INDEPENDENT SHAKSPEARE COMPANY : H A M L E T.. (SOLUS)

to be..

or 

not

to be.. in evidence

speak the speech..  mssing in action

Independent Shakespear Company has presented The Bard for many years with artistic director David Melville leading the charge ..especially the ISC's Shakespeare in the Park. a free evening under the stars.

The house fills and "Hurt" by Johnny Cash is playing in the preshow. 

"I hurt myself today

To see if I still feel
I focus on the pain
The only thing that's real"

It sets the mood.. The complications of The Prince of Denmark's mood

Hamlet (solus) is an ambitious take on probably the most diagnosed character in the canon of Will's tragic characters, Hamlet (solus)  is a sort of Cliff's Notes version of the story, most of which is familiar to certainly every student of Theatre and at least some of the lines to all educated folks. Melville brings to life not only The Dane. but. Claudius, Gertrude, Polonius and the good old Grave Digger. 

Imagine Yorick's  talking skull singing along with a nicely strummed banjolele, Hamlet's self accompanying on piano, a balladeer with guitar and some groovy theatrical effects: here. in this last week of production.. fully staged.. the essential story of the Prince of Denmark.  

Melville is a scholarly and dedicated actor bringing the essence of sundry characters and, of course, the most of the play itself.

To hold the stage and play to a full house, bouncing the narrative along , singing a song (from time to time)  .. side by side with himself as  characters in the same scene is impressive.  BinhAn Nguyens spare  scenic design that is fully engaged with Bosco Flanagan's lights and fluid direction by Cary Reynolds makes for an interesting challenge for guys like me who think we know the play.   With the essentials all on board and familiar lines (with the exception to the Advice to The Players, unless it went over my head) and the epilogue to the play with Flights of Angels gone, Melville owns the stage and the audience loves it. 

Because of scheduling, I am late to the party. The final couple of shows will go up this weekend and then.. the rest is silence until Summer in the Park.

There is a certain casual confidence and even laissez faire  in Melvill's performance. It's a confidence that  I admire and at once find a bit pretentions.  The effortless effort  and complete control  comes with  years at the helm of Los Angeles's own INDEPENDENT Shakespeare Company.  Every stroke of the brush from Melville's pallette lands with precision. Banjolele, Piano, Guitar and a Bombay Taxi Horn. meld to bring the play to a unique and creative  one hundred five minutes that must be, at once exhausting and a genuine high to share.

 Conceived by and performed by David Melville as Hamlet

Crew

Set Design: BinhAn Nguyen. 

Costume Design: Isabel Rodriguez. 

Lighting Design: Bosco Flanagan. 

Stage Managed by Lexie Secrist. 

Photos by Grettel Cortes.

 

Hamlet (solus)

Conceived and Performed 

by David Melville
Directed by Cary Reynolds 

Indepndt Shakespeare Company

3191 Casitas Ave., Ste 130

(between Fletcher Drive and Glendale Blvd.)

Atwater Crossing

Los Angeles, CA 90039. 

Free lot and street parking. 

March 6 - April 19, 2025
Thursdays, Fridays, & Saturdays at 7:30 PM; Sundays at 2 PM
The performance is 90 minutes (no intermission).

Tickets starting at $27.50 

Students: $25
All Thursdays are pay-what-you-can.

For tickets, please call (818) 710-6306 or reserve online at www.iscla.org

For group rates, contact us: indyshakes@iscla.org

 

 

ROGUE MACHINE PRESENTS CORKTOWN 39

 

 

 

Ann Noble & Ron Bottitta Photos by Jeff Lorch

World Premiere of  John Fazakerley's "Corktown '39" .. based on actual events and real people.. , dredges up deep feelings for the Irish:  undeniable passions and politics that .. though not exactly paralell to today's current threat to the United States, the issues of   Ireland and Self Rule and how to get there .. to get from beneath the Jack- boot  of British rule,, bubbles like a cauldron of Mutton Stew! 

Steven Robman  directs a cast of dedicated professionals,  looking back to over eightyfive years  steeped in Irish Americans' efforts  to make the Auld Sod free. Revelations of political ties between Ireland and looming  tyranny in Europe are forceful and troubling.   Was an alliance with Hitler on the horizon?

