H*TLER'S TASTERS AT ROGUE MACHINE

Trigger Warning..

Should  you provide the 'i' for "*"??   This slightly silly ditty with grave undertones is, at once a romp..  and the story of "what if."

Developed at the beloved Pacific Residence Theatre, HT  rolls merrily along in present tense and at once with grave historical times, as well. 

An odd dichotomy.

It's a  time of innocence in the time of these Deutscher Madel in the Third Reich fueled by the  somewhat annoying anachronistic conceit of bubbling teeny boppers snapping duck lips selfies.

           Ali Axelrad, Olivia Gill, Paige  Simunovich photo by Jeff Lorch

Michelle Kholos Brooks's play moves quickly.

The rare occasion to use the term "flibberty gibbet" twice in the same twentyfour hour time period is rare.  Ach du Lieber!! (See yesterday's review of NORA)  The flibberty gibbets in this play have been selected to serve their country by having what 'he'' is' having. The 'tasters' are making sure der Furhur isn't being poisoned! 

The playwright has created strong specific characters. Each woman brings an attitude that moves the argument along.  A good start.

Selfies and blazing light effects become what is basically a sort of slumber party with bone china and gold cups and dialogue that ebbs and flows, but very little substance is on the menu.

The tiny upstairs Henry Murray Stage  at The Matrix Theatre shoe horns in about 35 attendees, barely  enough room for the cast.   The discomfort of the odd 5PM curtain dissolve as the lights black out!!  Now, we do our best to fathom the bizarre notion that der Furher  actually employed women in this capacity. 

Anna (Ali Axelrad)  is the sensitive one. Hilda (Olivia Gill) is the bossy blonde and Liesel (Paige Simunovich) with her long braids is he peacemaker. They are later joined by Margot (Caitlin Zambito)  and her intriguing red coat.

Interestingly, the simply choreographed activity of these young women; la la la dancing.. their stylized consumption  of Hitler's veggie diet...   all comes around to 'why?'  Why they consumed entire meals seems odd.   

Director Sarah Norris, is up against a tiny space for the bouncing activity with front row audience practically .. well pretty much ON the stage with the action.. yes  there is action.. inches away. She presents the show mostly projected forward  in the essentially,  thrust situation. Site lines are sometimes a challenge.

Why?

I keep asking myself this question. The actresses are all just fine.  Really.. But Why? 

In virtually  every episode of The Twilight Zone, there's always a twist that leaves the audience informed or nodding.  H*tler's Tasters provides .. more or less.. that moment. But, again, why?  It's a challenging exercise as the girls banter and time their possible Heavenly exit.  The looming presence of the next meal . .looms.  The boredom of just waiting and flipping back to selfies to share their boredom?  I wish their phones had flashed and we'd somehow see the faces of the girls chosen to serve der Faderland. Projections of the pretty Aryan (mostly) women?

Why?  

"Because!" That's why.  

Because it's an exercise that may draw parallels between the blind devotion of people in 2024 enthralled with a 'hero' who poses like a dictator to their delight?  Or, is it a look back with the caveat that blind devotion may lead down some primrose path to oblivion?  This is a challenging piece of theatre.  The actresses are all in .. all in the same play at the same time.. all believable to the extent that they are devoted to their roles: these hapless characters.  It's an exercise. 

I noted the man next to me taking copious notes. Presuming he's writing a review as I am now, I hope to read it to see what I may have missed.

The bottom line is .. for me.. to be as helpful and useful as I can to small theatre in Los Angeles. I love Rogue Machine and their devotion to trying stuff.  An interesting touch is the preshow "check" by a crisp SS soldier (not credited)  in his little office as we file past to mount the stairs to the neon cell where we are, like the cast, trapped for the duration.. that little office is perfect.  The SS guard has a clip board. We all just ignordd him as we filed past.  Had his authority been exercised: imposed!!  that might have put us all on notice that we were being watched and counted.

