’s ambitions?

The debate is intense among scholars to decipher what the witches really represent in the play. As for their characteristics in Ellen Geer‘s production, the rituals and the behavior exhibited by the three witches and Hecate seem to infer that they were Scottish, and consequently, continental witches rather than local ones. In Shakespeare’s times, British witches were believed to be more interested in petty things and not having much control of magical powers. Continental witches, on the other hand, were perceived as more powerful and able to control the destiny of people, thus being able to foretell and influence Macbeth and Banquo’s future.

It is important to note that the Protestant King James VI, who survived several murder attempts, some attributed to the North Berwick witches, wrote Daemonologie, three books and a pamphlet about demonology and witchcraft. King James called the witches of his time “slaves of the Devil” and encouraged witch hunting during his reign. It is believed that Shakespeare wrote Macbeth as a tribute to King James, who became the royal patron of Shakespeare’s theatre company. The supernatural, the historical and contemporaneous perception on witchcraft, and the duality of paganism and Christianity influenced and inspired some of the passages in Macbeth.

Director Ellen Geer’s production renders a faithful representation of the play’s emblems that surround the story and give Macbeth the uncanny anxiety that leads him to madness and his ultimate demise. The apparitions, the moving grove, and the Weird Sisters’ rituals are depicted in visually stunning detail to emphasize the decaying mental state of the protagonist and the fatal consequences of his actions.

Both Max Lawrence and Willow Geer transcend in their roles of Macbeth and Lady Macbeth respectively. They keenly illustrate the initial attempt to support each other, but also their mutual devastation as a result- of their own excessive ambitions. Geer excels in her interpretation of the ambitious and oftentimes comedic leading lady, a sublime depiction of power lust and self-destruction. 

The stage, with a natural canyon ravine as its background, allows a dynamic performance. Actors enter and exit from all directions to give the audience an engaging experience. The costumes, lighting, and a touch of special effects frame this captivating story of kings, witches, good, evil, murder, and hope. Will Geer Theatricum Botanicum is a magnificent place to stage The Scottish play, a 400-year-old magical tragedy that continues to intrigue and fascinate audiences of all ages.

Macbeth

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

June 10–September 23 (see link below for dates and times)

Tickets: theatricum.com

Written by William Shakespeare. Directed by Ellen Geer. Starring Max Lawrence in the title role; Willow Geer as Lady M; Aaron Hendry as Macduff; Claire Simba as Lady Macduff; Cavin (CR) Mohrhardt as Malcolm; Franc Ross as Duncan and the Porter; Taylor Jackson Ross as Hecate; Steven C. Fisher as Ross; and Jeff Wiesen as Banquo. Also in the cast are Marc Antonio Pritchett as Old Siward and Andy Stokan as the doctor. Presented by Will Geer Theatricum Botanicum. Creative team: Assistant Director Claire Simba; Fight Choreographer Cavin (CR) Mohrhardt; Stage Manager Kim Cameron; Assistant Stage Manager Ian Geatz; Costume Designer Tracy Wahl; Original Music Marshall McDaniel & Ellen Geer; Sound Designer Charles Glaudini; Lighting Designer Zachary Moore; Properties Master Alexander Sheldon; Wardrobe Supervisor Beth Eslick.

 

Macbeth poster
A scene from Macbeth
A scene from Macbeth
A scene from Macbeth

Theatre Review: Grown Up Orphan Annie

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Grown Up Orphan Annie will be running during the Hollywood Fringe Festival. Written and performed by Katherine Bourne Taylor. Produced by DJ Taylor.

The beloved character Annie (Katherine Bourne Taylor) is now grown up and some details about her life are now disclosed. Being the adopted daughter of Daddy Warbucks created some moral conflicts on the young girl, and now she needs to come to terms with her new reality as a grown up, living the lifestyle of a celebrity. After the death of Daddy Warbucks and the dog Sandy, Annie starts searching for a new sidekick. Unfortunately, she is mislead to believe that Keiko the orca can be her new friend. Unbeknownst to her, Keiko died years ago, creating a new disappointment in her life.

