BOSTON COURT IN PAS TOSSES A PARTY

 Boston Court Theatre on Mentor in Pasadena, just up the street from The Ice House, is a classy professional space dedicated to challenging theatre..and music.  "A Going Away Party Play" by Keyanna Khatiblou pretends to be a party for Mina (Mehrnaz Mohammadi...  who doubles as her own father's sister). In fact it is a gorgeous ensemble exercise that explodes with theatrical energy and is, at once, a teach-in, a family narrative, some difficult political inquiries and in monologues to the audience, personal insights from each of the five cast members. It rolls along as a well lubricated machine. 

As characters evolve, thanks to director James Fowler, the show comes off without a hitch.. and there are lots of opportunities for hitches.

Stephen Gifford's amazing set engulfs the audience and the stage.  Gavan Wyrick's' lights are spectacular.  

Kate and Ryan as Caroline and Basir

Unaccustomed as I am to gushing, the energy generated by the cast, though the polemic turns a little hyperbolic now and then, is contagious. References to the political and cultural situation in Iran during the time of the Shah are well handled.   Mina's family has History..

The cast doubles as 'themselves' the actors, putting on a show and segues to the story of Mina's  parents meeting.  It's an interesting cultural challenge: the story of an English girl, Caroline, played by cast member Kate  (Kodi Jackman) in love with the charming Iranian guy, Basir, cast member Ryan, played by Nathan Mohebbi.  Basir is Mina's Iranian father.  Caroline is her English mother.  It's not as complicated as it might seem!

As the audience settles the cast assembles immediately  breaking the  fourth wall. The play moves adroitly pretty much abandoning the notion of Mina going anywhere. It's her story that also includes the business of the other characters discussing highly personal issues.

Again, director James Fowler, finds ways to highlight the 'actors' and their personal stuff while guiding them through the backstory narration of how Mina got to be who she is and how she currently deals with the challenges of being a young woman who may be going somewhere. 

Mateo (Giovanny Camarena) and Debbie (Cindy Nguyen) present supporting roles, but deliver heart rending monologues that turn on dealing with modern culture. 

The 'teach-in' aspect of the show reminded me of Heidi Schreck's "What the Constitution Means to Me."  Absorbing a civics lesson  in the middle of the story... though it works.. is a stretch.  Ryan's "Democracy Target" calls for special attention, so listen up! 

Be prepared to learn  a bit about human nature and the world and remember that Mentor Street is a one way, so enter Boston Court from Lake and park in the back! This expereince is worth the effort! 

 Cast:

MINA/ NILOOFAR - Mehrnaz Mohammadi
KATE/ CAROLINE - Kodi Jackman
RYAN/ BASIR - Nathan Mohebbi
MATEO/ SECURITY OFFICER - Giovanny Camarena
DEBBIE/ MAMAN BOZORG - Cindy Nguyen

A Going Away Party Play 

by Keyanna Khatiblou

Boston Court Theatre

.

 Boston Court Pasadena 

70 N Mentor Ave., Pasadena, CA 91106. Parking is
free in the on-site lot. For reservations and information, call (626) 683-6801 or go to
bostoncourtpasadena.org.
-------------


Opening Night Performance: Saturday, September 28 at 8PM
Benefit Fundraiser Performance: Sunday, September 29 at 3PM
Performances:
Friday, October 4, 8PM
Saturday, October 5, 2PM (ASL Interpreted Performance)

Sunday, October 6, 2PM
Monday, October 7, 8PM
Saturday, October 12, 8PM
Sunday, October 13, 2PM
Saturday, October 19, 8PM
Sunday, October 20, 2PM
Monday, October 21, 8PM
Friday, October 25, 8PM
Saturday, October 26, 8PM
Sunday, October 27, 2PM
WHERE:
Boston Court Pasadena
70 N Mentor Ave.
Pasadena, CA 91106
Free parking is available directly behind the building

  

A GOOD GUY BY David Rambo AT THE MATRIX

John Perrin Flynn, artistic director for Rogue Machine Theatre, directs David Rambo's "A Good Guy" at the tiny Henry Murray Stage up the steps (with a new hand rail!!) through "The Office" door at The Matrix Theatre on Melrose in Hollywood.Designer of this pre-show space should be credited  It helps to set the scene for the play.

In a previous production with a slightly similar bent, Rogue Machine took us into the dark lair of Harris and Kleibold in Denver: Columbine: twenty five years ago. RMT often brings us to a political conundrum that may ask more questions that some folks can answer. The title of this play refers to an often repeated aphorism that will come to mind when you see this show. 

And.. see it:  you must. 

Rambo points us to our own conclusions, factoring in biases and even essential political beliefs whether we like it or not.  He discusses his own writing style as the story evolves, leaving some space for personal reflection. The wake of the most recent school shooting ten days ago in Georgia, emphasizes  the importance  of this issue.The issue is undeniable.

Guns.  

Wayne T. Carr, Evangeline Edwards, Suzen Baraka

At rise, we meet Anna Pope (Evangeline Edwards). Anna is the eye of the storm with the fury and flurry of The Second Amendment in the balance. It becomes the task of the audience to explore the issue and come  to grips with it. Ms Edwards vibrantly presents the first scene and sets the pace. It is fast.  It is intense.  The undercurrent of death is palpable. So many  deaths.  

 Diversity casting and double doubling challenges the audience to almost participate as the scenes change while one actor or another announces the Time and Place. Suzen Baraka as Second Detective, Language Arts, Ms. Wizner, District Superintendent, Lawyer  fills the bill with minimal costume changes, most of which we watch as the play progresses.

