GUEST REVIEW / FAIRVIEW : A FAIR REVIEW// AT THE MATRIX

From time to time a critic I know may opt to weigh in on a show that I have not been able to see.

///

For its first 25 minutes, FAIRVIEW--receiving its Los Angeles premiere Saturday night at Rogue Machine--seems a straightforward sit-com about a black family a la Tyler Perry. Overwrought mother preparing a "perfect" birthday dinner for her mother who is napping upstairs while the unruly clan gathers with all the attending chaos.  At a point, the pretense is suddenly broken and the sit-com format evolves  (explodes really) into a grab bag of ideas, inspiring thought about what it is to be black in the US,  gender fluidity--men playing women--, racial fluidity--white characters playing black characters--as well as THEATRE fluidity; reminiscent of many great free form jazz performances (with extremely tight choreography and cues) like THE ART ENSEMBLE OF CHICAGO. I wouldn't call it a "play" per se, but more of an experience--the choice for Rogue Machine to present I wholeheartedly support as someone who thinks this IS a valid direction for theatre to go in. Some of those choices are challenging, some amusing, some frivolous and some mystifying. The cloth is all there even if the suit doesn't quite fit in a normal fashion. Let's compare it to a flight when one of the airplane's engines suddenly goes out and you're not sure where (or if) you're landing. Wherever you end up, it certainly isn't going to be the destination you thought you were going to. But it's a fascinating and unexpected voyage. I never had that grim "this is three hours of my life I'll never get back" feeling as I sometimes do watching straighter (and more predictable) plays. The actors are all universally excellent and dedicated to the task at hand. As is the director Oz Scott. As is Rogue Machine as a producing entity.  Without that total commitment on all sides, this piece would not work. It's certainly a theatre Experience you won't have every day. 

A. Mutt 

March 16, 2026

BOSTON COURT.. OCTOPUS'S GARDEN

Puppeteers Zachary Bones, Perry Daniel, and Danielle McPhaul as Syliva

Boston Court Theatre in Pasadena.. I just learned.. may be the only local space built explicitly for intimate theatre.. at least in Pasadena.  For  Weston Gaylord's  Octopus's Garden, the intimacy of the space works.

FYI!!  Octopuses are ceophlopods.  A recent film points up that these denizens of the deep are highly intelligent and are mostly placid creatures with relatively short life spans. The Giant Pacific Octopus's cousin, the Giant Squid that terrorized Captain Nemo's Naautilus was my first up close and  personal encounter with a ceophlopod and that was scary.

 Over fifty years ago.. seems like Yesterday.. on the Abbey Road album by a British band I still remember.. Ringo Starr's  bouncy  little tune Octopus's Garden came to life.  That must be the origin of the title of this play.

When three bright factions of local theatre companies, Circle X with Otuside in and Boston Court band together to present an intriguing  production:  a world preimere, no less!..  that  turns on the lives of  two dedicated scientists Tara (Kacie Rogers) and Lars (Tim Cummings) and one talkative musician, Lucas (Vincent R. Williams ) the concept is delicious!   Three dedcated puppeteers (Zachary Bones, Perry Daniel, & Danielle McPhaul) manipulate Slyvia, the Giant Pacific Octopus. 

François-Pierre Couture's gorgeous set that includes a dedicated aquarium / tank encloses the star of the show. 

I more or less buy the basic premise: Sylvia composes a melody that is so rich and powerful that it affects the soul of anyone who hears it. Conversely, for Lucas, our composer, it sets the bar so high that any known music ever composed... essentially fails by comparison. A stretch.

Sadly, though I bought the idea that such a thing coild happen, I found the puppet presentation of Sylvia inadequte. Factor in the need to replicate the way that Sylvia created her first composition along with  intrigue that Lars may have nudged or fudged some scientific statistics in his need to keep the study of Octopuses a float, so to speak.. and the conflict of poor Luucas having lost his muse for cause.. and other pressing time issues? Try as we might, We are headed for a difficult resolution.

Karen Lawrence's lights  are subtle. 

The actors eventually settled into believable roles: the composer, the impatient scientist and the seasoned traditionalist.    These are dedicated actors.

