The Great Clown Bank Show premieres at Open Fist Theatre Company

  The Great Clown Bank Show
premieres at Open Fist Theatre Company• 

Hank Jacobs and Ensemble
Photo by John Dlugolecki

 

The Great Clown  Bank Show! 

The vocabulary of a theatre critic who heads to the venue with the idea that he’ll get a nice seat and will politely sit to see what’s what goes out the window. up the spout and into the clear blue sky  with the current offering at Open Fist Theatre in Atwater.. 

Wear a cup. Find a seat out of the splash zone.. or not.  Am I Speechles!  Over whelmed? Yes.
Clown Bank, I’ve been reminded.. may be attempting to reflect the long standing San Francisco Mime Troupe.  The SFMT’s goal has always been to tweek the noses of the Establishment  and boost the idea of ‘this land is your land..’
In broad strokes playwright Hank Jacobs (who also directs and plays the ringmaster)  and his company with song and dance and repartee and guest artists bring to light what many of us may have suspected all along.  Capitalism is a very beneficial thing… for the rich!! And! The Family Greedy, whose lives we share in  this bizarre  and windy hodge podge of politics and skewering...  succeeds. mostly..It is a supreme effort..
Harkening back to the days of traveling carnivals and circuses with side shows. we are invited to play games and have some popcorn!  After a musical greeting by the Ringmaqster, we  meet the Greedy Family  ready to fleece you at every turn.     

Attempting to describe this show is one of the most challenging  assignments I have ever had. The woman sitting next to me was psychic and that added to the jaw dropping business of Hank Jacobs’s show.  Jacobs  plays the ringmaster with basso profundo that would impress Don La Fontaine.  
It’s difficult to tell the players without a program.. and with doubling and guest artists?  Nigh impossible.   

Why am  I vamping?  It’s because this is a truly ‘must see’ event.. the preshow.. the drop dead gorgeous ten foot woman, the games and prizes (I won a ring!)..  and the incredible energy generated by a cast of thousands (I’m guessing about thirteen?) whether the polemic of the ills of capitalism and greed  don’t land .. well it’s not for the lack of trying! The cast being totally dedicated and immersed in the splashy shenanigans makes it all worh while. Please forgive me for seeming to hedge my remarks.  For a Sunday with an early curtain, the audience  was on board. The raunchy parts..were selectively raunchy and the message all boils down to something about just getting going!
Outstanding performances with Jacobs deep into his own production left me .. essentially flabbergasted.. The overuse of the term ‘awsome’ is not wasted here.  Awesome costumes and spectacular  dance routines set a fast pace that sends the audience into the night having been radicalized in a way that LennyBruce would applaud.   Over kill?  You tell me!

Please..  Go and see this thing. There’s popcorn .. enthusiastic vendors and don’t forget your Clown Bucks to play the games.
Highly recommend.. Come prepared to play.  Unabashed nonsense.. with a through line of a radical take on how capitalism  will rob you blind!
I’m  still reeling from the experience, the psychic seat mate and an over the top  knock down, get back up again couple of hours you won’t forget!

The GREAT CLOWN BANK SHOW 

Written and Directed by Hank Jacobs
• Music Direction by Robby Good
• Choreography by Raquis Petree
• Circus Music composed by Stephen Jacobs
• Original Songs composed by Michael Messer
• Lyrics by Hank Jacobs and Michael Messer
• Immersive Experience Design by DJ Handcrank
• Starring Tambrie Allsup, Davis Barber, Kevin M. Brennan, Amiée Conn, Elle Engelman,   Matthew Goodrich, Hank Jacobs, Carmella Jenkins, Torrin Kelly, Bethany Koulias, Avery Shannon Lynch, Clara York
• Featuring aerialist Avery Lynch and a different guest circus performer every week

July 3 – Aug. 1, 2026
• Fridays at 9 p.m.
• Saturdays at 8 p.m. 
• Sundays at 7 p.m.

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

Content warning: risqué language and situations; parental guidance is advised for children under 13.

TICKETS:
$26-$40

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

 

 

ANN NOBLE'S "DEAD MAN" AT THE HOLLYWOOD FRINGE

I AM AN UNABASHED  FAN.. of Ann Noble.

