Electric Lisa Robns "COMMITTED" EXTENDED!!1

"Why did the boy jump off the bridge?"

"COMMITTED?" HAS BEEN EXTENDED FOR TWO PERFORMANCES:

FRIDAY NOVEMBER 8, 2024 

AT 8PM 

SATURDAY NOVEMBER 9, 2024 AT 2PM

MATRIX THEATRE

See below for address and ticket information.  This is a special show.

In a touching  tribute to her 'baby brother' Robbie, actor/playwright Lisa Robins is, at once electric and grounded in what may be the culmination of thirty years searching for a way to honor and celebrate her own life and explore the question:

"Why did the boy jump off the bridge?"

 

Lisa Robins / Robbie's Sister Photo Todd Felderstein.

Ms Robins, in  really shiny black  tights, low heeled dance pumps and black velvet  jacket, not only explores the story of brother Robbie's pain and demise, but shares insights into her own life on the stage...

And!! her life as the daughter of a Jew..ish family. The joy and turmoil of the ups and downs of  her dance instructor mom and Uncle Daddy and being a natural from the age of three.

I took myself to Carney's on the Sunset Strip  and started this review by saying,"Lisa Robins is a sylph!" Lithe and animated and limber and present and totally committed (there's the title for ya) to creating a ritual that celebrates the long struggle that Robbie had with emotional issues,that, in the end, took his life.

The angst of over thirty years of questions, "What should I have done?" and guilt ..a staple of Jewish folks, so it seems, are wrapped up in how Lisa is still coming to grips with being a "survivor" of suicide. 

Every memoir must be, by definition, a little self indulgent. This, not in  the pejorative sense, but as a matrix for how each of us gets to where we are today.. Saturday.. at an early matinee. And, now?? Ms Robins must trek to the Beverly Hills Playhouse to do a one eighty as the Housekeeper in Lucas Hnath's  "A Doll's House, Part 2." 

The beats of Ms Robins' well  honed story keep steady on... smoothly on the Matrix's wide stage, supplemented by images projected on the old brick wall.  This interesting choice made me want to  suggest that as the play begins and Lisa places a 'tree' with. I think, the names of others whose lives have been touched by suicide, that had a large sheet been unfurled against the back wall, that the projections may have been more successful.  On the other hand, in defense of this choice,the images were dreamlike and vague.   Robbie was a stud as also is  scholar-brother Rick..as Robins herself is a radiant  story teller with Fosse moves and a husky theatrical voice that is undeniable.

Committed? is a short run. Please see it for emotional insights and the ever haunting question, I highly recommend "Committed?" at the Matrix..

"Why did the boy jump off the bridge?"   Of course, sadly.. 

"to get to the other side..."

Committed?

Written and performed by Lisa Robins

Director: Mitch Levine

Produced by Elina de Santos

Dramaturg: Justin Tanner

A Rogue Machine Production

Recommended for ages 14+

 

WHERE: Rogue Machine at the Matrix Theatre

7657 Melrose Ave, Los Angeles, CA 90046

(Street parking)

 

WHEN: 7pm Sun. Oct. 27; 8pm Fri. Nov. 1; 3pm Sun. Nov. 3

Closing: November 3, 2024

 

TALKBACKS FOLLOWING EACH PERFORMANCE:

 

10/26, Saturday at 2pm: Guest will be Arlene Sarner - wrote Peggy Sue Got Married. Lost her son to suicide.

 

10/27, Sunday at 7pm: Guest will be Rabbi Naomi Levy -from Nashuva. Wrote To Begin Again. Lost her father to murder.

 

11/1, Friday at 8: All Saints Day related program (the day when the veil between the living and dead is the most fragile).        1

 

11/3, Sunday at 3pm: TBA

 

HOW: For reservations call 855-585-5185 or https://www.roguemachinetheatre.org/committed

 

HOW MUCH: Tickets are $45 (Students $25 / Seniors $35)

2pm Sat. Oct. 26 (Show4Less: $15+)

 

 

 

 

THEIMPORTANCE OF BEING ERNETS. ANTAEUS .. GLENDALE

 To wit.

