HIENSERBERG REDUX.. THE REVIEW ..

Juls Hoover and Paul Eidig Lorch photo

After days of nursing my mangled  ego and a nice correspondence with Caameron Watson, the director of Heiserberg at The Skylight on Vermont in Los Angeles.. I can report that there's a show worth seeing and if you don't go, you are missing a bet . Two actors. A strange serendipitous meeting evolving poetically.

For those who may be following the drama of my missing press invitation.. I learned that the PR guy for this play told the director  that he had "not heard from me." That is true! The way it works is that the PR person invites critics ro review.   This guy has not sent me any invitations for over a year.. so long ago that I've forgotten..and the only reason that I know it's him is because of a Facebook notice that included his name.

But to Business!!!  HEISENBERG..

This beauty of a two hander is that it can be an actor's tour de force.  Yes.. And, the way that Cameron Watson has staged the play reflects not only a keen understanding of the characters: the loopy Georgie (wow!  Juls Hoover) and the mostly taciturn Alex (mostly taciturn Paul Eiding).  Of course , it's all in the text, but beyond the words of this kind and thoughtful .. and loopy.. play is the opportunity for interpretation. (It was staged a while back with two women as the characters)

Alex, the butcher, is vamped big time in the London Underground by Georgie. Alex is in his seventies and  Georgie's is his junior by at least half. She's a Jumping Jacks Jill and a little  hard to pin down until her story takes its time to settle.

One line that Watson seems to have captured in the banter and the eventual loving resolution of Alex and Georgie is all about music. Alex, the butcher! for goodness sake.. is a fan and afficiando of all music genres. He's also a tango dancer! .. At one point as, Alex and Georgie begin to click.. Alex says something to the effect that music is not the notes!  It's in the spaces, Alex says..  between the notes that make any composition become music.  

What Watson allows as Geogrie and Alex  grow close, is for them to take moments:  a sort of musical rest.. physically and in the dialogue as the importance of their connection evolves.

The set and lighting are crisp and supportive as we imagine The Tube Station, Alex's shop, etc.  The scene changes are simple and fluid.. Non-representational. Fine.

It's a play with the off the wall bouncing of Georgie, whose Limberjack contortions visibly morph into .. well.. another woman. Hoover's characterization, changes in a welcome way. Eiding changes, too.. Stepping from his lonely bench . out for a walk.. to discovery of what may become the joy of life.

My being pissed off because I've been ghosted by this PR guy had me all over Facebook looking for  an invitation to review this show. 

.  The PR invitation never came, but with grace, Mr. Watson  responded to my 'what the heck?!' message.    

Very much appreciated.  

I did not attend on Mr. Watson's comp. And, I  did not promise a rave as I tend to not gush much unless something touches me artistically and/or emotionally. The Story of Alex and his Lost Love: lonely tears  melding with Georgie's unhappy tale of being irrevocably erased from a lover's  dance card are touching stories.  Their friendship blossoms in a genuine and beautiful  way.

The beats and complimentary business of great stage pictures  with subtle music make for a professional production.

Ordinarily, I am provided the basic information: the dates and cast and crew of the plays I review.  Because the PR rep probably won't send the info, here's a link to the website.  I love the graphic for the poster.   https://www.skylighttheatre.org/heisenberg.

Please copy and paste.. 

"Heisenberg" 

by Simon Stephens 

Directed by Cameron Watson  Continuing at The Skylight Theatre  right next to the Los Feliz Movie House on Vermont. 

Parking is a challenge! Go early.

See this show and tell The Skylight that   onstagelosangeles sent ya..

michael sheehan 

 

Heisenberg at The Skylight

What looks like a really artsy two hander at The Skylight on Vermont in Los Angeles;  "Heisenberg" by Simon Stephens remains a mystery. 

That's Juls  and Paul. Photo by Jeff Lorch.

Evidently, I am Facebook pals with Paul Eiding  who plays Alex.  Juls Hoover plays Georgie.  I am not FB friends with her.   Cameron Watson, the director of this piece is a FB friend.   That's how I learned that the show was going up.

Evidently, the PR guy for the show has decided to ghost me, so this is just a note to say that this guy is the least effective "Public Relations for theatre person" I've ever dealt with. In the past, his lack of communication has prevented me from seeing at least one show that was so good I wanted to review it again to see if it stood up. Another small company in LA whose work I have applauded has left me in the cold. That's the Road on Magnolia.

Why review theatre?  I want to share with potential audiences and the producers and the casts of the shows that I see.  I function as an objective   and appreciative fan for what I see.

