BI-SEXUAL SADNESS : A World Premiere

 Affecting work.. "Affecting Work" is a term from the roots of radical theatre : long ago in the age of body work, physical involvement sometimes with text and sometimes just action that gave the audience an opportunity to be viscerally involved with theatre.  

"Bisexual Sadness" with a pinkish visual .. an upside down "i"  and the 'x' out of kilter denotes the specific feelings of india kotis's (sic) play.  

Social media and the immediacy of  Ecommunication has led our culture into an ever spiraling morass of language and self diagnosis in terms of gender and sexuality that has (in the voices of Karen and Richard Carpenter) 'only just begun'..  

The physical discomfort and mental anguish in this World Premiere, creatively staged by Carlyle King, is palpable.  Each character is well presented: over played and under played and each and all in the 'same play.' It's a pleasure to use that description of the players, as from time to time, an actor might be so out of bounds that it makes the production  dissolve.

 

 

When NoHo's The Road Theatre on Magnolia   takes on a play to produce, fact is that it will be either entertaining or challenging or both. In this case, it's a toss up. There's a lot of drama!  Playwright india kotis  (sic) lays out the story of a woman, FAYE (Tiffany Wolff) a medical doctor, who has been left behind.. so to speak from a long term 'relationship' with a self described 'masculine ish.. woman: GENEVIEVE (Alaska Jackson). But! Gen and Faye remain the best of friends. Faye, in the first scene is trying on a wedding dress to wear for her marriage to ALEX (Brian Graves), a "sensitive and open guy" who is a teacher in a pre-school. Factor in poor MIRANDA (Karrie King), Faye's elder sister, who has been deserted by the father of her 'kid' NAOMI (Gloria Ines) (see below *) for a 24 year old floozy. Miranda is in the depths of depression.  Pot helps but stinks as she heads up the aisle.

And..and.. what about Lillian (Andrea Flowers), the arealist? Pansexual? wow. 

I thought she should be Blonde.

Bisexual Sadness is a play with more questions than answers. Somehow that seems to be okay. Perhaps it may be because we: our western society, is now faced with decisions regarding which pronouns WE choose to be addressed by.  If we present as a female, but identify by self diagnosis to be not so female-ish.. no longer are we she / her, but "they/them."  Ditto for males. And. with the influence of social media and self diagnosis and confusion because one's head says one thing and my itchy parts say something else and the depression that comes with the confusion of it all: whom to love? how to love? whom to marry???  becomes a friggin' conundrum?  Faye, in her honest mental state longs for  flamboyant full sleeve shoulder tattoos and a white sidewall haircut? Men and Women and Boys and Girls.. and all others... Others.. this is the upsetting confusion facing some of these complex characters, save for the Canadian Arealist who just flies as she pleases leaving everyone unapologeically in the dust. 

 *Thus.. we find Naomi,  a slightly sullen, more or less 'butch' kid opting to be called they/them and fuming if a grammatical slip is made.  "Hers"(says me!) is self imposed 'theyness.  (Gloria Ines presented with her hair down and very femme at the curain call.) It seems to me that this  gender fluid dance is getting the best of me, even though I sort of understand. Still, I feel most comfortable.. important to me.. to know what brand of human being I'm dealing with. I'll hold the door for anyone, but out of habit especially for a woman..or a person who presents as a woman ..even in pants. 

Thus:

Like having a tiny pebble in your shoe that is just a little bit annoying because one must remember the right words. That's annoying. Just uncomfortable and annoying. Kotis does not resolve  Naomi's case and as Faye flat out tells her husband-to-be words he should be very troubled by, he shrugs off any discomfort he may have in the name of love.

Director King has a plan and her staging works on The Road's gorgeous set design. It's an important peek into  a new horizon of our society.  The LGBTQ (I still have a tough time with the word Queer) community is on the rise thanks to flash mob connections via E media. Self diagnosis easily emerges for those who are learning that there are options for how to present themselves in society with less and less fear of being judged.  Be who you are!? But, who are  you? Who am I? Koo koo ka chooo.

The audience for the opening of this show was a riot of color.  The rainbow that represents 'choice' now for sexual preference is slowly and brightly being unfurled. This play may be a stepping stone to Identity for those who find that it is time to examine how they really truly feel.  I'd suggest talk backs for special audiences.

Two casts give audiences an opportunity to possibly consume a double dose of learning.. Make no mistake, the underlying theme is about life lessons and possibly finding a role model for how to be happy in this new age of wonky grammar.  Uncomfortable pronouns and love. Ultimately, it's really about love.

