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

 

BOSTON COURT IN PAS TOSSES A PARTY

 Boston Court Theatre on Mentor in Pasadena, just up the street from The Ice House, is a classy professional space dedicated to challenging theatre..and music.  "A Going Away Party Play" by Keyanna Khatiblou pretends to be a party for Mina (Mehrnaz Mohammadi...  who doubles as her own father's sister). In fact it is a gorgeous ensemble exercise that explodes with theatrical energy and is, at once, a teach-in, a family narrative, some difficult political inquiries and in monologues to the audience, personal insights from each of the five cast members. It rolls along as a well lubricated machine. 

As characters evolve, thanks to director James Fowler, the show comes off without a hitch.. and there are lots of opportunities for hitches.

Stephen Gifford's amazing set engulfs the audience and the stage.  Gavan Wyrick's' lights are spectacular.  

Kate and Ryan as Caroline and Basir

Unaccustomed as I am to gushing, the energy generated by the cast, though the polemic turns a little hyperbolic now and then, is contagious. References to the political and cultural situation in Iran during the time of the Shah are well handled.   Mina's family has History..

The cast doubles as 'themselves' the actors, putting on a show and segues to the story of Mina's  parents meeting.  It's an interesting cultural challenge: the story of an English girl, Caroline, played by cast member Kate  (Kodi Jackman) in love with the charming Iranian guy, Basir, cast member Ryan, played by Nathan Mohebbi.  Basir is Mina's Iranian father.  Caroline is her English mother.  It's not as complicated as it might seem!

As the audience settles the cast assembles immediately  breaking the  fourth wall. The play moves adroitly pretty much abandoning the notion of Mina going anywhere. It's her story that also includes the business of the other characters discussing highly personal issues.

Again, director James Fowler, finds ways to highlight the 'actors' and their personal stuff while guiding them through the backstory narration of how Mina got to be who she is and how she currently deals with the challenges of being a young woman who may be going somewhere. 

Mateo (Giovanny Camarena) and Debbie (Cindy Nguyen) present supporting roles, but deliver heart rending monologues that turn on dealing with modern culture. 

The 'teach-in' aspect of the show reminded me of Heidi Schreck's "What the Constitution Means to Me."  Absorbing a civics lesson  in the middle of the story... though it works.. is a stretch.  Ryan's "Democracy Target" calls for special attention, so listen up! 

Be prepared to learn  a bit about human nature and the world and remember that Mentor Street is a one way, so enter Boston Court from Lake and park in the back! This expereince is worth the effort! 

 Cast:

MINA/ NILOOFAR - Mehrnaz Mohammadi
KATE/ CAROLINE - Kodi Jackman
RYAN/ BASIR - Nathan Mohebbi
MATEO/ SECURITY OFFICER - Giovanny Camarena
DEBBIE/ MAMAN BOZORG - Cindy Nguyen

A Going Away Party Play 

by Keyanna Khatiblou

Boston Court Theatre

.

 Boston Court Pasadena 

70 N Mentor Ave., Pasadena, CA 91106. Parking is
free in the on-site lot. For reservations and information, call (626) 683-6801 or go to
bostoncourtpasadena.org.
-------------


Opening Night Performance: Saturday, September 28 at 8PM
Benefit Fundraiser Performance: Sunday, September 29 at 3PM
Performances:
Friday, October 4, 8PM
Saturday, October 5, 2PM (ASL Interpreted Performance)

Sunday, October 6, 2PM
Monday, October 7, 8PM
Saturday, October 12, 8PM
Sunday, October 13, 2PM
Saturday, October 19, 8PM
Sunday, October 20, 2PM
Monday, October 21, 8PM
Friday, October 25, 8PM
Saturday, October 26, 8PM
Sunday, October 27, 2PM
WHERE:
Boston Court Pasadena
70 N Mentor Ave.
Pasadena, CA 91106
Free parking is available directly behind the building

  

A GOOD GUY BY David Rambo AT THE MATRIX

John Perrin Flynn, artistic director for Rogue Machine Theatre, directs David Rambo's "A Good Guy" at the tiny Henry Murray Stage up the steps (with a new hand rail!!) through "The Office" door at The Matrix Theatre on Melrose in Hollywood.Designer of this pre-show space should be credited  It helps to set the scene for the play.