A review is a report and a comment and a brief synopsis most of the time.  I'll wax poetic if something grabs me and I'll point out some good even in the worst productions I've seen.   Once I complimented the set and costumes of a play and listed the cast and crew without comment.  In retrospect, it deserved a pan that would have blistered the Bard.

Because I've been a local critic for theatre for over twenty years, including for Daily Variety and the long ago Drana-Logue (Assignment Editor Polly Warfield was a doll!)... This morning, having read one review  of praise for Heisenberg by a respected critic, Terry Morgan, I'm rubbing some salve on my bruised ego to encourage readers in Los Angeles to get the info on when the show is playing and go. Photos of the set are spectacular.  

I've contacted the director, Mr. Watson, asking if he'd like me to review this play and have not heard back.. Ironically.. my loyal readership, headed for a 90,000 hit count.. would be likely to take my recommendation.. so.. in a left handed way. here it is..

It's expensive to mount a show like this at a rental space like The Skylight. Every patron is a gift.. and when we are lucky, the gift is returned with memorable performances and productions. .

Why take this p.r. putz to task? Because .. as a long time Los Angeles theatre critic I feel that I deserve some respect.  I will never guarentee a rave..  and.. because I'll probably not see this show.. the potential for an honest assessment goes begging.

I know this putzy PR guy has been let go from at least one local company and I was happy to see a show recently at their space where new works go up I was welcomed by a  delightful new PR person who treated me as a peer and with kindness.

Should Mr Watson or Paul Eiding or anyone respond with a request for me to review?  I'll try to make it to see the play.  May / December romance seems like a thing to me.. and it's not Harold and Maude!

Michael Sheehan

onstagelosangeles

HELLO, MY NAME IS.. MOVING ARTS.

MOVING ARTS presents

HELLO, MY NAME IS  by Amy Dellagiarino. A world premiere!

Director Darin Anthony takes us to what feels a lot like the  Heaven's Gate cult that believed that they were headed somewhere in 1997.  Try as I might to discourage curtain speeches and such, we enter the house. The play in progress.  

Then a little curtain speech and a recorded announcement.  Then.. getting back to the play.... sigh.

Kiki and Reagan are seated in silent meditation.  The room that they share is spare: bunk bed, desk and chair, two large zafu cushions. And.. a large  photo of Jay, their spiritual leader poised to take his 'children' to 'metamorphosis..'

Kiki (Ronni Page)  is having a tough time sitting and asks a lot of questions..Reagan (Rebecca Larson)  sits... un-flustered.. well, for a little while. She is the senior mentor.

Micah (Brandon Bales) is a new guy to the group: amusingly  insecure.

Chase (Bradley Bazile) is easily annoyed and a true believer.. Sycophant? Well.. pretty much.

Getting into the plot after a moment, it's clear that the pecking order comes from devotion to Jay. (Juan Monsalvez) who is  the guru with a plan..

We bicker and annoy each other. Dawn is breaking. We wait for 'the chimes..'

At some point, it becomes clear that there's trouble brewing and the dissolving faith of each of the faithful asks questions that lead to a sticky point in the plot.  It nags at me, but to discuss it would be to spoil the clever action .

Back to Heaven's Gate ..or Jonestown in 1978.  When, for one reason or another, seemingly ordinary folks are drawn  to the 'family' atmosphere of like minded others,  there may be a reason to fall in line.  My issue with the plot is that in exposition, initially, we don't get the full picture of what these characters, Micah for only ninety days and Reagan,  the deepest, for five years. What have each of them been actually doing?  Like a well known local to LA cult, do they work and pay into the collective?

As the story develops in real time, Micah's anxiety and genuinely annoying demeanor turns on 'what if" and WHAT IF?   It sure is quiiet around here.....

Darin Anthony's direction keeps the story moving a pace on Justin Huen's perfect set. Sometimes the dialogue gets a little frantic, but when someone is  expecting a 'metamorphosis' that will send them to some longed for  Nirvana?   And, things are not adding up??  Things are crumbling and everyone is hungry. What about the chimes??

Did the Heaven's Gate devotees transcend their physical luggage? 

Can  we sit in meditation long enough to discover our way to our better selves?  

There's some physical business that could use some work and a split focus now and then that is a choice, probably for a reason.  These are minor notes as the show itself tumbles along, well timed to what seems to be a proper conclusion. 

Each actor nails it. And, in spite of my questions about some missing exposition, I hope you will head to Moving Arts and support this well done World Premiere.  It's what Moving Arts does sincerely:  It supports new authors and new ideas.  