The Cast: 

Ali Axelrad (Anna)

Olivia Gill (Hilda)

Paige Simunovich (Liesel)

Caitlin Zambito (Margot)

 

 oH*tler's Tasters

Written by Michelle Kholos Brooks

Directed by Sarah Norris

Produced by Guillermo Cienfuegos and Lexi Sloan

A Rogue Machine Production

  

CREW:

Joe McClean and Dane Bowman (Scenic & Lighting Design)

An-lin Dauber (New Light Scenic Design)

Christina Tag (New Light Lighting Design)

Carsen Joenk (New Light Sound Design)

Ashleigh Poteat (Costume Design)

Christine Cover Ferro (Costume Coordinator)

Chris Moscatiello (Sound Consultant)

Carsen Joenk (Sound Design)

Ashlee Wasmund (Original Choreographer)

Emmy Frevele (Choreography for Rogue Machine)

 **

Victoria Hoffman (Casting Director)

Rachel Ann Manheimer (Production Manager)

Public Relations  Judith Borne 

 

 Opening at 5pm on Saturday, April 27, 2024

8pm Fridays, Mondays; 5pm Saturdays; 7pm Sundays through June 3, 2024

(no performances on Monday, April 29, May 13)

Recommended for ages 14+

Upstairs on the Henry Murray Stage

Rogue Machine (in the Matrix Theatre)

7657 Melrose Ave, Los Angeles, CA 90462

Tickest and information 

855.585.5185 

Face masks are optional but encouraged.

NORA. IBSEN REDUX AT ANTAEUS

 

Peter James Smith
 Jocelyn Towne

                         (Photo Credit: Jenny Graham)

Ibsen to Bergaman through The Markers to Watson at Antaeus in Glendale is in living color though most memories of Bergman recall shades of gray.   Diversity casting in   Ibsen's chilly Norwegian Christmastide via the Swedish master of cinema provides an opportunity for Classic Theatre out of the starting gate at a very brisk pace. We still get the gist of the sttory and the 'feeling' that must have been shocking in 1889.

Forty odd years ago, Frederick J. Marker and Lise-Lone Marker took on the task to condense Igmar Bergman's version  of Ibsen's classic drama for the stage.  I wonder what The Markers would think of this 21st Century's take on the play today? Or Mr. Bergman? My best guess is that Ibsen would approve.

On Tesshi Nakagawa's exquisite yet oddly open set, I got a slightly Brechtian feeling, seeing characters transitioning from one scene to another. The actors' extremely high energy had every character full throttle, which must be Watson's intention.  Nuance takes a back seat to getting the energy of the play moving. 

As Nora, lovely Jocelyn Town, exhibits the carefree money orientd flibberty gibbet with nary a care until a villain, Krogstad, (Michael Kirby) arrives with a double whammy.

In his program notes, director  Watson, discusses the business of how Ibsen created characters that seemed to be drawn from real life:  human beings (as Nora declares herself to be) with whom the audience may share feelings.  Indeed, as each character arrives, there are hearts on sleeves and clearly drawn lines of demarcation as Nora's story of independence  unfolds.

The issue of reputation and moral fortitude factors in with Nora standing her ground regarding the business deal she has engineered to save her husbands's life.  Prodded by her old friend Christine (Mildred Marie Langford) Nora is urged to  step up and to be honest with her husband, Torvald (Brian Tichnell).  Later, we find out Christine has a former connection with Mr. Krogstad, who holds the key to freedom for Nora. 

Dr. Rank,  Peter James Smith, fawns at Nora's feet, his feelings adjunct to his physical "bankruptcy": another opportunity for strong empathy as he shares with Nora his undying devotion.

Either by  Bergman or the Marker's, the inevitable showdown between Nora and Torvald has been changed dramatically from the original text,   Recalling Watson's gratuitous 'full monty' in the Antaeus production of Cat on a Hot Tin Roof, we may be led to believe that the couple, after the costume party, may have spent the night together? Torvald's stripping seems unnecessary, though it does create tension and emphasizes the vulnerability he has never experienced.  Perhaps,  being naked may be symbolic, adding  to the moment where Nora declares for herself and makes her dramatic exit.