Wayne T. Carr as Detective, History, Principal Douglas Blatchley, Michael, Instructor  may have the toughest job switching from an interrogating detective to Anna's husband, Michael, returned from extended service in Syria. Motive for this subplot asks questions.

Jan Munroe's tight set serves Flynn's direction well. 

Rambo's   play follows it's own lead taking us from present day to days past to the events that serve as the canvas for A Good Guy's theme.  The evolution of the plot calls for the audience to suspend disbelief in a major way because of the close proximity to the action. Flynn and company meet the challenge. 

 Anna's personal arc leaves us with some questions that bring her situation to... at last...  fmeditating in a pubic park.  The denument introduces us to Logan Leonardo Arditty as The Student.  The St udent's reputation has preceded him. The playwright presents a dramatic twist that allows for Anna to fulfill her calling: to teach.

Flynn's direction for this tiny  space draws us in with deep feeling. I'd quibble with one scene, but won't.  When you go to see this show, please wear your critical thinking cap to ask what you might do if faced with an unimaginable situation. 

Cast and Crew

Directed by John Perrin Flynn

Executive Producer: Jeanne Craig

Produced by Jennifer Sorenson, Guillermo Cienfuegos

A Rogue Machine Production

Cast:

Logan Leonardo Arditty as The Student 

Suzen Baraka as Second Detective, Language Arts, Ms. Wizner, District Superintendent, Lawyer 

Wayne T. Carr as Detective, History, Principal Douglas Blatchley, Michael, Instructor 

Evangeline Edwards as Anna 

Production Team:

Jan Munroe (Scenic Design)

Christine Cover Ferro (Costume Design)

Christopher Moscatiello (Sound Design)

Dan Weingarten (Lighting Design).

Founding Artistic Direct......John Perrin Flynn
Artistic Director............Guillermo Cienfuegos
Co-Artistic Director...................................Elina de Santos
Executive Director......................................Justin Okin
Public Relations....................Judith Borne
General Manager.....................Ramón Valdez
Production Manag....Rachel Ann Manheimer
Social Media..............................Ruth Fowler
Company Manager....................Scott Sheldon
Box Office Manager..................................Marsha Henry
Resident Casting Director......................Victoria Hoffman

 “A Good Guy”

Written by David Rambo

Directed by John Perrin Flynn

Executive Producer: Jeanne Craig

Produced by Jennifer Sorenson, Guillermo Cienfuegos

A Rogue Machine Production

Recommended for ages 14+

WHERE: Rogue Machine (Upstairs on the HenryMurray Stage in the Matrix Theatre)

7657 Melrose Ave, Los Angeles, CA 90046

(Street parking)

 

WHEN: Previews at 8pm September 11, 12

Opening at 5pm on Saturday, September 14

8pm Fridays & Mondays; 5pm Saturdays; 7pm Sundays 

(No Performance on Friday, September 20)

Closing: October 13, 2024

 

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

 

HOW MUCH: Previews $25

Tickets are $45 (Students $25 / Seniors $35)

Show4Less Fridays: Sept 27 ($15+), Oct 4, 11 ($20)

 

 

AT THE ECHO "Clarkston"

 

Twenty something..Jake (Michael Sturgis), is a Bennington graduate having created his own major:  "Post Colonial Gender Studies!" 

Chris (Sean Luc Rogers), about the same age, is from Clarkston, Washington, as in Meriwether Lewis and William Clark who trekked through the uncharted west and camped at this very spot in the early 19th Century. 

Clarkston sits directly to the west of  Lewiston, Idaho. The parking lot of the local Clarkston Costco where much of the action (minimal as it is) takes place. The City of Clarkston's Costco parking lot in reality sits directly adjacent to the Snake River. 

Jake, struggling with a degenerative disease, claims a shirt tail connection to William Clark. 

Chris,  quietly struggles.

The guys, both college graduates.. work at the local Costco. They are gay. They stock shelves at the Carkston Costco.

Factor in Chris's "on again / off again" relationship with his mom, Trisha (Tasha Ames) who must have given birth at the age of ten. Trisha is also a struggling thirty

Michael Sturgis, Tasha Ames, Sean Luc Rogers
Photo by Cooper Bates

something waitress at a local Denny's.  She has had issues with substance abuse. We now approach an uncomfortable triangle that has a little trouble  getting going. Fact is that each actor is deeply dedicated to their character. Each is believable. Director Chris Fields has these folks evenly spaced and believable.  It's the argument of the play?  Does the playwright intend  to leave us with only marginal satisfaction? Is it an anthem to gay men finding each other in an unlikely setting and growing falling in love?   

The bare bones set:  suggested locations are successful in Chris Fields' creative use of The Ever Changing Echo Space. No attempt at realism gives the audience the opportunity to focus on the story. Three distinct characters  come to life smoothly and sincerely.

This predictable love story becomes,, at least,  a sympathetic and kindly polemic that peeks beneath the each character's motivation. The audience may embrace  the idea, well past Post Colornial times. Gender aside and also on deck, we are all searching: to find some sort of a "family".. where it's okay to 'be who you are' and in so doing, to 'find yourself.' Two lonely gay guys at the top of the Idaho panhandle? Each has his 'demons' that might be not so much  of a problem in more sophisticated climes.  Factor in Tricia's 'demon' and the conflict gives the story some traction.

 Jake's serious physical condition is probably what drove him from Connecticut to Washington.   The old story of just getting  away from home and to find  himself.. He lands where his ancestor, William Clark, made some American History and, perhaps, his own  self discovery.

