The Guardsman Leaner and Funnier in NoHo

-->

A New translation of Ferenc Molnar’s The Guardsman

Actors and others for farce take heed.  There’s a new trimmed down version of the classic play The Guardsman translated by H. Patrikas Zakshevskis in town. Director Lillian Groag, guides her actors with a steady hand and an appreciation for comedy too rarely seen on the stage.  The words all work, but it’s the Business that brings this show to the top of the heap.   The NoHo Arts Center is a jewel box, no question.  Every show I’ve seen there for the past many years has had a professional set and a professional attitude and if there was another use of the word ‘professional’ I could think of, I’d include it.  Yes, a professional approach to presentation of rollicking fine theatre.

Welcomed into the steeply raked house by two wonderful footmen (Josh Imlay and Chad Anthony Miller) we observe that they are literally cleaning the theatre from top to bottom.  They dust each seat and then inspect and spruce up one another.    Tidying up.  Dusting.  Rearranging and re-rearranging in simple little dance movements.  Super supernumeraries!  Really... Just super. 

Playwright Molnar was born in the nineteenth century and wrote plays and film scripts well into the twentieth. One of his most noteworthy, Lilliom, became the film and Broadway hit Carousel.  After seeing another version of this play at Pasadena’s A Noise Within that lumbered on for three acts, this version hits the stage a pace and never lets up, even with well choreographed scene changes attended to with precision by our dancing footmen.

Actors Max Schumann (protean Henry Olek) and his wife, Elena (glamorous Susan Priver) have been married for many years.  Elena has had affairs that are now just whispers of her past and except for Max’s doubts, they are more or less inconsequential.    As a ‘great actor’ Max plots to test Elena’s loyalty, all the while unintentionally capturing the heart of the adorable little maid, Berta (Kaitlin Huwe) who has been falling in love with “The Guardsman” (Max in disguise) while watching for him out the window. 

Dr. Heinrich Kraus , (suave David Fruechting), a theatre critic, is Max’s confidant and doubts very much that Max can fool his wife. To sweeten the deal, for weeks Max has been sending roses daily from “The Guardsman” to charm her.  

Joel Daavid’s fantastic set with gilt and flowing curtains sets the scene in fair Vienna where our story unfolds.  Shon LeBlanc’s costumes are exquisite, especially Elena’s flowing panne velvet gown to meet her admirer (The Guardsman) at the opera. It's a challenging and thoughtul farce that challenges the imagination and succeeds.   If Max fools his wife and woos her away from himself, he's a great actor.  If she sees through the disguise, he's not as great as he thought. But.. Elena is an actress!  Is she pretending to be wooed?  The eyes have it!

The Guardsman (Max in disguise) and his sword steal the show.  Physical comedy is always a challenge and Groag guides her cast with precision.  We rarely credit the director enough because mostly it’s only clunky direction that calls attention to itself.  Her scenes flow flawlessly. Michael Gend’s lights are fine, but some mysterious lighting changes seemed to be for no real reason in particular.   

This ninety minute show is, simply, a pleasure.  Having recently been dismissed from A Noise Within’s critic list (probably for being impatient with their inferior Macbeth this season), I must say that when a producer pays attention to the work and engages a professional director and actors, it pays off.  If any theatre that invites critics and reviewers to see their shows expects a puffy review when the show does not stand up, they should think twice about inviting critics who tell the truth as they see it.  A ‘soft’ notice cheats the readers who may decide to see a play based on a review that may not be totally honest.

The air conditioning bill at NoHo Arts must expensive.  Sitting with a chilly wind blowing on my neck is probably on me.  With no intermission, it was untimely to try to find a leeward seat to enjoy the show from.  Regardless, this production is a winner and missing it would be a crime.  Bring a sweater!

THE GUARDSMAN 

(world premiere of H. Patrikas Zakshevskis’ translation)

Directed by Lillian Groag

NoHo Arts Center 11136 Magnolia Blvd.
North Hollywood, CA 91601

Fridays and Saturdays @ 8 p.m.

