NEIGHBORS: TAKE TWO

In the sixties Lenny Bruce taught society about freedom of speech and the power of language. His iconic routine, especially germane to Neighbors, where he directly addressed his audience and in jazz rhythms pointed to “a spic and a wop and a kike and nigger… a mick and a wop and a honky…” defused these epithets into simply utterances that some people use to try to defame others. The defamation is in the intent, not in the words and the playground retort, “I know you are but what am I?” and “I’m rubber and you’re glue. Bounces off me and sticks on you!” seems right to me.

Michael McClure broke ground in a big way theatrically with his play, The Beard, which was busted continually in the San Francisco area and then moved to Los Angeles where similar charges for obscenity were leveled at the actors. One account says that at the performances in L.A. there were two standing ovations, one at the end of the show and one as the actors were hauled away to be booked. McClure’s poetry and other bizarre plays, including works done at The Company Theatre in Los Angeles: The Meatball, Spider Rabbit, The Authentic Radio Life of Bruce Conner and Snoutburbler and later The Beard with Dennis Redfield and Trish Soodik and Pink Helmets, pushed the envelope… rather destroyed it vis a vis what theatre is all about. McClure, along with Alan Ginsberg, who had his issues with “obscenity”, sat at the forefront of avant garde poetry in the San Francisco area. Their loopy and succinct approach to art is what, to me, is vital to bring audiences to a state of not just simply being entertained. The polemics of Ginsberg and McClure along with a host of radical artists, including the San Francisco Mime Troupe (still active after more than fifty years of politically charged satire touring parks around the country) have and had the goal of shaking the Establishment. That’s what Neighbors does.

Passing the rough language in Neighbors, the behavior of the characters, both the cartoon Crows and the straight arrow Pattersons, reflects something deeper. It has to do with living a good life. A true life. The two dimensional Crows are not simply burlesques of black actors playing black minstrels in black face. The edge of the darkness that Jacobs-Jenkins imbues in the Crows is more. It’s a call to consciousness for anyone who can sit through the barrage of stuff he discusses in the play. American Society is slowly coming around and we still find ourselves smiling because at the time we didn’t feel that we were demeaning anyone by enjoying Eddie “Rochester” Anderson on the Jack Benny Show (indeed, Rochester was never really the foil, was he?) or Butterfly McQueen’s famous line “I don’t know nothin’ ‘bout birthin’ no babies!” But prejudice is not just skin deep. It’s to the bone and shall be until we become color blind. To that end, perhaps, Neighbors is divisive. As I’ve said.. we may think we are not prejudiced, but the discomfort that rises like bile as the show progresses is real and that may be Jacobs-Jenkins’ goal. Just to make sure that no matter how great we feel having elected a black President (well, half black) and even folks like Condoleezza Rice and Colin Powell rising to international importance, the lines of color are still within us. Martin Luther King was a hero and a martyr for a cause, but the lines of color still mark our division.

The beauty of this play is that as soon as one accepts the stereotypes: both the Crows AND the Pattersons, the foul language becomes almost incidental. What the play points out, at least to me, is that as we define ourselves, so shall we be. Or, hope to be?

What Neighbors must do for every audience who sees it is, when it comes to the final curtain, is to shake them from complacency. To do work as an audience or as an individual is not what most of us expect to do. We like things wrapped up in neat little packages. We expect a climax and then a dénouement. In the final scenes of Act II, Richard’s explosion rocks the house and not in a good way. It becomes the catalyst for the final confrontation and unfortunately.. or maybe fortunately?, resolution is left pretty much up to the audience. It’s work. Work that needs to be done. And, that does not mean that any two audience members will have the same reaction.

Stay for the video directed by Spike Lee in the lobby.

NEIGHBORS: A PLAY WITH CARTOONS!

NEIGHBORS...
at The Matrix on Melrose.. a tight little space with three rows and a broad stage.. The play turns on an upwardly mobile family in a sort of Stepford neighborhood.. Little boxes on a hillside that mirror one another in a perfectly bookmatched patchwork. Stage Right an empty space waiting to be occupied. Stage Left a sort of kitchen where The Pattersons live. John Iacovelli’s set, tinted in Diebenkorn pastels, announces nothing out of the ordinary, fraught with sameness. We are lulled into the notion that it’s safe here. Nothing could be further from the truth.

My lead line for this piece kept changing. “If you think you are Liberal, think again.”

“If you think you are not prejudiced, think again.”

“Led down the Garden Path, then bitchslapped… hard!”

None of these do justice to the brilliant writing the young black playwright, Branden Jacobs-Jenkins, brings to the stage. It’s important that we know he’s black because white folk can’t say nigger and get away with it. They can’t portray a bawdy stereotypical Negro family of profane minstrels, ready to rub your face in the stuff of hundreds of years of struggle. But, Jacobs-Jenkins can and does. It’s poetry that ranks with Genet and Beckett.

Richard Patterson, (brilliant Derek Webster) a forty-something black adjunct theatre history professor wants… really needs, to gain a full time teaching position. His beautiful Caucasian wife (remarkable Julia Campbell) and gorgeous fifteen year old daughter (lithe Rachae Thomas) live their lives in a neighborhood where it's taken a year for them to be accepted. And now... BAM!.. the house next door is sold to a troupe of traveling players.. each and all stereotypical black folks.. “Niggers!” exclaims Richard because he’s black and he can use that word...

It’s the Crow Family: Mammy, Zip Coon, Topsy, Sambo and Jim, young Jim Crow! All in minstrel black face, they spout stereotypical black euphemisms. Loud and raucous, every member of the family wears an under taste of anger, except for Jim (talented James Edward Shippy) who, though also in black face, seems less angry and says that he doesn’t want to be just like his Daddy, now departed this fair Earth going on a year. The plan is to make a comeback with their show. It’s been a year since Daddy Crow died.

Mammy (superb Baadja-Lyne) in Aunt Jemima drag, runs the troupe with an iron hand, supplemented broadly by Zip Coon Crow’s (slick Leith Burke) slap stick and Steppin Fetchit moves. Sambo (ghetto tough Keith Arthur Bolden) reeks of rap, attitude and muscles. Naila Alladin Sanders’ costumes are works of art.

Topsy (an amazing Danielle Watts) enters, Buckwheat hair in raggity bows, dumping her box full of white baby dolls, (which may be Jacobs-Jenkins’ prediction for the future?) mooning and charming the audience with anything but innocent burlesque.

Jean looks out her suburban window and relishes the diversity that is coming, while Richard feels threatened, perhaps having overcome his blackness. With years of effort, his perfect speech and specialty in ancient Greek drama must place him on a higher social level that those people.

The plot: surreal… the issues: real and damning; profane and pornographic bracketed by frightening truths about our own prejudices and the 'race situation' in this country, sounds a wake-up call for not only our society, but for the world. As fear and antipathy insidiously provoke confrontations not only between the races, but religions; the people and the government, the military, law enforcement, the truth is that we must find a way to harmony in this current ever divisive atmosphere.

Jacobs-Jenkins’ lesson arrives on many levels. Shock for the sake of shock, not mildly profane, but deliberately pornographic becomes only slightly balanced as Topsy breaks the fourth wall to address the audience and in Josephine Baker bananas, steps into an interpretive dance that lets us know there’s more to her than silliness and mooning.

Nataki Garrett’s unobtrusive direction keeps the action moving until the final scene, the ultimate moment, that at once pits the mirror images of Zip and Richard, the nigger and the colored man, against the final tableau: the confrontation of the Crows.

Not for the faint of heart.

Publish Post

NEIGHBORS (A Play with Cartoons)
The Matrix Theatre
7657 Melrose Ave.
Los Angeles, CA 90046
Thursday through Saturday at 7:30PM
Sundays at 2:30PM
Through October 24, 2010
Tickets: $25.00
323 960 7774
www.plays411.com/neighbors

C A L L TO A C T I O N!!!