In a previous production with a slightly similar bent, Rogue Machine took us into the dark lair of Harris and Kleibold in Denver: Columbine: twenty five years ago. RMT often brings us to a political conundrum that may ask more questions that some folks can answer. The title of this play refers to an often repeated aphorism that will come to mind when you see this show. 

And.. see it:  you must. 

Rambo points us to our own conclusions, factoring in biases and even essential political beliefs whether we like it or not.  He discusses his own writing style as the story evolves, leaving some space for personal reflection. The wake of the most recent school shooting ten days ago in Georgia, emphasizes  the importance  of this issue.The issue is undeniable.

Guns.  

Wayne T. Carr, Evangeline Edwards, Suzen Baraka

At rise, we meet Anna Pope (Evangeline Edwards). Anna is the eye of the storm with the fury and flurry of The Second Amendment in the balance. It becomes the task of the audience to explore the issue and come  to grips with it. Ms Edwards vibrantly presents the first scene and sets the pace. It is fast.  It is intense.  The undercurrent of death is palpable. So many  deaths.  

 Diversity casting and double doubling challenges the audience to almost participate as the scenes change while one actor or another announces the Time and Place. Suzen Baraka as Second Detective, Language Arts, Ms. Wizner, District Superintendent, Lawyer  fills the bill with minimal costume changes, most of which we watch as the play progresses.

Wayne T. Carr as Detective, History, Principal Douglas Blatchley, Michael, Instructor  may have the toughest job switching from an interrogating detective to Anna's husband, Michael, returned from extended service in Syria. Motive for this subplot asks questions.

Jan Munroe's tight set serves Flynn's direction well. 

Rambo's   play follows it's own lead taking us from present day to days past to the events that serve as the canvas for A Good Guy's theme.  The evolution of the plot calls for the audience to suspend disbelief in a major way because of the close proximity to the action. Flynn and company meet the challenge. 

 Anna's personal arc leaves us with some questions that bring her situation to... at last...  fmeditating in a pubic park.  The denument introduces us to Logan Leonardo Arditty as The Student.  The St udent's reputation has preceded him. The playwright presents a dramatic twist that allows for Anna to fulfill her calling: to teach.

Flynn's direction for this tiny  space draws us in with deep feeling. I'd quibble with one scene, but won't.  When you go to see this show, please wear your critical thinking cap to ask what you might do if faced with an unimaginable situation. 

Cast and Crew

Directed by John Perrin Flynn

Executive Producer: Jeanne Craig

Produced by Jennifer Sorenson, Guillermo Cienfuegos

A Rogue Machine Production

Cast:

Logan Leonardo Arditty as The Student 

Suzen Baraka as Second Detective, Language Arts, Ms. Wizner, District Superintendent, Lawyer 

Wayne T. Carr as Detective, History, Principal Douglas Blatchley, Michael, Instructor 

Evangeline Edwards as Anna 

Production Team:

Jan Munroe (Scenic Design)

Christine Cover Ferro (Costume Design)

Christopher Moscatiello (Sound Design)

Dan Weingarten (Lighting Design).

Founding Artistic Direct......John Perrin Flynn
Artistic Director............Guillermo Cienfuegos
Co-Artistic Director...................................Elina de Santos
Executive Director......................................Justin Okin
Public Relations....................Judith Borne
General Manager.....................Ramón Valdez
Production Manag....Rachel Ann Manheimer
Social Media..............................Ruth Fowler
Company Manager....................Scott Sheldon
Box Office Manager..................................Marsha Henry
Resident Casting Director......................Victoria Hoffman

 “A Good Guy”

Written by David Rambo

Directed by John Perrin Flynn

Executive Producer: Jeanne Craig

Produced by Jennifer Sorenson, Guillermo Cienfuegos

A Rogue Machine Production

Recommended for ages 14+

WHERE: Rogue Machine (Upstairs on the HenryMurray Stage in the Matrix Theatre)

7657 Melrose Ave, Los Angeles, CA 90046

(Street parking)

 

WHEN: Previews at 8pm September 11, 12

Opening at 5pm on Saturday, September 14

8pm Fridays & Mondays; 5pm Saturdays; 7pm Sundays 

(No Performance on Friday, September 20)

Closing: October 13, 2024

 

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

 

HOW MUCH: Previews $25

Tickets are $45 (Students $25 / Seniors $35)

Show4Less Fridays: Sept 27 ($15+), Oct 4, 11 ($20)

 

 

AT THE ECHO "Clarkston"

 

Twenty something..Jake (Michael Sturgis), is a Bennington graduate having created his own major:  "Post Colonial Gender Studies!" 