Though Sylvia is certainly 'terrestrial', she is also about as Unworldlyy as one might imagine. There is a nice connection   between Tara and Lars with Sylvia.

For no other reason than the challenge of participating in the angst of conflicting ideolgies, one must see the play.  It's overly talky and the denouement, to me is superfluous.  The lesson?  We come and go and the relationships we care about may come and go, but the memory lingers on.

 

 CAST:

Tim Cummings as Lars

Kacie Rogers as Tara

Vincent R. Williams as Lucas

Puppeteers Zachary Bones, Perry Daniel, & Danielle McPhaul

---

CREATIVE TEAM

Director: Jessica Kubzansky

Playwright: Weston Gaylord

Puppet Designer/Puppetry Director: Emory Royston

Set Designer:  François-Pierre Couture

Lighting Designer: Karyn Lawrence

Sound Designer: Noel Nichols

Costume Designer: Wendell Carmichael

Props Designer: Nicole Bernardini

Dramaturg: Jen Kays

Stage Manager: Kat Haan

Assistant Director: Melissa Coleman-Reed

Assistant Stage Manager: Yaesol Jeong

Intimacy Consultant: Elizabeth Rainey

Sound Board Operator: Jonas Huffer

Casting Director: Victoria Hoffman

Photos by Brian Hashimoto

Octopus’s Garden

FEB 26-MAR 29, 2026

A World Premiere Co-Production with Circle X Theatre Co. and Outside In Theatre
by Weston Gaylord
directed by Jessica Kubzansky

 

 

 

ALL MY SONS / ANTAEUS GLENDALE

 There is a major challenge to write a reivew of a genuine American classic.. 

Artur Miller in each of his plays has found the voice of the times and the friction of the charactres and the situations that make for a strong production: the stuff of what a 'straight play' must be. Opening night is a trip.  Familiar faces; heavy duty talent on stage and in the audience makes it not just an evening of theatre,but an opportunity to share the energy that comes with people who know Miller and have high hopes.

Make no mistake, on entering the Antaeus space, the overwhemling presence of The Keller Home: At once industrial and elegant...  Enough to suggest the wealth and importance that Joe Keller has gained through Busienss, with intimidating lights:   dozens of scoops arranged right and left: the anthesis of the realism that the text of All MySons demands. The brilliant contrast  at first seems...  just wrong. 

Still the gravity of the times is undeniable. 

Antaeus is Glendale's Classic Theatre Company bringing one of Arthur Miller's most poignant and soul searching plays to the stage as Salesman and The Price also find curtain up in town  for spring.  The story of Joe Keller (Bo Foxworth) )  and his ragged road to manufacuring success  is filled with angst and passion.  How Joe's long suffering wife, Kate, (Tessa Auberjonois)  and their family deal with the loss of Kate and Joe's son, Larry in the war and how conscience and truth come along,  especially as  Kate comes to grips with the loss of her Larry  and the uncomfortable business of how their son, Chris (Matthew Grondin ) brings to the surface old hurts with his love of 'Larry's girl" Ann (Shannon Lee Clair ). moves a pace.

We are in Ohio. Post WWII . Maybe 1948? 

Men are home and regaining their lives. Chris confesses issues with his loss of soldiers and his love of Ann.  Truth be told? His personal ethic is supportive and kind. His philosophy contrasts Joe's practical / survival  outlook.

ok

Truth

Bo Foxworth and Tessa Auberjonois. Photo Credit: Craig Schwartz Photography

 Opening night  delivers high high energy. It's inevitable and as the play moves on, we find the humanity in each of these fundamentally American characters.

As Kate clings to her illusion that son, Larry, is still alive, we meet Frank (Johnny Patrick Yoder), a sincere and slightly loopy neighbor who is preparing Larry's horoscope to determine if the day he may have died was his "good day." 

Frank is ridiculed by Jim (Bryan Keith), slightly whipped by his dumpling wife , Susie,(Cherish Monique Duke). The put down is succinct. 

The beauty of Arthur Miller's characters is that the humanity of each story is absolutely clear. We have a breather now and then, right down to the brief expositoon that includes a well mannered kid, Bert (ramrod straight Brooklyn Bao) who can't say bad words and the  unhappy arrival of Ann's brother, George (Michael Yapujian... more nervous than nervous). Revelations slowly emerge  as the  mystery that everone, evidently, has known all along, come to light. A brief scene with Frank's wife, Lydia (Erin Pineda), is remarably poignant.

