ANTIGONE.. At Antaeus in Glen dale

ANTIGONE

Ann Noble, Peter Mendoza, John Apicella and Kaci Hamilton (Photo by Craig Schwartz Photography)

 

Written by: Sophokles (nee Sophocles)

Newly translated and adapted by: Kenneth Cavander   Directed by Andy Wolk: ANTIGONE  continues to appreciative audiences at Antaeus Theatre Company in Glendale, California. 

Seventy eight seats of eighty filled for  a Sunday Matinee in the shamk of a run counts for something. Word of mouth or patrons who subscribe are in  the house. Do good reviews help?

As I have been  recently eliminated from the Antaeus Theatre Invited Critic's List, I came to the matinee with a bit of an attitude.  

Suffice it to say that Kenneth Cavander must have created Kreon's wife,  Euridike,  with Ann Noble in mind.  A brilliant move. Eurdike takes on a lion's share of the information traditionally shared by The Chorus. Noble commands stage with fluid moves and is obviously the power behind the throne.

Diversity casting is often a problem for me as the adjustment to see siblings and others played  by various ethnicities is a situation that works.. but it's an effort.Antaeus has often led the move to forget the need for a single ethnicity to create characters in many of their productions. By the time everyone is introduced, they usually do become simply the characteers in the play.

In Cavender's adaptation / translation of this bloody story, the polemic of how power corrupts  is spelled out in no uncertain terms. We are still at Thebes but Kreon (Tony Amendola) instead of king presents  a military strong man. He  literally steps through the fourth wall to glad hand the audience.   One blatant "remark" is on the stage left wall .. a dripping yellow stain that sure looks like a map of the good old USA.

The argument in this version of the story turns   on Antigone's (Linda Park) placing  the respectful burial of her brother based on the laws not of the 'gods' but of Moral Responsibility that may be essentially the same thing. It is above Kreon's..  'man's law' that Kreon metes out at his own pleasure.. and eventual demise.

We finds some humor with The Sentry (John Apicella) and  his side kick (Kaci Hamilton)   who lighten the heavy drama now and then.We meet Hamilton again as Teiresias  shaking the stage with bad juju.

Director Andy Wolk's staging smoothly engages the story to flow from the palace to a jail cell and other locales  as well. 

Someimes the acting shows and for purists, this version may be appreciated by abandoning the stiff and sticky way that the Greeks laid out a story.   It's modern and .. thankfully, coms in  in one  ninety minute act.

I'm still not a fan of curtain speeches, but Artistic Director , Nike Doukas, is charming regardless of my bias.  The set is okay. The lights and some special effects are fine.  On the heels of the last Antaeus production of ALL MY SONS, this is  another polemic for these rocky times our world faces.  

What is Justice, anyway? Who doles it out? When is fair fair or the 'law' is bound by itself regardless of what the quality of mercy must bring?

In the original script The Chorus speaks for Sophocled thus  of a leader:  " If he treats his country’s laws with due respect
and honours justice by swearing on the gods,he wins high honours in his city.         But when he grows bold and turns to          evil, then he has no city. A man like that—
let him not share my home or know my mind."

If you know the story of Antigone and then come to see this vbersion and tell a friend? Tell them that I sent you! 

Michael Sheehan

onstagelosangeles

PREDICTIONS FROM ANW: EXIT THE KING?

Eugene Ionesco, along with a handful of other absurdist playwrights sought to take theatre to a strange place.  Along with Beckett and Pirandello and others, the challenge to the audience was to allow the fragments to cling to a faint story line:  let the chips fall where they may.

With ANW's RICHARD III  followed by DEATH OF A SALESMAN,  the choice to present EXIT THE KING  seems in order. It is time for Theatre to bring to the fore the Truth of Art. There's a mirror held up in this show.

From the absolute power of King Richard, to poor Willy Loman  being overcome by 'circumstances of the times/'  and now to this comic finale?  It's a strong comment and a beauty of a production.  400 year old King Berenger (limber Henri Lubatti) is crumbling along with his mess of a  kingdom.  The argument of the text, which may be prescient... these over sixty years since. the play first appeared?  

Ionesco lays it all out for us and then we observe as Berenger's retinue  brings to life the blatant truth: The king will die. 

KT Vogt, Lynn Robert Berg, Henri Lubatti, Joy DeMichelle, Ralph Cole Jr. and Erika Soto Photo by Craig Schwartz

 I was explaining the plot to a movie actor pal who was vague about his early theatre history.  He said, "Just like today?"  And, I said Ionesco's 'today' was over sixty years ago.

Tesshi Nakagawa's set is simple. I wish the crumbling had been more physical, but the suggestion of decay works fine. Jared A Sayeg's lights with Angela Balogh Calin's wondrful costumes set the scene.   The cotton candy puffs of Queen Marie's (Erika Soto) gown are hilarious.  Marie is the junior queen and is crazy in love with Berenger to the point of hysteria.. It all works.  Broadly.

Highly royal elder Queen Marguerite (Joy DeMichelle) gives the spoiler alert that was already spoiled by the title. "You're going to die at the end of this show!" The stern contrast of Marguerite's stiff and formal approach builds to a touching climax. Marguerite is the backbone of the King and the play. Elegant. 