Today's matinee by the seat of her pants and her stage pals, a slippity slap all good fun at a matinee was .. at once.. a Clowinish Trip and a taste of 1940s Noir...

DEAD MAN

Written and directed by Ann Noble

Featuring

Jeffrey Johnson as Hopper

Robin McDonald as Dinah 

Christian Haines as The Dead Man

Ann Noble as Biscuit

Produced by Theatre Ghosts / Michael Perlmutter & Carolina Rodriguez

Photography by Carolina Rodriguez

Stage Managed by Rebecca Shoenberg

 

 

These  four actors are very skilled; though Sam Beckett has nothing immediately to worry about. This slightly absurd romp is a good trip into a Dark and Stormy Night .. Detective Jones  types his short story effort..   I helped.

The slinky Biscuit (Noble)  nicely balanced with the dead guy and Hopper Jones and Dinah, the secretary dance a wonky dance that blossoms in the tiny space with a full house! .

A commentary on dream life?  A short play on odd  circumstances?  

The whole of Noble's Dead Man   is the clever effort to toss ideas up into the air and see what happens. 

The energy of the acotrs and accessible  text...  drew lots of laughs and a standing ovation as after a brief curtain call, Ms Noble quickly excused herself to head to Glendale to play Eruydike (the translation changed some spelling) in the Antaeus production of  Sophocles's Antigone.. also recommended

This is not your standard vanity romp. These are dedicated professionals .

Highlyy recommended

DEAD MAN 

by Ann Noble

Two shows left at the Broadwater Black Box on Santa Monica Boulevard.

DEAD MAN

Written and directed by Ann Noble

Featuring

Jeffrey Johnson as Hopper

Robin McDonald as Dinah 

Christian Haines as The Dead Man

Ann Noble as Biscuit

Produced by Theatre Ghosts / Michael Perlmutter & Carolina Rodriguez

Photography by Carolina Rodriguez

Stage Managed by Rebecca Shoenberg

6322 Santa Monica Blvd, Los Angeles, CA 90038 

8:00 PM Thursday June 18, 2026, 

3:30 PM Sunday June 21. 2026

 8:30 PM Friday  June 26. 2026

Parking is tough!  Leave time to find a space.. more time than usual..

Tickeets and information

 https://support.hollywoodfringe.org/hc/en-us/articles/115000016331-ALL-ABOUT-TICKETS

 

WORLD PREMIERE!! "CASSATT" AT THEATRE WEST

 

CASSATT  : a world premiere, opens at the revered Theatre West. Founded in 1962 by actors working in movies and television, seeing a need to keep their chops up by working.. opened at 3333 Caheunga just over the hill from Hollywood. What TW does and does often with success is to devlop a World Premiere.  In this case, CASSATT  written and directed by Arden Teresa Lewis.  CASSATT is a very ambitious production with cinematic scene changes that trace the life of the American born artist Mary Cassatt. (Samantha Gregory).

This old playhouse echoes with the literally hundreds of productions that have come and gone:  voices and applause.  Audiences still love TW at the age of sixty four! 

 

The production is a chronicle of the life of the artist with spectacular video projections that announce the  locations  and dates that factor into the life of the artist. When the technical aspects of any show are so well done, it's up to the director and thc cast to step up and be counted.   Gabrieal Griego's video creations, especially a wonderful rendition of a horse running at full gallop as Mary seems to be riding along is very impressive.   Another impressive video project is the creation of  her portarit of a black servant who was leaving to be married. Impressive.  The use of turning four sided periaktoi worked well for many many scene changes.

Michelle Afradi's period costumes circa 19th Century are worthy of comment.

Better suited for a film than the stage, "Cassatt" as a biographical unfolding takes its time.  All the good intentions of each member of the cast and crew and volunteers who create this unique  theatre are met to the best of their ability. The legacy of Theatre West will always rise to the occasion.

I've never thought it a good idea for an author to direct their own work. Theatre is a collaboration at the highest level.. so to that I would wish that a more objective eye might have tightened the prooduction, with the possibility of a full length productio in one act a possibility.