John Fazakerley's plays have been compared to O'Neill.. which I can see, but the relationships between the  members of the Keating family and the morals of zealots and a hired gun  spark an Arthur Miller tone.  Fazakerley's Keatings are soldiers..if not in the Irish Republican Army, certainly Clan na Erin, an American auxillary that held huge rallies to support the war against the British.

A story unknown to me, that at this time in world histroy, as Hitler and the Nazi party were rolling into power;  setting up camps like Dachau, the Irish were in business with Germany for arms.  World History and the soldiers who were 'in the American trneches' comes to life..

Having just been slapped silly by Ann Noble (Kate) in the recent Ghost Road production of The Unraveling  .. It's no suprise that Kate, the IRA soldier she portrays sizzles in accord with others who are doing their darndest to find ways to defeat the Brits with bombs, In Kate Bergh's perfect wardrobe, Noble and the others are costumed to perfection. 

Ron Bottitta, just back from New York with the Fountain's 'Fatherland!" (edit.. with apologies to all who embrace parenting)  brings Mike Keating to life in a complicated way .

Mike's son, Frank, the All American kid,, Kate's teen brother, has his work cut out for him with a stage full of seasoned and no nonsense actors.The kid holds his own!

The chain of command from the American Clan na Gael commander Joseph McGarrity (Peter Van Norden) reveals health issues that factor in.)  The infighting with firebrand Sean Russell (excellent and amped JD Cullum) presses hard for Martin Connor  (Jeff Lorch) an imported Irish sniper, to go against his mother's wishes and his own personal moral core.  "You should always listen to your mother!"  

As Tim,  Thomas Vincent Kelly sets a tone with a lesson in personal ethics regarding  the IRA's campaign to bomb British utilities  Tim  has been briefly a paramour with Kate.  Tim also devulges vital informaton that steers the play to a dark conclusion.

Each character is drawn in three dimensions and the production  sails along at a brisk pace .  The Matrix stage is a challenging one.. but even the audience at the far sides of the house are included intimately. 

To gush further about this production, in total it is the kind of art with a slightly boosted theatrical style, that  draws us in, especially with the issue or our own democracy at stake today. . It feels current.

It's such a pleasure to be drawn in and to care about  the Keatings and even understand, in an odd way,  Sean Russell's fervor. Russell,  I learned, may still have  a monument in Dublin that was regularly tagged with swastikas and the colors of the German flag. In 1940 Russell lost his life when being ferried back to Ireland in a German U Boat! 

Thanks to actor Ron Bottitta, this photo with Ann Noble and Jeff Lorch.  showed up on Ron's FB page. These actors are deeply dedicated.  Photo credit Jacques Lorch.

Has Broadway come to Melrose?  In a word:  "Corktown '39" has all the makings of a beautifully staged theatrical event!  Highly recommended.    

CAST:
Kaitlin ‘Kate’ Keating   ... Ann Noble
Michael ‘Mike’ Keating ... Ron  Bottitta  
Francis ‘Frank’ Keating  ..Tommy McCabe
Martin Connor  .. ............  Jeff Lorch
Tim Flynn .  ...........Thomas Vincent Kelly
Sean Russell ..  ...............  JD Cullum
Joseph McGarrity ......... Peter Van Norden

PRODUCTION TEAM: Mark Mendelson (Scenic Design), Dan Weingarten (Lighting Design), Chris Moscatiello (Sound Design), Kate Bergh (Costume Design), Ned Mochel (Violence Design), Megan Trapani (Prop Design), Grant Gerrard (Technical Director), Lauren Lovett (Dialect Coach), Celina Surniak (Intimacy Coordinator), Bill Voorhees (Carpenter), Nate Fox (Master Electrician), Victoria Hoffman (Casting), John Perrin Flynn, Athena Saxon (Producers)

"Corktown '39"   A World Premiere
 by John Fazakerley

Opening at 8pm on Saturday, April 12, 2025

8pm Fridays, Saturdays, Mondays; 

2pm Sundays through May 25, 2025

(no performance on Monday April 14, 21, and May 12)

The play contains adult language. Viewer discretion is advised

 

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

 

 

WHO PUT THE GOTH IN GOTHIC? A NOISE WITHIN' JANE EYRE

Charlotte Brontē's JANE EYRE  .. a classic in so many ways, blooms in Pasadena on the A Noise Within Stage.  Adapted by Elizabeth Williamson from the Brontē novel, we meet the spunky orphan , Jane (spot on Jeanne Syquia) who struggles to overcome more hardships than the Labors of Hercules and comes out smelling like a rose!

