Tag Archives: Theatre

Theatre Review: Battlesong of Boudica

Posted on by

Battlesong of Boudica is presented by The School of Night. Written and directed by Christopher William Johnson. 

Year 61 AD in Britannia. A revenge battle is about to tremble the feared and powerful Imperial Roman army. After the death of the wealthy Icenian king Prasutagus (Daniel Adomian), who named his two daughters and the Roman emperor as co-heir to his kingdom, the Romans ignored his will and took over his possessions. When the Roman procurator Decianus (Brad C. Light) shows up at the kings’s estate to take inventory, he ordered to flog Prasutagus’s widow Boudica (Jen Albert) and sexually assaulted his two daughters, Brenda (Allegra Rodriguez Shivers) and Kerma (Lucy Schmidt). 

That mistreatment triggers Boudica’s thirst for revenge. She decides to train her daughters for war and incites the Celtic tribes to revolt against the formidable Roman army. Historical details about this event are mentioned in Book 14 of The Annals, a history of the Roman Empire from the years AD 14-68 by Roman historian and senator Tacitus.

As Boudica and her troops continue the destruction of the Roman settlements Camulodunum, Londinium, and Verulamium, the Roman general Paulinus (Christopher  Neiman), in a military campaign against the druids in the island of Mona, decides to regroup the 14th Legion and fight Boudica’s army in an epic an bloody battle.

Battlesong of Boudica depicts some of the war elements employed at the time. Boudica invokes the Icenic war goddess Andraste, releasing a hare as a divination technique. The play also shows the dances used by the Icenic warriors to boost their morale. Writer and director Christopher William Johnson uses chants, dances, spoken verse, and energetic action to depict the intensity of the violent battles carried out during the Imperial Rome. Some of the themes presented are colonialism, sexism, revolution, and multiculturalism, topics that continue to be relevant today.

Actress Jen Albert is the co-founder of The School of Night and an award-winning fight choreographer. She delivers a passionate and intense performance, portraying the painful and epic life of Boudica, one of the most iconic female figures in war history. Christopher Neiman also excels at his portrayal of the vicious and fearless Roman general Paulinus, carrying the weight of the unstoppable march of the most powerful empire of the time.

Battlesong of Boudica is a unique and primal saga with highly energetic stage fights that entertain all the way till the end. Be prepare for a night of exciting action and strong emotions in this moving Celtic heroic achievement. 

 Battlesong of Boudica

The Hudson Backstage 

6539 Santa Monica Blvd
Los Angeles, CA 90038

Sunday at 7 p.m.: April 9 (Opening)

Sundays at 3 p.m.: April 16, April 23, April 30

Monday at 8 p.m.: April 10 Pay-What-You-Can

Fridays at 8 p.m.: April 14, April 21, April 28

Saturdays at 8 p.m.: April 15, April 22, April 29

Tickets: https://school-of-night.ticketleap.com/battlesong-of-boudica/get-there/

Written, Directed, Production Design by Christopher William Johnson • Fights Choreographed and Produced by Jen Albert • Starring Daniel Adomian, Jen Albert, Tom Block, Colin A Borden, Payton Cella, Sara Gorsky, Brad C. Light, Chloe Madriaga, Chrisopher Neiman, Tristan Rewald, Lacey Rosewall, Lucy Schmidt, Allegra Rodriguez Shivers, Jack TenBarge, Jesse James Thomas, Frank Tirimacco, Dan Wingard • Presented by The School of Night. The creative team for Battlesong of Boudica includes lighting designer Aiden de Jong, Linda Muggeridge is costume designer, Ryan Beveridge is the composer and sound designer. Kate Coleman is the dance choreographer and Andrew Leman is the graphic designer. The stage manager is Michelle Elizabeth Vasquez.

 

Theatre Review: The Pilot Who Crashed the Party

Posted on by

The world premiere of The Pilot Who Crashed the Party is presented by Public Works Improvisational Theatre Foundation in association with Paul Sand Projects. Written and directed by Tony Award winning actor and Second City alum Paul Sand. Produced by Amanda Weier.

Sally (Jacqueline Wright) is celebrating her 50th birthday in her house up in the mountains in a stormy night when a small plane crashes into her house. The pilot (Sol Mason) manages to enter the house, but does not remember who he is, puzzling the party guests. The night then becomes a mystery when everyone tries to figure out the party crasher. The partygoers are Laura (Claudia Ferri), Ilo (Francis C. Edemobi), (Debra Lane), Daniel (Lee Boek), and the evening’s musicians (Yennie Lam on violin and Chris Rorrer on cello).