LR: Brandon Bales, Bradley J Bazille, Roni Paige, Juan Monsalvez, Rebecca Larsen Photo By Eric Keitel

CAST:

Ronni Page – Kiki

Rebecca Larson – Reagan

 Brandon Bales– Micah

Bradley Bazile – Chase

Juan Monsalvez – Jay

CREW

Playwright:  Amy Dellagarino

Director: Darin Anthony

Producer: Laura Buckle

Producer: Joe Camareno

Scenic & Lighting Design: Justin Huen

Sound Design: Warren Davis

Costume Design: 

Keelyn McDermott

Production Stage Manager 

Keelyn McDermott

Moving Arts Theater proudly announces the World Premiere of
new play Hello, My Name Is… A darkly satirical comedy about losing your way on the
journey to find yourself.
What do you do when the world makes no sense? Some people meditate. Some people
travel. And some people… join a cult.
Who:
Hello, My Name Is… was created and developed under Dana Schwartz’s keen eye as
part of Moving Arts’ MadLAB, play development program.
Produced by Laura Buckles and Joe Camareno; Directed by award-winning director
Darin Anthony; Costumes by Keelyn McDermott; set and light design by Justin Huen; sound design by Warren Davis; props by Dana Schwartz.
This cast in alphabetical order:
Brandon Bales, Bradley J. Bazile, Rebecca Larsen, Juan Monsalvez, and Roni
Paige.
Where:
Moving Arts Theater
3191 Casitas Avenue, Los Angeles, CA 90039
323-472-5646 - info@movingarts.org
When:
PREVIEW: Thursday, November 6th at 8 PM & Friday, November 7th at 8 PM
RUN: Saturday, November 8th to Sunday, December 14th - Friday, Saturday, Monday at
8 PM & Sunday at 4 PM Check website for exact dates and times:
https://movingarts.ludus.com/index.php
How:
Tickets range from $10 to $33 and can be purchased HERE:
https://movingarts.ludus.com/ind

Shanley.. Outside Mullingar at the Skylight

 If my reviews actually do something?, I hope that they will, at least...  encourage readers to attend local theatre.   Every live theatre performance is unique and holds some form of magic.  Just go!

Gary Grossman's Skylight has been cooking one way or another for a long time and this guest production of Outside Mullingar by John Patrick Shanley is an excellent example of how Broadway may come to Los  Angeles.  Director/Producer Matt Leavitt put the show up at the Matrix and got great attention. Now, here we are on Vermont.  Please see this play!.

Kitty Swink!!.

A professional actor married to a professional actor Armin Shimerman.  Both with credits a mile long. A good start.

Full disclosure.. I am an unabashed fan of Kitty Swink. Our first encounter was in a shoebox in NoHo with Daikin Matthews at the helm. Ladyhouse Blues. From that time to this, I have been a fan. 

With this bias in mind, Mullingar is an acting challenge that brings to life feisty Irish farmers at odds. There may be a little too much shouting, but it's mostly appropriate as these characters have tough lives. Grief and other disappointments are abundant. 

We open on a social event after a wake for Chris Muldoon! Feisty Tony Reilly  (Armin Shimerman) is at once at odds with his slightly off kilter son, Anthony (Michael Kirby). Joined by the Widow Muldoon (Kitty Swink!) to banter and eventually get to the subject of the forty meter patch that rears its grassy head between their two farms. 

Leavitt's direction steers the story from one kitchen  to another with an elaborate and very impressive set by Mark Mendelson.  

It's a love story with bristling spines and death.  Shanley is a poet and as we wind our way to a respectable climax, the frustrations of the rebel Rosemary (Liza Seneca) boil and bubble. 

. 

Kitty Swink

 

 It's the Irish Countryside. The heavy mists of farm life permeate the scene.  Aoife Muldoon's   husband has just passed. She arrives at the Neighbor Reilly's farm where discussion of next steps for her and rebel  daughter Rosemary (Liza Seneca) are discussed as they adjust. Old folks on their last laps. 

The issue of the patch of land is on our minds throughout. It colors the connection between Anthony  and Rosemary's odd  "courtship" over the years..    Bickering is a way of life for all.

A beauty of an old folk song permeates the play, "Wild Mountain Thyme."  The subtle tune sneaks in from time to time.   Here's a random sample I found.    The bodhran  is the heart of Celtic music! The tune mirrors our story.

https://www.youtube.com/watch?v=-uCDw30wCe0

Looks like the link might have to be copied and pasted?  I like this version.

Thanks to the intimate space at The Skylight, nuance and well crafted brogues for each of our characters makes this production possibly right up there with Broadway.    Is that a compliment?  Good show.