The Los Angeles Municipal Art Gallery in Barnsdall Park is scheduled to be privatized at the end of 2010!

The City of Los Angeles, in an attempt to save money has sent out a request for other organizations to take over the Gallery. Current rumors indicate that MoCA may be in line for the job. The imminent firing of the current staff as well as the disturbing prospect of the somewhat elitist attitude of MoCA when it comes to exhibiting 'high art' taking charge is appalling.

LAMAG has been the refuge for new and burgeoning artists in Los Angeles for over forty years. Their egalitarian approach to showing art ranging from avant garde to more traditional works has been appreciated and taken advantage of by hundreds, if not thousands of local artists and in my opinion, this should not change.

Please take time to call or write to Mayor Anthony Villaraigosa, 200 North Spring Street, Los Angeles, CA 90012 to voice your concerns and make suggestions. Councilman Tom La Bonge represents the Barnsdall area and he may be reached at the same address.

Do something!

Often I have discussions with a good friend who has issues about the world and I ask her, "What can I do?" My answer is to get involved with the things we actually care enough about and to simply do something.

If you care about the arts in Los Angeles, let your voice be heard and ask friends, artists, actors, producers, directors... everyone... anyone who may lift a voice.. to speak up and let the City know that this vital resource should remain under the aegis of the Department of Cultural Affairs and remain a bastion of hope for Art in Los Angeles. Or, at least remain a truly MUNICIPAL ART GALLERY and retain curatorial staff.

Please call or write the Mayor and Councilman La Bonge to voice support for the Gallery. Write op ed pieces and send letters to the editor of The Times. It's the People who need this space and if MoCA or some other 'high art' organization takes it over, the opportunity for local artists to show their work will be diminished in a major way.

Check the link below for your local council person.

http://www.lacity.org/YourGovernment/CityCouncil/index.htm

Pass it on! Please! and DO SOMETHING!!

Michael Sheehan

Great Greater Greatest

GREATER TUNA by Jaston Williams, Joe Sears and Ed Howard, aptly directed by Guilford Adams currently playing at the picaresque Sierra Madre Playhouse is if nothing else, a crowd pleaser. It’s the sort of romp that community theatre loves to embrace and without a doubt, it’s embraceable.
Greater Tuna opened almost thirty years ago and has been a staple in ambitious little theatres ever since. Sierra Madre’s down home take on Tuna, Texas is a basic peek into the odd goings on in a teeny tiny Texas town. Featuring Dustin Fasching (Left) and Justin Baker (Right) (Photo by Donald Songster) playing every single part: men, women and an occasional dog, the show moves apace, as it should. The fun, of course, is in the challenge for each character to enter and have a scene while the other is madly changing costumes off stage. Baker and Fasching, brought their dressers Carrie and Melissa Flores on for the curtain call! It would be tough to accomplish the illusion without them.

Set in sundry locations in and around the Greater Tuna area, thus the name of the show, at rise we meet an unlikely pair of radio guys reporting the local news of the day, only to realize that they have failed to actually go on the air. The connections between all of the characters evolve slowly and the jokes are not subtle. The fun is in seeing these two talented actors switch characters at the drop of a hat and the donning of a wig and a dress. In a dress, Baker’s leg are impressive.

It’s tough to do an actual review of a show like this because it’s all in good fun and the nudge and the wink are built in. How the two actors keep track of where they are and at the same time keep a straight face while nicely defining each oddball character is terrific.

Dining near the theatre is diverse and it’s worth the trip up the hill to find a simpler time and place. Picaresque says it all.

GREATER TUNA
Sierra Madre Playhouse
87 Sierra Madre Blvd.
Sierra Madre, CA 91024

Reservations or Information:
626-355-4318
info@SierraMadrePlayhouse.org
Through September 25, 2010

PARASITE DRAG

Parasite Drag..

When I received the invitation to this show, I imagined a leech in high heels and big hair. In fact parasite drag is an aeronautical term that has to do with anything on an aircraft that doesn’t contribute to lift. How this relates to the troubled story of Gene Brown, a weak man with a strong Christian faith (Robert Foster) and his invasive brother, Ronnie (intense Boyd Kestner) from whom he’s been estranged for years, and the bonding … in a way of Ronnie’s wife, Susie (lithe Agatha Nowicki) with Gene’s spouse, Joellen (Mim Drew), is at best obscure.

Written by Mark Roberts and well directed by David Fofi, the acting makes more of the text than the play itself delivers. In the first act we encounter Gene and Joellen attempting to resolve a situation that has left Gene with a black eye and Joellen rationalizing how she inflicted it. The Elephant Theatre Company’s program features a woman running, it appears, toward a funnel cloud with the text “Past is Prelude’ included in the image. References are made to storm warnings as the play advances and it seems that there’s no end to the troubles about to erupt within this anxious family.

Gene and Ronnie’s sister is a victim. Currently, in the hospital after years of drug abuse and living on the streets, Ronnie appears with Suzie, his equally tough and unsophisticated wife to begin to stir old passions. Ronnie does not share Gene’s devotion to the Lord. Resolution for past issues is on the table, but the ability to do something about them is, at best, difficult.

My first impression of the first act brought the cynical notion that Parasite Drag was Virginia Woolf meets Mama’s Family. Roberts was executive producer on Two and a Half Men and is currently producing another sitcom for CBS. The feeling of television pacing is not necessarily a bad thing, but it seemed evident. It’s not until the second act, though some gratuitous sex at the close of Act One brought a chuckle from the audience, that exposition lets us know the terrible things that the Brown kids have had to endure. How one went to Christ and the other to the Devil is revealed. The essence of the last scenes between Joellen and Susie and then an angry encounter between the brothers parallels the impending storm. These powerful scenes may be worth the effort of enduring the first act. Playwright Roberts is not an Albee, but the energy Fofi draws from his actors in the final scenes is powerful and revealing. Interpretation of the final moments of the play is up for speculation, as eight millimeter home movies unspool and everything goes dark.

PARASITE DRAG by Mark Roberts
Elephant Space
6322 Santa Monica Boulevard (just west of Vine)
Hollywood 90038
Thurs – Sat at 8PM
Thru September 18, 2010
Call (213) 614-0556, or reserve online: www.elephanttheatrecompany.com
$20 Top

FIFTY CHAIRS

On July 31, 2010 Vlatka Horvat spent the entire day in the Los Angeles River with fifty chairs.

She started at nine in the morning and with only brief breaks, moved the chairs around the thirty thousand foot space where the River flows under Fletcher Avenue near the 2 Freeway. Throughout the day, on-lookers watched from the bridge or wandered down to the River’s edge as Vlatka created pattern after pattern with blue skies, swifts and egrets for company.

Julie Deamer of Outpost Contemporary Art sponsored the installation with a reception in the burgeoning art district developing in China Town.

Every cliché one can think of has been uttered about art at one time or another. To call Horvat’s performance an installation; her installation a performance, performance art or by any other name, is to diminish it. The Work was in the moment. For one short day in July the art was mostly in the artist who generously included appreciative patrons warmed by a perfect California day.

In eight hours' time, moving steadily at a dancer’s pace, Horvat arranged each piece of her ever changing puzzle one or two chairs at a time. The patterns, moment to moment improvising, ever calculating her next move evolved kaleidoscopically. Patterns in the design, emphasized by the gently flowing River, occasional applause as she completed one pattern, was not acknowledged.

The Artist, the medium and the River all flowing together, punctuated a moment in time: the reflection's come and gone.

michael sheehan

IN & OUT, IN & OUT

Juan Pope as Malcolm Jennifer May/ Reel Sessions

Writer/Director David Wally’s examination of life in these United States is at once cynical and arcane. IN & OUT The USofAlienation currently playing Tuesdays at The Whitefire challenges the audience to ride along through a morass of notions that never become completely clear in the text nor in the action. In a series of at once associated and disparate scenes we encounter the ‘alienation’ which is the foundation of Wally’s work.