 

Edna St. Vincent Millay Cast:

Faye Tiffany Wolff

Genevieve Alaska Jackson

Alex Brian Graves

Miranda  Karrie King

Naomi Gloria Ines

Lillian  Andrea Flowers

 

BISEXUAL SADNESS

by india kotis (sic)

Directed by Carlyle King 

THE ROAD ON MAGNOLIA

10747 Magnolia Blvd. 

North Hollywood, CA

Tickets: $39.00

Previews: $15.00

Students/Seniors: $15.00

Sunday Performances Pay-What-You-Can

 

OPEN FIST: BLOOD AT THE ROOT

 

Grace Soens, Azeem Vecchio and Ensemble
Photo by Jenny Graham

 

"Blood at the Root" a self described "choreopoem" that touches on our not so distant  past in the United States with the energy and rhythms of today. 

 

Based on a true life incident in Louisiana, director Michael A. Shepperd creates a well tuned ensemble cast : high school kids mostly, who express their hopes and dreams.. pretty much.. as young folks in the land of bias and white supremacy. They ask questions and stand  up to echo the message of civil rights and human rights and the rights of even kids to have an opinion and take arms against a sea of troubles.(so to speak...) and if not to  end them, to . at least raise the red lantern and send a message that bias is alive and it is only when we stand together :   with unity and progress as a goal, may lives actually get better.

 

Raylynn (Nychelle Hawk) is ready for change.  She is pals with Asha (Caroline Rose). Asha is a pixie with an attitude: a white girl who sounds black and in the course of the production  has her social position challenged. Director Michael A.Shepperd's strong hand creates the feeling of the hip hop directive laid out in Dominique Morisseau's presentational text.

A huge oak tree dominates the stage. it's a rallying point for white kids at Cedar High School with the understanding that they are the only ones welcome there.  When three nooses appear after Ray has opted to take a seat under the tree, the challenge of traditions and human rights rears its hoary head.

 Yusuf Nasir's dynamic choreography emerges as a rallying point for the polemic that declares that we are still a racist society and it is only when those among us step up.. step out and declare the Truth, that things begin to change.

Old Dominion .. the charter oak in question created by Scenic Design & Technical Director
Joel Daavid;  engineered by Jan Munroe, looms to domnate the space with bloody roots running to the apron of the stage. 

The highly presentational style of the piece has the cast crisply changing set pieces, aided by Gavan Wyrick's effective lighting. It's all dance. 

The play's heavy message might benefit from changes of pace: volume attenuated to create the tension that, especially, dominates the dialogue between Justin (Azeem Vecchio) the Cedar High School newspaper editor and the hot shot reporter, Toria (Grace Soens) who longs to print birth control information instead of a list of after school activities.  

Working as a tight ensemble the supporting players boost the over all energy with crisp and precise moves. 

I'm late to the party and hope that Open Fist will get the audience it deserves.

CAST

Raylynn:  Nychelle Hawk
Toria:  Grace Soens
Asha: Caroline Rose
Justin : Azeem Vecchio
DeAndre: Nicholas Heard
Colin: Jeremy Reiter ll
Chorus: Amber Tiara
Chorus: Malik Bailey
Chorus: Deandra Bernardo
Chorus/US Toria: Emma Bruno
Chorus : Jack David Sharpe

 

CREW

Scenic Design & Technical Director
Joel Daavid
Costume Design
Mylette Nora
Lighting Design
Gavan Wyrick
Sound Design
Marc Antonio Pritchett
Charge Scenic Artist
Marine Walton
Assistant Scenic Design
Maya Gonzales
Choreography
Yusuf Nasir
Production Stage Manager
John Scenic Design & Technical Director
Joel Daavid
Costume Design
Mylette Nora
Lighting Design
Gavan Wyrick
Sound Design
Marc Antonio Pritchett
Charge Scenic Artist
Marine Walton
Assistant Scenic Design
Maya Gonzales
Choreography
Yusuf Nasir
Production Stage Manager
John Scenic Design & Technical Director
Joel Daavid
Costume Design
Mylette Nora
Lighting Design
Gavan Wyrick
Sound Design
Marc Antonio Pritchett
Charge Scenic Artist
Marine Walton
Assistant Scenic Design
Maya Gonzales
Choreography
Yusuf Nasir
Production Stage Manager
John Dimtri

Lead Carpenter
Jan Munro

Publicist

Lucy Pollak

 