Cast

Kitty Swink:        Aoife Muldoo  

Armin Shimerna: Tony Reilly,

 Michael Kirby   Anthony  Reilly,  

Liza Seneca          Rosemary Muldoon

 

Crew

Set Design by Mark Mendelson;
Sound Design by Chris Moscatiello; Lighting Design by Justin Huen; Costume Design by Caitlin Cisek

Prop Master/Set Dressing by Megan Trapani 

Photo credit: Karianne Flaathen.

Stage Manager Zaira Paredes-Villegas.

Outside Mullingar by John Patrick Shanley

Directed by MATTHEW LEAVITT

OUTSIDE MULLINGAR will preview on Thursday October 16th and Friday October 17th
at 8pm; will open on Saturday October 18th at 8pm (press opening); and runs through
Sunday November 9th at 

The Skylight Theatre, 1816 1/2 N Vermont Ave in Los Feliz.
Performances are Thursdays, Fridays and Saturdays at 8pm and Sundays at 2pm. 

(No show on Friday October 31st).
Ticket prices are $40. For tickets please visit https://the6thact.ludus.com
For more information, photos, press interviews or for press comps, please email
the6thact@gmail.com

KAFKA.. AT OPEN FIST.. "AMERIKA or the man who disappeared.. WORLD PREMIERE!!

FANTASTIC! 

The opening scenes of "Amerika or The Man Who Disappeared" emerge with beautiful revelations of what it must be like for any first time visitor landing from Europe seeing for the First Time! The Statue  of Liberty. Three spectacular drops set the scene. 

Franz Kafka never visited the United States! This raises the question as to why he created this far out dreamlike fantasy from whole cloth? It's an adventure!!  There's a kid named Karl Rossmann (Ethan Remez-Cott). It's his story.  Down the rabbit hole,  It might be Wonderland?  Oz??  Kafka wants to make sure his audience is never on solid ground: uncomfortable.  As we  take Rossmann's journey with him, one cockeyed experience after another befalls him: even when something might look like good fortune!  .  

Author / adapter  / Director Dietrich Smith created this loopy scenario from Kafka's unfinished novel. AMERIKA Or The Man Who Disappeared.

 

Matthew Goodrich, Ethan Remez-Cott,
and Grace Soens
Photo by Amanda Weer

 

 

 

 

 

 

Make no mistake.. this huge undertaking for The Open Fist will take you from an easy peasy couple of hours to another realm of time and space. Three acts.  

From the get go, young Karl Rossmann, as he sets foot on American soil, rushes back to the ship  to retrieve a missing umbrella down down down  to the steerage of the moldering German steamer.   Odd coincidences begin. 

 Amerika,  with a cast of thousands, makes no claim to make sense.  Karl is an Innocent Abroad in the best sense and is tempest tossed from the beginning. (Thank you, Emma Lazarus)..

 Frederica Nascimento's incredible set morphs from one location to another: a moving picture fantasy.. to coin a phrase.

Smith's highly stylized    presentation of the story's many characters  eschews any natural style. Over the top and loud with poor Karl  hurdled   from pillar to  post  'narrated' by truly wonderful Jay Ward style animations by  John Dilworth  that transition us from scene to scene.  Fine Art! 

A. Jeffrey  Schoenberg's costumes reflect the times beautifully. It must have been a Herculean effort! Wow!

Because of the way the ten cast members morph from one character to another, it's difficult to single out individual performances. Broad stylized presentations rule the day. Imaginative lights and sound. 

Bringing together cast and crew, also Herculean, this show will challenge your take on what Theatre can do. Make your way to Atwater!

CAST:

Ethan Remez-Cott	Karl Rossmann
Jeremy Thompson	Stoker / Mr. Pollunder / Head Porter / Staff Manager
Marc Jablon	Uncle Jacob / Head Waiter / Policeman
Jack David Sharpe	Mr. Green/ Schubal / Company Man / Best
Chima Rok	Delamarche / Ship Captain / Fergussen / Rennell
Matthew Goodrich	Robinson / Mack / Head Purser
Grace Soens	Therese / Angel
Debba Rofheart	Head Cook / Brunelda
Tambrie Allsup	Klara / Ensemble
Jade Santana	Giacomo / Student / Taxi Driver / Ensemble
Kelsey Kusinitz	German Woman /Ensemble...

With apologies to readers, this on line page has taken on a life of its own, not letting me properly credit the Crew of this fantastic show.  Please use the link below to see all of the credits for the play thanks to Lucy Pollok, the PR maven for Open Fist. 

https://www.lucypr.com/Projects/Web/Amerika_Program.pdf

 And. for some reason? This lnk must be copied and pasted instead of presenting as a direct link.  Dang.