Chris (Sean Luc Rogers), about the same age, is from Clarkston, Washington, as in Meriwether Lewis and William Clark who trekked through the uncharted west and camped at this very spot in the early 19th Century. 

Clarkston sits directly to the west of  Lewiston, Idaho. The parking lot of the local Clarkston Costco where much of the action (minimal as it is) takes place. The City of Clarkston's Costco parking lot in reality sits directly adjacent to the Snake River. 

Jake, struggling with a degenerative disease, claims a shirt tail connection to William Clark. 

Chris,  quietly struggles.

The guys, both college graduates.. work at the local Costco. They are gay. They stock shelves at the Carkston Costco.

Factor in Chris's "on again / off again" relationship with his mom, Trisha (Tasha Ames) who must have given birth at the age of ten. Trisha is also a struggling thirty

Michael Sturgis, Tasha Ames, Sean Luc Rogers
Photo by Cooper Bates

something waitress at a local Denny's.  She has had issues with substance abuse. We now approach an uncomfortable triangle that has a little trouble  getting going. Fact is that each actor is deeply dedicated to their character. Each is believable. Director Chris Fields has these folks evenly spaced and believable.  It's the argument of the play?  Does the playwright intend  to leave us with only marginal satisfaction? Is it an anthem to gay men finding each other in an unlikely setting and growing falling in love?   

The bare bones set:  suggested locations are successful in Chris Fields' creative use of The Ever Changing Echo Space. No attempt at realism gives the audience the opportunity to focus on the story. Three distinct characters  come to life smoothly and sincerely.

This predictable love story becomes,, at least,  a sympathetic and kindly polemic that peeks beneath the each character's motivation. The audience may embrace  the idea, well past Post Colornial times. Gender aside and also on deck, we are all searching: to find some sort of a "family".. where it's okay to 'be who you are' and in so doing, to 'find yourself.' Two lonely gay guys at the top of the Idaho panhandle? Each has his 'demons' that might be not so much  of a problem in more sophisticated climes.  Factor in Tricia's 'demon' and the conflict gives the story some traction.

 Jake's serious physical condition is probably what drove him from Connecticut to Washington.   The old story of just getting  away from home and to find  himself.. He lands where his ancestor, William Clark, made some American History and, perhaps, his own  self discovery.

Chris has ambitions to write.  He's heard about Iowa's storied writing program and may be focused on making it with his short stories or maybe even a novel?    Jake reads from William Clark's journal, imagining the  Explorers as they trekked for the Pacific Ocean.

There are moments!  

Blatant foreshadowing and the odd dance that Chris must do with his mom is important to the confict.   Certainly, the characters are worthy of our interest. Depression factors in.   It's a difficult 'bromance' that takes us from beginning to end in multiple scenes, bare stage... punctuated with some smooth and simple changes. 

Gratuitous homoerotic moments are  included, as Jake and Chris attempt an acceptable conclusion. There are humorous moments and it's all wrapped up in this short full length play.. 

In editing this review, I'm opting out of a catch phrase to sum things up.  The human interest aspect of the premise and the decent depiction of the characters makes me wonder what other critics may say.  Supporting Theatre that tells stories like "Clarkston"is a goal.  See it for yurself and get back to me.

Cast

Jake . . . . . . . Michael Sturgis
Chris . . . . . . Sean Luc Rogers
Trisha . . . . . . Tasha Ames 

Crew: scenic designer Amanda Knehans, lighting designer Matthew Richter, sound designer Alysha Grace Bermudez, and costume designer Dianne K Graebner. 

The production stage manager is Lisa Toudic. Chris Fields, Kelly Beech and Marie Bland produce for the Echo Theater Company. Public Relashuns for Theatre : 

Lucy Pollak

Clarkston
• Written by Samuel D. Hunter
• Directed by Chris Fields

Previews: Sept. 11, Sept. 12, Sept. 13
Performances: Sept. 14 – Oct. 21
• Wednesday at 8 p.m.: Sept. 11 (preview) ONLY
• Thursday at 8 p.m.: Sept. 12 (preview) ONLY
• Fridays at 8 p.m.: Sept. 13 (preview), Sept. 20, Sept. 27; Oct. 4, Oct. 11, Oct. 18
• Saturdays at 8 p.m.: Sept. 14 (Opening Night), Sept. 21, Sept. 28; Oct. 5, Oct. 12, Oct. 19
• Sundays at 2 p.m.: Sept. 15, Sept.  22, Sept. 29; Oct. 6, Oct. 13, Oct. 20
• Mondays at 8 p.m.: Sept. 16, Sept. 23, Sept. 30; Oct. 7, Oct. 14, Oct. 21

 
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.