In the mid 2000s, A  Noise Within founders Geoff and  Julia Roderiquez-Elliott set out to invite the City of Pasadena to a huge party and here we are all these years later with a beauty of a space.. a fully functioning stage and technical operation and a collection of actors and designers and all who. with this gorgeous production put the 'goth' in Gothic. 

JANE EYRE  is the extraordinariy tale of a young woman (who narrates her own story) whose will to not only survive, but to succeed on her own  terms fills the room with excellence. Gushing is something I try not to do, but the circumstances of this production warrant a comment. Last night's production was, because of being unable to open as scheduled last week,  was the first tme the entire cast and crew played to an audience.  It all worked!

Deborah Strang, Jeanne Syquia
(seated), and Trisha Miller
Photo by Craig Schwartz

Of the many productions I've reviewed over the years, both in Glendale and at ANW in Pasadena,  this show may be right up there with Noises Off! in Dirctor Geoff Elliott's list of many credits. 

 Frederica Nascimento's ever changing set morphs wth smooth transitions taking us from one location to another. Rochester (Frederick “Freddy” Stuart) rants and bellows precisely over the top, parried blow for blow by the wonderful Jeanne Syquia as Jane.

The show is double and triple cast with my rave fave Deborah Strang as Mrs. Fairfax/Lady Ingram/Mrs. Reed 

Thanks to Angela Balogh Calin's perfect period costumes, we are transported  to the heart of mid 19th Century England.. Elliott's stage pictures and choreography .. including a terrific fire, a deluge of rain, even Jane's trip  on a carriage ride leaving her in the middle of nowhere (as it should be).  All meld to smooth as silk  story telling.  

A surprise in one scene sared the heck out of me! 

A Noise Within's gift is not only to Pasadena, but to all who  value the 'classics' and the expertise of Theatre Professionals.  Please support this excellent effort.

 CAST
Jane Eyre  . Jeanne Syquia*
Mr. Rochester    Frederick “Freddy” Stuart*
Mrs. Fairfax/Lady Ingram/Mrs. Reed  Deborah Strang*
Blanche/Bessie/Grace Poole . 

Trisha Miller*
Mason/St. John Rivers/John Reed . . 

Riley Shanahan*
Priest/John/Doctor . . Bert Emmett*
Young Jane/Adele.  . . . .Stella Bullock
Leah/Mary Ingram/Diane Rivers/Bertha . .   . Julia Manis

 Crxeative Team: 

Scenic designer Frederica Nascimento; Costume designer Angela Balogh Calin; Lighting designer Ken Booth; 

Composer sound designer Robert Oriol; 

Wig and make up designer Tony Valdés; Properties designer Stephen Taylor; Dalect coach Andrea Odinov; and Dramaturg Miranda Johnson-Haddad. Production stage manager  Cassy Sottile, assisted by Katelyn Hampton.

Jane Eyre
• Adapted by Elizabeth Williamson from the novel by Charlotte Brontë
• Directed by Geoff Elliott
• Starring Stella Bullock, Bert Emmett, Julia Manis, Trisha Miller, Riley Shanahan, Deborah Strang, Frederick Stuart, Jeanne Syquia
• Presented by A Noise Within, Geoff Elliot and Julia Rodriguez-Elliott, producing artistic directors
 
Previews March 23 – March 28:
• Sunday at 2 p.m. / Wednesday, Thursday and Friday at 7:30 p.m.
Performances April 3 – April 20, 2025:
• Thursdays, Fridays and Saturdays at 7: 30 p.m. / Saturdays and Sundays at 2 p.m. 

ADDITIONAL DATES:
• A one-hour INsiders Discussion Group will take place prior to the matinee on Sunday, March 30 beginning at 12:30 p.m.
• Post-performance conversations with the artists every Friday (except the preview) and Sunday, April 6.
• 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, March 26 and Thursday, March 27 (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

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

ONE JEWISH BOY OPENS THE SEASON FOR THE ECHO

The West Coast Premiere of Stephen Laughton's ONE JEWISH BOY  opens at the Echo Theatre  in the Atwater Village Complex. It's a two hander (I love to sound theatre hip) featuring Alex and Jesse (Sharae Foxie and Zeke Goodman) Jesse,, the Nice Jewish Boy and Alex, for whom he has fallen...  big time. These two Brits struggle with falling into and out of love and parenthood and politics. 