Please page down for further information regarding tickets and location.

Open Fist Theatre Company presents the world premiere of Amerika or, The Man Who Disappeared, adapted for the stage by Dietrich Smith from the novel by Franz Kafka. Arriving in New York City on a steamer, 17-year-old Karl Rossmann strives to make his own way, even as he encounters a series of increasingly strange and bewildering experiences that turn his world upside-down.

WHO:
• Adapted from the novel by Franz Kafka by Dietrich Smith
• Directed by Dietrich Smith
• Assistant Director: Barbara Schofield
• Starring Tambrie Allsup, Matthew Goodrich, Marc Jablon, Kelsey Kusinitz, Jeremy Reiter II, Ethan Remez–Cott, Debba Rofheart, Chima Rok, Jade Santana, Jack David Sharpe, Grace Soens, Jeremy Thompson
• Produced by Amanda Weier and Derek Manson
• Presented by Open Fist Theatre Company, Martha Demson, artistic director
 
WHEN:
Oct. 17 through Nov. 22:
• Fridays at 7:30 p.m.
• Saturdays at 7 p.m.
• Sundays at 2 p.m.
• Monday at 7:30 p.m.: Oct. 20 ONLY

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

TICKETS:
$26-$45

HOW:
www.openfist.org
(323) 882-6912

 

IT'S CYMBELINE, PODNUH.. AT ANTAEUS IN GLENDALE

 William Shakespeare's  CYMBELINE heads West. 

Antaeus's Artistic Director Nike Doukas takes the reins to round up a bad queen, her spoiled son and the story of star-crossed lovers... again.

Bernard K. Addison, Teodora Avramovic, Eve Gordon, & Randolph Thompson

Photo by Craig Schwartz Photography

 

King  Cymbeline's (Bernard K. Addison) daughter, Imogen (Elinor Gunn) and Posthumus (Peter Mendoza) are nuts about each other and marry. He is not a royal! Imogen has a wicked stepmother (Eve Gordon who also plays Belaria). The Queen expects her son, Cloten (Randolph Thompson), to marry Imogen and secure the throne for herself when old Cymbeline dies.  Well.. we'll see about that! 

There's an exchange of love tokens, a banishment / escape and some fake poison.   Wm S may have cribbed a little from previous plays, but the drama is still solid.  R and J was written in  about 1596 and Cymbeline in about 1609.. Nothing wrong with a similar plot point a few years later? Borrowing from yourelf seems okay to me.

Ms Doukas updates about 300 years and even though this is certainly bordering on a tragedy, the clever change of venue makes the show roll right along...  Mostly.   

Slick Iachimo (Gerard Joseph) bets Posthumus that he can have his way with his ever faithful bride, Imogen, Iachimo is a scoundrel... and a cheater ..  mostly.

To see the play without knowing the plot may not be easy. Ten actors take on many sundry characters but keeping track of who's who  works, mostly.. 

JD Cullum, playing a wide variety of different guys, steps up to narrate through the fourth wall sometimes with guitar in hand. I like this device..

Ms Doukas's smoothly choreographed direction features beautiful stage pictures, pretty much sticking to the original script featureing Diverse Casting that Antaeus has often used in the past. Ethnicity and gender flip flops work.. mostly. 

The pace dips with the addition of songs, especially the over long lament for Imogen who has imbibed a not so deadly tincture.

When changing gender of some characters, it takes some effort.  at least for me, to embrace the males who have become females. Diversity.

It's an international cast .. all of whom are credible. They are all in the same play at the same time,  to everyone's credit. 

Ann Sheffield's really cool set features about a hundred boxes  that I had hoped would do something. They don't, but their texture and shadows were great. Julie Keen's costumes are spot on.  The scene in Imogen's bed chamber is terrific! 

To fully understand, please read the play or at least a synopsis to mark the plot points and bend one's imagination to fit the transformations. 

Antaeus Company's CYMBELINE   is recommended.  Kudos to Ms Doukas for stirring up the dust of the Old West.  Is it a little long? Come prepared to weather it all anyway.   