The picaresque style of Harold Gray‘s Little Orphan Annie comic strip continues in this new solo performance. Taylor develops a series of adventures to find new friends and a new sidekick, all of this with an ambientalista undertone, trying to save the planet from the billionaires of the world.

The show is interactive, creating very funny situations with the participation of the audience, specially the first half of the play. The show was workshopped with the innovative Elysian Theatre, and Taylor will be taking her solo performance to the Edinburgh Fringe after the Hollywood run. As part of the Hollywood Fringe Festival, Grown Up Orphan Annie will be playing during the month of June.

Grown Up Orphan Annie

The Broadwater (Studio)

1078 Lillian Way

Los Angeles, CA 90038

Sat June 10th at 3:30 PM

Fri June 16th at 10:30 PM

Thurs June 22nd at 8 PM

Tickets: hollywoodfringe.org/projects/9585

Written and performed by Katherine Bourne Taylor. Workshopped with The Elysian Theater’s Very In Progress Programming. Original Music by Gabriella Hirsch. “Hard Drive Daddy” Music by Katie Greer. Produced by DJ Taylor.

 

Grown Up Orphan Annie poster
Grown Up Orphan Annie
A scene from Grown Up Orphan Annie

Theatre Review: Inappropriate!

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Inappropriate! is produced by NEO Ensemble Theatre, playing during the Hollywood Fringe Festival. Written by Rom Watson, Maura Swanson, Beth Polsky, Laura Huntt Foti, and E. M. Forster. Directed by Michael Caldwell and Rachel Winfree.

Welcome to a play in the form of comedy show with clever hints of political commentary and sexual innuendos. The play is a series of seven short stories from five writers. Curb Your Urges introduces us to a game show with naughty temptations. The Sub is a solo performance from a substitute teacher. First Date…well, bring your gas mask. The Last Reading deals with Genghis Khan and his disturbing pursuit of women (a divalicious actress is in the reading!). The Pharmacy is a public display of private health issues. Bible Study is another solo performance of a religious woman. Maybe not that religious. The cherry on top is Howard’s End, a eulogy in memory of Howard, a story where the ensemble put all their stuff on the stage for the audience to enjoy.

Inappropriate! is a perfect combination of new and experienced talent, all wrapped in hilarious and irreverent 1 hour show not to be missed.

Inappropriate!

The Three Clubs

1123 Vine St,

Los Angeles, CA 90038

Tickets: hollywoodfringe.org/projects/9747

Playwrights: Michael Caldwell, Laura Huntt Foti, Beth Polsky, David St. James, Maura Swanson, Rom Watson and Rachel Winfree.

Featured actors: Michael Caldwell, Ewan Chung, Alex DeRita, Jessica Dowdeswell, AnnaLisa Erickson, Dee Freeman, Debra Kay Lee, Alexis C. Martino, Beth Nintzel, David St. James, Rachael Sizgorich, Jerry Weil and Rachel Winfree…plus special surprises from monologist Maura Swanson.

 

Inappropriate! poster
A scene from Inappropriate!
A scene from Inappropriate!

Theatre Review: Holy Waters

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The Hollywood Fringe Festival is in full swing and this time we are reviewing Holy Waters, written by Eleanor Vigneault and directed by Augusta Mariano.

A daughter (Eleanor Vigneault) is on the phone getting fired when she receives the surprising visit of her mom (Anita Barone). With no job, no boyfriend, and only a toy as a companion, the daughter doesn’t seem to have much of a future. The mom decides to take her daughter on a road trip and figure out their relationship along the way, with the help of some whisky, of course.

Vigneault explores the complexities of a mother-daughter relationship and the hardships of a household with limited income that pushes the tolerance of the family members to the limit. As they travel together, the contrasts and similarities between the two become more evident, for better or worse.

Vigneault and Barone excel in their roles in this heartfelt and exceptionally hilarious play. The seriousness of their fragility and religious undertones is offset by the continuous comedic lines that they deliver so naturally. Director Augusta Mariano uses of the limited space creatively. Even though is a small stage, Mariano moves the action around, using every inch of the available space.

