Stalin's Master Class at the Odyssey

David Powell's  "Stalin's Master Class"

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

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

https://tinyurl.com/7z3c7s6z

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

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

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

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

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

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

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

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

 

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

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

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

Cast: 

Prokofiev (Jan Munroe) 

Shostakovich (Randy Lowell )  

Stalin (Ilia Volok) 

 Zhdanov (John Kayton),

Crew:

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

Michael Redfield
Pianist Nisha Sue Arunasalam
Stage Manager Jennifer Palumbo*

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

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

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

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

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

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

GRT present "CAN'T LIVE WITHOUT 'EM"

 

 

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

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

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

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

 

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

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

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

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

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

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

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

 CAN’T LIVE WITHOUT ‘EM

World Premiere Play 

Written by Lee Redmond

 

April 11 – May 12, 2024

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

Lonny Chapman Theatre - Upstairs at GRT (Second Floor)

10900 Burbank Blvd., North Hollywood 91601

Thursday, April 11 at 7pm – Opening Night

 

Saturday, April 13 at 4pm

 

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

 

Thursday, April 18 at 7pm

Saturday, April 20 at 4pm

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

 

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

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

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

 

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

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

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

 

Thursday, May 9 at 7pm

Saturday, May 11 at 4pm

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

 

 

. 

Monsters of the American Cinema at RMT at The Matrix

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

so far.

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

 

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

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

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

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

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

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

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

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

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

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

Creative Team: 

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

Monsters of the American Cinema

Written by Christian St. Croix

Directed by John Perrin Flynn

Produced by Lexi Sloan

A Rogue Machine Production

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

ROGUE MACHINE (in the Matrix Theatre)

7657 Melrose Ave, Los Angeles, CA 90046

(Street parking)

Opening: 

8pm on Saturday, April 6, 2024

8pm Fridays, Saturdays, Mondays, 

3pm Sundays through March 4, 2024

(no performances on April 8 and May 13)

Closing: May 19, 2024

For reservations 

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

Previews $25

General Seating: $45

Seniors: $35

Students with ID and children under 18: $25

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

Mc Donagh at the Broadwater The Pillowman

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

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

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

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

Kimberly Demarse  Steven R. O'Brian

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

High energy prevails.

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

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

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

The Pillowman is a very long play.  Arrive early.

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

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

 

CREATIVE TEAM

Playwright – Martin McDonagh

Director – Brian Allman

Producer – Ektelo Theatre Group

Publicity - Sandra Kuker PR (Sandra Kuker-Franco)

Set Design – Daniel T. McCann

Lighting Designer – Andy Nevarez

 

CAST

Steven R. O’Brien – Katurian

Daniel T. McCann – Tupolski

Paul Ian Stanley – Ariel

Kimberly Demarse – Michal

 

VENUE / PERFORMANCE SCHEDULE

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

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

Sunday, April 7 & 14 at 3pm

Tickets:  $35. Running Time: 145 minutes. 

Link to tickets:   

 www.onstage411.com/ pillowman

A FROGGY BECOM AT OPEN FIST

 Open Fist!!  

A cotton candy color scheme with a huge puppet  is an approach  to an examination of teen angst, science, sex  and stuff. 

It all rolls out in Becky Wahlstorm's  "A Frggy Becomes".

What I love about The Open Fist Theatre Company is that what they choose to put up is almost always a surprise and an example of how theatre is supposed to work.  It informs and challenges our perceptions of the craft: of Theatre.. note the capital "T."  Producer, Martha Demson's tastes are eclectic and with this choice,  it's a challenge.  

When the lights go down and the curtain speech comes from a recorded voice directing the audience to safe exit,  "just in case".. the simplicity of Jan Munroe's scenic design .. a pastel staircase and some area lighting, invites us to The Nineties?  Did The Bangles and Madonna rule our senses?  Was young love a mixed bag of boyfriend/girlfriend/just friends or friends with benefits?

Bumpy  Gritts, enthusiastic Sandra Kate Burck, opens the show directly through the fourth wall with  all her seventh grade vigor. Volume at ten and escalating! Her energy of youth, while hounded by her Ogre (Peter Breitmayer) dad: a huge disgusting, farting,  belching puppet, to "Bring Beer!" and berated by her older brother, Pauly (Bradley Sharper), we are off and running. The play is an over the top celebration that elevates the angst and adventures of being in junior high with the 'social popular kids' and the nerds all on hand with what may bave been for everyone in seventh grade a damderous  (sic)  dangerous right of passage.

