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 Julitette (KT Vogt) bustles wearing a couple of different "hats" but always the hard pressed servant: really bustles.  As the Guard, imposing Lynn Robe announces and serves. 

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 Robe

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

 

DEATH OF A SALESMAN at A Noise Within

 In Chistopehr Bigsby's copious  introduction to Death of a Salesman, one quote stands out:  "When today fails to offer the justification for hope, tomorrow becomes the only grail worth pursuing."

Shades of Scarlett O'Hara but still Hope.

With ANW's pithy production of Richard III and Miller's ode to 'what might have been'.. these days in 2026 not only in The United States,but as well as in the World, we seem to have all reside on tenderhooks.   This review does not intend to delve deeply into an analysis of the play or the characters. The title says it all. That said.. this production hangs on the director, the scenic design and the performances. Director Julia Rodriguez - Elliott brings Arthur Miller's signature classic to life with simple strokes, allowing the story to unfold with her evenly selected cast.. 

As Willy Loman, Geoff Elliott offers passionate  braggadocio with fantastic hopes and dreams  in his nuanced interpretation of the Miller classic. Willy Loman is the Everyman who has worked like anything all his life partly on a shoeshine and a smile. Sales. Elliott  sells it  well.

On Frederica Nascimento's exquisite set: spare with the looming intrusion of the growing neighborhood , we are invited to imagine a simple home and other basic locations. Ken Booth's lights serve well.

As Linda, Deborah Strang, a favorite of mine and long time ANW  ensemble member, understands the pitiful devotion  that women of Linda's generation lived: resolved to a fierce adherance to the times.  The perfect helpmate. The ebb and flow of Strang's work from age sixty something to an earlier time in flashback is perfect.

David Kepner, Geoff Elliott,
Deborah Strang and Ian Littleworth
Photo by Craig Schwartz

As Biff (David Kepner) home again at the age of thirtythree, struggles and has struggled to 'find himself'.  In a flashback, Teen Biff ignores the coaxing of  Young Bernard (Kasey Mahaffy) who idolizes him, to study to pass a math exam in order to graduate and make the family proud  as a football hero at U VA. Biff fails. Kepner succeeds.

Younger borther Happy (Ian Littleworth)  has stayed at home working in a low level job.He's a City Slicker who almost teams with Biff for the Big Time. No luck there.

Attention has been paid to the Brooklyn accents that the cast works to achieve.  Though it was a distravtion for me.. Each was consistent.

I often like to mention supporting characters, as they are the seasoning that makes the play have substance.. "Substance" is what Willy longs for.    The Woman (Cassandra Marie Murphy) and Howard (Michael Uribes) and Miss Forsythe  (Dominique Razón) the work is solid.  Uncle Ben's (David Nevell)  bombast was bombastic.

Of the productions of Salesman that I've seen, this one is the most accomplished.  Elliott -Rodriguez's hand is light and gives the actors room to move.  

After the matinee, a very nice patron of the theatre asked me if I enjoyed the show?  Because of the nature of the play, I had to demure.  How does one 'enjoy' the story of what is eventualy, a failure?  I appreciate the work and you should, too. Empathy and sympathy for the players reach across the apron of the spare stage. Not a lot of laughs, but appreciation of the message, as sad as it is. See this play.

CAST

Willy Loman - Geoff Elliott
Linda Loman - Deborah Strang
Happy. - Ian Littleworth
Biff - David Kepner
Bernard -  Kasey Mahaffy
The Woman - Cassandra Marie Murphy
Charley - .Bert Emmett
Uncle Ben - David Nevell
Howard Wagner - Michael Uribes
Stanley - Jacob Cherry
Miss Forsythe  -  Dominique Razón
Letta - Rachel K. Han 

CREW

Scentic Designer: Frederica Nascimento Costume designer Angela Balogh Calin Lighting designer Ken Booth 

Sound designer and composer Robert Oriol Wig and make up designer Tony Valdés Poperties designer Stephen Taylor 

Fight choreographer KennethR.Merckx, Jr.; 

Dialect coach Andrea Odinov 

Intimacy coordinator Sasha Smith Dramaturg Miranda Johnson-Haddad. Stage manager Angela Sonner Assistant Stage Manager Samantha Millette

Press Representative for ANW:  Lucy Pollak

 

DEATH OF A SALESMAN

b y Arthur Miller 

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

March 22-April 19
Previews March 22 – March 27:
• Sunday at 2 p.m. / Wednesday, Thursday and Friday at 7:30 p.m.
Performances March 28 – April 19:
• Thursdays, Fridays and Saturdays at 7: 30 p.m. / Saturdays and Sundays at 2 p.m. (no Saturday matinee on March 28)

ADDITIONAL DATES:
• A one-hour INsiders Discussion Group will take place prior to the matinee on Sunday, March 29 beginning at 12:30 p.m.
• Post-performance conversations with the artists every Friday (except the preview) and Sunday, April 5.
• Student matinees are scheduled on select weekdays at 10:30 a.m. Interested educators should email education@anoisewithin.org.

 TICKETS:
• Tickets start at $41.75 (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:
anoisewithin.org
(626) 356-3100

 

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