Blood at the Root

By Dominique Morisseau
Directed by Michael A. Shepperd

Sept. 9 – Oct. 28
• Fridays at 8 p.m.: Sept. 15; Sept. 22; Sept. 29; Oct. 6; Oct. 13; Oct. 20; Oct. 27
• Saturdays at 8 p.m.: Sept. 9 (Opening Night); Sept. 16; Sept. 23; Sept. 30; Oct. 14; Oct. 21; Oct. 28 (dark Oct. 7)
• Sundays at 3 p.m.: Sept. 17; Oct. 1; Oct. 15 (no matinees on Sept. 10; Sept. 24; Oct. 8; Oct. 22
• Sundays at 7 p.m.: Sept. 10; Sept. 24; Oct. 8; Oct. 22 (no evening performances on Sept. 17; Oct. 1; Oct. 15)
• Monday at 8 p.m.: Oct. 9 ONLY

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

TICKETS:
$20 – $30

www.openfist.org
(323) 882-6912

 

THE SOUND INSIDE at Th Pasadena Playhouse.

A

Addendum:

 I was so inspired by the revelation in the text of this play that Christopher (Anders Keith) had written his novella with a typewriter that I decided to write this review with an old Smith Corona about the same era as Christopher's machine.  What happens when we write in analog . the sound of the type bars smacking the page and an occasional typo that, if necessary.. takes time and energy to correct.. the look of the page:  I am truly sorry this did not enlarge properly. .with a maginfying glass, it is the first impression and rave for this excellent production. 

Evidently, I did not spell Amy's name properly. edit If I can find the beauty of the in hand program that the Playhouse provides, I can fix that.   (I did. See below)

After her opening salvo .. a five page monologue by Bella, exposing deep feelings and information, we segue to her office at Yale. One of the  early lines that gave me hope when Bella (Amy Brenneman) is confronted by Christopher (Andeers Keith) without an appointment .. appointments are sacrosanct for doing student / professor business at Yale..  erupts in a tirade that I share... 

Christopher is my hero.  "Email is not my style," He mentions penmanship!  Ink.  A pustule of stuff erupts as he single handedly destroys the many electronic ways that communication is removing human beings from one another. It's poetry. Elegant and Keith's delivery is surgical.  

And this is in the first few minutes that we meet Bella and then Christopher.  It's a tone poem of sorts. it's human condition and in spite of all the broken rules. there are many broken rules.. it's talky and deep and human.. as we get to find the way the kid and the fifty something single professor with health issues  are drawn together in a beautiful slow moving arabesque.

Keith is credited with authorship of this version of The Sound Inside.  This kid's delivery, as I may say in the typing above.. is almost On the Spectrum, but precise and direct, though there is an unexplained moment when he spaces out and.. then...  returns.

Rapp is credited with all kinds of writing.  In this play we get the essence of what writing is. Christopher composes on his manual typewriter.  This turns the story a little dark: even a bit creepy.  The intimacy of these two human beings is never overtly intimate in the sense that the love they share is ever consumated, but the depth of the connection is palpable.

The beauty of Cameron Watson's direction is that whatever he did, his hand doesn't show. The scene changes.. and yes.. it'a virtually talking and pauses and moments.. the beauty is that the actors never miss a beat. Their dance is fluid and perfectly paced. Some moments may take the breath away.

They discuss balancing bad acts with goodness in Crime and Punishment. Over my head, for sure.. but it's foreshadowing that makes sense later.  I recall the term 'digital chlymydia' to damn the tech world. That made me smile. 

Literary references to suicide, another foreshadowing emerges.  Christopher mentions his novel..he's writing a novel, he says.. He is typing it on a 'mid century Corona' and because my Corona 4 is early 20th Century, I chose the Smith Corona and that's where that typing up there came from. An homage to analog.

I feel almost taken over by Christopher as I easily breeze through the great fun and completion of this story that Rapp's play delivers. One must see the show to hear Christopher's delivery. His pronunciation is crisp.. too crisp and direct and impatient. Bella beautifully  fields his presence and at the same time is .what? Taken in?  Absorbed.. attracted?  All of the above and as the business of her health and his novella and their relationship evolves.. the dance.. The Dance.. Garth Brooks' song. The Dance comes to mind.., though the correlation is really a minor one...

When I see a play that touches me and I find the message and the work.. the efforts of  all involved. the actors, the direction.. the tech.. (aside from the attractive woman with the silver dredlocks checking her phone from time to time in row M) it inspires my own need to attempt to echo the poetry that has so moved me. The echoes reverberate as Bella repeats the directive.. Listen to the Sound Inside.. Listen to the Sound Inside..

That said. Please go to see The Sound Inside.

The Sound Inside 

by Adam Rapp  & Anders Keith

directed by CameronWatson

The creative team features 

scenic design by Tesshi Nakagawa; 

costume design by Danyele E. Thomas; lighting design by Jared A. Sayeg; 

sound design by Jeff Gardner; 

casting by Ryan Bernard Tymensky,  

stage management by Alyssa Escalante, 

David S. Franklin assistant stage manager.