Director Michael Michetti's smooth movements; bring each of these odd characters to life, nicely finding humor and touches of the Clown Show that is predicted in the pre-show music. As Juliette (KT Vogt) bustles wearing a couple of different "hats" but always the hard pressed servant: really bustles.  As the Guard, imposing Lynn Robert Berg announces and serves. 

His hair precedes spot-on Ralph Cole Jr as the Dorctor ..also other characters, but the same guy with  the hair.. 

The beauty of this cast and this very old play is that Michetti has guided them into a tight ensemble with broad physicality..The stage is a thrust that shares equal access with the entire audience. 

It's  a lot of  talk as Berenger dissolves into his final moments. The denouement  orchestrated by Queen Marguerite is touching and gives Berenger a tender  send off.. It may be more than he deserves? 

EXIT THE KING is  a tight professional production that should be experienced. And!! it must be talked about. Ionesco's goal was to attempt to teach those of us who may die to have a bit of a handle on it. Let stuff go. Love one another? 

 

CAST

King Berenger the First: Henri Lubatti*
Queen Marguerite: Joy DeMichelle*
Queen Marie: Erika Soto*
The Doctor: Ralph Cole Jr *
Juliette: KT Vogt*
The Guard: Lynn Robert Berg

PRODUCTION
Artistic Directors: Julia Rodriguez-Elliott and Geoff Elliott
Director Michael Michetti §
Assistant Director Marco Rivera
Stage Manager Hope Matthews*
Assistant Stage Manager Morgan McDonald
Scenic Designer: Tesshi Nakagawa
Costume Designer Angela Balogh Calin†
Lighting Designer Jared A Sayeg†
Sound Designer Jeff Gardner†
Wig Designer & Make-up Tony Valdés
Resident Dramaturg Miranda Johnson-Haddad
Properties Designer/Technical Coordinator Stephen Taylor
Master Carpenter Rochelle Concepcion
Assistant Scenic Designer/Charge Artist Angelene Storey
Production Manager Juli Figueroa-Castro
Casting Director/Artist Relations Alison Rodriguez
Co-Master Electrician Hailey McDill
Co-Master Electrician Alejandra Vera
Costume Shop Manager Courtney Park
Costume Shop Assistant Erin McComb
Light Board Op Sam Campbell
Deck Crew Elizabeth Ramos Perez
Audio Engineer (A1) Chloe Pate
Backstage Audio Assistant (A2) Alex Reyes
Clowning Consultant Matt Walker
UNDERSTUDIES
The Guard: Richardson Cisneros Jones*, The Doctor: Shawn Law*,
Queen Marguerite: Aisha Kabia *, Queen Marie: Paige  Collins*

 

WHO:
• Written by Eugène Ionesco
• Translated by Donald Watson
• Directed by Michael Michetti
• Starring Lynn Robert Berg, Ralph Cole Jr., Joy DeMichelle, Henri Lubatti, Erika Soto, KT Vogt
• Presented by A Noise Within, Geoff Elliott and Julia Rodriguez-Elliott, producing artistic directors

WHEN:
May 3 – May 31
Previews May 3 – May 8:
• Sunday at 2 p.m. / Wednesday, Thursday and Friday at 7:30 p.m.
Performances May 9 – May 31:
• Thursdays, Fridays and Saturdays at 7: 30 p.m. / Saturdays and Sundays at 2 p.m. (no Saturday matinee on May 9)

ADDITIONAL INFORMATION:
• A one-hour INsiders Discussion Group will take place prior to the matinee on Sunday, May 10 beginning at 12:30 p.m.
• Post-performance conversations with the artists every Friday (except the preview) and Sunday, May 17.
• 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 $41.75 (including fees)
• Student tickets start at $20
• Wednesday, May 6 and Thursday, May 7 (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:
anoisewithin.org
(626) 356-3100

 

CHANGES AT THE FOUNTAIN.. THEATRE

 CHANGE..  

SPARE CHANGE. 

CHANGE THE CHANNEL 

CHANGE THE DIAPER 

CHANGE ? 

GOT ANY CHANGE, MISTER? CHANGE YOUR MIND,  IT'S GOOD FOR YOU SAYS HOWARD RUGG..... 

CHANGE COURSE? 

CHANGE?

 With the departure of Stephen Sachs from the Fountain Theeatre and the passsing of  another of the founders, dear Deborah Lawlor.. word quickly spreads that Simon Levy, the last of the origijnal three major innovators for Theatre in Los Angeles  via The Fountain is changing course.. Darn it.. A change of direction..   

I have to admit that I don't deal with change well.  I get comfortable and like the feeling of sameness. 

That's on me, of course and  as I know and very much appreciate the work that these three wonderful folks have shared with Los Angeles for many years, I see the value in taking a step away. 

Simon.. stolen from  Facebook

Simon Levy is a pal. ..  I have reviewed the plays he's produced and directed over so many years that I can't count them all.

 

The Fountain Theatre is a gift that takes chances and presumably undeer the Artistic Director Raymound O. Caldwell, will forge on with the stuff that Theatre is suppposed to do:  Enlighten, Inform and Entertain.  Olé!!

This is a brief tribute to Simon Levy.