A program note mentions that the only character who remains consistent in the play is Malcolm, portrayed by an effective Juan Pope. Malcolm appears and stirs the social pot with various other characters by asking intimate questions that all come back to the absence of civility in the United States today. Some scenes work better than others. Two vignettes with Gregor Manns (Bartender and Rod) work well. One scene examines the origins of ‘us vs. them.’ Later as a homeless former security guard the feeling of quiet desperation and dignity prevail. His portrayal of Rod, the former Security Guard, is touching and certainly civil. Manns is a really large guy who quips that one of the ladies in the latter scene might just take him home and turn him into a professional football player.

A mysterious Black Satchel seems to arrive and depart in each scene on its own. It draws attention to itself making us think that an actor may have missed a prop cue. In fact The Satchel belongs to Malcolm, the one consistent character in the sundry scenes. In the final scene we learn that he is, in fact, a research doctor for the CDC in Atlanta possibly bringing (in the satchel?) dark foreboding. His purpose in the piece may be designed to make the audience ask themselves difficult questions about the end of life.

Interstitial music (Don McLean’s American Pie plays as the audience enters the theater) may deliver clues as to the playwright’s intent vis a vis why our society has become so compartmentally uncivilized. Unfortunately, even with some decent performances and believable scenes, including a poignant but gratuitous lesbian tryst, the show lumbers along with only an occasional glimmer of the argument that each of us, indeed all of us must find a way to communicate and to be a little nicer to one another.

Laura Fine Hawkes’ bare bones set design leaves everything to the imagination. The stars and stripes hang above the stage: red tire treads and white handprints on a blue field. Nice. Uncredited over amped sound may have held clues as to the intent of the play, but became cacophonous in between scenes.

IN & OUT The USofAlienation
Whitefire Theatre
13500 Ventura Blvd.
Sherman Oaks, CA 91423
Runs Tuesdays only at 8PM
Closing September 14, 2010
Reservations: (866) 811-4111
$20.00 Top

Yellow at the Coast

L to R David Cowgill, Kristen McCullough, Evie Louise Thompson and Luke McClure


Del Shores has been writing plays for a long time. In 1983 "Daddy's Dyin' and Who's Got the Will?" opened to stunning reviews at Jeff Murray’s Theatre/Theater in Hollywood. Del has been prolific on the theatre scene as well as having produced and directed at least one film and worked on high stakes television shows. His ability to round out a character and at once make an audience think, laugh and weep continues to develop with time.

YELLOW, written and directed by Shores at The Coast Playhouse, examines a modern southern family, the Westmorelands, of Vicksburg, Mississippi: the father Bobby (David Cowgill), Katie, his wife (excellent Kristen McCullough), football hero Dayne (Luke McClure), and his frantic sister, Gracie (enthusiastic Evie Louise Thompson). As Dayne enters his senior year of high school, Bobby, a former NFL football player turned PE Teacher/Football coach, has high hopes for his son. The kid is a natural and both are dedicated to a great final season.

Gracie is a fifteen year old “actress” whose histrionics as a fanatical high school drama student burst like IEDs in an attempt to get her parents’ attention. Hormones raging, her sibling rivalry with big brother Dayne reaches fever pitch causing their parents to sigh and shake their heads. It’s a phase.

As the Westmorelands celebrate their wedding anniversary, a brief feeling of situation comedy permeates early in the play. We then meet Kendall (tres gai Matthew Scott Montgomery), Gracie’s gay guy pal. Kendall is an aspiring musical comedy star who can quote the plot line of any Broadway show and sing a number to document his love of the genre. Gay through and through, Kendall facilitates one issue through which Shores develops a theme of tolerance evolving into a strong polemic.

The play takes a sharp turn to the right as Kendall’s mother, Sister Timothea Parker (the evangelical Susan Leslie) appears. Sister Timothea is a fervent fundamentalist Christian Woman who can quote both Testaments to prove any point. There’s a fine line between parody and a sincere portrayal of this type of character. Leslie treads this line with frightening perfection.

Shores’ ability to direct his own work, simply, works. From time to time his actors deliver lines directly upstage and some other choices either by the direction or that the actors have made are slightly distracting, but the play works. The message works. The actors are all on the same page at the same time.

Robert Steinberg’s contemporary set is perfect, capturing the middle class status of the Westmorelands. Kathi O’Donohue’s always excellent lighting design accentuates and isolates individual scenes flawlessly.

That YELLOW has been extended for six weeks and had a full house for a Sunday matinee speaks to the fact that good press and word of mouth have done their job. The sensitivity with which Shores intertwines familiar themes of his past work: fidelity, homosexuality and fundamentalist religion, continues to leave audiences laughing and emotionally involved. Themes in this play don’t hit us over the head, but lead us to come to our own conclusions. Redemption and forgiveness are only available when even our deepest feelings are given an opportunity to find their way to new understandings.

YELLOW written and directed by Del Shores
Coast Playhouse
8325 Santa Monica Boulevard
West Hollywood

Fridays and Saturdays at 8PM
Sundays at 2PM and 7PM
Extended through Sunday September 5, 2010
Tickets: www.yellowbydelshores.com / www.tix.com or by calling 800 595 4849
$34.99 Top

A NOISE WITHIN ... PASADENA!

Geoff Elliott (left) shares A Noise Within's Commendation from Mayor Bogaard and the City of Pasadena.






When the Mayor of Pasadena and the artistic director of the Pasadena Playhouse turn out with a couple of hundred other folks on a warm July morning to a construction site, something big is going on. In 1991 Geoff Elliott and Julia Rodriguez-Elliott with three thousand dollars of their own money found their way into the old Masonic Temple on Brand Avenue in Glendale with the dream of making a theatre dedicated to the classics. Over time, the Elliotts, their resident artists and crew along with their dauntless Board of Directors of A Noise Within, currently led by Chairman Terry Kay, have moved steadily toward creating a modern and comfortable space to do their valuable work.

With ten million dollars pledged, they still need another three million to get to a finished product for the fall of 2011. With the enthusiastic gathering at the ceremony on Tuesday, it looks like their goal is well within sight. The ground is broken. Construction has begun.

The differences between Glendale’s marginal support of the arts and the way that Pasadena takes giant steps to embrace A Noise Within are like night and day. There may have been opportunities for the City of Glendale to entice the Elliotts to stay in the city, but witness the new parking regulations that prevented patrons from parking near the theater at Brand and Colorado for more than two hours. And, then observe the Glendale City Council that seems to have so little interest in any of the arts that no one made the slightest effort to find a space for the company within the city limits. Of course, art flows to where arms fly open. Apparently, arms in Glendale were folded to the company and an ideal opportunity blossomed in the City of Pasadena.

The ceremony opened with a performance by members of the Resident Company. Supporters then told stories of how the past nineteen years have been on ‘the threshold of a dream.’ The dream of A Noise Within now moves in a material way to a beautiful permanent home under way at Sierra Madre Villa and Foothill Boulevard in Pasadena. In a complex designed by Edward Durell Stone (designer of Radio City Music Hall as well as the Museum of Modern Art and the John F. Kennedy Center for the Performing Arts in Washington, DC) the new 33,000 square foot complex space will feature a sweeping thrust stage surrounded on three sided by the audience. A state of the art theater with flies and advanced technical capabilities will be an arts destination convenient to the Gold Line.

Pasadena Mayor Bill Bogaard presented the company with a proclamation welcoming them to the city. Bogaard was praised by others for his championship of not only ANW, but the arts in general in Pasadena. Sheldon Epps, artistic director of the Pasadena Playhouse, in attendance indicates the acceptance of a sister company which can only assist the embattled Playhouse by drawing more attention to Pasadena.