After consulting a medical book as a quick reference, the guests decide not to let the pilot sleep so he doesn’t fall into a coma. One by one, they take turns to keep him awake.  They all seem to like the pilot, except Daniel, who thinks the pilot is an intruder with bad intentions. When it’s Sally’s turn to care for the pilot, things heat up and take a new direction. 

Even though the play’s pacing in the first act feels a bit slow at times, it’s Jacqueline Wright’s sassy and hilarious performance that drives a great deal of the play’s action and comedy. Her voice and body language are a combination of classic Hollywood with femme fatale, a suitable complement to the mysterious feel of the play.

The second act is where the action really happens. Sally’s relationship with the mysterious pilot and the way Daniel snaps trigger the most memorable scenes of the play. The lighting and projections (lighting designer Azra King-Abadi, projection designer Fritz Davis) add striking elements to the action throughout the play. Paul Sand presents a story with overtones of mystery and passion with a sense of wonder. It’s up to the audience to deduce the ending. 

The Pilot Who Crashed the Party

Broadwater Theatre Main Stage
6320 Santa Monica Blvd.
Los Angeles, CA 90038

April 8 – May 7:
• Fridays at 8 p.m.: April 14, April 21, April 28, May 5
• Saturdays at 8 p.m.: April 8 (Opening), April 15, April 22, April 29, May 6
• Sundays at 3 p.m.: April 16, April 23, April 30, May 7

Tickets: www.onstage411.com/Pilot

Written and Directed by Paul Sand. Starring Marcia Lynn Anthony, Lee Boek, Francis C. Edemobi, Claudia Ferri, Debra Lane, Sol Mason, Jacqueline Wright. Musicians: Yennie Lam (violin) and Chris Rorrer (cello). Produced by Amanda Weier. Presented by Public Works Improvisational Theatre Foundation in association with Paul Sand Projects. The creative team includes scenic designer Jeff G. Rack; costume designer Linda Muggeridge; lighting designer Azra King-Abadi; sound designer Shoshana Kuttner; and projection designer Fritz Davis. The assistant director is Alex Hogy, and the production stage manager is Anna Kupershmidt.

 

 

The Pilot Who Crashed the Party poster
A scene from The Pilot Who Crashed the Party
A scene from The Pilot Who Crashed the Party
A scene from The Pilot Who Crashed the Party

Theatre Review: Blue

Posted on by

The World Premiere of Blue is presented by Rogue Machine. Written by June Carryl. Directed by Michael Matthews. Produced by Sara Fenton, Kila Kitu, Mildred Langford, Tarina Pouncy, and Betsy Zajko. A Rogue Machine Production.

As some police officers were seen participating in the events in the Capitol on January 6, 2021, writer June Carryl asks if there is a link between those events and some instances of police brutality. In Blue, police sergeant Sully (John Colella), who is White, is facing criminal charges in the killing of a Black veteran who was stopped for expired tags. Interrogating Sully about the incident is detective Parker (Julanne Chidi Hill), who is Black. We soon find out that they’ve known each other for a long time, but the initial friendly interaction starts to take a turn for the worst.

Sully and Parker’s husband were police partners, something that holds its own secrets and becomes crucial in the way Sully and Parker think of each other. Sully was also one of the cops seen participating in the Capitol riot on January 2021. A picture of his involvement in that incident is now being used to determine his bias towards the killing of the Black veteran. Once Parker asks more questions about the events that led to the shooting of the veteran, Sully discloses more details that start to reveal his real motivations and perhaps even his predisposition for violence and racism. 

The interaction between Sully and Parker is somehow a metaphor of the relationship between Blacks and Whites in America in a larger scale, friendly at times, but distrustful and sometimes even violent in other instances. One thing that stands out in Blue is the fact that negative emotions seem to be always close to the surface in a latent state, ready to explode at the first provocation. In the case of the two characters, their apparent close and friendly relationship didn’t erase the resentment that has existed for hundreds of years between both races.