Every performance features  extraordinary delivery at a high octane  pace. Watson's fluidly choreographed stage pictures add beautifully to the theatricality of the piece.  

Jeff Gardner's  impressive lighting design  and beautiful 19th Century costumes by Jared A. Sayeg are outstanding. Aaron Lyons's sound design recalls impressive rumblings, literally shaking the theater.

CAST: 
NILS KROGSTAD: Michael Kirby*
MRS. LINDE: Mildred Marie Langford*
DOCTOR RANK: Peter James Smith
TORVALD HELMER: Brian Tichnell
NORA: Jocelyn Towne*

 

Production Team

Cameron Watson

Director

Tesshi Nakagawa

Scenic Designer

Terri A. Lewis

Costume Designer

Jared A. Sayeg

Lighting Designer

Jeff Gardner

Sound Designer

Aaron Lyons

Props Designer

Carly DW Bones

Intimacy Director

Jean Michelle Sayeg

Choreographer

Ellen Mandel

Composer

Talya Camras

Production Stage Manager

Max Tel

Assistant Director

Casey Collaso

Assistant Stage Manager

 

Courtney  Agustin

Executive Assistant 

 

NORA: 

via Inmar Bergman from Henrik Ibsen

Translated and Adapted

 by Frederick J. Marker and Lise-Lone Marker

Directed by Cameron Watson

Antaeus Theatre Compay

Kiki & David Gindler Performing Arts Center, 

110 East Broadway

Glendale,
CA 91205

August Wilson's King Hedley II at A Noise Within

August Wilson, one of, if not the most importat voices for African Americans in world theatre wrote "King Hedley II"  over twenty years ago as part nine of his  Pittsburgh Cycle.   Sadly, the message seems as current as it may have sounded in 2001.  Ironically, the name of a 'rich man' "Mellon" comes up just as another rich Mellon currently is stirring the political pot today.

As King Hedley II, Aaron Jennings shares the frustration of bunping up against bureaucracy , even at Sears where he has a receipt for photographs that Sears can't or won't find.  Seven years in the clink have soured him as he struggles to win back his pregnant wife, Tonya (Kacie Rogers), who has issues of her own.

The broad scope of this play with stirrig performances  features AAVE (African American Vernacular English) or Ebonics, which for me is slightly problematic.  The language of the times and the language that is specific to Wilson's characters is musical in its rhythms and specific energy .

Christian Henley, Gerald C. Rivers,
Ben Cain, Aaron Jennings
Photo by Craig Schwartz 

 

Th

 The depth of Wilson's storyteling reaches into the heart of how a strong spitit  and loss of self.... to a degree...  builds to desperate acts for a man who wants to do the right thing, but is frustrated by the marginal opportunities afforded to a thrity something ex-con.  A feeling of Steinbeck permeates the individuals who populate King's existence  as he struggles to sort out a life. His heritage has left him with Ruby (Veralyn Jones) whom he resents. Parallel stories with slick as slick can be Elmore (Ben Cain) wooing Ruby relentlessly and a questionable 'side hustle' that King has with his crafty pal, Mister (Christian Henley) are dashed off.  . 

Most impressive as a sort of Greek chorus, the soothsayer, Stool Pigeo (Gerald C. Rivers) opens the show dramatically: punctuating his introduction with magnificent drumming... Later on, his juju includes tearful mourning as he buries a black cat with the belief that his ritual. when sealed by blood, will resurrect the animal.

Gregg T. Daniel's direction on the impressive ANW thrust stage is filled with movement that ebbs and flows  with stage pictures that engross the audience.  At times the energy is electric.

Efren Delgadillo Jr's magnificent set allows for broad  gestures and intimate moments with over amped.. in a good way,  lighting design by Brandon Baruch setting mood.

I am late to the party, but hope that folks who are still waiting to see this play will find a time and go.

CAST:

Aaron Jennings: King.  

Veralyn Jones: Ruby

 Kacie Rogers: Tonya; 

 Christian Henley: Mister. 