The cast list below tells the tale of a variety of acting styles and approaches to their characters. Each contributes in a unique way.

Fans of Impressioist Art should see this show..

CAST

Samantha Gregory :  Cassatt

Cecil Jennings:  Degas/Eakins

Caroline Quigley: Lydia Cassatt

 Saratoga Ballantine: Katherine Cassatt

Kathie Barnes:   Mathilde)

Brianna Burnside:  Eliza Haldeman/Louisine

Lily Cadot: Suzanna/Child Model

Alexandria Sander Servant/Berthe Morisot

Walter Rodriguez: Vollard/Howard Roberts

Daniel Korth:  Camille/Harry

 Crew:

Assistant to the Director: Elise Walters

Production Consultant: Elyse Ashton

Set Design: Jeff G. Rack

Costume Design: Michelle Afradi

Graphic & Projection Design: Gabrieal Griego

Stage Manager: Sarah Acuna

PR: Philip Sokoloff

Social Media: Briana Burnside  

 

CASSATT written and directed by Arden  Theresa Lewis

Theatre West

3333 Caheunga

Los Angeles,CA 90068

Runs May 29 through June 28, 2026  Performances take place every Friday and Saturday at 8:00 PM and Sundays at 3:00 PM. Tickets are $30 in advance and $40 at the door.

ANTIGONE.. At Antaeus in Glen dale

ANTIGONE

Ann Noble, Peter Mendoza, John Apicella and Kaci Hamilton (Photo by Craig Schwartz Photography)

 

Written by: Sophokles (nee Sophocles)

Newly translated and adapted by: Kenneth Cavander   Directed by Andy Wolk: ANTIGONE  continues to appreciative audiences at Antaeus Theatre Company in Glendale, California. 

Seventy eight seats of eighty filled for  a Sunday Matinee in the shamk of a run counts for something. Word of mouth or patrons who subscribe are in  the house. Do good reviews help?

As I have been  recently eliminated from the Antaeus Theatre Invited Critic's List, I came to the matinee with a bit of an attitude.  

Suffice it to say that Kenneth Cavander must have created Kreon's wife,  Euridike,  with Ann Noble in mind.  A brilliant move. Eurdike takes on a lion's share of the information traditionally shared by The Chorus. Noble commands stage with fluid moves and is obviously the power behind the throne.

Diversity casting is often a problem for me as the adjustment to see siblings and others played  by various ethnicities is a situation that works.. but it's an effort.Antaeus has often led the move to forget the need for a single ethnicity to create characters in many of their productions. By the time everyone is introduced, they usually do become simply the characteers in the play.

In Cavender's adaptation / translation of this bloody story, the polemic of how power corrupts  is spelled out in no uncertain terms. We are still at Thebes but Kreon (Tony Amendola) instead of king presents  a military strong man. He  literally steps through the fourth wall to glad hand the audience.   One blatant "remark" is on the stage left wall .. a dripping yellow stain that sure looks like a map of the good old USA.

The argument in this version of the story turns   on Antigone's (Linda Park) placing  the respectful burial of her brother based on the laws not of the 'gods' but of Moral Responsibility that may be essentially the same thing. It is above Kreon's..  'man's law' that Kreon metes out at his own pleasure.. and eventual demise.

We finds some humor with The Sentry (John Apicella) and  his side kick (Kaci Hamilton)   who lighten the heavy drama now and then.We meet Hamilton again as Teiresias  shaking the stage with bad juju.

Director Andy Wolk's staging smoothly engages the story to flow from the palace to a jail cell and other locales  as well. 

Someimes the acting shows and for purists, this version may be appreciated by abandoning the stiff and sticky way that the Greeks laid out a story.   It's modern and .. thankfully, coms in  in one  ninety minute act.

I'm still not a fan of curtain speeches, but Artistic Director , Nike Doukas, is charming regardless of my bias.  The set is okay. The lights and some special effects are fine.  On the heels of the last Antaeus production of ALL MY SONS, this is  another polemic for these rocky times our world faces.  