Sully sees himself as a patriot, betrayed by society for upholding the law as a citizen and police officer. Parker sees herself as a victim of a system that still treats her as a second class citizen. Carryl’s script is sharp and painful, but as close to reality as it can be. Colella and Hill’s visceral performances will trigger strong emotions that, despite their vicious nature, feel cathartic at the end. Director Michael Matthews achieves of all of this with just a light, a table, and two chairs. The set is arranged as an interrogation room; it is a closed and suffocating space, “like a pressure cooker” in the words of Matthews. Blue is an unfiltered view of what lies under the surface of apparent civilized relationships. It is an impactful image that needs to be analyzed on our path to mutual understanding.  

Blue

ROGUE MACHINE (The Henry Murray Stage upstairs at the Matrix Theatre)
7657 Melrose Ave, Los Angeles, CA 90046. Street parking

Opening at 8pm on Friday, April 7, 2023
Schedule: 8pm Fridays, Saturdays, Mondays, 3pm Sundays
Closing: May 14, 2023

Tickets: roguemachinetheatre.org

Written by June Carryl. Directed by Michael Matthews. Cast: John Colella and Julanne Chidi Hill. Produced by Sara Fenton, Kila Kitu, Mildred Langford, Tarina Pouncy, and Betsy Zajko. A Rogue Machine Production. Creative team: Joe McClean and Dane Bowman (Production Design), Chris Moscatiello (Sound Design).

Blue poster
A scene from Blue
A scene from Blue
A scene from Blue

Theatre Review: Kiss of the Spider Woman

Posted on by

A Noise Within presents the adaptation of Kiss of the Spider Woman. Written by Manuel Puig. Translated by Allan Baker. Directed by Michael Michetti.

Whether in Lecumberri or Villa Devoto prison, the real people that suffered the state racism by the dictatorships in Latin America are well represented in Kiss of the Spider Woman. 

Molina (Ed F. Martin), a gay man accused of corruption of minors, shares a prison cell with Valentin (Adrián González), a Marxist political prisoner. Molina spends the time retelling film noir classics and impersonating their female protagonists. Despite his machismo, Valentin listens to Molina attentively.   

Set during the height of Argentina’s military regime, Molina and Valentin are symbols of duality, oppression/liberation, masculine/feminine, public/intimate. They challenge the state’s intention to own and control people’s minds and bodies through intimidation. During the play, we hear background noises of torture. Outside, the brutality of the Argentinian repressive regime. Inside, the freedom to dream and live new experiences.

Valentin changes throughout the story, from a world of ideals to change the world to the cruel reality of life in a prison cell, torture and depression included. As Valentin starts to loose hope under those circumstances of extreme desolation, raw emotions bring his defense barriers down, exposing his deepest fears: The fear to fail, the fear to die, the fear to love. Once liberated, Molina becomes the protagonist, in real life, of one of the heroines of his movies, an ultimate expression of sacrificial love.

Martin and González are extraordinary in portraying the frustrations and hopes of a whole generation that the characters represent. They bring to the stage rich and complex textures of psychological and emotional endurance and transformations, taking the audience to uncharted territories with humor, wit, and sensuality. Director Michael Michetti shows his brilliant directorial skills using a simple but effective scenic and lighting design (scenic designer Tesshi Nakagawa; lighting designer Jared A. Sayeg), allowing the dialogue to drive most of the play. A voice-over is used for the additional characters and to relate Molina and Valentin’s fate. 

The last scene in the play is a poetic picture. As Molina walks away to his freedom, the walls of the prison cell start to drift away from Valentin, who stays behind, alone. It is the beginning of a painful physical separation, but the seal of an everlasting spiritual connection.

Kiss of the Spider Woman

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

Performances April 1–April 23
• Thursdays at 7:30 p.m.: April 6, April 13; April 20
• Fridays at 8 p.m.: April 7**, April 14**; April 21**
• Saturdays at 2 p.m.: April 8, April 15; April 22 (no matinee on April 1)
• Saturdays at 8 p.m.: April 1 (Opening Night); April 8***, April 15; April 22
• Sundays at 2 p.m.: April 2; April 9**, April 16; April 23

**Post-performance conversations with the artists every Friday and on Sunday, April 9.
***Join the Trans Chorus of Los Angeles for a performance of pieces inspired by Kiss of the Spider Woman before the 8 p.m. show on Saturday, April 8.
An INsiders Discussion Group will be held on Tuesday, April 18, from 6 p.m.–8 p.m. on Zoom ($38 per individual or $45 per household).
There will be one student matinee at 10:30 a.m. on Wednesday, April 19. Interested educators should email education@anoisewithin.org.