The writing, directing, and acting make Holy Waters a rare find this festival season. It’s a snippet of the talent working creatively in intimate theatres; a showcase of the potential in the thriving LA theatre scene.

Holy Waters

Actors Company (The Little Theater)

916 N. Formosa Ave.

Los Angeles, CA 90046

Opening: Sunday 6/4 @ 4pm
Friday 6/9 @ 8:30pm
Saturday 6/10 @ 12:30pm & 11:30pm
Closing: Sunday 6/11 @ 6:30pm

Tickets: hollywoodfringe.org/projects/9929

Written by Eleanor Vigneault. Directed by Augusta Mariano. Starring Anita Barone and Eleanor Vigneault. Creative team: Stage Manager Maddy Glave, Sound Design Jeremy Robinson, Set Design Mike Mariano, Board Op Ezra Fisher.

 

Holy Waters poster
A scene from Holy Waters
A scene from Holy Waters

Theatre Review: Starmites

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Starmites is presented by Open Fist Theatre Company. Music and lyrics by Barry Keating. Book by Stuart Ross and Barry Keating. Directed by Scott Peterman. Music direction by Jan Roper.

A shy Eleanor (Talia Gloster) is usually immersed in her world of comic books, but her mom (Cat Davis) is concerned about Eleanor’s obsession with her comics. In her fantasies, however, Eleanor becomes the superhero that can save the entire galaxy with the help of Space Punk (Bradley Sharper), the Starmites (Rieves Bowers, Alex Hogy and Jasper Wong), and lizard man Trinkulus (Brendan Mulally). Their mission is to fight the evil forces of Shak Graa (Brendan Mulally) and The Banshees (Elle Engelman, Lindsey Moore Ford, Sarah Martellaro and Sophie Oda), led by Diva (Cat Davis).

All Eleanor and her friends have to do is go to the forest, find Shak Graa and The Banshees, fight them, win, and save the entire galaxy. Simple, but when love and jealousy get in the way…

Scott Peterman selected a young group of actors and paired them up with Cat Davis, a fantastic singer, actress, and comedian. The result is a fun and energetic performance for this revival of the Tony-nominated sci-fi fantasy musical. The excellent music is performed live by a three-piece band, directed by Jan Roper. Peterman’s expereince as a show and content director for world-class acts such as the Smashing Pumpkins and Bon Jovi is evident in this carefully curated visual explosion of music and kinetics. The visuals really add to the whole experience. The colors, graphics, and costumes contribute to the nostalgic and extravagant look of the comics from the 80s.

Starmites is a simple story where the dances, music, and cutting edge performance technology take center stage to offer a fun experience to delight the audience in a family-friendly musical.

Starmites

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: June 2–July 8
• Fridays at 8 p.m.: June 2 (opening); June 16; June 23; June 30; July 7 (dark June 9)
• Saturdays at 3 p.m.: June 24
• Saturdays at 8 p.m.: June 10; June 17; July 1; July 8 (no evening performance June 24)
• Sundays at 3 p.m.: June 18; June 25; July 2 (no matinee June 4 or June 11)
• Sundays at 7 p.m.: June 11

Tickets: openfist.org

Music and Lyrics by Barry Keating. Book by Stuart Ross and Barry Keating. Directed by Scott Peterman. Music Direction by Jan Roper. Choreography by Becca Sweitzer. Fight Choreography by Jacob Grigolia–Rosenbaum. Starring Rieves Bowers, Cat Davis, Elle Engelman, Lindsey Moore Ford, Talia Gloster, Alex Hogy, Sarah Martellaro, Brendan Mulally, Sophie Oda, Jack David Sharpe, Bradley Sharper, and Jasper Wong. Presented by Open Fist Theatre Company, Martha Demson, artistic director. Creative team: Scenic and projection design by Scott Peterman and Linda Strawberry, lighting design by Gavan Wyrick, and costume design by Linda Muggeridge. The production stage manager is John Dimitri.