 Sundays @ 7 p.m. thru June 22, 2014

Tickets and information 323 960 4418

www.plays411.com/guardsman

Blood Relations at The Raven

BLOOD RELATIONS

Playwright Sharon Pollock’s clever take on ‘did she or didn’t she,’ the Lizzie Borden story, puts to rest the jump rope rhyme, “Lizzie Borden took an axe…“  The actual number of ‘whacks’ that were dealt was fewer that forty and forty-one and more likely whacked with a hatchet.  Of course, hatchet doesn’t rhyme with whacks, so there you are.

At rise, it is the 1920s, thirty years after the 1892 murders of Andrew Borden and his second wife, Abigail.  We first meet Lizzie Borden (dark and intense Carolyn Crotty) discussing the lines that Lizzie Borden, The Actress (very blonde Meg Wallace) speaks in what becomes evidently, a ‘theatrical.’ It’s a clever and somewhat disorienting trip.  The Actress is having difficulty with her speeches.  The discussion between the Lizzies sets the stage for reliving events that led up to the dramatic actions that became national headlines.

The play is somewhat of a rollercoaster with the interesting shift from the women discussing the dramatic events to seeing the events unfold. Eventually, The Actress: Blonde Lizzie plays out the tensions and frustrations of her story while Dark Lizzie morphs into the Irish Borden maid, Bridget Sullivan.  As Sullivan, Crotty affects an Irish accent and brings strong presence to each scene.  The evidence of the class system that cast the Irish as undesirable expands to a flirtation by Blonde Lizzie with a married Irish doctor (smarmy Jay Disney).  The social times and the high standing of Andrew Borden (true New Englander Hap Lawrence) and his family, including his second wife, Abigail (Deborah Cresswell), older daughter Emma (lovely Amy Moorman) have a difficult time with Blonde Lizzie’s obstinate rejection of her father Andrew’s insistence that she marry a local widower.  

L to R: Meg Wallace, Amy Moorman and Carolyn Crotty

Director Steve Jarrard  (who also appears briefly now and then to address the audience as the jury in the Borden trial as Lizzie’s defense attorney) has his hands full with the attitudes of the ‘real’ women, Dark Lizzie and The Actress who observe and then act in the theatrical of the events that lead to the murders.  The theatricality of the ‘play’ shifts slightly from the point of view of the two women as the story unfolds.  History reports that Andrew Borden was unpopular and a very rich businessman as well as being a tighwad. He was not particularly liked in Fall River, Massachusetts.  Exposition includes Harry Wingate (excellent Steve Peterson’s natural portrayal) conniving with Andrew to do an end run around Lizzie and Emma regarding a farm where the family enjoyed summers.

Not without some flaws, Blood Relations serves up food for thought about this factual urban legend.  The vast contrast between the ‘real’ Lizzie Borden (who really just wanted to be Elizabeth and live a comfortable life) and the Actress is one of method and presentation. Blonde Lizzie, Meg Wallace’s voice, even in this tiny space is sometimes difficult to understand.  The broad approach to the ‘theatrical’ verges on the melodramatic, which may have been Jarrad’s intention.  None the less the company of actors ‘playing’ their characters are mostly evenly broad.  Some physical bits need work.

Hap Lawrence, Carolyn Crotty and Meg Wallace

This is a play within a play that teases us with the notion that Lizzie Borden may or may not have taken a hatchet… but most likely was guilty of the gruesome deed.  She was acquitted probably because it was unthinkable in 1893 that a woman was capable of such a heinous act.

The authentic set by director Jarrard greets the audience and serves well the story.

The excellent period costumes are not credited.

The Raven Playhouse is a tiny 42 seat space next door to Vicious Hot Dogs in the burgeoning heart of NoHo.  The pleasant guy who gave the curtain speech admonished the audience to tell their friends if we liked the show and if we didn’t to tell our enemies!  This theatre deserves an audience as they do not solicit funds except from patrons who buy tickets to see their shows.

BLOOD RELATIONS by Sharon Pollock

The Raven Playhouse

5233 Lankershim Blvd.

North Hollywood, CA 91601

Runs May 16 through June 15, 2014

Fridays and Saturdays at 8:00pm and Sundays at 7:00pm    

Tickets are $20 with a $5 discount for seniors and full-time students.