Tickets: www.anoisewithin.org

Adult content: recommended for mature audiences ages 18 and up.

Adapted for the stage by Manuel Puig from his novel “El beso de la mujer araña”. Translated from the Spanish by Allan Baker. Directed by Michael Michetti. Starring Adrián González and Ed F. Martin. Presented by A Noise Within, Geoff Elliott and Julia Rodriguez-Elliott, producing artistic directors.

Creative team: The A Noise Within production will feature an original, tango-inspired score by composer Alex Mansour. Scenic designer Tesshi Nakagawa; lighting designer Jared A. Sayeg; sound designer Robert Oriol; costume designer Carolyn Mazuca; properties designer Stephen Taylor; dramaturg Dr. Miranda Johnson–Haddad; intimacy director Carly DW Bones; and casting director Victoria Hoffman. The assistant stage manager is Karin Naono, and the production stage manager is Lucy Houlihan.

A scene from Kiss of the Spider Woman
Kiss of the Spider Woman. Ed F. Martin and Adrián González. Photo by Craig Schwartz.
A scene from Kiss of the Spider Woman
Kiss of the Spider Woman. Ed F. Martin and Adrián González. Photo by Craig Schwartz.
A scene from Kiss of the Spider Woman
Kiss of the Spider Woman. Ed F. Martin and Adrián González. Photo by Craig Schwartz.
Kiss of the Spider Woman poster
Kiss of the Spider Woman

Theatre Review: Picnic

Posted on by

Odyssey Theatre Ensemble presents a revival of Picnic, a play written by Pulitzer Prize winner William Inge. Directed by multiple award winner John Farmanesh–Bocca. Produced by Beth Hogan in association with Isabel and Harvey Kibel.

John Farmanesh-Bocca set his version of William Inge‘s Picnic a little bit later than the original play. He transfers the story to the 1960s, at the beginning of America’s involvement in Vietnam. This period exemplified the dreams and frustrations that run deep in a country still healing from the consequences of World War II. Within this environment, we find Madge Owens (Mattie Harris Lowe), who is in a relationship with wealthy Alan Seymour (Ahkei Togun). Madge, however, finds herself dissatisfied, yearning for more. It is in that setting of rural communities of necessity that the rest of the characters interact and listen to each other’s problems and aspirations.

A sudden disruption occurs when the attractive drifter and Alan’s friend Hal Carter (Monti Washington) arrives in town, charming the women with his looks and demeanor. Caught in the middle of emotions, Madge also falls for him. Hal’s condition as an underdog is even more compelling to Madge, who is so smitten with him that she contemplates the possibility of leaving behind her family and breaking up with Alan to run away with Hal. 

Another character representing rural America and the aspirations of a better life is Madge’s younger sister, Millie (Symphony Canady), who has artistic inclinations and wants to try new opportunities in New York. Also in the picture is Rosemary Sydney (a fantastic Sydney A. Mason). She’s a schoolteacher who’s desperate to get married and finds storekeeper Howard Bevan (Derrick Parker) her perfect match, specially after a night of drinking and dancing.

The rest of the characters are Madge and Millie’s mother, Flo Owens (Yolanda Snowball), neighbor Mrs. Helen Potts (Rosemary Thomas), Bomber (Rogelio Douglas III), Rosemary’s fellow schoolteachers Irma Kronkite (Erika L. Holmes) and Christine Schoenwalder (Caitlin O’Grady).

The play contains hints of romance, humor, sexual awakening, and historical significance. The characters’ traits are a rich tapestry of the American experience. The characters could be Black, White, Latinos, or Asians and still resonate with the same impact. 

Picnic is a sublime painting of the American heartland, a meaningful play with a ray of hope in the face of emptiness. The direction and the cast give a refreshing and meaningful rendition to William Inge’s exceptional script; a story set in a small Kansas town on a Labor Day picnic that says so much of what America was and what it has become, for better or worse.   