Starmites poster
A scene from Starmites
A scene from Starmites
A scene from Starmites

Theatre Review: The Bottoming Process

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IAMA Theatre Company and the Los Angeles LGBT Center present the world premiere of The Bottoming Process, a dark comedy developed in IAMA’s Under 30 Playwrights’ Lab. Written by Nicholas Pilapil. Directed by Rodney To. Co-produced by IAMA Theatre Company and the Los Angeles LGBT Center.

Milo (George Salazar) is insecure about going out on a date with John (Rick Cosnett). But they do have something in common: They’re both writers. John is a famous and successful writer and Milo writes on Twitter without any book published yet. The temptation wins over Milo’s initial hesitation and they end up going on a date. They fall in love. What can go wrong?

Milo is working-class. John is wealthy. Milo is Filipino. John is White. What seems like a typical stereotype story, turns into a deep analysis of power structure and interracial relationships seen from a gay perspective, a dynamic not often portrayed on mass media. The meet-cute story at the beginning gives way to a much complex web of insecurities and misconceptions. The possibilities and impossibilities of a successful love tale are still contingent to a legacy of racism, cultural appropriation, and distrust, even between two willing and loving participants. But at the encouragement of Milo’s Korean friend Rosie (Julia Cho), “let him colonize your native lands”, Milo decides to give it a try. 

Milo’s entrance to John’s life seems idyllic at first. Milo moves in to John’s posh residence in the hills. John also introduces Milo to his friends, and more importantly, to his agent Charlie (Anisha Adusumilli). Everything seems to go well, so well that Milo signs a book deal. The successful launch of Milo’s book, however, is received with some resistance from John. The problem is that Milo continues to write about his negative views on White power structure and John takes offense on the subject. As John gets older and is in need of a new book, Charlie encourages him to write a more personal story that could make it a successful book to sell; she stills needs the agent’s money. In the meantime, John starts to flirt with another guy (Ty Molbak) at a cafe. John’s new book might seal the fate of his relationship with Milo.

Nicholas Pilapil‘s writting is a subtle mixture of lyricism and playful comedy with a punch. The lines are not just hilarious, they also reflect a unique Asian perspective and that of other immigrants as well. To be clear, The Bottoming Process is a play that can trigger heated arguments. It is, after all, a very personal take on the conversation about racial inequalities and whiteness as an aspirational state in America. The introspective last scene appears to tells us that the concept of colonization seems to be latent in our insecurities and expectations as we relate to others, whether that concept is real or imaginary.              

The Bottoming Process

Los Angeles LGBT Center’s Lily Tomlin/Jane Wagner Cultural Arts Center
Renberg Theatre
1125 N McCadden Place
Los Angeles, CA 90038

Performances: May 18 – June 12
• Thursday at 8 p.m.: May 18 ONLY (Opening Night)
• Fridays at 8 p.m.: June 2, June 9
• Saturdays at 8 p.m.: June 3, June 10
• Sundays at 2 p.m.: June 4, June 11
• Mondays at 8 p.m.: June 5, June 12 (dark May 29)

Tickets: www.iamatheatre.com

Written by Nicholas Pilapil. Directed by Rodney To. Starring George Salazar, Rick Cosnett, Anisha Adusumilli, Julia Cho, and Ty Molbak. A co-production of IAMA Theatre Company and the Los Angeles LGBT Center. Creative team: Scenic designer Christopher Scott Murillo; lighting designer Josh Epstein; sound designer Jeff Gardner; projections designer Nicholas Santiago; costume designer Elena Flores; properties designers Michael O’Hara and Rye Mandel; intimacy director Carly DW Bones; and casting director Jordan Bass. IAMA ensemble member Adrián González is associate director. Tiffany Moon is lead producer, Katharine Means is co-producer, Patricia Sutherland is the production manager, and Lars McCuen Van is the production stage manager.

The Bottoming Process poster
A scene from The Bottoming Process
A scene from The Bottoming Process
A scene from The Bottoming Process

Theatre Review: Cabaret

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Altadena Music Theatre presents Cabaret. Written by Joe Masteroff, based off the play by John Van Druten and The Berlin Stories of Christopher Isherwood. Directed by Oliver Azcarate and Sarah Azcarate. Produced by Sarah Azcarate.