 Ben Cain: Elmore

 Gerald C. Rivers:  Stool Pigeon.

The creative team includes scenic designer Efren Delgadillo Jr; lighting designer Brandon Baruch; sound designer Jeff Gardner; costume designer Mylette Nora; wig and makeup designer Shelia Dorn; properties designer Stephen Taylor; and dramaturg Dr. Miranda Johnson–Haddad. The production stage manager is Taylor Anne Cullen, with Arielle Hightower

 

Written by August Wilson
• Directed by Gregg T. Daniel
• Starring Ben Cain, Christian Henley, Aaron Jennings, Veralyn Jones, Gerald C. Rivers, Kacie Rogers
• Presented by A Noise Within, Geoff Elliot and Julia Rodriguez-Elliott, producing artistic directors
 
WHEN:
Previews March 31 – April 5
Performances April 6 – April 28
• Wednesday at 7:30 p.m.: April 3 ONLY (Preview)
• Thursdays at 7:30 p.m.: April 4 (Preview); April 11*; April 25 (dark April 18)
• Fridays at 8 p.m.: April 5 (Preview); April 12^**; April 19^**; April 26^**
• Saturdays at 2 p.m.: April 13; April 20, April 27 (no matinee on April 6)
• Saturdays at 8 p.m.: April 6 (Opening Night); April 13; April 20 (no 8 p.m. performance on April 27)
• Sundays at 2 p.m.: March 31 (Preview); April 7***; April 14^**; April 21, April 28
*The performance on Thursday, April 11 is “Black Out Night,” an opportunity for an audience self-identifying as Black to experience the performance together; tickets include a post-show reception; non-Black-identifying patrons are welcome to attend, or to select a different performance. 
**Post-performance conversations with the artists take place every Friday (except the preview) and on Sunday, April 14.
***A one-hour INsiders Discussion Group will take place on Sunday, April 7 at 12:30 p.m., prior to the matinee performance (separate admission: $25).

In addition to the above dates, four student matinees will take place on weekday mornings (April 10, April 17, April 18 and April 24) 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 $29
• Student tickets start at $18
• Wednesday, April 3 and Thursday, April 4 (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:
www.anoisewithin.org
(626) 356-3100

 

Stalin's Master Class at the Odyssey

David Powell's  "Stalin's Master Class"

features Josepf Stalin: dictator,  Zhdanov, Stalin's lap dog and two well known Russian composers. As I am a guy who has had limited exposure to concert music.. the symphony.. It's only fair to share an eye opener..  This Shostakovich symphony is simply amazing.  The link did not highlight, so,, please copy and paste for insights as to why Stalin might have been threatened by this music.

For early readers of this review.. Apologies for the clunky connection to the Shostakovich. Lucky Pollak, the best PR person on the planet always helps with typos and such. Lucy sent this link that actually works.  This orchastra is amazing. 

https://tinyurl.com/7z3c7s6z

This is Shostakovich with a multitude of amazing kids.. Kids!! Randy Lowell as the composer presents a mousy antithesis to what I hear in this music.

One appreciation I've had regarding this kind of music is from a former friend who actually  writes this stuff. When I asked if she could "hear"  every instrument that she created parts for, she responded casually, "Of Course.." as if anyone could do it.  How this factors into Stalin and the guys in this play?  I am not sure.. but if that sassy Doctor of Music says she can hear all of the instruments., then Shostakovich certainly must have .. it's pretty amazing.. And, this may be a threat to the old Georgia boy, Josef Stalin.

Prokofiev (Jan Munroe) is also under the gun from Comrade Stalin.    Prokofiev has missed an important state conference of musicians tasked to figure out the direction the State will dictate as to how composers will create in the new world of Stalin and Communism.  

Peter and the Wolf is Prokokiev's most familiar to me. this in marked contrast to that   of  Shostakovich. Thanks again to Lucy for this simple link. 
https://tinyurl.com/4nd4kf7t

Is the music of these world reknowned composers problematic to the "democracy" that Stalin (Ilia Volok) and his multitasked secretary of the Communist Party, Andrei Zhdanov (John Kayton)? Their intimidation strives to suss out with vodka and interrogation just what these intellectuals are up to.  The argument that all art takes time to be recognized..or not is pretty much ignored.