Picnic

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

Performances: March 25 – May 28
• Wednesdays at 8 p.m.: May 10*, May 17 ONLY
• Fridays at 8 p.m.: April 28**, May 19**, May 26 ONLY
• Saturdays at 8 p.m.: March 25 (Opening), April 1, April 8, April 15, April 22, April 29, May 6, May 13, May 20, May 27
• Sundays at 2 p.m.: April 2, April 9, April 16, April 23, April 30, May 7, May 14, May 21, May 28
• Mondays at 8 p.m.: April 17*, April 24, May 8 ONLY
*Post-performance discussions on Monday, April 17 and Wednesday, May 10
**Wine Nights on Friday, April 28 and Friday, May 19 complimentary wine and snacks and after the show.

Tickets: odysseytheatre.com

Written by William Inge. Directed by John Farmanesh-Bocca. Starring Symphony Canady, Rogelio Douglas III, Mattie Harris Lowe, Erika Holmes, Sydney A. Mason, Caitlin O’Grady, Derrick Parker, Yolanda Snowball, Rosemary Thomas, Ahkei Togun, and Monti Washington. Produced by Beth Hogan for the Odyssey Theatre Ensemble in association with Isabel and Harvey Kibel. Presented by the Odyssey Theatre Ensemble, Ron Sossi Artistic Director.

Creative team includes set designer Frederica Nascimento, lighting designer Chu-Hsuan Chang and costume designer Mylette Nora. Farmanesh-Bocca co-designs sound with Jeff Gardner and (posthumously) Adam Phelan, and co-choreographs alongside Briana Price. The stage manager is Terrance Stewart.

 

Picnic poster
Picnic
A scene from Picnic
Picnic. Sydney A. Mason and Derrick Parker. Photo by Jenny Graham.
A scene from Picnic
Picnic. Monti Washington and Mattie Harris Lowe. Photo by Jenny Graham.
A scene from Picnic
Picnic. Ahkei Togun, Monti Washington, Symphony Canady, and Rosemary Thomas. Photo by Jenny Graham.

Theatre Review: The Thin Place

Posted on by

The Echo Theater Company presents the California Premiere of The Thin Place. Written by Lucas Hnath. Directed by Abigail Deser. Produced by Chris Fields and Chelsea Spirito.

Eerie experiences continue to happen to Hilda (Caitlin Zambito). First, it was the death of her grandma, then it was the sudden disappearance of her mom. Adding more mystery to her life, Hilda befriends the enigmatic Linda (Janet Greaves), a psychic who seem to be the link between this world and the afterlife.

As Hilda continues to ponder possible clues to her mom’s whereabouts, Linda’s source of income and the powerful connections she has achieved as a psychic become more intriguing and build up the suspense of the story. 

Lucas Hnath (A Doll’s House, Part 2, A Public Reading of an Unproduced Screenplay About the Death of Walt Disney) continues to write exceptional stories with outstanding female voices. Hilda has shades of fragility, determination, and curiosity that lead her to take a leap into the unknown. The dynamic relationship between Hilda and Linda permeates the story with a sense of wonder all the way till the end.

Hnath includes two additional characters, Jerry (Justin Huen) and Sylvia (Corbett Tuck) that question and validate Linda and Hilda’s motivations and circumstances. These two characters appear almost out of the blue, but become pivotal accessories to move the story forward and shape the contradictions of Linda’s personality.

Director Abigail Deser worked with the actors for two months and achieved extraordinary results. Her work captures the play’s mysticism vividly, bringing the audience closer to the fine line between light and darkness, the place where the material world meets the supernatural realm. To enhance the unnerving nature of the play, Deser and scenic designer Amanda Knehans use innovative lighting (lighting design by Matt Richter, Hayden Kirschbaum) and sound (sound design by Alysha Grace Bermudez) to add an aura of mystery and esotericism to the stage.        

Hnath’s play is a gem. It’s a mystical journey to a region known as The Thin Place, a space where our senses of wonder, bliss, and silent euphoria are awaken. As Hilda and Linda reveal in the play, this space, real or imaginary, emanates from the noble desire to stay in touch with the loved ones we have lost, if only we hear the message with the third eye.  

