MARGOT ROSE "UNCONDITIONAL" AT THE SKYLIGHT

I cannot recall how long ago I reviewed, SORDID LIVES, one of Del Shores' pithy plays with a Texas Twinge.. It was there I saw for the first time the talent of Margot Rose: singer, actor, song writer and after a few years?  "Marme" to twins.

Margot Rose

Margot's beautifully produced memoir with music currently at The Skylight Theatre on Vermont features the talents of five musicians including Melina Young as Nora around whom Margot's 'unconditional love' revolves.  Ms Young provides the voice of Margot's daugher, Nora, in nice harmony with equal billing to percussionist Justin Lottie, keyboard/conductor Aaron Benham , Novi Novog on violin and Larry Tuttle on electric bass.

No expense has been spared to creat what feels a little like a posh Cabaret/Jazz Club. Set by Tommy Brown. Uncredted lights  are great.

Margot's hopscotch tale comes loose in chronological time over years of bliss and challenges with her former partner, Pat, who served as the vehicle for the birth of the couple's twins.  Foreshadowing comes to a passionate conclusion  showcasing  Margot's considerable musical talents.

The beautiful program for the show gets a nod because it's classy, sharing names and photos of the talented cast.

Director Anne Kenny's hand is subtle. Kenny has worked with Margot for years to fine tune this heart rending memoir.

Margot Rose is a suigenerous  survivor: extolling her sober age of 73.  The ebb and flow of her story shares her devotion to the memory of the good times and some sad ones.  

 

Performers: Margot Rose (Playwright/Performer), Melina Young (Singer), Aaron Benham (Musical Direction/Arrangements), Justin Lottie, (Drums) Novi Novog (Violin), Larry Tuttle (Guitar).

 

Production Team: Tommy Brown (Scenic Design), William Mellon (Producer), Nico Parducho (Stage Manager) Photos Sherry Rayn Barnett

 

What: “UNCONDITIONAL, A Musical Memoir”

Written and performed by Margot Rose

Directed by Anne Kenny 

Produced by William Mellon

Musical Direction/Arrangements by Aaron Benham

Recommended for ages 14+

 

Description: In the wake of one of life’s most profound challenges, Margot Rose’s UNCONDITIONAL, A Musical Memoir forges a path to resilience with a commitment to go on in a world of unpredictability. This is a true story of dedication and loss; community and love, in which two women, already in their mid-forties, went to extraordinary lengths to have kids. After a tragic loss, the family would be thrown into a spiral that, once again, forced them to grapple with the question – how do we become (and stay) a family? How are we able to go on?

 

Where:

Skylight Theatre

1816 ½ North Vermont Ave.

Los Angeles, CA. 90027

Parking information: http://skylighttheatre.org/plan-your-visit/

When: Previews 7:30pm on February 13, 14

Opening: 7:30pm Saturday, February 15, 2025

Schedule: 7:30pm on Thursdays, Fridays & Saturdays; 3pm Sundays

No performances on 2/28, 3/1, 3/2

Closing: March 9, 2025

 

How: Ticketing at https://www.unconditionalmusical.com/. More information: 818-749-6842.

 

How Much: Previews $20

Opening night tickets $40

Regular: $30

Discounts: Students and Seniors 10%

Antaeus prsents Twelfth Night

In the final scenes of director John Madden's "Shakespeare in Love," Shakespeare (Joseph Fiennes) .now smitten with his girl to boy actress/boy to girl: GIRL, Juliet (Gwyneth Paltrow as Viola),  he rushes to his parchment,  shapens his quill and sets forth with a new play for Twelfh Night at the request of Queen Elizabeth 

Open Act I Scene 1.. Shipwrect and a castaway maiden... Viola.

If you are familiar with the play? Good.  if not  go to Cliff Noes and refresh.   It's a comedy of cross dressed disguise and challenging wordplay and eventually .. as the Geoffrey Rush character says in the film.. It all works out! Great!

 

Director Armin Shimerman's reputation for knowledge of The Bard is well known. Antaeus Theatre Company's dedication to 'the classics' is right up there, too and this production reflects a wonderful use of the space in Glendale with a tribute to how the beautiful stuff of four hundred years ago...  .as our ears adjust to Elizabethan dialogue.. a fun time may be had by all. 