The title of this heavy handed romp "A Froggy  Becomes"  must have come from playright, Becky Wahlstrom's  padlocked diary with a velvet cover. chronicled in  the late past century.  Every cliché event, jealousy and teen adventure is remembered with a sordid side story of unhappy marriage.

"A Froggy Becomes" takes a lwhil  to emerge as Bumpy's school science project. It explains the life cycle of an amphibian from egg to tadpole to frog... froggy... with the dangers of not "Looking Up" in order to escape the situation that may be holding you down rumbles and tumbles and unites us, at once mourning the passing of eight pooped out tadpoles all dried up and sticking to the sides of a steel bowl. Ick!

But!!? That One Lucky Guy/Gal/It: That little Froggy Emerges!  The One That Got Away! may make it to Eighth Grade where the Juices of Life are chomping at the bit...  

Ready to explode! 

Mihael Lenahan Peter Breitmayer Jenny Graham, photographer

 Fast paced and loud and filled with energy enthusiastically echoed by a home town crowd, the show serves up a snack with some underlying Truth that every frog in the world. every self anointed  Frog Prince or Frog Princesses  may take a lesson from:  

With any luck, we evolve.  We use the episodes of our lives to make sure that our next steps are.. at least.. awake  as Life and The World are stading by.

The energy in this show would generate a thousand points of light.. to coin a phrase.  It is a celebration that recalls for almost every person over the age of  thirty who lusted and longed for twirly kisses and.. boobs?  and Love..  a special time.

 The introduction of the Love that Dare Not Share Its Name.. (not That One.. Another One) seems oddly misplaced, but Munroe's tryst facilitating outhouse is worth the price of admission.  

Thanks to director Pat Towne, every actor is fully engaged and as disgusting  as  Ogre  (designed by Joe Seely),  may be.. he stops the show at least once with A Look through the fourth wall that is really a LOOK!  Kudos to the black clad kuroko (uncredited?) for essential and enthusiastic work.

 Cast:

Sandra Kate Burck plays Bumpy Diggs
Bradley Sharper plays Pauly Diggs (Bumpy's slightly older brother)

Johanna McKay plays Mother (Bumpy's mom)

Peter Breitmayer plays Bumpy's Dad - the Ogre (he is inside)

Carmella Jenkins plays Rita Miller - Bumpy's Best Friend

Tom Sys plays Allen Pokay - Most popular boy in 7th grade, Bumpy's crush

Kyra Grace plays Karen Simigliano - Most popular girl in 7th grade

Kyle Tomlin plays Pat Sweeney - a classmate

Mihael Lanahan plays Father Angelo (priest) & Mr. Luper (Teacher)
Deandra Bernardo plays Tiffany Jankowski - a classmate
Ana Id plays Tiffany's Cousin

The creative team for A Froggy Becomes includes scenic designer Jan Munroe, costume designer Mylette Nora, lighting designer Matt Richter, sound designer Marc Antonio Pritchett, prop masters Bruce Dickinson and Ina Shumaker, and puppet designer Joe Seely. The production stage manager is John Dimitri, and the assistant director is CJ Merriman. Produced by Martha Demson.

 

FROGGY BECOMES

 by Becky Wahlstrom
Directed by Pat Towne

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

Performances: March 9–April 13
• Fridays at 8 p.m.: March 8 (preview); March 15; March 22; March 29; April 5; April 12
• Saturdays at 8 p.m.: March 2 (preview); March 9 (Opening Night); March 16; March 23; March 30; April 6; April 13
• Sundays at 7 p.m.: March 3 (preview); March 10; March 17; March 24; March 31; April 7

 

TICKET PRICES:

●     All performances except previews:

o    General Admission: $30

o    Seniors/Veterans: $25

o    Under 30: $20

 

Tickets and information: 

:
- www.openfist.org; (323) 882-6912; oftchouse@gmail.com
- https://www.facebook.com/openfisttheatre; https://www.instagram.com/openfisttheatrecompany

 

 

 

FATHERLAND AT THE FOUNTAIN EXTENDED : MAY 26, 2024

 Preface to the review.. The following is a statement from playwright Stephen Sachs regarding his play FATHERLAND.  It has a ring of truth.  It's important. Art can change the course of history.

"FATHERLAND erupts from the core of our artistic mission, embodying what the Fountain Theatre strives to provide. Explosive new work that speaks to the urgency of our time. It is fitting that this play, dramatizing the true story of a father and son at war with each other’s worldview, is my last directorial work at the Fountain. A cautionary tale blending politics, moral struggle, and family conflict, FATHERLAND is a warning cry bringing home what’s at stake in this election. The future of our nation teeters before us. It’s our duty as artists and voters to engage.