TICKET PRICES:
Fridays/Saturdays/Sundays: $38
Mondays and Previews: Pay–What–You–Want

www.EchoTheaterCompany.com
(747) 350-8066

 

ANW THE SKIN OF OUR TEETH!

 

 

Between 1938 (Our Town) and 1942 (The Skin of Our Teeth) with a couple of other plays in betwen.. Thornton Wilder  had  a message that he wanted to share with the world.  The bizarre world of The Antrobus Family and others emerges in a beautiful  over the top pageant of great colors, projectsions, costumes!!! and a peek into a message that smacks a little of James Joyce and his exploration of words and situations.

I have to take a step back and see f I can define "situations" but thanks to the producing directing team of Geoff Elliott and Julia Roderiguez-Elliott.. the money is on the stage! The cast is ..again.. interesting with diversity casting and the ANW stage literally vibrates with the palpable energy that the Elliotts and their actors and the amazing crew  have gone to great lengths to present.   Even the koken type stage hands are choreographed to be more than just furinture movers.

It's fun. It's amazing. It's loopy. 

And...  there must be a message here that Wilder longs for us to take to heart.The rat-a-tat-tat pace of the dialogue is break neck and appropriately LOUD!  Howard Hawks would be smiling as we were challenged to keep up!

The ANW production  of "Our Town" was done  at their original (I  think?) space in Glendale.. the  old Masonic Temple on Brand. The historic atmosphere, the ancient wood.. all contributed to the story of Thornton Wilder's "Grover's Corners". 

Being literally driven from Glendale, the ANW company, with the Elliotts absolutely devoted to doing important classical theatre, found safe harbor and then some in Pasadena. 

I mention this because the journey that ANW proceeds with, and with great success, this terrific theatre..  their devotion to detail.. the employ of excellent actors to bring their vision to life... all deserve standing ovations.

But.What About This Play?? 

The Antrobuses (George: Frederick Stuart and Maggie: Trisha Miller) have been married for five thousand years.

George goes fron  their New Jersey home to the 'office'' daily..and  has invented the Wheel.. and is working on the alphabet. He drills his son, Henry (originally named Cain!) played by Christian Henley,   on his 'sixes..'  As Gladys, Mildred Marie Langford is essentially the flip side of Henry who presents as recalcitrant and angry.

 

    Micah Schneider, Ann Noble, Veronica McFarlane
Photo by Craig Schwartz

Ann Noble, the adorable and skittishly wonderful maid, Sabina (SabEYEna)   drags us kicking and screaming into and out of the play .. Interruptions and  do overs and even the truly magical work of the two women stage hands.. lends to the fully professional presentation.. 

Plot??  Allusion to Noah and two by two.. A burgeioning  weather event.. later..a war? The Convention of Mammals at Atantic City..  Projections and graphics  are amazing.. 

The mysterious Fortune Teller (Cassandra Marie Murphy,)   tells us that no one can tell the past,but SHE can tell the Future..  I don't appreciate fake smoking on stage. It takes me out of the play. but this play interrupts itself all the time. so it's less of an issue. Just sayin'..

A complete "breakdown" of the show with seven sick actors out, with not enough understudies.. the  "crew" is called in to recite lines from sages and philosophers that Wilder in 1942 considered important. These "actors" become eloquent: reciting Spinoza. These speeches seem appropriate, especially today in the United States. Research says that Wilder may have used aqs a  matrix Joyce's "Finnegan's Wake" for this play.  The odd leaps and bounds of the text and the adventures of this long married couple.. even with some serious vamping by Sabina going on.. sails off on what may be the Ark.. (there are lots of animals besides the dinosaur and the Wooley Mammoth in the first act)   and then.. the recitations by the 'crew' members standing in the audience recitijng in  sonorous tones that have to do with  the ethics of living a good life... 

Bailey (I can't find this actor's name, He is part of the ensemble) recites the revelation of Spinoza that inspired Antrobus to seek and hope to  find good in the world...  and to share it. .. 