Sharae Foxie and Zeke Goodman
Photo by Cooper Bates

 By happenstance, sitting next to  two gorgeous French Hookers and eavesdropping on an after the play chat has informed and supported what I am about to say about this show.  

First, (they were not really French Hookers) the reverse chronology of the text makes us do some personal work to 'get it' that we initially meet the couple well into their connecton and then work our way back to how it all began and where it may or may not wind up.  

 Slipping into and out of time and space, our challenge is to keep up with the story.  From a dear pal, I was reminded of  the term 'quibble.'.. My quibble with director, Chris Field's choices which has the actors almost immediately rolling at fever pitch. With opening night adrenalin  .. the story fueledd with women's issues, racial issues and religios bias,  the play bursts onto Justin Huen's essentially practical set that explodes now and then with the gritty physicality of the play,. The energy peaks   early. Nuance and examination of the relatiolnship between Alex and Jesse, with its underlying tension...  which was. I think. the point..  with  two really wonderful actors / characters, might be more effective with moments of nuance. Both Alex and Jesse  cry for help.  Alex, the beautiful  mixed race woman voices frustrations, as does Jesse: a nice Jewish kid from safe and comfortable North London. Will the connection survive with the arrival of a baby boy?

Of course, the issues are real and the business of what happens to women of color vis a vis the trials of the virtual disembowelment of Jews at this particular time in England  are painted in broad strokes. The intimacies of two human beings entwined but still with issues cannot help but boil up. The business of their becoming parents factors in.. What to do?

It's an excellent script and the American actors, according to a brief chat with Mr. Laughton, was reported that they nailed the accents and the attitudes he intended.  My quibble is with nuance.  My prediction is that as the production settles, that nuance may be more in evidence and welcome.

See this show for its excellent work on the stage in the tradition of The Echo Theatgre Company's continuing contribution to important theatre in Los Angeles.  The art of it keeps our spirits alive in this time of crisis. 

Ron Sossi, the guiding light of The Odyssey Theatre has died. Condolences to every one of us who knew him and supported his life's work.

Crew:

The creative team for One Jewish Boy includes scenic designer Justin Huen, lighting and sound designer Matthew Richter, and costume designer Dianne K Graebner. The assistant director is Natalya Nielsen and the production stage manager is Bianca Rickheim. Chris Fields, Kelly Beech, Marie Bland and Hilary Oglesby produce for the Echo Theater Company.

 

Echo Theater Company presents the West Coast premiere of One Jewish Boy, a funny, biting, bittersweet story about two young people in love who are faced with the world’s unpredictable cruelty. Jesse, a nice Jewish boy from North London, falls hopelessly for Alex, a young woman of mixed race. Navigating any relationship is difficult enough. What happens when you factor in politics and rising prejudices?

WHO:
• Written by Stephen Laughton
• Directed by Chris Fields
• Starring Sharae Foxie and Zeke Goodman
• Presented by The Echo Theater Company, Chris Fields artistic director

WHEN:
March 19 through April 28
• Previews: March 19–March 21: Wednesday, Thursday and Friday at 8 p.m.
• Performances: March 22–April 28: Fridays and Mondays at 8 p.m. / Saturdays at 7 p.m. / Sundays at 4 p.m. plus three Thursdays at 8 p.m.: April 10, April 17, April 24

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 PRICES:
• Fridays, Saturdays and Sundays: $38
• Thursdays: $20
• Mondays and Previews: Pay–What–You–Want

HOW:
www.EchoTheaterCompany.com
(747) 350-8066

 

 

ROGUE ARTISTS ENSEMBLE AT HERITAGE SQUARE!

 

One thing that Rogue Artists Ensemble consistently does  is to surprise their audience with extraordinary ideas.  "Schlitzie: Alive and Inside" by Eric Fagundes is no exception. 

Director Nikki DiLoreto has gathered an interesting ensemble cast and found a home.. briefly, for now.. at the beautiful Heritage Square nestled just off The Arroyo Seco Parkway (aka the Pasadena Freeway). 