His leadership and dedication to the Art of Theatre is unique in that he has balanced ideas that have been vital to the education and enlightenment  of not only regular patrons.. but to the community with programs that bring folks together with the involvement of the City of Los Angeles. What else??  The Fountain has gifted the world with shows off to the West End and to New York because they mattered.

 Stay tuned for information regarding the next steps for The Fountain, remembering Bette Davis's advice that to get anywhere in Hollywood? "Take Fountain!  

Happy Trails to you, Simon.

Please stay in touch.

Michael Sheehan 

for onstagelosangeles

May the 4th Be With You! 

2026

WONKY ONE ACTS AT THE ECHO THIS ENDS BADLY

After  the extraordinary experience of FOR WANT OF A HORSE  just opened at The Echo, we swipe  Left or is it Right? for THIS ENDS BADLY..  a series of short theatricals that call for the Twilight Zone theme in the background and fastened seatbelts for the bumpy ride.

Five scenarios

Full disclosure.. Seeing a kid who beat me at Hangman at the age of three, now a  strapping dad with enough energy to light up Pacoima was a huge surprise that made made me very happy. The last playlet of this series, John Pollono's ILLUMINATI puts a cap on the evening. Michael Redfield' as Roger was so freakin' bizarre and committed that it virtually shook the house. 

Let's go from the top..

We start with Marlane Meyer's  Rabbit Hole. She also directed.  It features  a very broad take on the lives of four odd characters. Suffice it to say that mental health issues and conspiracy to commit murder can be pretty funny.

The actors:  Zaya Kolia, Victoria Davidoff, Edward Hoke and Frank Demma present with unapologitic and direct energy. The writing is the key and as off the wall this brief scenario may be, it's a journey with potential to expand.

Harriet and Keith at the Whitney Biennial   by Benjamin Weissman  points us down a rabbit hole of its own with a brief primer on Contemporary Art. It features a Harold and Maude aspect that turns left with the bombng of the Whitney! Love among the tatters of Pollock and Rothko snowing on the couple.  Connor Murphy and Suzanne Fletcher play Keith and Harriet. The girl in the baklava is Isabel Marcus.  It's a bit self conscious and a little stiff.

Then?   I wondered why Matador written and directed by Sharon Yablon  was called Matador with Silas Weir Mitchell meandering and introspectve in a bathrobe sharing a monologue of inner thoughts expressed with a reference to where he may have been before he was born?.. just meandering until the closing dance moves.

This leads  us to a Time Warp with Him and Her (Wes Walker and Shawna Casey) driving in a loop through the  Muir Woods by Frank Demma who directed with Fionna Rogers.. There may have been mushrooms involved. Shades of 2001: A Space Odyssey?

This drives us to the most complex of the evening's pieces.. ILLUMINATI by John Pollono..

Jennifer Pollono plays an actress in a crazy play presented in a hole in the wall space that features over the top Roger (Michael Redfield) vamping with his co-star / leading lady while Billy (Keith Stevenson) the brother from Boston,  is the fish out of water attempting to understand the world of Important Artistic Theatre. Adrenalin  and sweat fly from the action. 

I had not heard of Frank's.. the company to blame for THIS ENDS BADLY . with the comment that it does not... end badly. As bizarre and sketchy as each of these pieces comes off, it's the kind of work that does what the other show currently up at The Echo .. FOR WANT OF A HORSE also does.. THIS ENDS BADLY  creates the uncomfortale business of what avant garde theatre is supposed to do. It stirs something lurking in our own dark shadows to have an opinion and exit the theatre amused and a little disturbed.

The Plays:

Harriette & Keith at the Whitney Biennial by Benjamin Weissman

 Illuminati by John Pollono

Matador by Sharon Yablon

Muir Woods by Frank Demma

Rabbit Hole by Marlane Meyer

 Some of the Players: 

Shawna Casey, Frank Demma, Edward Hoke, Silas Weir Mitchell, Conor Murphy, Frank Pellegrino, Jennifer Pollono, Michael Redfield, Wes Walker, Jacqueline Wright  

In a co-production with Frank's, billed as an underground collective of some stature!

THIS ENDS BADLY

Produced by The Echo Theatre Company and Frank's

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

Plays: April 22-May 13:
Wednesdays Only at 8 p.m.

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

TICKET PRICES:
$15
(A $1.50 fee will be added to each ticket purchased with a credit card.)
EchoTheaterCompany.com
(747) 350-8066

 

 

 

 

 

FOR WANT OF A HORSE AT THE ECHO

 "The perils of empathy.."

Polyamorous?  What's good for the goose in Hungary? Zoophilia?? Gene and Roy are spinning..  

Olivia Dufault's FOR WANT OF A HORSE, currently at the Echo gives a whole new meaning to "Back in the Saddle Again.." 

Trigger and Champion are equine heroes that I grew up with and loved as the loyal mounts of their respective cowboy pals, Roy and Gene.  Heroes with Heroic mounts. Buttermilk was steadfast for Dale Evans.Horse companions. Good Steeds.

 

Griffin Kelly and Jenny Soo
Photo by Cooper Bates

Ps

FOR WANT OF A HORSE  is recommended for 'adult' audiences.  It's a choppy cinematic diversion with an excellent cast, including a horse named  Q-Tip played beautifully by Griffin Kelly, who may slightly resemble the playwright. Q-Tip is a filly who addresses the audience so that we can hear her equine thoughts. Apples are an  aphrodesiac.