FATHERLAND conceived and written by retiring Fountain Theatre artistic director Stephen Sachs  reaches deep into the debacle of January 6, 2021 when a group of supporters of the former 45th president, fueled by frustration, half truths and outright lies,  responded to the clarion call of  their president.

 Sachs calls his creation 'verbatim theatre':  an apt term as the basic story is taken word for word from court transcripts from the trial of the fifty year old "Three Percenter" from Wylie, Texas.  We never hear the names of anyone.  The story turns on how a basically good guy finds himself in thrall  with "The Art of the Deal" "written" by the former president and how his fascination with ex45 engulfs and virtually destroys his family.

Ron Bottitta and Patrick Keleher
Photo by Jenny Graham

In this tight full length one act we meet Patrick Keleher  as Son, the kid from Wylie, Texas  who was moved to stand up for truth, justice and the American Way.  Son is conflicted  as to whether or not to report the dangers of rebellion that his  Father (Ron Bottitta) poses.  Keleher is new to the LA theatre scene, a savvy kid from Colorado whose first job on stage at the Fountain may lead to a career.  

Bottitta brings his physical heft and intense focus to this role and presents, in a chilling and honest way the sad mess that Father has allowed himself to become. This guy is not only a threat to the government of the United States but to his own family.  

The lauguage that this nineteen year old kid commands is articulate in the face of testifying against his own father. Son's actual words.. are chilling.

As the United States still suffers from the aftermath of January 6, 2021 and a wobbly election rises on the horizon. this production dives directly into the heart of how our deeply held beliefs,  obviously "Truth" to some, like staunch evangelicals, there are those who deny the 'obvious'.  As the U.S. Attorney, Anna Khaja, proceeds coolly and directly, step by step to guide the trial to its inevitable conclusion. 

In stark contrast to Khaja's level demeanor, silver haired Larry Poindexter as Father's Defense Attorney attempts to  poke holes in Son's story.  His delivery is erratic. In his enthusiasm to rattle Son, he becomes more of a desperate bully than  an actual Defense Attorney. 

This is an unusual polemic in that there are still thousands of those of the Three Percenter ilk who , as Father shouts before the final gavel, Thousands who are waiting in the wings and ready.  As the former president once said.. paraphrasing: "Stand back and Stand Ready..." 

My own political views color my reaction to this well craftd piece, Having watched.. .. dumbstruck.. on January 6, 2021 the surreal turn of events, I am wondering how these folks can justify an act of sedition by a sitting president: juiced by "patriotism", adrenaline and maybe Xanax and booze.. to  still deny what is obvious to most folks I know. Their   aim to install a self proclaimed dictator (for a day??) in the highest office in the land is beyond comprehension.

This is a Must See Event. It surpasses what we call Theatre to hear the actual words of the participants.   Simple stage setting by Joel Daavid and lights by Alison Brummer combine with some terrific special effects to create an extraordinary production.

CAST

Ron Bottitta         Father
Patrick Keleher    Son
Anna Khaja*        U.S. Attorney
Larry Poindexter  Defense Attorney

CREW:

The creative team includes scenic designer Joel Daavid; lighting designer Alison Brummer; sound designer Stewart Blackwood; costume designer Danyele Thomas; properties designer Jenine MacDonald; and graphics designer David Mellen. The production stage manager is Sati Thyme. Barbara Herman is executive producer; Dr Robert G Meadow and Carrie Menkel Meadow are producers; Simon Levy and James Bennett produce for the Fountain Theatre.  

 FATHERLAND 

Conceived and written by Stephen Sachs

Directed by Stephen Sachs

The Fountain Theatre 

5060 Fountain Ave.
Los Angeles CA 90029
(Fountain at Normandie) 

Performances: Feb. 25 – March 30

EXTENDED TO MAY 26, 2024

• Thursday at 8 p.m.: Feb. 22 (preview) ONLY
• Fridays at 8 p.m.: Feb. 23 (preview); March 1, March 8, March 15, March 22, March 29
• Saturdays at 8 p.m.: Feb. 24 (preview); March 2, March 9, March 16, March 23, March 30
• Sundays at 2 p.m.: March 3, March 10, March 17, March 24 (no matinee on Feb. 25)
• Sunday at 7 p.m.: Feb. 25 (opening night) ONLY
• Mondays at 8 p.m.: March 4; March 11; March 18; March 25 (dark Feb. 26)

Ticket and Information:
(323) 663-1525 or  

www.FountainTheatre.com 
 

ICT Long Beach presents 'MARILYN, MOM AND ME"

 A World Premiere is always exciting.  

caryn desai (sic) is an artistic director I have admired for years.  Internationl City Theare's gorgeous space is an important adjunct to the big guys in Los Angeles. 