The Thin Place

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

PARKING:
FREE in the Atwater Crossing (AXT) lot one block south of the theater

Performances: March 18 – April 24
• Fridays at 8 p.m.: March 24, March 31, April 7, April 14, April 21
• Saturdays at 8 p.m.: March 18 (opening night), March 25, April 1, April 8, April 15, April 22
• Sundays at 4 p.m.: March 26, April 2, April 9, April 16, April 23
• Mondays at 8 p.m.: March 27, April 3, April 10, April 17, April 24

Tickets: echotheatercompany.com

Written by Lucas Hnath. Directed by Abigail Dreser. Starring Janet Greaves, Justin Huen, Corbett Tuck, Caitlin Zambito. Presented by The Echo Theater Company, Chris Fields artistic director. Creative team: Scenic design by Abigail Deser and Amanda Knehans, lighting design by Matt Richter, sound design by Alysha Grace Bermudez and costume design by Dianne K Graebner. The associate producer is Chelsea Spirito, and the production stage manager is Irene Lee. Chris Fields and Kelly Beech produce for the Echo Theater Company.

The Thin Place poster
A scene from The Thin Place
A scene from The Thin Place
A scene from The Thin Place

Theatre Review: Let Me In

Posted on by

Let Me In is produced by DSE Productions and Theatre Planners. Written and directed by Brynn Thayer.

Red Casey (Rachael Meyers) is desperate trying to get Bobby Hawk (Bryan McKinley) out of the room to attend a funeral. That’s when veteran NYPD cop Hamilton Steele III (Jorge Garcia) shows up to investigate the commotion. From there, the characters start exposing facets of their lives and personalities that turn out quite surprising at the end. 

Playwright and Director Brynn Thayer sets the story in New York, a metropolis like many other that can accentuate the overwhelming effects of loneliness, depression, and anxiety, some of the feelings that are shaping the lives of the three characters. Bobby just lost his fiancée in a tragic car accident. That same day, she decided to cancel the wedding. To complicate things, he has been having an affair with Red for quite some time, triggering a sense of guilt on both of them in unexpected ways. As they explore their feelings, they start to question the validity of their relationship. 

Hamilton seems to be the person that brings some kind of stability to the situation. He is decided to do something significant one day before his retirement. His personality gains the trust of Bobby and Red so much that they decide to attend Bobby’s fiancée funeral, leaving Hamilton to watch over the apartment.  

The story is a dark comedy that touches upon several topics such as isolation, loss, guilt, and the urgent need of human connection. However, the play also compels to identify the signs of depression and its underlying core issues to avoid devastating consequences.

Thayer selected three experienced actors that bring a superb performance that makes this play a pleasure to watch. Their timing and chemistry create a dynamic story that navigates fluently between comedy and tragedy. The set design (Joel Daavid, Set Designer) shows the careful attention to detail placed on this production; the objects, the textures, and the balcony give a vibrant touch to the story.

Let Me In

Theatre 68 Arts Complex – The Rosalie
5112 Lankershim Blvd.
North Hollywood, CA 91601

Written and Directed by Brynn Thayer. Starring Jorge Garcia, Bryan McKinley, and Rachael Meyers. Produced by Misha Riley for Theatre Planners. Presented by DSE Productions.

Performances: Feb. 25–April 2
• Saturdays at 8 p.m.: Feb. 25 (Opening); March 18; March 25; April 1
• Sundays at 2 p.m. and 7 p.m.: March 19; March 26; April 2

Tickets: www.theatre68artscomplex.com

Creative team for Let Me In includes scenic designer Joel Daavid, lighting designer Gavan Wyrick, sound designer Joseph “Sloe” Slawinski and costume designer Mylette Nora. The production stage manager is Angelica Estevez.

 

 

Let Me In poster
A scene from Let Me In
A scene from Let Me In
A scene from Let Me In

Theatre Review: La Egoista

Posted on by

Skylight Theatre Company Presents the West Coast Premiere of La Egoista. Written by Erlina Ortiz. Directed by Dr. Daphnie Sicre. Produced by Gary Grossman for Skylight Theatre Company. Associate Producer is Tyree Marshall.

Almost like a sinister coincidence, La Egoista opened up a few days before the tragic event in Germany. Of course, the comparisons will be inevitable and they might trigger strong reactions both positive and negative to the story. But the main focus on Erlina Ortiz‘s play is the challenging balance of following one’s dreams and finding the time to take care of a family member in need.

Josefina (Lys Perez) is a rising stand-up comic, always on the move, trying to book more gigs. Her sister Betsaida (Chanel Castañeda) suffers from a debilitating medical condition that requires spending time at the hospital. One of the conflicts of their relationship is the fact that Betsaida is a Jehova’s Witness. Josefina left the religion and the house to pursue her own dreams while her mom was sick, something that comes up as they argue about family responsibilities. The passing of their mom and Betsaida’s condition become stressful experiences that can either strengthen or weaken their relationship.   