323-860-6569

https://www.plays411.com/bloodrelations  

BURAI: STANDING ALL ALONE

Theatre/Theater:  Jeff Murray and Nicolette Chaffey have been an active and important part of the Los Angeles Theatre Scene for many years.  I was reminded of one of the first shows directed by Jeff I’d seen in 1982 in a store front space on Melrose, CREEPS.  They have kept their various venues open for such a long time by filling a gap.  The choices for plays to present and to sponsor have always been varied and always entertaining, as well as being thoughtful pieces of theatre.  

The current production at the most recent incarnation of Theatre/Theater on Pico is  BURAI – Standing All Alone written and directed by Naoki Fujiyama. It tells a nineteenth century story set in  Japan  of a young man who must regain his family’s honor.  Extremely cinematic in its presentation with short scenes and blackouts, Fujiyama has assembled an excellent cast to tell what feels like a traditional tale presenting characters and ideas we in the West have mostly only experienced through the movies of Akira Kurosawa.  Highly stylized performances by the large cast of nineteen actors in excellent authentic nineteenth century costumes by Sueko Oshimoto, immerses the audience into another time; a completely different culture.  

As we learn patience and tradition in The Tea Ceremony, the meticulous attention to detail and style of the production take some getting used to.  Long pauses and ritual reflect the times, the 1800's. This is the sad story of Sadatora  (excellent Masa Kanome), the enforcer for the local shogun, Toshimasa Shigemori (Steve Huang). Sadatora is married to the beautiful Yuki (extraordinarily pretty Kyoko Okazaki) who is dying of consumption.    Love and honor permeate the telling as a proud and joyful father, Genzaburo Sugiyama and mother, Fumi Sugiama (Nobu Inbushi and Mie Aso) are assassinated by Sadatora at the order of the shogun. 

Honor being a cultural foundation at this time period in Japan, the sons of the slain parents one by one challenge the assassin unsuccessfully to avenge their murders. Concurrently, Sadatora finds his duties as enforcer under the thumb of the shogun more taxing on his spirit. With his wife slowly dying, the battles he is forced to fight with Genzaburo’s sons become challenging physically and emotionally.  Stage combat is fast, furious and extremely well done. 

In an interesting interstitial scene, Shigemori and his entourage are treated to one of the most impressive parts of the evening.  Geisha Mika Santo, in full traditional makeup and kimono presents a delicate dance that one may seldom see outside Japan. An interesting portrayal by Naoyuki Ikeda as Umesuke, a strange little man who was originally under the wing of the Sugiama Family, now loyal to the shogun adds a bit of wasabi to the mix.  

I missed the traditional hanamichi (ramp from the stage to off stage) probably because the set up of Theatre/Theater is not conducive.  Also absent were the presence of on stage musicians.  I also would have liked to hear the accompanying sounds of shakuhachi and wood blocks, though recorded music was appropriate. However, once we settle into the unique Eastern way that the play is intended, the swordplay is amazing and the characters all come to life in an even and thoughtful way. 
"Asahi and Japanese tea bags and soda in  unique little bottles (Ramune) are complimentary!"
Highly recommended.

BURAI: Standing All Alone

Theatre/Theater

5041 W. Pico Boulevard

Los Angeles, CA 90019

Fridays and Saturdays at 8PM

Sundays at 2PM

Through May 11, 2014  

Tickets and information:

323-7990-6110 (Kyoko Okazaki)
Ticket Site: www.eventbrite.com
(Search for BURAI in Los Angeles Area)
https://www.eventbrite.com/e/burai-standing-all-alone--tickets-9456583897

HOOKED: Bailey Mason All Alone On Stage

-->

Looking just a little bit

Bailey Mason / Photo credit Shari Barrett

like Cher, Bailey (“You can call me Bails”) Mason holds forth in a daring exposè of her life and experiences to date.  Under the direction of Mark Travis, known for his expertise with one person shows, Ms Mason comes to the stage with her life’s story.  Sometimes out of chronological order, the events of her surprising history: molestation, prostitution, abusive marriage and prayer, she seems to be just a short distance from being really ready.

Prettier than her program photo, Mason holds forth in the basement of what is, presumably, her Spiritual Home, the Spiritworks Center in Burbank.  The assembly room has a simple proscenium and very basic lighting.  Mood changes are accomplished with lights as well as occasional sound and music cues. Sitting close  to one speaker made the sound a little intrusive.