What is Justice, anyway? Who doles it out? When is fair fair or the 'law' is bound by itself regardless of what the quality of mercy must bring?

In the original script The Chorus speaks for Sophocled thus  of a leader:  " If he treats his country’s laws with due respect
and honours justice by swearing on the gods,he wins high honours in his city.         But when he grows bold and turns to          evil, then he has no city. A man like that—
let him not share my home or know my mind."

If you know the story of Antigone and then come to see this vbersion and tell a friend? Tell them that I sent you! 

Michael Sheehan

onstagelosangeles

PREDICTIONS FROM ANW: EXIT THE KING?

Eugene Ionesco, along with a handful of other absurdist playwrights sought to take theatre to a strange place.  Along with Beckett and Pirandello and others, the challenge to the audience was to allow the fragments to cling to a faint story line:  let the chips fall where they may.

With ANW's RICHARD III  followed by DEATH OF A SALESMAN,  the choice to present EXIT THE KING  seems in order. It is time for Theatre to bring to the fore the Truth of Art. There's a mirror held up in this show.

From the absolute power of King Richard, to poor Willy Loman  being overcome by 'circumstances of the times/'  and now to this comic finale?  It's a strong comment and a beauty of a production.  400 year old King Berenger (limber Henri Lubatti) is crumbling along with his mess of a  kingdom.  The argument of the text, which may be prescient... these over sixty years since. the play first appeared?  

Ionesco lays it all out for us and then we observe as Berenger's retinue  brings to life the blatant truth: The king will die. 

KT Vogt, Lynn Robert Berg, Henri Lubatti, Joy DeMichelle, Ralph Cole Jr. and Erika Soto Photo by Craig Schwartz

 I was explaining the plot to a movie actor pal who was vague about his early theatre history.  He said, "Just like today?"  And, I said Ionesco's 'today' was over sixty years ago.

Tesshi Nakagawa's set is simple. I wish the crumbling had been more physical, but the suggestion of decay works fine. Jared A Sayeg's lights with Angela Balogh Calin's wondrful costumes set the scene.   The cotton candy puffs of Queen Marie's (Erika Soto) gown are hilarious.  Marie is the junior queen and is crazy in love with Berenger to the point of hysteria.. It all works.  Broadly.

Highly royal elder Queen Marguerite (Joy DeMichelle) gives the spoiler alert that was already spoiled by the title. "You're going to die at the end of this show!" The stern contrast of Marguerite's stiff and formal approach builds to a touching climax. Marguerite is the backbone of the King and the play. Elegant. 

Director Michael Michetti's smooth movements; bring each of these odd characters to life, nicely finding humor and touches of the Clown Show that is predicted in the pre-show music. As Juliette (KT Vogt) bustles wearing a couple of different "hats" but always the hard pressed servant: really bustles.  As the Guard, imposing Lynn Robert Berg announces and serves. 

His hair precedes spot-on Ralph Cole Jr as the Dorctor ..also other characters, but the same guy with  the hair.. 

The beauty of this cast and this very old play is that Michetti has guided them into a tight ensemble with broad physicality..The stage is a thrust that shares equal access with the entire audience. 

It's  a lot of  talk as Berenger dissolves into his final moments. The denouement  orchestrated by Queen Marguerite is touching and gives Berenger a tender  send off.. It may be more than he deserves? 

EXIT THE KING is  a tight professional production that should be experienced. And!! it must be talked about. Ionesco's goal was to attempt to teach those of us who may die to have a bit of a handle on it. Let stuff go. Love one another? 

 

CAST

King Berenger the First: Henri Lubatti*
Queen Marguerite: Joy DeMichelle*
Queen Marie: Erika Soto*
The Doctor: Ralph Cole Jr *
Juliette: KT Vogt*
The Guard: Lynn Robert Berg