The looming presence of the Keller Home  stylized by Fred Kinney with the blatant intrusion of Andrew Schmedake's lights is mellowed by teriffic period costumes by Wendell Carmichael

It's  a well done peridod piece.  Diversity casting with Jim and Susie works perfectly. It's an Arthur Miller play and the expectations of deep roots for every character are each brought to life by the well tuned ensemble.The symbolism of schock and awe boosts the dramatic tension: sound and lights.

It's something that Mr. Miller might cluck a bit at  with the exposed tech, but would probably agree with me that the production is solid and as it catches its breath should enjoy full houses and discussions regarding the balance of commerce and humanity. 

And, humbling quality of Truth. 

Jeff Gardner's original music and sound are sprctacular.

And.. I realize that by not initially metioning the name of the director, Oánh Nguyễn, that their work has been invisible.. as it should be. 

Good Show.

 

 Production Team:

Director: Oánh Nguyễn
Scenic Designer: Fred Kinney
Costume Designer: Wendell Carmichael
Lighting Designer: Andrew Schmedake
Original Music & Sound Designer: Jeff Gardner
Props Designer: John McElveney
Intimacy & Fight Choreographer: Shinshin Yuder Tsai
Production Stage Manager: Talya Camras
Assistant Stage Manager: Jessica Osorio
Assistant Director: Shinshin Yuder Tsai

Cast:
KATE KELLER: Tessa Auberjonois
BERT: Brooklyn Bao
ANN DEEVER: Shannon Lee Clair
SUE BAYLISS: Cherish Monique Duke
JOE KELLER: Bo Foxworth
CHRIS KELLER: Matthew Grondin
DR. JIM BAYLISS: Bryan Keith
BERT: Aarush Mehta
LYDIA LUBEY: Erin Pineda
GEORGE DEEVER: Michael Yapujian
FRANK LUBEY: Johnny Patrick Yoder

ALL MY SONS by Arthur Miller

Antaeus Theatre 

Broadway

Glendale, California 

Buy Tickets Here: https://ci.ovationtix.com/35088/production/1258492

When:

Previews: February 22 – 27

Performances: February 28 – March 30, 2026
Fridays at 8pm: March 6, March 13, March 20, March 27
Saturdays at 2pm: March 7, March 14, March 21
Saturdays at 7pm: February 28 (Opening)
Saturdays at 8pm: March 7, March 14, March 21, March 28
Sundays at 2pm: March 1, March 8, March 15, March 22, March 29
Mondays at 8pm: March 9*, March 16**, March 23, March 30 (Closing)

*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

 

ANN NOBLE AS RICHARD III A Noise Within

 

Ann Noble
Photo by Craig Schwartz

A Noise Within is Pasadena's Classical Theatre Company: a gift .. 

ANW wades into Shakespere with a Mirror of Our Times:  RICHARD III.

It's been twelve years since  director Guillermo Cienfuegos directed Henry V at Marilyn Fox's  Pacific Resident Theatre.  Cienfuegos's Henry V  was lauded for its minimalist approach to the Bard. Now in the considerably more flashy ANW venue, Cienfuegos has pulled out the stops (an organ reference) to recall Hamlet's Advice: "... to hold .the mirror up to nature: to show virtue her own feature, scorn her own image, and the very age and body of the time his form and pressure."  Elements of Cienfuegos's PRT Henry V work well in ANW's  magnificent space.  

It's been over four hundred years since Richard III was written and now in modern dress we see in ANW's bold experiment: casting an actress, glorious Ann Noble,  in the role of the true villain. Times change. 

Diversity works.

 ANW's Richard is set in England circa 1970s.  Christine Cover Ferro's costumes are a huge success. 

An Opening Montage tutorial  with tableaux and projections provides insights as to how the monarchy sustained itself in times of heavy hands and absolute power. 

RIII predates Shakespeare's era by about a hundred years.