Shimerman's direction adds depth and good humor with swift action that pulls it all together. The mark of good direction is that each and all of the charcters/actors is in the same play  at the same time... 

Well.. ...except for Joel Swetow's  Malvolio, who knocks it out of the park with the passions of The Master Thespian!  Appropriately!

Quick synopsis? Shipwreck!   Twins tempest tossed on different distant shores. Viola  (Liza Seneca) becomes Cesario and snuggles up to Orsino, the Duke, played by David DeSantos, smitten with Olivia.

   Belch makes mischief. Jocularity ensues. Not drowned at sea, Sebastian (Isaac Ybarra ) shows up.  All's Well, etc. 

Here comes a slight 'quibble' as an actor pal of mine might say.  Shimerman's double   casting slightly challenges the audience with a couple of uses of the same actors for different roles.  If you are familiar with the plot, properly abandoning disbelief and going with the flow, it all works out. Referring to the program helps. .  

Flip side of this tiny note is the choice to double cast Kitty Swink.. one of my very favorite actresses for a long time.. as the crusty Maria (pronounced Mar eye uh) who is smitten with Sir Toby (Rob Nagle) and takes no prisoners..She also plays the rascal, Fabian. Slap a mustache on her and a cool hat and we have some fun.

 Liza Seneca's transformation from Viola to the man servant, Cesario is very clever and as long as you go along with the story, works beautifully.   

Stamndout John Allee as Feste (the Fool!) may be.. as Shimerman suggests . the only truly sane person on the stage.  His great physicality and professional piano chops give the production nice boosts of energy, especially with the finale  Hey Ho The Wind and the Rain!

 As with every Antaeus production I've reviewed. for years.. the sets are imaginative and functional and beautiful.  Christopher Scott Murillo is the designer and Vickie J. Scott's gorgeous lighting keep the flow of the action moving well.  

Kate Burg's  'modern' dress costume designs are rustic and earthy, making the characters more down  to earth than  if we'd seen them in Elizabethan finery.  

A fun surprise is Alberto Isaac as Sir Andrew Aguecheek.  Shakepeare describes  him as a sort of an Ichabod Crane. Mr. Isaac is five two and plays it broadly.

Veralyn Jones  as Olivia wears her mourning weeds well and is risen from the funk of her departed brother's passing  to find Cesario pretty interesting as does Count Orsino (David DeSantos) as well with very mixed and confused emotions  flying left and right when it comes to Viola / Cesario..

Know the story. If you are familiar with the plot and tune your ear to the language, be prepared to rise and sing along with  Feste and the cast:

Hey Ho.. The Wind and the Rain.. 

TWELFTH NIGHT

by William Shakespeare

Antaeus Theatre Company

110 E Broadway, Glendale, CA 91205

 Now through March 17, 2025

Save Your Seats Now!
Single Tickets start at $45, or SUBSCRIBE and see Twelfth Night and The Glass Menagerie for $60 

Cast:
FESTE: John Allee  
ORSINO/POLICE OFFICER: David DeSantos 
ANDREW AGUECHEEK/CURIO: Alberto Isaac  
OLIVIA: Veralyn Jones .jones
ANTONIO/OLIVIA’S VALET: Luis Kelly-Duarte
TOBY BELCH: Rob Nagle
VIOLA: Liza Seneca
MALVOLIO/SEA CAPTAIN/POLICE OFFICER: Joel Swetow
MARIA/FABIAN: Kitty Swink 
SEBASTIAN/SAILOR: Isaac Ybarra 
 
 

CREW:

Scenic Designer: Christopher Scott Murillo  

Costume Designer: Kate Bergh
Lighting Designer: Vickie J. Scott
Sound Designer: Carter Dean .
Properties Designer: John McElveney
Composer/Music Director: John Allee
Intimacy Director: Jen Albert
Scenic Assistant: Carter Vickers
Production Stage Manager: Jessaica Shields
Production Dramaturg/Assistant Director: Kaite Brandt 

Assistant Stage Manager: Jess Osorio 

Exchange Parking Structure

Address: 115 North Artsakh Avenue
Number of Spaces: 694
Rates: First 90 minutes free, $2.00/hour, Maximum daily charge: $9.00
With validation: $1 for up to four hours

Marketplace Parking Structure

Address: 120 Artsakh Avenue
Number of Spaces: 1,124
Rates: First 90 minutes free, $2.00/hour, Maximum daily charge: $9.00
With validation: $1 for up to four hours

 

Recommended for Ages 10+

Run Time: 2 hours and 30 minutes, including one 10 minute intermission.