Chris has ambitions to write.  He's heard about Iowa's storied writing program and may be focused on making it with his short stories or maybe even a novel?    Jake reads from William Clark's journal, imagining the  Explorers as they trekked for the Pacific Ocean.

There are moments!  

Blatant foreshadowing and the odd dance that Chris must do with his mom is important to the confict.   Certainly, the characters are worthy of our interest. Depression factors in.   It's a difficult 'bromance' that takes us from beginning to end in multiple scenes, bare stage... punctuated with some smooth and simple changes. 

Gratuitous homoerotic moments are  included, as Jake and Chris attempt an acceptable conclusion. There are humorous moments and it's all wrapped up in this short full length play.. 

In editing this review, I'm opting out of a catch phrase to sum things up.  The human interest aspect of the premise and the decent depiction of the characters makes me wonder what other critics may say.  Supporting Theatre that tells stories like "Clarkston"is a goal.  See it for yurself and get back to me.

Cast

Jake . . . . . . . Michael Sturgis
Chris . . . . . . Sean Luc Rogers
Trisha . . . . . . Tasha Ames 

Crew: scenic designer Amanda Knehans, lighting designer Matthew Richter, sound designer Alysha Grace Bermudez, and costume designer Dianne K Graebner. 

The production stage manager is Lisa Toudic. Chris Fields, Kelly Beech and Marie Bland produce for the Echo Theater Company. Public Relashuns for Theatre : 

Lucy Pollak

Clarkston
• Written by Samuel D. Hunter
• Directed by Chris Fields

Previews: Sept. 11, Sept. 12, Sept. 13
Performances: Sept. 14 – Oct. 21
• Wednesday at 8 p.m.: Sept. 11 (preview) ONLY
• Thursday at 8 p.m.: Sept. 12 (preview) ONLY
• Fridays at 8 p.m.: Sept. 13 (preview), Sept. 20, Sept. 27; Oct. 4, Oct. 11, Oct. 18
• Saturdays at 8 p.m.: Sept. 14 (Opening Night), Sept. 21, Sept. 28; Oct. 5, Oct. 12, Oct. 19
• Sundays at 2 p.m.: Sept. 15, Sept.  22, Sept. 29; Oct. 6, Oct. 13, Oct. 20
• Mondays at 8 p.m.: Sept. 16, Sept. 23, Sept. 30; Oct. 7, Oct. 14, Oct. 21

 
Echo Theater Company
Atwater Village Theatre
3269 Casitas Ave
Los Angeles, CA 90039

PARKING:
FREE in the Atwater Crossing (AXT) lot one block south of the theater.

TICKET PRICES:
Fridays/Saturdays/Sundays: $38
Mondays and Previews: Pay–What–You–Want

www.EchoTheaterCompany.com
(747) 350-8066

 

ANW THE SKIN OF OUR TEETH!

 

 

Between 1938 (Our Town) and 1942 (The Skin of Our Teeth) with a couple of other plays in betwen.. Thornton Wilder  had  a message that he wanted to share with the world.  The bizarre world of The Antrobus Family and others emerges in a beautiful  over the top pageant of great colors, projectsions, costumes!!! and a peek into a message that smacks a little of James Joyce and his exploration of words and situations.

I have to take a step back and see f I can define "situations" but thanks to the producing directing team of Geoff Elliott and Julia Roderiguez-Elliott.. the money is on the stage! The cast is ..again.. interesting with diversity casting and the ANW stage literally vibrates with the palpable energy that the Elliotts and their actors and the amazing crew  have gone to great lengths to present.   Even the koken type stage hands are choreographed to be more than just furinture movers.

It's fun. It's amazing. It's loopy. 

And...  there must be a message here that Wilder longs for us to take to heart.The rat-a-tat-tat pace of the dialogue is break neck and appropriately LOUD!  Howard Hawks would be smiling as we were challenged to keep up!

The ANW production  of "Our Town" was done  at their original (I  think?) space in Glendale.. the  old Masonic Temple on Brand. The historic atmosphere, the ancient wood.. all contributed to the story of Thornton Wilder's "Grover's Corners". 

Being literally driven from Glendale, the ANW company, with the Elliotts absolutely devoted to doing important classical theatre, found safe harbor and then some in Pasadena. 

I mention this because the journey that ANW proceeds with, and with great success, this terrific theatre..  their devotion to detail.. the employ of excellent actors to bring their vision to life... all deserve standing ovations.

But.What About This Play?? 

The Antrobuses (George: Frederick Stuart and Maggie: Trisha Miller) have been married for five thousand years.

George goes fron  their New Jersey home to the 'office'' daily..and  has invented the Wheel.. and is working on the alphabet. He drills his son, Henry (originally named Cain!) played by Christian Henley,   on his 'sixes..'  As Gladys, Mildred Marie Langford is essentially the flip side of Henry who presents as recalcitrant and angry.

 

    Micah Schneider, Ann Noble, Veronica McFarlane
Photo by Craig Schwartz

Ann Noble, the adorable and skittishly wonderful maid, Sabina (SabEYEna)   drags us kicking and screaming into and out of the play .. Interruptions and  do overs and even the truly magical work of the two women stage hands.. lends to the fully professional presentation.. 

Plot??  Allusion to Noah and two by two.. A burgeioning  weather event.. later..a war? The Convention of Mammals at Atantic City..  Projections and graphics  are amazing.. 