Calvin and Bonnie (Joey Stromberg  and Jenny Soo)  are a hip young  married couple with whom an 'interesting' idea comes to light.  .  Calvin, prompted by his quirky pal, PJ (Steven Culp), ambles into discussons of... well.. animals as lovers.  What about those few of us who grow into deep attachements to our furry friends? Here in hangs the tail.

Director Elana Luo's staging executes short scenes from Calvin and Bonnie's bedroom to stables and other locations with Alex Mollo's flexible set pieces.  Matthew Richter's lights and some interstitial music keep things flowing.

I so appreciate that Chris Fields and the Echo take huge leaps of faith to showcase theatre that not only pushes the envelope, but in this case obliterates it. Excellent chops by each of the actors. The script is laced with now common expletives heard in casual chats where ever folks are chatting.

What is perverse?  This is a question for the ages as we see the land we live in twisted like a pretzel by you know who and we know why.. Thus... The story of a love triangle : Q-Tip, Calvin and Bonnie may not be so far fetched. Daily,  life becomes stranger and stranger.

Do I rrecommend that you see this play?  The playwright says that she first learned of including animals in intimate relationships frm an article in New York Magazine ten years ago. Over time she wrestled the idea into an oddly interesting premise that pays off in.. well in a way.. in apples. Yes!  Yes, I do.. Find the nuances.  Consider an odd idea? 

This was my first pass at this review. The other review is just different. Here I feel the need to carry on a bit and include cultural references that might ring a  bell  with some readers.  As I often say.. this show deserves an audience, but the caveat is that it's fraught with adult themes. and apples.  Bring apples.

 FOR WANT OF A HORSE

A WORLD PREMIERE
Written by Olivia Dufault
Directed by Elana Luo
 
LIGHTING DESIGN Matthew Richter
SCENIC DESIGN Alex Mollo 

COSTUME DESIGN Leah Morrison
PUBLICITY Lucy Pollak
PRODUCTION STAGE MANAGER
Bianca Rickheim
SOUND DESIGN Alysha Bermudez
For Want of a Horse
PRODUCED BY
Marie Bland and Chris Fields

 

 World premiere of For Want of a Horse, 
• Written by Olivia Dufault
• Directed by Elana Luo
• Starring Steven Culp, Griffin Kelly, Jenny Soo, Joey Stromberg
• Presented by The Echo Theater Company, Chris Fields artistic director

WHEN:
April 15-May 25
• Previews:
Wednesday, April 15, Thursday, April 16 and Friday, April 17 at 8 p.m.
• Performances:
April 18 through May 25
Fridays, Saturdays and Mondays at 8 p.m. / Sundays at 4 p.m.

WHERE:
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:
$15 – $42.75
• Pay–What–You–Want starting at $15 cash at the door plus an additional $1.50 per ticket fee if purchasing online or at the door with a credit card.
• Early Bird tickets to Friday, Saturday or Sunday performances through April 3 (available online only): $20 plus a $1.75 credit card fee.
• Tickets to Friday, Saturday or Sunday performances purchased after April 3: $40 cash with an additional $2.75 fee per ticket if using a credit card.

CONTENT WARNING:
For Want of a Horse addresses mature sexual themes in an explicit (although non-graphic) manner and is recommended for ages 18 and up.

HOW:
EchoTheaterCompany.com
(747) 350-8066

 

 

WORLD PREMIERE.. FOR WANT OF A HORS.. II

Olivia Dufault's WORLD PREMIERE PRODUCTION OF "FOR WANT OF A HORSE".. WOW!!

 

Griffin Kelly and Joey Stromberg
Photo by Cooper Bates

My experiences of reviewing theatre for many years always comes down to how to begin. What will be my first sentence to set the tone: a lead line?  

This is my second go at it. Check my first attempt also here somewhere........

World Premiere!  Why? Well..it IS a first..

Echo producer Chris Fields is an artist to be reckoned with and has been a force majeure  in Los Angeles Theatre for a long time.  I love that he takes chances and has turned the Echo space at the Atwater complex into dozens of wonderful  sizes and shapes. This set is pretty simple.  Alex Mollo's spare design with some moving set pieces takes us to stables, a bedroom.. and other simple nondescript locations.  This challenges us to abandon disbelief.. It works.

Have I found a first sentence?  Laurel and Hardy in Flying Deuces?  Last line?  "Another fine mess you've gotten me into!!"?

Why? We are in the historical chaos of the Absurd. Somehow the world is foundering  with new language. New pronouns? New theatre? War? Lunacy??  Absurd!

If FOR WANT OF A HORSE is the way that we are going. Heaven Help Us.. 

Why?  Because as absurd as it might be, I sat with an audience who seemed to "Get It" that a young couple: Bonnie and Calvin, are discussing  ideas about sex and sexual preference in a way that leads us not only to polyamourous encounters to expand their relationship, but moving to include...     

a horse... 

Q-Tip.. (limned with exquisite sincerity by Griffin Kelly) is a filly.. a mare.. an equine.. 