Dr. Sicre delivers a creative and less passive play that turns experimental at times, allowing the audience to participate and become more invested in the characters and story. On Friday, this worked out as a hilarious scene in itself. Another interesting aspect of the play is the set (Scenic Design: Stephen Gifford), the downstage is the stage where Josefina performs, while the center upstage becomes the hospital and the sisters’ house. The puppets (Puppet Design: Christine Papalexis) are turned into characters in various scenes and serve as comedic elements as well. The cross-cutting scene highlights the contrasting personalities and realities of Josefina and Betsaida, a hint of the inevitable drifting away from each other.

The character of Josefina drives most of the story and Perez shows her comedic and dramatic skills on every scene, delivering a touching portrayal of hope in the face of uncertainty.

La Egoista

Skylight Theatre
1816 1⁄2 North Vermont Ave.
Los Angeles, CA. 90027

March 4 – April 9

Opening: 8:30pm Saturday, March 4, 2023
Schedule: 8:30pm Fridays, Saturdays, 3:00pm Sundays, 7:30pm Mondays
(No performance on Monday, March 6)
Closing: April 9, 2023

Tickets: skylighttix.org

Written by Erlina Ortiz. Directed by Dr. Daphnie Sicre. Produced by Gary Grossman for Skylight Theatre Company. Associate Producer: Tyree Marshall. Cast: Chanel Castañeda and Lys Perez.

Scenic Design: Stephen Gifford. Lighting Design: Karyn Lawrence. Costume Design: Mylette Nora. Sound Design: Cristian Amigo. Prop Design: Michael O’Hara. Puppet Design: Christine Papalexis.

 

La Egoista poster
A scene from La Egoista
A scene from La Egoista
A scene from La Egoista

Theatre Review: Happy Birthday McKenna

Posted on by

The world premiere of Happy Birthday McKenna opened up on March 3 at the Hudson Backstage Theatre. Written and directed by Steve Silverman. Produced by Steve Silverman and Kathleen O’Grady.

Family is an essential building block of society. Family is the place to instill values that will last forever. Family is a powerful nucleus that determines the development of individuals and the way they will function in the world. And then there is McKenna’s family, a hodgepodge of secrets, insecurities, and bad relationships. 

The play starts with Ray (Michael Dempsey) and Carolyn (Heather L. Tyler) getting everything ready for the 3 year old surprise birthday party for Carolyn’s niece, McKenna, a mischievous girl that has already caused some physical harm to a few family members. Arriving to the party are Carolyn’s siblings, Tommy (Ben Holtzmuller) and his husband Parker (Colbert Alembert), Deb (Tracey Rooney), Ed (Ryan Woods) and his girlfriend Julie (Stakiah Lynn Washington), and Martin (Karl T. Wright) with his second wife Lucille (Sara Ballantine). Martin was married to Barbara, the sibling’s mom. Barbara passed away and is buried in Chicago and now Tommy wants to take her remains with him to Santa Barbara. Tommy’s intentions trigger a series of recriminations among the siblings and Martin, requiring Irene’s (Mari Weiss) urgent intervention.

Tommy’s goal becomes a conflicting element that drives much of the play. His intentions will not only exhume their mom, but also the secrets that will have a profound effect on the lives of the other siblings. All of that in a party for a 3 year old girl who is not even present. McKenna’s parents, Ed and Julie, decided to leave her with Julie’s mom.  

Revelation after revelation, the story becomes a hilarious melange of buried secrets, family bonds, and failed relationships, all while the characters experience the inexorable passage of time. The dark comedy nature of the script and the brilliant performances of the actors create a fascinating collage of conflict, emotion, and entertainment. This is an example of Steve Silverman’s capacity to deliver an extraordinary theatre experience. His skills as a writer and director are evident in the rich characterization achieved in this remarkable play.