Glendale’s loss is certainly Pasadena’s gain. A Noise Within is on par with regional theatre anywhere in the country and with this new space opening in the autumn of 2011, we can expect even more inventive and creative productions in the future. At the risk of sounding like a fan.. the remaining three million dollars needed to make this jewel sparkle may easily be made in modest donations from each of us. Contact A Noise Within Development Department at 818 265 7959. For further information, link to www.anoisewithin.org/capitalcampaign.html

Congratulations to A Noise Within for never letting go of their dream.

Round and Round and Round in the Circle Game

Jack Grapes (far right) and Company in a quiet moment before Circle of Will at The Macha Theatre. Photo by Alexis Fancher.


Circle of Will

Many years ago I participated in a production of “Impromptu” by Tad Mosel. It’s a one act that places four characters on a bare stage and makes them figure out who they are and what they are supposed to do. It’s a great exercise in an existential examination of who we are and what we are doing and where we are going. Of course, we’d go nuts if we spent too much time dealing with this stuff. However, a few great playwrights: Beckett, Ionesco, Pirandello... did that and basically made the audience do a lot of the work about figuring out who Godot might be, if he exists and if, ever, he might come, etc. Circle of Will is a less cumbersome play than any of the aforementioned writers' efforts, but it does bring up some issues and addresses them in a most amusing and entertaining way. Okay, an hilarious way. Way hilarious.

I loved this show.

Written by Jack Grapes & Bill Cakmis, Circle of Will features Grapes as Will and Joe Briggs as Richard “Dirk” Burbage at The Macha Theater in WeHo. Formerly, The Globe, this crusty little theater survives with its art. It’s a perfect setting for Circle of Will in that the feeling of The Globe (Shakespeare’s Globe) persists for what is … at least for a time… between 1610 and 1616. The Tempest was written in 1610.. happy 400th to Caliban (whom I saw in the persona of John Ritter in this very theater before we came to know what Ritter could really do), Miranda and all.

Notable as Eunuchs One and Two, Cuthbert (John Brocato) and Quincey (Josh Grapes), entertain and introduce the play. A rich atmosphere of 1970's Renaissance Pleasure Faire permeates their foreplay. Juggling takes practice. (Note to Eunuchs: practice juggling.)

Shakespeare struggles as he attempts to cobble together ideas he’s had brewing for a long time with what may become his last play, “Gonzago and the King” (which Burbage dubs a ‘footstool’ because it weighs a ton and looks like… well… a footstool.) Then, troubles are afoot as the argument morphs, literally into a quantum continuum exploration of the meaning of meaning, more or less.

Director Brian Herskowitz keeps his actors in the moment, which, as the play progresses becomes more and more of a challenge. Martin C. Vallejo’s set allows for some farcical shenanigans. “Shenanigans” being the best description of the entire goings on. There are lots of shenanigans, clever puns and literary references. And, as the story bounds and leaps and leaps and bounds through time, some very interesting deeper thoughts emerge. A lot of scholarly thought has gone into this script and the business that every play encounters with every audience becomes problematic. What’s real? What’s fantasy? Where are we now? When are we going to get there? And, then? What then?

Eavesdropping on any actor symposium will find us discussing ‘being in the moment’ and playing the reality of the characters. Will and Burbage go round and round (it’s a Circle of Will, after all) in the attempt to satisfy Dirk’s enormous ego and get this last endeavor of the Bard’s together in time for previews in a few days. Burbage is tired of playing women and just wants to be a leading man for a change. As Will and Burbage deconstruct (or self destruct), the question of who’s who and what’s what becomes more entangled. Simply put, it’s wonderful. At the risk of trying to be too clever, the only way find yourself breathless with laughter and at the same time questioning what Life is really all about is to go to see this show. Check into the Time Warp and then decide for yourself.

Appearances of a large ephemeral cast, feature Stephanie Nguyen doubling as some body and the stage manager, Steve Roland (Gonzago), Bob Downing as The King, Peter Funt plays Nicholas Bishop, Bert Connors is Thomas Heywood, and Michael Kzynenski as Julius Caesar. Cynthia Tyson limns Lady Macbeth, the androgynous C. J. Potter (a flawless Ophelia). Pam Bohusalv is regal as The Queen, Romona of Verona is played by Christiana Bolaslavsky (no relation to Richard with an ‘e’), Sherrod Klippel as Prospero. Lady Prospero disappears as Lucinda van de Velde, Cynthia Connors plays Miranda of Naples, Capulet (Omar Truzdale) and Grizelda of Beaujolais (Christa Marsh) round out the cast.
Lynda Goodfriend does not appear in this production.

Costumes by Anasuya Engle and Sound and Lighting by Carey Dunn are all just fine.

Just go see this play.

Circle of Will
Macha Theater
1107 N. Kings Road
West Hollywood, CA 90069
Thursday through Saturday at 8PM
Sundays at 7PM
Reservations: 323 960 7822
www.Plays411.com/circleofwill
Through August 15, 2010
$30 top

THE PLAYHOUSE RISES ONE MORE TIME

This from Patty Onagan at the Pasadena Playhouse:

PASADENA PLAYHOUSE, THE STATE THEATER OF CALIFORNIA EMERGES FROM CHAPTER 11 BANKRUPTCY.
NECESSARY ON-GOING FUNDRAISING EFFORTS BEGIN WITH AN ANONYMOUS $1 MILLION MATCHING PLEDGE CAMPAIGN

PASADENA, CA (July 8, 2010) – Pasadena Playhouse, the State Theater of California, announced that its Plan of Reorganization was approved yesterday by the United States Bankruptcy Court in Los Angeles and emerged from Chapter 11 after nearly two months.

Future plans, including a Fall 2010 production, will be announced at a later date.

* * * * * * * * * * *

Support of The Pasadena Playhouse is vital to the cultural scene of California.

Choices for productions that the Playhouse has made are not always ones that I’ve found exciting. How to provide an interesting season and keep the doors open and the curtain going up is certainly a challenge. Part of the problem, as I see it, is mounting very expensive shows when saving a few bucks might be a good idea.

Peter Brook extols the virtues of The Empty Space and many, many years ago, I recall his A Midsummer Night’s Dream at The Ahmanson that carried audiences back to Shakespeare with great good humor. If “the play’s the thing,” then finding The Play might be an idea. Recently, Glendale’s A Noise Within remounted an amazing romp, Noises Off! which might easily transfer to the Playhouse. If the reception of sold out houses at ANW is any indication, the Playhouse might want to speak with them about re-opening by mounting their production. Coincidentally, the Glendale theatre company will break ground for a new modern space at 3360 Foothill Blvd. in Pasadena in a couple of weeks, which may draw more theatre goers to the area when they open there in a year or two.

Finding audience pleasing shows and still maintaining some version of a cutting edge in theatre is a challenge. Ron Sossi has kept his Odyssey Theatre going for more than thirty years, seldom settling for easy productions. Of course, he’s on the west side of town which may have something to do with his success. My observation is that The Playhouse has mostly been about getting the seats filled and that means sometimes doing less challenging work. I refer readers to the Canadian television series “Slings and Arrows” for insights. Available on Netfix it asks the question “Can Art and Commerce exist side by side?”

Congratulations to Playhouse director Stephen Eich and his Playhouse team for hanging in and to the anonymous donors who opened their hearts and their wallets to do the right thing. Donations to the cause are still welcome, so if you have the means to help, please contact Mr. Eich and make a contribution to our State Theatre of California.

Sheehan

This from Patti Onagan at the Pasadena Playhouse:

PASADENA PLAYHOUSE, THE STATE THEATER OF CALIFORNIA EMERGES FROM CHAPTER 11 BANKRUPTCY.
NECESSARY ON-GOING FUNDRAISING EFFORTS BEGIN WITH AN ANONYMOUS $1 MILLION MATCHING PLEDGE CAMPAIGN

PASADENA, CA (July 8, 2010) – Pasadena Playhouse, the State Theater of California, announced that its Plan of Reorganization was approved yesterday by the United States Bankruptcy Court in Los Angeles and emerged from Chapter 11 after nearly two months.