The unique style of Rogue Ensemble turns on developing ideas and then finding unique settings for each production. It's not your sit down in a numbered seat and wait for the house lights to dim situation.  It's immersive and .. to me.. what theatre needs to advance as an art form.

 1n 1932 MGM released Tod Browning's "Freaks".  A bizarre story of unusual talents that traveled, ovent with Circuses and Carnivals in the early 20th Century  Bowning used actual side show performers in his quirky film  that included the real  life Schlitzie,. Schlitzie was a microcephalic man, who found a home in the Side Show, supported by kind colleagues  with whom he bonds,. 

Schlitzie is always ready to do 'his act." .. 

Rogue Artists has re-created the atosphere and style of the early 20th Century that will pique the memories of folks who may recall the "Step Right Up Ladies and Gents!  See the  Side Show.  It's a trip.

The beautiful old church at the far end of Heritage Square features a huge vaulted sanctuary which may be the culprit leading to issues with understanding some of dialogue. Ideally,  the pace will pick up as the show gets on its feet.  It's a work in progress.
. The physical business of movements, especially the two dedicated puppeteers  who bring to life the Schlitzie character, are challenged with long crosses from time to time.  

To quote a friend, the story of the journey of this kind and loveable  character is  "sweet", effortlessly evoking the empathy we have for him.  

It's a short run at Heritage Square, but for experimental theatre lovers, this is a must see experience.   Wear comfortable shoes and bring a cushion to sit on if .. like me. you have a tender tush.

The dedicated ensemble cast includes Carlos Chavez, Patricia Ann Eyerman, James Ian, Tane Kawasaki, Ishika Muchhal, Madeleine Shallan, Mak Shealy, and Mark McLain Wilson. 

The artistic team includes Stephanie O’Neill (Producing Ensemble Member & Production Manager), Estela Garcia (Puppet Director), Elena Flores (Costume Designer), Dillon Nelson (Scenic Designer), Rebecca Bonebrake (Lighting Designer), M. Glenn Schuster (Sound Designer), Ellen Warkentine (Composer), Brittaney Talbot (Shadow Puppet Designer), Jacob Surovsky (Puppet Designer), and Michael Dougherty (Disability Consultant).

 

Schlitzie: Alive and Inside 

by Eric Fagundes

Rogue Artists Ensemble

WHO:

• written by Eric Fagundes

• directed by Nikki DiLoreto

• Schlitzie: Alive and Inside is made possible in part by the California Arts Council, a state agency; the Venturous Theater Fund of the Tides Foundation; and California Humanities, a non-profit partner of the National Endowment for the Humanities. 

• Produced by Rogue Artists Ensemble

 

WHEN:

• Previews: March 13-20, 2025

• Opening: March 21, 2025

• Performances through March 30, 2025

• 8pm Mondays-Saturdays, 7pm Sundays 

WHERE:

Heritage Square Museum, 3800 Homer St, Los Angeles, CA 90031 

HOW:

• $36-$55

• Visit  www.rogueartists.org/

MORE INFORMATION:

www.rogueartists.org 

• Rogue Facebook: http://www.facebook.com/rogueartists

• Rogue Bluesky: https://bsky.app/profile/rogueartists.bsky.social 

• Rogue Instagram: http://instagram.com/rogue_artists

OTHER:

Rogue Artists Ensemble creates Hyper-theater: original, immersive, multi-dimensional experiences that celebrate the complexity and diversity of Los Angeles. Collaboration, Design, Inclusivity and Access are at the core of all our work. Rogue is the only company on the west coast dedicated to the creation of original theater spectacles with puppetry, mask and physical performance telling stories intended for adult audiences.

 

 

 

 

GHOST ROAD PRESENTS THE UNRAVELING AT THE BROADWATER

 

THE UNRAVELING   

Ann Noble and Ensemble Photo Austin Crowley

 

Conceived and Directed by Katharine Noon, Ghost Road invites us to take Homer's epic poem The Odyssey: splash in current culture with on line gaming while Circe is up to old tricks with Odysseus on the controller and up comes a 'pop culture' take on an old, old story.  So much fun!