Cast:
Cymbeline: Bernard K. Addison

First Lord/Guiderius: Teodora Avramovic
Second Lord/Philario / Cornelius / Lucius: JD Cullum
Queen/Belaria: Eve Gordon
Imogen: Elinor Gunn
Iachimo: Gerard Joseph
Pisania: Desirée Mee Jung
Posthumus: Peter Mendoza
Frenchie/Arviragus: Anja Racić
Cloten: Randolph Thompson

 

Production Team:
Director: Nike Doukas
Assistant Director: Jenn O'Brien
Production Stage Manager: Claire Fogle
Assistant Stage Manager: Jessica Osorio
Scenic Designer: Ann Sheffield
Assistant Set Designer: Maya Aragon
Assistant Set Designer: Olivia Shu
Lighting Designer: Vickie J. Scott Associate Lighting Designer: Elijah Frankle
Costume Designer: Julie Keen*
Composer/Musical Director/Sound Designer: John Ballinger
Projections Designer: Nick Santiago
Props Designer: John McElveney

Photos by Craig Schwartz

CYMBELINE by William Shakespeare

Directed by Nike Doukas

Antaeus Theatre Company

Kiki & David Gindler Performing Arts Center 

110 East Broadway 

Glendale, CA 91205

Ticket Link: https://antaeus.org/show-details/cymbeline

Previews: October 12 - 17

Performances: October 18 – November 17, 2025
Sunday at 2pm: October 12, October 19*, October 26, November 2, November 9, November 16
Monday at 8pm: October 27, November 3**, November 10, November 17 (Closing)

Thursday at 8pm: October 16, October 30
Friday at 8pm: October 17, October 24, November 14
Saturday at 2pm: October 25, November 1

Saturday at 7pm: October 18 (Opening)

Saturday at 8pm: October 25, November 1, November 8, November 15

*After Words: A casual post-show discussion with Artistic Director Nike Doukas, exploring how the show resonated, raising new questions, and continuing the conversation.

**Meet the Artists: A post-show conversation with the actors, where they share insights, behind-the-scenes stories, and answer your questions

 

 

 

"anthropology" (sic) at the Matrix

Rogue Machine Theatre presents "anthropology" by Lauren Gunderson.  It's a trip! 

Artistic Director Guillermo Cinefuegos announces in his curtain speech that this play is a Western Hemisphere  Premiere!!    Guillermo's enthusiastic pep talk is sincere.  I'm ready to see the play un-pepped.  Refreshments in the house are a distraction. 86 them, please. My whole experience colors the review.

The Matrix Main Stage is a challenge to almost any show. . It's many times wider than it is deep and for those in the far side seats, enjoying the whole play can be difficult.  What John Perrin Flynn has done with this very odd story is to keep his players moving with  alacrity. Aided by huge video screens, this story of love lost and found emerges with some questions that I may have missed, but no matter.   It's good work.

Alexandra Hellquist, Kaylee Kaneshiro

 

Alexandra Hellquist as Merril  has lost her presumed dead sister, Angie  (Kaylee Kaneshiro). Angie disappeared.  Merril in her own computer tech genius way seeks to find Angie: by  "reconstructing" her from all Angie's  e-media that is now at her disposal.  Merril seeks to find Peace.  With AI Angie's help she may determine the real fate of sister Angie.

With the recent introduction of Tilly Whatshername? an AI generated actress  and the recent Sixty Minutes  segment that introduced a computer chat bot that recognizes faces and works of art. this slightly complicated story is no longer in any imagined future. It is pretty much happening today. Scary? Well. yes.. to me.

Stephanie Kerley Schwartz's amazing set (she also did the contemporary costumes) and the truly wonderful realization of Artificial Intelligence Angie is a delight as an actual character in this play. Credits: Michelle Hanzelova-Bierbauer (Video/Projection Design), Fritz Davis (Video Engineer)

   Was AI Angie created.. as  Tilly has been, out of ones and zeroes to become a very feisty and 'real' presence on the various video screens on stage? You be the judge.

As Merril  awakens AI Angie, the snappy dialogue is fast paced and challenging. "F" bombs seem to be a thing these days and they roll like second class thunder. Why the F not?

The gay aspect of Merril and Raquel (Julia Manis) being reunited by AI Angie is a sort of adjunct story that features the women re-kindling their love affair. It takes a back seat to how the author's imagination unfolds in an elegant way. Love finds a way.

Nan McNamara as Brin, Merill's mother, might be a few years too young, but she's been a serial bride. She probably started at an early age. Her arrival leads to the business of what may have happened to Angie. .

The professional skills of all of the actors in rapid fire dialogue  Crackle!.  Each of the women own their stories and never drop a stitch.Very special props to Kaylee Kaneshiro  as Angie.

The video / computer simulations become a character that is  undeniable.  Nary a glitch.

Highly recommended. Good luck parking! Arrive early.