Future plans, including a Fall 2010 production, will be announced at a later date.

* * * * * * * * * * *

Support of The Pasadena Playhouse is vital to the cultural scene of California.

Choices for productions that the Playhouse has made are not always ones that I’ve found exciting. How to provide an interesting season and keep the doors open and the curtain going up is certainly a challenge. Part of the problem, as I see it, is mounting very expensive shows when saving a few bucks might be a good idea.

Peter Brook extols the virtues of The Empty Space and many, many years ago, I recall his A Midsummer Night’s Dream at The Ahmanson that carried audiences back to Shakespeare with great good humor. If “the play’s the thing,” then finding The Play might be an idea. Recently, Glendale’s A Noise Within remounted an amazing romp, Noises Off! which might easily transfer to the Playhouse. If the reception of sold out houses at ANW is any indication, the Playhouse might want to speak with them about re-opening by mounting their production. Coincidentally, the Glendale theatre company will break ground for a new modern space in Pasadena in a couple of weeks, which may draw more theatre goers to the area when they open in a there in a year or two.

Finding audience pleasing shows and still maintaining some version of a cutting edge in theatre is a challenge. Ron Sossi has kept his Odyssey Theatre going for more than thirty years, seldom settling for easy productions. Of course, he’s on the west side of town which may have something to do with his success. My observation is that The Playhouse has mostly been about getting the seats filled and that means sometimes doing less challenging work. I refer readers to the Canadian television series “Slings and Arrows” for insights. Available on Netfix it asks the question “Can Art and Commerce exist side by side?”

Congratulations to Playhouse director Stephen Eich and the Playhouse team for hanging in and to the anonymous donors who opened their hearts and their wallets to do the right thing. I’m sure that donations to the cause are still welcome, so if you have the means to help, please contact Mr. Eich and make a contribution to our State Theatre of California.

Neverland!

Peter Pan flys again in Fullerton starting July 14th.

A dear friend, Linda Dangcil, played with Mary Martin on Broadway, making Peter Pan dear to my heart..

so... if you refuse to grow up, a trip to Fullerton may be in order.

Tickets are ten dollars. Here's the information:

Peter Pan
Presented by Fullerton Children's Repertory Theater at Little Theatre

July 14-July 25, 2010

Wed thru Sat 7:30 PM

Sat and Sun 1:30PM

800 N. State College Blvd. Fullerton, CA 92831

714 641 1084

Free Readings! Theatre West

This from Phil Sokoloff for Theatre West. Their last shows reviewed here.. are archived. I enjoyed them.
This is a sturdy little professional company. They try new things and this summer looks like some interesting stuff.


LAY READING SERIES AT THEATRE WEST IS FREE TO PUBLIC

The Theatre West Writers’ Series presents rehearsed play readings of new and developing works by the company’s resident writers, utilizing Theatre West actors and directors. The events are free and open to the public. Reservations are not necessary. Readings take place on Tuesdays at 8 p.m. and on Sundays at 7 p.m. Here is the current schedule:

Tuesday, July 13 at 8 p.m.: “Teddy & Twain: Luncheon at the White House.” Written by Frank Denson and Alan Freeman. Directed by Marcia Rodd.
Tuesday, July 20 at 8 p.m.: “Aftershocks.” Written by Doug Haverty. Directed by John Gallogly. Cast: Caitlin Gallogly, Mary Garripoli and Barbara Mallory.

Sunday, July 25 at 7 p.m.: “Bard of Blood.” Written and directed by Lloyd J. Schwartz. Cast: Heather Becker, John Cygan, Yancey Dunham, Daniel Keough, Jack Kutcher, Barbara Mallory, Mary Linda Phillips, Elliot Schwartz.

Tuesday, July 27 at 8 p.m.: “Aftermath.” Written and directed by Chris DiGiovanni.
Sunday, August 1 at 7 p.m.: “A Teachable Moment.” Written by Nalsey Tinberg. Directed by Alan Freeman.
Sunday, August 8 at 7 p.m. : “The Magic String.” Written by Nicole Hoelle.
Tuesday, August 10 at 8 p.m. “Favorable Company: A Trilogy.” Written by Kent Hamilton. Cast: Yancey Dunham, Jason Galloway, David P. Johnson, Elsa Raven, Corinne Shor and Sandra Tucker.

Sunday, August 15 at 7 p.m.: “Beshert.” Written by Julie Daniels.

Tuesday, August 17 at 8 p.m. “Deli Cats.” Written and directed by David P. Johnson Cast: Elizabeth Bradshaw, Maria Kress.

The series is coordinated by Chris DiGiovanni and Doug Haverty. Theatre West executive director: John Gallogly.

Theatre West is located at 3333 Cahuenga Blvd. West, in Los Angeles 90068. Free parking is available in a lot across the street. Phone: (323) 851-7977. Website: www.theatrewest.org

Culture!

After having had a marathon of culture with back to back productions of King Lear at Antaeus, I should let you know that the company has lined up a summer of interesting readings starting July 6th. Works in Process and First Looks are ongoing examinations of plays that Antaeus is dedicated to explore and audiences are invited to attend. Check the Antaeus website for titles and times.
www.antaeus.org or call them at 818 506 1983

Supporting this theatre company and all dedicated local venues is part of what OnStageLosAngeles is all about. However, make no mistake, the reviews are not fluff. Check out the Antaeus schedule for the summer and stop by for a little culture. These folks are dedicated professionals. For lovers of classic theatre, this is an opportunity to see works in progress and then, perhaps, see a finished product in the future.

Michael Sheehan

Madmen at Anteus

King Lear Director, Bart De Lorenzo must have a strong constitution. To tackle King Lear for one production is daunting at best. To do two versions of the same play at the same time is a major challenge. The up side is that, for the most part, he has turned his Antaeus crew into a well tuned machine that, pretty much succeeds in both presentations: The Fools alternating with The Madmen. Seeing two productions of King Lear back to back gives one the opportunity to observe not only production strengths but their weaknesses as well. It’s impossible to not compare the performances.

Harry Groener as the Madmen’s Lear approaches the king from a more physical aspect than Dakin Matthews does. Groener’s dementia advances viscerally and his mad scene toward the end of the play at once elicits sympathy and some well earned laughs. After a somewhat slow start, the performance moved a pace with the unapologetic Cordelia again well limned by Rebecca Mozo. Mozo’s contrast to her conniving sisters, Regan and Goneril (Jen Dede and Allegra Fulton each spot on and nicely textured) is reserved and cool. Very impressive is Gregory Itzen as Lear’s loyal and loudest Earl of Kent who is banished and then returns in disguise to help his king. His not so subtle aside to the audience when he reappears is a nice touch.

Stand out JD Cullum as The Fool, like Mr. Bo Jangles, lightly touches down with his lyric observations in song and dance. He’s a welcome grace note, as he should be.

It should have been mentioned in the first review that A. Jeffrey Schoenberg’s well crafted costumes land somewhere around Edwardian, Victorian, and Desert Storm, purposely obscure and excellently done. Principals in each production have custom tailored wardrobe that works well.

The wicked storm in both productions has some issues that may be for a reason, but it’s tough to figure out what Lighting Designer Lap Chi Chu had in mind by draping tangled orange extension cords around tin lamp shades hanging from the flies. They are visible from the time the audience enters the theater. A couple of them drop down and swing into action during the raging storm. In nature, we see the flash and then may hear the thunder. Sound Designer John Zalewski has chosen to make the flash and thunder crashing simultaneous. The wildly swinging tangles of orange more distract from the storm than enhance it.