Hester (another ensemble member's beautiful rendering of Spinoza's text but.. can't find her name) stood right next to  my aisle seat and recited a text that  I'd love to share that has to do with how we choose leaders who are honest and sable and first have 'found' themselves renering them fit to lead to guis us to find a 'side' to align with  in order to live decent and respectable lives.. 

This loopy and super charged over the top presentation is a challenge to follow.  That  said..  the production is excellent in every way..  Don't expect to buy a Coke with cash at the bar!

 

The Skin of our Teeth
• Written by Thornton Wilder
• Directed by Julia Rodriguez–Elliott and Geoff Elliott
• Starring Christian Henley, Mildred Marie Langford, Kasey Mahaffy, Trisha Miller, Cassandra Marie Murphy, Ann Noble, Frederick Stuart
• Ensemble: Anthony Adu, Stella Bullock, Julia Chavez, Jacob Cherry, Yannick Haynes, Amber Liekhus, Veronica McFarlane, David A. Rangel, Landon M. Robinson, Micah Schneider, Maya Sta. Ana
• Presented by A Noise Within, Geoff Elliot and Julia Rodriguez-Elliott, producing artistic directors
 
WHEN:
Previews Sept. 1 – Sept. 6
Performances Sept. 7 – Sept. 29
• Wednesday at 7:30 p.m.: Sept. 4 ONLY (Preview)
• Thursdays at 7:30 p.m.: Sept. 5 (preview), Sept. 19, Sept. 26 (dark Sept. 12)
• Fridays at 7:30 p.m.: Sept. 6 (preview); Sept. 13*, Sept. 20*, Sept. 27*
• Saturdays at 2 p.m.: Sept. 14, Sept. 21, Sept. 28 (no matinee on Sept. 7)
• Saturdays at 7:30 p.m.: Sept. 7 (Opening Night); Sept. 14, Sept. 21, Sept. 28
• Sundays at 2 p.m.: Sept. 1 (preview), Sept. 8; Sept. 15*, Sept. 22, Sept. 29
^*Post–performance conversations with the artists take place every Friday (except the preview) and on Sunday, Sept. 15.
**A one-hour INsiders Discussion Group will take place prior to the matinee on Sunday, Sept. 8 beginning at 12:30 p.m.

Student matinees are scheduled on select weekdays at 10:30 a.m. Interested educators should email education@anoisewithin.org.

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

TICKETS:
• Tickets start at $51.50 (including fees)
• Student tickets start at $20
• Wednesday, Sept. 4 and Thursday, Sept. 5 (previews): Pay What You Choose starting at $10 (available online beginning at noon the Monday prior to that performance, and at the box office beginning at 2 p.m. on the day of the performance.)
• Discounts available for groups of 10 or more

HOW:
www.anoisewithin.org
(626) 356-3100

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THE EYES HAVE IT

Thanks to a wonderful theatre friend, Amanda Weier, I was directed to meet Dr. Lee of  CCRS in The Valley.  Dr.Lee is an amiable professional who pays attention and has a great staff to guide patients to what may one of the most life changing procedures in their lives. 

At the unlikely corner of Van Nuys and Addison at 4954 Van Nuys Blvd, Sherman Oaks, CA 91403, my first visi was a challenge.  At first I couldn't find the door! Surprise!! Comfortable offices are upstairs in a MiniMall! Fact is that it's an oasis one flight up.  Entry is round the back by the free parking.

To say that the prospect of eye surgery is a little anxiety provoking is an understatement. Somehow, this experience brought me to the realization that there are truly kind and generous folks who take 'taking care'  of others seriously.

The professional treatment that I experienced at CCRS LASIK ICL Center Sherman Oak left me confident with my diagnosis and suggestions that Dr. Lee provided.

Next steps are up to me.  Crossing my fingers that I'll be brave and move forward.

Even though this is my theatre review site..There is a lingering of drama from the drive to see Dr.Lee and so.. for clear sight, find the clinic and take steps to clear vision.

michael sheehan

onstagelosangeles

 s

X's Tons Millions

Performance venue ARC up in Pasadena hosts an unusual production created by Daniel Sullivan: X's Tons Millions.

Sullivan's exploration of the effect on human beings by the war machine is highly stylized  and extremely intense. It's a trip.. "A requiem in voice, dance and sound" 

Co director Adrian A. Cruz says,, "Sullivan’s text brings together four distinct, yet isolated points of view; the bureaucratic war machine… the direct impact on the land, creatures and people… the unaffected
citizen bystander… and the irrational abstraction of the act itself. A provocative intersection from all angles, progressively bringing them closer into a haunting, impactful and sonorous question mark — one that we must all reckon with.” 