Happy Birthday McKenna

Hudson Backstage Theatre
6539 Santa Monica Blvd
Los Angeles, CA  90038
Valet Parking 

Fri, Mar 03 – Sun, Mar 26
Fri, Sat 8pm
Sun 7pm

Tickets: hbmtheplay.com 

Written and directed by Steve Silverman. Produced by Steve Silverman and Kathleen. O’Grady. Cast: Colbert Alembert, Sara Ballantine, Michael Dempsey, Ben Holtzmuller, Vanessa Marshall (“Irene” – 3/24, 3/25, 3/26), Tanya Perez (“Irene” – 3/17, 3/18, 3/19), Sigi Ravet (”Deb” – 3/17 – 3/26), Tracey Rooney (“Deb” – 3/2 – 3/11), Faith Salie (“Irene” – 3/10, 3/11), Heather L. Tyler, Stakiah Lynn Washington, Marie Weiss (“Irene” – 3/2, 3/3, 3/4, 3/5), Dylan Wittrock (“Tommy” – 3/17 – 3/26), Ryan Woods, and Karl T. Wright. Stephanie Alecia Rose, Assistant Director. Victoria Hoffman, Casting Director. 

 

Happy Birthday McKenna poster
Happy Birthday McKenna
A scene from Happy Birthday McKenna
Happy Birthday McKenna. Cast. Photo by Steve Silverman.
A scene from Happy Birthday McKenna
Happy Birthday McKenna. Michael Dempsey and Heather L. Tyler. Photo by Steve Silverman.
A scene from Happy Birthday McKenna
Happy Birthday McKenna. Karl T. Wright, Sara Ballantine, Mari Weiss, Stakiah Lynn Washington, and Ryan Woods. Photo by Steve Silverman.

Theatre Review: Love and Information

Posted on by

Antaeus Theatre Company presents Love and Information. Written by Caryl Churchill. Directed by Emily Chase.

Love and Information is like a social media session, lots of information to digest at once. However, that might’ve been Churchill’s intention when she wrote the play, to express the difficulty of processing the avalanche of information to which our brains get exposed in modern days.

This is a fragmented play in which all actors play different characters in different scenes. Churchill’s play is a mosaic of human experiences, relationships with other humans, and our relationship with technology. Within that mayhem, we see multiple short scenes where characters misinterpret information, connect with others, and get lost in virtual worlds. Another topic in the play is memory. The endearing memories of family moments, remembering relatives, places, and events. But also the lack of memory, due to dementia, Alzheimer’s, or both, and the devastating effects on the loved ones. 

The play also shows the intrinsic need of human connection despite the advances in technology. There is a scene where an older woman is telling a story to two young children. That scene shows one of the most ancient forms known to humans to share and pass along wisdom and information from generation to generation: Storytelling. The situations depicted in the scenes are references to the various aspects of the human experience since the very beginning, our relationship with the universe, the need of intimacy, and the search for love. 

The cyan shades (Frederica Nascimento, scenic design) give a dreamy and mystic aura to the set and the projections (Ly Eisenstein, projection design) are used creatively to represent the modern use of screens as communication devices and to show the frenetic processing of information within our brains. 

The eight actors deliver outstanding performances using movement and dialogue to enhance the meaning of the play. And of course, the brilliant direction by Emily Chase, whose cast choices and organization of the scenes and blocking achieve a powerful and emotional performance.          

Love and Information

Written by Caryl Churchill. Directed Emily Chase. Starring John Apicella, Anne Gee Byrd Everybody, Darius De La Cruz, Kwana Martinez, Kevin Matsumoto, Erin Pineda, Lloyd Roberson II Hamlet, and Zoe Yale. Presented by Antaeus Theatre Company.

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

Performances: March 3 – April 3
• Fridays at 8 p.m.: March 3 (Opening), March 10, March 17, March 24, March 31
• Saturdays at 2 p.m.: March 11, March 18, March 25, April 1 (no matinee on March 4)
• Saturdays at 8 p.m.: March 4, March 11, March 18, March 25, April 1
• Sundays at 2 p.m.: Feb. 26 (preview), March 5, March 12, March 19, March 26, April 2
• Mondays at 8 p.m.: March 13, March 20, March 27, April 3 (dark March 6)

Tickets: antaeus.org

Creative team: Scenic designer Frederica Nascimento, costume designer Angela Balogh Calin, lighting designer Christine Ferriter, sound designer John Zalewski, projection designer Ly Eisenstein, and properties designer Katie Iannitello. Carly DW Bones is the intimacy director, Kaite Brandt is the assistant director, Jess Osorio is the assistant stage manager, and Karen Osborne is the production stage manager.

Love and Information poster
A scene from Love and Information
A scene from Love and Information
A scene from Love and Information