The Pasadena Playhouse

39 S El Molino Ave, 

Pasadena, CA 91101-5220

 

FREUD ON COCAINE AT THE WHITEFIRE

 

Ensemble
Photo by Darren Rafel

 

 

Howard Skora's World Premiere   Comedy  "Freud on Cocaine" .. if for no other reasons than to enjoy Michael Mullen's spectacular costumes is a snow trip not to be missed. (Little hip reference there, eh?)

Skora directs his own play in two acts based on the actual writings of Dr. Sigmund Freud from Freud's book "Cocaine Papers" as well as other personal notes. 

The unique quality of the Whitefire Stage is that The Play's The Thing.  Freud on Cocaine takes place on an essentially bare stage with a few set pieces, title crards and  projections set each scene. It works beautifully as a presentational approach.  

The audience is included from the get go with a sort of Greek 'chorus' that proclaims Freud's story in shorthand.  The man was many things, but essentially, Sigmund Freud (Jonathan Slavin) was a brilliant guy who was addicted to cocaine.

Skora's direction of his own play, a practice that I mostly don't think is a very good idea, seems to work well.    The frantic pace of the story unfolds with a strong emphasis on COCAINE as a cure-all with which Freud expected to stamp his mark upon the world.  Sly references to dreams at the close of the argument slide into place as Martha, Freud's wife (beautiful Sara Maraffino) insists that he abandon his cocaine addiction (which he never admits fully to) or lose her. 

Each character is finely tuned to complete the cast in such a way that they are undeniable. Most bombastic of the lot is Ernst (Really Really  big Aaron LaPlante), Freud's close pal. Unfortunately Ernst is addicted to many drugs.   Martha's mom, Emmeline Bernays (steadfast  Sigute Miller), holds her own as she attempts to deep six Martha's infatuation with  Sigmund.

Merck (Barry Brisco) virtually glows as the German provider and faciltator of Freud's cocaine  connection. He stands toe to toe with his cast mates to good effect.  Freud contracts to vet for Merck the quality of their coke to boost sales. With his 'research' Freud declares that cocaine is NOT addictive (witness Freud's daily bumps to the tune of a gram a day (which I hear is a lot!).. 

Enter Emma Eckstein (Amy Smallman-Winston) with issues of hysteria and problems with being highly sexed  and prone to self enjoyment. We learn of a surgival treatment  that deals with the nasovaginal connection. It goes haywire. Ow.

Though adorable, Kim Hopkins as the Narrator / Anna Freud, who added copious notes to Freud's The Cocaine Papers, upon  which the play has been based (its all fact, we've been told!) in her top hat and tails fails to find the over the top energy laid down by the rest of the cast.  It may be an actor's choice, but the value of Freud's lesbian daughter's story  is tiny by comparison to the rest of these excellent players.  Bigger, Faster, Louder!  Please.

It's a World Premiere!  The joy of seeing new and exciting theatre that romps a bit is a pleasure. 

It's a hit!! 

Freud on Cocaine sends up what we have come to understand is a drug of consequence. Cocaine IS addictive.. Terms for cocaine: happy dust and other euphemisms including  "punschkrapfen" do not promote the party use of the drug, but tell the story of how, in the late 19th Century, Sigmund Freud parlayed the idea of a sort of Universal Cure-All into his next steps: The Interpretation of Dreams.  

The genuinely funny dialogue, along with the over the top melodramatic presentation with title cards and the excellent use of John Knowles' projections, boosted by Skora's 21st Century language and contemporary approach to humor makes Freud on Cocaine a must see. 

There are moments of hilarity! Huzzah!

As a resident of the 20th Century, I was disappointed to not have a program in hand.  And..   Hey!   Freud needs a better bowler.

CAST: 

KIM HOPKINS (Narrator/Anna Freud)

AMY SMALLMAN-WINSTON (EMMA ECKSTEIN)

BARRY BRISCO (EMANUEL MERCK)

SIGUTE MILLER (EMMELINE BERNAYS)

JONATHAN SLAVIN (SIGMUND FREUD)

SARA MARAFFINO (MARTHA FREUD)

AARON LAPLANTE (DR. ERNST VON FLEISCHL-MARXOW)

 

 Freud on Cocaine

Written and Directed by Howard Skora
 
• Presented by the Whitefire Theatre, Bryan Rasmussen, producing artistic director
 

Sept. 8 – Nov. 4
• Friday at 8 p.m.: Sept. 8 ONLY (opening night)
• Saturdays at 8 p.m.: Sept. 9; Sept. 16; Sept. 23; Sept. 30; Oct. 7; Oct. 14; Oct. 28; Nov. 4 (dark Oct. 21)
• Sunday at 2 p.m.: Sept 10 ONLY

Whitefire Theatre
13500 Ventura Blvd.
Sherman Oaks, CA 91423

PARKING:
• Valet parking available at Augustine Wine Bar across Sunnyslope from the theater: $9
• Unrestricted parking available on Moorpark St. and on the west side of Dixie Canyon Ave.
• Metered parking on and just south of Ventura Blvd. (off on Sundays)
• 2-hour parking available in residential neighborhoods (Sunday matinees, until 6 p.m.)