The mysterious Fortune Teller (Cassandra Marie Murphy,)   tells us that no one can tell the past,but SHE can tell the Future..  I don't appreciate fake smoking on stage. It takes me out of the play. but this play interrupts itself all the time. so it's less of an issue. Just sayin'..

A complete "breakdown" of the show with seven sick actors out, with not enough understudies.. the  "crew" is called in to recite lines from sages and philosophers that Wilder in 1942 considered important. These "actors" become eloquent: reciting Spinoza. These speeches seem appropriate, especially today in the United States. Research says that Wilder may have used aqs a  matrix Joyce's "Finnegan's Wake" for this play.  The odd leaps and bounds of the text and the adventures of this long married couple.. even with some serious vamping by Sabina going on.. sails off on what may be the Ark.. (there are lots of animals besides the dinosaur and the Wooley Mammoth in the first act)   and then.. the recitations by the 'crew' members standing in the audience recitijng in  sonorous tones that have to do with  the ethics of living a good life... 

Bailey (I can't find this actor's name, He is part of the ensemble) recites the revelation of Spinoza that inspired Antrobus to seek and hope to  find good in the world...  and to share it. .. 

Hester (another ensemble member's beautiful rendering of Spinoza's text but.. can't find her name) stood right next to  my aisle seat and recited a text that  I'd love to share that has to do with how we choose leaders who are honest and sable and first have 'found' themselves renering them fit to lead to guis us to find a 'side' to align with  in order to live decent and respectable lives.. 

This loopy and super charged over the top presentation is a challenge to follow.  That  said..  the production is excellent in every way..  Don't expect to buy a Coke with cash at the bar!

 

The Skin of our Teeth
• Written by Thornton Wilder
• Directed by Julia Rodriguez–Elliott and Geoff Elliott
• Starring Christian Henley, Mildred Marie Langford, Kasey Mahaffy, Trisha Miller, Cassandra Marie Murphy, Ann Noble, Frederick Stuart
• Ensemble: Anthony Adu, Stella Bullock, Julia Chavez, Jacob Cherry, Yannick Haynes, Amber Liekhus, Veronica McFarlane, David A. Rangel, Landon M. Robinson, Micah Schneider, Maya Sta. Ana
• Presented by A Noise Within, Geoff Elliot and Julia Rodriguez-Elliott, producing artistic directors
 
WHEN:
Previews Sept. 1 – Sept. 6
Performances Sept. 7 – Sept. 29
• Wednesday at 7:30 p.m.: Sept. 4 ONLY (Preview)
• Thursdays at 7:30 p.m.: Sept. 5 (preview), Sept. 19, Sept. 26 (dark Sept. 12)
• Fridays at 7:30 p.m.: Sept. 6 (preview); Sept. 13*, Sept. 20*, Sept. 27*
• Saturdays at 2 p.m.: Sept. 14, Sept. 21, Sept. 28 (no matinee on Sept. 7)
• Saturdays at 7:30 p.m.: Sept. 7 (Opening Night); Sept. 14, Sept. 21, Sept. 28
• Sundays at 2 p.m.: Sept. 1 (preview), Sept. 8; Sept. 15*, Sept. 22, Sept. 29
^*Post–performance conversations with the artists take place every Friday (except the preview) and on Sunday, Sept. 15.
**A one-hour INsiders Discussion Group will take place prior to the matinee on Sunday, Sept. 8 beginning at 12:30 p.m.

Student matinees are scheduled on select weekdays at 10:30 a.m. Interested educators should email education@anoisewithin.org.

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

TICKETS:
• Tickets start at $51.50 (including fees)
• Student tickets start at $20
• Wednesday, Sept. 4 and Thursday, Sept. 5 (previews): Pay What You Choose starting at $10 (available online beginning at noon the Monday prior to that performance, and at the box office beginning at 2 p.m. on the day of the performance.)
• Discounts available for groups of 10 or more

HOW:
www.anoisewithin.org
(626) 356-3100

. 

THE EYES HAVE IT

Thanks to a wonderful theatre friend, Amanda Weier, I was directed to meet Dr. Lee of  CCRS in The Valley.  Dr.Lee is an amiable professional who pays attention and has a great staff to guide patients to what may one of the most life changing procedures in their lives. 

At the unlikely corner of Van Nuys and Addison at 4954 Van Nuys Blvd, Sherman Oaks, CA 91403, my first visi was a challenge.  At first I couldn't find the door! Surprise!! Comfortable offices are upstairs in a MiniMall! Fact is that it's an oasis one flight up.  Entry is round the back by the free parking.

To say that the prospect of eye surgery is a little anxiety provoking is an understatement. Somehow, this experience brought me to the realization that there are truly kind and generous folks who take 'taking care'  of others seriously.

The professional treatment that I experienced at CCRS LASIK ICL Center Sherman Oak left me confident with my diagnosis and suggestions that Dr. Lee provided.

Next steps are up to me.  Crossing my fingers that I'll be brave and move forward.

Even though this is my theatre review site..There is a lingering of drama from the drive to see Dr.Lee and so.. for clear sight, find the clinic and take steps to clear vision.

michael sheehan

onstagelosangeles

 s

X's Tons Millions

Performance venue ARC up in Pasadena hosts an unusual production created by Daniel Sullivan: X's Tons Millions.

Sullivan's exploration of the effect on human beings by the war machine is highly stylized  and extremely intense. It's a trip.. "A requiem in voice, dance and sound" 

Co director Adrian A. Cruz says,, "Sullivan’s text brings together four distinct, yet isolated points of view; the bureaucratic war machine… the direct impact on the land, creatures and people… the unaffected
citizen bystander… and the irrational abstraction of the act itself. A provocative intersection from all angles, progressively bringing them closer into a haunting, impactful and sonorous question mark — one that we must all reckon with.” 