 That playwright Olivia Dufault happens to be at the vanguard of where...  at least. Western Society is headed, may help us to understand Why?  She reports reading an article in New York Magazine ten years ago that got her all curious about how some human beings are sincerely in love with non-human beings.  Animals, to be exact. This leads to 'why'.. to research and she has  come up with a scenario that includes  a man's literal love of...  a horse.

Add to the mix.. a discussion with PJ (excellent and fast talking / rationalizer Steven Culp) whose first light on stage discusses peanut butter and a beloved dog.  Create your own scenario for this one.

What about the production? Well. you may ask..  What director Elana Luo  has failed to see is that presentation of this unusual story as though the premise is an every day thing that most folks may consider easily is a "straight" play.  I don't think so.

 Beckett, Pirandello and Ionesco had far out ideas and successfully brought them to life with exposure of absurdity that we still appreciate as abstract social commentary. 

Far Out..

The moment in the play where Bonnie (Jenny Soo) asks husband Calvin (Joey Stromberg) about  "consent" and elsewhere in the script where 'empathy' may factor in, .. brings the argument into focus.  The absurdity of the whole idea..  Q-Tip addressing the audience and some cool business with apples is worthy of expanding.

Had the play been directed with each character much larger than life with a taste of Commedia tossed in .. graphic expansion of PJ's fascination with peanut butter and maybe a reference to a gerbil or two? The absurdity may have blossomed into an acceptably  ridiculous romp.  In future productions? It may?

Does the dialogue just lie there? No. It's played as straight as straight can be, as though this new normal  may be a little outrè, but why not? We are in Bizzoro Land! Current behavior around the world, especially in the United States as of this writing?  Off the charts: Bizzare!  So?  Why Not?

Bottom line is that this  is not just a straight play. It's nuts.  It should be  expansive and explosive to the point that the audience is rocked back in our seats with how crazy it really is that we are sitting still for this.    Enraged "plants" in the audience? Standing UP..and  yelling and stomping out? 

The kicker waiting in the wings?

Is this a polemic to suggest that  zoophilia is okay? PJ says it's okay in Hungary!!   Sorta.  

(I just corrected a typo:  Poohphelia! This would make a visit to Disneyland very interesting!) 

To what extent does each member of this cast give consent?  Do we empathize with them?  Might there be some psychic residue ? 

Is it just a play?  

Technically, expecially the well choreographed scene changes aided by interstitial music are impressive. Each player is equally  authentic to the other.. But.. This is not a "Straight Play".. it's an adventure into a netherworld that echoes the cos-play conventions of 'Furries"  or other . to me.. "bizzare interests" that, from the Marquis De Sade to Ru Paul's Drag Race to Zoophilia may be better presented as a far out romp. with apples!

Support weird theatre! 

See this one!! 

FOR WANT OF A HORSE

A WORLD PREMIERE
Written by Olivia Dufault
Directed by Elana Luo
 
LIGHTING DESIGN Matthew Richter
SCENIC DESIGN Alex Mollo 

COSTUME DESIGN Leah Morrison
PUBLICITY Lucy Pollak
PRODUCTION STAGE MANAGER
Bianca Rickheim
SOUND DESIGN Alysha Bermudez

PRODUCED BY
Marie Bland and Chris Fields
• Directed by Alana  Luo
• Starring Steven Culp, Griffin Kelly, Jenny Soo, Joey Stromberg
• Presented by The Echo Theater Company, Chris Fields artistic director

WHEN:
April 15-May 25
• Previews:
Wednesday, April 15, Thursday, April 16 and Friday, April 17 at 8 p.m.
• Performances:
April 18 through May 25
Fridays, Saturdays and Mondays at 8 p.m. / Sundays at 4 p.m.

WHERE:
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:
$15 – $42.75
• Pay–What–You–Want starting at $15 cash at the door plus an additional $1.50 per ticket fee if purchasing online or at the door with a credit card.
• Early Bird tickets to Friday, Saturday or Sunday performances through April 3 (available online only): $20 plus a $1.75 credit card fee.
• Tickets to Friday, Saturday or Sunday performances purchased after April 3: $40 cash with an additional $2.75 fee per ticket if using a credit card.

CONTENT WARNING:
For Want of a Horse addresses mature sexual themes in an explicit (although non-graphic) manner and is recommended for ages 18 and up.

HOW:
EchoTheaterCompany.com
(747) 350-8066

 

DEATH OF A SALESMAN at A Noise Within

 In Chistopehr Bigsby's copious  introduction to Death of a Salesman, one quote stands out:  "When today fails to offer the justification for hope, tomorrow becomes the only grail worth pursuing."

Shades of Scarlett O'Hara but still Hope.

With ANW's pithy production of Richard III and Miller's ode to 'what might have been'.. these days in 2026 not only in The United States,but as well as in the World, we seem to have all reside on tenderhooks.   This review does not intend to delve deeply into an analysis of the play or the characters. The title says it all. That said.. this production hangs on the director, the scenic design and the performances. Director Julia Rodriguez - Elliott brings Arthur Miller's signature classic to life with simple strokes, allowing the story to unfold with her evenly selected cast.. 

As Willy Loman, Geoff Elliott offers passionate  braggadocio with fantastic hopes and dreams  in his nuanced interpretation of the Miller classic. Willy Loman is the Everyman who has worked like anything all his life partly on a shoeshine and a smile. Sales. Elliott  sells it  well.