TICKET PRICE:
$40-$50
www.whitefiretheatre.com
(818) 687-8559

 

 

 

 

 

A FUNNY THING.. YES..

 How the little company that will present A Funny Thing Happened on the Way to The Forum at the Barnsdall Gallery Theatre in Hollywood got this wonderful rag tag show together is a bit of a mystery. I learned about it from  a dear old pal,  Jonnathan Cripple, who plays Errornius (the Buster Keaton part in the Zero Mostel film version).

It's a farce. It's a musical.  It's sexy. There are  colorful costumes, delicious babes in colorful costumes.  It is funny.  It deserves an audience.

The actor playing  Pseudoius did the show with a boot!  Injured in rehearsal.. The sign of a real trooper!  

My suggestion is .. at least for the Sunday Matine, arrive early.. parking can be problematic.. take a picnic and enjoy the lawn there by the Hollyhock House. The intallations in the LAMAG are by winners of attention from CoLA. the City of Los Angeles chosen royalty .. One ceramic installation is truly amazing. 

If you arrive early on Friday or Saturday, the sun sets at about 7PM. From Olive Hill, the phenomenon is spectacular! 

It's fun to boost productions that are making an effort by the seat of their pants. This show has a professional feeling and for fans of Larry Gelbart and Stephen Sondheim, it's a guaranteed fun time.

It's up for three more performances:  

Friday September 8th, at 8PM

Saturday September 9th at 8PM 

Sunday, September 10th at 3PM.

Barnsdall Gallery Theatre, 

4800 Hollywood Blvd. 

Tix & Info 

 SBPresents.com 

or  Goldstar

This is copied from a PDF that came from the company: I don't have time to properly edit it.

Support the  show and enjoy Barnsdall Park! 