Susan ( Powerful Ann Noble) is a hard line college professor bent on awakening students to the foundations of learning the classics. It ain't easy.. toss in an on line romance between  Felix (Kelvin Morales) and Penelope (Camila Rozo) as they scrimmage with one old video game and then a new one and the stage is set.  Attempting to expand on the narrative is not easy.   However,  Ghost Road's ensemble creation presents an amazing and funny and poignant piece of Theatre that pretty much defies description.  The actors are all spot on. the wonderful set by David Offner is expensive and almost constantly in motion to reveal one  spectacular effect after another.. Okay.. some are a little corny..but still.  great.. The wide stage of the Broadwater  mostly works for this deliberately ensemble piece. Christine Breihan and Adam Dlugolecki's choreography is intricate. The final effect including movement and technology is Pure Magic!  

For folks who recall the Cohen Brothers'  "Oh Brother Where Art Thou"? references to some of the challenges that Odysseus conquers will find the 'video game'  version familiar..  

I love to be invited to participate in this kind of energy. To the producer's credit!! There s No Curtain Speech. the audience enters. We absorb the set.. Circe's  impressive loom  dominates stage left..  Is Circe weaving the story?  There's a chronoloy involvng an 'incideent' that remains a mystery. 

The fully engaged dedication of every member of the ensemble works to create wonderful special effects. 

Subtle harmonies from the women of the chorus (Christine Breihan, Liz Eldridge & Raven Pinkston) and the well coordinated efforts of the entire ensemble:  all are impressive.

For students who waded through The Golden Bough and The Odyssey  or saw the Cohen Brothers' film..  it will be a blast. 

For others, , it's Theatre with a Big T!

Parking for the theatre can be a challenge.. and the sidewalks up Lillian Way toward Santa Monica Boulevard are literally very dangerous.  Come early and have a care.

It's so much fun to  join an enthusiastic audience, wide eyed at innovative and  evocative Theatre.   It is, at once:

 Phantasmagorical and Fun!

 Cast

Ann Noble:  Susan, 

Kelvin Morales:  Felix, 

Camila Rozo: Pen

Chorus
Christine Breihan
Liz Eldridge
Raven Pinkston

Ensemble
Ronnie Clark
Sika Lonner
Brian Weir

CREATIVE TEAM

Conceived and Directed 

by Katharine Noon

Music Composed by Liz Eldridge
Movement Direction by Christine Breihan and Adam Dlugolecki
Lighting Design by Brandon Baruch
Scenic Design by David Offner
Sound Design by Cricket Myers
Costume Design by Adriana Lambarri
Prop Design by Cate Chapman
Puppet Designer Emory Royston
Associate Puppet Designer Jack Pullman
Technical Direction by Brad Bentz 

Intimacy Coordination by Carly DW Bones
Stage Management by Sam Pribyl
Produced by Mark Seldis, with assistance from Jen Kays
Music Production & Sound Engineering by Scott Cornish

 

Devised in workshop by Christine Breihan, Ronnie Clark, Liz Eldridge, Jen Kays, Sika Lonner, Kelvin Morales, Katharine Noon, Raven Pinkerton, Camila Rozo, Mark Seldis, and Brian Weir

The Broadwater Mainstage

1078 Lillian Way, 

Hollywood 90038

Tickets and information:

https://app.arts-people.com/index.php?preseason=g

Sat March 8 8pm OPENING

Sun March 9 3pm

Mon March 10 8pm

Thurs March 13 8pm

Sat March 15 8pm

Sun March 16 3pm

Mon March 17 8pm

Thurs March 20 8pm

Sat March 22 8pm

Sun March 23 3pm

Mon March 24 8pm

Thurs March 27 8pm

Fri March 28 8pm

Sat March 29 8pm

Sun March 30 3pm CLOSING

 

OPEN FIST ROCKS BAT BOY at Tehe OPEN FIST BIG OLD BARN

What happens when a spunky little LA theatre company discovers a funky musical from the late 20th Century first produced at The Actors Gang and then off to Bright Lights Big City in 2001 to high acclaim?  A morality tale? Broad characters and a big reveal waiting at the end?

Pat Towne directs.  That he directed Zappa's "Joe's Garage" is great credit!

It's a cast of thousands and an ambitious take on a 1992 super market tabloid feature story. . Bizarre?  You  said it!.