PRODUCTION
Artistic Directors: Julia Rodriguez-Elliott and Geoff Elliott
Director Michael Michetti §
Assistant Director Marco Rivera
Stage Manager Hope Matthews*
Assistant Stage Manager Morgan McDonald
Scenic Designer: Tesshi Nakagawa
Costume Designer Angela Balogh Calin†
Lighting Designer Jared A Sayeg†
Sound Designer Jeff Gardner†
Wig Designer & Make-up Tony Valdés
Resident Dramaturg Miranda Johnson-Haddad
Properties Designer/Technical Coordinator Stephen Taylor
Master Carpenter Rochelle Concepcion
Assistant Scenic Designer/Charge Artist Angelene Storey
Production Manager Juli Figueroa-Castro
Casting Director/Artist Relations Alison Rodriguez
Co-Master Electrician Hailey McDill
Co-Master Electrician Alejandra Vera
Costume Shop Manager Courtney Park
Costume Shop Assistant Erin McComb
Light Board Op Sam Campbell
Deck Crew Elizabeth Ramos Perez
Audio Engineer (A1) Chloe Pate
Backstage Audio Assistant (A2) Alex Reyes
Clowning Consultant Matt Walker
UNDERSTUDIES
The Guard: Richardson Cisneros Jones*, The Doctor: Shawn Law*,
Queen Marguerite: Aisha Kabia *, Queen Marie: Paige  Collins*

 

WHO:
• Written by Eugène Ionesco
• Translated by Donald Watson
• Directed by Michael Michetti
• Starring Lynn Robert Berg, Ralph Cole Jr., Joy DeMichelle, Henri Lubatti, Erika Soto, KT Vogt
• Presented by A Noise Within, Geoff Elliott and Julia Rodriguez-Elliott, producing artistic directors

WHEN:
May 3 – May 31
Previews May 3 – May 8:
• Sunday at 2 p.m. / Wednesday, Thursday and Friday at 7:30 p.m.
Performances May 9 – May 31:
• Thursdays, Fridays and Saturdays at 7: 30 p.m. / Saturdays and Sundays at 2 p.m. (no Saturday matinee on May 9)

ADDITIONAL INFORMATION:
• A one-hour INsiders Discussion Group will take place prior to the matinee on Sunday, May 10 beginning at 12:30 p.m.
• Post-performance conversations with the artists every Friday (except the preview) and Sunday, May 17.
• 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 $41.75 (including fees)
• Student tickets start at $20
• Wednesday, May 6 and Thursday, May 7 (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:
anoisewithin.org
(626) 356-3100

 

CHANGES AT THE FOUNTAIN.. THEATRE

 CHANGE..  

SPARE CHANGE. 

CHANGE THE CHANNEL 

CHANGE THE DIAPER 

CHANGE ? 

GOT ANY CHANGE, MISTER? CHANGE YOUR MIND,  IT'S GOOD FOR YOU SAYS HOWARD RUGG..... 

CHANGE COURSE? 

CHANGE?

 With the departure of Stephen Sachs from the Fountain Theeatre and the passsing of  another of the founders, dear Deborah Lawlor.. word quickly spreads that Simon Levy, the last of the origijnal three major innovators for Theatre in Los Angeles  via The Fountain is changing course.. Darn it.. A change of direction..   

I have to admit that I don't deal with change well.  I get comfortable and like the feeling of sameness. 

That's on me, of course and  as I know and very much appreciate the work that these three wonderful folks have shared with Los Angeles for many years, I see the value in taking a step away. 

Simon.. stolen from  Facebook

Simon Levy is a pal. ..  I have reviewed the plays he's produced and directed over so many years that I can't count them all.

 

The Fountain Theatre is a gift that takes chances and presumably undeer the Artistic Director Raymound O. Caldwell, will forge on with the stuff that Theatre is suppposed to do:  Enlighten, Inform and Entertain.  Olé!!

This is a brief tribute to Simon Levy.

His leadership and dedication to the Art of Theatre is unique in that he has balanced ideas that have been vital to the education and enlightenment  of not only regular patrons.. but to the community with programs that bring folks together with the involvement of the City of Los Angeles. What else??  The Fountain has gifted the world with shows off to the West End and to New York because they mattered.

 Stay tuned for information regarding the next steps for The Fountain, remembering Bette Davis's advice that to get anywhere in Hollywood? "Take Fountain!  

Happy Trails to you, Simon.

Please stay in touch.