michael Sheehan

BARNSDALL GALLERY THEATRE
LOS ANGELES, CALIFORNIA
SEPTEMBER 2023
BENEFITING IN MEMORY OF MOM
Originally Produced on Broadway by HAROLD S. PRINCE
Book by BURT SHEVELOVE and LARRY GELBART
Music and Lyrics by STEPHEN SONDHEIM
Associate Choreographers
BRIANA BAUER
ERIKA CRUZ
DANA DEVITT
MYLIQUE E. FAWCETT
ZAIRA ORDOUBADI
SASHA SERDYUKOV
Accompanist/Vocal Coach
STEVEN HOLLIS
September 1 - 10, 2023
Barnsdall Gallery Theatre
Production Stage Manager
ERIKA CRUZ
Assistant Director
DANA DEVITT
Production Manager
APRYL REDBIRD
Managing Director
RÉCHARD FRANÇOIS
Produced and Directed by
SCOTT BORDEN
Scenic Design
DENNIS PHAM
Scenic Construction
RÉMOND FRANÇOIS
Scenic Painting
MARI LU
STARRING
SCOTT BORDEN MICHAEL BUDD AARON COHEN
JONNATHON CRIPPLE JAMES DOHENY D. PAUL FAULKNER
ANTHONY GALANG MELODY HOLLIS MINDY WILLENS
WITH
BRIANA BAUER ERIKA CRUZ DANA DEVITT
ADITYA DIKKA MYLIQUE E. FAWCETT ZAIRA ORDOUBADI
SASHA SERDYUKOV BAKER WILES ARNOL ZEPEDA
MUSICAL NUMBERS
ACT I
“Comedy Tonight”..........................................Prologus, Proteans, Company
“Love I Hear”..........................................................................................Hero
“Free”...................................................................................Pseudolus, Hero
“The House of Marcus Lycus”...........................Lycus, Pseudolus, Courtesans
“Lovely”.......................................................................................Philia, Hero
“Everybody Ought to Have a Maid”.......Senex, Pseudolus, Hysterium, Lycus
“I’m Calm”.....................................................................................Hysterium
“Impossible”................................................................................Senex, Hero
“Bring Me My Bride”.......................Miles, Pseduolus, Courtesans, Proteans
A FUNNY THING HAPPENED ON THE WAY TO THE FORUM
WILL BE PERFORMED WITH ONE 15-MINUTE INTERMISSION.
ACT II
“That Dirty Old Man”........................................................................Domina
“That’ll Show Him”................................................................................Philia
“Lovely” (Reprise)........................................................Pseudolus, Hysterium
Funeral Sequence.............................Miles, Pseudolus, Courtesans, Proteans
“Comedy Tonight” (Finale)............................................................Company
CAST
(in order of appearance)
Prologus, an actor................................................................SCOTT BORDEN
The Proteans....................BAKER WILES, ADITYA DIKKA, ARNOL ZEPEDA
Hero, son of Senex and Domina..........................................MICHAEL BUDD
Philia, a virgin....................................................................MELODY HOLLIS
Senex, a citizen of Rome.................................................D. PAUL FAULKNER
Domina, his wife................................................................MINDY WILLENS
Hysterium, slave to Senex and Domina...........................ANTHONY GALANG
Pseudolus, slave to Hero......................................................SCOTT BORDEN
Marcus Lycus, a buyer and seller of courtesans.......................AARON COHEN
Tintinabula, a courtesan................................................ZAIRA ORDOUBADI
Panacea, a courtesan...............................................................BRIANA BAUER
The Geminae, matching courtesans........ERIKA CRUZ, SASHA SERDYUKOV
Vibrata. a courtesan.................................................................DANA DEVITT
Erronius, a citizen of Rome.......................................JONNATHON CRIPPLE
Miles Gloriosus, a warrior......................................................JAMES DOHENY
Time: Two hundred years before the Christian era,
a day in spring.
Place: A street in Rome in front of the houses
of Erronius, Senex and Lycus.
SWING
ERIKA CRUZ
DANCE CAPTAIN
SASHA SERDYUKOV
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DONATE AT GLIOBLASTOMAFOUNDATION.ORG
BRIANA BAUER (Panacea)
is thrilled to be sharing the
stage with Scott and her fellow
courtesans and cast mates in
this hilarious and brilliant
production. A LA native, Briana
has performed all over the valley. Favorite roles
include Charity Hope Valentine Sweet Charity,
Julia-1984, Graziella-West Side Story, and Essie-
You Can’t Take It With You. Bauer has always had
a passion for performing ever since seeing Dirty
Dancing as a child–from that point on, she knew
where her heart belonged. Big Shoutout to Mom,
Dad, Sis, Bro, Derrek, Garrett, and Romeo!!
You are my biggest supporters– don’t know what
I’d do without your love and support <3 Enjoy
this classic show!! I dedicate this performance
to Denise. I know you’re watching from above.
@Brielesque | BrianaBauerOfficial.com
SCOTT BORDEN (Prologus/
Pseudolus) Favorite theatre
credits include Laughing Wild,
You’re a Good Man, Charlie
Brown, Big River, 1940s Radio
Hour, and his original musical
Exposing Myself ran for twelve weeks at the
Comedy Central Stage in Los Angeles. He can
be seen opposite Oscar winner Jamie Foxx in
the Netflix multi-camera comedy Dad Stop
Embarrassing Me, and alongside multi-hyphenate
sensation Liza Koshy in the single-camera comedy,
Liza on Demand. He popularly starred as the
Dancing Intern for MasterCard’s long-running
“Priceless” campaign and has a string of other