One thing to be said for Director Ron Sossi and The Odyssey is that light weight selections may be on the docket now and then, but this plunge into the politics of Post WWII Russia and those awakward times, may be reflected in what's going on in our world today. It is timely.

From the youtube selections that I grabbed just at random, I imagine that sitting in the Disney Hall or other important symphonic venue, to have the full orchestra with professioal musicians virtually in rapture, expertly knocking out this amazing music  might just be transformative. And! inspirational..and a threat to anyone who seeks to retain power.

Ilia Volok, Jan Munroe,
John Kayton and Randy Lowell
Photo by Jenny Graham

 

The transformations that interest Stalin with Zhdanov, in tow..  include wanting to turn back to the simple folk tunes of Stalin's Georgia childhood. He drunkenly recalls sitting under his father at his cobbler bench, tapping out a rhythm.

Factor in lots and lots of vodka and a terifying purge.. (Props to the props designer Jenine MacDonald, for this show) and the message is clear. The scary part is that there will always be "leaders" who may  have only their own greedy interests: Power and More Power.. at heart. 

Zhdanov's huge office set by Pete Hickok with a grand grand piano reflect the gloom of post war Russia and when Zhdanov locks the door after the composers have nervously arrived;  poor old Prokokiev with one foot in the grave, the tension builds to a ridiculous and drunken climax.   Dwarfs are never kights!

Cast: 

Prokofiev (Jan Munroe) 

Shostakovich (Randy Lowell )  

Stalin (Ilia Volok) 

 Zhdanov (John Kayton),

Crew:

Scenic Designer Pete Hickok
Lighting Designer Jackson Funke
Costume Designer Mylette Nora
Sound Designer Christopher Moscatiello
Prop Designer Jenine MacDonald*
Musical Director Nisha Sue Arunasalam
Pianists Nisha Sue Arunasalam, 

Michael Redfield
Pianist Nisha Sue Arunasalam
Stage Manager Jennifer Palumbo*

Public Relations  Lucy Pollak
Graphic Designer Luba Lukova
Produced for the Odyssey by Beth Hogan
 
 Stalin's Master Class

• Written by David Pownall
• Directed by Ron Sossi
• Music Direction by Nisha Sue Arunasalam
• Starring John Kayton, Randy Lowell, Jan Munroe, Ilia Volok
• Produced by Beth Hogan
• Presented by the Odyssey Theatre Ensemble, Ron Sossi Artistic Director, in association with Isabel and Harvey Kibel

WHEN:
Previews: April 10 – April 12
Performances: April 13 – May 26
• Wednesdays at 8 p.m.: April 10 (Preview); April 17* and May 15* ONLY
• Thursday at 8 p.m.: April 11 (Preview) ONLY
• Fridays at 8 p.m. (wine nights): April 12**(Preview)**, April 19**, April 26* **; May 3**, May 10**, May17**, May 24**
• Saturdays at 8 p.m.: April 13 (Opening Night), April 20, April 27; May 4, May 11, May 18, May 25
• Sundays at 2 p.m.: April 14, April 21, April 28; May 5*, May 12, May 19, May 26
*Post-performance discussions on Wednesday, April 17; Friday, April 26; Wednesday, May 15; Sunday, May 5
**Wine Night Fridays: Enjoy complimentary wine and snacks following all Friday night performances.

WHERE:
Odyssey Theatre
2055 S. Sepulveda Blvd.
Los Angeles CA 90025

TICKET PRICES:
• Saturdays and Sundays: $20–$40
• Fridays: Pay-What-You-Can (reservations open online and at the door starting at 5:30 p.m.)
• Previews: $15

HOW:
OdysseyTheatre.com
(310) 477-2055 ext. 2

GRT present "CAN'T LIVE WITHOUT 'EM"

 

 

Lee Redmond's   new play in the small space up the heart attack steps at The Lonny Chapman Group Repertony Theatre is a hike and a laugh possibly worth  exploring. 