On Frederica Nascimento's exquisite set: spare with the looming intrusion of the growing neighborhood , we are invited to imagine a simple home and other basic locations. Ken Booth's lights serve well.

As Linda, Deborah Strang, a favorite of mine and long time ANW  ensemble member, understands the pitiful devotion  that women of Linda's generation lived: resolved to a fierce adherance to the times.  The perfect helpmate. The ebb and flow of Strang's work from age sixty something to an earlier time in flashback is perfect.

David Kepner, Geoff Elliott,
Deborah Strang and Ian Littleworth
Photo by Craig Schwartz

As Biff (David Kepner) home again at the age of thirtythree, struggles and has struggled to 'find himself'.  In a flashback, Teen Biff ignores the coaxing of  Young Bernard (Kasey Mahaffy) who idolizes him, to study to pass a math exam in order to graduate and make the family proud  as a football hero at U VA. Biff fails. Kepner succeeds.

Younger borther Happy (Ian Littleworth)  has stayed at home working in a low level job.He's a City Slicker who almost teams with Biff for the Big Time. No luck there.

Attention has been paid to the Brooklyn accents that the cast works to achieve.  Though it was a distravtion for me.. Each was consistent.

I often like to mention supporting characters, as they are the seasoning that makes the play have substance.. "Substance" is what Willy longs for.    The Woman (Cassandra Marie Murphy) and Howard (Michael Uribes) and Miss Forsythe  (Dominique Razón) the work is solid.  Uncle Ben's (David Nevell)  bombast was bombastic.

Of the productions of Salesman that I've seen, this one is the most accomplished.  Elliott -Rodriguez's hand is light and gives the actors room to move.  

After the matinee, a very nice patron of the theatre asked me if I enjoyed the show?  Because of the nature of the play, I had to demure.  How does one 'enjoy' the story of what is eventualy, a failure?  I appreciate the work and you should, too. Empathy and sympathy for the players reach across the apron of the spare stage. Not a lot of laughs, but appreciation of the message, as sad as it is. See this play.

CAST

Willy Loman - Geoff Elliott
Linda Loman - Deborah Strang
Happy. - Ian Littleworth
Biff - David Kepner
Bernard -  Kasey Mahaffy
The Woman - Cassandra Marie Murphy
Charley - .Bert Emmett
Uncle Ben - David Nevell
Howard Wagner - Michael Uribes
Stanley - Jacob Cherry
Miss Forsythe  -  Dominique Razón
Letta - Rachel K. Han 

CREW

Scentic Designer: Frederica Nascimento Costume designer Angela Balogh Calin Lighting designer Ken Booth 

Sound designer and composer Robert Oriol Wig and make up designer Tony Valdés Poperties designer Stephen Taylor 

Fight choreographer KennethR.Merckx, Jr.; 

Dialect coach Andrea Odinov 

Intimacy coordinator Sasha Smith Dramaturg Miranda Johnson-Haddad. Stage manager Angela Sonner Assistant Stage Manager Samantha Millette

Press Representative for ANW:  Lucy Pollak

 

DEATH OF A SALESMAN

b y Arthur Miller 

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

March 22-April 19
Previews March 22 – March 27:
• Sunday at 2 p.m. / Wednesday, Thursday and Friday at 7:30 p.m.
Performances March 28 – April 19:
• Thursdays, Fridays and Saturdays at 7: 30 p.m. / Saturdays and Sundays at 2 p.m. (no Saturday matinee on March 28)

ADDITIONAL DATES:
• A one-hour INsiders Discussion Group will take place prior to the matinee on Sunday, March 29 beginning at 12:30 p.m.
• Post-performance conversations with the artists every Friday (except the preview) and Sunday, April 5.
• Student matinees are scheduled on select weekdays at 10:30 a.m. Interested educators should email education@anoisewithin.org.

 TICKETS:
• Tickets start at $41.75 (including fees)
• Student tickets start at $20
• Wednesday, March 26 and Thursday, March 27 (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:
anoisewithin.org
(626) 356-3100

 

GUEST REVIEW / FAIRVIEW : A FAIR REVIEW// AT THE MATRIX

From time to time a critic I know may opt to weigh in on a show that I have not been able to see.

///

For its first 25 minutes, FAIRVIEW--receiving its Los Angeles premiere Saturday night at Rogue Machine--seems a straightforward sit-com about a black family a la Tyler Perry. Overwrought mother preparing a "perfect" birthday dinner for her mother who is napping upstairs while the unruly clan gathers with all the attending chaos.  At a point, the pretense is suddenly broken and the sit-com format evolves  (explodes really) into a grab bag of ideas, inspiring thought about what it is to be black in the US,  gender fluidity--men playing women--, racial fluidity--white characters playing black characters--as well as THEATRE fluidity; reminiscent of many great free form jazz performances (with extremely tight choreography and cues) like THE ART ENSEMBLE OF CHICAGO. I wouldn't call it a "play" per se, but more of an experience--the choice for Rogue Machine to present I wholeheartedly support as someone who thinks this IS a valid direction for theatre to go in. Some of those choices are challenging, some amusing, some frivolous and some mystifying. The cloth is all there even if the suit doesn't quite fit in a normal fashion. Let's compare it to a flight when one of the airplane's engines suddenly goes out and you're not sure where (or if) you're landing. Wherever you end up, it certainly isn't going to be the destination you thought you were going to. But it's a fascinating and unexpected voyage. I never had that grim "this is three hours of my life I'll never get back" feeling as I sometimes do watching straighter (and more predictable) plays. The actors are all universally excellent and dedicated to the task at hand. As is the director Oz Scott. As is Rogue Machine as a producing entity.  Without that total commitment on all sides, this piece would not work. It's certainly a theatre Experience you won't have every day. 