national campaigns under his belt. He would
like to thank every set of eyes reading this for
being a part of a dream come true.
MICHAEL BUDD (Hero), a
long time ago, played Raccoon
#2 in a little theatre in the
suburbs of Sacramento, CA
and now he has a Masters in
WHO’S WHO
Musical Theatre from The Royal Conservatoire
of Scotland & conservatory training in Acting
from The American Academy of Dramatic Arts.
He has three SARTA(Sacramento Area Regional
Theatre Alliance) Elly Award nominations for
his work in regional theatre. Some of his favorite
roles have been The Baker Into the Woods, Mr.
Pirelli Sweeney Todd, and Prince Eric The Little
Mermaid. He wants to thank his parents for
their unending love and support, his friends for
their laughter and joy, and he wants to dedicate
his performance to his grandmother in heaven
who loved to hear him sing.
IG: @michael.emery.budd
AARON COHEN (Marcus
Lycus) is making his hilarious
return to theater after a 20-year
hiatus off the stage. Currently
studying with the incredible
Lesly Kahn & Co in Los Angeles,
Aaron is a comedian/actor who prides himself
on exposing the awkward moments in life. Feel
the feels, and let’s get weird. He is so grateful to
his wife, friends and family for their love and
support allowing him to transition back into
performing. He credits his acting career to his
late mother, Majorie B Cohen, Bea Arthur,
and a sprinkle of John Candy. As A Funny
Thing Happened on the Way to the Forum was
the first musical he ever performed in, a full
circle moment has overwhelmed him with joy
exclaiming this production has been the most
rejuvenating and rewarding experience of his
life. This is it, and it’s perfect.
JONNATHON CRIPPLE
(Erronius) was born at a very
early age and wasted his youth
watching old films and listening
to classic radio. This was great
training for his careers as an
actor/director, a mime(?!!), a carny barker and
animation character model. He’s appeared for
some 2000+ corporate events as a multitude
of characters (ranging from Richard Nixon
to Keystone Kops, to Darth Vader to a living
statue of Moses) over the past 200 years as well
as appearing as comic characters in various
films, Commedia dell’Arte productions, and
Burlesque. He is a respected character model
(creating some 70+ original characters) for the
animation studios at Disney, Nickolodeon,
Cartoon Network, Sony, Art Center college
of Design and CalArts to name a few, and can
currently be seen in season one of Winning Time
on HBO Max and the horror short The Chair.
E R I K A M I R EYA C RU Z
(The Geminae) is very excited
to be taking part in this show!
Nat’l Tour: The Pout Pout Fish.
Regional: Whatsername American
Idiot, Serena Legally Blonde, Sister
Mary Robert Sister Act, Maria West Side Story,
and Eva Peron Evita. Special thanks to the entire
cast and crew for bringing me on such a fantastic
project. Love to DDO, family, and friends for
the endless support! B.F.A.: AMDA LA/NY
@erikamireyacruz, erikacruzactor.com
DANA DEVITT (Vibrata)
graduated from the American
Musical and Dramatic Academy
(AMDA). Since graduating she
has performed in several shows
including original workshops
and the Hollywood Fringe Festival. She is a lead
in the award winning film The Walk as Lucy
and has recently made her television debut in
NatGeo’s Something Bit Me!
ADITYA DIKKA (The Proteans)
is an Indonesian actor who
moved straight from Jakarta to
Los Angeles to pursue a career in
acting. Most recently, he could
be found playing as Doug-The
Antelope Party. Still new in the musical theater
world, he has played several characters in a
mini musical-medley project including Bud
Frump-How to Succeed in Business Without Really
Trying, Hugo Peabody-Bye Bye Birdie, and Edna
Turnblad-Hairspray. Dikka received his B.A. in
Graphic Design from Northumbria University
in Newcastle, United Kingdom. But instead
of focusing on his career in graphic design, he
spent most of his time in Jakarta studying acting
in a local acting studio and going to several
auditions before finally moving to California.
He received his AA in acting in 2023 from
AADA in Hollywood.
JAMES DOHENY (Miles
Gloriosus) is thrilled to revert
back to his roots and be involved
in theatre again. James is a native
New Yorker, and grew up on
the stage. Past credits include:
Gaston-Beauty and the Beast, Kenickie-Grease,
and The Tin Man-The Wizard of Oz. He would
like to thank Jenny, his Mom, and Stooven for
their ongoing love and support! To the cast and
crew, let’s go break some legs!!!
D. PAUL FAULKNER (Senex)
is a proud Union actor who is
thrilled to be in this legendary
show with this amazing cast.
He is a veteran of many stage
shows and even more mammothly small roles on
television and film. Enjoy our comedy tonight
(or today) and thanks so much for coming.
MYLIQUE E. FAWCETT
(Gymnasia) is an LA-based
drag performer known for
her colorful paint jobs and
captivating performances. Her
non-drag persona, Myles McGee,
has been an actor on stage and screen for sixteen
years between California and Hawaii. Both are
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immensely grateful for this opportunity!
A N T H O N Y G A L A N G
(Hysterium) With just a few
theatre credits under his belt,
which include Little Shop of
Horrors, You’re A Good Man,
Charlie Brown, and another
production of A Funny Happened on the Way
to the Forum, Anthony is excited to be returning