To Oscar Wilde, wit with sharp and biting commentary is rampant in the Antaeus production of "The Importance of Being Earnest".  It's the writing. It's the breadth and depth of social commentary and the wonderfulness of Wilde's extraordinary style: at once possibly tongue in cheek and cheeky and deeply probing the times: Victorian England.

Miss Fairfax (Jules Willcox) nails it, "In matters of grave importance, style, not sincerity is the vital thing.." Wow.

The sweeping style of all of the elements of this production seem complete.   A beauty of a set. Extraordinary attention to set pieces and props, costumes and perfect lighting draw it all together.

The horses have not been spared as we enter the Antaeus on Broadway space with an elegant set depicting Victorian London (aka "town"). It is the posh home of Algernon Moncrieff (Jay Lee) .  Stealing the show in Act I is Michael Yapujian as the butler. Lane in Act II) Why?  Because Lane knows everything and serves with such panache that even with the ranting of the argument by the principals of the show, his understated moments serve as a foundation that I think Mr. Wilde probably intended.  He doubles in Act II as Merriman with a loose limbed panache suitable for the country home of Jack/Ernest (Alex Barlas). It's a professional production, no question and the actors who portray Algernon and his pal, Ernest (Jack.. Okay?) and the girls:  Gwendolyn and Cecily (Alessandra Mañón) are top notch..with some seasoning and rounding third base Miss Prism (Julia Fletcher) and the local parson (Bo Foxworth). Anne Gee Byrd as Aunt Augusta knocks  the stuffing out of Lady Bracknell. The costumes are gorgeous..the lights are gorgeous The play is an old shaggy dog story of sorts with dozens of Wildean quips that elicit chuckles and sometimes a bigger laugh. Read the play. See it again  and again.   

What Director  Gigi Bermingham, has accomplished does the show proud with some terrific physical business  incorporating all the broad indicating that it seems the Victorians loved. Presentational ..more or less and obviously, the actors are having a wonderful time.  It's a classic.. Like hearing a favorite song a little rearranged but still the words and the music and the jokes and the characters bring back the fun  of love, mores and manners at a breakneck no nonsense pace that will leave you behind if you aren't on top of things.   Pay attention!! It's a very good time. Skeptical I was about 'diversity casting'.  See for yourself that it works.

(Critical note..try as I might to get photos of this show,it's on me for not figuringout how to do it from the in house PR at Antaeus.)

 Ensemble Cast:

Alex Barlas as Jack / Ernest, 

Anne Gee Byrd* as Lady Bracknell

Julia Fletcher* as Miss Prism

Bo Foxworth* as, The Revered
Jay Lee as Algernon

Alessandra Mañón* as Cecily

Jules Willcox*  as Gwendolyn

Michael Yapujian* as Lane in Act I and  Merriman in Act II

THE IMPORTANCE OF BEING ERNEST 

by Oscar Wilde

Antaeus Theatre Company

Kiki & David Gindler Performing Arts Center

110 East Broadway

Glendale, CA 91205

 

I, DANIEL BLAKE at The Fountain

 What  do you get when you take a 2016 British Film,  create a play from the same script  with British characters,  mount it on the stage with a fine ensemble cast?  That would be the theatre version of "I, Daniel Blake" with the United States Premiere production at the Fountain Theatre in Hollywood.

Makara Gamble, JD Cullum, Philicia Saunders
Photo by Cooper Bates

A widower, Dan Blake (JD Cullum), lives in New Castle Upon Tyre, north of London, where the accents are a little wonky, the skies are not so blue and cheering up is .. at best..a marginal proposition.What Cullum does with his character is a primer in stage acting. The accents for all the ensemble are close enough and, thankfully, understandable. Cullum underplays the escalating frustration of Daniel Blake successfully bringing him to life. Cullum seems a little young for a 'old guy' with a heart condition, but it works.

Dan has had a heart attack. He is trying like anything to follow  his doctor's orders to take it easy until he is physically fit to return to work.  He's a carpenter.. But. the 'system' has protocols  and rules that are 'decided' by a 'decision maker'  who never appears,. The Decision Maker's minions do their best to explain to Dan that "All He Has To Do" is go on line and follow some simple instructions to move the process of assistance along. If only he had a computer! Dan is quizzed by an unseen cog in the failing British bureaucracy (Janet Greaves)  as to his ability to press the numbers on a telephone  or lift his arm so as to place a hat on his head, never addressing Dan's  basic issue:  

Daniel Blake's Heart.