 

CAST:

Alexandra Hellquist as Merril

Kaylee Kaneshiro as Angie 

Julia Manis as Raquel

Nan McNamara as Brin 

PRODUCTION TEAM:

Stephanie Kerley Schwartz (Scenic/Costume Design), Dan Weingarten (Lighting Design), Chris Moscatiello (Sound Design), Michelle Hanzelova-Bierbauer (Video/Projection Design), Fritz Davis (Video Engineer), Carly D.W. Bones (Intimacy Coordinator), Grant Gerrard (Technical Director), Victoria Hoffman (Casting Director), Athena Saxon (Assistant Director/Prop Coordinator), Rich Wong (Stage Manager), Jeff Lorch (Photos) 

Chisom Okoye (Associate Producer), Guillermo Cienfuegos, Justin Okin, Lexi Sloan (Producers)

anthropology by Lauren Gunderson

directed by John Perrin Flynn

Rogue Machine Theatre

at The Matrix

7657 Melrose Ave, Los Angeles, CA 90046

(street parking)

 

8pm Fridays, Saturdays, Mondays; 2pm Sundays 

(no performances on Monday, October 6)

Closing: November 9, 2025

 

Reservations https://www.roguemachinetheatre.org/

Information 855-585-5185

 

Previews $25 (too late!)

General Seating: $45; Seniors $35; Students with ID and children under 18: $25

Show4Less on Fridays Oct. 10 ($15+), Oct. 17 ($20+), Oct. 24 ($20+), Nov. 1 ($25

.

 

BOSTON COURT / NGHT OF THE IGUANA

 The Boston Court Theatre in Pasadena is a delightful space that caters to excellent choices for production.   

Tesshi Nakagawa's  lush tropical set features the verandah of the Casa Verde Hotel. A huge tree upstage ominously looming. The silhouette changes as time goes by. Spectacular.

Maxine Faulk's (Julanne Chidi Hill) husband has died leaving Mrs. Faulk to run the Hotel. At rise, she is, evidently, a  very Merry Widow   trystijng enthusiastically with one of the Mexican guys who do chores at the hotel. Pedro and Pancho (Juan De La Cruz and  Michael G.Martinez)   Erupting from her tryst, Mrs. Faulk explodes with a shout down the hill, hailing her old friend: The Reverend T. Lawrence Shannon: (basso Riley Shanahan). 

Shannon is exhausted with  fever and drink. He is a tour guide who has gotten himself in trouble with a sixteen year old honey bunny in his tour group.

Jessica Kubzansky's direction  has the actors at full voice from the start. Shannon is up against it with fever and things are going south way faster than he would like.. Faced with rebuke from tour sponsor Miss Fellows (delightfully  doing double duty Ann Noble also as Frau Fahrenkopf) there's a lot of shouting  going on.

It's 1940 and the Germans romping at the hotel may be Nazis, but this is vacationland and the only politics on hand is  Shannon's struggle to save his rearend.. and his job.

 What fate lies ahead for Shannon turns on dealing with his demon, The Spook of his imagination and opportunities with Maxine,  the one note  widow who loves  Shannon and needs a partner.

With the problems brewing with Miss Fellows and the tour falling to pieces,we meet Hannah Jelkes (Jully Lee)  and her 97 year old poet / grandfatther, Nono (Jonnathan Coffin). Penniless and tired.

A trend in shows I've seen over recent years has swung to 'diversty casting' which gives audiences the challenge of accepting characters that may once have been  signular ethnicity characters because we had not yet become woke.. Now the choice to cast other ethnicities works if you can re-tune your  initial understanding of characters who once were probably caucasian to another channel.

As Miss Jelkes, Ms Lee is smooth as silk.  Shepherding her 97 year old grandfather who is   hard at work on his ultimate poem.  Ms Lee's portrayal is seamless. It works if you can buy that an Asian woman/artist shows up and is dependent on the kindness of strangers.(To coin a phrase)..

The tragedy of Shannon"s issues is handled well by Ms Jelkes, but for a woman with so many pressing responsibilities, she was, at leas for me, too beautiful and too cool and hardly desperate. These are truly desperate times.. No funds. The end of the trail as Nono composes his epic and final poem.

The discomfort in this review is that this Iguana is a very well done production. The beautiful set really works. The whole business of the iguana and Shannon's issues and his attraction to Jelkes and all is still just a little off. 

 Certainly, Williams' Iguana characters are compelling. The theme of release and new beginnings symbolized by the  feed iguana is clear.  The completion of Nono's poem is poignant. 

The beauty of this Boston Court  presentation is the attention to detail. Every aspect of the production has been met, but for me, I wanted to care more about Nono and somehow sympathize with Shannon.

Chilled by air conditioning to see a steamy tropical play might have biased my take. My reviews are always about the whole experience.  Fact is that this is a production totally worth seeing and I hope audiences will attend.