 "X's Tons Millions" is a road map to an evening of amazing dedication by the finely tuned cast.  The ARC space is one that lends itself to what these folks have meticulously cobbled together: Passion with theatrical skill and physical movement combine with a dedication that reminds me of The Living Theatre of the sixties.  Cast Member Tina Preston touts a connection to Beck and Malina who made important social commentary so long ago.

Daniel Sullivan's text and movements may be for a hip audience. There is a visceral and emotional connection with each vignette as the ensemble moves as one.. The stage pictures and sounds and lighting effects enhance each episode.

I was reminded visually of the late video artist, Bill Viola, when watching this intense presentation.. The slow motion movements are part of training as an actor to create images that . in this case.. reflect and enhance the text.

The short presentation is,   essentially, ART! The messages come as much from the physical presentation as from the text.  

I was particularly impressed with a comment from an audience member  who said that the work "came right into me."  I was less emotionally engaged and more intrigued by the theatrical aspects which were more intellectual than visceral. 

That said, recalling the dedicated physical training that was evident in work by The Company Theatre, The Open Theatre and The Living Theatre so long ago,  Sullivan's piece presents an echo of that work from days gone by.

The visceral work speaks for itself and I would guess that folks more sophisticated than I in the audience will come away with a message that is beyond my ken. 

Come to the ARC and allow the work to unfold. Don Preston on bass is worth the price of admission alone.     

X's Tons Millions has a short run.  It's strong work and deserves an audience.

 Cast: 

Augusto J. Ferriols 

Tina Preston, 

Marti Skoler, 

Lisa Vo, 

Tate Navarro, 

Jacqueline Wright

The creative team includes Lighting Designer Kathy Nolan, Live Musical accompaniment Don Preston, and Choreographer
Augusto J. Ferriols. 

Amanda Weier of Open Fist lends her expertise as Production Consultant. 

X’s Tons Millions 

written by Daniel Sullivan

Co directed by  

Roxanne Rogers 

Adrian A. Cruz

ARC Pasadena  

1158 E. Colorado Blvd  

Free parking around in back!

Pasadena, California 
Tickets are $25.

For more information and to purchase tickets go to www.onstage411.com
Enter: “X’s Tons Millions” in search bar.

 

'Happy Fall: A Queer Stunt Spectacular'

Driving home from this 'Spectacular' at the largest Q  Center in the world??  The Moon looms large,waning gibbous at the Sunset Boulevard horizon.  Having just experienced this amazing new production by  Rogue Artists Ensemble, a co-production with the Los Angeles LGBT Center and the Contemporary American Theatre Festival, the burning of the Hollywood sign on stage lingers in memory. This is a queer show.: choose your definition: they all work.

 Queer is the generic and the now popular way that queer people have taken back the pejorative and wear it on their sleeves and probably with rainbow shoulder tattoos.

Queer .. from my experience. in days gone by, the term was a heavy indictment: a label mostly for the swishy kid at school, everyone in the drama program : a label right up there with faggot, fairy and pansy. Language changes and times change and now using this term that was formerly a damning reference is trotted out by Rogue Artists Ensemble to describe their current Spectacular!

Make no mistake. This prop heavy, tech heavy, projection heavy hunk of art . though a  little light on the "acting" side is nothing short of Phantasmagorical.. 

The spectacle rises above the thin love story of Felix (Kurt Kanazawa) and Clay (David Ellard). Felix is the new stunt kid on (the) set ready to  step into the the Cuban heels of a stunt gal who, it seems, just can't cut the physical action, around which the entire production is constructed.

Kurt Kanazawa
Photo by Bryce Darlington

Our Narrator (Amir Levi) puts Rip Taylor and Rip's voice to shame.  The Host may be annoying on purpose? Of couse, when the goal is to crank up the audience and keep the volume at eleven for most of the show, both vocally and visually, it is . at once.. the way director, Sean Cawelti, must have meant for it to be. Nuance is only a vague appellation for this Spectacular. 

Thankfully, we do have nuance now and then. 

As with other favorites from RAE, especially the immersive "Kaidan" and then "Wood Boy Dog Fish," this all in  ensemble presents Rogue behavior first and acting choices right behind.. The presentational  piece explodes with the conceit that this is  what it's like on a challenging low budget movie set.  The love story of  Kanazawa  and Ellard  becomes a threesome with a spectacular rendition of Clay as a full sized, frighteningly realistic mannequin: Design by Jack Pullman. Clay Puppet steals the show leading us to guess that Clay Puppet must represent the closeted queer stunt man (not an 'old timer'  but vintage) who resists embracing his closeted queerness: his denial? of his homosexuality,. Meanwhile, bouncy little Felix blossoms as he attains his stride as a respected stunt performer. There's a slight flavor of All About Eve with Clay playing catch up.

The wonderful thing about Rogue Artists that makes me want to laud them to the skies is their absolute fearless attack of ideas: imagining new ways to incorporate big BIG prop and costume business and lighting and  video and right on the stage video of miniatures in live performance  projected on large  video screens. Use of green screen & 'spectacular' imaginings are worth the price of admission alone.

Parking is a bear at the Center. The continental seatng of the Main Stage means that finding a seat that allows full vision of center stage is a must.