We have Free Special Events Following These Shows:

Sunday, February 16 at 2:00pm - After Words: A casual post-show discussion with Artistic Director Nike Doukas, exploring how the show resonated, raising new questions, and continuing the conversation.

Monday, March 3 at 8:00pm - Meet the Artists: A post-show conversation with the actors, where they share insights, behind-the-scenes stories, and answer your questions.

EVANSTON SALT COST CLIMBING at Rogue Machine

Author Will Arbery 's "Evanston Salt Costs Climbing"...     Rogue Machine's first effort with new Artistic Director, Guillermo Cinefuentes, offers at least a partial  answer to the question "What might happen if Samuel Beckett met Michael McClure's  The Beard?"  In Rogue Machine's West Coast Premiere, the voice of the playwright is heard clearly in each of his four strong eclectic characters whose dialogue turns on suicide, death, exitential angst and the issue of the best way to make the roads in Evanston, Illinois safe when the snows fly and the icy roads become slick and dangerous.  It's a comedy of sorts.

Michael Redfield  (Right)  as Peter and Hugo Armstrong as Basil

 

Brilliant performances by Michael Redfield  as Peter and Hugo Armstrong as Basil with Peter being the guy most conflicted with situations in his life.. considerng suicide.  When the 'FUs' start flying, we see the loving comradery that Peter and Basil share. They are  the salt truckers who spread salt on winter roads in  Evanston, Illinois and survive the Angst of Life.  

Lesley Fara (Maiworm) is excellent as   supervisor for Public Works and grateful for Basil's attention in the mix. She appears and disappears along with the mysterious woman in the purple hat. 

   

Kaia Gerber  is wonderful as Maiworm's daughter Jane, Jr.  with her glass shattering screams she presentss another of the playwright's voices whose anxiety and dreams congeal in a final loving rendition of John Prine's Angel from Montgomery. 

The basic theme of Salt seems to be the appreciation of   life.. and death... with side trips to angst,  doubt and changes in the confidence of each of the four characters. .

The fundamental essence of Rogue Machine Theatre .. as I've come to appreciate this company over the years, turns on cutting edge theatre that challenges the company as well as their loyal audience.  This is a play to be experienced.

 

Full disclosure.  I have known Michael Redfield (Peter) all of his life and am a fan. The challenge that he and fellow trucker Basil (Hugo Armstrong) share, along with Maiworm and Jane Jr. is to sustain a relentless pace in an existential and slightly loopy scenario.  Director Cienfuegos  boosts the the banter  with appropriate physical movement  choreographed by Myrna Gawryn.  Dan Weingarten's Lighting Design and Chris Moscatiello's Sound Design are spot on.  Mark Mendelson's scenic Desig :  spectacular

  

Arbery's text echoes Beckett occasionally, but it all comes back to the author's own angst and how to deal with it.. The wide stage at the Matrix is  perfect for this piece AND!  the air conditioning for the Sunday Matinee brought the icy chill of Evanston, which prompts an advisory to bring a sweater!

 

Cast

Hugo Armstrong as Basil

Lesley Fera as Maiworm

Kaia Gerberas Jane Jr.

Michael Redfield as Peter 

PRODUCTION TEAM: Mark Mendelson (Scenic Design), Dan Weingarten (Lighting Design), Chris Moscatiello (Sound Design), Christine Cover Ferro (Costume Design), Jenine Mac Donald (Prop Design), Michelle Hanzelova-Bierbauer (Projection Design), Victoria Hoffman (Casting), Myrna Gawryn (Movement Director/Intimacy Coordinator), Rachel Ann Manheimer (Stage Manager), Grant Gerrard (Technical Director)

"Evanston Salt Costs Climbing"

bu Will Arbery

Directed by Guillermo Cinfuegous

 ROGUE MACHINE (in the Matrix Theatre)

7657 Melrose Ave, Los Angeles, CA 90046

(street parking)