John Sloan as Edgar and Daniel Bess as his bastard brother Edmund have big shoes to fill. Ambitious Edmund cons the loyal Edgar who runs off and disguises himself as “Poor Tom” to avoid capture. The brothers' father, the Earl of Glouster, well played by Madmen’s Robert Pine, has now been prejudiced against his true son, Edgar. Glouster now embraces the evil Edmund in a sub-plot that addresses filial loyalty and parental gullibility. Ideally, the sons might rise to the fine aspect of Pine's Glouster. Neither really does.

TJ Marchbanks’ staged fighting is virtually the same as it is in The Fools version of the play. Stiff and barely in step with the beats laid down by DeLorenzo’s tight direction, it needs a dose of reality. Any real danger in this combat looks more about the acting than the fighting.

To experience age appropriate actors, many familiar faces from features and television, working for the love of theater itself is a gift to our community as well as an important present to the tradition of classical theatre itself. The feeling of ensemble permeates this cast as it does in the cast of Fools. Each deserves an audience ..

See both shows and make your own comparisons.

Through August 8, 2010
Deaf West Theatre
5112 Lankershim Blvd.
NoHo 91601
www.antaeus.org
818-506-5436
$34.00 Top

What Fools!

What Fools!

Antaeus Founding Creative Director Dakin Matthews and well known actor Harry Groener each hold forth as King Lear in the current Antaeus dual productions of the play at Deaf West Theatre. In an unusual move, the company presents the play in alternating performances with two essentially different casts. The Fools (with Matthews as Lear) opened last night. The Madmen with Harry Groener as the King open tonight, Friday. That review will follow closely to this.

King Lear is the first full Shakespeare production by this talented theatre company with impressive individual credits. Fools opening night found Matthews with director Bart DeLorenzo’s well coordinated cast ready for battle. Individual performances from this cast were all on the same stage, the same page and for the most part all at the same time. Basically, the story of an ancient British king with three daughters, Goneril (Kirsten Potter) and Regan (Francia DiMase) both and each conniving, enlist to enhance their personal greed falls to the overly dramatic. Loyal Cordelia (Rebecca Mozo), refusing to flatter their aging father, falls into disfavor. And, off we go!

The professional quality of the entire production is such that you practically forget that you are in a storefront in NoHo. The tiny Deaf West space is barely thirty feet wide with seating for fewer than 99. Tom Buderwitz massive and protean set with the company’s dedication to crisp production values works. Lighting designer Lap Chi Chu has created an effect for the storm that’s a bit bizarre, but we have a contract with the players to suspend our disbelief and when we do, then storms and battles and all are immediate. T.J. Marchbanks’ stage combat and brief grand guignol with Glouster need to rise to the bar set by the whole production. In such a tiny space, perhaps, drawing back from that edge was on purpose. The knives and swords look real. The fighting not so much.

The actors, most seasoned professionals, keep the action moving. Out of the gate, Stephen Caffrey as the Fool is a little over the top, but energy is high on opening night and things fell quickly into place. This fine cast works evenly as an ensemble. Shakespeare’s language is not always easy to absorb, but the ease with which the actors comport themselves, physically and emotionally, words are not always necessary to convey meaning. We owe it to ourselves to indulge the rougher Bard from time to time and this is an opportunity to observe not only “How sharper than a serpent's tooth it is to have a thankless child.” but, perhaps to imagine ourselves in situations where saying the right thing may not always be the right thing to do?

Through August 8, 2010
Deaf West Theatre
5112 Lankershim Blvd.
NoHo 91601
www.antaeus.org
818-506-5436
$34.00 Top

VERY LIMITED EDITION

Iris Rose is an artist, director, playwright, performer whom I've known a long time. If she says that her friend, Brian Dewan, is worth going to the West Side to see, that is enough for me. Evidently, there will be no tickets at the door.

* * * ** *** * ** ** * *


Brian Dewan Filmstrips and live music

Friday, June 25 & Saturday, June 26
7:30pm & 9:30 pm shows both nights

Museum Of Jurassic Technology
9341 Venice Blvd, Culver City, CA 90232

all tickets $25
very limited seating
purchase tickets online at www.brownpapertickets.com/event/116033
(tickets unavailable at the door)

Sweet Grapes

Los Angeles poet/playwright/author, Jack Grapes, will play Shakespeare in his play CIRCLE OF WILL opening at the Macha Theatre, 1107 N. Kings Road, 90069 on July 16, 2010. Watch this space for more news.

Previews July 15 at 8 p.m. Opens Friday, July 16, 2010 at 8 p.m., runs through Sunday, August 15. Regular show times: Thurs.- Sat. at 8, Sun. at 7.

ADMISSION: $30. Preview $20.

RESERVATIONS: (323) 960-7822.

ONLINE TICKETING: www.Plays411.com/circleofwill

ESTIMATED RUNNING TIME: 1 hour 30 minutes.

Broad Stage in Santa Monica

The Broad Stage is an exciting venue which I've only just discovered. Currently, they present Daddy Long Legs on the Main Stage as well as the interesting show discussed below in The Edye. The "I Wonder" presentation I reviewed a couple of weeks ago with Artistic Chair Dustin Hoffman, David Milch and Herman Leonard was one of the most interesting times I've spent in the theatre in a long time.

Stand by for reviews of the Anteus double productions of King Lear. One with Daiken Matthews as The King and the other with Harry Groener as Lear. Two completely separate casts.

This "In Their Own Words" at The Broad sounds like fun.

THE BROAD STAGE PRESENTS 21ST CENTURY CABARET CELEBRITY AUTOBIOGRAPHY: IN THEIR OWN WORDS TO PERFORM MONDAY, JUNE 21 AND JULY 19 AT THE EDYE SECOND SPACE AT THE BROAD STAGE

CAST FEATURES
MICHAEL URIE ("UGLY BETTY" STAR), RITA WILSON, FRED WILLARD, EUGENE PACK, LARAINE NEWMAN, DAYLE REYFEL, BROOKE SHIELDS, FLORENCE HENDERSON, LESLEY ANN WARREN, AND ALAN ZWEIBEL

NEW BOOKS ADDED TO REPERTOIRE FOR 2010
INCLUDING AUTOBIOGRAPHIES BY
SARAH PALIN AND CARRIE PREJEAN,
AND TIGER WOODS'S HOW I PLAY GOLF

THE NEW YORK TIMES CALLS IT
"BIG-YUKS ENTERTAINMENT!"

WINNER 2009 DRAMA DESK AWARD
2010 BISTRO AWARD

(Santa Monica, CA – June 18, 2010 ) The Edye Second Space at The Broad Stage will be entirely transformed into a stylish boîte, complete with tables, mood lighting and a well-stocked bar, when “The 21st Century Cabaret” takes up residence for intimate evenings of singular voices breathing new passion into a beloved genre. The smash New York hit “Celebrity Autobiography” makes its home in The Edye repeatedly throughout the year.
The 2009 Drama Desk Award winner and 2010 Bistro Award winner Celebrity Autobiography: In Their Own Words will perform shows on Monday, June 21 at 7:30pm and 9:30pm and Monday, July 19, at 7:30pm and 9:30pm at The Edye Second Space at The Broad Stage. The 7:30pm shows are sold-out!

A Critics Pick in New York, this “merry compendium of the witlessness and wisdom of the rich and famous” (New York Times) returns home to LA with a rotating roster of comedy titans. Kristen Wiig, Rita Wilson, Laraine Newman, Brooke Shields, Rhea Perlman, Fred Willard, Rachel Dratch, and Ryan Reynolds are among the A-listers channeling the tell-all memoirs of noted authors Sylvester Stallone, Star Jones, Elizabeth Taylor and Mr. T. And let’s not forget the poetic stylings of Miss Suzanne Somers. The hit comedy show where celebrities perform the actual memoirs of other celebrities! Created by Eugene Pack, winner of the 2009 Drama Desk Award for “Unique

The casts are scheduled as follows:

Monday, June 21 at 7:30pm and 9:30pm
Michael Urie ("Ugly Betty" star), Rita Wilson, Fred Willard, Eugene Pack, Laraine Newman, Dayle Reyfel, Brooke Shields, Florence Henderson and Alan Zweibel

Monday, July 19 at 7:30pm and 9:30pm
Scott Adsit (30 Rock), Lesley Ann Warren, Fred Willard, Dayle Reyfel, Eugene Pack, Brooke Shields and more.