Often Happy Fall is like a three ring circus. Some effects need work. When Clay is displaced by Clay Puppet, we still see the actor giving voice to his alter ego..The puppet steals the show for me, and with a SPECTACULAR Screaming Queen full blown over the top finale, that's saying something.

In the past the broad scope of this dedicated theatre ensemble has been a welcome challenge in the land of often traditional theatricals .. 

My favorite show of RAE remains Kaidan!  Set in an old storage facility in the heart of Los Angeles. "Happy Fall"  shows that RAE has fearlessly taken a huge leap of faith with a ton of cash invested in video, props and costumes. Huge! 

This show turns on Stunt Players.  My stint as a stunt performer  guides me to appreciate the rough and tumble  physicality of this 'spectacular' presentation.

It's fun to boost a tremendous effort and this one is a must see, especially for WeHo and residents of the Swish Alps off Santa Monica Boulevard. Applause to Chelsea Sutton and the Rogue Artists Ensemble!

 

CREATIVE TEAM
COSTUME DESIGN
ANDREW JORDAN
CO-SCENIC DESIGN
KEITH MITCHELL
CHOROEGRAPHER
CODY BRUNELLE-POTTER
VIDEO DESIGNER, 

CO-SCENIC DESIGNER
SEAN CAWELTI
LIGHTING DESIGN
AMBER SHIFT
 

ROGUE ARTISTS ENSEMBLE’S
HAPPY FALL: A Queer Stunt Spectacular
WRITTEN BY
LISA SANAYE DRING with ROGUE ARTISTS ENSEMBLE
DIRECTED BY
SEAN CAWELTI
COMPOSER
ADRIEN PREVOST
CO-PRODUCED BY
ROGUE ARTISTS ENSEMBLE · CONTEMPORARY AMERICAN THEATER FESTIVAL and the
LOS ANGELES LGBT CENTER

Cast:
DAVID ELLARD · AMIR LEVI* · KURT KANAZAWA* LUCAS BRAHME · GABRIEL CROOM* · CACARLOS R CHAVEZ · KELSEY KATO · MAIA LUERTIANA RANDALL-QUANT · MIKKI YAMASHIRO · JERRY ZOU

'Happy Fall: A Queer Stunt Spectacular'

• Written by Lisa Sanaye Dring with Rogue Artists Ensemble
•  Directed by Sean Cawelti
• Co-Produced by Rogue Artists Ensemble, Los Angeles LGBT Center and Contemporary American Theater Festival. 

Renberg Theatre
Los Angeles LGBT Center
The Village at Ed Gould Plaza
1125 N McCadden Place
Los Angeles, CA 90038

 

Performances Aug. 22–Sept. 8
• Thursdays at 8 p.m.: Aug. 22 (opening night), Aug. 29, Sept. 5
• Fridays at 8 p.m.: Aug. 23, Aug. 30, Sept. 6
• Saturdays at 8 p.m.: Aug. 31 and Sept. 7 ONLY (dark Aug. 24)
• Sundays at 3 p.m.: Aug. 25, Sept. 1 (understudy performance), Sept. 8

Special events:
• Sunday, Aug. 25: an interactive stunt demonstration with stunt coordinator Celina Lee Surniak follows the performance.
• Thursday, Aug. 29: a pre-show stunt puppet-making workshop (7 p.m.) at the Advocate & Gochis Galleries; create your own puppet and learn how to get involved in the puppetry community.
• Friday, Aug. 30: a pre-show “Meet-the-Artists” celebration (7:15 p.m.) at the Advocate & Gochis Galleries, to uplift the visual artists whose work is on display at the “Take/Action: Stunts, Spectacle and Queer History” exhibit.
• Saturday, Aug. 31: a pre-show blessing from the Los Angeles chapter of the Sisters of Perpetual Indulgence, and a post-show discussion on the history of drag. Come dressed to express and join in the fun!
• Sunday, Sept. 1: post-performance Rogue Artists Ensemble VIP Fundraiser celebrating 20 years of groundbreaking new work in Los Angeles (ticketed event/separate admission; information at rogueartists.org)
• Saturday, Sept. 7: a post-performance conversation with Happy Fall composer Adrien Provost.
• Sunday, Sept. 8: an Action Star Dress–Up event; come dressed as your own action star and join Rogue Artists for a special fashion runway with prizes for selected winners.

TICKETS:
$45-$78 (including fees)
Understudy performance on Sunday, Sept. 1 at 3 p.m.: Pay-What-You-Can
bit.ly/happyfall24

 

 

 

 

 

PATIENT 13 TELLS ALL AT THE MATRIX

 

 

 

There is so much praise that  should come to any performer who creates from life or from whole cloth.. a one person show. It's lightning in a bottle tossed into a sea of doubt and fear and chance. It's a way. The Way.. The Way that can be described is not The Way.. thanks to Lao Tzu.

In the case of Patient 13 (author / performer Gail Thomas) .. the tiny little upstairs space at the Matrix, the Henry Murray Stage, is a sardine can. It's a 'Living Room" with sparce seating : front row and back row. The ability to work this tiny stage calls for skill and the collaboration with an author and a director and some tech advice that, when it gels, it can be magical.   Certainly, Gail Thomas has her 'stuff' together and her story is one that, for her, must be told. Why this preamble?  Beause I admire Thomas for sharing intimate moments and being glad that I have never touched my own bladder.

What the audience may almost totally miss is the gorgeous pre- show set of an 'office' that reflects the essence of what Thomas's stories.. are all about.  Papier Mache Cows! Why is this little preshow 'office' important? Because it contains the essence of what The Patient 13 story is all about. 

