ANN NOBLE AS RICHARD III A Noise Within

 

Ann Noble
Photo by Craig Schwartz

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

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

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

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

Diversity works.

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

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

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

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

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

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

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

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

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

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

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

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

Cast

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

CREW

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

Gianmarco Cardenas
Deck Crew:
A1   Christopher Bosco 

RICHARD III by 

William Shakespeare

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

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

anoisewithin.org
(626) 356-3100

 

KID GLOVES AT THE SKYLIGHT A World Premiere

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

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

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

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

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

KID GLOVES

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

But!

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

Okay.. this is why?

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

No Intermission!   Thank goodness..

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

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

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

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

To wit.. 

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

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

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

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

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

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

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

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

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

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

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

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

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

It all works.

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

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

Boy, can  we use some fun about now. 

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

Cast: 

Will Collyer as “Caleb,” 

Adam J. Smith "Eddie,”

Natalie Lander as “Darla,” 

Joey Richter as “Jackson,” 

Lauren Lorati as “ Vicki,” 

Harry S. Murphy as “Professor Penguinpants,” 

Jonathan Slavin as “Edmund the Elephant,” 

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

 Christopher Kerrigan as “Juaquin.”

Crew: 

 Book and Lyrics: Matthew Leavitt; 

Music by Nathan Wang; 

Director Richard Israel; 

Music Director Anthony Lucca; Choreography by Christine Lakin; 

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

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

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

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

 

KID GLOVES: World Premiere!

by Matthew Levitt

The Skylight Theatre

Los Angeles, California

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

Runs January 15th - February 15th

Tickets and informaton:

 https://kidgloves.ludus.com

BROWNSTONE AT THE OPEN FIST

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

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

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

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

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

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

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

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

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

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

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

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

 Cast:

Deena:        Rosie Byrne

Maureen:    Amber Tiara.  

Stephen:     Matthew Goodrich 

Davia:        Chelsea Spirito  

Jason:        Isaac W. Jay

Jessica:      Jade Santana 

Creative team 

Scenic Designer  Jan Munroe

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

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

Production stage manager 

John Dimitri

 

BROWSTONE by Catherine Butterfield

Directed by Ron West

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

Atwater Village Theatre 

 3269 Casitas Ave.

Los Angeles, CA 90039. 

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

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

 

 

 

 

 

 

Sad news..

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

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

Condolences and eulogies in E Communication are quick to pass.  

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

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

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

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

Flights of Angels..

michael sheehan

onstagelosangeles

Party Time with Cindy Lou Who

Guest review by Amalisha HuEck

Edted.

Reocmmended

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

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

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

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

Highly recommended!

  Crew:

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

“Who’s Holiday “runs through December 20th 

The Hobgoblin Playhouse, 

1516 N Gardner St. 

Los Angeles. 

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

Tickets $25.00

(323) 591 – 4894 www.thestagecrafts.com   

 

 

HIENSERBERG REDUX.. THE REVIEW ..

Juls Hoover and Paul Eidig Lorch photo

After days of nursing my mangled  ego and a nice correspondence with Caameron Watson, the director of Heiserberg at The Skylight on Vermont in Los Angeles.. I can report that there's a show worth seeing and if you don't go, you are missing a bet . Two actors. A strange serendipitous meeting evolving poetically.

For those who may be following the drama of my missing press invitation.. I learned that the PR guy for this play told the director  that he had "not heard from me." That is true! The way it works is that the PR person invites critics ro review.   This guy has not sent me any invitations for over a year.. so long ago that I've forgotten..and the only reason that I know it's him is because of a Facebook notice that included his name.

But to Business!!!  HEISENBERG..

This beauty of a two hander is that it can be an actor's tour de force.  Yes.. And, the way that Cameron Watson has staged the play reflects not only a keen understanding of the characters: the loopy Georgie (wow!  Juls Hoover) and the mostly taciturn Alex (mostly taciturn Paul Eiding).  Of course , it's all in the text, but beyond the words of this kind and thoughtful .. and loopy.. play is the opportunity for interpretation. (It was staged a while back with two women as the characters)

Alex, the butcher, is vamped big time in the London Underground by Georgie. Alex is in his seventies and  Georgie's is his junior by at least half. She's a Jumping Jacks Jill and a little  hard to pin down until her story takes its time to settle.

One line that Watson seems to have captured in the banter and the eventual loving resolution of Alex and Georgie is all about music. Alex, the butcher! for goodness sake.. is a fan and afficiando of all music genres. He's also a tango dancer! .. At one point as, Alex and Georgie begin to click.. Alex says something to the effect that music is not the notes!  It's in the spaces, Alex says..  between the notes that make any composition become music.  