With tighter direction; possibly a hat rack and a small table for her water bottle, in addition to her one black stool; a few props or costume pieces to enhance the story telling, Ms Mason’s heart rending story might be more fully realized.  The “nervousness” that she exhibits at the top of the show “Waiting for the Zoloft to kick in,” is either genuine or part of the presentation.  It was difficult to tell which.  As her production settles into its run, I think that she will gain confidence and tighten her choices.  It takes a lot of personal fortitude to expose one’s self by telling the truth.  Bailey Mason deserves huge credit for being willing to open her life in this very personal and dramatic way bringing it to an audience.

Bailey Mason’s HOOKED

Spiritworks Center

260 N. Pass Avenue

Burbank, CA 91505

Sundays only at 7PM

April 27 through June 29, 2014

Tickets: $20.00

www.hookedagain.net

(818) 623-7408

SJALUSI / JEALOUSY Deaf West Preents Norwegians!

We, here in the U.S., tend to be pretty regional and seldom global in our assessment of art.  We are also insular in other cultural arenas and when we step out of our comfort zone, we have opportunities to learn new things.  Most of us resist.  What happened last night at “(Inside) the Ford” where Deaf West Theatre Company sponsors Norwegian  Teater Manu's production of the full length one act, “Jealousy,” was a welcome culture shock . It is a double whammy.  First, on climbing the Cardiac Steps from the parking lot, I was aware of how quiet the evening was.  Rain was on the way.  I encountered two men who were, evidently, part of our local deaf community who seemed extraordinarily happy.  They pleasantly refreshed my memory about basic sign language for Thank You, You’re Welcome and Yes. 

Arriving at the patio, the familiar murmur of chatting was absent.  Friends were silently greeting one another and hugging and gesturing like anything.  It was just really quiet.

On arrival at the ticket counter, the attractive young woman who was in charge was completely deaf and my newly refreshed Thank you, You’re Welcome and Yes were not much help.  Thanks to a hearing interpreter, an attractive, happy young woman, tickets were obtained.  The house opened.  Again, the silence in the audience was profound.  Friends were still chatting and greeting one another, but it was just really quiet. 

The silence in the audience set the tone, as verbal reactions to the play were seldom happening.   The laughs were mostly silent. The cultural connection, not only to the deaf community, but then, to the performance by deaf Norwegian actors provides for new and interesting ways to enjoy theatre.    

   

Norway’s Teater Manu’s presentation of  SJALUSI (“Jealousy”) by Esther Vilar and directed by Magne Olav Aarsand Brevik, is, at once, slightly confusing and certainly dark and funny.  Olgeir J. Hartvedt’s spare set featuring Agata Wisny’s moving video projections advance the story via email and exposition while actors Mira Zukermann (the older woman) and Ipek D. Mehlum (the younger woman) and Anne-Line Kirste (the really younger woman) and Olgeir J. Hartvedt (I am almost sure he was the husband. He's mostly incidental) fill the stage with broad gestures accompanied by body language that brings the story to life. Kierste Fjeldstad provides a unique spoken English translation that is sometimes a bit difficult to understand. However, for the hearing audience it helped bring clarity to the hand signed presentation of the story.  Projected subtitles as used in foreign films might have been helpful. 

Extremely presentational, the characters’ rants supplemented by informative projections tell the story of an older woman losing her husband to a younger woman whom he has met in an elevator. She, in turn is supplanted by a younger yogi hottie who winds up with the husband.

Suffice it to say that Norway’s Teater Manu has created a successful way to share Norwegian theatre by and for the deaf in an artful and interesting way. The actors bring new perspective to what the creative presentation of a play is all about.

SJALUSI / JEALOUSY

By Esther Vilar

(Inside) the Ford

2580 Cahuenga Blvd. East

Hollywood 90068

April 24 through May 4, 2014

Thursday – Sunday 8PM

Matinees Saturday and Sunday at 2PM

Tickets and Information

818 762 2998  www.deafwest.com

Love? Come, Go With Me EXTENDED

Nikhil Pai and Erika Soto 

Photo Credit:  Grettel Cortes

EXTENDED THROUGH MAY 25, 2014

Romeo and Juliet, Shakespeare’s most available and popular tragic romance is summed up immediately in the prologue of the Independent Shakespeare Company’s current production in Atwater.  The entire cast appears, sharing the prologue; visibly shocked that the story does not end well as related in Shakespeare’s lovely opening sonnet:  “Two Houses, both alike in dignity..."