 A doubled edged take on life in a small West Virginia town ..slightly dated with fear and religion bubbling up as we progress with live accompaniment by Sean Paxton. 

   

Grace Soens, Bethany Koulias, Amir Levi,
Ben Raanan and Ensemble
Photo by John Dlugolecki

A terrific set by Brad Bentz becomes sundry and effective locations including the forest primevil  with an encounter with Pan (Amir Levi)  and a merry band of critters who take stage with a gratuitous  orgy rocking out to make Bat Boy (Ben Raanan) feel less like a freak and unite him with the girl of his dreams, Shelley Parker  (Bethany Koulias) *uh oh..* But I'm getting ahead of myself.

Whatever excited Tim Robbins and The Actors Gang to embrace this bizarre creative prompt is a gift.  Why do it? Because we can! It's an ambitious story and presented with broad strokes ..the subtext of which is a little fuzzy.  Why Doc Parker  (Scott Mosenson) does what he does is a bit vague.. uh oh.. and the final reveal is a little like Hamlet Act Five   Scene Two (I had to look it up..) 

Raanan as the titular  Bat Boy  succeeds with panache.   On Bentz's heavy wooden set, he scampers like Gollum in search of his Precious and brings the tabloid critter to life.   He is a quick study!

There are mysteries lurking in the plot that really don't matter that much. Why a tiny West Virginia  town is stirred by fear turns on religion.. a good goad..and the result is mixed emotions: Christian Charity? Fear of the Unholy/unknown? This we learn in the prequel as we approach the finale. I really liked the shadow play. 

The rag tag chorus over does the unique West Virginia accent, but it works..It's broad and amplfied by musical numbers. The really wonderful choreography is by Jennifer Maples.

The reputation of the play is wide spread and the opportunity to see what can happen with a splashy tabloid story expanded  creatively rocks at THE OPEN FIST. I recommend it.  It ain't Broadway! and appropriately so: less than slick and full of "let's put on a show!" heart. Mickey and Judy in the Open Fist's barn!

The entire cast is on board to  sell it and the audience is down with every number.

Well hidden upstage is The Band!  Excellent!

Mike Flick - Bass

Jim Miller -Drums

Sean Paxton - Keyboards

Kevin Tiernan - Guitar

Lights by Brandon Baruch are wonderful. 

BAT BOY: THE MUSICAL
CAST
BAT BOY: Ben Raanan
MEREDITH PARKER: Robyn Roth
DR.THOMAS PARKER Scott Mosenson *
SHELLEY PARKER: Bethany Koulias *
SHERIFF REYNOLDS::  Michael Lanahan *
RICK TAYLOR: Ethen Remez-Cott
RON TAYLOR: Isaac Council
RUTHIE TAYLOR: Sandra Kate Burck
MRS TAYLOR: Rebecca Larsen*
MAGGIE: Beth Robbins
REVEREND HIGHTOWER:Chima Rok
PAN:  Amir Levi *
LORRAINE: Grace Soens
BUD: Hutchins Foster
NED: Ziare Rene
DAISY: Carmella Jenkins

Crew:

Choreography by Jennifer Maples
Music Direction by Sean Paxtonscenic Scenic designer Brad Bentz; 

Lighting designer Brandon Baruch; 

Sound designer Christopher Moscatiello Mixer Alex Hix; 

Costume designer Michael Mullen; 

Graphic designer D. Morris. 

Produced byAmanda Weier and Christian Lebano co-produce for Open Fist Theatre Company. 

The production stage manager is John Dimitri.

Publicity for Theatre Lucy Pollak

BAT BOY: THE MUSICAL
STORY & BOOK BY
KEYTHE FARLEY& BRIAN
FLEMMING  MUSIC & LYRICS BY LAURENCE O'KEEFE

Directed by Pat Towne

Presented by Open Fist Theatre Company

Martha Demson, artistic director
 
WHEN:
• Previews: Feb. 22 through Feb. 28
• Performances: March 1 through April 6:
• Click here to view the performance schedule, which varies throughout the run.

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:
• Previews: Pay–What–You–Will starting at $10
• Performances: $26–$45

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

 

 

 

ALABASTER AT THE FOUNTAIN

 

 

Audrey Cefaly's fanciful trip to Alabaster, Alabama, with shades of  romance and art  takes place where the whirlwind has reaped death, destruction and survival for June (Virginia Newcomb almost channeling Sissy Spacek).  June has spent  Three years or so..   alone.. 

except for the goats. 