The comedy sensation Celebrity Autobiography: In Their Own Words features a line-up of rotating performers who interpret the actual words and stories written by the famous and the infamous, in both solo and ensemble “chamber” pieces. Some of the “authors” that are featured include Ivana Trump, Vanna White, Mr. T, Star Jones, Kenny Loggins, Tommy Lee, Sylvester Stallone, the Jonas Brothers, Zsa Zsa Gabor, David Cassidy, Neil Sedaka, Britney Spears, Madonna, Burt Reynolds and Loni Anderson, as well as the infamous memoirs of Elizabeth Taylor, Eddie Fisher, and Debbie Reynolds, which are edited together to create a Rashomon-esque playlet in the participants’ own words.

New books are being added to the Celebrity Autobiography repertoire for 2010 including Tiger Woods’s How I Play Golf and Carrie Prejean’s Still Standing.

Celebrity Autobiography is playing to sell-out audiences and rave reviews at the Triad Theater. Charles Isherwood of The New York Times called the show “big-yuks entertainment” and a “merry compendium of the witlessness and wisdom of the rich and famous.” Joe Dziemianowicz of the Daily News called it a “potent comic cocktail…you weep with laughter.” The New Yorker called it “inspired.” And Sam Thielman of Variety wrote, “Audience members hyperventilate. It should lead a long and happy life.” The show has been featured by numerous media outlets, including ABC’s “The View” and “Nightline,” NPR’s “Morning Edition,” CNN’S “American Morning,” New York 1, WNBC’S “News for New York” at 11pm, and Bravo’s “A-List Awards.

Native Voices

Native Voices is an important venue for the theatre from All Nations of First American People.
We review their work when we can. If you attend, please submit your impressions here.

FOR IMMEDIATE RELEASE

NATIVE VOICES AT THE AUTRY PRESENTS ANNUAL
“PLAYWRIGHTS RETREAT AND FESTIVAL OF NEW PLAYS”
CULMINATING WITH PUBLIC READINGS
IN LOS ANGELES

Saturday, June 26, 1 PM and
Sunday, June 27, 1 PM and 4 PM
followed by Panel Discussion on “Modern Natives in Media” at 6 PM

AUTRY NATIONAL CENTER (LOS ANGELES)

Native Voices at the Autry, America's leading Native American theater company, continues its tradition of excellence in developing works by new and established Native American playwrights at its highly regarded PLAYWRIGHTS RETREAT AND FESTIVAL OF NEW PLAYS, culminating in public readings of three new works on Saturday, June 26, 2010, 1 PM, and Sunday, June 27, 1 PM and 4 PM, at the Autry National Center in Los Angeles. A special panel discussion entitled “Modern Natives in Media” featuring noted members of the Screen Actors Guild (SAG), Directors Guild of America (DGA) and Writers Guild of America (WGA) concludes the festival on June 27 at 6 PM. (The retreat is held at San Diego State University, and earlier readings of the plays take place at the La Jolla Playhouse.)

I WONDER at The Broad

The Broad Stage at Santa Monica City College, 1310 11th Street in Santa Monica is a unique and comfortable venue dedicated to the performing arts. In my experience, interviews, even with adept moderators are often a love fest for the interviewee. The beauty of the discussion with Academy Award winner Dustin Hoffman and writer / producer David Milch (NYPD Blue, Deadwood and the new HBO series Luck with Hoffman) on June 5th , which included photographer Herman Leonard, was that these guys are peers. Their mutual respect and the depth of their individual approaches to creativity was, at once, engaging and inspirational.

Topics ranging from belief in God to the tragic Gulf oil spill brought anecdotes from the participants and later brief audience participation.

Anecdotes were pretty much the order of the day. Spinning from Milch’s guaranteed key to inspired writing to Hoffman’s retelling of an Isaac Bashevis Singer story and discussing his experience as an attendant in a mental hospital the scheduled ninety minute program went on for over two hours.

The discussion turned from Hoffman’s telling of a Singer story to Milch vaguely comparing the Holocaust to his dealing with ants in his kitchen. Mention of the Holocaust may sound like a moment for a reverential pause. However, Milch’s logic regarding the vastness of the universe and beyond, without being irreverent, gave food for thought. Milch discussed his notion of how each of us, either as individuals or as groups ranging from sports fans to theatre audiences to national entities become “anthropocentric”

“Wait a minute,” Hoffman interrupted. “What’s anthropocentric??”
“Self involved,” said Milch.
“Why couldn’t you just say ‘self involved?’”
“Because it’s not exactly the same thing.”

At first I thought that Milch had made a reference to his ants: “antropocentric” but, as he made his point, it occurred to me that not unlike ants, we all march to the beat of whatever tribe or herd or colony we may be attached to: wired for survival. Which led to the discussion of how British Petroleum seems to be, as a group, if not as individuals involved in pumping oil, as sociopathic in nature. Wired to do business and make money at any cost.

Herman Leonard’s contribution brought visual art into the picture, literally, with his telling of how as a young man he was apprenticed to the Canadian photographer, Yousef Karsh. Leonard has gone on to photograph luminaries, many in the world of Jazz. Unfortunately, thousands of Leonard’s prints were lost in Hurricane Katrina. Some, which were framed, sustained partial damage from the flood. Mold advanced only part way into the frames, making them “works of Herman” collaborating with Mother Nature, which Mr. Leonard said was fine with him.

The Broad Stage http://www.thebroadstage.com/ continues with programs of professional theatre and events. Hopefully, producers will invite Mr. Hoffman (a SMCC dropout) to engage other creative colleagues to continue what may become an “I Wonder” series of events in the future.

Dusty and David

Next Saturday, June 5, 2010 at 4PM at the Broad Stage in Santa Monica. Dustin Hoffman will discuss with David Milch the sources of creativity in a program called "I Wonder." To hear these two giants of the entertainment world discuss their work should be insightful and very interesting. My report on the talk will appear here next week.

For reservations call:


The Broad Stage
1310 11th St.,
Santa Monica, CA 90401
213-446-0774

Synge, Sing, Synge

Lindsay Gould (Pegeen) and Michael Newcomer (Christy Mahon)
Photo by Craig Schwartz

John Millington Synge’s Playboy of the Western World, currently in rep at A Noise Within sings with the rhythmic language of the Irish. In the great traditions of Joyce and Yeats, director Geoff Elliott skillfully brings the story of a wayward “playboy” to the stage with all the gusto that one expects from this well tuned professional theatre company. Stephen Gifford’s earthy set, a little pub in County Mayo on the foggy west coast of Ireland, greets the opening night’s guests. It’s the turn of the last century. One can almost feel the chill.

Pegeen Mike (fiery Lindsay Gould), somewhat against her will, tends her father’s pub, the gathering place for locals to ward off the chilly days and nights. Shawn Keogh (appropriately lumpy Brian Hostenske) arrives to make his moves, mostly unwelcome, upon the comely lass. Michael James Flaherty (versatile Apollo Dukakis in his most convincing turn) Pegeen’s da, is of the mind that Shawn should keep Pegeen company as he and his besotted pals, Philly Cullen (William Dennis Hunt) and Jimmy Farrell (Tim Venable) stumble off to attend a wake: a fine auld Irish tradition.

And, so it goes. The real crux of the story turns on Synge’s definition of “playboy.” Unlike our immediate vision of busty playmates with bunny ears, it turns out that the appearance of Christopher Mahon (oddly charismatic Michael A. Newcomer), cold and hungry, covered with the travels of a man on the run, becomes the one we come to know as a “true Playboy of the Western World,” Begorrah! Christy confesses in time that he’s killed his poor father, buried him and run away. This fascinates the locals, including the Widow Quin (lusty Jill Hill) and, in time, other eligible colleens, as well as the tough Pegeen. It seems that a playboy these fifty years before Hefner is a person who pulls off a fantastic feat. And, that, Christy has done.