Enter  Katie (excellent Philicia Saunders) and her kid ..wise and adorable Daisy (Really excellent Makara Gamble) who have arrived from London to be settled in a crappy flat .. first day. No heat.. no help from the bureaucrats.  Katie and Daisy are  as up against it as any mum and  daughter have ever been up against it. Sadly, Katie and Daisy's woes are exacerbated  for arriving a few minutes late for an appointment to get some assistance. Dan tries to help. Adam Segaller (playing several guys in the ensemble),first shines as the security guard who virtually tosses Katie and Daisy and Dan into the street.

Here in hangs the tale.

The play is beautifully staged by Simon Levy, with a dedicated ensemble cast who mesh like the gears of a wind up clock. 

A spark plug for the show is Wesley Guimarães as Dan's neighbor, China.. a high energy chap who longs for success and may just find it with a partner in China.. who provides  a deal on ''trainers" / athletic shoes.  

The show runs sans intermission and is, naturally, very cinematic in tone. This is because, as noted, "I,Daniel Blake" was  first a film with the streets of New Castle adding a burden to the sad condition that shows lots of  folks who need help what with standing on queue for a hand out that may be a daily thing.

The clockwork timing features damning 'tweets?' projected on the various video screens that are also  used to delineate locations. it works nicely.  Lights by Alison Brummer and well placed sounds  by Cricket Myers keep the reality of the argument  alive.  It's about doing the right thing in the face of bureaucratic  roadblocks, not unlike some of the bumps in the road for US folks who need a leg up.   Choose the center section of the house for the best enjoyment of the show.

 CAST:

Daniel Blake : JD Cullum*
Daisy : Makara Gamble*
Sheila /Ensemble : Janet Greaves*
China : Wesley Guimarães*
Katie : Philicia Saunders
Floor Manager / Ensemble: AdamSegaller*

CREW:

Movement. & Intimacy Direction
Allison Bibicoff
Asst. Stage Mgmt.
Gina DeLuca
Prod. Stage Mgmt.
Anna Kupershmidt
Costume Design
Michael Mullen
Lighting Design
Alison Brummer
Asst. Dialect Coach
Victoria Hanlin
Prop Design
Jenine MacDonald
Sound Design
Cricket Myers
Technical Direction
Scott Tuomey

Publicity

Lucy Pollak

 

"I, Daniel Blake"

adapted by Dave Johns  from the film version "I, Daniel Blake"  directed by Ken Loach, written by Paul Laverty. 

Staged by Simon Levy for The Fountain

The Fountain Theatre
5060 Fountain Ave.
Los Angeles CA 90029
(Fountain at Normandie 

Performances: Oct. 13 – Nov. 24
• Wednesday at 8 p.m.: Oct. 9 (preview) ONLY
• Thursday at 8 p.m.: Oct. 10 (preview) ONLY
• Fridays at 8 p.m.: Oct. 11 (preview), Oct. 18, Oct. 25; Nov. 1, Nov. 15, Nov. 22 (dark Nov. 8)
• Saturdays at 8 p.m.: Oct. 12 (preview), Oct. 19, Oct. 26; Nov. 2, Nov. 16, Nov. 23 (dark Nov. 9)
• Sundays at 2 p.m.: Oct. 20, Oct. 27; Nov. 3, Nov. 17, Nov. 24 (no 2 p.m. show on Oct. 13, dark Nov. 10)
• Sunday at 7 p.m.: Oct. 13 (opening night) ONLY
• Mondays at 8 p.m.: Oct. 21, Oct. 28; Nov. 4, Nov. 18 (dark Oct. 14 and Nov. 11)) 

TICKET PRICES:
$25 – $45:
• Premium Seating: $45
• Regular Seating: $40
• Seniors 65 or older: $35 (regular seating only)
• Students: $25 (valid ID required)
• Monday nights: Regular seating ($40) and Pay–What–You–Want (subject to availability)
www.FountainTheatre.com
(323) 663-1525