Michael Sheehan 

for onstagelosangeles

May the 4th Be With You! 

2026

WONKY ONE ACTS AT THE ECHO THIS ENDS BADLY

After  the extraordinary experience of FOR WANT OF A HORSE  just opened at The Echo, we swipe  Left or is it Right? for THIS ENDS BADLY..  a series of short theatricals that call for the Twilight Zone theme in the background and fastened seatbelts for the bumpy ride.

Five scenarios

Full disclosure.. Seeing a kid who beat me at Hangman at the age of three, now a  strapping dad with enough energy to light up Pacoima was a huge surprise that made made me very happy. The last playlet of this series, John Pollono's ILLUMINATI puts a cap on the evening. Michael Redfield' as Roger was so freakin' bizarre and committed that it virtually shook the house. 

Let's go from the top..

We start with Marlane Meyer's  Rabbit Hole. She also directed.  It features  a very broad take on the lives of four odd characters. Suffice it to say that mental health issues and conspiracy to commit murder can be pretty funny.

The actors:  Zaya Kolia, Victoria Davidoff, Edward Hoke and Frank Demma present with unapologitic and direct energy. The writing is the key and as off the wall this brief scenario may be, it's a journey with potential to expand.

Harriet and Keith at the Whitney Biennial   by Benjamin Weissman  points us down a rabbit hole of its own with a brief primer on Contemporary Art. It features a Harold and Maude aspect that turns left with the bombng of the Whitney! Love among the tatters of Pollock and Rothko snowing on the couple.  Connor Murphy and Suzanne Fletcher play Keith and Harriet. The girl in the baklava is Isabel Marcus.  It's a bit self conscious and a little stiff.

Then?   I wondered why Matador written and directed by Sharon Yablon  was called Matador with Silas Weir Mitchell meandering and introspectve in a bathrobe sharing a monologue of inner thoughts expressed with a reference to where he may have been before he was born?.. just meandering until the closing dance moves.

This leads  us to a Time Warp with Him and Her (Wes Walker and Shawna Casey) driving in a loop through the  Muir Woods by Frank Demma who directed with Fionna Rogers.. There may have been mushrooms involved. Shades of 2001: A Space Odyssey?

This drives us to the most complex of the evening's pieces.. ILLUMINATI by John Pollono..

Jennifer Pollono plays an actress in a crazy play presented in a hole in the wall space that features over the top Roger (Michael Redfield) vamping with his co-star / leading lady while Billy (Keith Stevenson) the brother from Boston,  is the fish out of water attempting to understand the world of Important Artistic Theatre. Adrenalin  and sweat fly from the action. 

I had not heard of Frank's.. the company to blame for THIS ENDS BADLY . with the comment that it does not... end badly. As bizarre and sketchy as each of these pieces comes off, it's the kind of work that does what the other show currently up at The Echo .. FOR WANT OF A HORSE also does.. THIS ENDS BADLY  creates the uncomfortale business of what avant garde theatre is supposed to do. It stirs something lurking in our own dark shadows to have an opinion and exit the theatre amused and a little disturbed.

The Plays:

Harriette & Keith at the Whitney Biennial by Benjamin Weissman

 Illuminati by John Pollono

Matador by Sharon Yablon

Muir Woods by Frank Demma

Rabbit Hole by Marlane Meyer

 Some of the Players: 

Shawna Casey, Frank Demma, Edward Hoke, Silas Weir Mitchell, Conor Murphy, Frank Pellegrino, Jennifer Pollono, Michael Redfield, Wes Walker, Jacqueline Wright  

In a co-production with Frank's, billed as an underground collective of some stature!

THIS ENDS BADLY

Produced by The Echo Theatre Company and Frank's

 Echo Theater Company
Atwater Village Theatre
3269 Casitas Ave
Los Angeles, CA 90039
 

Plays: April 22-May 13:
Wednesdays Only at 8 p.m.

PARKING:
FREE in the Atwater Crossing (AXT) lot one block south of the theater.

TICKET PRICES:
$15
(A $1.50 fee will be added to each ticket purchased with a credit card.)
EchoTheaterCompany.com
(747) 350-8066