to the Forum as Hysterium. His other work runs
rampant through different stages and screen.
From working with the touring company of
Dear Evan Hansen to Crazy Ex-Girlfriend,
Anthony has been singing his way across the
board. He has sung back up for Keala Settle
and Iliza Schlesinger and competed in CW’s
Christmas Carolers Challenge-Season One, where
he made it to the semi-finals. He would like to
thank his family and friends for their continued
support as well as Top Shelf Vocal and the a
cappella community for helping him on his
musical journeys!
MELODY HOLLIS (Philia)
is delighted to be a part of this
show. Her past theater credits
include: The original Broadway
cast of Irving Berlin’s White
Christmas, Dollhouse at the
Goodman Theater, Baby at CVRep, Summer
and Smoke at Actors Co-Op, and Annie at
MTW. Her past film and TV credits include:
Vice, Criminal Minds, Fred Claus, A Golden
Christmas, and The Young and The Restless. She
would like to thank Scott Borden, the cast,
and the entire creative team of Forum for this
wonderful collaboration benefiting a great cause.
Z A I R A O R D O U B A D I
(Tintinabula) is a dancer,
aerialist and cat lover who
studied biology and dance at
Chapman University. Zaira is also
a traveling histology lab technician, processing
human tissue and assisting surgeons in removing
deadly skin cancers in hundreds of patients across
LA county every week. She is extremely honored
to be benefiting Glioblastoma Foundation for
this show as it incorporates her dedication to
bettering the lives and health of others with her
lifelong love of dance and live performance. She
sincerely thanks the Forum cast, supporters of
the cause, and her Mom and Dad for signing
her up for both theatre and science summer
camps in ‘08.
SASHA SERDYUKOV (The
Geminae), originally from
Boulder, Colorado, has been
immersed in the performing arts
for as long as she can remember.
She recently graduated from
AMDA College and Conservatory of the
Performing Arts with her BFA in Dance Theatre,
where she had the opportunity to hone her craft
and perform in a number of original works created
for film and live stage. Since graduating, she’s
gotten the opportunity to be a part of the dance
ensemble in Panico Productions production of
Footloose at Simi Valley Cultural Arts Center,
and recently accepted a position with the LA
Choreographers and Dancers dance company.
She will be portraying a Courtesan and has greatly
enjoyed the process of putting together this great
show for a good cause with a wonderful team.
BAKER WILES (The Proteans)
is a classically trained theatre
performer from Minnesota, now
based in Los Angeles. In LA, you
may have seen him on stage at the
Wells Fargo Theater at the Gene
Autry Museum, the Beverly Hills Playhouse,
or the Next Stage Theatre. On television you
can see him in Monster: The Jeffrey Dahmer
Story on Netflix, opposite Milo Ventamiglia
on This Is Us on NBC, or sharing the role of
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A Funny Thing Happened on the way to the Forum is presented through special arrangement
with Music Theatre International (MTI). All authorized performance materials are also
supplied by MTI. www.mtishows.com
The Barnsdall Gallery Theatre is a facility of the City of Los Angeles Department of Cultural
Affairs and is located on the ancestral and present homeland of the Tongva, Gabrieleno, and
Chumash People.
For the City of Los Angeles
KAREN BASS, Mayor
MITCH O’FARRELL, Councilmember District 13
For the Cultural Affairs Department
DANIEL TARICA, General Manager
NICKI GENOVESE, Performing Arts Manager
For the Barnsdall Gallery Theatre
MECCA VAZIE ANDREWS, Venue Director
SPECIAL THANKS
The Glioblastoma Foundation | Accent Dance Studios | Adam Ray
City of Los Angeles Department of Cultural Affairs | Magic Adjacent
The Monster with T-Pain on The Masked Singer
on Fox. Baker is also the Executive Producer of
the feature film, Sunny Daze, starring Michael
Beach and Lonnie Chavis on Amazon Prime
Video. Baker thanks you for supporting live
theatre and, as one of the Proteans, hopes only
to make you laugh and smile tonight.
MINDY WILLENS (Domina)
couldn’t be happier to join this
incredible cast. Among her
favorite past performances are:
Philia-A Funny Thing Happened
on the Way to the Forum, Kate/Lili
Vanessi-Kiss me Kate, Princess Winnifred-Once
Upon a Mattress, Witch-Into the Woods, Mama
Rose-Gypsy, Katisha-The Mikado.
A R N O L Z E PE D A ( T h e
Proteans) is an actor who
graduated from LACC theater
academy. He is currently studying
acting, singing, dancing, and
filmmaking; we’re he believes
that there is always room for improvement and
self-growth. He has also been apart of multiple
theater productions and has recently worked in
cooperation with the Latino Theater Company,
where he performed as the lead in the original play
“Melancholia” directed by Jose Luis Valenzuela.
He also performed in the 2023 Hollywood Fringe
Festival in “Octopus In Its Own Ink” directed
by Eduardo Vega. His experience embodies
diverse commercials, voiceover, improv comedy
shows and music video productions in English
as well as in Spanish. He is excited to be part
of “A Funny Thing Happened on the Way to
the Forum” and looks forward to exploring and
discovering new various extraordinary roles and
characters in his career.
Follow his journey @arnoldstuff
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