After lauding the talent and skills of Bristol Old Vic Company’s Midsummer Night’s Dream recently at The Broad, I must retreat and say that to find myself in plastic chairs and a simple playing space with this ISC cast of excellent and culturally diverse and talented Americans, that under these right circumstances, the Bard comes off Aces.  We cut immediately to the chase, eliminating the opening of the fight (no thumb biting here)  that gets the Prince’s (Xavier J. Watson who doubles as a foppish Paris) dander up.  We meet a female Benvolio (lithe Lovelle Liquigan doubling as Lady Capulet), Romeo’s confidant and pal.  No worries about how the Montegues find out about the Capulet’s soiree, we get right to the point with tres gai Mercrutio (doubling Lord Capulet joyful Andrè Martin) who encourages Romeo (excellent Nikhil Pai)  to crash the party.  Quickly is Rosaline forgotten and in the lovers’ meeting we find love at first sight with familiar lines spoken with conviction. Just charming. “Let lips do what hands do…”

Bawd(y!) Nurse (profound Bernadette Sullivan) goes to bat for Juliet (wonderful Erika Soto) remembering how she would bet fourteen teeth that she knew her charge’s birth within an hour (sadly says she, she only has four). She broadly proclaims her loyalty and love full voice.  This energy from every member of the cast was impressive.

Fantastic doubling as Friar Lawrence and Tybalt, Evan Lewis Smith commands the stage with his voice and presence.  The sword play here with Mercrutio is at once comic and frightening.  This is a highlight of the show as often there is too much care in stage combat. Even with the audience only six feet away, the actors do not flinch, but thrust and parry as Romeo attempts to stop the melee.  Mercrutio is struck under Romeo’s arm. ‘Find me tomorrow and you will find me a grave man,’ he says, condemning everyone and expires.  Romeo’s brief bout then brings Tybalt to his end skillfully without flair. 

To the credit of director Melissa Chalsma, there is no attempt at accents. It’s an American production in a tiny space with limited tech (though adequate) mounted beautifully.  Shakespeare’s Wooden “O” probably had about the same amount of technical support, allowing the words and the story to carry the day.  Designer Cat Sowa’s wooden back wall with one black curtain, a ladder and a sturdy table are all that Chalsma needs to bring her actors up to speed. Daniel Mahler’s costumes work just fine.  Kevin Rico Angulo (Lord Montague and Friar John) rounds out the cast.

It is rare to see such committed energy in a simple studio setting. The recent failure of Macbeth at A Noise Within, with their expensive professional space, costumes and lighting did not succeed because the dedication of the actors and the director were somehow sidetracked.  It is the abundant energy that the ISC ensemble brings to their tiny space that makes the play work.  I loved this production because the actors never tarried in their quest.  They whittled the text carefully, still allowing it to breathe while skillfully bringing it to life.  We buy the story because it is, after all…  Romeo and Juliet, for goodness sakes!  Creative dance movement and handling of the simple props draws the audience in and includes us as part of the drama.  The fourth wall comes and goes gently with purpose.  Who else to hear a soliloquy but the audience?

It’s an efficient evening (two swift acts) that makes one truly appreciate the beauty of the words. The words and the excellent skills of the cast are all reasons that one must see this production. It is not to be missed.  

ROMEO AND JULIET

By William Shakespeare

Thursday, Friday and Saturday at 7:30PM

Sunday at 2PM

April 11 through May 25, 2014

The Independent Shakespeare Company

3191 Casitas Avenue  #168

Los Angeles, CA 90039

Tickets and Information: 818 710 6306

www.iscla.org

MIDSUMMER NIGHT’S DREAM at the Broad

When the Brits do Shakespeare it’s probably the way that it ought to be done. This includes an intrusion on the way to our seats with an ‘audition’ taking place in the audience administered by Lucy Tuck, one of the dozen ensemble members who bring the Bard to life.  A pre-show romp included the cast mingling with the audience, yelling back and forth and having a good old time.  The stage is set with a multitude of props and the Bristol Old Vic Company has, literally brought their own ‘boards’ with them creating the playing space.  Echos of the physical theatre of Grotowsky and the imagination of Peter Brook, who brought the play to the Ahmanson years ago, abound.  