In 2011, a tornado actually touched down in Alabaster, which may be the impetus for this odd tale.

Greeted by Fountain's new Artistic Director, Raymond O. Caldwell, we abandon our disbelief at the door and settle in for a psychological trip that has Tempest Tossed June and Alice (Erin Pineda) together for mutual combat and prickly banter; with what seems a current trend, with dialogue salted with FUs.

Well. F Me.. I think it works.  

June has been to Hell and Back, surviving a devastating tornado that flattened the family farm.  The former barn now supplies wooden panels that June uses to create "outsider art". Sadly, the reason that Alice  has arrived to photograph and interview June is because the tornado literally ripped June's body and spirit to shreds as it laid waste the farm. That June bears the literal scars from the storm as well as her mental and enduring psychic scars sets the scene for June and Alice's verbal fisticuffs  to reveal not one, but two poignant stories dealing with hurt and survival.

At Rise..  Weezy (Carolyn Messina)  introduces us to the devicce of talking goats.  Weezy is a goat.  Hers is another story of life and death which weighs heavily upon an odd sort of comic relief. Ms Messina created her role for the World Premiere. 

Weezy is a goat.  Not an actor in a goat suit. well she is an actor in a goat get up. .but we take her literally as a goat.  Weezy's elderly mother goat, Bib (Laura Gardner),  is slowly fading.

The  life stories of June and Alice with interjections from Weezy, sometimes in English and sometimes in Goat (baaah), move inevitably to personal revelations that draw us in to care about  both women, and the goats, as well.

As June, Ms Newcomb  finds nuance in the roar of PTSD and an inate conrary attitude which defends her from her memories and sad history.  June's solitary life seems to have channeled  the early 20th Century outsider Alabama artist Jimmy Lee Suddeth. This impresses Alice.  Alice on the phone to a friend. says that June's paintings are 'ridiculously good!'       Paintings created by  Jenine MacDonald are very very impressive!

Weezy's mom, Bib, mostly naps and bleets in her sleep..  Bib's transmogrification is highly symbolic with Frederica Nascimento's excellent set supplying a  waiting earthen  plot. 

The Fountain's use of projections is vivid and impressive. Tech for some scenes is over the top astonishing. A nightmare scene is truly a nightmare.

Casey Stengl directs with fluid motion that has Weezy into and out of ongoing scenes. Some scenes are slow and methodically   evotative with others delivered overlapping:  flashes of lightning

Welcome to Mr. Caldwell and Happy Annieversary to The Fountain  for 35 years service to art and social conscience in Los Angeles and our thirsty community.

Cast

Laura Gardner  as Bib (a elderly goat)

Carolyn Messina  as Weezy (recreating her origingal role)

Virginia Newcomb as  June

Erin Pineda as Alice

 Creative Team:

Scenic designer Frederica Nascimento; Lighting designer Alison Brummer; 

Sound designer Andrea Allmond; 

Video designer Ly Eisenstein; 

Costume designer Rebecca Carr; 

Makeup designer Krys Fehervari; and Properties designer Jenine MacDonald, who also created the paintings for the production. 

Intimacy director  Allison Bibicoff.  Assisted by Gina DeLuca..

Public Relations / Publicity Lucy Pollak

ALABASTER
• Written by Audrey Cefaly
• Directed by Casey Stangl
• Starring Laura Gardner, Carolyn Messina, Virginia Newcomb, Erin Pineda
• Presented by The Fountain Theatre

WHEN:
• Previews: Wednesday, Feb. 12 through Saturday, Feb. 15 at 8 p.m.
• Opening Night: Sunday, Feb. 16 at 7 p.m.
• Thereafter, through March 30: Fridays, Saturdays and Mondays at 8 p.m.; Sundays at 2 p.m. (dark Monday, Feb. 17)

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

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)
• Previews: Pay–What–You–Want

PARKING:
• Secure, on-site parking: $5
• Street parking available in the neighborhood north of Fountain Ave.
• No parking after 6 p.m. on Mariposa or Alexandria Avenues south of Fountain Ave.
• Allow extra time to find street parking; make sure to read all parking signs

HOW:
FountainTheatre.com
(323) 663-1525