 8pm Fridays, Saturdays&Mondays; 

3pm Sundays 

(No performances on February 10)

Closing: March 9, 2025

 Reservations https://www.roguemachinetheatre.org/

Information 855-585-5185

 

General Seating on Fridays and Saturdays: $60

General Seating on Sundays and Mondays: $45

Seniors: $35

Students with ID and children under 18: $25

Shows4Less: Mondays, February 17 ($20+) February 24 ($25+)

Photos by Jeff Lorch

Eclectic and challenging MOTHER SISTERS

 

 What a chance meeting in Pasadena has turned into is a Trip in the literal sense of the word. Thanks to an ingenious way to produce a play and the serendipity of finding the most unique space in all of Los Angeles to produce a show in, Makela Vogel has invited special women in her life, her Aunties (I think her mother's sisters)  from a huge family,  to share. She tells their stories with simple costume changes and a bit of attitude boosted by interstitial musical themes.

Finding Claire Graham's fantastic studio at Avenue Fifty and York is your first challenge.  Look for the amazing new marquee at the Bob Baker Theater and then with any luck at all, you'll find parking. Go early and meet the guys across the street creating huge burritos.. What ever you do..  cross only at the stop light.  Streets are dark and the traffic is in a hurry.

Prepare to enter a whole new world, Ariel. Graham's studio / performance space contains a collection of wonderful artifacts that help..in an odd juxtaposition  to set the scene for Ms Vogel's very personal tribute to her family.

It takes a while to understand.. at least for me, (there was no program for references) to get it that each of the actress's monologues turns on special women in her life: Ms Vogel's real life aunties whom she interviewed and took verbatim notes to present their stories  in their own words. 

It's personal.  

The stage setting is a seat of the pants deal.  If you are not well padded, bring a cushion!  

This sort of autobiograhical stuff is a great way to expose some very deep feelings and, in a way.. work them out to share the wonderfulness of your family.  

On a tiny "stage" in the MorYork space, we are basically in a straight forward proscenium situation. One note: sitting front row audience right, one of the back lights (clever desk lamps clamped to large wooden folding walls, shines into the eyes of the guy in the far right seat.  Lighting never changes.. in a more expanded theatre setting, that would be an asset to depict mood of each aunt and their individual time periods.

As Ms Vogel has mostly directed herself, assisted by Echo Theatre Company member Natalya Nielsen, the simple and straight forward approach makes no effort at extreme character shifts.. She adopts a new hair style and wardrobe each time from an antique chest of drawers. With no ceremony, she comfortably moves in mood and costume to her next "mother sister"..   The entire experience of seeing Claire Graham's studio and absorbing the  relatively short one act monologue (monologues) brings one close to the heart of what theatre is supposed to do:  share feelings. and maybe ideas.. I especially liked the Hippy Auntie who traveled all across the country and wound up in a Washington State commune with all the trimmings. Far Out. 

"The first time I left home.." was probably the prompt that the actress gave to her aunts.  I was at  first confused because of the  ages of the women. But, as Ms Vogel moves from one story to the next, it became clear that her goal was to tell each individual aunt's story and then..concluding with her own.

Hailing from Roswell, (I think) New Mexico, no mention of UFOs or the Alien Landing are included, but my guess is that the actresse's family may have some personal insights there, along with the adventures of young women, naive and Fertile! who wend their way into the lives they often had to create all on their own.

In conclusion, Ms Vogel's reads to us from her journal; coming back to her present self and to her family with the caveat that when one seeks Freedom. that the strength to forge ahead comes from personal resolve and action.  Don't forget the doing.. the action and be prepared to accept the consequences.. come what may.  

Understand that this is a work in progress.  It is a double dip arts adventure. Only three performances remain. So!  Head to Highland Park to support this tender and heart warming effort.

I highly recommend this short run performance  for the double whammy of the archival stuff created and collected by Mr. Graham,  Mother Sisters is a poignant work in progress.

MOTHER SISTERS

• Written, Directed and Performed by Makaela Vogel
• Assistant Drector Natalya Nielsen
• Presented by The Echo Theater Company, Chris Fields artistic director

WHEN:
Nov. 21 – Nov. 24
• Thursday, Nov. 21 at 8 p.m.
• Friday, Nov. 22 at 8 p.m.
• Saturday, Nov. 23 at 8 p.m.
• Sunday, Nov. 24 at 8 p.m.