Director Tom Morris in collaboration with the Handspring Puppet Company (responsible for the puppet horses in Warhorse last year) create the play in a multicultural and fantastical way. The fairies are brought to life with agitprop puppets and gusto.   We meet the Mechanicals early on, bombastically planning their Pyramus and Thisbe.  Miltos Yerolemou as Bottom, along with compatriots Saikat Alhamed (Snug), Colin Michael Carmichael (Quince), Fionn Gill (Snout) and Christopher Keegan (Flute) energize the production leading up to the their own hilarious theatrical presentation at the end of the play as the tricks on the earthly lovers by David Ricardo-Pearce (Oberon/Theseus) and Saskia Portway (Hippolyta /Titania) are resolved. 

Vicki Mortimer’s design for the stage; with the fabrication and design of Handspring is appropriately magical and ethereal.  Brilliant use of garden tools combine to create mischievous Puck (played by three actors (Lucy Tuck, Fionn Gill and Saikat Alhamed) who disassembles and reassembles magically about the stage.  The magical forest created by the ensemble, each with a wooden plank, morphingly changes scenes flawlessly.

The confused lovers, Naomi Cranston (Helena), Alex Felton (Lysander), Hermia (Akiya Henry) and Kyle Lima (Demetrius) rollick in and out of love manipulated by the fairies with physical abandon.  Only these characters remain resolute while the rest of the cast transforms smoothly at the drop of a hat. This is an ensemble piece. These actors are all trained for the stage: movement, voice and presence.  It’s the present and genuine quality of the actors that most impresses.  Almost indefinable, each person in his turn is available through the myriad of characters to bring the words and the joy of this favorite play to life. One of many memorable interludes must be Bottom’s evolution into an ass. Shades of Warhorse blossom, as well as Bottom’s bottom in a fantastical take on this unforgettable part of the play.

Renew your acquaintance with the story and then, make a promise to see Shakespeare done the way the Bard would have appreciated his story to be told.  It is a gift. It's bold and new and exceedingly well done.

A MIDSUMMER NIGHT’S DREAM

By William Shakespeare

Collaborated by The Bristol Old Vic 

and Handspring Puppet Company

The Broad Stage

1310 11th St. (At Santa Monica Blvd)

 Santa Monica, CA 90401

Through April 19, 2014

Tickets and information

  (310) 434-3200

  thebroadstage.com

TWILIGHT TIME AT THE PASADENA PLAYHOUSE

-->

JUST A SONG AT TWILIGHT, possibly Noel Coward’s theatrical swan song currently on stage at the Pasadena Playhouse features four fine actors and four divergent acting styles. Director Art Manke has Roxanne Hart, Zach Bandler, Bruce Davison and Sharon Lawrence deftly reciting Coward’s lines in a terrific set by Tom Buderwitz, the hotel room where Hugo (Bruce Davison) holds forth with his former secretary, now wife of twenty years, Hilde (Roxanne Hart).  A visit by an old flame, Carlotta (shapely Sharon Lawrence) promises uncomfortable banter and eventually a down to business discussion addressing an issue that Hugo has avoided all of his life: his ‘interest’ in homosexuality.

Bruce Davison, Roxanne Hart and Sharon Lawrence
 Photo credit Michael Lamont

It’s the sixties, when gay men (and others) were just peeking out of their closets and to old timers like Hugo, any hint of mint could be destructive to their careers, even though Hugo’s success as a writer has been exceptional. Perhaps the shame that still lingers in our society even fifty years later caused the fear that erupts in Hugo as Carlotta explains that she anticipates writing her memoir. She has in her possession incriminating letters sent by Hugo to his former ‘friend,’ Perry.  Carlotta is an Actress with a capital “A.”  Lawrence’s stage presence is appropriately broad.  Compared to Davison’s studied portrayal of Hugo, the contrast is rather one of style.  Coward’s words are and always have been stylish and poetic. The entire production is testament to style.    The feeling of the thirties, even set in the sixties prevails.  This is how the upper crust lives, waited on by room service with the mere touch of a button.