What Watson allows as Geogrie and Alex  grow close, is for them to take moments:  a sort of musical rest.. physically and in the dialogue as the importance of their connection evolves.

The set and lighting are crisp and supportive as we imagine The Tube Station, Alex's shop, etc.  The scene changes are simple and fluid.. Non-representational. Fine.

It's a play with the off the wall bouncing of Georgie, whose Limberjack contortions visibly morph into .. well.. another woman. Hoover's characterization, changes in a welcome way. Eiding changes, too.. Stepping from his lonely bench . out for a walk.. to discovery of what may become the joy of life.

My being pissed off because I've been ghosted by this PR guy had me all over Facebook looking for  an invitation to review this show. 

.  The PR invitation never came, but with grace, Mr. Watson  responded to my 'what the heck?!' message.    

Very much appreciated.  

I did not attend on Mr. Watson's comp. And, I  did not promise a rave as I tend to not gush much unless something touches me artistically and/or emotionally. The Story of Alex and his Lost Love: lonely tears  melding with Georgie's unhappy tale of being irrevocably erased from a lover's  dance card are touching stories.  Their friendship blossoms in a genuine and beautiful  way.

The beats and complimentary business of great stage pictures  with subtle music make for a professional production.

Ordinarily, I am provided the basic information: the dates and cast and crew of the plays I review.  Because the PR rep probably won't send the info, here's a link to the website.  I love the graphic for the poster.   https://www.skylighttheatre.org/heisenberg.

Please copy and paste.. 

"Heisenberg" 

by Simon Stephens 

Directed by Cameron Watson  Continuing at The Skylight Theatre  right next to the Los Feliz Movie House on Vermont. 

Parking is a challenge! Go early.

See this show and tell The Skylight that   onstagelosangeles sent ya..

michael sheehan 

 

Heisenberg at The Skylight

What looks like a really artsy two hander at The Skylight on Vermont in Los Angeles;  "Heisenberg" by Simon Stephens remains a mystery. 

That's Juls  and Paul. Photo by Jeff Lorch.

Evidently, I am Facebook pals with Paul Eiding  who plays Alex.  Juls Hoover plays Georgie.  I am not FB friends with her.   Cameron Watson, the director of this piece is a FB friend.   That's how I learned that the show was going up.

Evidently, the PR guy for the show has decided to ghost me, so this is just a note to say that this guy is the least effective "Public Relations for theatre person" I've ever dealt with. In the past, his lack of communication has prevented me from seeing at least one show that was so good I wanted to review it again to see if it stood up. Another small company in LA whose work I have applauded has left me in the cold. That's the Road on Magnolia.

Why review theatre?  I want to share with potential audiences and the producers and the casts of the shows that I see.  I function as an objective   and appreciative fan for what I see.

A review is a report and a comment and a brief synopsis most of the time.  I'll wax poetic if something grabs me and I'll point out some good even in the worst productions I've seen.   Once I complimented the set and costumes of a play and listed the cast and crew without comment.  In retrospect, it deserved a pan that would have blistered the Bard.

Because I've been a local critic for theatre for over twenty years, including for Daily Variety and the long ago Drana-Logue (Assignment Editor Polly Warfield was a doll!)... This morning, having read one review  of praise for Heisenberg by a respected critic, Terry Morgan, I'm rubbing some salve on my bruised ego to encourage readers in Los Angeles to get the info on when the show is playing and go. Photos of the set are spectacular.  

I've contacted the director, Mr. Watson, asking if he'd like me to review this play and have not heard back.. Ironically.. my loyal readership, headed for a 90,000 hit count.. would be likely to take my recommendation.. so.. in a left handed way. here it is..

It's expensive to mount a show like this at a rental space like The Skylight. Every patron is a gift.. and when we are lucky, the gift is returned with memorable performances and productions. .

Why take this p.r. putz to task? Because .. as a long time Los Angeles theatre critic I feel that I deserve some respect.  I will never guarentee a rave..  and.. because I'll probably not see this show.. the potential for an honest assessment goes begging.

I know this putzy PR guy has been let go from at least one local company and I was happy to see a show recently at their space where new works go up I was welcomed by a  delightful new PR person who treated me as a peer and with kindness.

Should Mr Watson or Paul Eiding or anyone respond with a request for me to review?  I'll try to make it to see the play.  May / December romance seems like a thing to me.. and it's not Harold and Maude!

Michael Sheehan

onstagelosangeles