Stage fog drifted about the actors like the dust cloud that surrounded Pigpen in Peanuts. If this was on purpose or an effect gone awry is unclear, but over all, once the fog had lifted, the energy and hard core acting skills bring the show along apace. The plot takes a couple of wicked turns with big surprises. Geoff Elliott appears as Old Mahon turning the story of the playboy on its ear, much to the appreciation of the opening night audience.

Soojin Lee’s earthy costumes work just fine. Ken Booth’s lighting is warm and cool all at the same time.

Through May 22nd in repertory with Much Ado and Awake and Sing
A Noise Within
234 S. Brand Boulevard
Glendale, CA
Tickets and information 818 240 0970 x1
www.anoisewithin.org

The Poetry of Pals

Langston and Nicolas

Town Street Theatre’s current ambitious World Premiere Production of Bernado Solano’s “Langston and Nicolas” explores the long friendship of the American poet and the Cuban, Langston Hughes (Justin Alston, the younger and Brian Evaret Chandler, the older Langston) and Nicolas Guillen (Chris Rivas, the younger, Armando Ortega, the older Nicolas and Carlos San Miguel, the senior Nicolas). Currently running at the Stella Adler the play is, at best, a very ambitious production.

Conceived and directed by Nancy Cheryll Davis, the story spans over forty years of the two poets friendship obliquely discussing shades of homosexuality; the passions of poetry and politics as well as a strong polemic regarding racial discrimination.

Seventeen members of the cast include multiple casting for not only Hughes and Guillen as younger and then older men, but with the supporting cast appearing in many guises. The script leaps back and forth in time, each time announced in voice over accompanied by images of Harlem and Havana (mostly Havana) created by Nathaniel Bellamy. Director Davis keeps the audience guessing with split focus on the overly wide stage. Action in some scenes center stage in pantomime takes unintentional precedence over the important meat of the scene going on far to one side or another. Choreography by Nancy Renee is professional and enthusiastic.

A passionate recitation of one of Hughes’ poems, "The Negro Mother," by Tené Carter Miller (poetry of both men is featured in several scenes of the play) brought a strong reaction from the near capacity audience for Sunday’s matinee.

Over all, however, a diversity of acting styles and the plethora of characters detracted from, rather than added to the presentation of the piece.

Even with the very professionally designed program by Forrest Gardener of 3AM Sound (he also designed sound for the show), it was difficult at times to figure out just who was who and when was when and where we were at any given time.

The Town Street Theatre’s dedication to the promotion of plays by and for the African American community is to be applauded, along with their continuation of their TST Musical Theatre Camp 2010 to be held for local youth from July 10th until August 14th.

Langston and Nicolas
A Town Street Theatre Production
At The Stella Adler Theatre
6773 Hollywood Boulevard (Second floor)
Hollywood, CA 90038

Friday and Saturday at 8PM Sunday at 3PM
Through May 2, 2010
Reservations: 213 624 4796
$25 Top

Boleslavsky Lives!

Emily Bridges and Beau Bridges

Acting: The First Six Lessons

In a curtain speech Beau Bridges and his daughter, Emily, take the stage to a hometown welcome. Beau’s been a member of Theatre West, he says, for at least forty years and this is his first time on stage there. He’s affable and tells the story of how he was introduced to the company by his godmother, Betty Garrett and as a young man did scenes with her. He told the audience that his parents (his full name is Lloyd Bridges III) always supported his being an actor and his dad, Lloyd, gave him, at the age of ten, a copy of Boleslavsky’s Acting: The First Six Lessons. The play, as adapted by Beau and Emily, has been in the works for a couple of years. They designed the set, a well functioning unit that serves as the Teacher’s (Bridges’) study, as well as a movie set, an elevator and the top of the Empire State Building.

At rise The Creature (well tuned Emily Bridges) arrives in The Teacher’s (equally impressive Beau Bridges) study with a burning desire to act. She wants to create art, to live art, to BE art.. The teacher is mildly sympathetic but tells his new charge that Talent is the key to success on the stage .. one must not only become completely observant, but adapt to the nuances of each character one is challenged with and to find a way to Concentration.

In the course of the ninety minute production, we see the Creature expand, contract, fumble and grow. Emily, a Fordam grad, shows that talent must run in the family and under the tutelage her mentor (her proud father glowing under his stage persona) finds nuance after nuance in her work (after some chilling stuff at the top of the show as she limns King Lear.. not one of the daughters, but the King himself), later advancing to a more suitable role: Ophelia. She performs the scene once which sounds mature and well prepared, though she says it’s not right. She then finds grace notes and subtle fineries suggested by The Teacher. She does the scene again that reaches to the depths and heights of Ophelia’s deep and dark feelings. The audience is swept away.

For actors, students of acting and aficionados of the art and craft of theatre the Bridges bring Boleslavsky’s First Six Lessons to life.

The production is dedicated to Betty Garrett, a founding member of Theatre West, whom I was fortunate to sit beside and hear stories of Beau’s early days with the company. Initially, Beau was rejected for membership because he was so young! This, his first effort on the main stage of Theatre West ably directed by Charlie Mount is, simply, a must see.

Through May 16, 2010
Fridays at 8PM Sundays at 2PM
In Repertory with Kres Mersky’s The Life and Times of A. Einstein
Theatre West
3333 Cahuenga West
Los Angeles, CA 90068
Reservations 323 851 7977
$25 Top

Albert's Birthday

Kres Mersky

We call women who act ‘actors’ now. We used to call really good actresses ‘actors’ as a compliment. Kres Mersky is truly an actor who brings her “The Life and Times of A. Einstein” to the Theatre West stage triumphantly. Her career as an actor blossoms the way a fine wine caresses the palate and the warmth of a summer’s day lingers in the twilight.

Over the years Kres has done versions of her one woman masterpiece and it has only gotten better with time. Having first seen her at the Taper, Too several years ago, it was refreshing to see that time has been good to her.. she’s still playing beyond her age in years. As Einstein’s loyal secretary, Ellen Schoenhammer.. (“beautiful hammer” in German), she greets members of the press (the assembled theatre audience) who have come to interview The Professor on the occasion of his birthday. Ellen vamps as Einstein is not in residence and Anna, the new housekeeper has screwed up the cake order.

We segue in time as Ellen’s tenure in Einstein’s employ advances from ten to seventeen to twenty-seven years. Her final scene is poignant and dignified.

Mersky commands the stage with angst and good humor as time after time she has to make excuses for her employer's absence. As time goes by, we learn that she has absorbed some of Einstein’s theories and with a wry smile explains them… sort of. She charms us as she explains how she met the great man and was awarded her job where they met standing by a lake in Germany… Einstein in sandals… Ellen with a gun… She is mesmerized by the scientist’s toes!

A family affair, Mersky's husband, Paul Gertson, directs. The beats and pauses are flawless. Yancey Dunham’s simple lighting subtly sustains the mood on an uncredited set.

The ninety minute show rolls smoothly from start to finish with the ebb and flow of silly moments and serious. Mersky’s professional sense of timing surprises us with her efficiency as a secretary. She draws us into this affable character whom she has created from the wonderfulness of her vivid imagination. This is a tour de force performance that lovers of theatre and even lovers of science should put at the top of their list of evenings for pure entertainment.

The Life and Times of A. Einstein
Written and performed by Kres Mersky
In Repertory with Acting: The First Six Lessons with Beau and Emily Bridges
Saturdays at 8PM and Sundays at 7PM
Theatre West
3333 Cahuenga West
Los Angeles, CA 90068
$25 Top
Reservations: 323 851 7977
Through May 16, 2010