WHERE:
MorYork
4959 York Blvd.
Highland Park, CA 90042

TICKET PRICE:
$25

HOW:
www.EchoTheaterCompany.com
310-307-3753

Electric Lisa Robns "COMMITTED" EXTENDED!!1

"Why did the boy jump off the bridge?"

"COMMITTED?" HAS BEEN EXTENDED FOR TWO PERFORMANCES:

FRIDAY NOVEMBER 8, 2024 

AT 8PM 

SATURDAY NOVEMBER 9, 2024 AT 2PM

MATRIX THEATRE

See below for address and ticket information.  This is a special show.

In a touching  tribute to her 'baby brother' Robbie, actor/playwright Lisa Robins is, at once electric and grounded in what may be the culmination of thirty years searching for a way to honor and celebrate her own life and explore the question:

"Why did the boy jump off the bridge?"

 

Lisa Robins / Robbie's Sister Photo Todd Felderstein.

Ms Robins, in  really shiny black  tights, low heeled dance pumps and black velvet  jacket, not only explores the story of brother Robbie's pain and demise, but shares insights into her own life on the stage...

And!! her life as the daughter of a Jew..ish family. The joy and turmoil of the ups and downs of  her dance instructor mom and Uncle Daddy and being a natural from the age of three.

I took myself to Carney's on the Sunset Strip  and started this review by saying,"Lisa Robins is a sylph!" Lithe and animated and limber and present and totally committed (there's the title for ya) to creating a ritual that celebrates the long struggle that Robbie had with emotional issues,that, in the end, took his life.

The angst of over thirty years of questions, "What should I have done?" and guilt ..a staple of Jewish folks, so it seems, are wrapped up in how Lisa is still coming to grips with being a "survivor" of suicide. 

Every memoir must be, by definition, a little self indulgent. This, not in  the pejorative sense, but as a matrix for how each of us gets to where we are today.. Saturday.. at an early matinee. And, now?? Ms Robins must trek to the Beverly Hills Playhouse to do a one eighty as the Housekeeper in Lucas Hnath's  "A Doll's House, Part 2." 

The beats of Ms Robins' well  honed story keep steady on... smoothly on the Matrix's wide stage, supplemented by images projected on the old brick wall.  This interesting choice made me want to  suggest that as the play begins and Lisa places a 'tree' with. I think, the names of others whose lives have been touched by suicide, that had a large sheet been unfurled against the back wall, that the projections may have been more successful.  On the other hand, in defense of this choice,the images were dreamlike and vague.   Robbie was a stud as also is  scholar-brother Rick..as Robins herself is a radiant  story teller with Fosse moves and a husky theatrical voice that is undeniable.

Committed? is a short run. Please see it for emotional insights and the ever haunting question, I highly recommend "Committed?" at the Matrix..

"Why did the boy jump off the bridge?"   Of course, sadly.. 

"to get to the other side..."

Committed?

Written and performed by Lisa Robins

Director: Mitch Levine

Produced by Elina de Santos

Dramaturg: Justin Tanner

A Rogue Machine Production

Recommended for ages 14+

 

WHERE: Rogue Machine at the Matrix Theatre

7657 Melrose Ave, Los Angeles, CA 90046

(Street parking)

 

WHEN: 7pm Sun. Oct. 27; 8pm Fri. Nov. 1; 3pm Sun. Nov. 3

Closing: November 3, 2024

 

TALKBACKS FOLLOWING EACH PERFORMANCE:

 

10/26, Saturday at 2pm: Guest will be Arlene Sarner - wrote Peggy Sue Got Married. Lost her son to suicide.

 

10/27, Sunday at 7pm: Guest will be Rabbi Naomi Levy -from Nashuva. Wrote To Begin Again. Lost her father to murder.

 

11/1, Friday at 8: All Saints Day related program (the day when the veil between the living and dead is the most fragile).        1

 

11/3, Sunday at 3pm: TBA

 

HOW: For reservations call 855-585-5185 or https://www.roguemachinetheatre.org/committed

 

HOW MUCH: Tickets are $45 (Students $25 / Seniors $35)

2pm Sat. Oct. 26 (Show4Less: $15+)

 

 

 

 

THEIMPORTANCE OF BEING ERNETS. ANTAEUS .. GLENDALE

 To wit.

