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

 

 

 

 

 

FOR WANT OF A HORSE AT THE ECHO

 "The perils of empathy.."

Polyamorous?  What's good for the goose in Hungary? Zoophilia?? Gene and Roy are spinning..  

Olivia Dufault's FOR WANT OF A HORSE, currently at the Echo gives a whole new meaning to "Back in the Saddle Again.." 

Trigger and Champion are equine heroes that I grew up with and loved as the loyal mounts of their respective cowboy pals, Roy and Gene.  Heroes with Heroic mounts. Buttermilk was steadfast for Dale Evans.Horse companions. Good Steeds.

 

Griffin Kelly and Jenny Soo
Photo by Cooper Bates

Ps

FOR WANT OF A HORSE  is recommended for 'adult' audiences.  It's a choppy cinematic diversion with an excellent cast, including a horse named  Q-Tip played beautifully by Griffin Kelly, who may slightly resemble the playwright. Q-Tip is a filly who addresses the audience so that we can hear her equine thoughts. Apples are an  aphrodesiac.

Calvin and Bonnie (Joey Stromberg  and Jenny Soo)  are a hip young  married couple with whom an 'interesting' idea comes to light.  .  Calvin, prompted by his quirky pal, PJ (Steven Culp), ambles into discussons of... well.. animals as lovers.  What about those few of us who grow into deep attachements to our furry friends? Here in hangs the tail.

Director Elana Luo's staging executes short scenes from Calvin and Bonnie's bedroom to stables and other locations with Alex Mollo's flexible set pieces.  Matthew Richter's lights and some interstitial music keep things flowing.

I so appreciate that Chris Fields and the Echo take huge leaps of faith to showcase theatre that not only pushes the envelope, but in this case obliterates it. Excellent chops by each of the actors. The script is laced with now common expletives heard in casual chats where ever folks are chatting.

What is perverse?  This is a question for the ages as we see the land we live in twisted like a pretzel by you know who and we know why.. Thus... The story of a love triangle : Q-Tip, Calvin and Bonnie may not be so far fetched. Daily,  life becomes stranger and stranger.

Do I rrecommend that you see this play?  The playwright says that she first learned of including animals in intimate relationships frm an article in New York Magazine ten years ago. Over time she wrestled the idea into an oddly interesting premise that pays off in.. well in a way.. in apples. Yes!  Yes, I do.. Find the nuances.  Consider an odd idea? 

This was my first pass at this review. The other review is just different. Here I feel the need to carry on a bit and include cultural references that might ring a  bell  with some readers.  As I often say.. this show deserves an audience, but the caveat is that it's fraught with adult themes. and apples.  Bring apples.

 FOR WANT OF A HORSE

A WORLD PREMIERE
Written by Olivia Dufault
Directed by Elana Luo
 
LIGHTING DESIGN Matthew Richter
SCENIC DESIGN Alex Mollo 

COSTUME DESIGN Leah Morrison
PUBLICITY Lucy Pollak
PRODUCTION STAGE MANAGER
Bianca Rickheim
SOUND DESIGN Alysha Bermudez
For Want of a Horse
PRODUCED BY
Marie Bland and Chris Fields

 

 World premiere of For Want of a Horse, 
• Written by Olivia Dufault
• Directed by Elana Luo
• Starring Steven Culp, Griffin Kelly, Jenny Soo, Joey Stromberg
• Presented by The Echo Theater Company, Chris Fields artistic director

WHEN:
April 15-May 25
• Previews:
Wednesday, April 15, Thursday, April 16 and Friday, April 17 at 8 p.m.
• Performances:
April 18 through May 25
Fridays, Saturdays and Mondays at 8 p.m. / Sundays at 4 p.m.

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:
$15 – $42.75
• Pay–What–You–Want starting at $15 cash at the door plus an additional $1.50 per ticket fee if purchasing online or at the door with a credit card.
• Early Bird tickets to Friday, Saturday or Sunday performances through April 3 (available online only): $20 plus a $1.75 credit card fee.
• Tickets to Friday, Saturday or Sunday performances purchased after April 3: $40 cash with an additional $2.75 fee per ticket if using a credit card.

CONTENT WARNING:
For Want of a Horse addresses mature sexual themes in an explicit (although non-graphic) manner and is recommended for ages 18 and up.

HOW:
EchoTheaterCompany.com
(747) 350-8066

 

 

WORLD PREMIERE.. FOR WANT OF A HORS.. II

Olivia Dufault's WORLD PREMIERE PRODUCTION OF "FOR WANT OF A HORSE".. WOW!!

 

Griffin Kelly and Joey Stromberg
Photo by Cooper Bates

My experiences of reviewing theatre for many years always comes down to how to begin. What will be my first sentence to set the tone: a lead line?  

This is my second go at it. Check my first attempt also here somewhere........

World Premiere!  Why? Well..it IS a first..

Echo producer Chris Fields is an artist to be reckoned with and has been a force majeure  in Los Angeles Theatre for a long time.  I love that he takes chances and has turned the Echo space at the Atwater complex into dozens of wonderful  sizes and shapes. This set is pretty simple.  Alex Mollo's spare design with some moving set pieces takes us to stables, a bedroom.. and other simple nondescript locations.  This challenges us to abandon disbelief.. It works.