Angela Balogh Calin's industrial set moves fluidly. At rise, a huge plastic curtain is flung up. by the cast! A challenge to the audience? A metaphor for change?  Ken Booth's extraordinary lights make an essentially bare stage come to life. The basic theme of 'someone's in your way?  Off with their head!!" prevails.

Cienfuegos's ability to be, at once..a traffic cop and creatively build strong images is masterful.  Ann Noble as RIII doesn't rely on the traditional bunch back, hobble routine. A subtle malady is referenced. It never hinders Richard's ruthless manipulations of lies and promises redacted. 

Strong performances by Randolph Thompson as Clarence and Erika Soto as Lady Anne underscore the importance of casting.  Every single member of the cast is dedicated.

With some doubling, it's a large cast that comes to rest on Veralyn Jones as Richard's mother, the Duchess of York, who, from her wheelchair, declares: .

"A mother's curse.. Bloody thou art; bloody will be thy end.
Shame serves thy life and doth thy death attend."  

A prophetic couplet to be remembered, even in 2026..

The iambic pentameter of Shakespeare's language is not always easy to absorb. We do get the well known lines. Some of the argument of the play may elude an unsuspecting ear, but.. the action of the piece, the strong performances and Cienfuegos's dedication to movement makes the language almost secondary as we witness Richard's's rise to grasp the crown .  It's not the easiest of Shakespeare's histories, but as England's dark times are reflected in current events, it's an important look at how corruption and malignancy of spirit may rise and destroy  the most innocent of victims.

For purists?  This is the Folger script. It does not include poor Clarennce's more creative demise.

Applause to Ann Noble's valient rendition of one of Shakespeare's most repugnant villains.  Applause.

Cast

CAST
Richard . .     Ann Noble*
Lady Anne .. Erika Soto*
Queen Margaret  Trisha Miller*
Duchess of York  .Veralyn Jones*
Hastings  . . .Samuel Garnett
Rivers/Murderer 1 Alex Neher
Richmond/Murderer 2 Wes Guimarães*
Queen Elizabeth   Lesley Fera*
Duke of Clarence .Randolph Thompson
Stanley    Tony Pasqualini*
Duke of Buckingham  Lynn Robert Berg*
King Edward IV . .Neill Fleming*
Young York . Brendan Burgos
Prince Edward  Micah Lanfer
Ensemble   . Vic Crusaos
Ensemble  Sean Umeda
Ensemble Dominick Jaramillo 

CREW

Author . William Shakespeare
Artistic Directors . Julia Rodriguez-Elliott  &  Geoff Elliott
Director . Guillermo Cienfuegos
Asst. Director . Natalie Martin
Stage Manager   Sami Hansen*
Asst Stage Manager  Hope Matthews*
Scenic Designer   . Angela Balogh Calin†
Costume Designer  Christine Cover Ferro
Asst. Costume Designer  Jocelyn Tamayo
Lighting Designer  Ken Booth
Sound Designer . . Chris Moscatiello†
Sound Apprentice   Athena Saxon
Projections Designer.   Nick Santiago†
Wig Designer & Make-up .Tony Valdès
Dialect Coach   Andrea Odinov
Fight Choreographer   Jonathan Rider
Dramaturg/Shakespeare Consultant Miranda Johnson-Haddad
Properties Designer/Technical Coordinator  Stephen Taylor
Production Manager  Juli Figueroa-Castro
Interim Managing Director/General Manager . Conner Criswell
Casting Director/Artist Relations. .Alison Rodriguez
Master Electrician .Georgia Shupper
Costume Shop Manager  Courtney Park
Costume Shop Assistant .Erin McComb
Light Board Operator  

Gianmarco Cardenas
Deck Crew:
A1   Christopher Bosco 

RICHARD III by 

William Shakespeare

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

Sunday at 2 p.m. / Wednesday, Thursday and Friday at 7:30 p.m.
Performances Feb. 14 – March 8:
• Thursdays, Fridays and Saturdays at 7: 30 p.m. / Saturdays and Sundays at 2 p.m.
TICKETS:
• Tickets start at $41.75 (including fees)
• Student tickets start at $20
• Wednesday, Feb. 11 and Thursday, Feb. 12 (previews): Pay What You Choose starting at $10 (available online beginning the Monday prior to that performance)
• Discounts available for groups of 10 or more

anoisewithin.org
(626) 356-3100

 

KID GLOVES AT THE SKYLIGHT A World Premiere

 (In the voice of Rod Serling..) "Imagine if you will.. a world of laughter, a world of cheer.. "  Oh wait..