Thomas enters and mentions the cows.. but most of us have bounded up the heart attack stairs to the Henry Murray Stage  in a rush to find a seat that is advantageous. 

 

We can't take a minute to enjoy the art.   Note to Stage Manager whose name I cannot find. Open the door to the 'office' and allow the audience to enjoy it. Whomever did that work . whose name I cannot find.. did a fine job.  There is no set for the performace. really.. so? Unfortunately,  most of the time, the performer is in unflatttering half light.

The last show I saw in the Henry Murray was the Hitler thing. Again, the "office" was integral to the show.. but I only caught it on the way out..as I did the cows tonight.

Notwithstanding the bravery of MsThomas's's tell all with intimate details story, the upside is that regardless of marginal direction and really inadequate lighting and half of the time straining to understand the actor, there are nuggets of stuff: moments  of revelation in her story that, as she recounts them,  bringing them to life, we see beyond the recitation to another plane of story telling.

Every one person show rides on the back of the storyteller.. if the show is  first person and written by the story teller.  Duh.. When Ms Thomas gets to the meat and potatoes..and mushrooms of this tale, the mood and the energy elevate. Regardless of crumby lighting effects (the stalag lights from the Hitler thing are supposed to light the way. They do not)  

Regardless.. as we get to the message and leave the crust behind, something happens.

Gail Thomas  is a brave woman.  The beats of her story .. to me.. were pretty much on one level until the flashy part.. the business of self disscovery and the polemic giving permission to Simply Be.. Just be a person. Just be an actor. Just be a woman. Just...   be..

Stage manager   Rich Wong

 “Patient 13” Written and performed by Gail Thomas / Directed by Dan Oliverio
Opening August 16, 2024 with reception to follow
8pm Fridays, 

3pm Saturdays, 1pm Sundays through September 1

Upstairs on the Henry Murray Stage
Recommended for ages 16+

Rogue Machine at the Matrix Theatre, 7657 Melrose Ave, Los Angeles, CA 90046

On the Henry Murray Stage

 You are invited to stay for a talkback with the writer/performer & the director after Saturday performances

 

 .

Rogue Machine.. sorta.. presents HUMAN ERROR

 

 

HUMAN ERROR  by Eric Pfeffinger makes a West Coast debut that might make a pretty good pilot for a TV comedy series.. The Honeymooners, The Flintstones, The Life of Riley,  The Neighbors  meet social issues and "modern" medicine. 

The premise  pretty much works except for the staging.  The wide wide stage at The Matrix  leaves some portion of the audience in the dark from time to time. Opportunities for  action and movement are passed by.

Each of the five characters in this play (Andrew Hawtrey, Kristen Vaganos, Kapil Talwalkar, Kiel Kennedy, Lauren Burns) seems to stand with one foot in the play and one foot on their own. This means that acting styles range from screeching at the top of one's lungs: glass breaking!!! to subtle and thoughtful rendering of the part where good old liberal me is challenged by the difficult logic of the very pretty blonde.  

I encourage all who love theatre to  support this show. Arrive early for stadium seating as seats far audience left and right become a challenge for 'getting' the whole performance.   Bring a cushion if you have a tender behind. The seats are fifty  years old.

When one is knocked out by the functional bare bones set by James Morris, lighting design by Rachel Manheimer and  truly wonderful  interstitial original? music by Christopher Moscatiello? and my wishing about fifteen minutes in that I was somewhere else, it is a tough call.

There are moments when the audience was raucous  in response to the predictable antics that came in two full dimensions from the actors. Early on, there is a missed opportunity for blood.  See if you can  catch it. Had there been blood, to me.  an infusion may have elevated the premise to farce that would have supported some of the acting styles. 

What is the premisw? Well you may ask.  Human Error. No spoiler alert. Just go and see what you think and take a pal ready for some well timed jokes. The rhythms of the story lend themselves to the essential sit com pattern of set up, beat, punch line.  rim shot.

Flip side?  Had director Joshua Bitton encouraged his actors to play with one another and to set a standard for vocal projection and character development, leaving behind their stereotypical renditions allowing the emergence of more human characters, the premise and the title would, to me, be a more thorough and all together more interesting production.  

Why this mixed message? The audience was enthralled with the energy and presentation by all five actors.  (Well, it was opening night) One critic near by was laughing really  hard and shot to their feet at the curtain call!  So. some of this is on me. That's why it is vital that if you read my stuff, you will ignore the digs and see for yourself why there should be blood.  

 A gusher would be wonderful!

 HUMAN ERROR

By Eric Pfeffinger

Directed by Joshua Bitton

West Coast Premiere under Off the Clock with Rogue Machine Theatre

Cast:

Lauren Burns (Heather) 

Andrew Hawtrey (Dr. Hoskins)

Kiel Kennedy (Jim)

Kapil Talwalkar (Sameer0

Kristen Vaganos (Madelyn)

Crew:

James Morris (Scenic Design)

Rachel Manheimer (Lighting Design)

Chris Moscatiello (Sound Design)

Christine Cover Ferro (Costume Design)

Rich Wong (Rehearsal Stage Manager)

Ramón Valdez (Running Stage Manager)

Run time approximately 90 minutes (no intermission)

WHAT: “Human Error”

Written by Eric Pfeffinger

Directed by Joshua Bitton

Produced by: Guillermo Cienfuegos

A Rogue Machine Production

Age recommendation 13+

WHERE: ROGUE MACHINE (in the Matrix Theatre)

7657 Melrose Ave, Los Angeles, CA 90046

(Street parking) Good luck with that. Arrive early and watch for 'in the neighborhood restrictions'