The device of a guy in the coma, Tom..or Tommy or Thomas or Mr. Axelrod. has its moments, but not enough to engage for the entire two acts that the story demands.

Staging is awkward, and the actors need to shout practically from the get go makes for a trial by volume. This is an awkward way to say that if  the director had any sense of rhythm or how to find the funny stuff in a situation with the guy in the coma unseen by the rest of the cast commenting on the argument and the situation.. yes.. it's pretty much a situation farce with little subtlety. The best line in the show was an ad lib by Tom, Tommy, Thomas when the stage lights began to flash red and green incessantly for no reason.. A tech guy came out at intermission to explain. Poop happens.

Broad characters with little to offer but shouting.. mostly, made for a long evening even with the early curtain. 

 

The flip side  and it's important!  Don't sit behind a kid with  haystack hair that blots out the entire stage left side of the stage. Sit higher up! 

Keep in mind that tthe Group Rep is a dedicated company with members who  are sincere in their efforts to bring a show to life.  This play really does have life in the text.  I know this, but two dimensional presentation of characters who actually may have three dimensions, except for Coma Guy.. and maybe with the fix on the tech, some kind professional may spend some tiem with the actors, reciting from memory Hamlet's Advice to the Players and hope to goodness, that they may take Hamlet's  advice to heart.

In cases like this..when the text has value but the recitation and the presentation are   thin,  a truly intriguing story with surprises and some fun slips ... it is just a shame.

GRT is a community playhouse.  Lonny Chapman's gift to North Hollywood  is important  and the efforts there are geared, mostly, to the tastes of their current administration and the local audience.  This show deserves an audience in spite of my having a difficult time with it.

The post show curtain speech by Tom, Thomas, Tommy was sincere and kind. He emphasized the importance of us all, audience and players and all..  agreeing to climb the stairs, catch our breath and abandon disbelief for a unique  experience. The sad thing for this performance is that the screwy run away lights and the ad lib were the highlight of the show. 

The text and the premise are valid and with proper handling might be a hit.  Or at least some fun.

Rather than embarrass the cast by naming names, I can say that on one level, every actor was pumped up and rarin' to go. What blew it for me was the volume .. the yelling.. the missed cues, the staging that needs a lot of help. 

 CAN’T LIVE WITHOUT ‘EM

World Premiere Play 

Written by Lee Redmond

 

April 11 – May 12, 2024

Thursdays and Sundays at 7:00pm; Saturdays at 4:00pm

Lonny Chapman Theatre - Upstairs at GRT (Second Floor)

10900 Burbank Blvd., North Hollywood 91601

Thursday, April 11 at 7pm – Opening Night

 

Saturday, April 13 at 4pm

 

Sunday, April 14 at 7pm (Talkback with cast & staff)

 

Thursday, April 18 at 7pm

Saturday, April 20 at 4pm

Sunday, April 21 at 7pm (Talkback with cast & staff)

 

Thursday, April 25 at 7pm (Dr. Payne U/S Danny Salay performs)

Saturday, April 27 at 4pm (Dr. Payne U/S Danny Salay performs)

Sunday, April 28 at 7pm (Dr. Payne U/S Danny Salay performs)

 

Thursday, May 2 at 7pm (Chrissy U/S Holly Seidcheck performs)  

Saturday, May 4 at 4pm (Chrissy U/S Holly Seidcheck performs)  

Sunday, May 5 at 7pm (Chrissy U/S Holly Seidcheck performs) 

 

Thursday, May 9 at 7pm

Saturday, May 11 at 4pm

Sunday, May 12 at 7pm (Mother’s Day) – Show Closes

 

 

. 

Monsters of the American Cinema at RMT at The Matrix

As the World Turns.. The pendulum swings and art reflects the lives we have come to.. 

so far.