Have I found a first sentence?  Laurel and Hardy in Flying Deuces?  Last line?  "Another fine mess you've gotten me into!!"?

Why? We are in the historical chaos of the Absurd. Somehow the world is foundering  with new language. New pronouns? New theatre? War? Lunacy??  Absurd!

If FOR WANT OF A HORSE is the way that we are going. Heaven Help Us.. 

Why?  Because as absurd as it might be, I sat with an audience who seemed to "Get It" that a young couple: Bonnie and Calvin, are discussing  ideas about sex and sexual preference in a way that leads us not only to polyamourous encounters to expand their relationship, but moving to include...     

a horse... 

Q-Tip.. (limned with exquisite sincerity by Griffin Kelly) is a filly.. a mare.. an equine.. 

 That playwright Olivia Dufault happens to be at the vanguard of where...  at least. Western Society is headed, may help us to understand Why?  She reports reading an article in New York Magazine ten years ago that got her all curious about how some human beings are sincerely in love with non-human beings.  Animals, to be exact. This leads to 'why'.. to research and she has  come up with a scenario that includes  a man's literal love of...  a horse.

Add to the mix.. a discussion with PJ (excellent and fast talking / rationalizer Steven Culp) whose first light on stage discusses peanut butter and a beloved dog.  Create your own scenario for this one.

What about the production? Well. you may ask..  What director Elana Luo  has failed to see is that presentation of this unusual story as though the premise is an every day thing that most folks may consider easily is a "straight" play.  I don't think so.

 Beckett, Pirandello and Ionesco had far out ideas and successfully brought them to life with exposure of absurdity that we still appreciate as abstract social commentary. 

Far Out..

The moment in the play where Bonnie (Jenny Soo) asks husband Calvin (Joey Stromberg) about  "consent" and elsewhere in the script where 'empathy' may factor in, .. brings the argument into focus.  The absurdity of the whole idea..  Q-Tip addressing the audience and some cool business with apples is worthy of expanding.

Had the play been directed with each character much larger than life with a taste of Commedia tossed in .. graphic expansion of PJ's fascination with peanut butter and maybe a reference to a gerbil or two? The absurdity may have blossomed into an acceptably  ridiculous romp.  In future productions? It may?

Does the dialogue just lie there? No. It's played as straight as straight can be, as though this new normal  may be a little outrè, but why not? We are in Bizzoro Land! Current behavior around the world, especially in the United States as of this writing?  Off the charts: Bizzare!  So?  Why Not?

Bottom line is that this  is not just a straight play. It's nuts.  It should be  expansive and explosive to the point that the audience is rocked back in our seats with how crazy it really is that we are sitting still for this.    Enraged "plants" in the audience? Standing UP..and  yelling and stomping out? 

The kicker waiting in the wings?

Is this a polemic to suggest that  zoophilia is okay? PJ says it's okay in Hungary!!   Sorta.  

(I just corrected a typo:  Poohphelia! This would make a visit to Disneyland very interesting!) 

To what extent does each member of this cast give consent?  Do we empathize with them?  Might there be some psychic residue ? 

Is it just a play?  

Technically, expecially the well choreographed scene changes aided by interstitial music are impressive. Each player is equally  authentic to the other.. But.. This is not a "Straight Play".. it's an adventure into a netherworld that echoes the cos-play conventions of 'Furries"  or other . to me.. "bizzare interests" that, from the Marquis De Sade to Ru Paul's Drag Race to Zoophilia may be better presented as a far out romp. with apples!

Support weird theatre! 

See this one!! 

FOR WANT OF A HORSE

A WORLD PREMIERE
Written by Olivia Dufault
Directed by Elana Luo
 
LIGHTING DESIGN Matthew Richter
SCENIC DESIGN Alex Mollo 

COSTUME DESIGN Leah Morrison
PUBLICITY Lucy Pollak
PRODUCTION STAGE MANAGER
Bianca Rickheim
SOUND DESIGN Alysha Bermudez

PRODUCED BY
Marie Bland and Chris Fields
• Directed by Alana  Luo
• Starring Steven Culp, Griffin Kelly, Jenny Soo, Joey Stromberg
• Presented by The Echo Theater Company, Chris Fields artistic director

WHEN:
April 15-May 25
• Previews:
Wednesday, April 15, Thursday, April 16 and Friday, April 17 at 8 p.m.
• Performances:
April 18 through May 25
Fridays, Saturdays and Mondays at 8 p.m. / Sundays at 4 p.m.

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:
$15 – $42.75
• Pay–What–You–Want starting at $15 cash at the door plus an additional $1.50 per ticket fee if purchasing online or at the door with a credit card.
• Early Bird tickets to Friday, Saturday or Sunday performances through April 3 (available online only): $20 plus a $1.75 credit card fee.
• Tickets to Friday, Saturday or Sunday performances purchased after April 3: $40 cash with an additional $2.75 fee per ticket if using a credit card.

CONTENT WARNING:
For Want of a Horse addresses mature sexual themes in an explicit (although non-graphic) manner and is recommended for ages 18 and up.

HOW:
EchoTheaterCompany.com
(747) 350-8066