 "X's Tons Millions" is a road map to an evening of amazing dedication by the finely tuned cast.  The ARC space is one that lends itself to what these folks have meticulously cobbled together: Passion with theatrical skill and physical movement combine with a dedication that reminds me of The Living Theatre of the sixties.  Cast Member Tina Preston touts a connection to Beck and Malina who made important social commentary so long ago.

Daniel Sullivan's text and movements may be for a hip audience. There is a visceral and emotional connection with each vignette as the ensemble moves as one.. The stage pictures and sounds and lighting effects enhance each episode.

I was reminded visually of the late video artist, Bill Viola, when watching this intense presentation.. The slow motion movements are part of training as an actor to create images that . in this case.. reflect and enhance the text.

The short presentation is,   essentially, ART! The messages come as much from the physical presentation as from the text.  

I was particularly impressed with a comment from an audience member  who said that the work "came right into me."  I was less emotionally engaged and more intrigued by the theatrical aspects which were more intellectual than visceral. 

That said, recalling the dedicated physical training that was evident in work by The Company Theatre, The Open Theatre and The Living Theatre so long ago,  Sullivan's piece presents an echo of that work from days gone by.

The visceral work speaks for itself and I would guess that folks more sophisticated than I in the audience will come away with a message that is beyond my ken. 

Come to the ARC and allow the work to unfold. Don Preston on bass is worth the price of admission alone.     

X's Tons Millions has a short run.  It's strong work and deserves an audience.

 Cast: 

Augusto J. Ferriols 

Tina Preston, 

Marti Skoler, 

Lisa Vo, 

Tate Navarro, 

Jacqueline Wright

The creative team includes Lighting Designer Kathy Nolan, Live Musical accompaniment Don Preston, and Choreographer
Augusto J. Ferriols. 

Amanda Weier of Open Fist lends her expertise as Production Consultant. 

X’s Tons Millions 

written by Daniel Sullivan

Co directed by  

Roxanne Rogers 

Adrian A. Cruz

ARC Pasadena  

1158 E. Colorado Blvd  

Free parking around in back!

Pasadena, California 
Tickets are $25.

For more information and to purchase tickets go to www.onstage411.com
Enter: “X’s Tons Millions” in search bar.

 

'Happy Fall: A Queer Stunt Spectacular'

Driving home from this 'Spectacular' at the largest Q  Center in the world??  The Moon looms large,waning gibbous at the Sunset Boulevard horizon.  Having just experienced this amazing new production by  Rogue Artists Ensemble, a co-production with the Los Angeles LGBT Center and the Contemporary American Theatre Festival, the burning of the Hollywood sign on stage lingers in memory. This is a queer show.: choose your definition: they all work.

 Queer is the generic and the now popular way that queer people have taken back the pejorative and wear it on their sleeves and probably with rainbow shoulder tattoos.

Queer .. from my experience. in days gone by, the term was a heavy indictment: a label mostly for the swishy kid at school, everyone in the drama program : a label right up there with faggot, fairy and pansy. Language changes and times change and now using this term that was formerly a damning reference is trotted out by Rogue Artists Ensemble to describe their current Spectacular!

Make no mistake. This prop heavy, tech heavy, projection heavy hunk of art . though a  little light on the "acting" side is nothing short of Phantasmagorical.. 

The spectacle rises above the thin love story of Felix (Kurt Kanazawa) and Clay (David Ellard). Felix is the new stunt kid on (the) set ready to  step into the the Cuban heels of a stunt gal who, it seems, just can't cut the physical action, around which the entire production is constructed.

Kurt Kanazawa
Photo by Bryce Darlington

Our Narrator (Amir Levi) puts Rip Taylor and Rip's voice to shame.  The Host may be annoying on purpose? Of couse, when the goal is to crank up the audience and keep the volume at eleven for most of the show, both vocally and visually, it is . at once.. the way director, Sean Cawelti, must have meant for it to be. Nuance is only a vague appellation for this Spectacular. 

Thankfully, we do have nuance now and then. 