Factor in the rise of fascism  with angry rednecks poised to overthrow the United States Government; the social media and meme mentality dictating fake or unfortunate aphorisms and the reflection is a bit grim..  That said, obviously our 21st Century culture is changing. Are we in for.. (Bette Davis's voice?) "A Bumpy Night".. 

 

Standees as large as life of classic movie monsters greet the audience as we enter the Matrix.  Opening night for "Monsters of the American Cinema."

We now meet the cultuere where the term 'his husband..' is a thing.  And, in this case.. the African American  widower  becomes the father of his husband's sixteen year old straight white son. 

Playwright Christian St. Croix, sets the scene in Santee, California..  down San Diego way. The population is mostly white.. with 'red' a shade of politics. One story of extreme bias in the neighborhood seems passed over, but the issue of white folks and black folks still has an undertone in the plot.

This two hander has a lot to say for itself and the actors a lot to say, as well.  The idea of a gay black man in his thirties raising a sixteen year old caucasian son brings up issues. Drugs? Yes.. Brian, the now deceased father, had a problem that killed  him.. Monsters, the theme of the play, factor in because the kid has been scared to death of monsters, but the love of monster movies more or less mitigates the issue..as it evolves with Pup (Logan Leonardo Arditty) and Remy  (Kevin Daniels)  bantering with movie title challenges. Movie quotes for afficianados may sound familiar.

Opening night adrenaline  is pumped up as co- artistic director Guillermo Fuentes's curtain speech, relates the history of The Matrix Theatre and energizes the audience for what's to come.

RMT Director John Perrin Flynn is an innovative artist and his staging of this piece is testament to this.  Because the stage and house at The Matrix are both very, very wide  scenic designer Stephanie Kerley Schwartz has placed the outdoor deck far off stage left and Pup's bedroom extreme right, which, because of, I imagine, the playwright's intention to spend a lot of time on direct to the audience exposition with lengthy individual monologues from both Remy and Pup. Flynn has set them physically at extreme opposite sides of the 'motor home' set.  Remy runs the Good Time Drive In Theater. He and  Pup  live in the trailer behind the big screen. Mostly exeellent video projections by Michelle Hanzelova-Bierbauer,  punctuate the story with clips from classic monster movies. My proplem here is that the audience is watching a tennis match to see the clips as well as dealing with the split focuse as each of our heroes. 

I had a hard time with the largest projection on the center of the set that made me swivel right and left to compare the somewhat garbled center projections with the crystal clear images on streens Right and Left. 

I mention opening night adrenaline because for most of this full length play, each actor seemed to be ramped up to full speed from the get go.  Moments that might have called for more deliberate recitation rolled apace until we find ourselves toward the climax of the production, when the intentions of both characters and each personally resolve their  issues in an a beautiully staged way..

Moments of surprise that have Pup explode and  Remy deilng with it find a pace that shows off th excellent physicality for the wirey kid and the adopted father who literally has the girth to block out the sun.  

Excellent tech:  sound by Chris Moscatiello and lights by Ric Zimmerman make this a completely professional presentation.  Another important addition to our local theatre scene.

Creative Team: 

Stephanie Kerley Schwartz (Scenic Design), Ric Zimmerman (Lighting Design), Chris Moscatiello (Sound Design), Christine Cover Ferro (Costume Design), Michelle Hanzelova-Bierbauer (Projection Design), Keith Stevenson (Videographer), Athena Saxton (Properties Coordinator/ASM), Ryan Wilson (Technical Director), Victoria Hoffman (Casting Director), Rachel Manheimer (Production Stage Manager).

Monsters of the American Cinema

Written by Christian St. Croix

Directed by John Perrin Flynn

Produced by Lexi Sloan

A Rogue Machine Production

DESCRIPTION: When his husband dies, Remy Washington, a Black man, finds himself to be the owner of a drive-in movie theater and a caregiver to his late husband’s straight, white teenage son, Pup. United by their love of classic American monster movies, the two have developed a warm and caring familial chemistry – but their relationship fractures when Remy discovers that Pup and his friends have been bullying a gay teen at his school. Told through dueting monologue and playful dialogue, this haunting and humorous tale is about fathers and sons, ghosts and monsters, discovery and resilience while being transported to worlds beyond through the American cinema.