A. Mutt 

March 16, 2026

BOSTON COURT.. OCTOPUS'S GARDEN

Puppeteers Zachary Bones, Perry Daniel, and Danielle McPhaul as Syliva

Boston Court Theatre in Pasadena.. I just learned.. may be the only local space built explicitly for intimate theatre.. at least in Pasadena.  For  Weston Gaylord's  Octopus's Garden, the intimacy of the space works.

FYI!!  Octopuses are ceophlopods.  A recent film points up that these denizens of the deep are highly intelligent and are mostly placid creatures with relatively short life spans. The Giant Pacific Octopus's cousin, the Giant Squid that terrorized Captain Nemo's Naautilus was my first up close and  personal encounter with a ceophlopod and that was scary.

 Over fifty years ago.. seems like Yesterday.. on the Abbey Road album by a British band I still remember.. Ringo Starr's  bouncy  little tune Octopus's Garden came to life.  That must be the origin of the title of this play.

When three bright factions of local theatre companies, Circle X with Otuside in and Boston Court band together to present an intriguing  production:  a world preimere, no less!..  that  turns on the lives of  two dedicated scientists Tara (Kacie Rogers) and Lars (Tim Cummings) and one talkative musician, Lucas (Vincent R. Williams ) the concept is delicious!   Three dedcated puppeteers (Zachary Bones, Perry Daniel, & Danielle McPhaul) manipulate Slyvia, the Giant Pacific Octopus. 

François-Pierre Couture's gorgeous set that includes a dedicated aquarium / tank encloses the star of the show. 

I more or less buy the basic premise: Sylvia composes a melody that is so rich and powerful that it affects the soul of anyone who hears it. Conversely, for Lucas, our composer, it sets the bar so high that any known music ever composed... essentially fails by comparison. A stretch.

Sadly, though I bought the idea that such a thing coild happen, I found the puppet presentation of Sylvia inadequte. Factor in the need to replicate the way that Sylvia created her first composition along with  intrigue that Lars may have nudged or fudged some scientific statistics in his need to keep the study of Octopuses a float, so to speak.. and the conflict of poor Luucas having lost his muse for cause.. and other pressing time issues? Try as we might, We are headed for a difficult resolution.

Karen Lawrence's lights  are subtle. 

The actors eventually settled into believable roles: the composer, the impatient scientist and the seasoned traditionalist.    These are dedicated actors.

Though Sylvia is certainly 'terrestrial', she is also about as Unworldlyy as one might imagine. There is a nice connection   between Tara and Lars with Sylvia.

For no other reason than the challenge of participating in the angst of conflicting ideolgies, one must see the play.  It's overly talky and the denouement, to me is superfluous.  The lesson?  We come and go and the relationships we care about may come and go, but the memory lingers on.

 

 CAST:

Tim Cummings as Lars

Kacie Rogers as Tara

Vincent R. Williams as Lucas

Puppeteers Zachary Bones, Perry Daniel, & Danielle McPhaul

---

CREATIVE TEAM

Director: Jessica Kubzansky

Playwright: Weston Gaylord

Puppet Designer/Puppetry Director: Emory Royston

Set Designer:  François-Pierre Couture

Lighting Designer: Karyn Lawrence

Sound Designer: Noel Nichols

Costume Designer: Wendell Carmichael

Props Designer: Nicole Bernardini

Dramaturg: Jen Kays

Stage Manager: Kat Haan

Assistant Director: Melissa Coleman-Reed

Assistant Stage Manager: Yaesol Jeong

Intimacy Consultant: Elizabeth Rainey

Sound Board Operator: Jonas Huffer

Casting Director: Victoria Hoffman

Photos by Brian Hashimoto

Octopus’s Garden

FEB 26-MAR 29, 2026

A World Premiere Co-Production with Circle X Theatre Co. and Outside In Theatre
by Weston Gaylord
directed by Jessica Kubzansky

 

 

 

ALL MY SONS / ANTAEUS GLENDALE

 There is a major challenge to write a reivew of a genuine American classic.. 

Artur Miller in each of his plays has found the voice of the times and the friction of the charactres and the situations that make for a strong production: the stuff of what a 'straight play' must be. Opening night is a trip.  Familiar faces; heavy duty talent on stage and in the audience makes it not just an evening of theatre,but an opportunity to share the energy that comes with people who know Miller and have high hopes.

Make no mistake, on entering the Antaeus space, the overwhemling presence of The Keller Home: At once industrial and elegant...  Enough to suggest the wealth and importance that Joe Keller has gained through Busienss, with intimidating lights:   dozens of scoops arranged right and left: the anthesis of the realism that the text of All MySons demands. The brilliant contrast  at first seems...  just wrong. 

Still the gravity of the times is undeniable. 