As with other favorites from RAE, especially the immersive "Kaidan" and then "Wood Boy Dog Fish," this all in  ensemble presents Rogue behavior first and acting choices right behind.. The presentational  piece explodes with the conceit that this is  what it's like on a challenging low budget movie set.  The love story of  Kanazawa  and Ellard  becomes a threesome with a spectacular rendition of Clay as a full sized, frighteningly realistic mannequin: Design by Jack Pullman. Clay Puppet steals the show leading us to guess that Clay Puppet must represent the closeted queer stunt man (not an 'old timer'  but vintage) who resists embracing his closeted queerness: his denial? of his homosexuality,. Meanwhile, bouncy little Felix blossoms as he attains his stride as a respected stunt performer. There's a slight flavor of All About Eve with Clay playing catch up.

The wonderful thing about Rogue Artists that makes me want to laud them to the skies is their absolute fearless attack of ideas: imagining new ways to incorporate big BIG prop and costume business and lighting and  video and right on the stage video of miniatures in live performance  projected on large  video screens. Use of green screen & 'spectacular' imaginings are worth the price of admission alone.

Parking is a bear at the Center. The continental seatng of the Main Stage means that finding a seat that allows full vision of center stage is a must.

Often Happy Fall is like a three ring circus. Some effects need work. When Clay is displaced by Clay Puppet, we still see the actor giving voice to his alter ego..The puppet steals the show for me, and with a SPECTACULAR Screaming Queen full blown over the top finale, that's saying something.

In the past the broad scope of this dedicated theatre ensemble has been a welcome challenge in the land of often traditional theatricals .. 

My favorite show of RAE remains Kaidan!  Set in an old storage facility in the heart of Los Angeles. "Happy Fall"  shows that RAE has fearlessly taken a huge leap of faith with a ton of cash invested in video, props and costumes. Huge! 

This show turns on Stunt Players.  My stint as a stunt performer  guides me to appreciate the rough and tumble  physicality of this 'spectacular' presentation.

It's fun to boost a tremendous effort and this one is a must see, especially for WeHo and residents of the Swish Alps off Santa Monica Boulevard. Applause to Chelsea Sutton and the Rogue Artists Ensemble!

 

CREATIVE TEAM
COSTUME DESIGN
ANDREW JORDAN
CO-SCENIC DESIGN
KEITH MITCHELL
CHOROEGRAPHER
CODY BRUNELLE-POTTER
VIDEO DESIGNER, 

CO-SCENIC DESIGNER
SEAN CAWELTI
LIGHTING DESIGN
AMBER SHIFT
 

ROGUE ARTISTS ENSEMBLE’S
HAPPY FALL: A Queer Stunt Spectacular
WRITTEN BY
LISA SANAYE DRING with ROGUE ARTISTS ENSEMBLE
DIRECTED BY
SEAN CAWELTI
COMPOSER
ADRIEN PREVOST
CO-PRODUCED BY
ROGUE ARTISTS ENSEMBLE · CONTEMPORARY AMERICAN THEATER FESTIVAL and the
LOS ANGELES LGBT CENTER

Cast:
DAVID ELLARD · AMIR LEVI* · KURT KANAZAWA* LUCAS BRAHME · GABRIEL CROOM* · CACARLOS R CHAVEZ · KELSEY KATO · MAIA LUERTIANA RANDALL-QUANT · MIKKI YAMASHIRO · JERRY ZOU

'Happy Fall: A Queer Stunt Spectacular'

• Written by Lisa Sanaye Dring with Rogue Artists Ensemble
•  Directed by Sean Cawelti
• Co-Produced by Rogue Artists Ensemble, Los Angeles LGBT Center and Contemporary American Theater Festival. 

Renberg Theatre
Los Angeles LGBT Center
The Village at Ed Gould Plaza
1125 N McCadden Place
Los Angeles, CA 90038

 

Performances Aug. 22–Sept. 8
• Thursdays at 8 p.m.: Aug. 22 (opening night), Aug. 29, Sept. 5
• Fridays at 8 p.m.: Aug. 23, Aug. 30, Sept. 6
• Saturdays at 8 p.m.: Aug. 31 and Sept. 7 ONLY (dark Aug. 24)
• Sundays at 3 p.m.: Aug. 25, Sept. 1 (understudy performance), Sept. 8