ROGUE MACHINE (in the Matrix Theatre)

7657 Melrose Ave, Los Angeles, CA 90046

(Street parking)

Opening: 

8pm on Saturday, April 6, 2024

8pm Fridays, Saturdays, Mondays, 

3pm Sundays through March 4, 2024

(no performances on April 8 and May 13)

Closing: May 19, 2024

For reservations 

 855-585-5185 or https://www.roguemachinetheatre.org/

Previews $25

General Seating: $45

Seniors: $35

Students with ID and children under 18: $25

Show4less: Apr 12 (10+), April 19 ($15+), April 26, May 3 & 10 ($20+).

Mc Donagh at the Broadwater The Pillowman

If the name Martin McDonagh is unfamiliar to you, perhaps "In Bruge" or "The Banshees of Insherin" may ring a bell. McDonagh's "The Pillowman" (2003) pulls no punches. As you may recall from the two aforementioned movies viloence is a driving factor. There's a dark sort of glee in the way McDonagh manipulates his characters in all of his efforts and this play is no excepetion..  Ouch. 

It's over two and a half hours long.  Ouch.

Ektelo Theatre Group lands at The Broadwater with a very ambitious idea.. Daniel T. McCann''s set is bare bones stark with black "jaws?" featuring jagged edges that foreshadow what's to come. As the audinece enters the  ominous scene reveals Katurian a blind folded.  Steven R. O'Brien as Katurian is seated. He is listening.  He is bewildered.

One has to applaud this band of thespians on a couple of fronts. First, Martin McDonagh doesn't pull punches and though we are never sure where this scene is set, to be sure politics is involved.  And, the cops invetigating unsolved murders of children is not taken lightly.  "Bad Cop" Ariel (Paul Ian Stanley) is ready to obliterate the detainee, Good Cop Tupolski,  (Donald.T. McCann) runs the show with heft. I like to see actors over thirty. The physical action is convincing.  

Kimberly Demarse  Steven R. O'Brian

Katuian is a writer.  His elder sister, Michal (Kimberly Demarse), is a special needs adult who, with the death of their parents, is now lthe ward of her younger brother. Katurian's stories have been inspired by the depraved treatment that Michal has received from their parents all through both Katurian's childhood.  In original productions of The Pillowman, the character of Michal was played by men.  I was skeptical that a woman in the role would work. It works.  Acoustics in the large Broadwater space made some of the high energy dialogue get lost, at least to me.  

High energy prevails.

Exposition, even with the high energy of all four of the actors, is talky and lengthy.  The strength of McDonagh's words are still the engine that drives this story. 

Brian Allman's  direction keeps everything moving. High opening night energy may find a pace as the show matures.

For fans of Martin McDonagh, there may be oblique references from The Pillowman (2003) found in his 2022 film, The Banshees of Inisherin.  Chilling! 

The Pillowman is a very long play.  Arrive early.

Parking may be a challenge if you don't.. 

THE PILLOWMAN is a fictional play that deals with adult themes of a sensitive nature. Recommended age 16+.

 

CREATIVE TEAM

Playwright – Martin McDonagh

Director – Brian Allman

Producer – Ektelo Theatre Group

Publicity - Sandra Kuker PR (Sandra Kuker-Franco)

Set Design – Daniel T. McCann

Lighting Designer – Andy Nevarez

 

CAST

Steven R. O’Brien – Katurian

Daniel T. McCann – Tupolski

Paul Ian Stanley – Ariel

Kimberly Demarse – Michal

 

VENUE / PERFORMANCE SCHEDULE

The Broadwater Main Stage - 1076 Lillian Way, Los Angeles, CA. 90038

Thursday, April 4 & 11, Friday, April 5 & 12, Saturday, April 6 & 13 at 8pm

Sunday, April 7 & 14 at 3pm

Tickets:  $35. Running Time: 145 minutes. 

Link to tickets:   

 www.onstage411.com/ pillowman