Brian Rohan, Alisha Soper. Laura Gardner
Photo by Paul Kennedy

Luke Yankee directs his own play "Marilyn, Mom and Me."  A writer directing his own work is an idea that I resist. This is an autobiographical story. a personal memoir Yankee says is mostly true.. My personal bias  notwithstanding, I find it an interesting piece of theatre even as directed by the author.

Yankee's premise turns on his sainted mother, actress, Eileen Heckart and her friendship with the mysterious blonde: Marilyn Monroe.

In the 1956 film version of William Inge's "Bus Stop," Yankee's mom, Eileen (crusty Laura Gardner)  plays Vera, a waitress. Marilyn (Very Marilyn! Alisha Soper)  as Cherie is a singer in the joint..  How actors unite to create the illusion of any story is a challenge. As   Yankee brings it to life, we begin as Luke (Brian Rohan) slips in the back door, so to speak,  with a goal to record his mom's personal memories of Marilyn.   Reluctantly, Eileen   warms to the idea that everyone has begged her to share for years. 

Luke presents his story: sharing the love and conflicts  of a gay son and his  troubled mom as the truth unfolds. 

The structure of the piece plays out in a mostly presentational way.  We are greeted by an essentially bare stage with levels that conceal props in little cubbies. A clever devise. A couple of bent wood chairs and huge projections upstage delineate where each scene takes place.  This device puts the weight of the show on the shoulders of the actors. Mostly, they succeed.

With the actors, it's a mixed bag. As Luke, Rohan's performance is all acting. It falters with the challenge of presenting his character at different ages. This is a difficult chore for anyone.. as cute as a grown man in jammies to depict his very early age.. he's still a really big guy in jammies acting like a child. In one scene after watching Luke in a production of Cameot,  Eileen lays her copious notes on the young actor. It is devastating and uncomfortable.  Herckart was a tough broad.

As Eileen, Ms Gardner plays it close to her vest  with strong personal moments as we anxiously anticipate the arrival of 'Her!"  "They all want to know about Her," says Eileen.. Make no mistake when SHE arrives, though I might quibble with Ms Soper's Marilyn voice a little bit, her Marilyn is a gorgeous ringer for the "most beautiful woman in the world.."  

The bond between Eileen and Marilyn takes its time and the connection becomes genuine. 

 I encourage you to travel to Long Beach to see this play... However,  I must mention that the title, "Marilyn, Mom and Me" emerges toward the end of the show. Just when I thought the performance  was over,  It was not.  Yankee presents Luke in a denouement  a beat or two too long.  To discuss it would be a spoiler and though disappointing to me, the audience stood to applaud Yankee's unique memoir.

Plan a day in Long Beach. check for blocked streets and construction!!    Skip Islands for a meal!

The supporting cast, doubling is okay.  The audience is called upon to do some of the work. Kim DeShazo's costumes for Marilyn are spectacular.

 
CAST:

Marilyn Monroe: Alisha Soper
Eileen Heckart: Laura Gardner *
Luke: Brian Rohan *
Ella Fitzgerald/ Rosetta/ Paula Strasberg: Jacquelin Lorraine Schofield *
Joshua Logan and others: Noah Wagner

The creative team for Marilyn, Mom & Me includes set designer Dan Volonte, lighting designer Donna Ruzika, costume designer Kim DeShazo, sound designer Dave Mickey and prop designer Patty Briles. Casting is by Michael Donovan, CSA and Richie Ferris, CSA. The production stage manager is Don Hill.  

MARILYN, MOM AND ME

Written  and directed by Luke Santee

 

Marilyn, Mom & Me runs Thursdays, Fridays and Saturdays at 7:30 p.m. and Sundays at 2 p.m., February 16 through March 3. 

Two preview performances take place on Wednesday, Feb. 14 and Thursday, Feb. 15, both at 7:30 p.m. 

Tickets are $49 on Thursdays, Fridays and Saturdays (except Friday. Feb. 16, opening night, for which tickets are $55 and include a post show reception), and $52 at Sunday matinees. 

International City Theatre is located in the Long Beach Convention & Entertainment Center at 330 East Seaside Way, Long Beach, CA 90802