To Oscar Wilde, wit with sharp and biting commentary is rampant in the Antaeus production of "The Importance of Being Earnest".  It's the writing. It's the breadth and depth of social commentary and the wonderfulness of Wilde's extraordinary style: at once possibly tongue in cheek and cheeky and deeply probing the times: Victorian England.

Miss Fairfax (Jules Willcox) nails it, "In matters of grave importance, style, not sincerity is the vital thing.." Wow.

The sweeping style of all of the elements of this production seem complete.   A beauty of a set. Extraordinary attention to set pieces and props, costumes and perfect lighting draw it all together.

The horses have not been spared as we enter the Antaeus on Broadway space with an elegant set depicting Victorian London (aka "town"). It is the posh home of Algernon Moncrieff (Jay Lee) .  Stealing the show in Act I is Michael Yapujian as the butler. Lane in Act II) Why?  Because Lane knows everything and serves with such panache that even with the ranting of the argument by the principals of the show, his understated moments serve as a foundation that I think Mr. Wilde probably intended.  He doubles in Act II as Merriman with a loose limbed panache suitable for the country home of Jack/Ernest (Alex Barlas). It's a professional production, no question and the actors who portray Algernon and his pal, Ernest (Jack.. Okay?) and the girls:  Gwendolyn and Cecily (Alessandra Mañón) are top notch..with some seasoning and rounding third base Miss Prism (Julia Fletcher) and the local parson (Bo Foxworth). Anne Gee Byrd as Aunt Augusta knocks  the stuffing out of Lady Bracknell. The costumes are gorgeous..the lights are gorgeous The play is an old shaggy dog story of sorts with dozens of Wildean quips that elicit chuckles and sometimes a bigger laugh. Read the play. See it again  and again.   

What Director  Gigi Bermingham, has accomplished does the show proud with some terrific physical business  incorporating all the broad indicating that it seems the Victorians loved. Presentational ..more or less and obviously, the actors are having a wonderful time.  It's a classic.. Like hearing a favorite song a little rearranged but still the words and the music and the jokes and the characters bring back the fun  of love, mores and manners at a breakneck no nonsense pace that will leave you behind if you aren't on top of things.   Pay attention!! It's a very good time. Skeptical I was about 'diversity casting'.  See for yourself that it works.

(Critical note..try as I might to get photos of this show,it's on me for not figuringout how to do it from the in house PR at Antaeus.)

 Ensemble Cast:

Alex Barlas as Jack / Ernest, 

Anne Gee Byrd* as Lady Bracknell

Julia Fletcher* as Miss Prism

Bo Foxworth* as, The Revered
Jay Lee as Algernon

Alessandra Mañón* as Cecily

Jules Willcox*  as Gwendolyn

Michael Yapujian* as Lane in Act I and  Merriman in Act II

THE IMPORTANCE OF BEING ERNEST 

by Oscar Wilde

Antaeus Theatre Company

Kiki & David Gindler Performing Arts Center

110 East Broadway

Glendale, CA 91205

 

I, DANIEL BLAKE at The Fountain

 What  do you get when you take a 2016 British Film,  create a play from the same script  with British characters,  mount it on the stage with a fine ensemble cast?  That would be the theatre version of "I, Daniel Blake" with the United States Premiere production at the Fountain Theatre in Hollywood.

Makara Gamble, JD Cullum, Philicia Saunders
Photo by Cooper Bates

A widower, Dan Blake (JD Cullum), lives in New Castle Upon Tyre, north of London, where the accents are a little wonky, the skies are not so blue and cheering up is .. at best..a marginal proposition.What Cullum does with his character is a primer in stage acting. The accents for all the ensemble are close enough and, thankfully, understandable. Cullum underplays the escalating frustration of Daniel Blake successfully bringing him to life. Cullum seems a little young for a 'old guy' with a heart condition, but it works.