As always, the Pasadena Playhouse Opening Nights are full to the brim with celebrities and patrons. Buderwitz’s hotel is perfect.  David Kay Mickelsen’s costumes are also perfectly done. The money is on the stage. The presentation is thoroughly professional.  Roxanne Hart as Hilde, Hugo’s wife, has adopted an interesting German or Germanic accent that is not always easy to decipher.  However her attitude and proficiency expand the character throughout.  Though seldom on stage, our Room Service waiter, Zach Bandler is crisp and clear.  No mistaking that he is there to serve and he does so efficiently.

It may be the perfection that makes this production falter a little.  Everything is so just so.  Energy in the second act exceeded the first and that was a good thing.  Over all, this is a Broadway play revived for a Broadway audience come to see the play and to be seen. 

JUST A SONG AT TWILIGHT by Noel Coward

The Pasadena Playhouse

39 S. El Molino

Pasadena, California 91101

Tuesday through Friday at 8PM

Saturdays at 4PM and 8PM

Sundays at 2PM and 7PM

Through April 13, 2014

Tickets and information

www.pasadenaplayhouse.org

626 356 7529

Tomorrow and Tomorrow and Tomorrow ANW

The Scottish Play is bloody: perhaps Shakespeare at his darkest.  Lust for power. Greed and invincibility so moves the petty pace on Susan Gratch’s exquisite set.  Jenny Foldenhauer’s rag tag costumes emphasize a somewhat lengthy rag tag production directed by Larry Carpenter.

Elijah Alexander (Macbeth) Jules Willcox (Lady Macbeth)Photo by Craig Schwartz

 

The cast:

Celebrant Witch 1      Amin El Gamal

Celebrant Witch 2      Thom Rivera

Celebrant Witch 3      Jeremy Rabb

King Duncan              Matt Orduna

Malcolm                     Feodor Chin

Macbeth                     Elijah Alexander

Banquo                       Leith Burke

Angus                         Laurence Fernandez

Lady Macbeth            Jules Wilcox

Macduff                      David DeSantos

Fleance/Macbeth’s

Servant                       Seven Pierce-English

Lennox                       Mitchell McCollum

Donalbain/Lady

Macduff                      Katie Pelensky

Macduff’s son             Theo Taplitz

Duncan’s Guard          Lucas Dean Peterson

Duncan’s Guard          Erin McDonnell

MACBETH by William Shakespeare

A Noise Within

3352 Foothill Blvd.

Pasadena, California 91107

Plays in repertory with Tartuffe and up coming Come Back, Little Sheba.

Wednesdays through Sundays through May 11, 2014

Tickets and information

www.anoisewithin.org

626 356 3100 Ex 1

TOP GIRLS / ANTAEUS

-->

A bit of research reveals that a “Top Girl” is the ‘girl’ who over sees the other girls in any situation where women employees need to be supervised.  Top Girl may be the person who intercedes between the male boss and the women worker bees in the ‘pink ghetto.'

In Act I in Caryl Churchill’s play introduces us to an ambitious Marlene (Sally Hughes) who has invited prominent women from history to lunch.  Beautiful and poised , Marlene fusses as the The Waitress (very efficient Alexandra Goodman) sees to the wine, takes luncheon orders and expresses internal opinions about what’s what. 

Isabella (Karianne Flaathen), Lady Nijo (Kimiko Gelman), Dull Gret (Etta Devine), Pope Joan (Rhonda Aldrich) and Patient Griselda (Jeanne Syquyia) arrive.  Exposition ensues.  Survival has not been easy.

Act II, Marlene is at work with co-workers in a London office where the glass ceiling is about to be raised.  Actors from Act I double and triple in new roles.   Devine and Goodman return as teenagers Angie and Kit.   Angie runs off to London to be with Marlene.

This ambitious piece is a strong polemic discussing the trials of being a woman throughout the ages.  Issues of child bearing factor strongly. 

Stephen Gifford’s set moves beautifully. Literally. Costumes by Terri A. Lewis work.  The business of feminism is only the tip of the iceberg.   Women who understand and sympathetic men will understand.  It’s a strong statement well presented.  Director Cameron Watson is, obviously, one of those men. Double cast as always at Anteaus, "The High Flyers" cast plays alternately with "The Ballbreakers".  Check the website for specifics.