Here's the thing.. When the world needs more entertainment for  children.. "Kid Gloves" a burgeoning competition reality show is set to find the next Shari Lewis or Mr. Rogers? The talent who come out of the woodwork to fill the bill are as eclectic.. even more eclectic as you might imagine.

Akin to American Idol.. but with back stage back stabbing and an Amazing Cast (Thanks to Casting Director Michael Donovan)  To say that the contestants are a 'mixed bag'  of talent is an understatement. 

How a relatively small company comes up with this truly amazing cast and a groovy three piece combo on Mark Mendelson's very. very colorful set .. dedicated stage hands and rocks the Skylight as it may have never been rocked before is a delicious treat .  

A panel of Kiddie Pros sit ready to crown the Next Big Thing in the KIDZ  streaming channel. 

KID GLOVES

It's a little embarrassing to gush.  I, as a rule, just don't gush. Gushing is for gushers.. 

But!

 If ever there was a 'must see' Hit that calls for Kudos?? ?  KID GLOVES is the answer.  Sadly, you might miss some of the terrific dialogue because of laughter. Oh sure.. no.. really.  Aww Come on.. Really?   Yes! Really!!

Okay.. this is why?

We enter the Skylight and are greeted by a live combo.
They set the tone of the evening.  

No Intermission!   Thank goodness..

Out pops Caleb. (Will Coller) the MC of the Kid Gloves Competition. .

We meet the panel.. Jonathan Slavin as Edmund the Elephant, Suzy Nakamura (Penelope) with her bunny pal and Professor Penguin,  Harry S. Murphy whose silly hat falls off to set the mood  for this truly wonderful Ninety Minutes of non-stop surprises.  

Get yourself a seat mate with whom you can exchange looks of 'what fun' and then settle back to enjoy this crazy competion.  

Kid Gloves in not a musical.  It's a well crafted piece of theatre with songs and very special characters and a fully dedicated cast, nary a klinker in t he coal scuttle.   A little song. A little dance.  A lot of fun.

To wit.. 

 Christopher Kerrigan as Joaquin, a ringer for Jack Black, who exposes the dark underbelly  of a guy whom we love at first light. 

As with American Idol, the panel of the Elephant, the sassy ventriloquist and Professor Penguin weigh in. 

As the contestants sit in a  'confessional' to discuss the reasons for their heart's desire  to be realized, we meet Meredith and Eddie (Heather Marsden &  Adam J. Smith). We are charmed  by their mutual devotion and partnership.   Well, for now.

Adroable Darla  (Natalie Lander) and her dolly (Dolly)  take stage and with dance moves and Super Pink Attitude knock it out of the park. Darla's got a mouth on her that would make  a sailor blush. to coin a phrase.

Jackson  (Joey Richter) is the most egotistical guy on the planet.  He extols his love of the Earth and living in his own far out universe with amazing energy. Jackson's attitude and  singing chops with great moves make you love to not like him much.

His gal pal Vicki.. (Lauren Lorati)   plays the foil to Jackson all the way to the walkiing Coke Bottle!  Recycle!

Will Collier as Caleb.  the host of the competition could not be more  perfect as a guy who embodies the best of the worst Game Show Hosts we've ever met.  Sincere and slick and totally lovable..

There's a fine line between parody and whatever a sincere parody might be.  There's no Nudge Nudge, Wink Wink that signals that the actors know they are painting with broad strokes. It's... unique in that the tenor of the performances might lapse into broader parody, but dirrector Richard Israel has this excellent cast selling the songs and the characters with sincere aplomb.. 

Aplomb??  Yes.. there's a depth to each of these products of Matthew Leavitt's imagination that teeters: broad comedy with Heart Felt performances.

I lucked into a seat mate who had taught dance to the dynmaic Darla and a lot of the fun of this show was turning to each other confirming that we had seen something special.