It's a Tennessee Williams play and finding the stuff in it, while a bit challenging for me, it is very worthy ..  

Cast 

Pancho: Michael G. Martinez

Maxine: Julanne Chidi Hill

Pedro: Juan De La Cruz

The Reverend T. Lawrence Shannon: Riley Shanahan 

Wolfgang: George Vagujhelyi

Hilda: Isabella Feliciana

Herr Fahrenkopf: Christian Haines

Frau Fahrenkopf: Ann Noble

Hank: Juan De La Cruz

Miss Fellows: Ann Noble

Charlotte: Isabella Feliciana

Hannah Jelkes: Jully Lee

Nonno (Jonathan Coffin): Dennis Dun

Jake Latta: Christian Haines

Creative Team

Director - Jessica Kubzansky

Assistant Director - Eric Swartz

Scenic Design - Tesshi Nakagawa

Costume Design - Denitsa Bliznakova

Assistant Costume Design - Linda Litchy-Cervantes

Lighting Design - Kaitlin Trimble

Sound Design/Composition - John Zalewski

Properties Design - Jenna Scordino 

Intimacy Director - Carly DW Bones

Fight Director - Edgar Landa

Dialect Coach - Matthew Floyd Miller

Casting Director - Victor Vazquez

Production Manager - Jasmine Kalra

Production Stage Manager - Jasmine Leung

Assistant Stage Manager  - Jaclyn Gehringer

 

The Night of the Iguana 

 By Tennessee Williams

Boston Court Theatre

Pasasdena, California

 Opened Saturday, September 20 at 7:30 p.m., 

Performances  on Thursdays, Fridays and Saturdays at 7:30 p.m. Sundays at 2 p.m.  through October 19.  on the same schedule. 

Tickets range from $10 to $72, including fees

Ann Noble's A BELLA INCARCERATION

 Ann Noble's 

A BELLA INCARCERATION  presents an exploration of what one person can do, may do, should do:  Must Do!

An n Noble as Bella

 

Full disclosure:  I am a fan of Ann Noble. She is one of the most protean  actors I've seen in years.  Her ability to allow a character to emerge is exquisite. This show has some surprises.  We go from discovery of her cute blonde clown, Bella, rightly incarcerated  for a misdeed and her envy of tall folks to discussions of civil disobedience. 

Bella conjurs  three prominent women from history via a tubby little mini-Bella complete with pink nose and blonde curls.

 The these three women are and were important in modern  history.  Journalist Nellie Bly (May 5, 1864 - January 27, 1922),  Anarchist Emma Goldman (June 27, 1869 – May 14, 1940)  and Political Activist Dorothy Day (November 8, 1897 -  November 29, 1980).  Each in her time stood for social principles that still need  attention today. 

Noble has pulled these important American activists into the future to find 'truth' in why we do what we do.  "What I did for love?"  or passion? Each has a story.

Ann Noble is committed to theatre. A Bella Incarceration is mounted simply: a cage and a few props. It's presentational, drawing the audience in.. Bella's 'cell' is surrounded on three sides by her audience. The play is intimate.   Bella tells us that her incarceration  is because of Fire!! the fire of love  or passion or maybe even compassion... as she's in the clink for love of a tree.  

I really don't like the word 'interesting.'  It's a nuisance word that we often use when we don't know exactly what to say.. We meet Bella and hear her issues with tall folks. Meet the historical women  and then 'interesting' happens. No spoiler alert except to say that the left turn transformation of the naive Bella is profound and... Interesting.   Bella's sharp awakening is dramatic with a story in mime and some cool business with a symbolic light bulb including Noble's fluid dance moves.. 

Very interesting.  We come from what is a pretty straight forward polemic that quotes these famous women to something apparently deep and personal that contrasts the other stuff.

This is a must see production, if for no other reason than to find the kernels   of truth that lie beneath the surface of what must be a very personal story.   Noble's imagined characters are crisp.. The revelations that blossom in Bella Ventricula and the 'interesting' contrast supported by an orchestral cello version of "The Sound of Silence" plays. It all comes together in a commitment to an important idea. 

 A Bella Incarceration is a Very Interesting piece, in the best sense:  inviting us to find the 'fire inside' which may be the foundation that buoys up the entire presentation.

A BELLA INCARCERATION

written and  performed by  Ann Noble

• Sundays at 7 p.m.: Sept. 21 and Sept. 28
• Mondays at 8 p.m.: Sept. 22 and Sept. 29
• Tuesday at 8 p.m.: Sept. 23 ONLY

WHERE:
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 PRICE:
• Individual tickets: $20

HOW:
EchoTheaterCompany.com
310-307-3753