Dan has had a heart attack. He is trying like anything to follow  his doctor's orders to take it easy until he is physically fit to return to work.  He's a carpenter.. But. the 'system' has protocols  and rules that are 'decided' by a 'decision maker'  who never appears,. The Decision Maker's minions do their best to explain to Dan that "All He Has To Do" is go on line and follow some simple instructions to move the process of assistance along. If only he had a computer! Dan is quizzed by an unseen cog in the failing British bureaucracy (Janet Greaves)  as to his ability to press the numbers on a telephone  or lift his arm so as to place a hat on his head, never addressing Dan's  basic issue:  

Daniel Blake's Heart.

Enter  Katie (excellent Philicia Saunders) and her kid ..wise and adorable Daisy (Really excellent Makara Gamble) who have arrived from London to be settled in a crappy flat .. first day. No heat.. no help from the bureaucrats.  Katie and Daisy are  as up against it as any mum and  daughter have ever been up against it. Sadly, Katie and Daisy's woes are exacerbated  for arriving a few minutes late for an appointment to get some assistance. Dan tries to help. Adam Segaller (playing several guys in the ensemble),first shines as the security guard who virtually tosses Katie and Daisy and Dan into the street.

Here in hangs the tale.

The play is beautifully staged by Simon Levy, with a dedicated ensemble cast who mesh like the gears of a wind up clock. 

A spark plug for the show is Wesley Guimarães as Dan's neighbor, China.. a high energy chap who longs for success and may just find it with a partner in China.. who provides  a deal on ''trainers" / athletic shoes.  

The show runs sans intermission and is, naturally, very cinematic in tone. This is because, as noted, "I,Daniel Blake" was  first a film with the streets of New Castle adding a burden to the sad condition that shows lots of  folks who need help what with standing on queue for a hand out that may be a daily thing.

The clockwork timing features damning 'tweets?' projected on the various video screens that are also  used to delineate locations. it works nicely.  Lights by Alison Brummer and well placed sounds  by Cricket Myers keep the reality of the argument  alive.  It's about doing the right thing in the face of bureaucratic  roadblocks, not unlike some of the bumps in the road for US folks who need a leg up.   Choose the center section of the house for the best enjoyment of the show.

 CAST:

Daniel Blake : JD Cullum*
Daisy : Makara Gamble*
Sheila /Ensemble : Janet Greaves*
China : Wesley Guimarães*
Katie : Philicia Saunders
Floor Manager / Ensemble: AdamSegaller*

CREW:

Movement. & Intimacy Direction
Allison Bibicoff
Asst. Stage Mgmt.
Gina DeLuca
Prod. Stage Mgmt.
Anna Kupershmidt
Costume Design
Michael Mullen
Lighting Design
Alison Brummer
Asst. Dialect Coach
Victoria Hanlin
Prop Design
Jenine MacDonald
Sound Design
Cricket Myers
Technical Direction
Scott Tuomey

Publicity

Lucy Pollak

 

"I, Daniel Blake"

adapted by Dave Johns  from the film version "I, Daniel Blake"  directed by Ken Loach, written by Paul Laverty. 

Staged by Simon Levy for The Fountain

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

Performances: Oct. 13 – Nov. 24
• Wednesday at 8 p.m.: Oct. 9 (preview) ONLY
• Thursday at 8 p.m.: Oct. 10 (preview) ONLY
• Fridays at 8 p.m.: Oct. 11 (preview), Oct. 18, Oct. 25; Nov. 1, Nov. 15, Nov. 22 (dark Nov. 8)
• Saturdays at 8 p.m.: Oct. 12 (preview), Oct. 19, Oct. 26; Nov. 2, Nov. 16, Nov. 23 (dark Nov. 9)
• Sundays at 2 p.m.: Oct. 20, Oct. 27; Nov. 3, Nov. 17, Nov. 24 (no 2 p.m. show on Oct. 13, dark Nov. 10)
• Sunday at 7 p.m.: Oct. 13 (opening night) ONLY
• Mondays at 8 p.m.: Oct. 21, Oct. 28; Nov. 4, Nov. 18 (dark Oct. 14 and Nov. 11)) 

TICKET PRICES:
$25 – $45:
• Premium Seating: $45
• Regular Seating: $40
• Seniors 65 or older: $35 (regular seating only)
• Students: $25 (valid ID required)
• Monday nights: Regular seating ($40) and Pay–What–You–Want (subject to availability)
www.FountainTheatre.com
(323) 663-1525