 

WHEN: 

Opening: 8pm on Saturday, August 10, 2024

Schedule: 8pm Fridays, Saturdays; 3pm Sundays 

Closing: September 1, 2024

 

HOW: Reservations at https://www.roguemachinetheatre.org/

 

HOW MUCH: 

General Seating: $45

Seniors: $35

Students with ID and children under 18: $25

Shows4Less: Aug. 16 ($10+), Aug. 23 ($15+), Aug. 30

 

 

 

 

THE BAUHAUS PROJECT II

 

Jack Goldwait, Katarina Joy Lopez, Sang Kim,
Chloe Madriaga and John C. Sweet
Photo by Francisco Hermosillo III

The unusual business of a World Premiere with what may essentially be at least three plays all bound together is a challenge that  Director Martha Demson has taken to heart and mostly..  even though the extreme pedantry of what we learn from the play is a bit sticky, I got a lot.  I want to recommend both productions.  This second one is a lot more fun. For the plays to make sense, please see them in order. 

That said, the set up in the first iteration  has a couple of jokes that are apologized for in the second play.  But, the fun stuff and the information is really on page II.

Richard Hoover's magnificent set echos the essence of the Bauhaus theme. Straight lines with beautiful projections by Gabby Griego on slick moving panels examine  the linear ideas that Walter Gropius introduced. For a time Gropius and Bauhaus were a major influence in architecture and other art forms  around the world.

To call the script out for so much information is a little unfair, as the idea was for modern day art students to portray a host of real characters from the early days of Bauhaus as it struggled from one location to another, ending up in Berlin where . as Nazi Germany took power, it faded.

In the first iteration we   are introduced to the kids, taking cell  phone photos and attempting  in modern day.. to tell the complicated story of Bauhaus.

Demson's direction would have been helpful to old analog me had the students, portraying the actual characters had name tags to help us better understand who was who. Agitprop that Brecht would have championed?  In the first evening.. Duc, the Asian guy.. speaks in pidgin English. Just offensive and difficult to understand.   The other kids at the playwright's insistence adopt different accents that are marginal at best and depending on the actors' skills may or may not work. Had someone said.. "Hey, we're not actors, let's just let the audience know  who we are with costumes and Name Tags and let the history tell its own story.." 

Jah Volt!

It's yeoman's work. We experience the trials and tribulations of what Gropius and Klee and Kandinsky and others went through, touching .. eventually, heavily on "The Jewish Question" antisemetism  as Hitler came to power, twiich led to the eventual demise of the Bauhaus in Berlin  

I'd have bought the whole presentation more easily sans accents and occasional moments of the kids going up and recovering... 

The actors play so many parts,  I had a hard time keeping track. But!! one rather creative scene between two characters at the same time is played by either Katarina Joy Lopez or

Chloe Madriaga.  I'm guessing Katerina. It went well.

Entering any theatre, we are tasked to abandon disbelief.  Even with being unsure who's who.. this second presentation is truly  informative.    The first act is interminable, but we stick it out and wind up in Berlin where the gesso hits the fan. I'll let you figure out who's who bur hope you'll book both shows in order and get back to me. It's an vital lesson regards the importance of art in our world today.

 

Cast:

Jack Goldwait, 

Sang Kim, 

Katarina Joy Lopez, 

Chloe Madriaga, 

Crew (please forgive the odd parsing.. copy and paste is a bubbaboo.

Scenic Design Costume Design Lighting Design
Richard Hoover Michael Mullen Gavin Wyrick
Original Composition Prop Masters Assistant Lighting Designer
Tim Labor Barbara Bragg & Richard Hoover Grace Berry
Bruce Dickinson & Ina Shumaker
Assistant Director Projection Designer Graphic Designer
Sarah Zuk Gabrieal Griego Simon Grendene
Intimacy Director PR Representative Social Media Coordinator
Cate Caplin Lucy Pollak Grace Soens
Production Stage Manager John Dimitri

The Bauhaus Project II

by Tom Jacobson

Directed by Martha Demson

WHEN:
Previews: July 12, July 13, July 14
Performances: July 19 through August 25
• Fridays at 8 p.m.  Part 1 (Bauhaus Weimar): July 12 (preview), July 19 (opening night), July 26, Aug. 2, Aug. 9, Aug. 16, Aug. 23
• Saturdays at 4 p.m.: Part 1 (Bauhaus Weimar): July 13 (preview), July 20, July 27, Aug. 3, Aug. 10, Aug. 17, Aug. 24
• Saturdays at 8 p.m.: Part 2 (Bauhaus Dessau & Bauhaus Berlin): July 13 (preview), July 20 (opening night), July 27, Aug. 3, Aug. 10, Aug. 17, Aug. 24
• Sundays at 4 p.m.: Part 2 (Bauhaus Dessau & Bauhaus Berlin) July 14 (preview), July 21, July 28, Aug. 4, Aug. 11, Aug. 18, Aug. 25
* Audience members can choose to view the entire Bauhaus Project over the course of two evenings (any Friday and any Saturday at 8 p.m.); two matinees (any Saturday and any Sunday at 4 p.m.); or on a single Saturday, at 4 p.m. and 8 p.m. (The history is sequential, so it is not advised to view the parts out of order.)

WHERE:
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:
• Part 1 and Part 2 (combination ticket): $50
• Part 1 or Part 2 (individual ticket): $35
• Students receive $5 off either price
• Previews: Pay What You Can

HOW:
www.openfist.org
(323) 882-6912