TOP GIRLS

By Caryl Churchill

Antaeus Theatre Company

5112 Lankershim Blvd.

North Hollywood, CA 91601

Thursday through Sunday

March 13 through May 5, 2014

818 506 1983

www.Anteaus.org

$34 top

THE UGLY ONE at EST LA

What Peter Brook wrote about eloquently in his book The Empty Space, reminds us that “…  theatre defies rules, builds and shatters illusions, and creates lasting memories for its audiences.” Hopefully, this shall always be true.  Brook’s production of A Midsummer Night’s Dream did that, as did his Dr. Faustus, many years ago at the Ahmanson.  Defy the rules: create lasting memories.

Robert Joy and Eve Gordon  Photo by Kevin Riggen

Waiting at the box office I heard the ticket seller say, “Oh.. Back Again!” to the woman in front of me.  It’s not a surprise that lovers of theatre may return again and again.  This is a landmark production. 

THE UGLY ONE by Marius von Mayenburg (translated by Maja Zade) and directed by Ensemble Studio Theatre LA Creative Director Gates McFadden exemplifies what can happen when all of the elements of Theatre are drawn together properly.  It’s the chemistry of casting excellent actors in a well written play creating a collaboration of artists which, with luck and skill become a perfect ragu!    That’s what a great production is, after all: quality ingredients prepared with loving care by artists who know what they are doing.

Our ensemble for The Ugly One: Robert Joy, Eve Gordon, Tony Pasqualini and Peter Larney, each protean and truly enjoying the play, transform flawlessly as story emerges. A brilliant engineer (I think) has created a wonderful widget and is looking forward to doing a presentation to a conference of potential buyers.  He learns that he is just too ugly to make the pitch.  Hilarity ensues!

Tony Pasquallini, Robert Joy, Peter Larney  Photo by Kevin Riggen

The small audience sits is a space hardly bigger than an average living room. At what might be considered ‘rise’ (there is no curtain), the actors haul their props and costumes out of four Banker Boxes at one end of the tennis court style stage. We are now engaged!  It’s big and loud and funny and brash and silly and moving and mean and deep and superficial.

This smaller space is a big change for Ensemble Studio Theatre LA and it just goes to show that all dedicated theatre people ever need is a space and a passion.  The passion, of course, resides within each member of this company (and in this script, too), including fantastic projections by Hana Kim and beautifully simple sets and costumes by Ms Kim and Catherine Baumgardner.  The "turn off your cell phone" admonitions are personal. The cast is a smoothly running machine.

The Ugly One (is beauty in the eye of the beholder or in the skills of the surgeon who starts with the nose because it sticks out further on the face?)  is a play for those who love the challenge of being swept along practically in a stream of consciousness. Lines flow musically. Every beat is crisp and clear: A Dance. Smooth as silk. Four actors embody eight different characters.  The character's names don’t change:  The Ugly One/Lette: Robert Joy, Jenny: Eve Gordon, Karlmann: Peter Larney  and  Tony Pasqualini: Scheffler.  It’s never problematic to observe the characters change from boss to surgeon, from assistant to son, from wife to old woman. (Eve Gordon’s limp steals the show!).    Only Joy as Lette sticks to his character from start to finish, though evolving from The Ugly One to the Handsome One Who Argues with Himself. The dialogue is fluid and funny. Theatre on a tennis court. Expert and at least a near masterpiece.  ESTLA and director Gates McFadden have created a Space and a Passion.   The Ugly One is a must see for anyone who truly loves theatre and appreciates watching an ensemble that knows its business inside out.

"THE UGLY ONE"

 BY MARIUS VON MAYENBURG

ENGLISH TRANSLATION BY MAJA ZADE

DIRECTED BY GATES McFADDEN

FEBRUARY 15 — MARCH 31, 2014

SATURDAYS AT 5PM & 8PM

SUNDAYS AT 7PM

(ADDED PERFORMANCE SUNDAY 3/16 AT 4PM ]

MONDAY AT 8PM

Tickets:

www.ensemblestudiotheatre.org

323 611 1929

Speakeasy

3269 Casitas

Los Angeles, CA 90039