Mendelson's set looks expensive. The smooth transitions from tje KIDZ+ Studio Settiing with Panel, to the 'confessionals' to back sttage Craft Services and banter to another location??  The Green Room where it all comes to Big Old Climax! is wonderful.  

How one assembles a cast of high quality actor-singer-dancers, each of whom is totally devoted to the work may come down to the enthusiasm that the playwright, Matt Leavitt, exhibits and has shared every single time I've met him.  The synergy of the story, the characters, the songs and the very loopy whodunnit plot works because every single person and maybe a couple of stagehands? Are fully invested in their characters and the clever twists and turns of the plot.   

It is so much fun to write a rave. The effortless flow of compliments and having a seatmate who enjoyed the show as much as I and the rest of the audience makes for the kind of evening where you know that we have had  as much fin as the cast.  

It all works.

Please take a friend or make a party .. Come early for parking.  There's great Italian at Palermo.. or other good places nearby to dine.  Atrium is right next door.

Make it an evening and see how a professional production will leave you a little out of breath from the laughter.  Say Hello to Joaquin, Darla, Jackson and Meredith & Eddie.. Meet the panel, Caleb, too. and have some fun. 

Boy, can  we use some fun about now. 

Please tell them that Michael Sheehan  sent you.  Onstagelosangeles strives to tell the truth and we never gush.. Okay?.  

Cast: 

Will Collyer as “Caleb,” 

Adam J. Smith "Eddie,”

Natalie Lander as “Darla,” 

Joey Richter as “Jackson,” 

Lauren Lorati as “ Vicki,” 

Harry S. Murphy as “Professor Penguinpants,” 

Jonathan Slavin as “Edmund the Elephant,” 

Suzy Nakamura as “Penelope” (and “Bonita the Bunny”), 

 Christopher Kerrigan as “Juaquin.”

Crew: 

 Book and Lyrics: Matthew Leavitt; 

Music by Nathan Wang; 

Director Richard Israel; 

Music Director Anthony Lucca; Choreography by Christine Lakin; 

Scenic Design by ; Lighting Design by Andrew Schmedake; Costume Design by Rebecca Carr; 

Sound Design by Christopher Moscatiello.  Properties Design by Megan Trepani; 

Fight Choreography by Ned Mochel. , Casting; Michael Donovan, CSA & Richie Ferris, CSA. 

Production Stage Manager Amelia Tacy.  Produced by Village Green Productions and Sami Kolko

 

KID GLOVES: World Premiere!

by Matthew Levitt

The Skylight Theatre

Los Angeles, California

Thursdays, Fridays & Saturdays at 8pm; Sundays at 2pm 

Runs January 15th - February 15th

Tickets and informaton:

 https://kidgloves.ludus.com

BROWNSTONE AT THE OPEN FIST

O The new year  blossoms with the Open Fist doing what it does well :  another challenging production, the very interesting Los Angeles premiere of Catherine Butterfield's BROWNSTONE.   The play provides  an imaginative plot that successfully challenges the audience to sit tight andd do our best to keep up with the changes that take us from the 1930s to the Seventies to early 2000s in a believable interlacing of scenes.

On Jan Munroe's impressive set we do the Time Warp: shifting easily from one time period to the next.

As the plot unfolds, the history and secrets of "Brownstone" reveal themselves.   Ron West's fluid direction shuttles us from one situation to another revealing the lives of three pairs of occupants  of essentially the same New York City brownstone flat from  one  era to the next.

An opening montage introduces us to Deena (Rosie Byrne)  and Maureen (Amber Tiara),  a disparate pair of wanna be actresses in the 1970s. In the 1930s we meet a lovely bantering couple, soon to be lovers:  , Davia:, a artist  (Chelsea Spirito) and Stephen:    (Matthew Goodrich) a journalist. 

The third pair: a hot to trot high end stockbroker Jason and his gorgeous munchkin intended: Jessica, rising in the world of advertising. Isaac W. Jay and Jade Santana.

Howard Hawks meets Neil Simon meets Laverne and Shirley? That's more flippant than these scenes deserve, but it seems to represent the flavors of the performances in a dramatic way.

 Director West has guided, the especially feisty duo of Davia and Stephen  to take on the machine-gun patter of a 1930s movie. Excellent costumes by Mylette Nora buoy up their story beautifully.