Antaeus is Glendale's Classic Theatre Company bringing one of Arthur Miller's most poignant and soul searching plays to the stage as Salesman and The Price also find curtain up in town  for spring.  The story of Joe Keller (Bo Foxworth) )  and his ragged road to manufacuring success  is filled with angst and passion.  How Joe's long suffering wife, Kate, (Tessa Auberjonois)  and their family deal with the loss of Kate and Joe's son, Larry in the war and how conscience and truth come along,  especially as  Kate comes to grips with the loss of her Larry  and the uncomfortable business of how their son, Chris (Matthew Grondin ) brings to the surface old hurts with his love of 'Larry's girl" Ann (Shannon Lee Clair ). moves a pace.

We are in Ohio. Post WWII . Maybe 1948? 

Men are home and regaining their lives. Chris confesses issues with his loss of soldiers and his love of Ann.  Truth be told? His personal ethic is supportive and kind. His philosophy contrasts Joe's practical / survival  outlook.

ok

Truth

Bo Foxworth and Tessa Auberjonois. Photo Credit: Craig Schwartz Photography

 Opening night  delivers high high energy. It's inevitable and as the play moves on, we find the humanity in each of these fundamentally American characters.

As Kate clings to her illusion that son, Larry, is still alive, we meet Frank (Johnny Patrick Yoder), a sincere and slightly loopy neighbor who is preparing Larry's horoscope to determine if the day he may have died was his "good day." 

Frank is ridiculed by Jim (Bryan Keith), slightly whipped by his dumpling wife , Susie,(Cherish Monique Duke). The put down is succinct. 

The beauty of Arthur Miller's characters is that the humanity of each story is absolutely clear. We have a breather now and then, right down to the brief expositoon that includes a well mannered kid, Bert (ramrod straight Brooklyn Bao) who can't say bad words and the  unhappy arrival of Ann's brother, George (Michael Yapujian... more nervous than nervous). Revelations slowly emerge  as the  mystery that everone, evidently, has known all along, come to light. A brief scene with Frank's wife, Lydia (Erin Pineda), is remarably poignant.

The looming presence of the Keller Home  stylized by Fred Kinney with the blatant intrusion of Andrew Schmedake's lights is mellowed by teriffic period costumes by Wendell Carmichael

It's  a well done peridod piece.  Diversity casting with Jim and Susie works perfectly. It's an Arthur Miller play and the expectations of deep roots for every character are each brought to life by the well tuned ensemble.The symbolism of schock and awe boosts the dramatic tension: sound and lights.

It's something that Mr. Miller might cluck a bit at  with the exposed tech, but would probably agree with me that the production is solid and as it catches its breath should enjoy full houses and discussions regarding the balance of commerce and humanity. 

And, humbling quality of Truth. 

Jeff Gardner's original music and sound are sprctacular.

And.. I realize that by not initially metioning the name of the director, Oánh Nguyễn, that their work has been invisible.. as it should be. 

Good Show.

 

 Production Team:

Director: Oánh Nguyễn
Scenic Designer: Fred Kinney
Costume Designer: Wendell Carmichael
Lighting Designer: Andrew Schmedake
Original Music & Sound Designer: Jeff Gardner
Props Designer: John McElveney
Intimacy & Fight Choreographer: Shinshin Yuder Tsai
Production Stage Manager: Talya Camras
Assistant Stage Manager: Jessica Osorio
Assistant Director: Shinshin Yuder Tsai

Cast:
KATE KELLER: Tessa Auberjonois
BERT: Brooklyn Bao
ANN DEEVER: Shannon Lee Clair
SUE BAYLISS: Cherish Monique Duke
JOE KELLER: Bo Foxworth
CHRIS KELLER: Matthew Grondin
DR. JIM BAYLISS: Bryan Keith
BERT: Aarush Mehta
LYDIA LUBEY: Erin Pineda
GEORGE DEEVER: Michael Yapujian
FRANK LUBEY: Johnny Patrick Yoder

ALL MY SONS by Arthur Miller

Antaeus Theatre 

Broadway

Glendale, California 

Buy Tickets Here: https://ci.ovationtix.com/35088/production/1258492

When:

Previews: February 22 – 27

Performances: February 28 – March 30, 2026
Fridays at 8pm: March 6, March 13, March 20, March 27
Saturdays at 2pm: March 7, March 14, March 21
Saturdays at 7pm: February 28 (Opening)
Saturdays at 8pm: March 7, March 14, March 21, March 28
Sundays at 2pm: March 1, March 8, March 15, March 22, March 29
Mondays at 8pm: March 9*, March 16**, March 23, March 30 (Closing)

*After Words: A casual post-show discussion with Artistic Director Nike Doukas, exploring how the show resonated, raising new questions, and continuing the conversation.

**Meet the Artists: A post-show conversation with the actors, where they share insights, behind-the-scenes stories, and answer your questions

 

ANN NOBLE AS RICHARD III A Noise Within

 

Ann Noble
Photo by Craig Schwartz

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

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

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

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

Diversity works.

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

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

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

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

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

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

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

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

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

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

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

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

Cast

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

CREW

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

Gianmarco Cardenas
Deck Crew:
A1   Christopher Bosco 

RICHARD III by 

William Shakespeare

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

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

anoisewithin.org
(626) 356-3100