Special events:
• Sunday, Aug. 25: an interactive stunt demonstration with stunt coordinator Celina Lee Surniak follows the performance.
• Thursday, Aug. 29: a pre-show stunt puppet-making workshop (7 p.m.) at the Advocate & Gochis Galleries; create your own puppet and learn how to get involved in the puppetry community.
• Friday, Aug. 30: a pre-show “Meet-the-Artists” celebration (7:15 p.m.) at the Advocate & Gochis Galleries, to uplift the visual artists whose work is on display at the “Take/Action: Stunts, Spectacle and Queer History” exhibit.
• Saturday, Aug. 31: a pre-show blessing from the Los Angeles chapter of the Sisters of Perpetual Indulgence, and a post-show discussion on the history of drag. Come dressed to express and join in the fun!
• Sunday, Sept. 1: post-performance Rogue Artists Ensemble VIP Fundraiser celebrating 20 years of groundbreaking new work in Los Angeles (ticketed event/separate admission; information at rogueartists.org)
• Saturday, Sept. 7: a post-performance conversation with Happy Fall composer Adrien Provost.
• Sunday, Sept. 8: an Action Star Dress–Up event; come dressed as your own action star and join Rogue Artists for a special fashion runway with prizes for selected winners.

TICKETS:
$45-$78 (including fees)
Understudy performance on Sunday, Sept. 1 at 3 p.m.: Pay-What-You-Can
bit.ly/happyfall24

 

 

 

 

 

PATIENT 13 TELLS ALL AT THE MATRIX

 

 

 

There is so much praise that  should come to any performer who creates from life or from whole cloth.. a one person show. It's lightning in a bottle tossed into a sea of doubt and fear and chance. It's a way. The Way.. The Way that can be described is not The Way.. thanks to Lao Tzu.

In the case of Patient 13 (author / performer Gail Thomas) .. the tiny little upstairs space at the Matrix, the Henry Murray Stage, is a sardine can. It's a 'Living Room" with sparce seating : front row and back row. The ability to work this tiny stage calls for skill and the collaboration with an author and a director and some tech advice that, when it gels, it can be magical.   Certainly, Gail Thomas has her 'stuff' together and her story is one that, for her, must be told. Why this preamble?  Beause I admire Thomas for sharing intimate moments and being glad that I have never touched my own bladder.

What the audience may almost totally miss is the gorgeous pre- show set of an 'office' that reflects the essence of what Thomas's stories.. are all about.  Papier Mache Cows! Why is this little preshow 'office' important? Because it contains the essence of what The Patient 13 story is all about. 

Thomas enters and mentions the cows.. but most of us have bounded up the heart attack stairs to the Henry Murray Stage  in a rush to find a seat that is advantageous. 

 

We can't take a minute to enjoy the art.   Note to Stage Manager whose name I cannot find. Open the door to the 'office' and allow the audience to enjoy it. Whomever did that work . whose name I cannot find.. did a fine job.  There is no set for the performace. really.. so? Unfortunately,  most of the time, the performer is in unflatttering half light.

The last show I saw in the Henry Murray was the Hitler thing. Again, the "office" was integral to the show.. but I only caught it on the way out..as I did the cows tonight.

Notwithstanding the bravery of MsThomas's's tell all with intimate details story, the upside is that regardless of marginal direction and really inadequate lighting and half of the time straining to understand the actor, there are nuggets of stuff: moments  of revelation in her story that, as she recounts them,  bringing them to life, we see beyond the recitation to another plane of story telling.

Every one person show rides on the back of the storyteller.. if the show is  first person and written by the story teller.  Duh.. When Ms Thomas gets to the meat and potatoes..and mushrooms of this tale, the mood and the energy elevate. Regardless of crumby lighting effects (the stalag lights from the Hitler thing are supposed to light the way. They do not)  

Regardless.. as we get to the message and leave the crust behind, something happens.

Gail Thomas  is a brave woman.  The beats of her story .. to me.. were pretty much on one level until the flashy part.. the business of self disscovery and the polemic giving permission to Simply Be.. Just be a person. Just be an actor. Just be a woman. Just...   be..

Stage manager   Rich Wong

 “Patient 13” Written and performed by Gail Thomas / Directed by Dan Oliverio
Opening August 16, 2024 with reception to follow
8pm Fridays, 

3pm Saturdays, 1pm Sundays through September 1

Upstairs on the Henry Murray Stage
Recommended for ages 16+

Rogue Machine at the Matrix Theatre, 7657 Melrose Ave, Los Angeles, CA 90046

On the Henry Murray Stage

 You are invited to stay for a talkback with the writer/performer & the director after Saturday performances

 

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