At rise we meet a movie collage of the entire cast: a gathering of ghosts? No!!  It's a preview of twhat's to come.

When Deena and Maureen  breeze into their tiny flat, It's the Seventie. These young women have escaped The Barbizon to take the City by storm  Deena's on again off again Texas Accent and Privileged Family backing contrast big time with Maureen's modest budget. TV sitcom oveshadows a bit. Amped volume makes for high speed delivery.

Jason  and Jessica  present a somewhat dark Neil Simon aspect in the 21st Century. It bears south with very well invested performances.

We are drawn heavily to the performances, allowing pieces from each time period to cross over and intermingle. 

The Opening Night audience was on its feet and served up a well deserved Standing O.  

 Cast:

Deena:        Rosie Byrne

Maureen:    Amber Tiara.  

Stephen:     Matthew Goodrich 

Davia:        Chelsea Spirito  

Jason:        Isaac W. Jay

Jessica:      Jade Santana 

Creative team 

Scenic Designer  Jan Munroe

Lighting designer Gavan Wyrick Sound designer Kermit Frisbee Costume designer Mylette Nora Properties designers Bruce Dickenson and Ina Shumaker

Carmella Jenkins and Beth Robbins co-produce for Open Fist Theatre Company. 

Production stage manager 

John Dimitri

 

BROWSTONE by Catherine Butterfield

Directed by Ron West

Brownstone opens on Saturday, January 24 at 8 p.m., with performances thereafter set for Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. through February 28. Tickets range from $26 to $40, including fees, except opening night (Jan. 24) for which tickets are $54.75 and include a champagne reception following the performance.

Atwater Village Theatre 

 3269 Casitas Ave.

Los Angeles, CA 90039. 

 Parking is free is in the ATX (Atwater Crossing) parking lot one block south of the theater. 

Tickets and for more information call (323) 882-6912 or go to openfist.org

 

 

 

 

 

 

Sad news..

From Simon Levy of the Fountain Theatre,  I have just learned of the passing of Dawn Didawick, the actress  / wife of actor Harry Groener. Both are Founding  Members of Antaeus Theatre Company in Glendale.

With the passing of Rob and Michele Reiner taking headlines..sadly.. those of us in the local Los Angeles Theatre Community will miss the bright light that Dawn has been .. 

Condolences and eulogies in E Communication are quick to pass.  

At every opening that I've attended at Antaeus, if Dawn was not in the production,  she was front row center with Harry to support the show.. 

A lovely and talented actress, Dawn will be missed..

Harry and Dawn were  together for 45 years..  A good run.

Please hold a kind thought for Dawn Didawick.. and for Harry at this difficult time.

Flights of Angels..

michael sheehan

onstagelosangeles

Party Time with Cindy Lou Who

Guest review by Amalisha HuEck

Edted.

Reocmmended

. "Who's Holiday," written in the style of Dr. Seuss by Matthew Lombardo, tells the sad story of Cindy Lou Who (Anica Petrovic who also produced the show). Cindy Lou is all grown up and expecting other Seussian friends for a Holiday Party.

Cindy Lou’s table features a full bar. This gal is no stranger to cocktails.

Alcohol may have played a major role in how Cindy  was ushered into adulthood by The Grinch!

Anica flows with ease through the rhythm of all those rhymes, breaking the fourth wall she reveals her story with adult humor in a very sexy, glittery Christmas outfits. In contrast to the irony of her plight, Anica presents this unique story to a full house. The text is R rated! and may not be suitable for children.

Highly recommended!

  Crew:

Jordan Adelman (Assistant Director/Stage Manager), Rebkah York (Assistant Stage Manager), Angela Manke (Costume Designer), Ben Barahona Ginsberg (Music Director), and Gregory Crafts (Lighting Designer).

“Who’s Holiday “runs through December 20th 

The Hobgoblin Playhouse, 

1516 N Gardner St. 

Los Angeles. 

Friday 12/19 at 10pm, and Saturday 12/20 at 5pm. There will also be a virtual livestream of the show on the 19th, and the link to the live will remain open after the live show ends. 70 minutes with no intermission.

Tickets $25.00

(323) 591 – 4894 www.thestagecrafts.com   

 

 

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