The girls and boys at the Kit Kat Klub are back, this time at the historic Charles S. Farnsworth Amphitheater in Altadena. The story is based on the lives of the residents of Berlin in the late 1920s and the characters that work in a cabaret, one of the defining features of the Jazz Age. Known as a symbol of spending, decadence, and hedonism, the cabaret was a place where customers could eat, drink, watch a show, and dance the night away. Once the strict rules of the monarchy were over, the newly found freedom allowed Germans to express themselves liberally, and what better place to show that relaxed attitude than the cabaret. Straights, gays, lesbians, and transvestites partied together in these places, where sex and politics were the main topics. Many of  the patrons, however, were aware that this extravagance was artificial and temporary.

Cliff Bradshaw (Michael Thomas Grant), a young American writer, arrives in Berlin to write a novel. He meets Ernst Ludwig (Sean York), a Nazi and black market operator who offers him a job bringing contraband from Paris. Ernst tells Cliff of a place to stay, a boarding house run by Fraulein Schneider (Ursula Gueringer), who is the love object of Herr Schultz (Craig Wright), a Jewish fruit vendor. Another resident of the house is Fraulein Kost (Skye Marie Sena), a friendly character that keeps bringing sailors and other men to her room, much to the disapproval of Schneider. Cliff then meets Kit Kat Klub singer Sally Bowles (Emily Lopez) and both fall in love with each other. Meanwhile, everything is business as usual at the burlesque theatre Kit Kat Klub. The enigmatic Master of Ceremonies (Cruz St. James) and the dancers deliver performances that reflect the liberal atmosphere of the city and the fiercely experimental nature of the avant garde.

This production features some young talent worth noting. Cruz St. James has a dazzling stage presence that is magnetic and hints stardom at every move. Not only is he a fantastic singer and dancer, he also delivers a powerful and emotional performance that captures so vividly the height and demise of an era. Lopez, Grant, Wright, and Gueringer depict masterfully the debauchery, hopes, and somber panorama of a society that is witnessing the contrast between the cultural renaissance during the Weimar Republic and the chimeric expectations of Nazism.

Directors Oliver Azcarate, Sarah Azcarate, and choreographer Melissa Schade have achieved a phenomenal production that allows the actors/dancers to shine and deliver high-energy performances. The costumes are sexy and flamboyant, an accurate picture of the extravagant lifestyle of the times. Cabaret is barely their second production, but they demonstrate their commitment to offer entertaining and high-quality shows. 

Music Director Chris Wade and his band are the cherry on top, offering a vibrant and spectacular musical performance that keeps the energy flow all across the show, with Wade becoming a character on his own in a passionate display of feeling and charisma.

Make sure to bring warm clothes and seat as close as you can to the stage, this will enhance your experience. Let yourself be enchanted by the decadence, dance, and music of the magical atmosphere of the bawdy Kit Kat Klub.         

Cabaret

Charles S. Farnsworth Amphitheater

568 Mount Curve Ave. East

Altadena, CA 91001

May 25th – June 4th

Tickets: eventbrite.com/e/cabaret-tickets

Book by Joe Masteroff. Directed by Oliver Azcarate and Sarah Azcarate. Produced by Sarah Azcarate. Cast: Emily Lopez and Cruz St James starring as Sally Bowles and the Emcee. Television’s Michael Thomas Grant playing the role of Cliff Bradshaw. Altadena locals Craig Wright and Ursula Gueringer as Herr Schultz and Fraulein Schneider, Skye Marie Sena as Fraulein Kost and Sean York as Ernst Ludwig. Joining us at the Kit Kat Klub dancers are Lindy Jones, Molly Fowler, Abigail Loucks, Jacqueline Dennis, Bimei Flores, Jeannette Sharp Oakes, Zachariah Griffin, Avery Bass, Cole Elliot and Sebastian Twohey-Jacobs. Creative team: Choreographed by Melissa Schade and music direction by Chris Wade.

Cabaret poster
A scene from Cabaret
A scene from Cabaret